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The Girl in the Flammable Skirt
Book feature for The Stranger, 8/20/98
THE GIRL IN THE FLAMMABLE SKIRT
by Aimee Bender
(Doubleday) $21.95
The 16 stories in Bender’s first fiction collection are dark yet never morbid, funny yet never goofy. They’re constantly going just off the side of your expectations, yet their own twisted worlds function perfectly. They have just the right details in just the right places.
Bender deconstructs the Everywoman motif common among so many contemporary female authors. Bender’s women do, by more or less their own free will, things other women may find selfish, inconsiderate, or just plain icky. These heroines and antiheroines aren’t virtuous victims or scheming sirens but more-or-less ordinary folks who get caught up in (or find themselves creating) extraordinary events. Even when these women do not-too-nice things, Bender lets us fully understand why they would.
Example: The long-suffering wife in “What You Left in the Ditch,” who remains steadfastly loyal to her soldier husband until he comes home without lips. Bender doesn’t excuse the woman’s superficiality or abandonment of her beloved in his hour of need, but she lets us see how the character had been dependent upon an idealized fantasy of her faraway man, a fantasy ultimately severed from the scarred, real husband.
Another example: The mild-mannered librarian in “Quiet Please,” who learns her estranged (and possibly abusive) father has died, and who spends the rest of the day soliticing sexual favors from every adult male on the library premises–not to fulfill any of their (or her) lusts, but to engage in the act of life as atonement for the belief she’d psycically caused dad’s death by having wished him dead for years. A male reader might first imagine the thrill of encountering such a woman. A female reader might first feel mildly appalled at her actions. But by the end of Bender’s tightly-written, well-paced little tale, all readers will likely feel a tinge of pity, perhaps mixed with a sort of admiration for a character who does what she must to righten herself.
THE 1998 MISC. MIDSUMMER READING LIST: For the second year, we’ve a pile of old and new bound verbiage (in no particular order) to recommend as mental companions while you sit in airports, on ferry docks, in the breakfast nooks of RVs, in rain-pelted tents, and wherever else you’re spending your summer leisure hours.
The Ruins, Trace Farrell. In the ’80s I was involved in “Invisible Seattle,” a group of writers who (among other exercises) fantasized about an alternate-universe Seatown with Old World traditions and grit. This is what local author Farrell’s accomplished in her hilarous parable of working-class discipline vs. New Money hedonism; set in an Old World seaport town but based on a real Seattle supper club and on Seattle’s current caste-and-culture wars.
The Incomparable Atuk, Mordecai Richler. From the Great Canadian Novelist, a 1963 fable still relevant amid today’s Paul Simonized nobel-savage stereotypes. Atuk’s a supposedly innocent native boy from the Northwest Territories who’s brought to Toronto as part of a mining company’s publicity stunt, and who quickly falls right in with the city folk’s hustling and corruption.
Machine Beauty, David Gelernter. One of these skinny essay-books everybody’s putting out today; only this one’s in hardcover. The premise is admirable (advocating simplicity and elegance in the design of industrial products and computer software), but it’d have been better if it were longer, with more examples and illustrations.
Consilience, Edward O. Wilson. Giant essay-book by biologist Wilson, who proposes all human behavior (and indeed all knowledge) can be ultimately traced to biology and physics. He puts up a solid defense, but I still disagree. To me, the world isn’t a tree with a single trunk but a forest of interdependent influences. Life is complexity; deal with it.
The Taste of a Man, Slavenka Drakulic. For “erotic horror” fans, a novel of psychosexual madness by the Croatian author of How We Survived Communism and Even Laughed. Not much laughing here; just a heroine who takes the female sex-metaphors of absorption and consumption to their logical extreme.
Self Help, Lonnie Moore. Short stories by the author of Who Will Run the Frog Hospital? and Anagrams, reworking women’s-magazine clichés into a far less “motivational” but more realistic worldview.
Coyote v. Acme, Ian Frazier. Light yet biting li’l funny stories like the old-old New Yorker used to run. The cast includes a cartoon lawyer, a Satanist college president, Bob Hope, Stalin, Mary Tyler Moore, and “the bank with your money on its mind.”
Eastern Standard Time, Jeff Yang, Dina Gan, and Terry Hong. Asia’s economies are on the ropes but Asia’s pop cultures are going strong, as shown in this breezy coffee-table intro to everything from pachinko and sumo to Jackie Chan and Akira Kurosawa.
Sex, Stupidity, and Greed, Ian Grey. For all haters of expensive bad movies, essays and interviews depicting Hollywood as irrepairably corrupt and inane (and offering the porn biz as an example of a slightly more honest alternative).
Behind Closed Doors, Alina Reyes. An ’80s teen-romance series, 2 Sides of Love, told its stories from the girl’s point of view on one side of the book and the boy’s on the other. Reyes (author of The Butcher and Other Erotica) applies this gimmick to more explicit sex-fantasies, putting her two protagonists through separate assorted sexcapades in assorted dreamlike settings with assorted opposite- and same-sex partners before they finally come together at the middle.
Soap Opera, Alecia Swasy. Intrigued by Richard Powers’ corporate-greed novel Gain (based on Procter & Gamble, and named for one of its detergents)? This real, unauthorized P&G history (named for the broadcast genre P&G helped invent) is even stranger.
Underworld, Don DeLillo. Mega-novel spanning four decades and about many things, principally the U.S. power shift from the northeast (symbolized by NYC’s old baseball dominance) toward the inland west (symbolized by chain-owned landfills). But with the Yankees back in dynasty mode, and financiers now overwhelmingly more influential than industry (particularly resource-based western industry), DeLillo’s march-of-history premise seems like reverse nostalgia.
The Frequency of Souls, Mary Kay Zuravleff. The best short comic novel ever written about refrigerator designers with psychic powers.
AND A READER SELECTION of sorts:
Subject: Northwest Lit Sent: 7/26/98 5:29 PM Received: 7/26/98 5:36 PM From: LSchnei781@aol.com To: clark@speakeasy.org
Clark:
Your review of the above subject completely ignored the best of the lot–Ivan Doig. Here in Fort Wayne IN where more books are read per capita than in any other city in America (there just isn’t much else to do), Mr Doig’s books enjoy a wide readership, and he is considered by many of us to be in the first rank of contemporary American writers. Lynn Schneider (LSchnei781@aol.com)
The Ruin of Many a Poor Boy
Original online book feature, 7/6/98
The Ruins
by Trace Farrell
NYU Press
In the ’80s I was involved with a writers’ collective called Invisible Seattle (inspired partly by Italo Calvino’s Invisible Cities and partly by the French Oulipo writers’ group). Through group writing experiments, an early computer bulletin board system, and public performance events, we imagined alternate universes where the Queen City of the Northwest had different properties, populations, and institutions. Sometimes, we posited a Seattle with a Latin Quarter; sometimes, a Seattle with open-air butcher stands and lovemaking in the streets; sometimes, a Seattle with mysterious spies investigating a case of people disappearing into thin air at the whim of a creature known only as “The Author.”
Trace Farrell might never have known of the Invisible Seattle group, but her novella The Ruins lies completely within the spirit of the group’s doings. Her concept: Take a real, oh-so-darn eccentric private Seattle supper club (name unchanged) and imagine if it wasn’t the creation of its founders’ fantasies as much as an organic part of its community. To make this clearer: Farrell took the real Ruins (with its ambience of fake Euro-decadence) and made up a fictional city to put it in.
This city, called merely “Q__” and situated in an unnamed European country, substitutes old-world outrageousness and earthiness for Seattle’s cold “niceness,” but surrealistically represents a lot about our real city’s increasing bifurcation of the new rich vs. the old poor, hip vs. square, bombast vs. thrift.
“Our hero, Tom” is the old Seattle–hardworking, unassuming, disciplined, sincere, repressed as hell. He’s a down-on-his-luck shoe-shine-stand operator who shows up at the Ruins in search of more gainful employment, and (being the first even half-sane person to ever enter the building) gets immediately hired as its maitre d’.
The other characters represent various aspects of the new Seattle. The owner’s a gregarious, loud, gladhanding big-idea man who can’t be bothered with such boring trivialities as health inspectors and rent payments. The employees are knockabouts, actors, and airheads who know everything about maintaining a festive Bacchanalian spirit but nothing about running a restaurant. The regular customers (most notably a voluptuous dowager lounge singer) are New Money hedonists and hustlers whose lives of worry-free abundance couldn’t be further from Tom’s pitiful existence and what New Agers would call his “poverty consciousness.” Tom is repeatedly hounded, harrassed, and made the butt of cruel jokes by all the others–who, through it all, insist they love him and need his continued presence to keep the Ruins from total operational collapse.
On one level, Tom is a classic archetypal patsy–an Elmer trapped in a world of scwewy wabbits, a hapless Hardy in a roomful of Laurels. On another level, Tom’s a stand-in (or stunt double) for The Forgotten Man, the hard-working schmoe exploited as “Joe Sixpack” by politicians, labeled a “fascist redneck” by self-styled radicals and hipsters, and treated as a blight in need of removal by urban redevelopers. His misadventures in The Ruins are sometimes hilarious, but don’t laugh too hard. His fate could soon become yours.
(PS: For those who’ve asked me to state more clearly if I liked a book, I liked this one. Farrell’s a deft humorist. Her fantastical concoctions, and her descriptions of them, are outrageous without ever crossing the line into safe parody. She’s sympathetic toward her antihero even while she puts him through humiliation after humiliation. And she writes up a more amazing meal than any nonfiction food writer you’ve ever read.)
Tipton Bio Never Drags
Book feature for The Stranger, 6/25/98
Suits Me:
The Double Life of Billy Tipton
Diane Wood Middlebrook
(Houghton Mifflin) $25
You know the basic story. Billy Tipton, a nostalgic pop-jazz pianist and fixture of Spokane society for over three decades, died in 1989 and was revealed by doctors to have been a woman all along. Now here’s the long version.
Who was Billy Tipton really? At several points, Middlebrook (a onetime Spokanian herself) accepts the argument that Billy (born Dorothy Tipton in 1914) was a closeted lesbian who only dressed as a man to make it in the jazz business and/or because nobody in her world would accept A Strong Woman. Yet the details of Tipton’s life, which Middlebrook clearly spent much time and effort collecting, suggest otherwise. Instead of heading to NY or LA or Vegas, where lesbians and jazzy women would get as much acceptance as they would anywhere in those less enlightened decades, Tipton stayed in the Midwest and later the inland Northwest, where the potential career rewards were smaller but where the competition was also smaller. (Tipton only recorded two LPs, both of retro trad-jazz standards released in the ’50s on supermarket budget labels; his work, as described by Middlebrook, seems to have settled quickly into covers and, later, Lawrence Welkish nostalgia.)
I used “his” above for a reason. Despite Middlebrook’s psychoanalyses, her tale is clearly one of someone who saw himself as a man born with the wrong equipment, who wanted to be known exclusively as a man. There were plenty of strong women in Tipton’s dust-bowl Oklahoma upbringing; but their strength was in holding households and careers together, not in the letting-loose demimonde of jazz. By the ’40s, when female instrumentalists had started to emerge in jazz and pop (and young men not in the armed forces were often derided as unpatriotic), Tipton never took the opportunity to end his offstage “act.” Even when dying of untreated ulcers, Tipton refused the medical attention that might have revealed his secret.
No, the Tipton story isn’t a tale of tragedy but of triumph. Tipton wasn’t a jazz great and probably knew he’d never be one, but he died a success at becoming something, and someone, he wanted against all odds to become–and without benefit of surgeries, shots, or hormone pills.
Fun things in the book: The elegant design, the cover, the shadow-clef frontspiece logo, the descriptions of ’50s Spokane, some of Tipton’s creakily “naughty” onstage jokes about women and gays, the descriptions of Tipton’s cross-dressing details (strap-ons, chest-binding, elevator shoes, claims that sanitary pads were great for sopping up car-oil leaks).
•
The Crisis of Criticism
Edited by Maurice Berger
(New Press paperback) $17.95
Yes, there are readers who actually take arts reviews seriously. At least other reviewers do. When New Yorker writer Arlene Croce complained about the concept of “victim art” she accused a Bill T. Jones AIDS dance work of abetting (without Croce actually seeing the show), several members of the NYC-centric art-crit and lit-crit spheres fell into a tizzy.
This brief book compiles Croce’s un-review with eight other critics’ responses and ruminations on the value of criticism in today’s everybody’s-a-critic era. Granted, a lot of these pro critics and authors (especially bell hooks) are just sticking long words onto a desire for a world in which people such as themselves get more respect. But others argue, with varying degrees of success, for a new or reasserted role for their profession.
Some of the better pieces don’t address Croce’s beef at all, but instead explore other criticism-related matters. Particularly notable is Richard Martin’s “Addressing the Dress,” arguing for more serious and less hype-laden fashion journalism. With so much art, entertainment, etc. being churned out by the intellectual-property industries and their highbrow counterparts, the best of these essayists assert the importance of trying to make sense of it all, to sift the aesthetic diamonds from the aesthetic zirconia.
It’s the 12th-anniv.Misc., the column that wonders if Vancouver essayist Brian Fawcett was right when he said malls and subdivisions are typically named after the real places they replaced, whether a corollary might be made about car commercials promoting further traffic-jamming steel tonnage with images of the wide open road, or (even better) SUV ads using nature footage to sell landscape-ruining gas-guzzlers.
OUR FAR-FLUNG CORRESPONDENTS: Loyal readers have been sending junk food samples from far and near. Scott McGrath, though, takes the no-prize for the biggest cache of snax from the furthest-away place. The centerpiece of his shipment: a hamburger (made with chicken) he found at a Beijing convenience store, in a sealed envelope complete with bun, lettuce, and “salted sauce.” The English half of the envelope’s back warns of a two-to-three-day shelf life for the product, depending on the time of year. The bun got squished in transit, but it’s otherwise a normal looking way-past-pull-date meat food. The rest of his box contained Japanese, Filipino, and Taiwanese products he found in Guam: Banana catsup, dried squid and cuttle fish, soybean and herbal-jelly soft drinks, and Marine World Biscuits (shrimp-flavored animal crackers in fish shapes labeled, in English, “Tuna,” “Dolphin,” and even “Sea Lawyer!”). Many of these are more conveniently available at Uwajimaya and other local Asian-food emporia, but it’s the thought behind the gift that counts.
ANOTHER YEAR OLDER: I’ve traditionally used this, the anniversary week of Misc. (begun in the old ArtsFocus tabloid in June 1986), to take a look back at the column, the changes in Seattle, or my journeys. This time, I want to look ahead. This li’l corner-O-newsprint ain’t my sole ambition in life. There’s plenty of other things I’ve always wanted:
Sex, Drugs, Rock ‘n’ Roll:
Stories to End the Century
Book review for The Stranger, 5/7/98
The mostly-British anthology Sex, Drugs, Rock ‘n’ Roll: Stories to End the Century (Serpent’s Tail trade paperback; edited by Sarah LeFanu) purports to chronicle the return to the “traditional values” of social repression following the end of the purported ’60s-’70s Bacchinale. Actually, it’s more like a reassertion of one particular traditional value of U.K. fiction: the pre-’60s kitchen sink drama, Angry Young Man version. That was a genre particularly suited for the England of grey skies and grim industrial towns and lingering postwar depression, a place where things new and invigorating just didn’t occur. The protagonists of most of these stories don’t find satori or mind-expansion from their earthy pursuits. At best, they achieve a little solace or escape from their everyday tedium.The sex is mostly of the “alternative” variety, and mostly in conformance with current “alternative” propriety. Professional dominatrixes; gay men searching for mates while on ecstasy; future lesbians engaged in girlhood role-playing; a married woman whose husband supplies her with another man as her birthday present; a honeymooning intellectual couple sitting at cafés while discussing the philosophical implications of fucking.
Similarly, the drugs are mostly used to escape the darkness of one’s life (Joyce Carol Oates’s “A Woman Is Born to Bleed”) or to build an artificial sense of self-confident fuckability (the aforementioned ecstasy users in Philip Hensher’s “The Chartist”). The main exception:Â Laurie Colwin’s “The Achieve, or the Mastery of the Thing,” in which a student bride in the nascent hippie years turns her professor bridegroom onto the then-novel joys of spending one’s entire life too stoned to feel pain.
Not much rock ‘n’ roll is in here, and that’s OK since there’s so little good writing about that world that isn’t really about the sex and drugs. Certainly the main rock story here, Cherry Wilder’s “Friends in Berlin,” has little novel to offer about bandmates getting on one another’s nerves while on tour. Again, nostalgia for the days of potential rebellion provide the highlight–Christopher Hope’s “Gone,” about a ’50s white boy learning to love rock music in apartheid South Africa.
The notion of intense pleasures as dulling narcotics reaches its ultimate point in Michael Carson’s “Postcards of the Hanging,” imagining a near-future in which humans are implanted with 24-hour radio receivers in their bodies, letting the outside world fade away while listening constantly to the top pop hits (with commercials). Like much modern-day sci-fi, it’s based on the schtick of taking a present-day trend (Walkmen and boom boxes) and simply imagining it will become more-O-the-same in the future. In this day of “chaos theory” and “quantum thinking,” many science and pop-science writers no longer believe trends necessarily “progress” in one direction forever. Too bad so many science fiction writers haven’t discovered this notion yet. But then again, maybe chaos-influenced fiction would constitute stories to begin the next century, not stories to end this one.
Writers at Microsoft:
WPA or Pharoah?
Book feature for The Stranger, 5/7/98
Artists, the old saying goes, subsidize art with their lives. Unable to make a living from their life’s passion, they spend their daylight hours pretending to be other, less noble creatures, from strippers to lawyers. These days, untold hundreds of writers, painters, musicians, et al. have infiltrated the 8,000-plus Redmond workforce of Microsoft.
“I had an office mate once,” says painter Pam Mandel. “We joked how Micosoft was like the WPA [Works Progress Administration, FDR’s make-work program for artists during the Depression]. This place has put more artists and writers to work than any place we knew. It’s the biggest employer of creative people I’ve ever seen.”
THE WORK
Two years ago, it seemed half the writers in Seattle were working on proposed “shows” for the Microsoft Network. Now, most of MSN’s entertainment or culture-oriented sites are, or will soon be, gone. (One survivor, the political-analysis netzine Slate, has moved to a paid-access format.) Instead, MS is pushing into websites that can generate direct profits by selling stuff like cars, plane tickets, and financial services.
But that shift still leaves lotsa work for word-wranglers. Besides the remaining MS websites, the company has reference CD-ROMs, software manuals and help files, training guides, Microsoft Press books, PR materials, and in-house documents to be written, edited, and constantly revised. And it has work requiring good communication skills, in such areas as graphics, “interface design,” marketing, and telephone help lines.
Tech writers are part of most MS software-development projects nearly from the start. “The products are so complicated,” poet and essayist Emily Warn says, “they need people who can communicate about them. More and more ,the manuals have gotten simpler and they’ve tried to make the products more intuitive. Yet if you’re only a programmer, you don’t have the ability to think like a user using the product.”
Warn notes the differences between this and traditional literary day jobs on college campuses. “I’ve a lot of writers in academia asking me how they can get jobs at Microsoft. Academia seems so petty and removed for me–all the office politics and ideological sects.”
THE ADVANTAGES
“I know I have a BFA,” says Mandel. “I couldn’t make anywhere near this kind of money teaching or working in a gallery.” Currently working as a technical writer, Mandel previously wrote picture captions for MS’s Encarta CD-ROM encyclopedia. “It was the first time I’d ever been paid for my art-history education.”
Warn says she feels “almost apologetic because I like working at Microsoft. There are a lot of creative, smart, chaotic people. It’s a very interesting place to work. In my group alone [maintaining the Internet Explorer website], here are at least five working poets, three working fiction writers, and several highly qualified journalists. My boss is an ex-Maoist fiction writer.”
Eileen Duncan recently wrote in the online literary zine Salmon Bay Review, “I don’t always admit in public that I’m a writer. I’ve had several people ask, `Why would you do anything that doesn’t earn you money when you already have a job?’ At Microsoft, however, people react with kindness and interest to my admission. They even approve of it.”
Second-generation Seattle writer Sean Bentley works in a “user assistance group,” surrounded by “folks who at least read, if not write. This is a happy break from selling wastebaskets to restauranteurs who hadn’t the faintest idea what I was talking about most of the time if it didn’t have to do with Rubbermaid. Bartending was similarly soul-sucking, and I was lucky to escape being knifed, which is something I rarely have to worry about at MS.”
THE DRAWBACKS
Ken Smith co-edits Salmon Bay Review when he’s not at Microsoft. He finds the transition between left- and right-brain work “sometimes tough. When you sit down to write code, it’s absolutely literal. Sometimes the logic doesn’t make sense and it works anyway. Sometimes it’s hard to make the mental shift.
Smith says the sometimes-long hours and the Seattle-Redmond commutes don’t affect him, at least not directly. “I do have the time to do the things I want to, but sometimes my brain is a little more fatigued when I come home than it used to be.”
THE IMPLICATIONS
Microsoft is an aggressive corporate player with an ambitious agenda, to leverage its operating-system dominance into new aspects of the computer business (and many businesses only half-related to computers).
Some writers at Microsoft declined to be quoted about the company’s role in the world, a topic its PR division doesn’t like other employees discussing with the press. Poet and former Microsoft contract employee Arthur Tulee was willing to discuss it in historical-metaphor form:
“I was one of many slave scribes (excuse me, temporary contingent staff) for the Pharoah Bill…. I wrote, drew, and spellchecked on many of the various publications and manuals on how to build the Sphinx, obelisks, Cleopatra’s barge, etc. I studied straw production, quarries, Nile barge traffic, slave lifespans (excuse me, temporary contingent staffing contract periods), and purchasing quality fake beards at less than cost for Pharoah Bill and his thousands of permanent blue-badge lieutenants, some of whom were too young to grow beards.
“All my blue-badge lieutenants were educated, all-wise and compassionate. Some of them started out also as scribes, so no wonder. They worked us beyond human endurance, and promised us one view off the pyramid summit at the end of our project. There is no greater thrill than looking down upon thousands of slaves (excuse me, temporaries) sweating, groaning and straining for one purpose, one cause, one vantage point. We accomplished many stacks of hieroglyphs, some on short schedules, and only a few had slipped on the production calendar. On our backs stand giants.”
Virtual Unrealities:
The Short Fiction of Alfred Bester
Book feature for The Stranger, 4/23/98
I could go on for the length of a trilogy about what’s wrong with most recent science fiction writing. Instead, I’ll recommend Virtual Unrealities: The Short Fiction of Alfred Bester (Vintage trade paperback) as a near-perfect example of how it should be done. Alfred Bester was a veteran of the ’30s NYC lowbrow-writing circuit, where he ground out tales for pulp magazines, radio, and comic books. Gradually he got opportunities to ply his solid storytelling skills to more ambitious topics. While earning a living writing nonfiction magazine articles in the ’50s, he produced the novels The Demolished Man and The Stars My Destination, plus occasional short stories, most of them collected here.
Each of these 17 stories has a different fantastical premise, ranging from “hard science” speculation to flights of impossibility and varying degrees in between. But it’s Bester’s writing that makes these premises work.
The book’s centerpiece tale is “Fondly Fahrenheit,” Bester’s futurization of Steinbeck’s Of Mice and Men premise. In it, a man is doomed to travel the galaxies accompanied only by a psychotic, and possibly homicidal, android. The man and the machine, we slowly learn, have developed a complex mental symbiosis, which Bester subtly reveals by switching his first-person narration between the two, sometimes in mid-sentence.
In that and the other stories, Bester always uses the premise not for its own whaddya-think-of-that? sake but to hook the reader into caring about his (mostly male, mostly melancholy) characters. In “The Men Who Murdered Mohammed,” a young man learns the secret to time travel and attempts to change history, only to find himself literally disappearing from consensus reality as his own time-track becomes derailed. In “The Pi Man,” a mathematical super-genius rides his mental compulsions into unimaginable wealth, only to live in forced isolation from the imperfect minds of everyone else.
Bester’s stories have a lot teach to today’s would-be fantasists, who’ve been learning too many of the wrong lessons from the golden age of adventure fiction. What was great about the old pulp and early-paperback stories, the comic strips and movie serials, wasn’t the formulaic boy-adventure plots or the one-dimensional characters, but the skill masters like Bester learned from the sheer volume of work they produced, the way they beckoned readers into their worlds, and the vividness with which they used unearthly plot elements to express all-too-universal yearnings and conflicts.
From the periphery of Europe to the heart of America:
The Color Gray
Book feature for The Stranger, 4-16-98
On the surface, The Factory of Facts (Pantheon) is the simple memoir of Luc Sante’s search for his roots, as a child brought to the U.S. northeast in the ’50s by parents emigrating from a depressed small factory town in still-war-scarred Belgium. But Sante wants more than to scratch any mere surface. If you’ve ever lived someplace on the periphery of the bigtime cultural action but not really in the middle of it (hint: you’re in such a place now), Sante’s got some parallels for you to ponder.
Sante (a book reviewer for the New York Review of Books and Microsoft’s Slate) sees himself as an outsider everywhere, neither fully American nor European. What’s more, he sees Belgium as an outsider among nations–something patched together during the breakup and formation of assorted Euro empires over the centuries, situated on an all-too-convenient invasion route to and from France, an amalgam of French and Dutch (and, in his own Wallonia region, German) influences. A place that gave the world (via French publishers and other middlemen) the occasional detective author (Georges Simenon), actor (Jean-Claude Van Damme), or cartoonist (Hergé), but which lives under the largely unbreached notion that the real sociocultural action is elsewhere. A country where Francophone newspapers still encourage readers to erase “colorful native idiomatic expressions”, in favor of pure, Paris-approved French. A country whose “hallmarks are ambivalence, invisibility, secretiveness, self-doubt, passivity, irony, and derision.”
Naturally, this made for little inspiration to an immigrant boy, an arriviesté in the nation that led the world in the export of dreams and ambitions. “Willfully, accidentally, organically, negligently, crudely, systematically, inevitably I got rid of a section of myself, a part that was once majority and shrank to accessory. I went from being the little Belgian boy, polite and diffident and possessed of a charming accent, to a loutish American adolescent. This was nothing special: I drank, I smoke, I stole, I swore, I stopped going to church…. My mother was convinced that Belgian children did not do such things, her view of Belgium becoming more idealized with every year she spent away from it. My view of Belgium became correspondingly more hostile, because it represented authority and also because I was certain its taint was what made me timid and awkward and unpopular and unattractive and solitary. I began a project to reinvent myself, acknowledge no bonds or ties or background, pass myself off as entirely self-made.”
A French culture minister might say the young Luc was buying into American cultural imperialism, abandoning his own heritage for the commercialized temptations learned from James Dean movies. Sante’s explanation is more melancholy: “We lost connection to a thing larger than ourselves, and as a family failed to make any significant new connection in exchange, so that we were left aground on a sandbar barely big enough for our feet. I lost friends and relatives and stories and familiar comforts and a sense of continuity between home and outside and any sense that I was normal…. Continuing to believe that I had just made myself up out of whole cloth was self-flattering but hollow.”
So the grownup Luc returns to Belgium as time and money allow. He seeks to re-connect with the extended family he left behind–not just his blood relatives, but the still-depressed industrial economy of Wallonia, its heritage of radical labor organizing (and authoritarian repression of same), its dying regional language, its once-thriving indiginous music and theater communities, its declining Catholic ideology of personal suppression (what Sante calls “the Sacred Fear”), its remaining un-globalized way of life. “What makes a country, apart from tangled history? Baked goods. Churches. Weather. The habit of discretion. Fried potatoes. Shrubbery. The color gray. The elaborate mandarin ritual that attends commercial transactions, or even just stepping into a shop. Compactness, miniaturization. Cleanliness. The cross of modesty and prudery called pudeur in French. Brickwork. Class consciousness. Women of all ages suffering in skirts and stockings in the dead of winter. Reserve, aloofness, judgment. Varnished wood. Silent children, well-bred dogs, unassertive houseplants. The fear of God, the god of fear. Wallpaper. Comic strips….”
Sante ultimately reconciles himself to his roots by re-defining himself again. He now views himself as a sort of literary industrial worker, toiling in an intangible factory constructing intangible products of value, as his forebearers had built tangible products in tangible factories. He (and we) may now be part of an “information economy,” but he (and we) still exist as the result of all which has come before us, something we forget at our own peril.
> ON THE LINE: Jack Whisner, a transit planner for King County, left a phone message claiming Misc. was wrong to describe planned north-Seattle bus changes as favoring commuters instead of the voluntarily carless. He asserts the proposals are really meant to increase cross-town routes, so more people can ride from one neighborhood to another without having to transfer downtown. However, I’ve still got reservations about the scheme. Since the county wants to shovel most new-service bucks toward the ‘burbs, some new in-town routes may start as weekday-only, daytime-only services, and some existing routes some folk have become accustomed to might be cut back or even dropped. Public hearings and comments on the scheme are now being taken; call 684-1162 for details.
THE MAILBAG: Our item a couple weeks back, seeking a replacement term for the ’80s relic “yuppie,” engendered this email response from Bryan Alexander of Louisiana: “Liking your emphasis on their aging, how about `boomer geezers’? Returning to the acronym, how about `ayuppies’ (aging young urban etc.) or `dyuppies’ (decrepit etc.), which raise both senesence and the victims’ delusions of perpetual youth? The former is a more Southern pronounciation, the latter nearly Slavic.” Jesse Walker, meanwhile, takes umbrage at a throwaway line in the original column item which claimed the young adult bourgeoisie didn’t share its elders’ taste for bland pop songs. Walker felt I was wrong to “put Bonnie Raitt on the same level as James Taylor. And what about the revived popularity of the uber-bland Elton John?” John, of course, never really went away, at least not from Lite FM stations. A more serious challenge to my remark might involve the younger Lite FM stars (F. Apple, S. Crow, et al.).
SWANKOSITY: The Pampas Club opening was like a scene out of the 1990 debutante movie Metropolitan, with exquisitely-dressed rich kids of a type I’d not previously known to exist here, all in the former site of the raucous My Suzie’s and Hawaiian-kitsch Trade Winds. It reminds me of a scene in the memoir of a Depression-era UK left activist. After living through nearly three decades of mass deprivation due to the depression, the war, and Europe’s lengthy postwar slump, he was shocked and astonished to find teenagers running around the streets of late-’50s London with the cash to spend on clothes and music and partyin’.
One side effect: The new Belltown wine-‘n’-dine clientele is, on the whole, much better-behaved in public than the Bud Light-chugging fratbar crowd more common in the neighborhood two or three years ago.
Another side effect: The ex-Sailors Union building where Pampas, El Goucho, and the (separately owned) Casbah Cinema are is right across from Operation Nightwatch, where homeless folk line up for shelter-bed tix. What used to be called “limo liberals” climb out of pug-ugly Mercedes SUVs, only to witness the less-than-formally dressed standing and arguing and cussing in line. While few affluent persons feel personally responsible for an economy that creates a few “winners” and a lot of others, maybe the sight will at least give some “winners” a sense of there-but-for-the-grace-of-God humility. In other economix thots…
BUBBLE BURSTING?: Many of Seattle’s art-world and “alternative” denizens like to think they’re not part of the planes-and-software boom economy. But we’re all affected. I’m writing here soon about some of the writers and artists with day jobs at Microsoft. There are also plenty of actors, playwrights, cartoonists, photographers, illustrators, videographers, graphic designers, and audio engineers toiling away at assorted high-tech outfits on both sides of the lake, and at these companies’ subcontractors and spinoff firms. With the ripple effect of these bucks passing among retailers, landlords, etc., the commercial underpinnings of local alt-culture haven’t been higher.
So are its potential commercial underminings. As the Stranger‘s already mentioned, there’s a housing crisis threatening the fiscal well-being of most anybody who’s not rich. When housing prices go up, they seldom go back down. So if the Asian economic slump ravages Boeing and agribusiness exports, and if fears of a coming market saturation in the computer biz come true, even more of us will be scrambling for the remaining affordable abodes.
WHEN `REAL’ ISN’T: I’d long ago defined porn as fantasies for purposes of masturbation, and early-’90s cyberporn as fantasies about masturbation. Sex robots, “dildonics,” virtual reality glasses, dream machines, holograms–whatever you call the schticks in cyberporn fiction, they’re still mere get-off gadgets, means to avoid the sacred confusion that is interpersonal contact.
So it’s not surprising to hear all the hype surrounding a California (natch) company called Real Doll, promising a partial fulfillment of one common cyberporn schtick. For $5,000 or so they’ll custom-build a full-size plastic version of your dream woman (they say they’re thinking of adding a male-doll line later). They promise the look and feel of real flesh, hair, and bone-muscle structure, in a variety of heights, bust sizes, and skin and hair colors. The pictures I’ve seen of the products look like the more grotesquely hyperreal creations of some NYC hotshot shock artist in the Jeff Koons tradition. The more “realistic” these things get, the less they rely on the imagination and the more aware you are that you’re staring not at a fellow biological creature but at a hunk of lifeless petrochemicals. Cyber-freaks might be turned on by that, but I’d just find it icky.
MORE IMAGINATIVE PLAY equipment might be found at Seattle Surgical Repair, 10726 Aurora N. The location (right next to the cemetery) might not be the most tasteful site for a dealer in used medical equipment, but the tiny building’s crammed full of goodies. Examination tables! Speculums! Knee-reflex hammers! Stethoscopes! Gurneys! (Old car and motorcycle parts, too.) Just play safe when you’re playing doctor, and don’t perform any actual procedures that should be left to qualified personnel.
LOCAL PUBLICATIONS OF THE WEEK: Li’l Hassan’s Bleeding Head is Marcus Surrealius’s eight-page take on the sort of gentle new-agey satire pioneered by the likes of, say, the Church of the SubGenius. Issue #3 includes a cover tribute of sorts to Nico and Yoko Ono, a scrambled analysis of Huckleberry Finn, and an “Ebonic Hail Mary” that reads just like the fake-Black-dialect Bible passages I was once forced to listen to in my old liberal-Methodist youth group. Even better are the little slogans here and there (“Neachy is pietzsche”). Free at the usual dropoff spots, or online at www.geocities.com/sunsetstrip/4475…. Randy Hodgins and Steve McLellan’s quarterly True Northwest is my kinda regional-history zine. Why, right on page 2 there’s a reprinted old ad for the late, lamented Pay ‘n Save stores! Further inside are a big retrospective of Elvis’s It Happened at the World’s Fair, an interview with Seattle Pilots/ Portland TrailBlazers announcer Bill Schonely, and references to the Elephant Car Wash, the late Sen. Warren Magnuson, TV’s Here Come the Brides, Spokane’s Bing Crosby memorabilia collection, Jimi Hendrix’s days playing guitar with Tommy Chong in Vancouver (the closest to Seattle Hendrix lived in his whole adult life), and much much more. $3.50 from P.O. Box 22, Olympia 98507; or online at www.olywa.net/truenw/.
CROSS-CUTTING: The editors of True Northwest previously wrote Seattle on Film, a fun little book chronicling locally-shot movies from the years before the sight of a car on screen with Washington plates automatically meant “filmed in Vancouver.” Is it fair for our neighbors to the north to have The X-Files and Millennium while we’re stuck with a certain cheeky cable show amply discussed in recent Strangers? Since this is the start of baseball season, a trade metaphor springs to mind. We should try to acquire at least one B.C.-filmed show in exchange for the aforementioned cable production. Since that wouldn’t quite be an equal exchange, we’ll have to throw more in the pot. Maybe some tanker trucks of cheap U.S. gasoline, a couple of 10-year-old rock bands, and a cartoonist to be named later. If we can’t get a spooky sci-fi series, maybe we could at least deal for other Canuck assets like decent health insurance or adequate arts funding.
PASSAGE (pianist-author Charles Rosen in the March Harper’s): “A work that ten people love passionately is more important than one that ten thousand do not mind hearing.”
CATHODE CORNER #1: Most everybody agrees CBS’s Winter Olympics coverage sucked. Here’s why: The network thought it could return to the alleged good old days of the now-nonexistent mass audience, by running hour after hour of “personality” features and flag-waving hype while snubbing anybody who might actually care to watch a sporting event. That just doesn’t cut it in today’s age of subcultures, where you must show more than superficial interest in a topic if you want more than a superficial response.
CATHODE CORNER #2: For those who think six commercial broadcast TV networks just ain’t enough, here come two more. One’s PaxNet, being assembled by one Lowell W. Paxson. Launching in August (locally on the UHF channel now running the ValueVision shopping network), it’ll skew to the AARP crowd (program acquisitions include reruns of Dr. Quinn, Touched by an Angel, and the Seattle-filmed Under One Roof). More ominously, Paxson’s a close pal to James Dobson, head of the rabid right-wing lobby group Focus on the Family.
The other new weblet, provisionally named Silver King and without a startup date, might be more interesting. It’s run by former Fox and Paramount exec Barry Diller. He’s acquired the Home Shopping Network with its 12 major-market stations (none here), the USA and Sci-Fi cable channels, and a piece of Universal’s syndicated shows (Xena, Hercules, Jerry Springer) as assets in assembling his network foray. (Diller also bought TicketMaster from Paul Allen, who in turn now owns a stake in Diller’s TV ventures.)
The most intriguing part is Diller’s promise to emphasize local programming on the Silver King-owned stations, and to encourage it on the network’s affiliate stations. Despite recent advances in cheap, efficient video-production equipment, many U.S. cities now have little or no local shows other than news, sports, and sponsored preachers. (Seattle, with Almost Live and Evening Magazine and Northwest Afternoon, is an exception. And even here, indigenous fare’s decreased since the early-’90s days of Spud Goodman and 7 Live.) It’d be immeasurably cool if we and other areas had more local talk, local entertainment, maybe even a local documentary or two.
ODDS & ENDS: Spy magazine’s apparently folded, again. Did anyone notice? Didn’t think so…. No matter what ya think of The Real World, ya gotta love MTV’s new slogan: “Giving the squares something to bitch about”…. Speaking of bitching: While cleaning closets, I ran across my ’80s button collection and wistfully decided to seek new cute slogans-on-tin. But none were to be had–only hateful, assholier-than-thou badges that’d make anyone who wore ’em look as sad as the jerks they were meant to insult. Where’d all the fun go?
A WORD TO THE WISEGUYS: A kindly reader suggested I stop using the term “yuppie,” describing it as an ’80s relic with no modern relevancy. To be exact about it, the small, monocultural caste for whom almost everything in today’s Seattle is designed and marketed can no longer be called young urban professionals, no matter how many day-spa facial treatments and hair transplantations they endure. And many current young adults with careers don’t necessarily share their elders’ market-decreed preference for all things fetishistically bland. (Note the absence of James Taylor or Bonnie Raitt in that ’70s revival youth fad.)
Still, the city’s real-estate developers, politicians, fashion retailers, mainstream media outlets, big restaurateurs, et al. continue to direct their efforts at one and only one target market–the ever-venerated upscale baby boomer, with a liberal-arts degree, a lucrative career, and claims of former “’60s rebellion” participation contradicted by a relentlessly middlebrow aesthetic. Only a sliver of the region’s population fit even close to this image, now or in the ’80s. This fact doesn’t stop the political and business leaders from proclaiming ’em the only people who deserve to live here.
So there is an urban-professional caste, powerful beyond its numbers, whether you call it by the Y word or not. If not, what would you? I’ve used such alternate terms as “the Demographically Correct” and “people who think giant glass bowls are art.” Record suggestions at >clark@speakeasy.org. Remember: We’re not talking about real individuals, just mythic archetypes.
IN HONOR OF all the kindly PR people who keep sending their bizarre promotional trinkets our way, Misc. hereby informs you that (1) Miller Beer is now printing scenes from its TV ads on the backs of its labels; (2) it’s the 35th anniversary of the Easy-Bake Oven and its makers are sponsoring a recipe contest at www.easybake.com; and (3) GameWorks now has a Jurassic Park walk-through “experience,” whatever that is.
UPDATES: Looks like we’ll get a Ballard Fred Meyer after all. The chain’s reached a compromise with neighborhood activists. As a result, Freddy’s will leave part of the ex-Salmon Bay Steel site near Leary Way for industrial use. The ex-Ernst site up the street, which I’d suggested as an alternate Freddy’s space, will now house the Doc Freeman’s boating-supply emporium…. Not only is the Apple Theater, the region’s last all-film porno house, closing, but so is Seattle’s other remaining XXX auditorium, the video-projection-based Midtown on 1st. Real-estate speculators hope to turn it into more of the yupscale-retail sameoldsameold.
LOCAL PUBLICATION OF THE WEEK: Cindy Simmons’s Wallingford Word (“Cutest newspaper east of Fremont”) is a sprightly eight-page newsletter on north-central issues and events. The first issue highlights Metro Transit’s scary plan to chop service on all-day neighborhood routes in the near north end, in favor of more rush-hour commuter service–a scheme which, if implemented, would devastate the notion of transit as an option for voluntarily car-free urban life. Free in the area, or online at www.seanet.com/~csimmons.
THAT’S SHOE BIZ: The high-priced sneaker biz is collapsing fast, according to a recent USA Today business story. It claims teens and young adults are (wisely, in my opinion) moving toward sensibly-priced footwear and away from $120 high-tops bearing the name of this year’s overhyped slam-dunk egomaniac. What will happen to the NBA without endorsement contracts to make up for salary caps? (Some superstars make twice as much from shoe ads as they do from actually playing basketball.) Maybe something good–maybe the overdue deflation of the league’s overemphasis on individual heroics and the realization that it’s a better game when played the Sonics’ way, as a full-team effort. And maybe the Woolworth Corp. will be proven wrong to have jettisoned its variety stores to put its resources into its struggling Foot Locker subsidiary.
CREAMED: After all these weeks, folks are still talking about the Bill Gates pie-in-the-face incident in Brussels. Maybe it’s ’cause instigator Noel Godin knew the spectacle he wanted to make. Self-proclaimed “entarteur” (applier of, or to, tarts) Godin, 52, is a lifelong provocateur–a vet of the May ’68 rebellion in Paris and of that movement’s ideological forebearers, the Situationists (post-surrealist artists and theorists who explored what Guy Debord called “The Society of the Spectacle”). Besides his paid work as a writer and historian, he and a corps of volunteers have pied famous people in public for almost 30 years. Targets have ranged from writer Margeurite Duras (Godin told Time‘s Netly News website that Duras “represented for us the `empty’ novel”) and bourgeois art-world types to Euro politicians and TV personalities. Godin told Netly News he targeted Gates “because in a way he is the master of the world, and… he’s offering his intelligence, his sharpened imagination, and his power to the governments and to the world as it is today–that is to say gloomy, unjust, and nauseating. He could have been a utopist, but he prefers being the lackey of the establishment. His power is effective and bigger than that of the leaders of the governments, who are only many-colored servants.” Godin’s not merely out to poke fun at the mighty, but to call the structures of power and privilege into question. You can see Godin (as an author during a radio-interview scene) in The Sexual Life of the Belgians, available for rent at Scarecrow Video.
(I still won’t tell latte jokes in the column, but I will be guest barista this Tuesday, 8 p.m.-whenever, at Habitat Espresso, Broadway near John.)
Welcome back to MISC., the pop-cult column that thinks it’s finally figured the reasoning behind the Spice Girls’ second CD cover, which looks almost exactly like the first one except the letters SPICE are tall instead of wide. It’s probably a subtle claim that these women can get anything elongated. Elsewhere in gender-land…
LOCAL PUBLICATION OF THE WEEK: By now even the most budget-minded among you probably have your clearance-sale ’98 wall calendars. You few remaining stragglers might consider the just-out Sensitive Geek Boys of Seattle calendar by Christina Malecka and Erika Rickel. Assorted sweet-faced models are photographed (by Trish Dickey and Cory Smith) exploring their feminine sides, in ways ranging from the sublime (smelling flowers, sewing) to the ridiculous (hugging at a “Pet Loss Grief Support Group”). Free at the Lava Lounge and elsewhere, or $6 from Rickel, SBRI, 4 Nickerson St. #200, Seattle 98109.
SIGN OF THE WEEK (at Larry’s Deli on 4th): “`Food’ Stamps Accepted Here!” Perchance a comment on the actual-food status of convenience store staples? Elsewhere in foodland…
PUT ‘EM UP, JOE: In the past couple of years, Metro route #2 has become a veritable study in contrasts for Seattle grocery fans. It passes by or within three blocks of the Plenty gourmet boutique in Madrona, the fancier-than-they-used-to-be Rogers on MLK Way and Red Apple on 15th, the already-mentioned-in-this-column Broadway QFC, the First Hill Shop Rite, the Pike Place Market, Belltown’s quite-fancier-than-it-used-to-be Dan & Ray’s, a smaller QFC, the great big Larry’s, the smallish lower Queen Anne Safeway, the fancy Queen Anne Thriftway, and the exquisite little jewel that is Ken’s Market.
And now the 2 goes right in front of the new Trader Joe’s gourmet convenience store at 1st W. and Galer. As you might expect from the slogan “Your Unique Grocery Store,” it’s from California (Pasadena to be exact). It’s got 113 stores scattered across nine states; this is its seventh Washington outlet. In less than 5,000 square feet (a tenth the size of the Broadway QFC) it’s full of goodies for gourmands with more taste than time. Everything about the store’s designed to increase the company’s profit margins above industry average while offering near-supermarket prices. Fresh meat, produce, and dairy (those notoriously low-margin departments) are almost nonexistent. There’s no bulk bins, no on-premises butchers or sandwich makers, no deli counter, no magazines, few staple goods (sugar, flour, etc.), and few housewares. Just about everything’s prepackaged, and most of it’s under the chain’s own house brands (various ethnic-flavored items are branded Trader Jose’s, Trader Giotto’s, or Trader Ming). This cutesy, “informal” style extends to store design (wood-paneled interiors, fake-driftwood aisle signs) and flyers (set in the Times Roman font family, a la early desktop publishing). The merchandise mix emphasizes wine (natch), prepacked veggies and salads, ethnic rice mixes, trail mix, candy and cookies (like you’d find at Cost Plus), frozen entrees (many of them vegetarian), frozen seafood, canned fruits and juices, soups, organic cat food, cheese, fake milk, microbrew beer and pop (including Ernest Borgnine’s Coffee Soda!), canned unground coffee, and vitamins. Unlike the monster-marts, Trader Joe’s doesn’t try to be everything to everybody. It just sells stuff that tastes good and/or lets you feel good.
THE SCIENCE OF THE LAMBS: Amid all the media furor over the threatened spread of sheep-like cloning to human subjects, there wasn’t much heard from people who might like it. Here are a few groups of potential supporters: Separatist lesbians who want reproduction without any involvement from men; bigots or twisted eugenicists dreaming of a super-race; medical-world types wishing to custom-engineer immunity to diseases (or to cultivate “spare parts” for transplants); sci-fi fans who’d like real-life mutant superheroes; techno-hippies seeking “the next plateau of human evolution;” rich people who want their own personages to live on; caste-society proponents who’d like a real Brave New World; fetishists who want to keep (or bring back) specific examples of human beauty. (Your question this week: Who’d you clone and why? Respond at clark@speakeasy.org.)
MISC. HEREBY BREAKS its policy against weather jokes to allow you to go do what many of you are already doing–blaming El Nino for everything. Raining? It’s El Nino’s fault. Not raining? It’s El Nino’s fault. Internet connections really slow today? Can’t achieve orgasm? Sluggish, achy feeling all over? Waxy yellow buildup? You guessed it–that pesky El Nino again.
THE BLOB REMEMBERED: Ultimately, the beloved (by me, anyway) Lower Queen Anne restaurant building’s clever (though cheaply built) false front wasn’t what did it in. Essentially, it was one of those “restaurant graveyard” sites nobody could make a go of, before or after the fun façade was added to it. Still, it’s a shame the condo developers who now have the land won’t install any of their own molded-white-plaster turrets or protruberances as a Blob remembrance.
DEMOGRAPHICS ON PARADE: Austin, one of the towns billed a few years ago as a potential “Next Seattle,” has achieved that dubious goal, sorta. According to U.S. Census Bureau estimates, the Texas state capital (and “alternative country” music center) has just surpassed Seattle as the 22nd most-populous city in America. They’re up to 541,278 folk; we’ve just gotten up to 524,704. (We had over 550,000 in the 1960 census, back when the households in our vast single-family neighborhoods were having more kids; we declined in the ’70s and started climbing again in the ’80s.) Of course, they’re benefitting from immigration more than we are, and they’re in a position to annex some of their outlying sprawl. Other towns you might not know are bigger than Seattle: San Antonio, El Paso, Memphis, Milwaukee, San Jose, Indianapolis, Columbus, and Jacksonville, FL. Towns you might not know Seattle’s bigger than: Nashville, Cleveland, New Orleans, Kansas City, Atlanta, Minneapolis, Pittsburgh, Cincinnati.
WASN’T TOMORROW WONDERFUL?: Two weeks or so ago, I asked for your ideas as to which late-’90s popcult trends would be the likeliest nostalgia fodder in future decades. Reader Ian Morgan expressed doubts on the whole idea: “This entire decade has been a flaccid rerun of the seventies! A second Woodstock, Sex Pistols reunion, platform shoes, bellbottoms, etc. Don’t forget grunge. Sorry, the punkers did nihilism better the first time around. If history is merciful we’ll all forget the ’90s. Everyone here wishes they were sometime else.” Kim Adams was more hopeful, sorta: “Future generations, inundated with a gazillion sources and sites for information and babies whose first words will be ISDN or TMI (too much information), will long for a return to the simpler times of single-phone-line households and mere 33.6k modems.”
AS FOR ME, a few passing fancies are evident. DVDs will make today’s CD-ROM games seem quaintly primitive (such small video windows; such choppy animations). When digital video lets anybody become a moviemaker, today’s big-budget action films will become popularly disdained as bloated dinosaurs, then later inspire subsequent generations as mementos of a second Hollywood Golden Age. And 21st-century genetic engineering might make both tattoos and breast implants seem positively retro-chic. Of course, all this depends on what the future generates, then finds missing. Maybe there’ll be a huge hammered-dulcimer mania in the 2010s, causing kids in the 2020s to yearn for the good old days of techno.
BUT FOR NOW, it’s time for all good Misc. readers to think shorter-term and send in their suggestions for our annual In/Out List, not to be confused with any similar-looking feature which may or may appear in this or other print media. Send your nominated people, places, or things to clark@speakeasy.org.
‘TIL THEN, visit the new downtown clothing store New York Exchange (apparently meant for folks too urbane and downstate to shop at Buffalo Exchange); ponder whether, considering the former reputation of 2nd and Pike as a center for intimate commerce, it was really wise to rename the carton-cigarette store there the “Bangmi Smokeshop;” and consider these equally-urbane thoughts from the website of local photog Kim Rollins : “There are eight million stories in the naked city–and fifteen million in the greater naked metropolitan area.”
