Ian McLagan, who performs at Southgate House Revival on Wednesday, is a Rock and Roll Hall of Fame inductee. And for good reason.
In 1965, he replaced one Jimmy Weston as keyboard player in Small Faces, one of the two great Mod bands (the other was The Who) who captured the youthquake mood and sense of liberation that swept the Swinging London of the mid-1960s.
In Britain, Small Faces had hit after hit featuring vocalist/guitarist Steve Marriott — “Sha-La-La-La-Lee,” “All or Nothing,” “Tin Soldier,” “Lazy Sunday,” “Here Come the Nice,” “The Universal” and more. Their one U.S. hit, the psychedelicized “Itchycoo Park,” has been a Rock-radio staple from the day it hit the charts in 1967.
When Marriott departed, the remaining group members — McLagan, bassist Ronnie Lane and drummer Kenney Jones — decided to carry on by recruiting two members of The Jeff Beck Group, singer Rod Stewart and guitarist Ronnie Wood. Called Faces, they became one of Britain’s most successful bands of the early 1970s with their rough-hewn, pub-friendly style of rowdy-yet-tender acoustic-electric Rock. Among their classics are “Stay With Me,” “Cindy Incidentally” and “Ooh La La.”
With all the talent in that band, it didn’t stay together too long. Stewart’s concurrent solo career got too big, while Wood was wanted by The Rolling Stones and Jones by The Who. McLagan, whose vocal duties were limited in Small Faces and Faces (who were simultaneously inducted into the Rock Hall in 2012), became an in-demand session and touring keyboardist for Bonnie Raitt, Billy Bragg, Bob Dylan, The Rolling Stones and many others.
He also began occasionally releasing his own mostly small label albums, solo and with The Bump Band, that showcased his ruggedly naturalistic voice and songwriting talents. He has lived in Austin, Texas, since 1994, after moving to the U.S. from Britain and living in L.A. for 16 years.
At the time of his Austin move, Lane was also there. But the latter’s worsening multiple sclerosis soon prompted a move to less-humid Trinidad, Colo. In fact, Lane already was planning that move when McLagan told him he was coming to Austin. So their time together in the same town only lasted for one and a half months. Lane died in 1997.
McLagan’s solo career took a great leap forward with 2009’s Never Say Never, filled with sometimes-rueful, sometimes-redemptive songs, melodic and rhythmic, prompted by the loss of his wife, Kim, in an auto accident. The songs have some of the majesty of Paul McCartney’s “Maybe I’m Amazed,” another high point of early-1970s British Rock.
That album, in turn, inspired the label Yep Roc — home to still-vital veteran singer/songwriters like Nick Lowe, Dave Alvin and Robyn Hitchcock — to distribute his follow-up, this year’s fine United States. It’s been getting rave reviews and is helping McLagan finally emerge as a bandleader.
The album is bringing McLagan (with Bump Band bassist Jon Notarthomas) to Southgate House Revival in Newport Wednesday. As far as he can recall, this is his first show as a headliner in the Cincinnati area since his first solo album, Troublemaker, came out in 1979.
“This year I’ve toured as much as I have in last 10 years,” the affable, sunny-dispositioned McLagan says in a phone interview. “Now I have a record company that wants me to tour and that’s great.”
It’s also a little strange. McLagan, 69, is a member of British Rock & Roll royalty — of the same generation, and often friends with, those who have been arena-filling superstars for six decades and counting. Yet his Cincinnati area date is surprisingly low profile, with little advance publicity. (For a variety of reasons, Southgate House didn’t announce it until just two weeks before the show.)
It’s an odd situation. He’s been making music professionally for 50 years, yet is still establishing himself as a touring attraction.
“The funny thing is, if I’d made several albums in the 1960s and had some success, the people that like my albums now would have grown up liking them,” McLagan says. “I didn’t have that, and I realize I’m stumbling around this wonderful world trying to attract attention now.
“It’s pretty funny, really. But I just love what I do,” he says. “I am so blessed that all I’ve done in my professional life, since I was 17-18, is play music and somehow make a dollar here and there.”
One thing that remains constant in McLagan’s shows — in his psyche — is his love for his late wife. He met her when she was estranged from husband Keith Moon. He always performs several songs from Never Say Never.
“I sing to my wife; it helps me,” he confides. “She was my muse. I’ve written so many songs about her, to her, with references to her, and still do. She’s a big part of my life. We were together for 33 years. It actually does me good — she’s with me all that time in that way.”
Even though McLagan isn’t that famous as an individual, he was in groups whose records sold millions. So shouldn’t his royalties afford him such a cushion he can treat work like a hobby?
“Ha, ha, ha — you’re very funny,” he replies.
He explains Small Faces were on a modest salary that was paid by their manager, Don Arden, with knowledge of their Immediate record label’s head, Andrew Loog Oldham. They never got royalties during the band’s lifetime.
McLagan joined Small Faces in 1965 after original keyboardist Weston left following the group’s first British hit, “Watcha Gonna Do About It.” Although it wasn’t why original Small Faces keyboardist Weston left, he had been the only member of the original lineup who wasn’t actual small, height-wise.
McLagan, who was, had been gigging with more Blues-oriented groups, including one led by Boz Burrell (future King Crimson and Bad Company member).
“They got me because they read a review of a show I was in with another band that said I played Hammond organ and I was really good, and it had a photograph with my name under it," McLagan says. “But it wasn’t a photograph of me, it was of Boz Burrell. So when they saw me, they laughed and Steve picked me up because they hadn’t known I was short. How cool is that? They said, ‘He doesn’t look like his photograph but he looks all right.’ ”
Arden asked McLagan how much he was earning and he said five pounds (the British currency) a week, a very small sum. So he offered McLagan 30 pounds during probation and then an even split with the others.
“He was showing off,” McLagan says. “I was thinking, ‘Wow, I’m a millionaire.’ Eventually, I asked Ronnie Lane, ‘What’s going on? Am I still on probation?’ They knew nothing about it. We went up to the office and Ronnie said to Don, ‘Hey, Mac’s in the band, all right?’ My money went down to 20 pounds a week — that’s what they were getting! We never got anything other than 20 pounds a week for two years and then it was 50 pounds a week. Since 1997, we now get our royalties. Of course, Small Faces albums are not selling in the amount they were when we didn’t get paid, but we are at least getting something.
“But you know what? It didn’t fucking matter,” he continues. “I’m earning every day, Don Arden’s dead, Andrew and I have made up and we’re friends. The money’s gone so move on.”
As for the Faces, McLagan says their record label — Warner Bros. — does pay. But it’s been slow to release archival product. The four-disc Warner/Rhino retrospective Five Guys Walk into a Bar came out back in 2004.
“The Faces sell a little bit but Warner Bros. are such a bunch of idiots because they didn’t realize if we haven’t got records out we can’t make any money,” McLagan says. “It’s taken a while, but there should be a Faces live album … out next year.”
The album was recorded in the States during the Faces’ heyday.
“We’ve just discovered this recently,” McLagan says. “We recorded it and completely forgot about it. I heard a couple tracks and it sounds really good.”
McLagan then reveals an enticing possibility.
“Hopefully we’ll tour behind it,” he says. “Rod’s keen, I’m keen, Kenney’s keen and Ronnie Wood is keen, so I don’t see anything in the way of it.”
In the meantime, McLagan’s Wednesday show at Southgate House is a rare chance to see this great Rock & Roll musician in an intimate setting. (Click here for ticket info.)
Progressive Italian Indie/Electronic band JoyCut are continuing their ever-expanding global takeover with an extensive fall tour, which includes a free show tonight at Over-the-Rhine's MOTR Pub. Cincy trio Orchards open the show at 10 p.m.
JoyCut blends elements of Dark Wave, EDM, Post Rock and other adventurous styles to concoct its engaging, often mesmerizing instrumental sound, most recently heard on the full-length PiecesOfUsWereLeftOnTheGround. JoyCut has performed with heavyweights like The Arcade Fire and Modest Mouse and only this year began touring the States. The trio's first U.S. visit was very well-received and resulted in tons of glowing press and other accolades (JoyCut was named MTV's Iggy Artist of the Week in April and radio has been embracing the new LP). Not too shabby, especially for an all-instrumental band.
Hey all! We’re hustling this week to put together our election issue, which will be just overrun with everything you need to know before Nov. 4 or, heck, right now if you’re doing the early voting thing. In light of that, I’m going to hit you with a brief, just-the-facts version of morning news.
• Some folks in the city, including advocates for the poor, are upset with the way Mayor John Cranley’s new job training program, called the “Hand Up” initiative, will be funded. That initiative is getting some of its funding from federal grants originally slated for other established programs in the city. Cranley says those programs aren’t the best use of the federal funds, and that his program will help up to 4,000 Cincinnatians reach self-sufficiency. Others, however, challenge that assertion.
• Seven Greenpeace activists were scheduled to stand trial today for hanging a banner protesting P&G’s use of palm oil from the company’s headquarters in March. But that trial has been postponed until Jan. 20. Another activist who was also facing charges died Oct. 6. A ninth took a plea deal Sept. 8 and is awaiting sentencing. The remaining activists could face more than nine years in prison on felony burglary and vandalism charges.
• Yet another development deal may be happening soon on Central Parkway in Over-the-Rhine. Have you ever driven down Central Parkway near Liberty Street and wondered what the building that says Warner Brothers on the front was all about? Developer Urban Sites is considering turning the 40,000-square-foot historic building, which was used by the film company as a vault, into offices or apartments.
• Democrat Senate candidate and Kentucky Secretary of State Alison Lundergan Grimes is still running neck and neck with Sen. Mitch McConnell in one of the country’s most-watched races. Recent polls put the two dead even, and, in a sign that folks who follow such things think she still has a chance, Grimes was endorsed by two of Kentucky’s major newspapers over the weekend. Both the Louisville Courier-Journal and the Lexington Herald-Leader have backed Grimes. McConnell’s challenger made a last-minute swoop through Covington over the weekend, showing up to hang out with a few dozen supporters at the MainStrasse Village Dog PawRade.
• Let’s zoom out to the bigger picture on the Senate. This AP story explores how weak Republican governors in some states could hurt the party’s chances of taking back the Senate, which it desperately, desperately wants to do so it can keep President Obama from doing really communistic type things like making sure people have health care and stuff.
• Finally, while we’re talking about elections, could the national attention focused on civil unrest Ferguson, Mo., spur greater black turnout in this midterm election? I normally don’t pay too much mind to the Daily Beast, but this article is thought-provoking.
Cranley’s “Hand Up” job initiative will be funded in part by cuts to other anti-poverty and blight mitigation programs. That has some advocates for the poor up in arms.
The Hand Up program, which has an overall budget of $2.3 million, will provide education, job training and other services for Cincinnatians experiencing poverty. It will fund nonprofit job training organizations Cincinnati Cooks, Cincinnati Works and Solid Opportunities for Advancement and Retention.
Cranley says the program will eventually provide more than 4,000 Cincinnatians with jobs making at least $10 an hour. But it will do so by redirecting more than $1 million from federal Community Development Block Grants that was budgeted to other well-established Cincinnati programs that serve the poor.
Former City Council candidate Michelle Dillingham, who now works for the Greater Cincinnati Coalition for the Homeless, says the cuts are short-sighted and unfair.
“The programs the mayor has recommended for elimination are the few we have that are able to address systemic discrimination and inequality faced by our citizens,” she wrote in an Oct. 21 editorial in the Cincinnati Enquirer. She also noted that there are other more pressing concerns the funds could be used for.
“Block-grant funds could also be used to create more units of affordable housing,” she says, “an especially acute need given than homelessness in the city is increasing and the average age of a person receiving emergency shelter last year here was 9.”
Cranley says the cuts have been vetted by a board that approves the city’s use of CDBG funds. CDBG grants, which come from the Department of Housing and Urban Development, allow cities some flexibility in how they’re distributed. But HUD hasn’t prioritized job training over the kinds of programs being cut, critics like Dillingham say.
The cuts include $40,375 from Housing Opportunities Made Equal, which does tenant advocacy work, tenant education and other services. About $152,000 will come from People Working Cooperatively, an organization that provides home repairs, energy efficiency help and other services to low-income people.
Some critics, including Over-the-Rhine Community Council President Ryan Messer, say Cranley’s message of job training over assistance for the poor mirrors regressive conservative talking points about poverty, including Wisconsin Republican U.S. Rep. Paul Ryan’s infamous budget proposal last year, which slashed spending on food aid and other anti-poverty programs.
Cranley has said that the program is designed prioritize teaching people to provide for themselves over “traditional welfare handouts.”
Councilman Chris Seelbach has been skeptical of the cuts and has drawn up a motion to restore funds to some of the programs. He’s hoping to get the motion before council at its Nov. 3 meeting.
Today, I wanted to write about something that all five of us share on this trip. Something we all cherish, hold close and respect more than anything. I want to talk about something that holds us all together on a daily basis. The love of Rock & Roll.
Ha ha! Just kidding, I’m talking about gaffer’s tape.
Some of you may be asking what gaffer’s tape (aka gaff tape) is. Others of you may be saying that gaff tape is just like duct tape. To the first group, I will say that gaff tape is a wondrous roll of tape with properties that make it perfect for a touring band’s needs. To the second group, I will say, “Shut up, no it isn’t.”
Gaff tape comes in a large roll similar to duct tape, is generally black (shiny or matte) and adheres to just about anything. The non-stick surface and a Sharpie is a match made in heaven. And when you go sticky side to sticky side, nothing short of The Hulk (or a knife) will get that stuff separated.
But there is one attribute that makes it invaluable: it rips off the roll super easily. Anyone who has used duct tape knows what a struggle it is to get that stuff to part with the rest of the roll. OK, it’s not super hard to do, but when you’re half asleep, in some random European city, with 15 minutes till doors open and an entire merch area to set up, convenience is crucial.
To give you an idea of just how versatile gaff tape is, I want to share with you some of the myriad ways we’ve put gaff tape to work.
The first is makeshift signs. When you have to advertise what sizes we have left in stock on a shirt, gaff tape comes to the rescue.
We also use the black gold to hang our merch when no hooks or other devices are present.
Sometimes we use it to keep our expensive tour banners from falling over.
CityBeat contributor Nick Grever is currently traveling Europe on tour with Cincinnati Rock band Valley of the Sun. He will be blogging for citybeat.com regularly about the experience.
This American Life, the true storytelling public radio show hosted by Ira Glass, is one of the most popular radio programs and podcasts today. Each week since 1995, Glass presents a theme — cars, summer camp, break-ups — and a variety of writers, comedians, journalists and everyday people share stories of their experiences with that subject. For the few unfamiliar with TAL, it’s one of those shows that will keep you in your car with the radio on long after you’ve pulled in the driveway.
Ira Glass will present his
live show, Reinventing Radio, this
Saturday at the Aronoff Center. CityBeat spoke to Glass about his history with
public radio — check out our interview here.
To celebrate the program and its adorable bespectacled host, CityBeat staffers have compiled a few of our favorite episodes (in no particular order).
Why not start at the beginning? This American Life’s very first episode — back when the program was called Your Radio Playhouse — aired on Nov. 17, 1995. The theme: New Beginnings. One of the guests is Ira’s mom.
Fear of Sleep (Aug. 8, 2008) features tales on various things that go bump in the night. Comedian Mike Birbiglia shares his astonishing stories of sleepwalking, which later inspired his movie, Sleepwalk with Me.
This American Life has done a few live productions over the years. On May 10, 2012, Glass
and friends took the stage at New York University’s Skirball Center for Invisible Made Visible,
a performance that was streamed live in movie theaters across the country. It
was an incredible interactive experience that included music, dance, comedy and
a short film. Check out photos here.
From mistaken identity to evil twins, Dopplegangers (Jan. 11, 2013) has it all. Including Fred Armisen’s impeccable Ira Glass impression.
A lot of This American Life segments are anecdotal, but sometimes the show has taken on newsier issues — and one time, they got it all wrong. On Jan. 6, 2012, Mr. Daisey and the Apple Factory aired. Mike Daisey spoke about the conditions of an iPhone factory in China, including vivid details and interviews with workers. Soon after, it was revealed that Daisey had fabricated his story and lied during the fact-checking process. Retraction is not only an interesting correction to the original Daisey program, but a commentary on journalistic integrity, the importance of fact-checking and the lengths people will go for a moment in the spotlight.
Reinventing Radio: An Evening with Ira Glass takes place at 8 p.m. Saturday at the Aronoff Center. Tickets: 513-621-ARTS or cincinnatiarts.org.
Last night, British photographer Paul Graham presented his FotoFocus-sponsored lecture at Cincinnati Art Museum. Graham’s work is in two of FotoFocus’ featured exhibitions — the museum’s Eyes on the Street and the Stills show at Downtown’s Michael Lowe Gallery. Eyes on the Street is up until Jan. 4; Stills closes Nov. 1.
Graham’s work is related to but updates classic street photography in that, based on what he said last night, he seeks out subtle shots rather than what he calls “clichéd” or obviously dramatic images. He tries to build haiku-like, enigmatic visual sequences that in their small details cumulatively provide insight. (That said, he did show slides from a recent series that features rainbows.)
It’s a difficult task not always easily evident to the viewer, but he expressed his purpose eloquently last night and repeatedly mentioned those whose work inspired him — Robert Frank, Diane Arbus, Garry Winogrand. For those moved by his work, there’s a Where’s Waldo quality to “reading” the smallest details — the color of a tie or T-shirt, the positioning of a pedestrian on a street, the relationship of the camera angle to a storefront sign, the choices in focus.
This is particularly noticeable in his recent The Present series of New York street life, from which the Cincinnati-displayed photos come. “It’s the theater of the street, the theater of life coming at you,” he said. He also prefers that his framed prints be mounted on a gallery wall close to the floor, to approximate sidewalk level. But he acknowledged last night that the Stills show did not do that, and he enjoyed being able to see his photos at more normal eye level.
His The Present photos in Eyes on the Street capture the results of bold action or drama, a rarity for him, in that a woman has fallen on the sidewalk while others move toward her.
Meanwhile last night, the museum’s associate curator of photography, Brian Sholis, distributed announcements of two additional events connected to the current Eyes on the Street show: a Nov. 5 panel discussion at 7 p.m. about Eyes on the Street at Niehoff Urban Studio, University of Cincinnati, 2728 (Short) Vine St.; and a Nov. 19 conversation at 7 p.m. on “Art and Privacy” featuring Cincinnati Police Chief Jeffrey Blackwell and civil-rights lawyer Alphonse Gerhardstein. It’s at the museum’s Fath Auditorium.
Go here for more information.
American photographer and firebrand Tyler Shields makes his return to Cincinnati
for a Miller Gallery exhibition as part of the ongoing
This is Shields’ second appearance at the Miller Gallery in conjunction with
FotoFocus, first appearing in 2012 with Controlled Chaos. This
year's exhibit – Provocateur — opens tonight and he’s been shooting
in various locations locally throughout the week.
Of all the superlatives to describe Shields and his work, “provocateur” might
be most suitable of all. He’s gained a level of notoriety for his past exhibits
and photo shoots, including a 2011 exhibit that substituted paint for the fresh
blood of 25 rich and famous celebrities.
Shields has successfully merged the world of art with celebrity, similar to
fellow rebel-rouser Andy Warhol. He’s taken racy and playful photos of Lindsay
Lohan, Kathy Griffin, Abigail Breslin and the entire cast of Revenge.
His work can also be seen as a companion to Jay Z and Kanye Wests’s Watch the
Throne, using the medium of photography to exhibit grandeur, fame
and the excesses of materialism. His works have seen the destruction of a
$100,000 Hermès Birkin bag and the detonation of a vintage Rolls Royce — all in
the name of art, of course.
His latest Cincinnati exhibit yet again pushes his subjects and the limits of
what photography can be. His exhibit takes risks, but also presents the
germination for pensive and reflective thought.
But of all the superlatives and excessive descriptors for his work, nothing
beats seeing the real thing. Make sure Provocateur is a part of your
2014 FotoFocus experience.
The opening party takes place from 7 to 10 p.m. at Miller Gallery (2715 Erie Ave., Hyde Park) and continues through Nov. 8. Go here for more information.
Losing a key singer/songwriter in any band is a difficult proposition (see: Van Halen, multiple times), but popular Roots act Carolina Chocolate Drops haven’t missed a beat since their amicable split with Dom Flemons (now a solo artist). Singer/multi-instrumentalist Rhiannon Giddens, the sole original member of the group, continues to drive the Drops, who began as a throwback/tribute to, as Derek Halsey writes in his preview for CityBeat this week, “the African American string-band tradition that flourished in the 1700s and 1800s.” Giddens has also been in the spotlight for her vital contributions to Lost River: The New Basement Tapes, a T Bone Burnett-helmed album featuring songs written around newly discovered “lost” Bob Dylan lyrics. The album, due for release on Nov. 11, also includes some heady company: Elvis Costello, Jim James, Marcus Mumford and Taylor Goldsmith.
Carolina Chocolate Drops perform tonight (Friday) at Parrish Auditorium on the Hamilton campus of Miami University. Showtime is 7:30 p.m. and tickets are $25. Click here for details.
Here’s a clip of the Drops performing “Don’t Get Trouble in Your Mind” recorded this summer … on a gondola!
• Art Rap giant Busdriver comes to Newport’s Thompson House Saturday night for a 7 p.m. show. Tickets are $15 and Clipping, Milo, Kenny Segal, Counterfeit Money Machine, Eugenius and Evolve are also on the bill.
After the stellar cultural and musical eccentricity of 2012's Beaus$Eros, Busdriver's latest album, Perfect Hair, may be his most ambitious and satisfying record to date. On the new album's "Bliss Point," Busdriver asks the tongue-in-cheek musical questions, "Where exactly is Hip Hop going? Did Hip Hop have breakfast this morning? Does Hip Hop really have the body type to pull off that outfit?" In reverse order, the answers have to be, "Hell yes," "Hell no, it was this afternoon" and "Wherever the Busdriver is taking it."
• Dynamic Jam band The Werks, who work a crafty Electronic vibe into their improvisational mix, play Covington’s Madison Theater Saturday night at 9 p.m. Zoogma and Peridoni also perform. Tickets are $15 in advance; $18 at the door.
Blending genres ranging from fat Funk and Blues to psychedelic Rock and Electronica, their guitar shreds, their keys and organs wail and their bass and drums form a pocket to create what they call “Psychedelic Dance Rock.”
• Cincinnati singer/songwriter/multi-instrumentalist Ingrid Woode and her group The Woode Tribe Orchestra celebrate the release of a new CD/DVD package with a concert Saturday at the Fairfield Community Arts Center Theatre. Tickets for the 7:30 p.m. show are $12, which includes a copy of the new release, titled Going LiVe In FiVe. Tickets for the show and more details are available here.
Woode is an accomplished musician, having written for artists like Queen Latifah and Lalah Hathaway. She also performed her original composition “When This Life Is Over” with the Cincinnati Symphony Orchestra in 2011. The 11-piece Woode Tribe Orchestra (which includes five backup vocalists) gives the five tracks on Going LiVe In FiVe a full-bodied richness and depth. The music is best categorized as smooth and funky R&B/Soul, but there is an impressive diversity in the arrangements that takes it to another more intriguing level.
• The Burger Records Caravan of Stars pulls into Southgate House Revival in Newport Saturday with a lineup of Burger acts that includes The Coathangers, together PANGEA, Cherry Glazerr, AJ Tavera & Terror Amor and Mozes & the Firstborn. Burger is a cultishly beloved DIY label known for its many cassette release. More recently the notoriously artist-friendly label has been growing and garnering wider attention; the label put out over 300 releases last year, outlets like The New York Times have been doing large feature stories on the label and a new Burger publishing branch was just announced.
In this week’s CityBeat, contributor Reyan Ali chatted with Meredith Franco from Caravan headliners The Coathangers about their evolution from an off-handed joke (something along the lines of, “We should start a band called The Coathangers!”) to international indie success story.
“We didn’t even know what type of music we were going to play. We’re not like, ‘Oh, we’re going to play Punk. We’re going to play Rock & Roll,’ ” Franco says. “Now it’s still the same thing. We just write whatever and that’s what it is. [When people ask] ‘What kind of band are you in?’ I’m like, ‘I don’t know. I guess it’s Rock & Roll.’ ”
Here’s a music video for the band’s “Follow Me,” featuring the members of fellow Atlanta rockers Mastodon filling in for the ’Hangers.
Saturday’s show kicks off at 8 p.m. Tickets are $12 in advance; $15 at the door.
• Saturday afternoon at 1 p.m., Cincinnati singer/songwriter Maurice Mattei and his band The Tempers (currently featuring scene vet Jimmy Davidson on guitar, bassist Neil Sharrow, drummer Mike Grimm and Rick Howell on harmonica) will perform at Everybody’s Records in Pleasant Ridge in honor of Maurice’s 21st release, the full-length Celebrity Issue. The event is free.
CityBeat’s Brian Baker spoke with Mattei about the new release for last week’s CityBeat. Though Mattei generally shies away from “concept albums,” he admits a thread developed in the writing for Celebrity Issue, which features guests like pianist Ricky Nye, pedal steel player Cameron Cochran, multi-instrumentalist/Blessid Union of Souls bassist Dave Ramos, cellist Claire Timmerman, harmonica player Rick Howell and Mattei’s wife Korin on vocals.
“It’s inevitable when you write a group of songs in a finite period that you’re kind of documenting whatever experiences you’re going through at the time,” Mattei says. “A lot of the material talks about loss; loss of someone you knew or a relationship or an era, a time, a place. That’s what I get from it. It’s about how things change and how loss occurs.”
• Progressive Hip Hop/Jazz crew IsWhat?! presents a special multi-media showcase Sunday at The Greenwich in Walnut Hills. Dubbed “A Million Ways to Tell a Story,” the show will spotlight international artists from various disciplines and show how they tell stories within their own mediums. The night includes a screening of the short film Doradus by Italian director Fernando J. Scarpa, who IsWhat?! frontman Napoleon Maddox met while in Hollywood supporting the film Billie’s Blues, which was scored by Maddox. Experimental Japanese percussionist (or, as Maddox calls him, “sonic poet”) Tatsuya Nakatani will also perform, as will IsWhat?! and poet Matt Hart, co-founder/editor of Forklift, Ohio: A Journal of Poetry, Cooking & Light Industrial Safety and also a musician (you may remember him from such local acts Clifford Nevernew and Travel).
“A Million Ways to Tell a Story” begins at 8 p.m. and admission is $7. Find more info on the show at iswhatonline.blogspot.com.
• Play It Forward, the local non-profit organization set up to assist (typically uninsured) musicians in their times of medical and/or financial need, presents a benefit concert this Sunday in the name of esteemed veteran local guitarist Larry Goshorn (Sacred Mushroom, Pure Prairie League, Goshorn Brothers). Goshorn has had a series of health issues over the past couple of years, including open-heart surgery. Sunday’s all-ages “Play It for Larry Goshorn” benefit concert runs 4-11 p.m. at Covington's Madison Theater.
The show is being hosted by Cincy radio superstars Gary Burbank (Play It Forward’s founder) and Eddie Fingers and will feature performances by Pure Prairie League, The Goshorn Brothers, The Menus, The Bluebirds, Balderdash, Rob Fetters, George Powell and Dave Widow. Advance tickets are $20 (through cincyticket.com) or $25 at the door. All proceeds benefit Play It Forward.
• Earlier this year, Cincinnati Pop Rock band Mixtapes announced they’d be going on indefinite hiatus after their current run of show dates, which wraps up on Halloween at the big Punk Rock festival Fest in Gainesville, Fla. Local fans won’t have to travel to Florida to see Mixtapes before their break (which seems like it could possibly be permanent). On Sunday at 7:30 p.m., the band plays its final hometown show for at least quite some time at a unique venue — Lucy Blue Pizza (1126 Main St., Over-the-Rhine). The show also includes Mixtapes’ current tourmates Direct Hit!, Elway and Lipstick Homicide, plus Cincy’s Boys and Kinder Words.
Sunday’s show is open to fans of all ages and admission is $8 (advance tickets are available through cincyticket.com).
Know of more good live music options going down this weekend in Greater Cincinnati? Let us know about it in the comments.
At least some of the 15 protesters arrested during Tuesday’s march through downtown Cincinnati in solidarity with Ferguson, Mo. have paid bail. But while most folks are at home enjoying Thanksgiving, they’ll still be in the Hamilton County Justice Center because some county offices are closed.
The march drew as many as 300 people during its nearly three-hour duration. During that time, at least 100 protesters streamed onto I-75, bringing traffic to a halt for a few minutes. Police, who had blocked traffic in the northbound lane of the highway, ordered protesters off under threat of arrest.
Those who didn’t leave fast enough ended up in jail.
The protesters were held without bond overnight and arraigned at 12:30 p.m. today. Bond for the eight charged with shutting down I-75 was set at $3,000. According to Hamilton County Criminal Court documents, two of those arrested, Liz Cambron and Aalap Bommaraju, paid bail early this afternoon. But they’ll be in jail over Thanksgiving, and maybe until Monday, their attorney Joe Russell says.
Judge Melissa Powers, the presiding judge, deemed the arrested protesters flight risks and ordered they be fitted with electronic monitoring devices. But the office that provides the devices closed at noon today and won’t reopen until next week. Until then, protesters who would otherwise be out on bond will likely be spending the holiday weekend in jail.
“I don’t undersand how my clients are flight risks,” Russell said of Cambron and Bommaraju. “They aren’t the kind of people who want to get anyone run over.” Cambron is a graduate student at University of Illinois Chicago, and Bommaraju is a health worker pursuing his PhD at UC.
He says the two weren’t acting recklessly and were merely exercising their first amendment rights.
The rest of the group arrested on I-75 are look to be in a similar situation. Brandon Geary, Robert Fairbanks, Hilliard Herring, Zachary Lucas and Rhonda Shaw were also arrested on the highway and have been ordered to wear the tracking devices after release on bond.
Representatives with the Hamilton County Clerk of Courts said they
could not provide any information on the cases during phone calls
“The reason they’re still in jail is because the county doesn’t have the electronic monitoring devices available,” Russel said. He said he'll be in court Friday working to get the two released.
A vigil asking the court to release the protesters on bond will take place tomorrow at 10 a.m.
Both Bommaraju and Cambron, along with others who were arrested after entering I-75, are charged with disorderly conduct, a minor misdemeanor, and inducing panic. That charge is usually a first- degree misdemeanor, but could be a fifth or fourth degree felony if a prosecutor finds that significant “economic damage” was done in the commission of the offense.
One of the best things about Cincinnati’s current urban renaissance is that older spaces — some unused or even previously unknown — are being reinvented for new purposes. Churches and firehouses become brewpubs and restaurants, office buildings become apartments, underground tunnels become tourist attractions.
Since artists are sensitive to their surroundings, a group called Near*By has lately begun to use such spaces — sometimes — for special-event exhibitions. Happenings, sort of.
In its press release, Near*By describes itself as “an untethered curatorial collective that seeks to bypass the art institution, working as liaison between artists and pluralistic audiences. We aim to create ephemeral and interdisciplinary exhibitions that connect art with location and meld curatorial and artist practices while blurring the boundaries between installation and white cube.”
I’ve missed some of the previous events, although I’ve heard that Andy Marko’s attempt to launch his guerilla campaign to become Cincinnati’s Minister of Performance Art (why not?) was amusing at Fountain Square last October. And High Art, an event held atop the Carew Tower also in October, almost avoided a rainfall. Near*By’s first event, last May’s Moon Show, proved very sagacious — it was based on a premise the Apollo 11 moon landing was a staged event; the movie Interstellar plays with (and upends) that premise, too.
But I did make last week’s Lightgeist at Over-the-Rhine’s Rhinegeist brewpub and it was great. Rhinegeist has the open space of an old-fashioned upper-floor school gym (maybe a couple of them) and looks like one, too, although not too many school gyms would have huge metal brewing tanks for beer.
Actually, the space was part of the old Christian Moerlein brewery’s bottling plant, which was in business from 1853 until Prohibition. The building’s rebirth as a craft-beer business has been one of the Cincinnati revival’s bigger success stories.
For Lightgeist, Near*By invited 17 artists/artist groups to show work for just one night throughout the space. There were familiar names and new ones, many with connections to alternative galleries or the University of Cincinnati’s College of Design, Architecture, Art, and Planning. The theme was “dematerializing” the image, which resulted in some fine video and sound work especially.
Lightgeist started at 7 p.m. and, according to Maria Seda-Reder (a Near*By member as well as a CityBeat arts writer), some 300 people came to witness the work during the next three hours. (Other Near*By members include Jon Auer, Chris Reeves, Loraine Wible, Joe Hedges and Anastasiya Yatsuk.)
It was a party atmosphere with plenty of beer, but the audience was there to see the work. And there were people of all ages, revealing that there is growing curiosity about local contemporary art — a necessity for any city trying to have an urban renaissance.
I didn’t take detailed notes on everything, but Charles Woodman’s debut of his “Wavelength-pure signal, no camera” screen image was involving, and Alice Pixley Young’s projection of bird-like moving images against and past an arrangement of physical objects was deeply moving. Caroline Turner and Ian Anderson’s ghostly pinprick of white light on an eerie background was a work deserving of more time.
Lightgeist was the latest evidence that this has been a great year for presentations of video and film art here — DAAP’s Electronic Art program and screenings at Weston Gallery, Manifest, FotoFocus and Cincinnati Art Museum’s Eyes on the Street.
In the last half-dozen years, we’ve had quite a few ambitious artist coops and collectives start up bricks-and-mortar galleries/performance spaces but fail to keep them going. (Semantics is the most notable exception.) So Near*By’s idea is a good one — use the surplus of fascinating spaces around town for one-off events. It’s not a substitute for having more permanent contemporary spaces, which we need, but it’s an important part of any art scene.
Near*By is planning 2015 events now — some of which may involve collaborations with galleries. There will be more coverage in CityBeat.
Hey y’all. Yesterday was a long one, but today’s my birthday and tomorrow is Thanksgiving. So yeah, that’s awesome.
The big news this morning is something you’ve probably already heard about, maybe from our coverage last night. Roughly 300 people yesterday gathered at the Potter Stewart U.S. Courthouse on Fifth Street for a rally organized by the Cincinnati chapter of the National Action Network. City and state politicians, including State Rep. Alicia Reece and Mayor John Cranley spoke at the event. At some point, most of those gathered embarked on what would become a nearly three-hour march that shut down I-75 and led to 15 arrests. Organizers of the rally say the march wasn’t part of their plans, and not all those who marched went out onto the highway. Protesters started dispersing about 8:30 p.m. after the march ended at the Hamilton County Justice Center. Those arrested on the highway are being charged with violations like disorderly conduct and inducing panic, while those arrested elsewhere are charged with disobeying traffic signals, according to court records. UPDATE: at least some of those arrested have been bonded out.
• Tell us how you really feel. A speech by Mayor John Cranley given Nov. 20 at the Cincinnati Masonic Center had many moments of surprising candor, according to the Business Courier, even for a mayor known to be upfront with his thoughts. During the speech, which wasn’t announced to the press but was recorded by the group, Cranley compared the state of the region’s bus system to the Titanic, called on-street bike lanes “special treatment” and a “disruption,” and called rail projects like the streetcar “19th century technology.” While those comments are provocative, they align pretty well with past positions the mayor has taken. Cranley said the bus system’s finances are in bad shape and argued the city shouldn’t be subsidizing county bus riders. The fare for SORTA buses outside the city is higher, but that higher rate doesn’t pay for the extra cost of running the buses. Cranley also offered a fascinating idea at the meeting: that the Census’ estimate for the city’s population is too low. Cranley thinks the city may have 310,000 residents, more than the roughly 298,000 the Census estimates.
• A new Over-the-Rhine business incubator is opening up Friday for people with great ideas but fewer resources. Mortar, a so-called “urban idea laboratory” on Vine Street, will offer a 10-week business class and support for entrepreneurs, especially underprivileged potential business owners, looking to start a business in Cincinnati’s urban core.
• As we reported yesterday, Ricky Jackson came to Cincinnati yesterday to thank the Ohio Innocence Project. The University of Cincinnati program helped him prove his innocence after he was convicted of a murder he didn't commit in 1975, and, as he said during a triumphant event yesterday at UC, “saved my life.” Jackson, who was just released last Friday, spent 39 years in prison for the crime before being exonerated.
• A bill being considered in Ohio’s General Assembly would end the state’s 20-year statute of limitations on rape cases. But that bill is stalled due to controversy over potential far-reaching consequences. Some lawmakers are pushing for an amendment to the law that would only eliminate the expiration date for cases in which DNA evidence is present proving the identity of the offender. The state of Ohio currently has a backlog of rape kits, evidence collected from a victim after a sexual assault is reported. That’s made finding and prosecuting rapists in a timely manner difficult.
• Finally, this is interesting. Do you remember the Presidential Fitness Test? If you went to public school, you probably took the test, which measured your running ability and your capacity for push-ups, sit-ups and other exercises. When I had to take this test as a youngin, I always pictured a very angry Ronald Regan (I don’t know why I pictured him. Bill Clinton was president at the time) yelling at me to do more sit-ups so the communists wouldn’t win. Turns out, I wasn’t far off the mark, though I should have imagined an earlier president. President Kennedy pushed for youth fitness measures in 1960, decrying the nation’s “growing softness.” The actual test wasn’t instituted until 1966. It included a softball throw that was meant to simulate chucking grenades. Probably would have been more excited for the whole thing as a child if they’d kept that part in.
A rally in protest of recent police shootings of unarmed black men drew as many as 300 downtown Tuesday evening. The rally was followed by a nearly three-hour march that made its way through downtown, Over-the-Rhine and the
West End before briefly shutting down I-75 as protesters streamed onto
The rally and march were in solidarity with Ferguson, Mo., where black 18-year-old Michael Brown was shot Aug. 9 by white Ferguson Police Officer Darren Wilson. Yesterday a grand jury in St. Louis County declined to indict Wilson, spurring civil unrest in the area and demonstrations in cities across the country. In Cincinnati, the march through downtown neighborhoods had echoes of the city’s past — civil unrest lasting days tore through the same communities in 2001 after unarmed black teenager Timothy Thomas was shot by white Cincinnati Police Officer Stephen Roach in OTR.
“Honestly, after the decision yesterday I was a bit numb,” said Curtis Webb, as he marched through downtown. “I even questioned whether I would come out tonight. I’m tired of hearing the talk. I’m more interested in seeing the walk about these situations. As a black man, I’m… I don’t know. I’m scared to be black. I don’t know how to say it. I’m always questioning, 'Am I doing the right thing? Do I look too dangerous? Are the police going to pull me over?' ”
Cincinnati’s demonstrations started with a rally at the Potter Stewart U.S. Courthouse on Fifth Street attended by State Senator-elect Cecil Thomas, State Rep. Alicia Reece, community organizer Rev. Damon Lynch III and Mayor John Cranley, among others.
At the initial gathering on the steps of the Potter Stewart U.S. Courthouse, Cranley highlighted the progress Cincinnati has made since 2001.
"Like all of you, I am deeply concerned about the loss of life and the events that are unfolding in Ferguson, Missouri," he said. "I can sympathize with all aspects of what the community is experiencing because Cincinnati has had similar tensions in the past. It wasn’t easy, and there were a lot of trial and errors, but we made progress."
“I spent 27-seven years in law enforcement, and not once did I fire my weapon to harm someone,” Cecil Thomas said. “And all of a sudden, we see so many officers so quick to pull their guns. How do you pull your gun on a 12-year-old when someone tells you it looks like he has a toy gun? We have to change the way we do our policing.”
Thomas was a peacemaker during the 2001 unrest, working with police, community groups and the city's Human Relations Commission to broker calm.
Many attendees at the initial rally joined in a meandering march that stopped traffic in many of the city’s major streets and passed just feet from the spot where Timothy Thomas was shot in 2001. However, the rally was much more peaceful than the days of unrest 13 years ago. About 20 police followed the march, blocking off streets and working to corral protesters. Organizers with the Cincinnati chapter of the National Action Network say the march was not part of their plans for the rally.
Tensions rose when protesters, after making their way down Ezzard Charles Drive in the West End, split off onto a highway onramp, spilling over a berm and onto the north-bound lane of I-75. Police blocked off traffic temporarily, but drove protesters off the highway with the threat of arrest. A few protesters were arrested when they didn’t leave quickly enough. After leaving the highway, the march continued through the city for another hour, eventually dissipating at the Justice Center on Court and Main streets.
Joshua Davis, who helped lead the march, said the problems go beyond any specific case.
“I’m out here because I have nieces who are four, five, six years old and I want them to come up in a world where they don’t have to be afraid of the cops," he said. "There are many things cops can carry that don’t kill people. I’m out here not because I agree Mike Brown was innocent or guilty, or because the cop was guilty or innocent, but because black men are being killed daily.”
The march ended at the
Hamilton County Justice Center at about 8:30 p.m. Fifteen were arrested during the march, according to police.
UPDATE: A hearing for those arrested was held Wednesday at 12:30, according to the county clerk. Court records show some of the protesters have posted bond.
Ricky Jackson was just 20 and fresh out of the Marines when he went to jail for murder in 1975. Authorities pinned the killing of Harold Franks, a fifty nine-year-old money order clerk in Cleveland, on Jackson and two of his friends, brothers Wiley and Ronnie Bridgeman. The conviction came on the testimony of a single twelve-year-old boy with bad eyesight and a confused story.
He spent the next 39 years in prison for a crime he didn’t commit.
Jackson was released last Friday, the last of the trio to be freed after that witness, Eddie Vernon, admitted he made up his testimony under police pressure. Today, Jackson was in Cincinnati to thank those who worked tirelessly to help free him.
“I would have walked if it would have come to that,” Jackson said to a packed house on University of Cincinnati's campus. “I wanted to come meet the people instrumental in saving my life.”
The Ohio Innocence Project, which runs out of University of Cincinnati’s College of Law, has been working on Jackson's case since 2010, digging for years to get public records about the case. A Cleveland Scene article in 2011 focused more attention on the story as well. Since those beginnings, OIP has played a huge role in getting Jackson exonerated.
OIP was founded in 2003 to investigate and litigate cases where prisoners have been wrongly convicted and imprisoned. The group is made up of UC Law professors and students who use DNA evidence, new witnesses, evidence of police misconduct, and other information to exonerate wrongfully convicted inmates. In just over a decade, they’ve helped free 18 inmates who were wrongfully convicted of murder and other charges. Jackson is the longest-serving inmate in Ohio to be exonerated.
Jackson’s codefendant Ronnie Bridgeman was paroled in 2010, but Jackson’s parole board continued to keep him in prison. Jackson says parole boards wanted him to admit guilt and express regret for the crime before they released him. The only problem was, he was innocent.
“I was on the cusp a lot of times,” he said of confessing. “It seemed like, to me, the only way I was going to get out was to admit guilt. But there was a lot more at stake than just me saying I committed the crime when I know I didn’t. That man’s family gets no justice, I get no justice… at the end of the day I just couldn’t lay down with that in my heart.”
He passed the time by staying fit and helping run the prison’s horticultural project. He ran a greenhouse, something he enjoyed immensely. Still, the time was wearing on him.
“After my last parole board hearing, I was really at an all time low,” he said. “I’m running out of time. I’m 57. How much time to do I really have left? I hate to use this cliché, but they came through like a knight in shining armor. When I was at my eleventh hour, didn’t know what direction I was going to take… these guys came.”
Mark Godsey, director of the Ohio Innocence Project, says Jackson was steadfast in his innocence. He recalls first meeting Jackson at a recent hearing on his request for a new trial in light of witness Vernon recanting his testimony. Prosecutors were offering Jackson a deal — once again, if he would say he was guilty, he could walk free.
“He just looked at us and said, ‘I don’t need anymore time to think about it. I will not take that deal,' ” Godsey recalls. Prosecutors soon conceded that without their only witness, they had no case. Jackson was free.
There are challenges ahead, to be sure. He spent many of his formative years — when most people go to college, start careers, and build families — behind bars.
The OIP is stepping in again with assistance. The group has raised nearly $43,000 to help Jackson get a new start. They’re also fighting the state of Ohio to get a settlement for him based on his wrongful conviction. That could be huge — $40,000 for every year he was imprisoned, plus lost wages and other damages. But it’s not guaranteed. Sometimes, prosecutors fight against these settlements. So far, the Cuyahoga County Prosecutor’s office has not officially acknowledged that Jackson is innocent or that they were wrongly imprisoned.
In the meantime, Jackson says he’s not sure just yet what he’ll do. But he says he’s up for the challenge of building a life.
“It’s not difficult at all," he said. "Compared to what I just came from, this is beautiful.”
Everyone’s favorite naughty bedtime story, Go the Fuck to Sleep, is getting a follow-up! You Have to Fucking Eat by Adam Mansbach is available now. And, like Samuel L. Jackson did for Sleep, Bryan Cranston narrates this new hilariously explicit offering.
Can’t you just hear Walter White reading this to baby Holly?
I’m a sucker for topical parodies of popular songs,
and Adrian Anchondo is behind a few of my favorites. He’s turned Bey's “Partition”
and “Drunk in Love” into fast food anthems and teamed up with Mean Girls’ Daniel Franzese for a twist
on Sam Smith’s “Stay With Me.” Now they’re back with a Thanksgiving remix of
T-Shfit’s “Shake It Off” — “Shake and Bake”!
This Thanksgiving, I’m thankful Damien is still in the game and still too gay to function. And speaking of the boys of Mean Girls…
In Case You Missed It: Someone Photoshopped Guy
Fieri to look less like a deep-fried fire demon and more like a regular dad.
Planning on binging on food and TV this week? I gotchu.
Something else to be thankful for: a music video that’s being touted as
“the new ‘Gangnam Style’.” Because foreign Pop song + weird dance + animals =
viral sensation, here’s Chinese performer Wang Rong’s “Chick Chick.”
A film adaptation of creepy childhood favorite Scary Stories to Tell in the Dark has been in the works for a while. Patrick Melton and Marcus Dunstan from the Saw franchise were once attached to the project, but now they’re out and John August is taking over the screenplay, keeping the source material so many people love/fear very close. August has written several Tim Burton movies, including Big Fish, Corpse Bride, Charlie and the Chocolate Factory and Frankenweenie, so he may just be perfectly suited to take on Scary Stories.
Beyoncé released a DIY video for “7/11” — one of the new tracks on her Beyoncé platinum edition release (listen to the entire album on Spotify) — and, obviously, it excites me. This will definitely be source material for countless upcoming holiday cards.
Thankfully, BuzzFeed has a guide to throwing your
own Beyoncé 7/11 underwear party.
HBO announced some more casting info for True Detective Season Two. Rachel
McAdams, Taylor Kitsch and Kelly Reilly will officially join previously
announced actors Colin Farrell and Vince Vaughn in the highly anticipated drama.
Rachel McAdams as Ani Bezzerides, a Ventura County Sheriff’s detective whose uncompromising ethics put her at odds with others and the system she serves.
Taylor Kitsch as Paul Woodrugh, a war veteran and motorcycle officer for the California Highway Patrol, running from a difficult past and the sudden glare of a scandal that never happened.
Kelly Reilly as Jordan, Frank Semyon’s wife, a former D-list actress who is a full partner in his enterprises and ambitions.
Thanksgiving is just days away, and if you’re traveling back home to crash at your folks’ for the weekend, congratulations: You’re a Back Home Baller.
New movie trailers to hit the Interwebz: Richard "forever Robb Stark" Madden is Prince Charming, Helena Bonham Carter is the Fairy Godmother and Cate Blanchett is the wicked stepmother in Cinderella; Jurassic World looks as grand as it's been hyped up to be; the Bellas return for Pitch Perfect 2; and Paul Feig's Peanuts movie is coming in 2015.
For the 2015 edition of CityBeat's Cincinnati Entertainment Awards (to be held in late January), the public now has a chance to be involved in the process of choosing the nominations from Greater Cincinnati’s amazing music scene. Previously, nominations came directly from the nominating committee, which consists of a variety of local music aficionados (writers, bloggers, club owners, etc.). The nominating committee members still have final say in who gets nominated, but for the first time ever they will be presented with your feedback before making their final decisions.
The ballot will close on Dec. 5. Here are some basic guidelines from the nominations ballot:
For the first time ever, fans will have input into the nomination process for the Cincinnati Entertainment Awards. For each genre category, please enter the name of the performer you feel is deserved of a CEA for their work in 2014. Recordings released publicly between November 2013 and November 2014 are eligible for Album of the Year nominations. The New Artist of the Year category is for artists who have emerged in that same time span (they don’t have to have formed in that date range, just broken through for the first time).
Nominations are reserved for artists from Greater Cincinnati making original music. Please, no straight-up cover bands. You may only fill out one ballot per email address; additional ballots will be discarded.
A list of the top vote getters in each category will be presented to the nominating committee members. The members will not be restricted to voting only for artists nominated by the public, because some deserved acts may not actively campaign for nominations and the CEAs honor output and accomplishments and not just who has the biggest Facebook friends list or the most followers on Twitter. But the “long list” compiled from public votes will get more artists’ names in front of the nominating committee and help their chances for making the final “short list” of nominees.
Once the nominations are compiled, the final ballot will be placed online for public voting.
Be fair. Be nice. And happy voting!
Your morning news today is gonna be a little grim and heavy. Sometimes that's how the news goes, folks.
A grand jury has decided not to indict Ferguson police officer Darren Wilson in the Aug. 9 shooting death of Mike Brown, an unarmed 18-year-old. The incident has been highly racially charged from the start and caused months of unrest between protesters and police in Ferguson and surrounding communities. Brown was black and Wilson is white. St. Louis County Prosecutor Robert McCulloch delivered the grand jury’s decision in a highly unusual, and perhaps highly unwise, 9 p.m. press conference, despite the fact the grand jury reached its decision much earlier in the day. The rambling, 20-minute announcement lead with a strong condemnation of social media, the 24-four hour news cycle and other seemingly unrelated forces before getting to a strong defense of Wilson from the prosecutor. It’s exceedingly unusual for a grand jury to not hand down an indictment, unless that indictment is for a police officer who has killed someone in the line of duty.
The announcement was followed by waves of anger from already-gathered protesters, and civil unrest quickly spread through Ferguson. Police and National Guard troops on the scene began firing tear gas and smoke bombs shortly after the decision was read. Reports on the ground relayed some peaceful protesters as well as incidents of looting and vandalism. Several buildings and at least two police cruisers had gone up in flames by this morning, and St. Louis Police Chief Jon Belmar said he had heard at least 150 gunshots throughout the night. President Barack Obama sounded a skeptical note about the decision but called for peace in Ferguson. Brown’s family released a statement expressing their extreme disappointment with the verdict but also called for protesters to remain peaceful.
Calmer demonstrations have sprung up in many cities around the country, including Los Angeles, Seattle and New York. A peaceful demonstration organized by the Greater Cincinnati Chapter of the National Action Network will be held in Cincinnati today at 5 p.m. at the U.S. District Courthouse downtown.
• Last week, Cleveland native Ricky Jackson was released from prison after spending 39 years there for a murder he didn’t commit. Today at noon, Jackson will be in Cincinnati appearing at UC’s School of Law to thank the school’s Ohio Innocence Project and others who helped free him. Jackson’s story was first unearthed by the Cleveland Scene and taken up by the Innocence Project shortly thereafter. He was convicted based on the sole testimony of a 12-year-old boy who later admitted he had made up his statements. Jackson is the 18th person freed by the program.
• Over-the-Rhine's newest brewery and tap house is almost ready for guests. Taft's Ale House, which is on 15th and Race, received its fermenters and brewhouse yesterday. They were lowered in with a crane, which is pretty epic. The owners say they'd like to be open by Reds Opening Day next year.
• If someone offered you a free building, would you take it? Hamilton County commissioners aren’t sure they will. Mercy Hospital has offered to donate their former facility in Mount Airy to the county. A number of the county’s offices, including the county’s cramped coroner and crime lab, could move there, but the new location won’t be cheap. It could cost up to $100 million to retrofit the building for its new tenants, money commissioners say they don’t have, especially after their vote yesterday to approve a relatively skinny $201 million budget. Republican Commissioners Chris Monzel and Greg Hartmann have both indicated the county may not take the building after all. Democrat Commissioner Todd Portune is also skeptical about moving county services to Mount Airy, though for other reasons. He says the county’s board of elections, which was also proposed as a tenant at the site, should stay downtown.
• Finally, as if my faith in humanity needed more testing this week, there’s this story. Someone stole a Sasquatch statue out of a family’s yard in Delhi. The thing weighs 400 pounds, so it’s an impressive bit of thievery, though also pretty heartless.
“I want squashy back,” the statue’s owner told Channel 12 News. “We've got to dress him up for Christmas. We can't have Christmas without Squashy."
Stepping into the decorated light cast from the looming ceilings of the Taft Theatre, it’s immediately apparent the space holds memory far outreaching your own. That is, of course, unless you’re about 100 years old and happened to be around Cincinnati in your early teens.
If that were the case, you’d probably remember the other awe-inspiring theaters that entertained the Queen City in those days: the Albee, Shubert and Capitol, to name a few — all astounding architectural representations of the heyday of local theaters. Sadly, the Taft is the only of those grand structures that still remains today, likely because it stands just far enough away from the heart of downtown, just missing out on the urban redevelopment that has defined the city for the past half-century or so.
Taft Theatre was opened in January 1928, inaugurated by lines of suited men and flower-hatted women who were willing to brace the 40-degree weather of the new year for the warm spectacle of the Cincinnati Symphony Orchestra in a shining new entertainment venue.
The theater is part of the Cincinnati Masonic Center, then called a temple rather than center, and is currently owned by the Scottish Rite of Freemasonry. In its early days it would host Broadway shows, ballets and traveling performers and artists, among other entertainment.
The name, contrary to what some might think, is not a nod to the former United States president William Howard Taft, although many likely know of the street we have to honor him. Rather, the theater was a tip of the hat to William’s older brother, Charles Phelps Taft, a major figure in the Cincinnati newspaper business and a high-ranking Mason who lived just down the street from where the theater now stands.
While it was very popular during its early days and became popular again in the new millennium, the theatre went through a largely dormant period in the second half of the 20th century. In fact, the Scottish Rite applied for demolition rights twice in the 1960s — although they were rejected both times — because they thought the theater would be too expensive to renovate and wanted to replace it with a parking garage.
Luckily, it hung on and didn’t fall into serious disrepair long enough for Music and Event Management, a subsidiary of the Cincinnati Symphony Orchestra, to take over in 2010. The company headlined a $3.2 million renovation, less than a third of the value the Masons had been quoted for renovations decades earlier.
The revamp, finished in 2011, increased the size of the seats, lowering the original capacity of 2,500 to about 2,300, as well as the size of the bathrooms — fewer venue seats, but more toilet seats (does this say something about the needs of folks in the new millennium?). They also took great consideration of modern concerns, spending a heavy load on hooking the building up with eco-friendly air conditioning.
Thanks to the restoration and rejuvenation of the old theater, it now holds about 140 shows a year compared to roughly 90 before renovations, and the annual attendance has also almost doubled. The theater is again one of Cincinnati’s hot spots for entertainment, hosting all kinds of musical concerts as well as theatre, being home to the Children’s Theatre of Cincinnati. With the upsurge in activity at the beautiful old Masonic Amphitheatre, the tall walls can keep holding and building memories of entertainment that life would be oh-so boring without.
"After a couple months, I started to realize that I liked being in the restaurant more than reading and writing scientific articles," Pesola says. "It was fast-paced, challenging and gave me an avenue to interact with people dynamically. In addition, I really enjoy how tangible the hospitality industry is."
This past summer, Pesola branched out and started selling rotisserie chicken on pita bread at Findlay Market. The resulting Revolution Rotisserie was so popular, he's opening a brick-and-mortar location on Race Street in Over-the-Rhine in early 2015. The rotisserie and bar will do dine-in, carry-out and catering, plus vegetarian options and specialty cocktails.
We caught up with Pesola to learn more about the restaurant and his chicken technique.
CityBeat: Why chicken and how did that relationship come to pass?
Nicholas Pesola: The concept originally had nothing to do with chicken. I wanted to introduce something unique to Cincinnati and I thought that it would be cool to reinvent gyros, one of my favorite foods from my youth. I wanted to stack marinated beef/lamb and do it like they do in Europe/Middle Eastern countries. I knew that I would have to offer other meats so I chose to stick with the rotisserie meat theme. When I put on tastings, everybody liked the rotisserie chicken sandwiches with my gourmet toppings and sauces the most. When no one offered to fund my unproven restaurant concept, I decided to start small at Findlay Market and pilot the idea. I knew I had to simplify my concept in order to be successful so I gave the people what they wanted: rotisserie chicken. I wanted to become known for rotisserie chicken sandwiches on pita bread because I thought that was the most unique. I also thought I would sell more sandwiches versus whole chickens to the Findlay Market crowd.
CB: What's been the best response you've seen from a customer?
NP: We have had many great responses. I love when people walk by my stand, stop abruptly after seeing the sample, and say, "That looks good. But what is it?" When they find out there is rotisserie chicken under the toppings and sauce, it is usually game over. I also enjoy the skeptical customer who reluctantly orders our food and then comes back with friends 10 minutes later because they really liked it.
CB: Can you tell me more about your chicken? Where do you source it? What separates it from other rotisserie? Is there a special technique, seasoning, butcher? A family recipe?
NP: We use Amish chicken from Miller Farms and will be switching to FreeBird chicken which has even more strict standards when it comes to how the chickens have been raised: no hormones, no preservatives, all vegetable diet, more room to roam, etc. Our chickens are never frozen, always fresh. We brine our birds, season them with a custom blend of the best spices, cook them on a gas-fired 40-bird rotisserie to perfection. And I assure you our whole chickens will not sit around for hours and dry out like they do at the grocery store. For our sandwiches, we hand-pull the meat, white and dark, and make sure it maintains its juiciness before serving. We have arrived at our current technique after talking with chefs and experimenting with other methods, but the reality is I'm always looking for ways to make the product even better.
CB: So you're opening a brick-and-mortar spot in OTR? What inspired you to take the jump?
NP: Even before I started at Findlay Market, I wanted to open up a brick-and-mortar shop. I just didn't have enough money and that was a blessing in disguise because it forced me to start small. I knew the time was right to circle back with potential investors when my customers kept asking where Revolution Rotisserie was located after eating our food.
CB: Why OTR? And why Race versus Main or Vine?
NP: I live in OTR and it's a very exciting place to hang out and start a business. The real question should be why not OTR? I believe my concept contributes something very unique to the scene. I chose the spot at 1106 Race Street because it was the size I wanted, featured an open kitchen, and fit my budget. In my opinion, Race Street is the next logical restaurant street in OTR because of Washington Park, Zula, Anchor, and Taft Ale House all down the street. Plus I live on Race Street, you can't beat that commute.
CB: What will be on the menu at Revolution?
NP: Chicken! We will showcase the versatility of chicken with eight rotisserie chicken sandwiches served on grilled pita bread — all of which can be made vegetarian by substituting hummus, black beans or extra veggies. This is a bold statement, considering we are primarily a chicken restaurant, but I think our pita sandwiches and salads set us up to offer one of the best vegetarian menus in the city. Of course, we will do whole/half chickens, side salads, mashed potatoes, cinnamon applesauce and a few other sides. At the bar, we will specialize in specialty cocktail infusions and of course, craft beer.
CB: People love chicken during the holidays. With restaurant prep ahead of you, will you still be at Findlay Market or taking any orders for whole or half chickens?
NP: Unfortunately, the cold weather prevents us from operating at Findlay Market under the tent. However, if people would like to place catering or large carryout orders, they can email email@example.com. The best way to do this is to visit our website revolutionrotisserie.com.
Follow along with Revolution's progress on Facebook and Twitter @RevolutionOTR.