From the monthly archives: May 2014

War is hell as the saying goes. War also spawns thousands of private hells, human and ecological, which are not usually counted among the dead and wounded. 

I like the word externality. It refers to a cost of a product or a service that isn’t reflected in its price, usually an environmental or human impact of some sort. The legacy of slavery is probably the most onerous externality I can think of. American society still pays for the impact of slave labor, which never figured in the price of, say, cotton.

A few weeks ago, I went hiking with a group who shall remain unnamed because they like it that way. We hiked around the reclaimed and rehabilitated site of the former Weldon Spring Ordnance Works, a TNT (trinitrotoluene) and DNT (dinitrotoluene) producing facility from 1941 to 1944, later converted into a uranium processing facility, making (now made infamous by the Bush administration lies justifying the Iraq War) yellow cake, or uranium ore concentrate, in the 1950s. Later it became a “disposal” and processing site for all manner of bad shit from the army. Today, there is an interpretive center run by DOE, a domed burial facility under which much of the bad shit is “safely contained,” hiking and biking trails, and a conservation area. You’ll find lots of information about this site on-line, official and unofficial. Suffice it to say, it is a place with lots of bad karma, a testament, really, to the externalities of war, the scars on the victims and the victors. Residents of whole towns were forced to move, the first attempts at cleanup and decontamination killed people and probably sent toxic fumes throughout the region, the groundwater became contaminated, cancer rates are thought to be elevated in the area. It just goes on and on.

But when you go off the official trails, like we did, you find relics not part of any official tour, timeline, or “interpretive center.” For example, our destination, thanks to our guide/leader who did the research ahead of time, was a huge in-ground concrete storage pit and pump house. And we found them! Overgrown, yes, but still visible, and you could still enter them. There is still a ladder you could climb to the bottom of the pit, a drainage grating visible at the bottom, and a large pipe feed at the top. Graffiti at the bottom attested to the fact that others were stupider than we were and climbed down there. At the pump house, you could see six concrete pads where the pumps sat, some of the pipe headers, and an electrical cabinet which, astonishingly, still had old relays intact. There was no trail, we were “bushwhacking,” mild as it was, in retrospect, although the first part off the sanctioned trail was probably a former roadway or access way.

While I was elated to “tour” this industrial wasteland, I could not believe the government would leave an open pit of such size. It’s a place screaming for a disaster and more lawsuits. While we passed a few “danger” signs, we were able to get through broken sections of fencing. Nothing said “do not enter” or “enter at own risk.” Just amazing.

The fun continues when you try to figure out what all this stuff was used for. The process engineer in me had to come out. Plus, I’ve loved old industrial contraptions since I was in elementary school traipsing through the woods near Chattanooga, TN, hoping to stumble upon old grain alcohol stills, and later when I worked a summer job loading tires into and out of old abandoned factories serving as temporary storage facilities. After a visit to the “interpretive center” (I hope you love the Orwellian sound of that as much as I do), and some questions asked of the curator/guide there, then considering the topology we trekked through, I speculate that we were looking at a raw water storage pit and associated pump house, which delivered water to an elevated storage tank on site (described as the most visible landmark of the facility). Water from this tank was then gravity distributed to where it was needed in the process. The fact that it was left there and not “remediated” also must be a clue (hopefully) that only benign material was stored/pumped there. One set of pumps probably drew the water from the Missouri River (only a mile or two away) and directed it to the storage pit, and another set drew from the bottom to deliver water to the tank.

Apparently, there are other open-pit lagoons and storage pits in the same general vicinity, but according to the information, one probably was smart to stay the hell away from those.

I downloaded a few of official documents about the site, historical stuff, EPA reports, DOE reports, etc, to see if I could confirm what I speculated about the facilities we viewed. I wish I had found something that added up or estimated the total cost of human and environmental damage incurred at this site, not just the cost of remediation and reclamation.

War is hell as the saying goes. War also spawns thousands of private hells, human and ecological, which are not usually counted among the dead and wounded. Future archeologists will have a field day with this place, and thousands, I am sure, like it around America.

Last Saturday I heard Joanna Mendoza (violist for the Arianna Quartet) and Alla Voskoboynikova perform Shostakovich’s Sonata for Viola and Piano in C Major, [the link is to another world-renowned violist’s performance, available on YouTube) described in the liner notes as the celebrated composer’s last work written while dying from lung cancer.

Apart from the gorgeous performance, somehow a viola seems the perfect instrument for a personal elegy, as it does not possess the natural perkiness of the violin or the foundational authority of the cello. The viola is naturally melancholic (to me anyway) although great violists (like great string players generally) make the instrument bend to their emotional will. What fascinates me about the piece is that the composer embedded “quotes” from all fifteen of his symphonies, but even more, the third movement is one long riff on Beethoven’s moonlight piano sonata, which the composer credits for his decision to become a composer in the first place.

Most people are familiar with fragments from the Moonlight even if they don’t associate with Beethoven or are not classical music buffs. It is interesting to hear how a composer takes his own themes and melodies and those from another great from past eras and integrates them into something new. Subconsciously, our influences are always at work, I suppose, but in the case of this Sonata it is overt. Plus, he wasn’t phased by using one of the most celebrated piano pieces of all time to carry him towards his exit. For the listener, we are allowed a rare “cover” (of sorts), something that is routine in popular music, but (at least to my knowledge) rare in classical music.

The free performance took place in a church and it reminded me of being in Paris many years ago and discovering that on any given day (especially Sundays), you can hear wonderful chamber music in any number of the city’s magnificent churches. For free! Similarly, the St. Louis area’s top classical musicians often play free of charge (or for next to nothing) at  churches, schools, and community venues. While the country’s great orchestras are suffering financially, chamber music seems to be blossoming. Or maybe I’m just paying more attention.

The Shostakovich Op 147 is not what you’d call uplifting. It has its ethereal passages, undoubtedly the composer coming to terms with passing to the great unknown. If the last movement doesn’t move you to wet eyeballs, then you are probably just acting tough. But the Sonata also feels like a summary of a life in music, the composer’s suffering (like many artists, he suffered for his art in his native Russia during the Stalinist period) transcended by the joy of what he was leaving behind.

Looking for something?

Use the form below to search the site:


Still not finding what you're looking for? Drop a comment on a post or contact us so we can take care of it!

Visit our friends!

A few highly recommended friends...

Set your Twitter account name in your settings to use the TwitterBar Section.