Holder revealed the DOJ’s intention to join the fight in Ohio over early voting during an interview about terrorism with ABC News in London July 11. That portion of the interview was unaired. Holder’s comments were revealed when the DOJ released transcripts to the press this week.
The Ohio suit, originally brought by the Ohio American Civil Liberties Union and other civil rights groups, claims the Republican-led elimination of early voting hours is unconstitutional because it will disproportionately affect minorities.
Ohio’s General Assembly, which is controlled by Republicans, passed laws in February eliminating six early voting days and same-day voter registration. Ohio Secretary of State Jon Husted subsequently eliminated early voting the last two Sundays before elections and on weekday evenings in the days before elections.
Some of Husted’s cuts to early voting the Sunday before elections were undone by a federal district court judge, who ruled that the state must reinstitute early voting in the final three days before an election. Despite that victory, the other cuts have yet to be restored and are the grounds for the ACLU’s lawsuit.
In the interview, Holder said voting is “the most basic of our rights” and vowed that he “will use every power that I have, every ability that I have as Attorney General to defend that right to vote.”
Holder also said the DOJ will file in another voting rights case over Wisconsin’s voter ID law, which has seen a pitched battle in federal courts.
Ohio Democratic gubernatorial candidate Ed FitzGerald applauded Holder’s comments in a news release today.
“I’m pleased that the U.S. Department of Justice will be joining the fight to protect voter rights in Ohio,” FitzGerald said in the release. “Under Governor Kasich, access to the polls has significantly decreased for hardworking Ohioans across the state.”
If you were excited to catch New Jersey Indie Pop duo Brick + Mortar at last weekend’s Bunbury Music Festival, you were probably also disappointed that the twosome’s set was cut short due to bad weather. But next month you’ll have another chance to see the band. And it won’t cost you a penny.
When the MidPoint Indie Summer series on Fountain Square was announced, organizers held back unveiling the full lineup for the Aug. 15 show. Ohio party rockers The Nightbeast were the only performers announced at the time. (Below is The Nightbeast's latest music video, "Paid and Rowdy.")
Now that Bunbury is over, organizers have announced that Brick + Mortar will join The Nightbeast as co-headliners for the free Aug. 15 show. B+M is signed to Island Records and its track “Locked in a Cage,” released earlier this year, did well on the Alt music charts.
The rest of Aug. 15 lineup will be announced soon. For the full rundown of Indie Summer shows on Fountain Square, click here.
UPDATE: The other two acts for the Aug. 15 Indie Summer show have been announced: The Protomen (who will be fresh off their stint on the Warped Tour) will headline and Dayton's Dangerkids will also perform.
Another Bunbury band, Ohio Folk Rock crew Saintseneca, will also be returning to Cincinnati soon. The band is slated to perform at the MidPoint Music Festival in late September. Check out Saintseneca's recent appearance on World Cafe here.
Get tickets, check out the ever-growing lineup and find more MPMF info here.
Morning, y'all. It's only Tuesday and there is already lots and lots going on. Here we go.
A Hamilton County Common Pleas judge has allowed troubled charter school VLT Academy to stay open and ordered the Ohio Department of Education to help fund it. In a decision yesterday, Judge Nadine Allen ordered ODE to become the school’s sponsoring organization and provide almost $300,000 to pay staff and administration there. The school, which serves about 600 students in Pendleton, was scheduled to close last month because its sponsoring organization did not renew its contract. Education Resource Consultants of Ohio declined to continue supporting the school due to its academic performance and financial situation.
Ohio law stipulates that charter schools must have a sponsor to operate. VLT tried unsuccessfully to obtain a new sponsor, asking several organizations including the Ohio Department of Education. When ODE declined, citing the school’s poor academic performance, VLT sued in Hamilton County Common Please Court. VLT argued that its performance was never poor enough to trigger automatic closure. The school says that ODE is playing politics and that it warned other potential sponsoring organizations not to sponsor the school. ODE acknowledges it made organizations aware of the school’s performance issues.
Allen ruled that ODE made it difficult for the school to find a new sponsor and that closing the school would do harm to its students. Ninety-nine percent of VLT’s students are economically disadvantaged. The school has lost a third of its student body, and subsequently almost $2 million in funding, in the past three years as Pendleton and Over-the-Rhine undergo demographic shifts.
• State Rep. Connie Pillich will hold a roundtable discussion today in Cincinnati as part of a state-wide tour around veterans’ issues. That tour began July 2 in Huber Heights. The meeting with local veterans will focus on financial challenges facing the military community, including the need for financial literacy education for veterans and state-level unemployment benefits for their spouses. Pillich is a Democrat who has represented Montgomery in the state legislature since 2009. She’s currently vacating that seat to challenge State Treasurer Josh Mandel. She’s touting her efforts on veterans issues and her service in the armed forces as she travels around the state to meet with veterans and their families. Before her political career, Pillich served in the U.S. Air Force for eight years and did support duties during Operation Desert Storm.
• The Cincinnati Park Board settled a federal lawsuit today brought by several residents of Over-the-Rhine regarding rules put in place after the 2012 renovation at Washington Park. The residents said the rules, which forbade distributing food and clothing in the park and taking items out of trashcans, were drawn up without public scrutiny and designed to keep the homeless out of the park. The city dropped the rules in September 2012. The city has not commented on how it decided upon the rules in the first place. The amount of today’s settlement in the case wasn’t disclosed.
• Architect Magazine pulled no punches in an editorial on General Electric’s proposed new building at The Banks yesterday. Written by former Cincinnati Art Museum Director Aaron Betsky, a noted architecture critic, the piece caustically derided the building, and The Banks, for a gutless lack of panache.
“Cincinnati, a proud city with a great heritage busily squandering it, will be stuck with the results of its own shortsightedness,” Betsky wrote in the piece. Ouch.
• Gubernatorial candidate Ed FitzGerald and attorney general hopeful David Pepper will ask the Ohio General Assembly to provide more money for heroin clinics today in a press conference in Columbus. The Democrats say clinics around the state face a $20 million shortfall after recent changes in the way federal money is distributed. The heroin crisis has been a big talking point for Pepper, who has criticized Ohio Attorney General Mike DeWine over his handling of the surge in addiction-related deaths.
• The number of people commuting by bicycle is up 60 percent nationally from the year 2000, according to recent data from the U.S. Census. But that data also show another dynamic–most of that increase has come from relatively wealthy, white commuters who can afford to choose how they roll. Among low-income people, especially people of color, the desire for car ownership is much higher and the value placed on alternate means of commuting is much lower. This may be because people in low income neighborhoods face much longer commute times and an environment without the necessary infrastructure for safe cycling. But there are also probably social factors at play — cars are still strong symbols of success across all levels of society in the U.S., and low income commuters desire those symbols as much as anyone.
• Finally, if you’re looking for the next big (literally, huge) thing in hip living arrangements, I’ve got you covered. If a renovated row house makes you yawn, and a partially reconstructed loft space is just too domestic for you, how about living in a Boeing 727? Bruce Campbell (no, not THAT Bruce Campbell, though I can totally see this plane abode being the setting of a campy horror flick) of Oregon is leading the way on this brave new trend. Share with all your friends who are still really, really, into Lost.
A perfect day, hot enough but not so hot as to suggest the idea that the ghosts of dead ants broiled by sadistic children with magnifying glasses were somehow exacting their revenge from beyond the veil of ant Valhalla. Why, yes, the '70s were good to me. Why do you ask?
At any rate, the potential for another spectacular launch to Bunbury's first day was palpable as ID was proffered, the laminate was provided and the wristband was snapped into position. The game is afoot (or as my wife's podiatrist might counter, the foot is a game … but I digress. Why, yes the ’70s were good to me. Why do you ask?) and another spectacular Bunbury awaits.
The beginning of the day was essentially a sampler platter of roaming about and checking out a few songs from a variety of sources. I started off down at the Amphitheater Stage to check out The Upset Victory, who had drawn a pretty sizable crowd for their muscular U2-tinged brand of melodically gritty Roots/Punk. Then it was down to the Warsteiner Stage for a more lengthy taste of Snowmine, who return to the '80s/'90s with a 21st century vengeance, mining a thick vein of Depeche Mode, along with a '90s aggressive Ambient quality and a quietly powerful modern edge. Then it was down to the Main Stage for a quick shot of X Ambassadors, who blend big tribal drumming with a Punk-fueled Pop core, a little like Imagine Dragons with a few hundred thousand volts pumped directly into their hearts. Finally it was back to the Amphitheater for a few songs from the soon-to-be-large Let It Happen, who were delivering their Green Day-esque anthemics in the blistering mid-afternoon glare of the unfiltered sun.
Then it was time to hit the Lawn Stage for the triumphant return of 500 Miles to Memphis. Frontman Ryan Malott has streamlined the band down to a potent quintet (guitarist Aaron Whalen, bassist Noah Sugarman, drummer-of-the-gods Kevin Hogle and the lap-steel-and-all-round-magnificence of David Rhodes Brown) and turned up the juice to emphasize the Roots/Rock thunder and downplay the Country lightning. There's still plenty of twang in their thang, but the sizzle and the sound is turned up to 11 in the slimmer, trimmer 500MTM. The band was clearly itching to tear shit up; they've been hard at work for the last couple of years or more assembling their new album, the imminent Stand There and Bleed (the title is a Tombstone reference; if you know the movie, you know the exact scene, and if you don't, shame on you for missing the greatest Western depiction of Wyatt Earp and Doc Holliday ever, so go fix that before another hour goes by).
Malott and the 500 blew through a set that was stacked with great new material (particularly "Bethel," a tribute to Malott's hometown), but they didn't forget to give the master his due, pulling DRB up from his lap steel duties to haul out yet another chilling spin on Trent Reznor's "Hurt"; if the hair doesn't stand up on your neck when the Colonel's baritone rumbles out, "You can have it all, my empire of dirt," you've got one of those weird, hairless necks. 500 Miles to Memphis has been well out of the public eye for the last year as they concentrated on life pursuits and sporadic turns in the studio to finesse Stand There and Bleed, so there was an urgency to get their fresh live set across as a clarion call to let everyone know they're back. Are they ever.
After a quick stop to water my horse (namely, me), it was a fast walk over to the Acoustic Stage for an hour of blissful Roots/Folk brilliance from Aaron Lee Tasjan, whose sideman work with Todd Snider, the New York Dolls, Drivin' N' Cryin' and Tim Easton has earned him a reputation as one of Americana's most reliably astonishing guitarists. But it's his solo persona that is becoming even more fully realized, as his sterling EP releases — 2011's August Moon, 2012's The Thinking Man's Filth and the just released Crooked River Burning — have shown Tasjan to be a songwriter of depth and beauty will beyond his calendar age. Listen to any given ALT song and you'll hear hints of Nick Drake, Bob Dylan, Will Kimbrough, Rodney Crowell and Ryan Adams in his delivery.
In Tasjan's Folk world, there is no bellybutton introspection set to a strummed acoustic guitar; he'll peel off a solo worthy of Jimi Hendrix after telling a story about seeing Ted Nugent shoot flaming arrows into cardboard effigies of his enemies list worthy of Arlo Guthrie. There aren't many singer/songwriters (read that: any) who are writing tributes to the late, great Judee Sill, and fewer still who make incisive observations like "You can't play Beatles music with bullshit hair." Deals don't get any realer than Aaron Lee Tasjan, and you all need to make him a star at your earliest convenience. Go. I'll wait.
After ALT's hour of power, it was back to the Amphitheater for the transcendent magnificence of Lydia Loveless. She may have grown up in the hillbilly hinterlands of Coshocton, Ohio, but she is a city girl with enough Rock sass to satisfy any Indie hipster and enough twang to hold the interest of any Americana aficionado. In a set laced with electric greatness, primarily drawn from her latest album, Somewhere Else, Loveless and her brilliant band finished with an absolutely scorching take on "Boy Crazy," the title track from her 2013 EP. The song reached a fever pitch when guitarist Todd May, cigarette dangling from the corner of his mouth with noir-detective-meets-Bun-E.-Carlos nonchalance, sat on his feet in front of his amp at the back of the stage, coaxing an exquisite din of feedback from his guitar, while bassist/husband Ben Lamb concocted similarly haunted sounds by running his bass down Nick German's drum kit and Loveless herself fell onto her back on the stage and cranked out sheets of heart-stopping guitar madness. It was an extraordinary end to a truly amazing and all too brief set.
Exactly what is it about the Black Owls that resonates so completely with me? First, they effortlessly tap into that primal part of my brain that was developing during my teenage years when I was soaking up insane amounts of T. Rex, Mott the Hoople, David Bowie and the Stooges. Next, they punch forcefully into the neighboring brain cells, the ones that house the memories of discovering Television, Richard Hell & the Voidoids, Talking Heads, New York Dolls and Be Bop Deluxe. And it's not that they sound like any of those bands (although occasionally they do), it's that they remind me of that beautiful, mysterious time in my life when there was still music to be revealed, and the visceral thrill that accompanied every new discovery. That is what it is about the Black Owls. They once again made that abundantly clear at the Lawn Stage when they tore through old favorites ("Wild Children," "Julias Morningstar," "Sometimes I Wish You Were a Ghost"), brand new classics in waiting ("Gasoline" and "Rook") and an absolutely hair-raising spin through Harry Nilsson's "Jump Into the Fire."
It was the standard Black Owls greatness, which is to say the quintet, as usual, presented their most familiar elements in new and unexpected ways so that even a grizzled old veteran Owls watcher such as myself was knocked back a pace and surprised by it all. Black Owls make me long for the days when bands put out two albums a year for not other reason than they could. Bassist Kip Roe continues to weave himself into the fabric of the Owls' sound and, as frontman David Butler pointed out, guitarist Brandon Losacker is proving to be a perfect songwriting foil for Butler and co-founding guitarist Ed Shuttleworth. The Black Owls seem to be entering a period of gritty reassessment, where dirty Glam riffs and anthemic chord structures are dominating the proceedings. Yes, please, and quite a bit more, if it's quite all right. And even if it's not.
Before I review the psychodots' Bunbury debut, perhaps a history lesson is in order. A good many years ago, music mogul and purported industry genius Clive Davis sauntered into Cincinnati with the stated goal of checking out The Raisins and perhaps offering them a lucrative and much-deserved contract. When Davis departed from our fair city without signing The Raisins, he explained the lack of a deal thusly: "They're an embarrassment of riches."
Please allow me to read between the lines and translate that five word headscratcher into layman's terms. What Mr. Davis was so obtusely attempting to convey was this: "The Raisins are a stellar band and I don't have the slightest idea how to market them without making them as smooth and textureless as Gerber's babyshit and as lame as a beggar in the Bible, essentially stripping them of the elements that make them unique, and if you think I'm going to dismantle and destroy this band or permanently stain my sparklingly legendary resume with the ugly reality that I was unable to sell the music of a gifted band to a quality-starved public simply because I didn't understand the complexities of either one, you've got several unpleasantly aromatic things coming in a flaming bag on your front porch."
Of course, The Raisins famously broke up, reassembling as the Bears with guitarist Adrian Belew and refashioning as psychodots without Belew. So in a very tangible sense, we owe the existence of psychodots to Clive Davis' short-sighted inability to recognize their root band's brilliance. I was devastated that The Raisins didn't make it and, after the 'dots' loosely tight/tightly loose set at Bunbury, I am relieved beyond measure The Raisins didn't make it. Success would have come at a great and terrible cost, and we would not have enjoyed 20+ sporadically splendid years of psychodots Power Pop bliss.
There may have only been 100 or so bodies at the Amphitheater Stage to witness psychodots' fabulousness (Fitz and the Tantrums were sucking up bodies like a UFO set to "harvest," and rightly so) but the 'dots never give less than 89%, and they were in full charge mode on Friday afternoon. There was Rob Fetters' squiggly guitar magnificence (I'd put him up against any guitarist in the history of Rock, and he'd be only mildly uncomfortable at being up against any of them), Bob Nyswonger's bass conjuring, using his instrument to evoke lead guitar and keyboard mayhem (and by instrument, I'm still talking about his bass) and Chris Arduser's master class in How to Drum with Power and Grace and Still Maintain a Smartass Attitude.
It was a delightfully eclectic set, with a number of old favorites ("Master of Disaster," "Living in a Lincoln," complete with Fetters' mom-inspired balloon-on-the-strings gimmick), a few quasi-oddities ("Candy," the rarely performed "The Problem Song") and a handful of non-'dots nuggets ("She Might Try" from Arduser's exquisite The Celebrity Motorcade, The Bears' "Veneer" from their last album Eureka, "Play Your Guitar" from Fetters' patently perfect new solo album, Saint Ain't, The Raisins' fist-pumping "Fear is Never Boring") and the band's always entertaining banter (Fetters apropos of everything: "Is anyone tripping?"; Bob Nyswonger after Arduser's observation that the evening was balmy: "Balmy," stretched langorously into two words). It was, in a number of words, a standard psychodots show, which means one of the best shows you'll ever see, local or otherwise. Long may they reign.
After the breathless 'dots set, I was torn between the Heartless Bastards' triumphant return to the area or the unlikely but much welcomed reunion of Veruca Salt's original lineup. With more than a couple of Bastards sets under my belt and the prospect of many more to come, I opted for Veruca Salt because, even if the reunion sticks, the possibility of the band's return to Cincinnati seems remote. The foursome did not disappoint, hauling out blistering favorites from their slim catalog in this iteration and reinforcing why we've loved their Glam/Pop brilliance for so very long. Whatever caused the rift between co-fronts Louise Post (who has kept Veruca Salt going in some form or other for the past 21 years) and Nina Gordon (who departed for a solo career in 1998), there was no evidence of any residual friction as the quartet blew like a hurricane through "Volcano Girls," "Straight" and their signature brain-boiler "Seether." The band even teased a couple of songs – including "It's Holy" from this year's Record Store Day single — from what was described as "their upcoming thing;" that thing cannot come soon enough. As final proof of Veruca Salt's newly minted reunion, Post and Gordon kissed at center stage amid a beautiful howl of squalling feedback. As the lights came up, the '90s called, they want their awesome back; they can blow it out their ass, because Veruca Salt is hanging onto it with all eight arms.
For the evening's closer, Empire of the Sun, the Main Stage was nearly as packed with bodies and gear as the field in front of it. The band's epic stage show, which has been described as Cirque Du Soleiel without the airshow, requires a lot of moving parts, and the Bunbury crowd arrived in significant numbers to witness the Rock/Synth Pop/Electronic spectacle. Empire of the Sun's primary sparkplugs, Luke Steele and Nick Littlemore, and a veritable army of players and dancers offered up a wall of Prince-like Glam/Pop guitar and a danceable solution of Depeche Mode Synth Pop menace, all updated to a millennial frenzy of Muse/Daft Punk proportions. But rather than non-descript and identity shielding space/BMX helmets, EOTS prefers elaborate tribal headdresses that look like giant pre-immolation phoenixes atop the principals' heads. At one point, the dancers were all playing fake neon guitars in a 21st century version of Robert Palmer's "Addicted to Love" video. All of this plays out in front of a constantly shifting projection of disparate and arty images and screen saver light squiggles combined with a choreographed and dazzling light show that is both compelling and distracting. That dichotomy within the Empire of the Sun presentation matches the broad spectrum of reactions to the band's Cincinnati debut (and one of only a handful of American dates); the majority of the crowd was fully engaged in the band's expansive Vistavision sprawl, while a few canvased friends offered up opinions that ranged from "That was as exciting as watching glitter paint dry," to "Meh, it's okay," to "I totally love this." Editorial critique aside, Empire of the Sun was every bit as epic as advertised, and everyone who looks for spectacle in their Dancetronic music mix got more than their money's worth with Friday night's Bunbury closer.
• I started the day with a deliciously smokey pulled pork sandwich from the geniuses at Eli's, a bun so overstuffed with barbeque goodness that it's actually a pulled pork sandwich with a side of pulled pork. It's as close to a religious experience as I've ever had outside of a church (where I have oddly never had a religious experience … go figure) or a music venue (where I've had plenty; I'm looking at you, Iggy Pop). Washed down with a Fathead beer, it was the perfect start to the third charmed Bunbury.
• At the Snowmine show, I ran into "Hey-look-everybody-it's" Stu, from Paul Roberts' Three-Amigos crew. Stu reported that Paul and maybe Big Jim would be along shortly. And, in fact, they were.
• On the way from X Ambassadors to the Amphitheater/Lawn Stage area, I ran into Eddy Mullet and his daughter Jess. Eddy is the volunteer host of the Friday night 6:00-8:00 pm shift at Class X Radio, where I have surreptitiously installed myself as his quasi-co-host; I do the weekly CityBeat Report, a rundown of weekend music events, and a segment I concocted called the Gang of Four Set, four songs that are connected by a theme of my own twisted design. Eddy is also the longstanding host of Kindred Sanction, the area’s longest-running local music program that was founded by Cynthia Dye Wimmer a fair number of years ago at WAIF. Cynthia brought the show to Class X six years ago, Eddy sat in occasionally as co-host and Cynthia backed out of the show to attend to her life. Eddy's passion for and knowledge of the local music scene is legendary, and anyone who has ever dealt with him knows him as a straight up guy and maybe one of the best boosters that local music has ever seen. Class X management has seen fit to cut the show's hours and alter the format, all of which is wrong-headed and counterproductive, but all that really matters to Eddy is spreading the gospel of greater Cincinnati's music scene. And Jess is turning into a Rock chick of the first order (not like that, you gutter-minded dimbulbs). Under Eddy's tutelage, she's becoming a pretty fair aficionado of local music herself; smart, funny and fearless, she will be a force to be reckoned with in some near future. At any rate, if you see Eddy wandering around, shake his hand and thank him for his long-suffering and often unappreciated work on behalf of local music.
• Eddy and Jess and I hit a run of shows together, including the ever amazing 500 Miles to Memphis, the astonishing Aaron Lee Tasjan (who Eddy hipped me to through his love of Drivin' n' Cryin'), the gear-stripping Lydia Loveless and the transcendent Black Owls. Eddy and I could talk music for days on end, which we do at every given opportunity. Eddy also introduced me to Aaron, who he'd met after a Drivin' n' Cryin' show; that kid is going places, if Eddy and I have anything to say about it.
• Finally ran into Paul and Big Jim at the Aaron Lee Tasjan set, with "Hey-everybody-it's" Stu in tow. These three are also a great bunch of music lovers and supporters, local and otherwise, with weird, esoteric tastes. In other words, my people. I love running into them, and swapping stories and having Paul buy me beers, which he most generously did during the psychodots' set.
• Also briefly caught up with the ever-stellar Kip Roe, freshly installed bassist for the Black Owls and a prince among men. His boys, Kip Jr. and Ben, were there to witness the Owls' casual brilliance (anchored by their dad's bedrock solid basslines), but post-show were anxious to head down to the Main Stage to witness the Soul/Pop frenzy of Fitz and the Tantrums. Kip and the boys won't be spending Saturday doing any Bunbury adventuring, as they're headed to a Modest Mouse show in Columbus (a bucket list event, as Kip described it), but they will be back for the Flaming Lips on Sunday. Kip's boys are huge Flaming Lips fans. God, I love Rock & Roll families.
• And speaking of such, my other favorite component of Black Owls shows is the chance to catch up with the Owl wives, Amy Butler, Carrie Losacker and Sarah Kitzmiller (and let's not forget Ed's girlfriend, whose name, like so many other things, slips my addled brain. Why, yes, I did enjoy the '70s. Why do you ask?). We were trying to come up with a name for their defacto support group; I propose the Owlettes, and given Friday's heat and humidity, the Moist Owlettes probably was more apt. At any rate, they are wonderful people to interact with, and I look forward to their company every bit as much as the Owls' soul-stirring, flashback-triggering presentations.
• And on that subject, Ed, his girlfriend and her daughter (again, names … I remember knowing them in some distant past; maybe if they had hats with their names on them. That's how Stu solved his dilemma …) caught up with me while I scarfing down a couple of cheese coneys before leaving Friday night and offered a heartfelt Rock & Roll tale. Ed's girlfriend's daughter (note to self: this would be better with names) is a huge fan of Walk the Moon and as fate would have it, frontman Nick Petricca happened to be in town and was catching the Empire of the Sun show. Ed's girlfriend's daughter spotted Nick, professed her undying love for Walk the Moon, they chatted for a bit and she got her picture taken with him. Nick is clearly one of the good guys and his very open and engaging response to a fan's sincere outpouring of love and support is one of the reasons for the band's incredible success. And, as I noted to Ed's girlfriend's daughter, "It's always nice when you meet your heroes and they're not dicks." Thus should it ever be.
• The only thing that could have made the night complete after that uplifting moment would be a quick run-in with Jacob Heintz, former Buckra guitarist and Rock volunteer of the gods, as his constant presence at MidPoint and now Bunbury will attest. Another one of the truly great people that define the Cincinnati music scene as one of best in the known universe. I am physically fading and spiritually soaring. It's a good feeling for the end of the first day of another fantastic Bunbury.
One year ago today, the city signed contracts to start construction on the streetcar. Fast forward 365 days, and the new transit loop through downtown and Over-the-Rhine is quickly taking shape. Roads are closed as major sections of track go in. Workers are constructing concrete slabs for the passenger stops. The cars themselves are being built. And the city recently named downtown-based Kolar Design to do branding work for the streetcar. The Business Courier has photos of the progress so far. Or you can just drive through Over-the-Rhine and see for yourself. Just don’t take Race Street if you’re hoping to get downtown — it's still closed at 12th Street.
• We’ve all lived with roommates who don’t always take out their garbage. It’s gross. But I guess it could be worse. Like, tens of thousands of times worse. The city recently shut down a compost company called Cincy Compost in Winton Hills after two years of complaints from miles around about the ghastly smells emanating from what is effectively an 80,000 pound pile of rotting food, but things could get worse before they get better. The heap, which is piled two feet deep, needs to be cleaned up by the city now that the company is no longer in business. It seems the business didn’t get the correct balance of garbage for the compost process to work and was overwhelmed by the sheer volume of garbage it took in. It racked up 45 code violations while it was open. Now the city will have to spend $250,000 to kick-start the process and finish turning the garbage into soil. That involves stirring all that garbage around, basically, which is only going to make the smell worse in the short-term. Gross.
• Community groups in the city will be holding a rally calling for an end to violence in the city at 7 p.m. in Piatt Park today. Last week, four people were shot, one fatally, in two separate but related incidents at the park. Cincinnati saw a surge in shootings early in the year, though that trend has slowed and the city may not see an increase over last year’s 75 murders. Forty-two people have been murdered in the city this year, many with guns.
• One guy who will not be at that rally, I’d imagine, is this dude, who threatened to shoot down a University of Cincinnati Health Air Care helicopter yesterday. Angry that the helicopter was flying too low over his Green Township house, Leonard Pflanz is accused of driving to Mercy West Hospital and telling the helicopter’s pilot that he would shoot him if he did it again. Pflanz is appearing in court this morning over charges stemming from the threat.
• General Motors may soon be in some big trouble with federal prosecutors, who are investigating whether the company made false statements about a defect in some of its cars that has killed at least 13 people. The defect relates to an ignition switch problem that has caused some GM cars to lose power while operating. The feds accuse GM of making misleading statements to the public about the defect, downplaying the dangers of the defective switches. The company has already been fined $35 million by the National Highway Traffic Safety Administration for dragging its feet in response to the problem. Some believe GM’s ultimate liability could end up being even more than the $1.2 billion Toyota was ordered to pay earlier this year over similar charges.
• Finally, Smithsonian Magazine reports that skin cells may be able to detect odors and that some of these odors may aid the body in the healing process. Basically, this means the whole surface of your body is receptive to smells in one way or another. This is interesting, maybe even great news, unless of course you live near a failed composting facility or something.
I saw Cincinnati Opera's production of Silent Night on Thursday evening. It's the regional premiere of a work that won the 2011 Pulitzer Prize for music, and our local opera is doing a bang-up job of presenting it. And "bang-up" is the operative term: This opera is set during some of the darkest days of World War I, and the opening segment of the production reproduces the violent and deadly combat between troops from England (actually a regiment from Scotland), France and Germany. You're not likely to see a more gripping onstage representation of battle than what's happening at Music Hall. Before Thursday's performance I listened to composer Kevin Puts and librettist Mark Campbell talk about how to "musicalize" such a scene: Their research included studying the opening sequence of the Saving Private Ryan, the graphic, Academy Award-winning film of the D-Day invasion during World War II. It's a powerfully real scene, a perfect opening to the moving tale of soldiers pitted as enemies who found common ground in one another's humanity on Christmas Eve 1914. You can get good seats for the concluding performance on Saturday evening (7:30 p.m.) for $30-$45 by calling the Opera's box office: 513-241-2742.
Area high school students are the talent in onstage for Commonwealth Artists Summer Theatre (C.A.S.T.) at Highlands High School (2400 Memorial Pkwy., Fort Thomas). Starting tonight is a two-week run (July 11-20) of The Addams Family, a Broadway musical based on cartoonist Charles Addams' bizarre and beloved family of characters. The group is headed up by Fort Thomas theater instructor Jason Burgess, who has assembled theater kids from the Greater Cincinnati and Northern Kentucky who are eager to develop their skills in performance and production. Tickets: $10 (http://www.showtix4u.com) or at the door.
Tony Award-winning musical next to normal, about a
woman with bipolar disorder, gets not one but two productions by
Cincinnati-area community theaters: Sunset Players on the West Side and
Paradise Players for East Side siders. You can choose between them tonight. The
venerable Sunset Players, which presents shows at the Dunham Arts Center (in
the Dunham Recreation Complex, 4320 Guerley Rd., Price Hill), has performances
through July 26,
mostly at 8 p.m.
Tickets ($14-$16): 513-588-4988. Meanwhile,
Paradise Players, a newish group offering summer productions at McNicholas High
School's Jeanne Spurlock Theatre (6536 Beechmont Ave.), is presenting its
rendition of the show this weekend only, tonight at 7:30 p.m. and Saturday at
2:30 and 7:30 p.m. Tickets: $15 (http://mcnhs.seatyourself.biz
We're mere hours from freedom, folks. I'll be quick today and give you the morning news rundown in short order so you’re ready for the weekend.
If you’re a gay or bisexual man, the Food and Drug Administration won’t let you give blood. A blood drive today at UC’s Hoxworth Blood Center in Corryville is drawing attention to that rule hoping to get it changed. The FDA first instituted the policy in 1984 at the height of the AIDS crisis.
Gay and bisexual men are encouraged to bring eligible proxy donors to Hoxworth today as well as sign a national petition to the White House asking it to reconsider the rule. Organizers hope to get 50 donors, and if you want to give to the cause, get to Hoxworth or call for an appointment before 4:30 today. The center has computers where you can sign the petition, which needs 100,000 signatures nationally by the end of the month. The blood drive is part of a national gay blood drive taking place in 60 cities today.
• After a pretty harrowing week downtown (four people were shot in two incidents near Piatt Park, one of whom died of his injuries) the Cincinnati Police Department says it will be out in force this weekend for Bunbury Music Festival. CPD has instituted a no vacation policy for officers over the next few days so they can cover downtown and the rest of the city. Apologies to all the hard-working officers out there who were looking forward to partying with Andrew W.K.
Police Chief Ken Blackwell says it’s part of a larger effort to make sure police are ready for big summer events. These include the National Urban League Conference coming the last weekend in July, which features a keynote address by Vice President Joe Biden. That weekend will also be an all-hands-on-deck scenario, Blackwell says.
“The bottom line is that we took an oath to protect the city, and sometimes police work calls on you to work long hours and do stuff you ordinarily wouldn't want to do,” he told WLWT yesterday.
• Those fancy New Yorkers at Esquire stumbled across our quaint little river town yesterday, it seems, and decided it was noteworthy enough to write about. Overall, it’s a super-positive piece about the city, which is awesome. There are some stumbles in the article, though–originally it spelled the city’s name as “Cincinatti,” called Vine Street “Vine Avenue” (both since fixed) and asserted that local treasure and all-around swell bar Japp’s Since 1879 has been serving for 120 years. That's especially befuddling because the name implies it’s been open for 135 years, though it actually opened in 2011. Also puzzling is the writer’s assertion that revitalization in the city is without “inherent class warfare.” As far as I can tell, that’s been a pretty visible fight here in the city for decades, but, you know. These are small quibbles. The piece does highlight some great spots in town, including Japp’s, Everybody’s Records (no Shake-It, though!) and Holtman’s Donuts. It also enlightened me on a possible place to get a haircut downtown. Anyway, you should check out the article, even if it’s only to copy edit it further.
• Finally, here’s an interesting article about how ride share company Uber is restructuring how much it charges for rides, and why that matters in the grand scheme of urban transportation. With Uber and Lyft becoming more of a force in the Cincinnati area, it’s a good read.
More demand for housing aid and less money from the feds have combined to create a simple but brutal equation swelling the number of homeless individuals and families in the Cincinnati area and across the country. As more low-income people need affordable places to live, they have fewer housing options to choose from and less federal aid available to them, data shows. That’s left an increasing number of families and individuals on the streets.
In 2011, $2,225,000 was available to Hamilton County residents for rental assistance through the U.S. Department of Housing and Urban Development. This year, it’s just $750,000. These federal funds provide much-needed aid to families struggling to make rent payments.
The cuts come at a time when affordable housing is getting harder to find. The amount of available affordable housing has decreased by 6.8 million units since 2007, while the number of very low-income renters who need it has grown by more than 2.5 million, according to data from the Harvard Joint Center for Housing Studies.
The money spent on rental aid in the past made a dent–a study by the National Alliance to End Homelessness found the number of people experiencing homelessness in the United States dropped by 17 percent from 2005 to 2012, despite the economic recession and national housing crisis. Especially effective was the 2009 Homelessness Prevention and Rapid Re-Housing Act, which spent $1.5 billion to aid families experiencing or at risk of homelessness.
Locally, federal programs have been crucial. Nearly all families in Hamilton County who received rental assistance through such programs avoided becoming homeless, according to a report by Strategies to End Homelessness, a Cincinnati non-profit.
Despite the success of the program and increasing need, the number of people in Hamilton County served by federal anti-homelessness efforts has dropped by more than 56 percent since 2011.
That year, 2,810 people received rental or utility assistance in Hamilton County from programs provided by the U.S. Department of Housing and Urban Development. That number dropped to 1,870 in 2012, and dropped again to 942 in 2013. This year is on pace to see a similar number–about 966– receive the services.
Meanwhile, the number of homeless in the county is rising. 8,271 people in Hamilton County experienced homelessness last year, according to the Strategies report. That’s up from 7,838 people in 2011 and 7,983 in 2012.
Families are hit especially hard hit by federal spending cuts.
"I have never seen this many families come to us from sleeping in a car," Darlene Guess, director of client programs at Bethany House Services, told the Cincinnati Enquirer July 9. The Cincinnati area's five shelters that serve homeless families in the city help about 1,000 families a year, service providers estimate.
The reductions come as a result of the 2011 sequester, continuing across-the-board cuts to federal programs that happened as a result of Congress not being able to reach budget agreements. Some of the funds were first allocated during the federal government’s 2009 stimulus efforts.
Shortfalls at HUD caused by the cuts could eventually mean as many as 140,000 fewer families nationally will receive rental assistance, and that 100,000 homeless or formerly homeless people will be cut off from other assistance programs offered through HUD.
Other dynamics associated with gridlock in Congress have exacerbated the problems facing low-income people on the brink of homelessness–Democrats and the GOP in Congress have fought a pitched battle over extending unemployment benefits for millions of Americans, for instance, as unemployment levels recede at a stubbornly slow pace. Many have reached the end of their benefits, and now struggle to pay rent or mortgages.
Three years ago on summer vacation, I heard about Pitchfork Music Festival from my older sister. She went to the festival with friends from her college radio station, and told me about spending the weekend in Chicago, crashing on a friend’s apartment floor and navigating the train system. It didn’t sound particularly comfortable, but I wanted to see for myself.
The next year, I bought my ticket and found my way to the festival grounds, an ordinary public park with baseball diamonds and a conveniently located CTA train stop. During last year’s festival, which was filled with uninvited weather, I stood in the rain to watch Bjork, who was dressed like an extraterrestrial porcupine, and witnessed Lil B, “The BasedGod,” inspire thousands of his devoted supporters. I left exhausted, but figured I would come back next year.
Heading into the festival this year, I was excited for the headliners and many smaller artists I’ve never seen. But as I walked into the park on Friday, there were two major surprises: a clear sky and free Twinkies.
I arrived at the festival in the early afternoon and headed over to the Blue Stage in the corner of the park. I listened to the Haxan Cloak for a short time, before leaving to see Sharon Van Etten on the Red stage. As I waited, my anticipation grew waiting to hear her perform songs from her outstanding new album, Are We There. Once Neneh Cherry ended on the adjacent stage, Van Etten began with “Afraid of Nothing,” the album’s first song.
She wasn’t afraid of anything, jumping right into the performance by displaying her honest songwriting, singing “You told me the day/That you show me your face/We’d be in trouble for a long time.” Near the end of her set, she humbly thanked her band and began the melancholy “Your Love is Killing Me."
After focusing on Van Etten’s lyrics that revolved around the difficulties of love, I was ready for Avey Tare’s Slasher Flicks to take the stage. The newly formed trio is led by Animal Collective member Dave Porter, who joined forces with former Dirty Projector member Angel Deradoorian and ex-Ponytail drummer Jeremy Hyman to create their first record, Enter the Slasher House.
There’s more to Slasher Flicks besides Avey Tare as Deradoorian controlled the woozy synths and driving basslines behind a stack of keyboards and contributed another layer with echoing vocals.The second “Little Fang” began, the crowd bobbed their heads, moving to the beat of the punctuated bassline. The crowd later joined Avey Tare in singing the song’s chorus, “You’re something special/You’ve got to shout it out/If there are doubts then we will groove it out.” Nearly the entire crowd agreed with Avey’s lyrics and kept a high level of energy until the finale, “Strange Colores”.
After getting back late from seeing Deafheaven at the Bottom Lounge, I would have loved to sleep in before starting Day 2, but after seeing Twin Peaks at the Northside Rock n’ Roll Carnival, I couldn’t miss seeing the band play in their hometown. Frontman Cadien James certainly wasn’t going to let his broken leg stop him as he rolled out on stage in a wheelchair.
The young band played a mix of old songs, like “Baby Blue,” and tore through crowd favorites “Flavor” and “I Found a New Way” off their upcoming album Wild Onion. The entire band was elated to be kicking off the festival’s second day in front of many of their friends.
Cloud Nothings performed later in the day on the red stage, following a great performance by British quartet Wild Beasts. I watched from afar as I grabbed a spot up front for Cloud Nothings. After seeing them at Midpoint Music Festival in 2012, they’ve become one of my favorite bands, and one I most anticipated seeing at Pitchfork.
Lead singer Dylan Baldi walked on stage and counted off “Now Here In”, the first track on their sophomore album Here and Nowhere Else. The moshpit broke open during “Separation”, while the security guards constantly motioned towards each other every time they spotted a crowd surfer. Like most shows, Baldi ended with “Wasted Days,” but this time, he brought out two friends to add more power to the grueling, eight-minute track.
Leading up to the festival, Sunday sold out the fastest, partly due to the Kendrick Lamar’s headlining spot, but most likely because the entire day was filled with exciting acts. I also wanted to check out some of this year’s upcoming Midpoint Music Festival performers (Speedy Ortiz, Mutual Benefit and Real Estate).
After eating a much-needed breakfast in Logan Square Sunday morning, I was ready for the final day. But, without thinking, I boarded the wrong train on my way to the park, forcing me to backtrack to the loop. I got to the festival just in time to head over to the Blue Stage to see Speedy Ortiz, a band from Massachusetts who played a handful of songs from their awesome record Major Arcana. Then I went to the Green Stage to see Mutual Benefit, a Folk project created by Columbus native Jordan Lee. His stunning music was a great fit for the crowd that was spread out across the festival grounds.
Throughout the entire day, the Red Stage was filled with amazing shows by the likes of DIIV, Earl Sweatshirt and Grimes. DIIV played a cover of Bob Dylan’s “Like A Rolling Stone,” along with a handful of new songs. Real Estate started its set in the early evening with a cover of the Nerves’ “Paper Dolls” and worked in a few songs from previous records. The crowed responded the most to “Horizon” and “Crime” from the new album Atlas. Once Real Estate ended, I took a break to sit down with friends and eat some pizza. After resting up, I was ready to see Kendrick perform for the first time after missing him multiple times in Cincinnati.
While Kendrick Lamar was still on his ascension to the top when he played Pitchfork two years ago, there’s no question he deserves the headlining spot. He’s considered the king of the West Coast after releasing his major label debut that detailed his life in Compton.
Finally, the lights were lowered and the screen lit up, showing the beginning of the short film that accompanied Kendrick throughout his set. The large video screen later projected scenes of empty liquor bottles rattling on the floor during “Swimming Pools (Drank)” and Kendrick driving his mom’s purple Dodge Caravan down Compton’s Rosecrans Avenue in the late hours of the night.
As his backing band began playing “Money Trees”, Kendrick came out to a roaring crowd. The energy continued as Kendrick began “Backseat Freestyle” and later performed “m.A.A.d city.” Every minute of the show Kendrick had the audience’s full attention, whether they were rapping along or listening to him speak. After performing every song fromgood kid, m.A.A.d. city, Kendrick left the stage, only to come back to perform “A.D.H.D” from Section .80. The 27-year-old rapper proved that with his skillful vocal delivery and interactive showmanship, he possesses the ability to connect with his fans and capture the attention of a crowd any size.
After finding my way out of the park, I realized that the Pitchfork Music Festival might be the only time where Shoegaze pioneers Slowdive, the widely recognizable Earl Sweatshirt and Disco legend Giorgio Moroder all played on the same stages in one weekend.
Pitchfork, the website, may be criticized for their decimal rating scale, or removing poor reviews of albums (i.e. deleting their 0.8 rating/review of Belle & Sebastian’s mid 2000’s comeback album The Boy with the Arab Strap), but each summer music-fans leave its festival satisfied. The bottom line is that Pitchfork creates a music festival featuring an eccentric lineup, consistent ticket prices and much smaller grounds than most major music festivals.
If you go to Pitchfork next year, expect a balanced dose of Indie Rock, Hip Hop, Folk and much more for $140 in Union Park with 18,000 people standing in the outfield of a baseball diamond.
It’s a pretty good morning for news, so let’s get to it.
The epic struggle in city council this spring over the Central Parkway bike lane is barely a memory and the city is well on its way to a protect bike route from uptown to downtown. Crews are painting the new lanes right now, like, probably as I type, sectioning off a whole portion of the road meant only for cyclists. No more frantically looking over your shoulder every three seconds, bikers. No more getting caught behind a cyclist when you’re late to work, drivers. Everyone wins. After the lanes are painted and signage about new parking patterns is installed, crews will put up the plastic poles between the road and the bike lane, and we’ll all be ready to ride.
• A non-profit development group for the city’s uptown neighborhoods is looking for land to purchase in order to make a new federal research center a reality. The Uptown Consortium is trying to find the 14 acres in Avondale and Corryville near Reading Road and Martin Luther King Blvd. for the National Institute of Occupational Health and Safety to build its multimillion dollar headquarters. NIOSH already runs two facilities in the region—one in the East End and another in Pleasant Ridge. This facility would consolidate the two and bring hundreds of jobs to the uptown area. Both the current facilities are 60 years old. The area is already home to a number of health facilities, including UC Health and Children’s Hospital. Representatives for the consortium said the land hunt is an ongoing project with no set timeline just yet. NIOSH researches issues around workplace safety.
• The Hamilton County Coroner yesterday released the autopsy report for Brogan Dulle, the 21-year-old UC student who went missing in the early hours of May 18 and was later found hanged in the building next to his apartment. The report confirms what authorities believed—that Dulle’s death was suicide. No signs of trauma or struggle were found on Dulle’s body other than the hanging-related injuries that caused his death.
There are still puzzling elements about Dulle’s death, mostly around why he would want to commit suicide.
“It's an investigation that's raised a lot of questions and we still have a lot of questions we may never know the answers to," said Assistant Police Chief Dave Bailey.
• Food stamp usage is down in Ohio, Kentucky, and Indiana, following a national trend, says a report from the non-partisan Center for Budget and Policy Priorities. The report found that usage dropped more than 4 percent in Ohio from Feb. 2013 to Feb. 2014. Some of this news is good–a portion of those spending reductions came from a decrease in demand due to the economy’s slight but steady improvement. But some of the reductions come from last year’s cuts to the Supplemental Nutrition Assistance Program, the government’s main nutrition aid effort. SNAP spending by the federal government increased following the great recession as more individuals and families navigated tough economic situations and found themselves needing aid. That increase became a talking point for Republicans looking to slash government spending. At its peak in 2010 spending from the SNAP program accounted for .5 percent of the nation’s gross domestic product, nearly double what it had been earlier in the decade. Conservatives in Congress used the fact spending had gone up to attempt deep cuts to the program, passing several new stipulations. As the economy gets better, and as these cuts have taken effect, spending on SNAP has dropped to .25 percent of the nation’s economy, according to research by the Congressional Budget Office.
• Do you like alcohol, but hate that it’s in that hard-to-transport liquid form? Science has you covered. Turns out there’s a product called Palcohol that is, you guessed it, powdered, freeze-dried alcohol. Kind of like astronaut ice cream, only it’ll get ya drunk. This definitely reminds me of a certain Parks and Recreation bit. While Ron Swanson says there’s no wrong way to consume alcohol, the Ohio General Assembly wouldn’t say that. Lawmakers are working on a bill to ban the product. Palcohol received approval from the Bureau of Alcohol, Tobacco, and Firearms, though ATF quickly reversed that decision. It’s also been banned or will soon be banned in a number of other states including Alaska and New York. Turns out, things that aren’t that great for you anyway are even worse for you in powdered form. In May, an 18-year-old Ohio man died from consuming a heaping helping of powdered caffeine. The FDA now warns consumers to, you know, not do that kind of thing. Palcohol's inventor released a video addressing some concerns about the product, which you can check out right here.
Northside Community Council voted July 21 to allow a needle exchange program in the neighborhood. The effort, run by the Cincinnati Exchange Program, will start sometime in August and operate from a van one day a week for three hours at a time. Planned Parenthood will also participate, providing testing services for diseases like HIV and hepatitis.
Exchanges, which aim to cut down the transmission of those diseases among intravenous drug users, have been controversial in the city. A similar effort in Springdale earlier this year was shut down after just a few weeks due to outcry from some in the community. But the community council in Northside thinks the program is worth it.
“The community has been doing its due diligence as to how the program would work and what the repercussions are, and decided the health benefits definitely outweigh any consequences,” said Northside Community Council President Ollie Kroner. “Northside wants to be part of the solution to the heroin epidemic.”
A 2012 study by the U.S. National Library of Medicine found that needle exchange programs can greatly reduce the number used syringes found littering streets. And a 2004 study by the World Health Organization found that exchanges do not increase the rate of heroin use in areas where they are undertaken.
Heroin addiction has been rising steadily in Ohio in the past five years. 2012 Ohio Department of Health data shows that 159 people in Hamilton County died from heroin overdoses, a 6 percent increase over the year before. Experts trace the epidemic to an increase in the availability of prescription opiates in the last decade. As Ohio has cracked down on those drugs, addicts turn to other, similar drugs to experience the same high. The most popular by far is heroin.
Local organizations, including Northside-based Caracole work hard to fight heroin addiction and prevent overdoses. But as heroin use increases, needles infected with various blood-borne diseases including HIV and hepatitis are a serious concern. Hepatitis C in particular has been increasing among intravenous drug users in the area. Needle exchanges allow a person to exchange a used needle for a new, sterile one, so they at least won’t catch deadly diseases associated with intravenous drug use. The exchanges also cut down on the level of needle litter, meaning less risk of exposure for community members who aren’t using.
Opponents say exchanges encourage heroin use, but supporters of the programs say the availability of clean needles alone won’t sway a person to take or not take the incredibly addictive drug.
Kroner said the effort is a six-month pilot program to demonstrate the benefits of needle exchanges. Though some in the community have expressed concerns that the exchange will create a perception that Northside has a heroin issue, Kroner emphasized that the program isn’t a response to any specific drug problem in the community.
“What we’re really hoping is that Northside can show that this kind of program can work in other communities,” Kroner said.
It's morning! I have news! Morning news! Wow, sorry, that's a lot of exclamation points. I sprung for the large iced coffee this morning and probably need to settle down a little. Anyway, here we go:
Cincinnati is playing host to the annual National Urban League Conference this week. The event, held by one of America’s oldest and largest civil rights organizations, is expected to draw 8,000 people to the city for events Wednesday through Saturday.
The conference is a big deal for Cincinnati. Last time the city tried to host the event in 2003, it was recovering from the 2001 civil unrest that gave Cincinnati a national reputation for race problems. Notable black entertainers boycotted downtown and the Urban League took its conference elsewhere. Since then, some reconciliation and a lot of revitalization has happened, but many old problems remain. In a report called “The State of Black America,” the Urban League ranked the city 74th out of 77 peer cities in terms of economic equity between blacks and whites. Blacks in the Greater Cincinnati area make an average of $24,272 a year compared to $57,481 for whites, the greatest disparity of any city in the region.
Here’s a quote worth thinking about in a Cincinnati Enquirer piece on the event:
"The riots ... were also about economic frustration," said Donna Jones Baker, president and chief executive of the Urban League of Greater Southwest Ohio. "These economic gaps continue. And while we have a vibrancy in the city because of wonderful things happening, we have a group of people who can't access them. We can’t expect people to suffer in silence forever.”
Among those attending the event are Vice President Joe Biden and Kentucky Senator Rand Paul. Biden will make opening remarks Wednesday and Paul will deliver a town hall speech Friday. This seems like a good opportunity for both to keep their speaking short and their listening long, but yeah.
• The cost of renovating Union Terminal and Music Hall may be more than initially estimated, a group of consultants say. International real estate company Hines looked over engineers’ $331 million cost estimates and found places where more money may be needed for both projects. The possible overrun could amount to $10 million more added to the project.
The revelation comes during a continuing disagreement about where renovation money should come from. Hamilton County Commissioner Greg Hartmann suggests the city chip in to help shore up the landmarks. Hartmann argues that the county can’t “go it alone” in efforts to fix the buildings. A further city contribution would be in addition to the $10 million the city has already pledged for the renovations. Mayor John Cranley shot back at Hartmann yesterday with an editorial detailing the city’s ongoing commitment to the buildings.
• A group of parachutists landed on a parking garage at Fourth and Elm yesterday, according to police. Annnd…. that’s about all anyone knows about it. The group may have been BASE jumpers parachuting from Carew Tower, or may have jumped from an airplane, though air traffic controllers at Lunken Airport didn’t report anything out of the ordinary. Maybe they were protesting something, but none were wearing tiger suits or waving banners shaming Procter & Gamble, so it's hard to tell.
• Horseshoe Casino, which has been open just over a year, is undertaking a half-million dollar, 8,700-square-foot expansion. The new addition sounds like it will be a patio for people to take smoke breaks when they need to cool off from all the fun they’re having fighting battles against the one-armed bandit (that’s a slot machine for those not hip to casino lingo). The patio will be enclosed, have a bar and will only be accessible from inside the casino, Horseshoe representatives say, though they’re tight-lipped so far about further details.
• Cincinnati and Mayor Cranley are featured prominently in a Governing magazine article about changes in the way cities view their outlying suburbs. The article discusses how some cities are shifting away from the view that suburbs are valuable prizes to be annexed or wrapped up in Indianapolis/Louisville-style city and county combined governments. A renewed interest in cities among the young and well-to-do and an increase in suburban poverty are cited as reasons for the shift in thinking from some city leaders.
Cranley’s view that Cincinnati is just fine without taking over surrounding suburbs challenges conventional accepted wisdom.
“You had a sentiment that urban cores need the wealth of the suburbs to have a better budget picture,” he says in the article. “People in the suburbs escaped the city to flee the problems. But that’s changing. You’re going to see cities in a better financial situation than a lot of the suburbs.”
• Finally, a story that could (hopefully) only happen in New York City, where a developer has won permission from the city to have two separate entrances in a new apartment building — one for well-to-do residents of its luxury units and another for the tenants of its required-by-law affordable units. So, basically, a poor door.
Last year, another developer explained just such a plan for another building thusly:
“No one ever said that the goal was full integration of these populations,” said David Von Spreckelsen, a senior VP at Toll Brothers, a New York development company. “So now you have politicians talking about that, saying how horrible those back doors are. I think it’s unfair to expect very high-income homeowners who paid a fortune to live in their building to have to be in the same boat as low-income renters, who are very fortunate to live in a new building in a great neighborhood.”
Translation: Being rich is hard when you have to rub elbows with not-rich folks, who should just shut up and enjoy the crumbs we’re throwing them.
Don't walk. Run to the School for Creative and Performing Arts (SCPA) to catch the remaining performances of La Calisto, an opera composed in 1653 that's equal parts romance and raunch, performed by a superb cast of singers, instrumentalists and dancers who are all clearly having a wonderful time.
Composer Franceso Cavalli was savvy enough to take opera out of palaces and into public theaters, where he made a fortune. He used the story of virgin Calisto, a follower of the goddess Diana, who is seduced by Jove and transformed into a bear by the vengeful Juno. Diana has her own problems with hormones and so does another of her followers. There's not much sacred and a lot of profane, not to mention profanity.
There's a lot of transformation going on: Jove disguises himself as Diana to get it on with Calisto, meaning that bass baritone Daniel Okulitch puts on a long white robe, dons a wig and sings in convincing falsetto. A horny follower of Diana is sung by a male, a high soprano takes on the role of a frustrated satyr — and just what gender are the rest of Pan's satyrs and Diana's huntresses? Ted Huffman's staging is witty and occasionally wild; the battle between Pan's and Diana's tribes seems to involve more than the six or seven dancers onstage, thanks to the acrobatic choreography of Zack Winokur.
Okulitch sings Jove with the requisite authority and gravitas, which also renders him ridiculous when lust for Calisto overtakes him. Okulitch is equally adept singing in falsetto, which is no easy task when it involves vocal ornamentation. Andrew Garland, a great recitalist with innate comic instincts, is a natural as Jove's gofer Mercury.
Aaron Blake may be diminutive in stature but he has a huge, ringing tenor, and he was a hilarious Pan. Michael Maniaci sang Diana's lover Endymion, his pure male soprano giving the role genuine tenderness. Thomas Michael Allen sang the libidinous nymph Linfea entirely in falsetto.
The women are all excellent, especially soprano Nathalie Paulin, a convincingly innocent Calisto. Mezzo Jennifer Johnson Cano was a formidable Diana, singing with authority and melting emotion. Alisa Jordheim's agile soprano easily handled the demands of the frustrated Satirino, and Alexandra Deshorties embodies vengeance and fury as Juno.
The chamber orchestra is joined by the phenomenal Catacoustic Consort and during intermission, a lot of the audience stopped by the orchestra pit to check out the theorbos, Baroque harp, lirone and viola da gamba. Conductor David Bates led a lively, nuanced reading of the score.
The action plays out on a unit set used for last year's Galileo Galilei, with a wonderful star curtain that descends as Calisto ascends to the heavens to become Ursa Major, or the Big Dipper.
La Calisto is Cincinnati Opera's first Baroque opera and they couldn't have made a better choice. It's heavenly.
The third and final day of Forecastle finally arrived. The fest’s weekend felt much longer than, well, a weekend, though each day seemingly flew by. By this point, the festival started to feel like home.
I entered the media tent expecting familiar faces, waited like a patient puppy in front of its food bowl for happy hour, snagged a band interview or two and wandered from stage to stage. Despite my tired eyes, I knew that I could get used to this. Like all good things, though, Forecastle had to come to an end. But not before one last day of fun.
I got to the fest just in time for The Weeks at the Boom Stage. After interviewing the band the previous day, I was looking forward to seeing what they would present live, and I wasn’t disappointed. A Southern-rooted band (Mississippi-rooted, to be exact), the Rock vibe was heavy with lead vocalist Cyle Barnes belting out his husky, Caleb Followill-esque lyrics. These young and rowdy dudes proved to be the perfect start to a sunny afternoon of music.
I scooted away from the stage to browse through the artist tents behind me. As I’ve said, I’m a total sucker for band posters, so off to shop I went. Thankfully my new friend Coltin found me before I could spend too much and we made our way to happy hour in the media tent.
It is quite possible that this is the most pizza I have ever consumed in a three-day period, but when free food calls, one must answer. After taking advantage of the day’s free amenities, Coltin and I attempted (and failed) to get into the Bourbon Lounge, so found our way to the Mast Stage for Brett Dennen. The songs that Dennen write are simple — They aren’t trying too hard, but they’re pleasant, and Dennen’s vocals tie everything together quite nicely. After several songs, though, it was time to wander again, so to the Boom Stage I returned.
Trampled By Turtles was next on my list, as I was scheduled to interview them that evening. Day 3 was much hotter than the others — the cool breeze that carried us through Days 1 and 2 had left us, and bodies glimmered in the summer sun. If you’re getting the idea that this stopped anyone from basking in the heat for their favorite bands, you’re wrong. I realized this as TBT began their set, the audience dancing without hesitation. Perhaps this proves to be true for most shows, particularly at a festival such as this — our bodies ache, our feet hurt, we are “hangry,” but once the music begins we forget it all. We are taken to a different place. TBT did this for their audience as the incredibly fast-fingered Erik Berry on the mandolin drove the crowd wild. It was a sight to see.
Day 3 required much more wandering on my part and floating between bands, so, knowing that I needed to at least catch a few songs from Jenny Lewis’ set, I made my way to the Mast Stage. Wishing my beagle Rilo (named after Rilo Kiley) was with me, I swayed to Lewis’ songs from her latest album, The Voyager, and was quickly reminded of why I fell in love with her old band some years back. Lewis is a little sassy and a lot of fun, rocking out on stage with her band dressed in white and rainbow suits. After a few songs it was time for my last interview of the fest.
I met with a few guys from Trampled By Turtles in the media tent for a quick chat, though I was admittedly distracted by the sounds of Nickel Creek in the distance. I wrapped up our interview and bolted to the stage like I’ve never brisk-walked before. With a smile on my face and happy tear in my eye, I was thrilled to watch a band that I’ve adored since middle school.
I cannot begin to describe how happy I was to see Nickel Creek, especially considering they played so much of their early material. Songs like “The Lighthouse’s Tale”, “Reasons Why” and “When You Come Back Down” from their 2000 self-titled album and “This Side,” along with the instrumental tunes from 2002’s This Side, were all featured, and each song sounded as perfect as the recordings. After so many years, Nickel Creek sounds as beautiful as ever and the band even has a new record out, A Dotted Line. I think I could have died a happy gal after seeing them.
After Nickel Creek, until Beck’s Forecastle-ending performance, I travelled from stage to stage (mostly in search of food) and ran into Adam, a fellow photojournalism pal from school. It was nice to see a friend after only briefly seeing familiar faces throughout the day, so together we went to dance to Flume. It was quite literally a party under the freeway as the Australian DJ blasted his beats from the stage, hands in the air and a sea of bodies moving in sync. Once that set ended it was time for Beck, and Adam and I ran to the stage.
Over the course of Beck’s first few songs we managed to weasel our way toward the front, getting closer to the main stage than I had been the entire weekend. There couldn’t have been a more perfect end to Forecastle.
Beck sang the beautifully airy and springtime-sounding songs from his latest release Morning Phase, but didn’t fail to bring the party with old favorites like “Loser”, “Girl” and more, eventually ending the night with “Sexx Laws” for the encore. One would never realize that Beck has been at this for as long as he has. His energy was amazing; bouncing across the stage between band members, the party atmosphere was what we needed to wrap up the night (and fest).
The audience was immense but was perhaps one of the friendliest crowd I encountered over the weekend — not sure if that’s due to the realization that our tired feet would soon get the rest they needed or perhaps it was just the booze. Either way, Forecastle ended with one of the best shows of the weekend, and we left on the perfect note to wrap up the fest.
Things to know for Forecastle if you plan to go next year: Wear comfortable shoes. Know that if you come in sandals, you will leave with very dirty feet.
Stay hydrated. Keep water with you, especially if the weather is as hot as Day 3 this year. Music festivals require long days, so don’t forget to take care of yourself.
Come with a schedule. You can create a custom schedule on the Forecastle website and print it out, something that helped me immensely this year in keeping track of things. Don’t be afraid to go outside your comfort zone, though. Discovering new music is what festivals are all about!
Heavy stuff in the news today, but there’s a bright spot at the end of this rundown, something so inspiring it will probably change your life. Well, maybe just your week. Err, I don’t want to oversell it. I promise you’ll be amused for at least a couple minutes if you make it to the end of this. Read on.
The next chapter in the saga of nine Greenpeace activists who hung banners from P&G buildings happens today. A pretrial hearing will determine whether lawyers for the activists will be able to access P&G e-mails about the event to use in their case. Lawyers are also requesting records about maintenance of the building, more than likely related to the alleged $18,000 in damage done to windows in the building. That damage is part of prosecutors’ case that the group should face felony charges. Meanwhile, the Greenpeace activists are considering a plea deal that would keep them out of jail but saddle them with probation and felonies on their records. A date for the trial is expected to be set today.
Update: One of the nine protesters will take the plea deal, WLWT reports. The other eight will go to trial to face burglary and vandalism charges.
• Hundreds rallied downtown Sunday to show support for Palestinians living in the Gaza Strip, where more than 400 civilians have been killed over the past few weeks in clashes between Israel and Palestinian militant group Hamas. Local protesters said their rally was about highlighting Palestinian civilians’ human rights.
“We have to be the voice for the voiceless," said Zeinab Schwen, a Symmes Township resident with family in Gaza. "For the children and parents, we have to speak up. It is not OK. It is not OK what Israel is doing.”
Israel launched a ground offensive Sunday in Gaza in response to rocket attacks from Hamas. Israeli leaders say they’re not trying to hurt civilians, and that Palestinian militants are putting them in harm’s way. But some witnesses claim that the Israeli army is targeting ambulances and other civilian vehicles as it carries out its offensive. In addition to the hundreds killed in Gaza, more than 3,000 Palestinians have been wounded by the fighting. 20 Israeli soldiers, including two with American citizenship, have also been killed.
• Macy’s, the Cincinnati-based department store behemoth, is nearing a settlement in a civil rights suit brought by actor Rob Brown. Brown, the star of TV series “Treme,” says the chain’s New York City store profiled him and others due to his race. He is black. According to his suit, Brown was handcuffed and detained by security at the store for more than an hour when attempting to buy a watch for his mother. Other shoppers have filed similar complaints alleging they were held by security and accused of stealing because of their race. Details of the upcoming settlement have not been released.
• More questions are arising about ethics in the Ohio Attorney General’s office. The Dayton Daily News had an investigative piece Saturday about the AG’s office and the way it hands out contracts to outside firms. It’s a subject that has been reported on in the past–a number of media outlets have investigated law contracts the AG has awarded to legal firms who donate to the DeWine campaign and the Ohio GOP. Today’s piece finds similar connections with contracts awarded to firms to collect on debts owed to the state. The piece finds a high correlation between firms that donate to DeWine’s campaign and ones that get those collections contracts. Especially noteworthy are instances where firms run by those close to DeWine win contracts over more experienced vendors.
• Death and destruction. Racial Profiling. Allegations of cronyism. To give you a break from all the doom and gloom in this morning news, I found someone who has attained an amazing, completely laudable achievement, someone who can restore our faith in humanity and expand our understanding of what is possible in this world. It’s this guy, who just set the world record for number of tattoos of the same cartoon character on a person’s body. He has 41 Homer Simpson tats, all on his arm. He’s reached this pinnacle of human achievement despite having been forbidden from watching the show by his father, who he calls “a real life Ned Flanders” when he was growing up. Next time you think you can’t do something, that your goal is too hard, that the world is too harsh, remember this man.
It is with sadness that we report the death of one of Cincinnati's great art patrons, Lois Rosenthal, at age 75. This notice was in today's issue of The New York Times:
ROSENTHAL--Lois, 75, on July 20, 2014, died peacefully. She is survived by her husband Richard, their children Jennie (Allan) Berliant and David, her grandchildren Elizabeth and Andrew Berliant and Eva and Mae Rosenthal, and her brother Harvey (Mary) Reis. An activist, environmentalist, supporter and participant in organizations that defended the oppressed, the hungry, and the disadvantaged, she initiated many programs and activities. From the Ohio Innocence Project which has exonerated 17 wrongfully convicted people, to the Fresh Produce initiative at the Freestore Foodbank, and the Rosey Reader Program which has provided books to over 30,000 Cincinnati Public School children, grades K-3, to foster a love of reading, to her creation of Uptown Arts which provides free classes in art, music, acting and dance to five-ten year old city kids. During Lois' 28-year tenure on the board of the Cincinnati Playhouse in the Park, she and her husband established the Rosenthal New Play Prize which produced 15 world premier productions, several nominated both for the Pulitzer Prize and produced in New York. As a member of the Board of the Cincinnati Art Museum, Lois and Dick endowed the museum to allow free admission in perpetuity. Lois was also a member of the Board of The National Underground Railroad Freedom Center. There, once again drawing on her compassion for those with little or no voice, she envisioned, championed and funded Invisible: Slavery Today, the world's first museum-quality, permanent exhibition on the subjects of modern-day slavery and human trafficking. Along the way, Lois wrote a weekly consumer column for the Cincinnati Enquirer for 10 years, had a call-in radio show, and wrote features for several national magazines. Among her seven books, Living Better was a Book of the Month Club selection. Lois relaunched Story magazine in 1989 with her husband. In five of the 10 years she edited Story, it was nominated for the National Magazine Award for short fiction. In two of those years Story won the prestigious award. Like the founders of Story-- Whit Burnet and Martha Foley-- who first published the works of today's marquis writers, Lois first published stories by Juno Diaz, Elizabeth Graver and Nathan Englander among others. Mother, wife, friend to many, Lois Rosenthal transformed organizations, intellectually and with creative determination. We're all better for her high standards, her dynamic personality, the impact she made on so many lives, and her contagious enthusiasm for doing good.There will be a memorial service in the Marx Theater at Cincinnati Playhouse in the Park at 4:30 p.m. on Sept. 15.
What I love about Day 2 of a fest is that I usually have my bearings — I understand the layout of the festival and know how to find what I need. What I love more about Day 2 of a fest is that, while things seem the same, there is still much to be discovered, like new music, food and more. When Day 2 of Forecastle arrived, I went into the morning with expectations that would end up being far exceeded.
I got to the press tent early Saturday to meet with my first interview of the day, with Australian band Boy & Bear. I saw these guys perform at CMJ Music Marathon several years back and it was good to catch up with them again. I suggest listening to their latest record, Harlequin Dream, just released last year, if you‘ve never heard Boy & Bear before. The band will also be making their way across the United States in October, so look out for them! (LIYL The Avett Brothers, Trampled By Turtles).
After talking to Dave and Dave of Boy & Bear, it was still early in the day, and I forgot that music didn’t start for another couple of hours. Thank goodness it wasn’t too early for Heine Brothers’ Coffee, so to my iced coffee sanctuary I went. The morning felt nice and calm before the craziness that is Forecastle arrived, so I took a moment to walk the grounds and soak everything in. I could feel great things coming for that day, and great things indeed did come.
When the music finally began, I went to find my way to the Boom Stage (my unofficial favorite stage of the fest this year, I’ve decided), but not before meeting a fellow college radio DJ. We talked for a few about radio things and the bands we were excited to see that day, and when we finally split ways I found myself in front of Hurray for the Riff Raff. Funny enough, as my college radio station’s Music Director, I had passed on Alynda Lee Segarra‘s latest record, but as I stood watching her live set I couldn’t figure out why. She was amazing. With the full band, the sound was soulful and remnant of New Orleans Y’at, as if the group of musicians had just been resurrected from a Louisiana swamp (in the best way possible). I stuck around the stage for Boy & Bear and Lord Huron, who together gave me my Americana fix for the day, before traveling to the other side of the fest.
At the Ocean Stage, I waited for Avey Tare’s Slasher Flicks to begin. As a longtime fan of both Animal Collective and Dirty Projectors, I’ve been enjoying the recent collaboration between Dave “Avey Tare” Portner and Angel Deradoorian known as Slasher Flicks, and it was nice to see that happen live. It was clear that the audience was full of Animal Collective fans — where I was standing, Portner nearly started a riot when he came on to the stage. Slasher Flicks began full of high energy and noise, which one might expect from the howling (sometimes screeching) vocalist, who was backed by Ponytail drummer Jeremy Hyman. The audience bobbed along to each of the playfully spooky yet jazzy songs and the band, who had just come from the Pitchfork festival in Chicago, danced along with us from the stage. As the set ended, I quickly made my way back to the media tent to begin my next scheduled interviews.
First I talked to a few dudes from The Weeks, a band that is from Mississippi but now based in Nashville, about touring and new tunes. These guys recently toured with Kentucky’s own Buffalo Rodeo and noted that they prefer to tour with friends when given the chance. This was perhaps the most fun interview that I’ve done so far — these guys were super laidback, giving me the perfect opportunity to get out any nervous giggles before speaking with Dave “Avey Tare” Portner.
A long time fan of Animal Collective, I was both excited and incredibly nervous to talk to the man who fronted the band, even if he was with a different project. We met in a trailer behind the Ocean Stage (which was, at the time, accompanied by a very loud DJ) and began to chat. Portner was incredibly kind and open to conversation, something I always appreciate about an artist. He opened up about the formation of Slasher Flicks, the new record and how it served as a means for “moving on.” He even dropped a hint about new Animal Collective material coming out within the next year. It is definitely worth noting that Portner complimented my bright green and electric blue nails, which I had been referring to earlier in the week as “boy repellent” on account of their somewhat crazy nature. Leave it up to a member of Animal Collective to like them, of course.
After talking to Portner about my favorite Animal Collective songs and such off the record, I finally left him alone and floated across the fest to the Mast Stage. My head still buzzing and heart still racing from the conversation I just had, I stood swaying along to my favorites as Band of Horses belted from the stage. “No One’s Gonna Love You” and “Is There A Ghost” soared across the lawn for a moment that took me back to high school. I fell in love with the band all over again.
As the night progressed, so did my exhaustion, so I found myself at a bench near the WFPK Port Stage for Drew Holcomb & the Neighbors. A refreshing break from the hustle and bustle of the day, Drew Holcomb and his band played their tunes as the soundtrack to the river at dusk, the colorful festival lights slowly growing more prominent against the evening sky. I’ll admit it, I closed my eyes for a minute to soak in the beautifully bluesy tunes traveling from the Port Stage, especially when “What Would I Do Without You” began. Holcomb sings pretty songs of love and Jesus, and the Forecastle crowd was definitely into it. I watched across the river as Jack White’s audience began crawling closer and closer to the stage, my cue to make my way over.
I decided to watch White perform from a distance, finding a spot where I could see him and not simply watch the screens on the sides of the stage. He cranked out White Stripes classics like “My Doorbell,” as well as his solo tracks like “Love Interruption” for the huge crowd. His band, in the most classic Rock & Roll way, was quite entertaining to watch. They didn’t need much as far as props and graphics go, just their energy and passion.
It worked. White was the perfect end to Day 2, and, knowing Day 3 would be here soon, I looked forward to the few hours of sleep I would gather before heading out again.
To check out if you’re Forecastling today: Eno hammocks. Give your feet a break, they deserve it!
Sober Sailing. These guys want you to be safe and composed at the fest. They support each other in staying alcohol- and drug-free at Forecastle, so if you need some encouragement in doing the same, just give ‘em a visit.
Heine Brothers’ Coffee. The folks working here have been especially kind and the coffee is great. What could be better than nice folks and good brew?
Kentucky’s Forecastle is a music festival that I had never been to before this year. At the end of Day 1, I was asking myself why.
After spending the majority of my Friday bouncing from stage to stage and tent to tent (still with much more to explore today), I found myself having the time of my life in this little temporary corner of Louisville known as Forecastle. Despite the spitting rain and chilly temperatures, the energy here is booming, the crowd is eager (though polite, for the most part) and the mood is happy. It’s obvious that it would take quite the storm to sink this ship, and it’s looking like smooth sailing from here for the next two days.
When I first got to Louisville after encountering terrible traffic (if you plan on going and are traveling south, LEAVE EARLY), I found myself a free little parking spot along River Road and proceeded on my trek to the festival. Free parking has its price, I suppose. For the record, you can pay to park, but was this gal was going to do what it took to save her pennies.
Thankfully I found CityBeat’s own photographer extraordinaire Jesse Fox at check-in, and we both arrived just in time for our interview with Punk band Against Me!. We waited under the press tent about 20 minutes past the scheduled interview time (you get used to this in the music world and begin to expect it) until Laura Jane Grace and Atom Willard entered the scene. Jesse and I shook their hands with mouths agape and eyes wide, nervous as all-get-out. They turned out to be very kind and Laura complimented my belt (therefore I am wearing it every day forever now). It’s the little things, you know? This is what I love about music festivals, conferences, etc. — it truly is a different world.
After our interview with Laura and Atom, we went to the Boom Stage to check out The Black Lips. These Atlanta-based dudes rule. Once their set finished I retreated once again to the media tent for some ’za from Mellow Mushroom and ah-mazing moonshine cocktails from Ole Smoky Tennessee Moonshine. (I also went to charge my phone.) I found familiar faces in the media tent as the CityBeat crew quite literally funneled in and took it over. I couldn’t have been more excited. I met new folks and took time to chat but was quickly out on the field again to explore. There is just so much to see!
I found myself back at the Boom Stage for Against Me! The band put on an amazing, high-energy performance with Laura Jane Grace bouncing around the stage. They played their best old hits (“I Was A Teenage Anarchist,” anyone?), but of course cranked out the new record, Transgender Dysphoria Blues, too.
Once Against Me!’s set ended, I had a bit of time to explore. The layout of the festival is quite nice, really. Nothing is too far from wherever you want to go and food/restrooms are almost always within arm’s reach. I had no difficulty traveling from stage to stage and found it easy to find almost everything (except for the Port Stage, that one takes a bit more exploring to get to). I can appreciate these details about a festival of this size.
I saw some old favorites one day one — Local Natives and Outkast, just to name a few — but I wanted to take the time to try something new as well. This was when I wandered to the Ocean Stage to find Nightmares On Wax. I had no idea what to expect and stood in the (what seemed to be very young) crowd, staring at the stage with the words “Nightmare On Wax” rotating in lights along the back of the stage. I began to get antsy, second-guessing my decision. Just then, the band excitedly entered the stage and began. The beat dropped and I couldn’t stop moving. The band’s sound is hard to pinpoint — there were definitely Reggae and Hip Hop influences in it, but it was perhaps more of a jam-band sound without all the instruments. I didn’t care what it was. I was into it, and so were the people around me. Not a soul was standing still. If you haven’t checked out Nightmares On Wax, the apparent brainchild of England native George Evelyn, you need to, especially when you’re sitting by the pool or driving on a summer night.
Outkast ended the night of course, playing all the hits (“SpottieOttieDopaliscious” and “Da Art of Storytellin’ (Pt. 1)” are my personal favorites, but they played a lot of their later material, too). Their show was nothing short of amazing. Andre 3000 is as odd as ever, Big Boi was as cool as ever and the two are truly a match made in heaven. You don’t need me to tell you that, though. With sore feet and limbs, I trudged back to my car to retreat for the night. I’m already excited for day two.
Things to check out if you’re Forecastling this weekend: Old Smoky Tennessee Moonshine cocktails. They are amazing. I suggest the Dolly, but they are all delicious.
Giant creatures walking around. You can find a giant monkey, bird, man, caterpillar-thing. These things just make you happy.
Poster exhibit on the far side of the festival (next to the Boom Stage). There are amazing band posters (which I’m a total sucker for) featuring tons of artists to check out. Go show ’em some love!