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artist's rendering; via kiro-tv
t.j. mullinax, yakima herald-republic
sherriequilt.blogspot.com
via boingboing.net
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:
from geekgirlworld.com
…you could give free money to everyone else assuming some of that money would be deposited in banks and/or used to pay down debt owed to those banks.
linda thomas, kiro-fm
• Lake City’s legendary, recently-closed Rimrock Steak House is saved! Well, maybe.
• Starbucks gave away download codes for a “free” ebook. The document turned out to exclude the novel’s ending, telling readers they had to get the paid version to learn what happens.
• Get ready for Sleepless in Seattle, the Musical. In preparation for years, it’s set to open in L.A. next summer.
• The Longview longshoremen’s strike might be ending.
• J.P. Patches, who announced his retirement from public appearances earlier this summer, will make his last one this Saturday at Fishermen’s Terminal.
• Darn. Just when we were getting used to Dennis Kucinich, turns out he’s probably not coming to stay.
• The Republicans have a master plan for winning the White House. It has little to do with actually fielding a mass-appeal candidate (or even a sane candidate), and everything to do with voter suppression and making the Electoral College even more unfair.
• Earlier this week, we discussed an LA Times essay asking where today’s great recession documentarians were. Well, here are two more places to find them—Facing Change and In Our Own Backyard.
illo to hugo gernsback's story 'ralph 124C41+,' from davidszondy.com
As we approach the Century 21 Exposition’s 50th anniversary, Seattle magazine asked a bunch of local movers, shakers, and thinkers what one thing they’d like to see this city build, create, or establish. Contributors could propose anything at any cost, as long they described one thing in one paragraph.
This, of course, is in the time honored local tradition of moaning about “what this town needs.”
In my experience, guys who start that sentence almost always finish it by desiring an exact copy of something from San Francisco or maybe New York (a restaurant, a nightspot, a civic organization, a public-works project, a sex club, etc.).
But this article’s gaggle of imaginers doesn’t settle for such simplistic imitation.
They go for site specific, just-for-here concepts.
Some of the pipe dreams are basic and obvious:
Other dreamers dream bigger:
•
As for me, I could be snarky and say that what this town needs is fewer people sitting around talking about what this town needs.
But I won’t.
Instead, I’ll propose turning the post-viaduct waterfront into a site for active entertainment.
We’ve already got Myrtle Edwards Park and the Olympic Sculpture Park for passive, meditative sea-gazing and quiet socializing.
The central waterfront should be more high-energy.
Specifically, it should be a series of lively promenades and “amusement piers.”
Think the old Fun Forest, bigger and better.
Think pre-Trump Atlantic City.
Think England’s Blackpool beach.
Heck, even think Coney Island.
A bigass Ferris wheel. A monster roller coaster. Carny booths and fortune tellers. Outdoor performance stages and strolling buskers. Corn dogs and elephant ears. People walking and laughing and falling in love. Some attractions would be seasonal; others would be year-round. Nothing “world class” (i.e., monumentally boring). Nothing with “good taste.” Everything that tastes good.
atlantic city steel pier, from bassriverhistory.blogspot.com
SIDEBAR: By the way, when I looked for an online image to use as a retro illustration to this piece, I made a Google image search for “future Seattle.” Aside from specific real-estate projects, all the images were of gruesome dystopian fantasies. I’ll talk about the current craze for negative futurism some time later.
…The more that the present is taken up with reunion tours, re-enactments, and contemporary revivalist groups umbilically bound by ties of reference and deference to rock’s glory days, the smaller the chances are that history will be made today.
It’s a shotgun aesthetic, firing a wide swath of sensationalistic technique that tears the old classical filmmaking style to bits.… It doesn’t matter where you are, and it barely matters if you know what’s happening onscreen. The new action films are fast, florid, volatile audiovisual war zones.
The cowriter (with Mike Stoller) of countless hits for Elvis, Peggy Lee, Ben E. King, Shirley Bassey, Big Mama Thornton, Bill Haley, the Drifters, the Coasters etc. died 34 years to the week after Presley’s own death.
While Leiber and Stoller hadn’t many new hits after their ’50s-’60s heyday, their older songs remained alive in the oldies canon, as well as in the general culture.
Alice Walker wrote an oft-reprinted 1983 essay lauding Thornton’s version of “Hound Dog” as superior to Presley’s (an opinion with which Leiber agreed).
Twenty years ago, the Broadway revue Smokey Joe’s Cafe mixed slick-sanitized renditions of 40 Leiber/Stoller oldies within a fab-’50s nostalgia theme.
In the early 2000s, Leiber was an outspoken co-plaintiff in the record industry’s lawsuits to shut down online file sharing.
And, of course, there was the Leiber/Stoller tribute episode of American Idol this past May with guest star Lady Gaga.
About three weeks ago, I wrote about the long term decline of cable access TV, once one of Seattle’s most fertile loci of creativity.
Today, of course, we have online video streaming.
This is so much more convenient for niche-audience programming in several ways. Viewers don’t have to tune in at any specific time. They can easily catch up with past episodes. They can watch wherever they have a computer (or tablet or smart phone) and a broadband or WiFi connection.
And with contemporary digital video gear so much cheaper to buy (or rent) these days, low-budget and no-budget producers can accomplish quite a degree of slickness.
Take for example The Spit Show with Indus & Raquel (produced by Indus Alelia, written and directed by Dan Desrosiers, hosted by Alelia and Raquel Werner).
Like many cable access comedy shows of the 1990s, The Spit Show consists of comedy and music bits, with continuing characters and a loose storyline.
But unlike those older shows, it has fancy production values and is edited with brisk comic pacing.
And without a weekly time slot to fill, it can put out episodes of any length (more or less 10 minutes) at a relatively leisurely frequency (four episodes since February).
Alelia and Werner aren’t asking you to be home at any particular time. They’re not asking you to invest 29 minutes into deciding whether you like their work.
But if you do like their work, they’d like you to keep coming back.