When Ohio’s minimum wage automatically increases by 10 cents to $7.95 per hour at the start of 2014, roughly 330,000 workers will receive raises across the state, according to an analysis from the Economic Policy Institute (EPI).
That could be good news for all of Ohio: EPI found the minimum wage increase will benefit the rest of the state through nearly $39 million in economic impact and 300 new full-time jobs.
“Ohio workers and the Ohio economy will both benefit from this raise for our lowest-paid neighbors,” said Amy Hanauer, executive director of left-leaning think tank Policy Matters Ohio, in a statement. “The employees who benefit will turn around and spend money in our communities, stimulating growth here.”
The automatic increase is a result of a constitutional amendment approved by Ohio voters in 2006 that hiked the minimum wage to $6.85 per hour and pegged it to rises in the cost of living.
Ohio isn’t alone in the increase, however. Policy Matters estimates 10 other states — Arizona, Colorado, Florida, Montana, Missouri, Nevada, Oregon, Vermont, Washington and New Jersey — automatically increase their minimum wages each year to keep up with inflation.
The nationwide minimum wage hikes “will generate over $619 million in new economic activity and support creation of 4,600 new full-time jobs as businesses expand to meet increased consumer demand,” according to Policy Matters.
The projections come at a time progressives are working on the national stage to increase the federal minimum wage, which, at $7.25 per hour, is becoming increasingly irrelevant as Congress fails to keep up with many states’ minimum wage expansions.
President Barack Obama’s Fair Minimum Wage Law would raise the federal minimum wage to $10.10 per hour by 2015 and — perhaps most importantly — ensure the minimum wage increases each year to keep up with the cost of living. The left-leaning National Employment Law Project estimates the hike would help 30 million Americans and help grow the economy.
Opponents argue a minimum wage increase, especially one as
rapid as Obama’s proposal, would burden businesses with considerably
higher labor costs. They argue companies would drop
employees or raise prices to cope with higher expenses.
Advocates typically tout a minimum wage hike as a matter of basic fairness. They claim the federal minimum wage would be $10.55 per hour today if it kept up with inflation.
A federal judge on Monday ordered Ohio authorities to recognize same-sex marriages on death certificates. Although the ruling was narrow, many advocates of gay marriage argue the merits of the judge’s decision indicate a broader problem with Ohio’s marriage laws following the U.S. Supreme Court’s historic ruling against a federal anti-gay marriage law. The judge’s ruling came just three days after another federal court struck down Utah’s same-sex marriage ban on similar constitutional grounds.
Gov. John Kasich’s plan to get Ohio’s economy moving again: more tax cuts. But the policy announcement — unsurprising, coming from a Republican — comes on the same year Ohio’s economy slowed down even after Kasich and the Republican legislature passed tax cuts that heavily favored the state’s wealthiest.
Believe in Cincinnati saved the streetcar, argues The Cincinnati Enquirer. The group was formed shortly after Mayor John Cranley won the November election and threatened to halt the $132.8 million streetcar project for good. But the threats inspired a groundswell of streetcar supporters, ranging from concerned businesses to residents. And before City Council agreed to continue the streetcar project, Believe in Cincinnati in just eight days gathered 11,300 petition signatures for a charter amendment restarting the project. CityBeat covered the group in its infancy here.
Cincinnati ranked No. 2 for highest child poverty out of 76 major U.S. cities in 2012, according to the Children’s Defense Fund (CDF). Cleveland and Toledo also made the unfortunate top five, CDF found.
Overtime pay at the Metropolitan Sewer District exceeded $2 million for the third consecutive year in a row, but the number falls below the accepted standard of less than 10 percent of total payroll. MSD Director Tony Parrott says overtime allows the agency to keep staffing numbers in check but still responsive to unexpected situations. Still, the overtime estimate arrives at a time Hamilton County commissioners are raising sewer and water rates to comply with federal mandates.
Cincinnati will tap into a state program for a major demolition blitz in 2014. The city plans to knock down 240 blighted and condemned buildings next year — far higher than the typical annual rate of 70.
Eight historic buildings in Cincinnati, including Memorial Hall, on Dec. 20 received roughly $6 million in state tax credits for projects totaling $71 million.
Rhinegeist Brewing plans to begin canning its craft beer in January.
Humans were getting the flu as far back as the year 1510, but it’s completely unknown if dinosaurs suffered from similar illnesses.
Cincinnati ranked No. 2 for highest child poverty out of 76 major U.S. cities in 2012, the Children’s Defense Fund (CDF) of Ohio said Friday.
The numbers provide a grim reminder that more than half of
Cincinnati’s children lived in poverty in 2012, even as the city’s urban core began a nationally recognized revitalization period.
With 53.1 percent of children in poverty, Cincinnati
performed better in CDF’s ranking than Detroit (59.4 percent) but worse
than Cleveland (52.6 percent), Miami (48 percent) and Toledo (46
percent), which rounded out the top five.
The data, adopted from the U.S. Census Bureau, also shows Ohio’s child poverty rate of 23.6 percent exceeded the national rate of 22.6 percent in 2012, despite slight gains over the previous year.
“When three of the top five American cities with the highest rates of child poverty are in Ohio, it is clear that children are not a priority here,” said Renuka Mayadev, executive director of CDF of Ohio. “Significant numbers of our children do not meet state academic standards because their basic needs are not being met.”
With the contentious streetcar debate over for now, some local leaders are already turning their attention to Cincinnati’s disturbing levels of poverty.
Mayor John Cranley on Thursday told reporters that he intends to unveil an anti-poverty initiative next year. A majority of council members also told CityBeat that they will increase human services funding, which goes to agencies that address issues like poverty and homelessness, even as they work to structurally balance the city’s operating budget.
Outside City Hall, the Strive Partnership and other education-focused organizations are working to guarantee a quality preschool education to all of Cincinnati’s 3- and 4-year-olds. The issue, which will most likely involve a tax hike of some kind, could appear on the 2014 ballot.
Beelistic Tattoo on Short Vine presents its second annual Holiday Art Show Friday. The exhibit features works by local and national tattoo artists on sale for $25 or less. In addition to browsing artwork, guests can enjoy free craft cocktails and book future tattoo appointments. Bring a donation of toys, clothing, books or $5 to benefit the Children’s Home of Cincinnati.
The festive fun continues along Short Vine with more art on display at Gallery 77, Popp=d Art and Bogart’s, drink specials at Dive Bar, shopping at Vursa Limited, music at Mio’s Pizzeria and more. Beelistic’s party kicks off at 5 p.m. and continues until midnight (or until the art sells out).
Rabbit Hash’s annual Christmas Parade takes place Saturday at 4 p.m. Cajun Jazz group Lagniappe will inject a little Southern flair at the holiday party that follows. Swing by the General Store, drink a little something to warm you up and frolic with the famous Rabbit Hash dogs!
Former Cincinnati Ballet members Joseph Gatti and Adiarys Almeida return to the city and company for holiday classic The Nutcracker. This family-friendly production opens Friday, runs all weekend and continues through Dec. 29. Read our interview with the couple here.
Nothing says happy holidays like a booze cruise! Enjoy some of Greater Cincinnati’s finest — from beer to views — on the Christian Moerlein Brew Ho Ho Ho Dinner Cruise Saturday. Attendees will board the boat at 6 p.m. and set sail from BB Riverboats 7-9:30 p.m. The night includes a four-beer tasting, buffet, music from a live DJ and a souvenir Moerlein pint glass. Adult tickets are $55, $26 for sightseeing only. Book the cruise here.
Enjoy a Christmas Carol-inspired brunch this Sunday at Orchids at Palm Court’s Dickens Brunch. English favorites like roast beef with Yorkshire pudding, mince meat pie and figgy pudding accompany brunch classics, including an omelet and waffle bar. Sunday is the last chance to try the Dickens Brunch, which runs 10:30 a.m.-2 p.m. Find more information here.
It's the final weekend for most holiday shows, and there are lots of good choices. I'm ranking today's listings according to the laugh-o-meter, starting with the most hilarious:
City Council yesterday decided Cincinnati will get a streetcar after all. After securing the six votes necessary to overturn a mayoral veto, Mayor John Cranley conceded that the $132.8 million streetcar project will restart following a two-week pause. It was a surprising journey for the project, which largely seemed like the underdog ever since the new mayor and council took office earlier in the month. In the end, the project gained its sixth vote from Councilman Kevin Flynn after the philanthropic Haile Foundation signed onto contributing $900,000 a year for 10 years to help underwrite part of the streetcar’s annual operating costs.
Advocacy group FreedomOhio yesterday announced it has enough signatures to place same-sex marriage on Ohio’s 2014 ballot. The group declined to tell Cleveland.com exactly how many signatures it had collected so far, but the organization says it’s aiming to collect 1 million before the July filing deadline. At the same time, FreedomOhio released a poll that found Ohioans are still split on the issue of same-sex marriage. But the poll also found that a good majority of Ohioans support FreedomOhio’s gay marriage legalization amendment, which provides exemptions for religious groups.
Gov. John Kasich yesterday signed a bipartisan Medicaid overhaul bill that seeks to control costs by establishing an oversight commission and a target for spending growth. The legislation also sets a focus on health care outcomes to ensure quality standards in the government-run program. Both parties pursued the bill to tamp down on health care costs that have been taking up more of the state’s budget in the past few years.
A new report from the state attorney general’s office found nearly half the businesses who received state aid in 2012 did not fulfill their end of the deal in terms of producing new jobs and other promises.
Ohio’s unemployment rate dropped to 7.4 percent in November, down from 7.5 percent the month before. But the number was well above the 6.8 percent rate from November 2012, indicating a decline in job growth in the past year.
Police arrested the mother of a 3-year-old for falsification and the mother’s boyfriend for accidentally shooting the child on Tuesday.
Today is Homeless Memorial Day, a day meant to commemorate those who died in 2013 while experiencing homelessness. The Greater Cincinnati Homeless Coalition is gathering at 5:30 p.m. at the corner of 14th and Elm streets to honor the occasion.
Bike Share plans to come to Cincinnati next summer and allow residents to rent out bikes around multiple parts of town.
Miami University is the second most efficient university in the nation in terms of delivering a good education for relatively low cost, according to a study from U.S. News and World Report.
Cincinnati’s housing market marked 29 consecutive months of increased sales last month with a 5-percent rise. The measure indicates the local economy is recovering after the Great Recession crippled housing markets around the nation.
A new product that claims to translate dogs’ thoughts to human speech is bogus.
After today, Morning News and Stuff will take a vacation until Dec. 26. Happy holidays!
Cincinnati will serve as the backdrop for yet another film come spring 2014 as Director Todd Haynes shoots his upcoming film Carol around the city. Starring Cate Blanchett and Rooney Mara, the film is based on the book (also known as The Price of Salt) by Patricia Highsmith. While Carol takes place in 1950s New York City, the entire movie will be shot in Cincinnati.
This locally filmed movie is another win for the Greater Cincinnati and Northern Kentucky Film Commission, the organization that brought George Clooney, Ryan Gosling and other stars to Cincinnati to shoot The Ides of March in early 2011. And while #ClooneyWatch may be over now, there will be plenty of star-spotting when Carol production picks up next year. And come to think of it, #RooneyWatch has a nice ring to it…
Director Todd Haynes’ past work include 1998’s Ziggy Stardust-inspired glam Rock drama Velvet Goldmine and the 2007 Bob Dylan biopic I’m Not There — which also starred Cate Blanchett.
Highsmith’s 1952 publication was a groundbreaking piece of fiction as it deals with a lesbian romance, and the story bucked tradition in gay fiction by giving the couple a positive ending. It’s safe to say Blanchette and Mara will be portraying the lovers.
Follow GCNKFC for more updates on this and other films (including Emilio Estevez’ upcoming horse racing film Johnny Longshot, which begins shooting in Cincinnati next summer.)
After nearly two months of ups and downs, city leaders on Thursday announced Cincinnati will get a streetcar after all.
Speaking prior to a council vote, Mayor John Cranley and Councilman Kevin Flynn announced City Council has the six votes to overcome the mayor's veto and restart construction on the $132.8 million streetcar project.
Flynn was the final holdout in what some council members now call the "streetcar six." He was asking for a commitment from private contributors to cover the annual operating costs for the streetcar, which consulting firm KPMG estimated at $1.88-$2.44 million a year after fares and sponsorships.
The philanthropic Haile Foundation lived up to part
of the commitment by signing onto $900,000 a year for 10 years, Flynn
announced. That was enough of a commitment to move forward as the city
makes a broader effort to get all the operating costs off the city's
books, he said.
"That is a huge commitment, folks," Flynn added.
Flynn also acknowledged that the streetcar could foster new revenues in the city's operating budget and actually allow the city to take on bigger responsibilities.
Previous studies from consulting firm HDR and the
University of Cincinnati found the streetcar project will generate a
2.7-to-1 return on investment over 35 years.
Flynn, a Charterite, joined Democrats David Mann, Chris Seelbach, Yvette Simpson, P.G. Sittenfeld and Wendell Young in support of restarting the project. Republicans Amy Murray and Charlie Winburn and Independent Christopher Smitherman voted against it.Still, Cranley said he will continue opposing the streetcar project. He repeatedly stated council is making the wrong decision.
"I'm disappointed in the outcome," said Cranley, who ran in opposition to the streetcar.
Flynn reiterated his respect for Cranley, despite effectively dealing a major blow to Cranley's agenda.
Cranley "helped me get elected to this position, and I take that trust seriously," Flynn said.
Others were glad the city can now take on different issues without getting mired down in a contentious streetcar debate.
"I am so glad that this issue is done and over with," said Vice Mayor Mann, who voted in favor of the project.
officially changed his stance on the project after KPMG's audit found
canceling the project could cost nearly as much as completing it.
The final decision came at a cost to Cincinnati: The two-week pause of the project, which allowed KPMG to conduct its review, added $1.7-$2.8 million in costs, according to KPMG's audit. The city also allocated $250,000 to pay KPMG for its work.
Once it's completed, the streetcar line will run as a 3.6-mile loop in Over-the-Rhine and downtown.
Updated with results of City Council's vote and additional information.
It was sometime back in September that I stumbled upon the story of Chvrches’ Lauren Mayberry, and her piece in The Guardian about the unfortunate realities she faced as a female musician. Only days later, I heard the stories of classical composers wearing their own diadems of misogyny. All these forces were crumbling away at what I once believed to be the most progressive industry we had at our hands.
With such revelations came a personal desire
for truth at a closer proximity. I honed in my lens and turned it on the state
of our own music scene, and the circumstances of female musicians in the Queen
I may have stumbled a bit the first time I saw Molly Sullivan perform. It could have been the champagne. It could have been the wine. It could have been the sheer, uprooting shock of such a sneakily sultry voice filling all the quiet corners of a room.
It was 2011 and the setting was a birthday party at the neo-historic Marburg Hotel, and local heroes Shadowraptr had just finished their set in the basement — a lush and operatic performance of their usual brand of psychedelic Prog-Rock, with Jazz sensibility. They didn’t disappoint with an expectedly raucous presentation, and we didn’t back down as an ever energetic crowd. It was in a quiet aftermath, among friends and fellows just as imbibed as our beer-soaked shirts, that I wove my way through a hallway maze and sauntered into a living room with an organ against its back wall. At its helm sat Molly Sullivan.
As she would come to tell me nearly three years later, “Going back to when I first started playing out as a singer songwriter, I always felt this extreme pressure and insecurity of being a female musician…whose music was tending to be more on the delicate side of things, an emotionally driven side of things. It required a little stillness from the crowd.”
But back looking back on that night in March 2011, stillness was inevitable. Warm from wine and an approaching spring, the handful of us that sat in the living room did so with an active passivity. But even as heads lolled against neighbors’ shoulders or against the walls at our backs, there was an intensity in every pair of eyes that I glanced into; all were watching, focused, as Molly struck a chord and then another, taking us through the coziest part of the evening with two or three ballads of life, lovelorn.
It was an intimacy that couldn’t have escaped those of us even if it had tried, and only a brief, drunken sampling of where Sullivan had started her story, rising to the ranks of the recognized, respected and regaled. Before that, she was front woman for the electronically infused No No Knots and a few months after that, she would play out as a solo artist with a backing band, making a stop at The Heights Music Festival and a New Year’s Eve show at the Southgate House Revival in 2012, before a brief hiatus kept her choruses hushed.
Sullivan admits that a lot of the anxious cogs of her earlier years were weighed on heavily by being a female musician in a primarily male-dominated scene.
“I feel like it’s a lot
easier for men as artists,” Sullivan Says, “generally, because you have the
potential to be the heartthrob, and also it’s not necessarily a sissying thing
to go to for a guy. So I feel like there’s more of an audience inherently built
In the later months of 2013, however, she re-emerged, armed with a loop-accentuated sound and a solo confidence that she speaks fondly of. Crafting songs, sonically clad with vocal layering and solid to the string guitar work, Sullivan took her one-woman symphony on the Cincinnati circuit, to high acclaim — winning the solo artist bracket of FB’s local “Last Band Standing 2013” battle of the bands, and earning herself a spot on one of the participating MidPoint Music Festival stages.
Sullivan had dedicated time to playing earlier shows in spots she would normally not perform, in venues and around crowds she would normally not consider being her primary audience. She says she found new courage in taking these risks. Though initially unsure about even participating in the event at FB’s, Sullivan came to find her hesitation was unnecessary.
“I made some assumption about the clientele there – it’s kind of known to be like a bro bar,” Sullivan explains. “I was thinking, ‘They’re not gonna get my art.’ That ended up not being true.”
When asked about the
progression of her performance presentation, Sullivan says, “I think I’ve
actually come to learn — just by doing it when I’m in a bar and everybody is
silent — just like recognizing that there’s something captivating about the
simplicity and the emotion of being present with your songs. It’s a really
empowering thing when people are dedicated to listening and joining you in that
Sullivan also recognized the power of community, and the part that earnest encouragement from within the Cincinnati scene played in her career as a musician. One pillar in her support group is claimed by The Daughters of The Midwest, an ensemble stage set of premier, female musicians dominating the Cincinnati area.
“I’ve definitely kind of
geared my energy towards being supportive of other female musicians,” Sullivan
says, “supporting Kelly (Fine), Mia (Carruthers), Maya (Banatwala). And now
that I’m back out there again, because of the support that I’ve been shown.”
“I think it’s a really powerful thing to have a female musician community to support each other,” she continues. “And as soon as I got back into it, it made it a lot easier to go with the flow and be excited for people wholeheartedly.”
And looking outside of the just the female musician community, Sullivan vehemently recognizes the support of Cincinnati as a whole. Sullivan expresses an appreciation for her time playing with The No No Knots, as well as the support she received from the members of Cincinnati’s Marburg Collective. As she explains, "There’s mostly positive reinforcement floating around. There’s kind of this really solid to the earth community here that exists that wants to support."
She admits that what hides outside of Cincinnati is what scares her most. We traded stories and conversations about recent revelations of ignorance and misogynistic skeletons in some of contemporary music’s most renowned scenes, tales of classical composers saying woman have no place in conducting pieces.
Sullivan acknowledges being weary of “the whole, big wide world,” with such possibilities floating around in clouds of reality.
“Cincinnati scares me in its
own ways,” she says. “Almost what scares me more is beyond what’s Cincinnati,
just the competitiveness that can be fruitful if you’re successful in the game.
And I think part of me has been afraid of success, because with that success,
you know what’s gonna come: it’s gonna be that banter online, all those
anonymous people hemorrhaging bullshit…Why bother?”
Even with such uncertainty for outside markets, Sullivan exhibits an insight and strength that propels her forward, even more so because of her acknowledgements of the bad that can come with the good. She says she’s learning to navigate her way around “the hemorrhaging bullshit.” Her awareness of everything that can dampen an otherwise well lit stage is what makes her voice so definitive on the conversation about the regressive mentality of misogyny that can still exist in our present day music-scape.
There exists within Molly Sullivan a partnership between community appreciation and individualistic impetus. She acknowledges the power of community backing, saying it’s a “powerful thing to have a female musician community to support each other.” And she recognizes the groundwork that’s been laid out in years past.
“We’ve seen the rise of a few
female fronted bands come through,” Sullivan says, “and people are more willing
to be excited for that and support it.” (She cites the Seedy Seeds and Wussy as
pioneers for female musicianship.) Sullivan is aware of where we’ve been and
where we are. But what’s more, she’s ready to take us to where we need to be.
And she’s ready to do that with a self-made spirit.
“I’m getting to a point where I don’t give a fuck really,” Sullivan says.
It was with a new impetus
that she’s approached her musicianship. “I’ve grown stronger as a female
musician,” she says. “Now I’m just kind of like, well, if you don’t want to
listen to it then fuck you, you don’t have to be here. It took me a long time
to get to that point, and I still kind of have some insecurity about it. But
most of the time I’m just like, ‘Molly, grow a pair, get over it.’ ”
Sullivan also explains the intentionality behind her current solo-set performances. Much in the same vein of playing in new venues, under possibly uncomfortable lights, she exhibits a drive to explore her boundaries, and expand past her limitations.
“I’ve chosen to do these
things by myself,” she says. “If I’m going to play with a band later, I need to
be OK playing solo first. It’s been really empowering, doing all of that.” She proves herself to be relentless and,
though hurt, unscarred by the outside forces of misinterpretation and
It’s with a knowing, weathered paddle that she navigates these future streams. And it seems she couldn’t be more pleased with the direction she’s headed.
“So far, it’s been really
lovely being back.” She takes a moment, at the end of our conversation, to
reflect out loud. “Would you look at that? I did that. And I don’t need anybody
else. I’m all about collaboration, but it’s really good to know that I don’t
need anybody. I’m capable.”