‘Plastic Alto’ v. ‘Svayambh-PA” (WEISS COUNCIL BLOG RE-DIRECT)

THIS IS THE ARTS BLOG OF MARK WEISS.

FOR THE CAMPAIGN BLOG “MARK WEISS FOR PALO ALTO CITY COUNCIL” CLICK HERE. (Or keep reading, for more info “Plastic Alto” v. “Svayambh-PA”…)

“Plastic Alto” is an arts blog, that also covers politics and policy isssues. Of the first 450 posts, 104 were in the category “Plato’s Republic” my term of things that are political. Some of those were about Palo Alto issues, while others were about street music and “Howl”, things that merely have political elements.

When I decided to run for 2012 City Council, I started a separate blog, “Svayambh-PA: Or, the New Residentialist Platform (NRP)” to sort the campaign writings from the arts writings and posts.

At first I was going to make no mention of the campaign on this blog; now I realize I would be better off trying to redirect people from here to there. Neither blog has much of a following, but “Plastic Alto” is much more popular than “Svayambh-PA”, or pops up easier in the search-engines.

I may re-post some of the 104 political articles on “Svayambh-PA”. There are also some article I’ve written for Patch and numerous posts on the comments section of Palo Alto online (the site of the Palo Alto Weekly).

My intention is to make my campaign blog the main tactic to reach voters by November 6.

Search “svayambh” and “Palo Alto” on the leading engines, or link here.

Mark Weiss, at Clear Story, on Monday, July 16, 2012, photo by Buckley Dueker (a photo of the public art piece by Mildred Howard, is on the mast head of “Svayambh-PA”; it’s pronounced SVA like “school of visual arts”, YAM like the tuber and “BH” like “Be Happy”, then PA like Palo Alto)

edit to add, October 27, 2012: For the first time ever, after three months, “Svayambh-PA: Or, The New Residentialist Platform” had more hits than “Plastic Alto”. Generally speaking, the council campaign blog so far has had about one-tenth the traffic of my general blog. So far, with 10 days left until the election, only a small fraction of potential voters have learned about my campaign via my wordpress blog, unfortunately. Although, as Ed Moore used to say, not all the cards have been dealt.

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They belong together

I grabbed a fistful of music, three consecutive titles somewhat randomly from the bins at Palo Alto’s College Terrace library, on my way to the computers, to check my email: “Rockin’ All Night: The Very Best of Ritchie Valens” (1993, Del-Fi), “Texas Flood” by Stevie Ray Vaughan and Double Trouble (1983, produced by John Hammond for Epic/CBS>Sony) and “All Signs Point to Life” by The Variable Stars (2006, self-release). What all three cds have in common of course is the unfortunate demise of the principals in all three projects: Valens, famously “the day the music died” in a plane crash in XXXX, Vaughan slightly less famously in a helicopter crash leaving a festival in Wisconsin in 1995, and Brad Johnson the leader or co-leader of a local band, who took his own life in 2009, and in most places will probably remain obscure and he nearly anonymous.

I was surprised that the cd was in stock at the library. Brad Johnson actually worked at that very branch, whatever the connection or timing of those facts actually are. I scrutinized the cd packagings and liner notes and pecked around the internet to put these bare facts in a little more context. Typical of my habit (and I know I am not alone), I took quite a few detours on tangents.

Brad was a friend; we did the tiniest amount of work together. His band was the opening act for a small show, the first of seven or eight shows in a series, I produced in a local art gallery, in 2005. Truth be told, I booked Brad mainly because he was a likeable guy and we’d almost always greet each other when I came into the library. At his other job, he sometimes snuck me free popcorn. Brad’s band opened for a monologist whose project involved depictions and descriptions of black women’s hair in France, Africa and the U.S. Brad had interesting hair, like a pompadour. He apologized that his band was off that day, but I liked them just swell.

The Ritchie Valens cd had me sussing out a bit of repertoire trivia, about the song “We Belong Together” which I noticed was co-written by someone with my last name, Sam Weiss (although at other citations it is attributed to Hy Weiss). I found an obituary for a Sam Weiss who owned a record store in New York but was unsure if we are talking about the same person. There was also a Sam Weiss jazz drummer who played on the Jack Benny show.  One of these days I will write a more thorough story on all the Weisses I can find in the music biz. I like to joke that I am number 4 on the “Mark Weiss + Music” power charts behind a founder of a ticketing service, the leader of a SoCal rock band and a jazz-singing dentist in Florida.

Regarding SRV, I would have to admit that, as a habitual contrarian, I get a lot of mileage out of talking up “country blues” (acoustic music) at the expense of the more obviously popular guitar-god music of SRV — or I tout a more obscure legend like Freddie King — but I did make it a get a photo of myself next to the Stevie Ray Vaughan memorial in Austin, in 2009.  I like the way he stands casually, some say like Michealangelo’s David, but that his shadow shows him “in action”.

An A&R oddity I noticed on the blues cd is that the song “Testify” was attributed to “unknown” in terms of songwriting yet other places list it as a George Clinton song. I listened to a posted version of a 1967 R&B charting song “I Wanna Testify” by Parliaments but could not hear if this is the source for what Stevie Ray Vaughan used to play.

When Brad died I sent a note to the head of libraries here in Palo Alto suggesting that there could be a concert in his honor; my understanding is that the memorial service featured his music, sung and performed by his friends. Also, The Corner Laughers new cd, I wrote about below, included some tribute material to Variable Stars, and perhaps will include a portion of the songwriting and publishing  attributed to him. There is also a video of his friends and former bandmembers performing the songs he was working on when he passed.

And excuse me if this is too tangential even by “plastic alto” logic, but I could not help clipping from a stack of newspapers in my apartment this morning news (and a cool photo) of a galaxy that “seems to have come back to life for some reason” is 6 billion years old, “3 trillion times the size of our sun” and gives birth to more stars in a day than ours, the Milky Way, does in a year. No, I do not know what it all means. But it makes me think, or at least makes my fingers tap the keys.

edit to add, three weeks later: today at library downtown, I am rushing through my time allotment, with 10x too many things to try and gloss or suss, but also grabbed, from bins: Etta James, “Matriarch of the Blues” BMG Private Music, produced by Lupe DeLeon cover art by tattoo artist Roy Gonzales with an “s”; Gotye “Making Mirrors” Universal. 2011; Joan Baez “Diamonds and Dust” A&M 1975, and Dylan “Love and Theft”. Up! Gotta go!

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Meta-post on top 12 most popular ‘Plastic Alto’ posts by topic

Here are the top 12 posts on “Plastic Alto”so far this year; put the name in search bar to find actual link.

1. Bjong Wolf Yeigh (candidate for Dartmouth presidency)

2. Lockhart Loo (Kent Lockhart, Australian basketball coach, and an upgrade to a playground near his childhood home; apparently U.S. Senator Ron Wyden, a former Paly basketball star, found this mention)

3. Meredith Valiando (a music industry functionary who appeared in a social media tv commercial)

4. Earthwise Presents Alden Van Buskirk event (in another mental universe of infinite

5. Thurston Moore and Alden Van Buskirk (back in my days in advertising portfolio class, we called this “borrowed interest”; I found some link between a Thurston Moore song and AVB, but not sure what his fans think, if they find this post. I also think of AVB when I think of Eric Lindley pka Careful song)

6. Paul Cohen and Evan O’Dorney (math prodigies, one of whom went on to win Fields Prize and teach at Stanford for 30 plus years; this is still the top post all time as distinct from this list, which measures since Jan. 1)

7. “This is What Democracy Looks Like” and Occupy, unless these are all people looking for the singer Jim Bryan. It is actually more about Bindlestiff and PMSTA performance group than about the rally we saw after the show.

8. “Terry and I” (kind of a personal post, but references the artist Terry Acebo Davis — post has six pictures of Terry that I took with my cellphone and one of our dog)

9. Nina Simone, Lisa Fay Beatty (about my friend the recently deceased musician, but also references three other better known figures, and imagines them in heaven…)

10. Cadence Lee, a local high school wrestling sensation (and daughter of my classmate)

11. Yo Soy 132, a Mexican social media movement in opposition to the elected president.

12. Palo Alto New Varsity, about 456 University, a historic theatre and a campaign a quixotically called TLPW456, to try to impact

13. “Are you Ready for some PUEBLO?” one of probably 30 posts I have made about Santa Fe, New Mexico and the artists thereabouts and their works.

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John Schaefer soccer songs

John Schaefer of WNYC has a great little post about the songs that British soccer fans sing during games.

I would like to see him in a roundtable on this topic with Alan Black and Tony Williams of Meridian Gallery. And one of these days I want to circle back to Ajax fans and their mogen david tattoos. edit to add: I mean “magen david” — which according to the leading search-injun is ten times more common spelling although they are pronounced the same.

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Marla Allison New Mexico painter

This time of year I dream of New Mexico if I cannot actually travel (I’ve been five times).

The Wheelwright Museum is hosting a benefit event. Marla, who is from the Laguna Pueblo, is one of several artists donating their work for the event.

This photo of Marla Allison is by Jim Gautier.

This link or pingback shows Terry and I with Marla and several others during Indian Market 2011, at La Fonda.

I don’t collect her work but am a fan. Quickly fact-checking this basic post sent me on a digression to Ah’reek Marshall, also known as Aric Marshall, a guitarist from LA who was part of the Red Hot Chili Peppers and is the inspiration for a Marla Allison painting called “Dual Duel”. Add this to my queue of things I will have to look into.

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I wish I was there; last saw Ozo at SXSW in 2008, with Los Lobos at Stubbs; first saw them at Fuel, in 1999.

Annelise's avatarSF Concert Review Archive

Originally published on April 4th, 2012

http://www.jambase.com/Articles/91087/Ozomatli-California-Review

Ozomatli :: 03.28.12 :: The New Parish Music Hall :: Oakland, CA

 

Ozomatli by Annelise Poda

The New Parish Music Hall in Oakland was packed to the rafters with jubilant fans for a special Wednesday night Ozomatlishow last week. Anyone familiar with the band knows that when embarking on a musical trip with Ozomatli they are in for a night of hip-shaking rhythmic jams and nonstop joking with the charismatic musicians. The New Parish is a very small venue for the band to be booked at, so excitement levels were bumped up even higher for the sold out crowd. This group is made up of some highly talented musicians that also really know how to work an audience, and their show made for a great night of laughter and dancing.

Ozomatli is known for being a multicultural musical project, and band…

View original post 704 more words

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How I met Ozomatli thru Dana Beard the Chinese linguist

I wrote this four years ago and submitted it to Doug Shevlin’s blog. The actual events take place about 12 years ago. But I didn’t know until one half hour ago that Dana Beard went to China, according to The New York Times, with eventual U.S. Senator Kirsten Gillibrand, when they both were at Dartmouth. (To be clearer: Dana I knew slightly, via the Daily Dartmouth; I don’t recall meeting Gillibrand, although Melissa Baten Caswell knew her well, and hosted her here recently).

Mike Drake of Oranger and American Sensei is now in Hot Fog.

Ozomatli and Me: or
Ozo BLO y Yo
by Mark Weiss

(submission to MIMS)

Ozomatli (“Don’t Mess with the Dragon”, 2007, Concord Records)’s deep Palo Alto connection was cemented or at least sealed like a fortune cookie at the Schewan Café on Cali Ave in Spring, 1998. I was having dinner there with a college schoolmate of mine, Dana Beard, whom I had bumped into at the post office around the corner a few weeks earlier, after 15 years. She was describing how in her work for Motorola selling semiconductor products to the Asian Market, her accent was so good that she was generally mistaken for a native Chinese speaker and businesswoman. The one time she was outed, Dana claimed, was when her customer used a colloquialism to pronounce their deal done and she had to stop him to ask him what he meant. He had said something that came across to me (in the retelling) as “Chee Toe Mah Lee” which apparently in this Motorola-Asian-Market context means “Go for it!” or “It’s a deal!”. Beard had heard it, however, as
“Horse-head One Thousand” so was understandably a little confused. Apparently “Horse-head One Thousand” to many Chinese people references an image of a horsemen in full gallop, gulping air as he rides across the plain for a thousand miles, “going for it.” (They hear it as “Horse-head Gulping Air Riding One Thousand Miles”).
http://www.facebook.com/people/Dana_Beard/692826169

A couple days later I was on the phone with Jim Haljun, a recent Stanford grad working as an agent at William Morris Agency in Los Angeles. We were discussing his pals in the Stanford-based band American Sensei – veterans of my humble concert series at Cubberley Community Center here, a former high school auditorium, where thanks to people like Haljun, world class bands( Femi Kuti, blink 182, Cake, The Donnas) were dropping in for semi-secret jam sessions and “new artist showcases”. Haljun said that the American Sensei drummer was leaving the band because his med school dean felt he had to focus on school, (and, further, first doing more harm, he didn’t get the name of the band anyways — a reference to “Karate Kid”?). The band was on hiatus and potentially changing their name.
http://www.facebook.com/people/Jim_Haljun/667640920

“I have the perfect new name for those guys,” I offered. “Cheetos Molly!” I explained that this name meant kinda sorta “Go For It’ in China and would be a good seque from the remaining guys’ Asian-phillic nom de jam.

“Do you mean Ozo Matli?” countered Jim’s assistant, (apparently I was on speakerphone). The LA industry types explained there was a hot new band but not a client they were keeping their eyes on, holding down a regular gig at a community center down there.

Well for history’s sake, to make a long story short, American Sensei begat Oranger (“Doorway to Norway”, 1998, Amazing Grease records), “Cheetos Molly” is still out there waiting to be claimed, last time I checked MySpace, but Ozomatli has gone on to six cds, three Grammy’s, two Billboard Latin Awards and stints in Nepal, Asia, Africa, South America, and the Middle East as cultural ambassadors for U.S State Department sponsored tours, among its numerous accolades and stories to tell. Not before stopping at the Cubberley in fall, 1998 to rock the house, with opening act Beth Lisick Ordeal aka BLO (“Monkey Girl”, 1997, Manic D Press). Truth be told, Ozo had also played at Stanford shortly before my show; they returned to Palo Alto in 2001 to play a nightclub gig, but the Cub show was, in my humble not-quite-a-dragon more-of-a-rabbit opinion the deal-cementer as far as Plastic Alto Ya Se Fue! is concerned)

One of my fonder concert experiences was being in the front row at Stubb’s outdoors to see Ozomatli backed with Los Lobos during SXSW 2004 (the day before two members of the band and manager Amy Blackman were arrested in Austin, Texas for disturbing the peace in a post concert jam session that, like at many Ozo shows, spilled into the streets).

I recommend “After Party” from “Dragon” as song of the day for MIMS, and in honor of Barack H. Obama and Austin’s finest.

edit to add: the epilogue to this is that as of 2010 and the World Cup I believe the “horse head one thousand” “cheeto molly” is the same word or story as “chollima” the mascot of the North Korean soccer team, a winged horse that carries its rider an impressive distance. And definitely distinct from Chester the Cheetah, which like Cheetos themselves are properties of Pepsi-Co and Frito-Lay. There also, able search-injuns will find, indeed a lady named Molly obsessed by the crunchy snack product. The other b(r)and names this recalls are Naked Barbies, who on and off fight with Mattel, and, according to my Oaxaca/DF correspondent, a rock band named Tabasco who conceded to the Louisiana-based pepper sauce company not to tour here on that moniker even if they were actually from Tabasco, MX.

Wiki has in Pan-Asian, but focused in North Korea, meaning “thousand-mile-horse”, and similar, as a movement, to Great Leap Forward. I also recall that at that dinner I had Dana read only the Chinese side of my bilingual fortune (from the cookie) and explain to me what it must be predicting or suggesting for me — and I still wonder what it actually said. I see that I actually went over this in a previous self-footnote, in April, 2011, following something about Rob Syrett at Roll Up. To wit:

Chollima is Korean flying horse eerily (but not Erie-ly) similar to the story Dana Beard told me about, what I heard as “cheeto molly” or “horse head 1,000″ meaning “go for it” or, as above “gulp air and ride”. Dana, who I met at Daily Dartmouth, was selling high tech by phone from Palo Alto to China and was stumped by an idiomatic phrase that her customer used to say “It’s a deal” or “go for it.” When she related, even inaccurately, her story to me, and I repeated it to Stanford grad and then William Morris agent Jim Haljun, apropos of a new name for the rock band fragments American Sensei and Oranger –I was suggesting “Cheeto” –like the snack food — “Molly” like the girls’ name — it was suggested to me that I be an early adapter and buyer and promoter of, Ozomatli.

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Barry McGee at Berkeley, Evri Kwong at Smith-Andersen

University of California, Berkeley
Art Museum and Pacific Film Archive (BAM/PFA)

Barry McGee
August 24–December 9, 2012

University of California, Berkeley
Art Museum and Pacific Film Archive (BAM/PFA)
2626 Bancroft Way
Berkeley, CA 94720
Hours: Wed–Sun, 11–5pm;
open till 9pm on L@TE Fridays

bampfa.berkeley.edu

Barry McGee is the first midcareer survey of the globally influential San Francisco-based artist, and provides a much-anticipated opportunity to experience his work from the late 1980s to the present. The presentation includes rarely seen early etchings, letterpress printing trays and liquor bottles painted with his cast of down-and-out urban characters, constellations of vibrant op-art painted panels, animatronic taggers, and a re-creation of a cacophonous street-corner bodega, along with many new projects.

McGee, who trained professionally in painting and printmaking at the San Francisco Art Institute, began sharing his work in the 1980s, not in a museum or gallery setting but on the streets of San Francisco, where he developed his skills as a graffiti artist, often using the tag name “Twist.” McGee’s use of this and other monikers—such as Ray and Lydia Fong—as well as his frequent collaborations can make it difficult to precisely situate the artist’s unique authorship. Using a visual vocabulary that borrows elements from comics, hobo art, sign painting, and other sources, McGee’s work addresses a range of issues, from individual survival and social malaise to alternative forms of community and the harmful effects of capitalism, gentrification, and corporate control of public space. His often-humorous paintings, drawings, and prints—all wrought with extraordinary skill—push the boundaries of art: his work can be shockingly informal in the gallery and surprisingly elegant on the street.

McGee has long viewed the city itself as a living space for art and activism, but his more recent work has brought the urban condition into the space of the gallery. Increasingly, his installation environments express the anarchic vitality of the inner-city street, incorporating overturned cars and trucks, and often spill beyond the frame of the gallery or museum. For McGee, writes Alex Baker in the exhibition catalog, “the creation of chaos is a political act.”

Barry McGee is organized by Director Lawrence Rinder, with Assistant Curator Dena Beard, and is accompanied by a major catalog featuring texts by Baker, Natasha Boas, Germano Celant, and Jeffrey Deitch, as well as nearly three hundred images, many of which have never before been published. The exhibition will travel to the Institute of Contemporary Art, Boston in April 2013.

Support
Barry McGee is made possible by lead support from The Andy Warhol Foundation for the Visual Arts and presenting sponsor Citizens of Humanity. Major support is provided by the National Endowment for the Arts, Ratio 3, Cheim and Read, the East Bay Fund for Artists at the East Bay Community Foundation, The Robert Lehman Foundation, Prism, Stuart Shave/Modern Art, and Cinelli. Additional support is provided by Rena Bransten, Gallery Paule Anglim, Jeffrey Fraenkel and Frish Brandt, Suzanne Geiss, Nion McEvoy, and the BAM/PFA Trustees.

Special thanks to Citizens of Humanity for their additional support of BAM/PFA’s grade-school art experience programs.

Press contact: 
Peter Cavagnaro, pcavagnaro@berkeley.edu

*Image above
Barry McGee, Untitled, 2005. Acrylic on glass bottles, wire; dimensions variable. Lindemann Collection, Miami Beach. Photo: Mariano Costa Peuser.

and this is the most typical “plastic alto” segue but this press release had me using search-injun to distinguish between curator Dena Beard and my Dartmouth contemporary Dana Beard (who I often talk about regarding Ozomatli); Beard went to China with eventual U.S. Senator Kirsten Gillibrand. I’ve met Barry McGee a couple times and think of him as having some kind of ethnic mixed heritage — is he Chinese?  Evri Kwong is definitely Asian; I think their work is comparable; I took Rob Syrett to Smith-Andersen to check out the pop-up installation of about 200 small drawings by Kwong. I bought this one, of the light switch,

I own this,by Evri Kwong (actual size)

which I think of as “trompe l’oeil” but passed on, due to my budget restrictions of this extant character with gun; Rob pointed out both Kwong’s tools — he says he uses a slightly worn Sharpie — and his distinctive cross-hatch.

I have not been to BAMPFA in years, but hope to get to the McGee shindig. I recall seeing the Maplethorpe there, maybe with Elizabeth Hutchinson. Meanwhile, I will have to ring my old Gunn baseketball frosh-soph teammate Brian Fitzpatrick of CalTrain about the not-so-secret proposal to let Barry McGee tag CalTrain for money. Mark Simon, our old Gunn Oracle guru, wasn’t sure if his “Fitzy” was our “Fitzy” but Brian Evans says this Fitz fits.

Here is link to Evri Kwong with prestigious Lannan.

an extant Evri Kwong character and typical scene, ink on paper, about two inches, you can own by contacting Karen at Smith-Andersen. Hurry!

Rob Syrett has upcoming show in October at Cafe Zoe in Menlo Park.

edit to add, Friday night: Terry Acebo Davis, tloml, and artist, was at a doctor’s office the other day and saw a profile on Barry McGee in “California Magazine” and it said he is Chinese so, yeah, I am sticking with my segue. On the other hand, I cannot picture, or would cringe at the thought of Barry McGee and Clare Rojas sitting around some day and they see an article about me and it somehow says I’m Jewish and they go, “Remember that guy? Didn’t you think he was kinda Jewish? It says here, he’s Jewish!” And now I can file this under “ethnicities” which is my code word for “jewish”. I am also realizing that I somewhere wrote “mogen david” for “magen david” and will have to flip that crypt.

edit to add, Sept. 1: Don’t be like me; see the show already, not merely think/write/talk about it. And or read these two more authoritative takes on it, by Chris Perez in SFAQ and Kenneth Baker in The Chron.

edit to add, nearly 8 years later: got a note from Evri and am tempted to try to buy that extant character with a gun, to gift to Robert Syrett, maybe. Also, i’ve only been to the new Berkeley Art Museum once, even though we were given a half membership to PFA for our wedding present, by Minerva Amistoso, who herself is a great photographer.

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Silversun Romney “Panic Switch” switch

Instead of having Romney desist from using “Panic Switch”, Silversun Pickups should grant permission in exchange for Romney releasing the tax returns that, according to Columbia professor Michael Graetz in the New York Times, probably show that he undervalued an asset to the tune of tens of millions of dollars, which would be equivalent of earning the tax payers and costing the rich guy a few million.

Even better would be if they said “Romney you can use our song but you have to pay 1 percent of the value of that undervalued asset to the boyfriend of our lead singer’s wife’s step-mom’s sister” (that would be me, Mark Weiss of Earthwise Productions of Palo Alto).

My understanding is the band is actually managed by Q Prime.

edit to ad: Rumor has it that the Romney campaign is now negotiating with Boots Riley to produce a special edit of his song “Five Million Ways to Kill a CEO”.

edit to add, Saturday: Robert Levine at Bloomsberg online had a more-thorough discussion on this, and how it’s a little over-reactionary, although he is still a little weak on songwriter vs. publisher, license vs. performing rights societies; I am a little weak on it. The bottom line is the artists, performers, songwriters and publishers feel some ownership of the work and, even as snippets, don’t want to be associated and will raise a fuss. Meanwhile, Black Keys claim that a pizza chain is stealing their riffs and imitating them, I also read today. And I bugged Ian MacKaye perhaps gratuitously because I like bugging him, texting him warning that a chainsaw add seemed to be stealing or copying “furniture” by Fugazi. Next stop: reviewing the lyrics to Randy Newman, “I Love LA”.

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Karla Kane’s golden west

Fake El Camino Bell near El Palo Alto tree and park in Palo Alto, near El Camino Real and some real El Camino Bells

I’ve always had a soft spot for Karla Kane of the Corner Laughers ever since I first read about her or them in an article by Kimberley Chun in the Chronicle a couple years ago. I’ve only seen her or them perform a couple times, however. For a while, you could also catch Karla at her day job, covering city commission meetings for the Palo Alto Weekly.

Not that “Plastic Alto” has that many readers, but do check out Corner Laughers today at Club Fox, a 4 p.m. happy hour show produced by KFOG. The show is free but I presume the club will try to sell you libations. Karla informed me by email that she or they will also be selling copies of their new cd, “Poppy Seeds”.

From: Karla Kane <(something cute yet cryptic)@yahoo.com>
To: mark weiss <earwopa@yahoo.com>
Sent: Wednesday, August 15, 2012 6:16 PM
Subject: Re: bells of el INTERVIEW REQUEST
1) The deal? Bells of El Camino is track 2 on our new record, Poppy Seeds. The guest male vocalist is pop genius Mike Viola (Candy Butchers, That Thing You Do!, etc.), who is one of our all-time favorite artists, so we’re thrilled to have him on the song. Another fun fact — the bells you hear are genuine, not a keyboard — we recorded real, live hand bells in a church, played by all of us. I’m not sure if you have Poppy Seeds yet
(if not, it will be available at the show!) but it is clearly heavily California-influenced, both in look and sound/content, and Bells of El Camino is my tribute to my home state. California history — both natural and cultural — is very inspirational and I’ve always been a fan.
2) Not sure about the individual county count of bells but they are supposed to be placed one per mile so you could do some calculating/mapping…
3) The original, turn-of-the-20th-Century bells numbered around 450, I believe. They were sadly mostly destroyed mid-century, during the construction of the big freeways, but around the turn of THIS century, Caltrans began a restoration project and there are now more than 500 stretching up and down the state along Highway 101. You can read more about it (or buy a bell!) here: http://www.californiabell.com/
As far as visiting the missions go, I’ve probably only visited 5 or 6 or so of the 21 total. I would love to visit all of them some day. It’s on the to-do list.
4) Sure, we have many Catholic references in our songs. Let’s see, there’s See You in Hell, Shrine of the Martyred Saint, Sugar Skull, Twice the Luck … I’m probably forgetting some. Catholic imagery is very vivid.
5) It’s distinct from Agony Aunts but, as I said, it is part of a larger “California album” — Poppy Seeds. Of course, not every thing on the record is about the Golden State. Track 1, for instance, is inspired by Cambridge, England. Sense of place is important to us, or to me at least.
6) Native Sons (and Daughters) of the Golden West were actually, if I remember correctly, the originators of the bells back in olden times and they remain involved with the restoration. As I understand it, some of the bells are original and some new but made using the original casts.
7) No idea, I’m afraid. I hope not!
8) I didn’t mention the bells in the public-art article but I wish I had. I hope the song serves as a worthy tribute to them.

From: mark weiss <earwopa@yahoo.com>
To: Karla Kane <XXXXXXXXXXXX@yahoo.com>
Sent: Wednesday, August 15, 2012 12:17 PM
Subject: bells of el INTERVIEW REQUEST

Ms. Karla:
Can we do a short interview? On your song “Bells of El Camino”? If you cannot hit me back now, maybe before your trip to UK?
1) what’s the deal with your song about the bells of El Camino?
2) How many bells do you think are left, in Santa Clara County?
3) do you know, although it is not essential to your song, which I take as a metaphor, how many actual bells there once were? I’ve been doing a sort of informal study, meaning to look into again, I saw in the basement of Santa Clara University Museum, either an actual bell or photos of actual bells and info — I think around 1910 the bells were installed as a tribute, right, to the Missions, whose bells went in, what between 1769 the Spanish War I guess — how many actual missions have you visited? Terry and I were in Carmel for her birthday last month and saw the Carmel Mission; I got as far as the gift shop — I was staying with the dog, Frida, who came with us, whereas Terry, being a Catholic went into the little chapel.
4) Is there a connection between Corner Laughers, as I recall reading in SF Chron by Kim Chun I believe, being a couple young ladies feeling out of place at their Catholic high school and this song? Are there any other covertly Catholic song in you repertoire?
5) And does this fit in with or is it distinct from your “Palo Alto streets” series, by your side-project, Agony Aunts (“Miranda Green”, et al)?
6) Have you seen the fake El Camino Bell installed recently near El Palo Alto by Sons of the Golden West and Pacifica (i think it was) Chamber of Commerce, at El Palo Alto Park –a reproduction made more recently? (PHOTO ENCLOSED) SEE ABOVE
7) Are thieves stealing the real bells to turn them in for scrap metal fees?
8) Did you talk about the bells in your excellent not so long ago story about public art?
Respond here or call any time at 650.XXX-XXXX
Your fan (and one-time potential manager candidate),
Mark Weiss
I have a blog called “Plastic Alto” I have mentioned you before, and another about the upcoming local election, and I also post to Patch (unpaid).
I think the Club Fox KFOG will be swell — what time is your hit? You gals and guys should play in Palo Alto some day.

Mark Weiss of Earthwise Productions and Renee Richardson of KFOG at the Corner Laughers show in Redwood City

Karla and Khoi of the Corner Laughers

 edit to add, a couple months later: serendipitously, I found that Amos Lee on Blue Note has a song about “El Camino”, at least according to The Times. Also, I have a clipping in my “hot file” about the Chron’s mention of the authentic El Camino bell reproductions by California Bell Company, like the one pictured above. Amos Lee real name Ryan Anthony Massaro, on Blue Note, p.m. is Red Light in New York, booked by Joe Brauner of William Morris, who once had an assistant named Nicole Jackson, that as a mnemonic I thought of as “Jackson-Brauner” like the 1970s’-vibe Cali crooner, that Lee channels, although even more oddly, I was confusing Amos Lee with Shuggie Otis. 

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