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.”
But hours before City Council expects to make a decision, it's unclear whether the legislative body has the six votes necessary to overcome Mayor John Cranley's veto and restart construction for the streetcar project.
The deciding vote will most likely come from Charterite Kevin Flynn, who says he's working behind the scenes with undisclosed private entities to get the streetcar's operating costs off the city's books. If that deal pulls through, Flynn would provide the sixth vote to keep going.
The project already has five votes in favor: Democrats David Mann, Chris Seelbach, Yvette Simpson, P.G. Sittenfeld and Wendell Young.
Three council members have long opposed the project: Republicans Amy Murray and Charlie Winburn and Independent Christopher Smitherman.
It's a big financial decision for the city.
If the city goes forward with the project, it would cost $53.9-$68.9 million, depending on whether the city convinces courts Duke Energy should pay for $15 million in utility costs, according to an audit from consulting firm KPMG.
If the city cancels, it will incur $16.3-$46.1 million in additional close-out costs, the same audit found. But it will get nothing for those tens of millions spent and could face costly litigation in the future.
Council expects to make a final decision at Thursday's 2 p.m. meeting. Follow @germanrlopez on Twitter for live updates.
The city would save just $7.8-$52.6 million in capital costs if it takes on tens of millions in additional expenditures to cancel the $132.8 million streetcar project, an independent audit revealed yesterday. The news appeared to throw another potential lifeline for the streetcar, which can now claim a five-member majority of supporters on City Council. But with Mayor John Cranley's veto threat, council will likely need six votes to continue the project. Council expects to make a decision today, prior to a Friday deadline for federal grants funding roughly one-third of the project.
Some city leaders are trying to ensure all of Cincinnati's 3- and 4-year-olds attend quality preschool programs through Cincinnati’s Preschool Promise. Citing swaths of studies and data, Greg Landsman, executive director of the education-focused Strive Partnership, says the policy could reach all corners of the city and hugely benefit the city’s economy in the long term. But supporters of the proposal first must find a means to fund it, which Landsman says will likely require some sort of voter-approved tax hike in 2014. Before the Preschool Promise campaign gets there, Landsman vows supporters will heavily engage the community to gather feedback and determine the scope of the proposal.
City Council yesterday unanimously approved $20 million in capital funding for the $106 million uptown interchange project, which will allow the project to move forward with the state and Ohio-Kentucky-Indiana Regional Council of Governments filling the rest of the funding gap. The capital allocation means property taxes will remain higher than they would without the project, as revealed at Monday's Budget and Finance Committee. Mayor Cranley and council members argue the cost is worth it because, as a study from the University of Cincinnati's Economics Center previously found, the project will generate thousands of jobs and other economic gains in the uptown area.
Commentary: "Anti-Streetcar Logic Should Stop Uptown Interchange Project."
The Democratic majority on City Council yesterday dismissed legislation that would have repealed controversial bidding requirements for Metropolitan Sewer District (MSD) projects. Council's decision could put Cincinnati and Hamilton County on a collision course over rules governing a federally mandated revamp of the city's inadequate sewer system. A majority of council members support the bidding requirements as a way to foster local jobs and local job training, while opposing county officials say the rules favor unions and impose a huge burden on MSD contractors. Councilman Chris Seelbach says he's working with Hamilton County Commissioner Greg Hartmann to get both parties in mediation talks and end a county-enforced hold on sewer projects before the federal government begins enforcing its mandate.
The city of Cincinnati is allowing residents to put out extra trash bags next to approved trash containers between Dec. 26 and Jan. 3 in a "trash amnesty."
Gov. John Kasich's 2014 wish list: More infrastructure funding, measures that curb health care costs, new anti-drug and anti-poverty initiatives, and another tax cut.
Ohio's May ballot could include a measure that would tap into existing revenues to boost funding for infrastructure projects around the state.
Seventeen non-U.S. citizens allegedly cast illegal ballots in Ohio's 2012 general election, according to Ohio Secretary of State Jon Husted.
Two Democrats in the Ohio Senate proposed legislation that would allow same-sex couples to file joint tax returns. But Republicans control both chambers of the Ohio legislature, so it's unlikely the bill will pass.
Four Ohio libraries, including the Public Library of Cincinnati and Hamilton County, are collaborating to preserve historical documents, photographs and more.
Congress passed a bipartisan budget deal that will avoid a federal government shutdown and ease previously planned across-the-board spending cuts.
A new study found the Milky Way has four arms, not two as previously believed.
City Council on Wednesday dismissed legislation that would have repealed controversial contracting rules for Metropolitan Sewer District (MSD) projects.
Council's decision could put Cincinnati and Hamilton County on a collision course over rules governing a federally mandated revamp of the city's sewer system. The city and county jointly manage MSD.
Democrats David Mann, Chris Seelbach, Yvette Simpson, P.G. Sittenfeld and Wendell Young voted to move the repeal ordinance back to committee. Republicans Amy Murray and Charlie Winburn, Charterite Kevin Flynn and Independent Christopher Smitherman voted to keep the ordinance in front of council.
Hamilton County commissioners previously halted most
of the $3.2 billion, 15-year sewer revamp in protest of the city's
"responsible bidder" law. As long as the hold remains in place, the city and county risk violating a federal mandate to revamp Cincinnati's inadequate sewer system.
The city rules require contractors to follow stricter standards for apprenticeship programs, which unionized and nonunion businesses use to train workers in crafts, such as electrical work or plumbing. The rules also ask contractors to put 10 cents for each hour of labor into a pre-apprenticeship fund that will help train newcomers in different crafts.
Supporters of the law claim it will foster local jobs and local job training. Opponents claim the law favors unions and places a costly burden on MSD contractors.
city already gave various concessions to resolve its conflict with the county, including
exemptions for small businesses and contracts worth less than $400,000. But the county has so far refused to budge.
Smitherman, who opposes the law, argued the issue will end up in court and the city will lose.
"What was passed on May 1 is not constitutional," he said.
But the city's law department says the law is legal and could be defended in court.
Seelbach, who spearheaded the law, said he's in talks with Hamilton County Commissioner Greg Hartmann to bring both parties into mediation and resolve the conflict.
"I'm asking for some more time," he said.
In the motion picture sector, 12
Years a Slave and American Hustle
lead the pack with seven nominations each. The America’s Sweethearts Showdown
will finally play out as Jennifer Lawrence (American Hustle) is pitted against Julie Roberts (August: Osage
Best Supporting Actress in a Motion Picture (along with Sally Hawkins – Blue Jasmine, Lupita Nyong'o – 12 Years a Slave and June Squibb – Nebraska). Yes, I'm really trying to make the J. Law/JuRo(?) rivalry happen.
Jared Leto and Matthew McConaughey were rewarded for the physical deterioration they underwent to star in Dallas Buyers Club — they’re up for Best Supporting Actor in a Motion Picture and Best Actor in a Motion Picture, Drama, respectively.
On to television selections, Netflix series House of Cards raked in four nominations, the most of any series. The HBO film Behind the Candelabra also garnered four nods, but in three categories — stars Matt Damon and Michael Douglas are up against one another for Best Actor in a Mini-Series or TV Movie. Rob Lowe’s amazing work as Liberace’s plastic surgeon/pill pusher in Candelabra gets lauded with a nomination for the broad Best Supporting Actor in a Series, Mini-Series or TV Movie category, but that statue will likely go to Aaron Paul for his performance in the final season of Breaking Bad.
New-to-2013 shows Masters of Sex, Brooklyn Nine-Nine and Ray Donovan each received two nominations. I was totally in love with the inaugural season of Masters this year, so I’m happy to see it up against some solid series for Best TV Series, Drama, even if it probably won’t win. I can’t bring myself to watch Brooklyn (despite my love for Andy Samberg!) because it looks decidedly unfunny, but I keep hearing I need to check it out, so judgment reserved. Ray was a decent new drama. Jon Voight killed it as the fresh-out-of-prison father to the titular character, a Hollywood “fixer” played by Liev Schreiber (also nominated). Voight’s Mickey brought the laughs in an otherwise dark story, from his penchant for big-booty video girls to the advice he gives to his nauseated grandson: “Maybe you need to faht!”
Noticeably absent are Homeland, Boardwalk Empire and Mad Men, and I am OUTRAGED! OK, I’m starting to sound like everyone who’s ever listened to a local band after the CEA nominations are announced. #sitthehelldown
But seriously, Damien Lewis’ performance as Homeland’s Brody, while limited on screen this season, was incredible. He truly has played so many sides and shades of the character. That detox scene? Haunting. He nailed the deterioration of Brody completely.
I also thought this was one of the best seasons of Boardwalk. Completely biased opinion: John Huston’s Richard Harrow
has been my favorite
character of the series (besides Lucy, played by the incomparable queen of mot messes Paz de
la Huerta, OBVS).
With so many other amazing characters, it’s totally understandable that he
wouldn’t leave with an award, but…Richard! "Hold me."
As for Mad Men, neither the show nor its actors have won a Globe since 2009, when it was awarded for Best TV Series, Drama. The show is not suffering — in fact, watching Don (Jon Hamm) finally crack and start to act like a real human was incredible this season. Oh, well. There’s always next year’s Emmys, I guess?
Read all the nominations here.
It’s almost Christmas, so what better time for another Apple ad to make you unexpectedly shrivel up and bawl?
Beyoncé blew the top off the Internet late last week, surprise-releasing 14 new songs plus 17 music videos in a full, mega, meta “visual experience” of an album, leaving most of us with nothing left on our holiday wish lists. Titled simply Beyoncé, the package features collaborations with Jay Z, Frank Ocean, Drake and Blue MFing Ivy, sexy-ass songs with some straight up raunch, audio/video from Star Search and home movies and several shots of Bey’s thonged butt. It’s perfection. And because no one can ever get enough Yoncé (That’s right, it’s Yoncé, Mrs. Carter if you’re nasty), she’s also releasing a mini-documentary about the album in various parts, day by day. Buy the package, watch the videos and get swept up in the Carter life here.
John Mayer and Katy Perry are totes an item and, in case you needed any reminders of what a supreme douche J. May is, well, here’s their first couples interview (gag) — skip to 2:50 for John’s really touching words about Katy’s craft/to hear him drop an F bomb (edited out, thanks ABC!) while doing so.
Buzzfeed dubbed Newport Aquarium’s Scuba Santa one of eight “Most Badass Santas in the World,” not to be confused with “One of Most Extreme Santas in World,” as reported by basically every other local media outlet (buncha babies).
If there’s just one viral family Christmas video-card (ugh) making its rounds that particularly makes me want to gouge my eyes out, it’s the Holderness family’s. Set to the tune of the very current “Welcome to Miami,” this family of four teaches us what the holidays are truly about: bragging about the year’s accomplishments. Namely, running triathlons, appearing in blockbuster films and learning Chinese — in their "Christmas jammies." Fucking white people.
Shia LaBeouf was a child actor, so I guess he never went to school to learn that copying off your neighbor's work is pretty much universally looked down upon. That's the only explanation I can come up with to justify his plagiarizing of Daniel Clowes' comic Justin M. Damiano for his new short film, HowardCantour.com. Read all about the fiasco here, and see the similarities for yourself. LaBeouf said sorry via Twitter, which should be enough, but he apparently lifted his apology off Yahoo Answers. So help us all.
Cincinnati would save just $7.8-$52.6 million in capital costs if it incurs tens of millions in additional expenditures to cancel the $132.8 million streetcar project, according to an audit from consulting firm KPMG released Wednesday.
By showing the potentially high costs of cancellation, the numbers could throw a lifeline to the streetcar project just one day before City Council decides whether to restart construction or permanently halt the project.
But Mayor John Cranley appears undeterred in his commitment to cancel the streetcar project. By accounting for the annual costs to operate the streetcar, Cranley estimates the city will actually save $102 million if it cancels the project.
The city already spent roughly $34 million on the project, according to the audit. Cancellation would add $16.3-$46.1 million in close-out costs, bringing the total costs of cancellation and money spent so far to $50.3-$80.1 million.
Completing the project would add $68.9 million in costs, after deducting $40.9 million in remaining federal grants, the audit found.
But the completion estimate assumes the city will need to pay $15 million in utility work — a cost that is currently being debated in court. If the city wins its case against Duke Energy, the utility company would be required to pay the $15 million and bring down the total completion costs to $53.9 million.
The audit also put the costs of operating the streetcar at $3.13-$3.54 million a year, lower than the previous $3.4-$4.5 million estimate. After revenues from fares, sponsorships and other sources, the city would need to pay $1.88-$2.44 million to operate the streetcar, according to the audit.
The reduced estimate for operating costs could become particularly important in deciding the project's fate as private contributors attempt to get the cost off the city's operating budget.
Delaying the streetcar project while KPMG conducted its audit also added $1.7-$2.8 million in costs, according to the audit. The city allocated another $250,000 to pay KPMG for its work.
The audit did not account for the potential costs of litigation if contractors and investors along the planned streetcar line sue the city to recoup costs.
City Council paused the streetcar project on Dec. 4 to obtain the cost estimates of completion, cancellation and annual operations. The full body of council will decide whether to restart the project on Thursday, before a Friday deadline set by the Federal Transit Administration for federal grants.
Read the full audit:
This post was updated at 12:59 p.m. with more information and details.
More than a dozen business and philanthropic entities support the Southwest Ohio Regional Transit Authority’s (SORTA) plan to develop a private-public partnership to pay for the streetcar’s operating costs, according to Eric Avner, vice president of the philanthropic Haile Foundation. If the people cited by Avner put money behind their support, they could get streetcar operating costs off the city’s books and pave the clearest path forward for the $132.8 million streetcar project since the new mayor and City Council took office earlier this month. Although Cranley called SORTA’s offer “woefully insufficient” earlier in the day, Councilman Kevin Flynn, one of two swing votes on council, said the idea could turn into a viable option if the business and philanthropic community provided more assurances.
Other streetcar news:
• City Council will hold public hearings on the streetcar today at 1:30 p.m., with a vote to decide the project’s fate expected tomorrow.
• Speaking about the streetcar project, Vice Mayor David Mann told The Business Courier, “I’m awfully close to saying let’s go for it.”
• The Federal Transit Administration might prefer to deal with SORTA over Mayor Cranley if the streetcar is completed.
Cincinnati’s projected operating budget gap for fiscal year 2015 is $16 million, which means City Council will need to find new revenue or cuts to balance the budget by July. Although a majority of council members promise to structurally balance the budget in the next few years, a minority say it will be more difficult than most expect without hiking taxes or cutting police and firefighters.
The 2014 gubernatorial race between Republican Gov. John Kasich and Democratic challenger Ed FitzGerald is within the margin of error, according to a poll released Monday by Public Policy Polling (PPP). “Although there’s been a fair amount of movement toward Republicans nationally since (November), the state of this particular race has seen very little movement and Democrats continue to have an excellent chance at a pick up next year,” wrote Tom Jensen, director of PPP.
Meanwhile, Hamilton County Commissioner Todd Portune could challenge FitzGerald for the Democratic nomination.
A task force could undertake a comprehensive review of the city charter to modernize the city’s guiding legal document.
Startup incubator SoMoLend is likely to liquidate before the scheduled Jan. 23 state hearing about alleged securities fraud. The liquidation would be an effective end to a once-promising company that partnered with the city of Cincinnati to foster startups and small businesses.
This year could be the least deadly on Ohio’s roadways, according to the Ohio Department of Transportation.
A bill in the Ohio House could require hospitals to report the number of newborns addicted to drugs. The grim number would provide a much-needed measure for tackling Ohio’s so-called opioid epidemic.
Ohio is doing a poor job fighting infectious diseases, according to a report from Trust for America’s Health and the Robert Wood Johnson Foundation.
Cincinnati Children’s Hospital obtained a grant to combat brain cancer.
Even the physics behind emperor penguin huddles are pretty complicated.
More than a dozen business and philanthropic entities support the Southwest Ohio Regional Transit Authority’s (SORTA) offer to develop a private-public partnership to fund the streetcar’s operating costs, Eric Avner, vice president of the Haile Foundation, told CityBeat on Tuesday.
If enough private contributors agree to finance the streetcar’s operating costs, they could address a major concern raised by streetcar opponents and provide the clearest path forward for the $132.8 million streetcar project since the new mayor and City Council took office early this month.
The Haile Foundation already contributed $1 million to an operating reserve fund for the streetcar, but Avner cautions that his organization’s donation is only the beginning, given all the other entities interested in moving the streetcar forward.
Avner says 14 other business and philanthropic leaders supported the SORTA concept in person or through writing in time for SORTA’s board of trustees meeting on Tuesday. Among other community leaders, Avner cites Otto Budig, Cathy Crain of Cincinnati State, William Portman of the University of Cincinnati, Jeannie Golliher of the Cincinnati Development Fund, Rick Greiwe of Greiwe Development and Jack and Peg Wyant of Grandin Properties.
In a letter to SORTA, the Haile Foundation offers to recruit and financially establish a commission of community leaders that will work with the agency to create an operating and revenue plan that will require no funds from the city of Cincinnati. The letter also promises to leverage the initial $1 million investment to secure additional contributors and build a fund that would pay for a full year of operating costs.
Mayor John Cranley called SORTA’s offer “woefully
insufficient” in a press conference on Tuesday. Cranley said the city will need financial assurances far above the Haile
Foundation’s $1 million to cover $3.4-$4.5 million in annual operating costs for the streetcar over 30 years.
Councilman Kevin Flynn, one of two potential swing votes
on City Council, agreed with Cranley’s assessment, but he said the proposal could become a viable option if the city receives more
assurances from SORTA and private entities that show the groups are serious in their offer.
SORTA already agreed to help operate the streetcar if the
project is completed, but its decision to take up the operating costs shows
an additional commitment to the project.
The agency claims bus services will not be impacted by its increased commitment to the streetcar.
City Council expects to vote on Thursday on whether to restart the streetcar project. Council paused the project on Dec. 4 while the city audits the project’s completion, cancellation and operating costs.
Read the Haile Foundation’s full letter below: