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foodbeast.com
abc photo via chicago tribune
The “world’s oldest teenager” was originally only a decade or so older than the teens who danced on the first incarnation of American Bandstand.
It had begun as a local Philadelphia show, started and hosted by others. (The first host got fired after he was arrested for drunk driving and implicated in a pimping ring.)
Dick Clark took over the show in 1956. The following year he got it placed in a weekday afternoon slot on ABC, the distant-third-place network at the time.
The next six years could be considered the “high point” of Bandstand, in influence if not ratings. It was telecast live every afternoon. It featured lip-sync performances by nearly every major rock star. It was the only regular national outlet for the music that would define its time. His super-clean-cut good looks and reassuring demeanor helped make that wild teenybopper music parent-friendly–including the music of black artists, who were on the show from the start.
Unlike many producers of the time, Mr. Clark kept kinescope films or videotapes of Bandstand’s entire 33-year run; an invaluable archive of many singers’ first or only U.S. TV appearances.
He quickly expanded into related ventures, including record labels (somehow avoiding implication in the “payola” scandals of the day) and package touring shows (including integrated revues, even in the deep south where such things were just not done).
In the 1963-64 season, when the Beatles (one act that didn’t appear on the show) would change pop music again, Bandstand moved to Saturday mornings and to L.A. These shows were taped in four- to six-episode batches, making them less in tune with the music world’s convulsions.
Once ensconced in Hollywood, Mr. Clark established a production “factory.” His company made Where the Action Is, the telecast of the Golden Globe Awards, the American Music Awards, New Year’s Rockin’ Eve, TV’s Bloopers and Practical Jokes, radio countdown and nostalgia shows, and even the psychedelic-exploitation film Psych-Out. He started rock-nostalgia theme restaurants and American Bandstand venues in Reno and Branson.
He also appeared on other producers’ programs, including 14 years on the Pyramid game shows.
He starred in 1960’s “serious” teensploitation film Because They’re Young. In 1967 he played the killer on the final episode of Perry Mason, symbolizing the youth culture that had made programs like Mason seem passé within the TV industry. And he had cameos on dozens of scripted shows, most notably on Police Squad! (desperately seeking his next fix of “miracle youth cream”).
A 2004 stroke ended his on-camera career, except for annual cameos on New Year’s Rockin’ Eve. But he kept on producing (Boston Legal, Codename: Kids Next Door, So You Think You Can Dance). Dick Clark Productions will continue, one of the last prime-time producers not owned by a network or a movie studio.
Less than two weeks after the death of Mike Wallace, Mr. Clark’s loss further shrinks the number of early TV performers still with is. His legacy as a pre-MTV music introducer lives on in this post-MTV era.
david eskenazi collection via sportspressnw.com
And a happy Friday the 13th (first of the year) and Mariners home opening day to all of you!
It’s called “Control-based Content Pricing,†and the basic idea is dynamic pricing of video content, based on the preferences of the user at any given moment—essentially setting different prices for different functions of the TV remote.
casey mcnerthney, seattlepi.com
…In the long term today’s affordable housing comes from yesterday’s luxury flats, and cutting off the supply of the latter will deny our children the former in the absence of massive, unsustainable public subsidy.
The American parade of pathetic little bigots, who falsely imagine themselves to be valiant crusaders instead of the bullheaded jerks they really are, just goes on and on.
Recent examples:
Thursday’s Oregonian has a rather complex story of violence and desperation, set at a Goodwill outlet store.
It seems the subculture of “professional thrifters,” shopping for stuff to resell on eBay, Amazon and elsewhere, has gotten more extreme, and even brutal, during the Great Recession. Folks are spending all day in the bigger thrift stores, pawing over everything and even pushing other shoppers out of their way.
The story particularly mentions one used-book reseller named Pedro Rolando Reynaud Erazo. Along with his brother and an entourage of assistants, he spent his days grabbing books by the armful at Goodwill outlets (the bigger warehouse stores, where stuff that doesn’t sell in the regular Goodwills gets sent). They used portable bar-code scanners to help find the few volumes with resale value, then tossed all the rest. During these day-long sieges, they’d push other shoppers and even store employees out of their way.
A female shopper charged Erazo with following her around the Hillsboro Goodwill outlet store, yelling and calling her names. And more:
He pushed her on 10 occasions. He punched her. He even warned her: “(y)ou should be afraid of me. They’re not going to stop me. I can do whatever I want.”
The woman applied for, and received, a “stalking” (restraining) order against the aggressive entrepreneur.
But an appeals court reversed the ruling; claiming that…
she hadn’t proven that Erazo subjected her to at least two “contacts” that would cause her to fear for her own safety. The court ruled that while the punch qualified as one contact, the 10 shoves weren’t truly dangerous. What’s more, Erazo’s reported threat didn’t instill “a fear of imminent and serious personal violence.”
Anyway, the article continues, Erazo is no longer a threat to this particular woman, as he’s left the state of Oregon.
He now lives in the Seattle area.
And his organization has reportedly operated the same “hoarding” and “scooping” tactics at thrift stores and used-book sales around here since at least 2010.
One thing this ongoing grossness proves is something I’ve been saying for some time: books really are a big business.
(Note: There are other online pieces about Erazo. But I’m not linking to them because they veer off into stupid racist tirades, under the excuse that he was born in Honduras. His aggression and his attitude problem would be just as icky and dangerous if he were a WASP fratboy.)
existing blue tree in vancouver bc; konstantin dimopoulos via kplu.org
early 'new yorker' writer janet flanner photographed by bernice abbott; tacoma art museum
crosscut.com
twenty-flight-rock.co.uk
Remember, we’ve got a free Vanishing Seattle presentation at 2 p.m. Saturday in the Klondike Gold Rush National Historic Park, 319 2nd Ave. S. in Pioneer Square.
wallyhood.org
My adventure in Bellingham this past Sunday was cold but lovely. Will post a complete post about it a little later on.
And I’ve got another presentation coming up this Saturday, right here in Seattle! It’s at 2 p.m. at the Klondike Gold Rush National Historic Park, 319 2nd Ave. S. in pontificous Pioneer Square. (That’s right across from Zeitgeist Coffee.) This one concerns my ’06 book Vanishing Seattle, and perhaps all the things that have vanished around here since then. Be there or be frostbitten.
Now, to catch up with a little randomness:
A self-described “white gay male” guest writer at a feminist site re-introduces the allegation, made previously by others, that Dan Savage is an implicit racist, and that Savage cares more about homophobia than about racism or any other form of injustice.
The writer, Kirk Grisham, points out that Savage’s “It Gets Better” campaign gives several examples of horribly bullied white gay kids, but hasn’t said much about bullied black or brown or working-class gay kids.
(The campaign also neglects kids who are bullied for any reason other than being gay, but that’s not part of Grisham’s argument.)
Grisham goes on to cite two things Savage has written, but which he’s since rescinded.
One was a rant against African Americans in California who voted for the first time in 2008 to support Obama. Savage originally, partly blamed these voters for the success of the anti-gay-marriage initiative that was also on that state’s 2008 ballot.
The other was Savage’s endorsing Christopher Hitchens’ Iraq War defense, along the line that U.S.-forced regime change would propel social progress and freedom in the Middle East.
He’s since gone on the record contradicting both previous opinions.
I’m not in the business of defending or decrying any ex-boss of mine.
But I will say that “It Gets Better” is built on top of standard, unquestioned liberal notions of “identity politics.”
And that “identity politics” is the continuation of demographic marketing by other means.
It divides, when we should be uniting.
We need to make a better world for everybody. Not just for people in “our” category.
filmfanatic.org
joe mabel, via wikimedia commons