The News Record
FOR THE
RECORD VOL. 1 • ISSUE NO. 11
MARCH 27-APRIL 2, 2013
SLOW HAND REVIVAL CLASSIC PREPPY STYLE
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LIFE AFTER RACING A look into the world of nonprofits saving Thoroughbreds from slaughter
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Pg. 4-5
ENTERTAINMENT
Burlesque dancers prove worthiness Curvy girls promote body image, engage audience with sex appeal, humor HEATHER WILLIAMS | CONTRIBUTOR The burley girls — as the Cin City Burlesque dancers are so fondly known — promoted a positive beauty image for women Saturday night. The dancers are all shapes, sizes and vary in ages, which made for an impressive and entertaining show at Bogart’s. “Under the Covers: An Evening of Covers, Remixes, and Stolen Riffs,” began and the dancers immediately proved worthy of its award for Best Ohio Burlesque Troupe of 2012. The leader of the troupe, Ginger LeSnapps, is a featured performing artist of the RAW Artists Cincinnati.
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LeSnapps choreographs and produces all shows for the group, which typically display modern burlesque and technical dance, mixed with comedy satire and a whole lot of sass. Before the show started the audience mingled with the dancers inside the venue and excitement traveled throughout like electricity. Then the venue lit up when Cin City Burlesque’s emcee, Sweet Biscuitt, opened the show and charmed the audience with her clever humor. The women danced to a cover of Olivia Newton-John’s “Physical,” as one of the dancers took on the role of an aerobics instructor. Captivating and even heartwarming,
the dancers of Cin City Burlesque revealed they could be sexy, strong, intelligent and humorous all at the same time. Baby Ruth danced to a cover of Disturbed’s “Down with the Sickness,” as she moved to the beat, a helpless man fell victim to her dominating dance — it didn’t hurt that he was tied to a chair. Aretha Franklin’s “A Natural Woman” complemented Sugar Plums performance perfectly. She portrayed Eve while a snake seduced her. The troupe danced throughout the crowd in a segment of the show titled “Gogo for MS.” During the segment, the dancers collected donations to benefit the National Multiple Sclerosis Society.
Cin City proudly represents and benefits the MS Society because the disease affects one of its own members, Lucky Charm. The performance also featured a routine by a group of dancers in training. LeSnapps teaches a four-week workshop to women of all dance experience levels. The women took advantage of the opportunity to display what they learned and won over the audience in the process. An overall engaging and exciting performance with familiar tunes and talented dancers, “Under the Covers” brings new and original meaning to burlesque dancing. The troupe created a brand for itself with its outstanding display of entertainment.
heather williams | contributor
SHOW SKILLS Dancers of all ages, shapes and sizes danced throughout Bogart’s and accepted donations to benefit the National Multiple Sclerosis Society
MUSIC
Clapton performs righteous covers Music veteran releases album full of famous collaborations, tributes
MCT CAMPUS
Eric Clapton performs at his Guitar Crossroads Festival at Toyota Park in Chicago, Ill. Jordan Cassini | CONTRIBUTER Rock legend Eric Clapton released “Old Sock,” his 20th studio album, March 12 to less fanfare than he’s probably used to. The new album is a noticeable departure from Clapton’s blues-rock roots. “Old Sock” features only two new, original Clapton songs — but that’s not
necessarily a bad thing. The rest of the album uses cover songs to pay tribute to some of Clapton’s favorite artists and genres. The album features collaborations with other music legends like Taj Mahal, JJ Cale, Paul McCartney and Steve Winwood. The album’s opening track, “Further on Down the Road,” is a recreation of Mahal’s classic song about longing for a
past love. Clapton’s version has a heavy reggae influence. It’s a loose tune with a carefree vibe, despite its melancholic lyrics. Clapton’s gruff voice helps to make it different. It’s an intriguing first song that instantly sparks interest in the rest of the album. “The Folks Who Live On the Hill” is a lazy, meandering track that would be
the perfect soundtrack to a daydream. Clapton’s subdued guitar allows his vocals to paint the picture of a couple building a house on a hill and growing old together. The song’s tempo is much slower than others on the album and serves well as a primer for the next track,“Gotta Get Over.” Clapton returns to his classic sound on “Gotta Get Over,” one of the two original songs on the album. It’s the first song on the album to really showcase his legendary command of the guitar. It’s riff-heavy, relatively fast paced and leaves plenty of room for Clapton to crank out a few solos along the way. Both the title of the song and the lyrics make it seem like a continuation of“Further On Down The Road,”but instead of longing for a past love, he now realizes he needs to pick himself up and move on. “Old Sock” features guest appearances from numerous stars, but McCartney stands above the rest. McCartney’s and Clapton’s duet on “All of Me” is nothing short of superb. Clapton’s guitar seamlessly meshes with a lively piano track and McCartney’s unmistakable voice as the two legends sing about lost love. “All of Me,” a song originally written and performed in 1931 and recreated by stars like Billie Holiday and Frank Sinatra, is one of the best tracks on the album. It’s almost impossible to overlook, especially considering both artists are decorated members of the Rock ‘n’ Roll Hall of Fame. Clapton and McCartney are not strangers to each other either. Clapton’s solo on the Beatles’ song “While My Guitar Gently Weeps” remains one of the most memorable performances of either artists’ career. Clapton sounds loose and relaxed throughout “Old Sock” — and he has every right to. He is the only triple-inductee to the Rock and Roll Hall of Fame, a feat everyone else can only dream about. “Old Sock” shows a different side of Clapton than most are used to. It’s remarkable that an artist who has been performing since the ’60s still has so much talent, charm and originality. “Old Sock” is Clapton’s way of saying he is still doing what he loves to do — making great music.
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THE VERGE MAGAZINE
Nonprofit organizations hope to save former race horses HOLLY YURCHISON | FOR THE VERGE MAGAZINE
When Ferdinand won the 1986 Kentucky Derby and earned the 1987 Horse of the Year award, he fueled the country’s interest for horseracing. He earned $4 million during his career, but instead of enjoying retirement in 1989 he was sent to death in a Japanese slaughterhouse. Friends of Ferdinand Inc. (FFI), named in Ferdinand’s honor, is an Indiana organization committed to preventing other horses from sharing Ferdinand’s fate. Lindsey Doolin and her family recently adopted an off-track Thoroughbred through FFI. “FFI took the fear out of adopting an off-track Thoroughbred for me,” Doolin said. “They were the bridge between my family and our dreamboat family horse. He is gentle, curious and appreciative. I think that is a huge quality for any rescue animal. They appreciate what you do and make it known.” For Doolin and others who adopt off-track Thoroughbreds, they are perfect horses for second careers after racing, whether that career is being a hunter/jumper, trail riding or companion horses. With a little training, they can be appropriate matches for any level of rider, from experienced to beginner. Other offtrack Thoroughbreds are retired to a life as pasture companions for other working horses. Numerous national, regional and local organizations exist to help find new homes for former racehorses. The one place no one wants to see an off-track Thoroughbred end up in is a slaughterhouse. “Even with equine slaughter facilities closed in the U.S., horses have continued to be sold and transported to Canada and Mexico for this purpose,” said Nicole Smith, volunteer executive director of The Exceller Fund in Lexington, Ky. “Many off-track Thoroughbreds still find themselves at auctions frequented by kill buyers.” Most Americans would not consider eating horses, and the drugs given to maintain their health make horses bred in the U.S. ill-suited for human consumption. Despite this, almost 84,000 U.S. horses were slaughtered in Canada and Mexico combined in 2011, with the meat destined for high-end European restaurants, according to the Equine Welfare Alliance. To counter the potential for slaughter in a slow economy, organizations have stepped up to purchase and provide continuing care for off-track Thoroughbreds. Some of these organizations, such as The Exceller Fund and FFI, are memorials to specific Thoroughbreds who have died in slaughterhouses after successful racing careers. Exceller was the only horse ever to beat two Triple Crown winners — Affirmed and Seattle Slew — which he bested in the 1978 Jockey Gold Cup. After his racing career ended, Exceller was nominated for the National Racing Hall of Fame — the same month he died in a Swedish slaughterhouse. The Exceller Fund is committed to finding and funding happy retirements for “racing warriors,” which it defines as ex-racers with more than 50 starts. “Most Thoroughbreds begin racing at 2 years old and start in about 12 races,” Smith said. “A horse with 50, 75 or more than 100 starts is a notable racehorse, but its body has endured major wear and tear — injuries to legs that may make the horse unsuitable for riding.”
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The Exceller Fund pledges its resources to providing for these horses — whether they are ever adopted or not — for their entire lifetimes, which can be into their late 20s or even 30s. The yearly maintenance of a horse — including feed, vet and farrier costs — is a minimum of $2,000 per year. “We would be happy for all of our horses to find someone to give them the one-on-one attention they all love and deserve,” Smith said. Angel is one horse who found a retirement home. “I’ve been fostering Angel for almost five years now — we thought she was a youngster when she came — then we aged her by her teeth and part of the [racing] tattoo. It turns out she was 27 when she
arrived and is almost 33 now,” said Tracy Hutchins of Kendallville, Ind. “The woman who donated her to Friends of Ferdinand had no horse knowledge, but at least wanted her to go somewhere safe, as she’d come from an awful place, with a loose horse/meat tag on her hip.” All of the horses FFI owns are fostered at private farms like Hutchins’, as the nonprofit has no central facility, which keeps costs low so more money can go directly to horse care. Decentralization also allows the nonprofit to place horses where they will be best suited for the care available, whether it is retraining for adoption or retirement. The six-
woman board of FFI also helps racing owners place retiring racers by maintaining a list on the FFI website of horses for sale, and by networking with other organizations to place retiring racers. Sara Busbice, one of FFI’s first volunteers and current president, networks with the Indiana racing industry and horse community to successfully transition ex-racehorses into second careers and new “forever” homes as often as possible. “We have been fortunate to always have a good relationship with the tracks,” Smith said. “They have always been supportive and active in off-track Thoroughbred aftercare to the best of their abilities.” But this is an industry that needs a new crop of 2 year olds each year, only a fraction of whom will see racing glory and its possible safe retirement. “About 30 years ago, Thoroughbred breeding changed from for racing to for sales,” Busbice said. Some of the extra horses end up with Karen Gustin of the Kentucky Equine Humane Center. The horses in Gustin’s fields frolic alongside painted wooden fences, racing with tails arched like flags in the wind. Thoroughbreds make up about 60 percent of the organization’s 32-horse population on a leased 72-acre farm in Nicholasville, Ky. In the winter, the center’s horses eat hay, but most of the time horses eat only pasture grass, keeping costs low enough to manage a large herd. Not all horses come to the center as ex-racehorses. Some horse owners have struggled so much with the economic downturn that they can no longer keep their horse. “It’s about helping people as well as horses — people in crisis situations,” Gustin said of those who may need to surrender a horse to the Kentucky Equine Humane Center. At the other end of the off-track adoption spectrum is Susanna Thomas, director of the Maker’s Mark Secretariat Center at The Kentucky Horse Park in Lexington, Ky. Since Thomas’ program is specifically designed to promote the desirability of the breed for more than just racing, she carefully selects horses that meet certain criteria of build, brains, aptitude and history. “I’m looking for athletes who will become ambassadors of the breed,” she said. Thomas uses her own trademarked Horse Centered Reschooling Program with the Thoroughbreds she chooses for her equine ambassador program. Thomas acquires off-track Thoroughbreds and retrains them to fit the aptitude she sees in them. Thomas and her all-volunteer staff look for candidates like Opening Move— nicknamed Charlie— a muscled chestnut with black highlights and white stockings, with a calm and confident manner. Although he is not tall for a Thoroughbred, his carriage and bearing make him appear huge. But for all his apparent strength, he is docile and inquisitive. Charlie’s stall is at least 12 feet by 12 feet, as large as a typical bedroom. He has plenty of room to move around, look out his large-barred window or lie in the straw. Charlie was retired after winning over $80,000 in only nine starts. “He was not fast enough for his owner, who preferred
finding him a new career,” Thomas said. The life led by a horse at the Secretariat Center is that of an elite athlete in training, but it is far from what most racing Thoroughbreds get. When racing, these highly social animals get small stalls, little contact with other horses and are let out only to run quickly around a track and then immediately return to a solitary life. “It’s no wonder some people view them as high-strung, skittish or even crazy,” Thomas said. Thomas sees them for the amazing athletes they are and works hard to give them a second chance. “These horses have been commodities since their
conception — stifled and misunderstood,” she said. “It is my honor to give them a voice, by educating not only the horse, but also the public about the value, versatility and athleticism of Thoroughbreds.” In Indiana, Doolin watched “Unsung Hero” on the FFI website for months before being able to bring him home. “We are a young family, so I battled with the time and money commitment. I decided in May that I was stalking their page more than I should, and I knew he should be mine. The day he came home, I fought the tears the entire day — from happiness of course,” Doolin said. “Now, almost two weeks later, it feels like he has always been here.”
HOLLY YURCHISON | THE VERGE MAGAZINE
RUNNING FOR THEIR LIVES National organizations train former race horses to be adopted and saved from kill buyers.
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MUSIC
Timberlake returns to top of pop world ‘The 20/20 Experience’ proves eyeopening for fans of singer’s career CHRISTIAN WARNER | STAFF REPORTER Justin Timberlake is one of the more charismatic entertainers in the music and film industry. He’s a naturally talented singer, dancer and all-around showman who flaunts it with ease. The man who graduated from the Mickey Mouse Club, to ‘N Sync, to pop solo superstardom flew on cloud nine after the success of “FutureSex/LoveSounds” in 2006. At the height of his solo career, Timberlake left music to pursue acting. In 2006, when typing “Justin” into Google, “Timberlake” always followed. Justin Bieber didn’t exist yet. After a seven-year hiatus from the recording studio, Timberlake made his long-awaited comeback with “The 20/20 Experience” and took back some of the luster from other Justins of the music world. But Timberlake isn’t interested in regaining his pop crown. Instead, he aims for the king of neo-soul title, currently worn by Frank Ocean. “The 20/20 Experience” doesn’t feature the 26-year-old Timberlake still trying to prove himself worthy of being a solo pop star. Timberlake is now 32 years old and married to Jessica Biel. He’s more relaxed, more refined and more importantly, matured. Although Timberlake reunites with “FutureSex/LoveSounds” producer Timbaland, “The 20/20 Experience” is by no means a sequel — it’s more of a document of the man Timberlake is now, mixed with classic R&B that was prominent in the late ’90s and early 2000s. What once was aggressive sexual advances has been traded in for bigband brass and plenty of love-professing songs such as “That Girl,” “Tunnel Vision,” “Spaceship Coupe,” and “Dress On” — included on the deluxe edition of the album. The album starts out with “Pusher
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Love Girl,” which sounds like an advanced version of Timberlake’s 2003 hit song “Senorita” from his first solo album. From this song, it sounds like Timberlake borrowed the Curtis Mayfield-type falsetto that will probably keep women screaming at the top of their lungs. While the drug-filled metaphors keep the listeners wanting more from Timberlake, the opening song does seem to have an addictive quality to it. One of the more intriguing songs to appear on “The 20/20 Experience” is “Let the Groove Get in,” which seems to be the standout dance track. With blaring horns, rhythmic bass and pulsating percussion under Timberlake’s sultry vocals, it pays homage to the style of Michael Jackson’s song “Don’t Stop ‘Til You Get Enough” from his album “Off The Wall.” Perhaps the most meaningful song on this album is “Mirrors,” which reaches the ultimate level of love songs. If one needed a song to play at a wedding, this would be it. Timberlake debuted the music video for “Mirrors” and dedicated it to his grandparents. In the video an elderly woman looks back on the long-lasting relationship she had with her deceased husband. Even though Timberlake doesn’t appear in the video until the six-minute point, the 32-year-old singer hasn’t dug this deep into his personal life since “Cry Me A River,” which alluded to his breakup with ex-girlfriend Britney Spears. The album ends on a somber note with “Blue Ocean Floor.” There is not much melody on the track, but the stressed piano notes throughout the seven-minute ballad seem to delve directly into Timberlake’s soul. Fans of Timberlake’s earlier music career will probably be surprised by his new direction, while some fans may complain that he’s not pop anymore. Either way, “The 20/20 Experience” is the only way to see Timberlake now.
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FASHION
Maintain classic look with preppy style SARAH MULLINS | STAFF REPORTER
SLEEVELESS COLOR-BLOCK BLOUSE
1 Where to buy: Substance OTR — $38
Inspired by: Carrie Mulligan Style tip: Tuck the blouse into a solid, nude-color maxi skirt and pair with strappy sandals. Combining multiple vibrant colors and subtle hues are the one instance where mismatching is allowed. Do not go overboard with color-blocking — there is such a thing as too much. Try to stick with no more than three colors. If you are afraid, you are trying too hard. Tone down your outfit with a neutral piece of clothing (black, brown, white, grey, tan). Pair a bright orange and purple top with a tan cardigan. If you are skeptical of color-blocking, go for the monochromatic look — all different shades of pink with a pop of neon pink as a necklace.
FLORAL PRINT SCARF
2 Where to buy: Substance OTR — $38
Inspired by: Vanessa Minnillo Style tip: Wrap the tails of the scarf around your neck to make it look like an infinity scarf. The contrasts of bold colors make scarves the perfect spring accessory. With April showers and May flowers — hopefully — around the corner, floral prints are a great way to show excitement for spring without looking too preppy. When trying to find the right scarf for you, don’t be afraid of a long and wide scarf. This can give more room to change how to tie the scarf. For a casual afternoon, dress your plain T-shirt with it. For a dressier occasion, pair that scarf with a solid-color dress to add some fun.
CHAIN CLUTCH
3 Where to buy: Substance OTR — $28
Inspired by: Anne Hathaway Style tip: Wear the purse as a cross-body bag for a night out with friends or remove the chain to carry as a clutch for date night. No one can have enough handbags, but picking out a versatile go-to clutch is an important piece for your closet. When shopping for a clutch, test it out to see if all your necessities fit — at least your cell phone, car keys and cash or credit cards. If you can fit everything in your everyday handbag into the clutch, it’s too big and you won’t want to carry it around. As for the color of your clutch, you should always have a go-to bag you carry often. Substance OTR’s navy clutch is a great color to add a little bit of rocker chic to your ensemble, but it’s also neutral enough to wear with a variety of outfits.
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