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“We Need To Talk About Kevin” Opens Friday at THE NEON!

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Hello Everyone,

Tilda Swinton was robbed!  One of the most disappointing omissions from this year’s Oscar nominations was Swinton’s performance in WE NEED TO TALK ABOUT KEVIN.
After several months of playing the trailer, a print is available and we’re finally able to open this chilling, masterfully crafted film.
In addition to opening KEVIN, we will hold JEFF WHO LIVES AT HOME (which had a fantastic weekend) and one screening per day of THE RAID: REDEMPTION.

Synopsis for WE NEED TO TALK ABOUT KEVIN: “We Need to Talk About Kevin explores the factious relationship between a mother and her evil son. Tilda Swinton plays the mother, Eva, as she contends for 15 years with the increasing malevolence of her first-born child, Kevin. Based on the best-selling novel of the same name, We Need to Talk About Kevin explores nature vs. nurture on a whole new level as Eva’s own culpability is measured against Kevin’s innate evilness.” (taken from Oscilloscope Laboratories) This film also stars John C. Reilly and Ezra Miller.
Click this LINK to visit the official site.

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“In celebration of National Record Store Day, GHETTOBLASTER MAGAZINE will be hosting a special screening of EMPIRE RECORDS on Saturday, April 21 at 10:15pm. In addition to the movie we’ll be giving away two tickets for this year’s Nelsonville Music Festival and all proceeds will go toward 2012’s Dayton Music Fest. Dayton MostMetro.com is the media sponsor for Record Store Day and other events that day include music trivia at Blind Bob’s from 4-6pm, live music throughout the day at Omega Music, Record Gallery and Feathers in the Oregon District and Toxic Beauty in Yellow Springs (Omega and Toxic will also be selling special RSD releases) and many local businesses will be offering discounts with a shown receipt from one of our local record stores.” (taken from press notes) Tickets for this event will be just $6 each (and only $4 each if you have a receipt from one of the local, indie record stores). Tickets will only be available on the night of the screening.

The banner just went up in our lobby for the 12th Dayton Jewish International Film Festival. This wonderful, international film festival has a focus on the lives and issues of Jewish people, but it’s open the community and essential viewing for those who love good cinema. The following is a list of films that will screen at THE NEON:
Sun, Apr 29 at 5:15 – EICHMANN’S END: LOVE, BETRAYAL, & DEATH
Tues, May 1 at 9:30am – DAVID
Thurs, May 3 at 7:10 – REUNITING THE RUBINS
Sun, May 6 at 2:50 – SHOLEM ALEICHEM: LAUGHING IN THE DARKNESS
Sun, May 6 at 7:10 – KADDISH FOR A FRIEND
Tue, May 8 at 7:10 – SALSA TEL AVIV
Thur, May 10 at 7:10 – BERLIN 36
For the complete line-up of films and ticket details, check out our feature article here.

For those of you who use Facebook, we finally have an actual page…not just a “group” page. We will soon be fazing out the old group, so please LIKE us by visiting our page – which now has a very easy address: www.facebook.com/neonmovies

For remaining showtimes for this week – including details about tomorrow’s premiere (4/19) of OBSCURA – visit our site.

Thanks for your continued support.
We hope to see you soon,
Jonathan

P.S.  Below is a picture I took at the 2011 Toronto International Film Festival.  In addition to a Q&A, I was able to attend a 90-minute conversation with Ms. Swinton.  It was divine!  (Pictured: director Lynne Ramsay, Tilda Swinton, Ezra Miller)

SHOWTIMES for Fri. April 20 – Thur. April 26:

JEFF WHO LIVES AT HOME (R) 1 Hr 23 Min
Friday: 1:00, 3:10, 7:20, 9:20
Saturday: 1:00, 3:10, 7:20
Sunday: 1:00, 3:10, 7:20, 9:20
Monday – Thursday: 3:10, 7:20

THE RAID: REDEMPTION (R) 1 Hr 41 Min
Friday – Thursday: 5:15

WE NEED TO TALK ABOUT KEVIN (R) 1 Hr 51 Min
Friday, Saturday, Sunday: 12:20, 2:40, 5:00, 7:30, 9:50
Monday – Thursday: 2:40, 5:00, 7:30

EMPIRE RECORDS (PG-13) 1 Hr 47 Min
Saturday: 10:15pm

COMING SOON:
As always, all dates are tentative.
Many of these dates will change.
In some rare cases, titles may disappear.
April 27 FOOTNOTE
May 4 JIRO DREAMS OF SUSHI
May 11 DAMSELS IN DISTRESS
May 25 DARLING COMPANION
May 25 THE BEST EXOTIC MARIGOLD HOTEL
June 1 SOUND OF MY VOICE
July ? BEASTS OF THE SOUTHERN WILD
July ? TO ROME WITH LOVE

Son of Ohio Shock: Part 2 of a History of Horror Hosting in the Buckeye State

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Editor’s note:  The piece was submitted by Matthew Brassfield, a local filmmaker and the writer, director and producer of Baron Von Porkchop’s Terrifying Tales of the Macabre.

I wrapped up my first article, Ohio Shock, at the beginning of the 80’s and presented hosts like the Ghoul, Dr. Creep, Mad Daddy, Fritz The Nite Owl and many more. Now it’s time to explore the next batch of hosts that kept the 80’s to present day scary for Ohioians.

Phil Chandler

In Ohio Shock we spoke about the Shock Package, a group of Universal Films that helped spawn the Horror Host genre into entertainment the whole family could watch. In 1958 a second package was released called “Son of Shock” that not only showcased horror from Universal Pictures but also Columbia Pictures, expanding the catalog of films stations and hosts could show. This new package brought new films to TVs across America and inspired new hosts with new shows. Most modern horror hosts show public domain horror, sci-fi and fantasy films and sometimes independent films made by upcoming directors.

Phil Chandler

Before we move on to the 1980s, I wanted to highlight a local host from the 70s that I just recently became aware of. Phil Chandler hosted “Friday Fright Festival” in the early 70’s in Dayton, Ohio and was Dr. Creep’s competition for a time. Phil, who was a vampire type character, would host cheesy movies late nights and was joined by side characters that included a Frankenstein monster and werewolf, both of whom had funny quirks. Phil was also a brilliant illusionist went on to become a ringmaster in the circus. His show’s side characters went on to make numerous appearances on Shock Theater with Dr. Creep. As of this point I am not aware of any surviving footage from his show.

The Cool Ghoul II

The Cool Ghoul II

In 1972, The Cool Ghoul’s run came to an end, and fans would have to wait until 1984 for a second wacky version of the host to hit TV sets with “Thriller Theatre” that aired in Akron. While The Cool Ghoul II also did a show in Canton in 1970, it was his second run that made him popular and turned this second incarnation of the Cool Ghoul into a first rate host. His show ended in 1986, but in subsequent year he was brought back to host Halloween specials and appear at charity events like the Jerry Lewis Telethon. The Cool Ghoul II would also go on to become the Cyber Cool Ghoul when he began hosting an online show. While not as iconic as the original, the second Cool Ghoul was a character all to himself and had a wacky style that got him a solid following. Some of his episodes can be found on trade lists and online.

Son of Ghoul

Son of Ghoul

The Son of Ghoul has been a mainstay on Cleveland television sets since 1986 when he took over the The Cool Ghoul II’s timeslot and began the “Son of Ghoul Show.” The Son of Ghoul was a stylistic mix of Ghoulardi and The Ghoul and was given the name “Son of” by The Ghoul himself when he won a look alike contest. Son of Ghoul would change up his image before hitting the airwaves by adding sunglasses, a top hat and cape to the fake goatee of his mentors. But things turned sour between Son of Ghoul and The Ghoul leaving the hosts at odds with each other and splitting what could have been a very powerful friendship. The Son of Ghoul would not let this get him down as he became yet another horror host icon from Cleveland, eventually becoming so popular that the station had him host a call in-game show. The Son of Ghoul’s hosting style is much like The Ghoul’s: adding sound effects and music to the films to spice them up. His co-hosts, The Fidge (who sadly passed away in 2003) and Jungle Bob, also ended up being just as popular as the Son of Ghoul himself. In 2012 Son of Ghoul is still going strong and is a respected member of the host community. You can find his shows on DVD at his official website.

Frank and Drac

Frank and Drac

Two classic monsters would hit Cleveland in 1987 when Frank and Drac unleashed “The Frank and Drac Show” proving that ghouls love film. Every week they would meet up to host a horror film, spouting facts about the movie and cracking wise on each other. Drac would talk in your typical Transylvania accent as Frank had an almost Curly from the Three Stooges sounding voice, making then a fun pair. The show was a hit and gained high ratings during its one year run. The final episode aired in 1988 due to the ghouls not seeing eye to eye with station higher ups. You can find clips of Frank and Drac on YouTube and episodes on trade lists.

A. Ghastlee Ghoul

A. Ghastlee Ghoul

When Dr. Creep went off the air in 1985, Dayton was left without a horror host. That void was filled in 1989 when A. Ghastlee Ghoul wisecracked his way into the spot with “The Ghastlee Movie Show” and became a beloved late night horror host. Ghastlee, who didn’t always host movies, had a show that more skit-based based and on occasion would show a film that he would wisecrack through or even add himself into. Ghastlee’s style would capture younger and older viewers who watched to see what The Ghastlee One would say next. His style also influenced other horror hosts such as Dr. Freak, who you’ll read about in a bit. Ghastlee would go on to host his show for many years and also co-create the Horrorhost Underground, a resource for hosts and fans around the world. At first Ghastlee wore a black duster, black clothes, gloves and white face paint with a unibrow. Later he would turn in the duster for a custom long red coat and signature hat. The Ghastlee Movie Show still airs and has new episodes from time to time as Ghastlee now also hosts on a YouTube show called “Weird Web Theater.” Ghastlee is also known for his 2004 convention, Scary Camp, and for playing music in and around Dayton. To see Ghastlee’s work you can buy his best of from him and see clips on YouTube.

Dr. Shock

Dr. Shock

“Dr. Shock’s X-Ray Chiller Theatre” was a Toledo show hosted by, you guessed it, Dr. Shock. The program started in 1989 and was cancelled in 1992 when the station, who was a Fox affiliate, decided to show late night infomercials instead. This did not stop the Dr. as he then went on to host independent films that were released on VHS and later DVD. Currently Dr. Show is off the air and his hosting direct to video films days are over, but his zany off the wall humor has touched many fans. You can find Dr. Shock hosting independent films on his website and watch clips online.

Billy Black

Billy Black

One part horror host and one part Andrew Dice Clay sums up Billy Black who brought “Hott Sinema” to Columbus in 1992. Billy Black, who really knew his films, would his time on air in a bar talking to his bartender friend and telling jokes as local strippers would dance in between segments. The show was a racy twist on hosting and was clearly more for adults than kids. Billy’s run was short and his impact not as powerful as the hosts before him, but to his fans he was one cool cat with one wild show. Clips of his show can be found online.

Commandant Gore

Commandant Gore

In 2000, the Centerville/Dayton area met Commandant Gore. Along with his sidekicks, he hosted a show called “Gorevision” and would show clips of things sure to make most viewers’ stomachs turn. Commandant’s show would be on and off for some years and would remain a rather underground show. While his gory visions have been off the air for some years now, those who spent time watching Commandant remember a bloody strange time. The Commandant’s are out there for the finding, but are not widely available.

Dr. Freak

Dr. Freak

The world’s youngest horror host, Dr. Freak (who was 14 when he started) brought his “Cult Theater” to Dayton airwaves for only three episodes during its first run in 2000. But he also made a number of appearances on other host programs such as New Shock Theater with Dr. Creep and The Ghastlee Movie Show hosted by A. Ghastlee Ghoul. Dr. Freak would also go on to star in his own movie called “Dr. Freak Vamp Killa,” directed by Henrique Couto and “Joe Nosferatu: Homeless Vampire,” directed by Bob Hinton keeping the young host active for the time. Dr. Freak would also make appearances at Cinema Wasteland and Horrorama Dayton. Dr. Freak’s style was a mix of old school hosting with a youthful twist, making for some interesting episodes. As of late, Dr. Freak has made a small return as he guest stars on Terrifying Tales of the Macabre (hosted by Baron Von Porkchop), and Cult Theater has returned for an episode on Dayton’s first Scare-A-Thon. So we just may be seeing more of him in the coming years. His episodes have been released on DVD and are hard to find nowadays, but are around for the fan who looks hard enough.

Butch R. Cleaver

Butch R. Cleaver

Butch R. Cleaver is a 1959 man stuck in modern times after an accident left him and his wife stranded in 2003. Every week Cincinnati fans can watch “Meet Cleaver Theatre” to find out what this old horror buff thinks of films he missed in the 50 years he skipped. Butch spends his time hosting movies and working in his lab doing zany experiments, making him a fan favorite. Butch is a classic host with a modern show that’s great to enjoy in the late hours. Butch R. Cleaver, who must wear his 3-D Glasses at all times to see properly, has slowed down as of late and with fewer episodes and public appearances in 2011, leaving fans hoping that Butch and Meet Cleaver Theatre will be back soon in full force. Episodes can be found at his public appearances, on trade lists and online.

The Mortician

The Mortician

The Mortician is a hulking skeleton faced man who took pride in his work of cutting bodies and hosting films on “The Mortician’s House of Fear” that started in 2003 and aired in Brunswick. Every week viewers would watch as he went to work on the dead body and talked about the films as heavy metal music played in the background. The show’s segments were shot as if on scratchy old film, and this added a great spooky feel to the show. While his House of Fear has been off the air for many years now, the Mortician certainly made his mark in Ohio hosting history. His show can be found on DVD via his website and at some online rental stores.

Tarr & Fether

Tarr & Fether

In 2004 Dr. Tarr and Professor Fether opened up the asylum doors to Liberty City viewers with their “Psycho Cinema,” and the madness of the two crazed loonies was unleashed. The pair would make up fake products, do skits and even look for local monster legends giving viewers laughs and adventure. The pair, who have been missing for some time, have hinted at a return giving fans something to look forward to. Tarr and Fether’s hosting style is very classic, and the two speak in almost proper English accents giving the show an old time feel. Both share the names of characters from an old Edger Allen Poe short story, making you wonder if these ghouls were the ones Poe wrote about. They also had a great opening sequence which resembled an original Sony Playstation video game. DVDs of their show can be bought at their official website and clips can be found on YouTube.

Dale Kay

Dale Kay

Dale Kay is the host of “Dale Kay’s Spookshow,” a Cleveland show that started in 2007 and is an old school horror host show that’s safe for the young and the young at heart. Dale, who was inspired by The Ghoul, hosts films and fills the time with skits parodying popular genre films and products. Dale and his Spookshow are still going strong and can also be seen on The Monster Channel (www.100ymm.com), a website that showcases all things horror including many horror host programs. Dale Kay’s shows can be inquired about via his Facebook page.

Iris and Reina

Iris & Retina

Two cool cats rocked their way into Dayton host history when Iris and Retina began “Mondo Smash A’ Go Go” in 2008. The pair hosts from their living room and shares a deep knowledge of the films they are watching alongside you. During break segments Iris & Retina will teach you to cook, host a dance contest or visit a local coffee shop making you feel the overall smooth vibe of the show. Their laid back nature is very much in the vein of Fritz The Nite Owl. As of late 2011, Iris & Retina have made a new episode that premiered before Dayton’s first Scare-A-Thon, and are slated to be on a future episode of Baron Von Porkchop’s Terrifying Tales of the Macabre. At times, you can catch them at surf rockers Team Void’s concerts. Episodes can be bought at Game Swap in Kettering and can been seen via YouTube.

Baron Von Porkchop

Baron Von Porkchop

In late 2010, Baron Von Porkchop was dug up from his grave and began hosting “Terrifying Tales of the Macabre” in Dayton. The Baron is an undead ghoul from the 1800’s who used to own slaughter houses that all went belly up. Now alongside his wife and a team of sidekicks, the Baron brings viewers classic horror films along with independent features. While the films on the show are not always, the Baron’s segments are kid friendly and are geared for fans of horror hosts from the 60’s-80’s, and his goofy nature has gained him a growing fan base. The Baron, who just wrapped his second season, has also hosted his own concert event called The Baron’s Ball at Gilly’s Jazz Club and has made appearances at Horrorhound Weekend, Cinema Wasteland, WYSO’s Kaleidoscope and Horrorama Dayton. The Baron also loves to bring host friends onto his show and has featured cameos from hosts such as A. Ghastlee Ghoul, Dr. Freak, Sammy Terry (Indiana), Count Gregula (Chicago) and more. The Barons shows can be bought at Game Swap in Kettering and online.

Dr. Dark

Dr. Dark

Imagine if Elvira Mistress of the Dark and Dr. Creep spawned an offspring that was a phantom and you would have Dr. Dark of “After Dark Theater” that began airing in Greenville in 2011. Despite being a phantom, Dr. Dark is a gentle undead soul who brings viewers classic public domain films alongside his own brand of comedy. While fairly new to hosting, Dr. Dark seems to be gaining a fan base based in and around his viewing area. Dr. Dark has also made some public appearances that include Horrorhound Weekend and the A. Ghastlee Night at Gillys concert. Dr. Dark also does many charity events and even does a kid friendly version of Robot Chicken for his public access station. His show can be seen on TV with future DVDs planned.

Susie D. Rott

Susie D. Rott

Susie D. Rott is a undead bride who hosts “Susie D. Rott’s Warehouse of Terror” in Hamilton. Her journey to bring the viewers the best (or is that worst) in public domain and independent films started in 2011 and is still going strong as of early 2012. Susie is joined in her warehouse by her director and a lot of sidekicks. Susie is a sweet undead woman who enjoys sharing her films and her warehouses with viewers. While a new face in the world of hosting, Susie could quickly earn a place in Ohio hosting history. Susie’s shows can be seen on the Monster Channel and clips are online.

And there you have some of the ghouls and bad movie historians that have and are haunting Ohio airwaves. Ohio has always been a mecca for horror hosts and has some of the world’s best fans who stand by and support their favorite late night hosts. But we aren’t the only ones. There are many states with amazing hosts: Indiana has Sammy Terry of Nightmare Theater, Iowa has Marlena Midnite of Midnite Mausoleum, Pennsylvania has Roxsy Tyler of Carnival of Horrors and so on in every state.

If you want to learn more about horror hosting, check out websites like

The Horror Host Graveyard

Egor’s Chamber of Horror Hosts

G.O.T.H.I.C.

Terror From Beyond The Daves

Also check out documentaries like American Scary directed by John E. Hudgens, Virginia Creepers by Sean Kotz & Christopher Valluzzo and Every Other Day’s Halloween by C.W. Prather. The book Television Horror Movie Hosts by Elena M. Watson is worth a read.

This closes our exploration of Ohio horror hosting for now.  But as new hosts pop up or old ones come to my attention, I will be more then happy to bring you another installment of this article, The Bride of Ohio Shock. So until next time, stay scary and keep on watching.

Special thanks to: Juliet Fromholt, Art Bausman, Bob Hinton, the late Barry Hobart, Stephen Alexander II, Richard Martin, Norman & Sue Brassfield, Jason Hignite and Bryan Brassfield for their help with this article.

-Matthew Brassfield

Jazz at Lincoln Center Orchestra with Wynton Marsalis Comes To Dayton

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Dayton is in for a world-class performance when Cityfolk and the Victoria Theatre Association bring the Jazz at Lincoln Center Orchestra with Wynton Marsalis to the Schuster Center on Wednesday, April 25. A bright, briliant big band boasting 15 of the most talented and accomplished players in modern jazz, the JLCO will present an evening of sparking original works and familiar gems.

Saxophonist Ted Nash will be returning to Dayton for the first time since the late 1980s, when he led a combo booking at the old Nite Owl bar in the Oregon District (where Blind Bob’s currently resides).

Ted Nash

“I’ve been with the band since 1998,” he said of the JLCO. “I was doing a recording with [pianist] Marcus Roberts, who was in Wynton’s group back in the ‘80s. Wynton came to the session as a guest, just to wathc, and he heard me playing clarinet. He introduced himself and ended up calling me a few times for some gigs and an album. A few years later, an opening came up for an alto saxophone chair in the Lincoln Center band, and I’ve been there since.”

Nash is fortunate to be part of not one, but two great musical legacies: as well as being a member of JLCO, he is the son of trombone legend Dick Nash and nephew of saxophone great Ted Nash, after whom he is named. The Nash brothers were two of the West Coast’s greatest session sidemen for decades, with both their roots reaching back into the big band era.

Dick Nash played trombone for just about every great Golden Era jazz artist imaginable, beginning with Tex Beneke’s big band (spun off from Glenn Miller’s after Miller’s disappearance) and collecting work alongside names like Ella Fitzgerald, Count Basie, June Christy, Art Pepper, Oscar Peterson, Pete Fountain, Lena Horne, and Frank Sinatra, among countless others. The Nash brothers also played on almost all of Henry Mancini’s film soundtracks and studio albums from the late 1950s on, beginning with the famous Mr. Lucky and Peter Gunn recordings. In their honor, the younger Ted Nash recorded The Mancini Project in 2008.

“He was a master of creating an ambience, an environment,” Nash said of Mancini. “I loved the movie The Great Race when I was a kid. I was six when it came out, and my father had solos throughout the score, and we went and saw the movie and then played the album at home, so that kind of music had a big impact on me. Later, it seemed like a natural idea–my father and uncle had this long association and I could make a tribute of it.”

“Music was a great influence they both had on me,” he said, “but more than that, they taught me to trust my decision to be a musician. They were very supportive of me. I never wondered if being a musician would be difficult, and it was a luxury to have that support. My dad would come home from work happy every day. It was a perfect example of someone doing something because they were good at it and loved it. Love always attracts success.”

An elastic composer and arranger whose original songs are as diverse as jazz itself, Nash just last week wrapped a tour promoting his newest album, The Creeper, and was the first JLCO member other than Marsalis to have his original work performed by the JLCO band with the Grammy-nominated Portrait in Seven Shades, an ambitious, gorgeous jazz suite with each movement inspired by a 20th century painter.

Wynton Marsalis

“Wynton came to me out of the blue one day,” he recalled, “and asked me to write a longform piece of music that had a unifying theme. It only took me a couple of days to come up with the idea. I’ve always loved fine art, paintings in particular, and I knew having a different painter represented by each movement would really help with all those parallels in color and texture and layers. Whether we’re musicians or painters or writers or whatever, we’re all artists; we go through the same struggles with success, with creativity, with worrying about if people like what we’re doing. I worked with the Museum of Modern Art, and they were great. They gave me carte blanche to come during off hours so I could stand and look at the pantings for as long as I needed to without having to look over someone’s shoulder. And when we played the pieces live in New York City, many of those pieces were displayed behind us.”

Of the band’s Dayton show, Nash said, “We have ten arrangers and composers in the band, so we have a wealth of things to choose from, both new and original. We’ll probably mix newer material with classics from way back. We did a project recently with Chick Corea, and we arranged all the music for him. He was a bit hesitant about it, wasn’t sure it would come together the right way with all the different arrangers working on it. We showed up for rehearsal, and he kept saying, ‘Oh, man, that’s great! Who did that one?’ We’ll probably play some of those. You’ll hear a cross section of what we consider the best of the best of our repertoire, some traditional music played with a fresh energy as well as some of our more contemporary pieces by people in the band, particularly Wynton.”

“I love being a part of this band,” he said. “It’s big band jazz, so there’s a certain structure there, but we’re a complete band of improvisers, so there’s a lot of spontaneity within the structure.”

 

Jazz at Lincoln Center Orchestra with Wynton Marsalis

Wednesday, April 25, 2012

Schuster Performing Arts Center

Click Here for Tickets

 

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Landscapes Real and Imagined: Dayton Art Institute Exhibition Offers Rare Glimpse of Contemporary Chinese Art (Ticket Contest)

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Maya Lin - "Flow"

(Ticket Contest Details Below)

The Dayton Art Institute’s current special exhibition, Changing Landscapes: Contemporary Chinese Fiber Art, offers a rare look at the world of contemporary Chinese fiber art. It is the first exhibition of contemporary Chinese fiber art to travel outside China, and The Dayton Art Institute is the last of only three U.S. venues to host the exhibition. Changing Landscapes is on view at DAI now through June 17.

Changing Landscapes showcases the work of 48 artists selected from the past five International Fiber Art Biennales, held in China since 2000, which are devoted to innovative and exciting new ideas and thinking in the global field of fiber art.

The exhibition was originally co-curated by Ni Yue-Hong, a professor at the Fiber Arts Institute in China, and Deborah Corsini, curator at the San Jose Museum of Quilts and Textiles in California. Guest curator for The Dayton Art Institute’s presentation is Lisa Morrisette, from the Department of Art and Art History at Wright State University.

The works range from figurative to abstract, two dimensional to sculptural, crafted to conceptual. They vividly demonstrate how contemporary Chinese fiber artists are forging a new aesthetic by synthesizing their own experience with the diverse influences of China’s artistic heritage. The techniques and forms of the artworks include a broad spectrum, from classic tapestry weaving and pile weaving (a rug hooking technique), to embroidery, printing and dyeing, and large-scale constructed sculptural pieces.

"Resplendence"

Traditionally, tapestry has been a transcription of painting, employing yarns like wool, silk, and linen to create two-dimensional wall hangings. Zheng Dan’s tapestry Resplendence is an example of the rich dimensional effects of hand woven tapestry. This triptych has subtle color variations feathered together using a variety of traditional techniques from hatching to knotting. Her curving forms pulsate and softly glow with the addition of metallic fibers.

Many artists utilize more unusual materials, such as metal, wood and plastics. Zhao Dandan, for example, uses stainless steel to create a three-dimensional armature whose shape is reminiscent of a crescent moon or boat. Into this armature she weaves delicate, translucent threads of plastic that both fill and cascade from the belly of the arc.

Increasingly, fiber is simply another medium for artists to express their vision; the material is used to express something beyond the nature of the material. Their approach transforms fibers to articulate a personal artistic viewpoint.

"Memory of August"

The title Changing Landscapes is not just a reference to the outer visible form of the world, but serves as a metaphor for the inner landscape of an artist’s heart and mind. Wang Kai’s Origin of the River, a monumental work that cascades from ceiling to floor, creates both the image and feel of the falls on China’s Yellow River. Bai Xin’s set of corn fiber, pine, and bamboo cubes, Balminess, captures the space and color of fields from her childhood memories. As a subject matter in Chinese art history, landscape dates back to the 7th century. This venerated subject has been used in both painting and poetry to convey social, political, and philosophical views of the world. Transcending the literal, landscape operates on a metaphoric level – the concrete object refers to other things.

Changing Landscapes provides a snapshot of how three generations of artists have used fiber as an expressive media to respond to economic, political, and social changes that have transformed the Chinese landscape over the past decade.

For more, go to www.daytonartinstitute.org/changinglandscapes.

MAYA LIN: FLOW

In conjunction with Changing Landscapes, The Dayton Art Institute is also showing one of Maya Lin’s large-scale installations, Flow.

Lin is perhaps best known for the Vietnam Veterans Memorial in Washington, D.C. She achieved national recognition when, as a 21 year-old senior at Yale University, her design for the memorial was selected from among 1,420 submissions. Since that first work, she has gone on to create numerous public monuments, architecture, earthworks and installations, as well as smaller-scale gallery pieces.

Her work defies categorization. Moving between boundaries, she explores relationships between architecture, sculpture, and landscape, between the natural and the man-made, between science and art. Her inspiration is drawn from a wide range of sources, including geological phenomena and topography, prehistoric earthworks, Japanese gardens, and engineering principals such as fluid mechanics.

Flow embodies landscape, framed within the space of architecture. Thousands of 2 x 4s are cut and stacked on end to create a commanding form whose shape is somewhere between a hill and a wave, the swells of which reach two feet high. Working with industrial materials and abstract forms, Lin evokes the natural rather than man-made. Her work is not a reproduction of landscape; rather it recreates the feeling of landscape. She is interested in the human relation to the environment, translating forms and experience.

The sculpted form of Flow is a static grouping of 2 x 4s, but it implies the movement of the current or the ripple of a wave. It echoes sculpted prehistoric earthworks, such as the Serpent Mound in Ohio, or the topographic lines of a map.

For more, go to www.daytonartinstitute.org/flow. To watch a time-lapse video of Flow’s installation at the museum, click here to visit the DAI’s YouTube page.

Maya Lin’s Flow by the numbers:

Number of crates: 29

Average weight of each crate: 293 lbs.

Total weight: 8,500 lbs.

Average dimensions of crates: 28” x 53” x 48”

Individual 2x4s in Flow: 10,148

Time for 2 art handlers to install: 45 hours

Coffee consumed by art handlers: 256 ounces

HOW TO GO

Tickets include admission to Changing Landscapes, Flow and DAI’s permanent collection. A $1 per transaction Historic Preservation Fee will be added to all ticket sales.

Adults: $12

Seniors (60+), Students (18+ w/ID) & Active Military: $9

Youth (ages 7-17): $6

Museum Members & Children (6 & under): Free

The Dayton Art Institute is located at 456 Belmonte Park North in downtown Dayton, just off Interstate 75. The museum is open Wednesday – Saturday, 10 a.m. – 5 p.m. and Sunday, noon – 5 p.m., with extended hours until 8 p.m. on Thursdays.

(submitted by The Dayton Art Institute)

Ticket Contest!!!

We have three pairs of tickets to this exhibit (a $24 value) and we want to give them to YOU!  So just this article and then fill out the form below – we’ll announce three winners next Monday April 24 after 3pm.  GOOD LUCK!

[form 23 “Contest Entry – DAI Changing Landscapes”]

Urban Arts Showcase Takes the Stage This Friday

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HBO Def Poet Black Ice will headline this Friday's "The Signature: A Poetic Medley Show."

HBO Def Poet Black Ice will headline this Friday's "The Signature: A Poetic Medley Show."

Oral Funk Poetry Productions will launch its fifth season of “The Signature: A Poetic Medley Show” at The Loft Theatre, 126 N. Main St., from 9 to 11 p.m. this Friday, April 20.

The season-opening performance will be a celebration of National Poetry Month. The theme will be Jamaican and Caribbean culture through spoken word, dramatizations, live music, vocalists, visual arts and more.

Featured performers include Tony Award-winning HBO Def Poet Black Ice, who appeared on six seasons of the popular show and starred in Def Poetry on Broadway. He’s lent his voice to hip-hop projects by such artists at Method Man and opened for Mary J. Blige on her 2006 world tour. Black Ice also has appeared on BET’s Live 8 Concert Special, Rap City the Basement and 106th & Park, as well as on NBC’s Showtime at the Apollo.

Joining Black Ice will be singer and poet Scorpio Blues, who also has appeared on HBO’s Def Poetry. Her recent CD, Scorpio Rising, features her soul music and some poetry, while her first CD, Blue Blushin’, was an acclaimed poetry work. In 2006, Scorpio Rising became the first female and the first African-American to win the Ill List Poets championship. She also has her own spoken word and music entertainment, management and promotions company called Hot Water Cornbread.

The Flex Crew Reggae Band, a popular group from Columbus, will perform live music. Its seven members hail from a variety of musical backgrounds, resulting in a versatile and high-energy band with an array of musical styles, including funk, R&B, soul, hip hop and roots reggae. In addition, local spoken word poet I Witness Life will emcee.

Tickets cost $20 and can be purhcased at www.ticketcenterstage.com, by calling 937-228-3830 or at the door.

Poet Scorpio Blues also will perform during The Signature.

Poet Scorpio Blues also will perform during The Signature.

Oral Funk Poetry Productions has partnered with De’Lish Café, 139 N. Main St., for the event. The restaurant, located across the street from the theater, will offer special Jamaican and Caribbean menu items and drinks.

During its first four seasons, “The Signature: A Poetic Medley Show” featured local and national poets, musicians, actors, vocalists, dancers and visual artists presenting numerous forms of self-expression ― often to sold-out crowds.

“We’re so excited to continue producing our show at The Loft Theatre after moving the production to this great venue last year,” said Sierra Leone of Oral Funk Poetry Productions. “This location has more seating for our shows, which often sell out, and has allowed us to kick up the performance a notch thanks to access to more professional production equipment and capabilities in the theater. We also have appreciated the opportunity to work with and learn from the professionals at The Human Race Theatre Company.”

I Was A White Knight…Once

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The Memoir of Comedian, Nathan Timmel

 

“The sun illuminates only the eye of the man, but shines into the eye and the heart of the child”

~Ralph Waldo Emerson

 

            With a creak of the mail slot and a muffled thump on the foyer floor, comedian Nathan Timmel’s memoir, I Was A White Knight…Once, unceremoniously arrived into my life. I picked up the crinkly Fed-Ex package and opened it with a sense of mild trepidation. I gingerly opened the package and inspected not only the contents, but all the cause of these feelings of apprehension, wondering from whence they came. As I explored the possible causes of this feeling, a note fluttered out from between the pages of the book that explained it all. It simply said, “Hey J.T.: Thanks for taking the time to read this – I really hope you enjoy it!”

The trepidation, I realized, came from the nagging possibility that I wouldn’t enjoy it and that it may put me in the precarious position of hurting someone’s feelings, which is something that I try to avoid at all costs. I began to turn the pages while a section of my mind dealt with these possibilities. Imperceptibly, as the words floated by, those alarming arguments that were careening through my brain quelled as I became instantly immersed and enamored with the story of Nathan Timmel’s life. As I stood there turning the pages, I felt a sense of glaring honesty emanating from the narrative. Page seven slammed the door on any niggling  suspicions that may have remained.

Page seven was the beginning of Chapter Two, which was a mere two pages long, but held such brilliant imagery and was so incredibly well written that I not only reread it several times as I stood there, but I have revisited that chapter several times. The chapter is simply titled The Shadow That Shouldn’t Be and relates the account of Nathan attending swimming lessons inWaupaca,Wisconsinwhen he was three years old. One is left with the image of Nathan standing on the edge of the pool, his sagging, soaked swimming trunks dripping onto the rough concrete, a skinny arm outstretched, pointing at a rippling shadow at the bottom of the pool.

While most people would write about such an incident in glaring detail, wringing every conceivable emotion out of it and filling in the blanks with their own perceptions and hindsight, Nathan chose to write about it in the most honest manner: from the perspective of an overwhelmed three year old. The event is painted in that impressionistically hazy hue of all of our childhood memories that are filled with a frenzy of colorfully blurred activity and dreamlike muted sounds with a singular, sharply contrasted snapshot held in time.

The memoir takes us from Nathan’s birth and childhood during the tumultuous time period of the late sixties and early seventies up to the present. Nathan’s parents, young and college educated, married seemingly out of a sense of obligation rather than for emotional reasons. The arrival of Nathan was the inescapable bond that held the marriage together…for a while. Throughout the tales of dysfunction and the ostensible denials that, at once, held the relationship together and tore it apart at the same time, there’s one truth that comes through Nathan’s writing with glaring clarity: perception. Every single one of us, on some scale or another, had a shocking point in our lives when, in dealing and communicating with others, we found that what had been our ‘normalcy’ was, in fact, viewed as insanely dysfunctional or, at best, mildly odd. With no reference point, everything comes down to one perception from whatever point one is standing.

Throughout Nathan’s memoir, the honesty follows through. He presents things as they were, admitting to the things that he has no real clear recollection of or answer to as well as owning the consequences that his own actions have wrought. This is also not a ‘woe is me’ sob story, wherein Nathan tries to foist all of his mistakes and behavior on his upbringing, thereby absolving him of his own responsibilities. This is a glimpse into a life shaped by the experiences, surrounding and subsequent emotions (or lack thereof).

One of the things that I noticed while reading Nathan’s chronicle is that, while it is written in almost chronological order, it is interspersed with interludes that are anecdotal stories of a more recent nature, most of which pertained to his comedy tours in Iraq and Afghanistan as well as a story about a creepy Kathy Bate’s-esque style stalker that he had encountered. If you separate these interludes with the bulk of the memoir, they can almost be seen as being penned by a different hand. No, I am not casting any allegations of plagiarism. I am merely making an observation and one which may have more to do with me projecting my own perceptions about myself onto Nathan’s life.

When you read the interludes, they are written in a very conversational manner. They are very straightforward and contain a certain amount of humor to them. The rest of the memoir that deals with Nathan’s family, childhood experiences and his early travels from home to home, you will see a more carefully crafted account of events and emotions. It is as if there is a separation, a compartmentalization of segments of Nathan’s life; parts that have been boxed up and are carefully pulled out and examined in detail, yet from a distance. There is an accuracy in the accounts of his life that can only come from an observer and not from one who is actively in the fray. You can almost see a child, clothed in his Superman jammies or wrapped protectively in his Batman cape as chaos ensued all around him, taking it all in, unadulterated, through wide shining eyes. The impressions remain until the age when understanding comes and, at that time, the feelings and images are pored over: the child’s perceptions being viewed by the analytical mind.

Nathan Timmel’s book, I Was A White Knight…Once is a memoir that, while not filled with famous names or events, tells the simple story of growing up in the midst of social and familial dysfunction and coming out the other side. It paints a poignant vignette of an era and an epoch that, while not necessarily relatable to all of our lives, still resonates with the reader. The exemplary writing and moving mood of the narrative is compelling without being bombastic or unbelievable. It is just a story of a child becoming the man who, until recently, was unable to see the forest for the trees of his own existence.

Purchase the book in paperback or Kindle edition here.

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Looking Glass Land (Ticket Contest)

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Looking Glass Land takes Lewis Carroll’s original story ‘Through the Looking Glass’, and adds to it a huge helping of unabashed silliness. This delightful romp through Alice’s looking glass retains all of the familiar characters, then introduces dozens of new ones: a baseball team, a gospel group called The Responsibilities, a train conductor, a peanut salesman, detectives, a Miss America, star struck tourist, plastic light saber knights and much more. This show is delightfully amusing and believable in a land that’s not, and is sure to please the entire family.

Produced through special arrangement with Pioneer Drama

Coal Dust in Her DNA – DPO presents Grammy-Award-winning singer in Kathy Mattea: From the Heart

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Kathy Mattea

She has never had a movie made about her. No Sissy Spacek to portray her. But, like Loretta Lynn who has, Kathy Mattea has a familial heritage that stretches back to America’s coal-mining regions. And a musical heritage and style that, like Lynn, includes country and gospel, but woven in with folk and bluegrass.

Suzy Bogguss, Alison Krauss, Jackson Browne and Crosby, Stills and Nash are just a few of the artists with whom Kathy has collaborated. In her 28 years on the music scene, she has recorded 30 hit singles and 17 albums, including Goin’ Gone, Come From the Heart, 18 Wheels and A Dozen Roses, Burnin’ Old Memories, and Where’ve You Been.

And winning two Grammys for her efforts, the first in 1990 for Best Female Country Vocal (Where’ve You Been), the second in 1993 for the gospel-oriented Christmas album Good News.

On the way to becoming a star, Kathy joined a West Virginia University bluegrass band, dropped out of WVU, moved to Nashville, worked as a tour guide at the Country Music Hall of Fame, backed-up Bobby Goldsboro on vocals, and sang demos for songwriters and publishers.

She is no stranger to hard work; it’s in her genes.

Raised near Charleston, West Virginia, Kathy’s mining heritage is thick: both her grandfathers were miners, both her parents grew up in coal camps, and her mother worked for the local miner’s union. Her father was saved from the mines by an uncle who paid his way through college.

Oddly, she wasn’t exposed to much traditional mountain music. But when she was 19 years old she heard Dark as a Dungeon and began quietly cataloging mining and mountain songs she would someday record.

When Kathy was about nine, 78 miners were killed in The Farmington Disaster, near Fairmont, West Virginia. In 2006 the Sago Mine Disaster killed 12 West Virginia miners. “I thought, ‘Now is the time to do these songs’,” Kathy remembers.” The Sago disaster propelled Kathy back in her memory to what she had felt at that moment in her life, and she thought, “‘I need to do something with this emotion, and maybe this album is the place to channel it’. And so I knew the time was right.”

The album was COAL.

It was a life-altering decision, one that would forever change the way Kathy thought about music and singing. “This record reached out and took me. It called to me to be made,” Kathy states. “If you go through your life and you try to be open, you try to think how can you be of service, how can your gifts best be used in the world…if you ask that question everyday, you find yourself at the answer. And it’s not always what you thought it would be when you asked.”

She found herself discovering a part of herself she had never known before. “I had to unlearn a lot about singing. These songs are about getting out of the way; it’s about being with the song, opening a space and letting the song come through you.”

“I wanted some labor songs, some songs that articulated the lifestyle, the bigger struggles, and I wanted a wide variety musically,” Kathy notes. “Most of all, I wanted it to speak to the sense of place and the sense of attachment people have to each other and to the land.” She chose songs by such celebrated songwriters as Jean Ritchie, Billy Edd Wheeler, Hazel Dickens, Si Kahn, Utah Phillips, Merle Travis, and Darrell Scott.

Kathy says she’s had good luck picking songs because she goes with her gut. “I’ve found so much of my voice through interpreting other people’s songs, it’s like a marriage,” Kathy remarks. “I’m breathing something into the song, collaborating with the writers on bringing something forth.”

Kathy has played with guitarist Bill Cooley for 20 years and calls him “my silent partner, my unspoken collaborator on everything I do… I have been orbiting around him, musically, for a long time.”

Kirk Albrecht at minor7th.com describes Cooley as “… a guitarists guitarist, like Vince Gill, who seems to be at home in most any style.”

Versatility, the hallmark of any busy sideman, has been the stock in trade of a career that has seen Bill touring and recording with the likes of country icon Merle Haggard, country-pop diva Reba McEntire, traditionalist Alan Jackson and rockin’ singer-songwriter Hal Ketchum, as well as the eclectic, genre-crossing Mattea.

A native of Santa Barbara, CA, Bill moved to Nashville in 1985. A dozen years later he was called “one of Nashville’s most respected sidemen” by Guitar Player Magazine.

A native of Nashville, David Spicher is the son of session fiddle king Buddy Spicher. He has performed with Crystal Gayle, Pam Tillis, the Jerry Douglas Band, Carolina Rain, Jim Lauderdale, Nickel Creek, polka queen Lynn Marie, the Nashville Symphony, John England & the Western Swingers, and his family’s own Nashville Swing Band.

Eamonn O’Rourke (fiddle, mandolin, vocals) was born in County Donegal, Ireland. In 1993, Eamonn moved to New York. Working with a wide variety of artists throughout the United States and Canada, he was blessed with the chance to study with the great Mark O’Connor and cultivated a successful career as a session musician.

On Friday, May 4 and Saturday, May 5 at 8pm in the Schuster Center, the Dayton Philharmonic Orchestra will present Kathy Mattea: From the Heart, the final concert in this season’s SuperPops series, featuring Kathy, Bill, David, and Eamonn.

And quite a few other musicians on vocals.

“I think there’s a mystery there,“ Kathy says, “that somewhere in me, in my DNA, there’s my great grandmother singing, and my grandmother, and my people, singing through me, with me.”

 

The Con is On with “Dirty Rotten Scoundrels”

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Clark State Community College delivers a commendable production of librettist Jeffrey Lane (“Mad About You”) and composer David Yazbek’s (“The Full Monty”) funny, naughty 2005 Tony Award-nominated musical “Dirty Rotten Scoundrels,” a faithful adaptation of the 1988 film of the same name.

Smoothly directed by Geoffrey D. Moss and set on the French Riviera, admirably envisioned by scenic designer Dan Hunt, “Scoundrels” predominately succeeds on the entertaining teamwork of Troy M. Berry and Jimmy Straley as competitive con men Lawrence Jameson and Freddy Benson, respectively. As Lawrence and Freddy wage a bet to swindle $50,000 from American soap heiress Christine Colgate (the radiantly perky Haley Justice), Berry’s sophisticated flair and veteran aptitude fittingly complements Straley’s hilariously immature raunchiness. The tall, comically conceited Berry is also the stronger singer (“Love Sneaks In” is a tender Act 2 highpoint), but Straley, a genuine goofball, excels at physical comedy and sight gags which is essential. They particularly join forces for delightful renditions of “All About Ruprecht” and “Dirty Rotten Number,” terrific standouts within Yazbek’s wonderfully suave, lilting and peppy score, firmly handled by music director Thomas Kushmaul, Jr.’s first-rate orchestra, that reiterate his status as one of the most flavorful composers of contemporary musical theater.

In featured roles, David M. Schopmeyer brings an understated charm to Andre Thibault, Lawrence’s unassuming accomplice who sparks a middling romance with vacationing divorcee Muriel Eubanks, sharply portrayed by Kate Blackburn. As boisterous oil heiress Jolene, who precedes Christine on Lawrence and Freddy’s devious radar, the energetic Leah Schultz leads the infectious country and western toe-tapper “Oklahoma?,” spiritedly choreographed by Katie Kerry.

“Dirty Rotten Scoundrels” concludes today at 3 p.m. in Kuss Auditorium of the Clark State Performing Arts Center, 300 S. Fountain Ave., Springfield. Act One: 65 minutes; Act Two: 65 minutes. Tickets are $8-$10. The show contains adult language. For tickets or more information, call (937) 328-3874 or visit pac.clarkstate.edu

From the Edge and Back with Carrie Fisher

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WISHFUL DRINKING starring Carrie Fisher April 10 – 22, 2012 – Victoria TheatreCarrie Fisher, daughter of crooner Eddie Fisher and screen legend Debbie Reynolds, humorously bears her wacky, wounded soul in her breezy 2009 one-woman play “Wishful Drinking,” a revealing look at her fractured childhood, rocky relationships and bouts with mental illness and drug addiction.

Presented at the Victoria Theatre by the Victoria’s Premier Health Partners Broadway Series, “Wishful Drinking,” smartly structured to entertain with a wink and a smile instead of morphing into a celebrity pity party of endless diatribes, immediately charms as if reconnecting with an old friend. Best known for portraying Princess Leia of “Star Wars” lore, Fisher, 55, proves her worth as an engaging comedienne with naughty instincts who thrives on the playful interaction she generates with the audience in addition to her innate ability to simply poke fun at herself. Briefly schooled in London, the likable author/actress, who openly shares her disdain for Republicans and grew up in a house described as a cross between a government embassy and an air conditioner, bluntly addresses a wide array of dishy talking points ranging from her infamous tabloid history and forgettable stepfathers to her on again/off again romance with Paul Simon and deep affection for a gay talent agent who fathered her daughter.

Fisher, nicely framed within David Korins’ kooky hodgepodge set complete with R2-D2, could have carved her journey as a one-act, but her appealing personality and snappy one-liners (“distinguished-looking is ugly with money”) carry the momentum as topics change. There are no momentary lulls or an agitated feeling of rehashing, a sizable feat for any one-person play grounded in overtly familiar nostalgia. The most hilarious portion, arriving at the end of Act 1, predictably stems from memories of her breakthrough in a galaxy far, far away (her jabs at George Lucas and the oddity of having been merchandised are priceless), but I found her witty family tree dissection (a juicy rundown of divorces and remarriages dubbed Hollywood Inbreeding 101) to be an intriguing portal into her irreparably scarred past. Sure, Fisher has a field day joking about Eddie ditching Debbie for Elizabeth Taylor in addition to Eddie eventually marrying Connie Stevens (Debbie lite), but underneath is the harsh reality that the seeds of her commitment/relationship issues, emotional and psychological, derive from the undesirable examples she witnessed and endured first-hand.  She actually fought with Simon on their honeymoon, which sounds alarming but was not entirely damaging. After all, she easily, if grudgingly, became Simon’s muse, inspiring some of his most introspective lyrics regarding love gone wrong.

In the mildly deeper Act 2, Fisher effectively shifts her puns toward rehab (Ozzy Osbourne was beside her at one point) and the acknowledgement of her personal demons. Although she drolly admits “there’s no need for demons when you’re self-possessed,” a glimmer of poignancy arises when she reveals the potential cost of losing one’s mind followed by a silent, heart-stopping mention of suicide.

“Wishful Drinking” is prime fodder for “Star Wars” devotees, but Fisher’s story of survival is intended for everyone. I’m actually surprised she hasn’t used this play as a launching pad to a talk show deal. Nonetheless, having been married, divorced and in rehab before the age of 30, Fisher certainly deserves to bask in the contentment she currently feels. It’s obvious her happy days are here.

“Wishful Drinking” continues through Sunday, April 22 at the Victoria Theatre, 138 N. Main St. Performances are Tuesday-Friday at 8 p.m., Saturday at 2 and 8 p.m. and Sunday at 2 and 7:30 p.m. Act One: 50 minutes; Act Two: 45 minutes. Tickets are $40-$83. The show contains adult language and themes. For tickets or more information, call Ticket Center Stage at (937) 228-3630 or visit www.ticketcenterstage.com

WWII Documentary Shot in Dayton – Shown in Dayton

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The creators of the Emmy Award winning PBS hit Red Tail Reborn have now created a new aviation program, The Restorers-They Were All Volunteers.  The documentary film centers on airplane restorers and the WWII heroes known as the Doolittle Tokyo Raiders, and will now appear in theaters in select cities throughout the Midwest.

What’s the history? On April 18th, 1942, Gen. James Doolittle led the Doolittle Tokyo Raiders on a top secret mission that would strike back at the heart of Japan after the attack on Pearl Harbor four months earlier. The Raiders launched their B-25 Mitchell Bombers off an aircraft carrier that would get them close to the home island of Japan. The bombing mission was a great success, boosting much needed morale for the United States.

Each year the famous Doolittle Tokyo Raiders from WWII have a reunion to remember their mission, their comrades, and their heroic leader Gen. James Doolittle.  In 2010, an extraordinary event took place. For the 68th Doolittle reunion, seventeen B-25 bomber crews volunteered to gather in honor of the Raiders.  Over 70,000 people turned up to witness the event, to see the bombers, and to meet the remaining Raiders.

The Restorers-They Were All Volunteers follows the journey of a Minnesota B-25 named Miss Mitchell. Join this restored bomber as she travels to Dayton, Ohio to attend the largest B-25 gathering since WWII.

April 18th, 2012 marks the 70th anniversary of the historic Doolittle mission. The Restorers – They Were All Volunteers will screen on Tuesday, April 17th, 7:30 pm – The Neon Movies – Dayton, Ohio

Helpful links:

www.TheRestorers.com

www.hemlockfilms.com

www.nationalmuseum.af.mil/doolittle.asp

 

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“You’re A Jittery Little Thing, Aren’t You?” (an interview with Carrie Fisher)

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A.)     Quote From Princess Leia In Return Of The Jedi

or

B.)     The First Thing Carrie Fisher Said To Bill Pote

 

Bill Pote, Carrie Fisher And J.T. Ryder

The oddly arranged living room held treasures and memorabilia that competed for attention so ferociously that it was difficult to focus in on one particular item. Celebrities smiled forth, frozen in frames strewn about shelves and tables. R2D2 sat on top of an old suitcase, peeking out from behind a leather couch as I walk in and a lone coffee table cascaded with various items, including cans of Coke Zero and a prescription bottle filled with M&Ms. The only thing that shattered the illusion of entering an eccentrically rich crazy cat-woman’s home was the glaring spotlights…and the 1,300 or so seats that were lurking out in the darkness. Of course, this was not someone’s home: this was the set of Carrie Fisher’s one woman show, Wishful Drinking.

Bill Pote (the über brain of Dayton Most Metro) and I were granted an audience with the princess and she did not keep her diligent followers waiting. She breezed onto the stage as naturally as most of us cross through our living room. Bill tried to ply Miss Fisher with cookies from Ghostlight Coffee & Thistle Confections, the fantasies of his youth playing through his head. Luckily, Miss Fisher was not aware that he had worn his favorite Star Wars underwear for the occasion…you know…the ones that have Yoda saying, “Size matters not. Judge me by my size, do you?”

Anyway, after Bill presented her with the cookies and a list of things to do in Dayton while she was here, we dove right into the interview rather quickly…

Bill: So, J.T. here interviewed you on the phone a couple of weeks ago…

J.T.: Yeah, you had just gotten back from overseas. You sounded sleepy.

Carrie: Yeah, I had just gotten back from Asia. It was very exciting. Which part of Asia was I getting back from?

J.T.: Japan.

Carrie: Oh, Japan!

J.T.: Coming back from the ‘celebrity lap dance,’  is, I think, the way you put it. I was talking with someone, another writer, last night about you and one of the things he brought up was something that I hadn’t noticed.  I had to go back and reread some of your fictionalized work. He was amazed with your dialogues and the natural way in which it flows. Is it so natural because it is based on real conversations?

Carrie: Well, a lot of it is, but I also think it’s a self consciousnesses, like you are sort of watching yourself or listening to yourself. I would also say that I write some of the stuff that I wish I had said or something that I didn’t say in that context and so I drag it over.

J.T.: That is probably the more fun part of writing. Well, he was just talking about the natural flow and the way that you craft your writing. Is all that natural or something that you have been honing?

Carrie: Well, I fell in love with words as a kid and I used to go through books and underline things. Really, I like wordplay more, but that’s also how I talk. I talk in wordplay. I once saw a line of mine, although I don’t know that they knew that it was mine, that said, “Start putting the ‘fun’ in ‘funeral.’” I hear words and they break down automatically.

J.T.: Right. Bill can attest to this: I don’t speak in the same way that I write. Most people who have read something I have written before meeting me don’t believe that I wrote it when they do meet me.

Carrie: Some of my writing isn’t how I talk.

J.T.: Well, with the show, the connectivity that you have with the audience is amazing. How do you get that when most of the events that you’re talking about are so disparate from most people’s experiences?

Carrie: Well, I don’t think that they are necessarily. Also, it’s not so much what your experiences are, it’s how it hits you. I mean, everyone has had, from a certain slant, a weird childhood. It may not be exactly like mine and it probably isn’t, but from a certain slant, you’re going to have funny stories.

J.T.: So it’s based off of the emotion rather than the event.

Carrie: Definitely!

J.T.: So how are you finding the Dayton audience’s responding?

Carrie: They are fantastic!

J.T.: Just as receptive?

Carrie: Beyond receptive! Last night they were talking back! A lot!

Bill: I know that we have a thing about sex and nakedness here in Dayton, Ohio…

Carrie: Apparently! That was what was hilarious about it. The questions that they asked like, “Was he naked?”, “Were you naked?” That’s where you mind goes. If you find a dead body, they’re usually not naked. (Writer’s Note: A reference to Carrie waking up next to the lifeless body of Republican Party media adviser R. Gregory Stevens who died from a OxyContin/cocaine overdose in her bed)

Bill: That’s a great way to start the show too. It kind of lets you know that…

Carrie: Yeah, “This is where we are at and it’s going to get more normal from here…but not much.”

I know this probably isn't the time nor the place, but looking at these pictures, I believe I am going bald.

J.T.: Well, Daytonians aren’t the only nudity focused people. Look at George Lucas’ No Underwear In Space Theory… (Writer’s Note: According to Lucasian Physics, one would face many different pressure changes while tooling around in space and with all the expansion and contraction of the human body under these conditions, you would be strangled by your underwear. I think that this is based upon twisted yet justified fantasies and not on any kind of scientific protocols.)

Carrie: That’s what he said. I think it just destroyed the line of that stupid white dress and then if people were aware that you were wearing a bra, they wouldn’t accept that you were Darth Vader’s daughter. No, I think not.

J.T.: True. With Shockaholic, is that kind of a stepping stone to the next memoir?

Carrie: God no! I think that I’ve said about all I can say.

J.T.: Really?

Carrie: Well, about…the stuff that I’ve written about that was the toughest is that I exposed my daughter to any kind of drug abuse and it would be something that you would figure would happen, (whispering) but I didn’t do a lot. The fact that it happened at all is probably the thing that is most shameful about my life. But most of it was already out. They (the tabloids) wrote about me being in a mental hospital, so then I’m going to write my version and I’m going to say my version. Then they (the tabloids) write stuff saying that I’ve had a facelift and that just kills me because this would be the worst facelift ever! I’ve seen online…go online and I read that I’ve had a facelift and it’s not that good and there’s like three doctors commenting how it looks pulled here and pulled there (Carrie demonstrates by tugging at her face). I’m like, no, but I’ve been thinking about having one…

J.T.: Ryder: That’s another thing about the show, since you kind of brought it up: Somehow you have managed to avoid it seeming tabloid-ish. It’s not sensationalized.

Carrie: It’s not sensational. If you were in the situation, it’s just people. I mean, they might wear more make-up or they might have gotten where they are because they have…(pause)…more well ordered features, but they are just humans. It’s not…now I’m intimidated by the ‘good looking’ people, but you shouldn’t treat ‘good looking’ like it’s an accomplishment. It’s kind of valued that high, like you did something amazing and it was just that they were born with really nice features. Those are the people inHollywoodwho…I don’t know how to talk to them and I’m not really curious about them either. ‘How did you get those eyes? Oh! Your mom had them?’ Those are the people who got where they are purely on their features.

J.T.: That is across the board. People being ‘proud’ of genetics. A lot of people equate that with celebrity…

Carrie: It would have been a bigger trick to stay out of show business than to go in. I didn’t go in. It was…I had to tiptoe out. No. I wouldn’t have picked it, because I was sort of introverted, watching all those people.

J.T.: Which is hard to believe when one sees your stage show.

Carrie: Well, now I’m older and it’s now it’s acceptance run riot. Self acceptance. I mean, you get to a certain age…

J.T.: ..and you say to yourself, ‘Ah, screw it!’

Carrie: Right! ‘What the fuck!’

Bill: So if you weren’t thrown into that at an early age…

Carrie: I might not have chosen it.

Bill: What would you be doing?

Carrie: Well, I might have been a writer because of the whole word thing. It killed me, the word thing. I would have liked to have been Beethoven….not for his whole life, but just the part where he wrote his music. I want to be someone who can hear music like theat. Where does that come from? There are those people like that that have that kind of gift, but I do have a thing with words and I am grateful that I’ve got it because it a distraction for me and I listen to people better  so it makes me enjoy reading and listening  to people’s points of view and the way people say things.

Bill: You mentioned last night (during the opening night performance) that poetry was is something that you started at an early age and it actually helped you.

Carrie: I started writing, but you wouldn’t call what I wrote ‘poetry.’ It would be more like lyrics. But, I like some of what I wrote and I remember getting into states where I would be kind of taking dictation from somewhere that had nothing to do with me, but it did have to do with my emotional state. The way that it organized itself into…it’s an intense experience, then your way of managing it is basically to photograph it verbally so that you’re not just at the effect of it then, so you’re not saying, ‘Okay, now what is this like?’ It’s finding some way to say it. Otherwise, I’m just an incredibly emotional person, which I am.

J.T.: Well, at least when you’re performing, you have the ability to emote and convey a tone or meaning more than writing.

Carrie: Well, I’ve also gotten to the point where I’m also able to receive it. You just kind of get out of the way, so it isn’t me. I’ve been given something where impressions come to me and I can say, ‘Oh, that’s what that feels like!’ If I just wait, I let this thing in me that does that anyway…I can’t ignite it, I can just get out of the way of it.

Bill: Well, that leads me to this then: after watching your show last night, which I enjoyed a lot by the way…

Carrie: Thank you.

Bill Pote And J.T. Ryder Double Teaming Carrie Fisher...Wait...That's Doesn't Sound Right....

Bill: How much…I know it’s mostly scripted, if not all scripted, so how often do you go off script?

Carrie: A lot! I open it up for questions and the because the people that you (the audience) are talking with, I’ve never met them before…

Bill: Well, not even talking about audience members, but even with bringing up stories from your life, how often do you just think of something like, ‘I haven’t even told anybody this.’

Carrie: I said something the other night and…I say things by accident and it is sort of leaving it open to mess with, so there is a lot more I could say about any of the things I talk about and sometimes I will go off into it…and it’s more fun if I do. You really have to be alert…hyper-vigilant and hyper-alert, and that’s exhausting, but it’s interesting.

J.T.: Yeah, it’s great fun when you shut off all the filters.

Carrie: Yeah! And you’re in front of a lot of people and that can be very interesting.

 

(Photographs by Blush Boudoir, then heavily edited by J.T. without permission nor any sense of artistic content.)

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

 

Support Local Artists at the Annual DVAC Art Auction

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"Life Raft" - MB Hopkins

The Dayton Visual Arts Center (DVAC) presents the Annual DVAC Art Auction on April 27, 2012 at the Sinclair Community College Ponitz Center. The much anticipated auction, now in its 18th year, is the only auction in the region dedicated exclusively to visual art and is responsible for generations of Daytonians living with and making art a part of their daily lives. This year, 109 works of art by DVAC member artists in a wide range of media and prices will be presented in both silent and live auctions.

DVAC presents artworks of the highest quality by respected veteran and emerging regional artists. Artists represented in the 2012 Auction include painters Julie Beyer, MB Hopkins, Katherine Kadish and Jean Koeller; photographers Doug McLarty, Richard Malogorski, Fred Niles and Francis Schanberger; and printmakers David Leach, Ray Must and Kim Vito.

About the Auction

The Annual DVAC Art Auction expects to draw in 600 guests and will also feature live music by Puzzle of Light, a cash bar, ample hors d’oeuvres and free parking. Not to miss: the DP&L Live Auction––an event in itself, the live auction features Dayton’s “Superstar” auctioneer, Doug Sorrell, whose high-spirited coaching of new and experienced bidders has become a highlight of the event.

Tickets are $50 for DVAC Members, $60 for nonmembers, and $75 at the door. Tickets may be purchased online at www.daytonvisualarts.org; or by calling DVAC at (937) 224-3822. All auction artwork will be available to be viewed digitally on our Web site, www.daytonvisualarts.org, beginning April 6. If you are unable to attend the auction, you are able to make a sealed bid.

"Spring Garden" - Kim Vito

About the Auction Preview Exhibition

You may also view selected artwork in person at DVAC’s Auction Preview Exhibition, April 6-24, 2012. The opening reception will take place as part of downtown Dayton’s 1st Stop 1st Friday celebrations, Friday, April 6, 5-8 p.m.

About DVAC

The Dayton Visual Arts Center provides art for the community and a community for artists. DVAC receives operating support from the Ohio Arts Council, Culture Works, Montgomery County, the Virginia W. Kettering Foundation and Members.

Ticket Contest

As proud media sponsors for the Annual DVAC Art Auction on April 27, we are happy to give YOU a chance to win a pair of tickets to this very popular event – a $150 value!  Simplythis article and then fill out the form below – we’ll announce winners on Monday April 16th… Good Luck!

Contest Closed…. and Congratulations to 

Jennifer Lockwood, Brenda Boyd and Lynn Kesson – you have each won a pair of tickets to the DVAC Art Auction!

 

THE NEON is Cleaning House – 2 New Films Start Friday!

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Hello Everyone,

I ran into a NEON regular at Meadowlark last week (you’ve been to their new, wonderful location, right?). He said, “Movies are comin’ and goin’ pretty quickly these days.” My response was simple. “That’s not a good sign.” When movies come and go, that means they’re not performing well…and that’s not to say that they aren’t great films. The response to both PARIAH and IN DARKNESS has been incredible, and numerous people have also loved SALMON FISHING IN THE YEMEN. However, all 3 films have to go. Tomorrow (Thursday, April 12) will be your last chance to see these films at THE NEON. On Friday, we will start two new, very different films – JEFF WHO LIVES AT HOME and THE RAID: REDEMPTION. To see current showtimes, visit our website.

Synopsis for JEFF WHO LIVES AT HOME: “On his way to the store to buy wood glue, Jeff looks for signs from the universe to determine his path. However, a series of comedic and unexpected events leads him to cross paths with his family in the strangest of locations and circumstances. Jeff just may find the meaning of his life…and if he’s lucky, pick up the wood glue as well.” (taken from Paramount Vantage) From the director of CYRUS comes JEFF WHO LIVES AT HOME – starring Jason Segel, Ed Helms and Susan Sarandon.

[yframe url=’http://www.youtube.com/watch?v=34kCWAsddtA’]

Synopsis for THE RAID: REDEMPTION: “A Swat team arrives at a rundown apartment block with a mission to remove its owner, a notorious drug lord named Tama. The building has never been raided before, never been touched by police. Seen as a no go zone it has since become a sanctuary to killers, gangs, rapists and thieves seeking accommodation in the one place they know they cannot be touched. Making their move in the break of dawn the swat team work their way up the building under cover of silence. But when a chance encounter with a spotter blows their cover and with news of their assault traveling to Tama in his penthouse suite the building is locked down with all lights out and all exits blocked. Stranded on the 6th floor the swat team must fight their way through every floor and every room not just to complete their mission but to survive.” (taken from Merantau Films) Many people who have seen the trailer say that this film doesn’t seem like our traditional fare…and I agree. That said, the movie is a foreign genre film with great reviews. Though the violence will turn some of you off, we hoping that fans of stylized action films find their way to us.

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

On Tuesday, April 17 at 7:30, we have a special treat for lovers of documentaries and vintage aircraft. “Each year the famous Doolittle Tokyo Raiders from WWII have a reunion to remember their mission, their comrades, and their heroic leader Gen. James Doolittle. In 2010, an extraordinary event took place – seventeen B-25 bomber crews volunteered to gather in honor of the Raiders, and over 70,000 people turned up to witness it. THE RESTORERS – THEY WERE ALL VOLUNTEERS follows the journey of a Minnesota B-25 named Miss Mitchell. Join this restored bomber as she travels to Dayton, Ohio to attend the largest B-25 gathering since WWII. Help us commemorate the 70th anniversary of the historic Doolittle mission. The filmmakers and participants will be on-hand for discussion and questions. Cost: $8.00 for adults, $6.00 for children and veterans.” (synopsis provided by Adam White)

On Thursday, April 19 at 7:30, we have a newly added special event for you. “OBSCURA is the new short film by writer/director and Wright State University Motion Picture graduate Chris Stevens. Filmed in the great state of Ohio with the accomplished and fellow Wright State graduate Mike King behind the camera, OBSCURA tells the story of Mike, Holly and Logan who are just your average family until a disaster leaves their world in darkness. Unknowing the origin of the mysterious disaster they decide to leave their home in search of answers and safety. Wandering in darkness their circumstance begins to wear them down. As trust and their faith in one another fades, so too does the chance they will ever find their answers as a family. A short Q&A will follow the screening. COST: Free Admission but Donations (to be used for film festival submissions) are encouraged.” (taken from press notes) Click this LINK to visit the film’s official site.

“In celebration of National Record Store Day, GHETTOBLASTER MAGAZINE will be hosting a special screening of EMPIRE RECORDS on Saturday, April 21 at 10:15pm. In addition to the movie we’ll be giving away two tickets for this year’s Nelsonville Music Festival and all proceeds will go toward 2012’s Dayton Music Fest. Other events that day include music trivia at Blind Bob’s from 4-6pm, live music throughout the day at Omega Music, Record Gallery and Feathers in the Oregon District and Toxic Beauty in Yellow Springs (Omega and Toxic will also be selling special RSD releases) and many local businesses will be offering discounts with a shown receipt from one of our local record stores.” (taken from press notes) Tickets for this event will be just $6 each (and only $4 each if you have a receipt from one of the local, indie record stores). Tickets will only be available on the night of the screening.

Do you want to win a trip to Paris? THE NEON has been happy to take part in selling raffle tickets for an upcoming benefit for AIDS Resource Center Ohio. Raffle tickets are $25 each or 6 for $100…and we still have a handful left. The drawing will take place on Saturday, April 28, and we will keep selling this tickets through this weekend.

For those of you who use Facebook, we finally have an actual page…not just a “group” page. We will soon be fazing out the old group, so please LIKE us by following the link.

Thanks for your continued support.
We hope to see you soon,
Jonathan

SHOWTIMES for Fri. April 13 – Thur. April 19:

JEFF WHO LIVES AT HOME (R) 1 Hr 23 Min
Friday, Saturday, Sunday: 1:00, 3:10, 5:15, 7:20, 9:20
Monday: 3:10, 5:15, 7:20
Tuesday: 3:10, 5:15
Wednesday – Thursday: 3:10, 5:15, 7:20

THE RAID: REDEMPTION (R) 1 Hr 41 Min
Friday, Saturday, Sunday: 12:30, 2:45, 5:00, 7:15, 9:30
Monday – Wednesday: 2:45, 5:00, 7:15
Thursday: 2:45, 5:00

THE RESTORERS: THEY WERE ALL VOLUNTEERS (NR) 41 Min
Tuesday: 7:30

OBSCURA (NR) 10 Min
Thursday: 7:30

COMING SOON:
As always, all dates are tentative.
Many of these dates will change.
In some rare cases, titles may disappear.
April 20  WE NEED TO TALK ABOUT KEVIN
April 27  FOOTNOTE
May 4  JIRO DREAMS OF SUSHI
May 11  DAMSELS IN DISTRESS
May 25  DARLING COMPANION
May 25  THE BEST EXOTIC MARIGOLD HOTEL
June 1  SOUND OF MY VOICE
July ?  BEASTS OF THE SOUTHERN WILD
July ?  TO ROME WITH LOVE

Sundog 9 – Call for Entries

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Do you know (or are you) a high-school or middle-school student (grades 8-12) interested in film? Check out the Sundog 9 Film Festival and submit your short film for consideration at this great contest! Students submit films, get together for a public adjudication where everyone learns a little something, and enjoy the premier where all films are viewed on the big screen. It’s a great opportunity to meet other aspiring student filmmakers and have a lot of fun.

From the Sundog Programmers:

High school and middle school students, grades 8-12, are invited to create and submit short films to the Sundog 9 Film Festival, premiering Sat. May 12th from 2:00-4:00 p.m. at the Little Art Theatre (in downtown Yellow Springs). Schools in the Greater Dayton-Columbus-Cincinnati areas compete in this regional event, where approximately $1500 in cash and prizes will be awarded in a variety of film genres which may include narrative, experimental, documentary, animation, public service announcement, self-portrait, and music video. In addition, shout-outs for best cinematography, special effects, screen writing, etc. may be given as deemed by the judges.  Sundog mascot, Moxy, will also be there to greet the audience and to present a special award for the best entry with a dog theme. The event is open to the public and admission is free. Entry deadline is 5:00 p.m., Tues. April 24th.  Submissions may be delivered or mailed to:  Sundog 9 Film Festival, c/o Yellow Springs HS, 420 E. Enon Rd., Yellow Springs, OH. 45387. There is a fee of $3 for each entry.

Students and their teachers are also invited to attend the open adjudication, Friday, April 27th, 9:00 a.m. at Fairmont High School, (3301 Shroyer Rd., Kettering, OH. 45429) in the Recital Hall, where a panel of media professionals will screen entries and offer constructive criticism to young filmmakers. Lunch will be provided by festival sponsors.

Sundog Film Festival originated in Yellow Springs in 2003 and is funded by the generosity of downtown businesses and caring individuals.  Ongoing support from YS Arts Council and partnership with FilmDayton have allowed this event to receive greater exposure while continuing to achieving its primary goal of “raising the bar for media arts education.”

Sponsors are needed and any donations of cash, gift cards, or merchandise to use for prizes will be greatly appreciated.  Sponsors will be listed in all promotional materials, including programs and will receive a keepsake poster to hang in their store.  Please contact festival director Melina Elum at [email protected]. for more information.

Twelfth Dayton Jewish International Film Festival

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(Ticket Contest details below this article)

The Twelfth Annual Dayton Jewish International Film Festival will open at the Dayton Art Institute on Tuesday, April 24, at 7 p.m. The festival (running from April 24 through May 10) will bring to Dayton and Yellow Springs the best in Jewish and Israeli cinema, including an international selection of both feature films and documentaries. Festival venues include The Neon Movies in downtown Dayton and The Little Art Theatre in Yellow Springs, as well as a free Israel Independence Day Celebration screening of Dolphin Boy at The Boonshoft Center for Jewish Culture and Education in Centerville on Thursday, April 26, at 7p.m.

(See the DMM Event Calendar for full film festival schedule)

Opening night (Tuesday, April 24, 7 p.m.) at the Dayton Art Institute will feature the festival premiere of The Matchmaker (Feature) 112min, Hebrew with English subtitles. This affectionate, bittersweet feature film tells a dramatic story about life, love and loyalty. Arik, a teenage boy growing up in Haifa in 1968 gets a job working for Yankele Bride, a matchmaker. Yankele introduces Arik to a new world, built on the ruins of an old one. As Arik begins to learn the mysteries of the human heart through his work with Yankele, he falls in love with Tamara, his friend Beni’s cousin. The disparate parts of Arik’s life collide in unexpected, often funny and very moving ways as he lives through a summer that changes him forever.

The 2012 line-up of nine films and 11 screenings includes American and foreign films. The Festival spans genres from thriller to comedy to documentary, and explores varied themes of injustice, love, war, politics, religion, and family relationships.

The Dayton Jewish International Film Festival is presented annually by the Dayton Jewish Community Center (DJCC). “On behalf of the Dayton Jewish Community Center, we are excited to bring an array of thought provoking and light hearted films to the community. Our festival allows participants to view excellent movies that might not otherwise make it to the Dayton area. We are thrilled to showcase these unique films; we have something for everyone.” says Cheryl Carne, Director of the DJCC.

The chairperson of this year’s festival, Alan Chesen, says, “The committee has taken great care to bring a first class film festival to the Dayton area. The lineup is outstanding. This year’s event is truly an international one that includes some films in English and others in languages such as Arabic, German, Hebrew and Russian that are English subtitled. I hope to see you at the movies.”

Season passes and group tickets for single events are available at a discount in advance. For more information please call the DJCC at 937-853-0372 or visit www.jewishdayton.org.

TICKET CONTEST

We have five pairs of tickets for the opening night (Tuesday April 24) of the 2012 Dayton Jewish International Film Festival, courtesy of the Dayton Jewish Community Center and Dayton MostMetro.com!  Simply share this article and then fill out the form below for your chance to win – we’ll announce winners on Wednesday April 18th… GOOD LUCK!

CONTEST CLOSED

Congratulations to:

Peter Wine

Sue Harmeyer

Mary Ann Oppenheimer

Vivienne Himmell

Brian Ferguson

You’re all going to the opening night of the 2012 Dayton Jewish International Film Festival next Tuesday April 24th!  Enjoy the film(s), and be sure to tell your friends!

 

2012 Dayton Jewish International Film Festival Lineup

 

The Matchmaker

Tuesday, April 24  7pm at the Dayton Art Institute (Details)

[yframe url=’http://www.youtube.com/watch?v=LCt2YENzxJ0′]

 

Dolphin Boy 

Thursday, April 26  7pm at the Boonshoft Center for Jewish Culture & Education (Details)

[yframe url=’http://www.youtube.com/watch?v=H_s-yZ7Yucw’]

 

Eichmann’s End: Love, Betrayal, Death

Sunday, April 29  5:15pm at The Neon (Details)

[yframe url=’http://www.youtube.com/watch?v=oi2HrYqtE8E’]

 

David

Tuesday, May 1 10am at The Neon (Details)

Wednesday, May 9 7pm at Little Art Theatre (Details)

[yframe url=’http://www.youtube.com/watch?v=uovsGCfLuIo&feature=player_embedded’]

 

Berlin 36

Wednesday, May 2 7pm at Little Art Theatre (Details)

Thursday, May 10  7:10pm The Neon (Details)

[yframe url=’http://www.youtube.com/watch?v=mUranyIEm4A&feature=player_embedded’]

 

Reuniting the Rubins

Thursday, May 3  7:10pm at The Neon (Details)

[yframe url=’http://www.youtube.com/watch?v=ZpMtFqmIsj4′]

 

Sholem Aleichem: Laughing in the Darkness

Sunday, May 6  2:50pm at The Neon (Details)

[yframe url=’http://www.youtube.com/watch?v=hfx5tOBbe6U&feature=player_embedded’]

 

Kaddish for a Friend

Sunday, May 6  7:10pm at The Neon (Details)

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

 

Salsa Tel Aviv

Tuesday, May 8  7:10pm at The Neon (Details)

[yframe url=’http://www.youtube.com/watch?v=nbO1cD0y7uw’]