When A Local Ride Turns Into A Journey

The other day, before I wrote my 9/11 commemorative piece, I took a ride:  a ramble through Queens and Brooklyn on Tosca, my Mercian fixed-gear.

My ride included some familiar streets and sights.  But I also took in some streets--or, more precisely, segments of them--I hadn't ridden before.

One of those thoroughfares, Carroll Street, spans the breadth of Brooklyn in two sections.  The first begins at Hoyt Street, near the borough's downtown hub and cuts through the brownstone neighborhoods of Carroll Gardens and Park Slope on its way to Prospect Park.  On the other side of the Park, Carroll continues along through neighborhoods less known to tourists:  Prospect-Lefferts Gardens, Crown Heights and Ocean Hill-Brownsville.  It was along that second section, in Crown Heights, that I chanced upon these houses: 

They combine the brownstone facades one sees on the other side of the park with Victorian-style cornices--and rounded, almost turret-like fronts I've seen only in Ridgewood and a couple of other Queens neighborhoods.  That block of Carroll--between Kingston and Albany Avenues--lies in the heart of the Hasidic neighborhood of the Heights.

After I took the photos, I walked Tosca (Carroll is a one-way street) to check out a store where I didn't think I'd buy anything but I wanted to see because it's unlike any in my neighborhood of Astoria, or in most other places.

Turns out, the place moved around the corner, to Kingston Avenue.  I peeked in; the young man working in it knew full well that I wasn't from the community and therefore wouldn't buy the mezuzahs (Star of David medallions found on the doorways of homes), prayer shawls or other items ultra-Orthodox Jews use in their daily lives and worship.  But he didn't seem to mind my being there and we exchanged greetings of "shalom" on my way in and out.

As I turned to my left, I noticed an alleyway in the middle of the block.  

The first painting, closest to the street, seems like a conventional representation of a Torah lesson--until you look closely.  But the sky-blue background gives the scene an almost ethereal feel and the rabbi's expression makes him seem, simultaneously, like a relative and an ancestor, as if the kids might be in a room with him or that he might have come to them in a dream or vision.

To their left were two other murals.  Is the girl--woman?--in awe or fear?  I couldn't help but to think about Edvard Munch's "The Scream"--which, I'm sure, the artist intended.  But is it a scream of ecstasy or terror, or something else?  I might've asked the same questions about the man in the other mural which, of course, evokes Van Gogh's "Starry Night."

Even though the compositions echo (pun intended) Munch and Van Gogh, I felt that the artist's real inspiration may have been one of the greatest Jewish modern artists:  Marc Chagall.  At least, the colors--themselves and the way they play off, with and against each other--reminded me of his paintings and the stained-glass windows he created for the cathedral of Reims, France, to replace the ones blown out during World War II.  In fact, in walking past the murals with Tosca, I felt as if I were in an open-air temple or synagogue.

On the other side of Kingston is another alley, with this portrait by the same artist:

I thought it was interesting how that artist used blue differently from the way it's used in the painting of the Torah lesson.  Here, it makes the man--whom I assume to be, if not a rabbi, then at least some sort of elder in the community.  

It never ceases to amaze me how taking a random turn during a ride in my city can take me on a journey!

Purple Reign On Herkimer Street

Today I took another morning ride to beat the heat.  I had no particular destination:  I crossed the Kosciuszko Bridge into Brooklyn, where I followed the Graffiti Mural Trail (OK, there is no thoroughfare so designated, at least to my knowledge!) through Greenpoint, Williamsburg, Bushwick, and Bedford-Stuyvesant into Ocean Hill, Brownsville, East New York and back into Queens.

I did see some great murals. One, though, stopped me in my Continental tire tracks.

Oh, Prince, Mr. Elegant One, we would welcome any rain, purple or otherwise, on an afternoon as hot as this one has become!

Change of Scenery

When I cycle to work, I follow the same basic route on most days.  Sometimes I'm detoured.  For example, about three years ago, the RFK Memorial Bridge was closed, so I had to go through the East Side of Manhattan rather than Randall's Island.  At other times, however, I take short side-trips that more or less parallel my normal commute.

This morning was one of those times.  For some reason, when I got to the Bronx side of the Randall's Island Connector, I decided to turn right rather than left on 133rd Street.  Then I took a left onto Walnut Avenue, which cuts through the industrial heart of Port Morris and ends at 141st Street.  Normally, I would take Willow Avenue, which parallels Walnut but ends at 138th Street.  

Along Willow Avenue, I pass a great piece of street art.  But on 141st, where I rode this morning, I encountered an even grander (OK, the artists themselves probably wouldn't use such a term!) urban artscape:

Tats Cru is a group of graffiti artists who have become muralists.  Depending on who you ask, they "evolved", "went mainstream" or "sold out".  I suspect that when they reached an age at which they had to support themselves, and possibly others, they took whatever someone was willing to pay for their work.  I can't say I blame them.

What it means is that some of their work, at least, will survive.  And so will they.  I am happy for that.  So many people and things haven't--except in the memories of people who've lived, and cycled, in this city.

Riding Every Linear Mile

One of the great things about cycling in my hometown of New York is that it allows me to see a lot of street art close-up.  My commute to work takes me through an industrial area of the Bronx where murals of one kind and another cover the walls of industrial buildings.  It's become such a part of the landscape that nobody, it seems, refers to it as "graffiti", a term that implies impermanence and echoes disdain.

I have also seen street art, or the art of industrial spaces, while pedaling through streets and along canals and railways (some disused) in other cities on both sides of the Atlantic.  I'm sure other cyclists have had their minds and senses similarly enriched in cities I have yet to visit.

Detroit is one of those places and Thomas Leeper is one of those cyclists.  Except that he claims he's "not really a bicyclist."  Whatever he chooses to call himself, he's ridden 2200 miles of The Motor City's streets during the past sixteen months for his passion project, Every Linear Mile.  

He's been photographing graffiti, murals and other kinds of art, including found-object-art, he's seen along the way.  His goal, he says, is to "give kudos" to folks who are "helping to beautify the city" with their work.  "Ninety-nine percent of it was created with no financial incentive in mind," he explains, so their efforts don't cost anything to the financially-strapped city.

Since he began the project, he's had 11 flat tires, stepped on seven nails, has had nine verbal offers of drugs and been chased by eight dogs.  "I've learned how to ride fast when I need to," he says, and keeps pepper spray on him, but "has never really felt unsafe."  

Welcome To Port Morris

When you enter a neighborhood, town, city, state or nation, you might see a sign that says "Welcome To..." or "Entering..."  Or the sign might consist only of the name of the place.  

Most people don't realize that there isn't a neighborhood called "South Bronx."  Rather, it's a section of the borough that consists of a number of different neighborhoods.  Depending on whose definition you believe, they all lie south of the Cross Bronx Expressway, Tremont Avenue or Fordham Road.

By any definition, I work in what's now being called "SoBro".  (Uh-oh.  There goes the neighborhood!)  I also enter it--and, specifically one of its neighborhoods--when I ride off the Randalls Island Connector:

They really let you know where you are, don't they?  To be specific, that mural graces Willow Avenue between 134th and 135th Streets in the heart of Port Morris, a mostly industrial area at the very southern tip of the Bronx.

But that's only half of the mural.  Here's the right-hand side of it, with a detail:

I first saw this mural a couple of weeks ago, when I decided to vary my commuting route a bit.  Actually, I decided to take Willow Avenue when I saw a sign for a bike lane that recently opened along its side.

I know I've been critical of bike lanes.  The one on Willow Avenue is, like others in the city, separated from the street by a couple of lines of paint and a few poles.  But there actually isn't much traffic on Willow:  Most of the motorized vehicles are on the nearby Bruckner Expressway.  But you do have to watch for trucks pulling in and out of the driveways that cross the lane into factories and lofts.  I must say, though, that truck drivers are generally (at least in my experience) more careful and courteous than others.  They often honk and wave to me!

And I get to see some street art.  Those, I think, are good reasons to change up my commuting route.  At least I know exactly where I am!