It’s A Rough Road Out There

userpic=rough-roadAs I may get a phone interview on this subject, I thought I would share some thought on some recent road related articles. In the first, the Reason Foundation has reported on a survey that California Highways are among the worst in the nation — and have been for more than a decade. In the second, the Gas Tax in California has gone up by 3.5 cents, as a result of a law signed by the Governator a few years ago. More on that in a minute. The two stories are very closely related.

Let’s start by exploring how highways are funded in California. First, it is important to note that not all highways are the same in California. What I’m talking about here are state highways — these are the numbered highways (Interstate, US, or California shield) and related state-owned facilities. They are not city or county highways — those are funded by property taxes, although sometimes Caltrans will fund those highways. Understanding the distinction is critical — often, when people complain about poor roadways, they are conflating all the different highway types (because their tushies can’t distinguish).

Looking at the state highways then… what gave California its great highway system was an act in the 1930s-1940s called Collier-Burns, that created the gas tax and allocated that money to the California Highway Commission to allocate to highway projects. The CHC also allocated matching funding received from the Federal government for Federal Aid highways, such as Interstates. Over time, the CHC morphed into the California Transportation Commission, and funded not only highways, but mass transit projects, air transit projects, and in general projects to keep California moving in general.

All of these projects were funded by the gas tax. In the 1950s and 1960s — when we were building highways — this was great. The gas tax was a large portion of the price of gas, cars were gas-guzzlers, people were driving more, and labor and highway construction was relatively cheap because there weren’t all the environmental studies required or right of way battles. This is when California had great highways.

So what happened since then? People have gotten more efficient cars, and are using less gasoline. This means less income for transportation purposes. Construction has gotten significantly more expensive — labor and supply costs have gone up, as well as legal and study costs. There has also been more budget pressure (resulting in budget cuts), and some highway money has been siphoned off into mass transit, in order to pull people off the roads (a self-defeating task, at least in terms of funding). Lastly, more and more cars don’t use gasoline at all, providing no funding for infrastructure.

Combine this with the fact that population has grown and grown, meaning the roads are taking a greater and greater pounding. Add to that the aging of the roads — most of the freeways are now 50+ years old, with some having roadbed that are even older. Those signs with the reflectorized dots and the streaks — those go back to the 1950s. The newer button copy is 1970s and 1980s. The roads are falling apart, and the money just isn’t there to repair them.

Here’s an image that shows the problem well:

Fuel Tax Revenues
(Image from “Moving Los Angeles” by Paul Sorensen, published in Access by the University of California Transportation Center, 2009)

This is now where the tax increase comes in — which really isn’t a tax increase. What happened is this: Former California Governor Arnold Schwarzenegger in 2010 signed a Fuel Tax Swap law, which makes certain state gas tax revenues remain the same annually. Since gas consumption has been down over the last couple of years, according to lawmakers, the excise tax has to go up to offset the decrease. Excise tax pays for state transportation and highway improvements.

Now, note that this just keeps the funding level (in government speak: level is the new “good”). That will fund existing projects, but means that many roads will wait for years to be fixed if they aren’t critical. Further, none of this addresses the funding issues for state and local roads, which have been coming from sales tax increases (usually more focused on transit) and property taxes. Cities and counties are strapped, and often it is the the highways and public works budget that suffers.

Most people have a lot of trouble putting taxes — especially gax taxes — in perspective. Say you use a tank a week. Call it 20 gallons. At 3.5c/gallon, that’s 70c a week. That’s all of $36.40 per year. That won’t break the bank for most people (plus that’s not per person, that’s per vehicle). This is the same reason it is crazy to run around town to save 5c a gallon. You’ll spend more in gasoline than you will ever save.

In any case, this funding issue is why the roads are in such poor state. Look at the state where the roads are supposedly “good”: North Dakota, Kansas and Wyoming. Most have low populations, small urban areas, and not significant traffic other than trucks on straight-line interstates. Further, they gain lots of gas tax from people driving “through”. Where are the roads worse? Alaska, Rhode Island and Hawaii. The latter two are understandable… they are islands 🙂 . Seriously, Alaska has a lot of area to maintain in very harsh conditions of freezing and thawing. Hawaii has a different problem: volcanic issues and funding problems. As for Rhode Island, I have no idea.

In any case, these are just my thoughts. Hopefully they help you understand why California roads are in such poor shape.

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Highway Headlines: 6/15/13 – 7/1/13

userpic=roadgeekingAnother half-month has passed, and so it is time for more headlines:

  • O.C. Projects Receive $123.6 Million in State Funds. The California Transportation Commission (CTC) allocated $123.6 million in funding to Orange County projects that will help improve freeway conditions and increase road safety for drivers and pedestrians.
  • Water board halts Orange County tollway project. Local water quality regulators Wednesday night halted a $200-million tollway project in Orange County when they denied a discharge permit for the controversial proposal. On a 3 to 2 vote, the San Diego Regional Water Quality Control Board declined to issue a permit to the Transportation Corridor Agencies in Irvine, the operator of 51 miles of toll roads in Orange County.
  • New carpool lanes open Saturday on I-880 at Brokaw Road. Bill Richter figures he’ll shave 25 minutes off his usual 50-minute commute from West San Jose to Cisco’s Milpitas office next week, when new carpool lanes open on a 4-mile stretch of Interstate 880 from Highway 237 in Milpitas to the 101 interchange in San Jose. The new lanes will open at 6 a.m. Saturday and be available for the Monday commute. That’s relief for Richter, a motorcyclist who went back to driving solo during the 15 months it took to install the diamond lanes, redesign the Brokaw Road ramps and rip out the old freeway pavement — all with white concrete barriers narrowing traffic lanes.
  • Old homes in way of new road plans at Lake Tahoe. Miller, 60, is one of about 75 property owners whose homes might have to be bulldozed if a plan goes through to reroute Highway 50 around a perpetually gridlocked stretch on the South Shore of Lake Tahoe, on the California-Nevada border where the Heavenly ski resort and popular casinos are located. The plan by the Tahoe Transportation District would turn a 1.1-mile section of the current highway, from Pioneer Trail in California to Lake Parkway in Nevada, into a local “main street.”
  • Plan to Add Toll Lane to the 405. The I-405 Sepulveda Pass Improvements Project cost taxpayers $1 billion and will feature a 10-mile car pool lane but the problem is, despite all the money that has already been poured in, the county Metropolitan Transportation Authority could be asking drivers to pay to use the car pool lanes.
  • I-405 widening plan public meeting set for next month in Long Beach. The public will have a chance to comment this month on a highly-criticized plan to widen the 405 Freeway that now calls on Long Beach and Caltrans to pay for some improvements to local intersections.
  • OCTA Seeks Public Comment on Environmental Impact Report for I-405 Improvement Project. The I-405 Improvement Project Supplemental Draft Environmental Impact Report / Environmental Impact Statement (EIR/EIS) was released on Friday, June 28, and is available for public reveiw and comment through Monday, Aug. 12.
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You Just Have to Love Who (or What) You Love

Man of No Importance (Good People at Lillian)userpic=theatre2I tend to be a completist. For theatre, this means I tend to acquire all cast albums of a particular composing team. In practice, this means that I often jump at the chance to see a show I’ve only heard. So when I discovered that the Good People Theatre Company was doing a production of Ahrens/Flaherty‘s A Man of No Importance as part of the Hollywood Fringe Festival, I immediately went out an bought tickets. Well, I bought them for the wrong date, but I quickly got that fixed :-).

A Man of No Importance is one of A/F’s less frequently produced pieces, perhaps because it doesn’t work well in the gigantic Broadway houses. With a book by Terrance McNally, and based on the 1994 movie with Albert Finney, it tells the story of Alfie Byrne in 1964 Dublin. Alfie is a conductor on a Dublin bus line; his only joy in life is producing and directing amateur theatre  in the basement of St. Imelda’s church. His favorite playwright is Oscar Wilde, and he has just finished producing yet-another mounting of Wilde’s The Importance of Being Earnest.  When a beautiful young woman joins his bus route’s regulars, he instantly decides on the troup’s next show: Wilde’s Salome. Alfie’s sister, Lily, is excited about this news, for she believe it means Alfie is finally interested in a girl and might get married (meaning she can marry the butcher, Lazer Wolf William Carney). But Alfie is interested in the girl, Adele Rice, only as his Salome; his unspoken affection is for his bus driver, Robbie Fay. Alfie is hesitant to act on his attraction, knowing what happened to Wilde (although Wilde, in his mind, keeps urging him on, noting that the only way to deal with temptation is to give in). So Alfie focuses on producing the play, with the support of most of his actors. However, his main male actor, Carney, feels the subject of the play is too immoral for the church to produce. He goes to the leader of the church, Father Kenny, and gets the production shut down. This drives Alfie out in the world where he acts on his impulses… with predictable results.  This brings his secret out (“the love that may not be spoken”) to the world. However, instead of rejection and bigotry from his friends and family, Alfie discovers… acceptance (from all but a few).

If the musical has a heart — and a heart I hadn’t realized before I had seen the production — it is the closing number of Act I: “Love Who You Love”. This number occurs when Alfie walks Adele home one night, and she tells him of the man she left behind in her home town. It goes as follows:

I’m not one to lecture
How could I dare
Someone like me who’s been mainly nowhere
But in my experience be as it may
You just have to love who you love
You just have to love who you love

Your common sense tells ya best not begin
But your fool heart cannot help plungin in
And nothing and no one can stand in your way
You just have to love who you love
You just have to love who you love

People can be hard sometimes
And their words can cut so deep
Choose the one you choose, love
and don’t lose a moment’s sleep
Who can tell you who to want
Who can tell you what you were destined to be
Take it from me

There’s no fault in lovin
No call for shame
Everyone’s heart does exactly the same
And once ya believe that, you’ll learn how to say
I love who I love who I love
So just go and love who ya love

Such a beautiful song.

As for this production, under the directoral hand of Janet Miller (FB)… well it was just remarkable. I always find it wonderful when a production that wasn’t really right for the “big Broadway stage” works in a small venue. I’ve seen this in a number of shows: Kiss of the Spider Woman, The Story of My Life, The Wedding Singer, and many others. A Man of No Importance is one of those shows. Miller’s direction, a fine acting ensemble, and the correct under-99-seat venue combine to produce a gem of a show — one that touches and moves you (even in the wilting heat of a Southern California summer). Miller utilizes the limitations of the venue to great effect — there are no major set pieces — she establishes the scene through a collection of chairs, a bookcase, a table, and a few props. The performances she draws out are enough to mesmorize and transport you to 1964 Dublin without major fly-ins or backdrops. Just wonderful. As for the acting ensemble…

In the lead position, playing Alfie Byrne, is Dominic McChesney (FB). McChesney is perfect in the role: mild, expressive, and yet… powerful. He has a delightful singing voice, and does something I love to see in actors: he inhabits the role. By that I mean that when you watch the performance, you forget you are watching an actor — you believe you are seeing the character portrayed. When this happens, it is just great.

Supporting McChesney is a wonderful team of actors that seem to be having so much fun with their characters, it is infectuous. I’ll name some of my favorites first, and then list the rest. Playing both Carney and Oscar Wilde is David Gilchrist (FB). We’ve seen Gilchrist in a number of productions at Actors Rep of Simi and at Cabrillo, but he gave one of his best performances here. He was so expressive, and so much in character, that it was just a joy to watch him. I also enjoyed watching Marci Richmond Herrera (FB) as Miss Crowe. I don’t know what it was, but there was just something that drew my eye to her whenever she was on stage. As Adele Rice, Audrey Curd (FB) (G+) brought an inner beauty and strength to her performance that served her well when the reason was revealed at the end. Also particularly notable were the performances of Shirley Anne Hatton (FB) as Lily Byrne, Matt Stevens (FB) as Baldy O’Shea, and Keith Barletta (FB) as Robby Fay. Hatton’s Lily was wonderful in her duet “Books” with Gilchrist’s Carney, and Stevens was equally strong in his number “The Cuddles Mary Gave”. Barletta was just strong overall. Rounding out the excellent ensemble were Mary Chesterman (FB) (Mrs. Grace/Kitty Farrelly); Gail Matthius (Mrs. Curtin); Corky LoupĂ© (FB) (Rasher Flynn/Carson); Michael P. Wallot (FB) (Ernie Lally); Melina Kalomas (Mrs. Patrick); Bret Shefter (G+) (Sully O’Hara); Matt Franta (FB) (Peter/Breton Beret); and Terrence Evans (Father Kenny).

The music in this production was excellent. Under the musical direction of Corey Hirsch (FB), the musicians from the Los Angeles Musicians Collective provided a great Irish band,  with a fiddle, flute, keyboard, guitar, and what looked like a mandolin, plus various boxes for percussion. They were just a delight to listen to. The Pantages should hire these folks when Once comes to town!

Turning to the technical and “behind the scenes” folk: The set and properties design by Kevin Williams was simple but effective, as I noted above. This befitted the fringe nature of the production, but also worked well to entice the audience to use their imagination to set the scene — something that movies cannot do. This was supported by the costume designs of Kathy Gillespie (FB) and her sister, Barbara Weisel (FB), (both formerly with the Costume House in Irvine) , whose wonderful costumes transported the audience to 1964 Dublin. Also effective was Katherine Barrett (FB)’s lighting design — both in the spots, but particularly in the backwash along the brick wall. The sound design by Chris A. Flores was what a sound design should be — unobtrusive and invisible, and you could hear the actors clearly. Dialect coaching was by Jill Massie and (to my ear) was quite good — it sounded convincingly Irish without being so heavy as to obscure the dialogue (which was, for example, a problem with both Billy Elliott and Priscilla at the Pantages). Katherine Barrett (FB) was the stage manager, assisted by Rebecca Schroeder (FB). I’m not listing all the publicity folks.

The last performance of A Man of No Importance is, alas, today at 2pm. As that’s less than two hours away as I write this, that means you can only get tickets at the door of the Lilian Theatre at 1076 Santa Monica Blvd (unless they are sold out). I’m looking forward to future productions from Good People Theatre (FB), especially if they are doing musicals not commonly done.

Upcoming Theatre and Concerts:  July starts with a musical we had originally planned for Fathers Day weekend: “Ionescapade” at the Odyssey Theatre Ensemble. That will be followed by “9 to 5 – The Musical” at REP East on July 14, and “Legally Blonde – The Musical” at Cabrillo at the end of the month. July will also (hopefully) see us as OperaWorks at CSUN. August is currently completely open due to vacation planning, although we may see a show at the Lawrence Welk Resort in Escondido at the end of the month (depending on price), or at another venue in San Diego.

Continuing the look ahead: September may bring Sarah Ruhl’s “In The Next Room or The Vibrator Play“ at the Production Company/Secret Rose and “Blue Man Group” at the Hollywood Bowl, as well as “God of Carnage” at REP East. October is open, but should the Cabrillo production of “Kiss Me Kate” somewhere, as well as “Dirty Rotten Scoundrels” at Actors Rep of Simi. November will bring “Play It Again Sam” at REP East as well as ARTS’s Nottingham Village (a one-weekend ren-faire-ish market). The fall should also bring a production of “Carrie – The Musical” by Transfer Theatre. As always, I’m keeping my eyes open as the various theatres start making their 2013/2014 season announcements. Lastly, what few dates we do have open may be filled by productions I see on Goldstar, LA Stage Tix, Plays411, or discussed in the various LA Stage Blogs I read (I particularly recommend Musicals in LA and LA Stage Times).

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It’s Hot Enough to Fry News Chum

userpic=observationsIt’s Saturday. It’s lunchtime. It’s 105.7°F in the shade on the back porch. You know what that means — it is time to fry us up (on the sidewalk, ‘natch) some tasty News Chum, using those links we saved earlier in the week. Better eat it quick, before it spoils in the heat:

Music: Memories (Barbra Streisand): “My Heart Belongs To Me”

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Blues-iana in Santa Monica

Maria Muldauruserpic=folk-artistsWe don’t always go to the theatre. Point in case: Last night saw us in Santa Monica (which was about 20° cooler than the 103° in Northridge) to see a wonderful singer, Maria Muldaur at McCabes Guitar Shop.

It is hard to categorize Maria Muldaur, other than “good”. She started out singing Jug Band music with her then husband, Geoff Muldaur, in the Jim Kweskin Jug Band. She hit the pop charts in 1974 with “Midnight at the Oasis“, but was part of the folk and jug band scene going back to 1963 and Greenwich Village. She had done 40 albums with a wide variety of musical styles, from New Orleans jazz to Blues to Big Band to Gospel. She was also part of the Grateful Dead as a backing singer (which explains the Deadheads at the show). I was first introduced to her in the 1970s when joined with Peter Yarrow on the song “Tall Pine Trees” on Peter’s first solo album, Peter. I was reintroduced to her when recording folk and blues album for my uncle, who had a few of her solo albums. I’ve since acquired a few more albums, so when I saw that she was going to be at McCabes, I got tickets.

Unlike Elton John, Maria’s performance was very simple. Maria (on tambourine), backed by her Red Hot Bluesiana Band (featuring someone whose name I’ve forgotten on guitar, Chris Burns on keyboards/bass, and Dave Tucker on drums). I didn’t record a formal song set, but here’s what I remember: (I Am) Woman • Me and My Chauffeur Blues • Long as I Can See You Smile • I’m Going Back Home • In My Girlish Days • He Calls That Religion • Don’t You Feel My Leg • Midnight at the Oasis • Please Send Me Someone To Love • It Ain’t The Meat, It’s The Motion • I’ve Done Made It Up In My Mind and Bessie’s Advice. Most of the stuff was from her first two albums and her two most recent albums.

In general, her vocal quality and performance quality was wonderful (although my wife noted that, in Midnight at the Oasis, she couldn’t hit the high notes that she used to be able to hit). Her voice has mellowed into a great blues voice, not as much of the pop voice it once was. Her backing group was great — I particularly enjoyed the keyboardist.

Maria is currently on tour in California: those in the Bay Area can see her on July 6/7 with the Jim Kweskin Jug Bag at Freight and Salvage in Berkeley.  She’ll also be in Sacramento.

Dining Notes: Discovered a new restaurant (to us) for when we go to McCabes: Lares Restaurant. Next to the classic Raes, Lares is an excellent Mexican restaurant, in walking distance to McCabes (meaning you only need to park once). We’ll be back the next time we go to McCabes.

Upcoming Theatre and Concerts:  Tonight bring Man of No Importance“ (Hollywood Fringe) at the Lillian.   July starts with a musical we had originally planned for Fathers Day weekend: “Ionescapade” at the Odyssey Theatre Ensemble. That will be followed by “9 to 5 – The Musical” at REP East on July 14, and “Legally Blonde – The Musical” at Cabrillo at the end of the month. July will also (hopefully) see us as OperaWorks at CSUN. August is currently completely open due to vacation planning, although we may see a show at the Lawrence Welk Resort in Escondido at the end of the month (depending on price), or at another venue in San Diego.

Continuing the look ahead: September may bring Sarah Ruhl’s “In The Next Room or The Vibrator Play“ at the Production Company/Secret Rose and “Blue Man Group” at the Hollywood Bowl, as well as “God of Carnage” at REP East. October is open, but should the Cabrillo production of “Kiss Me Kate” somewhere, as well as “Dirty Rotten Soundrels” at Actors Rep of Simi. November will bring “Play It Again Sam” at REP East as well as ARTS’s Nottingham Village (a one-weekend ren-faire-ish market). The fall should also bring a production of “Carrie – The Musical” by Transfer Theatre. As always, I’m keeping my eyes open as the various theatres start making their 2013/2014 season announcements. Lastly, what few dates we do have open may be filled by productions I see on Goldstar, LA Stage Tix, Plays411, or discussed in the various LA Stage Blogs I read (I particularly recommend Musicals in LA and LA Stage Times).

 

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Visualizing the USA

userpic=gamingToday’s news chum brings you three different maps of the US — three different visualizations of things:

 

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Food News of the Week

Before I go and make some dinner, I thought I would share some food news with you:

  • Oreos You Might Not Want. Recently, my daughter picked up some Triple Double Oreo Neopolitan cookies. These are three vanilla oreo wafers with one layer of chocolate fat and one layer of strawberry fat. In one word: Yuk. This week I read of an even disgusting flavor: Watermelon. According to one taster, “Super fake tasting, like a Jolly Rancher that sat in the sun and then was crumbled into a sugary, chemically, creamy-ish cookie of sadness”. The article also shows some other disgusting oreo flavors. I guess I’m a purist.
  • You Are What You Eat… With. Two articles on similar findings. The first, h/t to Andrew Ducker, is from the BBC. The second is from Discovery. Both deal with the conclusion that what you eat with — the plates, the cutlery — can influence how your mind thinks the food tastes, how full you get, and how fast you get full. Some of those notions of eating off of smaller plates and using smaller spoons are true. But yogurt supposedly tastes better off a white spoon, and cheese is saltier off a knife.
  • Trash Fish. We’re all familiar with normal fish: Tuna, Salmon, Mahi Mahi, Tilapia. Many of these are over-fished or farm-fished (neither is great). Some chefs are addressing the problem by serving “trash fish” —  types of fish that are perfectly edible but usually not served. Fish such as scorpion fish, triggerfish, drum, white grunt, shore crabs and moon snails. Supposedly more sustainable, but are you adventurous enough to try it?
  • Cleaning Up. Of course, after you cook you’ve got to clean up. Here are 37 tips to make cleaning up faster, especially if you don’t have a dishwasher. Erin – these may prove useful in your new apartment!

Music: New Day Dawning (Cherish The Ladies): “The Green Cottage Polka/Jer O’Connell’s/Tom’s Tavern”

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Our Things Say a Lot About Us

userpic=don-martinThe products we make (or pretend to make) say a lot about us. Here are three examples:

 

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