A lot of people still call it “Jazz Fest” (a hold-over from some of its early names, like the Kool Jazz Festival) and more recently (as of last year) it went by the name of Macy’s Music Festival, but Cincinnati’s popular, long-running celebration of classic and contemporary R&B and Soul is now cutting to the chase and, for its 2015 edition, will be called the “Cincinnati Music Festival.”
The name and logo may be different (and the primary sponsor is now P&G), but not much else has changed. This year’s event takes place July 24-25 at Paul Brown Stadium on the riverfront. Tickets for the fest — which began in 1962 in Carthage as the Ohio Valley Jazz Festival and has featured everyone from Miles Davis and George Benson to Stevie Wonder and Marvin Gaye — go on sale this Saturday through Ticketmaster.com.
This year’s lineup features Maxwell, Jennifer Hudson, The O’Jays, Joe and Luke James on July 24. For July 25, the event will feature longtime fest faves Maze featuring Frankie Beverly, plus Jill Scott, KEM, Avery Sunshine and Mali Music.
Click here for complete info on the 2015 Cincinnati Music Festival.
Veteran Cincinnati Funk bassist/singer/songwriter Freekbass announced this week that he has signed a deal with the esteemed Ropeadope Records. Freekbass’ next album — the follow-up to last year’s self-released Everybody’s Feelin’ Real (which you can stream/purchase here) — is currently slated for release on the label early this fall.
“I grew up listening to artists and music on Ropeadope and it's such an honor to actually be a part of the label now,” Freekbass said in a press release.
Ropeadope began in 1999, originally created by founders Andy Hurwitz and John Medeski to release the Project Logic album by Soul/Jazz/Hip Hop turntablist extraordinaire DJ Logic. (At the start of this decade, Freekbass was a part of a side-project band called Headtronics that featured Logic, as well as Particle keyboardist Steve Molitz.) Ropeadope has since put out an impressively diverse array of unique music, including releases by Dirty Dozen Brass Band, Charlie Hunter, Phish’s Mike Gordon, Antibalas, Christian McBride and Fusion ensemble Snarky Puppy, which won a Grammy for Best R&B Performance last year for its collaboration with Lalah Hathaway on the song “Something.” (You can read more about the label’s history here.)
Freekbass, who crafts a contemporary brand of Funk that mixes in shades of Electronica and Hip Hop, has been one the leading figures in the Cincinnati music scene for decades, starting with the popular ’80s Alt Rock band Sleep Theatre before holding down the bottom end for successful Funk crew SHAG in the ’90s. He started his solo career in the late ’90s and has released six full-lengths and toured relentlessly. His albums have featured some impressive guests; artists from Bootsy Collins and Bernie Worrell to Buckethead and DJ Spooky have appeared on Freekbass recordings. His stunning bass-playing skills have also lead to the release of several instructional videos and he was featured at the 2014 London Bass Guitar Show, heading up a master class/clinic and performing.
Here is Freekbass (with his band The Bump Assembly) in their most recent video release, for the song “Never Enough” off of Everybody’s Feelin’ Real.
Read more about Freekbass in CityBeat's 2014 feature story here.
Hey all! It’s Friday. I have work to do. Let’s keep this brief, shall we, while avoiding a stupid debate about the color of any pictures of women’s wear that might be floating around the Internet. (I see both blue and black and white and gold depending on when I look. Yes, I am special).
Paging Michel Foucault: Is it a good idea to put your county’s jail on a reality TV show? We’ll find out, I suppose. Hamilton County Sheriff Jim Neil agreed several months ago to let MSNBC film an episode of its reality show Lockup in the Hamilton County Justice Center. It hasn’t aired yet, but a trailer for the episode shows inmates cussing at people, thousands of dollars in smuggled bootleg cigarettes and loose tobacco, some guy bragging about stabbing someone else with pencils and another dude describing his situation as “some ho-ass shit.” All of which sounds like a party I went to a couple Saturdays ago.
The bloody post-fight scenes look less like a party, however, and it’s pretty clear a big part of the show is the voyeuristic thrill of watching human suffering. Gross. But I digress. County officials told Sheriff Neil that having the reality show feature the county’s jail was probably not a good idea, but Neil went ahead with the program after producers approached him about it. I’m torn on this. On the one hand, it’s important to show people what really goes on in our justice system. On the other, this kind of reality TV-style sensationalism seems pretty exploitative of the folks behind bars, does it not?
Neil’s office says the show is a fair representation of life at the justice center, so there’s that. Lockup: Cincinnati airs Saturday at 10 p.m. in case you want to watch it or, you know, maybe do something more positive with your time than watch people in cages get blood dabbed off their faces.
• Oh, good. According a newly released report by the Ohio River Valley Water Sanitation Commission, the Ohio River received more than 23 million pounds of toxic material in 2013, the latest year for which data has been analyzed. That’s the most of any river in the country for the seventh year in a row, the commission says. The report cautions that despite the alarmingly large number, the river’s volume is also very large and the dilutive properties of all that water must be taken into account. But for comparison, the river receiving the next highest level of pollutants is the Mississippi, which saw more than 10 million pounds of toxins released into it last year. Much of the pollution in the Ohio River comes from nitrates, which are highly toxic to humans. Seventy-one percent of the pollution, according to the report, doesn’t enter the river until well downstream from Cincinnati at an AK Steel facility in Rockport, Indiana. So, uh, at least there’s that.
• A rally is planned tomorrow at 2 p.m. on Fountain Square for transgender murder victims killed in the last year. Among those victims was Tiffany Edwards, murdered last year in Walnut Hills. We first told you about Edwards during a long story we did on sex workers in Cincinnati and revisited her story last month in a piece on the challenges facing transgender individuals. Her alleged killer is currently on trial for her death. Tomorrow’s die-in will also memorialize seven other transgender individuals who have been murdered recently as a result of their transgender status.
• Ohio’s Senate race got a shout out in one of the nation’s premier news outlets. The Christian Science Monitor started off its preview of the 2016 Senate race with a long exploration of the brewing fight between former Ohio Gov. Ted Strickland, a Democrat, and Republican Sen. Rob Portman. Also featuring prominently in the coverage was Cincinnati’s own Councilman P.G. Sittenfeld, who has raised more than $500,000 for his own bid for the Democratic nomination. The Monitor posits that the high-profile Senate race will make Ohio even more important in the 2016 election, a presidential race in which the state already has a vital role. The Republican National Convention will be in Cleveland and the NAACP National Convention will take place in Cincinnati next year, guaranteeing Ohio a place in the center of national politics.
• As I noted yesterday in a morning news blog update (yes, I sometimes update the post throughout the day, so you know, keep your eyes on the blog), the Federal Communications Commission yesterday passed new rules keeping Internet companies from developing dedicated fast lanes for certain content providers while throttling others with slower speeds. The rules basically treat the Internet as a utility, which means service providers must treat all legal content equally. That way, Buzzfeed isn’t able to kick Internet providers a milli to put some insipid post about whether a dress is one color or another on a faster track than a long-form video doc about problems with the death penalty. The FCC also struck down some laws in certain states prohibiting municipalities from establishing their own Internet service providers to supplement the slim pickings found in many areas. That’s also good news.
That’s it for me. Tweet (@nswartsell) or e-mail me (email@example.com) with any news tips, observations about Hamilton County's own reality TV panopticon, or what kind of guitar amp I should buy. I’m daydreaming about new music gear.
Late last year it was announced that Brad Schnittger (member of the great local band The Sundresses) was selected as one of two "Haile Fellows" for 2015 by People’s Liberty, which provides $100,000 grants to local projects in an effort to “uncover opportunities to accelerate the positive transformation of Greater Cincinnati.”
The grant will allow Schnittger the opportunity to fully focus on his MusicLi (pronounced "musically") project, which is described as “an online music-business management dashboard for artists.” Artists who create MusicLi accounts will be able to use the service to digitally distribute and protect their music, and also enter it into the company’s licensing catalog, providing musicians with a nice alternative (or, if things go well, primary) revenue stream. MusicLi's “core principle” is described thusly: “There are wonderfully talented musicians in the Greater Cincinnati area, and if their music is digitally cataloged, published and made accessible for the purpose of licensing, this music can generate income for those musicians and make Cincinnati a better place to live.”
MusicLi recently launched a brief, 10-question survey to get some feedback from musicians to help guide the project’s direction. If you’d like to participate, click here. For more on People’s Liberty, this year’s grant’s recipients and complete details on their efforts and initiatives, click here.
On Aug. 11, 2014, the world lost one of its greatest entertainers of the last century — Robin Williams. I can remember where I was when I heard about his passing. I just got home from my day job as a security guard at King’s Island, logged onto Facebook and the first thing I saw was the headline reading “Robin Williams dies at 63.” To say that I was upset would be putting it lightly.
I think I can say with confidence that the whole world loved Williams because he touched us with his movies, television shows and stand-up specials. Of course anyone who grew up in the ‘80s and ‘90s will list off countless movies that left an impression on them, be it his game-changing performance in the Disney classic Aladdin (1992, directed by Ron Clements and John Musker) or his heartfelt and inspiring role in Dead Poets Society (1989, directed by Peter Weir). But the movie I’ve singled out this time was a go-to rental for me when I was a kid, when video stores were still a thing. That film is Steven Spielberg’s Hook (1991).
I’m sure many people are calling shenanigans on this being a “forgotten” film mainly due to Robin Williams in the lead role and Steven Spielberg being the director. I would be amongst those crying outrage as well, but when I began to think about it I realized most fans know of it only because of the nostalgia factor.
When it comes to listing the best of Spielberg or Williams, there are other films that would’ve been listed before this one. Even Spielberg himself had stated that the final product isn’t what he wanted and that he basically wants someone to remake it. But I can say that the product we have is a more than suitable film: the story of the workaholic lawyer Peter Banning (Williams) who ventures off to Neverland to rescue his children who have been captured by villainous Captain Hook (Dustin Hoffman). In that quest he discovers why his children were kidnapped — Hook did it to draw Peter Pan back to Neverland and fight him, and it turns out that Bannings is Pan. The catch is that Peter has forgotten who he is. Throughout the film Peter goes on a spiritual journey to rediscover who he is and rescue his children with the help of his ever faithful Tinkerbell (Julia Roberts) and the Lost Boys.
Williams is absolutely flawless in this role. He perfectly conveys both the uptight and work-centered lawyer and the childlike energy of the boy who refused to grow up. The lesson he learns in the end is something that is very logical and is something that should speak to anyone — while we all must grow up, we mustn’t lose our sense of adventure and wonder.
Peter’s journey to that conclusion is drawn in comparison to his archenemy Captain Hook. Ironically enough, it’s the adult who stays at a more immature stand point. In the original J.M. Barrie story, one could says that Peter is the hero not only because he rescues his friends from the villain but also because he lives in the moment and doesn’t oppose over anything, while Hook is all about revenge and will not rest until he has it.
At the beginning of the film Peter has his mind set on only one thing and that’s being a lawyer. That singular mindset leads Wendy (Maggie Smith) to say, “Peter, you’ve become a pirate.”
Peter’s son Jack (Charlie Korsmo) almost becomes like Hook as well when all he seems focused on is bitterness and hatred towards his father. Hook focuses on Jack’s anger and uses that as a weapon against the now aged Peter. But this ties in with another reason why Hook can be a considered a villain — he lets his anger control his life. Peter and Jack soon realize how petty and how unfulfilling holding a grudge is.
While I do see a couple problems in the film, mainly in the script department, I can’t deny the fact that I still find this film enjoyable and well made to this day. This was also a film that truly displayed why Williams was so beloved: He made us laugh, cry, and gave us that warm feeling that we all pine for. I guarantee that in years to come, this performance — among many others — will be fondly remembered.
Hey all! Here’s the news today.
A well-known former attorney has filed a federal lawsuit against the Kentucky Bar Association to get his license back after it was suspended. Eric Deters has served three suspensions over his career for making false statements in court, failing to return a fee to a client and other infractions. The latest suspension was handed down by the Kentucky Supreme Court in April. The court has an agreement with the high court in Ohio, keeping Deters from practicing here as well. Now Deters says he’s served his suspensions and wants to go back to practicing law, and says the Kentucky Supreme Court should reinstate him. Deters retired rather than seek reinstatement in Kentucky and Ohio, and indicated at the time he had no interest in practicing law again in either state. He’s acting as his own attorney, which has led to this pretty amazing complaint:
"Deters is no saint," he writes of himself in his complaint. "He is a sinner. But Deters is fit to practice law. Lawyers are not a choral of angels." Choir? Corral? Whatever. Deters is too tough for the haters. “What Deters incurred, lesser men would have have crumbled long ago," he says of the emotional and physical toll his suspension has caused. He blames an infection that nearly took his arm on the stress and strife his suspension has inflicted on him.
• You can never ban the devil’s weed too early or too often. At least, that’s the prevailing wisdom on Hamilton’s City Council, which banned sale of the drug in the city limits yesterday in a 5-1 vote. Though marijuana is already illegal in Ohio, council members wanted to have a municipal ordinance in place just in case a potential ballot initiative legalizing the measure passes in November and all hell breaks loose. ResponsibleOhio, the group filing the initiative, still needs to collect 300,000 signatures by July to even get the measure on the ballot, but better safe than sorry, Hamilton officials say.
“It's just being prepared for what happens if anything happens whether it be legislature or amendment, it's just being prepared for the next step," Hamilton Mayor Pat Moeller said.
• The Kentucky House passed a bill yesterday allowing the state to participate in public-private partnerships, clearing another hurdle for a toll-based Brent Spence Bridge replacement. However, several key changes were made to the bill to make it more friendly to Kentucky residents and lawmakers who may oppose tolls. These include requiring any tolls levied as part of a public-private partnership to expire once debt on the project is paid off, requiring analysis of any public-private partnership to make sure it’s the best way to do a project and requiring a majority of lawmakers on project oversight commissions be from the county where the project is happening. Next, the bill goes to the Kentucky Senate, where it will face opposition from GOP senators who are staunchly opposed to tolls on the Brent Spence project.
• Here’s another tidbit from Gov. John Kasich’s State of the State address earlier this week. Kasich devoted part of his speech to education in Ohio, defending his public school funding scheme and also his support of the state’s embattled charter school system. Kasich defended putting more money into that system despite low performance by many charter schools and questions about some schools’ integrity. He agreed that the system should have more oversight in the wake of allegations of wrongdoing at some schools across the state, but also defended schools that have simply been low-performing. Here, he made a pretty stunning statement:
“Let’s not judge someone as not doing their job because they’ve inherited a group of students who are just struggling,” he said.
Here’s the thing: This is the same (I’d say very fair and correct) logic many have used to defend struggling public schools the charter system was meant to compete with and do better than. That is more or less the whole reason charter schools exist, according to their creators and supporters. Sooo… blame public schools for their inability to educate students who struggle under the weight of very real massive systemic problems that make it difficult for them to learn, but don’t blame charter schools that take money from those schools and make their jobs even more difficult for the same thing. Got it.
• Speaking of Kasich, he’s finally getting some national attention as he steps up his efforts to run for the GOP presidential nomination in 2016. Maybe it’s not always the attention he wants — this story calls him out on his efforts to create a Rondald Reagan-inspired balanced budget amendment to the U.S. constitution — but on the other hand, if you’re a Republican governor looking to run for president, perhaps a piece in liberal Mother Jones magazine about how lame your policy ideas are means you’ve finally arrived. So, uh, congrats on the milestone, governor!
• Let’s talk about a former governor for a minute, specifically Democrat Ted Strickland, who just jumped into the 2016 U.S. Senate race. As we’ve already discussed, Strickland’s announcement earlier this week caused a big stir, and now he’s already getting hit by GOPers and concerned editorial writers across the state. Ohio GOP Chairman Matt Borges mocked Strickland’s entrance into the race on Twitter today, saying, “same old @ohdems. Can’t get their act together” in response to an article about Strickland possibly having to face Cincinnati City Councilman P.G. Sittenfeld in a primary. There are worries that a very contentious primary could sabotage Democrat’s chances at picking up incumbent Sen. Rob Portman’s seat, which is dearly needed if Democrats want to take back control of the Senate in 2016. On the other hand, having two strong candidates could be seen as an encouraging sign for the party, and the early level of mockery from Republicans shows they’re taking the threat from Strickland seriously. It’s already clear this isn’t last year’s governor’s race, where Kasich straight-up didn’t acknowledge Dem opponent Ed Fitzgerald during a debate because he didn’t have to.
• Finally, the Federal Communications Commission is voting on net neutrality today. This is a huge day for the Internet. If you don't know what's up, uh, start reading.
Update: the FCC voted 3-2 to require internet providers to operate as neutral gateways through which internet service flows. That ruling prohibits providers from making so-called "fastlanes" that would provide higher-speed connections for some companies and content. Also today, the FCC struck down state laws prohibiting cities from establishing their own internet services, allowing municipalities to create their own internet services in places that may only have one (or no) reliable internet service provider.
That’s it for me. You know the drill. Tweet at me. Email me (firstname.lastname@example.org). Messenger pigeon me. Whatever you gotta do to get those news tips and whatever else you want to talk about.
Christopher Durang's witty comedy Vanya and Sonya and Masha and Spike opened last night at the Cincinnati Playhouse. If that title makes you think of Russian playwright Anton Chekhov, well, that's part of the playwright's comic plan. But his script reassembles some of those wry comic elements with a few modern twists. The three characters with Chekhovian names are siblings with wildly divergent perspectives; "Spike" stirs things up by being more physical than intellectual. You don't have to know any theater history to have a good time with this play, especially when Vanya launches into a 10-minute rant about what's wrong with the modern world — referencing everything from postage stamps and technology to global warming and a lot of TV from the 1950s. It's hilarious. This show is being staged at theaters all over America this season. For more about Durang, read my Curtain Call column. Through May 23. Tickets: 513-421-3888
The Covedale Center has carved our a meaningful niche in the local theater scene with staging Golden Age musicals, and they're opening one of the best this weekend, Rodgers and Hammerstein's The Sound of Music. It was the final show by the pair who created Oklahoma, South Pacific, Carousel and The King and I. Thanks to the movie featuring Julie Andrews, I don't really have to tell you what it's about. But I should mention that the stage version has a bit more of a socio-political edge to it: Two of my favorite numbers (that didn't make it into the film) are "No Way to Stop It" and "How Can Love Survive?" — pay attention to them for some sassy songwriting. The show is onstage at the West Side theater through May 24; tickets: 513-241-6550
Several worthwhile productions are finishing their runs this weekend with Sunday performances. That includes the searing psychological and political drama Death and the Maiden by Diogenes Theatre Company, featuring Annie Fitzpatrick, Michael G. Bath and Giles Davies at the Aronoff's Jarson-Kaplan Theater. Tickets: 513-621-2787 … Cincinnati Shakespeare is winding up its staging of the great comedy of love and combat, The Taming of the Shrew. (Read my review here). Tickets: 513-381-2273 … And if you've ever struggled to connect with a play by the Bard, you might enjoy John Murrell's Taking Shakespeare at Dayton's Human Race Theater Company. The latter is about a disillusioned college professor asked to tutor her dean's son through a freshman class in Shakespeare. The subject is Othello, and their wrangling helps them learn more about one another. It's some fine acting, with Jon Kovach, seen frequently on Cincinnati stages, as the opinionated but drifting young man. Tickets: 937-228-3630
Tribute albums are typically divided into three categories. They’re either a) bankable artists covering high profile subjects (or, infrequently, famously known cult figures); b) cool/respected artists covering cool/respected artists; or c) some weird hybrid of the first two.
Two recently released tributes fall squarely in the second category, with Avett Brothers frontman Seth Avett and rising Americana/Rock vocalist Jessica Lea Mayfield taking a quietly beautiful stroll through a sampling of Elliott Smith's exquisite catalog on Sing Elliott Smith, and Frames frontman and solo artist in his own right Glen Hansard honoring his great hero and friend Jason Molina on It Was Triumph We Once Proposed: Songs of Jason Molina, which was available last month.
There are odd connections between the two projects. In the general point of interest sense, both are posthumous tributes. Smith died in 2003, apparently by his own hand, and Molina succumbed in 2013 after a long battle with alcoholism. And on a more personal level, by the sheerest of coincidences, I've interviewed both of the subjects of these two tributes.
Back in 2000, I spoke with Smith while he was still touring on Figure 8, which had come out earlier that year. And in 2003, I was assigned a feature on Songs: Ohia, fronted and braintrusted by Molina, who had just finished an album he titled The Magnolia Electric Co., which marked the end of Songs: Ohia and the shift to the band named after his new album. Both were fascinating and heartfelt conversations with artists who were amazingly self aware but not at all self absorbed, quietly brilliant songwriters who had an almost pathological need to extract their musical impulses from the dark well of their ultimately troubled souls.
Hansard — who came to prominence as the voice, guitarist and primary songwriter for Irish Rock band The Frames before establishing a side project (Swell Season) and solo career and hitting semi-big with the movie Once and his soundtrack, featuring the Academy Award-winning hit "Falling Slowly" — was so inspired by Molina's deeply emotional and confessional songcraft that the first fan letter he ever sent to a fellow artist was to Molina. Back in 2005, two years after I'd interviewed Molina, I had the rare opportunity to witness the pair's personal and professional bond firsthand.
At my second South by Southwest experience, I followed former The Onion music editor Stephen Thompson to see a Frames appearance at one of Austin's innumerable daytime parties. Stephen was a huge Frames fan and the band knew him well; he had done enough to help expose the band to American audiences that they thanked him in the liner notes to Burn the Maps.
When we arrived at the venue, the band members were wandering through the crowd just prior to their set and Stephen made a beeline for them. He introduced me to The Frames, but there was a dark, diminutive and somewhat familiar presence in the circle who was clearly with the band but not as a member. Glen Hansard spoke up, in his pudding thick Irish brogue, and said, "This is Jason Molina."
I shook his hand and reminded him of our phone conversation and the Rockpile feature two years previous. He greeted me warmly and we talked about what we'd seen at the festival to that point and what we hoped to see going forward. We spent a good 10 minutes in this convivial manner, right up until The Frames took the stage and were announced. After that, his unwavering focus was on the band; he watched and listened as though he was occupying the front pew in church during a sermon he knew for an absolute fact would change his life for the better. He stood in rapt attention, soaking in every word, every note and every nuance and with good reason — The Frames were a mesmerizing live force back then.
At the set's conclusion, Molina immediately swiveled toward me and we exchanged jaw-dropped exclamations of disbelief. Within a few minutes, Hansard made his way to Molina's side and the two began critiquing the performance, Hansard pointing out the flaws and Molina categorically dismissing them. I laughingly thought to myself as I headed to the door and the next party, I'll bet their roles will be diametrically reversed when Magnolia Electric Co., the band that Songs: Ohia had morphed into, plays later this week and Hansard is the fan in the front row. It reminded me of something Molina had said regarding the fact that he was already thinking past the album he had just finished.
"I can do better," he said without hesitation. "My next one, I'm already sweating it. Since the day I walked out of the studio, I've been working on the next one. I don't feel like this one failed, but I'm still looking for the better one."
I thought about Hansard's face as it must have looked while he watched Molina's appearance in Austin, Texas, a decade ago, and imagined the sadder but equally beatific visage he must have exhibited in the studio as he was translating the five tracks that comprise It Was Triumph We Once Proposed. This brief and beautifully executed EP serves a similar purpose as Hansard's distant but never forgotten fan letter, as he pays loving tribute to his long personal friendship with Molina and to the work that first illuminated his immense talents to the world.
Hansard assembled a group of longtime Songs: Ohia/Magnolia Electric Co. collaborators/friends to record a heartbreaking quintet of Molina compositions, all Songs: Ohia tracks and all lending themselves perfectly to Hansard's passionate and sensitively wrought translation. Molina often worked at the creative intersection of Leonard Cohen and Neil Young, and Hansard taps into that shivery vibe with a true fan's boundless devotion and a true friend's immeasurable grief. On the one-two punch of the powerfully poignant "Being in Love" and the achingly beautiful "Hold On, Magnolia," Hansard illuminates the raw, wrenching wisdom of lines like, ”We are proof that the heart is a risky fuel to burn," and the prescient "You might be holding the last light I see before the dark finally gets ahold of me." And just like Molina's life and amazing musical output, Hansard's It Was Triumph We Once Proposed is both immensely satisfying and far too short.
The other contender for Most Amazing and Deserved Tribute of the Year is Seth Avett and Jessica Lea Mayfield's Sing Elliott Smith, a (relatively) spare and loving bow to one of this generation's most insightful and contemplative songwriters. After his shredding turn with Portland’s Heatmiser, Smith turned down the volume for his home-recorded solo debut, Roman Candle, which was followed by his equally nuanced eponymous sophomore album and then the jewel in his crown, 1998's Either/Or, which director Gus Van Zant cherry-picked for his soundtrack to his masterpiece Good Will Hunting. Smith scored an Academy Award nomination for his song "Miss Misery," and the success of the soundtrack and his almost uncomfortably vulnerable performance at the Oscars vaulted him into a spotlight that he never actively pursued.
By the time of our 2000 interview, Smith had managed to come to uneasy terms with the maelstrom of fame that resulted from Good Will Hunting and Either/Or's tangential success. It had required him to think about his work in pedestrian ways, to explain it in a fashion that would be understandable to people with little understanding.
But through it all, Smith remained true to his own process, trusting that, regardless of outside opinions, expectations or interests, he continued to create the kind of music he wanted to hear in the manner that he wanted to create it. And he knew that, no matter how much anyone involved in his career wanted him to pull Either/Or 2 out of his magician's hat, the only thing that would truly satisfy his artistic nature would be to create what came out of him organically, without being conjured or forced.
"I don't think it was on my mind," Smith said about making the Beatlesque Figure 8 in the wake of major-label debut XO, Either/Or and Good Will Hunting. "I was just making up songs the way I always do. I mean, it was never going to sell millions of copies, so there wasn't that kind of pressure."
That may well be why Sing Elliott Smith is so incredibly successful as a tribute. Smith's songbook is among the most revered in contemporary music and the acclaim that has been lavished on Avett and Mayfield since their debuts is both effusive and deserved. Given all that, there's little risk involved at any level of this project.
The blending of the two principals' voices was the only unknown and that particular question mark is definitely straightened into a boldface exclamation point with Avett and Mayfield's brilliant opening duet on Either/Or's "Between the Bars." Avett's stylistic path from Punk provocateur to rootsy Americana troubadour to genre melding alchemist is a pretty fair match to Smith's own journey, and Mayfield's weary optimism lines up well with Smith's gloomy hopefulness. Together, Avett and Mayfield are the perfect translators for Smith's hushed (and not so hushed) odes to the anguish and bittersweet joy of love and modern life and they coalesce almost effortlessly on brilliant lines like, "Nothing's gonna drag me down/To a death that's not worth cheating."
It's moments like that one from "Baby Britain" that make Sing Elliott Smith resonate so clearly from start to finish. It's particularly poignant when Mayfield takes the lead on "A Fond Farewell" — from the album Smith was working on at the time of his death, released posthumously as From a Basement on the Hill — and she sings words that seem so startlingly prescient coming so close to Smith's sad end; "A little less than a happy heart/A little less than a suicide/The only thing that you really tried/This is not my life, it's just a fond farewell to a friend/It's not what I'm like, it's just a fond farewell to a friend/Who couldn't get things right."
Avett and Mayfield offer a broad core sample of Smith's amazing catalog (only 1995's self-titled sophomore album isn't represented), and the pair's affinity for and love of their subject's work is evident in every trembling note and emotional lyric. At almost 37 minutes, Sing Elliott Smith is a full album but it feels impossibly short and is over well before the listener is ready for it to be done. If ever there was a release that warranted the often-dreaded subtitle of Volume 2, it would be Sing Elliott Smith.
It seems only proper that the final words in this piece should be reserved for the subjects of these two tributes. First, an interesting comment from Jason Molina about his songwriting process led to a philosophical statement about his musical belief system.
"I almost write the music at the same time I'm trying to think of who could best put this onto tape, and that goes right down to the engineer," he noted. "Maybe it's a cowardly way to work because I don't take all of the burden onto myself, but ego should never be part of the music."
And finally, Elliott Smith addressed the media's tendency to label him as "melancholy," which morphed into an explanation of the simple reality that labels have tried to manipulate and contradict throughout their long and checkered histories.
"As soon as someone calls you a songwriter, you automatically get the melancholy tag," Smith admitted. “Also, 'Why aren't you playing dance music?' and 'Why are your songs so sad?' They're just clichés. If it wasn't those, it would be different ones. You can't always expect people to relate. There are all kinds of people, and some people understand each other and some people don't. NSYNC sells nine million records, so there's nine million people that can relate, and I'm not one of them. So even if you sell millions and millions of albums, there's always going to be somebody who doesn't get it. If you want to be creative and do what you do, it's going to be kind of idiosyncratic."
Long live the idiosyncratic artist, and the memories of those who left us way before their creative dreams were fulfilled.
Northside’s Urban Artifact Brewing opened its doors last week, hoping to push the envelope by displaying a finessed brand and aesthetic by reinvigorating old styles of beer and celebrating local artists of all genres. Residing in a renovated church, the brewery is collaborating with restaurant Meatball Kitchen and has big plans for the future as a destination to hear live music.
“We love Northside and we love the neighborhood, so that was at the top of our list from the beginning,” says Scott Hand, who opened the brewery with partners Brett Kollmann Baker, Scott Hunter and Dominic Marino. Hand, a DAAP graduate, was working as an architect in Chicago when he and Marino, a musician and artist, began talking about opening a brewery. Knowing the financial restrictions they would face as a new business in the Windy City, the duo relocated to Cincinnati to begin the project.
Hand was familiar with the process of reconstructing an old space, so when St. Pius X on Blue Rock Street, formerly home to Queen City Cookies’ bakery, became available, the team thought it was the perfect fit for their vision. Originally, Hand and Marino had planned to open Greyscale Cincinnati, a multi-use performing arts facility and craft brewery in the former Jackson Brewery on Mohawk Street in Over-the-Rhine. But plans and funding change, and the Northside church’s sanctuary, gymnasium, next door rectory and other open spaces have now become Urban Artifact, a brewery and event space still focused on blending music (their music label retains the Greyscale Cincinnati name) and unique beer, but with an additional spotlight on good food, design and elevated branding.
“Because of branding, we made a point to reuse a lot of the church and what was already there,” Hand says. “This is a lot harder than just gutting it and starting from scratch. Most breweries are in warehouses or large rooms; our brand and beers come together for a unique experience.” In the final renovation, the team highlighted the church’s historic features, like its stained glass and old columns. They’ve also kept the radiators and reincorporated the 1940s maple floors they plied up from the gymnasium, now home to brewing equipment and fermenters, as finishes in the main church building’s lower-level taproom.
Featuring old things while incorporating contemporary necessities was crucial for Urban Artifact. Most of their beer styles, which utilize wild yeast, bacteria and other captured local cultures, are from the Prohibition days — brewers Hunter and Baker both have backgrounds in chemical engineering. Hand’s favorites are the Maize, a Kentucky Common-style beer, and Harrow Gose, a bready beer of German origin. “The Gose is the most enjoyable for me, and it’s a light beer so I can have two or three without feeling bad about it,” he jokes. The brewery will also focus on experimental wild and tart ales, listing the ale’s pH and other information in the taproom to add an educational element to the experience, and will have local Skinny Pig Kombucha on tap as a non-beer fermented alternative.
The brewery also partnered with Meatball Kitchen, leasing part of rectory’s first floor to become the restaurant’s second location. Food runners will unify the two buildings and make Meatball Kitchen available to everyone. (Currently, Meatball Kitchen is set up in a corner of the taproom until the restaurant renovations are complete.) Hand says the partnership was a natural fit due to their similar aesthetics.
“[Meatball Kitchen’s] Short Vine location has a similar feel — old wood, exposed pipes and things. The menu really identifies with our beers as well,” he says. “I think they are redesigning and making little changes to their menu to make our collaboration more cohesive.”
The brewery’s lower level, which can hold about 200 people, is separated into two parts — the taproom and a listening lounge — in addition to a beer garden outside. Every Wednesday, the listening lounge will feature Cincinnati Jazz institution the Blue Wisp Big Band, which features brewery partner Marino on trombone. The band has been performing every Wednesday night since 1980, but lost their home last year when the Blue Wisp Jazz Club closed. Hand says the “Cincinnati cultural icon” will be at Urban Artifact indefinitely.
In terms of other live music, the brewery scored Soul/R&B/Funk band The Almighty Get Down for their opening night last Friday and World-Fusion band Baoku last Saturday. While powerhouse local bands are flocking to Urban Artifact, they are still looking to book less established, up-and-coming local bands of any genre for other nights. (Hand encourages interested bands to contact Marino at email@example.com.)
The four partners are working hard to have a successful first week of business, but Hand has big plans for the future. The lower level renovation is complete, but the main floor sanctuary is phase two. As a music enthusiast with an architectural background, Hand’s main passion is acoustics. His goal in the next couple of years is to create a “formal but flexible” space for ticketed events, live theater, receptions and eventually big-ticketed performers in the sanctuary.
“I do not want it be your typical standing space,” he says. “It will not be the environment where you blast bands to the loudest decibel and come out with your ears ringing.”
Hand says performers would have the opportunity to record their live shows for personal use or redistribution. He hopes creating the ideal acoustic space will attract larger name performers.
Urban Artifact, whose motto is “Wild culture” for their beers and their brand, focuses on creating a unique product, building promising partnerships and including local artists and culture in their brewery. “We have identified what we’re best at and we do it well, but the best thing is that we come together in the end and figure out how to get things accomplished best as a team,” Hand says. “I think we are pushing the envelope for what a finessed brewing aesthetic is and how that affects the overall experience.”
On Friday, Urban Artifact has partnered with Arnold’s Bar & Grill for an official distribution launch party. The keg tapping is at 9 p.m. — they’ll be tapping both the Harrow Gose and the Finn Berling Pale — with live music from Buffalo Wabs & the Price Hill Hustle. Members of the Urban Artifact team will be on hand to talk about their beers and answer questions. Cavalier Distributing will continue the distribution of Urban Artifact draft beers to local establishments like Cock and Bull and the Brass Tap in Clifton Heights, with rollouts throughout the month.
Urban Artifact is located at 1660 Blue Rock St., Northside. Hours are 4 p.m.-midnight Monday-Thursday; 4 p.m.-1:30 a.m. Friday; noon-1:30 a.m. Saturday and noon-midnight Sunday. For more information, visit artifactbeer.com.
Stuff to do for athletes, aesthetes and people who love celebrating spring produce.
Party pre-marathon with the FLYING PIG WEEKEND
On your mark, get set and go to the 17th annual Flying Pig Marathon. Come and see thousands of runners and walkers of all skill levels take part in this beloved race (a Boston Marathon qualifier). Stand on the sidelines and cheer or register and take part in a course that travels along the streets of Cincinnati, Covington, Newport, Mariemont, Fairfax and Columbia Township. Along with the marathon, the Flying Pig weekend features a series of events.
See a full list of events and prices online. Marathon starts 6:30 a.m. Sunday; marathon registration is $115. flyingpigmarathon.com.
Buy some CHEAP AAART
Local artist and curator Paul Coors (an Art Academy of Cincinnati grad and co-founder of former OTR art space Publico) will exhibit and host a silent auction — with assigned low starting figures and minimum raises — of his own artwork made within the past 10 years on Friday and Saturday at his Brighton loft/exhibition space, The Ice Cream Factory. True to Coors’ legacy of engaging musical acts in his art shows, friends of the artist will DJ over the course of both evenings including Bridget Battle (Tweens), Chris Burgan (Platter Party Records), Jordan Bronk and Sebastian Botzow (the DJ duo behind the monthly Fogger set at Rakes End), Floyd From Ohio Johnson (of Ohio Against the World fame) and Yoni Wolf (WHY?). 5-11 p.m. Friday and Saturday. Free; all ages. The Ice Cream Factory, 2133 Central Ave., Brighton, paulcoors.co.
Celebrate the 50th anniversary of the SOUND OF MUSIC with a live performance
Rodgers and Hammerstein’s great musical theater collaboration — The Sound of Music — has been in the news recently, celebrating the Academy Award-winning movie’s 50th anniversary. If you’d like to dig further into the past (56 years ago it won five Tony Awards in its Broadway debut), you’ll find it onstage at the Covedale Center. It’s the story of a young woman who fails at becoming a nun. But she loves to sing and that wins over a motherless family and their stern father. It’s been a winner since 1959, and it’s sure to please audiences in this production staged by Ed Cohen and Dee Anne Bryll. Through May 24. $21-$24. Covedale Center for the Performing Arts, 4990 Glenway Ave., Western Hills, 513-241-6550, cincinnatilandmarkproductions.com.
Get drunk on mint juleps at Neons' DERBY DAY SOIREE
The Kentucky Derby takes a two-minute race and turns it into a weekend of festivities throughout Louisville — drinking signature cocktails, exclusive parties and many out-of-town celebrity guests in elaborate millinery. But why should Louisvillians have all the fun? Neons is gathering Cincinnatians together to craft derby hats, sip on three different kinds of juleps (in 2015 official Kentucky Derby glasses) and watch the race in their second annual Derby Day Soirée. The event also features live music from the OTR Bluegrass Band featuring members of the Comet Bluegrass All-Stars. 2 p.m. Saturday. Free. Neons, 208 E. 12th St., Over-the-Rhine, neons-unplugged.com.
Wear a fancy hat to the WILDER EP release party at the Southgate House
Americana/Country group Wilder was formed last year by singer/songwriters Kelly Thomas and Randy Steffen after their previous projects had come to an end (Thomas’ Fabulous Pickups and Steffen’s Sleepin’ Dogs). Building into a full band and establishing a presence on the local club scene, Wilder is now set to release its debut EP with a special show Saturday at Southgate House Revival. Falling on the same day as the Kentucky Derby, the 9 p.m. show will have a derby theme (Wear wild hats! Drink mint juleps!). Arlo McKinley & the Lonesome Sound, Mad Anthony and Danny Mecher and the Home Demos are also on the bill. Admission is $5 (or $7 if you’d like a copy of the EP on CD). 111 E. Sixth St., Newport, Ky., southgatehouse.com.
Celebrate spring at Gorman Heritage Farm with SAVOR THE SEASON
The phrase “farm-to-table” gets a literal translation at Gorman Heritage Farm’s annual Savor the Season celebration Saturday. This epicurean adventure, in partnership with Slow Food Cincinnati, focuses on reveling in spring’s bounty from the 122-acre working farm and farms around the area. Top local chefs — including Jose Salazar of Salazar, Allison Hines of Butcher Betties, Todd Kelly of Orchids, Ryan Santos of Please and more — will be offering tasting samples of dishes that highlight seasonal produce, and chef Julie Francis of Nectar and Lance Bowman of Japp’s will be creating cocktail and food pairings. Don’t miss the “Raid the Garden” competition (CityBeat dining writer Anne Mitchell will be one of the judges), where chefs enter into a Chopped-style food competition. The event also includes food trucks and vendors, music from DJ Mowgli and garden/farm workshops, like composting 101, chickens in your backyard, beekeeping and more. 11:30 a.m.-7 p.m. Saturday. $25-$35; $10 for Raid the Garden only. 10052 Reading Road, Evendale, 513-563-6663, gormanfarm.org.
Party on Fountain Square for the CINCY-CINCO FIESTA ON FOUNTAIN SQUARE
Celebrate Cinco de Mayo with the Fiesta on Fountain Square. This authentic Latino festival is designed to share all aspects of Latin American culture, values and traditions with the Cincinnati community in a fun, family-oriented event. Live entertainment throughout the weekend includes performances from Latin band Tropicoso, Cincinnati Balia Dance Academy, Mariachi Zelaya and more, plus food from the likes of La Mexicana, Cuban Pete and Empanadas Caribe. A special children's area will provide free games, crafts, prizes and other activities. All proceeds benefit Tristate charities in support of the Hispanic population. Noon-11 p.m. Saturday; Noon-7 p.m. Sunday. Free. Fountain Square, Fifth and Vine streets, Downtown, cincicinco.com.
Buy some rocks at the GEOFAIR
The 50th annual GeoFair is Cincinnati’s largest gem, mineral, fossil and jewelry show. This year’s theme is “American Mineral and Fossil Treasures,” with displays containing private, university and museum-quality specimens, along with vendors and wholesalers, a swap area and free fossil, meteorite, mineral and gemstone identification. Demonstrations include gold panning, geode cracking and gemstone polishing. Children younger than 12 will receive free mineral and fossil specimens upon entry. 10 a.m.-6 p.m. Saturday; 11 a.m.-5 p.m. Sunday. $9 adults; $3 kids; free for uniformed scouts. Sharonville Convention Center, 11355 Chester Road, Sharonville, geofair.com.
Make cooing noises at ZOO BABIES
Celebrate the newest arrivals at the Cincinnati Zoo & Botanical Garden during the entire month of May, where you'll find the cutest baby faces from all over the globe. Follow the six-foot-tall pink and blue stork statues displayed throughout the zoo to lead you to baby African lions, penguin chicks, bonobo monkeys, a whole litter of African painted dogs and more, as their big eyes, miniature sizes and playful personalities melt your heart. Through May. Park admission $18 adults; $12 children and seniors. 3400 Vine St., Avondale, 513-281-4700, cincinnatizoo.org.
Take in a lightly staged matinee of THE MUSIC MAN
As Hugh Jackman declared in his 2009 Oscars performance, “The musical is back!” Musicals and movie-musicals have lodged themselves in the mainstream consciousness though film productions like Les Miserables (in which the aforementioned Jackman starred) and Into The Woods (an Oscar-nominated adaptation of the Sondheim classic) and various frequent Broadway touring productions, like those at the Aronoff Center. Cincinnati Pops Orchestra conductor John Morris Russell is giving us another angle through which to experience a classic musical, resurrected this weekend. The Pops’ semi-staged performance of 1957’s The Music Man features Broadway veterans Will Chase and Betsy Wolfe in leading roles, plus hundreds of local artists from Playhouse in the Park, CCM’s musical theater department, May Festival Chorus and more. 8 p.m. Friday and Saturday; 2 p.m. Sunday. $20-$103. Music Hall, 1241 Elm St., Over-the-Rhine, cincinnatisymphony.org.
Laugh at VANYA AND SONIA AND MASHA AND SPIKE
Vanya, Sonia and Masha are mismatched siblings, named by academic parents who had a yen for community theater. Now late in middle age, Vanya and Sonia continue to live in rural eastern Pennsylvania on the family’s farm with a few cherry trees. (Durang constantly drops reminders of Chekhov, dollops of amusement for anyone who recognizes them.) Their lives have some angst and ennui, but they aren’t doing anything about it. Through May 23. Cincinnati Playhouse in the Park, 962 Mt. Adams Circle, Mount Adams, cincyplay.com.
Grab a coffee at the CAC's new lobby and check out REMEMBER THE FUTURE
Blah concrete no longer dominates the Contemporary Arts Center lobby. A mere decade after its opening, the harsh environment needed a change. “We wanted the lobby to be the movie trailer for what’s upstairs,” says CAC curator Steven Matijcio. Architect Zaha Hadid’s vision of an “urban carpet” that draws visitors from the sidewalk has been realized with a colorful mural blanketing the walls, lights on the concrete pillars and the welcome desk front and center. A neon sign over the entrance reads “Contagious,” reflecting the vibe enjoyed at the café and in conversations on comfortable couches. Even though they resemble thunderclouds, chandeliers by Cincinnati sculptor Matt Kotlarczyk perk up an overcast day. The CAC needed to seize control of space, time and light.
Upstairs Daniel Arsham’s Remember the Future is anchored by a gray mountain of hundreds upon hundreds of pop culture artifacts cast from volcanic ash, obsidian, quartz and glacial rock. Yet colorful, not-so-distant memories stir as the viewer circles the heap and notices boom boxes, video game controllers, keyboards, cameras, turntables, guitars, film reels and videotapes. 10-4 p.m. $7.50 adults; $5.50 educators/students/seniors. 44 E. Sixth St., Downtown, contemporaryartscenter.org.
Good morning y’all. Like yesterday, I’m once again groggy this morning, but for different reasons that have everything to do with the news. So let’s talk about that.
Last night a group of about 300 gathered outside the Hamilton County Courthouse to protest inequities in the nation’s justice system and to express solidarity with Baltimore, where civil unrest has broken out after the April 18 death of 25-year-old Freddie Gray. Gray died from injuries he sustained while in police custody. The rally and subsequent march through downtown and Over-the-Rhine, which drew more than 100, were peaceful and lasted about four hours. No one was arrested, though there were a few tense moments as protesters tried to enter a highway on-ramp and the Horseshoe Casino. Cincinnati Police Chief Jeffery Blackwell was present at the protest last night, and this morning appeared on CNN touting the city’s protest response protocols, which have been adopted by the U.S. Justice Department as an example of how police should respond to such rallies.
Update: Gray's death has been ruled a homicide and the six Baltimore police officers involved will be charged. Officer Caesar Goodson, the van driver, will be charged with second-degree murder, Baltimore State Attorney Marylin Mosby announced today. Other officers involved in Gray's arrest will face lesser charges.
“I heard your call for 'No justice, no peace,' ” Mosby said at a news conference. “Your peace is severely needed as I work to deliver justice for this young man.”
• Drug overdose deaths in Ohio have hit record numbers, according to a report released yesterday by the Ohio Department of Health. In 2013, 2,210 people died of overdoses in the state, a 10 percent increase in a year. It’s especially grim here in the Greater Cincinnati area: About 440, or 20 percent, of those deaths happened in Southwestern Ohio’s Hamilton, Butler, Clermont and Warren Counties. Here in Hamilton County, deaths have increased 30 percent since last year, according to the report. More than 40 percent of those deaths statewide were caused by heroin overdoses, by far the biggest single cause of drug overdoses in the state. Heroin overdose deaths have spike sharply in the last four years, overtaking cocaine overdoses in 2012 as the leading cause of overdose death.
• Yesterday I told you about how the Cincinnati Enquirer swapped out a headline on a news article about a murder in OTR while taking criticism for its handling of that story. Several high-profile Cincinnatians have since called out the Enquirer for coverage they call sensationalist. You can read more about that, and CityBeat editor Danny Cross’ analysis, here.
• We all have needs. I maybe need to get around to buying a car eventually. Cincinnati needs better public transit. Ohio Gov. John Kasich and other top officials need $9.6 million worth of small aircraft to hop around the state in. The state has purchased two Beechcraft airplanes for officials to use on state business. State officials say the planes are needed replacements for older aircraft with rising maintenance costs. One of the shiny new planes holds nine passengers, the other six, and in case you’re wondering, yes, they do have all the necessary modern avionics equipment on board, including an entertainment center and the oh-so-vital wine bottle chillers because god knows you can’t drink room-temperature white wine while you’re floating somewhere above Youngstown on official state business.
• Speaking of Kasich, his profile is rising as he continues to kinda sorta run for president. I read this pretty long Atlantic article about him yesterday. The piece literally calls him a jerk and make him sound a little like he has attention deficit disorder. But the in-depth Atlantic piece also talks about his strengths, including his energy and his sometimes-gruff but sometimes-endearing plainspoken ways. Some other magazines and national publications have taken a closer look at Kasich over the past week or so, including conservative mag the National Review, which thinks his bid is a no-go. I’d tell you more about their article, but talking about the National Review makes my soul hurt so let’s just stop there, shall we?
• Speaking of the 2016 presidential race, Cincinnati’s uh, favorite (?) son Larry Flynt has endorsed Hillary Clinton for president. Good thing for Clinton? Bad thing for Clinton? Unclear. Flynt says he’s mostly behind Clinton because she has the best chance of winning and she’ll be able to appoint two or three Supreme Court justices, bringing the nation’s highest court under a decidedly liberal sway. Flynt was an ardent supporter of Clinton’s husband, former president Bill Clinton. He doesn’t have any illusions that Hillary is about to take him on the campaign trail with her, though.
“I’m sure that Hillary doesn’t necessarily approve of everything I do,” he told Bloomberg Politics.
More than 300 gathered outside the Hamilton County Courthouse today
to protest racial disparities in the justice system and express
solidarity with Baltimore. More than a week of unrest has gripped
that city after 25-year-old Freddie Gray died in police custody there April 18. Gray
sustained severe spinal injuries while riding in a police van, slipped into a coma and died from his injuries.
The Cincinnati rally was the latest of several that have taken place downtown in the last year after the shooting death of unarmed teen Mike Brown by white officer Darren Wilson brought national attention to the issue of racially-charged police-involved deaths.
After the rally, a crowd of more than 100 marched down Central Parkway,
through Over-the-Rhine, and to the Cincinnati Police Department District
1 headquarters on Ezzard Charles Drive. From there, a smaller group of
about 40 took a zig-zagging route past City Hall and Fountain Square.
That group had a couple tense standoffs with police at the eastern end
of Fifth Street near a highway onramp and in front of the Horseshoe
Casino. All told, the protest lasted about four hours, winding down
about 10 pm.
The protests were peaceful and did not result in any arrests, police said, though one protester was briefly detained on Vine Street and issued a citation for jaywalking.
Activist group Black Lives Matter Cincinnati organized the rally. Among
attendees were long-time activist Iris Roley, who was a key participant
in forging Cincinnati’s collaborative agreement which arose from civil
unrest here14 years ago. That unrest was sparked by the 2001 shooting
death of unarmed black man Timothy Thomas, the 16th person of color shot
by Cincinnati Police over the course of a few years. Also in attendance
were State Senator Cecil Thomas, police officer and Over-the-Rhine
transit activist Derek Bauman, Cincinnati Police Chief Jeffery Blackwell
and others active in the community.
Many attendees said they were concerned about wider disparities in the justice system beyond police actions.
“We’re to remember,” said co-organizer Rashida
Manuel. “We’re here to remember Freddie Gray. We’re here to remember
Maya Hall, the black trans woman who was killed in Baltimore last month.
We’re here to remember Mike Brown, we’re here to remember John
Crawford, and so many others I can’t possibly name. We’re here to
remember Timothy Thomas. We’re here because we’re tired.”
Documentaries about photographers have the difficulty of making still photographs hold our interest in a medium that is about — obviously — moving pictures. The contemplation and meditation that successful still photographs elicit tend to get lost when your eyes and brain are trying to keep up with something traveling at 35 frames per second. It's like trying to admire an elegant home from a speeding train.
A recent (and very good) film about a photographer, Finding Vivian Maier, solved that problem by turning the story of why she was so overlooked in her lifetime into a mystery.
The current film The Salt of the Earth, about the questing, humanistic Brazilian-born photographer Sebastiao Salgado and directed by Wim Wenders with Salgado's son, Juliano, may be the best documentary about a photographer ever.
Salgado deserves it, too — his years-long, book-length projects chronicling the hardships humans endure in their search for work (Workers) and safety from war and famine (Migrations), as well as his elegiac images of the earth itself (Genesis), mark him as one of history's most important photographers. And he's still active at age 71.
Mariemont Theatre has just announced the film will be held over for a second week, starting tomorrow (Friday).
The Salt of the Earth accomplishes its profundity by beautifully melding the best traits of film — tracking shots, close-ups, essayist commentary and interviews presented as monologues, color cinematography, music — with deep feeling for the subject and his work. Wenders presents Salgado's monumental black-and-white photographs superbly. He slowly shifts between them and his own filmmaking. It deserved the recent Academy Award nomination it received.
Wenders is the German director of some classic narrative films (Wings of Desire, Paris, Texas) who, with his documentaries Pina and Buena Vista Social Club, showed he could find inventive and life-affirming ways to depict on film the work of other artists he respects.
Wenders in The Salt of the Earth can be solemn when it's called for — Salgado's work at times makes you wonder if the human race is doomed to cruelty to hardship. But it's also optimistic, as when chronicling how Salgado has restored to health his parched, dying family farm in Brazil.
We're fortunate that the Mariemont has elected to hold this film for a second week. I saw it last Monday and the crowd was small, so many of its intended audience might not yet be aware of it. It really deserves to be seen on a big screen. and it's rewarding for all those who take film and photography seriously.
Just before we turned the corner from 12th onto Main, gunshots popped off behind us. We turned around and saw some dude running south on Sycamore. We bolted onto Main and jumped into a storefront doorway until things calmed down, called the police and then continued on our way. I followed up and found out that the man we saw running away neither died nor killed anyone.
It was a scene that has grown less common in recent years in the area, as the push of development has moved much of the drug dealing and related violence outward into other neighborhoods. In January WCPO reported that violent crime in OTR was down 74 percent since 2004, in part due to development and evolving policing tactics.
Such facts didn't deter The Enquirer from freaking the hell out yesterday when one of its reporters witnessed a shooting in front of a bunch of popular OTR restaurants. Reporter Emilie Eaton was on the same block when 30-year-old Gregory Douglas was shot around 9 a.m. near Vine and Mercer streets, fled a short distance then collapsed and died. Police today issued a warrant for the arrest of Darnell Higgins for the murder.
It's been a sad day for a lot of people: families and friends of the deceased and the accused; those who witnessed such violence up close.
It’s also a sad day to consider the
state of local media, considering the response we've seen so far to The Enquirer's collection of coverage. It started with the reporter's first-person account of witnessing the shooting. Then came a news story questioning the neighborhood's safety, for some reason quoting the Hamilton County Republican chairman and a lone neighborhood resident saying he didn't feel safe these days. Soon afterward, a more formed version of the story was updated online — this time the headline tried to cleverly play on the word "dead" (“Gunfire in OTR brings
morning to a dead stop”). The headline was later changed, “After fatal shooting, no easy answer in OTR," though the insensitive quip lives on in the story's URL.
decision to frame Douglas’ death as a question of whether or not OTR is
safe for those of us unaccustomed to witnessing violence is generating the type of
online debate (/clicks) the "newsroom of the future" was meant to induce. It has also been heavily criticized.
Here’s former Cincinnati mayor Charlie Luken on Facebook:
Here’s Derek Bauman, an OTR and mass transit advocate/suburban police officer, who wondered on Twitter why the first source in an early version of the “Is OTR safe yet” story quoted the county GOP chair before anyone else. Alex Triantafilou’s take? “There is more work to be done to make our city as safe as the suburbs."
Eaton's first-person story was published just hours after the shooting occurred. "A stray bullet could have easily missed the victim and hit me," she wrote. "The gunman could have come around the corner for me. I'm lucky to be writing this story right now."
The story elicited strong response from readers, but perhaps not the kind the Enquirer was picturing. About 20 wrote comments questioning the appropriateness of the piece, many along the lines of this:
As writers molded dispatches from the
scene into The Enquirer’s larger
collection of reporting on the incident, debate continued on social
media. Enquirer writer John Faherty took to the comment section of Eaton's article to defend her.
Those of us in the media don’t enjoy criticizing each others' work, and we realize most people in the industry are dedicated and passionate. We respect colleagues at other media companies, especially when their dedication to the craft is evident.
Eaton clearly had a shitty morning. Her decision to immediately get back to doing her job is admirable.
Unfortunately, the collection of work to which she contributed was misguided, made worse by the classlessness with which Enquirer editors showed along the way. Publishing right-wing digs at inner-city neighborhoods has been a longstanding tradition at The Enquirer. Using a play on the word "dead" in a news story about a murder is the type of move that would get a college newspaper in trouble. It shouldn't be OK at any self-respecting daily.
There's no way to tell which “content coach” might have shaped yesterday’s coverage. Any number of web editors could have written such an offensive headline — the newsroom of the future isn't set up to catch these things. Newsroom morale has been known to be low at Gannett papers across the country, and many of us actually feel bad for the many talented people struggling to produce quality work under such restrictive guidelines.
Ultimately, reporting that might have culminated in an articulation of how opposite worlds intertwine in front of our eyes every day instead became a question of whether it's smart to eat and shop near poor people.
Later versions of the story noted that the lunch rush on Vine Street continued as usual just hours later, suggesting that maybe the question of whether or not Vine Street is safe had already been answered.
"I'm not worried about it," said Mike Georgitan, a general manager at Pontiac BBQ on Vine Street. "It might affect lunch today – maybe," he shrugged. "But then it will pick back up."A person is dead, and the cycle of poverty, crime, drugs and violence that gripped Over-the-Rhine long before a Japanese gastropub opened at 15th and Vine is still occurring all over this city. The Enquirer would be wise to demonstrate an understanding of these forces rather than following the path of least resistance to Internet debate.
James Franco is coming to Cincinnati two shoot not one but two films this May. The actor/filmmaker, who will always be Daniel Desario to me, will be working on two movies simultaneously: Goat, a frat hazing film based on the memoir King Kelly by Brad Land, and The Long Home, about bootlegger Dallas Harden, adapted from William Gay’s novel of the same name. Franco is on to produce Goat, which stars Nick Jonas and Ben Schnetzer; he’ll produce and direct The Long Home. The latter film’s cast has not been announced yet, but a recent Facebook post by Franco mentioned the movie along with Josh Hutcherson (The Hunger Games series, Union, Ky., native), Timothy Hutton (a bunch of TV dramas I've never seen + Ordinary People), Keegan Allen (not to be confused with Andrew Keegan), Ashley Green (all the Twilights), Tim Blake Nelson (O Brother, Where Art Thou?), Jim Parrack (True Blood) and Scott Haze (lots o' Franco flicks). Let’s ponder while looking at a topless Franco:
In a Salon article about HBO's Silicon Valley that called out the show’s “woman problem,” the writer mistakenly reported that Silicon’s Kumail Nanjiani is the same person as Big Bang Theory’s Kunal Nayyar. OOF.
The Full House sequel show you’ve been wishing for is finally coming, and the cherry on top of this nostalgic cake has to be the fact that Kimmy Gibbler will return! Fuller House is set to premiere on Netflix sometime next year and will focus on D.J. (Candace Cameron-Bure), Stephanie (Jodie Sweetin) and Kimmy (Andrea Barber). Adult D.J. is a vet, she has two boys and is pregnant with another, and the show picks up with her being recently widowed (R.I.P. Steve?!). Aspiring musician Stephanie moves in along with single mom Kimmy and her teenage daughter. It sounds like a pretty fucked up plot until you realize it is exactly the same as the original, but with ladies. Remake ALL THE THINGS with ALL THE LADIES!
John Stamos is producing and will pop in from time to time as Uncle Jesse, but the rest of the original cast is still up in the air. This could be a big pile of awful, but one thing gives me hope: Stephanie is still pursuing her entertaining dreams!
A masked hero in the UK is
going around spray painting penises around potholes to try to get them filled
faster. Best part: they’re going by the name Wanksy.
Inside Amy Schumer’s third season just started, and already there have been some epic musical moments. She pays tribute to the It Girl of body parts, the butt — watch out, eyebrows are comin’ for that title — in “Milk Milk Lemonade” and gives One Direction a realistic makeover with “Girl, You Don’t Need Makeup.”
David Ayer revealed Jared
Leto’s Joker look for the upcoming Suicide
Squad movie. Let the mockery begin!
Cecily Strong hosted “nerd prom,” which is the White House Correspondents’ Dinner and not Comic-Con. See the SNL star’s full speech here.
Obama addressed the crowd beforehand and, thankfully, Luther the anger translator was on hand.
Apparently any time more than two stars of a past TV show/movie are in the same room, that constitutes a reunion. So I guess there was a Lizzie McGuire “reunion” with Hilary Duff, Lalaine (Miranda) and Jake Thomas (Lizzie’s little brother whose name I can’t remember and won’t look up). Considering Gordo, Lenny and animated Lizzie weren’t there, this is truly a weak reunion. Sorry. Read more in this TIME article (seriously).
If you need a massive dose of Beyoncé in a short amount of time:
Hey hey Cincy. So I’m a little groggy today after spending, oh, I don’t know, over three hours binge-watching the latest few episodes of Mad Men last night. This is unlike me — I don’t normally watch TV and shows about sad rich dudes aren’t usually my jam. But watching Don Draper, Pete Campbell (especially Pete Campbell, who looks like a smug Frisch’s Big Boy come to life) and co. get their comeuppance is great. Anyway, I’m going to try and muddle through the news in my drowsy state. Let me tell you about all the stuff that’s been happening.
The epic dramatic series that is Cincinnati City Council aired its latest episode yesterday, and there were some big developments. OK, that’s obnoxious, sorry. I’m going to stop now. Among the more exciting moves: Council passed a measure giving the city the go-ahead to apply for nearly $29 million in federal TIGER grant funds for the Wasson Way bike trail, an ask we first told you about in this story.
Council also passed a resolution that prohibits private police groups from operating with police powers in Cincinnati. The decision comes after a man in Tulsa, Oklahoma died earlier this month when he was shot by a 71-year-old private police officer while laying on the ground handcuffed. Use of private police in Cincinnati dates back to 1983 and is relatively small — two companies employing about 10 people that provide police services for events, apartment complexes and places like the Regional Chamber of Commerce. Members of council, including Councilman Christopher Smitherman, who introduced the legislation, stressed that the decision wasn’t a reflection the service of private police agencies and was made based on legal liability issues for the city.
Chief Lester Slone of Cincinnati Private Police said the decision was unfortunate and will probably put the agency out of business. Slone has served with the CPP, which employs seven private officers, for 32 years.
• Later in the evening yesterday, Mayor John Cranley and City Manager Harry Black announced the city has reached an agreement with public employees in regard to the city's pension obligations. The agreement is a big deal, city officials say, finally fully accounting for the city's huge $682 million pension obligation. Both the city and public employees gave up some things to get to an agreement. Retired public employees will no longer get a cost of living increase on their pension payments in their first three years, for instance. Pension obligations have been a major governing issue for many cities, hobbling the finances of struggling cities like Detroit for decades.
• A newly released police report says Kings Mills transgender teen Leelah Alcorn wrote a brief suicide note the fateful night she jumped in front of a semi-truck on I-71. The note, which was uncovered after her death, simply said “I’ve had enough.” The police report also reveals that Alcorn had recently researched suicide prevention organizations and had written an online message to a friend recounting past suicidal thoughts.
• The Cincinnati Enquirer changed a headline on a story about a shooting in Over-the-Rhine from one making a play on the word “dead” to something more neutral. The original headline, about the shooting death of a 30-year-old man on Vine Street, originally read “Gunfire in OTR brings spring morning to a dead stop.” The headline now reads “After fatal shooting, no easy answer in OTR.” The story asks whether the shooting will affect business and perceptions of safety in the neighborhood.
The change comes as the Enquirer’s coverage of the shooting raises controversy on social media. An emotional first-person account of the shooting by an Enquirer reporter drew a slew of comments questioning the appropriateness of such a story.