--- In AsburyPark@yahoogroups.com, "dfsavgny" <[EMAIL PROTECTED]> wrote:
> I hear where you're coming from, but whether the corruption you
>cite had anything to do with AP's fall, it is still part of its
>history.
Butch Saunders cheating on his personal taxes is part of Asbury's
history?
> Certainly, it has played a part in its fall from grace to say the
> least.
I respectfully disagree. The fall from grace was well before the
Asbury United adminsitration.
> Believe me, I am not trying to pick a squabble with you...
I know that. I like discussions like this Dan. Most people shy away
from discussion. You don't. You're the man!
> But I take exception to your use of "reletively (sic) new fakers."
>Way
> back I asked you who is an APer, did someone have to be born here
or
> live here a requisite number of years before being considered an
> APer? You replied (paraphrased), "anyone who claims it for their
> own."
Two different topics here (my fault again). "New fakers" was only
in reference to certain people claiming historical expertise. For
example: Many associated with the Historical Society and the
Preservation Committee. They wax nostalgic about things they never
saw, and routinely over-romanticize it (not having seen it isn't the
problem - you can study history without living it, but over-
romanticizing it in the face of eyewitnesses who tell you otherwise
and in the face of real-world analysis is a problem).
Example: When the 4th Avenue boardwalk pavillion was first painted
white by Asbury Partners, I listened to a gentlemen who routinenly
refers to himself as "historian" give an empassioned speech at a
council meeting. He complained (paraphrasing) "...that people want
to remember that building the color that it was. They have memories
of the building. By painting it white, AP Partners and the council
were proving that they have no respect for history and more
importantly, no respect for peoples' memories of that building."
The "historian" was very exercised.
Here is my problem with his speech: The building he was refering to
was: A locker room. Not the Sistine Chapel - a locker room. Does
this "historian" believe some couple in Boise is
reminiscing: "Remember our trip to AP 30 years ago? Who could
forget that locker room. That's what I remember most fondly. I would
love to go back and admire the color of that locker room." (I was a
locker boy in that building for 2 seasons, and I don't even remember
what color it was. I think it was white.)
My point: I'm not saying you have to have lived here then to know
the locker room building was a marginal facility. Anyone can know
that. I am saying you are a "faker" historian if you are going to
claim that building has any historical value whatsoever. That's just
foolish. He so wanted to say something historically relevant, he was
willing to mislead about the value of that building, just to hear
himself talk. Such a gross historical inaccuracy for the purpose of
glory seeking can kill a movie like Christina's, if that fellow and
others like him can convince her they are historical authorities,
and she prints it.
>So I ask you, who has more at stake here? One who was born and
> who moved away when trouble brewed, or one who has come late in
the
> game despite the trouble and invests in AP's future potential?
I don't know. I hope you aren't insinuating that's me in your
question, because you certainly aren't accurately discribing me. So,
who has more at stake here: A renter who is here 7 days each week
or an owner who is here 2 days per week? Why does it matter? I
think they both have a stake in AP. They are both laying claim to
the City, which is the only test I ever put forth.
As far as the word "stake" goes in my original post, I wasn't
unclear that I was refering to an "emotional stake" in Christina's
movie about Asbury's history. I stand by it. It's just a personal
observation about how I feel about her movie. I didn't mean to
suggest that others won't have an affinity or connection to it as
well. That's part of the beauty of art (I think) - expressing how
it hits you personally.
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