Tag Archives: downtown

THE COURSE OF EMPIRE – ROCHESTER

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The Rochester Philharmonic in Kodak Hall

The cities that flourished as a result of the construction of the Erie Canal during the first half of the 19th Century are great places, blessed with abundant natural beauty around them. I took a recent driving trip to Rochester, Syracuse, Amsterdam, Schenectady and Troy (with visits to Auburn, Seneca Falls and Corning in the Finger Lakes region as well). Rochester, the state’s fourth largest city by population has a tremendous depth of anchor institutions, and a downtown with great potential for a mixed-use 24 hour downtown. Schenectady and Troy have beautiful, active downtowns. Syracuse and Amsterdam have serious, but solvable, problems. Over the next several weeks I hope to share my thoughts about these visits – my first to all of these places – a trip which I have long wanted to make. This week I will focus Rochester and the Rochester Philharmonic Orchestra. 

Over the distance of almost two hundred years, it is difficult to appreciate the historical significance of the Erie Canal to New York City, New York State, and, in fact to the country as a whole. The Mohawk River Valley, which more or less encompasses the geography between Lake Erie and the Hudson River, is the only flat body of water that crosses what is otherwise the transportation obstacle of the Appalachian Mountain range. The Appalachians, running from Maine to Georgia, served as a barrier to commerce and communications between the eastern and western portions of the early United States (before railroads and the telegraph). When completed, the canal enabled the shipping of commodities from the all over the Midwest to the East, utilizing the Great Lakes, the Ohio River and the Mississippi as feeder routes. At the same time, it permitted manufactured goods to be shipped from the industrial states of the North and the cotton growing states of the South to the growing Western states. At the fulcrum of this commerce was New York City, and its deep and sheltered harbor at the end of the trade route at the mouth of the Hudson River; between east and west, and between the US and Europe as well. It is hard to imagine today, but the rise of the New York City as the financial and commercial center of an empire was nearly entirely originally based on commerce supported by the canal. 

The canal was built over about seven years beginning in 1825, in an effort led by Governor DeWitt Clinton. While it used the water and geography of the Mohawk River, much of the canal had to be dug by hand parallel to the shallow, non-navigable river. The canal was a truly amazing accomplishment of human effort – and of engineering. While the canal was used for almost a century, the development of railroad infrastructure came hard on the heels of its completion, with the final leg of what became the New York Central Railroad across New York State finished in 1839. The “Age of the Erie Canal” was short but world shaking.

The canal required 83 locks along its 350-mile route to move freight vertically along its route, in many places enabling the circumnavigation of waterfalls. The vertical drop between the Lake Erie and the Hudson was only about 700 feet. But even more impressive were the 18 aqueducts that were built to cross over other rivers. The idea of building a structure over a river to carry freight loaded barges on water over other bodies of water is hard for the modern imagination to conceive. The longest of these aqueducts went through what became the city of Rochester over the Genesee River. 

Innovation Square Building

Over the next 150 years Rochester became the silicon valley of the 19th and early 20th Centuries. Kodak, Bausch & Lomb and Xerox all got their start in Rochester. The huge Gannett newspaper chain was based in Rochester until recently. Rochester, and the region, also played a large role in the abolitionist and women’s suffrage movement. For a large part of his adult life, Frederick Douglass lived in Rochester with his family and published his newspaper “The North Star” there. The level of political and intellectual activity in Rochester and the nearby small Finger Lake towns was truly remarkable (and the number of 19th century-founded institutions of higher education in the region is reflective of that).

The civic and business leadership of Rochester over the many decades took establishing a major metropolis seriously. They created the University of Rochester, Rochester Institute of Technology, and more recently the George Eastman International Museum of Photography and Film. Rochester became an essential part of the US’ art music ecology as the home of the Eastman School of Music (one of the country’s two or three best) and the Rochester Philharmonic. 

The RPO is in the second tier of American orchestras by budget size as designated by the League of American Orchestras. Led music director Andreas Delft, however, it plays at a level that matches those of our largest ensembles (his predecessors in that role included Eugene Goosens, Erich Leinsdorf and David Zinman). It plays in Kodak Hall of the Eastman Theater at the Eastman School of Music. Originally built with 3,500 seats, it is a very, very large, high-ceilinged room – although the seating was reduced by 1,200 in 2009. When I stepped into the tremendous mass of space that is Kodak Hall, sitting about halfway back, I was concerned about the sound possibly being hollow and swallowed up. The orchestra, dressed in the now decreasingly used white tie, filled the space with a rich, clear, accomplished sound. I heard a program that included Strauss’ “Till Eulenspiegels lustige Streiche, Op. 28,” Saint-Saen’s “Carnival of the Animals, with duo pianists Christina and Michelle Naughton and Stravinsky’s “Petrushka.” The program was billed as “Orchestral Showpieces,” and that provided a first-time listener a good idea of the group’s musical capacity. 

The performances were simply excellent with a warm string resonance and glitch free solos – no small achievement in the Strauss’s exposed wind and horn parts. The Strauss was played in technicolor, with the piece’s humor and theatricality highlighted. The color coordinated and brightly dressed Naughton twins attacked their pianos aggressively, with precise coordination in the “Carnival of the Animals”. So much of this music has worked its way into the heart of the culture and is very familiar, none more so than The Swan movement, beautifully played by principal cellist Ahrim Kim. The soloists’ moments in all three pieces were played with great musicality and skill, but without showy virtuosity. This is an orchestra that clearly enjoys playing together with its music director as an organic ensemble. It was particularly evident in the “Petrushka,” another colorful work with comic moments. “Petrushka” is rhythmically complicated and spare, with much of the exposed orchestral scoring that is so characteristic of Stravinsky’s early music (the piece premiered in 1911). The orchestra made a tight, delightful show of its contrasts of both dark and light moments. I walked out after the concert into downtown Rochester musically contented. 

The former headquarters of Gannett Newspapers

Downtown Rochester suffered from the degradations of the now mostly discredited ideas of mid-twentieth century urbanism and design. Its peak population was in the 1950’s, and only in the last decade has the population stopped declining. The downtown is filled with structured parking (and very few parking lots) and has a good number of daunting, tower in the park-like office buildings. The lack of lot parking gives the downtown a feeling of continuity. The city, though, has superficially followed a number of the latest urban trends, with some restored public spaces, scooters and bike lanes (without many people using any of them). Most distressing to me was the empty complex of buildings once occupied by Gannett newspapers in the center of town, before it decamped to a suburban Washington, D.C. office park in 1984 and moved the production of the local paper to another Rochester location in 2016. These are massive art deco and Albert Kahn designed buildings created around now obsolete technologies like the printing press and the typewriter. I am an optimist and have thought that the market will find uses for the post-pandemic half filled, midtown Manhattan, midcentury modern office towers. But walking around the Gannett complex gives one pause about the destructive capacity of modern capitalism and the difficulty of recycling gargantuan 20th century edifices. 

Across the street from the Gannett complex, at the foot of what was the aqueduct across the Genesee, is an 80,000 square foot, mixed-use – loft, office, retail – adaptive reuse development in a former mill that may demonstrate what the future of Downtown Rochester could be like. However, in order to get there, Rochester needs to veer away from both obsolete planning doctrine and the superficial trappings of up-to-date urbanism – a bench here, a planter there, public sculpture somewhere else, and dig deep into placemaking practice in order to become a mixed-use, 24 hour downtown. I even saw a sign opposing the formation of a business improvement district – a thirty-year-old concept, the best days of which have passed, particularly in cities of fewer than one million people.

An unused bike lane on the Aqueduct Bridge over the Genesee. The bridge also has nice, unused benches and planters.

Right now, downtown Rochester is a place designed to accommodate people who drive to work in an office building, and drive home to adjacent neighborhoods and suburbs at night. There is a mindset in Rochester that needs to change to make the most of its substantial social infrastructure. The blank walls and lifeless plazas around the downtown’s major office buildings are a challenge. I even saw a sign on steps leading to what appears to be the city’s leading office building prohibiting sitting on the steps up to its plaza! That is exactly WRONG. Property management ought to be encouraging step sitting and working to animate the baren plazas. The city needs to select a promising central location and build a critical mass of activity around that place. Scattered residential loft buildings throughout the downtown aren’t going to build that critical mass of activity. Especially given the lifelessness around the major office towers. The downtown needs sidewalk activity in the form of restaurants with outdoor seating and public spaces programmed with activity like Bryant and Dilworth Parks. The deep cultural resources of the community, like Eastman School and the excellent RPO, can be leveraged to bring vibrancy downtown, particularly at night. 

Steps to the plaza of the Metropolitan office tower
Sign next to the steps
The tower

With 100,000 fewer residents than at its peak, Rochester is excellent evidence that we don’t have a housing crisis in the United States and in New York State, but rather we have a lack of great places (and a failure to provide adequate mental health services to our most disadvantaged neighbors). Rochester and its neighbors have capacity. Tens of thousands of people, most recently from Venezuela, want desperately to be in the US. Upstate New York needs those people and their expertise and energy. We need policies that move them from the Southern border to our postindustrial cities. The Erie Canal corridor is a place of great beauty and opportunity. Utica, for example, has been recharged by an influx of Bosnian immigrants.  The legacy of the Erie Canal could be more great places across one of New York State’s most naturally stunning locations. More on that when we move on to other Mohawk Valley cities. 

By Thomas Cole

THE BEST LAID PLANS FOR FREE WI-FI (Part 2 of 3)

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WI-FI FOR THE PEOPLE

Deployment of the kiosks wasn’t as straightforward as either the City or CityBridge had assumed. First, as it turned out the energy service and conduit for fiber optic cable to the payphone sites turned out to be degraded and entirely useless for purposes of the LinkNYC kiosks.  As a result, CityBridge would have to do more trenching than it anticipated and Con Ed would need to be called upon to provide electrical service to all of the Link sites. That became a pinch point in the speed of deployment because Con Ed had a lot of demands on the staff that provided new service to business sties (requiring street openings), and because of the swiftly developed bad blood between CityBridge and Con Ed staff, CityBridge requests for service went straight to the bottom of the request pile. 

Con Ed then decided that CityBridge needed to pay its maximize charge for delivery of service because the LinkNYC kiosks were “permanent” (like buildings), and that each kiosks would have to be individually metered and billed (unlike street lights). This was a large unanticipated additional cost to CityBridge, which it challenged unsuccessfully at the State Public Service Commission (a decision incorrect on the legal merits, in my judgement).

Siting the kiosks also turned out to be more complicated than anyone expected – because the kiosks were larger and differently shaped from phone kiosks they couldn’t just be replaced one-for-one. Also, site conditions had changed from the time the phone kiosks were installed, and by the time CityBridge surveyed sites for Link kiosks. Plans for each site had to be review by DoITT staff, and then inspected by DoITT inspectors (who were retrained from having been payphone inspectors for decades) for compliance with various siting criteria – particularly clearances from other street furniture. Pre-COVID outdoor cafes proved to be a significant obstacle to Link kiosk siting. CityBridge never made the deployment targets (each Borough had its own targeted minimum number of kiosks to be deployed each year) required by its franchise agreement. 

Most of the publicity about the Link program during its yearly years arose out of concerns that they were a magnet for the homeless. There was widespread publicity that homeless individuals were watching porn on the internet tablets built into the kiosks. The charging ports were also seen as drawing folks looking to recharge their phones (although the question of how it was that apparently destitute people had handheld devices and monthly phone service plans was never raised or explained). In a number of places in midtown Manhattan, homeless people did congregate around the kiosks, it seemed to me for reasons unrelated to their functionality that I couldn’t figure out (we also found people sleeping under derelict telephone kiosks that had no functionality). For a while, we were reasonably successful in working with the outreach teams under contract to the City’s Department of Homeless Services to get services to people congregating around the kiosks. But, fundamentally, the situation wasn’t a problem generated by the LinkNYC program, but by the Administration’s failed multi-billion dollar strategy for dealing with street homelessness (but that is the subject for another long blog). The basic fact was that the LinkNYC kiosks did not cause homelessness.

I spent a fair amount of my time when working for DoITT trying to understand who was using the Wi-Fi and the other features of the kiosks and how they were using them. CityBridge provided data on usage (which is available on the City’s open data portal) which I reviewed monthly. I also tried to spend a couple days a month wandering around city neighborhoods, checking on their functionality (as did our terrific team of six inspectors), and observing, a al my guru, William H. Whyte, how people were using them in real time. I made sure my site visits were in neighborhoods far from the city’s center and were ones I hadn’t been to before. 

The system was highly utilized – with millions of users and millions of terabytes of annual downloads. I concluded that the bulk of the use in Manhattan was by tourists and other visitors. Most New Yorkers have data service. That’s not to say that making the service available to that user group isn’t of value – but it wasn’t exactly advancing the goal of closing the supposed digital divide. What was interesting was how the kiosks were being used outside Manhattan. They were becoming a kind of social center. I saw people setting up chairs near them, using the Wi-Fi or charging their phones. Businesses put out tables and chairs in front of their storefronts for Wi-Fi users. I observed people using the telephone functionality – making very long calls, much to my surprise. The data showed that the top websites accessed and phone numbers called had to do with contacting social services – finding out about missing SNAP and other transfer payments. Clearly, the Link kiosks were becoming an important resource in otherwise underserved communities and had a great deal of value there. They were enlivening the sidewalks in commercial corridors in Brooklyn and The Bronx. This is something that should continue to be a focus of the Link program.

At one point I recommended, following the Holly Whyte formula, that we work to place movable chairs and tables near the kiosks, since many of the complaints about their use were about people sitting near them on the ground. My thinking was that this would “normalize” this use and support the vitality of commercial corridors around the city. This suggestion was not well received, despite the near universal acknowledgement among urbanists of the utility of movable chairs to animate public space, as evidenced by their success in Bryant Park.  

MORE PROBLEMS ARISE

In 2017, CityBidge began to complain that it wasn’t making its advertising sales targets, in part because of deployment delays and in part because ad sales weren’t living up to expectations. As a result, the franchise agreement was being amended when I arrived at DoITT around that time, to provide a slower roll out of kiosk deployment and a deferment of payment of a portion of guaranteed minimum payments. A forensic audit of the financial records of CityBridge was performed for the City by a highly respected CPA firm to determine its financial condition. All were assured that the terms of the second amendment would solve CityBridge’s financial problems, based in part on representations made by CityBridge and Sidewalk Labs staff, and in part on the audit results. 

Immediately after the approval of the amendment to the franchise agreement (by City Hall, the Office of Management and Budget and the City’s Franchise and Concession Review Board, made up of representatives of the Administration, the Comptroller and the Borough Presidents. The FCRC is an interesting vestige of the City’s powerful Board of Estimate, made up of the Mayor and Borough Presidents and which once controlled the City’s zoning and franchising functions until it was found to be unconstitutional on the basis of being undemocratic – given that each Borough President had an equal vote), CityBridge requested of the City permission to amend its privacy policy to be able to collect the Mobile Advertising Identifier generated by peoples’ mobile phones and use it in order to increase the value of its ad panels (and by the way, you can turn off the generation of an MAI by an iPhone by going into its privacy settings). 

There was some degree of bad faith in this request, since the claim of CityBridge was that the ability to collect the MAI was essential to the economic successful of the franchise – a success that was supposedly assured by the adoption of the Second Amendment to the Franchise Agreement (the first amendment involved approval of a change in the members of the consortium making up CityBridge). The request caused tremendous ructions within the De Blasio administration which had privacy hard-liners in charge of its electronic privacy policy. The Administration had also gone through a laborious process of gaining the approval of the electronic privacy advocacy groups, like the New York Civil Liberties Union (also ardent privacy hawks) to not oppose the LinkNYC program. The reality of the privacy protections built into the franchise was that the Wi-Fi use of the LinkNYC signal was more secure and had higher standards of privacy than that provided by the any of the cable companies’ internet service to homes. The Link program collected the email addresses of the users in order for them to sign up for using the program, and nothing else about the users. Those email addresses were prohibited to be used for any other purpose or to be shared with any third party. The privacy protections were, as far as I could determine, rock solid. 

Much was made of the potential for privacy invasions from the kiosks. They had three cameras. One was for use with embedded tablet for telephonic and emergency communications, and two on either side of the kiosks were for the monitoring and prevention of vandalism of the kiosks. To the best of my knowledge those side cameras were used only occasionally, and the videos generated were kept for a maximum of seven days and then erased. The kiosks also had a range of sensors that, to my best knowledge, were never used. These sensors had the capacity to collect pedestrian traffic, vehicle traffic, weather and seismological data – all which might have been of great value to the city and none of which were ever used. My understanding was that since the data was found by Sidewalk Labs to have little economic value (nobody wanted to pay for it), the sensors were never turned on. There was nothing the slightest bit “big brotherish” about City use of LinkNYC as far as I could tell, and I would have known.

I am actually something of a privacy dove. The MAI had the potential for huge value for both CityBridge and the City. It was anonymized, so it had a very limited impact on user privacy, but it upped the efficacy of the value of the ad panels. Most interesting to me was that the MAI could enable the Link system to relate the passing of an ad by a pedestrian to a sale to that person minutes later through their mobile phone. Let’s say an ad for Brooks Brothers was shown on a panel and an individual walked by it. If within a short period of time that individual went into a Brooks store a purchased a shirt, the Link system could get a commission on the sale. This was the kind of effectiveness/outcome metric that is so difficult to determine in the out of home advertising market – and would have provided the system with a huge competitive advantage. It would also have allowed Intersection to precisely determine how many viewers each ad panel had, something of great interest to advertisers, and would enable a more precise value to be placed on each ad. 

Finally, much of the internet advertising sales world is driven by algorisms and a complex computerized marketplace by which ads are sold through instantaneous electronic auctions. Billboards, obviously, unlike internet banner ads, can’t participate in that electronic pricing system and as a result, are limited in their value. Tapping into the MAIs captured by the Link system would enable those ads to be sold through the electronic auction marketplace. The system would know how many people were seeing an ad at a particular location at a particular time and could auction off an ad at that time and place. Without the MAI data, the Link ads were not able to easily participate in this process (although I did argue internally that using data available from smartphones collected by Google without the MAI, such sales were possible, without success). 

The City’s Chief Privacy Officer and the DoITT General Counsel were adamant. No way was CityBridge was going to be able to amend its privacy policy to collect the MAI under this administration. This was communicated to CityBridge quite clearly in June of 2017.

LEARN FROM THE BEST — CINCINNATI

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 If you want to learn about best practices in downtown revitalization, you couldn’t do better than to just walk around Cincinnati. They seem to do most things right there. I hadn’t intended to write again about the Queen City, as my most recent trip was a quick overnight one, but the continued marked apparent improvement in economic conditions there merits notice. Both the downtown commercial center and the adjacent Over-the-Rhine neighborhood continue to expand their blocks of economic vitality. More blocks seem to have new stores, new adaptative reuses of structures with high quality vernacular architecture and new residential construction and conversion. 

Residential new construction on Vine Street

Cincinnati and Des Moines are actually comparatively sized cities. Cincinnati has a population of about 300,000. But its metro is substantially larger, at 2.5 million, the 30th in the country. Interestingly, while Des Moines is about at its peak population, Cincinnati is considerably smaller than its population of 500,000 in 1960. Cincinnati is 42% Black. While the Black population is only 12% of the metro. 

The strength of Cincinnati Center City Development Corporation (3CDC) sets Cincinnati apart. 3CDC strikes me as the most aggressive and effective organization of its kind in country. Up until recently, 3CDC kept a low profile – but on this recent trip their brand was all over its many properties – on parking lots it operates, on empty storefronts it leases and on parcels it is seeking to develop. The thing that differentiates 3CDC from its peers is its balance sheet. Based on 2019 data, it has gross assets of over $400 million, debt of a little less than $400 million and an annual operating budget of about $20 million. That is a scale of operations and a leveraging of resources that is unmatched. 3CDC purchases property using debt financing. It repositions those properties though adaptive reuse and it carefully curates their occupants. Vine Street in Over-the-Rhine is the most dramatic and fastest commercial corridor revitalization case study of which I am aware. Vine Street and Main Street in Over-the-Rhine are now lined with interesting looking shops, bars and restaurants. A key component of their capital stack is an internally operated low-interest revolving loan fund.

 Downtown Cincinnati shows similar attributes of growth. We stayed in the 21CMuseum Hotel – part of a Kentucky-based chain (https://www.21cmuseumhotels.com). The facility was the reuse of an office structure into over 300 rooms (beautifully designed by Yale architecture dean, Deborah Berke). The hotel displays an extensive art collection, focused on Black artists. As you walk into the lobby, your experience is flooded by the image of Morpheus by Kahinde Wiley from 2008 at 108 by 180 inches (https://www.21cmuseumhotels.com/cincinnati/blog/2020/morpheus-by-kehinde-wiley/), which is behind the front desk. This is not art by the yard. Our stay was very impressive. Downtown Cincinnati has more street level retail, bars and restaurants than most other mid-western cities (although the retail on many block is far from continuous). There are very few totally blank block fronts. Downtown is connected to Over-the-Rhine by a tram, which is free and runs every ten minutes or so (not quite enough, but close to it). Unlike many other such projects, it appears to be well-used. 

(I also note that we had breakfasts in both St. Louis and Cincinnati in First Watch restaurants, a chain that has almost 500 locations, with which I was previously unfamiliar. The quality of food and service in both places was superb. Quite remarkable for such a large chain.)

Too many economic development entities are ineffective because their boards are averse to property ownership, operation and debt financing. Those organizations are resigning themselves to unsuccessfulness – particularly in today’s real estate environment where downtowns need more than “clean and safe.” Downtown revitalization requires risk taking and rolling up your sleeves and getting your hands dirty in real estate brokerage and construction. Downtown economic development organizations need to be in the business of revenue generation (through parking, if nothing else) and leading the real estate market with high quality repositioning of derelict property. Nothing else works as well. The 3CDC financial statement is a lesson in itself in how to do this. 

I know nothing of the politics of 3CDC, or how it is viewed in the community. I also don’t know anything about its community engagement practices. While those things are important, the results speak for themselves. Cincinnati’s quality of life is better as a result of 3CDC’s work. I would like to see an income distribution chart for Black families in the city and metro for 2000 and 2020. If 3CDC’s efforts are not bringing substantial benefit to the city’s least well off, then that’s a problem. I noticed a considerable amount of residential new construction in Over-the-Rhine. 3CDC has developed 416 affordable units, with 70% of them designated as affordable. Given where Cincinnati now is, and 3CDC’s financial strength and expertise, if they were to ask me (which they haven’t), I would advise that they focus their efforts on mixed income (with no more than 30% of residents below 50% of AMI), mixed-use projects as a means to improve the circumstances of the worst well off and improve the quality of the local public schools. 

The view up Vine Street

***

Our trip to Cincinnati was to see the world premiere of “Castor and Patience,” at the Cincinnati Opera, with music by Gregory Spears and libretto by Tracy K. Smith. Spears is the composer of the highly successful “Fellow Travelers,” also premiered in Cincinnati, and Smith is a Princeton professor, former poet laureate of the United States and a Pulitzer Prize winner. It is my practice not to discuss the musical or dramatic aspects of the operas I hear, since that’s not my department (“Once the rockets are up, who cares where they come down? That’s not my department!” says Wernher von Braun”. Heidi’s review will be found here: andymanshel.nyc), the theme of the opera was of particular interest to me.

The opera is about an inter-racial family from Buffalo, New York, who, during the home mortgage debacle of 2008, are in danger of losing their house. They travel to an island off the coast of the Southeast where the family’s father (Castor) grew up, and where he and his cousin (Patience) (both Black) own thirty acres, which are valued in the story at over $20 million.) Patience sees her role as protecting the family’s legacy in the property – highlighting the importance and rarity of property ownership to Black folks. She is opposed to selling even one acre of the twenty – which would eliminate the father’s debt problems.

This story interested me because as a real estate lawyer I have always advised clients that the first rule of success in real estate is to never develop an emotional attachment to a parcel. Also, in the 00’s I joined the Queens County Bar Association’s Volunteer Lawyer’s Project representing families in foreclosure. The membership of the Queens County Bar pledged to represent, on a pro bono basis, any Queens family during conferences with the Court’s Special Master dealing with foreclosures in Queens. This project was so successful that ultimately families were represented by highly skilled, full-time staff from the project with extensive experience with foreclosure, rather than by the pro bono volunteers.

I represented more than a half dozen families over the course of five or six years – all of them were eager/desperate to remain in their homes despite the fact that the houses were worth less than their mortgages. My clients’ best economic move would certainly have been to walk away from their homes. While staying was not necessarily a canny business decision, ultimately all were able to remain in their homes with monthly payments well within their means. The actual facts of these cases were very different from the prevailing narrative regarding the “mortgage crisis” that began in 2008, and that narrative underlies the story line of “Castor and Patience.” Southeast Queens, New York, generally regarded as the Jamaica neighborhoods, is one of the largest communities of Black homeowners in the United States. I was told that in the 2010 census, Queens was the only county in the country where African American household income exceeded that of white households.  

My clients ran the gamut from a family on public assistance to a barber to a laid off nursing assistant. All had refinanced their homes in order to generate cash – all of which they had spent or lost. In some cases, the refinancing produced upfront lower monthly payments which later either ballooned or reset to a high variable interest rate. All of their homes market values were substantially less than (generally 2/3) than the principal of the mortgage on them. In almost every case, a local mortgage broker – someone they knew from the community – had sold them on the refinancing. None of those mortgage brokers were anywhere to be found by the time the families came to me. In one case, I believe the mortgage broker stole most of the cash generated by the refinance – taking advantage of the borrower’s lack of financial sophistication. 

The most obvious thing to me as an attorney representing these families was that the banks and mortgage servicers were in chaos. Their attorneys would show up in court with a list of properties on the docket for that day. Most were unprepared. None had the supporting documentation required to sustain their claims – much of which had been lost in the shuffling between the mortgage originators, the creators of the collateral debt obligations (CDO), the buyers of the CDO’s and the servicers which were on the front lines doing the administrative work for the holders of the CDO’s. Also, the Courts were loath to kick people out of their homes – and made every appropriate effort to protect homeowners’ rights. It was easy for me to throw sand in the gears of the process to keep people in their homes. It was much more difficult to actually work out payment arrangements which would be manageable by my clients.

A home in Southeast Queens — not one of my clients’. Just an example.

It is important to know that while these properties were in foreclosures, their owners continued to live in them and weren’t paying any occupancy costs – not mortgage, not insurance and not taxes. The CDO holders were on the hook for all of these and were adding them to the borrowers’ principal. My clients dealt with this situation in different ways. My lowest income clients took two trips to Disney with their grandchildren during my representation of them. Another of my clients took the opportunity of six years of essentially free housing to get a BA in nursing – and ultimately secured a near six figure entry level hospital job. 

The Obama administration had set up a program called the Home Affordable Mortgage Program (HAMP), which, at the time, none of the mortgage servers knew much about accessing. This lack of knowledge (or interest) served to prolong the foreclosure process. It was in the mortgage servicers’ interest to keep the process going – as fees were generated by each Court appearance and each action taken by the servicer – charged to the holders of the CDOs. It was not in the financial interest of the servicer or the CDO holders to bring the matters to closure. An actual foreclosure or settlement would almost always result in the banks having to immediately book a loss, which was definitely not in their interest.

At one point, I got the quasi-governmental agency that has a guarantor’s interest in most home mortgages involved in order to bring my cases to settlement (they have the ultimate authority to approve mortgage restructurings). All of my clients stayed in their homes and got monthly payments they could live with. The downside for all of them was that the restructured payments, the defaulted amounts, deferred interest and penalties were all added to the value of the principal – which, in practical terms, meant the principal would never be paid down. When the owners passed away, the CDO holder would be left with an underwater property, which it would sell and then book the loss – hopefully many years in the future. This was the ultimate in kicking a can down the road. So, at the end of the day the holders of the CDOs were left holding the bag. 

This wasn’t the story of “Castor and Patience,” and it would make a pretty terrible, long, complicated, boring theater piece. But it is what happened in my experience, and probably what happened with the majority of people caught up with homes with deflated values and defaulted, inflated mortgages. In the real world, if Castor has adequate legal counsel in Buffalo, he probably could have held on to his home. Better yet, Castor and Patience could have obtained a small debt consolidation loan (at very low interest rates during the turmoil in the markets), using the island property as security, to eliminate Castor’s financial problems. While that alternate story isn’t particularly important to the opera audience, it is important to how we understand home ownership and race in America. 

IMPRESSIONS OF IOWA

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            We stayed at a hipsterish hotel in Des Moines, Iowa (The Surety) that had an excellent restaurant (The Mulberry Street Tavern).  The hotel lobby had a pool table and the room mini-bar offered condoms. As we drove from the airport in Cedar Rapids to Des Moines (we missed our connections in both directions at Charlotte and had to scramble), we drove passed scores of wind turbines. We were there for Heidi to cover the opera (https://andymanshel.nyc/2022/07/13/review-arias-over-the-fields-at-des-moines-metro-opera/), which I don’t usually independently comment on, but which was excellent. The “Porgy and Bess” was the best of my experience, and the production values of each of the two shows I thought were higher than any of the other summer festivals (Santa Fe, Glimmerglass, Opera Theater of Saint Louis). Despite the conventional wisdom, there is a progressive, sophisticated national culture, which has reached deeply into the medium sized cities of the mid-West. This is a non-trivial change.  

            As a child in the sixties, I can recall our annual trips by car to French Lick, Indiana for a business conference that my father attended. We stayed in some pretty dismal motels along the way and ate some pretty awful food in local greasy spoons. The food at the fancy resort where the conference was held was of the mid-century modern American sort – a silver colored bucket with ice and raw vegetables on the table when we arrived and well-done roast beef as the signature menu item. We’ve come a long way from that. Food culture is everywhere. Social media spreads trends and fads like lightening. Almost anything can be delivered by UPS and Fed Ex – from bagels and pastrami to esoteric books and high design furniture. You don’t have to drive to the nearest university town to see art house movies – they’re on Netflix and Amazon Prime – or you can subscribe to what seem to be dozens of more specialized services like Sundance and BBC America to get even more exotic fare.

            Des Moines is a city of about 200,000, in a metro of about 400,000. It has long been a center of the insurance industry and its largest private sector employers are Wells Fargo and Principal Financial. It has only a half dozen office towers of more than 20 floors, the tallest of which is the Principal HQ at 45 stories. Many of the downtown buildings are high quality art deco/city beautiful buildings of less than 20 storeys. The post war period, as in so many places, was not as architecturally kind to Des Moines as prior decades, but most of those buildings are mid-rise. The downtown streets and sidewalks are wide, and there isn’t much street level retail and there are many, many parking structures. There is a large, active farmers’ market in the downtown on Saturdays. The downtown’s scale feels more human than Kansas City, because there are fewer tall buildings and there are wider streets. There also seem to be more downtown restaurants. But there still isn’t much pedestrian activity (other than the farmers’ market). The main arteries leading into downtown are lined with the usual low to medium income retailers and fast food brands.

            Des Moines is the Iowa state capital, with an impressive capital building that unusually has five domes. The capital sits on a hill overlooking the city that has a large collection of public sculpture, the most impressive of which is a civil war monument. In the chaos of today’s political order it is easy to forget Iowa’s important place in American history as a free state, with John Brown having used Iowa as a base for his anti-slavery campaign of 1856-1859. While Barak Obama won Iowa in 2012, Donald Trump took the state by 9% in both 2016 and 2020. Iowa’s current senators are Republicans Charles Grassley and Joni Ernst. Their predecessors were Democrats Tom Harkin and John Culver. Des Moines is 15% Black. The state is 4% Black. It is certainly interesting to contemplate Iowa’s place in the national culture. This is a place with a sophisticated history, including one of the country’s great state universities, particularly known on the coasts for its writing program. Retired, 40-year U.S. Navy veteran and former Rear Admiral Mike Franken is running against the 88-year-old Grassley this year as a Democrat and has turned up on my social media feeds. He seems impressive, and some polls have put him within striking distance. But Grassley is a formidable opponent with a very high profile. If Franken were to get any traction in the wake of the Supreme Court’s hard right turn, that would be a big deal. 

            The local airport is small, and most of the flights are to midwest hubs, Minneapolis, Chicago and Saint Louis. I also noticed a direct flight on a small airline to New York, and other flights to Phoenix (a Southwest hub) and Charlotte (an American hub). The airports in Cedar Rapids (even smaller) and Omaha are driving distance – providing more options. We found it difficult to get to from New York. I didn’t notice any flights to Los Angeles or San Francisco. But who needs the coasts, really?

            I suspect Iowans know how good they have it. The state’s mean family income is about $80,000. I would conjecture that if a Phillips curve (demonstrating income distribution) were drawn for Iowa, it would be pretty flat. Des Moines seems to have adopted a lot of the best of the urban renaissance of the 90’s – with restaurants, a market and quite a few downtown loft conversions. The weather was pretty intensely hot while we were there. But life there seems excellent – with lots of amenities for a small city (this listing caught my eye: https://www.zillow.com/homedetails/10307-Grimes-St-Indianola-IA-50125/87084714_zpid/. $540,000 for 4 acres and a pool).  I would go on to speculate that the most important vector moving Iowa’s political needle is Iowans wanting to preserve what they have – and isn’t that the very definition of conservatism. 

THAT’S ALL RIGHT, YOU CAN HAVE HIM – LOS ANGELES

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The Grand Center, LA

Gustuvo Dudamel has never done much for me. I’m actually more a fan of his avatar played by Gael García Bernal in the TV series “Mozart in the Jungle” (which, admittedly takes place in NYC). I’ve also long thought that the Los Angeles Philharmonic is at best a second rate band, which is remarkable because it’s recent conductors have included top shelfers Simon Rattle and Esa-Pekka Salonen (not to mention the storied Carlo Maria Guilini in the more distant past) and its managers have been industry legends Ernest Fleischman and Deborah Borda. Why are those people so well-recognized when the orchestra has never been better than pedestrian?

We were in LA for Du Yun’s “Our Daughter’s Eyes” presented at REDCAT by Beth Morrison Projects and the LA Opera. We also took in Fidelio at the Philharmonic while we were there. I will tread lightly about the LA Phil, as the house professional critic has written about both for the Wall Street Journal. It was also interesting to be in Disney Hall after recently experiencing its acoustic doppelganger in Kansas City. While we were settling in to seats about three quarters of the way back in the hall, the bassoonist was warming up on stage and sounded like he was sitting in our laps. But once the performance started it seemed really far away. Not that the orchestra offers much to hear. The strings of the LA Phil can be accurately described as scrappy for a supposedly world class band, and the ensemble was almost disorganized. Maybe because of Gustavo’s jetting around (he’s also the cappo di cappo at the Paris Opera) rehearsal time may have at a premium for a complicated production, but that seems unlikely given the show’s high profile. 

Gustavo Dudamel - YouTube
This photo of Maestro Dudamel appears several stories high on the facade of Disney Hall.

The New York critical fraternity spent a good deal of time this spring panting for Dudamel to replace the unsuccessful Jaap van Zweden at the New York Philharmonic after van Sweden’s contract comes to an ignominious close next year. Dudamel spent two weeks with the NY orchestra in March playing Schumann, and the New York press went into a frenzy. OK, the guy has terrific hair, a gleaming smile and an interesting life story. But, to these ears, he just isn’t that interesting a musician. In any event, my money is on the exciting Finn, Susanna Mälkki taking the reins at the NYP (you read it here first). 

The show’s raison d’être was the involvement of deaf actors doubling the singers and the involvement of a signing chorus from Dudamel’s home of Venezuela. The musical aspects of the evening were disappointing from top to bottom, except for the fine performance of Ryan Speedo Green, who this year has become the Met’s reliable all round utility bass. Dudamel pushed the band to break-neck speed, at which they were incapable of playing beautifully. Once upon a time, the LA Phil was known as an outstanding group of LA studio musicians, moonlighting as classical players. Now, as a full-time orchestra with a 52 week contract, they aren’t even that. I’d rather watch reruns of MITJ. 

I would be remiss not to crab about how Disney Hall doesn’t relate to the street and is anti-urban. I will also please my readers by avoiding the opportunity to once again crab about Pershing Square which continues to suck.

A Bacchanalian Revel before a Term, about 1632–33, Nicolas Poussin, oil on canvas. The National Gallery, London. Bought, 1826. Image © The National Gallery, London
A Bacchanalian Revel before a Term, about 1632–33, Nicolas Poussin, oil on canvas. The National Gallery, London. Bought, 1826. Image © The National Gallery, London.

But here is the headline – Downtown LA has become almost walkable over the course of the pandemic. Across the street from the loathed (by me) Disney Hall, Gehry has designed a nearly completed massive mixed-use development (1.2 million sq ft, 500 apartments, 20% affordable) that DOES relate well to the street and is massed in a fascinating manner that breaks up its bulk. The building is broken up into two towers of offsetting rectangular forms that humanize it’s scale. It’s mixed uses, including a good deal of street level retail, should seriously animate that stretch of Grand. A hearty bravo to Mr. Greenburg and his patrons at Related. There is lots of other residential development activity that has been recently completed within walking distance. 

I chose not to rent a car for the first time in a trip to La La Land. We took Ubers from Manhattan Beach to Downtown, as well as round trip to The Getty Center from our downtown hotel. All three trips were shit shows. I just can’t understand how Angelenos can put up with it. The trip back from Malibu to DTLA was almost two hours. The Getty Center is magnificent – and its public spaces are uplifting (which is surprising given the extensive use of hardscape. Water features and movable chairs and table soften the experience. The special exhibit of Poussin we visited was lavishly presented. While it goes without saying, it is good to have unlimited money.). But how am I ever going to go there again unless I sleep over or take a helicopter. 

The rest of the visit we walked around downtown. We breakfasted at Grand Central Market and walked along Broadway in historic DTLA. Broadway has made only some progress since the onset of the pandemic. It’s still more than a little rough around the edges. Yes, there is considerable loft conversion, and lots of interesting architecture. The many former movie palaces convey a sense of what tinsel town once was. However, there are still many, many empty, or underutilized, poorly maintained architecturally significant structures. The potential is tremendous. 

By contrast, the Arts District near downtown appears to be a happening place (who knew that LA had an arts district?). The neighborhood is small, and the amount of adaptive reuse is patchy, but apartments are being developed there and there are some cool other uses. We had an excellent meal at a rooftop restaurant, with a rather obscurely marked door at street level. The place (La Cha Cha Cha) was large, entirely outdoors, comfortable and landscaped with cacti. Next door was a club ominously named Death & Co. that we were assured was super cool and had great drinks. The neighborhood was walking distance from downtown. 

I should note that, yes, downtown Los Angeles has a noticeable homeless population, like many other American cities. There are interesting signs around downtown designating special enforcement zones, prohibiting camping and sleeping on the sidewalk. I can’t say the issue appears to be worse than other big U.S. cities or that we ever felt overwhelmed or unsafe. I suppose this has become something of the new urban normal. But by no means did we feel that DTLA was apocalyptic or a set for a new installment of Bladerunner (as I have argued elsewhere, this is a problem that is not principally about housing and is solvable if the political will and data driven social services can be mustered). 

A view down Grand Avenue. The Broad is on the left.

Downtown is brimming with newly built and converted residential developments. The streets still aren’t very active, but the plazas at 1 and 2 Cal have water features, retail, movable chairs and tables and lots of potential. Grand Avenue now has an attractive string of cultural institutions (including Disney Hall, the newish Broad Museum, the Museum of Contemporary Art and the expanding Colburn School facilities), even if nobody appears to much walk between them. You can have a pleasant walk from the towers of Bunker Hill through the Civic Center, El Pueblo de Los Angeles, Little Tokyo through China Town. On my first trip to LA in about 1976, Olvera Street in the Pueblo was regarded as a tourist trap. Today it is rather charming. We had lunch at El Paseo (which has been there for decades) and the other diners were wearing Dodger regalia and appeared not to be tourists but locals pre-gaming (it was opening day, albeit not for five hours). 

A note to Christopher Hawthorne, LA’s Chief Design Officer (and the Time’s former architecture critic): how about paying some attention to the landscaping in the area around City Hall? There are decrepit planters and garden beds among the brutalist 60’s municipal buildings. The plazas are strewn with trash and poorly maintained. I’m sure the Mayor, being a serious Angeleno, never gets out of his car when going between municipal structures, but if LA is serious about design, it really ought to start with its front yard.

Notwithstanding the foregoing, as we lawyers say, DTLA is actually getting to be walkable. Who have thunk it. Joel Kotkin must be shocked. Between the cultural institutions, the street level retail, the varied neighborhood offerings and the improved landscaping, someone might actually live downtown and rarely need access to their car (which, under the circumstances, would be advantageous). Grand Avenue is a happening place. And you can go hear Gustavo Dudamel conduct the LA Philharmonic as often as you want – which is fine with me. 

Musical Group on a Balcony. Gerritt van Honthorst. 1622. The Getty Center. A theorbo and two lutes.

ABOVE THE FRUITED PLAIN – KANSAS CITY

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After parking my car at the Kauffman Center for the Performing Arts and leaving the elevator from the garage to go to Helzberg Hall to hear the Kansas City Symphony, I noticed something that I found odd. The outdoor temperature was in the mid 40’s and yet none of the men going to the concert were wearing overcoats. How could that be? It was cold. I was wearing a coat, a hat, a scarf and gloves. At intermission it dawned on me – people went from the garages in their homes in the suburbs, into their cars, to the garage at the Kauffman Center and up into the concert hall via escalator. Why would they need a coat? They never went outside to get from home to the concert. It was all very comfortably and conveniently arranged. This, in nutshell was my experience in Kansas City, Missouri. 

An entrance to an office building parking garage. Note the roll down gate, which rolls up when you put your ticket in the gate.

Kansas City defied my expectations of what successful cities are supposed to be all about. The city seems to work for most of its citizens. The downtown, while dense, has no street life. The downtown’s public spaces were deserted when I visited. There is hardly any street level retail downtown. And yet, the city, the largest in the state, has consistently grown over the years to a population of 500,000, its highest ever; in a metro of about 2.3 million. It is the country’s 31st largest city and its 26th largest metro. It has a symphony, an opera company, a ballet, a notably well funded public library and an important art museum (the Nelson-Atkins). Unlike most other successful cities, it does not have an important university or medical center. Notwithstanding its representation in the U.S. Senate by the loathsome anti-government, Joshua Hawley, its largest employer is the Federal Government. It’s the home of Hallmark, Commerce Bank, and T-Mobile is a major employer. 

It isn’t the way an Upper West Sider would choose to live, but it appears to be very pleasant. Certainly, it is tough to make an argument that waiting for a subway, crowding into a train car and being hustled for money by someone on every ride from my apartment to Lincoln Center is a superior way of life. What’s wrong with living comfortably, prosperously and conveniently? (The Helzberg family, after whom the hall is named, by the way, sold their regional jewelry store chain twenty years ago to Berkshire Hathaway in an all stock transaction. That tells you what you need to know about the hall’s name. Mr. and Mrs. Helzberg were at the concert I attended, and I am pleased to report that they are hale and hardy.)

A typical Country Club Plaza block.

Before my first visit, I knew very little about the city. What I did know was that it is the home of Country Club Plaza, built by the legendary J.C. Nichols and considered to be, perhaps, the most visionary real estate development project in American history. Country Club Plaza is an open air shopping mall, allegedly designed in the Moorish Revival style covering 55 acres and completed in 1923. Country Club Plaza is whimsical in design and high end in its retail offerings. While it is sort of walkable, it has copious free structured parking, wide streets (more like boulevards) and narrow sidewalks. It is echt Kansas City – in that it is a shopping experience not in the downtown, designed to be driven to. The architecture and landscaping (with many fountains) is however completely entertaining. Unfortunately, COVID has had a seriously deleterious impact on its retail leasing. It appeared to me about 15% of the storefronts were vacant. I was told that the stores that closed were the international high end brands. The stores that remain are familiar national high middle market chains.

Downtown Kansas City has dozens of blocks of office towers, ranging from art deco to glass and steel. There are block after block of high rise buildings, with little to no street level retail. It was not clear to me where office workers grab lunch. Whatever single story or less than, say, ten story structures ever existed in downtown were demolished long ago. The most high end suburbs are about a half hour drive from downtown. It appears that the city’s commercial center was designed to be driven to. You park in a garage, most conveniently in the office building in which you work, you spend your day toiling in that building, and you drive home at the end of the day. 

From 2007 to 2017, downtown residential population in Kansas City quadrupled and continues to grow. The area has grown from almost 4,000 residents in the early 2000s to nearly 30,000 as of 2017. A significant number of office towers of all vintages are empty (including, unlike in most other cities, some post war buildings) and are being converted to residential lofts. There is strong demand for downtown living – even without much street life, downtown restaurants or shopping. The appeal must be large, light spaces with views, and not having to worry about shoveling the snow or fixing the roof. 

Main Street, which traverses the downtown, has a futuristic looking streetcar, which I didn’t see many people riding. Main Street had almost no pedestrian activity on the early spring day of my trip. I visited two large downtown public spaces, one in the civic center and the other across the street from the convention center. Both were unprogrammed and entirely devoid of people. The civic center lawn featured rows of movable chairs (perhaps for an event). It is the only occasion on which I have been in a space with movable chairs with no one sitting in them. The convention center space was entirely comprised of concrete surfaces, with some very stern signs about behavior at the entrances. It was March. It was cold. But still, no people? Not one?

The Kansas City Convention Center

Same deal with other urban functions. The city has a humongous convention center, a number of downtown theaters, as well as the ten year old, Moshe Safdie designed, Kauffman Center. All of these amenities were designed to be driven to. At the Kauffman Center, I couldn’t find a major entrance to the street. Everyone appeared to enter and exit though the garage. The lobby faces a more than triple height wall of windows with an expansive view south (not of the downtown). When you look immediately down out of those windows, you see a line of parked, high end vehicles. There is no relationship between the Center and the street, and Kansas City residents seem to like it that way. 

The Kansas City Symphony pays its players for 42 weeks of service and has a budget of almost $20 million. It is in solid financial shape, with a substantial endowment, and generous annual giving (about 40% of total revenue). It plays fourteen pairs of classical concerts a year, with the balance of its season made up of pops concerts and pit band duty for the ballet and opera. Its music director for 18 years has been the avuncular Harvard and Curtis educated Michael Stern, son of legendary violinist and man of the world (and Upper West Side resident), Isaac Stern. The orchestra plays in a 1,600 seat hall with “vineyard seating,” much like Disney Hall in Los Angeles, and, indeed, shared Disney’s acoustician.  The stage juts out into the auditorium, and the seats are steeply raked – from the front of the stage to the back of the hall is apparently less than 100 feet. The audience member certainly feels like he or she is in on the action. The sound of the orchestra in the space is forward and bright – not necessarily ideal for this group of talented and rambunctious young players. The program I heard included This Midnight Hour by British composer Anna Clyne as well as two crowd pleasers, Debussy’s La Mer and the Brahms Violin Concerto, with Midori as soloist. 

Music director Stern projects the affect of a regular guy. To my effete eye, his jacket and trousers didn’t match, and the jacket most obviously didn’t fit properly. Some (many) might find that endearing. He also wore a yellow tie and started the concert with a few appropriate words and the Ukrainian national Anthem. The Clyne piece was an atmospheric curtain raiser based on two poems, by Juan Ramón Jiménez and Charles Baudelaire, which were printed in the program. The most effective moment of the work featured two mournful antiphonal trumpets on either side of the stage. Stern conducted the Debussy from an obviously well-used study score, with yellowed-brittle pages, some of them ragged. This is one of the most difficult pieces in the orchestral repertoire to get right. There are temptations galore for the brass (particularly trombone and tuba) to go for the gold, which are best avoided. The piece depicts the restless churning of ocean water and the constant rhythm of surf, with an overlay of a broad range of orchestral colors. It demands restraint and subtlety, as I heard last fall in San Francisco under Esa-Pekka Salonen. The KCS caught the bright colors and pounding rhythms (but, as Richard Strauss once said, “Schauen Sie sich niemals die Posaunen an, es ermutigt sie nur”).  

I haven’t heard Midori play in decades. She has long been one of the most popular and acclaimed artists in the classical music world, and while there were surprisingly quite a few empty seats in Helzberg Hall (given the soloist’s popularity and celebrity), Midori delivered. This is one of the two or three most played violin concertos, and Midori must have been called on to perform it in public hundreds of times during her career – but her performance was fresh, committed and perfectly beautiful – in the best sense. The more classical sized orchestra (read: no trombones) provided a supportive accompaniment. The concert was enjoyable experience.

The orchestra must be something of a way station for orchestral musicians on the way up, as a number of the principal chairs were open, and most of its members appeared to be early in their careers. The concertmistress was a visitor from Dallas, trying out for the position. That the country’s 31st largest city sports an orchestra of this quality, speaks (generally unspoken) volumes about classical music and culture in this country. I would guess that the Staatskapelle Halle (founded in 1852) in Halle, Germany (it’s 31st largest largest city), doesn’t play nearly at this level. 

There was one black player in the orchestra, and I only noticed one black attendee at the concert. The city is 30 percent black and 10 percent Hispanic. I had a very nice chat with the black woman who runs the city’s visitor’s center, who was upbeat about issues of diversity in the metro. I was, therefore, unable to get a sense of the reality of life for people of color and lower income folks in Kansas City, so my observations are presented with that caveat.

The place where I tried Kansas City BBQ in Country Club Plaza (which was recommended to me by the staff at the terrific nearby Raphael Hotel) wasn’t quite up to the standard of the BBQ at St. Louis’ Pappy’s. I found the pork and beef tips dry (I did think the potato salad was outstanding). But Pappy’s, in my book, is the ne plus ultra of BBQ.

I drew from my trip a broad lesson about the divisions in our national politics. [Missouri is a red state, while Kansas City, like St. Louis, is something of a blue stronghold within that conservative culture. Interestingly, the folks who live on the Kansas side of the state border within the metro, I was told, tend to be even more liberal and Democratic than the rest of the area. That border isn’t one of the two large rivers (Missouri and Kansas Rivers) that runs through the region. I couldn’t figure out where it was.]. Many Americans like to drive. They like houses with yards. They prefer a short commute. They like to shop and eat at national chains (most Americans don’t remember what a crap shoot eating on the road was before the standardization of chains. I remember some pretty terrible food when traveling as a kid. Howard Johnson’s was a reliable oasis.), and to have convenient parking for their shopping (as for their working). It is unsurprising if they feel judged and treated disrespectfully by those of us on the coasts (all three of them), who think cities should be walkable, people should ride bikes and take transit, and that restaurants should be local and vegan. [And alienating, grandiose, high volume lectures about the imminent threat of climate change caused by a car-based life style don’t win any friends or influence any people, no matter how urgent and important the issue may be.] Kansas City works – and while it doesn’t feature most of my personal touchstones for a successful downtown – it would be outrageous for me to be judgmental or make recommendations for improvement based on my experiences, since many people there obviously enjoy how they have chosen to live and the city’s economy seems to be prospering. We coastal elites need to get with the program on that or we are going to be seeing a lot more of Ted Cruz and Josh Hawley, whose political success is drawn from channeling such resentment. And, next time I go to hear the KCS in March, I’m going to leave my coat in my hotel room. 

AN EXCELLENT POINT: JOY IN PITTSBURGH

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It is a surprising thought, but the past has actually been very good to Pittsburgh, leaving it with both an excellent architectural and institutional infrastructure.  The downtown, at the juncture of, and surrounded by, the Monongahela and Allegheny Rivers, is crammed with great examples of early skyscrapers, art deco office buildings and even distinctive 1980’s glass and steel towers. On a recent very cold mid-winter weekday afternoon there was a fair amount of pedestrian activity in the downtown – and a few dozen hearty skaters taking advantage of the rink in PPG Place (Johnson/Burgee, 1984). Pittsburgh, with a current population of about 300,000, has the amenities of a much larger city, with two large universities and the center of a huge regional health care system (metro population of 2,400,000, 20th in size in the U.S.). At its maximum, the city’s population was almost 700,000, the 12th largest in the US. Today it is the 66th largest). The legacies of the Frick, Heinz, Mellon and Carnegie fortunes, in terms of both private philanthropy and cultural institutions are evident. The Carnegie Art and Natural History Museum has important collections, and the Symphony is one of the country’s historic important orchestras (although never considered one of the “Big Five”).

One of the things that appears to make Pittsburgh’s success as a city is a relatively unified and enlightened civic leadership. Of course, a “power elite” can be an opaque and anti-democratic force, exclusive of historically disempowered communities. Pittsburgh’s population is over 20% African American, and its black community has been legendary for creating its own independent culture – importantly chronicled by one of America’s most gifted playwrights August Wilson. The Pittsburgh Courier was a Black newspaper of national significance, publishing from 1907 – 1966. That progressive elite leadership continues in the form of the The Pittsburgh Cultural Trust, which, among other things, is a major Downtown property owner. I note with pleasure that Don Carter, a Pittsburgh architect and urban planner, sits on the Trust’s board. Don is one of the most thoughtful and articulate people I know in the field. He is a tremendous resource for the city. Also to be noted, is that Richard Florida was a member of the community when he taught at Carnegie Mellon for eighteen years.

Walking around the downtown, even in subfreezing weather, is a pleasure – with its great store of architectural gems, quite a few of which have been, or are the process of being converted into residential structures. One loft conversion advertises in its windows that units are available in the “800s.” By any measure the downtown seems to be a success – even without major shopping offerings (the 1.2 million square foot former Kauffman’s department store closed in 2015 and looks to be largely empty). Downtown Pittsburgh has a “gap-toothed” quality and lacks a critical mass of street level activity. This is something that the Trust might focus on among its holdings on Penn Avenue, including a major undeveloped parcel at 8th, now used for parking.

By contrast, The Strip District, north of downtown, does have that critical mass of activity that has developed organically. At 10 PM on a Saturday night with temperatures in the teens, local bars were jammed, and parking lots were full. The Strip was historically the wholesale food market for the region. It continues to have a diverse array of food offerings, many of them of ethnic character. Former commercial buildings have been adaptively reused for both commercial and residential purposes. We had lunch in a second floor food court that included both beer and wine bars with wide selections. Residential developments were scattered among more commercial uses, with a feel something like Long Island City, without any high rise development. A good deal of the land is devoted to parking lots and garages. Even so, Penn and Liberty Avenue feel like they prioritize pedestrians. Downtown needs exactly more of that feel.

The cultural district to the south of The Strip has its own presence and potential – while not yet quite as active at street level. The Pittsburgh symphony plays in a former movie and vaudeville house in the cultural district, part of the downtown. The Heinz concert hall is surrounded by places to eat and drink. It seats about 2,700, with a very large mezzanine, feels huge and has a neutral acoustic. The performance I attended was about two thirds sold to a very engaged and enthusiastic audience, including a great many young people (although the only person of color I noticed was an orchestral flute player). Unfortunately, the orchestra’s press staff chose to seat me in the fifth row on the side, which was far to close to the orchestra given the size of the hall and the program for an optimal sonic experience. The ensemble is led by Austrian maestro Manfed Honeck, whose recordings with the PSO have been widely praised in the press.

The program began with a chestnut, The William Tell Overture (for those of a certain age, the source of the theme from The Lone Ranger) by Rossini and concluded with the Strauss showpiece, Ein Heldenleben. While the Tell Overture was once a pops staple, the opera itself is something of rarity, because despite some wonderful music and a dramatic story, it feels endless. The high ranging tenor part is also difficult to cast. In between, the Orchestra presented the world premier of a Concerto for two bassoons and two clarinets, by composer, Juilliard dean and Serkin family scion, David Ludwig. The lively, shortish concerto was a virtuosic showpiece for members of the of the orchestra and could become a popular curtain raiser for orchestras with players with the chops for the solo parts. The concerto is made up of eight short movements named for renaissance dances (familiar to lutenists. The balances between the more penetrating sound of the clarinets and the muted bassoons, were difficult to maintain, but the piece was skillfully composed for both soloists and orchestra and was clever and entirely entertaining. In remarks before the performance Ludwig noted that he had tried to write a joyful piece. He succeeded. Joy is right now at a premium and is certainly much appreciated. I also heard a new work by the Pittsburgh Opera, while I was in town, but that is not my department (Heidi’s review can be found here: https://wordpress.com/posts/andymanshel.nyc, The performance was at the Bitz Opera Factory, an adaptive reuse of a commercial structure in The Str. It is significant and worth noting that two local musical organizations presented the debut of new works in the same weekend (both by New York City based composers).

The Orchestra is the equal of any major American ensemble. All of the sections were equally strong, with no apparent weak links. Honeck left the setting of tempi and balances to rehearsals and focused his performance efforts on phrasing and articulation, which were clean and superlative. The Rossini was appropriately very fast in the prestissimo, beginning with a beautifully played cello solo, by associate principal David Premo (marked Andante). The required rush of blood was induced by the performance.

There is also a rather Alpine feel to Strauss’ Op. 40, which has one of my favorite Strauss themes in the horns (at marking 74 in the score), beautifully played by the Pittsburgh brass. Also extraordinarily beautifully played were the violin solos by guest concertmaster, soloist and chamber player, Daniel Chong (the concertmaster position in Pittsburgh is open). The orchestra’s of performance of Ein Heldenleben was balanced, controlled and splendidly executed. It’s extraordinary that America has two great orchestras based within 130 miles of each other (the other being Cleveland), a legacy of the region’s mighty industrial past.

Pittsburgh has skillfully transformed itself from a metropolitan area of dying, environmentally degrading heavy industries (glass, coke, steel) to one of the country’s most livable metros. The legacy of those industrial giants has been leveraged to sustain major social and cultural institutions. The transition has been a great success. The city is now known for advanced manufacturing, healthcare, energy, financial and business services, and information technology. Legacy companies maintaining a presence in Pittsburgh include U.S. Steel, Alcoa, PPG, H.J. Heinz and BNY/Mellon.

The city needs to bring a little of the density of activity of the Strip District to the downtown. Market square is a fine example. It is adjacent to PPG Place but doesn’t relate to it well. On a cold winter day, while the skaters animated PPG Place; Market Square, with a number of active restaurants facing it, seemed deserted. There is a market and a night market in the square from May through October. Perhaps the season for the markets, particularly for the night market need to be extended. The square ought to have movable chairs and tables – yes, even in the winter. Similarly, Mellon square has been completely abandoned for the winter months – being roped off (although it sports a few desultory chairs). The local Conservancy has posted a sign saying it has thrown in the towel on keeping the space safe to use in the off-season. As I’ve noted in the past, I’m wary of flying into town for an overnight trip and making judgements on local decisions, but in my book closing off a major downtown public space is a bad business. My thought is that the resources ought to be found to program and maintain Mellon Square year-round.

I also noticed a number of interesting lighting features around the cultural district. Here is another example of why critical mass is so important. On their own they have very little impact. A more extensive program of light features that are within view of each other can make an important contribution to animating public space during the long, dark periods of winter. There need to be more of them!

Also remarkable are the narrow streets, like Fourth Avenue, with a wonderful array of architecturally significant structures, many converted or in the process of being converted to housing. Those structures, built as headquarters for financial institutions, were not designed to host first floor retail activity, so, much like the office canyons of Downtown Manhattan, they will be problematic to animate. This presents a issue for the perception of safety and quality of life downtown.

Similarly, while there are many beautiful and interesting buildings downtown, there are also a great many generic taxpayers, with either empty or obsolete retail uses. This, perhaps, is where the Cultural Trust can play a major role in continuing to build a critical mass of lively ground floor uses in the cultural district, like Vine Street down the river in Cincinnati, which then might spread more widely around downtown. Frankly, downtown needs more to attract more shoppers. The street level Phillip Injeian Violin shop is the kind of funky use that needs encouragement to flourish. Even with its two dozen or so modern office towers scattered throughout the downtown (notably, the US Steel Tower [Harrison, Abramowitz, 1988]) Pittsburgh has the potential for a truly twenty-four-hour mixed-use downtown. Those towers, while breaking up the continuity of the street wall, provide a density of potential shoppers, eaters and drinkers that could be essential to retail success.

Pittsburgh’s evolution, taking advantage of the wave of urban revitalization of the last two decades is gratifying. It has built on its legacy institutions to compensate for the loss of manufacturing jobs, to become a 21st century city. It is a great American success story that needs to be more widely recognized in a time when the public sphere is dominated by news of failure, decline and self-recrimination. My contention is that the U.S. doesn’t have a housing “crisis.” It needs more great places – and Pittsburgh is shining example of what that looks like. As recognized by composer Ludwig, we need more joy, and Pittsburgh, like its symphony, delivers it.  The beauty part is that there is room for Pittsburgh to grow (its metro once had 400,000 more residents) and continue to expand its appeal.

UNCONVENTIONAL SUCCESS 1

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American Urbanist: How William H. Whyte’s Unconventional Wisdom Reshaped Public Life, Richard K. Rein, Island Press, 2022.

Richard K. Rein has written a much needed, well researched, beautifully composed biography of William H. Whyte. That, I hope is a clear, declarative sentence of the sort which Rein tells us Whyte would have encouraged and approved. Rein not only skillfully relates the story of an important, if much neglected, thinker on a wide range of social phenomenon, but also puts in the hard journalistic work of drawing together the many seemingly disparate strands of his life’s varied work to highlight its significance. Of course, Whyte was the mastermind of the revitalization of Bryant Park and the careful observer of human behavior in public spaces. But he did so much else. He was the author of one of the most influential books of the 1950’s in the U.S., The Organizational Man, which described the social forces within the new, post-war, highly successful American corporations (and other large institutions) then dominating life in the West. Whyte, according to Rein, created the vehicle of the conservation easement, a key tool in preserving not just open space, but also structures of historic and architectural significance. He enlisted in the Marines, saw action at Guadalcanal and went on to do important strategic thinking for the military. He was influential in shaping the character of Fortune Magazine, an important cultural force in America in the 1940’s and fifties. And, perhaps, most unrecognized, Whyte encouraged and published the work of Jane Jacobs who, while acknowledging Whyte’s contribution to her work, thinking, writing and career, obscured recognition of Whyte’s major cultural, social and political impact.

Whyte worked quietly. He rejected being the leader of any kind of movement.  His work was based on careful observation of social phenomenon, notably using time-lapsed photography in his research in seeking out patterns of human behavior in public spaces. Also key to his technique was listening. He placed a high value on encouraging and heeding what citizens contribute to public decision-making processes about local issues.  He was, unusually, a highly disruptive thinker, without being a disruptive person. He was culturally part of New York’s establishment – a denizen of the prestigious and exclusive Century Association on West 43rd Street for fifty years.  He was supported by Rockefeller related organizations and Laurence Rockefeller personally for decades. Fortune Magazine was a bedrock institution of the mid-20th Century American corporate establishment. But in his good humored, wry way, he didn’t hold back. He shared with the world the conclusions he drew from the data he reviewed, even if they seemed incredible and at odds with the prevailing conventional wisdom. His work from the 40’s on was about making social institutions more effective by challenging their first principles, without threatening their powerful principals. His insights were usually spot on, and not just intelligent – but useful. His personal example, philosophy and modus operandi remain highly relevant and important, even more important, today. His self-abnegation, kindness, thoughtfulness and seriousness of purpose are exactly what our public realm needs more of. 

            Whyte came from the world of WASP privilege (St. Andrews School, Princeton University), enlisted to serve his country in combat and made major contributions to the American quality of life, particularly the return to the City of the 1990’s signified by the success of the reopening of Bryant Park. But, unfortunately, Whyte ended his life in semi-obscurity and not-so-genteel poverty. There seem to me to be two lessons from this arc. First, is the decline of WASP culture in America, and second the ascension of an American “meritocracy” that rewards aggression and attention seeking – qualities that WASP culture famously (and probably not actually entirely) rejected.[2] Rein, a Princetonian both by education and by current residence, gets this precisely right.

While a white, male Episcopalian, Whyte did not come from particularly great wealth. For years, according to Rein he was reliant on Rockefeller largess. He did not seem to desire fame or money – but did appear to enjoy operating at a high level – testifying before Congress, consulting with important government entities and writing in important publications. He, unlike Jane Jacobs, was not a rabble rouser. My sense is that Janites, who are particularly protective of the legacy of a woman whose professional accomplishments were remarkably ahead of her time, see recognition of Whyte as casting shade on Jacobs. It has also been in the particular professional interest of a number of strong-willed, skilled, self-promoting individuals who owed their success in large measure to Whyte’s ideas and support, to, while crediting Whyte for thought leadership, minimize his contributions to their own success. For example, Rein tells the story of how Whyte was excluded from the dais at the 1992 re-opening of Bryant Park, while Whyte’s work was absolutely the bedrock of that revitalized space’s extraordinary success. Rein sadly recounts how when Whyte’s health and finances were failing in the 90’s, unlike some others, he received little by way of financial benefit from that success. While the Rockefeller family provided him with philanthropic resources, given Rein’s recounting, it seems hard to describe that support as generous. 

In addition, the simplicity and counter-intuitiveness of many of Whyte’s ideas (like the deployment of movable chairs in public spaces, to which the poo-bahs of Princeton University, according to Rein, continue not to get) make the essence of his thinking a difficult sell, particularly to the politically attuned. Urban planners and policymakers still see the implementation of Whyte’s ideas as risky, requiring the surrender of control, and subject to derision upon failure. While every major city seems to want a Bryant Park, few are willing to give themselves up to Whyte’s wisdom – of which Pershing Square in Los Angeles is a prime example. 

Rein’s research is comprehensive and impressive. His journalism is impeccable. Whyte’s life history is recounted including many telling details. Rein, probably wisely, doesn’t attempt to sort out the current state of affairs among Whyte’s acolytes and evangelists. The complete history of the founding and recent changes at Project for Public Spaces remain to be fleshed out. Rein talks also about Whyte’s influence over the “New Urbanist” movement, which has, however, unfortunately focused for much of its history on greenfield development outside of major cities and has had little impact on improving historic downtowns. There is no getting around the fact that the public space improvements encouraged by Whyte’s ideas lead to what many now characterize negatively as gentrification, making people pointed to by Rein in the book as keepers of the Whyte flame, including at Project for Public Spaces, uncomfortable with Whyte’s legacy (and happier with citing Jacobs as an influence). The current situation of Whyte’s immediate legacy is unfortunately complicated by competing egos and personal agendas, which is ironic, but perhaps unsurprising, given Whyte’s personal modesty and soft-spoken manner. 

As Rein makes clear, the power of Whyte’s ideas may ultimately prevail. Richard Florida, perhaps the most influential urbanist of our time, has begun to say that he recognizes that no writer and thinker in urbanism has had more influence over his work than Whyte. Whyte’s message of the importance of maintaining an open mind, listening to community members and the value of disruptive thinking based on factual evidence presented with humility and a willingness to be found incorrect present a clear path forward to addressing the most important problems facing the U.S. and other Western democracies. The need for the toleration of risk taking, and even idiosyncrasy with organizations is, perhaps, Whyte’s most universal lesson[3]. Whyte’s was a quiet but imperative voice to which we would be well advised to listen, as Rein so persuasively makes clear. 

[1] With apologies and thanks for swiping his title, to the late, great David Swensen. 

[2] The novels of Centurion, Louis Auchincloss, describe this process in detail.

[3] Whyte, himself, was occasionally described as idiosyncratic – usually by establishment types. 

THE BEST OF TIMES

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San Francisco/San Francisco Symphony

San Francisco is one of the most desirable places on the planet to live, both because of its climate and because of its amenities. As a result, many, many people want to live there. A good many of those people have substantial resources. A lot of those people are also highly skilled and/or unusually creative. That is why real estate in San Francisco is expensive. High demand. Step-function availability of supply. Basic economics: demand outstrips supply. Result: high prices. It is just not very complicated. And, more importantly it is a good, rather than a bad, thing.

            Admittedly, my recent visit was on spectacularly beautiful, cloudless days. The adjective “Mediterranean,” often used to describe the climate, could not have been more apt on this trip. We went to North Beach for a classic cioppino at Sotto Mare, we took the bus to the Pacific and sat on a park bench in the sun facing the ocean (with no sign of the generally ubiquitous “Carl the Fog”), reading the wonderful new, posthumous La Carré novel. We took in the Symphony and the Opera. We lingered at the new Salesforce Park. I was ready to start shopping for a new place to live. San Francisco, another city, like New York, is often described by the punditocracy as an astronomically priced hellscape; inhabited only by trustafarians, over-paid young techies and the wild-eyed, violent homeless. Sorry: not.

            We stayed at the wonderful Intercontinental in SOMA. The hotel has over thirty stores and floor to ceiling windows, with spectacular views of the City (many older San Francisco hotels are short and dark, with small rooms). However, the location, at Howard between Fourth and Fifth, exposes the walker to the epicenter of San Francisco’s un/under-housed population, which appears to be at 7th and Mission. The walk through the Civic Center on a Saturday night after a concert by the Symphony, while not dangerous, required passing through large groups of individuals sleeping on the sidewalks, selling things from blankets, with some acting out and appearing to be seriously mentally ill, surrounded by piles of stuff. Avoiding feces on the sidewalk was a non-trivial endeavor. There were pairs of men who appeared to be a private unarmed security force labeled “Urban Alchemy,” who appeared to be ineffectual. We also passed people sleeping in doorways in The Castro and other folks who pitched tents around highway ramps near the Embarcadero. My rough estimate is that the total number of individuals occupying public space we passed was more than 500 and less than 1500. Notably, in most other neighborhoods we visited, people visibly living in public spaces or behaving in obviously unpredictively ways were not present (Richmond, Sunset, North Beach, Glen Park).

            It’s worth observing that it is individuals visibly acting out who most contribute to a perception of physical danger. People yelling at passers-by or even to themselves, punching the air, kicking the sidewalk or zigzagging along the sidewalk appear unpredictable. They create for many pedestrians the possibility of unwanted physical contact. These, perhaps clinically psychotic folks, can also be the most difficult to engage and reach for professional outreach workers.

            While this sounds like a large population, it is by no means beyond addressing. Walking down Market Street, and particularly at 7th, it is apparent this is not a problem primarily about housing – there is social activity taking place among these San Franciscans that is part of what draws them to these locations, and their issues need to be addressed socially. At the same time, despite what I have been reading in the national media, there is new multiple dwelling unit residential construction happening all around the downtown, and lots of recently completed projects – even on Market Street itself. We spent an intrigued hour watching the process of the erection of an enormous construction crane across the street from our hotel.

We went for a walk in the expanding Mission Bay community, just south of the baseball stadium (the Giants lost the playoffs to the Dodgers our first night in town); a midrise, mixed-income, mixed-use neighborhood being built from the ground up. All the right moves seemed to have been made. While eating lunch in a parking space shed (kombucha soda, falafel sandwich — $45 dollars for two), I was reminded of our West End Avenue mid-rise neighborhood in New York, a highly desirable and successful product type. THIS is what Hudson Yards should have been. A vital, human scale place to live.

San Francisco needs to get past its politics and adopt a data driven, client centered approach to addressing the needs of its citizens living in public spaces. It should recognize that the issue ISN’T (just) housing and come to terms with that it’s never a rational life choice to sleep on the sidewalk. It needs Built for Zero and Community Solutions (https://community.solutions/built-for-zero/). It’s also important for the community to come to a consensus that people living in shared public space are monopolizing places that belong to everyone and should be available to be used in common. Someone playing loud music, engaging in commercial activity or even laying in a sleeping bag on the sidewalk, is EXCLUDING other folks from enjoying the experience of public space that, particularly post-COVID, we have learned is absolutely essential to urban living. No one should have the right to exclude others from quiet enjoyment of the limited resource of urban public space.

Creating a data base that includes a record for each client, working with them as individuals to get a medical and person history, building a trusting relationship with (potential) clients, and then linking them up with the benefits to which they are already entitled and the services they require. This is difficult, time-consuming work. But it can succeed, as Community Solutions is demonstrating across the country. In a city of 900,000, reaching a couple of thousand of people in distress, while important, is by no means a monumental task. It also doesn’t define the city.

Given the breadth of cultural offerings available in San Francisco, it is easy to forget that it a relatively small city. The depth of cultural and social resources is just remarkable. During our visit we took in an intellectually and visually overwhelming show of the paintings of Joan Mitchell at the SF Museum of Modern Art, a production of Fidelio at the Opera and a fascinating and engaging program at the Symphony. While I will leave to those more knowledgeable than myself to comment on the Mitchell show (Jed Perl has a long essay in the New York Review: https://www.nybooks.com/articles/2021/11/04/joan-mitchell-painting-colors-conversation/) and to my spouse to review the Beethoven (staying in my conjugal lane), I would like to talk a bit about the Symphony concert. In fact, over the coming months, it is my plan to visit a different city every month, hear its orchestra and spend some time visiting and thinking about its downtown. Next month I’m planning to visit Cleveland. I’m particularly eager to go to Kansas City and Indianapolis – places to which I’ve not previously been.

The San Francisco Symphony has been widely admired in recent years both for its sound, as well as for its unique programming under its music director of two decades, Michael Tilson Thomas (now, unfortunately, recovering from surgery to remove a brain tumor). Most critical observers agree that the orchestra is the most interesting one, certainly west of Chicago, and perhaps in the country. With MTT’s retirement last year, he was succeeded by Essa Pekka Salonen, the former music director in Los Angeles – and long the object of desire of the New York Philharmonic, of which he has made clear he wants no part. The program that the SFO presented was a knock-out, including Debbusy, Messiaen and Saariaho, following an important stream of French composition from the late 19th through the early 20th Century – a current of compositional thought to which I am particularly drawn. Under Salonen’s baton the orchestra sounded, sharp, bright and tightly disciplined. While it didn’t particularly convey that characteristically mellow, French sound for which the Boston Symphony, for example, was once known, the performances did great justice to the music presented, and at the conclusion of the concert, I was delighted not to have to peel myself out of my chair as a result of the enthusiasm of the brass section as is so often the case at the end of Debussy’s La Mer. Debussy also kicked off the concert with Prelude à L’Après-midi d’un faune, showcasing the distinctly personal playing of the woodwind soloists.

But the concert’s featured events were (Oberlin alums) Jeremy Denk playing Oiseaux Exotique and Claire Chase playing Saariaho’s 2001 flute concerto Aile du Songe. Both were outstanding. Worth remaking on is that the Messiaen dispensed with the ensemble’s string sections and the Saariaho was played without winds other than the soloist, setting up an engaging contrast. Both performances made compelling arguments for each of the works. Denk, playing this rhythmically non-intuitive piece from memory, demanded attention – highlighting the contrasts with orchestral writing, and stressing the exotic nature of the bird calls that form the inspiration of the work. Chase’s performance was theatrical and intense. In both cases the orchestra was a committed and skilled partner, making the most of the coloristic writing of these composers, without blurring their impressionistic edges. The playing in La Mer sounded highly rehearsed and polished, reserving dramatic power for the appropriate places. One might argue, after hearing this concert, that the harmonically complex, French impressionist compositional style has ultimately proved a more productive path for composers than the spiky, audience alienating Second Viennese School – which seems to have proved to be something of a dead end.

This engaging program is one, unfortunately, we would be unlikely to ever hear in New York, and it must be said that about a quarter of the auditorium was unsold. This was the sixth concert in a big auditorium we had attended this fall (two at the Met in New York, one at Carnegie, one at Chicago Lyric and one at St. Ann’s warehouse), and while masking is certainly a suboptimal experience, all of those other shows played to full or nearly full houses and I have lived to tell the tale (so far). Fidelio at SFO also appeared to be fully sold.

We visited San Francisco’s newest public space, Salesforce Park, which is on the fourth-floor roof of the new downtown transit center. The transit center is actually a surprisingly appealing bus station – a more unlikely application of an adjective I can scarcely imagine. The loading platforms are airy and bright – as different from New York City’s Port Authority Bus terminal as one might possibly conjure! The park is six acres (the same size as Bryant Park), and most distinctively features a fabulously wide array of plant species from Mediterranean climates around the globe. The creation of roof soil and irrigation conditions to support this biosphere, particularly mature tree specimens of considerable height, is absolutely remarkable.

The operation of the park by BRV Redevelopment Ventures is nearly flawless. The “B” in BRV is Dan Biederman, my former Bryant Park boss, who has outdone himself, fixing a number of the problems we faced on Sixth Avenue, with the possibilities presented by ground-up new construction – particularly an attractively designed and appropriate performance area, something that Bryant Park lacked from day one. The park incorporates the successful Bryant Park tropes – movable chairs, well maintained restrooms, a complete slate of daily programs, a working water feature, meticulous trash removable and discreet security. The sinuous path around the space is often flanked by shaded benches facing the continuously varied gardens. The maintenance of those complex planting beds has to be a major undertaking. Bravo to Dan, his staff and to the design team for a massively, magisterially successful collaboration.

Certainly, the park can only be accessed by a one-way gondola from the Salesforce Plaza and a reasonably large number of elevator banks (and we thought Bryant Park was set off from the street!), making it somewhat inaccessible. I visited on a quiet Saturday – so I didn’t experience the park with a large crowd. But simply the idea of a quiet Saturday in the park is a luxury no longer afforded by Bryant Park, even on a rainy day. That inaccessibility presents the challenge for the park of becoming only an amenity for workers in the Salesforce Tower (now San Francisco’s tallest). But, unlike New York’s High Line, Salesforce Park is a real park (rather than a tourist attraction) which can be enjoyed in a multitude of ways (rather than being principally the experience of walking from one end to the other). It is a triumph for San Francisco and will likely increase in viability and strength as food and other concessions are developed over time.

San Francisco is a great, livable, vibrant city – and its real estate is expensive as a result. It has some serious problems, particularly its underperforming school system. Our reaction to San Francisco as urbanists shouldn’t be to denigrate or bemoan its success, but to work for the creation of more great places in order to enable more people to enjoy the benefits of living in a vital city.