Morning y'all! After a rough start (a bit more on that later), I'm here and ready to give you the news.
Two prosecutors from Hamilton County will lead the state’s investigation into the police shooting death of John Crawford III, Ohio Attorney General Mike DeWine announced yesterday.
Stacey DeGraffenreid and Mark Piepermeierand were appointed by the AG yesterday. Piepermeierand, of Sharonville, heads the Hamilton County Prosecutor’s office criminal division and has handled many high-profile cases in that capacity. He’s responsible for reviewing all police use-of-force issues in Hamilton County and has done so for the past 15 years.
Police shot Crawford inside a Beavercreek Walmart Aug. 6. Another customer called 911 when he saw Crawford with what he thought was an assault rifle. Officers arrived and demanded Crawford drop the weapon, which turned out to be a pellet gun from the store. When he didn’t comply immediately, officers shot him and he died. Crawford’s family, along with activists, have called for answers as to why he was shot.
• The state of Ohio has ordered embattled restaurant Mahogany’s closed after it didn’t follow state sales tax rules. The restaurant on The Banks has struggled to pay rent and loans owed to the city and was almost evicted in April. The restaurant was able to catch up on the rent but still owes more than $300,000 to the city in loans. Owner Liz Rogers has said that the restaurant has struggled after $80,000 was embezzled from the establishment and a rough winter kept business slow. Rogers has also pointed the finger toward someone in the city’s administration who she says has been leaking untrue information about the business. Mahogany’s can reopen after it pays back the undisclosed amount it owes the state in sales taxes.
• Think sky-high executive pay is kind of absurd? You’re not alone. Former Kroger CEO David Dillion said during a panel on management at the Aspen Ideas Summit last month that his paycheck for leading the company was “ludicrous." A video of that summit is just now trickling out, with Huffington Post covering the statement yesterday.
Dillion’s $13 million paycheck last year was actually below the $15 million average for CEOs in America, which makes his compensation “seem a little more responsible,” he said during the summit. “Still you’d argue, I think,” he continued, “it was pretty damn high.”
Dillion said his eight-figure pay package started out fairly reasonable but ballooned out of control as Kroger’s stock went up. That’s a terrible problem to have. That dang stock price, that dang paycheck, both just rising and rising and rising like the temperature needle on my poor struggling car as I sat in traffic this morning (yes, my car overheated on the way here and I’m bitter). There’s just nothing you can do about that. If only Dillion had like, RUN THE COMPANY or something, maybe he could have gotten that ludicrous pay rate under control. Oh, wait…
• Speaking of big ole billowy clouds o’ cash, former 20102 Republican presidential candidate Mitt Romney is on his way to Kentucky to help make it rain for Sen. Mitch McConnell, who is fighting a tough battle against his Democratic opponent Alison Lundergan-Grimes. McConnell has been pulling out all the conservative A-listers to raise cash, a sign that he’s seriously worried he could lose his seat in what looks to be one of the most contentious and expensive Senate campaigns in history. It’s certainly the fight of his career, but the stakes go higher than that. Every seat matters come November, when Democrats will struggle to maintain their slim majority in the Senate. Should Republicans take enough seats, they’ll run both that chamber and the House, making President Obama’s last two years in office one big bummer.
• Another politician experiencing a big ole bummer right now is Texas Gov. Rick Perry, who was indicted a couple weeks back on some pretty serious felony charges involving abuse of power. It's a long, complicated story that involves a DUI (not Perry's), some backroom dealings, a possibly shady cancer research organization and more. So much more. Anyway, Perry's been kinda sailing through this whole thing, smirking in his mugshot and getting ice cream afterward, the whole deal. He's also played it well politically, refusing public money for his defense team of all-star attorneys. But he recently dropped a comment about that that is less than great PR. He's not turning down public money for his defense because it's the right thing to do, but "to keep folks from grousing about it," he said. The whole Texas-sized imbroglio (gotta love that word) has also hit Perry where it hurts: his holster.
• I usually try to end with some weird news to lighten the mood a lil, but this story is just crazy and sad and confusing. A shooting instructor in Arizona died Monday while teaching a 9-year-old girl how to shoot an uzi. The girl lost control of the semi-automatic weapon due to its recoil as she was firing, and the instructor was shot in the head. An investigation is ongoing to determine the exact sequence of events.
Eight finalists in ArtWorks' Big Pitch competition will each get a five-minute business-pitch session before a panel of judges and a live audience tomorrow night, starting at 6 p.m. at the American Sign Museum, 1330 Monmouth St. in Camp Washington. The judges will decide the $15,000 grand prize winner; the audience will pick a $5,000 winner. Two runners-up will receive professional services from Dinsmore & Shohl; Clark, Schaeffer, Hackett and Co.; and/or LPK. Seated tickets for this event are sold-out but standing-room tickets are still available at artworkscincinnati.org.
Check out the finalists:
The Canopy Crew, owner Django Kroner
Chocolats Latour, owner Shalini Latour
Golden Hour Moving Pictures, owner C. Jacqueline Wood
Heather Britt Dance Collective, owner Heather Britt
Madisono’s Gelato and Sorbet, owner Matt Madison
Modern Misfit Classic Genius, co-owner Cordario Collier
Noble Denim, owner Chris Sutton
Steam Whistle Letterpress and Design, owner Brian Stuparyk
Hey all. It's morning news, and I'm earlier than usual. I'm as surprised as you are.
The city of Cincinnati has announced it will cover medically necessary transgender surgery for employees under its insurance plan. A majority of city council signed a letter urging the change, which was then initiated by interim City Manager Scott Stiles. The city will be the first in Ohio to do so, joining only Berkeley, Calif., Portland, Ore., San Francisco and Seattle offering the benefit. A mental health professional will have to agree that the procedure is necessary for an employee before it is covered. The change will kick in next year and is a way for the city to stay competitive and attract the best job candidates possible, said Councilman Chris Seelbach. Many large companies, including P&G, offer transgender-inclusive benefits.
• Oops again. Duke Energy revised their estimates for the amount of diesel fuel it spilled into the Ohio River last week up to 9,000 gallons. The company previously reported it thought about 5,000 gallons had spilled when an oil transfer valve was left open Aug. 18 at the company’s New Richmond power plant. On the positive side, the cleanup of that spill is almost complete, and no adverse affects to wildlife or residents living along the river have been reported.
• A shifty fast-food sovereign looks to leave the country he rules for cold northern lands to save a few gold coins. Meanwhile, Ohio Sen. Sherrod Brown really wants you to grab a Frosty and a Crave Case this weekend in protest. Brown is up in arms about a proposed merger between Burger King and Canadian-based Tim Horton’s. The deal would create one of the world’s largest fast food conglomerates and see the king abdicating his burger throne in Miami, Florida for Canada. That part rankles Brown, who says the merger could well be a corporate inversion, or a move from the U.S. meant to evade corporate taxes. He’s encouraging his constituents to grab some grub from Ohio-based companies like Wendy’s or White Castle.
“Burger King’s decision to abandon the United States means consumers should turn to Wendy’s Old Fashioned Hamburgers or White Castle sliders,” Brown said in a press release that contained little hint anyone responsible was aware how hilarious that sounds. I’m going to avoid all this royal intrigue and continue to get my burgers from the grill outside of Avril-Bleh’s downtown.
• A national gun control group called Moms Demand Action for Gun Sense has started a petition asking Cincinnati-based Kroger to ban open carry in its stores. The group cites recent violence in the company’s stores, including a Georgia murder-suicide in June and another shooting incident in the same state that left two people injured. Kroger has said that the safety of its customers is important and that its policy is to follow prevailing state law. Open carry laws vary by state, with some states like Ohio placing few restrictions on your right to tote a deadly weapon around while you’re picking out breakfast cereal or cilantro for a nice homemade pico de gallo. Moms Demand Action received criticism recently when it was revealed the group received $50 million from noted gun control advocate and ex-New York City Mayor Michael Bloomberg, who, anonymous sources reveal, is not in fact a mom.
• A national Pew Research poll released yesterday found that Americans have very little faith in law enforcement’s ability to hold its officers accountable for misconduct, engage in good race-relations practices and use an appropriate level of force. This distrust held true for respondents of all races but was especially marked among those in the black community, where nine out of 10 respondents said the police do a “fair” to “poor” job. The poll comes as the police shooting of Mike Brown, an unarmed black teen in a St. Louis suburb, has set off a national debate over police conduct, especially as it relates to race.
• Finally, this new photography project by the New Orleans Times-Picayune is worth a look. You can slide between photos of New Orleans just after Hurricane Katrina and recent pics of what the same areas look like today to get a powerful look at how the city has — and in some places hasn’t, really — recovered from the disaster.
Heya. It's news time.
Got a few hundred thousand dollars sitting around? Want to be part of the
gentrification renaissance in Over-the-Rhine? Step up and make your pitch to 3CDC! The development corporation has announced it will open up the 33 city-owned properties for which it is the preferred developer to other developers who want to get in on the action in OTR. 3CDC will then make recommendations to the city on which plans for the properties around Findlay Market get the green light, based on financial feasibility, timeliness of renovation, parking considerations and whether hotdogs, tacos and pizza served at your proposed upscale but casual eatery are artisanal enough. Proponents of the process say it’s far more open than 3CDC’s development strategies thus far, while opponents of the development group’s preferred developer status say 3CDC still has too much power calling the shots in the neighborhood.
• As the streetcar gets closer to a reality in downtown and OTR, Northern Kentucky is now looking at how it can get on board. City leaders in Newport and Covington are talking about ways those cities can link up with Cincinnati’s streetcar. Covington Mayor Sherry Carran and Newport City Commissioner Beth Fennell have expressed support for the idea, saying the transit system could alleviate traffic problems and boost economic development there.
• While we’re talking Northern Kentucky, let’s talk about the Noah’s Ark theme park, called The Ark Encounter, being built in Grant County. The project has come under fire from Americans for the Separation of Church and State, a national advocacy group, because it has applied for tax credits despite possibly discriminatory hiring practices. Americans for Separation of Church and State points out that the park’s parent organization, Answers in Genesis, requires job applicants to sign a “statement of faith” that pledges allegiance to the group’s Christian values, including opposition to homosexuality and a belief in the literal truth of the bible. Americans for Separation of Church and state says that amounts to discriminatory hiring and should make the Ark project ineligible for the $73 million in tax incentives the state has approved for the project. Officials with The Ark Encounter say the park’s employment policies have yet to be written and that they will comply with all state and federal laws.
• Butler County Children Services employees have been on strike for the past week, fighting for a 3.5 percent pay increase each year for the next three years. The county is standing firm, however, and things have started getting acrimonious. The county claims union representatives for the Child Services workers have misrepresented work done by the county since the strike has happened by claiming that some 80 home visits have been missed in that time. Union officials deny any misrepresentation. They say they’ve been forced to strike by the county’s refusal to meet their demands and that work isn’t getting done. The county has hired a number of new personnel since the strike and say they’re handling the workload without the striking union members.
• Gov. John Kasich signaled last week that he will again turn down job-requirement waivers for food aid in all but 17 counties in the state. Last year, the governor’s office allowed just 16 counties to get the waivers, which the federal government issues in high-unemployment areas to exempt those seeking food stamps from work requirements. Without the waiver, food aid recipients are limited to three months of benefits before they must find a job or enter a state-funded work program. But both jobs and spots in these work programs have been difficult to find, leading to criticism of Kasich’s decision to turn down the waiver in most of Ohio’s counties from groups like the Ohio Association of Foodbanks and liberal think tanks like Ohio Policy Matters. Advocacy groups have filed a federal civil rights claim seeking to overturn the state’s decision and extend the waiver to all 88 Ohio counties.
• In national news, the funeral for Mike Brown, the 18-year-old shot and killed by police in Ferguson, Missouri, was held today. Brown’s family has asked protesters who have taken to the streets in the wake of his Aug. 9 shooting for a peaceful event. Ferguson has been on edge since the shooting, with everything from peaceful demonstrations to all-out rioting taking place. Civil rights attorney Al Sharpton, Rev. Jesse Jackson and the parents of Florida shooting victim Trayvon Martin all attended the memorial.
The Crown Jewels of Jazz Festival returns Friday and Saturday with an adjusted format. While last year’s fest was spread out across the Over-the-Rhine area, this year’s Crown Jewels is more streamlined, with free events concentrated in OTR’s Washington Park.
The fest kicks off Friday night with an 8 p.m. concert featuring unique and widely acclaimed Jazz singer Gregory Porter, as well as Cincinnati native Mandy Gaines (whose been busy performing throughout Europe and Asia).
Saturday at Washington Park, the fest kicks up again with Phil DeGreg, Baba Charles Miller and Kathy Wade (whose Learning Through Art, Inc. presents the Crown Jewels fest) performing and telling the story of Jazz (and other music) in a program called “Journeys: A Black Anthology of Music” at 4 p.m. At 5 p.m., “Piano Picnic in the Park” will showcase area pianists; DeGreg, Jim Connerly, Billy Larkin, Charles Ramsey III, Cheryl Renee, Steve Schmidt and Erwin Stuckey will each perform their two favorite Jazz numbers during the hour and a half performance.
Then it’s time to dance! The fest closes out at 8 p.m. with “Dancing Under the Stars” at the park’s bandstand, featuring music from the 18-piece Sound Body Jazz Orchestra and dancers/teachers from the Dare to Dance Ballroom Dance and Fitness Studio.
Given that it is presented by Learning Through Art, Inc., it is fitting that the Crown Jewels of Jazz fest will also include an educational program Saturday morning for high school musicians at the School for Creative and Performing Arts, just across the street from Washington Park’s 12th Street entrance. The CJ2 Jazz Camp, which will feature clinics, classes and more with many of Cincinnati’s top Jazz musicians and educators (including DeGreg, Stuckey, Jim Anderson, Marc Fields, Ted Karas, Mike Wade, Art Gore, Brent Gallaher and many others), begins at 8:30 a.m. There is a $35 fee per student.
For complete info on the Jazz Camp and all of the Crown Jewels of Jazz events, visit learningthroughart.com. And click here to read CityBeat's interview with Wade about the fest and her org's other work.
It's a gross rainy Friday, so grab some coffee and let's settle in with some news.
Two local organizations that help veterans experiencing homelessness will be getting a $1.5 million boost, Secretary of Veterans Affairs and former P&G head Bob McDonald announced yesterday. A program run by Ohio Valley Goodwill Industries in Woodlawn will get nearly $1 million in grant funding from the VA. The Rehabilitation Center Inc. serves seven counties in the Greater Cincinnati and Northern Kentucky region. The Talbert House in Walnut Hills, which serves veterans in Hamilton County, will get the other $500,000. The funding is part of more than $300 million in grants given out nationwide, nearly $9 million of which went to organizations in Ohio fighting homelessness among veterans.
• Is there anything more comforting than the knowledge your local police department is slowly becoming a paramilitary force? Recent revelations about the federal government’s program decommissioning military equipment into the hands of local law enforcement are mind-boggling and also darkly hilarious.
Even among my friends and family who are still afraid of living in urban areas, I would think fear of landmines in Cincinnati is pretty low, maybe non-existent. But that hasn’t stopped the Hamilton County law enforcement officials from receiving two land-mine detection kits from the program. Kenton County got a mine-resistant truck along with 44 pairs of night-vision goggles, 34 pieces of body armor and 22 assault rifles. Newport got a pretty awesome Humvee, though it’s not armor plated. Really important question here, guys — is that thing land-mine proof?
• Caesar’s Entertainment Corp., parent company to Cincinnati’s Horseshoe Casino, will pay the largest fine ever doled out by the Ohio Casino Control Commission. Caesars will pay a $200,000 fine for lack of financial transparency involving the company’s ongoing $23 billion debt restructuring efforts.
• Attorney General candidate David Pepper has received criticism recently for his legal record. Do records show he embezzled money? Took bribes? Sold drugs? No, no, I’m afraid it’s much darker. Pepper, it seems, is a serial illegal parker. Over the past 14 years, Pepper has paid more than $9,000 in parking fines, averaging 13 tickets a year, though the bulk occurred when he was County Commissioner from 2007 to 2009, according to an investigation by the Associated Press. That’s a lot of tickets, sure, but most of them are for parking at expired meters. Some are a bit more serious offenses — displaying expired plates. When you break it down, he’s been fined about $700 a year for all those offenses. Pepper’s campaign chalks the fines up to a busy schedule and a lot of late meetings. But his opponent Mike DeWine’s campaign says the number of offenses isn’t an accident and makes him unfit to be attorney general.
“Nearly everyone has made a mistake by forgetting to go back and feed a parking meter,” DeWine campaign spokesman Ryan Stubenrauch said. “But that Mr. Pepper racked up nearly $10,000 in fines shows a stunning disregard for basic traffic laws — particularly for someone running to be Ohio’s top law officer.”
Pepper’s campaign said it would rather have that smudge than allegations facing DeWine, which include accusations that the attorney general’s office has been engaged in pay-to-play practices, allegedly awarding lucrative legal contracts with the AG’s office to private firms that donate to DeWine’s campaign.
“[Pepper is] happy to debate old parking tickets versus Mike DeWine’s current practices as attorney general,” Pepper spokesman Peter Koltak said.
• Finally, things in Ferguson, Mo., seem to be calming down for the time being. Protests, some violent, have rocked the St. Louis suburb since the Aug. 9 shooting of Michael Brown, an unarmed black teenager. Lately, however, the protests have become somewhat more peaceful. Yesterday the state’s National Guard units withdrew from the city and the number of arrests police have made has been dropping. Investigations into the shooting are ongoing, as the Justice Department works with state and local law enforcement to try and determine what happened between Brown and officer Darren Wilson. Wilson says that Brown attacked him in his patrol car, though others say Wilson was the aggressor and that Brown was retreating when he was shot. An autopsy showed that Wilson shot Brown at least six times.
500 Miles to Memphis’ two most recent album releases are local classics that reside in two vastly different musical landscapes. Their 2007 album, Sunshine in a Shot Glass, offers 12 tracks of undiluted Country Punk. The album starts off with the band’s hit “All My Friends are Crazy” and doesn’t let up. The band’s followup, 2011’s We’ve Built Up to Nothing, took the Country Punk roots and drastically expanded on the concept. Influenced by The Beatles, the Cincinnati-based quintet added layer upon layer of instrumentation to craft an epic that radically expanded the groundwork laid in 2007.
Now, in 2014 the band is set to unleash Stand There and Bleed. With its latest release, 500 Miles to Memphis has pulled back and opted for a simpler, more straightforward group of songs. In doing so, the band has written its best album to date.
The band will host a listening party for the new album tonight (Thursday) at The Drinkery in Over-the-Rhine. The album will be played in its entirety at 9 p.m., then the group will play an acoustic set at 10 p.m. The event is free. (The official release date for Stand There and Bleed has yet to be announced.)
At its core, 500 Miles to Memphis has always been about vocalist/guitarist Ryan Malott telling the stories of his life. And with three years in between releases, Malott has plenty to talk about. Stand There and Bleed is Malott’s most personal output so far. We see a glimpse of tour life in “Medication,” the joys of marriage in “Takes Some Time” and the trials of addiction in “Easy Way Out.” Malott may have traded the bottle for coffee and a Playstation controller, but the struggle is ongoing. In fact, the best tracks on the album are the ones that document Malott’s missteps, but only because the album has so much hope, as well. There is a light at the end of the tunnel, and Malott is steadily working his way towards it.
Joining Malott is bassist/vocalist Noah Sugarman, drummer Kevin Hogle, guitarist/vocalist Aaron Whalen and lap steel guitarist David Rhodes Brown. This all-star lineup compliments Malott’s lyrics expertly. Gone are We Built Up to Nothing’s more eccentric instrument choices; 500 stripped away the excess to more fully focus on what it had in house. The result is an album that’s more consistent and true to 500’s vision as a whole. Malott is influenced by Country and Punk Rock in equal measure and these influences come across stronger than ever on Bleed, with each member adding their own touch on the theme. Hogle’s drumming is still some of the best in town; his musical ear enables him to mold his style to each and heighten the mood of all. Brown’s steel playing on Stand There and Bleed keeps the more Punk-based tracks grounded in 500’s roots and elevates the Country tracks to another level with effortlessly delivered solos. Finally, Whalen and Sugarman’s guitar and bass inject energy throughout the record that reinforces Stand There and Bleed’s straightforward, powerful delivery.
Malott’s vocal delivery has been honed and refined on Stand There and Bleed, as well. Malott is an unabashed fan of Green Day and comparisons to Billie Joe Armstrong in songs like “Bethel, OH” and “Abilene” are undeniable. Malott has also continued to inject large amounts of emotion into his vocals. He’s always been an expressive singer but the earnestness and pain in “You’ll Get Around” and “Alone” show a departure from We’ve Built Up to Nothing’s more polished vocals. Part of the recording process was breaking Malott of those good habits and getting him used to putting the feeling back into each take. What results is an album that’s a little rougher around the edges and much more emotionally captivating for the listener.
500 Miles to Memphis has been pushing its music forward for years, constantly hitting the road to share its take on Country Punk. The band has been virtuous to the genre and also bent it to an almost unrecognizable state. With Stand There and Bleed, the quintet has met somewhere in the middle. The band has trimmed the fat, focused on what each (incredibly talented) member brings to the table and built a record that is its most focused and honest to date.
The band has traveled way more than 500 miles to reach where they are now, but with albums like Stand There and Bleed carrying them, they have plenty more ahead of them.
If you’re like me, you passed work crews installing the first stretch of streetcar tracks in the Central Business District today. If you’re REALLY like me (clumsy), you almost fell off your bike trying to get a better look at the work. This is not recommended. The track work is happening right around between Central Parkway and Court Street along Walnut Street, where the city held a press conference this morning to talk about the progress. Councilman Kevin Flynn, who had been a swing vote during the battle over whether the streetcar would even happen last winter, called the latest progress “a milestone” and said he’s not giving up on some federal money to help operate the streetcar. A $5 million application for a federal grant completed by the city looks unlikely to be successful in its current form. That money would have funded operating costs for the streetcar for the next few years, according to city officials. Other private funds have shored up the transit project’s operating budget to some degree, but more funding is needed.
• While we’re talking about that little corner of the world, check this out. Some day, you may see a new Kroger near the spot where streetcar tracks are going in. A $50 million residential development is being planned for the corner of Central Parkway and Walnut Street. It will feature 200 apartments and 25,000 square feet of retail space. Rookwood Properties, based in Blue Ash, has approached the grocery chain about possibly filling some of that retail space. It’s all speculative for now, though. Kroger is looking to open a new location downtown but will not comment on specific locations, including the development on Walnut. I hope they hurry up, because I need a place close by to purchase all my Triscuits, Arizona Green Tea tall cans and ready-made boneless buffalo wings, which is pretty much my daily lunch these days.
• As we reported yesterday, the Women’s Med Center in Sharonville will cease providing abortions. The facility announced yesterday it will not appeal an Aug. 18 court ruling upholding earlier orders that the clinic close down its abortion services. The clinic will remain open to provide other services, specifically helping prepare women seeking abortions before they receive the procedures at the company’s Dayton clinic location.
• Lots of rumblings about shady dealing at Cincinnati's major airport after an the Kentucky State Auditor released a report Tuesday calling for a restructuring of CVG's board. The audit details high levels of inefficiency, nepotism and back-room dealing in the way the airport is run. CVG is among the most expensive airports in the country for passengers, and its board has been under fire for some time. The audit comes after a nine-month special investigation into its operation. Proposals for restructuring the board focus on making it more regional, folding in a representative chosen by Hamilton County Commissioners, the Ohio governor's office and the Cincinnati mayor's office.
• OK, so there are a lot of complaints about the suddenly ubiquitous ice bucket challenge, but the Cincinnati Archdiocese has a unique one. The trend has attempted to harness social media to raise money for the ALS Association. That part is great. The organization funds research to fight Lou Gehrig’s disease, a degenerative neurological disorder that eventually causes muscle paralysis and death. But a viral trend where people film themselves dumping super-cold water on themselves instead of giving money to charity and then challenge others to do the same as a kind of activism… seems a bit counterproductive. (Though, to be fair, the organization has said it’s gotten some $16 million in donations since the fad started).
Anyway, the Archdiocese has a different sort of problem with the challenge. They don’t mind the inane and narcissistic part. They’re upset about people giving money to the ALS Association, because the group funds research involving embryonic stem cells, the harvesting of which the church equates with abortion. Dump ice on yourself and post it on Vine all you want, the Archdiocese says, but god forbid you give any money to the group that’s trying to heal people.
"We appreciate the compassion that has caused so many people to engage in this," Archdiocese spokesman Dan Andriacco said. "But it's a well established moral principle that a good end is not enough. The means to that ends must be morally licit."
The Archdiocese has directed Catholics to send money to a catholic group that doesn’t use embryonic stem cells in its research instead.
• Remember Joe the Plumber? Of course you do! Ohio’s favorite native son first came to prominence during the 2008 presidential election when his shaky math about his small business (which he hadn’t even started yet) was picked up by the McCain campaign. Since that time, he's become a kind of pundit for the far right, writing books, appearing on talk shows and even running for Congress. He recently made national news by taking to Facebook and proposing HIS solution to the Ferguson unrest. His idea achieves a pretty impressive trifecta of being racist, classist and making absolutely no sense whatsoever. His post says “The best way to end the rioting and looting in Ferguson… Job Fair. They’ll scatter like cockroaches when the lights come on!” Great.
• Finally, speaking of working, this New Yorker piece on the trials of hourly workers in the age of employers’ push for maximum efficiency is a good read and very likely familiar for anyone who has ever had to work an ever-shifting schedule in retail, food or other service industries. Lots of interesting data and insights into the way the economy continues to shift in ways that are tough for working people.
Filmmaker/provocateur, humorist, art collector and all-around pop-cultural icon John Waters is coming to Cincinnati on Oct. 11 as part of the opening-week programming of the FotoFocus Biennial 2014. He will be at Memorial Hall, performing This Filthy World about his long, rewarding career. Additionally, Waters' photograph "Inga #3 (1994)" is part of a FotoFocus exhibition, Stills. The theme of FotoFocus is "Photography in Dialogue."
FotoFocus has released this (edited) list of other Memorial Hall events for its first week of programming:
Wednesday, October 8
Performance by Berlin-based filmmaker Martha Colburn, with a Cincinnati ensemble led by Tatiana Berman and the Constella Ensemble
Thursday, October 9: Photography in Dialogue
Film: Gerhard Richter Painting (2011)
Featured speakers: Gallerist Deborah Bell, New York; Gallerist Howard Greenberg, New York; Director and Chief Curator Raphaela Platow, Contemporary Arts Center, Cincinnati; Art Critic Richard B. Woodward, New York; and FotoFocus Artistic Director and Curator Kevin Moore.
Friday, October 10: Landscapes
Film: Somewhere to Disappear, with Alec Soth (2010)
Featured speakers: Curator and Art Dealer Damon Brandt, New York; Artist Elena Dorfman, Los Angeles; Artist Matthew Porter, New York; Artist David Benjamin Sherry, Los Angeles; Associate Curator Elizabeth Siegel, Art Institute of Chicago; Museum Director Alice Stites, 21c Museum Hotel; and FotoFocus Artistic Director and Curator Kevin Moore.
Keynote Speaker: Jeff L. Rosenheim, Curator in Charge, Department of Photographs, The Metropolitan Museum of Art, New York, on photography and the Civil War.
Saturday, October 11: Urbanscapes
Film: Bill Cunningham
Featured speakers: Architect José Garcia, Cincinnati; Curator Steven Matijcio, Contemporary Arts Center, Cincinnati; Photography Director Ivan Shaw, Vogue, New York; Associate Curator of Photography Brian Sholis, Cincinnati Art Museum; and FotoFocus Artistic Director and Curator Kevin Moore.
Sunday, October 12: Forum
Featuring presentations and panel discussions by local participants, such as Artists Jordan Tate and Aaron Cowan.
For complete details about the FotoFocus 2014 Biennial visit here.
The last day of MidPoint is like a lot of endings in life; the end of the day, the end of the week, the end of the year, the end of a piece of cherry pie, the end of the line. This is the end, my only friend, the end.
And it had the chance to be the perfect end of perhaps the most perfect MidPoint in the festival's history, from the lineup to the weather to the experiences. And you know what, Aunt Em? I think it was. You were there, and you were there, and so were you. And so was I. I'm fairly sure of it.
I had a lot of possibilities circled on my MidPoint program for Saturday night, allowing for the chance to leave something I wasn't crazy about or merely the opportunity to see a couple of great things in the space of an hour. All of that happened and so much more. Saturday night was more sampler platter than focused attempt to see a set number of bands and it turned out pretty well. And for the first time since I began doing this daily wrap-up thing God knows how many years ago, I didn't take a single note all night as an inadvertent experiment in appreciation recall. Success or not? You be the judge.
As I was finding a parking space, I was listening to Little Steven's Underground Garage. The former Silvio Dante had been playing snippets of Groucho Marx bits from the Marx Brothers' movies, and finished with a hilarious Groucho interview about how the moustache came into existence. Moments later, as I was walking across Central Parkway on my way to the first show of the evening, I heard a horn honk and saw a massive arm wave from a Kia Sol. Of course, it was the semi-ubiquitous Jacob Heintz, the pope of MidPoint, giving me his blessing from his diminutive popemobile. Saturdays at MidPoint don't begin much better than that.
First up on my last day's dance card was Cincy’s The Ready Stance, who were slotted as the first show of the evening on the Midway stage. When the band began, I was still near the food court, and as the music cranked up, I would have sworn that the production staff was pumping some Marshall Crenshaw through the sound system for a level check. Within seconds, I realized this was no lost Crenshaw track but the Stance in full Pop jacket mode. The Stance churns out classic Pop/Rock informed by the '90s college Rock histories of guitarist/vocalist Wes Pence, bassist Randy Cheek and drummer Eric Moreton and the contemporary classicism of guitarist/vocalist Chase Johnston. As the foursome ran through a set that was evenly divided between tracks from their 2012 debut Damndest and new songs that may wind up on the band's in-the-works sophomore album, the Stance's numerous gifts were evident.
Pence and Johnston play with a two guitar/one mind synergy that crackles with intensity, Cheek lays down a massive groove that could be tracked from space and Moreton has the malleable sensitivity to control tempo and volume with a flick, a roll or an outburst. These guys are working stiffs on the old day job/night Rock treadmill, and the gears turn slowly in that world, so the new album may be on the far horizon. But as good as they were Saturday evening — Goose's Jason Arbenz pronounced them "Cincinnati's Jayhawks" and I wouldn't dispute it, although I'd toss in occasional nods to Mitch Easter and Ray Davies — the anticipation can only grow.
I bailed on the tail end of The Ready Stance's set to see OK Go down at beautiful Washington Park, and that may have been a mistake. I could have easily seen the entire Stance set and still made it in time for OK Go, as the band started close to 20 minutes late (It's a festival, boys … check the clock on your Jetson phones). When they finally hit the stage, the confetti cannons went off, they did two songs and then launched into … a question and answer session with the audience.
I did get to see "Writing on the Wall," a pretty good tune which is accompanied by one of the band's most inventive videos, and a track called "Obsession," also from their impending new album. But it was already time to hit the next thing on my slate, and as I walked out of Washington Park and heard frontman Damian Kulash taking an inordinate amount of time to teach the audience how to sing along with whatever was coming up next, I knew I'd bailed in the nick of time. I like OK Go, a lot, but this was a massive disappointment.
If I was feeling somewhat burned by OK No (cheap shot? Perhaps …), that feeling was almost immediately dissipated by Chicago trio Bailiff, who were just taking the Midway stage as I approached up 12th Street. The band had been recommended by my friend Paul Roberts, who had seen them at their last local appearance at MOTR, and he was lathered up by the prospect of seeing them again, so I added them to my list of possibles. Boy, was that the right thing to do.
Bailiff is not easy to pin down to a specific genre, but they play the living hell out of everything they do and they do just about everything. At one point, they were grinding out a Prog/Pop vibe that suggested the sound of King Crimson with Adrian Belew at the helm and Robert Fripp in a support capacity, a pretty neat trick considering Josh Siegel is the only guitarist in the band. Or they'll take a left turn into a tribal Jamaican/African reverie, or Art Rock bluster with the classicism of Talking Heads and the future shock of Radiohead. I kept wondering if there was a keyboardist behind the amp and out of my line of sight, but no such accompaniment was present, just the Siegel's sinewy guitar acrobatics, bassist Ren Matthew's Entwistle-meets-Pastorius lead runs and drummer Owen O'Malley's baby Bonham antics. The trio was drifting between their 2011 debut, Red Balloon, and their just released Remise, and it was all over much too soon for anyone's taste.
For reasons that will be revealed in the notes, I hung around the Midway for Alexander Giannascoli, aka Alex G, an impossibly young guitarist from Philadelphia with a pretty happening band around him. G's got a pretty good backstory, writing and recording at 12, posting songs online at 16, then lathering/rinsing/repeating into his current early 20s. He's got a wispy vocal delivery that rivals the late Elliott Smith for ephemeral atmospherics, and a Beck-meets-Robert-Pollard sense of Avant Pop, qualities that stand in clear and extremely appealing relief on his studio work, particularly his just released DSU. Unfortunately, a lot of those recorded subtleties and quirks are lost in the clatter and bash of their live presentation, and with the dynamic and emotional range smoothed and leavened, Alex G's largely mid-tempo odes don't offer much else to latch onto in the course of a set. This is most certainly not a case of good songs performed poorly, more like edgy songs with just a little too much of the edge sanded off. Alex G is obviously a considerable talent, and if I were to offer a bit of unsolicited advice to young G, it would be to either find a band that can recreate your basement lab concoctions or write for the live band you have, because they're talented players.
There was a considerable spike in the Midway energy level when Low Cut Connie took the stage. Typically just a duo featuring piano basher Adam Weiner and drummer/erstwhile guitarist Dan Finnemore, LCC tours with a full band complement and makes a mighty racket in the process. Weiner plays with the ferocity and brash confidence of early Jerry Lee Lewis at his most petulant — he even has a vestige of The Killer's untamed forelock of hair — and he sings with the raw animal magnetism of Iggy Pop. Weiner hops up on his bench, plays with his elbows and occasionally his ass and stands atop his piano threatening to do a strip tease as the band vamps on. And when Finnemore steps to the front of the stage with his guitar, the U.K. native truly embodies his Punk/Garage Rock roots and influences. Low Cut Connie's songs are dripping with snarky humor but they stop well short of being mere novelties by virtue of being great bloody songs. The band's Facebook posting on Saturday morning at 9:30 a.m. stated, "On our way to mess up Cincinnati real good … tonight at #mpmf … gonna rip it." Damned if they didn't.
Once again, I had to tear myself away from Low Cut Connie's compelling Midway spectacle in order to take in a little of Mr. Elevator and the Brain Hotel down at MOTR. When working on their blurb for the CityBeat preview issue, I was absolutely captivated by the Brain Hotel's hypnotic Psych/Pop soundtrack and dark Carnival of Souls demeanor, and it translates well into the band's live performance. There are hints of the '80s Paisley Underground in the Brain Hotel's sonic profile, particularly the helium-tinged vocals of the Three O'Clock's Michael Quercio, but it's the band's visceral impact that is most satisfying. It reminds me of the first time I saw The Doors on The Ed Sullivan Show in 1967 and was completely mesmerized, not by royal lizard/frontshaman Jim Morrison but by hunched-over keyboard alchemist Ray Manzarek. Any band that can consistently access that hallowed memory from the dusty archive of my brain's pre-hard drive file cabinet has my undying devotion.
I had initially earmarked the 11 p.m. spot for the Bonesetters at Arnold's, but my bum leg was starting to throb a bit and the prospect of walking to Arnold's and then back to MOTR for Kid Congo at midnight suddenly seemed painful and ill-advised. For the sake of saving my leg for possible use on Sunday (and sort of forever), I opted to keep my spot on the MOTR dance floor and hang around to check out Corners. Deirdre Kaye's preview noted that the L.A. trio had been working a Surf/Psych angle but that they'd recently shifted to a Post Punk direction. That became evident with their first song, a blazing two-guitar/bass/synth percussion screamer that brought my last two years of college back to life like an acid flashback with a Synth Punk soundtrack.
Corners bears all the marks of late '70s Electro Punk, somewhere in the vicinity of Joy Division and their post-Ian Curtis iteration New Order, with flecks of the Units, San Francisco's dour Synth Pop avatars, a splash of Gang of Four, a dash of Bauhaus and Red Lorry Yellow Lorry and maybe a trace of the Sisters of Mercy and Killing Joke. All of this will most assuredly be reflected on Corners imminent new album, Maxed Out on Distractions, which provided the bulk of the songs for the band's MidPoint set, which was dark, vibrant and enjoyable. (Ironic fun fact: the entire lineup at MOTR on Saturday night will appear at Corners' L.A. record release party in early October.)
At last, it was time for Kid Congo and the Pink Monkey Birds, the last band of the last night of MidPoint, and brothers and sisters, the Kid and his compatriots were more than up to the task. The former Gun Club/Cramps/Bad Seeds guitarist has been staging some form of the Pink Monkey Birds for over a decade and this iteration (guitarist/keyboardist Jesse Roberts, bassist Kiki Solis and drummer Ron Miller) might be the best batch yet. Peeling any loose paint from MOTR's walls was absolutely no trouble for the Kid as he scorched away on selections from his latest album with the PMB, Haunted Head, as well as a couple of songs from their upcoming single and a bunch of old favorites, including The Cramps' "Goo Goo Muck," The Gun Club's "She's Like Heroin to Me" and his own brilliant "Black Santa" and "Killer Diller."
The MOTR's dance floor was a boiling mass of rhythmically moving bodies, propelled by the Kid's blazing guitar runs and the Pink Monkey Birds' perpetual motion soundtrack. And since it was the band's last night of their current tour, they were not about to leave anything on the table, so after their standard club-clearing encore of "LSDC," the Kid and his Birds returned for one last brilliantly incendiary romp through The Gun Club's "For the Love of Ivy;" I fully expected lightning to shoot out of the Kid's fingers and eyes as he overloaded every internal and external circuit in the joint. I don't think he could have given us any more and I'm not entirely sure we could have taken it even if he had any more in him. As the Kid and the Birds bid us adieu, I had to believe that this might have been one of the most spectacular last nights of my personal MidPoint attendance history. It will be hard to top going forward, you can bet your sweet ass on that.
• Before the Ready Stance set, I ran into Ready Stance. The Midway seemed like a good place for that to happen. Wes Pence was first, busy with logistics on the phone, then in short order Randy Cheek and Chase Johnston. The Good Rockkeeping Seal of Approval King Slice was on hand for the madness, as were Paulie, Big Jim and Stufest (that's Stu to you and me). Also down in front for the Stance was Randy Campbell, formerly with Screaming Mimes and now with Faint Signal, who promised a new FS album coming shortly. I will keep you appraised of the situation. And once again, Eddy Mullet, my Class X comrade in Rock, sought to gain my attention by standing impossibly close to me as the Stance pulsed and pounded. Note to Eddy: For the record, 20 years ago, on a trip to Michigan, my best friend's wife, completely circuit fried on Xanax and Grey Goose, was dancing around their living room, grabbed my foot, shoved it between her legs and started hopping around in front of me like my shin was a stick pony from the '50s. With my foot in her cooch. Believe me, I'm not suggesting that you need to escalate to that DefCon level of weird, but it's safe to say that my threshold of the unusual is well above a bar you'd be willing to attempt to clear. And we're back. Accompanying Eddy was his most excellent daughter Jess, the smartest, most music savvy high school senior I know. Big things coming for that girl, I just know it.
• Down at Washington Park just before OK Go played, I crossed paths with Latha Mannava, former CityBeat worker bee and now more gainfully employed by F&W. Latha graciously introduced me to her friends by saying, "Whatever Brian recommends, that's what I go see." Ironically, I had written up the OK Go preview as a glowing endorsement, and Latha noted about two songs in, "These guys are doing nothing for me." Just to keep things in perspective, folks, the best hitters in baseball are only successful a third of the time, and that's a better percentage than some highly salaried and over-radared weathermen. I'm pretty sure my reputation is still pretty good with Latha.
• I spent a good deal of the evening on the Midway with Ready Stance drummer Eric Moreton and his wife Beth. Eric couldn't really go anywhere because someone in the band had lost his wristband (I don't want to assess blame but his initials are Wes Pence), so I just kind of hung around and had a lovely conversation with the two of them. I'm fairly certain I scared the living shit out of them with tales of my dysfunctional life and times and the epic tale of why I was on a self-imposed one beer limit throughout MidPoint (which I'm surprised wasn't tweeted about at some point during the weekend, with the suggestion, "Please shut up already, please"). In any event, it was nice, thanks for the company, and if either of you requires therapy after our compressed time together, I think my insurance will cover part of the cost before tying a cinder block to my waist and throwing me off the Big Mac Bridge.
• As I was headed into MOTR for the Brain Hotel experience, the wisdom of checking out this show was magnified a hundredfold with the appearance of the much-too-absent Matthew Fenton and his friends Kyle and Nicki (I'm guessing at her spelling, as I did with last year's Bunbury report). Matthew had also decided to stake out an early spot for Kid Congo, and a look at Corners' crazy Gary Panteresque T-shirt designs at the merch booth salted his decision. I love seeing shows with Matthew; they typically involve exchanges like this:
Matthew: Who is this again?
Brian: Mr. Elevator and the Brain Hotel.
M: Very Paisley Underground.
B: Remember the Three O'Clock?
B: They need a go-go cage.
M: With you in it?
B: I don't dance.
M: You've gotta do something.
B: (Frankestein-then-master voice) "Arrrrhh!" "No, Caezar!" "Fire, bad!"
M: Well, not that. You can't just sit there sucking your fingers.
B: May I go to the bathroom?
B: Thank you.
Pretty much endlessly. I love our time together. It's so pointless and perfect. And it usually has a pretty cool soundtrack.
• As Corners left the stage, Matthew's friend Ashley showed up with her friend Tone (again, guessing … it could be some Scandanavian derivation with no vowels and the symbol for magnesium as an accent, or it could be short for Tony), who was a super nice guy and a good hang for the Kid Congo show. Ashley mentioned that they were only there because of a bug in the MidPoint app that kept defaulting to Thursday; they thought they were coming to see Nikki Lane. But they both thoroughly enjoyed Kid Congo, so no harm no foul … but have I.T. check that app for next year, kids.
• Also taking in the raucous Garage/Punkabilly jailbreak that was Kid Congo and the Pink Monkey Birds: Paulie, Big Jim and Sir Dan of MidPointville, who I'm beginning to believe was assigned my case and has been keeping pretty close tabs on me. For the record, I'm fine, and you can count the silverware. It's all there. I spotted Wes Pence at the very end of the show but when I did a quick walk through MOTR, he was gone. Cest la vie — see you again soon, my friend.
• On my way back to the car, I ran into the always fabulous Mike Sarason, dressed to kill after a friend's wedding, along with his stunning date Margaret. Mike mentioned that he had moved to New York, and that the hiatused Pinstripes were likely done, news that I had gotten from Pinstripes drummer John Bertke Thursday night at MOTR. It was great to see Mike, he's a world class guy and I certainly hope he continues to pursue a musical path because he's amazing, but the reality of the end of one of my absolute favorite bands and a perpetual highlight at this very festival made for a rather bittersweet end to the last day of MidPoint.
• And so one of the most nearly perfect MidPoints in the event's history is in the book. As usual, there is much credit to be spread around for the success of an undertaking with this much complexity and requiring this much planning. First and foremost to Dan McCabe, who somehow manages, year after year, to play the most intricate game of chess with artists, agents, publicists, labels and venues and then come up with a strategy where it seems everyone wins.
• Obviously, MidPoint couldn't happen without the sturdy volunteer army that clockworks this potential mess every fall with very few glitches. This absolutely could not be done without your skill, patience and stamina.
• Of course, there's everyone at CityBeat who helps facilitate and promote MidPoint and who are its main boosters well before and well after the event, from Dan Bockrath. Danny Cross and (now it can be told, cyborg) Mike Breen, right on down through the entire staff. Sting told me, every little thing you do is magic.
• And obviously to all the bands who came from down the block, across the country and, in some cases, around the world to be here for the express purpose of entertaining us with their creative gifts. But most especially, thanks to everyone who attends MidPoint year in and year out, for showing up to experience the region's absolute best music crawl. This year’s may well have been the best populated Thursday night in the festival's history, and that couldn't happen without patrons who believe in the event and the promise of great music to be heard and that couldn't be done without all of the above. Funny how symbiosis works, isn't it? Thanks again to you all for a brilliant MidPoint 2014. Set your watches for late September 2015 … you'll know me, I'll be the thirsty one with a limp
Published author, poet, teacher and long-time CityBeat columnist Kathy Y. Wilson has been named Writer-in-Residence for the Public Library of Cincinnati and Hamilton County. Wilson is the first person to take on this new position, which she will serve through November.
As Writer-in-Residence, Wilson will conduct a writer’s workshop, speak at multiple community events and participate in library promotions throughout her residency.
Wilson should be no stranger to any habitual reader of CityBeat, whose “Your Negro Tour Guide” column was a feature in each weekly edition before she abruptly ended the column in 2005. She still remains a featured contributor, providing matter-of-fact and straight from the shoulder insight on the most pressing and important issues, from the election of Barack Obama to the current transgressions of the NFL. She’s never been one to shy away from cutting and abrasive commentary, providing insight that might otherwise remain concealed or ignored.
Wilson has extensive experience in the field of journalism and writing. She is currently a senior editor at Cincinnati Magazine and an adjunct instructor of Women’s Studies and Journalism at the University of Cincinnati, and was a contributor for “All Things Considered” on National Public Radio. Her work has been recognized on multiple occasions, and she was a finalist for a National Magazine Award for her in-depth profile of conservative talk show host Bill Cunningham, being nominated alongside writers from big name publications like Vanity Fair, The New Yorker, National Geographic and New York Magazine — an achievement in and of itself.
Wilson had always dreamed of one day being featured on the shelves of a library and with multiple books to her name, that dream has been wholly accomplished. As the new Writer-in-Residence, she can help people consummate that very same dream.
The middle of the MidPoint weekend is like the middle of a lot of things; the middle of a movie, the middle of a book, the middle of life with an equal measure of glorious accomplishments and missed opportunities behind and the potential for great things still ahead, the middle of an exquisite jelly donut where the filling drips down your chin as you lick the pastry where you just bit with a sensual need for completion.
What was I saying? Right, middle of MidPoint. So here we are in Day 2, quite possibly one of the most anticipated second days of the festival in its long and storied history.
I arrived at Washington Park just as Joseph Arthur was beginning his set. A lot of folks had been hoping that Van Hunt might be accompanying the evening's headliner, our own Afghan Whigs, since he had been touring with The Whigs recently, but Arthur is opening this next leg of the Whigs' triumphant return and so the honor fell to him. And yet the pleasure was all ours, as Arthur put on a brilliant one-man presentation with the help of loops and stomp pedals and a catalog filled with amazing songs, like the powerful "In the Sun" ("because all the best Rock & Roll happens in the middle of the day"). Clearly the most incredible moment of Arthur's set came at its conclusion, when he set up his loops and launched into "I Miss the Zoo," and began drawing an outline with a black paint marker, which almost immediately began to run, on a piece of what looked to be foamcore on an easel set up on stage. While Arthur sang verse after verse, he squirted different colors of paint on various spots around the board, and then picked up a brush and pushed the colors around and into the bleeding black. When he finished the song, he had finished the painting. It was quite astonishing, to say the least. I've been a fan of Arthur's for some time — I interviewed him many years ago — and although I knew he was renowned for his paintings, I had no idea he mixed his media in quite this fashion. It was thrilling to witness.
Next up on the bill was Wussy, quite honestly one of the most redemptive and satisfying second acts in Cincinnati music history. After the nonchalant major label dismissal of Chuck Cleaver's Ass Ponys in the '90s, he returned with a shambling vengeance with Wussy in the new millennium, partnering with Lisa Walker then adding Mark Messerly and Dawn Burman to the fold and making their studio debut with the patently amazing Funeral Dress in 2005. Wussy quickly became a critic's band, famously scoring a huge fan in renowned writer Robert Christgau, who cited both Funeral Dress and 2007's Left For Dead in his Top 10 best albums of the new millennial decade. The arrival of drummer Joe Klug in 2008 gave Wussy the powerful engine they required to hit the subsequent heights they have attained, first with 2011's magnificent Strawberry and now with this year's brilliant Attica!
This latest string of Wussy shows is proving just how powerful and confident the newly minted quintet (with the arrival of former Ass Pony/pedal steeler John Ehrhardt) has become. Klug's presence as a muscular and reliable hammer is certainly one element, Messerly's evolution as an absolutely vital, melodic bassist is another, but in many ways this also boils down to the strengthening chemistry between Cleaver and Walker. The duo's already incredible synergy has morphed into a ferocious and purposeful partnership that yields more dividends with each set and session, and Friday's performance at Washington Park was evidence of Wussy's upward/onward trajectory.
After blazing through a killer romp on "Pulverized," Walker poked the crowd with a gentle threat: "I hope you like 'The Wreck of the Edmund Fitzgerald,' because we're doing all 13 verses … Gord's Gold 2, that's what we've been listening to, exclusively."
Thankfully, no such root canal took place. Instead, Wussy ran through a selection of Attica! and catalog tracks that cemented the band's position as a formidable live entity. "Rainbows and Butterflies" was massive, dense and beautiful while "To the Lightning" howled with an anthemic power surge that accentuated its R.E.M. jangle and Yo La Tengo dissonance, and "Teenage Wasteland" was a showcase of Walker's incalculable gifts and her indispensible role in Wussy. And "Beautiful," like its studio predecessor, started out as a gentle meditation with a menacing undercurrent, but quickly built to a Crazy Horse squall that set off Cleaver and Walker's mantra-like intonation of "I'm not the monster that I once was." If all that wasn't enough, and it surely was, the fivesome finished their round with an unexpected and thoroughly engaging version of Joy Division/New Order's "Ceremony." This set was the best evidence yet that Cleaver may finally be ready to forget about the wounds inflicted by his first go-round with the industry and take his rightful place in the Rock pantheon along with his equally deserving Wussy mates.
At last it was time for the main event, the much-anticipated return of The Afghan Whigs. Each iteration of the Whigs' reclamation has been documented with a local show, but this tour in support of the Whigs' first studio album in a decade and a half, the jaw-dropping Do to the Beast, has been billed — even by some of the band's harshest critics — as the best live performances of their career. Local fans were justifiably amped up about the prospect of experiencing that rush for themselves. To say they weren't disappointed might well be an understatement on a par with "The Beatles kind of changed things."
Naturally, the majority of the set was devoted to Do to the Beast, as the band vaulted into the night air with "Parked Outside" and "Matamoros," guaranteeing that the album and live set opened with the same visceral one-two punch. But where frontman Greg Dulli sounded intense and focused in the studio, he was a coiled truck spring on stage, a spiral of wound up energy that unspooled with a nearly unhinged control.
Surprise was the watchword of the evening. Dulli had hinted to CityBeat that an unexpected guest would be making an appearance and that apparently turned out to be Greenhornes/Raconteurs drummer Patrick Keeler, who proved to be more than up to the task of beating the Whigs' tribal drums and being the percussive foil for John Curley's perpetual bass clinic. And while much of the set list was anchored by Do to the Beast and Gentlemen, about to be reissued in a 21st anniversary two-disc package, there were a number of interesting twists and fan-centric fist pumpers.
The Whigs have always loved mashing up two or more songs, and last night there were a few corkers; Gentlemen's "When We Two Parted" drifting into Drake's "Over My Dead Body,” Do to the Beast's "I Am Fire," paired with a tubthumping take on Fleetwood Mac's "Tusk" and the new album's "Lost in the Woods" bleeding into a melancholic shuffle through The Beatles' "It's
Getting Better." Elsewhere, the band partly covered Jeff Buckley's "Morning Theft" to great effect, and opener Joseph Arthur provided backing vocals on the stage front mic for "Can Rova" from Beast while Dulli took his place at the piano.
The band has been running through stellar versions of "Debonair," Black Love's "My Enemy," and 1965's "John the Baptist" and did again, but the end of the Whigs' hometown set provided the greatest fireworks, starting with the almost never performed "Son of the South" from their Sub Pop debut and sophomore album Up In It, and eventually finished with an abbreviated encore, a blazing march through 1965's "Somethin' Hot" and Black Love's "Going to Town." With the 10 p.m. curfew bearing down, Dulli introduced the band and departed with a resounding, "We are the motherfucking Afghan Whigs! We'll see you next time."
The Afghan Whigs have clearly grown to accommodate some of the massive stages they've inhabited as of late. Longtime Whigs fans may lament the loss of the band's less seasoned version, where every club show seemed to be played with the ferocity of rats fighting their way out of a corner. The Afghan Whigs of now feature the cumulative growth that Dulli and Curley have experienced over the past 15 years since the band's demise and that experience is considerable and fairly amazing. Songs that were once acid-etched screeds are now heart-pounding anthems, and that evolution seems neither contrived nor insincere in any way. Dulli still sings them with visceral conviction, but now he possesses a new understanding of himself and his long established mythology and Curley still underpins every song with eye of the storm calm and outer band intensity but now he invests every note with the unrestrained glee of the best second chance ever. It all makes sense to me.
One last observation; the red gels on the stage lights gave the curtain behind the band the blood red appearance of the velvet backdrop on the cover of Congregation. If you carry that metaphor to its logical conclusion, the Whigs were a beautiful naked ebony mother and we were her beautiful naked pale baby and we were all together on a beautiful night under a beautiful sky having a beautiful time. The Whigs' official return to us could not have been more appropriate or better appointed. And then there was Dulli's hopeful parting, “We'll see you next time.” God, I do hope so.
With the adrenalized rush of the Whigs still ringing in my ears, I headed over to The Drinkery to catch the last two songs from Across Tundras. The Denver-to-Nashville trio works a Doom/Stoner/Psych/Metal angle with a Southern twist that has appeal and volume in equal measures. I realized that I had some wiggle room built into my schedule so I decided to stick around and check out some of All Them Witches, also from Nashville and also working a similar corner as Across Tundras. Although at face value, the two bands seem identical, I'd give the slight advantage to ATW, simply by virtue of their incredible sense of melodicism through the crystal clear volume. There were moments of black hole heaviness that referenced contemporary purveyors like Dead Meadow and Mastodon, but in a Stoner Metal heartbeat they'd crank out a run steeped in the pot/incense smokehouse of early Black Sabbath and Uriah Heep. Amazingly, as loud as it was in The Drinkery's long, narrow space — and I'm quite certain ATW was burying the needles on sound equipment down the street, registering the volume like a Richter monitor — it was never distorted or sludgy or painful, just sheets of pure, beautiful volume and emotion.
I ducked out of the end of All Them Witches to hit the Know Theatre for Rubblebucket. I had picked them to preview based on a couple of spins through their recently released fourth album Survival Sounds and its live presentation did not disappoint. This was clearly a much-anticipated show in the area; the Know staff was counting wristbands by the time I arrived to ensure they didn't go over room capacity on the second floor, and it filled up quickly. Rubblebucket's dancetronic Art Pop/Ska/Soul comes across well in recordings with plenty of nuance and subtlety, but on stage the band is unadulterated fun, downplaying some of the studio filigree while amplifying their core sound. Former boss/friend-for-life John Fox noted the band's resemblance to our own Walk the Moon, and they certainly offer that same brand of infectious Dance Pop, but there is a complexity in Rubblebucket's sonic recipe that pushes them into a singular and perfectly erratic orbit, a place where Bjork and The B-52s and Fishbone and Talking Heads form an orchestra and fashion Play Doh instruments, Bjork whips out some Icelandic volcano magic and transforms them into playable utensils and they translate signals from Voyager into universal Dance Pop.
Rubblebucket's complexity and oddballitry may never find favor in the mainstream, but it hardly matters. They have found the answer to any number of unasked questions and created a sound that everyone should hear at least once and that too many never will. The packed house at the Know on Friday night can revel in the secret knowledge that we have heard Rubblebucket, we get it and, like so many things in life, that will have to do.
I once again beat a reluctant retreat, leaving Rubblebucket before set's end to make my way down to Arnold's for the Jam/Roots splendor of Holy Ghost Tent Revival. When I turned the corner on 8th Street, I spied a small crowd bunched up at Arnold's front door and heard the most feared word in the MidPoint vocabulary: Capacity. In a rare moment of "fuck it," I strolled into Arnold's anyway (OK, it's not all that rare; I am my father's son, after all, and I suspect that I learned those two words first), and found that "capacity" was a malleable term. As I was chatting with the ubiquitous and ever welcome Wes Pence of The Ready Stance in Arnold's middle room, The Sundresses' Jeremy Springer, doing a typically bang up job in his role as server in the bar, inquired if my presence in the middle room and absence from the patio was a result of the capacity announcement. "Follow me," he said without hesitation, and planted me at the rear of the room as the band kicked off the last slot of the evening.
It was obvious that a good many people remembered the Revival's rambunctious appearance at MidPoint two years ago, or heard about it and wanted to experience it for themselves (I was in the latter camp). I get The Band/Flying Burrito Brothers references to HGTR's tangy, twangy sound, but there's so much more to it than simple Country revivalism. The horn driven sextet swings with the bristling energy of Squirrel Nut Zippers without the desire for that level of authenticity, while ratcheting up the Rock quotient to Phish-like levels of volume and instrumental proficiency. With those twin engines in place, Holy Ghost Tent Revival is aptly named; the band is passionately inspired and their songs are energetically executed with the soaring joy of the event in their name without any problematic or messy religious connotations. Allow the Revival into your consciousness for just a couple of songs and you'll be converted to their immaculate perception of Roots Rock, Stax Soul, horn-peppered Pop and adrenalized Indie Rock. The band, squeezed onto the narrow confines of Arnold's porch-like stage, blew through selections from their estimable catalog, concentrating on 2012's Sweat Like the Old Days and the just released and consistently excellent Right State of Mind, with both a sense of and a disregard for precision, making sure the feeling came across more than the chart. Come back to us soon, Holy Ghost Tent Revival, MidPoint or not; we are in need of slightly more regular baptisms.
• Washington Park was absolutely jammed with humanity for Wussy and the Afghan Whigs. Pike 27's Sean Rhiney and Dave Purcell, along with Dave's wife Amy, were there early for the Joseph Arthur experience, the Black Owls' Kip Roe was wandering the grounds with son Kip Jr. at about the same time and scene vet Jay Metz was working the Whigs' merch booth with typical entrepreneurial flair. Wes Pence was in attendance with his son Wyatt, who got an invitation from one of John Curley's daughters to sit on the stage and witness the Whigs' splendor up close. To be 11 and cute again. Well, to be 11 again … I just looked at my sixth grade picture.
• Local singer/songwriter Josh Eagle strolled in to witness the Wussy set; Josh is just one more reason why Cincinnati's music scene is unmatched for its talent and its sense of community. Also ran into my old CityBeat boss and mentor John Fox, to whom I literally owe, at least in part, my career and current life. It is an unpayable debt and I try to acknowledge it every time I see him so he understands his importance in my history. He was hanging for the night with his buddy Don; we had a nice chat on the lawn and he was kind enough to buy me the one early beer that I had allotted for myself each night of the festival. That story may unfold in this forum at some point; I've related it 50 times already this weekend to friends, acquaintances and complete strangers. Keep an ear out, you'll probably hear it secondhand before I tell it again.
• CityBeat’s Mike Breen beamed in from the upper atmosphere for the Whigs extravaganza, so I'm two for two in the Breen spotting sweepstakes. I'm going for the hat trick on Saturday. The Owls' Brian Kitzmiller and Sohio's Mark Houk were also among the Whigsian throng, as were Paul, Big Jim and Stu: I learned from the shirt he was wearing that his given name is Stufest. Must be a passed-down-in-the-family thing. Great to see CityBeat theater critic Rick Pender, as well as CityBeat alum and local actor Rodger Pille and especially former Enquirer contributor and current MTV News hound Gil Kaufman. And I was introduced to a veritable platoon of additional people by some of the above, all of whom seemed like people I would like to have a picnic with anytime at all. I'm free next weekend, Brad and Amy.
• On the verge of heading back to the Main Street core, I turned just in time to see the unmistakable frame of stage manager guru Jacob Heintz strolling across the Washington Park grounds in the post-Whigs glow. Of course, Jacob's working every second of the festival, but he mentioned that things had gone so smoothly for the first two days that he was afraid to say it out loud for fear of screwing up whatever good MidPoint mojo was lingering in the atmosphere. It just ain't MidPoint until I've gotten some face time with Jacob.
• Once installed at The Drinkery, I was joined by CityBeat master blaster Dan Bockrath, who had arrived in order to soak up the sonic boom-and-doom of All Them Witches. Like everyone in the audience as near as I could tell, Dan was captivated by the concussive volume yet melodic heart of ATW, and when he returned from a trip to the bar, he handed me an unbidden yet desperately desired tonic water and lime. Although the Hall of Foam is sadly off line this MidPoint, Dan continues to be a much appreciated buyer of liquid refreshment, and that, at the end of the day, is all that truly matters. Thanks again and always, Sir Dan of MidPointdom.
• At Rubblebucket, I crossed paths once again with John Fox, his pal Don and the ever inscrutable Mike Breen. I have searched my aging brain device and not come up with a single memory of seeing Mike twice in one night, so that could stand as the record. If I don't see him Saturday night, I may consider the hat trick achieved (with an asterisk). My buddy Brad Gibson, frontman for the Saturn Batteries, was on his way down as I was coming up, so not sure if he decided to stay. Not long after the band fired up, Sir Dan strode in with purpose and took his place alongside us. And there it was, the entire history of the CityBeat braintrust. And me, of course.
• Other than Wes Pence, the unofficial mayor of MidPoint, I didn't spot anyone in the Holy Ghost Tent Revival crowd that I knew until Sir Dan came in not long after the band got cooking. If it was anyone else, I'd consider a restraining order, but I know Dan is just looking out for me, and we share similar taste in music. And when HGTR frontman Stephen Murray asked the assembled multitude how they knew about the show, Dan responded with a lusty and pride-filled "CityBeat, motherfucker!" When I suggested that might make a nice tagline for the masthead, he seemed to consider the idea, leading me to believe that maybe Dan was done for the night. As I was headed out the door, Wes was talking to a friend at that very nexus, so I hung for a second until they'd said good night, then prepared to do the same. We started to chat when a face appeared at Arnold's front door and gestured toward Wes. Apparently it was his ride home, so he handed me his double bourbon and said, "Do what you want with it, I just want it to go to a good home." And so, valiant soldier that I am, I sipped for five minutes, then drained it. It mellowed my shit out like right now. Thanks, Dr. Pence.
The first night of MidPoint is like a lot of firsts; first date, first kiss, first sex, first beer, first rectal exam by a hot proctologist. Hey, you have your firsts, I have mine. Anyway, MidPoint Thursday is always a magical time of reconnecting with old friends, making a few new ones along the way and experiencing an almost breathtaking amount of incredible music of every conceivable variety. 2014's version of that particular passion play lived up to and exceeded every expectation.
First up was a trip to the MidPoint Midway to witness the return of the mighty Pike 27. The band's late '90s/early '00s run included at least one EP and a great full-length in Falling Down Hard, but frontman Dave Purcell's shift into academia on the teaching side signaled the band's demise. Although Purcell's professorship at Kent State precluded him from actual band activities, he never stopped writing songs, and when he fortuitously returned to Cincinnati last year, he had an ass-pocket full of new material that suggested new horizons and possibilities. Purcell and original bassist Sean Rhiney (veteran and current member of any number of high profile bands and the co-founder of our MidPoint feast) resurrected Pike 27 with guitarist/local hero Mike Fair and drummer-and-more Dave Killen.
This new iteration of Pike 27 is a powerhouse of scorching guitar, earthmoving bass and jackhammer drumming, and while there are vestiges of the band's Roots Rock history, everyone's balls are definitely within the vicinity of some wall or other and medal is being pedalled with controlled abandon. Start to stop, Pike 27 careened from song to song with the visceral intensity of The Old 97s and dashes of Alejandro Escovedo and Grant Lee Buffalo at their delicately nuanced and head-kicked obvious best. This seems to be a fertile period for long dormant bands to renew themselves and that can always be a problematic situation, but Pike 27 is clear evidence that having the right motivation to return can evolve into a stunning and most welcomed result.
On the heels of Pike 27's energetic and fabulous opening set at the Midway came the return of our beloved Black Owls, a well-documented force of nature in their own right. Pre-show, frontman David Butler promised that the Owls' set would be populated with nothing but new material with very few exceptions, and he was good to his word. Other than their recently installed cover of Harry Nilsson's "Jump Into the Fire" and set closer "Glorious in Black," from their 2010 sophomore album June '71, the oldest songs in the Owls' incendiary set were "Rook" and "Gasoline," the two songs from their most recent single. Everything else that followed an invocation from the inimitable King Slice was brand new and largely untested Owls material, perhaps all of which will be taken into Ultrasuede at the end of November in anticipation of a new album. It made for a set that crackled with energy and a certain ramshackle giddiness as the band roared through material that hasn't quite solidified. Butler is quick to credit the rise of guitarist Brandon Losacker's songwriting profile as the reason for the Black Owls' straightforward Rock shift and sudden prolific streak, but I'd be just as quick to point out the gelling of new (and perpetually fabulous) bassist Kip Roe, the malleable thunder of drummer Brian Kitzmiller and the continually developing chemical bond between Butler and longtime musical cohort Ed Shuttleworth as equal parts of the Owls' new equation. The band is clearly having an absolute blast with the new songs, and their joy is translating to performances that are pegging the needle past the insane levels the Owls had already established. Cincinnati's Black Owls, as Butler likes to refer to the band, is in the midst of a fertile and potentially explosive period of evolution.
After the Owls' incendiary set, it was a quick stroll over to the Know Theatre to catch the last half of the set from Cincinnati’s Darlene. The trio was firing on all badass cylinders to be sure, blasting out sheets of guitar squall with plenty of melodic counterpoint. A tweet from someone at the show asked the musical question, "Is Darlene the new Sonic Youth?" The answer provided by perpetual smartest-guy-I-know Matthew Fenton was a logical and correct "No." Darlene is a blistering Rock band, and guitarist Janey O'Laney is always teetering on the brink of a shred-fueled fit, with bassist Cuddly D (the infinitely busy Dana Hamblen) and drummer Robby D providing the slinky yet sturdy undercarriage. But the fact is that the trio, at its heart, is a melodic Pop unit. They probably hew closer to Yo La Tengo in their ability to go from pretty to visceral in a half a heartbeat, but Darlene isn't the new anything; they are Darlene, and that's an astonishing accomplishment. Besides, as Matthew rightly pointed out, Darlene may be the best-dressed band on any given night anywhere. Sonic Youth were never known for their sartorial splendor. So there.
After Darlene, it was time to cruise on down to Mr. Pitiful's to check out Steelism, an instrumental quartet from Nashville. If guitar, bass, drums, pedal steel and no vocals sounds like a crashing bore, you'd be half right. There was plenty of crashing; cymbals, sounds and gates, as a human stampede of MidPoint patrons made their way into Mr. Pitiful's to sample Steelism's wares. I know from experience that if a relative unknown doesn't grab a festival crowd in the first couple of songs, the crowd in question will leave fast enough to create a head-exploding vacuum in the area. If anyone left during Steelism's mind-melting set, they were more than offset by the several dozen who drifted in after the start.
Steelism is comprised of British pedal steeler Spencer Cullum Jr., Ohio guitarist Jeremy Fetzer, and a bassist and drummer whose introductions were lost in a crowd frenzy and a muffled mic (well, they weren't mixing for vocals, now were they?), who threw down a mighty and wordless racket, unless you count Cullum's talkbox vocals on the band's spin through The Beatles' "Something." You could call Steelism Surfabilly/Soulicana/Spaghetti Southern or you could just call it bloody good music; after running through a handful of originals from their new full length, 615 to Fame, and their cracking good 7-inch, The Intoxicating Sounds of Pedal Steel and Guitar, and covers of classics by The Ventures and Booker T. and the MGs, Steelism had the packed house at Mr. Pitiful's in the palm of their sweaty hands. At one point, Cullum indicated that the band was going to slow things down, and then offered the crowd a choice between a gentler vibe or "plowing on through." The overwhelming vote was for the latter, with Cullum noting, "No sensitive people here tonight." He certainly got a taste of what plowing through will get you in Cincinnati. Steelism finished up with a roaring take on the James Bond theme, which nearly pushed the frenzied multitude into religious conversion. I don't know what that church would be called, but they wouldn't have a choir; no words necessary when Steelism kicks open the doors of the sanctuary.
Then it was a quick jaunt down to The Drinkery to witness the Motor City madness of Flint Eastwood, a quartet of musical insaniacs from my home state to the north. In the studio, Flint Eastwood exhibits a certain heavy fisted subtlety that is charming and dancable in a visceral way. All of the relative nuance that is present on the band's EP, Late Nights in Bolo Ties, is tossed onto a bed of nails and jumped on until it experiences head-to-toe acupuncture in its live presentation. On stage, Flint Eastwood buries every needle in the red, thrashes about like lunatics after a napalm shower and entertains their audience at metaphorical knife point. Frontwoman Jax Anderson cajoled the crowd at The Drinkery to get involved in the show and when she got what she felt was a half-hearted response, she shrieked, "Nobody's too cool to have fun!" and put us through our paces like a Marine drill instructor on meth. She had us shouting then whispering "na na na"s, got us kneeling on The Drinkery's dance floor and then lifted us up like a demented preacher speaking in Rock & Roll tongues. All the while, the band was grinding out a gritty groove that sounded (and resembled) a full arena assault by the Red Hot Chili Peppers. It was draining and glorious and probably just another full-throttle 20-mile Rock & Roll hike for Flint Eastwood; it's pretty obvious these guys have one gear and it's "hellbent for bent hell." That's the Detroit method, bitches. Get used to it, get over it, get on it.
I reluctantly ducked out of Flint Eastwood's last two songs to hotfoot it down to MOTR for the remainder of Nikki Lane's set. Lane is a Country shitkicker with a decidedly different take on the genre, opting for a certain songwriting traditionalism while soundtracking it with a band that sparks and smokes with Roots Rock intensity and abandon and adopting a persona that suggests Wanda Jackson's pot-smoking, foul-mouthed twat of a granddaughter. Lane and the Thunder (she admitted the jury was still out on the name) roared through their MOTR set with equal parts ferocity and humor, as Lane used the space between songs to candidly muse about the intention of each one. "This is a love song," she noted appropriately prior to "Want My Heart Back," extending the title to, "I want my fucking heart back," and later opened "Sleep with a Stranger" with "This is a song about tonight, when you'll sleep with someone you don't know." Later, she dropped this indelicate observation: "This one's about my best friend. Sometimes she's a cunt, and I don't like that word, but she is. And when you're a cunt and your best friend is a songwriter, well, you get the short end of the stick."
Taylor Swift has written a lot of songs about the people in her life and I'm guessing she hasn't gotten around to any of her cunt friends yet.
Towards the end of her blistering and profanely hilarious set, Lane said, "We've got a couple more, then we'll pretend to go away, and come back for a couple more." She loves her covers as well; she hauled out a great take on The Byrds' "You Ain't Goin' Nowhere," a loping yet intense version of Waylon Jennings' "Waymore Blues," and finished her encore with a blazing spin through a Tom Petty cover, not an old catalog chestnut but "Saving Grace" from the new album, a song that blends Petty's classicism with his well-earned experience. Lane clearly identifies with that stance, as she channels all of her Country influences through a blazing Rock filter, creating a sound that identifies with the past but erupts with white hot emotion in the here and now.
• To begin, a clarification for anyone who may attempt to buy me a brewski during MidPoint: For largely legal reasons, the Beer Buying Hall of Foam has been forced into a strike shortened year in 2014. I salute all who have so generously provided the nectar of the gods to a poverty stricken scribe on an annual basis and I promise that the commissioner will reinstate all practices and records next year, but for now, the Hall is strangely dark and quiet.
• In stark contrast to the Midway, which was lit up like a Kansas City whorehouse. Not that there were whores, but lots of lights. Boy, writing was easier with the Hall of Foam open. At any rate, within moments of arrival, I crossed paths with singer/songwriter par excellence Mark Utley and pianist to the stars Ricky Nye, who is in the throes of planning the upcoming Blues & Boogie Piano Summit, coming to the Southgate House Revival on November 7 and 8. After a quick chat, I headed to Mr. Hanton's for a heartstopping dog (not for health reasons but because it's so good … man, 2015 can't get here fast enough), choosing the Smokin' Hot Chick; my bill was cheerfully picked up by the always incredible Wes Pence of The Ready Stance, who joined me with a Smokehouse of his own. Can a Hot Dog Buying Hall of Fame be far behind?
• From there, the Midway was a blur of humanity. CityBeat photographer and local music denizen Jesse Fox took a shot of me and Class X Radio host/local music aficionado/empresario Eddy Mullet, which apparently didn't damage her equipment in any significant way. In sort order, I was greeted by King Slice, his pal Justin, the always ebullient and sometimes menacing Venomous Valdez, the entire Broadway cast of the Black Owls, Paul Roberts, Big Jim and Stu (sans his I'm Stu hat, apparently confident in my recognition skills at this juncture), and Jet Lab guitarist Nick Barrows and his wife Robin. At some point in the Midway proceedings, I spotted the elusive and long-absent Matthew Fenton, along with Eric Appleby and Tricia Suit, motoring out of the Midway zone. They were gone before I could track them down (they must have see me coming, damn them), but when I mentioned the sighting to Nick, he said they were headed to the Chromeo set and would be back for the Black Owls.
• In the meantime, Owls guitarist Brandon Losacker took a mob of us (Owls frontman David Butler, Venomous, Slice, Justin and myself) to see his new conversion van, a behemoth from a bygone era. Cooler in the console, heated/cooled cupholders, TV, retractable bed, wood grain dash panel and a hundred other crazy features that makes it essentially a Swiss Army van. Incredible doesn't begin to describe it.
• Back at the Midway — a brilliant set up that, as the astute and ever fabulous Venomous Valdez noted, will have to undergo some changes next year with the advent of the rapidly progressing streetcar system — Sean Rhiney, Dave Purcell and Dave's wife Amy were hanging around to watch the Black Owls tear shit up. My Class X compatriot Eddy was back to witness the Owls' splendor, and at some point in the proceedings, my boss Mike Breen appeared like a magician's assistant. Breen sightings at MidPoint are like spotting nearly extinct species in the wild, so it's always great to know that he's an actual warm human being and not some weird holographic editorbot. (Editor’s note: I am both.)
• Over at the Darlene show, I caught up with the always effusive and entertaining Mr. Fenton, along with Eric and Tricia. They were planning a trip down to the Taft to catch the Ghost Wolves and Barrence Whitfield and the Savages, both of which I dearly wanted to see but my recently bum left leg, the long walk and the chance that the St. Paul and the Broken Bones show would sell out the venue kept me from tagging along. On the way to Steelism, three guys on the sidewalk ahead of me confirmed that the show had gone clean and there was little chance of entry. The gimp makes a good decision every now and again.
• Also at the Darlene show was Leyla Shokoohe, former CityBeat intern, current CityBeat freelancer and now Marketing Manager for the Cincinnati Symphony & Pops Orchestra. You couldn't script a lovelier or more personable human being than Leyla, and yet she is savvy beyond her lack of calendars. She's a marvel and the CSO should count themselves lucky to be the recipient of her passion and skill.
• Over at Steelism, I ran into fellow scribes Steve Rosen and Chris Varias. I've known Steve for quite awhile through CityBeat and we've talked music at many a holiday party/CityBeat event, and I've read Chris' excellent work in The Enquirer for many years but had never had the pleasure of meeting him until Steve's introduction at Mr. Pitiful's. I had interviewed Matthew and Eleanor Freidberger for a Fiery Furnaces story several years back and when they found out I was in Cincinnati, they asked if I knew Chris, which I did simply by reputation. It turned out that they had grown up together in a Chicago suburb. An unpaintable small world, indeed.
• Paul Roberts was digging the confrontational magnificence and sonic head blast of Flint Eastwood; he stuck around for the end, while I headed to the Nikki Lane gig, where Big Jim and Stu were ensconced at the bar. Paul was right behind as soon as Flint Eastwood dismissed him for the evening. Head CityBeat honcho and perpetual suds buyer Dan Bockrath had bought me an invisible beer at Steelism, which I downed with dry gusto, but he showed up at Nikki Lane and put a real tonic water and lime in my hand, which was much appreciated. I could pretend there was gin in there, and that somehow made everything okay.
• As we left MOTR, Sir Bockrath and squire Dan McCabe, the architect of our annual MidPoint joy, were out front and the boss upbraided me with a casual, "You'll have your blog copy in by 7 a.m., right?" Yeah, let's say that, I answered, muttering to Paul and Stu, it'll be 7 a.m. somewhere. The lateness of this posting will tell you that deadline came and went and came and went again. I have a theory that I'm better at writing when I'm slightly hungover because I just want to get it done so I can take an aspirin and lay down. Not happening this year. I guess I could still take the aspirin, for old times sake.
Human grumpy cat Aubrey Plaza will provide the voice for actual Grumpy Cat (real name: Tardar Sauce) in a Lifetime Christmas special! Who knew people still cared about Grumpy Cat? Moreover, who knew Lifetime made intentionally funny programs?
John Malkovich has portrayed a plethora of characters over the years and now he’s taken on the stars of famous photographs in some cool recreated shots by Sandro Miller:
See them all here.
As “fannibals” of the artfully demented Bryan Fuller spectacle await the next course of NBC’s Hannibal, we get a taste of what’s to come. Whereas the first season focused on French cuisine, pulling episode titles from traditional French courses, and the second did the same with Japanese fare, it appears Season Three will be Italian, judging by Fuller’s tweet of the first episode’s script, titled “Antipasto.” We last saw Hannibal (in one of the most insane episodes of any show ever) on a plane to France — perhaps this season finds him in Italy? With the possibility that nearly every character on the show is dead, maybe this season will totally flip the script and just become the creepiest cooking show of all time. I can see it now: “Today on Eating Hannibal, we have a special guest joining Chef Lecter. Please welcome Bobby Flay! Well, parts of Bobby Flay…”
If you like miniature things, animal videos and eating, you are one of billions of people who use the Internet. Also, you may be familiar with the tiny hamster that eats tiny versions of human treats, like in this video, where he enjoys an authentic Mexican feast of tiny burritos.
Well, Tiny Hamster is back, this time taking on competitive eater Takeru Kobayashi:
You may also be familiar with Jasmine Tridevil.
In a shocking turn of events, it seems that Total Recall prostitute
wannabe claiming to have a third breast added to her body is a FRAUD. Doctors
agree the surgery would be nearly impossible to pull off and my eyeballs agree
that the shit looks fake. Drag queens have been using prosthetic breast plates
Jasmine clearly will go to any lengths to get a TV show — besides actually
getting a third boob, I guess. And she appears to have a past of creating stunts
for media attention. Ya been Snopes’d, girl!
And speaking of Total Recall, the star of the movie’s 2012 remake Colin Farrell has been confirmed as one of the many speculated-about leads for the second season of HBO's True Detective. Vince Vaughn was also confirmed as another star in an HBO press release yesterday. Farrell will play Ray Velcoro, "a compromised detective whose allegiances are torn between his masters in a corrupt police department and the mobster who owns him,” according to the release. Vaughn will portray Frank Semyon, “a career criminal in danger of losing his empire when his move into legitimate enterprise is upended by the murder of a business partner.” Both actors had been rumored to star in the show for a while now, so if they’re confirmed we can probably expect Taylor Kitsch to formally come aboard soon. The show will also feature a female lead, after getting some kickback for the lack of leading ladies in Season One. Mad Men’s Elizabeth Moss and Michelle Forbes (aka Maryanne the maenad from True Blood) are two possibilities from the rumor mill — they’re also listed on the show’s IMDB page, along with Kitsch, but that’s not offish — and supposedly Rosario Dawson, Jessica Biel, Abigail Spencer, Malin Akerman, Oona Chaplin, Jaimie Alexander and Brit Marling have all read for a part. Fast & Furious director Justin Lin will direct the first two episodes, which should make us all nervous. Awesome director of Season One Cary Joji Fukunaga won an Emmy for his work; this season will feature several different directors.
Kirsten Dunst stars in a lovely “short film” that actually more of a PSA about how not to be a weird dick to celebrities and other humans in general.
Love this but seriously, do celebrities really use Uber?
If Axl Rose announced he was planning the next Guns 'N Roses album as a tribute to Tony Orlando and Dawn, that would be only slightly more surprising than Matt Baumann's left turn from his Ambient Jazz saxophone tone poetry to the sparsely appointed Americana released under his reimagined guise as WolfCryer.
Oddly enough, when Baumann defected from saxophone to banjo, the quality that linked his two disparate musical directions was a spartan sense of atmospherics and an expansively moody palette; while the outcomes couldn't have been more different, there was a fascinatingly similar philosophical link between his two sonic identities.
As WolfCryer, Baumann has been slightly more in tune with the singer/songwriters to which he swore fandom back in his tone/drone Jazz days (Warren Zevon, Tom Waits and Jason Molina were particular favorites), and over the past three years of his newly established Folk/Roots persona, he has managed to amass a catalog of songs that more than amply proves the wisdom of his career shift. His 2012 self-titled WolfCryer debut turned a lot of heads in the local Folk community, and Baumann spent the subsequent year working on his chops and making a new name for himself in a crowded scene that always seems to make room for quality purveyors.
Earlier this year, Baumann released the fruits of his most recent labor, the four song EP Wild Spaces, which came on the heels of a pair of EPs in late 2013, The Long Ride Home and Hell's Coming Down. The three brief but potent releases showed Baumann expanding his sonic possibilities as he incorporated more acoustic guitar and harmonica into his songs and left the banjo as an infrequent but still welcome guest. Baumann's proposed full-length debut, originally slated for this past summer, hasn't yet materialized but in the meantime, he's whetted our appetites with a new eight-song WolfCryer EP, The Prospect of Wind.
Like many of his avowed heroes, Baumann turns his songwriting talents toward society's downtrodden on The Prospect of Wind, with a particular interest in the personally felt ravages of war. It is an age old topic of literature and song, because no matter how sophisticated mankind becomes at the destruction of life, the simple desolation of the survivors never seems to change to any great degree. To that end, Baumann channels his inner Dylan in the lyrics and the cadence of the EP's title track ("There's an ember in the kindling, from a cracked and careless hand/Just waiting for the moment to rise and scorch the land"), nimbly displays both his love for and his study of Warren Zevon on "The War" and "When I Go," and waves his Springsteen flag with pride and admiration on "Box of Bones" and "Both Hands on the Plow."
As has been the case from the start of his relatively short but extremely potent tenure as WolfCryer, Baumann has no trouble notching his songs with some of the characteristics of his favorite singer/songwriters, but he does it in the constant pursuit of his own musical identity. You may detect a glimmer of some of his monolithic predecessors in the songs that comprise The Prospect of Wind, but you'll come away knowing that you've experienced another great WolfCryer album.
WolfCryer's CD release show for The Prospect of Wind is Friday night at the Southgate House Revival in the Revival Room. Admission is $10 and the show starts at 9 p.m.
MidPoint Music Festival 2014 kicks off this Thursday and we've been showcasing some of the Critic's Picks from our official MidPoint guide (which will be available throughout the fest). While most of attendees are likely very familiar with some of the bigger headlining acts, these suggestions mostly focus on some of the lesser known gems. (If you're in doubt, any act with "Cincinnati" next to their name is a slam dunk.)
12:15 a.m. @ Arnold's
Baskery (Stockholm, Sweden)
Sweden’s Baskery formed in 2007, but the members didn’t have to go far to find each other. The group consists of sisters Greta, Stella and Sunniva Bondesson, who dub their unique spin on Roots/Country music everything from “Nordicana” to “Banjo-Punk.” But descriptions are especially difficult when it comes to Baskery; the trio’s third album, this year’s Little Wild Life, finds the sisters spinning a wide range of American Roots music styles into their own distinctive, wildly diverse sound. One second the group is showcasing its vocal harmony prowess a capella on the haunting “Northern Girl,” the next its strutting swamp boogie a la Southern Culture on the Skids on “The NoNo.” If you’re tiring of Roots music that doesn’t go off the same exact blueprints established a century ago, Baskery will show you just how far Americana can be taken.
You’ll Dig It If You Dig: The Dixie Chicks without boundaries, The Beatles reborn as a sister act fascinated by Americana. (Mike Breen)
7:15 p.m. @ Christian Moerlein Brewing Co. (Outdoor Stage)
Ancient Warfare (Lexington, Ky.)
Ancient Warfare’s dark and quiet intensity transcends the band’s tough-chick exterior. The quartet designs a sonic atmosphere the same way Saul Bass once designed logos: with elegant simplicity and ferocious creativity. The psychedelic aspect to Ancient Warfare’s presentation is more about texture than actual sound, as their languid, fuzzy melodies drift through their ethereal yet solidly constructed songs, like the heavy smoke in an opium den. The palpable weariness of Echo Wilcox’s gloomy vocals and haunted guitar, the intractable pull of Rachael Yanarella’s hypnotic violin, the subtle thunder of Reva Williams’ bass and the exquisite filigrees provided by multi-instrumentalist Emily Hagihara swirl and combine to make Ancient Warfare’s enveloping totality and assure that their imminent debut album, The Pale Horse, will be one of the fall’s most anticipated releases.
YDIIYD: Sixteen Horsepower reimagined as the Velvet Underground by P.J. Harvey, Aimee Mann and Hope Sandoval. (Brian Baker)
10 p.m. @ Christian Moerlein Brewing Company (Indoor Stage)
Apache Dropout (Bloomington, Ind.)
Like all good college towns, Bloomington, Ind., is forever dishing up awesome bands with fresh, new music. In the case of Apache Dropout, that “new” sound is perfectly and thankfully reminiscent of some of the best music of the past. Their newest album, Heavy Window, comes from Magnetic South, co-owned by band member Seth Mahern. The guys pressed 1,000 copies of Heavy Window, one of their largest printings yet. Fun fact: The first half of those records feature glowing eyes on the eerie-cool cover. It’s the ultimate tell-tale sign of the drug-addled, paranoid Rock & Roll boogie on the inside.
YDIIYD: The Who on acid, Sgt. Pepper’s Lonely Hearts Club. (Deirdre Kaye)
11 p.m. @ The Drinkery
Xoe Wise (Chicago)
At 19, Xoe Wise moved from her North Carolina home (the first song she wrote was for a sick goat on her family’s farm) to Chicago and immediately became a fixture in the city’s burgeoning scene. Wise’s debut album, 2010’s Echo, generated a pile of positive local press, while its follow-up, 2012’s Archive of Illusions, earned her a sell-out crowd at Schuba’s, a spot on WGN-TV and a feature in the Chicago Tribune. Wise’s third EP, Breakfast, hit the Top 20 on iTunes’ Singer/Songwriter chart and she’s currently at work on her third full-length, irresistibly titled Racecar Orgasm. Wise plays solo acoustic or with a full Electro Pop crew, but either way she creates a dreamy and undeniable vibe.
YDIIYD: Imogen Heap and Suzanne Vega play Twister on a musical game board. (BB)
11:15 p.m. @ Mainstay Rock Bar
The Tontons (Houston)
Big-haired Texas and its Rock & Roll-loving youngsters have eaten up and loved every second of their time with The Tontons. Now the band is out touring the nation and conquering ears and hearts across the globe. The group’s sultry Rock is just good enough to make The Tontons Cincinnati’s favorite band, too. “So Young,” off 2011’s Golden, feels like a modern, youthful, rockin’ spin on elevator music or like Henry Mancini decided to start a female-led Rock band. Asli Omar’s one-of-a-kind voice and perfect squeal makes each song on this year’s Make Out King and Other Stories stand out.
YDIIYD: Blonde Redhead, wearing leather to Tiffany & Co. (DK)
8:45 p.m. @ Mainstay Rock Bar
The Nepotist (New York, N.Y.)
Good luck trying to find a one or two word descriptor for the music made by NYC trio The Nepotist. Actually, don’t even try — the group’s uniqueness and sonic diversity is what makes them so enjoyable to listen to. The Village Voice called them “Alt Soul,” a term the band has embraced and works well enough given the soulful vocals and rewired Steve Cropper guitar riffs. But then you have a track like the recent single “Kids,” which has bubbling banjo and harmonies befitting a Folk band. It’s a delicious stew that is blissfully unpredictable. The trio (formed by brothers Chris and Hayden Frank) has only been together a couple of years but has already drawn loads of glowing press thanks to its pair of EPs and various singles released just this year alone. A full-length is due early next year.
YDIIYD: Grizzly Bear, Sufjan Stevens, Dr. Dog. (MB)
10:30 p.m. @ Memorial Hall
Saintseneca (Columbus, Ohio)
When Saintseneca canceled an appearance at the Fashion Meets Music Festival in Columbus this July, the quintet made national headlines not for its music but for its social politics, because the members were against sex offender R. Kelly performing at the fest. Met with vicious protests, Kelly eventually pulled out (no pun intended) of the fest. This is one of many ways the folksy Appalachian Pop group has become famous this year, along with releasing the new record Dark Arc (produced by Bright Eyes member Mike Mogis), recording a NPR Tiny Desk Concert and gigging across the country. From grassroots house concerts in central Ohio to performing at national fests, it won’t be long now before everyone knows their name and music.
YDIIYD: Weird instruments like the bouzouki, the dulcimer and a bowed banjo playing lilting harmonies with a Ben Gibbard-y vocal affectation. (Garin Pirnia)
9:45 p.m. @ MidPoint Midway Stage
Low Cut Connie (Brooklyn, N.Y.)
If you think Piano Rock is all Billy Joel and Elton John, sorry will be a much easier word for you after you’ve experienced the 88-key onslaught of Low Cut Connie. Featuring the manic piano fireworks of Adam Weiner and the ambidextrous drum/guitar magic of Dan Finnemore (and a full band’s worth of mayhem on tour), Low Cut Connie entertains with a vengeance and accepts nothing less than total surrender. Their first two albums, 2011’s Get Out the Lotion and 2012’s Call Me Sylvia, are loaded with catchy numbers that feature a lot of humor but stop well short of being simple novelties and showcase the duo’s disparate influences (Jerry Lee Lewis and Iggy Pop for Weiner; British Punk and Garage Rock for Finnemore). Low Cut Connie’s latest triumph was a spectacular version of Harry Nilsson’s “Jump Into the Fire” on the Nilsson tribute This is the Town earlier this year, and rumors of a third album continue to swirl. But right now, the play’s the thing. See Low Cut Connie and marvel at the things a piano was never meant to do but should have been doing all along.
YDIIYD: Ben Folds dipped in speed and forced to play Replacements and Stooges songs in a seedy cabaret. (BB)
8 p.m. @ MOTR Pub
Wyatt Blair (Los Angeles)
Power Pop gets short shrift in any serious discussion of music because of its relative simplicity and perceived lack of gravity, but nothing could be further from the truth. Coming up with hooks and lyrics that get the job done in under three minutes and stick in the head like brain taffy may be among the most difficult musical tasks. Wyatt Blair doesn’t seem to have any problem at all, and his latest album, the confectionary Banana Cream Dream, is solid evidence of his lo-fi Power Pop ambitions (he also works with Peach Kelli Pop and Mr. Elevator & the Brain Hotel). As Andy Partridge once noted so succinctly, this is Pop.
YDIIYD: Rick Springfield channeling T. Rex, produced by Tommy Keene. (BB)
10:45 p.m. @ Ballroom at the Taft Theatre
Earth (Seattle, Wash.)
Much like the planet itself, the band Earth has been through a lot in the past 25 years. Guitarist Dylan Carson founded the primarily instrumental band in 1989, cribbing the name from one of Black Sabbath’s early monikers. The band’s 1993 debut, Earth 2, has long been considered the launching pad for what Carlson dubbed Ambient Metal, a feedback- and distortion-drenched drone that influenced a subsequent generation. In the mid-’90s, Carlson shelved the band to deal with heroin addiction; it would be nearly a decade before the release of 2005’s Hex; or Printing in the Infernal Method, which retained a Doom Metal structure but incorporated Country and Blues motifs and was also heavily influenced by Cormac McCarthy’s novel, Blood Meridian. Earth’s next albums, Angels of Darkness, Demons of Light I and II, were shaped by Carlson’s love of Pentangle and Fairport Convention, while the just released Primitive and Deadly finds Carlson moving in yet another new and different direction, incorporating straight Rock and even Pop elements into his long droning jams. With 16 lineup changes in a quarter century, it’s not unusual that Earth would shift identities, but even if the personnel had been stable throughout, Carlson would have retooled the band’s sound in any event and made a new, glorious noise to confront the world.
YDIIYD: God’s guitar, Gabriel’s amp, the Devil’s road crew. (BB)
Hello Cincy. I’m back with the news this morning for what will sadly be the last time this week. Texas beckons for a few days, and I must heed its hot, sweaty, libertarian call. I’ll be back this time next week, however, to talk about the news and make the cheesy, topical jokes even your one lame uncle wouldn’t touch, because someone has to do it.
Here’s a cool thing: The entire neighborhood of Lower Price Hill is getting free internet access courtesy of Cincinnati-area company Powernet. In addition, the company is donating a mobile computer lab to Lower Price Hill’s Oyler School and Community Learning Center. Councilman P.G. Sittenfeld helped broker the partnership. Only 20 to 40 percent of residents in the low-income neighborhood have Internet access, according to an FCC report.
• Democratic candidates for statewide office are rallying in Washington Park this morning as part of their Tour to Restore Ohio campaign. Speakers include gubernatorial candidate Ed FitzGerald, attorney general hopeful David Pepper and state auditor candidate John Carney. FitzGerald has struggled against Republican Gov. John Kasich’s big fundraising and name recognition advantages. CityBeat covered the race between Pepper and Republican AG Mike DeWine earlier this summer.
• Another rally will be happening right across the street tonight. Write-in Hamilton County commissioner candidate Jim Tarbell is holding his campaign kickoff at Memorial Hall starting at 6 p.m. According to Tarbell’s website, the event will feature food and live music. It’s called Taste of Tarbell, which makes me wonder when the Republican incumbent in the race will launch his big rally, Smell the Monzel. Tarbell and the official Democratic candidate, Sean Patrick Feeney, an IT professional from North College Hill, are both taking on current Commissioner Chris Monzel. A majority on the commission’s three-seat board hangs in the balance.
• Some local transit advocates are pushing to get daily high-speed rail service between Cincinnati and Chicago. Seems like a cool idea, though there are some big hurdles to overcome. I for one would love to be able to jump on a train any given day and be in Chi a few hours later, since half of my friends just decided to up and move there recently, so count me in.
• Speaking of transportation, but on an entirely different scale, Cincinnati’s bike share Red Bike beat its first week goals in terms of ridership, getting nearly 1,800 trips. The nonprofit was hoping for 1,000. It was a busy weekend downtown, and roughly a quarter of those trips came on Saturday when 480 people used the service.
• A new study claims that Ohio could make $123 million in tax revenue if it legalized marijuana. Interesting. That’s not counting all the sales tax revenue generated from a special tax that could be passed on the sale of snacks, which I’m officially proposing right now as a way to fund Music Hall renovations.
• Finally, young American military veterans are experiencing much higher levels of unemployment than the general population and older vets, according to a Brookings Institute study. An opinion piece on the study talks about a big possible contributor to this troubling trend: lower levels of education among younger veterans.