For those of you who haven’t heard the news yet, on February 10 the Consumer Product Safety Improvement Act comes into effect. One of the major changes that this program will bring into play is a mandate that everything sold for children 12 and younger will have to be tested for lead and phthalates, and anything that isn’t tested (or that fails) will be considered hazardous and can't be sold. Read more about the CPSIA at the L.A. Times and some interesting blog commentary from the fashion industry.
CityBeat was able to speak with Anderson this week about protests, social issues and his thoughts on performance art.
CityBeat: Why did decide to bring the flute to Rock music?
Ian Anderson: When I was a young aspiring guitar player in my late teens I became aware of Eric Clapton, Jimmy Page and Richard Blackmore, who were the hot-shot guitar players down in London, and I decided maybe I should switch from guitar and find something else to play. The shiny precision of the flute, the ergonomics, the design, the manufacture — it’s kind of like a Swiss watch. It appeals to my sense of physics and engineering. For a particularly good reason, other than the way it looks, I decided I would give that a go. I learned to play it by trying to imitate the lines I played on guitar — solos and rifts. So I became the flute player in a Blues band and I was the only flute player in a Blues band, which gave me the difference that helped Jethro Tull stand out from the crowd.
CB: One of my favorites on Thick as a Brick II is “Adrift and Dumbfounded.” Can you tell me a little bit of the story behind that song or how it came about?
IA: Having been picketed a couple nights ago in Kansas City by the Westboro Church, the “Godhatesfags.com” people … I am seen as a fag-hyphen-enabler according to that unworthy organization. I don’t think I am a homosexual, but I am a supporter of gay rights and a lot of my friends and people close to me are gay people and I find that the prejudices and difficulties faced by young people, particularly in post-puberty, where they are sometimes questioning their gender and their physiology because some people are just born that way … so, it is a difficult time for relationships with parents and for society around you.
It’s difficult now. Back in the ’60s, it was really scary. So at the time when homosexuality wasn’t just a predilection but an actual crime, punishable by the courts by incarceration, being gay was a difficult position for any young person to be in, so I decided I would write a parent’s perspective of what that may be like — to lose a child through lack of communication and understanding with the parental, to lose that child to drugs and to, essentially, male prostitution.
That is an extreme scenario but it happens out there in the world. These are issues that face society today. These are issues that have faced society throughout the history of mankind. These days I suppose we are more able to talk about it and to examine the possibilities themselves. I always have to think when I was 15 years old and a little unsure of myself, maybe that could have happened to me. I try to use some of my personal history with my parents, with the lack of communication, particular on matters of sex. I try to extrapolate a little on my own limited experiences in that world.
CB: The Westboro Baptist Church never ceases to amaze me. How did you handle it that day?
IA: I was rather hoping to see them in the flesh. Unfortunately, I had my spies out. I had my spies out to try to keep an eye out because I tried to get a photograph opportunity with these people. Unfortunately, at the time, I guess they showed up when the audience was coming in or going out. When the audience is coming in, I am busy in my dressing room changing and tuning up my guitar. Afterwards, I am busy changing again and packing up my instruments. Unfortunately, I did not get to see them. That is very disappointing. I was really hoping to have the opportunity to have a nice smiling photograph with them and their evil representatives.
CB: Why did you choose this tour to play the Thick as a Brick albums in their entireties?
IA: When you are planning any kind of stage show, your first obligation is to keep it on a level that will engage people and keep it interesting for them and present them with a lengthy piece of musical work with a 15-minute intermission. You have to put your thinking cap on and try to construct everything to keep the audience with you, especially if you are playing a lot of music (with) which the audience is unfamiliar, you have got to make it work the first time around. It is not the result of hearing it many times so you have to make it a piece of working entertainment.
It seems to be successful because I have yet to see, when I go onto the second half of the show, any empty seats as a result of people leaving at halftime. Normally people stay until the end of the show and they seem to follow the momentum of the whole show. You get a personal sense of achievement when you present a large amount of relatively unknown music and you keep people engaged and enjoying the stage.
I don’t think many bands would attempt to do that. I can afford to do it because, a) I am prepared to take more risks musically and, b) I am really kind of doing it for me more than I am doing it for the audience anyway. I have always been a musician who has gone out there to make myself happy. You have to really have your own personal goals you achieve every night in performance. Primarily, I will say, it is nice you folks are here as well, but if you weren’t here, I would be doing this anyway. I am just doing this for fun.
CB: You have seen music change in the way it is recorded over many decades. Do you think it sounds better or worse today?
IA: Music has evolved in the terms of recording techniques over a period of about 60 years, hugely. It goes back to the early stages of monophonic and stereophonic tape recorders, which is what it was when I was a teenager.
When it got to the mid-’60s, it was becoming possible to create the simplest multi-track recordings, usually using two-track recorders, but bouncing back between the two to get a four-track sound. The very first Beatles recordings were made that way. By the time they got to Sgt. Pepper, they were recording with four-track and shortly on the heels of that came eight-track.
The first album I recorded was done on eight-track in 1968. That quickly evolved into 16-track and then to the most often used standard of 24-track, which continued through the late ’80s and even in some cases into the ’90s.
Frankly, the digital age really came about not in the ’80s or the ’90s but in the last 10 years, because that technology began to support 24-bit audio recording, which effectively mimics the human hearing to detect the difference between that and the original audio signal. We have 24-bit 96k recording, which is essentially all we need. We don’t need to advance upon that standard. We’d have to grow new ears before we could benefit any further resolution of earlier technology.
It is the same thing as when cameras hit the 10 mega-pixel mark … essentially equal (to) the very best film quality of film cameras in the last 50 or 60 or 70 years. We have now fairly commonly cameras that will deliver resolutions of 24 megapixels, which will be essentially much better quality you or my eye could fully appreciate.
We are there with audio and visual. We have now reached, during these last four or five years, human physiology would have to change for us to benefit from any increase of the resolution of the technology we are working with now. It is as good as it needs to be. We are there. We are done. We have reached the limit in terms of audio recording and digital recording.
CB: Was there a single incident that changed how you approached music?
IA: Well, I suppose a single incident was the first moment I played notes on a musical instrument, because I was aware as a small child of music as church music and music of Big Band Wartime Jazz, which my Father played on 78-rpm records.
It wasn’t until I was 9 years old and I acquired for a couple of dollars a plastic Elvis Presley ukulele and I strummed my first simple chord on the ukulele. At that point, even though the instrument was a rubbish piece, I could actually strum some little chords and sing along with it, and that was the magic moment of making music the first time.
I suppose that was the single most important moment of discovering music. There are a lot of people who never learn to play anything on a musical instrument and I feel like they are missing out on something. But some of them might be bungee jumpers and they feel like I am missing out on something, because I haven’t thrown myself off a bridge attached to a long piece of elastic.
CB: What is your ideal day look like these days?
IA: It depends if I’m on tour. My ideal day is to wake up around 7 a.m. and be driving rather than flying and getting to another city, another hotel by lunchtime, finding a Red Lobster or McCormack & Schmidt and (eating) some seafood or that sort for lunch and then having a rest and getting my e-mails in the afternoon before going to sound check.
That’s kind of normal practice. If I am at home, I wake up a little earlier, usually around 6:30 a.m. and I usually, again because of working in different time zones, it’s a good time to check e-mails from last night, generally prepare, shower, play with the cats, let the dogs out. If it’s the weekends, I have to go and feed the chickens.
In my ideal world, it would be a mixture of sitting at my office desk, playing a little bit of music and having a little bit of time to walk around the garden and sit and talk to my cats.
CB: What is the biggest difference in touring in 2013 versus 1970?
IA: The biggest difference is you can take a little stress (out) as you are touring easily because of more organization. Twenty years ago and 40 years ago, travel was a lot more disorganized that it is today. We can now be planning the next tour while we are doing this one.
Later today and tomorrow morning when I have a little time off, I shall be booking some internal U.S. flights for the next tour, looking at the various cities and suggesting to my U.S. travel agent some hotels I would like to get quotes on. Generally speaking, doing that planning exercise, when it comes to doing the tour itself, hopefully everything is in place. Everybody knows where everybody will be on most hours on most days.
You can take the stress out of things these days, where it was not so easy many years ago. We had to employ tour managers and people to carry our bags and people to herd us like sheep through airports. These days, people have their virtual boarding pass, which they can collect online from the booking reference code, which was on the tour itinerary, and they can print out their own boarding pass and head straight to the gate. I think things are easier these days, not because of the level of security we face now that we didn’t face 40 years ago, even 20 years ago. That makes lines a little more stressful and perhaps a little longer in the course of the day. We allow for two hours at airports from flight times to be safe these days, not knowing how long security queues may be or what indignities we may have to suffer to keep ourselves safe from the bad guys.
CB: Do you have any fond or crazy Cincinnati tour memories from the past?
IA: Probably with a Holiday Inn, Hilton or a Marriott or two. My bonds tend to be with what my particular life throws at me. The airport, even after all these years, is strangely familiar. I have been tracking the evolution of the airport from the late ’70s — when we were accosted by the children of God, doing their evangelical work, trying to hand out bibles and stuff — all the way to today. Airports quite often have that sense of déjà vu, even that nostalgic memory for me — certain hotels, certain venues of course, iconic venues we still play today.
CB: What was your favorite live performance ever?
IA: It is probably the show in an American venue near Washington D.C. called Wolf Trap. It is my favorite because it is the one I am going to be doing tomorrow and the one I have to focus on and prepare for.
Past shows are in the past. I don’t dwell on those. I don’t have favorites. I don’t have preferences, except for a couple iconic venues, as I suggested. My favorite show is the one I am about to go out and attempt to do because I always have to think it could be my last. Walking on stage is not a God-given right; it is a privilege to be able to step out there into the spotlight another time. I just take each show as they come. My next show is always the best show of my life.
CB: What can the fans expect here in Cincinnati this weekend?
IA: They can expect all they like, but it won’t vary one iota in delivery to them. Their expectation may be many and may be varied, but we try to make a point of emphasis to play Brick 1 and then Brick 2, then a long call of classic repertoire.
We have a very tightly organized show. If anybody starts shouting out during the quiet moments of the show, they will be studiously ignored. I don’t even have time to admonish them. It happened to me last night when I came on stage, I was astonished to hear two female voices shouting at me in one of the spoken words sections with a delivery of theatrical passion. You wouldn’t be considered cultured to be shouting and whistling during a Shakespeare play — please don’t shout and whistle during the performance of mine because I am here to do the work. You are here to listen and if you don’t like it get up and leave. Don’t start interrupting me.
Once in a while you get a drunkard out there that gets to shout at your band, but it happens so rarely these days and it strikes me as so being incredibly curious. I think our audiences do understand this is not a regular Rock show but a theatrical presentation (for which) they have to sit and let me do the work. That’s what I am there for. I may be 66 years old but I am there to do a man’s work for two and a half hours, where you can sit back and, if necessary, bring yourself a comfy cushion and maybe a sandwich because it is a long show.
Now that the economy has been kicking it snow sled style, I have been laid off from my wonderful job at a major Cincinnati corporation that makes jet engines. No, not Kroger! Silly! Now I find my days are free to do whatever I want! What do I choose to do you ask? Start a club of some sort that helps out the homeless of Cincinnati? Start a kick ass smart guy team of engineers to win the Automotive prize?
Journey is a legendary Rock act from the ’70s/’80s, but the band is not done yet. The group put out its 15th album, Eclipse, last year, Journey's second effort with current lead singer Arnel Pineda, and is currently out on tour with fellow ’80s hitmakers Pat Benatar and Loverboy. The band's classic music is standing the test of time and crowds still react emotionally to its vast catalog of hits, as well as some of the new music selections.
CityBeat spoke with keyboard player Jonathan Cain, who is now in his fourth decade with the band, and discussed how he was influenced to write one of Journey's biggest hits, as well as how the band stays relevant in today’s ever changing musical landscape.
Journey performs the final concert of Riverbend Music Center's season tomorrow (Friday).
CityBeat: You guys have been touring on Eclipse for the past year. Are you guys working on new material yet?
Jonathan Cain: No, we are just settling into the touring aspect of things right now. We worked pretty hard on the last one and thought it was time to focus in. I recently had a child and (guitarist) Neal (Schon) has been going through all his things with Michaele (Salahi). We have been busy. I just opened a new studio in Nashville called Eviction Sound. We have been focusing on all the stuff we have to do. It’s a balance deal. We’ll start working on new music eventually.
CB: You mentioned some of the personal issues with Neal and Michaele. (Salahi, a former Real Housewives of D.C. star, left her husband for Schon in a very public "love triangle" soap opera.) Has any of that gotten in the way of the band’s activities?
JC: No. Not at all. They are getting through it and still in love. It’s all good.
CB: Any fond Cincinnati memories from the past?
JC: Fond Cincinnati memories? I have had some nice encounters with the fans down at the hotel bar there; closing the bar there would be the response. I do enjoy going to the ball games as well. Cincinnati always has a pretty good baseball team.
CB: I was recently covering the CMT Awards in Nashville and saw the performance with Rascal Flatts. How did that collaboration take place?
JC: The Rascal Flatts thing came about because we have a mutual friend. I play golf with one of the guys who produces the CMT Awards. He asked me one time on the golf course, “Who do you think Journey should do a (CMT's cross-genre showcase) Crossroads with?” And I said, “Honestly I think Rascal Flatts best fits with the sound Journey does,” and he agreed. We talked to their senior management and the rest was history. We will probably do a Crossroads together at some point.
CB: I couldn’t get the song out of my head for four days after that night.
JC: It’s one of those hummers. Every band needs one.
CB: My favorite Journey song ever is “Faithfully.” I know you wrote that song. Can you talk me through that process to put that song together?
JC: Basically, the song was written on the road. I was in Saratoga, NY, in upstate New York. We had just come off the bus and I was feeling a certain way watching the crew take the stuff down every night with the riggers and the roadies. I felt they needed to have a song and same with us. We all miss our family the same way. I don’t care who you are in this business, you still sacrifice something to be out on the road. It’s something I wrote for all of us.
It’s a good ol’ Country song that turned out to be a big ol’ hit. (Original singer) Steve Perry actually wanted that on his solo album and I declined. I said, “Journey or bust.” It was the last song we recorded on the Frontier album back in ’83. We never even rehearsed it. That was live in the studio. That was the third take. Steve put his signature vocal on it.
I was thrilled to have penned that song, then we played it live and the fans came back with “I’m forever yours, faithfully.” They turned it around and it was pretty cool.
CB: I have asked other artists about hits like that and they say, typically, the hits come out quickly. Was that the case with that one?
JC: Yeah, I wrote that in a half an hour on a napkin. It was very quick in the room. I woke up and I had started it. I wish I still had the napkin. I don’t have it. Then there was the keyboard I had on my bed I used to bump around ideas on. It was one of those Casio keyboards you just take in your suitcase. When I got to the gig, I got a real piano backstage at the Saratoga Performance Arts Center and sort of flushed it out.
The first time I did the demo, I was working with Keith Olson back in L.A. and he let me record it just by myself and that was what I played for everybody. He played it for the girls from Heart. He said Nancy (Wilson, guitarist) cried when she heard it. I thought that was a good sign. I guess they liked it.
CB: I saw on your website that you share blogs and journal entries. Have you kept journals all through your touring years?
JC: No, I should. I sort of dropped the ball on that one. I am getting inspired to write a new one. A lot has happened since the last one. I want to update the fans. It just may take on the highlights.
We have just had this movie released Every Man’s Journey. We debuted it at the Tribeca Film Festival and San Francisco Film Festival. It’s a documentary that was made by a Filipino lady that heard about Arnel (also Filipino) joining our band. So she came out on our tour. She spent her last four years following our buses around, coming to rehearsals. So they finally put a movie together. That was really exciting to attend and it really helped him solidify himself as he has evolved as an entertainer and a star. You see it actually happen, I think they are going to release it next Spring. It is really something. It is a neat story. We are proud of him.
CB: I find it very inspiring you welcomed someone new into the band and are so supportive of them moving forward.
JC: It was kind of a no-brainer. The guy can sing better than anyone can sing it. We went, “You know what. Let’s go with this guy.” We loved his heart. We loved the man as a father. The whole package. He makes us better. He is great.
CB: I saw in your journals you were blogging about South America and other places. I wish I had written down all my travel stories over the years. What has been your most memorable travel story recently?
JC: Actually, the European thing with my son was really great. We went to Europe and he went on the road with me and we got to go to some pretty incredible places. We played golf together in Scotland. There was this incredible experience, everything from the Eiffel Tower to the Royal Palace of Stockholm and to see it with your son is pretty darn cool. We went to San Salvatore, about a mile up and you look out from the Swiss Alps and it is breathtaking. I have to say that European trip was at the top of the list.
CB: Any habits you’d like to break?
JC: I probably drink too much wine.
CB: Any regrets over the years?
JC: No. I believe life is perfect. You live to learn from your mistakes and grow. If you regret something then lessons haven’t been learned. Everything you regret is something you haven’t accepted in life. Mistakes are chances to grow, chances to understand a deeper sense of who, what, and how you relate to the universe.
CB: Do you think Rock music is a dying art?
JC: No. I don’t. It is a niche now. We are a niche now. We aren’t as popular as we were but if you come to our show you can see it is alive and well. Just because the media has stiffed us doesn’t mean we aren’t out there in our own way. We are quietly playing for thousands and thousands of people. We have sold 800,000 tickets. It’s crazy. It’s a lot of people. It’s a good show. Pat Benatar is on the bill. We have Loverboy opening up when it is the three of us. We are having fun. We are keeping things alive.
CB: Are you a political band? We are in a critical election time. Are you planning to back any candidates?
JC: No. We stay out of that. If they want us to play and pay us a bunch of money, we will play for them.
CB: Either candidate?
JC: We would. The bottom line is we have a lot of fans on both sides. That’s my feeling. I’m tired of Republicans, I’m tired of Democrats. Let’s just get the people together and get shit done instead of arguing and bickering. This is the worst Washington has ever been. That’s just my take on it. (Journey reportedly was paid a half million dollars to perform during the Republican National Convention this year.)
CB: We are looking forward to you in Cincinnati. What can the fans look forward to that night?
JC: It is a cool mix of all of our stuff. Some new, some old. Great video, great lights. We have a new sound guy. Our P.A. sounds like a big, giant jukebox. I don’t think we are too loud. I think we sound cool. I think we look pretty cool. They are going to see a great show. It is going to be a good first class Rock show with a lot of hits.
Cincinnati has a rich brewing history, plain and simple. And if you haven’t been living in a hole for the past couple of years you know that. So it should be of no surprise that someone would take a piece of that history back home with them.
That’s exactly what 25-year-old Daytonite and founder of The Dayton Beer Company, Peter Hilgeman, did. “I have always been interested in beer, but my interest really peaked when I worked at The Party Source during college,” Hilgeman says.
Hilgeman, a 2009 University of Cincinnati graduate, spent some of his time working across the river at The Party Source in Covington, which for many is considered to be the local mecca for beer and spirits.
“Living in Cincinnati definitely inspired me to brew beer and open up a brewery in my hometown of Dayton,” he says. “Cincinnati and Dayton have amazing brewing traditions and I truly love the history that both cities share with regards to their brewing.
“I really wanted to restore that brewing tradition not only for Dayton, but throughout Southwest Ohio."
Hilgeman also spent five months traveling throughout Europe honing his pallet for exceptional beers from around the world.
With names like Patterson Pale Ale, Inventors IPA and Hawthorn Hill Hefeweizen, Hilgeman wanted to make something that Dayton could call its own and the Queen City could also be proud of.
“My goal for The Dayton Beer Comapy is simple. I want to provide people with great-tasting beer that they really love drinking and to help them learn about the great brewing traditions Dayton and Cincinnati have to offer,” Hilgeman says. “I want to be thoroughly involved in the community and give back whenever and wherever possible."
Hilgeman plans to have his beer available in a few bar locations in Mount Adams. “I hope that the Queen City will be able to have a few Dayton Beer Company beers in the next month or two,” Hilgeman says. “ I also intend to expand throughout Ohio and eventually to other states as well, but with our roots firmly entrenched in Southwest Ohio.”
The Dayton Beer Co. is set to opens its doors at 912 E. Dorothy Lane, Kettering, Thursday, May 17. The tasting room will be open Wednesday-Saturday until 10 p.m. Check out www.thedaytonbeerco.com for more information.
The Gentlemen of the Road stopover tour started off as a rather simple concept. Mumford & Sons would invite a few of their music-playing friends to travel with them. They’d stop over for the weekend in towns they’d never been to before, towns they had no reason to visit. They would play two days’ worth of gigs for people they’d probably not ever played for before.It was just a small, scattered list of dates in BFE. NBD. Somewhere along the way, it became something much different. And much bigger. The “stopover tour” now looks much more like a takeover tour.
“It’s more about the town than the music,” was a sentiment you could hear echoed all over town. From the security guards to the people charging fans $20 to park in their driveway near the festival grounds. And that is an accurate statement.
When the Gentlemen rolled into Troy on the very last weekend of August they did, indeed, take over the tiny town. They did everything possible to put Troy’s best foot forward. The city center, with the fountain that turns pink in June for a strawberry festival, was closed down. WACO airfield was turned into a magnificent parking lot. Multiple school districts sent school buses to help transport music lovers from the parking lot to just a few blocks away from the festival grounds. You never had to wait for a bus, there were always plenty. Why can’t school districts work their own bussing schedules so fluidly? Even the Wendy’s in the next town stayed open until 2 a.m. in order to cater to Mumford fans.
Mumford & Sons ran Troy’s economy. The bakery served a limited menu and from the window hung loaves of bread shaped like mustaches – the international symbol for “Folk band.” A seemingly otherwise unused storefront became Mumford Market, which sold strawberry donuts and other festival essentials. Every storefront had a purpose, featuring window art of the four Brits in charge, of their acoustic instruments or of that omnipresent mustache (it was even painted on the streets). Aside from the Troy High School football field, which held the main stage and the bulk of fest goers, there were still two small stages downtown and another handful of street performers littering the crowded streets.
Heck, they even took over the Troy Police Department. For a town as tiny as Troy, they can’t possibly have very many cops and it seemed like nearly all of them were roaming around inside the closed-off festival area. You know that hard-assed vibe cops often get, especially when pulling security detail? Troy cops were the nicest (and best looking) unit to pull security at a concert I've seen. One of the highlights of the festival was watching an older (clearly drunk) woman swat an officer’s backside with her tambourine. He was quick to whip around and give her a quirk of the brow. When she gave him a grin and a wink, he laughed, wagged his finger and carried on. Later, as the woman and her tambourine flirted endlessly with one of the security guards, the TPD watched with grins and amusement. Nothing more.
And that bout of tambourine-assisted sexual harassment? Probably one of the worst crimes committed during the festival. One of the stage security guards remarked at how surprisingly low-maintenance the crowd was and one of the police officers on duty was quick to agree that the out-of-towners were exceptionally well-behaved. All of his calls had been to deal with locals — and even those calls didn’t seem like anything noteworthy or unusual for a festival environment.
Mumford & Sons fans know how to be polite when overtaking a city.
The festival repaid fans by taking over their nature. When they bought their tickets for the stopover date, they were sent a wristband, a fancy holographic ticket and a passport. The passport held info about last year’s first ever stopover tour, the band, the best restaurants and scenes to check out while in the area. And, just like a real passport, there were places to have stamped. Certain restaurants and stores had stamps. Every performer had a person in a booth at the back of the stadium with a custom stamp. People walked the festival grounds” with the rubber stamp, ready to bequeath another ink splotch on each passport. It was a race to get them all. A chance to maybe, just maybe, win a prize or learn something new.
What you really want to know about is the music though, right?
The festival may have been more about the town than the music, but the music was still what drew thousands of people to Troy’s gorgeous city streets. It was, after all, a concert, and the music that took over Troy’s stadium needs to be discussed.
Friday was a short day, with the festivities not kicking off until after everyone had time to show up after work. Of course, Edward Sharpe and the Magnetic Zeros, the Friday night headliners, were the clear draw for fans on Day 1. The Zeros have traveled with Mumford & Sons before, most notably on their "railroad revival" tour, and even released their newest album on the Communion label, a pet project of Mumford’s piano player, Ben Lovett. Technically, the band is solid. The only difference between their records and their live performances is the sheer amount of energy they bring to the stage. The group has fun on stage and that fun easily makes its way into the crowd. But if you’ve seen one Edward Sharpe concert, you’ve seen them all. If you haven’t ever seen them, then you’re missing out.
Saturday was magnificent, loud and the best kind of exhausting you could imagine. A little after lunch, the stage came to life with the lovely Indie Brit Rock band Bear’s Den (who will be back in Ohio to play Cincinnati's MidPoint Music Festival at the end of the month). They might have only kicked off the day, but their talent deserved a later slot. After Bear’s Den came Nashville’s Those Darlins, headed by Jessi Darlin, a wisp of a girl with a set of dragon-sized lungs. Rubblebucket, from Brooklyn, showed up next and bestowed upon festival goers all their weird, twitching energy. They’re awesome, but putting them before the decidedly more mellow (but still oh-so-awesome) Justin Townes Earle seemed a little ill-placed. It felt a little like revving the engine of a Mustang when you’re still three stop signs away from an open country road. Justin Townes Earle was brilliant, of course, but very laid back, and Rubblebucket left everyone pretty amped. On the upside, Earle’s joke about the Westboro Baptist Church earned him laughs.
Mumford & Sons also imported their friends, The Vaccines. Also hailing from England, The Vaccines’ lead singer Justin Young previously recorded on the Communion label as Jay Jay Pistolet, a far more tame version of the vintage Rock that evolved to make The Vaccines what they are today. This new creation doesn’t seem to get quite as much love from Communion’s heads as some of their other friends and that’s really a shame. The Vaccines are with Columbia now and blowing up in the U.K., but still floundering in America. They’re brilliant, though, and crowds eat them up. They sound gritty and much more Punk Rock than anything on the radio right now, but they could very easily end up on those playlists. They bring an insane amount of sexual energy to the stage, too. Remember that old Almost Famous quote about the fans “getting off?” One guttural bellow from Young ignited a crowd full of shrieks. The end of The Vaccines meant half the crowd needed a cigarette.
Earlier in the day, one of the security guards said he’d worried the concert would be full of Bluegrass bands, something he hated. So far, though, he liked what he had heard. He had no idea that after The Vaccines, things were about to get real blue, real fast. Old Crow Medicine Show are old pros by now. Not only have they toured with Mumford & Sons previously, but they’ve also been around for ages. Maybe that’s why their concerts always seem similar. They’re a blast and, if you know all their songs, you’ll be hoarse by the end of their set. But, at the end of the day, nothing changes much from concert to concert … not even the between-song banter.
Somewhere during the Old Crow set an older, surlier photographer made a comment that I caught just the tail-end of. He either said “They’re better than this” or “I’m better than this.” The answer to both of those sentimentswas the same, however. “Clearly Not.” If Old Crow were better than doing a clone show in a tiny town, then millions of people wouldn’t be singing along to “Wagon Wheel” right now and thinking it was by Darius freaking Rucker. And, if that photog were better than that festival, well, he wouldn’t have been there. Oh, the egos.
Mumford & Sons finally took the stage just as the sun was sinking down past the stadium, though we’d seen them during the set before when they crashed a few Old Crow songs. The first time I saw them was in 2010 at Beachland Ballroom. They sold out the 500-person capacity room and joked their way through the entire set. Not much has changed in those three years except the size of the crowd. As I bought a pair of Vaccines underwear from the merchandise barn (because, why not?), one of the boys added a sincere moment. Winston Marshall (I think. I was really far from the stage by then and trying to size underwear) told the fans there were a lot of people in America that the band loved “very, very much.” And that there were a few dickheads, too. Whether playing to a crowd of 500 or 50,000, the guys of Mumford know how to make each group of people feel awesome. Even if it’s just knowing to say, “O-H!” and grin when the Ohio crowd screams back the usual reply of, “I-O!” After all these years, they still really get a kick out of that trick.
Their performance was great, too. But it seems pointless to tell you that. At this point, Mumford & Sons have become so famous, so overplayed on the radio, you’ve no doubt already made up your mind about those four mates from London. Either you love them or you hate them. End of story. For me, the answer is love. I can respect a well-informed adverse opinion on the matter, however. So I won’t try to change your mind.
I walked back to my car as the Yacht Club DJs began their cool-down set after Mumford & Sons left the stage. Troy was quiet except for the bands and the revelers and drunks (so it wasn’t very quiet at all). But the town has a peaceful vibe to it and the band has always had a respectful sense to themselves that together kept everyone in check.
Would I do it again? Yes. But do I still absolutely hate festivals? Yes. Would I recommend the experience to anyone that made it this far in my review? Without hesitation, I recommend that you go visit Troy. And I will always tell everyone I meet that Mumford & Sons puts on the best show around and you should witness it once in your life. Whether you decide to hold out for their next stopover tour or settle for their next arena show, that’s up to you. Or, if you decide to wait a decade until the fuss dies down and they’re back to playing places like the Beachland or Bogart’s, I won’t judge you. I already know those gigs will be just as amazing.
Seth Rogen’s rapid rise atop the comedic heap has been a welcome reprieve from the well-scrubbed, chiseled faces that dominate Hollywood’s leading-man landscape.
But how will Rogen handle success? Can he keep from going down the road of the similarly unconventional, increasingly one-note Jack Black?
University of Cincinnati President Greg
Williams stepped down yesterday. According to reports, Williams
walked into a UC Board of Trustees meeting, announced he was resigning effective
immediately and left.
Greg Hand, spokesperson for UC, said Williams resigned for “personal reasons.” No further explanation was provided by Williams.
Santa Ono, UC provost, is taking over temporarily as interim president. In a tweet, he promised to give the university 150 percent.
Williams was at UC since 2009. A year after arriving, he introduced his UC2019 plan. The plan seeks to make the university into a top school by 2019. The plan also implied Williams had long-term plans for UC, making his abrupt resignation even stranger.
The Board of Trustees seemed happy with Williams — at least happy enough to give him a raise. On Sept. 20, 2011, the Board gave Williams a $41,000 raise, bringing his salary up to $451,000. He also got a $102,500 bonus.
The news took UC students by surprise. Lane Hart, student body president at UC, told the school's independent student newspaper, The News Record, he was “shocked” when he heard the news.
To give credit where credit is due, when The Cincinnati Enquirer first reported the story, the newspaper mentioned that Margaret Buchanan, president and publisher at The Enquirer, is on the UC Board of Trustees. However, The Enquirer did not mention asking Buchanan about the resignation — an omission that raised questions for Jim Romenesko, a popular journalism blogger. Since then, The Enquirer emailed Romenesko saying Buchanan did not know any extra information.
Buchanan's ties to local groups the newspaper frequently covers have failed to be disclosed in the past. Previously, CityBeat found in stories related to 3CDC, which Buchanan is also involved in as a member of the executive committee, The Enquirer overwhelmingly failed to report the possible conflict of interest. The newspaper only reported the connection one out of 32 times, although the number could be inflated due to The Enquirer’s system of posting duplicate articles. In one particular story, The Enquirer praised 3CDC but failed to bring up Buchanan’s role overseeing publicity and marketing there.
As the tournament progresses, it challenges us to keep up with the evolving storylines — the sudden defeat of major players and the quiet emergence of those who have escaped notice, the silent assassins.
My day started on Court 3, a make-up match between the ninth seed Na LI (CHN), the first Grand Slam winner from China, and qualifier Johanna Larsson of Sweden, who, on the morning of this match, was celebrating her 24th birthday and in her debut here in Cincinnati.
Li has been in the spotlight, with two Slam finals last year, but at 30 years old, one has to wonder if she has peaked too late. She is six years older than her opponent, but today, it is best to focus on experience rather than age because she displays a potent blend of wisdom and execution as she forces her younger foe to work harder and harder for the points she wins on her serve, while Li cruises through her own service games. She breaks Larsson twice with surgically precise shot placement, moving Larsson around at will. When Li captures the first set 6-2, it is plain that she is firmly in command and using the match as practice because thanks to the suspension of play from the previous night, the winner here will end up playing again tonight.
Another holdover from the rain delay is the battle between Caroline Wozniacki (DEN) and Anastasia Pavlyuchenkova (RUS), which was called with Pavlyuchenkova already up a set (6-4) on the number six seed and former number one player in the world.
By the time I settled into the stands, Wozniacki was down 4-3 in the second and Pavlyuchenkova held to take a 5-3 lead. The Russian woman looked like a pounding brawler, but a couple of points dispelled that misconception. Pavlyuchenkova tempered her obvious strength with well-placed balls that unerringly found line and corners of the court just beyond Wozniacki’s reach. A hold from the higher seed set up an opportunity for Pavlyuchenkova to serve out the match, much to the chagrin of the vocal fans on the Grandstand who possibly hoped to be able to catch a glimpse of Rory McIlroy later in the evening. Alas, it was not to be. Pavlyuchenkova slammed that book shut, earning a spot opposite Petra Kvitova to compete for a coveted semifinal match, where maybe the fans might join her cause.
Next up on the Grandstand, Venus Williams and the three-seed Samantha Stosur (AUS), the reigning US Open champion. Venus has had to exert a great deal of effort along the way and would probably appreciate an easier match here, but with the formidability of Stosur and her compact, punchy power that’s highly unlikely.
It is apparent though that Venus wants to be the aggressor, as she stands on top of the baseline for Stosur’s first serve and a foot inside on the second. This allows her to get the jump and force Stosur off-balance. An early break and a tough hold for Venus, followed by a quick hold and a break for Stosur, and any hope for a quick two-setter are completely out the window. Even though Venus breaks right back on her opponent’s next two service games and ends up taking the first set 6-2, something in the way Stosur carries herself says, this isn’t close to being over.
On Center Court, Novak Djokovic and Marin Cilic (CRO) have already completed a set, which Djokovic took 6-3. Djokovic has had a fairly easy path thus far, especially his previous match, which ended when Davydenko retired after losing the first set 6-0, before last night’s rain. Today, he is a cat toying with his well-contained prey. Cilic is definitely in a tight corner with his back to the wall because before fans can blink, Djokovic is serving for the match with a 5-2 lead and just like that, it’s over. The cat has gobbled his prey up.
Stosur forced Venus to go back and forth with her on their way to a second set tiebreak, which she seized 7-2, but then Venus immediately broke her in the first game of the third set. As Venus reaches 3-1, most thoughts start to drift to a possible fantasy match-up of the Williams sisters in the final. Serena is set to start on Center Court and has dominated her court appearances thus far.
Television coverage of the end of the Venus-Stosur match means that Serena and Angelique Kerber (GER) are forced to wait.
A gritty battle for the final set goes to Venus (6-4) and we are tantalizingly closer to the dream.
Joe Morgan handles the coin toss to determine who serves to start the Serena-Kerber match. Serena serves and promptly gets broken, although she does seem too bothered. Her shots were either just a bit long or subject to the fickle fate of bounces off the net cord, which she will certainly adjust to as the match progresses.
Kerber, a much shorter player with reasonable power, works on moving Serena around and capitalizing on her error-prone play. There are flashes of Serena’s gifts – games where her serve, one of the best in the women’s game, cannot be touched – but those moments are fleeting. Instead, we see a Serena who has trouble timing her shots, sending swinging volleys into the net that should have been clear and rousing winners. She ends points staring off at either where the winner should have fallen or confused by the absurdity of this predicament she found herself in.
She seemed to be wondering where the real Serena Williams was, and she wasn’t alone. The only person not asking that question was Kerber, who took the match from whoever happened to be standing there in Serena’s lime-accented attire.
Final score: 6-4, 6-4.