After shooting the rapids of downtown’s Friday night to get to the Sundresses’ affair (in which I played the part of the kayak), it was my fervent hope that the skies would clear and remain free of precipitation for MidPoint’s final slate of shows on Saturday. It certainly looked good at 7:30 p.m. as I sat in the car going over my schedule before hitting the sidewalk. Who knew then that the metaphorical storm clouds generated by Cadillac Ranch would be bigger than the literal batch that Mother Nature whipped up for us midway to the end of MidPoint?
So you’ve just moved into your nice new home. You’ve unloaded the boxes, unpacked most of your stuff and are just starting to settle into your residence.
Right now is the perfect time to walk through a checklist of ways to save money on your home. Starting on these things as early as possible will allow you to start saving money sooner rather than later.
acquaintance of the family, who asked to remain unnamed, described Ramundo as a
gentle, bright and mild-mannered young man with good social skills.
worked up the street at Bruegger’s Bagels, where current CityBeat arts & culture editor Jac Kern worked with him from
2007-2008. “I always knew him to be a kind, gentle person,” she says, recalling
his fondness for discussing politics and attentive listening skills.
to Kern, Ramundo was in a car accident years before that left him with
debilitating vision and hearing problems. He had also been diagnosed with
bipolar disorder and generalized anxiety disorder, both of which he’d been
prescribed medications for.
it seemed, suspected he’d be the type of person to be involved in a deadly
police shootout. The Cincinnati Police Department today held a press conference
on the incident, during which Cincinnati Police Interim Chief Paul Humphries described
the actions of the five officers involved in the shootout as by-the-book, even
accounts began as an argument between Ramundo his mother at their home on
Thrall Avenue, a few blocks from Arlin’s, which escalated shortly after Ramundo
refused to go to his doctor’s appointment, according to a 911 call made by a
health care representative from the medical facility where Ramundo’s
appointment was scheduled. According to the health care representative, Ramundo’s
mother called her looking for help, explaining he’d become belligerent
following her requests to go to his appointment. She said he had been willfully
not taking his psychiatric medications, although it’s unclear for how long.
In the 911
call, the health care representative says Peggy told her Ramundo had begun
threatening her, saying that if she called the cops, there would be a
“bloodbath.” She saw him take off up Ludlow Avenue and said on the phone call
she believed he was carrying his registered gun, a Sig Sauer .40 caliber pistol,
and guessed he might be on his way to his go-to hangout spot.
Officers Jayne Snelling and William Springer followed the mother’s tip and found him sitting on the back patio at Arlin’s.
bartender named Jocelyn was working that day and recalls Ramundo coming in
somewhat agitated. “He was asking about his glasses,” she says. “He seemed
frustrated about losing them, and he had me call another bartender to see if
they were here somewhere. After that, he asked for a glass of water, walked
outside and that was that."
continued: “I’m in total shock. He was just a sweet kid,” she said, although
she couldn’t remember seeing him in the bar for about three months prior.
In total, five
CPD officers were dispatched to the scene, two of whom have had past positive
experiences with Ramundo, including Officer Snelling and Officer Bryan Gabel,
who later fired the shots that killed him.
The physical struggle began after peace-making efforts failed, Humphries says. Officers reported they saw Ramundo reaching toward his waistband, where he held his pistol.
Gabel was the first to make physical contact with Ramundo, trying to “control his arm,” according to Humphries. That led the other officers to become involved in a scuffle that shortly thereafter prompted Officer Kelly Jackson to deploy a five-second Taser sting to Ramundo’s back, which they say sent Ramundo to the ground.
Jackson again deployed her Taser onto Ramundo’s back, which, according to Humphries, had little to no effect after the initial five-second deploy. On a third attempt, the Taser failed to work, according to Humphries, at which point Jackson signaled another officer to deploy another Taser.
attempted to do so, but mistakenly Tased another officer in the struggle, who
was on top of Ramundo’s back. Gabel allegedly saw Ramundo raise his gun, when he fired his first and
shot. Officer Reginald Lane had taken the Tased officer's spot on top of
Ramundo, attempting to subdue him and retrieve his gun. That's when
Humphries says all five officers saw him trying to bring the gun up
again, this time aimed toward the officers.
Gabel fired two shots into Ramundo’s lower left back. He died in the hospital three hours later.
says Ramundo was also carrying two magazines, mace and a folding knife.
His mother, the acquaintance says, is an outspoken advocate on mental health issues, particularly Attention Deficit Disorder (ADD), on which she’s published a book. Peggy “always spoke preciously” of Jeremy, the acquaintance notes.
Bipolar disorder, when untreated, can cause those affected to experience “mood episodes,” which, in severe cases, sometimes result in impulsive, violent behavior. An estimated 2.3 million Americans suffer from bipolar disorder.
Never one to mince words or hold back his opinions, Gore Vidal says he regrets voting for President Barack Obama last year and calls Obama's predecessor, George W. Bush, "the stupidest man in the country" in a wide-ranging interview with The Times of London.
Hunter Hayes is one of the fastest growing, most unstoppable forces rising in Country music. At just 20 years old, he recently released his debut self-titled studio album featuring the hit single “Storm Warning." In less than a year of truly being a part of the Nashville music scene he has found himself on tour with superstar acts Taylor Swift and Rascal Flatts and he will be taking the main stage at the CMA Music Festival next month in one of their nightly concerts in front of 70,000+ in attendance.
CityBeat spoke with Hayes by phone recently and discussed his uniquely introspective writing and recording process as well as his passion for the fans that come out to each of his shows. Hunter will be performing at Bogart’s Friday night. It's a great opportunity to see an act that could be headlining stadiums and arenas very soon.
CityBeat: What made you decide to play all of the instruments and parts on your debut album? Do you plan to do this again on the next album?
Hunter Hayes: There is this part of my brain that I got from my Dad that is really technical, that loves technology, I guess, like fixing stuff — not fixing stuff as much as messing with it. I think that became an outlet for me. The more time I spent making music and writing the more I loved the technical side of it.
One Christmas, I asked for a 8-Track recorder and I got it and I didn’t come out of my room for like three years after that. I literally learned more instruments and spent all my time on this machine making demos and I just started building my own recordings. I didn’t know for sure but I felt inside that was the only way these songs were going to become completed and it became a way of working.
I continue to write during that process. When I moved to Nashville, I started songwriting and every time I would write a song with somebody I’d go home that night and I’d start working up a demo. It just became a way I love to work and now is the only way I know how to work. I have sat in a studio across the looking glass with some of the most phenomenal musicians in Nashville and I sit there and I am a very shy guy, naturally. I am naturally very reclusive so when I get nervous around songwriters, I am very intimidated and I don’t share my thoughts a lot like I probably should. I kind of defer to someone else. So we decided to do the record this way because they knew I was comfortable working that way and there is something cool that happens when you start recording the song playing all the instruments. It is a very minute thing but you will notice the consistency in the emotion.
And by no means do I consider myself a professional player of any of the instruments I played on the record but I guess I was fluent enough to get where my mind wanted these songs to go with what I wanted to hear for these songs. I was able to translate it from the same heart I wrote the songs.
CB: What is your favorite song you have ever written and why?
HH: Oh God … to put it in perspective for you, we had 70 songs I wrote specifically for this record that we were considering. So, it is nearly impossible to pick a favorite.
I have to say I was really fortunate because I had a big say in what songs went on this record. I actually picked all but one. This one song on the record, it is not that I don’t love it, but it is so out of character for me, I was worried about putting it on the record because I didn’t want people to get the wrong idea, because it is a very bitter song.
I chose the songs on this record carefully but emotionally. I am definitely attached to every single one of them on this record. I could say that I love everything — “Wanted” “Love Makes Me” “Somebody’s Heartbreak” and “Storm Warning.” I was very adamant about having a song like “Faith,” I wanted “Cry With You” on the record. I’m close to all the songs on the record.
I think my favorite song I have ever written is probably the one I wrote yesterday and that is always the case. Any time I write a new song, I am jazzed about it for like 24 hours and then I am over it and want to write another one.
CB: That makes sense. How does it feel to be one of the main acts at LP Field at CMA Festival this year?
HH: It’s unbelievable. Last year, I was stoked to just play on a stage in front of the Bridgestone Arena. It was a great turnout and everybody knew my name, which was amazing. I had just wrapped up six weeks on the radio tour. The song had literally just started playing on the radio and there were already tons of people singing along to “Storm Warning” that day and that blew my mind. It was a time lapse thing. I started my radio tour with this big full band showcase in Louisiana. And we initiated it with this full band big showcase for all the industry to come down and make a day out of it.
Then I went out by myself on this radio tour. I would go to these stations. I would literally bring a little mobile studio and I would build “Storm Warning” for them, and they would get their own version of “Storm Warning” by the end of the day. We did that for six weeks straight. I went home only one day, for Mother’s Day. It was just this crazy schedule.
Fast forward six weeks ahead, I come back to Nashville to play my second ever full-band gig with the band and we were playing to a crowd that was singing along to almost every song. It was really impressive and it was just mind-boggling. It is amazing what a year can do.
I am grateful that they considered me for this spot on LP Field. I have sat in the audience to watch shows there many times so it is really cool to be a part of it this time on the other side.
CB: I have seen your show several times. One of the things that always strikes me when you play is that the girls love you. Have you had any crazy fan experiences?
HH: No, not really. I will say we have a lot of fans that we see many times, a lot of repeat fans, which always makes me feel good. When someone sees a show and wants to see another one, that makes me feel like I am doing something right.
It is so funny, they will come up during the autograph signings and say “I promise you I am not stalking you.” I am like “I don’t mind! I am honored that you have taken the time to come to more than one show.” There is this one girl who has driven thousands of miles and she is always almost apologetic about it, and you don’t even know how much that makes my day. When I see her car in the parking lot and I know she is coming, that makes me feel like I am doing something right. It literally gives me a feeling I can’t describe to you.
We have a lot of fans that are doing that. We have a lot of them who have met at our shows and have become best friends and they go everywhere together now. I just feel this unity at our shows, especially the "Most Wanted" shows, the headlining shows I get to do. They are smaller venues right now and they are growing. Tonight we are doing like 1,000 seats or something like that, but it is amazing this close feeling I feel with everyone in the room. I get to chit-chat with them during the show and goof off with them and it is fun. It is a blast. I am glad to say I have fans.
Today I was zooming around the Internet trying to figure out what to write my blog about. I decided to visit the CityBeat Staff Blogs, which you are reading now, to try and vote again for my own blog. I really needed to bring my stars back up to five after seeing a dismal 2.5 standing for the ER Finale (MAYBE IF SOMEONE WOULD HAVE POSTED IT ON TIME, IT WOULD HAVE BEEN RELEVANT). When I went to click the button for five more big stars I noticed that I couldn’t rate the blogs for a second time. After clicking the stars a little message pops up that says, “You already vote.”
The Gentlemen of the Road stopover tour started off as a rather simple concept. Mumford & Sons would invite a few of their music-playing friends to travel with them. They’d stop over for the weekend in towns they’d never been to before, towns they had no reason to visit. They would play two days’ worth of gigs for people they’d probably not ever played for before.It was just a small, scattered list of dates in BFE. NBD. Somewhere along the way, it became something much different. And much bigger. The “stopover tour” now looks much more like a takeover tour.
“It’s more about the town than the music,” was a sentiment you could hear echoed all over town. From the security guards to the people charging fans $20 to park in their driveway near the festival grounds. And that is an accurate statement.
When the Gentlemen rolled into Troy on the very last weekend of August they did, indeed, take over the tiny town. They did everything possible to put Troy’s best foot forward. The city center, with the fountain that turns pink in June for a strawberry festival, was closed down. WACO airfield was turned into a magnificent parking lot. Multiple school districts sent school buses to help transport music lovers from the parking lot to just a few blocks away from the festival grounds. You never had to wait for a bus, there were always plenty. Why can’t school districts work their own bussing schedules so fluidly? Even the Wendy’s in the next town stayed open until 2 a.m. in order to cater to Mumford fans.
Mumford & Sons ran Troy’s economy. The bakery served a limited menu and from the window hung loaves of bread shaped like mustaches – the international symbol for “Folk band.” A seemingly otherwise unused storefront became Mumford Market, which sold strawberry donuts and other festival essentials. Every storefront had a purpose, featuring window art of the four Brits in charge, of their acoustic instruments or of that omnipresent mustache (it was even painted on the streets). Aside from the Troy High School football field, which held the main stage and the bulk of fest goers, there were still two small stages downtown and another handful of street performers littering the crowded streets.
Heck, they even took over the Troy Police Department. For a town as tiny as Troy, they can’t possibly have very many cops and it seemed like nearly all of them were roaming around inside the closed-off festival area. You know that hard-assed vibe cops often get, especially when pulling security detail? Troy cops were the nicest (and best looking) unit to pull security at a concert I've seen. One of the highlights of the festival was watching an older (clearly drunk) woman swat an officer’s backside with her tambourine. He was quick to whip around and give her a quirk of the brow. When she gave him a grin and a wink, he laughed, wagged his finger and carried on. Later, as the woman and her tambourine flirted endlessly with one of the security guards, the TPD watched with grins and amusement. Nothing more.
And that bout of tambourine-assisted sexual harassment? Probably one of the worst crimes committed during the festival. One of the stage security guards remarked at how surprisingly low-maintenance the crowd was and one of the police officers on duty was quick to agree that the out-of-towners were exceptionally well-behaved. All of his calls had been to deal with locals — and even those calls didn’t seem like anything noteworthy or unusual for a festival environment.
Mumford & Sons fans know how to be polite when overtaking a city.
The festival repaid fans by taking over their nature. When they bought their tickets for the stopover date, they were sent a wristband, a fancy holographic ticket and a passport. The passport held info about last year’s first ever stopover tour, the band, the best restaurants and scenes to check out while in the area. And, just like a real passport, there were places to have stamped. Certain restaurants and stores had stamps. Every performer had a person in a booth at the back of the stadium with a custom stamp. People walked the festival grounds” with the rubber stamp, ready to bequeath another ink splotch on each passport. It was a race to get them all. A chance to maybe, just maybe, win a prize or learn something new.
What you really want to know about is the music though, right?
The festival may have been more about the town than the music, but the music was still what drew thousands of people to Troy’s gorgeous city streets. It was, after all, a concert, and the music that took over Troy’s stadium needs to be discussed.
Friday was a short day, with the festivities not kicking off until after everyone had time to show up after work. Of course, Edward Sharpe and the Magnetic Zeros, the Friday night headliners, were the clear draw for fans on Day 1. The Zeros have traveled with Mumford & Sons before, most notably on their "railroad revival" tour, and even released their newest album on the Communion label, a pet project of Mumford’s piano player, Ben Lovett. Technically, the band is solid. The only difference between their records and their live performances is the sheer amount of energy they bring to the stage. The group has fun on stage and that fun easily makes its way into the crowd. But if you’ve seen one Edward Sharpe concert, you’ve seen them all. If you haven’t ever seen them, then you’re missing out.
Saturday was magnificent, loud and the best kind of exhausting you could imagine. A little after lunch, the stage came to life with the lovely Indie Brit Rock band Bear’s Den (who will be back in Ohio to play Cincinnati's MidPoint Music Festival at the end of the month). They might have only kicked off the day, but their talent deserved a later slot. After Bear’s Den came Nashville’s Those Darlins, headed by Jessi Darlin, a wisp of a girl with a set of dragon-sized lungs. Rubblebucket, from Brooklyn, showed up next and bestowed upon festival goers all their weird, twitching energy. They’re awesome, but putting them before the decidedly more mellow (but still oh-so-awesome) Justin Townes Earle seemed a little ill-placed. It felt a little like revving the engine of a Mustang when you’re still three stop signs away from an open country road. Justin Townes Earle was brilliant, of course, but very laid back, and Rubblebucket left everyone pretty amped. On the upside, Earle’s joke about the Westboro Baptist Church earned him laughs.
Mumford & Sons also imported their friends, The Vaccines. Also hailing from England, The Vaccines’ lead singer Justin Young previously recorded on the Communion label as Jay Jay Pistolet, a far more tame version of the vintage Rock that evolved to make The Vaccines what they are today. This new creation doesn’t seem to get quite as much love from Communion’s heads as some of their other friends and that’s really a shame. The Vaccines are with Columbia now and blowing up in the U.K., but still floundering in America. They’re brilliant, though, and crowds eat them up. They sound gritty and much more Punk Rock than anything on the radio right now, but they could very easily end up on those playlists. They bring an insane amount of sexual energy to the stage, too. Remember that old Almost Famous quote about the fans “getting off?” One guttural bellow from Young ignited a crowd full of shrieks. The end of The Vaccines meant half the crowd needed a cigarette.
Earlier in the day, one of the security guards said he’d worried the concert would be full of Bluegrass bands, something he hated. So far, though, he liked what he had heard. He had no idea that after The Vaccines, things were about to get real blue, real fast. Old Crow Medicine Show are old pros by now. Not only have they toured with Mumford & Sons previously, but they’ve also been around for ages. Maybe that’s why their concerts always seem similar. They’re a blast and, if you know all their songs, you’ll be hoarse by the end of their set. But, at the end of the day, nothing changes much from concert to concert … not even the between-song banter.
Somewhere during the Old Crow set an older, surlier photographer made a comment that I caught just the tail-end of. He either said “They’re better than this” or “I’m better than this.” The answer to both of those sentimentswas the same, however. “Clearly Not.” If Old Crow were better than doing a clone show in a tiny town, then millions of people wouldn’t be singing along to “Wagon Wheel” right now and thinking it was by Darius freaking Rucker. And, if that photog were better than that festival, well, he wouldn’t have been there. Oh, the egos.
Mumford & Sons finally took the stage just as the sun was sinking down past the stadium, though we’d seen them during the set before when they crashed a few Old Crow songs. The first time I saw them was in 2010 at Beachland Ballroom. They sold out the 500-person capacity room and joked their way through the entire set. Not much has changed in those three years except the size of the crowd. As I bought a pair of Vaccines underwear from the merchandise barn (because, why not?), one of the boys added a sincere moment. Winston Marshall (I think. I was really far from the stage by then and trying to size underwear) told the fans there were a lot of people in America that the band loved “very, very much.” And that there were a few dickheads, too. Whether playing to a crowd of 500 or 50,000, the guys of Mumford know how to make each group of people feel awesome. Even if it’s just knowing to say, “O-H!” and grin when the Ohio crowd screams back the usual reply of, “I-O!” After all these years, they still really get a kick out of that trick.
Their performance was great, too. But it seems pointless to tell you that. At this point, Mumford & Sons have become so famous, so overplayed on the radio, you’ve no doubt already made up your mind about those four mates from London. Either you love them or you hate them. End of story. For me, the answer is love. I can respect a well-informed adverse opinion on the matter, however. So I won’t try to change your mind.
I walked back to my car as the Yacht Club DJs began their cool-down set after Mumford & Sons left the stage. Troy was quiet except for the bands and the revelers and drunks (so it wasn’t very quiet at all). But the town has a peaceful vibe to it and the band has always had a respectful sense to themselves that together kept everyone in check.
Would I do it again? Yes. But do I still absolutely hate festivals? Yes. Would I recommend the experience to anyone that made it this far in my review? Without hesitation, I recommend that you go visit Troy. And I will always tell everyone I meet that Mumford & Sons puts on the best show around and you should witness it once in your life. Whether you decide to hold out for their next stopover tour or settle for their next arena show, that’s up to you. Or, if you decide to wait a decade until the fuss dies down and they’re back to playing places like the Beachland or Bogart’s, I won’t judge you. I already know those gigs will be just as amazing.
Is there any end to the Saw franchise? The simple answer is no — not as long as torture-porn-loving teenagers and twentysomethings flock to each new, uncommonly brutal installment.
When I decided to go to the University of Oregon for graduate school in 2005 I was like, “Those hippies are going to be bummed when I remind them of the UC basketball team beating down the No. 5 Ducks in 2002.” (There were also feelings of, “Goddang UC givin’ me an English degree that ain’t worth nuthin’…”)
But before I could even get out there and wear my Jason Maxiell jersey on Oregon’s lovely campus (those dudes have about 1,284 bike racks, for reals), Bob Huggins had been let go and my confidence in UC’s 2007 National Championship plans (the pending recruiting class was going to be ridiculous) were shattered. Even worse, this scary guy named Ivan Johnson backed out of his commitment to UC, and guess what school he went to? Freakin Oregon.
Motley Crue’s infamous bassist Nikki Sixx took up photography in 1989 as a way to help have an outlet to stay clean from his well publicized drug and alcohol abuse. His new book, This Is Gonna Hurt: Music, Photography And Life Through The Distorted Lens Of Nikki Sixx, came out this week as a showcase of his photography and personal stories from the past few years.