'out of work sith lord.'

The Emerald City Comicon, held at the Washington State Convention Center, has become an annual sign of Spring’s impending arrival in Seattle. It’s March! Time to shake off that Gore-Tex and wool. Time to reveal the unencumbered Real You to the world, by becoming your favorite fantasy character.

Like most “comics conventions” around North America, including the giant San Diego Comicon, the Emerald City Comicon is only partly about comic books and mostly about fantasy film/TV. This year’s special guests included Star Trek: TNG and X-Men star Patrick Stewart and ’60s Batman stars Adam West and Burt Ward.

But the real stars every year are the attendees themselves, channelling their copyrighted-and-trademarked icons.

Perhaps nowhere was this smelting of commercial art into folk art more obvious than with the guy who played the Star Wars theme on bagpipes, while riding a unicycle.

(P.S.: For a viewpoint on Comicon from an actual comics creator, check out Donna Barr’s blog.)

(Cross-posted with Unusual Life.)

via silver platters and queenanneview.com

• First went Borders; then Swerve at First and Pine; then Easy Street Records on Mercer and Queen Anne Avenue. Now, the Silver Platters music superstore in the east lower Queen Anne district is going away. This leaves the shrunken CD selection at Barnes & Noble as the last music store in greater downtown. Silver Platters will move in June to 2930 1st Ave. S., across from Sears and near the future basketball arena.
• It’s the end of another no-nonsense neighborhood eatery, Claire’s Pantry in Lake City.
• Erica Barnett at Publicola believes Mercer Islanders don’t deserve endless privilege, such as the privilege of not paying future I-90 tolls.
• Downtown merchants believe adding a kiddie play area to Westlake Park will make the retail core seem friendlier to (white upscale) families.
• Dikla Tuchman at local site Jew-Ish offers a loving tribute to the pioneer comics artist Will Eisner, best known as the creator of The Spirit (he wasn’t responsible for the lousy movie version).
• MOHAI has many boxes of Sonics memorabilia, including championship banners, just waiting to be transferred to a new Seattle NBA team.
• There are huge cost overruns and design flaws on the new 520 bridge’s pontoons. Yes, I included that because I love to say the word “pontoons.”
• There’s a newly revised waterfront park scheme. It’s better than the one originally devised by the hi-priced NYC architects. But to me it’s still too devoted to world-classness, not enough to being useful to people who live here.
• Matt Hale, beaten a year ago by still-unidentified thugs after his shift as a Belltown condo doorman, is “still struggling.”
• Hanford nuke-waste leaks could be as high as 1,000 gallons a year.
• Could the making of new pinball game machines finally be on the rise?
• Lost among all the gripes about host Seth McFarlane’s rude unfunniness, there was another controversy at the Oscars (née the Academy Awards, a name totally unuttered at this last ceremony). Rhythm & Hues, which produced the computer animation seen in the multi-award-winning Life of Pi, is bankrupt and laid off  over 200 staffers. It couldn’t compete against subsidized overseas studios. When Pi visual-effects director Bill Westenhofer gave his acceptance speech he tried to mention this, but his mic was promptly cut off when he did.
• In less prestigious protest campaigns, some people are really upset that McDonald’s has phased out Chicken Selects, perhaps the only truly food-like thing on its regular menu.
• James Howard Kuntsler says the “era of the giant chain stores” is over. He thinks it will lead to a resurgence of mom n’ pop retail. I see it as more like the ultimate triumph of Internet “e-tail.”

So it has come to this. The Seattle Times, unable (just as most all metro dailies are unable) to survive on shrinking print-ad volume and meager online-ad revenue, is resorting to the “paywall.”

Starting some time in mid-March, full access to the Times website will be restricted to paid subscribers.

Print subscribers will get full online access. Online-only subscriptions will be available at $3.99 per week (following an initial discount). That’s higher than the Sunday-only print subscription price, at least within King County. This is undoubtedly devised to prop up the paper’s print numbers, particularly on ad-flyer-heavy Sunday.

In announcing the paywall on Sunday, Times executive editor David Boardman wrote that the money’s needed “to support quality journalism.” The essay’s comment thread, natch, is full of wags snarking that “quality journalism” is worth paying for but the Seattle Times isn’t.

•

Even more than some metro dailies, the Seattle Times has painted itself into this corner, over many years.

It’s held to a bland, institutional ethic and aesthetic; even as its average reader became older, squarer, and whiter than the metro area’s overall demographic.

Its editorials hewed as close to a GOP party line as the Blethen family dared, in a solid-Blue city.

Faced with ever-declining revenues, it chose not to “reinvent” itself. Instead it became an ever-smaller version of its same-old same-old.

One issue this past month hit a new low of 22 pages (the bare minimum under its current design).

If there’s anything I’ve learned in my many years of studying the media, it’s that if you want to be “supported,” you’ve got to make people actively want to support you.

A thin assortment of lifeless stories about the ritual dances of politicians and corporate press releases ain’t gonna accomplish that.

(Meanwhile, one national commentator claims paywalls aren’t really working so well for non-national, non-business-centric papers.)

via messynesychic.com

• “Quite possibly the most important street photographer of the 20th century was a 1950s children’s nanny who kept herself to herself and never showed a single one of her photographs to anyone.”
• Jay Jacobs, 1912-2013: Yes, there really was a Jay Jacobs behind the local teen clothing chain of the same name, which operated from 1941 to 1999. At its peak, his company had more than 300 outlets around the country, mostly in malls. But, like Lamonts and the Squire Shops and Bernie’s/Bottom’s, Jacobs’ chain couldn’t make it in the age of the Big Box store (which, in turn, is being succeeded by the age of e-tail).
• Another local institution, Mae’s Phinney Ridge Cafe, is for sale, and will close if a buyer isn’t found soon.
• A UW English prof decries grad-student applicants who can’t name-drop a single modern female author.
• Joan Walsh (correctly, I believe) blames the attempted “sick humor” at the Oscars not on host Seth McFarlane but on the Academy bosses, who apparently wanted to latch onto that Farrelley Bros./American Pie “edgy” thang.
• The William Shatner bit at that show’s top was a textbook example of “framing” a piece of sick/sexist humor (the “We Saw Your Boobs” song) via fake distanced “irony,” to make it seem like just a “parody” of sick/sexist humor.
• The “In Memoriam” Oscars segment has its own selection committee, and “is a focus of campaigning.” That’s one reason why a few famous actors get left out every year and a few obscure behind-the-scenes figures always get put in.
• Elisabeth Parker at Addicting Info wants progressives to stop using right-wing catch phrases.
• For fans of old time radio (and of latter-day revivals of same), here’s a site that appears to have .mp3s of every CBS Radio Mystery Theater episode (all 1,339 of ’em)!

photo by kyle johnson, from the set 'portraits of seattle' on flickr

It’s been more than a week since Jen Graves’ Stranger story, “Charles Krafft Is a White Nationalist Who Believes the Holocaust Is a Deliberately Exaggerated Myth.”

The paper’s print issue is now off of the stands.

The controversy continues.

Like many participants in and observers of the Seattle visual-art scene, I’ve long known about Krafft’s open admiration for neo-Nazis and Holocaust revisionist pseudo-scholars. He didn’t keep his views secret. They just hadn’t been written about in the local arts media, prior to Graves’ article.

While Krafft was out of the country when the article was written, Graves was careful not to allege anything about Krafft’s beliefs that he hadn’t specifically mentioned in national blogs, podcasts, talk-radio shows, newsletters, and his own Facebook posts.

Still, the counter-allegations of “hatchet job” etc. against Graves abound.

In the online comment thread for the original article.

In a spirited defense of Krafft (“despite his occasional idiocy”) by his friend (and my sometime book publisher) Adam Parfrey.

And in an essay by white-nationalist book publisher Greg Johnson, “The Persecution of Charles Krafft.”

Some of the counter-attacks are predictable.

There are people who sincerely defend white nationalism and anti-Jewish conspiracy theories.

Then there are people who assert that Graves, the Stranger, and the Seattle cultural establishment in general are a bunch of PC do-gooders who can’t handle any real dissent from their party line.

Ah, the last rhetorical refuge of the bigot and the bully; to turn around and whine that they’re really the victims.

By the way, that last remark of mine is directed toward Johnson and some of the other commenters—not against Krafft himself. Krafft has always been open and forthright about his extreme beliefs, and about his fondness for guys who express even further-extreme beliefs than he does. He hasn’t, as far as I know, ever played the faux “victim” card.

•

So how do I feel about Krafft, you might (or might not) be asking?

I believe he’s a sincere admirer of various military and paramilitary aesthetics, including those of the Nazi and Warsaw Pact eras.

I believe he’s got a big flaming ego, that enjoys tripping on the “Oh, aren’t I being a naughty, politically-incorrect cad?” vibe.

And I believe “irony,” at least the kind of irony viewers have long perceived was in Krafft’s ceramic rifles and hand grenades and Nazi-kitsch revival pieces, is a tiresome premise.

Every work of “satire” or “parody” contains, in its aesthetic, the real worldview of its creator.

Andy Warhol, for instance, really was a capitalist. Quentin Tarantino really is an exploitation filmmaker.

And Charles Krafft really does get off on power fantasies.

Even really, really sick ones.

• Seattle artist Ellen Ziegler’s mom was a ballet dancer—and a onetime girlfriend of the great Mexican comic actor Cantinflas. Ziegler’s turning this story into a very-limited-edition art book.
• In other news about local women and art and books and images of hotness, Charlotte Austin and Ciolo Thompson have created The Better Bombshell. In it, a variety of writers and artists of both genders contemplate that age-old issue of female role models and what they should be now.
• Online “cyber-bullying” isn’t just for teens anymore. The disgraced now-former Snohomish County executive did it too.
• The Oatmeal explains why “How to Suck at Your Religion.” (Essentially: if you preach brotherhood but practice bigotry, etc….)
• The drive to preserve the Bauhaus coffeehouse’s building, by getting it named an official historic landmark: rejected.
• The lawsuit challenging the Sonics arena scheme: rejected.
• Even Republicans believe Tim Eyman’s “lying whore” comment against Gov. Inslee went too far.
• PONCHO, granddaddy of Seattle arts fundraising groups (and inventor of the “charity auction”), is no more.
• Can private tech colleges, charging $30,000 or more for degree programs, really solve Wash. state’s learning gap?
• Eastern Washington, now with more radioactive sludge.
• Life imitates Portlandia, at least 30 times.
• Chuck Thompson at the New Republic derides microbrews, and the brewpubs who sell them, as icons of silly urban gentrificaiton. But they’re really, really tasty icons of silly urban gentrification.)
• The sad tale of the “food critic on Food Stamps” finally has a happy ending. Ex-Tacoma News Tribune restaurant reviewer Ed Murrieta finally found a job, after spending years among the long-term unemployed. He now writes blurbs for Sacramento’s tourism board.
• In Virginia, a white mom wants white kids not to have to read books about past racial violence.
• I know I’m not the only one who still remembers LaserDiscs, those 12-inch analog video discs that were the best way to see movies at home in their day.
• Here’s an artistic vision of a future car-free Manhattan, funded by (who else?) a car company.

gawker.com

• Despite the popular belief, Jay Ward didn’t have a thing to do with the ’60s TV cartoon series Underdog. One of the people who did, William Watts Biggers, has died.
• That “retroactive ‘potential dancing’ tax” thang is a real death threat to live music throughout the state. The Legislature needs to hear that you want this ridiculous measure repealed.
• Poor Macklemore. Just as the rest of the nation learns about Seattle’s great white rap hope, people call him a “sellout.”
• We must say goodbye to one of the Seattle art scene’s behind-the-scenes heroes, gallery owner Mia McEldowney.
• Another unexpected fallout of the ebook book: a revived interest in short-story collections.
• Yes, in this Internet age, there are still uncountable films, TV shows, and sound recordings you just can’t see or hear.
• Al Gore asserts that the “Tea Party” movement was really a carefully orchestrated “astroturf” (fake grassroots) “movement,” led by the Koch Brothers and Big Tobacco.
• Those campaigns to get tons of Facebook “Likes”® against cancer, for cute puppies, etc? Yep, they’re scams.

haley young, via seattlemag.com

You really ought to see These Streets, the new play at ACT about five women in the ’90s local rock scene.

Its writers (Gretta Harley, Sarah Rudinoff, Elizabeth Kenny; pictured above) were there. They know of what they speak.

I mentioned in my book Loser how the national media’s false “grunge” stereotype included “no women in sight, not even as video models.”

But in the real Seattle scene, women were involved in leading roles from the start, on stage (Kim Warnick, Sue Ann Harkey, Barbara Ireland) and off (managers, venue owners, photographers, zine publishers, etc.).

Now, the truth may at last become better known.

webclipart.about.com

As the many unattached among us face with dread the day devoted, by Hallmark and other marketers, toward luvvey-duvvey cutesy-poo, comes a new study on “the old man-woman thing.”

Authors Bobbi J. Carothers and Harry T. Reis claim, among other things, that:

• Instead of a clear demarcation of “female” and “male” behaviors and thoughts, there’s more of a continuum among individuals.
• Gender itself is less a factor in psychological differences among people than race, nationality, subculture, etc.

Imagine the possible implications!

• Those men and women who classify the entire opposite sex as the Evil Other-with-a-capital-O are just wrong!
• Attempts to “pink-ify” consumer products, in order to market them as “For Women,” are really just as stupid as they already seem.
• Dating and “speed seduction” courses intended to reveal the mysteries of the opposite-sex brain are big wastes of money. (Which some of you already know.)
• There’s even less of an excuse for movie studios not to create more “active” roles for female characters, or for the rest of corporate America to pay women less.
• And instead of fighting and manipulating and jostling for power as “man” and “woman,” we’re really fighting and manipulating and jostling for power as “people.”

• Welcome Valentine’s season with Mitch O’Connell’s array of 100 unintentionally “unerotic vintage pin-up modeling photos.” (Note: The hereby linked page is, as the kids say, “NSFW.”) Speaking of the un-erotic….
• Emily Nussbaum at the New Yorker likes how HBO’s series Girls reinvents the late-night-cable sex scene, that most hackneyed of video tropes, into farcical pathos.
• The John Keister/Pat Cashman “comeback” show The [206] disappeared after two episodes (which had been shot in one taping, as a pilot). But it will return in April.
• Would you buy your coffee wherever “The Bitter Barista” works next? (He was fired after his employers found out about his blog.)
• The Seattle Transit Blog explains when the new Car2Go company is a better value than Zipcar and vice versa.
• It’s harder to sneak past the NY Times website’s paywall these days, but may are still trying.
• Things people feel nostalgic for these days include VHS tapes and the manual paste-up of newspaper pages.
• Sam Tanenhaus at the New Republic explains just how the Party of Lincoln became “the party of white people.”
• Esquire‘s cover story about “The Man Who Shot Osama Bin Laden” didn’t mention that “the shooter” (the only name the article gives him) does have health care for the next five years, and would have had more benefits if he’d just retired a year and a half after he did.
• On the 50th anniversary of Betty Friedan’s The Feminine Mystique, Ashley Fetters at the Atlantic unearth’s bell hooks’s argument that the book treated the problems of white “leisure class” housewives as if they were the problems all women faced. Fetters then adds Daniel Horowitz’s 1998 snipe that Friedan, under her birth name Betty Goldstein, had been a prolific NYC radical essayist, and hence knew she was deliberately ignoring the plight of non-affluent women.
• The Museum of Vancouver is opening an exhibit all about that city’s cultural history of sex. Yes, it includes the black-cat silhouette that signified adults-only movies in B.C.

• Phil Smart Sr., 1920-2013: Whatever qualms he might have originally had about being a WWII vet selling German cars, Seattle’s premier import-car dealer long since got over them. Not that he didn’t have heart. He proved that by donating not just money but time and personal attention to Children’s Hospital and other area charities. I learned through intermediaries that he was a great fan of my book Vanishing Seattle, and ordered copies to give to friends.
• Seattle was named America’s sixth “most walkable big city.”
• There’s a new techno record label in town called “KRecordings.” Are they aware there’s another recording outfit in Western Washington with a similar name, and has been for some 30 years?
• That Wash. Post story linked-to here earlier this week? The one predicting free “super wifi” nationwide, merely pending the allocation of bandwidth? Forget it. Just an urban legend. Darn.
• Remember the inventor of the touch-tone phone by playing some keypad songs.
• Three of the Big Six book publishers are collaborating (don’t dare call it “conspiring”) to start up their own online bookselling site, Bookish.
• And for now, please enjoy French director Patrick Bokanowski’s surrealist short masterpiece The Woman Who Powders Herself.

This “Seattle” product is made in Korea and imported by a Lakewood company.

If you see it at a local Korean mini mart, observe but do not eat.

boingboing.net

• Seattle artist Shawn (“Beatkit”) Wolfe’s simple absurdist gag about tech product hype, the “RemoverInstaller,” is 20 years old and still going strong in a new “anniversary edition.”
• Alden Mason, 1919-2013: The master Northwest landscape painter deftly switched to beautiful yet playful abstractions, then again to cartoony acrylic works that fit right in with the “pop surrealist” movement (yes, that term again). The point is, he kept looking for something new to do, and always did it well.
• Even before it’s digested Seattle Weekly, the Canadian-owned Sound Publishing has bitten off its biggest local media morsel yet, acquiring the Everett Herald from the Washington Post Co. Not included in the sale are the Herald’s building or its printing plant. (Sound already has a plant in Everett that prints its assorted suburban and small-town weeklies.) The Seattle Times now runs the Herald’s home-delivery operation.
• Surprising nobody, Chris Hansen’s group has officially applied to the NBA to move the Sacramento Kings (which Hansen’s group has already applied to buy) to Seattle.
• REI boss Sally Jewell is, barring Republican obstruction tactics, the next Secretary of the Interior.
• City Councilmember Sally Clark participated in the “One Night Count” of Seattle’s homeless. Her team found a dead woman.
• Does everybody on a gluten free diet really need to be?
• Budapest’s current nightlife fad, that of “ruin pubs,” is threatened both by upscale development and by commercialized fake ruins.
• The Society of Illustrators thought it got a good deal when it contracted the printing of its latest Annual of American Illustration to a Chinese printer. That was until the plant refused to print a page containing an unflattering caricature of Mao. The society got its book copies with a blank page where that piece was supposed to be. It was later printed separately and hand-inserted into each copy.

alex nabaum’s 'the evolution of china'

seattlestairwaywalks.com

• You know I love walking and Seattle and Walking Seattle. So I support “Stairway Walks Day” this Saturday.
• There’s something called “The HUB in Seattle.” It’s a new corporate meeting center in the old Masins furniture store in Pioneer Square. Whoever gave it that name can’t possibly be a UW alum.
• It is possible for a downtown parking garage to lose money. Especially, apparently, when it’s City-owned.
• Reviews of the Super Blackout Bowl range from the usual rants by sports-hating hippies to the usual highlight-hype. Will Leitch, though, has a good piece about CBS’s announcers and their failure in the face of daunting circumstances.
• Was Ed Koch gay? We still don’t know for sure.
• Mother Jones has a vast, yet probably still incomplete, chart of looney Obama conspiracy theories.
• “Freaky” body modifications should not be done without sterile instruments and the supervision of trained professionals. This includes implanting dice in one’s penis, an apparent fad among Australian prisoners.
• MySpace’s latest site redesign seems to have evaporated members’ fan lists. The company’s final, fatal mistake?
• Imagine “Super WiFi,” available nationwide (even in Eastern Washington?), offering beyond-broadband speeds and fancy new services, open to the general public, for free. Some Federal officials believe this is possible, for a modest investment, over existing FCC-controlled bandwidth.

onesothebysrealty.com

Simon Doonan at Slate explains why the massive annual Art Basel Miami gallery convention epitomizes “Why the Art World Is So Loathsome.”

Among Doonan’s complaints: Everything’s become “cool” and distanced to the point of emotional irrelevance; big-money collectors have ruined art as a creative endeavor; pride in craft and skill have disappeared; visual puns and fashion-industry tie ins are overabundant; and “blood, poo, sacrilege, and porn” ceased being shocking ages ago.

And the latter isn’t just a gripe about passé fads. Doonan quotes Camille Paglia’s complaint that deliberately confrontative art simply plays into the hands of right-wing wannabe censors; to the point where…

…art has “allowed itself to be defined in the public eye as an arrogant, insular fraternity with frivolous tastes and debased standards.” As a result, the funding of school and civic arts programs has screeched to a halt and “American schoolchildren are paying the price for the art world’s delusional sense of entitlement.”

Guess what: UK ad exec Charles Saatchi, one of the biggest big-money collectors out there, agrees with most of Doonan’s rant!

This all makes me glad Seattle’s got Roq La Rue as its premier commercial contemporary-art gallery. Owner-curator Kirsten Anderson picks works made with exquisite precision, that express sincere emotions even in their “pop surrealist” tropes. And Anderson not only displays a lot of works by female artists, but works by men and women that display a thoroughly yin sensibility.