The dispute stems from a plot of land that, through some legal wrangling and a Joint Economic Development Agreement, Harrison Township officials say can only be used for industrial purposes that create jobs.
The Southwest Ohio Assembly Hall of Jehovah’s Witnesses wants to build a massive assembly hall that they say would be a draw to the 28,000 Jehovah’s Witnesses in the region and create jobs in surrounding service sector businesses.
The Hamilton County Rural Zoning Commission denied permission to the Jehovah’s Witnesses, citing fear over the impact to local businesses and traffic, causing the religious group to appeal the decision to the Board of County Commissioners.
Board President Greg Hartmann said commissioners would set a date in the coming weeks to arrive at a decision.
Coalition Opposed to Additional Spending and Taxes lawyer Chris Finney represented the Witnesses before the board.
Finney argued that the Zoning Commission was wrong to deny permission to build the assembly hall. He pointed to the positive economic impact such halls have had in other states and brought witnesses to testify about the potential impact it could have on Cincinnati.
According to a slide show presented before the board, the hall could result in $1.19 million in annual tax revenue and create 421 jobs in the service industry surrounding the site.
Being a religious institution, the hall would be tax-exempt and would be staffed by volunteers.
Harrison Township officials argued that the area was created under a special agreement that requires industrial use and that any businesses located there create jobs and enhance economic development.
Mayor Joel McGuire said the township had offered up other locations for the assembly hall, but the Witnesses were fixated on the one.
“That’s why we’re in the all-or-nothing situation we’re in because they insist on this particular spot as opposed to the many other locations where there’d be no problems at all,” McGuire said.
The 2012-2013 season of touring productions presented by Broadway in Cincinnati marks a quarter-century of bringing high-quality shows to the Aronoff Center, which the series has called home since it opened in 1995. The shows that will keep the Walnut Street facility humming – not to mention nearby restaurants – were announced today. They include the funky Blue Man Group making its first appearance in Cincinnati, plus a selection of shows that have been Broadway hits and award winners. Here’s the rundown:
Blue Man Group (Oct. 16-28, 2012) is a wild and crazy theatrical experience, a performance act that has been combining comedy, music and technology for more than 10 years. With no spoken language, the trio of guys with blue plastic skin presents a show that’s big, loud, funny, silly, visually arresting – and not easy to describe. The show won a special citation in the 1991 Obie Awards, and recognition in 1992 from the Lucille Lortel Awards (for excellence in off-Broadway theatre) and from the Village Voice’s Obie Awards.
Jersey Boys (Nov. 28-Dec. 9, 2012), the story of Frankie Valli and the Four Seasons, was a big hit for the series in 2008 when it sold approximately 64,000 tickets during a two-week run. It’s one of the best of the jukebox musicals, and it should be a popular choice again. (Since it’s a repeat Broadway in Cincinnati invites subscribers to choose between this one and Peter Pan to fill out a six-show subscription.)
Memphis (Jan. 22-Feb. 3, 2013) is a fine musical derived from a true story about the challenge race relations in that Tennessee city in the 1960s when a white DJ and a talented black singer find themselves attracted to one another. The show, which won four Tony Awards in 2010, has a rhythm-and-blues score and a lot of great dancing as it tells a powerful story about love, show biz and how the races interacted. One critic called this show “the very essence of what a Broadway musical should be,” and I agree wholeheartedly.
Million Dollar Quartet (Feb. 19-March 3, 2013) was also nominated for the best musical Tony in 2010, losing out to Memphis. It too is based on a real event that happened in Memphis, this one at the studios of Sun Records on Dec. 4, 1956, when four young Rock-and-Roll musicians intersected: Elvis Presley, Jerry Lee Lewis, Carl Perkins and Johnny Cash. It was the only time they were together in a recording session, and the legendary results are the subject matter of this lively show.
Peter Pan (March 12-17, 2013) brings back one-time Olympic gymnast Cathy Rigby who has made a career of performing in this show. She turns 60 in December, which brings some kindof weird irony to playing the boy who “won’t grow up,” but Rigby’s athletic skills for flying and fighting mean she’s popular with audiences. She performed the role at the Aronoff in 2000 and 2006. This show is the “choose-one” that subscribers get for their sixth choice.
War Horse (March 26-April 7, 2013) won the 2011 Tony Award for best drama. Set in England in 1914, it’s about an adolescent named Albert and his horse Joey, the latter recruited to go with the troops to World War I in France. It’s an epic tale of the powerful connection between Albert and Joey, and it’s told using remarkably realistic “puppets,” a term hardly seems to suit the manner in which life-sized horses are created and become key characters in this production.
Sister Act (April 30-May 12, 2013) is a musical comedy based on the popular Whoopi Goldberg film from 1992 about a woman whose life takes an unexpected turn when she witnesses a crime and is “hidden” at a convent. This show promises a lot of fun, and it’s been running on Broadway for almost a year. However, I’m afraid that it strikes me as all too typical of the tendency to create shows from mildly popular movies. That film was a vehicle for Whoopi, and without her, I suspect the show is a meager reflection.
Prices for six-season ticket packages range from $149 to $543, depending on seat location. Subscriptions go on sale on Monday at the Fifth Third Bank Broadway in Cincinnati box office in the Mercantile Center downtown at 120 East Fourth Street. You can also order subscriptions online at BroadwayinCincinnati.com or by calling 800-294-1816.
The Gentlemen of the Road stopover tour started off as a rather simple concept. Mumford & Sons would invite a few of their music-playing friends to travel with them. They’d stop over for the weekend in towns they’d never been to before, towns they had no reason to visit. They would play two days’ worth of gigs for people they’d probably not ever played for before.It was just a small, scattered list of dates in BFE. NBD. Somewhere along the way, it became something much different. And much bigger. The “stopover tour” now looks much more like a takeover tour.
“It’s more about the town than the music,” was a sentiment you could hear echoed all over town. From the security guards to the people charging fans $20 to park in their driveway near the festival grounds. And that is an accurate statement.
When the Gentlemen rolled into Troy on the very last weekend of August they did, indeed, take over the tiny town. They did everything possible to put Troy’s best foot forward. The city center, with the fountain that turns pink in June for a strawberry festival, was closed down. WACO airfield was turned into a magnificent parking lot. Multiple school districts sent school buses to help transport music lovers from the parking lot to just a few blocks away from the festival grounds. You never had to wait for a bus, there were always plenty. Why can’t school districts work their own bussing schedules so fluidly? Even the Wendy’s in the next town stayed open until 2 a.m. in order to cater to Mumford fans.
Mumford & Sons ran Troy’s economy. The bakery served a limited menu and from the window hung loaves of bread shaped like mustaches – the international symbol for “Folk band.” A seemingly otherwise unused storefront became Mumford Market, which sold strawberry donuts and other festival essentials. Every storefront had a purpose, featuring window art of the four Brits in charge, of their acoustic instruments or of that omnipresent mustache (it was even painted on the streets). Aside from the Troy High School football field, which held the main stage and the bulk of fest goers, there were still two small stages downtown and another handful of street performers littering the crowded streets.
Heck, they even took over the Troy Police Department. For a town as tiny as Troy, they can’t possibly have very many cops and it seemed like nearly all of them were roaming around inside the closed-off festival area. You know that hard-assed vibe cops often get, especially when pulling security detail? Troy cops were the nicest (and best looking) unit to pull security at a concert I've seen. One of the highlights of the festival was watching an older (clearly drunk) woman swat an officer’s backside with her tambourine. He was quick to whip around and give her a quirk of the brow. When she gave him a grin and a wink, he laughed, wagged his finger and carried on. Later, as the woman and her tambourine flirted endlessly with one of the security guards, the TPD watched with grins and amusement. Nothing more.
And that bout of tambourine-assisted sexual harassment? Probably one of the worst crimes committed during the festival. One of the stage security guards remarked at how surprisingly low-maintenance the crowd was and one of the police officers on duty was quick to agree that the out-of-towners were exceptionally well-behaved. All of his calls had been to deal with locals — and even those calls didn’t seem like anything noteworthy or unusual for a festival environment.
Mumford & Sons fans know how to be polite when overtaking a city.
The festival repaid fans by taking over their nature. When they bought their tickets for the stopover date, they were sent a wristband, a fancy holographic ticket and a passport. The passport held info about last year’s first ever stopover tour, the band, the best restaurants and scenes to check out while in the area. And, just like a real passport, there were places to have stamped. Certain restaurants and stores had stamps. Every performer had a person in a booth at the back of the stadium with a custom stamp. People walked the festival grounds” with the rubber stamp, ready to bequeath another ink splotch on each passport. It was a race to get them all. A chance to maybe, just maybe, win a prize or learn something new.
What you really want to know about is the music though, right?
The festival may have been more about the town than the music, but the music was still what drew thousands of people to Troy’s gorgeous city streets. It was, after all, a concert, and the music that took over Troy’s stadium needs to be discussed.
Friday was a short day, with the festivities not kicking off until after everyone had time to show up after work. Of course, Edward Sharpe and the Magnetic Zeros, the Friday night headliners, were the clear draw for fans on Day 1. The Zeros have traveled with Mumford & Sons before, most notably on their "railroad revival" tour, and even released their newest album on the Communion label, a pet project of Mumford’s piano player, Ben Lovett. Technically, the band is solid. The only difference between their records and their live performances is the sheer amount of energy they bring to the stage. The group has fun on stage and that fun easily makes its way into the crowd. But if you’ve seen one Edward Sharpe concert, you’ve seen them all. If you haven’t ever seen them, then you’re missing out.
Saturday was magnificent, loud and the best kind of exhausting you could imagine. A little after lunch, the stage came to life with the lovely Indie Brit Rock band Bear’s Den (who will be back in Ohio to play Cincinnati's MidPoint Music Festival at the end of the month). They might have only kicked off the day, but their talent deserved a later slot. After Bear’s Den came Nashville’s Those Darlins, headed by Jessi Darlin, a wisp of a girl with a set of dragon-sized lungs. Rubblebucket, from Brooklyn, showed up next and bestowed upon festival goers all their weird, twitching energy. They’re awesome, but putting them before the decidedly more mellow (but still oh-so-awesome) Justin Townes Earle seemed a little ill-placed. It felt a little like revving the engine of a Mustang when you’re still three stop signs away from an open country road. Justin Townes Earle was brilliant, of course, but very laid back, and Rubblebucket left everyone pretty amped. On the upside, Earle’s joke about the Westboro Baptist Church earned him laughs.
Mumford & Sons also imported their friends, The Vaccines. Also hailing from England, The Vaccines’ lead singer Justin Young previously recorded on the Communion label as Jay Jay Pistolet, a far more tame version of the vintage Rock that evolved to make The Vaccines what they are today. This new creation doesn’t seem to get quite as much love from Communion’s heads as some of their other friends and that’s really a shame. The Vaccines are with Columbia now and blowing up in the U.K., but still floundering in America. They’re brilliant, though, and crowds eat them up. They sound gritty and much more Punk Rock than anything on the radio right now, but they could very easily end up on those playlists. They bring an insane amount of sexual energy to the stage, too. Remember that old Almost Famous quote about the fans “getting off?” One guttural bellow from Young ignited a crowd full of shrieks. The end of The Vaccines meant half the crowd needed a cigarette.
Earlier in the day, one of the security guards said he’d worried the concert would be full of Bluegrass bands, something he hated. So far, though, he liked what he had heard. He had no idea that after The Vaccines, things were about to get real blue, real fast. Old Crow Medicine Show are old pros by now. Not only have they toured with Mumford & Sons previously, but they’ve also been around for ages. Maybe that’s why their concerts always seem similar. They’re a blast and, if you know all their songs, you’ll be hoarse by the end of their set. But, at the end of the day, nothing changes much from concert to concert … not even the between-song banter.
Somewhere during the Old Crow set an older, surlier photographer made a comment that I caught just the tail-end of. He either said “They’re better than this” or “I’m better than this.” The answer to both of those sentimentswas the same, however. “Clearly Not.” If Old Crow were better than doing a clone show in a tiny town, then millions of people wouldn’t be singing along to “Wagon Wheel” right now and thinking it was by Darius freaking Rucker. And, if that photog were better than that festival, well, he wouldn’t have been there. Oh, the egos.
Mumford & Sons finally took the stage just as the sun was sinking down past the stadium, though we’d seen them during the set before when they crashed a few Old Crow songs. The first time I saw them was in 2010 at Beachland Ballroom. They sold out the 500-person capacity room and joked their way through the entire set. Not much has changed in those three years except the size of the crowd. As I bought a pair of Vaccines underwear from the merchandise barn (because, why not?), one of the boys added a sincere moment. Winston Marshall (I think. I was really far from the stage by then and trying to size underwear) told the fans there were a lot of people in America that the band loved “very, very much.” And that there were a few dickheads, too. Whether playing to a crowd of 500 or 50,000, the guys of Mumford know how to make each group of people feel awesome. Even if it’s just knowing to say, “O-H!” and grin when the Ohio crowd screams back the usual reply of, “I-O!” After all these years, they still really get a kick out of that trick.
Their performance was great, too. But it seems pointless to tell you that. At this point, Mumford & Sons have become so famous, so overplayed on the radio, you’ve no doubt already made up your mind about those four mates from London. Either you love them or you hate them. End of story. For me, the answer is love. I can respect a well-informed adverse opinion on the matter, however. So I won’t try to change your mind.
I walked back to my car as the Yacht Club DJs began their cool-down set after Mumford & Sons left the stage. Troy was quiet except for the bands and the revelers and drunks (so it wasn’t very quiet at all). But the town has a peaceful vibe to it and the band has always had a respectful sense to themselves that together kept everyone in check.
Would I do it again? Yes. But do I still absolutely hate festivals? Yes. Would I recommend the experience to anyone that made it this far in my review? Without hesitation, I recommend that you go visit Troy. And I will always tell everyone I meet that Mumford & Sons puts on the best show around and you should witness it once in your life. Whether you decide to hold out for their next stopover tour or settle for their next arena show, that’s up to you. Or, if you decide to wait a decade until the fuss dies down and they’re back to playing places like the Beachland or Bogart’s, I won’t judge you. I already know those gigs will be just as amazing.
The lineups for 2013's PNC Summer Music Series on Fountain Square — featuring live music from different genres for free throughout the summer — have been coming out gradually. We're happy to announce the lineup so far for the Friday night "Indie Summer" shows (presented by CityBeat and the MidPoint Music Festival).
Look for the rest of the finalized lineups — for American Roots Tuesdays, Reggae Wednesdays, Salsa Thursdays, Saturday's popular Beats night (with Hip Hop, Dance and Electronica) and the acoustic-music-meets-wine-tastings "Sunday in the Grove" — later this week. Washington Park in Over-the-Rhine is also again presenting regular music programming this year, with Jazz on Wednesday, Bluegrass and Roots music on Thursday and R&B/Soul/Hip Hop on Fridays, plus a new Tuesday night feature, Dance Under the Stars, featuring dance lessons in a variety of styles.
The bad news? The Indie Summer shows kick-off on May 31 with the final show by fantastic Cincinnati Indie Pop band Pomegranates. The good news? It will also be the first show by Healing Power, Pomegranates' new name. The opener will also serve as a "release party" for great local Indie crew The Yugos. Christian altrockers Seabird will also use their Indie Summer show to celebrate the release of a new album, the band's first independent release after a couple of albums on Credential Recordings/Universal Music Group. Northern Kentucky rockers Dept. Store Alligators will also put out their new release in conjunction with their Aug. 16 appearance with Belle Histoire.
Local restaurant/club chain 4EG will host "Happy Hour" parties on Fridays as well, featuring various local DJs and drink specials from 5-8 p.m. Indie Summer concerts are open to fans of all ages and run from 8-11 p.m. all summer on the Square. Click here for details.
July 12: Plumb; more TBA
Aug. 9: Archers Paradox; (headliner to be announced on June 2)
With the MidPoint Music Festival a glorious memory, we turn our attention to the next big local music event: the Cincinnati Entertainment Awards. The nominees will be announced — and you will be able to vote — tomorrow at citybeat.com. Vote early before you start worrying about that other little voting thing coming up in November. There will be no paper ballots this year; all voting will be done online. Next year, optical scans. (Kidding … or am I?)
The nominees are another strong batch of the best local musicians in Greater Cincinnati this year. First time nominees in the categories voted on by the public include The Bad Words, The Tillers, Poco Loco, Super-Massive, The Cincinnati Suds, Dusty Bryant, John Walsh, The Dopamines, Dan Faehnle, Khadijah, Eagle to Squirrel and Lost In Holland.
Two first time nominees also scored a boatload of nominations: up-and-coming AltRock band Seabird nabbed Artist of the Year and Album of the Year nods, while Cold Spring, Ky. singer/songwriter Daniel Martin Moore (whose debut for Sub Pop Records, Stray Age, was just released) is up for four trophies.
This year’s show takes place Sunday, Nov. 23 at Over-the-Rhine’s Emery Theater. The event — which has honored local musicians and theatrical artists for 12 years now — benefits the Michael W. Bany Memorial Scholarship Fund, which helps send students interested in a higher education in music to college. The fund is named and maintained in honor of Michael Bany, a veteran local musician who was murdered several years ago after playing a gig in Over-the-Rhine.
This year, the awards will join the anniversary celebration for King Records, the pioneering record label that many feel gives Cincinnati at least partial ownership to the claim of being the “birthplace of Rock & Roll,” by teaming with city and other officials who have fought for a historical marker to be placed at the site of the label’s original Evanston facility. Stay tuned for more news on some exceptional live performances being lined up to honor the King legacy.
You'll have to wait until tomorrow for the full slate of nominees, but here our the noms in the Critical Achievement categories, which are voted on by the nominating committee.
New Artist of the Year
Cut in the Hill Gang
The Flux Capacitors
The Koala Fires
Daniel Martin Moore
Album of the Year
Peter Adams: I Woke With Planets in My Face
Banderas: Beast Sounds and Parlour Tricks
Buffalo Killers: Let It Ride
Faux Frenchmen: Oblivion
The Hiders: Penny Harvest Field
Pomegranates: Everything Is Alive
Jeff Scott Roberson: Summer’s Here
Seabird: ’Til We See the Shore
The Sundresses: Barkinghaus
Artist of the Year
Daniel Martin Moore
C. Spencer Yeh
Daniel Martin Moore promo photo by Jonathan Willis.
The Cincinnati Enquirer earlier today posted fake data on its website showing Mitt Romney with a 92,000-vote lead in a supposed early vote count in Ohio. Editors later posted an apology, explaining that the election-results chart was created as a template and was inadvertently posted early.
The Enquirer explained the error: “A Cincinnati.com front-page link to a chart with dummy data, created as a design template for election results, was inadvertently posted early Tuesday morning. It purported to show early voting totals in Ohio counties. However, no votes have been counted yet — by law counting doesn't start until the polls close. Cincinnati.com regrets the error.”
The correction came a bit
too late, however. Conservative-leaning Drudge Report had already
tweeted the false results before the apology was published, and journalism blogger Jim Romenesko called The Enquirer out on it.
Providing voting results before polls close is typically frowned upon in media circles to avoid discouraging voters with potentially disappointing numbers.
Monday was a bit of a wash, and yes, I mean that literally. Unable to journey out during the daytime session, I braved rush hour traffic in order to catch the evening match-ups.
News trickled in from loyal colleagues as the afternoon progressed. Andy Murray felled by lucky loser, the Frenchman Jeremy Chardy who had already dispatched Andy Roddick. Unfortunately for him there are no other Andys in the draw. And Roger Federer was Roger Federer, making routine work of his opponent.
So I just knew the night would be worth the trip, right?
Novak Djokovic versus David Davydenko. I imagined that the Russian would force Djokovic to find his groove early. There would be no time for half-stepping against the veteran. But from the start, something was off with Davydenko. He wasn’t crisp and clean with no caffeine, although Djokovic certainly was as he fired off aces and returns. He wasn’t at the top of his game yet, but he was ready to shift into that next gear when necessary.
It wasn’t necessary, not at all. He took the first set 6-0 and before I could blink — I actually had a wild hair in my eye that was bothering me — he called for a trainer. No diagnosis was announced, but Davydenko retired and the audience was quite gracious.
And then the rain began.
After the 45-minute delay Monday night, I was ready for a brief wait and the promise of more tennis, because really I hadn’t gotten much tennis at all thus far. But alas, it was not to be. The rain fell steadily and lightning flashed like aces in the night sky and tournament officials suspended play.
And so we all retired for the night.
Cincinnati restaurants Adriatico’s and Eli’s BBQ got national recognition this week when they appeared on Urbanspoon’s top 100 “cheap eats” list. Urbanspoon chose these two eateries, as well as 98 more, from the million (yes, million) restaurants in their database.
Eli’s BBQ upgraded from a tent at Fountain Square and Findlay Market to a permanent home in the East End this year. They serve smoked meat and home-cooked sides. On Friday afternoons, you can bring your own drinks to accompany the pulled pork and macaroni and cheese on your plate. Eli’s offers hickory-smoked ribs, all-beef hotdogs, pulled pork sandwiches and more. For a longer rundown of Eli’s BBQ, check out CityBeat's review of the joint.
Adriatico’s brings New York style pizza to the Queen City. The pizzeria and sports bar is open after midnight each night, so you can get your late-night pizza fix after most places are closed. And since pizza isn't complete without beer, this place has plenty of it. With more than 40 beers on tap plus tons of craft bottled and canned beers, you’re able to mix and match pizzas and brews for the best combination for you. To keep up with Adriatico’s, check them out on Facebook.
Congratulations to Cincinnati’s cheap stops to fill up and leave full. Once you give these restaurants a try, check out more local spots because Cincinnati has a lot to offer when it comes to eating.