new york

On and off the 1 and A trains in The Bronx and Manhattan

Each trip to New York has been characterized by particular subway lines, and on this trip is was the 1 (Broadway / 7th Avenue) and A (8th Avenue Express). I usually began in the Bronx, not far from where I encountered the Bronx cat, getting on the elevated section of the 1 over Broadway.

At 168th Street, I regularly switched from the 1 to the A. This is an odd station. The tunnel for the 1 train is quite deep underground and the platform is in cavernous curved hall with old-time light fixtures.

It is an eerie place, but was the most important transfer point of this trip. The tunnel connects to the more conventional station for the A train above via elevators, the only station I know of that is arranged this way. From 168th Street southward, the A served as an efficient spine along the west side of Manhattan, connecting to Chelsea, the village, and on into Brooklyn.

This worked well, until the elevated section of the southbound 1 was closed last Monday. After weighing the options, I decided to walk the route instead. It was actually the first time I had ever walked on Broadway south of West 230th Street – in all the times I crossed the Broadway Bridge over the Harlem River, I had never done so on foot. The view from the bridge looking over towards Spuyten Duyvil and the Hudson River beyond is quite scenic.

Broadway continued south from the bridge to the Inwood section of northern Manhattan. This is another area I had never walked through before. Among the more interesting things was this mysterious looking archway behind some storefronts on Broadway near 216th Street.

I had seen it before from the elevated tracks, but now on foot I had a chance to take a closer look. It seemed to be incorporated into one of the auto-repair places, but nonetheless completely out of place from the current landscape. I posted it to Facebook and Twitter as the “mystery arch”, and a friend pointed me to some information about the arch and associated mansion. It is in fact The Seaman-Drake Arch, and its story from a grand landmark to a forgotten one is a bit sad. But it is still there, even surviving a 1970 fire, and could be restored and protected if there is enough interest. (It was still for rent as of this 2010 article).

Broadway continues south to 207th Street, where the A line begins. Before descending into the subterranean station, I saw a sign reminding us that this section of Broadway is in fact U.S. 9.. But rather than following the highway, I descend the stairs to catch the A and resume my regular journey.

The chance to explore a new neighborhood, so close to one I already knew, was an unexpected gift from what was annoying subway-line closure. I will have to come back to see more detail sometime (when it is warmer).

Weekend Cat Blogging: Bronx Cat

After the Issue Project Room show in Brooklyn last Saturday, I headed north to the Bronx. Out on the street in Riverdale in the Bronx, I came across this cat:

The cat was a bit shy, keeping a bit of distance, but not running away either. It eventually went up one driveway.

It seemed to be a pet cat, not a stray, and after several entreaties came up to me, even head-butting my hand. It is always a treat to encounter cats when out and about.

Weekend Cat Blogging Thanksgiving Edition is hosted by Jules and Vincent over at Judi’s Mind Over Matter.

The Carnival of the Cats will be hosted this Sunday by Nikita and Elvira at Meowsings of an Opinionated Pussycat.

And the Friday Ark is hosted by the modulator.

Issue Project Room: Mind Over Mirrors with Zelienople + The Ashcan Orchestra

As part of my wanderings around New York this past week, I had the opportunity to hear an evening of experimental music produced by Issue Project Room. The concert, at the Actors Fund Arts Center in Brooklyn, featured two ensembles that were quite different in terms of music and instrumentation.

The evening began with a performance by the Brooklyn-based Ashcan Orchestra. The group is a project of composer p. spadine and involved a variety of colorful toy instruments.

[Ashcan Orchestra.]

Through the set of four pieces, the members of the ensemble rotated around the instruments, beginning with a piece for an ensemble of toy bells. The bells were actually quite sonorous, and one would be hard pressed to recognize this as a piece performed with toy instruments if only listening and not observing the bright colors. The colors were nonetheless an important part of the presentation and even part of the musical score.

As the performers rotated, the orchestration and timbres became more varied and complex, including more drums and other louder instruments, giving the impression martial music (ableit martial music with toys). In the end, however, they rotated back to the bells for one final piece. The music and presentation was a lot of fun, and I thought they could have easily done another piece. But the set as it was had a good structure. It was nice to hear the ensembles treatments of traditional harmony and ideas reminiscent of early-twentieth century music.

The second half the concert featured a collaboration of Mind Over Mirrors, the project of resident artist Jaime Fennelly, and the ensemble Zelienople. Fenelly’s work involves the use of harmoniums together with electronics. The combination was impressive to look at.

At least one member of Zelienople also used a combination of harmonium and electronics, while others used guitars and other instruments to produce music similar to droning or “space rock” that we have discussed on this site before.


[Mind Over Mirrors and Zelienople.]

In this case, the music was performed as a soundtrack to Gone, a film by Donald Prokop. The film appeared to be winter suburban scenes familiar to any of us who grew up around New York City, with bare trees, ranch houses, and white snow. A lone figure occasionally appeared, walking or entering and exiting a car, and occasionally the scenes dissolved into wintery abstract color contours. Throughout, the music remained based on long drones, but veered between moderate pads and loud dramatic flourishes. The structure of the music and the film both added to a sense of listlessness and disorientation – this was an experience to simply lose oneself in.

Overall it was a strong evening of music, and the performance was well attended. I hope that I can continue to hear programs from Issue Project Room during my visits to New York.

CatSynth in New York

Once again, I will be in New York this month. It has become a yearly pilgrimage of sorts, as well as time to visit with family and friends. There will be lots of art, music and urban landscape writ large. And for this in the NYC area, I will be playing a show this Thursday.

November 15, 2012. Ambient-Chaos featuring Groupthink, Amar Chaudhary, LathanFlinAli, Charity Chan.
Spectrum, 121 Ludlow, Second Floor, New York.

LathanFlinAli, Groupthink, Amar Chaudhary, Charity Chan, and Lukas Ligeti live at the Spectrum Loft Space in Manhattan. Spectrum is a new loft space dedicated to experimental and music.

The event starts early. So please be there by 7:30 to settle in and enjoy the frequencies.

I will try and post sporadically, but in the meantime I do expect to continue with live updates of NY adventures via Twitter @catsynth.

Fun with Highways: I-990

Sometimes I just need a virtual escape based purely on numerical criteria. Such is the case with I-990, the highest-numbered Interstate highway in the U.S. It is a relatively short spur highway northeast of Buffalo, New York, and carries the name Lockport Expressway, suggesting that it was intended to connect from I-290 north of Buffalo to the town of Lockport. We did visit Lockport in our New York Primary Highways article earlier this year. However, as it currently exists, I-990 just ends at a simple intersection with a local surface highway, NY 263.


[Click to enlarge]

As can be seen in the above image, it looks like there is a piece of unused roadway representing where they highway would have continued past its current terminus.

This video follows I-990 along its entire 6.43-mile length north from I-290 to its terminus. I recommend turning off the sound, as the local radio station in the background gets tiresome.

A Perfectly Clear Day


[By David Jones [CC-BY-2.0], via Wikimedia Commons]

Earlier this year, 1WTC (on the left of the photo above) officially became the tallest building in New York City. It was officially topped off in August at 104 stories. Even last year, the under-construction building dominated the lower Manhattan skyline, with both its reflective windows and bright construction lighting.

I also had the opportunity to visit the new 9-11 memorial that opened last year.

The healing of the city includes modern design and massive scale, and attention to the human level with open spaces and green elements. I am looking forward to seeing how things have progressed when I visit again later this year.

Fun with Highways: South Riverdale

Today we look at a long walk from a long time ago. It was probably 1979, and in the summer, a time when I was often with my grandparents in the Bronx. I had already acquired the lifelong fascination with streets and roads that I retain to this day, and my great aunt (my grandmother’s sister) planned a long walk for us in a neighborhood that alternatively could be called “South Riverdale” or Spuyten Duyvil. It on the western edge of the Bronx along the Hudson River and just north of the northern tip of Manhattan.


[Click image to enlarge]

This walk is quite a vivid memory. It is odd to realize that I can retrace most of it on a map. I know that we started out from what was then the intersection of West 230th Street and Riverdale Avenue, heading south up the hill to Johnson Avenue. The hillside was steep and wooded (as it is today), but then enough that you could see the flat city blocks towards Broadway to the east. We eventually turned right onto Kappock Street, which curved its way further up the hill amidst more buildings.

From there, we turned north onto the service road for the Henry Hudson Parkway (NY 9A), which we followed for a distance. Though this mostly provided a view of the parkway itself, one could also look past it towards the Hudson River. Ultimately, we turned away from the parkway onto West 235th Street, crossing Johnson Avenue again in the “downtown” section of Riverdale. The exact route we took to get there is a bit fuzzy, but I attempt my best guess in the map above.

We stopped for a rest and refreshment (probably juice or milk as I hated soda), before continuing on West 235th towards Riverdale Avenue. It is on the side of steep hill with ledges separating lanes, so we walked along the higher section and descended the hill back to West 231st.

In November of 2002, I wandered back along West 230th Street out of curiosity to see how things had or had not changed. An old library building I remembered was still there, as were most of the larger commercial buildings. But the area around the intersection at the end of 230th was completely reconfigured, with wide green spaces separating different directions. The nearby high school campus had gotten a lot bigger. One small street from the start of the original walk, Ewen Street, appeared to have been completely removed.

It would like to re-create the original walk on a subsequent trip to New York, along with photos. It might even happen this year.

Primary Fun with Highways: New York

It seems that all the interest in the primary season has faded, with the outcome all be inevitable. And perhaps our primary highways series could fade as well. But I would be remiss if I did not at least cover New York. It is a different experience to try and observe one’s home state and try and condense that experience into a short road-centric article; and experience familiar places and note those that are left out, as many others have for their own states over the course of this series.

My experience of New York has revolved around New York City, “The City” which still sets my personal standard for what a city is.

Here we see one of New York’s most iconic landmarks, the Empire State Building, from the vantage point of one of the newest landmarks, the High Line. The High Line is a public park built on an abandoned elevated rail line in the formerly industrial west side of Manhattan. It is now an integral part of the Chelsea neighborhood and the area still known as the “Meatpacking District”. I spend quite a bit of time here during my NYC trips to walk the High Line and visit the many art galleries.

And in terms of landmarks there is the Brooklyn Bridge:

In this photo, taken from the very trendy Brooklyn waterfront, we see not only the venerable bridge, but many newer buildings of lower Manhattan. The tall twisty building in the center is a new Gehry-designed residential tower. In the back we see the incomplete but already quite tall One World Trade Center, the main building in the new complex.

It is interesting to see how much the city changes every time I return, especially in comparison to what things were like in the 1980s and early 1990s. The neighborhoods that we are looking at these photos, Chelsea, Lower East Side, DUMBO in Manhattan, were nothing like what they are now. There is a bit of nostalgic charm looking at the old run-down scenes that I remember, but I know this is probably for the best.

Another thing that makes talking about New York different from talking about other cities in this series is that there aren’t many highways to talk about, especially in Manhattan. New Yorkers take the subway. But there are still highways even in some of the denser areas of the city. The FDR Drive along the eastern edge of Manhattan is narrow and winding but offers good views of the East River and the changing skyline of the city as it passes underneath the bridges.


[By Bob Jagendorf from Manalapan, NJ, USA (Downtown) [CC-BY-2.0], via Wikimedia Commons]

On the Brooklyn and Queens side, there is the Brooklyn-Queens Expressway, (I-278, the BQE). It zig-zags through some of the densest areas of Brooklyn on a narrow double-decker path among tall buildings. With the contemporary focus on Brooklyn, the highway has also taken on a significant identity for those who live and work there. There are even multiple art and music pieces dedicated to it, such as this piece from Performa 2009.

It is impossible to in an article like this to even scratch the surface of the city’s cultural offerings, both large institutions like the Museum of Modern Art as well as the numerous galleries and small performance spaces. So with limited space, I share with you one of my own performances in New York, at Theater Lab near Union Square in late 2011.

I could not discuss New York City without giving a shout-out to The Bronx, the borough to which I have the most family connection. Though once the “new” section of the city with fancy apartments lining the Grand Concourse, the Bronx fell into deep decline in the 1960s through the 1980s, with scenes of derelict and burnt-out buildings particular in the South Bronx commonplace. Charlotte Street perhaps was the most infamous of all such scenes.


[By User Incantation on en.wikipedia [GFDL or CC-BY-SA-3.0], via Wikimedia Commons]

Having only seen the Bronx since the 1970s and 1980s, this is what parts of it looked like. It was just part of the landscape. And I wonder if it influenced my deep interest in the aesthetics of urban decay. But these images never told the whole story of the borough, either at its nadir or during its current rebound. The Bronx has long been home to respected institutions like the Bronx Zoo and Wave Hill, and newer cultural gems like the Bronx Museum. The museum is part of the revitalization of the corridor along the Grand Concourse in the central and south Bronx.


[Wave Hill]


[The Bronx Museum of the Arts.]

The Bronx is bisected by Interstate 87, the Major Deegan Expressway, which travels with length of the borough south to north, passing by Yankee Stadium. As it crosses the city boundary into Westchester County, I-87 becomes the New York State Thruway. The Thruway cuts through the southern part of the county before meeting I-287 and crossing the Hudson River on the Tappan Zee Bridge.


[By Sev! on Flickr [CC-BY-2.0], via Wikimedia Commons]

This is the Hudson River Valley, known for its scenery and for inspiring the “Hudson River School”. The paintings may look rather trite and dated now, but the scenery that inspired them is still quite spectacular. One of the more dramatic points along the river is the Bear Mountain Bridge, which carries US 6 and US 202 from Westchester on the east side to Orange County and Bear Mountain State Park on the west side, spanning large hills on either side.  It also connects up NY 9D on the east and US 9W and the Palisades Interstate Parkway on the west.


[By Ahodges7; cropped by Beyond My Ken (talk) 19:13, 27 June 2010 (UTC) (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons]

On the west side of the Hudson, one can continue north on the Thruway to Albany, the state capital. However, on the east side, one could take the scenic Taconic Parkway. It begins in suburban Westchester County just north of the city and not far from where I grew up, and then continues north through picturesque rural landscape for the remainder of its route. It is in fact the second-longest continuous road listed in the National Register of Historic Places after Virginia’s Skyline drive.


[By Phillip Capper from Wellington, New Zealand. Cropped and color-corrected by Daniel Case 2009-12-31 prior to upload (Taconic Parkway, New York, 7 Nov. 2009) [CC-BY-2.0], via Wikimedia Commons]

In Albany, we turn onto I-787, which parallels the river through the downtown. This circle-stack interchange connects to US 20 and to the Empire State Plaza.


[By Foofy at en.wikipedia ([1]) [CC-BY-SA-1.0], from Wikimedia Commons]

The Empire State Plaza, conceived and built by then-Governor Nelson Rockefeller, is a huge government-building complex built and arranged in the futuristic international style of the 1960s, a bit like Brasilia. As a result, I am quite fond of it. Nearby along US 20 is the State Capitol building, which is quite different from most others. It is not the Classical style with columns and a large dome or rotunda, but instead looks more like a rich family mansion that one might find in New York in the 19th century. It is a mixture of Roman, Renaissance and Victorian styles all put together.


[By UpstateNYer (Own work) [CC-BY-3.0], via Wikimedia Commons]

From Albany, one can continue on I-87 north towards the Canadian border. Along the way, the highway passes through the Adirondack Mountains. In the northern part of the Adirondacks, one can leave the interstate for smaller roads like Highway 86 through the mountains to Lake Placid of Winter-Olympics fame, and nearby Whiteface Mountain.


[By Mwanner (Own work) [CC-BY-SA-3.0 or GFDL], via Wikimedia Commons]

Meanwhile, the Thruway continues west from Albany with I-90, through many of the other cities that dot western New York, such as Syracuse and Rochester, passing north of the Finger Lakes. The longest is Cayuga Lake. On the south end is the town of Ithaca, home of Cornell University whose campus is on a hillside overlooking the lake, and whose official school song references the lake. Near the northern end of the lake is Seneca Falls, a famous location in the history of women’s rights in the United States. From Seneca Falls, we can also follow the Erie Canal westward. The canal, which was an important transportation route in the nineteenth century, runs largely parallel to the present-day Thruway. It is known for its complex series of locks, such as these at the appropriately named town of Lockport.


[By Leonard G. at en.wikipedia [see page for license], from Wikimedia Commons]

The Erie Canal and the Thruway continue westward to the city of Buffalo. We leave the main Thruway and continue on I-190 towards the downtown on the shore of Lake Erie. It is the second largest city in New York State, but I have yet to visit it. It’s location on the edge of the Great Lakes and its industrial past make it seem much closer to the cities of the midwest, such as Cleveland and Detroit, than to the rest of New York. Indeed, one of the city’s landmarks, Buffalo Central Terminal reminds me a bit of Michigan Central Station in Detroit: a once grand art-deco station that has been abandoned and fallen into disrepair.

And yes, Buffalo wings do come from here.

We can head north from Buffalo on I-190 to Niagara Falls.


[By Victor Ip (Own work) [GFDL or CC-BY-SA-3.0-2.5-2.0-1.0], via Wikimedia Commons]

This image contains the smaller American falls, with the larger Horseshoe falls off frame. Next to the falls is the Rainbow Bridge, which connects to Canada, and concludes our trip to New York. Even as I finish writing this, I think of all the comments I could write about what was missed in this brief trip. But I know I will be writing about New York again in the future.

Experi-MENTAL night at TheaterLab, New York

Today we look back at the second of my November performances in New York. This one took place at Theater Lab in Manhattan in one of the venue’s stark white studios that served as both performance venue and blank canvas. There were several now-familar faces from east coast shows, as well as new artists that I heard for the first time.

The show opened with an acoustic performance by PAS, featuring Robert L. Pepper, Amber Brien, Michael Durek and John “Vomit” Worthley with guest Carlo Altomare (one of the founders of TheaterLab) on piano. The acoustic instruments included a wide variety of percussion, strings and winds, as well as DIY combinations of objects (buckets, balloons, etc.) to produce other sounds. In this way, they played acoustic instruments as if they were synthesizers.


[PAS. (Click images to enlarge.)]

The performance moved between gradually evolving by strongly rhythmic material and more freeform noise textures, all expressive and performed with a wide dynamic range. At various times, the performers moved around the space, among the audience and up into the loft, which added a theatrical element as well as spatialization. You can see and hear for yourself in this video:

PAS live with Carlo Altomare at Experi-MENTAL Night at Theaterlab. November 26th, 2011 from PAS Music on Vimeo.

The particular combination of instruments and idiomatic playing gave portions of the performance an Asian feel (particularly at the beginning of the video), but even there the piano provides an avant-gard counterpoint and the overall texture moves to something more reminiscent of Henry Cowell before moving into a more experimental dramatic mode featuring Altomare soloing on piano and Pepper repeatedly chanting “Piano Man!” I like how they were able to move so easily between the different timbres and textures and rhythms without stopping, except of course for the silences that occurred in response to the instruction “Silence!” In all, a great set that set a confident tone for the entire evening.

Next was a duo featuring Richard Lainhart on a Buchla synthesizer and Lucio Menegon on strings and effects. They performed a live improvised set to a film by Scratch Film junkies.

The film was beautiful and mesmerizing, though I did find myself also watching the Buchla to see and hear what was happening. In general, the synth performance was subtle and blended well with the string sounds to produce an overall ambient texture, with occasional metallic and inharmonic swells. The eerie and slowly moving sound fit the abstract video, with frequently changing clips overlaid with digital effects that simulated paint and chemical treatment. At times, the harmonies and timbres seemed to approach an acoustic orchestra and choir, as one might hear in a science fiction film, while others seemed to channel the sounds of bowed metal and glass.

PAS presents Experi-MENTAL Night with a duo by Richard Lainhart and Lucio Menegon at Theaterlab from PAS Music on Vimeo.

This was followed by a trio featuring Jay Pluck on piano, Julia Violet on vocals, and Michael Durek returning, this time on theremin.


[Jay Pluck, Julia Violet, and Michael Durek. Photos by Michael Zelner. (Click to enlarge.)]

This was the most traditional and idiomatic of any set during the show. The songs were songs, quite lyrical and featuring traditional harmonies and melodic lines for voice and theremin. The introduction featured a theremin solo – Durek is quite good at getting standard pitching and phrasings from the instrument – set against gently rolling arpeggios of romantic chords on the piano. As Violet’s vocals enter, the music takes on a light cabaret feel, but the theremin backed with Mini-Kaoss Pad effects, continues to give it a somewhat otherworldly quality. The second song, which featured more major harmonies, had a bit of a 1960s rock quality to it, as if it was it was a song from a popular album rescored for piano and voice. Here the theremin had a bit of a darker tone.

After that it was time to take the stage. It was basically the same setup as a few nights earlier at the AvantElectroExpectroExtravaganza in Brooklyn, but with a few musical differences. I opened with a newly programmed piece that featured timbres based on the Bohlen 833 scale in which I could call up individual pitches and harmonics via the monome and iPad working together. The end result was a somewhat an ambient piece that was relaxed but with anxious undertones.

[Click to enlarge, if you must.]

I did reprise my Wicks Looper and Korg Monotron improvisation that had worked well at the previous performance, as well as another another piece featuring additive synthesis in which iPad-controlled tone clouds are set against short percussive tones. At the end of the set, I was joined by Robert L. Pepper from PAS for a duo improvisation featuring acoustic instruments and electronics. We started with a steady pattern on the dotara and large drum, gradually bringing in some electronic sounds controlled by the monome and other acoustic instruments and effects. Overall, we meshed very well musically despite this being our first time ever playing together! I particularly liked the moment where we were both playing string instruments, as it felt particular aligned and expressive. This gave way to a finale with dotara and drums that approached traditional folk music and a well-defined final note. You can hear the full solo and duo in this video:

Amar at TheaterLab, New York. from CatSynth on Vimeo.

The final set featured Richard Lainhart’s film The History of the Future with a live soundtrack performed by the “Orchestra of the Future”, an ad hoc ensemble featuring many of us who had performed in the previous four sets. The film featured clips and images from old educational and demonstration films featuring depictions of possible feature technologies. It’s a snapshot of “what the future used to be” in previous eras.

[Orchestra of the Future.]

The improvised soundtrack, which featured a variety of acoustic and electronic instruments, was rich in texture and dynamism and dramatic moments. Everyone did a good job of watching what was happening on the screen and listening to each other. There were moments where it seemed like the relative volumes of instruments were off, but that was a minor issue. It was a great way to end the evening (and a bit of a relief to be in the large ensemble after performing solo).

We had a decently sized audience for the show and a very positive response both during the event itself and in talking to people at the small reception afterwards. It was interesting that although this event was in New York, there were Bay Area connections both among the performers and the audience. This year has been a good one for bi-coastal collaboration and I look forward to more of it next year.

[Additional photos available at Michael Zelner’s flickr set. Additional videos available on vimeo by PAS Music and CatSynth.]