Slipknot is the heaviest of Heavy Metal. They are strong artists because they are the epitome of a group. Their masks and costumes on stage present a uniformity that makes them who they are. They refer to themselves as “The Nine” even though they are now eight after the passing of their bassist, Paul Gray. The wildly popular band are wrapping up touring on their fifth album All Hope is Gone which has gone platinum, a great success in today’s age of music, with Mayhem Fest along with other great Metal acts like Motorhead and Anthrax.
CityBeat: You guys are crazy on stage. Have any band members ever been hurt?
Shawn Crahan: Every day.
CB: Really? Like Ibuprofen or doctor?
SC: Right now I have been sucking anywhere from 10 to 40 cc’s of blood out of my knee every five days.
CB: Have you calmed down because of it?
SC: No, I had surgery from a jackass move in a tour in Australia about five months ago. I jumped off my lift, smashed my knee pretty good, my meniscus and everything. So I had to have surgery. I had surgery just up to the exact date when the first Mayhem show was starting. I had no time to really rehabilitate. I didn’t even do physical therapy. It’s not an excuse; I just didn’t get it done. So the first day I paid the price. It’s all good because I have kept all the blood. I have it all. I have all the syringes and everything. So I make art. I’ll have a nice art piece of my pain. But everybody goes through something every day. Sid’s dealing with some sort of hernia and some sort of shoulder stuff that he has to get an MRI for right now.
CB: I see your photo on your pass with your leg brace.
SC: Actually that is the day I had surgery. I hate to admit it but I’m on a lot of morphine in that photo. I walked out to the car and took a picture. As you see I have a cigar and a GG Allin shirt on. I took him with me to the surgery. I turned around and was out. I had to get a picture. I don’t know, somebody found it and made it my pass.
CB: You guys have different uniforms every tour. What is the process to go about designing them or picking them?
SC: I am kind of the visionary, so to speak. That doesn’t mean visionary of the overall whole thing. I take a lot of responsibility in evolving everything. Right now, since our bass player passed away, we are reminiscing a life spent. We toured last summer, and we re-made our very first coveralls and brought out our first masks in remembrance to remember where we came from and celebrate his life. The current ones are a mixture of our first album and our second album. His number was number two and he had a really big part in that record as he did all records. We thought we’d give the American kids something special. Usually right now if Paul wouldn’t have passed, we would almost be getting done with our fifth record album cycle, getting ready to go home from it. This kind of stuff is all kind of inspired by him a little bit because we don’t have a new album and we just are kind of sharing in this thought process with our fans together. We don’t see him on stage; they don’t see him on stage. We go through it together.
We are getting ready to end that thought process of sharing that loss together. It doesn’t mean there is an ending to something and a new beginning. There will never be a new beginning. There will always only be nine. But we have toured Europe, we have toured South America, Australia, and now America with this thought process of sharing this loss together. We will end that, that sporadic touring of understanding that he is no longer with us. Then we will take some time off, write a record, record a record, pre-prep tour, go out on tour, drop a record and then support that record. But there will always be nine. I don’t know if there will ever be another person on stage. There probably could be a bass player behind us. I don’t know and I don’t have to think about it because it’s a long way off.
CB: How did you get the numbers?
SC: The numbers kind of just fell into place. It’s kind of a weird thing. Back when we started we were going to wear a mask and I started wearing coveralls so we all started wearing coveralls, then there were so many of us, we put our bar code on the back. Then we wanted numbers — I wanted numbers. It was kind of ironic, because everyone fell into a number. I wasn’t going to tolerate any other number than six. Like if someone was going to fight me for it, I was going to fight to the death for it, but nobody wanted it. Joey wanted to be number one, Paul wanted to be number two, the original guitar player, and the other drummer three. Mick, he is like “I have to have seven. Fuck everyone. It’s my lucky number.” Corey was like, “I want eight, infinity.” When Sid joined the band, “I am not a number. I am zero. I am filth.” It was kind of magical, honestly. The masks were more of a representation of what you wanted to present as yourself. It was one’s finding one’s self, but the numbers were almost assigned to us subconsciously. It was really a kind of cool thing. I remember I usually try to go last, I am the oldest but an only child, so I like fight to the death for what I want. Because of that, I try to put myself last because it is healthy for me and I let people do what they have to do, and I usually get what I want by doing that. It is kind of like when we are recording a record, if we are all living together, I let everyone find their room and I take what’s left, and I that ends up being the place I belong, not because I have admitted to myself that I should be there but I end up there going, “I love this. This is where I should be.” It is kind of knowing your brothers and knowing everything, but it is healthy for me to practice that.
CB: Do you get hot in the masks on days like today?
SC: No one but the nine will understand that sort of submission. The only way I can explain it is when it is all done and you take it off and look at the mirror and you look at yourself you know that as you walked into the church of the Knot, onto the altar of the Knot, giving the sermon of the Knot to the congregation of the Knot, and when you are done and the doors are shut and you came back and you take off the attire, you look at yourself and you know that you gave 190 percent of your life lived today and there is nothing more than that. Even if I don’t have time to call my wife, even if I don’t have time to be creative on my computer, or I am lazy, or I am not getting anything done. One thing I know is I give 190 percent on stage and when I take it off and look at myself and know that I am alive and that I did it and I pulled through that, it is not even a good feeling, for me it is like salvation. I only do this because I am looking for peace. With peace comes war, and I am at war with myself. I have been since I was born. I love music, and I can’t imagine life without music. My wife is always there for me. My kids are there for me, but they are their own people. The one thing that has always been there for me is music. Before I met my wife there was music. If my wife were to pass or something there would be music to help me through that. That’s not going to happen but I am saying music has always been my life. I owe everything to it.
CB: In the beginning, you guys wanted to remain anonymous by using the masks. You have liked being anonymous through the years, but now people know who you are. Do you still feel like it is necessary?
SC: It was kind of a trick because so many people in the beginning wanted us to fail because we are so great. We have been blowing up since day one because a good idea is a good idea and a good song is a good song and a good band is a good band with a performance. So, part of the vision was everyone wanted to know who was behind the mask and that was probably the least most important thing ever. Why ask that? Why not ask how that came about or why this came about or what is behind this? Not what is behind the mask? It is music people are into and music the kids are buying. Rarely do they even get to spend a night with us. It is usually in the car or in their headphones. So why ask that question? So slowly, it wasn’t until the third record, I did a documentary called Voliminal: Inside the Nine where when I showed behind the scenes footage, I blurred out people’s faces, but when I did interviews, I would do nothing but faces. By our third record, people didn’t care what we looked like anymore. They liked us better with the mask on. I always knew that would happen. There was never a conscious decision of trying to be out of the limelight without knowing who I am. Let’s talk about the music, let’s talk about the lyrics, let’s talk about the why’s not who is behind the mask, because I don’t wear a mask. I don’t wear a mask at all.
CB: Do you guys write together?
SC: We write together. There are core writers.
CB: There are a lot of you.
SC: That again is a special way. There are core writers. There are people that plant the seeds, and there are people that water it and we all watch it grow and we all groom it and help it become what it can be. That is something that can rise to the light of day. So we all write, I am not a percussionist so to say but more of a paganistic, ritualistic. It is more, I won’t say anger as much as it is ritual to put behind it. I want to drive what is being written and I only want to drive what needs to be driven. I don’t necessarily have to put my mark or my scent on every single little thing and be over everything. I just want to drive what needs to be driven and it works best that day. I don’t have to be involved from day one. I have always loved the music we write. There is no reason to mess with the will, the roles.
CB: Any regrets?
SC: No, no regrets. To have regret would mean to have to do it differently and if I did it differently then I wouldn’t be here today. There is no reason to think about regrets. Yesterday is lost potential. It is only a memory for tomorrow. Good or bad, it is what it is. There is no changing it. There is no touching it or molding it. There is no reason to look upon it — it is a memory. It can be a good memory, it can be a bad memory, but you shouldn’t spend too much time. You just learn and you move on. I don’t have any regrets. I wouldn’t change anything. I would do it all over again just the way we did it. You come into a venue like this and you are like, “This is what I am dealing with today.” Tomorrow you will be in a completely different situation, and that is what you are dealing with. That is half of what you learn of the greatness of what you are doing because of art. You can’t always expect to have what you want. The point is, we are in Cincinnati. We are here to play for the people. It doesn’t really matter what color the door of the bathroom is or where the showers are or what the circumstances are. We are just here to play. We’ll get on the bus and do it again.
CB: The band members have a lot of side projects going on. Is that cool with everybody in the band?
SC: Yeah. It probably was weird in the beginning because we are so focused on the Knot but I think it was accepted quickly because everybody in the band is so creative on all different levels. It could even be the level of staying home and doing nothing and allowing everybody to do what they need to do creatively to get it out allows everybody to be better for this. It took a little time to understand that, but why wouldn’t it? We are all working for this. If I explained to everybody what it took to get here, I don’t think they would really understand how much work we really put into making it happen. The work was unbelievable. I could tell stories people wouldn’t understand the things we had to implement to make this work. The side projects are good. I wouldn’t even call them side projects. I take Stone Sour very seriously. It is their own band on its own merit. It has its own fan base and they do very well. I would never call it a side project. It would be kind of insulting to Corey and Jim and the other guys in the band because they have worked so hard to make it what it is which is a band. My stuff is more of a side project because I jam because I have to. Since we have started, I have had three bands. None of which have done shit which I don’t care because I just love to play and haven’t repeated myself. I did a Pop record. I did a kind of Hard Rock record. I did a Psychosis Rap record. Ever since Paul passed, I am just kind of focusing on my art a bit, kind of burnt out on music. Side projects are elements of letting people be themselves where they can’t necessarily bring that entity into this thing called Slipknot. It’s healthy.
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.
The victims were taken from all around Ohio, including Cincinnati. The report found that 63 percent of the victims had run away from home at least once, 59 percent reported having friends involved in selling, 47 percent were raped more than a year before being trafficked and 44 percent reported to be victims of child abuse.
In Cincinnati, the most common risk factors reported were dropping out of school and having an older boyfriend. Rape was third with 40 percent of Cincinnati victims reporting being raped.
In all of Ohio, the most common buyers for victims were law enforcement. Businessmen and drug dealers were second and third, respectively. In Cincinnati, the most common buyers were drug dealers, followed by factory workers, then truckers.
The report highlights the severity of human trafficking in Ohio. A 2010 report by the same commission found that 1,000 American-born youth had been trafficked in Ohio over the course of the year, and as many as 3,000 American-born youth in Ohio were at risk for trafficking.
Since the 2010 report, Gov. John Kasich has signed H.B. 262 into law, which outlaws human trafficking and enforces tougher rules.
However, the commission does not believe current law is enough, and it’s pushing for more rules against human trafficking. The new rules would identify trafficking as child abuse, place a focus on arresting and convicting buyers and invest in responding to adult sex trafficking. The commission also wants a better response to youth runaways, and it wants to establish better protocols for dealing with at-risk youth, especially in correspondence with school officials.
When contacted by CityBeat, the Ohio Attorney General’s office said they have no suggestions to specifically deal with law enforcement officials, which topped the list of buyers, who are involved in human trafficking.
The report was issued by the Attorney General’s Human
Trafficking Commission. It was authored by commission member Celia
Williamson, who is also a professor at the University of Toledo. The full report can be found here.
One week ago today, on Nov. 14, the fun and increasingly acclaimed Michigan-based Electro Pop band Stepdad was bringing its nearly two-month, nationwide tour to a close and was set to perform at Cincinnati’s MOTR Pub. The band had a great fall tour; outside of some trouble with its tour van, things had gone smoothly until that point. With a few final shows on the tour after the Cincinnati date in their home state, the band members were heading into the homestretch and returning home triumphantly.
Then one of them them got arrested. Stepdad had played Pittsburgh the night before its MOTR date, driving through the night and grabbing a room at the Super 8 motel in Cincy exburb Mason, Ohio, (north of the city and near the Kings Island amusement park, where the Brady Bunch once frolicked) to get some rest. Early in the morning of Nov. 14, Stepdad’s Nathan John Klages — a multi-instrumentalist and also a solo singer/songwriter who works under the name Nathan K. — was arrested at the motel, charged with public indecency and “obstruction official business,” according to the police report. Klages got arrested for doing something many, many men have done — taking a piss outside. He was booked into the Warren County Jail. The look on his face in the above mugshot is one of understandable confusion, probably a little anger and definitely a lot of fatigue after working all night and then traveling.
Those souls in attendance at MOTR Pub for the November 14 show by underground pop superstars STEPDAD won't soon forget it. Neither will Stepdad's NATHAN K. He might never forget it -- because of a very wrong reason.
The evening before the show, the band, which hails from Grand Rapids, Michigan, was staying at a motel in Mason, Ohio. It was there where Nathan K. was arrested for -- allegedly -- urinating in the great outdoors. Nathan was subsequently charged with public indecency and taken to the Warren County Jail, where his arms and legs were placed in shackles and he was placed in a cell.
He was fined, processed, and eventually released just before showtime, so as to avert what would have been the compounded injustice of having to cancel the show.
Taking into account the advice of the legal defense, we will say nothing about the charge levied against Nathan. However, Nathan is saddled with fines and travel expenses related to this episode. He must return from Michigan to Southwest Ohio on Tuesday, December 17 to face the judge, and we, at MOTR Pub, want to help.
Nathan has agreed to play a set at MOTR Pub on Tuesday, December 17 at 9 p.m. We are asking fans of Stepdad, and fans of blind justice, and fans of rock 'n' roll, and fans of Nathan K. to attend the show and join us in throwing a fiver or a ten-spot in Nathan K.'s hat to offset his debts and to make something good of the bad.
The news comes slightly more than
two weeks after CityBeat published a story looking at the many
problems presented by Ohio’s policy to privatize prisons (“Liberty for
Sale,” issue of Sept. 19).
“It was apparent throughout certain departments that DRC policy and procedure is not being followed,” the audit said. “Staff was interviewed and some stated they are not sure what to do because of the confusion between CCA policy and DRC policy. Some staff expressed safety concerns due to low staffing numbers and not having enough coverage. Other staff stated that there is increased confusion due to all the staffing transitions.”
The report says “there has been a big staff turnover,” and only one staff person was properly trained to meet Ohio Risk Assessment System standards. The audit found that a workplace violence liaison wasn’t appointed or trained. Inmates complained they felt unsafe and that staff “had their hands tied’” and “had little control over some situations.”
The local fire plan had no specific steps to release inmates from locked areas in case of emergency, and local employees said “they had no idea what they should do” in case of a fire emergency.
The audit also found all housing units provided less than the required 25 square feet on unencumbered space per occupant. It found single watch cells held two prisoners with some sleeping on the floor, and some triple-bunked cells had a third inmate sleeping on a mattress on the floor.
Searches in general seemed to be a problem for CCA. Documentation showed that contraband searches were only done 16 days in August. When the searches were done, the contraband was not properly processed to the vault and was sometimes left in desks. The private prison also could not provide documentation that proved executive staff were conducting weekly rounds to informally observe living and working conditions among inmates and staff.
These findings, although major, are only the tip of the iceberg: Inmates claimed laundry and cell cleaning services were not provided and CCA could not prove otherwise, recreation time was not always allowed five times a week in segregation as required, food quality and sanitization was not up to standards, infirmary patients were “not seen timely,” patients’ doctor appointments were often delayed with follow-ups rarely occurring, the facility had no written confined space program, the health care administrator could not explain or show an overall plan and nursing competency evaluations were not completed before the audit was conducted. Many more issues were found as well.
The one bright spot in the report is ODRC found staff to be “very professional, friendly and helpful during the audit.” Inmates were also “dressed appropriately and found to be wearing their identification badges.”
The findings shine some light into why ODRC Director Gary Mohr might have decided to stop privatizing Ohio’s prisons. On Sept. 25 — the same day the audit was mailed to Mohr’s office — Mohr announced his department would focus on sentencing reforms to bring down recidivism instead of saving costs by privatizing more prisons. The news came during the week CityBeat’s cover story on private prisons was in stands.
Mohr is one of many in Gov. John Kasich’s administration to have previous connections to CCA. He advised the private prison company “in areas of staff leadership, and development and implementing unit management,” according to the ODRC website. Donald Thibaut, Kasich’s former chief of staff and close friend, now lobbies for CCA. Ohio Attorney General Mike DeWine also helped CCA reopen its Youngstown facility in 2004 with a federal contract during his term as U.S. senator.
The report confirms a lot of what CityBeat found in its in-depth look at private prisons. The studies cited in CityBeat’s Sept. 17 story — including research by the American Civil Liberties Union of Ohio — found multiple issues in private prisons’ standards around the country. One study by George Washington University found private prisons have a 50 percent higher rate of inmate-on-staff assault and a 66 percent higher rate of inmate-on-inmate assault. The troubling numbers were attributed to lower standards at private prisons that keep costs low and profits high.
The lower standards are coupled with a private prison’s need to house as many inmates as possible, contrary to public interests of keeping re-entry to prisons low.
“It doesn’t make any difference to them whether or not a person eventually integrates back into society,” said Mike Brickner, communications and public policy director at ACLU. “Looking from a cynical approach, it actually helps them if that person (is convicted again) because they come back into their prison and they get money off them again.”
Poor living and health standards were also found in a Youngstown prison held by CCA in the 1990s. In 1997, the Youngstown prison was opened by CCA to house 1,700 of the nation’s most dangerous criminals. Within one year, 20 prisoners were stabbed, two were murdered and six escaped. The ensuing public outrage led to higher standards at the facility. The more stringent rules were credited for leading to the prison’s eventual closing as the facility was quickly made unprofitable for CCA.
Steve Owen, spokesperson for CCA, responded to the audit in a statement: “CCA is taking concrete corrective steps to ensure that this facility meets not only the ODRC's goals but our own high expectations for our facilities. We are working in partnership with the ODRC on a development plan, which will lay out a road map to meet our goals, and our team will meet bi-weekly with ODRC staff and officials until we have this matter resolved.”
A friend recently asked me what my worst pet peeves are about going to concerts. It took me all of two seconds to spit out, "Everything is outrageously expensive: the tickets, the parking, the T-shirts and, of course, the ridiculously overpriced beers."
I’ve been a huge fan of AC/DC since I first heard them when I was 11 years old. So it’s difficult for me to even acknowledge that I'm pissed at them for their high-priced tickets.
A version of this article was originally published in Morning News and Stuff, but to wrap up this year's overly long election coverage, we figured it would be a good idea to republish the results as a standalone article. You're welcome!
The election is finally over. All election results for Ohio can be viewed at the secretary of state's website.
All results for Hamilton County can be viewed at the Hamilton County Board of Elections website.
President Barack Obama defeated Mitt Romney in what can only be called an electoral college landslide. He won every single “battleground state” on CNN’s electoral map with the current exception of Florida, although the current lead and remaining demographics to be counted will likely tilt Florida to Obama. Despite the insistence of conservatives and mainstream media pundits, models like FiveThirtyEight that predicted a big Obama win were entirely accurate.
In the U.S. Senate race, Democratic incumbent Sherrod Brown also handily beat Republican challenger Josh Mandel. CityBeat covered the policy and campaign differences between the two candidates in coverage of the first, second and third debate and a cover story.
For the First U.S. Congressional District, Republican incumbent Steve Chabot beat Democratic challenger Jeff Sinnard.
The big takeaway from election night at a federal level: Billions of dollars spent on campaigns later, the U.S. House of Representatives remains in Republican hands, the U.S. Senate remains in Democratic hands and the White House remains in Democratic hands. In other words, billions of dollars were spent to change almost nothing.
At the state level, Issue 1, which called for a constitutional convention, lost. But Issue 2, which was an attempt at redistricting reform, lost as well. CityBeat covered the rise and details of Issue 2 in a story and commentary.
In the state’s legislature races, incumbents swept. Republican Bill Seitz beat Democrat Richard Luken for the eighth district of the Ohio Senate. Republican Peter Stautberg beat Democrat Nathan Wissman for the 27th district of the Ohio House. Democrat Connie Pillich beat Republican Mike Wilson for the 28th district of the Ohio House. Republican Louis Blessing beat Democrat Hubert Brown for the 29th district of the Ohio House. Republican Lou Terhar beat Democrat Steven Newsome for the 30th district of the Ohio House. Democrat Denise Driehaus beat Republican Michael Gabbard for the 31st district of the Ohio House. Democrat Dale Mallory beat Republican Ron Mosby for the 32nd district of the Ohio House. Democrat Alicia Reece beat Republican Tom Bryan for the 33rd district of the Ohio House.
For the Ohio Supreme Court, Republican Terrence O’Donnell kept his seat against Mike Skindell. But Democrat William O’Neill beat Republican incumbent Robert Cupp, and Republican Sharon Kennedy beat Democratic incumbent Yvette Brown.
At the local level, Issue 4, which gives City Council four-year terms, was approved. Issue 42, which renewed a tax levy for Cincinnati Public Schools, passed. Issue 50, a tax levy for senior health services, was approved. Issue 51, a tax levy for mental health services, was approved.
In Hamilton County offices, things got a bit more blue overall. Republican incumbent Joe Deters beat Democrat Janaya Trotter for the prosecutor attorney’s office. Democrat Pam Thomas beat Republican incumbent Tracy Winkler for the office of the clerk of the court of common pleas. Democrat Jim Neil beat Republican Sean Donovan for the sheriff's office. Democratic incumbent Wayne Coates beat Republican Wayne Lippert for the county recorder's office. Republican incumbent Robert Goering barely beat Democrat Jeff Cramerding for the county treasurer's office. Democratic incumbent Lakshmi Sammarco beat Republican Pete Kambelos for the county coroner's office.
In the lower courts, Republican incumbent Pat Fischer beat Democrat Martha Good and Republican Pat DeWine beat Democrat Bruce Whitman
for the First District Court of Appeals. Democratic incumbent Nadine
Allen and Republican Leslie Ghiz beat Democrat Stephen Black and
Republican Heather Russel for the court of common pleas.
In other states, gay marriage and marijuana were legalized. Minnesota voted against a same-sex marriage ban. Tammy Baldwin of Wisconsin also became the first openly gay candidate to win election for the U.S. Senate. Overall, the night was a big win for progressives all around the country.
Toby Keith’s I Love This Bar & Grill this week became The Banks’ newest tenant, opening its red, white and blue doors and offering “family friendly” lunch and dinner, ongoing live performances and a guitar-shaped bar where patrons can drink beer out of Mason jars.
The official website says its family friendliness makes it “the perfect spot for everyone,” though it is assumed to have instituted some kind of protocol for children who accidentally view one of the “Whiskey Girls” the restaurant prides itself on offering (“Don’t close your eyes, Billy! It’s just the American way!”).
currently aren’t many online reviews of the restaurant, but at least one proud American has braved the giant, Country music-themed
complex and come away with an experience worth mentioning on
Metromix’s online listing.
User “couintrymusiccincy” (sic) was
disappointed by his experience, describing a waitress that had a bad
attitude and thought she was so cute she should be Miss Universe.
“Couintrymusiccincy” advised the restaurant to fire her, and
noted that he would return if managers hire “pretty and legitimate
waitresses” like the Las Vegas and Tulsa, Ok., locations do.
In addition to the Whiskey Girls, who apparently are allegedly “more worried about their reflection than about getting an order right” (classic Couintrymusiccincy complaint), the bar/grill/stage/conference plaza offers American and Southern cuisine such as friend bologna sandwiches and pan-fried ribs. Burger names include the “American Soldier” (Toby’s classic burger with cheese), “She’s a Hottie Burger” (melted pepperjack cheese, Hatch Valley Chiles and crispy onion straws) and “Should’ve Been a Cowboy” (Bacon, cheddar and Toby’s BBQ sauce topped with crispy onion rings). Dessert offerings include deep-fried Twinkies, “All American Apple Pie” and "Saddam's Head Pudding" (just kidding).
The décor relies heavily on a “Country cliché” aesthetic to ensure that guests don’t forget they’re in a bar owned by the guy whose artistic response to the terrorist attacks on Sept. 11, 2011 was to write a song titled “Courtesy of the Red, White and Blue (The Angry American),” which called upon the wrath of Uncle Sam, a personified Statue of Liberty and an eagle (flying, of course) to serve justice to goddam terrorists across the globe. The chorus is enough to make even the most cowardly among us raise a Mason jar in defiance.
“Ohhh Justice will be served, and the battle will rage/This big dog will fight, when you rattle his cage/And you'll be sorry that you messed with the U.S. of A./'Cause we'll put a boot in your ass, it's the American Way.”
It’s enough to bring a tear to one’s eye and cause a man to mistake his fellow American brother with one of the Whiskey Girls and tie on a big, patriotic hug (“Sorry man, I ain’t gay I just love this song and my country and when Middle Eastern people get killed." *Sniffs*).
For those interested in more information or to see the many other creative names TKILB&G has come up with for typical bar food, the official website is www.countrybaroh.com. For scary homemade videos set to “Angry American” just search YouTube.