November 26, 2014
Iron Man offers Tour Management Services to bands and artists.
Tour Management – A professional solution for touring artists, providing a reliable service at a reasonable price. I can help organise the administration for a schedule of appearances, contacting each promoter or venue to ensure the clients technical and hospitality demands are met. I ensure the work remains within the budget. I will take care of the day to day planning and management of activities on the road, and any unforeseen issues or emergencies should they occur. Some recent clients have included: Seasick Steve, John Paul Jones, Madness, The Stone Roses, Killing Joke, Adam Ant, Roland Gift, Fatoumata Diawara, Talib Kweli, Little Barrie, House of Pain, Vagina Monologues, Ivo Papasov, Sierra Meastra.
Transfers – A simple and cost effective transfer service to or from the airport, the office, an exhibition, or an event.
Backline and Gear Moves – A reliable service to pick up or drop off backline, gear or trailers depending on your need. I use a suitable panel van, splitter van, or a Land Rover Defender, which will pull a Trailer (with a ramped load-on/off) capable of moving up to 2 tonnes of gear.
Telephone: Mark (+44) 07974 746810
I can help with Merchandise, Production, Backline, Crew, Rehearsal, Recording, Press, Promotion, Online strategy and equipment storage.
From the point of pick up, to the final destination, your client is in safe hands. I offer a courteous and helpful service with an eye on safety and security. You and your clients can relax as I understand the importance or being discreet, reliable and friendly.
Safety and comfort is of utmost importance. All vehicles are always in a technically and optically perfect condition. Furthermore, all vehicles are non-smoking and undergo regular interior and exterior cleaning.
I can be found frequently in Birmingham, Cardiff and London.
Tour Management Services
Most of my work is based around Tour Management in the Music Industry but I have also worked with the Theatre and Film Industry.
I have played in all sorts of bands myself over the years, I’ve organised 1000’s of gigs as i used to put on regular shows in Birmingham, I’ve set up tours, managed bands, put together press kits, pr and promotion strategies, worked out online strategies for artists big and small, I run a record label, and I’ve dealt with all sorts of madness along the way. I have an understanding of most problems, pressures and issues that performers and their crew may face. I’ve taken a lot of people to a lot of gigs from living rooms, small venues, squats, warehouses, TV and Radio Stations to major music venues and festivals of all shapes and sizes.
I have a clean driving licence with a C1 and D1 which means I can tow trailers and drive any car, van or splitter.
I’m a freelance. I work for you, not the hire company. This means that if you employ me I can find you a good vehicle or trailer or anything else you might need so that’s less work you have to do. I can source Splitters, Gear vans, Cars, Minibuses…anything you might need.
I have an active interest in internet and social media. If you’re interested in how I could help with your, or your artist’s on-line presence get in touch.
I charge per day. A day is 8 hours, after the first 8 hours I charge per hour. The hours run from when I collect the vehicle for the work until I return it.
Alternatively, I also charge a ‘set day rate’. This is negotiable, in advance of the work, depending on what you want me to do. Longer term clients tend to be on a set day rate, It works out cheaper and no one has to watch the clock.
I expect PDs and buyout/catering on any work where I’m away overnight, and buyout/catering on any day over 8 hours.
Some recent Artists / Clients
Seasick Steve, John Paul Jones, Madness, The Stone Roses, Mika, Killing Joke, Adam Ant, Roland Gift, Fatoumata Diawara, Anthrax, Modestep, Talib Kweli, Little Barrie, House of Pain, The Enemy, Friendly Fires, Crystal Castles, Bullet for my Valentine, The Orb, Barry Adamson, Vagina Monologues, Taio Cruz, Jay Reatard, Nightingales, Ivo Papasov, Sierra Meastra, Endbutt Lane, The Rakes, The Magistrates, Soulsavers, As I lay Dying, Roisin Murphy, Police Bastard, Dufus, Arrows, Ladytron, Son de la Frontera, Jeffrey Daniel, Johnny 2 Bad, XOVA, Johnny Foreigner and many others…..
(Long Wheel VW Crafter Splitter Van shown above is an example of the type of vehicle I most often use when working with Clients.)
November 24, 2014
Highest greetings from New Orleans, where I’m completing the last leg of my fall visit to the United States with a whirlwind of activity involving 9 performances in 7 days, most of them with the Carlo Ditta Trio & friends and the last one with pianist Tom Worrell. That’s why they call me the Hardest Working Poet In Show Business.
I’ll get a good break in the action when I get back to Amsterdam for the Cannabis Cup, a full week of good clean fun in a temporary environment created by 2000 or so young American potheads who will have descended upon the city to sample as much good weed as they can get their lips around.
But whoops, I‘m back in Amsterdam now, and the first news I heard was that the Cannabis Cup had been closed down by the local authorities and the exposition center shuttered as soon as it had opened. This seems to be in line with the recent policy shifts by both the national and Amsterdam governments to defy pubic support for the cannabis culture and to shut down cannabis businesses from coffeeshops to vendors of growing products. I’m just back today and I’m pretty well jet-lagged so I’ll have to find out more for next month’s column.
I wanted to thank Ben Horner and the great people at the Golden Leaf Social Club in Flint for a fantastic evening of music and merriment on November 13, where I had the opportunity to perform with the great new band called Audio Insurgence put together by Cori Douglas, Matt “Chops” Douglas and Corey Planck of the late lamented Glowb plus Natasha Thomas-Jackson on lead vocals. I also got to do a couple of numbers at the Golden Leaf with another one of my favorite bands, the Macpodz. I’ve played a lot with both Glowb and the Macpodz and being with both of them inside the cozy confines of the Golden Leaf Club was really a special treat before I left Michigan for New Orleans the next day.
My biggest thrill in Michigan this time, however, was joining my friends and colleagues from half a century ago to celebrate the founding of the Detroit Artists Workshop at a pair of events at the Scarab Club of Detroit and a spirited session at M.L. Liebler’s class at Wayne State University. There were also exhibits of Workshop art, books and materials at the College for Creative Studies, the Scarab Club, the Museum of Contemporary Art Detroit (MOCAD) and the Mike Kelley Mobile Homestead, plus major exhibits of the work of Workshop members Leni Sinclair (photographs at the Suzanne Hilberry Gallery) and Gary Grimshaw (posters and other art at the Detroit Historical Museum).
I’d like to formally close this celebration with the text that began the whole thing:
A MANIFESTO of The Artists Workshop Society dated November 1, 1964 that went something like this:
Why a community of artists? One of the most important things to young, formative artists is having a group of one’s peers that one can be a part of, can talk to, work with, work out ideas, etc and can give crucial support.
Modern society has succeeded to a frightening degree in alienating artists from one another (and of course from people in general; or at least vice versa) and atomizing what could be a vital, active community into a group of lone, defensive, hung-up people who are afraid to talk to and/or work with anyone but themselves and (maybe) three or four friends.
A community of artists means that a group of highly conscious people can help each other in very real ways. Artists working alone are cutting themselves off from sources of inspiration and influence that can help them immeasurably in their work.
The lone artists have no one to listen to their work, no one to offer criticism and ideas that would bring their work into sharper focus with itself. Hard to get as excited, as completely involved in one’s work by oneself; when you can talk about it with/to others who are trying to do the same thing as yourself and communicate it to others, you can achieve and maintain the state of consciousness Henry James called “perception at the pitch of passion.” And who better to communicate to than those few people who are operating at the same level of awareness and involvement as oneself?
We are now in a period of expanded consciousness in all the arts. NOW is the time to find out what’s wrong with your work, NOW, at least get an inkling of what other real people will think of it and how it communicates.
So: what we want is a place for artists—musicians, painters, poets, writers, film-makers—who are committed to their art and to the concept of community involvement to meet and work with one another in an open, warm, loving, supportive environment—a place for people to come together as equals in a community venture whose success depends solely upon those involved with it.
To this end we have acquired a “studio” workshop which will be maintained (rent, electricity, heat) by the artists themselves, through individual subscriptions of $5.00 each (i.e. initial investment—the pledge will be adjusted, on a monthly basis, and probably downward, as the Workshop program is totally implemented and we have a concrete figure for maintenance costs.)
This method of supporting the Artists Workshop is necessary, we feel, because:
 Each member of the Workshop is to assume an equal responsibility in the project’s success;
 Members have to go into their already near-empty pockets, thus the project cannot be treated lightly;
 We feel that any commercial means of support, at least (& especially) in the beginning, would tend to create an artificial community hung together on money, rather than a genuine community built on mutual need and mutual support and interest;
 No “outside” pressures, hangups, interferences;
 The Workshop ideal can be maintained, i.e. there will be no pressure on artists to produce work that would result in commercial success, rather than integrity and aesthetic honesty, as its ultimate purpose.
We do believe, however, that commercial ventures will come into being as logical and desirable outgrowths of the Workshop as it has been conceived and as it is now operating. For example, we can see in the future a coffeeshop where musicians would present their work; a gallery for painters and other graphic artists to exhibit their work; a small printing and/or publishing concern through which poets & writers could introduce their work; an operating film society that would enable local film-makers to produce and possibly market cinematic ideas.
Other individual projects that are being planned as part of the workshop’s total program:
 Lectures on modern music, painting, poetry and film, by the artists themselves, that would serve to introduce & enlighten an often-puzzled public to the artists’ aims, purposes, & finished work;
 Free jazz concerts and workshops, featuring in particular the work of Detroit’s musical ‘avant-garde,’ with commentary on their work by the musicians themselves and by enlightened critics & students of the music
 Interpretive poetry readings, with background and explanatory commentary by the poets
 Screenings of films by Detroit experimenters and by independent film-makers from New York and San Francisco who are involved in what has been called the “New American Cinema,” and whose work is not readily available, via commercial theaters, to its eager audience.
 All these will be “free,” non-commercial affairs that are planned, programmed, and produced by the artists themselves.
We sincerely believe that our Artists Workshop Society can and will succeed: The time is over-ripe, the people are ready to convert their ideals into real action, and there is no real reason why we can’t make it.
We need all the support we can get, especially your spiritual support and blessing; we are trying to establish ties with the isolated groups of artists that exist in this country and throughout the universe, and we sincerely wish to cooperate with anyone who will let us. Please help.
DETROIT ARTISTS WORKSHOP SOCIETY
John Sinclair, Robin Eichele, Charles Moore, George Tysh, Larry Weiner, Danny Spencer, James Semark, Richard Tobias, Gayle Pearl, Allister McKenzie, Ellen Phelan, Paul Sedan, Bill Reid, David Homicz, Joe Mulkey, Bob Marsh
—New Orleans> Amsterdam
November 22-24, 2014
© 2014 John Sinclair. All Rights Reserved.
November 21, 2014
TC Lethbridge – 2000 TC (Released by Iron Man Records – 23rd November 2014)
If you spend too much time in a state of mind which prevents normal perception, behaviour, or social interaction you might end up running a record label. Living life in a completely deluded state, generating massive debt for no apparent reason can be difficult to keep going for more than 17 years at a time but, it seems by some terrible mistake I’ve made it look relatively easy. But anyway, enough of that, I want to explain something in the hope that you might understand it better than me.
I went to a meeting earlier this year, the back room of a pub, The George in Southwark actually. The pub is just a few minutes walk from The Shard in London. Gimpo worked on The Shard and if I was going to park anywhere, parking at the foot of the Shard endorsed his work. I’ve spent time, 25 hours at a time, in a van going round the M25 with Gimpo, and believe me, it’s an experience to be had. I was with Steve Fly, a writer, musician and someone who plays drums for the Detroit Poet, John Sinclair who used to manage MC5 and was a founder member of the White Panthers. Steve and John released Mohawk through Iron Man Records in March and I was interested to accompany Steve to the meeting. I wanted to listen in, and if necessary, endorse him as a potential Music Director for The Cosmic Trigger, a new stage play by Daisy Eris Campbell. Daisy is the daughter of Ken Campbell who staged the Illuminatus! in 1976. I was 5 years old when all of that was going on.
The meeting was interesting as I had never met Daisy before and had no idea what to expect. Michelle the production manager, who was opposite, seemed to be keen to find the right people to take on the task ahead and no one was thinking any of this was going to be easy. A lot of hard work was ahead. If Bill Drummond had gone out to get Araldite in 1976, never to return…I was sure that this new stage adaptation of Robert Anton Wilson’s book The Cosmic Trigger was not going to be any easier for anyone.
Robert Anton Wilson was an American author novelist, psychologist, essayist, editor, playwright, poet, futurist, civil libertarian and self-described agnostic mystic. I discovered Robert Anton Wilson by way of a band called The KLF and the various aliases from The Timelords, The Jams, The Justified Ancients of MU MU, to 2K and K Foundation. Magic Temple of Discordian Promotions gave me many of Robert Anton Wilson’s books as a present which I’ve read and sometimes re-read. Magick was also a big KLF fan and seemed to know more than me so we soon became good friends. Both Robert Anton Wilson and the discussions I had about his work with Magick gave me inspiration when organising gigs for bands in Birmingham, when signing on and eating the food in my housemate’s cupboard was about all I had. The last posting that Robert Anton Wilson put on his website said: “I look forward without dogmatic optimism but without dread. I love you all and I deeply implore you to keep the lasagna flying.” The whole concept of keeping the lasagne flying made sure I didn’t get any ideas like getting a job or doing anything sensible with my time. In fact, I only stopped organising gigs because the venue I worked at, The Old Railway, was scheduled to be bulldozed. But that’s an aside, someone else was at the meeting who I knew of but had never met. Flinton Chalk was sat across from me, he was the one who sold the old car to Jimmy Cauty which ended up being used in KLF music videos and was renamed Ford Timelord. Flinton had bought the car from a film studio and spent time with friends dressing up as a nun and driving around doing donuts in muddy fields in the middle of the night. You might be wondering where on earth all this is going. You see, as John Higgs will tell you, if you happen to run a record label and read his book The Brandy Of The Damned “This is the problem with doing weird things. If you behave like a reasonable person, then the world will be reasonable back. If you step outside of the norm, however, and act in freaky ways, then the world will match you step for step. ”
And this is how I ended up talking with Flinton about the car, dressing up as a transvestite pirate nun, Jimmy Cauty, KLF, Julian Cope, Tall Hats, Stones Circles, and his time living in Avebury. I used to live in Wiltshire so I know that part of the world pretty well. Judging by the number of times I had driven through Avebury late at night in the early 1990’s its a wonder I didn’t run Flinton down. Somehow we got on to 111hz which can wait for another time, and then to a serious story about his trip to Mothers Jam on Fyfield down near Avebury. A stone tried to dematerialise Flinton and Julian Cope on one of their outings to collect photos and detail for The Modern Antiquarian. Flinton also told me about his band TC Lethbridge, named after Thomas Charles Lethbridge, who was an English archaeologist, parapsychologist, and explorer.
Having spent every last penny for the last 17 years on a record label that few people have any interest in, or understanding of, I was in no mood to consider working with another band and certainly not one that hadn’t played a gig, or had been missing for 23 years with three unreleased albums. But, I have done many things over the years, sometimes for money, sometimes for free, and sometimes because insanity is a far more rational approach to a complex situation than trying to think things through properly. And that’s how I ended up agreeing to help TC Lethbridge until they found someone more suitable.
Sat next to me, Steve Fly had just been appointed Music Director for The Cosmic Trigger so the work was done. I didn’t get out of the building until I had also agreed to do whatever I could to help The Cosmic Trigger. What had started out in my mind as a meeting to endorse Steve and “listen in and learn,” ended up as “You don’t listen and you never learn.” And so it began. TC Lethbridge had found themselves a record label.
I drove back to Birmingham wondering if I would ever learn anything ever. But that was then, so here’s to the now.
John Higgs is the Author of ‘The KLF: Chaos, Magic and the Band who Burned A Million Pounds’ and ‘I Have America Surrounded: The Life of Timothy Leary’. John Also writes fiction (as JMR Higgs) including The Brandy of the Damned and The First Church on the Moon.
I’ve read John’s book on Timothy Leary and also his book on the KLF and The Brandy of The Damned. All of them are well worth the read, you can make your own mind up which one to read first but, before you consider any of those, I want to tell you about his latest work.
John Higgs has written a book called 2000 TC: Standing on the Verge of Getting It On. The book is not for sale, it will be one of a private edition of 111 copies. Don’t ask. The answer will blow the right side of your brain.
2000 TC was written to mark The Cosmic Trigger play and festival performance in Liverpool. It is the story of TC Lethbridge, who will be playing their first gig after the play on Saturday – 23 years after they formed. TC Lethbridge are Doggen and Kev Bales, of Spiritualized and Julian Cope/Brain Donor, and Flinton Chalk, who you’ll find more about in John’s KLF book (pages 116-117).
2000 TC is an album recorded by TC Lethbridge in Avebury 20 years ago. It was remastered by the same person who remastered the recent Led Zeppelin reissues. Don’t ask about that either, that’s another story altogether. Flinton met me backstage at The Barbican on 31st May after John Sinclair had performed with The Founder Effect supporting Marshall Allen and The Sun Ra Arkestra. The gig was to celebrate 100 years since the birth of Sun Ra and it was a suitable venue to hand over the 2000 TC master. The album is being released on November 23rd by Iron Man Records along with an album called Moon Equipped and another called Mina. The band have been missing for 23 years and now they are back with a gig as part of The Cosmic Trigger, a book by John Higgs, and three albums on Iron Man Records.
I should mention that Thomas Charles Lethbridge was born 23rd March 1901 and passed away on 30th September 1971. You may be interested to know that 30th September 1971 is my birthday. Let me be clear: I am not the reincarnation of TC Lethbridge. If I had come up with a good reason not to work with the band of the same name, it still wouldn’t have stopped anything. It appears from birth, despite my protesting, I have been destined to know TC Lethbridge and release the records by a band of the same name. You cant make this stuff up, no one would believe it. Give the music a listen, you might like it.
The voice on the 2000 TC track Bou Saada is that of Brian Barritt. He makes an appearance in the book Cosmic Trigger, when Timothy Leary tells Robert Anton Wilson that he needs to talk to Brian if they are to both understand Aleister Crowley.
John Higgs said “Spending a few months writing a biography of a band who have yet to show their faces in public was not the most career-minded way to spend my time, but it had to be done. This is a story about people who’ve had some form of visionary or incomprehensible experience, and about how they can only move on and process what happened to them through a creative act. It is about the impact an uncompleted artistic project can have on a life. It also functions as a jigsaw piece, connecting the story in my Timothy Leary book to the one I tell in The KLF.
So, yeah, it had to be written.
No doubt it will be made more widely available at some point, in some format, in some way, should the band keep gigging and putting themselves about. But until then – more about the band here, and catch them Saturday if you can.”
All three TC Lethbridge albums – Moon Equipped, Mina, and 2000 TC will be released on 23rd November 2014 on Iron Man Records. Note: Any money generated from sales of these TC Lethbridge albums will be used to finance a vinyl and CD release of each record in future.
If you are interested in reviewing the 2000 TC book or reviewing any TC Lethbridge album get in touch
John Higgs will be speaking in Liverpool on the Sunday after Robin Ince and will then host a panel that will attempt to make sense of the preceeding days. Someone has to do it and if anyone stands a chance, it’s John. I hope the weekend is fun but unfortunately I wont be there, I just need to finish this and then pop out for a bit. I need to get some Araldite.
Find out more about the band here:
TC Lethbridge website: http://www.tclethbridge.com
November 5, 2014
TC Lethbridge are Doggen, Kev Bales and Flinton Chalk. Automatic writing in the sacred landscape. Established 1991.
Daniel James, Kev Bales, Tony Doggen Foster, Flinton Chalk at John Stewart Hall, Yatesbury, Wessex, where most of the tracks for Mina and 2000TC were recorded.
Flint had a tape with him, rough mixes of 2000TC songs recorded in Avebury which he pulled out of a box of cassettes under the stairs. I was keen to hear it. I was a big fan of the Mina instrumentals. I don’t know what I had been expecting, but it wasn’t the overwhelming sense of purpose that burst out of the speakers. I was reminded of the Jimi Hendrix Experience, which I was not prepared for. There is one particular section of 2000TC that for me crystallises everything that Flint, Kev and Doggen were doing. It is at the end of the sixth track. Doggen’s playing becomes increasingly possessed by some musical spirit, the like of which I have never heard before. As the song progresses you get the strange sense that those musicians no longer exist, that they have been replaced. They have sunk a deep well and been swept away by the sound gushing out of them. This builds and builds and… stops, abruptly. The tape ran out. But back in that hall none of them noticed. They continued, utterly lost in what they were doing… To hear where they were when just before the tape ended is a cruel tease indeed. But it also points to those lost moments we can never recover, of three musicians in Avebury who had left their egos far behind and were producing, as Brian Barritt put it, “automatic writing in the sacred landscape.” – John Higgs
‘Moon Equipped’ – 250 Vinyl 1994 self released. Recorded 1992 on board Judith, a Dutch barge on Thames at Battersea Bridge on 4 Track cassette.
TC Lethbridge – Moon Equipped (Iron Man Records – 23rd Nov 2014)
‘Mina’ – 500 CDs self released 2001, recorded John Stewart Hall, Yatesbury, Melbourne House, Avebury, 1993, 4 track cassette, released to mark 100 years since Lethbridge’s birth.
TC Lethbridge – Mina (Iron Man Records – 23rd Nov 2014)
‘2000TC’, recorded 1994 John Stewart Hall, Melbourne House, The Henge Shop, Avebury, 4 Track cassette, digitally remastered by John Davies 2014.
TC Lethbridge – 2000 TC (Iron Man Records – 23rd Nov 2014)
Band Line up:
Formed 1991 (Laurel Canyon) named 1992 (Avebury).
Flinton Chalk – Vocs, Keys, Percussion, Engineer, Producer.
Tony ‘Doggen’ Foster – Guitars, Keys, Lead Vocs, Digital Remaster Engineer.
Kev Bales – Drums, Percussion, Vocs,
Daniel James – Bass on 1st album.
Next public performance:
The Cosmic Trigger Festival, Camp and Furnace, Liverpool, 22nd Nov 2014 around 10pm…..
The Full Cosmic Trigger Experience
Find The Others
Performance, Speakers, Art, Music Cinema, Rituals, Workshops, poetry, Quizzes, Stalls, Discordian Papal Ball.
Prof. Robert Temple, Robin Ince, Nina Conti, Youth, Adam Gorightly, Johnny “Dolphin” Allen, C.J. Stone, John Higgs, Dr. David Luke, Greg Sams, Jeff young, Liverpool Impropriety, TC Lethbridge, DJ Kin, Michael Brunstrom, Dr. David Bramwell, John Constable, Salena Godden, Jacqueline Genie, Adrian reynolds, Jamie Reid, Jimmy Cauty.
Camp and furnace, Liverpool L1 0BY
14:23-02:23 Sat 22nd november 2014 (Play and Ball)
11:23-23:23 Sun 23 Nov 2014 (Conferestival)
Tickets £69 (full weekend = play and ball and festival)
Phone The Everyman box office: 0151 709 4776 www.cosmictriggerplay.com
T.C. Lethbridge website: http://www.tclethbridge.com
November 4, 2014
IMB6025 Steve Fly – They Came To Starburg – Digital Release – An album of spoken word (31st October 2014)
Steve Fly is a native of Stourbridge UK, now an Amsterdam resident who plays drums, spins vinyl, writes novels and literary and cultural commentary. He maintains a flock of websites and works in various other art forms without visible restraint. His other music projects have included New Flesh, Garaj Mahal, Temple Dragon band, John Sinclair and The Cosmic Trigger Stage Play.
Buy it on iTunes here: https://itunes.apple.com/gb/album/they-came-to-starburg/id935832302
Release Date: 31-Oct-2014
Label: Iron Man Records
Primary Genre: Spoken Word
Secondary Genre: Alternative
1 Nightmare in a Bottle – https://itun.es/i6BH8FQ
2 Mountains out of Moleverns – https://itun.es/i6BT9GS
3 Every Man and Every Woman Is a Tsarburg – https://itun.es/i6BH9Ld
4 Trans-Atlantic Partnership of Rites – https://itun.es/i6BT87C
5 Fleming Bridge to the Underground – https://itun.es/i6BT9MC
6 Tentacles out the Door – https://itun.es/i6BH9LP
7 Terror Horror and Tesco – https://itun.es/i6BT8d9
8 Halloween Sales Business – https://itun.es/i6BT8dX
9 Tesco Ultra Body Snatchers – https://itun.es/i6BT9Gf
10 Zombie or Not to Zombie – https://itun.es/i6BH8FN
11 Them and Fungus Together – https://itun.es/i6BH9Lk
12 Credits – https://itun.es/i6BH9L2
November 1, 2014
A Festival of DAW People – 50th Anniversary 1964-2014
Ron English Trio
John Sinclair and His Blues Scholars
Sunday October 26th 2-5pm Mocad 4454 Woodward
Sunday November 2nd 2-4pm Scarab Club 217 Farnsworth
Sunday November 9th 2-4pm Scarab Club 217 Farnsworth
Monday November 10th 11.30am-1.30pm WSU Undergrad Library Community Room, 5150 Anthony Wayne Dr.