Archive for February, 2006

. Bull Shamu Everybody has their story to tell. T…

February 14, 2006

.
Bull Shamu

Everybody has their story to tell. The trick is to get the other guy’s story without having to listen to him tell it to you when you’re strapped in next to him on takeoff.

This is especially the case when the plane you are in feels a bit heavy from its sold-out crowd of over-packed, overweight Disney World vacationers, and when the guy’s story is about flying helicopters in Nam and watching the pilot of a commercial DC 10 have a fatal heart attack while landing at Newark.

It goes like this. We take off this morning for Orlando, where I’m booked to cover a huge drug chemicals extravaganza. The plane is banking and it feels wrong:

“Kinda scary huh?” sez the guy next to me. “Well, I’ve had some hairy experiences. I’ll tell ya. Remember when they used to have a big screen in the passenger section on which they showed the view from the cockpit and you watched the pilot land and take off?”

“Uh…yeah [uh…no]”

“Well one time I was on this DC 10 from Chicago to Newark. It was almost empty, and I was the only one awake. Well, it was coming in low. Something was wrong. And it hit the ground, like… BANG. It HIT the ground. All of a sudden you see the pilot on the screen fall out of his chair. We’re racing down the runway with no brakes. The navigator reaches over and pulls him up, but he falls down again….”

I’m listening, looking past the guy out the window, wishing our pilot would pull our plane up just a tad.

“…And I’m watching this, right? On the big screen? So, they realize that the pilot had a massive heart attack. The copilot slams on the air brakes. Anyway, I wrote American Airlines about this, and you never saw those screens in the passenger section again.”

Then came tales of Viet Nam as we started to climb a bit.

All right. Does anybody remember planes with screens that showed passengers the cockpit on takeoff and landing? I don’t. Either way, this guy’s story smells like Shamu (and I should know—I’m staying at the Orlando Renaissance Sea World and it smells very funny outside the lobby door). Vanilli-or-not, it’s not the kind of thing I want to hear while reading the fine print on the Newark oil tanks during a bad bank turn right after takeoff.

Well, that was my morning. And how are you today?

Cross check,
verify straps,
and stand by for all-call,
Vanx

. The Wedding of Hassan Fattah Part Four: Let’s Ge…

February 13, 2006

.
The Wedding of Hassan Fattah
Part Four: Let’s Get This Party Started!

In which we tour the Sultanahmet highlights, meet the Fattahs, dodge a shakedown at the Hamam, and scoop the good part out of the gills of fish.
(catch up quick on parts 1-3)

At some point that day, I noticed that they pull ice cream just like taffy in shop windows on Istiklal Cadessi. That night, I learned that Turkish ice cream does not melt, which has certain street sanitation and human digestion ramifications.

Two words: Bubble gum.

But let’s go back to the beginning of the day, my first full day in Istanbul. You may recall at the end of Part 3 that I had a problem on my hands—I was accosted by a menacing, Turkish-speaking individual in a deserted dead end street. Obviously, I got out alive. I was also unharmed. The man, as I described him last week, was apparently a junky. Sidestepping and out-walking him was not a problem. And I did so, with only a slight feint to throw him off, after a short, failed attempt to talk to him. He would have been dangerous, of course, if he had a weapon or friends, and I wasn’t sure he didn’t have either or both as I walked the 30 yards or so back to the wider streets and safety. During that rather brisk walk, he kept up pretty well and continued to proposition me with his smirk and strange hand signs. I left him laughing, finally, making a mental note to myself as I started to breathe normally again—keep the enchantment in check, schmuck. And drink more coffee. You’re in a strange city.

I went to the breakfast buffet at the hotel for the coffee, than back to my room. I was in fairly good condition—I loose whole nights of sleep often, especially when traveling. I was in the room for only a few minutes when the phone rang—yes, finally, I was talking to Hassan. He told me that he wanted me to come and meet the families at the Swissotel later, and that the men would be off to the Hamami for some male bonding early in the evening. He asked how I liked being in the Muslim world. With a mock-sardonic laugh, he said I was not to buy any carpets unless he or someone he designated was with me to do the haggling. “You got it,” I said, and in minutes I was in the back seat of a cab, saying something I never thought I’d hear myself say. “Topkapi Palace. And step on it.”

We turned off the Istiklal near the hotel and went down a steep, narrow road. Heavy swing to the Muslim World side of things. This was the “carpenters and woodworkers guild” block (big visit in Part 5 next week). It dropped down to a kind of mausoleum near the river. We turned onto the street to the Galata Bridge and crossed to Sultanahmet where most of the big sites to visit are located—Topkapi, the Blue Mosque, the Haghia Sophia, and the covered market. I had all morning and most of the after noon and my sketchbook to myself.

Sultanahmet is flatter than Beyoglu, and more crowded, its streets lined with open shops and outdoor markets. There are ancient parks and monuments and big, magnificent, minaret-rocketed mosques. The colors all around are orange-whites, grays and blues. The driver crossed the mall between the Blue Mosque and Haghia Sophia and took me to a drop-off point near the palace. Getting out of the cab, I was circled by guides, government–licensed guides wearing photo I.D.s around their necks. They issued stern warnings about how much I’d miss if I were not given a proper tour. I got away from them, but a non-I.D.-wearing young gentleman followed me. He told me he was practicing to be an English-speaking guide and would like to give me a free tour. He was well dressed and polite. I was suspicious, of course, and non-committal. But he seemed quite harmless, and we were in a crowded tourist area in the middle of the morning, so I didn’t demand that he buzz off. In fact, I got a marvelous tour until we got the Blue Mosque and he tried to get me to buy a carpet from his uncle. He stopped the polite routine when I demurred.

The Blue Mosque was built between 1609 and 1616 in an attempt on the part of Sultan Ahmet I, for whom the neighborhood is named, to take on the Haghia Sofia architecturally. It’s much prettier and more crystalline in structure than the Haghia, featuring bubbling domes that suggest the harmony of the spheres. Ultimately it falls short of the Haghia in my estimate, but it outclasses most of the beautiful mosques I saw on the trip. It has a celestial aspect that makes it beautiful, but somehow unapproachable, thus well short of sublime.

They make you take your shoes off before going inside, as they do at any mosque. They don’t at the Haghia, even though that formerly Christian church is now a Muslim religious site. Inside, the Blue Mosque is a tiled vault with arched windows and other portals that provide an ethereal light. The feeling was truly heavenly as I walked about on carpets wearing socks.

The sketch that I did of the Blue Mosque after I left has the lightest touch of any drawing I’ve ever done. I might have been a bit tentative about balancing all the domes and minarets properly, but I do think I was heavily influenced by the celestial aspects of the place as well.

From there I went to Topkapi, accosted along the way by one or two other carpet men who skipped the polite round and said bad things about Americans when I blew them off. There really were only one or two such incidents, however. (I did a lot of traveling in 2004—Amsterdam, London, Paris, and Brussels—and I found that while people generally despised the Bush Administration, they were still friendly to American travelers.)

Topkapi was built in 1453 when Sultan Mehmet the Conqueror took Constantinople. It remained the Sultan’s residence until the late 19th century. It is a network of walled spaces sided with important institutions and buildings—the mint, the armory, the hospital, the bakery, and, of course, the harem. It affords several knockout views of the Bosphorus, Asia to the right, and Beyoglu to the left. I did another sketch.

Most of the buildings are separate museums. In one, the armory, I think, there was a man singing prayers in a glass booth—he looked like a disc jockey on mic. When I tried to sketch him, he broke from his reveries to give me a rather stern look. Not knowing the protocols, I decided not to push it. I went to the Haghia Sophia.

The Haghia Sophia was purportedly built by Constantine in 325. Little of the original structure remains, of course, but what’s there is old and goliath. It is more of this earth than the Blue Mosque—a shaggy mammoth cathedral. It is not a hollow dome inside. It is a maze. There is plenty of artwork, including the famous mosaic mural of Jesus, Mary and St. John the Baptist.

I went back to the mall and sketched the Haghia Sofia. Surrounded by retrofit minarets, it has a pinkish-orange color that reminded me of old Spanish churches I’ve seen in Florida and California. All around the mall, The famous juice vendors in their striped pantaloons and fezzes stooped to pour cherry juice from the elaborate vessels strapped to their backs. People sold wooden flutes and recorders beside the bar-b-qued corn on the cob carts.

I spent the rest of the morning and early afternoon in Sultanahmet, passing quickly through the overwhelming covered market. I’d come back when I had more time.

Later That afternoon, as instructed, I took a cab to the Swissotel, which, despite a certain desk clerk’s assertions the previous night, was awash with Hassan’s family and friends. I was walked around the lobby, introduced by Hassan’s cousin as Hassan’s friend from New York. He was off by one state, but I went along for the ride—I did work with Hassan in the city.

Layla’s family was interesting. Very sophisticated folk, some of whom had only been able to travel internationally for the last few months—they were Iraqis and could not get passports when Saddam was in power. Most lived in England.

Hassan, who told me when I walked in that he was in hot water with Layla over some flummox with the DJ for the reception Friday night, finally worked things out, ran over and grabbed me, and marched me out the door, all smiles and “finally-we-get-some-time-together-without-these-women.”

We got into the cab, and headed to the Galatasaray Hamam. Hassan had one of his “glamour profession” moments during the ride—he actually showed me that he’d received an e-mail from Judith Miller, praising his work in Baghdad up and down the block. In hindsight, such praise seems kind of strange coming from her. But, Hassan wasn’t at the Times yet, so she didn’t have to throw him the sharp elbows.

The Haman, located on a side street near my hotel, is your typical 200-year-old Turkish bath—a domed, sepia stone building, sunlit through a series of round portals. When we went in, the masseurs lined up in an anteroom, all wearing the uniform plaid orange towel. An elder gentleman was our host—he wore more clothing. He took an immediate liking to me, for some reason, running up behind me and grabbing me, more or less trying to climb up, piggy-back style. He and the masseur line laughed at whatever he was hollering. Hassan was grinning: “He likes you, Rikki.”

People were coming at from every direction in this country.

Thus disoriented, I took in the short spiel delivered to our group by my new admirer. No one understood him. We took off our shoes and followed the masseur line to curtained stalls in which we undressed and wrapped the plaid towels around ourselves. I did this and sat on the cot in the stall. Hassan came by and poked in his head—“C’mon Rikki!”

We went into the big vaulted bath area with the marble slabs on which we’d be massaged. It was a sauna, essentially, but the atmosphere is quite unique. One of the best descriptions I’ve ever heard, in fact, is a soundscape on a CD the band Wilco put out with a book called The Wilco Book. It’s called Hamami—the brainstorm of the drummer who visited a Hamam in Turkey and led the band in reproducing the sounds he heard inside. Echoes in water. Sound that pulls off being wet light. It’s really incredible, and I wish I knew how to put a sound clip up. I don’t. There is also a very good film by Ferzan Ozpetek called Steam (Hamam) that gets the baths and the whole city right.

First we sat against the wall, got sweaty, and dumped water fetched in wooden bowls from ornate wall fountains over our head. I sat with Hassan and a cousin of his from Baghdad, a really sweet guy who explained to me a little bit about life in that city in the summer of 2004. Basically, he said that people were thankful that Saddam was ousted, but they hated the occupation. Why, I asked. Abu Ghraib, he said.

One by one we lay on the slab when called by one of the big masseurs. One pointed to me finally—“you”. I lay on my stomach with nothing but a towel between me and the marble. Using a big yellow sponge, he covered me in oil soap that made mounds of white bubbles. Then he yanked, tossed, and beat the crap out of me. And it felt great! I realized this was a kind of paleo-chiropractics, an ancient ritual that my masseur had down pat. My back cracked a lot on a marble slab. No problem. The only thing that was kind of a problem was that he was shamelessly shaking me down for a tip: “Good Mass-ahj, Good Money!”

Finally, in what I though amounted to ritual humiliation, our group was lined up sitting against the wall again as a couple of the big ones came over and beat us with soapy sponges. In remember one of them had an enormous belly and a navel that looked like a tied-off fire hose. They all had enormous bellies, in fact. Most had black hair cut in bangs and black mustaches.

The old guy led us back to the stalls and told us to sleep.

After about five minutes of laying on my back and looking at the ceiling, I got dressed like everyone else in the party, and went back to the anteroom. They wanted “good money” very badly (of course we’d already paid and plus tipped them) . There was yelling and the biggest one actually took a few steps toward us. Suddenly Hassan, stopping me from giving the guy millions of lire, began shouting him down in Arabic—Hassan doesn’t speak Turkish, and I’m not sure the masseur spoke the language Hassan was using. But the masseur off. I remember the group of us running into the alley. We went off to find a bar on the other side of Istiklal Cadessi.

My long gray hair totally sproinged, I sat with Hassan and his friends and had a few cold beers at a small, nondescript outdoor cafe. Hassan pointed to one of his friends, and asked me to guess the man’s age. The man grinned. I said I thought he was in his 60s. He was about 45. He explained that he looked a lot older because of the eight years he spent in an Iranian prison during the Iran-Iraq war in the eighties. During that time, his family assumed he was dead. Few of the guests had that kind of a back story. And few had as much fun as this man did dancing at the parties that followed that week.

Back at the hotel we met two of Hassan’s brother, Ali and Mohammad, and his cousin. I forget her name, but I remember that she is a private detective in Geneva and her mother looks like Lauren Bacall. We’ll call her Sharin. We decided to have dinner at a place called Cicek Pasaji or Flower Passage, which is off the Itstiklal near my hotel. It is a terraced alley with a vaulted ceiling and rows of restaurants. Mohammad could not join us, but another of Hassan’s cousins, Omar, came along. Omar added great color. He was tall, with a shaved head. Later in the week he’d go to the wedding reception wearing an Easter green Nehru jacket and glasses with dark black rims–very Austin Powers.

We had some great fish. Ali showed me how to scoop the best part out of the gills–he complementing the chef for keeping the heads on with the gills in good shape. We had a lively conversation about the city and parties planned for the week—something about a dinner on a Bosphorus boat cruise the next night, and the formal reception the night after at a palace that has been converted to a banquet hall. Sharin expressed a detective’s interest in two Indian women from Australia whom she referred to as the Ozzes. Hassan had met one of them in New York.

After eating, we filed back into the bustling Istiklal. “Let’s walk our date back to his hotel,” said Hassan, referring to me. Off we went like a party to the Emerald City. On the way, Sharin insisted we all spring for ice cream. The chewing gum-like crap that passes for ice cream in Istanbul is, truly, the worst food I’ve ever eaten. Almost all the food I ate in Istanbul was great, and I wish I had more. But the ice cream had to go–I threw mine away when Sharin and Omar were looking in a shop window. Sharin probably noticed. She’s a detective.

We got to the Richmond Hotel about midnight. Hassan and the others said good night, and I said “call me,” playing up the date thing. Sharin was smoking a cigarette. “Don’t call us,” she said, exhaling the smoke of intrigue. “We’ll call you.” We all laughed and said good night.

It occurred to me as my head hit the pillow that I had no real idea of what was going on the next day.
______________

Next Week:

The Stark Hand
of Commerce

Loo-loo-loo-loo-loo-
loo-loo-loo-loo-loo-
loo-loo-loo-loo-loo!


Blue Bosphorus

_____________

The painting’s progress:

We’re going with
yellow–problem?


_____________
Photos top to bottom
Boosting the Ethereal: Mosque lights*
Unguided tour: Streets of Sultanahmet *
Harmony: Domes and minarets of the Blue Mosque
Harem?: Turn left at the mint
Goliath: Haghia Sophia
Haghia Mosaic: Christ, Mary, and John
The inner vault: Inside the Haghia Sophia
Asian Prospect: Lobby of the Swissotel
Painted From Scarred Memory: Hamami
Fountain: At the Turkish Bath
Masseur Line: “Good money”
Dinner with the Detective: Cicek Pasaji
* Photos by Dick Osseman

Snow . Lighted lavender Inside the blizzard’s roma…

February 12, 2006

Snow
.
Lighted lavender
Inside the blizzard’s romance~
Calling back winter
.

.Clowns A complex minstrel~ Color, light, and ha…

February 9, 2006
.
Clowns

A complex minstrel~
Color, light, and harmony~
These overwhelmed him
.
Walt Kuhn
.
.
Pablo Picasso
.
.Georges Rouault
.
.

Henri de Toulouse Lautrec

.

James Ensor

.

Jean-Antoine Watteau

.

Walt Kuhn

.

Velásquez

.

.

“I thought that you’d want
what I want…”~Vanx

(Ecce Homo)

Rouault

The Crystal Odyssey . Or a Compromise Solution Fo…

February 8, 2006

The Crystal Odyssey
.
Or a Compromise Solution
For Science Publishing

P
anning the panoply of all known
forms
(Cue camera three for the trombone
break!),
Here comes Ivan Amato who asks for
nine columns–
The nine that he thinks it will
take!

Having unearthed the facts and the photos to go
With a crystals “Sci-zine” exposé,
He’s for trashing the words and just laying out pix
In a heretofore uncharted way.

But requests on this order tend not to fly
With the bureaucrats down at “The Show,”
Who will agonize openly, conferring en mass,
Hoping, someday, to tell the man, “No.”

“Three pages of imagery hasn’t been done
Which means that it simply can’t be!”
(Note the looks of suspicion and fear, consternation,
Shock, pain, alarm and ennui)

When into the room steps Melody V.
Our Sci-zine webmistress nonpareil
Her goateed sidekick Wes is beside her,
They have an idea, and they yell:

“How ‘bout we set up some carousel gizmo
That rotates these crystalline forms?
Since it ain’t in your paper-based-world magazine
It won’t hurt to veer from the norm.”

Everyone likes this, even Ivan Amato,
Who has written words too, truth be told.
So click on this link and learn about crystals
Verb-Ops guarantees you’ll be sold.

Meanwhile, back at the Health Desk

Bird Flu, Mad Cow Mutate In Lyon
.
.
“Mad Bird Disease” Takes Psychological
Toll In France’s Breadbasket
.
Lyon, February, 8, 2005 Three cases of mad bird disease, a suspected mutant merger of mad cow disease and bird flu, have been reported in this city in central France, dealing a blow to the local populace and poultry industry.
….Western science has been obsessed with the fear that bird flu would mutate to humans,” says eminent pathologist Jacques Picard of the Centre Leon Fleury, Lyon’s foremost flu research institute. “Well, guess what.”
Picard insists that a combinatory mutation has taken place, but he says it is too early to determine exactly how it occurred–whether a flu-stricken bird somehow contracted mad cow disease, or whether a mad cow was first felled by the flu.
The French government was quick to state that the outbreak seems to be contained.
Alain de Bernard, a French health official, told reporters here that given the lack of hard evidence that a hybrid disease actually exists, there is currently little cause for concern.
“I’m not sure that reports of erratic behavior on the part of one French chef and two puppets means anything,” says de Bernard, “other than a slow news day in Lyon.”

The Wedding of Hassan Fattah Part Three: We’re Go…

February 7, 2006


The Wedding of Hassan Fattah
Part Three: We’re Going In

In which we fly through a cloud of mystery, bone up on Ataturk, miss Hassan, and end up in a bad place. (See a quick review of parts one and two)

Hassan and I do this childish thing on the telephone. When he calls and I answer, he sings my name to the tune of Jungle Boogie. When I call and he answers, I sing his name to the theme from Brazil (I pause at the beginning for suspense and start tapping rhythm on the receiver with my pen before singing). So, it’s either:

“Rik-Ki Mul-Lin,… Rik-Ki Mul-Lin!”

Or:

……..tap, tap-tap, tap, tap-tap “Doot doot-doot Doot doot-doot doot-doot, Doot doot-doot, Doot doot-doot doot-Has-Saaaaan Fat-Taaah, Has-Saaaaan Fat-Taaah!”

(Hey, blogs are supposed to be for sharing the intimate stuff, right? So, there you go.)

Anyway…I was jetlagged. Sitting in my room at the Hotel Richmond on Iskatlal Cadessi in Istanbul, looking at the phone, waiting for Jungle Boogie. It wasn’t happening.
_________
In the weeks and days leading up to the trip, I had heard nothing from Hassan. I had no idea where he was—all I knew was that he had cleared out of Iraq under horrific circumstances. I sent him a couple of e-mails inquiring as to his whereabouts. I asked for some sort of itinerary for wedding week (he had sent a list of hotels to all the guests. I booked at the mid-rate Richmond rather than the top flight Swissotel or the low-ball Side Hotel and Pension. Never go with low-ball choice). I finally got an e-mail reply a week before I left. “Don’t worry Rikki. We’ll take care of you. I’m so happy you’re coming!”

All right, then. He’s somewhere….

I left for Istanbul on a rainy Monday afternoon. Standing in line to check in at Newark airport, I felt, oddly, like I was taking my first trip on a plane. It seemed exotic. I remember the man and woman in front of me, heavily laden with luggage, going, I intuited, on their honeymoon to some other exotic place. The flight from Newark was destined to London where I’d switch planes to my final destination. So would they. I began reading Anna Karenina at the airport bar. I bought a Newsweek with a picture of John Kerry and his new running mate on the cover. That image was nerve wracking, and I was happy to be leaving the country for a bit.

I arrived in London at sunrise, surfeited on Tolstoy. In the airport I picked up the TimeOut guide to Istanbul, which is a little better and a lot hipper than the Knopf guide I’d carried from home. I wandered restlessly for about two hours waiting for my flight, settling down from time to time to read the TimeOut guide, checking out restaurants and museums in Istanbul, and getting a primer on Ataturk–indispensable intelligence for the first-time traveler to Turkey.

We don’t have a Mustafa Kemal Ataturk in the US. Washington was a great man. So was Lincoln, and we love them both. But Ataturk, the founder and first president of the Republic of Turkey, is revered by the Turkish people in a way that we revere no one. His image is everywhere, and he is on all the money–(the lowest denomination of which is one million lire.)

Here’s how TimeOut puts it: “He’s the centre (sic) of a personality cult that makes those of Lenin and Mao Tse Tung seem shy and retiring by comparison. What’s more, he’s dead and absolutely nobody is being forced to put up his posters, erect statues, parrot his slogans, buy the mug, the clock, the tea pot, the T-shirt. But they all still do.”

And the Turks love him for a good reason—his legacy is the great bulwark against anti-secular, Iran-style political Islam–the kind that scuppers your shot at membership in the European Union (Turkey seemed to have more of a shot in the summer of 2004). He was a brilliant military commander, indispensable in the Allied landing at Gallipoli in World War I. People stand motionless for a siren-ridden “minute of silence” every year at 9:05 AM on November 10, the hour he died.

On the flight to Turkey, I really started getting into the character of Levin in Anna Karenina. I finally stopped worrying about the Visa—I had been assured up and down that you get it there once you land. I believe that is not how it’s done elsewhere. Well, it is how you do it in Turkey. You buy it for $25 when you go through customs.

In the airport—Ataturk Airport—you get the first feel for the mix of Teheran and Amsterdam that is Istanbul. You are in the Muslim world, but it feels a lot like a Muslim neighborhood in, say, Paris. My experience would shuttle between the two paradigms–Euro World and Muslim World–throughout my stay.

The cab from the airport was shabby, and I had no real line of communication with the driver. I knew from TimeOut that the written address I handed him referenced the main street of antiquity as well as modern-day Istanbul’s answer to 57th Street in Manhattan. Still, he kept turning the paper around sideways and upside down, scratching his head, and shaking it “no”. Then he stopped all of that and set off, somehow taking me pretty close to the hotel.

We drove across the Galata Bridge over the Golden Horn, one of the two rivers in Istanbul. It is a busy pedestrian thoroughfare and a major vehicular artery. It connects Sultanahmet, the larger part of the city, to Beyoglu, the peninsular hill that cleaves the Golden Horn from the Bosphorus, the big river connecting the Sea of Marmara and the Black Sea.

Beyoglu is a swarming hill of old buildings and traffic dominated by the Galata Tower. We drove around Beyoglu a lot that afternoon until we got near the Richmond Hotel, which is on a part of Istiklal Cadessi that is somehow inaccessible to cars. I was let off on a nondescript street torn up by construction. My driver pointed to an alley. I dutifully got my stuff and went into the alley, assuming that I’d never be heard from again.

Exiting on the other side, however, was like the switch to Technicolor in The Wizard of Oz. There was a sudden surge of churches (all denominations, as well as synagogues ) and flowers, book stores and restaurants, gaggles of people and a cute red cable car that went up and down the street. The hotel, by a square called Taksim at the end of the street, was very modern looking. It had a big glass facade that mirrored all the bustle.

When I checked in, I told the desk clerks that I was part of the Fattah wedding entourage. They congratulated me, and told me they had no idea what I was talking about (these folks spoke excellent English, so I started getting a little nervous). I went to my room and waited for a call from the front desk or maybe a note slipped under my door. Nothing. Jungle Boogie….? I wait. No.

Dinner—I had to get out of the room. I had to explore the street. Hassan said he’d take care of me. I trusted him. Once outside, I discovered that each alley and side street off of Istiklal Cadessi is its own scene. The commercial glitz tones down, and there are generally teashops with people outside playing Parcheesi on stools and low tables. The tea comes in small glasses and many colors. There was a short downpour, and then the kind of evening sunlight that can only come after summer rain. I perused a bookstore and went to a teashop, where I sat outside and ate a grilled cheese sandwich of some sort. My waitress spoke no English—I thought I had ordered the trout. I read Tolstoy and drank delicious tea.

I repeated the previous hotel episode. Then I went out for an evening saunter, climbing the hill to the Galata Tower. I noticed, as I left the Taksim neighborhood and headed in the direction of the River, that the first block had stores with nothing but electronic instruments—guitars and organs. The next block or two had stereo equipment shops. After that came a few blocks of electrical appliances, and then the tower. Later in the week, I’d walk this road down to the river and watch the trades devolve further—after the electrical appliances came hand tools, spare part shops, smallish rope outlets, stone axes, and fishing tackle at the river’s edge. It was more fun walking back, starting with fish hooks and working my way up to Moog synthsizers. There were turbaned porters struggling up the hill with big boxes on their backs that said “Moog.” Everywhere I turned there was a juxtaposition of new and old, Euro- and Muslim world.

I turned back to the hotel, worried I’d miss a call from Hassan. I did: “Rik-ki Mul-Lin! Its Hassan speaking!,” said the voice mail. “I want you to meet me for dinner with Layla in a half an hour. After tonight, there will be very little chance to do this kind of thing, because the big party starts tomorrow. Call me at 555-,” etc.

Daghhhhhh!!!!

I was so jet lagged and tired. There was no way I could possibly go out. I was pissed at myself for not just sitting in the hotel and waiting for the call. “So…what?,” I thought. “Now I don’t see Hassan? Tomorrow they wrap him in a coat of many colors and hoist him so high over my head that I won’t even recognize him?” I’m pissed. Why couldn’t he have given me a heads-up about stuff the week before? Why didn’t I just sit by the phone all night? It was so Hassan! It was so me!

I called the number–it was for the Swissotel. I asked for Hassan Fattah. No one by that name has checked in, said the voice on the other end. I asked for any Fattah. There weren’t any. I tell him that the Swissotel is Fattah-wedding-central tis week! Fattah-fest ‘04! I sensed that he shruged. I hung up and collapse on the bed.

Despite mind-numbing jetlag, I proceeded into a sleepless night. I’m Bill Murray in Tokyo. On-and-off dozing only. My exhausted mind had me leaving Istanbul without ever finding Hassan. Then a beautiful thing happened–the 4 AM call to prayer. It started with the crackling of the loudspeakers at the top of the minarets all over the city. Then came that distinctive tonal yawl of prayer emanating from all directions. In the pauses were the cries of sea gulls mixed with the resonance of more distant prayer broadcasts—the bird cries sounded like seriously distressed babies crying. I went to the window–hints of dawnlight in clouds. Figures walking slowly to the mosque. The magical effect of all of this was enhanced by my fatigue, no doubt, but magic is magic.

At about 6:00 AM, I gave up. I got dressed and went out walking again. The bakeries–austere and poor looking, painted battleship green inside, but somehow filled with a confusing selection of things to eat–were open. I liked the coffee—good, hard cop-grade coffee. Black.

I continued walking toward the big circle at the other end of the Istiklal. There was a church or mosque that looked interesting in one of the neighborhoods off to the right, so I turned in. The street was empty, and I was maybe a little too free and easy about wandering around. A little too curious. (Enchanted is always a bad way to be when you are an out-of-towner with a little back-pack at 7:00 AM.) And, predictably, there he was. The junky. He’d walked right up to me. He was skinny, in his 20s or 30s with a shaved head. He appeared to have had less sleep than I did, and he seemed to be propositioning me, making some sort of sign by tapping two fingers against his forearm. He was half pleading, half laughing, and he had me kind of pinned into a dead end. There were pastel orange concrete buildings with green shutters all around me. A few rags hung from the nest of crisscrossed lines. A few of those seagulls from prayer call shot over-head.

Was this any time to be looking up at the sky?
____________
Next week:

Jungle
Boogie


He’s Everywhere!
He’s Everywhere!

Meet Hassan’s
Friend
Fom
New Jersey

Bad Ice Cream
In the Flower
Passage

The Bachelor Party
You’ve All
Been Waiting For **

________

The Basement Scrapes


Some New Faces: It’s time to pull this rug together, people!




________________
Photos (Top to Bottom)
Kool & The Gang: “Ri-ki Mul-lin”
Straight Outta Newark: First stop London
Topper: Attaturk
Galata Bridge: Straight into Beyoglu*
King of the Hill: Galata Tower*
I Am Here: Let the phone ring a long, long time
Robinson Crusoe’s Bookshop: A cultural equalizer**
From My Room: Istaklal Cadessi
Hommes Fatale on the Istiklal: Rough night?*
*Photos by Dick Osseman
**Photos from TimeOut Istanbul

The Lost World Piece of My Heart Yesterday I noti…

February 5, 2006

The Lost World
Piece of My Heart

Yesterday I noticed that my daughter had gone into my records in the basement and was listening to the double-LP Janis Joplin live album I bought when I was about her age. Despite the fact that she was out with her friends to a concert by a band called The Spill Canvas when I discovered this, I told myself that she might yet be weaned from the “Emo” spilk. “She’s a closet Joplin fan,” I said. “That’s very subversive, and much healthier for teenage girls than whiny boy bands.”

I realized, looking at Janis’s smiling face on the album cover, however, that Joplin In Concert now has a bittersweet association for me: The jukebox at Lafitte’s Blacksmith Shop.

Lafitte’s, which bills itself as the oldest bar in America, is on the far end of Bourbon Street in New Orleans–past the conventioneers at O’Brien’s, past the gay bars, way down where the street gets kind of hard. It’s different from the wood and stucco houses, leaning and trellised, that typify the French Quarter. Lafitte’s is stone, squat, and solid–a piano bar in an 18th century blacksmith shop that became a tavern prior to the 19th century. Walk in at midday, and there are pockets of darkness and channels of light from the door-sized windows. In the middle is the stonework forge and in the back is the piano. By the door is the juke box.

I used to go to New Orleans at least once a year on business. I always tried to get to Lafitte’s once during the day and once at night. At night, the place was packed and the singer at the piano entertained in grand stride tradition. But I especially liked going to Lafitte’s during the day when I could sit with a beer and play my favorites on the juke box—Dr. John, Professor Longhair, Van Morrison, Armstong, Credence, and Joplin.

The Joplin song that made the scene for me at Lafitte’s was “Piece of My Heart”–The Pearl backed by Big Brother and the Holding Company. It’s on the album in the basement. Recorded on some beery afternoon in San Francisco (I imagine), you hear the Brothers’ loose soul guitar and husky background vocals holding up the simultaneously vulnerable and powerful Janis. The cut is stone, squat, and solid.

“Didn’t I make you feel
Like you were the only man?”

Yes, Janis. And at 1:00 PM, I often was the only man at Lafitte’s.

So, here I am writing about all of it in the past tense. Lafitte’s is still there, of course. It could probably have withstood more than the French Quarter took during and after Katrina. And Bourbon Street is back in business, they say.

But am I going back? To tell the truth, I’m torn. I want to go back to help boost the big industry in town—tourism. I just plain want to go back. However, the idea of shipping in for a few days of “Big Easy” under current circumstances seems kind of wrong. I imagine the worst part of Bourbon Street, the dangerously drunk part, is more prevalent post-Katrina. And the 24/7 Mardi Gras would seem almost obscene. On the other hand, there must be a certain sweetness, a lot of sympathetic people. But would that be all about nostalgia? Because I couldn’t take that. I’m troubled by the whole idea.

The thing is, I’m afraid that if I wait for whatever New Orleans ends up becoming, the old feeling at LaFitte’s will be gone.

Or is it lost already?

(I was supposed to go to New Orleans next week, but they relocated the conference to Orlando. It’s ironic, given that I fear the French Quarter may become a kind of Disney-like “French Quarter World” if the city looses any of its essential character)

Slipping Janis back in the sleeve down in the basement, I am sadly reminded of the times I’ve thought of my daughter taking her first trip to New Orleans. Of how much she’d love it, and how she’d tell her friends how much her dad loves the city. Is that even possible now?

“Come… on…Take IT!”
Vanx

A Portrait of Ken S. The Art Student’s League lef…

February 4, 2006

A Portrait of Ken S.

The Art Student’s League left a strange message. A Mr. Ken S. had seen a painting of mine in the gallery. He didn’t want to buy it. He wanted me to show him how to paint it. He wanted a lesson.

I’d never given lessons. In fact, my self-taught approach to painting is so personal that I am completely unqualified to instruct. But the art business in 2003 was the worst ever for me. There was no business, in fact. I wished he’d just buy the painting, give me money, and reverse engineer it at home in his spare time. But that wasn’t going to happen.

I called the number that the giggling woman at the ASL left on the answering machine and spoke with Ken. He said he liked my painting—a still life with pansies, a blue ceramic teapot, and a watering can—because it reminded him of another painter’s work. He wanted to meet me in a gallery in Soho so he could show me things by this other painter, and then he wanted me to give him a lesson at his apartment. He wanted me to show him how to paint like the other guy.

This had become a very strange request, but I had to go along–my art supply bills were piling up. I looked for a good reason to say no. There really wasn’t one. We set a date in February.

The request was outlandish, but Ken seemed familiar. In fact, I was sure I had a complete and accurate read on him from the sound of his voice. This guy, I was sure, was a jumpy red diaper baby, tall and gangly, a capable pianist and jazz aficionado, and a lifelong New Yorker. Manhattan is crawling with these guys. I knew this man.

I suggested that he let me do a portrait of him or someone in his family during the lesson. He brusquely told me this could not be done—“I’m an Orthodox Jew, we don’t allow portraits.”

My mental image of Ken fell apart.

I knew about the no-portrait edict among Orthodox Jews. It is related to the commandment not to worship graven images. There is a great story about Chaim Soutine, one of my favorite painters, who got caught drawing a picture of the Rabbi when he was a teenager. The Rabbi’s sons beat Soutine badly for this, and Soutine’s mother sued. The money she was awarded bought Soutine a ticket out of the Shtetl, and finally to Paris.

The day of my appointment with Ken arrived, and I stood in the Soho gallery just after it opened. I found the paintings by Ken’s artist–they are essentially different from mine. They are thickly painted oils, as are mine, but this guy’s paintings are far more naïve, in the Haitian folk art vein.
And then–

“Are you Rick?”

I turned and faced a man in his seventies, short with the long white beard of the Hassidim. He was wearing a leather World War II bomber jacket and a Yankees baseball hat. He was a mixed metaphor. He introduced himself in a slightly high-pitched, amiable tone, and started talking enthusiastically about the paintings he liked in the gallery. A few minutes later, driving in my Tercel to his apartment on the Upper West Side, he told me a lot about himself. He is a devout Jew, and has been reading Talmud for about twenty years. His son is a Rabbi in Florida. Ken had a business in designing decorative wooden appointments for furniture and interior design. He was in the Air Force in Korea. He was not always Orthodox–the bomber jacket is legit.

At his apartment, he took off his baseball hat, under which he wore a yarmulke. Then he took off the bomber jacket. He wore suspenders. We set up an artificial sunflower still life in his studio–a small room with large chests of drawers and a cluttered drawing table. There were woodcarving tools and clumps of modeling resin all around. I showed him how I paint. He was interested, asking a lot of questions about technique. I hate talking about technique, but this was supposed to be a lesson. So: “Blah, blah, blah….” And I was really unhappy with the results on the easel.

We went to lunch near Central Park. We bought sandwiches at the local deli, and we ate them on benches behind the Museum of Natural History. We looked for familiar names on the nearby obelisk engraved with the list of Nobel Laureates in science. I found Roald Hoffmann, who does a science cabaret at the Cornelia Street Cafe. Then we walked to an Internet café—Ken wanted me to show him some paintings I had mentioned during the morning session, including some Soutines. My beard back then was rabbinical in dimension, and we came across as a father and son act as we wandered the neighborhood. I had a great time with Ken. He is very personable, lively, and funny.

We came back to the apartment, and I put the finishing touches on the flowers. I had an extra canvas and the time to do another painting, and I really wanted to do a quick portrait of my new friend. But I didn’t want to bring it up again. Then he started showing me photographs of himself and his wife, Beverly, on some trip they took. There were several photos of Ken. Hmmmm…. I made my move.

“Now Ken, these photographs are kind of like portraits. I thought that wasn’t allowed.”
“Well, no, it’s not.”
“So, what gives?”
“Ah, I wasn’t looking at the camera.”
“Ken…”
“Wha…?
“Sit over there and don’t look at me.”

He did it! He sat down, looked to the side, lit his pipe and, in a quarter of the time it took me to paint the flowers badly, I accomplished a personal-best portrait. It’s a pallet knife rendering somewhere stylistically between a Pissarro and a Cezanne.

The sun was setting on Upper West 80s as Ken sat. He gave me a lot of advise about marriage. He expressed a great deal of admiration for President Bush’s support for Israel. We had a little political chit chat and volley, listening to WQXR, the New York Times-run radio station that broadcasts top-ten classical music, news, and shrill advertisements for Broadway shows (I actually listen to this all the time when I paint at home). It was the first time I ever painted suspenders. Wait…no—the second. Anyway…

Ken paid me for the lesson and got to keep the flower painting as part of the deal. I left both paintings to dry—it takes an oil painting about a week to dry on the surface and months to dry to the canvas when you paint as thickly as I do. He agreed to hold on to the portrait for a week or so when I would come pick it up.

A week later, Ken came to the opening of an exhibit I had at the Cornelia Street Café—paintings of New Orleans—and asked to talk to me privately. In the bar, he told me his daughter in New Jersey had seen the portrait and that she had to have it. I was flattered. I liked the idea of his daughter owning that painting. I gave it to him for far less than I usually charge friends, counting his initial payment for the lesson toward the portrait instead.

One day in March, I stopped by Ken’s apartment in the middle of the afternoon to photograph the paintings. I like to photograph in sunlight, so we took them outside. Ken allowed me to take a picture of him as well, standing in front of his apartment with his pipe in his mouth, looking away from the camera. He’s looking toward the park.

What a guy,
Vanx
______
Photos
Exposure: The Concourse Gallery at the Art Students League of New York
Still Life with Pansies
Self Portrait: By Chaim Soutine
Portrait of Ken S.
Himself: Ken S.

Ops Populi: That’s The Way God Planned It …

February 3, 2006


Ops Populi:
That’s The Way God Planned It

Why can’t we be humble
Like the good Lord said
He promised to exalt us
And show us the way
How can man be so greedy
When there’s so much left
All things are God given
And they all have been blessed

That’s the way God planned it
That’s the way God wants it to be
For you and me
(You gotta belive me)
That’s the way God planed it
That’s the way God wants it to be
Believe me

Let not your heart be troubled
Let morning sorrows cease
Learn to help one another
And live in perfect peace
If we just be humble
Like the good Lord said
He promised to exalt us
His love is the way

That’s the way God planned it
That’s the way God wants it to be
For you and me
(You gotta believe me)
That’s the way God planed it
That’s the way He wants it to be
Believe me

I hope you get the message
Where you won’t somebody will
You may not understand me
But Billy will love you still!

Oh, That’s the way God planned it
That’s the way God wants it to be
For you and me
(You gotta believe me)
That’s the way God planed it
That’s the way He wants it to be
Believe me
(Repeat)

It’s all too beautiful,
Vanx

Top: Historic meeting this week between President George W. Bush and humanitarian rock star Bono Vox.
Center: While performing at The Concert for Bangladesh, August 1, 1971, in Madison Square Garden, a prophetic Billy Preston foretells the healing Bush-Bono encounter.
Below: President Richard M. Nixon meets with Elvis Presley, December 31, 1970. (Preston admitted in an interview in 1984 that his Bush-Bono vision was, indeed, plagiarized.)

Water and Buildings and The Sky (Paul Weingarten’…

February 2, 2006


Water and Buildings and The Sky
(Paul Weingarten’s Towers Series*)

Monet had his hay stacks, Van Gogh his sunflowers. Paul Weingarten had the World Trade Center.

Like many artists, Paul paints certain things over and over again–oil tanks and drawbridges in Newark, fish in his kitchen. Prior to September 11, 2001, he painted the World Trade Center many times. This kind of thing is not done as an exercise–a serious series is done to get to the core of the subject, to get beyond familiarity and express a vision. It is, excuse the cliché, the product of a beautiful obsession. Paul’s lower Manhattan landscapes dominated by the towers certainly express a vision.

Living in Hoboken, New Jersey’s answer to Brooklyn, you go through life with Manhattan for a backdrop. It’s a small town—the Mile Square City. It is the symbolic embodiment of On the Waterfront. It is a glorious Palookaville in the shadow of immensity. Paul lived there at about the time I did, but we met years later.

Of course Hoboken has its elements of grace. Beautiful brownstone architecture, for one thing. The first game of baseball was purportedly played in Hoboken’s Elysian Fields, the park across the street from our apartment–Maureen and I lived in Hoboken right after we got married. We lived right down the block from the old Maxwell House coffee factory, the big building with the dripping-cup neon sign across the Hudson from Midtown. I would wake up in the morning and say, “great, Maureen has the coffee on and it smells heavenly.” Maureen would still be sleeping. It was factory aroma.

Mmmmm. I liked Hoboken. They closed the factory and tore down the sign, but they kept the club open (Mawxell’s, across the street from our old apartment, is still a major venue for early-stage big-name acts. If you were smart, you saw REM there back in the day. I was dumb).

Buildings—The Lackawanna Railway Station. I have something in the comments here on that beauty. The station was right across the Hudson from the big buildings–the twin towers.

I have to admit that I used to look at those big buildings and think they were very long, dull rectangles showing off how high it is possible to build. I thought they were spectacular, but not beautiful like a brownstone apartment building or a classic train station.

Paul straightened me out.

My problem was that I was only looking at the towers. I wasn’t fully attuned the harmony involved—the structural harmony of all the buildings in lower Manhattan funneling up to the top of the towers. More importantly, I was missing the rhythms of the sky and the water and the buildings. It also mattered more than I realized that from most perspectives, the towers were a monolithic structure.

In my defense, I wasn’t a painter at the time–but a writer should have seen better. The devil is, indeed, in the details.

As far as I know, Paul always painted the towers at dawn, or at least in the morning, when the sun’s energy shot through the landscape. He might have done sunsets, which would provoke more subtle energies. Equally important were the clouds. It should be mentioned that all the paintings were done prior to 2001. They are prescient.

Commuting to New York on the ferry from Manhattan for many years, in all kinds of weather, I came to feel these harmonies and see the towers as a fulcrum to a majestic natural pageant. I saw the sublime, and must admit it took Paul’s vision, expressed in his paintings, to pull it all together into an integral comprehension. These paintings brought me beyond the familiar.

Vanx
*All paintings by Paul Weingarten, by permission of Salander O’Reilly Galleries, New York