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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.
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.
painting the needle for its big b-day party
Keith Seinfeld at KPLU recently asked, “Why does Seattle still care about the world’s fair?”
That’s an excellent question.
As international expos go, Seattle’s was relatively small.
And it took place a full half century ago.
Until Mad Men came along, that era was widely considered to have been a dullsville time, a time wtih nothing much worth remembering.
The “Space Age” predicted at the fair would seem would seem ridiculous just a few years later. It predicted domed cities and cheap nuclear power. It predicted computers in the home (in the form of fridge-sized consoles) and video conferencing (with a special “picturephone”), but it didn’t predict the Internet.
It sure didn’t predict the racial, sexual, musical, and social upheavals collectively known as “The Sixties.”
And a lot of the fair’s attractions were so utterly corny, you can wonder why they were taken seriously even then. Attractions such as the world’s largest fruitcake. Or the Bubbleator (essentially just a domed platform on a hydraulic lift). Or the adults-only risqué puppet show (by the future producers of H.R. Pufnstuf).
•
Yet a lot of us do care about all that. And not just us old-timers either.
And not just for the physical structures the fair left behind (the Space Needle, the Science Center, etc.).
The fair was the single most important thing that happened in Seattle between World War II and the rise of Microsoft. (The launch of the Boeing 707 was the next most important.)
The fair revved up the whole Northwest tourism industry, just as jet aircraft and Interstate highways were getting more Americans to explore other parts of their nation. This once-remote corner of the country became a top destination.
The fair was a coming-out party for a new Seattle.
A Seattle dominated not by timber and fishing but by tech. Specifically, by aerospace. Boeing had only a secondary role in equipping the U.S. space program, but its planes were already making Earth a seemingly smaller place.
The fair didn’t start the Seattle arts and performance scenes, but it gave them a new oomph.
Seattle Opera and the Seattle Repertory Theatre were immediately established in the fair’s wake.
ACT Theatre came soon after. Visual art here was already becoming famous, thanks to the “Northwest School” painters; the fair’s legacy led to increased local exposure to both local and national artists.
The fair established a foothold for modern architecture here.
Before the fair, there hadn’t been a major change to Seattle’s skyline since the Smith Tower in 1914. (The few new downtown buildings were relatively short, such as the 19-story Norton Building.)
The Space Needle became the city’s defining icon, instantly and forever.
The U.S. Science Pavilion (now Pacific Science Center) established the career of Seattle-born architect Minoru Uamasaki, who later designed the former World Trade Center.
Speaking of tragedy and turmoil, some commentators have described the fair’s era as “a simpler time.”
It wasn’t.
The Cuban missile crisis, revealed just after the fair ended, threatened to turn the cold war hot.
The whole Vietnam debacle was getting underway.
The civil rights and black power movements were quickly gaining traction.
The birth control pill was just entering widespread use.
Rachel Carson’s book Silent Spring, which helped launch the U.S. environmental movement, came out while the fair was on.
So yes, there were big issues and conflicts in 1962.
But there was also something else.
There was optimism.
In every exhibit and display at the fair, there was the notion that humans could work together to solve things.
And, at least at the fair, most everything was considered solveable.
I wrote in 1997, at the fair’s 35th anniversary, that its creators sincerely felt Americas would strive “to ensure mass prosperity (without socialism), strengthen science, popularize education, advance minority rights, and promote artistic excellence.”
It’s that forward-looking confidence that got lost along the road from the Century 21 Exposition to the 21st century.
It’s something many of us would like to see more of these days.
And that, more than Belgian waffles or an Elvis movie, is why Seattle still cares about the World’s Fair.
And why you should too.
(Cross posted with City Living.)
souvenir display at the world's fair anniversary exhibition
foodbeast.com
via 'what makes the pie shops tick' at flickr.com
one of rob vasquez's many out-of-print 45s, via aarongilbreath.wordpress. com
(No snickering jokes from this corner about a certain three-digit number.)
fanboy.com
Back when daytime soaps were still a profitable low-budget genre, producer Dan Curtis hit on the idea of making one inspired by the “gothic romance” paperbacks of the day. (You know, the ones with covers showing young women in flowing dresses running from houses.)
Dark Shadows was initially a ratings failure.
As a last-ditch effort, Curtis wrote in a vampire character and cast a journeyman Canadian actor to play him.
Frid was a hit. The revamped show was also a hit. Despite being made on the same low budget and impossible schedule as the more domestically-oriented soaps, it evoked realms of supernatural fantasy and even multiple time streams.
It inspired two feature films, a slew of merch, a brief revival series in 1991, and a forthcoming spoof film.
Frid became a classic typecasting victim. He went on to a smattering of other movies, one Broadway play, and many years eking out a living touring colleges in one-man shows.
Whatever it took to stay alive undead.
goodreads.com
Amazon wants you to stay in their electronic ecosystem for buying ebooks (and music, and movies, and apps and games). So does Apple, Barnes & Noble and Google. None of them are interested in sharing you with anyone else, ever. Publishers, alternately, are interested in having as many online retailers as possible, each doing business with them on terms as advantageous to the publishers as possible.
Jim Bracher at the Seattle Backpackers Magazine site offers a mostly-positive review of our somewhat-new book Walking Seattle:
The author’s knowledge of Seattle is extensive, comprehensive, and impressive. I didn’t realize part of Perkins Lane is still closed after the mudslides in ’97 (p. 64), and I’d forgotten the horror that dominated the news after the murders at the Wah Mee club in ’83 (p. 79). He also reminded me of The Blob (p. 58), a building I’d forgotten even though I used to walk by it almost daily.… This guy knows architecture. I know bungalows from Queen Anne, but he knows Art Moderne from Beaux Arts.… Architecture helps tell the story of a city. The current downtown Seattle Library is a statement about what we want the city to be, what we want others to see when they look at us, and what sort of buildings we want to see when go out. All the buildings of Seattle’s past were designed for the same purpose. The bungalows, the big homes of Queen Anne Hill’s past, all tell the story of what was going on in Seattle. It’s a cool history. I wish Humphrey had told more of it.… He’s a good writer. The prose flows. Reading through the tour descriptions is easy and clear…. I’d love more story-telling. He’s capable of it and the book shows he knows it.
The author’s knowledge of Seattle is extensive, comprehensive, and impressive. I didn’t realize part of Perkins Lane is still closed after the mudslides in ’97 (p. 64), and I’d forgotten the horror that dominated the news after the murders at the Wah Mee club in ’83 (p. 79). He also reminded me of The Blob (p. 58), a building I’d forgotten even though I used to walk by it almost daily.…
This guy knows architecture. I know bungalows from Queen Anne, but he knows Art Moderne from Beaux Arts.… Architecture helps tell the story of a city. The current downtown Seattle Library is a statement about what we want the city to be, what we want others to see when they look at us, and what sort of buildings we want to see when go out. All the buildings of Seattle’s past were designed for the same purpose. The bungalows, the big homes of Queen Anne Hill’s past, all tell the story of what was going on in Seattle. It’s a cool history. I wish Humphrey had told more of it.…
He’s a good writer. The prose flows. Reading through the tour descriptions is easy and clear…. I’d love more story-telling. He’s capable of it and the book shows he knows it.
Bracher also has some dislikes about the book. Almost all of those relate to the publisher’s series format (page size, layout, etc.).
And he wishes there was a smartphone app for it.
Guess what? There is! It’s an add-on virtual tour guide that works within the iOS/Android app ViewRanger.
But on the whole, he likes Walking Seattle.
And you will too.
Some recent developments in the Apple/Amazon/big book publishers/Justice Dept. rumble:
david eskenazi collection via sportspressnw.com
And a happy Friday the 13th (first of the year) and Mariners home opening day to all of you!
It’s called “Control-based Content Pricing,†and the basic idea is dynamic pricing of video content, based on the preferences of the user at any given moment—essentially setting different prices for different functions of the TV remote.
gjenvick-gjonvik archives
Three of the Big Six book publishers (Hachette, News Corp.’s HarperCollins, and CBS’s Simon & Schuster) have settled with the U.S. Justice Dept. in the dispute over alleged e-book price fixing.
The publishers still insist they’re innocent; but they agreed in the settlement to not interfere with, or retaliate against, discounted e-book retail prices.
Apple, Pearson’s Penguin, and Holtzbrinck’s Macmillan have not yet settled; they also insist they did not collude to keep e-book prices up. Bertlesmann’s Random House was not sued.
This is, of course, all really about Amazon, and its ongoing drives to keep e-book retail prices down and its share of those revenues up. The big publishers, and some smaller ones too, claim that’s bad for them and for the book biz as a whole.
In other randomosity: