Waiting For Tickets And Healthcare

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This weekend I happened upon a few websites and stories which I felt were interesting enough to expound upon. However, under the harsh light of Monday, they didn’t really excite me much any more.

There were two tidbits I liked that explain themselves well enough without any help from me.

First was a letter reprinted on Producer’s Prospective by Ken Davenport from a woman who expresses her amazement that tourists go to NYC and stand online at the TKTS without an idea what any of the shows are about. “They were going to buy tickets and they had budgeted the money, so they were going to spend it. It didn’t really matter on what.”

She makes some suggestions about why tourists might not completely trust the young people who provide those in line with information and how things can be better handled. Probably some lessons there for all of our ticket office operations.

The second thing I wanted to point out in case it got lost amid all the other static on the topic is that Americans for the Arts was joined by a coalition of 20 arts organizations in advocating the federal government for better health care for artists.

We call on Congress to pass:

* A health care reform bill that will create a public health insurance option for individual artists, especially the uninsured, and create better choices for affordable access to universal health coverage without being denied because of pre-existing conditions.
* A health care reform bill that will help financially-strapped nonprofit arts organization reduce the skyrocketing health insurance costs to cover their employees without cuts to existing benefits and staff while the economy recovers. These new cost-savings could also enable nonprofit arts organizations to produce and present more programs to serve their communities.
* A health care reform bill that will enable smaller nonprofit and unincorporated arts groups to afford to cover part and full-time employees for the first time.
* A health care reform bill that will support arts in healthcare programs, which have shown to be effective methods of prevention and patient care.

One of my earliest blog posts was about artists exchanging their skills in a hospital for health care. The rancorous debate raging about health care should concern a lot of people because the plans being discussed in Congress represent the best hope for artists to get health care since Fractured Atlas came on the scene.

Will Artists Save The Motor City?

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NPR had a story on All Things Considered yesterday about people moving to Detroit lured by dirt cheap property costs and a belief in the potential the city has. (Listen to the story rather reading the text which doesn’t accurately reflect the audio.) Among those interviewed are a small group of artists hoping to establish a little colony that “are interested in working on houses but also interested in working in social ways. Be a part of the neighborhood themselves..”

It will be interesting to see if they bring vibrancy to part of the city…and resist being displaced by any gentrification they may inspire.

I haven’t really seen it as part of my career path, but I always thought if I had an opportunity like this and the resources to pull it off, I would buy up buildings or warehouses and turn them into spaces artists could practice their craft. Even though I am in the performing arts, I never really considered opening a performance space. I think I would have rehearsal spaces for theatre, dance and music as well as studios for visual artists. A good situation would also allow me to get an apartment building so that visual artists could be in residence a few months while they created and then move on. With other artists around, they might find inspiration and collaboration in the people and environment without actually having to move permanently.

While Detroit offers this sort of opportunity, I wonder if I have the energy to make something like this happen. I live a fairly spartan existence so the prospect of living in the back while renovating the front doesn’t bother me. I just don’t know if I can be a one man renovation squad for the time it would take to get things to a place where the project could start paying for the next phase. That is assuming enough artists move to Detroit interested in utilizing the spaces.

But as I said, since I never really saw this as part of my career path, I haven’t invested much thought in how I might accomplish it. The idea has mostly been idle speculation born of visiting many towns and cities that seemed to lack good rehearsal facilities for the individual/small group artists.

I figure it is worthwhile posting the idea here on the chance it inspires someone to explore doing it in their own town, say Detroit.

Human Touch Is Always Important

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Back in March I had mentioned that we were in the process of re-evaluating our emergency procedures and noted we had recently had automated external defibrillators (AED) installed.

If you aren’t familiar with them, AEDs are designed to save lives by essentially talking untrained people through the process of shocking a person’s heart back into a normal rhythm. The machine can detect a normal heartbeat so that you can’t actually use it on someone who doesn’t need it. (Such as part of a fraternity prank.) In fact, it is apparently mandated that the machine rather than a human make the decision as to whether a shock should be administered. The devices were first deployed around O’Hare airport and were such a success at saving lives, you can see them placed all over these days.

I was refreshing my CPR/First Aid training today in a session that also dealt with AED use. Due to my impression that the machines empowered an untrained person to save a life, I was surprised to learn that CPR training was an essential component of AED use and training. The AED isn’t of any use on those whose hearts have stopped but can help if your efforts at CPR have managed to establish a rhythm. (Our model at least coaches you on whether your compressions are deep enough and provides metronome cues to keep you on pace.) Of course, CPR should be started while you are waiting for the AED to be retrieved.

There are apparently companies that eschew the CPR training and insist only on the AED training depending pretty much entirely on its abilities and those of anyone who may be passing at the time. I don’t care if the machine gets to decide whether to administer a shock. Given how much arts organizations depend on the goodwill of that community, I can’t imagine eliminating human contact in favor of a machine is wise when it comes to life saving. It was a good idea to have some CPR trained staff before the AED came on the scene and it still seems prudent even with the presence of equipment that greatly increases survival rates.

Another interesting tidbit I learned, though I can’t attest to its veracity, is that most of the first AEDs manufactured were red. Given the association of red with emergency services, this seems logical. According to our trainer, lay people were less likely to use the AEDs because they perceived them to be emergency personnel only equipment. Seems reasonable, but maybe he was just trying convince us to accept ugly neon green AEDs.

While that little fact has nothing to do with the importance of training our staffs, it does illustrate just how important even the most subtle design choices can influence people. (And lends credence to the consultants who get paid to obsess over what tie a political candidate is going to wear.)

If The Postman Rings And There Is No One To Sign For The Check..

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Hawaii Public Radio reported last week that the state’s governor had sent layoff notices to 10 employees of the State Foundation on Culture and the Arts, including Executive Director, Ronald Yamakawa. “That leaves only the Art in Public Places staff, one account clerk, and three federally funded positions to fulfill agency functions.”

The public radio story may be heard here. Given that the foundation’s state funding had already been cut, the lack of an entity to receive and administer federal funding from the NEA, especially ARRA stimulus funds, is causing great consternation in the state arts community. Even when there isn’t a formal federal stimulus plan, federal funds help secure other support.

I have lived in and read about enough state budget crises to know that threats to the state arts councils are often part of a larger political fight. (NJ’s willingness to go broke rather than fund the arts, for example.) I confess I was suspicious when a search of the local daily newspapers didn’t turn up any mention of this story. I wondered if the story was specifically aimed at the public radio audience which tends to have more political influence than many other demographics. The sad truth is that the omission may just be reflective of the state of newspaper priorities and resources.

Whether it is a political ploy or in earnest, the truth will be known on November 13 when all 1,100 layoffs the governor ordered become effective.