Category: Innovation (page 2 of 4)

September 1, 2019

Renovation Meets Preservation

Originally published in the September 2019 issue of (614) Magazine

Neighborhoods are defined by more than just houses and their history. But aging architecture often creates community as homeowners share struggles and success, collectively trying to preserve the past and embrace the future.

Few Columbus enclaves are as eclectic or iconic as the Short North. Flanking an ever-evolving commercial corridor and heart of the local arts scene for decades are two distinct neighbors that seek the perfect balance between renovation and innovation —Victorian Village and Italian Village. Celebrating this convergence is the Short North Tour of Homes & Gardens, an annual affair now marking its 45th year. Most tours of this type tend to favor early summer to beat the heat and ensure everything is in full bloom. But the neighborhood that’s never afraid to start a new trend showcases their homes in early fall instead, offering a slightly different lens on faithful restoration that combines classic and contemporary.

Décor is a reflection of personality, but design often requires additional instincts and insights. Architecture isn’t for amateurs. That’s when Steven Hurtt gets involved. The principle partner of Urban Order happens to have had a hand in half of the homes on this year’s tour.

“The first step in the process is to ask clients what they’re looking for—like a larger kitchen or a mud room—amenities that don’t exist in these older homes,” Hurtt explained. “We live differently now than when many of these homes were built.”

Much of American history and popular cultural is chronicled through hints found in home design. From ordinary to ornate, simple to sophisticated, the bones of any house offer clues to changing dynamics and demographics. Living spaces were formal or informal with little overlap. The average family size increased and decreased over time. Kitchens were for cooking, not eating. Hardly anyone had a closet, much less one you could walk in.

“Our clients want the charm of an older home, but they also want a larger bathroom or a master suite,” he noted. “How do you reconfigure existing space or add on to accommodate more modern living?”

Consistency is frequently the demarcation from one neighborhood to the next. Even empty lots that are occupied decades after adjacent homes were built tend adhere to the architectural elements of the era. But the Short North has always blurred the line of old and new, and the Tour of Homes & Gardens attempts to capture that range of styles found in the streets that surrounding it. The mix of homes on this year’s tour is no exception, a snapshot of the Short North itself.

“One of the homes on the tour, by adding just a little one-story piece, we were able to create a back porch, a powder room, and a rear entrance with a mud room,” Hurtt explained. “That gets all of those things out of space of the existing house so we could make a bigger kitchen.”

A living level laundry hardly seem like a luxury request, but running power and plumbing to an unused alcove isn’t always uneventful. Renovations may require removing layers of earlier modifications that lacked necessary foresight just to get down to a clean slate. Some early architectural elements seem like anachronisms, but may still serve a more modern purpose. Hurtt conceded eliminating a butler’s pantry is often the best option to expand an existing kitchen into a more spacious entertaining area. But he has also introduced them into new kitchens as prep or clean up space for those who prefer to reserve the kitchen proper for guests without the obvious mess.

Additional homes on the tour Urban Order helped to improve include a warehouse conversion to an open floor plan, two extensive interior reconfigurations within the existing footprint, and a new build for a couple who has lived in the neighborhood for years and loved it so much they couldn’t imagine moving to start construction anywhere else.

“Reconfiguring existing space only goes so far,” he admitted. “We do a lot of additions, and work with the Victorian Village Commission and the Italian Village Commission to maintain the integrity of the existing architecture. Any alterations need to be sensitive to that.”

Preservation isn’t just practical; it has to be integral. Not all neighborhoods have such restrictions, but those that do tend to hold their value. Even if it adds to the cost or complexity, these efforts to preserve what would otherwise be easily lost pay off when homes sell, or in hindsight as homeowners appreciate the extra effort once the project is complete. The dramatic contrast between Queen Anne and quaint cottage also highlights the extremes found within just a few blocks and perhaps offsets the less tempered pace of change along High Street, a retail upheaval many long-time residents fear is increasingly pushing local businesses out.

“We’ve been doing this for so long, we can anticipate the kind of response we’re likely to get from the architectural review. It might not make sense to move every wall,” Hurtt revealed. “We have clients who come to us with ideas that may prove problematic, but we can offer options they may not have considered to achieve the same goals while still respecting the charm of their homes and the character of the neighborhood.” ▩

The Short North Tour of Homes & Gardens is September 15. For details, visit shortnorthcivic.org/home-tour

July 20, 2019

From Ohio to the Moon

Originally published in the July 2019 issue of (614) Magazine

It’s difficult to fathom in the age of a thousand channels — not to mention Netflix, Amazon, and Hulu — a single moment when the entire world was watching the same thing at the same time on television. But in July of 1969, nearly every set was tuned in to watch human history unfold.

Five decades is a long time to forget, and grainy footage and faded photos let memories dim and make the achievement sometimes seem more distant than the Moon itself. It was Ohio’s own John Glenn who first took Americans into space, and Neil Armstrong who placed that first footprint on the lunar surface. So it was only fitting that two guys from Ohio would once again astound audiences with the imagery and adrenaline of that fabled first step on our nearest celestial neighbor.

Todd Douglas Miller and Matt Morton grew up together in Gahanna and have known each other since grade school. Their short-lived high school band played a few graduation gigs, but when it came time for college, they parted ways yet remained creatively connected. Miller moved to Michigan for film school, but when his student documentary set in their hometown needed some songs to round it out, Morton’s college band he’d formed at Denison University supplied the soundtrack. It was their first filmmaking collaboration, but hardly their last.

At this year’s Sundance Film Festival, their latest project, Apollo 11, stunned the jury and the industry with long-forgotten, large-format footage that made the Moon launch look like it happened yesterday. They’d set out to make a movie, but created a time machine.

“When we first contacted the National Archives about transferring every frame of film they had from Apollo 11, I’m sure they thought I was nuts,” recalled Miller. He knew the task was so daunting that no one in half a century had dared to even consider it. “About three months into the project, they wrote us an email with a progress report on everything they had in 16mm and 35mm from their NASA collection. But buried in the middle of the message was this discovery of 65mm Panavision footage. We didn’t know how much or the condition at the time, but it looked promising.”

“Promising” is polite parlance for unknown, but optimistic. Some of the reels had dates, a few even had shot lists. Others just had Apollo 11. It was an uncataloged mess by studio standards, but an untouched tomb of priceless artifacts to Miller and his team.

“The parallel story is that the post production facility I’d been working with in New York for a very long time was just getting into the film scanning business when a lot of companies were getting out,” Miller explained. “They were developing technologies that could handle large format film up to 70mm. The stars really did align.”

In an earlier era of film before a stream of electrons delivered pristine pictures and sound, images and audio weren’t one product until a film was edited and printed for exhibition. Apollo 11 curates thousands of hours of both down to an hour and a half opus using raw materials and equipment designed specifically for the project, most of it never seen or heard before. Miller and the team worked for weeks in three shifts, 24 hours a day, scanning each frame, and divvying up 11,000 hours of mission control and flight recordings to match up to footage later.

“We copied all of the files and just put them on our phones. My producing partner had this knack for finding these little moments of humanity. Our office is between our two houses. It was just a short walk for both of us, so we’d listen on the way,” Miller recalled. “I’d show up having just listened to 15 minutes of static and he’d have this revelation captured from the onboard audio of this song, Mother Country, which we ended up editing into the film. He also found audio of a woman’s voice who was a backroom flight controller arguing with one of the front room controllers about the return trajectory. Researchers and historians are going to spend decades on just the audio.”

But even the rich texture of images and conversations lacked the palpable tension necessary to pull everything together and put the achievement of Apollo 11 in the proper context for audiences. Luckily, Miller already had someone in mind working side-by-side from the start.

“When we did the first test screening, we basically had footage of the astronauts suiting up leading right up to the launch and the liftoff,” explained Matt Morton, who composed the entire score from his basement studio in Hilliard. “But what stuck with me most was the look, not of fear, but the sense of duty and the weight on their shoulders. I scored it with the same reverence and gravity, in that moment when they didn’t know, when none of us knew, if they were going to make it.”

Echoing the images and audio required rethinking the way the two had worked previously on several shorts, commercial projects, even acclaimed documentaries like Dinosaur 13 and The Last Steps, which chronicled NASA’s final mission to the Moon. Morton wanted something old, but original.

“When I told Todd I only wanted to use pre-1969 instruments, and most of the sound to come from an old Moog synthesizer, he needed some convincing,” chided Morton. “I try to stimulate discussion with all of my clients, offering suggestions and perspective from my take on the project. But Todd and I have this shorthand. I know how he feels about different styles of music down to the instruments. We can be honest.”

The result is an immersive experience that puts audiences of any age on the launch pad, in the lunar capsule, and on the Moon with unprecedented authenticity. The whole film feels almost voyeuristic with a direct cinema style that’s been all but abandoned in favor of contemporary cut rates and CGI. But perhaps most notable are the reaction shots throughout. If 2001: A Space Odyssey was Stanley Kubrick’s vision of mankind venturing into the unknown void, then this could be Steven Spielberg’s, amplified by a score as deceptively complex and unnerving as any science-fiction thriller.

The enormity of Apollo 11 begs for the biggest screen possible. Both Miller and Morton recalled fond memories of field trips to COSI as kids and the curiosity it helped foster, which comes full circle with a special 47-minute museum cut now screening at COSI’s IMAX theater throughout the summer—just the right length for aspiring astronauts and aerospace engineers. The full 93-minute cut will air on CNN July 20 in honor of the 50th anniversary of the Moon landing. The score is available on CD and digital, but will have a special anniversary vinyl release as well.

Also worth noting, neither has any firsthand memory of the Moon landing. They’re barely old enough to remember the moonwalk. Apollo 11 is effectively a found footage documentary, one that could earn both Miller and Morton an Academy Award for a film shot entirely before either of them was born. Both were quick to quash such speculation, as sincere artists do, rewarded by the achievement, not the accolade. As with previous projects, inspiration remains a primary motivation.

“Just last week I was in Amsterdam for a premiere at the EYE Film Institute and learned they have 39,000 reels of film in their archive,” revealed Miller. “Future filmmakers should get out their flashlights. There’s a lot more footage waiting to be rediscovered.” ▩

Apollo 11 is back in theaters nationwide for limited IMAX engagements and is now available on Hulu.

March 1, 2019

Outside the Box

Originally published in the March 2019 issue of (614) Magazine

Holiday weekends in Hocking Hills offer ample opportunities for outdoor adventure. But Seth and Emily Britt’s first overnight stay at the site of their modern take on a cabin in the woods was more than either anticipated.

The family of four (now five) had recently closed on the lot after an exhaustive search for just the right spot to build what would become known as The Box Hop, a home away from home built from three enormous steel cargo containers assembled in gravity-defying fashion. The sleek aesthetic and amenities break from the more traditional rustic retreats just a short drive from Columbus.

Exceeding expectations was always the plan. Getting rescued from rising flood waters in the middle of the night was not.

“Emily woke me up at around 2AM freaking out. She’s normally the calm one, but she was terrified,” Seth recalled. “The water was creeping up the side of the RV. The fire department had to evacuate us because we couldn’t get back to the other side of the creek.”

When the waters receded, the Britt family found one of the shipping containers had actually floated downstream more than 300 feet into their neighbor’s yard. Rainfall and runoff would continue to plague the construction process. But after a decade of dreaming, years of planning, and months of delays, their unlikely abode was finally ready to share with friends and strangers alike.

“It all started when I was working at FedEx as a third-shift package handler while going to Ohio State,” he revealed. “I grew up in a trailer in Jackson County and realized the shipping container I was loading was larger than the home I grew up in.”

Seth was already pretty handy, having rehabbed a duplex in Olde Towne East. The couple’s first home was a HUD house in West Jefferson that had been vacant so long it was overrun with raccoons. Neither was easily put off by hard work, or a little wildlife. A growing family drew them back to the city, but never dampened their dream.

“We sold that house when the market was up and moved to Westgate. After putting in bids that fell through on several other properties to buy and fix up, we decided maybe it was finally the right time to consider the shipping container house,” he explained. “We spent a year trying to find the right lot with the right size, location, and access. Luckily, Emily knew exactly what she wanted, which helped narrow our options.”

Emily had earned her real estate license along the way, and had a natural knack for design. Her father works in environmental construction, so those insights informed and inspired her striking silhouette for The Box Hop. But the functionality grew entirely out of the family’s personal connection to the perennial destination for hiking, rock climbing, and scenic serenity.

“We’d been going to Hocking Hills for years, so we had this mental list of things we appreciated where we’d stayed, and things that were missing,” she recalled. “We wanted to create a different spin, the kind of place that would be more than just somewhere to stay, that felt like a place we would want to live.”

Much of the meteoric appeal of AirBnB is its authenticity over another ho-hum hotel room. But trying to make a place feel more like a home can easily end up a hodgepodge. The Britts sought the right balance, inside and out, by creating a simple and sophisticated stay unlike anything else in the Midwest. The offset configuration of the two lower containers opened up a surprisingly spacious entertaining and dining area with a private bedroom and well-appointed kitchen at either end. The central spiral staircase leads to the second story patio and rotated third container with wall-sized windows at either end that blur the barrier between the bedrooms and the forest that surrounds them.

“We worried they would look boring side by side, so I played around with the design. When we considered options for the second story, I knew the containers were designed to be stacked and I could turn the top container and still support the weight. Then I just tweaked it here and there to try to line up the plumbing,” she said modestly. “The bedrooms would be a little smaller due to the width of the containers, but I knew we could work with that by bringing the outdoors in. The windows open the bedrooms to all of the seasons we have in Ohio.”

The result is stunning and unmistakable. The steel and glass that should contrast the terrain mysteriously complement it. And at the right time of day, the reflection of the pines in those over-sized windows makes what remains almost disappear into the tree line like postmodern camouflage. If you somehow combined Henry David Thoreau’s reverence for the natural world with Frank Lloyd Wright’s esoteric style, it would surely look a lot like The Box Hop. It’s Walden meets Fallingwater.

“We’ve had a lot of folks ask us if we’d ever sell the place. But for us, it’s personal,” Seth confessed. “We spent countless hours designing every aspect, and it’s still a vacation home for our family and to come with our friends.”

Anticipated additions to The Box Top include suspended seating and an outdoor shower to complete the existing patio area and hot tub, as well as a large-scale mural on the exterior that references and reinforces the emerging brand — all elements that were deferred due to construction delays. The couple coyly hinted that another container getaway isn’t out of the question. With more than 18 acres available, the additional location would offer the same privacy as the original, but with its own unique charm and character.

“For now, we don’t want to disrupt our guests with chainsaws clearing a landing spot for another house,” Emily laughed. “But we also didn’t expect to book up so quickly.” ▩

For details on The Box Hop, visit theboxhop.com

January 4, 2019

Capeless Crusader

Originally published in the January 2019 issue of (614) Magazine

Carter Stewart isn’t your average crimefighter, and he’ll surely shun the description as much as he defies the stereotype.

Following a career watching broken systems contribute to incarceration, the former US Attorney for the Southern District of Ohio left government service to become a full-time mentor for the social enterprise sector. Riding a borrowed desk at the Columbus Foundation, he’s a one-man Midwest outpost for the Draper Richards Kaplan Foundation, recruited and charged with identifying worthy causes and applying Silicon Valley ingenuity to philanthropy-focused businesses — all to the tune of more than $100 million.

Imagine if instead of investing in capes and cowls, Bruce Wayne spent a fortune funding innovative approaches to solving long-standing injustices?

Not exactly cinematic, but far more effective. And it’s also more fundamental than simply fighting crime; it’s addressing the underlying circumstances that foster it. The shortage of services, access, and advocacy are all predictable indicators for both victims and perpetrators. Equipped with the insights and instincts of a prosecutor weary of always being on the receiving end of avoidable tragedies, Stewart shares his experience and expertise with fellow do-gooders, guiding them from shaky startups to scalable success.

We first met a few months back at Roosevelt Coffeehouse, itself an anchor for the local social enterprise movement. Overdue for a follow-up cup, we discussed the future of “purpose beyond profits” and why Columbus is the perfect incubator for ideas that really could change the world.

A career in criminal justice isn’t the typical résumé for a social justice champion. You’ve seen the world through an entirely different lens than most foundations. How has your work as a US Attorney informed your search for solutions through social enterprise?

It’s not uncommon to leave law to go into the nonprofit sphere, but it is uncommon to leave prosecution. The only other US Attorney I know who has done it is in Pittsburgh. I actually surveyed colleagues at the DOJ to see if anyone else had done this, and he was the only one. My desire to help is based on what I’ve seen as a prosecutor as much as my childhood experiences growing up in the South, in Atlanta. So many of the people my office prosecuted came from broken systems — school systems that weren’t adequate, housing situations that were poor. So many people in state and local jails suffer from mental health issues, addiction issues. I felt that if we could fix those broken systems, it would reduce the number of people who end up in the criminal justice system.

Social media and social enterprise seem to have come of age at the same time. There’s not a mutual dependency, but an undeniably growing parallel between purpose and purchase. What trends in digital connectivity distinguish successful social enterprises from those that fizzle out?

I can’t say there’s one pattern, but there is recognition of the importance of social media, especially for start-up organizations that don’t have a big budget and want to spread the word as far and wide as possible. Everyone we fund has to have a website. It sounds obvious, but they have to have something up and running. But we still have some organizations that are spread more by word of mouth. ROX, Ruling Our Experiences, is an excellent example. It’s a program that teaches girls leadership, entrepreneurship, self-defense, self-awareness. The 20-week program is spread, mostly in-person, by the founder, Dr. Lisa Hinkelman, speaking at conferences to school counselors — who then Google it. It’s the second bite at the apple. They hear from her first, then they learn more online and decide it’s something they want to pursue. But our organizations aren’t limited to the US, and some are dependent on social media to work. We have an organization based in Uganda called BarefootLaw. All of the lawyers are in the capital city of Kampala, but most of the people live in rural areas. So when they have legal issues, they use Facebook messaging to connect to BarefootLaw. It wouldn’t exist without that platform. So it’s a mix. Some rely on it, and for others it’s secondary. But where it’s critical for everyone is funders, who are more likely to research an organization before contacting it directly. They don’t want to raise hopes or expectations too early. It’s interwoven and social entrepreneurs recognize that.

There can be friction between traditional nonprofits and social enterprises serving the same cause. Ideally, raising awareness creates a larger pie, and everyone gets a bigger slice. How should social enterprises answer the concern that they’re competing for the same donors and dollars?

There is a perspective among some funders that there are too many nonprofits — to solve education, to solve poverty. Instead of creating new ones, we should improve and, perhaps in some cases, combine the ones that we have. There’s a degree of creation exhaustion. I happen to disagree. You need constant creation and rebirth, new ideas cycling in. Traditional nonprofits that have never considered the social enterprise model might feel threatened by that new entity going after the same funding dollars. In an ideal world, the new entity inspires the older entity to change and to grow. I consider the YMCA one of the oldest social enterprises in the country because they have a revenue stream. You pay for membership. So even though most nonprofits haven’t had that revenue stream, social enterprises have been around. It’s just been a small slice. I haven’t heard traditional nonprofits wishing social enterprises would go away as much as how can they be more like them and less dependent on philanthropic capital. And I think social enterprises can learn from nonprofits, their leadership structures and governance models. It’s a dynamic evolution that will hopefully lift everyone up.

Traditional businesses can also feel threatened by social enterprises. We don’t just vote every four years for president and every two years for Congress. We vote every day with our wallets. How do both kinds of businesses build brands that inspire their customers to become agents of change?

That competition should help businesses recognize the importance of having a second bottom line. Maybe not a social mission, but a mindset of corporate citizenship. That’s what drives people to Roosevelt Coffeehouse. They know when they spend money, the company does good things with it. It’s a brand they feel good supporting. TOMS Shoes is a classic example — you buy one and they give one. Not all tension is bad, and there can be positive creative tension between traditional businesses and social enterprises. Draper Richards Kaplan has someone on staff with whom we connect all of our entrepreneurs, to understand that communications is how you reach people, but branding is more, and an essential part of our process. Some folks come with more savvy than others, but in addition to helping build capacity they’re also building a brand. It’s something you should do in the early stages of your organization, so it becomes ingrained in your DNA.

The Midwest often gets overlooked when it comes to venture capital, despite our academic credibility, technological capacity, and desirable test market demographics. What does the Draper Richards Kaplan Foundation see in Columbus that many still miss?

We’re a particular type of donor. Not all donors look for what we look for, most don’t. Most foundations I know won’t fund an organization unless they’ve been around for four or five years. And they don’t always look for organizations with the potential to scale. They look for organizations that are well-run, already likely to survive, and succeeding in their mission. We look for organizations at an earlier stage, those that have finished a pilot and want to go big. Not just Columbus, but in Cleveland, Cincinnati, Pittsburgh, Chicago, maybe nationwide. We look for ideas that have the potential to disrupt, to change broken systems, and not many funders share that desire. But in Columbus, there’s a hunger for it. Social enterprise is a buzzword, and they’ve been in Columbus for years before I got here. But 75 percent of funding still goes to the east coast and the west coast, and that’s a huge oversight. People were looking for mechanisms to get national funding to Central Ohio, to build and scale the organizations that are here and those just getting started. There’s a synergy between governments and businesses, nonprofits and social enterprises. It’s an enthusiasm and pride many on the coasts don’t realize is here. I was once one of those people. I lived in New York and California. It was my wife who decided we were moving to Columbus 13 years ago, and I still tell people it’s the best decision I never made. ▩

For more on social enterprises and the Draper Richards Kaplan Foundation, visit drkfoundation.org

December 13, 2018

Barbershop Quintet

Originally published in the December 2018 issue of (614) Magazine

The foremost fear of many musicians is failing to fill a room, and rightly so. The club circuit is cutthroat, and light ticket sales and lackluster turnout can easily kill a band’s future before it even begins.

Empty seats are hardly a concern at the most exclusive live music venue in Columbus, where the audiences rarely outnumber the performers and it’s typically standing room only.

That’s because it’s not a basement bar or small stage. It’s a barbershop.

Jim Morris might surprise you as the proprietor of a place called The Mug & Brush. With his wavy white mane and robust beard, he looks like someone who hasn’t seen the inside of a barbershop in a while, not the owner of one. (Two in fact, between the original in the Old North neighborhood between campus and Clintonville, and now an equally quaint second location in Gahanna.)

But as the creator of an indie music series shot on a shoestring that has acts lining up to get in, his relaxed locks and attitude are entirely on brand.

“We started with a couple of prototype sessions with The Floorwalkers and Nick D’ and the Believers. Even before that, I’d asked just about every video and sound guy who came through the shop about the project,” Morris recalled. “I’d cut Keith’s hair for about ten years, but hadn’t seen him recently because he was growing his hair long. He stopped by and I told him about the idea. That’s how I finally hooked up with the crew.”

Keith Hanlon is exactly what you’d expect from a seasoned sound guy. As a producer and audio engineer, he’s as adept at booking the bands as he is running the board in a recording studio that’s far more complex than just a warm old room with high ceilings. Hanlon is affable and technical, intent on isolating each performer’s voice and instrument with assuring precision, despite the odd mix of textures and street traffic.

“The biggest issue I have is bleed onto the vocal mics. It depends on how loud the drummer is,” Hanlon quipped, himself a drummer. “As we’ve progressed, we’ve gone from a pieced together PA system for monitors to a decent USB mixer and enough equipment accumulated along the way to create a studio feel that still sounds live.”

“It began with a few friends and bands we knew, like Birdshack and Righteous Buck. They agreed sight unseen, it was a leap of faith,” Morris revealed. “They didn’t know the crew or exactly what it was all about, but they said, “We’re in,” anyway. Within six months, bands were calling us.”

Though The Mug & Brush Sessions is a music series, don’t mistake it for a podcast. It’s decidedly cinematic, with multiple cameras and a balance of shots that never looks or sounds sanitized or slick. With angles and close ups as high and tight as a haircut, it’s raw and refined at the same time.

“We do several takes, but we don’t intercut. Sometimes you’ll pick up something only one person will notice,” Hanlon explained. “You may see it on the performers face, but we’ll just let it go and use another shot. I’d rather have an imperfect performance than lose the magic.”

Getting a big sound out of a small space isn’t easy on either side of board. Bands used to playing for hundreds, perhaps thousands also have to scale down their performance to the intimate surroundings. Engineering can also prove imperfect, amplified by the occasional OS update with unintended consequences.

“Things break down, and an update can render a piece of equipment useless. Doc Robinson had eight performers, the most we’ve ever had in the room. I could still use the mixer, I just couldn’t record from it,” Hanlon explained. He ended up cobbling a couple of pieces of equipment together to manage the monitors and capture the recording, syncing the 10-channel session afterward. “It was the only way we could do it. Sometimes, you just have to make it work.”

Though there is a bent toward indie rock and Americana, there are definitely no limits on genre. From local folks who have earned audiences beyond Columbus, like Lydia Loveless and Josh Krajcik, to the EDM of Damn the Witch Siren and spunk rock darlings Cherry Chrome.

“I’d like to see more of the less frequent genres we’ve had, like Blueprint and Dominique Larue,” Morris recalled. “We also had a chamber music string quartet once, Carpe Diem.”

“We try to book acts with musical diversity and diversity in general. I’d love to have a Somali or Latino group, something you won’t find outside those communities,” Hanlon followed.

As a Midwest crossroads, their relationship with Natalie’s, proximity to the Newport, and pipeline from Nashville has also yielded some unexpected acts for The Mug & Brush Sessions.

“We’ve had Peter Case, and Califone, and Greg Trooper, though there are so many local acts, we really don’t have to look outside Columbus,” noted Hanlon. “I’d love to get Michael Hurley. He’s always playing at Nelsonville Music Festival and up at Natalie’s.”

Beyond the bands, the real genius of the show is how scalable and shareable it is. Shot on the same DSLR platform favored by independent filmmakers, it feels authentic without being claustrophobic. Hosted on YouTube instead of some hyper-restrictive or homespun solution, it’s easy to send to a friend with a click. For many bands, it’s become a measure of credibility or a professional milestone, like the local equivalent of an appearance on Austin City Limits or MTV Unplugged.

It’s also just as easy to watch it on a television screen as a smartphone or computer. Performances also hold up on even bigger screens, occasionally featured at Mojoflo’s Music Video Mondays at the Gateway Film Center. The stripped down style of the sessions actually succeeds where most music videos fail, transporting the audience to a live performance, as though they’re sitting right there in a barber chair between Jim and Keith, taking it all in.

“We’re creating an archive of the Columbus music scene we hope will still be relevant decades from now. But that wasn’t exactly our original intent. We just wanted to feature local musicians in a new way,” Morris noted. “When we started, I hoped we might make it to 100 episodes. But now that we’re five years in, who knows. Maybe we can make it to ten?” ▩

For a complete archive of The Mug & Brush Sessions, visit themugandbrushsessions.com

November 10, 2018

Game On

Originally published in the 2018 issue of (614) FAMILY

Game nights are increasingly popping up at bars and breweries, and not just trivia. Old school board games and their modern-day descendants tap into the social necessity for competition. But parents are left out of the intersection of beer and board games as much as their kids—unless you head to Tabletop Game Cafe in Clintonville, a place that finally brings pints and half pints together.

With more than 500 games in their enviable inventory, offering the opportunity to “try before you buy”, owner and parent Aaron Brown wanted to create a destination for families as well as adults. But it’s not always about competition.

“We have more than 20 cooperative games where everyone is on the same team playing against the game. I recommend those to a lot of families with mixed-age kids,” he explained. “That way the kids aren’t playing each other on an uneven field. With cooperative games, they’re all working together.”

Imagine a play cafe, but for older kids, their peers, and parents. It’s genuinely multigenerational, which lots of so-called “family” activities really aren’t. Most relegate adults to simply a supervisory role. Tabletop is analog and interactive for everyone. It’s about disconnecting, and reconnecting.

For a minimum purchase of $6 per adult between food, beverage, and retail sales, you can pull up a stool and get your game on. Kids under 13 are even included with a grownup. Food options are fresh and better than your average bar fare, from hot sandwiches and espresso drinks to sweet and savory empanadas. There are also three dozen local and regional beers from which to choose between drafts, bottles, and cans, also a better selection than most bars.

“I love Argentinian empanadas because they’re the perfect gaming food. They’re small enough to hold in one hand and eat while you play,” he explained. “We started with those, but added deli sandwiches and some more snacks over time.”

Just because beer and board games go together, that doesn’t mean there isn’t any bureaucracy. Tabletop opened in September of 2016, but couldn’t add alcohol sales until the following February.

“Because Clintonville is a local option area, I had to collect signatures for a liquor license—twice. The first time, they discounted about 20 signatures and we ended up seven short. So I had to do it all again six months later to get on the ballot,” he recalled. “We had plenty of support once there was a vote. People understand Clintonville isn’t going to turn into campus anytime soon.”

Board games aren’t always about skill. There’s still a lot of luck, and the same is true of most businesses, occasionally serving a surprise clientele.

“We have tons of families who come in, including grandparents. But an unexpected demographic that we really appeal to is divorced parents who have weekend visitation with their kids—particularly dads and daughters,” Brown noted. “Board games don’t really have a presumed gender like a lot of activities. If you ask people what mothers and daughters do together, or what fathers and sons do together, you’re going to get a long list. But I didn’t realize how effective games are at crossing a multigenerational gender divide. We have regulars who come in on the weekends, with the time they have together, and they bond over board games.”

Games offer academic and developmental benefits, more tangible and tacit than the scholarly abstractions of game theorists. From math and science to history and geography, games can stretch the brain—tapping into popular culture, without becoming a monoculture. (Though it doesn’t hurt to have Stranger Things introduce a new generation to Dungeons & Dragons.)

“We have two kids who are academically doing great, and I attribute a lot of that to the board games we play, and how much they played growing up,” he opined. “It’s a learning experience, but they’re having fun. Homework can be a chore, but you can incorporate many of the same skills into a game, and all of a sudden kids want to do it.”

Board games also create opportunities for children and young adults who may struggle with sports or other common adolescent activities due to mobility challenges and disabilities which aren’t always obvious.

“We have several groups of kids on the (autism) spectrum who come here, and I love sharing games with that community. For kids who have trouble figuring out social cues, they often understand games really well because it’s a strict rule set,” he revealed. “These kids can interact with each other over a game and they have a great time. I think it’s important for them to have an opportunity to succeed and show their strengths to each other.”

Like any new pursuit, there’s always some apprehension. Brown doesn’t expect his staff to know the minutia of every game, just have a good grasp of a handful of go-to options for first-time families or those who may need a nudge in the right direction.

“On a Saturday night, there are groups of people, cracking up, and having a good time. One roll changes the whole game, and the table explodes,” Brown explained. “We have couples and families who come here to meet up with friends and try something new, who then become regulars. It’s an energy and an atmosphere you’re not going to get just playing at home.” ▩

For a complete list of games available and upcoming events, visit tabletopgamecafe.com

WHAT MAKES A PERFECT GAME NIGHT?

Aaron Brown isn’t just a guy who love games. He understands what makes a great game night and what makes a game great, having become a frequent source of insight for would-be game creators as they refine their ideas and seek investors.

Board games, not bored games

“I love games in which every turn you have to make a decision, there is something to do, you can make some mistakes early and recover later, and games you can teach in about 15 minutes and finish in about an hour.”

It’s okay to keep it simple

“I don’t need a super complicated game. I like to have several games over a game night. If you play one game for six hours, you probably only have one winner. But if you play three or four games, you can have multiple victors, and everyone gets to figure out what kind of games they like.”

Something for everyone

“If you play just one game and someone doesn’t like it, that’s their whole night. If everyone loves a game, you can always play it again. If not, you can try something new. Everyone isn’t going to like every game, so having different kinds of games increases the odds that everyone will find one they really enjoy.”

October 2, 2018

Free Sample

Originally published in the October 2018 issue of (614) Magazine

Microgreens are the original petite cuisine. Dainty and delicate atop any dish, served at some of the most revered restaurants in Columbus, the highfalutin alternative to salad or sprouts might have an unlikely source.

Drew Sample supplies a select set of chefs throughout Central Ohio, eager to acquire his premium small-scale produce, from an equally small-scale farm he operates on a tiny lot in North Linden—a neighborhood hardly known as a hotbed of horticulture.

“For me, urban farming really was a political act, it’s showing what you’re about instead of what you’re against,” he explained. “Decentralizing the food system and helping to create a different relationship between people and what they eat is essential.”

An intriguing addition to an otherwise sanguine salad, those diminutive doses of arugula, mustard, and cilantro aren’t meant to make your plate pretty. Microgreens have all of the nutrient density and flavor intensity destined to become a mature plant, just harvested in days or a couple of weeks instead of months.

“They’re more than an upscale garnish, but sometimes folks don’t know where to begin beyond salad. I think burgers are the way to go,” he explained, noting how he tries to help chefs get creative. “They add so much color and texture. My dad surprised me by putting micro-radish on mashed potatoes, it’s peppery. So now I’ve converted several people to microgreens with this photo he sent me of his mashed potatoes.”

Hailing from Toledo, with family roots in Kentucky, Sample returned to Columbus in his late 20s, having spent a stretch of his formative years here from adolescence to early adulthood. But a soul-crushing corporate sales job and suburbia never quite fit his free spirit or sense of purpose.

“I learned something from every job I’ve had that helped me go into business for myself. But most of the time, it seemed like I was just getting paid to deal with irate customers,” he revealed. “I was looking for a business to fall back on and farming was something I knew I could do.”

Sample’s inspiration and knowledge of farming came firsthand from his grandfather, a farmer who left Appalachia looking for the promise of urban life, only to find a different kind of struggle. It’s a work ethic that rubbed off from an early age, and when the opportunity arrived, it was seed money from his grandfather that helped him start Capital City Gardens.

“I harvested yesterday and I’m going to deliver everything today. That’s my edge over bigger companies that charge more for a lower quality product,” he explained. “A lot of farmers charge a delivery fee. I live in the city, so I don’t have to—and if chefs let me know they need something I happen to have, I can add it to the delivery.”

There are no slick brochures or advertising budget. Capital City Gardens is as organic as marketing gets. Clients vary widely, but his business is built almost exclusively on personal referrals, from the Refectory and the Ohio State Faculty Club, to The Guild House, M at Miranova, and Cameron’s American Bistro. A couple of breweries also round out the list, but he’s always looking for customers, with a soft pitch and a smile.

“I picked up The Little Kitchen food truck at a farmers market,” he explained. “I just asked her where she got her microgreens, offered her some of mine, and she started buying.”

Sample originally started by volunteering with a community farm on the south side of the city, harvesting and working the farmers market on the weekends. You’ll still find him lending a hand at the Westgate Farmers Market, even beyond operating his own booth.

“Farmers markets are built on ground-up innovation. For me, it’s easy to just set up and not worry about how to take SNAP. I can just tell people I accept anything you have for food,” he explained. “You go where you’re deserved, not simply where you’re needed. It’s why I’m happy to donate my produce and time to people who hustle and work hard to improve their own communities.”

But once-weekly markets alone weren’t enough to build a business, and by the end of his first summer, economic realities started to set in.

“Last season, most of my income was coming from farmers markets. So when it ended, I was in a lot of trouble,” he admitted, even working at a pizza joint as a side gig while growing his roster of restaurants. Now they’re the majority of his business, and OH Pizza and Brew is a client. “Restaurants have to pick and choose what they buy locally, so I work with chefs to understand what they want before I plant.”

His margins are lower, and so is his surplus, growing just enough to sell or share with family, friends, and neighbors—who’ve all become less suspicious and skeptical of his unlikely grow operation. Spoilage is so low, he doesn’t even bother trying to write it off on his taxes, or carry crop insurance, the safety net standard for most farms. Worms turn what little is left into the next crop of greens.

Capital City Gardens isn’t entirely a one-man operation. Sample still gets his hands dirty, but credits his farm manager Rich Fraztel with allowing him more time to focus on building customer relationships while keeping the growing pains of expansion to a minimum.

“People who go into business for themselves focus too much on the money. Success comes from building relationships,” he opined. “If you take care of your customers, the money will be there. That’s what makes the difference.”

Once the weather worsens, Capital City Gardens transforms exclusively to an indoor endeavor. The converted basement allows for tight control of light, temperature, and humidity with crops on rolling racks rotated for consistent quality and maximum yield. While the rest of the world waits for enough private investment and government subsidies for vertical farming to finally take off, Sample is just making it work by intuition and necessity.

Urban farming isn’t Sample’s only political passion project, nor is his pioneer persona tethered to the terrestrial. He also hosts The Sample Hour, a prolific podcast started on a whim back in 2012 to chronicle the conversations he and his friends were already having on topics profound and obscure. From self-reliance to permaculture, Thomas Sowell to topsoil, it now attracts guest interviews from Mike Michalowicz, former Wall Street Journal small business columnist and folk hero for would-be entrepreneurs everywhere, to Thaddeus Russell, the disavowed academic whose A Renegade History of the United States was published as a response to being tossed off the faculty of Barnard College.

His podcast churns opinions and electrons as easily as he turns the earth, and for the same reason—daring to cultivate something novel in the age of ordinary.

Sample’s pivot from microgreens to macroeconomics comes naturally, an approachable iconoclast who thinks labels are for canned vegetables and rhetoric, not people or ideas. It’s another trait he inherited from his grandfather, who passed away recently, but whose grounding influence and relationship with the land lives on in Capital City Gardens.

“Toward the end, we’d sit and I’d read him excerpts from Wendell Berry I knew he’d appreciate. It was invigorating for both of us,” Sample revealed. “Like any farm, it would be nearly impossible if I couldn’t do it on my own land. He’s the one who allowed me to do this. This is his legacy.” ▩

For more on Sample’s podcast, visit samplehour.com

September 15, 2018

Alt Ice Cream

Originally published in the Fall 2018 issue of Stock & Barrel

Ask any ten strangers on the street what makes Columbus stand out and you’ll probably get ten different answers. But odds are no one will say frozen confections, and that’s a serious oversight.

Sure, Ohio’s ice cream scene has its roots in prohibition era politics and the non sequitur notion that replacing booze with scoops would somehow catch on. But it’s hard to hate on the idea that the best cure for a hot day is still a cold one — regardless of whether it comes in a can or a cone.

Jeni’s has definitely raised our international credibility as an ice cream innovator. (Seriously, they now serve it in business class on Scandinavian Airlines flights to Copenhagen.) But the trend doesn’t end there. Complex flavor combinations and unlikely ingredients abound around town, along with alternate formats that redefine the familiar summertime treat.

WORLD CLASS

Simply Rolled
968 N. High St | Columbus, OH 43201
673 Worthington Rd | Westerville, OH 43082

Originally tucked inside the old Oats & Barley Market is the next new thing, Thai-style rolled ice cream. Though their tea-inspired offerings may be tempting, you don’t have to be vegan to fall in love with their organic cashew and coconut milk ice cream, topped with subtle lavender honey and crispy waffle bits.

Freeze Style
1731 W Lane Ave | Upper Arlington, OH 43221

Still on the rolled ice cream kick, go traditional with Oreos and marshmallows, or go crazy with Lychee fruit and Pop Rocks. There are also several signature suggestions, like the decidedly Japanese Matcha Berry, a green tea base with strawberries, mochi, Pocky, and a little drizzle of sweetened condensed milk.

Dulce Vida Ice Cream Factory
4201 W Broad St | Columbus, OH 43228
2400 Home Acre Dr | Columbus, OH 43231

Mexican ice cream is rich and velvety from the extra butterfat, but it’s the options that catch your attention before the first bite. From decadent Blackberry and Cheese and delicate Cactus Flower to sweet Corn and creamy Goat Milk Caramel, there’s far more than a measly 31 flavors from which to choose.

Diamonds Ice Cream
5461 Bethel Sawmill Center | Columbus, OH 43235
3870 Main St | Hilliard, OH 43026

Paletas is Spanish for “small sticks”, but these popsicles aren’t like any you’ll find in your local grocery store. Homemade with or without milk, there’s something for everyone, both sweet and savory. Whole-sliced Strawberry & Kiwi pops are cool for the kids, or maybe the Watermelon Chili pops for the grownups.

Coppa Gelato
925 N State St | Westerville, OH 43082

Italian ice cream actually has a little less fat, but is slow churned for a more dense and intense consistency. Served slightly above freezing, it’s made to melt in your mouth. Try a flight of any four flavors, or perhaps the Belgian Chocolate served “affogato” with a double shot of espresso poured on top.

Bonafacio
1577 King Ave | Columbus, OH 43212

Known for their modern spin on Filipino brunch and monthly Kamayan, or family-style dinners, it would be easy to overlook the dessert menu. But the Ube Ice Cream Sandwich, made from purple sweet potato, stuffed in a deep-fried bun topped with coconut and caramel is the street food favorite you didn’t know you were missing.

OLD SCHOOL COOL

Cream & Sugar
2185 Sullivant Ave | Columbus, OH 43223

Never short on snarky names — like Fat Elvis, Munchie Madness, and The $&@! Just Got Serious — guilty pleasure is an understatement. If your kid’s summer sugar rush makes the school year seem far away, try a double scoop of Exhausted Parent (bourbon-spiked espresso ice cream with bittersweet chocolate chunks) for a late-day pick-me-up.

Hilltop Dairy Twist
2860 Sullivant Ave | Columbus, OH 43204

Looking for more than 40 flavors of soft-serve? Swirled on a cone or into a cup, the entire experience is an echo of a simpler era. If you try their legendary blueberry shake, be sure to ask for extra blueberries and a big barrel straw so they don’t stay stranded on the bottom.

Clown Cones & Confections
3431 Cleveland Ave | Columbus, OH 43224

If clowns give you the creeps, consider yourself warned. But if sweet execution of creative flavors and a candy selection that would terrify any dentist are your thing, get in line. Decorated with decades of clown kitsch, channel your inner child and order a scoop of Birthday Cake ice cream with sprinkles.

The Little Ice Cream Shoppe
3229 Hilliard Rome Rd | Hilliard, OH 43026

For a city full of families, sometimes even ice cream gets too highfalutin. Not here. Clearly kid-friendly, hand-dipped treats of yesteryear share the spotlight with some surprises. The Key Lime Pie ice cream might make you pleasantly pucker and the Peanut Butter Brownie is the right balance between chewy and chilly.

Johnson’s Real Ice Cream
2728 East Main St | Bexley, Ohio 43209
55 West Bridge St | Dublin, Ohio 43017
160 West Main St | New Albany, Ohio 43054

It’s hard to get more original than an ice cream parlor that opened in 1950. Four generations later, they’re still serving Bexley, plus two new locations. Can’t decide between a sundae and a split? Get both with a “Fudge Split”, three scoops and a banana covered in hot fudge, nuts, and whipped cream with a cherry on top.

Mardi Gras Homemade Ice Cream
1947 Hard Rd | Columbus, OH 43235

The name remains a bit of a misnomer. Though the style of ice cream is all American, the flavors feature an Indian flare. You’ll still find the traditional favorites, but who could resist the intrigue of Anjeer, rich and nutty dried fig, or the call of Kesar Pista, a blend of saffron, cardamom, and pistachio?

NO CONE REQUIRED

SNO-OH
Various Locations | Check sno-oh.com for schedule

This one actually is a Crescent City classic, just not ice cream. These New Orleans style snoballs (don’t dare call them snow cones) are as fluffy as freshly fallen snow, perfectly packaged in Chinese take-out boxes. From straight-up Strawberry to a spicy Pineapple-Habanero, their camper turned pop-up shop is worth tracking down.

J-Pops Gourmet Ice Pops
Various Locations | Check myjpops.com for schedule

Found at farmers markets and festivals throughout town, the name is a nod to the founder’s fascination with Japanese pop culture. But these clever creations know no borders with complex culinary combinations ranging from Lemon-Basil and Blackberry Mojito to Orange Honey Chamomile and Honeydew Cracked Black Pepper.

Rime Time Curiously Crafted Pops
Various Locations | Check rimetimepops.com for schedule

Featured at various events around Columbus, these upscale popsicles easily impress adults and kids alike. Their small batch chic status is earned and evident with year round standards like Strawberry Angostura and Peanut Butter & Jelly to sublime seasonal selections like White Nectarine Rosé and Sugar Cube Cantaloupe.

OH-YO! Frozen Yogurt
4226 Buckeye Pkwy | Grove City, OH 43123

Most “fro-yo” is only so-so, further diminished by its pervasive presence in strip malls and corporate cafeterias. But sweet treats like Toasted Marshmallow and Pecan Praline, and tart variations like Pomegranate Raspberry, deserve attention even before adding any of the hundreds of topping options from fresh fruit to candy crunch.

39 Below Frozen Yogurt
85 Parsons Ave | Columbus, OH 43215

Already infamous as the only place in Columbus where you can get pho and fro-yo under the same awning, this Olde Towne East eatery excels at hot and cold take-out. Though Almond Butter is probably their fan favorite, collaborations like Honey Espresso made with Upper Cup coffee from next door keep flavors lively and local.

Krema Nut Company
1000 Goodale Blvd | Columbus, OH 43212

Everyone recognizes the capital city’s preeminent authority on all things nuts. But many don’t know they also serve their salty spreads on a dozen different sandwiches, and maybe the best milkshake in the Buckeye State. Their Hot & Spicy Peanut Butter Shake is thick and creamy with the sweet heat of summer in every sip. 

September 1, 2018

Cartoon Crossroads Columbus

Originally published in the September 2018 issue of (614) Magazine

As a geographic midpoint, Columbus has never quite matched the marketing moniker of Midwest. We’re too far east of the prairie pedigree of Omaha, yet still too far west to quite compete with the urban grit of Pittsburgh, or even our rust belt cousins in Cleveland.

But as an approachable nexus where ideas and innovation cross paths comfortably, free from the egos of the coasts, you’d be hard pressed to find a better place to launch something new. That’s why Cartoon Crossroads Columbus, or CXC, makes so much sense for a city never afraid to invest in the next creative frontier.

“Comics aren’t only about superheroes. They’re about everything. I think most folks will be surprised by the depth and variety,” explained Jeff Smith, acclaimed creator of BONE, ambassador of comic street cred, and president of CXC. “These things go back to the beginning of the last century, and include silent animations, game-changing editorial cartoons, and the birth of some of our most iconic characters.”

Point of fact, it actually was a couple of guys from Ohio who created Superman. But cult legends R. Crumb and Harvey Pekar also forged their distinctive styles here. Maybe we aren’t exactly the middle of the country. But Ohio’s impact on the art form is undeniable, and perhaps Columbus deserves to become its unofficial center?

The four-day festival started with the ambitious agenda of becoming the South by Southwest of illustrated storytelling. Now four years in with events throughout Columbus connecting historic context and cutting edge content, CXC continues to evolve by honoring industry veterans and celebrating emerging artists often outside the mainstream.

“Most of the institutions involved were already bringing in world-class cartoonists in multiple disciplines, like graphic novels, comic strips, and animation,” Smith noted. “When you visit some of our exhibits and venues, you will meet cartoonists who animate feature films and indie films. You’ll meet established artists and the best of the new.”

Event locations fall into two enclaves, with downtown activities at the Columbus Museum of Art, Columbus College of Art & Design, and the main branch of the Columbus Metropolitan Library, as well as those at Ohio State, including the Wexner Center for the Arts, the Billy Ireland Cartoon Library & Museum, and Hale Hall, which hosts SÕL-CON, an expo featuring Latino and African-American artists expanding the genre.

One of those new voices is Ohio native Travis Horseman, whose acting background and stage experience aren’t the traditional résumé of a graphic novelist.

“Until I started about five years ago, I was largely unaware of the vibrant comic creator community in Columbus,” admitted Horseman, a first time exhibitor joining more than a hundred fellow artists also invited to share their work at CXC. “Luckily, there were people willing to show me the ropes. That how I first learned about Cartoon Crossroads.”

His first project, Amiculus: A Secret History, is set during the fall of the Roman Empire and garnered critical comparisons to Game of Thrones for its sophisticated plotlines and complex characters. The trilogy was funded through Kickstarter, an increasingly popular platform for first-time comic artists. But the project actually grew out of Horseman’s alter ego as an actor.

“I tried several different formats before settling on a graphic novel. I’m a very visual storyteller and the medium just seemed to work better for my ideas,” he noted. “I see the images that bring my characters to life as I write.”

Graphic novels share the same cinematic style as film and television, but aren’t limited by cumbersome and costly digital and practical effects. Shot blocking and storyboards are akin to comic book panels, and the right artist with the right tools can create content every bit as stunning as a big budget feature.

“Amiculus started out as a short play, then a short story. I’d always been a fan of comics and decided thinking about it as one might help with some of my writers block,” he recalled. “My 32-page short story quickly grew to 240 pages. But by then, it wasn’t just a novel. It was a story that deserved to be a graphic novel.”

Already connected to the local theater scene, he knew the expertise he needed was probably hiding in plain sight amongst the local comic community. Horseman admits he was essentially starting from scratch. But he was fortunate to find guides to put him on the right path, eventually leading to a spot at CXC.

“It’s a tough ticket to get. There are always more applicants than tables for exhibitors,” he revealed. “I’ve been part of other creative communities, but I don’t think I’ve ever been part of a more supportive one. There isn’t a mix of artists and creators anywhere in the country quite like it.”

His current project is also crowd funded, with a campaign cleverly scheduled to run concurrently with CXC. This new saga still has an unlikely setting, but with a contemporary timeline about a forgotten chapter of American history much closer to home.

“Sugar Creek is unfamiliar territory as our first horror book,” he explained. With the true story of a post-colonial conflict in 1791 that wiped out a quarter of the nation’s new army in a single battle as the backdrop, the bloody footnote takes an even darker turn. “I’ve been describing it as our Ohio project because it’s not just set in Ohio. Everyone working on it is from Ohio.”

More than a tradeshow or fan experience, CXC was initially modeled after Smith’s own travels as an artist to American and international comic conventions that focus on creating connections as well. But fostering that local spirit of collaboration extends beyond the individual artists and permeates the entire event and the city that surroundings it.

“People enjoy working together here,” explained Smith. “The ease with which private and public institutions work together is exactly why a celebration like Cartoon Crossroads Columbus can take place.”

For details on Cartoon Crossroads Columbus, visit cartooncrossroadscolumbus.com

August 31, 2018

Craft Beer’s New Groove

Originally published in the September 2018 issue of (614) Magazine

Why would anyone in their right mind open another neighborhood bar or record joint in a city already brimming with both?

Ask Troy Stacy, the owner of Craft & Vinyl, an endeavor that is deliberately neither, nor does it pretend to be. Yet it combines the essential elements of each into an entirely new experience fine-tuned for local beer aficionados and audiophiles alike.

It’s not a bar that sells LPs, nor a record store that serves beer. It’s a kindred cultural convergence that combines a craft beer counter, new and used vinyl, and a recording studio conveniently under one roof.

“There wasn’t a place that brought all three of these ideas together,” explained Stacy, whose inspiration was well informed by a career in marketing and the music industry. “We live in a digital universe, but there is still a craving for something tactile.”

Vinyl is visceral. Even as records have emerged as the fastest growing segment of music sales, capturing the charm of a record store without the musty smell and dingy décor that are almost synonymous was no easy feat. But tip too far in the opposite direction and you end up with the vintage vibe of a deservedly defunct Sam Goody.

Stacy had the right idea. He just needed to find the right place and the right space.

“I had four or five target areas, but Grandview was always my first choice,” he recalled. “But I almost leased the space that became Brewdog in the Short North. They got it right out from under me.”

Music folklore is full of happy accidents, and losing that spot for something better could be among them. The former consignment shop that was once home to an old hardware store offered weathered floors, high ceilings, and instant credibility.

“We built it to look and feel more like an art gallery. People who collect vinyl also collect it for the cover art,” Stacy said. “It’s not just a music medium.”

The “Mosaic Wall” stretches 30 feet and five records high with classic and contemporary albums, many 180-gram pressings or “heavy vinyl,” preferred by collectors for durability and fidelity. Here you’ll find seminal releases from The Stones to The Stooges and everything in-between.

Used inventory fills the “Vinyl Salon” in oversized wooden bins complemented by a lounge with a couple of leather sofas at the end and a long, bar-height table in the middle with enough stools and space to make the experience equal parts shopping and social. Flipping through stacks searching for those hidden gems is a two-handed job. That’s why you’ll find cleverly placed cup holders spaced every few feet to park your pint.

“The idea came from a very practical place. I was stocking the bins, holding a beer, and had nowhere to put it,” he confessed. “They’re actually just RV cup holders, but everyone gets a kick out of them.” (Frank Zappa and The Mothers of Invention would surely approve.)

Despite their resurgence in popularity, selecting the right records to sell has become evermore crucial in the age of eBay and Amazon. Stacy was smart and thankful to enlist veteran vinyl proprietor Mike “Pepe” Depew as a mentor, whose experience at Ace in the Hole Music Exchange and the Record Connection dates back decades.

“I started buying records from Pep when I was 15,” Stacy revealed. “Anytime you start a business there are bumps in the road and painful learning. He took me under his wing and helped me avoid a lot of those mistakes.”

Extending the gallery metaphor are concert posters and handbills designed by prolific local artist Mike Martin, whose limited edition screen printing and illustration style echo an earlier era, and the depth and breadth of Craft & Vinyl’s selection. From folk to funk and soul to swing, add the black and yellow punches of color to the warm wooden accents, and Jack White would feel right at home. Even the pinball machines are on-brand for a place that seems like one giant analog anachronism defiant of all things digital—with one deft exception.

“Lots of musicians go to record stores and hang out. That’s often where collaborations first come together,” he explained. “I wanted to create a place where that inspiration isn’t lost by having a recording studio just steps away. There’s nothing like it in Columbus.”

In addition to hourly studio rental—including a collection of guitars, basses, vocal microphones, and a drum kit—Stacy offers monthly packages for musicians interested in more frequent access, one of several subscription options that distinguish Craft & Vinyl as a place where music is played and made.

“One of the ideas we’re working on is a ‘Flight School’ where once a month you’ll come in to try four to six beers from a specific brewer paired with a classic album listening experience and a new album listening experience,” he noted.

Though the smallest section of the store in square footage, that craft beer counter right as you walk through the door is definitely the social glue that binds the whole operation together, and the most unique draw for foot traffic and local buzz. The novel mix of stacks of wax and craft on draft was enough to intrigue distributors before they even opened.

“The relationship with Great Lakes Brewing was really interesting because they reached out to us,” Stacy recalled. “They approached us and said they wanted to serve their Turntable Pils here. That eventually turned into a conversation about doing a collaborative vinyl album together.”

Also available as event space, new ideas continue to surface now that more folks can take it in and suggest additional opportunities and potential. The concept was always considered an evolving prototype for future locations.

“People tend to tell you what they want,” Stacy explained. “I’m here to listen.” ▩