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by Mike Breen 09.19.2014 12 days ago
 
 
yugos

WATCH: The Yugos Perform “Follow You”

Before opening MidPoint Friday next week, local Indie rockers reveal a live video of their recent single

On their most recent tour, excellent Northern Kentucky Indie Rock band The Yugos stopped by Toledo, Ohio’s SixtyTen Recording Studio to record its latest single, “Follow You,” as part of the facility’s “SixtyTen Sessions” video series.

The studio version of the single, released earlier this summer, can be streamed/downloaded here.


One week from the day, The Yugos will be opening up MidPoint Music Festival’s Friday festivities. The band plays at 5 p.m. Friday on the MidPoint Midway stage, right before another of the fest’s most anticipated acts, Real Estate, performs. The Midway stage is free and open to the public (no tickets/passes required), thanks to stage sponsor P&G. It’s also an all-ages show.


Click here to hear more from The Yugos, and here to check out more sessions from SixtyTen.


 
 
by Rick Pender 09.19.2014 12 days ago
Posted In: Theater at 08:05 AM | Permalink | Comments (0)
 
 
the riverside _daniel c britt _l_ and gary mcgurk_r_ photo provided

Stage Door: Riverside, Reefer and Sondheim

There are several good productions onstage around town — check out CityBeat coverage of Hands on a Hardbody (a musical at ETC), The Great Gatsby (a classic American novel adapted for the stage at Cincy Shakes), Sherlock Holmes and the Adventure of the Suicide Club (a new adventure for the great detective at the Cincinnati Playhouse) and Tennessee Williams' prize-winning A Streetcar Named Desire (at the Covedale) — but if you've seen those, you have other choices for onstage entertainment. Here are three suggestions for shows a little more off the beaten path:

Local actor/director/writer Kevin Crowley has written a play called The Riverside, rooted in Cincinnati (Crowley is a member of a family that's lived locally for generations) and getting a production — he's directing it, too — at Clifton Performance Theatre, just west of the Clifton/Ludlow business district (404 Ludlow). It's set in an imaginary (or rather an imagined) bar called the Riverside, where a bunch of folks in 1989 are following the Pete Rose case about gambling that eventually got him banned from baseball. But there's a lot more happening — like protests in Tiananmen Square and the fall of the Berlin Wall. In CPT's tiny space is filled up with a lot of talent — Michael Shooner, Daniel Britt, Buz Davis, Mike Dennis, Mindy Heithaus, Reggie Willis, Mark Bowen, MaryKate Moran, Gary McGurk, Pete Wood, Cathy Springfield and Paul Morris — playing folks who hang out and argue about what's going on. I haven't caught this one yet, but everyone who has says it's worth seeing. Through Sept. 27. Tickets ($25): https://cpt.tixato/com/buy

Community theater company Showbiz Players is staging the musical Reefer Madness at the Carnegie in Covington. It opens tonight (and runs through Sept. 28). This tongue-in-cheek show was inspired by a very serious film from 1936 designed to inspire fear and loathing when clean-cut kids fall prey to marijuana. The producers "warn" that it contains adult humor, religious parody and drug use — and note that it will go "straight to your head." Should be a lot of fun for those mature enough to get the jokes ... Tickets ($19.50-$22.50): 859-957-1940

Side by Side by Sondheim was the first musical revue created using songs by the guy who wrote the music and lyrics for shows including Company, A Funny Thing Happened on the Way to the Forum, Gypsy and A Little Night Music. That was in 1976 in London, but the tunes are just as fresh and vibrant today as they were nearly four decades ago. Middletown Lyric Theatre is presenting this collection of 25 numbers for two weekends (tonight and tomorrow, as well as Sept. 26-27) — using seven singers and two pianists. Tickets ($15): 513-425-7140
 
 
by Samantha Gellin 09.18.2014 13 days ago
Posted In: Commentary at 03:23 PM | Permalink | Comments (0)
 
 
from the copy editor

From The Copy Desk

In case you need a dictionary for the Sept. 17 issue of CityBeat

Hey, readers. We’ve got some catching up to do.   

As CityBeat’s new Web & Copy Editor, I’ll be taking over our weekly vocab blog, in which I’ll point out, define (and sometimes snicker at) the high-minded choice of words by some of our writers. These are obtuse words, or at least words that aren’t used in everyday language, like seraphic or anthemic. (Full disclosure: I have a master’s degree and I still reach for the dictionary at least once or twice a day.)

My goal is to define so you don’t have to, and to (hopefully) enhance your mental catalog of impressive and/or strange-sounding words.

Here’s the list this week:

Seraphic: of, like, or befitting a seraph (adj.) OK, great, what the hell is a seraph? A seraph, according to dictionary.com, is “a member of the highest order to angels, often represented as a child’s head with wings above, below, and on each side.” (n.) Thus, we can deduce seraphic means angelic, heavenly or cherubic.

In the issue: Actually, seraphic appears in the band lineup of our MPMF guide here. Garin Pirnia says we’ll like the MPMF band Mutual Benefit (who?) if we like “ ‘Post-lunar Buddha turds,’ seraphic glockenspiel music mixed with unpredictable soundscapes, cats chasing butterflies.” (Another disclosure: I don’t know any of the bands kids these days are listening to, nor do I have any idea what Buddha turds are.)

Anthemic: pertaining to music that has the qualities of an anthem, such as a serious tone and strong tune; also, regarded as an anthem (adj.) This seemed obvious after I read it. STILL, Microsoft Word doesn’t recognize anthemic as a real word.

In the issue: “Extracted from a dream, Holiday fashions an anthemic fistpumper that nods to Muse, Bruce Springsteen, and U2…” in Brian Baker's review of Caged Heat. Does the name Caged Heat conjure up unpleasant images for anybody else?

Arcane: known or understood by very few; mysterious; secret (adj.)

In this issue: “Tonya Beckman brings up a studied tongue-in-cheek, choreographed delivery to the role of “Club Secretary,” the sexy-tuxedoed character who guides club members through their arcane selection process,” in Rick Pender’s latest Curtain Call column.


Samantha Gellin writes "From the Copy Desk" weekly from her desk as CityBeat's copy editor. Her job is to find and correct everybody else's mistakes, occasionally referencing a dictionary to check one of our more pretentious educated writers' choices of words. She rounds up and recaps the best ones here on Thursdays when there's not too much editing to do.




 
 
by Mike Breen 09.18.2014 13 days ago
Posted In: Live Music, Local Music, Music News at 11:48 AM | Permalink | Comments (0)
 
 
wnku.cover_

WNKU Supports Local Music, Local Music Supports WNKU

Cincinnati area musicians team up for Northern Kentucky public radio station’s fall fund drive

While commercial radio throws a bone here and there to homegrown musicians in Greater Cincinnati via specialty shows or segments, public radio station WNKU (89.7 FM; wnku.org) frequently adds songs from local artists to its regular-rotation playlist. And it has for years. The station also covers the local scene online with news and reviews, hosts local musicians for its live in-studio Studio 89 program and sponsors numerous musical events across the Tristate.


Local musicians are returning the favor by appearing on the new compilation album, Get Real Gone: Road Songs for Public Radio. In lieu of, say, a cliched tote bag gift, WNKU will be giving CDs of the album to those who donate during the station’s fall fund drive. Listeners who become “sustaining members,” paying just $8 a month, or those who donate $96 can score a disc of their very own. 


The compilation features tracks by Roger Klug, Brian Lovely’s Flying Underground, Eclipse Movement, Goose, The Newbees, Balderdash, Tim Goshorn, Kim Taylor, psychodots, Marcos, Graveblankets, Davis Kinney, Charlie Fletcher, Jeff Seeman and Bromwell-Diehl. 


This Saturday and Sept. 27, several of the Get Real Gone participants will perform live at WNKU’s studio. This Saturday, the lineup features Davis Kenney (10 a.m.), Balderdash (noon), The Newbees (1 p.m.), Roger Klug Power Trio (2 p.m.) and Graveblankets (3 p.m.). On Sept. 27, tune in to hear Kim Taylor (10 a.m.), Jeffrey Seeman (10:40 a.m.), Brian Lovely’s Flying Underground (11:30 a.m.), Goose (1 p.m.), Charlie Fletcher (with The Bluebirds; 2:30 p.m.) and the Bromwell-Diehl Band (3:15 p.m.). 


Click here for more info and here to make a donation.

 
 
by Nick Swartsell 09.18.2014 13 days ago
Posted In: News at 09:54 AM | Permalink | Comments (0)
 
 
streetcar

Morning News and Stuff

Streetcar funding plans; P&G's NFL PR prob; who owns the Occupy Twitter account?

Morning all! Let's jump right into the news.

Members of Cincinnati City Council have some preliminary good things to say about the Haile Foundation’s recent proposal for funding streetcar operating costs. Meanwhile, Mayor John Cranley has said he’s working on a plan of his own, and you can hear all about it… in a month or so. Vice Mayor David Mann and council members Kevin Flynn, P.G. Sittenfeld and Amy Murray all said the Haile plan was helpful as a starting point. Questions remain, however, about how much the tax plan will cost property owners in the proposed special taxing district, which will cover Downtown, Over-the-Rhine and Pendleton. Murray, who voted against the streetcar project, also questioned whether the necessary 60 percent of property owners in those districts would back the tax and said there need to be back up options in place.

Meanwhile, Cranley said he’s confident he can come up with a plan council will support that provides the almost $4 million in yearly operating costs the streetcar needs without spending city money. He declined to give further details but said the plan should be ready in a month or so.

• Mayor Cranley won’t be talking much about that plan tonight when he gives his State of the City address, which will happen at 6 p.m. at Music Hall. Instead, he’ll outline other proposals and his vision for the year ahead. One seemingly mundane change he’ll be highlighting — the elimination of the more-or-less unenforced single garbage can rule. I live in a big house with 10 other roommates, and it’s not really my job to take the garbage out, but I can see how this is a big deal for people who live on a big hill (there are a lot of those in Cincinnati) and don’t want to lug one cartoonishly big trash can up and down steps all the time. Anyway, I’ve digressed. The State of the City is open to the public, though the mayor’s office encourages folks to RSVP here.

• City Council yesterday passed two new ordinances targeting sex trafficking, which I reported on yesterday. You can get more details on the new measures here.

• The sales tax increase to renovate Union Terminal has gotten a key backer. The Cincinnati USA Regional Chamber of Commerce is endorsing the plan, which will go up for a vote on the November ballot. The plan is the product of a contentious struggle between Hamilton County Commissioners, the city and the Cultural Facilities Task Force, which originally drew up a $280 million plan funding both Music Hall and Union Terminal renovations. That plan, which sought to increase county sales taxes from 6.75 to 7 percent over 20 years, was jettisoned by commissioners in favor of the same hike for a shorter duration covering only Union Terminal. New efforts are underway to find money for Music Hall renovations.

• Quick hit: The owner of the car that was hit by big ole chunks of a Brent Spence Bridge off ramp Sunday will have to sue the state to be reimbursed, the Ohio Department of Transportation says. Bummer.

• Procter & Gamble is getting some social media heat surrounding its role as the NFL’s official beauty sponsor. The league has been experiencing huge amount of controversy in the past few weeks over Baltimore Ravens player Ray Rice, who was suspended for two games following revelations he was involved in domestic violence against his fiancee. That suspension was made indefinite when tapes surfaced showing Rice brutally punching and knocking her out in an elevator. The league has taken heat for not acting quickly enough, with allegations flying that the league new about the severity of Rice’s crime before the tapes were made public. Meanwhile, in what amounts to either really bad timing or a severe case of tone-deafness, P&G’s Covergirl brand has been running the “get your game face on” campaign promoting their line of NFL-team-themed makeup. One of these has been photoshoped so that a model wearing Ravens purple makeup appears to have a black eye. As the image has gone viral, many on social media have turned to the company asking it to condemn the NFL and pull its sponsorship. Though P&G has issued a statement against domestic violence, the company has yet to pull the sponsorship, and critics say it isn’t doing enough to distance itself from the league. Covergirl’s Facebook page and other social media sites have received hundreds of negative comments about the situation.

• So the NFL is pretty soft on players who commit domestic violence, and our local mega-corporation keeps giving them money despite that. But hey, the Bengals are number one in Sports Illustrated’s NFL Power Rankings for the first time ever! So, that’s good, right? Eh.

• Quick hit number two: Yesterday I told you about an investigation into Ohio charter schools run by Chicago’s Concept Schools. Here’s more on that, including pushback from the schools’ officials and supporters.

• Here’s a story about how New Orleans, which has been the nation’s murder capital off and on for years, is using big data to track gang activity and help reduce violence in the city. It’s fascinating stuff that has some pretty interesting (and perhaps troubling) ramifications if you think about government's use of big data in general. On a side note, there’s a shout-out to an unnamed University of Cincinnati professor who apparently has helped the New Orleans Police Department work with data in tracking murders.

• Finally, founding members of Occupy Wall Street are suing each other over the movement’s most popular and recognized Twitter handle, @OccupyWallStNYC. Insert whatever joke you want right here.

 
 
by Mike Breen 09.18.2014 13 days ago
Posted In: Local Music, Music Video at 09:26 AM | Permalink | Comments (0)
 
 
buggs

The State of Cincinnati Hip Hop is Strong

Check new videos from Buggs Tha Rocka, Those Guys, Trademark Aaron and Sleep

Tonight, Cincinnati mayor John Cranley will be giving his “State of the City” speech. For a snapshot of the state of the city’s Hip Hop scene, take a look at the following recent music videos. Judging by these tracks and visuals, I’d say the state of Cincinnati Hip Hop is strong. 

• Yesterday, the reigning Cincinnati Entertainment Awards champ for top Hip Hop act in the city, Buggs Tha Rocka, put out a clip for his track “Rapture,” featuring local singer Phoenix Aphrodite. The song is from Buggs’ forthcoming album, Scattered Thoughts of an American Poet, which is set for release Oct. 7 and features a great guest list, including Chuck Inglish from The Cool Kids, Tanya Morgan, Piakhan, MOOD and more.

Rapture feat. Phoenix Aphrodite from Buggs Tha Rocka on Vimeo.

• Middletown-based Hip Hop duo Those Guys just premiered their latest video, “King.” Featuring J.Al and Jova, Those Guys top themselves with every new release and “King” is no exception. Their tagline/motto is “Good Hip-Hop Music” and after listening to “King,” you’ll find it hard to disagree. The track is from the twosome’s recent release, Bueno, which you can download here.


• Last year, Northern Kentucky MC Trademark Aaron gained a lot of  well deserved attention with his great track/video for “Faith,” which was featured on Vevo’s homepage and shared far and wide across the Hip Hop blogosphere. TA’s latest video, for “Gold” from his recent Act Accordingly release (which we wrote about here), premiered on Vevo’s homepage last week and features local drummer Aaron Roy as a special guest (on both the track and in the video). 


• Another area Hip Hop MC, Sleep, also got some props from Vevo, which showcased his stellar clip/track “I Shot Lincoln” on its homepage last month. Sleep released the amazing concept album Branded: The Damon Winton Story this past spring (one of my favorite albums of 2014 so far; check out a review here) but the “I Shot Lincoln” video/track (featuring special guest Kue the Vandal) is separate from that project. Like Branded, the “I Shot Lincoln” visuals are a little disturbing and unusual but endlessly engaging. 

 
 
by Mike Breen 09.17.2014 14 days ago
Posted In: Local Music, Music History at 03:44 PM | Permalink | Comments (0)
 
 
1346708

Cincinnati in Song

Blog compiles impressive list of songs featuring “Cincinnati” in their titles

This morning we received a message from former CIncinnatian/current Silver Spring, Md., resident Chris Richardson about some Cincinnati music-centric posts on his cool music blog, Zero to 180


Richardson has a rich knowledge of music in general — his blog “celebrates studio songcraft and some of the lesser-known stories behind the songwriters, musicians, producers, engineers, arrangers, label owners and the like” —  and he has good taste because he appears to be a big fan of pioneering local label King Records. (Here’s a great post about an interesting connection between King and Jamaican Ska.)


Yesterday, the blog featured a fun post with a run down of songs from the past to the present that feature Cincinnati in the title. Tracks range from earlier cuts by Duke Ellington (“Cincinnati Daddy”) and Johnny Burnette (“Cincinnati Fireball”) through more recent material, like “Cincinnati Harmony” by The Dopamines, “Oh, Cincinnati” by The Seedy Seeds and “All Roads Lead to Cincinnati” by Jake Speed and the Freddies. Check the full list here.




There are several great tunes on the list, but this one is pretty terrifying:



Anything he missed? 

 
 
by Nick Swartsell 09.17.2014 14 days ago
Posted In: News, Human trafficking at 03:44 PM | Permalink | Comments (0)
 
 
yvette simpson

City Council Passes Ordinances to Fight Sex Trafficking

New rules increase fines for certain sex trafficking offenses, use funds to combat exploitation

Cincinnati City Council today unanimously passed two ordinances to address Cincinnati’s growing sex trafficking problem.

The ordinances were sponsored by Councilwoman Yvette Simpson. One increases civil fines for using motor vehicles in solicitation or prostitution from $500 to $1,000 for a first offense and up to $2,500 for each subsequent offense. The other ordinance funnels fines for those offenses into a prostitution fund that will cover anti-prostitution efforts, including investigation and prosecution of sex trafficking crimes and programs that reduce prostitution.

That pool of money is actually the revival of a fund that was established by Councilman David Crowley in the early 2000s, Simpson said. “We’re really looking forward to reinstituting that; there’s a lot of work that needs to happen and those fines will go a small ways toward helping in those efforts.”

Simpson has been active on sex trafficking issues. Early this summer, she supported a controversial project that blocked off large sections of McMicken Avenue in Over-the-Rhine and Fairview. While many residents in the area applauded the blockade, saying it reduced activity from pimps and sex workers in the immediate area, other residents said it caused transportation problems, created a stigma around the area and had little effect on the overall occurrence of prostitution there. Residents of other neighborhoods, including Price Hill and Camp Washington, reported an increase in prostitution after the barricades went up and said sex workers were simply moving from McMicken to their communities.

Cincinnati Police Department, which put up the barricades, said there was no proof they caused an uptick of prostitution in other areas. They said the barriers seemed to reduce the occurrence of sex work in the area, at least temporarily. The barricades came down in July.

Some residents along McMicken have called for the barriers to become a full-time feature of the neighborhood. But many in the area, along with social service workers and city officials, agree that more needs to be done in terms of legal action against sex traffickers and extending treatment options for those caught up in sex work. Harsher penalties for pimps and johns, publicizing names of sex trafficking offenders and other measures have been floated as possible responses. One that has gained traction recently is a special “prostitution docket” in Hamilton County focused on reducing sex trafficking by reverting sex workers who also face addiction issues to treatment programs. Many across the political spectrum, including Simpson, Hamilton County Commissioner Greg Hartmann and others, support the idea, but with treatment programs like the Center for Chemical Addictions Treatment House in the West End stretched to the limit, more programs will likely be needed. 

In the meantime, Simpson says, the newest ordinances are a way to chip away at the problem.

“Unfortunately, we don’t have the ability to do what we’d like criminally because of the overcrowding of jails and other things,” she said. “This is a great way to ensure that we’re continually sending the message that this kind of activity is not permitted in our city and beginning the work of ending demand for these services.”

 
 
by Jac Kern 09.17.2014 14 days ago
at 12:06 PM | Permalink | Comments (0)
 
 
web-blog-ijustcantgetenough-3

I Just Can't Get Enough

Jac's roundup of pop culture news and Internet findings

Last week was Mercedes Benz Fashion Week in New York, the time of year when style trends are set, when fashion gods are carried from runway to runway, when Ashley and Mary-Kate Olsen emerge from their tiny troll lair to present a new collection of looks for their line, The Row. Here are the sisters trying to convince us they’re human before the show. I dare you to only watch once.

I like to think they’re communicating using a sort of Morse code-esque troll twin hand gestures beneath that scarf.

Ryan Gosling and Eva Mendes welcomed their baby girl into the world on Friday. In case you need to check yourself: There’s a days-old human out there with better genes, a bigger bank account, cooler parents and a nicer home that is already more famous than you’ll ever be. Seriously, though, I hope they have a dozen body guards watching that baby at all times. Between all the Hey Girls and The Notebook fans out there still praying for the reunion of Ryan and Rachel and anyone wanting to use Mendes-Gosling DNA for a voodoo-like beauty regime (guilty as charged), someone is bound to try to steal that baby.

When Fox 19 reality series Queen City ended, we were left with a void of shows featuring mildly interesting locals interacting with each other in staged scenarios. Thankfully, Dayton CW has given us The Valley. The show stars six Miami Valley-area high school grads during the summer before they head off to college. Cameras follow the group as they hang out at area attractions, meet “mentors” and explore personal issues — all while providing superfluous commentary after the fact. Think Real Housewives without the Botox or budget. Yes, it’s bad. Sadly, not even bad in a good way.

If I wanted to see awkward kids mingle in forced situations, I’d watch teens on the Levee explore the confusing world of “group hangs.” And if I did that, I’d be a fucking weirdo. I’m not throwing shade at the kids involved — I shudder to think what 18-year-old me would do on a local reality show. But who is the audience for a show like this? Find out for yourself and watch the first episode here.

Miss New York Kira Kazantsev may have won the Miss America crown this Sunday, but Miss Ohio MacKenzie Bart stole the show with her talent: ventriloquism.

Obviously, Miss Ohio Roxy was robbed.

Saturday Night Live returns for its 40th season next Saturday, Sept. 27 and, as usual, there will be some casting changes. Last year’s newbies John Milhiser, Noël Wells and Brooks Wheelan were let go; Mike O’Brien will leave the stage and return to the writers room. SNL’s resident Kim Kardashian (also a lot of other great characters) Nasim Pedrad departed to star in the upcoming Fox comedy Mulaney. Colin Jost, who took over Weekend Update with Cecily Strong when Seth Meyers left, will return to the desk without Strong (though she’s still a cast member). SNL writer and Daily Show correspondent Michael Che will replace her as co-anchor. Finally — hope you’re ready to feel old — the show will bring on its first player born in the ‘90s as 20-year-old comic Pete Davidson joins the cast. Chris Pratt hosts the season opener next week with music guest Ariana “Not A Baby” Grande.

Nasim Pedrad may have taken her talents elsewhere, but we can still enjoy her work in this unaired skit where she plays —to perfection — Aziz Ansari.

New movie trailers to hit the Interwebz: After plenty of teases, the first full-length preview of The Hunger Games: Mockingjay is out; Serena —the 35th film starring Jennifer Lawrence and Bradley Cooper — places the stars in 1920s North Carolina; John Wick stars Keanu Reeves as a former hit-man thrown back into the game.

 
 
by Nick Swartsell 09.17.2014 14 days ago
Posted In: News at 10:01 AM | Permalink | Comments (0)
 
 
news1_banks_condos_ck

Morning News and Stuff

Ohio investigates Cincinnati Charter school; New safety measures in area schools; poverty, drug use down nationally.

All right, let’s do this news thing.

Ohio has added a charter school from Cincinnati, as well as another from Columbus, to its investigation into Chicago-based Concept Schools, which runs 17 charter schools in the state. Concept has come under state and federal scrutiny after former teachers at the company’s Horizon Academy in Dayton made accusations about sexual misconduct, records forgery and other alleged crimes. The state has since received similar complaints about the Horizon Science Academies in Cincinnati and Columbus, officials say. This isn’t the first time charter schools in Cincinnati have come under fire. This summer, the Ohio Department of Education shut down VLT Academy in Pendleton due to low performance and lack of a sponsor organization.

• Cincinnati Assistant City Manager Bill Moller yesterday told city council’s finance and budget committee that the city shouldn’t have to commit public financial help to any hotel project at The Banks. The proposed location for a hotel is in a top-notch spot next to the ballpark, Moller pointed out, and the new General Electric offices moving in nearby will only make the area more attractive. The city and county are in talks with at least three hotel developers at this point. Financing plans for the project have yet to be proposed, though the hope is that a hotel at The Banks will be finished midway through 2015. Moller’s statements have come after some on council have begun questioning the city’s generosity when it comes to tax incentives and loans to lure businesses to downtown and other parts of the city.

• It’s fall, a time when educators’ thoughts turn to school books, lesson plans, shaping young minds and, of course, what to do if a psychotic gunman barges into your school and starts shooting. These are the depressing times we live in. One new defensive solution comes from a northern Ohio company and is called the Bearacade (it’s unclear why it’s called that, just go with it). The device is a metal wedge that can be crammed under a door and pinned to the floor in an emergency situation to keep shooters out of classrooms. Locally, Kings Schools in Warren County has begun installing the Bearacade. Practice for using the device, as described in The Cincinnati Enquirer, sounds slightly crazy:

“Unannounced, Goldie will suddenly shout a security emergency to the class, dash to the front of the room and slide baseball-style into the door. Hanging next to the entrance is the new door block, which he hastily installs, making it virtually impossible for any shooter to enter.”

However, surprise shouting and a home plate-style slide toward a door to install a metal wedge is probably less disruptive to the educational process than Butler County Sheriff Rick Jones’ suggestion that teachers carry heat in the classroom.

• Cincinnati Police say crime is down so far this year in the areas around University of Cincinnati. Though some high-profile cases, including violent burglaries, have brought attention to the area, robberies have decreased by half since a peak in 2009. Other crimes have also decreased. CPD has continued to add patrols in the areas around UC, despite the drop in criminal activity.

• Some scummy creeps claiming to be associated with the KKK distributed flyers around Green Township last week, including some with anti-immigration messages. Police there say activities from such groups crop up every few years and then abruptly dissipate. They say they’re keeping an eye on the situation but don’t expect much else from the group, which appears to be from southeastern Indiana.

• The Kentucky Supreme Court will hear arguments about one of the state’s most contentious death penalty cases. For 26 years, Gregory Wilson has been on death row, convicted of the kidnap, rape and murder of Deborah Pooley in Covington. But now, after a number of appeals on his behalf, the high court will consider whether or not his defense team did an adequate job and if new DNA evidence should be sought. Wilson’s advocates say the lawyers assigned to argue his case did little on his behalf and that DNA evidence could exonerate him. One of Wilson’s attorneys had never tried a felony, and the other was semi-retired and did not have an office or staff. But those looking to uphold his death sentence, including the Kentucky attorney general, say Wilson was convicted by overwhelming evidence, including the eye-witness testimony of his girlfriend, who is serving a life sentence for her role in the crime, and items he purchased with Pooley’s credit card after she was murdered. The case could set precedent for the way capital murder cases are tried in Kentucky, legal experts say.

• Poverty rates inched down slightly in 2013, the Census Bureau reported yesterday. Though that reduction hasn’t matched the reduction in the unemployment rate, the increase in jobs did make a dent in poverty stats. Median household income is still down 8 percent from pre-recession levels, Census data says. The number of children in poverty declined more significantly, from nearly 22 percent in 2012 to not quite 20 percent in 2013. That’s good news.

• Also good news — apparently, teen drug and alcohol use is down, according to a new study. Drug abuse in general in the United States has leveled off, according to the report by the Department of Health and Human Services. The study found that teens were turning away from illicit substances in favor of spending hours taking selfies that make them look bored, but in a cool way, and posting them on Tumblr.

• Finally, because nothing is more important to tea party types than fair representation in all realms of our modern democratic society, newly chosen Miss America Kira Kazantsev is getting flack for a three-month stint she did as an intern at Planned Parenthood. That revelation has set off a tidal wave of hate from some anti-abortion corners of the Internet, despite the fact that Planned Parenthood doesn’t solely provide abortions and Kazantsev’s role involved supporting sex education, which, you know, actually reduces the need for abortion services. Bravely undeterred by this reality, Twitter users have taken to calling her “Ms. Abortion America,” “baby killer supporter” and suggesting that “this chick sure doesn’t represent me.” Because yes, Miss America is a publicly elected office whose life choices should represent every single American, no matter what their (completely unrelated) political ideologies may be.

 
 

 

 

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by Charlie Harmon 10.01.2014 19 hours ago
Posted In: Music History at 12:23 PM | Permalink | Comments (0)
 
 
514widea

These Walls Have Heard it All: 20th Century Theater

Oakley’s 20th Century Theater has only been the venue it is today for about the last 20 years. When it originally opened in August 1941, the now-vintage glowing sign that lit up the era-glorifying name represented a simple one-screen movie theater. Its history and how it changed from that to what it is today fits into the citywide and national history of cinemas like a plastic rodent fits a Whac-A-Mole machine.

Willis Vance, a local businessman that ended up owning a string of theaters and other establishments around town, was the original owner of the theater. At the time of its inception, no theater that housed more than one screen even existed. In fact, as silly as it may sound now, that concept wouldn’t seriously surface in the industry for a few more decades.

Cinemas would have a single film they would play every night, generally whatever was very popular at the time. When a new piece of black-and-white gold would come out of Hollywood, they would swap it in, making it the new nightly showing.

Vance opened the theater with the 20th Century Fox (see what he did there) production Blood and Sand. This may have been a thoughtful tribute to the movie’s star Tyrone Power, an American box-office sellout actor that was born in Cincinnati. While he didn’t grow up here, he did return to the Queen City in his early teenage years, during which time he learned and honed his skills in drama. He went on to become extremely well known and sought-after in the industry, appearing in famous films such as The Mark of Zorro, The Black Swan and dozens of others.

The theater thrived for some time, having hit the ground running with notable qualities like air conditioning and valet parking. To people of my generation, that is a “What?” factor, but it was actually the first theater in the city to keep your ass cold during a movie. It also boasted being one of the first fire-proof buildings in the city, taking that extra step in keeping the heat out.

But almost a decade after it first lit its tower and opened its doors, the cinema industry began to slowly change.

A Canadian inventor named Nat Taylor erected a second screen right next door to his theater in Ontario. He showed the same movie on both for several years at first, simply upping his audience capacity. However, he eventually got tired of swapping out movies for new releases when the old movies were still making money, so he started selling tickets to two movies.

I call the change slow because although this idea was birthed mid-century, it didn’t begin to significantly affect the industry until the ‘60s and ‘70s.

In 1963 Stan Durwood, AMC owner, cinema pioneer and self-proclaimed inventor of the multi-plex, opened the Parkway Twin Theater. It was the first theater with two screens under the same roof, although not for long. The idea caught on and throughout the ‘60s other dual-screen theaters began to pop up. Durwood expanded his Twin Theater from two screens to four, then six.

Through the next two decades the multi-plex concept exploded, with competition for the most screens and best accommodations running rampant. Nat Taylor, who also laid claim as the original inventor of the multi-screen theater, cofounded an 18-screen Cineplex in 1979. He garnered a Guinness World Record, it being the largest theater in the world at the time.

These large cinemas wreaked havoc on the industry for the small-time, local theaters. The charm of a little art deco theater with free valet and air-conditioning no longer held up to the big dogs.

By 1974 20th Century was owned by Levin Services, a management company that also owned several additional theaters and drive-ins around the area. Union strikes that year brought mayhem to Levin. Angry union members broke into the Ambassador Theater, just a block away from 20th Century on Madison Road, to destroy the seats, slash the screen and split the speaker wires. They wrecked the projectors by ripping out their innards with a crowbar, and poured cement into the reels of The Sting, the movie being shown at the time.

Levin closed the Ambassador and several other theaters, including 20th Century. Most reopened after a few weeks, at least for some time. The Ambassador eventually closed for a while after became an Ace Hardware.

The 20th Century lasted just under another decade, succumbing to the cloud of the multi-plex and closing its doors as a movie theater for good in 1983.

But it wasn’t the only pebble to be crushed by a boulder. F&Y Construction, the company that built the Streamline Moderne style building for Willis Vance, built several other theaters in the region. They built the Madison in Covington, Ky.,  the Covedale Center for the Performing Arts, and the Redmoor in Mount Lookout. Those are the ones that remain open and standing. Among others they built in the area were the Guild Theater, Hollywood Cinema North, Marianne Theater, Norwood Theater, Sunset Theater, Westwood Theater, Valley Theater and the Ridge Theater. All of these are now closed; two of them have even been demolished.

I can’t say for certain that the multi-plex led to the demise of each one, but its reasonable to assume the industry change had great range. And on top of that, those are only the theaters built by that single construction firm.

After 20th Century was closed in ’83, it was left to neglect for almost a decade. It rotted through water damage and vandals left their mark with graffiti and broken windows. To me, imagining this conjures up a similar image to the Imperial Theater, the decrepit building at Mohawk and McMicken that used to screen adult films and host burlesque shows in the ‘60s.

The early 1990s rolled around and found the community caught between demolishing the fallen cinema or pouring money into restoration. Mike Belmont stepped up and went for the latter approach. After extensive work, he reopened the doors of the building as Belmont’s Flooring Company.

His business only remained in the building he saved for a year, moving just down the street to the old Oakley Bank where Belmont’s still resides in modern business glory. Apparently Belmont had a thing for old buildings.

After he left the Cincinnati Church of Christ, then a group just over a decade old, occupied the building for 4 years before themselves moving on to some higher calling.

This brings us up through this old cinema’s rise and fall to 1997. It was then that the building was bought and 20th Century Productions rose like an entertainment-driven spirit out of the floorboards. Devoted to special events and concerts, they have turned the building into a beautiful venue that hosts almost anything from a raucous rock concert to a quaint wedding reception.

In 2010 they took a final step in the renovation of the building that had never been done. The 20th Century Tower that stands over its doorway was given back its glow to illuminate the night again, drawing in all who look to be entertained.

Here’s what’s coming up at the old one-screen (now one-stage):

Oct. 8: Cherub

Oct. 16: Ruthie Foster

Oct. 23: Paul Thorn Band

Oct. 29: Suicide Girls

 
 
by Jac Kern 10.01.2014 21 hours ago
at 10:45 AM | Permalink | Comments (0)
 
 
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I Just Can't Get Enough

Jac's roundup of pop culture news and Internet findings

It’s Oct. 1, which means rent’s due, Halloween season is upon us and Netflix is shuffling its offerings. New offerings starting today include the entire Gilmore Girls series, Romeo + Juliet and Team America: World Police. No longer available are Battlestar Galactica, Center Stage and Law & Order: Special Victims Unit. Find a full list of what you can and can’t stream this month here.

In what can only be described as an offering to the Internet gods, Drake got an emoji tattoo.

Still no confirmation on whether that emoji is high-fiving hands or praying hands illuminated by Jesus’ power.

Smart girls gained an epic win over bimbos this weekend as George “Forever Bachelor” Clooney married lawyer/activist/author Amal Alamuddin. Cocktail waitresses across the globe mourn as they realize it wasn’t him, it was them.

American Horror Story: Freak Show premieres in a week and we finally have a look at some actual show footage. This short preview packs in a lot — look out for Pepper (Naomi Grossman), the only AHS character to cross over into multiple seasons (you may remember her from AsylumFreak Show takes place in 1952, about 12 years before the events of Asylum); Sarah Paulson playing conjoined twins Bette and Dot; Kathy Bates as a bearded lady; Angela Bassett as triple-tittied woman (sit down, Jasmine); Evan Peters as a man with ectrodactyly (giving him claw-like hands); smallest living woman Jyoti Amge; John Carroll Lynch’s terrifying clown; and, of course, Jessica Lange in her final AHS performance as the striking German ringleader of it all.

ICYMI: Rhinegeist’s Bryant Goulding is featured in GQ’s “The 50 Best Craft Beers Every Man Must Try.” Goulding serves as an expert with tips on the best “stein filling quenchers,” suggesting Sierra Nevada Summerfest, Weihenstephaner Pilsner, Three Floyds Gumballhead, Double Mountain Vaporizer and Moonlight Reality Czeck Pilsner for when you really want to get yo drink on.

The Magic Mike sequel will be air-humping its way into theaters next summer — without director Steven Soderbergh or Matthew McConaughey. Magic Mike XXL will be helmed by Gregory Jacobs (who co-produced the original); Channing Tatum, Matt Bomer, Joe Manganiello, Kevin Nash, Adam Rodriguez and Gabriel Iglesias are all set to reprise their roles. Newcomers this time around include a very curious mix of actors: Elizabeth Banks, Donald Glover, Amber Heard, Jada Pinkett Smith, Andie MacDowell and Michael Strahan. The official synopsis, found here, is equally confusing. Didn’t the dudes move to Miami at the end? Didn’t Channing Tatum quit stripping for his dead-faced nurse friend?

Am I the only one who wishes SNL’s weird ‘90s sitcom sketch was a real show? By far one of the funniest moments of Saturday’s season premiere.

Apparently this isn’t the first skit of its kind with Kyle Mooney and Beck Bennett — check out this very sexually tense episode with Andrew Garfield, which was cut from his episode last May. From the stiff acting and awkward delivery to the constant laugh tracks, applause and “ooohs,” this bit nails that weird, satirical, almost Tim & Eric-esque humor that’s so popular right now. Hopefully we’ll see it again later in the season.

No movie trailers this week, but know that Zombieland 2, Hot Tub Time Machine 2  and Taken 3 are all happening so we can probably just give up on movies for now.

 
 
by Nick Swartsell 10.01.2014 22 hours ago
Posted In: News at 09:41 AM | Permalink | Comments (0)
 
 
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Morning News and Stuff

Local money in politics; Ohio woman, first to fly solo around the world, dies; Ebola in the U.S.

Hey hey morning news readers! I’m back and ready to talk about what’s going on. So let’s go.

As we get closer to November, it’s worth taking a look at where local political action committee donations, or money to candidates from organizations like unions and businesses, are flowing. Few surprises in the data from the Ohio secretary of state: Republicans come up big in PAC money, with Gov. John Kasich, Attorney General Mike DeWine and others getting big ups from places like P&G, Cincinnati Bell and AK Steel. Democrats like AG candidate David Pepper and treasurer hopeful State Rep. Connie Pillich have also gotten the PAC hookup, mostly from union groups. Local PACs have contributed more than $1 million to candidates. That money doesn’t represent the total amount business owners or group members gave — they can still donate individually as well.

• Three elderly Hamilton County couples are involved in a complex tangle that could cost the state of Ohio the billions of dollars it receives Medicaid funding. Ohio has refused to pay Medicaid benefits to the couples for nursing home care due to their purchases of financial products called annuities they made in order to become income-eligible for the program. Special laws govern which annuities retired couples can buy in order to “spend down,” or reduce their assets to a level at which they’re eligible for federal aid. Lawyers for the couples say they complied with that law, and a Cincinnati U.S. District Court judge has agreed. That means Ohio is out of compliance with federal Medicaid regulations, and could lose its funding from the federal government. That would potentially cost more than 2 million Ohioans their health coverage. The judge has given the state until Oct. 3 to become compliant with the law.

• It’s almost hard to imagine this, given the long-term dearth of good employment options, but some area industries are actually running a worker shortage. Truck drivers, HVAC workers, plumbers and other so-called “medium skill” careers are losing workers to retirement fast, and fewer young workers are stepping into the vacancies. There are downsides to these industries, including long hours away from home for truck drivers, but for a roving drifter such as myself, that’s hardly a problem. Hm. I do like driving…

• Imagine you’re a 38-year-old mother of three living in a suburb of Columbus and looking for a little fun. What do you do? If you live in the state that birthed aviation, (quiet, North Carolina) you go out and get the state another milestone, becoming the first woman to fly solo around the world, that’s what. Geraldine Mock, who passed away at the age of 88 yesterday, took off from Columbus in March 1964 and raced another woman with a two-day head start for the distinction. Jerrie won, returning 29 days after departure. Her plane was old and not in the best shape, but that apparently didn’t daunt Jerrie, who first took an interest in flight at age 7. She was also undaunted by the rigid ideas about what was appropriate for a lady at the time.

“I did not conform to what girls did,” she once said in an interview. “What the girls did was boring.”

• A couple days late on this one, but it bears mentioning. The Supreme Court has issued a stay on a lower court’s ruling that prohibited Ohio’s early voting rollback. That means that new restrictions on the number of early voting days passed by Republicans are still in place for now. Lower courts ruled that the laws, which eliminated so-called “golden week” during which Ohioans could register and vote in one fell swoop, as well as some Sunday voting hours, were unconstitutional because they placed an undue burden on minority voters.  The Supreme Court’s conservative justices disagreed, and with early voting already slated to have started, the ruling comes as a victory for state Republicans.

• While we're on politics, here’s U.S. Rep. John Boehner talking about how he’s still going to be speaker of the House when the next Congress reconvenes in January, and also showering Jeb Bush and Ohio-based GOP presidential possibilities with praise. His confidence in keeping his job as head of the House of Representatives is bold, considering he barely held on to the position last time and the fact that there are likely to be even more ornery tea party-types in the House this time around to give him grief. We’ll see Boehner. We’ll see.

• Finally, something even more terrifying than the prospect of another Bush in the White House and more tea partiers in Congress: A man who recently arrived in Dallas from Liberia has tested positive for Ebola. Disease experts say there is little risk of the virus becoming as widespread here due to advanced isolation and sanitation practices, but still. Ever read that book Hot Zone? Yeah, maybe don't read it right now.

 
 
by Nick Grever 10.01.2014 23 hours ago
Posted In: Local Music, Music News at 08:45 AM | Permalink | Comments (0)
 
 
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Mainstay Rock Bar Calls It a Day

Remembering the downtown live music club as it prepares for its final weekend

On Friday, Saturday and Sunday, Mainstay Rock Bar will be celebrating its final weekend before closing its doors after five and a half years in operation. As I prepared to write about the closure of my favorite local bar, I struggled to figure out just how to voice my sadness. I’m still not entirely sure how but I did think of a ton of stories that exemplify why Mainstay was so special to me.

I started going to Mainstay back in college before it was even Mainstay. It was called The Poison Room and my friends and I used to go to their weekly ’80s dance night. My memories of those nights are fond (if a bit hazy), but I was too new to the scene for the closure to upset me too much. When the location reopened with a new moniker and a makeover, I was happy to have another place that catered to my musical tastes. But it took some time for my love of Mainstay to truly grow.

Looking back, the closures of the original Southgate House and Mad Hatter in Northern Kentucky are what sparked my connection to Mainstay. With two of my normal haunts gone in the space of months, I needed another place to go and Mainstay was at the top of a fairly short list. I started only going for shows, but the bar soon lived up to its name. It transitioned from just a music venue to a reliable fallback to my first choice. Need a good burger? Mainstay. Want to sing some karaoke? Mainstay. Interested in hearing some Rock & Roll? Mainstay. Do you prefer bartenders that actually know what they’re talking about? Mainstay.

Of course, a major part of Mainstay Rock Bar’s appeal to me was that middle word — the “Rock.” Mainstay has been host to some of the best local and regional bands the area has to offer. In recent years, the selection of bands and performances has also become more and more eclectic. There are few bars that can host a Hip Hop show one night, a burlesque performance the next and a Surf Rock show to round out the weekend. Mainstay has proven time and time again that its dedication to the local music scene is genuine by taking the time to champion bands on the rise and hosting all sorts of community events like the ubiquitous Midpoint Music Festival. And they’ve done it all without charging a cover on any shows save the biggest of the big. If you wanted to take a chance on a new band or genre, Mainstay was the place to go. At least you had a fantastic beer selection to console you if you didn’t like what you heard.

For all of my wild and crazy memories, the ones I have of my time with the staff are the fondest. Memories like an interview being derailed when the entire band and I took a minute to stare at the hot new bartender (sorry Becky, hopefully Mangrenade and I tipped you well that night). Or pulling the curtain for Dandelion Death with Scary. Or riding Chris’s knee scooter to the bathroom, weaving in between a busy Friday night crowd. Or the little things, like Lena taking the time to listen to my post-breakup moaning and buying me a “girl’s suck” shot when it was all said and done. The staff (past and present) of Mainstay consists of an insane bunch of people who love the music, love the atmosphere and know how to have a good time. And that attitude coursed through the entire venue night after night. To be a part of it at any point in time was intoxicating. To be welcomed in as a friend and included in the shenanigans was humbling.

As I became more of a fixture of the establishment, the more I grew to know the staff and feel accepted. I’ve frequently called Mainstay my Heavy Metal Cheers; it’s the only bar in Cincinnati where I can walk in and be greeted with a handshake or high five and see my favorite beer and shot sitting on the bar.

As I reach the end of this article, I still don’t know how to say just what Mainstay means to me. It’s where I sang dozens of Danzig songs, watched hundreds of bands take the stage, spent several birthdays and drowned far too many brain cells. There isn’t a place in Cincinnati quite like Mainstay and its closing will leave a pretty big hole in my heart. But I wanted to say thank you for the five and a half years of memories and raise a glass – full of Jameson, of course – to the people that made that place so special. 

For your final weekend, I’ll be sitting at the bar, enjoying a shot and a brew at Mainstay — where everybody knows your name… or at least your favorite drink.


 
 
by Mike Breen 09.30.2014 40 hours ago
Posted In: Local Music, Music Video at 03:18 PM | Permalink | Comments (0)
 
 
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WATCH: Buffalo Killers’ ‘Weird One’ Video

Cincy band offers first public taste of forthcoming EP

Earlier this year, Cincinnati’s Buffalo Killers released their finest album yet, Heavy Reverie, a stellar representation of the band’s increasingly melodic Rock & Roll sound. The album earned the group some of the best reviews of its career and landed them their network television debut — a full interview segment on Last Call with Carson Daly

Fans won’t have to wait too long for new Buffalo Killers material. On Nov. 24, the six-track EP Fireball of Sulk will be issued through Sun Pedal Recordings. The EP is available to pre-order now (here); doing so comes with an instant download of the EP’s “Marshmallow Mouth.” 


Today, Relix.com premiered a music video for the track “Weird One,” a song about “those lost, pre-drug days when all you wanted to do was get away from your parents, dye your hair and drive around with your friends,” BK’s Zach Gabbard tells the site. 



Buffalo Killers’ next scheduled live date in Cincinnati is Nov. 26 at Northside Tavern with The Soledad Brothers. 

 
 
by Brian Baker 09.30.2014 46 hours ago
 
 
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MPMF 2014 Day 3: Last Dance, Last Chance for Love

The last day of MidPoint is like a lot of endings in life; the end of the day, the end of the week, the end of the year, the end of a piece of cherry pie, the end of the line. This is the end, my only friend, the end. 


And it had the chance to be the perfect end of perhaps the most perfect MidPoint in the festival's history, from the lineup to the weather to the experiences. And you know what, Aunt Em? I think it was. You were there, and you were there, and so were you. And so was I. I'm fairly sure of it.


I had a lot of possibilities circled on my MidPoint program for Saturday night, allowing for the chance to leave something I wasn't crazy about or merely the opportunity to see a couple of great things in the space of an hour. All of that happened and so much more. Saturday night was more sampler platter than focused attempt to see a set number of bands and it turned out pretty well. And for the first time since I began doing this daily wrap-up thing God knows how many years ago, I didn't take a single note all night as an inadvertent experiment in appreciation recall. Success or not? You be the judge.


As I was finding a parking space, I was listening to Little Steven's Underground Garage. The former Silvio Dante had been playing snippets of Groucho Marx bits from the Marx Brothers' movies, and finished with a hilarious Groucho interview about how the moustache came into existence. Moments later, as I was walking across Central Parkway on my way to the first show of the evening, I heard a horn honk and saw a massive arm wave from a Kia Sol. Of course, it was the semi-ubiquitous Jacob Heintz, the pope of MidPoint, giving me his blessing from his diminutive popemobile. Saturdays at MidPoint don't begin much better than that.


First up on my last day's dance card was Cincy’s The Ready Stance, who were slotted as the first show of the evening on the Midway stage. When the band began, I was still near the food court, and as the music cranked up, I would have sworn that the production staff was pumping some Marshall Crenshaw through the sound system for a level check. Within seconds, I realized this was no lost Crenshaw track but the Stance in full Pop jacket mode. The Stance churns out classic Pop/Rock informed by the '90s college Rock histories of guitarist/vocalist Wes Pence, bassist Randy Cheek and drummer Eric Moreton and the contemporary classicism of guitarist/vocalist Chase Johnston. As the foursome ran through a set that was evenly divided between tracks from their 2012 debut Damndest and new songs that may wind up on the band's in-the-works sophomore album, the Stance's numerous gifts were evident.


Pence and Johnston play with a two guitar/one mind synergy that crackles with intensity, Cheek lays down a massive groove that could be tracked from space and Moreton has the malleable sensitivity to control tempo and volume with a flick, a roll or an outburst. These guys are working stiffs on the old day job/night Rock treadmill, and the gears turn slowly in that world, so the new album may be on the far horizon. But as good as they were Saturday evening — Goose's Jason Arbenz pronounced them "Cincinnati's Jayhawks" and I wouldn't dispute it, although I'd toss in occasional nods to Mitch Easter and Ray Davies — the anticipation can only grow.


I bailed on the tail end of The Ready Stance's set to see OK Go down at beautiful Washington Park, and that may have been a mistake. I could have easily seen the entire Stance set and still made it in time for OK Go, as the band started close to 20 minutes late (It's a festival, boys … check the clock on your Jetson phones). When they finally hit the stage, the confetti cannons went off, they did two songs and then launched into … a question and answer session with the audience. 


I did get to see "Writing on the Wall," a pretty good tune which is accompanied by one of the band's most inventive videos, and a track called "Obsession," also from their impending new album. But it was already time to hit the next thing on my slate, and as I walked out of Washington Park and heard frontman Damian Kulash taking an inordinate amount of time to teach the audience how to sing along with whatever was coming up next, I knew I'd bailed in the nick of time. I like OK Go, a lot, but this was a massive disappointment.


If I was feeling somewhat burned by OK No (cheap shot? Perhaps …), that feeling was almost immediately dissipated by Chicago trio Bailiff, who were just taking the Midway stage as I approached up 12th Street. The band had been recommended by my friend Paul Roberts, who had seen them at their last local appearance at MOTR, and he was lathered up by the prospect of seeing them again, so I added them to my list of possibles. Boy, was that the right thing to do. 


Bailiff is not easy to pin down to a specific genre, but they play the living hell out of everything they do and they do just about everything. At one point, they were grinding out a Prog/Pop vibe that suggested the sound of King Crimson with Adrian Belew at the helm and Robert Fripp in a support capacity, a pretty neat trick considering Josh Siegel is the only guitarist in the band. Or they'll take a left turn into a tribal Jamaican/African reverie, or Art Rock bluster with the classicism of Talking Heads and the future shock of Radiohead. I kept wondering if there was a keyboardist behind the amp and out of my line of sight, but no such accompaniment was present, just the Siegel's sinewy guitar acrobatics, bassist Ren Matthew's Entwistle-meets-Pastorius lead runs and drummer Owen O'Malley's baby Bonham antics. The trio was drifting between their 2011 debut, Red Balloon, and their just released Remise, and it was all over much too soon for anyone's taste.


For reasons that will be revealed in the notes, I hung around the Midway for Alexander Giannascoli, aka Alex G, an impossibly young guitarist from Philadelphia with a pretty happening band around him. G's got a pretty good backstory, writing and recording at 12, posting songs online at 16, then lathering/rinsing/repeating into his current early 20s. He's got a wispy vocal delivery that rivals the late Elliott Smith for ephemeral atmospherics, and a Beck-meets-Robert-Pollard sense of Avant Pop, qualities that stand in clear and extremely appealing relief on his studio work, particularly his just released DSU. Unfortunately, a lot of those recorded subtleties and quirks are lost in the clatter and bash of their live presentation, and with the dynamic and emotional range smoothed and leavened, Alex G's largely mid-tempo odes don't offer much else to latch onto in the course of a set. This is most certainly not a case of good songs performed poorly, more like edgy songs with just a little too much of the edge sanded off. Alex G is obviously a considerable talent, and if I were to offer a bit of unsolicited advice to young G, it would be to either find a band that can recreate your basement lab concoctions or write for the live band you have, because they're talented players.


There was a considerable spike in the Midway energy level when Low Cut Connie took the stage. Typically just a duo featuring piano basher Adam Weiner and drummer/erstwhile guitarist Dan Finnemore, LCC tours with a full band complement and makes a mighty racket in the process. Weiner plays with the ferocity and brash confidence of early Jerry Lee Lewis at his most petulant — he even has a vestige of The Killer's untamed forelock of hair — and he sings with the raw animal magnetism of Iggy Pop. Weiner hops up on his bench, plays with his elbows and occasionally his ass and stands atop his piano threatening to do a strip tease as the band vamps on.  And when Finnemore steps to the front of the stage with his guitar, the U.K. native truly embodies his Punk/Garage Rock roots and influences. Low Cut Connie's songs are dripping with snarky humor but they stop well short of being mere novelties by virtue of being great bloody songs. The band's Facebook posting on Saturday morning at 9:30 a.m. stated, "On our way to mess up Cincinnati real good … tonight at #mpmf … gonna rip it." Damned if they didn't.


Once again, I had to tear myself away from Low Cut Connie's compelling Midway spectacle in order to take in a little of Mr. Elevator and the Brain Hotel down at MOTR. When working on their blurb for the CityBeat preview issue, I was absolutely captivated by the Brain Hotel's hypnotic Psych/Pop soundtrack and dark Carnival of Souls demeanor, and it translates well into the band's live performance. There are hints of the '80s Paisley Underground in the Brain Hotel's sonic profile, particularly the helium-tinged vocals of the Three O'Clock's Michael Quercio, but it's the band's visceral impact that is most satisfying. It reminds me of the first time I saw The Doors on The Ed Sullivan Show in 1967 and was completely mesmerized, not by royal lizard/frontshaman Jim Morrison but by hunched-over keyboard alchemist Ray Manzarek. Any band that can consistently access that hallowed memory from the dusty archive of my brain's pre-hard drive file cabinet has my undying devotion.


I had initially earmarked the 11 p.m. spot for the Bonesetters at Arnold's, but my bum leg was starting to throb a bit and the prospect of walking to Arnold's and then back to MOTR for Kid Congo at midnight suddenly seemed painful and ill-advised. For the sake of saving my leg for possible use on Sunday (and sort of forever), I opted to keep my spot on the MOTR dance floor and hang around to check out Corners. Deirdre Kaye's preview noted that the L.A. trio had been working a Surf/Psych angle but that they'd recently shifted to a Post Punk direction. That became evident with their first song, a blazing two-guitar/bass/synth percussion screamer that brought my last two years of college back to life like an acid flashback with a Synth Punk soundtrack. 


Corners bears all the marks of late '70s Electro Punk, somewhere in the vicinity of Joy Division and their post-Ian Curtis iteration New Order, with flecks of the Units, San Francisco's dour Synth Pop avatars, a splash of Gang of Four, a dash of Bauhaus and Red Lorry Yellow Lorry and maybe a trace of the Sisters of Mercy and Killing Joke. All of this will most assuredly be reflected on Corners imminent new album, Maxed Out on Distractions, which provided the bulk of the songs for the band's MidPoint set, which was dark, vibrant and enjoyable. (Ironic fun fact: the entire lineup at MOTR on Saturday night will appear at Corners' L.A. record release party in early October.)


At last, it was time for Kid Congo and the Pink Monkey Birds, the last band of the last night of MidPoint, and brothers and sisters, the Kid and his compatriots were more than up to the task. The former Gun Club/Cramps/Bad Seeds guitarist has been staging some form of the Pink Monkey Birds for over a decade and this iteration (guitarist/keyboardist Jesse Roberts, bassist Kiki Solis and drummer Ron Miller) might be the best batch yet. Peeling any loose paint from MOTR's walls was absolutely no trouble for the Kid as he scorched away on selections from his latest album with the PMB, Haunted Head, as well as a couple of songs from their upcoming single and a bunch of old favorites, including The Cramps' "Goo Goo Muck," The Gun Club's "She's Like Heroin to Me" and his own brilliant "Black Santa" and "Killer Diller." 


The MOTR's dance floor was a boiling mass of rhythmically moving bodies, propelled by the Kid's blazing guitar runs and the Pink Monkey Birds' perpetual motion soundtrack. And since it was the band's last night of their current tour, they were not about to leave anything on the table, so after their standard club-clearing encore of "LSDC," the Kid and his Birds returned for one last brilliantly incendiary romp through The Gun Club's "For the Love of Ivy;" I fully expected lightning to shoot out of the Kid's fingers and eyes as he overloaded every internal and external circuit in the joint. I don't think he could have given us any more and I'm not entirely sure we could have taken it even if he had any more in him. As the Kid and the Birds bid us adieu, I had to believe that this might have been one of the most spectacular last nights of my personal MidPoint attendance history. It will be hard to top going forward, you can bet your sweet ass on that.


SATURDAY NOTES


• Before the Ready Stance set, I ran into Ready Stance. The Midway seemed like a good place for that to happen. Wes Pence was first, busy with logistics on the phone, then in short order Randy Cheek and Chase Johnston. The Good Rockkeeping Seal of Approval King Slice was on hand for the madness, as were Paulie, Big Jim and Stufest (that's Stu to you and me). Also down in front for the Stance was Randy Campbell, formerly with Screaming Mimes and now with Faint Signal, who promised a new FS album coming shortly. I will keep you appraised of the situation. And once again, Eddy Mullet, my Class X comrade in Rock, sought to gain my attention by standing impossibly close to me as the Stance pulsed and pounded. Note to Eddy: For the record, 20 years ago, on a trip to Michigan, my best friend's wife, completely circuit fried on Xanax and Grey Goose, was dancing around their living room, grabbed my foot, shoved it between her legs and started hopping around in front of me like my shin was a stick pony from the '50s. With my foot in her cooch. Believe me, I'm not suggesting that you need to escalate to that DefCon level of weird, but it's safe to say that my threshold of the unusual is well above a bar you'd be willing to attempt to clear. And we're back. Accompanying Eddy was his most excellent daughter Jess, the smartest, most music savvy high school senior I know. Big things coming for that girl, I just know it.


• Down at Washington Park just before OK Go played, I crossed paths with Latha Mannava, former CityBeat worker bee and now more gainfully employed by F&W. Latha graciously introduced me to her friends by saying, "Whatever Brian recommends, that's what I go see." Ironically, I had written up the OK Go preview as a glowing endorsement, and Latha noted about two songs in, "These guys are doing nothing for me." Just to keep things in perspective, folks, the best hitters in baseball are only successful a third of the time, and that's a better percentage than some highly salaried and over-radared weathermen. I'm pretty sure my reputation is still pretty good with Latha.


• I spent a good deal of the evening on the Midway with Ready Stance drummer Eric Moreton and his wife Kristiana. Eric couldn't really go anywhere because someone in the band had lost his wristband (I don't want to assess blame but his initials are Wes Pence), so I just kind of hung around and had a lovely conversation with the two of them. I'm fairly certain I scared the living shit out of them with tales of my dysfunctional life and times and the epic tale of why I was on a self-imposed one beer limit throughout MidPoint (which I'm surprised wasn't tweeted about at some point during the weekend, with the suggestion, "Please shut up already, please"). In any event, it was nice, thanks for the company, and if either of you requires therapy after our compressed time together, I think my insurance will cover part of the cost before tying a cinder block to my waist and throwing me off the Big Mac Bridge.


• As I was headed into MOTR for the Brain Hotel experience, the wisdom of checking out this show was magnified a hundredfold with the appearance of the much-too-absent Matthew Fenton and his friends Kyle and Nicki (I'm guessing at her spelling, as I did with last year's Bunbury report). Matthew had also decided to stake out an early spot for Kid Congo, and a look at Corners' crazy Gary Panteresque T-shirt designs at the merch booth salted his decision. I love seeing shows with Matthew; they typically involve exchanges like this:


Matthew: Who is this again?

Brian: Mr. Elevator and the Brain Hotel.

M: Very Paisley Underground.

B: Remember the Three O'Clock?

M: (nods)

B: They need a go-go cage.

M: With you in it?

B: I don't dance.

M: You've gotta do something.

B: (Frankestein-then-master voice) "Arrrrhh!" "No, Caezar!" "Fire, bad!"

M: Well, not that. You can't just sit there sucking your fingers.

B: May I go to the bathroom?

M: No!

B: Thank you.


Pretty much endlessly. I love our time together. It's so pointless and perfect. And it usually has a pretty cool soundtrack.


• As Corners left the stage, Matthew's friend Ashley showed up with her friend Tone (again, guessing … it could be some Scandanavian derivation with no vowels and the symbol for magnesium as an accent, or it could be short for Tony), who was a super nice guy and a good hang for the Kid Congo show. Ashley mentioned that they were only there because of a bug in the MidPoint app that kept defaulting to Thursday; they thought they were coming to see Nikki Lane. But they both thoroughly enjoyed Kid Congo, so no harm no foul … but have I.T. check that app for next year, kids.


• Also taking in the raucous Garage/Punkabilly jailbreak that was Kid Congo and the Pink Monkey Birds: Paulie, Big Jim and Sir Dan of MidPointville, who I'm beginning to believe was assigned my case and has been keeping pretty close tabs on me. For the record, I'm fine, and you can count the silverware. It's all there. I spotted Wes Pence at the very end of the show but when I did a quick walk through MOTR, he was gone. Cest la vie — see you again soon, my friend.


• On my way back to the car, I ran into the always fabulous Mike Sarason, dressed to kill after a friend's wedding, along with his stunning date Margaret. Mike mentioned that he had moved to New York, and that the hiatused Pinstripes were likely done, news that I had gotten from Pinstripes drummer John Bertke Thursday night at MOTR. It was great to see Mike, he's a world class guy and I certainly hope he continues to pursue a musical path because he's amazing, but the reality of the end of one of my absolute favorite bands and a perpetual highlight at this very festival made for a rather bittersweet end to the last day of MidPoint.


• And so one of the most nearly perfect MidPoints in the event's history is in the book. As usual, there is much credit to be spread around for the success of an undertaking with this much complexity and requiring this much planning. First and foremost to Dan McCabe, who somehow manages, year after year, to play the most intricate game of chess with artists, agents, publicists, labels and venues and then come up with a strategy where it seems everyone wins. 


• Obviously, MidPoint couldn't happen without the sturdy volunteer army that clockworks this potential mess every fall with very few glitches. This absolutely could not be done without your skill, patience and stamina. 


• Of course, there's everyone at CityBeat who helps facilitate and promote MidPoint and who are its main boosters well before and well after the event, from Dan Bockrath. Danny Cross and (now it can be told, cyborg) Mike Breen, right on down through the entire staff. Sting told me, every little thing you do is magic. 


• And obviously to all the bands who came from down the block, across the country and, in some cases, around the world to be here for the express purpose of entertaining us with their creative gifts. But most especially, thanks to everyone who attends MidPoint year in and year out, for showing up to experience the region's absolute best music crawl. This year’s may well have been the best populated Thursday night in the festival's history, and that couldn't happen without patrons who believe in the event and the promise of great music to be heard and that couldn't be done without all of the above. Funny how symbiosis works, isn't it? Thanks again to you all for a brilliant MidPoint 2014. Set your watches for late September 2015 … you'll know me, I'll be the thirsty one with a limp


 
 
by Richard Lovell 09.29.2014 66 hours ago
at 01:51 PM | Permalink | Comments (0)
 
 
kathywilson

Kathy Y. Wilson Named Library's Writer-in-Residence

CityBeat columnist takes on new role at Public Library

Published author, poet, teacher and long-time CityBeat columnist Kathy Y. Wilson has been named Writer-in-Residence for the Public Library of Cincinnati and Hamilton County.  Wilson is the first person to take on this new position, which she will serve through November.

As Writer-in-Residence, Wilson will conduct a writer’s workshop, speak at multiple community events and participate in library promotions throughout her residency.

Wilson should be no stranger to any habitual reader of CityBeat, whose “Your Negro Tour Guide” column was a feature in each weekly edition before she abruptly ended the column in 2005. She still remains a featured contributor, providing matter-of-fact and straight from the shoulder insight on the most pressing and important issues, from the election of Barack Obama to the current transgressions of the NFL. She’s never been one to shy away from cutting and abrasive commentary, providing insight that might otherwise remain concealed or ignored.

Wilson has extensive experience in the field of journalism and writing. She is currently a senior editor at Cincinnati Magazine and an adjunct instructor of Women’s Studies and Journalism at the University of Cincinnati, and was a contributor for “All Things Considered” on National Public Radio. Her work has been recognized on multiple occasions, and she was a finalist for a National Magazine Award for her in-depth profile of conservative talk show host Bill Cunningham, being nominated alongside writers from big name publications like Vanity Fair, The New Yorker, National Geographic and New York Magazine — an achievement in and of itself.

Wilson had always dreamed of one day being featured on the shelves of a library and with multiple books to her name, that dream has been wholly accomplished. As the new Writer-in-Residence, she can help people consummate that very same dream.

 
 
by Brian Baker 09.29.2014 70 hours ago
 
 
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MPMF 2014 Day 2: Stuck in the Middle with View

The middle of the MidPoint weekend is like the middle of a lot of things; the middle of a movie, the middle of a book, the middle of life with an equal measure of glorious accomplishments and missed opportunities behind and the potential for great things still ahead, the middle of an exquisite jelly donut where the filling drips down your chin as you lick the pastry where you just bit with a sensual need for completion. 


What was I saying? Right, middle of MidPoint. So here we are in Day 2, quite possibly one of the most anticipated second days of the festival in its long and storied history.


I arrived at Washington Park just as Joseph Arthur was beginning his set. A lot of folks had been hoping that Van Hunt might be accompanying the evening's headliner, our own Afghan Whigs, since he had been touring with The Whigs recently, but Arthur is opening this next leg of the Whigs' triumphant return and so the honor fell to him. And yet the pleasure was all ours, as Arthur put on a brilliant one-man presentation with the help of loops and stomp pedals and a catalog filled with amazing songs, like the powerful "In the Sun" ("because all the best Rock & Roll happens in the middle of the day"). Clearly the most incredible moment of Arthur's set came at its conclusion, when he set up his loops and launched into "I Miss the Zoo," and began drawing an outline with a black paint marker, which almost immediately began to run, on a piece of what looked to be foamcore on an easel set up on stage. While Arthur sang verse after verse, he squirted different colors of paint on various spots around the board, and then picked up a brush and pushed the colors around and into the bleeding black. When he finished the song, he had finished the painting. It was quite astonishing, to say the least. I've been a fan of Arthur's for some time — I interviewed him many years ago — and although I knew he was renowned for his paintings, I had no idea he mixed his media in quite this fashion. It was thrilling to witness.


Next up on the bill was Wussy, quite honestly one of the most redemptive and satisfying second acts in Cincinnati music history. After the nonchalant major label dismissal of Chuck Cleaver's Ass Ponys in the '90s, he returned with a shambling vengeance with Wussy in the new millennium, partnering with Lisa Walker then adding Mark Messerly and Dawn Burman to the fold and making their studio debut with the patently amazing Funeral Dress in 2005. Wussy quickly became a critic's band, famously scoring a huge fan in renowned writer Robert Christgau, who cited both Funeral Dress and 2007's Left For Dead in his Top 10 best albums of the new millennial decade. The arrival of drummer Joe Klug in 2008 gave Wussy the powerful engine they required to hit the subsequent heights they have attained, first with 2011's magnificent Strawberry and now with this year's brilliant Attica! 


This latest string of Wussy shows is proving just how powerful and confident the newly minted quintet (with the arrival of former Ass Pony/pedal steeler John Ehrhardt) has become. Klug's presence as a muscular and reliable hammer is certainly one element, Messerly's evolution as an absolutely vital, melodic bassist is another, but in many ways this also boils down to the strengthening chemistry between Cleaver and Walker. The duo's already incredible synergy has morphed into a ferocious and purposeful partnership that yields more dividends with each set and session, and Friday's performance at Washington Park was evidence of Wussy's upward/onward trajectory.


After blazing through a killer romp on "Pulverized," Walker poked the crowd with a gentle threat: "I hope you like 'The Wreck of the Edmund Fitzgerald,' because we're doing all 13 verses … Gord's Gold 2, that's what we've been listening to, exclusively." 


Thankfully, no such root canal took place. Instead, Wussy ran through a selection of Attica! and catalog tracks that cemented the band's position as a formidable live entity. "Rainbows and Butterflies" was massive, dense and beautiful while "To the Lightning" howled with an anthemic power surge that accentuated its R.E.M. jangle and Yo La Tengo dissonance, and "Teenage Wasteland" was a showcase of Walker's incalculable gifts and her indispensible role in Wussy. And "Beautiful," like its studio predecessor, started out as a gentle meditation with a menacing undercurrent, but quickly built to a Crazy Horse squall that set off Cleaver and Walker's mantra-like intonation of "I'm not the monster that I once was." If all that wasn't enough, and it surely was, the fivesome finished their round with an unexpected and thoroughly engaging version of Joy Division/New Order's "Ceremony." This set was the best evidence yet that Cleaver may finally be ready to forget about the wounds inflicted by his first go-round with the industry and take his rightful place in the Rock pantheon along with his equally deserving Wussy mates.


At last it was time for the main event, the much-anticipated return of The Afghan Whigs. Each iteration of the Whigs' reclamation has been documented with a local show, but this tour in support of the Whigs' first studio album in a decade and a half, the jaw-dropping Do to the Beast, has been billed — even by some of the band's harshest critics — as the best live performances of their career. Local fans were justifiably amped up about the prospect of experiencing that rush for themselves. To say they weren't disappointed might well be an understatement on a par with "The Beatles kind of changed things."


Naturally, the majority of the set was devoted to Do to the Beast, as the band vaulted into the night air with "Parked Outside" and "Matamoros," guaranteeing that the album and live set opened with the same visceral one-two punch. But where frontman Greg Dulli sounded intense and focused in the studio, he was a coiled truck spring on stage, a spiral of wound up energy that unspooled with a nearly unhinged control. 


Surprise was the watchword of the evening. Dulli had hinted to CityBeat that an unexpected guest would be making an appearance and that apparently turned out to be Greenhornes/Raconteurs drummer Patrick Keeler, who proved to be more than up to the task of beating the Whigs' tribal drums and being the percussive foil for John Curley's perpetual bass clinic. And while much of the set list was anchored by Do to the Beast and Gentlemen, about to be reissued in a 21st anniversary two-disc package, there were a number of interesting twists and fan-centric fist pumpers.


The Whigs have always loved mashing up two or more songs, and last night there were a few corkers; Gentlemen's "When We Two Parted" drifting into Drake's "Over My Dead Body,” Do to the Beast's "I Am Fire," paired with a tubthumping take on Fleetwood Mac's "Tusk" and the new album's "Lost in the Woods" bleeding into a melancholic shuffle through The Beatles' "It's

Getting Better." Elsewhere, the band partly covered Jeff Buckley's "Morning Theft" to great effect, and opener Joseph Arthur provided backing vocals on the stage front mic for "Can Rova" from Beast while Dulli took his place at the piano. 


The band has been running through stellar versions of "Debonair," Black Love's "My Enemy," and 1965's "John the Baptist" and did again, but the end of the Whigs' hometown set provided the greatest fireworks, starting with the almost never performed "Son of the South" from their Sub Pop debut and sophomore album Up In It, and eventually finished with an abbreviated encore, a blazing march through 1965's "Somethin' Hot" and Black Love's "Going to Town." With the 10 p.m. curfew bearing down, Dulli introduced the band and departed with a resounding, "We are the motherfucking Afghan Whigs! We'll see you next time." 


The Afghan Whigs have clearly grown to accommodate some of the massive stages they've inhabited as of late. Longtime Whigs fans may lament the loss of the band's less seasoned version, where every club show seemed to be played with the ferocity of rats fighting their way out of a corner. The Afghan Whigs of now feature the cumulative growth that Dulli and Curley have experienced over the past 15 years since the band's demise and that experience is considerable and fairly amazing. Songs that were once acid-etched screeds are now heart-pounding anthems, and that evolution seems neither contrived nor insincere in any way. Dulli still sings them with visceral conviction, but now he possesses a new understanding of himself and his long established mythology and Curley still underpins every song with eye of the storm calm and outer band intensity but now he invests every note with the unrestrained glee of the best second chance ever. It all makes sense to me.


One last observation; the red gels on the stage lights gave the curtain behind the band the blood red appearance of the velvet backdrop on the cover of Congregation. If you carry that metaphor to its logical conclusion, the Whigs were a beautiful naked ebony mother and we were her beautiful naked pale baby and we were all together on a beautiful night under a beautiful sky having a beautiful time. The Whigs' official return to us could not have been more appropriate or better appointed. And then there was Dulli's hopeful parting, “We'll see you next time.” God, I do hope so.


With the adrenalized rush of the Whigs still ringing in my ears, I headed over to The Drinkery to catch the last two songs from Across Tundras. The Denver-to-Nashville trio works a Doom/Stoner/Psych/Metal angle with a Southern twist that has appeal and volume in equal measures. I realized that I had some wiggle room built into my schedule so I decided to stick around and check out some of All Them Witches, also from Nashville and also working a similar corner as Across Tundras. Although at face value, the two bands seem identical, I'd give the slight advantage to ATW, simply by virtue of their incredible sense of melodicism through the crystal clear volume. There were moments of black hole heaviness that referenced contemporary purveyors like Dead Meadow and Mastodon, but in a Stoner Metal heartbeat they'd crank out a run steeped in the pot/incense smokehouse of early Black Sabbath and Uriah Heep. Amazingly, as loud as it was in The Drinkery's long, narrow space — and I'm quite certain ATW was burying the needles on sound equipment down the street, registering the volume like a Richter monitor — it was never distorted or sludgy or painful, just sheets of pure, beautiful volume and emotion.


I ducked out of the end of All Them Witches to hit the Know Theatre for Rubblebucket. I had picked them to preview based on a couple of spins through their recently released fourth album Survival Sounds and its live presentation did not disappoint. This was clearly a much-anticipated show in the area; the Know staff was counting wristbands by the time I arrived to ensure they didn't go over room capacity on the second floor, and it filled up quickly. Rubblebucket's dancetronic Art Pop/Ska/Soul comes across well in recordings with plenty of nuance and subtlety, but on stage the band is unadulterated fun, downplaying some of the studio filigree while amplifying their core sound. Former boss/friend-for-life John Fox noted the band's resemblance to our own Walk the Moon, and they certainly offer that same brand of infectious Dance Pop, but there is a complexity in Rubblebucket's sonic recipe that pushes them into a singular and perfectly erratic orbit, a place where Bjork and The B-52s and Fishbone and Talking Heads form an orchestra and fashion Play Doh instruments, Bjork whips out some Icelandic volcano magic and transforms them into playable utensils and they translate signals from Voyager into universal Dance Pop. 


Rubblebucket's complexity and oddballitry may never find favor in the mainstream, but it hardly matters. They have found the answer to any number of unasked questions and created a sound that everyone should hear at least once and that too many never will. The packed house at the Know on Friday night can revel in the secret knowledge that we have heard Rubblebucket, we get it and, like so many things in life, that will have to do.


I once again beat a reluctant retreat, leaving Rubblebucket before set's end to make my way down to Arnold's for the Jam/Roots splendor of Holy Ghost Tent Revival. When I turned the corner on 8th Street, I spied a small crowd bunched up at Arnold's front door and heard the most feared word in the MidPoint vocabulary: Capacity. In a rare moment of "fuck it," I strolled into Arnold's anyway (OK, it's not all that rare; I am my father's son, after all, and I suspect that I learned those two words first), and found that "capacity" was a malleable term. As I was chatting with the ubiquitous and ever welcome Wes Pence of The Ready Stance in Arnold's middle room, The Sundresses' Jeremy Springer, doing a typically bang up job in his role as server in the bar, inquired if my presence in the middle room and absence from the patio was a result of the capacity announcement. "Follow me," he said without hesitation, and planted me at the rear of the room as the band kicked off the last slot of the evening.


It was obvious that a good many people remembered the Revival's rambunctious appearance at MidPoint two years ago, or heard about it and wanted to experience it for themselves (I was in the latter camp). I get The Band/Flying Burrito Brothers references to HGTR's tangy, twangy sound, but there's so much more to it than simple Country revivalism. The horn driven sextet swings with the bristling energy of Squirrel Nut Zippers without the desire for that level of authenticity, while ratcheting up the Rock quotient to Phish-like levels of volume and instrumental proficiency. With those twin engines in place, Holy Ghost Tent Revival is aptly named; the band is passionately inspired and their songs are energetically executed with the soaring joy of the event in their name without any problematic or messy religious connotations. Allow the Revival into your consciousness for just a couple of songs and you'll be converted to their immaculate perception of Roots Rock, Stax Soul, horn-peppered Pop and adrenalized Indie Rock. The band, squeezed onto the narrow confines of Arnold's porch-like stage, blew through selections from their estimable catalog, concentrating on 2012's Sweat Like the Old Days and the just released and consistently excellent Right State of Mind, with both a sense of and a disregard for precision, making sure the feeling came across more than the chart. Come back to us soon, Holy Ghost Tent Revival, MidPoint or not; we are in need of slightly more regular baptisms.


FRIDAY NOTES


• Washington Park was absolutely jammed with humanity for Wussy and the Afghan Whigs. Pike 27's Sean Rhiney and Dave Purcell, along with Dave's wife Amy, were there early for the Joseph Arthur experience, the Black Owls' Kip Roe was wandering the grounds with son Kip Jr. at about the same time and scene vet Jay Metz was working the Whigs' merch booth with typical entrepreneurial flair. Wes Pence was in attendance with his son Wyatt, who got an invitation from one of John Curley's daughters to sit on the stage and witness the Whigs' splendor up close. To be 11 and cute again. Well, to be 11 again … I just looked at my sixth grade picture.


• Local singer/songwriter Josh Eagle strolled in to witness the Wussy set; Josh is just one more reason why Cincinnati's music scene is unmatched for its talent and its sense of community. Also ran into my old CityBeat boss and mentor John Fox, to whom I literally owe, at least in part, my career and current life. It is an unpayable debt and I try to acknowledge it every time I see him so he understands his importance in my history. He was hanging for the night with his buddy Don; we had a nice chat on the lawn and he was kind enough to buy me the one early beer that I had allotted for myself each night of the festival. That story may unfold in this forum at some point; I've related it 50 times already this weekend to friends, acquaintances and complete strangers. Keep an ear out, you'll probably hear it secondhand before I tell it again.


CityBeat’s Mike Breen beamed in from the upper atmosphere for the Whigs extravaganza, so I'm two for two in the Breen spotting sweepstakes. I'm going for the hat trick on Saturday. The Owls' Brian Kitzmiller and Sohio's Mark Houk were also among the Whigsian throng, as were Paul, Big Jim and Stu: I learned from the shirt he was wearing that his given name is Stufest. Must be a passed-down-in-the-family thing. Great to see CityBeat theater critic Rick Pender, as well as CityBeat alum and local actor Rodger Pille and especially former Enquirer contributor and current MTV News hound Gil Kaufman. And I was introduced to a veritable platoon of additional people by some of the above, all of whom seemed like people I would like to have a picnic with anytime at all. I'm free next weekend, Brad and Amy.


• On the verge of heading back to the Main Street core, I turned just in time to see the unmistakable frame of stage manager guru Jacob Heintz strolling across the Washington Park grounds in the post-Whigs glow. Of course, Jacob's working every second of the festival, but he mentioned that things had gone so smoothly for the first two days that he was afraid to say it out loud for fear of screwing up whatever good MidPoint mojo was lingering in the atmosphere. It just ain't MidPoint until I've gotten some face time with Jacob.


• Once installed at The Drinkery, I was joined by CityBeat master blaster Dan Bockrath, who had arrived in order to soak up the sonic boom-and-doom of All Them Witches. Like everyone in the audience as near as I could tell, Dan was captivated by the concussive volume yet melodic heart of ATW, and when he returned from a trip to the bar, he handed me an unbidden yet desperately desired tonic water and lime. Although the Hall of Foam is sadly off line this MidPoint, Dan continues to be a much appreciated buyer of liquid refreshment, and that, at the end of the day, is all that truly matters. Thanks again and always, Sir Dan of MidPointdom.


• At Rubblebucket, I crossed paths once again with John Fox, his pal Don and the ever inscrutable Mike Breen. I have searched my aging brain device and not come up with a single memory of seeing Mike twice in one night, so that could stand as the record. If I don't see him Saturday night, I may consider the hat trick achieved (with an asterisk). My buddy Brad Gibson, frontman for the Saturn Batteries, was on his way down as I was coming up, so not sure if he decided to stay. Not long after the band fired up, Sir Dan strode in with purpose and took his place alongside us. And there it was, the entire history of the CityBeat braintrust. And me, of course.


• Other than Wes Pence, the unofficial mayor of MidPoint, I didn't spot anyone in the Holy Ghost Tent Revival crowd that I knew until Sir Dan came in not long after the band got cooking. If it was anyone else, I'd consider a restraining order, but I know Dan is just looking out for me, and we share similar taste in music. And when HGTR frontman Stephen Murray asked the assembled multitude how they knew about the show, Dan responded with a lusty and pride-filled "CityBeat, motherfucker!" When I suggested that might make a nice tagline for the masthead, he seemed to consider the idea, leading me to believe that maybe Dan was done for the night. As I was headed out the door, Wes was talking to a friend at that very nexus, so I hung for a second until they'd said good night, then prepared to do the same. We started to chat when a face appeared at Arnold's front door and gestured toward Wes. Apparently it was his ride home, so he handed me his double bourbon and said, "Do what you want with it, I just want it to go to a good home." And so, valiant soldier that I am, I sipped for five minutes, then drained it. It mellowed my shit out like right now. Thanks, Dr. Pence.


 
 
by Brian Baker 09.27.2014 4 days ago
 
 
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MPMF 2014 Day 1: The First Night of the Rest of the Weekend

The first night of MidPoint is like a lot of firsts; first date, first kiss, first sex, first beer, first rectal exam by a hot proctologist. Hey, you have your firsts, I have mine. Anyway, MidPoint Thursday is always a magical time of reconnecting with old friends, making a few new ones along the way and experiencing an almost breathtaking amount of incredible music of every conceivable variety. 2014's version of that particular passion play lived up to and exceeded every expectation.

First up was a trip to the MidPoint Midway to witness the return of the mighty Pike 27. The band's late '90s/early '00s run included at least one EP and a great full-length in Falling Down Hard, but frontman Dave Purcell's shift into academia on the teaching side signaled the band's demise. Although Purcell's professorship at Kent State precluded him from actual band activities, he never stopped writing songs, and when he fortuitously returned to Cincinnati last year, he had an ass-pocket full of new material that suggested new horizons and possibilities. Purcell and original bassist Sean Rhiney (veteran and current member of any number of high profile bands and the co-founder of our MidPoint feast) resurrected Pike 27 with guitarist/local hero Mike Fair and drummer-and-more Dave Killen. 


This new iteration of Pike 27 is a powerhouse of scorching guitar, earthmoving bass and jackhammer drumming, and while there are vestiges of the band's Roots Rock history, everyone's balls are definitely within the vicinity of some wall or other and medal is being pedalled with controlled abandon. Start to stop, Pike 27 careened from song to song with the visceral intensity of The Old 97s and dashes of Alejandro Escovedo and Grant Lee Buffalo at their delicately nuanced and head-kicked obvious best. This seems to be a fertile period for long dormant bands to renew themselves and that can always be a problematic situation, but Pike 27 is clear evidence that having the right motivation to return can evolve into a stunning and most welcomed result.


On the heels of Pike 27's energetic and fabulous opening set at the Midway came the return of our beloved Black Owls, a well-documented force of nature in their own right. Pre-show, frontman David Butler promised that the Owls' set would be populated with nothing but new material with very few exceptions, and he was good to his word. Other than their recently installed cover of Harry Nilsson's "Jump Into the Fire" and set closer "Glorious in Black," from their 2010 sophomore album June '71, the oldest songs in the Owls' incendiary set were "Rook" and "Gasoline," the two songs from their most recent single. Everything else that followed an invocation from the inimitable King Slice was brand new and largely untested Owls material, perhaps all of which will be taken into Ultrasuede at the end of November in anticipation of a new album. It made for a set that crackled with energy and a certain ramshackle giddiness as the band roared through material that hasn't quite solidified. Butler is quick to credit the rise of guitarist Brandon Losacker's songwriting profile as the reason for the Black Owls' straightforward Rock shift and sudden prolific streak, but I'd be just as quick to point out the gelling of new (and perpetually fabulous) bassist Kip Roe, the malleable thunder of drummer Brian Kitzmiller and the continually developing chemical bond between Butler and longtime musical cohort Ed Shuttleworth as equal parts of the Owls' new equation. The band is clearly having an absolute blast with the new songs, and their joy is translating to performances that are pegging the needle past the insane levels the Owls had already established. Cincinnati's Black Owls, as Butler likes to refer to the band, is in the midst of a fertile and potentially explosive period of evolution.


After the Owls' incendiary set, it was a quick stroll over to the Know Theatre to catch the last half of the set from Cincinnati’s Darlene. The trio was firing on all badass cylinders to be sure, blasting out sheets of guitar squall with plenty of melodic counterpoint. A tweet from someone at the show asked the musical question, "Is Darlene the new Sonic Youth?" The answer provided by perpetual smartest-guy-I-know Matthew Fenton was a logical and correct "No." Darlene is a blistering Rock band, and guitarist Janey O'Laney is always teetering on the brink of a shred-fueled fit, with bassist Cuddly D (the infinitely busy Dana Hamblen) and drummer Robby D providing the slinky yet sturdy undercarriage. But the fact is that the trio, at its heart, is a melodic Pop unit. They probably hew closer to Yo La Tengo in their ability to go from pretty to visceral in a half a heartbeat, but Darlene isn't the new anything; they are Darlene, and that's an astonishing accomplishment. Besides, as Matthew rightly pointed out, Darlene may be the best-dressed band on any given night anywhere. Sonic Youth were never known for their sartorial splendor. So there.


After Darlene, it was time to cruise on down to Mr. Pitiful's to check out Steelism, an instrumental quartet from Nashville. If guitar, bass, drums, pedal steel and no vocals sounds like a crashing bore, you'd be half right. There was plenty of crashing; cymbals, sounds and gates, as a human stampede of MidPoint patrons made their way into Mr. Pitiful's to sample Steelism's wares. I know from experience that if a relative unknown doesn't grab a festival crowd in the first couple of songs, the crowd in question will leave fast enough to create a head-exploding vacuum in the area. If anyone left during Steelism's mind-melting set, they were more than offset by the several dozen who drifted in after the start.


Steelism is comprised of British pedal steeler Spencer Cullum Jr., Ohio guitarist Jeremy Fetzer, and a bassist and drummer whose introductions were lost in a crowd frenzy and a muffled mic (well, they weren't mixing for vocals, now were they?), who threw down a mighty and wordless racket, unless you count Cullum's talkbox vocals on the band's spin through The Beatles' "Something." You could call Steelism Surfabilly/Soulicana/Spaghetti Southern or you could just call it bloody good music; after running through a handful of originals from their new full length, 615 to Fame, and their cracking good 7-inch, The Intoxicating Sounds of Pedal Steel and Guitar, and covers of classics by The Ventures and Booker T. and the MGs, Steelism had the packed house at Mr. Pitiful's in the palm of their sweaty hands. At one point, Cullum indicated that the band was going to slow things down, and then offered the crowd a choice between a gentler vibe or "plowing on through." The overwhelming vote was for the latter, with Cullum noting, "No sensitive people here tonight." He certainly got a taste of what plowing through will get you in Cincinnati. Steelism finished up with a roaring take on the James Bond theme, which nearly pushed the frenzied multitude into religious conversion. I don't know what that church would be called, but they wouldn't have a choir; no words necessary when Steelism kicks open the doors of the sanctuary.


Then it was a quick jaunt down to The Drinkery to witness the Motor City madness of Flint Eastwood, a quartet of musical insaniacs from my home state to the north. In the studio, Flint Eastwood exhibits a certain heavy fisted subtlety that is charming and dancable in a visceral way. All of the relative nuance that is present on the band's EP, Late Nights in Bolo Ties, is tossed onto a bed of nails and jumped on until it experiences head-to-toe acupuncture in its live presentation. On stage, Flint Eastwood buries every needle in the red, thrashes about like lunatics after a napalm shower and entertains their audience at metaphorical knife point. Frontwoman Jax Anderson cajoled the crowd at The Drinkery to get involved in the show and when she got what she felt was a half-hearted response, she shrieked, "Nobody's too cool to have fun!" and put us through our paces like a Marine drill instructor on meth. She had us shouting then whispering "na na na"s, got us kneeling on The Drinkery's dance floor and then lifted us up like a demented preacher speaking in Rock & Roll tongues. All the while, the band was grinding out a gritty groove that sounded (and resembled) a full arena assault by the Red Hot Chili Peppers. It was draining and glorious and probably just another full-throttle 20-mile Rock & Roll hike for Flint Eastwood; it's pretty obvious these guys have one gear and it's "hellbent for bent hell." That's the Detroit method, bitches. Get used to it, get over it, get on it.


I reluctantly ducked out of Flint Eastwood's last two songs to hotfoot it down to MOTR for the remainder of Nikki Lane's set. Lane is a Country shitkicker with a decidedly different take on the genre, opting for a certain songwriting traditionalism while soundtracking it with a band that sparks and smokes with Roots Rock intensity and abandon and adopting a persona that suggests Wanda Jackson's pot-smoking, foul-mouthed twat of a granddaughter. Lane and the Thunder (she admitted the jury was still out on the name) roared through their MOTR set with equal parts ferocity and humor, as Lane used the space between songs to candidly muse about the intention of each one. "This is a love song," she noted appropriately prior to "Want My Heart Back," extending the title to, "I want my fucking heart back," and later opened "Sleep with a Stranger" with "This is a song about tonight, when you'll sleep with someone you don't know." Later, she dropped this indelicate observation: "This one's about my best friend. Sometimes she's a cunt, and I don't like that word, but she is. And when you're a cunt and your best friend is a songwriter, well, you get the short end of the stick."


Taylor Swift has written a lot of songs about the people in her life and I'm guessing she hasn't gotten around to any of her cunt friends yet.


Towards the end of her blistering and profanely hilarious set, Lane said, "We've got a couple more, then we'll pretend to go away, and come back for a couple more." She loves her covers as well; she hauled out a great take on The Byrds' "You Ain't Goin' Nowhere," a loping yet intense version of Waylon Jennings' "Waymore Blues," and finished her encore with a blazing spin through a Tom Petty cover, not an old catalog chestnut but "Saving Grace" from the new album, a song that blends Petty's classicism with his well-earned experience. Lane clearly identifies with that stance, as she channels all of her Country influences through a blazing Rock filter, creating a sound that identifies with the past but erupts with white hot emotion in the here and now.


THURSDAY NOTES:


• To begin, a clarification for anyone who may attempt to buy me a brewski during MidPoint: For largely legal reasons, the Beer Buying Hall of Foam has been forced into a strike shortened year in 2014. I salute all who have so generously provided the nectar of the gods to a poverty stricken scribe on an annual basis and I promise that the commissioner will reinstate all practices and records next year, but for now, the Hall is strangely dark and quiet.


• In stark contrast to the Midway, which was lit up like a Kansas City whorehouse. Not that there were whores, but lots of lights. Boy, writing was easier with the Hall of Foam open. At any rate, within moments of arrival, I crossed paths with singer/songwriter par excellence Mark Utley and pianist to the stars Ricky Nye, who is in the throes of planning the upcoming Blues & Boogie Piano Summit, coming to the Southgate House Revival on November 7 and 8. After a quick chat, I headed to Mr. Hanton's for a heartstopping dog (not for health reasons but because it's so good … man, 2015 can't get here fast enough), choosing the Smokin' Hot Chick; my bill was cheerfully picked up by the always incredible Wes Pence of The Ready Stance, who joined me with a Smokehouse of his own. Can a Hot Dog Buying Hall of Fame be far behind?


• From there, the Midway was a blur of humanity. CityBeat photographer and local music denizen Jesse Fox took a shot of me and Class X Radio host/local music aficionado/empresario Eddy Mullet, which apparently didn't damage her equipment in any significant way. In sort order, I was greeted by King Slice, his pal Justin, the always ebullient and sometimes menacing Venomous Valdez, the entire Broadway cast of the Black Owls, Paul Roberts, Big Jim and Stu (sans his I'm Stu hat, apparently confident in my recognition skills at this juncture), and Jet Lab guitarist Nick Barrows and his wife Robin. At some point in the Midway proceedings, I spotted the elusive and long-absent Matthew Fenton, along with Eric Appleby and Tricia Suit, motoring out of the Midway zone. They were gone before I could track them down (they must have see me coming, damn them), but when I mentioned the sighting to Nick, he said they were headed to the Chromeo set and would be back for the Black Owls.


• In the meantime, Owls guitarist Brandon Losacker took a mob of us (Owls frontman David Butler, Venomous, Slice, Justin and myself) to see his new conversion van, a behemoth from a bygone era. Cooler in the console, heated/cooled cupholders, TV, retractable bed, wood grain dash panel and a hundred other crazy features that makes it essentially a Swiss Army van. Incredible doesn't begin to describe it.


• Back at the Midway — a brilliant set up that, as the astute and ever fabulous Venomous Valdez noted, will have to undergo some changes next year with the advent of the rapidly progressing streetcar system — Sean Rhiney, Dave Purcell and Dave's wife Amy were hanging around to watch the Black Owls tear shit up. My Class X compatriot Eddy was back to witness the Owls' splendor, and at some point in the proceedings, my boss Mike Breen appeared like a magician's assistant. Breen sightings at MidPoint are like spotting nearly extinct species in the wild, so it's always great to know that he's an actual warm human being and not some weird holographic editorbot. (Editor’s note: I am both.)


• Over at the Darlene show, I caught up with the always effusive and entertaining Mr. Fenton, along with Eric and Tricia. They were planning a trip down to the Taft to catch the Ghost Wolves and Barrence Whitfield and the Savages, both of which I dearly wanted to see but my recently bum left leg, the long walk and the chance that the St. Paul and the Broken Bones show would sell out the venue kept me from tagging along. On the way to Steelism, three guys on the sidewalk ahead of me confirmed that the show had gone clean and there was little chance of entry. The gimp makes a good decision every now and again.


• Also at the Darlene show was Leyla Shokoohe, former CityBeat intern, current CityBeat freelancer and now Marketing Manager for the Cincinnati Symphony & Pops Orchestra. You couldn't script a lovelier or more personable human being than Leyla, and yet she is savvy beyond her lack of calendars. She's a marvel and the CSO should count themselves lucky to be the recipient of her passion and skill.


• Over at Steelism, I ran into fellow scribes Steve Rosen and Chris Varias. I've known Steve for quite awhile through CityBeat and we've talked music at many a holiday party/CityBeat event, and I've read Chris' excellent work in The Enquirer for many years but had never had the pleasure of meeting him until Steve's introduction at Mr. Pitiful's. I had interviewed Matthew and Eleanor Freidberger for a Fiery Furnaces story several years back and when they found out I was in Cincinnati, they asked if I knew Chris, which I did simply by reputation. It turned out that they had grown up together in a Chicago suburb. An unpaintable small world, indeed.


• Paul Roberts was digging the confrontational magnificence and sonic head blast of Flint Eastwood; he stuck around for the end, while I headed to the Nikki Lane gig, where Big Jim and Stu were ensconced at the bar. Paul was right behind as soon as Flint Eastwood dismissed him for the evening. Head CityBeat honcho and perpetual suds buyer Dan Bockrath had bought me an invisible beer at Steelism, which I downed with dry gusto, but he showed up at Nikki Lane and put a real tonic water and lime in my hand, which was much appreciated. I could pretend there was gin in there, and that somehow made everything okay.


• As we left MOTR, Sir Bockrath and squire Dan McCabe, the architect of our annual MidPoint joy, were out front and the boss upbraided me with a casual, "You'll have your blog copy in by 7 a.m., right?" Yeah, let's say that, I answered, muttering to Paul and Stu, it'll be 7 a.m. somewhere. The lateness of this posting will tell you that deadline came and went and came and went again. I have a theory that I'm better at writing when I'm slightly hungover because I just want to get it done so I can take an aspirin and lay down. Not happening this year. I guess I could still take the aspirin, for old times sake.


 
 
by Rick Pender 09.26.2014 5 days ago
Posted In: Theater at 07:56 AM | Permalink | Comments (0)
 
 
stage door 9-26 little dog laughed by new edgecliff theatre - nic pajic, jared earland, erin ward -  photo mikki schaffner

Stage Door: Dirty Dancing, Laughing Dogs and More

To see some of Cincinnati's finest actors working together in close quarters, check out Clifton Players' production of Kevin Crowley's new play The Riverside, onstage through Saturday at Clifton Performance Theatre (located just west of the Clifton/Ludlow business district at 404 Ludlow). It's 1989 and the denizens of a fictional bar in a very real Mt. Adams are riled up over Pete Rose's battle with the baseball commissioner gambling problems as well as the imminent closing of the family-owner bar where they all hang out. Although a few of the characters are rather caricatured, it's evident that Crowley is a close observer of everyday people. They drink and fight, love and cheat. And they have their passions, feelings that bubble up and over. The theater is a small space with seating for just a few dozen, but that's part of the fun — you feel like you're one of the regulars at the Riverside. Tickets ($25): https://cpt.tixato/com/buy

I caught a performance of Dirty Dancing, a musical based on the iconic 1987 movie about sensual dancing and the intermingling of guests and staff at a posh resort in the Catskills in 1963. This touring show is presented by Broadway in Cincinnati at the Aronoff Center, even though it has yet to land on Broadway. It uses a lot of creative video and projections, a constant reminder that its roots are cinematic. But it has an ensemble of vigorous dancers, especially Jillian Mueller as idealistic Frances "Baby" Houseman, who's eager to grow up, and Samuel Pergande as bad-boy dance instructor Johnny Castle. There's also Jenny Winton, whose dancing is especially watchable as the very sexy Penny Johnson. This is a dance show from start to finish, using familiar Pop tunes from the '60s plus a lot of sambas and rumbas. I realized as the performance  was winding up that the central characters never sang — not once. Mueller and Pergande look great as they recreate the iconic movie roles created by Jennifer Gray and Patrick Swayze, but virtually all the singing is handled by ensemble members Doug Carpenter and Jennlee Shallow — powerful vocalists who handle a number of singing styles, but who especially elevate the temperature with the show's best-known numbers, including "The Time of My Life." Don't go expecting great acting beyond the leads: Most of the rest of the roles range from shallow to silly. But trust me, you'll be surrounded by people who know and love this story, and they're having a good time, waiting until the moment when Johnny shouts, "Don't put Baby in the corner!" Through Oct. 5. Tickets: $39-$89: 513-621-2787

New Edgecliff Theatre has finally found a new home, Hoffner Lodge (4120 Hamilton Ave., Northside), after a season at the Aronoff. NET's first production at the former St. Patrick's church will be Douglas Carter Beane's The Little Dog Laughed, a very funny four-character comedy from 2006 about a Hollywood star, his controlling agent, his boyfriend and the boyfriend's girlfriend. Yes, it's that complicated, and that's the source of much of the humor as the agent tries to keep the lid on the gossip about her star client. Through Oct. 11. Tickets ($20-$27): 888-428-7311

A couple of well-received shows are still running, including Tennessee Williams' classic drama A Streetcar Named Desire at the Covedale Center (through Oct. 5; tickets: 513-241-6550), a stage version of The Great Gatsby at Cincinnati Shakespeare (through Oct. 4; tickets 513-381-2273), and a fast-paced mystery, Sherlock Holmes and the Adventure of the Suicide Club, at the Cincinnati Playhouse (through Oct. 4; tickets: 513-421-3888). Finally, this weekend is your last chance to see Showbiz Players' staging of the tongue-in-cheek musical Reefer Madness, about the "dangers" of marijuana, at the Carnegie in Covington. Tickets ($19.50-$22.50): 859-957-1940.
 
 
 
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