Red Hook Star-Revue, October 2022

481 Van Brunt Street, 8A Brooklyn, NY 11231 (718) 624-5568 www.star-revue.com george@redhookstar.com

Editor & PublishEr

George Fiala

NEws Nathan Weiser

Brian Abate

FEaturEs Erin DeGregorio

CulturE Roderick Thomas ovErsEas maN Dario Muccilli

roCk Kurt Gottschalk Jazz George Grella Film Dante A. Ciampaglia books Michael Quinn

CartooN Marc Jackson

wEbmastEr Tariq Manon kids Editor Marie Heuston dEsigN George Fiala ads George Fiala

Merry Band of Contributors

Michael Cobb

Joe Enright

Michael Fiorito

Jack Grace Mike Morgan Nino Pantano

Agreement to Monitor Large Whales Locally Extended to 2028

Erin DeGregorio

OnSept. 7, the Wildlife Con servation Society (WCS) and Empire Wind an nounced the extension of their agreement to monitor large whales in the lease area of Empire Wind—an offshore wind project off the southern coast of Long Island— from 2022 to 2028. The new agreement ensures that important data to protect wildlife in the New York Bight will be collected during the pre-construction, construction, and post-construction phases of the wind project.

Two acoustic monitoring buoys were deployed in 2016 and 2019 as part of a broad effort to generate key data prior to construction of the Empire Wind project. Data collected over the next six years will continue to result in new knowledge on whale occurrence and behavior in and around the Empire Wind lease area.

“We know there are at least three, if not four, seasonally-present endan gered species and up to 38 marine mammals species are present in and around our project area,” said Jen Du pont, marine biologist with Equinor.

it will ultimately give us one of the

tic right) are seasonally present, and some for extended periods of time in the New York Bight,” said Dr. Howard C. Rosenbaum, the project principal investigator and director of WCS’s Ocean Giants Program. “In turn, this data can be used to inform best prac tices to minimize impacts on wildlife from the development of offshore wind energy.”

“The whale vocalizations detected by the buoys over the past six years high lights the importance of developing offshore wind responsibly and seeking ways to minimize impacts on marine mammals and other wildlife,” added Scott Lundin, from Equinor, the com pany building wind power generators in Sunset Park.

longest running datasets on marine mammals in the New York area in terms of presence and absence.”

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“The buoys are expected to be de ployed through the end of 2028 and then we’ll have a final report in 2029. That will help inform us what, if any thing, is changing as we go through the different construction phases and

The buoys have already compiled more than 2,000 days of monitoring data and have detected more than 18,900 whale sounds in near realtime—including more than 3,500 de tections this year alone and 442 detec tions in September.

“The data from this acoustic monitor ing and our analyses clearly demon strate that several large whale species (fin, humpback, sei, and North Atlan

The North Atlantic right whale, which lives on the east coasts of the U.S. and Canada, has been listed as endan gered since 1970 and has experienced an ongoing unusual mortality event since 2017. Vessel strikes, entangle ment in fishing gear, changes in dis tribution and availability of prey to ocean noise and climate change have contributed to the population decline. Only 57 calves have been born since 2017, and roughly 368 North Atlantic right whales are in existence.

“The North Atlantic right whales are migrating through our area and not staying present for more than a cer tain amount of time, but they’re still the one that we’re keeping the biggest eye on and who we’re designing our mitigation mea sures around,” Dupont said. “The right whale story personally hits you hard when you start seeing the last remnants of this popu lation coming down.” Information collected from this project is available to the public on whalesofnewyork. wcs.org and dcs.whoi. edu, and can also be accessed at an exhibit kiosk at WCS’s New York Aquarium in Co ney Island.

"This data can be used to minimize impacts on wildlife from the development of offshore wind energy.”

Risha Gorig

Opinion: Words by George

I've changed my mind about the Columbia Waterfront

by George Fiala

It's

always been the view of this paper (and me) that the Colum bia Street waterfront, the stretch of coastline between Brooklyn Bridge Park and the Red Hook Cruise Termi nal should always remain industrial— a place to load and unload containers.

It is also home to a beer distributor the Waterfront Commission, a left over from the old corrupt waterfront, which still today has to approve any one working on the piers.

It's not a secret that the real estate de velopers have been lusting over that land, especially after the resurgence of the Williamsburg coast over the last 25 years. The fully unionized contain erport has kept them at bay, as unions always have the support of Demo crats. The Port Authority renews the containerport lease every five years.

Housing

I am kind of sick and tired of hearing that we have an affordable housing shortage. One result of the creation of Mandatory Inclusionary Housing regulations, which enable builders to build bigger and denser housing as long as a certain portion of the new apartments are rented for $2000 or less, is that everything else become luxury. Wealthy people are always looking for places to park their money, and since everybody believes that real estate value is on a permanent up wards trajectory, apartments becomes part of portfolio, just like stock and bitcoins and gold. Which means that the more expensive the property, the better it is for the investment portfolio.

It makes me think that there are lots of apartments that barely get lived in. If

I had unlimited time to devote to in vestigation, I'd do a study on electric ity usage divided by number of apart ments in each of the boroughs over the past 40 years, and study that However, everybody, especially young social-justice-seeking men and wom en now do the work of the real estate industry by parroting the urgent need for new building (at any cost).

But I'll take the plunge and believe that they are correct in saying that more and more building will allow ev erybody to live where they want to.

That said - the time is probably right to move the container port to the marine terminal in Sunset Park. I'm not sure that's still possible, since a lease has been signed with a company making equipment for wind energy, but it's possible there's still space for both.

Fix the trench

One of the first news things I covered when I began this paper was a series of public meetings which envisioned a way to cover the BQE and rejoin the Columbia Waterfront with Cob ble Hill and Carroll Gardens. It was a study funded by a grant from Nydia Velazquez. However only the study was funded, not the means to do any of it. But while the trench remains, the study and it's findings does exist and perhaps it could be folded into a plan to bring housing to the waterfront.

Of course, I'm love Red Hook the way it is—a mixed used neighbor hood with industrial maritime use and a nice park and people. The one wildcard is the UPS site, which lays vacant, and equally alluring to devel opers. These days you can't depend

on your council person to protect the zoning that a neighborhood wants, as those same people who believe that building is social justice also believe that any one local council person shouldn't have that kind of power in a neighborhood that voted them in. Elimination of "member privilege," what is called, has been a Republican driven real estate industry desire for decades. They now have the progres sives on their side, which is somewhat related to the manufactured nimby/ yimby war. In the old days, you were a nimby if you didn't want something like a woman's shelter in your neigh borhood - now you are a nimby if you don't want skyscrapers.

I don't want skyscrapers in Red Hook, I think most readers here cherish the small town feel that we have, and wouldn't be in favor of a recent plan to put in a subway station to service waterfront condos. Those kind of money-driven plans don't go away, and the giant UPS lot could someday become rezoned by the city council.

In case that happens, I rescind my support for a move of the container port. But if Red Hook maintains the residential/industrial/maritime na ture, why not create a larger residen tial neighborhood next door.

I will say that I don't think having a cruise terminal has done anything for Red Hook. If you've ever been past the gate, you will see there is a lot of land there. That would be a perfect place for a sports stadium, which could be used by schools, professional teams and things like concerts. Perhaps Pi oneerWorks could expand a bigger

me

concert business. That would bring a lot more to the neighborhood than an occasional ship, which mostly brings cabs.

Back to the other side of Hamilton— the challenge would be as always in land use issues: how to give the real estate industry what it wants and add neighborhood amenities as the give back. Those amenities would surely have to include a beautiful waterfront park, an expansion of the Brooklyn Greenway, and basketball, soccer and volleyball fields a la Brooklyn Bridge Park.

Exchanging a cruise terminal and containerport for things that will make cyclists, affordable housing advocates, wealthy people looking for waterfront condos and investment vehicles, and of course the real estate industry, hap py. Could be a win-win.

So in exchange for a cruise terminal that's barely used, with no local ame nities, and a container shipping fa cility that could be moved away, you get an expanded Cobble Hill, Carroll Gardens, open space, and housing for rich and poor alike .

Lots of winners, few losers. Sounds like an idea for a master plan. Government, are you listening?

Halloween Events:

Fifth Annual Cobble Hill Window Painting Day: Saturday, October 29th from 8:30-11:30 am. A commu nity event where kids create Hallow een-themed painting on windows of Court Street businesses. Registration opens on October 7th. Register here: https://www.masonlaneart.com/ window-painting.

Cobble Hill Halloween Parade: Monday, October 31st, 4 pm. Back by popular demand, the parade will once again be led by the incompara ble Brass Queens.

Boo at the Zoo: Every Saturday and Sunday in October. The Bronx Zoo’s annual family-friendly Halloween tradition. Dress up to enjoy seasonal festivities.

Pumpkin Ice Cream at the Museum of Ice Cream: 558 Broadway (10012.) Stop by and try Pumpkin Soft Serve and Haunted Cotton Candy through out October.

Village Halloween Parade: Parade in NYC is at Sixth Ave. and Canal St. You should arrive between 6:30 and 9 pm on October 31.

Halloween Party Cruise with Live DJ Saturday, October 29, 11:30 pm – Tue, Nov 1, 2:30 am at Pier 36, 299 South St. Enjoy live DJ music with the sparkling NYC skyline.

Halloween at the Seaport: October 30 and 31, 12-4 pm at Pier 16. Bring kids of all ages to Pier 16 to paint and decorate pumpkins that have been

delivered from upstate farms by sail freight—just like in the old days!—by Schooner Apollonia. Registering at the South Street Seaport Museum’s website.

The best!

Sunny’s Bar, 253 Conover Street, has survived and thrived through numer ous challenges and changes in Red Hook. The bar has always been popu lar in the neighborhood and has also gotten recognition in New York City and beyond with publicity in the New York Times and other international publications.

This month Sunny’s was praised once again, this time in a Conde Nast Trav eler piece, called “The 7 Best Bars for Live Music in Brooklyn.”

They say, “The time to come to Sun ny’s is on Sunday afternoons when the bar hosts weekly bluegrass jams. If you can lead a tune, you can join in… Sunny’s is a much-loved Red Hook institution: it smells like a hundred years of beer, which is about as long as the bar has been around.”

Maritime play on the boat

On the Hook, an eco-theater com pany presents a climate-conscious adaptation of Eugene O’Neill’s classic American play CHRISTIE. It will take place at the Waterfront Museum, 290 Conover Street, and will premiere on Saturday, October 15 and run for a total of five performances: at 7 pm on October 15, 21, & 22, and at 3 pm on October 16 & 23. Tickets can be pur chased at the On The Hook website.

Change at the Justice Center

The Red Hook Justice Center is wel coming two new leaders; Jessica Yager is now project director, and Marcus Scurry is now deputy director. Viviana

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Gordon and Amanda Berman, who are both long-time leaders at the Jus tice Center, have moved into new roles at the Center for Court Innovation.

The Center for Court Innovation’s mission is “to achieve a justice sys tem that is fair, effective, and humane. We work with both government and communities to develop and run programs that have reduced the use of incarceration, increased equity, and strengthen neighborhoods by in creasing safety and economic oppor tunity," said Amanda Berman.

“Both Viviana and I will still have op portunities to stay connected in vari ous ways to the amazing people and work at the Justice Center,” she con tinued. “But we are excited to pass the baton to Jessica and Marcus, whom we are so lucky to have!”

Target Margin Theater

The Obie Award-winning Target Margin Theater (232 52nd Street in Brooklyn) has announced its plans for the 2022-2023 season which is an chored by the world premiere staging of Shakespeare’s Pericles, a play about healing, redemption, and reconcili ation. It will run from February 25 –March 26, 2023. Pericles is told like a mystery play, a fable, or a sea-voyage tale: the action wanders episodically as the hero ages, suffers, and ulti mately shares a wonderful, wondrous restoration of lost life and love.

The theater’s Sunset Park storytelling program, HERE AND NOW, wraps up with performances in October at the Sunset Park Branch, 4201 4th Ave. HERE AND NOW uses the tools of col lective storytelling and artistic expres sion to foster community healing and engage community members in the

creative process. At each live presen tation, four to six storytellers will per form their stories. Public events con tinue on October 25 and 27 at 5 pm.

Hone your skills

LEVEL Up provides free financial and employment services to Red Hook residents ages 18+. Topics include re sume writing, searching for employ ment, understanding credit scores, budgeting basics and more. For more information call 718-923-8242.

Americorps positions open

By joining Americorps you will pro vide direct service to community members and be able to network.

Full-time position: Must be 18+ and have a high school diploma, commit to one year of service, complete 1,700 hours total (35 per week,) basic health coverage, reimbursement for child care, living allowance of $22,230 and an educational award of $6,495.

Minimum-time position: Must be 17+, commit to up to four months of service, complete 300 hours total, re ceive a $300 stipend, and educational award of $1,342. For more information email gbaptiste@courtinnovation.org or call 718-923-8242.

Community Board meets in person, finally!

by George Fiala

Theyhad to be dragged kicking and screaming into the audi torium of PS 32, but by the end of the night the members of Commu nity Board 6, local politicians and their representatives, and various interested community members were having such a good time re-meeting each oth er that you might have thought it was an early holiday party.

Since the beginning of the pandemic over 2 1/2 years ago, CB6 has depend ed on Zoom meetings, just like most organizations, including the District 15 school district, the outreach organiza tion of the Gowanus Superfund proj ect, the Carroll Gardens organization and the Parks Department.

The legal ability of CB 6 to hold virtual meetings came from the Governors office, under the emergency powers it gave itself at the beginning of the pandemic. Governor Hochul finally decided not to renew it last month. That forced the community board to postpone their monthly Executive Board meeting, originally scheduled as a Zoom call on September 14, while it scrambled to find a space to hold an actual real-life meeting.

District Manager Michael Racioppo said that it was a bit difficult to con vince any of the venues that they had used prior to the pandemic to allow use of their space, mostly because it has been such a long time. But after

an initial rejection, PS 32, the public school on Union Street near the Gowa nus Canal, offered the use of their au ditorium.

Outgoing CB6 Chair Peter Fleming looked out at the crowd of almost 50 people half-filling the room and ex pressed some displeasure at the Gov ernor for pushing them off the com puter. He said they were exploring holding hybrid meetings in the future, but complained that "the Governor tells us what to do, but doesn't send us money to do it."

The meeting then started with intro ductions. Most members were not wearing masks and thus could be heard clearly. Of the 27 members pres ent, 19 said they were from Park Slope. Only one identified themselves as be ing from Red Hook.

The first speaker was Councilman Lin coln Restler. He spoke about the posi tive things happening at the Gowanus Houses and Wyckoff Gardens. He also mentioned that plans were underway for building a 9 story building at 280 Bergen Street. I thought I heard him say that it would be 100% affordable housing, but the zoning application calls for 300 apartments of which 90 would be classified as "affordable."

It was determined that there was a quorum, so the two landmark issues before the Board were heard next, and

both were approved.

The balance of the meeting consisted of announcements from representa tives from other local politicians. The most eloquent was from Alexa Aviles' rep, Christina Bottego. A topic repeat ed by most of the reps had to do with the BQE. Evidently there is infrastruc ture money available to "reimagine" the BQE, which includes more than just the main problem at the Brook lyn Heights Promenade, which is in danger of falling down. Bottego men tioned that the bulk of the road is ac tually in Sunset Park, and that it's time for there to be social justice in decid ing where to use infrastructure money in both construction and staging areas.

She also reminded the audience the Puerto Rico has had another devastat ing hurricane, and please contribute money, not old clothing, as money is the biggest need.

The end of the meeting is customarily reserved for members of the commu nity, and one member showed up. A woman named Deborah who identi fied herself as from the Columbia Wa terfront District read a letter in which she complained bitterly about the rush hour traffic that pours through her neighborhood now because of the bot tleneck created by eliminating a lane on the BQE in Brooklyn Heights. She asked for traffic lights to be placed at both the Summit and President Street

intersections with Columbia Street. There was also a representative from the Department of Sanitation who came equipped with heavy paper bags for people to bag their leaves in. He successfully gave some away.

The meeting ended, and then went on for some time longer as our communi ties got a chance to mingle, finally!

Artist Deborah Ugoretz thinks Red Hook is a hidden gem by Brian Abate

RedHook Open Studios has tak en place annually since 2015 (with the exception of the pan demic year in 2020) and gives artists an opportunity to show their work to the public. I spoke to Deborah Ug oretz, an artist and founding member of Red Hook Open Studios about the event.

“Most of the time our studios are closed to the public because that’s our working space so this a fun way to way to meet the artists, see the work, and see the process too,” Ugoretz said. “When we started it was just one day and we started by opening up about 10 studios to the public. Now we’ve opened it up to any artists who want to participate.”

“It’s very rewarding because it’s volun teer-run but it’s also a challenge to get everything set up and planned while also doing our own work,” Ugoretz said. “Additionally, last year with the pandemic, we wanted to really form a connection with the businesses in Red Hook. We wanted to give them a boost and we wanted them to give us a boost too. We reached out to the Red Hook Business Alliance and then reached out to businesses and asked them if they would host artists in their locations. I’m a really big believer that the arts can regenerate economic de velopment and I think that’s what’s happening here in Red Hook.”

Red Hook Open Studios has also given

Ugoretz a big connection to Red Hook and introduced her to a lot of artists in the neighborhood.

“One of the cool things has been see ing that Red Hook Open Studios has brought an audience to the artists, and seeing some of the artists do quite well with sales, and getting exposure while also educating the public on their work. I hope to see that continue this year. I think Red Hook is a hidden gem that is worth discovering and appreci ating, and I hope that a lot of people will show up and have fun this year.”

The Wall Gallery

Seabring Street

The Wall Gallery announces that German artist Martin Colden will be exhibiting recent works on paper made in 2022 at their newly reno vated space in Red Hook.

Martin Colden was one of five parts of the highly successful exhibition “Atlantic” held in October of 2021 and curated by director Franz Landspersky.

In his solo engagement he brings a stunning collection of drawings fresh from his studio outside Berlin.

Colden’s work is a con tagious energetic and highly focused venture of deeply connected gestures.

Themes of an abstract ed musical organization are suggested by the calligraphic moments framing passages and imbuing the field with a unique energy and vision. They possess a special differentia tion that escapes convention and yet magically produces classical beauty, unlocking unseen manifestations of mark making’s potential for meaning.

The opening reception is Friday October 7. From 6pm to 10pm and we are especially honored to have the artist present.

It was like old home week in the hour after the meeting. (all photos by George Fiala)

Park Sloper Brad Lander stops by to meet his neighbors. On the right is Christina Bottego representing Alexa Aviles.

Deborah Ugoretz at her easel in Red Hook. (photo by Brian Abate)

Italian leader Meloni is more politican than fascist

by Dario Pio Muccilli, Star-Revue EU correspondent

Isfascism back to Italy? Is Italy go ing towards its own Trump age? Are civil rights in danger in Italy?

Those are the questions now spread ing all around the world as Giorgia Meloni, an Italian far-right politician, won Italy's last elections on Septem ber 25th, those which have been the most covered by the international press since at least twenty years ago.

CNN called her would-be "most Farright prime minister," the Times has covered her win as it has never done for any other PM, even trying to un derstand how "Lord of the Rings" in fluenced her political life path. On the day before the election the British Guardian called her a danger to Italy and the rest of Europe.

Pages have been written to portray her as a woman who endorses policies that would annoy any feminist in the world. She is not a hard-working ad vocate of LGBT and migrants' rights. Her agenda is conservative.

But yet, her view should be no surprise, indeed it is surprising if you only look at her as a woman, implying that she should have certain values because of it, but in reality, she's a politician. Pol itics has been her life since she was a teen. I don't doubt that she genuinely believes in the values she advocates, as she has been consistent in her be liefs. An example of this regards pink quotas at work. She's totally against it saying that a woman should be valued

for her merit, not as a void to fill. Her career speaks for her, as she's been able to make her own way in the Farright environment starting as a new comer and ending up youth leader, MP, minister, then party leader and now would-be Prime Minister.

But if this coherence draws her praise, it also raises doubts. She started her

career in Italian Social Movement, a strong post-fascist party in 20th cen tury Italy. There's footage of her as a youth militant praising Mussolini as a statesman and a few years ago she even promoted the candidacy of some of Mussolini's relatives.

During this latest election she was able to close with this past publicly, even though nobody among her op ponents actually believed her. As we mentioned before, her famous coher ence helps her.

However as the Times wrote "she's ex treme, but she's no tyrant." Fascism will not come back, and most voters seem not to care about the opposite ideas from the the left. But if fascism won't come back, what about the extreme-right?

There will be changes. Meloni is a strong woman, her political style is direct, sometimes rude. This gained her the leadership of the European Conservative Party, the appraisal of American conservatives (she was a major guest at CPAC) and strong in ternational support from the centerright area. Even Zelensky praised her win, as she's been one of the most supportive politicians of Ukraine in Italy since the war started. But she has problems with the Euro pean Union. EU Commissioner Von der Layen said that if Meloni tries to move the union to the right, he has the tools to stop her. The French Prime Minister said "we will overlook the respect of civil rights in Italy", not a good sentence to say about a firstworld country.

Meloni knows how strong the Euro pean Union is and she's been really cautious, building a strong collabora tion with outgoing Italian Prime Min ister, former EU Bank Governor Mario Draghi. In the past she was in favor of an Italian style Brexit. Moreover, after winning the elections she hasn't released any interviews and her voice hasn't been heard a lot in the political debate. She's probably planning her future steps. In the elec toral campaign she turned out to be really moderate, counting on the left's weakness. But how much moderate shall she become in order to keep the

power that she's now gained, after years of struggling? And how long will her electorate tolerate the moderate direction she's stepping towards?

Government is a double-edged sword. Meloni's reputation is now on the brink of her biggest challenge. She hasn't won yet, because if you go in government and then fall in a year and a half, as most Italian cabinets, you will have no impact. Meloni's been training her whole life for this moment. Adept at politics, if she fails it won't be because she didn't try her best.

Giorgia Meloni, photo by Vox España, CC0, via Wikimedia Commons

"In the electoral campaign she turned out to be really moderate."

Two dear friends collaborate to create Red Hook's newest business

by Brian Abate

ThisJune, Liz Galvin and Jaimie Walker partnered to open up Basin Gallery & Studios at 344 Van Brunt St. Both spoke to me about their beginnings, Basin, and their friendship.

“We were casually looking for a place for an art studio but we didn’t have time pressure so there wasn’t a sense of urgency,” Galvin said. “During our search, I literally had a dream about us pleading our case to get this loca tion, and even though the storefront has been vacant for a long time we followed up on it and began discus sions. It all began with a dream.

“To pivot back, I know that Jaimie’s dream has always been to have her own art gallery and mine was to have a little shop or store. I thought, why don’t we try to do an art gallery with studios.”

Galvin and Walker each have unique skillsets and experiences which have prepared them to run their own art gallery.

“Both sides of my family have a military background so I was lucky enough to travel a lot,” Walker said. “I spent eight years in Germany, I was in Hawaii, New Mexico, and also in Pitts burgh. After moving around a lot, New York was al ways in my vision for my higher educa tion. I graduated from Pratt and now I’ve been in Brooklyn for al most 25 years.

“I was born a fine artist but I knew that I wanted to learn typography and I want ed to learn the computer. After graduating, I moved to Dumbo with some pioneering art ists and musicians, and that’s where I’ve spent my last 20 years making my art.”

Galvin also spent time living outside of New York before moving to Brooklyn.

“I’m originally from Long Island but I left when I was eight and I grew up in Florida,” Galvin said. “I moved to Brooklyn when I was 18 because

that’s just what I was feeling. I was lucky enough to randomly land in Carroll Gardens and one day [in 1998]

I was lucky enough to discover Red Hook on a bike ride. I loved coming down here to photograph the water front and the buildings. I first moved to Red Hook in 1999 but I ended up bouncing around Brooklyn but I’ve lived back here in Red Hook since 2015.”

Galvin also said she used to not see herself as an artist but credits Walker with helping her discover her artistic side. Galvin also has a business sense that she has developed from working as a real estate broker for almost 10 years and from selling some ads for the Star-Revue too.

“For a while, I actually felt a little bit like I was Jaimie’s unofficial manag er,” Galvin said. “For the 2022 annual Dumbo Drop, which is a big event in Dumbo, Jaimie was asked to be the featured artist. She designed the bar ricade covers, the posters, the t-shirts, and most importantly the parachutes that all the little elephants wear when they are thrown from buildings for the fundraiser.

“I think my skill-set combined with Jaimie’s incredible artistic vision is something pretty powerful.”

Both Galvin and Walker have made a lot of con nections in Dumbo and in Red Hook through their work. Walker worked as a bar tender for a lot of years and worked as an MC for an open mic night in Dumbo. Galvin has gotten to know people throughout Red Hook from her work as a bro

“In around 2001 or 2002 I worked at Between the Bridges, an old bar in Dumbo which is no longer around,” Galvin said. “Jaimie was MC-ing at Superfine [a restaurant and bar] and when we met, we couldn’t believe that we hadn’t met before but we quickly became friends. Shortly after that, she and her husband needed to

find a new home, and I was able to find them a new home and we really became close friends during that. We actually went on a vacation together to Florida and once that went very well and we didn’t get on each other’s nerves, I knew we had something spe cial going.”

“Liz also helped me tremendously

ly, once the new RHAP [Red Hook Art Project] location is set up we’re plan ning on collaborating with Tiffiney” “Basin is also on the map for this year’s Red Hook Open Studios [on October 8th and 9th from 1-6 PM,]” Galvin said. “The show that we’ll have is called ‘Out-of-Bounds; Uncom mon Landscapes’ and features three amazing female artists: Diana Jensen, Valeri Larko, and Amy Regalia.

“On behalf of both of us, we’re ex tremely proud that we’re womenowned and operated and that we’re showcasing eight women artists in our first six months. One of Jaimie’s friends noticed the need for a girlsfocused school in her area and so she took it upon herself to open one. That was something that really inspired Jai mie and has inspired me too. We want to send the message to the girls out there that if art is what you want to do, then you should go for it.”

Both Galvin and Walker also spoke very highly of the Red Hook commu nity and they are looking forward to the events they have planned already and for the future of Basin Gallery & Studios.

“Everyone has been so welcoming of us and the outpouring of support from other businesses has been in credible,” Walker said.

with things I couldn’t do,” Walker said. “After working on all of the art, I couldn’t go sit and look for grants or look for contests.”

Walker is a very visual person and at times, Galvin was able to step in and be a voice for her. They have excellent chemistry together and they bring out the best in each other. They’re also both excited about their upcoming plans and told me about them.

“I want to let everyone know that Jaimie leads ‘drink and draw’ events every other Tuesday night, we hold a monthly mosaic art workshop with Grace Baley, and we’re planning to have a large art bazaar for the holidays in December, and more!” Galvin said.

“We’re also scheduling the first six months of 2023 right now. Additional

“We’re so grateful and that support means so much to us,” Galvin said.

“It’s really special.”

BASIN Gallery & Studio is at 344 Van Brunt Street, right across from the VFW. Follow Basin @Basin_Gallery_ Brooklyn on Instagram to stay updated on the schedule for upcoming events.

Jaimie and Liz enjoy running their new gallery and studio. (photo by Brian Abate)

PROTECT YOURSELF AND OTHERS FROM MONKEYPOX

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Do not have sex or other intimate contact if you or your partners have a new rash or sores, feel sick, or were recently exposed to monkeypox.

Frequently wash your hands, bedding, towels and other shared items.

Talk to a health care provider about testing, pain management or treatment if you have monkeypox symptoms.

Get vaccinated if you may have been recently exposed to monkeypox.

For more information, including about vaccine eligibility, visit nyc.gov/monkeypox or scan the QR code. Text “MONKEYPOX” to 692-692 for the most up-to-date information.

Trying to understand Sandy after ten years

by George Fiala

Imoved

to Brooklyn in 1983. If you think crime is a thing now, you should have been around then. People who weren't born here were afraid to go be in any part of South Brooklyn except for Brooklyn Heights. Even Park Slope was sketchy then.

Drugs had a lot to do with it, as did a recently bankrupt city without enough money for services. Mayor Koch be gan a revival, but it wasn't until the early 1990's, at the end of Mayor Din kins one term, that neighborhoods began getting trendy. Park Slope was first, then Cobble Hill, Carroll Gar dens, Williamsburg, Fort Greene and Clinton Hill.

Bed-Stuy, Bushwick and Ridgewood were not yet on the real estate radar. People kept saying Red Hook would be the next "in" neighborhood. Yet it never quite happened. We did get an IKEA, which brought outsiders in and out, Fairway opened up for the peo ple that lived here, and those nearby with cars, and of course there were always the people in the know who discovered places like Sunny's, Lillie's and Hope and Anchor. Another draw was the French restaurant at 360 Van Brunt. I remember going there around 2005 and was impressed that it was next door to a crematorium.

In 2010 I moved my mailing business to 101 Union Street, and I bought a

lot of stuff at IKEA as I was furnishing and decorating. Meaning I took a lot of trips down Van Brunt. I looked around and saw an interesting neighborhood without a paper. I had been in the newspaper business before, and it seemed like this might be a cool place to start one. The extremely diverse community would lend itself to a ton of stories, is what I thought. I quickly found out that was true, but what hap pened in Red Hook pretty much stayed in Red Hook... until Sandy brought us to the attention of the whole world.

Right after the hurricane, we became volunteer central. People, food and money came from all over - so much that we had to ship some to Coney Is land and the Rockaways, which were also hurting.

Marilyn Gelber worked for City Plan ning in the 1970's. One of her jobs was to try and convince Red Hook that the City's plan to turn half of the neighbor hood into a shipping terminal wasn't so bad. That's how she learned about Red Hook.

By the time of Sandy, Gelber was head of the Brooklyn Community Foundation, a charity founded by the Independence Savings Bank, which had a branch here. She sent over a million dollars to Red Hook for relief. All the local non-profits banded together to form the Red Hook Coalition, a new non profit needed to

cash the checks.

This kept our non-profits alive. Af ter Sandy, all donations pretty much stopped as that money was concen trated on Sandy relief. Which I guess is OK. But a lot of the things that were begun then, using the influx of mon ey, seems to have petered out, at the expense of establishing things that might have been more lasting. Resiliency was the word of the day, and one of the groups that started out of that money was the Red Hook Local Leaders. It's goal then, and I supposed still today, is to prepare us for the next disaster. I remember going to a meet ing where emergency maps were to be created that would show where things like generators would be kept and stored. Lack of electricity was of course a huge problem for a lot of Red Hook, and generators were in short sup ply. Specific people were appointed to be local captains and have specific tasks when an emergency was called. Go-bags were given out all the time. I haven't seen a go-bag for a long time. It was all a big hue and cry and lots of meetings and events and even an emergency neighborhood drill at IKEA. I asked at one of the meetings how this was all going to be kept up in the future, as the next emergency might be ten or twenty years away. People kind of looked at me with why

am I asking such a dumb question. Well, can anyone tell me where to go to get a community generator.

One thing for sure is that Sandy was a good career move for some. Car los Menchaca, who really was every where connecting people with servies in the days after the storm, used his community service in Red Hook as a launching pad for a City Council race which gave him two terms represent ing Red Hook and Sunset Park, as well as a failed mayoral run.

I think the Red Hook Initiative was put on the map and became a much larger institution because of its luck in two things. One was that it never got flooded, and second, the late, great Sheryl Nash-Chisholm went to work the morning after the storm and was there to pick up the phone when someone from Maryland called up to ask if they could use volunteers. They heard about Red Hook, and of course RHI has Red Hook in it's name. Sher yl called up Jill, the Director, and Jill thought about it and said sure, and RHI became the lead go to place for volunteers and donations.

Anyway, for better or worse, we didn't just become the next big thing, we be came a destination and a playground for the rich and famous.

Destroyed barrels of wine at the Red Hook Winery.

Beers were kept on hard-to-get ice at the Ice House, which stayed open throughout. Next door Bait and Tackle ran a disco party.

Barnacle

2015

2020 2019

2018 2021

local police

Istillremember being intrigued by a news report the week before Sandy saying that the late sea son hurricane could also incor porate a snowstorm. They called it a Frankenstorm, and coming the week before Halloween, it was mildly in triguing. But like with most impend ing disasters , you kind of went on with your normal life while paying at tention to the weather reports.

It turned out the storm showed up on Monday, the 29th. The week before, the big news was a Community Board meeting held at PS 58. The topic was a halfway house planned for 165 West 9th Street, on the Carroll Gardens side of Hamilton Avenue. The auditorium was packed with people speaking against the proposal, which ended up not happening. That would have been our cover story for the November is sue.

On Saturday we sent to Prospect Park for it's annual Halloween celebration. There were lots of activities that busy weekend. But Sunday night was spent barricading our office at 101 Union, in anticipation of the hurricane.

I don't really remembered what I did

MY SANDY MEMORIES

by George Fiala, photos by Star-Revue staff

during the day - I guess mostly listen ing to the news as the storm made its way up the Eastern coast. My next memory is in the early evening walk ing up Van Brunt Street, I'm guessing to see the water at the end of it. I think I parked on Dikeman, across from what was then Fort Defiance.

I could see some water coming down the street, and watched somebody desperately trying to get their car out of there. What I remember most is how fast the water came down the block. I got scared about my own car and hustled back to it and got out just in time.

We regrouped at the Chase at Ham ilton and Van Brunt, where the water didn't seem to be getting that high. We took a walk down to the Golten build ing, and the water got deeper and deeper. By Conover Street you would have had to be swimming.

The next day, I looked at the waterline and it was up to my chest (see the guy below in the red jacket).

I retreated home to Bay Ridge, with plans to get up at sunup when we could see what happened.

My biggest memory of that morning was walking around Fairway (now Food Bazaar). There was lots of gar bage on the promenade in back, and we saw that the doorway lead ing into the upstairs apartments was smashed. We went to investigate when someone starting screaming at us telling us we were on private prop erty. It was Jerry Armer, a longtime fixture at Community Board 6, some one who I had known forever. I yelled to him that it was me, not a looter, but he didn't seem to know me and said we had to evacuate the area. I didn't at that time know that he worked for Greg O'Connell and was protecting Greg's property. The daylight revealed downed trees and waterlogged worms at Coffey Park, and what is now called 'pond ing' at various places. While lots of the floodwaters left with the tide, thre were still little lakes left in places like the end of Van Brunt Street and Val entino Pier park. The pier at the end of Van Brunt was stained with lots of red, which I found out later came from the red point from an artist studio which retreated along with the flood waters.

After sundown the streets were left pitch black, with the sole exception of a police spotlight shining from around Pioneer. I took that iconic photo of a darkened Van Brunt that we used for the cover of our Sandy issue, and which is on again on the cover of this issue.

The next day, Wednesday, we re grouped at the Union Street office and I decided to talk to shop owners up and down Van Brunt Street to see how they were coping.

My first stop was Uhuru Design, at that time housed in the building where Tesla is now. They were ripping down wet sheetrock—something many places were doing to avoid mold. They (continued on next page)

The week before Sandy, the big news was a CB6 meeting about a half-way house on West 9th St.

The Saturday before Sandy Prospect Park held a Halloween festival.

The Sunday before Sandy, Fairway sold a lot of bread.

Robbie shows the waterline at Bait and Tackle.

George shows the waterline at Conover Street.

Tony shows the waterline at the back door of Mark's Pizza. His basement was a disaster.

The foreman at Sergi's Images shows the waterline. The place was a mess.

This is my favorite photo from the whole episode. Turns out we moved here a few years later. It's the end of Van Brunt Street. (photo by Kimberly Price)

The blocks at the foot of Valentino Pier were hurled about.

I never found out where the boat came from. This is at Beard Street, now home to Amazon.

Reminiscing about tragedy and renewal ten years later

were also trying to rescue a pallet full of a special kind wood that they used to create their award winning chairs.

Friends of Firefighters showed me their brand new refrigerator ruined by the salt water. Next door a woodwork ing shop actually had a good story to tell. They were working on an expen sive counter for a Stumptown in Man hattan. They left it on a bench and went home. But one of them thought about it and came back and lifted it on top of the highest table, which turned out to be above the flood waters.

I saw local artist Scott Pfaffman who was dumping most of his waterlogged art book collection onto the curb. He was taking a last look at a book of Pi casso drawings. All the books were spoiled by the salt water. He wasn't upset, telling me it was simply a chance to restart his book collection.

Tony, at Mark's Pizza, took me to his backyard to show me how his electri cal boxes were damaged. In addition, the basement, where he stores all the food he uses, was still full of water, somewhat orange-colored due to to mato sauce spillage.

Baked was actually open - the flood waters spared everything on the first floor, they were pumping out the basement. Across the street, Nate's Pharmacy was similarly spared. It was

Halloween, and the woman I spoke with was dressed as a nun.

In the middle of the day, Van Brunt's restaurant owners, led by the Good Fork and Fort Defiance, fired up a big barbecue and fed the neighborhood, using all the perishable food they had in these days of no electricity and no refrigeration.

It was an early sign of the neighbor hood uniting after the disaster. After dark I remembering visiting both the Ice House and neighboring Bait and Tackle. Bait and Tackle managed to hook up a generator, and I Spencer who was orchestrating a disco dance party. A woman walked up to me, put a drink in my hands and gave me a big kiss on the mouth, saying she lost $15,000 that day, but didn't really care, because everybody she knew was all right. The Ice House was quiet er, Maddy was tending bar in the can dle-lit place, kind of a circle of people drinking quietly.

One of the big things to remember about Red Hook right after the storm was the huge piles of garbage at the curbs. The flood waters, which rushed through town due to a combination of hurricane rain and wind, plus a very high tide, swamped most first floors. Stuff was ruined and had to be thrown out. The sanitation workers were the

unsung heros. They worked overtime to take away any garbage that was put on curbs, basically commercial ser vice for everyone.

Anybody who could do plumbing and electrical work had more busi ness than they could handle. Lynette and Geoff at the Jalopy Bar got a call from someone upstate that had lots of generators and wanted to bring them down. They did, and Geoff was all over the place giving out generators and helping Sunny's especially to save the basement.

Something that got interrupted by the storm was the opening of Billy Durney's Hometown Bar-B-Q. While he had to postpone the restaurant's opening, he was all over the place with his portable smoker, helping to feed the neighborhood, using meat donated by Fairway.

Food came to Red Hook en masse. Nobody in the Red Hook Houses could cook a warm meal, but you could get lunch and dinner at all the area churches and the Red Hook Ini tiative. I remember that some of the meals looked absolutely scrumptious, and the reason for that was that some fancy Manhattan restaurants were sending their food and chefs to us.

The army wanted to come to town right away with supplies, including

self heating meals, but Mayor Bloom berg was not keen on soldiers bearing guns helping out. They finally came to some sort of agreement and on early Thursday night a lot of army vehicles descended upon Coffey Park. Men in fatigues came out and dropped of lots of bottled water and the army rations. I took a meal and it really did heat it self up, but it wasn't a gourmet treat, as I recall.

Grassroots recovery organizing be gan forming. A business group, led by Monica Byrne of Home/Made, a Van Brunt caterer, was created to turn grant money into direct payments to local businesses. I remember that there were three rounds of payments.

Pfaffman donated his Van Brunt store front at 360 Van Brunt to a group of carpentry enabled people who started a group of volunteers. They were from all over the country—many came to Red Hook wanting to help, and end ed up finding shelter at what became known as the Red Hook Volunteers.

In addition to helping rebuild peo ple's homes, friendships were made and music happened there on a regu lar basis, something which ended up morphing into the record store it is today.

When it comes to Tenant Organiza tions, the Red Hook Houses is divided

One of the few times that Yiddish was spotted in the neighborhood.

Garbage.

More garbage.

Scott's garbage.

Garbage on the pier.

Local heroes.

Feeding Van Brunt Street

Billy Durney feeding the Van Brunt Street paraders

Feeding George in back of the Miccio.

Red Hook West TA President with Assemblymember Felix Ortiz and Congressman Chuck Schumer

in half, for some reason. Each has it's own meetings, administrators, and activities. Everything is duplicated.

After Sandy, I remember a meeting at the Miccio Center. It was heavenly attended, and I think people from NYCHA were there. One thing I defi nitely remember is Wally Bazemore standing up and telling the gathering that this is the first time that both as sociations were able to get together and hold a joint meeting. He hoped it wouldn't be the last time. Unfortu nately, he was wrong in that.

NYCHA was forced to actually con front their tenants and did send some higher uppers to sit at panels. A big issues was whether tenants were re quired to pay their full rents despite the fact that full services weren't pro vided for months. Maybe there was a rebate for a month, but I couldn't swear on it.

The meetings offered a platform for a newcomer in the neighborhoodCarlos Menchaca, who came in as a liaison for the City Council to make sure that services were given. I didn't see it for myself, because my beat was the Van Brunt Street side of town, but I kept hearing that somebody named Carlos was everywhere, helping ev eryone. During this period, he made friends and alliances, and used those relationships to mount a campaign against Sara Gonzalez, the incumbent office holder, the next November. And as most of us know, he ended up serv ing eight years. It's not easy to beat an incumbent in the Council, but Sandy helped him do it.

Another winner was the Red Hook Initiative. In the years before Sandy, they would average under a million dollars in grants and contributions, which more than doubled after San dy. They were put in the spotlight and able to continue growing.

It might have happened anyway, but my friend there, Sheryl Nash-Ch isholm, who recently passed away way too soon, told me this: When she came to work the morning after the storm, she found everything normal at RHI, which is located on Hicks and West 9th. No flooding, electricity nor mal. Her main task was to make sure her son's car didn't get flooded, which I don't think it did.

All of a sudden the phone rang, and Sheryl picked it up. It was from somebody in Baltimore who heard about Red Hook and wanted to know whether they could send some food to RHI to distribute in the neighbor hood.

Nobody had thought about this, so Sheryl called her boss, Jill Eisenhard, who was at home. Jill thought about it for a second and told her sure. Sheryl called back and that was the begin ning of a new era for RHI. Their no toriety because of Sandy has enabled them to grow and expand their ser vices greatly over the past ten years.

After more than a month of exhaust ing work to begin recovering from the flood, Jan Bell, who has a long history as a musician in the area. In addition to her own music, she puts together music festivals and knows every body. On the second Sunday follow

ing Sandy, November 19, Red Hook was treated to something akin to a New Orleans funeral march, where mourning is accompanied by joy as the parade would make periodic stops and serenade both paradego ers and bystanders alike. I believe it was both Fort Defiance and the Good Fork who distributed some excellent liquid refreshments. The long line meandered it's way to Sunny's, where Billy Durney and his mobile smoker was there to distribute victuals.

Sunny himself was outside wearing a bright red shirt and suspenders, and was genuinely touched by all the love displayed by the neighborhood. It wasn't just love, a number of locals had been spending long hours restor ing the bar, which had suffered huge damage in the basement. Tone, Sun ny's wife and current owner, and a musician herself almost electrocuted herself by touching a wire that was still live.

In the middle of the gathering, Sunny came outside and with arms out stretched, thanked everyone for car ing so much about his little bar. I kind of wish I had recorded it, because Sunny was an artist and had such a great way of expressing himself.

By Christmas, all the electricity was back, and John McGettrick and his partners were able to string across the traditional Red Hook Christmas lights across Red Hook. Things were getting back to normal, but forever changed.

Editors note: In case my memories are somewhat faulty, I apologize in advance. Also for the typos.

"A woman walked up to me, put a drink in my hands and gave me a big kiss on the mouth, saying that she lost $15,000 that day,but didn't really care because everybody she knew was all right."

Carlos Menchaca holding the sign at a community meeting at Visitation Church

Monica Byrne speaking at that same meeting

Viviana Gordon, of the Justice Center, meeting a friend at the food giveaway at Coffey Park

Sheryl Nash-Chisholm, RHI's unsung hero

The first Star-Revue published after the hurricane won us an award from the NY State Press Association

National Reservists bring supplies to Coffey Park, including military meals

That's Greg O'Connell, whose Red Hook properties took a beating

Jan Bell both organized and played in the Sandy Red Hook procession that ended up at Sunny's

The late Sunny Balzano thanks the neighborhood for their love.

October,

RED HOOK

10th

also enter a month-long raffle

a 2012 "League of the Storm"

wine bottle

all proceeds

Red Hook

family-friendly

2012 seen through our pages

by Brian Abate

This month marks 10 years since Hurricane Sandy devastated Red Hook. Ini tially, I couldn’t remember all of the details but I did remem ber that school was canceled for a week. That says a lot because we were lucky to get one day off, even for blizzards. Fortunately, I’ve been able to look through all of the 2012 editions of the StarRevue which not only captured what living through Sandy was like, but also what Red Hook itself was like 10 years ago.

When looking through the bound volumes of the paper here at the office, one of the first things that caught my attention was the food guide. While a lot of places have left since then, it’s great to see Mark’s Pizza, F & M Cafe, Baked, and Steve’s Authentic Key Lime Pie still thriving. It would be tough for me to imagine the neighbor hood without them and it’s nice to see that they’ve survived both Sandy and the pandemic.

Another piece that I found inter esting was by Reg Flowers. In his story, he said, “A block party is a radical act. It is. It requires orga nizing neighbors, going door-todoor, and building a base of sup port. Most impressively a block party confronts the status quo which says that streets are for driving and parking cars, not for our people and festivals… Com munity gardens are another ex ample of taking radical action.”

I was just talking with a friend about the importance of these types of events, especially with so many of them taking place virtu ally now. I'm glad some are turn ing back into live events. These start to make a neighborhood feel like a community again.

It’s also interesting looking back at the stories from 10 years ago, knowing what we know now. One story mentioned the never-end ing backlog of repairs needed at the Red Hook Houses (in a story written before Sandy.) I wrote a

similar story a couple of years ago and saw for myself that the condi tions in some of the apartments were terrible. There have been some positive developments but progress always seems to come slowly and Sandy made those is sues so much worse.

There were also stories about confrontations between civilians and the police, especially over the controversial stop-and-frisk policy which was still used by po lice officers in 2012.

There was a letter from Khary Bekka, who was one of three teenagers involved in a gang-re lated shooting that resulted in the death of PS 15 principal, Patrick Daly, when he was hit by a stray bullet. Bekka was sentenced to more than 20 years in prison.

“I wish to start off with making an open apology to the Daly fam ily and Red Hook Community…I now write this letter as a man on a social mission to serve my com munity as well as humanity it self…My social work has already started here in prison as I have taken steps to earn a diploma in Psychology/Social Work.”

Now, 10 years later, Bekka has stayed true to his word and since being released from prison he has volunteered and worked to help the Red Hook community.

In a few lighter pieces, it was cool reading about the Red Hook Ini tiative (RHI) and the Red Hook Art Project (RHAP) from 10 years ago and seeing what the organi zations were doing then with the knowledge that they’re still going strong today.

Of course, Sandy drew a solid line through the year. Reading through the paper showed just how devastating it was.

Stories from October of 2012 re veal a somewhat eerie feeling as Red Hook and much of the rest of New York City felt empty right before the storm. Everyone was waiting to see how bad it would be. As I read in the paper:

“Water hurdled over the banks at the foot of Van Brunt, before catch ing up with the water that crossed over the Cruise Terminal. Red Hook’s main strip held water several feet high from the piers all the way past Hamilton Avenue. The flood ing submerged streets from the east and west including the low-income houses as well as Valentino Pier.”

“We saw a shattered doorway and the garbage strewn around the lobby of the Fairway apart ments. A stairwell to a basement [at Sunny’s Bar] was full of water with leaves and garbage floating on top… Cars that usually neatly lined the streets were pushed out of parking spaces and into weird angles. Many owners had opened their hoods and frantically at tempted to salvage the ruins… By Thursday, with power still off in the neighborhood, and tempera tures beginning to dip, realiza tion began to set in. People were beginning to experience real need and discomfort-in some cases, life-threatening.”

After surviving the initial storm, everyone started to help each other. Those who were more for tunate helped those who were hit the hardest. Fort Defiance’s Saint John hosted an afternoon barbe cue that not only fed people but helped to lift their spirits. There was also a New Orlean style street parade to give people a break from the stress and frustration they were dealing with.

“Volunteers from all over came to the Miccio Center and assisted with organizing massive dona tions and set up a gymnasium with shopping bags full of necessities.”

Sandy brought out the best in the community because it forced ev eryone to do their part and help each other out. Although it was a horrible experience in so many ways, I think it also brought peo ple closer together. Red Hook has come a long way in 10 years and the tough times have only made the community stronger.

Hook

OnOctober 29th, 2011, thunder-snow was heard in Central Park as up to six inches of snow fell across the City, the earliest heavy snow in our history. In retrospect, an eerie omen of what nature had in store ex actly one year later.

The Frankenstorm came ashore near Atlantic City on a Monday at 7:30 pm. Its hurricane-force winds combined with high tides and a full moon to push the Atlantic Ocean up and over New York City’s 520-mile shoreline. A string of superlatives followed, the kind that start “the worst...” and end with “ever recorded.”

Superstorm Sandy quickly entered the small list of events we’ll never for get. The ’65 Blackout, the JFK, MLK, RFK assassinations, the ’77 Blackout, the 9/11 attacks, Trump’s election. Like the near-collapse of the US econ omy in the Fall of 2008 which ushered in the Great Recession, and the on set of the COVID pandemic, Sandy devastated many at the outset, then subsided into a slow-rolling misery, the duration of which, in this case, depended on your proximity to water and financial resources.

In the Rockaways, surging water from the Atlantic and Jamaica Bay created rivers on every street, wrecking scores of homes, and igniting an electrical fire that leveled 130 houses. My son James and his best friend Joe, whose handyman business barely kept them afloat, suddenly found themselves in demand. As the ocean retreated, most of the flora in Neponsit and Belle Har bor died from the salt water. James, with an innate talent for landscaping,

The Frankenstorm

by Joe Enright

and Joe, a jack-of-all-trades bolstered by a Pratt Institute education, found themselves working dawn-to-dusk. A large contractor nearby saw their industry and hired them. When nor malcy returned and the gigs dried up, James followed Joe’s path and got a Bachelor's degree in construction management. No matter how much time may pass, they’ll never forget the crucible of Sandy in Rockaway and how it changed their lives.

The Rockaway peninsula is only two to six feet above sea level. My Flat

that first night lost their lives to a huge falling Sycamore.

As for me, the job had me driving hith er and yon, getting caught in many a gridlock near soon-to-be depleted gas stations. No biggie. But seven street trees were now blocking a good por tion of the route for our Halloween Parade. That was big. My wife, Virginia, became the parade organizer in 1997, adopting a man tra of “The Show Must Go On For the Kids, No Matter What.” In the midst of the Anthrax terror, right after 9/11,

to block traffic? Volunteers will act as crossing guards. Too much debris around? We’ll start the festivities well before the traditional dusk sendoff so kids won’t trip. Then, when two trees were cleared, opening a three-block lane, the show went on.

Five hundred Flatbush children, bot tled up since October 29th, showed up with their nervous parents in tow. Led by local musicians blowing horns and beating drums, the trick-or-treaters drained every piece of candy available in the 250-odd West Midwood house holds. Afterward, one parent wrote us, “Amidst such widespread chaos and sadness, watching all those children, white, brown, black, Asian, Caribbean, Latin, rich or poor, so joyous and hap py, it gave me such a wonderful feeling of hope and then we saw the little girl in the ‘Brick Covered with Sugar’ cos tume, and couldn’t stop laughing. She obviously spent her indoor time well.” Sometimes it takes adversity to bring everybody together, to appreciate what we haven’t lost and to realize a sense of community is the glue that can keep us from falling apart.

bush neighborhood is about forty feet higher but Sandy still left a lasting mark here, taking down trees on every block. And a young couple out walk ing their dog as the winds intensified

everyone else canceled their parades but ours went forward. Now many residents were hesitant again. The Vil lage canceled, nearby neighborhoods canceled. Virginia waited. No cops

Despite

tragedy of

in

century storm, the beloved Fkatbush Halloween Parade went on as scheduled in 2012.

Marie's Craft Corner

Turn black construction paper into spooky Halloween garlands!

It’s that time of year again! Everywhere you look in Red Hook, store windows, front stoops, and apartment doors are being decorated for Halloween. Add to your family’s usual trimmings by creating these easy garlands made out of black construc tion paper. The materials couldn’t be simpler: Besides the paper, all you’ll need is a pair of scissors, a stapler, scotch tape and a pencil or crayon.

PAPER CHAIN HOW-TO:

You’re probably familiar with the more traditional paper chains made up of strips of different colored pa per. This is the same concept, just all black. To make the chain, lay a sheet of paper horizontally and cut it into thin strips moving from one side to the other. Take one strip and fold it over into a circle and staple the ends together. Loop a second strip into the first and staple into a circle. Repeat with each strip until your paper chain is the length you want it to be. Cut up additional sheets of paper as needed.

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WITCH GARLAND HOW-TO:

To begin, lay your paper horizontally and fold it in half lengthwise then cut in along the fold so you have two long pieces that are the same size.

Take one of the pieces and fold it in half, then in half again and finally in half one more time as the picture shows. Unfold the paper and then re fold it in accordion style.

Using a pencil or light colored crayon, draw an outline of half a witch’s hat onto the top of one accordion fold making sure to include a connecting strip coming out of the center of the hat, like the example shown here. Be sure that the upright, non-slanting side of the hat runs along the connect ed edges of the accordion fold, not the open edges. Use a scissor to cut along the outline and unfold the garland. To make a longer garland, create multi ple sections and tape the edges of the connecting strips together.

November Preview: Turn leftover Halloween candy into cute Thanksgiving crafts!

Happy Halloween!

Camille Martin Redefines Luxury Skin Care for Women of Color

by Roderick Thomas

By summer 2022, Camille Martin had managed to raise three million dollars to fund breakthrough advancements in skin care products designed with women of color in mind.

As she enters a space now dominated by celebrity owned or endorsed products, Camille is staying focused on her mission to provide safe, luxury skin care for wom en of color––products that could change the face of skin care.

My interview with Camille Martin, CEO of Seaspire Skincare is below:

Roderick Thomas: Camille, thank you so much for speaking with me Camille Martin: Thank you, happy to be here.

RT: How did you get your start in skin care?

Camille Martin: At Northeastern University. My colleagues and I were conducting research on how octopuses, squids, and cuttlefish achieve camouflage. Our research was producing interesting results, and I knew we had something remarkable. The next step was how to apply our findings to something for the public.

RT: How did you make that transition?

Camille Martin: After we knew the research finds were solid. I joined a program by the National Science Foundation to teach students how to take ideas from the lab to the marketplace.

At first I thought about color changing lipstick and other cosmetics.

RT: Color Changing lipstick, that sounds like some thing from Harry Potter

Camille Martin: [Laughs] It’s science I swear. How ever, we pivoted from lipstick to sunscreen.

RT: What did you learn when you pivoted from beauty to skincare?

Camille Martin: We pivoted to skincare and focused on creating sunscreen as our first product. I learned about how sunscreen is negatively affecting marine life, so merging our ambitions with environmental responsibility became a top priority.

RT: How is our sunscreen negatively affecting marine life?

Camille Martin: Research has linked some chemi cals in sunscreen to the bleaching of corals. In 2018, Hawaii banned the sale of certain sunscreens. And In 2019, the American Medical Association found that some of these ingredients in sunscreen pose a threat to humans as well.

RT: How are these ingredients still being used and sold in products then?

Camille Martin: Big companies often know when their products aren’t perfect for you, but they also know they can get away with it under current FDA policy.

RT: What has been the most challenging part of starting your business, Seaspire?

Camille Martin:The most challenging part has been trying to figure out what is the right market, for safe products and how to navigate regulatory constraints to bring products like this to the marketplace.

RT: You’ve raised a significant amount of money, let’s talk about that.

Camille Martin: It’s not a cakewalk,but there is a need for safe products, and skin care products that help people, women of color especially. We’ve started our journey toward raising money for our c round. It took so many conversations and meetings to get investors to believe in and fund Seaspire.

RT: Recently, you participated in a broadcast with Kerry Washington and Johnson and Johnson. How was that?

Camille Martin: That was exciting! It was for John son and Johnson’s J lab innovation. We received the lab quick fire challenge grant of 25k and they called on me to participate! I can’t forget that experience.

RT: You mentioned specifically addressing the skin care needs of women of color. Why have you made that a priority as well?

Camille Martin: I’m a Black woman who is in a posi tion to influence skincare options for women of color, if not me, then who? Raising three million dollars is wonderful, but when you realize how much money is given to other businesses and startups, you’ll under stand how much more is possible. Black women are

not raising the same amount of capital in this industry.

RT: Why are Black women not given the same op portunities in the industry?

Camille Martin: In general, there could be a lot of biases. However, Seaspire is going to disrupt the industry, if you are too hung up on my appearance you’re missing out on a major opportunity.

RT: Reminds me of companies that are following Fenty, and only now offering makeup for several skin tones. Camille Martin: Why did it take so long? Brown girls, dark skinned women are consumers as well. That’s why we are making it a priority to create a lux ury skin care brand for women of color to confidently use. Women of color shouldn’t be an afterthought.

RT: What are your goals for your business, short term and long term?

Camille Martin: Short term, developing and launch ing our breakthrough consumer product line and out performing what’s in the marketplace. Long term, our ingredients become a new standard, and get adopted by other products.

Camille Martin:We really want to continue to create products that are safe for all people and the environ ment. For us sustainability is how we are influencing the environment beyond recycling

RT: Advice for other entrepreneurs, Black women especially?

Camille Martin :Don’t take naysayers or even inves tors comments personally, keep pushing, don’t let these no’s keep you from your yes moment.

RT: when are you officially launching?

Camille Martin: We’ll be launching in 2023

RT: Last question, any skincare tips that we can all implement today?

Camille Martin: Moisturize daily, and wear sun screen everyday even inside. And keep your skin clean.

RT: Camille, It’s been a pleasure, thank you.

Camille Martin: Thank you!

Keep up with Camille and Learn more about Seaspire by visiting Seaspire.com and @Seaspireskincare on Instagram.

Roderick Thomas is an NYC based writer, film maker, Instagram: @Hippiebyaccident

Hollywood to Audiences: Drop Dead!

by Dante A. Ciampaglia

treated like cultural carrion, left to fester in the tepid feeds of their respected streaming services.

And for what? I’m not sure if you’ve looked at Fandango lately, but mul tiplexes aren’t exactly hotbeds of new films. Look at what’s playing at a theater near you — if you still have a theater near you — and you’ll see months-old Marvel films and re-releases of years-old blockbusters like Avatar, and, um, Jaws for some reason. There are smaller mov ies, like Everything Everywhere All At Once or Bodies Bodies Bodies, but none are mainstream crowd pleasers, nor are they from the major studios. Surely there are business considerations at play here, with AMC and Alamo Drafthouse commit ting X number of screens to Thor 4 for Y amount of weeks, full stop.

franchise films like Blonde are coming, as they have for the last few years, from tasteful indie studio-slash-subculturaltastemaker A24 or, more relevant to this conversation, Netflix.

Again, Hollywood could market-correct. In the past, if some economic measure found audiences flocking to a typical kind of film, studios would rush a bunch of copycats into production. Not in 2022. Rather than adjust their business, they’ve shifted blame. It’s not their fault the industry is cratering, it’s the audi ence’s. They won’t come back! They’d rather be streaming! They hate movies! They’re selfish! They don’t respect film making! They don’t understand!

(History will prove me right on this.)

But you know who wasn’t happy? The National Association of Theatre Own ers (NATO), which refused to book The Irishman when it couldn’t coerce Netflix to extend the film’s theater-exclusivity window before it hit streaming.

The Irishman made $969,000 at the in ternational box office; in its first 28 days on Netflix, it was streamed by nearly 40 million accounts, which surely means considerably more than 40 million peo ple watched it. You can do the math on how much box office that would have amounted to had NATO not thrown a hissy fit, which would’ve been a boon to Paramount’s bottom line, too. And only NATO and Paramount have themselves to blame for missing out — and for viewers flocking to streaming.

Let’s

talk about some recent movies! I’ll start: Confess, Fletch. It’s pretty fun, a decades-in-the-making re boot of Chevy Chase’s 1980s comedymystery franchise based on Gregory McDonald’s series of novels, with Jon Hamm in the role as investigative reporter-turned-amateur-gumshoe I.M. Fletcher. It’s a solid effort from director and co-writer Greg Mottola, albeit a bit too shaggy and padded out to meet its 98-minute runtime. But it’s the kind of irreverent mid-budget flick Hol lywood doesn’t make much anymore. And it benefits from a stacked cast that includes Kyle MacLachlan, Marcia Gay Harden, Roy Wood Jr., Lorenza Izzo, and John Slattery, who absolutely steals the movie in his handful of scenes. Who can resist a Don Draper-Roger Sterling reunion, and on the big screen no less? What’s that? You haven’t heard of Con fess, Fletch? You’ve never seen a poster or a trailer or an ad or anything?

OK. What about Prey? Surely a new Predator movie is big enough to have crossed your… Oh. Nothing there either.

No, no, it’s fine — I’m confused, too. But it’s not you; it’s Hollywood. Because it seems that the mainstream movie indus try has lost interest in making movies.

Confess, Fletch was unceremoniously released in 516 theaters on September 16 and basically out of 516 theaters two weeks later, with a paltry $532,000 box office to show for it. It was, however, dumped the same day on streaming ser vices, where you can rent it for $19.99.

Prey fared even worse. A Fox picture via Disney, which got Predator in the ac quisition deal for X-Men, Prey couldn’t even make it onto Disney+. It was slid instead onto the Mouse’s second-tier streaming service, Hulu. I guess no one wanted kids to accidentally stumble on an alien ripping out someone’s spine when all they were doing was looking for the latest episodes of Bluey

On paper, both films should have been locks for extended multiplex runs. They’re entries in established franchises; they got decent-to-solid pre-release buzz; and they’re showcases for a charismatic star (Hamm in Fletch) and creative extensions of known universes (Prey). They even got fairly positive-togushing coverage after their releases. None of it was enough. They were

But there seems to be something else happening: Hollywood in something close to a meltdown.

For all the bloviating about liberal La La Land, the movie industry has always been a fairly conservative business.

Major studios and exhibitors respond slowly, if at all, to systemic changes, and they take defensive, victimized postures when confronted with challenges. It happened in the 1950s with television, the ‘80s with VHS, and today with the assault from Netflix, et. al. Does it mat ter that the power of streaming is being revealed as a mirage as Netflix’s market cap sinks like a stone? Not a lick.

Like the rest of the American economy, megamerged corporations posing as film studios and the AMC-Regal multiplex oligopoly only care about quarterly results. And, thanks to the pandemic, business has been very, very bad. In the accepted narrative, audiences stayed home — so they wouldn’t die; the selfish bastards — and discovered their insane home theater setups are perfect for streaming movies and avoiding not only viruses but the double-dipping price gouging they experience when they buy tickets then concessions at their local 10-screen.

But rather than make a play to get audiences back into theaters — in capitalism known as a market correction — studios and theater owners chose to rend their garments and play the victim. They’ve triple-downed on the worst kind of spectacle, completely jettisoned adult audiences, and placed all their bets on one or two super-tentpoles, be it Spider-Man: No Way Home in 2021 or Black Panther: Wakanda Forever this year. The result has been a very strange, completely unbalanced, and arguably unhinged mainstream moviegoing experience. New studio product gets made, but it’s almost entirely big-budget franchise blockbusters, like Thor: Love and Thunder and Dr. Strange In the Multiverse of Madness and Jurassic World Dominion and The Batman. Beyond that, there’s little else coming out of the studios. Warner Bros. has a modest rub bernecking hit in the tabloid-clickbait Olivia Wilde film Don’t Worry Darling, and Universal continued cashing in on Jordan Peele with Nope, but those are decidedly outliers. Original scripts like The Whale and awards-bait non-

Besides the fact that it’s not moviegoers’ role to prop up a failing, flailing industry, it’s not our fault. Confess, Fletch and Prey got some good attention, which might lead to sequels — which will go straight to streaming. Because that’s where the real money is. Why hope for a one-time ticket sale when you can reliably pinch the suckers for a monthly subscrip tion? Hollywood wants us to stream, but when it doesn’t put anything worth seeing in theaters it brays about how audiences are killing moviegoing. Sorry, but you don’t get to have it both ways. People who like movies, generally, like watching movies with other people (particularly comedies and horror). It’s a communal art, at its best when we’re watching together. Streaming is fine, but it’s antiseptic and a poor replacement for the act of moviegoing. The wild success of Top Gun: Maverick — yes, admittedly a sequel — proves that people want to go to the movies. But only if there’s something to see, and only if they know it’s coming to a theater near them. Put stuff in theaters, tell people about it — I’m not an MBA, but that seems like a solid foundation for a functioning movie business. But the industry has chosen to cast audiences as villains in its poor-little-billionaire act, the kind of virulently classist canard deployed by people like Mayor Eric Adams when discussing the state of New York City’s economy. (It’s tanking because spoiled white-collar millennials won’t get out of their pajamas and go back to the office; it has absolutely nothing to do with de velopers and executives, the people with capital and means, refusing to evolve.)

This kind of full embrace of victimhood is the worst kind of punching down. And it’s deliberately obfuscating. Let’s go back to 2019 — the year every one with money agrees was civilization’s apex — and revisit The Irishman. Martin Scorsese’s three-and-a-half-hour gangster epic was the stuff studios and theaters salivate over: Scorsese back to making a mob movie; one that starred Robert De Niro and Al Pacino, no less, who share the screen a lot; and the director lured Joe Pesci out of retire ment, so it’s also a kind of Goodfellas reunion. Who could refuse that offer? Paramount, it turns out, which balked at a nine-figure budget driven up by groundbreaking de-aging technol ogy. Netflix stepped in, got Scorsese the money, and we were all treated to one of the finest films of the decade.

This fracas is the best example of how Hollywood pushed itself into insig nificance. By refusing to make more than just IP-driven merch-movers and denying screens to anything produced by a streaming service, studios and theaters created an opening for Netflix, Amazon Prime, even Hulu and HBO Max to make the mid-budget films that once sustained multiplexes. If Scorsese couldn’t get a gangster picture made at a major studio pre-COVID, what hope did Fletch or Prey have three years later?

Hollywood set itself on fire; the pan demic just accelerated the burn. And now not even streaming services are safe. Warner Bros. DIscovery recently canceled franchise films like Batgirl earmarked for streaming to claim tax write-downs. The narrative of Hol lywood has long been intertwined with Wall Street, but the Batgirl decision — and the fates of films like Confess, Fletch and Prey — feel like the opening of a new chapter, one far more insidious than Gulf+Western buying Paramount.

Hollywood is clearly in a period of tran sition, never easy for the stodgy town, and the pandemic obviously impacted this process. But it also warped some thing in the machine, or perhaps in the industry’s psyche. It’s going to take a lot more than the second coming of Cin emascope or Easy Rider to set things on the right path — or, at least, one friend lier to audiences, those selfish ingrates. Releasing movies in movie theaters is a good start, though.

Almighty Aaron. Back in the early naughts, the mighty Isis was a vital force in defining what has since become known as post-metal with their long, slowly developing, often largely instru mental compositions. It’s been a dozen years since they parted ways, and guitar ist Aaron Turner has followed the path the band forged in differing directions, most notably with the band SUMAC Turner has had quite a confluence in recent months, releasing a new solo album in June, a duo with percussion experimenter Jon Mueller in September and a new album with SUMAC and Japanese overdrive overlord Keiji Haino out this month. To Speak (Trost Re cords) toys with the pace and slow build of Isis, but does so with static, feedback and hum slowly rising into actual notes and, occasionally, a chord or two. There are some rockist elements, even shades of Hendrix, but much of the album tends toward dark ambience and sounds of unknown origin.

The most exciting of the three is the SUMAC/Haino collaboration Into This Juvenile Apocalypse Our Golden Blood to Pour Let Us Never, out this month on Thrill Jockey. In many ways, it follows the form of Haino’s deep and heavy band Fushitsusha, not least in drummer Nick Yacyshyn’s convulsive pounding.

Recorded live in Vancouver in 2019, it’s their third meeting on record and it tears along quite satisfactorily. It’s the closest of the three to following anything like song format, but the long group improvisations hardly fall into verse-chorus-verse. Haino turned 70 this year and it’s a pleasure to hear him as ferocious as ever, and with a band ready to meet him in the black echelons.

Take every telephone and smash in every TV screen” and drop a bigger check on “Greta Van Fake,” calling out ah, ahem, unnamed, pose-striking outfit. They spike the Waterboys’ “Be My Enemy,” trading the Dylan for real poison. And “Ma Likes to Drink” rips with “Ballroom Blitz”-worthy banter. Sam Quartin, the band’s primary singer and songwriter, melds punk and hard rock perfectly, writing songs that are old school without being retro. These 30 minutes could change your life.

For that sort of solo abstract improvi sation, the seven tracks (roughly 5-10 minutes each) are wonderfully varied and, no matter how detached from form, still sound loud. His and Muel ler’s Now That You’ve Found It (out last month on American Dreams) is noisier and more of a surprise, reminding me at times of the John Coltrane / Rashied Ali album Interstellar Space, or, more particularly, the Nels Cline and Gregg Bendian guitar/drum “revisiting” of that free jazz landmark. But Turner and Mueller are more environmental in their approach, creating vast landscapes

Take me down to the hospital. Hail ing from up in Woodstock, NY, the Bobby Lees tear through 14 songs in just over half an hour, but even on the ones (five of ‘em!) that clock in at under two minutes, the songs on their new Bellevue (Ipecac Recordings) feel more like fleshed out heavy rock tunes than cheeky punk blasts. They name check an author not known for breakneck pace in “Strange Days” (one of four songs already out on a digital EP over the summer): “It’s a Murakami dream / We’ll light a trash can fire, burn your memory / It’s a Murakami dream /

Oberon and on and on. My general rule of thumb with Fucked Up is, the longer the song, the better it gets. By that measure, the Toronto band’s new EP should just be OK. The opening title track, Oberon, (named for the king of the fairies in A Midsummer Night’s Dream) manages a remarkable epicness in its eight minutes, only a bit long by the usual FU measure (or about 8% of the glorious Year of the Horse, released last year. But even with the Shakespeare reference in the title track, it’s their take on Camille Saint-Saëns that takes the cake. They remind me sometimes of Hüsker Dü in the way they bring mel ody and structure into hardcore punk, but have been doing it now for twice as long. I’m already looking forward to keeping their Year of the Hare for all of 2023, but this makes for a nice gapstop.

Montage Daydream. Your intrepid reporter ponied up the Imax price tag to engage in the spectacle of Brett Mor gen’s David Bowie spectacle Moonage Daydream (the little headline here lifted from my friend Zack). The documenta ry, er, “cinematic experience”—although maybe “indulgence” would be more to the point—is an explosion of sound and vision which should be experienced on a big screen, if only because I’m not sure it would hold up well in home view ing. It’s slight on biographical detail, unsurprisingly heavy on the 70s, and full of delights. Clips both familiar and never seen before are intermingled with thematically linked movie scenes in roughly chronological collage and incessant barrage. What it isn’t big on is citing sources. Is that Bowie’s bottlestrewn bedroom with multiple televi sion sets? If you haven’t seen the 1976 film The Man Who Fell to Earth, in which Bowie starred, you’re not going to know, and director Nicolas Roeg only gets cursory credit at the end. That kind of high-speed sloppiness keeps Day dream from being a proper doc, which Morgen never said it was. At two and a quarter hours. It’s a bit long, but at the same time, there’s no reason for it to end. Rather than cinematic experience, the work should be an installation, a nonstop, ever-changing, AI-generated audio/video installation of movie scenes, splashy animation, interview segments and remixed songs, strung out on Bowie’s high, hitting an all-time low.

with sonic disturbances and flashes of lightning in the distance.

Books by Quinn

Teen Angst

Review of My Perfect Life, by Lynda Barry Review by Michael Quinn

In the `90s, when I was in college, a friend showed me a book from her women’s studies course. She thought I might like it. It was a comic book with a bright pink cover with a drawing of a homely-looking girl standing in front of a mirror. As I flipped through it, I was struck by how messy the drawings were. The story was messy too. It was about an awkward and unpopular teenage girl; the trials she faces at home and at school; and the resilience she finds, finally, by being and ac cepting herself. I didn’t just like it—I became obsessed with it. Long out of print, Lynda Barry’s My Perfect Life has just been rereleased by cool Canadian publisher Drawn & Quarterly to blow the minds of a new generation. Barry, a recent Macarthur Fellow (aka the Genius Grant), has proved herself to be a tireless advocate for the transformative power of creativity. She believes anyone can write and illustrate a story. It’s not about talent; it’s about getting out of the way to let the story and images come through you.

This story, unfolding in a series of black and white comic strips, follows fourteenyear-old Maybonne Mullen over the course of a school year. The scribbled draw ings seem cinematic, with wide shots and close-ups—sometimes a face fills two of the four frames—that masterfully convey a teenager’s public and private selves: the way we’re perceived and the way we see ourselves. Of course, there are commonali ties between the two. This is only one of the things that Maybonne will discover.

At the book’s start, getting settled in a new town, Maybonne writes a note to her best friend Brenda back home filled with the usual gripes: awful teachers, bad lunches, having to share a locker with the new girl at school. “Sometimes I wonder: Is there a curse on my life?” she asks.

Maybonne doesn’t breathe a word of what her home life is like. She shares a bed with her little sister Marlys at their grandmother’s house. First their dad left their mom and then their mom left them. When Maybonne suggests wanting to see her mother at Christmas, her grandmother lets out a snort: “You think she wants to see you?”

When Maybonne looks in the mirror, she sometimes takes off her glasses to squint at her reflection. Even then she hates what she sees. She thinks, “I look at the people at my school. I say, if this was a movie, who would be the star?” One thing she’s sure of: It isn’t her.

Maybonne’s a target for bullies (a group of girls calls her a “lesbo”) and predatory males (she hooks up with a guy named Doug to change this unfair reputation, re grets it, then tries to justify it by convincing herself she’s in love with him). Watch ing the more-experienced Cindy finger a necklace a boy gave her with a worldweary smile, Maybonne observes, “Before that, Cindy always seemed my same age. Now I see how many spaces she had skipped.”

When a genuinely nice guy takes an interest in Maybonne, she’s horrified to admit she finds him boring: “Brenda told me one time that this thing happens when guys are nice. When guys are nice, your feelings can just sort of stop.”

It’s to God that Maybonne turns for her most serious concerns, although he “might not be the same God as the God of the church,” she explains. She worries about war, pollution, starvation, prejudice, overpopulation, and “why guys quit lik ing you when you start liking them.”

Like many teenagers, Maybonne has her mood swings. Sometimes she inexplica bly feels giddy: watching a sprinkler shoot to life on a summer lawn, running bare foot across the driveway in her nightgown to gossip with Cindy about boys. Other times she feels suicidal, lying awake in her bed at night watching Marlys sleep and imagining how awful it would be for her sister to wake up and find her dead. Marlys, a little spitfire with two pigtails sprouting from her head like brooms, is an eternal optimist. She’s forever trying to cheer up Maybonne with made-up dances and corny jokes. Failing to get the big reaction she hopes for, Marlys knows her sister well-enough not to take it personally. “Are you riding on another bummer again?” she asks.

Eventually, Maybonne finds ways to self-soothe, like cuddling with an animal. (“The smell of a dog has always made me feel better,” she explains.) At the start of a new school year, she feels gratitude for all of her experiences, good and bad. She’s begun to understand who she is and what she needs—and self-awareness is truly the key to self-acceptance. “Crud is the most normal feeling,” Maybonne says. “They should write that in the sky so people will know and not feel so bad.” I re member reading those words all those years ago and being struck by their truthful ness.

My Perfect Life has only gotten better with age.

Jazz by Grella

Up From the Underground

by George Grella

Thejazz world is vastly different than it was 100 years ago.That probably seems obvious, in that the world may seem different than it was 100 years ago, though that is mostly superficial and centered around technology. What I mean is the there are key aspects of the society that gave birth to jazz that have changed and in many ways no longer exist, and that has to do with vice and organized crime.

That’s the story that T.J. English tells in his new book, Dangerous Rhythms: Jazz And The Underworld. It’s one that jazz heads will know, at least in how it is reflected in Louis Armstrong’s life story, but English does rope in vital parts

of the history of the music that are either specific to how jazz developed (especially in Kansas City) musi cally or how it worked as a business, that example be ing Frank Sinatra. (Jazz heads may gnash their teeth about Sinatra being in the book, but he, and Bing Crosby before him, was important for how he learned from jazz musicians and brought their ideas to a mass audience—even if he strictly never sang jazz—and in turn jazz players learned from Sinatra’s marvelous phrasing. Jazz and pop first met and mingled over what’s become known as the Great American Song book, and Sinatra swung the hell out of that on his great albums with Duke Ellington and Count Basie.)

For anyone unfamiliar with and interested in how jazz came to be, the book might well be mind-boggling. This is not musicology, but social history, which is the part that musicologists almost always leave out and is always where the music begins, before anyone plays a note. This is about how musicians got the chance to make the music that became jazz, and develop it and bring it to the world. And yes, it starts in New Or leans where all the myths say it started, in the brothels, gambling parlors, and other vice dens of Storyville, the de facto red light district where the citizens of the demimonde were allowed to congregate and do their thing.

People like to be entertained, and a brothel was not just a place to pay a woman to have sex, but to have a drink, hang out, socialize away from both work and home. People who ran brothels liked to make money, the more satisfied customers the better, and so they hired musicians who were playing that crazy new style called “jass.” That included Armstrong and Jelly Roll Morton, without whom we would neither have jazz as we know it, or pop music (which was pretty much created singlehandedly by Armstrong when he started singing on record). The customers were happy, the madams and pimps were happy, and the musicians were not only happy but got to try new things and create the consensus of rhythm, style, and ensemble interplay that became jazz.

The music has been respectable since the swing era, but in the ‘teens and 1920s, jazz was as suspicious and threatening as drill is supposed to be now (moral panics never go away, it’s just the names that change). It was hot, it made people want to do drugs and have sex—and of course it did, because it was being played for people who were there to do drugs and have sex! While jazz is now a niche-cult music, since the time of its greatest popularity in the middle of the 20th century it was, socially, a signifier of bourgeois taste and status, meaning that at least in the public regard the origins in what many people (especially white audiences) might consider unsavory lifestyles had been filtered out.

How quickly did that happen? In 1928, Armstrong

Oh it’s tight like this No it ain’t tight like that either I said it is tight like this ... tight like that there

Oh it’s tight like that Louis No it ain’t tight like that either Now it closes like that

Within the space of one generation, in 1951 Dave Brubeck began touring college campuses, bring ing modern jazz to educated young white audiences across the country. His quartet was tight, but not like that. Although with the amazing Paul Desmond play ing alto sax, it was plenty bluesy. The blues element in jazz is enduring and essential, not just musically but because that’s the connection to making music from and about the human experience. A Desmond solo may not be quoting “Jake Walk Blues” or “I Need a Little Sugar in My Bowl,” but it has roots in the same place.

Again, the outlines of this are familiar, and if not, all it takes is listening to what Armstrong and Morton are telling you without taking it as any kind of metaphor. The lesser-known but deeply fascinating and impor tant part of this story comes from Kansas City, where the local Pendergast political machine, based on the T.J. Pendergast Wholesale Liquor Company, kept Kansas City wet, happy, and flush during Prohibition.

Speakeasies, like brothels, wanted musicians, so did wet nightclubs, so did joints with live sex shows, and along came the combos and the dance bands which morphed into the famous swing bands, known for the sound of the territory they came from. Kansas City was the launching pad for Basie and Jay McShann, a hell of a bandleader in his own right and whose place in history was cemented when he hired the young Charlie Parker.

The rest is history. Prohibition created a void that was filled by organized crime. The Mafia, already part of society in New Orleans, Chicago, and New York ac cumulated tremendous wealth and power giving peo

ple the thing they wanted that the government said they can’t have (another familiar story). The interest ing part of this that the gangsters themselves wanted the social status and cache of being close to the musi cians. What Francis Coppola’s The Cotton Club tries to show but doesn’t quite achieve is how having Duke Ellington in your club, and all the swells who came to see his band, reflected glory on the gangsters running the place—they weren’t just wealthy merchants, they were admired figures in society. That’s exceptionally valuable to many, many people, and why the Kochs fund the ballet.

Sinatra is paramount in this regard, and his music career was both enabled by the Mafia and allowed the Mafia to reach into the record business and Holly wood. That in itself is an enormous story, but English gives a good outline of it, as well as weaving all the decades and locations together into a fabric that was truly connected. Economic and social culture have always moved from New Orleans, up the Mississippi River, to the Midwest and Chicago, and from there to New York City and parts West. In the 19th century, that meant cotton and the slave trade, 100 years ago it was opium and booze, jazz and blues.

Until the 1960s that is. That’s another story in itself, one where radio, baby boomers, and the splitting of white and Black audiences pushed jazz to the side, leaving the field open for rock and soul and things beyond. Jazz doesn’t just go to college, it has been taught in college for generations. This is nothing against the music, which is still as great as always, but it is important to know how things began for two reasons. One is that an imagined, Arcadian past when jazz was somehow pure is a pernicious myth that has always worked against the music, and the other is that jazz has been compartmentalized as a high-class, even intellectual form, one supported by Lincoln Center no less. But it’s just music, as Charlie Parker himself said, and “real gone music” as Sid Torin once replied, and music since before civilization has often been about getting up and getting down, especially when the man suppresses that. It’s good for jazz to remember.

released “Tight Like This,” where he and pianist Earl “Father” Hines discussed the following proposition:

Flashback to November 2012

Red Hook StarªRevue

FOOD

Daily hot meals

VISITATION CHURCH 98 Richards, (718) 624-1572 Hours: 10 am - sundown

CALVARY BAPTIST CHURCH, 773 Hicks Street at West 9th Street (718) 522-5159

MEDICAL Non-emergency medical aid

RED HOOK INITIATIVE: 767 Hicks Street at West 9th Street, (718) 858-6782 http://rhicenter.org 10 am-9 pm.

SUPPLY DONATION

Drop-off and Pick-up Locations

RED HOOK INITIATIVE: 767 Hicks Street at West 9th Street http://rhicenter. org 10 am-9 pm. Hot meals should be de livered here. Please tell us when you will be arriving. Email food@rhicenter.org or call (718) 858-6782

GOOD SHEPHERD SERVICES, 173 Conover Street or Visitation of the Blessed Virgin Mary, 98 Richards Street/ Verona Street: 10 am-5 pm Canned Food/ Non-perishables/Flashlights/Candles/ Blankets.

Friends of the CARROLL GARDENS

LIBRARY is proud to take part in col lection efforts for the Brooklyn Public Li brary’s Hurricane Relief. Starting Thurs day, November 8th to November 23rd, you may drop off the items listed below at the Carroll Gardens Library (396 Clinton Street at Union Street

Blankets, Water & Food COFFEY PARK (85 Richards Street between King and Verona Streets)

JOSEPH MICCIO COMMUNITY CENTER (718) 453-1296 110 West 9th Street between Henry St & Hamilton Ave Hours: 10 am-1 pm 2:30-6 pm

Distribution

SOUTH BROOKLYN COMMU

NITY HIGH SCHOOL (718) 4221900 173 Conover Street, corner of Wol cott

402 VAN BRUNT Coordinating volunteer clean-up efforts. Contact if you need volunteers to help you or to pick up or to drop off cleaning supplies, water pumps, generators,

gasoline. 10 am - 5 pm

Overnight Warming Shelter

JOHN JAY HIGH SCHOOL, 237 Seventh Avenue between 4th and 5th Streets

GOVERNMENT AID

351 VAN BRUNT – Residents and Small Businesses Support and Paperwork Assistance: FEMA, food stamp forms, etc. FEMA ASSISTANCE visit FEMA.gov/ Sandy for information on how to apply for federal assistance, tips on returning home and updates on federal programs in your area. If you don’t have access to the Inter net, please call 1-800-621-FEMA (3362) TTY 1-800-462-7585. Before you call, be sure to have the following information ready: Address of affected property; Insur ance information; Social Security number. Once you have applied for assistance, read these five next steps: http://www. fema.gov/blog/2012-11-02/sandy-update5-next-step-after-you-register-disasterassistance

NYC DISASTER ASSISTANCE OFFICES are now open in Brooklyn, the Bronx, Queens and Staten Island. Find out more information http://www.nyc.gov/html/ misc/html/2012/dasc.html or http://www. nyc.gov/html/oem/html/home/home.shtml

REPORTING DAMAGE TO NYC

To qualify for disaster assistance, the city must report the extent of the damage to in dividual properties and business. Informa tion: http://www.nyc.gov/html/oem/html/ nycsevereweather/damage_form.shtml

UTILITIES

Con Edison Electric Power Outage Information

Report power outages at www.coned.com or call 1-800-752-6633

Natural Gas

If you smell a leak, call 911. For updates, www.nationalgridus.com.

SANDY RECOVERY UPDATES

Community

RED HOOK RECOVERS: https:// redhook.recovers.org or (347) 770-1528

RED HOOK INITIATIVE: 767 Hicks Street at West 9th Street (718)

858-6782 http://rhicenter.org 10 am-9 pm

Government

NYC Mayor Bloomberg’s Office Up dates http://www.nyc.gov Twitter: https:// twitter.com/NYCMayorsOffice

NY STATE http://www.governor. ny.gov/ Twitter: https://twitter.com/NY GovCuomo

DANIEL SQUADRON http://squad ron.nysenate.gov, (212) 298-5565 Email: squadron@nysenate.gov Follow on Twit ter: @DanielSquadron

SARA GONZÁLEZ http://council. nyc.gov/d38/html/members/home.shtml 5601 5th Ave S-2, Brooklyn, NY 11220 (718) 439-9012

JOBS

Call 1-888-469-7365 & find jobs helping clean up storm-affected areas: http://bit. ly/R2qeNE

TELEPHONE NUMBERS

Useful phone numbers for people affected by Hurricane Sandy in any way: FEMA 1-800-621-3362 (FEMA will pro vide up to $300 in food stamps for grocer ies)

IRS (personal loss) ex: cars 1-800-8291040

DISASTER ASSISTANCE UNEM PLOYMENT 1-888-209-8124

MEDICAID, HEALTH PLUS 1-855693-6765 (Child Health Plus) (NY Health Options)

FOOD STAMPS 1-718-557-1399 (Also

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