This photo of Alden Van Buskirk was forwarded by his champion Bob Rosen of Woodstock, New York.
I listened to one song, thanks to NPR, of the new Thurston Moore session, “Blood Never Lies” and immediately posted here to pronounce that it could be used in Bob Rosen’s proposed movie about the poet Alden Van Buskirk, who died of a rare blood disease.
edit to add, September 3, 2011: I am working on an event to honor the 50th anniversary of “Lami” which includes a section called “Oakland, 1961” that is, fifty years gone. I have verbal commitments from Matt Gonzalez, who first hipped me to Van, and Jack Hirschman, who taught at Dartmouth when Van was there and we believe was also in part his teacher. I was standing in David Highsmith’s San Francisco/Castro store gallery and archives when I reached Hirschman, whose number Matt had given up a few months prior, but never worked before. Part of this story is that when David Hess and I had lunch at “Just For You” in Dogpatch, Lawrence Ferlinghetti happened to be seated at our table. When I asked the poet if he had ever lectured at Dartmouth, he said he had not been there since 1962 or so when he went to visit Hirschman. Later, when I related this story to Matt, at Smith-Andersen, Matt mentioned Van. I also asked Jack if I could interview him for the Dartmouth Alumni Magazine and he at first said he was not interested. But when I put it in context of having also written about Don Cherry’s spell there, he capitulated. He said we could “yammer”. But he is traveling to Europe I think until Oct. 20 so both projects are put off until then.
Thurston Moore is appearing at HSB and Big Sur at the end of September so maybe that augers well for some of these projects, “Lami” and “The Last Picture Waltz” initiative — can you picture Thurston busking at The Varsity???
Wesley Stace, pka John Wesley Harding, read and sang and played guitar at Public Works in SF as part of Noise Pop recently, and I caught him there, and spoke to him briefly. I also shot my typically underachieving cellphonephoto portraits of him on stage (below).
John Wesley Harding and or Wesley Stace at Noise Pop 2011
Here, above, Eugene Mirman, the comedian, who does a voice for “Bob’s Burgers” (but alas, not for my hypothetical collaboration with Jen Dziura, a spoof on Zimbardo, using hamburgers as the maguffin) talks with Wes about his new novel, “Charles Jessold C0nsidered as A Murderer”.
And speaking of jingle-jangling my synapses this morning, I need to tell you dear readers that I also caught Princeton Professor Sean Wilentz at Stanford last week, talking about political post-partisanship, U.S. Grant and Andrew Jackson, but I did not have the nerve to corner him to talk about Bob Dylan, Dao Strom, my former client who views the Vietnam Era through her prism as a refugee and immigrant, and now novelist, songwriter and mom, “Bloody Bloody Andrew Jackson“, Christian Kiefer’s “Of Great and Mortal Men” or Alden Van Buskirk as I had been imagining. As a consolation I met History Professor Jim Campbell at the bike racks and gave him my spiel. He compared the info I gave him to “inside Baseball” I guess meaning arcane but perhaps of use to the obsessive.
Here is a link to Christian Kiefer’s project. (He and two partners wrote 43 songs about the U.S. Presidential succession, then got a bunch of special guests to record the songs with them, and played a few shows, and were brought to my attention apropos of my Stegner Tribute project, by Laura Thomas).
Certainly Wilentz and Stace deserve their own posts, and are perhaps only linked via my proprietary (meaning unique) plastic logic.
St Ace in read mode
Click this button and you too can have your own copy of “Bob Dylan in America” Mr. Wilentz’s 2010 biography of the guy we Jews think of as Robert Zimmerman from shul. (And I did actually meet a guy at my cousin’s wedding who knew him that way).
I think he reminds more of Elvis Costello but here is John Wesley Harding’s perhaps quintessential session, “Confessions of St. Ace”, from 2000, you can buy here (not sure, actually, how to punctuate that title):
Copyright Act of 1976 permits this transformative use of the Robert Johnson photograph, despite what bureaucrats and cowards say.
This is the poster art that Diana Hartman created for the first Palo Alto Fete de la Musique in 2009 but that the committee refused to print. Although a lot of good came out of my involvement, as a member of the founding committee that year, overall I have a bitter taste in my mouth, and have not worked on the two successive events, 2010 or the upcoming event, Sunday, June 19, 2011 .
I got involved with the event originally at the suggestion of Peter Drekmeier. I knew Peter from my days at Bay Area Action, where he was a director and I was a volunteer on an Earth Day event, in 1993. BAA used to feature a lot of music at events, and in fact the first Earthwise concert at Cubberley was co-sponsored by BAA, who received a share of the modest gross.
One of my first ideas for “Palo Alto World Music Day” was to invite Rupa and The April Fishes, and I confirmed their availability with their agent. Bandleader Rupa Marya is a Castilleja graduate but has never had a show in Palo Alto per se. But the format was to have only unpaid performers, which I thought was ill-conceived considering the valuable imprimatur the City was lending to the event, and the staff time, including a set aside by council decree for extra police hours. In contrast, I suggested we look for a sponsor for the proposed show, perhaps at Mitchell Park Bowl, that Rupa was holding the date for. Although I recruited some musicians for the first event, and even performed myself, as Beat Hotel Rm. 32 (an Allen Ginsberg “Howl” tribute, with my fellow Gunn grad Steve Rothblatt on drums), most of my suggestions fell on deaf ears. Worse, it seemed to me the poster idea (it was more than an idea — it was film-ready and the money for printing was set aside by Drekmeier our mayor) was killed purely because of a power struggle between myself and the event’s founder. (He claimed he was worried about being sued for copyright infringement based on the poster depicting Robert Johnson; I claimed it was Fair Use; we both protested too much, methinks).
Further and perhaps more relevently, I continue to fret about the use of the term “world music” in the name of the event, since it does not intend to recruit (or pay for) international music. (I, in contrast, truly thought initially that that was the point of the event, that Council was honoring “world music” and not merely agreeing to put on a “Fete De La Musique;” among my suggestions was to bring in Neighbors Abroad, our Sister Cities group, and have music representative of those affiliated countries, like Mexico Japan and the Phillipines). But no, in Palo Alto “world music day” means “world-wide,” or that we, like farflung others, are following the lead of something happening in France.
For a while I was forwarding said-music-czar links to world music events in other other parts, like the New York globalFest and Michael Orlove’s Chicago series, hoping he’d take my hint, but to no end. Granted there is no unanimity about what makes “world music.” Even David Byrne, founder of Luaka Bop Records, has his quibbles. Here is a link to David Byrne’s essay on world music, called “Why I Hate World Music”, from 1998. Don’t be confused, however. David Byrne loves the music of Brazil, Spanish-speaking countries, and out of Africa, surely. He doesn’t like the overly-broad term “world music” as it applies too often in the the market. I think he would agree with me that in the case of our upcoming event the use of the term “world music” is ludicrous, asinine and disingenuous — he would surely hate it. Since our local event is splitting from most other “Fete De La Musique” which take place on Solstice i.e. to take full advantage of the long daylight hours, and sticking to Sunday, Father’s Day, like in 2009, — maybe they should call it Palo Alto Father’s Day Unpaid Musicians Day, which would be more honest, and unique.
Actually, the more I think about it, I realize that the great Sierra Nevada World Music Festival is taking place the same time as our little affair. So I hereby declare June 19 the “Earthwise World Music Day in Boonville, California near Mendocino and Clear Lake” and suggest that all music-loving, open-minded and limber-hipped people boogie on up to the North Coast and check out Ozomatli (who played here in Palo Alto, at Cubberley, in 1998), Vusi Mahlasela (and on the previous day, Saturday, you can check out Thomas Mapfumo and Rupa Marya, among many others; it’s a camping thing more than a day trip). More than ten thousand people on that ubiquitous social media format “like” this event, which is worth the three hours drive (153 miles, according to that other ubiquitous site) if you like music from around the world, like reggae. But having done shows locally with Ozomatli and Femi Kuti, I think this “Palo Alto World Music Day” is a huge missed opportunity. For a taste of what I’m talking about, and the type of thing that motivates me, here, as suggested by Warren Smith’s festival site, is a taste of Vusi:
John Mickelthwait posing for Stanford University photographer, May, 2011.
The editor of The Economist John Mickelthwait spoke at Stanford and here are my notes:
Five things.
Sitting in bed 1913 ordering tea, John Maynard Keynes.
Paranoid optimist.
Compare number of people who have moved from rural to city in China since 1998 to the number of people who traveled from Europe to U.S.
China is brittle.
The Stanford Daily had a coverage that seemed consistent with mine and noticibly better. Meanwhile I am occassionally confering with my former high school basketball teammate Brian K. Evans, who now teaches economics at Foothill College. I told him I had bought Stiglitz and he suggested that I read people I am not pre-sold on.
I remember Fuchs and Arrow as names associated with our basketball team. Ken Fuchs was a senior when I was a freshman. Andy “Spud” Arrow was a manager of the team, the year behind me. John Taylor, years later, handed out flyers for my shows, at Gunn and managed a local rock band of his classmates, I booked, called Wikkit. I read somewhere that Amaryya Sen has a son in the music biz, a dj.
Edit to add, October 20, 2011: I am taking a microeconomics course at Foothill College with instructor Brian Evans. He recommends using a web site maintained by a professor Reff. I have a quiz tomorrow which will consist of drawing a lot of diagrams of supply and demand, as they are affected by various other inputs.
I have submitted two whole cloth blog posts to Patch, which is an AOL America On Line project which comprises about 900 bureaus across the U.S. that use a combination of staffed reports and community contributions (I fall into the second category; I am submitting content for free).
I took this photo, a self-portrait, while biking toward Cafe Zoe in Menlo Park, along the Palo Alto Avenue creekside.
Not sure if I will continue to contribute content to Patch, or how to balance adding info and energy to this relative to that. Or, further, how to balance writing about arts, technology, culture and Ornette with actually working with artists, art and life. Or, reading. Or exercise. It is true, at the very least, that my first two Patch contributions, essentially homages to Bill Cunningham, forced me by concept to interact with people I was photographing.
Myself when I am Patch, the phrase, references Charles Mingus saying “myself when I am real” which I think means when he is engaged in something hyper-real, like making music. When I am “patch” in contrast feels somewhat less satisfying.
edit to add, May 9: I was pleased to see a story, dateline Palo Alto in my bible The New York Times, about Tim Armstong, AOL and Patch. But I am a still a little confused on how to differentiate him from Tim L. Armstrong, the lead singer of the rock band Rancid. The boy’s a(ol) time-bomb!
Darcy was, it had been said before, a bit of a dreamer. Yet, her love for the cracked trembling voices of singers like Ralph Stanley and Hazel Dickens was true and heartfelt. She had recently uncovered what she believed was a significant understanding of the frequencies created by the stringed instruments and high careening vocal harmonies of old American music. They were tremulous, ethereal. But Darcy was not comfortable using the words “musician” or “writer” to describe herself, for she believed to label would be to defile. (from “The Gentle Order…” by DS, 2006, Counterpoint Press)
Dao Strom reports from Portland that she was in the studio with Hershel Yatovitz, from Palo Alto, whose main gig has been as the lead guitarist in the Chris Isaak band. Hershel who at age age 12 jumped on stage to play “Johnny B. Goode” at my Bar Mitzvah at Beth Am, and I have the photos to prove it, beyond my memory.
Dao and Hersh were re-working her Wallace Stegner tribute, “Two Rivers.” That song is based on the 1942 Stegner short story of the same name, that was later incorporated into his novel “The Big Rock Candy Mountain,” but as an original transformative piece of music is uniquely informed by her own experiences as a parent, and also by her experience as a refugee and immigrant and U.S. citizen from Vietnam. The short story is about a boy on a car trip with his parents remembering an earlier trip to a river (or does he sometimes make things up, or see them through a prism, or just “trip”?).
As Marshall McLuhan said, you cannot step into the same river twice. No, that was Myra Melford; McLuhan said you can’t step in the same river period.
I told Dao that I had mentioned her to my neighbor Marjorie Ford, a writing instructor at Stanford (and also the mother of musician Maya Ford, of The Donnas). I saw Marjorie and her class at the recent on-campus reading by Tim O’Brien, the Vietnam vet. I am hoping (and hypotheticalizing, imagining, –I used a word previously here called “mean-wiling” — I do a lot of that, all four actually, but mostly imagining; I am an Aquarius, a Dreamer) that Marjorie Ford would take an interest in Dao’s writing. Dao is a Michener Fellow, an Iowa Writers Workshop MFA grad, and the author of two published fiction books, with a third in the oven, so to speak. I think Marjorie could invite Dao to speak to her class and then Dao could use that opportunity as an anchor. She might also be able to perform, with administrative help from someone like me, at the CoHo or some suitably nearby music venue like Dana Street Roasting in Mountain View or Cafe Zoe in Menlo Park. (Funny and sad that I think of places in these nearby towns but nothing here in Palo Alto proper).
Full disclosure I was Dao’s manager for 18 months. But now we are just friends, or she is a type of muse and inspiration to me. For example, this is the 105th post for this blog. Further I think about sometimes how I would love to get her to write for “Plastic Alto” some day, even anonymously (but not pseudo-guesting, like when I copied Robbie Fulks’ post from his own blog and pasted it onto mine. And not ethically stealing like when I pasted Mollie Tanenbaum’s preview of my 2005 concert with “The Evens” here because I felt it was not archived properly and because I was a source — Aaron Selverston of Patch chided me about this. “Fair Use” and “copyright trolling” perhaps could appear here separately some day soon).
I forgot to mention to Dao that I saw Robbie recently, at his soundcheck at Freight and Salvage. I could not attend his show (it was the same night as Rob Syrett’s opening at Public Works) but made arrangements to visit Steve Baker of Freight and Salvage that afternoon, watch Robbie’s sound check
Fulks and Gjersoe, soundchecking
, and visit with him briefly. I had offered to buy Fulks dinner but politiely he said he generally eats several hours before a show, and not any closer to the show, and preferred to spend the time practicing.
Dao and I met Robbie Fulks (and Robbie Gjersoe, his sideman) when we asked to open for him in 2009 at a public radio show in Springfield, IL. (We were on tour through Chicago).
Dao is revising the text to what she sees as a chapbook (hand-made, small edition) companion piece to a song of hers marketed as a cd or cdr single called “Origin Tale” which is about the history of Vietnam from its mythical beginnings (as opposed to what I called “hypothetical” above) to its recent history, and the Diaspora (the dispersal of millions of Vietnamese to Europe, The Americas, and all over).
I forgot to mention the passing of Hazel Dickens but we did discuss Hershel’s brother Seth.
Here is a video of Dao Strom singing “Caller of Spirit”:
I just found out that the local band whose show I was plugging at Stanford Thursday had to postpone. So I have updated quite neatly my previous post’s headline to say “good luck” if you are trying to find the band Thursday (as in you are s.o.l) but also “good luck” to them generally (which also reminds me of the MTV film from a couple years ago that used Bonfire Madigan music “Better Luck Tomorrow“).
So until they re-schedule here is another video from Stanford’s one and only incomparable Finding Jupiter (although I am still wondering about Stanford Ska Project, I saw a flyer for, then I think the spearhead went to Japan or China to study — which reminds me of the time Kemuri the Japanese ska band on Roadrunner came thru town…I think both projects, Finding Jupiter and Stanford Ska Project, have links to LSJUMP)
Speaking to his motion for council to re-appoint three long termed incumbants without further interviews, Larry Klein said "Incubants have served long tenures but I do like the idea of turnover and different views from time to time...I think we need to find some way to get some new blood from time to time."
Stop the presses! Or stop, using the DVR pause button, your telecast of City Council and run to your computer and post a picture of Larry Klein, a propos of the incumbent candidacies of three Historic Resources Board commissioners, at 8:38 p.m., on Monday, May 2, 2011, because I thought, and you can check the record, that he said the words or phrases or short syllables of meaning “new blood…new ideas.” Whoa. I mean, Wow! Or “PA!!!”
Or as another Larry (Fine, or was it Curley or Moe Howard?) would say: Hey, I resemble that remark!!!
Even Gennady Sheyner of the Weekly stated, in the nicest possible way, that Larry Klein has been in our government “a long, long time.” Maybe I should not be surprised that Mayor Klein (once you are Mayor you are always Mayor) thinks like this, or knows to say it once in a while, for he is a Cornell grad with a Harvard J.D., and a former Army captain. Or maybe I was just excited because a minute before that Council member Gregory Schmid was quoting “Democracy in America“ by Alexis de Tocqueville.
Or maybe “new blood” is Larry’s way of admitting that he is actually an Anne Rice character.
I met the dude from Patch (AOL Palo Alto bureau), Aaron Selverston today — he had the word PATCH in big green lettering on his maguffin — and sniffing around his site led me to post a review of Stanford’s student union (but open, I think, to us townies) The CoHo (coffee house) and then noticing that SCON (Stanford Concert Network) is producing a free show there this Thursday, May 5, 2011 (Cinco de Mayo), free (and open to us townies, right?) featuring what it took me a minute to affirm is a local campus band called Finding Jupiter. After 35 seconds in their video, I could, like Cee Lo or Adam Levine on “The Voice” punch the button and say “check this out” (if not “I want to work with you…”).
Here is what I posted there, on Patch, about shows I have brought to CoHo independently, as if from another planet or possessing of a smiley golden voice.
With the Stanford Jazz workshop and concert series coming up, especially this summer, I like to check out the jams featuring students (high school and college age) and staff (mostly musicians in their twenties). Last year I saw a jam that featured Pascal LeBouef on piano, Ambrose Akinmusire on trumpet and Matt Wilson on drums, who were teachers but also headliners in the concert series — the jam sessions at CoHo have always been free. I also have seen Gunn High graduate (way back when) Akira Tana — the drummer — leading jazz jams there off-season. Stanford Concert Network over the years has produced weekly serie there — mainly publicized on campus but I think open to the whole community. Years ago I produced some free concerts there, as a public service and or to make friends with or pay tribute (in the “Goodfellas” sense of the word) to artists, their managers, their labels and their agents, with artists like Ama Ofosu-Barko (Nya Jade), Tim and Greg of the Mother Hips, Matt Nathanson, MXPX side project Arthur, Moxy Fruvous and probably most successfully Freedy Johnston. I recall then-SCON director Bryan Perez (who went on to work for Madison Garden) describing how Jewel did a residency — three weekly shows — there when she was a new artist. Go, CoHo!!!
Like the lady from “Romper Room” I am looking into my (stupid box of lights) and seeing former Stanford Concert Network staffers like Bryan Perez, Wesley Radez, Jim Haljun, Corky Gainsford of Peel, Mark Mitchell who went to Law School and sat next to me at “Top Dog Underdog” on Broadway featuring Mos Def, Seeta Gangadharan (is that right? — I actually got that right, the last name, although I had her first name like the Nina Paley film), Jason Colton. Srini Kumar? Was he on SCON? (Unamerican).
Edit to add, May 3: Dean from Finding Jupiter saw my post and wrote to say the show is being postponed. Also, updating my post gives me opportunity to mention that when Terry and I (and this is a digression) visited with filmmaker Les Blank a few weeks ago I noticed one of Srini Kumar’s stickers on Les’ file cabinet. Srini was a Stanford grad, in bands like Cain and The Aquamen, who would come to my shows (and even hosted one, in “Alma Street Warehouse”, Seam and Spent, and cooked for the bands!), then created this awesome sticker company — pre World Trade Center collapse, of course — called Unamerican. I think he is involved in applications for the popular hand-held computer-phones now, and may have gone to the big bad B School in the South.
Aaron Selverston, editor of the new local media outlet Patch.com, a part of AOL, interviews sculptor James Moore and PAPAC commissioner Terry Acebo Davis on Earth Day, April 22, 2011 at the Bill Bliss Memorial installation in Palo Alto, Calif.
Aaron Selverston
AOL/Patch.com May 2, 2011
Aaron nice meeting you.
I had to search-injun the facts to confirm my statement that the Palo Alto Times (Peninsula Times-Tribune), founded in 1894 and shuttered in 1993, employed at its peak more than 100 people (it actually employed 280 at the time of the closure, including the staff of its nine community weeklies). During a break from the severe winter of Hanover, New Hampshire, during my sophomore year, 1984, I was an editorial intern there, at the PTT. Because Dartmouth had no journalism program per se, I was named a public policy student fellow of the Nelson A. Rockefeller Center at Dartmouth College to qualify for the six-week unpaid stint, covering mostly sports and local government (for example, when Santa Clara City Council bought Marriot’s Great America to prevent developer Caz Szlendak from building office towers on the amusement park site). At the completion of my term, I was hired for four more weeks, by Ward Winslow and Thad Spinola, at $100 per week. All told, I have probably 30 bylined stories in the Times Tribune morgue, wherever that may be.
Here is a link to the New York Times story I mentioned, by Miguel Helft.
They should “edit to add” to include Patch as the fourth member of the Fourth Estate here. Good luck (although to me, AOL still means “Archers of Loaf” the indie rock band I presented here in 1995 and 1998, at Cubberley Community center).
Regarding my blog, it recently passed the century mark in terms of having 100 or more posts. The term “Plastic Alto” is not a slur on my home town; it does not reference any perceived “shallowness” or “fakeness” here. It references modernity and polymer chemistry and Alexander Parkes and Dustin Hoffman’s career advice from Mr. McGuire in “The Graduate” (1967). In 1959, jazz musician Ornette Coleman embarked on what became a new thing, in jazz, employing unique sonic modalities and also but not incidentally a white acrylic (plastic) Grafton (alto) saxophone. I am writing about current events and cultural trends while trying to fit them into a fifty-year context that roughly coincides with the more commonly discussed era of the element silicon. I might have called this “The Post Sputnik” for its similar chronological framing.
But heretofore I have less than 100 readers per post and claim to use this device as a workbook wherein I take note of things (especially with my crappy cell phone camera) that I might actually work on or explore later. As I said, this morning, at Coupa Café, I still wonder how to balance this urge to write about things (especially music and art) with my duties and aptitude to help actual artists and musicians as manager or promoter. But it is also true (and I share this fact, and self-concept with my one-time employer, who said this in interviews if not to me directly, I cannot recall, Jeff Goodby the San Francisco advertising executive, of “Got milk?” fame) that all my professional careers have been shaped and informed by my initial journalism training. The primary purpose of “Plastic Alto” the blog is to draw clients to my management practice; I had previously felt that vis a vis my more successful music biz peers, I wrote good memo, but to no apparent advantage or gain.
So if you would like to link to me or somehow use my writings for the greater good of Patch.com (Palo Alto), you have my permission. I would say that heretofore there are only a subset of columns that are on local issues per se. One, on the Nathan Oliveira tribute, I showed you. The second would be a fantastical coverage I wrote about a recent set of public hearings involving a large telecommunications firm (I left unnamed) in which I focused on (and parodied?) what I felt was a sense of arrogance or corporate entitlement (that I felt would make Daniel Webster regret 1819). Third I offer for your inspection a proposal to name a public park here in honor of arguably our top high school basketball player, all time, (along with Palo Alto High’s Jim Loscutoff and Jeremy Lin), Kent Lockhart, of Gunn High, my former teammate.
I remember the day that Palo Alto Weekly founding editor Tim Clark came to my Gunn Oracle journalism class, in 1979, seeking stringers his start-up. (although I was already working for a higher per-story rate than what he was offering for something called The Peninsula Ad-visor, based in San Mateo). As I stated, I track journalism here closely and find fault in the journalism spectrum of all three of your local competitors in terms of their emphasis and bias towards a particular special interest. Although I feel that, as a Luddite, the value of semiconductors and computer proliferation is over-stated, over-hyped (and its detriments severly under-reported, in the Sonoma State Journalism project sense), I would support your endeavor as a journalistic check check check on the other three.
So let me know what else you might need if you are serious about using me and “Plastic Alto” thus (unpaid, so that I might or we each might grow our audiences, at will, for now). For a while now, among at least 100 or more contemplated if not actualized local initiatives I have imagined or articulated, I have wondered about starting my own publication (i.e., on fibers, not merely electronic). “Plastic Alto” was one possible title. I also thought of “PATurbed” (a play on the name of our former Mayor Pat Burt). If it is not too confusing, or too likely to incur the wrath or your parent company, now I also like “PA(tch)” which references “Palo Alto” and, if not Ornette Coleman then Danish-Congolese jazz musician John Tchicai, (and also, secondarily, the rock band !!! which is pronounced “chick chick chick” or “ckk ckk ckk” if not “tch tch tch” then pretty fckkn close!!!). But for now, I think “Plastic Alto” linked to Patch is a bona fide synergy. I think therefore I am (linked?).
Best wishes,
Mark Weiss
“Plastic Alto” blog
Mark Weiss has written for The Peninsula Times Tribune, The Worcester Telegram and The Dartmouth Alumni Magazine. Mark’s concert company Earthwise Productions has presented more than 200 concerts here, besides his running of an artist management practice. Mark ran for Palo Alto City Council in 2009, and is a graduate of Gunn High School and Dartmouth College. He promises to have AOL — Archers of Loaf, that is —
re-form and perform for his campaign if he runs for Council again:
Earthwise Productions
PO Box 60786
Palo Alto, CA 94306
(650) 305-0XXX
Plastic Alto with Mark Weiss 