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?
Hunter Hayes is one of the fastest growing, most unstoppable forces rising in Country music. At just 20 years old, he recently released his debut self-titled studio album featuring the hit single “Storm Warning." In less than a year of truly being a part of the Nashville music scene he has found himself on tour with superstar acts Taylor Swift and Rascal Flatts and he will be taking the main stage at the CMA Music Festival next month in one of their nightly concerts in front of 70,000+ in attendance.
CityBeat spoke with Hayes by phone recently and discussed his uniquely introspective writing and recording process as well as his passion for the fans that come out to each of his shows. Hunter will be performing at Bogart’s Friday night. It's a great opportunity to see an act that could be headlining stadiums and arenas very soon.
CityBeat: What made you decide to play all of the instruments and parts on your debut album? Do you plan to do this again on the next album?
Hunter Hayes: There is this part of my brain that I got from my Dad that is really technical, that loves technology, I guess, like fixing stuff — not fixing stuff as much as messing with it. I think that became an outlet for me. The more time I spent making music and writing the more I loved the technical side of it.
One Christmas, I asked for a 8-Track recorder and I got it and I didn’t come out of my room for like three years after that. I literally learned more instruments and spent all my time on this machine making demos and I just started building my own recordings. I didn’t know for sure but I felt inside that was the only way these songs were going to become completed and it became a way of working.
I continue to write during that process. When I moved to Nashville, I started songwriting and every time I would write a song with somebody I’d go home that night and I’d start working up a demo. It just became a way I love to work and now is the only way I know how to work. I have sat in a studio across the looking glass with some of the most phenomenal musicians in Nashville and I sit there and I am a very shy guy, naturally. I am naturally very reclusive so when I get nervous around songwriters, I am very intimidated and I don’t share my thoughts a lot like I probably should. I kind of defer to someone else. So we decided to do the record this way because they knew I was comfortable working that way and there is something cool that happens when you start recording the song playing all the instruments. It is a very minute thing but you will notice the consistency in the emotion.
And by no means do I consider myself a professional player of any of the instruments I played on the record but I guess I was fluent enough to get where my mind wanted these songs to go with what I wanted to hear for these songs. I was able to translate it from the same heart I wrote the songs.
CB: What is your favorite song you have ever written and why?
HH: Oh God … to put it in perspective for you, we had 70 songs I wrote specifically for this record that we were considering. So, it is nearly impossible to pick a favorite.
I have to say I was really fortunate because I had a big say in what songs went on this record. I actually picked all but one. This one song on the record, it is not that I don’t love it, but it is so out of character for me, I was worried about putting it on the record because I didn’t want people to get the wrong idea, because it is a very bitter song.
I chose the songs on this record carefully but emotionally. I am definitely attached to every single one of them on this record. I could say that I love everything — “Wanted” “Love Makes Me” “Somebody’s Heartbreak” and “Storm Warning.” I was very adamant about having a song like “Faith,” I wanted “Cry With You” on the record. I’m close to all the songs on the record.
I think my favorite song I have ever written is probably the one I wrote yesterday and that is always the case. Any time I write a new song, I am jazzed about it for like 24 hours and then I am over it and want to write another one.
CB: That makes sense. How does it feel to be one of the main acts at LP Field at CMA Festival this year?
HH: It’s unbelievable. Last year, I was stoked to just play on a stage in front of the Bridgestone Arena. It was a great turnout and everybody knew my name, which was amazing. I had just wrapped up six weeks on the radio tour. The song had literally just started playing on the radio and there were already tons of people singing along to “Storm Warning” that day and that blew my mind. It was a time lapse thing. I started my radio tour with this big full band showcase in Louisiana. And we initiated it with this full band big showcase for all the industry to come down and make a day out of it.
Then I went out by myself on this radio tour. I would go to these stations. I would literally bring a little mobile studio and I would build “Storm Warning” for them, and they would get their own version of “Storm Warning” by the end of the day. We did that for six weeks straight. I went home only one day, for Mother’s Day. It was just this crazy schedule.
Fast forward six weeks ahead, I come back to Nashville to play my second ever full-band gig with the band and we were playing to a crowd that was singing along to almost every song. It was really impressive and it was just mind-boggling. It is amazing what a year can do.
I am grateful that they considered me for this spot on LP Field. I have sat in the audience to watch shows there many times so it is really cool to be a part of it this time on the other side.
CB: I have seen your show several times. One of the things that always strikes me when you play is that the girls love you. Have you had any crazy fan experiences?
HH: No, not really. I will say we have a lot of fans that we see many times, a lot of repeat fans, which always makes me feel good. When someone sees a show and wants to see another one, that makes me feel like I am doing something right.
It is so funny, they will come up during the autograph signings and say “I promise you I am not stalking you.” I am like “I don’t mind! I am honored that you have taken the time to come to more than one show.” There is this one girl who has driven thousands of miles and she is always almost apologetic about it, and you don’t even know how much that makes my day. When I see her car in the parking lot and I know she is coming, that makes me feel like I am doing something right. It literally gives me a feeling I can’t describe to you.
We have a lot of fans that are doing that. We have a lot of them who have met at our shows and have become best friends and they go everywhere together now. I just feel this unity at our shows, especially the "Most Wanted" shows, the headlining shows I get to do. They are smaller venues right now and they are growing. Tonight we are doing like 1,000 seats or something like that, but it is amazing this close feeling I feel with everyone in the room. I get to chit-chat with them during the show and goof off with them and it is fun. It is a blast. I am glad to say I have fans.
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.
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.
As the tournament progresses, it challenges us to keep up with the evolving storylines — the sudden defeat of major players and the quiet emergence of those who have escaped notice, the silent assassins.
My day started on Court 3, a make-up match between the ninth seed Na LI (CHN), the first Grand Slam winner from China, and qualifier Johanna Larsson of Sweden, who, on the morning of this match, was celebrating her 24th birthday and in her debut here in Cincinnati.
Li has been in the spotlight, with two Slam finals last year, but at 30 years old, one has to wonder if she has peaked too late. She is six years older than her opponent, but today, it is best to focus on experience rather than age because she displays a potent blend of wisdom and execution as she forces her younger foe to work harder and harder for the points she wins on her serve, while Li cruises through her own service games. She breaks Larsson twice with surgically precise shot placement, moving Larsson around at will. When Li captures the first set 6-2, it is plain that she is firmly in command and using the match as practice because thanks to the suspension of play from the previous night, the winner here will end up playing again tonight.
Another holdover from the rain delay is the battle between Caroline Wozniacki (DEN) and Anastasia Pavlyuchenkova (RUS), which was called with Pavlyuchenkova already up a set (6-4) on the number six seed and former number one player in the world.
By the time I settled into the stands, Wozniacki was down 4-3 in the second and Pavlyuchenkova held to take a 5-3 lead. The Russian woman looked like a pounding brawler, but a couple of points dispelled that misconception. Pavlyuchenkova tempered her obvious strength with well-placed balls that unerringly found line and corners of the court just beyond Wozniacki’s reach. A hold from the higher seed set up an opportunity for Pavlyuchenkova to serve out the match, much to the chagrin of the vocal fans on the Grandstand who possibly hoped to be able to catch a glimpse of Rory McIlroy later in the evening. Alas, it was not to be. Pavlyuchenkova slammed that book shut, earning a spot opposite Petra Kvitova to compete for a coveted semifinal match, where maybe the fans might join her cause.
Next up on the Grandstand, Venus Williams and the three-seed Samantha Stosur (AUS), the reigning US Open champion. Venus has had to exert a great deal of effort along the way and would probably appreciate an easier match here, but with the formidability of Stosur and her compact, punchy power that’s highly unlikely.
It is apparent though that Venus wants to be the aggressor, as she stands on top of the baseline for Stosur’s first serve and a foot inside on the second. This allows her to get the jump and force Stosur off-balance. An early break and a tough hold for Venus, followed by a quick hold and a break for Stosur, and any hope for a quick two-setter are completely out the window. Even though Venus breaks right back on her opponent’s next two service games and ends up taking the first set 6-2, something in the way Stosur carries herself says, this isn’t close to being over.
On Center Court, Novak Djokovic and Marin Cilic (CRO) have already completed a set, which Djokovic took 6-3. Djokovic has had a fairly easy path thus far, especially his previous match, which ended when Davydenko retired after losing the first set 6-0, before last night’s rain. Today, he is a cat toying with his well-contained prey. Cilic is definitely in a tight corner with his back to the wall because before fans can blink, Djokovic is serving for the match with a 5-2 lead and just like that, it’s over. The cat has gobbled his prey up.
Stosur forced Venus to go back and forth with her on their way to a second set tiebreak, which she seized 7-2, but then Venus immediately broke her in the first game of the third set. As Venus reaches 3-1, most thoughts start to drift to a possible fantasy match-up of the Williams sisters in the final. Serena is set to start on Center Court and has dominated her court appearances thus far.
Television coverage of the end of the Venus-Stosur match means that Serena and Angelique Kerber (GER) are forced to wait.
A gritty battle for the final set goes to Venus (6-4) and we are tantalizingly closer to the dream.
Joe Morgan handles the coin toss to determine who serves to start the Serena-Kerber match. Serena serves and promptly gets broken, although she does seem too bothered. Her shots were either just a bit long or subject to the fickle fate of bounces off the net cord, which she will certainly adjust to as the match progresses.
Kerber, a much shorter player with reasonable power, works on moving Serena around and capitalizing on her error-prone play. There are flashes of Serena’s gifts – games where her serve, one of the best in the women’s game, cannot be touched – but those moments are fleeting. Instead, we see a Serena who has trouble timing her shots, sending swinging volleys into the net that should have been clear and rousing winners. She ends points staring off at either where the winner should have fallen or confused by the absurdity of this predicament she found herself in.
She seemed to be wondering where the real Serena Williams was, and she wasn’t alone. The only person not asking that question was Kerber, who took the match from whoever happened to be standing there in Serena’s lime-accented attire.
Final score: 6-4, 6-4.
Cincinnati heats up, but it does little to slow down the fans eager to follow their favorites all over the grounds of the Open. Another day of racing between matches to catch the highlights as a scattered flurry of notable pairings dot the landscape.
Jumping right in, I head over to Court 9 for a look at two players I caught on Day 1. American wild card Sloane Stephens against fellow wild card Italian Camila Giorgi who took out Francesca Schiavone with relative ease. Both women seemed sharp and ready in the opening round and this match promised more of the same.
Thanks to early double faults, Stephens breaks Giorgi for a 2-1 lead. Both players are striking the ball exceptionally hard. After a Stephens hold, Giorgi loses her concentration for a moment – a swinging volley on a shot that was going to drop long – and that leads to another break and a request to talk things over with her coach.
Stephens keeps her head down and gets to 5-1, before Giorgi is able to hold again, but it matters little once Stephens holds at love for a 6-2 first set.
Another outer court beckons me. Shuai Peng of China battles Italian Roberta Vinci on Court 7. Peng displayed great discipline in taking out last year’s finalist Jelena Jankovic in a marathon match Monday night, but she had no worries today. By the time I arrived, she had just broken to take a 5-3 lead. A quick hold gave her the first set.
Once again, I found myself seated near her coach on the bleachers.
Peng breaks quickly in the second set for a 2-1 lead and then just handles business to capture the match at 6-4. The only weak link in her game seems to be an inability to secure net volleys. This may haunt her as she moves further into the tournament.
Back on Court 9, Stephens is up 5-1. As with her first match, she’s clicking and looks extremely poised on the court. While Peng has a slight crack in her armor, Stephens appears to be a bit more fortified and ready for another round or two here.
Both women have strong and vocal fan bases as well who are excited to go on with them.
The second round of matches for the morning feature our first glimpses at the top seeds of the tournament.
Questions have dominated the discussion about the number two seed Novak Djokovic, facing off against Italy’s Andreas Seppi, with many seeking to compare his standing this year to where he was a year ago. Last August, he suffered just his second loss up to that point here against Andy Murray in the final. It was a run for the ages and his win at the US Open capped off a three-out-of-four Grand Slams and a world number one ranking.
Of course, now we see how the wear and tear of a long tennis season along with the constant media scrutiny can chip away at the resolve of even the best players. This year, Djokovic has seemed far more mortal, while still having an enviable record – he earned another Australian Open and looks poised to defend his US Open title.
During his first match here, fans got to observe how a top player works himself into a match and a tournament. For a comparable sports analogy might be fitting to look to boxing and the early rounds where the boxers are getting their bearings, moving and punching, but not for points or power yet, more to settle their nerves before establishing their game plans.
Djokovic was loose and a bit free-swinging initially, but he found his range on serve and then focused on picking the right opportunity to pounce on Seppi, who gamely fought through a few tough service games, but held his own. By the first set tiebreak though, Djokovic scored the min-break he needed to win 7-4 and the inevitability began to creep in for Seppi.
Over on the Grandstand, the number four seed Petra Kvitova (CZE) ran into a strong challenge from Mona Barthel of Germany who wisely decided early on to play a safe return game because Kvitova started off quite error-prone. Down 5-1, Kvitova looked listless and luckless as shot after shot either sailed out or flew of the net cord or the side of her racket. She kept at it though and picked her way back into the set before finally falling 6-4, but the last couple of games showed that if she found her hard-hitting form, she might be able to punch her way back into the match.
Djokovic found the next gear quickly and jumped up to a 5-1 lead in the second set, but Seppi dug in for a hold to make it 5-2, forcing Djokovic to serve it out. The final point of the match came on a soft volley into the open court and with a gentle smile for the fans, Djokovic, the winner last weekend in Toronto, was ready to move on.
Kvitova apparently was ready to prove my assumption correct. She pounded shots at Barthel, hard and heavy body blows and knocked her down in the second set 6-2. The match really was looking like a pair of boxers, one using finesse, the other a power puncher, somehow going toe-to-toe.
On Center Court, Sam Querrey, the American wild card, was preparing to face off against the number three seed from Great Britain, Andy Murray, last year’s winner and thanks to his runner-up spot at Wimbledon and then his Olympic Gold against Roger Federer (a replay of the Wimbledon final), a man on a mission to shatter the glass ceiling keeping him from the rare air of the top three ranking in the world and Grand Slam glory.
As I mentioned while covering Querrey’s previous match, he’s got skill and form to spare but he hasn’t found the intangible that will take him to the next level consistently. While watching the first set of his match against Murray, I found myself comparing him to one of the competing interns on that season of the medical drama House, when Dr. House was trying to pick a new diagnostic team. A host of talent and knowledgeable doctors and specialist raced and clawed their way through challenges to land a spot and Querrey’s one of those in the hunt in tennis, but Murray, well, he’s a bit like Foreman (Omar Epps), a former team player who hangs around, but everyone knows he’s just not quite ready to take over for House (ever). Of course, he can out-diagnose any pesky intern, any day of the week.
And like a classic episode of House, it’s only a matter of time before the intern falls.
Kvitova has to grind it out in the third set because Barthel has the nerve to stand in the center of the ring and trade punches with her. They go back and forth and there’s something surprising about Barthel’s tenacity, her pesky spirit that gains depth as the match goes on.
But she slips up on her way to a possible tiebreak, losing the third set 7-5, and sadly the match. Has Kvitova gotten herself on track though?
Unforced errors kill Querrey (6-2, 6-4). All that time I spent coming up with the House analogy, Querrey was guessing and guessing wrong. If there really had been a patient on the table, they would have died repeatedly and their next of kin would have earned millions in medical malpractice.
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.
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.
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.
Cincinnati has a rich brewing history, plain and simple. And if you haven’t been living in a hole for the past couple of years you know that. So it should be of no surprise that someone would take a piece of that history back home with them.
That’s exactly what 25-year-old Daytonite and founder of The Dayton Beer Company, Peter Hilgeman, did. “I have always been interested in beer, but my interest really peaked when I worked at The Party Source during college,” Hilgeman says.
Hilgeman, a 2009 University of Cincinnati graduate, spent some of his time working across the river at The Party Source in Covington, which for many is considered to be the local mecca for beer and spirits.
“Living in Cincinnati definitely inspired me to brew beer and open up a brewery in my hometown of Dayton,” he says. “Cincinnati and Dayton have amazing brewing traditions and I truly love the history that both cities share with regards to their brewing.
“I really wanted to restore that brewing tradition not only for Dayton, but throughout Southwest Ohio."
Hilgeman also spent five months traveling throughout Europe honing his pallet for exceptional beers from around the world.
With names like Patterson Pale Ale, Inventors IPA and Hawthorn Hill Hefeweizen, Hilgeman wanted to make something that Dayton could call its own and the Queen City could also be proud of.
“My goal for The Dayton Beer Comapy is simple. I want to provide people with great-tasting beer that they really love drinking and to help them learn about the great brewing traditions Dayton and Cincinnati have to offer,” Hilgeman says. “I want to be thoroughly involved in the community and give back whenever and wherever possible."
Hilgeman plans to have his beer available in a few bar locations in Mount Adams. “I hope that the Queen City will be able to have a few Dayton Beer Company beers in the next month or two,” Hilgeman says. “ I also intend to expand throughout Ohio and eventually to other states as well, but with our roots firmly entrenched in Southwest Ohio.”
The Dayton Beer Co. is set to opens its doors at 912 E. Dorothy Lane, Kettering, Thursday, May 17. The tasting room will be open Wednesday-Saturday until 10 p.m. Check out www.thedaytonbeerco.com for more information.