Category Archives: Entertainment

Impotent Taxation: Why Nevada Can’t Have Nice Things

16 Monday Apr 2018

Posted by in About Reno, All Rights Reserved, Business, Conservatives, Crime, Donald Trump, Economy, Education, Entertainment, Ethics, Government, Government Regulation, Higher Education, History, Honor, Housing, jobs, labor, Life, Management Practices, Nevada, parenting, Politicians, Politics, Pride, Public Image, Public Relations, Real Estate, Recreation, Reno, Taxes, Travel, United States, Voting

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Nevada, as a community is not pretty. In fact, it is probably the ugliest State in the nation when it comes to the ‘American Dream.’ Don’t tell that to one of the few citizens (25%) born in the State. Hardcore Nevadans are almost cult-like in the fondness of a State of mostly sagebrush and blowing sand. What Nevada can’t figure out is that it takes money to run a State, and that requires taxes. Nevada doesn’t believe in taxes, they believe in being a failure.

Proud to be the worst…at everything

Nevada Sucks And Has the Rankings to Prove It

Nevada ranks #3 in violent crimes per capita. In education, Nevada is the worst State according to USA Today. Of the best States with the best quality of life, Nevada ranks 43 out of 50, and in the area of social environment, it ranks dead last. Nevada has the 46th worst in the unemployment rate. These aren’t a new downward trend in rankings. Nevada is consistently at the bottom of these rankings.

Nevada is a State everyone points at as the example of what not to do. Companies don’t want to move to Nevada because of the crime, poor education, bad quality of life, which makes unemployment higher.

Nevada Taxation:  Where Rich People Come For a Free Ride

Nevada can’t figure out that it has a taxation problem. More taxes, better schools, lower crime, better quality of life, etc. But Nevada isn’t run by citizens. Nevada is run by the beasts of mining and casinos. It is sad to see how normal citizen rush to defend the monster that feeds on them.

Mining is digging up Nevada’s one-time resources and taking them out of State. Mineral corporations account for over $3 billion dollars of Nevada’s gross domestic product, but mining’s contribution to the State revenues is only one percent. For comparison, Nevada’s cigarette tax contributes four percent to the State budget.

Gaming is the 363 kg gorilla of Nevada politics but pays minimal taxes. The ‘Gaming Tax’ is a tax levied on the winnings of their customers. The ‘Live Entertainment Tax’ is added to the cost of admission. The ‘Room Tax’ is added to the hotel invoice to the customer. The gambler/customer pays the tax, not the casino.

Casino owners like Sheldon Adelson don’t pay income or corporate taxes. They are reaping the money, but not supporting the State of Nevada.

Nothing Else Works

Nevada is the State of blind voters and boot-licking politicians. It is a State that will do anything to avoid fixing the real problem if the solution would impact corporations or the wealthy. The State is has tried everything but the one solution that is obvious:  raise taxes on corporations and the wealthy.

The Silver State is likely to be hit by a perfect storm of economic destruction. The upcoming recession will catch Nevada completely unprepared. Housing prices far exceed the wage-earning potential of the middle class. As jobs collapse, housing will collapse. Underfunded schools, law enforcement, and government services will only get worse.

There is no positive response Nevada will be able to make to an economic downturn. Nevada will become a third world State and the politicians will respond by doing the wrong thing…cutting desperately needed taxes on corporations and the wealthy.

This is why Nevada can’t have nice things.

My First and Final (gulp) Imaginary Interview With Terry Gross

05 Thursday Apr 2018

Posted by in Aging, All Rights Reserved, Communication, Entertainment, Fiction, Journalism, Life, Marketing, Nevada, Passionate People, Random, Traditional Media, United States, Women

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[NOTE:  5 April 2038. This imaginary interview with Fresh Air’s host Terry Gross took place in the cafeteria at the National Public Radio (NPR) Senior Care Facility in Washington, D.C., about five blocks from the NPR headquarters.]

Terry Gross WHYY

Fresh Air’s Terry Gross, 1987

Interview with Terry Gross:  Part I

Me:  This is a special guest-host edition of Fresh Air. My guest today is Terry Gross. She has been on radio for 65 years. For over six decades she has been the host of this weekday interview show produced by WHYY in Philadelphia and aired across the nation through National Public Radio stations. She has a degree in English, and a Masters degree in Communication. Among her many honors are a Peabody Award, an Edward R. Murrow Award, a Columbia Journalism Award, a 2015 National Humanities Award, and in 2012 she was inducted into the Radio Hall of Fame. Terry, thank you for allowing me the honor of guest hosting your show, and the honor of interviewing you.

Terry:  You’re welcome.

Me:  You have had a front row seat to the some of the most influential and creative people for over sixty years. Does it ever become boring?

Terry:  Not usually. There is a routine we follow, but each interview is a potential Pandora’s box. We never know what we’ll find until we start talking to the guest. It keeps things edgy.

 Me:  You could have retired decades ago. What has kept you going?

Terry:  A lack of a retirement program. It’s public radio, not “Who Wants To Be A Millionaire.”

[Me:  Pause.]

Me:  So you keep working for a paycheck?

Terry:  Not a paycheck. I get to stay here. Woo-hoo.

Me:  I should tell our listeners, that by ‘here’ you mean the NPR Senior Care Facility.

Terry:  Again, woo-hoo. Look over there. That’s Steve Inskeep eating his oatmeal. They still wheel him over to NPR six days a week.

Me:  To record NPR’s Morning Edition.

Terry:  And to clean the bathrooms…and he’s talking to Cokie Roberts. She’s probably explaining to Steve once again why he can’t have prunes in his oatmeal and prune juice. Here, you get one or the other, not both. That man at that table is Kai Ryssdal. He’s so hot. Oh, and over by the coffee machine is Don Gonyea….oh, wait, he’s trying to snort the artificial sweetener again. Excuse me.

Interview with Terry Gross:  Part II

Me:  We’re back talking to the host of Fresh Air, Terry Gross. Is Don okay?

Terry: He’ll be fine. We’ve told them that they can’t keep the artificial sweetener by the coffee. He finds them every time. Now, where were we?

Me:  I think we were talking about your amazing history on the radio. You have connections to generations of well-known people. How do you keep finding the next ‘Tom Hanks.’

Terry:  It’s not that difficult. After so many years, people come to you. You can usually tell they want to be on the show when they start inviting you to their parties.

Me:  But isn’t it exhausting to come up with high-quality interviews every weekday?

Terry:  Not really. We get at least two shows after each interview.

Me:  You mean re-airing the interview with the person releases a new book or movie?

Terry:  Yes, that, and when they die. We discovered long ago that the interview has a bigger audience just after they die.

Me:  Does that make an original interview less meaningful knowing that it will have a smaller audience, than after the person dies?

Terry:  Of course. But it means my show is easy the day after they’ve died. A little intro. A few edits. Bingo, new show. We call the first interview premorties and the final broadcast postmorties. Premorties is the salad, Postmorties is the entree and dessert.

Me:  Uhm…I see. Lately, it seems that most of your shows are postmorties.

Terry:  Yes. We’ve changed our strategy in the last few years. Now we do the interview just for the postmorties. We interview, he or she dies, we broadcast.

Me:  But what about days when no one significant has died?

Terry:  We have a guy.

Me:  What do you mean?

Terry:  Have you ever noticed that a celebrity dies almost every day except Fridays and Saturdays?

[Me:  Choking a little.]

Me:  You don’t…

Terry: Yes, we do.

Me:  So this interview…

Terry:  You’re a postmortie. You didn’t really think you were important enough for me to have on my show.

Me:  I’m going to …die?

Terry:  Spectacularly. It will be a self-driving car hit by California’s high-speed train. We’re trying to get a Tesla, but they’re really hard to find. Jay Leno used to have one, but it caught on fire. I was hoping we could have you also hit by that Tesla Roadster SpaceX launched twenty years ago, but they said the orbit was all wrong.

Me: oh…that would have been nice…I guess. I think I should head home now.

Terry:  Sure, but be careful. Don’t do anything dangerous before Tuesday.

Me:  okay.

Novice Directors Make Theatre Painful

29 Thursday Mar 2018

Posted by in About Reno, All Rights Reserved, College, Communication, Directing, Education, Entertainment, Higher Education, Lessons of Life, Management Practices, Nevada, Pride, Random, Recreation, Reno, Theatre

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For five years we ran a small theatre company. Between children plays and main stage adult plays we produced up to twelve shows a year. I had a BFA in Techincal Theatre; however, the experience as a teacher, director, technical director, actor, and executive director forced me to quickly improve all my skills.

Church and School Plays: How to teach young people to hate theatre

The Theatre Director’s Curse

I’m embarrassed to say how bad our first productions were but my skills I did improve over time. Now, I find watching a play is a constant effort to try and enjoy the action of the stage while suppressing my analysis of the work of the director. I deliberately avoid attending plays because I often can’t enjoy what is happening on stage.

My worst experience as an audience member was when I saw King Lear in Stratford-upon-Avon on a theatre tour in England. A Japanese director had violated several basic responsibilities of staging. While his work had been given high praise by many, I found myself looking for a nice pub after intermission.

What Not To Do

Here are some basic mistakes of novice directors:

Chaotic Blocking

An audience member cannot focus on the entire stage at once. It is the job of the director to guide the audience’s attention. Normally that is to the person talking, but it also includes key actions that give the audience information nonverbally. Blocking is the term used to describe how the director uses the movements of the actors to give focus (release the audience’s attention) and take focus (draw the audience’s focus.)

No movement on stage should be unplanned. If an actor is wandering aimlessly on the stage it is the director’s failure to give clear guidance to the actor. Blocking also requires that a director knows at least five ways for an actor to give and take focus. If they don’t know this, the audience will miss keys lines and action that establish the story.

Plodding Scene Changes

OH…MY…GOD! Any scene change that takes more than ten seconds is a failure. The play is a story and the scene change has NOTHING to do with the story. It actually breaks the concentration of the audience and the actors. The scene change is choreography. Everything must be rehearsed over and over with the lights down. Once the scene change is perfected, it must happen exactly the same way every time.

Bad Actor Management

During the rehearsal process, the director will begin to notice which actors may not be capable of handling their role. It is the job of the director to manage the actors and address performance issues. The director must either coach the actor, cut lines, transfer lines, or take other action to resolve the issue. A bad performance is the director’s fault.

Over Designing the Show

Scenic, costume, and lighting design enhance the play. They do not tell the story, and they can often be distracting. Actors are the alpha and omega of a play. Light them, dress them, surround them with a set to perform on, but never forget that a great actor can play a character on a bare stage, with a candle, in hu’s* underwear.

Journalism Ethics: Interviewing the Reporter As a News Source

27 Tuesday Mar 2018

Posted by in All Rights Reserved, Business, Communication, Crisis Management, Customer Relations, Donald Trump, Entertainment, Ethics, Generational, Government, History, Honor, Information Technology, Internet, Journalism, Language, Opinion, Politicians, Politics, Print Media, Public Image, Public Relations, Republic, Social Interactive Media (SIM), Social Media Relations, Technology, Traditional Media, United States, Website, Wordpress, Writing

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News organizations have not evolved as much as they have devolved over the last sixty years. Journalism ethics have suffered the greatest. The priority in news organizations has shifted from high journalistic standards to gaining market share. The news anchor or primary news host now use the reporter as hu’s* news source.

I can't match the anchor's name to any of the CNN faces online

CNN news anchor interview CNN reporter Matt Rivers

How Did We Get Here?

Originally, the news reporter job was to gather the facts, confirm the facts, and organize the facts into a story. The myth of Superman’s girlfriend getting the scoop and landing a Page One, Pulitzer Prize article wasn’t how it really happened.

Good journalism was the verification of the facts, careful research, and exposing lies. In the end, the reporter’s name was the byline, not the storyline. Reporters needed the attention to detail of an accountant, the interrogation skill of a great attorney, the ethics of a great judge, and the knowledge of a college professor, in addition to the ability to write a compelling story.

But when investors began buying up news organizations, money became the priority over journalism standards. Advancement was based who could attract a bigger audience. Women were brought into the newsroom, but the motivation was ratings, not equality. Money flowed to those that could produce shock and awe. The young, idealistic journalism graduate discovered that a reporter was underpaid, overworked, and disrespected.

And while the journalism standards fell, the news source wall went up. Organizations created ‘public relations’ experts to ‘control the message.’ Now a reporter is the person between the news organization looking for ratings and the news source that wants to be a shining star.

Corporate Public Relations Mastery of Orwellian Doublespeak

Not every company believes in lying to the public, but it does seem the bigger they are, the less responsive they are willing to be. The most recent major incident is Facebook’s initial response to the data of 50 million users being collected by conservatives connected to the Donald Trump campaign.

After the story broke on Saturday 17 March, Facebook ran silent for days before issuing any response. Journalists that attempted to obtain information and/or a response were ignored. Major headlines were running about the data breach and Facebook was on lockdown.

Corporate PR has made the company the least likely source of accurate, reliable, and/or truthful information. So now the reporter digs up whatever information they can and becomes the ‘expert.’ The news anchor often interviews the reporter as the sole news source because no one else will talk.

The problem with this is that the reporter can’t speak with authority. They are not privy to the inside information so they can only offer hu’s opinion. That changes journalism into gossip and guessing. No one can be sure of anything because no one knows the truth. That leaves it up to the individual to accept what they want to hear and reject what they don’t want to hear. That is never good for a democracy.

[*Hu’s is a gender neutral pronoun for his or her.]

My Imaginary Interview with Marketplace’s Kai Ryssdal

27 Tuesday Feb 2018

Posted by in Business, Economy, Entertainment, Ethics, Journalism, Marketing, Passionate People, Politicians, Politics, Public Image, Public Relations, Stock Market, Taxes, Technology, Traditional Media, Writing

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Me:  He’s a man who is all business when it comes to business. Kai Ryssdal is the voice of Marketplace, and for the unenlightened, it is a half-hour business news radio show produced and distributed by American Public Media on public radio stations five days a week all over this country. He has been in his current role for 13 years. A graduate of Emery University, then eight years in the Navy, a Navy pilot, worked in the Pentagon, MA from Georgetown, U.S. Foreign Service in Canada and China, even a stint with California Public Radio…tell me, sir, you are a Renaissance Man are you not?

Radio host Kai Ryssdal

Kai Ryssdal: Host of Marketplace

Kai:  I’ve done some things, but I’m not sure what the test is for qualifying as a Renaissance Man.

Me:  Fair enough. Since you’ve been in the big chair at Marketplace the show has won some awards. Edward R. Murrow Prize, an Emmy, awards from radio news directors, and some 12 million listeners. What defines the success of your show?

Kai:  What defines the success of the show?

Me:  When people say Marketplace is a great show because….

Kai:  What we do, or at least is our goal, is to make the issue understandable. If we can’t get someone in her or his car listening to our show to have an a-ha moment on the topic we are discussing, we’ve missed the mark.

Me:  You’ve said the term ‘Marketplacey’ in other interviews. You’ve described it, I believe, as a type of rhythm, a style that is unique that defines the show. Why does it work?

Kai:  I’m not sure I can answer that question. I can tell you that I think it is a style that expresses a serious, but relaxed treatment of the subject matter. It’s not too formal, nor too casual. We try to keep out the political agenda and focus on what is the structure of the problem.

Me:  Might some say you trim down the problem too much? Interviews on Marketplace tend to be short and include the view of only one person, correct?

Kai:  We try to do a mix of viewpoints, but we don’t try to do the point/counterpoint interviews. We try to break issues down into small components and cover them in several segments.

Me:  Is it investigative reporting?

Kai:  Not in the sense that we are digging up a secret and exposing it to the world. Our mission is more to educate and illuminate, not uncover.

Me:  But doesn’t that mean you control the process?

Kai:  I’m not sure I understand your point.

Me:  Do you decide what people learn about an issue? Do you shape the issue for the listener?

Kai:  Not with a nefarious intent, but we do clear away the clutter of the issue so a person with little or no experience in the subject can understand the details of the problem.

Me:  Okay, we’ll have to leave this here. Kai, thank you for your time.

Kai:  Thank you.