The raptor herald



Smack!  The front legs of my chair leave the floor, my hands pop off the laptop keyboard; I jerk backward. A split second, then a tinkling sound ripples over my left shoulder. I turn and look: in the storm window beside me fissures radiate outward as if pushed by an invisible hand.  Something’s struck the plate glass almost dead center.

I’m out the door---scanning the front porch for a clue, but the missile lies farther away.  On the lawn a small hawk rests belly down, tipped onto one shoulder where the wing meets his brown speckled body. He quivers to right himself and then hazards a hesitant, off-kilter walk. A slow taxi to lift off and he’s gone. 

My storm window? The oversized sheet of glass, maybe four foot by five, is one of two that cover twin dining room windows, and probably custom made for my fifties house in Mott Park. With my index finger I trace the cracks from the outer edge of the glass to a tiny pinprick at the center of the pane. Incredibly, no fragments have fallen out.

I called Flint Glass Company (once Koerts Glass on Dort Highway for Flintoids).  Billy, grandson of the owner I knew years ago, drove from Flushing to take down the wood frame.  Two weeks later he returned with the storm window re-glazed and snapped it back into its much-painted metal hinges.  One hinge of the four is missing, but the frame holds.

The hawk event was seven years ago, just about the time I retired.  I think of it now as the herald of my bird watching years.  I’m late to this sublime pleasure. Birder friends have tutored me; maybe my raptor had been a young migrant gone astray?  These folks know the seasonal patterns---the first robin in March, the juncos in winter.  Their feeders attract coveys of fluorescent yellow finches; they sight northern flickers, indigo buntings, real bluebirds.

I marvel at what I have missed.

I grew up in northern California where my eyes were fixed on the ground, the clay, rock and brown grass of summertime. Our house was on a hillside and we had few neighbors.  I paid attention to gopher snakes and garter snakes.  Rattlesnakes turned up some years (we didn’t talk about climate change then).  As a kid of seven or eight, I knew to look where I stepped.

I remember the nodding heads of California quail and grating screech of the western blue jays that everyone called mean, but what were the little birds they bullied? No idea.  An owl roosted in a crooked pine tree outside the bedroom windows, a comfort to me at night. It sounded something like a Great Horned owl, so I’ve ascertained online, six decades later. https://www.allaboutbirds.org/guide/Great_Horned_Owl/sounds    

My hometown, Mill Valley, was lucky to have a passionate nature educator named Elizabeth Terwilliger. She promoted love of nature for sixty years and her environmental activism preserved many local sites.  In her broadbrimmed sun hat, “Mrs. T.” visited grade schools and led field trips to awaken kids’ interest in nature.  Generations of school children learned about the birds, marshlands, and butterflies of Marin County. https://www.marinmagazine.com/elizabeth-terwilliger/

But by sixth grade I was transferred to a Catholic school where I learned French and poetry and not about nature. Decades later when my son was crazy about dinosaurs and together we practiced pronouncing their names, I somehow I missed their evolutionary connection to birds. Archaeopteryx, missing link between birds and reptiles, lost out to Tyrannosaurus rex.  

My partner, Dennis, once an avid hunter of dove in the California desert and wild turkey in Missouri woods, is now a bird watcher. Hunting taught him about dove, our most frequent birds, and he explains their ground feeding and roosting habits to me. Driving the expressway in Michigan he notes the woods and thickets that must be full of turkeys.

I have Stan Tekiela’s The Birds of Michigan field guide, a first edition bought at Young and Welshans twenty years ago for my mother, then newly transplanted to Flint from the west coast. I watched her shriek in 80-year old delight when she spotted a northern cardinal on the backyard shed in the snow. A few years later, bedridden and in hospice care, she could see birds flutter at feeders; we watched together when she could no longer speak.  

Birds of Michigan organizes species by color, a system of “mostly” black, “mostly” brown, and “mostly” blue.  At first the term “mostly” reassured me, but I grew baffled by the number of dun-colored females that turn up in different sections.

I moved online and found the Cornell Ornithological Labs with its chart of bird silhouettes and learned the first identification step: size and shape. The robin is both a kind of thrush and a handy gauge of size (“is it larger or smaller than a robin?”)  Clicking on the few species I know, I learned that tits and titmice are grouped with chickadees, that the cardinal is a kind of finch, that blue jays are related to crows, and that the starlings that carpet the lawn after a rain belong with blackbirds like the red winged blackbird, grackle, and brown-headed cowbirds.

The Cornell site confirmed that a young broad-winged hawk probably hit my window, perhaps gone astray from his kin or “kettle,” en route to Canada in spring.  The mailman on my street, Nick, hails from Alaska; he knows about birds and wildlife and alerts the neighborhood Facebook page when he sights bald eagles that soar above the Mott Park Recreation Area (https://mpraa.net/).

Summer mornings I wake to the sounds of bird song.  I pour wild finch seed into an old terra cotta saucer on the ledge of my front porch.  The quiet, routine task allows my last pre-conscious dream life to filter into the beginning of the day.  The birds are small and plump, and I recognize them now as black capped chickadees. They don’t look like they need my cheap seed, but I cherish the peaceful satisfaction their feeding brings me.   

The birds swoop in and land in a clump, then squeak and shove until four or five feed at a time.  Those that don’t make it to the saucer busy themselves on the ledge with the seeds the victorious ones scatter.  A squabbling rotation with chest puffery and fluttering wings and the first feeders dart off and a new set of three or four wedges in. When the seed is mostly gone, a single outlier bird hops into the center of the saucer and picks at the powder and hulls remaining.

I bought a tubular finch feeder and the variety of birds has picked up. Red winged blackbirds and  downy woodpeckers try their luck at the small holes. Next door, a rusted old TV arial never dismantled by an aging neighbor attracts birds at 32 feet. In the evening a large woodpecker drums on its hollow metal poles like an avian head-banger.

Neighborhood cats prowl. The first was Ralphie, a hefty marmalade-colored veteran with yellow eyes placed a bit too close together. Confident in his weight and age, he’d lumber along the perimeter of my backyard lawn in that cautious way of cats, wary of open space.  Not needing the food of nature, he still practiced the habits of his species. Since Ralphie’s family moved away, a young, lean tiger-stripe appears on my porch in the morning.  Eyes fixed on the finch tube, he stretches his body upward, gauging the distance to the feeder.  He once succeeded; I found the feathers.   

Backyard bird feeding is a modern pastime, dating in America from Thoreau who scattered old corn to see what animals would appear outside his hut at Walden Pond in 1845. The first Audubon society appeared in 1895 and ardent bird lovers crusaded against the use of feathers in belle epoque hat wear.  Commercial bird feeders were marketed in the 1920s and field guides like Audubon and Peterson appeared in the 1930s linking amateur enthusiasts with ornithologists.

With the postwar housing boom new generations gained a lawn to mow, a yard to garden, and birdseed in the grocery store. In 2001, the United States Fish and Wildlife Service calculated that some 52 million Americans feed birds. https://onlinelibrary.wiley.com/doi/full/10.1111/j.1472-4642.2007.00439.x

But the environmental movement that emerged in the 1960s and 1970s has schooled us in the potential negative, even disastrous, effects human activity can bring to the planet and all its life. Our interaction with nature cannot be neutral. Current studies consider how supplementary feeding affects bird species. (https://www.nature.com/articles/s41467-019-10111-5). 

Each evening I shake out the hulls in the saucer and

unhook
 the finch feeder, usually overdue for cleaning---

every two weeks is the guideline.
  In summer twilight, days

before the solstice, birdsong rises on the west side of the

house, piercing the warm living room air even when the TV

blares at prime time. The urgency of the birds’ calls alerts me

to the end of day; sometimes I hear a kind of panic in their

sounds.


This essay originally appeared in East Village Magazine, April 2019.


Tai chi



“Breathe from the diaphragm,” says Beverly, my tai chi instructor. “Clear your mind; try to go  slowly,” she reminds us before we begin. We never go slowly enough.  

We stand in two rows in a large room, the dining hall in a senior center. Some wear the thin-soled martial arts slippers that help in tai chi’s turns and kicks, glides and slides.

Through its floor-to-ceiling windows a hummingbird jabs at the orange and purple blooms on stalks of bird of paradise that edge the building. Across the grass between the fig and palm trees I can glimpse the gray blue Pacific in the distance; when the doors are open we can hear the muffled clang of the bell buoy.

This is January on the south bay coast west of Los Angeles, not Michigan. I get distracted.

We bow and then raise our outstretched arms to clasp our left hand over our right fist, the tai chi salute.  At some point in the next half hour---if I can corral my wandering thoughts---my mind will float away from my body.

Part of tai chi’s allure for me has been the promise of settling the mind, but I’ve come to love the exercise, how it feels in my body.  

I first learned about tai chi through a class taught one semester at the UM-Flint Rec Center. I learned about “the empty leg” and how to “sink the chest.” Different concepts and techniques after years of yoga. I found Youtube videos and began to follow articles online.

My first winter in southern California, I saw a group of twenty or so people in a nearby park moving in slow motion like the video I’d watched. I looked up the park activities online, but the tai chi group had disbanded. Another group met in a different park, but it was too far to drive. I checked Meetup---more than a dozen tai chi groups were listed but all were nearly an hour away. This is Los Angeles.

Then by chance I stopped in at a nearby senior center and saw a flyer for a tai chi class taught there, a weekly session in something called “the Yang style long form.”

I joined a group of eight learners---the oldest one turns 90 this year and another, aged 83, walks with a cane. For an hour on Thursday mornings we move silently through a routine that requires ten kicks standing on one leg, several with turns on one foot.

No one has ever fallen. We don’t kick very high.

The Yang style long form turned out to be a series of 103 moves (or more, depending on how they are counted), many with flowery names: grasp the bird’s tail, play the lute, repulse the monkey, fighting tiger, fair lady works the shuttles, the snake creeps down, the golden cock stands on one leg.

I see the brushstrokes of a Chinese painting.

Don’t be fooled. Tai chi is an internal martial art practiced for health and relaxation, but its full name, tai chi ch’uan, can be translated as “Supreme Ultimate Fist.” Basic moves like “ward off” and “parry and punch” come from combat and self-defense, but those with the flowery names do also. Beverly reminds us: you are blocking, you are striking, you are kicking an opponent. Keep space between your feet so you won’t be knocked off balance.    

Tai chi’s modern history is traced to Chen village in Wenxian County, Henan Province, in central China. A 17th century warrior and master of martial arts named Chen Wangting is credited with creating tai chi. 

The art remained in Chen family and their village for centuries.  People came to the village to learn the art (and still do today). An outsider named Yang Lu-chan (1799-1872) learned the Chen practice and developed the style that is named after him. More styles developed from the Chen form. You can find a bewildering tree of lineages of tai chi styles in Wikipedia.

During China’s Civil War many traditional tai chi teachers emigrated or ceased activity, but in 1949 the People’s Republic government established the Chinese Sports Committee. The Committee developed hybrid forms of tai chi that were easier to learn and practice and promoted group tournament; the government encouraged public practice.[i]

Tai chi spread in America in the wake of the martial arts interest that exploded in the 1970s. Boomers have embraced tai chi for health; the Mayo Clinic recommends it to reduce stress and some hope its practice will prove beneficial against Alzheimer’s.

Each class tests me---how much of the entire form will my body remember?  I’ve got the short opening section down pat, melded into my muscle memory. I’m doing better with the middle section; sequences of moves repeat and sometimes if I can remember the one arm or leg go, the next moves will come to me. At some point in the third and longest section I will sneak a glance at Beverly; where are we? Did I miss “snake creeps down”?

It takes our group 30 minutes or more to do the entire Yang long form. If we go slowly enough. When we finish we repeat the salute and bow. We clap for our instructor and ourselves. For a few moments my arthritic body feels light and fluid again.

Even when my kicks on one leg wobbled or I forgot half of the last section, I feel satisfaction.  Even if my errant mind got distracted, I am peaceful.

Real devotees say you can practice tai chi anywhere.  Allen Ginsberg dedicated a poem to his tai chi master. It turned out to be a wry commentary about practicing in his in a tiny Manhattan apartment and it’s recorded on video.  

The first stanzas go like this: 

Bend knees, shift weight
Picasso’s blue deathhead self portrait
tacked on refrigerator door

This is the only space in the apartment
big enough to do t’ai chi

Straighten right foot & rise–I wonder
if I should have set aside that garbage
pail

Raise up my hands & bring them back to
shoulders–The towels and pyjama
laundry’s hanging on a rope in the hall

Push down & grasp the sparrow’s tail

Those paper boxes of grocery bags are
blocking the closed door

Turn north–I should hang up all
those pots on the stovetop

Am I holding the world right? That
Hopi picture on the wall shows
rain & lightning bolt

Turn right again–thru the door, God
my office space is a mess of
pictures & unanswered letters

I better concentrate on what I’m doing
weight in belly, move by hips
No, that was the single whip–that apron’s
hanging on the North wall a year
I haven’t used it once
Except to wipe my hands–the Crane
spreads its wings have I paid
the electric bill?[ii]

Yeah, Allen, not enough space and too many distractions at home for me too. But the poem consoles me. Each week I join my tai chi friends in warm expectation; I see the ocean and hear the muffled clang of the bell buoy.  We bow, raise hands and salute, we try again.




[i] Qi gong, Chinese medicine’s ancient system of physical exercises and breathing control (and used for tai chi training) also came under state regulation.



Note: Last Saturday in April is World Tai Chi and Qi Gong Day.



This is essay also appeared in East Village Magazine, https://www.eastvillagemagazine.org/wp-content/uploads/2019/04/EVM-04.2019.pdf


Arts in Detention



It’s a drizzily April night for Art Walk, but I’m out for just one stop: Buckham Gallery and the opening of the annual “Arts in Detention: GVRC Share Art Exhibit.”  

“Arts in Detention” presents the work of kids ages 10 to 17 living in the Genesee Valley Regional Detention Center (GRVC), on Pasadena Avenue in Flint.  A short-term residential facility (capacity 60), GVRC currently houses 45 to 50 young people; their charges range from truancy to murder. Three nights a week girls and boys participate in writing and spoken word, visual arts, theatre and dance workshops. The GVRC Share Art program partners with Buckham Gallery to bring art to youth in detention and then share their work with the public in this annual spring exhibit.

Artwork as large as a mural or an automobile hood, and as small as a standard sheet of paper for a T-shirt logo, hangs on the gallery walls.  Video screens show kids involved in movement, dance, and dramatic arts exercises. The young artists are unnamed, but for each group of art pieces instructors and assistants have provided statements about the process and goals of the work. “It’s more about the process than the products,” says Shelley Spivack, Flint attorney, juvenile court referee, and co-founder of “Arts in Detention.”  

The Genesee Valley Regional Center Share Art program began in the fall of 2011 as a pilot project.   Spivack, who also teaches a Juvenile Justice and Law class at UM-Flint, responded to the Ruth Mott Foundation’s “Share Art” call for project ideas. Awarded a mini grant to re-establish an art workshop at GRVC (a previous one had lapsed), Shelley and Steven Hull (a Mott Community College art graduate studying Criminal Justice at UM-Flint), co-founded “Arts in Detention.”  

Instructors in the Share Art program are either members of Buckham Gallery or other creative groups in Flint or teach at one of the colleges.  UM-Flint lecturer Tracy Currie (in spoken word), and Todd Onweller, Steven Hull, and J.T. Thigpen (all artists) formed the initial core of instructors. Currently seven artists, one student assistant, and two interns teach in the arts workshops. 

Boys and girls live in separate wings at GVRC, but according to Shelley and Steve, the workshops only became gender geared as it emerged that girls had unmet needs and felt more at home in spoken word, while boys tended toward the visual arts.  Shelley emphasizes that during sessions there is no talk about charges or cases; instructors strive for an atmosphere of freedom to work in the arts.  “In seven years,” Steve says, “only one student was removed from class and that was for mental health issues.”  Overall, the workshops relax the kids and they look forward to them. The instructors have developed a relationship with staff and now work unguided in the facility.   

As I walk the gallery, a stack of books grabs my eye with its day-glo lime cover (artwork by Grand Blanc artist Julie Abbott) of four girls stretching their arms upward to the book title: “HerStory: Unlocked.” The books are the 2016/2017 collection of girls’ poetry and short prose interspersed with photos of the actual products in the workshops led by Traci Currie, Emma Davis, and assistant Jia Ireland.  A grant from Michigan Humanities Council helped make the volume possible.  

Another eye-catcher is a display of sculpted commedia dell’arte theatre masks done jointly by workshops in Boys Theatre and Visual Arts.  Titled “Shakesmedia,” the project involved study of stock character types and creating a visual image of characters.  A video shows the boys acting in guided improv scenes. 

Reflecting on her experience with “Arts in Detention,” Shelley says, “It’s done as much for us as it has for the kids; we see ourselves and our own place in the world differently.”  Asked how he feels about the GVRC Share Art program, Steve says, “It’s making a mark.” Then Steve glances down at his phone; he works for state Child Protective Services and both he and Shelley are “on call” tonight. The needs of the kids are never far away.  Shelley comments that of those currently in short term detention, 16 are facing adult sentences; juvenile crime is declining, but sentencing as adults is rising.
 
Tonight, however, sharing the kids’ art at the annual exhibit is always fun.  Besides the Art Walk public, court officials, probation officers, and judges often show up. Surprisingly, Shelley adds with a laugh, “In all our years with this community exhibit, no one has done a story done about [the show].”
I chat with Corinne Nuzum and Casey Hamann, former volunteers and now interns in visual arts with girls at GVRC.  They would like to develop a program specifically for interns.  They want to get a grant that help interns with supplies---participants in their art group fluctuate from 9 to 12 and they never have enough materials.  “We need continuing education too, training to develop our teaching skills in all media,” says Corinne.  Casey’s dream is to develop a cooking program.  She has worked at Crust in Fenton and cooking skills are practical for both boys and girls, both for employment and for life. “How long is your term as interns?” I ask.  Corinne and Casey laugh and respond in unison, “As long as Shelley and Steve will have us!”http://www.eastvillagemagazine.org/2018/04/18/arts-in-detention-program-unlocks-creativity-from-the-inside-for-gvrc-youth/

“Arts in Detention” is growing beyond the walls of Genesee Valley Regional Center.  In response to kids leaving GVRC who want to have something on the “outside,” a 12-week pilot project (in partnership with Genesee County Family Court) began September 25, 2017.  With help from Gear UP Academy students, a workshop titled “Arts on Probation” is held weekly at the Juvenile Probation Office in the McCree Building.

Current funders of GVRC Share Art Project include: the Hagerman Foundation, the Flint Women and Girls Fund of the Community Foundation of Greater Flint, Michigan Council for Arts and Cultural Affairs, United Way of Genesee County, and Greater Flint Sunrise Rotary International. 

“Arts in Detention: GVRC Share Art Exhibit” runs until May 5 at Buckham Gallery, 134 ½ W. Second Street.  Gallery Hours: Th-Sat: 12-5:30. See http://www.buckham-gvrc-share-art-project.org/ “HerStory: Unlocked” is available as a free e-book at http://www.buckham-gvrc-share-art-project.org/project-staff/

This essay originally appeared in East Village Magazine, April 2018. 



Chevy coupe

“Jesus Christ!”  I blurted out---emphasis on the first syllable, “Je-sus.”  I had tumbled off the bench seat of our old Chevy coupe when my mother slammed the brakes. My head grazed the dashboard as I toppled to the floorboard below. The brown and red threads of the tan plaid upholstery prickled my bare legs as I clambered back on the seat. 

It was 1951 and I was six years old.

The car---I’ve confirmed from photos online---was a 1940 Chevy 2-door business coupe, and about this color. The model was a Master 85, and in the brochure artwork it looks professional but sporty.  

The coupe had its own story and I learned it decades later.

That day we were headed into the city---to San Francisco, 40 minutes by car from our small town north of the Golden Gate Bridge.  I watched my mother grip the gearshift with its milky bakelite-tipped handle as she pressed in the clutch in one smooth, deft motion. She was a good driver.  

In the 1950s medical and dental appointments in San Francisco were expeditions that entailed coat, hat and gloves.  Deckled-edged Kodaks show me in a gray and white checked coat with a matching tam that my mother had sewed. I wore white gloves in little kid sizes that now seem unimaginable---clothes for city sidewalks, not the gravel roads in the county where we lived.

Our destination was 450 Sutter Street, a professional building a few blocks uphill from Union Square and one of the tallest buildings in the city at the time.  A 26-storey art deco tower, its front doors were recessed beneath a gold fan-shaped portico.  I thought my family dentist lived in a temple on the 16th floor.  When we waited for the elevator in the black marble hallway, I craned my neck to look up at the bronze and silver ceiling. Its dimly lit zig zag shapes made me dizzy. Only recently did I learn they were Mayan revival motif designs. 



For several years my mother regaled friends and relatives with the story about my startling expletive.  As the only child of parents who had---and now it puzzles me---mostly childless friends, I often listened to adult conversation.  Grown-ups told stories about other people, but they also seemed willing, even eager, to tell stories on themselves. Adults seemed to have an invisible protective skin, and they could become a character and be made fun of, be the butt of a good joke. It was something we kids never did.

Grown-ups telling stories---when not at my expense---brought relief from well-behaved boredom. I watched as the launch of some tale snagged the scattered conversations in the room, reeling in the attention of highball-clutching adults. I listened to half-understood words and events that seemed to stretch out as if along a tightrope of telling. The tension clutched my stomach.  Back and forth my eyes darted, from teller to listeners, anxious for some weave or wobble in the story, a gasp of surprise, a sigh of let-down, or a hoot of laughter at the end.

The work of what I later learned to call literary devices seeped unnamed into my brain.   

Sixty years after I banged into the Chevy dashboard, my mother came to live with me in  Michigan.  Unable to manage in an apartment on her own, at age 81 she pulled up stakes on the west coast and moved east to share a house with me and my son. 

And of all places, in Flint.

Family recollections surfaced during the six years we lived together in Flint, and one was the back story to the 1940 Chevy coupe.  We both remembered its faded beige finish and the red pin stripe still visible along its sides the year I grazed its dashboard. According to my mother, she and her older brother had bought the car new in their hometown, Portland, Oregon.  In the course of the purchase, the dealer off-handedly mentioned that delivery charges could be saved if the car were picked up at the factory in Michigan.

Brother and kid sister set out east by train. Grand Northern’s Empire Builder ran daily from Portland to Chicago’s Union Station where they could pick up Grand Trunk Western mainline and get off at Flint.  My mother recalled being told to wait on a Saginaw Street corner for a man who would take them out to the factory---which must have been Chevy-in-the Hole. 

To save money on the return road trip to Oregon brother and sister shared a motel room and my mother remembered sleeping on a trundle bed.  At remote stops along U.S. 30 and the way home, my uncle---a jazz lover---searched out obscure recordings.  Heavy 78s in brown paper sleeves, some of them ended up in our house, gifts from my uncle to teach my mother about jazz.

Four years later, in 1944, my mother got engaged and planned to move to San Francisco where she would be married. Her brother let her take the car---he was headed to Washington, D.C., to work in the Office of Strategic Services or OSS that had been established by Roosevelt in 1942. Off to a glamorous career in the capital, my uncle readily signed over the title and threw in some jazz records. The Chevy coupe became my parents’ first car. 

By 1955, my grandparents lived with us and a more practical family vehicle was needed. One summer evening my dad pulled into the driveway in a 1950 4-door Ford custom six “executive sedan.”  A deep forest green, in the center of its grill a “bullet” jutted out that only underscored the car’s roomy boredom. 

My dad bought it used. We never again had a brand-new car like that sporty Chevy coupe.

I’m still in Flint.  My mother died here in 2008. I drive Saginaw Street and imagine her waiting on one of its gusty corners in 1940, twenty-three years old and never dreaming that she would return to this city where her first car was made. 

Growing up, I’d had to suppress a flinch whenever my mother plunged into the anecdote about my “Jesus” outburst. Now the story seems less attached to me than to places and people that I have loved. The protagonists depart, social conventions change, and places are transformed beyond recognizing. The story remains and now I can do the telling---I did learn to be one of those grown-ups who can tell stories on themselves.




A year in blight


On Father’s Day, Sunday June 19, 2016, NBC 25 aired a local news segment that showed a group of Mott Park residents as they cleared brush, cut dangling branches, boarded up windows, and mowed overgrown grass at a vacant house in the neighborhood.  Six volunteers, including an eager three-year-old helper named Jack, worked fast in the bright, increasingly hot, sunlight because one Mott Park resident, Bobbi Wray, put out a call to friends asking for help to clean up a vacant house next to her on Marquette street.

A crew came together organized by Steven Major, Mott Park resident for the last seven years and reserve officer for City of Flint Police. Home Depot and the neighborhood association donated materials and friends loaned tools.  When TV 25 reporter Miranda Parnell asked why, Steve said, “We’ve just had enough.”

The Mott Park’s Blight Squad had burst on the scene.

Bobbi Wray, retired tv5 reporter (and the first female TV reporter in Michigan) recounts a backstory all too common.  Sometime in 2011, her neighbors---a couple in their sixties---got underwater on their mortgage and were unable to take out a second to finance roof repairs.  Finally, in desperation, they left and the house reverted to bank ownership, a warning notice later tacked on its storm door that indicated the property belonged to “M & M Mortgage Services.”

Clean-up of more properties followed the first June action and the group adopted the Blight Squad name for their Facebook page and Steve Major became its director, working closely with the Mott Park Neighborhood Association.  The core Squad members drove the neighborhood, checked properties, reached out to neighborhood residents through the MPNA Facebook page, and gathered leads on addresses showing evidence of squatters.  Donations came---bags and compost from the Genesee County Land Bank “Clean and Green” program and paint from a neighborhood owner of a paint store. Neighbors loaned tools and brought cases of water, leaf bags, and work gloves wherever Facebook announced the crew was working.

During one late August 2016 clean-up a 1945 Chevrolet coupe made in Chevy-in the-Hole Flint was found covered under brush---the paint in fair condition protected by overgrowth.  Online research showed it was a Fleetline AeroSedan, one of Chevrolet’s first vehicles when it returned to civilian carmaking.  Other vehicles have been found, but sadly, less interesting. 



Meantime, the Mott Park Neighborhood Association worked closely with Kettering University and Tom Wyatt, project manager of “Renew the Avenue,” a Department of Justice program whose Byrne Grant reduces crime by engaging the community (currently Stevenson Neighborhood, Mott Park, Sunset Village/Glendale Hills) to decrease blight.  Byrne grant funds helped provide tools, board up materials, and motion-activated LED solar security lights. Kettering University has provided student workers as well.

Toward the end of the 2016 and with a dozen properties cleaned up, the Blight Squad began to decide strategically where to work.  They found a target at the triangle of Perry, Woodbridge, and Joliet streets meet---a small cluster of old commercial buildings whose renovation could have a big impact.

  





Online research showed that the three buildings had once been the Woodbridge Market, a Plumbers’ Union, and a Pure Oil station (including building plans). Steve dubbed the site the Mott Park “Historic Business District.”  The middle structure, the Woodbridge Market, turned out to have an owner who decided to refurbish the building himself.

The buildings on each side of the old market were the Plumbers’ Union (the initials “J.B. CO” embedded in its façade) and the Pure Oil building.

The exterior for Pure Oil was “English Cottage” style, one of the first company attempts at a chain look for gas stations.  At present, with the exterior renovation nearly done, the neighborhood association plans to purchase the Plumbers’ Union building.  The Pure Oil building is slated as studio space for Mott Park resident and artist Ryan Gregory.

After the “Historic Business District” clean up, the Blight Squad did small jobs, often illegal dumping, but with the approach of fall weather a new challenge emerged: squatters.  A gruesome knifing incident occurred in late August in one squatters’ house in a row derelict structures on Chevrolet near the Flushing Road intersection. The squatters were cleared and the houses boarded up in early winter. 

By the end of December 2016, ABC12 and NBC25 had aired four news reports about the Blight Squad’s efforts. Over the winter into 2017, their work changed. The Blight Squad adopted a off-season pattern: assess now and then secure, install security lighting, and decide how to maintain.  Tom Wyatt’s “Renew the Avenue” at Kettering University supplied wood for board ups, four cordless drills and the loan of a generator---essential where power has been cut.  The Blight Squad could obtain security lighting, purchased in bulk and tax-free. Winter work was a combination of networking with local groups and organizations and board ups.

In early January 2017 a group of sixteen people, Blight Squad members and others, met at Kettering University to plan for the coming summer season.  Now at the close of March, their plans for the first large-scale spring project are underway. The target?  Joliet street which runs from Kettering University at Dupont to Blair St. deep into the interior of Mott Park.  Sunday, March 26, a Blight Squad crew began the clean-up of one burned out property on Joliet.  Wall remnants were knocked down, concrete blocks heaved into the basement, and charred wood and debris loaded into a 20-foot dumpster.  NBC 25 and ABC 12 stopped by to film the day’s crew that included Eric Bumbalough, Steve Major and son Kenny, Tony Coleman, Bo Cummins, Greg Harmon, Bobbi Wray, Chad Schlosser, Joe Shingledecker, Tony Coleman, and Rashonda Magee from Flint Urban Safety Corps. Rain cut the work day short; a squatters’ house next door to the burned site will be cleaned out and boarded up later. 

Posted on Facebook, full-scale plans for Joliet St. announce work dates for April 15 and May 13 when the Blight Squad will lead teams comprised of Bahá’í youth volunteers, Kettering students, new Flint Police Reserve Officers, Flint Urban Safety Corps, and Joliet Street residents.  Teams will work the full length of the street according to task---clear brush, clear trash, mow, and board-up.  An equipment and materials station will be positioned at the at the center of the long street. The last squatter home will be boarded up.  Steve Major expects 50 to 100 volunteers.  

The good news for summer of 2017 is that a program of AmeriCorps, the Flint Urban Safety Corps, (a partnership between Genesee County United Way and UM-Flint)), will be in Mott Park working on clean-up and board-up. In Flint on a three-year program, the Urban Safety Corps works in a residential swath extending from University Avenue to McLaren hospital.  Their clean-up of the Stevenson Neighborhood  has just ended and according to Tom Wyatt, “Renew the Avenue” Project Manager (headquartered at Kettering) “the results are positive---a 25% reduction in violent crime and a 51% reduction in property crime.[i]  

Steve Major explains that the Urban Safety Corps will help recruit Blight Squad members, seek donations of perennial plants for roadway medians, especially Chevrolet Avenue, patrol the streets picking up trash, and seek funding for increased lighting and camera systems in the park and recreation area.  A long, ambitious list, but the Corps will allow the Blight Squad shift gears and concentrate on ridding the area of graffiti and maintaining cleaned properties.

And the maintenance challenge is substantial.  About 60 vacant properties need solar security lighting installed; their front yards will be seeded with “alternative lawns” (ground cover like a white clover perennial used by the Land Bank) that reduces mowing and watering.  Rototillers can be rented at Flint’s Neighborhood Engagement Hub Tool Shed.

Blight Squad Enforcement is now in effect in Mott Park.  Two uniformed safety officers work with Flint Police to monitor residential code enforcement in the neighborhood.  As Steve puts it, now the Mott Park “ship needs to be tightened.”

As houses have gone derelict, graffiti or tagging has boomed.  The Blight Squad goal is to paint over all tagging as quickly as possible. Alert to the geographical pattern of tagging, the Blight Squad monitors the movement of gang-type activity in Mott Park.  Several Blight Squad participants have formed the Mott Park Public Safety team to patrol the neighborhood during late night hours.  They alert police to break ins, count windows out, and check for squatters.  Summer will bring an uptick in this work---more street activity, more people outside late at night. 

Summertime also brings problem houses, technically termed “nuisance houses.”  Last summer, the Blight Squad and the Mott Park Neighborhood Association worked with Kettering and neighborhood police officers to monitor a property on Frank St.  A record of complaints, police calls, and neighbors’ phone videos led to action with the Neighborhood Association able to notify the owner that the residence has been listed as a nuisance house and civil action will be taken.  What seemed to be a “party house” was in fact an “illegal rave.”  Eventually the renter was arrested.

Deep and pervasive social and economic problems form the bedrock of residential deterioration. According to Realtor.com, the burned-out house on Joliet was built in 1920.  Zillow lists March 2015 as the last date it sold---$3,500.00 Rental companies, many from out of state, buy up such properties. Renters need economical housing, but few are able---for whatever reason---to maintain properties as home owners.   Mott Park, once a middle-class district, today is struggling for its life.   

Is the Blight Squad ready for another year of struggle?  Steve Major says “the work is like household chores.  You dread doing it, but you see that you must.  You work as a team and the camaraderie is great.  After it’s done we feel good, even if we are exhausted.”  

At the March 26th clean up I asked Blight Squad veteran and seven-year Mott Park resident Bo Cummins how he felt after a year of doing this work.  He says, “This is like a disease on the body---you have to attack it wherever it turns up. Am I discouraged?  No, I love this. When I don’t do anything---that’s discouraging.” 

Steve Major is optimistic too.  “Do I think we can save the neighborhood?  Questions come, sometimes I feel like we are losing the battle.  My wife tells me that’s just because now I know more about what was always there.  Recently, power at the Plumbers’ Union building went out and there was a break in.  We have to go back and re-do the work.  But the City is more responsive to our neighborhood now.  The culture in Mott Park has improved, the Facebook posts are more positive.” 


Today the Blight Squad is part of Mott Park life, maybe even its beating heart. Other organs---the Neighborhood Association and the Mott Park Recreation Area are healthy and functioning.  But the heart is special; residents are enormously proud of the Squad’s work. Each time photos of a newly cleaned up property are posted on Facebook, neighbors pour out their gratitude and admiration. The Blight Squad Facebook banner photo (taken by Steve’s son, Kenny) is a black and white shot that has a “noir” quality about it.  Men with determined expressions and crossed arms as if to say---as Steve said at that first clean up back in June 2016---“We’ve just had enough.”


If readers are interested in donating to the work of the Blight Squad, the Mott Park Neighborhood Association website provides a link where contributions earmarked for the Blight Squad can be made. More information? You can reach the Blight Squad by email mpblightsquad@gmail.com





[i] Data from Michigan State Police who capture all Flint Police Department data.  Michigan State Police provides data to CORE Community ComStat, a group of law enforcement agencies and security groups who meet monthly to review area crime statistics. 

For more essays go to East Village Magazine online at http://www.eastvillagemagazine.org

Jazz Night

Tuesday night in downtown Flint and that means jazz at Soggy Bottom.  On this cool April evening a gust of wind propels several people through the front door just as the smiling drummer John Hill grabs the mic and announces over his drum set, “We’re going to do some spring songs!” Together with Pat Cronley on the keyboard and Jack McDonald on the bass, John opens the first set.  The sticks go down and John looks radiantly happy.  I think he is the happiest jazz drummer I’ve ever seen.
Jazz Night at Soggy Bottom has been going for nearly three years. It was the brainchild of Andy Sartwell, the Soggy Bottom’s premier bartender.  Andy was good friends with Jack McDonald (a Linden High School grad now studying music at Western).  Good friends, they played indie music around Flint.  Andy pitched the idea for jazz night to Soggy Bottom’s bar manager Ken Laatz and he agreed.  Andy called Pat Cronley and Jack contacted John.  
The Jack McDonald Jazz Trio was a go.    
According to John, the first couple of jazz nights the audience was thin; when he looked over to the raised seating area, he says, rolling his eyes in untypical distress, hardly anyone was there.  But attendance grew.
You’d never know there’d ever been a sparse attendance night now.  
By the second set the bar is packed, clusters of standees clumped behind the stools; newcomers enter, heads pivoting in search of a place to sit.  Sidling along the bar to the back they glance into the backroom pool table.   Barely visible through a glass door is a patio where hardy smokers sit under the umbrella tables, overlooked by a Kevin Burdick mural on the building’s back wall.  Climbing a couple of steps to the raised seating area that overlooks the bar and band area, the newcomers poke their heads round to the side room. Tables with club chairs (and a second pool table)---all full.   
Soggy Bottom is packed.   Some sigh and leave, but mostly they make another standing cluster and eye the bar for departures.   
Various trumpet and sax players join the trio for Tuesday jazz.  Two frequent crowd pleasers are trumpeters Walter White and Dwight Adams.  A surprise one night was Ukrainian trumpeter Yakiv Tsvietinskyi, who had met Jack McDonald in Kalamazoo at  Western Michigan University.  A new foreign music student at Western, Yakiv showed up at the WMU Union jazz jams and met Jack.  Jack invited Yakiv to come to Flint (new to Michigan, Yakiv had no idea how far away Flint was from Kalamazoo).
I talked to Yakiv, a veteran of European jazz fests with his own modern jazz trio, “LLT”.   Between sets we chatted about Ukraine (Yakiv is from Dnipropetrovsk) and his coming marriage to his love, Marianna, an opera singer, who will join him in Kalamazoo.  
Some nights Nick Calandro is on the bass. Nick once took a class from me at UM-Flint (he remembers this better than I do). That’s how Soggy Bottom Jazz Night goes---you never know who you’ll run into. Former Mott Park neighbors who’ve moved to peaceful glades of Flushing or Fenton return to the city for jazz.  
The repertoire varies with the soloist, but “Caravan,” “In a sentimental mood,” “Song for my father” are frequent.  John introduces the musicians and the numbers---“We’re going to do a ballad,” he says. Or we’ll get some education about composers and styles. Or jazz trivia: “This was the only piece Charlie Parker ever wrote in a minor key.  Do we know that?” he implishly queries Pat Cronley.   Pre-break signature is a jazzy version of “The Flintstones” theme song.

Late on a full night, local singers like Gwen Hemphill take to the mic---here Gwen sings "At Last." Later, people take to the floor to dance.
John is a music educator with 23 years experience in public schools. He taught percussion for 6 years at UM-Flint and he’s also taught 10 years at Mott. Now he teaches music at Oxford high school, and all instruments---piano, guitar, theory, jazz.  But not band.  
Maybe that’s why John started the bi-monthly blast known as Big Band night.  The idea for Big Band night grew out of a jam session music teachers do for their students on Honors Band Day. Each year in January under the auspices of the Michigan School Band and Orchestra Association, music educators and their students gather for Honors Band Day.  The tradition began about eight years ago.  The students practice all morning and then the teachers (20 different band directors) get together in the afternoon and play for them.
For Big Band night John turns to his music educator colleagues to serve as section leaders (trumpet, sax, trombone) and the section leaders pull together their players.  John organizes the music and gets it ready.  If John can get another drummer, he’s free to conduct and you’ll hear instructions to the players, something about the measures or the coda.  
Musicians drive in from a twenty-mile radius and form 20-piece band.  It’s all pretty spontaneous after that; ninety percent of the time they have no rehearsals.  Different musicians will take a solo.  
By 5pm the place is packed.  Cars fill the adjacent lots---the Local Grocer and the former Jag the Haberdasher area.  The trio will play a first set, allowing time for all the brass musicians to arrive.  They gather in the side pool room where John has laid out music sheets on the pool table.

It’s all fun for John.  He comes in smiling, even late or rushed, and heaves his drums around chatting with people the whole time.  Music fans cluster at the front end of the bar and friends hang over the railing from the table area to talk.  John radiates optimism, and a good thing too. He has a non-stop schedule with teaching and his family of four kids---one entering college, two teenagers, and a four-year old.  All except the youngest are involved with music.  Along with his three eldest, John played in church at Holy Redeemer on Easter.
Big Band night takes place the last Tuesday every other month. Check the Events list on Soggy Bottom’s Facebook page---other nights and special events are listed there.
Support jazz---celebrate International Jazz Day, Sunday, April 30, with the Soggy Bottom musicians and many others from around Michigan. The music takes place 1 to 5 pm at the Atwood Stadium Parking lot. Hear some of Michigan’s finest musicians and vocalists at this free concert.  More information on this Flint celebration go to  
http://jazzonwheels.org and its background at http://jazzday.com




The raptor herald

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