In early September, Cincinnati major-label act Walk the Moon had its new single, “Shut Up and Dance,” released by RCA Records. The song — which the band performed on Late Night with Seth Myers on Sept. 15 — is slated for inclusion on the band’s next full-length for RCA, the group’s second for the label. The new album is due for release later this year.
Today, the “Shut Up and Dance” video was made public. In the press materials for the new clip, frontman Nicholas Petricca says, “Influenced by the plot-driven music videos of the 80s and nerdy visuals of 90s television, our new video for Shut Up and Dance is a trippy story of dork victory. We are the proud mothers and co-directors of this weird throwbacky fantasy, alongside the brilliantly funny Josh Forbes.” There’s also an awesomely awkward dance break from Petricca in the clip.
Walk the Moon is currently doing a national tour (with fellow Cincinntians Public opening several dates) that has largely sold out; an announcement of a more extensive spring tour in support of the new album is due in the coming weeks.
Check out Mashable’s piece on the new video, in which Petricca picks his favorite ’80s music videos here.
Good late morning, readers. Roughly 13 more work hours until the weekend... we got this. I think.
This week's issue was filled with Words Nobody Uses or Knows, most of which were found in our cover story, Lost in Wilberforce, a piece about how the country's oldest historically black college is dying a slow, sad and dysfunctional death. Nobody is sure if it can be saved. Not what I would call a light read, but wonderfully written and important nonetheless.
Best word of the issue, found in that cover story, is promulgated.
promulgated: to publish or make known officially (a decree, church dogma, etc.); to make widespread, i.e. to promulgate learning and culture (v.)
In this issue: "Dr. Algaenia Warren Freeman, a veteran HBCU
administrator, has taken the reins from interim president Wilma Mishoe
and is painted by the board — and the university’s PR firm
Trevelino-Keller — as emblematic of the 'force of change' promulgated in
the university slogan."
Next best word is fealty (also found in the cover story).
fealty: the duty and loyalty owed by a vassal or tenant to his feudal lord; an oath of such loyalty (n.)
In this issue: "Jarred, a Pittsburgh native, pledges fealty only to the University of North Carolina." I enjoy the comparison of the university to a feudal lord here.
And then there's salvos, a great sounding word that has two completely different meanings and is Italian.
salvos: the release of a load of bombs or the launching of several rockets at the same time; a burst of cheers or applause (n.) I find it amusing that this word can mean something deadly and delightful simultaneously.
In this issue: "'Your cerebral cortex cannot comprehend the complexity
of my complex bars,' says Jarred, with the kind of theatrical cadence
and gesturing that makes me think these might be introductory salvos in
an impromptu face-off right here. 'You can’t fuck with me.' " OK. Does anybody understand the use of that word in the above sentence? Because I've read it three times and I'm still not getting it.
Another terrific sounding word in this issue is coquettish, which for whatever reason reminded me of Cosette in Les Miserables. Or croquet? Coquettish Cosette played croquet. I don't know. It's in Rick Pender's review of An Iliad at Ensemble Theater, which, by the way, is an astounding production. Really. I see a lot of theater, sometimes multiple shows a week, because my husband works in theater, and let me tell you, this was by far one of the best productions I've seen in the city since I've moved here, like, two months ago. But I digress.
Coquettish: As a young, flirting girl. (adj.)
In this issue: "He is called upon to recreate a dozen or so characters from Homer’s sweeping epic — the professional warrior (and demigod) Achilles; the brave Trojan Prince Hector; Achilles’ protégé Patroclus; pretty boy Paris who lit the fuse on the war by stealing another man’s wife; the arrogant Greek King Agamemnon and his aged, disconsolate counterpart from Troy, King Priam; even several women, from the coquettish Helen and Hector’s steadfast wife Andromache; and a god or two, especially and humorously the fleet-footed Hermes, 'a young man with fabulous sandals.' "
Last word in today's vocab lesson is prescience, found in this week's Big Picture column, which is about the late George S. Rosenthal, a Cincinnati photographer who took photos of the city's West End neighborhood before it was destroyed by the construction of I-75 in the 1950s.
prescience: apparent knowledge of things before they happen or come into being; foreknowledge (n.)
In this issue: "I mean them no disrespect to focus this story on Rosenthal, but his work fascinates me for his prescience.
Movoto Real Estate made a video introducing 12 West Coasters to five of Ohio’s favorite dishes. Predictably, the Cincinnati-centric grub gets mass hate by people with extremely sensitive gag reflexes. Here are the best reactions.
Glier’s Goetta: On its appearance: “Quinoa sausage?” On its taste: “[I want] an Egg McMuffin with that.” On its mouth feel: “You can’t choke on it, it just slides right down.”
Grippo’s Bar-B-Q chips: “It almost looks like human skin.” “They probably serve this at, like, games and shit. Like, ‘I’m at the Reds game in Cincinnati. Cincy!” “Have you ever walked into an old warehouse and it has, like, that musty smell? That’s what it tastes like.”
Skyline three-way: “Looks like some jail spaghetti.” “I can see this being like comfort food, but for some reason it’s not comforting me.”
Sauerkraut Balls: “It legitimately looks like a poop.” “Like a white person pot sticker”
Buckeyes: Everyone enjoy
this with little verbal reactions except for a couple assholes that collectively hate chocolate and peanut
butter (as well as puppies and sunshine, I’m guessing). A buckeye made them gag.
In the end, how did our high-brow neighbors to the west feel about Ohioans?
“Turns out they’re just
regular humans like you and me.” There you have it, folks!
It’s unclear whether this video was created to spark interest in Ohio real estate or remind Midwesterners that they’ll die fat and unsophisticated if they don’t move to California. Decide for yourself:
Ohio: Home of regular humans since 1803.
Covington’s collection of high-end street art expands today with the unveiling of a vibrant mural created by Brooklyn-based artists FAILE. The mural will cover the rear walls of the adjacent Republic Bank and Donna Salyer’s Fabulous Bridal buildings on the corners of Sixth Street and Madison Avenue.
Patrick McNeil and Patrick Miller, collectively known as FAILE, create multimedia installations and collage, incorporating an experimental style and popular cultural references. Although FAILE has exhibited art in traditional gallery spaces, their work on city walls across the globe has put them on the innovative edge of the street art community. Amsterdam, New York, London, Bethlehem, Palestine and Vienna are just a few of the cities where FAILE’s work can be found.
The Covington collage-style mural was inspired by the artists’ “rip style painting.” It features classic FAILE motifs along with suggestions of Kentucky culture. The placement of the mural on two adjacent buildings allows the split images to visually converse with each other through space. The mural’s high contrast and dramatic aesthetic references FAILE’s inspiration from screen printing along with urban contemporary art. The humorous overtone of the mural’s imagery makes a strong visual connection to pop art and comic book illustrations.
Covington’s BLDG, a cooperative arts organization working to “foster inspiration, the visionary and the uncommon” will host the unveiling of the mural. BLDG nurtures creativity by providing branding, gallery space, publicity and refuge for artists and innovative thinkers. Their unique team brings internationally celebrated artists to the Covington area, placing the city on the list of artistically progressive areas. BLDG’s projects have included collaborations with the London Police and Prefab77.
will take place from 5-7 p.m. tonight at the mural site. Drinks and food will
be provided by Rhinegeist, Arnolds, Tito’s Vodka and The Gruff (a pizza
shop/deli coming soon to Covington). Go here for more info.
All right. Let’s talk about this news stuff, shall we?
In just 12 days, voters will decide whether or not to back a plan put forward by Republican Hamilton County Commissioners Greg Hartmann and Chris Monzel for fixing Union Terminal. But the details still haven’t been worked out completely, as this Business Courier article discusses. The tax increase proposal, an alternative to another scheme drawn up over a number of months by a cadre of the city’s business leaders that also included Music Hall, has been a kind of plan-as-you-go effort by the commissioners. The 5-year, .25-percent sales tax increase won’t provide all the money needed for the project, and it’s still a bit up in the air where the rest will come from. The structure of the deal will hold Cincinnati Museum Center, which occupies the building, accountable for cost overruns or revenue shortfalls, which they’ll need to make up with private financing or donations. A new nonprofit entity might also need to be created to officially lease the building from the city in order to qualify for state and federal tax credits, a possible stumbling block that will require city-county coordination. All of which is to say there’s a long way to go before the landmark is on its way to renovation.
• The NAACP is ready to tap Cincinnati for its 2016 national convention pending a site visit in November. That’s a bit of a surprise, as many assumed Baltimore, where the organization is headquartered, would get the nod for its presidential election year convention. Cincinnati also hosted the NAACP convention in 2008. Big political players, including presidential candidates, often speak at the convention during election years. The 2016 election is shaping up to be huge for Ohio, with Cleveland hosting the GOP national convention and Columbus in the running for the Democrat’s big national event.
• A talk by award-winning conservative Washington Post columnist George Will at Miami University last night drew a number of protesters unhappy that the school invited him to speak. Will has caused controversy over remarks he made in a column in June criticizing new sexual assault rules on many college campuses. Will has blasted the “progressivism” of the rules, saying they place men accused of assault in a “guilty until proven innocent” situation. Specifically, Will criticized measures that stipulate a person who is considerably inebriated is unable to give sexual consent. Students and faculty who opposed Will’s talk say they collected more than 1,000 signatures from members of the Miami University community asking the school to cancel the event.
Will has gained a reputation for his controversial, sometimes outlandish remarks. He has dismissed climate change science, for instance. Most recently, he claimed on Fox News that Ebola could be spread through the air via coughs and sneezes, an assertion contradicted by nearly all scientists who study the disease.
• Former Juvenile Court Judge Tracie Hunter’s attorney Clyde Bennett has filed a motion for a retrial, saying that two of the 12 jurors on the case did not vote to find Hunter guilty on a felony charge earlier this month. Hunter was on trial for nine felony counts. The jury hung on the other eight but allegedly agreed that she was guilty of improperly intervening in a case involving her brother, a court employee who allegedly punched a juvenile inmate. Hunter’s sentencing is scheduled for Dec. 8, though a Nov. 13 hearing on Bennett’s retrial motion could change that.
• If you live in Kentucky and are hoping Yuengling comes to your neck of the woods soon, you may be disappointed. There’s a battle brewing (haha) over beer distribution in the state as giant Anheuser-Busch seeks to buy a distributor in the Kentucky that could give the company a quarter of the beer market there. That has mid-sized independent companies like Yuengling and some wholesalers saying there may not be room for them. Generally, beer brewers aren’t allowed to own distributors or stores under anti-trust laws, but Anheuser-Busch won the right to own one in Louisville after suing the state in 1978.
• In international news, four former employees of Blackwater, the private security firm that the U.S. contracted during the Iraq war, have been convicted for the 2007 shooting deaths of 17 Iraqis. The incident, which happened at a public square in Baghdad, became notorious as an example of U.S. contractors’ misconduct during the Iraq war. A judge in the case ruled that the killings were not an act of war, but a crime. One defendant, sniper Nicholas Slatten, faces life in prison for murder. Three others face 30 year minimum sentences for charges including committing a using a machine gun to carry out a violent crime and voluntary manslaughter.
Before Anne Rice and Stephen King, Edgar Allen Poe set the standard for gothic creepiness. He's the inspiration for Gothic Halloween, a terrific program of music and Poe's classic stories guaranteed to chill the blood temperatures to appropriate Halloween levels, performed with wicked glee by the adventurous ensemble concert:nova. It's an evening of music from the dark side seamlessly interwoven with equally scary stories and songs.
Performed on the stage of Cincinnati Shakespeare Company's production of The Birds, it's the perfect setting for an evening of macabre and mayhem. Many of the musicians sported black capes but harpist Gillian Sella takes the prize —more on her later.
Bach's "Toccata" from the "Toccata and Fugue in D minor" is a horror standard and that's what starts the evening, performed with gusto by local treasure, keyboardist Julie Spangler. It's so familiar that the opening three-note sequence evoked laughter, which was quickly silenced by Spangler's artistry. She makes the small electric keyboard resonate with the power of a cathedral instrument.
The "Psycho Suite" features three pieces from the classic film score by Bernard Herrmann, performed by a string sextet — Eric Bates (no relation to Norman), Gerald Itzkoff, Mari Thomas, Rebe Barnes, Margaret Dyer and Theodore Nelson. There were also a few chuckles which quickly subsided. Those screeching string swipes don't need film to convey the murder in the shower scene or the ominous mood at the Bates Motel.
Baritone Edward Nelson gave a powerful performance of Schubert's setting of German poet Heinrich Heine's "Die Doppelganger," a song about a frightening encounter with one's alter-ego. Spangler accompanied and segued into Part II of Gyorgy Ligeti's "Musica ricercata," ("Researched music"). Entitled "Mesto, rigido e cerimoniale," (Sad, rigid and ceremonial), the music is a series of repeated notes, restless and menacing.
Sections of Ligeti's String Quartet No. 1 accompany a reading of Poe's "The Cask of the Amontillado," performed by Jason Podplesky and Edward Nelson. Podplesky seemed uneasy at first, stumbling over mispronunciations, but he recovered to bring the story to its macabre finale. Nelson did a fine job as the hapless victim. He remained onstage, joined by a string quartet for a performance of Samuel Barber's setting of Matthew Arnold's poem "Dover Beach." Nelson conveyed the longing, passion and terror with elegant tone and flawless diction. The string quartet delivered an appropriately moody reading.
The second half opened with violists Barnes and Dyer slinking out on stage to perform "Viola Zombie," Michael Daugherty's duet that's a mashup of horror themes and plucked strings. You gotta love a piece with movements entitled "Jerks of Rigor Mortis" and "Zombie revivus." Barnes and Dyer clearly do.
The evening closed with Poe's ultimate horror classic, "The Masque of the Red Death," read by Podplesky, accompanied by French composer Andre Caplet's "Conte Fantastique: Masque of the Red Death" for string quartet and harp. In spite of a few mispronunciations here and there, Podplesky rendered the story with ghoulish delight. Caplet's score meshes fantasy and foreboding, and the harp glissandos add to the eerie atmosphere. Willowy harpist Gillian Sella nearly stole the show when she entered, garbed in a white satin cape and pointed hat.
c:n Artistic Director and clarinetist Ixi Chen doesn't perform in this concert but her creative mark is all over this terrific program.
You have one more opportunity to up your scare quotient on Monday evening, Oct. 27, at 7:30 p.m. A party follows the performance. You go, ghouls. Tickets and more info here.
It’s a double bill of Scottish Indie Rock at Bogart’s tonight as We Were Promised Jetpacks and The Twilight Sad pull into town for a free, all-ages 8 p.m. show. The concert was originally scheduled for Over-the-Rhine’s Woodward Theater, but was moved due to the new venue not quite being ready yet to host events yet (the legendary Ian McLagan’s Oct. 29 show slated for the Woodward has been moved to Southgate House Revival in Newport for the same reasons). The Woodward’s selling tickets to shows beginning Nov. 10, so hopefully it will be all set by then.
CityBeat’s Brian Baker spoke with WWPJP’s guitarist/singer Adam Thompson for a feature in this week’s paper. Thompson spoke of mixing things up on the band’s most recent album release, Unravelling.
“It’s still got the same emotional pull as the last two albums, it’s just that the whole sound is a lot more varied,” Thompson notes. “It’s got a bit more groove or something and I think that’s what we were trying to achieve, but it’s still very much a We Were Promised Jetpacks album. If you don’t like the first two, you’re not going to like this one, but I do think it offers something different.”
Click here to read Jason Gargano’s preview of openers The Twilight Sad.
• While it’s true that “Ska Punk” had its mainstream flash-in-the-pan moment in the’90s, it’s a shame that Ska often gets dismissed today as a sort of punchline. (“Ha, remember when Ska and Swing music were popular?”) From its origins in late-’50s Jamaica through today, Ska has endured thanks to new, young bands rediscovering the music and a loyal cult following.
America’s Ska kings are unquestionably The Toasters, who were formed in 1981 (just as the U.K.’s 2 Tone Ska craze was beginning to lose steam) by British ex-pat Robert “Bucket” Hingley. When The Toasters (who eschewed the distorted “Ska Punk” concept for a style more reminiscent of the pioneers and 2 Tone bands) were looking for a label to release their debut EP, Hingley formed Moon Ska Records, which became the top independent Ska label on the planet and was home to practically every America Ska band worth a listen.
• Irish music trio Socks in the Frying Pan, from County Clare in Ireland, is in the midst of its first tour of the U.S. and tonight the group plays Molly Malone’s in Covington. The young band is becoming known for its creative spin on traditional Irish music, which has earned it numerous accolades in its homeland (the Live Ireland Awards and Tradition in Review Awards both have named them New Group of the Year and Irish American News calls them “simply stupendous”).
Tonight’s Covington show starts at 7:30 p.m. Tickets are $12.
• A pair of great, rootsy singer/songwriters perform at Newport’s Southgate Revival tonight — in separate rooms and as part of separate shows.
Tommy Womack, once dubbed “Nashville’s best loved musical eccentric,” headlines the Revival Room at 8:30 p.m. with special guests Wild Ponies. Tickets are $12.
• Meanwhile, the stellar Robbie Fulks plays the club’s Sanctuary room with guests Woody Pines. Showtime is 9 p.m. and tickets are $15.
Fulks has long recorded for the esteemed label Bloodshot Records and his song “I’ll Trade You Money for Wine” is featured on the label’s awesome, recently-released 20th anniversary compilation, While No One Was Looking, which features a variety of artists performing songs from Bloodshot’s back catalog. Fulks’ tune is covered by Andrew Bird and Nora O’Connor.
October is synonymous with Halloween, haunted houses, harvest festivals and more-sexy-than-scary costume balls. Whether you plan on being a slutty nurse, a moody John Snow, your basic zombie or Dracula, the Tristate offers more than enough events for you to get your freaky on all haunting season.BAR EVENTS
If the assault of Mitch McConnell ads has you thinking Kentucky must be the most hopelessly unprogressive state ever, a FotoFocus Biennial-related lecture last Sunday provided another take on the Bluegrass State.
The speaker, who also presented slides, was the veteran Lexington photographer Guy Mendes, who with Carey Gough has the exhibition Blue Roots and Uncommon Wealth: The Kentucky Photographs at Over-the-Rhine’s Iris BookCafe, 1331 Main St., through Jan. 25. His presentation, organized by Iris’ photography curator William Messer, was at Mr. Pitiful’s bar, close to Iris.
Mendes, active in Kentucky arts, public television production and higher education since the late 1960s, has been collected by Ashley Judd, Willie Nelson, Maker’s Mark (he’s very proud of that) and the New Orleans and Cincinnati art museums, among others. At Mr. Pitiful’s, he made a compelling case for Lexington as a center for progressive creative thought — in photography, especially — that has had a broad influence on our times.
As a college town (University of Kentucky), Lexington maybe has been better known for its basketball than its radicalism, but Mendes made it seem like it could hold its own with Berkeley, Calif., Ann Arbor, Mich., or Madison, Wis., in any history of counter-cultural hotspots.
His presentation focused on a group he became part of in the late 1960s, the Lexington Camera Club, active from the 1950s to the early 1970s (and recently revived). While, like other camera clubs it attracted its share of hobbyists, it also had stalwart support from open-minded professionals with an experimentalist bent.
Mendes mentioned and showed slides of work from the Camera Club’s first golden era. The accomplishments of these now-deceased members was impressive — Van Deren Coke (who went on to become director of the George Eastman House); Robert May, who specialized in multiple exposures; James Baker Hall, a poet (and former state Poet Laureate) and photographer whose haunting series of images featuring collaged family photos may have been a way to deal with his mother’s suicide when he was a child.
One Camera Club photographer, Ralph Eugene Meatyard, has become recognized since his 1972 death as one of America’s most memorable — and spookiest. His black-and-white shots of children and adults wearing masks in strange settings are still unsettling.
Lexington was restive in the anti-Vietnam War days, and Mendes published an underground newspaper called Blue-Tail Fly and was involved in protests. And as he became friends with local writers Wendell Berry and Ed McClanahan, his literary and photographic worlds began to merge. (Both still are active today.)
In Mendes’ show at Iris, those two figures are in probably the two most striking photographs. One is a 2012 portrait of Berry, on a farm in Henry County, with his horses Nip and Jed grazing behind him. It’s sheer happenstance, but the horses’ placement is such as to create the illusion is that their heads extend from his shoulders. Messer refers to them as “horse angel wings,” and it’s a great tribute to Berry, an environmentalist as well as a writer. The photo gives the elderly man a heavenly glow.
McClanahan is involved in the weirdest photograph in the show — 1972’s “The Fabulous Little Enis & Go Go Girls of Boots Bar.” This photo (in a tarted-up version) accompanied McClanahan’s article about this colorful musician in Playboy. It depicts the left-handed, backwards-holding guitarist Little Enis and a chorus line of scantily clad women outside the bar.
The late Carlos Toadvine’s stage name “Enis,” Mendes told his audience, was a play on the nickname given to Elvis Presley as “Elvis the Pelvis” — you get the point. Mendes said Enis was a fabulous guitarist but the working-class Boots Bar was a tough place for scruffy, hippy-looking artists like McClanahan and himself in 1972. On their first visit there, McClanahan and Mendes, were greeted by a flying beer bottle. (On the Internet, there is a photo of long-haired college-age young men admiring Little Enis’ act, so maybe the bar got a little safer with time.)
The Iris show also features color photographs of Kentucky music-related sites by Gough, who considers Mendes a mentor.
Lexington’s impact on the arts is fascinating in other ways, too. The writer Bobbie Ann Mason attended UK, as did the great character actor Harry Dean Stanton. (There is now a film festival there in his honor.) Walter Tevis based his novel The Hustler on a pool hall there. Punk icon Richard Hell was born and raised there, as was Cincinnati artist/composer Jay Bolotin.
There must be something in the bluegrass. It’s captured in Mendes’ photographs.
The world’s greatest wrestling-masked instrumental musical ensemble Los Straitjackets return to the Cincinnati area tonight for a show at Southgate House Revival. The band is joined by Roots music fave Deke Dickerson, who collaborated with Los Straitjackets on the recently released LP, Los Straitjackets: Deke Dickerson Sings The Instrumental Hits.
As the cheeky title suggests, the album features some famous instrumental tunes which Dickerson fleshes out with “lost or rewritten” lyrics. The track “You Can Count on Me,” for example, is The Ventures’ Hawaii Five-O theme with lyrics from Sammy Davis Jr.’s version.
Other instrumental-turned-vocalized songs on the album include classics like “Pipeline,” “Walk Don’t Run,” “Misirlou” and “Popcorn.”
“If you're a record collector and music geek who’s been around long enough," Dickerson said in an interview with Billboard, "you start to realize that most famous instrumental hits either started out as vocal songs, or — even better — were written as instrumentals."
Sadly, the Star Wars theme didn’t make the cut.
Showtime tonight is 8 p.m. Admission is $20 at the door. The B-Sides open.