Contemporary philosopher Madonna started her epic poem, Vogue, with the line, "What are you looking at?" Despite the dangling preposition, the line was appropriate during a walk down Christopher Street. All eyes were to the sky, encouraging my upward gaze.

Nothing was seen other than a vast and vivid clear blue sky. Being unattracted to any of the people looking up, it was a choice to rather figure out the puzzle by osmosis rather than extract an answer from a Stonewall patron. So more visual clues were sought.
Distraught looking ladies and a man with a bird. Well, there are distraught looking ladies everywhere in our fair borough. And a surprising number of men with birds. But it's the combination thereof that was the important clue. Why would distraught ladies be chatting up Harvey Birdman? Again, my gaze was directed upward.

There it was. A little blotch of color hidden in the trees. Suddenly all the clues came together.
A distraught lady lost her bird. As distraught ladies love company, she called her friend, who knew Harvey Birdman. Thinking that maybe the bird was lonely, they brought out the other bird. They forgot, however, that birds are inherently racist and the bird in the tree was all, "I ain't coming down to hang with no white-ass bird."
Or at least that's my interpretation of it.
And this of course begs the question, "What happened to the bird?. No clue. To which the reader is reminded: this isn't Gothamist. On Gothamist, they would give you details down to the bird's favorite brand of suet. If you really want that, maybe read Metropolitan Diary. But if you're just reading this and going, "Heh, Harvey Birdman," you're in the right place. And I'm glad you're here.