Much has changed for the legendary Cincinnati live music venue the Blue Wisp Jazz Club over its 40-plus-year existence. Though it has consistently been the club for Jazz in Cincinnati over most of that period, the Blue Wisp has moved four different times over four decades. In its most recent locale at the corner of Race and Seventh streets downtown, the club owners also tried to attract more business by serving food and varying the types of music performed. But it wasn’t enough and the Blue Wisp has once again closed its doors (though various reports suggest it could find yet another new location in the future).
One thing that hadn’t changed at the Blue Wisp, at least since it began in 1980, is the Blue Wisp Big Band. The group of all-star local musicians has maintained one of the longest residency in the region, performing its skilled take on vintage Big Band Jazz like clockwork every Wednesday. The band is a Cincinnati institution.
When the Wisp shut down, the members of the Big Band were determined to not let their remarkable run end with a whimper. Instead, the Blue Wisp Big Band sought to continue its every-Wednesday residency at another venue. (In case you’re wondering, the group owns its moniker, so they can legally continue to use the “Blue Wisp” name.)
Veteran local Jazz pianist and Blue Wisp Big Band founding member Steve Schmidt says they’ve landed their new spot, Japp’s Annex on Main St. in Over-the-Rhine, and will pick up its Wednesday night shows beginning this week. Schmidt says the group will perform every Wednesday at Japp’s, at least through the end of July, when they’ll reassess the situation just to make sure it’s a good fit. The Big Band will again be playing two hour-long sets each Wednesday, the first starting at 8:30 p.m. The cover charge will be less than it was at the Wisp — just $5. (Parking is available in the lot on the corner of Main and Central Parkway, as well as in the garage behind the club on Sycamore.)
“We are excited about trying out this (Over-the-Rhine) spot and happy that the ownership and staff at Japp's is excited, too,” Schmidt says. “We are all thinking of ways to make it better for the customer and the band as we go along. The band wanted to start quickly, not to be dormant for too long.”
Several of the principal members of the Blue Wisp Big Band did a walkthrough several days ago to get a feel for the new space and were happy with what they saw (and felt).
“I got a very good feeling about the room,” Schmidt says, “both in terms of space — spacious yet intimate — and acoustics. I think the other guys felt the same way. (Founding BWBB anchor/drummer) John Von Ohlen rightly pointed out that there is a lot of wood — the floors and the large bar. As John said, in the fullest and most complimentary sense of the word, ‘It's a joint!’ It's what he had in mind when he formed the band and put it in the original Blue Wisp in O'Bryonville. He said he wanted a world-class big band in a beer tavern.”
“In a word,” Schmidt adds, “(the new space) has soul.”
Hey all. Let’s get straight to the important stuff… Across city, a whole lot of ice cream is melting. Large swaths of the east side seem to be without power right now for an indeterminate reason. Between 10,000 and 20,000 people are without electricity.
• Some of Cincinnati’s city department directors have been caught living outside the city limits. That’s a violation of city regulations, according to the Cincinnati Business Journal, which drew attention to the situation last month. Metropolitan Sewer District Director Tony Parrott and Citizen Complaint Authority Director Kenneth Glenn were disciplined by the city for skirting the residency rules. Glenn, who has been living in West Chester, is retiring in July. Parrott has been living in Butler County; he’s been docked 40 hours of vacation time and has six months to establish residency in the city limits. Now me, I’m from Butler County, and would give up a week’s vacation to not live there, but hey, that’s just me.
• On a note that’s bound to freak some people out, Cincinnati/Northern Kentucky International Airport will be the first in the country to track the number of travelers in specific parts of the airport by using signals from their Wi-Fi devices. The information will help the airport mitigate congested spots and calculate wait times at security checkpoints. Lockheed Martin owns BlipTrack, the system being used to monitor devices. The company says no personal data is collected by the system, which only looks at the number of signals being emitted from devices. I'm cool with this so long as they aren't keeping track of the embarrassing amount of time I spend on Twitter while waiting for my plane.
• Campaign finance reports filed Friday show council member Charlie Winburn with a big stack of cash going into his run for state Senate. Winburn, a Republican, announced his candidacy last week, and his filings show he’s got more than $50,000 to spend. He’ll be challenging former council member Cecil Thomas, a Democrat. Thomas hasn’t filed a finance report this time around but had $1,500 going into the Democratic primary. He looks to have an advantage, though, due to the ninth district’s highly Democratic tilt. The district stretches across most of Cincinnati and other urban parts of Hamilton County. All statewide candidates filed Friday, and the results are fairly predictable, with Republican candidates getting large contributions and widening fundraising leads over their Democratic opponents. Gov. John Kasich doubled up on Democratic opponent Ed FitzGerald, gaining $1.7 million in contributions this period to FitzGerald’s $800,000. That puts Kasich with more than $9 million overall to spend in the race, compared to FitzGerald’s less than $2 million.
• On the subject of Republicans, former Florida Governor Jeb Bush will be in town today. He’s promoting his new solo rap mixtape, which doubles as a campaign tool for his presidential bid. No, actually, that’s completely made up. He’s here to raise money for the Republican National Committee, and you can hear him talk for just $1,000. For that price, he better at least drop a couple freestyle rhymes about his economic policy ideas, though. Bush's name has been floated as a possible contender for the Republican presidential nomination in 2016, though he's a ways down the list.
• On a sad note, Casey Kasem passed away Sunday. He was most famous for his radio show, American Top 40, which millions of people listened to for decades. Closer to my heart, he was also the voice of Shaggy. No, not that Shaggy. Shaggy of Scooby Doo fame, which for you youngsters out there was kind of like Adventure Time before there was Adventure Time. I was a big fan.
This morning’s activities were as hectic as a hurricane as I jumped from one interview to the next in the Bonnaroo press compound.
Things started off nice and easy when I rendezvoused with a friend of a friend who is Lionel Richie’s stage manager. An industry veteran of many years, Sal Marinello has worked for Barbra Streisand, Metallica, Neil Diamond, Britney Spears and many more. Large festival stages like Bonnaroo are equipped with lights and sound, so Marinello’s workload and schedule today are not as demanding as a typical day on the road. Marinello and his crew arrived in the wee hours this morning with one truck instead of the usual seven. Main stage headliner Jack White’s line check completed and his gear rolled to the side of the stage by 8 a.m., Sal and his staff had Lionel’s gear in place onstage for their line check less than an hour later. (The rest of the day’s main stage performers will set up and perform in front of Lionel’s gear.)
The noon hour brought a flurry of activity that had my head spinning pretty much for the rest of the day. Nashville’s Wild Feathers returned on the red eye from St. Louis to do a three-song acoustic performance in the press tent that found the band looking ragged but sounding great as ever. Their material is strong, their performance was spirited, and their three-part whiskey tenor harmonies were crystal clear as ever. But they sure did look tired. Scheduled to play at noon, they were running late and had to jump right on the stage and burst into song immediately upon their 12:30 p.m. arrival.
Chatting with Ben Kaufman, Adam Aijala and Dave Johnston from Yonder Mountain String Band, I found the trio cautiously optimistic about moving forward after the recent departure of mandolin player and founding member Jeff Austin. Not that I expected them to be in a full-blown panic, but it was impressive to hear the calm in their voices as they discussed their future options with no apparent concern about securing a permanent replacement for Austin. Bluegrass legend Sam Bush joined Yonder for their 2:30 p.m. set on the main stage today. For their summer tour they’ll be joined by Jake Joliff on mandolin and Ally Kral on violin. (Yonder Mountain String Band plays Moonlight Gardens at Coney Island on the Fourth of July.)
The Flaming Lips brought a whole new freak rock spectacle to Bonnaroo this year and frontman Wayne Coyne was bouncing around the press tent talking to reporters for a couple hours yesterday. Spirits high and eyes aglow, Wayne happily made the rounds. The man loves to talk and this writer spent a dizzying 10 minutes with Coyne, discussing their brilliant new record The Terror. The band’s 12:30 a.m. set on the Which Stage was an explosive spectacle of lights, confetti, balloons, and dancers in costume, with the fiendish ring leader Wayne in the middle of it all looking like an evil super villain dressed in red tights with a shiny silver codpiece. (The band is one of the headliners of Cincinnati's Bunbury Music Festival this year.)
It’s not the first time I’ve seen Coyne dominate a press conference here; yesterday he spoke excitedly about The Flaming Lips’ desire to always bring something special to the Bonnaroo stage.
“If you’ve been here for three days and you’ve already seen 50 bands,” he said, “you wanna see something different. So that’s why (in 2007) we decided to land a spaceship here.”
Cool as a cucumber in spite of the summer heat penetrating the crowded tent during an early afternoon press conference, Derek Trucks fielded a question about the size of the Tedeschi-Trucks band. “An 11-piece band is a lot like herding cats.” Then he quietly mumbled the unintentionally Zen aside: “But it’s better than 30.”
Still buzzing from my conversation with Wayne, I scampered out into the crowd to catch Southern rockers Blackberry Smoke on the Which Stage. This was one of my personal Top 3 must-see bands of the weekend. It was gratifying to see the young Bonnaroo audience embrace a band that has more in common with their grandparents’ record collection than what many probably have on their current iPod playlist. I stopped to say hello to Blackberry Smoke singer and guitarist Charlie Starr after a 4 p.m. press conference and we discussed some of our favorite early Blues singers. I feel confident that he and I were probably among the very few here at Bonnaroo chatting about Ishman Bracey.
From there the day just got crazier, as the Saturday schedule was packed with stellar artists, including Valerie June, Drive-By Truckers, Phosphorescent, Lauryn Hill and Seasick Steve who boasted none other than Led Zeppelin’s John Paul Jones on bass. Walking through the crowd I heard Cake play a spot-on cover of Sabbath’s “War Pigs,” with the guitar solo section cleverly transcribed for the horn section.
After a late afternoon breather back at the campsite, I wandered through Bonnaroo’s famous archway entrance to catch some of Lionel Richie’s set. My timing was perfect. As soon as I walked through the gate he launched into the Commodores’ “Brick House,” a Bonnaroo performance I’d been looking forward to for months. Again I found it gratifying to see the young audience dialed into Richie’s performance as he pulled out one classic song after another. You can imagine how his ’80s gem “All Night Long” had the dancers moving. This was a moment of such heartwarming cross-generational bonding that it gave me goosebumps in the humid Tennessee night.
Last night’s main stage headliner Jack White nearly tore the stage in half, bringing an explosive thunder and fury that’s largely missing from Rock & Roll these days. One of the most highly-anticipated sets of the weekend, Jack and his crack band did not disappoint. A frantic and fiery performer onstage, he was straightfaced and serious, as if in character, throughout a bombastic set that stretched well over two hours. White has called Nashville home for several years now and he brought noise to these Tennessee hills last night like no one ever has before. An all-out stunner from the first song all the way through to the last note of several encores, this was unquestionably one of the most memorable performances in Bonnaroo’s 13-year history.
And believe it or not there is still more to come. Today is the fourth and final day of Bonnaroo 2014. Photographer Chuck Madden and I must bear in mind that it’s a marathon, not a sprint, as we endeavor to take in performances today by Lucero, Lake Street Dive, Okkervil River, Carolina Chocolate Drops, Arctic Monkeys, Broken Bells, Washed Out, Yonder Mountain String Band, The Avett Brothers and more. The legendary Elton John will close out the fest tonight.
Thanks to CityBeat for making this all possible! Chuck and I would like to extend a special thank you to CityBeat photographer Jesse Fox who was a big help to us this weekend.
Only 361 days ‘til Bonnaroo 2015!
The blazing two-guitar Indie Prog of White Denim’s midnight set on Bonnaroo’s That Tent stage absolutely floored Chuck and me last night. Those familiar with White Denim’s fabulous 2013 release Corsicana Lemonade might find it hard to believe that the band sounded even better on stage than on record. Drummer Joshua Block repeatedly whipped the crowd into a howling frenzy throughout a 60-minute performance that found the band shooting a virtual shower of sparks that led Chuck to conclude, “We won’t hear anything else that good all weekend.”
Rarely have I seen a band who had the crowd eating out of their hand like White Denim did last night. This performance was an all-timer for me, one of the most exhilarating experiences I have ever had watching a band on stage. (You can catch them for free Sunday at Southgate House Revival; read CityBeat’s interview with the group here.)
Blessed relief fell upon us in the form of an unexpectedly quiet first night in the Bonnaroo campground. My Friday began with an illuminating 30-minute chat with Jake, Joel and Chris from Umphrey’s McGee. I told them I was from CityBeat and before I could even turn on my recorder they began to rave about Cincy’s late, great Ray’s Music Exchange, citing them as one of their biggest influences in Umphrey’s early days.
“Those guys were so bad ass and adventurous,” said guitarist Jake Cinninger, “It made us braver and made us feel like ‘Hey, maybe we can do this, too!’”
Sometimes described as Phish’s evil twin, or rabid little brother, Umphrey’s is much more than this. Performing a different setlist every night, indulging in wild flights of improvisation, often not repeating songs for many days, Umphrey’s musicianship and sense of adventure onstage is peerless and unparalleled. Bonnaroo veterans since the festival’s first year, 2014 marks Umphrey’s first appearance on the main stage. This week the band launched their own Nothing Too Fancy record label with the release of their new Similar Skin album. Touring through the summer and on into the fall, Umphrey’s makes a stop at Kettering, Ohio’s Fraze Pavilion on June 28.
Backstage press conferences today featured comedians Hannibal Buress and Taran Killam. Both held court in the press area for over an hour, good-naturedly conducting spontaneous interviews and posing for photos. I caught a glimpse of rapper Danny Brown, dressed head to toe in black leather and sporting a Guns ’N Roses T-shirt and dark sunglasses, chatting with a female reporter in the press tent. Just a few yards away, the members of J. Roddy Walston and the Business were laughing and carrying on with members of the assembled press like it was a family picnic. Just a few hours later Walston and Co. restored my faith in Rock & Roll with a blistering set on the Sonic Stage that found Walston himself repeatedly jumping up from his seat at the piano and into the arms of the adoring crowd. At one point he leapt onto the shoulders of an unsuspecting photographer in the photo pit before climbing once again over the barricade to crowd surf.
This writer spotted Wayne Coyne of The Flaming Lips walking through the crowd on Friday afternoon — but it was Toby from Dr. Dog, who I shamelessly ran after to get his autograph for my girlfriend back home. The first serious mob scene of the weekend gathered in front of Which Stage for Dr. Dog’s 2:30 p.m. performance. Unquestionably one of the most talented and promising bands of the past decade, their set was heavy on tracks from their stellar 2013 release, B-Room.
Our Friday was another typically schizophrenic zig zag around the festival grounds as Chuck and I took in sets by Neutral Milk Hotel, St. Paul and the Broken Bones, Andrew Bird and the Prog Metal thunder of Animals As Leaders. There seemed to be a lot of excitement and anticipation in the air for Kanye West’s headlining set on the main stage. But, at the same time, the most frequently spotted T-shirt at Bonnaroo yesterday said, “FUCK YOU KANYE”. I heard someone in the crowd say, “If Kanye’s such a genius, he should sell those shirts himself.”
What with the Fringe Festival finished up last weekend, there's not so
much to choose from in the world of local theater. But there is a piece of frothy entertainment at
Cincinnati Shakespeare Company that is a perfect summer refreshment:
It's Noel Coward's Private Lives. The show (created in
1929) is indeed a classic — making it perfect material for Cincy Shakes — but it's a very funny comedy about a pair of lovers who can't stand
to be apart and who have problems being together.
They were married for
three years, spent too much time fighting and decided to divorce. As the
show opens, they're on honeymoons with new spouses, but they end up
coincidentally in adjacent rooms at a hotel in the south of France. When
the encounter one another on the patio, they old spark is there, which
leads them to run off together. As you might imagine, a lot of
foolishness ensues -- including them returning to the alternating
currents of being in love and throwing things at one another. The couple
are played by two Cincy Shakes vets, Jeremy Dubin and Kelly Mengelkoch,
who just happen to be married to one another. Their jilted second
spouses are also fine actors from the company: the sprightly Sara Clark
and the versatile Brent Vimtrup (astonishing as Hamlet earlier this
year) now playing a boorish dud. Lots of laughs along the way as this
tale unravels, gets tangled and winds up.
Private Lives opened a week ago and has been selling exceptionally well: I saw a performance on Thursday evening that was completely sold-out, and they announced that most of this weekend's tickets have been claimed. But you should call to see what's available. Through June 29. Tickets ($21-$35): 513-381-2273.
Seven hundred acres of Manchester farmland is transformed into Tennessee’s sixth-largest city every June when 80,000 people invade the area for the annual Bonnaroo Music & Arts Festival. With live music from over a hundred bands on twelve stages from noon ‘til dawn for four days, Bonnaroo presents attendees with an experience that is almost overwhelming.
Unquestionably the most diverse music festival of its kind, this year’s top dog headliners include Elton John, Jack White, Kanye West, Vampire Weekend, Lionel Richie, The Flaming Lips, Wiz Khalifa, Arctic Monkeys, The Avett Brothers and dozens more.
Often described as “James Brown singing with Led Zeppelin”, Vintage Trouble is an L.A.-based band that has built a worldwide following after three years of non-stop touring in support of their 2010 debut album, including a much-coveted slot as the opening act for The Who on their 2013 tour. As the summer festival season is ramping up, Vintage Trouble continues their grueling tour schedule with a stop this weekend at Bonnaroo. I recently spoke to the band’s bassist Rick Barrio Dill. Calling from Los Angeles, where he is recovering from recent surgery after a retinal detachment scare, Dill was upbeat and eager to discuss the band’s history, philosophy and enthusiasm for the road ahead. I asked him if the band changes their approach when preparing for a festival stage, as opposed to theaters and arenas.
“Not really,” he said. “We might tweak the edges differently, but overall our approach to a festival gig is the same kind of sweaty, sexy late night vibe as the clubs of Los Angeles where we kind of honed our thing. We’d only been a band about nine months before we got the gig opening for Brian May that immediately put us in front of the theater crowds that were sitting down. Then we got the Bon Jovi tour where we were playing in stadiums to 40, 50, sometimes 70,000 people.
“It taught us that we like setting up really tight, really close together, so we can literally touch each other no matter what kind of stage we’re on. And everything is contained in that sort of mentality. So, no matter if it’s a giant stadium or a 150, 200-seat room, we want it to get sweaty and we want it to be as intimate feeling as we can make it on the stage and within ourselves and what we can throw out and I think everybody connects. So even when we’re opening up for The Who, it still sort of feels that same 200-seater room.”
Dill said that translates to the way Vintage Trouble records, as well.
“We recorded our whole record in two and a half days, all in one room, doing all full takes,” he said. “We sort of fell into this method and later saw similarities in the footage of The Beatles at Shea Stadium, where they’re set up real tight in the middle of this giant stadium. We don’t wanna spread out. We set up in a tight circle where we can touch each other and then everything’s gonna come out from there.”
I mentioned to Dill how refreshing and somewhat ironic it is in this modern age of technological advances in the way music is generated and delivered to the listener that the old method of just coming out onstage and kicking people in the ass still works.
Chuckling a bit, he replied, “Well, it works for us! You know, we’ve played in front of hardcore Death Metal audiences, Hip Hop audiences, Country audiences and we always seem to land on our feet. I think it’s kind of a testament to how somewhere in our DNA it always traces back to old Soul, Rhythm & Blues, old, early Jazz, and early Rock & Roll.
“One of the things we try to do is we try to pull everybody into it. And it’s funny because even if you aren’t familiar with music from 50 or 60 years ago or they way they performed back then, people seem to understand. People can sort of hear some trace of that sort of thumbprint in their DNA even if they don’t necessarily have those records or haven’t been privy to what those performances were like. People get it. And that’s what’s so great about music, especially the kind of music that we do. It just seems to kind of transcend a lot of genre-making that has gone on over the last 30-40 years.”
Editor’s Note: Cincinnati musician and longtime CityBeat contributor Ric Hickey and photographer Chuck Madden are once again covering the Bonnaroo Music and Arts Festival for us in Manchester, Tenn., this week. We’ll be posting their dispatches from the fest as they come in throughout the weekend. You can pretend you're there with them (minus the bugs and camping and stuff) by watching the live stream at Bonnaroo.com.
Insects crawl across my keyboard as I type this in the Bonnaroo parking lot. A vast expanse of several hundred acres of rolling green countryside blanketed with cars, tents, campers, tarps, trailers and people ready to party down, these Tennessee hills are alive with the sound of music.
Returning once again with my old friend and photographer Chuck Madden for our No. 1 favorite assignment, we dig in for the long haul. After all, four days of car-camping and toughing it out in the summer sun is no easy feat. But every year, with several heavy bags of electronic gear, cameras, lenses, recording equipment and laptops slung over our shoulders, we embrace the madness with big silly grins on our sunburned faces.
A couple years in a row we were able to camp in a “guest” area just behind the main stage compound. But this year it was not to be, as we were directed to join the long line of cars by the highway that were waiting to pass through the main entrance. After an hour of waiting and a cursory search of our vehicle, we drove into the massive parking lot and began setting up camp.
Kicking off the 2014 Bonnaroo festivities on the Other Tent stage was Nashville’s own Wild Feathers. The band has been all over the world since I saw them perform an acoustic showcase in the Bonnaroo press compound last summer. With three singing songsmiths fronting the band and complimenting each other’s close harmonies, The Wild Feathers put across some of the most pristine Country Rock vocal performances since CSN’s heyday. But plug ‘em in and crank it up and it becomes a different beast altogether.
Opening with “American” from their stellar 2013 debut album, The Wild Feathers fell confidently into the warm embrace of a hometown crowd that was singing along with every word. Still a young band, a year of non-stop touring has instilled in them a simmering confidence beyond their years. Their scorching “Backwoods Company” was taken at an accelerated clip that challenged the afternoon sun for heat and intensity. More than just a band to watch, I think I’d buy stock in The Wild Feathers if I could.
Elsewhere today Chuck and I took in sets by Cass McCombs, ZZ Ward, MS MR and The Preatures. Among the late night sets that I’m excited about tonight are a pair of my favorite new bands. J. Roddy Walston and The Business perform in This Tent, while White Denim takes the stage in That Tent at midnight. Their sets starting just 30 minutes apart, I’ll face my first serious schedule conflict of the weekend.
Ready for your Friday the 13th morning news? Let’s do this.
As we’ve reported a couple times already, Cincinnati is in a hard spot when it comes to affordable housing. So Rep. Steve Chabot, Republican representing part of the city, did the logical thing recently and tried to push through an amendment to a House bill that would cut $3 billion in funding for Section 8 vouchers. Wait, that doesn't seem logical at all. Keep in mind the Republican-authored bill he was amending already cut $1.8 billion from transportation and HUD programs. But Chabot thinks folks are hanging out in subsidized housing too long, calling the system that keeps people from homelessness “a way of life for too many in this country.” Luckily, even the heavily Republican House said “nah” to Chabot’s cuts. The amendment failed yesterday.
A $2,500 reward offered by Brogan Dulle’s family when the 21-year-old UC student went missing May 19 will be given to the woman whose 911 call lead authorities to his body a week later. The woman, who hasn’t been identified in reports, said she came upon Dulle’s body in the basement of building she works in on East McMillan next door to where he lived. The woman apparently didn’t know he was dead and called 911 reporting an intruder. Authorities found Dulle hanged in the basement, and the Hamilton County coroner later ruled his death a suicide. In total, $20,000 was offered for information about Dulle’s whereabouts. UC offered $10,000, and is still mulling what to do with the money. Local restaurant owner Jeff Ruby gave another $7,500, which he’ll be contributing to tuition at UC for Dulle’s younger brother Tim.
A new Pew research project released yesterday tracks the increasing partisanship among American voters. Though hardly surprising, the study quantifies the fact that people are hunkering down in their ideological biases, with more folks crowding to the far left and far right ideologically over the past few years and fewer holding a mix of views in the middle.
Pope Francis just keeps spitting hot fire. The pope said yesterday in an interview with a Spanish-language newspaper that the world’s economic system causes war and imperialism and that it squashes peoples’ individuality. Francis has made a name for himself pushing a relatively more inclusive vision of the Catholic Church and emphasizing its social justice tenets, and his recent eyebrow-raising remarks continue that trend.
Finally, yesterday was National Jerky Day. I know. I missed it, too. But apparently a major jerky company constructed a large model of Mount Rushmore made from a glorious 1,600 pound mix of dried meats. Really gross, but also kind of amazing. The company displayed it in New York yesterday and will now ship it back to headquarters in Wisconsin. It’s probably en route right now, actually. It will have to pass through the Midwest at some point. If you hear about someone hijacking three quarters of a ton of jerky as it makes its way across the Brent Spence Bridge, it totally wasn’t me.
Orange Is the New Black is back and it’s better than I imagined. The Netflix
series centered on a women’s prison premiered its second season Friday and,
despite my earnest intentions to pace myself, I couldn’t help but get through
12 of the 13 episodes (Thanks a lot, autoplay).
One of the striking differences this season is the fact that this is no longer The Piper Show. Yes, our blonde convict is still a major player, the thread throughout the series. But as Piper becomes more acclimated to prison life, she begins to share much more in common with her fellow prisoners, and we get a look into those women’s backstories — in such a fulfilling way. If you weren’t already invested in Red, Poussey, Morello and the other inmates, you will be after learning the very different and often surprising reasons they ended up in Litchfield. As for Piper, she’s hardened (perfectly if not cheesily represented by her selection of a 40 over a bottle of champagne on a night out during her furlough)— but not to the point where last season’s character is unrecognizable. If anything, the shift makes her more likable. For now, I’m holding off on the finale. I don’t want it to end!
Photographer Jeff Friesen has shot series of fun images using LEGOs for what’s culminated in an upcoming book, The United States of LEGO, available this September. In the series, each state is depicted in a scene full of colorful bricks and plastic yellow people (See Ohio here). Another, titled “Bricksy,” uses the popular toy to recreate various Banksy pieces.
Poet and thespian of our generation James Franco basically recounted Lindsay Lohan’s pursuit of him for Vice’s Fiction Issue. This “work of creative writing” that I’m just going to assume is completely true claims LiLo shamelessly came after Franco while they were both staying at Beverly Hills’ Chateau Marmont. In the end, she settled for a bedtime story reading of A Perfect Day for a Bananafish.
I’m not sure which part crushes my childhood memories the most: The fact that the Parent Trap ginge has fully blossomed into a desperate trash monster; or that Daniel Desario is actually a pseudo-intellectual douche/tattletale; or that I now have to burn my entire Salinger collection.
Nicolas Cage may have done his share of shitastic films in recent years, but you have to hand it to him: dude has a sense of humor about himself. This fact was illustrated recently in a photo of Cage, at a Guns N’ Roses concert with Andrew Dice Clay, dressed to the nines in a T-shirt with his meme-face on it.