City Council yesterday unanimously passed a motion committing $1.5 million more to the city’s Human Services fund in its next budget, doubling the fund’s size.
The increase is part of an ongoing rethinking of the city’s human services funding. But with that change in focus comes the potential that some of the 54 organizations that receive support from the fund could see some cuts in the next budget.
A working group headed by Councilwoman Yvette Simpson and Vice Mayor David Mann suggests focusing first and foremost on two major areas: increasing gainful employment and reducing homelessness, splitting the fund down the middle for those purposes. Along with those major focus areas, it also suggests the establishment of a collaborative between law enforcement and the community to curtail violence in Cincinnati when more funds are available.
The changes won’t take place for another six months, kicking in with the new fiscal year, giving organizations and the city time to adjust to the new budget priorities.
“Number one, we wanted to make sure to increase how much we put into human services each year,” said Mann, who helped draw up the proposal, “and secondly that we focus on a few significant areas and see if we can’t make progress there instead of trying to shotgun amongst many programs.”
The motion to adopt the suggestions by the human services working group is the next step in a months-long process to update the way the city funds anti-poverty programs. It’s also a step toward restoring funding for human services to 1.5 percent of the city’s operating budget, a long-term goal for the city and a level it hasn’t seen in a decade.
Currently, the city’s $1.5 million human services fund accounts for just .42 percent of the city’s $358 million budget. In the past, the city has made deep cuts to the fund. The boost would raise the fund’s proportion of the budget to .84 percent. Simpson and others, including Mann, say they hope to get back to 1.5 percent as more funding becomes available.
Simpson says the working group included advice from the United Way, which currently helps the city evaluate programs it is funding, as well as community members and various boards like the Human Services Advisory Committee and the Community Development Advisory Board, which oversees how federal Community Development Block Grants are spent.
The city hasn’t decided where the money for the increase will come from yet, a point of concern for some council members.
“Whenever we move to increase funding for something, I like to be able to identify the source of funds,” said Councilman Kevin Flynn. He noted there was still time to do that before the overall budget is passed.
Flynn also said he’d like to see human services funding go through the same process, something that has been a sore point among some council members lately.
“There’s a lot of money that we’ve approved in our general operating budget that hasn’t gone through the guidelines and process that we’ve established,” Flynn said.
Councilman Seelbach expressed similar concerns, specifically about the way decisions are made on funding anti-poverty programs.
“All of us have agencies that we’re somewhat close to, and it’s not fair to pick them over others,” Seelbach said, a reference to recent moves that have shifted money from some nonprofits to others. “So if we can put them all in a fair, non-political process like the United Way, I think the city’s better for it.”
Good afternoon readers! I've spent my day wrestling with terribly out of date software and silently cursing in my sad, grey cube. How's your day been?
If you haven't already noticed, this week marks CityBeat's 20th anniversary. (Hooray!) Our enormous anniversary paper recaps coverage of the issues Cincinnati has grappled with over the last 20 years. Plus, it has a head shot of me from 1994 wearing a purple turtle neck. Pick it up! Or, at the very least, join the staff at the anniversary party tomorrow for delicious food, drinks, and CAKE.
Moving onto the subject at hand...vocab. It was slim pickins' in this week's issue for Words Nobody Uses or Knows. Either that or my knowledge of pretentious words is actually expanding. (Doubt it.)
Best word of the issue is vitriolic, found in our anniversary issue; in the hilarious bit about Mike Breen pissing off all of Cincinnati's Jimmy Buffet fans. (You can read the digital version of our anniversary issue here.)
vitriolic: extremely biting or caustic; sharp and bitter: vitriolic talk (adj.)
In this issue: "This resulted in hundreds of hate emails from Buffett fans from across the country, most of which were nastily vitriolic, some even violently so (one writer said he hoped Breen's children were raped by drug dealers in Over-the-Rhine and given AIDS), a far cry from those smooth tropical vibes Buffit emits from stage."
People are the worst, aren't they?
Next best word is ethnomusicologist, which sounds like the best made up job ever. It's in this weeks Sound Advice.
ethnomusicology: the study of folk or native music, esp. of non-Western cultures, and its relationship to the society to which it belongs (n.)
Imagine introducing yourself to people with that title, and the reactions you'd get. People would be simultaneously confused, amazed and envious.
In this issue: "Huun Huur Tu got the attention of the West when American ethnomusicologist Ted Levin made the trek to Central Asia in the 1980s and brought the group to the U.S"
Next word is missive, also found in our anniversary issue. I feel like most people probably already know this one. It's in the other hilarious bit about that time everybody thought CityBeat was full of sexual deviants for selling adult-themed ads.
missive: a letter or written message (n.)
In this issue: "The missive called on CityBeat to exercise 'integrity as a corporate citizen' and asked that we 'eliminate the adult services category, and refuse to accept ads elsewhere for sexual services, in both your print and online editions.'"
If there's anything I've learned about the altweekly business in the three months I've worked here, it's that if you're being sued, you're doing something right.
Hey hey all. Hope your Thursday is going well. Tomorrow’s Friday! And that's our 20th anniversary party! You should come. You should also venture out into that bleak, unforgiving cold to pick up a copy of our 20th anniversary issue now. It’s got a lot of really fun looks back at the past two decades of CityBeat as well as a picture of a very young me holding a puppy. How can you resist?
After the absolute deluge of news yesterday, today is relatively quiet. Well, for the most part. The hearing in Hamilton County courts on former Juvenile Court Judge Tracie Hunter’s request to have her felony conviction thrown out is happening as you read. Hunter was convicted on one of nine counts she was facing last month on a variety of charges. The one that stuck: allegations she improperly intervened in disciplinary actions against her brother, a court employee accused of assaulting an inmate. There’s a big wrinkle in the case, however, as three jurors have recanted their guilty verdicts. It promises to be a very interesting day in court.
• U.S. Department of Health and Human Services Secretary Sylvia Burwell will be dropping by Cincinnati today to talk about health care coverage and enrollment in a health policy under the Affordable Care Act ahead of the Nov. 15 open enrollment period. She’ll be joined by Mayor John Cranley at the National Underground Railroad Freedom Center at 12:45 p.m. Burwell will also be swinging through Columbus earlier in the day.
• It’s been a rough week, so I’m into this next thing. Today is World Kindness Day, it turns out. I’d never heard of that before, but I guess any excuse to be nice to people is a good one. If you mosey down to Fountain Square between 11 a.m. and 2 p.m., you can pick a flower from a large flower wall being installed by KIND Healthy Snacks. The idea is you pass the flower along to a stranger or anyone else you see who could use a little pick-me-up. There will also be surprises for people who are nice or could use a little kindness throughout the day.
• This year is a big anniversary for another group. The Greater Cincinnati Coalition for the Homeless, which started in 1984, is celebrating 30 years working to end homelessness. The coalition has also been very active in asking big questions about development in Over-the-Rhine and other places where low-income folks live. They’re having a celebration Dec. 11.
• Ironically, there’s yet another big anniversary this year. The term “gentrification” was coined in 1964 by British sociologist Ruth Glass. Here’s a really fascinating and provocative history of the term published last week that’s worth reading.
• The debate over net neutrality has been on the front burner lately, thanks in part to new statements from President Barack Obama. That debate hasn’t just been about words and ideas, of course, because nothing in politics ever is. Cash has played a big role in the fight. Anti-net neutrality telecommunications companies, who want the right to create so-called “fast lanes” and treat certain kinds of internet content differently, have given more than $62 million to political action committees in the past 14 years. Compare that to big tech companies like Google and Facebook, which support net neutrality. They’ve given just $22 million. Part of that is that these companies haven’t been around or as powerful for as long. No matter what the cause, though, it’s clear that telecomm is pouring vast sums of money into the pockets of politicians to try and keep the federal government from making rules about net neutrality.
• Today, you get a crazy news two for one. First, a guy got arrested (in Florida, you guessed it) trying to steal a chainsaw by sticking it down his pants. That’s wonderful. Second, Philae, that unmanned European space probe you’ve probably already heard about, landed on a comet yesterday. That’s never been done before. The probe has been beaming back pictures and drilling samples out of the comet’s surface. It’s also been live-tweeting its trip, though most of its commentary has just been about the fact it’s really cold and boring in space and about how the comet doesn’t have as good of a jukebox or beer selection as The Comet.
Survivor-type Bear Grylls may drink his own pee and propose to his wife with an ass diamond, but naturalist filmmaker Paul Rosolie is upping the ante in the weird wilderness game by allowing himself to be “eaten alive” — for real, apparently — by an anaconda on TV.
Judging by the trailer, viewers will witness Rosolie and his crew travel to the Amazon, hunt down an anaconda, suit up in a custom death-proof ensemble, douse himself with pig blood and wait for said anaconda to get hungry. The Eaten Alive special airs on Discovery on Sunday, Dec. 7 as part of something called “Mega Week.” Apparently both Rosolie and the anaconda survived the incident, which was filmed in advance. Cue the music!
In other “Oh my god, Becky” news, Kim Kardashian’s greasy butt on the cover of Paper magazine has everyone all in a tizzy. I think we should be offended by the headline/goal of the spread to “Break the Internet,” because haven’t we all seen Kim’s dump truck plenty of times before? More noteworthy is the fact that she’s popping out of a trash bag, which is actually quite fitting.
Look at these cute illustrations of movies with one letter removed from the title. And yes, I would totally see a Ron Swanson superhero movie called Ron Man.
Some of your favorite lady-shows are coming back in January!
Girls returns Jan. 11:
Broad City is back Jan. 14:
Your BFF Jennifer Lawrence will never get a Twitter, and it’s all because
you pervs who looked at her hacked pics she’s “not very good on phone or
TIL Jennifer Lawrence is all of our moms.
Entertainment Weekly’s annual reunion issue is on stands now, which means apparently it’s already time to reminisce about Mean Girls and Napoleon Dynamite.
Fox News’ Megyn Kelly accidentally cursed on air when introducing Mike Huckabee this week. She said Fuckabee.
Watch these 1980s aerobic workout stars get down to Taylor Swift earworm “Shake It Off”
New movie trailers to hit the Interwebz: Neill Blomkamp (District 9, Elysium) teams up with the incomparable Sharlto Copley again with Chappie, about a robot raised by a group of humans (Dev Patel, Yolandi and Ninja of Die Antwoord), proving once again that Copley is the go-to actor to play robot men; World War I drama Testament of Youth, starring Kit Harington (aka a beardless Jon Snow) and Hayley Atwell; and a fucking Minions movie.
In honor of CityBeat’s 20th anniversary, music editor Mike Breen and music section contributor Brian Baker (both of whom have been with the paper since the first issue) did an e-chat to discuss their experiences writing about music for the past two decades, from interview horror stories to the joys of covering Cincinnati musicians.
Mike Breen: So 20 years. We were both working (or, rather, volunteering) at Everybody’s News when we found out EN’s editor John Fox was leaving to start a new paper. I remember when he first told me, when it was still hush hush, and asked me to come aboard as the music editor while I was still in college. He pulled me aside as we were leaving the EN building after a day of work, told me (in hushed tones) about his plans and said he’d like me to be the music editor. I was excited because I believed in John’s broader vision — providing a liberal/progressive voice for the city, celebrating the arts and striving to create quality journalism — but also because I was going to finally be paid for my work. Do you remember when you first heard word about CityBeat's formation?
Brian Baker: Vividly. After John left EN, no one paid the slightest attention to me. I don't think they ran a single review of mine after his departure. At some point that following summer, John James, who'd been doing the Positively Yeah Yeah Yeah column, called me at my design day job and said John Fox wanted to have lunch to talk about something he's got planned. So the three of us met at this little seafood place on Reading Road and John (Fox) laid out the blueprint he had in mind for CityBeat. It sounded like a great idea, and my reaction was the same as yours. A byline and a check? Pinch me, I'm dreaming.
But John offered a single caveat, and it would have rather lasting implications. He said, "I can't use you as a reviewer, I need you as a feature writer. Can you do that?" I said yes, and that really changed everything regarding my writing career. In a very tangible sense, everything that's happened to me over the past 20 years is due to John's insistence that I write features, and I owe him a great debt because of that one simple clause in our contract.
MB: I remember months before the first issue of CityBeat I spent days putting together request letters to mail out to hundreds of record labels asking to be added to their mailing lists. Which is funny to think of now — we weren’t using email and, as opposed to receiving most review copies these days as downloads, we started getting dozens of CDs (and even cassettes at that point) a week. It’s crazy to me to think about doing research for reviews and stories in the very earliest days of CityBeat; I had a handful of “encyclopedias of music” books, but mostly we had to just rely on those press kit folders, which usually had a press release, a bio and then a stack of stapled-together photocopied reviews and interviews from other outlets. Now you can literally press a button and see every review and feature story ever written about an artist. It’s certainly easier now to be lazy.
What do you think has changed the most about writing about music over the past 20 years?
BB: No question that the internet has made the research part of our jobs a whole lot easier. And today's connectivity makes it almost (although not quite entirely) impossible for publicists to duck our requests for material and interviews. But remember tearsheets? Sending physical proof of my features and reviews to labels and publicists used to be enormously time-consuming, especially after I started picking up outlets other than CityBeat. Now it's like everything else: email a link.
Here's the thing about the new research paradigm. Back when my daughter was in 4th grade, her class and one other were doing a project on newspapers, where they split into groups, had editors and writers and each made their own version of a newspaper. Isabelle's teacher asked if I would be interested in talking to both classes about working on a real newspaper, which I happily agreed to do. The one point that I really tried to hammer home to the young journalistic minds in the group is that the internet has no editor, and you have to be incredibly careful with pulling what you think are facts from websites that may actually be offering little more than glorified opinions. In some ways, the internet has made everything incredibly easy, and in other ways, it has added in almost arcane levels of complexity that never existed before.
As I am often fond of pointing out, computers didn't make everything better, they made everything different.
MB: We’ll move on from computer-related stuff after this, but I want to vent about internet trolls so just humor me for a sec (haha). As I’m often fond of pointing out, the best thing about the internet is that everyone has a voice. And the worst thing about the internet is that everyone has a voice.
In the earliest days, we had one computer in CityBeat’s office that had web access, so people had to share time. My earliest memory of interacting with a “reader” online was when some asshole kid sent me this scathing note about something I’d written about Goth or Industrial music. He was a dick to me, so I was a dick right back (some things never change!). He threatened to “tell my boss” the mean things I said to him, which may have been the first time I did a computer-related “LOL.” It’s weird to think of now, in a time when online trolls are just par for the course. It’s probably the thing I hate most about the job, and it was evident in my very first experience communicating with someone online about something I’d written. (I should give credit to my first “troll,” singer/songwriter/funnyman David Enright, who, since the internet was still developing and Facebook was many years away from giving voice to everyone’s vitriol, made hand-written fliers eviscerating me, CityBeat and CityBeat’s music section for being lame. He stapled them onto telephone poles all over the Clifton area. I wish I’d saved one.)
We’d always talk about how we sort of wrote in a vacuum — we’d write stuff, throw it out there and assume people were reading it, but, outside of the rare “letter to the editor” or meeting people in the flesh, we had no idea how people were reacting to the content. Now we can kind of see in real time what people are reading (online) and get instant feedback if it hits the wrong or right chord. But people seem to mostly respond only when something pisses them off, which is fine, but it’s almost always rude and insulting, which is maddening.
Anyway, you (wisely) stay off of social media, and I imagine you are spared a lot of this more annoying feedback. But over the years, what have your communications with both subjects and readers been like? Are they only mean to me or do you get some of that too? (For the record, most artists are very cool, even if a review isn’t especially glowing, and very few are anything but kind and polite when I meet them in person.)
Also, and this is mostly for my own curiosity really, why do you avoid social media?
BB: I think I've had maybe one or two weird trollish kind of events, and in both cases I tried to reframe my case for the sake of clarification and when that went nowhere, I just surrendered, which I'm guessing is probably the money shot for most of these boners, so you're welcome. The anonymity of the internet has made self-imagined giantkillers out of intellectual/emotional pipsqueaks, and it has become an occupational hazard for those of us who would dare offer an opinion to a great unwashed mass that now has the means to respond from the bliss of their ignorance at the click of a mouse. On the other hand, it has also given us an opportunity to have fascinating conversations with people who actually relish the thrill of debating divergent opinions without having to declare a winner. A fair trade, I suppose.
My experience with the artists that I review and interview has always been, as you noted, very positive. And when I get introduced to people at shows, events, county fairs, beauty pageants and hog calling contests, and they realize I'm "that guy," they're always overwhelmingly nice, typically working up to a comment that goes, in general, "I've always loved your writing," and it's always nice to hear. A woman recently wrote in with some rather lavish praise about my online coverage of MidPoint, and her compliments were were well received by my always conflicted ego, although I was slightly bemused by this admission: "I've not read any previous articles by Mr. Baker..." So thanks for your kind words on my MidPoint reviewage, and if you're so inclined, there's 20 years of this stuff in the archive. Knock yourself out.
As for my social media blackout, I'm neither Amish nor am I a crotchety old duffer who doesn't understand the platforms and just wants these damn kids to stay out of my internet yard. My avoidance of Facebook has become something of a cause celebre; I didn't join because I couldn't see the benefit weighed against the time involved in posting/monitoring/responding, and now I'm one of a dozen people connected to the modern world who is not on Facebook.
At least part of the reason for the rest of it is the electronic array in the Bunker is just a couple of steps above the radio that the Professor made out of two palm fronds and a coconut shell on Gilligan's Island, and my phone is the Flintstones to everyone else's Jetsons. I have, in fact, grown rather weary of swearing at my 10-year-old Motorola flip phone (I know, I know), and I will soon be upgrading to something more befitting the second decade of the new millennium. And when that happens, I will probably be tweeting and whatnot with the rest of humanity. Until then, you kids stay the hell out of my internet yard.
Avi Buffalo plays a free show tonight at MOTR Pub at 10 p.m. Cincinnati’s Founding Fathers open.
Avi Buffalo began when Californian teenager Avigdor Zahner-Isenberg began home-recording songs in high school. After completing high school, he had a full band and an offer from esteemed indie label SubPop Records quickly followed. Avi Buffalo’s sublime, ethereal Indie Pop wowed critics and fans alike upon the release of the band’s self-titled SubPop debut in 2010. There’s a sense of wonder, romance and mystery in Zahner-Isenberg songs, something even more evident on the group’s highly anticipated sophomore full-length, At Best Cuckold, which was released in early September and drew even higher praise from critics. Fans of The Shins and Grandaddy will appreciate the wispy, beautifully melodic genius of Avi Buffalo’s songs, which caress the eardrums as they burrow into the listener’s cranium.
• Ellis Ludwig-Leone’s Indie Chamber Pop project San Fermin returns to Cincinnati tonight for a show at the new Woodward Theater in Over-the-Rhine. The ensemble performed one of its first shows ever at last year’s MidPoint Music Festival in Cincinnati; despite their debut album not being out yet, the concert still sold out.
Check out Jason Gargano’s interview with Ludwig-Leone from last week's CityBeat here.
Tonight’s show at the Woodward kicks off at 8:30 p.m. with a performance by Mikhael Paskalev. Tickets are $17.
• AltPop singer/songwriter Ingrid Michaelson plays the Taft Theatre tonight. Chris Koza opens the show at 8 p.m. Tickets are $25-$30.
Michelson has built a large fan base and experienced chart success since her self-released debut album, Slow the Rain, came out in the middle of the last decade; her next album, Girls and Boys, was her breakthrough, garnering mainstream attention after various tracks were used on TV shows (most notably, Grey’s Anatomy). Despite offers from big corporate labels, Michaelson has remained largely a DIY artist, putting albums out through her own Cabin 24 label (though she now has distribution through the notoriously artist-friendly Mom + Pop Music imprint).
Here is the recently unveiled video for “Afterlife,” the second single from this year’s Lights Out album. The new LP was her most collaborative yet; written and recorded after bouts with illnesses and other issues that left her in a dark place, Michelson collaborated with a range of producers and fellow songwriters.
I wish the “sunroom installation” that is part of Michael Keating’s current Shadow & Light exhibition at Kennedy Heights Arts Center (through Saturday) could move straight into a museum afterward.
It could serve to anchor a fuller, larger look at the noble project this veteran Cincinnati photojournalist (formerly with Cincinnati Enquirer) undertook to chronicle the final year in the life of an elderly neighbor, Clyde N. Day. Day, of Lakeside Park, Ky., died in 2011 at age 104. It deserves the widest possible audience.
Keating had long known Day, and the project was both a way to honor Day’s life and also show just how difficult life can be for the elderly. After Day’s first wife died, he remarried. His second wife preceded him in death by several months.
In the installation, which is in the former sunroom of the building at 6546 Montgomery Road that houses the arts center, Keating has placed Day’s dresser with memorabilia from his long life. And on the walls are photographs from the project.
Two black-and-white images really capture Day’s final months, in their quiet way. One, reproduced as a wall-sized, mural-like adhesive print (in two sections), shows Day painstakingly making his bed. Light seeps through the windows’ curtains, spotlighting the stand-up crutch he has left in the room to have hands free for this task.
It’s a mundane task, but the photograph conveys the sense of heroism, a sense of determination, with which he does it. And our perspective — we seem to be in the distance, looking slightly downward — makes us feel we’re watching something profound.
Other, smaller photographs are on another wall, ink-jet prints mounted on thick gator board. In one, a companion to the mural, we see Day in this same bedroom, sleeping on a small hospital bed with railings. The headboard of his other bed is propped against a wall — the mattress gone.
It’s a melancholy image when compared with the other, since you can see how one’s choices shrink as old age moves to its inevitable conclusion. Still, the room itself is comforting with its floral-print wallpaper. It’s a touch of the familiar and the secure.
Since Day’s death, Keating has helped start the Clyde N. Day Foundation to contribute to causes related to child safety, education and the arts. You can learn more about it, and also find more of his photos, at clydendayfoundation.org. This work is important.
It might seem impossible to celebrate both No Shave November and the sesquicentennial of the Civil War, but Cincinnati natives Julia and Anna Hider have just the solution.
Their blog-turned-book Badass Civil War Beards showcases the best facial hair the war had to offer, from the most recognized politicians to unidentified soldiers. There are many aspects of 1860s America that have thankfully vanished over the last century-and-a-half, but today’s modern man can learn plenty from the epic facial styles of Union and Confederate soldiers.
CityBeat recently sat down with Julia and Anna Hider to discuss their new book and all things beard related.
CityBeat: Where did you get the idea for the blog?
Julia Hider: I was watching a History Channel documentary about the Lincoln assassination, and I just noticed that everybody had crazy facial hair, and so I texted Anna and I said, ‘Hey, we’re gonna write a blog about this, will you go set one up?’ and she did. And she picked out the name and…here we are!
CB: Did it take off pretty quickly?
Anna Hider: I just have a personal Tumblr for stupid pictures, like dogs and stuff. We started getting followers pretty quickly, I was kind of surprised — there are obviously lots of people on Tumblr that have more followers than us, but I was surprised by the history fandom — I guess you would say — of Tumblr, and how many history nerds there are on there.
CB: Even though you were at different schools [Ohio State and Syracuse], did you collaborate on it the whole time?
AH: We each did one post a day.
CB: And how did it get on BuzzFeed?
AH: I did that! But the thing is, it was a community post, but it made it on the front page of buzzfeed.com
JH: So Anna just wrote it.
AH: And I just sent it out on the Internet.
JH: And the community editors liked it, so they promoted it to the front of the community page, then I guess more editors saw it and liked it and so they put it on the front page of Buzzfeed, which is impressive for a community post.
AH: It was like the first time they had done anything like that, so I’m like, ‘This is easy.’ It was actually my second Buzzfeed [post]; my first one was called, “9 Giant Rocks That Look Like Willies.”
JH: I really think Buzzfeed helped us get the [book] deal.
CB: And what made you want to turn it into a book?
JH: I first thought of it as a coffee table book, but I switched to the blog because it’s easier to do. But I was on Tumblr one day and saw that Chronicle...
AH: It’s like the biggest indie book publisher.
JH: ...out of San Francisco, I saw that they were having a contest and they were looking for the next Tumblr blog to turn into a book, and they wanted to have this contest so we entered it. And we didn’t win, but we got shortlisted, and that’s how we got it out there that we were interested in publishing a book, but we didn’t get the book deal for another year.
AH: It hasn’t even been a year, it was like mid-November of last year.
CB: Was it hard turning it into a book?
JH: Not really because we had a lot of stuff to draw on. When I write an everyday post, I normally find [photos] on Wikipedia because it’s easier to click through and you find one person, and that links to another person, and that links to another person…But we went through the Library of Congress to write the book, so all the pictures are from the Library and you can have the rights to those because they’re over 150 years old.
AH: And they’re in the public domain. There are tons that we had never seen before, like unidentified soldiers, doing weird stuff. There were two guys holding pipes up to each other, and we’re like, ‘We had never seen this before. This is incredible.’
JH: There’s a good mix of stuff that was popular on the blog or stuff that we really liked, and there’s also a good amount of new stuff, too.
CB: If you had to pick a side, who had better beards? The North or the South?
AH: This one constantly torments me, because I know people are going to ask this. I want to say the Confederates, but it’s probably the Union.
JH: I feel like it has to be the Union because they were more urban and cosmopolitan.
AH: And they had Ambrose Burnside, they had Abe Lincoln, they had tons of really creative stuff.
JH: The North just had way more people in general. I think that’s part of it.
CB: Do you think crazy beards like that will ever make a comeback?
JH: I think they kind of are.
CB: It’s kind of like the hipster look. Is it a bad thing, though?
AH: Of course not!
JH: You can express yourself through your facial hair.
AH: Everyone looks good in a beard.
CB: I’ve tried. Last year I did No Shave November and it was terrible.
CB: So do you have a most badass Civil War beard?
JH: I mean I really like Ambrose Burnside, but I also like when people tried to copy him. Sometimes it didn’t go so well. This one guy in the book, Gabriel Rains, it just doesn’t look good on him. It just looks bad.
AH: I really like Joe Revere, because he had a normal beard then he waxed it into like three points. I don’t know why you would do that, but he did and it looks really cool. Or Roswell Ripley, who just had the biggest mustache ever, and it’s kind of gross looking.
CB: Is there any other period of time where you think beards would rival [the Civil War]?
AH: Maybe caveman times.
JH: I think that’s really the only other time.
CB: But they couldn’t shave, so that’s really sort of unfair.
JH: You could sharpen a rock so it’s sharp enough to shave, right?
CB: So do you still post on the blog?
JH: Yea, I think it was important to keep posting because I didn’t want to make our followers feel like we had abandoned them because we were trying to write a book.
AH: It wouldn’t make sense to stop. We want more people to find out about it, and start growing beards of their own.
CB: Do you have any next steps, plans after this?
JH: We don’t have anything solid.
AH: But if we could write another book, it might be about ladies, like Badass Civil War Babes.
JH: Because we’ve been looking at guys’ faces every single day for almost three years, and I kind of get sick of it. I try to bring in ladies whenever I can, but it’s not that often. We’d like to give them some attention.
Julia and Anna Hider launch the release of Badass Civil War Beards tonight at 7 p.m. at Joseph-Beth Booksellers. For some inspiration on growing your own badass beard, check out their blog at badasscivilwarbeards.tumblr.com.