ON THE AVENUES: Cabin, Wax Fang and excellence by design.
A weekly web column by Roger A. Baylor.
A “design flaw” describes what happens when there is a glitch or error in construction, one leading to an unexpected, and usually undesired, outcome.
But what if the undesired outcome is totally expected, and the design is not flawed? An undesired outcome might prove to be the expected result of a process expressly designed to produce inefficiency, as with socialist command economies in the defunct Eastern Bloc. In this case not just a component, but the entire mechanism, probably needs revamping.
Fortunately, usually there are competing designs, and when a previous model fails, another one can be tried. And, although it is true that these designs spring from the minds of humans, as opposed to herds of bison, design critiques skirt the issue of personal criticism by concluding only that results are unsatisfactory, whether intentional or otherwise, and that there are ways to redesign the process for better outcomes.
As in Sofia, Prague and Warsaw, throughout history ordinary people have found themselves in the position of presiding over bad outcomes achieved not because of design flaws, but owing to design stipulations. Then as now, the purpose of democracy is to bring more minds into the design process, so as to provide broader designs, and better outcomes.
I’m struck by a random comment by Flea, bassist for the Red Hot Chili Peppers, in a remembrance of the late musician, impresario and punk chronicler Brendan Mullen, for whom a tribute song is named on the group’s new album.
When the Red Hots started in 1983, Brendan was booking the Club Lingerie, and because he was booking it, it was an exciting place to play. One knew that he would be playing in the company of interesting, inventive musicians, the avant of independent music, youth culture or not. Brendan created a fertile, exciting, creative environment, the type of scene that inspired musicians to reach out, to try and find new sounds.
Apparently, Mullen’s cultural aptitude informed a philosophy of creative design with respect to booking a venue. Can we learn from it?
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The September 24 Cabin/Wax Fang show at the Riverfront Amphitheater undoubtedly was the artistic highlight of New Albany's 2011 summer waterfront season, handily lapping such dubious displays of antebellum toxicity as Confederate Railroad, as well as various low-priced tiki bar tribute ensembles.
If you were there on the 24th, you’ll understand what I mean. Jenna Evers and Thorpe Woodworks deserve considerable credit for undertaking the role of concert promoter for Cabin and Wax Fang, primarily because any entity placing itself in the position of concert promoter at New Albany’s amphitheater must cope with an operational regime seemingly designed to make innovation and excellence far more difficult than they need be.
That’s because short-term political considerations lie at the root of the amphitheater’s operational design. All events must be staged free of charge, permitting City Hall to campaign on a platform of free circuses for the taxpaying public. What's more, as I’ve pointed out oft times before, all activities must be funneled through a narrow governing committee, placed by and tied to the consistently top-down predilections of the current occupant.
Sans the possibility of charging admission, any act booked to perform by the riverside must be remunerated either from sponsorship dollars (gratefully accepted) or concessions percentages (curiously eschewed). And yet – can we be blunt? – one simply must pay for quality, and not being able to charge admission considerably reduces the quality options, unless mundane local cover bands are the sole objective.
Both Cabin and Wax Fang far transcend the mundane, and for two years running, Jenna has done a wonderful thing by using music like theirs at the amphitheater to bring into New Albany a much sought-after demographic of youth and vibrancy.
You can trust me on this: As beer vendors, NABC spent the evening of the recent show chatting with people we've never seen, many of whom came from Louisville in spite of the current transportation difficulties. They bought beer from us, and also food prepared by Chef Walker. They'd have paid a $5 admission charge without complaint, perhaps more, and a percentage could have gone back to the city to defray maintenance, while permitting Thorpe to make a profit.
The free market. Just imagine.
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Far from being “too loud,” “out of our control” and something to be conspired against in 2012, the Cabin and Wax Fang concert on September 24 was an indication of New Albanian cultural life as it should be, and might yet become if only the leaden hand of political considerations might be pried off the levers and a bit of free market risk-taking injected into the process.
In the overall scheme of things, I concede that the events calendar at the Riverfront Amphitheater ranks below quite a few other civic needs, but it would not take much to transform it into genuine relevance.
More democracy is always better than less. Increased seats at the planning table are necessary, as well as a definitive explanation about what happens to the composition and succession of the non-profit New Albany Venues incorporation when a new mayor takes office.
Surely there can be a more flexible policy governing admissions, wherein city-sponsored events would remain free while other performances would take place with an admission charge to enter the grounds, thus facilitating quality, diversity and private sector participation.
There also should be more democracy, not less, when it comes to the selection of vendors for riverfront events. NABC always has been willing to participate in a fair rotation, where all those willing to vend have the chance to do so. This hardly has been the case. Is it too much to ask to allow all interested parties with the ATC’s Type 222 catering capacity to divide the opportunities among them?
But there’s hope, NA. The clock’s ticking. Less than ninety days to go, and the reforms can begin.
