Somehow, back in San Francisco in 1977, I did a “Thanksgiving Radio Special” on KPFA.  I read some pseudo-Americana, sang some songs, and brought my colleague Bill Irwin to demonstrate hat tricks and to chat with me.  I had recorded 78s from my collection on a portable tape recorder; and kept that fading in and out throughout.

At the last Ullage Group event, I handed out party favors.  Since we were showing films by John Keel, that noted ufologist, I made some flying saucer wooden nickels, using rubber stamps he had once owned.

From 1992 to 1994, I mailed out a monthly calendar to promote my performances.  I seem to have been very busy.  Here are a few of them.

On May 2, 2012, Larry Ratso Sloman and Mark Jacobsen presented a “Live Radio Hour” at Housing Works, in NYC, devoted to Coney Island.  They invited me to sing a song about the place; I arranged Harry Von Tilzer’s 1902 tune, “All Aboard for Dreamland,” for viola and baritone uke, and performed it with David Gold.  Here’s some of David’s part.

In 2003, Danny Hellman invited me to contribute a story to his anthology Legal Action Comics.  I replied with a story about two men who outwit the devil. There was a publication party at CB’s Gallery, at CBGB’s, which included a show of cartoon art.  I came up with this large rendition of the devil, back-painted with acrylic on the plastic sheet from a poster frame.  He was inspired, by the way, by some of the medieval illustrations to Dante.  Here’s the working drawing.

And here’s the painting itself.  (Thanks to Angela Alverson for the photo.)

There are 840 diatonic four-pitch chords.  A number of years ago, I randomized them; and have often used them as a basis for composition.  I don’t use them straight; but re-order, transpose, and add to them in various ways.

I designed this flyer and program for a concert with dancer/choreographer Helen Dannenberg, at Mills College in 1979.

I recommend Kyle Gann’s book No Such Thing as Silence: John Cage’s 4’33”: a thorough and entertaining look at that provocative piece.  I was happy to see that Kyle mentioned the performance he and I did of Cage’s Experiences No. 1, long ago when we were fellow composition students at Oberlin Conservatory.

An asemic sound poem, from around 1977.