Sunday, July 26, 2009

Mists

Pickerel Lake, Barnes, Wisconsin


Among others, the memorable elements of a weekend retreat to northwestern Wisconsin can include rain-drenched woods, the fourth movement of Mahler’s Symphony No. 5 in C# minor, the second act of American Ballet Theatre’s 1977 “Giselle,” four weeks worth of The New York Times Book Review, and an aging Scottish terrier’s inability to sustain long walks in high humidity.


We have visited this extended family hideaway since 1989, each visit reflecting both stability and change. Trees inch upward imperceptibly, their changes in height observable by comparing annual photographs. Declining lake water levels become noticeable only after a few seasons. New construction on neighboring parcels occurs quickly and one later recalls that the new always was there.


The summer season – Memorial Day through Labor Day – has its rhythms of grilling, boating, and fishing, with late July being a quiet interlude with few visitors. Fall brings a relatively early frost and finds a few deer hunters combing the woods. Winter hosts activities by skiers and snowmobilers, organized loosely around the pro football schedule. Spring means transition, a time for preparation.


For years, one particular place across the lake was busy throughout the summer, with constant arrivals and departures by car and boat, and with swimmers daily visiting their anchored raft. Last year, however, the pace of activity over there slackened. This year, the raft remains landlocked and the winter covering continues to protect the pontoon boat. Incrementally, the kids have grown up and life patterns have changed for the extended L---- family. In a few years, perhaps, one might observe a group of college students taking their departure following a New Year’s Eve blowout, similar to that of a few years ago at the cabin next door to us.


• • •


Forever is a long time.


Those words have tugged at me for the nearly three weeks since Robert S. McNamara died at age 93. His passing serves to remind that we write our epitaphs incrementally by what we do and by what we leave undone. McNamara’s summing up is a tortured one:

“Architect of a Futile War,” read the headline for his obituary by Tim Weiner in the New York Times.


“’Terribly Wrong’ Handling of Vietnam Overshadowed Record of Achievement,” said the Washington Post in introducing its obit by Thomas Lippman.


“A fool,” wrote the journalist and author David Halberstam in his book “The Best and the Brightest.”

In Lippman’s words, McNamara served as the “primary architect of U.S. involvement in the war in Vietnam.” During his tenure as Secretary of Defense under presidents Kennedy and Johnson, from 1961 to 1968, 16,000 American soldiers died, with another 42,000 succumbing in the succeeding seven years under Nixon.


To these may be added the countless others who were wounded physically, psychically, and spiritually – just among Americans. Millions of Vietnamese also were killed, injured, and displaced.



As McNamara’s thinking in 1967 turned away from waging war and toward negotiation, he could have made a difference by making a public break with Johnson and resigning his post. Instead, he traded his loyalty and silence for an appointment in 1968 to lead the World Bank.


In his 1995 memoir, “In Retrospect: The Tragedy and Lessons of Vietnam,” McNamara said we were “wrong, terribly wrong.” At the time, notes Weiner, the New York Times editorialized:

Mr. McNamara must not escape the lasting moral condemnation of his countrymen. Surely he must in every quiet and prosperous moment hear the ceaseless whispers of those poor boys in the infantry, dying in the tall grass, platoon by platoon, for no purpose. What he took from them cannot be repaid by prime-time apology and stale tears, three decades late.

Indeed. As millions of people found their voices to oppose the war the longer it carried on, McNamara owed them his in their effort to stop the bloodshed carried on in their names.


Still, he and his many colleagues in leadership need not twist in the wind by themselves. As Halberstam noted, McNamara was "a prisoner of his own background...unable, as indeed was the country which sponsored him, to adapt his values and his terms to Vietnamese realities."


• • •


I was 12 years old and attending summer camp on Green Lake near Chisago City, Minnesota, when North Vietnamese torpedo boats reportedly attacked U.S. destroyers in the Gulf of Tonkin, Tuesday, Aug. 4, 1964. Three days later, The Tonkin Gulf Resolution was approved by both houses of Congress, passing unanimously in the House of Representatives and nearly so in the Senate. The resolution provided presidents Johnson and Nixon with the authorization – and the implied blank check – that they needed to conduct the military operations of the war. The attack on Aug. 4 never happened.


It took three days to mobilize the country for war. It would take years to mobilize the people for peace in sufficient numbers to elect a congress that would shut off the war's funding.


I spent the summer of 1977 campaigning in south Minneapolis as a candidate for the city council. Every citizen should stand for office at least once as the undertaking is among the best educations one can receive. Visiting with voters at their doors provides the opportunity to be embraced, rejected, applauded, dismissed, and challenged in every way. You meet everyone you can imagine.


One hot day, I was invited inside by a resident of one house. It was the home of a family whose son had been killed in Vietnam. At the time, I told myself I would never forget the particulars of their story; unfortunately, I have. What has stayed with me, however, was the utter emptiness and absence of life in that house. For its residents, time had stopped. I was running for municipal office, but for these folks their enduring relationship to government would always focus on the national forces that had taken their child. It was my first personalized insight into the sacred trust that should bind citizens and their elected officials.


Frequently, presidents talk to or meet with the surviving relatives of soldiers killed in the nation's service. In his diary entry for Sept. 6, 1983, President Reagan noted his call to the parents of two U.S. Marines killed in Lebanon: "One father asked if they were in Lebanon for anything that was worth his son's life." Although their policies and directives may not change as a result of such interactions, I think it is important that presidents and others have the experiences.


• • •


My friend, John, graduated from Columbia University last year and since has been working with AmeriCorps. He came here to Pickerel Lake with us during a too-brief visit last fall. We had met 10 years earlier when he moved to Minnesota as a young dancer, fresh from high school. After two years, he returned to California to dance with a company there. He has dropped in to visit us a few times over the years, and we have traveled to both coasts to see his performances.


As a dancer, as a student, and on his own initiative, John has had the opportunity to travel and take the measure of most of the U.S. and much of the world, including Australia, South America, and Europe.


Various sets of past circumstances could have conspired to make of him a soldier, fighting in my name, and yours. I mean no disrespect to any soldier when I acknowledge that I cannot dwell long on that thought – it is too painful to contemplate. In following the dictates of his own conscience, John may become a lifelong warrior of a different sort, but one who also makes it more difficult for nations and people to choose wars.


I am grateful that he added his essence to the mists on these shores. Among others, his presence was a memorable element of a weekend retreat to northwestern Wisconsin.


Thursday, July 23, 2009

Paul Thissen for Minnesota's Governor 2010

Minneapolis, Minnesota


























Sunday, July 19, 2009

An evening at the Burnsville Performing Arts Center

Burnsville, Minnesota


That "Sweeney Todd: The Demon Barber of Fleet Street" won seven Tony Awards after its Broadway premiere in 1979 may have owed more to the weakness of its competition that year than to the strength of its own merits. It is a dreadful story of maniacal revenge told using a torturous score. Easy listening it is not. Still, it won for best musical, actor (Len Cariou), director (Harold Prince), score (Stephen Sondheim), book turned into musical, scenery, and costumes.


Staging the work requires ambition and endurance by any who would attempt it, including those of the Summer Theatre program of Burnsville-Eagan-Savage School District 191. Working with a cast of 10 principals, a chorus of 30 men and women, and an orchestra of 20, director Randy Day and his colleagues opened a decent production at the Burnsville Performing Arts Center, July 16. Several hundred people attended the July 18 performance.


The impressive range and facility of Javier Ferreira's voice in the title role stood out for its competence and clarity. For the rest, a dampening of sound from the main hall's orchestra pit, by whatever means, would have been welcome, as the un-miked instruments often overwhelmed the miked singer/actors as they faced-down the challenging lyrics and melodies.


Sally Graff's costumes conveyed a convincing authenticity of mid-19th century London styles. While serviceable, the un-credited set design made for awkward changes of scenery and failed to fully utilize the huge proscenium opening; resource limitations may have accounted for these results. The production runs through Aug. 1.


The access of student thespians to the grand facilities of BPAC had to inspire. A central feature of the complex is the all-glass, two-story lobby that defines an entire side of the building, with the second level lobby area accomodating 300 in banquet settings with views over the Minnesota River valley. A proscenium stage theater (45' x 100' – with 48' proscenium opening and orchestra pit) provides excellent sightlines for at least the lowest 700 (of 1,000 total) seats, while a black box theater can seat 150 in various configurations. The Center also includes a 2,000 sq. ft. art gallery, meeting rooms, and large rehearsal room.


Beginning this fall, BPAC also will be home to the Envision Academy of the Arts, a magnet school featuring dance, music, and theater, offered tuition-free to students in the District 191 communities, plus neighboring Lakeville. The Academy will have connections with MacPhail Center for the Arts, Minnesota Orchestra, Gustavus Adolphus College, and the Children's Theatre Company.


The BPAC is part of Burnsville's Heart of the City development, combining housing, retail, parks, plazas, arts, and eventual hotel in a central walking district. It is operated by VenuWorks, a management firm for venues throughout North America. Executive Director Wolf Larson hails most recently from northern California. Stephen Rueff, production manager, may be familiar to many Minnesotans as a longtime stage manager and event producer. Steve's early days included stints as a dancer for New Dance Ensemble and Zenon Dance Company. While living in New York, he toured with Meredith Monk and the Blue Man Group, among others.


The Center's only discernable misstep to-date has been its affiliation with TicketMaster. No self-respecting venue that respects its patrons should work with an operation that charges a $5.75 per ticket "convenience fee," on top of a $2 per ticket facility charge, and $2.50 for the convenience of printing the ticket on one's own computer/printer. Adult tickets for "Sweeney Todd" at BPAC were listed at $18 – before these add-ons.


Much more user friendly is the series of late-night meet-ups to introduce the facilities to artists, audiences, and their friends. The first of the series was held July 18, with two more scheduled for Sat., July 25 and Aug. 1, 9pm to midnight, in the first-floor lobby and art gallery. Live music and live-working visual artists will be on hand to facilitate conversation and networking.


Those attending the July 18 event included Denise and Rick Vogt, co-directors of Ballet Royale, a classical academy opening in September in Lakeville. Both are former dancers, and Denise is certified by the Royal Academy of Dance.


As a sign of the excitement and interest that the new Center is generating, the Metropolitan Regional Arts Council will hold its annual meeting at the BPAC, July 28.


Thursday, July 16, 2009

Revisiting the Sea of Tranquility

Minneapolis, Minnesota


Forty years ago today, Apollo 11 lifted off from its Florida launch pad carrying astronauts Neil Armstrong, Buzz Aldrin, and Michael Collins to the moon.


Four days later, Sunday, July 20, 1969, Armstrong and Aldrin steered Eagle, their lunar module, to a landing at Tranquility Base on the moon's Sea of Tranquility, while Collins remained in overhead orbit in his command module. Within six and a half hours, at 10:56pm EDT, Armstrong became the first human to set foot on another world.


In four days more, the three men splashed down in the Pacific Ocean, fulfilling the nation's commitment to land on and return safely from the moon before the 1960s ended. In announcing his support for the Apollo program to a joint session of Congress on May 25, 1961, President John Kennedy said

We choose to go to the moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too.

Five moon landings subsequent to Apollo 11 ended in 1972. We have not been back since. Some say we should not make the trip, and others say we never will.


I think we should and hope that we will.



Tuesday, July 14, 2009

Thanks for YES

Minneapolis, Minnesota


Vote Yes Minnesota, the organization that advocated for the Legacy Amendment to the Minnesota constitution that voters approved last November by 56+%, raised $3.97 million for its efforts. Writing for Finance and Commerce, July 13, Steve Perry reported that $1.82 million, or 46% of the total, was received in 15 donations of $25,000 or more. The single largest gift, $1 million, was contributed by Alida Messinger. Names of those donors accompanied Perry's report and are on file with the Minnesota Campaign Finance and Public Disclosure Board.


Thanks to all who provided the money, the muscle, and the votes for a statewide crusade of civic and moral responsibility!


Monday, July 13, 2009

Summer arts amusements at home and in Burnsville

Minneapolis, Minnesota


During July, MinnesotaPlaylist.Com is featuring "Stories," video interviews with 11 people who were there, about Minnesota's performing arts past. Check-in with the Playlist regularly for brief but informative visits with Don Stolz, Judith Brin Ingber, Patrick Scully, Faye Price, Charles Nolte, Marcus Dillard, Barbara Fields, Carolyn Pool, Sheila Livingston, Barbara Kingsley, and Stephen D'Ambrose.


• • •


My friend, Stephen Rueff, is the production manager at the new Burnsville Performing Arts Center. Steve and the Center are starting a new late night series on Saturday evenings, July 18, July 25, and Aug. 1.


"Sweeney Todd" will be running in the Main Hall theater which will be kept open after the Saturday night performances for a Late Nite hang out. BPAC will set up lounge furniture in the art gallery and lower lobby, will book two music groups to play for 40 minutes each night, and the art gallery will feature two people to paint/sketch the room live each night. They are looking for other performers (spoken word/choreographers/video artists) to come by for short performances.


BPAC will build the Late Nite audience with word of mouth through the arts community, using 40 cast, 15 orchestra, and 10 crew members of "Sweeney Todd" as the seed audience. Anyone – that means you and me – can join them in the lobby after the second act starts, from 9pm to Midnight.


BPAC opened in January with a 150-seat black box theater, a 1,000 seat proscenium stage (45' x 100' – with 48' proscenium opening) with sprung floor and orchestra pit, an art gallery, and a second floor lobby/reception area that can seat 300 in a banquet setting. Take I-35 south from Minneapolis or north from Lakeville to Burnsville Parkway; go east to Nicollet Avenue; go north to Travelers; then one block east to free parking.


For more information, call Rueff at 952.895.4678.


Friday, July 10, 2009

How to spend Minnesota's public arts money

Minneapolis, Minnesota


The directors and staffs of the Minnesota State Arts Board and the eleven Regional Arts Councils have an opportunity without precedent to invest in the future of our state and build an arts legacy second-to-none, provided they think and act globally as well as locally, daringly as well as prudently.


Last Nov. 4, more than 56% of Minnesota's voters said YES to the Clean Water, Land, and Legacy Amendment to the
Minnesota Constitution. Starting July 1, Legacy increased the state sales tax by 3/8 of 1% for 25 years to dedicate funds for lakes, rivers, streams, groundwater, wetlands, prairies, forests, fish, game, wildlife habitat, parks, and trails. The amendment also provides 19.75% of the collected funds for arts, arts education and access, and preservation of history and cultural heritage.


With statewide lobbying by Minnesota Citizens for the Arts, the 2009 Minnesota Legislature appropriated the first Legacy funds for fiscal years 2010 and 2011 (as reported by MCA):


Funding to the arts via the Minnesota State Arts Board and Regional Arts Councils will increase by $21,650,000 per year for the next two years, for a total of $43.3 million. Added to the $8.6 million passed in the state’s economic development bill, there will now be just over $30 million in state funding for the arts annually, compared to just over $10 million annually this year.

Here is how it breaks down in each year, 2010 and 2011:

  • $16,775,000 for Arts and Arts Access Initiatives, “to support Minnesota’s artists and arts organizations in creating, producing and presenting high-quality arts activities; to overcome barriers to accessing high-quality arts activities, and to instill the arts into the community and public life in this state.”
  • $3,245,000 for Arts Education Collaborations, for “high-quality, age-appropriate arts education for Minnesotans of all ages to develop knowledge, skills, and understanding of the arts”
  • $1,080,000 for Arts in Cultural Heritage, “for events and activities that represent the diverse ethnic and cultural arts traditions, including folk and traditional artists and art organizations represented in this state, ” and
  • $550,000 for Fiscal Oversight and Accountability (to the MSAB). The first three items above will be available 70% from the MSAB and 30% from the Regional Arts Councils.
  • In addition to the dedicated funding above, libraries received $4.25 million per year which “may be used to sponsor programs provided by regional libraries, or to provide grants to local arts and heritage programs for programs in partnership with regional libraries,” (i.e., opportunities for artists and arts organizations to work with libraries).
  • Also, the Humanities Center received $300,000 per year for “museums and organizations celebrating the ethnic identities of Minnesotans” to re-grant, so there may be further opportunities for artists and arts organizations.

In addition, over the next two years, the Minnesota Historical Society will receive $14.4 million, public television $6.3 million, Minnesota Public Radio $2.65 million, AMPERS (local public radio) $2.65 million, children’s museums $1 million, the Science Museum of Minnesota $900,000, Minnesota Zoos $900,000, libraries $8.5 million, Indian Affairs Council (for projects related to the preservation of native languages) $1.9 million, Perpich Center for Arts Education $1 million, and the Minnesota Humanities Center, $2.1 million.


Pretty amazing? Look up from your screen and say "YES!"


Following the legislature's adjournment, staff of the Minnesota State Arts Board conducted a series of forums throughout the state to solicit feedback about funding principles and suggestions for specific funding areas. Currently, the MSAB's thinking embraces the following principles:

• Statewide approach
• Demographic and geographic fairness
Inclusiveness
• Sustainability
Anticipatory and flexible
Transparency and public involvement
Accountability and stewardship

I attended the public forum in Minneapolis on June 6 and, with 40 others, ran my mouth for two hours about how the MSAB and the RACs should spend Minnesota's public arts money for the next two years.
It was a fascinating and stimulating discussion. In the run-up to last November's balloting, I wrote here on Oct. 12 about the reasons why Minnesotans might want to vote YES, along with suggestions for how funds might be spent, with related posts on Oct. 29, Oct. 30, Nov. 5, and Jan. 22.


Today's Minnesota Mist posting updates and reflects my current thinking on the subject in response to the MSAB's request for input. You also should share your thinking, by the means described below.


I know what I am writing about. Besides knocking around Minnesota's arts milieu as a relatively successful arts administrator working with more than 50 communities during nearly 30 years, over the past 10 years, I served on 18 grant review panels for the Minnesota State Arts Board, the Metropolitan Regional Arts Council, the Arrowhead Regional Arts Council, and the Jerome Foundation. In that service I analyzed and commented about the programs, administrations, and finances of hundreds of small and mid-sized organizations. During the 1990s, I worked with the Bush Foundation and its consortium of funding agencies to raise $100,000 to assist arts organizations, post-flood, in Grand Forks, North Dakota. For many years, I led an organization with access to a $100,000 commercial line of credit based upon my signature. In my consulting activities, I have reviewed and analyzed the tax returns and financial statements of more than 24 organizations. Along the way, I have coached many individual artists and ensembles on a variety of organization, program, administrative, and life issues.


These activities have made me familiar with hundreds of individuals and organizations in all disciplines and corners of the state – from Lanesboro and Rochester in the southeast, to Duluth and Grand Rapids in the north, to Fargo and Fergus Falls in the northwest, and the nine-to-13 counties of the Twin Cities region.
At whatever stage of their artistic development, all of these people embody the core values of artistic excellence, accountability and transparency as stewards of public resources, innovation, and respectful partnering in the intellectual and creative development of our people.


Although the legislature previously has been episodically very generous in its appropriations for the arts, its overall investment has not kept pace with inflation and growth of field since 1977. Individual elected representatives and senators who support the arts must acknowledge that fact of life, even as they seek to downplay their complicity in its reality. In this, the legislature differs not at all from the intents, practices, and capacities of our major corporate and foundation grant-making agencies.


With passage of the initiative by Minnesota's former governor, Arne Carlson, the legislature appropriated $13 million for the arts in 1998. This was reduced somewhat to $12.6 million for 2002, and to $8.59 million for each year 2003 to 2007.
The appropriation for 2008 was $10.33 million. The average annual inflation rate of 2.71% during the 10 years from 1998 to 2008 made the $13 million appropriation for 1998 equal to $17 million in 2008 and, if extended, $17.9 million in 2010.


My current assumptions, for the points that follow below: $21,650,000 of new annual funding + $8,600,000 of "existing funding" = $30,250,000 of annual funding in 2010 and 2011.


My wish list for 2010 and 2011 begins with the principle of restoring, through the rule-making process, all MSAB and RAC programs to the levels they enjoyed in 1998 when funding was $13 million. This restoration would require an allocation of $17.9 million to fund the same programs for the same number of communities, organizations, and individual artists, adjusted for inflation, but also adjusted for current, statutory mandates
and circumstances that recognize how communities, organizations, artists, and programs have changed or gone away over the past seven years. By what rationale would the MSAB and RACs do otherwise?


Then, the following minimum funding increases should be made to existing programs to allow for inflation and growth of field: (a) Individual artist initiatives, $1.25 million; (b) Institutional organization (general operating) support, $1.75 million; (c) Presenting organization support, $750,000; (d) Arts Across Minnesota touring, $750,000; (e) Arts education initiatives, $1 million.


All grants to individual artists by the MSAB or the RACs should equal or exceed $10,000. While current grants of lesser amounts for projects encourage the pursuit of artistic excellence, they rarely allow it to be realized. By what rationale should the grant amounts be less than $10,000?


If we believe that innovation and collaboration are keys to advancement, then funds should be available to any individual artist or arts organization, of any size, to commission new work from Minnesota artists in all disciplines. A $500,000 pool of commissioning funds, administered by the Minnesota State Arts Board on a once-per-year basis, should be available to applicants in amounts up to $50,000, with 20% of the available pool reserved for grants of $15,000 or less.


In the interest of sustainability, and to build infrastructure, the RACs should annually administer and grant from an $850,000 pool of technical assistance and equipment funds for all grantees of the MSAB and the RACs, regardless of budget size. The size of a specific grant should be without limit within the constraints of the total pool of available funds. Prior to 2003, the McKnight Foundation’s capital program made equipment and technical assistance grants to its grantees over and above its general operating grants. Grantees were eligible for one capital grant every five years. Applications were easy and straight-forward, and their approval helped build an organization’s physical infrastructure, including such things as telephones that work, computer networks that can talk to each other, lighting equipment, portable floors, choral risers at park pavilions, etc. For whatever good reasons, McKnight needed to discontinue this program; need for the program continues.


The MSAB should surmount bureaucratic obstacles and make an annual grant of up to $350,000 to the Performing Arts Archives at the University of Minnesota. This grant should be earmarked specifically to accelerate the acquisition, processing, and retention of records – broadly defined – for archival purposes from performing arts organizations throughout Minnesota.



Once annually, members of the Minnesota State Arts Board and the Forum of Regional Arts Councils should convene as the [new] Minnesota Cultural Facilities Commission. The commission should have a $2.5 million pool of funds from which to make annual planning grants of up to $500,000, and capital construction grants of up to $2 million, for projects whose total cost will be $10 million or less. This body also should recommend statewide priorities to the legislature for capital bonding projects costing more than $10 million.


In the interests of inclusiveness and demographic and geographic fairness, new program initiatives should make $1.5 million available statewide on an annual basis for music organizations (rock and roll bands, rhythm and blues bands, GLBT bands, Christian or other sectarian instrumental/vocal groups, VFW and American Legion bands, community theaters, and bands and choirs of specific affinity groups). These initiatives should provide streamlined processes for idiosyncratic grants of as little as $500 to $1,000.


A $1 million pool of funds, administered by the MSAB, should be dedicated to experiments in the provision of administrative infrastructure for organizations with budgets less than $200,000. Current RAC programs provide funds to hire consultants who can tell artists what they need to do. This new funding pool would aim to provide the savvy skill-sets to actually do the work.


All grants should be available to organizations that are not necessarily 501(c)(3) under the Internal Revenue Service code. Provision should be made for those, for instance, that are organized as limited liability corporations (LLC). If one considers that grants made to individual artists are made to "for profit" individuals, then it is not a major stretch to conclude that grants will be appropriate to some organizations that are "for profit."


Finally, although members of the legislature made it clear that a minimum of new arts funding should support increased staffing of the MSAB, the state's collective arts community should push back and insist that a minimum of $150,000 in new funds be devoted to the support of staffing positions at the agency. In other words, get the politicians out of the micromanaging of the personnel resources needed to conduct the agency's operations which have been understaffed for several years.


Now, it is your turn to weigh-in. Sue Gens, executive director, Minnesota State Arts Board, issued the following message on July 10:

Recently, the Minnesota State Arts Board and Minnesota's 11 regional arts councils completed a statewide series of public forums. The purpose was to collect input on how best to invest the new arts and cultural heritage funds that will become available this year. We are grateful to everyone who participated in these sessions.

If you were not able to participate, there is another way for you to provide input. Please take a few minutes to visit the Arts Board's Web site and share your thoughts by completing an online survey at http://www.arts.state.mn.us.

By what rationale would you not want to tell MSAB how to spend Minnesota's public arts money?

Tuesday, July 7, 2009

"Stimulus" funds on way to arts groups

Minneapolis, Minnesota


The National Endowment for the Arts announced today its FY 2009 Grant Awards for the American Recovery and Reinvestment Act. A total of 631 arts organizations nationwide will share $29,775,000 in grant amounts of either $50,000 or $25,000.


Minnesota arts organizations (26, or 4% of the grantees) will receive $1,025,000 (3.4% of the total dollars) to support the preservation of jobs that are threatened by declines in philanthropic and other support during the current economic downturn.


The grantees include American Composers Forum, St. Paul, $25,000; Art Start, St. Paul, $25,000; Children's Theatre Company, Minneapolis, $50,000; Coffee House Press, Minneapolis, $25,000; East Side Arts Council, St. Paul, $25,000; Franconia Sculpture Park, Shafer, $50,000; Graywolf Press, St. Paul, $25,000; Guthrie Theatre Foundation, $50,000; Heart of the Beast Theater, Minneapolis, $25,000; Highpoint Center for Printmaking, Minneapolis, $50,000; IFP-Minneapolis, $25,000; Illusion Theater & School, Minneapolis, $50,000; Loft, Inc., Minneapolis, $50,000; MacPhail Center for Music, Minneapolis, $50,000; Milkweed Editions, Minneapolis, $25,000; Minneapolis Society of Fine Arts, Minneapolis, $50,000; Minnesota Opera Company, Minneapolis, $50,000; Minnesota Orchestral Association, Minneapolis, $50,000; Minnesota Public Radio, Inc., St. Paul, $50,000; Mixed Blood Theatre Company, Minneapolis, $25,000; Penumbra Theatre Company, Inc., St. Paul, $25,000; Public Radio International, Inc., Minneapolis, $50,000; Saint Paul Chamber Orchestra Society, St. Paul, $50,000; Springboard for the Arts, St. Paul, $25,000; University of Minnesota-Twin Cities, Minneapolis (museums), $50,000; and VocalEssence, Minneapolis, $50,000.


With the exception of the Franconia Sculpture Park, no Minnesota arts organizations located outside of the Twin Cities of Minneapolis and St. Paul – in those places where philanthropic and other support is harder to come by – made the cut.


Also noteworthy: in spite of having the second or third most thriving dance scene in the U.S., not a single Minnesota dance organization was granted stimulus funds to save jobs. Nationally, 60 dance organizations (9.5% of the total grantees) were awarded $2,650,000 (8.9% of total dollars).


The economic stimulus package passed by Congress earlier this year included $50 million for the arts, of which today's grants are a part. In April, the NEA awarded 63 grants, totalling $19.8 million, to 63 state and regional agencies; in that round, the Minnesota State Arts Board received $316,000, and the Minneapolis-based Arts Midwest received $514,400.


Tuesday, June 23, 2009

Narcissism: How dumb is my audience?

Minneapolis, Minnesota


For some of them, getting hit in the head with a 2" x 4" would neither wake them up nor make an impression. They are God's gift to the world and prima donnas – very important people who have paid their money and can do what they wish. They may be bored or disengaged (not their fault!), but they are not selfish, arrogant, or rude. Rules and other people just don't apply or matter to them.


"They" are the miscreants who leave their cell phones on during performances; answer those cell phones during performances; check email during performances; text with friends during performances; take still and moving photos during performances, with and without clicks and flashes; talk to members of their party during performances; sing along with the lyrics from the stage; leave and re-enter the auditoria during performances; and trip over everyone in a row on their race for the exits before the curtain rings down. In Minnesota, particularly in Minneapolis and at Orchestra Hall, "they" also are the unfortunate souls who cannot restrain themselves from hacking and coughing throughout performances regardless of the season or weather.


"They" are our cultural narcissists and, judging by reader postings on today's New York Times blog by Dave Itzkoff (Arts Beat: Cultural News and Views), a vast majority of us want "them" to go away.


Itzkoff recounts his Monday report about a Sunday incident at the Orleans hotel in Las Vegas when two-time Tony Award winner Patti LuPone stopped mid-performance to confront a patron who was using an electronic device. Itzkoff apparently thought LuPone was playing the diva and implied she was wrong. That prompted a letter from LuPone to Itzkoff, published today, in which she asked: "What do you expect me, or any performer for that matter, to do?"


Itzkoff's blog, inviting readers' comments, was posted at 10:37am this morning. The first reply came at 10:58am. Response #500 went up at 4:10pm. While somewhat repetitious, it is entertaining and often compelling reading.


Respondent #258–Karen suggests issuing hot pink rule sheets as people enter the theater, informing them they are subject to ejection. Respondent #275–Andrew suggests that performers deal with it as athletes must when ignoring unruly fans in the stands. Respondent #411–Christopher favors allowing performers to use pistols from the stage in order to clean up the gene pool.


A small number of miscreants seek to justify – or bully – themselves; most notoriously, Respondent #18–Charles C.:

I paid my money, and I’ll do damn well what I please as an audience member. If I want to talk or tape or film, ehtier out in the open or sereptitiously I will do it. Look back at the days of Shakespeare when the audience participated in conversation, and now we have prima donnas who strut like a Perez Hilton on a stage acting as they want and feeling immune from appropriate reaction. Here’s what I will do in the future, I will have eggs and rotten vegatables with me and I will offer you a serving it you confront me, ot if you demonstrate haughty aires on a stage that I am financially supporting. [sic]

Respondents #244–Garrett, #332–Anna, and #488–alice563 have several thoughtful and specific words for Charles C. – including the information that in Shakespeare's day the players also could throw stuff at the audience.


Overwhelmingly – overwhelmingly – readers support LuPone, even though a sizeable part of their number question whether it is a performer's place and duty to tell off the crowd. A strong consensus favors greater enforcement by ushers and theater managements. Although one might agree that theater managers, rather than performers, should enforce standards of etiquette and decorum, what are the performers and the rest of the audience to do in the face of management's indifference?


We do have leverage. The collective we have made an art form of our willingness to restrain the behavior of those wanting to smoke $5 packages of cigarettes in our midst. Can we be no less effective on behalf of many who pay much more than that to patronize theaters?
Maybe we should risk ejection ourselves by standing up, mid-performance, to call-out the narcissists who believe it is all about them. That might be a 2" x 4" that could get management's attention and lead to change.


Friday, June 5, 2009

Investing for success

Minneapolis, Minnesota


"Where do you want your business to be after this harsh recession and how bold do you plan to be in achieving that goal?"


That's the question posed by Nelson Davis on huffingtonpost.com as he recounts the pitched competition between cereal company rivals W. K. Kellogg and C. W. Post in Battle Creek, Michigan, during the 1930s. Their story is a classic illustration of the adage that one cannot cost-cut one's way to survival and success during tough times. Traction and dominance in the marketplace follow from investments in products and their marketing.


Michael Kaiser, the so-called arts-turn-around guru who now leads the John F. Kennedy Center for the Performing Arts in Washington, has long voiced the mantra "Good art, well marketed."


Many artists and their organizations will not survive the current recession and, indeed, many of them should proactively cash in what few chips they have. I have been working with several excellent artists in recent months, however, who are just warming to the challenges before them.


I have been telling them to do what they must in order to "survive," and to use this time to plan and position themselves for the recovery: order their financial processes, build their networks, hone their artistic craft to an engaging excellence, and own their niche with the most effective visibility.


With 10% of America's workforce now under- or unemployed, individuals can adapt the same advice to their own particular circumstances. It is not always a pretty effort, as the Kellogg-Post story showed, but it is a necessary one, and a part of life's grand adventures.


Sunday, May 31, 2009

A marriage in Iowa

Mason City, Iowa


Civil Marriage Ceremony for Gary Swenson and Dean Genth
Sunday, May 31, 2009
Music Man Square, Mason City, Iowa


Officiant: The Reverend Dr. Mel White
Members of the Twin Cities Gay Men's Chorus
Directed by Dr. Stan Hill
Accompanied by Timothy De Prey


Sunday, May 24, 2009

Sacred places, divine faces: A Memorial Day meditation

Minneapolis, Minnesota


I believe in ghosts, and sought their company for two weeks in the waning days of August 2000. In particular, I was seeking my paternal grandfather, Harry Hayden Peterson, whose Kansas origins had been lost in the mists of time and space following his death in Minneapolis in 1937.


While my ultimate destination that summer was Meade County, bordering the Oklahoma panhandle in the southwest corner of Kansas, I first spent three days at the Kansas History Center in Topeka, with a side trip to the Lied Center for the performing arts in Lawrence. Penciled notes made from microfilmed copies of pioneer newspapers and the 1895 agricultural census started my forensic investigation of times and people I had never known.


Heading west from Topeka on Interstate 70, I visited the campus of Kansas State University in Manhattan before resting overnight a few miles on, in Junction City. There, I encountered the first ghosts, maintaining their vigil and bearing witness at the entrance of Fort Riley, Home of America's Army.


Fort Riley was established on the Kansas River in 1853, and since has played a role in all of the nation's military undertakings.
As I drove onto the grounds, I was attended by the spirits of thousands who reached this crossroads from all walks of life and participated in the great leavening experiences of American democracy. The 1st Infantry Division left Fort Riley in the vanguard of the American Expeditionary Force to France in 1917, led by Gen. John "Blackjack" Pershing. During World War II, the 1st was sent to England, and participated in the D-Day storming of France's Normandy beaches in 1944. In 1965, its people answered the call to duty in Vietnam.


Continuing westward for 25 miles, I arrived in Abilene, site of the Eisenhower Presidential Library and Museum. On the grounds of that complex, a visitor can wander through the house where Dwight David Eisenhower – Ike – grew up, and meditate in the chapel where he and his wife, Mamie, are buried. In between, one can study his career as a cadet at the United States Military Academy at West Point and subsequent rise to the rank of five-star general, Supreme Commander of the Allied forces in Europe during World War II, director of the invasion of Europe, first Supreme Commander of NATO (North Atlantic Treaty Organization), and service as the 34th president of the United States.


My own, sole encounter with West Point occurred in 1978, and consisted of lodging for a single night at The Thayer Hotel, a historic, Gothic structure overlooking New York's Hudson River at the south entrance to the Academy.


From Abilene, I continued along I-70 for 93 miles to Russell, Kansas. I wanted to see the community that had shaped the early life of former U.S. senator Bob Dole, a man whose character, and not his politics, had gained him my vote when he stood for the presidency in 1996. Dole was one of many injured during the Allied campaigns in Italy during World War II; his injuries left his right arm paralyzed for life.


Traveling south, by way of Dodge City, I made my first stop in Meade County at the Meade County Historical Museum. Thousands had flocked to that county in 1884-85 from points East, lured by the promise of free land through homesteading. Arriving in Dodge City on trains, they transferred their persons and worldly goods to horse-drawn freight wagons for the 43-mile cross-country trip to Meade.


Centennial books, published in 1985, recorded the stories of many who had made that journey west and created the principal towns of Plains and Meade. Their indices contained the entries that connected with my grandfather and the extended family that had arrived in Kansas before him, by way of Delaware, New Jersey, Ohio, and Illinois. One of the entries noted a contemporary resident, a second cousin once removed, who had been drafted in 1965 to serve in the Vietnam War. My brother, who had joined me for a few days, and I presented ourselves at the cousin's doorstep with the announcement that we were relatives from Minnesota.


From this encounter, we came to know of our grandfather's eight siblings, their parents, our Peterson forebears reaching back to the 1600s, and of the succeeding generations that were scattered further to the four winds. We have become acquainted with many of their ghosts as we have walked the flat, sun-drenched quarter sections that had been the original homesteads in Meade County, and the quiet, hillside cemeteries on the outskirts of Meade, Kansas, and Pineville, Missouri.


During that first Kansas visit, we met a second cousin who had enlisted in the Army Air Corp, was shot down over Germany in November 1944, and was held as a POW. He returned home to pursue his American Dream as a farmer and raise a family with his wife of more than 60 years. I have since met many other Peterson descendants, some of them veterans of military service. In particular, one of my grandfather's sisters, who settled in Washington state, produced several generations of service people. I have met two of them; one lives now in Florida, the other in Colorado.


Closer to my Minnesota roots, my maternal grandfather, Hjalmer Anders Linman, served in the navy as a young man at the Naval Air Station in Pensacola, Florida, during World War I. He re-enlisted in his 50s and served in New Jersey during World War II. My father, Paul Emmett Peterson, served in the U.S. Army at Fort Benning, Georgia, in the early 1950s. My step-father, Kenneth Jacob Vetsch, served in the U.S. Navy's Signal Service Group, with assignments during and after World War II in the Pacific Theater and at Fort Monmouth, New Jersey.
These three men, and Harry Peterson, are buried within 500 yards of each other at Crystal Lake Cemetery in Minneapolis.


I set eyes on the United States Naval Academy at Annapolis, Maryland, a few times in 1971 and 1972. After more than 30 years, memory yet lends it a romantic, wind-swept image set on Chesapeake Bay. It was a point of vicarious pride for our family when my second cousin, Jeffrey Tuset, was accepted there as a midshipman. One of my most idyllic memories of summers in Minnesota is of the reunion, picnic, and afternoon of water skiing in Big Lake, Minnesota, before he left to take up his studies.


The ghosts from that afternoon continue to visit me. It may not have been the first time all of us were together, but it was the last. After his graduation, Capt. Tuset died when his helicopter stopped working and crashed in the Sea of Japan, May 6, 1985, an event reported on the front page of the Minneapolis newspaper. Whether he knew it or not, Jeff's service followed, at least indirectly, in the footsteps of his grandfather, John Gunderson Tuset, who served in the U.S. Army during World War I and is also buried at Crystal Lake.


Whatever their particular antecedents, wars confront the generations called to their conduct with the need to make keenly-felt moral judgments. For much of our history, men and women have served in the armed forces of the United States by choice, while for significant periods, conscription has been used to fill the ranks in the numbers needed. Not all agree, however, that every war – or any war – should be fought.


The Vietnam War of ~1964-1975 – a war whose premises the then-Secretary of Defense has since said were wrong – caused much turmoil in hearts and homes throughout the land. Upon receiving his draft notice early in 1971, my partner, James Davies, was resolved to insist on his status as a conscientious objector, even if it meant imprisonment for refusing induction. This caused great distress for his parents who had come of age during World War II. James' father had enlisted in the U.S. Navy at age 17, served in North Africa, staffed the first mine-sweeper in the Bay of Naples on the coast of Italy, and had shipped to the Pacific Theater for the invasion of Japan that did not happen.


A dynamic scene of great emotion played out in the courthouse of Rice County, Minnesota. Before a draft board comprised of war veterans, James' father voiced his profound disagreement with James' beliefs, while vouching for James' sincerity in holding them. Consequently, James performed two years of alternative service as a conscientious objector, working in the mental health unit of a hospital in Tucson, Arizona.


For many of us, resolution of the moral issues happened more by chance than choice, which begs the question of whether we ever resolved them.


When I visited in Meade County two years ago with the cousin who had served in Vietnam, he described his efforts to survive in that conflict and the community of people that embraced him warmly upon his return. He then asked whether I had worn the uniform.


No. After relinquishing my student deferment in 1971, I was classified 1-A for induction for more than half a year. On Aug. 5, 1971, the draft lottery drew number 228 for my birth date. That meant the chances of my involuntary service would be very low.


I have looked back on occasion. On Oct. 11, 1987, I studied the names on the Vietnam Veterans Memorial Wall in Washington. Earlier that day, I had attended the unveiling of The AIDS Memorial Quilt on the National Mall, memorializing those who had fallen in a different war.


More recently, after 9/11, I was ready to enlist. If they needed me and wanted 50-year-olds, the cause was just and worth the fight. Talk, however, is cheap. That is why I have little patience or use for the rantings of those on both the right and the left of the political spectrum who have not worn the uniform or walked the talk. The daily diatribes of some of them about how their freedoms and liberties are being abridged or denied ring hollow in my ears.


In February 2006, I attended a national arts conference in Washington, D. C. Our activities included a reception at the residence of the ambassador from France to the United States, Jean-David Lévitte. At the time, France had been pummeled for three years by leaders of the U.S. government and others throughout the land for its refusal to share in the erroneous belief that Saddam Hussein was connected to 9/11 and was amassing weapons of mass destruction.


In his greetings to us, the ambassador recounted poignantly the 200+ year relationship between the two countries, saving his greatest eloquence to acknowledge the ultimate sacrifice made by ordinary people from all corners of America to liberate his country in 1944: "For this we shall be forever grateful," he intoned. "This we shall never forget!"


Lévitte's sincerity was diminished only a little when I learned later that he used that speech regularly while doing his job of representing his country and making what friends he could. In fact, France and its people are grateful and, because they have seen the U.S. at its best, have been critical when we have failed our better selves.


The British people also are grateful. Near Downing Street and Whitehall in London, the underground Cabinet War Rooms and Churchill Museum testify to the close working relationship between the World War II prime minister, Winston Churchill, and President Franklin Roosevelt. A memorial plaque to Roosevelt resides prominently in London's Westminster Abbey.


Since 602 AD, a church of Christian worship has stood on London's Ludgate Hill. The medieval old St. Paul's Church was one of the largest structures in Europe. After The Great Fire in 1666, Christopher Wren designed the current structure and dome of St. Paul's Cathedral. During the German bombing Blitz of 1940-41, much of London and the English countryside was laid waste. Although the survival of St. Paul's dome stood as a symbol of British resolve before the U.S. entered the war, a bomb in October 1940 destroyed the cathedral's eastern apse and, with it, the High Altar.


In post-war rebuilding, the High Altar was repositioned. In its former setting was created The American Memorial Chapel. Dedicated Nov. 26, 1958, the chapel is one of the most emotionally arresting sites for an American visitor. Opposite the altar, the American Roll of Honour, presented by Eisenhower, holds the names of the 28,000 Americans who went to Britain and died in World War II; the roll is kept under glass, and a page of names is turned each day.


The chapel's three, stained-glass windows represent Service, Sacrifice, and Resurrection. Wood carvings represent flowers and fruits from the American heartland.
The altar's ironwork shows the Burning Bush of Moses and the Tablets of the Law on which the Ten Commandments were inscribed as a memorial to America's Jewish soldiers who died.


Speaking in the House of Commons, June 18, 1940, Churchill asked his country to let the coming struggle be its finest hour. While the U.S. has known many fine hours in the creation and maintenance of its experiment in democracy, its response to fascism in World War II still stands as its finest hour in the defense of its principles, values, and beliefs.


I do not seek the living among the dead, but I feel deep love and gratitude to the ghosts of those who have gone before. We are the heirs of their faith, the instruments of their hope, and the products of their love.


Friday, May 8, 2009

Clear answers about Coleman/Franken recount

Minneapolis, Minnesota


Eric Black, a political blogger for MinnPost, has followed the recount and legal contest between Minnesota's senate candidates Al Franken and Norm Coleman since November. Black recently took questions from a nationwide audience about the contest; the questions and his excellent responses were published by the Washington Post, May 6.


Journalistic lenses

Minneapolis, Minnesota


A strength of bona fide journalists, an ability to note the details of what is in front of them and relate those to what they have seen before, also can be a weakness: an inability to see anything except what is in front of them, colored by what they have seen before. Case in point: In her May 6 Washington Post column, The Classical Beat, Anne Midgette questions the efficacy and viability of Social Network, the newly-launched, social media site of the San Francisco Symphony, because other, similar sites are not up to snuff.


The presumed existence of an informed readership and citizenry suggests that if newspapers would provide us with just the news, we can provide our own degrees of cynicism.


Sunday, April 26, 2009

Citizen of the social media universe

Minneapolis, Minnesota


Some people feel as lost or bewildered as Alice when she went through the looking glass.


When I invited a Facebook friend to connect with me via LinkedIn two months ago, she asked: "Why? I can hardly keep up with Facebook. I can't make sense of it all. Please talk to me about the value you find with LinkedIn." After I did so, she connected with me.


Increasingly, however, the logic I related to this friend just two months ago, suggesting LinkedIn as an option rather than as a necessity, no longer suffices for me. So much has changed, especially between my ears. I have seen the future, and I am it: a citizen of the social media universe – a huge place, an expanding place, and an evolving place. All of us will live forever within its confines without ever touching its parameters.


As I make sense of its reality, I am appreciating more fully what (I think) the "new math" was all about back in 1964: a given switch may be "on" or "off" at a given time, but somewhere there are switches that are always "on." However accurately I understand math, the fact remains that, while its individual users may be on or off at a given time, social media itself is one of those always-on switches.


Social media is a collective term for all of the interactive platforms, websites, and very-cool-must-be-part-of places on the web. The term includes blogs, YouTube, MySpace, Facebook, LinkedIn, Twitter, Flickr, and endless wanna-bees. These have been called a waste of time beyond belief, while many have made them a central part of their daily lives.


Love it or hate it, social media will be with us always in some iteration. Its ubiquitousness may be found in its networking statistics and trends, reported in February by David Erickson on his eStrategy Internet Marketing Blog.


Although its visitor statistics in the U.S. have leveled off, MySpace users represent 25% of Americans. More than 8 million artists and bands have a presence on the site which includes more than 10 billion friend relationships. It handles more than 50 million pieces of mail daily, more than Yahoo, Hotmail, and Google, and users upload more than 8 million images daily.


Facebook claims more than 200 million users worldwide – 70% of them outside the U.S. – with more than half logging on at least once a day. Its fastest growing demographic is over age 35, and the average user has 120 friends. More than 4 million users become fans of "Pages" – organizational friends – each day. With 14 million photos uploaded daily, Facebook is the number one photo-sharing application on the web.


Every minute, 10 hours of video are uploaded on YouTube, making it the number one online video website in the U.S. Half of those aged 18-34 share videos often with their friends and colleagues.


A new person joins the 39 million members of LinkedIn every second. Half the members reside in more than 200 countries outside the U.S., and members include executives from all of the Fortune 500 companies. Current statistics reflect that half of LinkedIn's members are business decision makers in their companies. Their average age is 41, their household income is $109,000, and 80% have college or post-grad degrees.


The growth of Twitter, the current hot dog of social media, is fueled by those aged 45-54, followed closely by 25-34s. Twitter provides a system of sending messages, "tweets," of 140 characters or less. With Twitter, one follows the tweets of selected others who may or may not care if one tweets back. The celebrity/actor Ashton Kutcher bested the cable network CNN in a recent competition to be first to achieve one million followers, although what this means for the merits of what each is selling remains in dispute. All twits, and more substantive followers, can form affinity groups known as Twibes. This is serious business. Even Oprah got in the game last week.


Two months ago, I told my above-referenced friend that I could imagine no circumstances when I would use Twitter. Well, guess who joined a Twibe, has 31 followers (at this hour), is following 48, and has sent 70 tweet updates? I use Twitter mainly to update this blog and MySpace. It is easy to control the people and organizations whose tweets I follow and, to an extent, I don't care that there may never be a million people following me.


Most of my online presence is expressed through this blog, Minnesota Mist, which is now simulcast on both Blogger and WordPress. Both say the same thing, are equally good for you, and their price is the same, but each serves different geographic real estate.
Those who prefer blue and gray packaging can access the WordPress version, and those with an eye for yellow and brown can use the Blogger version.


Presently, I also have 89 Facebook friends, 102 MySpace friends, and 216 LinkedIn connections. For all of them, unlike our keeping-score economy, the person with the most friends at the end of the game doesn't necessarily win. Or need to.


Is all of this necessary? For most individuals, probably not. All of these platforms exist, ultimately, to make money for other people – those who created them and any investors they acquired along the way. Nothing at all wrong with that. However, if they rely on the collective we to make them money, then we have rights in the transactions as well. Among these is the ability to shape how each will best serve our individual interests.


Nonetheless, all of us will be required by the necessity of relevance to play on at least two of these playgrounds over time, and the specific playgrounds and the nature of our play will change many times. The notion that, going forward, most of one's life from birth will be documented in cyberspace does not seem far-fetched.


Organizations, for-profit and not, have no choice but to cultivate and develop the ability to communicate effectively using all of these vehicles.
A friend who is a media executive recently told university students majoring in communication in the Twin Cities that if they are not on Facebook, LinkedIn, and Twitter, he would never hire them.


While most organizations have only started to think about social media let alone talk about it, a few have made the leap. Of these, some are doing it ham-handedly and in ways that will work to their detriment. In a universe where each individual can pick and choose relationships with transparency, it is not acceptable to simply transfer a one-way advertising message from television, daily newspapers, and emails to a Facebook page or a tweet. Anyone who sells anything – from tickets to real estate to clothing – knows that word of mouth is the single most powerful advertising medium. Word of mouth relies on interactive relationships built on credibility, reciprocity, and respect. All of those have to be earned by servant leaders.


We are only beginning to wrestle with the legal, ethical, and privacy issues. In discussing the line between one's personal social networks and business social networks, the blogger Edward Boches posits MySpace as the bar, Facebook as a backyard barbecue, LinkedIn as the office, and Twitter as the café. While a test for social media will be whether it makes us personally more or less tolerant of each other, we will have to be prepared to lose friends, followers, and connections.


Whatever the outcome of our relationships, their record will outlive us forever in the far-reaches of cyberspace. Should these words turn out to be the last I write, they will remain eternally new to someone, someday.


That is as bewildering to me as anything Alice found through the looking glass.