I was surprised to see that in an issue with articles on "party starters" [Nightlife: Party People, Oct. 29], due deference was not given to Guerrilla Masquerade Party (www.gmpseattle.com) and its founder, Dirty Bunny. GMP is a truly positive, fantastic concept that's putting some spunk and intrigue back in Seattle's sorry so-called nightlife. Straight bars, gay bars, restaurants . . . no one knows when and where GMP will transform the space right in front of them into a big, sick carnival of fun. The Weekly doesn't know, anyway.
Philip Dawdy pegged to a T the dowdy Margaret Pageler, who seems to have decided that since she has apparently hung up her hormones to dry, it's time for the kids to stop partying [Nightlife: Party People, "Unfunky Town," Oct. 29]. Is Seattlea city spawned in part by prostitutesgoing to feel more and more like authoritarian Singapore or Riyadh, or like the lively, rowdy sawmill town it was in its youth?
I miss the smells and funkiness of the working waterfront and honky-tonk downtown I remember as a kid. Less and less remains of old Seattle except on museum walls and Web sites. With laws piled upon laws, the relentless push to conformity is straitjacketing a city once known for its quirky charm. Now, when we need lap dances more than ever, Pageler, the old party pooper, wants to turn the lights up, just to save her shaky political butt.
GEOV GETS RAVES
Geov Parrish's "RAVE On" was great [Nightlife: Party People, Oct. 29]. Not only is the RAVE Act wrong, but I feel it is somewhat responsible for shutting down at least one venue in Seattle. Granted it was a known spot for drug activity, but when an act like this comes out and you have drug activity going on, you can no longer stay in business. And that is a shame, because the venue, NAF Studios, was the best in Seattle.
Parties, or "raves," have gone downhill in the Seattle area. They've moved to crappy, small venues where nobody goes except 16-year-old high candy kids. Even our infamous "Expo Parties" are starting to get lame. Take into account Freaknight 7, hosted by USC Events. Not only did they change the venue to a "hallway in the stadium," but it was overcrowdedand they still charged the same price. They wouldn't even give us bottles of water.
This article will increase the awareness of somewhat unconstitutional laws and help people realize that most people go to events for music and dancing. So thank you.
My name is Vic, former manager of the Makers. I liked Andrew Bonazelli's Ben Clark story [Nightlife: Party People, "Lashing Out," Oct. 29]. I found Ben's dig at the Makers surprising, though. When Ben was 17, he started showing up at every Spokane Makers show, asking for autographs and being a nice, unaffected kid. The Makers were his favorite band, and we liked him. The dirty world of the Makers was appealing to a squeaky-clean youngster such as Ben. When he moved to Seattle, he even started to dress like Michael, his role model. Michael didn't careBen wasn't the only hipster in town copping his style. Of course, things got creepy when Ben started stalking Michael's every movecalling him at all hours, clinging to him like a groupie, dropping his name. Ben used to adore shit like Matchbox 20 and No Doubt, but now he was listening to "cool" music and hanging out with "cool" people. But he still loved the Makers. The earliest version of the Lashes is very "Makers-lite"that's Ben's quote in The Rocket. Imagine the Makers minus the balls and talent, and that's the Lashes. Ben even roadied for the Makers once, which was the worst decision of my life. He'd never worked a day of his life. He's a rich boy from Spokane. I tried to look beyond that, but he revealed himself to be a spoiled shit. He was only interested in passing out his ridiculous demo and pretending to be a member of the band. One time on tour, Ben ripped his pants when he actually had to lift something heavy. Did he go to the Goodwill and snag a new pair? Of course not. He had his mom FedEx new Levi's to our hotel, with cookies and muffins! This candyass was the most demanding, lazy, egomaniacal prima-donna I've ever toured with. His transformation into a shameless scenester weasel is nearing completion, and it's been awful to witness. The guys were forced to distance themselves from this opportunistic leech, which has resulted in the scorned girlfriend Ben resembles today. Strangely, the Makers
have remained friendly, which makes his back-stabbing comment even more sickening. Ben is a professional ass-kisser, and it just might pay off for him in this town. Bonazelli's decision to use the quote also seems a bit odd, given the Makers' standing as the Seattle Weekly Music Awards' "Best Garage Rock Band." Maybe the Makers should have decorated his cubicle with balloons and candy.
WARDS: A GOOD DEAL
I disagree with George Howland Jr.'s premises and conclusion about wards and why they would be bad for Seattle [Mossback, "Want Wards? Move to N.Y.," Oct. 29]. Foremost is his belief that "infighting" is a bad thing, and that bringing it to Seattle would be a bad thing.
Platonic ideals are for idealists in their ivory towers. A realistic model of government has conflict and can deal with it. That conflict already exists in Seattle, only now it is without much of a voice on the council. Dividing into wards would better reflect the diversity of Seattle's neighborhoods and would demand the second thing Howland admits is missing from our council: deals. The last time I checked, the definition of politics was compromise. Cutting deals and forming alliances may be unseemly to Howland's notion of Platonic idealism, but turning small wards into real political players would get more voices heard on every issue facing the council. Also, lumping political cultures together in the very different cases of Chicago, New York, and Boston does little to help us understand how wards would take hold in Seattle's political climate. But Howland's right that less popular political ideas are given voice. It's not a bad thing, and we need more of it in American democracy, not less.
Thank you for Gavin Borchert's article on the vital community orchestras in our midst ["Fabulous Invalids," Oct. 29]. In addition to the wonderful groups he reviewed, there are many others that are powered by music-loving amateurs of all ages and levels of accomplishment. Anyone who has heard the Mahler Festival performance each July knows that we owe that marvelous festival to the players and singers in more than 40 community orchestras and choruses in the Seattle area. The great gift of these orchestras is that they permit so many musicians to keep playing at a serious level. For example, Musicians Emeritus Symphony Orchestra (in which I play) currently has a grandfather and his granddaughter sharing a stand in the violin section.
Wonderful as it is to hear the professional ensembles and the great visiting artists, ordinary amateurs making music on a weekly basis is a special gift to the region. While their repertoires may be rather too conventional, these community orchestras and choruses show that classical music is part of the fiber of our community, how we spend our time and money, and what we care about.
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