When last we left Fred Dawson, majordomo of local sensation cover band Club Phred, he was lying prostrate in front of his wife Louise, begging for a band room in their Hockessin home. Growing weary of his whimpering, the dear lady - a long suffering soul - finally acceded to his importuning.
“Aha!” exclaimed Fred, eyes glistening with tears. He raised himself from the carpet, threw open his front door and screamed, “Dear citizens of New Castle County, now our band has a place to practice so we can spread our gospel of '60s and '70s rock 'n' roll over the land! Hallelujah! The world can never get enough of Wilson Pickett, Steppenwolf, Chicago and Percy Sledge! Brother and sister party animals – I am talkin' to you! We are on a mission from God!”
Club Phred
What: 60s & 70s rock 'n' roll, food, beer & wine. Cash bar
When: Sat., July 18, 7 p.m. - 12 a.m. (dining first hour, music starts at 8 p.m.)
Where: Hockessin Hall, 1225 Old Lancaster Pike
Tickets: $25/advance, $30/at door
302-239-5279
Club Phred delivers the gospel of hard driving rock 'n' roll, make no mistake. However, the seven-member group of Baby Boomers is ever mindful of its role in the community as public servants. Since the group formed in 2002, the Club Phred has raised more than $1.3 million for statewide charitable organizations.
On July 18, Fred will tote his 430-pound Hammond B3 organ to Hockessin Fire Hall for yet another benefit.
Mark Sisk, Phred's rhythm guitarist (and Newark attorney in the real world), says the Hammond is not the only vintage instrument used.
“We feel the authentic sounds of these great tunes can only be delivered by the instruments used to record them in the first place. One of our members plays a 40-year-old Fender Stratocaster - similar to ones used by many of the '60s and '70s groups.”
Aisle Say attended a Club Phred gig at the Baby Grand in Wilmington last December. It was unequivocally one of the rockingest parties in this arts enthusiast's long dancing and sing-a-long career.
-----
Greer Firestone lives in Brandywine Hundred. He draws from a half-century of involvement in Delaware's theatre scene to write about arts and the business of art in the First State.
Tuesday, July 21, 2009
Wednesday, July 8, 2009
The Brandywiners stage CAMELOT at Longwood Gardens
C'est moi, c'est moi, Aisle Say, and I exclaim The Brandywiners, sans doubt, is the patriarch of Delaware community theatre.
In 1932 Frances Tatnall, of The Tatnall School fame, convinced Chick Laird, a duPont family scion with direct lineage to founder Eleuthere Irenee, that the time was right for community theatre in Wilmington. Laird had the brainstorm to travel out Route 52 to ask his favorite uncle for a place to play. The uncle was P.S. Du Pont and the sylvan stage was Longwood Gardens. (Laird went on to co-found both The Wilmington Drama League and The Brecks Mill Cronies, but they are stories for another day at Aisle Say.)
The Longwood stage is a magical place to perform and a requirement for a young singer or dancer's resume. Great memories are birthed here. On a starlit summer night, there is no more ideal place to see live theatre. For the actors, the backstage underground dressing rooms are a vertiginous labyrinth of passages.
Aisle Say has had the opportunity to appear in a few productions over the decades. I recall, during a '91 performance of "Kismet," that a light mist began falling before a solo. The director handed me an umbrella and said “the show must go on.” I opine that politics has factored in for a reprise of "Kismet." It's tough when a war is being fought and one of the production numbers of the show is “Baghdad.”
The most scenically appropriate shows at Longwood are "Brigadoon," "Carousel" and "Camelot." The natural splendor magnify and enrich the settings of these lush productions.
Lerner and Lowe's "Camelot" opened in 1960 with an otherworldly cast of Richard Burton, Julie Andrews and Robert Goulet.
As we know, The Brandywiners stage large musicals only...with the largest casts in the region. Many amateurs re-visit productions over the decades; some return to the same roles. So it is this year.
Ted Harting, this year's Arthur, first played the role in 1981. His Lancelot was Jim Smith, the current director, who elevated himself from knight to king in 1993.
Two newcomers round out the leads, both of whom have substantial operatic backgrounds. Erin Cates Smith (Guenevere) has a Masters in Vocal Performance and has sung leads in "The Mikado" and "Pirates of Penzance" (coincidentally the very first Brandywiners show). Aisle Say last saw Wilmington native Jeffrey Chapman (Lance) in OperaDelaware's "Marriage of Figaro" and "La Boheme" at The Grand. Specifically, the songs “C'est Moi,” “The Simple Joys of Maidenhood” and “If Ever Would I Leave You” fit well with operatic voices.
Both Jim Smith and Music Director Lawler Rogers had long and distinguished careers as educators in the Brandywine School District. Rogers was music director for the recent "Carousel" and "Oklahoma" and has worked with OperaDelaware and Delaware Symphony.
The ticket purchase includes entrance to the world renown Longwood Gardens, so come early.
The show runs July 23 – August 1. For tickets, call 478-3355 or visit Brandywiners.org
In 1932 Frances Tatnall, of The Tatnall School fame, convinced Chick Laird, a duPont family scion with direct lineage to founder Eleuthere Irenee, that the time was right for community theatre in Wilmington. Laird had the brainstorm to travel out Route 52 to ask his favorite uncle for a place to play. The uncle was P.S. Du Pont and the sylvan stage was Longwood Gardens. (Laird went on to co-found both The Wilmington Drama League and The Brecks Mill Cronies, but they are stories for another day at Aisle Say.)
The Longwood stage is a magical place to perform and a requirement for a young singer or dancer's resume. Great memories are birthed here. On a starlit summer night, there is no more ideal place to see live theatre. For the actors, the backstage underground dressing rooms are a vertiginous labyrinth of passages.
Aisle Say has had the opportunity to appear in a few productions over the decades. I recall, during a '91 performance of "Kismet," that a light mist began falling before a solo. The director handed me an umbrella and said “the show must go on.” I opine that politics has factored in for a reprise of "Kismet." It's tough when a war is being fought and one of the production numbers of the show is “Baghdad.”
The most scenically appropriate shows at Longwood are "Brigadoon," "Carousel" and "Camelot." The natural splendor magnify and enrich the settings of these lush productions.
Lerner and Lowe's "Camelot" opened in 1960 with an otherworldly cast of Richard Burton, Julie Andrews and Robert Goulet.
As we know, The Brandywiners stage large musicals only...with the largest casts in the region. Many amateurs re-visit productions over the decades; some return to the same roles. So it is this year.
Ted Harting, this year's Arthur, first played the role in 1981. His Lancelot was Jim Smith, the current director, who elevated himself from knight to king in 1993.
Two newcomers round out the leads, both of whom have substantial operatic backgrounds. Erin Cates Smith (Guenevere) has a Masters in Vocal Performance and has sung leads in "The Mikado" and "Pirates of Penzance" (coincidentally the very first Brandywiners show). Aisle Say last saw Wilmington native Jeffrey Chapman (Lance) in OperaDelaware's "Marriage of Figaro" and "La Boheme" at The Grand. Specifically, the songs “C'est Moi,” “The Simple Joys of Maidenhood” and “If Ever Would I Leave You” fit well with operatic voices.
Both Jim Smith and Music Director Lawler Rogers had long and distinguished careers as educators in the Brandywine School District. Rogers was music director for the recent "Carousel" and "Oklahoma" and has worked with OperaDelaware and Delaware Symphony.
The ticket purchase includes entrance to the world renown Longwood Gardens, so come early.
The show runs July 23 – August 1. For tickets, call 478-3355 or visit Brandywiners.org
Tuesday, June 30, 2009
Club Phred at Hockessin Fire Hall
When last we left Fred Dawson, majordomo of local sensation cover band Club Phred, he was lying prostrate in front of his wife Louise, begging for a band room in their Hockessin home. Growing weary of his whimpering, the dear lady - a long suffering soul - finally acceded to his importuning.
“Aha!” exclaimed Fred, eyes glistening with tears. He raised himself from the carpet, threw open his front door and screamed, “Dear citizens of New Castle County, now our band has a place to practice so we can spread our gospel of '60s and '70s rock 'n' roll over the land! Hallelujah! The world can never get enough of Wilson Pickett, Steppenwolf, Chicago and Percy Sledge! Brother and sister party animals – I am talkin' to you! We are on a mission from God!”
Club Phred
What: 60s & 70s rock 'n' roll, food, beer & wine. Cash bar
When: Sat., July 18, 7 p.m. - 12 a.m. (dining first hour, music starts at 8 p.m.)
Where: Hockessin Hall, 1225 Old Lancaster Pike
Tickets: $25/advance, $30/at door
302-239-5279
Club Phred delivers the gospel of hard driving rock 'n' roll, make no mistake. However, the seven-member group of Baby Boomers is ever mindful of its role in the community as public servants. Since the group formed in 2002, the Club Phred has raised more than $1.3 million for statewide charitable organizations.
On July 18, Fred will tote his 430-pound Hammond B3 organ to Hockessin Fire Hall for yet another benefit.
Mark Sisk, Phred's rhythm guitarist (and Newark attorney in the real world), says the Hammond is not the only vintage instrument used.
“We feel the authentic sounds of these great tunes can only be delivered by the instruments used to record them in the first place. One of our members plays a 40-year-old Fender Stratocaster - similar to ones used by many of the '60s and '70s groups.”
Aisle Say attended a Club Phred gig at the Baby Grand in Wilmington last December. It was unequivocally one of the rockingest parties in this arts enthusiast's long dancing and sing-a-long career.
“Aha!” exclaimed Fred, eyes glistening with tears. He raised himself from the carpet, threw open his front door and screamed, “Dear citizens of New Castle County, now our band has a place to practice so we can spread our gospel of '60s and '70s rock 'n' roll over the land! Hallelujah! The world can never get enough of Wilson Pickett, Steppenwolf, Chicago and Percy Sledge! Brother and sister party animals – I am talkin' to you! We are on a mission from God!”
Club Phred
What: 60s & 70s rock 'n' roll, food, beer & wine. Cash bar
When: Sat., July 18, 7 p.m. - 12 a.m. (dining first hour, music starts at 8 p.m.)
Where: Hockessin Hall, 1225 Old Lancaster Pike
Tickets: $25/advance, $30/at door
302-239-5279
Club Phred delivers the gospel of hard driving rock 'n' roll, make no mistake. However, the seven-member group of Baby Boomers is ever mindful of its role in the community as public servants. Since the group formed in 2002, the Club Phred has raised more than $1.3 million for statewide charitable organizations.
On July 18, Fred will tote his 430-pound Hammond B3 organ to Hockessin Fire Hall for yet another benefit.
Mark Sisk, Phred's rhythm guitarist (and Newark attorney in the real world), says the Hammond is not the only vintage instrument used.
“We feel the authentic sounds of these great tunes can only be delivered by the instruments used to record them in the first place. One of our members plays a 40-year-old Fender Stratocaster - similar to ones used by many of the '60s and '70s groups.”
Aisle Say attended a Club Phred gig at the Baby Grand in Wilmington last December. It was unequivocally one of the rockingest parties in this arts enthusiast's long dancing and sing-a-long career.
ALEXEI and RASPUTIN - Book Signing
Brandywine Hundred, Del. —
Aisle Say columnist Greer Firestone will be at Borders Books on Concord Pike July 17 to meet readers and sign his historical novel Alexei and Rasputin.
He wrote the book after an attempt to turn the history and drama of Nicholas and Alexandra into a rock opera failed, he quips.
“I had been a Russian History minor at the University of Delaware and was fascinated by the compelling characters and cataclysmic events surrounding the end of the 300-year Romanov dynasty of Russia," he says.
Alexei and Rasputin
What: book signing with author and Aisle Say columnist Greer Firestone
Where: Borders Books, Concord Pike, Wilmington
When: July 17, 2 p.m.
producer@delaware.net 302-494-3133
Think Nicholas, Alexandra, the four enchanting Grand Duchesses, World War I, the Russian Revolution, and at the center of all these world-changing events was the 14-year-old Alexei, the heir and hemophiliac.
“Hemophilia was a death sentence before hemoglobin. Only Rasputin, 'The Mad Monk' could staunch the flow of blood during a hemophiliac attack,” he says.
The book was written with middle school children in mind, Firestone says, for that was Alexei's age when he and his family were assassinated by Russian revolutionary Vladimir Lenin.
The author will read excerpts from the book, followed by a question and answer time.
Aisle Say columnist Greer Firestone will be at Borders Books on Concord Pike July 17 to meet readers and sign his historical novel Alexei and Rasputin.
He wrote the book after an attempt to turn the history and drama of Nicholas and Alexandra into a rock opera failed, he quips.
“I had been a Russian History minor at the University of Delaware and was fascinated by the compelling characters and cataclysmic events surrounding the end of the 300-year Romanov dynasty of Russia," he says.
Alexei and Rasputin
What: book signing with author and Aisle Say columnist Greer Firestone
Where: Borders Books, Concord Pike, Wilmington
When: July 17, 2 p.m.
producer@delaware.net 302-494-3133
Think Nicholas, Alexandra, the four enchanting Grand Duchesses, World War I, the Russian Revolution, and at the center of all these world-changing events was the 14-year-old Alexei, the heir and hemophiliac.
“Hemophilia was a death sentence before hemoglobin. Only Rasputin, 'The Mad Monk' could staunch the flow of blood during a hemophiliac attack,” he says.
The book was written with middle school children in mind, Firestone says, for that was Alexei's age when he and his family were assassinated by Russian revolutionary Vladimir Lenin.
The author will read excerpts from the book, followed by a question and answer time.
Friday, June 19, 2009
Does Delaware need WHYY's "Delaware Tonight"?
By Greer Firestone
Community News
Posted Jun 01, 2009 @ 12:10 PM
Last update Jun 02, 2009 @ 04:42 PM
Wilmington, Del. —
Walter Cronkite said it best two decades ago: “Local TV news is irrelevant.” The man was a seer. He must have been talking about WHYY's “Delaware Tonight.”
Cronkite, of course, was speaking to a national audience about inconsequential teasers such as, “stay tuned for the update on the house fire,” and “latest video of theft of corner bodega” by glamorous and obsequious anchors alike.
Do we really need “Delaware Tonight?” It would not be so bad if this public broadcasting station out of Philly was self supporting, but they receive $500,000 from the state of Delaware for operations.
In this economy, that is difficult to justify.
After much ballyhoo for the Dover satellite station to open five years ago at a cost of $1 million, this facility is rarely used, and the promise to video live legislative sessions is rarely achieved.
News agencies should give us the power to make informed decisions and provoke us to action, but news from “Delaware Tonight” is boilerplate stuff.
Aisle Say spent three torturous afternoons watching Delaware Tonight at 5:30 p.m. The script readers appear to be the age of student interns and possess the glitz of high school dramatists. Compared to the green screens, smart boards and multiple camera angles of other networks, the production values were laughable.
On the cultural side, one former anchor responded in a recent letter to the editor that WHYY delivers “unparalleled cultural arts information to the state.” I am not sure the galaxy in which this individual lives, but I beg to differ. Over two decades, I have attended hundreds of arts-related functions of every genre, and if WHYY attended 10 percent of these functions, I would be surprised.
Moreover, they have been completely MIA since opening the Delaware satellite.
But at least one person is happy: WHYY CEO Bill Marrazzo.
In 2007, Marrazzo's overall salary package came in at $740,000, making him the country's highest paid local public broadcasting executive, when WHYY is by no means the largest public broadcasting market.
Marrazzo's smarmy statement on the reduction of his overall compensation this year was delightfully magnanimous: “These economic conditions made it a simple decision.” What a sacrifice, guy. Just the kind of news we want to hear. His 6 percent pay raise (to $528,800) came to light a few weeks after 16 full time employees were laid off to save $1.2 million.
This year, fully one-quarter of WHYY's expenses -- $7.2 million -- is devoted to fund raising. We should pay $150 for for CD's of big bands when they can be downloaded for $25?
Why should we fund Delaware WHYY at all? “The Most Trusted Man in America” had it right. Let's put the money into something that actually produces benefit for the state. We can still turn to Channel 12 for programs and derive benefit without the pain.
Community News
Posted Jun 01, 2009 @ 12:10 PM
Last update Jun 02, 2009 @ 04:42 PM
Wilmington, Del. —
Walter Cronkite said it best two decades ago: “Local TV news is irrelevant.” The man was a seer. He must have been talking about WHYY's “Delaware Tonight.”
Cronkite, of course, was speaking to a national audience about inconsequential teasers such as, “stay tuned for the update on the house fire,” and “latest video of theft of corner bodega” by glamorous and obsequious anchors alike.
Do we really need “Delaware Tonight?” It would not be so bad if this public broadcasting station out of Philly was self supporting, but they receive $500,000 from the state of Delaware for operations.
In this economy, that is difficult to justify.
After much ballyhoo for the Dover satellite station to open five years ago at a cost of $1 million, this facility is rarely used, and the promise to video live legislative sessions is rarely achieved.
News agencies should give us the power to make informed decisions and provoke us to action, but news from “Delaware Tonight” is boilerplate stuff.
Aisle Say spent three torturous afternoons watching Delaware Tonight at 5:30 p.m. The script readers appear to be the age of student interns and possess the glitz of high school dramatists. Compared to the green screens, smart boards and multiple camera angles of other networks, the production values were laughable.
On the cultural side, one former anchor responded in a recent letter to the editor that WHYY delivers “unparalleled cultural arts information to the state.” I am not sure the galaxy in which this individual lives, but I beg to differ. Over two decades, I have attended hundreds of arts-related functions of every genre, and if WHYY attended 10 percent of these functions, I would be surprised.
Moreover, they have been completely MIA since opening the Delaware satellite.
But at least one person is happy: WHYY CEO Bill Marrazzo.
In 2007, Marrazzo's overall salary package came in at $740,000, making him the country's highest paid local public broadcasting executive, when WHYY is by no means the largest public broadcasting market.
Marrazzo's smarmy statement on the reduction of his overall compensation this year was delightfully magnanimous: “These economic conditions made it a simple decision.” What a sacrifice, guy. Just the kind of news we want to hear. His 6 percent pay raise (to $528,800) came to light a few weeks after 16 full time employees were laid off to save $1.2 million.
This year, fully one-quarter of WHYY's expenses -- $7.2 million -- is devoted to fund raising. We should pay $150 for for CD's of big bands when they can be downloaded for $25?
Why should we fund Delaware WHYY at all? “The Most Trusted Man in America” had it right. Let's put the money into something that actually produces benefit for the state. We can still turn to Channel 12 for programs and derive benefit without the pain.
West Side Story at the DuPont Theatre
By Greer Firestone
Community News
Posted Jun 15, 2009 @ 09:30 AM
Last update Jun 16, 2009 @ 12:05 PM
Wilmington, Del. —
Jeff Santoro faced nay-sayers and nattering nabobs of negativism (Thanks, Spiro Agnew for that phrase) when he created Delaware All-State Theatre in 2008. Visionaries are frequently derided ... until their “opening curtain.”
Santoro grew up at Delaware Children's Theatre and experienced firsthand the educational, social and developmental beneficence of live theatre. He saw there was All-State Band, a multitude of All-State sports, All-State Chorus, and more. But where was All-State theatre in the mix?
He brought the idea to Carolyn Grubb and John Gardner of The DuPont Theatre, and the entity became the producing partner.
“All-State was created to give elementary, middle, and high school students the opportunity work on a large-scale musical production in partnership with the world famous DuPont Theatre," Santoro says.
Full-time students (to age 19) from Delaware and surrounding areas are eligible to participate either as performers or behind the scenes, and after a rigorous audition process, rehearsals begin.
“We want students to hone their craft,” says Santoro. “To that end, we bring in theatre professionals from around the nation for workshops. This enlightens all of them and adds to the depth of their knowledge.”
The premiere show in 2008 was the most popular musical of all time, “Les Miserables.” Aisle Say heard glowing comments from many of the audience members who saw it: “no way this was a high school production,” “this was as professional as it gets,” and more.
If you go...
DuPont Theatre & Delaware All State Theatre present
West Side Story
8 p.m., June 19, 20, 27, 28
2 p.m., June 21, 28
DuPont Theatre, W. 10th St. at N. Market in Wilmington
$15 - $40
(302) 656-4401
duponttheatre.com
This year's production -- with 30 kids from Delaware, Maryland and Pennsylvania high schools on stage or backstage -- the American classic musical “West Side Story” (score by Leonard Bernstein & Stephen Sondheim) opens this weekend.
West Side is about racism: Puerto Rican v. Anglo. And though it is admittedly difficult for a teenager to spew racist dialog with full fury at a friend, Santoro and his staff demand truth.
When Aisle Say recently attended a rehearsal, Santoro was far from kissy-kissy on those who had not studied or considered their character fully. Sometimes stern, sometimes edgy, but always loving, he counseled the young actors in fulfilling their characterization.
Cassidy Bonilla, who this year graduated from Cab Calloway and last year played Fantine in “Les Mis,” plays Anita.
“I attended Cab for I love theatre. We had wonderful shows there. But All State Theatre is an entirely different level. It is a great honor to be in these productions. What I have learned from Jeff and (assistant director) Deb Johnson, I will remember as long as I live.”
Community News
Posted Jun 15, 2009 @ 09:30 AM
Last update Jun 16, 2009 @ 12:05 PM
Wilmington, Del. —
Jeff Santoro faced nay-sayers and nattering nabobs of negativism (Thanks, Spiro Agnew for that phrase) when he created Delaware All-State Theatre in 2008. Visionaries are frequently derided ... until their “opening curtain.”
Santoro grew up at Delaware Children's Theatre and experienced firsthand the educational, social and developmental beneficence of live theatre. He saw there was All-State Band, a multitude of All-State sports, All-State Chorus, and more. But where was All-State theatre in the mix?
He brought the idea to Carolyn Grubb and John Gardner of The DuPont Theatre, and the entity became the producing partner.
“All-State was created to give elementary, middle, and high school students the opportunity work on a large-scale musical production in partnership with the world famous DuPont Theatre," Santoro says.
Full-time students (to age 19) from Delaware and surrounding areas are eligible to participate either as performers or behind the scenes, and after a rigorous audition process, rehearsals begin.
“We want students to hone their craft,” says Santoro. “To that end, we bring in theatre professionals from around the nation for workshops. This enlightens all of them and adds to the depth of their knowledge.”
The premiere show in 2008 was the most popular musical of all time, “Les Miserables.” Aisle Say heard glowing comments from many of the audience members who saw it: “no way this was a high school production,” “this was as professional as it gets,” and more.
If you go...
DuPont Theatre & Delaware All State Theatre present
West Side Story
8 p.m., June 19, 20, 27, 28
2 p.m., June 21, 28
DuPont Theatre, W. 10th St. at N. Market in Wilmington
$15 - $40
(302) 656-4401
duponttheatre.com
This year's production -- with 30 kids from Delaware, Maryland and Pennsylvania high schools on stage or backstage -- the American classic musical “West Side Story” (score by Leonard Bernstein & Stephen Sondheim) opens this weekend.
West Side is about racism: Puerto Rican v. Anglo. And though it is admittedly difficult for a teenager to spew racist dialog with full fury at a friend, Santoro and his staff demand truth.
When Aisle Say recently attended a rehearsal, Santoro was far from kissy-kissy on those who had not studied or considered their character fully. Sometimes stern, sometimes edgy, but always loving, he counseled the young actors in fulfilling their characterization.
Cassidy Bonilla, who this year graduated from Cab Calloway and last year played Fantine in “Les Mis,” plays Anita.
“I attended Cab for I love theatre. We had wonderful shows there. But All State Theatre is an entirely different level. It is a great honor to be in these productions. What I have learned from Jeff and (assistant director) Deb Johnson, I will remember as long as I live.”
Thursday, June 4, 2009
Does Delaware need WHYY's "Delaware Tonight"?
Walter Cronkite said it best two decades ago: “Local TV news is irrelevant.” The man was a seer. He must have been talking about WHYY's “Delaware Tonight.”
Cronkite, of course, was speaking to a national audience about inconsequential teasers such as, “stay tuned for the update on the house fire,” and “latest video of theft of corner bodega” by glamorous and obsequious anchors alike.
Do we really need “Delaware Tonight?” It would not be so bad if this public broadcasting station out of Philly was self supporting, but they receive $500,000 from the state of Delaware for operations.
In this economy, that is difficult to justify.
After much ballyhoo for the Dover satellite station to open five years ago at a cost of $1 million, this facility is rarely used, and the promise to video live legislative sessions is rarely achieved.
News agencies should give us the power to make informed decisions and provoke us to action, but news from “Delaware Tonight” is boilerplate stuff.
Aisle Say spent three torturous afternoons watching Delaware Tonight at 5:30 p.m. The script readers appear to be the age of student interns and possess the glitz of high school dramatists. Compared to the green screens, smart boards and multiple camera angles of other networks, the production values were laughable.
On the cultural side, one former anchor responded in a recent letter to the editor that WHYY delivers “unparalleled cultural arts information to the state.” I am not sure the galaxy in which this individual lives, but I beg to differ. Over two decades, I have attended hundreds of arts-related functions of every genre, and if WHYY attended 10 percent of these functions, I would be surprised.
Moreover, they have been completely MIA since opening the Delaware satellite.
But at least one person is happy: WHYY CEO Bill Marrazzo.
In 2007, Marrazzo's overall salary package came in at $740,000, making him the country's highest paid local public broadcasting executive, when WHYY is by no means the largest public broadcasting market.
Marrazzo's smarmy statement on the reduction of his overall compensation this year was delightfully magnanimous: “These economic conditions made it a simple decision.” What a sacrifice, guy. Just the kind of news we want to hear. His 6 percent pay raise (to $528,800) came to light a few weeks after 16 full time employees were laid off to save $1.2 million.
This year, fully one-quarter of WHYY's expenses -- $7.2 million -- is devoted to fund raising. We should pay $150 for for CD's of big bands when they can be downloaded for $25?
Why should we fund Delaware WHYY at all? “The Most Trusted Man in America” had it right. Let's put the money into something that actually produces benefit for the state. We can still turn to Channel 12 for programs and derive benefit without the pain.d
Cronkite, of course, was speaking to a national audience about inconsequential teasers such as, “stay tuned for the update on the house fire,” and “latest video of theft of corner bodega” by glamorous and obsequious anchors alike.
Do we really need “Delaware Tonight?” It would not be so bad if this public broadcasting station out of Philly was self supporting, but they receive $500,000 from the state of Delaware for operations.
In this economy, that is difficult to justify.
After much ballyhoo for the Dover satellite station to open five years ago at a cost of $1 million, this facility is rarely used, and the promise to video live legislative sessions is rarely achieved.
News agencies should give us the power to make informed decisions and provoke us to action, but news from “Delaware Tonight” is boilerplate stuff.
Aisle Say spent three torturous afternoons watching Delaware Tonight at 5:30 p.m. The script readers appear to be the age of student interns and possess the glitz of high school dramatists. Compared to the green screens, smart boards and multiple camera angles of other networks, the production values were laughable.
On the cultural side, one former anchor responded in a recent letter to the editor that WHYY delivers “unparalleled cultural arts information to the state.” I am not sure the galaxy in which this individual lives, but I beg to differ. Over two decades, I have attended hundreds of arts-related functions of every genre, and if WHYY attended 10 percent of these functions, I would be surprised.
Moreover, they have been completely MIA since opening the Delaware satellite.
But at least one person is happy: WHYY CEO Bill Marrazzo.
In 2007, Marrazzo's overall salary package came in at $740,000, making him the country's highest paid local public broadcasting executive, when WHYY is by no means the largest public broadcasting market.
Marrazzo's smarmy statement on the reduction of his overall compensation this year was delightfully magnanimous: “These economic conditions made it a simple decision.” What a sacrifice, guy. Just the kind of news we want to hear. His 6 percent pay raise (to $528,800) came to light a few weeks after 16 full time employees were laid off to save $1.2 million.
This year, fully one-quarter of WHYY's expenses -- $7.2 million -- is devoted to fund raising. We should pay $150 for for CD's of big bands when they can be downloaded for $25?
Why should we fund Delaware WHYY at all? “The Most Trusted Man in America” had it right. Let's put the money into something that actually produces benefit for the state. We can still turn to Channel 12 for programs and derive benefit without the pain.d
Subscribe to:
Posts (Atom)
