Secret performances

In a thread about recent shutdowns of houses doing DIY shows in Chicago and the best way to balance keeping things on the downlow and still accessible, someone shared this awesome piece of history from The Missoula Oblongata:

At the time, Missoula’s punk and DIY community was undergoing a crackdown by the fire marshal, who had systematically shut down almost every local venue that wasn’t a bar. This meant there was no affordable and accessible place for young people to organize concerts, art shows, or events. When people responded to this by organizing shows in their own houses, the fire marshal found the houses, shut down the shows, and threatened arrests.

In response to this strange and grave situation, The Missoula Oblongata’s first production was a performance of Macbeth, which we held in secret in the basement that we’d been renting out for rehearsing. The space was only accessible through an unmarked door hidden in an alley. There was no public advertising for the performance. The performers (local artists and friends who had never been in a play before) each handed out sealed invitations to people they knew (not including the fire marshal, with whom we were all now well acquainted). The invitations instructed them to meet at The Oxford (a local dive) on April 6th at 8pm wearing a red carnation. Sure enough, on that day, at 8pm, an usher dressed like a skeleton arrived and escorted the entire carnation-wearing horde from The Oxford to the alley and the unmarked door, and then down into the basement to watch the play.

Digital engagement coordinate system

A coordinate system for framing digital civic engagement as presented by Ethan Zuckerman in his #dml2013 opening keynote
A coordinate system for framing digital civic engagement as presented by Ethan Zuckerman in his #dml2013 opening keynote

I thought Ethan Zuckerman’s opening keynote at the 2013 Digital Media and Learning conference offered a really compelling frame for digital civic engagement.  I couldn’t find the slides for this talk, so I made a quick reproduction of the visualization of the idea of the interplay between thick, thin, symbolic and impactful engagement.

Running jasmine tests with jasmine-jquery HTML fixtures in Google Chrome

I use Jasmine to test the Backbone code for the software behind Floodlight. My Handlebars templates for the Backbone views are in a separate file, included by the Django templates, which allows me to use the same templates when testing the Backbone views. To load the Handlebars templates for the Jasmine tests, I use the jasmine-jquery library.

This was working fine for me in Firefox, but I found that the tests were failing in Chrome.

It seems that the reason for this is that Chrome, by default, prevents JavaScript from loading local files. You can override this by starting Chrome with the --allow-file-access-from-files switch. This is the command that I run from my shell in Ubuntu:

google-chrome --allow-file-access-from-file

Here is the issue that describes this behavior and where I found the workaround. I found it through this blog post.

Fracking in Illinois

Today I read Fracking industry draws closer in Illinois.

It seems like the energy industry’s case is:

  • There’s no clean energy. Fracking can be safely regulated.
  • This will create jobs in Illinois

In evaluating these things, I wonder:

  • Has fracking been in practice long enough to evaluate long term impacts?
  • How do early estimates of negative impacts and regulation to address this of established energy extraction techniques (off-shore drilling seems like a good example) match with the realities we’ve seen since the technology was introduced?
  • How long will the jobs created by fracking in Illinois exist? How long have they existed in other communities?  Will these jobs disappear in a manner similar to auto-industry jobs in the rust belt. Do places with low unemployment exist because they have have a single large industry that employs a lot of people or a mesh of industries with pathways for people to move to other types of work when one employer dries up?
  • How do you quantify the cost of unemployment vs. being employed in a dangerous or environmentally toxic job?

More Chicago teacher strike context

Why the U.S. is not Finland with regard to education policy:

http://blackagendareport.com/content/why-us-can%E2%80%99t-compete-educationally

Disconnect from wealthy funders of anti-teacher union candidates and largely low-income public school students:

http://www.newyorker.com/online/blogs/comment/2012/09/american-teachers.html#ixzz26iDsyahX

Culture of “teacher bashing”:

http://www.otherwords.org/articles/chicago_and_the_psychology_of_teacher_bashing

Infographic on growth of charter schools:

http://www.wnyc.org/shows/bl/2012/sep/17/educating-tomorrow-k-12/

Hinged

Hinged is a band that I play in with Daniel Wescott, Jeff Jablonski and Rawny Semba. We started playing during the summer of 2012.

Past Shows

  • July 7, 2012 – Chicago, IL @ Deagan Music w/ Secret Lover and Emme and the Moon
  • July 30, 2012 – Chicago, IL @ Gnarnia w/ Acidic Tree, Al Scorch and the Country Soul Ensemble, Ramshackle Glory

Lyrics

The Ending

When I slipped these earthly grips, I swear I can’t remember a moment of decision,
nor icy streets or rubber slick, just collision of position careening across the boulevard.
And all the same, what comes has came.
Was it in my power, for this ending, this outcome to not be the same?

I don’t remember losing count of the cells that mark the line between the living and the dying.
Still I feel I’m holding out, tethered by my anger at this stupid situation.
I move through space ephemeral and nurse my empty glass in the corner of the bar.
Haunted by how small the sound and range of all my motions, when they could be more tangible.

I am wind, I’m as dust.
I am anger without potency, I am feeling without touch.
I am steel, turned to rust,
clinging to this world I loved so much but not enough.

The Ending

When I slipped these earthly grips I swear I can’t remember a moment of decision
Just icy streets and rubber slick and collision of position careening across the boulevard
But all the same, what comes has came
Was it in my power, for the ending to not be the same?

I don’t remember losing count of the cells that mark the line between the living and the dying
Still I feel I’m holding out, tethered by the anger of this stupid situation
I move through space ephemeral, and nurse my empty glass in the corner of the bar room
Haunted by how small the sound and range of all my motions when they could be more tangible

I am wind, I’m as dust.
I am anger without potency, I am feeling without touch
I am steel, turned to rust
Clinging to this world I loved, so much but not enough

For real all ages

A while a go Defiance, Ohio played a show with Kimya Dawson and Your Heart Breaks at the public library in Olympia.  I remarked that it was an awesome show because it felt like it was “for real all ages” because there were the usual 20-something punks but also parents with their kids ranging in age from toddler to elementary school and a few grey-haired elders as well. A big part of that audience diversity seemed to do with being at a space that was public, culturally neutral and, through the very nature of the mission and programming of many libraries, all-ages.

In the past years, I’ve seen more and more folks in the DIY community organizing shows that are geared toward kids, or recording records of music oriented toward kids. This is cool and its great that DIY culture can flex to reflect people’s changing families and lives, but I’m more interested in how shows can be for real all ages and not just create special, designated spaces for people who don’t fit into the most frequent demographics about punk.

These are some questions that my friend asked me when trying to decide if she should bring her 12-year-old daughters to a show.  It strikes me that these aren’t just good questions to consider when you’re trying to organize a show that is kid-friendly, but really questions that get at a lot of assumptions we make about comfort at shows in general. Taking these things into account can not only make a show kid-friendly but make them more accessible to a variety of people whose needs might be a little different than those of the folks organizing a show.

  • Is the show no drinking? Will the show be more of a party where there might be lots of people there to just drink or hang out, or are most people there to see the bands?
  • Does the space allow smoking inside?
  • How big is the space? Are people likely to feel crowded?
  •  Is there space to hang out between bands where it’s not as crowded?

I know it’s not possible to do a great job with all of these things for every show. It’s also possible that you could work really hard to organize a show that does a good job of these things and no one seems to notice or care, or it creates an environment that’s more sterile or awkward. However, I think it’s important to keep these things in mind and try to make them priorities when it feels organic and to push to create spaces for shows where these things are organic.

What seems to get overlooked in the supreme court’s review of the individual mandate …

What seems to get overlooked in the supreme court’s review of the individual mandate is that though young, healthy people may not need health insurance, health insurance is, sadly, a gatekeeper to getting access to even (relatively) cheap and easy healthcare services.  The expense, difficulty and stigma of accessing health care without insurance, and often even with insurance, keeps people from getting into habits of self-care that can lead to better health or earlier detection when someone’s health changes.  Young, healthy people may not need health insurance in the same way as other healthcare users, but they need to take care of themselves, which should include accessing different kinds of healthcare.

I’m deeply ambivalent about an individual mandate as a solution, but I do think it exposes the shortcomings of a market-based health care system that puts the market and the system above human needs.