Manitoba Music Showcase at NYC’s Arlene’s Grocery, Nov. 13

Tuesday night from 8-10:30 PM Arlene’s Grocery on the Lower East Side will feature a great bill with musical acts visiting NYC from the Canadian province of Manitoba. It’ll be the second year in a row that ManitobaMusic.com is hosting this showcase. Last year I had the good fortune to discover two of the acts who are returning tomorrow night, along with two new acts I’m eager to hear for the first time.

The two acts making return visits are Chic Gamine (pictured above) a five piece outfit composed of four female singer/instrumentalists from Winnipeg, and the lone guy, the drummer, from Montreal. With great verve and stage presence, they perform an energetic melange of anglophone, francophone, and First-Nation tinged rootsy pop. Songs like “Closer,” on video here from their website show their tremendous talent and inspired songwriting.

I love their sound, their style, their great look, and am eager to hear them and meet them once more, and their outgoing manager Jeff Horowitz, who made sure I knew about this gig.

The other artist I’m eager to hear again is singer/songwriter JP Hoe (pictured below) also from Winnipeg. A year ago he gave me a demo of his forthcoming album, “Mannequin,” with terrific songs such as “Bingo Palace” and Do I Know You?, and I’m glad to see it’s since been released and he’s been touring North America in support of it, including dates in Los Angeles, Portland, OR, and NYC, as well all over Canada.

Their are two other acts tomorrow night, The Magnificent 7s and Greg MacPherson. I’m eager to hear them too, since ManitobaMusic.com has shown themselves to be so adept at presenting great talent to New Yorkers. If you’re eager to hear some great music, I suggest you come out to Arlene’s Grocery on Stanton St. to hear these talented musicians from Manitoba. The cover is just $5. Here’s the line-up:

Volunteering to Help Fellow New Yorkers

Since Hurricane Sandy hit New York City last Monday night, I had not ranged outside the Upper West Side of Manhattan, within 10-20 blocks of my home. My wife and son and I never lost power and aside from a tree that fell across our street, our neighborhood fortunately suffered little consequential damage. We’ve been able to buy fresh groceries and get cash from local ATMs. All week, I’d been very conscious that hundreds of thousands of fellow NYers had been plunged in to an unpleasant, partly pre-industrial existence, but with the subways out of commission and surface traffic horrible just on my own nearby streets, I was loathe to add to the difficulties and confusion below 34th Street, where power was out and so many parts of the city had been severely flooded.  We made some donations–check out www. masbia.org, an outfit doing great work, and one which we’ll donate to again in the run-up to the holidays–and avidly followed all the news (thank you Brian Lehrer and John Hockenberry and all the correspondents on WNYC radio and NY1 TV). Finally, Thursday night I saw on Twitter that some Upper West Siders were organizing a trip downtown with supplies for an organization called Good Old Lower East Side, or GOLES. Once downtown, there would also be a chance for volunteers to connect with GOLES’s efforts, bringing provisions to seniors and others without power and elevators in their apartment buildings. I emailed Monica O’Malley and promised to meet her and her friends at noon on Friday.

When I got to the building on a west side block between Amsterdam and Columbus I found a group of young women already carrying flats of bottled water and bags of food from the lobby to a waiting cab. We met and quickly introduced ourselves and continued loading the cab, soon packing off several of us in what remained of the space in the taxi. With one of my co-volunteers, Melinda, we marched off together carrying bags of goods, planning to find a cab of our own, but first stopping off to buy many boxes of granola bars, portable, lightweight food that we knew would last a while. And with that, we hailed a livery cab and began our journey into the no-power zone. After crossing below 34th Street, I noticed the lack of operating traffic lights. Our driver stopped at every corner before proceeding through each intersection. Soon, we reached 169 Avenue B, between 10th and 11th Streets, brought our goods into the GOLES storefront, and found our friends from uptown.  GOLES organizer Demaris was using a bullhorn to tell the eager volunteers, a mass of about 100 people at this point, what we could do to help. She was especially looking for any Spanish and Chinese speakers to ask residents of buildings what kind of help they might need, and if they had any urgent medical problems. While I couldn’t help with those languages, we did gather up provisions and were asked to bring them to needy residents of LaGuardia Houses, a public housing complex at the corner of Madison Street and Clinton Street, north of the Manhattan Bridge, close to the East River.

I sparked at the mention of the LaGuardia Houses, the site of a distressing report by WNYC correspondent Marianne McCune this week that chronicled the fortunes of a LaGuardia resident, 87-year old Margaret Maynard, who hadn’t been able to leave her apartment since before Sandy. She’d been subsisting on crackers and orange juice. McCune, whom I admire in her riveting audio report for the willingness she shows to get involved with and help out a person she’s covering, uses the waning battery in her cell phone to call a friend of Maynard’s, Doris George, who had been the maid-of-honor at Maynard’s wedding 60 years earlier. Though Maynard was reluctant to be the beneficiary of any special intervention, insisting that some folks were worse off than her, with the return of electricity to her building at that point still unknown, we learn that Maynard has since been evacuated to a nephew in the Bronx.

Walking south and east, I saw an astonishing amount of damage in parks and all over the neighborhood. I tried to capture it n my pictures, but am sure I haven’t. Everything’s been pushed down, especially the plants. At LaGuardia, we used flashlights we’d been given at GOLES to navigate hallways with floors wet from condensation due to the flooding to reach pitch-dark stairways and then up to floors in the building, where we began knocking on the doors of residents. The buildings were up to 18 stories. I walked up five floors at the most, for my knees. We were instructed to not be too aggressive in our knocking, lest we alarm residents. We found some who were doing okay, not in need of assistance; we asked them if they knew of any neighbors in distress. Even the people who didn’t need food and water were very glad to have been remembered and held in the thoughts of other New Yorkers. At one apartment, I found a three-generation Chinese household. The older ladies who answered the door were instantly grateful for the bottles of water, the boxes of raisins they said the children would love, a can of pineapple chunks, and several self-heating meals. At none of the apartments I visited did I find anyone in distress, like Ms. Maynard had been, but I did see some people who weren’t doing well at all.

I also saw instances of spontaneous resilience, like a pop-up coffee & oatmeal stand in front of a low iron gate near 82 Rutgers Slip, the next address I went with a big bag of foodstuff. Two gay friends, two guys, were running it, and had no dish put out for people to put money in. It was conspicuously free, not even asking for change. At that point on my own for a few minutes, I encountered a community meeting on the 2nd floor where a discussion was underway in English and Chinese translation on how to deal with difficulties caused by the storm. There I met Victor Papa, a veteran of this community’s many organizations and a board member the Two Villages Neighborhood Council. It was heartening to find this level of community organizing going on so quickly, even amid all the new problems that are less than a week old. He was also grateful for the provisions I brought.

After this interlude, I met up again with two of the women from my original group, Melinda and Kim. We walked to 46 Hester Street, where CAAAV is located. This is a community group whose mission is to develop “power across diverse poor and working class Asian immigrant and refugee communities in New York City. Through an organizing model constituted by five core elements–basebuilding, leadership development, campaigns, alliances, and organizational development–CAAAV organizes communities to fight for institutional change and participates in a broader movement towards racial, gender, and economic justice.” In front of CAAAV’s storefront, dozens of notices had been posted. From across the street, these signs immediately reminded me of the weeks after 9/11, when people were putting up signs in search of missing loved ones. On closer inspection I found that these were notices of buildings and particular apartments where help was needed. CAAAV staff in orange vets were deploying teams to addresses where they knew help was needed.

Unfortunately, the notices posted on walls weren’t the only thing that reminded me of post-9/11 New York. There’s a fragility to the city right now that’s so reminiscent of then–a deep sadness at the realization that so many things have been lost, never to be regained. I met and spoke with one woman, Ellen, from Brooklyn, who had just come over the bridge to see what she could do to help. We were both taking pictures of the posted notices. She looked to be near tears much of our ten-minute conversation. We talked about 9/11 and I told her about my own experiences that day and afterward. Despite the lingering sadness, it was still extremely impressive to find such effective grassroots organizing. One thing I detected all afternoon was intensive and agile organizing like Occupy Wall Street. I know many of these organizations have been around for even longer than OWS, so it might be better to say that the LES and Chinatown have some very effective community organizations; maybe it’s OWS that’s borrowed and learned from them. The grassroots stake in the fortunes of the community was palpable.

It was now getting on past 3:00 and since I didn’t know how long it would take me to get back up to the Upper West Side, I said goodbye to Melinda and Kim and began heading uptown on foot. Kim said she was going to be cooking at home today, with the food to be donated to an organization she knew about. At the corner of Ludlow and Stanton, I saw a table set up on the sidewalk where coffee and food were being offered gratis to passersby. Spontaneous acts of generosity were sprouting all over town. Staffing the table were Ian and Savannah. She works at the shop on that corner, a hairstyling salon called Pimps and Pinups. With the shop closed, the two of them had set up their own food station on the sidewalk. I had a nice time sipping coffee and chatting with them and their patrons and taking a few pictures. Their corner was just down from the street from music clubs I often frequent–Arlene’s Grocery, Pianos, and the Living Room, which were all shut. So lively much of the time, this part of the Lower East Side had a ghost-town feel on a late Friday afternoon.

As I expected, public transportation was a major challenge, but using the M15 bus up First Avenue to 42nd Street, the M42 to Grand Central, the subway shuttle to Times Square (where I declined to try and get on the #1 train, since a ridiculous horde of passengers were already waiting for it), the M20 bus up Eighth Avenue to Lincoln Center and the M5 bus along Riverside Drive I got home just as darkness was falling. Riding the M5, I was enormously relieved to hear WNYC broadcast on my radio headset that Mayor Bloomberg had at last agreed to cancel the NYC Marathon and that power was just then returning to parts of lower Manhattan. It had been quite an afternoon, filled with generosity, moments of buoyant hope, and desperation.
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Leslie Gore, Reprising “You Don’t Own Me” for PBO

This is a great piece of political advocacy and messaging, made to the backdrop of Leslie Gore’s 1964 hit, “You Don’t Own Me,” directed especially at voters concerned about women’s health and choice. Gore herself is on camera, at the beginning and the end. One of my favorite placards in it: “Keep Your Rosaries off My Ovaries.” Please view and share widely.

CMJ Music Marathon–a Treat for Devoteés of Live Music

For the second year in a row I attended a bunch of live rock shows during the annual CMJ Music Marathon, Oct. 16-20, going to hear live music at a handful of different Lower East Side venues.

Wednesday night, for the showcase mounted by Canadian Blast at Arlene’s Grocery, I heard Two Hours Traffic from Prince Edward Island, a place that produces great musicians, belying its status as Canada’s smallest province. This 4-piece played an infectious chord-driven guitar rock with bright pop vocals by frontman Liam Corcoran, who looked like he could be the brother of actor Toby Maguire. Next up was Elephant Stone, an exciting psychedelic quartet from Montreal with Rishi Dhir’s thumping bass and sitar at the center of their often mind-blowing sound collage. They’re about to release a new self-titled album, their third, on Hidden Pony Records. Foam Lake of Saskatoon played next, leading off with “True Hearts,” which has a rousing chorus I recognized from hearing it on CBC Radio 3, the hub of indie rock in Canada. Later, in front of Arlene’s, on Stanton Street, I met a musician I recognized from earlier as Two Hours Traffic’s bassist. Nathan Gill’s his name. Late though it was, he was planning to be up in a few hours for a morning for a flight to Nova Scotia, where he’d be playing the Halifax Pop Explosion with another band of which he’s a member.

Thanks to Cara Wodnicki of BMF Media Group, who accommodated me and the guest I’d invited to join me this night, Torontonian Peter Evans, CEO of Speakerfile, the company I consult for that connects conference organizers with authors and other experts who do public speaking. Like me, Peter really enjoyed Two Hours Traffic’s efficient, tuneful set.

Before closing out my Canadian Blast evening, I also ran into members of Rah Rah, a band I have blogged about before, and of which I’m a big fan. They weren’t performing on this bill, but would be playing four times over the next few days, including Thursday evening at Bowery Electric, a gig I would be attending, not far from where legendary punk venue CBGB’s operated until 2006. Rah Rah’s new album, “The Poet’s Dead” has just been released and it’s terrific, with a great lead song, “Art and a Wife.” I recommend you listen to it at their website. It’s one of their best set of lyrics yet, striking themes about what a maturing artist wants from life and music. Rah Rah played a pleasantly raucous and spontaneous live show in the basement room at Bowery Electric, with players swapping instruments with one another, and grabbing drum sticks to make percussion sounds on any available hard surface, from amp cases to brick walls. The anarchic vibe encompassed Rah Rah’s Jeffrey Romanyk, who alternated between acoustic guitar on some songs, and drums on others–he weathered a broken string on one song and a toppling drum kit on another. But no mishap could snap the spell of the band’s great performance, with its fun, uninhibited vibe. The finale included inflated mylar letters spelling out R-A-H, bouncing over the heads of the audience, and an exploding confetti cannon. Low-tech fun. Afterward, I spent time visiting with Romanyk, as well as his bandmate Leif Thorsen, and Leif’s wife, photographic scholar, Alison Dean. Out in front of the club, lead singer Marshall Burns showed me their big touring van, with its Saskatchewan license plates, and huge lock on the back door protecting their instruments and equipment from thieves, a potential bane for all touring bands.

Friday offered a rare afternoon opportunity to hear live music, like a day baseball game. A showcase from noon-6 at Pianos on Ludlow Street was put on by music marketing and radio promotion outfit Planetary Group, featuring shows by Hot Panda and The Orwells, as well as Australian bands Sun Cisco and Twerps, and again, Elephant Stone and Rah Rah. Just as Rah Rah was sliding into place on Pianos’ raised stage, a friendly fellow sat on the stool next to me. This was Wilson Lemieux, who works as music director at KWTS radio station in Canyon, Texas. They have “Art and a Wife” in heavy rotation, he told me, but he’d never heard them live, until today. I assured him he was in for a treat. It was great hearing Rah Rah again, as they played a largely different set of songs than the night before. During this relaxed afternoon I met Planetary Group’s Greg Khaikin and Oscar Zubia, and their boss, Chris, all very welcoming and articulate about the bands they were promoting. During a break between sets I had a chance for pleasant chats with Hidden Pony’s Mike Renaud, his wife Natasha, and Elephant Stone’s Rishi Dhir, and bandmates Gabriel, Steven, and Miles, nice guys all. It’s always fun talking with Canadians in NYC, who are so appreciative of Gotham’s charms. Out on the sidewalk dodging the cigarette smoke, I also met the members of Kiven, a 4-piece outfit from Los Angeles whose music I’m now eager to hear via their bandcamp page.
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Latest Coverage of “Rust Belt Chic: A Cleveland Anthology”

Delighted to see that Rust Belt Chic, the book to which I contributed an essay, “Remembering Mr. Stress, Live at the Euclid Tavern,” is getting lots of coverage. One of the best parts of writing the essay has been that it’s put me back in touch with the venerable Cleveland bluesman, Mr. Stress, whom I followed avidly for many years.

This week, Andrew Sullivan’s blog at The Daily Beast website, The Dish, wrote about Rust Belt Chic in a piece called “Between Ruin and Rebirth,” citing the book and Roger Ebert’s review of a new documentary, “Detropia.” Fitting, with the Tigers beating the Yankees on Thursday and advancing to the World Series. Relatedly, Friday’s NY Times brought a smart essay by Bill Morris, on the recent rejuvenation of Detroit’s downtown. It seems that the topic of urban decline and rebirth is never far from the collective mind.

Rust Belt Chic has also been covered by Karen D. Long, Book Editor at the Cleveland Plain Dealer in a weekend piece, “‘Rust Belt Chic’ warms to scruffy, problematic Cleveland”. Long writes that the community enterprise that fueled the book “resembled a pop-up civic action.” Typifying this approach, co-editors Anne Trubek and Richey Piiparinen asked all the contributors–in the event that the book sells well enough to make back its expenses and reaches profitability–if we would want an honorarium payment, or prefer to plow our earnings into another indie project to be chosen from among book ideas presented by the contributors, with one (or if we’re really fortunate, more than one) project being chosen for funding. I have a ready book idea–a new volume to be culled from the Guinness Book of World Records-recognized diary of Edward Robb Ellis, whose A Diary of the Century: Tales from America’s Greatest Diarist, I edited and published in 1995. I am happy to have chosen the latter option.

In case you missed an item I put up last month, one of my fellow Rust Belt Chic contributors is Connie Schultz, the Pulitzer Prize-winning columnist and author. In the past year, she left the Plain Dealer while for her husband Sherrod Brown’s run for re-election to the US Senate from Ohio. A few weeks ago, on the Rust Belt Chic Facebook page, I saw this note from Ms. Schultz:

“Sherrod didn’t get home until after midnight last night, but as soon as he saw my newly arrived stack of ‘Rust Belt Chic: The Cleveland Anthology,’ he had to pick up a book and take a look. ‘Wow,’ he said, over and over, as he recognized one writer’s name after another, read aloud some of the titles and marveled at the photos.” Here’s my whole piece, “Senator Sherrod Brown ♥s “Rust Belt Chic”.

I hope you buy the book as a print or a digital edition, or get one of each, not simply because you want to support this communal effort, but because it offers thirty-five fine examples of narrative journalism, chronicling a distinctive part of the country that is too often overlooked on the literary and cultural map. I also urge you to follow the book’s Twitter feed, @rust-belt-chic. On my own Twitter feed, @philipsturner, I’ve started a hashtag, #MrStress. You may also ‘like’ the Rust Belt Chic Facebook page. Thank you for supporting this exciting experiment in cultural urban renewal.

Finally, I got word today that there will be a public event with Rust Belt Chic contributors in Brooklyn, NY, on January 3. I hope to be there, reading from my essay on Mr. Stress. More details when I have them.

A Beautiful Saturday at Brooklyn’s Green-wood Cemetery

Green-wood Cemetery is a NYC landmark I’ve been keen to visit for years and last weekend an ideal opportunity arrived for my wife and son and myself to finally get there. The complex, 478 acres of rolling hills (making it more than half the size of Manhattan’s Central Park), big hardwood trees, and sparkling views of Manhattan and NY Harbor, was founded in 1838 as a non-denominational burial ground that also offered what was described then as a “rural” location. To the urbanites who conceived Green-wood*, it was important to create a pastoral, soothing place for mourners to say goodbye to their loved ones. The three of us discovered on Saturday that it is still pastoral and still a balm to the daily cares of city-dwellers.

Among its more than “560,000 permanent residents”–as Green-wood’s literature refers to those interred there–is Louis Moreau Gottschalk (1829-69), a New Orleans composer and pianist whose kinetic and tuneful music provided our nation’s first examples of such styles as ragtime and stride piano, amid a fusion of African, Haitian, and Cuban rhythms joined with Western music. I get periodic emails from Green-wood and had learned from one message that in the 1970s, a memorial figure then gracing Gottschalk’s burial plot had been vandalized and destroyed. Saturday had been announced as the unveiling of a new figure at his gravesite. Not satisfied to merely place it there, Green-wood planned a program of live piano music in the bright autumn air, played and presented by John Davis; a talk by Frederick Starr, former president of Oberlin College and author of the Gottschalk biography, Bamboula!; an introduction of the sculptors who made the new figure; and finally, the unveiling of “The Angel of Music.” All this was offered to the public free of admission charge.

We emerged from the ‘R’ subway stop at 25th Street and 4th Avenue in Brooklyn, walking a block east toward 5th Avenue and Green-wood. Even before reaching the cemetery, we spotted a cool-looking complex of low buildings. Fenced around on all sides, this establishment was topped with a sign reading “McGovern Weir.” We wondered if it had been a business selling gravestones and monuments, though have since learned from the blog “Lost New York City” that it was for many years a florist. This handsome old wreck of a place was constructed in 1880, and was bought for $1.6M by Green-wood in April.

Walking past the Green-wood gatehouse we were met by a friendly young woman whom we’d later see again selling books from an outdoor kiosk. Here, she was handing out programs for the Gottschalk event. Ewan and I made it up the hill first where we saw the crowd gathered, with Kyle a bit behind taking pictures. Soon the three of us were settled comfortably on a grassy slope just a few yards from where a shiny black Steinway piano–lent by the Steinway company, whose forebears are buried at Green-wood–sat gleaming in the sun. Just the novelty of seeing a grand piano outdoors was exciting.

Green-wood President Richard J. Moylan quickly introduced John Davis, who, as he removed his gloves against the chill said he hoped we wouldn’t think he was pulling a pre-performance trick as Gottschalk was wont to do–carefully pulling off his white gloves one finger at a time as he sought to draw the attention of his audience to the very hands that were about to strike the piano keys. Davis launched in to his first Gottschalk selection, “Bamboula,” a sprightly piece based on a Creole song that warmed up the audience. One could hear shades of Chopin, as well as an anticipation of melodies that we’d later identify with Stephen Foster. Introducing “Danse Cubane,” he described Gottschalk as the “father of world music” and the first classical composer in America to break away from an exclusively European model. All this reminded me of what a relatively enlightened and open urban culture New Orleans was in the first half of the 19th century, with free people of color landing up there from the Caribbean and South America. Gottschalk, with a German-Jewish father and a Haitian mother, tapped into and reflected influences from the New World and the Old. Davis also amazed us when he described that in 1938–around 80 years after the peak of Gottschalk’s influence–Jelly Roll Morton wrote of “the Latin tinge” that pervaded his music, in a thread of influence that began with Gottschalk. Davis closed this part of the performance by evoking Mark Twain’s partiality toward the banjo and then playing one of Gottschalk’s signature compositions for solo piano, “The Banjo,” which thoroughly commingled African, Caribbean and European motifs. Here I’m glad to insert the front and back cover of an LP I acquired in the 1980s, with the music of Gottschalk played by Edward Gold. It still sounds great!

With these sounds still echoing in our ears, the program moved through Frederick Starr’s biographical presentation and the introduction of sculptors, Giancarlo Biagi and Jill Burkee. They bid us to walk a few yards along the slope to Gottschalk’s gravesite, ringed with a black wrought iron fence. As Mr. Moylan assured us even he had not yet seen the finished cast of “The Angel of Music,” we saw a pedestal in the middle of the grassy square topped with a figure enshrouded in a green tarpaulin. As we stood expectantly, hands reached out to shuck off the tarp, exposing an elegant bronze figure that looked as if it had set there for much longer than just this day. Applause and shouts of congratulations to the sculptors were heard as we all admired the delicate figure.

With that, we went back to our earlier spots as John Davis sat again at the piano, joined by clarinetist Jeffrey Lederer and vocalist April Matthis. The trio performed “Slumber on, Baby Dear,” a lullaby composed by Gottschalk. As a final round of clapping rang out, Richard Moylan invited everyone to Green-wood’s nearby chapel where refreshments and coffee would be served. We walked down the hill and around the property to the chapel. Along the way, we stopped at the book kiosk where maps of Green-wood are also available. There we asked the same young woman who’d greeted us earlier if she could possibly help us determine where we’d find the grave of one’s of Green-wood’s “permanent residents,”  Thomas C. Durant, who was instrumental in building the trans-continental railroad in the years immediately after the Civil War, and through his corruption became embroiled in the infamous Credit Mobilier scandal of the post-Civil War years. We’d learned about the real-life Durant from the TV series, “Hell on Wheels,” a fictional treatment of the building of the railroad, in which the Irish actor Colm Meaney plays the striving rail baron. One plot thread in the TV series–which is actually true to history, as far as I can tell–is that Durant had corruptly enriched himself at the expense of the US government and investors in the railroad, and very possibly ended his life in some disrepute. In the program, he runs his enterprise with a great deal of secrecy and intrigue, and again, this seems to conform with what I’ve read about the real Durant. Colm Meaney’s Durant is a scheming, self-interested, angry figure who, I daresay, most TV viewers come to distrust and even loathe. The friendly greeter-bookseller helped us locate Durant’s burial plot number and we made a note on our map, indicating where we ought to be able to find Durant’s memorial.

Following some coffee and a snack in the chapel, a vaulted space where mourners at Green-wood gather for indoor memorial services, we thanked our hosts and walked toward Section H, Lot 10400, in search of Durant. After passing some beautiful Civil War-era memorials, we hunted around for quite a while, to no avail. Growing frustrated, but no less determined, and refusing to leave disappointed, the three of kept walking and looking until I finally found a mausoleum bearing the legend, “T.C. Durant.” The form of the memorial was entirely in keeping with the Durant we’ve come to know from the program and our research. Sealed up tight behind a gated door flashing spear points, a stolid and impregnable edifice squats in the brow of a low hill, with trees looming protectively over it. Like the man interred there, it gives off no secrets and yields virtually no information. It doesn’t even use his full first or middle names, no year or birthplace is etched in the stone, and likewise no death date, though we’d read it was 1871. In the dappled light of mid-afternoon, we found it was even difficult to photograph the letters of his name mounted above the gate, and had to take many pictures before we got images that decently bear the legend of Durant’s initials and last name. The successful outcome to our searching left us with more questions than answers about the real Thomas Durant, and we will continue trying to learn about him what we can.

With that, we walked back toward the gatehouse and out on to the ordinary streets of a quiet Saturday in Brooklyn, grateful for the fine program celebrating Gottschalk put on this special day, and struck by the charm and splendor of Green-wood Cemetery, a bucolic urban retreat we hope to return to soon. I hope these photos, most of them taken by my wife Kyle Gallup, will give you some sense of the occasion. And, if you can, check out the music of Louis Moreau Gottschalk, a worldly musical pleasure.

*Green-wood shares the hyphen in its name with the New-York Historical Society, a particularly 19th century sort of spelling.
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Neil Young, K’Naan in Central Park for the Global Citizen Festival

Hadn’t realized until today that a big benefit concert’s going on today in Central Park. K’Naan, Band of Horses, Foo Fighters, Black Keys, and Neil Young with Crazy Horse are all playing on the Great Lawn. Might’ve tried to go, but I have other plans for the rest of the day. Some free tickets were drawn by lottery at teh site of the worthy organization coordinating this push to end “extreme poverty” worldwide. Many organizations like the Bill and Melinda Gates Foundation and the Earth Institute are coordinating to pull it all together, under the rubric of GlobalCitizen.org. So far, K’Naan has played, brilliantly. Also, Band of Horses, who were good too. It’s all being livestreamed at this link, and maybe cached there later, too. I hope so, because I’m going out in a few minutes, and would really love to see Neil and Crazy Horse. Meantime, here’s a photo I took of K’Naan in the livestream. He only played three songs, but he absolutely killed with those three, including with a rousing finale of his global hit, “Wavin’ Flag,’ telling the crowd he was at last reclaiming the song as his own, after seeing it used in so many different situations, like at the World Cup. He sang the personal passages in the lyrics, about leaving Somalia as a youngster, very quietly and intimately. He is a very inspirational figure.
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Got home just in time to hear Neil and Crazy Horse’s two closing songs, “Fucking Up” and “Keep on Rockin’ in the Free World,” on which the bands from earlier in the concert joined in. It’s been a Neil Young kind-of-weekend, with his new book, Waging Heavy Peace, one of my #FridayReads for this weekend.