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oh, NOW they get customers.
from sightline.org
street food vendor, 1930s, singapore; from the-inncrowd.com
There sure were a lot of people at the West Seattle Street Fair on an early Friday evening.
The ol’ Junction particularly teemed with kids. At times you couldn’t make your way down California Ave. without scrambling between traffic jams of double-wide plastic strollers.
Chris Ballew’s “Casper Babypants” act had a perfect captive audience.
On the main stage, Leslie Beattie, Kurt Bloch, and Mike Musburger (with the unseen-here Jim Sangster) in Thee Sgt. Major III warmed up an already warm audience with a rousing set. But the highlight of the night was yet to come.
Yes. For the first time in more than a decade, Bloch, Kim Warnick, Lulu Gargiulo, and Musburger were to perform a full set of their intense, brutally joyous (or is it joyously brutal?) power pop.
The street and the adjoining fenced-off beer garden were crammed with geezers like me who remembered the Fastbacks’ 1979-2001 reign. The street also had dozens who had not been yet born during that time. All were treated to one of the most electrifying, frenetic, and all-out rockin’ hours seen anywhere, at any time, by anyone.
If you ever saw the Fastbacks before, you know what I’m talking about. Even if you only heard them on record, you can imagine how great they were this night. All the great Bloch riffs. All the tomboyish Warnick/Gargiulo vocals, singing with gleeful passion about stuff you might not imagine could be portrayed that way (loneliness, depression, frustration).
…Recessions aren’t permanent, but land use often is. If we allow developers to build ground-floor housing instead of retail space now, those apartments won’t magically be converted to coffee shops, hair salons, and restaurants once the economy turns around. They will be, for all intents and purposes, permanent residential spaces. And street-level land use matters. Pedestrians gravitate toward streets that are activated by bars, shops, and restaurants; in contrast, they tend to avoid sidewalks that run alongside apartment buildings and other non-public spaces like fenced-off parking lots.
…Recessions aren’t permanent, but land use often is. If we allow developers to build ground-floor housing instead of retail space now, those apartments won’t magically be converted to coffee shops, hair salons, and restaurants once the economy turns around. They will be, for all intents and purposes, permanent residential spaces.
And street-level land use matters. Pedestrians gravitate toward streets that are activated by bars, shops, and restaurants; in contrast, they tend to avoid sidewalks that run alongside apartment buildings and other non-public spaces like fenced-off parking lots.
This holiday, as I do on this holiday every year, I sing our nation’s song the way it was originally meant to be sung.
Which is to say, as an ode to the eternal, worldwide, ‪joys of drinking and screwing‬â€.
And if you like your poetic homages to the grape mixed in with a little faux-Terry Gilliam animation, try this version.
(Slow news day edition.)
Boeing is still paying for abandoning its once-successful strategy of long-term investments in innovative, groundbreaking products like the 747 jumbo jet in service of short-term profits meant to goose its quarterly earnings.
Seattle loses a major community institution this week, quietly.
SCAN TV (Seattle Community Access Network), the nonprofit that’s operated the city’s public access cable channel for more than a decade, closes up shop. SCAN declined to bid on another contract to run the channel, after penny pinching city bureaucrats slashed the funding for its operation.
The Seattle Community College District’s SCCtv agreed to take over the channel at the vastly reduced funding level. The new iteration of the access channel, renamed Seattle Community Media, starts Friday. For the first few weeks, as SCM gets its technical infrastructure together, programming will be limited to rerun episodes of shows supplied by existing SCAN citizen producers.
With the change comes the closing of the access studio on N. 98th Street east of Aurora. Starting in 1983 (when Group W Cable opened it as a condition of its city cable contract), the Northwest Access and Production Center’s modest 30-by-40-foot main studio hosted an astounding array of artisanal TV. Citizens signed up for time slots, took training classes on the gear, and created all-volunteer productions, some quite elaborate.
That room was known as the “big studio.” There was also the “small studio,” a walk-in closet with one camera and a control console; producers strove to stretch that room’s capabilities, even producing musical variety shows (albeit starring very small combos).
SCM will reinstall the SCAN equipment on the North Seattle Community College campus, just a few blocks east of the old site. This means producers will still be able to make multi-camera, studio-based TV shows, as well as single camcorder, field-based video footage.
But nothing on the new SCM channel will be cablecast live.
That means (1) no call-in segments, and (2) no in-studio surprises. In-studio mistakes, yes, but no surprises.
•
At the access channel’s peak of popularity in the mid 1990s, a Seattle Times feature story described its panoply of programming.
There was music of every conceivable genre, including some of the earliest footage of Soundgarden and other future “Seattle scene” stars (and should-have-been stars).
There were ethnic cultural programs ranging from Chinese to Somali.
There were single-issue discussion and monologue shows advocating everything from gun rights to alternative medicine.
There were preachers of every theological stripe, including UFO religions and atheism.
There was the Rev. Bruce Howard, a music teacher who created (and successively re-created) his own spiritual discipline, evolving from fire and brimstone to (relatively) happy folk singing. (No, I don’t know whatever happened to him.)
There was Philip Craft’s Political Playhouse, in which the sometimes naked host offered up interviews and comedy skits expressing his flavor of radicalism (politicians = bad, marijuana = good). Craft later moved to L.A. and helped make a low budget film based on his experiences, Anarchy TV.
Another lefty political show, Deface the Nation, had a vegan cooking spinoff series called All You Can Stomach.
There was the drag queen cooking show Queen’s Kitchen and its sequel Love, Laverne (a live sitcom).
There were other home brewed comedy ventures such as Bend My Ear Seattle (with hosts Chardmo and Johnny 99 and house band Hot Dog Water), The Make Josh Famous Half-Hour of Garbage, and Gavin’s Hawse (with Gavin Guss, later of the neo-pop band Tube Top and now a solo singer-songwriter).
There was Richard Lee’s Kurt Cobain Was Murdered, in which the steadily crazier looking and sounding Lee reiterated, week after week for years, his specious conspiracy theories. Lee eventually ran for mayor in 2001, showing up at a debate with a beard and in a dress.
There was deadpan comic MC Spud Goodman, one of the two access stars who graduated to “real” TV, hosting bizarre skits and local bands for four years on channels 22 and 13.
There was the other later-made-it-big guy, serious public affairs interviewer C.R. Douglas, who took his insightful chats with local political leaders to the city-owned Seattle Channel (retiring earlier this year).
And there was the call-in show Bong Hit Championships (did what it said on the tin).
In 1999, the access channel had already begun to fade from public awareness. That’s when the city engineered the creation of SCAN, and put the new nonprofit group charge of the channel.
One reason was to remove Comcast AT&T (which, through mergers, wound up with most of Seattle’s cable subscriptions, which would soon after be sold to Comcast) from the responsibility to enforce limits on the channel’s “free speech” policies.
Producers were forbidden from airing commercials or soliciting money on the air. Otherwise, pretty much any content was permitted. Officially, programming wasn’t supposed to violate federal “obscenity” guidelines.
But with a no-prescreening policy in effect, some producers dared to sneak stuff past. Michael Aviaz’s Mike Hunt TV and T.J. Williamson’s Fulfilling Your Fantasies included uncensored excerpts from hardcore porn videos. Aviaz’s show ran off and on for nine years, getting kicked off for good in 2006. Williamson stopped submitting X-rated shows, but continued to program non-controversial travelogue videos under the name Adventure TV.
One of the ’90s access stars, monologuist-painter Shannon (Goddess Kring) Kringen, is still on the channel today (though no longer prancing naked on camera).
So are a trio of long-running musical shows, Music Inner City, D’Maurice & Armageddon, and Blues To Dos.
This week’s final SCAN schedule includes much the same range of fare the access channel had in its heyday, albeit without some of the edgier fare.
There’s even a madcap comedy-variety show, The VonHummer Hour.
It’s imported from Portland.
The ultimate question should not be, “How could the city defund SCAN?”
It should rather be, “Why was so little done to defend it?”
One reason: In a 200-channel cable TV landscape, this one little unadvertised analog channel lost what local prominence it had.
Another reason: With YouTube and podcasts and video blog posts, a scheduled cable channel is a relatively inconvenient way to distribute and view indie video. And the ol’ WWW in general is a handier way to disseminate niche-audience messages and entertainments (albeit a harder place to find them).
Still, there’s something very invigorating, even democratizing, about people making their own TV and making it available to the whole community to view in real time.
With the right support, SCM could bring that spirit back.
UPDATE: Seattle Community Media has now taken over the channel. The schedule of programs is the same as the final SCAN schedule. The only difference so far is the promos between programs. One of them is a sped-up video of a short drive from the old SCAN building to the NSCC campus, where a small staff stands in wait to proclaim “Welcome to Seattle Community Media.”
(Note: As was the case during my earlier flirtation with morning headlines circa 2007, these won’t necessarily appear every day.)
He says well-meaning things about whites stealing rock and roll from blacks — no mention of hip-hop though. Or what Clarence might have thought about playing to arenas and stadiums filled with next-to-zero black people. (Springsteen’s audience is pretty much exclusively white.) Or, for that matter, how Timothy felt standing in a room full of white people congratulating himself on America’s ability to successfully and peacefully integrate itself, due solely to the fact that there was a black guy in the band playing saxophone.
In case you haven’t noticed, there are some lovely cover-art images on this page’s lower left. They depict books, CDs, and DVDs with at least a vague connection to Seattle and proximity, all of which are for sale.
The selection changes at random every time you load or reload any page on this site. So if you don’t see something you like, you probably will the next time.
I just added more than 100 additional titles to the database, so there’s plenty of variety.
Of course, if you really want to help support these verbal endeavors, you should buy one of our own lovely MISCmedia products.
At least two more of those will be up for your perusal and purchase within the next few months. Stay tuned.