DJ Sep from Dub Mission spun reggae and dub at Lytton Sunday as the rains stopped and started as if by her cue. I hope to bring her back to either Lytton Plaza, Johnson Park of Mitchell Park, perhaps opening for Native Elements, whose drummer Chris Cortez has a family history in Downtown North. I gifted Sep some vintage baseball cards that I had fished out of my storage locker – longer story — when she mentioned that her son plays high school baseball and is bound to continue that initiative at a small school east of here. Sep was also my publicist in the early days of Earthwise Productions — she had a listing service. Back when newspapers were more widely read and had “agate print” sections about live events.
Earthwise productions announces the first combination Alfred Hitchcock movies and live music festival in Downtown Palo Alto May 4 thru June 2.
On May 4, DJ Sep spins reggae and dub music for free at Lytton Plaza, from 3 pm to 5 pm and then fans of suspense can pay $7 to see “Shadow of a Doubt” from 1943 which Halliwell gives *** and features Joseph Cotton. “Shadow of a Dub” is what the cognoscenti will call it — dub is a type of music from the Caribbean that Sep spins. (This is also the first Earthwise event that features a dj but not live music).
On May 10, Earthwise welcomes a new quartet of rock/roots music led by guitar wiz Jim Campilongo at 6 pm followed by, for $7, Lifeboat at 7:30. Spellbound plays at 5:30 and 9:20 and total weirdos can start their evening at the movies, pop out to catch the band, called Spaghetti, and then go back into the movies for as long as four more hours. The Spaghetti band features Jim Campilongo guitar, Scott Amendola drums, Matt Muntz, bass and Sam Reider accordion or keyboards. We call this combo “Spaghetti Spellbound” — there is no spaghetti allowed in the theatre, not ice cream, but the pop corn starts at $1.
On May 17, Earthwise welcomes Cien Mil Mangos to Johnson Park which is four blocks from the theatre, at Waverley and Hawthorne approximately. The show is from 6 to 7:30 or so; sunset is 8:13. At precisely 7:30 the Stanford Theatre will show Vertigo. Alternately, for $7 you can see The Man Who Knew Too Much at 5:20, stay for about an hour then huff it or hoof it over to Johnson Park to dance salsa. “The Man who Got Vertigo Dancing Salsa (with Stanford Students). Que sera sera!
May 24 at Mitchell Park – -which is not downtown but only five miles south — brings Mark Lettieri quartet. He is the guitarist for Snarky Puppy jazz band, and hails from Menlo Park. The show is from 6 pm to sunset and then you can zip north — towards Menlo Park but still on this side of the crick, still Santa Clara County — to see all but the start of North By Northwest and then To Catch a Thief at 10 pm. Let’s call this Lettieri by Lettieri Or: To Catch A Riff.
TO CATCH A RIFF
May 30 is Nels Cline Trio for $20 — quite a bargain, frankly — at The Mitch El Palo Alto Room — which, is stated above is about five miles south of the actual El Palo Alto where Portola camped in 1769. The Nels Cline Trio features Nels Cline guitar, Scott Amendola (from the May 10 show) on drums and Phillip Greenlief on reeds. For an additional $7 plus another buck for popcorn –you can do Nels Cline and then I Confess. We call this I Clinefess. Which means nothings. Da da. I confess that I’m not familiar with “I Confess” other than to say that Halliwell or what I might call Halli-Nels says its from 1953 is rated ** and starts Montgomery Clift. Or, if you really don’t have $20 or don’t like virtuoso rock guitar with jazz or improv stylings, you can pay only $7 — only $5 if you are a senior – -and come to think of it Nels Cline is a senior so if he goes to the movies after his show he will pay $5 — you can see “The Wrong Man” at 7:30 – or if you confuse Nels Cline and Jeff Tweedy and you show up at the concert say “this is the wrong man” we would refund your $20 and in fact if you are reading this and you are the first person to buy a ticket to Nels Cline at The Mitch and say ‘This is the wrong man” I will rebate your $20.
On Sunday June 2 Earthwise is hosting Eddie 9V (with opener from San Jose Jimmy Dewrance band) at Mitchell Park Bowl and then at 5:30 you can catch Psycho and then Strangers on a Train at 7:30. Ideally I would see all the above just to know how they go with the music but if I only hit one film of the 26 or so on the Stanford Theatre schedule it would be “Strangers on a Train” because I am reading the book by Patricia Highsmith: maybe next year I will promote a combination book festival, concert series and movies
The Los Angeles Times published a picture yesterday, on their website and possibly in print editions, of a woman in a blue t-shirt, at a gathering or skirmish, that they describe as part of the ongoing on-campus conflict here loosely based around or in reaction to the conflict seven thousand miles away between a Democracy with a military and a terrorist group with billions of dollars of back, Israel vs. Hamas. The woman’s is described in the cutline as being the daughter of a UCLA professor. It says she was shouting. Indeed, her mouth is open, and her ams are outstretched; her right fist is balled. I cannot make out what is in her left hand. I guess, her purse. She has a second back, a book bag, over her left shoulder. But what catches my eye is the shirt: JEWS FIGHT BACK NOW.
I’m using such as my headline, first thing, Monday morning. Seven hundred miles away from the conflict in LA.
Yesterday afternoon I hopped on my bike and was heading towards White Plaza on Stanford’s campus; I wanted to see the pro-Hamas protests here. I told myself I was going to a baseball game, Cal vs Stanford. But when I got as far as Palm Drive and Campus Drive I noticed a road block, to restrict parking near Frost Amphitheatre, and Bing and stopped to looking into – -using a handheld computer device that I favor — the possibility of a concert at the amphitheater.
Indeed, something called Dabin: Stay in Bloom was about to transpire. A young woman confirmed my conclusions: Dabin is a young EDM musician and producer from Toronto now living in Denver, of Korean heritage. Most of the young people I could observe were Asian. I decided, especially as a concert promoter that it made more sense to take in a couple hours of a music event than to proceed on to White Plaza to scoff at the pro-Hamas and antisemitic crowd.
I have to admit, if you excuse the digression, that I felt out of place for being white and old – I’m 60. The vast majority of concert goers were young – -around 20 to 30 – -and Asian. I was dressed in some hiking shorts, running shoes and a Van’s zipper hoodie and a light blue Swetka’s cap – it’s a tennis store, I play or played tennis. Many of the others there wore underwear –okay, I probably noticed 100 people in their underwear. I was trying to avert my eyes. Or not stare. Or not being called out for staring.
It occurred to me that my first concert, a day on the green by bill graham at the A’s ball park, I was 14 and most of the people were in their 20’s or 30’s and I tried to think of myself as much older than I was, somehow. Now, 46 years later I am way too old to be there and I tried to think of myself as young.
During one song by Tiffany Day – who is a pop artist with a live drummer playing keyboards but mostly singing along to beats — I got up and danced, mildly: I shifted my weight from side to side, more or less on the rhythm or on the break.
I noticed that after I finished – and I really did so mainly to avail DVTs in my legs for sitting for so long, on the curb of the raked amphitheater, that the miscellaneous people behind me said “Hey, let’s move up” and deserted, leaving for a while an empty pocket around me.
I called a friend and asked which was more weird: to be in an amphitheatre surrounded by half-naked young people or to leave such a place and sit in the dark and watch an old Hitchcock movie? Although I reported to him via text that I was “digging in” –meaning sitting down again, reclaiming my seat and not “digging it” in the sense of actually enjoying it — I actually left, around 6:30 — I had arrived at 4. Or I arrived at 4, bought a ticket on line and waited a half hour of the ticket to load to my account (after I changed the password to my account).
I have about an hour until I meet my trainer, just enough time to go to campus, via car and peep the protest tents. It’s like picking a scab.
The shirt can be read two ways: first, it could have an implied comma, Jews, comma, fight back now. Like a command. Or it could be read straight up as descriptive, Jews fight back now. As in we are fighting back, by going to the rallies and demonstrations and speaking our or screaming or just staring in scorn at the antisemitics.
In March, a group of pro-Hamas demonstrators marched down the street in my neighborhood – -it was Emerson near University – -and I said no thank you to a man handing out pamphlets but then said “HAMAS SHOULD SURRENDER” and a young woman turned and flipped me off – -an obscene gesture. I have this on tape. I taped about 3 minutes of the confrontation.f
“Jews fight back now” to me means that perhaps in 1930 as assimilated Jews in Germany stood up to Hitler and antisemitism maybe they could have prevented the Holocaust. Part of the success of the Holocaust was that Jews didn’t realize how bad this was getting.
Since October 7 –although for me I didn’t realize until a day or two later, let’s say October 9, 2023 – there has been what I call a “soft pogrom”. Soft in the sense that we have not been physically confronted , not been raped or murdered or beaten up, or had our windows smashed, but that today’s Nazis are feeling us out, looking for a sign from the majority that they can attack us without punishment.
Today’s pro-Hamas demonstrators are Nazis in that Hamas was founded by Muslim Brotherhood, who were an offshoot or ally of Hitler’s Nazis. The people who slander Israel and Jews and are trying to start a fight know that they are doing nothing for the tragedy of civilians 7,000 miles away, they are using this as an excuse to try to kill Jews here. History clearly shows.
The college students, at Stanford, at Cal, at UCLA or USC should be expelled — if they don’t know their place in history they have no right to be educated here. Good bye! Shalom! Adios. Hasta la vista, babies.
Jews fight back now.
Jews, fight back now.
Postscript:
I posted under Lorraine Al’s column that her narrative was biased an antisemitc. I said perhaps Hamas stripped bodies and put them in a mass grave. to wit:
It’s a tragedy, but it is a modern Democracy — like us — fighting against a terrorist group, who killed 1,000 civilians. on October 7 – -including the rape and mutilation of hundreds of women, and uses women and children as human shields, as martyrs, perhaps, as you report, stripping their bodies and dumping them in a mass grave.
How about some reporting on why a million Muslims would live under the thumb of Hamas and not exercise their rights as Israel citizens?
Or why do American college students jump in on the side of the brown oppressed people rather than side with the believers in women’s rights, gay rights, etcetera?
Your narrative is biased and antisemitic.
About Lorraine Ali
I notice that Getty Images wants to charge $500 to use this photo. I consider it “fair use’. I cannot find the identity of the woman yelling. Maybe her name is not “Johanna Isreal” she gave that as a nom de guerre. Maybe the photo is staged. But the t-shirt is real enough, I think.
The first version of this one minute ago read “jew fight back now” dots me, as herb Caen would say.
edit to add, hours later:
UKRAINE FIGHT BACK NOW
MR REZNIKOV
I biked over to Stanford, at the end of my workout, partly to cycle the lactic acid from my system but partly — like the proverbial dead cat — curious about the pro-Hamas or Maoist installation at White Plaza. There were about eight students there, commiserating or lying to each other about their miserable parents, and a bookshelf. Apparently they hate all Jews but love Karl Marx. I did not engage.
About forty yards from the compound I saw a flyer on a kiosk: the former defense minister of Ukraine was speaking just then at Encina Commons, a short bike ride away.
What an amazing experience! An actual world leader, trying to explain himself to everyone from current undergrads to our former ambassador to Russia. Breaking down the reality. It was quite inspiring. Ukraine looks to Israel for clues on how to survive. The pitch: we in the U.S. must help Ukraine if we want to preserve Democracy. The axis of evil is: Putin, Iran, North Korea. If Ukraine falls, so does Seoul. I sat next to McFaul. Or he sat next to me – I got there first. He nodded at the guy next to me. I pretended I did not know him. He asked the second to last question. Most of the people asking questions were ex-military, or ex-Soviet Republic subjects. As I unlocked my bike I said to three students: isn’t it great that at Stanford you can see actual world leaders five minutes from your dorm. Contrast this with the stooges and Fifth Columnists playing their form of liar’s poker in Little Rafah.
I rode back to the kiosk to snag the poster, but my wife later threw it away. More cognitive warfare, I suppose.
Speaker: Oleksii Reznikov, Minister of Defense of Ukraine (2021-2023)
Opening remarks followed by Q&A
Moderated by Steven Pifer, former U.S. Ambassador to Ukraine (1998-2000), Stanford University & Brookings Institution
Mr. Reznikov served as the 17th Minister of Defense of Ukraine from November 2021-September 2023. Prior to that, he was Deputy Prime Minister, Minister for Reintegration of the Temporarily Occupied Territories of Ukraine (2020-21). From 2014-18, he served as Deputy Mayor of Kyiv, during which time he also was head of the Ukrainian delegation at the Congress of local and regional authorities of the Council of Europe.
A top Ukrainian lawyer, Reznikov represented the candidate for the President of Ukraine Viktor Yushchenko in 2004, proving in the Supreme Court the falsification of the election results by another candidate – Viktor Yanukovych. As a result, a re-voting took place and Yushchenko became the President of Ukraine. Reznikov is known as one of the best Ukrainian negotiators, serving as the Deputy Head of the Ukrainian delegation at the “Minsk Negotiations.” As a lawyer, he practiced alternative dispute resolution. Due to the fact that he managed to bring most of the conflict cases to a peaceful settlement, he received the nickname “Peacemaker”.
Reznikov also has extensive teaching experience at a number of the national universities of Ukraine. Recently, he has given lectures at universities Washington DC, Tokyo, Munich, Vilnius, and Tel Aviv. He has received numerous awards, including the Order of the Cross of Vytis for special determination, sacrifice and leadership in the defense of Western democratic values and the fight for a safe Europe (awarded by the President of Lithuania, “Silver Cross of Merit” (awarded be the President of Poland), the “Medal of Merit” (awarded by the Defense Minister of Lithuania), and a medal for “Outstanding Leadership during the War” (awarded by the Defense Minister of Denmark).
Voices please enter one at a time singing the same tune from the top.
Terry and I were at Fort Mason Saturday for the art fair and on our way back cut through the Presidio and I noticed this cannon at the Lombard gate There are two n’s in cannon and two cannons at the gate fyi
“Row Row Row Your boat” — a round.
Canons — again not to be confused with the Robert Dinero story about his first gig in a Shakespeare play and he has one line after a weapon is fired and he is supposed to say “hark, I hear…” and instead he says “what the fuck was that?” Oh, I forget to say above in the previous graph that, according to EI not AI, “fugue subject should remain self-similar and identifiable”.
J.S. Bach Goldberg Variations has nine examples of canons. So, how many pieces of the Goldberg Variations are not canons?
Pachibel’s Canon is more about the repeated chord progression than being a canon.
Since a canon is an operation, all sorts of further operations are possible to the material. verbatim.
Conlon Nancarrow, especially Canon X.
Lina Allemano “Canons” or Canons on Lumo Records.
Trumpet.
She sounds like Paul Hindemith meets Don Cherry.
(Which, if you permit the digression — from my own post — which is so far just a re-sorting of Ethan’s article — reminds me of Don Cherry on wood flute versus weird electronics in Dartmouth’s lab circa 1970 with Jon Appleton which is probably best left obscure although it was my interaction with Jon circa 2004 — 10 years after Don’s passing – -that catalyzed the reissue of Human Music).
I mean, I claim a certain expertise on Don Cherry and most specifically Don Cherry at Dartmouth based on having identified and interviewed a dozen or so people who knew Don, played with him or studied with him at Dartmouth…and it was Steve Lacy who encouraged me to bone up on Don, whittle standing in a bar in San Carlos, CA the day before Steve’s hit thereabouts, and before the karaoke people made us flee.
I guess I could lie about the time I sang karaoke with Steve Lacy and Roswell Rudd in a bar in San Carlos, CA know that they are both dead.
Bill Frisell and looping.
Electronic duo BLOOP. Mike Smith.
Peggy Lee not the singer — friend of Wayne Horvitz who I will see this fall.
Brodie West clarinet.
Ryan driver on analog synth. Ok, you got me, I’m an oxymoron.
Is analog synth the sound of don Cherry circa 1970 knocking over Dartmouth bleet machine?
Which reminds me that I made a joke about Marta Sanchez Turing stet turning the Yamaha C7 into a three-part orchestra with pieces of tape – I said that Stanford had spent millions on this concept in the 1960s or 1970s with John Chowning and she could have saved them the trouble.
(And more digression: I asked Kris Davis or asked her email to go play the Stanford math department piano that was donated by Paul J. Cohen based on her signing to her label someone else whose album title referenced a math concept. But there’s also a current undergrad who plays keyboards and is a math major or co-term — but never noticed the piano in the math department…)
Trombonist Matthias Muller.
Aldo Clementi (1925-2011)
The critic Paul Griffiths
…who denotes Clemente’s “alexandrian simplicity” — Alexander who? is this a knock-knock joke? Or knock-knock-knock-knock? Knock-knock-knock-knock-knock (5:4).
Manuele Morbidini of Umbria Jazz — who also played on Ethan’s bud Powell project. And also collaborated with Bill Frisell, hopefully beyond mere looping. Going outside the loop perhaps.
Ethan writes: it’s hard to imagine a compelling reason for something by Ligeti or Schnittke to make a leap to four saxophones.
Themes by Monk “Blues” and “Blues 2” – -and how are they related (“symmetrical inversion” suggests EI not to be confused yet with AI).
See also Von Himmel Hoch an old lutheran tune that Bach and Stravinsky made elaborately canonical
A standout track is “Momento” an atonal canon in slow decay.
So that’s about 20 ideas that I can barely parrot back — made worse by this word processor device that wants to bake the parrot, or so it seems. And it would probably take me six weeks of working 9 to 5 to actually feel confident about all this to discuss it with a musician who is not one of my pseudo-mentors.
I’ve been doing this for 30 years — this in the sense of producing concerts and sometimes advising musicians — as compared to doing this in the sense of being a writer which started around age 15 so that’s 45 years.
Part of me would rather do nothing but write about the world.
And I could possibly bluff my way thru another 30 years of Earthwise Productions without making any real progress on answering those 20 or so questions above.
And why is is fun to imagine that between June 2 (a blues concert, built around guitar) and October 14 I have a guitar and sax and quartet show with Karl Evangelista so maybe I could just woodshed in the sense of doing no work but just trying to study and learn fro about 18 weeks. Like, how much better would that make my experience as the promoter? And how much of that gets passed on to the audience or listener (or the performers)?
There’s a quote from Kirk Hammett that I found interesting about the difference between song and sculpture I will edit to add.
but I will sign out with this thing about Dinero the source is Playboy:
his guy hasn’t acted in about 15 years, because he always forgets his lines, so finally he has to give it up. He’s working in a gas station and gets a phone call from someone saying that they want him for a Shakespearean play—all he has to do is say, “Hark! I hear the cannon roar!” He says, “Well, God, I don’t know.” The director says, “Look, it’ll be OK. You’ll get paid and everything.” So he says, “OK, I’ll do it.” The play has five acts and he has to go on in the third act and say, “Hark! I hear the cannon roar!” That’s all he has to do. So he rehearses it when he’s in his apartment: “Hark! I hear the cannon roar! Hark! I hear the cannon roar! Hark! I hear the cannon roar!” Every variation, every possible emphasis. They’re into rehearsal, and he’s got it written on his mirror: “Hark! I hear the cannon roar! Hark! I hear the cannon roar! Hark! I hear the cannon roar!” And so on. Finally, comes opening night, first act, no problem. Second act, things go fine. Audience applauds. Stage manager says, “You have five minutes for the third act.” He tells him to get backstage. His time comes, he runs out, muttering to himself, “Hark! I hear the cannon roar! Hark! I hear the cannon roar! Hark! I hear the cannon roar!” And as he runs out, he hears a big brrrooooom!! Turns around and says, “What the fuck was that?”
and1: when my cousin the classical composer and performer Isaac Blumfield was in St. Paul for his bar mitzvah his punk band the Souldiers performed at a bowling alley – actually the photo of me and a bowling not canon or cannon ball is the masthead for Plastic Alto. His band name was “soul” plus “soldier”. But I suggested to him perhaps gratuitously that he could change the name to Mouldiers suggesting “mould” as in Bob Mould plus “soldiers” — Bob Mould was from the punk band Husker Du and went to nearby Macalester College. Also: the fictional name Fuguees could exist combining songs by The Fugees — Roberta Flack “Killing Me Softly” for instance — arranged as fugues and sung by classical choirs, maybe? in the way confederacy of beards does Leonard Cohen.
And please remember that Ethan Iverson was the one in The Bad Plus who had never heard of all the rock songs they arranged for jazz piano, jazz bass and drums. And The New Bad Plus or what I call The Bad Plus Minus Ethan Iverson plus Orrin Evans Perhaps plays Stanford this month. The Bad Plus plays Stanford Jazz Workshop series on July 13 — during my sabbatical or woodshed — wow I wrote “woodshop” and AI knew to change it back to “woodshed” — but there is NO PIANO — its the original rhythm section of Reid on bass and Dave on drums plus Ben Monder guitar and Chris Speed on tenor. Ok. The tagline says “MILES DAVIS MEETS RADIOHEAD — LIVE AND UNPREDICTABLE” They helpfully mention Ethan Iverson (EI) and Orrin Evans (OE) in the bio or beioe. A “beioe” is a bio, say, for The Bad Plus, that mentions significant former member, sfm.
This probably doesn’t go here at all but a source told me that Cisco the computer company approximately gets 120 million visitors and two billion views each year. Do the math even in your head and this is like one third of a million visitors each day, or 300,000 visitors each day. Which is what Plastic Alto gets or got all time. [I get about 10,00 visitors per year, since w 2011 or about 100,000 all time — Cisco website will beat that again by lunch tummorrow.
edit to add, a day later: it occurs to me, singingly, that it might take me just as long to understand this:
PARELES There are some magnificent moments among the synths, especially with the vocal harmonies in songs like “So Long, London” and “I Can Fix Him (No Really I Can).” But some of the sameness also comes from tunes and cadences that are starting to feel too familiar. One that especially stuck out to me on this album is the way a sustained verse melody gives way to a choppy pre-chorus, or chorus, that arrives in two-syllable bursts, the way it does in “My Boy Only Breaks His Favorite Toys,” “Fresh Out the Slammer,” “I Can Do It With a Broken Heart,” “The Prophecy” and “The Bolter.”
When Swift started using that device, it brought some fresh hip-hop percussiveness into songwriting that was rooted in country. But now it’s standard practice for Swift and her many emulators. Swift is 11 albums and umpteen bonus tracks into her recording career, so it’s harder for her to evade echoes of her past. The songs near the end of this album, especially, start to sound like outtakes from “Folklore,” pretty as they are. But no one is forcing her to put 31 songs on an album, either.
Palo Alto’s Earthwise Productions, in its 31st season as a promoter or manager of jazz and rock music and artists, announced three shows, all featuring guitar heroes, loosely marketed as “Guitarslingers series”.
The shows feature Jim Campilongo (as Spaghetti, featuring he, Scott Amendola, Sam Reider and Matt Muntz), free, Friday, May 10 at Lytton Plaza; Mark Lettieri (as a quartet), free May 24 at Mitchell Park Bowl; and Nels Cline (with Phillip Greenlief, reeds, and Amendola on drums) for $20 at The Mitch Hall.
All three events are available on EventBrite — the free shows require registration, the hard-ticket show accepts credit card payment and is limited to 200 capacity. (Earthwise nominally lists the capacity at downtown Lytton Plaza as 200. and that of Mitch Bowl (amphitheater in the 21 acre park) as 500.
Campilongo, who is from nearby San Bruno and lived in New York City for many years until recently, is known for playing with Norah Jones, and also played recently at Lytton Plaza as a duo with cellist Ben Davis.
Lettieri hails from adjacent Menlo Park, CA and is a five-time Grammy winner for his work with the jazz band Snarky Puppy. His group comprises Mark Lettieri, guitar and baritone guitar, Wes Stephenson, bass, Daniel Porter, keyboards and JJ Thomas, drums.
Earthwise founder Mark Weiss claims that the series fell into place somewhat arbitrarily but that it is loosely a tribute to Gryphon Guitar store founder Frank Ford, who died in December.
Earthwise has produced 15 shows so far in 2024, all in Palo Alto; it completed 61 events last year; it was founded in 1994 as a spin-off from Bay Area Action Earth Day at Stanford for which Weiss volunteered and organized “Earthwise Traditions” a cluster of indigenous’ groups takes on the environment. The first event that Weiss independently produced was an “Earthwise Mini Pow Wow” at Addison School, in conjunction with Cathy White Eagle’s Eagle Vision Educational Network EVEN of Sacramento.
Weiss says that more than half of his events are free and outdoors, especially since the COVID shutdowns in 2020 but that just recently he realized that outdoor shows are more earthwise than using public halls.
“Lita Albuquerque spoke outside the Anderson art building this week and her description of her work resonated with what I have been doing –although I’m an arts administrator and she is an actual artist”, he said. Creating a temporary audience in a public space, public park or public plaza, with or without music, is like an art installation, he said or wrote or is at least thinking this morning, 8 a.m on the dot, with his dog, waiting for breakfast.
OpenCRISPR-1 out of Profluent Ali Madani is the AI version of CRISPR-cas-9 (Doudna, Porteus et al) big opportunity on a dead planet. Cade Metz sends regrets.
Plastic Alto with Mark Weiss 