“This story was originally published by ProPublica.”
ProPublica is a Pulitzer Prize-winning investigative newsroom.
The Coal Plant Next Door
by Max Blau for Georgia Health News
Mark Berry raised his right hand, pledging to tell the whole truth and nothing but the truth. The bespectacled mechanical engineer took his seat inside the cherry-wood witness stand. He pulled his microphone close to his yellow bow tie and glanced left toward five of Georgia’s most influential elected officials. As one of Georgia Power’s top environmental lobbyists, Berry had a clear mission on that rainy day in April 2019: Convince those five energy regulators that the company’s customers should foot the bill for one of the most expensive toxic waste cleanup efforts in state history.
When Berry became Georgia Power’s vice president of environmental affairs in 2015, he inherited responsibility for a dark corporate legacy dating back to before he was born. For many decades, power companies had burnt billions of tons of coal, dumping the leftover ash — loaded with toxic contaminants — into human-made “ponds” larger than many lakes. But after a pair of coal-ash pond disasters in Tennessee and North Carolina exposed the environmental and health risks of those largely unregulated dumps, the Obama administration required power companies to stop using the aging disposal sites.
Berry had spent nearly two decades climbing the ranks of Southern Company, America’s second-largest energy provider and the owner of Georgia Power. By the time he was under oath that day, company execs had vowed to store newly burnt coal ash in landfills designed for safely disposing of such waste. But an unprecedented challenge remained: Figuring out what to do with 90 million tons of coal ash — enough to fill more than 50 Major League Baseball stadiums to the brim — that had accumulated over the better part of a century in ash ponds that were now leaking. Read more . . .
Finding the Way Through Doubtful Pass– Image by kenne
“Unfortunately I am afraid, as always, of going on. For to go on means going from here, means finding me, losing me, vanishing and beginning again, a stranger first, then little by little the same as always, in another place, where I shall say I have always been, of which I shall know nothing, being incapable of seeing, moving, thinking, speaking, but of which little by little, in spite of these handicaps, I shall begin to know something, just enough for it to turn out to be the same place as always, the same which seems made for me and does not want me, which I seem to want and do not want, take your choice, which spews me out or swallows me up, I’ll never know, which is perhaps merely the inside of my distant skull where once I wandered, now am fixed, lost for tininess, or straining against the walls, with my head, my hands, my feet, my back, and ever murmuring my old stories, my old story, as if it were the first time.”
So the shortest day came, and the year died, And everywhere down the centuries of the snow-white world Came people singing, dancing, To drive the dark away. They lighted candles in the winter trees; They hung their homes with evergreen; They burned beseeching fires all night long To keep the year alive, And when the new year’s sunshine blazed awake They shouted, reveling. Through all the frosty ages you can hear them Echoing behind us—Listen!! All the long echoes sing the same delight, This shortest day, As promise wakens in the sleeping land: They carol, feast, give thanks, And dearly love their friends, And hope for peace. And so do we, here, now, This year and every year. Welcome Yule!
Hunters in the Snow– painting by Pieter Bruegel the Eider
As we experience the shortest day of the year, Pieter Bruegel the Elder’s painting, “Hunters in the Snow,” is an almost perfect picture of the contrasting scenes we experience this time of year, depicting isolation and melancholy producing a sense that we are being pulled into a silent landscape where the deep drifts of snow where you can “feel the cold and sense the audible dullness as the landscape sucks the sound from every little human vignette.”
His paintings are beautiful because his compositions make one of the opposites, based on Eli Siegel’s principle of aesthetic realism: “All beauty is a making one of opposites, and the making of one of the opposites is what we are going after in ourselves.”
David Hidalgo, Los Lobos Guitarist — Photo-Artistry by kenne
Cortez the Killer
He came dancing across the water With his galleons and guns Looking for a new world A palace in the sun On the shore lay Montezuma With his cocoa leaves and pearls In his halls he often wondered The secrets of the worlds Oh, and his subjects gathered round him Like leaves around a tree In their clothes of many colors For the angry gods to see And the women all were beautiful And the men stood straight and strong They offered life in sacrifice So that others could go on
Hate was just a legend And war was never known The people worked together And they lifted many stones They carried them to the flat-lands And they died along the way They built up with their bare hands What we still can’t build today And I know she’s living there And she loves me to this day I can still remember when Or how I lost my way
Cortez, Cortez He came dancing across the water Cortez, Cortez
Came dancing across the water
Came dancing across the water Cortez, Cortez Dancing across the water Dancing across the water Dancing across the water Came dancing across the water Cortez, Cortez Dancing across the water Dancing across the water Dancing across the water
Chris Duarte at the Cactus Moon, Humble, Texas (January 2003) — Images by kenne
When it comes to Blues/Rock guitar players, Texas has produced some of the best. I saw Chris live several times in the late ’90s and early ’00s, and each time his performance drained me. He is very intense and emotional — literally mindblowing.
