Good morning all. I may be writing this news rundown from my porch at home, enjoying the amazing weather and eating Graeter’s black cherry ice cream for breakfast, but that doesn’t mean I’m not real, real serious about the news. Let’s do this.
As we reported yesterday, the Obama administration is expected to jump into the fight over early voting in Ohio. U.S. Attorney General Eric Holder made remarks, released yesterday, indicating that the Justice Department will file with the Ohio ACLU and other civil rights organizations already fighting reductions to early voting in the state. The administration has made voting rights a key issue following last year’s Supreme Court decision that rolled back certain sections of the 1965 Voting Rights Act.
• The head of Cincinnati Metro resigned yesterday, according to a press release by the Southern Ohio Regional Transit Authority. Metro’s CEO Terry Garcia Crews will step down immediately and will be temporarily replaced by Darryl Haley, who was Metro’s executive director of development. Metro will conduct a national search for her permanent replacement. In the press release, Crews says she’s leaving to focus on her family, including her parents, who live out of town, and to continue her transportation consulting business.
“I have great confidence in the leadership and the team at Metro and community leaders to carry forth the discussion and implementation of expanding public transportation in this community,” Garcia Crews said.
Metro gives about 17 million individual rides each year. Its role looks to grow as transit needs in the city expand and the streetcar comes online next year.
• There was some drama in Over-the-Rhine last night, though the actual situation was not quite as intense as initial reports made it out to be. Police entered a building at 13th and Walnut to do an inspection at the request of the building’s owner. They came upon a man who fled from them. As he fled, a gun the man was carrying went off. Multiple news outlets reported the officers had been fired upon and that a standoff situation was developing. In reality, the gun accidentally went off as the man attempted to hide it in his pants. Which, yeah, probably not a great idea, but there you have it. The man fled to another building, threw the gun out a window and hid. He was arrested a short time later and faces multiple charges today. Still a scary scenario, but, you know, not exactly a police shootout.
• A list put together by CityLab shows that Cincinnati is among the top cities in the country when it comes to design. While we all know the Queen City has some great graphic design and marketing talent, it’s surprising to see the city also ranks impressively high for industrial design. Our fair city is well-represented in nearly every category measured, which is pretty cool.
• Remember that guy who threatened to shoot down a helicopter a couple days ago? Yeah, a judge told him today to cool it with the guns for a while, and required him to turn over his firearms to authorities. I’m sure there are some hardcore gun rights activists out there fuming about how the government is infringing on his 1st Amendment right to express displeasure with helicopters and his 2nd Amendment right to bear arms, but me, I’m perfectly OK with it in this particular case. At least he didn't try hiding them in his pants.
• The race for Ohio governor is getting interesting. Democratic contender Ed FitzGerald’s campaign is citing polls that show him neck and neck with incumbent Gov. John Kasich, though, as with any poll that a campaign is excited about, it’s probably best to be wary. The poll was paid for by the Ohio Democratic Party and echoes another recent Democrat-funded poll showing FitzGerald within striking distance. However, both of these polls contradict earlier independent polling done this spring showing Kasich ahead by as many as 15 points.
FitzGerald’s campaign is getting proactive, though, dropping its first TV ad today. In the ad, FitzGerald implies that Gov. Kasich is all about the 1 percenters.
“Who is the promise of Ohio meant for?” FitzGerald asks in the 30 second spot. “Just the wealthy and well-connected?”
FitzGerald gives a shout out to “Ohioans who get up early and get it done every day,” which made me kind of feel bad about working from home while eating ice cream. He goes on to promise support for the state’s middle class, including more funding for teachers, police and firefighters. Though he never mentions Kasich by name, he hits on the idea that the current administration favors the wealthy again at the end of the ad.
Meanwhile, an attack site paid for by the Ohio Republican Party against the challenger called fitzgeraldforohio.com just sprung up. The site mostly attacks FitzGerald on his first choice of running mate, former lieutenant governor candidate Eric Kearney. Kearney quit the ticket in December last year after it was revealed he owed a large amount in back taxes. The site also features an ad linking FitzGerald to former Gov. Ted Strickland, who has endorsed FitzGerald. The ad argues that Strickland was bad for Ohio and FitzGerald would be, too.
In a kind of strange twist, however, the ad seems to blame Strickland for many ills Ohio faced due to the great recession, including spiking unemployment and budget overruns. As if those same dynamics weren’t happening in nearly every state around the country during Strickland’s term from 2007 to 2011, when the recession was at its worst. The candidates’ next filing deadline is just a couple weeks away, and it will be interesting to see if either grab more big bucks. Stay tuned.
It is only through an understanding of the undeniable facts of history that we can even begin to consider the evil that was Josef Mengele, the Nazi doctor who conducted the most horrific experiments on Jewish subjects during the Holocaust and then was able to elude the ensuing global manhunt for him that lasted decades. But writer-director Lucía Puenzo, in approaching one of the known episodes of his long-term flight from justice, offers a glimpse into the subtle charm (with more than a touch of real menace) of the man, which allowed him to roam the civilized world so freely.
The German Doctor finds Mengele (Àlex Brendemühl) crossing paths with an Argentinian family, and slipping through their defenses by focusing his attention on their young daughter Lilith (Florencia Bado), who develops a crush on the doctor. The family, headed by the suspicious Enzo (Diego Peretti) and his beautiful and quite pregnant wife Eva (Natalia Oreiro), is on its way to takeover the small hotel where Eva was raised.
Mengele, too, is headed to the same location and joins the family’s caravan. He immediately insinuates himself into Lilith’s good graces, speaking to her in conspiratorial fashion, treating her more as an adult than a child, which entices her rebellious nature. His interest in animal genetics piques her curiosity and leads her to ask the doctor for advice about her own physical development, since she, as a premature birth, has failed to grow and mature like her peers. Mengele gently tests, probes and measures her, offering assurances, especially to Lilith’s mother, who is worried about her current pregnancy. (And it turns out that Eva is to birth twins, which certainly intrigues Mengele and his nefarious interests in human genetics.)
All at once, Mengele uses each family member’s concerns to his advantage. Even Enzo, the most distrustful from the start, gets drawn in by Mengele, who invests in Enzo’s handcrafted doll-making enterprise, shifting the exquisite individuality and precise detail of Enzo’s efforts toward a more uniform production line approach incorporating what could have been a degree of heavy-handedness in this display of the Nazi’s master race mentality. Instead, it comes across as an example of chess-like manipulation of human nature in pursuit of an overall goal.
The seductive nature of evil is all the more powerful thanks to Bredemühl’s performance, which casts a strong dark shadow that never simply devolves into mere moustache twirling. His Mengele is all cold calculation, despite the fact that he could be mistaken for having a degree of human care and concern in him. Is he, in fact, truly infatuated with Lilith, or even Eva, for that matter? Enzo reacts out of what could be understood as jealousy for the attention Mengele shows to his wife and daughter, but again, history tells us that Mengele is all business.
This puts a certain perspective on the ability of the Third Reich to sweep a nation and much of Europe up in its fevered march toward domination and genocide. Popular culture representations hint at our curious fascination with such dark figures, but what emerges from those characterizations is a desire to remove any trace of human sensitivity or connection. Evil is best and most recognizable if there’s no way for us to miss its absence of heart and/or soul.
But could that kind of portrayal do justice to men like Mengele and Adolf Eichmann (Nazi officer and a major organizer of the Holocaust), who actively participated in such inhuman practices and escaped capture for so long, walking among us? We long to believe their lives were hellacious, in some way, as they were forced to constantly look over their shoulders while putting on a show or a mask of humanity.
The German Doctor presents a dry, yet far more likely scenario that highlights the indelible stain on all of us. Mengele is all too human, truth be told, eagerly pursuing his aims with an expansive network of support at the ready. He was not some lone predator outside the scope of civilized society, just as the Nazis weren’t a philosophical fringe group in Europe, ripping clumps of hair from their heads while foaming at the mouth; that kind of crazy we could have seen and avoided.
Think of all the evil geniuses we’ve encountered onscreen over the last 20 years. The Hannibal Lectors of film and television. The diabolical Jigsaw from the Saw franchise. Col. Hans Landa (Christoph Waltz) from Inglourious Basterds. What have they taught us? Evil ain’t crazy. Just watch (and watch out for) The German Doctor. (Opens Friday at Esquire Theatre) (R) Grade: A-
Holder revealed the DOJ’s intention to join the fight in Ohio over early voting during an interview about terrorism with ABC News in London July 11. That portion of the interview was unaired. Holder’s comments were revealed when the DOJ released transcripts to the press this week.
The Ohio suit, originally brought by the Ohio American Civil Liberties Union and other civil rights groups, claims the Republican-led elimination of early voting hours is unconstitutional because it will disproportionately affect minorities.
Ohio’s General Assembly, which is controlled by Republicans, passed laws in February eliminating six early voting days and same-day voter registration. Ohio Secretary of State Jon Husted subsequently eliminated early voting the last two Sundays before elections and on weekday evenings in the days before elections.
Some of Husted’s cuts to early voting the Sunday before elections were undone by a federal district court judge, who ruled that the state must reinstitute early voting in the final three days before an election. Despite that victory, the other cuts have yet to be restored and are the grounds for the ACLU’s lawsuit.
In the interview, Holder said voting is “the most basic of our rights” and vowed that he “will use every power that I have, every ability that I have as Attorney General to defend that right to vote.”
Holder also said the DOJ will file in another voting rights case over Wisconsin’s voter ID law, which has seen a pitched battle in federal courts.
Ohio Democratic gubernatorial candidate Ed FitzGerald applauded Holder’s comments in a news release today.
“I’m pleased that the U.S. Department of Justice will be joining the fight to protect voter rights in Ohio,” FitzGerald said in the release. “Under Governor Kasich, access to the polls has significantly decreased for hardworking Ohioans across the state.”
If you were excited to catch New Jersey Indie Pop duo Brick + Mortar at last weekend’s Bunbury Music Festival, you were probably also disappointed that the twosome’s set was cut short due to bad weather. But next month you’ll have another chance to see the band. And it won’t cost you a penny.
When the MidPoint Indie Summer series on Fountain Square was announced, organizers held back unveiling the full lineup for the Aug. 15 show. Ohio party rockers The Nightbeast were the only performers announced at the time. (Below is The Nightbeast's latest music video, "Paid and Rowdy.")
Now that Bunbury is over, organizers have announced that Brick + Mortar will join The Nightbeast as co-headliners for the free Aug. 15 show. B+M is signed to Island Records and its track “Locked in a Cage,” released earlier this year, did well on the Alt music charts.
The rest of Aug. 15 lineup will be announced soon. For the full rundown of Indie Summer shows on Fountain Square, click here.
UPDATE: The other two acts for the Aug. 15 Indie Summer show have been announced: The Protomen (who will be fresh off their stint on the Warped Tour) will headline and Dayton's Dangerkids will also perform.
Another Bunbury band, Ohio Folk Rock crew Saintseneca, will also be returning to Cincinnati soon. The band is slated to perform at the MidPoint Music Festival in late September. Check out Saintseneca's recent appearance on World Cafe here.
Get tickets, check out the ever-growing lineup and find more MPMF info here.
Morning, y'all. It's only Tuesday and there is already lots and lots going on. Here we go.
A Hamilton County Common Pleas judge has allowed troubled charter school VLT Academy to stay open and ordered the Ohio Department of Education to help fund it. In a decision yesterday, Judge Nadine Allen ordered ODE to become the school’s sponsoring organization and provide almost $300,000 to pay staff and administration there. The school, which serves about 600 students in Pendleton, was scheduled to close last month because its sponsoring organization did not renew its contract. Education Resource Consultants of Ohio declined to continue supporting the school due to its academic performance and financial situation.
Ohio law stipulates that charter schools must have a sponsor to operate. VLT tried unsuccessfully to obtain a new sponsor, asking several organizations including the Ohio Department of Education. When ODE declined, citing the school’s poor academic performance, VLT sued in Hamilton County Common Please Court. VLT argued that its performance was never poor enough to trigger automatic closure. The school says that ODE is playing politics and that it warned other potential sponsoring organizations not to sponsor the school. ODE acknowledges it made organizations aware of the school’s performance issues.
Allen ruled that ODE made it difficult for the school to find a new sponsor and that closing the school would do harm to its students. Ninety-nine percent of VLT’s students are economically disadvantaged. The school has lost a third of its student body, and subsequently almost $2 million in funding, in the past three years as Pendleton and Over-the-Rhine undergo demographic shifts.
• State Rep. Connie Pillich will hold a roundtable discussion today in Cincinnati as part of a state-wide tour around veterans’ issues. That tour began July 2 in Huber Heights. The meeting with local veterans will focus on financial challenges facing the military community, including the need for financial literacy education for veterans and state-level unemployment benefits for their spouses. Pillich is a Democrat who has represented Montgomery in the state legislature since 2009. She’s currently vacating that seat to challenge State Treasurer Josh Mandel. She’s touting her efforts on veterans issues and her service in the armed forces as she travels around the state to meet with veterans and their families. Before her political career, Pillich served in the U.S. Air Force for eight years and did support duties during Operation Desert Storm.
• The Cincinnati Park Board settled a federal lawsuit today brought by several residents of Over-the-Rhine regarding rules put in place after the 2012 renovation at Washington Park. The residents said the rules, which forbade distributing food and clothing in the park and taking items out of trashcans, were drawn up without public scrutiny and designed to keep the homeless out of the park. The city dropped the rules in September 2012. The city has not commented on how it decided upon the rules in the first place. The amount of today’s settlement in the case wasn’t disclosed.
• Architect Magazine pulled no punches in an editorial on General Electric’s proposed new building at The Banks yesterday. Written by former Cincinnati Art Museum Director Aaron Betsky, a noted architecture critic, the piece caustically derided the building, and The Banks, for a gutless lack of panache.
“Cincinnati, a proud city with a great heritage busily squandering it, will be stuck with the results of its own shortsightedness,” Betsky wrote in the piece. Ouch.
• Gubernatorial candidate Ed FitzGerald and attorney general hopeful David Pepper will ask the Ohio General Assembly to provide more money for heroin clinics today in a press conference in Columbus. The Democrats say clinics around the state face a $20 million shortfall after recent changes in the way federal money is distributed. The heroin crisis has been a big talking point for Pepper, who has criticized Ohio Attorney General Mike DeWine over his handling of the surge in addiction-related deaths.
• The number of people commuting by bicycle is up 60 percent nationally from the year 2000, according to recent data from the U.S. Census. But that data also show another dynamic–most of that increase has come from relatively wealthy, white commuters who can afford to choose how they roll. Among low-income people, especially people of color, the desire for car ownership is much higher and the value placed on alternate means of commuting is much lower. This may be because people in low income neighborhoods face much longer commute times and an environment without the necessary infrastructure for safe cycling. But there are also probably social factors at play — cars are still strong symbols of success across all levels of society in the U.S., and low income commuters desire those symbols as much as anyone.
• Finally, if you’re looking for the next big (literally, huge) thing in hip living arrangements, I’ve got you covered. If a renovated row house makes you yawn, and a partially reconstructed loft space is just too domestic for you, how about living in a Boeing 727? Bruce Campbell (no, not THAT Bruce Campbell, though I can totally see this plane abode being the setting of a campy horror flick) of Oregon is leading the way on this brave new trend. Share with all your friends who are still really, really, into Lost.
A perfect day, hot enough but not so hot as to suggest the idea that the ghosts of dead ants broiled by sadistic children with magnifying glasses were somehow exacting their revenge from beyond the veil of ant Valhalla. Why, yes, the '70s were good to me. Why do you ask?
At any rate, the potential for another spectacular launch to Bunbury's first day was palpable as ID was proffered, the laminate was provided and the wristband was snapped into position. The game is afoot (or as my wife's podiatrist might counter, the foot is a game … but I digress. Why, yes the ’70s were good to me. Why do you ask?) and another spectacular Bunbury awaits.
The beginning of the day was essentially a sampler platter of roaming about and checking out a few songs from a variety of sources. I started off down at the Amphitheater Stage to check out The Upset Victory, who had drawn a pretty sizable crowd for their muscular U2-tinged brand of melodically gritty Roots/Punk. Then it was down to the Warsteiner Stage for a more lengthy taste of Snowmine, who return to the '80s/'90s with a 21st century vengeance, mining a thick vein of Depeche Mode, along with a '90s aggressive Ambient quality and a quietly powerful modern edge. Then it was down to the Main Stage for a quick shot of X Ambassadors, who blend big tribal drumming with a Punk-fueled Pop core, a little like Imagine Dragons with a few hundred thousand volts pumped directly into their hearts. Finally it was back to the Amphitheater for a few songs from the soon-to-be-large Let It Happen, who were delivering their Green Day-esque anthemics in the blistering mid-afternoon glare of the unfiltered sun.
Then it was time to hit the Lawn Stage for the triumphant return of 500 Miles to Memphis. Frontman Ryan Malott has streamlined the band down to a potent quintet (guitarist Aaron Whalen, bassist Noah Sugarman, drummer-of-the-gods Kevin Hogle and the lap-steel-and-all-round-magnificence of David Rhodes Brown) and turned up the juice to emphasize the Roots/Rock thunder and downplay the Country lightning. There's still plenty of twang in their thang, but the sizzle and the sound is turned up to 11 in the slimmer, trimmer 500MTM. The band was clearly itching to tear shit up; they've been hard at work for the last couple of years or more assembling their new album, the imminent Stand There and Bleed (the title is a Tombstone reference; if you know the movie, you know the exact scene, and if you don't, shame on you for missing the greatest Western depiction of Wyatt Earp and Doc Holliday ever, so go fix that before another hour goes by).
Malott and the 500 blew through a set that was stacked with great new material (particularly "Bethel," a tribute to Malott's hometown), but they didn't forget to give the master his due, pulling DRB up from his lap steel duties to haul out yet another chilling spin on Trent Reznor's "Hurt"; if the hair doesn't stand up on your neck when the Colonel's baritone rumbles out, "You can have it all, my empire of dirt," you've got one of those weird, hairless necks. 500 Miles to Memphis has been well out of the public eye for the last year as they concentrated on life pursuits and sporadic turns in the studio to finesse Stand There and Bleed, so there was an urgency to get their fresh live set across as a clarion call to let everyone know they're back. Are they ever.
After a quick stop to water my horse (namely, me), it was a fast walk over to the Acoustic Stage for an hour of blissful Roots/Folk brilliance from Aaron Lee Tasjan, whose sideman work with Todd Snider, the New York Dolls, Drivin' N' Cryin' and Tim Easton has earned him a reputation as one of Americana's most reliably astonishing guitarists. But it's his solo persona that is becoming even more fully realized, as his sterling EP releases — 2011's August Moon, 2012's The Thinking Man's Filth and the just released Crooked River Burning — have shown Tasjan to be a songwriter of depth and beauty will beyond his calendar age. Listen to any given ALT song and you'll hear hints of Nick Drake, Bob Dylan, Will Kimbrough, Rodney Crowell and Ryan Adams in his delivery.
In Tasjan's Folk world, there is no bellybutton introspection set to a strummed acoustic guitar; he'll peel off a solo worthy of Jimi Hendrix after telling a story about seeing Ted Nugent shoot flaming arrows into cardboard effigies of his enemies list worthy of Arlo Guthrie. There aren't many singer/songwriters (read that: any) who are writing tributes to the late, great Judee Sill, and fewer still who make incisive observations like "You can't play Beatles music with bullshit hair." Deals don't get any realer than Aaron Lee Tasjan, and you all need to make him a star at your earliest convenience. Go. I'll wait.
After ALT's hour of power, it was back to the Amphitheater for the transcendent magnificence of Lydia Loveless. She may have grown up in the hillbilly hinterlands of Coshocton, Ohio, but she is a city girl with enough Rock sass to satisfy any Indie hipster and enough twang to hold the interest of any Americana aficionado. In a set laced with electric greatness, primarily drawn from her latest album, Somewhere Else, Loveless and her brilliant band finished with an absolutely scorching take on "Boy Crazy," the title track from her 2013 EP. The song reached a fever pitch when guitarist Todd May, cigarette dangling from the corner of his mouth with noir-detective-meets-Bun-E.-Carlos nonchalance, sat on his feet in front of his amp at the back of the stage, coaxing an exquisite din of feedback from his guitar, while bassist/husband Ben Lamb concocted similarly haunted sounds by running his bass down Nick German's drum kit and Loveless herself fell onto her back on the stage and cranked out sheets of heart-stopping guitar madness. It was an extraordinary end to a truly amazing and all too brief set.
Exactly what is it about the Black Owls that resonates so completely with me? First, they effortlessly tap into that primal part of my brain that was developing during my teenage years when I was soaking up insane amounts of T. Rex, Mott the Hoople, David Bowie and the Stooges. Next, they punch forcefully into the neighboring brain cells, the ones that house the memories of discovering Television, Richard Hell & the Voidoids, Talking Heads, New York Dolls and Be Bop Deluxe. And it's not that they sound like any of those bands (although occasionally they do), it's that they remind me of that beautiful, mysterious time in my life when there was still music to be revealed, and the visceral thrill that accompanied every new discovery. That is what it is about the Black Owls. They once again made that abundantly clear at the Lawn Stage when they tore through old favorites ("Wild Children," "Julias Morningstar," "Sometimes I Wish You Were a Ghost"), brand new classics in waiting ("Gasoline" and "Rook") and an absolutely hair-raising spin through Harry Nilsson's "Jump Into the Fire."
It was the standard Black Owls greatness, which is to say the quintet, as usual, presented their most familiar elements in new and unexpected ways so that even a grizzled old veteran Owls watcher such as myself was knocked back a pace and surprised by it all. Black Owls make me long for the days when bands put out two albums a year for not other reason than they could. Bassist Kip Roe continues to weave himself into the fabric of the Owls' sound and, as frontman David Butler pointed out, guitarist Brandon Losacker is proving to be a perfect songwriting foil for Butler and co-founding guitarist Ed Shuttleworth. The Black Owls seem to be entering a period of gritty reassessment, where dirty Glam riffs and anthemic chord structures are dominating the proceedings. Yes, please, and quite a bit more, if it's quite all right. And even if it's not.
Before I review the psychodots' Bunbury debut, perhaps a history lesson is in order. A good many years ago, music mogul and purported industry genius Clive Davis sauntered into Cincinnati with the stated goal of checking out The Raisins and perhaps offering them a lucrative and much-deserved contract. When Davis departed from our fair city without signing The Raisins, he explained the lack of a deal thusly: "They're an embarrassment of riches."
Please allow me to read between the lines and translate that five word headscratcher into layman's terms. What Mr. Davis was so obtusely attempting to convey was this: "The Raisins are a stellar band and I don't have the slightest idea how to market them without making them as smooth and textureless as Gerber's babyshit and as lame as a beggar in the Bible, essentially stripping them of the elements that make them unique, and if you think I'm going to dismantle and destroy this band or permanently stain my sparklingly legendary resume with the ugly reality that I was unable to sell the music of a gifted band to a quality-starved public simply because I didn't understand the complexities of either one, you've got several unpleasantly aromatic things coming in a flaming bag on your front porch."
Of course, The Raisins famously broke up, reassembling as the Bears with guitarist Adrian Belew and refashioning as psychodots without Belew. So in a very tangible sense, we owe the existence of psychodots to Clive Davis' short-sighted inability to recognize their root band's brilliance. I was devastated that The Raisins didn't make it and, after the 'dots' loosely tight/tightly loose set at Bunbury, I am relieved beyond measure The Raisins didn't make it. Success would have come at a great and terrible cost, and we would not have enjoyed 20+ sporadically splendid years of psychodots Power Pop bliss.
There may have only been 100 or so bodies at the Amphitheater Stage to witness psychodots' fabulousness (Fitz and the Tantrums were sucking up bodies like a UFO set to "harvest," and rightly so) but the 'dots never give less than 89%, and they were in full charge mode on Friday afternoon. There was Rob Fetters' squiggly guitar magnificence (I'd put him up against any guitarist in the history of Rock, and he'd be only mildly uncomfortable at being up against any of them), Bob Nyswonger's bass conjuring, using his instrument to evoke lead guitar and keyboard mayhem (and by instrument, I'm still talking about his bass) and Chris Arduser's master class in How to Drum with Power and Grace and Still Maintain a Smartass Attitude.
It was a delightfully eclectic set, with a number of old favorites ("Master of Disaster," "Living in a Lincoln," complete with Fetters' mom-inspired balloon-on-the-strings gimmick), a few quasi-oddities ("Candy," the rarely performed "The Problem Song") and a handful of non-'dots nuggets ("She Might Try" from Arduser's exquisite The Celebrity Motorcade, The Bears' "Veneer" from their last album Eureka, "Play Your Guitar" from Fetters' patently perfect new solo album, Saint Ain't, The Raisins' fist-pumping "Fear is Never Boring") and the band's always entertaining banter (Fetters apropos of everything: "Is anyone tripping?"; Bob Nyswonger after Arduser's observation that the evening was balmy: "Balmy," stretched langorously into two words). It was, in a number of words, a standard psychodots show, which means one of the best shows you'll ever see, local or otherwise. Long may they reign.
After the breathless 'dots set, I was torn between the Heartless Bastards' triumphant return to the area or the unlikely but much welcomed reunion of Veruca Salt's original lineup. With more than a couple of Bastards sets under my belt and the prospect of many more to come, I opted for Veruca Salt because, even if the reunion sticks, the possibility of the band's return to Cincinnati seems remote. The foursome did not disappoint, hauling out blistering favorites from their slim catalog in this iteration and reinforcing why we've loved their Glam/Pop brilliance for so very long. Whatever caused the rift between co-fronts Louise Post (who has kept Veruca Salt going in some form or other for the past 21 years) and Nina Gordon (who departed for a solo career in 1998), there was no evidence of any residual friction as the quartet blew like a hurricane through "Volcano Girls," "Straight" and their signature brain-boiler "Seether." The band even teased a couple of songs – including "It's Holy" from this year's Record Store Day single — from what was described as "their upcoming thing;" that thing cannot come soon enough. As final proof of Veruca Salt's newly minted reunion, Post and Gordon kissed at center stage amid a beautiful howl of squalling feedback. As the lights came up, the '90s called, they want their awesome back; they can blow it out their ass, because Veruca Salt is hanging onto it with all eight arms.
For the evening's closer, Empire of the Sun, the Main Stage was nearly as packed with bodies and gear as the field in front of it. The band's epic stage show, which has been described as Cirque Du Soleiel without the airshow, requires a lot of moving parts, and the Bunbury crowd arrived in significant numbers to witness the Rock/Synth Pop/Electronic spectacle. Empire of the Sun's primary sparkplugs, Luke Steele and Nick Littlemore, and a veritable army of players and dancers offered up a wall of Prince-like Glam/Pop guitar and a danceable solution of Depeche Mode Synth Pop menace, all updated to a millennial frenzy of Muse/Daft Punk proportions. But rather than non-descript and identity shielding space/BMX helmets, EOTS prefers elaborate tribal headdresses that look like giant pre-immolation phoenixes atop the principals' heads. At one point, the dancers were all playing fake neon guitars in a 21st century version of Robert Palmer's "Addicted to Love" video. All of this plays out in front of a constantly shifting projection of disparate and arty images and screen saver light squiggles combined with a choreographed and dazzling light show that is both compelling and distracting. That dichotomy within the Empire of the Sun presentation matches the broad spectrum of reactions to the band's Cincinnati debut (and one of only a handful of American dates); the majority of the crowd was fully engaged in the band's expansive Vistavision sprawl, while a few canvased friends offered up opinions that ranged from "That was as exciting as watching glitter paint dry," to "Meh, it's okay," to "I totally love this." Editorial critique aside, Empire of the Sun was every bit as epic as advertised, and everyone who looks for spectacle in their Dancetronic music mix got more than their money's worth with Friday night's Bunbury closer.
• I started the day with a deliciously smokey pulled pork sandwich from the geniuses at Eli's, a bun so overstuffed with barbeque goodness that it's actually a pulled pork sandwich with a side of pulled pork. It's as close to a religious experience as I've ever had outside of a church (where I have oddly never had a religious experience … go figure) or a music venue (where I've had plenty; I'm looking at you, Iggy Pop). Washed down with a Fathead beer, it was the perfect start to the third charmed Bunbury.
• At the Snowmine show, I ran into "Hey-look-everybody-it's" Stu, from Paul Roberts' Three-Amigos crew. Stu reported that Paul and maybe Big Jim would be along shortly. And, in fact, they were.
• On the way from X Ambassadors to the Amphitheater/Lawn Stage area, I ran into Eddy Mullet and his daughter Jess. Eddy is the volunteer host of the Friday night 6:00-8:00 pm shift at Class X Radio, where I have surreptitiously installed myself as his quasi-co-host; I do the weekly CityBeat Report, a rundown of weekend music events, and a segment I concocted called the Gang of Four Set, four songs that are connected by a theme of my own twisted design. Eddy is also the longstanding host of Kindred Sanction, the area’s longest-running local music program that was founded by Cynthia Dye Wimmer a fair number of years ago at WAIF. Cynthia brought the show to Class X six years ago, Eddy sat in occasionally as co-host and Cynthia backed out of the show to attend to her life. Eddy's passion for and knowledge of the local music scene is legendary, and anyone who has ever dealt with him knows him as a straight up guy and maybe one of the best boosters that local music has ever seen. Class X management has seen fit to cut the show's hours and alter the format, all of which is wrong-headed and counterproductive, but all that really matters to Eddy is spreading the gospel of greater Cincinnati's music scene. And Jess is turning into a Rock chick of the first order (not like that, you gutter-minded dimbulbs). Under Eddy's tutelage, she's becoming a pretty fair aficionado of local music herself; smart, funny and fearless, she will be a force to be reckoned with in some near future. At any rate, if you see Eddy wandering around, shake his hand and thank him for his long-suffering and often unappreciated work on behalf of local music.
• Eddy and Jess and I hit a run of shows together, including the ever amazing 500 Miles to Memphis, the astonishing Aaron Lee Tasjan (who Eddy hipped me to through his love of Drivin' n' Cryin'), the gear-stripping Lydia Loveless and the transcendent Black Owls. Eddy and I could talk music for days on end, which we do at every given opportunity. Eddy also introduced me to Aaron, who he'd met after a Drivin' n' Cryin' show; that kid is going places, if Eddy and I have anything to say about it.
• Finally ran into Paul and Big Jim at the Aaron Lee Tasjan set, with "Hey-everybody-it's" Stu in tow. These three are also a great bunch of music lovers and supporters, local and otherwise, with weird, esoteric tastes. In other words, my people. I love running into them, and swapping stories and having Paul buy me beers, which he most generously did during the psychodots' set.
• Also briefly caught up with the ever-stellar Kip Roe, freshly installed bassist for the Black Owls and a prince among men. His boys, Kip Jr. and Ben, were there to witness the Owls' casual brilliance (anchored by their dad's bedrock solid basslines), but post-show were anxious to head down to the Main Stage to witness the Soul/Pop frenzy of Fitz and the Tantrums. Kip and the boys won't be spending Saturday doing any Bunbury adventuring, as they're headed to a Modest Mouse show in Columbus (a bucket list event, as Kip described it), but they will be back for the Flaming Lips on Sunday. Kip's boys are huge Flaming Lips fans. God, I love Rock & Roll families.
• And speaking of such, my other favorite component of Black Owls shows is the chance to catch up with the Owl wives, Amy Butler, Carrie Losacker and Sarah Kitzmiller (and let's not forget Ed's girlfriend, whose name, like so many other things, slips my addled brain. Why, yes, I did enjoy the '70s. Why do you ask?). We were trying to come up with a name for their defacto support group; I propose the Owlettes, and given Friday's heat and humidity, the Moist Owlettes probably was more apt. At any rate, they are wonderful people to interact with, and I look forward to their company every bit as much as the Owls' soul-stirring, flashback-triggering presentations.
• And on that subject, Ed, his girlfriend and her daughter (again, names … I remember knowing them in some distant past; maybe if they had hats with their names on them. That's how Stu solved his dilemma …) caught up with me while I scarfing down a couple of cheese coneys before leaving Friday night and offered a heartfelt Rock & Roll tale. Ed's girlfriend's daughter (note to self: this would be better with names) is a huge fan of Walk the Moon and as fate would have it, frontman Nick Petricca happened to be in town and was catching the Empire of the Sun show. Ed's girlfriend's daughter spotted Nick, professed her undying love for Walk the Moon, they chatted for a bit and she got her picture taken with him. Nick is clearly one of the good guys and his very open and engaging response to a fan's sincere outpouring of love and support is one of the reasons for the band's incredible success. And, as I noted to Ed's girlfriend's daughter, "It's always nice when you meet your heroes and they're not dicks." Thus should it ever be.
• The only thing that could have made the night complete after that uplifting moment would be a quick run-in with Jacob Heintz, former Buckra guitarist and Rock volunteer of the gods, as his constant presence at MidPoint and now Bunbury will attest. Another one of the truly great people that define the Cincinnati music scene as one of best in the known universe. I am physically fading and spiritually soaring. It's a good feeling for the end of the first day of another fantastic Bunbury.
One year ago today, the city signed contracts to start construction on the streetcar. Fast forward 365 days, and the new transit loop through downtown and Over-the-Rhine is quickly taking shape. Roads are closed as major sections of track go in. Workers are constructing concrete slabs for the passenger stops. The cars themselves are being built. And the city recently named downtown-based Kolar Design to do branding work for the streetcar. The Business Courier has photos of the progress so far. Or you can just drive through Over-the-Rhine and see for yourself. Just don’t take Race Street if you’re hoping to get downtown — it's still closed at 12th Street.
• We’ve all lived with roommates who don’t always take out their garbage. It’s gross. But I guess it could be worse. Like, tens of thousands of times worse. The city recently shut down a compost company called Cincy Compost in Winton Hills after two years of complaints from miles around about the ghastly smells emanating from what is effectively an 80,000 pound pile of rotting food, but things could get worse before they get better. The heap, which is piled two feet deep, needs to be cleaned up by the city now that the company is no longer in business. It seems the business didn’t get the correct balance of garbage for the compost process to work and was overwhelmed by the sheer volume of garbage it took in. It racked up 45 code violations while it was open. Now the city will have to spend $250,000 to kick-start the process and finish turning the garbage into soil. That involves stirring all that garbage around, basically, which is only going to make the smell worse in the short-term. Gross.
• Community groups in the city will be holding a rally calling for an end to violence in the city at 7 p.m. in Piatt Park today. Last week, four people were shot, one fatally, in two separate but related incidents at the park. Cincinnati saw a surge in shootings early in the year, though that trend has slowed and the city may not see an increase over last year’s 75 murders. Forty-two people have been murdered in the city this year, many with guns.
• One guy who will not be at that rally, I’d imagine, is this dude, who threatened to shoot down a University of Cincinnati Health Air Care helicopter yesterday. Angry that the helicopter was flying too low over his Green Township house, Leonard Pflanz is accused of driving to Mercy West Hospital and telling the helicopter’s pilot that he would shoot him if he did it again. Pflanz is appearing in court this morning over charges stemming from the threat.
• General Motors may soon be in some big trouble with federal prosecutors, who are investigating whether the company made false statements about a defect in some of its cars that has killed at least 13 people. The defect relates to an ignition switch problem that has caused some GM cars to lose power while operating. The feds accuse GM of making misleading statements to the public about the defect, downplaying the dangers of the defective switches. The company has already been fined $35 million by the National Highway Traffic Safety Administration for dragging its feet in response to the problem. Some believe GM’s ultimate liability could end up being even more than the $1.2 billion Toyota was ordered to pay earlier this year over similar charges.
• Finally, Smithsonian Magazine reports that skin cells may be able to detect odors and that some of these odors may aid the body in the healing process. Basically, this means the whole surface of your body is receptive to smells in one way or another. This is interesting, maybe even great news, unless of course you live near a failed composting facility or something.
I saw Cincinnati Opera's production of Silent Night on Thursday evening. It's the regional premiere of a work that won the 2011 Pulitzer Prize for music, and our local opera is doing a bang-up job of presenting it. And "bang-up" is the operative term: This opera is set during some of the darkest days of World War I, and the opening segment of the production reproduces the violent and deadly combat between troops from England (actually a regiment from Scotland), France and Germany. You're not likely to see a more gripping onstage representation of battle than what's happening at Music Hall. Before Thursday's performance I listened to composer Kevin Puts and librettist Mark Campbell talk about how to "musicalize" such a scene: Their research included studying the opening sequence of the Saving Private Ryan, the graphic, Academy Award-winning film of the D-Day invasion during World War II. It's a powerfully real scene, a perfect opening to the moving tale of soldiers pitted as enemies who found common ground in one another's humanity on Christmas Eve 1914. You can get good seats for the concluding performance on Saturday evening (7:30 p.m.) for $30-$45 by calling the Opera's box office: 513-241-2742.
Area high school students are the talent in onstage for Commonwealth Artists Summer Theatre (C.A.S.T.) at Highlands High School (2400 Memorial Pkwy., Fort Thomas). Starting tonight is a two-week run (July 11-20) of The Addams Family, a Broadway musical based on cartoonist Charles Addams' bizarre and beloved family of characters. The group is headed up by Fort Thomas theater instructor Jason Burgess, who has assembled theater kids from the Greater Cincinnati and Northern Kentucky who are eager to develop their skills in performance and production. Tickets: $10 (http://www.showtix4u.com) or at the door.
Tony Award-winning musical next to normal, about a
woman with bipolar disorder, gets not one but two productions by
Cincinnati-area community theaters: Sunset Players on the West Side and
Paradise Players for East Side siders. You can choose between them tonight. The
venerable Sunset Players, which presents shows at the Dunham Arts Center (in
the Dunham Recreation Complex, 4320 Guerley Rd., Price Hill), has performances
through July 26,
mostly at 8 p.m.
Tickets ($14-$16): 513-588-4988. Meanwhile,
Paradise Players, a newish group offering summer productions at McNicholas High
School's Jeanne Spurlock Theatre (6536 Beechmont Ave.), is presenting its
rendition of the show this weekend only, tonight at 7:30 p.m. and Saturday at
2:30 and 7:30 p.m. Tickets: $15 (http://mcnhs.seatyourself.biz