Susie's Tree Spirit Masks on Display at Wussow's for the Month of March

This coming Thursday, March 6, Susie will be having an opening reception at Wussow's, 324 No. Central Avenue, for her show titled "We Wear the Mask." Susie began making masks back in the days when she did pottery. Though we no longer have a kiln, the mask theme has evolved and her work is quite remarkable. Here are a few examples, plus a bit of. backstory on the show.

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1. What prompted you to create your series of Tree Spirit masks?

 

Susie: I have lived in the country most of my life.  I have been making various kinds of masks for many years. The Tree Spirits came about more recently as an expression of my enjoyment of nature and a way to use various things I find outside in our woods and my garden such as moss, pinecones, seed pods, gourd pieces, and more.

2. You have made a variety of masks over the years. When did you start and What do you enjoy most about making masks?
 

Susie: Making masks as an artistic expression particularly resonates with me. I first began making ceramic masks almost 20 years ago. Around that time a widowed woman I knew died unexpectedly leaving her five children orphaned. I had been mentoring the youngest, a 6 year old girl, and I was shocked and heartbroken.

 

Faces can both hide or express many emotions. I began to include teardrops in one eye on my masks to express the universal sadness in life but I also include a small star in the opposite eye as an indication of hope.

 

I find enjoyment in the whole process, but giving them a name at the end is particularly fun.

 

3. Your masks are truly original. Where do you get your ideas from?

 

Susie: I don't necessarily start out with a specific idea. I begin making a face and it develops a life of its own as I go along. Sometimes I look at books of African or South American masks for ideas. Some masks may express my horror at world events, or personal angst. Others express joy that the earth and sunshine offer.

 

Wussow's is located next to Zenith Bookstore on Central Avenue, across the street from The West Theatre.

We Wear the Mask

A poem by Paul Laurence Dunbar 1872-1906,

whose parents had been enslaved, has always been

a very compelling source of inspiration to me.

 

We wear the mask that grins and lies,

It hides our cheeks and shades our eyes,—

This debt we pay to human guile;

With torn and bleeding hearts we smile,

And mouth with myriad subtleties.

 

Why should the world be over-wise,

In counting all our tears and sighs?

Nay, let them only see us, while

We wear the mask.

 

We smile, but, O great Christ, our cries

To thee from tortured souls arise.

We sing, but oh the clay is vile

Beneath our feet, and long the mile;

But let the world dream otherwise,

We wear the mask

The Problem with Labels

One of the things I have noticed (this past year especially) is how many people have been struggling regards to how open to be with their beliefs (and with whom) for fear of being labeled as "radical" or "extremist." As one friend said recently, "I wish to fight against those labels." Which prompted me to concur by writing some thoughts about the problem of labels.

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Labeling people and boxing them into categories might seem like a handy shortcut for understanding the world, but it’s a messy habit that creates more problems than it solves. For one, it flattens human complexity into a cartoonish stereotype. Call someone “introverted” or “conspiracy theorist,” and suddenly they’re reduced to a checklist of traits, ignoring the messy, contradictory reality of who they are. It’s like judging a book by a single word on the cover— you miss the story.

This pigeonholing also fuels division. Once you slap a label on someone—“outsider,” “genius,” “troublemaker”—it’s easy to see them as “other,” widening gaps between groups. Studies, like those from social psychology, show people cling to in-group loyalty and out-group suspicion when labels sharpen the lines. Think tribalism on steroids: politics, race, class—all get nastier when we’re simply tags to each other.  

Dehumanizing others enables us to justify all manner of evils. I think here of the Dred Scott Decision, where a Supreme Court decision declared that Negroes were property. Or the way Native peoples were discounted as savages.

Labeling screws with individuals, too. People internalize labels, bending themselves to fit the mold or fighting to escape it. A kid branded “shy” might shrink from speaking up, even when they’ve got something worth saying. Self-fulfilling prophecies kick in—call someone “lazy” long enough, and they might just stop trying. Plus, it kills curiosity. Why bother digging into someone’s quirks or context when you’ve already filed them under “type A” or “hippie”?

The world’s not that neat. Labels assume static truths, but people shift—circumstances change, beliefs evolve. (I've gone through several iterations myself.) Boxing people in ignores that flux, locking them into a snapshot that’s outdated the second it’s taken. It’s a lazy mental shortcut that trades nuance for convenience, and we’re all shallower for it. Less labeling, more listening—sounds harder, but it’s truer.

Something to think about.

Blast from the Past: Chuck Berry at The Cavern Club

This Day In History
Chuck Berry’s one and only performance at the Cavern Club in Liverpool on February 27, 1967, is a notable moment in rock history, though details are sparse due to the era’s limited documentation. The Cavern, a cramped, sweaty basement venue on Mathew Street, was already legendary by ’67, thanks to the Beatles’ early gigs there. Berry, then 40 and a towering figure in rock and roll with hits like “Johnny B. Goode” and “Roll Over Beethoven,” brought his signature guitar riffs and duck-walking stage antics to a crowd of eager Merseyside fans.

Liverpool’s lucky few witnessed a cornerstone of music history, no footnotes needed.

There’s no full setlist preserved, but Berry’s shows from that period typically leaned on his catalog of classics—“Maybellene,” “Sweet Little Sixteen,” maybe “Memphis, Tennessee”—delivered with his raw, bluesy energy. The Cavern’s tiny stage, barely 12 feet wide, would’ve made his usual showmanship a tight squeeze, but that likely amped up the intimacy. Fans packed in, probably spilling into the venue’s arched brick tunnels, soaking up a rare chance to see an American pioneer in a space built for local acts.

When I saw Chuck Berry in the Convocation Center at Ohio University (as one act in a touring Rock N Roll Revival that included Sha Na Na and a host of Fifties and early Sixties groups) he had ample room to duckwalk all he wanted, and from my vantage point directly behind the stage the bright-eyed faces never wanted him to stop. The contrast between the venues is striking. The Cavern Club could pack 300 or so, the Convocation Center 5,000.

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Chuck Berry's house in the 1950s where he wrote
most of his greatest hits. (Photo: Gary Firstenberg)

Chuck Berry died on March 18, 2017, at his home near Wentzville, Missouri. He was 90 years old, and authorities confirmed he passed due to natural causes. More than 1,000 people lined up to pay respects before he was laid to rest at Bellerive Heritage Gardens Cemetery in St. Louis, Missouri, alongside his wife, Themetta “Toddy” Berry, who passed in 2019. 

Chuck Berry's tomb in St. Louis. (Photo: Gary Firstenberg)

Click to enlarge.

Rare photo of the legendary rocker showing Berry's red Gibson ES-335 guitar which accompanied him in the grave. The site’s a quiet nod to his roots, just miles from where he shaped rock and roll. This and the other photos below also courtesy Gary Firstenberg.

When the St. Louis Blues won NHL Championship, 2019

RELATED LINKS

Who Will Berry Whom?
Chuck Berry w/Bruce Sprngsteen: Johnny B. Goode

What Is Hitchens' Razor?

I can't recall precisely when I first heard the expression Occam's Razor. You'd think I came across it in one of my philosophy classes in college, though actually I believe I first heard it from my mom. It's meaning used to be common knowledge amongst educated folks, I believe.

Dating back to the 14th century, Occam's Razor is a problem-solving principle that is credited to the English philosopher and theologian William of Ockham. It’s often summed up as: "Entities should not be multiplied beyond necessity." 

I looked that up, but what I remember is something like this: when you’re faced with competing explanations for something, the simplest one is usually your best bet. Here's a practical example.

When your car won't start the first thing is to check the battery rather than assume a rare engine defect and a fuel line issue and a cosmic ray interference all hit at once. The idea is to start with what’s most straightforward and only complicate the explanation if evidence demands it. It’s a tool for reasoning, not a hard rule, and it’s been influential in science, philosophy, and even everyday decision-making. It's a mix of logic, common sense and experience.

I bring this up because today in my mornng reading I saw a reference to Hitchens' Razor. I thought, "Hmm, I wonder what that is?" And I also wondered if it were some old time concept from some Hitchens of the past (like the Occam example) or the contemporary Brit journalist. As it turns out, it's the latter.

Hitchens' Razor is a philosophical principle that states "What can be asserted without evidence can be dismissed without evidence."

In other words, if someone makes a claim but doesn’t back it up with proof, you’re free to reject it without needing to disprove it. It puts the burden of evidence on the person making the assertion, not the skeptic. Hitchens often used this in debates, especially on topics like religion, to challenge unbacked claims. It’s a sharp, no-nonsense way to cut through fluff and focus on what can actually be substantiated.

How to Hide an Empire: A History of the Greater United States

America still maintains hundreds of military bases around the world and this, too, is another one of those unspoken, hidden indicators of empire that no one wants to talk about. Many would argue that this is different, that it isn’t exactly like the empires of the past, and they are correct. But it is still a form of empire, in the economic sense at least, because these bases are there to protect our interests.
--Bryan Carey comment on Amazon.com

How to Hide an Empire: A History of the Greater United States by Daniel Immerwahr is a comprehensive exploration of American Imperialism focusing on the often overlooked territories and dependencies of the United States. 

We're all familiar with maps that outline our fifty states. And we are also familiar with the idea that the United States is an “empire,” exercising power around the world. But what about the actual territories—the islands, atolls, and archipelagos—this country has governed and inhabited?

Here's a brief overview:

Thesis: Immerwahr argues that the traditional narrative of U.S. history as a continental story is incomplete. He introduces the concept of the "Greater United States," which includes not just the 50 states but also territories like Puerto Rico, Guam, and the U.S. Virgin Islands, among others.

Historical Context: The book traces American expansion from the early days of the republic, through the acquisition of territories like the Philippines during the Spanish-American War, to the strategic military bases and territories post-World War II. 

Pointillist Empire: Immerwahr uses the term "pointillist empire" to describe how U.S. territories are scattered across the globe, often hidden from the national consciousness. This contrasts with the more contiguous land empires of old.

Impact on History: The book examines how these territories have shaped American history, including their role in military strategy, economic benefits, and social policies. It delves into the legal and cultural implications of U.S. rule over these areas, particularly in terms of citizenship, rights, and representation.

Cultural and Political Oversight: Immerwahr discusses how these territories are often excluded from common American narratives, maps, and even the national imagination. He critiques the portrayal of the U.S. as a nation without colonies, highlighting the contradictions and moral questions this raises.

Modern Relevance: The book also looks at more contemporary issues, such as the treatment of residents of these territories during crises like natural disasters (e.g., Hurricane Maria in Puerto Rico) and the implications of this "hidden" empire in global politics.

Narrative Style: Immerwahr's writing is engaging, blending historical analysis with storytelling, which makes complex geopolitical issues accessible. He uses personal stories, legal battles, and cultural references to flesh out his arguments.

Conclusion: "How to Hide an Empire" challenges readers to reconsider what it means to be part of the United States, urging a reevaluation of the nation's identity, responsibilities, and historical narrative.

The book has been both praised for its insightful reframing of American history and criticized by some for its perspective on U.S. imperialism. Nevertheless it remains a significant contribution to understanding the scope and nature of American influence around the world. I've not seen anything quite like it. One reviewer called it "A pathbreaking history of the United States’ overseas possessions and the true meaning of its empire.

My 9th grade Civics teacher and 11th grade History teacher Mr. Griffith would have liked this book, and would have included it in our History curriculum. 

Here's an endorsement from another teacher:

I'm a professor at the University of California San Diego and I'm assigning this for a graduate class. No other book out there has the level of breadth on the history of US imperialism that this work provides. Even though it packs 400 pages of text (which might seem like a turnoff for non-academic readers), "How to Hide an Empire" is highly readable given Immerwhar's skills as a writer. Also, its length is part of what makes it awesome because it gives it the right amount of detail and scope.

I could not disagree more with the person who gave this book one star. Take it from me: I've taught hundreds of college students who graduate among the best in their high school classes and they know close to nothing about the history of US settler colonialism, overseas imperialism, or US interventionism around the world. If you give University of California college students a quiz on where the US' overseas territories are, most who take it will fail (trust me, I've done it). And this is not their fault. Instead, it's a product of the US education system that fails to give students a nuanced and geographically comprehensive understanding of the oversized effect that their country has around our planet.

Author Daniel Immerwahr (PhD Berkeley, 2011) is an associate professor at Northwestern University, specializing in U.S. and global history.

Get Ready for the Ampersand International Arts Festival in Williamsburg, VA

Mark your calendars, art lovers! From March 17 to 23, 2025, the Ampersand International Arts Festival is set to transform Williamsburg, Virginia, into a vibrant hub of creativity and culture. This week-long celebration brings together an eclectic mix of world-class talent—think hip-hop legends, top comedians, soul-stirring musicians, and acclaimed authors—for an unforgettable experience in one of America’s most historic and charming towns.

Nestled in the heart of Virginia’s Historic Triangle, Williamsburg is more than just a backdrop for this festival. With its cobblestone streets, colonial architecture, and a palpable sense of history, it’s a destination that effortlessly blends the past with the present—a perfect stage for a festival that celebrates both tradition and innovation.(EdNote: If you keep your eyes open, you may see George Washington ambling about. If you do, greet him for me. My mom's side of the family is descended from his wife's third cousin.)

Whether you’re a local or a visitor, the Ampersand Festival offers a chance to soak in the arts while exploring a town that’s as picturesque as it is welcoming. I've been there twice and the visits were memorable. Add an arts festival and you're over the top.

Improvisational Shakespeare

Now in its 18th year, the festival has already become a regional gem, drawing over 3,000 attendees last year alone. “We are pleased to offer a truly comprehensive arts festival and bring such a broad range of creators to the community,” says Adam Stackhouse, one of the festival’s producers. And this year’s lineup? It’s nothing short of electrifying. Here’s a sneak peek at some of the spotlight programs lighting up the stage: Rev Run Spills the Beats

On March 22 at 7:00 PM, hip-hop icon Rev Run—the legendary frontman of RUN DMC—takes center stage for A Conversation with Rev Run. From selling millions of records to ushering rap into the mainstream, Rev’s journey as an artist, DJ, and preacher is one for the ages. Want to meet the man himself? Snag one of the limited VIP tickets for a post-show meet-and-greet.

The Lone Bellow’s Raucous Return

The festival kicks off with The Lone Bellow on March 18 at 8:00 PM. Known for their transcendent harmonies and high-energy live shows, this trio—Zach Williams (guitar/vocals), Kanene Donehey Pipkin (multi-instrumentalist/vocals and William & Mary Class of 2007), and Brian Elmquist (guitar/vocals)—promises a night of serious musicianship and pure joy. Their rabid fan base can attest: this is one performance you won’t want to miss.

Laughs with “Murr”

Get ready for A Night of Laughs with James “Murr” Murray on March 19 at 7:30 PM. Best known as the prank-pulling “Murr” from Impractical Jokers, this comedian, writer, and executive producer will dish out jokes, stories, and a few surprises—plus answer questions from the crowd. Bonus: Murr, also an author of suspenseful thrillers, will stick around for a book signing after the show. [EdNote: If able, I will get Murr to sign some of my books, too.]

Silent Films, Big Sounds

On March 21 at 7:30 PM, the Masters of Silent Comedy program brings classic silent films to life with the Peacherine Ragtime Society Orchestra. Watch Charlie Chaplin, Buster Keaton, and Harold Lloyd work their magic on screen, accompanied by live ragtime tunes. It’s a delightful throwback that’ll charm audiences of all ages.

Comedy Meets Quiz Night

For a twist on trivia, catch Like Minds on March 21 at 8:00 PM. This comedy quiz show blends pub-style facts with improv hilarity, featuring Thomas Middleditch (Silicon Valley), Asher Perlman (cartoonist for The New Yorker and writer for The Late Show with Stephen Colbert), and William & Mary alumnae comedians Andrea Coleman and Sara Schaefer. Perlman will sign copies of his bestseller Well, This is Me afterward.

Beyond these headliners, the festival is packed with films, theater, dance performances, and author talks. Plus, the Industry Summit offers workshops, panel discussions, and Q&A sessions with special guests and William & Mary alumni—perfect for aspiring creatives looking to sharpen their skills.

Produced by AVAdventure Productions and sponsored by the City of Williamsburg, with support from Colonial Williamsburg and William & Mary, this event is a testament to the town’s commitment to the arts. Whether you’re drawn by the music, the laughs, or the stories, there’s something for everyone.

Ready to join the fun? Head to the Ampersand Festival website for the full schedule and to grab your tickets. Williamsburg is calling—and it’s bringing the arts along for the ride!

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The Ampersand International Arts Festival is taking place in Williamsburg, Virginia March 17 through 23. It's their second year and last year we had more than 2,000 people come. This year will be bigger and better, so even more people from around the country can attend.   

Minnesota Energy: Coalition Seeks to Lift Ban on New Nuclear

Today I received this media release from Generation Atomic, a Minnesota group whose mission  is to inspire and empower advocates for a clean future powered by atomic energy.

A coalition of Minnesota's largest labor unions, environmental groups, and business organizations recently sent an open letter to state lawmakers and the Governor, urging them to end the state's 30-year-old ban on new nuclear power development. The Coalition for Minnesota Nuclear, organized by local nonprofit Generation Atomic, warns that the state risks missing a generational opportunity as other states across the country race to attract billions in nuclear energy investment. 

"The science is clear: we cannot address climate change without nuclear power. Minnesota's moratorium blocks meaningful climate action, and if we're serious about protecting future generations, it must be repealed," said Dr. James Hansen, coalition member and climate scientist who famously warned Congress about global warming in 1988.

 

click to enlarge

The Coalition's formation comes as Minnesota grapples with the planned retirement of seven coal units by 2035, including the massive Sherco facility near Monticello. This transition presents both a challenge and an opportunity, according to Eric Meyer, Executive Director of Generation Atomic. "Nuclear could provide thousands of high-wage jobs at these existing industrial sites, which already have transmission infrastructure and cooling water access," Meyer said. "Recent Department of Energy analysis suggests the US will need 700-900 GW of new clean firm capacity by 2050. Minnesota’s share would be about 7 gigawatts – roughly six large reactors' worth of clean, reliable power."

 

The Coalition opposed an earlier unsuccessful Senate bill that would only lift the ban for reactors 300 megawatts or less, written with the rationale that small modular reactors might be cheaper. "When people focus on nuclear costs, they often miss two key points," Meyer noted. "First, it’s experience that dramatically reduces construction costs -- the second AP1000 unit at Georgia's Vogtle plant cost 30% less than the first. Second, when you look at total system costs - including transmission, storage, and backup generation -- a grid with both nuclear and renewables comes in 37% cheaper than trying to do it with renewables alone. This is why, when looking at replacing Sherco's capacity, it might make more sense to build one larger reactor than several smaller ones. We should leave that door open and let the Public Utilities Commission and Utilities figure out what makes the most sense.”

"Over the past 18 months, Generation Atomic has engaged thousands of Minnesotans through community events, including handing out over 5,000 bananas at the Minnesota State Fair to demonstrate natural radiation levels. "When people learn that eating a banana results in a 0.1 microsievert dose -- more radiation than living near a nuclear plant for a year -- it helps put the safety discussion in perspective," said Joe Spartz, who leads Generation Atomic's Minnesota Volunteer Team. "While used fuel requires careful management, the robust containers we use have proven completely safe for decades. The real waste crisis we face is the billions of tons of carbon dioxide warming our planet."

 

Grace Stanke, Miss America 2023 and nuclear engineer brings a unique perspective from across the border. "As a proud Wisconsinite, I'm glad my home state got rid of its nuclear ban years ago," she said. "Nuclear plants create thousands of high-wage jobs while fighting climate change. Come on Minnesota - are you really going to let the Badgers beat you on smart energy policy?"

 

The timing is critical as neighboring states move quickly, in addition to Wisconsin, Illinois, and Kentucky, Montana, West Virginia, and Connecticut have passed laws allowing new nuclear in recent years, while shuttered plants in Michigan, Pennsylvania, and Iowa are undergoing or planning restarts. Utah recently established a consortium to develop and deploy new reactors.

 

"While 80% of solar panels come from China, Minnesota's nuclear industry already provides 6,500 in-state jobs and $1.4 billion to our economy," Meyer added. "Federal funding and private capital aren't waiting. Every state that lifts its ban becomes a magnet for investment; every delay makes Minnesota a spectator in its own energy story."

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I believe energy is going to be one of the most significant issues we grapple with throughout this century. The time to get informed is now. 

Related Story: Is Our Energy Grid At Risk?

For more information about the Coalition for Minnesota Nuclear, visit MnNuclear.Org

About the Coalition for Minnesota Nuclear.

The Coalition comprises over 20 organizations representing a diverse cross-section of Minnesota stakeholders committed to advancing the state's clean energy future through nuclear power development. Members include major utilities like Dairyland Power; twelve building trades unions including the Minnesota Building and Construction Trade Council and Operating Engineers Local 49; influential business groups such as the Minnesota Chamber of Commerce and Duluth Chamber of Commerce; leading environmental and advocacy organizations including Citizens' Climate Lobby - Minnesota, Generation Atomic, and Mothers for Nuclear; and notable experts including renowned climate scientists Dr. James E. Hansen and Dr. Kerry Emanuel, as well as Grace Stanke, Miss America 2023 and nuclear engineer. Coalition supporters also include major trade associations representing rural electric cooperatives, commercial real estate developers, and shopping centers across Minnesota. Recently the Coalition joined an allied effort, the Minnesota Nuclear Energy Alliance.

 

Full Disclosure: I became aware of this organization while researching an article last year regarding nuclear power and Minnesota's energy needs for Business North.