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vintage 1940 trolley bus from seattletransitblog.com
There is no purpose in “reading” The Great Gatsby unless you actually read it. Fitzgerald’s novel is not about a story. It is about how the story is told. Its poetry, its message, its evocation of Gatsby’s lost American dream, is expressed in Fitzgerald’s style–in the precise words he chose to write what some consider the great American novel. Unless you have read them, you have not read the book at all. You have been imprisoned in an educational system that cheats and insults you by inflicting a barbaric dumbing-down process.
As mentioned previously here, Rupert Murdoch’s UK Sunday-only tabloid News of the World has printed its final edition. This final wraparound cover says it all. It calls itself “the world’s greatest newspaper” (a title also self-imposed in the past by the Chicago Tribune), while a background montage depicts dozens of screaming scandal headlines that have, and had, nothing to do with news.
And guess what? The last issue just happens to include a (stereotype-heavy) Seattle travel story.
…Recessions aren’t permanent, but land use often is. If we allow developers to build ground-floor housing instead of retail space now, those apartments won’t magically be converted to coffee shops, hair salons, and restaurants once the economy turns around. They will be, for all intents and purposes, permanent residential spaces. And street-level land use matters. Pedestrians gravitate toward streets that are activated by bars, shops, and restaurants; in contrast, they tend to avoid sidewalks that run alongside apartment buildings and other non-public spaces like fenced-off parking lots.
…Recessions aren’t permanent, but land use often is. If we allow developers to build ground-floor housing instead of retail space now, those apartments won’t magically be converted to coffee shops, hair salons, and restaurants once the economy turns around. They will be, for all intents and purposes, permanent residential spaces.
And street-level land use matters. Pedestrians gravitate toward streets that are activated by bars, shops, and restaurants; in contrast, they tend to avoid sidewalks that run alongside apartment buildings and other non-public spaces like fenced-off parking lots.
The scandal at News of the World, one of Rupert Murdoch’s UK tabloid papers, got so damning that Murdoch killed the paper, in hopes of saving the rest of his British media empire (and its cozy relations to top politicians).
The Sunday-only NOTW harkens back to 1843. It was one of the English-speaking world’s first true mass-market papers. From the start, it was heavy on scandal, gossip, gory crime, sports, and as much sex as censorship laws of the time allowed.
When I first found it at out-of-town newspaper stands in the 1980s, NOTW was a tentacle of the Murdoch octopus (and had been since 1969). It was big at the time on fun sex stories, such as “Cheeky Memoirs of the Wedding Photographers.”
This was around the time of Joe Jackson’s song “Sunday Papers,” about NOTW and its tabloid brethren.
In recent years, NOTW’s circulation dropped, from almost 9 million in its pre-Murdoch 1950s to under 3 million. The paper’s editors were ever on the prowl for the latest and dirtiest dirt on public figures. With daily tabloids (such as Murdoch’s Sun) and websites after the same dirt, NOTW went to extremes to get its own, exclusive dirt.
That led to the hacking of cell phones.
First, they tapped the phones of actors and soccer players.
Then the phones of politicians.
Then the phones of violent-crime victims and their families.
That was the last straw. Even Murdoch’s pet politicians turned against him.
It could just be that Murdoch has other agendas behind closing the paper, besides saving PR face.
After dumping this separate Sunday paper with its separate staff, he could theoretically re-enter the market later with a Sunday edition of The Sun, which could be relatively cheaper to produce and would share a single “brand.”
But for now, the enemies of right-wing sleaze media throughout the world can consider this at least a momentary victory.
UPDATE #1: The Economist notes a larger possible reason behind Murdoch’s extreme UK damage control. He’s trying to expand his holdings in satellite TV over there, a move that requires governmental approval. That business is far more profitable than all his UK print businesses combined.
UPDATE #2: Commentator Alison Frankel has another potential underlying reason for the Murdoch machination. She thinks Murdoch could transfer all of NOTW’s assets to a liquidation agent, who could destroy incriminating evidence.
UPDATE #3: Several U.S.-based commentators, including Will Bunch and John Nichols, insist (rightly, I believe) that Murdoch’s Fox “News” Channel is just as harmful to politics and society here as Murdoch’s papers are to politics and society across the pond. But neither Bunch nor Nichols seems to know what to do about it.
Back to the old grind. The lovely old grind.
(Slow news day edition.)
Boeing is still paying for abandoning its once-successful strategy of long-term investments in innovative, groundbreaking products like the 747 jumbo jet in service of short-term profits meant to goose its quarterly earnings.
Back in the alleged good old days of American journalism, chain-owned newspapers would often be ordered by corporate HQ to run the same chainwide stories. (The Hearst papers were particularly notorious for this.)
Now, the Arizona-born company calling itself Village Voice Media has just done this at its papers, including Seattle Weekly.
They’re running the same expose piece, entitled “Real Men Get Their Facts Straight.” It’s an attack on Ashton Kutcher’s “Real Men Don’t Buy Girls” PR campaign, which claims “100,000 to 300,000” underage girls are trapped in street prostitution in the U.S. every year.
In contrast, the article claims the real number, while unknowable, is probably much, much smaller. The big number, says the story, comes from a highly flawed academic research piece about kids “at risk” for becoming hookers, a figure that pretty much includes the entire teen populations of U.S./Mexico border towns.
A sidebar item acknowledges a VVM corporate interest in combating anti-sex-work scare campaigns. The fear mongers pressured Craigslist to stop running (unpaid) online sex-work ads, and are now setting their rhetorical gunsights on providers of (paid) sex-work ads, including VVM and its Backpage.com site.
To summarize, the article’s “good news” is: A lot fewer girls (and boys) are underage hookers than you might think. If you hire an escort, you and she/he are breaking some laws, but most likely statutory rape isn’t one of them.
The bad news remains: There still are some minors trapped in underage hooking, even if they’re a lot rarer than Kutcher and co. claim. In Seattle we had our own highly publicized pimping scandal last year, involving a few young-adult males and perhaps a dozen underage females.
(I happen to believe escorting and other sex work should be legal, and regulated. When it is, it will be much easier for law enforcement and social workers to find underage participants, divert them into other lives (perhaps in supervised group homes), and to prosecute any madames or pimps employing them.)
•
UPDATE #1: As if right on cue, Mayor McGinn and police Lt. Eric Sano held a press briefing on Friday denouncing VVM’s Backpage.com and supporting Kutcher’s PR drive against it. Sano claimed “there have been four documented cases of child prostitution openly advertised on Backpage.com.” Seattle Weekly editor Mike Seely, while not directly involved with Backpage’s operations, insists the site’s staff does all it can to reject and/or remove ads offering erotic services by under-18s.
UPDATE #2: Elsewhere in that company, the Village Voice itself has cut 60 percent of its staff in recent years. The New York weekly’s remaining employees threatened to go on strike this past week over wage and benefit cuts. Now comes word the strike may have been averted.
UPDATE #3: John Spangenthal-Lee at SeattleCrime.com said on July 5 that the VVM article was wrong about Seattle Police records concerning juvenile prostitution arrests. Spangenthal-Lee claims there were about twice as many such arrests in 2007-2009 than the article counted. Seattle Weekly managing editor Caleb Hannan, whose staff supplied research for the chainwide VVM article, told Publicola they got their numbers from the SPD.
UPDATE #4: The Sex Workers Outreach Project, an organization supporting legal and civil rights for sex workers, issued a statement “responding” to the VVM story. The statement approves of the article’s reality-checking regarding the extent of the situation. But SWOP goes on to state the real issue here isn’t Kutcher vs. VVM and Backpage.com:
…There are three overlapping issues here: the trafficking of youth into the sex industry, the service needs of youth with experience trading sex for survival and the rights of consenting adult sex workers.
UPDATE #5: Ryan Hodgson pointed me in the direction of a Seattle Weekly item from last October. It seems that before the Kutcher Krusade or the chainwide VVM counterattack, SW editors publicized the FBI’s claim that Seattle was “Ranked Worst City in U.S. for Child Prostitution.”
Seattle loses a major community institution this week, quietly.
SCAN TV (Seattle Community Access Network), the nonprofit that’s operated the city’s public access cable channel for more than a decade, closes up shop. SCAN declined to bid on another contract to run the channel, after penny pinching city bureaucrats slashed the funding for its operation.
The Seattle Community College District’s SCCtv agreed to take over the channel at the vastly reduced funding level. The new iteration of the access channel, renamed Seattle Community Media, starts Friday. For the first few weeks, as SCM gets its technical infrastructure together, programming will be limited to rerun episodes of shows supplied by existing SCAN citizen producers.
With the change comes the closing of the access studio on N. 98th Street east of Aurora. Starting in 1983 (when Group W Cable opened it as a condition of its city cable contract), the Northwest Access and Production Center’s modest 30-by-40-foot main studio hosted an astounding array of artisanal TV. Citizens signed up for time slots, took training classes on the gear, and created all-volunteer productions, some quite elaborate.
That room was known as the “big studio.” There was also the “small studio,” a walk-in closet with one camera and a control console; producers strove to stretch that room’s capabilities, even producing musical variety shows (albeit starring very small combos).
SCM will reinstall the SCAN equipment on the North Seattle Community College campus, just a few blocks east of the old site. This means producers will still be able to make multi-camera, studio-based TV shows, as well as single camcorder, field-based video footage.
But nothing on the new SCM channel will be cablecast live.
That means (1) no call-in segments, and (2) no in-studio surprises. In-studio mistakes, yes, but no surprises.
At the access channel’s peak of popularity in the mid 1990s, a Seattle Times feature story described its panoply of programming.
There was music of every conceivable genre, including some of the earliest footage of Soundgarden and other future “Seattle scene” stars (and should-have-been stars).
There were ethnic cultural programs ranging from Chinese to Somali.
There were single-issue discussion and monologue shows advocating everything from gun rights to alternative medicine.
There were preachers of every theological stripe, including UFO religions and atheism.
There was the Rev. Bruce Howard, a music teacher who created (and successively re-created) his own spiritual discipline, evolving from fire and brimstone to (relatively) happy folk singing. (No, I don’t know whatever happened to him.)
There was Philip Craft’s Political Playhouse, in which the sometimes naked host offered up interviews and comedy skits expressing his flavor of radicalism (politicians = bad, marijuana = good). Craft later moved to L.A. and helped make a low budget film based on his experiences, Anarchy TV.
Another lefty political show, Deface the Nation, had a vegan cooking spinoff series called All You Can Stomach.
There was the drag queen cooking show Queen’s Kitchen and its sequel Love, Laverne (a live sitcom).
There were other home brewed comedy ventures such as Bend My Ear Seattle (with hosts Chardmo and Johnny 99 and house band Hot Dog Water), The Make Josh Famous Half-Hour of Garbage, and Gavin’s Hawse (with Gavin Guss, later of the neo-pop band Tube Top and now a solo singer-songwriter).
There was Richard Lee’s Kurt Cobain Was Murdered, in which the steadily crazier looking and sounding Lee reiterated, week after week for years, his specious conspiracy theories. Lee eventually ran for mayor in 2001, showing up at a debate with a beard and in a dress.
There was deadpan comic MC Spud Goodman, one of the two access stars who graduated to “real” TV, hosting bizarre skits and local bands for four years on channels 22 and 13.
There was the other later-made-it-big guy, serious public affairs interviewer C.R. Douglas, who took his insightful chats with local political leaders to the city-owned Seattle Channel (retiring earlier this year).
And there was the call-in show Bong Hit Championships (did what it said on the tin).
In 1999, the access channel had already begun to fade from public awareness. That’s when the city engineered the creation of SCAN, and put the new nonprofit group charge of the channel.
One reason was to remove Comcast AT&T (which, through mergers, wound up with most of Seattle’s cable subscriptions, which would soon after be sold to Comcast) from the responsibility to enforce limits on the channel’s “free speech” policies.
Producers were forbidden from airing commercials or soliciting money on the air. Otherwise, pretty much any content was permitted. Officially, programming wasn’t supposed to violate federal “obscenity” guidelines.
But with a no-prescreening policy in effect, some producers dared to sneak stuff past. Michael Aviaz’s Mike Hunt TV and T.J. Williamson’s Fulfilling Your Fantasies included uncensored excerpts from hardcore porn videos. Aviaz’s show ran off and on for nine years, getting kicked off for good in 2006. Williamson stopped submitting X-rated shows, but continued to program non-controversial travelogue videos under the name Adventure TV.
One of the ’90s access stars, monologuist-painter Shannon (Goddess Kring) Kringen, is still on the channel today (though no longer prancing naked on camera).
So are a trio of long-running musical shows, Music Inner City, D’Maurice & Armageddon, and Blues To Dos.
This week’s final SCAN schedule includes much the same range of fare the access channel had in its heyday, albeit without some of the edgier fare.
There’s even a madcap comedy-variety show, The VonHummer Hour.
It’s imported from Portland.
The ultimate question should not be, “How could the city defund SCAN?”
It should rather be, “Why was so little done to defend it?”
One reason: In a 200-channel cable TV landscape, this one little unadvertised analog channel lost what local prominence it had.
Another reason: With YouTube and podcasts and video blog posts, a scheduled cable channel is a relatively inconvenient way to distribute and view indie video. And the ol’ WWW in general is a handier way to disseminate niche-audience messages and entertainments (albeit a harder place to find them).
Still, there’s something very invigorating, even democratizing, about people making their own TV and making it available to the whole community to view in real time.
With the right support, SCM could bring that spirit back.
UPDATE: Seattle Community Media has now taken over the channel. The schedule of programs is the same as the final SCAN schedule. The only difference so far is the promos between programs. One of them is a sped-up video of a short drive from the old SCAN building to the NSCC campus, where a small staff stands in wait to proclaim “Welcome to Seattle Community Media.”
If you are a maker of things, a disseminator of knowledge, or anyone who contributes to the collective intellectual output of human beings, do not accept the notion that your work is less significant than a house, a chair, a piece of electronic equipment, or a rock. Do not allow yourself to be labeled as a mere “content creator.†Have more dignity than that.
Is it hypocritical for me to insult a politician or pundit as a “corporate whore,” when I have respect and admiration for actual whores?