For more info, visit cinemacenter.org or email movies@cinemacenter.org.
Tuesday 8/26 Winged Migration 6:30 Swimming Pool 8:30
Wednesday 8/27 Winged Migration 6:30 Swimming Pool 8:30
Thursday 8/28 Winged Migration 6:30 Swimming Pool 8:30 (Last Shows for Swimming Pool!)
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Northfork & Winged Migration
Winged Migration
"Winged Migration is a marvel.”—Los Angeles Times. “A movie of awesome beauty and innovation…”—Chicago Tribune. “Who wants to see a documentary about birds of every feather who migrate across forty countries and seven continents? You do. Winged Migration is a movie miracle; it soars.”—Rolling Stone. In a summer full of digitally enhanced machines ("The Matrix Reloaded") and mutants ("X2"), you won't see anything more amazing and electrifying than the soaring birds in this marvelous movie.”—L.A. Daily News. 90 min., Rated G. Friday at 6:30PM, Saturday at 2:00PM & 4:00PM, Sunday at 1PM & 3PM, Monday at 6:15PM Tuesday at 6:15PM, Wednesday at 6:15PM, and Thursday at 8:15PM
Northfork
Opens Friday, August 29th “Four Stars! A masterpiece! A visionary epic! There has never been a movie quite like Northfork!”—Roger Ebert. “Dreamy and entrancing. At a moment when so many films strive to be as obvious and interchangeable as possible, it is gratifying to find one that is puzzling, subtle and handmade.”—The New York Times. “Magical! A thoroughly original accomplishment of a high artistic order! A provocatively bold stroke of imagination. Full of sly touches.”—Los Angeles Times. "A powerful, surreal fable, one that requires a small amount of patience from the viewer in exchange for a moving experience."—Dallas Morning News. "Like the best work of David Lynch, Northfork is that rare movie that draws you in more (rather than alienating you) at precisely those moments when you least understand it."—Variety. 94 minutes, Rated PG-13. Friday at 8:30PM, Saturday at 6:30PM & 8:30PM, Sunday at 5:00PM, Monday at 8:15PM Tuesday at 8:15PM, Wednesday at 8:15PM, Thursday at 6:15PM
Northfork
Opens Friday, August 29th One of the most hauntingly beautiful films ever made, the Polish brothers’ “Northfork” nimbly fuses history and fantasy in a ’50s-set fairy tale set in the titular Montana mining community. While the rest of the country is profiting from a postwar economic boom, this small town is about to vanish from the face of the earth under the waters of a river to be dammed up imminently. Three pairs of men in trench coats (James Woods and Mark Polish among them) glide across the flat plain, visiting the remaining holdouts who refuse to leave their homesteads. The men’s own futures are at stake, for they have been promised 1.5 acres of lakefront property in exchange for the secured evacuation of 65 properties. With 48 hours to go before the waters are reined in, time is running out. Meanwhile, sickly orphan Irwin (Duel Farnes) lies in a feverish coma under the care of a kindly priest (Nick Nolte). In his restless dreams, Irwin encounters an eccentric family--flamboyant Cup of Tea (Robin Sachs); wordless cowboy Cod (Ben Foster); androgynous Flower Hercules (Daryl Hannah), in a black pixie haircut and ruffled shirt; and Happy (Anthony Edwards), an amputee with wooden hands and multi-lensed spectacles--who are in search of the Unknown Angel. Desperate to go with them when they leave, Irwin brings evidence--feathers, a tranquilizer gun, bodily scars--proving that he is the one for whom they are looking. In the end these two storylines converge in a wholly unexpected way. Not only is the story intensely moving, but also the imagery throughout “Northfork” is lovely. Drawing from a palette of flat grays and browns, helmer Michael Polish and cinematographer David Mullen have produced a look reminiscent of an old, faded, sepia-toned photograph. Particularly poetic are the visions of the surface of a lake, churning from a disturbance below until a casket pops to the surface, and a church with a missing fourth wall, a priest preaching his final Sunday sermon while cow’s graze serenely in the background. In addition, in the otherworldly characters and a wooden dog-giraffe hybrid creature that beckons to Irwin from across the plain, Michael Polish and his brother Mark, with whom he produced and crafted the script, exhibit wild, evocative imagination. Yet the film is subtly humorous as well, with the reconstruction of the Biblical ark by a particularly devout polygamist family; debates on the differences between people who drive Fords and people who drive Chevys; and, in a scene of comic brilliance, the protracted guessing game of what the local diner might have on the menu with a waitress whose features are profoundly, shall we say, unique. Here, too, are anachronisms such as a quip about fast food and the throwaway line, delivered just so, “What are you talking about, Willis?” The jokes do take one out of the film for a moment, yet somehow, in the context of this quirky piece, they work. The final movement in the Polish brothers’ trilogy that also includes “Twin Falls Idaho” and “Jackpot,” “Northfork” is a classic for all time. Rated PG-13 for brief sexuality. Running time: 94 min.
Winged Migration
You won't find any purer example of the power of cinema than Jacques Perrin's Oscar-nominated documentary "Winged Migration." Here's the long and short of it: "Winged Migration" is 90 minutes of footage of birds flying, though Perrin looks at the variety of natural and man-made hazards birds face in the course of their semi-annual instinctive trek across great expanses of globe. And yet, with only these images and sounds of birds, a musical score and a minimum of narration, Perrin's film speaks volumes about the way these animals live in nature and, occasionally, in spite of nature. There is something heroic and awe-inspiring about their indomitable struggle to follow the instincts they were born with. There undoubtedly will be people who find this notion boring: Birds? Flying? That's it? I can see that on the Nature Channel. But give this movie a chance. Perrin's film is profound – and profoundly entertaining. You will look at the world in a different way after seeing "Winged Migration." 90 min., Rated G.
Coming Soon: La Tropical
Opens Friday, September 5th La Tropical is an exuberant hotspot for Cuban music, dance and passion that continues to thrive on the periphery of Havana after some sixty years. Pulitzer-Prize winning photojournalist, David Turnley, seized the opportunity to document the ambiance of this sensual club and delve into the lives of the striking array of characters who surround it. He spent eight weeks during the summer months of 2000 capturing the concerts, cabarets and, in essence, the sights and sounds of the Cuban music scene. Turnley chose to shoot this stunning documentary in black and white in order to visually encapsulate the feeling of timelessness and passion that Cuba exudes. The result is indeed a visual feast, that, coupled with an outstanding soundtrack of contemporary and traditional Cuban music, creates a revealing examination of the ways in which music, race, class and socialism have shaped the lives of contemporary Cubans. 2002, 96 min.
For more info, visit cinemacenter.org or email movies@cinemacenter.org.
Pulitzer prize winning journalist David Turnley will introduce and discuss his new film “La Tropical” on Friday, September 5th at Fort Wayne Cinema Center.
David and his twin brother Peter are Fort Wayne natives who began their work as photographers shooting images in their hometown while still in high school. Both have traveled to many places documenting life in the world’s hot spots.
“La Tropical” is David Turnley’s first film, an exuberant and sensual portrait of a club that is to the musical life of Havana and Cuba what the Apollo is to Harlem.
David is a thoughtful and engaging speaker. His diverse work and accomplishments will make for an interesting evening. Don’t miss this opportunity!
Tickets are $25.00 for general admission and $20.00 for Cinema Center members. Reservations can be made by calling Cinema Center at 426-3456.
Cocktails and reception begin at 6:00 PM Premiere screening of “La Tropical” will be at 7:PM.
There will be additional screenings of “La Tropical” at Cinema Center through September 11th.
David’s exhibit, David Turnley: Memories, from Fort Wayne to Afghanistan, opens at the John Weatherhead Gallery in the Mimi and Ian Rolland Art and Visual communication Center at the University of St. Francis on Saturday, September 6th. The opening begins at 6:00PM and is free and open to the public.
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La Tropical
La Tropical is an exuberant hotspot for Cuban music, dance and passion that continues to thrive on the periphery of Havana after some sixty years. Pulitzer-Prize winning photojournalist, David Turnley, seized the opportunity to document the ambiance of this sensual club and delve into the lives of the striking array of characters who surround it. He spent eight weeks during the summer months of 2000 capturing the concerts, cabarets and, in essence, the sights and sounds of the Cuban music scene. Turnley chose to shoot this stunning documentary in black and white in order to visually encapsulate the feeling of timelessness and passion that Cuba exudes. The result is indeed a visual feast, that, coupled with an outstanding soundtrack of contemporary and traditional Cuban music, creates a revealing examination of the ways in which music, race, class and socialism have shaped the lives of contemporary Cubans. 2002, 96 min.
WHEN: Wednesday, August 27, from 5 - 7:30 p.m.
WHERE: Barr Street Market (Barr Street between Wayne and Berry), near the History Center (Old City Hall Museum)
WHAT: Free food by Club Soda, live music by Prime Time (alcohol is served so must be 21 or older). Thanks to sponsors Design Collaborative, Lupke Rice, Club Soda and Z94.1FM.
BONUS #1: Open House with updates on Downtown Blueprint projects like Grand Wayne Center streetscape and the Arts Plaza
BONUS #2: Learn more about the newly installed Internet access points located throughout downtown where you can get on-line FOR FREE (this is another Downtown Blueprint project but it is so cool that it gets its own special mention)
This is the LAST BLOCK PARTY for the summer so don't miss it. Bring your friends and join us for lots of fun in the sun. (Speaking of sun: rain date is one week late, same time/same place.)
Wednesday, Sept. 10th, 2003 - 9p.m
Acoustic Poet, Tasha Jones
Starlight Southern Grill
2012 Broadway, Fort Wayne.
Celebrate the 2nd anniversary of Michele-Michelle's Starlight Poet Society as they feature Indianapolis poet, Tasha Jones. Now on her second published work Tasha solidifies herself as a writer with no limits on what she can do. With the added touch of an acoustic guitar and the beat of drums, this inspirational, influential and conscience writer has a gifted entertaining presentation that will draw each listener into her travels and experiences. Rise with us and enjoy the first cup - "Coffe Thoughts" an Intimate walk through poetry, by Tasha Jones. Book purchase and signing will follow performance. Admission is only $3 at the door. More information about Tasha Jones, visit www.tashajones-reflections.com.
by Jill Probst
Junior Achievement of Northern Indiana has hundreds of classrooms in need of volunteers this fall. Please contact Jill Probst at 260-484-2543 or via email to find out how to make a difference in our youth's education. (Opportunities with grades K-12 are available.)
For more info, visit cinemacenter.org or email movies@cinemacenter.org.
Wednesday 8/20 Spellbound 5:15, A Family Affair 7:00, Swimming Pool 9:00 Thursday 8/21 Spellbound 5:15, A Family Affair 7:00, Swimming Pool 9:00 (Last Shows for A Family Affair & Spellbound!)
Winged Migration
"Winged Migration is a marvel.”—Los Angeles Times. “A movie of awesome beauty and innovation…”—Chicago Tribune. “Who wants to see a documentary about birds of every feather who migrate across forty countries and seven continents? You do. Winged Migration is a movie miracle; it soars.”—Rolling Stone. In a summer full of digitally enhanced machines ("The Matrix Reloaded") and mutants ("X2"), you won't see anything more amazing and electrifying than the soaring birds in this marvelous movie.”—L.A. Daily News. 90 min., Rated G. *Friday at 6:30PM, Saturday at 6:30PM, *Sunday at 2PM & 4PM, Tuesday at 6:30PM, Wednesday at 6:30PM, and Thursday at 6:30PM No Monday show.
Swimming Pool
“Seductive Fun!”—Rolling Stone. “Worth seeing twice!” -Premiere. “Two thumbs way up!”—Ebert & Roeper. “A sensuous and deceptive new thriller! After it is over, you will want to go back!”—Roger Ebert. “Clever, teasing entertainment with a delicious final twist! Charlotte Rampling is an actress of infinite nuance.”—New York Times. “Swimming Pool mesmerizes long after the movie is over.”—San Francisco Chronicle. Rated R for strong sexual content, nudity, language, some violence and drug use. Running time: 102 min. In English & French (with English subtitles.) www.focusfeatures.com Friday at 8:30PM, Saturday at 8:30PM, Sunday at 6:30PM, Tuesday at 8:30PM, Wednesday at 8:30PM, Thursday at 8:30PM No Monday show.
Winged Migration
Opens Friday, August 22nd Join us on Friday and/or Sunday for some special presentations before and after Winged Migration: On Friday, August 22, “Soarin' Hawks” will be showing birds 15 minutes before 6:30 showing of Winged Migration Also, Fort Wayne Children's Zoo volunteers will speak after film and attempt to answer questions
On Sunday, August 24, “Soarin' Hawks” will be showing birds 15 minutes before both the 2 & 4PM shows of Winged Migration Coffee and cookies will be served. Fort Wayne Children's Zoo volunteers will speak after both shows and attempt to answer questions.
Cinema Center would like to thank our sponsors for their support in presenting Winged Migration: The Bird Seedery, 7715 W. Jefferson Blvd. Wild Birds Unlimited, 801 Northcrest Shopping Center
You won't find any purer example of the power of cinema than Jacques Perrin's Oscar-nominated documentary "Winged Migration." Here's the long and short of it: "Winged Migration" is 90 minutes of footage of birds flying, though Perrin looks at the variety of natural and man-made hazards birds face in the course of their semi-annual instinctive trek across great expanses of globe. And yet, with only these images and sounds of birds, a musical score and a minimum of narration, Perrin's film speaks volumes about the way these animals live in nature and, occasionally, in spite of nature. There is something heroic and awe-inspiring about their indomitable struggle to follow the instincts they were born with. There undoubtedly will be people who find this notion boring: Birds? Flying? That's it? I can see that on the Nature Channel. But give this movie a chance. Perrin's film is profound – and profoundly entertaining. You will look at the world in a different way after seeing "Winged Migration." 90 min., Rated G.
Swimming Pool
The prolific young gun of the French new guard (this is his sixth film in as many years), Francois Ozon adores female actors--and it's mutual. He prefers their sensitivity and their ability to dig deeper and take bigger risks than their male counterparts. How many other directors could have attracted a French femme thesp lineup of the caliber of "8 Women?" After that stylized theatrical ensemble piece, Ozon returns with a more intimate but very entertaining first English-language mystery thriller. Back as his leads are Charlotte Rampling ("Sous le Sable") and Ludivine Sagnier ("8 Women," "Water Drops on Burning Rocks") in a two-hander of the attraction/repulsion of opposites and the volatile, complex relationship between creator and muse. Rampling plays Samantha Morton, a novelist who churns out formulaic mystery crime thrillers. When writer’s block obstructs her output, her publisher (Charles Dance) suggests a stay at his summerhouse in Provence, France. There's just one omission: Also residing at the abode is his daughter Julie, a young precocious temptress whose promiscuous lifestyle threatens to disrupt--or even implode--repressed Sarah’s regimented routine. That is, until Sarah’s insatiable voyeurism turns to creative inspiration as her attention turns from another Inspector Dorwell adventure ("Inspector Dorwell on Holiday," "Inspector Dorwell Wears a Kilt") to headstrong, youthful lust. But Julie turns out to be more complicated than first impressions suggest and, as the relationship between the two houseguests ricochets between hostility and complicity, through cat-and-mouse games Ozon peels the layers of both characters and subverts traditional thriller patterns. The end result is an entertaining drama, showcasing strong performances from both actresses. Sex, murder, mystery, psychological drama, vintage Rampling, sensuous Sagnier, and a summerhouse in Provence--here Ozon has all bases covered. Rated R for strong sexual content, nudity, language, some violence and drug use. Running time: 102 min.
Fiesta Fort Wayne is in need of 15-20 volunteers to help with the set-up on Friday, September 5th from 3 p.m.-8 p.m. and with the day-of activities on Saturday, September 6th between 10 a.m.- 11:00 p.m.. If you would like to volunteer, please contact me ASAP. Thank you in advance for your help.
Email: Salvador Soto, phone: 260-426-3000, fax: 260-426-3100
Stephen Sondheim’s FOLLIES
A 75th Anniversary Celebration Production!
Director-Phillip Colglazier, Music Director-Eunice Wadewitz, Choreographer-Gary Lanier
FOLLIES (musical): A true theatrical event, this legendary masterpiece is considered by many to be the greatest musical ever created. The time is 1971, and theatrical impresario Dimitri Weissman (famous for his garish Weissman Follies of yesteryear) hosts a reunion of ex-Follies performers in his crumbling theatre, setting the stage for a parade of brilliant ‘20s, ‘30s, and ‘40s pastiche numbers that have become every bit as famous as their models: ‘Losing My Mind,” “I’m Still Here,” and “Broadway Baby,” to name a few. Amid the reminiscing, two middle-aged couples confront some unpleasant truths about their past and present and come face to face with the future. Surreal, sophisticated, compelling, heart-wrenching and epic in scope, FOLLIES uses the musical theatre as a metaphor for the collapse of American innocence and naiveté in the post-Kennedy years. It is a showcase for powerful dramatic actors, featuring a large cast rich in character which provides opportunities for seasoned older performers. Spectacular and grand in scale, FOLLIES has also proven ideal for concert presentation and features many of Stephen Sondheim’s best-known songs and thrilling book by James Goldman, the author of A LION IN WINTER. (Cast: 12 men, 16 women, 6 showgirls, & chorus) Rated: PG-13
Auditions: Tuesday, September 2nd (7:00 – 10:00 p.m. West)
Call Backs: If needed. Wednesday, September 3rd (6:00 – 10:00 p.m. West)
Rehearsals: Monday, September 15th – Oct. 29th (seven wks)
Sponsor Night: Thursday, October 30th @ 7:30 p.m. ITT INDUSTRIES
Performances: (Wed. – Sun. Performances) Friday, Oct. 31st - Nov. 16th
Auditions: Auditions will take place on Tuesday, Sept. 2nd starting promptly at 7:00 p.m. and may take up to three hours or more. Please arrive early to check in and fill out the audition forms. Call-Backs will be on Wednesday, Sept. 3rd at 6:00 p.m. and all those who are asked to return should plan to be there from 7:00-10:00 p.m.
Audition Preparation: Be prepared to sing 32 measures of a ballad (slow song). Have your song memorized and bring sheet music in the proper key for the pianist - accompanist provided. Do not bring a CD or tape to sing with. You will be asked to learn a dance combination so please come appropriately dressed to move.
Call to Audition: Please call the Civic Theatre at 260-422-8641 ext. 221 to sign up to audition.
Cast of Characters: 12 Women, 12 Younger Women, 8 Men and 8 younger Men, which include 6 showgirls & chorus – All performers must be able to sing, act and move. A variety of vocal ranges are required.
Dimitri Weismann, age 60-80, the opulent and well-dressed owner of the old Weismann Theatre in New York.
Roscoe, Tenor (F to high G#), age 55-75, the man with the gorgeous tenor voice who used to introduce the Follies.
Sally, Alto (F# to B flat), age 45-60, lead, a wealthy but miserable fifty-year-old former Follie married to Buddy but in love with Ben.
Ben Stone, Baritone (low bA to E), lead, age 48-62, a Wall Street tycoon married to Phyllis but had an affair with Sally.
Young Buddy, Tenor (E to high G flat), age 19-27, the eager young suitor of Sally.
Buddy, Baritone (low C to high F), age 48-62, a charming wealthy salesperson married to Sally, friends with Ben.
Phyllis, Alto (low F# to B flat) age 45-60, the smart and vicious fifty-year-old wife of Ben and former Follie girl.
Young Phyllis, Mezzo (lowB flat to E flat), age 16-23, a showgirl in the chorus of the Weismann Follies.
Young Sally, Mezzo (low C to E), age 16-23, a twenty-year-old showgirl in the chorus of the Weismann Follies.
Young Ben, Tenor (E flat to high F), age 19-27, the twenty-year-old boyfriend of young Phyllis.
Theodore Whitman, Baritone (low B flat to D), age 45-65, Emily’s husband, the male half of the Whitman performing duo.
Emily Whitman, Mezzo (low B flat to D), age 45-65, Theodore’s wife and the female half of the Whitman performing duo.
Young Heidi, Soprano (E to high A flat), age 21-35, a former Follie and well-respected soprano.
Solange La Fitte, Mezzo (low A to high G), age 45-65, a former Follie.
Stella Deems, Alto (low E# to G), age 45-65, a former Follie.
Carlotta Champion, Alto (low E flat to B flat), age 50-70, a well-known movie star and former Follie.
Heidi Schiller, Soprano (low D to high F), age 85-100, a legendary ninety-year-old soprano.
Hattie, Alto, age 45-60, a former Follie.
Kevin, non-singer, age 25-40, an easily tempted waiter.
Vincent, older gentleman, dance duo partner with Venessa.
Vanessa, a former Follie, dance duo partner with Vincent.
Meredith Lane, a former Follie.
Willie Wheeler, age 60 (does a cartwheel)
DeDe, a former Follie.
Christine, a former Follie.
The singers and dancers double as Guests, Waiters, Waitresses, Chauffeur, Photographers, and some characters etc.
Margie – caricature of Buddy’s beloved affair.
Sally – caricature of Buddy’s wife
Fort Wayne Museum of Art and Main Street Articulates Proudly Present
Trolley Tour 2003
Thursday, September 25th, 2003
5pm - 10pm
Tickets: $15.00 FWMA Members, $18.00 Non-Members
Hop a trolley to discover the wonders of nine downtown art galleries and museums!
Joining the Fort Wayne Museum of Art will be:
*New This Year!
Enjoy hors d'oeuvres and a cash bar from some of Fort Wayne's top restaurants at each stop. Trolley Tour passengers will have a chance to win incredible door prizes. Jazz musicians will entertain those visiting the Museum's showcase.
Board a trolley at one of the nine galleries. Trolleys will run two continuous routes throughout the evening. Route transfer options are available and will be clearly marked. Plan your route by reviewing the map on our website.
Your Passport for the evening's adventures in art needs to be purchased in advance at the Fort Wayne Museum of Art, 311 E. Main Street, or at the Rolland Art Center at the University of St. Francis, 2701 Spring Street. Tickets are limited and available beginning August 25th.
For more information, browse through the Trolley Tour site or call 260-422-6467.
Back To Top
What: A new Poetry/writers night--
Where: Starlight Southern Grille, 2012 Broadway, Fort Wayne, IN.
When: Every Wednesday 9 pm to 12 pm
More Info: 260-426-3011
Given to future stars, gifted pens and moving voices.
Gather, Listen, and hear the many choices of visions, expressions, emotions and thoughts. Don't be afraid, have no fear. You are among fellow workers, here to volunteer, give support, lend a line, or suggest a quote.
But if all else fails, at least you've accepted an opportunity offered to you, which is the "first step of a successful day, new and years to come". So sit back, relax, give it your best shot. "Remember, writing is a skill and a gift to all it is not". — Michele Michelle
For more info, visit cinemacenter.org or email movies@cinemacenter.org.
A Family Affair, Swimming Pool & Spellbound
Wednesday 8/13 Spellbound 6:30, Swimming Pool 8:30 Thursday 8/14 Spellbound 6:30, Swimming Pool 8:30
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A Family Affair
“Until now, it may not have occurred to you that what we needed was a witty lesbian romance. Once you see "A Family Affair," you realize what we've been missing.”—San Francisco Chronicle. “A Woody Allen-esque trifecta reconfigured with sharp wit. Lesnick is a budding talent.”—Variety. 100 min., Unrated (nudity, mature themes, some sensuality.)
More: http://www.a-family-affair.com
Friday at 9PM, Saturday at 7PM, Sunday at 4PM, Monday at 9PM, Tuesday at 9PM, Wednesday at 7PM Thursday at 7PM
Spellbound
“Two thumbs up!”—Ebert & Roeper. “Irresistible! America at its best.”--Los Angeles Times. “Wonderful!”— Entertainment Weekly. “A work of art! More suspenseful than any Hollywood thriller.”—The New York Times. “Captivating!”—Esquire. “Excellent!”—People. “Entertaining!”—New York Magazine. “Charming! Packed with nailbiting suspense.”—Premiere Magazine. 97 min., Rated G.
More: www.spellbound.tv
Friday at 5:15PM, Saturday at 2PM, Sunday at 2PM, Monday at 5:15PM, Tuesday at 5:15PM, Wednesday at 5:15PM, and Thursday at 5:15PM
Swimming Pool
“Seductive Fun!”—Rolling Stone. “Worth seeing twice!” -Premiere. “Two thumbs way up!”—Ebert & Roeper. “A sensuous and deceptive new thriller! After it is over, you will want to go back!”—Roger Ebert. “Clever, teasing entertainment with a delicious final twist! Charlotte Rampling is an actress of infinite nuance.”—New York Times. “Swimming Pool mesmerizes long after the movie is over.”—San Francisco Chronicle. Rated R for strong sexual content, nudity, language, some violence and drug use. Running time: 102 min. In English & French (with English subtitles.)
More: http://www.focusfeatures.com/
Friday at 7PM, Saturday at 4PM & 9PM, Sunday at 6:30PM, Monday at 7PM, Tuesday at 7PM, Wednesday at 9PM, Thursday at 9PM
A Family Affair “A Family Affair” is being presented as part of our Lesbian Gay Film Festival Helen Lesnick's "A Family Affair" is a serious romantic comedy of such strength and substance and so entertaining that it doesn't matter that its minuscule budget shows around the edges. It's an impressive debut for actress Lesnick, who stars in her feature writer-director debut. For 13 tumultuous years, Lesnick's dry-witted Manhattan freelance writer, Rachel Rosen, has been in an on-again, off-again romance with glamorous, capricious Reggie (Michele Greene), a Columbia professor of physics. With their latest breakup Rachel has decided she has had it with Reggie once and for all and heads to her parents' home in San Diego to begin a new life. The Rosens, Leah (Arlene Golonka) and Sam (Michael Moerman), are a loving, supportive couple active in PFLAG, Parents and Friends of Lesbians and Gays, especially the outspoken and dynamic Leah. A Jewish mother -- but not a caricature -- Leah is eager to see her daughter settled down with a nice girl. After a series of dating disasters, Rachel discovers that the young woman Leah lines up for her really is something. Erica Shaffer's Christine in fact proves almost too good to be true. She's a lovely blond, a massage therapist successful enough to afford a handsome home she is soon sharing with Rachel, who knows she has lucked out. That things are happening so quickly, with Christine full of talk about converting to Judaism and having a wedding with Rachel, overwhelms Rachel, triggering other long-buried issues of trust and loss; sexual orientation, refreshingly, is not among them. Lesnick knows how to build her characters from within, and as a result this gentle film delivers an emotional wallop all the more potent for being unexpected. By the time "A Family Affair" is over it illuminates what makes for a full life with a maturity that is by any measure exceptional. Lesnick is a strong, authoritative actress who knows how to draw solid support from her other key actors, including Barbara Stuart as Christine's elegant mother, who shows that an uptight WASP is not necessarily incapable of change. Especially strong is a life-transforming scene between Rachel and her father. 100 minutes., Unrated (nudity, mature themes, some sensuality.)
Swimming Pool The prolific young gun of the French new guard (this is his sixth film in as many years), Francois Ozon adores female actors--and it's mutual. He prefers their sensitivity and their ability to dig deeper and take bigger risks than their male counterparts. How many other directors could have attracted a French femme thesp lineup of the caliber of "8 Women?" After that stylized theatrical ensemble piece, Ozon returns with a more intimate but very entertaining first English-language mystery thriller. Back as his leads are Charlotte Rampling ("Sous le Sable") and Ludivine Sagnier ("8 Women," "Water Drops on Burning Rocks") in a two-hander of the attraction/repulsion of opposites and the volatile, complex relationship between creator and muse. Rampling plays Samantha Morton, a novelist who churns out formulaic mystery crime thrillers. When writer’s block obstructs her output, her publisher (Charles Dance) suggests a stay at his summerhouse in Provence, France. There's just one omission: Also residing at the abode is his daughter Julie, a young precocious temptress whose promiscuous lifestyle threatens to disrupt--or even implode--repressed Sarah’s regimented routine. That is, until Sarah’s insatiable voyeurism turns to creative inspiration as her attention turns from another Inspector Dorwell adventure ("Inspector Dorwell on Holiday," "Inspector Dorwell Wears a Kilt") to headstrong, youthful lust. But Julie turns out to be more complicated than first impressions suggest and, as the relationship between the two houseguests ricochets between hostility and complicity, through cat-and-mouse games Ozon peels the layers of both characters and subverts traditional thriller patterns. The end result is an entertaining drama, showcasing strong performances from both actresses. Sex, murder, mystery, psychological drama, vintage Rampling, sensuous Sagnier, and a summerhouse in Provence--here Ozon has all bases covered. Rated R for strong sexual content, nudity, language, some violence and drug use. Running time: 102 min.
Spellbound One of the best "sports" documentaries of the year, "Spellbound" follows eight young people as they race towards the top--and only--prize in the world's toughest, most unforgiving challenge--the National Spelling Bee. Spelling is, in its quaint and uniquely American way, the great equalizer--if you can spell, nothing else matters. By the same token, it is the only competition with absolutely no second chances--one misspelled word anywhere along the way, and you are gone. From Emily, hailing from the pampered suburbs of Connecticut, to Ashley, child of the projects in D.C.; from Ted, born of a poor farm family in Missouri, to Harry, the lovable spaz from New Jersey, all eight youngsters are drawn from the diversity of this country--with an assortment of anxious parents as well. It's a true cross-section of America rarely captured so well in film. Each of the children is given screen time enough to impress us, not just with their talent but with their personalities. In addition, a parade of interesting side characters--from the faithful teacher-mentor to past champions--flesh out the straightforward story of pressure and the razor-thin margin between triumph and failure. The timelessness of this tale and the skill and love evident in its making rank "Spellbound" as a classic. As the finals wear on and contestants start to fall, the audience's hearts will be in their throats. The contest is intense and merciless, and we feel the pressure right alongside the parents. Expect a few tears shed at the emotionally cathartic finale. This is a documentary that will involve you, these are kids you will love, this is a picture of America at its most American. It's a powerful reminder that our future is in our children--and that the kids are all right. “Two thumbs up!”—Ebert & Roeper. “Irresistible!”-Los Angeles Times. “Wonderful!”— Entertainment Weekly. “A work of art! More suspenseful than any Hollywood thriller.”—The New York Times. 97 min., Rated G.
Coming Soon: Winged Migration Opens Friday, August 22nd You won't find any purer example of the power of cinema than Jacques Perrin's Oscar-nominated documentary "Winged Migration." Here's the long and short of it: "Winged Migration" is 90 minutes of footage of birds flying, though Perrin looks at the variety of natural and man-made hazards birds face in the course of their semi-annual instinctive trek across great expanses of globe. And yet, with only these images and sounds of birds, a musical score and a minimum of narration, Perrin's film speaks volumes about the way these animals live in nature and, occasionally, in spite of nature. There is something heroic and awe-inspiring about their indomitable struggle to follow the instincts they were born with. There undoubtedly will be people who find this notion boring: Birds? Flying? That's it? I can see that on the Nature Channel. But give this movie a chance. Perrin's film is profound – and profoundly entertaining. You will look at the world in a different way after seeing "Winged Migration." “Who wants to see a documentary about birds of every feather who migrate across forty countries and seven continents? You do. Winged Migration is a movie miracle; it soars.”—Rolling Stone "Winged Migration is a marvel.”—Los Angeles Times. “A movie of awesome beauty and innovation…”—Chicago Tribune. In a summer full of digitally enhanced machines ("The Matrix Reloaded") and mutants ("X2"), you won't see anything more amazing and electrifying than the soaring birds in this marvelous movie.”—L.A. Daily News. 90 min., Rated G.
How many dancers, musicians, and authors in your town? According to a new study, a critical mass of creativity spurs a vibrant business sectorA vibrant arts community adds to the quality of life in a region. The Guthrie Theater in Minneapolis/St. Paul, the Kimbell Art Museum in Ft. Worth, and the Pittsburgh Symphony Orchestra in Pittsburgh anchor arts in their region. But the artistic dividend is much more than an opportunity to view Tywla Tharp's choreography or stand in line for a Tennessee Williams revival. Artists are significant and vastly underestimated contributors and generators of local economic growth. The more creative types working in a regional economy, the better is its outlook for improved earnings, productivity, and competitiveness. Link
Four events to pass along as we all squeeze the most we can into the last part of summer...
1. The August technology networking event will be at Club Soda, on Wednesday, August 20, 5-7 p.m.. Club Soda is at 235 East Superior (park in the lot at the northeast corner of Clinton and Superior). If it's nice out, we'll be on their patio which is an EXCELLENT place to unwind after a hectic day. Find out what's up in Fort Wayne's IT world and take some time to meet someone new! No cover, no RSVP, bring a friend (or several), and join us.
2. Northeast Indiana Public Radio is having its BikeNic (bike ride and picnic - those radio folks sure are clever) on Saturday, August 23. It's 2 events in one: a) Free Rivergreenway bike ride, starting between 7 and 9 a.m. from Headwaters Park (downtown @ Clinton and Superior, more or less the same place as Club Soda). All bikers will be eligible for a drawing to win a bicycle from Summit City Bicycles! b) Picnic and live music from 11 am until 2 pm (whether you rode or not, but you'll be hungrier if you rode) at the pavilion at Headwaters Park West (west side of Clinton Street) - chicken dinner, live music, popcorn, frozen custard....you might say that it doesn't get any better than that! But wait, there's more: for the price of admission ($8-10 for adults and $4-5 for kids, depending on whether you're a public radio member) you also a commemorative t-shirt AND a wristband.
3. Downtown Block Party - Wednesday, August 27, 5-7:30 p.m. at the Barr Street Market (Barr Street between Wayne and Berry, next to the History Center). Free food (by Club Soda....which I guess is the theme of this e-mail), cash bar and music by PrimeTIME. We'll also have a Downtown Blueprint Open House so you can see information on various downtown projects that are going on.
4. Senator Bayh/WorkOne Center Job Fair/Small Business Fair on Monday, August 18 @ IPFW. The program will run 9 a.m. to 2 p.m. at the Walb Student Union. Should be an interesting and productive day for people looking for information about starting a business or looking for a job.
August 6, 2003
By DAVID LEONHARDT
FORT WAYNE, Ind. — On a tree-filled boulevard known as Doctors' Row, the four- and five-bedroom brick Tudor homes that are the jewels of this city's housing stock were selling for about $150,000 two decades ago. At the time, some homes in the nation's most desirable suburbs, like Brookline, Mass.; Sausalito, Calif.; and Great Neck, N.Y., cost the same.
Over the last 20 years, however, the nation's housing market has been cleaved in two, and the break has helped create two very different economies in one country.
Homes in the areas that were already the most expensive — California and the Boston-to-Washington corridor — have often doubled or tripled in value, even after adjusting for inflation. The increases have created nest eggs for longtime owners and allowed them to borrow billions of dollars against their equity, financing new kitchens and college educations and keeping the current economic malaise from being far worse than it might have been.
But while the boom has become the subject of daily conversations among the middle class and affluent in New York, San Francisco and Los Angeles, people in much of the country have little housing bounty to tap for home improvements, retirement or other needs. From Fort Wayne to Rochester to Salt Lake City, the prices of typical homes across most of the country's vast middle have risen just ahead of inflation — and more slowly than incomes. The cost of homes in the most expensive cities is now about six times that in the least expensive, up from a ratio of three to one two decades ago.
Here in Fort Wayne, the homes with elegant porticoes and broad lawns on Doctors' Row sell for about $300,000 today, roughly the same as they did in the early 80's, after being adjusted for inflation.
Not a single house in Fort Wayne — a small, manufacturing-heavy city halfway between Chicago and Detroit, with a jobless rate below the nation's — has sold this year for more than $800,000, according to real estate industry data. That is roughly the average price of a two-bedroom apartment in Manhattan.
"The real housing boom is fairly concentrated," said Mark M. Zandi, the chief economist of Economy .com, a research firm. "And at the moment, it is clearly keeping the economy afloat in those areas."
There is no such cushion throughout much of the nation's interior. Some economists argue that the Federal Reserve's aggressive interest rate cuts might have been more effective at ending the economic slowdown if the gains in house prices — and the potential they create for consumer spending — had been more broadly shared.
Last year, Tom and Judy Auer sold the four-bedroom Fort Wayne house where they raised their three children for $107,900, or slightly less than the $34,000 they bought it for in 1974, after adjusting for inflation. Without a bonanza from the sale, the couple now live in a smaller house in Fort Wayne, relying on the pension from Mr. Auer's job as a hardware salesman at Sears, Roebuck and Social Security, which they began drawing early.
Marva and Bill Herx, on the other hand, left Fort Wayne in 1998 to move to the Philadelphia suburbs for his job. When they returned last year, they had made enough profit selling their Pennsylvania house — for about 40 percent more than the purchase price — that they were able to move into a house in Fort Wayne noticeably bigger than the one they had left.
"The home costs in Fort Wayne have stayed pretty much the same," said Ms. Herx, who is in her 50's. "In Philadelphia, we made a good profit in just four years."
The dynamic is reversed for younger adults, who are struggling to afford houses on the coasts while their counterparts elsewhere in the country are taking advantage of low mortgage rates to buy bigger, better homes than in the past.
"All my friends in Fort Wayne have houses. I think the biggest thing in the world I own is a cellphone," said Michael Korte, a 28-year-old Fort Wayne native who works for the City Council in New York and rents a two-bedroom apartment along with his sister, brother-in-law and nephew on the Lower East Side. "It blows my mind."
For $102,000, Brady Gerding, a high school classmate of Mr. Korte, recently bought 27 acres of land outside of the city where he and his wife will build a house. It will be the second house owned by Mr. Gerding, who, unlike Mr. Korte, did not graduate from college.
"You can still live like a king in Fort Wayne for $200,000," said Linda Duesler, who has been selling houses here since 1977. "And you can live pretty well for $100,000."
Beyond determining many families' wealth and standard of living, the two-tier housing market has begun to create difficult questions for government officials trying to create policies that apply to the entire nation. For example, when designing pensions, it becomes very difficult to judge the ability of people to retire because their finances might be in much better shape than their income suggests.
Some top universities, meanwhile, recently announced that they would no longer consider the entire value of many homes when determining financial-aid awards. University officials had become concerned that the values exaggerated some households' abilities to pay tuition.
If the price boom in some cities is a result of a bubble, as some economists warn, many of the people who borrowed against their homes might come to regret it. If mortgage rates were to continue rising and prices on the coasts were to drop, many people could end up with loans they could not repay by selling their houses.
So far, however, the housing boom has been an important economic salve for the regional economies of the Northeast and California.
In the San Jose, Calif., area, home to the slumping Silicon Valley, households have raised about $10,000 on average since the start of 2002 simply by taking additional equity out of their homes when refinancing a mortgage, according to Economy .com. In Boston and Washington, they have taken out about $4,000. In much of the Midwest, they have taken out less than $2,000.
In fact, households in the middle of the country that fall behind on mortgage bills cannot rescue themselves by dipping into their rising home equity and making up for a series of missed payments in one swoop. The states where home foreclosures have spiked most sharply since 2000 — including Indiana, which tops the list — are in the Midwest or Southeast.
"The only reason that mortgage delinquencies aren't soaring in the entire country is that house prices are still rising," Mr. Zandi said.
The housing gulf stems in part from the relative open space and lack of building regulations away from the coasts that allow builders in Fort Wayne and elsewhere to put up new homes as soon as there is demand for them, and sometimes even before. Prices in Austin, Tex., and Las Vegas, two fast-growing areas, have risen only moderately, for example, as high-ceilinged houses with room-size closets have sprung up over the last decade.
The gulf is also a byproduct of trends that have drawn educated, highly skilled people to the coasts. The surge of global trade and the growth of finance, health care and other white-collar industries have led the Northeast's and West Coast's share of the nation's economy to grow to almost 45 percent, from 39 percent in 1980, according to Economy.com. High-earning workers have followed the jobs, and not even an economic downturn that has hit Wall Street and Silicon Valley particularly hard has reversed the trend.
"We are seeing a migration pattern of talented, creative people that we may never have seen before," said Richard Florida, a professor of economic development at Carnegie Mellon University in Pittsburgh. "More and more people are demanding what's found in New York and Boston and San Francisco, and there's not enough space to accommodate them."
The executives at the Lincoln Financial Group, a money-management and insurance company, moved the company headquarters to Philadelphia after almost a century in Fort Wayne, in part to have an easy time recruiting talented employees, the executives said. But the workers who moved with the company were so vexed by the gap in housing prices that they began having dinner together, along with their spouses, to talk about strategies for buying in the Northeast. In the end, their main strategy consisted of making a lot of sacrifices, they said.
"I now have half the house and twice the mortgage," said Priscilla Brown, a vice president at Lincoln. "We just weren't quite prepared for the sticker shock."
Over the long term, house values tend to increase at roughly the same rate as incomes in any region, economists say. Because prices have outgained incomes on the coasts the last two decades, many analysts expect the housing gap to narrow eventually — but they were saying the same a decade ago.
"It takes generations for people to react to economic realities," said Patrick Lawler, chief economist at Office of Federal Housing Oversight, which oversees Fannie Mae and Freddie Mac, the mortgage companies. "But it's remarkable that prices could have moved so differently over an extended period of time without more correction occurring."
It will begin to occur, real estate agents say, only when people decide that a mansion in Fort Wayne is more appealing than a small apartment in New York or San Francisco.
Source:
Spellbound Coming Soon: Winged Migration
One of the best "sports" documentaries of the year, "Spellbound" follows eight young people as they race towards the top--and only--prize in the world's toughest, most unforgiving challenge--the National Spelling Bee. Spelling is, in its quaint and uniquely American way, the great equalizer--if you can spell, nothing else matters. By the same token, it is the only competition with absolutely no second chances--one misspelled word anywhere along the way, and you are gone. From Emily, hailing from the pampered suburbs of Connecticut, to Ashley, child of the projects in D.C.; from Ted, born of a poor farm family in Missouri, to Harry, the lovable spaz from New Jersey, all eight youngsters are drawn from the diversity of this country--with an assortment of anxious parents as well. It's a true cross-section of America rarely captured so well in film. Each of the children is given screen time enough to impress us, not just with their talent but with their personalities. In addition, a parade of interesting side characters--from the faithful teacher-mentor to past champions--flesh out the straightforward story of pressure and the razor-thin margin between triumph and failure. The timelessness of this tale and the skill and love evident in its making rank "Spellbound" as a classic. As the finals wear on and contestants start to fall, the audience's hearts will be in their throats. The contest is intense and merciless, and we feel the pressure right alongside the parents. Expect a few tears shed at the emotionally cathartic finale. This is a documentary that will involve you, these are kids you will love, this is a picture of America at its most American. It's a powerful reminder that our future is in our children--and that the kids are all right. “Two thumbs up!”—Ebert & Roeper. “Irresistible!”-Los Angeles Times. “Wonderful!”— Entertainment Weekly. “A work of art! More suspenseful than any Hollywood thriller.”—The New York Times. 97 min., Rated G.
Opens Friday, August 22nd You won't find any purer example of the power of cinema than Jacques Perrin's Oscar-nominated documentary "Winged Migration." Here's the long and short of it: "Winged Migration" is 90 minutes of footage of birds flying, though Perrin looks at the variety of natural and man-made hazards birds face in the course of their semi-annual instinctive trek across great expanses of globe. And yet, with only these images and sounds of birds, a musical score and a minimum of narration, Perrin's film speaks volumes about the way these animals live in nature and, occasionally, in spite of nature. There is something heroic and awe-inspiring about their indomitable struggle to follow the instincts they were born with. There undoubtedly will be people who find this notion boring: Birds? Flying? That's it? I can see that on the Nature Channel. But give this movie a chance. Perrin's film is profound – and profoundly entertaining. You will look at the world in a different way after seeing "Winged Migration."90 min., Rated G.
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Source: Cinema Center Listserv
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2nd Annual Music & Arts Festival
Saturday, August 9, 2003
8 p.m. - ???
Sneaky Pete's/River City (405 River Bend Ct.)
Fort Wayne, IN
Art Attack 2 : The Second Annual Art & Music Festival has been moved from the DeSoto Building to Sneaky Pete's/River City. Doors open at 8:00 p.m. Bands start at 10:00 p.m. Plenty of ice cold beer. Six Rock Bands and over 20 artists.
See you there. Come party like a Rock "Art" Star.
For more information call: John Commorato at 260-424-8213 or Sal Soto at 260-744-8210.
From the Minneapolis Star-Tribune:
By Ann Markusen
Most of us think economic vitality is still about manufacturing prowess, high tech, business services and people buying cars and houses. The arts? Something superfluous, nice if you can afford them, flourishing only where enlightened wealth supports them.
But for a successful regional economy, there's a payoff on the arts -- an artistic dividend -- that is pervasive. In an exploratory study, my colleague David King and I found that concentrations of artists raise overall productivity and earnings in a regional economy in multiple ways. Many artists export their work, bringing income to a region. Their creativity and skills enhance the design, production and marketing of products and services in other sectors. Artists purchase supplies, lease space and employ accountants, attorneys and other professionals, sometimes inducing innovation among their suppliers. And firms find it easier to recruit top-notch employees by demonstrating the abundance of artistic activity in a region.
Artists are more likely to be self-employed. Many build remarkably entrepreneurial careers. Rather than living in poverty, working menial jobs or waiting for the next grant or role, they actively seek diverse markets and venues for their work. Here in the Twin Cities, many artists distribute their work via the Internet, design firms, art fairs, galleries and publishers. Many dancers, actors and musicians live here but travel to audition and work, bringing their pay back home.
Compared with similarly sized metropolitan areas, the Twin Cities hosts a large contingent of artists (actors, directors, performance artists, dancers, choreographers, musicians, composers, writers, painters, sculptors and photographers).
Estimating the size of the artistic dividend by the share of artists in the regional workforce, we find the preeminence of New York and Los Angeles as artistic centers waning. Artists are spreading out toward selective second-tier cities such as San Francisco, Seattle, Albuquerque and Minneapolis-St. Paul. Artistic concentration is not a function of rapid growth -- fast-growing Atlanta and Dallas-Fort Worth have below-average concentrations of artists, as do slower-growing Chicago, Pittsburgh and Cleveland.
Why is our region so attractive? Artists identify three features of the Twin Cities as key to their decisions to stay or locate here: vibrant artistic networks, enhanced by live/work spaces and unique membership organizations like the Loft; an array of arts venues and generous arts funding; and quality of life at affordable prices.
Networks of artists offer apprenticeships to younger and career-switching aspirants. The Loft and the local chapter of the National Writers Union have contributed to the high incidence of writers in the region. Artists' connections with, and learning from, each other multiply in renovated studios and live/work spaces like the California Building, Lowertown's Tilsner Artists Cooperation and Frogtown's Family Lofts.
The Twin Cities artistic dividend is a product of past commitments by philanthropists, patrons and government. The advent of ambitious groups such as the Guthrie Theater, Walker Art Center and St. Paul Chamber Orchestra diversified regional arts offerings beyond an older tradition under which a city had just one major fine arts museum, one symphony orchestra and one choice of a traveling Broadway show. This wider, richer competition has enlivened the arts scene, beckoned larger audiences, and attracted more actors, dancers, musicians and visual artists.
Liberal arts colleges and universities have brought seasoned artists and younger hopefuls together to train, and many have stayed. But to remain a significant contributor to the regional economy, artistic activity must be nurtured. Attracting and retaining artists could be as important to the economy as subsidizing corporations or building large new arts facilities for established organizations. Patrons should consider unconventional grants to artists' occupational groups to help position local artists in the larger marketplace. They should help create more gathering spaces like Open Book. They should enhance connections between businesses and the artistic community to facilitate artistic contributions to product design, marketing and work environments. Artists themselves should focus more on becoming entrepreneurs.
Twin Cities artists love the region's river, lakes and recreational opportunities. Some cite the strong alternative health community here as a draw. Others rave about the profusion of book readings and small theaters.
They remind us that our region's ability to attract and hold skilled people of all occupations will increasingly depend on how we distinguish ourselves from other cities, not on how closely we mimic them. This region should play to its strengths, and artistic talent is demonstrably one of these.
Ann Markusen is professor and director of the Project on Regional and Industrial Economics at the University of Minnesota's Humphrey Institute of Public Affairs. Her study with David King, "The Artistic Dividend: the Hidden Contributions of the Arts to the Regional Economy," is at http://www.hhh.umn.edu/projects/prie/pub.htm.
Being creative takes energy and looking at traditions differently. Some visitors to the Iowa City, Iowa, area consider it to be one of the most fertile sites for creativity in the United States. Artists of all types, entrepreneurs, genetic scientists and truth seekers represent the most obvious of the area's creative population. Thus, learning that residents of the Iowa City area seek new or nontraditional solutions for their health concerns surprises few. Link
By Adam Gordon, Editor-in-Chief, The Next American City
In early 2001, suddenly, Boeing announced that it would move its headquarters from Seattle to another American city. CEO Philip Condit chose three cities as finalists: Chicago, Dallas, and Denver. The fact that Dallas and Denver made the final cut surprised nobody. American companies had flocked to "Sunbelt" locations in the South and West for decades, boom cities perceived as offering more attractive weather, tax environments, and land development opportunities than older Northeastern and Midwestern cities.
But Chicago? Most Americans, after all, identified this "Rust Belt" city as the site of the infamous riots at the 1968 Democratic National Convention, the location of the much-reviled O'Hare Airport, and the drug-infested Robert Taylor Homes, at one time America's poorest Census tract. It seemed incredible that Chicago was even in the running.
Chicago did not just make the first cut - it won. On May 10, 2001, Philip Condit, CEO of Boeing, stood at Chicago's Midway Airport and announced that Boeing, since its founding a Seattle-based company, planned to move its headquarters to Chicago before the end of the year. Boeing's choice says much about the new rules of American economic development.
How Chicago Lured Boeing
Why did Condit choose Chicago? Not for tax incentives, or a new shiny suburban campus - in fact, Boeing chose to occupy a signature downtown building. Condit chose Chicago because it provided the type of environment that Boeing's top employees in the coming decades would want to live: a vibrant and diverse metropolis with practically unlimited cultural amenities.
Boeing's choice seems like a page out of the playbook of Richard Florida, author of the much discussed The Rise of the Creative Class. Florida argues that cities need to create the culture - from sidewalk cafés to independent theatre troupes to a gay-friendly environment - that most people in his "creative class" of key idea people, artists, and even lawyers seek in choosing a place to live. By attracting these people, Florida argues, the companies that seek to employ them will follow.
Chicago's mayor for the past 14 years, Richard Daley (son of the iron-fisted mayor of the same name who ran the city at the time of the aforementioned 1968 riots), has focused on many heterodox goals. Planting 500,000 trees, for example. Or spending hundreds of millons of dollars on a new downtown park. His goal? To make Chicago "more livable." And by making Chicago more livable, attract more people to move to - or remain in - the city who would have otherwise chose to go elsewhere, who in turn would attract more businesses. Daley's strategy seems to have succeeded.
The Other 3/4 of the Economy
Richard Florida and his theories have become the hot topic of the year, perhaps the decade, in the American economic development community. And for good reason - Florida presents a view of what really goes on in individual and firm decisions more compelling and true than anything we have seen from anyone in a long time.
Yet even Florida estimates that the Creative Class only makes up one-third of the American economy. And other economic development experts, like Kip Bergstrom, Executive Director of the Rhode Island Economic Policy Council, peg the number in the twenty to twenty-five percent range.
So what about the other three-quarters of the American economy?
Increasingly, the rest of the American economy is settling into three categories:
1. Specialized Manufacturing . A small, specialized, somewhat place-dependent manufacturing sector of well-paying, high-skill jobs. An example is the AmGen facility that Bergstrom recently lured to West Greenwich, Rhode Island to manufacture a genetically engineered arthritis drug, which employs 700 people in precision manufacturing, many of whom make around $50,000 a year. AmGen chose the location partly to remain close to its nearby research labs.
2. Place-neutral service sector . In Richmond, Virginia, CapitalOne, a credit-card firm, employs 9,000 people in various office processing and customer relations jobs. These jobs could just as well be anywhere else - and, increasingly, that anywhere else does not have to be somewhere else in America.
3. Place-centered service sector. Many service jobs have to be located in a specific place. Most of these jobs fall into two categories:
Creative support. Somebody needs to run the all-night diners and cafés that Creative Class people love, and clean the buildings that they work in. These jobs tend to be low-paying and often part-time.
Renegade paradises. Many places have developed niches in luring people who make money elsewhere to spend their money there - think DisneyWorld. But also think about the broader strategy that the state of Florida, where DisneyWorld is located, has pursued, which sums up in a few words - declare your primary residence in Florida, pay no income tax. Millions of wealthy retirees from the Northeast and Midwest have bought condominiums in Florida that they use - sometimes only for part of the year - as a shelter from both the cold and the high taxes of their home states. All of these tourists and wealthy new residents have to spend their money somewhere - and that creates service jobs, again often low-paying and part-time.
Not every American metropolitan area will become a Creative Class center, though many will die trying. The high level of amenities that the Creative Class seek usually requires equally high amounts of public spending - which translates into high taxes, the very thing that American service and manufacturing firms try their hardest to avoid. Every metropolitan area needs to evaluate - realistically - their opportunities in this new structure, and shoot for the highest-paying jobs that they can get for their residents.
But cities should be careful not to sell themselves short. Baltimore provides a cautionary tale. That Mid-Atlantic industrial city chose in the early 1970s to focus on a heavy tourist development strategy. While Baltimore executed the strategy flawlessly - the Inner Harbor, the center of the redevelopment plan, attracts more visitors than Disneyland annually - it was the wrong strategy for the city. Less than two miles from the Inner Harbor, Johns Hopkins Hospital lies amidst a sea of dilapidated rowhouses. The world's best hospital should have been at the center of Baltimore's economic development strategy - not tourism. Then Baltimore could have attracted many more higher-paying creative and specialized manufacturing jobs, as other cities like Boston that focused around the dynamism of an important research institution have done. Instead, Baltimore mainly got low-paying service jobs from casting itself as a renegade paradise.
From what I heard at the recent Future Roles for Towns and Cities conference, the United Kingdom's cities and towns face many of the same redevelopment challenges and have much the same processes going on for actively seeking redevelopment that we do here. I suspect that your towns and cities will have to make similar choices about where in the economic hierarchy you fit in. The American experience shows that one should make those choices cautiously and wisely. Chicago made the right choices and ended up with one of the world's most prestigious companies; Baltimore made the wrong ones and, though it has an impeccably done tourist center, it could have had much, much more.
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Adam Gordon is the editor-in-chief of The Next American City, a new magazine by a new generation of urban leaders and thinkers that takes on the challenging question of how cities, through design, policy, and entrepreneurship, can remain economically competitive while addressing critical environmental and social issues. You can learn more about the magazine and read articles from the first two issues at www.americancity.org.
This paper is adapted from a presentation given at the Landor Conference Future Roles for Towns and Cities , London, May 13, 2003
Houston joins other cities in pushing 'tours' of local enclaves - the quirky and overlooked sites.HOUSTON – Pat Ligon has lived in Houston for 33 years and is seeing more of the city this morning than in all those decades combined. She is on Houston's inaugural multicultural bus tour, which has just stopped in front of America's largest Buddhist temple.
Ms. Ligon gingerly takes off her shoes before entering, and is immediately captivated by the sights and smells inside. On instruction from the master monk, she offers a prayer to the Buddha Guandi, then places a stick of incense in the urn before him.
"I knew there were all these different ethnic communities in Houston, but I never felt an invitation to come and visit," she says, slipping her shoes back on before boarding the bus. "Now I will definitely come back." Link
Cinema Center and the Indiana Institute of Technology are helping each other and benefiting the whole city in the process. Using foundation grants and gifts from alumni, a second Cinema Center location will be located in the Andorfer Commons under construction. The theater will seat 180. This theater will broaden the mix of movies shown in Fort Wayne, where ownership of traditional, commercial theaters is narrowing. It will provide a new amenity for students at Indiana Tech.
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Source: Bob Caylor, Fort Wayne News-Sentinel