kind of a one stop fits all thought here. if you run across any interesting 2005 stats, lists or charts...throw them up here.
here's a music one, the "billboard top tours of 2005"...
wow, neil diamand took in $71+ million, damn...
# TOTAL GROSS ACT
Total Attendance Total Capacity No. of Shows No. of Sellouts
1 $260,119,588 U2
3,046,821 3,046,821 90 90
2 $116,907,647 EAGLES
1,032,458 1,042,636 77 73
3 $71,339,710 NEIL DIAMOND
1,060,631 1,081,153 76 59
4 $63,029,422 KENNY CHESNEY
1,173,572 1,182,352 71 68
5 $59,684,076 PAUL MCCARTNEY
452,383 452,927 29 27
6 $48,943,773 ROD STEWART
564,223 591,425 58 47
7 $45,524,280 ELTON JOHN
555,116 571,501 34 28
8 $45,015,384 DAVE MATTHEWS BAND
984,697 1,075,058 51 28
9 $40,956,723 JIMMY BUFFETT
541,680 545,832 26 20
10 $36,537,583 GREEN DAY
978,513 1,064,106 76 47
Full Version: A Thread of Charts & Lists...
QUOTE
Ebert's Best 10 Movies of 2005
BY ROGER EBERT /
How in the world can anyone think it was a bad year for the movies when so many were wonderful, a few were great, a handful were inspiring, and there were scenes so risky you feared the tightrope might break? If none of the year's 10 best had been made, I could name another 10 and no one would wonder at the choices. There were a lot of movies to admire in 2005. These were the 10 best:
1. "Crash": Much of the world's misery is caused by conflicts of race and religion. Paul Haggis' film, written with Robert Moresco, uses interlocking stories to show we are in the same boat, that prejudice flows freely from one ethnic group to another. His stories are a series of contradictions in which the same people can be sinned against or sinning. There was once a simple morality formula in America in which white society was racist and blacks were victims, but that model is long obsolete. Now many more players have entered the game: Latinos, Asians, Muslims, and those defined by sexual orientation, income, education or appearance.
America is a nation of minority groups, and we get along with each other better than many societies that criticize us; France has recently been reminded of that. We are all immigrants here. What is wonderful about "Crash" is that it tells not simple-minded parables, but textured human stories based on paradoxes. Not many films have the possibility of making their viewers better people; anyone seeing it is likely to leave with a little more sympathy for people not like themselves. The film opened quietly in May and increased its audience week by week, as people told each other they must see it.
2. "Syriana": Stephen Gaghan's film doesn't reveal the plot, but surrounds us with it. Interlocking stories again: There is less oil than the world requires, and that will make some rich and others dead, unless we all die first. The movie has been called "liberal," but it is apolitical, suggesting that all of the players in the oil game are corrupt and compromised, and in some bleak sense must be, in order to defend their interests -- and ours.
The story involves oil, money and politics in America, the Middle East and China. The CIA is on both sides of one situation, China may be snatching oil away from us in order to sell it back, and no one in this movie understands the big picture because there isn't one, just a series of tactical skirmishes. "Syriana" argues that in the short run, every society must struggle for oil, and in the long run, it will be gone.
3. "Munich": Stephen Spielberg's film may be the bravest of the year, and it plays like a flowing together of the currents in "Crash" and "Syriana," showing an ethnic and religious conflict that floats atop a fundamental struggle over land and oil. Working from a screenplay by Tony Kushner, Spielberg begins with the massacre of Israeli athletes at the Munich Olympiad of 1972, and follows a secret assassination team as it attempts to track down the 11 primary killers. Nine eventually die, but not before the Israeli (Eric Bana) who leads the team loses his moral certainty and nearly his sanity, and not before the film sees revenge as a process that may have harmed Israel more than its targets.
The film is not critical of Israel, as some believe, but a more general mourning for the loss of idealism in a region marching steadily toward terrorism and anarchy. In defending itself, can Israel afford to compromise its standards -- or afford not to? Spielberg doesn't have the answer. He has the courage to suggest that some of Israel's post-Munich policies have not made it a better or safer place.
4. "Junebug": At last, a movie about ordinary people. Or put it this way: Phil Morrison's "Junebug" was the best non-geopolitical film of the year. In simply human terms, there was no other film like it. It understands, profoundly and with love and sadness, the world of small towns; it captures ways of talking and living I remember from my childhood, and has the complexity and precision of great fiction.
The story, written by Angus MacLachlan, involves Alessandro Nivola and Embeth Davidtz as Chicagoans who return to North Carolina to visit his family: His mother (Celia Weston), mercilessly critical of everyone; his father (Scott Wilson), who has withdrawn into his wood-carving; his brother (Benjamin McKenzie), who loves his wife but has been brought to a halt by his demons and shyness, and the pregnant wife (Amy Adams), who is a good soul.
"Junebug" is a great film because it is a true film. It understands that families are complicated, and their problems are not solved during a short visit, just in time for the happy ending. Families and their problems go on and on, and they aren't solved, they're dealt with. There is one heartbreaking moment of truth after another, and humor and love as well.
5. "Brokeback Mountain": Two cowboys in Wyoming discover to their surprise that they love each other. They have no way to deal with that fact. Directed by Ang Lee, it's based on a short story by E. Annie Proulx and a screenplay by Larry McMurtry and Diana Ossana. In the summer of 1963, Ennis (Heath Ledger) and Jack (Jake Gyllenhaal) find themselves one night on a distant mountainside suddenly having sex. "You know I ain't queer," Ennis tells Jack after their first night together. "Me, neither," says Jake. But their love lasts a lifetime and gives them no consolation, because they cannot accept its nature and because they fear, not incorrectly, that in that time and place they could be murdered if it were discovered. Oh, what a sad and lonely story this is, containing what truth and sorrow.
6. "Me and You and Everyone We Know": The previous films have waded fearlessly into troubled waters. Miranda July's walks on them. It's a comedy about falling in love with someone who speaks your rare emotional language of playfulness and daring, of playful mind games and bold challenges. July writes, directs, and stars.
In her first film, she trusts a delicate sense of humor that negotiates situations that would be shocking if they weren't so darn nice. Can you imagine a scene involving teenage sexual experimentation that is sweet and innocent and not shocking at all, because it's not about sex but about what funny and lovable creatures we humans be? And when have you seen a woman seduce a man not with sex but with unbridled and passionate whimsy?
7. "Nine Lives": Rodrigo Garcia's film involves nine stories told in a total of nine shots. It is not a stunt. Most audiences will probably never notice that each scene is told in one shot, although they will sense the tangible passage of real time. The best story involves Robin Wright Penn and Jason Isaacs as two former lovers, now married to others (she pregnant), who meet by chance in a supermarket and during a casual conversation, realize that although their lives are content, they made the mistakes of their lifetimes by not marrying each other. Stating this so boldly, I miss the subtle sympathy that Garcia has for all of his characters, who are permitted those tender moments of truth by which we learn what a tease life is -- so slow to teach us how to live it, so quick to end.
8. "King Kong": A stupendous cliffhanger, a glorious adventure, a shameless celebration of every single resource of the blockbuster, told in a film of visual beauty and surprising emotional impact. Of course, this will be the most popular film of the year, and nothing wrong with that: If movies like "King Kong" didn't delight us with the magic of the cinema, we'd never start going in the first place.
Peter Jackson's triumph is not a remake of the 1933 classic so much as a celebration of its greatness and a flowering of its possibilities. Its most particular contribution is in the area of the heart: It transforms the somewhat creepy relationship of the gorilla and the girl into a celebration of empathy, in which a vaudeville acrobat (Naomi Watts) intuitively understands that when Kong roars he isn't threatening her but stating his territorial dominance; she responds with acrobatics that delight him, not least because Kong has been a gorilla few have ever tried to delight. From their relationship flows the emotional center of the film, which spectacular special effects surround and enhance, but could not replace.
9. "Yes": An elegant Irish-American woman, living with a rich and distant British politician, makes eye contact with a waiter. Neither turns away. Their sex is eager and makes them laugh. They are not young; they are grateful because of long experience with what can go wrong. He was a surgeon in Lebanon. Sally Potter tells their story in iambic pentameter, the rhythm of Shakespeare. The dialogue style elevates what is being said into a realm of grace and care.
Joan Allen stars, and has ever a movie loved a woman more? To recline at the edge of the pool in casual physical perfection is natural to her, disturbing to him. They realize they cannot live together successfully in either of their cultures. A third place is required. Their story is told in counterpoint with the bold asides of a cleaner (Shirley Henderson) who notes that for all their passion they shed the same strands of hair and flakes of skin and tiny germs as the rest of us, and must be cleaned up after. Bold, erotic, political, and like no other film I have ever seen.
10. "Millions": The best family film of the year is by the unlikely team of director Danny Boyle and writer Frank Cottrell Boyce. Nine-year-old Anthony Cunningham and his 7-year-old brother, Damian (Lewis McGibbon and Alex Etel) find a bag containing loot that bounced off a train and is currently stuffed under their bed. With limitless imagination and joy, the film follows the brothers as they deal with their windfall.
Oh, and Damian gets advice from saints, real ones. St. Francis of Assisi, his favorite, provides advice that Anthony is sure will get them into trouble. Despite how it sounds, this isn't a "cute little film." The director makes hard-boiled movies, the writer has worked at the cutting edge, and this is what a family film would look like if it were made with the intelligence of adults.
BY ROGER EBERT /
How in the world can anyone think it was a bad year for the movies when so many were wonderful, a few were great, a handful were inspiring, and there were scenes so risky you feared the tightrope might break? If none of the year's 10 best had been made, I could name another 10 and no one would wonder at the choices. There were a lot of movies to admire in 2005. These were the 10 best:
1. "Crash": Much of the world's misery is caused by conflicts of race and religion. Paul Haggis' film, written with Robert Moresco, uses interlocking stories to show we are in the same boat, that prejudice flows freely from one ethnic group to another. His stories are a series of contradictions in which the same people can be sinned against or sinning. There was once a simple morality formula in America in which white society was racist and blacks were victims, but that model is long obsolete. Now many more players have entered the game: Latinos, Asians, Muslims, and those defined by sexual orientation, income, education or appearance.
America is a nation of minority groups, and we get along with each other better than many societies that criticize us; France has recently been reminded of that. We are all immigrants here. What is wonderful about "Crash" is that it tells not simple-minded parables, but textured human stories based on paradoxes. Not many films have the possibility of making their viewers better people; anyone seeing it is likely to leave with a little more sympathy for people not like themselves. The film opened quietly in May and increased its audience week by week, as people told each other they must see it.
2. "Syriana": Stephen Gaghan's film doesn't reveal the plot, but surrounds us with it. Interlocking stories again: There is less oil than the world requires, and that will make some rich and others dead, unless we all die first. The movie has been called "liberal," but it is apolitical, suggesting that all of the players in the oil game are corrupt and compromised, and in some bleak sense must be, in order to defend their interests -- and ours.
The story involves oil, money and politics in America, the Middle East and China. The CIA is on both sides of one situation, China may be snatching oil away from us in order to sell it back, and no one in this movie understands the big picture because there isn't one, just a series of tactical skirmishes. "Syriana" argues that in the short run, every society must struggle for oil, and in the long run, it will be gone.
3. "Munich": Stephen Spielberg's film may be the bravest of the year, and it plays like a flowing together of the currents in "Crash" and "Syriana," showing an ethnic and religious conflict that floats atop a fundamental struggle over land and oil. Working from a screenplay by Tony Kushner, Spielberg begins with the massacre of Israeli athletes at the Munich Olympiad of 1972, and follows a secret assassination team as it attempts to track down the 11 primary killers. Nine eventually die, but not before the Israeli (Eric Bana) who leads the team loses his moral certainty and nearly his sanity, and not before the film sees revenge as a process that may have harmed Israel more than its targets.
The film is not critical of Israel, as some believe, but a more general mourning for the loss of idealism in a region marching steadily toward terrorism and anarchy. In defending itself, can Israel afford to compromise its standards -- or afford not to? Spielberg doesn't have the answer. He has the courage to suggest that some of Israel's post-Munich policies have not made it a better or safer place.
4. "Junebug": At last, a movie about ordinary people. Or put it this way: Phil Morrison's "Junebug" was the best non-geopolitical film of the year. In simply human terms, there was no other film like it. It understands, profoundly and with love and sadness, the world of small towns; it captures ways of talking and living I remember from my childhood, and has the complexity and precision of great fiction.
The story, written by Angus MacLachlan, involves Alessandro Nivola and Embeth Davidtz as Chicagoans who return to North Carolina to visit his family: His mother (Celia Weston), mercilessly critical of everyone; his father (Scott Wilson), who has withdrawn into his wood-carving; his brother (Benjamin McKenzie), who loves his wife but has been brought to a halt by his demons and shyness, and the pregnant wife (Amy Adams), who is a good soul.
"Junebug" is a great film because it is a true film. It understands that families are complicated, and their problems are not solved during a short visit, just in time for the happy ending. Families and their problems go on and on, and they aren't solved, they're dealt with. There is one heartbreaking moment of truth after another, and humor and love as well.
5. "Brokeback Mountain": Two cowboys in Wyoming discover to their surprise that they love each other. They have no way to deal with that fact. Directed by Ang Lee, it's based on a short story by E. Annie Proulx and a screenplay by Larry McMurtry and Diana Ossana. In the summer of 1963, Ennis (Heath Ledger) and Jack (Jake Gyllenhaal) find themselves one night on a distant mountainside suddenly having sex. "You know I ain't queer," Ennis tells Jack after their first night together. "Me, neither," says Jake. But their love lasts a lifetime and gives them no consolation, because they cannot accept its nature and because they fear, not incorrectly, that in that time and place they could be murdered if it were discovered. Oh, what a sad and lonely story this is, containing what truth and sorrow.
6. "Me and You and Everyone We Know": The previous films have waded fearlessly into troubled waters. Miranda July's walks on them. It's a comedy about falling in love with someone who speaks your rare emotional language of playfulness and daring, of playful mind games and bold challenges. July writes, directs, and stars.
In her first film, she trusts a delicate sense of humor that negotiates situations that would be shocking if they weren't so darn nice. Can you imagine a scene involving teenage sexual experimentation that is sweet and innocent and not shocking at all, because it's not about sex but about what funny and lovable creatures we humans be? And when have you seen a woman seduce a man not with sex but with unbridled and passionate whimsy?
7. "Nine Lives": Rodrigo Garcia's film involves nine stories told in a total of nine shots. It is not a stunt. Most audiences will probably never notice that each scene is told in one shot, although they will sense the tangible passage of real time. The best story involves Robin Wright Penn and Jason Isaacs as two former lovers, now married to others (she pregnant), who meet by chance in a supermarket and during a casual conversation, realize that although their lives are content, they made the mistakes of their lifetimes by not marrying each other. Stating this so boldly, I miss the subtle sympathy that Garcia has for all of his characters, who are permitted those tender moments of truth by which we learn what a tease life is -- so slow to teach us how to live it, so quick to end.
8. "King Kong": A stupendous cliffhanger, a glorious adventure, a shameless celebration of every single resource of the blockbuster, told in a film of visual beauty and surprising emotional impact. Of course, this will be the most popular film of the year, and nothing wrong with that: If movies like "King Kong" didn't delight us with the magic of the cinema, we'd never start going in the first place.
Peter Jackson's triumph is not a remake of the 1933 classic so much as a celebration of its greatness and a flowering of its possibilities. Its most particular contribution is in the area of the heart: It transforms the somewhat creepy relationship of the gorilla and the girl into a celebration of empathy, in which a vaudeville acrobat (Naomi Watts) intuitively understands that when Kong roars he isn't threatening her but stating his territorial dominance; she responds with acrobatics that delight him, not least because Kong has been a gorilla few have ever tried to delight. From their relationship flows the emotional center of the film, which spectacular special effects surround and enhance, but could not replace.
9. "Yes": An elegant Irish-American woman, living with a rich and distant British politician, makes eye contact with a waiter. Neither turns away. Their sex is eager and makes them laugh. They are not young; they are grateful because of long experience with what can go wrong. He was a surgeon in Lebanon. Sally Potter tells their story in iambic pentameter, the rhythm of Shakespeare. The dialogue style elevates what is being said into a realm of grace and care.
Joan Allen stars, and has ever a movie loved a woman more? To recline at the edge of the pool in casual physical perfection is natural to her, disturbing to him. They realize they cannot live together successfully in either of their cultures. A third place is required. Their story is told in counterpoint with the bold asides of a cleaner (Shirley Henderson) who notes that for all their passion they shed the same strands of hair and flakes of skin and tiny germs as the rest of us, and must be cleaned up after. Bold, erotic, political, and like no other film I have ever seen.
10. "Millions": The best family film of the year is by the unlikely team of director Danny Boyle and writer Frank Cottrell Boyce. Nine-year-old Anthony Cunningham and his 7-year-old brother, Damian (Lewis McGibbon and Alex Etel) find a bag containing loot that bounced off a train and is currently stuffed under their bed. With limitless imagination and joy, the film follows the brothers as they deal with their windfall.
Oh, and Damian gets advice from saints, real ones. St. Francis of Assisi, his favorite, provides advice that Anthony is sure will get them into trouble. Despite how it sounds, this isn't a "cute little film." The director makes hard-boiled movies, the writer has worked at the cutting edge, and this is what a family film would look like if it were made with the intelligence of adults.
Thanks, Bill, I was thinking of starting such a thread with this:
Merriam-Webster's Words of the Year 2005
Based on your online lookups, the #1 Word of the Year for 2005 was:
1. integrity
Pronunciation: in-'te-gr&-tE
Function: noun
Etymology: Middle English integrite, from Middle French & Latin; Middle French integrité, from Latin integritat-, integritas, from integr-, integer entire
1 : firm adherence to a code of especially moral or artistic values : INCORRUPTIBILITY
2 : an unimpaired condition : SOUNDNESS
3 : the quality or state of being complete or undivided : COMPLETENESS
synonym see HONESTY
The rest of the Top Ten List. For their definitions, click here.
2. refugee
3. contempt
4. filibuster
5. insipid
6. tsunami
7. pandemic
8. conclave
9. levee
10. inept
Interesting list given all that happened in 2005.
Cher
Merriam-Webster's Words of the Year 2005
Based on your online lookups, the #1 Word of the Year for 2005 was:
1. integrity
Pronunciation: in-'te-gr&-tE
Function: noun
Etymology: Middle English integrite, from Middle French & Latin; Middle French integrité, from Latin integritat-, integritas, from integr-, integer entire
1 : firm adherence to a code of especially moral or artistic values : INCORRUPTIBILITY
2 : an unimpaired condition : SOUNDNESS
3 : the quality or state of being complete or undivided : COMPLETENESS
synonym see HONESTY
The rest of the Top Ten List. For their definitions, click here.
2. refugee
3. contempt
4. filibuster
5. insipid
6. tsunami
7. pandemic
8. conclave
9. levee
10. inept
Interesting list given all that happened in 2005.
Cher
QUOTE(coldteablues @ Jan 1 2006, 08:11 AM) 
1. integrity
3. contempt
10. inept
Interesting list given all that happened in 2005.
Cher
3. contempt
10. inept
Interesting list given all that happened in 2005.
Cher
heh heh...::trying not to be political!::
For the movie buffs, from this site.
Top grossing movies for 2005 in the USA
Please note that these are the top grossing films that were first released in 2005; because they may have made most of their income in a later year, they are probably not the top grossing films for calendar year
Gross /Movie
380,262,555 Star Wars: Episode III - Revenge of the Sith (2005)
252,598,259 Harry Potter and the Goblet of Fire (2005)
234,280,354 War of the Worlds (2005)
209,218,368 Wedding Crashers (2005)
206,456,431 Charlie and the Chocolate Factory (2005)
205,343,774 Batman Begins (2005)
193,136,719 Madagascar (2005)
186,336,103 Mr. & Mrs. Smith (2005)
177,575,142 Hitch (2005)
158,115,031 The Longest Yard (2005)
Top grossing movies for 2005 in the USA
Please note that these are the top grossing films that were first released in 2005; because they may have made most of their income in a later year, they are probably not the top grossing films for calendar year
Gross /Movie
380,262,555 Star Wars: Episode III - Revenge of the Sith (2005)
252,598,259 Harry Potter and the Goblet of Fire (2005)
234,280,354 War of the Worlds (2005)
209,218,368 Wedding Crashers (2005)
206,456,431 Charlie and the Chocolate Factory (2005)
205,343,774 Batman Begins (2005)
193,136,719 Madagascar (2005)
186,336,103 Mr. & Mrs. Smith (2005)
177,575,142 Hitch (2005)
158,115,031 The Longest Yard (2005)
I am surprised the Rolling Stones didn't make that top concert list...
I saw another list on TV that had the Stones' tour out-earning U2...I don't remember the exact figures...
top tv shows per the chicago tribune
"Battlestar Galactica," Sci Fi:
"Deadwood," HBO:
"Everybody Hates Chris," UPN
"Grey’s Anatomy," ABC:
"House," Fox:
"Lost," ABC:
"My Name Is Earl," NBC:
"Rome," HBO: Epic,
"The Shield," FX:
"Veronica Mars," UPN:
"Battlestar Galactica," Sci Fi:
"Deadwood," HBO:
"Everybody Hates Chris," UPN
"Grey’s Anatomy," ABC:
"House," Fox:
"Lost," ABC:
"My Name Is Earl," NBC:
"Rome," HBO: Epic,
"The Shield," FX:
"Veronica Mars," UPN:
BEST OF CINCINATTI 2005
QUOTE
OUT & ABOUT READER PICKS
Best Art Gallery
Contemporary Arts Center
44 E. Sixth St., Downtown, 513-721-0390
Best Arts Organization
Enjoy the Arts/START
1338 Main St., Over-the-Rhine, 513-621-4700
Best Bowling Alley
Western Bowl
6383 Glenway Ave., Bridgetown, 513-574-2222
Best Brewpub
BarrelHouse
NOW CLOSED
Best Casino
Argosy Casino & Hotel
777 Argosy Pkwy., Lawrenceburg, 812-539-8236
Best Celtic Pub
The Dubliner
6111 Montgomery Road, Pleasant Ridge, 513-531-6111
Best Comedy Club
Funny Bone
Newport on the Levee, Newport, 859-957-2000
Best Comedy Troupe
Wit’s End
witsendcomedy.com
Best Dance Club
The Dock
603 W. Pete Rose Way, Downtown, 513-241-5623
Best Gay/Lesbian Bar
Hamburger Mary’s
911 Vine St., Downtown, 513-381-MARY
Best Happy Hour
Applebee’s
Mulitple locations
Best Bar/Nightclub
Northside Tavern
4163 Hamilton Ave., Northside, 513-542-3603
Best New Bar/nightclub
alchemize
1120 Walnut St., Over-the-Rhine, 513-381-2400
Best Margarita
Margaritas
Multiple locations
Best Martini
Havana Martini Club
580 Walnut St., Downtown, 513-651-2800
Best Concert Venue
Riverbend
Kellogg Avenue at I-275, Anderson Twp., 513-232-6220
Best Concert in 2004
Barenaked Ladies at Riverbend (Aug. 14)
Best Local Actor/Actress
Dale Hodges
Best Local Artist
Loren Long
Best Local Author
Kathy Y. Wilson
Best Local Band/Originals
Over the Rhine
Best Local Band/Covers
Rusty Griswolds
Best Open Mic Night
The Greenwich
2442 Gilbert Ave., Walnut Hills, 513-221-1151
Best Jukebox
The Comet
4579 Hamilton Ave., Northside, 513-541-8900
Best Karaoke
Hamburger Mary’s
Best Live Theater
Playhouse in the Park
962 Mount Adams Drive, Mount Adams, 513-421-3888
Best Movie Theater
AMC Newport
Newport on the Levee, Newport, 859-261-8100
Best Pool Hall
Jekyll & Hyde’s
1140 Main St., Over-the-Rhine, 513-929-4400
Best Place to Play Darts
Murphy’s Pub
2329 Clifton Ave., Clifton Heights, 513-721-6148
TICKER: First-time winners in their categories: Funny Bone, Applebee’s, Northside Tavern, Margaritas, Loren Long, Kathy Y. Wilson and The Greenwich … Old favorites: Enjoy the Arts/START, The Dubliner and Playhouse in the Park (five years in a row); Riverbend (seventh time in eight years); Jekyll & Hyde’s/Westminster’s and the defunct BarrelHouse (seven years in a row); and the Contemporary Arts Center (has won all nine years of Best of Cincinnati) … Streaks broken: Cody’s, now closed, had won Best Open Mic three years in a row.
Best Art Gallery
Contemporary Arts Center
44 E. Sixth St., Downtown, 513-721-0390
Best Arts Organization
Enjoy the Arts/START
1338 Main St., Over-the-Rhine, 513-621-4700
Best Bowling Alley
Western Bowl
6383 Glenway Ave., Bridgetown, 513-574-2222
Best Brewpub
BarrelHouse
NOW CLOSED
Best Casino
Argosy Casino & Hotel
777 Argosy Pkwy., Lawrenceburg, 812-539-8236
Best Celtic Pub
The Dubliner
6111 Montgomery Road, Pleasant Ridge, 513-531-6111
Best Comedy Club
Funny Bone
Newport on the Levee, Newport, 859-957-2000
Best Comedy Troupe
Wit’s End
witsendcomedy.com
Best Dance Club
The Dock
603 W. Pete Rose Way, Downtown, 513-241-5623
Best Gay/Lesbian Bar
Hamburger Mary’s
911 Vine St., Downtown, 513-381-MARY
Best Happy Hour
Applebee’s
Mulitple locations
Best Bar/Nightclub
Northside Tavern
4163 Hamilton Ave., Northside, 513-542-3603
Best New Bar/nightclub
alchemize
1120 Walnut St., Over-the-Rhine, 513-381-2400
Best Margarita
Margaritas
Multiple locations
Best Martini
Havana Martini Club
580 Walnut St., Downtown, 513-651-2800
Best Concert Venue
Riverbend
Kellogg Avenue at I-275, Anderson Twp., 513-232-6220
Best Concert in 2004
Barenaked Ladies at Riverbend (Aug. 14)
Best Local Actor/Actress
Dale Hodges
Best Local Artist
Loren Long
Best Local Author
Kathy Y. Wilson
Best Local Band/Originals
Over the Rhine
Best Local Band/Covers
Rusty Griswolds
Best Open Mic Night
The Greenwich
2442 Gilbert Ave., Walnut Hills, 513-221-1151
Best Jukebox
The Comet
4579 Hamilton Ave., Northside, 513-541-8900
Best Karaoke
Hamburger Mary’s
Best Live Theater
Playhouse in the Park
962 Mount Adams Drive, Mount Adams, 513-421-3888
Best Movie Theater
AMC Newport
Newport on the Levee, Newport, 859-261-8100
Best Pool Hall
Jekyll & Hyde’s
1140 Main St., Over-the-Rhine, 513-929-4400
Best Place to Play Darts
Murphy’s Pub
2329 Clifton Ave., Clifton Heights, 513-721-6148
TICKER: First-time winners in their categories: Funny Bone, Applebee’s, Northside Tavern, Margaritas, Loren Long, Kathy Y. Wilson and The Greenwich … Old favorites: Enjoy the Arts/START, The Dubliner and Playhouse in the Park (five years in a row); Riverbend (seventh time in eight years); Jekyll & Hyde’s/Westminster’s and the defunct BarrelHouse (seven years in a row); and the Contemporary Arts Center (has won all nine years of Best of Cincinnati) … Streaks broken: Cody’s, now closed, had won Best Open Mic three years in a row.
QUOTE(Trudes @ Jan 1 2006, 10:51 AM)
QUOTE(coldteablues @ Jan 1 2006, 08:11 AM)
1. integrity
3. contempt
10. inept
Interesting list given all that happened in 2005.
Cher
heh heh...::trying not to be political!::
I think the mother of all lists can be found here. Be prepared to stay awhile.
The mother of all lists.
The mother of all lists.
QUOTE(Kimpossible @ Jan 2 2006, 12:26 AM)
I think the mother of all lists can be found here. Be prepared to stay awhile.
The mother of all lists.
The mother of all lists.
ahhh -- but that takes the fun out of those little random fiinds.
peace,
zayne
This is a "lo-fi" version of our main content. To view the full version with more information, formatting and images, please click here.