Monday, March 23, 2020

The Need to Feed


Po Boy Views
By
Phil LaMancusa
The need to feed
Or
Tenement Symphony

There’s a place in New York City called Hudson Yards. It’s a new development described as a monstrosity; I was raised two blocks from it, in the projects, five kids, single mother and father figures through the years ( a story for another time). The point: a two bedroom space at The Yard (it’s called) starts at $20,000.00 a month; conversely, our rent was $50.00 a month and that translates to 400 months of our rent. Whiskey Tango Foxtrot, how did this occur in my lifetime?
Back then, rent wasn’t an easy nut to crack, even with the stipend sent to us by the government, but we made due; kids got basic educations, wore clean clothes, hustled for money as soon as able and/or ran the streets. We showed up for dinner promptly at 5:30 every evening. Food was our currency and standing in our community: if you ate good—things were alright. Were we happy? We fought each other like tigers, we argued, bitched, cursed and picked on and were picked on in our turns; but each night we gathered at the table and exhibited our best manners, ate well prepared and served evening meals. Our best manners---or else.  Five-thirty--- or else.
My mother cooked at least three hundred fifty dinners a year, the other times as a treat we may have gone out for pizza, Chinese or Horn and Hardart automat (Google it). I was always hungry although I never missed a meal growing up. A hunger of the soul I’ve been told.
Mom being German/Irish, my father being Sicilian and her third husband being Greek made for some interesting meals; plus, the ladies in that building of 84 apartments on twenty-seventh street (who all seemed to know each other) were constantly swapping recipes, gossip, advice and letting each other in on what mischief eachother’s kids were up to. Food that’s now called ‘ethnic cuisine’ was just called ‘dinner’.
Apartment 10F was five rooms that housed seven of us with an elevator that did and sometimes didn’t operate. Riding in the elevator was an olfactory adventure, a positive one if no one had used it for a urinal. You got a whiff of everybody’s dinner being cooked from arroz con pollo to ham and cabbage, kasha varnishkes, meatballs and spaghetti. In the morning there was enough coffee being brewed in our building that you could get amped just breathing in; of course the same could be said for the second hand smoke and cancer.
Kids running and screaming, mothers yelling, fathers cursing and hormone fueled teens preening in a perpetual ghetto ballet.  Busses, trucks, the Greek hotdog man, delis selling bagels and crullers; the hurrying to work and school and the tango of shopping and procuring. The amount of laundry alone was almost suffocating and the never-ending bills, the interminable debts.
It was not simply a matter of going to one store for dinner or food. There was a fish market, butcher shop, green grocer, Jewish deli, Italian deli, bakery; the boogie of daily shopping to put food on the table at precisely 5:30. Make no mistake, we all had breakfast and lunches also and in the interim we had candy, soft drinks, potato chips, I used to steal from the green grocer because I was addicted to the sweet taste of a perfectly ripe tomato. There were penny candies that we could afford by scavenging for soda bottles and redeeming the deposits.
There was a knish man who came around on Saturdays, an Italian sweet shop that sold lemon ices, a delicatessen that made sandwiches from cold cuts that would save the ends of salami, ham, cheese etc for any kid who asked for them. We bought cups of coffee at stands before classes; waited for the ice cream man in the afternoon caught in the transition from childhood into adolescence; took small jobs for extra money and spent the earnings at lunch counters. 
Mom made side money as a waitress, Pop was a cook, that third husband ran a bar and grill. I started work in food service at twelve and continued on for fifty years; these days I have time on my hands so I’m looking to get back into a kitchen. Feeding people is who I am.
Most people aren’t aware of the inner workings of restaurants because most people haven’t worked in one. Most people only see this: arrive, sit, order, get served, eat, pay, tip, critique, leave. Badda bing badda boom. Workers are invisible, bend to your will and few customers care where they come from and, if anything, perhaps consider how simple their lives must be; you know, being unskilled and all, perchance they’re working their way through college, getting ready to get a real job; isn’t that sweet?
As Janis Ian says “pity please the ones who serve, they only get what they deserve”. Don’t envy the service worker, the work is hard, the environment is tough and the pay is sh*t. Hours are long, schedules are erratic and the ‘my way or the highway’ management style… par for the course. That waitress that you fussed at might only get $2.15 an hour and a schedule that screws any semblance of normalcy, so what. That dishwasher making minimum wage pulling his second job shift to make ends meet, tough noogies. That cook that didn’t graduate from high school but found a home on the range paying his bills with overtime sweat…and?
 68,000 service workers in New Orleans are keeping this city running, fed and watered. They aren’t paid well because what they do is not considered a “real job” Where do we come from? I’ll tell you. Up the street and light years away from Hudson Yards.  Our need to eat and your need to be fed. Truly, hungers of the souls. 


JF2020 wk1 draft


Po Boy Views
By
Phil LaMancusa
We See You
Or the Chosen Few
            You walk into the Jazz Fest like you are walking on to a yacht. You’ve traveled miles, paid a premium, you’re there to take it in, to absorb; you deserve this. You’re saucy, you’re sassy, you’re sexy.  We smile.
You’re impressed that all this can go on in one place; you rock it up, rip it up, shake it up, ball it up; you get some fun, sun, mud, food, festivities and maybe some flirting, you feel fulfilled. Full. Filled.  And then you are outside the gates and lo, the party’s still going on! We go on smiling. Who are we? We live here.
            We don’t get here early and stay late, we’re here 24/7; like I told you: we live here. When you go back home and wish you could stay, we do. We’re the folks on the porches sipping a cold one watching you dance your way back to where you stay and are seen smiling. Still smiling. We’re the guys who wouldn’t live anywhere else. This is our spot, now is our time.
            We look forward to Jazz fest all year, every year; we buy our tickets early, receive residential parking passes and get the local’s discount on Thursdays. We bitch about the parking, guard our driveways and wait in longer than average lines at the grocers, restaurants and public transportation for you to enjoy for a spell what we have full time. We even pick up the trash you leave, sell you a little something extra on the road and think y’all are cute as bugs. 
We queue up next to you, behind you with nothing but a small bag and a water bottle; too much baggage is counterproductive, I say. We’re on a budget, we only carry the cash we intend on spending (hell, no credit cards); we already have our posters, apparel and souvenirs from years past, if we want something else (from this year) we’ll bring extra money tomorrow and get it.
            I’m a hiccup away from the action. I’m fortunate enough to stay mid way between Liuzza’s by the Track and the Fair Grounds itself. I’ve been in this neighborhood for over a dozen years, have seen people come and go, I know the merchants, minors, mutts and miscreants, during Jazz fest I go the whole nine yards as well as the entire eight days. My friends come by and we stoop, there’s a brass band right outside our front gate, we’re on a first name basis with the policeman directing traffic; it doesn’t get much better that this.
            We’re also those folks taking tickets, slinging beer, directing traffic and emptying the cans of used Styrofoam containers (to go into our landfill) that once held your stuff from food and drink booths, we’re here at the first aid station, console your lost kids and set up and break down this whole affair so that all you have to do is come and enjoy.
            On the whole this is a pretty quiet neighborhood the rest of the year with friendly feral felines, a variety of birds, bees, beers, bubbas and broads; the young, the not so young, the very young. We have cook outs, second lines, crawfish boils and street festivals, get our kids off to school and our breadwinners off to bring home the bacon; you know, like people. We walk our dogs and pick up their poop just like you.
            Only, we may have a little more pep in our step, glide in our stride and a little extra gut in our strut. We smile a little easier, nod to strangers and neighbors alike; we’re not shy about talking to each other or you, there are no strangers here, only us strange folks that go about our lives and look forward to that time of year when we see the tents going up and the sounds of setting up that is music to our ears.
            Of course no bed of roses is complete without the thorns and by no means is this utopia, but we get along and look out for each other, you know, like neighbors. We celebrate each new addition to families (especially critters) and mourn our loses; we gossip, fret, complain and console; we shop locally, go to fish fry’s at the church and walk up to the bayou to chill on fine southern weather days.
            We’re also the ones who feel it the most deep when they threaten to cancel Jazz Fest
             



JF2020 wk2 draft


Po Boy Views
By
Phil LaMancusa
Night and day
Or
Catch a Beat
Ask anyone who lives in New Orleans, ask a visitor, a doctor, a lawyer and Indian Chief why New Orleans is such an important factor feature in their lives; what is it about New Orleans that has the ability to cast and hold them in its spell? The answer might include: food, culture, history, music and/or life itself here? The dichotomy between living in grave danger and playful creativity? The fecundity of artistic expression in a crumbling infrastructure? Alacrity in the face of abstract hopelessness? A warm bubble bath with a martini and a snake? Maybe. I say take those and hold them in your hands, mold them into one ball, malleable, palatable, edible and what do you have? The pulse of New Orleans, the heartbeat, the rhythm, the beat; the pattern formed by the stress and unstressed functions of this city, our city. Or maybe they’ll just say “there’s no place like New Orleans”. Same thing.
`           I say it’s the drums. The drums that keep rhythm to our heart strings: the brass bands, the marching bands, the Carnival beat, our heartbeats and the beats you will hear coming out of doorways, on street corners, clubs, from passing cars and in the tents and on the stages of Jazz Fest. And, it’s to Jazz Fest that you go.
            Who’s the person that lays down the beat, keeps the rhythm and doesn’t take a break the whole set? Who’s the last person to get a solo while the rest of the group drinks their bottled water and rests? Who’s the person in the group that’s always in the back and hardest to see? Yep, the drummer. Buddy Rich, Gene Krupa, Ginger baker, Charlie Watts, Elvin Jones, Mick Fleetwood, Bob French, Cindy Blackman, Smokey Johnson, Baby Dodds, Max roach, Mitch Mitchell, Buddy Miles; some names you know, others perhaps you better ask somebody.
            Jazz Fest this year will amaze you if you consider the role that drummers play (literally) in all of the venues from Mardi Gras Indians to The Brubeck tribute. Zak Starkey, son of the most famous R&R drummer of all time Ringo (that is, if you don’t count Danny Mihm) will be playing with the Who. Dead and Company will have Bill Kreutzmann and Mickey Hart. They’ll be drumming they assets off at the pavilion that’s featuring the music and culture on Puerto Rico. Stanton Moore Johnny Vidacovich, Jason Marsalis, Will Dave Weckl be there? Will Willie Green? Will Peter Thomas be with Elvis Costello? Who’s gonna back up Irma ?
            By far this is not just a boys club; it goes beyond Keith moon, Clyde Stubblefeild, Nick Mason, Bobby Roninelli and John Bonham. Take Moe tucker, Sue Hadjopoulos, Sheila E., Nikki Glaspie, Gina Schock and you got the sisters doin’ it for themselves!
And it takes all ages; Jeremiah Travis already has a college scholarship waiting for him based on his talent and ability as a drummer (at six years old) you may have seen him in marching with the High School band from St. Helena, Louisiana (he’s the little guy). They were here for Carnival and I’m sure that that’s not the last we’ll hear from him. Add that to Roy Haynes performing at 95 years old in New York City and Viola Smith who began her career in the 1920s is still performing at 107 years old!
            All of these names are known and then there’s some that you don’t know but that you’ll be seeing especially if you look for them, note them and see that it is really they that control the performance, the ones that the leads look to to begin and end each song and strut. The backbone of the band is the drummer, the percussionist, then the bass, then the lead, the rhythm guitar (if there is one) and then the lead singer (the icing on the cake and the one who usually gets the most attention). Backup singers, tambourine shakers, triangle and horns all add to the beat set by and controlled by the drummer and then the drummer will get their solo, the lead will raise their eyes and finger to the drummer to end the song and the final beat will be played… by the drummer! Keep your peepers peeled, watch it happen, make me a liar. Or not.
            In New Orleans, if you’re not aware, we have public ‘drum circles’ that meet at Congo Square. What do we do there? Drum. We bring our drum (you don’t have one?) and join the circle and lay down a beat, we call forth the spirits of our ancestors, we raise vibrations, we form psychic policies. If you don’t have a drum with you, perhaps someone has brought a spare. Or play your thighs, your knees, the beat is IN YOU, feel it, follow it, be it. It’s as primal as your pulse, drum beats pounding rhythm to the brain, and the beat goes on.
            So I’m unofficially declaring this festival The Festival honoring those unsung (unless you count Phil Collins) performers who, if we were without them, there would be no real performances. The drummers.
            And now I charge you to