• We’ve got to save Metro Transit from the devastating cuts that have decimated Snohomish and Pierce counties’ transit systems. There’s a public forum about it on Tuesday, 5/14, 3 p.m. at Union Station. (Despite the unfortunate, pseudo-snarky tone of the hereby-linked article at KOMO’s SeattlePulp.com, its message is important.)
• While upscale NIMBYs fight to keep those dirty non-upscale people out of their “clean” neighborhoods via attacks on “aPodments” (the only affordable, non-subsidized housing being built in town these days), the building of mass-produced “exclusive” luxury apartment towers continues unabated.
• Seattle Weekly Shrinkage Watch: Restaurant reviewer Hanna Raskin (with whom I appeared last year at a MOHAI/Seattle Public Library “History Cafe” panel) has quit, rather than accept a lower-paying job as a “food and drink editor.” Back in the Weekly’s heyday, restaurant reviews were more prominent than any other “culture” category, accounting for almost a quarter of the paper’s cover stories. Now, they might or might not be part of the paper at all. (The Weekly’s also fired its music editor Chris Kornelis.)
• Meanwhile, the Weekly’s onetime sister paper the Village Voice is down to 20 editorial staffers. Its two top editors received orders from on top to cut five of those positions. Instead, they quit.
• Amitai Etzioni at the Atlantic claims “the liberal narrative,” which he defines as support for big-government paternalism, “is broken.” No, it isn’t. It’s government itself that’s broken, and only the “liberal narrative” has the means to fix it.
• Jeanne Cooper, 1919-2013: The dowager “Duchess” of The Young and the Restless had played the same role for just short of 40 years. Before that she’d been in countless westerns and dramas (The Twilight Zone, Perry Mason, etc. etc.). Her three kids include L.A. Law/Psych star Corbin Bernsen.
• In not-at-all-surprising news, YouTube will add paid-subscription channels.
• Let’s close on a happy note (on the 80th anniversary of Hedy Lamarr’s breakthrough film Ecstasy) with Hysterical Literature, a video project by photographer Clayton Cubitt. In each segment a woman reads from a favorite book while, out of camera range, a second woman gives her a Hitachi Magic Wand vibrator treatment. (NSFWhatever.)

via criminalwisdom.com

via wikipedia

Pay close attention to the above image.

It indirectly has to do with a topic that’s been going around here of late, including on this site.

The premise: Seattle has become the new nexus of the book industry.

Amazon now firmly pulls the strings of both print and e-book sales, at least in the realm of “trade books.”

Costco and Starbucks also hold huge influence over what the nation reads.

Nancy Pearl’s NPR book recommendations hold huge sway.

And we buy lots of books for local consumption, giving Seattle readers an outsized role in making bestsellers and cult classics.

See anything missing in the above?

How about actual “publishing” and “editing”?

•

Now to explain our little graphic.

Cincinnati companies once had an outsize influence in the TV production business.

Procter & Gamble owned six daytime soaps, which in turn owned weekday afternoons on the old “big three” networks.

Taft (later Great American) Broadcasting owned Hanna-Barbera, which in turn owned Saturday mornings on the networks.

But if you think of TV content actually shot in Cincinnati, you’ll probably remember only the credits to the L.A.-made WKRP In Cincinnati.

And maybe a similar title sequence on P&G’s N.Y.-made The Edge of Night.

We’re talking about one of America’s great “crossroads” places. A town literally on the border between the Rust Belt and the South, in a Presidential-election “swing state,” often overshadowed by cross-state rival Cleveland. A place with innumerable potential stories to tell.

But few of these potential stories have made either the small or big screens.

The last series set in Cincinnati was the short-lived Kathy Bates drama Harry’s Law.

The only TV fare made in Cincinnati has been a couple of obscure reality shows.

•

The lesson of the above: prominence in the business side of media content isn’t the same as prominence in the making of media content.

What of the latter, bookwise, is in Seattle?

Fantagraphics has tremendous market share and creative leadership in graphic novels and in comic-strip compilation volumes.

Amazon’s own nascent publishing ventures have, so far, aroused more media attention than sales.

Becker & Mayer packages and edits coffee-table tomes for other publishers, and now also provides books and “other paper-based entertainment… direct to retailers.”

The relative upstart Jaded Ibis Productions combines literature, art, and music in multimedia products for the digital era.

We’ve also got our share of university presses, “regional” presses, and mom-n’-pop presses.

Still, the UW’s English Department site admits that…

Seattle is not exactly a publishing hub… so job openings are very limited and most local presses are small and specialized.… In any location, those seeking jobs in editing and publishing far exceed the number of jobs available; competition is very vigorous.

And these are the sorts of jobs people relocate to get, or even to try to get.

•

Of course, Seattle also has many writers and cartoonists of greater and lesser renown. But that’s a topic for another day.

neil hubbard via cousearem.wordpress.com

• It was 37 years ago this month: The TMT Show, the first faint stirrings of Seattle punk rock culture. May Day of the Bicentennial year. Three bands rented a hall in the Odd Fellows building on Capitol Hill. About 100 people showed up. From these DIY roots sprang, directly or indirectly, all the noise that emanated from this burg ever since.
• The City Council’s revised South Lake Union rezone: even fewer affordable housing units than Mayor McGinn’s plan, but more preserved Space Needle views for condo owners.
• The old Seattle Rep space, which became the Intiman Playhouse, is now the “Cornish Playhouse at Seattle Center.”
• Ray Harryhausen, 1925-2013: The king of stop-motion animated fantasy was better known than his films’ official directors, for a good reason. Those dudes were simply in charge of the live-action scenes. The filler, if you will. Harryhausen was the films’ real auteur.
• Ex-Miramax boss Harvey Weinstein sez search engines are getting rich off of the pirated works of fine people such as himself.
• I’m not so sure that there really is a “Conservative Quest to Eliminate Facts.” It’s more universal than that.
• It’s not so much that the tech companies listed in one woman’s Tumbler blog “Only Hire Men,” but that they seem to presume only men will even apply to work there.
• Dear Crowdfunders: Millionaire celebrities and billionaire media titans don’t need your Kickstarter money. Really.
• Even the bosses of America’s hyper-bloated “security” bureaucracy don’t seem to know all that’s in it.
• Recent “good news” about newspapers’ paid readership (in print and online) seems, in some cases, to be exaggerated.
• Blogger Mark Manson has “10 Things Most Americans Don’t Know About America.” Number 5: “The quality of life for the average American is not that great.” Number 6: “The rest of the world is not a slum-ridden shithole compared to us.”
• Allen Clifton at Forward Progressives isn’t the first, and won’t be the last, to remind you Jesus probably neither a corporate lobbyist nor a Tea Partier.
• The downside of traditional publishing: A Brit lady who writes popular children’s books really wants her publisher to stop putting them inside pink covers. She says pink turns boy readers away and distracts from her stories’ often-serious content.
• The downside of modern publishing: An American gent who’s written three novels “to good reviews” (if not good sales) tries self-publishing and finds it to be “the worst.”
• I’d be more interested in Out of Print, Vivienne Roumani’s forthcoming documentary about the digital publishing “disruption,” if the director didn’t seem so obsessed with making everyone younger than herself look like an idiot.
• Let’s close for today with some wonderful old Greek and Greek-American music from the 78 era.

tom banse via kplu

• Could fewer pesticides mean more bees in Wash. state’s future?
• You know I love old Seattle, and old postcards, and old Seattle postcards.
• “Second-hand pot smoke” exists, and can potentially be grounds for getting fired.
• Against stereotype, Washington ranks among the “most stressed-out states.”
• Affordable housing in these parts is like the weather, as per the old phrase “everybody talks about it but….”
• The decimation of Metro Transit can only be averted in the special session of the Legislature. Which, as you recall, is controlled by turncoat ex-Democrat Rodney Tom (who doesn’t seem to give a damn about anything but appeasing right-wing Big Money, which is anti-transit as a matter of principle).
• Local economics pundit John Burbank says Washington should, and more importantly can, prepare for a post-Boeing future.
• George Jones, 1932-2013: He stopped loving her today.
• Okay, we’re getting a full component of air traffic controllers again. Now can we please work out sequester repeals that would benefit, you know, non-rich people?
• A bestselling author wants the federal government (which, as you recall, can’t even support public broadcasting or arts education sufficiently) to subsidize the big book publishers.
• Anybody remember Blockbuster Video? This will stoke your memories. (Incidentally, there’s supposed to be two still-extant Blockbusters in Kent and one in Edmonds.)
• Let’s close up for today with some video documentaries about women in punk.

networkawesome.com

capitol records via wikipedia

• Among the stories I missed by waiting a week to post Random Links: Heart’s well-deserved induction into the Rock n’ Roll Hall o’ Fame.
• Are the Sonics Back Yet? (Day 108): No. But at least we have a date when we might (repeat, might) find out one way or the other: May 13.
• Seattle’s on-and-off-again Fourth of July festivities are on again.
• Seattle’s interim police chief says he’s really, really, really sorry for the video he made mocking the homeless back in the ’80s, using police training-video production gear.
• Is “alternative” music too female-unfriendly? Or is it just corporate “alternative” music festivals that leave the women out?
• The SunBreak explains just why privatized liquor costs more than state-liquor-store liquor did.
• Starbucks is among the companies asking for expanded U.S. tax breaks on overseas revenues.
• Washington’s attorney general wants you to know that T-Mobile’s “no-contract” cell phone plans can still cost you as much as traditional ones.
• Paul Krugman asks whether no one in power even gives a damn about the long term unemployed; while Jared Bernstein at Salon says rising income inequality can’t be fixed unless the campaign-finance system is fixed first.
• The Boston bombing media circus was a pathetic spectacle that continues to spread misinformation.
• Bad news everyone: Futurama is canceled, again, perhaps this time forever (but that’s what they said the last time).
• Speaking of shows (and characters) which have come back from the dead, the once-dead online revivals of All My Children and One Life to Live have miraculously re-revived like Lazarus Dixie. Episodes stream on Hulu.com starting Monday.
• The film itself has gone on to the big Netflix stream in the sky cloud, but the original website advertising Space Jam lives on!
• One or more of Wikipedia’s volunteer editors had been taking female writers out of a page about “American novelists” and into a page about “American women novelists.” But people complained, and the sex-segregation has stopped. This isn’t much different from indie bookstores (like Seattle’s Left Bank Books) separating “women’s fiction” from “general fiction.”
• Can we really blame the whole ’08 economic kablooey on a few coked-up financiers in London?
• AlterNet reminds you that, yes, your bad memories of George W. Bush are fully justified.

seatacmedia.org

Earlier this year, KUOW and MOHAI came up with a list of 25 “objects that tell Seattle’s story.”

They range from the obvious (a Boeing B-17, a poster announcing the Japanese-American internment, a Starbucks coffee cup) to the more obscure (an ancient, giant ground sloth).

A little more recently, SeattlePI.com ran a list of “25 things we miss in Seattle.”

These also ranged from the truly famous (the Lusty Lady sign, Frederick & Nelson’s window displays) to the lesser known (the Woodland Park Zoo’s nocturnal-creatures exhibit).

I’ve got my own list of Seattle pop culture icons. All of them are things I’ve personally seen or owned.

And yes, there are 25 of them. (Why break a routine that works?)

In no particular order, they are:

1. A Frederick & Nelson shopping bag.
2. A Dog House place mat.
3. A J.P. Patches plush doll.
4. A floppy disc of MS-DOS 1.0.
5. A P-I vending box.
6. Dr. Belding Scribner’s first artificial kidney machine.
7. The Kalakala.
8. Bud Tutmarc’s pioneering electrified pedal-steel guitar.
9. A Neptune repertory-cinema calendar.
10. A KJR “Fab 50” newsletter/record chart.
11. A mascot costume for “Nordy,” the old Nordstrom children’s shoe department spokescritter.
12. A first pressing of Nirvana’s Bleach on vinyl.
13. A work of Northwest Coast native art; or, one of artist Preston Singletary‘s upscale “tributes” to Northwest Coast native art.
14. A Space Needle ball-point pen.
15. A set of Peter Bagge-designed “grunge rock pencils.”
16. A first-edition hardcover of Sophie Frye Bass’s book Pig-Tail Days in Old Seattle.
17. A Seattle Pilots pennant.
18. The Pike Place Market mural honoring pre-WWII Japanese-American farmers.
19. An Amazon.com shipping box with one of the company’s five early logos.
20. A piece of Kingdome debris.
21. An Ivar’s Acres of Clams kids’ menu.
22. A Smith Tower elevator car.
23. A Washington Mutual savings passbook.
24. The prototype 747.
25. A wooden miniature hydroplane.

via seattle bike blog

• Enterprising citizens calling themselves “Reasonably Polite Seattleites” took it upon themselves to install unauthorized “bicycle lane protectors” (reflective plastic pylons) along Cherry Street uphill from downtown. The city vows to remove them.
• Seattle police chief John Diaz will retire, allowing Mike McGinn (or perhaps a successor mayor next year) to put in another figurehead for uncontrolled street-cop brutality.
• In a Belltown where anything non-one-percenty is increasingly out of place (more about that in a day or so), Roq La Rue has been kicked out of its longtime space in the old Film Row RKO distribution offices. Fortunately, Seattle’s premier “pop surrealist” art gallery has found new quarters in Pioneer Square, effective some time this summer.
• Meanwhile, a Crosscut contributor named Andy Fife asks whether there is a “Seattle arts aesthetic.” Actually, there are several. There’s the “world class or bust” desperate slickness of most of SAM’s big permanent displays. There’s the “rich ex-hippie” mellow slickness of Chihuly and company. There’s the “modern monumentalist” big stuff seen at the G. Gibson and William Traver galleries. There are the house styles of Cornish and Gage and their recent alums. And there’s the “let’s put on a show” urban folk/pop styling of most of my personal faves.
• New Orleans city bosses apparently want to simultaneously (1) shut down music venues, and (2) promote their city as a live-music tourist destination.
• NBCNews.com blogger Wilson Rothman claims Apple’s iTunes is “out of date and out of touch.” Specifically, Rothman dislikes the whole idea of having to pay for song recordings. He seems to prefer the Spotify model, in which artists make fractions of fractions of pennies. That’s supposed to be the modern way?
• Here’s one author who hates the new economics of the book biz—Scott Turow, one of the few writers who’d thrived under the old system.
• Joshua Macht at the Atlantic claims Time magazine has perhaps three years to live.
• Hacked computer data shows the global one-percenters are hoarding trillions in secret overseas tax-haven accounts. Leaders of nations other than ours claim to be aghast.
• The newspaper industry has started measuring revenue from online paywalls and ancillary products/services. The resulting figures show papers are now losing a little less money than previously thought.
• The death last week of Spanish exploitation-film giant Jess Franco has been followed by the loss of another of that country’s great directors of sex and/or violence, Bigas Luna.
• Annette Funicello, 1943-2013: The only original Mickey Mouse Club cast member to have a real adult showbiz career was the wholesome sex symbol in the Beach Party movies, and a pop singer of unusual clarity and panache. During her cameo in the Monkees’ film Head, she proved not afraid to parody (without breaking) her squeaky-clean image. She remained gracious and classy, even during her long slow illness.
• We’ve also lost Les Blank, who directed 42 documentaries of varying lengths and topics (all shot on film). He’s probably best known for Burden of Dreams, the “making-of” film about Werner Herzog’s Fitzcarraldo. Many critics considered Blank’s behind-the-scenes story to be more compelling than Herzog’s feature.
• And another goodbye, this one to Hilly Krystal, influential owner of NYC punk club CBGB. While he opened it as a hippie spot dedicated to “country, blue grass, and blues,” he quickly adjusted to welcome the burgeoning Bowery underground scene. The result was what the New Yorker called “the ultimate garage—the place garage bands everywhere want to play.” (Update: This hereby-linked story is from 2007. Krystal’s still worth remembering nowadays, though.)
• Femen and associated groups held an “international topless jihad day” across European capitals, though the slogans painted upon themselves seemed to almost all be in English.
• Ending the drug war was never one of Obama’s top priorities. I suspect it’s because the whole bohemian-relaxation vibe clashed with the striving-for-progress zeitgeist that informed Obama’s worldview. But, as with gay marriage, he may be soon forced to act by a groundswell of popular opinion.
• The Nielsen ratings now claim there are 5 million “zero television” households in the U.S., up from a mere 2 million in ’07. (The “kill your television” “radicals” will, naturally, completely ignore this information.)
• Meanwhile, Rupert Murdoch’s minions threaten to pull the Fox broadcast network off of over-the-air stations (including affiliates tied up in long-term contracts) and go cable-only, unless the courts outlaw a service to stream local over-the-air stations to local viewers via Internet connections.

latimes.com

So much has been written already about the beloved film critic, TV host, author, Russ Meyer screenwriter, champion of obscure good films, vilifier of stinkeroos, and stoic survivor of one of the worst cancers anybody ever had.

I can only repeat what’s already been said—that Ebert was admirably both a film-lore geek and a populist, a man of aesthetic standards who wasn’t above enjoying (and helping make) down-n’-dirty exploitation, and a great wit.

Here are two pieces of his that have been rediscovered of late.

In the first piece from 2010, he looks back at his post-adolescence, in an era when college administrations still actively attempted to prevent students from having sex.

Then in his 2011 memoir Life Itself, he discusses his completely grody cancer and says, “I do not fear death.” And he explains his political stance:

“Kindness” covers all of my political beliefs. No need to spell them out. I believe that if, at the end, according to our abilities, we have done something to make others a little happier, and something to make ourselves a little happier, that is about the best we can do. To make others less happy is a crime. To make ourselves unhappy is where all crime starts. We must try to contribute joy to the world.

Here are reminiscences of Ebert by two Seattleite members of his longtime blogging team, Jeff Shannon and my ol’ UW Daily staffmate Jim Emerson.

david rosen, west seattle herald

• All the local mainstream media today believed you all were really really interested in the slow seaborne arrival of Bertha the boring machine.
• As you know, I normally loathe the term “world class,” particularly when used to describe something someone wants to impose on Seattle. But this might be the exception: Stunning Seattle, a project to festoon the city with “world class murals.”
• In my last Random Links post I neglected to mention the deaths of two longtime local politicos, campaign operative extraordinaire Blair Butterworth and former Seattle City Councilmember Cheryl Chow. Both, in their own ways, helped the cause of progress in the state and the city.
• Newspaper Shrinkage Watch: Starting June 1, the Aberdeen Daily World will now only print three days a week (Tue/Thu/Sat). Publishers promise they won’t fire any more reporters when they make this move.
• Art Thiel’s got a great piece in Seattle Business about the new Husky Stadium, and how the UW managed to get it built without state tax dollars. Among the tricks: The U sent out the construction bids at the nadir of the late 2000s real-estate slump, and got a cash windfall from the new Pac-12 Network.
• Paul Rosenberg at Alternet ponders whether “rational decision making” has become too unpopular in this country—not among the faux-populist teabaggers but among “the elites.”
• Every week, more ultra-rare film and TV material shows up online and within the film/video trading circuit. And for almost 10 years now, Film Threat‘s Phil Hall has kept track of it at his column “The Bootleg Files.”
• Fujifilm won’t make motion picture film any more.
• Intel’s supposedly working on an online-based alternative to cable TV. It probably won’t cost any less, though, because the big cable channels will want to collect the same “carriage fees” per subscriber.
• Meanwhile, Variety lists Microsoft and Amazon among the other companies “that pose the biggest threat to pay TV.”
• I’ll believe Leno is really being shown the door this time when I see it, and perhaps not even then. Supposedly it’ll be next February.
• Good news for everybody who hates those horrible, deliberately badly-written, how-to and self-help articles clogging up the top of various Google search results. Web-pundit Steve Floyd now proclaims that “search engine optimization” or “SEO,” that mystical pseudo-science of crafting useless web pages in order to game the search engines, “is dead.”
• The “Harlem Shake,” that 15-seconds-of-fame online video “meme,” was largely crafted and publicized by corporations.
• Allen Clifton at ForwardProgressives.com has assembled a handy series of compelling arguments you can use on your right-wing relatives.
• Finally, some beautiful, haunting images of Greek prostitutes by photojournalist Myrto Papadopoulos. They’re shown as regular (albeit beautiful) folks just trying to make it in a lousy economy.

washington dept. of natural resources via kxly-tv spokane

• Here’s the big Whidbey Island landslide from Wednesday.
• “Apartments are expensive, hard to find in Seattle area.” Damn. I need one and soon.
• Update #1: The Elvis statue that got stolen from Mama’s Mexican Kitchen in Belltown was found and returned.
• Update #2: Canterbury Ale & Eats, the legendary Capitol Hill dive bar, is still scheduled to close later this year. But its landlord, the nonprofit Capitol Hill Housing, wants to replace it with another “affordable” eatery-drinkery.
• Update #3: The sudden controversy over artist Charles Krafft’s longstanding ultra-right-wing beliefs has made the New Yorker.
• My ol’ acquaintance, painter Billy King, would like a “1 percent for the arts” program for commercial real-estate developments, particularly the ever-enlarging Amazon campus.
• And local sci-fi legend Neal Stephenson would like his fellow fantasists to get back to the old SF game of imagining practical, possible utopias, instead of the escapist cyberspaces and grim nightmare futures they’re mostly imagining these days.
• Michelle Shocked shows up at clubs that canceled her gigs after her anti-gay rant, claiming to be a free-speech martyr.
• “Shoppers tired of Walmart’s empty shelves and long lines are bolting to Costco and Target.” The empty-shelves part is only partly due to Walmart’s notoriously lousy labor policies that drive potential workers away. It’s also due to suppliers getting sick n’ tired of Walmart’s notorious “my way or the highway” stance toward them.
• Salon asks, “Is there anything 3-D printing can’t do?” Actually, there’s a heckuva lot it can’t do. Yet.
• Many (white female) porn stars still refuse to perform interracial sex scenes on camera. Comment #1: Yes, women (including sex workers) should be able to turn down anything they want to turn down. Comment #2: It’s still a sad sign that some performers (and, presumably, viewers), in a genre once thought to be the cutting edge of “free speech” progress, can’t get beyond one of society’s most tired old prejudices.
• Micheal Schuman at Time sees a new relevance for that ol’ policy nerd Karl Marx, as the global one-percenters wage “class struggle” against all the rest of us. But Schuman doesn’t see, or recommend, any serious counter response.

I’ve known, and occasionally worked with, Gillian G. Gaar for as long as I’ve been writing these MISC ventures.

You know her from her contributions to the Rocket, the Stranger, ArtsFocus, Tablet, the Belltown Messenger, and other local and national periodicals; as well as her books about Elvis Presley, Nirvana, the Beatles, and women in rock.

She needs some expensive surgery to restore the vision in her left eye.

Like so many in and on the periphery of the music scene, she has no insurance.

She’s started one of those online fundraising drives.

She’s a quarter of the way to her goal already, and could use your help getting the rest of the way there.

•

Dennis White, who runs the Dadastic! record label, has been making T-shirts commemorating Belltown’s still-mourned Dog House diner and piano bar.

For a limited time you can get one for $17 (with a free CD thrown in), and have $5 of the proceeds go to Gaar’s medical fund.

(The hereby-linked page says the deal is over, but White says you can just mention it when you order and he’ll still do it.)

• Are the Sonics Back Yet? (Day 65): No. But the would-be team buyers and arena developers have posted conceptual art of the proposed arena’s interior. It’s got a steep seating bowl and three “Sonics Rings” around the upper levels. Yes, it’s intended to be loud.
• Damning With Faint Praise Dept.: The Financial Times claims Boeing investors are not as “narrow-minded” as the company itself “(mostly) is.”
• I won’t be the new Seattle Weekly editor. (They didn’t even email me back.) Instead, they’re poaching Mark Baumgarten from CityArts.
• Meanwhile, John Roderick’s Weekly manifesto, “Punk Rock Is Bullshit,” has drawn national attention. Blogger Marianne Spellman calls Roderick’s piece an example of “how to get everything spectacularly wrong.”
• The latest gravestone in the print-media cemetery belongs to an “alt-weekly” pioneer, the venerable Boston Phoenix.
• You know the new Pope is just as anti-gay and anti-contraception as his predecessors. You might not know he was a serious collaborator with Argentina’s ruthlessly homicidal former junta.
• Today’s lesson in the folly of marketing products “For Women” is brought to you by a Dubai computer company. It’s selling a tablet device called the Femme, pre-loaded with shopping and dieting apps.
• 3D printing, that latest tech craze, isn’t quite up to the hype. Yet.
• Hostess snacks may again be made soon. Probably not in Seattle, though. That property’s just too developer-lucrative now.
• Three devoted fans have a dream, to rebuild the bridge set from Star Trek: The Next Generation. Even though they don’t have a place to put it.
• Bob Woodward’s John Belushi bio, according to a guy who re-tracked-down its sources, got most of its facts right but still got the bigger picture all wrong.
• In the Japanese tsunami of 2011, an historic forest on the country’s coastline fell—except for a single tall, thin tree. That tree eventually succumbed a year later, because its ground water had become too saline. But it’s remembered in a monumental plastic-and-metal sculpture, “Miracle Pine.” (The scaffolding in this image will be removed before the official unveiling.)

architizer.com

miyavik.deviantart.com, via sodahead.com

Acoustic/emo/neo-folk/whatever singer-songwriter John Roderick has helped bring back an old tradition at the again-locally-owned Seattle Weekly.

In the heritage of such long-remembered Weekly cover stories as “Should Gays Act ‘Gay’?” and “Is ‘Grunge’ Too White?”, Roderick has crafted the zeitgeist-challenging manifesto “Punk Rock Is Bullshit.”

Before we get into the critique of his critique, let’s let his critique speak for itself a little:

Ultimately, punk rock was a disease of the soul, a doctrine of projecting and amplifying feelings of insecurity and fear outward and inward until the whole world seemed like an ice cave. It wasn’t necessary to judge every new piece of art against unwinnable criteria, or ourselves against imaginary standards of altruistic correctness. It wasn’t preordained that fun, lighthearted inspiration was shallow or contemptible; nor was it true that everything sucked, that life sucked, or that the world sucked. Successful art isn’t always garbage, and lazy, shitty art isn’t always teaching us something.

That’s harsh. (Or, in the made-up “glossary of grunge” published by an ignorant NY Times, “Harsh Realm.”)

Did an entire neo-bohemian generation really let itself be suckered into something this terrible?

Well, no.

“Punk rock” meant many different things to many different people.

To some, it was simply the continuation of dirt metal, stripped down for greater immediacy.

To others, it was a movement to strip rock n’ roll back to its garage rock (if not its R&B) roots.

And yes, to some it was an excuse for drinking, drugging, vandalism, and other unhealthy behaviors.

Calvin Johnson famously redefined punk broadly enough to include innocent teenage love songs—just as long as they were created and distributed in adherence to a strict “indie” ideology.

That was a near-exact opposite of Sex Pistols manager Malcolm McLaren’s “cash from chaos” motto, which involved staging scandalous events for maximum publicity (and commercial) value.

Yeah, there were punks who got all self- (and other-) destructive.

But there were also punks who took the DIY ethos seriously, who built venues and labels and movements.

Punk was/is big enough to include skinheads and longhairs; junkies and straight-edgers; riot grrrls and Suicide Girls®; vegans and 7-Eleven fans; born-again Christians and neo-pagans and devout nihilists and even a few Jews.

•

But, for argument’s sake (and what punk rocker doesn’t like a good argument?), let’s say there’s one particular strain of punk ideology that (1) makes kids believe (for the rest of their lives) that everything completely sucks, and (2) prevents them from doing a damn thing to improve their lives or their world.

It wouldn’t be “punk rock,” whatever that is (see above), that does that.

It’s something within them that does that.

Call it a mental/psychological condition, if you will, with “punk rock” as a thin excuse smeared on top.

As ex-Funhouse bar owner Brian Foss said in response to Roderick,

In my life I’ve always seen joiners, people who need some kind of rule book to live by. Be it religion, or politics, or sports/D&D, or yes, music scenes, some people have little imagination.

I’ve also seen people take inspiration and make up their own shit from whatever culture they were exposed to. Something to prime the pump, jump start their own creations.

Other responses: Megan Seling noting how punk wasn’t intended to defeat Reaganism but help people survive it; Grant Cogswell seeing it as a natural response to the media-conglomerate controlled pre-Internet culture.

• Garance Franke-Ruta at the Atlantic wishes U.S. feminist demonstrators had more dignified, less confrontational visual icons under which they could march. Symbols like “Columbia,” the historic female representation of the nation/continent/hemisphere. Of course, there’s this little matter about how this icon is now best known as a movie-studio logo—now owned by Sony….
• Are the Sonics Back Yet? (Day 63): No. But Chris Hansen is taking names for a “priority ticket” waiting list.
• Do you wanna believe Knute Berger, who mourns the pending loss of certain local architectural landmarks to developers and their megabucks lawyers? Or David Moser at Citytank, who believes higher-density urban neighborhoods are the only way to keep lower-income folk from being shoved out to costly, car-dependent suburbs?
• Richard McIver, 1942-2013: The 12-year Seattle City Council vet, who was the lone “token black” on the district-less council, was a regular champion for civil-rights issues and for neighborhoods the city often took for granted. And he made a great foil for Grant Cogswell.
• Military officials don’t like a proposal in the state legislature to let “payday loan” companies trot out even more predatory lending products (which are often, but not solely, aimed at troops and their families).
• Yep, police still don’t want police reforms. But they insist it’s a “labor issue.”
• The Center School can again teach its “Citizenship and Social Justice” class. But the school district has imposed vague, unspecified restrictions on how it can be taught.
• Meanwhile, Ta-Nehishi Coates wants to remind you that even “good people” can turn out to be racists.
• Fret not, Tiffany Willis claims: America is irreversably “becoming more liberal.”
• Cord Jefferson at Gawker believes when journalism is only open to people who don’t need a paycheck, only people who already have money will be journalists; and, possibly, only stories of interest to people who already have money will be reported.

These Streets, the musical revue/play at ACT (running through March 10) about four women in the ’90s Seattle rock scene and two (mostly) supportive boyfriends, was constructed as a series of non-linear “moments.”

Scenes bounced between the past and present; the “past” storyline covers five years in the characters’ lives. Many of these short scenes and mini-monologues depicted single ideas or emotions.

In the show’s spirit, this piece is also a sequence of moments.

•

I mentioned in my 1995 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. Women were singers, instrumentalists, managers, promoters, venue owners, zine publishers, photographers, DJs, and record-label owners.

In keeping with the scene’s ethos, most of these women weren’t vying for fame and fortune. (The exception, Courtney Love, already had a record deal before she came here.)

But then a scene that, to many of its members, was an alternative to the major-label machine, became re-defined as fodder FOR the major-label machine.

The global music industry, at what turned out to be its peak of money and power, trawled Seattle fishing for superstars. The Gits were negotiating with a label when singer Mia Zapata was killed. Seven Year Bitch released one album on Atlantic, then broke up. But most of the scene’s women were ignored.

Over the years, “grunge nostalgia” books and documentaries (most made by out-of-towners) continued to ignore artists from the scene who hadn’t become big stars, including the women.

One of Harley and Rudinoff’s goals with the play was to remember this forgotten history.

These Streets, along with its concurrent poster-art and oral-history exhibit at the Project Room gallery on Capitol Hill, received massive coverage in local and national media.

The show includes parts of 18 vintage songs, originally recorded by 14 different female-fronted Seattle acts. Having four different characters singing the songs allowed the show’s makers to feature diverse musical material, from ballads (“power” and other) to straight-out punk blasts.

If any of those bands at the time had received a fraction of the publicity These Streets received, who knows what could have happened?

•

In keeping with the do-it-yourself spirit, These Streets was staged and produced by Gretta Harley and Sarah Rudinoff, who’d also written it (with Elizabeth Kenny).

Kenny and Rudinoff played the older versions of two of the characters. Harley sang and played guitar in the show’s tight backup band. Harley had been in the ’90s rock scene with the bands Maxi Badd, Danger Gens, and Eyefulls. She and Rudinoff currently perform as the duo We Are Golden.

ACT Theatre provided the auditorium space and various production services, under its “Central Heating Lab” program. (Carlo Scandiuzzi, ACT’s executive director, had promoted punk and new-wave gigs at the Showbox in the early 1980s.)

Harley, Rudinoff, and Kenny spent two years developing the script and score, based in part on interviews with some 40 Seattle-scene veterans. Twenty-three of these women were featured in historical graphics installed in the ACT lobby.

•

The show’s present-day storyline involves five of the six characters (yes, that’s a plot spoiler) reminiscing about their days of non-stardom, while surveying their later lives of houses, kids, divorces, and stints in rehab.

And they still have the urge to make music and art, to be on stage, to be loud and passionate in front of a crowd.

The world of their youth, the pre-dot-com Seattle of 1989-94,  has largely vanished. The city isn’t the same and neither are they.

According to Harley, the present-day scenes refer to a time when “you’re in this stage of life and you look back and take ownership of it. But then you’re also looking forward for first time in a very particular way. I hope the show helps to illuminate that ownership of this time in our lives, and also look back and say, ‘Hey kid, you had a lot of guts to get up and do that.'”

Harley says the making of These Streets was “a great experience. People who lived it seem to really love it; they feel that it’s very authentic. A couple of people said it inspired them to pick up music again.”

While no further performances have been scheduled past its three-week run, “we’re taking it one step at a time at this point.”

(Cross-posted with City Living.)