Buoyant Electro Pop group Stepdad pulls into MOTR Pub in Over-the-Rhine tonight. The free show kicks off around 10 p.m. with locals Halvsies.
Stepdad was formed in Chicago in 2009 by frontman Mark “Ultramark” Tafel and his roommate, Ryan McCarthy. The duo — which has grown Stepdad into a five-piece band over time — soon relocated to Grand Rapids, Mich., and self-released its debut recording, the Ordinaire EP, online. The EP drew wider attention to Stepdad, which signed to Michigan indie label Quite Scientific and re-released the EP in 2011.
After completing its debut album, Wildlife Pop, with a little help from Kickstarter, the band signed with Black Bell Records, the relatively new imprint founded by Passion Pit’s Ayad Al Adhamy and distributed by Warner Brothers Records. Wildlife Pop, released last summer, is an incredibly endearing listen, layering vintage-sounding synth bleeps and squiggles with broader, lush Electro atmospherics and a rhythmic base that is muscular and dance floor ready. At the core is Ultramark’s steady stream of exuberant melodies, which adds greatly to Stepdad’s jubilant sound (though, spoiler alert, the lyrics can be much deeper and darker than the upbeat vibe suggest). Wildlife Pop falls somewhere between the M83’s shadowy, cerebral Electronic explorations and Capital Cities’ (see below) warm and cheerily infectious Dance Pop.
Here is the music video for Wildlife Pop single, “Will I Ever Dance Again”:
• Virtuoso Blues/Rock/Roots guitarist, songwriter and singer Sonny Landreth returns to Cincinnati tonight for an 8 p.m. show at Oakley’s 20th Century Theater. Rootsy local rockers Monkeytonk open.
After cutting his teeth in the ’70s playing with Zydeco/Cajun/Roots accordionist Clifton Chenier, Landreth (who grew up in Louisiana) launched his solo career in the ’80s, building his reputation as a masterful player and innovative slide guitarist. Landreth’s unique technique involves playing chords behind the slide leads, which he taps, slaps and picks with his right hand. Since the mid-’90s, Landreth has released a dozen albums that have been stylistic adventurous, a testament to his impressive versatility. The guitarist’s playing shows that Blues, Jazz, Rock, Cajun and many other types of music have greatly informed his boundless approach to writing and performing. (Landreth is also a popular session musician, having recorded with artists like Jimmy Buffett, Mark Knopfler, John Hiatt and numerous others.)
Last year, Landreth released another wildly diverse album, Elemental Journey, his first all-instrumental effort which features guests like fellow guitar wizards Joe Satriani and Eric Johnson, as well as additives like symphonic strings and steel drums.
Here is a live clip of Landreth performing at Eric Clapton’s Crossroads Guitar Festival in 2010:
• Over at Covington’s Madison Theater tonight, bring your dancing shoes because Fitz and the Tantrums and Capital Cities are going to have the venue jumping with their ear-grabbing/dance-inducing sounds. Showtime is 7:30 p.m. and the event is open to all ages. Tickets are $25 at the door. L.A.’s Electro Dance rockers Beat Club open.
L.A. band Fitz and the Tantrums’ propulsive, modern update of vintage Soul/R&B caught the music world’s attention in 2010 with the release of their debut LP, Pickin’ Up the Pieces, both a critical and commercial success thanks in part to the powerful single, “MoneyGrabber,” a song that was perfectly timed to the national outrage over big banks and other mischievous financial institutions that led to the Occupy Wall Street movement. The Tantrums’ second album (and major-label debut), More Than Just a Dream, was released by Elektra Records this past May. Here’s a clip for that album’s “Out of My League”:
Electro Pop duo Capital Cities garnered a lot of mainstream attention this year with its debut album, In a Tidal Wave of Mystery, released in June through Capitol Records. The album features the insistently catchy and winsome singles “Kangaroo Court” and “Safe and Warm,” both from the twosome’s self-titled 2011 EP debut. Like MGMT’s “Kids” or Walk the Moon’s “Anna Sun,” songs that were originally issued on earlier, pre-fame recordings but were released to widespread success on their respective major label debuts, “Safe and Sound” was released originally in 2011 and, two years later, continues to earn Capital Cities more fans. The duo’s super-catchy Synth Pop is hard to resist and the more people are exposed to Capital Cities, the bigger they seem to get.
• R&B singer Jaheim was already wowing audiences at a young age, winning the infamous talent show at the Apollo Theater three times when he was just 15. It was the start of a long, fruitful career that kicked off in earnest when the singer was in his early 20s and was signed to the Warner Brothers-distributed label Divine Mill. Since his debut album in 2001, Jaheim has been a regular visitor to the upper airspace of the R&B charts. His new album, Appreciation Day, was released earlier this year and earned praise for being one of the best displays of Jaheim’s seamless blending of the classic seductive R&B artists like Teddy Pendergrass and Luther Vandross popularized with today’s Neo Soul and Hip Hop-informed approach. Here’s the album’s single “Age Ain’t a Factor”:
Jaheim brings his “Appreciation Tour” with singer Chrisette Michele to downtown’s Aronoff Center tonight, in the venue's Procter & Gamble Hall. Showtime is 7:30 p.m.
Supporters of the streetcar project are rallying in a last-stand effort to save the streetcar from an incoming city government that’s threatening to cancel the project. Supporters plan to meet today in a town hall-style meeting at 7 p.m. at the Mercantile Library, 414 Walnut St. #1100, downtown Cincinnati. Some of the supporters of the movement are residents, business owners and realtors in Over-the-Rhine who told CityBeat that canceling the project will set the city’s economic momentum back. Mayor-elect John Cranley disagrees, but the decision is ultimately up to the newly elected City Council to cancel the project, and at least three of nine newly elected council members previously seen as streetcar opponents — P.G. Sittenfeld, David Mann and Kevin Flynn — told CityBeat they’d like to evaluate the costs of canceling the project and the potential return of investment versus the cost of completing construction.
City Manager Milton Dohoney will resign on Dec. 1 and receive one year of severance pay, Cranley announced yesterday. To political watchers, the news comes as very little surprise. Cranley and Dohoney disagreed on two key issues — the streetcar project and parking plan, both of which Cranley opposes and Dohoney supported and helped get off the ground. Once the new mayor and City Council take over in December, Cranley says he will appoint a yet-to-be-named interim city manager and begin looking for a permanent replacement.
Despite Saks Fifth Avenue’s departure, the city intends to move forward with its plans to build a retail corridor downtown, and others have approached the city about taking Saks’ space, according to Kathleen Norris, managing principal of Urban Fast Forward and the city’s retail leasing consultant. Saks announced yesterday that it’s closing down its downtown store and moving to Kenwood Collection. Although the move is a blow to the city, a few city officials were quick to point to other growth in downtown Cincinnati as an example of what will attract new retail outlets in the future.
A deal is nearly set to fund the $107 million interchange project at Interstate 71 and Martin Luther King Drive. As part of the deal, the Ohio Department of Transportation will pay for $52 million, and Cincinnati and the Ohio-Kentucky-Indiana Regional Council of Governments (OKI) will take a loan from the state infrastructure bank to pay for their share. OKI says it will pay for its portion of the loan through $25 million in federal funding, but it’s so far unclear how the city will pay for its share of the project. The outgoing city administration intended to pay for the project through the now-canceled parking plan, which would outsource the city’s parking meters, lots and garages.
Cranley says the city can get out of the parking plan without defaulting on the lease agreement with the Greater Cincinnati Port Authority, but Cranley’s position is at odds with the stated opinion of officials in the outgoing city administration and Port Authority. Cranley announced on Tuesday that the parking plan will be called off once he and the new council take office in December, but it’s unclear how much it will cost to break out of the plan and its various contractual obligations.
The Ohio House held a hearing yesterday for two bills that would increase safeguards for victims of domestic violence, including new housing and employment protections. CityBeat previously covered the story of Andrea Metil, a domestic violence victim who is calling for greater protections.
Only 1,150 Ohioans signed up for Obamacare through the troubled HealthCare.gov portal, the U.S. Department of Health and Human Services announced yesterday. Both the Ohio-wide measure and nationwide number — 106,185 — fell far short of the federal government’s expectations for the first month of enrollment. But many of the troubles are caused by technical problems that have made HealthCare.gov largely unworkable for most Americans. The federal government is working to correct the errors by December, but The Washington Post reports that the website likely won’t be fully functional by then.
Meanwhile, Ohioans will be able to enroll in the now-expanded Medicaid program on Dec. 9. Republican Gov. John Kasich got the federally funded Medicaid expansion for two years through the Controlling Board, a seven-member legislative panel, despite the Republican-controlled legislature’s opposition.
The Ohio House yesterday approved a bill that reforms municipal taxes, which businesses support but cities oppose. Supporters argue it will simplify the tax code so businesses can more easily work around the state and from county to county, but opponents claim it will reduce how much revenue cities receive.
Kasich temporarily delayed convicted child killer Ronald Phillips’s execution so Phillips can donate his non-vital organs to his mother and possibly others.
Cincinnati-based Procter & Gamble is shuffling some of its top positions.
Here is how Mars might have looked 4 billion years ago.
Arriving in New York for a work-related trip always causes my nerves to stand at full attention. I typically overcomplicate my schedule with back-to-back caffeine dates in different neighborhoods, or try and sneak in one more performance than would be wise. At the same time, I know when I'm back here that I'm going to be seeing some of the most forward-thinking live art happening in the world today, and the energy and inspiration I pull from the shows I see and the people I meet will influence my programming for seasons to come.
One layover, a two-hour delay and an annoying navigation out of Newark Airport later, I'm in the city and frantically sprinting to my first pow wow of the week with artist Hisham Bharoocha. Hisham is highly regarded for his music, visual art and photography, though I'm talking with him mainly in regard to the former. A founding member of the group Black Dice, his recent experiences have seen him organize the now legendary BOADRUM experiences in which 77 and, later, 88 drummers played the same number of kits on the dates 07/07/07 and 08/08/08, respectively, as well as other projects utilizing the two main parts of his live creative output — voice and percussion. Hisham owns a unique ability to take a live concept and build it into something visceral yet magical, and I was glad to find that I enjoyed him as a human being as well. I hate bad coffee dates.
However, the main reason for being in New York this time of year is Performa 13, the performance art biennial hosted at various venues around the city that runs for 24 days in November. Started in 2005 by art historian RoseLee Goldberg (she has written a book on performance art and is now revered as a key figure in that world), Performa presents some of today's most compelling performance art works and, more famously, commissions new work from reputable artists who work across various mediums — artists ranging from Carlos Amorales to Japanther to Ragnar Kjartansson. Earlier performances this month have featured Dean Spunt of No Age, a Contemporary Arts Center performer this past September, and C. Spencer Yeh, the longtime Cincinnati resident and noise art maestro whose visual art exhibition Standard Definition opened at the CAC in October 2009. My experience two years ago at Performa 11 introduced me to a rough working of Jace Clayton's Julius Eastman Memorial Dinner, and that serendipitous event lead to the project being further developed and realized before its world premiere as a production-in-full in our performance program this past April.
The first experience I had with Performa 13 will be hard to beat, I imagine. Arriving at the quaint Connelly Theater Ryan McNamara's MEƎM: A Story Ballet About The Internet, the attendants were instructed to check all coats and bags at the entrance before entering what served as a sort of waiting room of art school students, seasoned performance art patrons and those seeking something out of the ordinary. The room resembled a high school cafeteria in look and ambiance, filled with social chatter between friends and colleagues. As I paid little attention to the conversations, I went into the performance completely unaware of what would happen.
After being lead into an auditorium with standard seating facing an elevated stage, the program began with three male dancers contorting their bodies slowly and precisely to a modern dance Pop soundtrack. Not long into the routine it became clear that “something” was happening directly behind the audience. Too unbothered to turn around and take my attention from the stage, I heard small laughs and continued to feel like the program was turning into something entirely new. As the energy picked up around me, I finally glanced back and for the first time noticed that nearly all of the rows behind me were no longer there, and that two other dancers had set up shop in the back corners of the room and portions of the audience were now seated, in the same chairs, facing those performances. At the same time, two audience members appeared in their chairs moving up the ramps at the sides of the stage, being pulled by two production team members. Before too long, my own chair was lifted up and I was swiftly carted, passing through one room with three leotard-adorned dancers moving to strobe-affected disco before being delivered to a room where two women in matching outfits performed a laconic dance to a playlist of suspenseful film score pieces. This routine continued for an hour, with roughly 10 minutes spent at each location. At the end, after we were all put back in what we thought were our resting positions, there was still time for one final, beautiful, balletic piece. Then our chairs were forcefully reconfigured, and our expectations were once again turned upside down.
The music was mostly modern, referencing pop culture, and the dance routines were pulled (stolen) from popular internet videos. The anxiety over being completely unable to control your own attention, while still desperately attempting to, was incredibly effective in highlighting the performance's entire concept of questioning the very possibility of a singular “experience” today. There were roughly 10-12 possible positions, and each person probably experienced no more than six of those. We all wanted to catch more of what was happening all around, but often ignored what was right in front us. In the end, nobody seemed to leave feeling like they didn't get to experience it all.
Follow citybeat.com for more Performa 13 updates from Drew Klein.
Two bills discussed today at a hearing of the Ohio House of Representatives' Judiciary Committee would, if passed, offer greater protections to victims of domestic violence and extend them more legal rights to protect their employment, housing and financial livelihood.
Those bills will join H.B. 243 and H.B. 160, which are still awaiting hearings before the judiciary committee and would, respectively, require individuals served with temporary protection orders to surrender their firearms and offer legal protection to the pets of domestic violence victims — often cited as a reason victims have difficulty leaving a violent situation.
Most significant are the changes that would be implemented by H.B. 297, first introduced to the Ohio House in October by Reps. Ann Gonzales (R-Westerville) and Denise Driehaus (D-Cincinnati). The bill outlines new legal protections for domestic violence victims who need to terminate a rental agreement or take unpaid leave at work in order to deal with domestic violence incidences.
Under the bill, victims of domestic violence would be legally protected against termination at work and have the ability to dissolve a rental lease if the tenant has been a victim of domestic violence. The bill would also prohibit landlords from kicking out tenants because they've been victims of domestic violence at the residence and requires them to comply with requests to change locks when a tenant has been a victim of stalking or menacing.
H.B. 309, also introduced in October, by Reps. Dorothy Pelanda (R-Marysville) and Nickie Antonio (D-Lakewood), would dissolve any charges related to modifications made to a domestic violence, anti-stalking or other type of protection order or consent agreement
In August, CityBeat spoke with domestic violence victim Andrea Metil, who talked about her personal experiences with legal trip-ups that made protecting herself from her attacker difficult. Metil called for stronger legislation to protect victims of domestic violence.
This is the first hearing for both of the bills.
Outside of singing at his church occasionally, brilliant Americana singer/songwriter David Wolfenberger
hasn’t performed in the area for quite some time. After working with the group The Marshwiggles in the late ’90s, Wolfenberger put out three stellar solo albums between1999-2006, earning him high praise both domestically and abroad. But besides occasional performances and scant new material (what he has released has been for charity), the 1999
Cincinnati Entertainment Awards winner for Artist of the Year has kept a low profile for the past several years.
Tonight, Wolfenberger is coming "out of exile"
to join an old friend in concert.
Wolfenberger is re-teaming with Mark
Olson, half of the brain trust behind the best work of The Jayhawks, at
Newport’s Southgate House Revival. Wolfenberger
toured extensively with Olson in the early ’00s as a member of The Original Harmony Ridge
Creekdippers, the group Olson formed with then-wife Victoria Williams
after he left The Jayhawks.
Wolfenberger opens tonight's show with a solo, acoustic set at 8 p.m. and he will also join Olson during his set (along with Olson's current touring partner — and wife — Ingunn Ringvold). Tickets are $12 at the door.
Wolfenberger has been posting some of his older material on his Reverbnation page and, in an email, he said he will be posting new songs "on occasion in the future." Here's one of his earlier cuts, "Tentatively Vince Foster," from his 1999 solo debut, Tales from Thom Scarecrow, released on the local Blue Jordan Records.
Mayor-elect John Cranley and the newly elected City Council announced on Tuesday that, upon taking office in December, they will terminate the city’s plan to lease its parking meters, lots and garages to the Greater Cincinnati Port Authority, following an agreement with the Port Authority to hold off on a bond sale that would have financed — and effectively sealed — the deal. But it remains unclear how much it will cost to terminate the plan, default on the lease agreement with the Port Authority and allow the Port to break its contracts with private companies that would have operated the assets under the deal. The current city administration argues the parking plan is necessary to help balance the budget over the next two years, pay for economic development projects around the city and modernize the city’s parking assets so, for example, parking meters can accept credit card payments. Opponents argue the plan gives up too much control over the city’s parking assets by outsourcing their operations to private companies based around the country.
But some business leaders are upset with the death of the parking plan because it leaves no visible alternative for funding major development projects like the interchange at Interstate 71 and Martin Luther King Drive.
Cranley now says he will not allow a referendum on any ordinance undoing the streetcar project and will instead try to work with supporters of the project to find another way to put it on the ballot if they can gather enough petition signatures. Cranley says blocking a referendum is necessary to avoid spending money during a referendum campaign that could last months. But for supporters of the streetcar, Cranley’s decision seems highly hypocritical following his repeated praise for the “people’s sacred right of referendum” on the campaign trail after City Council blocked a referendum on the parking plan. If the project is placed on the ballot, it will essentially be the third time it’s brought to a public vote; opponents of the project in 2009 and 2011 pursued two ballot initiatives that many saw as referendums on the streetcar.
Meanwhile, Over-the-Rhine businesses and residents yesterday officially launched a campaign to save the streetcar project from Cranley and a newly elected City Council that appears poised to cancel the project. Touting the project’s potential return on investment and cancellation costs, the group plans to lobby newly elected officials to vote in favor of keeping the project going. The group invited Cranley and all elected council members to join them at a town hall-style meeting on Nov. 14 at the Mercantile Library, where supporters will discuss their path forward. So far, supporters have publicly discussed a concerted lobbying effort, a ballot initiative if council passes an ordinance undoing the streetcar project and possible legal action against the city.
The Cincinnati Enquirer’s editorial board is apparently unpleasantly surprised that Cranley undid the parking plan, even though the board endorsed Cranley for mayor after he ran in opposition to the parking plan for nearly a year.
An Ohio Senate bill caps the spending ability of the Controlling Board, a seven-member legislative board that previously approved the federally funded Medicaid expansion despite the Ohio legislature’s opposition. Gov. John Kasich angered many Republican legislators when he decided to go through the Controlling Board to get the Medicaid expansion, which is a major part of Obamacare.
Meanwhile, the Ohio legislature is working on changes to Medicaid that would cap future cost increases and employ professional staff for a Joint Medicaid Oversight Committee that would have the ability to review Medicaid programs and agencies. The bill also includes a portion that clarifies its passage “shall not be construed with endorsing, validating or otherwise approving the (Medicaid) expansion.”
Despite attempts from city officials and local business leaders, Saks Fifth Avenue is leaving downtown to open a store at Kenwood Collection.
Kentucky’s state auditor will look at the Cincinnati/Northern Kentucky International Airport board’s spending policies and expenses, following reports from The Enquirer that the board spent exorbitant amounts on travel, dining and counseling.
The Sixth Circuit Court of Appeals denied the Milford-Miami Advertiser’s request to appeal a 2012 ruling that charged the Gannett-owned suburban weekly with defamation and ordered the paper to pay the defamed plaintiff $100,000 in damages. In a story titled “Cop's suspension called best move for city,” the newspaper wrongly implicated a Miami Township police officer who was previously accused but later exonerated of sexual assault.
Attorney General Mike DeWine warns that some typhoon relief requests could be scams.
Not satisfied with the mere wonder of beginning to exist, some stars explode in a rainbow of colors when they’re born.
UPDATE: Cork ‘N Bottle has reached out to BLDG and the public to apologize for the removal of The London Police mural made possible by BLDG and Mike Amann, who passed away Sunday.
Cork ‘N Bottle’s Tim Hue met with BLDG owners to apologize for the unfortunate timing of the mural removal. The company says it will donate $1,000 to the American Cancer Society in Mike Amann’s name and work to bring The London Police back to Covington to create a new mural. Both the gallery and Cork ‘N Bottle shared the news on social media.
From BLDG’s Facebook page:
“Excellent update on the Cork-N-Bottle and The London Police - Official mural situation:
We just had an excellent meeting with Tim Hue from Cork N Bottle issuing a formal apology along with a gracious $1,000 donation to the American Cancer Society on behalf of Mike Amann.
We fully accept this apology along with Tim's eagerness to correct the situation. We will be working with Tim and Cork N Bottle on replacing the mural in a timely fashion.
Also, we would like to state that the unfortunate timing of the event was in no way intended to be malicious or insensitive in any way.
Thank you Cork N Bottle for doing the right thing for the City of Covington and our community.”
Cork ‘N Bottle also reached out to fans on their page:
“We understand and sincerely regret the hurt that the removal of the art mural has caused our community. We acted out of a concern of a Maker’s Mark copyright violation – which we feared might affect our relationship with a key supplier. We certainly had no intention of offending The London Police - Official, BLDG or the community who had come to appreciate and enjoy the mural. We have been a part of this community for 50 years and as always, wish to work in the best interest for our community's development and growth. We regret the loss of this piece of art, and thank you for your comments and your enthusiasm for Covington. We too share your passion for our neighborhood and love being a part of this community. In furtherance of our sincere apologies, Cork 'N Bottle has made a donation in the name and memory of Michael T. Amann to The American Cancer Society. We invite others to join us.”
ORIGINAL POST: 10 a.m. Tuesday, Nov. 12The London Police mural on the side of Covington’s Cork ‘N Bottle has been removed by the liquor store.
artists TLP came to Greater Cincinnati this August as part of a collaboration
with Covington’s BLDG. The London Police created one large mural and several
smaller graffiti works across Covington during their two-week stay. Cork ‘N
Bottle owners, according to BLDG, agreed to keep one of the works on the side
of their building for at least one year. The mural was removed Monday.
From BLDG’s Facebook Page:“Huge loss in Covington today. Cork 'N Bottle decided to paint over their The London Police - Official mural today. Let us state that the agreement of the mural being painted on the building was that the painting would be up for at least a year after completion. From this point forward, we will surely only shop at The Party Source for all our spirits!”
This decision comes just a day after BLDG owner Mike Amann passed away Sunday after a battle with stage four neuroendocrine cancer.
Friends of Amann and fans of the artwork reached out to Cork ‘N Bottle on Facebook for an explanation. The liquor store posted the following statement this morning.
“The London Police mural was removed from our building at 501 Crescent Ave. yesterday. The reasons for this are that the contract to have it painted was unauthorized and the image was an infringement on the Maker’s Mark trademarked bottle image. Please look for new art coming this spring as a new mural is being properly contracted.”
This blog will be updated when more information becomes available.