
Goodbye Doesn’t Mean Forever
I Am The World Trade Center Moves On
originally published August 23, 2006
Chris Bilheimer
Amy Dykes & Dan Geller
It’s difficult to believe that it’s been seven years since the duo of Amy Dykes and Dan Geller began making their distinctive, danceable, beat-oriented music. Performing together as I Am The World Trade Center and as popular deejays Twin Powers, the pair have made an indelible mark on both Athens music and night life.
The pair has undergone immense personal upheaval, dealt with serious illness and, through it all, made compelling and personal music while helping shape memories for innumerable people. Now, with Dykes newly married to Maserati bassist Steven Scarborough and preparing to move to Oregon to pursue her PhD, the band is at a crossroads that was probably always inevitable, but never immediately anticipated.
The genesis of IATWTC was simple enough. Athens musician Dan Geller, previously of indie-pop local act Kincaid, began experimenting with then-new computer tools, and this work signaled less a change in aesthetics than the realization of a dream. He says, “I think what happened was more technological than anything else. I’d been waiting all my life for there to be an instrument like the laptop to make music with. Before we started [IATWTC], I started making music on a laptop back in 1998, which didn’t happen before that because you couldn’t do it. It was just becoming possible. There was one USB soundcard available and I got it the day it came out and worked with Roland to make it work. I was talking to them every day for, like, three months on the phone getting it to work because I wanted to do this.”
After moving to Brooklyn, NY, to further the work of the then-fledgling Kindercore Records, of which Geller owned half, the pair found themselves, like all other Brooklynites, in a tiny apartment. “We were in New York in a tiny apartment in Brooklyn," says Dykes, "and Dan was always on the computer making music. It just sounded like video game music and it needed something, and since I was around the house, he asked me to sing. But it was just on one song. Then he played it for some people and the song that I was on was everyone’s favorite. I was really hesitant about being in a band. That wasn’t ever really a goal of mine. I love music, but…”
It’s not enough to say that things moved quickly for the duo. The fact is that things moved at a lightning pace. So much so that Dykes found herself in an enviable, but not altogether carefully chosen, position. As Dykes describes it, “Our first show was at South By Southwest in 2000 and things just started happening before I could say, 'no, I don’t want to do this.'” The pair relocated back to Athens that same year.
Although I Am The World Trade Center would eventually release three albums - Out Of The Loop in 2000, The Tight Connection in 2002 and The Cover Up in 2004 - its early days mimic that of almost any new band. The duo began touring almost immediately just to see what would happen, and found audiences immediately taken by what they were doing. It’s easy to understand this in 2006, but six years ago, the indie world had not rallied around the resurgence of 1980s keyboard-based dance music, and it was a distinct possibility that the whole live endeavor could have fallen on its face.
“Our first tour we actually did a whole U.S. tour based on just people we knew," says Dykes. "I think we spent a month and half and it was so much fun. And we didn’t have the pressure of having to make money or worry if people would come out and see us, ‘cause we were just like, 'Who cares? Let’s just have fun and see what happens.' Then when we got home we realized we had actually made money doing it.”
Brian McCall
"It’s not like our last show ever… it’s just that we have no idea when we’ll play again."
Geller recalls, “With only two of us, it was a lot easier to make money on the road.”
As the band's sound moved through Brit-pop influenced, loop-based tunes to more melodic, song-based New Wave tracks, the live show solidified as well. “Part of it is once we started touring, we realized what it was we wanted to do on-stage. With the first record, there was no concept of how it was going to be on-stage. With the second record, and definitely with the third record, we wrote songs knowing we were going to play those songs live and knowing we wanted a high energy show with non-stop beats going crazy all the time,” says Geller. He is also quick to slay a myth that has dogged the group since day one. “I tried to solidify our equipment early on, and a bunch of MIDI modules and samplers and stuff pieced together that wound up working best for us. There are no computers involved with it, though. It’s all real-time stuff. Everyone always thought we had a laptop on-stage and we never, ever had a laptop on-stage. Even people that see us think we do. They’ll be in the same room as us and think that. I always said the laptop is my studio. You don’t see a band bring their 16-track reel-to-reel on the road with them."
Certain controversy surrounded the band in the immediate aftermath of 9/11. (Full disclosure: this writer was briefly employed by Kindercore Records during this time.) Although Geller and Dykes went back and forth on whether to change the name, the event also opened up their eyes to exactly how many people had noticed the band. “I found out about [the terrorist attacks] by being woken up that morning by MTV News wanting a comment from me,“ says Geller. Strange, too, was the peculiar phenomenon of a band of crusty punks in the Pacific Northwest who started following the band around after imagining some radical political agenda behind the group’s name.
Sadly, this sudden thrust into the national spotlight was far from the only thing to test both the will and endurance of the duo. While touring just before the release of The Cover Up, Dykes took ill and the ultimate diagnoses proved to be Hodgkin’s Lymphoma. Although Dykes would undergo treatment during the following year and ultimately receive a clean bill of health, the time spent off the road effectively squelched any further upward mobility of the group that was, at that time, at the crossroads between underground sensation and fairly mainstream success.
On the physical stress of touring, Dykes remarked, “My body simply won’t allow me to tour like that any longer. Fortunately, my other interests are full of opportunities to be creative so the creative urge is still satisfied.” Shortly following this episode, Dykes and Geller, who continued to work together to bring back their live show, dissolved their years-long romantic relationship.
Although the I Am The World Trade Center name will continue to be used for Geller’s studio projects - which currently include making remixes for acts such as Of Montreal and Shock Cinema - this week's show at the 40 Watt Club is more than likely the last time - for at least a long while - Athens will see the band perform. Both Geller, who works as a faculty member with UGA’s Department of Engineering Outreach and Dykes, who has been working as a faculty member at UGA in Fashion History, have their separate paths to follow for the time being.
Still, neither one is calling this performance a “final show.” Preferring to call it a “farewell show," and with that meaning only a farewell to the city of Athens. “I want it to be such that if we want to come back and play a show, it won’t be a situation where people say, ‘I thought they already played their last show!’ We want to leave it open," says Dykes. "Like in January we played at the fine arts museum in Houston for their Basquiat exhibit and they flew us out there to play it. So, if we have opportunities like that, we’d probably totally want to do it. So it’s not like the end and our last show ever… it’s just that we have no idea when we’ll play again. If the opportunity presents itself, then yes, we will play.”
Gordon Lamb
WHO: I Am The World Trade Center, Maserati
WHERE: 40 Watt Club
WHEN: Friday, August 25
HOW MUCH: $6
WHO: I Am The World Trade Center, Maserati
WHERE: 40 Watt Club
WHEN: Friday, August 25
HOW MUCH: $6
Memory of the Flood
After a Year, the Causes of Katrina Remain Untreated
originally published August 23, 2006
© David Rae Morris
Fence posts in flood waters in the Gentilly neighborhood of New Orleans, LA Sept. 8, 2005, 10 days after Hurricane Katrina devastated New Orleans and the Mississippi Gulf Coast.
Katrina’s winds shredded through the Gulf South like a giant scythe, but it was the flood in New Orleans that jolted the national psyche, leaving the deepest memory. The flood turned the Big Easy into a disaster zone, planting the image of a Third World backwater. When has the persona of a city been so altered so quickly, or a president so damaged by a singular event? TV pictures across the globe showed people trapped on rooftops, sloshing knee-high past bloated corpses and sunken cars, old folk in wheelchairs, women and babies, looters with grocery carts. Most people fled to far-flung places, many to stay for weeks and months. With 80 percent of New Orleans under water, the country that put men on the moon took five days to evacuate hospitals.
Ronald Reagan decried “big guvment” and dismantled the New Deal.
George W. Bush gave us bloated government - slashing taxes, spending trillions, running a swollen debt to Chinese banks for funding the war in Iraq. Four years after the terrorist attacks of 9/11, the flood exposed an inept emergency response system. After telling his soon-to-be-sacked FEMA director, “Brownie, you’re doing a heckuva job,” Bush’s popularity plunged, swamped by an image of detachment and incompetence.
As the media gear up for Katrina anniversary packages, we can expect fresh video of New Orleans’s dead neighborhoods, panning abandoned streets and houses still etched with brown waterlines like domestic shells after a neutron bomb. With only 181,000 of the pre-Katrina population of 463,000 back, the infrastructure is fragile - electricity reaches only 60 percent of the pre-Katrina customer base. The water system needs an estimated $2 billion in repair. The flood punctured 17,000 leaks in the 136-mile piping system. As a reduced work force scrambles to repair the worst leaks, the city is losing millions of gallons of water a week, with no rescue package in sight.
Nevertheless, $8 billion in federal funds will soon hit the streets, earmarked for homeowners and businesses that lacked sufficient insurance to rebuild or recoup some of their losses.
There is a shadow-story to this devastation that reaches across the country. In exposing the shoddy system of federal emergency preparedness, the New Orleans flood highlights a far greater crisis: the impact of climate change.
What The Heat Means
© David Rae Morris
Revelers parade on Halloween dressed as spoiled refrigerators in New Orleans, LA on Oct. 31, 2005. Thousands of refrigerators were left by the curb by residents after Hurricane Katrina knocked out power for weeks, causing all of the contents inside to rot.
Katrina was a billboard for global warming. For years, emissions from fossil fuels used by industry and automobiles sent carbon dioxide into the
atmosphere that allowed sunlight in but kept heat from escaping, creating
what's been called a greenhouse effect. As a scientific consensus emerged,
Al Gore, then a U.S. Senator, made the ozone layer a political issue.
Today’s Congressional majority under Bush scorns the issue. Sen. James Inhofe (R-Oklahoma) calls global warming “the greatest hoax ever perpetrated on the American people.” For years, ExxonMobil has engaged in a shameful disinformation campaign to discredit the scientific findings. With no hint of irony, Inhofe calls global warming “the big lie,” comparing the science behind it to Nazi propaganda leading up to World War II. Here’s a fact, Senator. One of the biggest U.S. contributors to global warming is the automobile industry, which rather than invest in energy efficient cars, keeps producing SUVs, profitable dinosaurs that guzzle gas and release more carbon dioxide.
An Inconvenient Truth, the film based on Gore’s ongoing lectures (and the title of his companion book), shows stark scenes of glaciers crumbling and the browning of Mt. Kilimanjaro in Kenya - gone are the snowcaps Hemingway adored. As gases from burned fossil fuels eat the ozone layer, a long melt is under way in Greenland, Antarctica and the South Pole. The melted ice causes seas to rise. As seas rise, so do their temperatures rise in hot months. Hotter air and warmer water ignite more powerful storms. (Inhofe told the Tulsa World that every claim in the documentary “has been refuted scientifically,” although he conceded he had not seen the film.)
The hottest year on record, 2005, saw the greatest concentration of hurricanes with record winds - Katrina, Rita and Wilma. But the summer of 2006 has brought continuing destruction, only more spread out.
“We’d have to go back over three decades to find anything comparable to the flooding we’re seeing in the Northeast,” a National Weather Service meteorologist named Dennis Feltgen told USA Today in late June. He was referring to the wash of destruction in New York, Pennsylvania, Delaware and Virginia.
Perhaps the most chilling scene in An Inconvenient Truth is an aerial map of Manhattan turning blue-green from flooding. Don’t laugh. One hard turn from a Cat 3 hurricane and the Big Apple could be a mess.
A mild version of that scenario happened in December, 1992 when a northeasterly storm sent sea level up eight feet at the southern edge of Manhattan Island. LaGuardia Airport had to close, the Brooklyn tunnel flooded, and the subway system shut down.
Perhaps those memories, coupled with TV coverage of Katrina, explains why people in Manhattan are buying flood insurance. At present, only 28 percent of homes in the Northeast carry flood insurance, compared to 49 percent nationwide, in areas that are considered high-risk.
In his new book, The Ravaging Tide, Mike Tidwell writes that a rise in sea level of one to three feet will have an impact on “every inch of American shoreline from the Texas coast to the Florida Keys to the Outer Banks of North Carolina to Cape Cod. The low-lying areas of San Diego and San Francisco and much of Puget Sound on the West Coast are at great risk, too.” He cites an EPA study in saying that “no fewer than one in four U.S. buildings within five hundred feet of a coastline will be destroyed by erosion by mid-century.”
Flooding is America’s most common natural disaster. In the decade before Katrina, flooding caused $7.1 billion in losses to homes and businesses. As the intensity and frequency increase, the average 30-year mortgage has a 26 percent chance of taking damage from rising water, compared to a four percent chance of fire. As more people buy flood insurance, the financial pressure on the federal government - which backs flood insurance - will escalate in kind.
“Hurricane Katrina’s $23 billion [insurance] hit has triggered a full-blown debate about the federal program that insures property in flood-prone areas,” author Neil Peirce wrote recently on Stateline.org. “Critics are charging the program’s rates are so cheap and its loopholes so broad that it actually puts pressure on local governments to permit new development in extraordinarily flood-prone areas - territory that should never be built on in the first place.”
Tidwell assesses wider damage from global warming. The last 30 years in Alaska have seen a temperature rise of five degrees. He cites a four-million acre “forest of spruce trees so vast it’s bigger than the state of Connecticut - yet every single spruce is dead.” The dead forest (a distant cousin to New Orleans’s dead neighborhoods) is caused by a spruce beetle reproducing at twice its normal rate. “The result is the largest forest die-off by insect infestation ever recorded in North America.”
The Social Darwinists who control Congress have aped Bush’s What-Me-Worry? attitude on environment. “Defense” has meaning only in a military, not environmental, sense. The planet’s revenge doesn’t compute. But as scientific data mounts, smarter people are taking a harder, deeper look. “Britain’s largest insurance company, CGNU, in 2002 predicted that unchecked global warming could bankrupt the entire global economy by 2065,” reports Tidwell. “A key threat highlighted by the insurer was sea-level rise that would directly destroy valuable land, buildings and agricultural assets while indirectly exposing everything farther inland to more intense storms expected in a warmer world.”
Lessons From The Water Line
© David Rae Morris
Joshua shows off his new Katrina tattoo on Decatur Street in New Orleans, LA on Sept. 29, 2005, one month to the day after Katrina hit.
Human error produced the New Orleans flood - huge flaws in Mississippi River levee projects built by the U.S. Army Corps of Engineers and environmental negligence by government and oil companies that caused wetlands south of the city to erode. The lost wetlands gave tidal waves an open alley to the city. But the dynamics of this failure are national in scope.
“The cost of a collapsing coast is one of fundamental survival,” says Mark Davis, director of the Coalition to Restore Coastal Louisiana in Baton Rouge, a group that has worked on the issue for years. “What happened last year was also the failure of a value system. We assumed we had tamed the forces of nature. We need to understand that if we want there to be a New Orleans, or a Los Angeles, or a Miami, or a New York, 500 years from now, we can’t assume they’ll be there. We have to plan for them to be there. That’s why the rise in sea levels and freshwater management are so extraordinary.”
As Davis runs down a list of other cities - including San Francisco, Orlando and Atlanta - where rapid growth has overwhelmed environmental-defense planning, it is worth noting that FEMA considers New Orleans, Miami and New York as the cities most vulnerable to hurricane disasters. More than a third of the 167 hurricanes that struck America in the last century hit Florida. Miami is about three feet above sea level, with a vast wetlands complex to the west. Beachfront development and a building boom have packed the area with people. If the ocean levels continue to rise, the area’s marshy buffer won’t be enough to halt a massive flood. That is what happened to New Orleans.
In the 24 hours before Katrina made landfall, the storm doubled in size, blanketing waters “of the Gulf equal in area to California,” report John McQuaid and Mark Schleifstein in another new book, Path of Destruction. As the Category 5 storm with 175 mph winds neared Louisiana, winds dropped to 127 mph, a Category 3 level, still strong enough to produce huge waves.
Katrina hit early on Monday, Aug. 29. The eye flattened the coastal town of Buras, sending thunderous waves across villages and hamlets south of the city, tossing cars and boats onto trees and roofs. Winds roared through Lake Borgne, pushing waves 20 feet high. The giant water sheets rolled toward New Orleans East on a passageway between man-made canals. One side of the vast lane straddles a levee along the Gulf Intracoastal Waterway; the other levee hugs the eastern side of the Mississippi River Gulf Outlet, known locally as MR-GO (pronounced, without a trace of irony, “mister go”).
“The funnel,” where the Intracoastal and the MR-GO meet, sent water throttling between and over the tops of those levees and into the city as well as nearby St. Bernard Parish - the end result of decades of dredging by the Corps of Engineers. Building MR-GO destroyed 20,000 acres of marshland in the 1960s. Junior Rodriguez, the barrel-chested president of St. Bernard Parish, railed against MR-GO for years. As the Corps dug the alternate shipping lane for moving cargo from the Mississippi to the Gulf, the dredging opened an artery 500 feet wide. MR-GO was finished in 1963.
In 2001, as Christopher Hallowell wrote in Holding Back the Sea, a prescient book on wetlands loss: “Erosion from ships and storms has gouged it 2000 feet wide and made it a freeway to New Orleans for any hurricane that happens to come from the right direction.” Hallowell saw the shape of things to come. “The surrounding marsh, now vulnerable to storms and salt water, has all but died… along with 40,000 acres of mature cypress trees. Now, storm surges can invade the marsh through the straight-arrow channel and smash into New Orleans.”
The smashing happened before, in 1965, when Hurricane Betsy hit New Orleans. Kenneth Ferdinand, an African-American real estate investor and urban planner, grew up in the Lower Ninth Ward, just across the Orleans Parish line from St. Bernard. In recent years, he sat in regional planning meetings with Rodriguez, sharing his hostility to MR-GO. Betsy’s surging waters ramped up the MR-GO, burrowing into the levee along the Industrial Canal, which divides the Ninth Ward into upper and lower sections. When the Industrial Canal levee broke in ’65, a large swath of the Lower Ninth was inundated, drowning 81 people. Ferdinand went into his grandfather’s house to claim his body after Betsy. “I’ve seen this catastrophe twice in my lifetime,” says Ferdinand. “The difference between Betsy and Katrina is that the flooding was much worse. And, Katrina wrecked those communities below the Lower Nine” - St. Bernard, and further south, Plaquemines Parish.
The Lower Nine and St. Bernard Parish were destined to flood because of MR-GO. Even Louisiana’s Republican Senator, David Vitter - who before Katrina promoted legislation to allow commercial destruction of cypress trees - has come around to saying that the 76-mile canal should be closed. Such a move would allow for some of the lost wetlands to be restored.
An investigation by the National Science Foundation post-storm found flaws by the Corps in the engineering design on canal floodwalls that were meant to drain into Lake Pontchartrain - the 17th Street and London Avenue canals that became flashpoints in the helicopter video coverage. Yet alongside the Corps’ mistakes and FEMA’s incompetence, the city bears a measure of blame. The city’s levee district in the early 1980s pressed the Corps to confine its design scope to a 100-year hurricane defense, which meant the city would pay proportionally less for its cost-share of levee work, thereby freeing funds for lakefront development. The Corps wanted to build canal floodgates in the lake, which might have prevented flooding in much of the city.
The flooding put in sharp relief a central challenge to south Louisiana’s survival: coastal erosion, and how to remake wetlands as a protective buffer to Gulf hurricanes. The damage was chronicled by Hallowell, and by Times-Picayune reporters Schleifstein and McQuaid in a 2002 series, and by Mike Tidwell in his 2003 book, Bayou Farewell, among others.
The land south of New Orleans has been sinking as Gulf waters rise. Tidwell found fishing communities with submerged cemeteries, people whose property had disappeared into the Gulf. A million acres of wetlands have been swallowed by the Gulf, eroding nature’s defense against hurricane tidal waves, opening a destructive path to the city.
Louisiana Gov. Mike Foster (1996–2004) gave petrochemical industries an easy ride for toxic waste disposal, treating his Department of Environmental Quality like a serfdom. But Foster, a bluff, Falstaffian fellow, liked the great outdoors and became concerned about coastal erosion thanks to a cross-section of business people, fishermen, industrialists, state officials and ecologists who collaborated on a long report in 1998 called Coast 2050: Toward A Sustainable Coastal Louisiana. Foster personally gave George W. Bush copies of Hallowell’s and Tidwell’s books. There is little evidence that he read them. Coastal 2050 estimated it would cost $14 billion to restore the lost wetlands - big money, but a fraction of the $200 billion in estimated losses from Katrina. In 2004, Bush cut the Army Corps’ funding request for levee maintenance by more than 80 percent.
Louisiana’s southern parishes are sinking - just as other rural and metropolitan areas along the Atlantic coast will effectively sink as ocean levels rise. For now, the Louisiana case is more severe; it stems in part from 20,000 miles of pipelines that criss-cross the coastal floor to deliver oil and gas from offshore rigs. Many canals are long abandoned, yet continue to erode and widen. Another factor for the mass sinkage is the impact of levees built by the U.S. Army Corps of Engineers developed in response to the Great Flood of 1927. Containing the Mississippi’s currents with stronger levees kept the city safe from the river, but bottled up diversionary outlets, which drove streams of river silt like a chute into the Gulf rather than letting the sediment generate sluiceways to replenish tidal marshes. Starved of river nutrients, gouged by pipe excavations, the wetlands eroded and lower Louisiana began sinking in the process.
Nearly 25 percent of all the oil and gas consumed in America travels through Louisiana’s wetlands. Roughly a quarter of the nation’s seafood was generated from Louisiana’s coastal area before Katrina. Since 1932, the state has lost 1,900 square miles of wetlands, an area larger than Rhode Island. Ten square miles disappear annually.
New Orleans Tomorrow
© David Rae Morris
Members of the choir listen to speakers during an interfaith service at St. Peter Claver Catholic Church in New Orleans, LA on July 21, 2006. The featured speaker was U.S. Senator Barack Obama (D-Ill).
Streams of Mexicans and Latino workers have flocked to New Orleans for construction jobs. The city will resemble an Alaskan boomtown, without the cold or the gold, in the next few years. Music and strip clubs will hum; the spirit of jazz and spontaneous cultural improvisations will roll like a wave from the soul. But the smaller city, with fewer schools, has already become stalked by poverty and crime as drug dealers fight for smaller pieces of turf. It is hard to imagine any of that changing, given the fractured New Orleans Police Department.
So the city will produce for tourists and conventions the spectacles and cuisine for which it is known as the low-end workers who staff the hotels and restaurants struggle to find housing. In all of this, the dead silence of absent leadership - Mayor Ray Nagin’s - hangs like a heavy fog in the muggy night. New Orleanians cry out for a comprehensive recovery plan, but Nagin has effectively punted back to the citizens themselves, offering a “plan for a plan,” putting the onus on neighborhood groups, a process that will take at least until the end of this year to materialize. By then, billions in federal aid that has been sent down to the Louisiana Recovery Authority, a state agency conceived by Gov. Kathleen Blanco, will have been committed to other parishes that have already adopted recovery plans. When the money runs out, Nagin will have no one to blame but himself.
Congress And The Flood
“A relief bill passed by the GOP House in March managed to omit critical funds for battered levees,” The New Republic editorialized Aug. 8. “At times, negotiations stalled because some Republicans tried to divert Katrina relief away from Louisiana.”
Yes, indeed.
The Social Darwinists who control Congress see New Orleans as expendable, an outer edge of the Third World. This mentality among Christian triumphalists who fueled the GOP resurgence stands in jagged contrast to the scores of churches from red states that sent members to the muddy blue city at the bottom of America, gutting houses, cleaning streets, helping people recover. The Christian triumphalists bought into a Faustian bargain with Bush on the environment. As the administration withdrew from the Kyoto treaty and gutted EPA, so many sheep-like Christian politicos betrayed the message of Genesis, that earth and waters are sacred. Some Pentecostal leaders have started to speak out about global warming, fraying the edges of GOP unity; but don’t bet on a herd of new Sierra Club members.
Through the winter, as members of Congress flew down to tour the dead neighborhoods, offering condolences and support (the meaning of which remains opaque), the Democrats failed to make an issue of Katrina - why the flood happened, how to prevent future ones. The war in Iraq was keeping Bush down in the polls, but the flood is what put him there. Perhaps the portents of mass ecological breakdown are a migraine for most pols in the daily rush of seeking money at the trough. Apart from the environmental lobby, it was left to certain members of the media, and Al Gore, to stay on point.
“Environmental defense” is not an issue in most people’s minds. The stirrings of a Louisiana plan to prevent future disasters are based on that idea, though no one is calling it that. Here again, the implications are national in scope.
On Aug. 1, the Senate approved a bill by Sen. Mary Landrieu (D-LA) that would give Louisiana and other Gulf states a 37.5 percent royalty on 8.3 million acres newly designated for drilling in the Gulf, providing an estimated $200 million annually in the next decade. A House bill by Rep. Bobby Jindal, a Republican who represents suburbs of New Orleans, called for higher royalties, netting $2 billion a year. A compromise bill working through a House-Senate conference should give the state sorely needed funds for coastal erosion. For her part, Gov. Kathleen Blanco sued the federal Minerals Management Service to halt a scheduled lease of oil and gas exploration in the Gulf, arguing that the agency ignored environmental damage caused by offshore drilling. A windfall in offshore royalties would give the state some leverage in shoring up erosion and preventing future destruction.
On Aug. 14, a federal judge denied Blanco’s request to halt the lease, but warned potential bidders that the state is likely to prevail on its argument, which could stop drilling on the leased tracts. The federal agency has a 90-day window to accept the bids, just about the time of the scheduled trial.
For now, there is no institutional mechanism to rebuild the eroding coastline. Mark Davis, the outgoing director of the coastal restoration coalition, says that “awareness is at an all-time high, but the decision-making apparatus is not there to do what needs to be done. It’s like watching a revival movement, with everyone talking about how good heaven is, but you don’t see a great shift in behavior as if people are planning to get there.”
Davis, who has worked with everyone from bank presidents to shrimpers, faults a forest of red tape and inertia in Washington. Even if revenues materialize, the state lacks jurisdiction over levees and navigational structures - they fall under federal authority. “The state’s ability to change is not just a question of money,” he says. “Blanco has come to the realization that the state has to lead the federal government to the answers.”
Davis credits Blanco for suing the minerals management agency; she sent a message that the feds must participate in rebuilding the coast.
What kind of institution should guide coastal restoration? And how do you pay for it? “A big problem with major environmental projects is that Congress authorizes funds that take forever to materialize,” says Davis. Authorized funding has lagged in delivery in restoration of the Everglades and in a California project to prevent flooding from the Sacramento River that threatens San Francisco Bay. Finding a dependable revenue stream is a big hurdle. Congressional committees have annual appropriations that go through endless negotiations over special interests, like a revolving door, every year.
The Tennessee Valley Authority delivered electrification to the middle South during the Great Depression, as a federal agency. Why couldn’t a similar agency rebuild Louisiana’s wetlands as part of an Atlantic coastal protection agenda, with immunity from Congressional pork-barreling?
Whatever the mechanism necessary for a solution, it is way overdue.
The only way to prevent the disaster scenarios that Gore, Tidwell and others put before us is with a mass campaign to reduce global warming. Getting a national strategy is the toughest order, given the slovenly mindset in Congress and the White House. A policy that rewards industry for cutting carbon dioxide emissions, developing energy-efficient cars and homes and shifting the economy from dependency on fossil fuels may seem unreachable in this maddened time of terrorism and oil wars. The alternative is to sink into a deeper passivity of consumerism. Couch potatoes at the apocalypse, we’ll fill up at $5 a gallon and head for the heartland each time the next big one comes, trying not to collide with sweaty nomads from Alaska, all of us carrying a memory of the flood.
Jason Berry Jason Berry is a New Orleans writer whose books include Lead Us Not Into Temptation, Vows of Silence and a novel, Last of the Red Hot Poppas, to be published in September. This article was commissioned by the Association of Alternative Newsweeklies.An American Band
Shellac’s Shows Are A Spectacle To Behold
originally published August 23, 2006
Brian McCall
Shellac
Shellac is the Harley Davidson of indie rock, an American classic, born of metal, muscle and precision engineering bound by sleek minimalism and below-the-belt punching power. Since forming the Chicago group in 1993, bass player Bob Weston, drummer Todd Trainer and guitarist-vocalist Steve Albini have earned a reputation for churning out quality records - all of which, save for a few early 7-inches, have appeared on Touch & Go. The label has been home to Albini’s releases since piloting proto-industrial rock act Big Black in the mid-‘80s, and its noise-rock successor Rapeman; and is an institution that Albini calls “the only label for Shellac.”
Smart utilization of space and an obsession with the dark side of human nature are calling cards for Albini, while the rhythm section of Weston and Trainer skulks along with simple and powerful force. Their combined role in Albini’s groups, along with Weston’s role in Volcano Suns and later Mission of Burma, and Trainer’s time spent with Brick Layer Cake and Riflesport congeal with fire and fortitude in Shellac.
Over three records - At Action Park (1994), Terraform (1998) and 1000 Hurts (2000) - chemistry is apparent, giving rise to songs that rely more on simple dynamics and personality rather than showy arrangements. Each and every song is essential to the pace and tension of the recording, while stark production - nailed down in the Albini-owned Electrical Audio recording studios - complements the rhythmic bottom end that counterbalances Albini’s razor-sharp rants.
1000 Hurts is a highly evolved effort for Shellac of North America (as the group is often called) that captures a spontaneity found amongst players who share an intense musical intuition. Songs like “QRJ,” “Canaveral” and “Shoe Song” are close kin to the kind of mathy precision for which groups like Slint and Don Caballero have come to be known. But the energy of 1000 Hurts moves with a much looser, don’t-look-back grittiness. The songs are simple, exacting, and each instrument hits very, very hard.
No Pain, No Gain
Of course, having two of indie rock’s most formidable producers/ engineers doesn’t hurt. Both Albini and Weston have helped shape countless recordings by such staple acts as Nirvana, the Pixies and PJ Harvey. But Shellac has never been one to loiter in the studio just because Albini owns it. “It’s a common misconception that we spend hours and hours in the studio, taking years to work on a record,” Trainer says. “Yes, we have been working on new songs for four years, but to say it as such overstates the fact. We haven’t been working the way Pink Floyd worked on The Wall for four years. That’s just not the way we operate. Everyone in Shellac has a career outside of the band. So the time we spend together touring, recording and rehearsing is relatively infrequent.”
Six years have passed since Shellac released 1000 Hurts. Since then, the group has written an entirely new batch of songs, many of which have been coming together for a new album, tentatively scheduled for a late 2006 release that is to be titled Excellent Italian Greyhound.
The title comes from pet banter exchanged between Trainer and his dog, Ufizzi. “When he was a puppy and would do something good, I would say, ‘Excellent Italian greyhound!’ Just like any other idiot talks to his dog,” Trainer explains. “One time Bob and Steve came to visit me in Minneapolis and I was in the habit of saying that a lot. They picked it up and it became this phrase that we used for a while. If anything was really good, like you could be referring to your hotel room, the audience or whatever the case may be, you could say, ‘Wow, excellent Italian greyhound, that hotel room was awesome.' Or if you saw a really spectacular creature of the opposite sex walking down the street you would say, ‘…Italian greyhound…’ To make it funny, we played a show that was a radio broadcast and one of us had said that in an interview. Later I saw that someone had bootlegged the show and was selling it on eBay. The bootleg was called Excellent Italian Greyhound, and when I saw it, I thought, we have to take that back if for nothing else than to rip off a bootlegger for the first time in history.”
When A Club Is An Anomaly
Shellac’s live performances are also something of a rarity. Catching the group at a traditional rock venue, such as the 40 Watt Club, is an odd occurrence. The last time Shellac played in Athens, it was outdoors at Chase Park Transduction Studios following a 2004 summertime Wiffleball tournament - Brian McCall's accompanying photo is from that performance - and a show at Atlanta's Clermont Lounge in the late ‘90s has become a local legend.
It’s not that the group has a particular aversion to playing normal rock venues, but changing the environment yields shows that stand apart. “When it's possible, we prefer to play our shows at non-traditional venues, or at the very least not at the rock club that every other show is at,” Weston says. “We do this to make the show more memorable. If we play at the same venue that you see all your shows at, they can start to blend together in your memory. But you may have a better memory of a Shellac show if you had to go to a park at 10 a.m. to watch us play on an outdoor summer theater stage around the set of Grease - this happened in Columbia, MO. We like to make it a special event when we can.”
Seeing such a non-conventional band tear up a traditional stage is a spectacle in and of itself, equally as memorable for turning the norm into something to remember.
Chad Radford
WHO: Shellac, Uzeda
WHERE: 40 Watt Club
WHEN: Monday, August 28
HOW MUCH: $10
WHO: Shellac, Uzeda
WHERE: 40 Watt Club
WHEN: Monday, August 28
HOW MUCH: $10
Uzeda Exports Volcanic Rhythms And Noise To The World
originally published August 23, 2006
Bob Weston
Uzeda
The city of Catania, nestled along the Eastern coastline of Sicily, lies at the foot of Europe’s largest and most active volcano, Mt. Etna. It’s a massive spectacle, aglow with lava and toxic eruptions. Below, the city streets and buildings are carved out of blackened volcanic rock, smoothed over by centuries of commerce; forever bustling with one eye watching the behemoth towering overhead.
It’s befitting that this almost gothic city scene gave rise to Uzeda’s fiery balance of rhythm and noise. Since 1987, the group has cultivated sludgy guitars and a percussive crawl that links the band to such brutal and art-damaged acts as the Jesus Lizard, the Ex and Shellac. Stella (Touch & Go), Uzeda’s sixth offering, is an explosive document of the group’s acumen.
Throughout the recording, songs like “This Heat” and “Steam, Rain and Stuff” build tension around bassist Raffaele Gulisano's and drummer Davide Oliveri’s Italian reinvention of Kraut rock rhythms, fueled by antagonism. When smashed against Agostino Tilotta’s scathing, guitar chatter in “Time Below Zero,” or Giovanna Cacciola’s sway from uplifting croon to blood-curdling caterwaul in “Wailing,” urgency becomes ever-present.
Cacciola’s lyrics are awash in bleak, poetic symbolism that grapples with the highs and lows of the human condition. These underlying elements of hope, anxiety and resilience are undeniable metaphors for life under the volcano.
Uzeda has shared stages with Lush, Rollins Band, Pulp, Tool and several others. Tilotta and Cacciola have also circled the globe with their group Bellini, which has included Don Caballero drummer Damon Che and currently features Girls vs. Boys drummer Alexis Fleisig.
In ’95, Uzeda toured the United States with Shellac, which proved to be one of its most productive pairings. Shellac guitarist-vocalist Steve
Albini recorded Uzeda’s fourth release, titled 4, and has since left an undisputed mark on the group. Every piece of press Uzeda receives mentions Albini almost as though he were a member of the group, and not without reason.
Stella’s stark guitar tones and utilization of space have Albini’s fingerprints all over them. As much of a strength as a criticism, Tilotta insists that all of the songs were written and arranged before going into the studio with Albini. “He's the perfect mirror, able to reflect Uzeda's image on tape,” Tilotta says. “If between the lines, somebody reads Albini's group’s influence on Uzeda’s music, great! It's a huge honor to be influenced by such amazing musicians. Maybe one day people will travel to Sicily to discover that Uzeda's rhythms and guitar sound belong to the roots of a Sicilian antique culture and popular tradition.”
Chad Radford
WHO: Shellac, Uzeda
WHERE: 40 Watt Club
WHEN: Monday, August 28
HOW MUCH: $10
WHO: Shellac, Uzeda
WHERE: 40 Watt Club
WHEN: Monday, August 28
HOW MUCH: $10
You Like My Song
Geoff Reacher Smokes Back To Texas With The Hammer Down
originally published August 23, 2006
Ben Gerrard
Geoff Reacher
There comes a time when all good things must pass and so it is with the presence of one of this town’s edgiest and most original solo performers. No longer will the Caledonia Lounge be filled with his lightning-fast-multi-pick-guitar-style and driving beats. No longer will the 40 Watt be consumed by his brutal rapping lyrics and country-tinged vocals, and no longer will our heads ring with Reacher’s eclectic and infectious loops and samples. At least, not on such a regular basis.
Of course, this is no eulogy, and nothing is written in stone, so even though Reacher plans to soon make for Austin, TX, the land of his boyhood dreams, he is leaving us with a farewell show/ CD release show and a new album titled Avec Reacher C'est Plus Sûr on Orange Twin Records, the local independent label of Elf Power and The Instruments. And then there's another show scheduled at the Caledonia on Friday, Sept. 1. Avec Reacher C'est Plus Sûr contains some new songs, but also draws on Reacher's independent release You Like My Song. Reacher has called Athens home since late 2002, when he moved here from New York.
With all that in mind, Flagpole sat down with Reacher in a local coffee house on the day he quit his day job. We talked about his tutelage under the man some credit with teaching Dylan how to really play guitar, and how that affected him and the music he produces today. The conversation was punctuated more than a few times with Reacher's trademark laugh, starting with a quiet chuckle and building into a cacophony of strangled guffaws.
- Flagpole
- How old were you when you left Texas?
- Geoff Reacher
- I left right after high school pretty much… and I went back and lived in Austin for a short time. When I was there, I wasn’t really playing any music, I was drivin’ a bus. At the time it seemed all right, but I got the hell out and went to New York. So I think it might be time to go back there and see if my own people will accept me.
- Flagpole
- In your music, you juggle a lot of pre-recorded sounds, but still one of the highlights of your performance is your fast-picking guitar technique. How and where did you develop that style?
- Geoff Reacher
- That’s a really easy question to answer. It was one dude that taught me, pretty much. When I went to him, I was already doing a little finger picking, without the thumb picks, and the dude told to me, “That’s a really weird style you have.”
- So I guess I started with a weird style that I developed on my own, but basically everything I do now was drilled into me by the only music teacher I ever had: Dave Van Ronk. He’s pretty famous for being a father figure to Dylan. When Dylan was in New York City in the '60s, he crashed on Van Ronk’s couch. Van Ronk wasn’t so much a songwriter as much as he was an interpreter and an arranger, but mostly just an amazing guitar player.
- He would study the style of all the classic blues guys and he really loved Rev. Garry Davis, and he meticulously copied those guys' styles. And then for the last few years of his life, he just taught guitar lessons in Greenwich Village for $35 an hour, which was incredibly cheap.
- Flagpole
- He would study the style of all the classic blues guys and he really loved Rev. Garry Davis, and he meticulously copied those guys' styles. And then for the last few years of his life, he just taught guitar lessons in Greenwich Village for $35 an hour, which was incredibly cheap.
- How did you find him?
- Geoff Reacher
- When I heard that a friend of mine was working in another office, where somebody was taking guitar lessons from Van Ronk, I actually switched jobs so that I could meet this guy and meet Van Ronk. Y'know, I was into Van Ronk’s records since I was a kid, so I did what I could to make that happen, and it was pretty awesome.
- Normally I would be pretty skeptical about teachers and be kind of a smart-ass about it, but with this guy, there was some gravity to him, he was also a very gruff guy so he kind of scared you into practicing. He was also an old man in pain, and you don’t want an old man in pain yelling at you. Just my awe of this guy motivated me to try stuff.
- It was guitar lessons, but it was also show-business lessons as well. He would size me up and give me advice that he thought I needed. This is as he was alternating between his inhaler and Camel filters.
- Flagpole
- It was guitar lessons, but it was also show-business lessons as well. He would size me up and give me advice that he thought I needed. This is as he was alternating between his inhaler and Camel filters.
- Do you remember the best piece of advice he gave you?
- Geoff Reacher
- Definitely. It’s not like we were talking about things on a theoretical level, but he told me once, “It’s not about self expression.” I don’t think he liked the way I sang stuff, and to this day, I’m not sure that he fully believed that, and I don’t totally believe it either, but he thought that was something that I - personally - needed to hear. And I think he was right that it was something that I personally needed to come to terms with, you know, just showbiz basically.
- Flagpole
- So he was saying, focus more on the performance and less on the exorcising of your own demons?
- Geoff Reacher
- Exactly, exactly, yeah. Well something like that, I don’t know about the demon part, but basically you’re there to entertain. I don’t really feel like I’m there to entertain, but I guess that is what I’m there for, but I have some ridiculous pseudo-religious approach to this stuff.
- It’s like it’s the easiest way to say what I mean and to really talk about important things. Sometimes when you try to talk about important things, it just sounds like babble, but with music it doesn’t sound like babble, I feel like I can really get to the point.
- Flagpole
- When you say pseudo-religious, do you mean that you feel compelled to make and listen to music?
- Geoff Reacher
- Well yeah, I don’t go to church or anything. It’s the thing in my life that takes the place of that. It’s the profound shit in my life to me. I definitely feel compelled to do it.
WHO: Geoff Reacher, The Renegadez, Bellyache
WHERE: Caledonia Lounge
WHEN: Saturday, August 26
HOW MUCH: $6
WHO: Geoff Reacher, The Renegadez, Bellyache
WHERE: Caledonia Lounge
WHEN: Saturday, August 26
HOW MUCH: $6
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