Down-to-earth diva

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PubDate: 07-25-2010

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ARTS&LIFE Coming next week

DEVO, 2010 EDITION

SUNDAY JULY 25, 2010

Online

Literary sleuthing

COMICS ON STAMPS

Thurber picnic to host crime novelist E4

‘Whip It’ band updates

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Dispatch.com/multimedia

SO TO SPEAK

No need to dash to finalize this gash

DOWN-TO-EARTH

DIVA On the road beyond ‘IDOL,’ BOWERSOX still searches for a place to spread her roots

FOX PHOTOS

Crystal Bowersox performing on American Idol

By Kevin Joy | THE COLUMBUS DISPATCH “American Idols Live!,” a tour featuring the top 10 finalists of the ninth season of American Idol, will stop at 7:30 p.m. Tuesday in Nationwide Arena, 200 W. Nationwide Blvd. Tickets cost $40.50 to $70.50. Call 1-800-7453000 or visit www. ticketmaster.com.

ong before the final vote, Crystal Bowersox was a winner to millions, an idol in their hearts. ¶ She connected deeply with a wide swath of viewers: single mothers, small-town dwellers, struggling barroom entertainers and music fans. All saw the refreshing appeal of a scrappy, soulful contender — a Midwestern gal who wrote her own tunes, played an instrument with gusto (alongside a makeshift microphone stand made from an old lamp, no less) and refused to alter her salt-of-the-earth persona. ¶ She breezed through most weeks on the latest season of American Idol, rising above country and teen-pop wannabes to land praise from the show’s judging panel, including the notoriously snide Simon

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See DIVA Page E2

Bowersox with fellow contestants Casey James, left, and Michael Lynche

TELEVISION

PROFILE

Acclaimed ‘Mad Men’ returning for round 4

Ohio native comfortable amid undead

By Frazier Moore | ASSOCIATED PRESS

By Ryan E. Smith

EW YORK — On the season finale of Mad Men last fall, Don Draper’s wife was seen flying to Reno for a quickie divorce. ¶ Draper, Sterling Cooper’s creative director, was jumping ship with a few other expats from that advertising agency to form their own shop camped in a Manhattan hotel suite. They and everybody else were still reeling from the assassination of President John F. Kennedy just a month earlier.

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And Mad Men viewers were left to eagerly await the return of this zeitgeist-seizing drama, waiting to find out how its bygone world would rise from the rubble. Answer: engrossingly, in unexpected, chancy ways, adhering to the AMC series’ steadfast lack of formula. You can check out last season’s finale on the AMC website. Then, the fourth season begins tonight, setting the stage for a new round of discovery with the episode’s first words: “Who is Don Draper?” A good question, but one aptly dodged by the magnetic,

The fourth season of Mad Men will premiere at 10 tonight on AMC. Don Draper (Jon Hamm)

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enigmatic and tormented Draper (series star Jon Hamm), who, it turns out, is being interviewed by a writer from Advertising Age magazine. Draper doesn’t like this kind of grilling. He thinks his work should speak for him. Almost a year has passed. It’s nearing Thanksgiving See MAD MEN Page E2

AMC

07-25-2010

THE BLADE

Before Zach Roerig dedicated himself to bringing characters to life on television, he wandered among the dead. “I spent a lot of my summers in cemeteries, which sounds kind of messed up but really it’s not, because cemeteries are some of the most beautiful places,” he said. The native of Montpelier, about 55 miles west of Toledo, had good reason: Making cemetery Zach Roerig memorials is the family business. By coincidence, he stars on the CW’s The Vampire Diaries, which recently began shooting its second season. Roerig, who has also appeared on the soap operas As the World Turns and One Life To Live, comes from a village of about 4,000 and grew up baling hay on his grandfather’s 100-acre farm. See NATIVE Page E2

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Freeways are ugly. Cities want to be beautiful. Hence, the dissatisfaction with plans for rebuilding the I-70/71 split Downtown. We’re attempting to reconcile the irreconcilable. The specific objections to the design — it doesn’t do enough to ensure pedesJOE trian safety, BLUNDO accommodate bicyclists or re-knit neighborhoods — are legitimate concerns. But even a safe, friendly, neighborly gash would still be a gash. We know this in our popculture bones. In movies and on television, urban freeways are, more often than not, unsightly symbols of frustration or danger. Chases happen on them. Crimes occur under them. In a movie, when a guy meets someone beneath an overpass, you just know he’s going to turn up dead in the trunk of a car. I wondered: Did it occur to no one many decades ago that plowing freeways through major cities would result in something so alienating? Actually, yes, it did, and even before the freeways themselves arrived. “The motor car has raced around the country leaving destruction long enough; it’s time we woke up, unless we are to be conquered by it,” said a spokesman for a citizens group protesting a road widening in Seattle. The year was 1928. The quote is from From Streetcar to Superhighway, a 1981 book that I find cited often in more contemporary studies of why we allowed freeways to tear through the hearts of our cities. The book, by Mark S. Foster, now a University of Colorado history professor emeritus, explains how planning in the early 20th century set the stage for the interstate age that came later. Keep in mind, Foster advises, that big cities at the dawn of the automobile age were crowded, dirty, disease-ridden places. Many planners argued that building elevated highways through cities would clear slums and ignite development. One even proposed building urban neighborhoods with houses that had freeways as their backyards. The “open space” would make the property desirable, he thought. And trolleys and streetcars weren’t the cuddly conveyances they are now. Their owners were often resented as greedy monopolists whose fares were too high and safety standards too low. Building streets and highways was seen by some as a more democratic way of providing transportation, Foster says. (Buses would serve those who couldn’t afford cars.) The planners weren’t completely crazy. Parkways — the tree-lined, low-speed divided highways that preceded interstates — had, in fact, beautified parts of New York. But for a variety of economic and political reasons, when urban sections of interstates began arriving in the 1950s, they were utilitarian structures with high-speed traffic flow, not aesthetics, as their chief concern. We live with the results. Opponents of the state’s I-70/71 plans are asking the Columbus City Council to hold off voting to approve the preliminary phase of the project on Monday. And it should. We need to make sure we get the best gash we can. Joe Blundo is a Dispatch columnist. jblundo@dispatch.com


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