Observations Along the Road

Theatre Writeups, Musings on the News, Rants and Roadkill Along the Information Superhighway

Useful Stuff

Written By: cahwyguy - Fri Mar 24, 2017 @ 11:43 am PDT

One of the folders I have on my list of bookmarks is something labeled “Useful Stuff” — a collection of references and links that I keep coming back to because they are so useful. As I just added one today, I thought I would share the list with you:

  • Temporary Email Addresses. Have you ever had to give an email address to a site when you didn’t want to? Matadors CCU wrote about an interesting solution to that problem today: FakeMailGenerator.com provides a free disposable email address that lasts as long as you have the window open. Email sent to the account automatically pops up, but everything about the account goes away when you close the window.
  • Network Tools. The DNS Toolbox provides a large number of DNS-based tools. However, it can’t do the good traceroute to bad.horse (you must try it). For that, use the Online Visual Traceroute.
  • Finding a Real Person. Tired of calling a number and ended up in voice-menu hell? Here’s how to get a real person. Also useful is gethuman.com.
  • Credit Reports. Federal law (until Trump changes it) requires each credit reporting agency to give you one free report a year. Here’s how to request it. Hint: Do a different agency every four months, rotating, to keep up to date.
  • 2FA. We all know how important it is to use two-factor authentication. What if you lose your phone and it is the 2nd factor. Here’s what to do. By the way, if you don’t know how to turn on 2FA, here’s how for many sites. Also useful is the 2FA List.
  • URL Encoding and Decoding. If you practice good security hygiene, you know what the URLs are before you go to them. But that’s difficult when URLs are encoded with loads of % codes, or it is a tiny URL, or a URL in an email. URL-Encode-Decode allows you to encode or decode a URL from the UTF % forms. GetLinkInfo takes a URL and follows all the redirections to the end, letting you know if it is safe.
  • Characters and Emojis. Three useful sites here. The Character Entity Reference Chart is a list of all HTML encodable character. Character-Code provides a list of all sorts of characters that you can cut and paste, including some iconic symbols. Both are incomplete when it comes to Emoji; for that, you need Emojipedia.
  • Time. Figure out the time anywhere with XKCD Now.
  • Password Generation. XKCD can also help you with XKPassword, a password generator. I also like the nonsense word generator.

Password Managers and Understanding Risk

Written By: cahwyguy - Thu Mar 23, 2017 @ 11:29 am PDT

If you’ve been following the technical news the last few days, I’m sure you’ve seen the articles about the vulnerabilities discovered in Lastpass (a popular password manager, and one that I use). You may have even seen people complaining that Lastpass was slow to fix vulnerabilities and that one shouldn’t use browser extensions and such. To me (someone who works in cybersecurity), this demonstrates yet again that most people have no idea at all how to assess risk.

This is a great example of this. The vulnerabilities announced above depend on visiting a malicious website. Think about the websites you visit on any given day. The vast majority are probably from some small set of the same sites: social media, news sites, banks, well-known shopping sites, perhaps well-known games. All with low odds of being malicious. Your only exposure might be if you click on an ad (most of us don’t do that) or click on an unknown link in an email (your mother taught you better). So, for the vast majority of people, the odds of going to a malicious website that has a newly released vulnerability that targets a specific password manager is low. Although you may see FUD (fear, uncertainty, distrust) otherwise, such as this statement on the Lastpass forums:

You mentioned exposure. There is always the possibility that someone discovered the bug previously, harvested the information and is sitting on it. Due to the nature of LastPass the level of the compromise is greater than any other tool or device as it would provide information to all passwords (as I understand it), not merely a matter of changing the password to your email or facebook account but could consist of updating 100’s of passwords. That 2FA appears to have been side stepped by this compromise is a large worry.

(2FA refers to two-factor authentication). Let’s assume, as this author did, that someone discovered the bug previously, harvested the info, and is sitting on it. Exploitation still requires visiting a malicious website, and it having a targeted attack in place. From the Lastpass blog on the subject:

To exploit the reported vulnerabilities, an attacker would first lure a user to a malicious website. Once on a malicious website, Tavis demonstrated how an attacker could make calls into LastPass APIs, or in some cases run arbitrary code, while appearing as a trusted party. Doing so would allow the attacker to potentially retrieve and expose information from the LastPass account, such as user’s login credentials.

Based on this description, they wouldn’t even be obtaining all passwords. They would have to do so one at a time. If you practice good security hygiene and enable 2FA whereever you can (not just Lastpass), even if you did visit a malicious website, and even if they had a targeted attack, and even if they guessed one account right, 2FA would defeat them on that account, or you would have noticed something.  In other words, low odds of it being exploited.

As for the time to correct the problem, Lastpass had updated extensions in place (which auto-update) within 24 hours. The researcher that identified the vulnerability even acknowledged as much in this updated article (scroll to the bottom). We’ve gotten used to reported Windows vulnerabilities — which might be in the wild — being corrected in a month if we’re lucky. Similarly for Flash vulnerabilities. Both see much greater use, and much greater exposure. Here you had reasonably rapid correction of a bug.

Tavis Ormandy @taviso : Two more LastPass bugs fixed today https://bugs.chromium.org/p/project-zero/issues/detail?id=1188 … and https://bugs.chromium.org/p/project-zero/issues/detail?id=1217 …. Very quick response from LastPass, < 24hr.

Tavis Ormandy @taviso : Very impressed with how fast @LastPass responds to vulnerability reports. If only all vendors were this responsive

Lastly, there are folks out there that believe software should be bug-free. Programmers believe that as well, but recognize it is an impossibility. Turing Award Winner C.A.R. Hoare said it best:

There are two ways of constructing a software design: One way is to make it so simple that there are obviously no deficiencies, and the other way is to make it so complicated that there are no obvious deficiencies. The first method is far more difficult. It demands the same skill, devotion, insight, and even inspiration as the discovery of the simple physical laws which underlie the complex phenomena of nature.

Dahl, Dykstra, and Hoare, back in 1972, also noted that provably bug-free software is impossible: “Program testing can be used to show the presence of bugs, but never to show their absence.” We should expect our software to continue to have bugs, perhaps becoming more esoteric and harder to exploit as time goes on, but there none-the-less. All we can ask then is rapid patching.

 

Of Historical Interest

Written By: cahwyguy - Tue Mar 21, 2017 @ 12:10 pm PDT

Over the last few days, the RSS feeds and various other sources have unearthed a number of articles that provide fascinating histories of various things. So I’ve decided to bring them all together into this historical prespective:

  • Graf Zeppelin Stamps. As I work at home, behind me is a needlepoint I did ages ago of the $2.60 Graf Zeppelin stamp. I recently encountered a history of this series of three stamps, most of which were destroyed by the post office. At the time, the Zeppelin was the largest flying machine the world had ever seen. Its operating costs were proportionate, clocking at about $4 per mile (or $54 per mile in today’s money). Although passengers paid steep ticket prices, especially on early flights, the ship could only hold about 20 of them at a time, limiting that revenue stream. So the operating company turned to what supported most airline companies in those days: air mail. They commissioned special stamps from the countries on the tour route. Only letters with these stamps on them would be accepted onto the airship, which would then deliver them to their destinations. The arrangement was that 93 percent of the proceeds from each stamp was funneled back into German Zeppelin Airship Works. The US eventually agreed to make such stamps: 65c, $1.30, and $2.60, with the hope that collectors would buy most of them and they could keep the funds. But this was the height of the depression, and the few bought were used on letters.
  • Three Clubs. If you go to the Hollywood Fringe Festival, one of the venues is the Three Clubs Bar — but not being a bar type, I’ve never gone in. Still, I have an actress acquaintance of mine who does a regular Harry Potter-themed burlesque show there, so it is on my radar. Yesterday, LAist published a fascinating history of the bar, from its early days, its 1950s vibe, its appearance in the movie Swingers, to its current revitalization as a theatre-venue thanks to the HFF. There’s even a great picture of the actress I know, Kim Dalton (who I still believe is another Megan Hilty waiting to be discovered).
  • Les Miserables. Speaking of theatre, let’s pivot to the musical and the book Les Miserables, which is about a man who was imprisoned for stealing a loaf of bread. NPR just did a history on bread at that time, and it is really interesting. There was no sharper marker of economic status in 19th-century France than bread. The country was divided into rich people who ate soft white bread (larton savonné) and poor people who ate coarse black bread (larton brutal) made from rye, into which bakers mixed sawdust, tree bark and other additives. The loaf that Valjean stole was the standard loaf of the poor in nineteenth-century France, an oval loaf weighing four and a half pounds, with a thick black crust and heavy grey meal inside. Not the sort of thing you would want to eat nowadays.
  • Universal City. Pivoting next to film, yesterday also brought a really interesting history of how Universal City got started. Yes, the tour was there from the very start, as early as 1913 with the first studio. After setting up shop, Laemmle came west to scout San Fernando Valley locations on which to construct a larger studio in early 1914, and quickly informed Southern California of his search. He bought a full page advertisement in the February 19, 1914 Los Angeles Times, proclaiming, “We want a ranch of 600 to 1200 acres on which to product moving pictures.” He estimated the company spent $1 million a year in business around the studio, and that other businesses servicing it would also greatly contribute to the economy. Universal offered employment to hundreds, and shopkeepers would make money off of these individuals, so he asked what inducements cities would offer to land their business, not unlike rich sports team owners looking for cities to pay for construction of fancy new sports arenas for their teams. And thus… Universal City.
  • Appliances. When I was young, appliances — once called “white goods” because that was the color they came in — lasted forever. A refrigerator or washing machine would last 25 years. Nowadays, things don’t last as long. Recraigslist has an interesting essay on the subject, exploring the reasons why appliances don’t last as long as they used to.
  • Diplomacy. A bit less of a history, but an exploration of the board game Diplomacy, which I used to play all the time. There’s a bit of history, but this is more an exploration of the game at the level of international competitions. I played this during high school — along with Machiavelli — and ran an occasional tournament at a local game convention in the 1980s. Today I can’t scare up a game — no one wants to play an 8 hours game when one could play 4-6 eurogames in that time.

 

A Legacy of Movement | “Martha” @ Whitefire Theatre

Written By: cahwyguy - Mon Mar 20, 2017 @ 9:34 pm PDT

Martha (Whitefire Theatre)If you’ve actually been reading these theatre writeups to the end, you’ll know we have tickets for the Martha Graham Dance Troupe (performance information) at the Valley Performing Arts Center (VPAC) (FB) in late May. So when one of the publicists that thinks highly enough of me to view me as a critic emailed me information on a one-woman show on the life of Martha GrahamMartha, currently running at the Whitefire Theatre (FB) through April 16 — my virtual ears perked up. Here, I thought, was a great way for a dance novice like me to get familiar with a troupe I’ll be seeing; for with all the theatre I’ve attended, I’m dreadfully deficient in the dance arena. I may know theatre choreography, but the world of dance is often very different — theatrical dance as practiced today is very different than modern dance that tells a story solely through movement and expression, not music and lyrics. Martha, for me, provided the backstory and background of the woman who, according to many, was to the dance world what Picasso was to the art world or Frank Lloyd Wright was to the architecture world.

As a result, going into the show, I had no idea what to expect. I know this was a one woman story about the life of Martha Graham, portrayed excellently by Christina Carlisi (FB). But what approach had playwright Ellen Melaver taken to tell the story? Would it be focused on facts and dates, the chronology of life, a sequential portrayal of events? Would it be focused on the person behind the story, providing less of a factual focus and more of a focus on the drive and the persona — what made Martha Graham the unique force she has remained to this day?

The answer is that the author chose the latter, framing the story around the time Graham was in her early 70s, when she was doing a remounting of Clytemnestra with her dancing the lead. Some catastrophic incident occurred during the performance, prompting her board to send her a request to please transition from performing to choreography — a request that would require her to acknowledge her age and her mortality. This she viewed as a death sentence, for dance was her life — and so she started willing her body parts to her critics, friends, and family. In doing so, she also recounted what drove her to the dance, what kept her in the dance, what she contributed to modern dance, and what she gave up to do so. In the end of course, she grudgingly comes to the realization that she will have to start transferring her dances to her proteges, fitting her belief that dance only lives on if it is performed as originally danced.

[In reality, this likely corresponds to the late 1960s, as Graham last danced Clytemnestra in 1967. She died in 1991 at age 96, making her around 71 in 1967. This was a period of time when rheumatoid arthritis was hurting her greatly, she was increasingly turning to alcohol, leading to her doing her last dance in 1970. She regained control of her life around 1973, and Graham continued to do choreography until her death in 1991.]

One expression of Martha Graham captured in the show was that she saw dance like a beautiful shell on the beach. But if when uncovered it was half there and worn down, the beauty was gone. The entire body had to be there to be beautiful, the entire spirit is what made the performance. The audience could easily tell when the performance was just a facade. I’m pleased to say that Carlisi, working with director Stewart J. Zully (FB), didn’t have that problem. Carlisi, interpreting the script, captured not only the drive of Graham but the ego. It was clear that Graham considered herself above the nominal dance world: she was a goddess of dance, immortal, ageless, timeless. She sacrificed the fullness of her life  for the dance; she expected the dancers who worked for her to do the same. This was captured and expressed quite well by Carlisi. She also changed the language of dance, moving dance from the improvisational combinations that depended on the interpretation that day of the dancer, or the mechanical dancing that resulted from counted combination of steps, to a style focused on what the body said, on repetition, on “contraction and release”.

There were snippets throughout the performance of various Graham dances (choreography for the show was by Camille Loftin (FB)); alas, I’m not familiar enough with the Graham repertoire to know if they were represented correctly. There was a fair amount of emphasis on her interpretation of Aaron Copeland’s Appalachian Springs (a piece we know and love), especially as the vehicle for her brief marriage to Erick Hawkins. There were also numerous references to a Louis who was presumably her accompanist and someone close to her, but who was never otherwise explained. I learned, after the show when doing research for this writeup, that Louis referred to Louis Horst, a composer from Denishawn (the school where she first learned dance), who was her oldest friend and musical collaborator. Horst died in 1964, making the death still fresh in the context of the 1967 timeframe of the show. Given the nature of the show as an exploration of Graham’s ego and personality, but not a hard and fast recitation of history, the show could be improved by including in the program a brief chronology of Graham’s life and key events/performances, as well as some of the key people referenced in the show.

No where is this lack of context better illustrated than in her continual requests to have Louis play the Maple Leaf Rag, which you do not hear until the end. It turns out that the Maple Leaf Rag was the last dance she choreographed completely, finishing it in 1990. It is unclear when she started work on the piece.

So, in short, performance-wise, the production was illuminating and excellent preparation for our VPAC show in May. The program that accompanied the show could be improved with a little more context on dates and names. That is likely something that would occur in a larger mounting of the show were it to occur at a mid-size or larger venue; the framing context was missed in the intimate setting.

Production-wise, the staging was simple. The scenic design, for which there is no credit, was two boxes on the stage and a rack of costumes and costume pieces. The staging was augmented, at times, through the use of selected projections (there is no specific credit for projection design — this is likely covered by David Svengalis (FB)’s overall technical design and direction). The costumes themselves were simple and generally flowing, and were designed by Candice Cain (FB). Lighting design was by Derrick McDaniel (FB), and continued the overall transition into multicolor LED lighting from the single color Lekos and gels of the past (although a few Lekos were used). The Artistic Director of the Whitefire Theatre is Bryan Rasmussen (FB). The show was produced by Windy Productions.

The West Coast Premiere of Martha continues at the Whitefire Theatre (FB) through April 16, 2017. Tickets are $25 and are available through Brown Paper Tickets. Discount tickets may be available through Goldstar.

🎩 🎩 🎩

Ob. Disclaimer: I am not a trained theatre (or music) critic; I am, however, a regular theatre and music audience member. I’ve been attending live theatre and concerts in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I currently subscribe at Cabrillo Music Theatre (FB), the  Hollywood Pantages (FB), Actors Co-op (FB), the Chromolume Theatre (FB) in the West Adams district, and a mini-subscription at the Valley Performing Arts Center (VPAC) (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals).  I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows: Next week brings brings a student production of The Robber Bridegroom at LA Valley College (FB) on Friday and An American in Paris at the Hollywood Pantages (FB) on Saturday. April starts with Cats Paw at Actors Co-op (FB) and a concert with Tom Paxton and the DonJuans at McCabes Guitar Shop (FB). The next day brings the Colburn Orchestra at the Valley Performing Arts Center (VPAC) (FB). The weekend of April 8 brings Kurt Vonnegut’s The Sirens of Titan at Sacred Fools Theatre (FB). Mid-April brings Doc Severinsen and his Big Band at Valley Performing Arts Center (VPAC) (FB) on April 13, followed by Animaniacs Live at the La Mirada Performing Arts Center (FB) over the weekend. That will be followed on the penultimate weekend of April with Sister Act at Cabrillo Music Theatre (FB). The last weekend of April has two holds: one for the Renaissance Pleasure Faire, and one for Uncanny Valley at ICT Long Beach (FB) [we’re just waiting on Goldstar]. Lastly, looking to May, the schedule shows that it starts with My Bodyguard at the Hollywood Pantages (FB) the first weekend. It continues with Martha Graham Dance and American Music at the Valley Performing Arts Center (VPAC) (FB). The third weekend brings the last show of the Actors Co-op (FB) season, Lucky Stiff, at Actors Co-op (FB). May concludes with Hello Again at the Chromolume Theatre (FB). As for June? Three words: Hollywood Fringe Festival (FB). That, barring something spectacular cropping up, should be the first half of 2017.

As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Better-Lemons, Musicals in LA, @ This Stage, Footlights, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves. Note: Lastly, want to know how to attend lots of live stuff affordably? Take a look at my post on How to attend Live Theatre on a Budget.

P.S.: The Hollywood Pantages (FB) announced their 2017-2018 season (which was the rest of 2018, after Hamilton took over the last 5 months of 2017) on February 7th. You can find my reaction to it here. The Ahmanson Theatre (FB) announcement was at the end of February, and here’s what I thought of it.

Deep Questions

Written By: cahwyguy - Sun Mar 19, 2017 @ 10:14 pm PDT

Inspired by some podcasts I’ve been listening to and some articles I’ve been reading, here are some deep questions:

  • Is cereal a soup? After all, soup is food in a nutritious liquid.  [Corollary: Is oatmeal stew?] (inspired by this)
  • Is a taco a sandwich? After all, when you take a single slice of bread, put PB&J on one side, and fold it over, it is still a sandwich. (inspired by this)
  • Is a Snuggie a blanket or clothing? (inspired by this)
  • Is a cheesecake or a tart a pie? [Corollary #1: Is pizza a pie?] [Corollary #2: Is yellowcake a cake?] (inspired by this)

 

I Didn’t Know That!

Written By: cahwyguy - Sat Mar 18, 2017 @ 9:53 am PDT

This week’s news chum brings together a number of articles that present facts that you might not have known, but that are fascinating to read. Shall we begin? I quote a bit more from the first article, simply because the words crack me up every time I read them.

  • Fighting Capitalism. As you may have just read, Hasbro has dropped three timeless Monopoly tokens — the thimble, the boot, and the wheelbarrow — and replaced them with a T. Rex, a Penguin, and Rubber Ducky. Some speculate that this is further evidence that what was once a game that protested capitalism is being further eviscerated to celebrate it instead. After all, all three tokens eliminated fit into the theme of capitalism and its discontents: the railway baron’s top hat, the worker’s thimble, the boot with the strap by which to pull one’s self up, and so on. But after Parker Bros purchased the game, it has slowly and surely been turned into a game demonstrating how fun it is to make lots of money and bankrupt your friends. But fear not. A wonderful Vox article identifies the hidden anti-capitalist meanings behind the new tokens: (1) The T. Rex stands for the inherent predatory nature of capitalism. When you use the token, you’re saying, “Behold, I devour all that stands before me, just as capitalism devours the rights of the workers.”; (2) The Penguin. It carries a double meaning. It stands for the coldness of Wall Street, and also for the profit-driven destruction of the polar ice caps. Plus it was a classic Batman villain. (3) The Rubber Ducky. It seems to say, “Much like water off of this duck, the inhumanity and decadence of late capitalism just rolls off my back.”
  • Time Zones. You’ve heard of “fun with flags”; here’s fun with time zones. Some timezones have 1/4 and 1/2 hour offsets. Some are next to each other, but when you cross only the date changes. Some even allow you to go back in time.
  • Chemistry and Ironing. Here’s why your shirts come out of the dryer wrinkled, the easy way to unwrinkle them, and the chemistry behind no-wrinkle fabrics and treatments.
  • Making Lemonade. When life gives you lemons, make lemonade. When genetics gives your vitilgo, turn it into art.
  • Pennnnnnnnnnnnnies. Here’s a history of coin-elongation machines,  which you’ve probably seen, but never thought about.
  • Decluttering. Here’s why it is so hard to let go of stuff.

 

Conspiracy Theories: The Key is Plausibility

Written By: cahwyguy - Sat Mar 18, 2017 @ 9:32 am PDT

userpic=trumpPresident Trump is a never ending source of conspiracy theories. From his farcical belief that Obama directly wiretapped his phones, to the notion that the former President is part of some sort of “Deep State” conspiracy with George Soros to usurp his throne his office — it’s all conspiracy, all the time.

It’s Just an Excuse

On Friday, news came out that a laptop was stolen from an Secret Servent agent’s car. The agent told investigators the laptop contained floor plans for Trump Tower, evacuation protocols and information regarding the investigation of Clinton’s private email server, according to sources. An agency-issued radio was also taken, according to Politico. Other items stolen include “sensitive” documents, an access keycard, coins, a black zippered bag with the Secret Service insignia on it and lapel pins from various assignments — including ones involving President Trump, the Clinton campaign, the United Nations General Assembly and the Pope’s visit to New York, sources said. Sources and neighbors said the thief stepped out of a dark-colored sedan, possibly an Uber, and darted into Argentieri’s Bath Beach driveway about 3 a.m. According to the neighbors, a video of the theft “showed somebody running to the car and running back out.  They knew what they were doing, absolutely. They knew what they were hitting.”

In parallel news, the Secretary of State threatened North Korea. On his first trip to Asia this week, Tillerson had declared that diplomacy has failed to persuade North Korea to abandon its nuclear program, and that a new approach was needed. On Friday in Seoul, he warned ominously that all options were on the table to counter the threat from Pyongyang. President Trump weighed in Friday by goading China over Twitter for not doing enough to help prevent its ally from “behaving very badly.”

What if these were connected? What if this was just a coordinated conspiracy to frame North Korea and to give us an excuse to preemptively attack them and remove the threat. Another part of the government could easily have worked with the Secret Service on the threat to give the attack a public start, and then arrange an attack on Trump Tower that looks like it was from North Korea. We would then have to respond.

But its only a theory.

Budgets and Donations

Another headline I saw this morning talked about a significant surge in donations to Meals on Wheels after they were threatened with funding cuts. There have been similar significant surges in donations to Planned Parenthood. Environmental organizations are seeing donations surge. ACLU is seeing memberships and donations surge. Non-profit news organizations are seeing donations surge. NPR, NY Times, WSJ — all surging. On the other side, there has been a significant drop in gun and ammo sales since the election, although the NRA reads the stats differently.

What if this was the plan all along? What if Trump is making all these outrageous budget plans specifically in order to make people treasure the endangered organizations more, and to get them more money in donations?  He then lets Congress eviscerate the proposals, simultaneously convincing the arch-conservatives he tried to do the right thing, getting them to change Congress to be more right-wing at the next election for voting them down (thanks to gerrymandering), and bringing in more funds for the organizations.

But its only a theory.

What Is The Right Road to Take?

Written By: cahwyguy - Thu Mar 16, 2017 @ 8:28 pm PDT

Along with Donald Trump’s budget proposal comes news of significant cuts at the EPA, both in research funds and in regulations. An article in Governing Magazine uncovers an interesting debate regarding those cuts with respect to infrastructure funding: Is it right to gut environmental regulations that both delay and raise the cost of infrastructure funding in order to get more infrastructure faster? Quoting from the article:

President Trump has made no secret over the course of his campaign and early administration that he thinks it takes too long for infrastructure projects to get approved and built. A report from The Wall Street Journal last week indicated just how much he’d like to speed things up: The president wants states to start building within 90 days of getting federal money, compared with the years it can take for projects to start now.

The biggest hold-ups for most projects, though, come from federal — not state — regulations. State and county transportation officials say federal environmental, safety and workplace reviews can more than double the time it takes to complete a project.

But, they add, a GOP-controlled Congress and new administration provides the perfect opportunity to re-evaluate many of those long-standing environmental laws.

“We are not talking about trying to go out and gut the environmental process,” says Tim Hill, the administrator in charge of environmental services for the Ohio Department of Transportation (ODOT). “That’s not what states are about. They support clean air. They support clean water. They want to make good, common-sense decisions. But they want common-sense decisions in a process that allows flexibility.”

Of course, many environmental groups are wary of any major changes to landmark environmental laws, especially because Congress has already sped up many parts of the reviews in recent years.

“They already won,” says Scott Slesinger, the legislative director for the Natural Resources Defense Council (NRDC). “The problem isn’t and has never been [environmental reviews] that have caused the delays. It’s other stuff. It’s money. It’s local opposition. It’s supply-chain problems.”

This is something that can be clearly seen in California. Before the days of the EIR, roads could be built anywhere and everywhere, seemingly. Since the EIR process started, there are meetings and research and reports even to widen a road in place. The article talks about the many regulations and laws affecting infrastructure funding, from the Clean Water Act to the Endangered Species Act to the National Environmental Policy Act to the Buy American provisions. Quoting again from the article, regarding the NEPA:

The scope of the review depends on the size of the project. Projects that cost less than $5 million — which are the vast majority of transportation projects — are generally excluded from the impact study. Slightly larger projects, like a new intersection or highway on-ramp, require a more involved process called an “environmental assessment.” The biggest projects, like ones that require new rights of way, require a full environmental impact statement.

It’s the biggest projects that tend to get the most attention, and they’re the ones with the longest approval process. For projects approved in 2011, for example, the average time the NEPA process took was more than six years.

Congress responded to criticism about the lengthy reviews when it wrote its last two major surface transportation funding bills in 2012 and 2015. Federal lawmakers, for example, expanded the types of projects that were exempt from the reviews. They also allowed states to conduct their own NEPA reviews on behalf of the federal government, which California, Florida, Ohio, Texas and Utah have opted to do. Hill says Ohio saved $4.6 million in the first three months of doing the reviews itself.

So what do you think is the right answer? Do you think infrastructure trumps environmental quality. Literally?