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<channel>
<title>Brain Droppings</title>
<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/</link>
<description>Writer and editor Ron Rollins has covered entertainment and the Dayton arts scene for more than a decade.

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<dc:language>en-us</dc:language>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
<dc:date>2009-07-01T14:54:04-05:00</dc:date>
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<item>
<title>Will we be paying for future Cityfolk Festivals?</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/07/01/will_we_be_payi.html</link>
<description>This weekend, lots of you will head downtown forthis year&amp;#8217;s Cityfolk Festival, expanding your musical horizons with bands such as Son del Caribe, Afromotive and Feufollet &amp;#8212; a diverse, eclectic lineup perfectly in keeping with the festival&amp;#8217;s open-minded tradition. But...</description>
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This weekend, lots of you will head downtown forthis year&amp;#8217;s Cityfolk Festival, expanding your musical horizons with bands such as Son del Caribe, Afromotive and Feufollet &amp;#8212; a diverse, eclectic lineup perfectly in keeping with the festival&amp;#8217;s open-minded tradition.

But keep this in mind, too: Just because there has been a Cityfolk Festival for many years, doesn&amp;#8217;t mean there will always one.

And if there is, there&amp;#8217;s no guarantee that it&amp;#8217;ll be free.

The times, they are a-hardenin&amp;#8217;. And as noted in this space in recent weeks, that fact is hitting local arts groups so hard that even an event like the Cityfolk Festival &amp;#8212; a summertime institution enjoyed by hundreds of thousands of people &amp;#8212; is not immune from the pressure.

&amp;#8220;The timing, for us, couldn&amp;#8217;t have been worse,&amp;#8221; Cityfolk&amp;#8217;s executive director, John Harris, said of the nation&amp;#8217;s economic meltdown. &amp;#8220;It was already the case that several of our biggest corporate sponsorships were up after the 2008 festival. We weren&amp;#8217;t concerned, because we had several other big corporations who were ready to fill their places. And then it all hit the fan&amp;#8230;.&amp;#8221;

About 60 percent of the $375,000 it takes to put on the three-day festival that runs this weekend, July 3-5 along the Riverscape area in downtown Dayton, comes from corporate sponsorship, Harris said, and &amp;#8220;we lost over half of that.&amp;#8221; Companies had to renege on pledges made in better times.

Cityfolk started scrambling. They got the money together by finding new sponsors, or getting the ones they had left to give more. NewPage was one that raised its donation; other sponsors can be found at cityfolk.org.

&amp;#8220;It&amp;#8217;s not all gloom and doom,&amp;#8221; Harris said. &amp;#8220;We have some really great corporate supporters.

&amp;#8220;But while there are some really great corporate citizens in Dayton, the world has changed. Many corporations don&amp;#8217;t necessarily have the allegiance to Dayton that they used to, and this is how it manifests itself. Many companies don&amp;#8217;t feel obligated, or that it&amp;#8217;s in their best interest, to be really strong members of the community like many were.

&amp;#8220;And here, I&amp;#8217;m talking about big companies. Our success has been with reaching out to small and medium-size companies, but it obviously takes a lot of time to get lots of $5,000 contributions instead of one big $50,000 contribution.&amp;#8221;

And since he, like most arts-group CEOs, already spends more than 80 percent of his time fundraising &amp;#8212; &amp;#8220;That was true in the best of times,&amp;#8221; he says &amp;#8212; the problem emerges.

So, what does the money go for? Mostly for artists&amp;#8217; fees and infrastructure &amp;#8212; the staging, tents, lighting and such that undergird the festival. The city of Dayton and Five Rivers MetroParks, as partners, provide the park, security, electricity and such for free.

Since the festival is a fundraiser for Cityfolk&amp;#8217;s year-round programs of Celtic, jazz, bluegrass and world music &amp;#8212; shows it organizes with a staff of five and an operating budget of about $1 million &amp;#8212; that&amp;#8217;s a big help. Harris said that for the most part, people shouldn&amp;#8217;t have noticed any big differences in this year&amp;#8217;s festival due to the economy, since the scrambling mostly worked. &amp;#8220;We&amp;#8217;ve managed our finances well enough that we&amp;#8217;re on pretty solid ground,&amp;#8221; Harris said, &amp;#8220;and we&amp;#8217;ll be able to withstand this once. But not twice.&amp;#8221;

Meaning what, exactly?

&amp;#8220;Going into next year, we have basically three options &amp;#8212; quickly find a new, major sponsor; charge admission; or cancel the festival.

&amp;#8220;We have some work to do make it come back. It&amp;#8217;s our goal and ultimate desire, but it&amp;#8217;s not a gimme like it has been. We&amp;#8217;re going to have to work to make it happen.&amp;#8221;

As fans know, the festival has been free all the way back to its 1996 beginnings as the National Folk Festival. Many will also recall that tight finances forced the festival to skip a year in 2002. Harris admits that the logistics of charging admission for the sprawling, multi-stage event are daunting, and would be tough to work out.

But something has to change if the festival is going to survive. &amp;#8220;If people believe in what we&amp;#8217;re doing, we&amp;#8217;d love it if  they&amp;#8217;d write us a check,&amp;#8221; Harris said, laughing but not joking.

&amp;#8220;Just because it&amp;#8217;s free to the public doesn&amp;#8217;t mean it&amp;#8217;s free.&amp;#8221;

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<dc:subject></dc:subject>
<dc:date>2009-07-01T14:54:04-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>Will Michael Jackson come back to us now?</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/26/will_michael_ja.html</link>
<description>When I heard the news about Michael Jackson, I was sitting in a bar in Gettysburg, Pa., having a quiet beer after a long fun day of tromping around the battlefield with my dad. I know that doesn&amp;#8217;t mean that...</description>
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When I heard the news about Michael Jackson, I was sitting in a bar in Gettysburg, Pa., having a quiet beer after a long fun day of tromping around the battlefield with my dad.

I know that doesn&amp;#8217;t mean that much to you, but it means a great deal to me &amp;#8212; because I realized as soon as I heard the news that I would always, always remember where I was and what I was doing when I heard that Michael Jackson died.

Which put him immediately into a small company of entertainers whose deaths had imprinted themselves permanently upon my mind: John Belushi, Kurt Cobain, John Lennon, Keith Moon, Elvis Presley, George Harrison&amp;#8230; I know where I was when I heard of their passing, because they were bigger than their art, and part of my consciousness.

Michael Jackson forced himself into that category, like it or not. We are nearly the same age, and he has been around my entire life &amp;#8212; either contributing hugely to popular culture, or, as in the mid-1980s, driving it in a singlehanded way that few performers ever get to do, in any era.

Do you remember those days? Can you, through the foul fog of the caricature of a real human that Jackson became? When &amp;#8220;Thriller&amp;#8221; came out, the whole world danced. When Jackon moonwalked, the planet caught its breath. My wife and I, and our friends, made appointments to watch the 20-minute video on MTV. The man was so large that it&amp;#8217;s a bit incomprehensible today &amp;#8212; one wonders if he may turn out to be the last global megastar we will see, of the brightness he achieved. Jackson was a force that floated endlessly in our atmosphere, a thing that was always there.

Which made it even more weird and horrible when he went awry. More sad, when he became so unbelievably strange and even dangerous. You could come up with reasons &amp;#8212; a rotten, non-existant childhood; the pressures of fame &amp;#8212; but none of that made it feel any better. We all realized: This person we had adored was now someone we either loathed, or pitied.

When the criminal charges came, we simply wrote him off. We found it odd the he could still fill the occasional Brazilian stadium, and wondered if he might ever come back in a way we cared about. But for the most part, we felt mystified and betrayed, and we put his music away. It didn&amp;#8217;t feel good any more, regardless of how it once sounded.

So now he&amp;#8217;s dead (ignoring for the moment that the tabloids will never let him rest, a la Elvis). Let the orchestra of reconsideration and recrimination begin. Use this time, with this particular life and squandered talent, to ask: What lasts? What, after all the mess, really matters

Flash back to that bar in Gettysburg: At the very moment at which somebody told me about Jackson, the song playing in the place was the Beatles&amp;#8217; &amp;#8220;Magical Mystery Tour,&amp;#8221; whose playing once put money into Jackson&amp;#8217;s bank account, and whose title might remind one of his own twisted, miraculous life.

The Beatles went through some weird stuff, too &amp;#8212; granted, nothing like Jackson &amp;#8212; but also tested fans&amp;#8217; loyalty during their strange breaking-up-hating-each-other-going-solo years. They aren&amp;#8217;t the only pop stars who&amp;#8217;ve put their fans at arm&amp;#8217;s length, only to later hope for them back.

Michael Jackson&amp;#8217;s greatest gift, his best music, had been lost to us for years, buried beneath his psychotic horrorshow antics. If there is anything good to be said of his untimely passing, it may be this: Now we can consider putting some of that stuff behind us, and begin to allow the rehabilitation of his career to begin.

The man was gifted; the man was awful. The man was everything to us for a time; and then suddenly nothing more than a punchline. Now that he&amp;#8217;s dead, maybe he can actually be welcomed back into our lives in a way that didn&amp;#8217;t seem possible before. We&amp;#8217;ll see.

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<dc:subject></dc:subject>
<dc:date>2009-06-26T09:04:28-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>DAI still trying to get through tough times</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/19/dai_still_tryin.html</link>
<description>The finely attired folks who pulled up to the valet parking for this year&amp;#8217;s Art Ball last weekend got to see the Dayton Art Institute at its seeming best: all polished and prettied up, white-tableclothed and candled, full of lovely...</description>
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The finely attired folks who pulled up to the valet parking for this year&amp;#8217;s Art Ball last weekend got to see the Dayton Art Institute at its seeming best: all polished and prettied up, white-tableclothed and candled, full of lovely ladies in long gowns and their tuxedoed escorts sipping champagne within sight, if not easy reach, of the Rothko, the Degas and the de Kooning. Sigh.

From the prom-like party the museum threw, one might&amp;#8217;ve gotten the impression that the institution is moving through its 90th year in rosy good health.

Alas, it&amp;#8217;s not.

Just a few days later, DAI director/CEO Jan Driesbach visited the Daily News&amp;#8217; editors along with her board president, Michael Greitzer, and board member Rob Connelly to talk about the museum&amp;#8217;s current state, and its future.

Connelly led the board&amp;#8217;s drafting of a new strategic plan, a roadmap for the DAI as it journeys into an uncertain future. &amp;#8220;This will help us understand, &amp;#8216;What are we about?&amp;#8217;&amp;#8221; he said. &amp;#8220;Not just decide what to do in the future, but also what to stop doing?&amp;#8221;
Good questions, as the recession continues its relentless assault on the financial wellbeing of arts organizations and non-profits. It&amp;#8217;s hard to find one that isn&amp;#8217;t cutting back in order to survive.

Driesbach arrived in Jaunary 2008, right before the most serious stuff hit the financial fan &amp;#8212; but at an odd time in the museum&amp;#8217;s history even apart from that. Alex Nyerges, her predecessor, had been here 14 years and had built the museum&amp;#8217;s membership and profile with a series of &amp;#8220;blockbuster&amp;#8221; exhibitions that had everybody talking, but which cost a lot. Finding a replacement for him took longer than expected, which meant a caretaking interim-directorship under Brad Tillson that ended up lasting more than a year.

Driesbach arrived to find a board that had decided it didn&amp;#8217;t want any more big, expensive shows, but which wanted the museum to remain very much at the center of the community&amp;#8217;s consciousness. Add the recession to all that, and you&amp;#8217;ve got quite a challenge. &amp;#8220;We had to rethink who we are,&amp;#8221; Greitzer said, and how to remain relevant.

Generally, they plan to keep cutting costs, reduce programming that doesn&amp;#8217;t fit the main mission and concentrate on smaller exhibitions that are high-impact or appeal to particular niches or previously underserved communities. Driesbach anticipates a slate of &amp;#8220;shows of a more modest nature&amp;#8221; that can be underwritten with &amp;#8220;more, smaller corporate requests&amp;#8221; rather than the big-bucks sponsorship of the past, such as the $800,000 NCR gave to help bring the Egyptian show in 2005.

The DAI is reviewing its art-class offerings, may produce fewer afternoon musicales, and will try to add diversity to its board. The staff is seeking ways to reduce energy costs for the building. It&amp;#8217;s hoping to broaden partnerships &amp;#8212; working with the Dayton Opera on some musical programs, and with the University of Dayton on more sophisticated e-marketing.

Driesbach, Greitzer and Connelly all imagine a DAI that will someday be &amp;#8220;a lively, active place&amp;#8221; that &amp;#8220;plays a big role in peoples&amp;#8217; social engagement.&amp;#8221; They like the idea of the museum, as Greitzer put it, &amp;#8220;playing a part in economic development and recruitment here &amp;#8212; it would be awesome to let companies have their meetings at the museum, and let people realize it really belongs to the community.&amp;#8221;

Anything that causes the DAI to become busier and more closely enmeshed into the life and work of the city and its suburbs is a good thing. And it&amp;#8217;s entirely possible that making the place less formal, less grandiose, less imposing &amp;#8212; less big, if you will &amp;#8212; may accomplish that in ways that haven&amp;#8217;t lasted before.

Over 90 years, the place has gone through plenty of personality changes. The current leadership hopes to make more of us happy by dialing back rather than ratcheting up; we&amp;#8217;re loyal, so we&amp;#8217;ll stick around to see how it turns out.

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<dc:date>2009-06-19T15:53:37-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>Does Dayton love the Wrights too much?</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/18/does_dayton_lov.html</link>
<description>You&amp;#8217;ve probably seen the stories online today and in the DDN about this being the 100th anniversary of the Wright Brothers&amp;#8217; historic homecoming celebration, when they came back after a victorious business trip to France. Pretty interesting, if you&amp;#8217;re into...</description>
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You&amp;#8217;ve probably seen the stories online today and in the DDN about this being the 100th anniversary of the Wright Brothers&amp;#8217; historic homecoming celebration, when they came back after a victorious business trip to France.

Pretty interesting, if you&amp;#8217;re into history, aviation stuff or Dayton&amp;#8217;s past. 

But what if you&amp;#8217;re not? Does Dayton love the Wright Brothers too much?

No, no, no, don&amp;#8217;t scream at me just yet. Remember that I&amp;#8217;m on the board at Dayton History, spent as much time as I could at Inventing Flight events, have edited three books of Dayton history and was in charge of the DDN&amp;#8217;s coverage of the 2003 celebrations. I&amp;#8217;m a big Orville and Wilbur fan.

But I&amp;#8217;ve wondered sometimes if the city&amp;#8217;s image of itself is too firmly rooted in the accomplishments of the brilliant brothers &amp;#8230; and thus, also too firmly rooted in the past?

Do we spend too much time looking back, rather than looking forward? Do we have a hard time imagining the city and community we think we should be, because we&amp;#8217;re stuck in a history which, which fascinating, is just that &amp;#8212; history?

Now, of course, aviation and its spin-off industries are still a very big deal here, and we should be happy about that. But I&amp;#8217;m just asking&amp;#8230; In terms of the face we present to the rest of the world, do we rely too much on the Wrights, at the expense of being able to reimagine and re-present ourselves in a fast-changing world?

As I said, I&amp;#8217;m just asking. What do you think?

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<dc:date>2009-06-18T11:25:39-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>Keeping the dream alive in Piqua</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/13/keeping_the_dre.html</link>
<description>Anna Baumeister took her new job, one might think, at the worst possible time. It says something about her that she doesn&amp;#8217;t see it that way. &amp;#8220;Sure, it&amp;#8217;s a very tough time,&amp;#8221; she says, in a soft accect that betrays...</description>
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Anna Baumeister took her new job, one might think, at the worst possible time. It says something about her that she doesn&amp;#8217;t see it that way.

&amp;#8220;Sure, it&amp;#8217;s a very tough time,&amp;#8221; she says, in a soft accect that betrays a Kentucky upbringing of which she&amp;#8217;s quite proud. &amp;#8220;But I think we&amp;#8217;re doing really well. It&amp;#8217;s just great to have a creative team all working together, getting the ideas flowing &amp;#8212; it&amp;#8217;s exciting.&amp;#8221;

The problem, though, is figuring out how to pay for all the great ideas.

Baumeister is the executive director of the Piqua Arts Council, a small and hard-working community organization whose mission is simple: Enhance and promote the arts in any way that makes the Miami County city a better place to live. She took the 20-hour-a-week job in February, right in the thick of an economic meltdown that has humbled mighty corporations and major arts groups alike. 

Last week in this space, we looked at how the recession was affecting one of the largest arts organizations in the Miami Valley, the Dayton Philharmonic Orchestra. With a budget of nearly $4.8 million and a round of recent cuts, it still must raise $600,000 in new donations next year to balance its books.

It made sense to also take a look this week at how arts groups at the other end of the size spectrum are faring, and I chose the Piqua Arts Council at random. There are grassroots groups like it all over, comprised of active boards and dues-paying members.

The arts council is 18 years old and has been building slowly, so that today it presents a mixture of programs including in-school events, music performances and art shows in local parks, festivals, workshops and such (visit www.piquaartscouncil.com). They&amp;#8217;re good programs, if only because if the Piqua Arts Council doesn&amp;#8217;t do them, nobody will.

Baumeister and her board president, Mary Frances Rodriguez, keep that well in mind.

&amp;#8220;There&amp;#8217;s no other organization that promotes the arts in Piqua the way we do,&amp;#8221; Rodriguez said. &amp;#8220;I have a real passion for bringing the arts to Piqua, and I think we need it probably more than many towns. We are rural, and we&amp;#8217;re somewhat (economically) depressed &amp;#8212; and to bring some arts and cultural things into the schools and the kids is really exciting. If we can get children to a Dayton Philharmonic concert, that&amp;#8217;s something they wouldn&amp;#8217;t get to experience otherwise.

&amp;#8220;It&amp;#8217;s been said that communities thrive where the arts are alive, and that&amp;#8217;s absolutely true.&amp;#8221;

&amp;#8220;Mary Frances always has us pushing this idea that the arts for everyone,&amp;#8221; Baumeister says, &amp;#8220;and that&amp;#8217;s so true.&amp;#8221; Especially if they get a little help from groups like this one.

They get a lot done on a $58,900 budget, and Baumeister does a lot more than her 20 paid hours, from a passion for the work. And fundraising is a constant concern.

They&amp;#8217;re trying for Ohio Arts Council and National Endowment for the Arts grants they&amp;#8217;ve never sought before, but found they were ineligible for federal stimulus money recently made available for arts job retention because they hadn&amp;#8217;t been funded before &amp;#8212; a bureaucratic Catch-22 they could&amp;#8217;ve done without.

&amp;#8220;We&amp;#8217;re not the only ones knocking at the door for money,&amp;#8221; Baumeister said. &amp;#8220;There&amp;#8217;s an eagerness to help, but everybody&amp;#8217;s in the same situation.&amp;#8221;

So they&amp;#8217;re juggling &amp;#8212; trying to do events that will boost awareness and enthusiasm, in the hopes that will lead to more paid membership and more local financial support. At the same time, they&amp;#8217;ve &amp;#8220;taken a look at all our assets &amp;#8212; what projects we absolutely want to complete because our community will benefit from them. We&amp;#8217;re deciding how we would go from rock bottom, and start from there.&amp;#8221; Interestingly, her words came very close to the &amp;#8220;mission-critical&amp;#8221; language the leaders at the Dayton Philharmonic recently used to describe where they go from here, too.

Baumeister and Rodriguez remain upbeat. They think they&amp;#8217;ve managed the budget to get through this year in decent shape, but always worry. Baumeister, though, looks ahead to larger goals that include being able to afford a building some day that provides gallery and workshop space. &amp;#8220;Think of the artists we could bring in,&amp;#8221; she says excitedly.

&amp;#8220;If we can pull out of this, we can really start to grow. If we can just keep that vision in front of us, instead of going, &amp;#8216;Oh, gosh, we aren&amp;#8217;t going to make it.&amp;#8217; But we have such great people here, and this great town, and a fantastic opportunity.

&amp;#8220;Look at how big we could actually get.&amp;#8221;

Note to struggling arts groups everywhere: Don&amp;#8217;t get so mired in the muck that you forget how to dream. Up in Piqua, they haven&amp;#8217;t.

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<dc:date>2009-06-13T08:44:36-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>Take a photo of the downtown sculptures!</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/12/take_a_photo_of.html</link>
<description>This just in from the city and the Downtown Dayton Partnership. Those sculptures aren&amp;#8217;t my personal cup of artistic tea (scary!), but I know lots of folks like &amp;#8216;em. So: The City Life Sculpture Photo Contest: Click It to Win...</description>
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This just in from the city and the Downtown Dayton Partnership. Those sculptures aren&amp;#8217;t my personal cup of artistic tea (scary!), but I know lots of folks like &amp;#8216;em.

So:

The City Life Sculpture Photo Contest: Click It to Win It!

DAYTON, June 12, 2009 &amp;#8212; The City Life Sculptures are back for one final appearance. Click your way into the winner&amp;#8217;s seat by submitting your entries for this year&amp;#8217;s City Life &amp;#8216;09 photo contest! Entering the contest is simple: take a photo and email it to info@downtowndayton.org in order to win a variety of great prizes. 

Photography contestants should get their creative juices flowing: use props, friends or a unique perspective to make your photo stand out. The free contests will be judged on creativity and overall composition, and prizes will be awarded based on age group. For complete contest rules visit downtowndayton.org. 

City Life &amp;#8217;09 features 16 life‐like sculptures by J. Seward Johnson, Jr. including a unique, 25-foot sculpture of Shakespeare&amp;#8217;s King Lear on Courthouse Square. The world‐renowned artist&amp;#8217;s work will be exhibited for your enjoyment in key locations throughout downtown until August 14, 2009. 

A new element to this year&amp;#8217;s exhibit is &amp;#8220;Dayton Originals&amp;#8221; by K12 Gallery for Young People. Students and artists at the gallery have created ten large mosaics which will be featured in conjunction with the sculptures. Prints of the mosaics will fill the street-level windows of various downtown buildings.

City Life &amp;#8216;09 is presented by the City of Dayton, Montgomery County, the Downtown Dayton Partnership and Culture Works, with sponsorship support from WDTN TV‐2. Area businesses have made the project possible by sponsoring individual sculptures. For more information about the exhibition, visit downtowndayton.org or call the Downtown Dayton Partnership at (937) 224‐1518.  

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<dc:date>2009-06-12T10:41:43-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>The end of Facebook? Hmmmm...</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/11/the_end_of_face.html</link>
<description>Ahoy, Facebook friends (and all the rest of you)&amp;#8230; Where will YOU be at 12:01 AM Saturday? Lots of you will be pecking away at your keyboards trying to lay claim to your own names when the huge social-networking site...</description>
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Ahoy, Facebook friends (and all the rest of you)&amp;#8230; Where will YOU be at 12:01 AM Saturday?

Lots of you will be pecking away at your keyboards trying to lay claim to your own names when the huge social-networking site opens up the chance for its 200 million users to create their own user names.

What that means is pretty well covered in this pretty good piece from The Daily Beast (increasingly, one of my favorite sites), which explains the whole thing and equates it, cleverly, to an online version of the Oklahoma land rush.

But the writer also suggests, for some pretty interesting reasons, that when Facebook throws this switch, it may be dooming itself to changes even it doesn&amp;#8217;t see coming.

Wait and see, I guess. Just don&amp;#8217;t anybody try to claim my name, or I&amp;#8217;ll come over there and hurt you.

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<dc:subject></dc:subject>
<dc:date>2009-06-11T11:08:37-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>So, exactly what made us human?</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/09/so_exactly_what.html</link>
<description>Hmmmm&amp;#8230; was it by killing each other methodically, rather than indiscriminately? Or, was it by holding our meat over the fire? Couldn&amp;#8217;t it have been a little of both? I think it could have&amp;#8230;. Two very interesting pieces that examine...</description>
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Hmmmm&amp;#8230; was it by killing each other methodically, rather than indiscriminately? 

Or, was it by holding our meat over the fire?

Couldn&amp;#8217;t it have been a little of both? I think it could have&amp;#8230;.

Two very interesting pieces that examine new views on how we made the leap from monkey to man&amp;#8230; Even more interesting in the context of their opposition to one another.

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<dc:subject></dc:subject>
<dc:date>2009-06-09T21:55:40-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>The best book I&apos;ve read in a while...</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/08/the_best_book_i.html</link>
<description>I just finished reading a fabulous novel that I&amp;#8217;d strongly recommend as beach/vacay reading for anybody and everybody. It came out in 2006 and you can pick it up in trade paperback: &amp;#8220;Water for Elephants,&amp;#8221; by Sara Gruen. It&amp;#8217;s a...</description>
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I just finished reading a fabulous novel that I&amp;#8217;d strongly recommend as beach/vacay reading for anybody and everybody.

It came out in 2006 and you can pick it up in trade paperback: &amp;#8220;Water for Elephants,&amp;#8221; by Sara Gruen.

It&amp;#8217;s a terrific story about an old man in his 90s who thinks back to his days as a circus working during the Depression, and how the job changed his life.

As a young man, his family falls apart and he basically runs away from home without giving it much thought.  He hops a night train and finds that he&amp;#8217;s accidently landed among circus folk. He sticks around and gets a job helping take care of the animals &amp;#8212; cool, since had been training to be a veterinarian.

The book turns out to be about the way a single person can affect, if not totally change, the chemistry of an entire community, and how one life can ripple through and touch many others. There&amp;#8217;s a love story, historical drama, fights, circus performances, goofy animals &amp;#8212; yes, there is an elephant, named Rosie. It&amp;#8217;s touching, funny and leaves you wanting more.

Gruen&amp;#8217;s a very solid, no-nonsense storyteller whose clean, uncluttered writing shoves the story along at the right times, and slows it down deliciously and elegantly at others. She never hits a false note or misses a beat, and convincingly writes in a male voice. The book is a joy. 

It was a decent-sized bestseller when it came out, but a lot of friends I&amp;#8217;ve mentioned it to weren&amp;#8217;t familiar with the book. So: Here&amp;#8217;s a recommendation you can trust: Read it. It&amp;#8217;s a new classic. You will not be sorry.

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<dc:subject></dc:subject>
<dc:date>2009-06-08T16:46:17-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>Dayton Philharmonic needs your $$$</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/05/dayton_philharm.html</link>
<description>Note to the community: Your orchestra needs you. Specifically, the Dayton Philharmonic Orchestra needs to raise $1.2 million from you in the next three years &amp;#8212; just to stay afloat. It needs the first $600,000 of that amount next year....</description>
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Note to the community: Your orchestra needs you.

Specifically, the Dayton Philharmonic Orchestra needs to raise $1.2 million from you in the next three years &amp;#8212; just to stay afloat. It needs the first $600,000 of that amount next year.

Welcome to the scary new world of arts funding.

You&amp;#8217;ve been seeing lots of stories in the paper and on our website the last few months about how tough the times are for fine-arts groups: big budget cuts at the Dayton Ballet, layoffs and a cancelled exhibition at the Dayton Art Institute, and more. 
On Thursday, June 4, at its annual meeting, the Dayton Philharmonic drew the curtain to reveal its financial situation to past and present board members, donors, members, media and friends. It wasn&amp;#8217;t a pretty picture.

DPO President Paul Helfrich, who took the helm just seven months ago, summed up the situation this way: &amp;#8220;Last year, we tried to run a $5.2 million orchestra on $4.8 million in income. That&amp;#8217;s clearly not sustainable. Next year, we&amp;#8217;ll run a $4.8 million orchestra on a $4.8 million income. That&amp;#8217;s a much better way to do it.&amp;#8221;

The DPO has been living beyond its means for some time, but managed to balance the budget this year through cuts &amp;#8212; eliminating five front-office jobs, cutting salary for Helfrich, Music Director Neal Gittleman and other staff, and freezing the musicians&amp;#8217; pay.

Even with all that, keeping the budget balanced next year will require raising that aforementioned $600,000, the amount they&amp;#8217;ll be in the hole. The organization, meanwhile, will have to get even smaller and leaner; Helfrich said they&amp;#8217;re looking hard at anything that isn&amp;#8217;t &amp;#8220;mission critical,&amp;#8221; in terms of the orchestra&amp;#8217;s music and education programs.

Helfrich explained that since 2002, the DPO has been able to balance its budget by dipping into an unrestricted $3 million rainy-day fund. Between market hits and the annual dip, that fund is now depleted. Spending from the restricted $4.4 million endowment isn&amp;#8217;t an option in the world of non-profits.

Ironically, ticket sales are fairly stable, with the DPO&amp;#8217;s Classical and Pops series attracting nearly 100 percent of the expected sales last season. Season subscriptions continue to trend down, but last-minute single-ticket sales are still strong.

And the people who bought those tickets got to see exceptionally, uniformly fine shows. There&amp;#8217;s no denying that even while it&amp;#8217;s in a financial kink, the orchestra is at an artistic high point.

&amp;#8220;We had an extraordinary year,&amp;#8221; Gittleman said. &amp;#8220;One of the best the orchestra has ever had.&amp;#8221; He&amp;#8217;s right.

The program was inventive, mixing music from Motown, Hitchcock films and even video games with a rich banquet of traditional classics, including terrific performances of Beethoven&amp;#8217;s Fifth and Mahler&amp;#8217;s Ninth, which Gittleman reminded is one of the &amp;#8220;most difficult pieces, technically and emotionally,&amp;#8221; in the repertoire. Meanwhile, the DPO has kept up a healthy roster of educational programs that reached some 67,000 students last year with more than 300 performances at schools across the Miami Valley.

Next year promises more good stuff, and the maestro promises that musically, the DPO is &amp;#8220;on a roll.&amp;#8221; He hasn&amp;#8217;t been wrong before.

&amp;#8220;I am fully committed to do whatever it takes&amp;#8221; to keep the DPO going, Gittleman promised, &amp;#8220;in what could well be the most difficult year in the orchestra&amp;#8217;s history.&amp;#8221;
So, there it is: After years of watching our top arts groups bite bullets and dodge them, even while larger towns have seen groups die, the truly ugly crunch days have arrived in Dayton. We need to start asking ourselves what our city would look like without something like the Dayton Philharmonic Orchestra, and do what we can to keep from having to find out.

Helfrich asked this of us all: &amp;#8220;Come to the shows. Bring your friends. Talk us up &amp;#8212; don&amp;#8217;t be shy about talking about how great we are, and be enthusiastic when you talk us up. And contribute.&amp;#8221;

Note to the community: Your orchestra needs you.

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<dc:subject></dc:subject>
<dc:date>2009-06-05T15:14:06-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>Jumping the shark: A slightly different view</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/04/jumping_the_sha.html</link>
<description>Amusing piece from the National Post up in Canada about the natural life cycle TV shows follow as they grow, evolve and die&amp;#8230; Sometimes when they should, sometimes not. This sets the infamous notion of &amp;#8220;jumping the shark&amp;#8221; in context...</description>
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Amusing piece from the National Post up in Canada about the natural life cycle TV shows follow as they grow, evolve and die&amp;#8230; Sometimes when they should, sometimes not. 

This sets the infamous notion of &amp;#8220;jumping the shark&amp;#8221; in context as a symptom and sign of a show that has already run its course, but hasn&amp;#8217;t died yet &amp;#8212; even though even the writers have lost interest.

The piece mentions the hiliarious &amp;#8220;LA Law&amp;#8221; elevator plunge, and others do indeed come to mind. 

I&amp;#8217;ve got another sign: The all-musical episode. Usually, they happen around Season 4 of a show that&amp;#8217;s been quite inventive and innovative up till then. When you see &amp;#8216;em do a musical episode, they&amp;#8217;re finished. Remember &amp;#8220;Northern Exposure&amp;#8221;? It was the sign of the  impending death knell. And I think they did on on &amp;#8220;Buffy the Vampire Slayer,&amp;#8221; too, about Season 5 or so.

Changes of major/lead characters is a good one, too. &amp;#8220;CSI&amp;#8221; fans shouldn&amp;#8217;t get too used to Lawrence Fishburne&amp;#8230;.

Anyway, any other signs of belated TV death out there to share? 

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<dc:subject></dc:subject>
<dc:date>2009-06-04T17:16:34-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>Wait a sec? The Duck?</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/03/wait_a_sec_the.html</link>
<description>Who knew that you could get France, Jerry Lewis, Germany and Donald Duck into the same story? Egad&amp;#8230; But I must say, Donald has always been my favorite Disney character. For that matter, I prefer Daffy over Bugs, too. Probably...</description>
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Who knew that you could get France, Jerry Lewis, Germany and Donald Duck into the same story?

Egad&amp;#8230;

But I must say, Donald has always been my favorite Disney character. For that matter, I prefer Daffy over Bugs, too. 

Probably says more about me.

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<dc:subject></dc:subject>
<dc:date>2009-06-03T22:00:23-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>Conan&apos;s first night: Not bad</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/02/conans_first_ni.html</link>
<description>So, caught Conan O&amp;#8217;Brien&amp;#8217;s inaugural foray onto &amp;#8220;The Tonight Show&amp;#8221; stage last night, and found myself laughing it up quite a bit&amp;#8230; The opening film sketch was pretty good, really, in which he was in NYC checking off his to-do...</description>
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So, caught Conan O&amp;#8217;Brien&amp;#8217;s inaugural foray onto &amp;#8220;The Tonight Show&amp;#8221; stage last night, and found myself laughing it up quite a bit&amp;#8230;

The opening film sketch was pretty good, really, in which he was in NYC checking off his to-do list before he could start the new job, and panicked when he realized he&amp;#8217;d forgotten the last one: &amp;#8220;Move to L.A.&amp;#8221;

So he starts running out there and runs all the way across the country &amp;#8212; just like Forrest, but in his dark suit and tie &amp;#8212; and passes all kinds of landmarks along the way, such as the Chicago Trib building and the St. Louis arch. He makes some funny stops along the way, such as popping into a Victorian doll museum in the middle of the country someplace, and admires the corn-silk hair on the dolls (you had to see it, but it was pretty funny), and then gets to LA and finds he left his studio keys in NY. So he steals a bulldozer and smashes his way in. It worked.

Some other skits weren&amp;#8217;t quite as good, such as the overlong one in which he leads the Universal City studio tour to the bewilderment (and irritation) of the tourists. 

He seemed a bit nervous during his monologue (suppose it&amp;#8217;s hard to blame him; plus, he always seems nervous), which lasted pretty much the whole first half of the show. He made lots of jokes about his hair, did some (OK, a lot of) funny faces and kept expressing thanks for the new set &amp;#8212; which was nice, but c&amp;#8217;mon. One almost got the sense that he still can&amp;#8217;t believe anybody would do something nice for him.

Andy Richter never quite seemed to get in the groove, but he&amp;#8217;s a good sidekick in general, and my guess is they&amp;#8217;ll figure out what to do with him.

Will Ferrell made me fall asleep, but then he generally has that effect on me.

Soooo, first night out I&amp;#8217;d say about a B-. 

Did you watch? What&amp;#8217;d you think?

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<dc:subject></dc:subject>
<dc:date>2009-06-02T10:53:35-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>Calling all muralists!</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/01/calling_all_mur.html</link>
<description>This just in, from Xenia, where they&amp;#8217;re looking to fill up some downtown walls: The Xenia Mural Society, a component of Greene Giving, is issuing a Call to Artists for original and creative designs for a mural with the general...</description>
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<![CDATA[This just in, from Xenia, where they&#8217;re looking to fill up some downtown walls:

The Xenia Mural Society, a component of Greene Giving, is issuing a Call to Artists for original and creative designs for a mural with the general theme of &#8220;Trails&#8221; to be placed on a building in Xenia. For this mural, &#8220;Trails&#8221; can be interpreted loosely to include anything historical or currently relative to the Xenia area from buffalo trails to Native American trails, Pioneer trails, early roadways, railroads, hiking, or bicycling or any combination of these.

The Xenia Mural Society will be facilitating the creation of a number of pieces of public mural art in Xenia. The Society is made up of interested citizens who have volunteered their time and expertise to provide direction and focus for the mural project;  to help building owners locate funding for the mural art from the private and public sectors; and to promote expansion and preservation of other Xenia murals in the future.

The honorarium for the winning artist&#8217;s design for the &#8220;Trails&#8221; mural will be $500 and the design will become the property of the Xenia Mural Society.  The final mural will be completed by a muralist working in conjunction with the winning artist and the Society. If the selected artist has the ability and desire to complete the actual mural he or she will be encouraged to submit a proposal for the entire project. Given current economic conditions, the Society is working to have a &#8220;brush ready&#8221; project prepared in order to facilitate creation of a mural or murals as soon as funding permits.

The deadline for submission of up to three detailed sketches per artist is July 1, 2009. Several possible sites may be viewed online at www.XeniaMurals.org. There are currently two buildings whose owners have agreed to discuss hosting a mural: Building 1, Montgomery Insurance and Investments is located at 114 S. Detroit St. and has a side wall space of approximately 75X25&#8217; and building 2, Express Yourself Coffeehouse and Art Gallery is located at 78 E. Main St., and has a side wall space of approximately 75X14&#8217;. All or part of the wall surfaces may be incorporated into the rendering. An Application Form should be submitted with each set of sketches. A printable form is available at www.XeniaMurals.org. 

Finalists will be selected by the Selection Committee of the Xenia Mural Society and will be asked to submit a full color rendering on canvas or other suitable material, no smaller than 24&#8221; in width, which must be received by August 15, 2009. Final competing designs will be displayed for public comment at Xenia&#8217;s Rail &amp; Arts Fest on August 22. The winning submission will be announced at Xenia&#8217;s Old Fashioned Days, September 19, 2009.

For more information visit www.XeniaMurals.org  or email info@xeniamurals.org or phone the Xenia Area Chamber of Commerce (937) 372-3591
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<dc:subject></dc:subject>
<dc:date>2009-06-01T12:14:47-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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<title>Disney&apos;s new cartoon under the microscope</title>

    

    


<link>http://www.daytondailynews.com/blogs/content/shared-gen/blogs/dayton/rollins/entries/2009/06/01/disneys_new_car.html</link>
<description>This is interesting, and really not too surprising&amp;#8230; Times story from Sunday about how people are already starting to scrutinize and worry about Disney&amp;#8217;s first depiction of a major black heroine in one of its features&amp;#8230; I&amp;#8217;m in the let&amp;#8217;s-wait-and-see...</description>
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This is interesting, and really not too surprising&amp;#8230; Times story from Sunday about how people are already starting to scrutinize and worry about Disney&amp;#8217;s first depiction of a major black heroine in one of its features&amp;#8230; 

I&amp;#8217;m in the let&amp;#8217;s-wait-and-see camp, myself, but I also think there&amp;#8217;s absolutely no way they&amp;#8217;ll end up being judged to have gotten this right, in the end&amp;#8230; 

What do you think? 

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<dc:subject></dc:subject>
<dc:date>2009-06-01T07:31:04-04:00</dc:date>
<dc:creator>rrollins@daytondailynews.com</dc:creator>
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