A perfect day, hot enough but not so hot as to suggest the idea that the ghosts of dead ants broiled by sadistic children with magnifying glasses were somehow exacting their revenge from beyond the veil of ant Valhalla. Why, yes, the '70s were good to me. Why do you ask?
At any rate, the potential for another spectacular launch to Bunbury's first day was palpable as ID was proffered, the laminate was provided and the wristband was snapped into position. The game is afoot (or as my wife's podiatrist might counter, the foot is a game … but I digress. Why, yes the ’70s were good to me. Why do you ask?) and another spectacular Bunbury awaits.
The beginning of the day was essentially a sampler platter of roaming about and checking out a few songs from a variety of sources. I started off down at the Amphitheater Stage to check out The Upset Victory, who had drawn a pretty sizable crowd for their muscular U2-tinged brand of melodically gritty Roots/Punk. Then it was down to the Warsteiner Stage for a more lengthy taste of Snowmine, who return to the '80s/'90s with a 21st century vengeance, mining a thick vein of Depeche Mode, along with a '90s aggressive Ambient quality and a quietly powerful modern edge. Then it was down to the Main Stage for a quick shot of X Ambassadors, who blend big tribal drumming with a Punk-fueled Pop core, a little like Imagine Dragons with a few hundred thousand volts pumped directly into their hearts. Finally it was back to the Amphitheater for a few songs from the soon-to-be-large Let It Happen, who were delivering their Green Day-esque anthemics in the blistering mid-afternoon glare of the unfiltered sun.
Then it was time to hit the Lawn Stage for the triumphant return of 500 Miles to Memphis. Frontman Ryan Malott has streamlined the band down to a potent quintet (guitarist Aaron Whalen, bassist Noah Sugarman, drummer-of-the-gods Kevin Hogle and the lap-steel-and-all-round-magnificence of David Rhodes Brown) and turned up the juice to emphasize the Roots/Rock thunder and downplay the Country lightning. There's still plenty of twang in their thang, but the sizzle and the sound is turned up to 11 in the slimmer, trimmer 500MTM. The band was clearly itching to tear shit up; they've been hard at work for the last couple of years or more assembling their new album, the imminent Stand There and Bleed (the title is a Tombstone reference; if you know the movie, you know the exact scene, and if you don't, shame on you for missing the greatest Western depiction of Wyatt Earp and Doc Holliday ever, so go fix that before another hour goes by).
Malott and the 500 blew through a set that was stacked with great new material (particularly "Bethel," a tribute to Malott's hometown), but they didn't forget to give the master his due, pulling DRB up from his lap steel duties to haul out yet another chilling spin on Trent Reznor's "Hurt"; if the hair doesn't stand up on your neck when the Colonel's baritone rumbles out, "You can have it all, my empire of dirt," you've got one of those weird, hairless necks. 500 Miles to Memphis has been well out of the public eye for the last year as they concentrated on life pursuits and sporadic turns in the studio to finesse Stand There and Bleed, so there was an urgency to get their fresh live set across as a clarion call to let everyone know they're back. Are they ever.
After a quick stop to water my horse (namely, me), it was a fast walk over to the Acoustic Stage for an hour of blissful Roots/Folk brilliance from Aaron Lee Tasjan, whose sideman work with Todd Snider, the New York Dolls, Drivin' N' Cryin' and Tim Easton has earned him a reputation as one of Americana's most reliably astonishing guitarists. But it's his solo persona that is becoming even more fully realized, as his sterling EP releases — 2011's August Moon, 2012's The Thinking Man's Filth and the just released Crooked River Burning — have shown Tasjan to be a songwriter of depth and beauty will beyond his calendar age. Listen to any given ALT song and you'll hear hints of Nick Drake, Bob Dylan, Will Kimbrough, Rodney Crowell and Ryan Adams in his delivery.
In Tasjan's Folk world, there is no bellybutton introspection set to a strummed acoustic guitar; he'll peel off a solo worthy of Jimi Hendrix after telling a story about seeing Ted Nugent shoot flaming arrows into cardboard effigies of his enemies list worthy of Arlo Guthrie. There aren't many singer/songwriters (read that: any) who are writing tributes to the late, great Judee Sill, and fewer still who make incisive observations like "You can't play Beatles music with bullshit hair." Deals don't get any realer than Aaron Lee Tasjan, and you all need to make him a star at your earliest convenience. Go. I'll wait.
After ALT's hour of power, it was back to the Amphitheater for the transcendent magnificence of Lydia Loveless. She may have grown up in the hillbilly hinterlands of Coshocton, Ohio, but she is a city girl with enough Rock sass to satisfy any Indie hipster and enough twang to hold the interest of any Americana aficionado. In a set laced with electric greatness, primarily drawn from her latest album, Somewhere Else, Loveless and her brilliant band finished with an absolutely scorching take on "Boy Crazy," the title track from her 2013 EP. The song reached a fever pitch when guitarist Todd May, cigarette dangling from the corner of his mouth with noir-detective-meets-Bun-E.-Carlos nonchalance, sat on his feet in front of his amp at the back of the stage, coaxing an exquisite din of feedback from his guitar, while bassist/husband Ben Lamb concocted similarly haunted sounds by running his bass down Nick German's drum kit and Loveless herself fell onto her back on the stage and cranked out sheets of heart-stopping guitar madness. It was an extraordinary end to a truly amazing and all too brief set.
Exactly what is it about the Black Owls that resonates so completely with me? First, they effortlessly tap into that primal part of my brain that was developing during my teenage years when I was soaking up insane amounts of T. Rex, Mott the Hoople, David Bowie and the Stooges. Next, they punch forcefully into the neighboring brain cells, the ones that house the memories of discovering Television, Richard Hell & the Voidoids, Talking Heads, New York Dolls and Be Bop Deluxe. And it's not that they sound like any of those bands (although occasionally they do), it's that they remind me of that beautiful, mysterious time in my life when there was still music to be revealed, and the visceral thrill that accompanied every new discovery. That is what it is about the Black Owls. They once again made that abundantly clear at the Lawn Stage when they tore through old favorites ("Wild Children," "Julias Morningstar," "Sometimes I Wish You Were a Ghost"), brand new classics in waiting ("Gasoline" and "Rook") and an absolutely hair-raising spin through Harry Nilsson's "Jump Into the Fire."
It was the standard Black Owls greatness, which is to say the quintet, as usual, presented their most familiar elements in new and unexpected ways so that even a grizzled old veteran Owls watcher such as myself was knocked back a pace and surprised by it all. Black Owls make me long for the days when bands put out two albums a year for not other reason than they could. Bassist Kip Roe continues to weave himself into the fabric of the Owls' sound and, as frontman David Butler pointed out, guitarist Brandon Losacker is proving to be a perfect songwriting foil for Butler and co-founding guitarist Ed Shuttleworth. The Black Owls seem to be entering a period of gritty reassessment, where dirty Glam riffs and anthemic chord structures are dominating the proceedings. Yes, please, and quite a bit more, if it's quite all right. And even if it's not.
Before I review the psychodots' Bunbury debut, perhaps a history lesson is in order. A good many years ago, music mogul and purported industry genius Clive Davis sauntered into Cincinnati with the stated goal of checking out The Raisins and perhaps offering them a lucrative and much-deserved contract. When Davis departed from our fair city without signing The Raisins, he explained the lack of a deal thusly: "They're an embarrassment of riches."
Please allow me to read between the lines and translate that five word headscratcher into layman's terms. What Mr. Davis was so obtusely attempting to convey was this: "The Raisins are a stellar band and I don't have the slightest idea how to market them without making them as smooth and textureless as Gerber's babyshit and as lame as a beggar in the Bible, essentially stripping them of the elements that make them unique, and if you think I'm going to dismantle and destroy this band or permanently stain my sparklingly legendary resume with the ugly reality that I was unable to sell the music of a gifted band to a quality-starved public simply because I didn't understand the complexities of either one, you've got several unpleasantly aromatic things coming in a flaming bag on your front porch."
Of course, The Raisins famously broke up, reassembling as the Bears with guitarist Adrian Belew and refashioning as psychodots without Belew. So in a very tangible sense, we owe the existence of psychodots to Clive Davis' short-sighted inability to recognize their root band's brilliance. I was devastated that The Raisins didn't make it and, after the 'dots' loosely tight/tightly loose set at Bunbury, I am relieved beyond measure The Raisins didn't make it. Success would have come at a great and terrible cost, and we would not have enjoyed 20+ sporadically splendid years of psychodots Power Pop bliss.
There may have only been 100 or so bodies at the Amphitheater Stage to witness psychodots' fabulousness (Fitz and the Tantrums were sucking up bodies like a UFO set to "harvest," and rightly so) but the 'dots never give less than 89%, and they were in full charge mode on Friday afternoon. There was Rob Fetters' squiggly guitar magnificence (I'd put him up against any guitarist in the history of Rock, and he'd be only mildly uncomfortable at being up against any of them), Bob Nyswonger's bass conjuring, using his instrument to evoke lead guitar and keyboard mayhem (and by instrument, I'm still talking about his bass) and Chris Arduser's master class in How to Drum with Power and Grace and Still Maintain a Smartass Attitude.
It was a delightfully eclectic set, with a number of old favorites ("Master of Disaster," "Living in a Lincoln," complete with Fetters' mom-inspired balloon-on-the-strings gimmick), a few quasi-oddities ("Candy," the rarely performed "The Problem Song") and a handful of non-'dots nuggets ("She Might Try" from Arduser's exquisite The Celebrity Motorcade, The Bears' "Veneer" from their last album Eureka, "Play Your Guitar" from Fetters' patently perfect new solo album, Saint Ain't, The Raisins' fist-pumping "Fear is Never Boring") and the band's always entertaining banter (Fetters apropos of everything: "Is anyone tripping?"; Bob Nyswonger after Arduser's observation that the evening was balmy: "Balmy," stretched langorously into two words). It was, in a number of words, a standard psychodots show, which means one of the best shows you'll ever see, local or otherwise. Long may they reign.
After the breathless 'dots set, I was torn between the Heartless Bastards' triumphant return to the area or the unlikely but much welcomed reunion of Veruca Salt's original lineup. With more than a couple of Bastards sets under my belt and the prospect of many more to come, I opted for Veruca Salt because, even if the reunion sticks, the possibility of the band's return to Cincinnati seems remote. The foursome did not disappoint, hauling out blistering favorites from their slim catalog in this iteration and reinforcing why we've loved their Glam/Pop brilliance for so very long. Whatever caused the rift between co-fronts Louise Post (who has kept Veruca Salt going in some form or other for the past 21 years) and Nina Gordon (who departed for a solo career in 1998), there was no evidence of any residual friction as the quartet blew like a hurricane through "Volcano Girls," "Straight" and their signature brain-boiler "Seether." The band even teased a couple of songs – including "It's Holy" from this year's Record Store Day single — from what was described as "their upcoming thing;" that thing cannot come soon enough. As final proof of Veruca Salt's newly minted reunion, Post and Gordon kissed at center stage amid a beautiful howl of squalling feedback. As the lights came up, the '90s called, they want their awesome back; they can blow it out their ass, because Veruca Salt is hanging onto it with all eight arms.
For the evening's closer, Empire of the Sun, the Main Stage was nearly as packed with bodies and gear as the field in front of it. The band's epic stage show, which has been described as Cirque Du Soleiel without the airshow, requires a lot of moving parts, and the Bunbury crowd arrived in significant numbers to witness the Rock/Synth Pop/Electronic spectacle. Empire of the Sun's primary sparkplugs, Luke Steele and Nick Littlemore, and a veritable army of players and dancers offered up a wall of Prince-like Glam/Pop guitar and a danceable solution of Depeche Mode Synth Pop menace, all updated to a millennial frenzy of Muse/Daft Punk proportions. But rather than non-descript and identity shielding space/BMX helmets, EOTS prefers elaborate tribal headdresses that look like giant pre-immolation phoenixes atop the principals' heads. At one point, the dancers were all playing fake neon guitars in a 21st century version of Robert Palmer's "Addicted to Love" video. All of this plays out in front of a constantly shifting projection of disparate and arty images and screen saver light squiggles combined with a choreographed and dazzling light show that is both compelling and distracting. That dichotomy within the Empire of the Sun presentation matches the broad spectrum of reactions to the band's Cincinnati debut (and one of only a handful of American dates); the majority of the crowd was fully engaged in the band's expansive Vistavision sprawl, while a few canvased friends offered up opinions that ranged from "That was as exciting as watching glitter paint dry," to "Meh, it's okay," to "I totally love this." Editorial critique aside, Empire of the Sun was every bit as epic as advertised, and everyone who looks for spectacle in their Dancetronic music mix got more than their money's worth with Friday night's Bunbury closer.
• I started the day with a deliciously smokey pulled pork sandwich from the geniuses at Eli's, a bun so overstuffed with barbeque goodness that it's actually a pulled pork sandwich with a side of pulled pork. It's as close to a religious experience as I've ever had outside of a church (where I have oddly never had a religious experience … go figure) or a music venue (where I've had plenty; I'm looking at you, Iggy Pop). Washed down with a Fathead beer, it was the perfect start to the third charmed Bunbury.
• At the Snowmine show, I ran into "Hey-look-everybody-it's" Stu, from Paul Roberts' Three-Amigos crew. Stu reported that Paul and maybe Big Jim would be along shortly. And, in fact, they were.
• On the way from X Ambassadors to the Amphitheater/Lawn Stage area, I ran into Eddy Mullet and his daughter Jess. Eddy is the volunteer host of the Friday night 6:00-8:00 pm shift at Class X Radio, where I have surreptitiously installed myself as his quasi-co-host; I do the weekly CityBeat Report, a rundown of weekend music events, and a segment I concocted called the Gang of Four Set, four songs that are connected by a theme of my own twisted design. Eddy is also the longstanding host of Kindred Sanction, the area’s longest-running local music program that was founded by Cynthia Dye Wimmer a fair number of years ago at WAIF. Cynthia brought the show to Class X six years ago, Eddy sat in occasionally as co-host and Cynthia backed out of the show to attend to her life. Eddy's passion for and knowledge of the local music scene is legendary, and anyone who has ever dealt with him knows him as a straight up guy and maybe one of the best boosters that local music has ever seen. Class X management has seen fit to cut the show's hours and alter the format, all of which is wrong-headed and counterproductive, but all that really matters to Eddy is spreading the gospel of greater Cincinnati's music scene. And Jess is turning into a Rock chick of the first order (not like that, you gutter-minded dimbulbs). Under Eddy's tutelage, she's becoming a pretty fair aficionado of local music herself; smart, funny and fearless, she will be a force to be reckoned with in some near future. At any rate, if you see Eddy wandering around, shake his hand and thank him for his long-suffering and often unappreciated work on behalf of local music.
• Eddy and Jess and I hit a run of shows together, including the ever amazing 500 Miles to Memphis, the astonishing Aaron Lee Tasjan (who Eddy hipped me to through his love of Drivin' n' Cryin'), the gear-stripping Lydia Loveless and the transcendent Black Owls. Eddy and I could talk music for days on end, which we do at every given opportunity. Eddy also introduced me to Aaron, who he'd met after a Drivin' n' Cryin' show; that kid is going places, if Eddy and I have anything to say about it.
• Finally ran into Paul and Big Jim at the Aaron Lee Tasjan set, with "Hey-everybody-it's" Stu in tow. These three are also a great bunch of music lovers and supporters, local and otherwise, with weird, esoteric tastes. In other words, my people. I love running into them, and swapping stories and having Paul buy me beers, which he most generously did during the psychodots' set.
• Also briefly caught up with the ever-stellar Kip Roe, freshly installed bassist for the Black Owls and a prince among men. His boys, Kip Jr. and Ben, were there to witness the Owls' casual brilliance (anchored by their dad's bedrock solid basslines), but post-show were anxious to head down to the Main Stage to witness the Soul/Pop frenzy of Fitz and the Tantrums. Kip and the boys won't be spending Saturday doing any Bunbury adventuring, as they're headed to a Modest Mouse show in Columbus (a bucket list event, as Kip described it), but they will be back for the Flaming Lips on Sunday. Kip's boys are huge Flaming Lips fans. God, I love Rock & Roll families.
• And speaking of such, my other favorite component of Black Owls shows is the chance to catch up with the Owl wives, Amy Butler, Carrie Losacker and Sarah Kitzmiller (and let's not forget Ed's girlfriend, whose name, like so many other things, slips my addled brain. Why, yes, I did enjoy the '70s. Why do you ask?). We were trying to come up with a name for their defacto support group; I propose the Owlettes, and given Friday's heat and humidity, the Moist Owlettes probably was more apt. At any rate, they are wonderful people to interact with, and I look forward to their company every bit as much as the Owls' soul-stirring, flashback-triggering presentations.
• And on that subject, Ed, his girlfriend and her daughter (again, names … I remember knowing them in some distant past; maybe if they had hats with their names on them. That's how Stu solved his dilemma …) caught up with me while I scarfing down a couple of cheese coneys before leaving Friday night and offered a heartfelt Rock & Roll tale. Ed's girlfriend's daughter (note to self: this would be better with names) is a huge fan of Walk the Moon and as fate would have it, frontman Nick Petricca happened to be in town and was catching the Empire of the Sun show. Ed's girlfriend's daughter spotted Nick, professed her undying love for Walk the Moon, they chatted for a bit and she got her picture taken with him. Nick is clearly one of the good guys and his very open and engaging response to a fan's sincere outpouring of love and support is one of the reasons for the band's incredible success. And, as I noted to Ed's girlfriend's daughter, "It's always nice when you meet your heroes and they're not dicks." Thus should it ever be.
• The only thing that could have made the night complete after that uplifting moment would be a quick run-in with Jacob Heintz, former Buckra guitarist and Rock volunteer of the gods, as his constant presence at MidPoint and now Bunbury will attest. Another one of the truly great people that define the Cincinnati music scene as one of best in the known universe. I am physically fading and spiritually soaring. It's a good feeling for the end of the first day of another fantastic Bunbury.
One year ago today, the city signed contracts to start construction on the streetcar. Fast forward 365 days, and the new transit loop through downtown and Over-the-Rhine is quickly taking shape. Roads are closed as major sections of track go in. Workers are constructing concrete slabs for the passenger stops. The cars themselves are being built. And the city recently named downtown-based Kolar Design to do branding work for the streetcar. The Business Courier has photos of the progress so far. Or you can just drive through Over-the-Rhine and see for yourself. Just don’t take Race Street if you’re hoping to get downtown — it's still closed at 12th Street.
• We’ve all lived with roommates who don’t always take out their garbage. It’s gross. But I guess it could be worse. Like, tens of thousands of times worse. The city recently shut down a compost company called Cincy Compost in Winton Hills after two years of complaints from miles around about the ghastly smells emanating from what is effectively an 80,000 pound pile of rotting food, but things could get worse before they get better. The heap, which is piled two feet deep, needs to be cleaned up by the city now that the company is no longer in business. It seems the business didn’t get the correct balance of garbage for the compost process to work and was overwhelmed by the sheer volume of garbage it took in. It racked up 45 code violations while it was open. Now the city will have to spend $250,000 to kick-start the process and finish turning the garbage into soil. That involves stirring all that garbage around, basically, which is only going to make the smell worse in the short-term. Gross.
• Community groups in the city will be holding a rally calling for an end to violence in the city at 7 p.m. in Piatt Park today. Last week, four people were shot, one fatally, in two separate but related incidents at the park. Cincinnati saw a surge in shootings early in the year, though that trend has slowed and the city may not see an increase over last year’s 75 murders. Forty-two people have been murdered in the city this year, many with guns.
• One guy who will not be at that rally, I’d imagine, is this dude, who threatened to shoot down a University of Cincinnati Health Air Care helicopter yesterday. Angry that the helicopter was flying too low over his Green Township house, Leonard Pflanz is accused of driving to Mercy West Hospital and telling the helicopter’s pilot that he would shoot him if he did it again. Pflanz is appearing in court this morning over charges stemming from the threat.
• General Motors may soon be in some big trouble with federal prosecutors, who are investigating whether the company made false statements about a defect in some of its cars that has killed at least 13 people. The defect relates to an ignition switch problem that has caused some GM cars to lose power while operating. The feds accuse GM of making misleading statements to the public about the defect, downplaying the dangers of the defective switches. The company has already been fined $35 million by the National Highway Traffic Safety Administration for dragging its feet in response to the problem. Some believe GM’s ultimate liability could end up being even more than the $1.2 billion Toyota was ordered to pay earlier this year over similar charges.
• Finally, Smithsonian Magazine reports that skin cells may be able to detect odors and that some of these odors may aid the body in the healing process. Basically, this means the whole surface of your body is receptive to smells in one way or another. This is interesting, maybe even great news, unless of course you live near a failed composting facility or something.
I saw Cincinnati Opera's production of Silent Night on Thursday evening. It's the regional premiere of a work that won the 2011 Pulitzer Prize for music, and our local opera is doing a bang-up job of presenting it. And "bang-up" is the operative term: This opera is set during some of the darkest days of World War I, and the opening segment of the production reproduces the violent and deadly combat between troops from England (actually a regiment from Scotland), France and Germany. You're not likely to see a more gripping onstage representation of battle than what's happening at Music Hall. Before Thursday's performance I listened to composer Kevin Puts and librettist Mark Campbell talk about how to "musicalize" such a scene: Their research included studying the opening sequence of the Saving Private Ryan, the graphic, Academy Award-winning film of the D-Day invasion during World War II. It's a powerfully real scene, a perfect opening to the moving tale of soldiers pitted as enemies who found common ground in one another's humanity on Christmas Eve 1914. You can get good seats for the concluding performance on Saturday evening (7:30 p.m.) for $30-$45 by calling the Opera's box office: 513-241-2742.
Area high school students are the talent in onstage for Commonwealth Artists Summer Theatre (C.A.S.T.) at Highlands High School (2400 Memorial Pkwy., Fort Thomas). Starting tonight is a two-week run (July 11-20) of The Addams Family, a Broadway musical based on cartoonist Charles Addams' bizarre and beloved family of characters. The group is headed up by Fort Thomas theater instructor Jason Burgess, who has assembled theater kids from the Greater Cincinnati and Northern Kentucky who are eager to develop their skills in performance and production. Tickets: $10 (http://www.showtix4u.com) or at the door.
Tony Award-winning musical next to normal, about a
woman with bipolar disorder, gets not one but two productions by
Cincinnati-area community theaters: Sunset Players on the West Side and
Paradise Players for East Side siders. You can choose between them tonight. The
venerable Sunset Players, which presents shows at the Dunham Arts Center (in
the Dunham Recreation Complex, 4320 Guerley Rd., Price Hill), has performances
through July 26,
mostly at 8 p.m.
Tickets ($14-$16): 513-588-4988. Meanwhile,
Paradise Players, a newish group offering summer productions at McNicholas High
School's Jeanne Spurlock Theatre (6536 Beechmont Ave.), is presenting its
rendition of the show this weekend only, tonight at 7:30 p.m. and Saturday at
2:30 and 7:30 p.m. Tickets: $15 (http://mcnhs.seatyourself.biz
We're mere hours from freedom, folks. I'll be quick today and give you the morning news rundown in short order so you’re ready for the weekend.
If you’re a gay or bisexual man, the Food and Drug Administration won’t let you give blood. A blood drive today at UC’s Hoxworth Blood Center in Corryville is drawing attention to that rule hoping to get it changed. The FDA first instituted the policy in 1984 at the height of the AIDS crisis.
Gay and bisexual men are encouraged to bring eligible proxy donors to Hoxworth today as well as sign a national petition to the White House asking it to reconsider the rule. Organizers hope to get 50 donors, and if you want to give to the cause, get to Hoxworth or call for an appointment before 4:30 today. The center has computers where you can sign the petition, which needs 100,000 signatures nationally by the end of the month. The blood drive is part of a national gay blood drive taking place in 60 cities today.
• After a pretty harrowing week downtown (four people were shot in two incidents near Piatt Park, one of whom died of his injuries) the Cincinnati Police Department says it will be out in force this weekend for Bunbury Music Festival. CPD has instituted a no vacation policy for officers over the next few days so they can cover downtown and the rest of the city. Apologies to all the hard-working officers out there who were looking forward to partying with Andrew W.K.
Police Chief Ken Blackwell says it’s part of a larger effort to make sure police are ready for big summer events. These include the National Urban League Conference coming the last weekend in July, which features a keynote address by Vice President Joe Biden. That weekend will also be an all-hands-on-deck scenario, Blackwell says.
“The bottom line is that we took an oath to protect the city, and sometimes police work calls on you to work long hours and do stuff you ordinarily wouldn't want to do,” he told WLWT yesterday.
• Those fancy New Yorkers at Esquire stumbled across our quaint little river town yesterday, it seems, and decided it was noteworthy enough to write about. Overall, it’s a super-positive piece about the city, which is awesome. There are some stumbles in the article, though–originally it spelled the city’s name as “Cincinatti,” called Vine Street “Vine Avenue” (both since fixed) and asserted that local treasure and all-around swell bar Japp’s Since 1879 has been serving for 120 years. That's especially befuddling because the name implies it’s been open for 135 years, though it actually opened in 2011. Also puzzling is the writer’s assertion that revitalization in the city is without “inherent class warfare.” As far as I can tell, that’s been a pretty visible fight here in the city for decades, but, you know. These are small quibbles. The piece does highlight some great spots in town, including Japp’s, Everybody’s Records (no Shake-It, though!) and Holtman’s Donuts. It also enlightened me on a possible place to get a haircut downtown. Anyway, you should check out the article, even if it’s only to copy edit it further.
• Finally, here’s an interesting article about how ride share company Uber is restructuring how much it charges for rides, and why that matters in the grand scheme of urban transportation. With Uber and Lyft becoming more of a force in the Cincinnati area, it’s a good read.
More demand for housing aid and less money from the feds have combined to create a simple but brutal equation swelling the number of homeless individuals and families in the Cincinnati area and across the country. As more low-income people need affordable places to live, they have fewer housing options to choose from and less federal aid available to them, data shows. That’s left an increasing number of families and individuals on the streets.
In 2011, $2,225,000 was available to Hamilton County residents for rental assistance through the U.S. Department of Housing and Urban Development. This year, it’s just $750,000. These federal funds provide much-needed aid to families struggling to make rent payments.
The cuts come at a time when affordable housing is getting harder to find. The amount of available affordable housing has decreased by 6.8 million units since 2007, while the number of very low-income renters who need it has grown by more than 2.5 million, according to data from the Harvard Joint Center for Housing Studies.
The money spent on rental aid in the past made a dent–a study by the National Alliance to End Homelessness found the number of people experiencing homelessness in the United States dropped by 17 percent from 2005 to 2012, despite the economic recession and national housing crisis. Especially effective was the 2009 Homelessness Prevention and Rapid Re-Housing Act, which spent $1.5 billion to aid families experiencing or at risk of homelessness.
Locally, federal programs have been crucial. Nearly all families in Hamilton County who received rental assistance through such programs avoided becoming homeless, according to a report by Strategies to End Homelessness, a Cincinnati non-profit.
Despite the success of the program and increasing need, the number of people in Hamilton County served by federal anti-homelessness efforts has dropped by more than 56 percent since 2011.
That year, 2,810 people received rental or utility assistance in Hamilton County from programs provided by the U.S. Department of Housing and Urban Development. That number dropped to 1,870 in 2012, and dropped again to 942 in 2013. This year is on pace to see a similar number–about 966– receive the services.
Meanwhile, the number of homeless in the county is rising. 8,271 people in Hamilton County experienced homelessness last year, according to the Strategies report. That’s up from 7,838 people in 2011 and 7,983 in 2012.
Families are hit especially hard hit by federal spending cuts.
"I have never seen this many families come to us from sleeping in a car," Darlene Guess, director of client programs at Bethany House Services, told the Cincinnati Enquirer July 9. The Cincinnati area's five shelters that serve homeless families in the city help about 1,000 families a year, service providers estimate.
The reductions come as a result of the 2011 sequester, continuing across-the-board cuts to federal programs that happened as a result of Congress not being able to reach budget agreements. Some of the funds were first allocated during the federal government’s 2009 stimulus efforts.
Shortfalls at HUD caused by the cuts could eventually mean as many as 140,000 fewer families nationally will receive rental assistance, and that 100,000 homeless or formerly homeless people will be cut off from other assistance programs offered through HUD.
Other dynamics associated with gridlock in Congress have exacerbated the problems facing low-income people on the brink of homelessness–Democrats and the GOP in Congress have fought a pitched battle over extending unemployment benefits for millions of Americans, for instance, as unemployment levels recede at a stubbornly slow pace. Many have reached the end of their benefits, and now struggle to pay rent or mortgages.
At last year’s inaugural LumenoCity, a total of 35,000 spectators were dazzled over the course of two nights as Music Hall was lit up with three-dimensional graphics, bringing OTR to life with a visual and musical spectacle.
When tickets for a trio of concerts on Aug. 1-3 became available to the general public in June, CSO clocked more than 300,000 visits to its website, and the event capacity of 37,500 over three nights was reached in 12 minutes.
CSO has unveiled plans to make the groundbreaking concert experience open to an even larger number of Cincinnatians, streaming each concert live on the web at lumenocity2014.com and broadcasting to nearly 900,000 households throughout the region.
“From day one, LumenoCity has been guided by a spirit and character of equity, access and generosity,” said CSO President Trey Devey. “Demand for the event far exceeds the capacity of the Washington Park viewing area.”
“Now, we’re able to make this free
event available on television, radio, live simulcast sites and the worldwide
web. It is our goal to reach as many people as possible with LumenoCity and
highlight the extraordinary creative energy of our community.”
90.9 WGUC, Cincinnati’s classical public radio station, will broadcast the performance live on Friday, Aug. 1, which will open LumenoCity up to listeners who can eye Music Hall from hilltops or rooftops. Public television station CET will air the event on Saturday, Aug. 2.
In addition to live Internet streams, the third and final performance will be simulcast at Fountain Square and Riverbend Music Center on Sunday, Aug. 3. Additionally, CSO will issue 5,000 free tickets for a dress rehearsal on Thursday, July 31.
CSO is also putting 3,300 newly released tickets for the trio of shows up for grabs, which will be issued for free via a drawing. Patrons may register at lumenocity2014.com, but those who already have reserved tickets will not be eligible.
The 2014 LumenoCity concert performances will begin at 8:30 p.m. each of the three evenings with John Morris Russell conducting the Orchestra as the Cincinnati Pops. After a brief intermission, Music Director Louis Langrée will lead the Cincinnati Symphony Orchestra.
The visual effects will accompany a live 40-minute CSO program featuring works from Copland, John Adams, Tchaikovsky, Elgar and Borodin.
Whoa, tons of news happening right now. Here's a brief rundown of what's up today.
Homelessness has spiked in Hamilton County, social service providers say. It’s a trend that’s happening across the country as federal spending cuts hit programs aimed at aiding the homeless and preventing homelessness. That trend has hit Cincinnati-area families hard, the Cincinnati Enquirer reports. Some of the increase right now is seasonal, the Enquirer story reports, but some is more systemic, coming from a greater emphasis on chronic individual homelessness over the past few years by the Department of Housing and Urban Development and Hamilton County.
• The Cincinnati Symphony Orchestra announced today that it will be expanding access to Lumenocity due to overwhelming demand. The light and music event takes place Aug. 1-3 at Washington Park.
CSO will release 3,300 additional tickets to the main events, plus another 5,000 to a dress rehearsal the day before, also in Washington Park. Those tickets will be given away in a drawing you can enter between now and Tuesday at lumenocity2014.com. In addition, the event will be broadcast live at Fountain Square and Riverbend. The Aug. 1 performance will be radio broadcast on 90.9 WGUC. The Aug. 2 performance will also be broadcast on public television station CET. The event will also be live streamed on Lumenocity’s website all three nights.
The event was wildly popular last year, so this year, the CSO hoped to gain a bit more control over the size of the crowd by issuing free tickets online. The 37,5000 tickets given out last month were snatched up in mere minutes. Some later popped up on eBay for as much as $150. Vice Mayor David Mann requested an investigation into the giveaway and resulting ticket resales.
• A city review board gave a big “meh” to design proposals for GE’s new building at The Banks. The Urban Design Review Board, which is responsible for giving recommendations about buildings that will have a significant profile downtown, was underwhelmed with the conservative plans for GE’s 10-story office building near the riverfront. The building’s architect calls it “timeless mainstream design,” but board members said it just looks like a run of the mill suburban office building.
“We were looking for a special building, and this is a routine one,” board Chairman Buck Niehoff said.
Ouch. To be fair though, the board does have a point. The building will be a very prominent part of The Banks, and GE is receiving unprecedented incentives from the city (read: from taxpayers) to build there. Is a little flash too much to ask? Maybe a tiara on top, or a Cadillac sticking out of part of the building. Or like, maybe it could look like a big jet engine? These ideas are free, GE, so you can take them if you want. Or call me, I’ve got tons more…
• The Ohio GOP is suing Democratic gubernatorial candidate Ed FitzGerald, currently Cuyahoga County’s executive, over access to records detailing his comings and going at county offices and parking garages. The suit comes after media in Cleveland requested the same records back in April and were denied.
The GOP’s lawsuit is filed with the Ohio Supreme Court, and holds that FitzGerald’s records are public information that must be released. FitzGerald says the records of his keycard swipes at county buildings are security-sensitive information, and that they needs to be closely held because he’s had security concerns, including death threats, related to his job and his past work in law enforcement.
Ironically, his opponent Gov. John Kasich is fighting much the same fight. He’s refused to release information about his schedule and security threats, and is also facing a suit in front of the Ohio Supreme Court.
• Controversy over immigration at the United States/Mexico border continues, and the situation is basically becoming a circus. President Obama yesterday met with Texas Gov. Rick Perry and other Texas officials, activists, and faith leaders to discuss the crisis at the border, where sharp spikes in migration by people from Central America, many of them children, are being reported. More than 52,000 youth have been caught crossing the country's southwestern border this year, double the amount from last year.
Perry spent at least part of the meeting making sour faces or perhaps fighting constipation. Obama's asking for $3.7 billion from Congress to help shore up the border with more judges and detention centers to expedite the deportation process, while Perry is asking for 1,000 National Guard troops at the border. The GOP, which controls the House of Representatives, looks unlikely to budge on the issue and give Obama the money. Some House members, including Rep. Randy Neugebauer, also of Texas, have complained that conditions at detention centers are too cushy. These are, by the way, the same detention centers that many reports show are overcrowded, unsanitary, and inhumane.
"When you look at the lovely way they're getting treated -- they're
getting free health care, free housing, you know, they're watching the
World Cup on big screen TVs," Neugebauer said on conservative pundit Sean Hannity's radio show yesterday. Well, jeez, sign me up for that, Randy.
Meanwhile, in what only highlights the absurdity of the political crapshow that the situation has become, noted humanitarian and completely reasonable person Glenn Beck has announced he's speeding toward the border with soccer balls and hot meals for migrant children. It's gotten real, I mean, really real, when Glenn Beck is one of the sane, caring voices in any debate.
• Finally, scientists have developed a chip that provides remote control birth control. The chip is implanted under the skin and can be switched off in case a woman decides she’d like to conceive. The device is projected to last for up to 16 years. There’s still a lot of work to be done on the device—studies must be done to determine its failure rate and whether it’s safe to have the chip in your body for an extended period of time.
one’s a two-for-one — two new, funky-sounding words that combine into one phrase. If you have any
knowledge of Spanish desserts, you probably inferred that dulcet meant sweet, as
dulce describes something as sweet en Español. No phonetic/origin hints I'm aware of for warble, though.
In the paper: Brian Baker describes Buckle Up performer Ashley Monroe as, “It wasn’t difficult to hear Dolly Parton in Monroe’s dulcet warble.” In her dulcet warble? What’s a dulcet warble? Do I have one? Unfortunately upon reading the definition I realized I do not have a dulcet warble, probably one of the reasons I’m not performing in the Buckle Up festival.
purveyor: a supplier of goods
and provisions, n.
This stood out because it sounds antiquated. Who counts as a purveyor in 2014? Rachel Podnar, purveyor of vocabulary…
In the paper: Baker’s Top Ten Buckle Up Acts gets two nods for vocab with “Arlo McKinley and the band of Country purveyors he’s dubbed the Lonesome Sound.” If only Bunbury’s Alternative Pop/Rock/Country inspired the same illustrious vocabulary as Buckle Up’s Country does, then then the vocab distribution in the two articles would be even (but who's counting?).
Quis custodiet ipsos custodies: Latin, who shall keep watch over the guardian? Phrase.
Here’s a phrase I’ve never heard before and I’m sure I’ll never say in conversation.
In the paper: OK, maybe when you read this in Ben L. Kaufman’s column “Who Guards the Guardians?” questioning the Obama administration's seemingly limited understanding of how a free press works. The phrase just popped up out of nowhere, but it was followed by “Who guards the guardians? Obama? Holder?” and you probably thought, ‘Gee, I bet that Latin means who guards the guardians.’ I personally didn’t put that together but now I know better.
visceral: either characterized by instinct rather than intellect or characterized by coarse or base emotions, adj.
Visceral is the kind of word you’re familiar with but not familiar enough to use it in conversation so now that you’re clear on the definition, get out there and start describing all the visceral things in your life.
In the paper: Brian Baker used it in his Sound Advice describing “Lee Bains III & The Glory Fires,” (aka one of the most confusing band names for a copy editor) when he said “visceral Garage Rock sugar helps the medicine of re-examining sins and scars of Southern suppression go down.” What a sentence. I think visceral Garage Rock might make remembering suppression worse but that’s just me.
summarily: in a prompt or direct manner, or without notice adv.
Summarily isn’t a “big word” but it doesn’t mean what you think it would mean. Given its similarity to “summary” I thought “summarily” meant an adverb form of “a short description of all of its parts,” but I can’t think of how that could function as an adverb and I’m sure no one else could either so they threw a new definition at it.
In the paper: Summarily is the weekly word from Kathy Y. Wilson, this time in her strongly-worded argument against Obama’s My Brother’s Keeper program, which “summarily dismisses that while black and Latino boys are suffering, black and Latino women are suffering more than anyone else.” Looks like Obama caught some flack from both of our columnists this week.