Sunday, November 27, 2016

A Renewed Rainbow Coalition


This is an article from Slate online. (slate.com) 
slate.com, jamelle bouie
I think it's worth reading. My formatting gets wonky 2/3 of the way through so if you want to finish just
select the link above.
Keep Hope Alive   but how?



Demoralized Democrats have a road map for success in Trump’s America. It was written by Jesse Jackson.



Leonard Freed
Jesse Jackson at an event honoring Martin Luther King Jr.’s “I Have a Dream” speech in Washington, D.C., in 1983.
Leonard Freed/Magnum Photos
Jesse Jackson first ran for president during the national farm bust of the early 1980s. Debt for farmers had exploded from $85 billion in 1976 to $216 billion in 1983, with little relief in sight. As Jackson laid the groundwork for his 1984 campaign, the crisis had become so acute that he often found himself preaching his “populist Pentecostalism”—to borrow a phrase from biographer Marshall Frady—to large audiences of angry white farmers in the Midwest. It was an almost unbelievable circumstance for an unusual candidate who had to make unlikely alliances if he wanted national traction.


Jamelle BouieJAMELLE BOUIE
Jamelle Bouie is Slates chief political correspondent.

At a rally in 1984, some of those farmers arrived wearing paper bags over their heads, to obscure their faces. It wasn’t until later that Jackson learned they were trying to hide their identities from farm bureau officials. “I looked out there, all these guys in hoods. Sort of a little moment there,” Jackson recalled a few years later in a conversation with farmer and supporter Roger Allison, as recounted by Frady. “But our people have always had more in common than other folks supposed—right, doc? We’ve both felt locked out. Exploited and discarded. People saying about the family farmer exactly what they say about unemployed urban blacks, ‘Something’s wrong with them. If they worked hard like me, wouldn’t be in all that trouble.’ Fact, more you get into this thing, more you realize that black comes in many shades. We’ve found out we kin.”
* * *
In the wake of Donald Trump’s surprise victory, demoralized Democrats have had a fierce intramural argument over how to move forward. Most call for a renewed focus on economic disadvantage. But some juxtapose this with a push against so-called “identity” politics. “In recent years American liberalism has slipped into a kind of moral panic about racial, gender and sexual identity that has distorted liberalism’s message and prevented it from becoming a unifying force capable of governing,” writes Mark Lilla of Columbia University for theNew York Times. He urged a “post-identity liberalism” that would “appeal to Americans as Americans” with a press that would “educate itself about parts of the country that have been ignored.”
Lilla lauds Presidents Reagan and Clinton for their politics of shared identity and aspiration, which, if you’re attuned to the facts of those administrations, gives away the game. Reagan gutted federal civil rights enforcement, nominated judges hostile to the “rights revolution,” and elevated a conservative legal movement that, in the years since, has chipped away at the victories of the 1960s. Bill Clinton was an expert practitioner of identity politics, with a “shared vision” aimed at white Americans. As a candidate, he took steps to repudiate the black left. As president, he reinforced the trend toward mass incarceration and enshrined discrimination against LGBT Americans within federal law. To describe either Reagan or Clinton as exemplars of a “post-identity” politics is to submerge whiteness, maleness, and Christian belief as identities.


Jesse Jackson
Jesse Jackson speaks at a Baptist church in Columbia, Missouri, during his 1984 presidential campaign.
Robert R. McElroy/Getty Images
The fact of the matter is that Americans have never lived lives separated from the material facts of their identities. Jesse Jackson knew this. A liberalism that doesn’t, for example, engage with the specific problems of black workers or undocumented immigrants is one that can’t engage with “Americans as Americans,” if American is a stand-in for the citizens and residents who exist and not a euphemism for a certain kind of imagined American of decades past.
Even those who don’t make Lilla’s juxtaposition tend to silo questions and issues of identity from those of class and economic disadvantage. “Clearly there is no working with a president who believes in, or will bring forth, programs or policies based on bigotry, whether it is racism, sexism, homophobia, or xenophobia, and there can be no compromise on that,” said Bernie Sanders in arecent interview with GQ magazine. “But if Trump is prepared to work with me and others on rebuilding our infrastructure and creating millions of jobs, on raising the minimum wage, on passing Glass-Steagall, on changing our trade policies—yes, I think it would be counterproductive on issues that working-class Americans supported and depend upon if we did not go forward.”
To be clear, what Sanders isn’t doing isdismissing concerns of identity and representation. He clearly sees that they are important. At the same time, he wants to make a distinction between compromising on racist or sexist or homophobic policy and compromisingwith a racist or sexist political movement.That distinction doesn’t exist in practice.Bipartisan legislative victories bolster Trump and his administration, giving legitimacy to a movement centered on white grievance and white anger. Working with Trump to raise the minimum wage, for example, invariably strengthens a politics that casts Hispanic immigrants as a threat to national prosperity or paints Muslim Americans as a threat to national safety. Building new infrastructure doesn’t change Trump’s commitment to draconian policing. For black workers, then, the gains that come with new jobs are undermined if not vaporized by a larger agenda that endangers and disadvantages. A working-class politics that leaves black and brown workers vulnerable to white nationalismisn’t a working-class politics. It’s a white politics for white workers and counterproductive to broad advancement.
If inequality is shaped by place, gender, and race—which is to say, by identity—then any effective approach has to address those constraints in particular.
Because Sanders puts those questions of identity in a silo, he misses this relationship and risks being co-opted by Trump. At minimum he is pushing an incomplete populism that doesn’t grasp how the experience of class is inextricably bound up with identity.
In our conversations around inequality and poverty, we often miss a crucial fact: Not all inequality is created equal. On average, inequality and poverty among black Americans (as well as native groups and undocumented Americans) is of a different scale and magnitude than inequality and poverty among white Americans.
When white workers attain higher wages and greater economic status, they can translate this to better neighborhoods and stronger schools. When black workers attain the same, they can’t, at least not to the same degree. Middle-class status, insofar that black workers can reach it, is less stable and more tenuous for them than for their white counterparts. “Even if a white and black child are raised by parents who have similar jobs, similar levels of education, and similar aspirations for their children,” writes sociologist Patrick Sharkey in his book Stuck in Place: Urban Neighborhoods and the End of Progress Toward Racial Equality, “the rigid segregation of urban neighborhoods means that the black child will be raised in a residential environment with higher poverty, fewer resources, poorer schools, and more violence than that of the white child.” Opportunity itself is redlined.
Black and white workers face the same kinds of economic disadvantage: deindustrialization, an eroding safety net, weak wage growth, and poor investment in needed infrastructure. But black workers (and other nonwhite workers) face additional challenges that move their disadvantage from a difference of degree to a difference of kind: residential segregation, discrimination in jobs and housing, and discrimination by lenders and banks, which in turn contribute to unfair and draconian policing, poor and unequal schools, and heightened exposure to impurities in air and water. They need specific and universal solutions. They need a politics that addresses all material disadvantage, whether rooted in class or caste.
* * *
In his 1988 speech to the Democratic National Convention, the “Keep Hope Alive” speech, Jackson provided a model for a Democratic politics that balances all of these concerns—that takes identity and class seriously, that understands their relationship and interplay, that appeals to common identities and forges responsive solutions. “Politics can be a moral arena where people come together to find common ground,” Jackson said, before moving on to an extended and illustrative metaphor.
When I was a child growing up in Greenville, South Carolina, and grandmamma could not afford a blanket, she didn’t complain, and we did not freeze. Instead she took pieces of old cloth—patches, wool, silk, gabardine, crockersack—only patches, barely good enough to wipe off your shoes with. But they didn’t stay that way very long. With sturdy hands and a strong cord, she sewed them together into a quilt, a thing of beauty and power and culture. Now, Democrats, we must build such a quilt.
Farmers, you seek fair prices, and you are right—but you cannot stand alone. Your patch is not big enough. Workers, you fight for fair wages, you are right—but your patch labor is not big enough.
Women, you seek comparable worth and pay equity, you are right—but your patch is not big enough. Women, mothers, who seek Head Start, and day care and prenatal care on the front side of life, relevant jail care and welfare on the back side of life, you are right—but your patch is not big enough.
Students, you seek scholarships, you are right—but your patch is not big enough. Blacks and Hispanics, when we fight for civil rights, we are right—but our patch is not big enough. Gays and lesbians, when you fight against discrimination and a cure for AIDS, you are right—but your patch is not big enough.
Each struggle, for Jackson, is part of a larger whole. He’s not making an individual appeal to black Americans or an individual appeal to white workers. He’s asking black Americans to see that their struggle is the struggle of white workers and vice versa. That higher wages and civil rights (and affordable education and programs for families) are inextricable. And to that end, Jackson proposed a broad agenda that linked material uplift for all Americans to a civil rights agenda, to the fight against South African apartheid, to the Equal Rights Amendment.


Jesse Jackson
Jesse Jackson marches in the snow in a Jobs Not Bombs rally in Washington, D.C.
Jacques M. Chenet/Corbis via Getty Images
That vision grows out of Jackson’s biography. A veteran of the Southern Christian Leadership Conference who worked on the Poor People’s Campaign in the aftermath of Martin Luther King Jr.’s assassination. A political organizer who worked to register voters and pressure politicians in both parties. An activist whose fights cut across class and race. Jackson gave a clear picture of his view in 1983, when he announced his first campaign for president, rooting his vision in the experience of black America but expanding it to include all marginalized groups.
This candidacy is not for blacks only. This is a national campaign growing out of the black experience and seen through the eyes of a black perspective—which is the experience and perspective of the rejected. Because of this experience, I can empathize with the plight of Appalachia because I have known poverty. I know the pain of anti-Semitism because I have felt the humiliation of discrimination. I know firsthand the shame of bread lines and the horror of hopelessness and despair.
For Jackson, a politics that cured inner cities and dismantled overcrowded ghettos was also one that rescued abandoned factories and deserted farms. It was a politics that, because of its focus on one of America’s most maligned groups, radiated outward to everyone who has struggled for dignity and recognition. Under Sanders’ rubric, identity and representation are separate from the question of a broad-based politics. “Yes, we need more candidates of diversity, but we also need candidates — no matter what race or gender — to be fighters for the working class and stand up to the corporate powers who have so much power over our economic lives,” he writes in a recent post for Medium. In Jackson’s vision, by contrast, identity and representation are critical. They ground a broad appeal that is attentive to lived experience, that stresses common threads without losing sight of the challenges facing each group, that sees diversity as integral to making progress on all struggles. This is a broad andinclusive liberalism—common vision from common struggle.
This approach would have real value today, not just because of its rhetorical niceties but because it connects to a concrete policy agenda. Writing in theAmerican Prospect in 2008, John Powell, now head of the Haas Institute for a Fair and Inclusive Society at the University of California, Berkeley, argued for a new approach to targeting inequality and poverty. “Policies that are designed to be universal too often fail to acknowledge that different people are situated differently,” he wrote. “What is required is a strategy of ‘targeted universalism.’ This approach recognizes that the needs of marginalized groups must be addressed in a coordinated and effective manner.”


Jesse Jackson,  Iowa
Jesse Jackson rides a tractor while campaigning for his 1988 presidential bid in Iowa in 1987.
Yann Gamblin/Paris Match via Getty Images
It’s not enough to offer free college or a higher minimum wage. A higher minimum wage still leaves us with high structural unemployment in black communities. Free college still leaves us with vast inequality in public education. If inequality is shaped by place, gender, and race—which is to say, if it is shaped by identity—then any effective approach has to address those constraints in particular. But this doesn’t mean we have to sacrifice universalism. It means we have to tailor universal programs to those particular constraints.




Saturday, November 26, 2016

Thanksgiving


This year many of us were in Oregon, Washington, Eureka or some other place.
Jeremiah got to the table after work. It was a night full of food stuffs (vegetable assortment more than much), and although on the quiet side, a good night. 







Seaplane Update: We made reservations for Saturday 11/26 but because of concerns about the weather/footing etc. we had to cancel out. Seaplane Adventures are really nice and they said that they really want to make John's bucket list happen for him, so they gave us a credit up for a year. We think sooner the better so the first weekend we can, we're going to try again. Possibly as early as next weekend- but only if the forecast has no rain in the mix.  Also if Tim is available, it frees up the possibility of a weekday.

Wednesday, November 23, 2016

Crazy Chester and the Weight

Recently much attention has been given to the 40th anniversary of the Band's concert (the Last Waltz) at Winterland, in SF 1976, on Thanksgiving, a huge Bill Graham event with full dinner, flared pants, decorations from the Opera House, hired dancers, and filmed by Martin Scorsese.  With an incredible line up of musicians associated with the Band from Bob Dylan to New Orleans Allen Toussaint (the fab horn arrangements) and Dr. John, it presented a connection to music across different genres that breaks down barriers. Only music.

It's also the first time I ever saw footage of Dylan, John, Joni Mitchell, Muddy Waters, Neil Young, Emmylou Harris, the Staple Singers and others.  My parents signed up for cable TV pretty early and it might have been Bravo that first broadcast the film in the early 80's. I used to watch it several times a week.  Over the years the film has been dinged some (Scorsese's emphasis on making Robbie Robertson the focal point as if he was the one and four as opposed to one of five equal members, the coked up condition of some of the musicians-this was not Richard Manuel at his strongest- and Levon Helm's claim that some of the music was re-recorded). Still a great view with many wonderful performances.

The Weight from the Last Waltz  (film clip)
The Band had 3 excellent lead vocalists: Richard Manuel, Levon Helm and Rick Danko.  The clip also has Mavis and Pops Staples taking lead turns (with Helm and Danko).


You've probably heard the song "The Weight" (the clip here is from one of the set pieces filmed for the movie, in addition to the live concert, with the Staples and Emmylou Harris featured in another song) performed by somebody and at Hardly Strictly Bluegrass it sometimes shows up. It's a great piece of music, sounds older than it is, enigmatic lyrically in some of its references but tonight I came upon this essay from a website Shmoop.com which I believe is an education website-hope so! but the pages loaded really slowly. I may only have not gotten the complete piece but what I was able to, is copied it here. I found to be a good, thoughtful read. I could not find any writer credits.

Levon Helm

http://www.shmoop.com/the-band-the-weight/meaning.html
This is the material:

"The Weight" is probably the Band's greatest song, and is certainly the most memorable track off its greatest album,  Music From Big Pink. Some of rock's biggest names have covered the song. And just about every garbage band and folk group, as well as many church choirs, has worked up versions as well.

But does anybody outside of the Band fully understand it? Does anybody even know all the right words? (I would add that you don't need to know either but if you are curious...)  Is it Annie or Fanny who's handing over a load? Who is that walking with the Devil-Karma or Carmen? Does Crazy Chester catch him in the fog or the fall? And does Chester promise to fix his rags or his rack?


Rick Danko
More elaborate liner notes and printed lyrics would have helped us puzzle out these questions. But Band guitarist Robbie Robertson objected in principle to printing lyrics on record covers and sleeves. Perhaps leaving the words and their meanings obscure was part of "Weight" writer Robertson's craft. Or perhaps this sort of indecipherability is what you get when you mix Arkansas and Canada. What do y'all think, eh?

From the Hawks to the Pink House

First, lets get to the bottom of this strange mixture.  The Band originated as a sort of Razorback-Maple Leaf fusion.  Arkansas rockabillies Ronnie Hawkins and Levon Helm traveled north-way north-with their band the Hawks in the late 1960's. In Canada they connected with Canadians Robbie Robertson, Rick Danko, Garth Hudson, and Richard Manuel.  The Canuckified band enjoyed considerable success until Hawkins took off on his own in 1963.  After that the Hawkinsless Hawks hacked around Canada and the American northeast for a few years before connected with Bob Dylan. In 1965, they joined the recently electrified folkster as his back-up band until a motorcycle accident forced Dylan to take some time off near Woodstock, New York. The Band rented a house nearby- a big pink house- and in 1968 cut the album that bore their home's name and Dylan's cover art.

Surprisingly, the most well-known of the Band's songs made its way onto this breakout album almost by accident.  They recorded "The Weight" with virtually no rehearsal and weren't originally sure they would even use it.  But when the album was released to far greater critical than popular success, the under-rehearsed afterthought was the album's closest thing to a hit.
Garth Hudson
But what is the "weight"?

We know what your're really waiting to hear about. Who is Crazy Chester and what the f-anny does it all mean?

A lot of people think this song is loaded with religious significance.  You have a traveler who can't find a bed in Nazareth.  Youve got the devil, Moses, Judgment Day-clearly this is some sort of Biblically-spun parable, some modern-day Messiah turned away from the inn, dealing with temptation, redemption and a hungry dog.

But minor discrepancies aside (Mary and Joseph couldn't find a bed in Bethlehem, not Nazareth), Robertson and Levon Helm have said that all the characters in the song were more real than otherworldly.  ( A side note about songwriting: Helm was the band's drummer and he has suggested that many of the songs were more collaborative than Robertson acknowledged.) Nazareth was Nazareth, Pennsylvania, the home of Martin guitar, Luke was former Hawks guitarist Jimmy Ray "Luke" Paulman, Anna Lee was an old friend from Turkey Scratch, and Crazy Chester was the cap-gun toting self-appointed sheriff of Fayetteville.

This does not mean, however, that the song is devoid of religious meaning. In fact, Robertson has said the song is about the "impossibility of sainthood.".  But he took his inspiration less from the Bible than from Luis Bunuel, the Spanish filmmaker and master of surrealism who, for half a century, poked fun at the hypocrisies of religion, patriarchy and middle-class culture.
Robbie Robertson
Robertson was intrigued, in particular, by films like Nazarin (1959) and Viridiana (1961) which deal with people who try, but find it impossible, to do good.  "The Weight", Robertson says, explains the same theme. "Someone says, 'Listen, would you do me this favor? When you get there will you say "hello" to somebody or will you give somebody this or will you pick up one of those for me?"...So the guy goes and one thing leads to another and it's like "Holy s--t, what's this turned into? I've only come here to say "hello" for somebody and I've got myself in this incredible predicament."

From its very conception, then, "The Weight" taps into both the spiritual and the real. It chronicles the increasingly complex trip of a sainthood-seeking errand boy-a do-gooder pilgrim who finds his progress hindered by a cast of curious characters. But these characters were pulled from the streets of Fayetteville and Turkey Scratch, not from the New Testament.  The temptations, complications, and growing burdens of the narrator's errand were proffered not by visitors from the other side, but from the common yet-fantastic characters who walk life's very real streets.

Inspired by Bunuel but populated by Arkansans, the song is most simply about the burdens we all carry. The "weight" is the load that we shoulder when we take on responsibility or when we try to do good. But it's also the heaviness that presses down on us when we fall into "sin" or wrestle with "temptation". It's a song about a universally human dilemma. But, just as the writers drew from their own pasts in fleshing out their cast, it's conceivable that they also drew from their own experiences in conceptualizing the "weight."  Perhaps the song refers to the very real loads shouldered by Band members, the very real burden that resulted from the good and bad in their own lives.
Richard Manuel 


(I skip ahead of three short paragraphs which to me digress in unnecessary territory- where alternate theories are proposed that "the weight" is a reference to venereal disease or heroin and a connection is made with groupie Cathy Smith who years before injecting John Belushi's last hit, had several interactions with Band members)

More on Luis Bunuel

In the classic Bunuel film Nazario (1969), Nazario, a dedicated priest, is forced to take flight after befriending Andara and Beatriz, a knife-wielding prostitue and her psychotic sister (not exactly the kind of subject material you find in most 1950's American films...), Nazario's attempt to do good has forced him to the road, but everywhere he goes he stirs up trouble-violence, superstition, jealousy.  By the end of the film, Nazario has been beaten and imprisoned, and he suffers from a crisis of faith captured succinctly by his chronically criminal cellmate, "Look at me, I only do evil.., But what use is your own life really? You're on the side of good and I'm on the side of evil.  And neither of us is any use for anything."

Nazario is shattered by this devastatingly accurate summation.  Still, the tiniest shred of hope lies in the hint that Nazario has touched, albeit imperfectly and perhaps only temporarily, at least one life.  Beatriz struggles with her feelings for Nazario. Hoping they are pure but fearing they are carnal, she ultimately is thrown another psychotic frenzy and back into the clutches of her abusive husband.  But at one point, she reaches out to the cursed priest and offers to take on his burdens. "If I can your load on my back, I will."  It may be a bit too tidy to say that this is where "The Weight" found its inspiration.  But it really doesn't matter.  This song is more about the mess of life than the neatness, it's about the trials that come with trying to do something good, the burdens that accompany acts of kindness and the kindness that, sometimes, flows weirdly out of sin.  Life takes a toll, and a simple trip into Nazareth may leave a person's bag 'sinkin' low.'  The closest thing to hope, the closest thing to any sort of redemption, lies less in absolute clarification or relief than in the occasional extension of a helping hand.  "Take the load off, Fanny (or maybe Annie), and put the load right on me."                                                                       (probable) end of essay


One more clip from the film, with Emmylou Harris performing Evangeline.  I love Emmylou's determination to deliver the goods just like a hitter with the game on the line.

Friday, November 18, 2016

Absent Friends


   Dear Sons,

   You may find in your lifetimes missing old friendships and people that used to be in your lives. Maybe it was because of work, school, community or a sweet happenstance that allowed the time for gathering.  Transitions occur and now you feel their absence.  Perhaps you miss the laughter or the inspiration. Was it a pillar so strong and dependable but when removed, the state of things and the world seemed upside down?Or a wacky election that revealed a Pandora's box of ugly truths...

    But know this.Gone in one sense but never gone, because it (friendships),  and they (friends) are always part of your existence and experience. They are the information in your text, and you may reconnect yet. Just keep on constructing your pages.  Be thankful for the shared memories, the alchemy of the union.

    It's always worthwhile to laugh at goofball jokes that are born from cherished interactions.  In this spirit, I am as inspired by the wonderful people that have been in my life, and I am certain that you will be too.  They don't have to be there to be there.  It's more important that once they were, and you were present to fulfill these opportunities of eternal time. Of these moments as you experience them, be the best and give the most of you that you can.  Then the memories are strengths, not regrets.



     This relates; Leonard Nimoy's last tweet: " A life is like a garden. Perfect moments can be had, but not preserved, except in memory. LLAP"

       And also if you have a bag of donuts, do remember to place them far above from where the dog can reach them. Twenty years from now, you may recall those jelly donuts from tomorrow morning.

Sunday, November 13, 2016

Joyous Days, Nola Days Before Election Daze


 






The cap for Maria's birthday week was our journey to New Orleans, with a big band of friends and family. Travel companions the Burckins and Cailin plus Colleen's sister Jenn  gave us a peak number of 9 at our rented house at 5141 Chamberlain Street in the Fillmore District (near City Park).  The house is big with 4 bedrooms (3 comfortable) with some nice touches, plus a movie room with giant screen, big sound and several recliners.  We watched Star Trek Beyond up there but it took 2 nights to get the connections going. The boys tried sleeping up there but it didn't make for a good fifth bedroom.  A nice neighborhood, with room and trees and a park nearby.  Many New Orleans streets offer roads of bumps, holes, crevices. Sometimes Oliver would choose to ride in the very back- the luggage area.  When I would drive the van up, into, and over any of these street divots , everyone would moan "whoa" but from the back I would hear a a giggle and  "weee!".


                     On the big property is also a large backyard. The very first day we were there we were                                                                           shocked to see through our blinds...

An ALLIGATOR!!  We drew straws.


Fair Grinds coffee on Ponce De Leon in Esplanade Ridge

our backyard. the cushions could use a wash...

How the boys kept busy

The following is a big gray spot that I can't remove-when I tried to copy and paste a photo of the movie room of our rental, I received this blob instead. 




Chris Ardoin  (pronounced "R-dwon just like Jillian Ardoin who I once worked with, she from Lake Charles, LA.)  at Rock and Bowl/ Mid City Lanes, always a good place to visit

3 times? (once just Dexter and I) 4 times? 


                                             Eli laughing is always worth the price of admission.
So easy travelling with these folks. I enjoyed driving the big van (big for us) and having different navigators although I did my best to stay focused and not at all silly when driving.  Unless I saw a big pothole.

The Music Box/ New Orleans Airlift in Bywater, where recycled materials are crafted into musical instruments in the form houses, from percussive and amplified floorboards to a structure of pipes that controls the flow of air. It's pretty,unfinished or a continual work in progress. The staff haven't gotten their crowd skills down as of yet. and night time rules were unclear.

We saw Sunpie Barnes and his presentation of Louisiana folklore and the Creole culture. In its mystical, and fun presentation, crafted to show a spirit of collaboration and kinship within historic and musical concepts. The venue exists in an attractive green outside setting. Our temperature was around 70 degrees, a very nice night to view.  I wish we had had the time to come back when there was not a show, when people are allowed to explore each house on their own.  Eli even brought his drum sticks.




This is a good video (2:41) that shows some of the music box houses. New Orleans Music Box Houses

Ellizabeths was probably the one meal we all had together.  Jenn drove over from Houston and met us Thursday night. Cailin came in on Friday and joined us at our favorite Cafe Rose Nicaud on Frenchmen. Maria, Colleen, Hale and Jenn went to Bayona (Friday lunch), and +Cailin and Eli, went to Cochon (Saturday night). Jenn got the group a table immediately by proclaiming this a big night for her mother, Maria. Considering who her real mother is, even to be her fake mother is an honor. The appeal worked splendidly. On those occasions me and the boys would go find some other stuffs to eat, and Thursday it was an opportunity to get Dexter back to the WW2 museum with Eli joining us.


Colleen has a state of the art- new techno camera which is able to freeze frame objects that move faster than the speed of light- with amazing clarity.  I am amazed that with my speed I am not my usual visual blur. If you've even seen a photograph with a color streak, that was actually me running across the frame. 
 The witness in back was informed to stand back for safety reasons and can be seen as the force of my speed is nearly pulling out her teeth. I ran around the block several times, in both directions.  This camera will be patented and sold on the market in 2017.




(thank you Colleen for the photos)
     We decided not to let any cars pass through. We knew we would be protesting something, someday.

                    This is actually walking after a big Elizabeth's breakfast. Within the trip we traveled to Bywater, the Quarter, Marigny, Magazine, Lakeview District, Esplanade Ridge, and our home area.  We saw a dispute at Preservation Hall with guest leader Shannon Powell but better was the interaction with Dexter, Cai and Jenn and their jittery engagement with a very large palmetto that crawled over their heads. Some people don't cuddle up to big bugs.

          For Hale, here's a (file) photo of John Boutte and Shannon Powell, who often perform together:



One of those choices Dexter, Oliver and I went to while the group ate at Cochon's. We started with dessert.
at the WW2 museum, an impressive place
                              We can keeping hoping for this at least. Work toward it minimally.


Brian Harrison, Donald's brother ( in blue)




 Mid City festival/ Oretha Castle Haley Boulevard. It's the streets where Cafe Reconcile is, and a coffee shop we discovered (but has been there for 4 years), Church Alley Coffee Bar. An area that had been vibrant at one time but in the 70's and 80's became run down and empty. In the late 90's it was revitalized. Although the festival was small, the feeling of community was strong and enthusiasm present.
self portrait by Mitch, Jr.











last night, pillow fight

at the Howlin' Wolf, Hot 8 Brass Band and where Dexter at 18 is old enough to be admitted

a packed club. I think this was Hot 8's B band, as I noticed they had another gig the same night, in France. Maybe they move fast.



down the street. made for a good landmark. hope they leave these guys up and just decorate/adjust them for the season

                                                4 days later and the alligator is still there.
I had to ride to get help. The equestrian lessons paid off!

we had to work together to get over the fence. 

Our friend, the gator, a most sedate beast.  Great fun seeing Cai three different times in a month in three different states

                                  From our first night eating at Seed, a vegan place with so many good options

                                                                I have to believe Thoreau.

The days and evenings were all good, our hearts and tummies too. Souls nourished by sounds and the moist air of the city. The range of scents jolted and caressed.  Although our return would immediately present us with a harsh national election, the days of November 3-November 7 will always be grand and comforting to us.  Thank you everyone.

I Can't Keep This A Secret Any Longer

With great news this morning of November 7,2020, it's time to share more: I didn't like my makeup and admittedly I am wearing a bad ...