This is a guest post by Peter Kleinhans, a musician based in New York City who this past February released his debut album Something’s Not Right. After spending 30 years as a professional harness horse racer and announcer, at the age of 50 he decided to turn his love of music into writing and recording songs. He explains a few thoughts about his new-found music career:
“I wish I’d begun writing music at an earlier age, because as a father of two who also drives harness racehorses, bets thoroughbred horses professionally, raises organic beef, chicken, and lamb, and is engaged to be married for the third time, I find that the music often gets squeezed to the sidelines. But I’m happy with what I have had the time to create, and I hope that listeners will find something to enjoy here.
Although I’ve only started with music over the past couple of years, I credit the years of racing horses, often in the Midwest, hanging out with the Runyonesque characters of that business, and sharing their daily travails, for much of what I’ve written. I was born and raised in New York City, left it for twenty years, and am now back. It’s an amazing city, full of amazing people, but New Yorkers are just as often oblivious to the daily existential struggles of a family in Indiana as the other way around. The horses aren’t my full-time business anymore, but I still drive occasionally.”
In his thoughtfully-written article, Peter discusses his inspiration behind a new song he’s recorded called “91st Street,” in which he describes the storied past of the former 91st Street subway station.
The Ghost of Graffiti Past and The Allure of the 91st Street Subway Station
At the time of writing, I have a gig in six weeks, and three unfinished songs to get done for it. If you’ve ever been in a similar situation, you might be familiar with the fact that it’s easier to write about what you’re working on instead of working on it. It’s a variation on that disastrous first-line-of-a-poem that goes something like “I sit here, waiting for ideas to enter my failed brain.” But the song I’m currently writing, about the abandoned subway station on 91st street and Broadway, begs for context. It’s written for those people who know about the history of New York’s subway system and graffiti’s place in it. But I realize that those people are becoming further and further between, so for those who don’t know much about that history, here’s some context, here’s something of what I’m trying to get at.
The view of the 91st street platform recalls a different New York.
If you ride the 1 train in New York regularly, there’s a good chance you’ve been riding past an iconic piece of the city’s ever-changing history without ever noticing it. Between the 86th and 96th street station is what some New Yorkers call the “Ghost Station.” When the subway was built in 1904, trains were shorter, and stations were built at 86th, 91st, and 96th. With longer cars entering the scene in the 1950s and no real justification for three stops within such a close proximity, the IRT company, who then ran the 1 train, made the decision to close the station in 1954. The station has remained dormant since. However, its relatively easy access combined with a healthy dose of spookiness, intrigue, and mystery, have made it a magnet for subway connoisseurs, especially those with a hankering to remember what New York looked like just a few short decades ago.
In 2002, Henry Chalfant, along with co-conspirators Tony Silver and Martha Cooper, released the twentieth-anniversary edition of Style Wars, regarded by many as the iconic documentary piece on the emergence of hip-hop, most specifically the then-emergent phenomenon of subway graffiti. The anniversary edition contained a treasure trove of new material, most excitingly a seemingly never-ending montage of Chalfant’s photographs of the city’s most creatively-bombed subway cars.
But 16 years have passed, even since the twentieth anniversary of Style Wars. Nevertheless, a fascination continues with the work and culture from the 70s and 80s, and one of the few places to actually feel a bit of that old texture is the 91st street station. I haven’t had the guts to jump down onto the tracks from 86th street and run along them for five blocks to visit the station, at least not yet. I don’t have a bucket list, but that would be on it. Although it doesn’t take much to find graffiti, it’s increasingly hard to remember that graffiti and subways used to be inseparable as medium and message.
But the trains are now gone as the artists’ primary canvases, ever since the MTA claimed victory over subway graffiti in 1989. The subways, once seen by some as “masterpiece art galleries” and which tourists had once come New York to witness, were now clean and cool – a huge quality-of-life improvement from the point-of-view of most New Yorkers. For some, nostalgia lingers. I grew up riding the subway in New York and I miss the graffiti deeply. The subways may have had a bad last couple of years as far as ‘signal problems,’ but anyone who remembers the subways in the 70s would be quick to point out that they encompassed an entirely other level of dysfunction. Graffiti grew out of these difficult and dangerous times in a city on fire, and to completely glamorize it as an art, while glossing over its flipside of danger and violence is to sanitize it in a way completely counter to its original intentions.
As a New York Times review of the 20th anniversary edition of “Style Wars” put it back in 2003, Absent the urine-soaked subway platforms and pervasive sense of danger that accompanied the rise of graffiti art in New York in the 70’s and 80’s, viewers can happily sit back in their parlors and decipher the green and brown polka-dotted caterpillar scheme that unites ‘’Seen’ and ‘Doze,’’ or Quik’s inventive letter-ending arrows pointing sideways, outward and upward to a seemingly endless universe of graffiti.
Dondi’s legendary “Children of the Grave”, 1980; it ran two days before being painted over.
The “white elephant” car used as one of the first in a series of graffiti-control measures that started in New York City under Mayor Ed Koch, circa 1981.
The subway train cars were quite literally whitewashed in the 1980s, marking the beginning of the end of subway graffiti. The closure of 5 Pointz in Queens in 2013 – a graffiti landmark substantial enough to draw crowds – marked another dramatic victory of the corporate over the merely creative. 5 Pointz is now being developed into a 40-story luxury residential building in Long Island City.
5 Pointz was painted over — with no advance notice to the artists whose work had been displayed there for years — over the course of one night.
5 Pointz, in its glory, April, 2013
5 Pointz, whitewashed, November, 2013
My inspiration for writing the song “91st Street” was to honor this fading culture. Although graffiti is everywhere now, the culture has been commodified, made clever, palatable, and digestible like everything else. You can create a masterpiece on your computer using only your brains and your fingers; once you had to straddle a parked train and decorate it from top to bottom, with paint you had stolen, in the middle of the night, the police or a rival gang around a curve and ready to pounce. And you knew that even if you succeeded, your work had no permanence — it would be painted over within days.
What makes the 91st street station important is that it’s one of those weird lost-in-time places that, from simple benign neglect, has become a repository for a fertile period in the history of New York art. Taggers continue to make the short pilgrimage to view and perhaps to tag one spot in the one place in the New York subway system that is more like a shrine to the past here than just about anything else. After all, cleaning it up wouldn’t make anybody any money, and therein lies its durability. Like a root cellar where one can imagine all manner of unnameable fungi finding a foothold, it maintains its spirit of dankness and chaos in a world that would love to be done with such inconveniences. It holds a special place in my heart and some day I hope to stand on its platform like the anachronism I suppose I am.
“91st Street” has a progressive/jazzy vibe, with a simple but cool drumbeat, funky bass line and fuzzy guitar riff. Toward the end of the track, Peter injects a quirky psychedelic synth that makes for a great finish. You can listen to “91st Street” by clicking the link below: