The Denver Post reported Thursday that Metromix, a series of entertainment websites owned by Enquirer parent Gannett Co., is closing its localized websites in seven cities.
Metromix is closing its website operations in Denver, Atlanta, Cleveland, Minneapolis, St. Louis, Tampa and Washington, D.C. Each of the markets is where Gannett owns a television station but not a newspaper.
Since 2006, the Ohio Smoke-Free Workplace Act has banned indoor smoking at public establishments and places of employment, making Ohio the first Midwestern state to enact a state-wide ban. Despite controversy and contestment, that ban will continue to be enforced statewide.
The owner of Zeno's Victorian Village in Columbus who attempted to combat the law was shut down by a unanimous 7-0 vote in the Ohio Supreme Court today, which ruled that the state's six-year smoking ban is constitutional.
Ohio's ban affects some 280,000 establishments across the state of Ohio, according to the Ohio Department of Health (ODH).
According to the Supreme Court of Ohio's case summary, Zeno's was cited 10 times for violations of the ban from July 2007 and September 2009, receiving multiple fines, none of which were paid. In protest of the violations, the director of the ODH filed a complaint against Bartec Inc., the corporate entity that owns Zeno's, requesting the bar to pay all outstanding fines.
Bartec and legal representative 1851 Center for Constitutional Law, a nonprofit legal center, asserted that the smoking ban was unconstitutional, a violation of the state's policing powers and that prohibiting smoking in an adults-only liquor-licensed establishment such as Zeno’s is "unduly oppressive," according to the case summary.
The ban and its enforcement, argued Bartec, constitutes an unlawful taking of property, meaning an improper confiscation of the owner’s control of the indoor air.
"The goal of this legislation is to protect the health of the workers and other citizens of Ohio. ... It does so by regulating proprietors of public places and places of employment in a minimally invasive way. We therefore hold that the Smoke Free Act does not constitute a taking,” wrote Justice Lanzinger in her opinion.
In her written opinion, Justice Judith Ann Lanzinger also cited 2002 Supreme Court decision, D.A.B.E., Inc. v. Toledo-Lucas Cty. Bd. of Health:
"We have previously stated that the General Assembly has the authority to enact a public-smoking ban. ... Although the Smoke Free Act was ultimately passed pursuant to a ballot initiative, the voters of Ohio also have a legitimate purpose in protecting the general welfare and health of Ohio citizens and workforce from the dangers of secondhand smoke in enclosed public places. By requiring that proprietors of public places and places of employment take reasonable steps to prevent smoking on their premises by posting ‘no smoking’ signs, removing ashtrays, and requesting patrons to stop smoking, the act is rationally related to its stated objective.”
According to the Columbus Dispatch, the bar owes the state approximately $33,00 in violation fines, and the state has threatened to seize and foreclose the bar if the fines aren't paid.
See how Ohio's public smoking laws compare to those in other states across the U.S. here.
While I’m not quite a junkie, I am fairly addicted to the “33 1/3” book series from publisher Continuum. If you’ve yet to hear about the series, the books are each dedicated to one specific album that has gained some sort of notoriety in the music world. The records chosen are mostly cult favorites with a few influential blockbusters mixed in. Of the 60 books written so far (each by a different author), the series has covered Pet Sounds, Songs in the Key in Life, Exile on Main St. and Led Zeppelin II but also lower-selling but no less influential recordings by the Magnetic Fields, Belle & Sebastian, Guided By Voices, DJ Shadow and Sonic Youth. (For a great overview, pick up one of the two Greatest Hits volumes released by the publisher.)
The tomes vary in approach, with some offering strictly historical examinations, some more about the author’s personal relationship with the album and others a mix of both. Chicago-based writer and music industry vet Bob Gendron has written what will likely be the only Cincinnati-connected album in the series, telling the tale behind Gentlemen, the major-label debut and relative breakthrough album by The Afghan Whigs. I would argue that records by Over the Rhine and The Ass Ponys, among others, deserve the 33 1/3 treatment, but they’re likely not well known enough to pique the publisher’s interest. I’d also argue that my personal favorite Whigs’ album, Black Love, should get a book, but the chances of having two Whigs stories in the series are just as slim.
Gendron mostly plays historian, telling the story via research and numerous interviews with the prime players, including all of the Whigs (drummer Steve Earle included), Sub Pop employees (Gendron himself used to be one) and other friends and industry connections. He also does a fantastic job of recreating the state of the Whigs at the time, a band of tight friends on the brink of major success yet also inflicted with drug issues and internal and external squabbles.
The story of Gentlemen is bookended by the tale of the band’s beginnings and their breakup, all the way up through last year’s greatest hits album. There are a lot of interesting tidbits and revelations. Gendron gets singer/songwriter Greg Dulli to talk about his serious relationship with the mysterious “Kris,” the dissolution of which led to the album’s tortuous, heartbroken tone. Other fun facts: Dulli recorded several of the album’s lead vocal tracks in one night while flying on coke and trying to impress a girl; Steve Earle was booted for several reasons (alcohol abuse, meddling girlfriend, creative control issues, ego conflict); and labelmate Linda Ronstadt was allegedly furious about the album’s cover (depicting a young boy and girl lounging on a bed), apparently under the impression that it was a naked bellybutton away from being child porn. It was also interesting to read that one of the band’s main friends at Elektra Records was feeding information to the nasty, slanderous 'zine Fat Greg Dulli.
Gendron gets to about every detail of the album, from the cover art’s original inspiration and liner notes to the songs’ inspirations and recording. But he doesn’t just relay facts. He also talks about Gentlemen as an artistic statement, carefully dissecting and describing the individual songs’ and the general album’s mood, cause and effect. Not only does Gendron’s book offer the last word on Gentlemen, it also shows what a compelling story The Afghan Whigs’ entire career remains.
For Whigs fans or even just those who were around Cincinnati to witness the band’s rise from little underground touring unit to soulful, seductive Rock machine, the book is a fascinating remembrance. For those who’ve never even heard of the Afghan Whigs, the story is universal and dramatic enough to be read as a novel (save the music-critic-y song dissertations).
The story is so good, in fact, that it would be great to see Gendron expand it beyond the 113 pages of this book. As his Gentlemen proves, the Whigs are deserving of a long-form biography that tells the band’s complete story. Who knows? Maybe Gentlemen: The Movie isn’t totally out of the realm of possibility.
Too bad John Belushi isn't around to play Greg. And Jimmy Page is too old to play Rick McCollum.
— Mike Breen
Megadeth can be considered one of today's legendary bands, not just in Metal, but in all of music. They are synonymous with a time period, moments in the lives of so many of their fans. They may have a different look than when the band was formed in 1983 but they are one of the founding fathers and would definitely find themselves on the Mount Rushmore of American Metal and can still fill festival stadiums all over the world. Megadeth have been doing their thing for almost 30 years and show no signs of stopping. They had released their fittingly named 13th studio album TH1RT3EN last year before they came to Cincinnati. They will return to Ohio as one of the main acts at next week’s Rock on The Range.
Over the past year, CityBeat spoke with band drummer Shawn Drover twice and lead guitarist Chris Broderick at Mayhem Festival about life on tour and what the future holds for the band. Megadeth's timeless sound continues on. Hear for yourself when the group performs on the Main Stage in Columbus Sunday night with Marilyn Manson and Rob Zombie for the Rock on the Range festival.
CityBeat: I know you joined the band in 2008, right?
Chris Broderick: Yeah, the very beginning.
CB: What was it like the first time you played and jammed with Dave (Mustaine)?
Chris: It was a little intimidating at first I think. But one of the things that really happened was we had to get to work so quickly. We had to get so much done so fast.
CB: Because of the album and the tour right?
Chris: Well yeah because of the tour at the time. I didn’t really have time to think about what was going on. I was just working. I was trying to knock out as many songs as I could before we went on tour less than a month away. That was my focus really.
CB: You are a classically trained guitarist, right? Can you tell me, how do you think that prepared you for Megadeth and to play metal music?
Chris: Well I don’t know if anything prepares you for Metal music or Megadeth. But I do think it does give me a different skill set, one where I can look at more melodies and harmonies and construction of those types of the aspects of the music and apply what I’ve learned in classical guitar theory or classical theory to the Metal genre.
CB: That’s kind of what stood out to them, right, when they called you to join the band, because you did a lot of classically trained type work?
Chris: It’s hard for me to say. I know it was an influence on their decision, but I know that it was a recommendation of Glen Drover and Shawn Drover that encouraged them to call me.
CB: Good recommendations. They probably didn’t even have to ask.
Chris: And then some of the YouTube clips that I had posted also.
CB: I have been hearing so many bands that are picking people off YouTube. It’s really amazing, Cinderella type stories of people being picked up off YouTube videos.
Chris: Well, it’s one of those things that is awesome in a way because it gives the individual the power of PR, somebody that can market you and get you to the right people to get you a gig or get you the right contact. So it is kind of cool that way.
CB: What was your highlight from the Big 4 concerts?
Chris: It was probably the last Big 4 show actually in the UK. That was pretty huge. We got to play on stage with some of the original members of Diamond Head. Honestly, they weren’t my biggest influence. They were a little bit before my time. But because I am playing with so many people that they heavily influenced, it was instant respect on my behalf and their behalf. It was quite awe-inspiring to see Hetfield (James) kind of bowing down before him when he went to do the solo. It was awesome.
CB: What is it like on the road these days? Is it really clean living?
Chris: Yeah. It almost has to be because we have so much going on. I couldn’t do all this press and all the meet and greets and stuff like that. It works out pretty well for me too because luckily I never acquired a taste for that kind of that thing. I guess I am too Type A. I always want to be in control.
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)
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 afterparty is still going on as I write this, but, while we assess what happened last night at the 12th annual Cincinnati Entertainment Awards event at the Emery Theatre — the first sold-out show and quite possibly the best show in CEA history — here's who won what last night.
They have been talking about it since they were 15 years old. Now, about 15 years later, all it took was an evening stroll through some back alleys on the way to The Famous Neons Unplugged in Over-the-Rhine to stumble across the perfect spot for their new start-up, Collective Espresso.
Owners Dave Hart and Dustin Miller had always dreamed of opening a coffee shop together. Lifelong friends and Ohio natives, the two spent a few years on separate journeys living in and being inspired by different states along the West Coast and working in multiple restaurants and cafes along the way.
"We kind of just moved to Cincinnati with the plan that we would figure it out," Hart explained nonchalantly as he reached for a cup and saucer behind the bar. Cold November rain fell outside during our interview, but the coffee and conversation warmed the already cozy shop as I sat comfortably on a stool that Hart and Miller hand-made, at the rustic bar that they crafted out of an old barn door. Just like the simplicity of the shop's design, Miller explained that it's their goal to very simply, "make great coffee taste great."
"There are a lot of great natural things happening in this coffee," Miller explained, joining Hart behind the bar. "It's our job as baristas to make it look and taste awesome. We want the coffee to speak for itself."
The shop, on the brink of opening, will mainly serve Deeper Roots Coffee — which is local — and Quills Coffee from Louisville, Ky. However, since they have a multiple roaster format, they are excited that they have the freedom to serve anything that piques their interest.
I watched in awe as the duo made the perfect cup of coffee through a process known as the drip method. This procedure takes about two and a half minutes and is performed through several steps in a homemade set-up resembling a science lab experiment.
"Each cup of coffee is made-to-order," Hart explained as he smelled the complex aroma from the coffee. "We don't want to be so slow that it's frustrating to get a cup of coffee here, but we like the idea of people being able to chill out for a few minutes and have a real coffee experience."
There are many ways to get your caffeine fix at Collective Espresso including espresso, macchiatos, cortado, cappuccino, lattes and mochas. The average price for a drink is $2.50-$3.50.
Although they recognized some great coffee shops that Cincinnati already has to offer, Hart explained that they thought the Cincinnati coffeehouse scene was missing something — Collective Espresso. With seating arranged in a bar-like fashion, the shop provides a welcoming atmosphere to stop in, have a cup of coffee over the daily news (CityBeat, of course) and meet or catch up with neighbors.
"If people are as dorky about coffee as we are, we also want to be a place where people can explore different brew methods and learn about different coffees," Miller added.
Just as the perfect cup of coffee takes time, the finishing touches are being put on Collective Espresso. The shop, located at 207 Woodward St., (off Main Street) is expected to open very soon.
Head to MPMF.com right now to see the full lineup and schedule for the MidPoint Music Festival, coming up Sept. 26-28 at various venues in Downtown and Over-the-Rhine.
Due to the legal wrangling over the management of The Emery Theatre (widely covered in CityBeat and at citybeat.com), the classic Cincinnati venue — a favorite from last year’s fest — will not be a part of MPMF in 2013. But MPMF’s footprint is expanding to include downtown’s Mainstay Rock Bar (which has participated in the fest in the past) and first-time MPMF venue The Ballroom at the Taft Theatre.
Like the activities on the MidPoint Midway, at the Contemporary Arts Center and in Washington Park, Taft’s Ballroom will be open to MPMFers of all ages. Tickets for individual Taft Ballroom MPMF shows will be available to purchase through Ticketmaster.com (with lower than usual ticketing fees, or avoid the extra fees altogether and buy them in person at the Taft box office). On Sept. 26, the Ballroom will be headlined by just-announced performers The Thermals; Murder By Death, Cory Chisel and the Wandering Sons and Nicholas David perform at the Taft on Sept. 27; and, on Sept. 28, the lineup will feature Daughter, Bear’s Den and Cincinnati’s own Bad Veins.
At mpmf.cincyticket.com, you can buy three-day passes, VIP tickets and other “a la carte” tickets for single shows in Washington Park and at Grammers. Shuggie Otis and Cody ChesnuTT headline the Washington Park stage on Sept. 26; The Head and The Heart and Youth Lagoon head up the Sept. 27 lineup; and Sept. 28 in Washington Park will be “The Breeders Day Party,” which starts at noon, with The Breeders performing their seminal Last Splash album at 7 p.m. Saturday’s Washington Park lineup also includes Twin Peaks, Gauntlet Hair, Foxygen and Cincy’s Tweens, who’ve been doing numerous tour dates with The Breeders.
On the Dewey’s Pizza stage at Grammers (21-and-up only), Kurt Vile & The Violators, Snowmine and Cincinnati Psych Rock trio The Harlequins perform on Sept. 26, Warpaint and Secret Colours top the Sept. 27 bill and Black Rebel Motorcycle Club, METZ and Deap Vally are slated for Sept. 28.
The Cincinnati music scene is well represented once again at this year’s MPMF. Here are some of the area artists confirmed for the fest: Eclipse; Seabird; The Pinstripes; Young Heirlooms; Us, Today; Saturn Batteries; Sun Country; Darlene; Jody Stapleton and The Generals; Electric Citizen; Magnolia Mountain; Allan Pray; The Tigerlilies; Kelly Thomas and the Fabulous Pickups; Public; The Ready Stance; Mad Anthony; Mama's Porch Band; Hickory Robot; Ben Lapps; Ohio Knife; Honeyspiders; New Vega; Archer's Paradox; The Perfect Children; You, You're Awesome; Goose; Chick Pimp, Coke Dealer at a Bar; Plastic Inevitables; redkattseven; SHADOWRAPTR; Halvsies; DAAP Girls; The Cincy Brass; We Are Snapdragon; Black Signal; The Happy Maladies; ADM; Molly Sullivan; Come On Caboose; SOHIO; Wussy; Alone at 3AM; The Natives; Wussy; and The Kickaways.
And Cincy Indie Pop greats The Fairmount Girls are slated to make their record 12th appearance at the 12th annual festival.
Here are a few links for and visuals from some of the most recently announced national acts coming to MPMF 2013.