56 minute read
Letters: Signed, sealed, delivered, your views
Wild places
The Adventure article, “Quicksand and Barbaric Yawps” (Re: Feb. 13, 2020) about wilderness therapy highlights the importance of the wilderness and wild places to us all. We must respect these places and preserve them as they are, natural and wild, for our own well-being and that of many generations to come. When we visit these few remaining places be gratefully aware, follow Leave No Trace principles, breathe deeply and smile a lot!
R. Lawrence/Boulder
We still have choices
CM Brown’s letter, “Look to the Past,” in the Feb. 6 BW issue remains most cogent and important for today. Brown wrote: “History repeats itself. ... The gradual descent from democracy to fascism is all there, laid out,” referring to Shirer’s giant book, Rise and Fall of the Third Reich. Let me support the endeavor by identifying methods Hitler utilized to gain supreme power. This can also be gleaned relatively quickly from the first few episodes of BBC’s classic documentary (on DVD) entitled, The Nazis: A Warning from History, or from Rees’ book of same title. Fasten your seatbelts. The list:
1) Powerful charisma: Hitler was not only a very talented, practiced, forceful speaker, but also could “read” people to know how they feel and what they want to hear.
2) Vehement nationalist: He blamed international treaties for being extremely unfair and hurting farmers and other workers. He claimed to be the one to fix them all. His rallying motto was “Make Germany Great Again!”
3) Radicalize his base: Being conservative white Protestants, associated with white (Arian) supremacy. 4) Scapegoat immigrants and the others whom are not the trueblooded Germans but the source for the nation’s problems. Contempt of the “other” expanded to Jews, Communists, Gypsies, homosexuals, non-Christians, French, Polish and political opponents. Solutions were to seal the borders and make them leave, if not worse. 5) Triumph of the Will is the Nazis great propaganda film of superiority. It demonstrates how to will it and believe it unquestionably, so that it becomes true. “Germany is the strongest ever and can never be defeated.”
6) Absolute loyalty: Eliminate anyone who is not loyal.
7) Attack the press as “the enemy of the people” and fake news, if critical of the “Fuhrer.”
8). Proliferate false conspiracies: Nazi’s imposed a label of “Gypsy” onto the Roma people as being racially undesirable and having criminal lifestyles, not to mention outrageous fabrications about Jews.
9) Amass great wealth from power: Hitler became one of the richest in Germany.
10) Gain power by serving the rich and powerful: While reducing welfare, he gave great tax breaks and privileges to the “industrialists,” whom in turn increased power for Hitler.
11) Expanded the military greatly: He appealed to the military and its industries with excessive spending, creating massive deficits and threatened war. Then war kept him in power.
12) Contempt of the masses: Believing them to be gullible and forgetful, Hitler controlled them with crafty propaganda.
13) His transgressions and “genius” was justified by the strong economy, which did initially flourish during Hitler’s rise.
Though perhaps overkill, this list should clearly illustrate similar risks we face: to lead us down the slippery slope of unrecognized dictatorship. Warning from History rings loud yet is rarely heard. It is barely seen through the Fog of War, amid constant blaming and attacking. Though the path to fascism may seem inevitable, thankfully we still have choices.
John Bollinger/Lafayette
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Could the future of Chautauqua as we know it really be at stake? The City, CCA and cottage owners continue to spar over control of historic landmark by Angela K. Evans
It’s the gateway to the Flatirons, Boulder’s crown jewel. Sixhundred thousand people a year visit Colorado’s Chautauqua, situated off of Baseline Road in central Boulder, to access the area’s iconic open space, enjoy a summer concert in the auditorium, relax on the vast lawn, or eat in the dining hall. Some come to stay, renting a cottage for a few nights in the summer or months at a time over the winter. Some visitors are new, experiencing the breathtaking views and respite Chautauqua offers for the first time. Others have been coming their whole lives, inheriting cottages passed down through the generations since the Chautauqua was established in 1898.
But it takes a lot to maintain the National Historic Landmark amid rising costs for just about everything. The lawn and grounds need upkeep. The auditorium, dining hall and academic hall must be kept in good repair. Cottages need to be modestly updated, maybe even improved. Some need air-conditioning, as summer temperatures continue to rise across the region, spurred by climate change. The entire electrical system is somewhat outdated and there’s talk of undergrounding power lines. There are other deferred maintenance costs as well, including those to make the site more resilient to fires and floods, a new stormwater drainage system and road repairs.
The City of Boulder, which owns the property, shares some of the burden for these costs. But there is also the expectation that the Colorado Chautauqua Association (CCA), a nonprofit responsible for the preservation and continuation of the historic site, must contribute to the effort, as it leases the main 26 acres housing all the buildings for just $1 per year from the City of Boulder. It’s a public-private partnership that has seen its fair share of controversy over the decades as it seeks to balance the interests of a diverse group of users from
the cottage owners, to concert goers, to hikers and vacation renters, all with the mission of being open and accessible.
This unique balancing act between disparate interest groups is all coming to a head once again as the City of Boulder threatened CCA with being in breach of its lease in late November 2019. And some cottage owners responded to that threat with a lawsuit filed in early February. It all comes down to concerns about the governance of CCA, specifically the makeup of the board of directors tasked with managing the nonprofit and essential
SUSAN FRANCE
ly the entire site.
People on all sides are concerned about special interest groups gaining control of the board of directors and preventing CCA from fulfilling its stated mission. The City, along with a good portion of current and former members of CCA leadership, are concerned that the board is being taken over by cottage owners, people whose families have lived in the neighborhood for decades. For their part, the cottage owners and their supporters are afraid the CCA and the City are trying to take away their historic representation on the board that has helped preserve Chautauqua for generations. There are claims of deception and spreading misleading information on all sides.
Amid all the he said/she said back and forth, it’s clear CCA needs more money to address a long list of current and deferred maintenance costs at Chautauqua. If CCA, the cottagers and the City can’t figure this out, the future of the Colorado Chautauqua as we know it could be at stake.
• • • • On Nov. 25, 2019, City Attorney Tom Carr — with support of City Council — sent a letter to CCA charging that certain board members, particularly those who own cottages at Chautauqua, have not acted in the interest of the public or CCA in recent years, but rather have “advocated for special financial benefits for themselves and their families.” Additionally, the Carr letter states, the governance structure of the CCA board is problematic in that it allows for this conflict of interest to persist, most notably in the form of lower than normal sublease rates for the 38 privately held cottages at Chautauqua. The letter does not impose a strict timeline or define how CCA needs to remedy the situation, but it does state that if CCA doesn’t take some action, it could be in possible breach of its lease with the City.
CCA’s board of directors responded by propos
ing to update the organization’s bylaws to address some of the governance issues Carr raised. Over a period of a few weeks, the board drafted new bylaws and announced a membership vote on the changes. Ballots went out electronically at the end of January, and voting concludes on Feb. 24. The entire process has drawn pushback from CCA members and cottage owners who argue they were left out of the process. What’s more, they say the proposed changes will further disenfranchise them.
“We never wanted to do this before because we knew it was going to cause the reaction it’s causing right now. We were just going to try and change little policies along the way,” says Shelly Benford, executive director of CCA. “Then Tom Carr said you’re potentially in breach of the lease.”
Carr says the last CCA board election in 2019, where there was a huge spike in voting membership purchases, was the impetus behind his letter. Under the current bylaws, the majority of the 15-member CCA board is voted in by membership to serve three-year terms. Becoming a voting member to CCA is as simple as paying the $25 annual fee that gives members discounts and early access to concert tickets, which, according to Benford, is why most of CCAs approximately 1,900 members exist.
According to CCA data, membership purchases usually spike around the time the concert calendar is announced, but they also tend to spike around July, right before the board election. Allegations of “vote buying” are rampant, as cottage owners are accused of purchasing memberships for friends and family members in order to sway elections and get their endorsed candidates on the board, which critics claim allows them to advocate for low rental rates that benefit their friends and families. Benford says there have been efforts to shore up the membership process over the years, making it more transparent as to who is actually getting a membership — a requirement for a separate email address, for instance.
Still the problem has persisted, becoming “flagrant” in 2019, she says.
According to CCA, 230 memberships, with voting rights, were purchased in the two and a half days leading up to the 2019 board election. She admits there was some “defensive buying” by other CCA board members who don’t own cottages to gird up their side as well.
Currently as it stands in the bylaws, Benford says, the concept of “vote buying” is legal, although it’s discouraged. Changing the bylaws and making the board self-appointed essentially solves this problem, she says. Under the proposed bylaw changes, members will still get access to advanced ticket sales for events and concerts, but they will no longer have a vote when it comes to electing the board of directors or any other major changes in the government structure of CCA.
“If people are not handling memberships appropriately, there’s ways to tighten up on that — short of disenfranchising the people that own property up there,” says Stan Garnett, who is representing cottage owners in the lawsuit against CCA and the City.
The cottage owners feel the changes are meant to keep them out of the democratic process that is supposed to assure they have ample representation on the board. And they point out that their representation on the board has never led to cottage owners dominating the board. Since the start of the century, at least, cottage owners or their allies haven’t held a majority of board seats. At most, they held five seats from 2008- 2013, says Tom Galey, who served on the board from 2000-03 and again from 09-14. And in the last several elections, several cottager-endorsed candidates have lost. But it’s not just about cottage owners, Benford says. The current board election process allows for any special interest group to take over the board. For example, a decade ago, development interests proliferated the board and there was talk of tearing down the picnic shelter in favor of a new multi-use building and putting in an underground parking lot beneath the green. The City eventually stopped the plan.
“We have no idea who the next round of vote buyers could be,” Benford says, whether it’s cottagers, other board members, or other outside influences such as large corporations who may want to use Chautauqua for their own benefit. Benford says in the last few years the board, which gets to appoint two members a year under the current bylaws, have shown that they’re looking for board members who represent a wide array of community interests, including more diverse voices.
But a self-appointed board prevents “the larger Boulder community from having any kind of say about what’s going on up there,” according to Matt Moseley, a CCA member who lives near Chautauqua and who is doing communication work for the Committee for a Living Chautauqua, which represents the views of cottage owners and others opposed to the proposed bylaw changes.
And there are concerns that a selfappointed board would not work in the interest of property owners or even the general public.
• • • • In the 1920s, Tom Galey’s grandmother purchased cottage no. 1, which he and his family owned until 2017 when they sold it to CCA. His family was there when people were
only allowed to live at Chautauqua in the summer, as none of the buildings were winterized. And his family was there when that all changed in 1970. “We were the first generation to live there year-round,” says Galey. These days, Galey lives in Gunbarrel and is a member of CCA but no longer serves on the board or owns property there. But he’s seen the issues surrounding CCA’s governance play out over the decades he’s been involved. There was controversy surrounding the renewal of the CCA’s 20-year lease with the City in the late 1990s and again in 2015.
When it comes to the cottage owners, the 2015 lease requires CCA to “increase rents substantially” with the additional revenue going to the major renovation projects. In turn, CCA signed a sublease with cottage owners that set the ground rates charged for allowing their cottages to be located on City-owned property. In his November 2019 letter, Carr contests CCA hasn’t raised these ground rates enough to fulfill the obligations of its $1 lease with the City.
In 2015, there was an additional fee tacked on to the ground rates, a $2,400 a year price tag in addition to yearly adjustments based on the consumer price index. Galey says there are also a number of other fees cottage owners pay each year for mail, trash service, programming, etc. By the end, he says his family was paying between $8,000 to 10,000 a year before they sold their cottage.
“It’s relative, but they’re not insignificant,” Galey says. “They are not a sweetheart deal.”
Benford confirms that on average, cottage owners pay $11,118 a year for taxes, ground lease and other fees. The City’s contention, however, is solely focused on the ground lease fees which equal approximately $4,239 a year, or $353 a month.
“What they pay to sublease the ground that the City owns is way below market. I mean, talk about a million-dollar home paying 400 bucks a month to lease while somebody in a mobile home that’s worth maybe $50,000 is paying twice as much,” Carr says. “We’re basically subsidizing see CHAUTAUQUA Page 10
their existence.”
What’s more, he contests, the cot- tage owners and their representa- tives on the board have always advo- cated for low rental rates for the 61 cottages that are a part of CCA’s rent- al program. At least two-thirds of CCA’s revenue comes from renting these cottages, short-term in the summer and long-term over the win- ter. CCA leadership, City Council members who have also been a part of CCA’s board and Carr say that cottage owner board members have advocated to keep these rates low so that their friends and family can come stay near them over the summer.
“Cottagers said very clearly, ‘My whole purpose in being on this board is to get reduced rates for my family and friends,’” says Lisa Morzel, former City of Boulder Council mem- ber who served on the CCA board from 2016-2019. This is the crux of Carr’s conflict of interest concerns in arguing CCA is in potential breach of its lease.
“The idea of discounting the cot- tages for the personal benefit of the cottage owners, that means those are dollars that will not be spent on improving the grounds,” Carr says. “And that’s the direct conflict that I’m worried about.”
But the cottage owners don’t see it that way. They see their advocacy for lower rental rates as a means of keeping Chautauqua more affordable for everyone in the age of increasing wealth disparities across the country. “I can tell you, cottagers aren’t trying to get prices for themselves to save money. I believe sincerely ... the reason why you want less price pres- sure is because it’s astronomically expensive,” Galey says. “If cottagers are looking for lower prices, they’re saying, look, this is the mission: we want middle-class people. We don’t want to make it exclusive for the rich only. But that has been twisted into private benefit and advantage.” Benford, however, says Chautauqua’s rates are below market value for vacation rentals along the Front Range. Plus, there are seasonal discounts and a loyalty reward pro- gram for returning renters. Additionally, in order to alleviate some of the revenue pressure, she says, CCA hired a development direc- tor for the first time this year to help the nonprofit fundraise. “We’ve always made enough money through lodgings and we didn’t have to do that [before],” she says. “But now we don’t want everything to be dependent on lodging. We don’t want to have to raise our rates so high that people can’t come here.”
For CCA and the City, that’s really what this all boils down to. How can the nonprofit continue to balance its mission to preserve and continue the Chautauqua by engaging the com- munity with a need for revenue gen- eration in order to maintain the property?
“We have an obligation to the City that we never let it go into the demise that it was in the ’70s,” Morzel says. The board, in her estimation, is dysfunctional and unlike anything she’d seen in her 20 years of public service. She raises concerns over the ability of such a board to meet its fiduciary responsibility as it seeks to become more sustainable and afford a long-list of maintenance costs. And it’s not just former Council member Morzel who sees CCA in this critical light; current Council members agree with her assessment.
According to the 2015 lease, CCA and the City agreed to a shared responsibility for major improve- ments, such as the roads, maintain- ing sewer and water lines and the possibility of undergrounding utility lines. The association also needs to contribute to the effort, according to the lease.
Overall, Benford says, CCA esti- mates deferred maintenance at Chautauqua is upwards of $10 mil- lion to $20 million to make the prop- erty more resilient to floods and fires, including a new stormwater manage- ment system and undergrounding power lines.
Currently, CCA contributes about $2 million annually to the mainte- nance of the grounds, which if the organization is found in breach of the lease would leave the City foot- ing that bill.
As Carr says, “CCA is responsible for maintenance of the grounds up there. They put about $2 million a year into the facility, which the City then doesn’t have to pay.” • • • • In early February, Garnett filed a lawsuit against CCA and the City in Boulder District Court on behalf of 16 people who either own cottages at
Chautauqua or are members of CCA. “The cottagers are a different voice and occasionally I think they’re inconvenient to other folks at Chautauqua. Some of them are kind of eccentric folks. They see things a little bit differently,” Garnett says. “They have all this history, but the solution is not to cut them out and cut out their voice.” The suit claims that CCA operates as a residential nonprofit under Colorado law, giving people who own or lease property within its area a right to vote. It also challenges the notion that CCA can increase the ground rates for cottage owners under the current sublease which is good until 2035. Lastly, the suit claims CCA violated its own bylaws by not adequately announcing meetings and votes regarding the proposed bylaw changes, making the entire voting process currently underway void and invalid.
“I think a lot of people over the years have expressed some concerns about the governance and how the board is run,” Moseley says, and he agrees the concerns aren’t unwarranted. “We are willing to come to the table and talk about these governance issues, but not be force-fed them… in the dead of night.” But the fact that CCA could be viewed as a residential nonprofit is “a nightmare for the City,” Carr says. “That’s everybody’s biggest fear: that it becomes essentially a gated community for the benefit of a few homeowners.”
Carr says the City’s next steps are yet to be determined, as it is all dependent on the outcome of the bylaw vote, which needs 75% of a 10% quorum of the approximately 1,900 members in order to pass. Meanwhile, Garnett’s lawsuit is making its way through the courts, with an official response from the City due Feb. 27. In the end, there’s the possibility it could nullify the results of the bylaw vote, leaving CCA back where it started in November, facing threats of a breach of lease from the City. The entire ordeal is putting the nonprofit at risk, and CCA is having to fork out money for lawyers that otherwise could be going to maintenance. Benford says all the public scrutiny and media attention raises questions about the organization’s tax-exempt status, by calling into question whether or not addressing the cottage owner concerns is actually offering a private benefit to certain individuals.
“If you’re offering someone a private benefit, that’s not something you can do [according to] 501(c)(3) rules and so, is what’s happening up here considered private benefit?” she asks. “And if it is, then that could have IRS implications.”
Not only that, it also threatens the value of all the properties, including the privately held cottages. If the lease is terminated, Carr says, theoretically, the privately held cottages “have to go away.”
“The cottages themselves have to either be removed or transferred to the City within six months if there’s a default,” he says.
All of this sets up the possibility of more lawsuits, Galey says.
“Imagine you have a home that’s worth $1 million today and the CCA says, no, I’m not going to renew your lease. The house tomorrow is worth $0. You can’t sell it,” he says. “I think there’s going to be 38 lawsuits that are million-dollar lawsuits. That’s a $38 million mistake.”
Regardless, Carr says the City Council, which has expressed unanimous support of Carr’s letter to the CCA, most recently at the Feb. 4 Council meeting, is “absolutely serious” about following through with its demands, all in the name of preserving Chautauqua.
“There are several other avenues available to the City that we’ll address if the bylaw changes don’t pass and they will not be as nice,” Carr says. “And that’s unfortunate.” If that happens, and the partnership between CCA and the City falls apart, it’s unclear how Chautauqua would be managed moving forward, opening up a realm of possibilities for the future of the site. “If we don’t have something like the Colorado Chautauqua Association, who knows who will come in,” Morzel says.
In the end, the entire system of managing, maintaining and perpetuating the values of Colorado’s Chautauqua could be upended, threatening to change the very nature of Boulder’s iconic and historic park. That’s one point all sides seem to agree on, even as they are all trying to prevent this from happening. As Galey says, “This could potentially end in massive disaster for Boulder and Chautauqua.”
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Why Colorado won’t be Iowa by Matt Cortina
When Colorado voters head to the polls on Super Tuesday, March 3, or drop their mail-in ballots (sent last week) in the days leading up to it, they will be engaged in a state voting process that has changed significantly in recent years.
This will be the first year in two decades that Colorado voters will vote for party presidential nominees through a primary and not a caucus. This will be the first presidential primary year in which the votes will be tallied on Super Tuesday. Voters who are 17 years old but will turn 18 by Election Day can vote in the primary. Unaffiliated voters can vote in either Democratic or Republican primaries. And if a voter has interacted with certain state agencies, like the DMV, they’re automatically registered to vote.
There are more polling places than previous years, more drop-off boxes and people can register to vote on the day of the primary.
Colorado has won accolades for its voting protocols, but, then again, few people had any questions about Iowa’s caucus process until it completely fell apart and made a mockery of our democratic system on Feb. 3. Too, a new study from MIT raised questions about the security of an app used by the City of Denver (Voatz) to accommodate military and overseas voters.
So what makes Colorado’s voting system less susceptible to fail?
First, Iowa’s caucus was run by Democratic party members using an app designated by the party to report results. Colorado, by virtue of switching to the primary format, puts the responsibility of election integrity in the hands of trained election officials.
“This is still a new environment that people are operating in,” says Boulder County Clerk Molly Fitzpatrick. “We are working hard to ensure there are people — election judges, staff workers — trained to understand first and foremost how to be an ambassador and promote the
ways we are secure and ensure they have the training to combat threats.” Every vote in Colorado is done on paper. In Boulder County, mailedout ballots are tracked from the time they leave the Clerk’s office to the time they return. Once ballots are received they are scanned into a system that is not connected to the internet and which was installed according to state protocol. Signatures are verified through closed-source software, and a team of trained judges helps ensure signatures match and that the system logged votes the way voters intended. When votes are ready to be uploaded and reported, they are put on a clean flash drive and transported to another area to avoid any possibility of corrupting the system.
The entire system is open to the public (cameras run 24/7), and in fact, the public is encouraged to participate either by attending walkthroughs at the Clerk’s Office before the election or by serving as an elections worker. That’s a necessary part of the process, Fitzpatrick says, as it reinforces the strength of the system already in place.
“One of the things we’re trying to do is implement strong protocols ... and also ensuring that if you’re accessing critical information that you have only the levels of information you need to have,” Fitzpatrick says. “Humans are involved in running
BOULDER COUNTY’S INDEPENDENT VOICE I elections for us, so how do mitigate as many of the risks as possible? We have a lot of redundancies built into our process.”
That’s all on the local level. On the broader level, Secretary of State Jena Griswold has her eye on how to protect our systems from being attacked by bad actors.
“We do know from the Mueller Report, FBI reports, there are actors who are trying to undermine our election system,” Griswold says. “If systems aren’t set up correctly, suddenly you have a [way in].”
Griswold says that the way she’s most concerned about bad actors accessing government systems is not through election protocols or clerks’ offices, but through other county systems — “They end up being the spaces that get attacked.” And so Griswold is pushing for broader cybersecurity measures on all levels of government, in all departments, to mitigate risk.
(There is still a caucus in Colorado, by the way, only it will be held by the political parties on March 7 and will help determine which non-presidential candidates make the ballots for June primaries.) REGISTER or check your voter registration at govotecolorado.gov. Register before Feb. 24 to receive a mail-in ballot. Sign up for Boulder County election tours at bouldercounty.wufoo.com/ forms/z1ivo29t0fmgm1j/
COMBATING MISINFORMATION O ne of the new challenges for Griswold, Fitzpatrick and county clerks across Colorado is rooting out misinformation that comes in the form of social media posts, dubious news articles, campaign mailers and more. It’s a challenge that has not typically been under the purview of election officials, but one they are taking on in light of how impactful misinformation was in 2016.
“The thing I think about is the misinformation that we’re likely to see amped up over the next nine months or so,” Fitzpatrick says. “The challenge of how do we spot it, how do people report it, how do we get out in front of it when we don’t always see it ourselves?”
Griswold is unequivocal about the impact outside influences, particularly foreign actors have had — and could have in the future — on elections.
“These are coordinated attacks coming from countries like Russia,” Griswold says, adding that bad actors “use social media as a tool to trick people.”
In response, Griswold listed comprehensive foreign election interference measures as one of her legislative goals for 2020. Among the proposed solutions are prohibiting campaigns from coordinating with foreign entities, requiring candidates to disclose all foreign contact, cracking down on “deep fake” videos intended to mislead voters, and banning ads that have foreign financial ties.
“If a political ad is purchased in non-U.S. currency — say, rubles — they are very likely breaking Colorado law,” Griswold says.
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Climate research struggles to find funding Since 1990, it has won less than 5% of the research funds available by Kieran Cooke
With the crisis of global heating now widely recognized as one of the most challenging issues facing the world today, you might assume that vast amounts of money are going into climate research.
But researchers at the Norwegian Institute of International Affairs (NUPI) and the University of Sussex in the U.K. say the reality is very different.
In a study published in the journal Energy Research and Social Science, researchers report how they examined a dataset containing details of 4.3 million research funding awards made from 1950 to 2021. In total, the awards were worth more than a trillion U.S. dollars.
After sifting through copious amounts of material, the study’s authors estimate that in the period between 1990 and 2018, only from 2.4% to 4.6% of the total global research funding made available was devoted to investigating aspects of climate change.
They then analyzed the various areas of climate change-related funding, looking specifically at the amounts given to research on the issue in the field of social science. MEAGER RECENT FUNDING
The study comes up with several findings. “The first is that hardly any social science research was conducted on climate change before 1990,” the authors say.
“The second observation is how little funding has gone into research on climate change overall since 1990, regardless of discipline.”
They found that within the funding granted to climate change research, the social sciences received a relatively minuscule amount.
“From 1990 to 2018, the natural and physical sciences received a total of U.S. $40 billion (for climate change research) compared to only $4.6 billion for the social sciences and humanities.”
Contrast these figures with the profits over a similar period by some of the world’s biggest oil companies. According to recent analysis for the Guardian, BP, Shell, Chevron and Exxon made almost $2 trillion in profits in the 1990 to 2019 period — a time when the climate emergency was becoming widely recognized, including within the fossil fuel industry.
The study defines the social sciences as encompassing anthropology, economics, education, international relations, human geography, development, legal and media studies, political science, psychology and sociology. The academics say the research carried out within social science has tended to concentrate on ways of adapting to climate change — such as how to manage extreme weather events and recover from disasters — rather than mitigating its effects.
“While this research is valuable, it TIMO PALO VIA WIKIMEDIA COMMONS
does not tackle head-on the most urgent question: how to change society to mitigate climate change right now.”
NEED FOR REFORM
Social science can play a key role in coming up with answers, the study states. It’s vital, the authors say, that issues be addressed such as how to persuade households to adopt lowcarbon lifestyles, or how to promote decarbonization among cultures and market economies as diverse as China, Russia, Saudi Arabia, Singapore and the U.K.
“Although the natural and technical sciences often generate results that are, or are perceived to be, clearer and more concrete than the social sciences, they cannot handle issue areas — such as attitudes, norms, incentives and politics — that are intrinsically social.”
The study expresses caveats about its findings: Its data set on funding awards covers only competitive research grants. In some countries such as Germany, France and China, large amounts of research funding are distributed in the form of basic grants, and it is often difficult to know precisely on what areas such money is spent.
The study says social science has to reform itself and be more in tune with what’s happening. “Some social science research is wishy-washy, lacking an understanding of the natural sciences and the physical world.”
Social scientists, it says, need to do a better job of ensuring rigor and validity in their research.
This story previously ran on Climate News Network.
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What makes TAUK tick? TAUK bassist Charlie Dolan chats about Stevie Wonder, the best venue in the world, managing parts and getting sympatico with the EDM faithful by Dave Kirby
THE INTERNET is a world of extremes, both heaven and hell, sometimes in the same moment. Hate is unbridled, as is fanatic love. It’s exhausting. But it’s also refreshing — affirming, even — a place to find a community of people who love the same wonderful things you love... even if it’s a little over the top sometimes.
Like the guy on YouTube who commented on one of TAUK’s live sets from 2019: “I’m just glad I didn’t die before hearing that set.”
“Whoa,” says Charlie Dolan, the laid-back bassist for TAUK. “That’s, um, pretty heavy.”
The sentiment was appreciated, but what’s behind this kind of fervor? A fourpiece band from Long Island, aggressively virtuosic players all, plying the waters of post-jamband fusion. Their all instrumental works blend crafty arpeggiated figures against dynamics ranging from languid chill to elbow-throwing stomp, whiplash time changes, aerodynamic soloing and dizzying interplay. Old schoolers will catch passages and runs recalling the genre’s earliest days, but TAUK is its own beast, fully embracing the liberated componenture of bands like Phish and Umphrey’s McGee — the latter outfit a group that helped guide TAUK through the band’s earliest days and with whom they still maintain a close relationship — while maintaining its own identity.
Tenured for about nine years as a working franchise, the band has evolved, as most bands do, beyond their personal influences to the point where they are more or less their own influence, judging compositions and albums and show performances against the standard they set for themselves. It’s always a subtle thing, but eventually you get good enough to trust your instincts and your fans, and everything else dissolves into the background. Musicians get asked all the time what their influences are, or were, but Dolan is circumspect on the subject.
“It’s kind of hard to say. Matt (Jalbert, guitarist) and A.C. (Carter, keys) have been playing together so long, almost 20 years, since we were in middle school. We started out playing classic rock, then
started doing more jammy songs, then we did jazz band together, and then we all went to different schools. Isaac (Teel, drummer) came from a church background... We all have different influences, some similar ones too, but it’s the dynamic we put together as friends that we can collaborate in a way
PHOTOS BY ZACH MCNABB
that everyone can put their own thing into it.”
With steady work as a festival and club draw, it’s not a stretch to imagine a world where a band like TAUK could forego albums altogether, where the live show is both the bait and the catch. But their recorded output is actually pretty generous for a band that spends so much time on the road. They finished up a double-release, kind-of concept album cycle in 2018 called Shapeshifter, and Dolan says there’d be more — probably a lot more — if they had time.
“That’s really the burden of touring so much,” he laments. “We have so much new music that we haven’t even played, because we don’t have the time to practice it.”
And too bad, since their albums are smart, organic and more deeply invested in composition
see TAUK Page 18
ON THE BILL: TAUK — with Eminence Ensemble. 8 p.m. Friday, Feb. 21, Boulder Theater, 2032 14th St., Boulder. Tickets are $18, bouldertheater.com
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Fiske Planetarium - Regent Drive (Next to Coors Event Center, main campus CU Boulder) www.colorado.edu/fiske 303-492-5002 and structure than simply capturing the live vibe with endless soloing and technique clinics. If the album as art form is a sclerotic fossil on its last legs, someone forgot to tell these guys.
“We kind of try to build on what we’ve been doing and always try to bring a new element into it,” Dolan says. “When we’re in the studio, we really try to go deep into a song, get at it with a microscope. We listen back, take it apart, figure out what parts will make it work dynamically, what parts need to go. I feel like the stuff we focus most on in the studio, after we get the song down, is dynamics. “Sometimes, when people are focused on playing the song right, that’s different from playing it with feeling.”
And for a band that finds itself on plenty of EDMthemed festival stages, notably absent from TAUK’s recorded output, or the live show for that matter, is the Ableton thing. Carter does his share of synth padding and pitch-wheel soloing, but plays it. Although interestingly, the band will occasionally drop into a sequenced interlude or transition, a repeated arpeggio figure or riff, a digital flourish in an otherwise analog framework. We asked Dolan if parts like this reflect a resonance of the scene they play.
“Yeah, I guess so. I think there are parts of our song catalog that could cater to that crowd. But I think a lot has to do more with experimenting with different keyboards and sequencers and all that stuff. That world is huge, with all the access to technology... soundbanks. It’s not analog synths anymore.
“For us, we’re trying to create music that you can dance to, but also just sit back and listen to and nerd out on the musicality.”
The band’s second set of the evening at the Boulder Theater gig includes a TAUKing Wonder tribute to Stevie Wonder, with former Motet trumpeter Gabe Mervine, Nick Gerlach, vocalist Kim Dawson and some other local friends. Wonder’s “classic period” output from ’72 to ’76, which Slate critic
Jack Hamilton called “arguably the greatest sustained run of creativity in the history of popular music,” is a bounty of rowdy funk, pristine pop, ruminative treatises on the state of the black experience in Nixon’s America, and joyous, inexplicably perfect radio gems that have proven immune to the pitiless grind of time or fashion. An
embarrassment of riches, and Dolan says he can’t wait to dive in.
The band has done a few of these multi-band, quasi-trib mashup shows in the past, including Umphrey’s and The Beatles, and a Hendrix show last December in New York, but Dolan says this one is extra-prime.
“Stevie Wonder is definitely one my favorite musicians of all time. Super excited to do this. We do a couple of Stevie covers, but now we’re really digging in. What’s cool about this show is we’re bringing in a lot of other people for it. There’s an album called Natural Wonder, a live album that pretty much changed my life. There’s more than one keyboard part on a lot of the tracks, and different percussion parts, and we’re going to have enough players to cover all of it. It would have been a huge challenge if it were just the four of us trying to cover all the parts. And we kind of put our own spin it, so it’s not so much a straight-up tribute thing.”
Although TAUK was last in town in November at Denver’s Mission Ballroom, the band’s press photos and website banner video show them at that hallowed stage outside Morrison. Dolan recalls the time they first came to Denver and made a pilgrimage to Red Rocks, when the air temp was 10 below zero... just to be there. They’ve since played as support there four or five times.
“It’s the perfect place to play, really, it’s such an honor to play up there. This past year I had a daughter, and I had to take her up there, when she was just four or five months old. It’s the ultimate bucket list gig, headlining at Red Rocks. We love it. We’d play there every show if we could.”
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Resident Bush Mandolin star makes Colorado second musical home by John Lehndorff
ON THE BILL: SAM BUSH BAND — with Bowregard. March 1, Boulder Theater. bouldertheater.com Also: Colorado Springs (Feb. 28), Englewood (Feb. 29), Steamboat Springs (March 3), Grand Junction (March 4), Beaver Creek (March 9) and Fort Collins (March 10).
They call him the “King of Telluride” because the Kentucky-born, Nashville-based musician has performed every June for 45 years at the town’s legendary bluegrass festival. You could also call Sam Bush the King of Colorado.
The poster for the Sam Bush Band’s current tour shows a cartoon musician riding a moose through a piney, snowy forest with a mandolin on his knee. It also announces stops in Colorado Springs, Denver, Steamboat Springs, Grand Junction, Beaver Creek, Fort Collins, plus a March 1 Boulder Theater show. Not many bands can do that.
Sam Bush has found a second home in the state where he first discovered listeners who were into his band, the New Grass Revival.
“Our first impression was in 1972,” he says. “It was like 20-below when we played in Pueblo, Colorado Springs and we’d stay at these really old hotels. When we toured with John Hartford we played the Hungry Farmer in Boulder.”
Listeners in Boulder County really got “it.”
“Right off the bat we started meeting people with a different attitude toward music. The audiences here were wide open and ready to listen, and they didn’t want to hear the same old tunes. It’s a very different attitude than in the South at that time” Bush says.
That tale is retold in the 2019 documentary Revival: The Sam Bush Story, which includes commentary from Alison Krauss, Emmylou Harris, David Grisman and Del McCoury. It’s about how a bluegrass-loving musician (and many other long-haired pickers) scared the hell out of the establishment with their fusion of twang with jazz, rock and reggae. Bill Monroe and his ilk objected, having forgotten that they were once the rebels.
Flash-forward 40 years and Bush is regarded as one of the top two or three mandolinists on the planet. He is revered by next-gen jamgrass bands including the Punch Brothers, Steep Canyon Rangers and Greensky Bluegrass, along with the homegrown Leftover Salmon and Yonder Mountain String Band. The music has come to be called “newgrass” and Bush acknowledges he helped father the genre.
Since the 1970s, Bush has played everywhere in Colorado that you can play, first with two lineups of New Grass Revival, in Emmylou Harris’ Nash Ramblers and, starting in 1995, the Sam Bush Band playing his hybrid bluegrass Americana with drums. “We now have friends we visit all over the state, even Ridgway,” says Bush, who has won multiple Grammy Awards.
“We had driven through Ridgway (near Telluride) many times but a friend called me. He said, ‘I’m in Ridgway and I saw a Grammy with your name on it.’ That’s how I found out the statues were made there. It was for Oh Brother Where SUSAN FRANCE “High in Telluride, up on Bridal Veil/ Ten thousand feet above the sound/The news came around and sent me to count all my blessings/And to thank you for all the good friends that I’ve found.” —“Circles Around Me” by Sam Bush
Art Thou,” Bush says. Known as the Energizer Bunny of roadhardened performers, fans were concerned when emergency stomach surgery forced Bush to cancel spring shows in 2019. However, there was one gig he had to make.
“I wanted to play my 45th Telluride (Bluegrass Festival) in a row. That was the first show back. Talk about coming to a place where singers wilt onstage from the lack of oxygen! I went into training, walked a lot and worked with a vocal coach on breathing,” Bush says. He stepped into the spotlight in June to thunderous applause. “That was a truly emotional experience. It was good to be back,” he says.
In 2019 he also received an honorary doctorate from Western Kentucky University.
“I’m now Dr. Bush almost 50 years after almost attending the university. I was ready to enter with a string instrument scholarship when this band, the Bluegrass Alliance, called and offered a gig playing five nights a week,” he says. Decades of picking followed.
Bush says he doesn’t feel particularly “venerable” at this point in his career.
“I’m happy I’m still employed. I’m really happy my hands still work.
“I tend to think about the mandolin players. Some of them say I’ve been an influence, but I feel like they are contemporaries,” says Bush who famously jams with everyone at festivals.
“My wife, Lynn, said, ‘Sam, If you don’t get out and play with the young bands, you’ll lose touch with what’s going on.’ She was right,” he adds.
In fact, Bush found the newest member of his band — young banjo whiz Wes Corbett — while at a recording session for Nefresh Mountain, a band that melds Jewish klezmer music with bluegrass. If you miss Bush this time around, don’t worry. He’ll be back for Telluride in June, Rockygrass in July and beyond.
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Zuill Bailey loves watching the audience as he performs.
Unlike pianists and other soloists with orchestra, Bailey, a cellist, sits facing the audience when he performs. “It’s a complete magical ride,” he says. “I can literally be guided by their expressions. I can see where the music takes people and go with it.”
Bailey will be the soloist with the Boulder Philharmonic Saturday, Feb. 22, playing music written for him by American composer Michael Daugherty. In addition to Daugherty’s Tales of Hemingway for cello and orchestra, the Boulder Phil and conductor Michael Butterman will also present Sibelius’s Symphony No. 2. Tales of Hemingway is essentially a concerto for cello in four movements, each inspired by a different Hemmingway story. The four very contrasting movements are based in turn on “Big TwoHearted River,” an early short story; For Whom the Bell Tolls; The Old Man and the Sea; and The Sun Also Rises. Daugherty heard Bailey play and responded to the sound of Bailey’s 1693 cello. “Once he heard that, he said he now could realize a dream, writing a work around the literature of Ernest Hemingway,” Bailey explains. “He said my cello would be the perfect storyteller of Hemingway’s tales.”
Bailey and Butterman agree that familiarity with the Hemingway stories is not necessary to enjoy the piece. “What he does in these pieces is evoke a mood and a world,” Butterman says. “That definitely comes through. And it’s exciting because Zuill plays it in a very passionate and committed way.”
Bailey enjoys working with a living composer — even one who was continually making changes. “He went back to the drawing board after hearing what I was doing [in rehearsal],” Bailey says. “The piece was quickly evolving in front our eyes. A week before the premiere, I was looking at a lot of new ink. He was so excited, when I was quite frankly very scared.
“Literally as I was walking out onstage he was verbally telling me to do things that weren’t in the music.” On the other hand, Bailey says, “It’s a thrill to be able to report back to a living composer, and not go kneel at the grave of some composer and say, ‘I wish you were here.’”
Going onstage for that first performance, Bailey didn’t know what to expect. “I had no idea how it would be received,” he says. “And it was unbelievably successful. It’s been a thrill ride for the last few years, taking it to new audiences. Everywhere I’ve gone, whether Estonia, or Turkey, or all over the United States, it’s embraced as a great piece of music.”
The only other piece on the program, Sibelius’s Second Symphony, is more well-known. “It’s his most often performed symphony,” Butterman says. “It’s successful for audiences because it has a very winning way about it at the end of the movements.”
Butterman stresses the ends of movements because of the way that Sibelius composed. Most classical music before Sibelius — Haydn, Beethoven, Brahms and others — starts with an identifiable theme that is varied and transformed to reach the conclusion. Listeners can easily follow the theme.
In contrast, Sibelius starts with small melodic ideas that are assembled over the course of a movement, only reaching a final form at the end. “It’s like he tossed a bunch of things out on the floor, and asked, ‘Now what am I going to do?’” Butterman says. “It’s a journey of finding ways to stick these little elements together, until they create a mosaic.” Butterman believes that listeners who expect to go on that journey with Sibelius will be more satisfied than if they expect to hear a big tune right away. “By the end he’s got something astonishing, but it’s a process of discovery together,” he says. “As a listener you have to be patient — you have to approach this as a journey that you can take with the composer. And the destination will feel very satisfying when you’ve reached it.”
Sibelius wrote his Second Symphony in 1901-02, during and after a trip to Italy. The music does not recall Italy so much as Sibelius’s homeland of Finland, except perhaps the very ending. “I hear a lot of the sort of brooding qualities that much of his music has,” Butterman says. At the end of the final movement, though, a long, gloomy passage in minor suddenly gives way to a key change to major, and the sun seems to break through the clouds — which could be a reflection of Sibelius’s time in Italy. “When the clouds do break it feels wellearned,” Butterman says.
“The end of the movement is affirmative and you feel like you’ve been on a journey that ends in an uplifting way.” BOULDER COUNTY’S INDEPENDENT VOICE I FEBRUARY 20, 2020 I 23 Zuill Bailey and Boulder Phil will perform ‘unbelievably successful’ new piece Michael Daugherty’s new score was inspired by works of Ernest Hemingway by Peter Alexander COLBERT ARTISTS MANAGEMENT ON THE BILL: Boulder Philharmonic — with Zuill Bailey, cello. Michael Daugherty: ‘Tales of Hemingway’ for cello and orchestra. Sibelius: Symphony No. 2 in D major 7:30 p.m. Saturday, Feb. 22, Macky Auditorium, 1595 Pleasant St., CU Boulder campus. Tickets at boulderphil.org.
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