danajohnhill.org | Hard Times Come Again No More

Merciless time marches on, indifferent to the wishes of men. That is a universal truth. Each year seems to bring its own reminders of my life’s emptying hourglass. I have a high school friend whose own child now attends our former high school. I recalled today that I last attended that school sixteen years ago this month. That, in itself, is insignificant. But today is the first day of summer, and, in the course of pondering the resumption of my “Summer Songs” nostalgia bacchanale, I realized that Bryan Adams’ hit song “Summer of ’69″ was released twenty-six years ago this month. That, too, is relatively insignificant. What made me feel strange was the realization that when “Summer of ’69″ was released, 1969 was sixteen years past – just as 1995 is now sixteen years past.

As I have said before, 1969 seems to me to have had the most interesting summer of the twentieth century. But in 1985, 1969 probably seemed like it took place in another world. I cannot say the same for 1995. Though the same number of grains of sand have passed through the hourglass in the intervening years, 1995 feels like yesterday. Perhaps that’s why nobody is writing hit songs about it.

Filed under: Musings, Nostalgia, Popular Music on June 21st, 2011 | 1 Comment »

In a New York Times blog post yesterday, a fellow named David Lang makes an interesting analogy between two seemingly unrelated things I love dearly: baseball and classical music. He argues, in essence, that many fans of both revere the history of these endeavors. That is, baseball fans pay frequent homage to the great players of yesteryear, while classical fans idolize long-dead musicians. This much is indisputable. Indeed, just this week I watched a program about the best right fielders in history (Roberteo Clemente, obviously, topped the list), and I reguarly listen to recordings of music by composers centuries in the grave.

“It turns out”, writes Lang,

that classical music fans do a lot of the same remembering and measuring as baseball fans. Both baseball and classical music have a great sense of history, a tremendous respect for the past, and a slew of nerdy people like me who want to know all the details. Both are made of people who argue passionately with each other about who was the greatest. We handicap our favorite composers and performers, we buy 20 recordings of the same piece just to be able to argue about interpretations. We want to know as much about where we have been as we can.

The strange thing is that music fans and baseball fans remember the past with very different results; appreciation of the past helps baseball fans enjoy the game in front of them, while sometimes classical music’s illustrious past can keep us from enjoying what is happening right now. Can it be that loving what we have heard before has the potential to make us love what we are hearing now just a little less?

What Lang really argues, then, is that classical music fans, unlike baseball fans, are largely unwilling to go have new experiences—to hear new music—while baseball fans, by and large, embrace the new with the old. Thus, in St. Louis, Albert Pujolz stands side-by-side heroes like Ozzie Smith, Stan Musial, and Rogers Hornsby.

Lang’s logic fails, I am afraid. That is, he has incorrectly framed his analogy. When concertgoers yawn or boo their way through music by new composers, their actions do not correspond to baseball fans rejecting new players or teams. Nor does appreciation of new talent in baseball contrast with rejection of new composers in music. Dyed-in-the-wool fans of classical music might indeed believe that nobody can compare with Toscanini and Furtwängler, Callas and Björling. But those are subjective assesments. Statistics can tell us whether Roy Halladay is better than Walter Johnson based on a variety of criteria, and baseball fans will still argue about it.  The proper analogy is this: concerts and baseball games are the performances; baseball players and musicians are the performers; and baseball itself and music itself are the fundimental elements.

Baseball is essentially the same game it was a hundred years ago. The game your great grandfather watched at Forbes Field was the same one played at Three Rivers Stadium that I watched on television as a child, and it is the same one played at PNC Park today. The stadiums are different, and some say less charming; the uniforms are different, and some say less distinctive; the players are different, and some say less honest; but the game of baseball is the same, and it is the game itself that forms an unbroken line stretching from the present day to the distant past: a national covenant made generations ago, an unbreakable bond with our ancestors, and a legacy that we bequeath to our sons and grandsons.

Classical music today is not the same as it once was. Concertgoers today don’t watch the same “game” they used to. C. Ghallager, recognizing the incongruity in Lang’s argument, puts it far better than I ever could:

Imagine going to baseball games where all the rules changed, to the point where sometimes there were 4 inning games, other times pitchers would throw a square object back and forth to hot dog vendors, there were often no bats or batters, players stood on their heads in the outfield according to their horoscopes, and sometimes there were no players or game at all, just a groundskeeper running from home to first base, over and over and over. Fans would need to be subjected to reams of sports writers’ analysis “explaining” what was and wasn’t happening in complex new terms of basism, playality, and batterificence, with mathematical equations demonstrating why the brand of mustard used at the ballpark was intrinsic to the performance. Oh yeah, and sports critics would deride anyone who actually took the field with a ball and glove as being “derivative.”

As one who loves both baseball and music (including much that would be described as “modern” music), I find Gallagher’s analogy apt.

Filed under: Music, Musings, Sports on May 12th, 2011 | No Comments »

A popular and hilarious YouTube music video begins, “Come on down to Clevelandtown, everyone”.   Last month, my father and I did just that.

It sometimes seems as if everyone in America has roots in Ohio.  I have several friends who were born and raised there, but I had never been, and was quite eager to know what that state–the textbook definition of “middle America”–looks and feels like.  Moreover, in recent years, my growing fascination with industrial America has made Cleveland especially intriguing to me.  How, I wondered, did a place with such a prominent working class reputation come to have one of the best orchestras in the world?  What inspires people to endure such brutal winter weather?  What does it feel like to be in the “Rust Belt” at a time when manufacturing is dying in the country?  Meanwhile, an exhibit at the Rock and Roll Hall of Fame and Museum made a visit to Cleveland in 2010 essential.  And though I would have liked to visit in a less frigid season, my schedule did not permit it.  So I traveled to Cleveland in December.

It has been decades since I traveled with my father, and this seemed like a perfect opportunity.  I met him in St. Petersburg the night before our early morning flight.  We had to leave the house at 5:30 Wednesday morning, but the traffic at that hour is minimal, and the lines at Tampa International Airport were as short as they probably get.  We were anticipating an adventure in the new full-body scanners the TSA has introduced nationwide, but not only did we not get screened, but “nobody even touched my junk”, my dad said.

The sun had barely risen when we were flying north along the western coast of Florida, over Tallahassee, and on to Atlanta.  We could see Stone Mountain as we made our descent.  Our layover there was brief, and we were soon soaring high above the Appalachian Mountains en route to Cleveland.  The skies were mostly overcast, so our first view of Ohio came only as we were about to touch down at Hopkins Airport.  We landed in snow, and when we exited the plane we walked down steps onto the tarmac before making our way into the terminal.  I must say that Hopkins Airport is not Cleveland’s most impressive monument.  It was rather bleak.

Thinking back on a recent trip to New York, where the Crowne Plaza offered free transportation, I thought I ought to call and see if our hotel might pick us up at the airport.  “What’s the best way to get to the hotel from the airport”, I asked.  “The best way is a taxi”, replied the girl at the desk.  In hindsight, I ought to have asked what was the most practical or affordable way, because a cab cost $33 plus tip.  Still, the twelve-mile ride was comfortable, and the driver took us directly to the front door of our hotel.

The Radisson Gateway is nothing special to look at from the outside.  Really, it is rather unassuming – the sort of place you wouldn’t notice if you drove by.  Indeed, the Radisson is so plain that I forgot to take a picture of the exterior.  But it was as clean as could be, and, truth be told, quite conveniently located.  We arrived around one o’clock, and even though check-in was not until 4:00PM, the clerk found us a double room ready on the spot.  Room 323 was huge, with high ceilings, crown molding, and two Sleep Number beds.  Though it lacked a closet, it did have a substantial wardrobe for us to hang our coats.  The water pressure in the shower was powerful, and the hot water was instant and endless.

After getting situated, my dad and I set out for our first destination, the Rock and Roll Hall of Fame and Museum.  To get there we headed east on Huron Avenue, then north on Ninth Street.  Cleveland impressed us immediately with its grand old buildings.  While many newer skyscrapers of glass and steel have risen downtown, along with oppressive mid-century failures, the old stone masterpieces are still there, too, including a handsome cathedral, an old bank, and myriad buildings with elaborate architectural details.  Some were being restored, others were neglected, and, sadly, many had likely been demolished long before we arrived to make way for uglier buildings and parking lots.

As we walked up Ninth, which slopes down to the north, a dark grey feature appeared on the horizon.  At first it seemed oddly blank against the snowy sidewalks and open streets of the city.  Then it became clear that it was Lake Erie, looking fierce and menacing, like a body of water moments before a terrible storm begins.  Far from shore I could see white-capped waves that contrasted sharply with the still, frozen surface of the lake nearer the shore.  Indeed, along the harbor, the water was frozen in irregularly-shaped chunks that gave one the impression they had been distinct icebergs smashed together by force, though, of course they weren’t.  The outside air temperature was twenty-five degrees, which was hardly distressing at all until we passed an open intersection and park, where the wind came howling down the avenues from the west.  Then it was positively frigorific, and hands needed to remain in pockets lest they freeze.

We arrived at the steps of the Rock and Roll Hall of Fame and Museum at about 2:30 in the afternoon, and it felt delightfully warm inside.  The building, designed by I.M. Pei, has a distinctive sloped glass front facing south that allows a substantial amount of light on an otherwise dark December day.  The clerk at the ticket counter to the left of the doors told us the museum was open until nine o’ clock that night.  I asked him about how much time we’d need to really see everything, anticipating that we might benefit from two-day passes if, as I’ve experienced at many museums, I take my sweet time to look at everything.  “No”, he said, “four hours is plenty of time”.  So my dad and I just bought single day passes, which cost $22 a piece, making it the most expensive museum I have ever visited.  We deposited our jackets at the coat check on the lower level, where they also collected my camera, since no photographing of the exhibits is allowed.  You will have to use your imagination as I describe what we saw.

In tall circular glass cases in the lower lobby, assorted electric and acoustic guitars were arranged in random order.  They belonged to an assortment of musicians famous and obscure.  The one I liked best there was Johnny Cash’s ancient Gibson J-200 with his name inlaid on the fretboard in mother-of-pearl.  A small collection of automobiles was parked nearby, including ZZ Top’s Eliminator and Joan Jett’s first car, a sleek black Jaguar she bought before she even had a driver’s license.

Museum staff collected our tickets as we entered the main exhibit space.  The first things we saw were cases full of Jim Morrison artifacts, followed by Jimi Hendrix’s childhood drawings, photos, and clothing and instruments from his rock star days.  Those were fairly substantial collections.  The rest of the downstairs exhibit space devoted less space to any individual or band.  Clothing appears to form the bulk of the Rock and Roll Hall of Fame and Museum’s collection.  Every corner is filled with outfits worn on stage or in music videos.  Some seemed simple enough, but a vast majority were elaborate or unusual.  I enjoyed the impression of scale suggested by the clothes.  Mick Jagger and David Bowie, for example, must be small gentlemen, indeed, while Jimi Hendrix must have been a large fellow.  Stevie Nicks must be downright miniature: her tiny gypsy outfits were displayed.  There was a decent display of Elvis objects, including his fantastic bejeweled white jumpsuit, and a car he had given to a member of his Memphis entourage.  The sign below it explained that Elvis went to a Cadillac dealership and spent nearly $200,000 on cars for his friends.  While there, he bought a car for a lady who was just in browsing at the time.  What a guy.  The $1,400 check from the first mortgage payment he made on Graceland was there, as was the receipt for $1,300 for the mansions distinctive gates.  Representing the Beatles were several costumes, including their famous collarless suits, and the vibrant yellow-green military-style uniform John Lennon wore on the cover of St. Pepper’s Lonely Hearts Club Band, complete with fanciful medals, epaulets and the royal coat of arms  on the sleeve.  The costume appeared to be in impeccable condition.  Nearby were Lennon’s distinctive round-framed National Health spectacles that he wore from around 1967 until 1973.  The Rickenbackers Lennon and George Harrison played on many early Beatles records were there, too.

The exhibit which I traveled half way across the country to see was upstairs in its own separate area, and it was amazing.  “From Asbury Park to the Promised Land” featured dozens of Bruce Springsteen artifacts, from clothing and furniture to instruments and notebooks full of handwritten lyrics.  The Teac four-track cassette recorder Springsteen used to record Nebraska was on display, as was the keyboard-operated glockenspiel that always sat atop Danny Federici’s Hammond Organ, and which features prominently in so many classic Springsteen songs.  The most amazing object, of course on display, of course, was THE Guitar, as the fans call it: Springsteen’s Fender Telecaster that, in fact, is a 1950s Telecaster body with an Esquire neck.  This is the guitar Springsteen played almost exclusively from the early 1970s until the mid-eighties – the guitar you see on the cover of Born to Run.  It is beat to hell, and there isn’t a trace of lacquer left anywhere on the fretboard.  The body is so well-used that the wood is worn down an eighth of an inch in places.  It’s the accumulated wear associated with proving it all night, every night, for decades.  I was thrilled to see it.

My father and I were starving when we left the museum, but, bizarrely, there appear to be no restaurants near the Rock and Roll Hall of Fame.  We knew, though, that eateries abound in the Gateway district where we were staying, so we ventured back that way.  We both felt compelled to try a cozy looking place on Prospect Avenue called Vincenza’s Pizza.  Though it was 5:30, the restaurant appeared almost deserted.  I was overjoyed to see that Chicago-style pizza was on the menu, and was cheap, to boot.  We ordered a whole pie, and enjoyed our Cokes while we waited for it.  When it arrived we were astonished by its size.  It proved far too much food, in spite of the fact that we hadn’t eaten anything that day but a few cookies on the airplane.  We had a quarter of the pizza left to take back to our hotel.  The entire bill, with drinks, came to barely $17.

I wanted to pick up some extra soda to take back to the hotel, so we walked around the corner to a CVS.  Inside I found my normal one-liter bottle of cola that I buy every day at work for almost a dollar less.  Milk cost over a dollar less per gallon.  Gasoline was about the same price as it is in Florida, but other commodities seemed absurdly cheap in Cleveland.

The next day we made our way by taxi to the Tremont district south of downtown.  Our destination was the house featured in the now-classic holiday film A Christmas Story.  There, in a humble working-class neighborhood, near the intersection of 11th Street and Rowley Avenue, sat the house, immediately identifiable.  Two other houses across the street are used as a ticket office/gift shop and a museum for the film.  We purchased our tickets ($8 each) and joined a tour that had just begun.  The guide explained that that house was the one used for all exterior shots in the film, and for any interior shots in which the outside can be seen through the windows.  So, when the Old Man is admiring his “major award”, what you are seeing is the house in Cleveland.  I was amused to find that Ralph’s lie about getting injured by a falling icicle could just as easily have been true, since icicles lined the roof of the house.  The backyard was enclosed by a short wood fence, beyond which lay the vast Industrial Valley.

My father and I were both impressed by the authenticity of the whole place.  Not the house-turned-movie set, but the neighborhood itself.  It was made of streets like millions of others in the northern United States, with two and three story homes spaced closely together.  At the corner adjacent to the Christmas Story House was a small neighborhood tavern, where, one imagines, neighborhood people stop for a bite and a drink after work.

Wishing to explore more of the the real Cleveland, we decided to walk a bit.  We strolled north up 14th Street, crossing over Interstate 490, past Lincoln Park, where children were enjoying the snow, and continued until we ran out of sidewalk before the Cuyahoga River.  We passed neat old apartment buildings, grand old churches coated with soot, an abandoned art gallery, and more than a few empty old houses.  Cleveland, of course, has been hard hit by the decline of manufacturing that only escalated with NAFTA in the 1990s.  Though it’s meant to be funny, the line in the “Hastily Made Cleveland Tourism Video” that says, “this train is carrying jobs out of Cleveland” is mostly true.  Cleveland, like much of industrial America, is losing jobs.  Still, as our taxi driver James told us, if you can find work, Cleveland is a place where, “for very little money”, a person “can live very well”.

James dropped us off at Public Square, right in the heart of downtown.  In the old days, that was the site of Higbee’s Department Store – the very place Ralph spies the Red Ryder BB gun he desperately wants.  Today the window is still filled with toys, but the department store is gone.  In its place is a tourism office.  We walked through the Square, past the statue of Moses Cleaveland (“he’s the guy who invented Cleveland”), past the Soldier’s and Sailor’s Memorial, past the wonderful statues outside the post office, past the Key Bank Building, and back to Vincenza’s Pizza.  The large deep dish pizza the day before proved excessive, so we opted this time for the medium, which was still ridiculously large, and absurdly cheap: $8 was the price of the pie.  With drinks our total was not much more than $10, which, for a sit-down restaurant is hard to believe.  The building that houses Vincenzo’s Pizza is itself an arcade of sorts, with a high glass ceiling, and dozens of small shop spaces.  Many of these, sadly, were vacant, but some contained jewelers, barbers, and a gymnasium.  It is an amazing building, but another arcade a block north defies comparison.

The Arcade, as it is called, was built in the late nineteenth century, which was, apparently, the true heyday of Cleveland.  Funded by insanely rich industrialists, the Arcade is an astonishing gem that surely cost a fortune, and could likely not be recreated today at any price.  The glass ceiling is several stories above the ground floor, which is flanked on either side by long balconies held up by elaborate ironwork.  No opportunity was wasted to feature highly-detailed brass railings or richly-ornamented lamp posts.   I’m not being mean when I say that the fanciest shopping mall you have ever been in sucks compared to the Arcade, at least in terms of beauty and craftsmanship.  Hats are a popular fashion accessory in Cleveland, and I was taken by a display of warm-looking knitted caps in a store window in the Arcade.  I went inside and picked out a matching set of hand-knitted wool hat and mittens for Miriam.  The sales lady was super nice, and talked to us for some time about Cleveland.  She expressed surprise that we would leave Florida in December to vacation in Cleveland, which, I suppose, is a legitimate source of confusion.

We left the Arcade and continued wandering, just admiring the architecture.  We passed the Federal Reserve Bank of Cleveland (indicated by a “D” on United States currency), with its allegorical statues of Integrity and Security guarding the door.  The Cleveland Metropolitan School District building was large, and we supposed that it must look beautiful in the spring when the ivy leafs out again.  A fabulous old building on East 6th Street currently being renovated–as evidenced by the contractor’s trailer parked out front–was apparently once distinguished by the words “NATIONAL BROADCASTING COMPANY” in large copper letters beneath a clock flanked by two carved stone eagles.

Occupying an entire city block, between St. Clair and Lakeside Avenues and bounded by East 6th Street and the open park space of the Cleveland Mall, the Cleveland Public Auditorium is one of the most impressive structures I have ever seen in my life.  The scale is simply massive, and the exterior is built of what I assume must be pale sandstone, with windows recessed into arched niches.  Carved into the stone along the top of the south facade are the words “1796 CLEVELAND PUBLIC AUDITORIUM 1928“.   Better still, the east and west facades bear the inscription:

A MONUMENT CONCEIVED AS A TRIBUTE TO THE IDEALS OF CLEVELAND – BUILDED BY HER CITIZENS AND DEDICATED TO SOCIAL PROGRESS, INDUSTRIAL ACHIEVEMENT AND CIVIC INTEREST – PATRIOTISM PROGRESS CULTURE

It’s absolutely fantastic – my idea of a perfect public building.

If the Cleveland Public Auditorium is impressive on the outside, Cleveland City Hall is magnificent on the inside.  It is, simply put, a temple – a temple to community and civic authority.  Through the Vatican-sized bronze doors, my father and I passed through the ubiquitous metal detectors, beyond which is an enormous lobby.  The arched ceiling rises several stories above the polished stone floor, and the entire room is lined with massive columns.  Two wonderful frescoes adorn either end of the room above balconies.  Even the mailbox is fancy.  We walked through the space in awe, then came to the far end, where, to our great surprise, we came upon The Spirit of ’76.  We left Cleveland City Hall quite amazed.  The building is, we discovered, Cleveland Landmark No. 1.

The next morning we had to depart for the airport.  Recalling the thirty dollar cab ride to the hotel, we opted to take the train.  It was windy and cold as we carried our luggage down Prospect Avenue to Tower City Center.  The train station is in the basement of a skyscraper.  I am ashamed to say I needed help from a Transit Authority worker.  I have been on trains and subways in some of the world’s great cities, and have managed to figure out the ticket-purchase procedure, but Cleveland had me baffled.  Still, with help we got our tickets: $4 for both of us one-way to the airport.  The train was a little late, but we had given ourselves ample time.  As the train left the station I got my last views of Cleveland.

At the airport we printed our boarding passes and passed through security.  I noticed a mounted display of all the cool stuff you cannot take on airplanes.  It was snowing again as the plane pulled away from the airport, and the skies were cloudy for hundreds of miles.  Finally, as we crossed the Appalachians we could see the land.  We changed planes in Charlotte, which has a beautiful airport, then were back in Tampa by the early afternoon. My dad and I had lunch together before heading to Uncle Tom’s house, where we relaxed until Miriam arrived from Gainesville and I went home.

The trip was a huge success and I will never forget it.  Indeed, I’d gladly go back.  People make fun of Cleveland, but I don’t know why.  It’s not Detroit.

Filed under: Cost of Living, Dana Heritage Project, Family, Film, Food, Musings, Travel on January 28th, 2011 | No Comments »

Day Three

Leaving the Empire State Building we once again headed underground to catch a subway to Brooklyn.  I had never been there and was curious to see what life was like in the New York City’s most populous borough.  We surfaced near Bedford Avenue and 7th Street in what appeared to be a simple neighborhood of apartments above shops and restaurants.  We walked several blocks, and though the sidewalks were far less crowded than those in Manhattan, we did find a group of young hipsters engaged in a photoshoot for who-knows-what.  It seemed entirely appropriate given the environment.  Miriam visited the Built by Wendy shop, but only browsed a few minutes before we strolled back to take the subway back to Grand Central and the Metro North to White Plains where we watched roller derby at the WFTDA Regionals.  More about that later.

Day Four

Our full schedule had prevented us from seeing a couple things in Manhattan that I was eager to see, so on Saturday, while Miriam watched roller derby in White Plains, I took the train into the city and explored a bit.

My first stop was, of course, Grand Central Terminal, where, once again, I enjoyed a cupcake from Magnolia Bakery.  This one was cinnamon with a delicious swirl of icing.  We had been at Grand Central each day of our trip, but I hadn’t really bothered to walk outside the building, since we usually caught the subway from there.  That Saturday, on my own, I decided I should see what was around the old building.  I walked out the doors onto Pershing Square, walked a little way down the block and took a photo.

The scale of Grand Central Terminal is massive; the ornate details are astonishing.  In marble over one door appear the words:

TO ALL THOSE WHO WITH HEAD HEART AND MIND TOILED IN THE CONSTRUCTION OF THIS MONUMENT TO THE PUBLIC SERVICE THIS IS INSCRIBED

Inside, enormous chandeliers light great rooms with high ceilings.  It’s a wonder to behold, and a fitting introduction to the city to anyone who arrives there.

From there I meant to visit the Museum of Modern Art, but I struggled to find the most practical subway route.  I knew the best place to get off, but when I exited the car at that station I was confronted with a sign informing me that the station was closed that weekend.  I had to get back on the subway and exit at a less proximate station and walk.  In the end, I would have done just as well walking the eleven blocks from Grand Central.  In any event, I still made it to MoMA and saw neat stuff along the way, including St. Thomas Church on 5th Avenue and 53rd Street.

The Museum of Modern Art is in a rather unimpressive building.  Indeed, so nondescript is it that I didn’t even feel compelled to take a photograph of the exterior.  Inside, however, it is suitably modern, with a great atrium open to several floors.  I paid for my admission (nothing in New York City is free) and began exploring the art.  The first pieces I saw were not impressive.  Indeed, among the first I saw was one that was simply insulting.  The Mythic Being Village Voice Series by Adrian Piper consisted of framed pages from a newspaper.  The title plaque next to the “art” indicated that eleven different individuals or institutions contributed funds for its purchase.  For fifty cents and the price of a few picture frames I could have made the exact same thing.  Anyone could have.  It’s precisely this sort of fraud that leads the public to believe all modern art is a scam.  It isn’t, of course, but it’s easy to feel that way sometimes.  And when you see what hangs on the wall just a few rooms away, Piper’s piece rightfully appears weak.

I walked from gallery to gallery enjoying the genuine masterpieces on display in every room.  I passed Van Goghs on the way to Picassos, Matisses, Braques, Kahlos, Monets, Mondrians, and more Picassos.  There was wonderful sculpture, including mobiles by Calder.  The biggest disappointment was Dalí’s Persistence of Memory.  I’ve never thought much of Dalí in the first place, and I hadn’t even cared that this famous picture was at MoMA, but when I happened to pass a painting surrounded by a small crowd I decided I ought to look.  It was no bigger than a sheet of notebook paper.  Indeed, I think I may have said out loud, “you’ve got to be kidding me” as I walked past.  I think everyone else was underwhelmed also.

I found several things at MoMA that I loved.  Christina’s World has been a favorite since I was a child, and that was just hanging on a wall by an escalator.  The exhibit on modern design was fascinating, and really heightened my awareness of the banality of most of the everyday objects that surround us.  Take a look at any chair or table in the room you currently occupy.  Are any of them works of art in their own right?  What about the objects sitting on the table?  A ribbon fan on display was a perfect example of how designers used to create ordinary things both functional and beautiful.

Far and away my favorite work of art at MoMA was their magnificent Klimt.  I love all Gustav Klimt’s pictures, and had seen Mäda Primavesi two days before, but Hope is among his best, and what I was most looking forward to seeing at MoMA.  I stared at it for ages, as did many other people standing near me.  When I go back to Vienna I intend to visit the Belvedere and the Secession Building.

Leaving MoMA I made a last minute decision to walk up to Lincoln Center.  Along the way I stopped by Steinway Hall just to say I had.  It’s almost directly across the street from Carnegie Hall, and all the great pianists who give recitals there select their instruments at Steinway and Sons and have them delivered to Isaac Stern Auditorium.  As far as pianos go, Steinway is as good as it gets, and they still make them in New York City (and Hamburg).  You can see the process of making a Steinway piano in a film called Note by Note: The Making of Steinway L1037.  And don’t miss “How Does a Piano Get to Carnegie Hall”.

I passed some wonderful architecture near Columbus Circle, and there at Broadway and 58th Street stands the building that houses the Museum of Arts and Design.  No. 2 Columbus Circle, has an amazing history, and for a building that nobody outside of New York City knows or cares about, the Wikipedia entry for it is remarkably thorough.  In a nutshell, the building was designed by Edward Durell Stone and completed in 1964.  The “Lollipop Building”, as it was called, had few fans, since it was, by almost all standards, remarkably ugly.  It had almost no windows, but that was functional, since it housed an art collection.  In 2005 the building was ripped down to its skeleton, and the facade we see today is far worse than what came before it.  Even those who criticized the Lollipop Building find No. 2 Columbus Circle uglier than ever, and entirely lacking in architectural merit.  I agree.  Here is a site with many wonderful photos of the building as it once appeared.

Lincoln Center occupies several square blocks, which makes sense, since it’s the home of Avery Fisher Hall and the Metropolitan Opera House, among others.  The Met season was beginning only days after our visit, opening with a new production of Das Rheingold that was the talk of the town.  Posters were everywhere.  I went inside the Met Opera Shop, where they had hundred and hundreds of opera recordings as you might expect.  I was quite tempted to buy, but I am glad I saved my money, because the place I went next was unlike anything else I have ever seen.

Filed under: Art, Musings, Travel on January 6th, 2011 | No Comments »

Read New York City, Part One.

Day Two

We took the train from White Plains into the City again on Thursday, arriving at Grand Central Terminal at noon.  Being quite hungry, we decided to explore our various dining options in the basement of the station.  There were many.  Mrs. Hill wanted to try the vast array of famous New York foods, from their famous, but inferior style pizza to their namesake cheesecake and strip steaks.  That morning she opted for a bagel.  I decided on sweet treats from Magnolia Bakery.  The display case was full of delicious looking confections, and I was uncharacteristically eager to try everything, but played it safe with a vanilla cupcake with buttercream icing.  The frosting was slightly more buttery than creamy, and there was a noticeable sugar texture, but the cupcakes were delightful nonetheless.

From Grand Central we took the No. 4 subway down to the southern tip of Manhattan, and exited at the edge of Battery Park.  This was a busy, but open and airy place, and the sunny weather made it seem quite pleasant.  It was impossible to miss the ravaged Koenig sculpture that once stood at the World Trade Center.  We made our way to Castle Clinton to purchase tickets for the ferry to Liberty Island.  Alas, no passes were available to climb to the top of the Statue of Liberty.  I suspect that those must go quickly each day.  We waited in line to board the Miss New York, and once on the ferry made our way up to the top deck.  The ride out to Liberty Island was breezy and warm, and everyone on board snapped photos the entire time.  Once docked, we walked around the Statue of Liberty, viewed the Manhattan skyline from across the harbor, and took a few photos ourselves.  Though we could not go inside the statue, I still felt content to enjoy the weather and the scenery.

We caught another ferry which took us to Ellis Island, a short distance to the north.  Exiting the boat there we walked into a large old building, where, inside the lobby was an enormous pile of suitcases.  Up a flight of stairs we entered the Registry Room, which once looked like this, but today looks like this.  An extensive museum details the experiences of the many thousands of immigrants whose first American experiences took place at Ellis Island.  These people arrived with very little.  Some of what they did have was on display, too.  The clothing–particularly the costumes from eastern Europe–was beautiful.  Overall, the museum appears designed to give you the feeling that you, too, are an immigrant arriving in America.  Of course, not everyone who came to the United States hoping to make a new life came from Europe.  Many thousands of other arrived on the west coast, or elsewhere.  But Ellis Island is a remarkable time capsule of an era in which America was, to the rest of the world, a land of opportunity where the streets were paved with gold.

The Manhattan skyline grew larger as we made our way back to Battery Park, and it occurred to me that almost nothing visible along New York Harbor today would have been around when those waves of immigrants reached Ellis Island a century ago.  New York City, perhaps more than any other large city that never saw the devastation of war, has remade itself again and again.  Draw a circle around almost any single block on a map of Manhattan and you would likely find that that block has changed appearance over and over in the course of the last hundred years.  What today is a skyscraper of glass and steel was before a more modest skyscraper of steel and stone; before that, a block of shops with apartments above; before that, a row of brick or wood houses; before that, who knows?  I thought of this more and more the next day when I stood atop the Empire State Building.

Making our way back to Midtown that afternoon, we headed to Central Park where we watched an open-air rock show.  Pavement, one of Miriam’s favorite bands had reunited for a very short time.  We stood as close as could be, on the rail directly before the stage.  I don’t know much about the band, but they seemed in good form, and everyone played Fender guitars.  Their opening act was a band called Endless Boogie.  Their name was appropriate, because their songs seemed to go on forever.  The first song consisted of only one chord (an A7), played for over twenty minutes straight.  The bass player never played a note other than A.  Their guitarists took turns jamming, with remarkably pedestrian results.  If you know anybody who plays guitar even just a little, no matter how new they are to the instrument, they could play solos as interesting as the guys from Endless Boogie.  It was unbelievably boring.  The only excitement in the entire set–which consisted of two songs totaling almost an hour of playing time–came when the singer received what appeared to be a text message or voice mail.  He reached in his pocket, took out his cell phone, then proceeded to respond to the text message.  I would like to think it was somebody in the crowd writing, “Dude, yr show blows!:-(”

After the show concluded I had to replace a contact lens that fell out during Pavement’s performance.  I had forgotten my glasses at home, and I didn’t have any replacement contacts with me, so when it fell out, I had to save it in my mouth.  I know that sounds horrible, but there isn’t much else one can do under the circumstances.  Central Park isn’t the best place to deal with that sort of problem.  But Miriam had a small mirror with her, and I got my hands clean enough with some sanitizer, and using only saliva I got that contact lens back in my eye.   Leaving Central Park we saw scores of hipsters inhaling helium from balloons being passed out by some dude who told me not to take any pictures.  New York City is much tamer than it once was.

Filed under: Musings, Popular Music, Transportation, Travel on January 4th, 2011 | 1 Comment »