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353

Summer Fun Cruising up the Hudson and Dining in Harlem

As I learned earlier in the summer when a painting of my wife’s was part of the Motown to Def Jam exhibit in Harlem, there’s a lot of exciting cultural activity and economic development taking place in upper Manhattan. The latest venture, which I discovered during a bike ride yesterday, is the West Harlem Gastro Cruise, in which a sunset cruise up the Hudson may be combined with a later stop-off and stroll to any one of ten Harlem-area restaurants. The cruises have been taking place each Monday in August, with one more left this month, on August 26. I learned about all this from two friendly local businesswomen I met, seated under a tent in the West Harlem Piers park at 125th Street.

Branded with the logo of Amalgamated Bank, under the red canopy were Bethlehem B. Belatchew–an Amalgamated VP and manager of their 564 W. 125th Street branch–and Savona Bailey-McClain, Curator of the West Harlem Food & Beverage Association, and former chair of Community Board 9’s Economic Development Committee. She explained to me that the association is a trade group focused on food, beverage, and nightlife in West Harlem. The cruises actually begin downtown at the World Financial Center Ferry Terminal, on the ship, Marco Polo, making a stop at the West Harlem Piers and then sailing up to the George Washington Bridge, aka the Great Gray Bridge, the namesake of this blog. Prices are quite reasonable: a $45 package price for the cruise and dinner at any of the participating restaurants; $20 per person for the cruise alone. Both options have reduced prices for children. More pricing info and sailing times are in the scanned brochure below with web link here, too.

Though I wasn’t able to join the cruise last night, I’m hoping I will have the chance next Monday night. It would be a great send-off to August! Here also are links to their Facebook and Twitter pages. Hudson cruise 1Hudson Cruise insideHudson Cruise back

354

“In Search of Blind Joe Death,” New Documentary on John Fahey

After hearing filmmaker James Cullingham interviewed on WNYC last Friday I was glad I could make it to Cinema Village that night for the first Gotham screening of “In Search of Blind Joe Death,” Cullingham’s new film on John Fahey, the idiosyncratic instrumental musician, fabulist, record label founder, album hunter, turtle venerator, musicologist, and writer who pioneered a genre dubbed around 1960 as “American primitive guitar.” John Fahey docuAlong with the poster for the film, also shown here is a shot (courtesy of docnorthfestival.ca) showing Cullingham (r.) with Pete Townsend of The Who. Ever a literary-minded sort, Townsend, a former book editor, says in “Joe Death” that for him Fahey occupied a role like that played by William Burroughs or Charles Bukowski in modern American literature.jamesandpete

As suggested by Townsend’s reference to the Beats, Fahey drank and over-used prescription meds. Sadly, he also suffered with diabetes and other chronic ailments. His life journey was at times lugubrious and he was living quite squalidly when died at age 61, but the film does a very good job of spotlighting his considerable talents and singular accomplishments for which we should be grateful. He developed a prodigiously creative vernacular guitar and compositional style that reflected blues, folk, and traditional American sources while also drawing on Charles Ives, Bela Bartok, Gregorian chant, and world music, before that term had any currency. As a facilitator and label owner, he would do things like send a postcard cold to a black bluesmen c/o General Delivery at a Mississippi delta town post office where he hoped the man still lived, asking: “Would you like to record for the Takoma Records label?”; thus, did he bring to public awareness the music of Booker (later known as ‘Bukka’) White. He was also involved in rediscovering Charley Patton, Skip James and more guys with “Blind” as part of their name than I’d ever known of.

Before his death in 2001, Fahey would himself be rediscovered by grunge bands, including Sonic Youth and Cul de Sac. Along with Townsend, Cullingham also interviewed Chris Funk of The Decemberists and Joey Burns of Calexico, both of whom testify to Fahey’s influence on their music. I met the filmmaker briefly before the screening and I learned he worked for a time at the CBC. He lives in Toronto, and is associated with Seneca College there. In his interview on the Leonard Lopate Show  he said that he met Fahey three or four times when he performed in Toronto. Although the guitarist had a deserved reputation for making up stories about himself and his origins, with flights of fancy that were expressed in colorful titling of his compositions and prolific self-mythologizing, the director said he always found Fahey straightforward and direct. Blind Joe Death, borrowed by Cullingham for his title, was one of Fahey’s album names and one of the aliases he adopted as a creative alter-ego, mordantly observing that if a musician had “blind” and “death” in his name he would surely be successful.

Lots of archival sequences of Fahey talking and playing are punctuated by the interview segments with a total of about eight music industry figures (including Townsend, et al). There’s also conspicuous use of animation in the film, with many of the graphics arriving on-screen in sequentially hand-lettered script. This was used to best effect when the filmmaker’s voiceover reads the contents of Fahey’s postcard to Booker White in Mississippi. The audience chuckled at that on-screen animation as it unfolded for all to read along with the voiceover. According to the wikipedia article on Fahey, the White album then released on Takoma became the label’s first non-Fahey release.

Takoma was far from a vanity enterprise. Among the artists and acts Fahey championed on the label were guitarist Mike Bloomfield and Canned Heat, both of whom I recently saw on-screen in the blues documentary “Born in Chicago“, and Leo Kottke, whose first album “6 and 12-String Guitar,” released in 1969, is still a treasured part of my record collection. It became Takoma’s single bestselling release. From the armadillo on the cover (not a turtle, but here you might say a hard-shelled repti-mammal stands in for the standard reptile), through Kottke’s liner notes and the song names on the back of the album below, you can see that he had fun borrowing Fahey’s grandiloquent style and self-mythologizing. (“All that is left to be said is that Kottke’s voice does not appear on this album. His guitar does.”)

Though Fahey’s life took downward turns in later decades, he nonetheless managed to start a second label, Revenant Records; in 2003 their Charley Patton CD collection won three Grammys. The name revenant could not have been accidentally chosen, suggesting an unkillable being who returns from beyond to seek revenge against his tormentors; perhaps Fahey saw himself in pitched battle against dumbing-down influences and the homogenization of indigenous cultures. There is no readily distilled or uplifting message in Fahey’s life, yet I recommend the film for showing how a determinedly idiosyncratic and protean artist may make a musical mark and leave behind a rich legacy of inspired experimentation and curation. To learn more about “In Search of Blind of Joe Death,” I suggest you listen to Leonard Lopate’s interview with James Cullingham from August 16 and visit the film’s website to learn about future opportunities to see it.

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355

#FridayReads, August 16–Mike Sowell’s “The Pitch That Killed” & Jayne Anne Phillips’ “Quiet Dell”

Sowell-front-cover-69x100#FridayReads, August 16–Mike Sowell’s The Pitch That Killed: The Story of Carl Mays, Ray Chapman, and the Pennant Race of 1920 is one of the best baseball books I’ve ever read, or been involved with publishing. It chronicles the only fatality ever caused by injury to a player during a pro baseball game. Ray Chapman was a terrific Cleveland Indians shortstop who died after being struck in the head with a pitch thrown by NY Yankee Carl Mays. The tragedy occurred in the same season that the Tribe won their first World Series, somehow overcoming the mid-season loss of one of their most valuable players. I’m glad that Cleveland Plain Dealer sports writer Bill Livingston, @LivyPDchose to write about it recently, reminding me of the time I worked at Macmillan Publishing when an editorial colleague and friend, Rick Wolff, brought out the book. Livingston reports that a film based on the book, “Deadball,” is in the works.

Sowell-back-cover-67x100 Today is the 93rd anniversary of the day of the day of the beaning. Chapman never regained consciousness, lingering in a coma and dying two days later. I have read the book several times and feel privileged to make it part of my #FridayReads today.

Quiet Dell coverI am also happy to say that I am continuing to read and savor Jayne Anne Phillips’ Quiet Dell, a mesmerizing novel drawn from the annals of a notorious true crime. It’s set in 1931, when a West Virginia killer who operated under several aliases lured a Chicago-area widow and her three children in to his fatal embrace. He tried to dispose of his victims but failed at that; his crimes were discovered and he was arrested by authorities in the hamlet of Quiet Dell, WV, near the city of Clarksburg. Into this true-life set-up, Jayne Anne Phillips has found it necessary to insert only four fictional characters, alongside the more numerous figures filling the narrative from the historical record. Fictional or once among the living, she renders the actions and motivations of her characters with vivid and imaginative power. One of her fictional characters is female journalist, Emily Thornhill, who becomes the readers’ eyes and ears on the case, which she’s covering for the Chicago Tribune. Emily has had thrust upon her the adoption of the dead family’s orphaned dog–a real-life bull terrier with the Victorian-tinged name of Duty–earlier the target of a vicious kick by the malefactor, now playing a valuable canine role in the investigation with his compelling identification of the killer. Phillips grew up in West Virginia and on her website she includes an Author’s Note that chronicles her personal connections to the story. I urge you to watch for the book which will be published October 15, and which has already received a starred review from Kirkus: “Phillips’ prose is as haunting as the questions she raises about the natures of sin, evil and grace.” I am deliberately not rushing through Quiet Dell and will write more on the book when I’ve finished reading it.Quiet Dell back

Mike Sowell’s fine book is still in print today, in a trade paperback edition from Ivan R. Dee, independent publisher in Chicago. It can be purchased from Powell’s Books in Portland, Oregon via this link: The Pitch That Killed. You may also pre-order Quiet Dell from Powell’s. They are the bookselling partner for this site, returning a percentage of your purchase price to aid me in its upkeep.

356

Some New Music from Ewan Munro

Ewan in parkMy 17-year old son Ewan has been writing and performing songs of his own the past year and he just posted a few on Soundcloud.com at this embedded link under ‘Ewan M Turner’. The first two are songs he wrote himself, “Faded Glory,” and “Out to Brooklyn.” The third is a cover of Bob Dylan’s “Sara.” Below is a screenshot of what the page for Ewan’s music looks like, again listenable via this link.Ewan's Soundcloud

357

High Tide on the Hudson

This week has turned out to be a blend of some work combined with a supremely enjoyable Manhattan stay-cation. Yesterday, my wife and I got to swim at a neighborhood pool we’d never been to before, as the tweet above shows. Then today, with the temps in the mid-70s, we rode our bikes up along the Hudson to our favorite beauty spot, Hudson Beach, and then a few blocks further up-river to the Little Red Lighthouse, which nestles under the Great Gray Bridge, aka the George Washington Bridge. 7 Lighthouse & Bridge

Like other great rivers such as the Chesapeake and the Columbia, the Hudson is a tidal body, flowing in to and out of the vast harbor of New York and what’s known as the Upper Bay. The tides make the Hudson ever-changing, one of the reasons it’s never boring to ride along its shore or study its contours. In moments of low tide, the shoreline will be exposed, leaving artifacts of NYC’s maritime past visible to the eye. Thus, times of low tide have made for very special rides in recent days and weeks. However, our ride today came at a time of high tide, as the pictures below will show. Moments of high tide make for a well-nigh overwhelming feeling of fullness, almost as if the river were in your lap as you gaze at it from the shore. High tide also brings a sense of the river’s prodigious power, as if one could practically be swept up in to it and borne away by its swells. That was the feeling we had today, almost as if we had made a visit to an ocean beach. Add to that feeling the fact that we rode more than nine miles in moderate temps under full sunshine amid brisk winds. The result was one of the best days of the whole summer 2013. Please click here to view all photos.

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Exploring the Little Red Lighthouse, a Manhattan Gem

As readers of this blog will know, I admire the Great Gray Bridge, aka the George Washington Bridge–finding in it something like my own “beau motif (beautiful motif),” the words Cezanne used to describe Mont Sainte-Victoire, the Provencal peak he made the subject of at least 60 paintings. Not to liken my picture-taking or creativity to the work of the French master, but as I imagine MS-V was for him, the bridge is for me the ideal of an inexhaustible image. Much as my visual appetite thrives on it, I must add that I also admire its fated companion, the Little Red Lighthouse, an image of which from the time I began this blog I placed at the lower right corner on every page of the site. On the right-hand rail of the blog, under the heading “Foundational Posts” is a post I wrote early on called How This Blog Its Name, about these twinned NY landmarks.

If you’ve never had a close-up view of the two structures and aren’t certain where they are or how to see them for yourself, we’re talking about upper Manhattan on the island’s west side roughly level with what would be West 178th Street and the Hudson River. I get there on my bike, pedaling on good pavement along the river most of the way from my neighborhood around West 100th Street. The area can also be reached from Washington Heights, near 181st Street, and in both cases it’s accessible to walkers as well as cyclists. The forty-foot tall lighthouse–whose exterior is dotted with porthole windows and decked out in bright red enameled paint with a white cone and clear glass at the top–sits below the lower deck of the bridge, close to the monumental steel foot of the span’s eastern arch. According to a NYC Parks Dept web page, the two structures became most indelibly linked in the public imagination in the early 1940s, and even earlier in the city’s maritime history.15 LVD Roadway Here’s a lightly edited version of the Parks Dept. article:

“In the early 20th century, barge captains carrying goods up and down the Hudson demanded a brighter beacon. The [lighthouse] had been erected on Sandy Hook, New Jersey in 1880, where it used a 1,000 pound fog signal and flashing red light to guide ships through the night. It became obsolete and was dismantled [but not destroyed or discarded] in 1917. In 1921, the U.S. Coast Guard reconstructed this lighthouse on Jeffrey’s Hook [future site of the George Washington Bridge] in an attempt to improve navigational aids on the Hudson River. Run by a part-time keeper and furnished with a battery-powered lamp and a fog bell, the lighthouse, then known as Jeffrey’s Hook Lighthouse [the name since the early 1800s for the shelf of Manhattan schist that juts out in to the river right there], was an important guide to river travelers for ten years. The George Washington Bridge opened in 1931, and the brighter lights of the bridge again made the lighthouse obsolete. In 1948, the Coast Guard decommissioned the lighthouse, and its lamp was extinguished.

“The Coast Guard planned to auction off the lighthouse, but an outpouring of support for the beacon helped save it. The outcry from the public was prompted by the children’s book, The Little Red Lighthouse and the Great Gray Bridge, written by Hildegarde Swift and Lynd Ward in 1942. In the popular book, the Little Red Lighthouse is happy and content until a great bridge is built over it. In the end, the lighthouse learns that it still has an important job to do and that there is still a place in the world for an old lighthouse. The classic tale captured the imaginations of children and adults, many of whom wrote letters and sent money to help save the icon from the auction block.”

The Parks’ web page adds that in 1951 the Coast Guard gave the lighthouse and grounds to the City, and in 1979 the Little Red Lighthouse was officially added to the National Register of Historic Places. Refurbishments took place in 1986, when on the 65th anniversary the concrete foundation was restored, and in 2000 when it was repainted, true to its original shade of red.

In a real sense, the persistence of the lighthouse on the Manhattan shoreline is a product of one of the first episodes of “historic preservation” in the modern history of New York City. Too often, the city and posterity have been the loser in those battles, such as what ocurred in 1963, when–unaccountably to current-day New Yorkers–the old Penn Station was torn down. More recently, fixtures of the city’s industrial and maritime past other than the Little Red Lighthouse have been preserved, such as the old railroad car transfer at 60th Street and the Hudson, which I wrote about and photographed just a couple of days ago.

With all this as prologue, imagine my surprise yesterday when, on one of my bike rides up the Hudson to the bridge, on what turned out to be one of the most stupendously gorgeous days so far this summer, I suddenly spied people walking in and out of the lighthouse doorway–something I had never seen before! Seeing my surprise, a New York City Parks employee explained that in the warmer months, on the second Saturday of each month, they open the lighthouse to visitors. As I let down the kickstand on my old Trek and prepared to enter this maritime abode for the first time, another ranger in uniform greeted me and showed me and a second visitor a burnished brass key that she explained was for a long time used to open the lighthouse’s door. It was a chunky thing with big notches and looked like it weighed nearly a pound. In my eagerness, I neglected to take a picture of it, though I hope to do that the next time I visit, perhaps next month. Entering through the oval-topped door I found a nearly-dark chamber that looked like the lower decks of a ship or a submarine, with panels of thick riveted steel plates making up the walls. As I hope the pictures below help to show, the visitor encounters three spiral staircases with sturdy metal treads underfoot and a curved railing to help you climb up them. Between each flight of stairs, you can peer out the portholes that look south, toward lower Manhattan and Jersey City, and north, up-river toward Yonkers and the upper reaches of Palisade Park in New Jersey. Now, I’ll leave the rest of the storytelling to the photos I took and the captions I write for them.  I invite you to visit the little red lighthouse and the great gray bridge for yourself. They are vibrant links to our not so-remote industrial and maritime past.   Please click here to see the full photo gallery.

359

Windy Day Podcast from Winter 2012


I’m beginning to add podcasts to The Great Gray Bridge, using audio clips I create myself. Perhaps later I’ll begin interviewing people and/or using audio sourced from elsewhere. My friend and Web guru Harry Candelario, designer of this whole website, has helped me set this up with Audacity software and a site called InternetArchive.org, where I created an account to turn sound files from my IPod Touch–such as this 2-minute tape made during a bike ride last year on the day before Christmas, on what felt like the windiest day of the season. I earlier  covered the experience at this post with the photos I took and show it below in a screenshot–in to podcasts. I hope you enjoy this first one.Windiest day post

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Rainy Day Hudson River Bike Ride

5 Hudson Gray BridgeKyle and I went for a nice bike ride late afternoon on Friday. It had been gray all day, and it rained a bit during our ride. That suited us fine as the light downpour made the bike paths in Riverside Park along the Hudson mostly empty. When we got out on the pier that projects out in to the river about even with 60th Street we stopped to look at the choppy water and took a few pictures.

The one above shows the Great Gray Bridge looking northward in to the distant mist. The looming black structure behind me in a couple of the shots below is the old transfer station that was for many decades used to convey railroad cars that had first been barged from the New Jersey shore over to Manhattan and then on to the tracks of the old Penn Central or New York Central Railroad. At one time, a lot of the goods required by Manhattanites were brought on to the island this way. The transfer station has drawn our eye and lens for years, and we appreciate that it’s even still standing. At one point, odious Donald Trump, who was developing the apartment houses also seen in these shots, wanted to banish it from the river, but wiser heads prevailed, preserving a key link to our not so-remote industrial and maritime past.
Please click here to view all photos in this post.