Category: Daily Dispatch

  • Philly’s Lost Gem A Mechanic’s Farewell

    Philly’s Lost Gem A Mechanic’s Farewell

    When you live in a city, there are a few essentials that, once you find reliable sources, you hang on to them like grim death. It can take years to find a decent barber, for instance. Ditto, a dentist you can trust. I had so many friends with nightmare stories about their experiences with Philadelphia dentists that at a point I didn’t have my teeth cleaned for seven years! (When I finally took a chance on a recommendation, it took two appointments to chisel me out – but guess what? No cavities!)

    Until I was in my mid-20s, I was able to make do with the professionals and service-providers I grew up with. You know, the people I used since I was a kid, basically. I’d simply head back to the hometown a little early on a Friday and then make it a weekend with my folks. Then I started working seven days a week. That meant I would have to start using city people or resign myself to looking like Ben Gunn.

    Most difficult of all was finding a trusted mechanic. I had been reduced to using those while-you-wait oil-change places (at least it got me a free car wash) and shelling out for new tires from a tire center whenever I happened to pick up a nail, which was infuriatingly often. (Thank you, Philadelphia contractors!) Anything more serious than that, and I’d roll the dice and usually get burned.

    Then one day, I decided to use this local garage that was about four blocks south of my apartment – which is to say, two blocks below South Street (shallow South Philly). It didn’t look like much – what garage does? – but it was a family business, it had been around for a while, and the lot was always packed.

    I owned some pretty high-maintenance vehicles in my time. Once, after I cracked an engine block, the car had been sitting on the street with a leaky trunk for so long (I had a parking permit that was good for a year), that when I finally went to retrieve the paperwork from the glove compartment, I discovered the inside had turned into a giant moldy blueberry. The pages in the manuals were all wavy from the humidity. As the vehicle was hoisted onto a flatbed to be towed away, I kid you not, water poured out of the trunk, like that scene in “Risky Business.”

    But I digress.

    I can’t remember what exactly was the issue on the occasion that first brought me to 11th Street Auto (a.k.a. Sauer’s Garage). My reasoning was probably that it was close enough that I wouldn’t have to take public transportation or walk miles across town. All I know is that it was love at first sight.

    Frank, son of the guy who founded the place decades before, was personable, no-nonsense, always professional in the best possible sense, and clearly compassionate. If he knew you didn’t have two cents to rub together, he would only charge you one. Sometimes he didn’t charge you at all. After they’d done real work too! In fact, 11th Street gave me so many deals, I started to wonder how it was that they could even afford to keep the doors open.

    What’s more, I would send my friends there, and they wouldn’t charge them either! I guess they just dealt in volume, and they built such a loyal, grateful clientele that they never hurt for business. I don’t know, maybe the really big jobs carried a lot of the lesser ones? Either that, or the entire operation was a front. (Just kidding.)

    Doing business with 11th Street was a throwback to a lost age of handshake agreements and keys left under mats in unlocked vehicles after hours. Now that I think about it, nobody in their right mind would ever want to cross Frank. He may have been a nice guy, but he had the kind of physique that comes from bench-pressing engine blocks for a living. I remember walking into the darkened lot at 10:00 at night, having just gotten back from work at the radio station in the Trenton-Princeton area, and the incredulous feeling on finding, lo and behold, my car, like the Star-Spangled Banner, was still there.

    I finally got the hell out of Philly eight years ago, having done my time and then some (32 years I’ll never get back), but I still drive in from time to time to meet friends for dinner or head to a concert. And I noticed some months ago that Sauer’s had closed. It struck me as the closing of any beloved institution does. I felt a pang of sadness and a wave of nostalgia. More recently, I saw a chain-link fence had been erected around the lot, an ominous harbinger of things to come. Sure enough, on my next trip in, the building had been demolished.

    I was afraid that illness or death had led to the closure of the business. I am thankful, at the very least, to have found the news story at the link below. It’s amazing how certain people and businesses that flourished before the rise of the internet so often leave the scarcest footprints.

    Anyway, Frank is alive and well. He says it just felt like it was time (to close, that is). I’m sure the garage made enough that retirement was possible at 60. Still, he leaves a gaping hole – now literally, alas – in the fabric of old Philadelphia. Honest, affordable, mom-and-pop mechanics are not easy to come by. This was not a chain, but rather a small business that grew up organically with its neighborhood.

    Frank is as decent as the longest day at midsummer. His lieutenants were equally trustworthy. They sent a lot of positive vibes out into the world, and that counts for a lot in Philadelphia. This was more than just an automotive shop. It was like taking your car to a mechanically-inclined uncle who would often fix or install something for the sheer satisfaction of it. I wish them all the best – thanks, guys! – and for Frank, a long and happy retirement.

    https://www.nbcphiladelphia.com/news/local/a-neighborhood-staple-closes-doors-after-50-years-in-south-philly/3574133/

  • Capital Philharmonic Director Steps Down

    Capital Philharmonic Director Steps Down

    The Capital Philharmonic of New Jersey has announced that its founding music director, Daniel Spalding, has stepped down. Assistant conductor Sebastian Grand and “several distinguished guest conductors” will take over for the orchestra’s 2024-25 season. No reason was specified for Spalding’s departure.

    At least he went out with a bang. His final concert as music director took place in April at Trenton’s Roebling Machine Shop in celebration of the centenary of Trenton-born George Antheil’s “Ballet Mécanique.” Four pianists, a plethora of percussionists, the Plenty Pepper Steel Band, and Trenton Circus Squad combined for a memorable season finale.

    Spalding spearheaded the formation of the Capital Philharmonic in 2013. The organization was raised from the ashes of the Greater Trenton Symphony Orchestra – New Jersey’s oldest professional symphonic ensemble – which essentially folded when it couldn’t pay its musicians in 2012.

    Spalding directed the Capital Phil for the first ten years of its existence. He is also music director of the Philadelphia Virtuosi Chamber Orchestra, a group he founded in 1991. His recordings are available on the Arabesque, Ariel, Connoisseur Society, Naxos, New World, and Vienna Modern Masters labels.

  • James Loughran Dies: Champion of Havergal Brian

    James Loughran Dies: Champion of Havergal Brian

    The Scottish conductor James Loughran has died. Although perhaps not so well known in the United States, Loughran made some fine recordings, including a fondly-remembered cycle of Brahms symphonies. But for fans of the cult composer Havergal Brian, he will forever have their gratitude for having conducted the first commercial recording of any of Brian’s music.

    Loughran’s recording of Brian’s Symphony No. 10, with the Leicestershire Schools Symphony Orchestra, was released in 1973, paired with the composer’s Symphony No. 21, conducted by Eric Pinkett, on a Unicorn-Kanchana LP.

    Learn more about Havergal Brian in this televised documentary segment, broadcast when the composer was 96 years-old, including footage of Loughran conducting during the recording session. Also, Brian himself speaks!

    https://www.youtube.com/watch?v=41ZFu-MKTRQ

    Brian was a composer of almost superhuman tenacity. Despite encouragement from Sir Edward Elgar and early performances by Sir Granville Bantock and Sir Thomas Beecham, hardly any of his music was ever played. Yet he went right on composing for decades.

    By coincidence, today marks the anniversary of the first performance of Brian’s most notorious work, his Symphony No. 1, the “Gothic” Symphony, a work of elephantine scale, so long and so large that it was enshrined in the Guinness Book of World Records. The work received its belated premiere – four decades after it was written – on this date in 1961.

    The interest generated by the work spurred a belated reassessment of Brian’s output, with the BBC committed to performing all of Brian’s symphonies. There are 32 of them in all, 20 of them composed after the age of 80. Talk about faith in one’s own ability!

    Although in the last year of Brian’s life he was named Composer of the Year by the Composers Guild of Great Britain, recognition came too late for him to see any of his symphonies issued commercially prior to his death in 1972, two months shy of his 97th birthday.

    Brian, a contemporary of Vaughan Williams and Gustav Holst, emerged from a Midlands working-class background. He left school at the age of 12 and supported himself as a coal miner, a worker for timber firms, and a carpenter’s apprentice – all the while mastering his craft as a composer – until the modest patronage of a wealthy Staffordshire businessman lessened his burden. However, with the outbreak of war in Europe and turbulence in his personal life, the arrangement was not to last, and Brian struggled to keep his head above water. He took menial jobs as he continued to compose, through decades of obscurity and borderline poverty.

    It was BBC producer and symphonist Robert Simpson who arranged for a performance of Brian’s Symphony No. 8 in 1954, at which point Brian was already 78 years-old. It was the first time the composer had ever heard one of his symphonies. Simpson continued to use his influence to secure performances of Brian’s music, mostly as radio broadcasts.

    This commenced the final chapter of the composer’s most remarkable life as, in his early 80s, he doubled-down and tapped into a well of creative energy that blossomed into an astonishing Indian summer that yielded twenty more symphonies.

    The insane demands of the “Gothic,” with its orchestra of 200 players, even before factoring in 500 singers and four brass bands, makes Mahler’s so-called “Symphony of a Thousand” seem like chamber music.

    The work falls into two parts. Part I is inspired by Goethe’s “Faust,” and Part II is a gargantuan setting of the “Te Deum.” If ever there was a cathedral in sound, this work would be it. Eat your heart out, Anton Bruckner.

    Loughran began his career in the early 1960s, when he worked alongside chief conductor Constantin Silvestri with the Bournemouth Symphony Orchestra. He took up his own music directorships, or the equivalent, when he moved on to the BBC Scottish Symphony Orchestra (1965-71) and then Hallé Orchestra (1971-83).

    It was after an acclaimed performance of “Aida” at Covent Garden that Benjamin Britten invited him to assume the music directorship of the English Opera Group.

    Loughran became the first British conductor to be appointed chief of a German orchestra, when he was appointed principal conductor of the Bamberg Symphony Orchestra (1979-83).

    Between 1977 and 1985, he conducted the Last Night at the Proms five times. He was also principal guest conductor of the BBC National Orchestra of Wales from 1987 to 1990.

    He made his American debut with the New York Philharmonic in 1972.

    Loughran died on Wednesday, eleven days shy of his 93rd birthday. R.I.P.


    Brian, “Gothic Symphony”

    Loughran conducts Brian’s Symphony No. 10

    Loughran conducts Brahms’ Piano Concerto No. 2, with Garrick Ohlsson the soloist, at Royal Albert Hall in 1978

    Loughran conducts Sir Arthur Sullivan, Sir William Walton, and Benjamin Britten

  • Medieval Dance Mania The Fatal Outbreak

    Medieval Dance Mania The Fatal Outbreak

    Probably the last thing anyone wants to do after a long night of leaping over bonfires on St. John’s Eve is cut a rug – but 650 years ago today, that’s precisely what happened. On June 24, 1374, against their collective will, hundreds found themselves swept up in an involuntary dance mania.

    It was not for the first time, nor would it be the last, but it was one of the largest and most noteworthy outbreaks of terpsichorean madness, a malady that seems largely to have been a phenomenon of the Middle Ages. Participants danced until they collapsed from exhaustion. Some dropped down dead.

    The cause of the frenzy has never been adequately explained.

    Read more about St. John’s Dance (often attributed to St. Vitus) here:

    https://www.onthisday.com/articles/the-fatal-dance-manias-of-medieval-europe?fbclid=IwZXh0bgNhZW0CMTAAAR2-Yyg1Gyc-DqbJ0MeIhKIpk2H7TzQu-sfrVH9-9TFGs6w82LDW-ADlzoM_aem_Jt6r7qd7ALVA-g_kgq8gZQ

    And here:

    https://en.wikipedia.org/wiki/Dancing_mania…

    Gotta dance!

  • Chernobog St Johns Eve and Disney’s Fantasia

    Chernobog St Johns Eve and Disney’s Fantasia

    When the sun sets this evening, June 23, you had better be prepared to deal with Chernobog! That’s right, it’s St. John’s Eve – the eve of the Feast Day of St. John the Baptist.

    On the eve of St. John’s nativity (observed), St. John’s wort, prized for its miraculous healing powers, is sought, as is the fern flower, believed by some to bring good fortune, wealth, and the ability to understand animal speech.

    It’s a time for the lighting of bonfires against evil spirits, and even dragons, which roam the earth as the sun again pursues a southerly course. And it’s a time when witches are believed to rendezvous with powerful forces, such as the Slavic demon that emerges from the Bald Mountain at the climax of Disney’s “Fantasia.”

    “Dracula” fans might be interested to know that none other than Bela Lugosi struck demonic poses for Disney animators for several days as a model for the film’s climactic sequence. Ultimately, he would be replaced by Wilfred Jackson. Still, how cool is that?

    Leopold Stokowski conducts the Philadelphia Orchestra in his own arrangement of Modest Mussorgsky’s music on the soundtrack. Also, I would be remiss if I didn’t mention that that’s Princeton’s Westminster Choir, as “A Night on Bald Mountain” segues into Schubert’s “Ave Maria.”

    The master of ceremonies, Deems Taylor, states that the setting is Walpurgis Night (April 30). Deems Taylor is wrong! I’m not afraid to say so, since I’ve pretty much given up on ever receiving a Deems Taylor-Virgil Thomson Award for Radio Broadcast at this point, for as richly deserved as it might be.

    Chernobog could care less about Walpurgis Night. He’s kickin’ it up for St. John!

    Relive your childhood anxiety here. Click on “watch video clip” at the link.

    http://www.cornel1801.com/disney/Fantasia-1940/film8.html

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