Aloha Hawaii our 50th State, specifically Big Island, Kailua-Kona, Holualoa, Keahou, Honokaa and HUG

Sunset Feb 23, 2013 from near Energy Labs, Kona

Sunset Feb 23, 2013 from near Energy Labs, Kona

We had a pleasant lunch at Jolene’s in Honokaa, on an attempt to visit Hilo (which we were told was being deluged), via Waipio Valley lockout and the excellent gift shop gallery.

At Hapuna Beach, on the Kohala Coast, north of Kona, I did a bare minimum amount of body surfing, while Terry schmoozed the locals.

IMG954024A French guy snapped the photograph of Terry and I standing near but not in the Puako beach cove. This links to what is probably the same exact spot. We weren’t sure if we were at the famous Beach 69 or what. We weren’t sure if we could indeed walk to the famous petroglyphs in about 15 minutes (yes!) and instead drove all the way around and entered near the Fairmont Orchid and Mauna Lani hotels.

I joked that not surfing, not touch-football (like 35 years before, on family holiday trip to Kapilua Bay), not frisbee, not tennis, not golf, not scuba, not ziplining but car touring was our island sport of choice — so glad I pushed for the little Camry and not acquiesced to the upgrade of the clunky Ford AWD, which had a certain Sysyphus or Atlas feel, especially with gas prices what they were — I wondered if they offered the “upgrade” because we switched to a 700-mile package for around $400 rather than a “free miles” package for around $500). Coming home from our day trip Terry started to grill me about not being anywhere cool for the sunset — we were 40 minutes from home while Big Gassy had about 20 minutes left in his tank. So I felt cool that I whipped little Camry into the entrance to NELHA the energy lab and indeed found a little strip of sand and tide pools and ocean to observe the above. (I actually took no photos, zero, zilch null set bagels on this trip!)

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“The Color of Palo Alto” as dueling videos, referencing Plato’s Allegory of the Cave, Pink Floyd/Oz and Errol Morris

The relative value of public art is debatable, but let’s keep in mind our budget here is about $50,000 of $150,000,000, or around a dollar per capita. While I generally hate corporate-creep into civic affairs, in this case I think the sponsor who underwrote the second phase was acceptable; Sam Yates’ shed both mocks and honors the famous site at 367 Addison.

This story does a disservice to the case. See the follow up or watch this 30 minute excerpt from the Feb. 21 PAPAC meeting.

The gist of the matter is that the artist’s contract says he has copyright and now we are trying to negotiate a licensing agreement for use of the photos he owns, something that was discussed but never agreed to. That members of PAHA and PAST complain is really looking a gift horse in the mouth, to say the least. (i.e. he finished the project long ago but has been working pro bono to add this bonus feature but not being nice enough fast enough for those two people whose squeaky wheels provoked the recent discussion).

I like the piece and to the extent that it is or was temporary, abstract, and process-oriented, at least it gets it beyond the fate of the sculptural work that one of the comment-makes abhors.

There’s no disputing matters of taste…

The credits at the end of the staff report has Sam Yates thanking the dozens of Palo Altans he met during his time here who helped him or “The Color of Palo Alto”.

(i think i invented this kind of weird mash-up in which wordpress and youtube allow me, on some computers, with a large enough screen, to play two videos simultaneously, for somewhat amusing effect; for example, previously I did something juxtaposing Superchunk and Richard Serra; I said previously that reducing Sam Yates “The Color of Palo Alto” to the 17,000 parcels data-based would be like Plato’s “Allegory of The Cave”; sussing that famous concept made me realize that this popular song by Mumford and Sons — viewed here 16 million times — is loosely based on the same story. That their video features a bunch of scooters and riders made me want to see how this document looks next to Sam’s trailer  — seen only 6,000 times; see also “Dark Side of the Rainbow” wiki; Errol Morris only in that “Fast Cheap And Out of Control” I saw in theatres in 1997 and claim to be influenced by it, especially for “Plastic Alto” which I admit does not mean I am successful at achieving its effect; but distinct from Craig Baldwin or Christian Marclay; A.O. Scott does a decent synopsis of Morris here).

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Miles Kurosky Signs with Majordomo!

Ok, so I’m a little late with this, in that Miles signed with Majordomo in fall, 2009 and here we are closing out 2012. But I want to take this opportunity to SHOUT! out as it were to MK and wish him well.

Miles Kurosky founded the band Beulah which was part of the Elephant 6 collective, and played the Cubberley Sessions in 1998, supporting Archers of Loaf — with the memorable poster featuring Muhammed Ali. I recall trying to book them to play the Earthwise 5 year show at Cubberley, supporting Superchunk but they were not available so we had to settle for their management-mates Creeper Lagoon. I recall drinking with Miles and crew one night at the Bottom then helping them load their gear back into their warehouse space near the old Seals Stadium site.

Majordomo incidentally is the new music imprint of SHOUT FACTORY, founded by Richard Foos, who was one of the first people in the biz I met up with, although I have not seen him since 1995, when he was still with Rhino. I talk to Foos every once in a while; I recall him telling me that Airborne Toxic Event was one of his new music discoveries.

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ps22 do lumineers ho hey


Over 50 million people have watched the video performances posted on the youtube channel for PS22 chorus, an elementary school chorus led by Greg Breinberg in Staten Island.

I got to this by searching for something Bob Lefsetz mentioned, a Times article about music blogs being passe.
Which led me to a Paul Krugman post featuring Lumineers song.
Which led me to Lumineers site, giving props to the kids.

My blog isn’t popular enough to be passe.

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Save The Bagel, or So Sez Me

The cup and bagel also calls to mind the 1's and 0's on which Silicon Valley was built, by people who in many cases refused to follow the rules

The cup and bagel also calls to mind the 1’s and 0’s on which Silicon Valley was built, by people who in many cases refused to follow the rules

Greg Brown and I have started an ad hoc Save The Bagel committee, to defend the giant bagel and coffee cup at 477 S. California Avenue in Palo Alto, known for 18 years now as Izzy’s Brooklyn Bagels.

We suggest the powers that be consider the bagel and cup works of art and add it to our collection. The City meanwhile sent a message from the Code Enforcement team that there should not be a sign on the roof.

I am finding a comparison between this case the Chanukah story and hoping a miracle keeps the bagel here a wee bit longer.

Mural artist and all around bad ass Greg Brown of Palo Alto is fired up about Izzy's bagel

Mural artist and all around bad ass Greg Brown of Palo Alto is fired up about Izzy’s bagel

The cup stands about 7 feet, the bagel five — they both appear to be made of foam and affixed to the roof via a metal bracket doohicky. The store owner Israel “Izzy” Rind told me last month, when I noticed the sign driving south on El Camino craving ramen but re-routed, that he had commissioned Mohamed Soumah to make the signs; if readers don’t know Soumah by name they may recognize his “poppies” mural a few doors down, at Country Sun (part of PAPA collection, 2004) or his other mural on the wall of the dive bar further south, toward the tracks. I met him once briefly and recall that Mohamed, sometimes called “Slim” is an immigrant from Africa.Photo-0293

Photo-0294To my mind his work recalls Andy Warhol, Claes Oldenburg and Banksy. And with 18 years, 20 employees and thousands of satisfied noshers, Izzy’s deserves a proclamation more than to be hassled.

edit to add, later that night: Jason Green has a story on “Save The Bagel” in Friday’s Daily News and Mercury papers, and here online.  Quoth he:

A mini-controversy has erupted over a giant cup of coffee and bagel recently added to the roof of a Palo Alto eatery.

The city has ordered Izzy’s Brooklyn Bagels at 477 S. California Ave. to remove the 7-foot-tall display because it violates the city’s prohibition on roof signs. Manager Maria Arzate said the green coffee cup and sesame-seed bagel are scheduled to come down Saturday.

“In order to have roof signs the city and city council would have to change the sign code,” Brian Reynolds, one of the city’s two code enforcement officers, said in an email interview Thursday.

But concert promoter Mark Weiss and muralist Greg Brown are hoping to convince the city to spare the cheerful display, arguing it is more art than advertisement. Indeed, it was crafted by Mohammed “Slim” Soumah, who also painted the “Under the Sun” mural on the east wall of nearby Country Sun Natural Foods.

“It’s somewhere between being a sign and being a comment on signs,” Weiss told The Daily News. “There’s something compelling about it.”

Weiss said he has already reached out to four of the city’s nine council members about securing an exception for Izzy’s.

That’s true. Here is what I texted (although none of them responded or acknowledged me YET):

LET’S PROCURE IZZY’S BAGEL AS PUBLIC ART

I WILL RAISE THE DOUGH

MARK WEISS

18 YEARS 20 EMPLOYEES DESERVES PRAISE NOT HASSLE.

Who said: I will never join a revolution that is short on kishke-gelt?

edit to add, four days later, post-Chanukah: Greg Brown called to say that the bureaucracy did indeed eat the bagel; Izzy had called from his journey to say that his strategy was to remove the sign then possibly seek a way back to Cali Ave for this masterpiece, or it could end up at his new East Palo Alto location.

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135 plus 636 equals #@&^ in Palo Alto

So many dykes so few fingers

So many dykes so few fingers

I have a four-deep pile of issues I am compelled to dig into and then write about, on policy pe se, here in Palo Alto, on “Plastic Alto”, if you will. There’s also various voice-mails, text messages and e-mail trails — I am the General Petraeus of local blogger/activists in that I can’t seem to stick with one topic.

I posted on the Weekly (for no compensation — not that I get any of WordPress’s revenue stream either — I once made $300 per week doing this for the Worcester Telegram, back in the day) the following set of commentary on downtown parking and the developers:

I’m wondering about the significance of Gennady Sheyner cleaning up Chop Keenan’s quote slightly in graph #22. I heard him say “rule and regs” as in a jargon version of “rules and regulations”, what GS reported. I replayed the speech on my “tivo” because I was struck by the developer’s colorful language, replete with so many metaphors, the familiarity and casualness of it, like he was talking to his own staff, or they had been through this over and over again, and not in a public hearing.Maybe it’s a red herring, or it could be a tell. But it begs the question of how else the Weekly cleans up this somewhat complicated scenario so as to not make the developers look like the gluttons and philistines they seem to be.


Posted by Mark Weiss , a resident of the Downtown North neighborhood, on Dec 12, 2012 at 1:04 amAlso I completely agree with the report card posted above, adding that Scharff was interesting in that he sort of turned the tide after Holman and Schmid were so adamantly rebuffed by Klein, Sid, Nancy and Gail. Scharff pulled out a JJ. Hunsecker “don’t kid a kidder” in that he said, as a developer himself, he knows that Keenan has plenty of wiggle room at this point and does not have that strong an argument about the rules changing. Yeh gets a “B” for “brilliant” in that he effectively kicked the can past his lame duck tenure to the next council so as to not have the taste of this sordid affair in his mouth so to speak — and now I am talking like Chop by my mixed metaphors, the difference being of course I am not speaking in public for the record merely posting at 1 a.m.I wish Allen Drury were alive to see this drama!!


Posted by Mark Weiss , a resident of the Downtown North neighborhood, on Dec 12, 2012 at 1:36 amCome to think of it, Yeh’s brilliant “TDM” gambit is exactly what I said somewhat facetiously on these same pages, back in August:Web Link(I said let them build the under-parked structure on Hamilton but require builder to get a Clown College as a tenant in that clowns famously commute to work up to eight or ten of the little cute fellers crammed into a Mini-Cooper….)


Posted by Mark Weiss, a resident of the Downtown North neighborhood, 5 minutes agoI was drawn to this speech because of his colorful use of language; I re-wound my device and took some notes and counted about a dozen metaphors or tropes. Whether Gennady consciously or merely unconsciously cleaned up the language, I think the Weekly’s readers would like more coverage of the real estate industry, who are the main players, why they are so successful, is it true that council is “too cozy” with them.Don’t get me wrong, I find the guy compelling. Here’s a transcript of his speech:Good evening, 700 Emerson. This is of course the pipeline question. I’ve been involved in this property, with this application, for about a-year-and-a-half and certainly if this moratorium per council-member Schmid’s argument, had there been a moratorium at that point, I wouldn’t have pursued it. But we spent a lot of time and money in reliance on your rules and regs, and I won’t use the word “bait-and-switch” but we’re on the one-yard-line, or whatever metaphor you want to use, and here we are. So is the 376 thousand dollars, which includes future interest, even though we are effectively paying off the principal, a acceptable number? The answer is, it’s a lot more than what we started out with, a couple years ago, but it’s a long way from an in lieu fee, and is — I know when to fold the cards.I think that staff’s recommendation is something we’ll swallow and absorb and the 150 thousand dollar downtown cap study we’ll address our success problem in downtown Palo Alto and the adjacent neighborhoods which are also having their own success issues.So I would just say that on the ground floor retail issue, I only have so many fingers to plug in dykes, but we worked hard on this, for a year and a half, two years ago, when we had over 15 per cent vacancy on University Avenue, there was a concern that — there was a safety valve – those might turn to offices. So we eliminated the safety valve, also allowed flexibility for retail or offices and adjacent streets, and particularly west of High Street, which has always been a problematic retail area, and that would be a fatal flaw, for this project, if we only had one way to go. Thank you.Council debated for about two hours on whether to give the applicant a $2.4 million tax break, on top of a $1.2 million “TDR” “transferable development right” tax break, or to merely, as staff suggested, charge him about $300,000 — although Scharff pointed out an obvious math flaw in the way that was calculated — plus another $110,000 or so to pay for a study, versus “kicking the can” which is what they opted to do.We have been using the figure of $60,000 per space as what it would cost to build a parking garage. The moratorium would eliminate his initial intention to under-park 135 Hamilton by 40 spaces, The 636 project is smaller, only 15 spaces (worth $900,000), exempted. Staff said they could treat the two projects differently.

 

 

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My friend Misty Gamble rocks out in ceramics

Covetous, a complex work by Oakland-based artist Misty Gamble, on display and presumably for sale in Kansas City

Covetous, a complex work by Oakland-based artist Misty Gamble, on display and presumably for sale in Kansas City

It’s been quite a thrill in recent years to follow the ascent of visual artist Misty Gamble. She makes ceramics that remind me of the work of Viola Frey and Terry Allen.
When I met Misty she was talent buyer for The Starry Plough and was one of my earliest “buds” in the music scene here. She now splits her time between teaching, residencies and all that art stuff. She is repped by Sherry Leedy in Kansas City.
You, go, girl!

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The Pueblo Girls and Edward S. Curtis follies

Reading Anne Makepeace book on Edward S. Curtis, I was surprised to learn that Curtis produced a live music event in New York to pay for his photography book series. I am folding that into the clay that is to become The Pueblo Girls project, a rock band ala Sleater-Kinney or riotgirls that would in part honor the heritage of these Southwestern civilizations. Most people think of pottery, rugs and jewelry before they think of music, in these parts, but there’s still time to fix that and I am just the guy destined to help.
Here’s a passage I found from a handy site sussed up via the search-injuns:
As a means of raising much needed funds for The North American Indian, Curtis creates an elaborate ‘picture musicale’, combining hand colored lantern slides and motion pictures with live music. He takes the show to cities throughout the Northeast, including a sold-out performance at New York City’s Carnegie Hall. Despite enthusiastic reviews and large audiences, production costs exceed ticket sales. From Eric Keller’s Soulcatcher Studio of Santa Fe website.

Here is a link to the Anne Makepeace book, for National Geographic:

By the way, I find it auspicious that this is post number 505 as Plastic Alto — 505 being the area code for New Mexico. Did I mention here that my producing partner for The Pueblo Girls is Jody Naranjo the master Santa Clara potter and business woman? Talk about “picked to click”!

Not to digress too far down that canyon but Timothy Egan also has a new book on Edward S. Curtis with which I will have to confer:

http://www.barnesandnoble.com/w/short-nights-of-the-shadow-catcher-timothy-egan/1110764632?ean=9780618969029

Well, I tried to give equal time to that other site but it does not format as nicely as

I hope to get sponsorship from leading Native cultural institutions but I will also think about naysayers like Elizabeth Hutchinson who wrote “The Indian Craze” pretty dismissive of the whole scene, sounds like (and I knew her slightly in her SF days and took her to Cirque de Soliel “Allegria” or maybe we went “dutch”):

 

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Mosh pit lays waste to historic Palo Alto night club

“Mosh pit destroys historic Palo Alto night club” screams the headline in my mind but lo, it is actually the even more dangerous and depraved real estate industry that will bring the wrecking ball to 260 California Avenue, the former Keystone and Edge night clubs where yours truly, if I did not actually mosh, maybe skanked or nodded my head in time to people like Everclear, John Lee Hooker, 7 Mary 3 and Greg Kihn. (I missed most of the highlights like Jerry Garcia and Smashing Pumpkins, but probably caught 50 shows there, and produced exactly two).

I found this amazing round-up of the epic history of the site, including a link to Sara Wykes’ article from 1986 when the Keystone became a tomb-stone. To the true old timers and ODH (original deadheads) the Keystone was Sophie’s for a while. Jerry Garcia apparently played the room 81 times and I am going to amend to claim I caught one of those shows, dragged there by Tim Harris before I was a deadhead (and my count is about 12 for actual dead shows — including Frost, Shoreline, and Greek).

Today’s Weekly had a notice about 260 California Avenue for a public hearing 8:30 a.m. Thursday December 20 in chambers. Hayes Group on behalf of Tarob M&C Investors for construction of “a new three story, approximately 27,000 square foot building.” That’s about 300 new workers, who of course will want to park in the adjacent neighborhoods despite the proximity to CalTrain.

But the loss of a cultural amenity like the Keystone or the Edge is what I bemoan. I noted however that Rock and Roll strike back in small ways with the opening of a Freebirds World  Burrito joint (who feature rock memorabilia as a design motif and are named for the Skynyrd song) and a School of Rock franchise midtown, but still we are a “Waste Land” in the Eliot sense as far as contemporary culture. And I still get visions regarding TLPW 456 my campaign to Save the Varsity.

Not to be nostalgic, but the two shows I produced at the site were with Trova Latino featuring Juan L. Sanchez in January, 1994 and Danny Barnes Trio, Jerry Hannan and The Blue Eyed Devils in 2002. That’s pure trivia compared to the type of act that came thru the Keystone in its hey-day and only slightly less so for The Edge. Sara Wykes of the Merc in 1986 offers this list, in an article about the Keystone giving way to the Vortex, which was supposed to be a more sedate venue: By then, the Keystone was booking groups on their way up — such as Blondie, The Cars, The Tubes, John Lee Hooker, Tom Petty and The Talking Heads. And occasionally, someone like Neil Young or Bruce Springsteen (would sit in — Bruce supposedly hopped on stage for a short set on what was billed as a Clarence Clemons show). Sara Wykes aka S.L Wykes, who wrote for the Merc for 24 years, is now a medical writer for the pr office of Stanford Hospital, was on Pat Burt’s re-election team and I met once or twice over the years most notably to me that is when Squirrel Nut Zippers cancelled last minute for a Labor Day, 1995 show at Cubberley and rather than canceling show I kept trying to get them to show up, including calling them from the stage and having the audience yell “get well, jimbo” to the supposedly ailing lead singer Jimbo Mathus who cut the rug and the DuNord the night before before succumbing to some bad clams at The Grub Stake post show. Sara is on a list of people waiting for make-good in the form of SNZ t-shirts or something (I have on file the list) excuse the long digression.

Maybe because it went thru a metamorphosis more than an abrupt closure like the Varsity, people don’t lament the Edge’s demise, but I would say in terms of live music there was as much or more there than at the Varsity, which of course most people think of for film (or as Gary Meyer recalled recently, it was “a triple threat” with food, music and film; I think of three things re the Varsity: Tuck and Patty in the courtyard, Bogie double-features and the poster of Bogie at The Varsity I hung in my freshman dorm).

The Weekly had a blurb about the project working its way thru the pipeline in July, including negative comments by Bob Moss and Bill Ross. Maybe rather than a “mosh pit” of reaction we should have a “moss-ross pit”.

But it would be interesting to either use the demolition of the 260 California Avenue building as opportunity to reflect and re-group as a cultural community, not protest progress per se but use the case as further impetus to make good somewhere somehow before we plunge into total and irrevocable philistinism. Jerry is dead, Hooker is dead, but some of us still have mouths, pens, blogs, time and some money; three chords and the truth, if you will. hurry up please its time.

edita, months later: jim harrington weighs in on topic, from may, 2000:

http://www.paloaltoonline.com/weekly/morgue/news/2000_May_3.EDGE03.html

edit to add, a year later, sitting at a public hearing re nearby 385 Sherman, Bill Ross talking about, mentions 260 Cali, can neighbors actually enforce issues of construction adjacent, I added this to PA Weekly article from spring, 2014 about multiple sites in Cali Ave/Ventura area: (385 Sherman is by Minkoff, and Brick Rob Zirkel as architect, opposed by Birch Court 19 member HOA nearby, Ross works with)

when hippies and Deadheads came here to party???

That’s a weird reduction and distortion about the history of Keystone, Edge and Illusions as a cultural amenity.

Suffice it to say a) the hippies and deadheads were from here, did not merely come here, b) they stopped a war rather than, like the new brand of tech workers, seek to profit from it.

Cali Ave is like a war zone and a reconstruction.

How about a park for Ventura, if Fry’s leaves, instead of more dense housing? As precedent i offer Greer Park which when the drive-in movie left, became a major Palo Alto public amenity. (Drive-in>brick-and-mortar::parks)

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I am Elektro, err, Earthwise


I made a poster in 1999 that advertised four shows, including Train, Mother Hips (who play tonight in Felton) and featured a photograph of a robot I had ripped from an ad and gave to my designer to photo-shop for our usage. The poster was supposed to say “Five shows celebrating 5 years of Earthwise” but one of the bands backed out and I scrapped the promotion but kept the poster design.

This morning I noticed the same robot in an article in The New York Times about worlds fairs and futuramas. It turns out the robot is called Elektro, was built by Westinghouse in Mansfield, Ohio and was used in the 1939 Worlds Fair in New York.

Somewhere between the Worlds Fair, The New York Times, and the Earthwise Not Quite 5 Year Anniversary Series, his voice was also used in a Meat Beat Mannifesto song “Original  Control(Version 2)”. I would not have known to book Meat Beat into the “Cubberley Sessions” on this basis, although I do recall discussing their work (or his work, Jack Dangers, if that’s his real name) with his or their manager, Cathy Cohn, a longtime KUSF dj who also booked the I-Beam and I met when she preceded me as Stephen Yerkey’s manager (I was Stephen’s manager for a matter of weeks; our so-called contract stated “I will get you a record deal and you will pay me $500” which of course had a generous exit clause; the highlights or only lights of this tenure were a) putting Stephen on to open for Freedy Johnston at a packed CoHo show and b) rescuing a crate of “Confidence Man” from the Heyday warehouse, which, in a magnanimous gesture, if I must say so myself, I eventually delivered post-term to his next manager, the photographer Tom Erikson, who is sort of a Brown Fellini ).

Here is the link to the Times story and illustration. I will Swede in my poster as an edit. Not to be confused with Gort from “The Day The Earth Stood Still” (1951) with music by Bernard Herrmann.

bonus track: there is a 30-second sample of “What is Hip?” remix, which reminds me that Tower of Power is playing San Jose Civic Aud produced by Nederlander of L.A. this weekend, here, to be both current and retro.

 

dec7_cooper_img.jpg
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