Those not in the know often knock Cincinnati for a dilapidated arts scene, as if a conservative political climate results in a conservative cultural one. Those who have read CityBeat over the years hopefully know that this is a myth. Cincinnati's arts and music scene is often right on time, if not a few steps ahead. Tonight's tribute to the Ludlow Garage (and Rick Bird's feature this week on the late ’60s/early ’70s venue) is just one example that bucks any misconception that Cincinnati is, always was and will always be a backwards, messed-up city with, say it with me now, "nothing to do."
The accelerated speed of tech developments over the past decade has changed the world in innumerable ways. The impact it has had on music is glaring, completely readjusting how the worldwide music industry operates and affecting everything from the way the sounds are created, recorded and distributed to the way they are experienced by listeners. Cincinnati’s Walk the Moon is currently in the midst of a quick rise in the music world that is a perfect example of how the career plans of aspiring young artists can today play out over an amazingly short period of time. It’s why you might want to catch Walk the Moon’s concert tonight at Oakley’s 20th Century Theater.
I wanted to chime in on two fun events from the opening night of the 2009 MidPoint Music Festival that not many people saw: the kick-off shows on Fountain Square and Deke Dickerson at the Southgate House.
The Young Republic at the Blue Wisp after playing Fountain Square
Rain kept the Fountain Square crowd down, obviously, but the two bands who performed (Shanya Zaid & the Catch from New York and The Young Republic from Nashville) were energetic, happy to be in Cincinnati and ready for their regular club showcases later in the evening. The sound, provided by ICB Audio, was excellent.
I don’t like Radiohead.
Just like that, my budding career as a music journalist is destroyed by one, four-word sentence. I’m sure the pretentious Pitchfork police are on their way to my house right now to take me away.
I can imagine most of you yelling at me through the monitors on your Mac Book Pros, passing judgment on me through the lenses of your dark-rimmed Woody Allen-esque glasses.
I assure you, I can’t hear a damn thing you’re saying. So just save your breath and read.
I know why people like Radiohead. They are talented musicians who are constantly expanding their sound. Not to mention, Thom Yorke’s (even though he doesn’t know how to spell his name) vocal range goes for miles, making him one of the most impressive singers in Rock & Roll today. They are like the indie rock version of The Beatles, except The Beatles don’t take an eighth of magical mushrooms to appreciate. (Although I’m sure it makes it better, I wouldn’t dare know about such devilish things.)
Upon numerous occasions during my 23 years, I’ve tried desperately to enjoy this band.
At 16, I would peruse through cute “indie” girl’s MySpace pages, listening to “Karma Police” among various other cuts off of OK Computer. I would force-feed my metalhead mind to try and wrap itself around the ambient tones coming from my speakers. No matter how hard I tried (believe me, I tried; I needed something to trick these girls into liking me) it just never stuck.
A few years later, I made my second attempt. In Rainbows had just been released and it was a hot topic of conversation between my more “hip” friends. They would play the record on an endless loop and, eventually, I really did begin to dig it. Then I had a revelation.
While I was driving to work one day, I put the album on and quickly realized that I had never listened to this while I was sober. I mean, I know 2007-2008 had pretty much become a blur of various substances, but as the docile sounds of “House of Cards” rang through my car stereo, I said to myself, “Blake, put down the bottle and get your shit together! Also, take off that ridiculous v-neck shirt and skinny jeans. No one wants to see your Teen Wolf-covered man-boobs or your ‘Basilisk’!” (That’s right, my junk is nicknamed after the giant snake in Harry Potter and The Chamber of Secrets; get over it.)
It was as if the smoke had finally cleared (literally and metaphorically) and I came out of this catatonic state of intoxication a new man. That man just still happened to dislike Radiohead.
My final attempt was no more than four months ago. My lovely girlfriend bought me a record player for my birthday and I decided I would give In Rainbows one more shot.
I had grown up quite a bit since the last time I heard this record. Not only was I knee-deep in my journey to becoming a music journalist, but also I wasn’t totally sloshed all the time either.
Plus, if it doesn’t resonate with me on vinyl, it never will.
This last go-around, however, was a futile one.
I always thought, “Maybe I was just too young to get it?” Or “Maybe, I was just too fucked up to understand?”
But as I put the record on, more questions came up, like “Am I too old to get it?” or “Jesus, what’s that drug dealer’s number again?”
As I racked my mind trying to figure out why I’m the only music journalist who isn’t a part of this worldwide circle-jerk over Radiohead, I finally came up with a simple, yet honest explanation.
Radiohead fans can be broken down into two factions. You’re either a Radiohead guy or a “Creep” guy. I’m obviously a member of the latter group.
“Creep” is the anthem for every broken-hearted loser too cowardly to talk to the girl he dreams about every night. It’s the anthem for every outcast kid that roamed their hallways aimlessly; unable to find their place in the proverbial hell that was high school. It’s the anthem for every overweight, underachieving, late-blooming, weirdo band kid that the band chicks didn’t even want to associate with. It’s pretty much my 7-12 grade experience told in three minutes and 56 seconds.
“Creep” just always spoke to me in a way that no other Radiohead song ever had. It was effortless and truthful, yet, real and depressing. I made a connection with that song, a connection which I tried ever so earnestly to do with the rest of their catalog, but failed miserably.
So to the Radiohead fans out there, keep listening to them.
Do whatever makes you happy, whatever you want. Because truly, you’re so fucking special.
I just wish Radiohead was special, too.
Radiohead then …
Radiohead lately …
People who’ve never heard of her or the carpet cleaning company are tuning in now by the thousands, thanks to a YouTube video, cleverly titled “The Stanley Steemer Variations (by Mia).” Gentile generated with local musician and producer Roger Klug. Julie Spangler, a professional pianist and musical theater instructor at CCM, introduced Klug and Gentile, who wanted to produce a voiceover demo of the various musical styles she could reproduce (which appears to be limitless). Klug convinced her to translate her vocal performances into a video, which they shot in one day over the summer. “It was a total collaboration,” Klug tells me. “We talked about what each character would look like, she did the makeup and hair, I shot and edited the thing. We completely did it for no other reason than ‘just for the fun of it.’” It was shot at the local studio Mental Giant with Klug using a Sony Handycam.
Well, that it was — it’s apparent from watching. But everyone is getting in on the fun, and the video has taken off virally on YouTube. When Klug contacted me on Monday morning, it had had 40,000 hits in just a few days. By midnight the piece had exploded, exceeding 100,000 hits. He and Gentile have created a blog site to support it: http://miavideo.wordpress.com.
Even better, the Stanley Steemer people have picked it up, hyping it on their Facebook page, which has led to a suspicion that the whole thing is a clever marketing ploy. “Another faction thinks Stanley Steemer owes us a big check,” Klug jokes, “which I'm inclined to agree with!” It’s spread to an international audience now, dare I say “picking up steam” with a mention and a link in the U.K. edition of The Huffington Post. Before this winds up, Gentile will need her own 1-800 number!
But there's also another noteworthy local Sundance connection this week: Know Theatre is giving a 2011 Sundance film its Cincinnati premiere with a one-time screening 7 p.m. tonight (Dec. 7) in its space at 1120 Jackson St. in Over-the-Rhine. (Tickets are $10.)
People for the Ethical Treatment of Animals (PETA) took to downtown streets today to distribute "cruelty-free shopping guides." The pocket-sized pamphlets list more than 950 companies that have completed a statement of assurance saying they don't do product testing on animals.
In the summer of 2009, several student filmmakers from Northern Kentucky University decided to make a documentary about Newport music venue the Southgate House. With a soundtrack loaded with local music (Mack West, The Tillers and many others), the movie features some great historical information about the old mansion, lovely footage of the interior and exterior of the building and lots of interviews with area musicians, music lovers, Southgate employees and longtime operator Ross Raleigh, all discussing the uniqueness of the club and what it means to the local music community. There are some prescient comments towards the end about what losing the Southgate would mean to the music scene. Click below to watch the full shebang.
Ever wonder what happened to Dennis Barrie, director of the Contemporary Arts Center when it showed Robert Mapplethorpe's The Perfect Moment in 1990, resulting in pornography charges that a Hamilton County jury rejected in a landmark local case?
Cincinnati's beloved linebacker Dhani Jones will have an exhibit of his photographs on display at Country Club this Friday. Aside of crushing Steelers players, Jones is also the star of the Travel Channel series Dhani Tackles the Globe, in which he participates in the sports of local communities around the world in an attempt to immerse himself in their culture. His photography centers around his travels.