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Watt@The Watt:

Mike Brings The Noise

originally published October 17, 2001

mikewatt1.jpg Photo by Frank Hamrick
If anything, former Minutemen/fIREHOSE bassman Mike Watt knows how to keep his creative cylinders firing, somehow managing to surpass all the multitudinous gaskets blown along the way. After the mutual disbanding of underground rock bastion fIREHOSE in 1994, San Pedro, CA's favorite son has accomplished more in a span of seven years than most musicians could in a millennium. Aside from releasing two sprawling yet thoroughly impressive albums (the loose-limbed, buddy-laden Ball-Hog Or Tugboat and the primarily autobiographical Contemplating The Engine Room) under his own moniker, Watt has kept himself up by filling the rotating bass slot in the Perry Farrell-led Porno For Pyros, as well as lending his low-end chops to the jazz-straight-outta-hell project Banyan, featuring another Jane's Addiction/Porno For Pyros alum drummer Stephen Perkins.

The grizzled bass fisherman (as in tightly wound four-string angler) hit the asphalt once again in late 2000 along with Pair Of Pliers, pals Tom Watson (guitar) and Vince Meghrouni (drums), playing a slew of career-spanning material as well as a host of cover tunes hailing from both obscure depths and familiar oases. After a life-threatening infection forced him to apply the old air brakes for some time, lucky showgoers recently saw a well-recovered Watt kick his "thud staff" ("Wattspeak" for bass guitar) into full throttle overdrive as one third of the touring version of old pal J. Mascis' new outfit The Fog.

Since he's never one to stay off the road for long, if ever, Athens readies for one more dose of serious "four string rasslin'" and "thunderspielin'" (that's real live rock and roll to you and me) as Watt burns rubber back to the 'Watt, so to speak, backed by returning guitarist Tom Watson and drummer Jerry Trebotic (previously found expressing himself and doing the occasional Vogue with Watt in the Madonnabes), who've been billed ever so slyly as "The Jom And Terry Show." If previous jaunts through town are any indicator, one should expect a sweat-fueled romp akin to some abstract piñata filled with goodies from various corners, quadrants and parts unknown, systematically pummeled into submission by everyone's favorite punk rock commandant.

Finding, somewhere, the time needed to expand his grasp of the Internet and its various modes of mumbo-jumbo, a passel of shows from Watt & Co.'s in progress "Time To Cat And Not Mouse Tour" will be webcast directly through their cyberspace command post, www.hootpage.com. For those prone to sporadic bouts of hibernation, the Athens show is indeed on the list of pending transmissions.

The best, if not the most appreciated, musicians are those with a genuine love for their duties at hand. Broken bones, empty rooms, bad crowds, heartache and personal crises have often made the best even better and the tough even tougher. With over 20 years in the till and continuing to kick ass like nobody's business, Watt has overcome tragedies and ailments to emerge, with a few lumps, bruises and battle scars, doing what he does best – touring econo and working that thud staff.

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Jump, Little Children Climb Toward The Heights With Vertigo

originally published October 17, 2001

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"I think these songs almost required more orchestration and a fuller sound," says Matt Bivins, 29, a founding JLC member who sings and plays harmonica, accordion and tin whistle. "For what we were writing about at the time, the album turned out to be a bit more moody and intimate."

Named in honor of a song by bluesmen Sonny Terry and Brownie McGhee, the band originally came together at the North Carolina School Of The Arts in Winston-Salem, where the founding members - guitarist Jay Clifford, cellist-guitarist Ward William, multi-instrumentalist Matt Bivins and drummer Evan Bivins - were originally studying classical music. They began playing traditional Irish folk music in their spare time, increasingly drawing influences from blues and pop as well. Eventually, the group quit school to focus on performing full-time. After a brief stint in Ireland in 1992, JLC returned to the States and settled in Boston, where the members began writing and "busking" original material. In 1994, JLC relocated to Charleston, where the Bivins' father was restoring historic buildings (the whole band worked for him). Upright bassist Jonathan Gray joined the lineup at this point.

Working in and around the somewhat narrow Charleston music scene, the band eventually earned the support of the commercial rock station 96 WAVF and a developed a major following. JLC began touring heavily through the Southeast in support of two independently released albums - The Licorice Tea Demos and Buzz - and eventually established itself as one of the South's most popular live rock acts.

In 1999, the band released an unusually guitar-heavy album titled Magazine on the Breaking/Atlantic label partnership and seemed ready to go for the "alternative" big time.

"The first album was our attempt to break away from being simply an Irish band, although you can hear a lot of folk and Celtic elements in it," remembers Bivins. "By the time we did Magazine, we had lived through the whole touring experience alongside other rock bands with all the hecklers and noise in the audiences. That album was our attempt to be a rock band with the electric instruments and big choruses and all that. I think some of our fans were put off by it at the time, but it was exactly what we wanted."

Earlier this year, just as Vertigo was about hit the streets, Atlantic Records dropped the Columbia, S.C.-based Breaking Records (founded by members of Hootie & The Blowfish) and the release of Vertigo went into limbo. Breaking Records stalled and wanted to hang onto the finished album. Jump, Little Children spent months kicking and screaming to gain control of the album and (luckily) finally bought it back and released it last month on its own imprint, EZ Chief Records (named after one of Jonathan's uncles).

Vertigo finally hit the street on September 25. Jump, Little Children plans to tour the United States until December before returning to Charleston for its annual three-night stint at the historic Dock Street Theater.

"In some ways we made some mistakes and maybe rested on our laurels a little bit, but in other ways we were very careful and very ready," states Bivins. "After that, we decided to concentrate on writing very honest songs. We wrote about very personal experiences like my brother and I dealing with our father's recent death, and my falling in love with someone. We weren't trying to mask anything. We kind of made a vow not to do anything that wasn't blatantly honest. That's how Vertigo came about."

The songs on the new album - produced by Brad Wood and frontman Jay Clifford - are emotionally complex and densely textured with strings, electric and acoustic guitars, accordion and keys. Clifford's drowsy lyrics, lilting vibrato and on-and-off falsetto moves carefully through and around highly dynamic moments, many of which were surely inspired by the likes of Radiohead, Coldplay, late-era R.E.M. and Daniel Lanois.

"I can't put my finger on why some people are reacting to these songs so positively, but I think they're connecting with the honesty in the songs. As far as the shows on this tour goes... I don't know whether it's because of what's happening in our personal lives, or we're better friends, or we just like this album a lot... the shows are just so much more exciting and fun to play. They're more emotional than they've been in years. The new material fits in really well with the older material and it just seems to be going really great. We've had some amazing shows this month that I'm very proud of as an artist. It's been a while since I've been able to say that."

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The Black Crowes:

Lions From The Inside Out

originally published October 17, 2001

blackcrowes.jpg Photo by Zoren Gold
The Black Crowes are getting used to making fresh starts. The Atlanta band watched sales of its recent albums slip during the late '90s, but hoped to regain some lost momentum when it signed with Columbia Records in 1998 after a long stint on American Recordings. In By Your Side, the Black Crowes gave Columbia one of the strongest albums of their career, but that didn't translate with record buyers. By Your Side ended up being perhaps the most overlooked record of the group's decade-long career.

Guitarist Rich Robinson says he knew the band's relationship with Columbia was doomed before By Your Side was even released. By that time, he had been tipped off by some staffers at Columbia that the label's president had decided the record wasn't commercial enough and it wouldn't be a priority for the label.

"They lost interest before the record came out," Robinson says. "We know the date when they lost interest. And so it's depressing. You spend all this time making these records that you really believe in. I've never been of a mind to blame a label if a record doesn't do well. People buy it or they don't. But I can point blank point a finger at [Columbia] and say you know what, I think that had a lot to do with it."

Undeterred, the Black Crowes toured heavily behind By Your Side. Then came an unexpected collaboration, when former Led Zeppelin guitarist Jimmy Page invited the Crowes to be his backing band at a charity show in London. That show went so well Page and the Black Crowes decided to play a series of shows in 1999 in New York and Los Angeles. A double-live album - culled from the Los Angeles shows - was released in 2000, and Page and the Crowes decided to take their show - comprised of Led Zeppelin songs and a few Black Crowes tunes - on the road that summer. Unfortunately, the tour had to be cut short when Page reportedly injured his back.

With the shows canceled, the Black Crowes turned their attention to their new album, Lions, and secured a new record deal with V2 Records. Robinson believed the album had a fighting chance to restore some of the luster to his group's career. Part of his optimism stemmed from the band's relationship with V2 Records - the label millionaire Richard Branson founded after he sold Virgin Records - a company he had built into a major force in the record industry.

"One of the reasons we chose V2 is because [Branson] is the sole owner, Robinson says. "It's a huge independent company. They really don't belong to BMG and Sony. When you think about it, there are three [major] labels now. And so that was what was so appealing about it. Plus, their attitude. I mean we walked in and just everything they said - 'You guys go make the record you want to make and give it to us and we'll sell it. That's what our job is.'"

Robinson was also hopeful because he felt he and his bandmates - lead singer (and older brother) Chris Robinson, guitarist Audley Freed, keyboardist Eddie Harsch, and drummer Steve Gorman - made one of the best and most diverse albums of the group's career. A new bassist, Andy Hess, joined the group after Lions was recorded.

When the band debuted in 1990 with Shake Your Money Maker - an album that sold seven million copies behind hits like "Twice As Hard" and "Jealous Again" - the Black Crowes were categorized by many critics as a band whose Rolling Stones and Faces influences bordered on imitation. Over the course of the next three albums - The Southern Harmony And Musical Companion, Amorica and Three Snakes And A Charm - the group refined and expanded its sound. The boogying rock of Shake Your Money Maker still figured in the mix, but a jammier, more textured psychedelic sound had also emerged, to the point that the Black Crowes were even featured on the jam-happy Further Festival, a tour organized by the surviving members of the Grateful Dead. Along the way, the Crowes' sound grew less derivative and more distinctive.

By Your Side, however, represented a move back to the stripped-down, hard-rocking sound of Shake Your Money Maker. Catchy, fast paced songs like "Go Faster, "Kickin' My Heart Around" and "Horse Head" were especially meaty tracks. Lions, though, returns to a more diverse sound.

"I think that Lions is a culmination of everything," Robinson says. "Our whole career we've been making records and trying to find our way... I think By Your Side was the record we needed to make at that time. And I think we've taken By Your Side to the next step with this record... I think the reason the record is the way it is is because we didn't have to fight to be who we are."

The new album has songs that are concise and rock hard, such as "Midnight From The Inside Out" and the first single, "Lickin,'" which is defined by an effects-laden staccato guitar riff. But Lions branches out with songs like "No Use Lying," which has a psychedelic feel, the funky "Ozone Mama" and "Soul Singin'," which brings some gospel inflections to the band's rootsy rock sound.

Where By Your Side was a stripped down, immediate sounding album, Lions is more textured and complex, with a more varied range of tones and sonic flourishes adding to the band's sound. Lions may not be as immediate as By Your Side or Shake Your Money Maker, but repeated listenings bring out the depth and strength of the new songs.

"I think Chris and I really sat down and worked out the arrangements," Robinson explains. "There's a spontaneous factor to it, the whole record, and there's a live feel, but there is more production [from producer Don Was] to it as well."

Robinson says the band also feels energized because life in the group has stabilized. Early in the band's career, Rich and Chris Robinson were notorious for their arguments and the creative tension that existed between the two. The group also went through a major personnel shakeup in 1997 when bassist Johnny Colt quit the band and guitarist Marc Ford was fired. Robinson has said Ford had a substance abuse problem that had affected his playing.

"I think we're more at peace because I think Chris and I are getting along better," he says. "I think everyone... you know, it gets really confusing when you start out as big as we did. And then you put out the second record and everyone looks at it like it's a failure... not us, but like the people around you. The music industry has changed so drastically over the last 10 years - plus us growing up, getting married and having kids, trying to figure out everything while being in this band and growing up - I think it's a little confusing. At the end of the day, that is really the main reason why things are the way we are. I think we've gotten through a lot of that, and I think we're more comfortable with our place in life. I think we're comfortable with the fact that we're an island unto ourselves. If you look at us in the music industry, that's who we are."

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Iggy Pop Still Lusts For (Real) Life

originally published October 17, 2001

iggypop-benwest1.jpg Illustrations by Ben West
Humanity is at its lowest point, with greed and hatred and selfishness the rule. Make a lot of money, they tell kids, and you'll be happy. Make more money, they tell adults, and you'll be happy. Piss on anyone who gets in your way, and for God's sake, don't be honest: not with yourself and certainly not with anyone else. Put on your mask and act like you don't give a shit just as long as you have your DVD or your SUV. What are we producing or creating? Nothing. We're just cogs in the wheel, being good little consumers for The Powers That Be, deaf, dumb, blind and willfully stupid. Where's the heart? Dammit, where's the soul?

Are you pissed off? So is Iggy Pop. The 54-year-old "Godfather of Punk" has always had a bug up his butt, but on his latest album Beat Em Up (Virgin), the once and future Stooge sounds crankier than he's ever been, and it's about time.

Born James Newell Osterberg in Ypsilanti, Michigan, Iggy Pop is a classic rock and roll myth of adventures on the brink of the abyss. As a teen, he wanted to create a band whose music would be furious, sexually-charged, and aggressive. He formed The Psychedelic Stooges in 1967. The quartet shortened the name to The Stooges and a self-titled debut was released a year later, then came a follow-up in 1970 titled Funhouse. Both have become rock classics, and can be pointed to as the official beginning of what would become known as punk rock. The band's live shows were adrenalinized, sloppy, loud, obnoxious and inspiring. Despite serious drug-taking and being at one another's throats, The Stooges managed to release another explosive collection, Raw Power, in 1973. The album was a glorious, hellbound, rock and roll train wreck. By '74, Pop and the Stooges were strung out and called it quits for a second (and final) time.

After a brief spell of homelessness and heroin addiction, Pop made an attempt to clean himself up and began writing and recording some new tunes around '77. The Idiot and Lust For Life, both issued in '77, were produced and co-written by David Bowie. There were elements of sleaze and menace, but overall they were upbeat and musically sophisticated. (Lust For Life became an essential item; the title track was used prominently in the soundtrack of the hit film Trainspotting in 1996.)

Pop's career was inconsistent and musically confused through most of the 1980s, but by 1990's Brick By Brick, he had regained his musical strength and focus, resulting in his first U.S. gold-certified album and top-20 hit single, "Candy." Pop tried to get edgy on his '96 album Naughty Little Doggie, but it was patchy at best with only a few tunes approaching the scathing rock spirit of The Stooges. In 1999, he released the uncharacteristically laid-back Avenue B. But his more "refined" musical approach was strictly a detour, as the killer new Beat Em Up is a balls-out rock and roll winner - musically, philosophically and lyrically.


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Pop sets the stage with the opener "Mask," a searing condemnation of... well, everything. A string of rants laced together like Dennis Miller on crank, he yells at jerks, grabbers and "junkie fratboys." The breakdown in the middle is as brilliant as anything Iggy has done since The Idiot or Lust For Life: "Irony in place of balls /Balls in place of brains /Brains in place of soul /Where's the soul?" Goddamn fuckin' a right, where's the soul. Iggy doesn't have the answers, just ranting and raving, but when it's so on-the-mark like on "Ugliness," "Savior" and especially "It's All Shit," who gives a damn. Maybe there are no answers.

Still and all, Iggy still has a humor about him, and perhaps the most telling song on the record is the last. A stream of consciousness rap about being a star, "V.I.P." sheds a little light on the completely ridiculous trappings of fame and being a celebrity, pointing out that these larger-than-life people are regular assholes like you and me. Perhaps that's Iggy Pop's job, pissing on the cover to reveal the plain, ugly, ordinary package inside. In any event, Beat Em Up is Iggy Pop's strongest record in years, and his meanest. And with that little bit of knowledge, it's nice to know there's people out there who refuse to give in and lie down. The question is, though... how many of us are willing to rant, rave and possibly fight against those who hold us down? Sadly, I doubt most of us would bother. We're too busy watching "Survivor."

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KUDZU FILM FESTIVAL AWARDS

originally published October 17, 2001

kudzufilmawards.jpg (l to r) Pete McCommons, Nic Holt, and Todd Campbell. Photo by Geoff Carr
Award ceremonies are the microwave burrito of the entertainment industry; a quick-fix list of the films honored at the smorgasbord of independent film that is the Kudzu Film Festival. A special thanks to Kudzu organizers Todd Campbell and Nic Holt for all their hard work this year. Shame on you if you missed the week-long bash, but luckily, Flagpole was there to let you know who walked away with the prizes.

And the winners are...

Audience Choice Award: The American Astronaut by Joshua Taylor
Student Awards: Helicopter by Ari Gold (Winner)
The Confession by Carl Pfirman (Honorable Mention - Drama)
Texas Pete by Mark Nelson (Honorable Mention - Comedy)

Seattle-Post Affiliate Award: The Man with the Empty Room by Todd Korgan

Technical Bravery Award: Buried by Kathryn Bucher

Best Narrative: Dog Days by Ellie Lee

Best Documentary: Revolution OS by J.T.S. Moore

Best Animation: F8 by Jason Wen

Eyeball Music Video Awards: Atom & His Package for "Undercover Funny" by Keith Schofield (1st Place)
The Goddess Perlman for "Ode to Ally McBeal" by Susannah Perlman (2nd Place)
Black Rebel Motorcycle Club for "Punk Song" by Chris Fagot (3rd Place)
Stretch Armstrong for "For the Record" by Jonathan Rej (1st Honorable Mention)
Circulatory System for "Should a Cloud Replace a Compass" by Joey Foreman (2nd Honorable Mention)

Prometheus X Super Citizen Award:
Pete McCommons

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Bitter Loss

Burntstone Brewhouse Suffers One Last Blow and Closes Its Doors

originally published October 17, 2001

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Since opening in 1998 at 140 East Washington Street, the upscale restaurant and bar has been the only tavern in town where a patron can enjoy hand-crafted beer in the building where it was brewed. In its three years in operation, the Burntstone offered a full lunch and dinner menu, maintained a full bar and served several styles of original seasonal ales and lagers brewed on premises by the tavern's own brewmaster, Matt Buley, a longtime brewing enthusiast who has logged in 108 batches brewed so far at the brewery.

"Even though we may or not be running it, we're hoping that an investor will step in and find a way to keep it going," says co-owner Lou Villalba. "That would be much better than selling the business and watching it get ripped apart. That would rip me apart."

Burntstone owners Lou Villalba and Scott Schaffer relocated to Athens from Lawrence, Kansas in 1997 and opened the brewpub in October, 1998, just as Athens' only other brew pub, the Athens Brewing Company, was winding down its operations on West Washington Street (where the Wild Wing Café currently operates).

Although the American Northeast and Northwest enjoyed something of a craft brewing renaissance in the '70s and '80s, it took the Southeast much longer to catch up. There were only a few dozen micro and pub brewers back in 1980 (by the mid-'90s there were hundreds of brewpubs scattered across Georgia and the South). Homebrewing wasn't legal in Georgia until 1992. The operation of "brewpubs" wasn't legalized until 1994, the same year that Athens microbiologist and brewmaster Brian Nummer opened the Athens Brewing Company.

In addition to the fancy beers, wines and liquors on the menu, the Burntstone regularly featured five or six homemade clean-tasting ales and lagers on tap. The bar featured a brassy atmosphere highlighted by the impressive copper vessels sitting in the brewing area in the front window. Local singer-songwriters and folk and jazz bands played occasionally. The Burntstone Brewhouse has also been a major supporter of Athens' annual Classic City Brew-Fest, which benefits the non-profit AIDS Coalition of NE Georgia.

Although the Burntstone successfully carved a niche for itself in the crowded downtown restaurant scene (the owners say it showed a profit after only a year), the pub suffered a series of financial blows that finally debilitated the business. According to Buley and Villalba, there were troubles from the start with the contractor who renovated the space from the Atomic Music Hall club. Then a large air conditioning unit went dead and had to be replaced in the summer months of 1999. In 2000, the owners discovered an infestation of termites and immense structural damage. They had to remove the floor and rebuild the entire brewery and the front facade of the building in January, 2001.

"Then we had a fantastic head chef this year who really organized the kitchen and menu who suddenly went bad... " Buley says. "Basically, the organization fell apart for a while because the guy who organized things was suddenly gone."

Despite the structural and employee problems, the Burntstone continued on, although genuinely discouraged.

"I was actually having my doubts going into this fourth year, since the county passed those decisions on the alcohol and liquor licenses, which were raised 50 percent," says Villalba.

Earlier this year, the Athens-Clarke County Commission voted to raise the Class C-D alcohol sales license from a $2900 fee to a $4350 fee per year. An additional three-percent sales tax was added to all mixed-drink sales as well. Burntstone also has the distinction of being the only tavern in Athens required to play an additional "brewpub" license of $500 per year.

"Margins do add up in this business," says Villalba. "Those numbers are absolutely crucial. It's not about the dollars and the cents: it's about the cents. I have a business in Miami where the alcohol license is considered an asset that can be sold as an asset. Here, it's not considered a financial asset. I think people who are not in business have a very wrong picture of what running a service industry business is like."

burntstone.jpg (l to r) Lou Villalba and Matt Buley. Photo by Ballard Lesemann

Despite the mounting financial trouble in recent months, the Burntstone was determined to press ahead into 2002 and beyond. Then, what Buley calls "the fatal blow" hit the brew pub: a recent theft and embezzlement scheme from a new employee. The scam was massive enough to force the closure of the operation.

According to the proprietors, an employee hired in early August stole thousands of dollars from the business over his brief tenure. They say he cleverly covered his trail of misdirected checks, deposits, cash payments and bookkeeping manipulations for nearly two months.

"He deposited checks into our bank account to cover other phony deposits and forged signatures of other employees and deposited those," says Villalba. "We were paying bills that had already been paid, or so we thought."

After the Burntstone discovered the discrepancies and became suspicious, the owners notified the police department. To confirm their suspicions, Buley even "staked out" the brewery on Sunday, September 23 and witnessed the suspect letting himself into the building at 4 a.m. and grabbing an amount of money out of the cash drawer.

"It was on a Friday [September 21] when we first walked to the police station and told them what was going on," says Villalba. "I understand they have their procedures and limitations, but as far as bringing this person to justice, nothing has been done [as of Tuesday, October 2]. Not a warrant has been issued even though we have theft by taking, money laundering, embezzlement and forgery."

"We're working with an investigator, but it's going really slow," says Buley. "I know for a fact that it's over $7,000. And that's a fatal blow. There are only two financial investigators in Athens-Clarke County, and they both move at the speed of molasses."

While the Burntstone Brewpub managers tally up the financial damages and contemplate their future in the industry, others wonder if events like this signify the coming end of what enthusiasts refer to as the "American Beer Renaissance."

"Craft brewing is definitely on the downward swing, unfortunately," says Owen Ogletree, organizer of the annual Classic City Brew-Fest and former owner of the local homebrew shop Brewtopia. "It was very trendy, especially in Georgia around '95 and '96 when the laws were changing. People were excited about trying it, but many of them came to realize that it required a great amount of work and time, and you had to be very clean and know what you were doing. We had customers the first year who were brewing every week. By the time we closed, they were brewing once a year. I think the Normaltown Brew Shop [on Prince Avenue] is doing okay. They say they're not making much money, but they're doing it because they love it. To have a good source of supplies and as a good service to Athens - I'm really glad they're there."

As for Burntstone, Villalba says, "I would like to keep the good memories of this place intact. That's what this last month is all about. Friends and loyal customers have been gathering here. I always tell people that Matt Buley is one of the biggest assets of the place. If you ask me what I'd like, I'd say I'd like to see someone to take over and harvest a lot of what we've already cultivated."

"I'm hopeful that something might happen," adds Buley. "I'm filing for unemployment this week, but I hope I can still brew beer in the brewery somehow."

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Turn Your Head And Cough

originally published October 17, 2001

ACC Officials Overlook Enron Plant's Impact On Athens Air, Water

Houston, Texas-based Enron North America is well on its way to siting a 560 megawatt natural gas-fired power plant in Athens. The ACC Public Utilities Department has signed off on the company's "Athens Energy Center," as have the Planning Department and Planning Commission. With their eyes on the $3 million the company would contribute to the annual tax digest (power from the plant would not be used by Athenians), local officials seem to have adopted a "see no evil, hear no evil" approach to the downsides of the Enron project, in particular how it would further degrade the North Oconee River and local air quality.

What, Me Worry?

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In a report requested by a governmental committee charged with handling the Enron proposal, the UGA Institute of Ecology's Laurie Fowler recommended Athens-Clarke County not proceed with the project until such issues are resolved.

In Fowler's absence, key points from her report were read aloud to ACC Planning Commissioners at their October 4 meeting. According to Fowler and Dr. Rhett Jackson of the UGA Forestry School, the 20 to 27 million gallons of water per day already drawn from the North and Middle Oconee "often nearly equals the flow in the rivers."

When asked by a Planning Commissioner about the effect on the river, ACC Public Utilities Director Gary Duck said the county had received a "very favorable" response from the Georgia Environmental Protection Division (EPD) regarding the Enron plant. In fact, Duck claimed, permanently removing the water would actually help the river by reducing pollutants. Duck's department stands to gain a $20 million upgrade to its wastewater infrastructure, subsidized in large part by Enron, should the plant locate here.

Duck went on to point out that there is no limit on the amount of water Athens-Clarke County may draw from the North Oconee ("Whenever water's there we can pull it out."). He dismissed concerns about impaired river flow, even in times of drought.

"That doesn't appear to be an issue to me," Duck said, due to the new Bear Creek reservoir, which he expects to go on-line in early November. Duck disagreed with Fowler's numbers on water drawn from the North Oconee, saying Athens-Clarke County uses an average of 17 to 18 million gallons per day, with an all-time peak of 24 million gallons.

Fowler also asked how the reduced water flow might effect the Altamaha Shiner, a fish found in the North and Middle Oconee Rivers - and on the state list of endangered species. That issue has been ignored to this point.

Used Air

If concerns about water quality have been shrugged off by local officials, the damage Enron emissions would do to Athens' air have been completely disregarded at best, misrepresented at worst.

The company line is that the "Athens Energy Center," being natural gas-fired, would offer clean power generation. Documents submitted to the ACC Planning Department boast of "low emission combustion systems" and emissions "that will not adversely impact air quality in the surrounding area."

At the October 4 Planning Commission meeting, Gary Duck and ACC Planning Director Brad Griffin - both of whom were recently flown by Enron to visit a similar plant near Syracuse, New York - talked of that facility's nearly invisible smoke plume.

"It burns natural gas," said Griffin. "Like we burn on a stove at home."

Not exactly. The Athens Enron plant could be allowed to emit up to 198.9 TPY (tons per year) in nitrogen oxides (NOx), 254.5 TPY of carbon monoxide (CO), and 24.6 TPY in volatile organic compounds (VOC). NOx, CO, and VOC combine with heat to make ozone. The plant's figures on particulate matter - tiny airborne particles that accumulate in the respiratory system - show an allowance of 181.1 TPY.

A letter from EPD to Enron regarding its air quality permit application for the Athens plant questions Enron's assertion that reduced emission technologies, such as SCONOX and XONON, are not applicable to the Athens plant. Enron representative Raimund Grube repeated this claim directly to Planning Commissioners on Oct. 4.

As for no adverse impacts on the surrounding area, the proposed site for the "Athens Energy Center" off Newton Bridge Road, isn't as remote as Enron and ACC planners claim.

What no one is saying is that Athens' air already exceeds Ambient Standards several days each year.


"One problem is this is closer to a major urban center than a lot of other power plants," says Robert Ukeiley, an attorney with the Georgia Center for Law in the Public Interest, a non-profit watchdog group.

Though they are usually at odds, on this point EPD and Ukeiley seem to agree. The EPD letter to Enron criticizes the company's "analysis of alternative sites, sizes, production processes and environmental control techniques" as "severely deficient."

"For example," the letter reads, "in regard to the site, it appears that Enron only looked at sites near Athens. At the very least, since this is a merchant power plant and does not exist to serve a specific need within Georgia, this analysis should be broadened to the southeastern United States."

ACC planners were reminded, during the Planning Commission meeting, that the Enron plant would not exist in a vacuum.

"There are a lot of people who live in this section of town," said Paul Quick, whose residence is less than a mile from the proposed Enron site, and who is concerned about plant emissions.

Enron speaks of compliance with National Ambient Air Quality Standards (NAAQS). But what no one is saying is that Athens' air already exceeds Ambient Standards several days each year - at least six times so far in 2001, and almost three times that many last year.

Who Cares?

Then there's Plant Dahlberg.

Absent from discussions on the "Athens Energy Center," Dahlberg is Southern Company's new gas-fired plant just across the Jackson County line near Sandy Creek. A peakload plant about twice the size of the proposed Enron facility, Dahlberg is already permitted to discharge a far greater amount of pollutants than Enron is asking for: 3,042 TPY in NOx; 6,071 TPY of CO; 280 TPY in VOC; and 461.6 TPY in particulate matter.

There is no mention of Plant Dahlberg in any ACC documents reviewed by Flagpole. Tracking its eventual effect on Athens' air quality, like that of the proposed Enron plant, has been left to EPD - the same agency that allowed Dahlberg to be built in an area already in violation of federal clean air standards. The same agency that will, in all likelihood, ultimately welcome Enron to build here as well.

"EPD has failed us," says Ukeiley. "It's failed all of Georgia. So it's just not the right thing to do to say 'Oh, well we trust that EPD is going to protect us,' if they have a 20-year track record of not protecting us."

But that's exactly what's happening. Even after Enron's Jeffrey Keenan admitted to ACC Planning Commissioners that he didn't know how much formaldehyde, acetylene or benzene Athenians would be inhaling from his company's smokestacks, the group recommended to approve the project by a vote of 4-3.

Enron's "Athens Energy Center" was set to come before the Mayor and Commission on November 6, but has been pulled from the agenda. No further information was available at presstime.

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