As a young boy growing up in the ’50s, I was fascinated by the circus. Toby Tyler, written by James Otis was a bedtime favorite, and fueled my fantasy of running away to join the circus. Alas, over time, the circus has fallen out of favor as family entertainment.
After incessant criticism by animal rights activists and the advent of video gaming and media streaming, the 1905 Gavioli Band Organ Wagon (with 367 wooden and metal pipes, 2 drums, a cymbal, and a 17-bar glockenspiel) which once heralded the arrival of the circus train…
has now been relegated to a circus museum with fifty other antique circus wagons within the W.W. Deppe Wagon Pavilion…
at Circus World in Baraboo, WI,
conceived on grounds known as the winter quarters of the Ringling Brothers,
who launched their first circus tour from Baraboo in 1884.
As we walked the grounds,
we realized that the circus is more than the sum of its parts.
It’s more than the costumes;
more than the animals;
more than the performers;
more than the sideshow attractions;
and more than the music;
It’s a longing for our youth,
and our feelings of wonder before we were forever trapped in our responsible, adult bodies.
According to the latest business census, there are over 150 places / reasons to enjoy an adult grape beverage in Woodinville, be it a wine bar, a wine cellar, a tasting room or a winery. So many choices and so little time…what a dilemma!
So Leah and I relied on our friend Hali, who used to pour for DeLille Cellars when she lived in the vicinity, and she offered some helpful recommendations, which prompted us to make reservations long before our arrival, because time slots at popular locations can fill quickly.
Woodinville has become a popular weigh station for Seattle folks and world travelers to sample Columbia Valley varietals and blends without having to travel east of the Cascades to taste the fruit off the vine.
Much like Napa and Sonoma, hot, dry summers and cold winters make Columbia Valley’s climate perfect for cultivating fine grapes. Then the harvest is shipped west, where Woodinville vintners can perform their magic.
With wines now scoring in the mid-90s, Woodinville is stepping out of the cool vibe shadow of California’s Wine Country, and making a play for some of the best Syrah’s, Merlots, and Chardonnays in America, while serving in casual and laid-back surroundings.
Leah and I scheduled our tastings over three afternoons, with my son Nathan joining us on the last day.
Notable for its country charm, Chateau Ste. Michelle always earns a visit.
As Washington’s founding winery, and Wine Spectator’s 2004 American Winery of the Year, Chateau Ste. Michelle has become Columbia Valley’s global ambassador for its award-winning regional wines, which made it a good place to start our tasting.
We were seated outdoors and served a pitcher of water, a wine glass, and a placemat holding four mini carafes of our flight selections for $25 each. Because of COVID-19, our cheese plate came pre-packaged from a catering clerk for $17.
We had high expectations.
While all four wines were worthy of showcasing, none of them was especially worthy of purchasing a bottle. However, we did secure concert tickets for the Summer Night Music Series, featuring Kara Hesse at Chateau Ste. Michelle’s Amphitheatre.
Our next stop the following day was to DeLille Cellars,
where we enjoyed a flight of terrific Bordeaux-inspired blends…
in their newly, appointed tasting loft, repurposed from Redhook Brewery.
To our surprise, our wine tasting and cheese board was comped by Wine Club personnel in deference to Hali, which compelled us to ship home a 6-pack of their glorious 2018 D2.
On the third day of Wino Appreciation Week, Leah and I walked a stretch of the Sammamish River Trail–
all the while puckering our lips, jiggling our wrists and cleansing our palates–in anticipation of tasting wine from three new winemakers–but this time with Nate in tow for his first official pouring.
After lunching on flatbread pizza at Woodinville Wine Country, we sat around al fresco at a pouring counter representing Pepper Bridge and Amavi Cellars. Nathan gave each menu a thorough reading, but he was illiterate in wine-speak, uncertain of grape varietals, and unsure how wine might taste like cured meat and figs, so he followed my lead. I drank from the right menu and Leah from the left menu, although she shared her pours with me.
Leah and I walked away with a bottle of Sémillon from Amavi, and Nate walked away with a new appreciation of bourgeois culture, conceding that wine tasting could make an interesting first date.
We continued our wine crawl across the road at Guardian Cellars. We were seated under an awning and presented with a tasting menu. We had a chuckle over the names of wines before realizing that Guardian owners, Jerry Riener is a cop by day and a winemaker when he’s not a cop, and his wife Jennifer Sullivan is a reporter by trade and pours wine on the weekends.
Thanks again to Hali, who arranged to transfer her Guardian club membership to us for the day, so our tasting was gratis. But alas, we left the scene of the crime, empty-handed, only to be remembered by our finger prints and DNA residue on the glassware.
That evening, our last in Woodinville, we attended singer/songwriter, Kara Hesse’s concert at Chateau Ste. Michelle Amphitheatre–our first concert since the COVID-19 outbreak–and we came ready to party, but house rules clearly stated: Wine is welcome, but only if the Chateau Ste. Michelle label is affixed to the bottle. So we stuck with water.
The lawn was dotted with couples, friends and families enjoying picnics from lawn blankets and stadium chairs, and the atmosphere was festive.
Kara and her band had just taken the stage to cheers from the crowd when a hot air balloon sailed across the sky.
What? A balloon?
It was a small distraction, and one that was easily forgotten once Kara warmed up to give us her impression of what Stevie Nicks, Bonnie Raitt and Cheryl Crow might sound like if all three voices were put in a blender.
Two things I learned that day:
I would have enjoyed the concert more if I was drinking wine instead of water;
After a spin around Sun Records, Leah and I altered our orbit a couple of Memphis miles to the center of a parallel universe of talent, originally known as Satellite Records in 1957.
Inspired by the success of Sam Phillips, Jim Stewart–a banker by day and frustrated fiddler by night–decided he too could produce hit records despite no music industry experience. Upon realizing his need for professional recording equipment, he enlisted his older sister, Estelle Axton who mortgaged her home for an Ampex 350 console recorder.
In 1960, Satellite Records moved to a converted theater on McLemore Ave. and Stax Records (a fusion of their last names) was born.
Rufus and Carla Thomas recorded the new company’s first hit record, Cause I love You, in 1960…
which caught Atlantic Records’ Jerry Wexler attention and willingness to negotiate a distribution deal for all future Rufus and Carla recordings, and right of first refusal of all other Stax artists.
Steve Cropper also added to the early success of STAX.
Originally, his guitar playing fronted the Royal Spades, but Jim Stewart invited Cropper to Stax where the group was re-billed as the Mar-Keys and became the house band, playing sessions with newly signed artists as well as recording their own sounds, like Last Night, a 1961 hit.
Steve Cropper would leave the Mar-Keys to become head of A&R for Jim Stewart, but continued to play back-up sessions as needed, always a part of the Mar-Keys floating membership. One day, while awaiting a session, Booker T. stepped in for a turn on the Hammond organ, and Green Onions was instantly conceived in 1962.
The Mar-Keys had just morphed into the next Stax session band, a/k/a Booker T. and the M.G.’s,
Stax success continued when Otis Redding, driver for Johnny Jenkins’ took the microphone after Johnny’s dismal performance. Subsequently, Otis auditioned with Booker T. and the M.G.’s on accompaniment, and wowed everyone with his song, These Arms of Mine, released October 1962.
Otis Redding would become the label’s biggest star, continuing with hits: I’ve Been Loving You too Long; Respect; Just One More Day; and Try a Little Tenderness. But like Icarus, who flew too close to the sun, Otis and several members of the Bar-Kays lost their lives in a plane crash on December 10, 1967, enroute to a performance in Cleveland.
Only 6 months earlier, Otis was headlining at the Monterey Pop Festival, backed by Booker T. and the M.G.’s. At the time, he was fully aware of the opportunity and exposure. He said, “It’s gonna put my career up some. I’m gonna reach an audience I never have before.” He was 26 when he died.
(Sittin’ On) The Dock of the Bay, co-written by Steve Cropper was released one month later, and reached #1 on Billboard’s Hot 100.
In 1968, the wheels came off the Stax bus. They lost their distribution deal with Atlantic Records after Atlantic was sold to Warner Bros. Records in 1967. Warner Bros. also reclaimed the library of master tapes held by Stax, citing a clause in Atlantic’s contract that entitled them to “all right, title and interest, including any rights of reproduction.”
Adding insult to injury, Warner Bros. also reclaimed Sam and Dave, who were “on loan” to Stax from Atlantic.
And to make matters worse, the country was at war with itself after the murder of Martin Luther King, Jr. on April 4,1968 just blocks from the label’s headquarters.
With their back catalog depleted and no distribution deal, Stewart sold his shares of Stax to Gulf & Western for millions, but stayed behind to continue running the company. Enter Al Bell, record producer and songwriter, who joined Stax in 1965 as director of promotions, and became co-owner and vice-president after buying out Estelle Axton. In 1969, Bell shepherded the “Soul Explosion,” generating 30 singles and 27 albums within eight months,
utilizing house talent like the Memphis Horns (an off-shoot of the Mar-Keys) and new talent like the Staple Singers.
But musically, the resurrection of Stax records can be attributed to Isaac Hayes, the Black Moses.
In 1969, Isaac Hayes released Hot Buttered Soul, his four-song, soul-defining masterpiece which sold 3 million albums.
The Stax Museum has many alluring features and exhibits. There’s the reassembled Hoopers Chapel African Methodist Episcopal Church from Duncan, Mississippi built around 1906;
there’s also a disco dance floor, that ideal for busting a move and showing your groove;
but the crown jewel of the collection has to be Isaac Hayes’ rotating 1972 peacock-blue, 24K gold-plated Cadillac.
The release of Theme from Shaft— which won an Oscar for Hayes for Best Original Song in 1971–
put Hayes in the drivers seat when it came time to renegotiate his contract…
In 1970, with the wind at their backs, Bell and Stewart repurchased Stax from Gulf & Western with borrowed money from Union Planters Bank.
In the summer of 1972, in pursuit of a wider audience, Al Bell brought an all-star revue to Los Angeles Memorial Coliseum–dubbed Wattstax–to commemorate the 7th anniversary of the Watts riots. The sold-out crowd of 100,000 fans spawned a highly regarded documentary film and a live double album of the concert highlights.
Stax archives recount the final years of Stax Records:
By 1971, Stax had grown from a family production company distributed by Atlantic Records, to a freestanding independent record company. Stax now manufactured, marketed and distributed its own recorded music in America and through licensees around the world. The racial harmonies that typified Stax’s early years was becoming an issue. Trust was an issue. Jim Stewart, producer-cum-chief executive officer was tired, disillusioned, and pushing paper instead of making records. He had not attended Wattstax. He told his partner Al Bell that he wanted out.
Change and challenge were pervasive after so much growth. One major problem became the theft of Stax property, including master tapes. Stax hired one of the country’s premiere white-collar crime investigative firms. Their search did uncover improprieties involving some employees, but Jim Stewart and Al Bell decided not to prosecute. Instead new security measures were designed and implemented at the McLemore Avenue and the Union Avenue Extended offices to specifically protect and preserve Stax masters, East Memphis copyrights and other valuable assets.
Al Bell was enjoying a Midas touch. Isaac Hayes, Johnnie Taylor, and the Staple Singers had all emerged as superstars. Rufus Thomas had entered the most successful era of his career. Albert King had broken through to the white rock album market. Mid-level artists such as Soul Children, Frederick Knight, Luther Ingram, and Mel & Tim were all hitting the charts. Bell was pushing company expansion in many different directions at once, issuing pop, rock, jazz, country, gospel, and comedy records in addition to its staple of classic soul tracks.
Though Stax thrived in the independent world, it had still not broken through in mass-market distribution venues like Sear and Roebuck. Seeking a buyer for his company’s other half, Al Bell kept that distribution goal in mind. He wound up, surprisingly, making a distribution deal with Clive Davis at CBS Records. CBS, though successful with many white acts, boasted no major black artists. “The company was” as Bell says, “larger that life white with no real knowledge of the black market.”
Stax and CBS each complemented the other’s weakness. Stax could help CBS reach the small, privately owned stores, and CBS could get Stax into huge chains. In 1972, through a complicated agreement, Bell bought Stewart’s half with money loaned from CBS. Jim Stewart, agreeing to remain with the company for five more years, received $2.5 million, up front, and millions more in payments to come.
Though the new relationship began well, a disaster occurred in May 1973: Clive Davis was fired from CBS. The deal he’d struck with Al Bell was full of nuance and personal commitment between two parties, and Davis’ replacement neither understood nor appreciated the arrangements.
Faced with a contract it felt was a mistake, CBS began systematically reducing payments to Stax for records sold, precipitating a tangle of legal battles and a shortage of operating funds. Stax was bound to CBS as its sole distributer, and could not get its product in to stores nor receive monies for records that had been sold.
To keep the company going, Stax founder, Jim Stewart secured operating loans with his forthcoming CBS payments as collateral. Going further, he gave Stax a personal loan and then personally guaranteed even more borrowed money. But CBS continued to withhold payments and Stax continued to hemorrhage.
By summer 1974, Stax defaulted on payments to Isaac Hayes, and was forced to relinquish the marquee artist. Around the same time, Stax gave Richard Pryor, in lieu of payment, the master tapes for his groundbreaking album That Nigger’s Crazy. Pryor took the album to Warner Brothers; it went gold and won a Grammy award. By the end of 1974 Stax had given 85 of its employees their pink slips.
Bell, Stewart, and Stax vice-president John Burton campaigned for capital to pay off both CBS and Union Planters Bank, from who, Stax had borrowed heavily. Leaving no stone unturned, they approached Saudi Arabia’s King Faisal, A tentative agreement was worked out, and Burton headed to the Middle East. Faisal was assassinated by his nephew on March 25, days before the meeting was to take place.
Stax persevered but times were increasingly turbulent. The nation itself struggled: Watergate led to President Nixon’s resignation. Recession gripped the U.S. economy. In Memphis, Union Planters Bank—which had loaned hundreds of thousands of dollars to Stax—struggled for its own economic survival.
Despite chart topping hits during late 1974 and 1975 by Stax artists including Rance Allen, Little Milton, the Staple Singers, young pop sensationalist Lena Zavaroni, Shirley Brown, Albert King, the Dramatics and others, distribution challenges perpetuated by CBS Records strangled Stax.
When Union Planters abruptly called in Stax’s loans and they were unable to pay promptly, the bank immediately and aggressively pursued the company. Stax’s daily operations were crippled. On June 8, 1975, the company basically ceased being able to pay anyone. In October, Stax officially laid off all its remaining employees. Many still continued to work for free. The battle between the bank and Stax was rancorous and bitter. Many believed that racism was the motivation which drove Union Planters pursuit while others believe that it was strictly a business decision.
For years, Stax had contributed to community efforts. In the company’s final days, the local community gave back. In latter 1975, when Stax could not pay its remaining employees, the proprietor of the College Street Sundry, Ms. Ethel Riley Flowers, regularly fed them at no charge. Merrit’s Bakery also gave food to the last employees “because,” in the words of William Brown, “she knew we didn’t have no money. These people were surviving on the love of each other. They weren’t surviving on waiting for that dollar to come around the corner. They knew it wasn’t coming!”
Unable to pay its bills, its artists, its loans, Stax was shut down on December 19, 1975, forced into receivership by an involuntary bankruptcy petition.
Union Planters Bank, that had helped Stewart and Bell buy back the company from Gulf & Western, moved to collect on personal guarantees given by Jim Stewart. He lost his fortune, his assets, and his home.
The Stax building was padlocked.
In January 1977, Stax’s assets were parceled out in a bankruptcy sale on the courthouse steps. The catalog of tapes was sold to a liquidating company, the office furniture to an auction company, and the recording equipment to an individual who hoped the magic would continue to work.
The Stax building was sold for ten dollars in 1980 to the Church of God in Christ (COGIC).
For Jim Stewart, it’s always been about the music.
He was inducted into the Rock and Roll Hall of Fame in 2002 for his important contribution to the music scene.
Rolling into West Memphis from Nashville to lay down 3-day roots wasn’t going to be easy. On May 11, the country learned that the I-40 bridge connecting Memphis, TN to West Memphis, AR was shut down after inspectors discovered a critical crack in a 900-foot beam that compromised the bridge’s structural integrity, and it would takes months to complete emergency repairs (oh, infrastructure…wherefore art thou).
All traffic was being rerouted through I-55–a less than desirable 4-lane crossing–that was now backing up for miles in both directions. Leah and I agreed that the only way to avoid traffic mayhem would be to relocate east of the Mississippi.
It was a snap decision with few available options, but we scored a shady site with electricity at F.O Fuller State Park, 2 miles downwind from a sewage processing plant.
We had designs on visiting the National Civil Rights Museum built around the Lorraine Motel,
which was one of only a few hotels that hosted black entertainers of the era, like Cab Calloway, Count Basie, B.B. King, Aretha Franklin, and Nat King Cole.
Dr. Martin Luther King, Jr. was assassinated outside Room 306 on April 4, 1968, making the Lorraine Motel a symbol for the civil rights movement.
We would have liked to tour the museum, but it was closed. So off we went to Sun Studio…
to pay homage to a galaxy of recording stars whose origin stories are etched on acetate discs.
Patrons gathered inside the café waiting for the 45-minute tour to begin. It was a good opportunity to browse the weathered record collection and grab a cold drink.
The tour began on the second floor–at one time a flop house for disadvantaged musicians–where we learned about Sam Phillips’ humble beginnings,
and his role in producing arguably the first rock ‘n roll record in history.
But Sam Phillips was really looking for a white guy, someone who could bridge the gap, someone “with a Negro sound and the Negro feel.”
Fortunately, Marion Keisker, Sam’s business manager/lover was at her desk on July 18, 1953…
when a recent high school grad with long sideburns and a greasy ducktail hairdo walked into the studio with $4 to record My Happiness and That’s When Your Heartaches Begin as a gift for his mother, Gladys.
Being the only one present at the time, she took a turn at the console to record his demo–her first and only time–and she immediately knew that Elvis Presley was the real McCoy.
Nearly a year later, Sam called Elvis in for an audition supported by upright bass player Bill Black and guitarist Scotty Moore. After a few sessions of Elvis noodling around, singing different genres of music while strumming his guitar, he stumbled upon an up-tempo blues number by Arthur ‘Big Boy’ Crudup called That’s All Right (Mama).
The trio eventually worked out a raw arrangement for Sam, and the rest is history.
Next thing, Sam called local DJ Dewey Philips for radio support, and he obliged by playing Elvis’s record 40 consecutive times on WHBQ, at times singing along.
Of course, it was a smash hit…
The tour continued downstairs, inside the fabled studio–where not much has changed–that gave rise to so many legendary careers.
Our guide played refrains of famous tunes recorded at Sun. There was Carl Perkins warbling Blue Suede Shoes, Jerry Lee Lewis belting out Great Balls of Fire, Roy Orbison’s crooning Ooby Dooby, and Johnny Cash intoning I Walk the Line.
Elvis had five hits at Sun Studios: That’s All Right, Mystery Train, Milkcow Blues Boogie, Good Rockin’ Tonight, and I’m Left, She’s Right, You’re Gone, and they’re on display.
On November 20, 1955, Colonel Parker brokered a record-breaking deal between Sam Phillips and RCA Records for $35,000, with a signing bonus of $5,000 for Elvis.
A year later, on December 4, 1956, Elvis Presley, Carl Perkins, Jerry Lee Lewis and Johnny Cash reunited at Sun Record Studios for a seminal impromptu jam session dubbed the Million Dollar Quartet. It was history in the making, producing 3 reels of tape.
Our guide delights in telling the story of Bob Dylan’s visit to Sun Records.
It is widely known that Dylan was a huge fan of Elvis. The day he arrived in Memphis, he had a car drive him to Sun. Without ceremony, Dylan walked into the studio and asked if it was true that Elvis had stood on the mark on the floor during his recording of That’s All Right. Upon confirmation, Dylan knelt over the spot and kissed the ground, paying respects to his long lost hero.
It’s also been rumored that Dylan later licked the microphone once held by Elvis, but I’m probably not the best qualified person advising Leah when it comes to germs.
Minutes from Ryman Auditorium stands Ernest Tubbs Record Store, the nation’s first all-country record store located in downtown Nashville, welcoming visitors from around the world for the past 74 years.
But getting there always takes longer than it should because of all the distractions along the way:
The first thing I see is a white-painted edifice with lyrics penned by Peter La Farge and performed by Johnny Cash.
It’s intended as a grim reminder of broken promises to Native Americans.
Continuing on foot, there’s bound to be a bridal party featuring a Bridezilla…
or a homeless prophet…
and a bunch of battered, drunken drivers…
or an overheated zealot…
and a mad hatter…
until you get to Ernest Dale Tubb, an influential honky-tonk singer-songwriter, Grand Ole Opry star, movie actor, and member of the Country Music Hall of Fame who began a record store in 1947.
And this is his testament.
The Midnight Jamboree hit the stage the following year, featuring Ernest Tubb and the Texas Troubadours...
and a slew of cowboys and up and comers shooting for the stars.
And that helped to sell a lot of records. It was a beneficial arrangement for everyone.
Ernest could also promote his famous bus tour. In 1970, Mr. Tubb purchased a 1964 Silver Eagle from Trailways Bus Company and dubbed it the Green Hornet.
For the next nine years, Ernest Tubb and the Texas Troubadours logged over 3 millions miles on the Green Hornet, hitting all 48 States and Canada.
The coach accommodations included sleeping berths and a bathroom behind the wall,
while Mr. Tubb lived in the rear of the coach with a television mounted in the wall above his feet.
The middle compartment was equipped with a coffee bar and a sound system that ran the length of the corridor.
Mr. Tubb retired the bus in 1979 and donated it to the Ernest Tubb Record Shop for public viewing. In 1995, it was restored to its original state and was put on permanent display in what is now the Tacky Turtle, an exotic gift shop of tchotchkes and folk art.
Leah and I went looking for it, initially unaware that it is just minutes from our RV campground.
We fed the coordinates to Jennifer and she directed us to a local strip mall featuring the Texas Troubadour Theater at the vortex of two legs, but it took two circles around the parking lot until I realized that the bus was hiding in plain site inside the gift shop. In fact, the mall was built as an enclosure around the bus!
We walked away enlightened, but disappointed having not heard a note, except the blare of mixed music bleeding from the Nashville bars.
But to our surprise, upon returning to the campground, we discovered a poolside concert by Tim Atwood, an 8,500-performance veteran of the Grand Ole Opry (old and new)…
with Jeannie Seeley in attendance to celebrate Tim’s 65th birthday.
Could it be, we finally beat the Grand Ole Opry curse? In the immortal words of Ernest Tubb, “That’s all she wrote.”
Nashville seldom disappoints, given the music, the Broadway scene, and the local history and flavor that makes Nashville such a go-to destination for letting loose.
But here we were in Nashville again for a third visit in as many years, and again, there were no concert bookings at Grand Ole Opry during our stay, just as before.
Perhaps, we should make our own music, although we would eventually take the stage at Ryman Auditorium like so many others,
by first taking a self-guided tour of the hallowed hall before having our picture snapped by the gift shop photographer.
Very little has changed since Ryman Auditorium opened…
as the Union Gospel Tabernacle in 1892. Originally built as a house of worship…
by Thomas Ryman, who made his fortune from a bevy of saloons and a fleet of riverboats,
Ryman found God at a big-top revival, and vowed to build a tabernacle, allowing Nashville folks to attend large-scale revivals indoors.
The balcony opened in 1897, raising capacity to 6,000 worshippers.
Ryman died in 1904, and was celebrated inside his tabernacle. It was at his memorial service that Samuel Porter Jones, the preacher responsible for Ryman’s conversion, proposed the name change to Ryman Auditorium.
While Ryman Auditorium continued as a religious venue, it also opened its doors to popular culture and performing arts as a means of paying the bills, often hosting concerts, speaking engagements, dance recitals and theater, and earning its reputation as the “Carnegie Hall of the South.”
The Grand Ole Opry took up residency in 1943, and sold out its weekly shows for the next 31 years, becoming “The Mother Church of Country Music.”
Country music acts performed in front of capacity crowds and reached audiences around the world through radio and television broadcasts, earning them large followings and superstardom. Artists were eager to appear despite the primitive accommodations.
Leah and I took our sweet time as we perused the exhibits note by note, and studied the memorabilia from entertainment royalty…
In 1974 the Grand Ole Opry shuttered its downtown location in favor of a larger, modern venue within a theme park setting, dooming Ryman Auditorium to the wrecking ball. But the historical importance of Ryman, known as the birthplace of bluegrass (and so much more) could not go unnoticed, until the preservationists prevailed, and Ryman was saved from demolition.
After a dormant period of 20 years and new ownership, the exterior was eventually rehabbed and the building’s interior was refurbished and modernized for artists and patrons, restoring it as a world-class concert hall that past and present music legends agree has some of the best acoustics in the world, only adding to Ryman’s mystique and continuing renaissance.
As for Leah and me, all that was left for us to do was smile for the camera and take our final curtain call…
Eila Hiltunen’s landmark sculpture, Passio Musicae pays tribute to Finland’s Jean Sibelius, but not without controversy.
Sibelius was an internationally acclaimed symphonic composer inspired by Finnish folklore. Long regarded by Finns as a national icon, his celebrity and talent sparked a public fundraising campaign to memorialize him in a meaningful way after his death in 1957, while also fueling a public debate on the purpose of public art.
In 1961, the Sibelius Society arranged a competition among 50 of Finland’s finest sculptors. The local jury recognized five finalists with statuary proposals and gave consideration to Hiltunen’s abstract design of 600 stainless steel tubes clustered in free-form formations.
The second tier of judging was bolstered by three additional experts of international reputation, who ultimately favored Hiltunen’s more refined proposal, and awarded her the commission,
immediately angering half of Finland’s population who favored a more figurative solution (later added by Hiltunen as a compromise),
yet pleasing the other half of the nation looking for a modernist approach.
But irony abounds when Hiltunen’s monument honors an accomplished violinist, but resembles a mighty display of scrolled organ pipes, or perhaps a birch forest or the Northern Lights to an imaginative viewer.
Nearby, Leah and I huddled for warmth inside a fanciful shoebox called Cafe Regatta, located on the edge of the park,
to contemplate the Sibelius monument, and enjoy a hot cocoa and donut…
while around the bend, on the water’s edge,
two hearty locals dared to dip into icy waters–
reminding me that taking the plunge is risky, but the results can take your breath away.
With our Norway cruise behind us, Leah and I had designs on extending our Northern European adventure. Unfortunately, our plan to visit St. Petersburg hit a fatal snag after we neglected to apply for Russian visas in a timely fashion.
Originally, our flight from Bergen to St. Peterburg required a transfer through Helsinki, so Helsinki became our default destination for the next four days. Although my dream of touring the Winter Palace and Hermitage was temporarily dashed, Helsinki seemed like a worthy safety net and exciting city to explore.
But something about Helsinki was off. Ordinarily, Helsinki during winter months would be blanketed in snow with the harbor frozen over…
but during our visit, the landscape was fully thawed.
In fact, residents hadn’t seen a trace of snow since winter’s arrival, although they were experiencing one of the wettest and gloomiest seasons on record.
And that’s exactly how it felt to us as we wandered through Helsinki’s city streets, taking in the cultural setting and the vibe.
On our first day of touring, the rain and wind was relentless, but we were undeterred. In the end, we punished our umbrellas, and rendered them useless. But they saved us from a soaking and protected my camera as we found our way to Helsinki’s 50-year old landmark, the Church of the Rock–
embedded in bedrock,
and capped by an oval dome of skylights and copper.
In 1961, Timo and Tuomo Suomalainen–Finnish brothers and architects–conceptualized a church excavated from solid rock amidst Helsinki’s Töölö district, and were awarded the commission by a jury of their peers.
Ultimately, budget constraints and construction delays prevented the project from getting underway until February 1968, but the brothers saw their vision consecrated in September 1969.
The church became an instant mecca for concerts,
after sound engineers determined that exposing the rough-hewn rock walls could deliver an acoustic nirvana.
More than half a million visitors a year flock to Church of the Rock for worship, wedding celebrations, and meditation.
Our quest to chase Aurora Borealis continued aboard the Viking Star, cruising northbound through Finnmark, the heart of Norwegian Lapland,
and on to Alta, our northern-most destination inside the Arctic Circle.
Leah and I were praying for clear skies plus a surge in solar activity–given Alta’s reputation as the Town of the Northern Lights and home to the world’s first Northern Lights Observatory (1899) for conducting scientific research.
To that end, we mounted a pilgrimage to the Cathedral of the Northern Lights to increase our chances of an anticipated sighting. However, on this temperate night, an unexpected veil of dew painted the town, offering up a cathedral bathed in shimmery titanium,
lunging 47 meters (154 ft) toward an elusive phenomenon.
To the townsfolk, this sanctuary is as much a tourist attraction as it is a church.
It represents “a landmark, which through its architecture symbolizes the extraordinary natural phenomenon of the Arctic northern lights,” according to John F. Lassen, partner of Schmidt Hammer Lassen–a Danish design firm that collaborated with Scandinavian firm Link Arkitektur to win the city council’s design competition in 2001.
And there is much to appreciate about the design–outside and in. The exterior’s circular body mimics a magic curtain of light once illustrated by Louis Bevalet in 1838.
And the interior lighting resembles the long shafts of light associated with the Aurora.
Religious overtones are emphasized through the metal mosaics representing Twelve Disciples…
and the 4.3 meter (14 ft) modernist bronze of Christ searching the blue-glazed heavens, imagined by Danish artist Peter Brandes. While some worshippers may claim that a hidden face lives in the outstretched neck of the subject,
the illusion is subject to personal interpretation.
Consecrated in 2013, the Cathedral of Northern Lights functions as Alta’s parish church of the Church of Norway, yet remains an open forum for assembly and performance.
One-year after the first benediction, the concrete walls had settled and the pipe organ was installed. The dynamic acoustics attracted notable talent and filled all 350 seats.
Leah and I attended an organ recital by Irina Girunyan,
While following a complex score for hands and feet,
Irina skipped and fluttered her way through an evocative program of classical and contemporary music.
The ethereal sound from 1800 pipes and 26 stops was heavenly,
Leah and I eagerly anticipated our arrival to Tromsø. For one, we were bored of cruising, having spent two consecutive days at sea after missing the port of Bodø because of high winds and rough seas (seeOrder of the Blue Nose).
But Tromsø, for us, provided the needed adrenelin rush to jumpstart our Norway adventure. Now that we finally arrived at the Gateway to the Arctic, we could participate in many of the off-the-ship excursions within our reach, like snowmobiling through white-carpeted mountain passes, and searching for the Northern Lights.
The Viking Star gently glided past Polaria’s domino-stacked building as Captain Nilsen steered us through the harbor on our way to docking.
While waiting for the local authorities to clear our vessel, I had an opportunity to photograph our new surroundings from our stateroom veranda, looking from stem…
But one building that piqued my interest sat off the port side of the ship, nestled in the snowy foothills of Tromsø Sound–the Arctic Cathedral. Absolutely stunning!
Strikingly modern, the church was designed by architect Jan Inge Hovig and built in 1965. It’s roof structure was formed by concrete sheathed in aluminum panels,
as opposed to Tromsø’s other landmark church, the Tromsø Cathedral. Located in the center of town on the spot of Tromsø’s first church built in 1252, this cathedral was finished in 1861, and remains Norway’s only cathedral made of wood.
Leah and I crossed the Tromsø Bridge by bus for a closer look.
Likened to the Sydney Opera House, the exterior of the Arctic Cathedral is simple in shape and style,
while the interior design is modestly appointed to accentuate: the large prism chandeliers;
the sparse altar rail and pulpit; and the grand glass mosaic commissioned by artist Victor Sparre–depicting three rays of light emanating from God’s hand: one through the form of Jesus, one through woman and one through man.
The western wall of the sanctuary is complemented by Grönlunds Orgelbyggeri’s organ, built in 2005.
The Star of David radiating through the eastern wimdow symbolizes a spirit of inclusiveness and community acceptance. (Just kidding)
The organ was built in the French Romantic tradition, and was adapted to the cathedral’s architecture, providing illusions of sails and ice floes. The organ comprises 2940 pipes, measuring from 32 feet (9.6 m) to just 5 mm. Much of the woodwork is solid pine with bellows made of reindeer hide.
It’s a pity I never heard it played, as I’m certain the cathedral’s vaulted vortex provides impressive acoustics.
Back at the Viking Star, after a brief bout of daylight (6hrs, 15min.)…
I returned to my veranda to record the Arctic Cathedral bathed in moonlight…
and I imagined I heard Grieg’s Song of Norway playing from its soaring arches.
Captain Terje Nilsen of the Viking Star personally delivered the unfortunate news over the ship’s PA system during breakfast.
“Because of high winds, we will be cruising past the port of Bodø, and continuing onto Tromsø. I apologize for the inconvenience, but the weather is just not safe for us to make a landing.”
Of course, we were disappointed.
Bodø is a charming alpine village north of the Arctic Circle and home to Saltstraumen, the world’s largest maelstrom. Additionally, Leah and I had booked an excursion to Kjerringøy, and would have enjoyed hiking through this preserved trading post dating back to the 1800s.
But Captain Nilsen wasn’t kidding. If the gusting winds and pounding seas were any indication of what was witnessed as the Hurtigruten ferry attempted docking in Bodø, then I couldn’t imagine the Viking Star following suit–certainly not with so many passengers unable to handle the rough crossing from Tilbury, England.
Nevertheless, passengers were invited to the pool deck following breakfast to celebrate a longtime maritime tradition of crossing the Arctic Circle.
While Paulo serenaded us with folk classics and Beatles covers of Here Comes the Sun, and I’ll Follow the Sun, (ironic, don’t you think),
the crew assembled to initiate each of us into the Order of the Blue Nose.
Our Cruise Director, Brensley Pope took the microphone to give some background:
Good afternoon Ladies & Gentlemen and welcome! We have entered through the Arctic Circle, and it is time to make our journey official by welcoming you to the Order of the Blue Nose! First, a little history.
The word “arctic” comes from the Greek word arktikos: “near the Bear, northern” The name refers to the constellation Ursa Major, the “Great Bear”, which is prominent in the northern sky.
The region north of the Circle, known as the “Arctic” covers roughly 4% of the Earth’s surface.
The position of the Arctic Circle coincides with the southernmost latitude in the Northern Hemisphere at which the sun can remain continuously above or below the horizon for a full twenty-four hours; hence the “Land of the Midnight Sun.” This position depends on the tilt of the earth’s axis, and therefore is not a “fixed” latitude. The Arctic circle is moving north at a rate of 15 meters per year, and is currently located at 66 degrees 33 minutes North latitude.
Captain Terje Nilsen interupted, “I believe that’s enough history for now…”
The crowd responded with laughter. And then it became official with his declaration…
Hear ye… hear ye….
Whereas by official consension, our most honorable and well-beloved Guests have completed successful passage through the Arctic Domain. We do hereby declare to all in attendance and that those who possess the courage to take the Aquavit cleanse shall be marked accordingly, with the prestigious Order of the Blue Nose.
Captain Nilsen continued…
This is to certify that you all have been formally and officially initiated into the Solemn Mysteries of the Ancient Order of the Chilly Deep, and should wear your blue noses proudly! With the order of myself, the Captain, I command all subjects to Honor and Respect those onboard Viking Star as one of our Trusty Blue Nose family.
We officially welcome you to the Blue Nose Order! Skol!
I got my blue nose and drained my shot glass of chilled Aquavit. Was I now a proud member of a society of alcoholics and sun worshippers?
But I wasn’t alone.
Lines formed from both sides of the pool deck for distinguished crew members to efficiently annoint all worthy passangers with a blue-tinted dab of meringue.
What follows is a small sample of inductee’s portraits–some more enthusiastic than others…
United in singular purpose, we now shared a common bond.
To validate our accomplishment, each of us received a certificate of achievement validated by Captain Nilsen.
Soon after, while walking about the jogging track in whipping winds after a filling lunch, I caught a glimpse of what made this affair so special.
Cirque du Soleil is seemingly ubiquitous–with a dozen touring companies scouring the continents, and 7 different resident shows selling out across the Las Vegas strip, making this entertainment company the most prolific circus producer on the planet.
But JOYÀ is different, and I couldn’t wait to share the experience with my family.
Staged in a custom-built, butterfly-inspired structure surrounded by a cenote within the Riviera Maya jungle,
the 600-seat theater features a thrust stage anchored by perimeter table service, and tiered seating beyond the waiters’ service stations.
For the epicure, this production offers a dinner component one-hour before showtime that relies on gastronomic smoke and mirrors to draw the guest deeper into the Mexican experience.
According to Mexican Top Chef Alexis Bostelmann, “Each element of this magnificent show served as my inspiration, where imaginative curiosity is met with unexpected discovery,” said Bostelmann.
The adventure began with an edible menu,
followed by a polished slab of wood featuring a salad of edible flowers and Iberian ham, served with a lobster taco, a sweet potato, and fresh ceviche seasoned with coconut, mint and passion fruit.
I said “yes” to the protein option to garnish my salad: locally-sourced chinicuiles–a salty worm that feeds off maguey roots, and is often found swimming at the bottom of a mezcal bottle. A true Mexican delicacy!
Our featured beverage, in addition to a chilled bottle of Mecier Brut Champagne was Dragon Breath–a signature tequila concoction that was smokin’ and refreshing!
We noshed on a basket of bread bark,
and broccoli boughs while we waited for the second course.
My entree arrived under a meteor shell. I opted for braised short ribs nestled beside a dugout dinosaur bone of grilled veggies, and accompanied by a geode-styled crock filled with ginger, coconut and sweet potato mash.
Leah received a treasure chest of jewels…
accented by a fillet of salmon resting on a poblano-mint puree, elevated by a tower of grilled vegetables, and an oyster-sized seaweed salad topped with a coconut milk pearl.
All the while, our remaining senses were treated to traditional Latin music performed with a jazzy twist.
After the second course was cleared, we were presented with a novel idea–
–a quartet of desserts plated within the pages of the Periodic Table of Pastries.
“My goal was to present a menu rooted in historical meaning that parallels the show’s beloved storyline so that once the performance begins, guests will connect all the details for a completely immersive theatrical experience,” Bostelmann added.
If dinner set the scene, then the show would bear more earthly delights. Noah, Nathan, Leah and I waited for the lights to dim…
and let Cirque du Soleil transport us to a magical place, where gravity is optional.
It was September 1969, and I was in my senior year at Pittsburgh’s Peabody High School. To my mother’s dismay, my bell-bottom jeans were torn and faded, my hair was too long, and my music was too noisy. The British Invasion was casting Pittsburgh’s favorite sons Bobbie Vinton and Lou Christie aside, although Tommy James and the Shondells were pushing back hard with their psychedelic sound.
I was hooked on rock ‘n roll, and doubled down on my commitment as a record collector by retiring my GE record player and worn 45’s in favor of LPs. Fortunately, my summer job as a yardman at Steel City Lumber funded my new Pioneer SX-1000 receiver and Dual 1219 turntable, complemented by a pair of Advent Loudspeakers. All I needed now was a record that was worthy of blasting.
My weekly allowance was meant to cover my bus transportation and school lunches for the week, but if I scrimped hard enough, I could afford an album, and I knew exactly which one I wanted. The Beatles’ Abbey Road LP had just been released, and I couldn’t wait to listen to it in its entirety, uninterrupted.
However, a weekend trip to National Record Mart’s East Liberty location left me high and dry. Unfortunately, the Beatles’ much anticipated album was already out of stock. Rather than leave the store empty-handed, I took the store clerk’s advice and picked up a record from a display he was building by the store entrance.
Being unfamiliar with the group, I was reassured that this band was unlike any other I may have heard. He said these guys performed at Woodstock, and this was definitely a band to pay close attention to. My interest was piqued. On the surface, I was trading a color photo of the Fab Four stepping through a London crosswalk for a sepia-toned picture of five scruffy guys posing in the woods. The album in question was self-titled, The Band.
I couldn’t wait to get home. I slit the shrink wrap, and carefully placed the record on the turntable platter. From the first track, a romping Across the Great Divide, to the last track, a haunting King Harvest (Has Surely Come), I knew I was hooked. It was completely different from any music playing on the radio at the time. This was a melange of mountain music, blues, and rockabilly mixed with unusual signatures. The music was delightful! How ironic that four of the five players were Canadian, but their expression was pure Americana.
That was 50 years ago. Today, The Band’s iconic album still resonates. While The Band’s songbook is limited to seven studio albums of original material over a ten-year career, their legendary status as consumate musicians was cemented in their final Thanksgiving concert, The Last Waltz (1976)–captured for the big screen by Martin Scorsese–where a string of special guests joined the group on stage to make music history as one of the greatest concerts of all time.
The magic continues this November, as The Last Waltz Tour reprises The Band’s original setlist with fresh arrangements and a steller line-up of musicians. I had admired the film and listened to the original recording, but I had to catch this performance now that it was coming to my newly adopted home town.
It was a chilly evening at St. Augustine’s Amphitheater, but the capacity crowd was warmed up for the event, as a familiar whiff of marijuana wafted through the tiered venue before The Last Waltz Overture signaled the beginning of the show.
Three frontmen took the stage,
and for the next 3½ hours shared lead vocals and guitar riffs, and provided subtle harmonies for a trove of rock ‘n roll gems memorialized 43 years ago. The all-star ensemble also included jazz keyboardist, John Medeski of MedeskiMartin & Wood;
legendary producer and bassist Don Was, and funk-master drummer Terrance Higgins anchoring a solid rhythm section; and a New Orleans-flavored horn section powered by Mark Mullins and the Levee Horns, playing from Alain Toussaint’s original charts.
Guest stars included: Cyril Neville,
and septuagenarian guitarist Bob Margolin, who played with The Band and Muddy Waters at the original Last Waltz in 1976, and reminisced about performing at the concert and jamming at the after-party with Bob Dylan, Eric Clapton, Ronnie Wood, and Paul Butterfield until 7am.
Such a night!
Theme From The Last Waltz
Up on Cripple Creek
The Shape I’m In
Georgia (On My Mind)
It Makes No Difference
The W.S. Walcott Medicine Show
Down South in New Orleans
Who Do You Love?
This Wheel’s on Fire
King Harvest (Has Surely Come)
The Night They Drove Old Dixie Down
The Genetic Method
Life Is a Carnival
Rag Mama Rag
Kind Hearted Woman Blues
Further On Up the Road
I Shall Be Released
Such a Night
Baby Don’t You Do It
The Band’s music endures after 50 years, and may it keep us Forever Young.
“It’s a fine line between nutty and eccentric,” explained docent Jim Masseau of the Bayernhof Museum, “and the difference between the two is money.” Over the next two-plus hours, as Leah and I toured this residential mansion in suburban Pittsburgh, Jim’s definition proved to be an understatement, as we learned more about the behavior of Charles Boyd Brown III, the master of Bayernhof.
We entered the house through heavy double-doors, which opened into an airy vestibule sporting a heavy chandelier–
befitting a man who made his fortune fabricating sand-casted aluminum lanterns.
Along the way, we passed what appeared to be a life-sized Hummel figurine (later identified as bearing a likeness to his great-grandfather),
and gathered in the family room with the other guests, only to stare at Charlie’s portrait while we waited for Jim to begin the tour.
After informal introductions, Jim fed us details about Charlie’s bachelor life (born in 1937) and the house he left behind.
Built high on a hill covering 18 acres, and completed in 1982–after 6 years of construction without blueprints–Charlie’s 19,000 square-foot, Bavarian-styled “castle” overlooks the Alleghany Valley, with views reaching one-hundred miles beyond city limits on a clear day.
However, despite Charlie’s dream of constructing a $4.2 miilion estate with German folk-flourishes–
a rooftop observatory with a 16 inch reflecting telescope…
a basement batcave made of concrete and fiberglass,
a swimming pool with a 10-foot waterfall…
a wine celler with a working copper still…
a billiard room (starring a pool table thought to belong to Jackie Gleason)…
a home office…
and a boardroom (only used twice)–
his house, unfortunately, would never be considered museum-worthy on its own. Charlie would need a gimmick to attract greater attention. And that’s when he started collecting automated music machines from the 19th and 20th century.
Charlie couldn’t carry a tune, and had as much musicality as a bag of bagel holes. But his appreciation for century-old music machines instructed his passion for collecting them, until he acquired nearly 150 working devices (many rare and unusual), now scattered throughout the premises.
A sample of instruments can be viewed in the video below:
As Charlie grew his collection, he loved showing them off, and held lavish parties for 5 to 500 guests at a time–always in charge of the cooking, and always dressed in one of his signature blue Oxford shirts. He owned 283 of them. Whenever he tired of his company, he would magically slip away through one of many secret passages, leaving his guests to fend for themselves.
Before Charlie passed away in 1999, he endowed a foundation valued at $10 million to convert his home into a museum. In 2004, the O’Hara Township zoning board granted his wish, and the Bayernhof Museum was born, with the stipulation that pre-arranged guided tours be limited to 12 people at a time.
Charlie’s Bayernhof got its big break when CBS News did a feature for its Sunday Morning broadcast earlier this year…
The sole reason Leah and I traveled to Cleveland was to visit the Rock and Roll Hall of Fame, period…
and it didn’t disappoint.
Classic rock music filled the cavernous lobby…
and lighter-than-air concert props hung from cables…
It was a crusty carnival atmosphere on the outside, but we were there for the gooey goodness of the center.
Inside was like a multi-media circus. There was so much information and memorabilia organized on the walls, on the ceilings, and inside floating kiosks that whiplash seemed inevitable. And the Hall was buzzing: with so many tourists, campers, musicians, and music enthusiasts, that at times it felt like a mosh pit, as I moved from one area to another.
To be expected, there was a tribute to Woodstock…
and Dick Clark…
a salute to the 2019 inductees…
and the icons of rock: Elvis,
The Rolling Stones,
and Jimi Hendrix, to name a few.
There was plenty of concert apparel to gush about…
And there were interactivities to capture one’s creativity, like Garage Band.
Most importantly, when the last lyric was sung and the last chord was strummed, it was time to shop!
Leah and I were looking forward to touring Hitsville, USA after determining that a visit to Detroit was an essential part of our Great Lakes adventure.
Once we arrived at Motown Studios, I sensed a different kind of energy around me. Almost immediately, I found parking for the F-150 just beyond the funeral parlor’s yellow lines, and saw it as an omen of sorts for something good.
The scene around the house pulsed with enthusiasm and excitement. The crowd was as mixed as a casting call for Felinni’s Amarcord, yet everyone shared a common connection to the music, which made for instant bonding.
A like-minded gentleman of similar age joined me as I read the commemorative plaque, and I turned to him.
“Do you realize that we are the generation of those spider things?” I joked.
“Tell me about it!” he shrugged. “I got memories fitting that thingagmajig into the record hole just so I could stack my 45’s on the record player.”
“Amen!” I replied.
We shook hand and moved on.
Fans from across the country and around the world made the pilgrimage to celebrate the soundtrack to America’s social, political, and cultural consciousness.
Leah took a trip to the box office, while I attempted a portrait of Hitsville Chapel, all the while dodging families posing for selfies on the steps.
Leah returned without tickets. To our disappointment, the 5pm tour was sold out…weeks ago. It never occurred to us to secure tickets beforehand.
“Let’s go inside,” I suggested. “We’ve come this far. Maybe there’s something to see, or something we can do to fix this fiasco.”
The front door opened to an overflowing gift shop doing brisk business, but we weren’t there to buy souvenirs (at least not right away). We were there to relive our childhoods.
I walked around the backside of the shop, where I found the exit to the exhibition.
So close, yet so far…to the Rock and Roll Hall of Fame, 173 miles east of us…
to catch up on nifty artifacts.
“I think I can get us in,” Leah announced.
“Really!?” I mused. “And how are you gonnna manage that?”
“I think I can convince the guard to feel sorry for us, and he’ll let us in,” she boasted.
“Just like that!?” I laughed.
“You’ll see,” she insisted.
I think the security guard of 25 years has probably heard every sob story imaginable, except for Leah’s. To be expected, Leah’s story had little impact on his decision, but he must have been moved somewhat.
He withdrew a tattered writing pad from his shirt pocket. “Y’know, over the years, I collected the addresses of some Motown legends, and I don’t really show it aroun’, but I’m gonna make an exception in your case, ’cause you came all this way for nothin’.”
“And all these addresses are in Detroit?” I asked.
“Yup!” declared security.
Wanting clarification, “and they’re real?”
“Yup, but do me a favor and keep it on the QT, OK? I don’t want the neighbors hassled and all,” he advised.
Cool! While we had lost the grand prize, it seemed, at the very least, that we were leaving with parting gifts. With addresses in hand, Leah and I decided to regroup and return the following day to play “private investigator.”
When plotting addresses on GPS, it became clear to us that many of the homes were within a ten-mile range of each other, so off we went on our real estate scavanger hunt of once-lived-in homes of America’s greatest rhythm and blues, and soul singers.
We started our tour at Florence Ballard’s home in Detroit’s largest historic district, Russell Woods. Florence was a founding member of the Supremes, who passed in 1976.
In her early years, Diana Ross lived with her family on the top floor of this duplex, just north of Arden Park.
It turns out, it was only five miles away from Berry Gordy, Jr.’s home, until he sold it to Mavin Gaye in the ’70’s…
and moved to a 10,500 sq ft Italianate mansion in Detroit’s Boston-Edison historic district with 10 bedrooms, 7 baths, a 4,000 sq ft pool house, and a 5-car carriage house.
Nearby, Gladys Knight lived in a 4 bedroom, 3.5 bath Tudor in Detroit’s Martin Park neighborhood.
Around the corner, lived Temptation’s co-founder and lead singer, Eddie Kendricks in a 4 bedroom, 2 bath 2,300 sq ft house.
And only a couple of miles away in the Bagley neighborhood lived Stevie Wonder in a 3 bedroom, 2.5 bath gabled house.
By now, I was fading from driving through Detroit traffic; and I was losing interest in photographing the rest of the listings. Additionally, I considered that crawling to a stop in front of someone’s house, double-parking, and positioning a camera through the window probably looked suspicious and creepy to any onlookers.
The following afternoon, the day of our departure, a home in Detroit’s Chandler Park section exploded–14 miles east of our recent real estate sweep.
One firefighter was injured in the blast. The Fire Marshall determined that a gas leak was to blame, but arson investigators are on the scene.
“Y’think this was an omen, too?” Leah mused.
“Nah! Just a coincidence!” I answered.
(Or maybe the beginning of another impossibly flaky, half-baked conspiracy theory!)
Within a span of five days, Leah and I had occasion to enjoy the Chicago Symphony Orchestra (CSO) and the Grand Rapids Symphony (GRS), but in a nontraditional manner with uncommon overtones.
Dan Akroyd set the scene for our future expectations at the Ravinia Festival in Highland Park IL, the CSO summer residency.
To be sure, it was a carnival atmosphere, with popcorn and green slime for sale. The Windy City Ghostbusters were on board, protecting their ride
and providing plenty of photo ops…
Meanwhile, the CSO was warming up on stage…
waiting for dusk and the arrival of their guest conductor, Peter Bernstein, son of legendary composer and Oscar-winner, Elmer Bernstein, who wrote the original score to Ghostbusters.
Happily, the orchestra never missed a beat, synchronizing perfectly with the film. While the band played on and the Ghostbusters faced their ectoplasmic foes, we enjoyed a picnic on the lawn with my niece Rachel and her partner, Kevin. Thanks, guys.
Days later, we traveled to Grand Rapids, MI for “Weird Al” Yankovic’s Strings Attached tour. Unlike last year’s stripped-down tour (seeParody Paradigm), and stripped of shtick, this concert promised to be vintage “Weird Al”–the parodies, the costumes, the MTV videos, and 41 pieces of symphonic punctuation.
The GRS opened the show with 20 minutes of John Williams’ cinema overtures from Raiders of the Lost Ark, Superman, and Star Wars…
to set the mood for a sell-out crowd that was every bit as white and nerdy as “Weird Al.”
It was the largest collection of ugly Hawaiian shirts I’d ever seen.
And some fans decided to elevate their look with shiny accessories.
The band was tight; the parodies are clever; the singing was splendid; and the GRS added an extra richness to the event. “Weird Al” showcased a deep catalogue of “funny,” paying homage to Don Pardo,
a twine ball from Minnesota,
and sending up Coolio with an irreverent Amish rap.
The crowd was treated to a crowd-favorite Star Wars encore, á la Don McClean’s American Pie (The Saga Begins),
and the Kink’s Lola (Yoda).
The audience was on its feet by the end of the show, and so was the orchestra,
because their job was done and it was time to leave.
Leah and I caught up with the Associate Concertmaster as she exited the DeVos Performance Hall stage door.
“Great show, tonight,” I offered.
“Thank you. It was lots of fun,” she said.
“Did you have much practice time with the band?” I asked.
“Not really,” she admitted. “Just a couple of sessions.”
“That’s all!? You guys nailed it,” I gushed. “Any after-party plans?”
Crossing the street–“A glass of milk, and bed,” she sighed. “I’m glad you enjoyed it”–and she was gone.
From a distance, Mt McKay is imposing, rising 1200 ft over Lake Superior and making it the largest of the Nor’Wester mountains. It gets its name from William Mackay, a Scottish fur trader from the mid-1800s, who lived for a time in the Fort William vicinity.
However, the Fort William First Nation, descendents of the Chippewa tribe, call the mountain Anemki Wajiw (ah-NIM-ih-key waw-JOO), meaning Thunder Mountain,
and consider it sacred land.
Mt McKay is a prominent landmark of the Fort Williams First Nation reserve, and offers sweeping views of Thunder Bay…
from its boardwalk overlook on the eastern plateau…
Leah and I drove up Mission Road to a toll house, where a First Nation member collected $5.00. She advised us to hike the western trail to the flat cap for more commanding views, and encouraged us to return in 3 days to witness a powwow of the Lake Superior chapters. She also offered a menu and invited us to visit her lunch counter in town.
The trail was narrow, steep and challenging with shards of shale scattered over rocky formations. We took our time.
After a weary climb of 40 minutes, we welcomed the cooler air around us as we crossed onto a plate of volcanic rock formed over 1,100 million years ago.
The bright sun promised a crisp and dazzling vista,
but it also seemed to energize the horse flies that soon regarded me as bait.
That’s when I knew it was time to retreat to the bottom of the hill, oh-so-gingerly over long drops onto loose shale.
Once we landed at the trail head, I had decided (after checking with Leah) that we should attend the powwow on Satuday.
On the day of the powwow, we looked for news on the internet. and it was everywhere. The council was expecting over 5,000 attendees over two days with plenty of drumming and dancing. Food tents and crafts stalls would round out the affair. The rules were simple: No Alcohol. No Drugs. No hiking. Have a Safe Time.
We drove to Fort Williams First Nation ice arena, where we met a yellow school bus that shuttled us the rest of the way. Only three days ago, the area was empty and quiet, but today, it looked like a parking lot next to a fairground with fringe tents and trailer camping.
Participants were gathering inside the spirit circle and adjusting their costumes, while spectators were filling the grandstands, and the royalty was assembling in anticipation of the welcoming ceremony.
It was a colorful and festive affair. A steady drum beat managed by eight drummers, accompanied a caterwauling chant of guttural highs and lows and occasional shrieks.
After a prolonged opening procession and invocation, Chiefs and Elders presented flags,
and then it was time to drum and sing and dance again. Grass dancers followed Elders…
who were followed by family members…
who also danced several times around the pavillion with their children…
showing off their feathers,
their elaborate ceremonial costumes…
and their elaborate moves…
After a couple of hours, Leah and I returned to the boardwalk for a stroll to the memorial,
where we discovered a trail to the right that hugged the cliff around the plateau. We hiked further along, scouting for poison ivy as we walked, and came to a clearing where three girls in training bras were sneaking cigarettes around a slab of concrete.
It was an amusing irony and signaled our time to return to the ice arena. The school bus that brought us circled the field–collecting passengers–and momentarily paused at a graphic display of Ojibwe insight and life lessons:
From too much rain to bother honoring the dead. I don’t give a shit. Those…NATO allies that I dread–
keep me bawlin’…
So I just did me some talking to my sons. And I said, “I didn’t like the way Dems got things done– Winning at the polls. Those…losses are falling on my head,
they keep fallin’…”
But there’s one thing…I know. The Blues they sent to beat me Just defeat me.
It won’t be long, Subpoenas now step up to greet me.
Democrats keep falling on my head. But that doesn’t mean the House will soon be turning Red. Winning’s not for me, ‘Cause, I’m never gonna stop the wave with complaining. I’ll cop a plea. It terrifies me.
It won’t be long ’till prison opens up to greet me.
Bad vibes keep falling on my head. But that’s just karma coming ‘round on me, I dread… Mueller’s got the key. ‘Cause, I’m never gonna stop the probe by complaining. I’ll drop a tweet,
’cause I’m President Cheat!
Thanks to Original Songwriters: Burt Bacharach / Hal David
“Let’s get this shuttle moving!” shouts a middle-aged surfer dude in an orange muscle shirt at the volunteer driver of the tram parked curbside at the farthest reaches of Anastasia State Park’s parking lot by the beach.
“First of all, I’ve got plenty of empty seats to fill, with plenty of people still on their way. And secondly, you should have thought about getting here earlier pal, ’cause I been here since 5:30 transporting people to the concert. So stop complaining that I’m the one who’s making you late!” the driver retorts.
“Well asshole, I have no intention of missing the opening number because of you,” he bellows.
“You’re welcome to get off my ride anytime and call an Uber if you want, but otherwise, I suggest you shut the fuck up, and sit the fuck down, and wait patiently like the rest of these folks,” the driver threatens.
According to Joe and Jenny, who had come from Gainesville in celebration of their 10th wedding anniversary, the passengers on the tram were stunned into silence after this fiery exchange. The moment Leah and I took our seats on the tram, the mood seemed unusually somber for a group of mostly baby boomers who were on their way to attend a sold-out performance of Steve Miller Band with Peter Frampton at St. Augustine Amphitheater.
This was to be our maiden concert at the amphitheater–having purchased tickets over three months ago–knowing that we were taking a chance with the rainy summer weather, but choosing to risk it all for just a few hours of iconic rock and roll nostalgia.
At last the day had come, and despite the iffy forecast through late afternoon, the overcast sky had held firm, and it wasn’t long before we were on our way, barreling along the service roads…
to the back door entrance of the amphitheater.
It was 7:05pm and the opening power chords of Something’sHappening were already resonating through the thick air. We bypassed the crowded concessions…
and settled into our seats…
under the big top…
to lose ourselves in Frampton’s guitar licks.
From the start of the evening, Frampton established a smooth repartee with his exuberant audience–thankful for the fans who’ve stuck with him through thick and thin.
At 72, Frampton has seen his share of sunsets in your eyes and lines on [his] face, affably referencing his musical longevity during the interludes between songs, and reflecting on the passage of time through his career–from his chart dominance to his subsequent free fall to his eventual resurrection.
The devotees in attendance who may have missed the ’70s, seized this downtime as the perfect opportunity for a bathroom break, but not without escaping playful ridicule from Peter..
“I wish I could pee. I really do,” quipped Frampton. Now I can only pee on Monday, Wednesday, and Friday… with the help of Flomax.
He’s willingly traded his teen-idol, cascading hair locks and bare-chested pop star status for a musician’s bald/bold appreciation of his instrument, and aptly demonstrated his guitar prowess throughout his set list:
Lines on My Face
Show Me the Way
Black Hole Sun
(I’ll Give You) Money
Baby, I Love Your Way
I Want You To Love Me
Do You Feel Like We Do
But the literal centerpiece was Black Hole Sun–“the best song [he’s] never written”–performed as an instrumental from the 2007 release of his Fingerprints album that garnered Grammy acclaim.
As if channeling Chris Cornell on the anniversary of his birth, July 20,
Frampton commanded the stage with a mindful intent of demonstrating his guitar virtuosity,
and he deftly acquitted himself in the eyes and ears of his audience.
And when the last shred had been wrung from his beloved Gibson, the crowd let him know how much they were with him and how much they cared.
After a half-hour intermission to reset the stage, the evening continued with Steve Miller and his band.
With a few exceptions, Steve Miller’s set list mimicked his multi-platinum Greatest Hits album, spanning the mid to late 70’s, and nobody in the crowd was disappointed, because they had come to sing along and Dance, Dance, Dance.
True Fine Love
Living in the U.S.A.
Take the Money and Run
I Want to Make the World Turn Around
Wild Mountain Honey
Dance, Dance, Dance
Fly Like an Eagle
From his early overture into blues-infused rock, to experiments in psychedelia, to a catchy collection of counter-culture anthems with mainstream melodies, Miller captured the songbook for a new generation of America in flux.
Midway through his set, Miller evoked a memory from 1965 that took him from San Francisco to New York for a performance of The Mother Song on NBC’s Hullabaloo with The Four Tops and The Supremes.
As Miller recounts, the $250 he earned from the gig gave him the confidence to shop for a new guitar at Manny’s Music, a cherished, legendary music instrument store located in mid-town Manhattan. Unfortunately, he discovered there was nothing he could afford. Rejected and dejected, he headed for the door, whereupon he discovered a cluttered barrel of buried guitars standing neck up with a posted sign: “Your Pick–$125.”
One guitar called to him–a 19-string sitar-guitar that he had to have. Along the way, Miller explained some of its unusual features: spool-like knobs, 3 pick-ups, and a mirror on the backside.
Of course, after 53 years it’s still in his possession, despite an offer of $125,000 from a bigwig music producer. This tale has been repeated at similar events for years and years–with fluctuating asking prices–but the audience was hooked on every word and ate it up.
“Whadaya think? Should I consider selling it?” he petitioned the crowd.
Naturally, the crowd answered back with a resounding, “HELL NO!”
Miller put the instrument to good use in a soulful rendition of Wild Mountain Honey.
Thereafter, with each new tune, the audience responded with greater enthusiasm and a deeper appreciation of his classic hits.
The band returned with a raucous 4-song encore (if you consider Threshold to be a song rather than an intro)…
And in an instant, the show was over. We were transported back to the here and now–no longer celebrating the soundtrack of our salad days from high school or college, but always reminded that “time keeps on slippin’, slippin’, slippin’ into the future.”
Ironically, I spotted the belligerent surfer dude from before, who had embarrassed himself aboard our tram. Folks were filing past him to the exits, yet he seemed frozen in place–as if locked in a trance–holding onto a past that he was so impatient to embrace.