Arriving in New York for a work-related trip always causes my nerves to stand at full attention. I typically overcomplicate my schedule with back-to-back caffeine dates in different neighborhoods, or try and sneak in one more performance than would be wise. At the same time, I know when I'm back here that I'm going to be seeing some of the most forward-thinking live art happening in the world today, and the energy and inspiration I pull from the shows I see and the people I meet will influence my programming for seasons to come.
One layover, a two-hour delay and an annoying navigation out of Newark Airport later, I'm in the city and frantically sprinting to my first pow wow of the week with artist Hisham Bharoocha. Hisham is highly regarded for his music, visual art and photography, though I'm talking with him mainly in regard to the former. A founding member of the group Black Dice, his recent experiences have seen him organize the now legendary BOADRUM experiences in which 77 and, later, 88 drummers played the same number of kits on the dates 07/07/07 and 08/08/08, respectively, as well as other projects utilizing the two main parts of his live creative output — voice and percussion. Hisham owns a unique ability to take a live concept and build it into something visceral yet magical, and I was glad to find that I enjoyed him as a human being as well. I hate bad coffee dates.
However, the main reason for being in New York this time of year is Performa 13, the performance art biennial hosted at various venues around the city that runs for 24 days in November. Started in 2005 by art historian RoseLee Goldberg (she has written a book on performance art and is now revered as a key figure in that world), Performa presents some of today's most compelling performance art works and, more famously, commissions new work from reputable artists who work across various mediums — artists ranging from Carlos Amorales to Japanther to Ragnar Kjartansson. Earlier performances this month have featured Dean Spunt of No Age, a Contemporary Arts Center performer this past September, and C. Spencer Yeh, the longtime Cincinnati resident and noise art maestro whose visual art exhibition Standard Definition opened at the CAC in October 2009. My experience two years ago at Performa 11 introduced me to a rough working of Jace Clayton's Julius Eastman Memorial Dinner, and that serendipitous event lead to the project being further developed and realized before its world premiere as a production-in-full in our performance program this past April.
The first experience I had with Performa 13 will be hard to beat, I imagine. Arriving at the quaint Connelly Theater Ryan McNamara's MEƎM: A Story Ballet About The Internet, the attendants were instructed to check all coats and bags at the entrance before entering what served as a sort of waiting room of art school students, seasoned performance art patrons and those seeking something out of the ordinary. The room resembled a high school cafeteria in look and ambiance, filled with social chatter between friends and colleagues. As I paid little attention to the conversations, I went into the performance completely unaware of what would happen.
After being lead into an auditorium with standard seating facing an elevated stage, the program began with three male dancers contorting their bodies slowly and precisely to a modern dance Pop soundtrack. Not long into the routine it became clear that “something” was happening directly behind the audience. Too unbothered to turn around and take my attention from the stage, I heard small laughs and continued to feel like the program was turning into something entirely new. As the energy picked up around me, I finally glanced back and for the first time noticed that nearly all of the rows behind me were no longer there, and that two other dancers had set up shop in the back corners of the room and portions of the audience were now seated, in the same chairs, facing those performances. At the same time, two audience members appeared in their chairs moving up the ramps at the sides of the stage, being pulled by two production team members. Before too long, my own chair was lifted up and I was swiftly carted, passing through one room with three leotard-adorned dancers moving to strobe-affected disco before being delivered to a room where two women in matching outfits performed a laconic dance to a playlist of suspenseful film score pieces. This routine continued for an hour, with roughly 10 minutes spent at each location. At the end, after we were all put back in what we thought were our resting positions, there was still time for one final, beautiful, balletic piece. Then our chairs were forcefully reconfigured, and our expectations were once again turned upside down.
The music was mostly modern, referencing pop culture, and the dance routines were pulled (stolen) from popular internet videos. The anxiety over being completely unable to control your own attention, while still desperately attempting to, was incredibly effective in highlighting the performance's entire concept of questioning the very possibility of a singular “experience” today. There were roughly 10-12 possible positions, and each person probably experienced no more than six of those. We all wanted to catch more of what was happening all around, but often ignored what was right in front us. In the end, nobody seemed to leave feeling like they didn't get to experience it all.
Follow citybeat.com for more Performa 13 updates from Drew Klein.
Two bills discussed today at a hearing of the Ohio House of Representatives' Judiciary Committee would, if passed, offer greater protections to victims of domestic violence and extend them more legal rights to protect their employment, housing and financial livelihood.
Those bills will join H.B. 243 and H.B. 160, which are still awaiting hearings before the judiciary committee and would, respectively, require individuals served with temporary protection orders to surrender their firearms and offer legal protection to the pets of domestic violence victims — often cited as a reason victims have difficulty leaving a violent situation.
Most significant are the changes that would be implemented by H.B. 297, first introduced to the Ohio House in October by Reps. Ann Gonzales (R-Westerville) and Denise Driehaus (D-Cincinnati). The bill outlines new legal protections for domestic violence victims who need to terminate a rental agreement or take unpaid leave at work in order to deal with domestic violence incidences.
Under the bill, victims of domestic violence would be legally protected against termination at work and have the ability to dissolve a rental lease if the tenant has been a victim of domestic violence. The bill would also prohibit landlords from kicking out tenants because they've been victims of domestic violence at the residence and requires them to comply with requests to change locks when a tenant has been a victim of stalking or menacing.
H.B. 309, also introduced in October, by Reps. Dorothy Pelanda (R-Marysville) and Nickie Antonio (D-Lakewood), would dissolve any charges related to modifications made to a domestic violence, anti-stalking or other type of protection order or consent agreement
In August, CityBeat spoke with domestic violence victim Andrea Metil, who talked about her personal experiences with legal trip-ups that made protecting herself from her attacker difficult. Metil called for stronger legislation to protect victims of domestic violence.
This is the first hearing for both of the bills.
Outside of singing at his church occasionally, brilliant Americana singer/songwriter David Wolfenberger
hasn’t performed in the area for quite some time. After working with the group The Marshwiggles in the late ’90s, Wolfenberger put out three stellar solo albums between1999-2006, earning him high praise both domestically and abroad. But besides occasional performances and scant new material (what he has released has been for charity), the 1999
Cincinnati Entertainment Awards winner for Artist of the Year has kept a low profile for the past several years.
Tonight, Wolfenberger is coming "out of exile"
to join an old friend in concert.
Wolfenberger is re-teaming with Mark
Olson, half of the brain trust behind the best work of The Jayhawks, at
Newport’s Southgate House Revival. Wolfenberger
toured extensively with Olson in the early ’00s as a member of The Original Harmony Ridge
Creekdippers, the group Olson formed with then-wife Victoria Williams
after he left The Jayhawks.
Wolfenberger opens tonight's show with a solo, acoustic set at 8 p.m. and he will also join Olson during his set (along with Olson's current touring partner — and wife — Ingunn Ringvold). Tickets are $12 at the door.
Wolfenberger has been posting some of his older material on his Reverbnation page and, in an email, he said he will be posting new songs "on occasion in the future." Here's one of his earlier cuts, "Tentatively Vince Foster," from his 1999 solo debut, Tales from Thom Scarecrow, released on the local Blue Jordan Records.
Mayor-elect John Cranley and the newly elected City Council announced on Tuesday that, upon taking office in December, they will terminate the city’s plan to lease its parking meters, lots and garages to the Greater Cincinnati Port Authority, following an agreement with the Port Authority to hold off on a bond sale that would have financed — and effectively sealed — the deal. But it remains unclear how much it will cost to terminate the plan, default on the lease agreement with the Port Authority and allow the Port to break its contracts with private companies that would have operated the assets under the deal. The current city administration argues the parking plan is necessary to help balance the budget over the next two years, pay for economic development projects around the city and modernize the city’s parking assets so, for example, parking meters can accept credit card payments. Opponents argue the plan gives up too much control over the city’s parking assets by outsourcing their operations to private companies based around the country.
But some business leaders are upset with the death of the parking plan because it leaves no visible alternative for funding major development projects like the interchange at Interstate 71 and Martin Luther King Drive.
Cranley now says he will not allow a referendum on any ordinance undoing the streetcar project and will instead try to work with supporters of the project to find another way to put it on the ballot if they can gather enough petition signatures. Cranley says blocking a referendum is necessary to avoid spending money during a referendum campaign that could last months. But for supporters of the streetcar, Cranley’s decision seems highly hypocritical following his repeated praise for the “people’s sacred right of referendum” on the campaign trail after City Council blocked a referendum on the parking plan. If the project is placed on the ballot, it will essentially be the third time it’s brought to a public vote; opponents of the project in 2009 and 2011 pursued two ballot initiatives that many saw as referendums on the streetcar.
Meanwhile, Over-the-Rhine businesses and residents yesterday officially launched a campaign to save the streetcar project from Cranley and a newly elected City Council that appears poised to cancel the project. Touting the project’s potential return on investment and cancellation costs, the group plans to lobby newly elected officials to vote in favor of keeping the project going. The group invited Cranley and all elected council members to join them at a town hall-style meeting on Nov. 14 at the Mercantile Library, where supporters will discuss their path forward. So far, supporters have publicly discussed a concerted lobbying effort, a ballot initiative if council passes an ordinance undoing the streetcar project and possible legal action against the city.
The Cincinnati Enquirer’s editorial board is apparently unpleasantly surprised that Cranley undid the parking plan, even though the board endorsed Cranley for mayor after he ran in opposition to the parking plan for nearly a year.
An Ohio Senate bill caps the spending ability of the Controlling Board, a seven-member legislative board that previously approved the federally funded Medicaid expansion despite the Ohio legislature’s opposition. Gov. John Kasich angered many Republican legislators when he decided to go through the Controlling Board to get the Medicaid expansion, which is a major part of Obamacare.
Meanwhile, the Ohio legislature is working on changes to Medicaid that would cap future cost increases and employ professional staff for a Joint Medicaid Oversight Committee that would have the ability to review Medicaid programs and agencies. The bill also includes a portion that clarifies its passage “shall not be construed with endorsing, validating or otherwise approving the (Medicaid) expansion.”
Despite attempts from city officials and local business leaders, Saks Fifth Avenue is leaving downtown to open a store at Kenwood Collection.
Kentucky’s state auditor will look at the Cincinnati/Northern Kentucky International Airport board’s spending policies and expenses, following reports from The Enquirer that the board spent exorbitant amounts on travel, dining and counseling.
The Sixth Circuit Court of Appeals denied the Milford-Miami Advertiser’s request to appeal a 2012 ruling that charged the Gannett-owned suburban weekly with defamation and ordered the paper to pay the defamed plaintiff $100,000 in damages. In a story titled “Cop's suspension called best move for city,” the newspaper wrongly implicated a Miami Township police officer who was previously accused but later exonerated of sexual assault.
Attorney General Mike DeWine warns that some typhoon relief requests could be scams.
Not satisfied with the mere wonder of beginning to exist, some stars explode in a rainbow of colors when they’re born.
UPDATE: Cork ‘N Bottle has reached out to BLDG and the public to apologize for the removal of The London Police mural made possible by BLDG and Mike Amann, who passed away Sunday.
Cork ‘N Bottle’s Tim Hue met with BLDG owners to apologize for the unfortunate timing of the mural removal. The company says it will donate $1,000 to the American Cancer Society in Mike Amann’s name and work to bring The London Police back to Covington to create a new mural. Both the gallery and Cork ‘N Bottle shared the news on social media.
From BLDG’s Facebook page:
“Excellent update on the Cork-N-Bottle and The London Police - Official mural situation:
We just had an excellent meeting with Tim Hue from Cork N Bottle issuing a formal apology along with a gracious $1,000 donation to the American Cancer Society on behalf of Mike Amann.
We fully accept this apology along with Tim's eagerness to correct the situation. We will be working with Tim and Cork N Bottle on replacing the mural in a timely fashion.
Also, we would like to state that the unfortunate timing of the event was in no way intended to be malicious or insensitive in any way.
Thank you Cork N Bottle for doing the right thing for the City of Covington and our community.”
Cork ‘N Bottle also reached out to fans on their page:
“We understand and sincerely regret the hurt that the removal of the art mural has caused our community. We acted out of a concern of a Maker’s Mark copyright violation – which we feared might affect our relationship with a key supplier. We certainly had no intention of offending The London Police - Official, BLDG or the community who had come to appreciate and enjoy the mural. We have been a part of this community for 50 years and as always, wish to work in the best interest for our community's development and growth. We regret the loss of this piece of art, and thank you for your comments and your enthusiasm for Covington. We too share your passion for our neighborhood and love being a part of this community. In furtherance of our sincere apologies, Cork 'N Bottle has made a donation in the name and memory of Michael T. Amann to The American Cancer Society. We invite others to join us.”
ORIGINAL POST: 10 a.m. Tuesday, Nov. 12The London Police mural on the side of Covington’s Cork ‘N Bottle has been removed by the liquor store.
artists TLP came to Greater Cincinnati this August as part of a collaboration
with Covington’s BLDG. The London Police created one large mural and several
smaller graffiti works across Covington during their two-week stay. Cork ‘N
Bottle owners, according to BLDG, agreed to keep one of the works on the side
of their building for at least one year. The mural was removed Monday.
From BLDG’s Facebook Page:“Huge loss in Covington today. Cork 'N Bottle decided to paint over their The London Police - Official mural today. Let us state that the agreement of the mural being painted on the building was that the painting would be up for at least a year after completion. From this point forward, we will surely only shop at The Party Source for all our spirits!”
This decision comes just a day after BLDG owner Mike Amann passed away Sunday after a battle with stage four neuroendocrine cancer.
Friends of Amann and fans of the artwork reached out to Cork ‘N Bottle on Facebook for an explanation. The liquor store posted the following statement this morning.
“The London Police mural was removed from our building at 501 Crescent Ave. yesterday. The reasons for this are that the contract to have it painted was unauthorized and the image was an infringement on the Maker’s Mark trademarked bottle image. Please look for new art coming this spring as a new mural is being properly contracted.”
This blog will be updated when more information becomes available.
Mayor-elect John Cranley, the newly elected City Council and the Greater Cincinnati Port Authority on Tuesday agreed to eliminate the city’s plan to lease its parking meters, lots and garages to the Port Authority once newly elected officials take office in December.
But it remains unclear how much it will cost to terminate the plan, default on the lease agreement with the Port Authority and allow the Port to break its contracts with private companies that would have operated the assets under the deal.
The announcement follows the Nov. 5 election of Cranley and a City Council supermajority opposed to the parking plan.
“It is a tremendously positive announcement for the city and its citizens that the current parking deal is now dead,” Councilman P.G. Sittenfeld said in a statement. “I was glad to help sound the alarm on this deal from the beginning, but this victory ultimately belongs to the public, who were instrumental in providing sustained public pressure. This has shown us that the public values its public assets and wants long-term solutions to our financial challenges, not short-term fixes.”
Cranley and Sittenfeld were joined by
Councilman Christopher Smitherman, incoming council members Amy Murray
and David Mann and Port Authority CEO Laura Brunner for the
announcement. They discussed continuing the city’s partnership with the Port Authority, including the possibility of establishing a development fund for the agency.
Cranley also reiterated his intention to
pursue some of the development projects originally tied to the deal,
particularly the interchange at Interstate 71 and Martin Luther King
Drive. He also said the city will try to find other ways to leverage the city’s parking assets, including the possibility of stricter enforcement and better technologies.
From the start, opponents of the parking plan claimed it gave up too much local control over the city’s parking assets. The plan would have leased the assets to the Port Authority — a local, city- and county-funded development agency — but the Port planned to sign off operations to private companies from around the country.
The plan grew particularly controversial in July, after a previously concealed memo critical of the plan was leaked to media outlets and council members.
The city administration originally claimed the parking plan — and the lump-sum payment it would produce — was necessary to balance the city’s operating budget without laying off cops and firefighters.
But when the plan was held up in court following the current City Council’s approval on March 6, council managed to balance the operating budget without layoffs by making cuts elsewhere, including council members’ salaries, and tapping into higher-than-expected revenues.
City Council also managed to use alternative funding sources to finance the development of a downtown grocery store and luxury apartment tower at Fourth and Race streets, which city administration officials originally touted as a major selling point of the parking plan.
Still, city administration officials claimed the plan was necessary to
fund other development projects around the city, help balance the budget for the next two years and modernize the city’s parking assets so, for example, all parking meters would have the ability to accept credit card payments.
City Manager Milton Dohoney, a proponent of the parking plan, also proposed using the lump-sum payment to pay for a parking garage at Seventh and Sycamore streets. Under the original parking plan, the Port Authority was supposed to pay for the garage; after the Port Authority completed its review of the deal on Oct. 9, it backed down from the commitment.
The Port Authority’s review also reduced the lump-sum payment to $85 million from $92 million. Cranley and other critics said the reduction and the new $14-$15 million cost brought on by the parking garage effectively reduced the upfront payment to $70-$71 million.
Without the parking plan, the planned projects will require new sources of funding if they are to proceed. But to critics, the plan’s dissolution is an intangible victory that has been months in the making.
Updated with more details.
A Sixth Circuit Court of Appeals judge has denied the Milford-Miami Advertiser's request to appeal a 2012 ruling that charged the Gannett-owned suburban weekly with defamation and ordered the paper to pay the defamed plaintiff $100,000 in damages.
In an article published in the Advertiser on May 27, 2010 titled "Cop's suspension called best move for city," the paper implicated Miami Township police officer James Young, who years before had been mired in legal trouble for accusations of sexual assault that were eventually disproven, in its article discussing another sex scandal in the area.
According to court documents, in 1997, Young was initially fired from his job after a woman named Marcie Phillips accused Young of forcing her to perform oral sex on him while Young was on duty. An internal investigation revealed that the two had actually been engaged in a relationship prior and that Young had spent time at Phillips' house while on duty. The allegations, however, were entangled in questions about Phillips' character and concern that she could have been lying about the rape because the relationship between the two had recently ended on rocky terms.
When DNA testing on semen found on a rug in the woman's home proved that the DNA didn't match Young's, he was exonerated and reinstated to his position.
The Advertiser article explained that Young had been terminated for sexual harassment, immoral behavior, gross misconduct and neglect in the line of duty and also stated that "Young had sex with a woman while on the job," which formed the basis for Young's defamation suit.
The 2010 article dealt with similar accusations lodged against Milford Police Officer Russell Kenney, who pleaded guilty to charges that he'd been having sex with Milford Mayor Amy Brewer while he was on duty on multiple occasions.
Kenney was suspended from his position for 15 days, but was later reinstated even though Milford's police chief planned to recommend his termination to avoid having to use an arbitrator to dissect the case.
Although the article is attributed to writer Kellie Giest, the lawsuit revealed that the paper's editor at the time, Theresa Herron, inserted the section of the article that went to trial. According to court documents, Herron added the paragraphs about Young to Giest's story because she felt the article needed more context about why the city wanted to avoid arbitration.
According to court documents from the suit Young filed against the Gannett Satellite Information Network, Gannett responded the to initial complaint by acknowledging that the statement was a defamation of character, but that the statement was made without actual malice on the part of Herron. There is a high legal threshold for plaintiffs to establish a defamation claim, which require the plaintiff to prove several elements beyond a reasonable doubt; for public officials, the threshold is even higher because they most prove that the offender acted with actual malice — in this case, knowing the claim about Young was false and printing it anyway — to win a lawsuit.
In its appeal, Gannett argued that Young, as a police officer, did not meet the threshold of a public official required to successfully establish a defamation claim and that Herron's inclusions were based on rational interpretations of documents on the case — even though Young denied having sex with plaintiff Marcie Phillips, he admitted the two had kissed and the arbitrator's report documented one instance in which Young was at Phillips' house while on duty.
In the court's opinion denying Gannett's appeal, Judge John Rogers writes that Herron admitted she had read the arbitrator's report from Young's case, which provided no evidence that Young and Phillips ever actually had sex at all.
"There was sufficient evidence for the jury to conclude that Herron was well aware that the statement she added to the article was probably false," it reads. "Herron was also reckless in failing to conduct any investigation beyond the records of the original case. She did not seek out Young for comment, nor did she talk to anyone involved in his case."
Dozens of residents and business owners gathered in Over-the-Rhine on Tuesday to launch a campaign that seeks to persuade Mayor-elect John Cranley and the newly elected City Council to support the $133 million streetcar project.
Attendees included Ryan Messer, who used his life savings to renovate his home in Over-the-Rhine; Derek Bauman, co-chair of Cincinnatians for Progress; Jean-Francois Flechet, owner of the Taste of Belgium; and Derek dos Anjos, owner of The Anchor.
“We’re here today to keep the conversation going outside of political rhetoric and partisan politics,” Messer said. “Simply put, the streetcar is a component of Cincinnati economic development, and it’s a project that grows the whole city — not just an urban core, which, by the way, is an important part of developing this region.”
The group intends to lobby Cranley and the newly elected council, which appear poised to cancel the project when they take office in December.
At least three of nine elected council members — P.G. Sittenfeld, David Mann and Kevin Flynn — have told media outlets that they want a full accounting of the project before making a final decision. Another three — Chris Seelbach, Yvette Simpson and Wendell Young — are on the record as supporting the project. The final three — Christopher Smitherman, Charlie Winburn and Amy Murray — adamantly opposed the project in the past.
Members of the pro-streetcar group invited Cranley and all elected council members to join them at a town hall-style meeting on Nov. 14 at the Mercantile Library, where supporters will discuss their path forward. So far, supporters have publicly discussed a concerted lobbying effort, a referendum if council passes an ordinance undoing the streetcar project and possible legal action.
As CityBeat first uncovered, the costs of canceling the project are currently unknown, and some of the costs could actually fall on the operating budget that pays for police, firefighters and human services instead of the capital budget that is currently financing the streetcar project.
Much of the uncertainty falls on ongoing construction for the streetcar, which has continued despite the newly elected city government’s intent to stop the project. As of September, the city spent $23 million on the project and contractually obligated $94 million, some of which city officials say will need to be paid back even if the project were canceled.
The U.S. Department of Transportation also told city officials in a June 19 letter that nearly $41 million of nearly $45 million in federal grants would need to be returned if the project were terminated.
Supporters also claim Cincinnati would be giving up a 2.7-to-1 return on investment over 35 years if the city abandoned the streetcar now. That estimate is derived from a 2007 study conducted by consulting firm HDR, which was evaluated and supported by the University of Cincinnati.
Project executive John Deatrick says the HDR study is now outdated and the city is working on updating the numbers. Still, Deatrick says the project is intended to spur economic development, not just provide another form of public transportation.
The Nov. 13 issue of CityBeat will give a more in-depth look at the campaign to save the streetcar and some of the people involved in the movement.