The afterparty is still going on as I write this, but, while we assess what happened last night at the 12th annual Cincinnati Entertainment Awards event at the Emery Theatre — the first sold-out show and quite possibly the best show in CEA history — here's who won what last night.
A new mediocre everything store! White people rejoice! Kenwood has FINALLY opened up the fancy new Kroger Fresh Fare. It's like regular Kroger but with more "market" and "organic" produce that is more expensive and appeals to the high-class folks that still have their jobs.
The news comes slightly more than
two weeks after CityBeat published a story looking at the many
problems presented by Ohio’s policy to privatize prisons (“Liberty for
Sale,” issue of Sept. 19).
“It was apparent throughout certain departments that DRC policy and procedure is not being followed,” the audit said. “Staff was interviewed and some stated they are not sure what to do because of the confusion between CCA policy and DRC policy. Some staff expressed safety concerns due to low staffing numbers and not having enough coverage. Other staff stated that there is increased confusion due to all the staffing transitions.”
The report says “there has been a big staff turnover,” and only one staff person was properly trained to meet Ohio Risk Assessment System standards. The audit found that a workplace violence liaison wasn’t appointed or trained. Inmates complained they felt unsafe and that staff “had their hands tied’” and “had little control over some situations.”
The local fire plan had no specific steps to release inmates from locked areas in case of emergency, and local employees said “they had no idea what they should do” in case of a fire emergency.
The audit also found all housing units provided less than the required 25 square feet on unencumbered space per occupant. It found single watch cells held two prisoners with some sleeping on the floor, and some triple-bunked cells had a third inmate sleeping on a mattress on the floor.
Searches in general seemed to be a problem for CCA. Documentation showed that contraband searches were only done 16 days in August. When the searches were done, the contraband was not properly processed to the vault and was sometimes left in desks. The private prison also could not provide documentation that proved executive staff were conducting weekly rounds to informally observe living and working conditions among inmates and staff.
These findings, although major, are only the tip of the iceberg: Inmates claimed laundry and cell cleaning services were not provided and CCA could not prove otherwise, recreation time was not always allowed five times a week in segregation as required, food quality and sanitization was not up to standards, infirmary patients were “not seen timely,” patients’ doctor appointments were often delayed with follow-ups rarely occurring, the facility had no written confined space program, the health care administrator could not explain or show an overall plan and nursing competency evaluations were not completed before the audit was conducted. Many more issues were found as well.
The one bright spot in the report is ODRC found staff to be “very professional, friendly and helpful during the audit.” Inmates were also “dressed appropriately and found to be wearing their identification badges.”
The findings shine some light into why ODRC Director Gary Mohr might have decided to stop privatizing Ohio’s prisons. On Sept. 25 — the same day the audit was mailed to Mohr’s office — Mohr announced his department would focus on sentencing reforms to bring down recidivism instead of saving costs by privatizing more prisons. The news came during the week CityBeat’s cover story on private prisons was in stands.
Mohr is one of many in Gov. John Kasich’s administration to have previous connections to CCA. He advised the private prison company “in areas of staff leadership, and development and implementing unit management,” according to the ODRC website. Donald Thibaut, Kasich’s former chief of staff and close friend, now lobbies for CCA. Ohio Attorney General Mike DeWine also helped CCA reopen its Youngstown facility in 2004 with a federal contract during his term as U.S. senator.
The report confirms a lot of what CityBeat found in its in-depth look at private prisons. The studies cited in CityBeat’s Sept. 17 story — including research by the American Civil Liberties Union of Ohio — found multiple issues in private prisons’ standards around the country. One study by George Washington University found private prisons have a 50 percent higher rate of inmate-on-staff assault and a 66 percent higher rate of inmate-on-inmate assault. The troubling numbers were attributed to lower standards at private prisons that keep costs low and profits high.
The lower standards are coupled with a private prison’s need to house as many inmates as possible, contrary to public interests of keeping re-entry to prisons low.
“It doesn’t make any difference to them whether or not a person eventually integrates back into society,” said Mike Brickner, communications and public policy director at ACLU. “Looking from a cynical approach, it actually helps them if that person (is convicted again) because they come back into their prison and they get money off them again.”
Poor living and health standards were also found in a Youngstown prison held by CCA in the 1990s. In 1997, the Youngstown prison was opened by CCA to house 1,700 of the nation’s most dangerous criminals. Within one year, 20 prisoners were stabbed, two were murdered and six escaped. The ensuing public outrage led to higher standards at the facility. The more stringent rules were credited for leading to the prison’s eventual closing as the facility was quickly made unprofitable for CCA.
Steve Owen, spokesperson for CCA, responded to the audit in a statement: “CCA is taking concrete corrective steps to ensure that this facility meets not only the ODRC's goals but our own high expectations for our facilities. We are working in partnership with the ODRC on a development plan, which will lay out a road map to meet our goals, and our team will meet bi-weekly with ODRC staff and officials until we have this matter resolved.”
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.
Napoleon Ridge Farm is hosting “Dinner on the Farm” on Friday, June 1 at their farm in Gallatin County. The fundraising dinner is part of this year’s Farmers’ Fair: Know Your Farmer, Know Your Food series. The event will raise funds for Community Farm Alliance, a 26-year-old nonprofit Kentucky grassroots organization that advocates for farms, farmers and food systems. The dinner will take place under the eaves of their large barn so rain will not be a problem. As this is a working farm, the animals will be there to say hello, and portable restrooms will be available for use as well.
Chef Steven Geddes from Local 127 and Chef Justin Dean from Relish Group will be harvesting, butchering and cooking the dinner — and having enjoyed Napoleon Ridge’s delicious pork and fresh herbs that I purchased at the Covington Farmer’s Market for the last two Saturdays, I know they will be working with wonderful ingredients. Wine to compliment the food will be from StoneBrook Winery in Camp Springs, and delicious musical entertainment will be provided by Kyle Knapp and Chris Cusentino of The Turkeys. There will also be Kentucky Ale and non-alcoholic drinks available.
Tickets are $100 per seat, limited to the first 50 paid seats, which includes all food, beverages including wine and beer, entertainment and a shuttle ride to the farm and back from Fountain Square — about a 70 mile round trip, so that makes it a real bargain! To make a reservation, contact Napoleon Ridge's owner, Tricia Houston, firstname.lastname@example.org or call 859-643-FARM for more information.
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.
Megadeth can be considered one of today's legendary bands, not just in Metal, but in all of music. They are synonymous with a time period, moments in the lives of so many of their fans. They may have a different look than when the band was formed in 1983 but they are one of the founding fathers and would definitely find themselves on the Mount Rushmore of American Metal and can still fill festival stadiums all over the world. Megadeth have been doing their thing for almost 30 years and show no signs of stopping. They had released their fittingly named 13th studio album TH1RT3EN last year before they came to Cincinnati. They will return to Ohio as one of the main acts at next week’s Rock on The Range.
Over the past year, CityBeat spoke with band drummer Shawn Drover twice and lead guitarist Chris Broderick at Mayhem Festival about life on tour and what the future holds for the band. Megadeth's timeless sound continues on. Hear for yourself when the group performs on the Main Stage in Columbus Sunday night with Marilyn Manson and Rob Zombie for the Rock on the Range festival.
CityBeat: I know you joined the band in 2008, right?
Chris Broderick: Yeah, the very beginning.
CB: What was it like the first time you played and jammed with Dave (Mustaine)?
Chris: It was a little intimidating at first I think. But one of the things that really happened was we had to get to work so quickly. We had to get so much done so fast.
CB: Because of the album and the tour right?
Chris: Well yeah because of the tour at the time. I didn’t really have time to think about what was going on. I was just working. I was trying to knock out as many songs as I could before we went on tour less than a month away. That was my focus really.
CB: You are a classically trained guitarist, right? Can you tell me, how do you think that prepared you for Megadeth and to play metal music?
Chris: Well I don’t know if anything prepares you for Metal music or Megadeth. But I do think it does give me a different skill set, one where I can look at more melodies and harmonies and construction of those types of the aspects of the music and apply what I’ve learned in classical guitar theory or classical theory to the Metal genre.
CB: That’s kind of what stood out to them, right, when they called you to join the band, because you did a lot of classically trained type work?
Chris: It’s hard for me to say. I know it was an influence on their decision, but I know that it was a recommendation of Glen Drover and Shawn Drover that encouraged them to call me.
CB: Good recommendations. They probably didn’t even have to ask.
Chris: And then some of the YouTube clips that I had posted also.
CB: I have been hearing so many bands that are picking people off YouTube. It’s really amazing, Cinderella type stories of people being picked up off YouTube videos.
Chris: Well, it’s one of those things that is awesome in a way because it gives the individual the power of PR, somebody that can market you and get you to the right people to get you a gig or get you the right contact. So it is kind of cool that way.
CB: What was your highlight from the Big 4 concerts?
Chris: It was probably the last Big 4 show actually in the UK. That was pretty huge. We got to play on stage with some of the original members of Diamond Head. Honestly, they weren’t my biggest influence. They were a little bit before my time. But because I am playing with so many people that they heavily influenced, it was instant respect on my behalf and their behalf. It was quite awe-inspiring to see Hetfield (James) kind of bowing down before him when he went to do the solo. It was awesome.
CB: What is it like on the road these days? Is it really clean living?
Chris: Yeah. It almost has to be because we have so much going on. I couldn’t do all this press and all the meet and greets and stuff like that. It works out pretty well for me too because luckily I never acquired a taste for that kind of that thing. I guess I am too Type A. I always want to be in control.
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.
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.
If you still want to find that particular item that is unique but is maybe from a local or up-and-coming designer and is of high quality, Cincinnati has quite a few options for you to peruse. If you so choose, use the following as a guide to help you along your way!