Dayton937

Things to do in Dayton | Restaurants, Theatre, Music and More

The Featured Articles

Get your SOUL on at CityFolk with Bettye LaVette

By 3 Comments

Bettye LaVette is not thinking about her next album. And when she decides to change that, she won’t be wasting any time.

“I’m not thinking about that yet,” said the soul legend, who will perform Friday night on the NewPage Main Stage at the 2010 Cityfolk Festival, held at RiverScape MetroPark. “It could be a while, and when I do it, it’ll probably be like my others—we pull some stuff together in four days, get into the studio for a couple of days, and get done with it. I love to perform, but I do not like to record. It amazes me when people say, ‘Oh, I’ve been working on this album for three years.’ Get in there, sing the damn songs, and stop wasting your time and money.”

Gritty and languid of voice, familial in tone (“Baby” she called me many times, like a knowing aunt), with a raucous, throaty laugh and a salty gin-joint brand of wisdom, LaVette has seen and done it all, and she does not mince words.

Nearly 50 years ago, LaVette began her career as a professional musician in her hometown of Detroit, when her first single, “My Man – He’s a Lovin’ Man,” was released when she was only 16 years old. That success led to a whirlwind concert tour with Clyde McPhatter, Ben E. King, Barbara Lynn, and newcomer Otis Redding.

“It wasn’t happening to anyone else in the 9th grade,” she said with a laugh. “Otis and I were so young, just starting out. We had both released our first records on Atlantic, and we were there looking at these stars thinking, ‘I hope I can be like that one day.’ The rest of the people who started around 1962 are around 10 years older than me, except Stevie Wonder—he’s the only one who’s younger.”

Many of LaVette’s contemporaries reached mainstream success which eluded LaVette for much of her life, but her passion for singing drove her on. She toured the country playing wherever she could, and put in six years on Broadway in the cast of the hit musical Bubbling Brown Sugar alongside Cab Calloway during the 1970s.

“That was the most interesting thing I’ve ever done in showbiz. Learning to tap dance as an adult…that was very difficult. But in all, [that experience] was the way I thought showbiz was supposed to be. It was about a touring company during the ’20s, and when you did it, you dressed up, went out and danced for a few minutes, and you were a star. I got to throw my dress around and walk down long staircases and tap with Cab Calloway… It was really exciting.”

LaVette continued to record through the years, but remained in obscurity except to soul hardcore enthusiasts until the New Millennium, when, more than 40 years after recording her first record, 2005’s I’ve Got My Own Hell to Raise shot her to worldwide recognition with its blues-drenched, heart-scouring renditions of female-written songs like Dolly Parton’s “Little Sparrow,” Sinéad O’Connor’s “I Do Not Want What I Haven’t Got,” and Fiona Apple’s “Sleep to Dream.” Suddenly, Bettye LaVette was claiming—in short order, at high speed—the limelight which had eluded her for decades.

In 2006, the Rhythm & Blues Foundation gave LaVette its Pioneer Award, and 2007’s The Scene of the Crime, recorded with alt-rock band Drive-By Truckers, was Grammy-nominated for Best Contemporary Blues Album. Always reaching for greater heights, LaVette created one of 2008’s lightning-in-a-bottle media moments with her performance at the Kennedy Center Honors. Invited to perform in honor of recipients Roger Daltrey and Pete Townshend of The Who, so gut-wrenching and stunningly new was her transformation of “Love, Reign O’er Me” that during the thunderous ovation that followed, fellow honoree Barbra Streisand, profoundly moved by the performance, turned to Townshend and asked in amazement, “Did you really write that?”

Those who did not know Bettye LaVette before certainly knew her now, and since then, the triumphs just keep coming. The New York Times has gushed that she “now rivals Aretha Franklin as her generation’s most vital soul singernow rivals Aretha Franklin as her generation’s most vital soul singer. She uses every scrape, shout and break in her raspy voice, with a predator’s sense of timing, to seize the drama of a song.” She performed “A Change is Gonna Come” with Jon Bon Jovi at Barack Obama’s presidential inauguration. And this year, she released Interpretations: The British Rock Songbook, featuring classics by the Paul McCartney, the Rolling Stones, the Animals, Pink Floyd, the Moody Blues, and more, concluding with an audio recording of her famous Kennedy Center performance.

“The concerpt was my husband’s,” she said. “After the Kennedy Center Honors, he found 500 songs from the British Invasion era and went through them, and we narrowed them down.”

The Stones’ Keith Richards recently told NPR, “When you hear a voice like Bettye LaVette’s, there’s a sense of transportation, a certain freedom of movement and emotion,” and Jon Bon Jovi said of her after the inauguration performance, “Some singers sing…  Then there is Bettye.  She doesn’t just sing the song, she lives each of them.  I’ve heard it.  I’ve stood close enough to see it in her eyes.”

So demanding is her tour schedule that LaVette rarely has time at home, but when she does, she relishes each moment.

“I really love to be at home. When I was young, I wanted to live running around in the streets—wanted to get dressed up and go out and be Bettye LaVette!, and now I’m sitting here at home, looking out at my lawn, with the water going around, and I’ve got my two kitties with me—Smokey and Otis. I spend time with my husband; he’s a record collector, historian, and dealer, and now they’re calling him ‘the ultimate soul collector.’ I met him online more or less as a fan. He gave me some advice I didn’t ask for, and I wrote back a rather nasty response to tell him I didn’t appreciate it. He flew to Detroit to make amends, and here we are,” she said, chuckling.

(I ask about one of her old albums. “Oh, I don’t know, I never remember any of that stuff. He knows all that.” She calls to him nearby. “Baby! What year was that?” He calls back a response. “That sounds right,” she says. “He knows my career better than I do.”)

“I love watching old movies,” she says. “When I’m home, that’s what I love to do. My favorites would be Casablanca and Now, Voyager. Anything black-and-white made before 1945, really. And sometimes I’ll turn on CNN and see what they’re doing to my president.” Her voice furrows with concern. “All the things they’re saying about the oil spill being Barack Obama’s Waterloo—I don’t believe that. When a problem gets solved, people move on to something else.”

The Huffington Post, which lauds Lavette as “the High Priestess of R&B,” said of Interpretations, “It’s astonishing to hear what depths can be found in these songs…LaVette inhabits these tunes, wraps her skin around them like some kind of song-eating monster. There’s something so deeply human going on here that it’s incantatory, so distinct that it’s indelible. So true that it dares to be ugly sometimes. So right that it can cause you pain.”

“I feel good about the new album,” she said serenely. “It’s been received wonderfully. This is as much due as I’ve ever gotten. The things the artists have said about my renditions of their songs, and the things the press has written… Most of my early career is attributed to lack of exposure. My career is not one you can just follow by the numbers—all you can do is go by when you heard of me. Now I’m beginning to connect everything together, though. All those years in between helped me to become an entertainer. Fame and money come and go, but entertainment will always survive. I had to stop wanting to be a star and learn how to be an entertainer, and I played everywhere I could—tiny bars for $20 a night—whatever was there, and I’m up here now with all the people I started with in 1962. No matter how much money anyone’s made, or how many panties have been thrown onstage, we all started together in 1962. And it feels good to be a part of that.”

The Huffington Post, which lauds Lavette as “the High Priestess of R&B,” said of Interpretations, “It’s astonishing to hear what depths can be found in these songs…LaVette inhabits these tunes, wraps her skin around them like some kind of song-eating monster. There’s something so deeply human going on here that it’s incantatory, so distinct that it’s indelible. So true that it dares to be ugly sometimes. So right that it can cause you pain.”

RiverScape Just Got Better!

By 3 Comments

(the following is an official press release from Five Rivers MetroParks)

Five Rivers MetroParks is excited to announce the completion of Phase III of RiverScape MetroPark, a project that will offer more amenities for visitor comfort and accommodate the needs of RiverScape’s and downtown Dayton’s continuing success. All areas of the park are slated to be open to the public after the ribbon cutting, scheduled for 11:30 AM Monday, June 28.

Executive Director Charlie Shoemaker sees Phase III as a fundamental element in the increasing vitality of downtown and an opportunity to build upon the existing foundation of community partnerships. “Since opening in 2001, RiverScape MetroPark has time and again demonstrated its value as a dynamic urban space in Dayton where all segments of our community come together to celebrate our local pride in a unique and beautiful setting,” he said. “The ability of MetroParks and our partners to gain the support for this next phase stands as a testament to RiverScape’s success as a defining piece of our urban environment.”

Patrons will now be able to take advantage of some new and some improved features of RiverScape MetroPark, including:

·         A covered pavilion with a stage and seating perfect for enjoying festivals, community events, free entertainment or just a relaxing lunch with friends. In the winter, the pavilion will house the ice rink, which will be nearly 50 percent larger than the former rink with additional skating hours, more rental equipment and an extended skating season, starting Thanksgiving weekend, November 26.

·         A new bike hub with secure bike storage, showers and lockers. It will provide a central location for downtown commuters going to work or play, as well as a welcome rest stop for recreational cyclists and active families enjoying our region’s extensive recreation trail system.

·         Food concessions operated daily, and during concerts and events by a local Skyline franchisee, featuring salads, wraps, cold treats, sandwiches and patrons’ favorite Skyline fare.

“The realization of Phase III is because of its community partnerships,” Shoemaker said. “Joining the original RiverScape community partners of Five Rivers MetroParks, the City of Dayton, Montgomery County, Greater Dayton Regional Transit Authority, Miami Conservancy District and the Downtown Dayton Partnership, the new phase brought us support from Congressman Mike Turner, whose assistance was invaluable in securing federal transportation grants to fund the majority of this project. Support also came from the Miami Valley Regional Planning Commission and the Ohio Department of Natural Resources. But foremost, none of this would be possible without the support of Montgomery County citizens. We’re grateful every day that the citizens of this region understand the value of the outdoors and its contribution to the overall welfare and health of the Miami Valley through creating personal connections with nature and instilling long-lasting, positive change for those living in the region.”

In addition to increasing the vibrancy of downtown Dayton, it is the goal of Five Rivers MetroParks to encourage families to become healthy by providing safe, affordable and accessible facilities where they can engage in active lifestyles.

Known for breathtaking landscapes, interactive fountains and free entertainment along the banks of the Great Miami River, RiverScape MetroPark has become a favorite outdoor gathering place in downtown Dayton. For almost nine years, this downtown hotspot has offered a cool getaway right in the middle of the city with free concerts, educational programming and the community’s favorite cultural festivals amid the scene of floral landscapes, hanging baskets and relaxing swings.

Five Rivers MetroParks thanks its community partners and the priceless support from Montgomery County citizens paramount to helping RiverScape MetroPark become an integral part of downtown and a symbol of the city’s pride and continued development of its cultural identity.

To learn more about RiverScape MetroPark and the recent renovations, visit www.metroparks.org/RiverScape or call (937) 275-PARK.

Pecha Kucha Peeks at Atta Girl Art & Gardens

By 4 Comments

If you love Dayton, like new ideas and want to see what others who believe in our region are up to, you need to experience Pecha Kucha!  Correctly pronounced its four syllables  “peh-cha koo-cha”, but  it’s perfectly acceptable to say you’re headed to PK night!  The concept originated in Tokyo and is based on a presenter having up to 20 slides to talk about for 20 seconds each.  The images forward automatically and presenters talk along to the images.

Held once a quarter, this Friday, June 25th meeting will also be the public debut of South Park Residents Carli & Hamilton Dixon’s newest adventure: Atta Girl Art & Gardens at 905 E. Third Street, just west of Keowee. The site itself is worth the trip, as you’ll see what these brave entrepreneurs have taken on and are revitalizing an old abandoned 18,000 square foot building into:

* Performance space
* Shared studio space
* Coffee/bicycle shop
* Gallery
* Recording studio?
* Artists’ studios
* Urban gardens

And the line up for Pecha Kucha presentations is pretty amazing to:
There’s a Shakespearean actor, an independent truth telling communications major from Wright State, a cinematic art expert, a puppet theater artist, an architect’s perspective on art like Big Butter Jesus, a women’s rock promoter, an advisor on the culture of India, someone who helped bring back nature with art, a sailor and world traveler, an architect who is turning humble oddly shaped garden fruits into stage pieces, and our MC of the evening will share the odyssey of her art and garden studios.
Cost: $5 (includes 1 soft pretzel and 1 beer) Falafels and additional beer also available.  The actual meeting will take place in sculptor Hamilton Dixon’s new studio 811 E. Third Street (just west across the parking lot of the building pictured above). Event starts at 7pm.
No RSVP needed, just grab some friends and get there!

The Passion Of Pin-Up

By 11 Comments

Cherry Lee’s Salon Caters To A Classic Culture

A look, lost in time, revived to make eyes follow and fantasies unfurl. The bobby-pinned curls cascading down in huge rolls to frame a perfectly finished face, replete with fire engine red lipstick and a hint of blush to complete the illusion. The clothes have to keep up with the walk as the eyes take in the severely lined stockings, teasingly tempting as they make their way under a flared skirt. The straight cut bangs hovering above smoky eyes. The poses and positions that, while innocent enough, still evoke strong urges within the male’s psyche. This is the world of pin-up culture.

A local woman, Cassandra Barker, yearned to bring these frozen moments in time to life. She scrimped and saved, all while raising her children, until she was able to open her own salon to cater to the needs of the pin-up, rockabilly, hot rod culture. Her dream was realized last year when she was able to open the doors of Cherry Lee’s Salon, a place for ‘Classy Broads & Fancy Fellas’. In speaking with Cassandra, the first hurdle was defining what the culture is that her shop caters to.

“It’s retro or pin-up or anything that you would look at like that.” Cassandra said. “If you come into the salon, you’ll see that there’s real old pin-up stuff on the walls and the counter tops are decoupaged with pin-up stuff and Nancy Drew and all kinds of other stuff.”

Since this is not the run of the mill hair salon, I wondered how Cassandra got drawn into this specific type of hair styling.

“Well, I think what happened with me, I had a lot of theater background. I did hair working for Phantom of the Opera for a little bit and I learned a lot about Victorian hair. Basically, hair is just like fashion: it changes throughout the course of the years, but it keeps its general structure.” Cassandra went on to say that, “I took the things I learned from Phantom of the Opera and started incorporating it into up-dos for proms and weddings and things kind of went from there. I started researching it and made sure I was staying authentic, like using a beeswax that they used to use back in the day, because…that’s what they used to use. I try to keep as true as I can with the products we use because they worked.”

A hairstyle is just as identifiable as any other fashion or body modification. People instantly recognize what station or class or culture you are from based on your clothing and your coif, even recognizing what era a specific hairstyle may be from. What is the current interest in retro hairstyles and fashion? Could it be that, since we are currently living lives on the edge of the unknown that we cast a look back, trying to recapture a simpler, more contented era?

“I think so for sure. The time period that we focus most of our stuff on, there was no money, there were hard times and we’re kind of going back to that style and it’s easy; it’s not that expensive and everyone seemed happy.” Cassandra opined. “I think that what it comes down to…they were even talking in the news the other day that moonshine was on a resurgence and stuff is starting to come back that was cheap, but made fun happen, you know what I mean? I think that a lot of that is coming back and hopefully that starts to push everybody at least if not towards doing better monetarily, at least feeling better in their general life, which I’m 100% for.”

I wondered if this was the only type of hair styling that Cassandra did or if it was a full service salon. Cassandra answered my question by saying;

“I had a girl sitting in here watching me one day and she said, ‘The range of people that you have walk through your door amazes me!’ I have a range of people from real pin-up, retro girls who do all the photo shoots with the cars to a mom to a little kid to a little old lady, and I can do any of it. I worked at Square 1 Salon for almost ten years. I can do the soccer mom hair and I can do anything else, but my focus and passion is definitely the pin-up stuff and the more retro stuff.”

One might wonder what the purpose is of all of this retro-vision. Was there a purpose behind all of it?

“Basically…and I know this sounds cheesy and hokey…it comes down to making people feel the best that they can. I mean, if it’s taking a housewife, who has been a housewife forever and ever and ever and who has worn t-shirts and jeans for the last ten years, who sits at home and cooks and cleans and taking them and bringing them out, giving them a fresh look and giving them new hair and make-up and giving them that sexy little pin-up look. It’s frozen into some other land and then they all of a sudden have confidence again and start feeling good about themselves.” Cassandra added that, “Actually, I think it scares the crap out of their husbands. Like, every girl I know who has come in here, who had been kind of plain Jane and then they walk out with a little Betty Page pin-up look with dark hair.

Were there other markets that catered to the pin-up/hot rod culture? Where could you get the clothing and other accoutrements?

“They can pick up some of Nikki Forte’s pin-up design stuff here. Nikki has been bringing stuff in and out of the salon. She’s actually been getting pin-up stuff for the girls and is looking at opening a little boutique inside of the salon. It’s in the works. You know, Dayton, since it is out of the eye of everything that is going on with retro and pin-up, it’s harder to get a hold of the stuff.”

As we wrapped our conversation up, Cassandra told me about a big event that was taking place at our mutual friend, Bill Winger’s shop called Daddy Katz in Moraine.

“On July 9th, we’re actually doing a pin-up training camp at Bill’s shop (Daddy Katz).” Cassandra went on to detail the event. “It’s going to be two hours of one-on-one make-up, hair training and finishing…like I’ll finish their hair and make-up. Joe Schuster from Cincinnati will do a one hour photo shoot with each girl and they will walk away with a disc of pictures and later on, they will get an edited picture of the best picture from their shoot. It’s going to be really cool. There’s a lot of stuff like that going on in California, but there’s not anything going on that around here.”

Cherry Lee’s Salon for Classy Broads & Fancy Fellas is located at 2712 Linden Ave., but is open by appointment only. You can call (937) 901-6589 to make an appointment. Mention this article and you will receive $5 off their cut and style.

Extraordinary Days

By 1 Comment

Ordinary Days at The Human Race Theatre Co.Ordinary Days at The Loft

It isn’t often that patrons in ANY city get the rare theatrical opportunity currently occurring Downtown Dayton. Currently housed in an extended run in the Schuster Center is – for many – the gold standard for musical theater goers all over the world – Andrew Lloyd Webber’s now iconic THE PHANTOM OF THE OPERA. But quietly, intimately, and indeed passionately next door at The Loft, the next generation of musical theater writers is being heralded in by a young composer named Adam Gwon and his remarkable musical ORDINARY DAYS – thanks to the amazing staff and cast at The Human Race Theatre Company. Ordinary Days is anything but ordinary. The small in size – large on theme – musical evening explores several interconnected stories against the backdrop of New York City’s bustling contemporary culture. The music is contemporary – the lyrics are brilliant – the cast is engaging.

Adam Gwon, composer/lyricist of Ordinary Days

Adam Gwon, composer/lyricist of Ordinary Days

I cannot tell you strongly enough how important it is for the future of this artform that as patrons – we make the decision to not make only ‘safe’ choices with our entertainment dollars. Remember that once upon a time someone (whose name no one remembers) told Sir Lloyd Webber that a musical based on Gaston Leroux’s Gothic tale of a creeper with mommy issues stalking a young ingénue was a HORRIBLE idea for a musical. Someone lost their job over that one I am certain. So as wonderful as it is to JOIN an already exciting bandwagon – also take the time to be there from the start of one as well. And Ordinary Days and Mr. Gwon himself are poised to take this industry by storm sooner rather than later.

Ordinary Days continues through June 27 at The Loft.

The Human Race Theatre Company’s executive director Kevin Moore & Ordinary Days composer/lyricist Adam Gwon were recently featured on MusicalWorld discussing the journey that Ordinary Days took to Dayton, Ohio:

Additional Local Theater News:

Opening This Weekend:  BCT’s The Who’s Tommy

Cast of BCT's "The Who's Tommy"

BCT's "The Who's Tommy" with Dean Swann, Aiden Kesson, Lynn Kesson

Beavercreek Community Theatre wraps up its 2009-2010 season with the classic 60s rock opera “The Who’s Tommy.”

Pete Townsend’s tale of a young boy, who becomes catatonic after witnessing the murder of his mother’s lover by his father, will be presented at 8 p.m. on June 18, 19, 25 and 26 and at 3 p.m. on June 20 and 27.

The show includes many hits by The Who including “The Acid Queen,” “Pinball Wizard,” “Sensation,” “We’re Not Gonna Take It.” “See Me, Feel Me” and “Listening to You.

Matt Curry in BCT's "The Who's Tommy."

Matt Curry of Dayton portrays the adolescent Tommy. His parents are played by Dean Swann and Lynn Kesson, also of Dayton. In additiona, the cast includes Matt Owens of Beavercreek, Megan Vonder Kolk and Megan Grabiel of Fairborn, Rick Burnette of Huber Heights, Jillian Varner of Bellbrook, Malcolm Walker of Sidney, T.C. Schreier and Nick Moberg of Springfield, Leah Kushmaul and Montana Iverson of Springboro and Dayton residents Mike Stockstill, Aiden Kesson and Jenna Burnette.

The show, directed by Chris Harmon of Beavercreek, is an Edge of the Creek production, which means it is for mature audiences.

Tickets are $12 for adults and $11 for BCT members, students, and senior citizens.  A group discount of $1 per ticket is available to groups of 10 or more purchased at the same time for the same performance.

Beavercreek Community Theatre is located within the Lofino Adult Enrichment and Cultural Arts Center at 3868 Dayton-Xenia Road in Beavercreek.

__________________________________________

(this week’s ridiculously cheesy sign-off)

Extra, extra, read all about it!  Pinball Wizard in a miracle cure!
Extra, extra, read all about it! Right now, right now, story and pictures
to show times, lessons and actors…
Extra, extra!  onStageDayton with Shane & Dave
only on Dayton Most Metro!

For more Information & Tickets, visit:

Ordinary Days (through June 27) Call Ticket Center Stage at  (937) 228-3630 or visit http://www.ticketcenterstage.com

The Phantom of the Opera (through June 27) Call Ticket Center Stage at  (937) 228-3630 or visit http://www.ticketcenterstage.com

The Who’s Tommy (June 18-27) Contact BCT Box Office at [email protected] or (937) 429-4737  or visit http://www.bctheatre.org

Shane Anderson & David Brush work with locally based Encore Theater Company. ETC recently moved into the new arts collective space in the Oregon District, along with Zoot Theatre Co. & Rhythm in Shoes. Anderson, Brush & ETC are currently in the midst of their summer season of new musicals in downtown Dayton: Johnathan Larson’s RENT, [title of show] & Next Thing You Know.

Casting Call

Beavercreek Community Theatre will hold open auditions for  “The Spitfire Grill” at 7 p.m.  July 5 and 6 at the theater, located within the the Lofino Adult Enrichment and Cultural Arts Center at 3868 Dayton-Xenia Road in Beavercreek.

Doug Lloyd will direct the show, which will be presented on September 17, 18, 19, 24, 25 and 26.  The vocal director will be Dr. James Tipps and the choreographer will be Stacy Gear.

Those wishing to audition should prepare a one-minute Broadway-style song that “shows your belting abilities.”

There will also be cold readings from the script and those auditioning will be taught and asked to perform a short dance number.

For more information call 429-4737, email [email protected] or visit the theater’s Web site at www.bctheatre.org.

Cycling from Dayton to Cincinnati

By 11 Comments

Several months ago, I discovered that Dayton’s bike trails connect all the way to the eastern suburbs of Cincinnati, a city that I lived in for almost 10 years and loved. I used to bike around the hilly city regularly, especially for the year when I lived over the river in northern Kentucky in the Bluffs, the apartment complex on the hill as you cross the river on the I-75 bridge south. I used to bike down the hill, over the river and through the flat streets of downtown, often stopping at Findley Market for an Italian sausage out of one of those big grills.

I set a big goal: Bike from my home in Kettering, Ohio, to Cincinnati’s Sawyer Point, a beautiful riverfront park right downtown. My best guess was that it was about 80 miles.

To put this in perspective, my longest ride ever was 36.2 miles (home to Franklin and back). The next longest was under 30 (home to Yellow Springs one way). Eighty miles was a big leap.

I set out early last Sunday morning, about 10 minutes before 8 o’clock. Big storms had blown through the night before, and there was still technically a tornado watch for the region when I left. I say “technically” — the watch expired at 9 a.m., but I’d checked the radar, and it showed that the storms had already passed by. With an extra set of clothes, a set of hand-written directions, and some fruit, peanut butter and bread in my panniers, I set out solo from home.

I was familiar with the route from my house to Xenia along the Creekside Trail from a ride last year to Yellow Springs. This morning, I was all alone on it and flying.

Maybe it was the adrenaline of finally setting off. I hadn’t slept well the night before from anticipation, and now I was off. Riding to Xenia is a pretty substantial ride, but today it would be just a drop in the bucket. With the help of a friendly breeze behind me, a slight downgrade and fresh legs, I cruised along comfortably at 20-25 mph pace for a lot of it. I had to slow considerably once for a deer that wouldn’t run off, and I saw more rabbits than I could count. A frog made me practically jump out of my pedals to avoid him.

It was a lovely ride through the woods, past the dragstrip and empty ballfields all the way to Xenia Station. Xenia Station, which I’d seen on maps but never in person, turned out to be a parking lot from what I could tell. I turned right to cut south, and as far as I was concerned, my ride was really beginning. I was a little under the 20-mile mark.

Since Sunday, several people have asked me about my route. I’ll describe parts of it here, but the gist of it is shown in the map at top. All but about 12 or so miles was on shared-use bike paths. I picked up a path in eastern Dayton, rode that to the Creekside Trail, which got me to Xenia. In Xenia, I turned south on the Little Miami Scenic Trail, which took me all the way to the edge of Mariemont in Cincinnati. I got off the trail there and navigated streets for maybe 10 miles.

One of the reasons I was hustling to and through Xenia was that Michelle and Kevin, two friends, offered to ride along with me on part of the ride. They decided to hook up with me in Spring Valley, about 6 miles south of Xenia, and ride south a bit from there. I rode fast to avoid keeping them waiting, though I know they’d have waited happily. The timing couldn’t have been more perfect. I was coming through Spring Valley, wondering where we were actually supposed to meet, when I saw Michelle walking her bike up to the trail. I’d just arrived & they’d just arrived at the same spot. Serendipity…

So, we rode south. This section of the trail showed the worst effects of the storms the night before. Sticks everywhere, a few bigger fallen branches and debris just all over the place. We could also feel the wind starting to shift. Or maybe it was us shifting. It had been coming out of the west, but we increasingly felt it in our faces, not terribly but enough to make us aware of it. We rode two and three abreast at pretty good pace, probably an average of about 16 miles an hour. Along the way, I topped 36.2 miles, making this officially my longest ride ever, even if I didn’t go another foot. By the time we stopped at Fort Ancient about 16 miles south of where we met, I was around the 42 mile mark.

We took a break by Morgan’s Livery, which was hosting a paddle-bike-run triathlon that day, so we were surrounded by some very fit folks in spandex.

A digression: I was wearing for the first time bike shorts. I’d gotten some pretty solid advice that if I was to survive this ride, they were essential for keister comfort. I wore a pair of shorts over them and an old soccer jersey. I’m not much of a physical specimen. Overweight, gray-haired, unshaven. Some days I could play Yassir Arafat in a Lifetime movie. I’m nothing to look at, but here I was surrounded by fit triathletes, the muscle-ratti gathered at a lithe-a-thon. I wasn’t one of them, but I felt good about what I was doing. Kevin snapped a photo of me before I had a chance to sit up straight while Michelle checked my tire size to see whether she could loan me a spare inner tube, just in case.

After a bit of a break, Michelle and Kevin headed back north, and I changed into some lighter, dry clothes now that the sun was high. I took off further south, riding against the traffic of the triathletes.

South from Fort Ancient, the next big milestone was Loveland, but I was getting confused about how far away it was. I’d forgotten the order of towns, and it wasn’t always obvious what town I was in. I was expecting Corwin-Morrow-Loveland, but Morrow took forever, and there was no sign of Loveland for a long, long time. I thought it might be six miles, but those miles went by, then 10, then 15 and still no sign of Loveland.

I was tired, I was alone, I was discouraged and I’d started to wonder if I’d make it all the way. Though I’d gone more than 40 miles and topped my longest ride ever, I knew I had another longest-ride-ever ahead of me. I’d already gone really far. I could call it quits somewhere nearby and still have the pride of a very long ride. I kept pedaling as I thought through it all, adding up more miles.

Around mile 50, somewhere between Morrow and South Lebanon, if memory serves, I heard a tell-tale “ping” and looked down between my legs. My rear wheel, which had just been trued, was going rowr-rowr-rowr, warped all to hell. I’d broken a spoke. Two weeks earlier, I’d broken a spoke, and the warped wheel rubbed against the brake so hard I could hardly pedal it. This time, I kept moving, looking at the path ahead and down between my legs thinking, “Well, I guess that’s it.”

My speedometer also caught my eye. Despite the broken spoke, I was still going 16-17 mph. I wasn’t slowing down at all. I was sore and hurting, but no worse than I’d been 10 miles earlier. “OK,” I told myself, “This is now about whether you’ll refuse to give in.” Marathon runners say the last few miles are all mental. This was now my marathon, and whether I made it was just a question of what I as willing to put up with. Sore back, tired legs, dry eyes — I have all of that but I’m still cruising at 14-16 mph, and my broken spoke isn’t slowing me down.

Looking back, that’s when I really finished the ride, when I decided not to quit unless my bike just wouldn’t go forward anymore.

The wind kicked up in my face now, but it wasn’t like pedaling into a wall. I kept going, moving somewhere between 12-14 mph on average. As I finally got closer and closer to Loveland, traffic on the trail really picked up, and it didn’t let up much until I got off the trail far south of there near Newtown.

Loveland’s a really lovely place for cyclists. The path in town is lined with little cafés, ice cream shops, even a BBQ joint, all right on the trail. It was a lovely oasis and a nice place to stop for lunch. As I ate a banana and a peanut butter sandwich, I called Teresa to update her on my progress. She was with the boys at Ikea, eating hotdogs.

Back on the bike, sore, tired and wondering when my wheel would finally give out, I headed south through Milford and then to Newtown, where the trail portion of my ride ended. There were no signs, but I’d studied the map enough to know Newtown Road overhead when I saw it. My odometer read about 70 miles. 70-damn-miles. Me. You’ve seen the photo above, right? I mean, c’mon. That guy rode 70 miles.

When I got off the trail, I was euphoric. This was the home stretch. I had only about 10 miles to go, and I would be riding on streets I know in a city I love. I’d go west through charming Mariemont, turn south to go past Lunken Airport and then west through Columbia-Tusculum, where I’d ride right in front of the last apartment I had in Cincinnati, a charming duplex with a vestibule and lovely tilework. Once I hit my old apartment, I had 3.8 miles left. I can bike that in my sleep, no matter how tired I am. Getting off at Mariemont meant I’m practically there.

I rode off the bike trail, and staring at me on Wooster Pike above was a huge friggin’ hill. Uphill. Probably about .25 miles long, not miserably steep but a very steady climb. I steeled myself and started climbing. Ugh. But there was no question of quit now. I was too close. My wobbly wheel was still turning. I wasn’t calling for a ride from here.

I made it up the hill at about 5 mph and through Mariemont, then through the industrial zone to Lunken Airport, where I used to hit golf balls at the driving range. Through here, I had to keep pulling my directions out of my pocket to avoid a wrong turn. I didn’t need any extra distance, even tenths of miles. My directions were in a plastic bag, along with two $5s, my driver’s license and my health insurance card (Teresa’s suggestion). I stopped in the shade of a tree to phone Teresa again and let her know I was getting close. After we got off the phone, I reached into my pocket for my directions, but nothing. They were gone.

No directions, no license, no health card, no $10. Damn. I checked my other pockets, my panniers, but nothing. I called Teresa back.

“I think I have a problem,” I told her.

“Can you go back and see if you can spot it?” she asked.

“I’ll try,” I promised.

I wasn’t happy with myself for being so careless, but I turned my bike around and started riding back along the route I’d taken, away from Sawyer Point. I knew I had limited energy, and I was using it to go the wrong direction. I went back about half a mile and saw nothing. It was a fool’s errand, and I was being a fool. I wasn’t going to find it, and I couldn’t change that. I didn’t need the directions anymore because I knew the way. So I turned back around and rode past Lunken a third time.

I started having weird trouble with my gears. At one point in my fruitless search, I had shifted to the smallest gear on the back wheel, and my chain came off. I downshifted and caught cogs again, but it all felt very chunky. I shifted back and forth as I rode from Lunken to Eastern Avenue, trying to figure out what was up and discovered I had only two or three cogs in the middle of the rear gears that I could reliably use. Broken spoke, and now something wrong with the gears. My derailer seemed bent out at a weird angle too.

But my wheels were still turning when I pedaled. At this point, I was less than six miles away. I was holding up better than my bike. It was limping along, but I kept going.

I limped past my old apartment on Eastern Avenue, which came up a lot quicker than I’d remembered, and turned onto the last road I’d take: Riverside Drive. 3.8 mostly flat miles along the river to Sawyer Point. I looked at my odometer. It read 84 point something. I started to tell myself, “It won’t hit 89.”

I could see the I-471 bridge, which runs right through Sawyer Point. I’d ride right under it to get to the large green lawn in front of the amphitheater where I planned to end. I could see the bridge getting closer. I topped 85 miles. “I won’t hit 89 miles,” I kept repeating to myself.

And I got closer and closer. 86 miles, 87 miles, 88 miles. “I won’t hit 89.”

And I turned left into Sawyer Point. There were people everywhere — families, kids, motorcycle cops, a clown on stilts and a DJ playing the chicken dance and the hokey-pokey. I’d made it.

I rode toward the giant lawn in front of the amphitheater, and not 50 feet before it, I carelessly tried to change gears to get up a slight rise. My chain completely locked. My pedals would not turn. I had to get off and walk the last damn 50 feet. Then I collapsed in the grass, deliriously happy. This is the picture I took laying there, the only one Teresa or I thought to take that afternoon.

I called Teresa, who’d just arrived with our two sons. The boys came running to me on the grass when they saw me, and I unexpectedly choked up a little. It was very sweet. It reminded me of myself at age 8 running to my dad at an airport in upstate New York. An Air Force serviceman, he’d been stationed in Korea for a year, and I wore funny goggles to the airport to welcome him back.

After a few hugs, I laid on the grass awhile while Teresa took the boys around. All the people were at Sawyer Point for something called Kidsfest. What luck. They had some fun on the inflatable bouncies and playground, and I laid on my back and rested my legs. Then we walked to the car, put the bike in the back and drove an hour up the interstate to home.

88.49 miles, 6 hours & 18 minutes on the bike, a little more than 7 hours total. My house to Sawyer Point. Check.

Addendum: The next day I was shocked not to be sore. I was a little tired but otherwise normal. My bike was much worse for wear than I was. In addition to the broken spoke, I discovered I’d broken off the smallest cog of the gears on my rear wheel. I had eight cogs but arrived with seven, and those seven were wobbling back and forth in the extra space. The broken cog and chain trouble also stressed my rear derailer to the point that I’d bent it all out of whack. Instead of being parallel with the wheel, it stuck out at about a 30 percent angle. And the bike was filthy, as I was. I’ve since showered, and the bike’s in the shop. A good Samaritan mailed my license, health card, directions and $10 back to me the next day. His daughter had found it at Lunken Airport. Nice people in this world.

Dayton and Regionalism

By 7 Comments

This week, The Brookings Institute published a study called “The State of Metropolitan America.” The premise of the study is that we can no longer define metropolitan areas in the same general terms used in the 80s and 90s because the demographic trends of the 2000s have reshaped the character of metropolises in America.   The report is grounded with the premise that population growth is an important “barometer of economic and societal well being.”

The study generally categorizes cities into the new terminology that reflects the demographics, such as “Mid-sized magnets” and “Skilled anchors” instead of “Sunbelt”  or “Rustbelt” cities.  One of the buckets is called “Industrialized Core” and represents the slow growing, less diverse, older and less educated cities that are “disadvantaged.”  The Dayton, Ohio region is lumped into this category with 17 other cities, including our standard Ohio and Michigan counterparts of Toledo, Youngstown, Cleveland, Grand Rapids and Detroit.  The study compares statistics from 1990-2000 and 2000-2009, focusing on population trends, including growth/decline, shifts between cities and suburbs, and diversity of population, as well as household growth/decline.  Dayton ranked in the lowest 10% for every statistic cited in the study, except of course the statistic about the greatest rate of decline in under age 45 population, in which we scored in the top 10.  The study specifically highlighted our significant loss of households in the “married with children” category – declining over 16% in the last 8 years.  This statistic is key data to defining our regional strategy since it skews the population age for the next generation.

Our regional strategy builds on our position in the defense industry and the region’s roots in aerospace technology and manufacturing.  We are focused on four strategic growth areas:  Aerospace R&D, Information Technology, Advanced Materials & Manufacturing, and Human Sciences/Healthcare.  The key points of our strategy focus on a highly educated workforce with our pillar community educational institutions (universities and hospitals) leading the way to differentiate our region.

This focus steers us toward the more palatable characterization of “skilled anchor” metropolis with other post-manufacturing Midwestern cities such as Akron, Pittsburgh, Cincinnati, Milwaukee, and St. Louis.  This type of city is characterized as slow growing, having a less diverse population, and higher than average education levels.  The anchors specified are service centric – such as hospitals and educational institutions.   The “skilled anchor” cities are distinct from “Industrialized Core” cities economically but share the challenges of primary growth in lower density suburban areas/decentralization and an aging workforce/growing senior population comparative to other age groups.

The conclusion of the study suggests that regional collaboration is critical within the new demographic realities.  It is not clear if the new characterizations of the metropolitan areas will remain true through the rapid transformations of the coming decades, but the study points out very clearly that the response to changing demographics must be shared across local dividing lines for the region to sustain its unique identity and growth rate.

Without regional collaboration, the “Industrial Core” cities will not transition, ultimately being usurped in the list of top 100 metropolitan areas by smaller cities with higher population growth due to immigration and emigration from the likes of Dayton.  The Dayton region must be a cohesive voice representing the metropolitan area to the state; and local leaders must forge new solutions to tackle the challenges of fiscal crises, outdated infrastructure and lacking capacity to extend needed community services.

Dayton’s leaders are making visible strides to position our region as a hub for aerospace technology and a service centric, highly educated, knowledge based economy.  While the vision is sound and is being realized incrementally, three primary questions remain un-answered on how we move toward regional growth rather than continue on the decline.

  1. What is the approach for the Dayton region to position ourselves more competitively based on the pending merger with the Cincinnati statistical MSA?
  2. How do we plan to more cohesively address economic development opportunities with a regional voice, enabling us to successfully execute our planned strategy?
  3. Are we ensuring that the human capital of the region fits with the strategic plan for growth?  There seems to be a gap in the required education, skill set and age demographics for a service and knowledge based economy with a declining population under the age of 45.

What will Dayton’s story be 10 years from now when population and growth charts for the coming decade are analyzed?  Are we going to trend toward population growth? Continue to be considered a beleaguered region mired in population loss?  Or will we allow ourselves to lose our identity entirely to become part of greater Cincinnati?  The answers to those questions will come when we begin to measure our success as a region/metropolis (household income, employment and population) instead of individual cities and towns.  The clock is ticking and the decade is already 5% gone.  We know what we want to be as a region, but we need to start taking action now to make it a reality.

Look for more in this series about Regionalism in Dayton coming soon…

For more DMM conversations on Regionalism, check out the discussion on the DMM Forum.

“So A Dyslexic Walks Into A Bra…”

By 2 Comments

…and Other Tales From the Fringe of Dayton’s Comedy Scene.

The only sound cutting through the sea of silence is a slight feedback whine as the flop sweat pours from your forehead, reflecting chromatic prisms from the glaring, white-hot spotlight. You clench the microphone with sweat-slicked hands, as your mind becomes an echoing chamber of panic. You can’t even make out the faces in the crowd, the piercing light obliterates their features, changing the warmth of humanity into an amorphous blob of judgment. How could this have happened? Your mom told you that you were funny. The clerk at UDF always laughed at your jokes. Your shadow, nailed against the faux brick wall by the merciless spotlight, seems to shrink as your confidence bids you a fond adieu, leaving you for climes that are more hospitable. You either recover quickly, raining down a torrent of bon mots to cover your previous gaffe, or you walk the longest walk ever made under the glaring reproach of the unamused.
Stand up comedy is one of the least understood and surely one of the most minimally regarded of the performing arts, yet it is one of the most difficult crafts to hone, execute and endure. The constant pressure to produce and perform is unrelenting. Development of a single joke’s precision, synthesis and rhythm is always evolving. The eternal search for material, the sharpening of lines, the shaping of words and the final development of delivery is exhaustive. Ironically, just as perfection is almost within reach, the material is usually scrapped because it is no longer topical or has become tired and mawkish and now, all new material must be captured and crafted.
In an attempt to check out the local comedy scene with an eye for how they all got started, I interviewed several local comics. Some of them are fairly new to the landscape, appearing at open mic nights for very little or no compensation, while others are national road veterans, having amassed quite an impressive resume’. The first question that arises would have to be why anyone would want to pursue a career in comedy in the first place.
A seasoned comedian, Mark Fradl, started his career in 1992 and ran hard until 1999, before abruptly leaving the stage completely for various reasons, including being burnt out on the road and its day to day hustle. He returned to stand up several years ago because the desire for performing live was re-ignited within him. When I asked him recently why anyone would get into comedy, he said, “I think you’ll find most comics have the same story: people told them they were funny. They somehow got up the courage to go up that first time at an open mic night (still the hardest thing I’ve ever done) and they just kept doing it. The dream starts huge – Tonight Show, Letterman, sitcom – but quickly narrows down to more immediate goals – get a strong five minutes, get a strong fifteen minutes, get ANY work, get good work, and then the Holy Grail of goals: quit the day job. I think that’s what keeps people in it, there’s always another little rung to climb. Step-by-step you’re deeper into the life.”
Ryan Singer, who used to be a schoolteacher for Dayton Public Schools and is now on national tours stated candidly, “I just had to. It is that simple. As a kid I remember seeing standup comedians on television and thinking to myself, ‘that is the best job ever!'”
A recent college graduate as well as a fairly current addition to the local comedy scene, Mat Thornburg took a slightly different route to the stage. “I was really involved in theater in high school” he wrote me, “and I always ended up getting cast as the comic relief. People kept telling me that I should try standup comedy, but I had no idea how to get started. Then when I was in college they had a comedy contest to win tickets to see Dane Cook. So I guess you could say the reason I got on stage the first time was because I wanted to see Dane Cook, but really it was something that I was going to do sooner or later and the contest was just an easy way to make that first step.”
Jeff Bang, nicknamed, quite unimaginatively ‘Banger’, is a butcher by day and does stand up locally as well as working at Wiley’s comedy club as a…well…I’m not really sure what Banger does, keeping me company while I stand outside and smoke, I guess. Anyway, when I asked him why he kept doing stand up, he answered my question with a question.
“Why do I keep doing it? Do you know what it’s like to get a good high? A big rush?” To which I replied that not only had I never imbibed in any illicit drugs in the past, I would eschew all illegal substances in the future if in fact any illegal substances were presented to me. He did not believe me, informing me that I was full of bovine fecal matter and continued onto his point. “There is no bigger rush than standing on a stage and making people laugh. There is no bigger rush. You get up there and do it and you have however many people are there, a hundred, a thousand, however many, and they’re in the palm of your hand and they are just hanging on every word. There is no bigger rush than that.”
Mark Fradl echoed Banger’s reasoning with, “…the good shows are great enough to get you through the bad ones. There’s still the insane rush of coming up with an idea and doing it on stage that night and honing it show after show. And there’s still a thrill in seeing how you’re bringing some pure laughter into someone’s life.”
“You’ve got to have that burning desire like 24/7 that makes you want to go out… just want to go out. You’re scared and nervous, but you want to go out there.” remarks James Earl Tompkins from Springfield. Originally from the East Side of Chicago, he landed at Wilberforce and Central State in his mid-twenties. His inspiration actually came from a speech class where he learned how to debate and discuss topics. He saw that he could apply those concepts to comedy and began trying to hone the mechanics at open mic events. His first forays did not always go as planned. “I felt so small on a lot of those days. I just wanted to hide. Hide out for weeks.” He sought solace in books that showed him the pitfalls of failure and how to strike back and overcome over adversity.
Egyptian born Sherif Hedeyat, who lives in a three-bedroom sleeper cell in Centerville and is one of the members of the Axis of Evil Comedy Tour, started in much the same way. While attending Wright State University, he tried out an open mic night at the now defunct Joker’s Comedy Café.
“I remember I was in the lounge at Wright State,” Sherif recalls, “and I remember somebody saying, ‘Hey, you’re pretty funny. You should try doing comedy at Joker’s.’ I went in there one night and just ate it bad. Literally it was like a year between my first and second time on stage because I was sitting there going, ‘Man! That was a painful experience!’ Then the second time on stage…well, it’s kind of like a drug. You start once, then you go back a while later and then you start to want it and you get better and you want it more, and it progressed.”
With ego crushing moments, little or no pay and the constant reworking of material, why would some partially sane person keep subjecting themselves to this potentially abusive mistress? The rush and the possibility of fame and fortune are motivating forces, but definitely not one that ranks the highest in most of the comedians’ minds that I interviewed.
“I keep doing it because there’s nothing else that provides the same thrill or satisfaction.” says Mat Thornburg. “Standup is great because you know instantly how you’re doing. That can be bad when you’re not doing well, but when you are doing well it’s great to hear it in the audience’s laughter. I think another reason I keep doing it is that there’s always room for improvement. There’s always something I can get better at or something I can make funnier and every performance is an opportunity to learn something new about standup and what works for you as a performer.”
I wondered if the national headliners looked down upon the aspiring comedian with disdain. Having already slogged up the mountain, did they view the local comics as untalented plebes or would they remember the arduous journey that they themselves had made and offer some assistance. I asked Banger this question, because he has a unique perspective, hanging out at Wiley’s, doing whatever it is he does there.
“A good headliner will look at an open mic guy that’s ‘got it’, especially the ones who’ve ‘got it’, and encourage them and they’ll give them little tips here and there.” Jeff said, “The ones (headliners) who are stuck on themselves, and they’re not usually the best headliner in the world, those are the ones that look down on the open mic guys.”
Ryan Singer had a slightly differing view, stating, “I think headliners don’t spend much time thinking about the local comedians one way or the other. I think headliners have their own careers to worry about and especially in the business nowadays, it can be brutal because there are so many comedians out there trying to work the same rooms. It is a tough business and when you do find a headliner that wants to help you, it is truly a random act of kindness. There are those that enjoy seeing the local comedians and offer good advice about building a career. Most young comedians don’t want to hear the advice because is all about patience and hard work. It takes a long time to become an overnight success in comedy.”
The Dayton and surrounding area has nurtured many nationally known humorists and comedians. Jonathan Winters, Erma Bombeck, Dave Chappelle, Drew Hastings, Dave Zage, Kenny Smith, Jesse Joyce, Gary Owen, Rob Haney…the list goes on and on. Is the Dayton comedy scene still a vibrant and living player on the national stage?
“Actually, I see a lot of good, up and coming comedians.” said Sherif. “There was a time for several years when we (local comedians) weren’t working ‘together’. I mean, when I came up, Cincinnati had Josh Sneed, Greg Warren and those guys, they were all hanging out together, they were writing together, they were in the clubs hanging out, they were creating that scene. In Dayton, it was almost like everyone was just doing their own thing or they were going to Cincinnati or Columbus to hang out. It seems like ever since the Funnybone opened (in Beavercreek) we got a whole new clientele and audience and we’ve got a whole new crop of comedians.”
To stand at a microphone alone, captured by the spotlight in front of a group of strangers with the intent of making them laugh is a daunting task unto itself. A classically trained actor performing a one man show does not have to carefully gauge the spectators and change up lines in midstream or alter the dialogue to please his audience. If an audience came to see Hamlet, then Hamlet they shall see. Yet how do you please a group that just shows up with the expectation of being made to laugh? Everyone’s sensibilities and sense of humor are truly not the same. The ability to have a rural farmer sitting next to a office worker who is seated near a college student and having them all succumbing to the least understood of all human reactions, that of laughter…well, one is truly encountering art at its most refined.
You can check out some of the best that the area has to offer almost any given Sunday at Wiley’s Comedy Niteclub (check website for details). This coming month, from July 1st through the 4th, Wiley’s will be holding a comedy contest, which I would like to think of as a Comedic Thunderdome-esque Cage Match of Epic Proportions, but Rob Haney just tells me to shut up when I say things like that. Anyway, you can come down and watch the best of the best compete for comedic glory or, since there is enough time, stand in front of a mirror, your dog and your family for a month, spitting the best anecdotes and one liners you can think of, honing your skills for the Big Time! The winner will receive $1,000 in American currency and forever secure their place in the Dayton’s Hall of Humor…well, if we had one of those here in Dayton, I’m sure that you would be secured there. Check out the open mic nights, and especially come out and support the local talent for the Wiley’s Comedy Contest on Thursday, July 1st at 8:30 pm, Friday, July 2nd at 9:00 pm, Saturday July 3rd at 8:00 pm and 10:30 pm and Sunday, July 4th at 8:30 pm. Tickets are a mere $2. To enter the contest yourself, contact via e-mail Jack Wilson [email protected].

A Photographic Journey of Woodland Cemetary

By 2 Comments

The 200-acre Woodland Cemetery and Arboretum in Dayton is one of the nation’s oldest “garden” cemeteries. Founded in 1840 by John Van Cleve (the Van Cleve family is one of Dayton’s “founding families”), this spacious, rolling area is the final resting place of many notable Daytonians including aviation pioneers Orville and Wilbur Wright, novelist and poet Paul L. Dunbar, columnist Erma Bombeck, inventor Charles Kettering, and John Patterson, the founder of National Cash Register.

Words don’t do this historic landmark justice.  So here are some pics:

Woodland Cemetary, located at 118 Woodland Avenue, Dayton, Ohio.

The Liberty Bell -- in Dayton?

Woodland has over 100,000 monuments.

James Ritty, inventor of the cash register, which he sold to John Patterson for $6,500.

Historic tours can be scheduled for visitors. Be prepared to walk uphill!

Living the good life...even in death.

I know Stroop Rd is in Kettering, but who was Stroop?

More striking memorials.

The Wright family plot.

Headstones of Orville, Wilbur and Katharine Wright.

The grave of Johnny Morehouse, a five-year-old boy who fell in the waters of the Miami & Erie Canal. Morehouse's dog jumped in the water, attempting to save him, but was too late.

Visitors to the Morehouse site leave toys and dolls.

Many of the trees at Woodland are more than 100 years old.

A beautiful angel.

A majestic monument watches over the resting souls.

The roads are suitable for walking or cycling

Grave site of Paul Laurence Dunbar. The tiny headstone is that of his sister Elizabeth, who died at age 2.

A 29,000 pound boulder marks the grave site of Erma Bombeck.

Southern Comfort Food

By 4 Comments

Huffie’s Serves Up The Best In Q

Mural by Dayton artist Ronnie Williams

Food. All you have to do is look at my expanding midsection and you will instantly know that, although I may not know the fanciest places to eat, I know the places that serve the down home cookin’ that you can only get from a family owned restaurant. Huffie’s Bar-B-Que, located at 925 McArthur Avenue, is one of those places. Now, I fully realize that describing any type of bar-b-que is tantamount to getting into a political argument with all sides taking up the cause of their own particular favorite, so I will avoid making any sweeping statement about it being the best bar-b-que in the city…even though it is.

Anyway, the secret is the method of preparing the ribs and the way that the bar-b-que sauce is created. Of course they did not tell me what went into the sauce, as they would have had to have killed me immediately afterward. Suffice it to say that the sauce is not too vinegary nor is it too overpowering. Some sauces strive too hard, covering up the taste of the meat with either a spicy heat or an overabundance of spices in general. Huffie’s is a perfect blend, allowing you to taste the preparation of the pork along with the rich tang of the sauce itself.

Huffie’s menu covers a broad range, taking in the Southern style favorites like fried okra, fried green tomatoes, greens and cornbread. Put that on as a side to your slab of ribs, pulled bar-b-que pork sandwich or whole fried catfish and you have yourself an incredibly satisfying meal. In recent years, they’ve added a lot of vegetarian items and heart friendly foods to the menu, such as salads, baked fish and vegetarian soups and beans. You can cap off that meal with a wide selection of pies and cheesecakes, especially their famous sweet potato pie with the crust still made with lard. Perhaps Dr. Oz might disapprove of the cholesterol count, but your palate will kick his Oprah lovin’ ass for saying such disparaging comments about something so wonderful.

I was able to sit down with the owner of Huffie’s, Howard “Huffie” Huffman, to talk about the history of the restaurant, the processes of running it and cooking for it as well as some of the memorable events that have happened there over the years.

J.T.: You guys have been here, what? Forty-three years?
Huffie: Forty-five years.

J.T.: I thought it was opened in ’65?
Huffie: Actually, it was ’63. My sisters started working here in ’65. I’ve worked here since I was thirteen and I was born in 1950, so about ’63 or ’64.

J.T.: Did it start out as a family business?
Huffie: Yeah, my father started it up. It all started out when we were in Joy Apartments on Millicent and they built a pit outside. Down South, everybody barbecues all the time and they share, so the neighbors would start coming over and we used to have as many as fifty or sixty people in the neighborhood coming over and eating our barbecue. That was at the Joy Apartments in the early sixties…sixty-one, sixty-two I’d say.

J.T.: Is most of your food still based on family recipes?
Huffie: Oh yeah, almost all of it.

J.T.: Have the recipes changed over the years?
Huffie: Not too much. It’s Memphis, Tennessee style barbecue. My father’s from Mississippi and my grandfather is also from Mississippi, so it’s basically Southern type food. It’s changed for like the extended menu, like cheese steaks and things like that, but the barbecue sauce is still the same, the ribs are still the same, the pork shoulder’s still the same. We smoke them outside. One time we got a commercial unit, but we found out that it just didn’t give you the same taste, the same authentic taste, so we went back to the hickory wood and charcoal. You know, we marinate the meat like two days ahead of time then we smoke them. We do things the old fashioned way.

J.T.: Do you buy your ingredients local?
Huffie: Oh yeah, we buy from meat companies and produce companies like, but things like the ribs and the pork shoulders, we buy from companies like GFS.

J.T.: Are there any plans for expansion, as in opening other restaurants?
Huffie: We had four or five restaurants before. I had my own restaurant one time and I’d do catering. I was over by the golf course for about two years and over by Kettering Field for like six years and that was enough. We found out it was best to just run your own single business than to try and have four or five others and trying to have someone else running them for you. You lose that family atmosphere and you kind of lose touch with things. You run into problems with people rushing the ribs or too much of a portion on a platter trying to get big tips. I mean, I’d do a franchise where someone could pay me a set amount of money and you could buy a franchise, because that gives you more control where you supply them with everything.

J.T.: Do you do a lot of catering?
Huffie: Like, I do hog roasts and Hawaiian luaus. I’ve catered for places like NCR, Mead and General Motors. I used to cater folks like the Temptations. I still have pictures. They used to know me by name. I fed the O’Jays and one time, a big named star was here at UD…I think he was about sixteen years old at the time…and he bought a couple of slabs of ribs and I took them to him and he gave me a hundred dollar tip! The best tip I’ve ever had to this day!

Huffie’s Bar-B-Que is located at 925 McArthur Avenue on the West side of Dayton, right off of Germantown St. You can call ahead to make a take out order or to make reservations for special occasions at (937) 263-2289. Their dining room is clean and spacious and, on many occasions, there are local jazz artists and other talented musicians playing while you dine. My only problem is after I eat my favorite meal there (pulled pork sandwich with a side of fries), I have to stave off the urge to curl up in the booth and take a nap. The “itis” is a force to be reckoned with.

Playing Possum In The Forest Of Argonne

By 6 Comments

Possum Creek MetroPark’s Hidden History

This man is exerting far too much energy for this to be considered a "relaxing" activity.

As Spring hurtles uncontrollably into Summer, my mind reaches out to find the activities I can do outside. My own definition of “outdoor activities,” however, has little or nothing to do with being active at all. More to the point, I like to try and find places where it can appear that I’m doing some sort of activity, while remaining completely inactive. Fishing usually fits this bill. I will confess here that I have rarely ever caught a fish (which would go against my goal of being inert) and sometimes, to insure that some fish with either a death wish or a very slow mental acuity won’t inadvertently leap onto my baited hook, I usually fish with no bait. This serves a twofold purpose: one, a fish will generally avoid my barren hook in search of a more agreeable dinner, thereby allowing me to remain in a seated position and two, it makes it so that I don’t have to put my hands near any icky worms which, on especially humid days, feel much like a semi-solidified string of undulating snot. I guess that while I’m confessing things here, I might as well add that, even if I had the misfortune of catching a fish, I would throw it back as I can’t stand to eat fish and I can assure you that a mounted fish on my wall would definitely clash with my rather eclectic form of interior design. Moving on…

The reason that I bring this up is that it reminds me of one of the places that I love not to fish: Possum Creek MetroPark. The first time I was there was sometime in the late eighties/early nineties… you will forgive me as time has been somewhat of an elusive creature my entire life, so remembering dates isn’t one of my strong points. I do remember that a group of us were supposed to be driving to Indianapolis for Pink Floyd’s Division Bell Tour, if that gives anyone a frame of reference. One of the group thought that the park would be a bitchin’ place to party before the concert. It wasn’t. Some of the group got lost and we damn near missed the concert. Fast forward to around ten years ago. I was scouting all the parks surrounding Dayton, exploring all of the wonderful points and playgrounds with my two youngest sons. We meandered over to Possum Creek one day and found that it not only had several fishable lakes, it also boasted some really interesting hiking trails, a community garden and a farm area with many types of animals on display.

On one of my excursions, I was trying not to fish on the shore of one of the lakes, but my wife insisted that I bait my hook so that I could catch her a catfish to fry up that evening. Not wanting to exert that much energy trying to reel in a catfish, let alone the potential injuries I may sustain from the stinging barbels, I convinced her that all the good catfish were in the middle of the lake. I got out my trusty inflatable raft and, utilizing the convenient foot pump, filled it with air and pushed off from the shore. Now I could actually lie down in public without seeming as if I were a lazy ne’er-do-well. This was pure genius. Well, while I was floating about on the water, I noticed some splashing and activity nearby. I didn’t even dare to have a hook on for fear that a catfish might be attracted to the shiny metal and hook it’s stupid self, so I just kept casting sinker in the general vicinity of the splashing, which seemed to create more splashing. From the shore, I’m sure that it must have looked impressive. Well, the splashing began to come closer to where I was floating and, after a few more casts, seemed to make a beeline directly for me. Now, I’ve seen Jaws I and II, so a tremor of fear trickled down my back until I remembered that the Great Whites were destined for deeper waters than those found at Possum Creek. I was rather shocked, however, when the splashing got really, really close and I found it to be caused by a very pissed off beaver that I had apparently conked in the head several times with my sinker. Apparently there are a literal ton of these flat tailed rodents gnawing about Possum Creek and, thankfully, I was able to extricate myself from the situation unscathed.

The walking trails are incredibly intriguing as well. You can explore areas that range from lakeside trails to wildflower fields to farmland and then into a beech tree forest, full of loamy trails and deep ravines. This is where I found some things that struck me as odd and made me explore the history of the park further. I came across a massive trestle, a large square expanse of concrete and several rusted out trolley car frames sitting inexplicably in the middle of the woods. The name of the woods also intrigued me: Argonne Forest. While it may sound like something out of Lord of the Rings, history’s most famous forest of the same name was a deadly battle site during World War I. Why would someone name a forest in Dayton after the site of such an epic battle?

In the late eighteen-hundreds, a boy was born named Null M. Hodapp. His boyhood friend was a boy named Ralph Clemons with whom he shared many adventures. They grew into adulthood together and enlisted in the Army to fight the Germans in World War I. In a sadly ironic twist of fate, Ralph was killed mere hours before the Armistice Treaty was signed. Ralph’s death was devastating to Hodapp as he returned to Dayton to resume his life. He eventually married LoRean D. Hodapp and became a widely regarded judge in the Dayton area. In the 1930s, Hodapp purchased 400 acres around Germantown Pike and dubbed the land Argonne Forest Park, in memory of his friend and the place in which he had died. The first building that was constructed was a clubhouse for veterans. Eventually, the park consisted of a dance pavilion, a horse track, a car racetrack, a shooting range and a swimming hole with a diving platform. “Swimming hole” is more than a slight misnomer as the “hole” was actually constructed by building a huge wall to block the Possum Creek, which created a massive swimming area replete with diving platforms, the remnants of which can still be seen today. Hodapp also bought several streetcars from the Oakwood-Dayton lines to be used as impromptu cabins and for the children to play in. Hodapp would also perform the Battle of Argonne Forest every Fourth of July, in memory of 322nd Field Artillery Unit who had fought there during World War I.

As the world moved into the next War, rationing and depletion of money contributed to the eventual demise of the park. Some sections were sold off, but the bulk of the park remained and was made into what is now known as Possum Creek MetroPark. Walking amongst the paths and seeing the relics of a bygone era, one can almost squint and see the shrieking children cannonballing off the diving platform or hear the music and the shuffling feet scrape over the dance hall floor. The grandeur is gone, but the memory remains indelibly etched into the sodden trails and the swaying branches of the forest.

This Zumba Queen Will Get You Lean: This ain’t sweatin’ to the oldies!

By 2 Comments

Yvette Williams, aka "The Diva"

The old school method of getting a bikini ready bod for the summer used to involve breaking out a dusty old VHS tape, popping it in the VCR and listening to a poofy-haired, tiny shorts-wearing man scream positive affirmations at you through the television set.

But that was then.  If performing awkward, antiquated dance moves in your living room wearing day-glow leg warmers isn’t cutting it any more, then it might be time to switch your style up.

The “new” way, ladies and gentlemen, to sculpt a hot bod is zumba.

And zumba ain’t no joke.

To characterize zumba – a fitness regimen that blends Latin grooves and dance moves – as simply a health craze would be a transgression and an inadequate description of the art form.

Zumba is a lifestyle for enthusiasts who shake their hips to the slick sounds of salsa, merengue and other afro-cuban inspired international rhythms.  The popularity of zumba dance has exploded in recent years as many are discovering the numerous benefits of this fun, yet challenging, activity.

No one knows this better than Yvette “The Diva” Williams, a certified fitness instructor and sports nutritionist who has been leading high energy zumba sessions throughout the Dayton area for the last two years.

Williams, originally from Queens, New York, leads zumba workouts at DK & J Pump in Trotwood, Premiere Ladies Fitness in Kettering and Therapy Cafe in downtown Dayton.

Dayton MostMetro recently sat down with this mother of two for an honest discussion about zumba, music and machismo:

Dayton MostMetro:  When did you develop your interest in fitness?

Yvette Williams: I began bodybuilding late…at thirty!  I grew up always being unhappy with the way that I looked.  I’ve always been a very self conscious person, never really liking the way that I looked.  So, at thirty, I decided to do something about it.  I was watching the Olympics…and was looking at some videos of track and field.  [I was] looking at the bodies and how muscular [the women] were.  I saw how beautiful they were.  They were attractive and sexy.  They didn’t look like men – they looked like shredded, beautiful women.  I wanted to look like that.

DMM:  How were you introduced to zumba?

Williams:  I’ve always had a love for Latin music – especially from being in New York City for as long as I was.  I grew up with the authentic Latin music…Tito Puente, Celia Cruz, Mongo Santamaria, um…Ray Barretto, Willie Bobo.  All of them.  I grew up with this music!  It was a very strong influence in my family – in my household.

I was at a gym, and I heard the music and it was catchy.  I thought, “What are they in there doing?’  I ended up taking classes from an instructor named Christi Siler…and we had a ball!  I loved the music!  I loved how she moved!  I found that I already knew the moves because I grew up with this music.  I thought, “Oh my gosh. I can do this!”  I really did it for the love of the music.

"The Diva" in her element

DMM: When did you began teaching your own classes here in Dayton?

Williams:  I became certified and started teaching about a year later…The classes have just sort of taken off. I’m just appreciative – and very grateful – that people like what I do!

My style is very authentic.  Zumba is a Latin word.  It was developed by Alberto Perez, who is Colombian. So, in that spirit – it’s Latin.  It’s what I identify with.  It’s very authentic.  [It’s] heavy salsa!  Heavy meringue and reggae-ton!  I stick with the authentic Latin moves, rather than incorporating too many other things.  I’ve learned that the Latina population really appreciates that, because I’m not watering down anything…It is what it’s supposed to be.

DMM:  So, what’s so cool about the zumba dance routines?

Williams:  You’re working out without even feeling that you’re working out!  You just let the music takes you wherever it wants to take you…The music is very motivating.  It’s captivating and fun music.  It takes you somewhere else!

It allows you a chance to escape.  There’s whooping and hollering…clapping and cheering!  The zumba logo says  “Join the party!”  So, we treat it like a party!  It’s fun, and exciting.  Every class is different…I’m trying to get some more men in the class…

DMM: …Which brings me to my next question.  What was the inspiration behind your Zumba Men’s Challenges?

Williams: Diva is trying to gain more testosterone in her classes! [Laughs.] I’m not going to get the men in here by saying, “Would you guys please come to my zumba class?”  Because they’re going to say that zumba is for girls!  So I said, okay…How about if I challenge them?  And I find that if I challenge them it’s like, “Hold on, wait a minute! You’re not gonna challenge me…” [Laughs]

When I challenged them, they came.

DMM: So you had a favorable response?

Williams: We had a huge one the first time.  The entire dance floor was covered, and there were people going all the way to the back wall.  That was in February. At the second men’s challenge, the men outnumbered the women.

Everybody can Zumba!

DMM: What is the age range for zumba?  And are there any restrictions?

Williams: Before you start any fitness regimen, you should always check with your doctor.  There are different levels.  There’s even Zumba Gold, for the elderly or for people who have had injuries.  But it’s all ages [for zumba.]

My classes are very diverse — from ages 13 to 60.

DMM: Lastly, what would you say to anyone who may be on the fence about trying your classes?

Williams: For the ladies, it’s just an amazing way to get fit and toned for the summer.  I tell everybody, “Before you strut, you gotta sweat!”

For my men, I tell them, “Zumba ain’t sissy, it’s sexy!”

Williams is also a gifted vocalist who has performed on stage during Urban Nights

Mondays
DK&J Pump 1790 Shiloh Springs Rd Trotwood, OH
7:00pm $5 for non-gym members

Fridays
Therapy Cafe 452 E. 3rd St Dayton, OH
6:30pm $6

Saturdays
Premier Ladies Fitness, Kettering OH
1:00pm members only

Ms. Williams would like to give a special shout out to DJ Danny D for providing her with fabulous Latin music and remixes!

Jonathan Larson’s RENT @ C{Space in Downtown Dayton

By 32 Comments

Jonathan Larson's RENT at C{Space June 3-5 www.RENTdayton.org

Jonathan Larson's RENT at C{Space June 3-5 www.RENTdayton.org ~ Win Tickets Below!

On June 3rd Encore Theater Company will open it’s summer season of musicals with a show which has become a cornerstone for the musical theater world of the past decade and a half.  ETC will present Jonathan Larson’s Pulitzer Prize winning Broadway musical RENT in C{space on three evenings next week, and if you don’t plan ahead, you just might miss out this highly provocative production in a truly unique downtown venue (Saturday is nearly sold out & tickets are selling fast for the other performances).

The musical, which is based loosely on Puccini’s opera La Boheme, follows a year in the lives of seven friends living the disappearing Bohemian lifestyle in New York’s East Village.  AIDS and both it’s physical and emotional complications pervade these characters as they struggle to find their place in a quickly changing world.

Maureen & Joanne in RENT www.RENTdayton.org

We think of RENT as this iconic “rock opera” legend but what RENT was saying and how it was saying it was revolutionary in 1996 and the theater world has never been the same.  The number of doors RENT opened for new musical theatre writers was unprecedented.  Shows that have followed – like SPRING AWAKENING & 2010’s AMERICAN IDIOT (Yes, the GreenDay one) –  are indebted to Larson & his show for their success.  RENT’s influence is still profound in shows opening today, fourteen years after it quietly opened it’s Off-Broadway run the night after Larson died of an aortic aneurysm.

When talking with cast members of the show, it’s interesting, almost comical actually, to realize that for many of them, their first knowledge of this show was the 2005 film version.  As depressing as that is to this almost-40-year-old, who could’ve been in the original Broadway cast (if he could act & sing that is), it’s also refreshing.  This cast is approaching this material with such an infectious energy!  They are exploring the souls of these characters, but through a new point of view, in a very different world.

Drew Bown as "Roger" in RENT www.RENTdayton.org
“To be able to experience something so beyond myself in sharing with my fellow castmates and it’s viewers, the very real struggle that these characters live through has been life-changing.  This chance to live in love, to spread the message to carry on and be thankful every single day has been a gift.”

Drew Bowen, “Roger”

JJ Parkey as "Mark" in RENT www.RENTdayton.org
“Being a part of RENT is something deeply profound that I’ve strived for in my art and I finally have the chance to play my dream role.  I’ll carry with me the artistic lessons that I’ve learned from this production as I pursue my stage career.”

JJ Parkey, “Mark”

Since ETC carries as its mission the development and preservation of new musical theatre, it seemed only fitting that we honor Jonathon Larson – the pioneer who made our work and our mission possible.  Along with a unique group of collaborators including C}Space, Sinclair Community College Theatre Department, AIDS Resource Center of Ohio, and Project Runway Finalist Althea Harper, ETC invites you to rediscover why you fell in love with RENT all over again and see this generation-defining musical in a fresh innovative production against the backdrop of one of Downtown’s Dayton’s most unique spaces.

Maureen & Joanne in RENT www.RENTdayton.org

Jonathan Larson’s RENT will play June 3, 4 & 5 in downtown Dayton’s C{space at 7:30pm each evening. An additional 11:30pm performance will take place on Friday, June 4th. Tickets for the event are $15 in advance and $18 at the door.  You can order tickets by visiting www.RENTdayton.org

WIN TICKETS to RENT!

It’s easy!  Just COMMENT to this post before midnight Saturday, May 29th to be entered into a drawing to win a set of tickets to the Encore Theater Company production of RENT.  We will be giving away one set of tickets for each 7:30 performance (Thursday, Friday & Saturday, 1 winner per performance)…but you can help DOUBLE the number of tickets we will be giving away!  If 50 readers “SHARE” this post, by clicking the FACEBOOK SHARE BUTTON before midnight Saturday…we’ll give away two sets of tickets for each evening’s performance! Start Sharing!

Your “Traditional” YP Groups: Contemporary and Fun

By 1 Comment

When people think of YP groups, I think it’s organizations like DULYP, GenD, and HYPE that come to mind.  Groups of young people – whatever jobs or interests – in a certain region working together to advance professional development, volunteerism, and fun.  There are many YP groups that specialize in serving specific professions or interests, but the Dayton region is the proud home to a few of these comprehensive and more traditional YP organizations as well.  I spoke to Demarus Crawford-White (chair of the Dayton Urban League Young Professionals) and Shanon Potts (chair of Generation Dayton) to get their take on the YP situation in the region – and they had a lot to share.

Crawford-White is Dayton born and bred, and will tell you that she was “tricked” into becoming the chair of the DULYPs.  A friend invited her to a couple of events, asked for help with some event coordination, and before she knew it –  she was the marketing chair andthings have grown from there.  Although she didn’t know what she was getting into, Crawford-White will tell you that the “trick” was one of the best things her friend ever did for her.  Potts moved to Dayton for work from a small Ohio town after a stay in Columbus for college and law school.  She was referred to the Dayton Young Professionals Association (a group founded in 2004 when many YPs determined there weren’t enough networking opportunities) right before a merge with Generation Dayton created the current program affiliated with the Dayton Area Chamber of Commerce.  Potts has been an active member of GenD since May 2006.

Both women tout the value that a YP org provides anyone who wants to get involved – professional networking, meeting new people,

A group of YPs enjoys YP@Play sponsored by the DULYPs.

and the value of being connected to something larger than the self.  Potts shared that her involvement with Generation Dayton opened the door for her to serve as the young professional representative on the Executive Committee for the successful Five Rivers MetroParks levy campaign in 2009.  Also, the chair of GenD holds a seat on the Dayton Area Chamber of Commerce Board of Trustees.  Those external leadership opportunities have proved invaluable to Potts as she continues to expand her network and meet new people.  Crawford-White also spoke about the value the YP organizations provide for people looking to grow professionally; being a member provides an opportunity to showcase skills in leadership, management, relationship-building, andso many more traits that employers look for.  Beyond that, membership demonstrates a commitment to community, and that drive based on passion and not the paycheck is important to employers.  Crawford-White has seen many DULYP members receive promotions due in part to the skills they’ve demonstrated through community involvement.

And it’s so easy to get involved – many events for GenD, the DULYPs, and HYPE are open to both members and non-members.  And if you’re not really a “joiner,” the ladies have some advice for you as well.  Potts explains that the benefits received by membership in GenD far outweigh the individual investment.  But if you don’t want to lose that valuable “friend time,” bring your friends along, too!  Crawford-White knows that time is an issue for all of us, but she refers back to the old adage: “If you don’t stand for something, you will fall for anything.”  The DULYPs provide an easy way to stand with other YPs in the region and bring voices together to make a difference in the community.

Although their missions differ, members of both these organizations are working toward a better Dayton region for young professionals.  I asked both women why Dayton has such a negative stigma in the view of YPs.  Crawford-White knows there are valuable events happening in the region, but says it can be tough for YPs to filter- even though she has been here her whole life, she still is amazed by the great opportunities she learns about every few months.  Crawford-White believes it only takes visiting a couple YP groups and getting on some email lists until you find a group that you “click” with.  Potts agrees with the wide selection of YP opportunities in the region.  A downtown resident and frequent visitor around all parts of the region, Potts explains that Dayton is a very easy community to navigate once you are willing to become actively involved and engaged in an organization like Generation Dayton.  She expresses a specific gratitude to the many businesses and community leaders who are working to open doors to better involve and engage YPs.

A group from GenD enjoys networking and fun at a Dragon's game.

Although the passion these ladies demonstrate for their YP organizations are clear, they both demonstrate a similar passion for the region.  Potts picks Downtown Dayton as her favorite place to hang out, explore and experience.  She most enjoys walking to and from restaurants, Dragons games, the theater, art galleries as well as being at epicenter of the region’s growing system of bike paths with easy access to Yellow Springs, Xenia and Miamisburg.  Crawford-White highlights the MetroParks as her favorite Dayton spot(s) – from Riverscape to the 2nd Street Market, Cox Arboretum and Wegerzyn Gardens – she appreciates that the “the whole system is really a neat and wallet-friendly place to spend the day.”

Hopefully, this expanded highlight of a couple of the region’s most comprehensive YP organizations – and the women who are currently at the helm –  has demonstrated the ease and important value of getting engaged in the opportunities our region offers.  Whatever you’re looking for – social activities, new friends, professional development, volunteering, education or more – could be found with the programs sponsored by Generation Dayton and the Dayton Urban League Young Professionals.  For a final thought – Crawford-White reminds us that Dayton was made famous by individuals who thought outside of the box.  The Wright Brothers, Charles Kettering, Paul Laurence Dunbar, and Erma Bombeck all started their fantastic careers here in Dayton while they were “young professionals.”  She asks, “What potential does yet another Dayton YP have to make and impact?”

NOTE: Schedules didn’t work out and I was unable to speak with a representative to HYPE, but if you’re a YP in the Northern Miami Valley area and want to stay a little closer to home – check out this org that provides great opportunities. HYPE will be featured in the future.

Generation Dayton (YPs ages 21-40) is dedicated to connecting young professionals with one another and to the community so that together YPs can become integral components in the future of the success of the region.  GenD offers many unique opportunities  – popular ones include Generation Dayton Day (a community-wide volunteering opportunity), volunteer speed matching, an annual holiday party, and regular “Thirsty Thursdays” for business and social networking.

The Dayton Urban League Young Professionals (YPs ages 21-44) are the auxiliary association of the Dayton Urban League; the DULYPs work to further the five empowerment points of the League.   The DULYPs are affiliated with the National Urban League, and that partnerhsip provides great national experiences for members.  Popular local activities include the professional development series, the Next Level Entrepreneurship Conference, the monthly YP @ Play evenings, and opportunities to volunteer in the community.

Greater Downtown Dayton Plan Update

By Leave a Comment

The organizers of the Greater Downtown Dayton Plan unveiled “the plan” earlier today, and we’ll have more info to share soon – but for now check out the video that Dayton’s Kenny Mosher put together that sums up just how important Downtown Dayton is, and why the entire region should believe in its future.

The Downtown Dayton Plan from Kenny Mosher on Vimeo.

The Connection of the Collective

By 1 Comment

The Fifth Annual Sideshow To Be Presented At The Armory

By Kidtee Hello

Walking up the three flights of unfinished wooden stairs, one would not expect to find much more than possibly a storage room filled with forgotten industrial supplies and broken machinery, but upon opening the heavy door to the third floor of the Armory’s loft, you will find nothing but wonder. Dispersed under the exposed and age darkened wooden beams of the loft is a olio of objets d’art. Cascading down from one of these beams is a latticework of vibrantly colored worry dolls, connected, as we all are, by the most tenuous of threads. Your eye will fall upon molten sculptures, hyper-realistic photographs, abstract painting that cry out to the viewer in a silent scream. Stages dot the area, awaiting the humming strum of musicians who will take to them during the Fifth Annual Sideshow to be held on May 14th and 15th at the Armory as a part of Dayton’s Urban Nights.

Across the length of the room, crosswise from the main door, a stark black and white photograph hangs, drawing you across the creaking floorboards. The photograph depicts a woman, head thrown back with her eyes closed in a frozen moment of ecstasy. The large picture is adorned with brightly colored flowers which frame and then flow under and in front of it, creating a descriptive display. The photographer is Kidtee Hello and she is the lead organizer of this, the fifth installment of the Sideshow. In speaking with her, I was able to get some of the back history of how the Sideshow was first developed.

By Deloris Bucanan

“When they first started these events, there wasn’t much going on for your average person or artist. Unless you were a graduate of a really good school and had something to show in a really fancy gallery, there wasn’t really anything available except for small art shows like the ones at the Pearl…which actually kind of sparked the Sideshow.” Kidtee went on to describe how the event began. “Laurana Wong wanted to have an event with a little bit of everything and now you see more DYI type art shows…”

Jeff Opt, through an online correspondence, was able to expound on the early days of the Sideshow, having been involved since the beginning and being a part of all the subsequent Sideshows in one form or another since then.

“The original Sideshow idea started with Laurana Wong…it was her idea to throw an art show where the artists worked together to define the show and one that didn’t cost money to throw. It was a community building exercise. There was no theme to the show other than what the participants worked together to create.” Opt went on to say that, “The first show was so successful that it gave birth to the Dayton Circus Creative Collective, a group of like-minded people who wanted to see the spirit of art and community continue year around in Dayton. Since then, the Sideshow has become the premier event for the Dayton Circus.”

This is a perfect depiction of what the Dayton Circus Creative Collective is: a circular energy that feeds and creates itself. The Sideshow begat the Circus and the Circus now gives rise to the Sideshow. It has become a self-sustaining entity of energy and art whose members both feed off of and feed others with a perpetually positive synergy.

With the help of Kate Ervin and Emanuel Cavallaro, I requested Circus members and Sideshow participants to share there thoughts as

By Sean Baumgardener

to what the essence and purpose of the Sideshow was and is. Within an hour, I had at least ten responses, all eloquently espousing the positive contributions that the Sideshow has made not only to the artists and the patrons, but to the community of Dayton as a whole.

“I think what those of us who have been involved with The Sideshow from it’s very first year probably want The Sideshow to become is a cultural institution in Dayton, an event that people can rely on occurring year after year. This is our fifth year, and I’m extremely proud to be involved.” Cavallaro then answered my query directly by saying, “As for what it means to me, personally? Honestly, all my friends are artists or performers of some sort, and from all different backgrounds. Art is what we do and who we are. The Sideshow is a chance for us to share that with the city. And it’s a chance to celebrate and express ourselves. We’re a motley group, and this is a big undertaking that requires weeks and weeks of preparation and hours and hours of hard work, but we somehow find the time to have fun doing it.”

The responses kept coming, all eloquently passionate about what the Sideshow specifically and the Circus in general meant to each individual artist.

“To me, the Sideshow is a multimedia arts event that recognizes local artists of all ages, races, and social classes. It’s an art event for the community. It may be a grass roots production, or seen as an urban underground show, but it’s also a collection of Dayton’s most progressive and Avant-garde artists.” wrote Christine Gaffney, and aspiring film director said. She then added, “The sideshow is more than just an art show, it’s an experience you can’t have anywhere else in Dayton, and it’s only once a year. Dayton is full of Talent. Much of this talent hasn’t made it’s way into the traditional art gallery yet.”

The belief that the Sideshow provided artists a non-traditional venue I which to express and display their non-conforming works was echoed in many of the messages received and conversations I had with the artists, participants and organizers.

Matthew James wrote, “The Sideshow is an opportunity to get outside of the normal space of commercial artwork, a chance for people whose creative works don’t flourish in the ‘normal’ art world to share their contributions with the community. It’s also an opportunity for artists, performers, musicians, and community organizers to get to know one another and come together around a common cause – two nights of outrageous entertainment!”

The very act of trying to draw together all of these divergent artists, secure a location and coordinate the activities of the Sideshow must be a logistics nightmare. While speaking with Kidtee Hello, I asked if this was her first year dealing with all of this as a lead organizer.

“Yeah. Last year I helped Maggie Ottoson with the Sideshow she put together and then this year, I’m organizing it.”

Margaret “Maggie” Ottoson was very direct and emphatic with her description of what the essence of the Sideshow is:

“Empowerment! Freedom to express in any way you like. A collection of the best music art creativity and activism in Dayton.” Ottoson went on to describe what the overall intentions of the Sideshow are, “What is the purpose of the Sideshow? To bring together like minded people who would otherwise have never met and teach that you can do anything if you simply dare to act.”

Tom Watson III wrote that he used his art as a self imposed art therapy regime to help him rehabilitate from a brain stem stroke he

"Worry Dolls"

had suffered. His artwork has turned something that he has feared to reflects a fascinatingly organic view of the brain and the power that it holds.

“It’s one of the artistic highlights of my year!” Tom wrote. “This is my second year as a participating artist and this year is going to be even better than last year’s event. It is a nice way to show my work in an environment that is conducive to free expression and not as restrictive as many venues tend to be. It’s also an opportunity to meet and interact with a lot of other local artists and musicians. It’s also a reunion of sorts for those of us who’ve done it before.

Another factor, almost more important (if not more important) than getting exposure for the artists is the interaction of the artists themselves. The sheer ability to be exposed to each others forms of expression and be influenced to take their own art into areas that they may have never considered possible. Lisa Alexander wrote to express this very aspect of the Sideshow by saying:

“It gives opportunities to local artists to not only showcase their work but to also be involved in a community-building activity.” Alexander succinctly said. “It gives artists a chance to exchange ideas, make contacts, and make friends. It gives the artists a sense of pride in the work they do to help the entire show go off, not just from creating art. It also gives artists a sense of being involved in something bigger than themselves.”

By way of example, Cathy Jeffers described her own experiences as to how the Sideshow influenced her own artwork.

“It really got me to break away too. I usually do art quilts. Last year I did and installation called Fire and Ice.” Jeffers went on to describe the display. “It was a combination of fabric, streamers (representing fire) and white paper mache, (frozen like) figures. I spent hours on it at home and on sight. I really enjoyed the final look…and I could really see the three dimensional impact of the installation in the space.”

Emanuel Cavallaro brought all the elements of the Sideshow and the influence that it has on the artists, the organization and the patrons alike.  “The essence of The Sideshow is its malleability. It changes every year. New organizers each year, new artists, new performers, new venue. It’s chaotic as well, because there is never a specific theme. So the artwork, installations and performances are remarkably varied.” Cavallaro “Something very intense can be followed by something very subdued, something appalling by something beautiful. So it can be aesthetically jarring at times, but in a good way, the way in which a roller coaster ride is jarring. In that way, there is something for everyone.”

What: The Dayton Circus Creative Collective’s Fifth Annual Sideshow

When: May 14th and 15th from 6:00 pm until 1:00 am.

Where: The Armory –  201 E. Sixth Street (Entrance in rear of building – parking is off of Patterson Blvd.)

Why: See story above

For more information or to see other events that the Circus is involved in, check out their website at  www.daytoncircus.org.