See the earlier post today: Civil War songs: "I’m a Good Old Rebel," but assuredly not like this.
Reader JF wrote: "I still treasure my copy, thank you. Doesn't Tony Randall merit a mention?"
He certainly does. The late actor Randall does the narration of “Beauregard’s Retreat from Shiloh,” and to reprise, it's from “Songs of the Civil War” (New World Records 80202), with liner notes by Charles Hamm; the series is The Recorded Anthology of American Music, produced by New World Records.
---
Beauregard’s Retreat from Shiloh
The Battle of Shiloh took place when the Confederate army under General Albert Sidney Johnston attempted to prevent the North from occupying western Kentucky and seizing control of the Mississippi River, a vital communications line. In the early spring of 1862, General Ulysses S. Grant, moving up the Tennessee River with forty-five thousand Union troops to link up with General Don Carlos Buell and his twenty-five thousand men coming down from Nashville, camped around Shiloh Church, a country meeting house no more than twenty miles from the Confederate army camped at Corinth, Mississippi.
Johnston decided on a surprise attack before the two enemy forces linked up, and early on the morning of April 6 the Southerners struck, routing much of the Northern army. At first it seemed to be an overwhelming victory for the Rebels; but Grant finally succeeded in improvising a defense line, and Southern morale suffered when the popular General Johnston was mortally wounded. General Pierre G.T. Beauregard took command of the Confederate force. During the night, Buell arrived after a forced march with his men, and the second day was a reversal of the first, with the North recapturing all ground lost in the initial attack and forcing the enemy to withdraw to Corinth. The South had failed in its objective; the North had gained a morale-raising victory to offset defeats in Virginia and had found a winning general in Grant.
Casualties were high, some thirteen thousand for the North and ten thousand for the South. Most of the men on both sides were in their first major battle; one observer called it “a fight between mobs of armed boys.” Even in this most horrible of wars, Shiloh stands out as a nightmare. Most of the wounded lay all night on the battlefield unattended, drenched by a cold rain, crying for help or death. At the end of the second day, the Confederate wounded were hauled twenty miles over rough roads in wagons without springs to inadequate medical care in Corinth.
A Northern nurse, one of the first to reach the wounded on the battlefield, wrote, “The foul air from this mass of human beings at first made me giddy and sick. When we give the men anything, we kneel in blood and water. ”There was slaughter and heroism and panic; when Union General William Nelson arrived with his men during the first day’s battle, he found “cowering under the river bank...from 7,000 to 10,000 men frantic with fright and demoralized.”
The anonymously composed (with “a running accompaniment by Skedaddles”) Beauregard’s Retreat from Shiloh mostly ignores these human aspects of the battle in favor of objective, if caustically humorous, narration of the chief military events. It is an interesting mixture of two nineteenth- century types of composition.
As a battle piece, it continues a tradition dating back to the late eighteenth century. One of the most widely published piano pieces in America at the turn of the century and into the nineteenth was The Battle of Prague by the Czech-English composer Franz Kotzwara, who died in England in 1791. A descriptive, episodic work for piano, it features trumpet calls, patriotic airs, low bass rumbles in imitation of cannon fire, spirited passages for marching and attacking armies; each section bears a title or a description of what aspect of the battle is depicted in those measures.
James Hewitt wrote a similar Battle of Trenton in 1797, and battle pieces continued to be written and played well into the nineteenth century. An unusual feature of Beauregard’s Retreat is that in addition to descriptive comments for each section there is a narrative to be recited while the music is being played. It is thus also a melodrama, the technical term for vocal recitation against music.
Melodrama was sometimes used to good effect by nineteenth-century composers of art music (in Weber’s opera Der Freischíütz and Berlioz’ monodrama, Lelio, for example). And scattered throughout the nineteenth- century popular repertory are pieces for parlor recitation with piano accompaniment, which made it possible for people with training in dramatics or elocution, but no ability in music, to take part in home entertainment. Richard Strauss’s Enoch Arden is a survival of melodrama as late as the turn of the century.
(Beauregard’s March.) Beauregard marches from his entrenchments at Corinth. Beauregard expects to reach our lines in time to attack our Army on Saturday, April 5th, 1862. Beauregard’s men, however, are unused to marching. A severe rain storm, on the night of the 4th, drenches his troops in bivouac. Beauregard reaches the intersection of the roads from Pittsburgh—and Hamburg on Saturday evening.
(The Assembly.Word of Command! The Assembly call of the National Troops. To Arms! Drums! Response of the enemy in the distance. Drums!) (Prayer of the National Soldiers.) Previous to the fight, the National Troops offer up an Invocation to the God of Hosts for strength to defend the right, and scatter the enemies of the Union. (Forward Skirmishers by the right flank.)
(The Attack!) Beauregard drives in our pickets. Beauregard advances on the division of General Prentiss. The regiments of Prentiss’ division are taken prisoners. Beauregard falls on our advance lines. Our entire advanced lines, under Generals Sherman and McClernand, are driven in. Generals W. H. L. Wallace and Hurlburt gallantly defend the reserve line for nearly six hours. General Wallace is mortally wounded, and Beauregard’s forces occupy nearly all our camps. General Grant takes command. A. S. Johnston, the rebel commander, is killed. Beauregard comes within range of our gunboats. The Tyler and Lexington belch forth thunders with terrible effect while Colonel Webster places our guns in the best possible position for our protection. The National
troops perceive the advance guard of General Buell under General Nelson.The 6th Ohio cross the Tennessee and form in line of battle. Beauregard is told of the arrival of Generals Buell’s and Lew Wallace’s* divisions. Beauregard withdraws his forces for the night. During the night the fire from our gunboats compels Beauregard to fall back. Beauregard’s forces are dispirited. Our brave troops sleep on their arms amid the cries and groans of the wounded. The morning dawns, Monday, April 7th. Beauregard is attacked by Generals Nelson and Lew Wallace. Beauregard has drawn back, and we have resumed the positions we occupied on Sunday morning. Beauregard in full retreat to Corinth. Our cavalry pursue the retreating columns of the enemy until night prevents further progress. Beauregard enters Corinth with his beaten troops.
(Recall of Cavalry.) At the sound of the Recall, our gallant Cavalry give up the pursuit of Beauregard’s scattered forces. On nearing their former position at Shiloh, our Cavalry hear the Bands playing our National Melodies previous to the Tattoo. Tattoo in the distance. At Tattoo all lights and fires are extinguished and the men retire to their tents.
(Previous to retiring to their Tents, the troops sing Jefferson Davis’ Requiem to the tune of the New Dixie.)
(The New Dixie.) Beauregard and Jeff Davis having “died in the last ditch” are carried down the stream until they reach the ford of a dark river, where they make the acquaintance of Old Charon, an ancient Ferryman, from whom they beg a cup of the waters of Lethe to enable them to drown the remembrance of their inordinate pride and ambition. Charon—acting under instructions —declines their request, but rows them gently over the Styx and conducts them to his majesty King Pluto in whose “Old Dominion” it is hoped they will ever “be let alone” and never be tormented by the presence of a Hessian, Lincolnite, or Yankee. At all events, this being the place farthest removed from unity, is the proper one for the establishment of a Kingdom in which the Yankees leave Jeff and Co. alone in their glory.
*The author of Ben-Hur.
Note: The ability to recite poetry and dramatic texts effectively was a desirable social skill among educated people in mid-nineteenth century America. Young men and women often took instruction in elocution, learning proper diction, posture, and dramatic poses for various types of texts. Just as amateur singing reflected the styles of famous artists, so recitations given as part of home entertainment mirrored the styles of actors and orators of the time. By our standards, this style was stilted, unrealistic, often overly melodramatic.
Sunday, July 17, 2011
Civil War songs: "I’m a Good Old Rebel," but assuredly not like this.
During the mid-1970’s, I spent way too much time pillaging the LP collection at the NA-FC Public Library, borrowing albums and committing them to cassette tape. These archival finds delightfully augmented my nascent musical tastes with a sheer breadth of material that would have been fiscally impossible for a high school student to manage on the open market.
Taxpayers of the time are duly thanked for the opportunity.
The Bicentennial year came in 1976, and at some point afterward, probably as late as 1978, I noticed the arrival of numerous attractively packaged LPs at the library: A 100-album set called The Recorded Anthology of American Music, produced by New World Records. The idea, as originally funded by a Rockefeller Foundation grant, was (and is) to trace the history of America through its music. As you can see by following the New World Records link, the effort continues more than three decades later.
As a side note, an almost completely intact, second set of the Anthology was placed at WNAS, New Albany High School’s radio station; I saw it there while substituting teaching during the early 1980’s. Seeing as the vast bulk of the original albums present classical works and formal composition, these had not been touched by discerning high school students. Only a handful of LPs were missing. Whether at the library or the high school, this set of albums was a mother lode for me.
Appropriately in this sesquicentennial Civil War year, I’ve been listening to Songs of the Civil War (New World Records 80202), with liner notes by Charles Hamm. It’s always been my favorite of them all. I've chosen just one of the songs to examine today: "I'm a Good Old Rebel," which to my mind illustrates the ultimate success of Richard Nixon's Southern Strategy -- which was still playing out on the ground when these liner notes were written, about to come to fruition under Ronald Reagan during the 1980's.
These days, it's the Republicans and Tea Partiers who are singing these songs. Isn't that plagiarism or something?
---
I’m a Good Old Rebel
Many Southerners refused to be “reconstructed.” Some went west after the war, a few went abroad, and many of those who stayed in the South nursed a deep hatred for the North for the remainder of their lives while outwardly conforming to the realities of postwar life. These intense feelings brought about a political climate that unified the South against the Republican Party for almost a century. Rarely has hatred been so directly and convincingly expressed as in these lyrics.
A number of mysteries surround the present song. American War Songs claims that it was entered for copyright by A. C. Blackmar in Louisiana in 1864, yet the words were clearly written after the war. The earliest edition gives “J.R.T.” as the author, yet most historians of song agree that the tune was known as “Joe Bowers” and was by R. Bishop Buckley of Buckley’s Minstrels, the text by either Adelbert Volck or Major Innes Randolph, a “cultivated Southerner of letters. ”This edition (used for the present recording) appears to have been published in New Orleans in 1866 and bears an ironic dedication to “the Honorable Thad. Stevens.” The first musical phrase differs from the version printed in such anthologies as Songs of the Civil War and Singing Soldiers, though the remainder of the music is almost identical.
It may well be that most of these allegations are true, that the many contradictions in this story can be resolved. The tune may have been known in oral tradition before the Civil War: many of its melodic turns, and its use of a “gapped” or incomplete scale (the fourth note is absent, and the seventh is barely touched on), are characteristic of much Scotch-Irish traditional music. Buckley may have appropriated the tune, perhaps polishing it to make it conform more nearly to the tastes of minstrel-show audiences; a certain number of minstrel songs, including “Old Dan Tucker” and “De Boatman’s Dance,” show similar evidence of having been adapted from oral tradition tunes. Volck, or Innes, or both may have fitted a new topical text to a tune they knew either from folk tradition or the minstrel repertory.
This text was probably too extreme to be widely circulated in a printed version, even in the postwar South, and its chief popularity was as a song passed on by ear through several generations. It seems not to have appeared in print between the one edition in 1866 and the several versions taken down from oral tradition in the middle of the present century, and the differences between the nineteenth- and twentieth-century versions are not unusual for a song that has bounced back and forth between written and oral versions. On this album it is sung in an unaccompanied version.
Whatever the case, the song in all its versions is yet another demonstration of the intensity of feeling aroused by the war.
O I’m a good old Rebel,
Now that’s just what I am,
For this “Fair Land of Freedom”
I do not care AT ALL;
I’m glad I fit against it,
I only wish we’d won,
And I don’t want no pardon
For anything I done.
I hates the Constitution,
This great Republic, too,
I hates the Freedman’s Buro,
In uniforms of blue;
I hates the nasty Eagle,
With all his braggs and fuss,
The lyin’, thievin’ Yankees,
I hates ‘em wuss and wuss.
I hates the Yankee nation
And everything they do,
I hates the Declaration
Of Independence, too;
I hates the glorious Union—
’Tis dripping with our blood—
I hates their striped banner,
I fit it all I could.
I followed old mas’ Robert
For four year near about,
Got wounded in three places
And starved at Pint Lookout.
I cotch the roomatism
A campin’ in the snow,
But I killed a chance o’Yankees,
I’d like to kill some mo’.
Three hundred thousand Yankees
Is still in Southern dust;
We got three hundred thousand
Before they conquered us;
They died of Southern fever
And Southern steel and shot,
I wish they was three million
Instead of what we got.
I can’t take up my musket
And fight ‘em now no more,
But I ain’t going to love ‘em,
Now that is sarten sure;
And I don’t want no pardon
For what I was and am,
I won’t be reconstructed
And I don’t care a dam.
Taxpayers of the time are duly thanked for the opportunity.
The Bicentennial year came in 1976, and at some point afterward, probably as late as 1978, I noticed the arrival of numerous attractively packaged LPs at the library: A 100-album set called The Recorded Anthology of American Music, produced by New World Records. The idea, as originally funded by a Rockefeller Foundation grant, was (and is) to trace the history of America through its music. As you can see by following the New World Records link, the effort continues more than three decades later.
As a side note, an almost completely intact, second set of the Anthology was placed at WNAS, New Albany High School’s radio station; I saw it there while substituting teaching during the early 1980’s. Seeing as the vast bulk of the original albums present classical works and formal composition, these had not been touched by discerning high school students. Only a handful of LPs were missing. Whether at the library or the high school, this set of albums was a mother lode for me.
Appropriately in this sesquicentennial Civil War year, I’ve been listening to Songs of the Civil War (New World Records 80202), with liner notes by Charles Hamm. It’s always been my favorite of them all. I've chosen just one of the songs to examine today: "I'm a Good Old Rebel," which to my mind illustrates the ultimate success of Richard Nixon's Southern Strategy -- which was still playing out on the ground when these liner notes were written, about to come to fruition under Ronald Reagan during the 1980's.
These days, it's the Republicans and Tea Partiers who are singing these songs. Isn't that plagiarism or something?
---
I’m a Good Old Rebel
Many Southerners refused to be “reconstructed.” Some went west after the war, a few went abroad, and many of those who stayed in the South nursed a deep hatred for the North for the remainder of their lives while outwardly conforming to the realities of postwar life. These intense feelings brought about a political climate that unified the South against the Republican Party for almost a century. Rarely has hatred been so directly and convincingly expressed as in these lyrics.
A number of mysteries surround the present song. American War Songs claims that it was entered for copyright by A. C. Blackmar in Louisiana in 1864, yet the words were clearly written after the war. The earliest edition gives “J.R.T.” as the author, yet most historians of song agree that the tune was known as “Joe Bowers” and was by R. Bishop Buckley of Buckley’s Minstrels, the text by either Adelbert Volck or Major Innes Randolph, a “cultivated Southerner of letters. ”This edition (used for the present recording) appears to have been published in New Orleans in 1866 and bears an ironic dedication to “the Honorable Thad. Stevens.” The first musical phrase differs from the version printed in such anthologies as Songs of the Civil War and Singing Soldiers, though the remainder of the music is almost identical.
It may well be that most of these allegations are true, that the many contradictions in this story can be resolved. The tune may have been known in oral tradition before the Civil War: many of its melodic turns, and its use of a “gapped” or incomplete scale (the fourth note is absent, and the seventh is barely touched on), are characteristic of much Scotch-Irish traditional music. Buckley may have appropriated the tune, perhaps polishing it to make it conform more nearly to the tastes of minstrel-show audiences; a certain number of minstrel songs, including “Old Dan Tucker” and “De Boatman’s Dance,” show similar evidence of having been adapted from oral tradition tunes. Volck, or Innes, or both may have fitted a new topical text to a tune they knew either from folk tradition or the minstrel repertory.
This text was probably too extreme to be widely circulated in a printed version, even in the postwar South, and its chief popularity was as a song passed on by ear through several generations. It seems not to have appeared in print between the one edition in 1866 and the several versions taken down from oral tradition in the middle of the present century, and the differences between the nineteenth- and twentieth-century versions are not unusual for a song that has bounced back and forth between written and oral versions. On this album it is sung in an unaccompanied version.
Whatever the case, the song in all its versions is yet another demonstration of the intensity of feeling aroused by the war.
O I’m a good old Rebel,
Now that’s just what I am,
For this “Fair Land of Freedom”
I do not care AT ALL;
I’m glad I fit against it,
I only wish we’d won,
And I don’t want no pardon
For anything I done.
I hates the Constitution,
This great Republic, too,
I hates the Freedman’s Buro,
In uniforms of blue;
I hates the nasty Eagle,
With all his braggs and fuss,
The lyin’, thievin’ Yankees,
I hates ‘em wuss and wuss.
I hates the Yankee nation
And everything they do,
I hates the Declaration
Of Independence, too;
I hates the glorious Union—
’Tis dripping with our blood—
I hates their striped banner,
I fit it all I could.
I followed old mas’ Robert
For four year near about,
Got wounded in three places
And starved at Pint Lookout.
I cotch the roomatism
A campin’ in the snow,
But I killed a chance o’Yankees,
I’d like to kill some mo’.
Three hundred thousand Yankees
Is still in Southern dust;
We got three hundred thousand
Before they conquered us;
They died of Southern fever
And Southern steel and shot,
I wish they was three million
Instead of what we got.
I can’t take up my musket
And fight ‘em now no more,
But I ain’t going to love ‘em,
Now that is sarten sure;
And I don’t want no pardon
For what I was and am,
I won’t be reconstructed
And I don’t care a dam.
Friday, July 15, 2011
Is Floyd County seeking to develop up to 18 acres of Community Park?
The Green Mouse went out to forage last night, and he came back with this interesting tidbit -- today's special at the Floyd Boobocracy Rumor Mill.
Amid talk of Floyd County's perennially unimaginative political leadership cadre replenishing its coffers by selling Community Park's Grant Line Road frontage to property developers, thus making short-term profitable asphalt sausage from the last existing green space inside the beltway, now comes a strong hint that up to 18 acres of parkland is being considered for future development.
I'm told by a reliable source that county planner Don Lopp recently released a Request for Development (to the general development population) for proposals to devour up to 18 acres of Community Park for development, and that the Parks Department had no prior knowledge of this action.
As such, the smelly morass of parks district legislation proposed earlier in 2011 bubbles yet again to the surface, in the sense that seemingly just last week, political seat-holders now expressing keen interest in paving the city's green space were accusing the parks board of precisely the same objective.
Who to believe? And how many showers must one poor blogger take when reporting the news of greed? Okay, readers: Tell us what you know, up front or down low.
Amid talk of Floyd County's perennially unimaginative political leadership cadre replenishing its coffers by selling Community Park's Grant Line Road frontage to property developers, thus making short-term profitable asphalt sausage from the last existing green space inside the beltway, now comes a strong hint that up to 18 acres of parkland is being considered for future development.
I'm told by a reliable source that county planner Don Lopp recently released a Request for Development (to the general development population) for proposals to devour up to 18 acres of Community Park for development, and that the Parks Department had no prior knowledge of this action.
As such, the smelly morass of parks district legislation proposed earlier in 2011 bubbles yet again to the surface, in the sense that seemingly just last week, political seat-holders now expressing keen interest in paving the city's green space were accusing the parks board of precisely the same objective.
Who to believe? And how many showers must one poor blogger take when reporting the news of greed? Okay, readers: Tell us what you know, up front or down low.
We know there'll be jazz at the Amphitheater this weekend.
First, a bit about Jamey Aebersold, Bobby Falk and the relevant musical facts. As a devotee of jazz, which I sense is a dying breed, it's good to see some of our Riverfront Amphitheater time devoted to the genre. The following was copied from from Develop New Albany's weekly e-mail.
There cannot be a free market when it comes to alcoholic beverages. State liquor regulations apply, and beer vendors at venues like the Amphitheater must operate under a three-way catering regime. The playing field is tilted from the start, and certain licensees (i.e., two-ways) are unable to play so long as vendors must acquire the necessary permits.
Also, as importantly, the Amphitheater is City Hall's domain, and City Hall makes rules of its own. Consequently, the riverfront committee is charged with deciding who vends and who does not, subject to the state's rules and the city's directives.
NABC is happy to do business with these chosen vendors, and to assist them in buying beer from us for resale to a grateful public. We always are eager to help them understand the nature of the craft beer demographic and how serving it could help them make money, but as we do not know who the chosen vendors are, and remain unaware of the committee's overall vendor policies this year, there is little NABC can do except hope that vendors approach us with their requests.
For those many local consumers who have expressed annoyance with the absence of craft beer choice at this year's events, I thank you for your comments, and I repeat: Please make your feelings known to the vendors and the committee. As a consumer, your job is to make demand known, and to clearly indicate the factors that inform your purchasing power. The semi-free market will adapt, or not; it's as simple as that.
Thanks. I appreciate the feedback.
New Albany's Jamey Aebersold Performs this weekend at the Riverfront AmphitheaterThis leads me to my second, subsidiary point, and a paragraph in the weekly e-blast from the Clark & Floyd Convention and Tourism Bureau, in which it was noted:
New Albany’s Internationally Famous Jazz Musician & Educator Jamey Aebersold will perform Saturday evening at 7:30pm at the New Albany Amphitheater.
Aebersold's "Play-A-Long" series of instructional books and CD collections, using the chord-scale system are an internationally renowned resource for jazz education. More than 126 of these collections have been published by Aebersold. Jamey is also a very talented pianist, bassist, and banjoist.
Aebersold has also run the "Summer Jazz Workshop" sessions at the University of Louisville. Many leading educators and performers have served as Workshop faculty. The week-long event is billed as a place to learn jazz through hands-on experience, and provides an intensive learning environment for musicians of widely varying ages and levels. The standard Workshop curriculum includes master classes, ear-training sessions, jazz theory classes from beginning to advanced, and concerts by faculty
Also performing this weekend: The Bobby Falk Band
The Bobby Falk Band is a progressive band that incorporates jazz elements with covers and originality, constantly trying to appeal to more diverse audiences.
The band leader Bobby Falk has been a jazz musician all his life, as a composer, drummer and percussionist. He received his Bachelor of Arts in Jazz Studies (Percussion emphasis) from the University of Louisville School of Music in 2005, which included jazz studies abroad in Brazil, and performance experience/recording with Lew Soloff, Phil Woods, Curtis Fuller, Lionel Hampton, John Fedchock, Kenny Werner, Jimmy Heath, Jerry Coker, Bob Mintzer, among others.
The Bobby Falk band will take the Amphitheater stage on Friday night at 7:30 p.m.
"The music starts both nights at 7 pm at the Riverfront Amphitheater. Local merchants and organizations will offer food and beverages including craft beers from the New Albanian Brewery."Given that I've heard nothing about our beer there until now, I suspect this is a misprint; inquiries are being made, so in the meantime, I'll repeat publicly what I've told so many of you privately.
There cannot be a free market when it comes to alcoholic beverages. State liquor regulations apply, and beer vendors at venues like the Amphitheater must operate under a three-way catering regime. The playing field is tilted from the start, and certain licensees (i.e., two-ways) are unable to play so long as vendors must acquire the necessary permits.
Also, as importantly, the Amphitheater is City Hall's domain, and City Hall makes rules of its own. Consequently, the riverfront committee is charged with deciding who vends and who does not, subject to the state's rules and the city's directives.
NABC is happy to do business with these chosen vendors, and to assist them in buying beer from us for resale to a grateful public. We always are eager to help them understand the nature of the craft beer demographic and how serving it could help them make money, but as we do not know who the chosen vendors are, and remain unaware of the committee's overall vendor policies this year, there is little NABC can do except hope that vendors approach us with their requests.
For those many local consumers who have expressed annoyance with the absence of craft beer choice at this year's events, I thank you for your comments, and I repeat: Please make your feelings known to the vendors and the committee. As a consumer, your job is to make demand known, and to clearly indicate the factors that inform your purchasing power. The semi-free market will adapt, or not; it's as simple as that.
Thanks. I appreciate the feedback.
Thursday, July 14, 2011
Stop the presses: Exciting new plan for Trickle Platz at River View.
(Okay, it's really a model of Alexanderplatz in the former East Berlin, but if not for the functional rail service giving away the joke, you'd have bitten. Thanks to JG for the idea)
ON THE AVENUES: He's questioning the call.
ON THE AVENUES: He's questioning the call.By ROGER BAYLOR
Local Columnist
My early childhood coincided with the centennial of the American Civil War, and summers were consumed with baseball, a testament to my father’s passion for the sport.
Appropriately, two non-fiction books I’ve recently finished reading are set in the transformative era of 19th-century America: “Baseball in the Garden of Eden,” by John Thorn, and “1861: The Civil War Awakening,” by Adam Goodheart.
These excellent and recommended narratives, which you can order from Destinations Booksellers, are linked by the unlikely, middling figure of Abner Doubleday (1819-1893), a career military man and oddball transcendentalist.
Thorn’s volume enjoyably traces the roots of American baseball, both pastoral and urban, and although at this point in time there’s really no need to disprove yet again that Doubleday “invented” the game in Cooperstown, Thorn does so convincingly.
Moreover, he illustrates that while numerous societal elements always have conspired to use baseball as a convenient sporting analogy for patriotic myths of the country’s founding, the professional game in its infancy was just as prone to skullduggery, dishonesty and the corruption of money as we persist in suspecting it is now – rather like the country itself.
Naturally, Doubleday never even knew of his seminal role in devising the American game. He died several years before the self-serving and unctuous Albert Spalding gathered an early 20th-century cabal of self-important baseball oligarchs to assign the game its proper American credentials, the chest-thumping tenets of which reflected the political dreams and social mores of the creators, rather than observing the relative inconvenience of historical record.
But Doubleday already enjoyed a genuine place in the historical record book of the United States, having found himself stationed with the tiny, inadequate garrison of Fort Sumter in 1861. After the South Carolina secessionists swung first, initiating the bloody aggression of America’s brutal Civil War with an opening cannonade, Doubleday lobbed the first Union artillery shot back toward Charleston.
Unfortunately, like a weak dribbler down the third base line, the cannonball bounced harmlessly off the Confederate fortifications.
Goodheart’s overall premise is an effort to convey the uncertain mood in the United States (generally, in the North) before and after Abraham Lincoln’s election to the presidency, as the socioeconomic and political dominoes stacked precariously for four score and five years begin falling, culminating with the South’s counter-revolution and subsequent conflagration.
Interestingly, as one aspect of the tinder box, Goodheart points to the information explosion of the antebellum age: Competing newspapers, better mail service and the advent of the telegraph, all combining to shape and move public opinion in a way not possible previously.
One cannot get more American Heritage than debating baseball and the War Between the States, and most of us assume we know the rest of these stories, but do we?
Consider just these two lingering notions of utter falsehood handed down to us by our elders: Doubleday “invented” baseball in a summer’s afternoon, and the Civil War was about “states rights.” Not gospel truth in any sense or in either case, but rather complete fabrication, serving only to buttress the insupportable to appease other, less savory motivations.
In fact, bat ‘n’ ball games are depicted on ancient Egyptian hieroglyphs, and cricket remained vibrant in the former colonies of North America until after the Civil War. Numerous other sporting endeavors of like dimension, from rounders to town ball and varying forms of “cat,” serve to make the point that while baseball as we know it evolved here (primarily, in the North), it cannot have been born stateside.
And: “States Rights” actually meant nothing outside of a narrow confine wherein a state had the “right” to enslave human beings. The intrinsic conflict of the institution of slavery came from the tortuous context bequeathed to future generations by the compromises of the Founders: “All men are created equal,” or in slavery’s case, decidedly not equal, a stumbling block ingeniously passed on to Doubleday’s generation to resolve.
They did so, and in just as prevaricating a fashion as their deal-cutting forbearers, first by fighting a catastrophic internecine war to define the principle of freedom, and then sheepishly waiting another century before (tepidly) enforcing the lessons learned, which meant that after a few 19th-century appearances by African-American baseball players during Doubleday’s lifetime, they were excluded from participation until Branch Rickey propelled Jackie Robinson through the color barrier – yet only after two additional cataclysmic world struggles had been fought and won to prove the same point, all over again.
All this is to say: Much of what we’re raised to believe is bunk, and this is precisely why it is fitting and proper to ask questions as often as possible.
Whether these questions have to do with baseball, the Civil War, the forever clandestine maneuverings of New Albany’s elected officials, or the predetermined imperatives of the economic oligarchy buttressing the Ohio River Bridges Project doesn’t so much matter. We must ask them nonetheless.
We must continue asking them, even when the answers coming back are grudging, evasive and not particularly helpful, because in the end, the mere act of asking questions openly challenges belief systems constructed to serve as unassailable dogmas. Most are not. Recent examples in the community have been instructive to me.
I’ll get back with you.
(She didn’t)
That’s a great idea, and I’ll push for it.
(He never bothered)
I’m unaware, having no clue what you mean.
(You aren’t, and you do)
You and your questions are toxic.
(But that’s not an answer, is it?)
Next in the reading rotation is another dose of Americana, this one fictional: “Argall: The True Story of Pocahontas and Captain John Smith," a novel by William T. Vollmann.
Wednesday, July 13, 2011
“The major economic-development success story in our community this year involves $3,000 worth of Adirondack chairs.”
While New Albany pursues its Reaganonomics Platz, Buffalo is busy figuring it out.
Esmonde's column is shared in its entirety, as he may as well have been sipping a craft beer at an outdoor table in our downtown when he wrote it.
Esmonde's column is shared in its entirety, as he may as well have been sipping a craft beer at an outdoor table in our downtown when he wrote it.
Giving the people what they want on waterfront, by Donn Esmonde, BuffaloNews.com.
Of course, it’s working. It worked everywhere else. There’s no secret recipe or special formula. We have sun, sky and—most importantly— water. Just add a snack shack, put out some brightly colored Adirondack chairs, set up a kids’ space, mix in activities. All of a sudden, we have a down-town waterfront that people want to go to.
Just like a lot of people thought we would, once we got past our magic-bullet fixation. There’s no need to overthink it. To oversubsidize it. To overbuild it.
“It’s ironic,” said Mark Goldman, the activist/entrepreneur whose brainstorm last year changed the waterfront course. “The major economic-development success story in our community this year involves $3,000 worth of Adirondack chairs.”
Monday afternoon, more than 100 people walked or lounged at Erie Canal Harbor. A warm breeze ruffled a line of colored banners. Boats glided by on the Buffalo River. Folks lined up for sandwiches and ice cream at Clinton’s Dish—named for the governor who, at this site in 1825, opened the canal that transformed America. (Maybe someday we’ll get a sign that commemorates the fact.)
It has been nearly a year since Bass Pro, after years of arrested development, mercifully cut bait. It has been eight months since the landmark gathering at City Honors School, when Fred Kent of the Project for Public Spaces outlined a “lighter, quicker, cheaper” philosophy of waterfront development. The event, organized by Goldman, underlined what progressives had pleaded for years: Get over the heavy-subsidy, magic-bullet, lots-of-parking fixation. Instead, create a place where people want to go, and let human nature—and market forces— take over. Step-by-smaller-step.
Call this the Summer of Sensibility. The snack stand and mini-“beach” and Adirondack chairs and kids’ space and random activities—from yoga to Zumba classes—were spawned in focus groups and in public forums. The Erie Canal Harbor board, bereft of a plan after Bass Pro’s bailout, followed the people’s lead. Citizens committees—one includes Goldman, preservationist Tim Tielman and Buffalo Rising’s Newell Nussbaumer —guided the board’s hand. Finally, we’re getting the waterfront we deserve.
Lynn Skulski was sitting in an orange Adirondack chair Monday, watching the river flow. She left Buffalo for Florida eight years ago.
“I’m impressed,” said Skulski, who was in town visiting relatives. “Look at all the people walking around, on a weekday. Water is a big attraction. You don’t have to overcommercialize it.”
The Canal Harbor board’s plan, four years ago, was to build Bass Pro on this site. Instead of a public waterfront and Thursday night concert crowds, there nearly was a big-box retailer surrounded by parking ramps. Community blow-back, thankfully, killed the idea.
“You can build a store anywhere,” Skulski noted. “Why would you want to stick it by the water, and take up this space? It goes against the whole point of a waterfront.”
Amen. Granted, nobody is yet printing money at Erie Canal Harbor. But, at little cost and with a lot of imagination, we’re creating a downtown waterfront where people want to be. Where people go, commerce will follow.
“This is creating demand,” Goldman said, “instead of using massive subsidies to create supply, and hoping that the demand follows.
“It is not just people having picnics, it is good economic-development strategy,” Goldman added. “You start small, and it snowballs. By next summer, you’ll see private businesses lining up to come down—instead of asking for big, fat subsidies.”
Lighter, quicker, cheaper. Already, it’s working.
Tuesday, July 12, 2011
When only the most obvious workplace metaphors will suffice.
For the most recent time when I referenced World Party, go here: Gang of Four finale today; debarkation at 4; scalpers now paying passers-by to attend.
Dealing from a stacked Bridges deck.
Courier-Journal reporter Marcus Green begins the deconstruction of Louisville and Southern Indiana Bridges Authority Chairman Charles Buddeke's conflicts of interest...
and Louisville Courant's Curtis Morrison provides further documentation, rightfully asking why Kentucky Governor Steve Beshear would appoint such a conflicted person in the first place.
My own joy comes from Buddeke himself who, when asked about the conflict, says “if that becomes a problem I can just...recuse myself from the process.” After years of insisting sans evidence that the Bridges Project has majority support and lying about both the number of jobs the project will create and the inability to make changes to it without starting from scratch (you know, "the process"), Buddeke says, "It's OK, just trust me."
As Morrison suggests, Kentucky gubernatorial politics may make questions of a possible Buddeke resignation from the Bridges Authority more prominent in local news. My question, though, given the level of purposeful misdirection prominent throughout "the process", is why that resignation call shouldn't be aimed at all Authority members.
Potential bridges contractor looking at using Buddeke land, by Marcus Green, Courier-Journal.
A construction firm angling for work on new Ohio River bridges wants to locate a building and shipping yard on property owned by the family of the chairman of the agency that will select the project’s lead contractors.
Greenville, S.C.-based Fluor Enterprises is negotiating to use land along River Road controlled by a Buddeke family company, according to a June 28 letter from Fluor’s business development director, made public as part of an effort to change the property’s zoning.
Paul Buddeke is president of the Buddeke Co. and its subsidiary River Road Terminals. His brother Charles is chairman of the Louisville and Southern Indiana Bridges Authority, which is in charge of financing and constructing the Ohio River Bridges Project.
and Louisville Courant's Curtis Morrison provides further documentation, rightfully asking why Kentucky Governor Steve Beshear would appoint such a conflicted person in the first place.
Watch to see Charles Buddeke resign , at Louisville Courant.
Considering there are over 4 million people in Kentucky who do not stand to directly profit from the project, it is a testament to Beshear's resourcefulness that he was able to find an appointment who would.
My own joy comes from Buddeke himself who, when asked about the conflict, says “if that becomes a problem I can just...recuse myself from the process.” After years of insisting sans evidence that the Bridges Project has majority support and lying about both the number of jobs the project will create and the inability to make changes to it without starting from scratch (you know, "the process"), Buddeke says, "It's OK, just trust me."
As Morrison suggests, Kentucky gubernatorial politics may make questions of a possible Buddeke resignation from the Bridges Authority more prominent in local news. My question, though, given the level of purposeful misdirection prominent throughout "the process", is why that resignation call shouldn't be aimed at all Authority members.
Monday, July 11, 2011
Community Dark and Bob's Old 15-B take Brewers' Cup medals at the Indiana State Fair.
NABC took home two medals at the 2011 Indiana State Fair Brewers' Cup Competition. The winners were announced in Indianapolis on Saturday, July 9.NABC Community Dark, our English-style Dark Mild, received a Gold medal for Category 11 (English Brown Ale), while Bob's Old 15-B scored a Bronze in Category 12 (Porter).
Seeing as we entered only four beers, a 50% success rate seems reasonable enough. A complete list of the categories and winners can be found here.
It is instructive to note that in 2010, we entered a completely different lineup into the competition, selecting heavier hitters like Elector, Solidarity and Hoptimus, with barren results. This year, we decided to flip the wisdom, and chose the ones (for us, the few) beers corresponding to style definitions. Arguably, Community Dark and Bob's Old 15-B are the two most center-of-the-target beers we do, which would seem to be certified by the results on Saturday.To me, this means (a) the judges were spot on, and (b) I still prefer we not brew with an eye toward winning medals, even if both our winning beers are quite good. What good's a rule unless you can break it with impunity?
"All Bottled Up": What went up, will come down.
Artist Leticia Bajuyo was in attendance Saturday during the Bicentennial Art Walk, taking another opportunity to explain the themes in her "All Bottled Up" installation.Many people asked what was to become of the piece, and the short answer is this: It is to be dismantled.
While seemingly a fixture over in the corner of Bank Street Brewhouse's lot, "All Bottled Up" always was intended to be temporary. It will remain in place until October 28, 2011, when a party will be held to celebrate the sculpture's life and demise.
This autumnal observance will take the shape of a reverse recycling/decommissioning bash. The major structural components of "All Bottled Up" will be reused for other artistic works, and the bottles will be available for visitors to take away as souvenirs; remaining bottles will be recycled. There will be beer, food and music, and I intend to build a permanent collage of pieces and photos for us to remember the installation.
More Saturday city-wide arts day photos are at New Albanian Brewing Company's Facebook site, and don't forget that we're discussing Saturday's events at the NA Confidential FB site.
At NAC Facebook today: Discussion about Saturday's "city-wide" arts events.
Last week, I launched a Facebook site for NA Confidential. Many, perhaps even most, of readers use FB, and it strikes me as a more user-friendly portal for non-anonymous discussion. Content will be posted at Blogger and linked at FB. Please "like" the FB site when you're there. Here is today's discussion:With all that time to plan, why couldn't last Saturday's arts-related festivities in NA have been marketed with one clean overall theme? Outsiders told me that it was very confusing to them what was happening and why. What do we learn from this, if anything? Discuss.
Sunday, July 10, 2011
NAC's "Toxicity-Wide" levee lettering contest.
My friend M inquires: Should we rearrange the rocks to something more appropriate to the New Albany experience? There are no rewards for offering the winning answer, because I always forget to pay them.Saturday, July 09, 2011
Friday, July 08, 2011
Why not Hop-O when it's City-Wide?
It's all about downtown New Albany tomorrow, with seemingly a hundred arts events all happening at once, combining walks, murals, shops and music with eateries and pubs. It's looking like warm and clear weather, ideal for rambling and occcasional watering stops.
Saturday (July 9th), come downtown for the City Wide arts celebrations.
Given that I'll be joining artist Leticia Bajuyo at Bank Street Brewhouse from 5:00 p.m. through 10:00 p.m. for a reprise of our 2010 presentation of her "All Bottled Up" installation for the New Albany Bicentennial Art Project, it seemed appropriate for us to make the day's beer special Hop-O, at $3 per pint until the keg blows.
What better than historic Hop-O to recall the city's creative past?
Jared Williamson, who recently departed NABC for a job at Schlafly in St. Louis, formulated this fourth in NABC’s rotating seasonal series of historical "Revive-Ales" in 2010.
The others are Old Lightning Rod (Colonial Ale with molasses), Kaiser 2nd Reising (pre-Prohibition Pilsner) and Phoenix Kentucky Komon (Louisville-style, sour mash Common). Ironically, one of Jared's last official acts before packing was to brew this year's Phoenix.
Hop-O has a shady past. As required by law, it was a cereal beverage of less than 1% abv, produced by the Southern Indiana Brewing Company during the early years of Prohibition. However, the brewery subsequently was raided, shut down and the owner arrested in 1921 after federal agents determined the alcohol content to be well above 3%, nearer to the 3.5% determined by Jared as appropriate for today.
Fudging the numbers in New Albany?
Say it ain't so, Guido.
Deploying NABC’s California Comon lager yeast, Jared brewed Hop-O to be top-heavy in cereal adjuncts (oats, wheat, rye, corn syrup or maize, and a splash of honey malt), and used whole leaf hops for moderate bitterness and ample aromatics. The result for 2011 is a tasty, balanced "Southern Indiana Common," with the word "common" in these usages always implying an easy drinking, everyday beer of moderate strength.
Chefs Matt and Bernie report that on Saturday, the Bank Street kitchen will honor the spirit of a busy day by offering its new, expanded menu all day long without the customary afternoon break (12:00 Noon until 10:00 p.m.)
Also, cellarman deluxe Josh Hill will have Rosa L. Stumblebus, NABC's beer truck, at Schmitt "75 Years Young" Furniture (starting at 5:00 p.m.) to dispense Beak's and Tafel for the mural and music fete occurring there.
It's going to be a long and fun day, and we hope to see many readers downtown, ruminating happily about how none of this would have been possible just a few years ago.
Saturday (July 9th), come downtown for the City Wide arts celebrations.
Given that I'll be joining artist Leticia Bajuyo at Bank Street Brewhouse from 5:00 p.m. through 10:00 p.m. for a reprise of our 2010 presentation of her "All Bottled Up" installation for the New Albany Bicentennial Art Project, it seemed appropriate for us to make the day's beer special Hop-O, at $3 per pint until the keg blows.
What better than historic Hop-O to recall the city's creative past?
Jared Williamson, who recently departed NABC for a job at Schlafly in St. Louis, formulated this fourth in NABC’s rotating seasonal series of historical "Revive-Ales" in 2010.
The others are Old Lightning Rod (Colonial Ale with molasses), Kaiser 2nd Reising (pre-Prohibition Pilsner) and Phoenix Kentucky Komon (Louisville-style, sour mash Common). Ironically, one of Jared's last official acts before packing was to brew this year's Phoenix.
Hop-O has a shady past. As required by law, it was a cereal beverage of less than 1% abv, produced by the Southern Indiana Brewing Company during the early years of Prohibition. However, the brewery subsequently was raided, shut down and the owner arrested in 1921 after federal agents determined the alcohol content to be well above 3%, nearer to the 3.5% determined by Jared as appropriate for today.
Fudging the numbers in New Albany?
Say it ain't so, Guido.
Deploying NABC’s California Comon lager yeast, Jared brewed Hop-O to be top-heavy in cereal adjuncts (oats, wheat, rye, corn syrup or maize, and a splash of honey malt), and used whole leaf hops for moderate bitterness and ample aromatics. The result for 2011 is a tasty, balanced "Southern Indiana Common," with the word "common" in these usages always implying an easy drinking, everyday beer of moderate strength.
Chefs Matt and Bernie report that on Saturday, the Bank Street kitchen will honor the spirit of a busy day by offering its new, expanded menu all day long without the customary afternoon break (12:00 Noon until 10:00 p.m.)
Also, cellarman deluxe Josh Hill will have Rosa L. Stumblebus, NABC's beer truck, at Schmitt "75 Years Young" Furniture (starting at 5:00 p.m.) to dispense Beak's and Tafel for the mural and music fete occurring there.
It's going to be a long and fun day, and we hope to see many readers downtown, ruminating happily about how none of this would have been possible just a few years ago.
Man, that Prednisone really does keep you awake.
And I only threw the cat across the room twice before the sun rose.
Thursday, July 07, 2011
ON THE AVENUES: Vive le beercyclist!
ON THE AVENUES: Vive le beercyclist!By ROGER BAYLOR
Local Columnist
In a perfect and thus unattainable world, Bank Street Brewhouse’s opening hours would be precisely synchronized with European clocks and Tour de France starts, allowing me to begin most of my July mornings with espresso, baguettes, gnarly goat cheese and beer.
Unfortunately, the crowd would be small, so as in years past, I’ve asked bar staff to be aware of the race schedule for afternoon replays and highlights. We’ll show what we can, when we can. I’ve seen brief snippets of Le Tour in person on two occasions, in 2001 and 2004. Oddly, both glimpses came not in France, but in Belgium.
The first time was in Lo, a very small town, and the second in Liege, a very large city. Rural or cosmopolitan, the vibrations were identical, and verily, it’s a thrill to be in proximity of the festive atmosphere surrounding the Tour, watching people of all ages gather to view what can be the most fleeting of sporting seconds.
---
But first, an obligatory word from the Tour’s sponsors: The mechanized entourage preceding the cyclists’ arrival, equal parts dromedary and circus sideshow. Support vans for the various teams roll through at intervals, and there is no mistaking which corporation pays their freight.
Dozens of vehicles in all shapes and sizes belonging to various subsidiary sponsors dart past, leaving mounds of advertising paraphernalia strewn in their wake. When this colorful parade is over, there is a pause before sirens blast, bells toll, policemen noisily clear the street, and the actual cyclists finally make their appearances.
Consider the timing it requires to plan and execute this procession just ahead of the moving mass of cyclists!
Literally, riding on flat ground, the peloton can go past so incredibly quickly that if you yawn, you’ll miss it. Enterprising spectators then rush back to their cars (or bikes) to take pursuit, and perhaps choose another vantage point further down the road.
But in Lo, it struck me that residents of villages not graced with the Tour’s presence for many decades take a far more leisurely opportunity to make a day of it, first introducing their children and grandchildren to the event’s history, and then watching the pedal-by before returning to their homes for cocktail hour and the evening news.
---Although I’ve done little in 2011 to merit the description, I consider myself a casual, commuting bicyclist. My riding resumed in the late 1990’s after a long hiatus, beginning with a mountain bike for short jaunts only, then graduating to a hybrid – a heavier frame and wider tires.
Only the bicycle’s original frame itself hasn’t been replaced numerous times with replacement components, and I remain atop it today. It has traveled with me to Europe on at least four occasions for the pursuit of beercycling, or the discriminating art of doing just enough riding to justify the beers (and meals) that come afterward.
It is inexcusable hedonism at its finest, though not without informative sightseeing, hearty exercise and enriching camaraderie. If you can bike past a Belgian frites stand without stopping, you’re a better – and thinner – man than I.
In beercycling, one experiences the cityscape and countryside, just not at speeds customarily traveled by Tour de France riders. I weigh twice as much (or more) than most of them, and they climb mountains at the Pyrenees at the same rate I traverse the neutral terrain of Flanders. Their support teams are not at my disposal, although in the early days of the race, riders were compelled to carry everything they needed to make necessary repairs.
And, much as now, the Tour de France’s cyclists used to seek the assistance of performance enhancing substances. A poster on the wall at the Public House shows 1920’s era Tour participants on break, seated on the steps of a café, with admiring children clustered behind them watching intently as they hoisted big mugs of beer.
---
Last year, confined stateside, I read “Tour de France: The History, The Legend, The Riders.” It is the revised 2009 edition by Graeme Fife.
Fife, an English amateur cyclist, provides a workably chronological, if sometimes meandering, account of the race’s century-long history, as well as gritty descriptions of his own two-wheeled gonzo ascents of the particularly gruesome climbs expected of riders each year in the Alps and Pyrenees.
These climbs provide instruction as to why drugs of all conceivable types have always been taboo, as well as (arguably) indispensable elements of the Tour. Before the fame and riches, there came a race designed by its founder to be a superlative, supreme test in the annals of human endurance, something otherwise found only within the pages of a US Marine Corps training manual.
In fact, early Tour routes were calculated, lengthened, augmented and toughened according to their prime mover’s earnest (warped?) desire for the “perfect” Tour as one so abominably difficult that only a single rider would survive each year to approach the stand and claim victory.
Perhaps this is why I feel about the Tour de France much as I do about American baseball: Some sportsmen may well be cheating dopers, and I’ll waste no time defending their actions, preferring to gaze benignly past the ephemeral, toward the timeless and true essence of the sport itself, this being what matters the most to me.
Accordingly, my personal Tour de France moment was in 2006 in the Czech Republic. In one grueling day, my compatriot Kevin Richards and I rode roughly 125 late summer kilometers through ceaselessly hilly, gorgeous Bohemian countryside, fully laden with panniers, stopping exhausted just before dusk at a three-word, multi-syllabic town, renting a room, showering, and finally dining on beer, wine, duck, beef and more beer. These are the drugs of choice for the discerning beercyclist.
Vive la France! … and, long live Ceska Republika, too.
Saturday, come downtown for the City Wide arts celebrations, with shops, drinks, food and music.
If I were to expend the time and effort required to explain to you which entity was sponsoring a particular arts event in downtown New Albany this coming Saturday, there’d be no time left to drink beer as the day unfolds.
I merely thank all the folks making it possible, and leave it at that. Readers, park somewhere and aimlessly wander. With a handful of exceptions (look for the Arts Council pamphlets), most of the city-wide events are taking place in a relatively small area, bounded by Main Street (South), Vincennes Street (East), Spring St (North) and State Street (West).
All this was unthinkable just a few years ago. Unified press releases still are.
Saturday’s downtown festivities are not entirely confined to the arts. Yes, last year’s bicentennial art walk now is concurrent with this year’s bicentennial mural project (and other Arts Council offerings), but all of it is being packaged as the New Albany City Wide Celebration, with shops offerings specials and on-premise establishments encouraged to join in the merriment.
By any title, it will be a busy and artistic day, as evidenced by these links. Seriously, I've done my best to provide an overview.
Farmers Market
If you have not visited New Albany’s Farmers Market (corner of Bank and Market) in a while, consider doing so. While not yet in the class of the one operating for so long on Bardstown Road in Louisville, the organizers have labored mightily over a period of years to make improvements, and the fruition of their efforts truly has become evident in 2011. It's simply a great community vibe.
Bicentennial Public Art Project & Walk
Last year's temporary installations are still in place (they'll rotate out soon), and three new ones add to the total for this year's stroll. Leticia Bajuyo's All Bottled Up remains outside Bank Street Brewhouse, where we had one fine night with the Bicentennial Art walk last year.
Arts Council of Southern Indiana's two receptions
The first Arts Council reception is from noon to 5:00 p.m. at its Market Street headquarters: Beyond Borders, which focuses on butterflies and their meaning in art and writing. From 6:00 p.m. to 9:00 p.m., the action moves to the newly renovated United Gas and Electric Building at 138 E. Spring, also home of the Colokial shop (just around the corner from Bank Street Brewhouse).
The new venue there is being called the Resch Gallery, and there'll be two exhibits: Arts WORK, and “By the River’s Edge”, the latter featuring "local and state steamboat artifacts (as) part of the Rivers Institute at Hanover College’s celebration of the 200th anniversary of the first steamboat trip through the Ohio and Mississippi rivers."
Schmitt Furniture Community Mural Fellowship
In essence, Schmitt Furniture is marking its 75th anniversary by teaming with the Arts Council to place a large mural on its building (corner of State and Main). The mural, to be painted by the legendary Dave Thrasher, will be on the alley side, next to a parking lot that will serve as the site of Saturday's celebration. The intrepid Josh Hill will have NABC's Rosa L. Stumblebus beer truck on hand for the party, which will have live music and run from 5:00 p.m. to 10:00 p.m.
Apologies for any omissions. As I said, just come downtown for the city-wide show, park, walk and enjoy.
I merely thank all the folks making it possible, and leave it at that. Readers, park somewhere and aimlessly wander. With a handful of exceptions (look for the Arts Council pamphlets), most of the city-wide events are taking place in a relatively small area, bounded by Main Street (South), Vincennes Street (East), Spring St (North) and State Street (West).
All this was unthinkable just a few years ago. Unified press releases still are.
Saturday’s downtown festivities are not entirely confined to the arts. Yes, last year’s bicentennial art walk now is concurrent with this year’s bicentennial mural project (and other Arts Council offerings), but all of it is being packaged as the New Albany City Wide Celebration, with shops offerings specials and on-premise establishments encouraged to join in the merriment.
By any title, it will be a busy and artistic day, as evidenced by these links. Seriously, I've done my best to provide an overview.
Farmers Market
If you have not visited New Albany’s Farmers Market (corner of Bank and Market) in a while, consider doing so. While not yet in the class of the one operating for so long on Bardstown Road in Louisville, the organizers have labored mightily over a period of years to make improvements, and the fruition of their efforts truly has become evident in 2011. It's simply a great community vibe.
Bicentennial Public Art Project & Walk
Last year's temporary installations are still in place (they'll rotate out soon), and three new ones add to the total for this year's stroll. Leticia Bajuyo's All Bottled Up remains outside Bank Street Brewhouse, where we had one fine night with the Bicentennial Art walk last year.
Arts Council of Southern Indiana's two receptions
The first Arts Council reception is from noon to 5:00 p.m. at its Market Street headquarters: Beyond Borders, which focuses on butterflies and their meaning in art and writing. From 6:00 p.m. to 9:00 p.m., the action moves to the newly renovated United Gas and Electric Building at 138 E. Spring, also home of the Colokial shop (just around the corner from Bank Street Brewhouse).
The new venue there is being called the Resch Gallery, and there'll be two exhibits: Arts WORK, and “By the River’s Edge”, the latter featuring "local and state steamboat artifacts (as) part of the Rivers Institute at Hanover College’s celebration of the 200th anniversary of the first steamboat trip through the Ohio and Mississippi rivers."
Schmitt Furniture Community Mural Fellowship
In essence, Schmitt Furniture is marking its 75th anniversary by teaming with the Arts Council to place a large mural on its building (corner of State and Main). The mural, to be painted by the legendary Dave Thrasher, will be on the alley side, next to a parking lot that will serve as the site of Saturday's celebration. The intrepid Josh Hill will have NABC's Rosa L. Stumblebus beer truck on hand for the party, which will have live music and run from 5:00 p.m. to 10:00 p.m.
Apologies for any omissions. As I said, just come downtown for the city-wide show, park, walk and enjoy.
No 2 Bridge Tolls: "Countdown to Silence: July 13th Deadline to Voice Opposition to Tolls."
We've given Vaughan Scott his say, and now it is Paul Fetter's turn. Paul speaks on behalf of www.No2BridgeTolls.org, which represents those small, independent local businesses in Southern Indiana -- the ones that bridges project proponents such as Spencer "Gohmann Asphalt" Coe recently has intemperately threatened with boycotts: At long last, an oligarch's toady who is honest in his vituperation.
You know what NAC thinks, and has been saying all along: No Tolls, period. Please take Paul's advice and tell it (in many cases, tell it again) to the officials who'll be ruling on your future. Thanks.
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Last Chance for Your Voice to Be Heard: July 13th Deadline--Act Now!
Dear "No Tolls" Supporter:
This is your chance to be heard by officials who will be making the decisions to toll the Ohio River Bridges, specifically I-65. Tell them in your own words how tolls will negatively impact you, your family, friends, and business owners. And please share this email with all your family, friends and associates who will be impacted by tolls.
Time is running out! To help you with your comments, we have prepared two suggested letters that you can personalize so your voice is heard. Following these letters are some bullet points you may wish to include. Be sure to tell them how tolls will impact you, your family, friends, and the community.
Follow this link to express your opposition to tolls before July 13, 2011!
Template letter A (personalize to your unique situation): I support improving the infrastructure. Spending more than we have is why America is in financial trouble. Build what we can afford and start with the East End Bridge. Do not finance with tolls!
Tolling will be a new "Hoosier tax" (cost of being a Hoosier) in this river city community. Southern Indiana is part of the complete Louisville Metro Area, representing about 1/8 of the population, yet absorbing 80% of the tolling. Tolls will have a disproportionate impact on Southern Indiana as 40,000 Hoosiers commute to Louisville on a daily basis. Almost all Hoosiers have to travel to Louisville, very few Kentuckians have to travel to Indiana. This will take $50 million a year out of our Southern Indiana economy annually in tolls alone.
Template letter B (personalize to your unique situation): I am opposed to tolls on the I-65 Corridor. I believe we should build what we can afford with the $1.9 Billion we have and start with the East End Bridge. My family and I cross the river daily and tolling, even at the target rate, will impact what we have to spend in the community. These dollars will leave the area and my family will suffer. I also believe that target toll rates will increase every year adding to the burden on my family.
On behalf of my family, I am urging you to find a means to improve the infrastructure without tolls. Many people have worked tirelessly for decades to unite the communities on both sides of the river. Tolls will divide us for the next 50 years.
Here are some additional points you might want to include in your letter:
I am not opposed to improving the infrastructure
Tolls are bad for the community on both sides of the river
Tolls will have a disproportionate impact on Southern Indiana as 40,000 Hoosiers commute to Louisville on a daily basis; almost all Hoosiers have to travel to Louisville, which is likely to take $50 million a year out of our Southern Indiana economy. Tolling will be a new "Hoosier tax" (cost of being a Hoosier) in this river city community. Southern Indiana is part of the complete Louisville Metro Area, representing about 1/8 of the population, yet absorbing 80% of the tolling expense. This is extremely disproportionate!
Tolls will take millions out of the Kentuckiana economy every year
Even a target rate toll of $1 will mean a 4% tax on a single mom earning $15,000/yr in her job across the river (relate this to a student, family member or friend you may know)
Tolls on the I-65 bridge will be a tax on Hoosiers who drive to Louisville daily for work, school, spiritual enlightenment, medical, and entertainment
Businesses on both sides of the river will suffer
Indiana retail and tourism businesses will be significantly impacted, loosing significant revenue from Kentucky consumers, and from local shoppers which have been impacted with a "new tax"
Target toll rates will increase every year
Build what we can afford now; don't over finance this community
The Kennedy Bridge traffic is more than was originally intended but is actually down since 2003. Source: http://transportation.ky.gov/planning/data/cts/cts.asp
Bridges are not the bottleneck to our traffic problems: I-65 cannot be widened because of the bottleneck at "hospital curve" in Louisville and I-64 has the Cochran Hill Tunnel bottleneck. Neither of these issues is addressed by building another downtown bridge.
Businesses will pay a higher toll rate for commercial vehicles....many of these businesses have multiple vehicles that cross the bridges multiple times a day.
There is no transparency of what this will cost businesses in Kentuckiana
I urge elected and appointed officials to find a reasonable means to improve
infrastructure without tolls.
Tolls on the I-65/Kennedy bridges system will have a very negative impact on this region, dividing our river city community.
You know what NAC thinks, and has been saying all along: No Tolls, period. Please take Paul's advice and tell it (in many cases, tell it again) to the officials who'll be ruling on your future. Thanks.
---
Last Chance for Your Voice to Be Heard: July 13th Deadline--Act Now!
Dear "No Tolls" Supporter:
This is your chance to be heard by officials who will be making the decisions to toll the Ohio River Bridges, specifically I-65. Tell them in your own words how tolls will negatively impact you, your family, friends, and business owners. And please share this email with all your family, friends and associates who will be impacted by tolls.
Time is running out! To help you with your comments, we have prepared two suggested letters that you can personalize so your voice is heard. Following these letters are some bullet points you may wish to include. Be sure to tell them how tolls will impact you, your family, friends, and the community.
Follow this link to express your opposition to tolls before July 13, 2011!
Template letter A (personalize to your unique situation): I support improving the infrastructure. Spending more than we have is why America is in financial trouble. Build what we can afford and start with the East End Bridge. Do not finance with tolls!
Tolling will be a new "Hoosier tax" (cost of being a Hoosier) in this river city community. Southern Indiana is part of the complete Louisville Metro Area, representing about 1/8 of the population, yet absorbing 80% of the tolling. Tolls will have a disproportionate impact on Southern Indiana as 40,000 Hoosiers commute to Louisville on a daily basis. Almost all Hoosiers have to travel to Louisville, very few Kentuckians have to travel to Indiana. This will take $50 million a year out of our Southern Indiana economy annually in tolls alone.
Template letter B (personalize to your unique situation): I am opposed to tolls on the I-65 Corridor. I believe we should build what we can afford with the $1.9 Billion we have and start with the East End Bridge. My family and I cross the river daily and tolling, even at the target rate, will impact what we have to spend in the community. These dollars will leave the area and my family will suffer. I also believe that target toll rates will increase every year adding to the burden on my family.
On behalf of my family, I am urging you to find a means to improve the infrastructure without tolls. Many people have worked tirelessly for decades to unite the communities on both sides of the river. Tolls will divide us for the next 50 years.
Here are some additional points you might want to include in your letter:
I am not opposed to improving the infrastructure
Tolls are bad for the community on both sides of the river
Tolls will have a disproportionate impact on Southern Indiana as 40,000 Hoosiers commute to Louisville on a daily basis; almost all Hoosiers have to travel to Louisville, which is likely to take $50 million a year out of our Southern Indiana economy. Tolling will be a new "Hoosier tax" (cost of being a Hoosier) in this river city community. Southern Indiana is part of the complete Louisville Metro Area, representing about 1/8 of the population, yet absorbing 80% of the tolling expense. This is extremely disproportionate!
Tolls will take millions out of the Kentuckiana economy every year
Even a target rate toll of $1 will mean a 4% tax on a single mom earning $15,000/yr in her job across the river (relate this to a student, family member or friend you may know)
Tolls on the I-65 bridge will be a tax on Hoosiers who drive to Louisville daily for work, school, spiritual enlightenment, medical, and entertainment
Businesses on both sides of the river will suffer
Indiana retail and tourism businesses will be significantly impacted, loosing significant revenue from Kentucky consumers, and from local shoppers which have been impacted with a "new tax"
Target toll rates will increase every year
Build what we can afford now; don't over finance this community
The Kennedy Bridge traffic is more than was originally intended but is actually down since 2003. Source: http://transportation.ky.gov/planning/data/cts/cts.asp
Bridges are not the bottleneck to our traffic problems: I-65 cannot be widened because of the bottleneck at "hospital curve" in Louisville and I-64 has the Cochran Hill Tunnel bottleneck. Neither of these issues is addressed by building another downtown bridge.
Businesses will pay a higher toll rate for commercial vehicles....many of these businesses have multiple vehicles that cross the bridges multiple times a day.
There is no transparency of what this will cost businesses in Kentuckiana
I urge elected and appointed officials to find a reasonable means to improve
infrastructure without tolls.
Tolls on the I-65/Kennedy bridges system will have a very negative impact on this region, dividing our river city community.
Sans editorial comment, Vaughan Scott now presents to you, "Buildin' Bridges with Benny Breeze."
Quick link, followed below by Vaughan Scott's introduction.
---
I have been asked numerous times over the last several months why I decided to ask three talented young artists in their mid-twenties to make a film about the Ohio River Bridges Project (ORBP) and why they chose to use a less traditional, less conventional approach to disseminate factual information. As we release the short film today, I hope this email will be helpful in answering many of these questions.
On April 15, 2011 when I had the first meeting with the Writer/Directors of this film, I felt that there was an incredible void of credible information on the ORBP. In my opinion, nothing of real value had made its way to Boardrooms or onto the streets, yet the discussions were swirling and frustrations were rising. I believed that, regardless of where people stood on this issue, facts about the ORBP were needed to insure that productive public discourse could ensue and these facts were needed quickly – too many discussions everywhere seemed to revolve around rumors, speculation and innuendo.
Some of the reasons I called these particular artists include:
· I knew they were incredibly talented film makers
· I knew they would take the time to do their homework and they would responsibly convey facts as they saw them in their own way
· Because they had an unconventional style, I believed they would reach a completely different audience than other more traditional “Pro Project” voices and methods would.
· They were good people who I believed would really want to help our Region move forward together
· They would not put anything into the film that they did not believe in whole-heartedly
· They would inject humor into a debate that has not been much fun at all for anyone
Important new audiences for ORBP information included:
1. People who don’t watch TV or read the newspaper
2. People who don’t participate in “Board Meetings” of any kind regularly
3. People too busy to dig into the reams of data that now exist on the ORBP
4. People like me who never considered themselves a politico and who had not weighed in on important issues publicly
5. Young people of all socio-economic levels who have a real stake in the future of this Region
Ironically, due to the unconventional approach and the desire to reach a new audience, the rumors, speculation and innuendos that swirled around the Ohio River Bridges Project (ORBP) seemed to find their way to discussions about the film. The FACT is that, with the exception of Gabe Bullard at WFPL, not a single author of any story, article or blog post had actually seen the film before writing about it. Needless to say, any perceptions I had about the lack of credibility in “fair and balanced reporting” on the part of some media outlets today have only been confirmed.
I believe that anyone who attended the Public Meeting at the Holiday Inn Hurstbourne last Tuesday and heard Chris Saunders aka “Benny Breeze” and Kyle Crews, Writer/Director speak, heard something completely different than the media had reported and that their detractors had espoused to be the gospel. I believe everyone in the room heard bright, articulate, young people who are passionate about making films and who are passionate about seeing the shovels hit the dirt on the Ohio River Bridges Project (ORBP) because they want a brighter future for themselves and for others.
Many Thanks!
I do want to say thank you so very much to my good friend Robert Eichenberger and the other members of his team at Middleton Reutlinger who have been incredibly generous and gracious with their valuable time in helping these fine young men dot their i’s and cross their t’s.
Many thanks also to Chief Rick Sanders and Major Ken Hatmaker with the Jeffersontown Police Department for their presence in and around our tent outside the Public Meeting that took place at the Holiday Inn Hurstbourne on June 28th.
Many thanks to all who came out to see the film at the BIP Sessions at Spalding University and Ivy Tech and to our tents at the Public Meetings on June 27th and 28th – your feedback was invaluable in making the film what it is today.
Most importantly, I want to say thank you to everyone who worked on this short film and to many others who have helped to make sure that anything that I published personally was vetted properly. Last, but certainly not least, thank you to so many of you who have showed unwavering support to the filmmakers and to me, even in the face of adversity and harsh criticisms, I will never forget it and I will always appreciate it!
In the words of Winston Churchill, “This is not the end, it is not even the beginning of the end, but it is perhaps, the end of the beginning.” And, without further delay, you can see the film and judge for yourself…Please visit www.b4bridges.com. There are links on the website that make it easy for you to share the film with friends and family members and don’t forget to find Benny Breeze on Facebook.com and become a Friend of Benny’s.
Many, many thanks and best regards!
Vaughan
P.S. As a further testament to the character of these young men and in spite of the abuse these fine young artists have endured at the hands of several members of the local media, here is the message Kyle Crews has been sending to every local media outlet in this Region this morning:
http://www.youtube.com/watch?v=Vb1w3RqfHJY&feature=channel_video_title
---
I have been asked numerous times over the last several months why I decided to ask three talented young artists in their mid-twenties to make a film about the Ohio River Bridges Project (ORBP) and why they chose to use a less traditional, less conventional approach to disseminate factual information. As we release the short film today, I hope this email will be helpful in answering many of these questions.
On April 15, 2011 when I had the first meeting with the Writer/Directors of this film, I felt that there was an incredible void of credible information on the ORBP. In my opinion, nothing of real value had made its way to Boardrooms or onto the streets, yet the discussions were swirling and frustrations were rising. I believed that, regardless of where people stood on this issue, facts about the ORBP were needed to insure that productive public discourse could ensue and these facts were needed quickly – too many discussions everywhere seemed to revolve around rumors, speculation and innuendo.
Some of the reasons I called these particular artists include:
· I knew they were incredibly talented film makers
· I knew they would take the time to do their homework and they would responsibly convey facts as they saw them in their own way
· Because they had an unconventional style, I believed they would reach a completely different audience than other more traditional “Pro Project” voices and methods would.
· They were good people who I believed would really want to help our Region move forward together
· They would not put anything into the film that they did not believe in whole-heartedly
· They would inject humor into a debate that has not been much fun at all for anyone
Important new audiences for ORBP information included:
1. People who don’t watch TV or read the newspaper
2. People who don’t participate in “Board Meetings” of any kind regularly
3. People too busy to dig into the reams of data that now exist on the ORBP
4. People like me who never considered themselves a politico and who had not weighed in on important issues publicly
5. Young people of all socio-economic levels who have a real stake in the future of this Region
Ironically, due to the unconventional approach and the desire to reach a new audience, the rumors, speculation and innuendos that swirled around the Ohio River Bridges Project (ORBP) seemed to find their way to discussions about the film. The FACT is that, with the exception of Gabe Bullard at WFPL, not a single author of any story, article or blog post had actually seen the film before writing about it. Needless to say, any perceptions I had about the lack of credibility in “fair and balanced reporting” on the part of some media outlets today have only been confirmed.
I believe that anyone who attended the Public Meeting at the Holiday Inn Hurstbourne last Tuesday and heard Chris Saunders aka “Benny Breeze” and Kyle Crews, Writer/Director speak, heard something completely different than the media had reported and that their detractors had espoused to be the gospel. I believe everyone in the room heard bright, articulate, young people who are passionate about making films and who are passionate about seeing the shovels hit the dirt on the Ohio River Bridges Project (ORBP) because they want a brighter future for themselves and for others.
Many Thanks!
I do want to say thank you so very much to my good friend Robert Eichenberger and the other members of his team at Middleton Reutlinger who have been incredibly generous and gracious with their valuable time in helping these fine young men dot their i’s and cross their t’s.
Many thanks also to Chief Rick Sanders and Major Ken Hatmaker with the Jeffersontown Police Department for their presence in and around our tent outside the Public Meeting that took place at the Holiday Inn Hurstbourne on June 28th.
Many thanks to all who came out to see the film at the BIP Sessions at Spalding University and Ivy Tech and to our tents at the Public Meetings on June 27th and 28th – your feedback was invaluable in making the film what it is today.
Most importantly, I want to say thank you to everyone who worked on this short film and to many others who have helped to make sure that anything that I published personally was vetted properly. Last, but certainly not least, thank you to so many of you who have showed unwavering support to the filmmakers and to me, even in the face of adversity and harsh criticisms, I will never forget it and I will always appreciate it!
In the words of Winston Churchill, “This is not the end, it is not even the beginning of the end, but it is perhaps, the end of the beginning.” And, without further delay, you can see the film and judge for yourself…Please visit www.b4bridges.com. There are links on the website that make it easy for you to share the film with friends and family members and don’t forget to find Benny Breeze on Facebook.com and become a Friend of Benny’s.
Many, many thanks and best regards!
Vaughan
P.S. As a further testament to the character of these young men and in spite of the abuse these fine young artists have endured at the hands of several members of the local media, here is the message Kyle Crews has been sending to every local media outlet in this Region this morning:
I've been attacking the media outlets, emailing everyone at the CJ, WDRB, WAVE3, and a few select people at WLKY and WHAS. Here is the general template I've been sending:Without further ado....I now present to you, "Buildin' Bridges with Benny Breeze"
Good members of the press, I would like to personally invite you to watch our short film "Buildin' Bridges with Benny Breeze." There has been much controversy and speculation about this movie and most of it couldn't be further from the truth. This is a movie based in fact and in favor of the proposed Ohio River Bridges Project. Our team is in support of the two proposed bridges mainly because of traffic and safety concerns but if you hold different viewpoints we respect them as well. Our main intentions were to further public discussion and educate people who would normally be absent from the debate. If you disagree with us we hope you at least find our film entertaining. Our approach may turn some away because it is unconventional but we believe public discourse can be entertaining and informative at the same time.
http://www.youtube.com/watch?v=Vb1w3RqfHJY&feature=channel_video_title
Wednesday, July 06, 2011
At long last, an oligarch's toady who is honest in his vituperation.
All the digging credit goes to Curt Morrison and his Louisville Courant blog for uncovering these delicious gems of wisdom from Spencer Coe, Vice President at Gohmann "We Fought the Guvmint, and the Guvmint Won" Asphalt, which of course stands to reap vast and mind-boggling profits from various components of the bridges boondoggle.
Has he?
Have they?
Has anyone?
As for Spencer Coe, I'm sure he well understands the potential economic impact on Gohmann Asphalt if the company were to be frozen out of the bidding process for those huge infrastructure projects that constitute its bottom-line bread and butter. Alas, his boycott threat is hollow; Coe suggests "the same for all ORBP supporters," but since statistically, there are a few dozen such supporters at most scattered throughout the metro area, I'm not exactly set aquiver at the prospect of self-immolation on the Public House lawn.
Sadly and predictably, what Coe and other Ohio River Bridges Project proponents cannot seem to fathom, dazzled as they are by Ayn Rand's erotic attraction to steel, concrete, asphalt, and moreover, the velvety feel of crisp green slices paper pressed into one's hand in a One Southern Indiana conference room toilet stall, is that those of us down here in muddy bottom lands, rooting around for stray trickle-backs from the oligarchs, clearly see the economic impact of tolling because we live it, every single day.
We know that an economic impact study would amply illustrate tolling's obvious harm to small business in Southern Indiana, to our working commuters who must travel to Louisville and back, and to those Hoosiers least able to afford tolls, period.
At the same December meeting as my chat with Finn, David Nicklies wagged his finger at me and said that everyone must sacrifice to make possible the saving grace of the ORBP. What I asked him, and what I've continued to ask, is this: Why must residents of Southern Indiana sacrifice far more for less benefit?
It is a question that remains unanswered by Hoosier bridges fetishists, Spencer Coe now prominent among them.
Indiana businesses boycotted by VP of crooked contractorHere's a Coe defense of his kneejerk boycott notion, which appeared as a comment at Louisville Courant.
Spencer B. Coe, the Vice President of Gohmann Asphalt, through comments on a Business First poll on the Bridges Project, has launched a boycott against toll opponents. Specifically, he's named businesses like Buckhead's, Rocky's, Clark County Auto Auction, that he believes he can do without.
I stand by my position, those who support the ORBP should not support the businesses of those who do not. I can choose where to spend my money and it will not be with businesses that actively oppose investment in the future of our region, I suggest the same for all ORBP supporters.In the same comment thread, NA Confidential's Jeff Gillenwater answered.
If that's how Coe wants to play, then play.In an earlier comment at Facebook, Coe widened the geographic scope to include our own charming New Albany.
What that means, of course, is that an overwhelming majority of people in the region would not do business with Gohmann Asphalt, including hundreds of area businesses and all the local governments who have issued statements, signed petitions, and/or passed resolutions against current ORBP plans.
Gohmann competes for local contracts worth hundreds of thousands in New Albany alone. Removing them from the bid list, though, is no problem if that's how their VP wants to handle it.
Please someone tell me how this will adversely affect Southern Indiana? Smooth flowing traffic on I 65 will adversely impact downtown New Albany and Grant Line Road businesses? The inability of some in Southern Indiana to see outside their "back yard" is frightening!Impact? I'm glad he brought up that word, which has become a favorite of mine. I took a slightly softer approach in answering.
Spencer, what you might do is stand in my shoes for just a moment. As operator of a small independent retail business that does not derive governmental income for massive construction projects, but rather must convince diners/drinkers/shoppers to come to Indiana from Louisville to spend their discretionary income, I know how very hard it is to do just that. They don't have to come here; I must convince them. Charge them a fee to do it, and for many, game over. Until you and other toll proponents truly GET this reality, we'll continue being at odds.Which reminds me, it is now 205 days since Jerry Finn of the Bridges Authority, in a conversation with me at the Muhammad Ali Center, conceded that no economic impact study on the effects of tolling on Southern Indiana small businesses had been done or even contemplated, but that he would henceforth urge such a study: Tolling Authority "input" session utterly without the redeeming presence of strong liquor.
Has he?
Have they?
Has anyone?
As for Spencer Coe, I'm sure he well understands the potential economic impact on Gohmann Asphalt if the company were to be frozen out of the bidding process for those huge infrastructure projects that constitute its bottom-line bread and butter. Alas, his boycott threat is hollow; Coe suggests "the same for all ORBP supporters," but since statistically, there are a few dozen such supporters at most scattered throughout the metro area, I'm not exactly set aquiver at the prospect of self-immolation on the Public House lawn.
Sadly and predictably, what Coe and other Ohio River Bridges Project proponents cannot seem to fathom, dazzled as they are by Ayn Rand's erotic attraction to steel, concrete, asphalt, and moreover, the velvety feel of crisp green slices paper pressed into one's hand in a One Southern Indiana conference room toilet stall, is that those of us down here in muddy bottom lands, rooting around for stray trickle-backs from the oligarchs, clearly see the economic impact of tolling because we live it, every single day.
We know that an economic impact study would amply illustrate tolling's obvious harm to small business in Southern Indiana, to our working commuters who must travel to Louisville and back, and to those Hoosiers least able to afford tolls, period.
At the same December meeting as my chat with Finn, David Nicklies wagged his finger at me and said that everyone must sacrifice to make possible the saving grace of the ORBP. What I asked him, and what I've continued to ask, is this: Why must residents of Southern Indiana sacrifice far more for less benefit?
It is a question that remains unanswered by Hoosier bridges fetishists, Spencer Coe now prominent among them.
NAC is now on Facebook.
Over the holiday weekend, I raised the flag for NAC on Facebook. The link is http://www.facebook.com/NAConfidential.
Original material still will be posted here at the blogspot. My hunch is that once blog readers on FB get settled in, wider ranging discussions might be possible there as opposed to here. Also, at Facebook (as with Twitter), spontaneous conversation is far more likely.
Readers, pleae help me get the word out, and we'll see where it goes. Thanks.
Original material still will be posted here at the blogspot. My hunch is that once blog readers on FB get settled in, wider ranging discussions might be possible there as opposed to here. Also, at Facebook (as with Twitter), spontaneous conversation is far more likely.
Readers, pleae help me get the word out, and we'll see where it goes. Thanks.
Tuesday, July 05, 2011
The Clere Channel spins out. Again.
In his most recent News and Tribune column, State Representative Ed Clere attempts to provide himself political cover for supporting House Enrolled Act 1210, the plan to defund Planned Parenthood via a change to state Medicaid restrictions. As is often the case, Clere admonishes that "we should stay focused on facts" but then only includes a small, cherry-picked sample of them in an attempt to obfuscate rather than educate.
Clere points out that Planned Parenthood in Floyd County receives only $673 a month in Medicaid funding while other clinics providing Medicaid services here receive a comparatively much larger monthly average of $17,130. Via this incomplete logic, we're supposed to believe that defunding Planned Parenthood is of little consequence to Floyd County or the state.
What he conveniently fails to mention, though, is that HEA 1210 puts Indiana at odds with federal Medicaid funding law. As explained in a letter from Center for Medicare and Medicaid Services Administrator Donald Berwick to state officials, as a condition of receiving federal Medicaid funding, "Medicaid programs may not exclude qualified health care providers from providing services that are funded under the program because of the provider's scope of practice...Therefore, we cannot determine that the proposed amendment complies with section 1902(a)(23) of the [Social Security] Act." In other words, non-compliance with federal law could put the entirety of Indiana's federal Medicaid funding at risk.
It is no surprise to legislators like Clere that this is the case. In an April, 2011, Fiscal Impact Statement (PDF), Indiana's Legislative Services Agency informed the legislature that "The Family and Social Services Administration (FSSA) reports that federal law requires state Medicaid plans provide any eligible individual medical assistance and that they can obtain such assistance from any institution, agency, community pharmacy, or person, qualified to perform the service(s) required. This also includes an organization which provides such services, or arranges for their availability, on a prepayment basis. Federal law permits states to define a qualified provider, but requires that this definition is related to a provider’s ability to perform a service and not what services are provided." Further, the LSA predicted the bill would have no fiscal impact on Indiana precisely because federal law would prohibit its implementation.
In 2010, Indiana's federal Medicaid funding amounted to approximately $4.3 billion, roughly two-thirds of the state's $5.9 billion Medicaid budget. The fact is, an overwhelming majority of the state's Medicaid funding has been jeopardized by Clere and other legislators well aware of the risk, not just six or seven hundred dollars a month for Floyd County's Planned Parenthood clinic as Clere's column suggests. If their obstinacy persists, the result could be a drastic cut to service access in Floyd and other counties as federal Medicaid funding would disappear. To use Clere's example, Floyd County's approximate $18,000 per month average, cut by two-thirds, would be reduced to about $6,000 total, a situation replicated all over the state in larger, more populous counties.
So, indeed, let's "stay focused on facts", but all of them.
Clere points out that Planned Parenthood in Floyd County receives only $673 a month in Medicaid funding while other clinics providing Medicaid services here receive a comparatively much larger monthly average of $17,130. Via this incomplete logic, we're supposed to believe that defunding Planned Parenthood is of little consequence to Floyd County or the state.
What he conveniently fails to mention, though, is that HEA 1210 puts Indiana at odds with federal Medicaid funding law. As explained in a letter from Center for Medicare and Medicaid Services Administrator Donald Berwick to state officials, as a condition of receiving federal Medicaid funding, "Medicaid programs may not exclude qualified health care providers from providing services that are funded under the program because of the provider's scope of practice...Therefore, we cannot determine that the proposed amendment complies with section 1902(a)(23) of the [Social Security] Act." In other words, non-compliance with federal law could put the entirety of Indiana's federal Medicaid funding at risk.
It is no surprise to legislators like Clere that this is the case. In an April, 2011, Fiscal Impact Statement (PDF), Indiana's Legislative Services Agency informed the legislature that "The Family and Social Services Administration (FSSA) reports that federal law requires state Medicaid plans provide any eligible individual medical assistance and that they can obtain such assistance from any institution, agency, community pharmacy, or person, qualified to perform the service(s) required. This also includes an organization which provides such services, or arranges for their availability, on a prepayment basis. Federal law permits states to define a qualified provider, but requires that this definition is related to a provider’s ability to perform a service and not what services are provided." Further, the LSA predicted the bill would have no fiscal impact on Indiana precisely because federal law would prohibit its implementation.
In 2010, Indiana's federal Medicaid funding amounted to approximately $4.3 billion, roughly two-thirds of the state's $5.9 billion Medicaid budget. The fact is, an overwhelming majority of the state's Medicaid funding has been jeopardized by Clere and other legislators well aware of the risk, not just six or seven hundred dollars a month for Floyd County's Planned Parenthood clinic as Clere's column suggests. If their obstinacy persists, the result could be a drastic cut to service access in Floyd and other counties as federal Medicaid funding would disappear. To use Clere's example, Floyd County's approximate $18,000 per month average, cut by two-thirds, would be reduced to about $6,000 total, a situation replicated all over the state in larger, more populous counties.
So, indeed, let's "stay focused on facts", but all of them.
"Celebrate National Independents" at Wick's with New Albany First, tonight.
Andy Terrell, director of New Albany First, contributed this timely reminder to the newspaper. If you missed it last week, be sure to read, Andy's Book Review: "Locavesting: The Revolution in Local Investing and How to Profit From It." ---
News and Tribune letters: July 5, 2011
SOUTHERN INDIANA — Writer: Go local
Friday, July 1, marked the beginning of “Celebrate National Independents” week and we at New Albany First! encourage residents of New Albany to help us celebrate our own locally-owned, independent businesses. Study after study has shown the benefits of having and supporting locally-owned, independent businesses. The owners of these businesses have strong ties to our community and they need our support. The phrase “You vote with dollars” takes on special significance when we’re talking about independent businesses. You, the customer, have the power to decide if our local businesses survive.
It’s that important.
New Albany First! would like to challenge and encourage you to do two things between July 1 and July 7. First, stop in and patronize some of these businesses located all over the city of New Albany. Second, take a moment to thank them for locating in New Albany and for adding their talents and knowledge to the rich fabric of our community. Oftentimes, a simple thank you goes a long way.
The mission of New Albany First! is to make the public aware of these businesses and to the benefits of supporting them. To that end, we invite both local, independent business owners and individuals interested in supporting our efforts to come to Wick’s Pizza tonight between 6 and 8 p.m. to help us celebrate New Albany’s independents! Stand with us as we stand with our locally-owned, independent businesses. We believe in them and in New Albany. Please make sure that you show them you stand with them too.
On behalf of the Board of Directors for New Albany First!, let me be among the first of many in saying “Thank You” to our independent businesses. We appreciate you!
Andy Terrell
Director, New Albany First!
Monday, July 04, 2011
Trust, verification and whether we'll see an economic impact study on tolling.
Yes, it's true: I was prodding. Curt seems always to notice such behavior ...
Several of us were briefly acquainted with Vaughan Scott some years ago, when he did a productive turn as Bluegrass Brewing Company's general manager. A few lifetimes later, he's the new 1Si chair, I'm a habitual provocateur, and we're trying to work through what might politely be termed habitat issues (his and mine are not exactly the same, although not completely different, either) as part of a conversation about Russian and Soviet history, leadership, reform and the topic of mobility solutions.
Several of us were briefly acquainted with Vaughan Scott some years ago, when he did a productive turn as Bluegrass Brewing Company's general manager. A few lifetimes later, he's the new 1Si chair, I'm a habitual provocateur, and we're trying to work through what might politely be termed habitat issues (his and mine are not exactly the same, although not completely different, either) as part of a conversation about Russian and Soviet history, leadership, reform and the topic of mobility solutions.
Mayor Fischer lobbying River Fields? /Economic impact study on tolling?, at Louisville Courant.
... And the 2nd drama I noticed unfolding today, on twitter no less, is also Ohio River Bridges Project-related. The incoming One Southern Indiana Chair, Vaughan Scott has expressed, at Roger Baylor's (@newalbanian) prodding, that he's calling for an "economic impact study" on how tolls will effect our regional economy. This study, if commissioned soon, would not hold up the project, but could be completed while we await the results of the environmental study currently underway:
Evansville remembers the filming of "A League of Their Own."
It is pleasingly ironic that in the same year (2011) NABC began serving beer for Dubois County Bombers collegiate league baseball games held in Huntingburg's League Stadium, which was built as a set for the movie "A League of Their Own," the film's 20th anniversary is being marked.
Evansville extras, workers recall 'A League of Their Own', by Thomas B. Langhorne.
When Bombers management contacted us earlier this spring, I confess to having no recollection of Huntingburg's part in filming. What I remembered was the use of Bosse Field in Evansville, as Langhorne's news article describes.
My other memory of the time: Madonna's petulence at being stuck in Evansville, as recalled by the writer:
It may be the only recorded instance of a comparison between Evansville and Prague, and if I were the Indiana city, I'd use it. Prague's reaction is unknown.
Evansville extras, workers recall 'A League of Their Own', by Thomas B. Langhorne.
When Bombers management contacted us earlier this spring, I confess to having no recollection of Huntingburg's part in filming. What I remembered was the use of Bosse Field in Evansville, as Langhorne's news article describes.
My other memory of the time: Madonna's petulence at being stuck in Evansville, as recalled by the writer:
Not even Madonna's later criticisms of Evansville — she told TV Guide she “may as well have been in Prague” — could dim the afterglow.
It may be the only recorded instance of a comparison between Evansville and Prague, and if I were the Indiana city, I'd use it. Prague's reaction is unknown.
"Bobby Fischer: Black and white magic," in The Guardian.
From The Guardian's Stephen Moss comes this look at "Bobby Fischer Against the World," a new documentary film by Liz Garbus. Be sure to follow the enclosed hyperlink to Moss's account from 2005 of Fischer's arrival in Iceland. As for myself, I haven't played a game of chess since I was a youngster, but there's something highly compelling about the course of human/genius/trainwrecks, although it is likely that in this instance, echoing the Beatles, it is true that "no one was saved."
Bobby Fischer: Black and white magic
He was the chess genius who electrified the planet – until his life unravelled spectacularly. Can a new film explain Bobby Fischer?
Sunday, July 03, 2011
LIBA's annual Brewfest shines a spotlight on independent local businesses.
Louisville Independent Business Alliance's 3rd annual Louisville Brewfest was held on Friday, July 1, at Mellwood Arts Center. NABC and the other Louisville-area breweries participated, as did Kentucky Ale (Lexington) and Upland (Bloomington). I've posted photos here.It's a good thing so many breweries were there, and that LIBA purchased so much beer. NABC alone depleted eight full kegs in roughly five hours of serving, in pour sizes ranging from 3-oz to 12-oz to 16-oz. It was very, very crowded, but folks were patient and fun-loving throughout, and LIBA now has a very good problem: How to grow the Brewfest in coming years, and where to do it.
The exciting part to me is not so much the beer we poured. It's who the festival is designed to benefit: Independent small businesses who belong to LIBA. The energy at such an event derives more from an appreciation and understanding of buying and thinking locally than whatever beers happen to be pouring. It's a gratifyingly futurist vibe that simultaneously connects all of us, consumer or purveyor, with our collective pasts.
In an elemental way that McDonald's and Wal-Mart can never, ever achieve, it promotes individuality and possibility, and it makes us real. If I did not embrace this ethos, I wouldn't bother being in business.
NABC is happy to belong to both LIBA and NA First (see subsequent article), and the NA Confidential blog is equally delighted to espouse these genuine principles of sustainability and local action whenever it can.
Saturday, July 02, 2011
Save the date! New Albany Public Art Walk, Sat. July 9, 2011, 6-9 PM.
(Press release from the Carnegie Center)
Save the date! New Albany Public Art Walk, Sat. July 9, 2011, 6-9 PM (Rain date July 16)
The Carnegie Center will host the official celebration for the 2011 New Albany Public Art Project: Bicentennial Series, with an Art Walk featuring the Project artists, on Saturday July 9, 2011 from 6:00-9:00 pm. After welcoming remarks at the Carnegie at 6:00 pm, visitors can drop in at the eight artworks between 6:30-9:00 pm to speak with the artists and learn more about the project themes. A walking tour booklet for the 2011 Public Art Project, which includes a map of the installation sites and information about the artists and historical themes, will be available at the sites. Art Walk participants can make their own screenprinted poster during the event. Family activities will include a mobile scavenger hunt app; there will also be a paper version of the scavenger hunt available.
Eight public artworks will be featured on the Art Walk (three new works for 2011, marked by an asterisk, and five works installed in 2010). In addition to the artists, sites will host historians, demonstrators and community leaders who will speak with participants about the historic themes interpreted by the artists. The artworks on the Walk and associated historic themes are:
*Resartus, by Dominic Guarnaschelli; Textiles, Wholesale to Retail
*Nature’s Calligraphy, by Janis Martin, Ruth Andrews and Michael Slaski; Farmer’s Markets
*Time Ghost tower-casts #1 and #2, by Scott Scarboro; Newspapers and Broadcasting
Brew History: All Bottled Up, by Leticia Bajuyo; Breweries and Taverns
Like String and Cans Through Walls, by J. Daniel Graham; Early Settlement
Roots Grow Deep, by John King; The Glass Industry
Flood, by Valerie Sullivan Fuchs; The 1937 Flood
Scars into Stars, by Brad White; The Underground Railroad
Contributions to fund one of the 2011 art installations are being accepted through IndieGoGo, anonline, collaborative fundraising platform. The goal of the Public Art Project's IndieGoGo campaign is to raise $4,000, the amount that it will cost for one of the 2011 artworks to be installed in New Albany for two years. Contributors to the campaign will have the chance to vote on which of the artworks will be the “community funded artwork;” the greater the donation amount, the greater the number of votes the contributor receives. To view a video about the 2011 art installations and/or to become a contributor, visit the IndieGoGo website for the Public Art Project at www.indiegogo.com/napublicart.
Generous support for the 2011 public art installations has been provided by the General Mills Foundation and J. Michael and Noelle Gohmann.
Visit the New Albany Public Art Project website, www.napublicart.org, and Facebook page, www.facebook.com/napublicart, to learn more.
Thank you,
Laura Wilkins
Director of Marketing & Outreach
Save the date! New Albany Public Art Walk, Sat. July 9, 2011, 6-9 PM (Rain date July 16)
The Carnegie Center will host the official celebration for the 2011 New Albany Public Art Project: Bicentennial Series, with an Art Walk featuring the Project artists, on Saturday July 9, 2011 from 6:00-9:00 pm. After welcoming remarks at the Carnegie at 6:00 pm, visitors can drop in at the eight artworks between 6:30-9:00 pm to speak with the artists and learn more about the project themes. A walking tour booklet for the 2011 Public Art Project, which includes a map of the installation sites and information about the artists and historical themes, will be available at the sites. Art Walk participants can make their own screenprinted poster during the event. Family activities will include a mobile scavenger hunt app; there will also be a paper version of the scavenger hunt available.
Eight public artworks will be featured on the Art Walk (three new works for 2011, marked by an asterisk, and five works installed in 2010). In addition to the artists, sites will host historians, demonstrators and community leaders who will speak with participants about the historic themes interpreted by the artists. The artworks on the Walk and associated historic themes are:
*Resartus, by Dominic Guarnaschelli; Textiles, Wholesale to Retail
*Nature’s Calligraphy, by Janis Martin, Ruth Andrews and Michael Slaski; Farmer’s Markets
*Time Ghost tower-casts #1 and #2, by Scott Scarboro; Newspapers and Broadcasting
Brew History: All Bottled Up, by Leticia Bajuyo; Breweries and Taverns
Like String and Cans Through Walls, by J. Daniel Graham; Early Settlement
Roots Grow Deep, by John King; The Glass Industry
Flood, by Valerie Sullivan Fuchs; The 1937 Flood
Scars into Stars, by Brad White; The Underground Railroad
Contributions to fund one of the 2011 art installations are being accepted through IndieGoGo, an
Generous support for the 2011 public art installations has been provided by the General Mills Foundation and J. Michael and Noelle Gohmann.
Visit the New Albany Public Art Project website, www.napublicart.org, and Facebook page, www.facebook.com/napublicart, to learn more.
Thank you,
Laura Wilkins
Director of Marketing & Outreach
Friday, July 01, 2011
Elect his ass: Four's a scrum.
June 30 was the filing deadline for New Albany's fall election, and when the day was through, we had yet another mayoral candidate.
New Albany mayor’s race draws Libertarian; Thomas Keister joins Gahan, Bagshaw in bid for New Albany’s top job
The header omits independent candidate Jack Messer, although Keister's web site does not:
New Albany mayor’s race draws Libertarian; Thomas Keister joins Gahan, Bagshaw in bid for New Albany’s top job
The header omits independent candidate Jack Messer, although Keister's web site does not:
Tired of the same old establishment candidates? Not impressed with a racist fraud wanting to run your city? Then cast your vote for Thomas Keister, Libertarian Candidate for New Albany Mayor!The remainder of the election hopefuls are here. Dave Matthews somehow enlisted Republican candidates for every office except city clerk, and in the 6th district, Scott Blair makes it a three-way race as an independent.
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