I’d eat this. 

Patti remembers Lou. 

On Short Cuts. 

McCann: yea or nay?

Jim Windolf asks: Can you ride a bike in the city without being an asshole?

The answer is “No.”

[Photo Credit: Andrew Savulich/N.Y. Daily News]

Dig this interview with my pal Kate Joyce. 

Painting by Karim Hamid.

You played yourself.

[Painting by Kelly Reemtsen]

This I would eat. 

Should the Yankees imitate what the Red Sox did last winter?

Over at River Ave. Blues, Joe Pawlikowski doesn’t think it’d work. 

That said, I’d enjoy watching Shin-Soo Choo play for the Yanks.

[Photo Via: Getty Images]

Over at the New York Review of Books, Adam Shatz reviews the first volume of Stanley Crouch’s long-anticipated Charlie Parker biography:

That Parker was a child of Kansas City swing should be obvious, but it has been obscured. The temptation to hear Parker’s music as a complete rupture with swing has been fed not only by his beatnik admirers, who saw him as a kind of natural wonder, but by Parker himself, who insisted that bebop was “no love-child of jazz” but rather “something entirely separate and apart.” Indeed, Parker’s work sounds utterly different from the music that preceded it, particularly in its unusual phrasing, and in its splitting of the four beats in a bar into eight. When Parker launches into his improvisation in “Ko-Ko,” his exhilarating reworking of Ray Noble’s “Cherokee,” he seems to be taking flight and bidding farewell forever to the Swing Era.2 To listen to the recordings Parker made for Savoy and Dial in the mid-1940s is to feel you’re witnessing the birth of modern jazz, with its eighth notes, flatted fifths, and breathless velocity.

No artistic movement, however, is born of immaculate conception. Thanks to the work of Albert Murray, Gary Giddins, and Scott DeVeaux, we now know that the music of Parker and Gillespie evolved from the big-band swing against which it rebelled. Murray, in his 1976 book Stomping the Blues, described Parker as “the most workshop-oriented of all Kansas City apprentices,” rather than a highbrow modernist “dead set on turning dance music into concert music.”

Crouch has praised Stomping the Blues as “the most eloquent book ever written about African-American music,” and there is a lot of Murray in Kansas City Lightning: the celebration of the battle-of-the-bands milieu of Depression-era Kansas City; the insistence that jazz is a proud dance music, rather than an aspiring art music pleading for admission to the concert hall; and above all, the evocation of what Crouch has called “the rich mulatto textures” of American culture. These Murray-esque riffs will be familiar to anyone who has read Crouch’s cultural criticism. But Crouch understands that Bird was more than a gifted exponent of the Kansas City style, and that his inspiration arose from a hidden place that cannot be located on any map. Kansas City Lightning is about what Parker owed to his native city, but also about why he had to make his mark elsewhere.

The glories of Kansas City big-band jazz, which Crouch describes in lush detail, are well known. The formidable leaders of the “territory bands”—Count Basie, Bennie Moten, Walter Page, and others—all plied their trade there. They clashed with one another in fierce, joyful “cutting contests,” and sometimes raided one another’s bands for members. The more than fifty cabarets between 12th and 18th Streets provided an education for young black musicians barred from attending the city’s musical academies. The pianist Mary Lou Williams, who later took part in the bop revolution at Minton’s, remembered Kansas City as a “heavenly” place. It was also a sinner’s paradise, where sex was easily purchased and clubs were supplied with Pendergast’s own brand of whiskey. (When the temperance advocate Carrie Nation came to Kansas City, she was shown the door and told never to return.)

Goodbye Marcia Wallace. 

Painting by Damian Loeb. 

Cinephilia and Beyond gives a great post on David Lean.

That’s how they roll in Belgium.

Big story in the Times today detailing the sordid case against Alex Rodriguez:

In the nine months since Mr. Rodriguez and more than a dozen other players were linked to a South Florida anti-aging clinic that is believed to have distributed banned substances to professional athletes, baseball officials and the Yankee third baseman have engaged in a cloak-and-dagger struggle surpassing anything the sport has seen. The extraordinary investigative tactics, playing out in multiple locations, reflect Major League Baseball’s resolve to prove one of its stars cheated, and that player’s determination to discredit baseball officials.

Witnesses for both sides in the pending arbitration proceedings claim to have been harassed and threatened. Some were paid tens of thousands of dollars for their cooperation. One said she became intimately involved with an investigator on the case. And some witness accounts have shifted, leaving each side scrambling to defend the sometimes inconsistent stories provided by former employees and associates of the now-defunct clinic, Biogenesis of America.

The dispute — which involves lawsuits in Florida and in New York, and a battle over grand jury transcripts in Buffalo — has become so extensive that Major League Baseball has once again turned to its go-to consultant for complicated problems, the former senator George J. Mitchell, whose law firm is assisting with the growing caseload.

These details have been gleaned from dozens of interviews conducted by The New York Times over several months with witnesses, current and former law enforcement officials and lawyers involved in all sides of the dispute, and from documents obtained by The Times relating to M.L.B.’s case against Mr. Rodriguez, as well as police reports and lawsuits. Several witnesses and lawyers insisted on anonymity when discussing any aspect of the case because they have been ordered not to speak about the matter by the independent arbitrator who is hearing Mr. Rodriguez’s appeal of his 211-game doping suspension stemming from the Florida clinic investigation.

[Photo Credit: Umar Abbasi]

…In New York is arguably the Marathon. Kateoplis collected some Instagram pictures from yesterday’s race.

Welcome back to another challenge with Where & When, where you follow sketchy trails to get finer details when you have the time to do so.  I have to admit, the last game was pretty interesting and generated a bit of feedback, so I’m inclined to keep that same format for the time being and hope that it will attract new players and get more people talking.  We’ve got a long, long winter ahead of us, so why not at least make it interesting?  Natch.

Oh, and speaking of sketchy, here’s an interesting sketch:

As I’ve mentioned before, this could be pictures of any type; this is probably the first time that I’ve had a drawing to use for a challenge, but the good news is the structure is still standing and in fact was landmarked within the last decade.  It is within city limits, so you don’t have to scramble too far for clues.  One last clue: there’s been a sort-of battle of wits with the community and a well-known business intent on setting up shop in the area that would likely prefer not having to deal with this structure, but is obligated to restore it under their present agreement with the owner.  They’ve done some work on it already, which is not half-bad, considering.

So as with last time, I am allowing answers to be posted in the comments so that we can generate a hearty conversation about the general area.  What I’m looking for is the name of this building (original or according to the landmark commission, which are fairly the same) and the date it was built, which I’m sure you will find if you know what the name of the building is.  An Appalachian for the first person with both answers and a Goose Island for the followers. Enjoy the game, I’ll try to hit everyone up this afternoon.  Oh, and by the way…

I’m introducing a new feature to the game that’s not necessarily part of the game, but an additional topic of discussion.  I hinted at it from the last game, but I’ve realized that time constraints have forced me to table this feature until later. However, that does not mean that you can contribute or anticipate it’s coming (the nature of my field predicts that I’ll have time in the winter season to fully introduce this part), but as a teaser, I will give you a sampling of what is in store. Again in the last game, the town that was spotlighted was Sleepy Hollow, NY, a place I am intimately familiar with.  I intend to feature places up and down the Hudson Valley (on both sides of the river, of course) to relate some interesting tidbits, history and points of interest.  Sleepy Hollow, in fact, has quite a lot of each; so much so that it would be impossible to do a quick post in just one game.  But I could highlight a particular feature and come back at another time…

The Legend Of Sleepy Hollow includes references to quite a few real places and people from Washington Irving’s time; the church, the bridge, Van Tassel and so on.  The route that Ichabod Crane traveled on during his ride with the Great Pumpkin, er, the Headless Horseman, is highlighted as a walking tour through the Tarrytowns (Tarrytown and North Tarrytown as it were) along present-day Broadway, which also includes a few other historic markers and locations related to the American Revolution and Hollywood royalty.  Then there’s also the waterfront, which also features interesting stories of it’s own.  I’ll get to all of these stories over time, but if you have any particular stories relating to those points of interest, feel free to share them below.  There will be more of these types of stories in the future. Talk with you all soon!

[Photo Credit: Pardon Me For Asking]

I’ve seen these posters all over town. I’ve heard announcements while I’m riding the train. I sure do hope they find this boy, alive and in as good shape as possible.

“Time Out Of Mind”–Steely Dan

[Photo Via: Lover of Beauty]