Nancy Shepherd declares “No Yawping Zone”!


Nancy Shepherd declares a "No Yawping Zone"

She said “Yoo Hoo”

Palo Alto City Council member Nancy Shepherd’s curious declaration Monday (actually, it was 1:05 Tuesday morning) that only people with millions of dollars should be allowed to speak out regarding the future of The Varsity Theatre caught me off guard, and woke me out of my stupor. At the end of a long seven-hour meeting, during announcements, she expressed her concern about the recent flurry of chirps, tweets, yawps and utterances by all the people like yours truly concerned about plans to turn the beloved downtown movie house and concert venue into office space. She seemed to direct City Manager Jim Keene to issue an edict asking for a cessation to all the letters, blog posts, speakers, pamphleting and the taking to the streets. She sounded more like Bashir or Mubarak than Daniel Webster.
“I’ve noticed that regarding the Varsity Theatre a number of community stakeholders and activists are urging government to intervene, to try to change the future of the Varsity Theatre, and this concerns me. I don’t think we are allowed to” I heard her say (about four times, thanks to the DVR function on our virtual monopoly media hookup; you can watch for yourself thanks to Media Center here). Her line of rhetoric seemed to be suggesting that unless people like me — and there were 8, 000 of us last time, in 1996 — have a $20 million line of credit pre-approved, that we shouldn’t speak our minds about the obvious public benefit, relative to office space, of a national-caliber concert promoter taking the lease or deed on 456 University. My take is the opposite: unless the owner makes it clear there is a distinct window of opportunity, no viable entity — Yoshi’s, Live Nation, Another Planet, Nederlander, nor my cousin Vic and I and all our friends — would submit a plan. So I therefore believe our local leadership should take the initiative here and work with the owner — a very well-known guy; he seems to be in daily or weekly contact with all nine council members, and probably has been since the days when members of Journey strolled Cubberley, or at least since Steve Jenkins was known  as Sticks, for his drumwork, at Gunn and Paly. His friend also said last night to Council that he is Palo Alto’s “Parking Czar”. Well then call me Rasputin’s. I called Rasputin’s once in my pajamas. How he got in my pajamas I’ll never know. (This was in Tuscaloosa).

Nancy Shepherd’s logic is flawed but,  worse, rather than admit she merely disagrees with what might turn out to be a huge army of motivated and organized zealots, or that she is afraid to face the dude, in her pajamas, pink tights or otherwise, she seemed to be claiming, with her “not allowed” language, that we were asking her to break a law. Or her jaw, or a tusk, you know the Fleetwood Mac version with the USC band.

Further she seemed to be concerned, in the question part of her little moment, to be asking how much it was costing the tax payers to have Tom Fehrenbach, our $60k business flack,  research this. Jim Keene, in what has got to be one of the year’s best backhanded compliments, said not much, that Tommy had not been giving it the old Spartan try, in the Lorenzo White or Bubba Smith or even Dave Rayner sense. By my count, or what he told me, he had talked to three people in five weeks; my list is up to about 130, as I noted here previously (and I do this as a volunteer, because I care passionately about the arts, and our community, as an act of conscience because I love democracy, and hate what I fear might come in its wake, or in a vacuum of apathy; I also re-read Thoreau “Civil Disobedience” in which although he says “what governs least governs best” –which is something perhaps Nancy Shepherd wished she had said, at 1:05 a.m. But HDT  also said that perhaps his elected officials should resign if they were not up to snuff to get America back on track –and that was the 1850s, only 75 years or so after Washington and Jefferson set perhaps an unsustainable standard).
Jim Keene reassured Shepherd, in that dude-where’s-my-car- 1 a.m way that Fehrenbach was not actually doing much on the matter, but said he would at Council direction find a vehicle (what, a tank?) to help suppress any further public comment, hopefully before the Oct. 5 HRB hearing, or that’s what I heard. He actually said something about “realistic” although I heard phantasmagoria. Or zebras when I should have said elephants.

edit to add, Tuesday, Sept. 13, 23 hours later: I want to thank my old Gunn Oracle colleague Greg Zlotnick, a former elected official, a writer and lawyer, for encouraging me to rein in some of the more sophomoric reactions I had to our Miss Nancy. I picked the headline and the word “yawp” or “yawping” because “Horton Hears a Who” was discussed at the live version of our social media group earlier yesterday at Coupa. As a fan of the language, English that is,  I was intrigued that we may be confusing a Glenn Beckism with a Seussism. (And my fellow activist Miriam Frank, a new mom, said she will re-check her Seuss and report back pronto. Seuss may have “yop” for “yawp” although Whitman might have “yawp” to boot). But for me and my concert promoter and former ad guy brain, more John Cage than Bill Gates, “back to Beatnick”, I somehow landed on the song and the video “Yoo Hoo” by Imperial Teen.  While not literally true, it is metaphorically apt: imagine Nancy Shepherd (played by Rose McGowan/”Courtney”) gagging the citizens (played by Will Schwartz, who is also tied wrists to bedposts) with a jawbreaker, then doing a little victory dance. The “ha-ha-ha-huh?” and “She said yoo-hoo” bits add to the image. I sent the first version of this to Jone Stebbins who replied that Nancy, or my version of her, was “a piece of work” I tell you what, if this goes through, and the Varsity lifts its curtain, I will atone for being tough on Nancy here by treating her to hair by Jone Stebbins, or at least I will offer it. And I hope she is flattered and not shocked by Rose/”Courtney” and all the “big shot rock stars” invoked herein.

Aram James suggested I re-read Sullivan v. New York Times and write to City Attorney Don Larkin to interpret Nancy’s idea or guide what Jim might do.

I left voice mail for home phones of Matt Nathanson and Penelope Houston, the management of Brett Dennen, John Mayer’s one-time tour accountant and Frank Portman, and hit by email Ian MacKaye, Ian Brennan, Mac McCaughan and Vienna Teng. (which sounds like a bad joke, worse than Nancy’s gaffe, about three Scots and a lady who walked into a nightclub and…)

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The Last Picture Waltz: tragedy or comedy? (Josephine Baker says its alright!)

When I studied Shakespeare I was taught very simply that a play was a tragedy if it ends in death and a comedy if it ends in a wedding. We shall see what happens with  this work in progress. This list has about 136 characters; I’m not sure if I am going to annotate the list, identify the people, or indeed write a theatrical treatment that depicts their role in the actual drama. A small number of people appear merely as ghosts, or muses, or they haven’t returned phone calls yet. Some have put more energy into this than others, for instance Karen Holman has talked to me on the phone while so far Larry Klein would literally not give me time of day; I said “Have you read my letter to council about the Varsity Theatre?” and he said “Yes, but I have to get to an appointment, at 10 o’clock” and walked away; it was 9:45 a.m. and we were standing across the street from his office. Well, he gave me time of day, but not the correct time. He pretended he was late.

I thought of writing a semi-fictionalized version of this set in 1985, in the heyday of the Varsity, with Michael Alden Hedges (1953-1997) dreaming the future, like in that TV drama about a hospital in Baltimore, but have already been accused of being too fancy. But it’s also true that covering the sad truths with fictional veneers might make some of the more gruesome details more palatable to the accused.

For know just think of this as a list, maybe a resource. I will probably add notes later. But keep in mind that although I was trained as a journalist (with the Peninsula Times Tribune for example, in winter of 1984), this is not journalism per se. This is more like poetry than fact, for example, but in some ways it is probably truer than what is being printed in some of the local real estate rags. If I speak in public, at council, at commissions, and directly to these people, in the real world, I am pretty darn truthful. But I am warning you here that I take poetic license as a blog (and am indebted to David Shields) about having no illusions about truth.

THE LAST PICTURE WALTZ

Dramatis personae

Dianna Arnspiger

Michael Bailey

Joan Baez

Steve Baker

Faith Bell

Joel Betts

Jen Bilfield

Gary Bongiovanni

Carl Bolton

Herb Burok

Stewart Brewster

Tasha Brooks

Pat Burt

Tony Carrasco

Melissa Baten Caswell

Elizabeth Chapman

Mike Cobb

Mike Cobb

Chris Cuevas

Russ Cohen

Kathleen Daly

Hans Delannoy

Whitney Denson

Winter Dellenbach

Mario Dianda

Carolyn Digovich

Peter Drekmeier

Dan Dykwell

Sunny Dykwell

Robert Emmett

Steve Emslie

Sid Espinosa

Joey Fabian

Eric Fanali

Gary Fazzino

Tommy Fehrenbach

Richard Florida

Jon, Marjorie and Maya Ford

Frank Ford

Miriam Frank

Amy French

Chris Gaither

Carol Garsten

Matt Gonzalez

Tim Gray

Meredith Hagedorn

Eric Hanson

Glenn Hartman

Aleta Hayes

Ken Hayes

Michael Hedges

Kristin Hersh

Alex Hodges

Dawn Holliday

Karen Holman

Mildred Howard

Alexandrea Ippolyte

Tim Jackson

Tom Jordan

Tommy Jordan

Richard Johnston

Candye Kane

Karla Kane

Brad Kava

Charles “Chop” Keenan

Jim Keene

Noel Kidd

Peter Kirkeby

Larry Klein

Quentin Kopp

Jordan Kurland

David Lefkowitz

Alice Liang

Justin Little

Judge Luckey

Randy Lutke

James Lyon

Gary Marstaller

John S. “Jack” Martin

Rachel Metz

Gary Meyer

John Milton

Harvey and Claire Mitler

Jack Morton

Brian E. Moore

Bob Moss

Matt Nathanson

Jason Olaine

Roger McNamee

Kim Mixter

Gary Lee Parks

Greg Perloff

John Perry

Gail Price

Bob Pritchett

Rinat Radvinsky

Jonathan Richman

Ally Richter

Ryan Thomas Riddle

Josh Ritter

Becky Rogers

Jim Romeo

Katie Ross

Diane Samuels

Becky Sanders

Greg Scharf

Danny Scher

Allen Scott

Hadar Shemtov

Noam Shemtov

Gennady Sheyner

Shoko

Terry Schuchat

Marcus Shelby

Nancy Shepherd

Jay Siegan

Bonnie Simmons

Gary Simmons

Stephanie

Lisen Stromberg

Karen Surma

Akira Tana

Dr. Nancy Tuma

Samir Tuma

Tuck and Patty

Camille Townsend

Joyce Yamigawa

Yiaway Yeh

Rebecca Wallace

Wayne

Susan Webb

Lanie Wheeler

Dar Williams

Julie Williams

Lanie Wheeler

Curtis Williams

Hershel Yatovitz

Darius Zelkha

Gregory A. Zlotnick

Who’d have thought that trust could be bought for a song and a little chat? Or as the lovely D’Andre Aziza says:

We’ll be adding parts and re-arranging lines for a few more weeks yet, so if you want to play a role in “The Last Picture Waltz” you can speak to Council or Commissions a couple more times this week. See the City website for times and places.

edit to add, Wednesday, September 7, 2011: I spoke this morning to the Palo Alto Historic Resources commission, about The Varsity, but also about Nathan Oliveira at 209 Hamilton, and Al Young at The Nevada Building. After the meeting I chatted with commissioner Beth Bunnenberg. She told me that she liked the name The Last Picture Waltz because she was from Wichita Falls, Texas, near where Larry McMurtry’s book takes place. I neglected to ask if, on top of that, she was a lineman for the county.

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Candye Kane versus Karla Kane

and now for something completely different(actually I had originally posted a performance of “All You Can Eat” from 2009, which I thought musically went well with the below, but Candye wrote back and asked me to link to something from this year):

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Kid A

Marjorie Ford sporting Allison Robertson's old sweat top

I ran into Marjorie and John Ford, mother of The Donnas bassist Maya Ford, at Peets. Marjorie and I worked out a deal in which I will trade her a book on zines I got cheap at the soon-to-be-defunct and hopefully clearing-the-way-for-a-concert-venue=bookstore in exchange for a zipper sweat jacket that once belong, or so she says, to Allison Robertson, the guitarist for her daughter’s group (and her best friend since 7th grade). My plan is to donate the garment to the proposed Palo Alto Rock and Roll Archive. The archive is a file at the library pertaining to the time I got Steve Staiger our historian to authorize my suggestion to then-Mayor Bern Beecham to have a civic proclamation in honor of Jerry Garcia’s days here. Other artists I have invited into the hall include The Donnas, Ian MacKaye of Fugazi (who attended Terman Junior high for one year), Chris Applegren of The Pee Chees, and Steve Jenkins of Third Eye Blind. Applegren’s former or then-wife Molly Newman actually managed the Donnas when they were on Atlantic and in fact they meet at one of my shows.

I can tell my furry bear liked the river because he jumped over the ledge:

 

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Step into the light, Mildred

Mildred Howard

I shot this picture of Mildred Howard at her Palo Alto installation on August 17, 2011. I could not help doing the Archers of Loaf lyric in the title of this brief post. No other connection, other than I once drove from Chapel Hill to Richmond, VA to see the Archers at Twisters AND oh, nevermind.

edi to add, October 11: I booked Marcus Shelby duo into the reception for Mildred Howard at Palo Alto City Hall lobby and snapped this photo:

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Marcus Shelby and Howard Wiley at Cafe Claude

Marcus Shelby at Cafe Claude in San Francisco, September 1, 2011

Terry Acebo Davis and I met and regaled Terry Allen with our Sled Allen baseball card sets (featuring work by Mark Weiss, Terry Acebo Davis, Rob Syrett and Mia Ollikainen — honorable mention to Grant Kosh and Steve Cohen; raspberries to the others of you who ignored the RFQ). We also met Robert Hudson at the show and schmoozed with Paule Anglim’s able, helpful and generally lovely staff: Christine, Travis and Monica.

We were not invited to the post-party dinner, alas, so wandered into the Union Square night looking for grub. The syren calls of what turned out to be Marcus Shelby Trio with Howard Wiley

Howard Wiley, tenor sax

lured us into a lovely light supper at Cafe Claude; we sat at the bar and talked Uruguayan football with Enrique, plus got insight into Metallica’s show at a large corporate event by one of the event’s caterers. (She finished my sentence when I was pontificating that for Metallica to play a trade show meant buku books — I said “one million” and that the fledgling high tech company not so much wanted their followers to understand metal as much as that he wanted to show that he could make them… his bitch).

Marcus Shelby and I traded bits and bytes on the DeYoung, John Corbett in Chicago, his Port Chicago piece, Stanford, Mingus and more. He said he was commissioned by the DeYoung to write a companion piece to Edward Hicks “Peaceable Kingdom”.

Later he was joined by a fledgling female vocalist who nailed some Cole Porter standards, and made me regret having to go home so early.

Maybe we can get Marcus Shelby to play some tunes at the dedication of the Mildred Howard “Clear Story” next week in Palo Alto — by nine today I had put in to calls on that topic, we’ll see, clearly.

Not to completely ruin the mood but here is someone’s home video of the Metallica appearance at a trade show, purportedly their first corporate gig.

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Matt et Mark

In a parallel universe, where Mark Oliver “E” Everett is POTUS, and his friend Sean Coleman of The Sunshine Club is a house-hold name, or has his own reality show, Matt Nathanson is exactly where he is here and now, touring the country with Maroon 5 and Train, charting with “Faster”, et cetera. He is also, in this perfect world, appearing sometime soon, very soon, at Zoe Café in Menlo Park, stumping, as it were, for TLPW 456, the campaign to bring culture to downtown Palo Alto, to The Varsity Theatre. Matt would or is or could or should appear at a secret show to rally the troops for the assault on Navarone-esque idiocy that represents the status quo of the landlord-dominated politics of Palo Alto. Apropos of nothing, but of special interest to the overlapping fan bases of Matt Nathanson, the Wilson Pickett cameo in “The Commitments”, Madeleine L’Engle and Robert Venn, Matt will be in Concord, California on Sept. 15, which is only 57 miles and 71 minutes from Cafe Zoe, wink wink nudge nudge.

I will put in (but not like Putin) a call on this, in the here and now, to Matt’s management, Jordan Kurland and Justin Little of Zeitgeist Management of San Francisco, my old friends. In September of 1995, for example, Jordan wrote me on David Lefkowitz Management letterhead to ask if his old college roommate Matt could open for Dar Williams at Cubberley. That didn’t happen but I did, for example, have Matt open for The John Doe Thing at Cubberley in 2000. I did a bunch of shows with Matt  in those days, at Cubberley and CoHo.

Matt is a friend, no lie, but not to the extent of “Jules et Jim” troling for phillies. He did once inscribe a cd to me “I am Mark Weiss’ bitch” which I think was his way of acknowledging my modest role in keeping the wheels on his bandwagon until the Muse of “Come On Get Higher” put the sparks on his tongue, so to speak.

I last saw Matt Nathanson when he played at Metro in The Park in San Jo. I stood in line with some radio contest winners, thanks to my yogi Marla Davies, who also gave me an guacamole green t-shirt, and asked Matt to be part of my Wallace Stegner tribute. Matt hasn’t yet written a song about Stegner, but he did write the words “WALLACE STEGNER” with a Sharpie on the back of his hand, tribute enough.

Kathleen Daly of Zoe Café was hearing me out about my inscrutable and quixotic “TLPW 456” broadsides and campaign when Matt came on her player and she started gushing.

“If you can get him to play here, I’’ll give you free coffee for six months,” she declared. I go there about once a week and spend about $4 per frothy creamy cup so that would be an incentive of more than a hundred billion dollars! More to the point, this type of artist relations and spontaneous passion for the arts is exactly what we need to bring back The Varsity (or to enact The Last Picture Waltz). So if posting a blog is like waving a dream-catcher, in this or any of the trillion parallel universes, keep your antennae up for details to come.

The second previous time, before Marla and Metro and the KEZR The Mix 106 radio show, that I tried to engage Matt I told Justin Little that Boise State quarterback Kellen Moore was quoted in Sports Illustrated as saying that he chills to Matt in the locker room and that therefore Matt should route through there. Well guess what: Matt plays Boise State on October 22, the night of the Broncos’ Air Force game.

So support The Sleep Train Pavillion at Concord on September 15 but keep a close watch on little Zoe Cafe for 12 hours before or after Matt’s hit. And call your favorite Palo Alto council member about TLPW 456 and The Varsity Theatre.

And good luck to my Gunn High classmate and former Kellen Moore in the locker room spy, Chris Strausser, who is now the Assistant Football Coach at Colorado University.

Here is Matt’s new video, from EMI/Vanguard:

http://www.youtube.com/watch?v=ZyjQFdeFox8&feature=artist

edit to add, Thursday, November 24: my friend Tim Harris surprised me by having learned to play guitar since the last time I visited him. A highlight of his post-turkey concert was his mastery of two Matt songs, and being impressed that Matt and I have such a history.

Tim Harris channeling Matt Nathanson, post-turkey

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Please slud yourselfs to SF to see Terry Allen

sled allen

Contest Rules and Description and Examples and More See Below

Terry Allen’s dad played 14 games for the St. Louis Browns in 1910. Maybe we should make a mock tobacco card for Sled and present it to him Terry when he arrives at Paule Anglim in Sf for a show on September 1. This would pre-empt my plan to see SF Mime Troupe in Palo Alto Mitchell Park that same day and channel, which I wrote about for Patch.

Too many things to see or do or be or slud. Makes me dizzy. Or like on the hop.

edit to add: I texted about a dozen artists and asked them to create mock baseball cards to be presented to either Paule Anglim or Terry Allen on September 1 in San Francisco, at her gallery. So far only one person bothered to acknowledge my text. I have thought up a more thorough set of contest rules and philosophies, available on request. My nutty enthusiasm stems from the recent tour Terry Acebo Davis and I got, the grand tour and reception, from Jack Lemmon, Steve Campbell and Christina Campbell at Landfall Press of Santa Fe formerly Chicago where Jack had worked extensively with Terry Allen over the years (and where he recently worked with Diego Romero, and upcoming no pun intended with or for Judy Chicago).

In a related realm, I pledged $100 to Palo Alto Rec Foundation in honor of City Manager Jim Keene who I met with at the Palo Alto crafts fair (better than I expected). Keene is running the 10k of the Palo Alto Weekly Moonlight Run and if he either breaks 50 minutes or places in his age group (he just turned 60) I will pay up. (Similarly, I once pledged $500 if Police Chief Dennis Burns could learn a particular bird call, ala the Piedmont High students — longer story). Keene was wearing a Navajo silver bracelet and said that he was the former City Manager for Flagstaff, AZ. This fact begets yet another Earthwise Production: the Palo Alto Indian Market. Details, teepee announced.

And further afield: I am working on, for Palo Alto Patch, the following stories: on Mildred Howard, “Clear Story”; on Rochelle Ford sculpture garden; on Josh Roseman Jamaican Jazz (what I call “Lively Up Your Arts”) at Stanford, David Krakauer’s Abraham Incorporated appearing at Cal Performances in November, a poster for Stanford Lively Arts with Rob Syrett for Matmos So Percussion; a Dao Strom Jennie Gillespie tour stop in Palo Alto area, a major announcement or breakthrough on the Wallace Stegner tribute; debut of a project called “Sussman Can’t Sleep” that combines Jimi Hendrix and Klezmer but is actually a Coen Brothers homage featuring Glenn Hartman and Beth Custer; a posting to my “Together We Are Giant” baseball song proposed compilation by Johnny Law; two new Santa Fe based music projects, and apropos of the Varsity Theatre project, the formation of the Varsity Theatre Jazz Orchestra. Oh, yes, I am also planning to interview Ethan Iverson of the Bad Plus most specifically about his song “Let Our Garden Grow” because of the fact that Terry, Hadar our neighbor and I now have a patch in the public garden at Johnson Park.

Meanwhile, I found this new artist (to me) in the list of nominees at the Downbeat Readers Poll, bassoon player Katherine Young (here performing at Philly’s Highwire Gallery; people I recall voting for include: Ambrose Akinmusire, Dave Douglas, Nelly McKay, Norah Jones, John Ellis — write-in on soprano –, Bill Frisell, Chris Wood, Craig Taborn, Jenny Scheinman, Darcy James Argue, Rudresh Mahanthappa, John Santos, Don Cherry, Wayne Horvitz, Uri Caine, Josh Roseman, Chris Potter and Ben Goldberg, and write-in for David King, and the Bad Plus — I picked Taborn over Iverson for piano despite my recent infatuation with the “garden” song I glossed above).

The longer list of names I susses this a.m. after seeing them on the Downbeat poll beyond Katherine Young of Porter Records include Ann Savoy’s Black Coffee blues or old-timey cd, Lauren Newton, Mwata Bowden, Susie Hansen, Diane Monroe, Linda Oh, Mary Oliver, Florin Niculescu, Ola Kvernberg, Helena Gough, Peter Appleyard and Olivia Brooks Either OAR. That’s actually Olivia Block, who will be at the Stone in NYC while we are all sludding into Terry Allen in SF; her album for Either OAR in Seattle was on the Downbeat ballot which reminds me both of Origin Records in Seattle and my recent conversation with Russ Gershon of Massachusetts regarding my came-and-went brainstorm about changing Earthwise to Aether Ore; Russ runs the Accurate Records label and Either Orchestra, and recently toured Ethiopia.

Anyways, so to reiterate, and back on main topic, I am announcing a contest. I will pay $10 (ten dollars) for the first 10 “roughs” submitted by noon Thursday (as I will most likely be taking the 4 p.m. train to get to the event in SF that starts at 5:30), “roughs” meaning even the slightest articulation of the slimmest idea, on a napkin, A2 envelope, via text or email, whatever — as long as it references “baseball card” “art” or “sled allen” it probably qualifies, or $100 total prizes in that category. I will also pay $20 each for the first five “comps” or finished works submitted; “comps” means it has some production details, or actual detail, or color, or nuance, or technique — I usually stop after a “rough” and then beg for help from an actual artist type.  And I will pay $200 for the grand prize winner. (Or a total for $400 in prize money proffered). The artist retains title of the works and ideas submitted. I am merely angling for the right to walk up to Paule Anglim or Terry Allen and show how clever we all are. I will suggest to Paule and Terry that the follow up with the artist directly if they want to procure or re-sell the piece. (On the other hand, and this is a catch, not unlike Willie Mays hauling in Vic Wertz in 1954 or Joe Rudi against the wall in 1973, artists have to come pick up the submitted work from me if they want it back, I ain’t footin’ that.)

For instance, here are two quick “roughs” that I might enter:

1) take the photo above, which I found via a search-injun, and print it out and paste it to another sheet of paper or part of an old shoebox and write “Sled Allen” “St. Louis” and woller, there’s your mock baseball card art.

from encyclopedia of baseball

2) Roger McNamee and Moonalice recently played Palo Alto free series and gave out a four-color poster that has an elephant playing second base. I may cut out part of the elephant, draw on with a Sharpee some Micky Mouse Ears (the Roger Brown kind, not the Disney kind, for fair use reasons, or stylistical ones) and bingo!

3) am on a roll, here, I may dig up some other random baseball card from my disparate and vast (ie because some of it is scattered and purloined) collection and take the aforesaid marker of the first part, and rip it, ala the Marx Brothers in “Opera” or tag it with “Sled” or such and there I go. I actually gave Howard Finster or actually his grandson Andy Finster a Topps Football card that showed a Niners lineman I forget who blocking out number 66 (eerily close to THE DEVIL 666)  and I wrote “JOE 3:16” all over the card in a Roman Opalka pattern, and Howard asked Andy to “take the artist and his work” down to “the Ramp” where we did hung it.

So get to sluddin’ or artin’ or Allenin’ y’all.

This may help explain even furthr:

Robert Syrett obliged by fountain penning a quick take on Strathmore Artist Trading Cards, a uniform 2.5 x 3.5 handy format, and in fact an inspiration for this whole farrago: Rob’s trading card of Olivier Messiaen and ondes martenot I gifted to Josh “Socalled” Dolgin at KZSU Stanford a couple years ago. So far we have submissions from Syrett, Terry Acebo Davis and yours truly, with faints hints of comprehension from Grant Kosh in Santa Fe and Steve Cohen in LALA, who I said could have his own category if slips up, or sleps, or sluds into second, and submits a “Steve Allen” instead, or insled.

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TLPW 456 is The Last Picture Waltz 456 University Avenue aka “Save The Varsity”

I am getting local merchants to post “TLPW 456” broadsides in their windows to get the word out about the citizens’ initiatives to affect the future of The Varsity Theatre, at 456 University Avenue in Palo Alto. It is a “snipe campaign” meaning it is only designed to pique curiosity and direct potential fellow travelers towards a search engine which would perhaps lead them here.

The flyers are hand-numbered by yours truly. (Although Palo Alto Public Arts commission chair Ally Richter

TLPW broadside at Bell's Books in Palo Alto

sat at the next table while I was working on that process, the numbering, 1 thru 456, natch). I also made little business cards with my contact info, some I leave behind at the stores that post the flyers.

edit to add: also, in terms of my describing omens that portend success for the Varsity initiative, I was pleased to see Jeff Bridges (from “The Last Picture Show” movie”) reviewed recently in New York Times.

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Bird omens auger well for The Varsity Theatre 456

still capture of pigeons from Jim Jarmusch "Ghost Dog" (1999)

I dubbed my initiative to affect the future of 456 University, The Varsity Theatre site, “The Last Picture Waltz”. I am referencing the Larry McMurtry book, “The Last Picture Show” and the Martin Scorsese concert film “The Last Waltz.” I’m suggesting not that the theatre should permanently go back to its intended purpose but only that the cultural community have the opportunity for a last kiss goodbye there, maybe 50 shows a year for the next 10 years.

Most of my efforts on this project involve contacting people in the music business to see if there is a qualified operator who wants to try to get the lease on the historic theatre. I am also trying to talk to council to see if there is anything that government could or should do to lend a hand,  invisible or not. I did have a meeting with Tom Ferhrenbach*, Palo Alto’s economic development director, to try to sway him to this cause. Plus I mention this to every third person I meet, and have made business cards specific to this project, and some handbills (TLPW 456 they read, in “Palo Alto green” — the “Color of Palo Alto“).

snipe campaign handbill or broadside for The Last Picture Waltz initiative

Plus my writings, here, at “Plastic Alto” at Patch Palo Alto, and commenting where applicable on other sites. I was on Fox 2 morning news.

I am having fun with this. And I enjoy flipping through various media and texts for insight and inspiration. Not sure what the story of “Ghost Dog: Way of the Samurai” does for me here, but I wanted to print this still-capture of the pigeon-training sequence to link to my discussion of “bird omenology” on Patch.

In a previous post there, I suggested citizens address council on this topic during oral communications. (The Varsity, not birds :).

I was the source in stories by Gennady Sheyner and Diana Samuels.

Obscure movies, acronyms, numerology — 4 5 6 is a reference to Chinese dominoes — I think there is still some method to my madness. Or as Brian Eno would say, as part of his famous “Oblique Strategies:” Be extravagant. I’ve got my mojo working, as Muddy would say. (Plus I laid a Teddy Ruxpin medal on Edgar Allen Poe’s grave in Baltimore, and a Satchmo coin in New Orleans, at Marie Laveau’s alter: I’m calling in some favors from 12 Galaxies, you could say.)

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*Here is the link to Fehrenbach’s preliminary report on the topic which one local paper paraphrased as saying the theatre proposal was a non-starter. In my meeting with him, he seemed to have changed his mind and vowed to look into this properly. I think the entire matter is a fascinating case study on the nature of power, property and community.

Somebody made this short film of Bob Pritchett singing and playing the blues harp, in the foyer of the Varsity Theatre. (In its heyday, that courtyard featured regular concerts by Tuck and Patti, Michael Hedges and more. See Randy Lutge’s archive of about 400 shows, there and in the main room).  Pritchett was in the Gunn High School Hall of Fame, played college football and had a tryout with the Dallas Cowboys. He was my coach for Frosh-Soph basketball at Gunn in 1978-1979. You can maybe hear him here still lamenting getting edged out of the league championship that last game at Paly.

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