Is Modern Life Sustainable in the Face of Climate Change

Posted on January 25, 2020 by theurbanllama

Lately it has grown impossible not to contemplate the sustainability of our modern life amongst a backdrop of hyper-partisan politics, overpopulation and global warming. Each week brings disturbing new tales of climate-related abnormalities adversely impacting our habitat. Or that a nefarious virus, previously contained in some species or jungle, insulated from humanity, was unleashed due to man’s insatiable desire to consume land and resources.

On February 6, 2020, the temperature in Antarctica rose to a record high of 64.9 degrees, roughly the same reading found in Los Angeles that same day, continuing a trend that is causing widespread glacial melting. We see ice sheets the size of Delaware breaking off routinely. Massive wild fires recently cannabalized parts of California and Australia.

There remain plenty of climate change deniers out there, including the current inhabitant of the White House. This crew walk like Lemmings, in unison to better reinforce their doltish opinions on climate change, and collectively stuff their heads into the sand in some ritualistic method, allowing them to deny any responsibility for the tragedies occurring in plain sight.

My question is, regardless of whether you believe climate change is primarily a human-induced epidemic, or symptomatic of a natural shift in the Earth’s lifecycle, why would everyone not do everything possible to prevent the situation from getting worse?

Deniers rely on global warming being a natural weather-change cycle, regardless of the science indicating otherwise, because it absolves their greed, and any wrongdoing or need to behave better. Unless we know of another inhabitable planet, it might be a good idea to start making plans to save the only one we know.

We’ve seen this movie before. Temperatures rise, glaciers melt, sea waters rise, massive out migrations occur from coastal regions, access to potable water becomes an issue, food supplies are disrupted from temperature fluctuations, resulting in an epic death toll for humans and animals. But America is reactionary, and historically it requires catastrophe to strike before citizens and politicians are jolted into reality.

I get people are consumed by the bewildering pace of managing modern life, but it’s a tragic error for us all not to recognize how every facet of this convenience-laden lifestyle we’ve created hangs by a single interconnected thread.

People are accustomed to having every whim at their fingertips 24/7. Whether that be food, drink, a flight to the Bahamas, or the latest video game. That necessitates Walmart remains open and staffed; that Amazon can fill delivery orders; that planes are flying; and that our aged infrastructure allows reliable transit throughout the country.

Any sort of climate apparition, or virus pandemic, such as we are seeing unfold in Wuhan, Hubei, China, could quickly disrupt global supply chains and logistics, bringing an abrupt stop to our modern way of life, and devastate world economies.

It’s impossible to miss the vast temperature swings that are so common these days. Few light rain showers exist any more. It just pours violently. Tornadoes drop from the sky and rip cities from the map. We don’t have snow flurries, it’s thunder snow.

These previously were considered weather anomalies. Now they are the norm. Unfortunately this sort of climate shift isn’t going to simply be corrected because some responsible citizens opt to recycle at home and cut down on single use plastic bottles.

This will require sacrifice. A change in how we live, work, the way we engage with our habitat, transportation methods, and best practices for guaranteeing adequate food sources. It’s certainly a dramatic undertaking but a challenge that can be met.

Sadly, we as a people essentially have waged war against the environment for some 200 years, and the Earth is now actively fighting back. All we do is consume and pollute the one and only home we know, basically in the pursuit of the almighty dollar and convenience.

Global warming is here. Climate change is under way. People fret about terrorism. You want to see a real war. Wait until water isn’t readily available. Now there is something worth dying over.

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KitchenAid High Efficiency Dishwasher Cleans Like A Champ

Posted on December 28, 2019 by theurbanllama

The KitchenAid model KDPE234GPS dishwasher.

Few things adversely impact family life faster than having a dishwasher go “Out-of-Service.” My crew is a family of five. The speed in which our dishes go from clean and stowed, to dirty and cluttering countertops, is faster than a rabbit hopping through an illicit carrot patch.

The archaic dishwasher that came with the house I recently purchased died within two weeks of it being put to serious work. The house dates to 1960, and it appeared this unit might be from around that same year.

While there can be a therapeutic nature to washing dishes by hand, it adds a tremendous amount of time to cleaning up after meals. It didn’t help matters that the task of dish washing  fell primarily to our two teenage boys. Motivating them to stay on top of this chore went about as smooth as you can imagine.

This quickly got me researching dishwashers. I needed to get up to speed on brands, features and ultimately what machine held the highest quality in my price range.

After reading reviews and visiting Lowe’s, I found it prudent to remove brands such as Bosch from consideration. Upscale lines such as these often rate high on year-end reviews, but come with a hefty price tag.

Third rack availability for larger utensils.

Likewise Samsung and LG, which have made significant inroads into the appliance market, were taken off my list. Both are feature-laden brands. Which means there is more stuff that breaks. Both brands log significant service calls, it takes longer for replacement parts to ship, and technicians are less willing to work on these dishwashers.

I found it interesting that in new home construction and kitchen remodels, contractors and consumers predominantly lean toward installing the same brand of appliances for all their kitchen needs. While this may guarantee a seamless aesthetic appearance, few brands do everything well. This was quickly apparent after speaking to service reps, repair techs or from simply reading feedback about individual brands.

After careful consideration, the features I found essential to have in a new dishwasher model included: low noise; nylon-coated racks; soil sensor; stainless-steel tub; top controls; energy efficient; and a third rack.

With these features in mind, and that a stainless-steel front was preferred, I quickly narrowed to three brands, one model from each: KitchenAid (KDPE234GPS),  Maytag (MDB8989SHZ) and Whirlpool (WDT970SAHZ).

The three interior racks of the KitchenAid.

Unbeknownst to me, Whirlpool manufactured all three of these lines, with KitchenAid being its premium label. This was evident during my compare/contrast of each, with the similar design and feature options seen. All three are solid machines. Each were recommended by more than 90 percent of those who purchased them.

Maytag was the first eliminated from contention. It featured a four-blade food chopper or masticator, which is interesting but a bit overkill for generic plate debris. It’s also something else to break. To Maytag’s credit it backed the four-blade chopper, along with the stainless-steel tub and racks, with a 10-year warranty, but masticators add noise, and I preferred the unit be as quiet as possible.

The Whirlpool got my mom’s seal of approval (and by the way, mad props to Mom for all her valuable input). I liked this Whirlpool unit a lot. The silverware holder was located in the door, freeing up more interior space. Also, it was the least expensive of the three units at $579.

The KitchenAid’s jet-wash applicator and filter system.

Ultimately KitchenAid won out. It’s a beautifully constructed unit. The stainless exterior is accented by a black pocket handle, offering a completely smooth front. This was particularly of interest to me, as an adjacent drawer to the right of the dishwasher was unable to open past the handle of the old unit. With the KitchenAid’s pocket handle, full use of this drawer was regained. The exterior of this black pocket handle also features a digital readout of the dishwasher’s progress when moving through a cycle.

Inside is stainless as well. As is the rotating jet-wash applicator. The KitchenAid ProWash Cycle determines the ideal cycle for washing dishes based on soil level, and then makes real-time adjustments to achieve the best cleaning performance.

The third rack is a huge difference maker. This allows for kitchen knives, spatulas and similarly elongated items to have a spot where they are not awkwardly leaning from a silverware holder or taking up excessive space laying down in one of the racks below.

Generally, this machine is able to knockout our family’s dish usage in a single load. The standard cycle does have a long run time, but that is part of this unit’s energy efficient charm. If I start the wash cycle before bed or when leaving for work it’s not an issue. And let me tell you, this KitchenAid runs quiet as a church mouse.

I did notice some complaints about dishes not being dry after completing a wash cycle. Like with all modern appliances, they are much more particular about how they are used, what cycle is appropriate and in this case, what detergent is preferable. If one doesn’t follow the unit’s instructions, and operate the machine as indicated, your results may be less than desired.

I have had no issues with drying. I do recommend adding Cascade Power Dry. My dishes come out crystal clean, clear and 100 percent dry every time.

The KitchenAid (KDPE234GPS) earned an average of 4.7 stars out of 5 for satisfaction, and was recommended by 95 percent of reviewers through the Lowe’s website. It retails for $999 and I found it during Lowe’s Christmas sale for $649. It comes with a 1-year limited warranty. For an additional $86.97, I opted in to Lowe’s 3-year Major Appliance Extended Protection Plan.

I couldn’t be happier with my KitchenAid dishwasher – love the look, design, functionality and performance.

Thanks Mom & Dad!

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The Il Grande Mafioso – A Super Sunday Sandwich

Posted on November 29, 2019 by theurbanllama

The Il Grande Mafioso, ready for prime time.

With the Super Bowl just around the corner, it’s never too early to discuss tantalizing treats to serve during the Big Daddy game of the year. There’s never a guarantee that the on-field match-up, or the commercials, will live up to the hype. But Grade A snacks can carry the day every time.

Prior to this year’s LSU/Alabama game, my sons and I went on a quest to assemble the ultimate hot Italian submarine sandwich. We were not playing around here. This bad boy was stacked high with fine Italian cold cuts, impressive enough on first glance to make the mouths water of any MeatHeads in your Super Bowl crowd.

Since the original “Godfather” movie was showing later that Saturday evening after LSU dispatched the Crimson Tide 46-41, in the spirit of fine Italian/American cuisine, we dubbed our creation the “Il Grande Mafioso.”

Never ask this sandwich about its business… It will rub out your hunger in no time flat.

Generally speaking, all the necessary ingredients for this monster creation can be found at your local supermarket, such as Kroger, Giant, Safeway, or the like. Walmart should stock most of these items, but a couple are questionable. Recently, I was unable to find capocollo at Kroger. I see it all the time when I’m not looking for it.

I will add that it might seem this sandwich is a tad on the expensive side as one is dropping the fixings into his or her shopping cart. I wouldn’t disagree with this notion, but once the prescribed items are acquired, there is sufficient quantity to make at least two full footlongs. That drops the ticket price to somewhere around $15-$20 per sub. That’s not too shabby if we are talking about feeding 10 or more people.

For any submarine sandwich fans, whether that be a muffuletta, Po’ boy, wedge, blimpie, hoagie, hero, grinder – call it what you will, the “Il Grande Mafioso” is poised to win the praise of your guests, and make the taste buds smile for all who cross its path.

INGREDIENTS:

2 – 12″ Soft Italian Bread Loaves

3 tblsp – Salted Butter

6 oz – Sopressata (A spicier, more coarsely ground cured meat)

5 oz – Genoa Salami (A greasy pork sausage, more tart, due to use of white or red wine)

5 oz – Pepperoni (The larger deli sliced variety)

4 oz – Salame Calabrese (A dry pork salame, sweet and hot, with Italian fennel seed)

4 oz – Capocollo (Pork cold cut from dry-cured muscle running from neck to shoulder)

5 oz – Mortadella (Finely ground heat-cured pork incorporating small cubes of pork fat)

4 oz – Prosciutto (Thinly sliced dry cured ham – think thin bacon)

8 oz – Black Forest Ham (Sliced)

6 oz – Provolone Cheese (Deli sliced thick)

8 oz – Shredded Iceberg Lettuce (1-bag)

Kosher Salt and Black Pepper (Freshly ground)

1 Teaspoon – Dried Oregano

2 Tablespoons – Red Wine Vinegar

2 Tablespoons – Extra-Virgin Olive Oil

16 oz  cup – Pepperoncini (sliced)

Optional: 1/2 large onion, thinly sliced; tomatoes (fresh-thinly sliced)

*** Remember there is generally sufficient amounts here to make two sandwiches at least. Many of these deli items are sold pre-packaged, and this is the smallest denomination available for purchase. In my book, it’s always better to have too much than not enough of each item, especially when cooking for a crowd. Over-estimate for success is my motto.

To start, find a nice loaf of Italian bread. Kroger has a lovely one for $2. No fuss. Make sure it is fresh. The bread should be soft to the touch, yet firm. But definitely don’t use a hard loaf.

Preheat the oven to 250 degrees.

Locate a baking sheet or pizza pan. Slice the bread in half on the baking sheet, separating the two halves. Take butter and spread across the top half and set aside, butter side up.

Now layer the cold cuts. The flat circular meats are applied first, creating a flavor base. Take half of the Sopressata, and space it out accordingly so the entire surface area of the bottom half of the Italian loaf is covererd. It will be a thin single layer, perhaps slightly overlapping. Then repeat this process with the Genoa salami, pepperoni, salame calabrese and capocollo.

Out of the oven hot, the folded ham, prosciutto and provolone with a sprinkle of salt & pepper.

With the mortadella and black forest ham, layer it in folds. Delicately place Prosciutto over the ham, and cover with four slices of provolone cheese.

Place both sandwich halves into the oven on the baking sheet, with the provolone and butter sides facing up. Warm in the oven for 10-15 minutes. Check it at 10 minutes, then at 15. Leave it in for another five if you prefer a little crunch to the bread. The idea is to activate the fatty tissues and juices in the critter so that it releases another layer of flavor that seeps into the fresh bread.

While the oven is doing its thing, find a mixing cup, and add the red wine vinegar and olive oil. Stir until combined. Measure out the oregano and stir into the vinegar/olive oil combo, and set aside.

The pepperoncini might come whole, and will need to be sliced. If so, get a cutting board and place it near the sink. These are juicy suckers, and will squirt when pressure is applied. Chop off the tops and discard. Slice longways and rinse the peppers under cool water to remove seeds. Once cleaned, slice and dice the better part of the entire bottle if two sandwiches are being assembled. These are not so much spicy as they serve to enable a contrast in flavors to be brought out. Pepperoncini really highlights the meat combo.

Lettuce with the vinegar, olive oil and oregano combo applied.

Once the sandwich is removed from the oven and cooled slightly, grab the shredded lettuce from the fridge. It’s good to keep this cool and crisp. Form a dense layer across the top of the provolone cheese. Find the measuring cup with your red wine vinegar/olive oil/oregano combo, and pour half across the top of the lettuce, zig-zagging back and forth from one end to the other.

If tomatoes are desired, add a thin layer along the crest of the lettuce. Otherwise we have reached the climax. Add half the Pepperoncini, and administer a healthy sprinkle of salt & pepper across the finished assemblage.

Finally, place the top loaf with its melted butter atop this mountain of goodness and serve. It can be divided into five rather healthy wedges. Served with chips or a small side, it will fill up most folks. If multiple entrees are in play as part of a wider buffet, cut the sandwich into five subsections and slice each of those into half.

A small square of the Il Grande Mafioso is a taste explosion waiting for the next lucky passerby. Get it while it’s hot.

Bon appétit!

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Woodstock Turns 50

Posted on October 18, 2019 by theurbanllama

August 2019 marked the 50th anniversary of Woodstock, the granddaddy of all music festivals. It wasn’t the biggest festival ever, and certainly not a profitable endeavor, at least not initially. What set Woodstock apart was its agrarian nature. Set amongst the rolling terrain of the Catskill Mountains, organizers cobbled together this ginormous festival by the proverbial seat of their pants, lacking adequate planning or logistical support, and yet with a heaping dose of peace and love, a magical moment in time was created.

It was not supposed to be possible. The powers that be in 1969 remained in a 1950s mindset. The hippie movement that coalesced into a counterculture revolution was a rebuke of the establishment’s restrictive mindset, and manifested its identity into protest over the Vietnam War.

This same brand of regressive thinking was exemplified by elected or appointed leaders at all levels across America’s cities, townships and states. The idea of throwing together an event the size and scope of Woodstock, with as little planning as took place was inconceivable by the older generation. Especially when it was being done by a bunch of hippies. But the freaks pulled it together and Woodstock’s success went worldwide.

The assembled mass of Woodstock.

Four guys, Artie Kornfeld, Michael Lang, John P. Roberts and Joel Rosenman, had a plan to open a recording studio in Woodstock, and thought it would be a cool idea to host a music fest in the farmlands of southeast New York, as a way to promote their endeavor.

Billed as an “Aquarian Exposition: 3 Days of Peace & Music,” Woodstock took place August 15-18, 1969, on Max Yasgur’s dairy farm in the town of Bethel, NY, 80 miles northwest of New York City. It became a counterculture pilgrimage made by more than 400,000 attendees. By its conclusion Woodstock was a historic milestone.

JOE COCKER – Let’s Go Get Stoned (Live @ Woodstock)

The festival set out as a money making venture. Tickets for the three-day event cost $18 in advance and $24 at the gate (the equivalent of $130 and $170 today). Around 186,000 advance tickets were sold, and organizers anticipated as many as 200,000 attendees. It was the other 200,000 that chose to show up that forced organizers to declare Woodstock a free event.

The backup of cars, and pedestrians heading to Woodstock.

Traffic completely overwhelmed the rural roadways. Instead of frustration, people just abandoned their vehicles, not on the side of the road, but in the road. Then walked the rest of the way. They kept coming. By the thousands to tiny Bethel. With tickets and without. The fences came down. Torrential rain fell. There was mud, music, love and a shared belief in companionship by the assembled masses.

With the roads log-jammed, once initial festivalgoers arrived they were stuck until Monday. The miles of abandoned vehicles served as a buffer to cut off the outside world. A state of emergency was declared by Sullivan County. Musicians, food, water, first aid supplies and those requiring serious medical attention had to be transported by helicopter into or out of the venue.

THE WHO – My Generation (Live @ Woodstock | 08.17.69 | 5AM-6:05AM)

Traveling from every corner of America and beyond, they no longer were strangers once reaching Woodstock. This quagmire of humanity took it upon themselves to share whatever they brought (food, drink, shelter, blankets, drugs) with their adopted brothers and sisters. It all became possible, “With A Little Help From My Friends,” as Joe Cocker would famously sing on Sunday.

There was a genuine camaraderie, a solidarity, among members of “Woodstock Nation.” They were vested in taking care of each other. To that end the Hog Farm hippie commune provided free food to thousands. It was this willingness to accept without judgment that cast the “Be-In”/”Love-in” culture apart from society at large. They weren’t trying to game the system. They simply didn’t want to participate in what was considered antiquated thinking and an unnecessary evil of U.S. involvement in the Vietnam War.

As Woodstock roared to life, the venue had become a city unto itself. No way in, no way out, just 400,000 people living in the moment. Inside the venue not one sign of corporate sponsorship or a commercial entity existed. It was total lo-fi. Admittedly, organizers didn’t have a handle on traffic, food, security, bathrooms, sanitation, first aid or transportation, but who does when 400,000 people show up to party for three-plus days. Still, Woodstock was legit. It was the ultimate scene to make.

Organizers recognized the innate necessity to assemble a roster of headlining acts that had credence in the hippie movement. To make that happen it required paying the bigger acts double their going rates – and they wanted it up front before hitting the stage.

Several top artists turned down invitations, like The Byrds, The Doors, Bob Dylan, John Lennon, Led Zeppelin and the Rolling Stones. As the scene unfolded rumors circulated that bands were no longer getting paid. Some artists threatened to back out, which necessitated organizers convince a local bank to open after hours and provide them an emergency loan.

Jimi Hendrix was the top headliner, playing with his new band Gypsy Sun and Rainbows, or a Band of Gypsies. The British invasion was represented by The Who. The funk scene was fronted by Sly and the Family Stone. The hippie/anti-government movement was saturated with the likes of the Grateful Dead, Jefferson Airplane, Janis Joplin, Joe Cocker, Crosby Stills, Nash & Young, Creedence Clearwater Revival and The Band.

Ritchie Havens on stage at Woodstock.

Ritchie Havens kicked off the festival. He and his band drove up from NYC early, and since the scheduled opener, Sweetwater, was stuck in traffic, Havens played for some three hours to cover time. His intense performance of Freedom was spellbinding. This was one of a handful of sets by certain performers that defined their careers going forward. Another was at 2PM Saturday, when Carlos Santana, 22, a relatively unknown guitar virtuoso, who happened to be whacked out of his mind on mescaline, turned in an improvisational set that launched his superstar career.

CARLOS SANTANA – Soul Sacrifice (Live @ Woodstock | 08.16.69 | 2-2:45PM)

The Saturday evening sets were pure hippie moonshine featuring Canned Heat (7:30-8:30PM); Mountain (9-10PM); Grateful Dead (10:30-12:05AM); Creedence Clearwater Revival (12:30-1:20AM); Janis Joplin with The Kozmic Blues Band (2-3AM); Sly and the Family Stone (3:30-4:20AM); The Who (5-6:05AM); and Jefferson Airplane (8-9:40AM).

Can you imagine Sly and the Family Stone ripping into I Want to Take you Higher, at 4AM. That was some crazy shit right there.

The following afternoon, Joe Cocker and The Grease Band played a career defining set, filled with Cocker’s manic gyrations. He was followed by the likes of Country Joe and the Fish, Ten Years After, The Band, and CSN&Y. Again they played all night.

It was 9AM Monday morning when Jimi Hendrix took the stage for his two-plus hour closing set at Woodstock. By then the vast majority of the crowd had begun their journeys home – tired, hungry and damp. Some 30,000 people remained across the litter-strewn dairy farm to observe what many critics have deemed the singular greatest musical moment of the 1960s – if not the greatest rock concert in history.

Jimi Hendrix on stage Monday morning at Woodstock.

Hendrix’s interpretation of The Star-Spangled Banner, with its wailing feedback and irreverent distortion, remains groundbreaking, and a creative symbol artists continue to derive inspiration from today.

A sizable taste of this mega festival was captured in the 1970 Oscar-winning documentary by Michael Wadleigh. That same year Woodstock: Music from the Original Soundtrack and More, was released. The three LP set went to No. 1 on Billboard’s top records chart. In 1971, the double album Woodstock Two came out and went gold.

JIMI HENDRIX – The Star-Spangled Banner (Live @ Woodstock | 08.18.67 | 9-11:10AM)

Since then several expanded musical releases have followed, including Woodstock – Back to the Garden: The Definitive 50th Anniversary Archive, a 38-CD, 36-hour, 432-song box set of nearly every note played at the original festival. Additionally, full Woodstock sets by individual acts like Hendrix, Joplin, Grateful Dead and CCR were made available. As have expanded documentaries examining Woodstock’s lasting impact after time allowed for additional perspective.

Immense optimism exuded coming out of Woodstock. The popular thought was why not do it again. This was tried at Altamont. The Rolling Stones did a polite pass when pitched the Woodstock gig. This time the Glimmer Twins were the showcase, along with numerous acts from Woodstock’s roster. The Stones brought in the Hells Angels to run security. For beer money of course. What could go wrong?

Everything.

The Altamont Speedway Free Festival was to be the crowning jewel of the 1960s. Held in Livermore, CA, situated on the eastern edge of the San Francisco Bay Area, Altamont took place on Saturday, December 6, 1969. This was the chance for the West Coast to shine, as California was home to the counterculture movement.

Some 300,000 journeyed to witness the death of hippiedom. One man was stabbed to death, and three others died accidentally; two caused by a hit-and-run car accident, and one by LSD-induced drowning in an irrigation canal.

ROLLING STONES – Sympathy for the Devil (Live @ Altamont 12.06.69)

Considerable violence took place across the venue. Much of it instigated by the Hells Angels. By most accounts there was a foul spirit in the air from the outset of Altamont.

According to Grace Slick of the Jefferson Airplane, “The vibes were bad. Something was very peculiar, not particularly bad, just real peculiar. It was that kind of hazy, abrasive and unsure day. I had expected the loving vibes of Woodstock but that isn’t coming at me. This was a whole different thing.”

There was no shortage of affordable hallucinogenics at Woodstock – but watch the brown acid.

Still, as poorly as Altamont came off, Woodstock endured. It was the clarifying moment of the 1960s, captured in a bottle. Yet its afterglow disintegrated on impact in the 1970s. Hippiedom ran counter to America’s capitalistic society, and its consumer-based operating system.

The smell of money was in the air. Greed. The rat race to the top of the corporate ladder was off and running. Gone were the days when one could get by with just a little help from your friends. The rock-n-roll kept on chooglin’ – by all means love the one you’re with, but several notable musicians who played Woodstock failed to survive the 1970s. As for attendees, if one wanted to afford that house, a car, 2.5 kids and the status quo Madison Avenue was marketing, it took money and a real job.

Meanwhile, society steadily became more litigious, and violence permeated America’s fabric. Twice organizers believed they could lasso lightening by hosting Woodstock reincarnations in modern day America.

The 25th anniversary show, dubbed Woodstock ’94, took place August 12-14, 1994, on Winston Farm, just west of Saugerties, NY, some 70 miles northeast of the 1969 original. Promoted as “2 More Days of Peace and Music,” two familiar scenarios unfolded with predictable outcomes. Though some 164,000 tickets were sold, 550,000 attendees showed up for the concert, overwhelming the venue and facilities. Rain was persistent throughout the weekend. Mud pits, mud fights and mud slides were the most memorable entrants of this revival.

NINE INCH NAILS – Closer (Live @ Woodstock | 08.13.94)

MTV essentially put on Woodstock ’99. Held in Rome, NY, on July 22-25, 1999. Approximately 400,000 attended. The performances were marred by environmental conditions, violence, sexual assaults, allegations of rape, looting and wide-spread fires.

LIMP BIZKIT – Break Stuff (Live @ Woodstock | 07.24.99)

Organizers seemed intent on bringing 1969 back to life, but that is a tough ask when hard edged bands like Nine Inch Nails, Limp Bizkit, Red Hot Chili Peppers, Metallica, and Rage Against the Machine are featured. Great bands all, but not your chill and hug type of music.

Some of the original Woodstock organizers sought to throw a 50th anniversary festival. Potential host venues proved less than enthusiastic about taking the legal risk of holding a mass event that had more than a better’s chance of going sideways with the whole world watching.

Lightning in a bottle. It’s nearly impossible to catch twice.

Over time Woodstock did become profitable for its original planners. Through books, movies, soundtracks, merchandising and spinoff concerts. Woodstock became a way of life, a trademark, that homogenized the experience, which I can’t imagine was the intention of the organizers, but times change.

The 1960s were idyllic in concept. Though only a decade, over those 10 years a cultural impact was unleashed that continues to reach across generations. The audacious freedom to express one’s self, owning your sexuality, empowering young people in the political process, and artistic individuality – these fundamentals were released from captivity as a result of the 1960s counterculture movement.

No longer could society turn a blind eye to its children, expecting young people to simply sit in the corner quietly. It was okay to let your freak flag fly. Woodstock was a celebration of these personal freedoms realized, and became a tangible calling card through time for what is possible.

JANIS JOPLIN – Try (Live @ Woodstock | 08.17.69 | 2-3AM)

In 2017, the Woodstock site became listed on the National Register of Historic Places.

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A Friday Off to Attend Bourbon & Beyond

Posted on September 30, 2019 by theurbanllama

It was a normal Friday morning on September 20 at my office. I was riding out an uneventful work day, followed by the prospect of attending my boys’ high school football game that evening. Around 10AM my phone rang with an offer to take my day in a totally different direction.

My buddy Michael had a set of weekend passes for Bourbon & Beyond, the classic rock music festival hosted in Louisville, September 20-22. His intended companion for the Friday shows was not feeling well, so he offered me the slot. This was a rather generous offer, as the Friday single-day ticket cost $99.50 (plus fees). Weekend passes to Bourbon & Beyond would set you back $199.50 (plus fees). In addition to admission, this offer came with transportation to and from the venue, and a free night’s lodging at the Courtyard hotel, walking distance to the venue.

Come on now, you had me at hello!

After clearing this change in plans with my employer and family, wheels quickly started turning to switch gears from work mode into festival pre-gaming. Now one could get hung up on wanting to get on-site as quickly as possible to not miss any of the music action, but neither of us were interested in rushing. Michael and I do not get to hang like this often these days.

I left work at lunchtime to change clothes and gear up. After Mike picked me up around 2:30, it took some time to navigate the crowded exit coming into Louisville and access the hotel area with our parking pass. By the time we parked, checked in and actually keyed the hotel room it was after 3:30PM. Now we could properly mix cocktails and begin the imbibing process in earnest.

No doubt we missed some fireworks. On the Barrel Stage: The Record Company @ 12:40; Lukas Nelson & Promise Of Real @ 2:10; and Live @ 4:10. On the Oak Stage: Preservation Hall Jazz Band @ 12; Blackberry Smoke @ 1:25; and Joan Jett & The Blackhearts @ 2:55.

Our festival beverage of choice. Longbranch is a recent edition to the Wild Turkey family. The product of a collaboration between Matthew McConaughey and Master Distiller Eddie Russell.

We made a conscious decision to party in the hotel room for a bit, listen to some music and chat it up instead of entering the venue, where our drinks would not be cheap. We were totally content to take our time and comfortably wander inside for the 5PM set.

My issues with Bourbon & Beyond are several. Primarily this is a geezer fest. The majority of these acts lost their fastballs in the 1970s or 1980s. Secondly, the location is dreadful. Bourbon & Beyond, along with the heavy metal festival, Louder Than Life, were previously located in Champions Park near downtown Louisville, but were partially or entirely cancelled last year due to flooding.

This resulted in a deal being cut with the Kentucky Expo Center. While this area is not flood prone, it is a sea of asphalt and concrete, with no redeemable scenery that lends itself to spending multiple days at a music festival. To ease this concern the fairgrounds crafted a fake landscape referred to as the Highlands Festival Grounds. This area was augmented to offer some mounds of land to walk over, faux landscaping and a couple trees to try and make attendees forget they were in a giant parking lot.

To make matters worse they paired the two main stages side-by-side. This way when one stage was live the other went dark. This meant attendees spent the entire day moving from one side to the other. Definitely not terribly imaginative if one is spending three frigging days on basically 50 yards of land.

Cascading confetti and electric rainbows on display as The Flaming Lips closed their set.

Friday was by far the best day for me to attend, as the Foo Fighters, who remain a relevant act, were headlining that night. Michael and I made it inside around 5:30PM, in time to see the majority of the psychedelic shenanigans from The Flaming Lips.

The Lips are one of those unique bands that matters not if you know their music, by the time Wayne Coyne and these Oklahoma City boys are finished, you’ll be singing along and they will have left a lasting impression on you with their stagecraft and bombast.

The Flaming Lips brought all those elements to their Friday set, as giant inflatable robots roamed, Coyne crisscrossed the crowd inside a clear inflatable ball and seas of confetti descended upon the crowd as the band brought home its anthemic closer, Do You Realize.

Nathaniel Rateliff & The Night Sweats hit the stage next. I was excited to check these guys out. They are a working man’s rhythm & blues combo out of Denver. They had a sort of tent revival feel to them. Not religious per se, but it did feel as if the sin was being washed away by their rock-n-roll. Rateliff rarely stood still. With his barrel-chested physique and facial hair, he made for a fascinating front man as he busted some James Brown footwork. The Preservation Hall Jazz Band joined Rateliff for the last two numbers, including their huge hit, S.O.B.

NATHANIEL RATELIFF & THE NIGHT SWEATS – I NEED NEVER GET OLD

Now much anticipation followed for John Fogerty’s set. It was 50 years and about a month to the day Fogerty and his band Creedence Clearwater Revival played at Woodstock in 1969. He was touring in celebration of his 50-year trip. I wish I had something positive to relay about his performance. I love CCR. Fogerty is an American icon and legend in the music business, but he performed as a contrived shadow of his former self.

He was given the full headliner treatment – a killer band, including drummer Kenny Aronoff, three massive video screens and pre-produced video vignettes to go with the individual songs. Unfortunately nothing could distract away from this subpar performance.

JOHN FOGERTY – FORTUNATE SON + BAD MOON RISING

Fogerty, 74, apparently had some unfortunate plastic surgery. His face was stretched tighter than a snare drum. His look alone cut into Fogerty’s authenticity – CCR’s primary calling card. Fogerty’s guitar served more as a prop than an instrument. There were 12 or so performers on stage. CCR was always a minimalist outfit. That number of excessive artists can only mean something is needing to get obscured. When he addressed the crowd it came off as pre-programmed. I was genuinely worried he might have a senior moment.

Again, I luv me some CCR. This was more like watching a CCR cover band. I’m mystified why organizers gave Fogerty such a valuable time slot.

Dave Grohl of the Foo Fighters.

This left the Foo Fighters. Thank goodness for something modern. As a big Nirvana fan, I have mad appreciation for Dave Grohl, and all the work he has done with a variety of bands. Yet the Foo Fighters remain a bit of an odd duck. There is some core element that leaves me cold. Hard to put a finger on it. Still, I was psyched to check them out live.

The energy was there. They are plenty loud when they choose to be, and excellent musicians. But midway through all their songs blended together into a remarkably similar melody and tone. Their songs are primarily rock ballads, that start off slow and build to a crescendo of screaming angst. Even their opening was weird. They came running on stage, ripping guitars and pounding drums, screaming, “are you motherfuckers ready for some rock and roll!!!” Then limped into this soft instrumental opening of The Pretender. It instantly killed all the crowd energy, and left people looking at each other bewildered by the confusing mixed message that just took place.

FOO FIGHTERS – INTRO + THE PRETENDER

That being said the set was 20 songs strong. Drummer Taylor Hawkins sang an interesting cover of Queen’s Under Pressure. Must say it’s always great to see former Nirvana touring guitarist Pat Smear in action. The Foo Fighters closed strong with This Is A Call and Everlong.

FOO FIGHTERS – THIS IS A CALL

Overall, while less than impressive, Bourbon & Beyond delivered on offering a beautiful summer day to hang with friends and enjoy some live music outdoors. Personally, I would recommend folks spend their money on either Forecastle or Railbird in Lexington next year. Try checking out some more immediate bands that are relevant, impassioned and actually have their original members together on stage. Just a thought.

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Railbird Music Festival is Feast for the Senses

Posted on August 23, 2019 by theurbanllama

Jack White of The Raconteurs performing Saturday night at Railbird.

The inaugural Railbird music festival, held August 10-11 in Lexington, left the gate as a long shot, but for all who attended, it paid off like hitting an exacta on Derby Day. Held across the picturesque grounds at the Keeneland horse racing track, the event left a lasting impression with its friendly staff, upscale amenities and broad spectrum of musical talent.

To be honest, my choice to attend Railbird was predominantly influenced by the inclusion of The Raconteurs headlining Saturday night. Jack White, of White Stripes fame, is a guitar god, and alt-rock pioneer. He is one of a select few musicians from the current generation who has crafted a lasting career across numerous incarnations, and left an indelible mark upon popular music.

THE WHITE STRIPES – SEVEN NATION ARMY

When the White Stripes stopped playing in 2007, White, who hails from Detroit, MI, joined forces with the existing members of The Greenhornes, to form The Raconteurs. This became White’s rock-n-roll band. They cut two commercially successful discs together, Broken Boy Soldiers and Consolers of the Lonely. After this, White, along with The Greenhornes’ bassist Jack Lawrence, left to hook up with Alison Mosshart from the Kills, and Dean Fertita from Queens of the Stone Age – to form The Dead Weather.

Maia and the Urban Llama on grounds @ Railbird.

This engagement also proved commercially successful, even with Jack White choosing to serve as the drummer in this supergroup. White has since embarked on a multi-disc solo career, and resides in Nashville, TN, where he formed Third Man Records, an independent record label, whose headquarters serves as a record store and performance space.

The Raconteurs got back together in 2018, releasing two singles. These both ended up on the band’s June 2019 disc, Help Me Stranger. A world tour was scheduled to accompany their Billboard No. 1 album, including a stop on a gorgeous Saturday night in Lexington at the Railbird Festival.

General admission tickets for the weekend were $140 each. Yes that would be a tad extravagant to see only The Raconteurs – but they were by no means playing alone. Other headliners included Gary Clark Jr., Tyler Childers, Hozier, Brandi Carlile, Old Crow Medicine Show, Mavis Staples, Lucinda Williams, and St. Paul and the Broken Bones, to name a few.

This diverse assemblage of musical acts by organizers was ambitious for public consumption. It could have fallen apart with their attempts to meld country acts with alternative, blues, funk, gospel and pop – but the right mix of talent enabled folks to dive in head first into unknown genres and uncover common ground amongst unfamiliar artists that led to a marvelous weekend of discovery.

Our daughter Isabella joined us @ Railbird on Sunday for the festivities.

It was super helpful that Railbird offered a layaway option for tickets. Two general admission passes, with all applicable fees and handling charges came to $352. I paid an initial $68.10 to hold the tickets, and then four payments of $70.98 over the next three months.

Another selling point for this fest was it only took place on the weekend. This meant I didn’t have to burn leave to attend Friday shows, in turn Railbird didn’t dilute its talent by attempting three days of music. This made attending cheaper, and offered less wear and tear on my body.

Parking was super easy, at least entering Keeneland. Re-entry to the venue was allowed on tickets, so attendees could dip out to their cars, where many had coolers and chairs. Folks parked near the stages could tailgate and still hear performances, if not see the bands on stage. The venue was easy to navigate, with a plethora of food and drink options, especially high end bourbon and craft cocktails.

For me Saturday remained all about The Raconteurs, but no doubt Low Cut Connie earned some fans with their full-on stage acrobatics. The voice alone from Mavis Staples, 80, was enough to stop many in their tracks. She belted out funk driven rock and blues to go with her gospel roots. Staples did wonderful takes on Slippery People from the Talking Heads, and For What It’s Worth by Buffalo Springfield.

Entering the 7:30PM sets it became time to start strategically thinking about getting into position for The Raconteurs. Considering the number of folks who clearly came to see Brandi Carlile I felt obliged to check her out, and I must say she won me over. Her determination, voice and stagecraft were impressive. She ripped a wonderful take on Babe, I’m Gonna Leave You, popularized by Led Zeppelin. A few songs later she showed off her platinum pipes with a cover of A Case of You by Joni Mitchell.

Brendan Benson of The Raconteurs.

I wanted to see Old Crow Medicine Show, but they were playing on the Elkhorn Stage at the far end of the venue. We chose instead to stake out a prime spot left of the Limestone Stage ahead of The Raconteurs set.

The boys from Nashville did not disappoint. Jack White exploded onto the stage, pumping his arms as he fed off the raw energy emanating from the growing crowd. It was quickly clear some of the more gentile in the audience who stuck around to see what all the fuss was about were not down with the rambunctious sounds, and they could be seen streaming for the exits after the opening track. For the rest of us, it was a decadent treat to witness a master in his element.

THE RACONTEURS – YOU DON’T UNDERSTAND ME

I particularly enjoyed White on piano for You Don’t Understand Me, and the ragged glory of Carolina Drama, a murder ballad from the band’s sophomore release. Only Child, off the new disc, was also a concert standout.

THE RACONTEURS – STEADY AS SHE GOES

Gary Clark Jr. performing Sunday @ Railbird.

Sunday was more chill. Railbird allowed kids 10 and under to attend for free, so Maia and I brought our 7-year old, Isabella, with us to rampage across the hillsides.

Major props to the Fruit Bats. These Chicago boys were at their alt-folk best, throwing trippy vibes to a packed lawn at the Burl Stage. My priority show for the day was Gary Clark Jr. This Austin, TX, blues-guitarist menaced the stage with his trademark scowl, blistering out notes from his six-string sidearm. He was channeling a serious Curtis Mayfield vibe, in his wide-brimmed hat and sunglasses. The man was cool before the term was invented.

GARY CLARK JR. – COME TOGETHER

Honorable mentions go to St. Paul and the Broken Bones, Lucinda Williams and the festival closing act, Hozier. This Irish vocalist gave expansive renditions of his pop ballads, blending layers of sound and voice perfect for display at a large outdoor venue.

Hands down my surprise performance of the festival and arguably favorite set belonged to Kentucky’s own Tyler Childers. Each song seemed to have a building drama to it, with signature catch lines the crowd knew well. These were narrative-driven tales, mixing bluegrass, with country, folk and Americana rock.

TYLER CHILDERS – WHITEHOUSE ROAD

Isabella rocking out @ Railbird.

Childers emotional delivery and intense stare let on these were autobiographical tales of excess and tragedy. His songs were a fitting soundtrack to inspired drinking and painted a vintage romance about small town country life. He had me with his set’s strong opening of House Fire, Whitehouse Road, Redneck Romeo, and Country Squire. This Lawrence County native was spitting fire from the jump as the crowd gave Childers an enthusiastic homecoming embrace.

About midway through Childers played his current hit, All Your’n. For those who watch SEC football, which are legion in this part of the country, Childers’ song is the soundtrack to a current advertisement for SEC Football’s “We Love It Here” campaign. Even on the vast expanse of a main stage lawn, Tyler Childers cooked up what felt like a intimate house party.

TYLER CHILDERS – ALL YOUR’N

Railbird returns August 22 & 23, 2020. We will see if Railbird organizers have another carefully curated festival roster of artists to offer, but their first effort was cash money. If they can come close for a sophomore edition I’ll wager on attending again.

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A Big Four Bridge Walk Leads to Schimpff’s Confectionery

Posted on July 19, 2019 by theurbanllama

Isabella atop the Big Four Bridge.

My daughter was hankering for a serious milk shake, and the sublime sugar rush that comes with such a decadent treat. Now I try not to overindulge, but a milk shake craving is no joke. This type of itch can’t be scratched by some shake-like creation from DQ, Mickie D’s or Sonic. So if we’re going for this level of caloric intake, it’s best earned.

On a toasty clear weekend afternoon, my daughter Isabella, 7, and I parked at 1101 River Road in Louisville’s Waterfront Park. This was the jump on spot for the Big Four Bridge, a pedestrian and biker-friendly crossway over the Ohio River that connects Louisville, Kentucky with Jeffersonville, Indiana. Our reward for the day’s little adventure was a visit to Schimpff’s Confectionery, the 128-year old candy emporium, located in the Old Jeffersonville Historic District.

There’s public parking beneath the giant circular bridge onramp, but plenty of street parking is available if the lot is full. As we began our stroll up the onramp, the wide inclined pathway offered plenty of space to talk and joke about as we marched the 1/4 mile to bridge level.

A mixture of humanity joined us this day, families, some pushing infants, kids, runners, serious walkers and bikers. A few illicit skateboarders and motorized long boarders were in the mix too. Also going up was a bridal party making the journey for some fun wedding snapshots atop the bridge.

The UrbanLlama taking in the bridge-top view.

A refreshing crosswind whipped about once we reached elevation, some 50-plus feet above the water below. The views of Louisville, the river’s expanse, and business conducted on this waterway were spectacular. It was a 1/2 mile across the straightaway, where twice while walking classical music wafted down from speakers fixed to the above truss work.

The Big Four Bridge is a former railroad crossing completed in 1895, that took its name from the defunct Cleveland, Cincinnati, Chicago and St. Louis Railway, nicknamed the “Big Four Railroad.”

It was decommissioned in 1969, with both ramps to the bridge removed. This became the first bridge to fall out of use in Louisville and earned it the nickname “Bridge That Goes Nowhere.” In February 2011, a joint venture between Kentucky and Indiana was announced for the creation of a pedestrian and bicycle path linking Louisville with the City of Jeffersonville. It opened to the public on Feb. 7, 2013, and averages more than 1.5 million visits per year.

Isabella reveled  in the breeze gusting about, and the freedom of feeling suspended above the river. She twirled and skipped along the pathway. There’s a lot to take in from this perch, and my energetic and enthusiastic companion wanted to see it all.

Once on the Indiana side, a 1/4 mile circular ramp led down to the park below. There folks were playing Frisbee and partaking in a celebratory barbecue. A few yards further found us in the Old Jeffersonville Historic District.

A frozen treats store resided on the corner as the bridge’s offramp merged with the street. Several cafes and restaurants looked on invitingly from across the way. I flipped on my GPS to navigate the few blocks to Schimpff’s Confectionery.

Walking up to the storefront, a gentleman sweeping the sidewalk greeted us in his apron with a welcoming salutation. It was pleasant in a manner not heard much these days.

Upon entering this candy emporium, it gave one a sense of returning to simpler times. Glass cases were filled with radiant shelves of confectionary treasures. Aisle-way displays tempted with Modjeskas (caramel-covered marshmallows), hand-dipped chocolates and crunchy almond toffee. Behind the counters were row-after-row of clear glass jars filled to the brim with rainbow colors of lemon drops, red hots and fish candy (celebrating Kentuckiana’s river heritage).

Sweets are serious business in my house. Isabella can render a scouting report on an impressive array of sugared treats. In her young eyes Schimpff’s was nirvana.

In 2001, the store expanded for its 110th anniversary, to include a candy museum, with thousands of pieces of memorabilia, equipment and artifacts collected during the family’s generation-after-generation of being in the confectionery business. Tours and candy making demonstrations were available as well.

Isabella and I did a bit of reconnoitering. A big favorite she still speaks volumes about were the miniature gummy pizzas and hard candies shaped into Lego pieces that could be assembled into edible creations.

With treats in hand we took a seat at the 1950s style soda fountain, located toward the rear of the store’s main room. If a bite to eat is in order, the deli counter is open for lunch Monday-Saturday. Today we were strictly concerned with ice cream treats. Isabella went with a vanilla shake. I have a thing for root beer floats, and this seemed like just the joint that would serve up a memorable one. Both of us were beyond impressed with the velvety smoothness our frothy selections provided.

Never underestimate the simple pleasure a kid gets from sipping ice cream through a straw.

With our whistles whetted, Isabella and I began our mile-long jaunt back to the Kentucky side of the Ohio River. Round trip, including our planned detour, clocked in at 2.5 miles. We accomplished the walking part in 1:09:22.

How long one chooses to enjoy the Old Jeffersonville Historic District or a candy encounter at Schimpff’s is up to the individual. No doubt the walk back was felt, especially toward the end by my 7-year old, but the candy buzz carried her most of the way.

Next time you have an hour to kill and could use an urban adventure with a view, check out the Big Four Bridge and the candy treats awaiting on the Hoosier side.

Schimpff’s Confectionery | 347 Spring Street | Jeffersonville, IN 47130 | 812.283.8367

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Highlands Tap Room Soothes the Late Night Beast

Posted on June 30, 2019 by theurbanllama

Regardless in what city one resides, there’s always a joint or two that services the night owl community. A place where mutants can howl when the mood strikes. Often these are establishments of distinctive, if not questionable character, that serve viscous alcohol into the AM hours, and keep late kitchens catering to nightcap diners. In Louisville one such place is the Highlands Tap Room.

Located at 1058 Bardstown Road, in the heart of the nightlife friendly Highlands neighborhood, this fun, food (and supposedly) family friendly l0cation has multiple personalities.

Open seven days a week till 4AM, the Tap Room is frequented in daylight hours by neighborhood residents, walkers-by, and employees from small businesses that line Bardstown Road. But this location hits its stride after 11PM. That’s when the nocturnal movers and shakers give this place its character and energy.

On a recent Monday night, after attending a Gov’t Mule show at Iroquois Amphitheater, the need arose for drinks and food after 11PM. The Tap Room was clearly alive and well upon arrival, whereas most other spots around were already closed or barely registered a pulse.

It was Metal Monday, and the buzz saw beats were rattling the windows loose in the cottage performance space. Young men were visibly flying through the air inside the stage area. This merely added to the quality people watching for those seated on the patio. Here a menagerie of regulars were table-hopping their hype and hustling schemes over serious craft beers.

The Tap Room attracts a thirsty lot, particularly in the AM hours, with many partaking in extracurriculars. This is part of the joint’s charm. Be patient and go with the flow when ordering. There are two full bars housed side-by-side, with some 25 draft beers on tap. The kitchen offers a wide variety of interesting cuisine, from steaks and seafood, to burgers and veggie options, all priced kindly.

The next time out on a midnight creep, light past the Highlands Tap Room. All are welcomed and chances are the “open” light is burning bright.

Highlands Tap Room | 1058 Bardstown Road | Louisville, KY | 502.561.2100 (Tap) or 502.584.5222 (Grill)

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Gov’t Mule Brings Southern Jam to Louisville

Posted on June 28, 2019 by theurbanllama

Vocalist and guitar player extraordinaire Warren Haynes of Gov’t Mule, performing in Louisville.

Got Mule?

For those needing some Warren Haynes – a heavy dose was delivered June 24 at Iroquois Amphitheater. Gov’t Mule returned to Derby City in all its Southern jam band glory. The festivities kicked off with Karl Denson’s Tiny Universe ably opening the show. Mule took the stage an hour later, delivering the precise, hard rocking performance this power outfit has come to define.

In particular Mule hits a sweet spot for the Grateful Dead faithful. When that jonz hits to hear a live guitar weep, such as how Mule vocalist Warren Haynes can play, there is no substitute but to find the boys out on the road. Mule, like the Grateful Dead or The Allman Brothers Band, are road warriors. Every year, every season, they are out making the rounds.

Formed in 1994, Gov’t Mule was originally a side gig Haynes and bassist Allen Woody came up with while on a break from their day gig with The Allman Brothers Band. Along with drummer Matt Abts, with whom Haynes played alongside in the Dickey Betts Band, Mule was considered a constructive way to fill time when not touring with the Allman’s. But quickly the new gig shifted from side project to the member’s primary focus.

They were a power trio churning out blistering Southern blues rock, with a flair for expanding the tunes live into jam sessions. After Woody’s tragic passing in 2000, a string of legendary bass players took turns filling his shoes. Guys like John Entwistle (The Who), Jack Bruce (Cream), Phil Lesh (Grateful Dead), Bootsy Collins (Parliament-Funkadelic), Flea (Red Hot Chili Peppers), Les Claypool (Primus), Mike Gordon (Phish), Dave Schools (Widespread Panic), among others.

They’ve since added Danny Louis on keyboards (2002), and a permanent bassist, Jorgen Carlsson (2008). With The Allman Brothers Band now gone, and Lynyrd Skynyrd wrapping its final nostalgic tour, Gov’t Mule takes the mantle as one of the last bands carrying on the Southern rock legacy.

Monday night’s performance opened with “Bad Little Doggie,” an uptempo number that castigates a metaphorical love interest who stayed out all night, returning home in the morning smelling of guilt. This was followed by “Blind Man in the Dark.” Both numbers are great scene setters for a Mule show. Two standouts in the eight song first set were the hard-living anthem “Rocking Horse” and “Thorazine Shuffle,” an ode to self medication.

My vantage point for this concert was spectacular, Row C, just left of center, to the side where Haynes was set up. It was a pleasure to have such close proximity to this master craftsman, from which to observe him work. Haynes speed on the frets and clean fingering of notes was wicked impressive.

The scene at intermission is why folks love Iroquois Amphitheater. It was a perfect summer night, warm with clear skies. As the cover of darkness fell, the heads were free to roam the elevated walkway in the rear of the pavilion, out into the grassy expanse that strategically failed to be lighted. The haze was thick and staff left peaceful pursuits alone.

Set two showcased an aspect of Gov’t Mule’s repertoire that is a fan favorite – giving referential recitations to other artists’ music, affectionately known as cover songs. This evening those in attendance were treated to multiple gems, including “Eyesight to the Blind” by Sonny Boy Williamson, “The Other One” jam from the Grateful Dead that was  incorporated into Mule’s “Fallen Down,” “Kind of Bird” by The Allman Brothers Band, and the epic closer “32-20 Blues” by Robert Johnson.

Gov’t Mule | 32-20 Blues | Iroquois Amphitheater | Louisville, KY | 06.24.19

Haynes looked the best I’ve seen him in years. He had clearly lost considerable weight, his skin tone was better and the man looked like a healthier Warren. The concert concluded at 11PM, and away we went with music in our ears into the evening for what came next.

Again, beautiful summer night, outside on a Monday in Louisville, with Warren Haynes on guitar – yep I “Got Mule.”

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Late Night Dining in Louisville at The Silver Dollar

Posted on June 22, 2019 by theurbanllama

I was faced with an interesting predicament recently. I took in an 8PM Friday performance of “Hamilton” in downtown Louisville. It ended at 11PM. By the time I was out of the garage and on the road it was nearly 11:30. Where could I drive that was still serving, that wasn’t greasy drunk pizza or mediocre bar cuisine? The answer was The Silver Dollar on Frankfort Avenue.

No doubt I was pushing the envelope. The kitchen at The Silver Dollar closed at midnight. But hopping on I-64, I was walking up to this red brick edifice in the Clifton neighborhood of Louisville by 11:45. Don’t get me wrong, I hate jetting in that close to shut down, but the hostess and waitstaff were nothing but polite and welcoming.

It was clear The Silver Dollar inhabited a former fire station. Built in 1890, this used to house Hook and Ladder Company No. 3 until 2009. Inside the fire poles, fireman’s map of the city and old call boxes remained as vestiges of the building’s former life.

The restaurant was longer than it was wide. Weathered brick walls stood untouched and offered the perfect backdrop to the strings of colorful lights running throughout. The muted reds, greens, and blues created a cantina feel and threw shadows into the alcoves and corners where diners and drinkers sat conversating.

With the fire engine door rolled up an immense entryway further lengthened the space and gave the brick enclosure a certain airy quality. Diners seated near the entrance were treated to urban views of street passersby and the festive goings-on at the Hilltop Tavern across the way.

The primary takeaway about The Silver Dollar is bourbon. It’s lit up in neon on the sign out front, “Whiskey by the Drink.” Behind a 42-foot bar fashioned from reclaimed tobacco barns and old distillery rick houses, on plank shelves running the length of the bar sat the collection. They stock a lot of Kentucky’s native spirit. I lost count after some 200 different selections on the whiskey menu.

I’m a big Eagle Rare fan, and they carry several house select single barrels over 10 years of age at $14 a glass. There are a serious number of bourbons priced $30 a glass and up, topping out at $200 for John E. Fitzgerald 20 YR. That makes Pappy Van Winkel’s Family Reserve 23yr a virtual steal at $135 a glass.

To be fair there also are a head-spinning number of thoroughly interesting and satisfying pours at $10 and under. Not to mention the rotating choice of labels daily at $3 a glass. Then there is the rye, beer, wine and the tequila collection is impressive as well.

Strike up a conversation with any bartender. They are knowledgeable about everything bourbon, from the cheap, to the trendy, to the purple unicorns of pours. They love a good chat, mix a mean cocktail and are efficient at what they do.

Silver Dollar in Louisville. (Lauryn Morris)

This alone could draw plenty of folks inside. Yet The Silver Dollar’s story gets deeper. The owners envisioned a melting pot of sorts, inspired by the unintended results of the 1930s Dust Bowl. When residents of the Midwest and South were driven from their homes to the fertile West of California, locals ostracized them, referring to the newcomers as Okies. This banded together these displaced inhabitants, and they entertained themselves with their own unique brand of rough, hardscrabble country music that was as tough as the folks who played it. It became known as the “Bakersfield Sound.”

The Silver Dollar pays homage to this Bakersfield melting pot with its sprawling juke joint fashion and soundtrack to match. It’s subtle but heavy atmospheric when matched with the lighting, firehouse, food and bourbon. I doubt it’s quiet in here at rush hour, but around midnight it was perfectly chill on this Friday.

You can say the kitchen features its own version of the “Bakersfield Sound” in that it’s a mixture of talents turning out Texas fare, Southern staples and south of the border specialties. There are house fried pork rinds in rosemary & salt, baskets of buttermilk fried chicken livers, short ribs, baby back ribs, chicken & waffles, fried catfish, monstrous burgers and even a beer can hen (sitting atop an Old Milwaukee can).

Considering the late hour, I went with something comforting and simple – chili. Texas style to be exact, with white cheddar, pickled jalapeños, onions, cilantro and cornbread. A heaping bowl arrived filled with dense chunks of tender simmered beef, seasoned less than Texas hot. Mix in all the trimmings and splash the bowl with the house-made arbol hot sauce and the chili was spot on for a decadent midnight treat.

Drop in to see why GQ magazine named The Silver Dollar one of the Top 10 whiskey bars in America.

The Silver Dollar | 1761 Frankfort Avenue | Louisville, KY | 502.259.9540

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