There are concerts that are fun and there are concerts that kick your ass. If you were at the sold-out U.S. Bank Arena Friday night for the opening date of The Black Keys first headlining arena tour, you probably got your ass kicked.
First up, Arctic Monkeys caused a ruckus on the floor. Most (but not all) of the folks in the seats wandered around aimlessly or sat there, watching listlessly. There was certainly uproar in front of the stage, though. But as the English boys played, sang and sassed, the crowd in the arena filled in and loosened up. It helped that their lighting guys strobed the shit out of them, too. The seizure-inducing lights may have been Morse code for “Love Arctic Monkeys. Swoon over our accents.” If so, it worked. By the time Arctic Monkeys closed with “When the Sun Goes Down,” the crowd on the floor had nearly doubled and, at the very least, those in their seats were nodding their heads and smiling. Those boys put on a fun show.
After spending the entire intermission only getting halfway through the beer line, nearly everyone gave up and fled to their seats when The Black Keys began. Not that anyone sat, though — they were all too busy dancing and freaking out. Strictly speaking, The Black Keys may not be from Cincinnati but it’s safe to say we treat them like hometown boys, anyway. Dan Auerbach (singing/guitar) even recalled playing Southgate House a few years ago. Upstairs. In the small room.
From a titanic disco ball that lowered from the rafters (for only one song) to the graphics on the screens behind them, the show was far different from their days playing tiny rooms. With each beginning there was an outburst of recognition. The middles of songs gave way to dancing, flailing and air guitar (or drums) and each ending note was drowned out by thousands of shrieks, whistles and catcalls.
Two things were learned last night. First, if you have any doubt about the amount of noise that one guitar and a set of drums can make, go see The Black Keys. Their albums don’t do justice to the sheer volume Auerbach and Partrick Carney (drums) are capable of producing. Second, you haven’t lived until you’ve heard an entire arena try to whistle.
If you weren’t there, you missed the best kind of Friday night possible. If you were, you’re probably already making plans for the next time The Black Keys come to town.
Greater Cincinnati has two awards programs that recognize our excellent theater scene. Perhaps that’s good news, but you might wonder if this kind of competition between competitions is the best way to go.
And he's not done yet: Fincher's American version of Stieg Larsson’s The Girl with the Dragon Tattoo is currently in production and has a release date of Dec. 20. How’s that for an early Christmas present?
Not that anyone really gives a [expletive] what Hank Williams, Jr., thinks about politics, but the country singer has gotten himself canned from Monday Night Football for saying insensitive things about subjects he doesn't know that much about. Williams yesterday told Fox & Friends that John Boehner's golf game with President Obama was "one of the biggest political mistakes ever," comparing it to “Hitler playing golf with (Israeli leader) Benjamin Netanyahu,” and then explaining that Obama and Joe Biden are “the enemy.”
We caught up with Shannon Larkin Sunday afternoon before the show on the bus to talk about football and about his musical influences. When I arrived I waited in their outdoor football viewing area where a TV comes out of the side of the bus and is setup for group viewing. You can tell members of these three bands are die hard football fans.
I had already done my research to know that Shannon loves the Oakland Raiders and has pretty strong feelings about them bringing down the San Diego Chargers last week for the first time in many years.
CB: Do you feel like your Oakland Raiders are doing better than they should be? (Laughing)
Shannon: No. No I don’t. I feel like they are doing a lot worse than they should be. My Raiders story goes back to growing up. I was raised in Virginia area and my dad is a Notre Dame guy. He went to Notre Dame so I grew up watching ND football ever Saturday. Tim Brown, who was a number one draft pick and Heisman winner, went to play for the Raiders in 1987 or 1988. After that I always liked the Raiders. I also went to Redskins games at RFK growing up in Virginia, so the Raiders were my AFC team and I always loved the Skins. The last few years the Redskins have been terrible and they had Jason Campbell as their quarterback and then he got traded to Oakland and I didn’t understand why.
CB: Now he is the starter right?
Shannon: Yes because Gradkowski got hurt. Al Davis has been very influencial with things he has done for the NFL. He has done some great things, but he is so old now like 88, he needs to let the team go and get some younger people. Let them win again.
CB: Well, San Diego is losing today so you should be happy.
Shannon: Last week was so amazing. Every year, I watch the Raiders lose those two games against San Diego and last week Sully and I were jumping up and down when Oakland won for the first time in a long time.
CB: Well, we are here in Bengals country, do you have any favorite Bengals?
Shannon: They are exciting this year with T.O. and Chad. Terrell Owens is still making amazing plays and touchdowns every game and is fun to watch. Carson Palmer is a great quarterback and hopefully he can prove himself in the big games.
CB: Well maybe the Raiders and Bengals will see each other in the playoffs.
Shannon: I can only hope.
CB: In music, you have played with legendary bands
like Stone Sour, Black Sabbath, Candlebox, and others, but I read that
you love to play funk music. We have the Bootsy Collins connection here
in Cincinnati. Have you ever met Bootsy?
Shannon: I have never met Bootsy. It is funny last night we played Detroit and after the show there were fans waiting outside on the street and I always try to go out and sign autographs and take pictures with the fans. There was this older gray-haired black guy who came up to me and said he was in the P-Funk Allstars with George Clinton. He came up and said hi and that he liked the show. I love funk so that was interesting.
We were a family where the TV was mainly used for Saturday Notre Dame games. After dinner, we would go downstairs and my parents would play records for my sister and I like the Beatles and Creedence. One of the main records was Sly and the Family Stone Greatest Hits.
CB: So you have always had it around.
Shannon: Yes, Sly and the Family Stone is the shit to me. It just has such a positive message in every song where all the musicians can shine. In my later years, I got into Zeppelin, RUSH, Slayer, Metallica of course. I am giving away my age. In 1984, it became Black Flag and punk bands. Everything kind of circles around. Now I am forty-something I am going back to my roots with 60’s and 70’s rock.
CB: What are you listening to right now?
Shannon: My latest downloads have been “Pet Sounds” by the Beach Boys, which is another record my parents used to play and Paul McCartney’s “Wings.” People won’t believe it reading this.
CB: Have you met Paul?
Shannon: Oh my god no. I wouldn’t even know what to say. After a long hard battle with myself after someone asked me who my top 5 bands were, I ended up picking Ramones, Beatles, Zeppelin, Jimi Hendrix Experience, and Sly and the Family Stone. Those are my influences and I wear them on my sleeve.
CB: Is there anyone that you would like to collaborate with that you haven’t worked with yet.
Shannon: I’d love to work with George Clinton someday since he invented the word funk. Funk to me becomes about being in a room with friends to just jam with and you just make music and there is no pressure to make a record. You just get stoned and have a shot of tequila and just jam for three hours. It always becomes a funk riff that you can loop over and over where everyone can take their little part to shine. I would love someday to create some funk-pop music like Sly and Family Stone. Sly is like a freak that disappeared off the face of the earth so I know I will never get to play with him. George is still out there though with his crack pipe so there is a chance maybe I will be able to play with him.
CB: You just played Sturgis this summer. Did you have fun? Any crazy stories?
Shannon: It was horrible for us.
CB: Really? I thought you always enjoyed it.
Shannon: Well we are usually on tour when we play there and this time we weren’t so we didn’t have our bikes. It sucked. There were 500,000 people and bikes and we didn’t have ours. The show was fun but it was like putting a kid in the candy store and telling him he can’t have any and he has to watch all the other kids eat the candy.
CB: What kind of bikes do you have?
Shannon: I have a 07 Heritage Softtail that is my reliable bike. I have a 77 Shovelhead that is my bar hopper bike. In fact my 77 Shovelhead is from a guy here in Cincinnati, Jeff Cochran with Speed King Customs. I ordered it from him here when I found out we would be working on the Oracle album in LA for four months. I knew I would need a bike in LA so I called him after I had seen him when I played here. He brought a whole bunch of bikes out and I fell in love with a red one with a suicide shifter. He came across the 77 and thought it would fit me better so he sent it out to me and I love it.
CB: You guys have the new Oracle album which came out in the spring. What is your favorite song to play on the new album?
Shannon: “Oracle.” It is a 7.5 minute instrumental. At shows like Rock on the Range, when the album first came out we weren’t ready to tour so we would fly in for radio festival shows. It ended up being like a “best of” with two or three songs off the new record where as this is “The Oracle Tour.” It is Oracle heavy and we play 5 or 6 songs off the new record which makes it far more interesting to us to play new stuff that we haven’t played live before.
CB: The “Love-Hate-Sex-Pain” song is all over the radio right now.
Shannon: That is so great to hear and what we did for all the songs in the show tonight is strip down the videos and make all new videos to go with each song. We hired a video guy from Motley Crue and dug through years of video tape trying to find stuff that would look cool on the big screens. Everything is brand new visually even if you don’t know all the new songs yet.
CB: So are we going to see any pyro tonight?
Shannon: We actually have a laser show this time. Laser technology has kind of taken over the past few years and it is sick visually. You can get any can get any color lasers now and it actually takes two guys to run the lasers. It is actually cool from my vantage point as well to see the lasers over the crowd.
CB: I know you have a family now. Do they ever come out on the road with you?
Shannon: No they don’t really, but we did start this tour in Florida so my wife and kid got to come out and experience the first two shows. They love it. My daughter is 12 now so she is at an age where she can appreciate it and have fun.
CB: Do you ever worry about exposing her to it?
Shannon: No, we are all in our 40’s and we don’t do any of that crazy shit anymore. We did it all in previous bands before we joined Godsmack. I was 36 when I joined the band and was already married and had my daughter. The only thing I worry about is the language. You know we are a rock band and so when she comes backstage she’ll see people smoking and doing shots. We also did this one DVD called “Changes” and on the DVD I was late to sound check and Sully keeps yelling “Shannon Fucking Larkin” over and over. Now when fans see me and I am walking with my twelve year old people yell out, “Shannon Fucking Larkin” so she is exposed to that sometimes and I want to put ear muffs on her. As far and the drugs and girls though we are way over that.
CB: I have spoken to a lot of drummers this year
and some of them like Ray from KORN talk about playing drums all the
time everyday even when they are not touring. When you are not touring,
do you play all the time or do you take a break?
Shannon: I play all the time. When I am home, I go in my garage and put on my Ipod and play along with every song on random shuffle. One minute it is the Stones and the next it is Slayer. It is a fun way to practice. Usually when the band is together without Sully, we just jam and play funk and other sounds as well. The other band members live in New Hampshire and I live in Florida so I don’t really have anyone to play with so I jam to the Ipod.
CB: Does your daughter do any music?
Shannon: Yes she plays the trumpet in the school band which is cool. Maybe a funk duo is in the future who knows?
CB: What is up next for the band? I know the record is still pretty new, but are you working on new music?
Shannon: No new music right now. We actually write by ourselves. Everyone has a little recorder that we use. Tony is actually back there playing guitar right now. He plays all day and when he gets a riff he likes, he will record it. By the time we start to write songs, we all have like 20 riffs as a starting point. We use those to write songs and a chorus. Right now we are just all focused on this tour. It is a pretty big production. Even though the set list is the same, the production changes and is ever evolving. Last night Sully came on the bus and we came up with a new ending to the set. We also just came up with a video for “The Enemy.” It is changing as we go, as we see parts that are weak, we make changes. Our video guys says he goes to sleep dreaming about edits.
A Cincinnati outdoor advertising company announced Tuesday that it will take down controversial billboards that opponents claim are aimed at intimidating voters.
Norton Outdoor Advertising had been contracted to put up about 30 billboards that read “Voter Fraud is a Felony!” The billboards also listed the maximum penalty for voter fraud — up to 3 and a half years and a $10,000 fine.
Opponents of the billboards claim they were strategically placed in predominantly low-income and black neighborhoods in Cincinnati as a means to discourage those largely Democratic voters from going to the polls.
The billboards were funded by an anonymous “private family foundation.”
In a statement posted online, Norton Executive Vice President Mike Norton said the displays would be taken down as soon as possible. He wrote that the foundation and Norton agreed after hearing criticism that the sentiment surrounding the displays was contrary to their intended purpose.
The family foundation didn’t intend to make a political statement, but rather make the public aware of voting regulations, he wrote.
“We look forward to helping to heal the divisiveness that has been an unfortunate result of this election year,” Norton wrote.
Norton had previously told CityBeat that the billboards were not targeted but distributed randomly throughout the city.
Several Cincinnati officials wrote to the company requesting the billboards be taken down.
ClearChannel Outdoor Advertising announced on Monday that it was removing similar billboards in Cleveland and Columbus.
The billboards throughout Ohio had garnered national criticism and media attention.
A rival outdoor advertising company is putting up 10 new billboards to rebut the voter fraud ones.
The new red, white and blue billboards will read “Hey Cincinnati, voting is a right not a crime!”
Cincinnati City Councilman P.G. Sittenfeld said in an emailed news release that he reached out to Lamar Advertising Company to ask if they would donate the billboards throughout Cincinnati.
“We should be encouraging folks to participate in our democratic process, not trying to scare them,” Sittenfeld wrote. “I salute Lamar’s generosity and their support in encouraging citizens to raise their voice and not be scared away.”
Right around Thanksgiving time, CityBeat began to receive several queries via email, Twitter and Facebook, all essentially asking, "What the hell happened to the Cincinnati Entertainment Awards?"
CityBeat's annual celebration of Greater Cincinnati's best original music had been held for 15 years on the Sunday before Thanksgiving. The reasoning was that musicians who tour a lot would hopefully be home for the ceremony and regular weekly giggers might be less likely to have an every-Sunday residency. Also, we thought, perhaps the holiday timing would allow us to nab a few of the city's favorite sons and daughters (Jerry Springer? SJP? Any Lachey we could get our hands on?) as presenters.
In the end, the timing of the ceremony never really had much effect. We did have Jerry Springer — via video tape from Chicago — at the very first CEAs (held at the old Sycamore Gardens in Over-the-Rhine), but the video malfunctioned. Maybe it was an omen. We also spent many years attempting to lure the Isley Brothers to perform and be inducted into the CEA Hall of Fame, but the Isleys haven't been "local" in almost half a century, so the Thanksgiving timing was irrelevant (and the Isleys would have cost a fortune to bring to town).
We also discovered those hard-touring musicians tour so hard, having an off day the Sunday before Thanksgiving is hardly a given. Last year, for example, Artist of the Year winners Walk the Moon were on the road and unable to attend (though they still created one of the show's better moments by having their mothers accept on their behalf).
Having the ceremony in November was also a hassle once CityBeat acquired the MidPoint Music Festival, which occurs annually in late September. The CEAs bumped up a little too close to MPMF, making the organization of the awards a hectic endeavor.
So, starting with the 2012 Cincinnati Entertainment Awards, the ceremony will now be held in January. This change allows our staff to fully focus on the CEAs without battling MPMF fatigue. And it creates an easier-to-track window for nomination consideration. In the future, the Album of the Year category's eligibility timeframe will be anything released that year. Previously, the timeframe was approximately October of the previous year to October of the current year. (This year, eligibility will be extended to anything released in 2012, but also includes releases that came out October-December 2011.)
The 16th annual Cincinnati Entertainment Awards ceremony will be held at Covington's Madison Theater on Jan. 27. This year's host will be the very funny Ted Clark, who is also making plans to do his popular "live talk show" at the after-party (read more about Ted here). And there will be more live performances at the CEA ceremony than ever before. Ticket info, the lineup of performers and more details will be released soon.
(Let's get this out of the way right up front, since the Northern Ky. locale always gets mocked every year — yes, the "2012" "Cincinnati" Entertainment Awards will be held in Covington in 2013. How odd!)
Another new wrinkle for the CEAs this year will be a live showcase of the "New Artist of the Year" nominees; the winner of the category (normally decided by the nominating committee) will be largely determined by audience vote at the showcase, which is scheduled for Friday, Jan. 18 at Bogart's. More details to come.
The 2012 CEA nominees — determined by a large pool of local music experts, including writers, bloggers, club owners, radio show hosts and others (this year's committee is the largest yet) — will be announced Dec. 12. The ballot will go live at citybeat.com and then it's up to you. Fan voting determines all categories except for the "Critical Achievement" ones — Artist of the Year, Album of the Year — which are voted on by the committee.
Stay tuned for many more CEA announcements to come. And visit citybeat.com's CEA page here for a look at past nominees, winners and more.
Saturday semifinals and on the men’s side, the only real intrigue comes from looking ahead to the finals, although any player will tell you that they can never overlook the opponent immediately across the net.
Novak Djokovic, the number two seed, goes toe-to-toe with the sixth seed from Argentina Juan Martin Del Potro, the first man other than Rafael Nadal to steal a Grand Slam from Federer during his amazing run from a few years ago. Del Potro has dealt with injuries, which slowed him down following his US Open win, but he’s back and clearly has what it takes to reach the finals here.
Djokovic has definitely brought that return game of his, which will be key against the taller Del Potro who takes advantage of his height. The first set stays on-serve until Del Potro litters a serve game with two double faults and Djokovic breaks for a 4-2 lead. From that point, it’s a routine set of holds with Djokovic winning the set 6-3.
Djokovic breaks Del Potro during his second service game in the second set. A pair of holds before Djokovic breaks again (Del Potro fails to win a point during this service game) for a 5-2 lead. Watching the latter portion of this set, its curious to see Djokovic pushing Del Potro further and further off the baseline with punishingly deep shots. And he pushes and shoves him right out of the match with a final ace [6-3, 6-2].
The other semifinal match is all Swiss, all the time. The number one-seed and world’s number one player Roger Federer against Stanislas Wawrinka. The two teamed up to capture the gold in doubles in the Olympics and having served as practice partners over the years, there’s a real familiarity that could make this match intriguing.
Federer comes out and it is apparent that as the man is king of all he surveys. The crowds are overwhelmingly behind him, granting him home court advantage, although its not like he needs it.
The first set features flashes of brilliance from each man as they hold serve with Wawrinka confirming that he has a powerful weapon in his serve. He logs more aces than Federer, yet Federer's net play and shot selection more than keeps him in the match. By the inevitable tiebreak, the all-around game of Federer leads to a 7-4 win.
The second set is more of the same as they trade holds up through 3-games all, and then Federer sneaks in a break and a strong hold for a 5-3 lead. The expectation is for a Wawrinka hold and then Federer to serve it out, but an untimely double fault for Wawrinka gives the game and match to Federer [7-6 (7-4), 6-3].
Roger Federer versus Novak Djokovic. The number one seed versus the number two seed – the first time the two top seeds have met in the finals at the W&S Open. This is the match everyone was waiting for and the crowds are raucous.
On court, the action takes an unexpected turn. Federer breaks immediately, holds and then breaks again for a 3-0 lead. He holds again at love and unbelievably breaks once more for 5-0. Is Djokovic hurt? He makes no calls for his coach or a trainer and simply lets Federer serve out the first set [6-0]. Has he ever been blanked in a set, in an event final?
When Djokovic holds to start the second set, the crowd whoops it up, hoping to provide him with a charge. And now both players look like the top seeds we came to see. The service games add up and there’s the sense that a tiebreak is in store.
When it arrives, the temperature seems to rise. Heat and excitement generate a palpable jolt. Federer grabs a mini-break on Djokovic’s first serve and holds his two points. Before the air deflates out of the stands, Djokovic holds and breaks back. Back and forth they go. At 6-6, with the crowd firmly in his corner, Djokovic holds to take a 7-6 lead, but Federer scores a huge smash before taking the next two points and the match.
He raises his arms and grants Mirka a knowing nod as he walks over to towel off before the trophy presentation. This match sets the field on notice that Federer is ready to extend his Grand Slam singles title count even further and everybody, including the defending champion, better watch out.
The women’s finalists, ninth seed Na Li (CHN) and the fifth seed Angelique Kerber (GER), have the distinction of being the players who took out the Williams sisters on the way towards this meeting and each of them has proven capable of slugging it out or exerting their will through carefully constructed points.
Much like the men’s final though, this one starts off rather one-sided. Kerber follows up an all-business hold with a quick break of Li and another hold. Li finally hangs on during a service game, but what has undone her thus far is an inability to rein in her shots. Serves and groundstrokes sail far and wide in an-ever increasing avalanche. She seems confounded by her lack of control, but by the time Kerber has earned the first set at 6-1, Li has no answers and yet, it is Kerber who calls for an on-court conference with her coach.
The second set offers more of the same, as Li continues to push shots, except for her swinging half-volleys, which she nails with surprising accuracy. Somehow, she settles into a groove and evens things up at 3-all. Kerber lapses into a funk and before you know it, Li has secured the second set 6-3.
Li breaks to open the third set and suddenly, the two have completely switched games. Kerber can’t keep the ball on the court or as the games mount, it looks like she’s frustrated by Li’s ability to power shots all over the court. Kerber begins to stop chasing down shots that she consistently reached in the first set. She calls for a second pow-wow with her coach after falling down 3-0. Li aces her to take the fourth game, but Kerber digs deep enough to win her next service game and the crowd perks up for a minute, checking Kerber’s resolve. Unfortunately, Kerber had nothing left in the tank and she allowed Li to sweep her off the court without much resistance.
The final score [1-6, 6-3, 6-1] doesn’t quite reflect the curious lack of sharp precise play. It will be interesting to see if either player can use today’s effort as a springboard into the US Open. The women’s side of the upcoming Slam appears wide open, ready and waiting for someone, anyone to step up to the big stage, like Stosur last year. At this rate though, it will take far more from either of these finalists to own that epic moment.
Why do you suck now?