TOLEDO STREETS NEW SP APER Issue 111 $1 One Dollar suggested donation. Your donation directly benefi ts the vendor. Please only buy from badged vendors. The Glass City Alliance of Art and Industry that Makes Toledo So Cool Jeff Mack and Rayn Thompson at Gathered Glass A Look into Libbey; the O-I Glass Committment to Toledo; The Owens Corning History TSN takes a look at the iconic glass businesses that continue to make Toledo strong. Interview with Glass Artists Gail Christofferson and Tess Healy TSN interviews two prominent glass artists who share their thoughts on the medium they love. Page 8 INSPIRING HOPE • FOSTERING COMMUNITY • CULTIVATING CHANGE Toledo Streets is a member of the International Network of Street Newspapers

TOLEDO STREETS NEW SP APER 3 4 4 6 5 P 8 Tess Healey's Pink Mint Cones 7 Toledo's Night Market P 4 10 8 O-I Commitment P 6 13 14 16 Page 2 The Arts Commission Invites Creatives to Re-imagine Industrial Glass A Glass Advocate Ed Conn sits down with Kim Howard who recently retired from Owens Corning after 25 years. Glass City Metro Park Only the Beginning Scott Carpenter gives us a sneak peek into Phase 2 of Glass City Metro Park. Toledo's Night Market Open on Saturday (Evenings of course) This summer’s Toledo Night Market events, which will transform the Toledo Farmers’ Market into an evening of lights, shopping, food, drink, and live music, will be held from 6:00 to 11:00 p.m. on Saturday, July 24, August 14 and September 11. Pioneering the Alliance of Art and Industry: The Toledo Museum of Art Excerpts from The Alliance of Art and Industry Toledo Designs for a Modern America Julie A. McMaster and Davira S. Taragin O-I Leads a Commitment to The Glass City Nearly 120 years ago, here, in Toledo, Michael Owens changed the way glass had been made for 5,000 years with his miracle machine. A Look Into Libbey As a part of our Glass-centric edition, Julia Hage-Welsh wanted to feature a company that was born and developed in Toledo. Glass Artists Gail Christofferson and Tess Healey Share Their Thoughts on the Medium They Love Ed Conn interviews the two artists who give us insight on how they work their glass. Exploring the Many Attributes of Glass Karen Gehardinger interviews Mike Stevens and Adam Goldberg, co-owners of Gathered Glass. The Connection Between Plate and Planet Carlo Petrini argues an ecological sensitive approach to food is the only way forward. Owens Corning History Timeline From Fiberglass to racetrack barriers.

A Glass Advocate Interview with Kimberly Howard Kimberly Howard By Ed Conn As I was preparing to put the fi nal layout together for our issue devoted to the Glass City, my wife and I had the opportunity to break bread with Kimberly Howard, her husband John, and other friends. Kim recently retired from Owen Corning after 25 years. She started her OC career in fi nance then moved to manufacturing, running plants in the insulation business, as a General Manager, and fi nally integrating companies Owens Corning bought in Europe. Kim is a glass advocate, like the many I have met since moving to the Toledo area in 2012. There is a certain twinkle in the eye of a glass advocate when they start sharing stories of the product that made Toledo. Kim of course is no exception. Kim began to dive into the story of Owens Corning, which invented fi berglass in the late thirties with a joint venture between Corning Glass and Owens-Illinois. Owens Corning Fiberglass became a separate entity and glass plants began to spring up in the US and Canada, several of which of which Kim herself later worked in. Kim pointed out that many people think of fi berglass as insulation, but that glass as a reinforcement or material substitution is also a huge business. Glass fi bers are used as a substitute for steel in cars, for wood in windmills and boats, and even for paper. Glass fi bers as a reinforcement or material substitution provide the benefi ts of safety, light weighting, environmental and longevity. The fi rst fi berglass boats and car panels were made right here in Ohio. Kim shared that Owens Corning has started producing glass fi ber rebar to replace steel rebar. With fi berglass rebar, bridges could live quite a bit longer as they have no corrosive properties compared to steel. Some bridges in Toledo are starting to test this material. Fiber glass is used throughout the home environment as well: as an input material in asphalt shingles, as a facer over gypsum board for use in bathrooms to avoid mold, and in tubs and showers. As a Toledo native, Kim found herself enthusiastically raising her hand to represent OC in several community supported projects. One in particular, involved the use of pink Foamular extruded polystyrene to insulate the fl oor from the ice in the Huntington Arena, which was designed as the fi rst new LEED sports arena in the United States. Owens Corning provided building science input and material for the project. Kim’s next life chapter will include more time as a community board member and yoga instructor. The Howards have a property management business Red Doors of Toledo that includes a community house in the OWE, which is home to Food Not Bombs. When I asked her, what does glass mean for Toledo, Kim said: “Opportunity. Creativity. Innovation. Our glass industry and glass art community continue to reinvent themselves. Glass has longevity and will most likely be here in Toledo for decades to come.“ Glass brought me here, as I followed the woman who would become my wife to Maumee for her job as VP of Global Marketing for O-I. It was such an honor to work on this issue, and to be in awe of the people and companies that made Toledo and keep Toledo so dang cool. The Buck Starts Here Toledo Streets and its vendors are a powerful, community driven solution to the problem of homelessness. Our vendors earn their way out of their individual situations through a collaboration of journalism, local business partners and their own hard work. Use these four steps to be a part of the solution. Meet Vendors Buy a Paper Get Informed Take Action • Vendors -- the people who sell the paper -- are at the core of Toledo Streets' mission. Each year more than 70 indiviuals work as vendors with Toledo Streets. At any given time, more than 25 vendors are at work, in the rain, snow, or heat. Vendors play an active role in the management of TS, meeting regularly to discuss issues of concern and even serving on our board. • With the money made selling the newspaper, vendors are able to secure basic needs, independence and dignity, and work toward obtaining housing. Vendors buy papers for a quarter and sell them for a $1, keeping all income and tips for each sale. Toledo Streets tries to tie its editorial to three basic principals: • Inspiring Hope, Fostering Community, and Cultivating Change. We are a member of INSP, our global organization of street papers around the world which provides us with content relevent to social justice, homelessness, and street community around the world. • Donate to the organization and give vendors experiencing homelessness and poverty a hand up. It supports not only the paper but also issues throughout NW Ohio. • Volunteer your time and expertise and help the organization grow. • Share Toledo Streets with your network, and tell people about the organization. Page 3

project includes Metroparks taking ownership of and renovating International Park. Phase 1, opened in December, includes a glass pavilion that can be reserved for private events. It has rooftop plazas and patios looking out to hillside seating for 5,000 people for concerts and other special events. The park has a sledding hill, walking paths and riverside fi shing access. Glass City Metropark Only the Beginning Since it opened late last year, Glass City Metropark on the east bank of the Maumee River has been drawing visitors for the view of the Toledo skyline and access to the water for fi shing. But what you see today is only the beginning. Phase 2 of the park will be under construction in July, more than doubling the size of the newest Metropark and advancing a bigger vision of a greenway from the Veterans Glass City Skyway to the Anthony Wayne Bridge. Glass City Riverwalk will create 300 acres of greenspace along the east side and downtown banks of the Maumee River. The fi vemile greenway will connect six neighborhoods and transform the city’s riverfront, attracting private development and enhancing the quality of life in the region. The A bridge over Main Street, currently under construction, will connect the walking path at the new park with the existing bike path through International Park. The bike and pedestrian span will be completed by the end of October. Phase 2 of Glass City will include an ice skating ribbon, adventure play areas for children, a boardwalk extending over the water and a building that will house a restaurant and skate rental concession. A building at 815 Front Street will also be renovated as a community center. Phase 2 of the park will be open in early 2023, and Riverwalk will be approximately six years in development. The Metropark and Riverwalk are being funded in part by tax levy approved by Lucas County voters in November, private donations and grants. A nearly $24 million federal transportation grant, state grants and $12 million in corporate gifts have been received so far, with other major donations expected to be announced soon. Toledo Night Market Open Summer Saturdays This summer’s Toledo Night Market events, which will transform the Toledo Farmers’ Market into an evening of lights, shopping, food, drink, and live music, will be held from 6:00 to 11:00 p.m. on Saturday, July 24, August 14 and September 11. Each Toledo Night Market is scheduled to feature more than 75 local vendors showcasing a wide variety of art, clothing, jewelry and other handmade items, as well as a limited amount of produce. Attendees can listen to live music, stroll the open-air market at twilight, eat food from numerous vendors and food trucks, and enjoy locally crafted beer while supporting area artists. Page 4 Rooftop from Pavillion “After an amazing inaugural 2019 night market season followed by the cancellation of the 2020 season due to the pandemic, we are very excited to bring back Toledo Night Market events in 2021,” stated Fancy Moreland, creator of Toledo Night Market and founder of It’s My Mommy’s Business Association, which sponsors the monthly markets. “We hope people are ready to get back out and have fun, while supporting local small businesses and entrepreneurs.” Part of the proceeds from each Toledo Night Market benefi t a different local charity. Proceeds from the June 19 Toledo Night Market went to the Toledo Gospel Rescue Mission, a not-for-profi t organization that has been ministering to the needs of the lost, broken, homeless and low-income in northwest Ohio and southeast Michigan for more than 60 years. General admission for the monthly Toledo Night Market is $5.00, and children 12 and under are free. The event will be held rain or shine, and there is free parking at and near the Toledo Farmers’ Market, located at 525 Market Street in downtown Toledo. For more details on the Toledo Night Market, go to www. toledonightmarket.com or fi nd the events on Facebook. For more information, e-mail info@toledonightmarket.com or call (419) 9309880. Cultivating Change

Pioneering the Alliance of Art and Industry: The Toledo Museum of Artt Excerpts from The Alliance of Art and Industry Toledo Designs for a Modern America Julie A. McMaster and Davira S. Taragin In 1888 Edward Drummond Libbey chose Toledo as the new location of his New England glass factory, not only because of the natural gas and high silica content of the rock from area quarries, but also because the town had amenities that promised a good lifestyle. Infl uence by the Chicago Arts and Crafts reformer Frank W. Gunsaulus. Libbey felt strongly that industry had to do more for the community than merely provide jobs for workers. In the spirit of his conviction, he established the Toledo Museum of Art in 1901. Twenty-one years later, in an address at the Sorbonne in Paris, Libbey state that his philosophy concerning the purpose of an American museum was “to bring to our citizens the understanding of the principles and the benefi ts of art in their lives and in their work. To this end our museums of art have within the past few years become active educational institutions., as well as safe and necessary repositories of art.” From this early, broad defi nition of the museum, Libbey and the museum staff developed over the ensuing years a practical application of integrating art into life. The Toledo Museum’s philosophy and practice ultimately contributed to America’s nationwide interest in well-designed industrial objects during the fi rst part of the twentieth century. The potential for interaction between the Toledo Museum and local industries wax evident as early as 1911 when Robert M. Corl, a staff designer at Libbey Glass Works, wrote an article for the Toledo Times encouraging workers to avail themselves of the museum’s resources: To anyone working in industrial art, especially in the fi eld of design, a museum is a necessity, and to not take advantage of the large library and the Toledo Museum of Art Studio Glass Workshop, 1962, Elaine Lukasik Adding a Ladle to a Piece well-arranged collections is a very grave mistake for anyone who wishes to thoroughly understand his work, as it contains a record of the best which had been done in the past, and this is an absolute necessity for the production of good work in the future… In this industrial age success means knowledge, and anyone needing help along the lines of applied art will fi nd material at the Toledo museum, of which they should not fail to take advantage. Although Corl’s words indicate support and appreciation for what the museum had to offer, Libbey in the fi rst prominent director of the museum, George W Stephens, we’re interested in a more aggressive educational program for the institution, one that would lead to “art entering into every human activity. Into the making of our homes in the building of our cities Dash into every product of the manufacturer, and into every detail of merchandising.” Paragraph 1915 the active implementation of this alliance between Toledo zoo or community and its industries had become. First, in order to encourage interaction between the museum and the labor force in Toledo, maybe prompt and the trustees to create a new class of membership to benefi t the workmen and craftsman, in hopes that it would spark their interest in the museum and then list their fi - nancial assistance. Then, three years later, the Toledo Museum of Art and the Toledo Board of Education join I created a school of design. Its purpose was not only to cultivate those students who are exceptional talent in art but also to bring art into the life of the average person. Paragraph the fi rst school of design classes were based on a combination of educators and art theories Denman Ross and Arthur Pope’s system of design theory. Ross is philosophy of uniting harmony, rhythm, and balance to create an ordered composition was combined with pokes elaboration on a Ross concept, advocating the sequential repetition of a form with only minor modifi cation. As a result, the primary philosophy of design behind the museums classes promoted a union of r repetitive elements, sequence, and balance to create a unifi ed composition. Breaking Patterns Libbey Glass in the Twentieth Century The story of the designer at Toledo zoo Libbey glass parallels in many ways the evolution of design in America from largely a trade to a professional activity. Libbys renowned rich cut glass of the late 19th and early 20th Century’s was primarily a product of a skilled craftsmen. The decline in popularity of this type of class during the second decade of the 20th century that the company to supplement its luxury, Handmade objects for the home with low cost machine made where’s for the industrial market, mainly during the 1920s. But the 1930s competitive pressures forced Libby to adopt some of the most progressive measures the time to create well designed products for American consumers. However, Libbey’s most distinguishing role in the history of the design profession is it’s 47-year relationship with the New York-based industrial designer and home furnishings consultant Freda Diamond. Beginning in 1941, Diamond let Libbey into a clearly defi ned program of well-designed machine-made tableware for middle-class America, placing Libbey in the enviable position of defi ning the look of modern America and helping establish the role of women in industrial design. Libbey glass, today America’s leadToledo Scales Company, 1932 and pedestals, all of which were cited for “the great boldness and elaborate elaboration of design and high-class execution.” Libbey Studios, Syncopation Pattern, 1932 ing manufacturer of machine-made glassware, was founded in 1818 as the New England glass company of East Cambridge, Massachusetts. Known during its early years for high quality blown, and engraved where is for the Home WL Libby and some company, New England glassworks moved to Toledo Ohio in 1888 after declining sales, the high cost of fuel, and labor diffi culties forest is proprietor, Edward Drummond Libbey visit several American cities in search of natural gas, labor, and good transportation facilities. The renamed Libbey glass company achieved international recognition for its cut glass through promotional schemes at the Chicago 1893 Columbian exposition in the 1904 Louisiana purchase exposition. At the former, for instance, the pharmacy particular commendations for its cut glass clocks, banquet lamps, candelabra, The technological revolution glassmaking that Libby plant superintendent Michael J. Owens began in the 1890s with the fi nancial backing of Edward Drummond lady but to a number of signifi cant inventions. Among them was the automatic Tumblr machine, which in the late 1920s and early 1930s pave the way for the company to begin to reposition itself as a supplier of well designed, inexpensive glassware to the restaurant industry. However, the company’s inability to establish its niche in the house where is Market in the period between the wars resulted in the loss of a substantial percentage of Libbey’s assets in 1935 to Owens Illinois glass company, then the largest bottle maker in the world. Libbey became a subsidiary and leader in operating division of all why until 1987, when the latter was acquired by KKR and Company. 1993 Owens Illinois sold Libbey to the public in an initial public offering and Libbey became a publicly traded company and its own right. Today substantially expanded offerings include glassware, ceramic dinnerware, and fl atware, primarily for the institutional market. The Kitchen of Tomorrow, Libbey-Owens-Ford, 1942 Page 5

O-I Glass Leads a Clear Commitment to the Glass City On average, every bottle or jar that O-I manufactures contains 38 percent recycled glass. And O-I is taking a tailored approach to increase recycled content across the company with a goal to increase recycled content to a 50 percent average by 2030. By using recycled glass, O-I reduces the amount of raw material needed to make new glass. A single pound of recycled glass replaces Nearly 120 years ago, here, in Toledo, Michael Owens changed the way glass had been made for 5,000 years with his miracle machine. His creation of the automatic bottle-making machine transformed the glass packaging industry, introducing safety, standardization, quality, and convenience—effectively ending child labor in glass-container plants. This spirit of innovation lives on, in Northwest Ohio, through O-I Glass. Now with 72 plants in 20 countries and over 25,000 team members working to be the most sustainable producer of the most sustainable rigid packaging—glass containers. Today, O-I has more than 1,800 active patents on leading technology that drive the spirit of transformation that Michael Owens brought to the industry, bringing beauty, versatility and sustainability to the purest of packaging materials—glass. O-I is a proud manufacturer of pure, natural, earth-friendly glass packaging for communities around the world. Glass packaging from O-I is made from four natural ingredients: sand, limestone, soda ash and recycled glass. For as long as the company has made glass packaging, recycled glass has been used to make new glass products. The result is a natural, safe and endlessly recyclable container. 1.2 pound of virgin raw materials. Using recycled glass also reduces carbon emissions. Every 10 percent of recycled glass reduces emissions by 5 percent. Recycling glass also reduces energy. Every 10 percent of recycled glass generates an energy savings of approximately 3 percent. The energy saved by recycling a single bottle could light a 15-watt, low-energy light bulb for 24 hours. Foods and beverages packaged in glass also bring energy savings and food security to consumers. Consumers with limited transportation can rest assured that by buying goods packaged in glass, that they will have shelf-stable access to high-quality foods and beverages that can help bridge time between access to transportation. And many goods that are packaged in glass do not require refrigeration—conserving energy and ensuring access to healthy foods and beverages. Goods packaged in glass also help to minimize food waste through pre-measured portions and resealable containers. Once emptied, many glass packages can be reused, repurposed or recycled again and again. And glass is the only food-contact material that is generally recognized as safe by the U.S. FDA. This is why glass is a trusted and proven packaging for health, taste and the environment. O-I is proud to be the only global company exclusively committed to the sustainable commercialization of glass Page 6 containers. This commitment to sustainability extends into the community where O-I operates. The company sees tremendous opportunity to positively impact the planet and every community in which they operate. The O-I Charities Foundation supports O-I’s promise to take a positive, active role in every community. The Foundation was established to support this involvement through charitable donations in the areas of education, the environment, art & culture, and community service. The Foundation matches employee giving and provides longer-term social investments in areas where the company can make the most difference. O-I’s Charities Foundation contributes roughly $2 million to more than 75 U.S. nonprofi t organizations each year, many of which impact the Glass City and surrounding communities near O-I’s global headquarters in Perrysburg. This transformative commitment is central to their mission to be the most sustainable producer of the most sustainable rigid packaging is driven by innovation. O-I is determined to continue leading the transformation of the manufacturing process, products, and the interconnected relationships to bring to life a vision for a sustainable future. “It can be done” was Michael J. Owens’ personal motto. His legacy continues as O-I leverages creativity and technology that innovates and transforms the glassmaking industry.

A Look into Libbey By Julia Hage-Welsh As a part of our Glass-centric edition, we wanted to feature a company that was born and developed in Toledo. With the help of our friends at Libbey Glass, we got a look into who they are, their history, and their mission. “Libbey hails originally from East Cambridge, Massachusetts, home of the New England Glass Company which was founded in 1818. In 1888, Edward Drummond Libbey, son of the first corporate owner, William, moved the company to Toledo, Ohio. The Northwest Ohio area offered abundant natural gas resources and access to large deposits of high quality sand. Toledo also had a network of railroad and steamship lines, making it an ideal location for the company. In 1892, the name was changed to The Libbey Glass Company. Libbey and Toledo were a match made in heaven and thus the glass city was born. As an Americas-based business with a global reach and exemplary customer service, Libbey delivers the finest glassware and tabletop to the world. We’re redefining fine tabletops through the creation of glassware, tableware and flatware with unparalleled beauty and durability. We are proud of our Midwestern grit and the entrepreneurial spirit of our hometown in Toledo, Ohio where we oversee the manufacturing of environmentally responsible glassware and tabletop products. We’re dedicated to increasing our environmental sustainability and we’re transparent about the progress we are making. Our products instill confidence in our end users to empower consumers to celebrate life’s moments. Whether it’s enjoying a cold beer with a coworker after a long day at the office, a casual night out with friends or family, or a special occasion with that certain someone, Libbey makes every moment one to remember. Glass is the earth-friendly solution for today’s sustainably minded lifestyles, because everything taste better in glass – naturally. We’re artisans who believe that form and function can combine to create beautiful sensory experiences that enhance every occasion. Because we know that total tabletop solution should begin with the menu in mind. Our designers, engineers and artisans are meticulous in their resolve to produce the finest tabletops for the makers of drinks, the makers of meals, and the makers of memories. We’re a company that’s celebrating 203 years - we love living our legacy, shaping our future and winning as one. We’re American made and Toledo proud. And we welcome future “makers” to join us to make glass in the Glass City!” Libbey: Made for Makers, by Makers since 1818.” Page 7

Gail Christofferson Tess Healey Glass Artists Gail Christofferson and Tess Healy Share Their Thoughts on the Medium They Love By Ed Conn This month, TSN conducted a virtual interview with Tess Healy and Gail Christofferson, two glass artists who have made a wonderful impact on the Toledo artistic glass scene. When did glass become your preferred artistic medium? Tess: I found glass in college while getting a degree in digital art and immediately fell in love, though some days making animations is still my favorite thing to do. Especially on hot days. Gail: About 20 years ago I tried a stain glass class and fell in love with the tactical quality of glass. I started to use my scrap glass for mosaic projects and my mosaic journey began. I have worked my way to creating large-scale public mosaic murals from a very modest beginning of creating my own small pieces and teaching. I now focus on large-scale murals, many of them involving the community, and programs that bring art to at-risk teens. Can you tell our readers about your style of art? How would you describe your glass making technique? Tess: I like to make clean functional forms with sharp lines and fun colors. I’d like to describe my Page 8 technique as fast and methodical but realistically most of the time I get lost in the process and tend to nitpick the piece. Planning ahead and being prepared is the most important part. Gail: I would describe my mosaic style as relaxed or loose. I am not all about how perfect the mosaic pieces fit together, but more about the flow of the piece. My process begins with the illustration and installation parameters and then the purchase of the glass. The glass for each project has it’s own characteristics and may determine the direction the mural will take. Once in the studio, I find the design and the glass can begin to take shape, with each project having a unique angle of some kind. Of course if the community will have a hands-on part in creating the mural, I also take that into consideration. How do you bring your art to the public? Tess: Participation in local auctions and shows, thankfully many people thought up creative solutions to showing work this past year and I was able to participate in online galleries. Gail: I combine grant funded projects which typically address reducing the stigma of mental illness, working with at-risk teens and corporate and public art funded murals. I have built my art practice with strong relationships with my clients and making sure I create pieces that reach their goals and visions as well as my own. Does Toledo’s history of support of the artistic glass movement play any role in your living and working here? Tess: The city and communities support of local studios is always inspiring, I appreciate living in a city that celebrates local artists and small businesses. Who are your inspirations? Tess: Female glass artists. I am inspired by the talented Debra Buchanan, a local fine artist that I collaborate with on a regular basis and my husband, Bruce Works who runs a successful creative business as a commercial photographer. I am also inspired by the wealth of local talent we have right here in Toledo and the support the arts community provides to each other. Gail, You have done some amazing collaborative work with our Toledo Streets Vendors. Can you share your experience? Are there any planes for a future project? Gail: My Lovell grant projects have given me the opportunity to use the TSN vendors to prep glass and help even manage projects that address mental health. The vendors provided the labor I needed for the hand preparation of the glass. A typical mosaic mural can consist of thousands of pieces of glass and the time and labor to prepare the glass can be overwhelming for me on large projects. The experience with TSN vendors is one that will continue for me and for future projects. What a great workforce and such outstanding people that need the work and the encouragement to continue on their journey out of homelessness. Can you share your experience as an instructor for people blowing glass for the first time? Tess: I love introducing someone to glass for the first time, the nervous excitement that most people have is a fun reminder of how it was to start yourself. Describe your experience creating functional or decorative objects by hand, using a variety of methods and materials? Tess: Creating a glass piece is always a bit of a puzzle, from figuring out how to actually make it to how it will sit, proportions, and if you need to coldwork or glue anything on afterwards. Sometimes you can figure it out the first try but usually even if you think you’ve figured everything out beforehand you end up still needing to solve problems in the middle of making it. Walk me through how you cut, shape, fit, join, mold, or otherwise

process materials, using hand tools, power tools, and/or machinery. Tess: First you need to know how much glass you need at the end of the pipe, too much and the piece will be thicker and heavier than you wanted, too little and it could be so thin it breaks while making it. There’s a variety of metal tools we use to shape the glass, like tweezers to pinch and pull and shears to cut, but one of my favorite tools is actually newspaper. The paper is folded and soaked in water and we use it as basically a glove to shape the glass with our hand. And since the glass is attached to the pipe it needs to break at least once to be separated. One or two breaks is normal for a piece, a third usually means it hit the ground. Gail: As a mosaic artist, I work with glass that a stain glass artist would use. I purchase the glass in large sheets from a wholesaler and then begin the process of taking those large sheets and cutting them down to shapes to be used in a mural or into strips that then can be nipped into smaller pieces to be used in the design of the mural. I use a variety of glues and adhesives depending on the installation parameters. The fi nal step is to grout the piece. I have a variety of tools that I use in the studio also, saws, grinders, and cutters to create specifi c shapes and details for each mural. What is the most challenging part of selecting materials for use based on strength, color, texture, balance, weight, size, malleability and other characteristics? Tess: A wonderful thing about glass is that it can look like almost any other material. There are skilled sculptors who can make glass look exactly like a real banana or a piece of metal. And there are so many ways of working with glass, with casting you can get basically an exact replica of something and with fl ameworking you can get incredibly detailed with it, it’s all about what you need for the piece. But when working hot you can’t really tell how the glass looks until it’s out of the annealer the next day so the most challenging part is the trial process of fi guring out how to make it look just right. Gail Christofferson Gail Christofferson Tess Healey Primary Conew Tess Healey Cake Platter Page 9

degrees F. Exploring the Many While production and limited production items like glasses, vases and globes are pretty routine, Goldberg and Stevens are continually pushing themselves to fi nd new ways to use the medium. “Early on in my career I began realizing it’s going to take years to make what I see in my head,” Stevens laughed. Attributes of Glass Mike Stevens and Adam Goldberg of Gathered Glass take glass to a new level in Toledo's Warehouse District “The work will be inter-active, educational, and an homage to Kepler, who gave us the Laws of Planetary Motion (the way we orbit the sun),” Goldberg explained. “I hope the piece encourages viewers to consider their place on Earth, and within the solar system.” The studio also regularly hosts workshops and open houses to demonstrate and teach the basics of hot glass. “I talk to so many people who have never seen glass blowing before,” Stevens said. ”We give them a chance to come in and make a fl ower or a pumpkin.” Often they’ll fi nd that working with glass is a lot tougher than it looks. Glass is very malleable when it’s heated to extremely high temperatures. Sometimes it’s as liquid as honey and sometimes it is more like soft clay, Goldberg noted. The working temperature is 2,000 Jeff Mack and Rayn Thompson From handmade, functional objects such as drinking glasses and bowls, to one-of-a-kind installations, Gathered Glassblowing Studio co-founders Adam Goldberg and Mike Stevens are continually exploring ways to creatively use glass. In the heart of the Historic Warehouse District, the two glass artists utilize a shop and a gallery to produce items that are sold in their gallery and gift stores. At the same time, both are involved in commissioned pieces for a range of customers including hotels, cruise ships, hospitals and private individuals. The 38-foot long by 9-foot high map of the world at the Toledo Zoo Aquarium is just one example. Currently, Goldberg is working on a larger-than-life sundial for a public park in Bowling Green – a memorial to late community leader Judy Knox. Page10 Wind Bowls Gathered Glassblowing Studio is one of a handful of studios in Northwest Ohio, and each can credit the American Studio Glass Movement that began at the Toledo Museum of Art (TMA) in 1962. Harvey Littleton, a pottery instructor, wanted host a workshop to explore ways artists might create works from molten glass in their own studios, rather than in factories. “There were ceramic artists who wanted to use glass as a medium for art, but at the time it was mostly factory work, and it was cost prohibitive to use the material. Furnaces were 30 by 30 (feet) and you couldn’t operate out of a garage,” Stevens explained. According to TMA, a prototype studio furnace was built in the TMA garage, but for the fi rst three days of the workshop all attempts to fuse molten glass failed. Then Dominick Labino, who was vice president and director of research at Johns Manville Fiber Glass, showed up with advice on furnace construction, and with glass marbles that melted. Harvey Leafgreen, a retired glassblower from Libbey Glass, was then able to demonstrate his craft. Later that summer, many participants returned for a second workshop. In 1969, TMA constructed the Glass-Crafts Building, becoming the fi rst museum to build a facility and studio specifi cally designed for

an after-party on Thursday, September 2 that’s open to the public. The event will include glass blowing demonstrations, artists’ showings and a collaboration with Graphite Design. Gathered Glassblowing Studio is located at 23 N. Huron St. For information, visit www.gatheredglass.com.. Adam Goldberg sitting at the bench helping a customer make a glass teaching glass working techniques. “They really started the American studio glass movement and made it accessible for people like me. Things started to explode in the ‘80s and ‘90s, when a lot of people like Dale Chihuly came into it. He made glass approachable for the common person, and made it not just a functional material. You think of light bulbs and beer bottles, but it also has an artistic value to it. I think because of Chihuly’s success we were able to start a studio and be successful,” Stevens said. It was watching Chihuly videos that enticed Stevens into the art at age 17. “I saw artists and teams working together, slinging big glass around…it was incredible to watch,” Stevens said. So he signed up for a class at a community arts center in Indiana. Goldberg wasn’t really interested in art until began taking classes with Robin Schultes at TMA. “Robin was an incredible teacher. She used to tell us to just pretend like we knew what we were doing,” Goldberg said. “That advice has stuck with me and it’s really how our studiocame about.” The two artists met at Bowling Green State University, where they were taking glass classes. They became blow partners immediately and spent the next four years working together. “I really got to know and love the medium of glass while I was in BGSU from 20072011,” Goldberg said. “I received my BFA, and during my senior year my grandfather, Fred Okun, offered to lend my good friends (Eli Lipman and Mike Stevens) and me a space on Huron Street to have a gallery and studio during the 2012 Glass Art Society InternationSten Neuber holding her glass piece up for the woman and her daughter to see. Page11 al Conference. One thing led to another, and the three of us decided to just keep the studio going. We’ve been ‘pretending like we know what we’re doing’ ever since.” While Eli moved away, Stevens and Goldberg remained and have seen the transformation of not just the studio, but of downtown. Back then, the area was just the MudHens, a few restaurants and some residents who kept to them-selves. “I felt like I could walk down the middle of the street. As the years have gone by it feels like a little community around us. Businesses are sticking around,” Stevens said. “And when ProMedica came down here, they brought more people down here.” As the downtown began thriving, so did Gathered Glass, adding a gallery space upstairs for shows, increasing the number of demonstrations and reach-ing out globally for commission work and installations. During Mud Hens games and other major events, the studio remains open for crowds to visit the gallery and hot shop, which is easily notable because of its bright blue façade. The next show is in August and September for the Solheim Cup, including

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International Network of Street Papers of large international organizations, thus bringing attention to what we coined as “food sovereignty”, or the right of each population to decide their own food policies. By doing so, we sought to protect and restore dignity to sustainable practices that were not merely synonymous with profit but were also synonymous with good nutrition, ecology, solidarity and development. It is a model that has supported the circle of life in its many manifestations. The Connection Between Plate and Planet Carlo Petrini is a gastronome and writer who is a committed supporter of sustainable agriculture. In 1989, he set up Slow Food, an international movement aimed at safeguarding local cuisine and food quality. Here, he looks back on the changes in the food industry that have taken place in Italy over the last 25 years and argues that an ecologically sensitive approach is the only way forward. By Carlo Petrini Writing about the evolution of the conversation around food over the last 25 years is not an easy task, not even for someone like me – and I’ve made food the centre of my personal and professional life! Food is indeed a complex thing: along with water and air, it’s something that enables us to survive on this planet – but unlike water and air, it’s also a source of sensory pleasure. It’s also something that goes beyond mere survival and pleasure: it’s something that indirectly enables us, as a race, to handle major issues such as law, economics, politics, society and culture. In short, food is such a complex thing for us all, to the point that each of us, if we wanted to, could describe our own identity and relationship with the outside world by referring to the foods that have been present on, or absent from, our table. It is with this in mind that I shall now begin my reflections – and apologies in advance if I get lost in my own world of food at times! The food scene in Italy at the end of the 1990s was characterised by the gradual spread of fast food and discount food outlets. These two new players weaselled their way into our customs and routines, making us believe that food was merely a commodity and, as such, that is was acceptable for it be produced on an industrial scale. At the same time, the European Union introduced HACCP, a system that more or less forced producers to comply with a number of strict health and hygiene requirements. This promoted standardisation at history. There was much at stake: there were the small-scale artisanal products and producers who were guardians of the range of knowledge of Italian food and its flavours, and they could not be allowed to disappear from our tables. In an attempt to provide a concrete response to the problem, Slow Food organised the first Salone del Gusto in 1996, followed by the Arca del Gusto – a project that set out to list endangered products. This project came to fruition in 1999 in the form of Presìdi, a brand that today stands for gastronomic excellence. Sustainable nutrition As we welcomed in the new millennium, we witnessed first-hand how the intensification of production continued to be the driving force in the food industry. In Europe, GMOs [genetically modified organisms] were once again being discussed: they risked transforming our fields into factories full of mass-produced food, which, although theoretically perfect, lacked any harmonious link with nature and the hands that had worked so hard to cultivate the land. The same dynamics also pervaded livestock farming, where negative consequences were quick to appear; we had the scandals of mad cow disease, bird flu and, lastly, swine flu in 2009, which proved the dangers of extending the mechanisms of mass capitalism to every sphere of society. It is no coincidence, therefore, that it was precisely in those years that the Manifesto on Global Food Rights was drawn up and the Terra Madre network was born. Slow Food understood the importance of extending its field of action from the tables of Italian restaurants to those Page 13 the relationships, expense traditions quality and all that embraces diversity, social and of Overconsumption There’s another type of consumption that started to take hold in the same time period, and it skyrocketed in the decade that’s just come to an end. It’s the visual, or media, consumption that can be enjoyed from the comfort of our television screens. At first, it was mainly lunchtime programmes showing us how to make simple but tasty recipes that people could replicate at home. Then, however, the offer of food programmes extended, and I dare say, with increasingly adverse impacts. They fooled people into believing the idea that food is omnipresent, and there was a particular tendency to broadcast shows that transform the kitchen from a welcoming and convivial place into a scene akin to trench warfare where war is waged to the tune of deep fat fryers and insults. Personally, I don’t really empathise with this spectacle, but it’s difficult to ignore it when it’s making such a clamour in our day and age! Screens aside, the discourse around the issue of food has undoubtedly grown in the last ten years, and it has now become more focused on sustainability and demonstrating a greater awareness of key issues, although in some respects it continues to be contradictory and not very inclusive. On the one hand, we see individuals and institutions alike paying much more attention to the link between food and health by choosing organic and local products, as well as the spread of farmers’ markets. On the other hand, the current system is progressively fuelling climate change, systematically eroding away the quality of our soils and the biodiversity of our ecosystems, generating unacceptable amounts of waste, and ultimately creating social injustice that spills over from the fields onto our dinner tables. Illegal and inhumane practices, such as illegal recruitment processes, are still all too common, while the distribution giants impose insupportable price conditions on producers and, partly as a result of the pandemic, around 8% of Italian families (but alas, I think there are many more) are now faced with food poverty and are unable to access adequate food on a regular basis. I would like to conclude by saying that in the last twenty-five years, food has acquired the central role it deserves, but for me, until it stops damaging the environment and until the industry starts providing fair working conditions for producers and access to food becomes a right for all, then food is not being respected as it should be. But let me give you an ingredient that, in my view, can lead to the resolution of these seemingly impossible paradoxes – integral ecology. As Pope Francis reminds us, we must have an awareness and understanding of the fact that everything on this Earth that hosts us is intimately connected and that the well-being of the individual is a mere illusion unless it leads to the common good. I therefore hope that in the coming years, individuals and institutions will well and truly immerse their tables and minds in this awareness. If we want to create a food system in which respect, nourishment and care for people and the planet are universally recognised and guaranteed qualities, then the only way forward is an ecological approach. Translated from Italian by Catherine Algar Courtesy of Scarp de’ tenis / INSP.ngo

OWENS CORNING COMPANY HISTORY TIMELINE 1938 On November 1, 1938, the formation of Owens-Corning Fiberglas Corporation was announced. In 1938 the companies decided it might be better to operate the joint venture as a separate company. In 1938, the company sales reached 2.6 million. 1949 In 1949 the company built it fi rst plant designed specifi cally for the manufacture of insulation. 1952 The company held its initial public off ering on the New York Stock Exchange in 1952. 1955 In 1955, Owens-Corning purchased land for a research and testing facility near Granville, Ohio. Also in 1955, Owens-Corning made the fi rst Fortune 500 company list. 1960 In late 1960 Owens Corning opened its Granville Technical Center in Granville, Ohio, and transferred its research and development operations to the new facility from their previous home in Newark, Ohio. 1965 In 1965, Owens-Corning Fiberglas Europe was formed. 1966 In 1966, Owens-Corning established a partnership with Armstrong Rubber Co. to produce fi berglass-reinforced automobile tires. 1971 By 1971, Owens-Corning’s annual revenue was over 500 million. 1974 In 1974, the company opened a temporary plant to produce insulation for the Trans-Alaska Pipeline System. 1977 In 1977, Owens-Corning acquired Frye Roofi ng and began production of fi berglass mat to replace traditional paper mat used in roofi ng. 1978 In 1978, two shipyard workers fi led a class action lawsuit against which alleged that Owens-Corning and 14 other manufacturers had known about asbestos-containing products. 1980 In 1980 Owens Corning adopted the Pink Panther, the lovable United Artists cartoon character, for use in its advertising campaign for PINK Fiberglas insulation. 1985 In 1985, Owens-Corning acquired Aerospace and Strategic Metals Group in Newport Beach, California for 415 million from Armco Inc. 1986 The color PINK was trademarked through Owens-Corning in 1986, making it the fi rst company to trademark a color. Page 14 1990 By 1990, Owens-Corning was the defendant in about 84,500 asbestos-related lawsuits. 1992 Established by then-Chairman and CEO Glen Hiner in 1992, Owens Corning’s Core Values make up the framework on which the company’s strategy is based. 1993 In June 1993 the company unveiled PINKPLUS, a new polyethylene encapsulated glass fi ber insulation product for the residential market. The company opened an Asia Pacifi c division in 1993. 1994 In May 1994, Owens-Corning acquired UC Industries, which produced Foamular polystyrene insulation, as a wholly owned subsidiary. 1996 In 1996, the company changed its name to Owens Corning. 1997 In May 1997, Owens Corning acquired Fibreboard Corporation, a vinyl siding and other industrial material manufacturer, which became a wholly owned subsidiary of Owens Corning. The company was ordered to pay 5 million to an asbestos victim in 1997, making it the highest jury verdict in the history of the United States for a single non-malignant asbestos case. 1999 In 1999 Owens Corning posted a profi t of 270 million on revenue of slightly more than 5 billion. To meet its payments to NSP, Owens Corning was forced in 1999 to sell off some of its assets to raise cash. 2001 macintosh, julie. asbestos worries snare wider range of u.s. fi rms. reuters business report, 12 december 2001. Offi cers Michael H. Thaman, Chmn. and CFO, 36, 2001 base salary 425,000 David T. Brown, Pres. and CEO, 52, 2001 base salary 400,000. The former accounted for roughly 83 percent of the company’s total sales in 2001, with the remainder being generated by Composite Solutions. 2002 Security analysts estimated that the cost of the remaining asbestos liability in January 2002 ranged from 20 billion to as high as 200 billion. Owens Corning narrowed its net loss in the fi rst quarter of 2002, reporting a shortfall of 6 million, compared with a loss of 10 million in the same quarter the previous year. business summary owens corning. multex investor, 2002. available at http www.marketguide.com. 2011 Owens Corning partnered with DuPont in 2011 to create a steel and foam energy reduction SAFER barrier around auto racetracks.

Glass at the Library Franco Vitella We all know Toledo’s “Glass City” moniker and the Toledo Lucas County Library has a rich connection to the industry that built our city. From the beautiful Vitrolite murals at Main Library to the stunning fl oor to ceiling windows of the Mott Branch Library, glass plays an important role in the architecture, ambience, and general good vibes you get when you walk into a Library location. After a pandemic year, now is a great time to venture back into your favorite library to take in that architecture, cozy up in a comfortable chair, and spend a lazy day reading. Of course, if you need some suggestions, here are a few items of note that speak to the history of Toledo’s glass industry. The Art of Glass: Toledo Museum of Art by Jutta-Annette Page and Stefano Carboni This catalog from our friends at the Toledo Museum of Art views glass through the lens of the art world, highlighting glass pieces from the museum’s collection and essays that put the work in context, all while calling attention to the unique contributions Toledo has made to the medium of glass art. The Glass City: Toledo and the Industry That Built It by Barbara L. Floyd Barbara L. Floyd is the University Archivist and Director of the Ward M. Canaday Center for Special Collections at the University of Toledo. In this history of the glass industry and the city it built up, Floyd details the meteoric rise of the industry and economic devastation caused by what happens when a single industry town is impact by shifting economic forces (of note, while Toledo might be known as the Glass City, 45% of all glass is now manufactured in China). Fire & Sand; The History of the Libbey-Owens Sheet Glass ComThe House That Glass Built The documentary fi lm, which originally aired on WGTE in 2008, focuses on Toledo’s glass industry, the studio glass movement, and the philanthropy that put Toledo on the glass art scene map. pany by William E. Fairfi eld If you want to take a deep dive into the history of one specifi c glass company and how it transformed Toledo and industries even beyond glass, Fire & Sand explores the trajectory of the Libbey-Owens-Ford Company from its beginnings in the early 1800s as the New England Glass Company and its relocation to Toledo and everything that happened after. Page 15

The Arts Commission Invites Creatives to Reimagine Industrial Glass as Part of The Momentum | Intersection Glass Program The Arts Commission invites creative individuals to reimagine the potential of Pilkington float glass toward the creation of projects funded through Momentum | Intersection, a collaboration of industry, design, and art. To this end, The Arts Commission seeks to provide new partnerships between applications of glass as an artistic medium and manufacturing processes with a call for proposals. This exhibition is a unique opportunity to see the inside workings of the float glass process, gain access to career professionals who make the glass, and integrate this industrial material into new work. Inspired by the experimental glass workshops held in Toledo, OH, in 1962, The Arts Commission is requesting interested artists, designers, architects, engineers, and other creatives working with glass to submit a portfolio and statement of interest to participate in the fourth edition of an industrial collaboration with Pilkington Glass North America, part of Nippon Sheet Glass Co., Ltd. (NSG). The Momentum | Intersection 2022 exhibition will coincide with the International Year of Glass, an initiative approved by the UN and led by the International Commission on Glass (ICG), the Community of Glass Associations (CGA), and ICOM-Glass. This is a year-long celebration of the essential role of glass in human history, art, technology, and science. The City of Toledo, also known as the Glass City, is proudly embracing this opportunity with a number of glass-related exhibitions and celebrations. Interested parties can submit materials for consideration at http://bit.ly/IntersectionRFP About The Arts Commission & The Momentum Festival Since 1959, The Arts Commission has provided quality arts programming and services to the metropolitan Toledo area. The Arts Commission is the longest standing arts commission in the state of Ohio. Since 1977, The Arts Commission has managed the City of Toledo’s One Percent for Art ordinance, the first public art program of its kind in Ohio and the inspiration for the state’s own program. The Arts Commission works to build a creative and cultural community in Toledo, inspire vibrancy in our neighborhoods, and to celebrate life through art. The Momentum Festival is a three day celebration of the arts for our city and region. Visit Promenade Park and the surrounding areas on September 16, 17, and 18 to experience all that the festival has to offer! Page 16 The Momentum | Intersection glass program is presented by NSG Pilkington as part of The Momentum Festival. The exhibition dates are September 3 - October 3 with the debut of six new artworks that will be on view at The Toledo Museum of Art and The University of Toledo Center for the Visual Arts. Participating artists include Jason Bauer (Brooklyn, NY), Carrie Iverson (Arlington TX), Helen Lee (Madison, WI) & Alice Chau (San Francisco, CA), Dylan Palmer (Chicago, IL), Nate Ricciuto (Columbus, OH), and Kristine Rumman (Philadelphia, PA). About NSG Pilkington The NSG Group is one of the world’s largest manufacturers of glass and glazing products for the architectural, automotive and technical glass sectors. Founded in 1918, NSG acquired the leading UK-based glass manufacturer Pilkington plc in June 2006. The Group operates in three main sectors - Architectural supplies glass for buildings and Solar Energy applications; Automotive serves the original equipment, aftermarket replacement and specialized transport glazing markets; Technical Glass products include very thin glass for displays, lenses and light guides for printers, and glass fiber, used in battery separators and engine timing. The Momentum Festival is generously sponsored by: ProMedica, Owens Corning, Huntington Bank, Pilkington North America, KeyBank National Association Trustee for the Walter E. Terhune Memorial Fund, Erie Construction, The Andersons, Communica, La-Z-Boy Inc., private donors, and Toledo’s philanthropic community. If you’d like details on sponsorship information, please contact Kelly Rose Hirsh at KHirsh@ TheArtsCommission.org. Additional information available at momentumtoledo.org

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PuzzlePage THEME: SUPERHEROES ACROSS 1. Golf club handle 5. Aviation safety agency 8. Although, for short 11. “Give me your tired, your ____....” 12. Homecoming guest 13. PhD in Great Britain 15. Legendary NFL quarterback Graham 16. Like Old Mother Hubbard’s cupboard 17. Propelled like Argo 18. *Batman’s romantic interest 20. Wildebeests 21. Use the other end of a pencil 22. Cherry middle 23. *Thor’s weapon 26. Brays like a donkey 30. Another word for Tokyo 31. Makes a sum (2 words) 34. *Like The Joker 35. Without self-control 37. Black gold 38. Buddy 39. Site of Leaning Tower 40. Canvas ceiling fan 42. *____man, one of original X-Men 43. Comes to the fore 45. *____ Woman, first female in the Justice Society of America 47. “Rub A Dub Dub” vessel 48. Paralysis-causing disease, for short 50. Smoothie berry 52. *a.k.a. the Caped Crusader 55. “Encore!” 56. Pupil’s place 57. Like Arizona in summer 59. *Ben Grimm of “It’s clobberin’ time!” fame, with The 60. Eyeglasses glass 61. Buggy terrain 62. Gingerbread creation 63. *Superhero creator, Stan ____ 64. Eurasian duck DOWN 1. Government Printing Office 2. Campus military acronym 3. Letter before kappa 4. For the time being, Latin (2 words) 5. Basic drumming pattern, pl. 6. Saints’ crowns 7. End of grace 8. Through, for short 9. Hie, third person singular 10. Not new or borrowed or blue 12. “All ____!” 13. Motherless calf 14. *Wakanda’s Black ____ 19. Make havoc 22. Coach’s locker room speech 23. Oodles 24. ____ one, on a pass 25. *Mighty ____ 26. *Known to say: “You wouldn’t like me when I’m angry” 27. Steer clear 28. Grimace in pain 29. More cunning 32. Make pretty, two words 33. Break a commandment 36. *America’s title 38. Vienna Boys’ group 40. Public house, for short 41. Devoid of reverence 44. Seeking damages 46. Wondering ones 48. Put through a blender 49. Offer two cents 50. Turkish honorific 51. Jealous biblical brother 52. Perfect houseplant spot 53. Bob ____, famous boxing promoter 54. Cat o’how many tails? 55. Cash dispenser 58. Morning condensation SuperHeroes Page18 Solutions

TOLEDO STREETS NEW SP APER Mail: 1216 Madison Avenue Toledo, OHIO 43604 TOLEDO STREETS WORKFORCE DEVELOPMENT, CORP. Board of Directors – 2021 Chair Lauren M. Webber Treasurer Candace Bishop Secretary Kristy Lee Czyzewski Ken Leslie Michelle Issacs John Brindley III Shawn Clark Amy Saylor Wanda Boudrie Julia Hage-Welsh a new job, because he lost his old job because of presiding judge, Leonie Mengel, as he summed up the case after the two-day trial. Michael P. has said that he wants to fi nd attack. “I was drunk,” he admitted in the courtroom. “Otherwise I wouldn’t have done such a stupid thing.” P. seemed depressed as he described in court how he felt that his life had been slipping through his fi ngers. He has suffered for many years from a rare nerve disease: problems with walking and balance are consequences of the disease and sometimes he is unable to leave the house despite using medication. The fact that he could only calm his nerves with alcohol was confi rmed by an expert. Did the combination of alcohol and pills make him aggressive? This possibility cannot be excluded, according to the expert. However, “how [the attack] actually happened remains unclear,” said the his sentence, mainly as a result of his behaviour after the attack. While it is true that he ran away on the night of the attack, shortly afterwards he apologised to the victim in person on several occasions. And, although the victim told him that he didn’t need to go to the police, P. did so a little while later. “I wanted to take responsibility for what I did,” he said in court. Sven, his victim, did not appear in court, but later said in a conversation with Hinz&Kunzt that, “if he hadn’t contacted the police then they never would have found him, so he has my respect for that.” Michael P. only vaguely remembers the The 27-year-old got off so lightly, in terms of Seifert, the coroner, in the court proceedings that were held nearly seven months after the attack. Sven, a homeless man, had to be taken by ambulance for treatment in hospital. The sentence for the attacker was rather mild: he was sentenced to one year and three months in custody for causing grievous bodily harm and given a further two years on probation. This was just what the prosecution asked for. After he completes his sentence, Michael P. will be a free man. “He was incredibly lucky,” said Dragane he could sleep deeply. It was 6.20pm when a dark fi gure suddenly appeared in front of him at the Ohlsdorf station in Hamburg, where he had settled down to sleep. Then things kicked off. “I was only just able to prop myself up,” the 45-year-old remembers. Then came the pain as a 12-centimetrelong cut was slashed across Sven’s throat. It could have been fatal. Vendor Representative Marthia Russell Julie M. McKinnon Ken Leslie Chris Csonka Deb Morris Zobaida Falah • Kristy Lee Czyzewski• • Treasurer Lauren M. Webber Secretary • Vice-Chair Tom Kroma For Sven, the attack came out of nowhere. In the evening, he had some drinks so that By Benjamin Laufer and Jonas Füllner Ohlsdorf station in Hamburg when he was slashed across the neck in an unprovoked attack that could have cost him his life. His life-threatening injuries were infl icted on him by a 27-year-old, who admitted that he was drunk at the time of the attack and who later handed himself into police after running away from the scene of the crime. Hinz&Kunzt learns more about the attack and its repercussions. Translated from German by Hazel Alton Courtesy of Hinz&Kunzt / INSP.ngo • • • • Bryce Roberts Chair respect the space of other vendors, particularly the space of vendors who have been at a spot longer, and will position myself at least two blocks away from a working vendor unless otherwise approved; 45-year-old Sven was sleeping outside • “I get scared by every little noise”: The aftermath of a violent attack • Board of Directors – 2018 Mail: 913 Madison Street Toledo, OHIO 43604 CONTINUED FROM P 3TOLEDO STREETS WORKFORCE DEVELOPMENT, CORP. OUR GLOBAL INSP COMMUNITYOur Global INSP Community Page 19 understand I am not a legal employee of Toledo Streets but a contracted worker responsible for my own well-being and income; • not buy/sell Toledo Streets under the infl uence of drugs or alcohol; agree to sell no additional goods or products when selling the paper; his illness. “I want to get my life back on track,” he said, after four months in custody. Sven’s life has been unsettled since the attack last winter. “Sleeping has changed,” he explains, “I get scared by every little noise.” Sven would most like to have his own apartment, or at least a room of his own. When you have your own place, he says, “you can sleep properly again.” agree to treat others- customers, staff and other vendors - respectfully, and I will not “hard sell”, threaten or pressure customers; only purchase the paper from Toledo Streets staff or volunteers and will not sell papers to other vendors; agree not to ask for more than a dollar or solicit donations for Toledo Streets by any other means; All vendors must agree to the following code of conduct to: The following list is our Vendor Code of Conduct, which every vendor reads through and signs before receiving a badge and papers. We request that if you discover a vendor violating any tenets of the Code, please contact us and provide as many details as possible. Our paper and our vendors should positively impact the city. While Toledo Streets is a non-profi t program, and its vendors are independent contractors, we still have expectations of how vendors should conduct themselves while selling and representing the paper. Vendor Code of Conduct understand Toledo Streets strives to be a paper that covers homelessness and poverty issues while providing a source of income for the unhoused and underprivileged. I will try to help in this effort and spread the word. understand my badge is the property of Toledo Streets and will not deface it. I will present my badge when purchasing the papers and display my badge when selling papers. I realize badges cost $1 to replace when lost or damaged; always have in my possession the following when selling Toledo Streets: my Toledo Streets badge, a Toledo Streets sign, a vendor’s license waiver from the mayor, and Toledo Streets papers; agree to only use professional signs provided by Toledo Streets; Toledo Streets is a monthly publication called a street paper. We are part of a worldwide movement of street papers that seeks to provide simple economic opportunities to homeless individuals and those experiencing poverty. Our vendors purchase each paper for $.25 and ask for a dollar donation. In exchange for their time and effort in selling the paper, they keep the difference. They are asking for a hand up, not a hand out. By purchasing the paper, you have helped someone struggling to make it. Not just in terms of money, but also in dignity of doing something for themselves. We thank you. FREELANCE PHOTOGRAPHER Crystal Jankowski Our Staff EXECUTIVE DIRECTOR John Keegan WRITING TEAM LEADER Jonie McIntire ART DIRECTOR Ed Conn Toledo Streets seeks to empower individuals struggling with extreme poverty to participate on a new level in the community through self-employment, job training, and contributorship. Our Mission Toledo Streets is a registered nonprofi t corporation in Ohio. While your gifts to the vendors, who are independent contractors, are not taxed deductible, any donations you make directly to our organization are deductible. These monies go to supporting programming, which includes job training and skills development. Our vendors purchase each paper for $.25 and ask for a dollar donation. In exchange for their time and effort in selling the paper, they keep the difference. They are asking for a hand up, not a hand out. By purchasing the paper, you have helped someone struggling to make it. Not just in terms of money, but also in dignity of doing something for themselves. We thank you. Toledo Streets is a monthly publication called a street paper. We are part of a worldwide movemment of street papers that seeks to provide simple economic opportunities to homeless individuals and those experiencing poverty. Toledo Streets is a registered nonprofi t corporation in Ohio. While your gifts to the vendors, who are independent contractors, are not tax deductible, any donations you make directly to our organization are deductible. These monies go to supporting programming, which includes job training and skills development. Our Mission Toledo Streets seeks to empower individuals struggling with extreme poverty to participate on a new level in the community through self-employment, job training, and contributorship. Our Staff EXECUTIVE DIRECTOR Arika Michaelis ART DIRECTOR Ed Conn DESK JOCKEY Ben Stalets Trinity Episcopal Church Vendor Code of Conduct As a vendor representing Toledo Streets Newspaper , I: • • • • • • • • • • • • agree not to ask for more than a dollar or solicit donations for agree to treat all others—customers, staff, pressure customers. agree to stay off other private Toledo property and highway understand I am not a legal employee of for my own well-being and income. Streets Newspaper Toledo under the in luence vendors—respectfully, exit Toledo and ramps when selling Streets Newspaper agree to sell no additional goods or products when selling the paper. will not buy/sell of agree to only use professional signs provided by Streets badge, a Streets sign, and Toledo Toledo Streets understand my badge, vest, and sign are the property of them in any way. Toledo will always have in my possession the following when selling Toledo but drugs I Streets will Toledo a or Streets Newspaper. Toledo papers. Toledo understand that when you are wearing your vest you are representing inappropriate behavior while representing by any not contracted alcohol. will respect the space of other vendors and will position myself at least two blocks away from a working vendor unless otherwise approved. Streets Newspaper agree that badges and signs are $5 to replace and vests are $10 to replace. Toledo Streets Newspaper may result in Streets Newspaper : my Toledo will and Streets Newspaper, disciplinary not alter thus action any other means. “hard sell,” threaten Streets Newspaper. worker responsible or Page19

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