THE HEALTH CARE MOVIE II

"From Those Wonderful People

Who Brought You MEDICARE PART D"

The cast of characters is amazing and everyday the plot line of

"The Health Care Movie II" keeps changing.

Who knew Tom DeLay would join "Dancing With The Stars ?"

If you enjoyed the suspense of the original drama, read on.

You'll laugh. You'll cry.

This is a true story.

The Medicare Prescription Drug, Improvement, and Modernization Act

(Pub.L. 108-173, 117 Stat. 2066, also called Medicare Modernization Act or MMA)

is a law of the United States which was enacted in 2003. It produced the largest overhaul of Medicare in the public health program's 38-year history.

The MMA was signed by President George W. Bush on December 8, 2003,

after passing in Congress by a close margin.

THE ORIGINAL SCRIPT

The chairman of the Commerce Committee, Representative BILLY TAUZIN (R-La.), coauthored the bill while negotiating a $2-million-per-year job as a lobbyist for the Pharmaceutical Research and Manufacturers of America (PhRMA), the drug industry's trade organization.

AARP, the (then) 35 million member senior organization, played a key behind-the-scenes role in engineering the legislation, helped by none other than former House Speaker Newt Gingrich. (Readers will recall that, at one time, Newt said that all entitlement programs should shrink away to nothing.) BILL NOVELLI, AARP's Executive Director, actually wrote an introduction to Gingrich's book on health care. Reportedly, more than 15,000 members resigned after the information about AARP's involvement became known.

Former U.S. House Majority Leader DICK ARMEY, an influential Republican working as Chairman of the limited government group FreedomWorks, wrote an op-ed the day of the vote in The Wall Street Journal opposing the bill.

THE ACTION ON THE FLOOR

The bill came to a vote at 3 a.m. on November 22. After 45 minutes, the bill was losing, 219-215, with David Wu (D-OR) not voting. Speaker Dennis Hastert and Majority Leader TOM DELAY sought to convince some of dissenting Republicans to switch their votes, as they had in June. Ernest Istook (R-OK), who had always been a wavering vote, consented quickly, producing a 218-216 tally. In a highly unusual move, the House leadership held the vote open for hours as they sought two more votes. Then-Representative Nick Smith (R-MI) claimed he was offered campaign funds for his son, who was running to replace him, in return for a change in his vote from "nay" to "yea." After controversy ensued, Smith clarified no explicit offer of campaign funds was made, but that that he was offered "substantial and aggressive campaign support" which he had assumed included financial support. ( former Majority Leader Tom DeLay (R-Tex.) and Representative Candice Miller (R-Mich.) tried to bribe him with political favors to change his vote — an infraction for which the House Ethics Committee later admonished them.

About 5:50 a.m., the Republican leadership convinced Butch Otter (R-ID) and Trent Franks (R-AZ) to switch their votes. With passage assured, Wu voted yea as well, and Democrats Calvin M. Dooley (CA), Jim Marshall (GA) and David Scott (GA) changed their votes to the affirmative. But Brad Miller (D-NC), and then, Republican John Culberson (TX), reversed their votes from "yea" to "nay". The bill passed 220-215.

ONE MONTH LATER

... the ten-year cost estimate was boosted to $534 billion, up more than $100 billion over the figure presented by the Bush administration during Congressional debate. The inaccurate figure helped secure support from fiscally conservative Republicans who had promised to vote against the bill if it cost more than $400 billion. It was reported that an administration official, TOM SCULLY, had concealed the higher estimate and threatened to fire Medicare Chief Actuary RICHARD FOSTER if he revealed it.

IN JULY 2004, it was revealed that Thomas A. Scully, Medicare Administrator, had ordered Richard Foster, a Medicare actuary, to withhold information from Congress on pain of termination. Foster had projected that the bill would cost at least 139 billion dollars more than the White House was claiming.

EARLY 2005, the White House Budget had increased the 10-year estimate to $1.2 trillion.

THE HEALTH CARE MOVIE II, 2009

REPEAT PLAYERS

BILLY TAUZIN: Billy Tauzin was named president and chief executive officer of the Pharmaceutical Research and Manufacturers of America (PhRMA) in January 2005. In 2009, Tauzin is in negotiations with Senator Max Baucus, the business-friendly Montana Democrat, Rahm Emanuel, the White House chief of staff; Mr. Messina, his deputy; and Nancy-Ann DeParle, the aide overseeing the health care overhaul.

TOM DeLAY: Resigned his seat in Congress on June 9, 2006. He co-founded The Coalition for a Conservative Majority with former Ohio Secretary of State, Republican Ken Blackwell. You will remember that Blackwell threw out 1000's of Ohio voter registration applications because they were not on 80lb. paper stock.

Tom will join fellow cast members Donny Osmond , Kathy Ireland, Macy Gray and others on the "Dancing With the Stars" 9th season.

TOM SCULLY: Scully was never charged and became a lobbyist for a venture capital firm, Welsh, Carson, Anderson & Stowe who invest in medical devices. As a board member of Solantic, Scully is working with Rick Scott, the chairman, who has organized the angry mobs at the health care town halls.

RICHARD FOSTER: Continues in his office of Chief Actuary for the Centers for Medicare & Medicaid Services, Mr. Foster is responsible for all actuarial and other financial analyses for the Medicare and Medicaid programs.

AARP: AARP began 50+ years ago, before Medicare existed, as an insurance business providing health coverage to people 65 and older. As early as 1959, it was offering prescription drugs to its members by mail.

AARP has joined other centrist groups* in the Divided We Fail campaign that calls for a bipartisan solution and states that "all Americans should have access to affordable, quality health care, including prescription drugs, and that these costs should not unfairly burden future generations." WASHINGTON (AP) — About 60,000 senior citizens have quit AARP since July 1, 2009 due to the group's support for a health care overhaul.

WILLIAM NOVELLI: AARP's CEO Novelli, 67, has broadened AARP's reach and increased its clout in Washington. He has expanded AARP's marketing to include 17 types of insurance. The association collects royalties on each of those products. Its membership rose to 40 million from 35 million, and its total revenue grew to $1.17 billion in 2007 from $520 million when Novelli took charge.

Mr. Novelli is a former public relations man who founded the Washington firm Porter-Novelli, a division of Omnicom. Democrats have accused him of being a ''closet Republican,'' citing his work 35 years ago on an advertising campaign to re-elect President Richard Nixon. Mr. Novelli said he is an independent, not a Republican.

According to the U.S. House Committee on Government Reform Minority Office, Porter-Novelli received the following amounts per year, for federal PR contracts:

$14,786,313 in 2002

$7,495,188 in 2003

$7,019,145 in 2004

DICK ARMEY: Now chairman of the conservative group FreedomWorks. He is actively working to defeat health care reform by encouraging and organizing high conservative turnouts at congressional and senatorial town hall meetings.

NEW PLAYERS (added daily)

A partisan cast of 100's including the K street players, the White House and the always fascinating Blue Dogs.

THE NEW SCRIPT

HEALTH CARE MOVIE II has been through so many script changes and revisions that the release-date keeps getting pushed back. Naturally, the cost of producing this spectacle keeps going higher. And there is always the possibility of a conflict with the release of a new Terror or War epic.

THE END OF JAZZ ?

"Among college-educated adults,

the audience for live jazz has shrunk significantly,

to 14.9% in 2008 from 19.4% in 1982."

(from the National Endowment for the Arts’ latest Survey of Public Participation in the Arts,

the fourth to be conducted by the NEA

in participation with the U.S. Census Bureau since 1982.)

THE OLD FOLKS AT A JAZZ CONCERT.

A few weeks ago we went to hear songwriter, producer and keyboardist Dave Grusin (75) and his brother Don (68), also a superb piano player, in a Santa Fe jazz concert.

Dave created the original score and provided the piano music for one of the finest jazz films available, "The Fabulous Baker Boys." The soundtrack DVD is a big disappointment. It does not contain any of the brilliant improvisational piano playing that makes the movie so wonderful. What you liked about the movie isn't on the soundtrack! To "hear" what I'm saying, rent the film or buy it ASAP. It's that good. The reason I bring this up is that Dave and Don got to "noodling" on their twin pianos at this concert, late at night, just like in the film score, at the magnificent Lensic Theatre in SFe. And the audience would have remained with them as long as the two brothers kept playing.

Everybody in that rapt gray and white audience was listening. Unfortunately the theatre was only 3/4 full. Not enough people are listening to jazz.

The Wall Street Journal has always had excellent jazz coverage and in a recent posting, Terry Teachout writes that,"it’s no longer possible for head-in-the-sand types to pretend that the great American art form (jazz) is economically healthy or that its future looks anything other than bleak."

CAN JAZZ BE SAVED?

Terry Teachout is The Wall Street Journal's drama critic.

The versatile critic also wrote the libretto for the Santa Fe Opera's original production/adaptation of "The Letter". Remember the movie with Betty Davis.

Teachout is a big jazz fan and was interviewed on KSFR, the public radio jazz station in Santa Fe (FM101.1). His taste in jazz is very much main stream and classic but he observes in the August 9 edition of The Wall Street Journal:

"THE AUDIENCE FOR AMERICA'S GREAT ART FORM IS WITHERING AWAY"

By TERRY TEACHOUT

New York

"In 1987, Congress passed a joint resolution declaring jazz to be “a rare and valuable national treasure.” Nowadays the music of Louis Armstrong, Duke Ellington, Charlie Parker and Miles Davis is taught in public schools, heard on TV commercials and performed at prestigious venues such as New York’s Lincoln Center, which even runs its own nightclub, Dizzy’s Club Coca-Cola.

Here’s the catch: Nobody’s listening.

No, it’s not quite that bad—but it’s no longer possible for head-in-the-sand types to pretend that the great American art form is economically healthy or that its future looks anything other than bleak.

The bad news came from the National Endowment for the Arts’ latest Survey of Public Participation in the Arts, the fourth to be conducted by the NEA (in participation with the U.S. Census Bureau) since 1982. These are the findings that made jazz musicians sit up and take notice:

• In 2002, the year of the last survey, 10.8% of adult Americans attended at least one jazz performance. In 2008, that figure fell to 7.8%.

• Not only is the audience for jazz shrinking, but it’s growing older—fast. The median age of adults in America who attended a live jazz performance in 2008 was 46. In 1982 it was 29.

• Older people are also much less likely to attend jazz performances today than they were a few years ago. The percentage of Americans between the ages of 45 and 54 who attended a live jazz performance in 2008 was 9.8%. In 2002, it was 13.9%. That’s a 30% drop in attendance.

• Even among college-educated adults, the audience for live jazz has shrunk significantly, to 14.9% in 2008 from 19.4% in 1982.

These numbers indicate that the audience for jazz in America is both aging and shrinking at an alarming rate. What I find no less revealing, though, is that the median age of the jazz audience is now comparable to the ages for attendees of live performances of classical music (49 in 2008 vs. 40 in 1982), opera (48 in 2008 vs. 43 in 1982), nonmusical plays (47 in 2008 vs. 39 in 1982) and ballet (46 in 2008 vs. 37 in 1982). In 1982, by contrast, jazz fans were much younger than their high-culture counterparts.

What does this tell us? I suspect it means, among other things, that the average American now sees jazz as a form of high art. Nor should this come as a surprise to anyone, since most of the jazz musicians that I know feel pretty much the same way. They regard themselves as artists, not entertainers, masters of a musical language that is comparable in seriousness to classical music—and just as off-putting to pop-loving listeners who have no more use for Wynton Marsalis than they do for Felix Mendelssohn.

Jazz has changed greatly since the ’30s, when Louis Armstrong, one of the supreme musical geniuses of the 20th century, was also a pop star, a gravel-voiced crooner who made movies with Bing Crosby and Mae West and whose records sold by the truckload to fans who knew nothing about jazz except that Satchmo played and sang it. As late as the early ’50s, jazz was still for the most part a genuinely popular music, a utilitarian, song-based idiom to which ordinary people could dance if they felt like it. But by the ’60s, it had evolved into a challenging concert music whose complexities repelled many of the same youngsters who were falling hard for rock and soul. Yes, John Coltrane’s “A Love Supreme” sold very well for a jazz album in 1965—but most kids preferred “California Girls” and “The Tracks of My Tears,” and still do now that they have kids of their own.

Even if I could, I wouldn’t want to undo the transformation of jazz into a sophisticated art music. But there’s no sense in pretending that it didn’t happen, or that contemporary jazz is capable of appealing to the same kind of mass audience that thrilled to the big bands of the swing era. And it is precisely because jazz is now widely viewed as a high-culture art form that its makers must start to grapple with the same problems of presentation, marketing and audience development as do symphony orchestras, drama companies and art museums—a task that will be made all the more daunting by the fact that jazz is made for the most part by individuals, not established institutions with deep pockets.

No, I don’t know how to get young people to start listening to jazz again. But I do know this: Any symphony orchestra that thinks it can appeal to under-30 listeners by suggesting that they should like Schubert and Stravinsky has already lost the battle. If you’re marketing Schubert and Stravinsky to those listeners, you have no choice but to start from scratch and make the case for the beauty of their music to otherwise intelligent people who simply don’t take it for granted. By the same token, jazz musicians who want to keep their own equally beautiful music alive and well have got to start thinking hard about how to pitch it to young listeners—not next month, not next week, but right now."

JULIA CHILD DISCOVERS DOVER SOLE

"the most exciting meal of my life"

JULIA CHILD AND DOVER SOLE

We have written about this "best fish story of them all" earlier this year. Apparently Julia Child discovered Dover Sole meuniere long before we did and her reaction is recorded in a mouth-watering scene in the new Nora Ephron movie, "Julie & Julia"

"Julia Child’s first lunch in France centered on Dover sole sputtering in butter sauce. It was, she wrote in her memoir, “the most exciting meal of my life.”

For that scene, Ms. Ephron — an accomplished cook who wrote the screenplay, directed the film and personally tested every recipe in the movie except the aspic — would accept nothing short of perfection.

“I wanted that sole to look to the audience the way it had looked to Julia when it caused her famous epiphany,” she said.

But hey, no pressure.

Susan Spungen, the movie’s food stylist, had spent a dozen years as Martha Stewart’s food editor. She had been a caterer before that. She understood pressure. But she knew she was in the weeds the moment she arrived at a Manhattan restaurant to shoot the scene.

For starters, the chef that Ms. Ephron had recruited to cook the sole was instead pressed into service as the scene’s waiter. That left Ms. Spungen uncharacteristically unprepared. The restaurant didn’t have a nonstick pan, and the chef forgot to tell her that the secret to the dish was a light coat of Wondra flour.

Worse, she had only about 10 of the expensive fillets to work with. That wouldn’t allow for many mistakes. And even if she cooked one perfectly, how was she going to make sure the big fillet sizzled enough so the camera would pick it up?"

LUNCH WITH JULIA CHILD, JAMES BEARD AND CECILIA CHIANG.

Lunch with Julia Child, James Beard and Cecilia Chiang.

WHO IS CECILIA CHIANG?

Alice Waters, of Chez Panisse fame, says what Julia Child did for French cooking in the United States, Cecilia Chiang did for Chinese cuisine in America. In 1968 she founded the Mandarin Restaurant in San Francisco's Ghirardelli Square. For almost 40 years, Cecilia presided over an elegant restaurant that achieved a national reputation. Visitors from all over the country came to seek authentic and fine Chinese dining. She held cooking classes that saw students the likes of Julia Child, James Beard, and Alice Waters. The restaurant closed in December 2005.

Cecilia's son Philip hooked up with a friend to open up a successful chain of restaurants that are doing well in these rough economic times - P.F. Chang’s Bistro.

FOOD MAVEN'S AT THE MANDARIN

About 10 years after the Mandarin opened, four of us, on a business trip to the west coast, walked into the restaurant for lunch. As I recall, Madam Chiang, herself, seated us. Since we were all "foodies" and had picked the Mandarin for its excellent menu, it took no time at all to spot the huge figure of James Beard at the next table. He was really big with a dome-shaped bald head. Seated next to him was Julia and there was no mistaking that voice. Next to her, according to our waitress, was Julia's sister, Dorothy. Everybody at the table was supersize. Later I found out that Dorothy McWilliams was 6' 4" and Julia was 6'2'' (size 12 shoes). The two other normal size women at the table, we guessed, were either food editors or (as we learned later) sales reps. for Rice-A-Roni.

A nice looking young woman asked if we would like to participate in a consumer food test and we, of course, said yes. Each of us was given a small portion of rice and a separate container of Chinese sauce - which we ladled on the rice. Then we answered a questionnaire about that special sauce with a (throwaway) question, at the end, about the rice. Now they served another portion of rice, another different sauce, another questionnaire. We learned later - after 4 different sauces - that each portion of rice was prepared differently. That was the real test. We didn't know that Rice-A-Roni was doing a food test at the Manderin that day.

Now it was time to order lunch. When the waitress asked for our order we pointed to the Beard, Child table, where Madame Chiang was hovering in the background and said cleverly, "we'll have what they're having". "Sorry", the waitress replied, "they're having a special lunch menu." Expletive!!!

HIDDEN COMMENTS FROM BEARD AND CHILD

It's taken me 30 years to find the autographs I got from James Beard and Julia Child. After our long-g-g-g lunch I approached M. Chiang and got a copy of her book, "The Mandarin Way", which she autographed to my wife, Shirley. I walked over to the Beard/Child table where lunch was still in progress with many, many bottles of wine on the table. Cecelia Chiang was right behind me. "Of course", bubbled James and Julia, they would be delighted to sign Madam Chiang's recent book. Since the title page was already filled, they flipped to the back of the book, the recipe index page and - assuming I was a member of staff - signed the book as you see above. Those comments have been hidden in the back of the book until the recent blast of publicity for Nora Ephron's Movie, "Julie & Julia" motivated me to find them.

GREAT MAGAZINES THAT NEVER MADE IT. MUSE

MUSE: Exploring the World's Museums 

MUSE is part of my collection of magazines that are long gone and out-of-print. The cover of the Premier Issue of MUSE featured a haunting bronze portrait of Tiberius Claudius Nero Caesar. According to the notes about the cover, the portrait composed of metal fragments was acquired in 1902 by Henry Walters, son of the founder of Baltimore's Walters Art Gallery. In 2000, the Walters Art Gallery changed its name to the Walters Art Museum to reflect its image as a large public institution. The following year, the museum reopened its largest building after a dramatic three-year renovation. 

Thirty years after the defunct Museum Magazine was published by McGraw-Hill (1979), I tried unsuccessfully to find the original cover art at the Walters Museum website. There is a similar head composed of fewer pieces but not the subject of the cover photo. The bronze portrait bust like the magazine has disappeared.

THE EDITOR

Otto Fuerbringer was the Editor of this one-and-only issue of MUSE. According to the New York Times obituary (7/30/2008), "He (had been) a hard-driving, conservative-leaning managing editor of Time magazine during the political and social upheavals of the 1960s" and "brought a vibrancy, and a degree of controversy, to what had long been a rather taut, tartly written publication". Fuerbringer was noted for "Time’s lead story on April 8, 1966, (it) had no portrait on the cover, just a bold-red headline on a black background that asked, “Is God Dead?...The article set off a backlash by religious conservatives."

In the Editor's letter for MUSE, Fuerbringer said, " Museums are a part of almost everyone's experience. Museum-going is learning and enjoyment, intellectual refreshment and emotional release. It stirs curiosity and enlarges one's vision."

"By founding Muse magazine we hope to keep enlarging the museum experience. We will convey the excitement of current shows and the richness of permanent treasures. we will describe, judge and (when justified) exclaim! The world's museums are our province, and we will help our readers discover them." 

GREAT MAGAZINES THAT NEVER MADE IT. MUSE (2)

MUSE: Exploring the World's Museums (Part 2)

GREAT DISPLAYS

McGraw-Hill, the publisher of MUSE, the long-gone magazine devoted to museums, thought they had a solid creative idea. The premier issue contained articles about the Getty Museum, the Baseball Hall Of Fame in Cooperstown, the Air and Space Museum in D.C., and (for the time) exciting color spreads of museum exhibits. "For too many centuries, too many museums were scholarly warehouses, gigantic filing cabinets, even, in the telling nickname of the Smithsonian, 'the nation's attic'...display artists (now we would call them "exhibit designers") have become as important to museums as they are to department stores. And for similar reasons: to "sell" the merchandise, to help the customer-visitor grasp the virtues of the materials and their relations to others like them.

THE COST OF CREATING AN EXHIBIT.

In 1978-79, the East Building of the National Gallery in Washington, D.C., designed by Architect I.M. Pei was new. According to a major article about "Great Displays" and specifically, "From the Pacific", MUSE said that a 17,000-square-foot exhibition space was stripped bare and rebuilt. On display were masks and figures, weapons, musical instruments, delicate utensils and vibrant textiles from Hawaii in the east to New Guinea in the west. The exhibitions total cost, including transportation of the objects, came to to almost $500,000". Wow! What a difference thirty years can make.

FRANK LEGO WRIGHT

This Just In From the L.A.Times

A Lego spokeswoman says this Fallingwater will be available Aug. 1. It will sell for about $100 at Lego stores and at www.brickstructures.com, which also has Lego sets of the Sears Tower in Chicago, the Space Needle in Seattle and Wright's Solomon R. Guggenheim Museum in New York. The museum, by the way, has an exhibition on the architect running through Aug. 23.