— Philip Turner (@philipsturner) April 21, 2014
April 21st, 2014
March 30th, 2014
I was stunned by the new documentary, “Finding Vivian Maier,” which Kyle and I saw yesterday. Below is the trailer, if you haven’t seen it yet, or the film, which was directed by John Maloof, and two of her photographs. He bought a box of her negatives at an auction in 2007. At the time, neither he, nor anyone, yet knew who Maier was, or that she’d been making a photographic record in Chicago where she lived since around 1949.
I continued thinking about the movie all day after walking out of the noon screening. Today, I’m still mulling some major points that struck me. Below is an attempt to corral what I’ve been thinking about the film.
Vivian Maier (1926-2009) embarked on and then sustained over many decades the production of what we can now see as a truly monumental visual and documentary legacy. It’s a microcosmic yet vast history of modern urban America and many Americans, seen through the sensitive eye, lens, and mind of one person, a woman whose work as a nanny somehow allowed her the means and opportunity to conduct this personal journalistic enterprise. Until Maloof’s discovery, the enterprise was completely unknown, yet it was hiding in what amounted to (somewhat plain) sight, in auction houses, storage lockers, and in the records of the families she had worked for over the years. Some of them were still paying storage fees on her property. With impressive industry and inspired sensitivity to Maier’s mission, Maloof has excavated the extant physical record. I’m very thankful to him for doing this, for his open-heartedness and his willingness to plunge in to Maier’s work. In bidding at the fateful auction, he went all the way up to $380 for the box of negatives,* not small change. He said on WNYC’s Leonard Lopate Show last Friday that when he bid on and won the box he hoped to be able to harvest images from it for a photographic history of Chicago he was organizing for Arcadia Books (the publisher that does city histories). Turned out the pictures weren’t good for the book, and he put them in a closet. But sometime later, he posted more than 100 images on his Flickr page, essentially blogging with them. The reaction was a palpable “Wow” from street photography lovers and has led ultimately to this amazing documentary, which I want to see again.
Thinking more about Maier’s dedication, I’m amazed at how pure her motivation was in producing it all. She created this legacy, even though she never, so far as is known, sought an audience for her work, and had no child, relation, friend, or agent–not a single person–to whom she could leave her work; I wonder if she even had a will. Nor does it seem Maier solicited the interest of another photographer or an institution that might have taken an interest in her archive. Perhaps Maier knew best, not wanting to broach rejection. In the film, Maloof reports on what became a futile attempt to interest MOMA in the work. Even with their storied photographic collection, curated for many years by Peter Galassi, who didn’t retire until 2011, they perfunctorily declined. There ought to be some embarrassment at the museum over this and I think it would be a good thing if an arts journalist with a source at MOMA would seek on-the-record comment from them about their refusal. I concede that everybody makes mistakes–like editors who turned down On the Road and Catcher in the Rye–but it’s best to own up to them when they occur. So, instead of falling in to the hands of a responsible party at the time of Maier’s death in 2009, the hundred thousand negatives, many 8 mm and 16 mm film reels, and cassettes of audio recordings she made with people she interviewed–making her a veritable podcaster, decades before the term was coined–were basically put out to sea, cast adrift, and headed perhaps for a destructive crack-up on the rocky shores of time. That they didn’t suffer shipwreck–or submersion in a landfill–borders on a secular miracle.
I’m also thinking of Maier’s lack of an audience in a personal way, in relation to my own creative output, my two blogs (to be sure, humble by comparison). Here and on Honourary Canadian, I write and share about what interests me, what compels me, and hope that readers will care about these things, too, and appreciate the way I express and present them. I do like knowing that readers are finding items of interest and mutual relevance, though I wouldn’t change what I’m writing about just to gain more readers. It doesn’t matter greatly to me if some pieces aren’t widely read, because I’m also writing for myself, for the clarity of mind that I derive from the effort and experience. Fortunately, I do have readers, and what amounts to my own printing press, the Wordpress blogs themselves. Maier, in this regard, didn’t seek, or at any rate, didn’t have the opportunity to have her work seen by others. Yet, she seems to have hardly flagged or despaired over not having a speck of an audience or appreciation, and no way to get them. This makes what she did all the more singular and remarkable.
Readers who follow the books I’ve edited and published over the years may recall my author Edward Robb Ellis (1911-98), whose A Diary of the Century was quite a popular book for me, published in 1995, republished in 2008, still easy to find, still highly recommended. I mention it here because Eddie, as friends knew him, is the writer in my experience with an enterprise most closely analogous to that of Vivian Maier, though interesting distinctions exist between them. He kept a diary longer than anyone in the history of American letters, beginning his enterprise at age 16 during the Christmas vacation of 1927, when he dared a few pals, and himself, to start keeping a diary, and then they’d see who among them could keep it the longest. In his 20s, he also became a newspaper reporter. Basically, Eddie never stopped writing until the year he died. As Pete Hamill observed in his Introduction, Eddie wrote in print for the public, yet also for himself in the diary, which years later he wrote helped him become a more mature, an even happier, person. But even with the diary’s private reflections on intensely personal matters, Eddie also showed an interest in writing for the sake of the future, for posterity; he ultimately wanted the diary to be read by others, in hopes it might enrich the future with useful knowledge and pertinent information on his times–his entries cover the quotidian; the cost of things; which songs were on the hit parade; what movies were shown on a weekend when he worked his part-time job as an usher at the local cinema; along with current events and historic incidents that shook the world. According to the Guinness Book of World Records, which certified Ellis’s achievement in the early 1990s, his diary comprised more than 22,000,000 words, nearly half the length of the Encyclopedia Brittanica, a work with hundreds of contributors, while like Vivian Maier, Eddie created his work entirely on his own.
Ellis’s prodigious achievement was so well known among his fellow journalists that when Diary was published the week after Labor Day in ’95, Eddie scored a rare publicity hat trick: He was invited to appear, and went on all three network morning chat shows all within that week, interviewed by Cokie Roberts, Matt Lauer, and Harry Smith (on ABC, NBC, and CBS respectively) each network overlooking the usual policy they had against booking a guest who’s just been on a competing show. In the last decades of his life, the diary by then grown to many bound leather volumes and associated boxes, Eddie spent much anxious energy contemplating where his magnum opus might end up–he tried deeding it to a number of institutions, but even with the Guinness stamp of approval, there were few willing takers. Fortunately, as I wrote in a Preface to the 2008 paperback reissue of Diary, Eddie’s life work found “a permanent home with the Fales Library of New York University. Indeed, even before the last day of his life–which arrived on Labor Day 1998, so fitting for a man who always called himself a ‘working stiff’–more than five dozen oversize bound volumes were hauled from his Chelsea apartment to the Greenwich Village campus.” I added that I hope to publish another volume of the Ellis Diary someday, for it had been “my privilege to read into those bound volumes of the diary…and I promise the reader that I found no dross there.”
While working with Eddie Ellis from 1993-98, bringing out three other books of his, including The Epic of New York City, I came upon Joseph Mitchell’s classic New Yorker profile, “Joe Gould’s Secret.” In it, Mitchell chronicles for the reader his lamentable discovery that a longtime legendary denizen of lower Manhattan, Joe Gould, who for years had purported to be writing a magnum opus/History of the World was ultimately a bluffer, a failure, and a fraud. (In the pretty good movie version Ian Holm plays a grizzled Gould while Stanley Tucci takes on the role of Mitchell, a North Carolina writer working for the magazine.) Working with Eddie, I used to think how lucky I was to be working with a real-life Joe Gould-type, only Eddie was the real McCoy.
But now, thinking once more about Vivian Maier, I can see that unlike the others, she created her magnificent magnum opus without an audience, nor hope for one. By contrast, Gould hoped for adulation from others, though he did little to earn it, while Eddie Ellis, though not creating his work primarily for others, did enjoy praise, and came to see how his diary could be useful to others, and so arranged to share it with the world. But not only did Maier disclaim an audience for herself, she didn’t even claim posthumous credit for her achievement, like say with a “To Be Opened on the Occasion of My Death” letter, with information on where her affects could be found. She just died, and fortunately John Maloof was there to connect with her work. This is all a striking contrast to her male predecessors Gould and Ellis, the former phony, the latter authentic. It leaves me in greater awe of what she accomplished, and all the more appreciative of the documentary “Finding Vivian Maier.”
March 23rd, 2014
Friday night at Valentine, the gallery in Ridgewood, Queens, Kyle and I attended the opening of a very powerful exhibit, “Woody Guthrie’s Wardy Forty,” also the title of an accompanying book by photographer and curator of twentieth century ruins Phillip Buehler. It refers to the name Guthrie himself assigned to the section of Greystone Psychiatric Hospital, in Morris Plains, NJ, where he lived from 1956-61. On WoodyGuthrie.org, the site maintained by the late folksinger’s daughter Nora, the biographical sketch of Woody explains the circumstances surrounding this chapter in his life (edited for length below, I suggest you make time to read the whole sketch):
“Toward the late 1940s, Woody’s behavior started to become increasingly erratic, moody and violent….He was beginning to show symptoms of…Huntington’s Chorea, a hereditary, degenerative disease that gradually and eventually robbed him of his health, talents and abilities….It was later discovered to be the same disease which thirty years earlier had caused his mother’s institutionalization and eventual death. Shaken by inexplicable volatile physical and emotional symptoms, Woody left his family…taking off for California with his young protégé, Ramblin’ Jack Elliott….Woody met Anneke Van Kirk, a young woman who became his third wife….Becoming more and more unpredictable during a final series of road trips, Woody eventually returned to New York with Anneke, where he was hospitalized several times. Mistakenly diagnosed and treated for everything from alcoholism to schizophrenia, his symptoms kept worsening and his physical condition deteriorated. Picked up for ‘vagrancy’ in New Jersey in 1954, he was admitted into the nearby Greystone Park Psychiatric Hospital where he was finally diagnosed with…the incurable degenerative nerve disorder now known as Huntington’s Disease or HD. During these years, Marjorie Guthrie, family, and friends continued to visit and care for him. A new generation of musicians took an interest in folk music bringing it into the mainstream as yet another folk music revival. Joan Baez, Bob Dylan, The Greenbriar Boys, Phil Ochs, and many other young folksingers visited Woody in the hospital, bringing along their guitars and their songs to play for him, perhaps even to thank him.”
For his part, Phillip Buehler explores, photographs, and appreciates modern ruins. His website is called Modern-Ruins.com. When he stumbled on to Greystone the grounds had been abandoned for more than forty years. As it’s described in an statement accompanying the exhibit,
“After coming across thousands of negatives in the deserted darkroom, he researched the hospital and discovered that Woody Guhtire once lived there. He reached out to Guthrie’s daughter Nora…who gave him Guthrie’s case number. Buehler was then able to pull negatives from Guthrie’s file…beginning a ten-year journey that led to Wardy Forty: Greystone Park Hospital State Hospital Revisited.”
Copies of the book, a landscape format photography album with illuminating captions and text, were on hand at Valentine, while on the walls were hung small snapshots, many black & white, of Woody and family at Greystone; large format 4-color photos of the crumbling structure that was Greystone as Buehler found it; a slide show with the original text of Woody’s intake interview at the hospital running at timed intervals, which strikes the viewer with the singer’s innocence of the fact that his interlocutors seemed as it went along to increasingly believe he was mentally ill; and projected images of photographs taken of Woody at widely differing times, sadly showing his inexorable decline in health and demeanor. In a hallway off the main room is a display of intake photos of many Greystone patients with their patient number hovering above them, including that of Woody.
Nora Guthrie and Phillip Buehler were both on hand Friday night at Valentine. When Kyle and I came upon them, they were talking among themselves, but they welcomed us into their conversation and we enjoyed talking over the next little while. Nora told me with enthusiasm about the Woody Guthrie Center in Tulsa, Oklahoma, which she’s recently helped to establish in her father’s home state. She explained that it’s a study center for researchers, an educational facility for students of all ages, and a concert space for live music performances. Nora’s a warm and friendly person and it was a privilege to meet her this night. Buehler is also full of enthusiasm for his enterprises, and I was excited to tell him I share his interest in industrial archaeology and physical artifacts, as with my website photography of maritime and architectural artifacts, such as the Little Red Lighthouse and the Great Gray Bridge.
I recommend you check out Phillip Buehler’s book, which A.M. Homes has called “hauntingly beautiful.” It is available for purchase at WoodyGurthrie.org. I also urge you to see the exhibit, which will be up at Valentine until April 13. Below is more info on the exhibit and the gallery, along with pictures I took the other night, including this one of Nora Guthrie and Philip Buehler.
March 14th, 2014
Monday March 17 update, video of the NBCC Awards ceremony:
The concluding evening of the National Book Critics Circle annual awards last night at the New School auditorium was a jubilant celebration of the book with generous recognitions given to critics and authors alike. Having enjoyed the author readings on Wednesday night I was eager to hear who the winners would be. The program began with remarks by NBCC president Laurie Muchnick, reminding the audience that members of the organization spend months each year reading and keenly debating the merits of all the books in the six categories. With the housekeeping taken care of, the procession of awards began.
First up it was time for a new award, the John Leonard Prize, named in memory of the longtime NBCC member and ebullient NY Times reviewer. Each year it will be given to an author for a first book, in any genre. It had earlier been announced that Anthony Marra, author of A Constellation of Vital Phenomena (Hogarth Press at Crown Publishing) was the inaugural recipient. His novel is set amid the war in Chechnya. Then, Katherine A. Powers, who has a regular books column in the BN Review, received the NBCC’s Nona Balakian Citation for Excellence in Reviewing. She gave a congenial talk setting forth her own principles of reviewing. Among these was that she tries to avoid lordly pronouncements of approval or condemnation, as if she were representing some “cohort of worthies.” She declared herself in service to the reader and the author, and quoted a memorable line from H.L. Mencken: “Criticism is prejudice made plausible.” Next, pioneering man of Hispanic letters Rolando Hinojosa-Smith received the Ivan Sandrof Lifetime Achievement Award for his contributions to the literature of Mexican-Americans.
After naming all five poet finalists, chair of the Poetry committee David Biespiel began the presentation of awards that, unlike the three above, were not decided until yesterday afternoon, only a few hours before this ceremony. After naming all the poet finalists while their four book jackets flashed across the on-stage screen, David announced that Frank Bidart was the recipient of the NBCC for his book Metaphysical Dog (FSG). Bidart brought some papers to the lectern, and joked that each time he’s nominated for something, he prepares remarks and when he doesn’t win, files them away, continually adding to them each time he’s on a shortlist. This got a laugh from the audience, especially, after he said, “It’s true.” In fact, his acceptance speech was an elegant one. He described himself as a neo-modernist, not a post-modernist, saying he didn’t feel the need to be in conflict with his poetic predecessors. As to his own work, citing the words of a critic who upon hearing Maria Callas for the first time had written that the experience was like “biting in to a lemon,” he offered a hope that his own poems offer readers a similarly astringent quality. Quoting a great sentence from King Lear, “Ripeness is all. Come on.” Bidart pointed out that profound as it is, it’s not actually the last line of the scene. Instead, Gloucester points playgoers to the plurality of existence, uttering, “That’s true, too.”
Next, the award in Criticism was given to Franco Moretti for his book Distant Reading (Verso Press), with essays that use data, charts and other apparatus to consider reading in new ways. With Moretti’s arrival at the lectern he made a confession that held true the rest of the night: he had not expected to win and didn’t prepare remarks. He had a lovely Italian accent and the audience found him charming.
With a new precedent oddly established by Moretti, each of of the four recipients who followed uttered a version of the same thing, accepting the award graciously, and briefly. As it happened, four times in a row, the audience laughed a little more at it, as the recipient would sheepishly cop to his or her forgivably mild dereliction. Mild because audiences always expect to be held for a long time, and this was a veritable vacation from standard awards palaver.
Autobiography committee chair Eric Banks announced Amy Wilentz and her book on Haiti, Farewell, Fred Voodoo (Simon & Schuster), as the recipient of the NBCC. Once behind the lectern Wilentz explained that she’d written earlier books on Haiti–a country she called her “muse”–and this one was the most autobiographical of them, but she implied that because it wasn’t a proper autobiography she had really expected a different winner to be called up to the stage. And her category was very strong, filled with great writers of first-person narrative, a favored genre of mine. Next up, Leo Damrosch, winner in Biography for Jonathan Swift: His Life and His World (Yale University Press), said that he’d always written for academics and so doubted his book would be selected. He was off before I could take a picture, so the one with this post is the one I took the night before, at the readings. Sheri Fink, whose Five Days at Memorial: Life and Death in a Storm-Ravaged Hospital (Crown Publishing) I first heard about when her editor Vanessa Mobley presented it at last year’s BEA Buzz panel. Fink seemed truly taken aback at this recognition given to her book. For the last award, in fiction, Chimamanda Ngozi Adichie of Nigeria allowed as how she had been so tickled to be on the same shortlist as her former professor, Alice McDermott, she just hadn’t thought her novel Americanah would win. As she walked to the stage, she shouted in jubilation, a celebration the audience audibly shared with her.
With that the ceremony–in a tidy 90 minutes–was over. Most of the audience repaired to another New School building one block away for the gala reception. A hungry and thirsty crowd met there and partied for a much greater stretch of time than the ceremony’s duration. During the party I met and spoke with many of the finalists: critic Katherine A. Powers; poet Denise Duhamel; essayist Franco Moretti; Marianne Moore biographer Linda Leavell; Whitey Bulger chroniclers Kevin Cullen and Shelley Murphy, and their editor at W.W. Norton, Tom Mayer; observer of New Orleans’ tragic triage, Sheri Fink; novelist Ruth Ozeki; and one of my favorite writers at The New Yorker, Lawrence Wright, whose reading from Going Clear I had found so chilling the night before. I also enjoyed talking with NBCCers Walton Mayumba, Karen Long, Anne Trubek, Tom Beer, Eric Liebetrau and his writer wife, Signe; Ron Charles; and Marcela Valdes. Also enjoyed meeting for the first time one of my favorite tech writers, Andrew Leonard, there celebrating the memory of his father John Leonard; book agent, Andrew Blauner; editor Philip Marino of Liveright; journalist Casey Schwartz, Riverhead Books publicist Katie Freeman; and indie publicist Michelle Blankenship. Below are my pictures from last night. If you enjoyed this post, don’t miss its counterpart on the readings.
March 13th, 2014
Monday March 17 update, video of the NBCC Readings night:
As I try to do every March when the calendar comes round to the annual awards week of the National Book Critics Circle, I attended last night’s program of readings given by many of the nominated finalists. To the left is the evening’s program. Highlights were numerous, including Chimamanda Ngozi Adichie’s humorous narrator’s observations about blogging, of all things, from her novel, Americanah; Alice McDermott, with a carefully paced reading from Someone; Ruth Ozeki’s rendering of the book-within-a-book in A Tale for the Time Being; I later had a nice conversation with Ozeki about a favorite novel of mine that also has a book-within; Denise Duhamel read a narrative poem that cleverly portrayed a bickering couple observing a bickering couple from a distance, from her collection Blowout; Hilton Als, with a personal essay about Malcolm X and his mother, from White Girls; Rebecca Solnit read a passage from The Faraway Nearby about a basket of fragrant apricots; Amy Wilentz’s evocation of a chaotic street scene in Haiti from Farewell, Fred Voodo; Scott Anderson with T.E. Lawrence’s surprising refusal of a knighthood from the British monarch; Leo Damrosch’s bawdy portrait Jonathan Swift in His Life and His World; Sheri Fink’s shocking chronicle of doctors and nurses in Katrina-stricken New Orleans resorting to euthanasia in Five Days at Memorial; George Packer’s grim rendering of societal decline, typified by a Rust-belt denizen in The Unwinding; and Lawrence Wright’s chilling account of brow-beating and mistreatment among scientologists in Going Clear.
All day today, NBCC board members will be making their final selections from the shortlists. I look forward to going back tonight to The New School auditorium in Greenwich Village for the ceremony, and for the festive reception that follows. The NBCC is a great organization of dedicated readers and writers. You can follow them on Twitter, @BookCritics, and check them out on the web, NBCC. Writing students at The New School interview each of the finalists, so you can also look for those videotaped conversations on the NBCC site. If you live in New York City, I recommend you attend the readings and/or the awards night, for these are two of the best literary nights of the year. Both events are free of charge, with only the fund-raiser/reception having an admission fee. If you want to support the work of the NBCC and their awards–the only book prizes given by full-time critics and reviewers–you can sign up to become an associate, non-voting member. I renew my membership each year. Here are the best pictures I took from my seat last night.
March 8th, 2014
Until reading this March 1 obituary by David Margolick about Lee Lorch I had not known about this brave man, or the vital role he played in ending racial bias in publicly-subsidized housing in New York City and the rest of the United States.
A WWII vet, Lorch came home from the war amid a nationwide housing shortage that was particularly severe in New York City. Then living with his wife Grace and daughter in what the NY Times reports Lorch called “‘half a Quonset hut’ overlooking Jamaican Bay in Queens,” he applied to live in the housing complex of Stuyvesant Town then being developed on the east side of Manhattan by Metropolitan Life Insurance Company with generous subsidies and accommodations from the city. He learned that African-Americans were explicitly barred from living in the development, as Met Life’s chairman Frederick Ecker told news media, “Negroes and whites don’t mix. If we brought them into this development, it would be to the detriment of the city, too, because it would depress all the surrounding property.” The Lorches and fellow tenants invited African-American families to come stay in there apartments as their guests, a move that drew Met Life’s ire and threats of eviction.
As a result, Lee Lorch lost his job teaching math at City College, and was made unwelcome at other universities where he applied to teach, including Penn State, which hired and then fired him in less than a year. For a time, he and his family were in Little Rock, Arkansas, where in 1957 Grace famously comforted Elizabeth Eckford, one of the “Little Rock Nine,” as she tried to attend Little Rock Central High School.
In addition, Lorch’s unapologetic membership in the American Communist Party caused civil rights leaders, including Thurgood Marshall, to keep their distance from him. After years of erratic employment in the States, in 1959 Lorch was offered a teaching position in Calgary, Alberta, Canada, and later York University in Toronto. The Lorches emigrated and much like young draft-age American males of the Vietnam era, the Lorches found a new home and haven north of the 49th Parallel.
2) A segment with Lee Lorch’s daughter Alice from CBC’s As It Happens, remembering her father and the family’s life in Canada.
3) A review of David Margolick’s book Elizabeth and Hazel, on Elizabeth Eckford, of the Little Rock Nine, and Hazel Bryan, a white woman who yelled at her as she tried to enter Central High School in 1957.
4) An Arkansas Times Web feature with lots more information on the Little Rock Nine.
February 25th, 2014
As a follow-up to the post below, Celebrating Pete Seeger & Enjoying “Mr Personality”–a Music-filled Weekend in NY, the Pete Seeger tribute turned out to be a fun night. The program, well organized by folksinger Jan Bell, was held at the Jalopy Theatre in the Red Hook section of Brooklyn. The Jalopy, and its next-door tavern, are a combined performance space, instrument store, bar and restaurant. About ten acts peformed Sunday night, playing from a single song to several tunes. Most of the songs were compositions of Seeger’s, or songs the performers believed influenced Pete, or were influenced by him. Proceeds from the sold-out show benefited WhyHunger, a social service organization that is a legacy of the great singer and activist Harry Chapin. $900 was raised to support their important work.
Below are pictures from the show, with captions describing what the artists played. In addition to the musicians pictured here, artists who performed at the tribute included: Tamar Korn, Ernie Vega and Samoa Wilson, Wyndham Baird, Geoff Wylie, and Feral Foster. If you’ve never been to the Jalopy, I recommend you take in some shows there. The venue offers great company in a mellow setting, superb musicians, and very fair admission and food and drink prices. Also, please note that April 18-20, the Brooklyn Folk Festival, organized by Eli Smith (pictured below) will be held at Bell House. I give the Jalopy and the Festival my highest recommendation.
February 23rd, 2014
Good musical weekend unfolding. Tonight Kyle, Ewan, and I are going to a Pete Seeger tribute show at the Jalopy Theatre in the Red Hook section of Brooklyn. We enjoy the music and the community that surrounds the Jalopy, where one of the house bands is the Downhill Strugglers, a group that includes people who will be playing tonight, such as John Cohen, founding member of the New Lost City Ramblers, Eli Smith and Jackson Lynch. Smith is the founder of the Brooklyn Folk Festival, coming up soon on its sixth year April 18-20 at the Bell House. I hope to post some photos and a report later on about tonight’s tribute to Pete Seeger.
We kicked things off on Friday night when Kyle and I went to see rhythm & blues legend Lloyd Price, aka “Mr. Personality.” The hitmaker behind such chart-toppers as the eponymous “Personality” and “Stagger Lee” began his performing career in 1949, as a singer with a band that included Fats Domino on piano. He will turn 81 on March 9. We were guests of our friends Mike Shatzkin and Martha Moran, who also invited two other old friends of theirs. One was Linda Davis, originally from Liverpool, England. She still has a charming accent, if not, she says, as pronounced as it was when she first came to the States in the ’70s. She told us that back in the day she worked as a coat check clerk in dance halls where the local Liverpudlian music scene of the early ’60s unfolded. She saw twin bills with Gerry and the Pacemakers and the Beatles. Imagine! Mike and Martha’s other friend whom we enjoyed meeting was Tracy Young, a magazine writer. Linda and Tracy had also not met each other before then. All the ingredients were assembled for a great evening, thanks to Mike and Martha.
There was, however, a fly, or a flaw, in the soup: The venue stunk. It’s called The Cutting Room, and it should be cut out of the address book of any live-music fan who expects a club to be run to a minimal standard of consideration and courtesy, with fair value for the customer. I won’t even link to it because it really doesn’t deserve your traffic, either the Web kind or walk-in. I will though link to its Yelp page where my friend Mike left his comment which begins “This is the worst-run club in my 47-year history of going out to hear live music in New York City.” None of us will ever go there again. Fortunately, the company was first-rate and it was a special treat hearing the ebullient Lloyd Price, who moves around on stage, singing and performing with tremendous ease. Not only does he make it look easy, he does it all with great good humor. He put on a fun show with an excellent band that was so numerous on stage there were several horn players I never did actually see, given our partial view. Below is a youtube clip of his 1952 hit “Lawdy Miss Clawdy.” Also, more of the photos Kyle and I took from our perch above the stage.
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