Motley Crue’s infamous bassist Nikki Sixx took up photography in 1989 as a way to help have an outlet to stay clean from his well publicized drug and alcohol abuse. His new book, This Is Gonna Hurt: Music, Photography And Life Through The Distorted Lens Of Nikki Sixx, came out this week as a showcase of his photography and personal stories from the past few years.
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 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.
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.
21c Museum Hotel's flagship hotel was founded in 2006 in Louisville, Ky. by Laura Lee Brown and Steve Wilson, contemporary art collectors who had a vision for bringing art into people's lives and supporting the revitalization of American cities.
In keeping with the founders' mission, Cincinnati's urban developers 3CDC and 21c Museum Hotel are partnering to revitalize the historical 1912, 10-story Metropole hotel into a unique place to view cutting edge contemporary art.
Along with preserving the city's historic building, the restaurant will emphasize the city's old world roots in its menu. Under Chef Michael Paley's direction, Metropole will focus on dishes with local ingredients cooked in a custom-built hearth. Chef Paley has been the executive chef at Louisville's award-winning Proof on Main since it opened.
“After opening Garage Bar, our wood-fired pizzeria in Louisville last year, I was inspired to create a menu that is cooked almost entirely by wood-fired heat,” Chef Paley says. “Our menu at Metropole will reflect Cincinnati’s rich, European-based culinary heritage, and I am thrilled to introduce our custom-built hearth as the focal point of the restaurant and the menu.”
Working closely with local farmers and artisanal producers, Chef Paley is developing a menu focusing on string roasted meats, ash-cooked vegetables, house-made charcuterie and more. The beverage menu which can be enjoyed in the restaurant or while overlooking the city on the rooftop bar, which will favor craft beers and bourbon.
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.
For those of you who haven’t heard the news yet, on February 10 the Consumer Product Safety Improvement Act comes into effect. One of the major changes that this program will bring into play is a mandate that everything sold for children 12 and younger will have to be tested for lead and phthalates, and anything that isn’t tested (or that fails) will be considered hazardous and can't be sold. Read more about the CPSIA at the L.A. Times and some interesting blog commentary from the fashion industry.
Now that the economy has been kicking it snow sled style, I have been laid off from my wonderful job at a major Cincinnati corporation that makes jet engines. No, not Kroger! Silly! Now I find my days are free to do whatever I want! What do I choose to do you ask? Start a club of some sort that helps out the homeless of Cincinnati? Start a kick ass smart guy team of engineers to win the Automotive prize?
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.
Journey is a legendary Rock act from the ’70s/’80s, but the band is not done yet. The group put out its 15th album, Eclipse, last year, Journey's second effort with current lead singer Arnel Pineda, and is currently out on tour with fellow ’80s hitmakers Pat Benatar and Loverboy. The band's classic music is standing the test of time and crowds still react emotionally to its vast catalog of hits, as well as some of the new music selections.
CityBeat spoke with keyboard player Jonathan Cain, who is now in his fourth decade with the band, and discussed how he was influenced to write one of Journey's biggest hits, as well as how the band stays relevant in today’s ever changing musical landscape.
Journey performs the final concert of Riverbend Music Center's season tomorrow (Friday).
CityBeat: You guys have been touring on Eclipse for the past year. Are you guys working on new material yet?
Jonathan Cain: No, we are just settling into the touring aspect of things right now. We worked pretty hard on the last one and thought it was time to focus in. I recently had a child and (guitarist) Neal (Schon) has been going through all his things with Michaele (Salahi). We have been busy. I just opened a new studio in Nashville called Eviction Sound. We have been focusing on all the stuff we have to do. It’s a balance deal. We’ll start working on new music eventually.
CB: You mentioned some of the personal issues with Neal and Michaele. (Salahi, a former Real Housewives of D.C. star, left her husband for Schon in a very public "love triangle" soap opera.) Has any of that gotten in the way of the band’s activities?
JC: No. Not at all. They are getting through it and still in love. It’s all good.
CB: Any fond Cincinnati memories from the past?
JC: Fond Cincinnati memories? I have had some nice encounters with the fans down at the hotel bar there; closing the bar there would be the response. I do enjoy going to the ball games as well. Cincinnati always has a pretty good baseball team.
CB: I was recently covering the CMT Awards in Nashville and saw the performance with Rascal Flatts. How did that collaboration take place?
JC: The Rascal Flatts thing came about because we have a mutual friend. I play golf with one of the guys who produces the CMT Awards. He asked me one time on the golf course, “Who do you think Journey should do a (CMT's cross-genre showcase) Crossroads with?” And I said, “Honestly I think Rascal Flatts best fits with the sound Journey does,” and he agreed. We talked to their senior management and the rest was history. We will probably do a Crossroads together at some point.
CB: I couldn’t get the song out of my head for four days after that night.
JC: It’s one of those hummers. Every band needs one.
CB: My favorite Journey song ever is “Faithfully.” I know you wrote that song. Can you talk me through that process to put that song together?
JC: Basically, the song was written on the road. I was in Saratoga, NY, in upstate New York. We had just come off the bus and I was feeling a certain way watching the crew take the stuff down every night with the riggers and the roadies. I felt they needed to have a song and same with us. We all miss our family the same way. I don’t care who you are in this business, you still sacrifice something to be out on the road. It’s something I wrote for all of us.
It’s a good ol’ Country song that turned out to be a big ol’ hit. (Original singer) Steve Perry actually wanted that on his solo album and I declined. I said, “Journey or bust.” It was the last song we recorded on the Frontier album back in ’83. We never even rehearsed it. That was live in the studio. That was the third take. Steve put his signature vocal on it.
I was thrilled to have penned that song, then we played it live and the fans came back with “I’m forever yours, faithfully.” They turned it around and it was pretty cool.
CB: I have asked other artists about hits like that and they say, typically, the hits come out quickly. Was that the case with that one?
JC: Yeah, I wrote that in a half an hour on a napkin. It was very quick in the room. I woke up and I had started it. I wish I still had the napkin. I don’t have it. Then there was the keyboard I had on my bed I used to bump around ideas on. It was one of those Casio keyboards you just take in your suitcase. When I got to the gig, I got a real piano backstage at the Saratoga Performance Arts Center and sort of flushed it out.
The first time I did the demo, I was working with Keith Olson back in L.A. and he let me record it just by myself and that was what I played for everybody. He played it for the girls from Heart. He said Nancy (Wilson, guitarist) cried when she heard it. I thought that was a good sign. I guess they liked it.
CB: I saw on your website that you share blogs and journal entries. Have you kept journals all through your touring years?
JC: No, I should. I sort of dropped the ball on that one. I am getting inspired to write a new one. A lot has happened since the last one. I want to update the fans. It just may take on the highlights.
We have just had this movie released Every Man’s Journey. We debuted it at the Tribeca Film Festival and San Francisco Film Festival. It’s a documentary that was made by a Filipino lady that heard about Arnel (also Filipino) joining our band. So she came out on our tour. She spent her last four years following our buses around, coming to rehearsals. So they finally put a movie together. That was really exciting to attend and it really helped him solidify himself as he has evolved as an entertainer and a star. You see it actually happen, I think they are going to release it next Spring. It is really something. It is a neat story. We are proud of him.
CB: I find it very inspiring you welcomed someone new into the band and are so supportive of them moving forward.
JC: It was kind of a no-brainer. The guy can sing better than anyone can sing it. We went, “You know what. Let’s go with this guy.” We loved his heart. We loved the man as a father. The whole package. He makes us better. He is great.
CB: I saw in your journals you were blogging about South America and other places. I wish I had written down all my travel stories over the years. What has been your most memorable travel story recently?
JC: Actually, the European thing with my son was really great. We went to Europe and he went on the road with me and we got to go to some pretty incredible places. We played golf together in Scotland. There was this incredible experience, everything from the Eiffel Tower to the Royal Palace of Stockholm and to see it with your son is pretty darn cool. We went to San Salvatore, about a mile up and you look out from the Swiss Alps and it is breathtaking. I have to say that European trip was at the top of the list.
CB: Any habits you’d like to break?
JC: I probably drink too much wine.
CB: Any regrets over the years?
JC: No. I believe life is perfect. You live to learn from your mistakes and grow. If you regret something then lessons haven’t been learned. Everything you regret is something you haven’t accepted in life. Mistakes are chances to grow, chances to understand a deeper sense of who, what, and how you relate to the universe.
CB: Do you think Rock music is a dying art?
JC: No. I don’t. It is a niche now. We are a niche now. We aren’t as popular as we were but if you come to our show you can see it is alive and well. Just because the media has stiffed us doesn’t mean we aren’t out there in our own way. We are quietly playing for thousands and thousands of people. We have sold 800,000 tickets. It’s crazy. It’s a lot of people. It’s a good show. Pat Benatar is on the bill. We have Loverboy opening up when it is the three of us. We are having fun. We are keeping things alive.
CB: Are you a political band? We are in a critical election time. Are you planning to back any candidates?
JC: No. We stay out of that. If they want us to play and pay us a bunch of money, we will play for them.
CB: Either candidate?
JC: We would. The bottom line is we have a lot of fans on both sides. That’s my feeling. I’m tired of Republicans, I’m tired of Democrats. Let’s just get the people together and get shit done instead of arguing and bickering. This is the worst Washington has ever been. That’s just my take on it. (Journey reportedly was paid a half million dollars to perform during the Republican National Convention this year.)
CB: We are looking forward to you in Cincinnati. What can the fans look forward to that night?
JC: It is a cool mix of all of our stuff. Some new, some old. Great video, great lights. We have a new sound guy. Our P.A. sounds like a big, giant jukebox. I don’t think we are too loud. I think we sound cool. I think we look pretty cool. They are going to see a great show. It is going to be a good first class Rock show with a lot of hits.