Nygel Miller says he was a friend of Samuel Dubose's from childhood. "We want justice," Miller says. "We want the release of those tapes. We want the officer charged. We want him removed from his duties. We want the officer to be talked about the way our young black men have been spoken about by this prosecutor."
Hey y’all. I’ve had the past couple mornings off, so my morning news output has been slacking. But I’m back with a big bunch of stuff to tell you about. Here we go.
Much of the news today is about the police shooting death of Samuel Dubose. CityBeat has been following this incident from the beginning. You can find our story on Dubose and his death here. An investigation into Dubose's killing is already finished after just a couple days, but you and I can’t see the evidence yet. The Cincinnati Police Department has finished its probe into the shooting, but Hamilton County Prosecutor Joe Deters has said he’ll hold much of that evidence, including multiple videos of the incident, not releasing it to the public despite public records requests from local media, including CityBeat. University of Cincinnati officials indicated a willingness to release those videos during a news conference yesterday, but Deters says making that evidence public would jeopardize the chances of a fair trial for the officer involved should charges be brought against him. CityBeat will continue to push for the release of the evidence in question.
Deters, who has been embroiled in recent controversy over his statements calling people his office prosecutes “soulless” and “thugs,” plans to wrap up his investigation sometime next week and present his findings to a grand jury. University of Cincinnati Police officer Ray Tensing shot and killed 43-year-old Dubose in Mount Auburn July 19 after a traffic stop initiated because Dubose didn’t have a front license plate. Dubose was driving on a suspended license. According to the official police line of events, Dubose struggled with Tensing over his car door and attempted to drive away. Tensing shot him at that point and then fell to the ground, sustaining minor injuries from Dubose’s car, officials say. Since that time, information has trickled out about the killing, though not nearly enough for Dubose’s family, friends and activists who have staged a number of protests demanding answers about the father of thirteen’s death. The next is scheduled for 11 a.m. today outside Deters’ office downtown.
• Meanwhile, the university is mulling whether its police force should join the city’s collaborative agreement, a federally enforced community-police relations plan put in place after the city’s civil unrest in 2001 over the police shooting death of unarmed Timothy Thomas. That and possibly other reforms are moves the city of Cincinnati supports. UC will review training for its law enforcement officers as a result of the shooting, officials say. The university and the city will also form a committee on community-police relations, which will include city and university officials as well as other police use of force experts like State Senator Cecil Thomas, a former police officer and one of many people who helped push the city’s 2001 agreement.
“We have learned over a long period of time — having made our own mistakes — a pullover related to a license plate should not, in the normal course of events, lead to lethal force,” Mayor John Cranley said at a joint news conference with UC President Santa Ono yesterday. “Therefore, reform is in order.”
The rest of the news today, in short order:
• An all-day tech conference is happening today in Cincy. NewCo Cincinnati features presentations from 50 big names in the local and national start-up and technology industries, including everything from breweries to Procter & Gamble. The unique part of the conference: Attendees go to the businesses, spending time touring their facilities and checking out where the magic happens. The conference is global in scale: 15 events are taking place in cities like New York City, Istanbul and Austin, Texas.
• Cincinnati’s own Graeter’s Ice Cream flavor Black Raspberry Chocolate Chip has been named one of the Top 5 flavors in America by the Food Network. Breaking news: It’s pretty good. I still evangelize for Aglemesis Bros. over Graeter’s, but I’m happy to see the other rad ice cream company in town get some national props.
• So a 19-year-old named Justin Buchannan jumped onto the field at yesterday’s Reds game against the Cubs, filmed himself trying to say hi to the players, jumped over a fence and escaped. That’s pretty epic. He totally made it all the way back to his home in Indiana, too, and probably would never have been caught except he tweeted his video and agreed to interviews on local news. But he says it was worth it and he’s kind of OK with whatever trouble he may be in. That’s the spirit.
• Gov. John Kasich on Tuesday finally officially announced he’s running for president. Want to know more about the GOP hopeful’s record? His long, often controversial policy experience when it comes to education is a good place to start, maybe. Here’s a pretty handy rundown of what Kasich has done for (or, depending on who you talk with, to) public education in Ohio.
• Meanwhile, did Kasich make enough of a splash with his announcement to get a much-needed boost to his national profile? Well, there were a bunch of articles in national media about how Kasich could be a contender if only he could get more attention nationally, which is kind of a weird way to frame giving him more national attention. But the gov kinda flopped on social media, which is where all political decisions are made these days. Kasich stirred up about 261,000 interactions of Facebook in the day following his announcement. Compare that to Donald Trump, another GOP presidential contender (and god help us, he’s the front runner in some polls). Trump’s announcement that he was running for president got 6.4 million interactions on the social media site. Another favorite, Wisconsin Gov. Scott Walker, rustled up 1.6 million interactions. Advice for Kasich: Either get an outlandish hairpiece and make disparaging remarks about protesters and war heroes, or post a lot more cat videos.
To some people, “bad tattoo” is redundant (“You’re just so beautiful as you are,” cry moms everywhere). But tats like poorly translated Chinese script, eerie portraits fumbled by an apprentice, or straight-up misspelled words are in a league of their own. Everyone’s personal Hollywood BFF Jennifer Lawrence is so normal and down-to-earth, she got herself some erroneous permanent ink. JLaw says she got inked when out with Hunger Games co-star Liam Hemsworth’s family, who were all getting tattoos (you know those Hemsworths, always throwing family tattoo gatherings!). She picked “the color of a scar” (ew, why) and selected the molecular formula for water (you know, H2O) to remember to always stay hydrated. JLaw might have gone the practical route with her reasoning, but that shit is incorrect — it appears as "H2O" on her hand. Even lovable multi-millionaire Oscar-nominees get erroneous tats! Oh, JLaw. You’re just like us!
Miss Piggy performing Rihanna’s “BBHMM” is almost as perfect as the original.
Because of course Miss Piggy is a scheming diva!
Disney animated classic Aladdin is getting the live-action treatment with a prequel about a genie trapped in a lamp. It will be interesting to see the casting (Hollywood has a long history of white-washing characters), but as long as our real-life Aladdin doesn’t look like Steve from Full House, we should be good.
(Via BuzzFeed’s 19 Things You Might Not Know About “Aladdin”)
Apparently there are “leaked” grocery lists that supposedly belong to Britney Spears. (I love that we're referring to someone's kitchen trash contents as leaked documents.) We all know Brit loves her Starbucks and Velveeta, and according to these documents (i.e. girl handwriting on napkins and paper scraps that went for $60 on eBay), she also enjoys cereal, pop, "ham deli" and using the word “baby” in place of “little.” Discuss amongst yourselves.
Is it weird that whenever I discover a new hero, it’s almost always a little girl with killer dance moves? Don’t answer, just watch.
Researchers at Oregon State University have developed a new strain of seaweed that looks and tastes like bacon, which sounds like an event predicted by an episode of SpongeBob SquarePants. Kelp is the new kale!
Garrison Keillor’s magical voice will stop comforting people’s earholes soon — the longtime public radio staple is stepping down from hosting A Prairie Home Companion next year.
FX’s Fargo, which follows an anthology format, is coming back for a new season with a cast of new characters this October. The season takes place in 1979 South Dakota and Minnesota and stars Patrick Wilson, Ted Danson, Jesse Plemons, Nick Offerman, Jean Smart, Kirsten Dunst, Bokeem Woodbine, Cristin Milioti, Brad Garrett, Kieran Culkin and Bruce Campbell. Check out the trailer here.
It continues to be a good year for movies shot in Cincinnati. First, Todd Haynes’ Carol premiered in competition at the Cannes Film Festival and was so well-received that its distributor, Weinstein Company, has scheduled a December release to showcase it for Oscar consideration.
Today, Indiewire is reporting that Miles Ahead, the Don Cheadle-directed movie about Jazz musician Miles Davis’ troubled final years, will be the Oct. 11 closing-night showcase for the prestigious 53rd New York Film Festival. The fest is presented by The Film Society of Lincoln Center. Cheadle also plays Davis in the film, shot in Cincinnati last year.
The Indiewire story, written by David Canfield, reports that “NYFF Director and Selection Committee Chair Kent Jones said, ‘I admire Don's film because of all the intelligent decisions he's made about how to deal with Miles, but I was moved — deeply moved — by Miles Ahead for other reasons. Don knows, as an actor, a writer, a director, and a lover of Miles' music, that intelligent decisions and well-planned strategies only get you so far, that finally it's your own commitment and attention to every moment and every detail that brings a movie to life.’”
In the story, Cheadle is quoted as adding, "I am happy that the selection committee saw fit to invite us to the dance. It's very gratifying that all the hard work that went into the making of this film, from every person on the team, has brought us here. Miles' music is all-encompassing, forward-leaning, and expansive. He changed the game time after time, and New York is really where it all took off for him.”
Though it hasn’t always been a loving relationship, Bogart’s has been a part of my musical life since the ’80s. I’m slightly older than the venue. I was 5 when it opened. But in less than 10 years, as my music fanaticism truly took hold, Bogart’s would become a place of awe to me.
It began when I entered junior high. I went to a school just a few blocks up Vine Street. It was commonly known as Schiel, but I attended during a brief period when it focused on foreign languages and was called the Cincinnati Bilingual Academy.
My fellow musically-obsessive friends at the time loved to hang out on Short Vine. The record stores were a big draw, as was the arcade, Jupiter and Beyond. So we spent as much time as we could in the area after school and on weekends. Bogart’s sat right in the middle of it all, but it was this magical, mysterious entity to us. Because the venue was yet to have “all ages” shows, we’d never seen a concert there. But we would stand out front and marvel at the posters in the window, wishing we could go see some of these very bands with which we were becoming deeply obsessed.
At some point, we discovered the alleyway that ran behind the club and realized that was where the artists entered and loaded in. So we began a ritual that lasted through high school. A few friends and I would linger around the backstage door before shows by artists we loved, hoping to see our heroes and maybe get an autograph. We would also sometimes be able to hear the musicians doing soundcheck, and every so often during our early high school years we’d be there late enough that we could actually hear some of the concert through those back doors.
There I got to meet some artists who were favorites of mine then and remain important to me to this day. Guitarist Andy Summers of The Police stopped at Bogart’s on a solo tour. The Police were by far my favorite band at the time, so it was incredibly exciting to say hello to Summers (who is a tiny, tiny man) and have him sign the pickguard I yanked off of my cheap acoustic guitar. I also got to meet the members of L.A. Punk legends X. Billy Zoom, the band’s blonde-pompadoured guitarist, was hilarious. He chatted with us briefly and then when we asked for autographs, he happily obliged, pulling a silver paint pen from his leather jacket. It must’ve been a new acquisition because he couldn’t get the cap off, so he handed it to me for help. Nervously, I got it off, but also broke the pen in the process somehow. Zoom started giving me shit and I was horribly embarrassed, but later realized he was likely just busting my chops and having fun with me.
When I was just starting junior high, British Ska/Pop band The English Beat played Bogart’s on its 1980 tour. The Beat were second only to The Police to me, but the show was during a time where we could only longingly look at the gig posters in the front windows. Later, while in high school, with our back door ritual in full swing, General Public — which featured the Beat’s frontmen Dave Wakeling and Ranking Roger — were booked to play Bogart’s, so we made plans to try and meet Dave and Roger. We arrived a few hours before the show and noticed that a few upperclassmen from our high school were there hanging out as well. It was a cold day and Roger and Dave came hurriedly around the corner towards us, huddled up in coats and trying to stay warm. Dave saw the five or six of us hanging around and instantly invited us in out of the cold. This was my first time inside of Bogart’s and it felt like I’d just entered a sacred temple. I had to leave (Mom was waiting for me), but we got to make that climb up the stairs from the backstage, walk across the stage (where the band members were messing with equipment), then through the big hall and out the front doors. It was a highlight of my life up to that point.
I also camped out around back when Adrian Belew and The Bears (featuring local musicians Rob Fetters, Bob Nyswonger and Chris Arduser of The Raisins) were making their Bogart’s debut in 1985 (it was the start of the band’s very first U.S. tour). I was a huge fan of Belew’s solo albums and work with King Crimson and The Raisins were one of my favorite bands. The Raisins were the first “local band” I truly fell in love with and anytime the group played an outdoor, non-club, all-ages show (in a park usually), I was there.
Belew finally was making his way into the club as we approached, accompanied by a man we didn’t recognize. It was Arduser, who was actually the drummer during an earlier period of The Raisins, not during the time when I’d go to see them constantly. As Belew jotted down autographs for me and my friends, he introduced Chris with a silly joke I’ll probably never forget: “This is Chris Arduser, also known as Chris Our Drummer.”
Years later, when I started my writing career, several of these moments connected and came full circle. While living in New York City, I had the chance to interview X’s frontpeople Exene Cervenka and John Doe in their record label offices (I didn’t bring up the Zoom/exploding-pen incident). I did an extensive phone interview with Belew. And through writing about and interviewing Arduser and Fetters over the past 20 years, I think if they saw me on the street they’d recognize me and say, “Hello.” Just being able to talk to those guys (and Nyswonger), considering my fanaticism over their bands from a young age, was and is pretty amazing.
A few years ago, I got to sit backstage at Riverbend with Dave Wakeling when The English Beat opened for 311. He was the kindest “Rock Star” I’d ever met and he actually hung out with me and a few other people I was with before and after the show. (When he let us into Bogart’s, I was convinced it was because one of the older high school girls was very cute, but I’m now more convinced he was just being a cool guy.) At one point, I was standing next to Wakeling at the side of Riverbend’s stage watching 311 play. At one point, he leaned over and said in my ear, “I think me and Roger (who no longer performs with The Beat; Wakeling is the only original member) will get back together at some point.”
If my 13-year-old self would have been told that any of those moments would happen several decades later, he would’ve fainted.
At some point in the ’80s, Bogart’s began experimenting with having all-ages show. My very first show at the club was to see Violent Femmes (I believe in 1986), but, in the early stages of this experiment, Bogart’s herded us under-agers up into the balcony. I remember loving the show and being in the club, but I more vividly recall looking down on the club’s floor and noticing what a small audience there was. While the balcony had hundreds of kids smushed together and barely able to breathe, it seemed like there were only a couple hundred people below us. Still, I’d made it into Bogart’s! Not long after, I made it to the floor-level when the club was hosting high school cover bands for all-ages shows. The Complaints (who also did some originals I really liked) were the big band at my high school at the time and I remember the club being packed with teens for their show. (Fun fact: The Complaints’ drummer was Michael Meisel, who later became a big-time music manager for several popular artists, including Nirvana.)
The club kept expanding its all-ages policy over the next few years. Punk Rock matinee shows were very popular; I fondly remember seeing some of my favorite local Punk acts, like SS-20, The Edge and Human Zoo, thrashing around on the Bogart’s stage. It seems like a weird dream now, but there were also Punk shows that featured wrestling — an actual ring was installed in the middle of the floor and local Punk icon/radio host/Bogart’s employee Handsome Clem Carpenter not only MCed (I believe), but also wrestled.
Another early show I saw was True Believers, Alejandro Escovedo’s early punk-ish band. I remember this show because it was the first time I actually was served beer at the club. My teenage friends and I were sitting at a long table and a waitress came up to take our order; she didn’t flinch when we ordered a pitcher of beer. So, of course, we ended up ordering about 20 pitchers of beer throughout the night.
Around this time, I played my first shows at Bogart’s, something almost any young musician will tell you is a pretty special feeling. My Punk band was added to a few bills by a gracious promoter or fellow local band. I remember being so nervous at those first shows that I could barely play my instrument, partly because I was thinking about all of the famous musicians (U2, Prince, R.E.M.) who had stood right where I was standing. I ended up playing there many times over the years with various bands (opening for bands like New Model Army, Prong, Matthew Sweet and Fugazi), but the early shows were the most memorable. When my first band opened for 7 Seconds, we started to get heckled by a gaggle of skinheads in the crowd (we mixed Rap, Funk and Post Punk into our sound, which offended their purist tastes apparently). Our singer started taunting them so they approached the stage; as one started to climb up, I punched my combat boot directly into his face at the lip of the stage. After our set, the club provided us with a couple of security guards so that we could walk back up and watch 7 Seconds. We were told some skinheads were waiting for us outside, but by the time we got out, they were gone.
By the time I reached college, I was a regular at Bogart’s. I even started befriending some of the staff, dating a couple of bartenders and even marrying one. These were the days when I saw certain bands right before they graduated to “arena rock”-levels of success, like The Smashing Pumpkins, Beastie Boys and Marilyn Manson. One of the more memorable shows was a weird 1995 package tour headlined by Mike Watt and featuring Hovercraft (which included Eddie Vedder on drums, right as he was at his Grunge God peak with Pearl Jam) and a new band fronted by Nirvana’s Dave Grohl on guitar and vocals. Grohl was road-testing his new group, which you may have heard of (rhymes with Doo Righters). Watt headlined the show and was backed by Vedder, Growl and Germs/Foo Fighters/Nirvana guitarist Pat Smear for his set.
As mentioned above, I haven’t always loved Bogart’s. The sound has ALWAYS been hit or miss, often frustratingly. I can only imagine it’s best explained by the set-up of the club (basically a big, long brick shed). There was period when the staff was almost universally rude, with harsh pat-downs at the door (at one point, if you tried to bring in anything that could remotely be considered dangerous — a lighter! A pack of cigarettes! A chain necklace! — it was often just tossed in the trash) and overly-aggressive bouncers roughing up kids who were perhaps dancing a little too hard. About 10 years ago, I got an assignment from U.K. weekly music paper NME to review an Insane Clown Posse concert at Bogart’s. During the pat-down, the door person grabbed the pen I needed to take notes and he tossed it into the garbage. I know ICP crowds can be rowdy, but, even after explaining the pen’s purpose, the doorman just blank-stared me, seemingly convinced that I was just the type to go on a serial pen-stabbing spree during the show.
I loved the ICP show, by the way. The band is a Bogart’s staple and that was my first time seeing them. The music isn’t really up my alley, but the duo’s ridiculous showmanship is truly something everyone should experience at least once. I’m convinced the two ICP dudes know they’re more a comedy act than anything — and probably chuckle at the fans who take them way too seriously — and that makes me appreciate what they do. It was like a surreal circus show gone awry and I had a smile on my face the entire time. Though afterwards, I felt really bad for the Bogart’s clean-up crew — SO. MUCH. FAYGO. I wonder which show was more dreaded by the janitors — ICP or GWAR?
The Bogart’s of today is strikingly different and in the best shape it’s been since I started going there. I remember several years ago writing a rant about the club (probably after the ICP incident) and pointing out that, in the decades I’d been going to concerts there, the venue had made absolutely zero notable improvements. Sure, they’d upgrade the sound system from time to time (usually without much noticeable improvement to the sound), but the club never seemed to improve conditions for the customers (good Lord, those bathrooms approached CBGB levels at times). Maybe it was a money issue or maybe management felt there was no reason to upgrade, since people were coming anyway. And, besides, where else would they go to see these particular acts?
But the days when going to Bogart’s felt like entering a prison yard are long gone. A few years ago, I remember going to a show and being stunned at how different it was. It was right after some upgrades and, while nothing drastic, it changed the whole vibe of the club and the experience. The staff was friendly. The front-door inspections were respectful. The bathrooms were clean. It was suddenly customer-friendly in a way I never remember it being.
There is no way I can remember every show I saw at Bogart’s, memorable or not. There have been several hundred. But a few stick out. There was the 1990 show when on-the-rise bands Faith No More and Soundgarden opened for cult Metal group Voivod; by the time the tour got to Bogart’s, the openers were blowing up on MTV and radio, which meant that less than half the large crowd stuck around to watch the headliners. Another time, when I started my writing career, I had a pre-show interview with the guitarist for Blind Melon at a restaurant next door to the club. As we chatted, late singer Shannon Hoon (who’d later put on a great show) and the other band members threw food at each other and acted (endearingly) like 12-year-olds.
Another favorite memory was a weird Red Hot Chili Peppers/Faith No More show in 1987. This was when Hillel Slovak (who later died from a heroin overdose) was still playing guitar with the Peppers (a favorite band of mine at the time), and Faith No More featured Chuck Mosley on lead vocals (well before Mike Patton took over the mic). Faith No More opened and ran through most of the material from the We Care a Lot and Introduce Yourself albums, its only releases at the time. Then things got weird and Mosley started telling the sizable crowd that the Chili Peppers weren’t going to show. Then the band started doing jams and weird covers, playing for well over an hour. Mosley did an acoustic version of Suzanne Vega’s “Luka.” By the time guitarist Jim Martin began to do a solo Hendrix-esque rendition of “The Star-Spangled Banner,” it felt as if Mosley may not have been kidding.
Faith No More was clearly vamping and trying to fill time. Then, in the middle of a song, four heads started weaving towards the stage from the back of the room. The Chili Peppers hopped onto the stage with Faith No More and jumped up and down for a few minutes, then headed backstage. They put on a great, incredibly energetic show (they said their tour van — a VW Beetle Bus with bullhorns on the front that my friends and I saw in the parking lot afterwards — broke down on the highway, but we all suspected something drug-related caused the delay). For their encore, the Peppers came out naked except for the tube socks on their dicks (part of their schtick at the time) and looked nervous as hell, glancing over their shoulders constantly. Apparently they’d been informed about Cincinnati’s low-tolerance for anything sexual in public (remember, this was the ultra-conservative ’80s, when Cincinnati was most associated with shutting down “obscene” art exhibits and hassling Larry Flynt) and were fearful of being arrested. The band played one or two short, fast songs and then booked it off stage. (It’s just a rumor, but I’d heard the police were indeed there and going to arrest them, but the band escaped in a fan’s car and stayed at their house playing video games all night.)
I’m not a big fan of huge crowds, so sold-out Bogart’s show always put me in panic attack mode. But I’ve braved several and I’m glad I did. When Bob Dylan decided to play some smaller clubs in 1999 and chose Bogart’s as one of them, I proudly took my dad to see him. I’ve seen Dylan numerous times over the years and more often than not I’ve left disappointed. But at Bogart’s, he sounded amazing and played inspiringly. I also took the love of my life to an over-stuffed Bogart’s in 2003 see her favorite band of the time — The White Stripes — when she was several months pregnant with our child (if she’d given birth, the baby would have had to have been passed to the exit, crowd-surf style, because it was so packed).
Bogart’s has admirably supported local and regional artists since as long as I can remember. Locals were given opening slots for big-time bands often. After my first band played a crazy set at one of the club’s battle of the bands (competing mostly with straight-forward Hair Metal bands), Dan Reed, manager at the time, came up and asked if we wanted to open for Jane’s Addiction. We very much did, but Jane’s took off and ended up playing Hara Arena in Dayton instead. The aforementioned local Punk shows were always a blast. And I have fond memories of 97X’s old 97Xposure band contests. The club’s “battle of the bands” events (which I mostly attended as a guest judge after my competitive years were over) could sometimes be painful, but I always enjoyed watching the younger bands exhibiting that same awe that I felt the first time I played there (and it was fun to play “Spot the Parents”). The club also hosted a couple of benefits for local community radio station WAIF that were a lot of fun, one featuring a ton of local bands playing Christmas songs (my band decided to perform in just Christmas underwear — briefs! — which must’ve been horrifying) and one with local groups playing David Bowie songs. And I spent many great New Year’s Eves at Bogart’s when the great Columbus, Ohio band Royal Crescent Mob played there every year. I seem to remember The Afghan Whigs taking the slot a few times, too. (The many Whigs shows I’ve seen at Bogart’s, including their most recent one a couple of NYEs ago, have been some of my all-time favorites.) In recent years, CityBeat has hosted a new band showcase at Bogart’s — the staff has always been great and I’ve thoroughly enjoyed the shows.
I wouldn’t say Bogart’s is my favorite club — I prefer smaller venues, in general. But I’m very thankful it exists. It has been the one constant, reliable place to check out live music of every sort in Cincinnati ever since I was a teen, and its mid-size has made it possible for mid-level acts to play the Queen City instead of skipping it altogether. More or less, my musical life has revolved around Bogart’s, and it’s hard to imagine what it (or Cincinnati’s concert scene, in general) would have been like without it. Thankfully, we don’t have to.
CityBeat celebrates the 40th anniversary of Bogart's with this week's issue. Check out Brian Baker's overview Cover Story on the club's rich history and promising future, plus sidebars on Brian's favorite moments, the view from John James' nearby record stores, Prince's surprise visit in 1984 and the infamous Heavy Metal Wheel of Sex.
Good morning all. Here’s the news today.
An unidentified University of Cincinnati police officer shot and killed 43-year-old Sam Dubose during a traffic stop at the corner of Rice and Valencia streets in Mount Auburn around 6:30 p.m. yesterday. Dubose, who has been identified by his family but not yet by law enforcement officials, died in his car from a single gunshot wound to the head. UC police say Dubose dragged an officer with his car before he was shot, resulting in minor injuries to the officer. The corner where Dubose was shot is about half a mile from UC’s campus. Cincinnati Police were subsequently called to the scene to investigate. We’ve made public records requests to both departments. So far, CPD has released only the initial incident report. We’ll update this story as we find out more.
• Mayor John Cranley on Friday suggested that the city “scrap” its Central Parkway bike lane in response to accidents that have occurred on the major downtown thoroughfare. Cranley called the lane a “disaster” that should be removed, pointing to confusion over parking on the street and ire from local business. The bike lane was completed last year after controversy from a few business owners along the route, who said the lane would take away their customers’ parking. A compromise was worked out to preserve much of that parking, but now lane opponents say the way cars must park on the route — in the parkway’s right lane, between traffic and the bike lane — has caused more accidents. A WLWT report says 33 automotive accidents have happened on the parkway since May. It says that multiple times, in fact, without revealing how many of those accidents were directly related to confusion over the lane. In a pretty befuddling oversight, it also doesn’t mention how many accidents happened during the same stretch of time before the lane went in. Hey, a bunch of accidents (way more accidents) happen on the nearby stretch of I-75. We’d better remove that as well. It’s unclear how many, if any, accidents involved cyclists. Cincinnati City Council approved the lanes before Cranley was elected, and a majority of council still stands behind the project. Personally, I have a better idea: If you’re driving your car on Central Parkway, pay attention to the road and don’t run into other cars.
• The University of Cincinnati might soon spend more than $70 million to renovate its Fifth Third Arena, according to plans released last week. The 26-year-old facility houses the men’s and women’s basketball teams, the women’s volleyball team and other athletic groups. The plans call for a reduction in the more than 13,000 seats now in the building and the creation of more premium, high-price seating like the 16 private suites the arena currently boasts. University officials say they haven’t made a decision about whether or not to carry out the renovations because they’re waiting on more information about the potential project.
• David Hansen, the Ohio Department of Education official responsible for the oversight of charter school sponsors has stepped down. Hansen resigned from his position after it was revealed last week that he omitted data from low-scoring online charter schools in reports about charter school sponsor performance in order to make charters look better. The reports possibly set up two charter sponsors run by Republican donors for more financial help from the state. Hansen has said he felt the poor performance data from the online charters “masked” better performance by other charter schools in the state.
• Well, Gov. John Kasich will announce that he’s seeking the GOP nomination for president tomorrow, which should come as no surprise to anyone, since he’s been campaigning for months. The timing is designed to give Kasich the biggest bump possible ahead of selection of the Republican contenders who will be invited to the party’s first debate in Cleveland later this year. Only the 10 highest-polling candidates will be invited to the debate, and there are (depending on who you ask) anywhere between 16 and several thousand people running for the GOP nod.
Ahead of his announcement, New Day for America, the nonprofit associated with Kasich’s almost-campaign, has released its first ad touting Kasich’s conservative record. There’s a minute-long version of the spot and a longer,
Roughly one month in advance of the Contemporary Arts Center opening Myopia, its highly anticipated retrospective of Mark Mothersbaugh’s artwork, he will come to Woodward Theater for a special concert.
The Aug. 28 performance will be what the CAC is calling a “three-headed evening.” It will start with a small orchestral group playing DEVO covers and Wes Anderson scores — Mothersbaugh co-founded the ground-breaking New Wave/Post-punk band and then moved into film-score composition, working often with Anderson. He also has long been active as a visual artist, having studied art at Kent State University.
Next, there will be a short “onstage dialogue” with Mothersbaugh. Then he will conduct an ensemble in “Music for Six Sided Keyboard.” He did a similar performance in Denver in connection to Myopia’s opening there.
Tickets will be $60 seated and $30 standing, and more information should be available next week on the Contemporary Art Center’s website, www.contemportaryartcenter.org. Myopia opens at the CAC on Sept. 25 and runs through Jan. 9. The exhibit is curated by Adam Lerner of Denver’s Museum of Contemporary Art.
UPDATE: A pricing change has been added.
Back in January at Music Hall, the Cincinnati Pops Orchestra, under the direction of conductor John Morris Russell, presented its unique “American Originals” concerts. During the performances, the orchestra collaborated with several local and national Folk/Americana artists to perform and celebrate the music of Stephen Foster and other early songs that are the foundation of the “Great American Songbook.”
Read CityBeat’s cover story on the project here.
Rosanne Cash, Aoife O’Donovan (who recently returned to join the Pops for its Fourth of July concert at Riverbend; read our interview with her here), Dom Flemons (formerly of the Carolina Chocolate Drops) and Joe Henry joined Cincinnati area artists Over the Rhine's Karin Bergquist and Linford Detweiler, members of the Comet Bluegrass All-Stars and others to perform specially arranged versions of Foster compositions like “O! Susannah,” “My Old Kentucky Home,” “Camptown Races” and “Beautiful Dreamer,” as well as traditional numbers like “Red River Valley,” “Kumbaya” and “Amazing Grace.”
A live recording of the concert featuring 17 songs will be released on Friday, Sept. 11. (You can pre-order it now here from Amazon.)
Here is the detailed track listing for the American Originals release (via cincinnatisymphony.org):
1) “O’ Susannah” (written by Foster, arranged by Chris Walden and with Joe Henry on vocals)
2) “Jeanie With The Light Brown Hair” (written by Foster, arranged by Rob Mounsey and with Aoife O’Donovan and Karin Bergquist of Over the Rhine on vocals)
3) “My Old Kentucky Home” (written by Stephen Foster, arranged by Rebecca Pellett and featuring Rosanne Cash on vocals)
4) “Amazing Grace” (traditional, arranged by Pellett and featuring Aoife O’Donovan and the Comet Bluegrass All-Stars)
5) “Rolling River: Sketches On Shenandoah” (composed by Peter Boyer)
6) “Why, No One To Love?” (written by Foster, arranged by Pellett and featuring Over the Rhine’s Bergquist on vocals and her OTR partner Linford Detweiler on Rhodes keyboard)
7) “Old Folks At Home” (by Foster, arranged by Timothy Berens and featuring Dom Flemons on vocals and harmonica, Timothy Berens on banjo and Paul Patterson on fiddle)
8) “Kumbaya” (traditional, arranged by Berens and featuring Timothy Lees, Kathryn Woolley, Gabriel Pegis and Scott Mozlin on violins and Richard Jensen on djembe
9) “Slumber My Darling” (by Foster, arranged by Chris Walden and featuring O’Donovan on vocals and guitar)
10) “Aura Lee” (by Foster, arranged by Pellett and with Henry and Ed Cunningham on vocals)
11) “Foster's Folly” (by Foster, arranged by Berens)
12) “Ring, Ring The Banjo” (by Foster, arranged by Walden and featuring Flemons on banjo and bones
and Cunningham on fiddle)
13) “Red River Valley” (traditional, arranged by Berens and featuring the Comet Bluegrass All-Stars)
14) “The Battle Cry Of Freedom” (composed by George Frederick Root and arranged by Berens)
15) “Beautiful Dreamer” (by Foster, arranged by Mounsey with Cash on vocals)
16) “Hard Times Come Again No More” (by Foster, arranged by Berens and featuring Over the Rhine, with Bergquist on vocals and Detweiler on guitar)
17) “Camptown Races” (by Foster, arranged by Mounsey and featuring the Comet Bluegrass All-Stars, as well as Cash, Flemons, Henry, O’Donovan and Over the Rhine on vocals)