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.
American Ska legends The Toasters perform a free show tonight at MOTR Pub in Over-the-Rhine. Showtime is 10 p.m. and — sorry, kids — you must be 21 or older to get in.
The band was one of the leading inspirations behind the "third-wave" Ska explosion of the ’90s, but the band actually began 30 years ago, influenced by the 2-Tone Ska movement in the U.K. The Toasters blend of NYC Rock and 2-Tone made them cult heroes in the Ska underground, as did the band's D.I.Y. approach; founding member (the sole one in the current lineup) Robert "Bucket" Hingley formed the influential Moon Ska Records in 1983 to release his own albums, as well as those by acts like Mustard Plug, The Slackers and Hepcat. The label's various compilations also gave a boost to up-and-coming, non-Moon acts like Less Than Jake and No Doubt.
Here's The Toasters' first music video, for the tune "Radiation Skank" off of the band's debut release, 1985's Recriminations EP (which was produced by British singer/songwriter Joe Jackson; he is to The Toasters what Elvis Costello was to The Specials).
And here is "Modern World America" off The Toasters' 2002 release, Enemy of the System.
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.
A couple of weeks ago, local indie publishing house Aurore Press released a book featuring memories and essays by people involved with the seminal local Punk club The Jockey Club. Stories for Shorty was feted with an in-store party at Shake It Records and a "Jockey Club Reunion" at the Southgate House, with reunited sets by The Thangs, The Reduced and SS-20 (who are still playing shows but were reportedly joined by original guitarist Pete Sturdevant). Check out some pics from the event here and be sure to pick up a book (while they last) to get a great impression of what Punk Rock was like in the Cincinnati area in the 1980s.
I missed my chance to put a submission in for the book, but I still wanted to write a few words about a club (and musical style) that meant a lot to my musical upbringing.
Goo Goo Dolls have come a long way since they started in 1986 in the crumbling rust belt city of Buffalo, NY, where the band was probably started for no better reason than to kill time, make some music and hopefully get a few free beers from the clubs where they were lucky enough to get a gig. They have stayed together for over two decades and continue to create hits on the music charts. Their current single “All That You Are” is getting serious radio play and is featured in the newest installment of the Transformers franchise, Transformers: Dark of The Moon.
CityBeat spoke with vocalist and lead guitarist John Rzeznik about tour life, longevity, and the future of the popular group.
David Hebert was the man shot and killed last night in Northside by police. But most who knew him wouldn’t recognize the name. Hebert, a beloved, longtime local musician and local music supporter, is far better known by his nickname, Bones. An expressive drummer, in the ’90s he was the rhythmic foundation for local bands like AMF and Shoot the Gift, as well as other Rock and Punk bands.
In advance of The National’s highly anticipated free performance this Thursday at Fountain Square, I had the opportunity to talk with the lead singer of the band, Matt Berninger. The concert is part of a rally in support of Democratic presidential nominee Barack Obama, donning the title “Vote Early, Rock Late.” It will feature political speakers and buses to take people to early voting locations, as well as two bands — Dayton natives The Breeders followed by Cincinnati’s own (though they live in Brooklyn now) The National. And, of course, there will be “plenty of Rock & Roll and beer,” as Berninger succinctly puts it. (UPDATE: The National's management says they are unsure of what times the bands will play, as of now. The only sure thing — both will play between 5 and 9 p.m.).
Berninger explains that the concert came together rather innocently; they simply wanted to show support for their candidate of choice. Initially the thought was to play a benefit concert, but as it all evolved, a rally seemed more appropriate, both in terms of what the band really wanted to accomplish and the nature of Obama’s campaign.
“It was our idea, but there have been so many people pitching in and helping along the way,” Berninger says. “No one is getting paid here, so it was really exciting to see so many people take the time to make this happen.”
The National’s fundraiser for the Obama campaign developed in a similarly organic manner. Shirts depicting Obama’s face accompanied by the song title of what has become a familiar show-closer for the band, “Mr. November.”
“About nine months ago, that song came (up during a show) and I dedicated it to (Obama),” Berninger remembers. “And it wasn’t until about halfway through the song that I realized just how perfectly it fit, in terms of both mood and timing. That night, Scott (Devendorf, bassist from The National) and I decided to make a T-shirt and a week later we had a box to sell. I think it all happened in the midst of four hours, and since then we’ve been able to raise about $10,000, with all proceeds going directly to the campaign.”
The band — whose song "Fake Empire" was used in a film about Obama showed at the Democratic National Convention — returns to their hometown of Cincinnati in the midst of one of the most significant presidential elections in history. Southwest Ohio – with its conservative reputation and rising liberal and progressive presence -- stands as arguably the most hotly contested location in the election.
“The thing I’ve always loved about the political landscape of Cincinnati is that you have it all,” he says. “You have extremely conservative Cincinnatians and you also have very progressive lefties and often you have that all in the same family. I don’t quite have the same conversations now, being in New York, that I used to in high school or around my dinner table in Cincinnati. And that’s the healthy thing about being there, is that those conversations are happening, truthful, and among people that, at the end of day, you truly respect and love.”
There is no hint of pessimism in Berninger’s voice. Rather, he sounds truly enthused about the opportunity America has to elect a candidate like Barack Obama, a man whom he believes embodies the most admirable qualities.
“There is an intellect, compassion and empathy to (Obama) that doesn’t seem fake,” Berninger says. “I want the best of us to be in the White House. I want the cream of the crop of American thinkers to be making decisions for me, and (decisions) that are going to affect me, my family and our future. I want the smartest guy in the room and the groundswell of support Obama has gathered shows that people see that in him.”
The National have recently wrapped up their tour in support of the critically-acclaimed album Boxer. They have written approximately 10 songs and returned to the studio to begin recording their follow-up. No word yet on a release date.
— Dave Tobias
(All photos by Keith Klenowski)
But the staff at Maribelle’s eat + drink has nothing to hide; in fact, they want you to see their kitchen.
Maribelle’s, which used to be located on Riverside Drive, is set to reopen Thursday at a new location on Madison Road in Oakley. Owners Leigh Enderle and Mike Florea wanted to create a restaurant that felt comfortable and open, so they redesigned the space that used to house Hugo to look like a kitchen at home.
The walls are now painted pastel yellow and green, and wooden chairs stand against high tables (designed by local architect Terry Boling) that look like kitchen islands. The kitchen line is completely exposed, as is the bar — so diners won’t be left wondering how the staff operates or how clean the kitchen environment is.
“Transparency is the concept we’re going for,” says Enderle. “We want people to know where their food comes from and how it’s made. We want them to understand the sourcing and we want them to understand how much work goes into the restaurant, too.”
Chefs at Maribelle’s will use hormone-free meat and seasonal
local ingredients for their American-fare menu items priced $8-15. Their
chicken and turkey products will come from Gerber Farms of central Ohio, and
their beer list will include domestic lagers, porters and IPAs. The restaurant will be open Tuesday-Sunday.
Maribelle’s staff thinks that everyone has the right to know where their food came from, and they invite diners to ask questions about their meals.
“I care about what I eat. Not all the time, but I do care,” says Enderle. “I care about where things come from, and I care that the animals are treated well. At Maribelle’s, we want to make sure we know the story behind the ingredients that we’re getting, and we want to make sure it fits into our concept of transparency.”
Today I was scanning the pop culture information super highway to catch up on the latest fads. What's cool, what's hott, what's in, what's not. As I clicked around I came across some newly published pictures of Jessica Simpson. As I gazed at her face with my bedroom eyes, they slowly transformed into bulging ping-pong balls. My F-stop quickly went from an f/8 to an f/1.4 in 1/500 of a second. The sight of this fat woman that was almost finished devouring Jessica Simpson's body, feet first, was on the front page of People magazine.