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March 6-8, 2002, Washington, D.C.

April 17-21, 2002, Lexington, Kentucky

• A bilingual play brings together migrant workers and immigrant rights activists in a pointed comedy portraying communications and miscommunications among Anglos and Spanish-speaking peoples living in and working in one community today.

• An African American theater company performs a rollicking — but serious — romp through the cultural changes from Motown to hip-hop, from soul food to vegan, from post-60s to post-modern America.

Art collector, philanthropist, and software entrepreneur Peter Norton, inventor of Norton Utilities, established his family foundation with his wife Eileen Norton in 1989. Based in Santa Monica, California, the Foundation has an endowment of approximately $33 million; its giving last year was close to $4.5 million. The primary focus of the Foundation is on contemporary visual arts nationwide.

The Allen Foundation for the Arts is one of six foundations that make up the Paul G. Allen Foundations, a family of foundations established by Microsoft co-founder and philanthropist Paul G. Allen. The other Allen foundations focus on medical research, health and human services, forest protection, virtual education, and most recently, music.

The Rhode Island Foundation, founded in 1916, is one of the oldest and largest community foundations in the United States. It is also one of a small number of statewide community foundations. In 2000, the Foundation's assets exceeded $400 million. RIF's grantmaking areas are children & families, economic/community development, education, and arts. The arts grantmaking area has several program foci.

Last year when RAND released The Performing Arts in a New Era, (Performing Arts) the prediction that times were going to be particularly difficult for mid-sized performing arts organizations was widely quoted. It was prominent in press coverage of the report and quickly embraced as a fact by grantseekers and foundation colleagues. I was curious to return to Performing Arts and the conditions it cites for organizations in the middle, to see how they apply to readings of recent field reports for different performing arts disciplines.

We just returned from yet another community gathering where arts leaders sought the support of their business and civic counterparts by documenting the "economic impact" of arts spending and employment in their region.

In the fall 2001, the Center for Arts and Culture, an independent Washington, D.C.-based think tank on cultural policy, began distributing two series of publications. One consists of commissioned papers, part of the Center's Art, Culture and the National Agenda project. The other documents discussion forums convened by the Center. Publications in both series are small-format booklets. Several landed on our desks in quick succession last fall, but production now seems to be moving at a slower pace, allowing us to keep track of each one a little more easily.

On November 12, 2000, a headline on the front page of the Atlanta Journal/Constitution read, "Study finds Atlanta arts community trailing peers." A full-page story in Section A followed. This one headline challenged the city's cherished self-assessment as "cultural jewel of the South" and quietly affirmed the suspicions of many of its artists and cultural workers.

This is the story about the headline, the study, and the volunteer efforts of an incorporated ad hoc group that calls itself the Atlanta Arts Think Tank and that commissioned the landmark study.

Meetings are big business. Or, in other words, talk is not cheap. An economic impact study by Deloitte & Touche LLP demonstrated that conventions, expositions, and meetings generated $82 billion in total direct spending in 1994, supporting 1.57 million jobs.1 Meetings of associations and membership organizations, as opposed to corporate-sponsored events, account for the lion's share of this spending (68 percent). Many of these associations serve the arts and culture.