Tuesday, March 24, 2015

Barging Back onto the Mississippi


     Last year, I marked my anniversary on the staff at the paper by re-printing a favorite column about kids watching Park District mucky-mucks inaugurate the Washington Park pool. I thought about letting the anniversary slide by unnoticed this year—just cough into my fist and march on. More than a dozen colleagues recently took a buy-out and set sail; staying, and having been here a long, long time, somehow feels like a lapse, something that the prudent man should not ballyhoo.
    Of course, I've never been Mr. Prudent, and it's a bit late to start now. Besides, it's still a fun job, most days. It always has been. Seldom more so than this hot summer day in 1993 when I not only go to ride a gravel barge for nine hours but, very briefly, got a chance to pilot it down the Mississippi, recently re-opened to commercial traffic (thinking about river regulations, and not wanting to get my new river rat pals in trouble, I decided to leave that part out).
     Maybe nine hours on a gravel barge doesn't sound fun to you; but it was, at least to me.
     There was also a memorable moment with our photographer, the great Robert A. Davis, who would later travel with me to Lithuania and Taiwan. He remarked that we really should have a photo of the entire barge on the river, and I said, that's going to be tough Bob, because we're ON the barge. A few minutes later, a speedboat zipped by with Bob aboard, training his lens on the barge, snapping away as they passed. He had convinced a family on a river outing to let him aboard. Exactly HOW he flagged down a family on a speedboat and convinced them to dock with a gravel barge and let on of the shifty characters aboard it to join them in their boat is a mystery I never fully figured out.
     Anyway, happy anniversary to me, 28 years on staff at the Sun-Times.  The hoofbeats thunder, closer and closer. But they ain't here yet.


     With its twin 250-horsepower Caterpillar engines roaring as if all the noise in the world were trapped inside, trying to get out, the James P. Pearson edges into the center of the Mississippi, bound for another appointment with 2,000 tons of sand and gravel.
     One of the numerous river workhorses idled for weeks by the flood, the Pearson, a towboat, is now pushing barges six days a week, trying to catch up.
     "We're only supposed to work five, but with the flood and everything, we're way behind," says Dave Williams, deckhand of the Pearson's two-man crew.
     A self-described "river rat" with five years on the Mississippi at the ripe age of 21, Williams introduces himself as the fifth generation of his family to work the river.
     At least a dozen relatives still do; one of them, his cousin, Shawn Olson, is pilot of the Pearson. He shows up for work with a bad cold, a briefcase filled with rock 'n' roll cassettes, "enough cigarettes to kill any man" and a supply of juice to combat the sweat-wringing 95-degree weather.
     Unlike larger boats making the trip "from Saint to Saint," (St. Paul to St. Louis), the Pearson is a small boat making a local run - four empty barges to drop off at the Moline Consumer's sand dredging operation in Cordova, Ill., swapped for four full barges of new sand to be brought back to Moline and Bettendorf, Iowa, where it is made into concrete mix. Round trip is about 50 miles.
     They are pleased as can be that navigation is still bottled up down river.
     "We wish it would stay like that until next year," Olson says, not wanting his run to be delayed at Lock and Dam No. 14, the only one of the Mississippi's 27 locks that the Pearson needs to go through.
     Going through the lock is fairly quick and simple: The boat and its barges enter the lock, the south gates swing shut, six feet of upriver water is allowed to flow in, the north gates swing open and the Pearson goes on her way on the higher portion of the river. It takes about 15 minutes.
     On a good day.
     But if there are any boats waiting in front of it, there is delay - sometimes for hours, even days, as the Pearson queues up behind larger boats maneuvering their big clusters of barges into the lock.
     Because of flooding conditions lingering downriver, there are practically no boats on this part of the Mississippi. There is no wait at the lock. In fact, the Pearson passes only one commercial boat in nine hours - the immense Conti-Arlie, pushing a dozen grain barges. "Fifty-six hundred horsepower," Williams says, reverently. "That's a real working boat."
     Mostly the Pearson has the river to itself. The only sound, outside of the clangorous engine room, is the splash of the river against the barges and the sawing of cicadas in the trees lining the shore.
     Olson steers casually between the wide channel markers, barely needing to touch the wooden and brass rudder controls.
     Williams does his real work when the boat drops off or picks up barges, or goes through the locks. He scampers nimbly over the wet steel barges, securing ropes, winching steel cable. It is hard work in the hot sun, and Williams doesn't seem to have enough fat on his body to make a good butter pat.
     "My job is hard to explain," he says. "People say, 'You're a deckhand? What do you do? My grandfather (Don Williams, captain of the Queen of Hearts casino boat) used to say he told people he was a trucker, so they won't ask any questions . . . the majority of people around here are just society. They don't know anything about the river at all."
     Although both Williams and Olson complain about working on the river - Olson pointed out that "nobody got rich as a pilot" and Williams says he would like to find a "white shirt" job - they both obviously love what they do.
     "Some of the nicest people you meet on the river," Williams says. "They'll take care of you, free of charge."
      At Cordova, four barges containing 1,950 tons of sand and gravel are waiting in a large cove carved out of the shoreline by years of sand-dredging. Olson angles the empty barges next to the company's dredging machine as casually as if he were tossing cards into a hat.
     "Look at that big old bird up there," he says, pointing to something flapping over the forest, just as the barges ease against the dock. "That must be an owl, I betcha."
     Williams unleashes the barges, then takes time for a quick dip in the river, executing a neat jackknife dive into the cool water. "Ah yes," he says, breaking the surface.
     The journey downstream is a lot quicker - about 90 minutes less than it took to fight the current. There is still plenty of time to sit on a timberhead and enjoy the warm, soft breeze (river life is filled with quaint, anachronistic terms. Timberheads are the capped pegs used to secure lines - once cut from logs, they are now steel. At the lock, the little tram used to tow barges, if necessary, is called "the mule," a nod to its animate predecessor).
     A long Soo line freight train pulling auto carriers draws alongside at the river's edge and gives a few friendly toots.
     "That's the competition," Williams says, and Olson says hello back with a few blasts of the air horn.
      The James P. Pearson is almost home now. The sun is setting, a huge orange ball peaking out from behind the trees. "Is that beautiful!" Williams says. Olson opens the front window of the pilot house and turns up the volume on some vintage Allman Brothers Band.
     "Lord, I'm southbound," sings an Allman. "Lord, I'm coming home to you."
      In its final minutes, the sun puts on a display rarely seen outside of English Romantic oil paintings - bands of orange, blue, pink, purple and even green, radiating from the horizon. The gold light shimmers off the ripples, swirls and eddies formed by the barges cutting through the river.
      Two barges are left at the Bettendorf dock, below the bucket crane which will empty them before the Pearson returns at noon the next day - gingerly empty them, because the sand is so heavy that, if not unloaded uniformly, they can easily flip over.
      The other two barges are left at the Moline dock. The Pearson ties up at 8:23 p.m., about as early as she has ever returned from a full day's work.
      "That'll do her, Dave," Olson says, and he gives the horn a few celebratory blasts.
      Williams goes down to the engine room and shuts down the twin Caterpillars, which sigh to silence after nine hours of work.
     The only sound now is the gentle lapping against the wharf of the mighty Mississippi, now tamed to a gentle purr.

                     —Originally published in the Sun-Times, Aug. 30, 1993

Monday, March 23, 2015

But "never happen again" sounds so bold!

     As a college student, I despised frats, everything they represented, and most of the people in them. As I got older, I met people who were actually decent human beings,
Today's column channels me circa 1982
despite membership in the Greek system, and I softened my attitude toward them, or tried to. But when the SAE incident of a racist chant caught on video came to light, my former self and my current self wrestled over how to view the situation. My former self won. 


   
 When I was a student at Northwestern University, I kept a fraternity paddle in my dorm window.
     Emblazoned upon it, rather than Greek letters, were the initials “GDI” — God Damn Independent — and a knight holding his thumb to his nose and blowing a raspberry.
     I displayed it because fraternities are such a big deal at NU and, being among the self-excluded, I felt a certain public pride was in order.
     It boggled me, I explained at the time, how anyone, finally freed from parental authority, would run directly into the arms of organizations set on constraining and abusing them. ”I didn’t come to NU to crawl across the Quad at midnight, my hands tied behind my back, rolling an egg with my nose,” I used to say.
     Agreed, the Greek system is large, and many, perhaps most, fraternities and sororities indeed focus on good works, fellowship and the joy of learning. But we all have biases and, to me, that’s a smokescreen, a fig leaf to cover their true purpose: extreme partying, sneering contempt for anybody outside of the charmed circle, and exactly the kind of insular bigotry that got Sigma Alpha Epsilon’s University of Oklahoma chapter in such trouble after a video surfaced of members singing a racist song, celebrating the unwelcome black students face at SAE.
      What’s surprising is they seem to think their problem is an exception that can be banished by apology and programs, and not a flaw intrinsic to elite, self-glorifying groups.


To continue reading, click here

Photo atop blog by Jackie Kalmes. The New Image Restaurant, May 1982. 

Sunday, March 22, 2015

Lost tree found

     No Sunday Puzzler because, frankly, I couldn't think of a good one. With the book due tomorrow, I'm surprised I can think of ANYTHING. But the "every" part of the blog title must be respected, and there is one tidbit I want to share before the snow recedes completely into memory.


     Could bunnies eat a tree? The budding ... well, I wasn't sure what it was. I called it a "Scotch pine" because a Scotch pine had been nearby, once. But it died, so I was grateful to salvage what I considered its progeny, this seedling. It sprouted nearby, and looked Scotch pinish. After a few seasons it was a hale two feet and growing fast.
      Then gone. After a heavy snowfall. I kept searching for it, which was sad. The stick I had placed beside it, to keep me from stepping on the thing when it was tiny, was right there, a tip-off. Hungry rabbits, or maybe scavenging deer. We've had deer—they eat our lilies. Ravenous squirrels—I wouldn't put it past them. Hate those squirrels, they're capable of anything. Still ... a prickly tree. You'd have to be really hungry to eat it. I entertained theories. Malicious neighborhood children? Doubtful. Though they'd have to be psychic to go after that particular tree. I gave up hope. Besides, they'd have to go outside, and kids don't do that anymore.
     Whatever the cause, the tree was gone and never coming back. Trees don't get lost.
     Then the snow melted, and I noticed what I at first thought was the green stump of this tree. Hope! I ran into the garage and grabbed a spray bottle of Deer-Snu, or whatever the liquid fence is called—I figured, protect the pathetic remnant from further assault. Another few years of watching it slowly grow back. That's life. Sigh, start again.
    On my knees, pushing the wet slushy snow away, spray bottle in hand. I discovered, it wasn't a stump. The whole tree had simply been crushed under the snow. It was horizontal, pressed against the ground. I brushed the snow off, and it sproinged back up, good as new.
     I didn't know trees did that. 
     Nothing makes you appreciate something like fearing you lost it. Here's hoping that your early spring is a time of unexpected rebirth.  I don't know if finding a lost tree counts as rebirth, but I choose to count it.

Saturday, March 21, 2015

Saturday fun activity: Where IS this?


     Spring showed up, thank merciful God, last evening at 5:45 p.m. CST And while the first flowers are still pushing their green shoots up through the chill dirt, I thought I would share this bountiful crop of colorful beauties, that I spied Thursday during my wanderings around the city.
     "Spring" is an interesting word, occupying more than five densely-packed pages of my Oxford English Dictionary. It began in Old English describing water "rising or issuing from the ground, the source or head, of a well, stream, or river" a meaning it of course still retains. Then naturally it was applied to other things that also spring forth: vegetation, lions,  coiled metal contraptions, a usage more than 500 years old. 
    All that springing plant activity led, in the 14th century, to the season we have now gratefully entered being called "springing time" then, a century later, "spring-time" as well as "spring of the leaf" and finally, just "spring," which by Shakespeare's era was being used frequently to denote the season, plus anything, such a love or life, enjoying its first flowering. 
      Noah Webster's 1828 dictionary downplays the time of year, starting with"1. n. a leap; a bound; a jump; as of an animal" and gives nine other meanings, including "a fountain of water" before getting to "11. The season of the year when plants begin to vegetate and rise."
     There are of course more definitions; the slang usage of getting someone out of jail being among the most recent, dating back only to about 1935.
    But enough etymology—who has time to waste on that with the weather finally becoming a little nicer? Where is the above flowery mural? The winner receives one of my equally stunning, if not as colorful, 2015 blog posters. Please post your guesses below. 

Friday, March 20, 2015

Benjamin Netanyahu has second thoughts...


     Well, we’ve sailed off into new territory here, haven’t we?
     Given that “cynicism” was the adjective of choice the media used to describe Israeli Prime Minister Benjamin Netanyahu’s last-minute vow that there would never be an independent Palestinian state under his watch, just as his nation went to the polls Tuesday, what term should be used to describe his immediately reversing that promise once he was safely re-elected?
     “Super-cynicism?” “Double-dishonesty?”
     “I don’t want a one-state solution,” Netanyahu told MSNBC Thursday. “I want a sustainable, peaceful two-state solution.”
     We should introduce the man who said that to the man who, 48 hours earlier, when asked by an Israeli news blog if his being re-elected would mean that no Palestinian state would be established, answered “correct,” then elaborated: “I think that anyone who is going to establish a Palestinian state today and evacuate lands is giving attack grounds to the radical Islam against the State of Israel. Anyone who ignores this is sticking his head in the sand.”
     That actually makes sense. I was nodding in a kind of grim attempt at understanding Netanyahu’s sudden promise to block the Palestinian state. Those who like to paint Israel as mere evil forget the nation didn’t tack hard right without a reason. All the squishy, lefty, let’s-make-peace overtures got them nothing but missiles. Maybe a hard-line stance would lure the Palestinians into demanding their new state, insisting they live in peace as neighbors.

     To continue reading, click here.

Thursday, March 19, 2015

Google Play Music

    Morning. Coffee. Facebook. Not sure why. Facebook's for old people.
    Oh. Right. If the shoe fits...
    Why not? I've got nothing. See what the Hive Intelligence is up to. 
    A fuchsia square. Advertising.
    "Find the perfect station for your current mood."      
    My current mood? My current mood. Nah, you don't want to do that...
     What would that station be?
     WOLD? KRAB?
    "Find the perfect track for any mood. Google Play Music...."
     Something like "Volga Boatmen," maybe? 
      And "Google Play Music"? Is that what it's called? Really? It sounds like it was named by a chimp. "Tarzan Love Jane." "Baby Go Potty."
    Google Play Music. What IS that?
    "Google Play Music has expertly curated stations for when you need to chill out, wake up, or just dance."
     "Expertly curated." Who needs an "expert" to pick—whoops, to curate—their music? Okay, a DJ, sometimes. A hip guy in sunglasses, at parties. But an "expert"? How did these tin-ear imbeciles at Google ever get to run the world? I hope their coders are better at their jobs.
     "Chill out, wake up, or just dance." Those are my choices? It's too early to chill out. I actually don't think I've ever chilled out. I thought that chilling out is something arguing felons are urged to do when they're separated in a day room Cook County Jail. Coffee is for waking up. "Just dance." Happily. With whom?
   Enough. I'll bite.
   This Google Play Music, tell me more. I click on Google Play, and find myself, not at an infinity of music stations, expertly curated to match my increasingly shitty moods, but a "Product/Service" page, with 814,840 "likes." A photo of a fat-cheeked baby. Which catches my interest, as babies will. "Today, we open the time capsule featuring moments by you and amplified with 'Glory' by Jean-Michel Jarre & M83, an excerpt from Jean-Michel Jarre’s forthcoming studio album." This must be the beginning of my curated experience. A clap of thunder and blooping synthesizer that was dated in 1981. Spoken words. "What do you like about living on earth?" Certainly not the skill of online marketing morons. 
    Okay, try again. Interested customer here, trying to access the product dangled before my eyes. Plug "Google Play" into Google.  Up pops the Google Store. A series of games. "Hay Day." "Angry Birds Stella POP! "King of Thieves."
    Where's the music?  Ah, on the side. Click music. What about "Pandora"? Reminds me of the chef who named her restaurant "Scylla," not realizing it was "the yelping horror" to be avoided at all costs. The classics are faded, but we're supposed to open Pandora, right?  
     "Great music discovery is effortless and free with Pandora..." Well, at least it doesn't release evil into the world. 
    "Great music discovery is effortless and free..." That wasn't written by a native English speaker, was it?  Because a high school English teacher would have gone with "Discovering great music..." 
     "Create up to 100 personalized radio stations..." One will do, but okay, I'm game. 
     Clicketty-click.
     "You haven't accessed the Google Play Store app..."
    Oh, of course. My apologies. Right away.
    I access the store, but for some reason I end up looking at cell phones and "A Nest Learning Thermostat."
    "Fuck this," I think (I should create the "Fuck this!" app, sending a shriek of disapproval back at whatever nonsense is being dangled in front of you. It would be worth $100 million in a month).
    Go to Plan B.
    Fire up the Gramovox on my desk. Within seconds, it's pumping out Billy Corgan's "A-100," curated because it begins with "A" and thus is the first song on my song list. Live. An audience going nuts. Then that gorgeous fuzzy bass comes in.
       "Stay with me just a little," Billy sings, "lay with me, just a little...."
      Turns out that was what I needed to hear all along. Gets the blood going. And realizing how even Google, with its twee-yet-artful doodles and global domination, can on some days still seem to be run by the utterest idiots, well, that is life-affirming too, and a kind of happiness.



 
   

Wednesday, March 18, 2015

Check your attic: any Rembrandts?

 
Rembrandt, "Christ in the Storm," stolen March 18, 1990


    Today is the 25th anniversary of the largest art theft in United States history, the looting of the Isabella Stewart Gardner museum in Boston. I have a special interest in the crime, as I visited the museum five years before it was robbed, even though at the time I found it a "weird, debilitating collection of dark, gilt baroque pieces, artlessly assembled in dim corridors and mocked by bright flowers assembled in hideous inner courtyard like Sears Garden Center." I still like the place, and went back when I was touring the East Coast with the family, to gaze sadly at the empty frames the museum keeps hung in their places, waiting for their masterpieces back. The FBI marked the anniversary by saying it is closing in on the culprits, but we've heard that before. This is from 1997, when I met with Dr. Walter McCrone, "the Father of Modern Microscopy," to investigate some potential clues. Dr. McCrone died in 2002.

     The saga of the biggest art heist in modern history made a pit stop in Chicago last week, in the form of a thimble's worth of paint flecks arriving under escort at the Michigan Avenue laboratory of Dr. Walter McCrone.
     The flecks may or may not be from a pair of Rembrandts that were slashed from their frames by two crooks who strolled into Boston's Isabella Stewart Gardner Museum dressed as policemen seven years ago and strolled out with $300 million worth of art, including works by Degas, Manet and Vermeer.
     If you're not the sort who haunts art museums, then Isabella Stewart Gardner might sound like the name of just another rich benefactress. She was, but an especially charming and egocentric one. She handed over her mansion, built in the style of a 15th century Venetian palace, filled with hundreds of art treasures, with the stipulation that the artworks never be sold, never be loaned, and nothing change in the home she had enjoyed.
     And nothing did. I was lucky enough to visit before the thefts. The Gardner wasn't so much like a museum as like the mansion of some dotty rich aunt who had stepped out for a cup of elderberry tea. The place was dark, the guards antiques themselves. Black velvet clothes covered glass cases of medieval rarities—visitors were expected to pull the velvet aside, get an eyeful, then push it back. The place was very low tech, very old and very lovely.
     The theft of the dozen artworks shattered this sealed-off little world and made it mournful. The spots where the paintings had been displayed were left empty, marked by placards reading "Stolen March 18, 1990."
     The police were stymied. The trail grew so cold that when the Gardner offered a cool $1 million reward, no questions asked, for the return of the paintings, it emphasized that the thieves were welcome to collect the money.
     The paintings had been insured for damage, but not for theft.
     The flecks of paint under McCrone's microscope were offered up by a pair of characters named Myles Connor Jr. and William Youngworth III, who say they know where the paintings are and will arrange their safe return in exchange for immunity from prosecution and the reward from the museum, now swelled to $ 5 million. And they want one other thing, too: Connor's release from prison. He's in for—guess what? -- art theft.
     As evidence that they have the Rembrandts, they turned some chips of paint over to the Boston Herald. The delegation in McCrone's office was from the Herald, with a TV crew in tow, to see if the flecks were indeed the real McCoy.
     Authenticating a Rembrandt is tricky stuff even when you have an entire painting to work with. Approximately half of all the pictures that have been called Rembrandts and hung in museums later were determined to be the work of students or disciples or out-and-out forgers.
     Ever the cautious scientist, McCrone won't say the chips are from a Rembrandt, only that they aren't not from a Rembrandt. That was enough to cause a whoop of joy in Boston.
     "The Boston Herald came out with a headline saying I said it is a Rembrandt, but that isn't what I said in my report to them," McCrone said. "I can say I can't find any reason to think it is not by Rembrandt, and there are lots of positive indications it may well be."
     McCrone is one a handful of microscopy experts in the country who aid law enforcement and art curation by gazing at evidence, micron by micron. He debunked the Shroud of Turin—among all but the most die-hard believers—by amassing evidence that it is a 13th century creation.
      The key to his work is knowing the history of paints and looking for hues that came into being at a certain time. Prussian blue, for instance, was created in 1704, and since Rembrandt died in 1669, finding that particular blue in a purported Rembrandt is like finding a bar code on a Ming vase.
     The flecks were all smaller than the period at the end of this sentence. McCrone, using an optical microscope (he scorns those fancy electron jobbies), looked for colors of paint that would rule out a painting as Rembrandt's.
     "Those were all absent," he said. "And the ones there were very typical of the form and composition Rembrandt did use."
     McCrone's work is time-intensive, and while he employs a dozen associates at the lab, he still puts in long hours. On a typical day he arrives by 3:15 in the morning and stays until after 6 p.m.
     He walks every day, the two miles from his home in the Lake Meadows development by Michael Reese Hospital. "I don't own an overcoat or hat," he said with a certain pride. McCrone is 81 years old.
     "Work is my hobby—I've got a lot of interesting things to work on," he concluded. "I've been lucky."
    Maybe a bit of McCrone's luck will rub off on the Isabella Stewart Gardner Museum, and  they'll get those paintings back.
     —Published in the Chicago Sun-Times, Oct. 19, 1997