Have any questions for City Council candidates? Submit them here and CityBeat may ask your questions at this Saturday’s candidate forum.
Early voting for the 2013 City Council and mayoral elections begins tomorrow. Find your voting location here. Normal voting hours will be 8 a.m. to 4 p.m., although some days will be extended.
Tomorrow is also the first day of open enrollment at Obamacare’s online marketplaces, which can be found at www.healthcare.gov. At the marketplaces, an Ohio individual will be able to buy a middle-of-the-pack health insurance plan for as low as $145 a month after tax credits, while a family of four making $50,000 will be able to pay $282 a month for a similar plan, according to Congressional Budget Office numbers. Starting in 2014, most Americans — with exemptions for religious and economic reasons, the imprisoned and those living outside the country — will be required to buy health insurance or pay a tax penalty. Organizations from around the state and country will be working over the next six months to help insure as many Ohioans and Americans as possible, but some of those efforts have been obstructed by Republican legislators who oppose the president’s signature health care law, as CityBeat covered in further detail here.
Meanwhile, the federal government is nearing a shutdown because of Republican opposition to Obamacare, including local Reps. Steve Chabot and Brad Wenstrup.
A report from the conservative Buckeye Institute echoes claims made by both sides in Cincinnati’s pension debate: A tea party-backed amendment, if approved by voters, would reduce retirement benefits for new city employees by one-third. At the same time, the city’s unfunded pension liability might be $2.57 billion, or three times what officials currently estimate. The amendment would semi-privatize Cincinnati’s pension system by forcing future city employees to contribute to and manage their own individual retirement accounts, which would imitate private 401k plans commonly seen in the private sector. Under the current system, the city pools pension funds and manages the public system through an independent board. The pension amendment is backed by tea party groups, some of whom may reside outside Cincinnati and Ohio, and will appear on the ballot as Issue 4.
To celebrate early voting, Vice Mayor Roxanne Qualls, who’s running for mayor against ex-Councilman John Cranley, will name her vice mayor today. Qualls is expected to select Councilman Wendell Young. Cranley and Qualls are both Democrats, but they’re heavily divided on the streetcar project and parking plan, both of which Qualls supports and Cranley opposes. The mayoral candidates mostly focused on the two issues in their first post-primary mayoral debate, which CityBeat covered here.
Jeffrey Blackwell, Cincinnati’s new police chief, starts on the job today. He’s replacing former Police Chief James Craig, who left in June to take the top police job in his hometown of Detroit. The city has praised Blackwell for his 26 years at the Columbus Division of Police, where he reached out to youth and immigrants, advanced the use of technology, worked closely with community members and helped reduce operating costs.
Cincinnati Councilwoman Pam Thomas today announced that she’s introducing a motion to hire a 40-member police recruit class. The motion addresses a drop in the amount of Cincinnati police officers in recent years: Staffing levels since the last recruit class have dropped by 15.2 percent, according to Thomas’ office. “Our police staffing levels are dangerously low,” Thomas said in a statement. “We cannot afford to sacrifice our public’s safety by not hiring this recruit class.” In this year’s budget, the city managed to prevent cutting public safety jobs by slashing other city services, including city parks. But Councilwoman Laure Quinlivan argues that Cincinnati’s public safety forces, which are proportionally larger than most comparable cities, need to be “rightsized” and reduced over time.
The amount of local children and teens going to the hospital with a concussion massively increased between 2002 and 2011, and the number is expected to increase further because state law now requires medical clearance to continue playing sports after a concussion.
Ohio gas prices are back below the national average.
AdvancePierre Foods, Cincinnati's largest private company, got a new CEO.
Earth may have stolen its moon from Venus.
This is the midpoint of MidPoint, the second of the three holy days of September. A day of great adventure and great potential for misadventure that exceeds the anticipation of Day 1 and the inevitable denouement of Day 3. A day to love. But first you've got to get there, and an even longer drive down I-75 this afternoon meant that I was forced to miss Izzy & the Catastrophics (Note: Izzy and Co. rescheduled and play today at 6:15 p.m. on the Midway AND at Japp's at 12:30 a.m.) on the Midway and on the Midway and American Royalty at Washington Park. And my teeth are considerably flatter. Tomorrow I take my chances with the surface roads.
First up on the agenda was the third band on my Friday schedule, my beloved Black Owls at the Grammer's stage. With their brilliantly hallucinatory film projection playing out on the tent ceiling just above their heads, the band clicking with shambling precision and frontman David Butler in the middle of a 10-day cleanse (Five days without beer? Madness, I tell you, madness...), the Owls roared through a set that offered plenty of familiar favorites and a couple of brand new tunes slated for their imminent fourth album, Wild Children, the first to feature input from the full quintet.
As per usual, the chiming guitars of Ed Shuttleworth and Brandon Losacker offered glammy tribute to the gods Hunter and Ronson, while the intuitive headkick of rhythm section Sammy Wulfeck and Brian Kitzmiller ran like clockwork, if the clock in question is Big Ben. And David Butler continues to serve as vocalist/ringmaster, a perpetually compelling stage presence combining witty banter ("We're your Black Owls, supported by your tax dollars..."), kicky athleticism and a vocal presentation that thrillingly suggests Ian Hunter's mournful croon, David Byrne's artful warble and the jittery wonder of Jerry Casale. The only thing better than seeing the Black
Owls is seeing them again. They will be returning to the Northside Tavern in December; give yourself the gift of the Black Owls this holiday season, won't you?
I hung around and talked with the various Owls and their various lovely wives while Secret Colours provided a pulsing Psych/Space Rock-meets-Classic Rock soundtrack. Flecks of The Doors and Velvet Underground filtered through kaleidoscopic blotter tabs of the Brian Jonestown Massacre and The Dandy Warhols turned up to a Spinal Tappish and completely satisfying 11; that's the stock-in-trade of Secret Colours. A lot of the subtlety of their sophomore album Peach gets shaved off in their live presentation (although the melodica was a nice touch), but the band ably replaces it with a muscular and voluminous vibe that reverberates in your chest like a second heart.
From there, it was a brisk walk down to The Drinkery to catch The Kickaways who were using their MidPoint show to officially launch their sophomore album, Show Yr Teeth. It's an appropriate title since that's exactly what the band does on their latest effort, amplifying and refining all the elements that defined their 2011 debut, America! America! Although frontman Charlie Lynn played some guitar on Show Yr Teeth, he made the conscious decision to set it aside in The Kickaways' live configuration. That boils the band down to their charismatic lead vocalist and a tight-as-a-gnat's-ass power trio, a formula that worked pretty well for The Who, Led Zeppelin, Queen and Black Sabbath.
Last night, it was the latter that seemed the most potent reference point, as The Kickaways seemed to be channeling Ozzy and the boys circa Paranoid but with the swaggering ethic of a great Psych-tinged garage band. Up front, Lynn was garage glamor personified, with leather jacket, a plaid shirt tied like a skirt at his waist and several layers of T-shirts, the top one reading "It Girl." No longer pinned down by guitar duty, Lynn was a singing dervish, occasionally banging a tambourine but generally flying around the stage and howling with mad but precise abandon. Guitarist/vocalist Remi Glistovski largely kept his head down and focused on producing riffs of Richter Scale proportions while Jacob Ittle inhabited his role as bassist with the mindset of a rhythm guitarist and drummer Adam Lambchop literally moved the air with his punishing skills, banging his kit with the authority of a skinny John Bonham. The Kickaways are more than ready for their Big Time close-up.
I reluctantly bailed on the end of the Kickaways' set to head up to the MOTR Pub to bask in the Pop/Rock splendor of Cincinnati's Tigerlilies. Pat Hennessy has been working this corner since forming the band in 1989 and while the band has gone through a few guitar partners (renowned and beloved oddball William Weber, former Lazy guitarist Steve Schmoll, guitarist-turned-producer Denny Brown) and several tweaks to his Power Pop concept, the Tigerlilies' core has always remained Hennessy on vocals and guitar up front and the durable rhythm section of brother Steve Hennessy on hammering drums and Brian Driscoll on thundering bass. Hennessy's latest guitar foil may well be the best in a long line of great six-stringers; Brendan Bogosian has an impeccable resume (TheWoos, Cash Flagg, Kry Kids, among others) and his razor-sharp skills and Pop/Rock nuance make him perfectly sympatico for Hennessy's punky take on crunchy Power Pop. Tigerlilies' just-released In the Dark may well stand as the best work in their excellent catalog, and this version of the band is clearly the reason as evidenced by the wall of sound emanating from the MOTR stage last night.
From there, it was a long walk down to Arnold's for the ecstatic blister of Cincinnati's Heavy Hinges. The band may have started out last year channeling the spirit of old Gospel 78s and Alan Lomax field recordings but they have graduated to an electric church service that pumps like an oil derrick with a swing sweeter than Ted Williams. It's Blues with a touch of Jazz with a heart needle full of adrenaline. Guitarists Dylan Speeg and Jeremy Singer can go from textured nuance to hot Jazz/Blues riffmongering in the blink of an eye, frontwoman Maya Banatwala works a lyric with the dramatic/comedic flair of a 21st century flapper (and bangs that ukulele like Betty Van Halen) and the slippery rhythm section of bassist Andrew Laudeman and drummer Brian Williamson establishes the ever shifting heartbeat of the band with intuitive brilliance.
In the Hinges' hands, "Ain't No Grave" sounded like it had been arranged by Carlos Santana, but it's the band's originals that stick in the mind and danced-off-ass the longest; "Mean Old City" offered up the band's patented thump-and-grind and "In My Dreams" showed their flair for electric Flamenco or something just like it. Banatwala noted that she doesn't celebrate Christmas, so MidPoint is her Christmas (Merry MidPoint, Maya!), and Speeg was at his cheeky best between songs ("The women in here tonight look like they were picked by Lenny Kravitz …"). If there's a more accomplished and diverse band in Cincinnati than Heavy Hinges, it's a safe bet that they're not half as entertaining. I could be wrong or drunk or both, but I don't think so.
And then it was midnight and time for my overall MidPoint pick, The Technicolors from beautiful Phoenix, Arizona, an area not necessarily known for its music scene. I had picked them to preview on a whim and listening to the music they I could find online absolutely floored me. In the preview blurb I namechecked Cheap Trick, Big Star, The Kinks, Led Zeppelin, Oasis, Todd Rundgren, Kula Shaker and Nada Surf. I stand behind any and all of that, but after witnessing their live assault, I can honestly say that it all comes together as The Technicolors, which now seems like a perfectly apt name.
In the studio, The Technicolors are formidable alchemists, transforming their influences into buzzing, crunching gold that becomes more appealing with each successive listen. On stage, the band taps into that primal sense of elation that occurs in the earliest moments of teenage discovery, when music is new and the vistas of what to explore next seem limitless. The Technicolors possess the aforementioned sonic reference points to be sure, but what they evoke as a band funneling all those sounds into their astonishing singularity is a return to that viscerally magic moment in personal history when one loses one's cherry to music.
Last night at the uberfabulous MOTR Pub, The Technicolors were a force of nature, the furies of Rock unbound. The twin guitar attack of frontman Brennan Smiley and Mikey Farizza were like David Copperfield's giant buzzsaws; potentially dangerous but ultimately entertaining. Bassist Mike "Nico" Nicolette looked as though he was having more fun than the audience as he joyfully bottomed the sound with a sinewy and insistent pulse, which was further anchored by drummer Kevin Prociw's purposeful bashathon. And tour keyboardist Troi Lownei (he appears on a couple of songs on the band's exquisite album Listener) added a dash of Radioheadness to the proceedings (if Radiohead had jumper cables attached to their undercarriages).
Their studio version of Chris Isaak's "Wicked Game" supplants the original's icy cool detachment with a passionate embrace but in the live arena, the band plays up the sense of impending doom inherent in the "I don't want to fall in love" theme. And "Sweet Time" may simply be one of the best live translations of an already powerful song that I've been lucky enough to witness in four bloody decades of standing in front of bands.
Are The Technicolors the future of Rock and Roll? I wouldn't hang that albatross on any band, particularly one I love. The Technicolors will make you feel things about Rock that you haven't felt for a very long time, and that should be more than enough to recommend them.
• As Black Owls frontman David Butler was explaining his cleanse — his wife Amy is supporting by joining him — which features 10 beerless days, he noted that he's never felt better and his voice has never been stronger. Goose frontman Jason Arbenz aptly observed, "He's going to turn himself into some kind of superhero." I think he may already be there, dude.
• It was great catching up with the Owls and the Mrs. Owls (Amy Butler, Carrie Losacker and Sarah Kitzmiller). The ubiquitous King Slice, the barometer of all that is cool, was in attendance as was former CityBeat worker bee Sara Beiting, a pretty decent hipness indicator her own bad self. And Mark Houk from Sohio confessed to chills during the new Black Owls song, "Gasoline." I predict that's going to be going around soon, my friend.
• As I walked into The Drinkery, I was met by the whole of Alone at 3AM. They weren't hanging out in a bunch like The Monkees, they were getting ready for their imminent set after The Kickaways. Chris Mueller put a Yuengling in my empty hand and filled my empty head with joy. Brandon Losacker appeared to be handing me a beer during The Kickaways set but he quickly disabused me of that notion; it was meant as a toast. Note to everyone: if you look like you're handing me a beer, I'm going to look like I'm accepting it. Brandon did drop a shot of Jameson's in front of me, which will earn him a plaque upgrade in the Hophead Hall of Fame.
• On my way down to Mr. Hanton's (who now has a brick and morter store on Calhoun) to get a wonderful and nutritious Handwich (which is a hot dog as big as a Cuban cigar … I recommend the Smokehouse), I vaguely thought I heard someone yell my name, but I've been hearing voices lately and they seem to know me, so I gave it the same attention I reserve for car horns in parking lots which now go off for no other reason than someone locking their door. Luckily the hailing party was not part of my drug-fueled hallucinogenic past but the flesh-and-blood person of Ready Stance guitarist/vocalist Wes Pence. We vowed to meet at the Tigerlilies gig and did. Another way I knew he was real. I'm fairly sure.
• Also taking in the vast Power Pop beauty of Tigerlilies (and while I have the internet's attention, no, you overbearing suggestion Google dicks, I do not mean Tiger Lilies, I mean what I fucking well typed) were damn near all of Culture Queer — Jeremy Lesniak, who produced Tigerlilies' In the Dark, Dana Hamblen and Sam Womelsdorf, Fairmount Girls' Melissa Fairmount, the aforementioned Wes Pence and a couple of guys who remembered me from my Short Vine days in the late '80s — except they thought I was Jimmy Davidson. I told them I worked the counter at Wizard Records, but I don't think they believed me. I could have badly played any guitar in the joint to prove my identity, but it was just nice to be remembered.
• Sara Beiting was also hanging at Tigerlilies, along with perpetual MPMF and raconteur Jay Metz, who brought along Shuggie Otis' brother and drummer, Nick Otis. We had a brief but nice chat, got some pictures together and bid adieu. Shuggie had already left for a gig in Toronto, but Nick and some of the band stuck around to catch some MidPoint sounds before a 5 a.m. flight. Yargh. Hope they made it on time this morning.
• Brian Kitzmiller and his lovely wife Sarah also dropped in on the Tigerlilies. Brian actually bought me a beer but I didn't catch up with him until I was on the sidewalk outside the MOTR and was on my way down to the next thing. Sorry I stuck you with two beers, dude. I'm pretty sure you took care of it. While I was apologizing for making Brian appear to be a two-fisted alcoholic, Sarah pointed out a guy dressed in what seemed to be tin foil Post-It notes, which may have been advertising or just an odd fashion choice. If you'll recall from this space an almost unbelievable five years, Sarah, a first grade teacher, went to Staples to buy Post-It notes and actually had some stuck in her hair. Brian had told me the story, and the next night at Arnold's, I met Sarah for the first time. When Brian introduced us, I excused myself, reached into my pack, pulled out a handful of Post-Its, stuck them in my hair and shook her hand. So Post-Its are kind of our thing. And I was glad she pointed out the tin foil Post-It guy, because I saw him as I walked out the door but I chose to ignore it, just in case it was another alcohol fueled flashback to the acid days of yesteryear. As long as she saw it too, it was all good.
• Right on cue, King Slice strolled into the Heavy Hinges gig and anointed it as the cool place to be at 11 p.m. on MidPoint's second night. And so it came to pass. Also making an appearance right before I was ready to hit the sidewalk was former Buckra guitarist and ever-present MPMF staffer Jacob Heintz, checking out his old bandmates and hanging around waiting for the next emergency, which I hope never came. It never seems like a complete MidPoint experience until I've had a chat with Jacob, so now it is.
• Plenty of folks in attendance at the Technicolors soiree back up at the MOTR, which I hope I had at least a little something to do with. My pal Paul Roberts was there to buy me a fabulous beer from the MOTR's endless taps, with his buds Big Jim and Little Stu in tow. Stu even had a hat made with his name on it so I'd bloody well remember that his name is Stu. If he had said, "My name is Stu, how do you do?" that might have been perfect. The hat was pretty awesome at any rate. If I forget Stu now, it will be evidence of drug backlash or a stroke. Just so you know.
• I spied former CityBeat editor John Fox in the MOTR crowd so I headed over to say hello. As I have explained in the past, I owe John an incredible debt of gratitude for recruiting me for CityBeat nearly 20 years ago and for insisting that I write features for him rather than reviews. It was literally a life-changing conversation, and I can't begin to thank him enough for the opportunity he gave me in the beginning and his faith and guidance in the subsequent years. Once again, he left before I could get that beer into his hand … I'm clearly going to have to drive the truck up to his house. The only thing is I don't know where he lives; his faith in me, it would seem, had limits, which I completely understand. Thanks again for everything, John, you gave me a chance to be a part of something special. My current status as a poverty-wracked, free-beer-swilling hack is all on me.
• I tried to get down to the Mainstay in time to see some of Bella Clava's set because their appearance at The Drinkery last year was one of the festival's highlights for me. Sadly, they had just finished when I pulled up, but I did get a chance to chat with keyboardist Caitlin Dacey and guitarist Steve Suttie as they loaded out. As it turned out, the band is staying with Honeyspiders frontman Jeremy Harrison, whose new outfit also played on the evening's Mainstay bill. Honeyspiders is clearly a band to keep on the radar; the limited recordings they've shared to date are potent evidence that something big is going on there
A Sept. 27 report from the conservative Buckeye Institute echoes claims made by both sides in Cincinnati’s pension debate: A tea party-backed amendment, if approved by voters on Nov. 5, would reduce retirement benefits for new city employees by one-third. At the same time, the city’s unfunded pension liability might be three times what officials currently estimate.
The Buckeye Institute’s summary of the report vaguely supports the tea party-backed amendment and touts its benefits, but the details and findings in the report are much more mixed.
The tea party-backed amendment would privatize Cincinnati’s pension system so city employees hired after January 2014 would contribute to and manage individual retirement accounts, which would also be supported by a proportional match from the city. That’s a shift from the current system in which the city pools pension funds and manages the investments through an independent board. The idea is to move from a public plan and instead imitate a 401k plan that’s often seen in the private sector.
Opponents of the amendment say it would massively reduce city benefits and actually increase costs for the city — two issues that the Buckeye Institute’s report acknowledges as real possibilities.
Officials are also concerned that the city would be forced to pay into Social Security, which would impose additional costs, if the tea party-backed system isn’t exempt from the federal retirement program. The current pension system absolves the city government from paying into Social Security.
Supporters of the amendment say the drastic changes are necessary to help solve the city’s growing pension liability, which city officials put at $862 million.
The Buckeye Institute report argues that even the city estimates are too low. When pricing the city’s pension liabilities through fair market value — a measure widely embraced by economists — the unfunded costs actually stand at $2.57 billion. That puts the pension system at 35 percent funding, which means the city will have to make up the 65-percent hole with extra payments.
But the report also confirms a key claim for the amendment’s opposition: Future city employees would get about one-third less benefits under the tea party’s proposed system than they would under the current pension system.The benefit reductions should save Cincinnati $19.7 million a year, according to the report. But the savings estimate doesn’t consider cost-of-living adjustments, which the report says will rise for future employees and shrink savings over time. The estimate also assumes the tea party’s proposed system will be able to keep Cincinnati’s Social Security exemption, which city officials say is unlikely.
Despite the reductions, the Buckeye Institute claims the final benefits will be better than comparable 401k plans in the private sector, but the assumption hinges on the city meeting its full contribution to employees’ individual retirement accounts. The tea party amendment allows — but it doesn’t require — the city to contribute up to 9 percent of an employee’s salary to retirement accounts. The city contributes only 2 percent of payroll under the current system, which is already strained for costs.
The report also acknowledges that, if interpreted a certain way, the tea party amendment could force the city to pay for its unfunded pension liability in just 10 years, down from 30 years. Paying the liability that quickly could prove unmanageable for a city that hasn’t passed a structurally balanced budget since 2001.
The pension amendment is backed by tea party groups, some of which may reside outside of Cincinnati and Ohio. They argue the reform is necessary to stabilize the city-funded retirement system.
Meanwhile, Cincinnati for Pension Responsibility announced
its formation on Sept. 27 and promised to get voters to oppose a “risky
plan” that “could cost taxpayers millions.” Mayor Mark Mallory, all current council
members, the AFL-CIO, ProgressOhio and other groups have joined the opposition.
Opponents readily acknowledge the current system’s problems and unfunded liability, but they argue the city would be better off making reforms within the current system instead of adopting the tea party’s plan. Some of those reforms are expected to come before City Council in the next couple months.
Voters will make the final decision on the tea party’s pension amendment when it appears as Issue 4 on the Nov. 5 ballot.
Last night was a glorious night for music and glorious music was made. Combinations don't get much better than that. Things didn't start so well, though; a quick e-mail on Wednesday revealed that, for a variety of reasons, my friend Matthew Fenton wouldn't be making his annual pilgrimage from Chicago to our fair festival. And then the drive down I-75 was infuriatingly stop-and-go for no apparent reason, which had me grinding my teeth all the way downtown.
Every molecule of that dour energy was dissipated with the first show of the night as Cody ChesnuTT hit the Washington Park stage like a hydrogen bomb of positive vibration.
ChesnuTT's MidPoint appearance was also his Cincinnati debut and the sizable crowd that showed up to witness it was completely enthralled with his potent blend of Neo Soul, Reggae, Jazz and Pop.
ChesnuTT doesn't dress the part of Soul crooner; graphic T-shirt covered in cassettes, red cardigan, black sweats and an army helmet. The helmet is an odd sartorial choice, but ChesnuTT has explained that he's "fighting to keep the soul alive." Not the musical genre, but the spiritual essence at the center of all human beings. That's a pretty big mission for a singer/songwriter to assign himself, but last night's performance proved that ChesnuTT is more than up to the task.
Drawing strictly from last year's gorgeous Landing on a Hundred (he no longer does any songs from 2002's The Headphone Masterpiece, feeling that he's moved beyond the events in his life that inspired that album), ChesnuTT blew any trace of negativity into the stratosphere and replaced it with a rock-solid groove (courtesy of his absolutely stellar band) and a message of pure love. Not Barry White let's-ease-them-panties-down love, but love of self, love of mankind, love of life, which should ultimately lead to unconditional love for one other person.
Not that ChesnuTT doesn't recognize the world's dysfunction. In his brilliant "Everybody's Brother," he sings, "I used to smoke crack back in the day/I used to gamble rent money and lose/I used to dog nice ladies, used to swindle friends/But now I'm teaching kids in Sunday school and I'm not turning back." On the album, the song thumps along on a hearty Funk beat, but on stage, ChesnuTT delivers that opening verse with a sermon-like intonation, and the band swells around him with Gospel fervor and Soul intensity.
No matter what vibe ChesnuTT is channeling at any particular point in the show, he is a master showman, imploring the audience to join him, engaging them to become an integral part of the proceedings. And when he sings, when he digs deep into his creative core and unleashes his soul though his vocal cords, sweet mother of all that's holy, he sounds like the reincarnation of Marvin Gaye, the little brother that Stevie Wonder didn't know he had and the lost Marley sibling all rolled into one otherworldly package. Anyone who was not smiling at the end of Cody ChesnuTT's performance last night is damaged beyond the help of therapy and psychoactive drugs. Please come back to see us again soon, Cody. If Foxygen's slot is still open, Saturday night would be just fine. (Editor’s note: Cincy’s fantastic Wussy has claimed Foxygen’s Washington Park slot tomorrow.)
After Cody ChesnuTT's splendorous opening, it was Blues/Rock legend Shuggie Otis' turn to lead the Washington Park congregation, which he did in scorching style. Otis was barely in his teens when he started playing guitar with his father, R&B icon Johnny Otis, ultimately leading to session work with Al Kooper and Frank Zappa when he was just 16, and his 1970 debut solo album, Here Comes Shuggie Otis, at 17. And while Shuggie has laid low for long stretches in his nearly 50-year career, his current resurgence is sweet vindication for those periods when an indifferent music industry ignored his virtuosic brilliance, forcing Shuggie to turn away from the industry.
Shuggie's set started a little hesitantly as he acclimated to the stage set-up; at one point, he jokingly asked, "Can somebody show me how to work this shit?" Somebody did and he was off, peeling off incendiary riffs and razor sharp runs with a casual intensity. The set's sole slow spot was a new song called "Special," that sounded like Shuggie copying the numerous Pop artists who have copied him, but he followed it with a blazing version of "Me and My Woman" that erupted from the stage like a volcano and oozed through the assembled multitude with the heat and inevitability of the resultant lava flow. Once he and his stellar band got going, Shuggie Otis provided a transcendent moment in MidPoint history, the redemptive return of an astonishing talent that should never have gone away in the first place.
Only one thing could have dragged me away from the hair-raising, slack-jawed wonder of Shuggie Otis, and that's the triumphant return of Cincinnati’s Mad Anthony. Since the July van accident that could have been the band's literal epitaph, drummer Marc Sherlock was restrained by a neck brace and an order against all relatively physical activity. Outside of a little rhythmic tapping to keep his chops up, Sherlock was virtually drumless for three months, while guitarists Ringo Jones and Adam Flaig hit the road for some acoustic dates to keep the rent money coming, then set off for its first cross-country tour, which culminated with last night’s homecoming.
And so Mad Anthony took the triangular stage at The Drinkery, their first show with their full current lineup since the accident that nearly cost them everything. Jones and Flaig brought plenty of their patented frenzy to their acoustic gigs, but they've clearly missed their hypertalented timekeeper, which was evident from the visceral fury that permeated every note of last night's show. Sherlock couldn't have looked any happier; with every roll, every cymbal crash, every massive kick, his smile was a permanent fixture, and Jones and Flaig responded with a tumultuous joy that was a palpable presence in the room.
At a normal Mad Anthony show, the trio storms into an audience's frontal lobe with incomprehensible power. If The Stooges ate Black Sabbath and shit out three perfectly formed babies the next day that grew up and absorbed Punk, Pop and Rock influences like a bar towel, then wrung out those influences into shot glasses and downed them one liquor/beer/sweat/adrenaline slug, that would be Mad Anthony. Last night's return to The Drinkery was all that amplified to the third power. Naturally, they finished with "We Love This Fucking City." Naturally, this fucking city loves Mad Anthony. It's worked out so far.
After the major nut-kick of Mad Anthony, I tooled down to Arnold's to catch some Beatlesque sweetness courtesy of Canada’s The Shilohs. They were really quite good, and I definitely wanted to hear more of them, but they seemed intent on a mid-tempo set in the key of "If I Fell," and I wasn't quite in the mood for that. So I headed back to The Drinkery to catch locals Frontier Folk Nebraska's set.
After Mad Anthony's blistering presentation, I chatted up Kelly Thomas for a few minutes outside The Drinkery, and she had noted that Frontier Folk Nebraska was veering in a decidedly more electric direction, rather a shift from their traditional acoustic roots. When The Shilos didn't pan out for me, I decided to witness FFN's electric evolution for myself. Good decision.
The new FFN is plugged in and ready to whip any ass in the house. Imagine a world where The Ass Ponys channel Crazy Horse and the Bottle Rockets and Uncle Tupelo and you'll be close to the barely restrained muscle emanating from the new Frontier Folk Nebraska. All of this was evident on the band's eponymous 2011 album, but it's magnified to an incredible scale in the live setting. FFN recently lost founding bassist Steve Oder to a graduate program, which could have seriously altered the band's chemistry, but new bassist Matthew McCormick seems to have settled in nicely, alternating between a pulsing beat and runs that emulate lead solos, forming a slinky rhythm section with drummer Nathan Wagner. Meanwhile, frontman Michael Hensley and Travis Talbert create a tandem guitar attack that perfectly balances nuance and power. I liked where FFN was and I love where they are.
After FFN, I found my car and took a drive down to the Mainstay to catch London's blazing Rock power trio Leogun. Vocalist/guitarist Tommy Smith is a revelation, a genetic hybrid of Robert Plant and Jimmy Page in one electrified body, wringing sounds from his guitar that invoke all the greatest '70s translators of the Blues while maintaining a firm stance in the 21st century. Anchored by the thunderous rhythm section of bassist Matt Johnson and drummer Mike Lloyd, as slippery and as solid as Entwistle and Moon, Leogun swaggers and swings with retro inspiration and contemporary energy. They peeled through a set filled with tracks from their phenomenal debut, By the Reins, but one of the highlights was their completely unexpected and timber-rattling take on Kool and the Gang's "Jungle Boogie." Not sure when they'll be back, but I'll be there when they return.
• Music editor Mike Breen informed me that publisher Dan Bockrath was going to be making with the beers this year, but I had no idea he would begin his hop blitzkrieg so quickly and voluminously. Dan found me in the crowd at the start of Cody ChesnuTT's set and put a beer in my hand immediately. And just as I finished that first one, Dan reappeared at my side with yet another, claiming, "I feel so good I had to double down." After this MidPoint, I may be able to build a new wing onto the Beer Buying Hall of Fame with Dan's empties alone. You are a god that walks among men, Dan Bockrath, and I hope to see you every night this weekend.
• During Cody's lovely and moving "Love is More Than a Wedding Day," he announced that it might be a good time to dance with the one you love. I looked at Dan, Dan looked at me, but we dismissed the idea. It is a testament to Cody's soulful presentation that I actually considered it, though.
• Years ago, my good buddy Troy paid me the ultimate compliment when he spotted me at a show. He clapped me on the shoulder and said, "I know I'm at the right show when you're at it." The very same could be said for the ubiquitous King Slice. His appearance at a show is like the Good Housekeeping Seal of Approval. Follow him and see where he goes next. That's where the party will likely be the best.
• Also ran into Magnolia Mountain's Mark Utley, who's in the teeth of planning the next Music for the Mountains benefit show. The second MFTM disc is chock full of traditional goodness and the album and the concert will raise funds to help eliminate the mining practice of mountaintop removal. As Mark noted, "Nature gives women the ability to forget about the pain of childbirth so they'll ready to do it again. That's how it was for me with this concert." The pain is always worth it, man (says the guy who's not feeling the pain) … good luck and God speed.
• And on my way out of Shuggie Otis, I chanced upon Jim Blase, co-owner of Shake It Records and quite simply one of the finest human beings I've had the pleasure to and good fortune to know.
• Lots of folks turned out for Mad Anthony's return, including Kelly Thomas, who was an architect of two benefit shows to help the boys get back on their feet (and who is actually collaborating with the band on some new songs, which should be awesome). Also in attendance was former MA bassist Dave Markey, and his ebullient mom, who may have been the biggest fan in the room; I'm pretty sure she knew the words to every song. It was a beautiful thing.
• Jim Blase was also hanging out at the Frontier Folk Nebraska show, obviously showing support for Travis, who still puts in some time behind the Shake It counter. I was about to head over to say hello again but ran into old friend Danny Rupe, who I never get to see anymore except at random and all to infrequent MidPoint shows. He put my digits and e-mail add into his Jetsons phone, so maybe I'll hear from him with a little more timeliness now.
• Slice, The Black Owls' Brandon Losacker, Dave Markey and Ringo Jones were all hanging at the Leogun extravaganza. I was looking for my Class X compatriot Eddy Mullet, who had designs on the show, but I didn't see him so his plans must have changed. God, I hope it wasn't a kidney stone; that's what derailed his Bunbury experience. After the show, I had a quick chat with Tommy and Matt from the band as they were packing up to go, and then Ringo and I closed the Mainstay, as he regaled me with tales of Mad Anthony, and promises that their new material is the best they've ever done. I know they'll prove it when the time comes.
Perhaps this weekend you want to take a last-chance trip down Memory Lane. You have that option as the Showboat Majestic is wrapping up its production of Showboat Follies, the final show that Cincinnati Landmark Productions will stage on the historic vessel. It's a revue of songs and skits that should be fun if not profound, but if you go (final performance is Sunday), you'll be able to tell you foriends that you were among the last to visit this nostalgic Cincinnati venue. (Unless the City of Cincinnati finds another operator — which they've been seeking with no success.) Tickets: 513-241-6550.
Ahhhh, MidPoint! I look forward to it every year. September, for this lady, holds promise, romance, intrigue and MPMF. I started my MPMF.13 off right: grabbed a baller parking spot right after work in front of Coffee Emporium, grabbed a baller iced Americano and grabbed my (you thought I was going to say baller? How presumptuous) press pass. I think I did say out loud to myself: Let's GOOOO.
The first band I wanted to see was my pal Molly Sullivan at 8:15 p.m. at Japp's Annex. I had some time to kill, so I hung out on the Midway. Sidewalk Chalk was still grooving; they've got a rocking brass section, shimmery drums and soulful singers. I previously saw them on Fountain Square last year as part of the Indie Summer Series, and really enjoyed everything they had to offer. Great fun way to kick off MPMF.
I wandered around the Midway for a bit, checking out the numerous box trucks that comprise the Box Truck Carnival presented by ArtWorks. The Midway itself is pretty awesome, easily accessible and kind of reminds me of a corral for progressively more intoxicated adults. I don't mean that in a derogatory way; I, too, enjoy consuming beer freely in the open on 12th Street. The Box Trucks this year held a lot of potential — I wrote about the Midway for the MPMF Guide in CityBeat a few weeks back, so I was well-briefed on what to expect. Well, kind of.
The first truck I checked out was the Glam Rock Box Truck. Anyone who knows me is aware of the siren call the word "karaoke" holds, so of course I went in.The premise was great (for karaoke nerds like me), but box trucks just don't do karaoke justice, honestly. There are a number of songs to pick from, but not as many karaoke staples as one might expect. And for being called the Glam Rock truck, I didn't really see any Glam Rock hits on the list. The ladies running the truck seemed to be having a good time, though, so I did my best version of "Semi-Charmed Life" and went off to continue leading mine.
I wandered around the Midway some more, stopping in the Short Order Poetry Box Truck, which was 19 kinds of adorable. You step inside the truck, get paired with a stranger who asks you random questions (hi Adam!) and then they'll create a poem, on a typewriter no less, just for you, ready in just about 10 minutes. Mine had a lot of death and blood and dream imagery, just how I like 'em.
I listened to a few minutes of stand-up in the comedy Box Truck before heading to Lucy Blue's. I notoriously put off eating until I'm ravenous, so I decided to carb-up on pizza in preparation for the long night ahead. I met up with friends at Japp's and we ordered drinks and chatted before wandering to the Annex to hear Molly Sullivan.
Every time I see Molly perform, I'm more and more impressed. She's really fleshed her sound out (the addition of friends on the drums and bass is the perfect complement to her singer/guitarist combo), and lots of people are noticing — she recently won the Last Soloist Standing contest at FBs, grand prize being a large cash sum. Molly's a charming vocalist; her voice is flexible and searching, and she's always been good at melancholy intonation. I heard a fresh version of "So It Goes" from the No No Knots days, and some of her newer material had an almost Jewel-when-she-still-had-a-snaggle-tooth quality to it. I really, really dug it. So did a number of other people — quite a dedicated following was there. I'd say Molly Sullivan's first solo show at MPMF was a great success.
I had been planning all week to see Kurt Vile at Grammer's, but there was about half an hour before he was supposed to go on and I ran into my pal Caitlin, who told me the mythical history of Shuggie Otis. I was intrigued, so I walked with her to Washington Park. I still don't know how I feel about the fact that they've moved the stage to the permanent pavilion instead of in front of Music Hall; there's such a grandiosity to playing in front of that gorgeous building that just isn't matched by the pavilion — and I know there are lots of sad Instagram accounts crying right now — but I understand the convenience. We'll see how I feel about it tonight.
Anyway. Shuggie Otis. Skyrocketed to fame by age 21 and receded into the abyss of obscurity? And then he joins David Byrne's label and comes back? Tell me more. Shuggie had a groovy Soul/Funk sound brought to life by a huge backing band, complete with a stellar saxophonist. Glad I caught a few minutes, but I was on a Kurt Vile MISSION, so I started the trek to Liberty Street and Grammer's.
Well, by way of my car. I grabbed a jacket and was headed north, but as I walked by Below Zero Lounge, I heard a voice too great not to stop. If Ryan Adams and Adam Levine and the bearded lead singer from Maps & Atlases had an Asian baby, it would be St. Lenox. He was just plain awesome. I wanted to hang out with him, I wanted him to sing an album of lullabies, I wanted to stay for his whole set, but I'll be damned if I wasn't going to see Kurt Vile.
I didn't see Kurt Vile. Whoever guessed that two paragraphs ago knows that my ominous overtone was poorly done. I got stopped again walking by MOTR, this time by Fort Shame from Columbus, Ohio. I feel like so many times when a woman is a lead singer of a rock outfit, the instinct is to compare her to another female vocalist, but it has to be one who's personality is somehow perceived as similar, or stylistically akin (and I do mean clothes, not just shredding), so I'm not going to compare Fort Shame's Sue Harshe to anyone, because I don't think that's fair and, honestly, it's a little reductive. I'm just going to say that she does credit to anyone singing Rock. And the band had a star saxophonist, which was super fun.
I did hear via Twitter that Kurt Vile sang the word "yeah" for like fifteen minutes at the beginning of his set, so I said it a bunch to myself as I walked back to the Midway to hear Ha Ha Tonka and didn't feel too bad about it.
The first time I saw Ha Ha Tonka was two (or three? who knows) Midpoints ago at The Drinkery. These guys have all gotten hair cuts since then, but they sound even better. They sound like what folky Rock cut with a raucous night of varying emotions that ends with hanging out with friends and beer staring at the river would sound like. You know the kind of night I'm talking about. They're just the tops. Tight and talented musicality and great stage presence is only topped by their impeccable four-part harmony. Just magnetic. Second or third time's the charm, gentlemen.
I finished my night seeing Bleached at the Know Theatre, which last year held all the buzz bands I wished I'd been able to get inside and see (something about being "at capacity"), and I wasn't disappointed. Punk Rock girls with a guy drummer. Ramones cover. Misfits cover. I thoroughly enjoyed my attempt at head-banging AND the fact that these girls didn't try too hard. I feel like a lot of Punk-esque bands nowadays are all like "I AM PUNK! LOOK, SEE, I AM!" but Bleached was more like, "Fuck Punk. We're just Bleached." Own it, dudes.
And then I walked back to my car and went home and passed right the heck out. I'll see ya at MPMF for round two tonight.
MPMF Weekend is
upon us! Two nights of music still lie ahead, plus free events for all ages on
the MidPoint MidWay. Parents can bring the little ones to KidPoint on the
Midway from noon-4 p.m. Saturday, where family-friendly fun awaits — activities
in the ArtWorks box trucks, street performers, interactive presentations from Cincinnati
Ballet’s CBII (Second Company), local food vendors and, of course,
live music. MidPoint shows start at 5:30 p.m. Friday and 12:30 p.m. Saturday
and continue late-night all weekend at Washington Park, Grammer’s, Taft
Theater, the Contemporary Arts Center and tons of other venues around Downtown
and Over-the-Rhine. Check out the official guide with schedules, maps and more
The idea of “flea markets” has evolved in recent years from bazaars with folks hawking a hodgepodge of chintzy items to curated marketplaces full of local, handmade goods. The final Oakley Fancy Flea of the season is Saturday at 3047 Madison Road, near Oakley Pub. From 10 a.m.-4 p.m., shoppers can browse jewelry, housewares, artwork and more Cincy-centric stuff.
CliftonFest celebrates the quirky and colorful Ludlow Avenue — and that description will become literal as the street is transformed with sidewalk chalk art. Friday through Sunday, artists will create “art carpets” on the street’s edges that will last for months. The fest also features artisan vendors, live music and a pet parade (Sunday). The free event runs 7-11 p.m. Friday, 10 a.m.-11 p.m. Saturday and 9 a.m.-7 p.m. Sunday.
Northern Kentucky’s “premier urban art fair” Art Off Pike brings more than 80 artists to Covington this weekend to exhibit and sell their works. In addition to lots of artist booths, there will be demos and workshops, graffiti kiosks, live music, film screenings and local beers, bourbons and wines — all from 11 a.m.-5 p.m. Sunday on Seventh Street between Madison and Washington avenues.
between Kentucky and Ohio this Sunday may be alarmed to see more than 100 people
in the river below. Worry not — they’re swimming by choice! The Great Ohio
River Swim race kicks off at 8 a.m. Sunday
and is just one event in association with Great Outdoor Weekend, an annual
showcase of Cincinnati’s plethora of nature-oriented events and organizations.
More than 150 events across the Tri-state are scheduled for the GOW Saturday
and Sunday at area parks, farms, nature preserves and other venues. Find a full lineup here.
CityBeat is participating in a City Council candidate forum on Oct. 5. Have any questions you would like to ask candidates? Submit them here.
State Auditor Dave Yost says he will investigate the potential conflicts of interest found by the Ohio Ethics Commission for nine of 22 top JobsOhio officials, including six of nine board members. For critics, the conflicts of interest add more concerns about JobsOhio, the privatized development agency that proposes tax breaks for businesses and has been mired in controversy ever since it was set up by Gov. John Kasich and Republicans to replace the Ohio Department of Development. Because the agency is privatized and deals with private businesses, many of its dealings are kept from the public under state law. Republicans argue the secrecy is necessary to allow JobsOhio to more quickly establish job-creating development deals, but Democrats say the secrecy makes it too difficult to hold JobsOhio accountable.
A state board approved nearly $3 billion in transportation projects proposed by Kasich, including work on the MLK/I-75 Interchange in Cincinnati that city and state officials say will create thousands of jobs in the region. The projects will require additional state and local money to be fully funded over the next few years.
In comparison to men, Ohio women have lower incomes, hold fewer leadership roles and disproportionately suffer from the state’s high infant mortality rate. The issues placed Ohio at No. 30 out of 50 states for women’s issues in a Sept. 25 report from the Center for American Progress (CAP). The report analyzed 36 indicators for women in the categories of economic security, leadership and health; it then graded the states and ranked them based on the grades. CAP, a left-leaning organization, is touting the report to support progressive policies that could help lift women out of such disparities, including the federally funded Medicaid expansion and an increase to minimum wages.Commentary: “Ohio legislator worried a same-sex marriage case will turn the country socialist, make him cry.”
Mayoral candidate John Cranley, who’s running against fellow Democrat and Vice Mayor Roxanne Qualls, says he doesn’t know if he can stop the parking plan if he’s elected. Cranley explained it will only be possible if the Greater Cincinnati Port Authority doesn’t set up contracts and sell bonds for the deal before the election. Under the parking plan, the city is leasing its parking meters, lots and garages to the Port Authority, which will then hire various private operators to manage the assets. Qualls supports the plan because it will raise money and resources to fund development projects and modernize the city’s parking services, but Cranley argues it cedes too much control over the city’s parking assets.
It turns out Toni Morrison’s The Bluest Eye won’t be removed from Ohio’s education guidelines. State Board of Education President Debe Terhar, a Cincinnati Republican, initially called the book “pornographic” and demanded its removal from the state guidelines, which led the American Civil Liberties Union of Ohio to criticize Terhar and ask her to reconsider her comments.
With the latest delay, small businesses won’t be able to enroll online for Obamacare’s marketplaces until November. Until then, small businesses will only be able to sign up by mail, fax or phone. The delay is the latest of a few setbacks for Obamacare, but the rest of the federally run online marketplaces will still launch on Oct. 1 as planned. CityBeat covered statewide efforts to promote and obstruct the marketplaces in further detail here.
Gov. Kasich is donating to charity more than $22,000 that he received in campaign contributions from an indicted man.
The city has begun work on a retail corridor that will start on Fourth Street and run north through Race Street. The corridor will take years to complete, but city officials say it will be different than previous failed plans.
The number of passengers whose trips originate at the Cincinnati/Northern Kentucky International Airport has increased for six straight months, according to airport officials.
Data-analysis company Dunnhumby is looking to invest in Cincinnati startups.
Cincinnati Children’s Hospital Medical Center landed federal money to test vaccines. The contract could prove the largest the hospital has ever obtained, according to The Business Courier.
Police in the Netherlands use trained rats to catch criminals.
Republican Rep. John Becker is pretty upset that a
terminally ill gay man has earned the right to die in peace, and now
it’s become a very real possibility that other gay Ohioans might also
get to die (and live) in peace. And, just like my brother, he’s kind of trying to
ruin the game for everyone just because he’s losing.
In July, Judge Timothy Black heard the case of Jim Obergefell and John Arthur, a long-term gay couple who flew to Maryland to marry at the beginning of the month because Arthur is terminally ill, in hospice care, and not expected to live much longer.
Obergefell and Arthur sued the state of Ohio for
discrimination in not recognizing their out-of-state gay marriage, legal
and recognized in Maryland, when other gay couples residing in states
recognizing same-sex marriages and subsequently moved to Ohio would have
their marriages treated as valid. And because Arthur is terminally ill, it's just as much for the emotional connection as it is for any kind of economic benefit.
Here's what Obergefell wrote in his original complaint (grab a tissue):
“Our legacy as a married couple is very important to John and me… in two or more generations our descendants will not know who we are. Married couples, often through research based on death records, have recognition for their special status forever. I want my descendants generations from now who research their history to learn that I loved and married John and that he loved and married me. They will know that they had gay ancestor who was proud and strong and in love.”
In his ruling, Black called the case “not complicated,” explaining that he’d allow the marriage to be legalized on Arthur’s death certificate because it was likely a constitutional violation that the state of Ohio treated lawful out-of-state same-sex marriages differently than lawful out-of-state same-sex marriages.
In September, he ruled to allow the marriage of another gay
couple — David Michener and William Herbert Ives — after Ives
unexpectedly passed away in late August. Although these aren't (yet) blanket rulings, they're being interpreted as monumental victories for supporters of marriage equality.
Becker, then, decided to do the political equivalent of my brother running to my mom and accusing me of cheating; he wrote U.S. Rep. Brad Wenstrup and called for Black to be impeached for “malfeasance and abuse of power,” which apparently made him really concerned about the “federal government’s ever growing propensity to violate state sovereignty.”
Unfortunately, though, U.S. District Court judges are
appointed for life, so since Becker’s claims against Judge Black are
totally unfounded, Black is free to continue to anger Becker and other people who don't approve of equality for gay couples.
Alphonse Gerhardstein, the attorney for both couples, calls Becker's response to the rulings "bullying."
"Federal judges are granted tenure for life for a reason. It's their job to enforce core principles even when the majority disagrees," he says. "Look at the Dred Scott case. I think most people would agree that's the worst case decision ever made by a judge, and even he didn't get impeached." (In case you forget, he's talking about Dred Scott v. Sandford, the landmark 1857 U.S. Supreme Court ruling that ruled black people weren't citizens.)
Things that actually can get a judge impeached, says Gerhardstein, are offenses like having sex with a criminal defendant or taking bribes.
On Wednesday, Sept. 25, the court added licensed funeral director Robert Grunn, who is responsible for registering deaths and providing personal information to the state on what should go on a death certificate, to the list of plaintiffs. Grunn currently serves same-sex couples when he signs death certificates, says the lawsuit, including those with marriages recognized outside the state of Ohio. The lawsuit, if successful, could require all funeral directors to recognize gay clients as married on death certificates if they were legally married in a different state.
Gerhardstein also says since accepting Arthur and Obergefell's case, he and his colleagues have received inquiries from between 30 to 50 other gay couples seeking legal recognitions of their out-of-state marriages. For now, he says, he and his firm are concentrating on cases specifically involving recognizing same-sex marriages on death certificates, although this litigation could (and probably will) lead to other blanket rulings on how same-sex marriages are recognized in Ohio.
Another hearing with Judge Black is scheduled for Dec. 18.
Out of three major categories, Ohio performed worst on leadership roles available to women, ranking No. 37 in the category with a “D” grade. CAP found only 16.7 percent of Ohio’s state-elected executive offices and 37.2 percent of managerial positions are held by women, even though women make up 52 percent of the state’s population.
The state performed slightly better in health outcomes for women and obtained a “C-” in the category. The report particularly criticized Ohio for its infant mortality rate of 7.7 deaths for every 1,000 infants — the fourth highest in the nation — and regulations and defunding measures in the recently passed state budget that make reproductive health services less accessible to women.
On economic issues, Ohio was relatively on par with the U.S. median and ranked No. 27 with a “C” grade. For every $1 a man makes, an Ohio woman makes 77 cents, which matches the national average. But the results are even worse for minorities: Black women make 66 cents for each dollar a man makes and Hispanic women make 64 cents.
Still, with 17.7 percent of Ohio women living in poverty, the state has the No. 19 highest poverty rate for women in the country. The statistics were again worse for minorities: About 36.4 percent of black women and 32.6 percent of Hispanic women in Ohio live in poverty.
The CAP report analyzed 36 indicators for women in the categories of economic security, leadership and health. It then graded the states and ranked them based on the grades.
Vermont topped the rankings with an “A,” and Oklahoma was at the very bottom with an “F.”
CAP, which is an admittedly left-leaning organization, is touting the report to support progressive policies that could help lift women out of such disparities, including the federally funded Medicaid expansion and an increase to minimum wages.
“While women have come a long way over the past few decades, much remains to be done to ensure that all women can have a fair shot at success,” said Anna Chu, one of the report’s authors, in a statement. “Today’s report shows that in many states, it is still difficult for women and their families to get ahead, instead of just getting by.”