By Matthew Batt
An improbably humorous account of the way the acquisition and recovery of a catastrophe of a fixer-upper saves a tender marriage
When a season of ludicrous loss checks the mettle in their marriage, Matthew Batt and his spouse come to a decision to not name it quits. They set their points of interest in its place at the buy of a dilapidated apartment within the Sugarhouse element of Salt Lake urban. with out homesteading adventure and a full-blown quarter-life challenge on their arms, those perpetual grad students/waiters/nonprofiteers choose to search salvation via protection, and do all they could to show a former crack residence right into a domestic. Dizzy with melancholy, doubt, and the uncomfortable side effects of utilizing the tough similar of napalm to detoxify their condominium, they input into full-fledged maturity with energy instruments in hand.
Heartfelt and joyous, Sugarhouse is the tale of the way one couple conquers adversity and creates an addition to their family members, in addition to their home.
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Additional resources for Sugarhouse: Turning the Neighborhood Crack House into Our Home Sweet Home
Example text
After a week, I headed north to Chicago. On the South Side I toured the declining blues clubs, most of whose customers were old and poor. The area was poised between its golden age, when it vied with Harlem for the role of capital of Black America, and the dismal last decades of the twentieth century when it spiralled down into violence and destitution. I introduced myself to Muddy Waters at Pepper’s Lounge, his home base. His band included stars in their own right, such as James Cotton on harmonica and pianist Otis Spann.
I repeated the experiment with Big Joe Williams a few months later, but despite lessons learned, his visit was almost as stressful as Estes’. I was beginning to grasp some of the recurring themes in my life: the tension when artists from a poverty-stricken community confront the spoiled offspring of the educated middle class and the conflict between the latter’s desire to hear the ‘real thing’ and the former’s desire to be ‘up to date’. Hearing traditional musicians when they first emerge from their own communities is a wonderful experience but impossible to repeat: the music is inevitably altered by the process of ‘discovery’.
Before long, prefab rockers like Fabian and Frankie Avalon started edging out the doo-wop groups. In a year or two, the rock’n’roll era was over, replaced by chirpy corporate pop. Like most non-conforming kids, we began to look further afield for our musical adventures. Chapter 2 THERE IS A NAÏF SKETCH from the 1820s of apprentices at a New York market watching black kids ‘dancing for eels’ on overturned stall tables. The white boys lean forward, fascinated by the exuberance of the dancers. Warwick and I and a few of our friends were like the boys in that old drawing, leaning towards a culture we sensed held clues for us about escaping the confines of our middle-class upbringing and becoming male sexual beings.