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Archives for November 2011

Nominate a Women of Influence

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The YWCA Dayton is seeking nominations for its 2012 Women of Influence Awards. This award honors women in the greater Dayton/Miami Valley community who have made a positive influence on the lives of others, as part of their careers, as volunteers, as role models or mentors.

Nominations are accepted from the community and honorees are selected by a panel of community leaders. Nominees do not have to be active in the YWCA. They should reflect the YWCA’s mission of eliminating racism, empowering women and promoting peace, justice, freedom and dignity for all.  Additionally, nominees should also exemplify community spirit, leadership, volunteerism and making a difference in the lives of others. To nominate a Woman of Influence, go to the YWCA Dayton website and complete the online nomination form. Deadline to submit a nomination is Friday, December 9, 2011.

A luncheon celebration will be held on March 15, 2012 at the Dayton Convention Center to honor the award winners. For more information on tickets and sponsorship, please call 937-461-5550, ext. 118.

YWCA Dayton is a nonprofit organization located in Dayton, Ohio. YWCA Dayton has been dedicated to the mission of eliminating racism and empowering women for over 140 years. YWCA Dayton offers a variety of programs and services including the only domestic violence shelter in Dayton and Montgomery County. The full range of programs and services offered by the YWCA Dayton include: affordable and transitional housing programs (HomeShare, SRO, Safe Haven), teen services (Girls Inc, walk-ins), affordable childcare, and professional services including case management, group therapy, counseling, crisis intervention, hotline services, advocacy and economic empowerment programs.

For more information about this release, please contact Donna Sizemore, Director of Development, YWCA Dayton, at 937.461.5550 ext. 118.

There’s A Starman Waiting In The Sky

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The Resurrection of Ziggy Stardust & The Spiders From Mars

In the post apocalyptic wasteland of what could be mistaken for the present, a Leper Messiah lunges into the spotlight, ready and albeit a tad too willing to save humanity with merely the sacrifice of his soul. A shock of shocking shag cut red hair defies the laws of nature as the asymmetrically dilated wonder filled eyes defies the apathetically addled masses to ignore the impending termination of humanity as a whole. Is this the act of a sacrificial lamb? The crucifixion of yet another messianic messenger’s? Or might this be a rock and roll suicide set in C major? Whatever your interpretation, it is, unarguably, the final teachings from the Gospel of Ziggy Stardust and the Spiders from Mars.

David Bowie has always been the master chameleon, being able to sense trends and incorporate upcoming styles into whatever persona he was projecting at the time that, even those that he aggressively borrowed from felt honored by the imaginative pilfering. From the vast catalogue of Bowie’s affected personas, Ziggy Stardust stands out as one of the most completely three dimensional characters that he has created and personified that glittering epoch, with Bowie’s colorful incarnation becoming the poster child for the glam era.

The Rise and Fall of Ziggy Stardust and the Spiders from Mars, for the uninitiated, is a concept album crafted by Bowie. The storyline, as such, is a convoluted array of perceptive sociology, religious icons wrapped snuggly in familiar parables all bound together in a roiling spiral of science fiction. The inspiration for the album/character itself is steeped in mythos, which includes such fringe personalities as The Legendary Stardust Cowboy and Vince Taylor, also known as the French Elvis who, after completely going off his nut, fired his band and went on stage draped in a sheet to inform the audience that he was the new messiah. Vince also had a penchant for carrying around maps of Europe to show anyone who stood still long enough where the UFOs would be landing. From these shards of broken soul, Ziggy was born.

Under Bowie’s skillful hands, the story emerges that the main character, Ziggy, takes on the role of a messianic messenger, filling the plundering youth with news of the world. In what turns out to be the Earth’s final five years of existence, the news happens to be quite bad but, from the whispered information that he is receiving through dreams from the black hole jumping Infinites, Ziggy is told of a savior: the Starman. The message is seized by the masses with a vigor that only the abjectly hopeless can muster. Riding on the wave of the Message, Ziggy is exulted up into new spiritual heights, but soon succumbs to his own Earlthy desires, living a reckless life that leaves him as a shell, a fractured liberator. When the Infinites arrive, they use their vessel to give themselves life, taking of their host Ziggy, until he dies a martyr’s death.

The documentary film by D.A. Pennebaker (Ziggy Stardust and the Spiders from Mars) chronicles the last concert Bowie performs as Ziggy. Filmed at the Hammersmith Odeon on July 3rd, 1973, this was Bowie’s last hurrah as he partially shelved the character of Ziggy. The impetuous for the premature retirement rested on several elements, one of which was that the character was threatening to outstrip the creator. The documentary itself dabbled very little behind the scenes, choosing instead to generate a full frontal assault of the ninety minute concert itself.

In this vein, local artist, entrepreneur and agent of rebellion Shelly “Gladgirl” Hulce became enamored with the concept, music and the film at an early age and she always kept this fantasy vision of it in the back of her mind…until now. “Back when I was a teenager, I was really into Bowie and really anything that was considered shocking. At the time, the most shocking thing was glam rock. I was raised in a very strict Baptist home. I mean to the point that we didn’t watch movies, wear pants, cut hair…” Gladgirl went on to detail some of the other elements of her upbringing before adding, “Rock and roll was just totally out of the question, so I would sneak and listen to it. I snuck a Bowie poster and hung it inside the closet where nobody could find it. We had these teen bonfires and many times I burnt the same records over and over. I would burn them at this church bonfire and then I would save up my lunch money and replace them.”

With Bowie’s body of work being arguably more theatrical than musically motivated, this mirrored some of Gladgirl’s interests within her own life.  “For me, music, theater and comedy have all been synonymous. My worlds have always collided. I did improv comedy for two years, travelling with a troupe and I’ve played with a couple of bands. I’ve never gotten into acting, but I’ve always been writing. I have written a rock opera using all music from Queen. I haven’t done anything with that because it’s very extensive and I wouldn’t even know where to start with something like that. I guess I will work my way up. Some opportunity will present itself when the timing is right and so I can put it into the back of my brain until then.” Exposure to ETC (Encore Theater Company) brought Gladgirl face to face with fringe musicals like Hedwig and the Angry Inch. This chance encounter was the starting point to push her vision into reality.

“I went to see Hedwig last April and as soon as JJ (Parkey) came out and belted that first big song and I just turned to Juliet and said. ‘That’s Bowie! That’s my Bowie!’ I really didn’t even pay attention to the rest of the show. All I kept thinking was, ‘Oh my God! Oh my God! I have to meet this guy! How do I pitch this idea? Who can I get for the band?’” Gladgirl ended the thought abashedly, “I was just terrible.”

Instead of immediately plunging into the pitch after the show ended, Gladgirl decided to show restraint only found in the best of stalker: she waited. Another opportunity presented itself a short time later.

“JJ and I were at a FilmDayton function together a few weeks later and I was like, ‘Hey! Let’s talk about David Bowie! What do you know about David Bowie and about Ziggy Stardust?’ and he was like, ‘What’s that?’” dejected but not dissuaded, Gladgirl took things into perspective. “I mean, he’s twenty-three years old at that point…he’s twenty-four now. So, after this, I’m just like, ‘Oh my gosh! Will you sit with me and watch a film and let me talk to you about an idea I have?’ and he’s like, ‘Oh, absolutely!’ We met up the next week and sat down and watched the documentary, which was the very last show that Bowie did in character as Ziggy Stardust and the Spiders from Mars. Well, they filmed that show on July 3rd, 1973 at the Hammersmith Odeon in London and what is so bizarre about this is that the night I had JJ up to watch the documentary was July 3rd. The opening credits came up and I was like, ‘Oh my God! That was July 3rd! It’s July 3rd!’”

Kismet and karma were not finished meddling with the vision of the production just yet…

“I was already, in the back of my mind, dreaming of doing a rock opera and thinking about who would be my dream team. There are so many good musicians in town that it’s just amazing.” The eventual line up of the band is a representation of the cream of Dayton’s music scene. “Oh, it’s stellar! I got everyone I wanted right off the bat. I went straight to the ones I wanted and I thought that I would have to work my way down, but every one of them were like, ‘Oh yeah! Definitely!”

There were even some inclusions that, on the face of it, seemed incongruous choices for a recreated glam band, such as local blues guitarist, Noah Wotherspoon.  “Yeah, he’s such a blues guy, but he really loves it all. The cool thing is that he really has a vintage red Hagstrom guitar just like Bowie played during the Ziggy era!”

Some of the musicians were more obvious choices because of their own musical leanings.  “Shrug, which is Tod Weidner’s band, were having a CD release party a few years ago at Canal Street and to surprise their fans, they came out and did the entire album The Rise And Fall Of Ziggy Stardust. It totally shocked everybody and, of course, it stuck with me. Tod, being such a great singer, pulled it off vocally as Bowie and the band did the music perfectly. So, I had that in the back of my head, but with Tod traveling and doing the Pink Floyd tribute band (Set The Controls) around the nation…”

Gladgirl trailed off, indicating the slim chances of being able to have Tod as part of the band. “To know his stamina and to know his musical genius and being able to do anything that is put in front of him, I knew that there was no way that I could do this without Tod. Absolutely no way. So I called Tod and I said, ‘Look, I’ve got this guy and I have this idea and I know your schedule is crazy…I know you’re not going to have any time to do this, but I just had to ask you, is there any way that you could squeeze this in? What’s your schedule like in the Fall? Tod said, ‘Probably around Thanksgiving or maybe a little earlier than that.’ I said, ‘What about 11/11/11?’ and he’s like, “That’s pretty sweet! I’m in!’ It was just like the stars were aligning! I had my two pillars: JJ and Tod.

The other band members are bassist Chris Corn, drummer Ian Kaplan, keyboardist Ken Hall, percussionist Erich Reith, Marie Spohn and Gladgirl herself. With the band in place, the next hurdle would be the costumes.

“JJ and I have been making the costumes for this show from scratch since July. Well, with the exception of one piece, which I hired Tracy McElfresh to make. She’s a third generation dress maker and she’s killer. I told Tracy that I was going to buy this shirt and try to make this spaceman costume but that I didn’t think it was going to work and I asked her to help. She sent me off to the fabric store with a list and I bought the stuff and brought it back to her.”Gladgirl paused, reflecting on what her event has become. “That’s what this has all turned into. It’s just a collective. This whole event has just been a huge collaboration.”

One of the most interesting aspects of this passion play is that, at a time when Godspell and Jesus Christ Superstar were espousing a reconceived image of Biblical prophesies and parables, Ziggy chose instead to cloak his message in a shimmering cloud of veiled innuendos.

“It was all Biblical, but he didn’t blatantly come out and say that this had a Biblical bend to it, but there are so many comparisons that you could make. The arc of the story is the same.” Gladgirl said before launching into the parallels. “The Starman messiah with a message of the world ending in five years and then he is betrayed by one of the Spiders From Mars and he’s crucified. John the Baptist is in there and Judas, Mary Magdalene, the Holy Trinity…Bowie is the Trinity at different points throughout the album and he is the Leper Messiah…the whole bit. Bowie even went as far as to match a lot of his costumes to whatever character he was in the Trinity. When he comes out, he comes down with the message for Five Years, he is wearing an all white kimono, so it’s like this pure deity kind of thing.”

While there are many fantastic tribute bands that abound in our area, Gladgirl wants to make the distinction that this is not merely a tribute featuring the music of David Bowie/Ziggy Stardust. This is a faithful recreation of the epic show that Bowie presented at the Hammersmith Odeon on July 3rd, 1973.  “What I’m telling people is that this is not a tribute show like with people just showing up and doing Bowie’s music.” Gladgirl stated. “This is a passion play and it totally follows the whole arc that Bowie did as Ziggy. That’s why I titled this The Resurrection. I call it a ‘rock and roll rapture.’”

 

There are some added features to this show that were not in the original, such as a piece written by Gladgirl herself.  “The way that I’m presenting this to the audience is Chris Shea from Free Shakespeare will be coming out before Noah’s band and Ziggy’s set and I’ve dubbed him The News Guy because, in one of the lyrics, it talks about being ‘baptized by the News Guy’s tears.’ I’ve also written what I call The Soul Love Greeting…Soul Love being one of the songs about the Holy Spirit.” Gladgirl went on to explain that, “…this is all to lead a person to think. There’s twenty-four songs and I listed lyrics from each song and made this list for Chris Shay to present to the audience. After that, the real fun begins!”

Space Oddity: The Resurrection of Ziggy Stardust & The Spiders From Mars will be held at Gilly’s (132 S. Jefferson St.) on November 11th at 9:00pm. Tickets are only $10 and presale tickets are available at Omega, Record Gallery in the Oregon District, Toxic Beauty Records in Yellow Springs and Game Swap in Woodlane Plaza in Kettering. Chad Wells of Wells & Co. Tattoo and Cricketbows will be on hand to provide Liquid Skin Display – Glam Rock Face Painting before and during the show for anyone wanting the full glam experience. Another, as yet to be announced ‘mystery guest musician’ will also be present.

[yframe url=’http://www.youtube.com/watch?v=zxKu7ggU3HU’]

American Chronicles: The Art of Norman Rockwell – at DAI

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(from The Dayton Art Institute)

Norman Rockwell painted the best of America, creating indelible images of the lives, hopes, and dreams of Americans in the 20th century. Those images continue to resonate with subsequent generations, well into the 21st century.

 

"Checkers"

The Dayton Art Institute will celebrate the life and work of Norman Rockwell with the special exhibition American Chronicles: The Art of Norman Rockwell, presented by PNC. The exhibition opens Saturday, November 12 and runs through February 5, 2012.

The exhibition, organized by the Norman Rockwell Museum, explores Rockwell’s unparalleled role as an iconic American storyteller. American Chronicles features 42 original artworks from the Norman Rockwell Museum’s collection, including well-known images such as Triple Self-Portrait (1960), Girl at Mirror (1954), Going and Coming (1947), and Art Critic (1955). The exhibition also includes cover sheets of all 323 Saturday Evening Post covers created by Rockwell. His work for the Post spanned a remarkable 47 years, and the artist became a household name in the process.

Expertly weaving both narrative and painterly images, Rockwell was a consummate visual storyteller with a finely honed sense of what made an image successful in the rapidly changing era of mass media. Rockwell’s unique artistic legacy, established during 65 years of painting, offers a personal chronicle of 20th century life and aspirations that has both reflected and profoundly influenced American perceptions and ideals.

"Mine America's Coal"

American Chronicles traces the evolution of Rockwell’s art and iconography throughout his career – from carefully choreographed reflections on childhood innocence in paintings such as No Swimming (1921) to powerful, consciousness-raising images like The Problem We All Live With (1964), which documented the traumatic realities of desegregation in the South.

The exhibition also includes materials from the Museum’s archives that demonstrate how Rockwell worked, from preliminary sketches, photographs, color studies, and detailed drawings to the finished painting. Commentary focusing on recurring personal themes, artistic and cultural influences, and the commercial climate that influenced Rockwell’s creative process will be woven throughout the exhibition.

 

"Going and Coming"

Related Events and Programs

The Dayton Art Institute is planning a number of special events and programs in conjunction with American Chronicles. These include a Veterans Day Program on November 11, talks, workshops, the popular Tour and Tea programs, and a special visit by Ruby Bridges, the subject of Rockwell’s painting The Problem We All Live With.

Visitors to American Chronicles will also have the opportunity to have their pictures taken in front of a life-size Saturday Evening Post cover. Props will be available for those who want to create a Rockwell-inspired scene. Photos will be posted to the museum’s Flickr and Facebook pages.

For more about related events and programs, visit www.daytonartinstitute.org/rockwell or call the museum at 937-223-5277 to request a copy of the exhibition brochure.

How To Go:

"No Swimming"

American Chronicles: The Art of Norman Rockwell is on view at The Dayton Art Institute from November 12 – February 5, 2012.

Admission is $15 for adults, $13 for seniors (60+), students (18+ w/ID) and active military, $10 for youth (ages 7-17) and free for children (ages 6 & under). Museum members are free for their first visit, $10 for return visits. Exhibition tickets include admission to the museum’s permanent collection.

Exhibition audio guides, providing commentary on Norman Rockwell’s life and work, are available at the Visitor Services Desk for an additional $5.

Group tour packages are available, including docent-led tours of the exhibitions and boxed lunches from the museum’s Cafe. Group tickets (groups of 10 or more) are $13 per person. Information about group tours is available by contacting Mary Eberle, at 937-512-0152 or [email protected].

For more about the exhibition and other programs at The Dayton Art Institute, go to www.daytonartinstitute.org or call the museum at 937-223-5277. Be sure to also visit The Dayton Art Institute’s Facebook and Twitter pages for additional information and offers. On Twitter, look for the hashtag #rockwelldai.

What is the Price of Beauty?

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In a day of age where women not only want to feel beautiful but are expected to it comes as no surprise that we spend lots and lots of money on it. I am sure for most of us budgeting in our monthly beauty habits has become a fact of life. Do I get my nails done or do I buy a bottle of wine? (personally I would like both please) Many women now are sacrificing certain things in their lives in order to look and feel a certain way. Starvation used to be the disorder of choice but have we now developed a beauty disorder?

Everyone talks about the price of beauty – we fake everything from our hair color to our body shapes, so it really shouldn’t be a surprise that it is beginning to cost us and not just in our purses but in our mental stability. When I look at my monthly calendar it is full of beauty rituals, waxing, hair color, hair cut, manicure, pedicure, and eyelash extensions… when did it all become so complicated? I remember when buying a new lip gloss was enough to get me excited and now I can’t possibly live without all things listed above. My husband will often ask me why I need fake eyelashes, why do I need to constantly change my hair? There really isn’t a great answer other than I need them to feel pretty. I shouldn’t need them to feel beautiful and I think that is his point but as women we are expected to look a certain way, especially when you are in the beauty industry. No one wants their makeup artist to show up with one furry eyebrow and skin that looks like its been to the North Pole. You have to represent your product but how do we learn to represent ourselves in a real way that is affordable and also makes us feel special?

For the last few years I have been working on and researching this very issue. Although I am guilty of overindulging in the beauty world, I have also learned to cut some corners. I believe that women have a right to beauty and the answer to your next facial may be in your fridge. In this blog I will continue to discuss ways to cut back your beauty budget but also look and feel beautiful.

… Of course we will also have to talk about all those fun goodies we have seen in the magazines but in the meantime I have to know what is the one thing in your beauty ritual that you can not possibly go without?

Chains Roll Out Freebies and Discounts for Veterans

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On Veterans Day, national chains honor the hometown heroes by providing them with discounts or a free meal. For most of these deals companies require some form of military ID – including a U.S. Uniform Services ID Card (active/reserve/retired), Current Leave and Earnings Statement (LES), Photograph in uniform, be wearing uniform (if your service permits), Veterans Organization Card (e.g., American Legion and VFW), DD214, discharge paperwork, or other form of identification.  If you know of any I’ve missed, please add in the comment section.

 

 

Applebee’s
Free meal – Nov. 11
Applies to: Veterans and active-duty military personnel
For the third year, Applebee’s offers a special dine-in-only menu for Veterans Day

Champ’s
Free Burger- Nov 11 – dine in only
Applies to: Veterans and active-duty military personnel

Chili’s
Free meal – Nov. 11
Applies to: Active duty and veterans
Chili’s is offering a choice of one of six meals on a dine-in-only basis. Beverages and gratuity not included.

Denny’s
Free Grand Slam breakfast – Nov. 11
Applies to: Active military or veterans
Available only at participating locations.

Golden Corral
Free meal – 5 p.m. to 9 p.m., Nov. 14
Applies to: Active military, veterans, National Guard or Reserves
The 10th annual Golden Corral Military Appreciation dinner will be held at all Golden Corral Restaurants nationwide.

Hooters
10 free wings (Drink purchase required) – all day, Nov. 11
Applies to: Active duty and veterans
Offer valid only at participating Hooters.
Krispy Kreme
Free doughnut – Nov. 11
Applies to: Active duty and veterans
Available only at participating Krispy Kreme stores.
McCormick & Schmick’s Seafood Restaurants
Free lunch or dinner entrée – Nov 13
Applies to: Veterans
This is the 13th Annual Veteran’s Appreciation Event at McCormick & Schmick’s.

Olive Garden
Free lunch or dinner entrée
Applies to: Veterans and active-duty military
Outback Steakhouse
Bloomin’ Onion and Coke – Nov. 7 to 11
Applies to: Veterans and active-duty military

Smashburger
Free fries- choose  Smashfries, or Sweet Potato Fries. No purchase is necessary.
Applies to: Veterans and active-duty military

Spaghetti Warehouse
11-cents meal with coupon – Nov. 11
Applies to: Everyone
Print the coupon here and get a serving of lasagna, spaghetti and meatballs, or any original recipe spaghetti entree for just 11 cents.

SUBWAY
Free six-inch sub – Nov. 11
Applies to: Veterans
SUBWAY restaurants are franchises, so this offer may not be available everywhere.

Texas Roadhouse
Free lunch – 11 a.m. to 2 p.m., Nov. 11
Applies to: Veterans and active duty military
Dine-in only.

TGI Fridays
Buy an entrée and get a second entrée free – Nov. 11
Applies to: Active duty military and veterans

Tim Hortons
Free donut – Nov. 11
Applies to: Veterans

UNO Chicago Grill
19.43% discount on food and non-alcoholic drinks – Nov. 11
Applies to: Veterans

Preview Night for Dayton’s Newest Coffee Shop!

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Ghostlight Coffee, Dayton’s newest independent coffeehouse will be offering an opportunity to preview the coffeehouse, the espresso, coffee & tea menus, and the delicious Thistle Confections artisan baked goods. The Preview night is scheduled for Wed, Nov 9th from 7-8:30pm.

ACT I – Espresso beverage of your choice, paired with Dark Chocolate & Salted Caramel Layer Cake with Fudge Buttercream

ACT II – Pour-Over Coffee Bar selection paired with a Pumpkin & Spiced Latte Whoopie Pie

ACT III – Rishi Tea Selection or Rishi Masala Chai Latte paired with Masala Chai Cupcake with Vanilla Bean Swiss Meringue

ENCORE – Chocolate Nightcap (non-alcoholic)

Ghostlight Coffee is pleased to offer organic & fair-trade coffees from three outstanding micro-roasters, including Sunergos (Louisville), Vienna (Maryville, TN) & MadCap (Grand Rapids).  Additionally, the coffeehouse will feature award-winning Rishi Teas & Chai, luxurious dark cocoa from Cacao Barry and artisan flavor syrups (such as “Madagascar Vanilla,” “Fig Vanilla Black Pepper,” & “Cardamon Rose Water”) by Melissa Yen’s Jo Snow Syrups.

$12 per person.  Limited seating available, reserve your spot today!  Contact Shane at [email protected].  Last we heard this was almost full!

Ghostlight Coffee is located at 1201 Wayne Avenue (at Clover Street), in Dayton’s Historic South Park neighborhood.  Off-street parking is available behind the building, with additional parking along Theobald Court.

Film Review – Take Shelter (A)

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Michael Shannon as Curtis

If you enjoy edge-of-your-seat psychological thrillers, I suggest you stop reading right now and go see Take Shelter. In one of the best movies I have seen all year, Michael Shannon (The Runaways, Revolutionary Road) gives a truly unforgettable performance as Curtis, a husband and father who believes he is struggling with a newly formed mental illness……but is he?

Director Jeff Nichols brings to the screen a multifaceted story, reaching many levels of human emotion. Curtis deals with things we all experience: strained relationships, unemployment, and the death of loved ones. But do we handle these issues while suffering from apocalyptic hallucinations, delusions and freakish nightmares? The line between what is reality and what is in the mind is completely blurred, and Curtis digs himself into a deeper and deeper hole (literally and figuratively).

Unable to communicate with his wife, Curtis delves further into a dark place, fearing the end of the world. The anxiety and terror overcomes every aspect of his life and causes him to make major changes that no one understands. Piece by piece, Curtis’s life begins to fall apart, and his solitary journey continues into despair.

This movie is the definition of the drama genre, and I am not exaggerating when I say my heart was pounding the entire time. The tension and apprehension that these characters convey is contagious and the last scene will…… well, you will just have to find out. Rachel Gearhardt, a senior college student who saw the movie on opening night adds, “The ending was the culmination of what was a very intense and thought-provoking movie.”

Aside from the high caliber cast, the film’s original music by David Wingo was nothing short of haunting. Paired with the incredible special effects done by the same company that worked on Avatar and The Curious Case of Benjamin Button, this movie is a recipe for a suspenseful experience you will not soon forget.

One of the more remarkable things about production that I learned in a post-film Q&A session with producer Tyler Davidson was that this picture was shot in a mere 24 days. Davidson mentioned that the film was produced entirely out of order and some of the work days lasted an entire 24 hours. There is no way an audience could ever tell that time was such an issue because the quality of production goes above and beyond. Jonathan McNeal, owner of The Neon, who attended the Toronto Film Festival and viewed 34 films over the span of just nine days ranked it among his top three favorites. The film has been nominated for six awards and won at the Cannes Film Festival and the Hollywood Film Festival.

A few words of advice for when you “take shelter” at The Neon, don’t forget your gas mask.

[yframe url=’http://www.youtube.com/watch?v=I5U4TtYpKIc’]

Between a Rock and an Eternally Hard Place

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DPO presents a musical metaphor for our technology-dependent world

When I was a kid, it wasn’t all that unusual for one kid to call down his or her wrath on another. If you were really P-O’d at Bobby or Suzy, you might say something like, “I hope you fall down a deep well full of spiders that crawl in your ears and up your nose and suck your brains right out of your skull.”

Talk about spite.

And before you think such curses are child’s play, consider this: folklore is crammed with stories of people who actually did things as bad as that…and worse. For example….

In Greek mythology, there was a god named Prometheus, who committed an unpardonable crime – he brought fire to the world. For his crime, he was bound to a rock, where a giant bird picked away at his vitals in perpetuity. (They were eternally renewed and eternally destroyed each day.) Yeeeech!

After all, what was there for the gods to be so upset about? It was fire, for Pete’s sake. It heats homes, cooks food, melts metal. All good things. But obviously the gods had a different take on it.

And a brilliant American musical composer had a different take on it as well. He saw fire as representing technology, technology that has expanded for the last 500 years and drastically changed our society. Need an example?

Not quite 50 years ago, most businesses hired top- and middle-management personnel (mostly men) and supplied each with a secretary (mostly women), who performed all the clerical duties for the manager. Then technology, in the form of room-sized computers with all their support machinery (keypunch machines, optical character readers) changed the nature of the secretaries’ clerical duties to mostly those of a data entry clerk.

Not long after, managers found computer terminals on their desks replete with word processing and spreadsheet software. And looked up to see their secretaries were no longer there. An entire segment of the country’s workforce had disappeared; the company retained one secretary in each department, gave her the title of Administrative Assistant, and tasked her with hassling the various managers’ travel itineraries. In a short while, even she would disappear.

And the managers, both male and female now and armed with the new technology, became quasi-secretaries. As time passed and computer technology became infinitely smaller and more powerful it became all too prevalent for companies to dismiss large portions of their managerial staff and double the workload of those remaining. Why? To save money and increase profits.

And because they could.

Their managerial staff each had computers of their own so small that, if the managers couldn’t get all their work done in the 60-80 hours they spent in the office each week, they could simply take their computers (and their smart phones and tablets) home with them and do their work there. On their “free” time.

The American composer to whom I referred earlier is William Bolcom, a professor of composition at the University of Michigan. And his musical portrayal of the story of Prometheus follows in the footsteps of such other brilliant composers as Ludwig von Beethoven and Franz Liszt. But with a decidedly 21-st Century twist.

“We in the West have brought ourselves to a level of technical sophistication unknown to any other era,” Bolcom wrote in 2010. “We’ve wedged our way into almost-divine capability, unlike Prometheus who as a god was born with it – but at a price. We are now all Prometheus, chained to our rock of technological dependency; there is no question that our unprecedented advance has given the world enormous benefits we have no desire of relinquishing – nor should we – but we are enjoined to see the dark side of this bounty.”

And Bolcom’s Prometheus is a dark, and challenging, work.

Its musical materials are twisted, dissonant, uneven. The pianist represents Prometheus, and the chorus sings the text of Lord Byron’s poem of the same name. The orchestra is frenzied and explosive. The music gradually becomes more poetic, a salute to the spirit of mankind. Colorful. Peaceful.

Hopeful.

Promethean Exploits
 11/18 & 11/19 at 8 pm
 Schuster Center
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On Friday and Saturday, November 18 and 19 at 8pm in the Schuster Center, the Dayton Philharmonic Orchestra presents Promethean Exploits, a program that features Beethoven’s Prometheus Overture, Bolcom’s Prometheus, Liszt’s Prometheus Symphonic Poem, and Beethoven’s Symphony No. 8. Guest pianist Jeffrey Biegel and the 120-plus members of the Dayton Philharmonic Orchestra Chorus, selected from singers from all over the Miami Valley, join Music Director Neal Gittleman and the DPO.

“When I was requested to write the present work for the same forces as Beethoven’s Choral Fantasy,” Bolcom writes, “I felt the piano part would be ideal in portraying Prometheus’ eternal agony; my Prometheus is perhaps the antithesis of the joyous mood of the Beethoven but is not devoid of hope, particularly if it points us to begin to understand our situation. This piece is dedicated to that hope.”

Think Pink

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Yeah, that IS quite a few cocktails in front of you

In 1998, HBO brought something to the small screen that had a far reaching impact on the pantheon of great television shows. “Sex and the City” was an audience and critical hit, winning seven Emmys and eight Golden Globes in its six year run (and providing the title to this article). It has also spawned two movies (possibly a third), and a diverse following across the country. It also brought a relatively young cocktail into the spotlight, one that was barely a decade old when the show was introduced. It is what Carrie Bradshaw and her friends started drinking towards the beginning of the second season, but tapered off towards the end. Near the end of the series,  Miranda asked Carrie “Why did we ever stop drinking these?” Carrie’s answer was, of course, “Because everyone else started!” That now iconic pink drink is known far and wide as the Cosmopolitan.

The flavor profile of the Cosmopolitan (or a Cosmo for short) came from an older cocktail, the Harpoon. The Harpoon, which is where many have attributed the paternity of the drink, came from a marketing campaign conceived by Ocean Spray. During the 60’s, Ocean Spray was looking for other ways to market their cranberry juice cocktail. They came up with a series of several drinks, some of them stuck (the Sea Breeze is one they offered as a premade drink) and some did not (the Firecracker was cranberry mixed with Canadian whiskey. All they were missing was apple pucker to make a Washington Apple). The Harpoon was a drink made with vodka and cranberry juice, with a splash of lime juice thrown in for good measure. It was quite close to where the drink eventually ended up just a few decades later.

Just a little pink...

The Cosmopolitan itself is a relatively new drink. As with most drinks, it has quite a few people claiming that their bar was the place that it was invented. One account has the drink being created at a steak house in Minnesota in the 1970’s. Many bar and cocktail historians believe it may have been created by the gay community in Provincetown, MA, which is in Ocean Spray’s back yard. Another account has the drink created in the same era in San Francisco, being a well received drink in some of the more upscale bars of that city that were tended by John Caine. The most popular story for the creation of the Cosmo is that that it was created in the mid-80’s by a bartender named Cheryl Cook. She worked in Miami, and noticed that the martini craze had come back. However, people did not actually like the flavor of the classic cocktail; they just wanted to be seen holding the glass. She created a cocktail that tasted better as well as having a brighter, look-at-me color to it. Initially, she used citrus vodka (a test version of Absolut Citron), a splash of triple sec, a hint of Rose’s lime juice, and “just enough cranberry to make it pink”. The drink travelled very well, spreading from San Francisco to New York in an era when there was no Internet or cocktail databases to make it easy.

By the late 90’s, the cocktail had slid backwards a little, going from the color of pink lemonade to more of a ruby color, and the citrus vodka had been replaced by regular vodka. It needed a bit of a touch up, and cocktail expert Dale DeGroff was the right man for the job. Dale revived the cocktail at The Rainbow Room in New York by adding the citrus vodka back into the mix, and substituting out the lower quality processed lime juice and triple sec with fresh squeezed lime juice and Cointreau, a high quality orange liqueur. With a room like that showcasing the drink, it was just a matter of time before stars were seen sipping it, and it started to take off in popularity. A picture in the New Yorker with the caption “Madonna drinks Cosmopolitans at the Grammy after party, Rainbow Room, New York” certainly helped the drink’s popularity. With Sex and the City showcasing it a few years later, it was well on its way to becoming an icon in the pantheon on great cocktails.

The Cosmo, due to its pink color and prominence in Sex and the City, has a reputation as a ladies drink. Do not let the pleasant taste and soft color fool you; it is a cocktail that still packs a punch. The lime juice and the cranberry juice add a little color and enhance the citrusy flavor of the vodka, but that is all. The rest of the cocktail is, like any other martini, alcohol. It has a lovely, fresh flavor, and tastes light enough to enjoy several. If you have not tried this gem, you should give it a look. Imbibe magazine notes, when naming this one of their Top 25 Most Influential Cocktails of the Twentieth Century, that this cocktail is perfect for someone looking for something “pretty, potent, and tasty”. I am not sure Carrie Bradshaw could have summed it up and better. Cheers!

Cosmopolitan

1 1/2 oz. citrus vodka
1/2 oz. Cointreau (or triple sec)
3/4 oz. fresh lime juice
1/4 oz. cranberry juice

Combine the ingredients in a shaker and fill it with ice. Shake well and strain into a chilled martini glass. Garnish with a lime wedge.

You Can’t Stop The Bliss

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Beth Conley in Hairspray

Pure theatrical joy fills Wright State University’s fantastic production of Marc Shaiman, Scott Wittman, Mark O’Donnell and Thomas Meehan’s 2003 Tony Award-winning musical “Hairspray.”

Radiantly performed by one of the most strikingly synchronized ensembles WSU has assembled, this funny, provocative, tuneful and uplifting tale of race and tolerance in 1962 Baltimore, based on the 1988 John Waters film of the same name, totally magnetizes with a breathtaking energy that rivals the original Broadway production. The ideal blend of Joe Deer’s vigorous direction and Teressa Wylie McWilliams’ marvelously sharp and spirited choreography remarkably produces non-stop, smile-inducing thrills effortlessly catapulting this showcase into the rare local realms of musical comedy heaven. The sheer exuberance of “Good Morning Baltimore” and “The Nicest Kids in Town,” the brilliantly precise “I Can Hear The Bells,” the flavorfully decade-inspired “Welcome to the 60’s,” the soulful exuberance of “Run and Tell That,” the seamlessly fluid transitions within “The Madison,” and the incredibly infectious finale are just some of the showstoppers worthy of endless encores.

The wonderfully vibrant Beth Conley endearingly portrays plus-sized teenage heroine Tracy Turnblad, who faces adversity while attempting to integrate the popular Corny Collins TV show. Tracy’s staunch desire to change the world in spite of numerous obstacles is not lost in Conley’s appealing performance complete with conviction, spunk, commendable vocals and fine dancing. Drew Helton equally shines as Edna, Tracy’s plain-spoken mother notably self-conscious about her weight. Exuding convincing femininity in drag, the hilarious Helton conveys a sweet sensitivity that humorously evaporates whenever his voice dips into a threatening lower register. He also establishes a bubbly rapport with the delightful Casey Jordan as Edna’s goofy husband Wilbur. They particularly interpret “Timeless to Me” beyond mere clowning to impressively depict a genuine reflection of an affectionate, enduring love between a man and a woman.

The cast of Hairspray

Jordan’s fellow featured players also provide strong, well crafted characterizations. Charming triple threat Ian DeVine dazzles as heartthrob Link Larkin, a budding pop artist forever changed by Tracy’s love and defiance. DeVine, a dynamite dancer compatibly paired with Conley, supplies a crisp, seductive rendition of “It Takes Two.” DeShawn Bowens, another fiery dancer, hits the mark as Seaweed J. Stubbs, who falls for Tracy’s ditzy best friend Penny Pingleton, amusingly embodied by Melissa Hall. Kylie Santoro and Nikki Nathan are deliciously and respectively vengeful as Velma and Amber Von Tussle, a cunning mother/daughter team seeking to destroy Tracy. The handsome James Oblak oozes charisma as Corny Collins. Aziza Macklin brings a sunny groove to her vocally demanding role as rhyming radio personality Mothermouth Maybelle. Dani Cox is enjoyable as Maybelle’s daughter Little Inez. Terrific chameleons Justin Talkington and Chrissy Bowen nearly steal the show in multiple roles. As the glamorous Dynamites, Jessica Horton, Cyndii Johnson and Taylor Montgomery beautifully capture the Motown essence fueling “Welcome to the 60’s.” Hannah Aicholtz, Alimamy Barrie, Ian Blanco, Zach Cossman, Kevin Ferguson, Darius Fincher, Kenneth Foster, Jon Hacker, Jessica Horton, Derrick Jordan, Taryn Lemmons, Layne McDuffie, Amy Murphy and Sierra Stacy complete the highly entertaining cast.

Act 2 opener “The Big Dollhouse” is curiously cut, but it is a minor quibble within a staging splendidly accented by Pam Knauert-Lavarnway’s eye-catching, nostalgic scenic design, Matthew P. Benjamin’s colorful lighting design and musical director Rick Church’s top-notch orchestra. There is also a topical relevance that resonates here in the midst of our current climate, specifically as Maybelle reminds Tracy and others to stay strong in their quest for change prior to the gospel power ballad “I Know Where I’ve Been.” Her inspirational words are intended to address civil rights yet could be a rallying cry for the Occupy Wall Street movement.

“Hairspray” is a familiar title for many Miami Valley theatergoers, but WSU’s version contains an inherently youthful enthusiasm unmatched by any previous production of the show in our area. Bravo!

“Hairspray” continues through Nov. 13 in the Festival Playhouse of the Creative Arts Center at Wright State University, 3640 Col. Glenn Hwy., Fairborn. Performances are Thursdays at 7 p.m. Fridays at 8 p.m., Saturdays at 2 and 8 p.m., and Sundays at 2 p.m. Act One: 73 minutes; Act Two: 50 minutes. Tickets are $18-$20. For tickets or more information, call (937) 775-2500.

In related news, Wright State’s 2012-13 mainstage season will consist of “The Miracle Worker,” “Funny Girl,” “Witness for the Prosecution” and “Grand Hotel: The Musical.”

Toxic Brew Company Needs Letters of Support For Zoning Variance to Open in Oregon District

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Local entrepreneurs Shane Juhl and Jason Hindson are working hard to rehab an old building at 431 E. 5th Street in the Oregon District in hopes of opening a Brewpub.  There goal is for Toxic Brew Company to  “celebrate the craft brewers of the area and try to have an eclectic mix of craft beer drawing inspiration from multiple places including Dayton history, American craft breweries, and European traditions.” according to Brewmaster Juhl.  But before they can even think about promoting the beer,  they are trying to work their way through the many obstacles that seem to face so many new businesses in this town- zoning.

If you’d like to see the first Brewpub in Dayton since the prohibition era, help make their dream come true by writing a letter of support to get variances for 18 parking spots, off-street loading/unloading area and to allow their hours of operation to go beyond 11pm.  You can email letters to [email protected] and copy [email protected] who is the staff contact at Zoning Appeals.

You may remember that  Kimberly Collett, owner of Olive- an urban dive and Shane Anderson of the soon to be open Ghostlight Coffee also had to appeal to the public to help obtain the necessary variances to get their businesses past similar hurdles.  So if that’s what the city needs us to do  to help get more locally owned business, let’s help them!

I for one can’t wait to try more of Toxic Brews!  I still have a craving for more of their pepper beer I got to try at the Big Beer and Barley Wines event last month!

For more info, you can check out the file from Toxic Brewing Company below:

City_of_Dayton_Variances for Toxic Brewing Company

A Groupon Garden Station Fund Raiser

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(From Lisa Helm of Garden Station)

Today is the last day of a three-day fund raising campaign on Groupon for Garden Station, a local community garden and art park.

Groupon generally does online coupons for goods or services using the “collective action” model, which means that a minimum number of people need to pledge to buy the deal, before the deal is good.  This minimum is called the “Tipping Point”. This also applies for G-Team fund raising campaigns on Groupon.  Garden Station needed a minimum of 32 donations to “tip” the deal and release 100% of the donations to Garden Station. That minimum is actually just over 20% of the total amount needed to complete the project goal of 9 accessible garden beds.

Garden Station is an all volunteer organization that in the past 3 years has completely changed the corner of 4th and Wayne in downtown Dayton. For the 50 years previous to that, the area was overgrown and trash filled and regularly a camping spot for homeless.

Since then, hundreds of volunteers and over 50 businesses and local organizations have participated in the creation of Garden Station and it has become one of the most unique attractions and venues in the area.

Because the project is all volunteer, your donations go a long way.  For example the new entryway that is currently under construction originally had bids between $5000-$9000 just for the block and concrete work and since organizers at Garden Station were able to solicit volunteers and donations for most of that, the entire finished project, including landscaping and mosaic work will end up being less that $2000 in material costs only.

That being said this Groupon fund raising campaign is not “extra” to their budget.  It IS their budget! Without donations and volunteers from the community Garden Station would never happen!

There are just a few more building projects planned, including a stage and a buffet area to support the increasing number of potlucks and receptions there. Once those projects are finished, Garden Station organizers anticipate being able to cover all their own regular expenses.

This campaign is a win-win for everyone. The community will have an asset for years to come that is truly built FOR the community BY the community.

For more information about Garden Station please visit their Facebook page or call 937-610-3845.

You have until midnight tonight to donate at http://www.groupon.com/deals/gt-garden-station

Dayton Playhouse’s “Master Harold… and the boys”

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L to R – Robert-Wayne Waldron as Willie; Ray Zupp as Hally; and Franklin Johnson as Sam

(from Dayton Playhouse)

You’re invited to share a wonderful evening of theatre and support the Dayton Playhouse.  Director Matthew Smith and his experienced cast will present the play Master Harold… and the boys as a Playhouse fundraiser.  The Play is written by Athol Fugard and is published by Samuel French.  This dedicated cast and crew have mounted the play on their own, in support of the Playhouse.

According to Brian Sharp, chairman of the Dayton Playhouse board, “We couldn’t be more excited about seeing this talented cast on our stage and we really appreciate their efforts in supporting the Playhouse.  This is a wonderfully moving play that everyone should see.   Our thanks go to Matt Smith and everyone who helped with this production.”

The story: Sam and Willie, two middle-aged African men have always been a part of seventeen-year-old Hally’s life, bonding despite the color barrier that could have easily separated them. With Hally’s tyrannical father on his way home after a stay at hospital, tension runs high and actions are regretted. A story about loyalty, acceptance and the pain involved with breaking the cycle of racism and violence.  Master Harold… and the Boys is a poignant drama highlighting important issues that still exist in today’s global society.

Smith has cast Franklin Johnson, of Dayton, in the role of Sam.  Robert-Wayne Waldron, also of Dayton, will play Willie, and Ray Zupp, of Vandalia, plays Hally.

The production is one weekend, November 4-6.  Friday and Saturday performances are at 8:00 p.m. and Sunday at 2:00 p.m.  The play will be presented at the Dayton Playhouse, 1301 E. Siebenthaler Ave, Dayton, OH 45414.  Tickets are $10 general admission and may be reserved online at www.daytonplayhouse.org, or by calling the Dayton Playhouse box office 937-424-8477.  Box office hours are Monday, Wednesday and Friday from 2:00 -5:00 p.m. This show is not recommended for children under the age of 17 due to adult themes.  All proceeds from this non-season show will benefit the Dayton Playhouse.

WIN FREE TICKETS

DaytonMostMetro.com and Dayton Playhouse are giving away SIX PAIRS of tickets to see Master Harold… and the boys! Simply fill out the form below and we’ll draw two winners for each show.  GOOD LUCK!

Congratulations to our winners!

Friday 11/4
Cynthia Pauwels
Bethany Locklear

Saturday 11/5
Kristen Allen
Ria Megnin

Sunday 11/6
Patrick Santucci
Theresa Larson


An Unispiring Start to Dayton Dance Season

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This intrepid reviewer, a lover of the art form of dance in all of its permutations has viewed two concerts for DCDC and Dayton Ballet. Unfortunately, except for a couple of bright spots, this reviewer was left under whelmed to the point of concern.

I am fully aware that we are in perilous times in regards to funding for the arts, and as a native Daytonian I want to provide an enthusiastic, supportive review. I believe that honest dialogue about the works being presented is critical to the growth of beleaguered arts institutions. What was presented artistically by these two venerable institutions left this reviewer with a vexing quandary. I went into both concerts ever hopeful that my willingness to be in the audience would somehow be rewarded with exquisite transporting terpsichorean art that would engage me on so many levels. After attending several concerts by both companies I have shed my naïve beliefs that things will progress.

The DCDC concert, Director’s Cut, held the one choreographic bright spot of both concerts; the invigorating and bracingly contemporary work of Rodney Brown. The rest of the concert consisted of works presented in a collage from the forty years of artistic product from the DCDC legacy of classic works of the modern dance vernacular. My only disappointment in Rodney Brown’s work was that it highlighted the creakiness of everything else on the concert. I am a huge advocate of dance reconstruction and restoration. My love of Balanchine is steadfast and absolute. Unfortunately, watching the historic works of DCDC in this context was like looking at a tenth generation Xerox copy, washed out and barely legible as to render it useless.

Rodney Brown, a former dancer with DCDC, brought to the Dayton dance scene a glimpse of what is happening in the dance world. His work was a strikingly original work with a dance vocabulary shaped and influenced by the Europeans, Wayne McGregor, William Forsythe, Crystal Pite and Pina Bausch and grounded in the asthetitics of the post modernist legend Bebe Miller. Mr. Brown created a world that was both strange as well as unpredictable and utterly captivating. The Nearing was set on a quartet of the men from the company, who never looked better. The movement material was rooted in a relentless repetition that was punctutuated by moments of individual expression. It was like being transported into a dystopian dance drama that reminded me of Fritz Lang’s Metropolis, the 21st century forgotten men. I have not been this captivated since seeing the restaging of Adam Hoagland’s choreography at the Wright State Spring Dance Concert in the spring.

The Haunted series presented by Dayton Ballet contained two highlights; that it was mercifully brief and was at least danced with conviction. Watching this concert I will acknowledge that choreographically Sleepy Hollow was the most accomplished work of the two ballets presented and that is faint praise.

I believe that Dayton Ballet is filled with incredibly gifted performers that are completely invested. My fondest wish is that later in the year they will be showcased in vehicles worthy of those skills and talents.
The problem with both of these ballets resides in the question of “taste levels”. This was a strictly middlebrow production that held little charm or genuine delights to walk away with.
Every major performing arts organization in the United States wrestles with creating work that will attract audiences and fill the coffers, ie., safe entertainment that will appeal to the lowest common denominator. Our dance companies are not immune to this paradox. Yet in appealing to the lowest common denominator they are exposing not only their faults, but also the audience’s as well.

The Dayton arts audiences are complicit in this spiraling artistic bankruptcy. We simply have no concept of what well-produced dance looks like. I will give credit to the valiant efforts to reverse the declining fortunes of two formerly great artistic pillars of community; this is my only act of charity. I am saving my most barbed commentary for the Dayton arts audiences.

All of the art forms that are being presented in our community are typical to any city with a significant population. You have been great in your dutifulness in attending the arts events, purchasing season tickets, and being present. I applaud your levels of support. But are you aware that you are being presented work that is not reflective and indicative of the rest of the world? You are being short changed by not asking for more and knowing the difference.

Professionals in other fields (i.e, the medical fields, accounting & finance) are required to maintain some knowledge and awareness of trends on regional, national and international levels. This is no different for the arts. Yet our arts institutions are caught in a catch-22 in which they want to embrace change and new. We [the audience] are holding the arts back in our community by being so provincial.

Dayton Ballet is 74 years old and is older than New York City Ballet and younger than San Francisco Ballet, and we don’t possess any of the artistic chutzpah or forward thinking of either organization. Dayton Ballet can’t if the audience is not receptive to it. If Alvin Ailey can come back from the brink of collapse then DCDC can do it as well. It requires that you ramp up you skills as an arts patron and embrace quality. Here is what you need.

Knowledge

In the day and age of the lightning fast Internet connections, YouTube is your friend. Instead of wasting so much time on the cute kittens playing with balls of yarn or the ridiculous acts of human vacuity, invest in looking at the work of other dance companies from around the world before your brain rots. I will start you off with a list of companies and choreographers to experience.

Companies

  • New York City Ballet
  • San Francisco Ballet
  • Pacific Northwest Ballet
  • Boston Ballet
  • Houston Ballet
  • Alvin Ailey Dance Theatre
  • Cleo Parker Robinson
  • Lulu Washington

Choreographers

  • Wayne McGregor
  • William Forsythe
  • Bebe Miller
  • Adam Hoagland
  • Paul Taylor
  • Merce Cunningham
  • Pina Bausch

Knowledge Part 2

Read up on dance. Don’t say you love dance and your exposure is restricted to what is being seen on our stages. (And no your nieces or nephews recital does not count). It is time for you to invest a little more effort. There are excellent reviews of dance online in the New York Times. The libraries carry Dance Magazine and you can also rent DVD’s on NetFlix or stream them on Amazon. What have you got to lose?

A civilization is defined by the culture it produces and our community is being defined by the middlebrow entertainment that we seem to continually want to embrace. It is time for the audience to stop being complicit and develop a more sophisticated arts patronage. The artist in this community and this reviewer are desperately waiting for you to play catch up. Rise to the challenge.

I will start sharing my discoveries on the dance front through DMM. I will become your Sherpa guide through the vast terrain of dance material out there on the Internet. Hopefully this will lead us all to a better artistic mountain top. I believe that the arts organizations will figure out how to give you quality artistic productions if people on both sides of the curtain make the investment.

Follow the chatter

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In preparation for an upcoming New Media Dayton meeting next week, where Keri Jaehnig (Idea Girl Media) and I will be speaking to small business owners and individuals alike about social media tools, I wanted to give the readers here at Dayton Most Metro a little preview of what can be expected and get some feedback about what you would like to hear about.

I don’t care about social, so why should I learn about the tools? For starters, social media is about more than just logging into Facebook or Twitter and checking out what your friends have to say.  For the individual, social is about helping you find new interests through your peers and reconnecting with old friends.  For the business owner, it’s about discovering new insights about your customers and ways in which you can provide the best service to them.

One tool that I would like to share ahead of the meeting is called TweetChat.  This site allows Twitter users to track and follow hashtags.  By following a hashtag, you can see all the activity produced by a particular event.  Tweetchat lets you respond and contribute to the conversation in an easier way than using Twitter.com.

I would encourage all of you to follow along next Friday (11/11) at 9:30am to the #NMDayton meeting and see what other tools we are going to share, and if you can stop by the meeting, we’d love to meet you!

Jane’s Best Bets (11/2 – 11/6)

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Photo Credit: Alli Shillito

Happy November everyone!  I hope everyone had a fabulous and safe Halloween…and that your kids (or your neighbors’ kids) shared their candy with you!  Even though there may not be any more opportunities to dress up in costume for a while (unless you’re an actor), there are still plenty of opportunities to have fun in Dayton this week!

On Wednesday, get a jump start on your holiday shopping by visiting the ARTtoBUY Holiday Gift Gallery at the Dayton Visual Arts Center or the Give Art! Gift Gallery at the Cannery Art and Design Center.  Or make your way to the Oregon District for some good fun – head to the Trolley Stop for the Old Time Acoustic Jam, Oregon Express to listen to The Doug Hart Band, or to Blind Bob’s for Karaoke with DJ Nancy.

On Thursday, purchase a holiday gift or a piece of artwork for your home or apartment at the 9th Annual Holiday Student Art Sale at Sinclair.  Listen to the music of Khalid Moss and Michael Bashaw as part of the Vectren Just Jazz Series at the Dayton Art Institute.  Have you ever wondered what a near-death experience is like?  Learn Everything You Wanted to Know about Near-Death Experiences from someone who has been researching this topic for over 20 years.  If you feel like your day has gotten off to a “rocky” start, then make your way to Bullwinkle’s in Miamisburg for Guilty? Or Not – A Mystery Dinner Theatre, to benefit the Children’s Performing Arts of Miamisburg.  Does the thought of dating and relationships leave you feeling confused like the rest of the world?  If so, make it to Sinclair’s production of I Love You, You’re Perfect, Now Change.  Yes, I know love sometimes “cuts like a knife.”  Others are “all for love.” Regardless of your attitude towards love and relationships, you will not to want miss seeing music legend Bryan Adams perform at the Taft Theatre!

On Friday, make your way downtown for First Friday, the fabulous art hop that occurs once per month.  They always say men won’t go to the doctor, so please help raise funds and awareness for men’s cancer/research by participating in the Movember Mustache Ride.  And men – if your lady doesn’t like a little stubble on your face, just let her know it’s for a good cause!  In addition to growing a mustache for a good cause, you will also be able to drink some great beer for two great causes!  Attend the AutoberFest Craft Beer Tasting at Taj Ma Garaj to support Dayton History and the Epilepsy Foundation.  There are lots of theater options throughout the weekend, including I Love You, You’re Perfect, Now Change at Sinclair Community College;  Pinkalicious the Musical at the Schuster Center; ‘Master Harold’ …and the Boys at the Dayton Playhouse; Caroline, or Change at The Loft Theatre; and Lost in Yonkers at the Dayton Theatre Guild.  And if you enjoy music, there are plenty of opportunities for that as well!  Check out the Pride of Dayton Marching Band at UD; Lynda Carter: The Wonder of Song at the Schuster Center; or Chamber Orchestra Kremlin as part of the Vanguard Concerts at the Dayton Art Institute.

On Saturday, participate in Hospice of Dayton’s 7th Annual 5K Remembrance Walk (which means you don’t have to be a runner!).  Get a start on your holiday decorations by participating in the Gingerbread House Making Workshop at the Dayton Cultural Center.  If you’re a train fanatic (not the music group kind, although you can like them too), then chugga chugga choo choo your way to the National Model Railroad Association Dayton Train Show at Hara Arena.  Visit We Care Arts’ art gallery and gift shop as part of their Holiday Open House.  There are several theater options including those mentioned under Friday, as well as My Fair Lady at Kuss Auditorium in Springfield.  If you would like a show that will have you rolling (hopefully with laughter!) and dancing, then make your way to Victoria Theatre for BAM Percussion:  The Blue Barrel Show.  Halloween may be over, but at the Schuster Center, you will be able to see “Wonder Woman”  Lynda Carter perform.  And at the Taft Theatre, Lily Tomlin will be performing…and that’s the truth.

On Sunday, you will still be able to check out some of the events/shows that have been going on throughout the weekend, including the National Model Railroad Association Dayton Train Show (Hara Arena), BAM Percussion:  The Blue Barrel Show (Victoria Theatre), Caroline, or Change (The Loft Theatre), and I Love You, You’re Perfect, Now Change (Sinclair).  At UD, attend the Family Pops Concert featuring the University of Dayton Symphonic Wind Ensemble.  Or get in the spirit of the holidays by attending Holidays in the Heartland at the Schuster Center.

And now it’s time for the Dumb Joke of the Week. Drum roll please…

What do you call a train loaded with toffee?  A chew chew train.

These are just a few best bets from the DMM Calendar.  There are plenty more events listed there, so if you haven’t, I encourage you to check it out today!  Also, if you have an event to share or promote, please submit it– it’s great marketing and better yet, it’s FREE!  And finally, if you have a dumb joke to share, I’m all ears!

Have a great week Dayton!