D.B. Cooper

Let’s see, now, where were we? Big inauguration, American carnage, big threats, bellicose speech. Bigger protest, millions of women, pink hats, sea to shining sea. Twitter wars unabated. Health care on the skids. War on reporters. Alternative facts.

And, oh, yes, tucked away there in the corner: a vow to kill the National Endowment for the Arts. And kill the National Endowment for the Humanities. And “privatize” the Corporation for Public Broadcasting, which has mostly been privatized already, anyway. Cost-cutting. Getting tough on the budget. Victory for the taxpayers. (NEA 2016 budget: $148 million. NEH 2016 budget: $148 million. Percentage of total federal budget, each: 0.003. CPB 2016 funding via federal government: $445 million. Percentage of total federal budget, all three agencies: less than 0.02. Federal budget 2015 for military marching bands, $437 million. Taxpayer expense to build or renovate National Football League stadiums, past 20 years, mostly through local and regional taxes: more than $7 billion.)

A fiscal conservative or libertarian can make an honest argument for eliminating the NEA and NEH on grounds that they’re simply not an appropriate use of taxpayer funding; culture should be funded privately. Here at ArtsWatch we don’t agree with that analysis. We believe there are many valid reasons for government financial aid to culture, and that the payoffs to taxpayers are many, from economic – in healthy cities, the arts are job and money multipliers – to educational and much more. Historically, consider the continuing dividends of the WPA and other cultural projects underwritten by the federal government during the Great Depression of the 1930s: In Oregon, for instance, Timberline Lodge.

But there’s much more to this move than a courteous philosophical/economic disagreement. The move to defund the NEA has a long and embattled history, dating at least to the so-called “culture wars” of the 1980s and ’90s, when a resurgent right-wing political movement convinced that artists were mostly a pack of degenerate liberals discovered that attacking the arts was a splendid red-meat issue for its base. They didn’t succeed in killing off the national endowments, but they did weaken them. The new administration seems to think it can finally finish them off. That would weaken state agencies such as the Oregon Arts Commission, which gets funding from the NEA, and in turn weaken arts organizations across the state, which get money from the OAC and, often more importantly, a stamp of approval that helps them raise private donations. Killing the endowments would be a rash move that would save hardly anything in the national budget and cause deep mischief to the nation’s well-being. It strikes us as petty and vindictive and, frankly, foolish.

It’s also a reach that might fail. Republicans like culture, too, and understand its value, and often support it generously. Traditionally, that has included Republican politicians. Will they fall in line with the new administration, or will they quietly scuttle its gambit? Keep your eye on this thing. We will, too.

 


 

Duffy Epstein and Dana Green in the premiere of the D.B. Cooper play “db.” Photo: Owen Carey

THE FERTILE GROUND FESTIVAL, Portland’s sprawling celebration of new works in theater, dance, solo performance, circus arts, musical theater, comedy, and other things that ordinarily happen on a stage, continues through January 29. ArtsWatch writers have been out and about, writing their impressions. You can catch up with some of them below:

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ArtsWatch Weekly: let the good times reel

NW Film Center's "Reel Music," plays about D.B. Cooper and Ben Linder and a guy named Fly Guy, atlas art from post-Gutenberg days

“Tradition!” Tevye the milkman barked, and with that emphatic proclamation the song and dance reeled on. The traditions that last the best are the ones that constantly reshape themselves within the structures they’ve set up, and certainly the Northwest Film Center’s Reel Music Festival, which spools into its 34th annual edition on Friday, fits that category. The basic idea is the same as always: pull together a whole bunch of films about music and musicians (documentaries, primarily), but do new ones every year, and let the good times roll. Or reel.

Thelonious Monk with his band in 1959, from “The Jazz Loft According to W. Eugene Smith.” Credit 2016 The Heirs of W. Eugene Smith, FilmBuff

This year’s edition, which runs through February 5, kicks off with a foulmouthed film about the Rolling Stones (Robert Frank’s 1972 Cocksucker Blues) that followed the band on tour after the Altamont debacle, and was so raunchy and revealing about the seedier side of rock that it was shelved, and is only rarely seen. Here’s your chance. You might want to pair it with the more genteel, if that’s the right word, The Rolling Stones Olé Olé Olé!, filmed on last year’s Latin American tour. I like the looks of 1957’s The Jazz Loft According to W. Eugene Smith, filmed by the Life Magazine photographer when he lived and worked in an illegal loft teeming with artists and musicians and house parties and jam sessions in Manhattan’s Flower District during a golden age of jazz; A Poem Is a Naked Person, a cinematic portrait of Leon Russell directed by Maureen Gosling and the great Les Blank that was unreleased for 40 years because Russell, a co-producer, didn’t like it; and Mose Allison: Ever Since I Stole the Blues, Paul Bernays’ portrait of the essence-of-hip pianist and singer who was yet another member of last year’s sizable artists’ march into the final sunset. You, no doubt, will find your own favorites. Check the schedule and put on your toe-tapping shoes. It’s a tradition.

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