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Republicans’ Medicaid rollback at odds with opioid epidemic

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WASHINGTON — The Republican campaign to roll back Barack Obama’s health care law is colliding with America’s opioid epidemic. Medicaid cutbacks would hit hard in states deeply affected by the addiction crisis and struggling to turn the corner, according to state data and concerned lawmakers in both parties.

The central issue is that the House health care bill would phase out “Obamacare’s” expanded Medicaid, which allows states to provide federally backed insurance to low-income adults previously not eligible. Many people in that demographic are in their 20s and 30s and dealing with opioid addiction. Dollars from Washington have allowed states to boost their response to the crisis, paying for medication, counseling, therapy and other services.

According to data compiled by The Associated Press, Medicaid expansion accounted for 61 percent of total Medicaid spending on substance abuse treatment in Kentucky, 47 percent in West Virginia, 56 percent in Michigan, 59 percent in Maryland, and 31 percent in Rhode Island. In Ohio, the expansion accounted for 43 percent of Medicaid spending in 2016 on behavioral health, a category that includes mental health and substance abuse.

Those states accepted the Medicaid expansion and represent a cross-section of places hardest hit by the nation’s drug-overdose epidemic, which claimed more than 52,000 lives in 2015. Of the deaths, more than 6 in 10 were due to opioids, from prescription pain relievers like oxycodone to street drugs like heroin and an elephant tranquilizer.

Tracy Plouck, Ohio’s director of mental health and addiction services, said Medicaid expansion dollars from Washington have allowed her state to redirect its own resources to priorities like providing recovery housing after detox. Reversing that would have real consequences for people who are trying to straighten their out their lives, she said. “If you go back into an environment where people are using, that sets you up with a risk that’s nearly insurmountable.”

In Youngstown, factory mechanic Paul Wright credits sustained help from Medicaid with his survival after he nearly died from a heroin overdose. Wright said he had started using as a teenager but now has been drug-free for 18 months. Before Medicaid expanded, his father’s health insurance would pay for detox but not for long-term treatment. Wright would relapse. With Medicaid, he’s been able to get follow-up.

“It’s truly sad, but I’ve been to many funerals since I’ve been clean,” said Wright, who’s in his mid-20s. “I just think Medicaid — honestly — it saves people.” And he’s able to work.

Paul Wright, left, talks while sitting next to Niki Campana, Thursday, June 15, 2017, at the Neil Kennedy Recovery Clinic in Youngstown, Ohio. Republican efforts to roll back “Obamacare” are colliding with the opioid epidemic. Cutbacks would hit hard in states that are deeply affected by the addiction crisis and struggling to turn the corner. The issue is Medicaid, expanded under former President Barack Obama. Data show that Medicaid expansion is paying for a large share of treatment costs in hard hit states. (AP Photo/David Dermer)

The House GOP bill would end the extra funding states get through expanded Medicaid in 2020, and place a limit on overall federal spending for the program in the future. People already covered like Wright would be grandfathered in as long as they continue to meet eligibility requirements. But that’s no comfort to Carolyn Givens, who runs the Neil Kennedy Recovery Center, where Wright gets help.

“If somebody could say to me, ‘Carolyn, the crisis is going to be over next week,’ I’d feel OK — but I got 40 people on a waiting list,” Givens said.

Medicaid cuts have become a major sticking point in the Senate for the GOP’s American Health Care Act. Republican leaders can only afford to lose two votes, and several GOP senators from hard-hit states have been critical. Sen. John Thune, R-S.D., said Tuesday that senators are considering stretching the phase-out by three years, to 2023.

At a recent budget hearing, Health and Human Services Secretary Tom Price defended the Trump administration and raised questions about how much difference Medicaid actually makes.

The HHS budget for the opioid crisis is more than three times as great as two years ago, $811 million versus $245 million, Price said. That reflects increases approved by Congress beyond what Medicaid spends.

Questioned by Sen. Patrick Leahy, D-Vt., about the consequences of reducing Medicaid’s commitment, Price responded that more government spending is not the answer.

“Let me respectfully suggest … that the programs that are out there by and large are not working,” Price said. “We are losing more Americans today than we did last year. … Clearly we’re moving in the wrong direction.”

Price suggested that states would be more effective with greater flexibility promised by the GOP plan for Medicaid.

Said Leahy: “As a child I believed in the tooth fairy, but I’m a little bit older now.”
Sen. Jeanne Shaheen, D-N.H., said it’s too early to expect a turnaround in the epidemic. “The resources are just getting to the communities,” she said.

In New Hampshire, “we’re just beginning to see the benefits of having the expansion of Medicaid to provide treatment for people,” Shaheen added.

Sen. Shelley Moore Capito, R-W.Va., wasn’t convinced either. “I’m having trouble, as many of us are, reconciling your stated goal (about the opioid crisis) being one of your top three priorities with these dramatic cuts, ” she said to Price during the hearing.

Cutting financing for the Medicaid expansion “would create an unsustainable financial obligation” for West Virginia, said Allison Adler, a spokeswoman for the state’s health department.

Back in Youngstown, recovering addict Niki Campana said “it’s like the apocalypse around here.” Campana is helping other women with drug problems.

“I work with a lot of girls that struggle,” she said at the Kennedy treatment center. “We can get them on Medicaid in a day and get them in treatment. For that not to be able to happen, that would be horrible.”
___
Associated Press writers Adam Beam in Frankfort, Kentucky; Becky Bohrer in Juneau, Alaska; Randall Chase in Wilmington, Delaware; David Eggert in Lansing, Michigan; Morgan Lee in Santa Fe, New Mexico; Ben Nuckols in Washington; Wilson Ring in Montpelier, Vermont; Michelle R. Smith in Providence, Rhode Island; Michael Virtanen in Morgantown, West Virginia, and Brian Witte in Annapolis contributed to this report.

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Arts & Culture

Acoustic heartbreak in the Colorado San Juans with John Statz

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John Statz by Veronica Holyfield

Songs about heartbreak should resinate. And with John Statz they do. They’re equally soft and striking.

His new full-length album “Darkness on the San Juans,” available May 11, takes an acoustic turn from his other recent work. Then, he had full bands in studios. With this project, he gathered a few friends in his living room to record.

Like heartbreak itself, the album is more personal, more raw and more intimate. The Wisconsin native who now calls Denver home said he hasn’t done something quite as stripped down in a while, and when it came to get back into songwriting after the release of his last album last summer, there was also a reason to write.

It was the aftermath of a breakup.

“We retrace our steps. We look at what we thought we knew. We ultimately discover and face the truth under the stories we told ourselves along the way,” he says of the album.

In addition to the post-love songs, the album features a few songs Statz previously worked on but didn’t have a place on an album, and songs that are meant to be more acoustic. “Presidential Valet” is the story of Armistead, President John Tyler’s valet, or slave, who died alongside seven others in an explosion after Tyler and members of cabinet were watching the firing of the “peacemaker” in 1844.

So, this album is about heartbreak. Did that change how you wrote or approached the album at all?

Yeah. It just kind of comes out more — I don’t know — when you’re writing about heartbreak it’s just seems like the easiest type of writing. It’s just pouring out of you. You don’t have to come up with a concept or a story or any of that.

In the bio you released ahead of this album, it references a pretty famous Ernest Hemingway quotation: “Write hard and clear about what hurts.” Maybe as a writer I hear about this all of the time, but there’s definitely a writing style associated with Hemingway — to write very concise and clear. Did you take any of that with you into the songwriting or was it all about the emotion?

You know, it was the emotion part. I didn’t think about that, but the songs are fairly concise and short. So I appreciate that might also be relevant there even though I didn’t intend that.

The title of this album is “Darkness on the San Juans.” Explain that a little bit.

It’s a line in the song “Highways.” Geographical references are all over my songwriting. On every album I’ve ever written. So it’s a song about driving places with someone and either ending up back at those places later and having other memories being their previously. The San Juans was one of those locations that was important.

Why do you think you end up writing about places so much?

I mean, an obvious answer is that I spend a lot of time driving around to gigs, and I’ve been a lot of places because of that. And just for fun. I love roadtripping around Colorado, and camping and that sort of thing. So it’s not a planned thing. I’m living and breathing this lifestyle from A to B to C and that infiltrates the writing. But also, it’s a convenient rhyming scheme. Sometimes it can be hard to find a word, but there’s usually a city that will fill in.

How long did it take you to finish this album, being that the concept is fairly raw?

It all happened pretty fast. The two non-heartbreak songs, “Presidential Valet” and “Old Men Drinking Seagrem’s,” were older. They’re social commentary tunes. But I just hadn’t recorded them to yet and I was waiting for an acoustic album to do that. I started writing in the summer. I decided in December to record them. I called my friend Nate, flew him out in January. And we recorded it in three days in my living room.

Had you recorded like that before?

It’s been a while, but yeah. My first couple albums that I made when I lived in Madison, Wisconsin, were like that: recorded at home and more stripped down with the production and just making use of what we had. The last three albums were full bands or went to a really professional studio. This is how I made records way back.

Why did you decide to do it this way?

The songs mostly had an acoustic feel, and I sing in my living room a lot. I have this open, high ceiling. So I play my guitar and sing in my living room a lot. I think it sounds cool in there. I thought we could make a cool recording there. I liked the idea of making this intimate album in my home. It was a comfortable, cozy way to make an album.

So everything about this album seems more intimate that what you’ve done in the last few years.
Yeah. Definitely. Everything is. There’s only four musicians on this album, and one of those is my roommate who did knee slaps.

I also noticed on the album credits was an oatmeal container.

So I bought a plastic egg shaker because I thought I maybe wanted to some percussion. But it just didn’t sound that cool. I was like, well we have oatmeal around the house. There wasn’t much left in one container and so we shook it and it was a way better shaker sound, you know?

The inspiration for these songs were the feelings that linger after a break-up. Was there a cut-off point there since emotions always evolve, especially in these instances?

It’s a process. A relationship ends and we all go through the phases. Months go by and you change how you feel. The me that wrote those songs and recorded them months back is a different person. I’ve evolved in the process.

Did you have to simmer to write these songs or was it immediate?

I wrote the first song like a month after. I was trying to write again because I write in cycles. I had just put out an album at the beginning of last summer and when I’m in album release mode I’m not writing as much. But when that’s over I want to write. This time I wanted to write again and I had a fresh reason. I find it a little uncontrollable. I’ve never not written about any breakup I’ve ever had. It’s just part of the territory of being writer. I haven’t written anymore since I wrote those. I’m in album-release mode. I think I decided I’m done with these songs on this album. That’s part of the reason why I wanted to get it out. This part of my life is completed and now I will write a bunch of songs about U.S. presidents or something like that.

I noticed on your social media you like presidential biographies.

Yeah, I do. My friend Jeffrey Foucault is a songwriter and he gave me a LBJ biography. I really liked it, so I thought I’d give George Washington a try and I just kept going.

How many are you up to?

I’m almost done with Grant, so 18.

So far do you have a favorite based off of biographies?

Grant has been really interesting. Lincoln was fascinating. Martin Van Buren. Great sideburns.

Back to the album. Do you think the listener can hear an evolution throughout the album?

Yeah, those songs were written at different times, so probably. I’d say it’s a snapshot of what somebody goes through, or at least what I went through. But I think what most of us go through after a breakup.I just think most people have been through it so I hope they can identify.

I just think most people have been through it so I hope they can identify.

You can purchase Darkness in the San Juans at johnstatz.com. 

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
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Denver’s Wes Watkins dynamic new future-funk EP is from another planet

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Future-Funk Party Starter | Wes Watkins

Dreams Out from Denver’s best kept secret Wes Watkins wears so many musical hats it needs a rack; downtempo G-Funk homage and sweltering nee-Soul / Rn’B are all over this release, all covered with a thicc pop glaze and a penchant for electronic-sonic experimentation that keep every song fascinatingly adventurous while maintaining a danceability and groove that easily, easily warrants multiple listens. Don’t sleep on this one.


Lo-Fuzz Folkie | Hoi Ann

The beauty of Hoi Ann’s Tangenier lies in both what you can hear and what it may want you to not hear. Lo-fi folk and bedroom-pop are easily tangible on its surface, but the buzzy electronic tones that sparingly flourish the 5 songs of this release lie low and create a unique aural atmosphere for listeners, like hidden secrets for your ears only.


Indie-Punk Sweeties | Gestalt

The pop-punk shred-bois in Gestalt are back at it again; The irresistible combo of the Get Up Kids earnest midwestern-emo and smart pop-punk wit of the Wonder Years is strong on the tracks that encompass LongBoix, as is an acute fondness and growing appreciation for the finer indie rock of yesteryear. Well I guess this is growing up.


Psych-Rock Screamcore | Gone Full Heathen

On their criminally good self titled EP, Fort Collins heavies Gone Full Heathen friggin dare you to try and trap them in a single genre. Nice try, but they’ll just chew right through your puny ropes using a gnashing blend of crushing stoner-rock laced hardcore punk and overdriven psych-rock / post-metal induced bite like the righteous rock and roll wolves that they are.


All releases available for purchase now thru Bandcamp. Go Local!

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
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The Haze Craze for Lazy Days

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There are many different styles of beer. Ranging from light lagers (think Bud Light) and ales to sours, stouts, and IPAs.

Within those styles, however, are varying styles.

For example, one would think a sour beer is a sour beer, right? Wrong. According to the Beer Judge Certification Program, which defines every style of beer, there are six recognized European sour styles.

For IPAs, there are seven. American beers have four; stouts have three… You get the point.

Even with viewing the list of recognized styles, it’s not a complete list.

Take New England IPAs (NE IPA), as a prime example. Many breweries are currently mass producing this style of beer, and it’s selling like crazy.

You may have heard one of your annoying beer loving friends talk about drinking a “juice bomb,” or a requesting a “hazy IPA” at the pub, and shrugged it off. It turns out, they (sometimes) know what they are talking about.

What makes NE IPAs so popular when compared to a more traditional, West Coast IPA? NE IPAs have all of the hop flavors, without an overabundance of bitterness.

Instead of constantly adding hops throughout the boil to achieve a fruity flavor balanced by bitterness, the NE IPA has a small hop addition at the begging, and then nothing else until after the boil has finished.

That translates into a beer with very little bitterness, and plenty of hop aroma and flavor. Hops like Citra, Mosaic, Mosaic, Galaxy, and El Dorado are most common in NE IPAs, according to the Homebrewers Association. Those hops tend to impart a fruity, and dare I say, juicy flavor profile.

Between the juicy flavor and the seemingly natural haziness to NE IPAs, it’s not far fetched for an NE IPA to look like a tall glass of orange or grapefruit juice, only carbonated and full of alcohol.

NE IPAs are starting to gain momentum here in Colorado, with breweries turning their focus to the haze craze. Specifically, Odd13, WeldWerks, and Epic Brewing coming to mind.

Odd13 is based in Lafayette, Colo. and has a long list of NE-inspired IPAs constantly rotating through the tap room and distributed throughout the state. Codename: Super fan and Noob are two beers that are found in cans, and both offer a different approach to the haze craze.

WeldWerks is based in Greeley, Colo. and has accumulated a cult-like following in just a few short years for its Juicy Bits NE IPA. The brewery just started self-distributing locally, so you’ll have to make the trip to the brewery and pick up a crowler or four. Be sure to check the WeldWerks Facebook page for availability and limits. Yes, they have to place per person limits on how much you can purchase.

Epic Brewing recently announced its NE IPA, which will rotate between four different flavor profiles throughout the year. The cans will look the same but will be different colors as a quick way to tell identify which version you have.

So the next time you walk into a brewery or liquor store, it’s OK to ask for a hazy or juicy IPA. It’s a thing, and, frankly, they are damn good.

On Tap: By the time this hits newsstands, ThunderZone Pizza & Taphouse will have opened on the CSU-P campus. Located at 2270 Rawlings Blvd., the ThunderZone features 32 taps, a carefully curated tap list, and is locally owned.

At the opening, the tap list includes tasty brews from the likes of Florence Brewing and Lost Highway.

One more thing...

Local and independent journalism is under threat in the West and you change that.  With corporate raiders slashing newsrooms across the West, the PULP is one of the "Last Locals" in Colorado to produce original, compelling journalism missing in today's profit hungry world. But that costs money, time and hard work. We don't believe in spamming you with ads or putting up restrictive paywalls and that's why we need your help.

For every contribution, we put 100% back into producing original and amazing journalism. That's a promise only a local and independent newsroom can promise. Take heart because you will fuel stories just like this one and the future of journalism.
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