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.
Tuesday, June 30, 2009
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
Wednesday, May 27, 2009
Forbidden Brdway at The Walnut in Philly
We are thrilled when a local boy makes good. Sonny Leo, son of Wilmington's legendary dance teacher Anna Marie -- and triple threat performer in his own right -- is starring in The Walnut Street Theatre's "Forbidden Broadway's Greatest Hits."
Sonny and his colleagues were well chosen for this irreverently funny show. It is well worth the drive.
About Forbidden: more than three decades ago, a clever New York wordsmith named Gerald Alessandrini had a novel idea -- to create a show parodying Broadway's memorable tunes and personalities. It became an overnight sensation with both insiders and aficionados.
Broadway greats like Rodgers & Hammerstein, Porter and Sondheim wrote shows with particular vocal skill sets in mind, so Forbidden -- which slices and dices the likes of “Spamalot,” “Chicago,” “Rent” and “Mamma Mia” -- includes many genres and its actors must be ambidextrous in their vocal and acting styles. Thus, each are handed prospects for a tour de force performance.
A taste: “On My Phone” is a takeoff of "Le Mis'" song “On My Own,” telling the sad tale of a bored cast member stranded on the battlements for a half hour and sneaks a call to a friend on her cell phone while playing dead. Thus, Les Mis producer, Cameron Macintosh, was lampooned as the ultimate huckster for marketing every conceivable commercial item from the show (Aisle Say wagers he made more money on the forlorn little waif t-shirt than ticket sales).
Another taste, featuring our own Sonny: in the '60s and '70s two Hispanic singer dancers, Chita Rivera and Rita Moreno were Broadway stars. Rivera played Anita in the stage “West Side Story” and Rita did the role in the movie, and people constantly confused one with the other. The song “Chita and Rita” sprang from this, and Sonny turned a compelling Chita in drag...or was he Rita?
Sonny also delivered brilliantly at Tevye in “Ambition,” a “Tradition” takeoff and as a cute white pussy in “I Enjoy Being a Cat,” a dual parody of both “Cats” and the song from R& H's “Flower Drum Song,” “I Enjoy Being A Girl” -- the anthem that makes feminists shoot smoke from their ears.
Each of the actors had their moments. The versatile Marcus Stevens was haunting as the Phantom. Ellie Mooney's as La Barbra had both voice and distinctive mannerisms down.
Jennie Eisenhower was drop dead hysterical in her overly red-lipsticked, saucer-eyed, cavernous-mouthed representation of Carol Channing -- the "Hello Dolly" performer turned talk show junkie (if one celebrity qualifies as being a caricature of herself, it must be Channing). My fave, though, was Eisenhower's spot on cocaine-induced “Johnny One Note” re-creation of Liza Minnelli. Throughout the tune, she stopped singing to remind the audience that her mother was Judy Garland and had been Dorothy in “Wizard of Oz,” “Did you know that?”
Walnut Street Theatre is celebrating its 200th anniversary this year. Edwin Booth, brother of John Wilkes, played The Walnut. As a certified Broadway junkie, Aisle Say must comment on the cover page of the program by Al Hirschfeld, the NY Times caricaturist whose eight decade career immortalized him on the Great White Way. The shows and performers burlesqued in this current rendition are pictured. Hirschfeld's art style is unique, and he is considered to be one of the most important figures in contemporary caricature.
The show runs through June 28. For more tickets and times, visit WalnutStreetTheatre.org or call (215) 574-3550.
Sonny and his colleagues were well chosen for this irreverently funny show. It is well worth the drive.
About Forbidden: more than three decades ago, a clever New York wordsmith named Gerald Alessandrini had a novel idea -- to create a show parodying Broadway's memorable tunes and personalities. It became an overnight sensation with both insiders and aficionados.
Broadway greats like Rodgers & Hammerstein, Porter and Sondheim wrote shows with particular vocal skill sets in mind, so Forbidden -- which slices and dices the likes of “Spamalot,” “Chicago,” “Rent” and “Mamma Mia” -- includes many genres and its actors must be ambidextrous in their vocal and acting styles. Thus, each are handed prospects for a tour de force performance.
A taste: “On My Phone” is a takeoff of "Le Mis'" song “On My Own,” telling the sad tale of a bored cast member stranded on the battlements for a half hour and sneaks a call to a friend on her cell phone while playing dead. Thus, Les Mis producer, Cameron Macintosh, was lampooned as the ultimate huckster for marketing every conceivable commercial item from the show (Aisle Say wagers he made more money on the forlorn little waif t-shirt than ticket sales).
Another taste, featuring our own Sonny: in the '60s and '70s two Hispanic singer dancers, Chita Rivera and Rita Moreno were Broadway stars. Rivera played Anita in the stage “West Side Story” and Rita did the role in the movie, and people constantly confused one with the other. The song “Chita and Rita” sprang from this, and Sonny turned a compelling Chita in drag...or was he Rita?
Sonny also delivered brilliantly at Tevye in “Ambition,” a “Tradition” takeoff and as a cute white pussy in “I Enjoy Being a Cat,” a dual parody of both “Cats” and the song from R& H's “Flower Drum Song,” “I Enjoy Being A Girl” -- the anthem that makes feminists shoot smoke from their ears.
Each of the actors had their moments. The versatile Marcus Stevens was haunting as the Phantom. Ellie Mooney's as La Barbra had both voice and distinctive mannerisms down.
Jennie Eisenhower was drop dead hysterical in her overly red-lipsticked, saucer-eyed, cavernous-mouthed representation of Carol Channing -- the "Hello Dolly" performer turned talk show junkie (if one celebrity qualifies as being a caricature of herself, it must be Channing). My fave, though, was Eisenhower's spot on cocaine-induced “Johnny One Note” re-creation of Liza Minnelli. Throughout the tune, she stopped singing to remind the audience that her mother was Judy Garland and had been Dorothy in “Wizard of Oz,” “Did you know that?”
Walnut Street Theatre is celebrating its 200th anniversary this year. Edwin Booth, brother of John Wilkes, played The Walnut. As a certified Broadway junkie, Aisle Say must comment on the cover page of the program by Al Hirschfeld, the NY Times caricaturist whose eight decade career immortalized him on the Great White Way. The shows and performers burlesqued in this current rendition are pictured. Hirschfeld's art style is unique, and he is considered to be one of the most important figures in contemporary caricature.
The show runs through June 28. For more tickets and times, visit WalnutStreetTheatre.org or call (215) 574-3550.
Friday, May 15, 2009
The Commercial Greening of the World
The twisted troglogdyte rant that global warming is a ruse has about as much credibility as Bristol Palin's call for abstinence when the 19-year-old unwed mother said, “abstinence is the only 100 percent way to prevent pregnancy.”
The diminishing cabal who rails against global warming, like Noah Robinson, an Oregon Institute of Science and Medicine professor who preaches 100 percent abstinence from climate change initiatives, assert that research does not show human use of hydrocarbons is harmful. To the contrary, they claim, increased atmospheric carbon dioxide is helpful (Yeah, great fun for marathon runners at the Beijing Olympics).
Last week, I reported on the state of Wilmington conference. While Aisle Say hopes Wilmington may be deemed “World Class,” that approbation is still down the yellow brick road.
One panel member, Scott Johnson of the development and real estate company McConnell Johnson, is a visionary for the greening of the world. With this company's innovations, we may arrive at the Emerald City before submersion of our coasts by melting ice packs.
Like any owner, they sought to cut energy costs. This financial interest, allied with their own passion, led to SolarDock.com, a subsidiary company that installs a patented solar electric roof racking system.
Ironically, they were the landlord for Astro Power, one of the first U.S. solar companies that went under, and Johnson realized Astro Power's mission and made it his own.
Saab Sports Car Service in Wilmington installed the system last year. Half the cost was covered by state grants. The feds kicked in as well. Today, the SolarDock is generating 80 percent of the company's electricity. Bottom line, Saab will have its investment returned in five years, will bid sayonara to electric bills and, in fact, will be selling electric back to Delmarva. The pollution reduction will be the equivalent of 3 million vehicle miles.
The company is expanding exponentially globally, growing 350 percent this year alone from last.
Astra Zeneca on Concord Pike has a modular installation. SolarDock's biggest is in Madrid at the headquarters of Otis Elevator.
Flat roofs are necessary, so SolarDock deals in commercial only.
The company has resolved many of the issues that were problematic with solar installations, including creating a modular system such that a commercial owner can add photo voltaic cells as the need arises, engineering a mounting system that does not penetrate a roof and violate its warranty and angling the modes so that ice and snow do not stick and reduce electrical production.
All this makes for a low maintenance, high return product that protects our environment.
American innovation has continually led the world. One reads of a daunting issue and considers that someone or some company will come up with a resolution. It appears SolarDock is just one of these valuable – and world class – American success stories.
The diminishing cabal who rails against global warming, like Noah Robinson, an Oregon Institute of Science and Medicine professor who preaches 100 percent abstinence from climate change initiatives, assert that research does not show human use of hydrocarbons is harmful. To the contrary, they claim, increased atmospheric carbon dioxide is helpful (Yeah, great fun for marathon runners at the Beijing Olympics).
Last week, I reported on the state of Wilmington conference. While Aisle Say hopes Wilmington may be deemed “World Class,” that approbation is still down the yellow brick road.
One panel member, Scott Johnson of the development and real estate company McConnell Johnson, is a visionary for the greening of the world. With this company's innovations, we may arrive at the Emerald City before submersion of our coasts by melting ice packs.
Like any owner, they sought to cut energy costs. This financial interest, allied with their own passion, led to SolarDock.com, a subsidiary company that installs a patented solar electric roof racking system.
Ironically, they were the landlord for Astro Power, one of the first U.S. solar companies that went under, and Johnson realized Astro Power's mission and made it his own.
Saab Sports Car Service in Wilmington installed the system last year. Half the cost was covered by state grants. The feds kicked in as well. Today, the SolarDock is generating 80 percent of the company's electricity. Bottom line, Saab will have its investment returned in five years, will bid sayonara to electric bills and, in fact, will be selling electric back to Delmarva. The pollution reduction will be the equivalent of 3 million vehicle miles.
The company is expanding exponentially globally, growing 350 percent this year alone from last.
Astra Zeneca on Concord Pike has a modular installation. SolarDock's biggest is in Madrid at the headquarters of Otis Elevator.
Flat roofs are necessary, so SolarDock deals in commercial only.
The company has resolved many of the issues that were problematic with solar installations, including creating a modular system such that a commercial owner can add photo voltaic cells as the need arises, engineering a mounting system that does not penetrate a roof and violate its warranty and angling the modes so that ice and snow do not stick and reduce electrical production.
All this makes for a low maintenance, high return product that protects our environment.
American innovation has continually led the world. One reads of a daunting issue and considers that someone or some company will come up with a resolution. It appears SolarDock is just one of these valuable – and world class – American success stories.
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