In our Tuesday e-mail newsletter: Bumbershoot survives (sort of); fire damages a (probably already doomed) low-income building; moving contaminated soil from one seaport cleanup project and across another; the inner meaning of the film It Happened at the World’s Fair.

In Monday’s MISCmedia MAIL: Still no teachers’ contract; charter schools vs. the state constitution; corporatized Bumbershoot and its discontents.

In MISCmedia MAIL for Thursday: Teachers might strike; Mt. Rainier might get renamed; Lake Washington might get ferries again.

In Wednesday’s MISCmedia MAIL: Belltown’s last cool stretch is threatened with doom; Seattle teachers prepare to strike; labor organizers picket following a gruesome dairy-farm death.

At MISCmedia MAIL today: Some local lights still aren’t on; two Legislative bigwigs are on the move; has the 1% taken over Burning Man (and does it matter)?

When I was trying to fix my WordPress theme, to try to resolve the comments crashing, I ended up making everything look wrong.

At least the site still works.

Help, somebody, help!

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SUNDAY MORNING UPDATE:

The look of the site is still putrid. May need to install a totally different design “theme.”

And comments still won’t save to the site. No idea why.

I tried to fix both of these on Saturday, only to end up knocking the entire site out of commission for a couple of hours. Fortunately I knew everything I’d done and was able to undo them.

And two kind readers have offered to help me parse what might be going wrong. Thanks in advance.

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MONDAY AFTERNOON UPDATE:

By re-hand-coding my “style.css” file, I’ve got the type sizes back closer to how I want them.

Still have to tweak some of the colors.

And comments STILL aren’t working.

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MONDAY AFTERNOON UPDATE #2:

Turned out my “wp_comments” table file was corrupt. Got it repaired using tools at my cloud server provider.

(Oy, hard to believe there are people who actually get excited by these kinds of code-bug-stomping activities!)

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THURSDAY AFTERNOON UPDATE

Made some more hand-coding changes to the WP files, and finally got the color scheme back, more or less, to what it was. May still make some tweaks.

Don’t know why the sidebar doesn’t have its own background color, or why it doesn’t “slide” in and out of view like it used to.

photo by arthur s. aubry (who himself passed on earlier this year), via earl brooks

We all knew he was going.

He’d had chronic COPD for many years. At his last Seattle public appearance, in early 2013, he’d looked frail, and had trouble talking for long periods of time.

But it was still a total bitch to learn that he’d died this last Monday morning.

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Like many people commonly grouped as “’60s generation kids,”Rolon Bert Garner was already past his teens before the Beatles came to our shores. He’d grown up in Eugene to parents from Oklahoma. In Portland he’d cofounded Artech (a long-running regional art-supply and framing chain) before he came here to work for the Seattle Art Museum, circa 1969.

He was one of the original instigators of Bumbershoot in 1971, and one of the creators of its visual-art component (then a much bigger part of the festival than it is now).

He was involved with the multi-disciplinary arts center and/or (1974-84).

He curated and designed exhibits, installations, and temporary “pop-up spaces.”

He installed exhibits (choosing which pieces went where) at the Frye Museum and many local galleries.

He helped produce private events, including fashion shows for Nordstrom.

With Virginia Inn owner Patrice Demombynes, Garner pioneered the idea of art exhibits in local bars. (He and Demombynes had their own gallery space on Dexter Avenue for a couple of years.)

He continued to curate art on barroom walls as a co-owner of the Two Bells Tavern (with wife Patricia Ryan, who passed in 2001). He’d been a bartender there before Ryan bought the place circa 1982, then married her in 1984. Under Ryan and Garner, the the rundown little bar on a low-foot-traffic stretch of Fourth Avenue became the virtual living room for the then-burgeoning Denny Regrade arts community. When Ryan’s cancer got too bad for her to continue running it, they sold it and retired to the country.

Garner was also an artist in his own right.

His last show of paintings, a career retrospective at the Virginia Inn two and a half years ago, was full of bright colors, underground-comix-esque lines and curves, and an old hippie’s lifelong interest in semi-abstracted nudes.

And he was a conceptual artist. With Ken Leback, he created the public-art piece Equality (a grid of Monopoly-style houses) on north Beacon Hill.

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I’d been going to the VI since 1981, and to the Bells since at least 1985.

I knew Garner as a smart, soft spoken, often funny presence.

After I started MISC as a column in the old ArtsFocus paper, he supported and encouraged my work. (It took me years, though, to convince him I wasn’t just making up the things I wrote about in it.)

 He did so many things, in so many places, that it was hard to imagine a local arts scene without him.

And it still is.

Since this entry is all about a program that’s all about “learning,” let’s start with the facts.

Starting this next season, and for at least the next five years, new episodes of Sesame Street will appear first on HBO and its online streaming service, along with selected old episodes.

Street reruns will still appear on PBS, in hour and half-hour formats. After a nine-month HBO exclusive “window,” the new episodes will appear on PBS also.

Up to this point, Sesame Workshop (née Children’s Television Workshop), the indie nonprofit that’s made the show these 46 years, has relied on two main streams of funding:

1. The same corporate donations and government grants upon which all PBS shows rely; and
2. its own licensed merchandising, DVD/record sales, etc.

With the industrywide collapse of CD/DVD sales, the latter has been a less reliable source of money.

And with more PBS Kids shows on the daily schedule vying for the same corporate/government bucks, the former has also been less lucrative.

As production money got harder to get, the Street got fewer and fewer episodes every season. But with HBO’s money, the show will produce 35 episodes next season, up from 18 the year before. (In its early days, the show produced 130 hours a year.)

At the network’s 1970 launch, Sesame Street was essentially PBS’s first hit. It was one of three series (the others were Mister Rogers’ Neighborhood and The French Chef) that continued on from PBS’s even more-underfunded predecessor, NET (National Educational Television).

It’s not hard to say there would have been no Nova, no Frontline, no Masterpiece Theatre without the Street’s initial popularity, drawing audiences to the previously little-watched local “educational” channels.

While its ratings, its episode orders, and its merch sales have shrank in recent years, it remains the third longest running “scripted” show on American TV. (Only General Hospital and Days of Our Lives, among currently in-production shows, have lasted longer.)

You can now make up your own “Sesame Street on HBO” joke here. Many already have. About Carrie Bradshaw and the gang turning Bert and Ernie’s tenement into a ritzy condo; or about Elmo facing a Game of Thrones surprise slaying; or about Big Bird and Oscar as Tony Soprano’s newest henchmen.

Just remember that, along with the “naughty” sitcoms and the “artistic violence” dramas, HBO’s also the channel that gave you Fairie Tale Theatre, Little Lulu, and Fraggle Rock (another Jim Henson co-creation).

But without the Street having its exclusive home on the nonprofit network, what will PBS’s defenders invoke when the Republicans next threaten to cut off its (relatively paltry and very incomplete) federal funding?

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Time says HBO pursued the Street because it really wanted to get more young viewers hooked on its on-demand and streaming platforms.

Jessica Winter at Slate says the move symbolizes “the ultra-efficient sorting process of socioeconomic privilege,” and compares it to the drastic cuts faced by Head Start and other pre-K programs for non-rich kids.

And I don’t know what to do to fix them.

Apparently it’s a bug somewhere in my WordPress code and/or scripts.

Anyone here who knows what I might do, please send an email to the address at the bottom of this page.

Thanx in advance.

ap/elaine thompson via thinkprogress.org

Rumors abound about the two “Black Lives Matter” protesters who took over a political rally at Westlake Park last Saturday, preventing Presidential candidate Bernie Sanders from making one of his three scheduled Seattle speeches that day.

In social-media posts and on assorted websites, folks have alleged that the disruptors must have been secretly working for Republicans, or the CIA, or Hillary Clinton.

Marissa Jenae Johnson, one of the disrupters, turns out to be a self proclaimed “radical Christian,” whose ideological journey included past stances as an anti-gay-rights advocate and even as a Sarah Palin supporter. She’s since renounced those former stands.

What is known is that Johnson and fellow protester Mara Jacqueline acted on their own, not as part of any previously organized Black Lives Matter chapter. But Black Lives Matter isn’t a centralized, top-down organization anyway.

The two ARE part of a local group called “Outside Agitators 206.”

They’re not plants.

They’re sincere. They’re for real.

And they’re radicals.

And radicals are sometimes more directly virulent toward other leftists/liberals/progressives than toward their more polar enemies.

Some of you would call it the old People’s Front of Judea vs. Judean People’s Front syndrome.

But Washington, DC-area activist/writer Dominique Hazzard asserts that this is a strategic, and sometimes necessary, tactic toward steering left-of-center movements into a stronger direction.

It’s also to be remembered that some of the previous (scheduled) speakers at the Westlake event did bring up Black Lives Matter, to a loud and positive response from the mostly white liberal crowd.

And it’s also to be remembered that, though Sanders didn’t get to speak at Westlake, he did give versions of his current stump speech at two other places in Seattle that day. And that his campaign organization has increased its outreach to the Black community, including some Black Lives Matter activists, and ratcheted up the tone of anti-racist rhetoric in its official platform.

So: a few thousand libs at Westlake had their mellow harshed.

But that one simple act has launched a hundred or more conversations.

If all sides in this can use it to come together, and if some of the Sanders fans who previously may have cared principally about white-progressive issues (gay marriage, pot, the housing crisis) can learn to grow beyond their own ideological “bubble,” the larger movement (and hence the world) may get a lot better.

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Among these conversations:

• Ijeoma Oulo at Seattle Globalist said the disruption, and the angry reactions to it, “shed light on the hidden Seattle that most black people know well — the Seattle that prefers politeness to true progress, the Seattle that is more offended by raised voices than by systemic oppression, the Seattle that prioritizes the comfort of middle-class white liberals over justice for people of color.”
• Tim Harris of Real Change writes at PubliCola, “The activists at Westlake were out to interrupt our sense that black lives can matter whenever we get around to it. And some of us resent that. We think that things are supposed to happen in their time and place. We weren’t there for the black thing, and are upset about all the anger and rage and unreasonableness of it all.”
• Jamie Utt at ChangeFromWithin.org claims that the disruption exposed “the white supremacy of the American Left”: “I see these protests as less about the individual candidates themselves and more about how their White base refuses to center Black lives and Black issues. It’s notable that White Bernie supporters, who consider themselves the most progressive of us all, shouted down and booed Black women who dared to force Blackness into the center of White space.”

I know I’ve been taking however many of you are reading this back to memory lane a lot lately. But indulge me a few more times, please, including this time.

This time, it’s back to a weekend day in June 1981.

I went straight from my UW commencement ceremony, still possessing my cap and gown, and went to a planning meeting in a Wallingford rental house.

Also there were Daina Darzin, Maire Masco, and Dennis White.

We were starting a punk rock zine, to overcome what we all thought was The Rocket’s excessive commercialism. (Yeah, I know.)

The result was called Desperate Times.

It lasted for six tabloid issues, before Darzin effectively ended it by returning to New York, where she’d previously lived.

(And yes, like so many New Yorkers, she absolutely KNEW how everyone ought to think and behave. And if they thought or behaved in a non-New Yorkish way, then that thought or behavior automatically sucked.)

I had at least one piece in each of the six issues. The most affecting, albeit in a very indirect way, was in the first issue. I asked readers to write in mentioning the band they hated the most. (A cheap “comment bait” trick, it would now be called.)

It got a response all right.

That response came from one Mark McLaughlin, then a student at Bellevue Christian High School. He wrote that he loved the simple repetitive music of Philip Glass, and hated Mr. Epp and the Calculations. (“Pure grunge. Pure shit.”)

This, I continue to insist, was the first documented use of that six-letter word to describe a Seattle punk band.

And it was the first print mention of Mr. Epp, McLaughlin’s own band (of course).

One night shortly after that, Masco found McLaughlin on the streets downtown, pasting up flyers for a fictional gig by Mr. Epp, which at the time was mostly a fictional band (named after a favorite math teacher). Masco persuaded McLaughlin to stage real gigs.

For the next three nearly three years, Darren “Mor-X” Morray, Jeff “Jo Smitty” Smith, and Mark “Arm” McLaughlin gigged and recorded under the Mr. Epp name.

Arm, of course, went on to Green River and then to Mudhoney, famously performing on top of the Space Needle for Sub Pop’s 25th anniversary in 2013.

Darzin became a scribe for Billboard and other high falutin’ rags.

White and Masco started the short-lived Pravda Records label (not the Chicago firm of the same name).

White now runs another indie music label, “dadastic! sounds.”

Masco took a long hiatus from “creative” endeavors.

But now she’s back with a book collecting every issue of Desperate Times, from full-size high-quality digital scans.

Some thoughts on looking at these pages nearly 3.5 decades later:

The music discussed, well a large part of it anyway, still stands up.

The writing and the graphic design are of their time and of the milieu. That is to say, they’re brash, un-slick, and occasionally immature. But that was part of the whole aesthetic of the period. This was before “desktop publishing.” The text was created on typewriters. The headlines were created with press-type lettering. It was DIY Or Die, and it expresses the emotional states of its content better than anything in Adobe InDesign ever could.

Masco is selling the book online and at a few select local shops.

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Masco’s been living in Tacoma in recent years, with a guy who knows a thing or two about graphic design, and who’s not shy about sharing what he knows.

I’ve written several times in the past about Art Chantry. How he played a critical role in creating my book Loser (itself coming back later this year). How he did most of the grunt work in bringing “punk rock graphics” and poster art beyond the deliberately “amateur” style seen in Desperate Times and toward something that was “professional” but NOT corporate. He took his obsessive research into design schticks high and lowbrow, industrial and “artistic,” and created a whole new visual vocabulary.

In recent years, Chantry’s been spreading his vast knowledge and sharp opinions about the design profession (actually, he thinks of it as more of a “trade”) on his Facebook feed.

Now he’s collected some 50 of these essays in the book Art Chantry Speaks: A Heretic’s History of 20th Century Graphic Design.

The format of self-contained short essays, on different but related topics, works well with the disparate roots of Chantry’s visual aesthetic and career philosophy.

He finds inspiration in everything from monster-movie magazines to industrial-supply catalogs, from trade magazines to Broadway show posters, from hot-rod customizers to girlie magazines.

Unlike the late Andy Warhol (to whom he dedicates a praise-filled chapter), Chantry appreciates commercial design without feeling the need to dress it up in “fine art” trappings.

Indeed, Chantry openly and repeatedly scoffs at such trappings.

He upends the “official” history of graphic design, which treats it as a top-down profession dominated by Manhattan designers and ad agencies.

Instead, he sees it as a bottom-up, working-stiffs’ trade, originating with sign painters, printers, and other craftspeople. It’s a living tradition, re-created and adapted everywhere. It’s something that’s both populist and commercial at once. It expresses social and individual values, even as it overtly tries to sell stuff (products, politicians, religions, etc).

And, just as American pop/rock music absorbed and mutated everything that came before it, Chantry’s personal aesthetic absorbed and mutated everything he’d learned to love in the various arts of visual/verbal persuasion.

You won’t find any images of Chantry’s own works in Art Chantry Speaks. For that, look up Some People Can’t Surf: The Graphic Design of Art Chantry, written in 2001 by Julie Lasky. There, you’ll see his famous posters for bands, film screenings, and condom-awareness campaigns; his cover art for The Rocket; and his many record covers and band/label logos.

But, just as there are now drinking-age people who weren’t alive when Nirvana last performed, many of the various production techniques Chantry’s essays discuss have become lost to time, from the lead-cast “hot type” of letterpress to the photo-strip “cold type” of manual pasteup pages.

And much printed ephemera itself (magazines, newspapers, cheap paperbacks, recorded music on physical media, etc.) has declined or disappeared in the digital age.

But Chantry’s observations are still important in our current era, when even web page design is considered an obsolete line of work.

Typography, illustration, color theory, and layout are all part of the visual vocabulary of our world. There are reasons why all these arts developed the way they did.

And, just as many young adults have discovered the great music of the 1980s and ’90s Chantry’s idiosyncratic views about these can teach timeless principles about how things look (or ought to look).

Another late June, another Pride Parade.

This time, it had the special, one-time-only, added attraction of a U.S. Supreme Court ruling to celebrate. Same-sex marriage is now the law of the land from approximately coast to coast.

Mayor Murray spoke at a hastily-arranged rally Friday afternoon outside the Federal Courthouse, thanking the high court’s majority for coming down on the side of respect, dignity, and legal rights for all couples and families.

Thus, the weekend’s pride parades in Seattle and elsewhere took on an extra air of triumph.

But of what?

Will gay men and lesbians settle into mainstream corporate-American culture, no longer threatening to the established order?

Certainly some of the political figures and public officials who appeared in the parade are out for mainstream acceptance, for the gay/lesbian community and for their own careers.

One specific politician, of course, will have nothing to do with assimilation or “mainstreaming.”

And many at the parade, both in the crowds and marching/dancing/biking along the route, also displayed little interest in settling down into domestic boredom (or anything like it).

No matter how many images get issued of nice, wholesome, show-tunes-loving guy/guy couples in meticulously decorated homes, homosexuality and transsexuality are still about sexuality.

And even whole aspects of “typical” hetero sexuality are topics many Americans don’t like to discuss, or to be confronted with.

“Queerness,” therefore, will always have an element of “outlaw” status to it.

Even now that it’s protected (to an extent) by the law.

mgm/this tv

Some pseudo-random thoughts about l’Affaire Rachel Dolezal, the just-resigned Spokane NAACP leader who’s claimed at various times to be black, part-black, and Native American, but whose parents claim her to be white (and who have the blonde, blue-eyed childhoood pix to support their claim):

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If it weren’t for white people pretending to be black, we’d have no jazz or rock n’ roll or R&B or even hiphop as we know those genres today. American white pop music would still sound like “How Much Is That Doggy in the Window?” British pop music would still sound like “Drink To Me Only With Thine Eyes.”

(We also wouldn’t have sorry minstrel-show acts, macho-baby-boomer blues bands, or fratboy rappers either; but you’ve got to take the bad with the good, right?)

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There’s a long-running meme of college-educated white women identifying, or trying to identify, with black women of “lower” castes. It ranges from recent works such as The Help, back to the predominantly white-female audiences for Alice Walker and Toni Morrison. Walker especially depicted Af-Am womanhood as an ultimate embodiment of a specifically feminine wisdom and righteousness.

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Could Dolezal, who had Af-Am adopted siblings, have envied their specific “tribal” identity, collective-struggle heritage, etc.? Not for an outsider like me to say.

It can be said that she should have known “being black” involved more than just looks and “soul,” but (as shown gruesomely in recent news items) a continuing legacy on the receiving end of repression, injustice, and brutality. (As Tavis Smiley asks, “Who’d sign up to be black?”)

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Dolezal is the second Spokanian to re-invent herself so thoroughly. The first, of course, is Billy Tipton.

Tipton, a small-time jazz pianist and a bio-female who lived as a (hetero) man until his death in 1989, was essentially (in my opinion) a trans who never had reassignment surgery, but who simply tried to create a being and a life for himself and succeeded completely.

Dolezal attempted a similar life-feat, trying to create a present by rewriting her past. Our age of instant information made that ultimately impossible.

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There’s nothing wrong, as Smiley’s above-linked essay notes, with being a white person devoted to helping her less race-privileged fellow humans; people who…

…have the courage, conviction and commitment to unapologetically use their white face—and their white voice, hands, feet, head and heart to make America a nation as good as its promise.

The NAACP has (openly) white local and national officers, past and present. More famously, the late Westinghouse and CBS exec Michael H. Jordan (absolutely no relation to the basketball star) was chairman of the United Negro College Fund for a decade.

In the statement announcing her NAACP resignation, Dolezal stated she won’t stop fighting for justice.

Dolezal has been a student, and occasionally a teacher, of Af-Am culture and history. She assuredly knows, both from book-learning and from those in her life, about what black life is really like.

She could have used this knowledge to work at bridging our racial divides.

If she can transcend the unfortunate image of her own “race drag act,” she still can.

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Everybody seems to have an opinion or an angle on the tale:

• Dolezal’s brothers have spoken on camera: “It started out with the hair.” (ABC)
• The Daily Beast parses out the whole history of Dolezal’s carefully constructed identity.
• Variety claims a Dolezal biopic “is inevitable,” and postulates whether it will be a comedy or drama or both.
• Ijeoma Olio proposes a bargain for white people who want to be black: the ability to dance, a history of triumph over diversity, and the looks of white women clutching their purses when you walk past them. (Slog) 
• Darnell Moore at Mic.com calls the Dolezal affair a “fiasco” and “a glaring example of white privilege in action.”
• Twitter users are using such hashtags as #transracial and #wrongskin, as other Twitter users ruthlessly mock them. (KING) 
• A self described “gay Black man” explains the terms “transracial” and “transethnic,” in terms of the furry community. (Fusion.net)
• Kara Brown at Jezebel: Girl, WHAT?”
• Explaining the “passing” as a quest for “empathy.” (USAT) 
• Gyasi Ross at Indian Country Today compares Dolezal to decades’ worth of white folk pretending to be Native Americans.
• Author Michael P. Jeffries calls the incident “a lesson in how racism works.” (Boston Globe)
• As you might expect, the social sub-network known as “Black Twitter” has plenty of snarky reactions. (The Culture)
• Vox has a think piece on how it proves “race” isn’t a cut and dried issue anymore.
• Salon has a harsher piece by Mary Elizabeth Williams, claiming Dolezal’s “fraud is unforgivable.
• For compare-and-contrast, here’s the story of local author Mishna Wolff, whose white father “identified” as black for many years. (KUOW)

…Especially if it’s this cartoon map of Washington from the 1930s.

It’s part of an every-state series made by Berta and Elmer Hader. It depicts the histories, industries, topographies, and agricultural products of each part of this Land-O-Contrasts place.

(Found via Vox.com.)

waterfrontseattle.org

Bertha, the humungous deep-bore (or deeply boring) tunnel digging machine, is still stuck under the ground, and won’t resume creating an underground Alaskan Way Viaduct replacement highway until perhaps some time next year.

But that delay won’t stop the rest of the total central-waterfront makeover from going forward.

A new seawall (which won’t protect us from long-term rising sea levels) will resume construction any month now, following a summer hiatus.

And the planning stages for a post-viaduct remake of Alaskan Way’s real estate, combining a surface street with a mile-long pedestrian/recreational “promenade,” continue apace.

At the end of May, the Seattle Office of the Waterfront (waterfrontseattle.org) released a new set of drawings and paintings depicting the project’s latest plans.

Unlike the project organizers’ previous set of sketches, which some online pundits snarked at for depicting all lily-white citizens enjoying the sights, these new illustrations show a healthy variety of skin tones on their make-believe happy citizens.

But the images still depict sizable groups of adults and kids walking about and enjoying sunny, warm days near Elliott Bay.

Days which, as anyone who actually lives here knows, are both precious and rare.

What would this landscaped playground look like the rest of the time?

It would probably look as barren and windswept and unpopulated as the waterfront mostly looks now during the wintertime, only prettier. (Which would, at least, make it friendlier to early-morning joggers and bicycle commuters.)

And, unlike some of the Waterfront Project’s earlier conceptual images, these new paintings don’t make the place seem too precious, too upscale, too (to use a far overused term these days) “world class.”

This is good.

It’s not so good that the fictional laid-back and mellow waterfront enjoyers in the images aren’t doing much of anything.

One image shows some kids splashing around a set of small, floor-level fountains (officially called a “water feature element”) at the planned Union Street Pier (to be built between the Great Wheel and the Seattle Aquarium).

Another image shows a few mellow aging-hipster couples (apparently all hetero) waltzing to the tunes of a small acoustic combo at the same Union Street site at dusk (with the “water feature element” turned off).

Otherwise, the fantasized open-space enjoyers are seen mostly just standing, sitting, strolling, bicycling, and talking on cell phones.

We don’t need a civic “front lawn;” the Olympic Sculpture Park already serves that function.

We need a civic “back yard.”

If we can’t have industry on the central waterfront in the container-cargo age, we can at least have industrious leisure there.

I want (at least seasonally) food trucks and hot dog carts, art fairs and circus/vaudeville acts. I want a summer concert series like the waterfront had years ago. I want a roller coaster to complement the Seattle Great Wheel, and smaller amusement attractions and rides nearby (finally replacing Seattle Center’s sorely missed Fun Forest).

Some of these events and attractions would require ongoing funding. The Waterfront Project doesn’t have that funding authority; its duty is only to design and build the promenade and to rebuild piers 62-63, using a part of the funding for the viaduct replacement.

So activities in this area, along the promenade and the rebuilt piers 62/63, would need to be supported separately. The Seattle Parks Department is having enough trouble supporting its current operations. But a semi-commercial amusement area, with concession and ride operators paying franchise fees, could support a variety of warm-weather-season activities and at least some off-season events.

(Cross posted with City Living Seattle.)