by James McNair
Posted In: Government
at 10:41 AM | Permalink
Bye, bye “Beautiful Ohio” plate, hello word scramble
In case you haven’t noticed, Ohio has gained a new
distinction among the 50 states — that with the ugliest license plate.
Gone, after just three-and-a-half years, is the “Beautiful Ohio”
plate, a bucolic affair that managed to combine green rolling hills, a red
barn, a city skyline, trees, a yellow sunburst, the Wright Brothers’ plane and
the year of statehood. The Automobile License Plate Collectors Association gave
it second place in its Best New License Plate contest in 2009.
The new standard-issue plate, which went on sale April 15,
is called “Ohio Pride” (no, not that pride). The word Ohio appears on a wide,
red isosceles triangle bleeding from the top of the plate. And behind the plate
number is a background of 46 slogans, identifiers and products “describing what
makes Ohio a great state.” Such as: “State of Perfect Balance,” “The Heart of
it All,” “Newark Earthworks,” “Serpent Mound,” “Polymer Capital of the World,”
“Steel City” and “Walleye.” It is devoid of images.
Pity the passing driver who tries to make out any of the 46
words and phrases. Because they are jammed together in light gray lettering,
they blur into a hazy backdrop. Don’t take CityBeat’s
word for it. Pull up behind a car with one of the new plates. Maybe you’ll be
able to make out two of the larger-print items, “Birthplace of Aviation” and
The cacophony of slogans and products gives the new Ohio
plate an edge over the regular plates of many states, said Greg Gibson,
president of the ALPCA. But he, too, was confounded by their legibility. “I
doubt that the slogans can be read at any distance,” he says.
Ohio Bureau of Motor Vehicles spokesman Dustyn Fox said no
one in the Kasich administration objected to the Beautiful Ohio plate, which
was designed with the help of former First Lady Frances Strickland.
“Traditionally, each new administration redesigns the Ohio
plate,” Fox says. “A selection committee made up from BMV officials, Ohio
Department of Public Safety officials and representatives from the governor’s
office choose final designs. The governor and first lady make the final
The review panel considered five or six designs before
settling on one submitted by students at the Columbus College of Art and
Design. The selection, however, represents an act of artistic regression in a
milieu that has gone wild for visual elements in the past decade. Wyoming, for
instance, has a bucking bronco, Oklahoma a Native American archer, Utah a skier
and South Dakota, Mt. Rushmore. Elsewhere, we see trees, mountain ranges,
peaches, oranges, a cactus, a pelican and a buffalo.
Closer to home, Indiana has a blue license plate
depicting the state seal, but which looks like a clock face in traffic.
Kentucky plates bear the slogan “Unbridled Spirit” and the head of a hurtling
race horse. Cleverly, they also show the vehicle owner’s home county, which
allows police officers to snag out-of-county drivers for traffic violations.
The following are the four license plate designs that were considered by the state BMV:
by Brian Baker
[Further Thursday coverage: 172 photos here and multimedia show here.]
After months of planning and judging and selecting and scheduling and designing and implementing, the big night has arrived at last. The first night of MidPoint 2009. You can almost smell the impending disaster in the air.
Well, perhaps disaster is a bit strong. It’s been a long time — well, a couple of years anyway — since MidPoint has been baptized by a significant rainfall, and right out of the chute last night’s precipitation claimed its first victim for me. As much as I wanted to see The Elms, I wasn’t prepared to walk up to Grammer’s in the pouring rain and then watch them while outside soaking wet. I hear the tent is nice and, as it turned out, I probably would have been better off to take the wet walk.
by Mike Breen
Posted In: Live Music
at 01:09 PM | Permalink
Two of Cincinnati's finest play much aniticpated homecoming show and exceed expectations
“I’ve been waiting for this for six months,” Afghan Whigs frontman Greg Dulli said to start off the Cincinnati-spawned Rock crew’s first concert in the Queen City since a Sept. 25, 1999, appearance at the same venue. That ’99 show turned out to be the Whigs’ last public concert anywhere before the group’s recent return on a global reunion tour earlier this year.
As the extended band built upon the swarming buzz of opener “Crime Scene (Part One),” a lot of fans in the audience could relate to Dulli’s excitement for a hometown show, something most for years thought would never happen. They’ve been waiting a lot longer than six months (when the show was announced), though. More like 13 years.
The show kicked off a little after 9 p.m. with Cincy favorites Wussy. The foursome is opening several of the shows on the Whigs’ current U.S. run. Though the group had some sound issues (they clanged away to get levels a little before starting, apologizing and telling the audience they hadn’t gotten a soundcheck), many in the crowd got swept away by the rockers’ ragged, emotive and infectious sound. Though the Cincinnati stop on the tour is obviously the show where the audience would be most familiar with Wussy (many fans around me were dancing and shouting every lyric back as co-frontpeople/singers/guitarists Lisa Walker and Chuck Cleaver switched off vocals), it was fascinating to see that moment on people’s faces when you can tell they’ve been lured in — “Hey, these guys are really good.” It bodes well for the band, which will join Heartless Bastards on tour as soon as the Whigs dates end.
Short on its trademark hilarious banner (a theme for the night, though in Wussy’s case, it was difficult to hear much of anything the members said between songs), Wussy busted through a great set that touched on all four of their studio album releases to date. Like the albums, that created a great “calling card” of a set for potential new fans, as Wussy moved from more emotionally moving, slow swaying songs (like opener “Waiting Room” from last year’s excellent Strawberry and the transcendent “Muscle Cars” from 2009’s self-titled effort) to its often humorous (though still often just as passionate) and punkish upbeat tunes like the uber-catchy “Happiness Bleeds” and the relentless, wired “Pulverized” (another Strawberry track).
The core quartet was rounded out by John Erhardt, a former bandmate of Cleaver’s in The Ass Ponys who added some tasty shading with his pedal steel guitar (unfortunately, his contributions were probably effected most by the weak sound, which often made him inaudible in the mix). Whigs bassist John Curley sat in on a song, putting a jolt into the crowd and leading bassist/multi-instrumentalist Mark Messerly to joke that, while everyone should be excited about the Whigs reuniting, they were now going to be treated to a “Staggering Statistics reunion” (Curley played in that local band with Wussy drummer Joe Klug; SS singer/guitarist Austin Brown was not present, so it was really a 2/3 reunion-ish).
Between sets, the anticipation of Whigs’ fans that could be seen on social media sites since the show was first announced six months ago was becoming palpable. The lights went down, the crowd erupted and The Afghan Whigs took the stage (adorned with a simple red backdrop, reminiscent of the one at the old Southgate House, and a shimmering disco ball) to kick off an hour-and-a-half-plus show that showed that this was far from the same band that performed at Bogart’s 13 years ago.
The Whigs have always been an amazing live band, but the current incarnation was a different kind of amazing — tight, focused and seemingly thrilled to be playing with each other again. Exemplifying the band’s decision to return for a full tour and do things smarter were the mere physiques of Curley and Dulli, who seemed to have recognized the unhealthy trappings of touring and preemptively hit the gym hard so they were ready for them. The always rail-thin original guitarist Rick McCollum was his usual enigmatic self, knocking out his brilliant, snaking leads while practically hidden on the far left of the stage. Though fairly subdued, occasionally McCollum stepped out of the shadows, doing his Jimmy Page-influenced stutter-step stage moves.
The Afghan Whigs were literally a different band than 13 years ago as well. Longtime associate Doug Falsetti was back on percussion and back-up vocals, but there were plenty of new faces — guitarist Dave Rosser and drummer Cully Symington (members of Dulli’s Twilight Singers) plus Rick Nelson, who played cello, violin and keys.
Perhaps the biggest difference between the Whigs that broke up in 1999 and the one that played last night was focus. I personally missed the funny, sometimes baiting banter for which Dulli’s infamous, but it made the show more powerful and fluid just sticking to the songs. The Afghan Whigs proved themselves one of the best live Rock & Roll bands on the planet right now with a no-BS set that hit upon songs from their entire career.
That was another “new thing” — the band’s last Bogart’s show featured no material from the Whigs’ first two SubPop albums (save standard finale “Miles Iz Dead” from Congregation). Last night, the band did “Miles” as the finale again, but also did ferocious versions of Congregation’s “I’m Her Slave” and “Conjure Me” and even “Retarded,” the fiery lead-off track from the 1990 SubPop debut, Up In It.
Instead of the swaggering “gentleman” teasing the crowd and making jokingly arrogant statements between songs, Dulli came off like a master frontman, taking off his guitar for the old R&B cover of “See and Don’t See” and roaming through the crowd, dancing frequently and, most importantly, hitting every note. Dulli has reportedly quit smoking and it has done wonders for his voice. In the past, he’d sometimes gasp for air doing a song like “Conjure Me” or nearly choke on some of the more throatier howls; last night, all cylinders were clicking and he hit all the right notes, including the “Yeah!” yells of “Retarded” (one of the best screams in Rock & Roll), which he's now nailing probably better than he has since the group recorded the song.
The more upbeat material from the Whigs’ swan song, 1965, got the crowd moving even more intensely as the Whigs grooved hard on their distinctive funkiness. And tracks from Gentlemen and Black Love were received like the classics they are, from the ominous “Fountain and Fairfax” and the whip-snap of “Gentleman” to the woozy teetering of “When We Two Parted” (which was given a bigger, sharper reworking), a hard and heavy “My Enemy” and a soaring “Faded,” one of the best “ballads” of the ’90s during which the group paid tribute to one of the best ballads of the ’80s, “Purple Rain.”
The Whigs have always quoted from other songs during their sets (kind of like how a Jazz saxophonist will sneak in various melodies while playing) and last night was no exception. Dulli inserted a touch of Prince’s “Little Red Corvette” into “66” (a holdover from their final touring days) and also worked up a snippet of The Emotions’ Disco classic “Best of My Love” as an intro. And during their most recent new song, a great cover of Frank Ocean’s “Lovecrimes,” Dulli (playing keys) segued into “Wicked Games” by Canadian R&B newcomer The Weeknd.
Early on in the set, Dulli thanked Wussy for opening up and remarked on how Cincinnati has always produced a ton of great bands. “Always has, always will,” he added. Those words carry a lot of weight coming from a Cincinnati music icon.
I came away from the show with one thought — “This can’t be it.” Yes, the group is returning for another Bogart’s show on New Year’s Eve, but The Afghan Whigs are better than they’ve ever been right now and, judging from various interviews, all three members are enjoying the experience immensely — why stop now? If they can get through this tour with those good vibes still peaking, why wouldn’t they make a new album and keep it going?
UPDATE: Here's is the full setlist from the Bogart's show Oct. 25 (from setlist.fm):
1. Crime Scene, Part One
2. I'm Her Slave
3. Uptown Again
4. What Jail is Like
5. Conjure Me
6. When We Two Parted/Over My Dead Body
9. Best of My Love /66
(The Emotions cover)
10. My Enemy
12. See and Don't See
(Marie "Queenie" Lyons cover)
13. Lovecrimes /Wicked Games
(Frank Ocean cover)
14. Going to Town
15. Who Do You Love?/Fountain and Fairfax
(Bo Diddley cover)
17. Miles Iz Ded
18. Into the Floor
Posted In: Northside
at 12:27 PM | Permalink
As their press release so eloquently puts it, “2008’s ‘Best New Bar in Cincinnati’ slowly died three weeks ago, and no one seemed to notice. From being consistently full of thirsty bohemian patrons and hosting national up-and-coming bands (Vampire Weekend played a week before their debut on SNL) to a potted-plant-ridden empty mess—The Gypsy Hut’s rise and fall was about as meteoric as MC Hammer’s. … Luckily, two devoted Northsiders have been working feverishly to reopen and restore the bar to its former glory and more.”
by Michela Tindera
It was Sunday night and television options resembled that of The Banks project for the past 10 years — barren and dull. I was clearly in need of some entertainment. So, like 7,389* other people in the area, I tuned into Fox 19's premiere of Queen City.
I was hooked as soon as the intro song came on — excited to see what shenanigans the four “queens,” Adhrucia, Lauren, Tracey and Katie, would encounter in this local take on the Real Housewives series.
Luckily I didn’t hold my breath for too long.
by Nolan Shea
painting and graffiti are very similar,” says Matt Treece, 23-year-old local photographer
and light painter. “I realized this when I found myself hopping through a
shattered first story window on the backside of an abandoned factory on the East Side at 2:30 a.m., alone, with my backpack on, creeping around in the
darkness looking for a good spot.”
Treece is searching for that “magical spot.” He doesn’t risk the charge of vandalism
like graffiti artists, but he still risks a trespassing charge with every foray
into the night.
Light painting is a photography technique that involves moving a camera or adding a light source while operating with a slow shutter speed. The resultant images include colorful, swirly lines and other creative effects. Like
graffiti artists, “both of us trespass illegally. Both of us are night owls.
Both of us have explored tunnels, creeks, bridges and abandoned buildings and
have gained such a good understanding about the layout of the city,” Treece says.
it to say, Treece’s understanding of all the nooks and crannies of the city is
far more in-depth than the average daylight city dweller.
his nightly jaunt into the darkness, Treece packs his equipment bag. At first
glance, you wouldn’t think anything is out of the ordinary. Treece stuffs a Nikon
D90 camera, remote shutter release, Nikon SB-600 Flash and two tripods into the
main compartment of the bag. But the smaller compartments receive the stranger
tools of the trade.
reveals children’s toys, ones that light up. Treece begins to stuff light swords,
mini color changing glow sticks, six different kinds of flashlights, laser
pointers, finger LEDs, glow sticks and his custom nine LED light orb tool into
every remaining compartment of his equipment bag.
that’s missing is the party favors. At this point, it’s almost unclear if he’s
going to a rave or going out to light paint.
Treece almost forgets the most important tool: batteries — lots of them.
painting hasn’t always been Treece’s passion, however. “I’ve always been
interested in art, but my interest in light painting started sometime around
May or June of last year,” he says. “I was browsing the Internet randomly and
saw a picture of what looked like a spinning waterfall of sparks. I had seen
light painting prior to this photo, but it really didn’t click that these
[light painters] were using super long exposures and crazy light sources to
create works of art.”
night, Treece spent hours reading up tutorials on the website
lightpaintingphotography.com and a particular online community that called
itself “the light junkies.” There he
learned that it was plausible to make his own contribution to the light
all places are created equal in the light painting community. Living in
Cincinnati is both wonderful and a pain. Clifton Heights, Treece’s main stomping
ground, provides him with an incredible amount of light pollution, which can be
attributed to the area’s attempt to curb crime activity.
still provides an ample amount of opportunity to create. “[Cincinnati] has some
of the most bad-ass tunnels built in the early 1900s. … Cincinnati also has a
creek system, which over time had to be cemented because of industrial waste,” Treece says. “These tunnels and channels have created some of the best spaces for