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It was easy to call this a tragedy and turn the page.Įxcept that some of what little we thought we knew hasn’t held up. That she had mental problems.ĭistrict Police Chief Cathy Lanier said federal officers acted “heroically.” The House of Representatives offered a standing ovation. We were told that Carey “rammed” White House and Capitol “barriers.” That she tried to breach two security perimeters.
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The Infiniti reappears, making a loop around a traffic circle, and proceeds up Constitution Avenue to what would be the fatal encounter outside the Hart Building. There’s the sound of gunfire while tourists take cover on the West Lawn.
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Suddenly the driver backs into a squad car and accelerates away. The main thing I remembered was that incredible video - the one showing the two-door black Infiniti surrounded by Secret Service officers with guns drawn near the Capitol Reflecting Pool. I had to look up her name when I first started puzzling over this case. She’s very missed.”ĭo you remember Miriam Carey? Her remarkably public death at 34 mesmerized us for a couple of news cycles. “It’s like she was wiped off the face of the earth. “We’re left with a void and no answers,” Nicholson says. She was one of the best dental hygienists and “one of the nicest people” Nicholson ever hired. The office manager of a dental practice in Ardsley, N.Y., is standing in the hygiene room, remembering the woman who used to clean teeth at this chair. Her 13-month-old daughter survived in a car seat.īarbara Nicholson is asking. 3, 2013, after a car chase from the White House to Capitol Hill.
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For others, it may just sound like bland reappropriation.So many questions, so much we still don’t know about the case of the woman shot to death by the Secret Service and the U.S. For some listeners, Marian Hill's cool, at-arms-length earnestness will come off as wry, art-school juxtaposition. The main crux is that Gongol, while technically a fine singer, lacks the believable swagger, warmth, and organic, swinging phrasing of singers like Beyoncé or even Sade, whose moody, emotionally bare style is an obvious touchstone for the band. Admittedly, as conceptually interesting as Marian Hill can be, their particular brand of electronic soul can sometimes feel awkward and square. Elsewhere, tracks like "Down" and "Bout You" have a sultry warmth that sounds like a '90s Brandy track remixed down to its barest essential elements. Occasionally they come close, and cuts like "Talk to Me" and "Take Your Time" have a fresh, kinetic energy that captures the band's art-school inclinations and catchy hooks. At best, one gets the sense that Marian Hill are aiming for an aesthetic somewhere along the lines of Beyoncé making an album with '80s electronic outfit Art of Noise. Centered on Gongol's lithe, if slight vocals, the duo make a minimalist brand of pop R&B built around robotic beats, chilly synth hits, and Davit's cubist post-bop sax lines that often sound as if they've been sampled and spliced into the mix. Featuring the talents of producer Jeremy Lloyd and vocalist Samantha Gongol, Marian Hill also benefits from the contributions of jazz saxophonist Steve Davit, who appears throughout. The debut full-length album from Marian Hill, 2016's Act One, deftly showcases the Philadelphia duo's somewhat arty, stripped-down R&B.