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Justice for Cisco →

pearlsnapbutton:

inlumino:

An APD (Austin Police Department) officer shot and killed a dog when responding to a domestic disturbance at the wrong address. The cops are out of control. Please repost and help get this story out there.

The APD doesn’t give a fuck about shooting PEOPLE why are we shocked that they would shoot a dog?

Well, that’s the point. Everybody loves dogs. Dogs are friendly. When we hear about a dog in its own yard being shot for barking, we think to our own animals, or ones that we’ve known, and we recognize that not only would they likely respond that way, but they’d have no idea why the police officer was there, who he was, or why that would be a bad time to alert the stranger in the yard that he’s in the dog’s territory. He’s just being a dog.

There’s none of the muddiness that comes when a police officer shoots a person. When that happens, we’re always looking to rationalize the officer’s actions. The police can’t shoot — or taze, or arrest and humiliate, or or otherwise commit injustice against — good people like us, so anyone that those things happen to has to be at least partly at fault. They must have done something wrong. This is how you end up with wildly different versions of what happened to Byron Carter Jr. and Ahmede Bradley. In those cases, we’ll never know what actually happened, if Carter and Bradley were good people or if they were criminals in the act of attacking the officers who shot them. 

It’s much easier, when it’s a person, to pretend like the police had no choice but to shoot. That’s why, when it happens to a dog, it’s important. Because we know the dog didn’t have malice in its heart, that it wasn’t a criminal.

Now imagine if we gave every person who was shot by the police the same sort of consideration that we give to dogs.

Source : inlumino

Puppycide →

That link up there goes to a Facebook page, “Justice For Cisco.” Cisco was a dog here in Austin who was killed by APD a few days ago. You may have heard of him by now if you logged onto Facebook on Sunday night — the page had 500 “likes” when Kat sent it to me this evening, but is up to nearly 6,000 of them as of two AM. Presumably by morning, there’ll be even more people outraged over Cisco’s death.

It’s a sad story for a few reasons, the one cited in most tellings of the story being that the police, who were called to investigate a domestic disturbance, had the wrong house. By the account of the guy whose house it was, the police officer on the scene started shouting at him, Cisco ran over and barked to protect his owner, and the officer shot the dog. Afterwards, he says, the officer declined to apologize and instead insisted that he should have had the dog on a leash in his own yard.

It is an egregious story. People are rightly upset. I may be writing a more substantial story about it tomorrow, in which I will go into all of that in greater detail. But here’s a thing for tonight:

Most of the people who’ve commented on this have done so very delicately. “Being a police officer is a very hard job,” they say, or “Most police officers are obviously decent and good people,” they write in the preface. They don’t want to come off as anti-cop by saying that they think that this is indicative of how police officers as a whole are, or would respond. It’s almost reflexive.

But here is the thing with that: It does not matter, ultimately, if most police officers are good people or would never shoot a dog without first investigating if they were shooting the right dog at the correct address. It doesn’t change anything about what this is about. What this is about, ultimately, is that there is no “justice for Cisco.” Police shoot dogs all the time, and they almost never suffer consequences (ten days ago, the city of Taneytown, Maryland was fined $625,000 for the actions of two of its police officers in shooting a dog, but that was such a rare outcome that it was a major victory for people who follow this sort of story — furthermore, fining the city is quite different from punishing the officers in question).

It’s easy for people who’ve paid attention to this sort of thing for a long time to get jaded when people suddenly notice that these things happen, like, “Oh,nowyou’re concerned when it happens to a dog that belongs to someone like you,” But that’s not what bothers me. What bothers me is that, until something clear-cut like this happens, most people do not believe that something like this could happen without any recourse. That it’s perfectly acceptable for our police to kill our animals under any circumstance, and no one in a position to say or do anything about it will take any sort of action at all. It’s a stark reminder that we live in a culture where the police are empowered to do almost anything they want, and the only thing thatreallyseparates us from the people to whom they’re doing it are that it hasn’t happened to us yet. It’s not about good or bad, guilty or innocent — not really. It’s about who it’s happened to. So far, not us. But if and when it does? Then this whole thing starts all over again.

And dogs — there’s something about the police killing dogs that just throws it in sharp relief. Because a dog, barking in its own yard, is inherently not at fault. It is an entirely innocent creature — you don’t need to try to dig up old Tweets it sent to a girl about slapping a bus driver or wearing a backwards cap to make it look like a thug. And while Cisco was apparently an Australian shepherd, which is a larger breed, they’ll kill a miniature dachschund or a Jack Russell terrier, too. It’s not about feeling threatened — it’s about the police officer being the boss, and being equipped to deal with any problem with force, knowing that there are no consequences.

This story’s sad, for sure. But it’s also just a stark reminder that we’ve created, and we now live in, a system that empowers the police to do more or less whatever they choose, in any situation. The fact that it’s hard for people to ever even see that until the victim is a dog that reminds them of their own is both frustrating and, I suppose, to be expected. But next time you read something like this, feel free to leave off the disclaimers about how “most police are heroes who do a dangerous job with great integrity.” Sometimes that’s even true, but when it is, it’s a bonus for us — because there are rarely consequences when it isn’t.

And if this happens to you? Maybe, if you’re lucky, and your story is highly relatable to a number of people, you get the sort of outpouring of support and sympathy that Cisco’s owner is getting. But that doesn’t bring your dog back. It doesn’t even do anything to create conditions under which the next person’s dog is any less likely to be shot.

Everything I saw at SXSW this year.

Hi again, Tumblr. SXSW fully took over my life the past nine days, but I’m back. Sore and tired, but who wants to read someone complaining about the week-plus of fun things they were watching, doing, and writing about? Instead, here is just a list of all of those things, mostly for myself so I will remember it all, but also for you so you can be jealous. I will probably write something with more context to it later.

MOVIES:
The Cabin In The Woods (A)
The Babymakers (N/A — walked out after ten minutes)
Safety Not Guaranteed (B)
America’s Parking Lot (B+)
King Kelly (C+)
Lost & Sound (C+)
Wonder Women! The Untold Story Of American Superheroines (B-)
Electrick Children (B)
The Last Fall (C-)
Bernie(A-)

PANELS/TAPINGS/TALKING PERFORMANCES:
Kelly Carlin’s A Carlin Home Companion
Curing A Rage Headache panel with Sady Doyle and J. Smooth
Marc Maron’s WTF Podcast taping with Jeffrey Tambor
Bob’s Burgers comedy showcase with Eugene Mirman and Kristen Schaal

MUSIC:
Jay-Z at ACL Live
Michael Kiwanuka at Radio Day Stage
Dessa at Scoot Inn
Foy Vance at Central Presbyterian Church
M. Ward at Central Presbyterian Church
The Low Anthem at ACL Live
Alejandro Escovedo at ACL Live
Bruce Springsteen and the E Street Band at ACL Live
Blaqstarr at Cedar Door
B.O.B at Cedar Door
The Heavy at Cedar Door
Counting Crows at Auditorium Shores
Alice Smith at Vice
Hollywood Holt at 1100 E. 5th St.
El-P at 1100 E. 5th St.
Tom Morello at Swan Dive
Graffiti6 at Peckerhead’s
Rhett Miller at Peckerhead’s
Sleigh Bells at ACL Live
Nas (w/DJ Premier, Pete Rock, and AZ) at ACL Live
Nikka Costa at Buca

That’s everything, I think. Best surprises included America’s Parking Lot, Kelly Carlin, Graffiti6, Bernie, and the fact that Nikka Costa wasso fucking good. Best expected things were Kristen Schaal,The Cabin In The Woods, Bruce Springsteen, Rhett Miller, and Dessa.

Now to spend all day writing about it so I can justify my presence and earn some money. Drop me an “ask” if I missed anything this week that didn’t happen in the streets of Austin. I hear Mike Daisey is James Frey now? And the guy who made the Invisible Children video decided to respond to his critics by literally pulling his dick out and waving it at them? Anything else I should know about?


ETA: Oh! And I scored a sweet pair of Oliberte shoes at the Style X event on Friday at a great price, which is good because I’ve wanted some since I first learned about the company, but balked at how much they cost. As an editor I know put it, it’s a good time to be Dan Solomon, y’all.

good:

Why We Need Food Trucks in a Recession
A new proposed bill in California mandates that food trucks be barred from parking within 1,500 feet of public schools. Food trucks have been battling city and state governments across the country, from Boston to the Twin Cities to New York City. But these food trucks are softening the blow of our economic reality, in which food prices have risen, our time for lunch has shrunk, and the opportunities of entrepreneurs have been dampened by skittish banks and unpredictable outcomes. 
Read the story on GOOD→ 

I hadn’t heard about the California bill, but that’s absolutely bonkers. This is a smart article, though it misses one important economic point about how food trailers work, at least here in Austin, which helps explain why they’ve become such a major cultural identifier in such a short time: Namely, that they’re often in prime, but undeveloped, real estate.
I’ve actually pitched this story around a few times, but couldn’t find a taker. It’s fascinating, though. Here’s how it’s worked, basically, as I understand it: Plot of land on S. Congress/E. 6th/S. 1st/S. Lamar/N. Burnet/wherever-in-town-things-are-springing-up has a developer attached, but it’s hard to find investors in a shitty economy.The land doesn’t lose value, it just becomes hard to develop.
You can see this on S. Congress where the trailers are, on land that’s been promised to be turned into a boutique luxury hotel for at least five years now. The development isn’t happening at the pace that it would have in a better economy, but the taxes on the land are still sky-high. Eventually, the land will be developed and the property owner is expecting to see the payoff. In the meantime, food trailers are a quick, easy-to-set-up option for rent-paying businesses that can use the land to mitigate the cost of the property taxes. Then, once the development starts, the trailers can un-hitch, and everybody kind of wins.
I mean, there’s a potential bummer for trailers who lose their plot, but they enter into the arrangement knowing that it’s impermanent. In the meantime, they got a high-profile location from which to sell their fried chicken or whoopie pies or deluxe grilled cheese sandwiches or whatever; they got to proof-of-concept their business idea and attract a customer base who’ll be psyched if they move to a storefront.
Essentially, the recession has us living in an impermanent world, and food trailers are an ideal mechanism for new businesses in that situation — by their nature, they’re able to roll (groan) with the changes.
And when that luxury hotel does get built? Last time they talked about it, both Mighty Cone and Hey Cupcake — the signature trailers on that property — were going to be integrated into the lobby. So that’s cool. Meanwhile, top-flight chefs in town who dreamed of opening their own places, but couldn’t raise the money, are able to — as the Good article suggests — start a trailer restaurant that keeps the overhead low. Lucky J’s — which still has at least one or two trailers — is also a storefront now, and Jason, the owner, told me a couple years ago that he’d never have taken the plunge to leave the restaurants he was working in as a chef to open his own place until he found the way to minimize the risk. (He also told me how many times a week somebody with a plot of land that they couldn’t afford the taxes on tried to get him to move his operation over there for a small rental fee.)
Anyway, it’s a fascinating story to me, because it’s a business piece that only seems to have winners, at least so far. It’s possible that I’m missing something, but I can’t help but see the food trailers, at least in Austin, as a source of good for everybody involved.

good:

Why We Need Food Trucks in a Recession

A new proposed bill in California mandates that food trucks be barred from parking within 1,500 feet of public schools. Food trucks have been battling city and state governments across the country, from Boston to the Twin Cities to New York CityBut these food trucks are softening the blow of our economic reality, in which food prices have risen, our time for lunch has shrunk, and the opportunities of entrepreneurs have been dampened by skittish banks and unpredictable outcomes. 

Read the story on GOOD→ 

I hadn’t heard about the California bill, but that’s absolutely bonkers. This is a smart article, though it misses one important economic point about how food trailers work, at least here in Austin, which helps explain why they’ve become such a major cultural identifier in such a short time: Namely, that they’re often in prime, but undeveloped, real estate.

I’ve actually pitched this story around a few times, but couldn’t find a taker. It’s fascinating, though. Here’s how it’s worked, basically, as I understand it: Plot of land on S. Congress/E. 6th/S. 1st/S. Lamar/N. Burnet/wherever-in-town-things-are-springing-up has a developer attached, but it’s hard to find investors in a shitty economy.The land doesn’t lose value, it just becomes hard to develop.

You can see this on S. Congress where the trailers are, on land that’s been promised to be turned into a boutique luxury hotel for at least five years now. The development isn’t happening at the pace that it would have in a better economy, but the taxes on the land are still sky-high. Eventually, the land will be developed and the property owner is expecting to see the payoff. In the meantime, food trailers are a quick, easy-to-set-up option for rent-paying businesses that can use the land to mitigate the cost of the property taxes. Then, once the development starts, the trailers can un-hitch, and everybody kind of wins.

I mean, there’s a potential bummer for trailers who lose their plot, but they enter into the arrangement knowing that it’s impermanent. In the meantime, they got a high-profile location from which to sell their fried chicken or whoopie pies or deluxe grilled cheese sandwiches or whatever; they got to proof-of-concept their business idea and attract a customer base who’ll be psyched if they move to a storefront.

Essentially, the recession has us living in an impermanent world, and food trailers are an ideal mechanism for new businesses in that situation — by their nature, they’re able to roll (groan) with the changes.

And when that luxury hotel does get built? Last time they talked about it, both Mighty Cone and Hey Cupcake — the signature trailers on that property — were going to be integrated into the lobby. So that’s cool. Meanwhile, top-flight chefs in town who dreamed of opening their own places, but couldn’t raise the money, are able to — as the Good article suggests — start a trailer restaurant that keeps the overhead low. Lucky J’s — which still has at least one or two trailers — is also a storefront now, and Jason, the owner, told me a couple years ago that he’d never have taken the plunge to leave the restaurants he was working in as a chef to open his own place until he found the way to minimize the risk. (He also told me how many times a week somebody with a plot of land that they couldn’t afford the taxes on tried to get him to move his operation over there for a small rental fee.)

Anyway, it’s a fascinating story to me, because it’s a business piece that only seems to have winners, at least so far. It’s possible that I’m missing something, but I can’t help but see the food trailers, at least in Austin, as a source of good for everybody involved.

Source : good

I know we’re all on edge right now in Austin.

This week has been awful. I would never question that. But look, guys — trying to turn this into your own personal episode of CSI, and spreading dubious information, is not constructive. Everybody wants to feel safe, and after three women were attacked a few days ago in a neighborhood that we otherwise think of as a pretty secure bubble (one of which ended with tragic results), I know that attempting to take some power back by figuring out who might be responsible or what may have happened feels like a step toward reclaiming that safety. But it’s not, because you are not Batman.

You’re not going to figure out who is responsible by looking at every police sketch that comes up on Google Image Search and posting on Facebook that they’re probably all the same person. You have no idea if they’re all the same person. All you know is that the police sketch looks similar — but the police sketches were all drawn by the same person and they don’t offer any real description. Which means that if they catch the guy who is responsible for what happened to Esme, you’ve now declared that they’ve caught the guy responsible for every other attack in the past two years. That is not helpful. Neither is portraying this as something that could only possibly happen because of one person in all of Austin — it is easier to make sense of that way, but we don’t have any reason to believe that there’s only one guy who ever attacks women in this city.

Also not helpful: Re-posting and spreading anonymous tips about how somebody was harassed by someone “fitting the description” of the New Year’s Eve attacker, because that whole description is basically black and tall, and the way the telephone game gets played in a city where everyone is really agitated and on edge, it is not hard to imagine harassment and aggression being read into a situation where they may not otherwise have appeared. Which isn’t to say that whoever posted that comment wasn’t legitimately harassed by some guy, but just that this is a substantively different thing — the guy who attacked people on New Year’s Eve attacked them, random tall black guy a mile or so north didn’t attack anybody, so it is a little bit hard to not take the entire statement with a grain of salt.

In other words, painting every tall black guy as a suspected murderer right now does not make everybody safer. Spreading that sort of thing anonymously really only serves to further create a climate where being a tall black guy sucks right now — if one tall black guy who is accused of murder starts being conflated with another tall black guy who harasses people on the street (which is not okay, but substantively different from murder), then it is not long before a tall black guy walking to his car by himself starts being equated with the street harasser, who is equated with the murderer, and that creates a really awful situation for people whose only crime is being tall and black. And how tall is tall, really…?

I mean, I understand these impulses. I really do. I live in this neighborhood, too. So does my wife, so do a lot of people I care about. But feeling helpless and wanting to do something is not the same as helping or making anybody safer.

Some good news: they arrested someone for the murder of Stephanie Harvey yesterday. Some less-good news: the Internet CSI detectives have already dismissed this guy as a totally different dude than the one who attacked women on New Year’s Eve, claiming that the MO is different. That may be true — it sounds like it is different — but it is coming from the same people who have created a composite attacker who moves around Austin changing his appearance (and sometimes ethnicity), with a sneaky plan to attack women on holidays, and there is no reason to believe that person even exists except that the same police sketch artist drew them all.

When you have people running wild with totally unsubstantiated theories and passing them off like they’re probably true (note: in this case, claiming to know anything counts as passing it off like it’s probably true, because everyone is so on-edge that we’re all looking for anything to make us feel safer or more empowered), and you have people equating the MO of “yells at women on the street and is black” with that of “murders women and is black,” but not considering the possibility that a series of attacks committed within two days of one another, two of which resulted in the murder of two young women, might possibly be related — then you are really just stumbling in the dark. And that is not a safe place to be, especially not right now.

I know why we are all sharing this information and compiling these theories, but it is every bit as likely to get people hurt as it is to help anyone. Please be calm.

Edited to add: I don’t think that I was as articulate as I meant to be when talking about street harassment, because I don’t mean to say that it’s not a big deal, or a cause for concern — absolutely it is. I just mean that conflating a street harasser with a murderer because they are both tall and black is problematic in ways that can have real consequences. I reckon it could be interpreted as asking people not to report street harassment, and I didn’t mean it that way.

Here’s a new story I wrote over at CultureMap:
Chaos in Tejas lives up to its name: One Nazi skinhead band dropped from music fest lineup, but questions still remain 
First off, how fucking absurd is it that Nazi skinheads are still a thing? Nazis are the guys Captain America punches out. This should be so fucking obsolete it would be like writing about a band of Cylons at Coachella.
Second — wow. I like Chaos In Tejas and have had fun there in the past, and they’re certainly allowed to book whoever they want, Nazis or not. But I want any band with Nazi ties — even if they’re not explicitly Nazi bands themselves — to feel very, very marginalized all of the time.
I know Disma is the hot shit of Death Metal right now, and NPR and Pitchfork and all of these people are hot on the band, but their singer also is still signing and numbering re-releases of his Nazi side project. He declined to answer questions, and this email from Daryl Kahan — who was in Citizen’s Arrest so all you punk rockers know is totally not a Nazi — isn’t really compelling:

Just to set the record straight  “Disma has absolutely nothing to do  with politics nor does the band support or condone racist beliefs or  nazi ideology of any kind.  Craig may have a questionable past but he  has put that behind him and is solely focused on what the band is doing  now.”   We knew that when he joined the band and are not surprised by  this inquiry.  Craig is a great vocalist and an old friend of mine and I  stand by him in what we are doing with Disma

I’m sure he’s solely focused on what the band is doing now, because there’s a chance that it might actually make him some money. But having a sneaky side project (go read the link at CultureMap) where he’s signing Stormfuhrer records for a Nazi label under the table means that I want these guys to be alienated all the time. I’m sure their record is super cool, but there’s a cost of recruiting a Nazi to sing for your band, and that should be that it is really hard for your non-Nazi group to get bookings.
In short: fuck Nazis, obviously. And fuck a music festival that I was looking forward to until it dumps the Nazi-affiliated acts. It’s not censorship to say that you want these motherfuckers extremely marginalized, and you want any band that does business with them to have to struggle to book decent shows. Tolerating just a little bit of white power/anti-Semitic/Nazi bullshit, and suggesting that it’s okay as long as they keep it to their other bands, or that they’re not really Nazis, they just put out records with Nazis, is dangerous. They have the right to book whatever they want at Chaos In Tejas, but I hope that people don’t buy tickets, and I hope that venues refuse to host the shows, until these bands are off. We have that right, too.

Here’s a new story I wrote over at CultureMap:

Chaos in Tejas lives up to its name: One Nazi skinhead band dropped from music fest lineup, but questions still remain

First off, how fucking absurd is it that Nazi skinheads are still a thing? Nazis are the guys Captain America punches out. This should be so fucking obsolete it would be like writing about a band of Cylons at Coachella.

Second — wow. I like Chaos In Tejas and have had fun there in the past, and they’re certainly allowed to book whoever they want, Nazis or not. But I want any band with Nazi ties — even if they’re not explicitly Nazi bands themselves — to feel very, very marginalized all of the time.

I know Disma is the hot shit of Death Metal right now, and NPR and Pitchfork and all of these people are hot on the band, but their singer also is still signing and numbering re-releases of his Nazi side project. He declined to answer questions, and this email from Daryl Kahan — who was in Citizen’s Arrest so all you punk rockers know is totally not a Nazi — isn’t really compelling:

Just to set the record straight  “Disma has absolutely nothing to do with politics nor does the band support or condone racist beliefs or nazi ideology of any kind.  Craig may have a questionable past but he has put that behind him and is solely focused on what the band is doing now.”   We knew that when he joined the band and are not surprised by this inquiry.  Craig is a great vocalist and an old friend of mine and I stand by him in what we are doing with Disma

I’m sure he’s solely focused on what the band is doing now, because there’s a chance that it might actually make him some money. But having a sneaky side project (go read the link at CultureMap) where he’s signing Stormfuhrer records for a Nazi label under the table means that I want these guys to be alienated all the time. I’m sure their record is super cool, but there’s a cost of recruiting a Nazi to sing for your band, and that should be that it is really hard for your non-Nazi group to get bookings.

In short: fuck Nazis, obviously. And fuck a music festival that I was looking forward to until it dumps the Nazi-affiliated acts. It’s not censorship to say that you want these motherfuckers extremely marginalized, and you want any band that does business with them to have to struggle to book decent shows. Tolerating just a little bit of white power/anti-Semitic/Nazi bullshit, and suggesting that it’s okay as long as they keep it to their other bands, or that they’re not really Nazis, they just put out records with Nazis, is dangerous. They have the right to book whatever they want at Chaos In Tejas, but I hope that people don’t buy tickets, and I hope that venues refuse to host the shows, until these bands are off. We have that right, too.

Hold Steady frontman Craig Finn keeps it intimate and personal, debuting new FNL-inspired album at Frank →

This was a pretty under-the-radar show, for the first-ever performance of solo material by the guy from a still-popular indie rock band. (Also: Lot of hyphens in that sentence, huh?) Craig Finn did a warm-up set in advance of his solo tour behind his upcoming Clear Hearts Full Eyes at my favorite hot dog restaurant in Austin, because of course he did.

The show was pretty great, honestly — it’s usually both exciting and kinda weird to hear a set of all-new material for the first time, especially when it’s by someone whose other work you’re very familiar with, and my plaid shirt and thinning hair should confirm that I am very much in the Hold Steady’s demographic. Finn’s lyrics are usually more like short fiction, but the new stuff is largely personal essay, and it’s cool to hear how he adapts. Read the full review at CultureMap for early impressions on his new solo material.

Fun Fun Fun Fest in review →

At a time when trend-chasing (or even, if you want to be generous, attempts at trend-setting) is the only way anyone can think of to try to keep up with a music landscape that is ever-changing, uncertain and laden with an extremely short attention span, Slayer is a singular, iconic artist. It’s more appealing now than ever, to more people than ever, to hear a band that just does what they do without any of those other concerns. They like to play fast songs about death, destruction and Satan. They’ve been doing it for three decades. If you don’t like it, go watch Odd Future.

We live in uncertain times, but some things do not change. All hail Slayer.

I spent most of the weekend at Fun Fun Fun Fest, which lived up to its name. I was there, officially, to scout out some neat bits of music-culture weirdness for MTV Hive, which will start rolling out shortly, and did some moonlighting for my pals at CultureMap while I was there.

The above paragraphs come from the write-up I did for Slayer (duh), and there is more to be found in the links below.

I had a good time trying to contextualize all of the things I saw, because I think small festivals like Fun Fun Fun offer some interesting opportunities to get at the pulse of what people are into culturally in an increasingly fractured culture. The festival was huge, and absolutely packed with people, but it’s not an all-things-to-all-people event like Austin City Limits or Coachella — there’s a definite aesthetic here, and it’s designed to appeal to a few different types of people, finding what they have in common. How do Odd Future and Slayer and Major Lazer and Danzig and Passion Pit and Blonde Redhead and Public Enemy and Spoon all fit together? They all appeal to the nebulous beast known as the American Hipster, but there are people who feel passionate toward all of those artists who don’t fit that descriptor, if it means anything at all, in the slightest. What does the opportunity to see them all together offer?

I don’t know for sure that I found any answers, but I enjoyed very much trying to piece it together. Here are the CultureMap stories:


In the ’50s and ’60s, mass public protests were an effective means of communication. The joke on activists ever since has been that the influence they’re capable of wielding has dwindled even as their numbers have spiked. Groups of hundreds of thousands gathered in cities around America in the lead-up to the war in Iraq, only to be dismissed as a “focus group” by the President and ridiculed or ignored in the press. In the end, well, we still went to war.

So activists, for over a generation, have either played a losing game, or sought a way to change the way the game is played. And most of the criticism—of both Occupy Wall Street and Occupy Austin—comes from people who deride the movement as lacking cohesion and lacking a goal. Or, in other words, of not doing all of the things that have made protests, for decades, something that’s easy to dismiss.

Over at CultureMap, I’ve got some ideas about Occupy Austin. I didn’t expect to be impressed by it when I went, because I am cynical and a bit misanthropic, but even my black little heart grew three sizes watching something that wasn’t just another attempt to recreate the 60’s go down.

Right now, the most important thing about Occupy Austin, I think, is that as positive as it is, it’s only a very small part of something much larger. That, more than anything, is what I find encouraging.

Will the rest of the Red River clubs withstand Emo's downtown closure? →

Most of the people I know who were devastated this week when the news broke that Emo’s, the most iconic of Austin’s rock clubs, had been sold and would be closing at the end of the year, were ex-Austinites. People who are still actively interested in live music in Austin probably twigged on to the fact that the spirit of Emo’s circa the early-00’s had relocated along with Graham Williams over to the Mohawk, and stopped spending nearly as much time on 6th and Red River once the media goliath C3 took over the booking.

But there’s another concern, which is what does that mean for the delicate ecosystem that is a live music neighborhood in the midst of a deep recession? Over at CultureMap, I examined some of the issues at play. Give it a read, if you’re so inclined.