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(Just a little dose of random-osity for you all today.)
meowonline.org
Every person I talk to at a signing, every exchange I have online (sometimes dozens a day), every random music video or art gallery link sent to me by a fan that I curiously follow, every strange bed I’ve crashed on… all of that real human connecting has led to this moment, where I came back around, asking for direct help with a record. Asking EVERYBODY.… And they help because they know I’m good for it. Because they KNOW me.
art chantry-designed poster for coca (1991), available at gigposters.com
The Center on Contemporary Art (COCA) was Seattle’s premier venue for avant exhibitions and performances in the 1980s and 1990s.
Then COCA lost its last downtown space to development. Its visibility and funding slowed down.
In recent years COCA has existed in semi-exile, on the ground floor of the Elks lodge in Shilsole. (It’s also had a Belltown “gallery,” a glass display case outside a condo building on a little-walked stretch of Broad Street, and occasional temporary spaces elsewhere around town.)
But now COCA’s roaring back with a full-time space in what’s become a major art neighborhood, Georgetown. Specifically, it’s at the Seattle Design Center. (The huge showroom building for furnishings consultants and interior decorators has had its own troubles during the housing crash. It has a lot of spare square footage these days.)
The big opening party is Friday after next (5/18; also the 32nd anniversary of the Mt. St. Helens kablooey).
Let’s welcome COCA back into Seattle’s “outside the mainstream” mainstream.
liem bahneman, via komo-tv
designboom.com
buddy bunting, via prole drift gallery
udhcmh.tumblr.com
to earn enough money so that you can behave in a way that makes the very existence of other people irrelevant.… Wall Street is far too self-absorbed to be concerned with the outside world unless it is forced to. But Wall Street is also, on the whole, a very unhappy place. While there is always the whisper that maybe you too can one day earn fuck-you money, at the end of a long day, sometimes all you take with you are your misguided feelings of self-righteousness.
to earn enough money so that you can behave in a way that makes the very existence of other people irrelevant.…
Wall Street is far too self-absorbed to be concerned with the outside world unless it is forced to. But Wall Street is also, on the whole, a very unhappy place. While there is always the whisper that maybe you too can one day earn fuck-you money, at the end of a long day, sometimes all you take with you are your misguided feelings of self-righteousness.
Darn, this is gettin’ retro. And not in a good way.
Just like on N30, a serious mass protest against the rule of big money was the target of an attempted hijacking.
Yep, another “black bloc” of masked vandals claiming to be anarchists busted stuff up.
As if that was any more a “political” act than the busting up of stuff last June in Vancouver.
Meanwhile, many thousands more people participated in real May Day protests.
They made statements, made banners, spoke, sang, rapped, networked, and forged connections.
Their goal was not to feel powerful, nor to get their testosterone rocks off, nor to “live without dead time.”
It was, and is, to change the direction of the world.
Socially, politically, and especially economically.
That’s a mighty tall order.
But that’s what Occupy ____ is about.
No single demands.
No simple solutions.
No instant utopias.
No small dreams.
Nothing less than the end of greed, cronyism, and megabuck-influence-peddling; and the revival of democracy.
The latest Audit Bureau of Circulation figures are in for the six months ending in March.
They show the Seattle Times‘ circulation continuing a steady decline, to 237,000 daily and 300,000 on Sunday. That’s 6.6 percent lower than one year ago.
What’s more, each figure includes about 30,000 paid subscribers to the Times‘ print-replica .pdf edition (the only paid online product the Times offers so far).
So the daily print Times is now beneath 206,000 buyers. That’s just a few thousand more than it had in 2009, when it added the P-I‘s former subscribers. (Back in 2000, the Times and P-I had a combined circulation of 400,000.)
Elsewhere in the report, the NY Times now has more paid online readers than print readers.
last.fm
Pere Ubu founder, noise-rock legend, and great Clevelander David Thomas is, by his own admission, a middle class boy.
And in a recent interview he claims that…
…all adventurous art is done by middle-class people. Because middle-class people don’t care. Because middle-class people don’t care. “I’m going to do what I want, because I can do something else better and make more money than this.”
At the Collapse Board site (started by ex-Seattleite Everett True), blogger Wallace Wylie begs to disagree:
It surely does not need pointing out that almost every adventurous musical innovation of the 20th Century came from working-class origins. The blues, jazz, country, rock’n’roll, soul, reggae, disco, r&b, hip-hop, techno, house; the list goes on. It would take a mixture of ignorance and arrogance on a monumental scale to appropriate all of these innovations for the middle-classes.
You can probably think of your own exceptions, in music and other artistic fields as well.
Then the Scottish-born Wylie goes on to repeat the longtime meme that most American middle-class teens didn’t know about large swaths of American blues and R&B, until they heard them from British rockers:
…While British bands were playing Chuck Berry, embryonic American garage bands were cutting their chops on ‘Gloria’ by Them. In other words, rock music is a British creation that Americans subsequently copied. Bob Dylan named his fifth album Bringing It All Back Home in reference to the fact that British bands had shown Americans music from their own country that they didn’t know existed and now it was time for an American to take these influences back.
That familiar tale neglects the role American “hip” whites (including Cleveland’s own DJ legend Alan Freed) played in bringing R&B across the color line, leading to the commercial teenybopper variant Freed billed as “rock n’ roll.”
It neglects the white garage bands (such as Tacoma’s own Fabulous Wailers) who studiously covered and imitated their favorite R&B sides, especially during the pre-Beatles years.
Methinks Wylie has his own cultural blinders with which to deal.
may1stseattle.org
The whole Occupy movement is staging a nationwide spring “season premiere” Tuesday.
Mayor McGinn has personally warned the local protests just might turn violent, deliberately invoking memories of the WTO riots. (Yes, those really were 12 and a half years ago!) That’s an odd thing for a self styled progressive to do.
Local organizers, in contrast, are billing their events as a “Day of Solidarity, Wonderment, and Merrymaking.”
They’ve got a whole day of speakers, rappers, and musicians at Westlake Park, and a march to the Wells Fargo tower.
And they’re calling for folks to leave work and school, refrain from shopping and banking, to think of Tuesday as a one-day general strike.
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May Day has been principally a Euro-radical thing for so long, it’s hard to remember it started with the American labor movement, in its first courageous drives for basic workers’ rights (and the corporate/governmental violent reactions to same).
Meanwhile, BBC economics commentator Paul Mason takes a gander at the new wave of protest-related visual art (a movement accelerated, but not started, by the Occupy protests). Mason believes this populist underground work could be the start of a new art movement, one that could render obsolete “contemporary art” as we know it (i.e., something made within a rarified bohemian elite for sale to “the multimillionaire-oriented art market”).
irwin allen's 'the time tunnel' (1966), via scaryfilm.blogspot.com
…building businesses whose only way of making money will be through advertising. Are there as many different ways to slice things as all the startups, collectively, would have you believe? And when they’re done, what will happen to them?
Our ol’ acquaintance Timothy Egan has a nice piece about the book and reading scenes here in Seattle.
One statement is particularly important.
Egan notes that even while e-books have boomed, print book sales in the U.S. have remained steady or declined just a little.
This means the book biz has weathered the simultaneous trends of the Great Recession and the Internet convergence a helluva lot better than other media genres—theatrical movies, DVDs, radio, broadcast and cable TV, magazines, and especially newspapers and recorded music.
This totally contradicts the incessant whines of those “book people” who insist that they are a disappearing elite.
joybra.com, via seattlepi.com