CityBeat - Blogs http://www.citybeat.com/cincinnati/blogs.engine.php <![CDATA[Northside Community Council OKs Needle Exchange]]>

Northside Community Council voted July 21 to allow a needle exchange program in the neighborhood. The effort, run by the Cincinnati Exchange Program, will start sometime in August and operate from a van one day a week for three hours at a time. Planned Parenthood will also participate, providing testing services for diseases like HIV and hepatitis.

Exchanges, which aim to cut down the transmission of those diseases among intravenous drug users, have been controversial in the city. A similar effort in Springdale earlier this year was shut down after just a few weeks due to outcry from some in the community. But the community council in Northside thinks the program is worth it.

“The community has been doing its due diligence as to how the program would work and what the repercussions are, and decided the health benefits definitely outweigh any consequences,” said Northside Community Council President Ollie Kroner. “Northside wants to be part of the solution to the heroin epidemic.”

A 2012 study by the U.S. National Library of Medicine found that needle exchange programs can greatly reduce the number used syringes found littering streets. And a 2004 study by the World Health Organization found that exchanges do not increase the rate of heroin use in areas where they are undertaken.

Heroin addiction has been rising steadily in Ohio in the past five years. 2012 Ohio Department of Health data shows that 159 people in Hamilton County died from heroin overdoses, a 6 percent increase over the year before. Experts trace the epidemic to an increase in the availability of prescription opiates in the last decade. As Ohio has cracked down on those drugs, addicts turn to other, similar drugs to experience the same high. The most popular by far is heroin.

Local organizations, including Northside-based Caracole work hard to fight heroin addiction and prevent overdoses. But as heroin use increases, needles infected with various blood-borne diseases including HIV and hepatitis are a serious concern. Hepatitis C in particular has been increasing among intravenous drug users in the area. Needle exchanges allow a person to exchange a used needle for a new, sterile one, so they at least won’t catch deadly diseases associated with intravenous drug use. The exchanges also cut down on the level of needle litter, meaning less risk of exposure for community members who aren’t using.

Opponents say exchanges encourage heroin use, but supporters of the programs say the availability of clean needles alone won’t sway a person to take or not take the incredibly addictive drug.

Kroner said the effort is a six-month pilot program to demonstrate the benefits of needle exchanges. Though some in the community have expressed concerns that the exchange will create a perception that Northside has a heroin issue, Kroner emphasized that the program isn’t a response to any specific drug problem in the community.

“What we’re really hoping is that Northside can show that this kind of program can work in other communities,” Kroner said.

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<![CDATA[Morning News and Stuff]]>

It's morning! I have news! Morning news! Wow, sorry, that's a lot of exclamation points. I sprung for the large iced coffee this morning and probably need to settle down a little. Anyway, here we go:

Cincinnati is playing host to the annual National Urban League Conference this week. The event, held by one of America’s oldest and largest civil rights organizations, is expected to draw 8,000 people to the city for events Wednesday through Saturday.

The conference is a big deal for Cincinnati. Last time the city tried to host the event in 2003, it was recovering from the 2001 civil unrest that gave Cincinnati a national reputation for race problems. Notable black entertainers boycotted downtown and the Urban League took its conference elsewhere. Since then, some reconciliation and a lot of revitalization has happened, but many old problems remain. In a report called “The State of Black America,” the Urban League ranked the city 74th out of 77 peer cities in terms of economic equity between blacks and whites. Blacks in the Greater Cincinnati area make an average of $24,272 a year compared to $57,481 for whites, the greatest disparity of any city in the region.

Here’s a quote worth thinking about in a Cincinnati Enquirer piece on the event:

"The riots ... were also about economic frustration," said Donna Jones Baker, president and chief executive of the Urban League of Greater Southwest Ohio. "These economic gaps continue. And while we have a vibrancy in the city because of wonderful things happening, we have a group of people who can't access them. We can’t expect people to suffer in silence forever.”

Among those attending the event are Vice President Joe Biden and Kentucky Senator Rand Paul. Biden will make opening remarks Wednesday and Paul will deliver a town hall speech Friday. This seems like a good opportunity for both to keep their speaking short and their listening long, but yeah.

• The cost of renovating Union Terminal and Music Hall may be more than initially estimated, a group of consultants say. International real estate company Hines looked over engineers’ $331 million cost estimates and found places where more money may be needed for both projects. The possible overrun could amount to $10 million more added to the project.

The revelation comes during a continuing disagreement about where renovation money should come from. Hamilton County Commissioner Greg Hartmann suggests the city chip in to help shore up the landmarks. Hartmann argues that the county can’t “go it alone” in efforts to fix the buildings. A further city contribution would be in addition to the $10 million the city has already pledged for the renovations. Mayor John Cranley shot back at Hartmann yesterday with an editorial detailing the city’s ongoing commitment to the buildings.

• A group of parachutists landed on a parking garage at Fourth and Elm yesterday, according to police. Annnd…. that’s about all anyone knows about it. The group may have been BASE jumpers parachuting from Carew Tower, or may have jumped from an airplane, though air traffic controllers at Lunken Airport didn’t report anything out of the ordinary. Maybe they were protesting something, but none were wearing tiger suits or waving banners shaming Procter & Gamble, so it's hard to tell.

• Horseshoe Casino, which has been open just over a year, is undertaking a half-million dollar, 8,700-square-foot expansion. The new addition sounds like it will be a patio for people to take smoke breaks when they need to cool off from all the fun they’re having fighting battles against the one-armed bandit (that’s a slot machine for those not hip to casino lingo). The patio will be enclosed, have a bar and will only be accessible from inside the casino, Horseshoe representatives say, though they’re tight-lipped so far about further details.  

• Cincinnati and Mayor Cranley are featured prominently in a Governing magazine article about changes in the way cities view their outlying suburbs. The article discusses how some cities are shifting away from the view that suburbs are valuable prizes to be annexed or wrapped up in Indianapolis/Louisville-style city and county combined governments. A renewed interest in cities among the young and well-to-do and an increase in suburban poverty are cited as reasons for the shift in thinking from some city leaders.

Cranley’s view that Cincinnati is just fine without taking over surrounding suburbs challenges conventional accepted wisdom.

“You had a sentiment that urban cores need the wealth of the suburbs to have a better budget picture,” he says in the article. “People in the suburbs escaped the city to flee the problems. But that’s changing. You’re going to see cities in a better financial situation than a lot of the suburbs.”

• Finally, a story that could (hopefully) only happen in New York City, where a developer has won permission from the city to have two separate entrances in a new apartment building — one for well-to-do residents of its luxury units and another for the tenants of its required-by-law affordable units. So, basically, a poor door.

Last year, another developer explained just such a plan for another building thusly:

“No one ever said that the goal was full integration of these populations,” said David Von Spreckelsen, a senior VP at Toll Brothers, a New York development company. “So now you have politicians talking about that, saying how horrible those back doors are. I think it’s unfair to expect very high-income homeowners who paid a fortune to live in their building to have to be in the same boat as low-income renters, who are very fortunate to live in a new building in a great neighborhood.”

Translation: Being rich is hard when you have to rub elbows with not-rich folks, who should just shut up and enjoy the crumbs we’re throwing them.

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<![CDATA[REVIEW: Cincinnati Opera's 'La Calisto']]>

Don't walk. Run to the School for Creative and Performing Arts (SCPA) to catch the remaining performances of La Calisto, an opera composed in 1653 that's equal parts romance and raunch, performed by a superb cast of singers, instrumentalists and dancers who are all clearly having a wonderful time.

Composer Franceso Cavalli was savvy enough to take opera out of palaces and into public theaters, where he made a fortune. He used the story of virgin Calisto, a follower of the goddess Diana, who is seduced by Jove and transformed into a bear by the vengeful Juno. Diana has her own problems with hormones and so does another of her followers. There's not much sacred and a lot of profane, not to mention profanity.

There's a lot of transformation going on: Jove disguises himself as Diana to get it on with Calisto, meaning that bass baritone Daniel Okulitch puts on a long white robe, dons a wig and sings in convincing falsetto. A horny follower of Diana is sung by a male, a high soprano takes on the role of a frustrated satyr — and just what gender are the rest of Pan's satyrs and Diana's huntresses? Ted Huffman's staging is witty and occasionally wild; the battle between Pan's and Diana's tribes seems to involve more than the six or seven dancers onstage, thanks to the acrobatic choreography of Zack Winokur.

Okulitch sings Jove with the requisite authority and gravitas, which also renders him ridiculous when lust for Calisto overtakes him. Okulitch is equally adept singing in falsetto, which is no easy task when it involves vocal ornamentation. Andrew Garland, a great recitalist with innate comic instincts, is a natural as Jove's gofer Mercury.

Aaron Blake may be diminutive in stature but he has a huge, ringing tenor, and he was a hilarious Pan. Michael Maniaci sang Diana's lover Endymion, his pure male soprano giving the role genuine tenderness. Thomas Michael Allen sang the libidinous nymph Linfea entirely in falsetto.

The women are all excellent, especially soprano Nathalie Paulin, a convincingly innocent Calisto. Mezzo Jennifer Johnson Cano was a formidable Diana, singing with authority and melting emotion. Alisa Jordheim's agile soprano easily handled the demands of the frustrated Satirino, and Alexandra Deshorties embodies vengeance and fury as Juno.

The chamber orchestra is joined by the phenomenal Catacoustic Consort and during intermission, a lot of the audience stopped by the orchestra pit to check out the theorbos, Baroque harp, lirone and viola da gamba. Conductor David Bates led a lively, nuanced reading of the score.

The action plays out on a unit set used for last year's Galileo Galilei, with a wonderful star curtain that descends as Calisto ascends to the heavens to become Ursa Major, or the Big Dipper.

La Calisto is Cincinnati Opera's first Baroque opera and they couldn't have made a better choice. It's heavenly.


La Calisto, presented by Cincinnati Opera, continues July 23, 25 and 27 at SCPA's Corbett Theater. More info here.

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<![CDATA[REVIEW: Louisville’s Forecastle Fest Day 3]]>

The third and final day of Forecastle finally arrived. The fest’s weekend felt much longer than, well, a weekend, though each day seemingly flew by. By this point, the festival started to feel like home. 

I entered the media tent expecting familiar faces, waited like a patient puppy in front of its food bowl for happy hour, snagged a band interview or two and wandered from stage to stage. Despite my tired eyes, I knew that I could get used to this. Like all good things, though, Forecastle had to come to an end. But not before one last day of fun.

I got to the fest just in time for The Weeks at the Boom Stage. After interviewing the band the previous day, I was looking forward to seeing what they would present live, and I wasn’t disappointed. A Southern-rooted band (Mississippi-rooted, to be exact), the Rock vibe was heavy with lead vocalist Cyle Barnes belting out his husky, Caleb Followill-esque lyrics. These young and rowdy dudes proved to be the perfect start to a sunny afternoon of music.

I scooted away from the stage to browse through the artist tents behind me. As I’ve said, I’m a total sucker for band posters, so off to shop I went. Thankfully my new friend Coltin found me before I could spend too much and we made our way to happy hour in the media tent.

It is quite possible that this is the most pizza I have ever consumed in a three-day period, but when free food calls, one must answer. After taking advantage of the day’s free amenities, Coltin and I attempted (and failed) to get into the Bourbon Lounge, so found our way to the Mast Stage for Brett Dennen. The songs that Dennen write are simple — They aren’t trying too hard, but they’re pleasant, and Dennen’s vocals tie everything together quite nicely. After several songs, though, it was time to wander again, so to the Boom Stage I returned.

Trampled By Turtles was next on my list, as I was scheduled to interview them that evening. Day 3 was much hotter than the others — the cool breeze that carried us through Days 1 and 2 had left us, and bodies glimmered in the summer sun. If you’re getting the idea that this stopped anyone from basking in the heat for their favorite bands, you’re wrong. I realized this as TBT began their set, the audience dancing without hesitation. Perhaps this proves to be true for most shows, particularly at a festival such as this — our bodies ache, our feet hurt, we are “hangry,” but once the music begins we forget it all. We are taken to a different place. TBT did this for their audience as the incredibly fast-fingered Erik Berry on the mandolin drove the crowd wild. It was a sight to see.  

Day 3 required much more wandering on my part and floating between bands, so, knowing that I needed to at least catch a few songs from Jenny Lewis’ set, I made my way to the Mast Stage. Wishing my beagle Rilo (named after Rilo Kiley) was with me, I swayed to Lewis’ songs from her latest album, The Voyager, and was quickly reminded of why I fell in love with her old band some years back. Lewis is a little sassy and a lot of fun, rocking out on stage with her band dressed in white and rainbow suits. After a few songs it was time for my last interview of the fest.

I met with a few guys from Trampled By Turtles in the media tent for a quick chat, though I was admittedly distracted by the sounds of Nickel Creek in the distance. I wrapped up our interview and bolted to the stage like I’ve never brisk-walked before. With a smile on my face and happy tear in my eye, I was thrilled to watch a band that I’ve adored since middle school. 

I cannot begin to describe how happy I was to see Nickel Creek, especially considering they played so much of their early material. Songs like “The Lighthouse’s Tale”, “Reasons Why” and “When You Come Back Down” from their 2000 self-titled album and “This Side,” along with the instrumental tunes from 2002’s This Side, were all featured, and each song sounded as perfect as the recordings. After so many years, Nickel Creek sounds as beautiful as ever and the band even has a new record out, A Dotted Line. I think I could have died a happy gal after seeing them.

After Nickel Creek, until Beck’s Forecastle-ending performance, I travelled from stage to stage (mostly in search of food) and ran into Adam, a fellow photojournalism pal from school. It was nice to see a friend after only briefly seeing familiar faces throughout the day, so together we went to dance to Flume. It was quite literally a party under the freeway as the Australian DJ blasted his beats from the stage, hands in the air and a sea of bodies moving in sync. Once that set ended it was time for Beck, and Adam and I ran to the stage. 

Over the course of Beck’s first few songs we managed to weasel our way toward the front, getting closer to the main stage than I had been the entire weekend. There couldn’t have been a more perfect end to Forecastle. 

Beck sang the beautifully airy and springtime-sounding songs from his latest release Morning Phase, but didn’t fail to bring the party with old favorites like “Loser”, “Girl” and more, eventually ending the night with “Sexx Laws” for the encore. One would never realize that Beck has been at this for as long as he has. His energy was amazing; bouncing across the stage between band members, the party atmosphere was what we needed to wrap up the night (and fest). 

The audience was immense but was perhaps one of the friendliest crowd I encountered over the weekend — not sure if that’s due to the realization that our tired feet would soon get the rest they needed or perhaps it was just the booze. Either way, Forecastle ended with one of the best shows of the weekend, and we left on the perfect note to wrap up the fest.

Things to know for Forecastle if you plan to go next year: Wear comfortable shoes. Know that if you come in sandals, you will leave with very dirty feet. 

Stay hydrated. Keep water with you, especially if the weather is as hot as Day 3 this year. Music festivals require long days, so don’t forget to take care of yourself.

Come with a schedule. You can create a custom schedule on the Forecastle website and print it out, something that helped me immensely this year in keeping track of things. Don’t be afraid to go outside your comfort zone, though. Discovering new music is what festivals are all about!



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<![CDATA[Morning News and Stuff]]>

Heavy stuff in the news today, but there’s a bright spot at the end of this rundown, something so inspiring it will probably change your life. Well, maybe just your week. Err, I don’t want to oversell it. I promise you’ll be amused for at least a couple minutes if you make it to the end of this. Read on.

The next chapter in the saga of nine Greenpeace activists who hung banners from P&G buildings happens today. A pretrial hearing will determine whether lawyers for the activists will be able to access P&G e-mails about the event to use in their case. Lawyers are also requesting records about maintenance of the building, more than likely related to the alleged $18,000 in damage done to windows in the building. That damage is part of prosecutors’ case that the group should face felony charges. Meanwhile, the Greenpeace activists are considering a plea deal that would keep them out of jail but saddle them with probation and felonies on their records. A date for the trial is expected to be set today.

Update: One of the nine protesters will take the plea deal, WLWT reports. The other eight will go to trial to face burglary and vandalism charges.

Hundreds rallied downtown Sunday to show support for Palestinians living in the Gaza Strip, where more than 400 civilians have been killed over the past few weeks in clashes between Israel and Palestinian militant group Hamas. Local protesters said their rally was about highlighting Palestinian civilians’ human rights.

“We have to be the voice for the voiceless," said Zeinab Schwen, a Symmes Township resident with family in Gaza. "For the children and parents, we have to speak up. It is not OK. It is not OK what Israel is doing.”

Israel launched a ground offensive Sunday in Gaza in response to rocket attacks from Hamas. Israeli leaders say they’re not trying to hurt civilians, and that Palestinian militants are putting them in harm’s way. But some witnesses claim that the Israeli army is targeting ambulances and other civilian vehicles as it carries out its offensive. In addition to the hundreds killed in Gaza, more than 3,000 Palestinians have been wounded by the fighting. 20 Israeli soldiers, including two with American citizenship, have also been killed.

• Macy’s, the Cincinnati-based department store behemoth, is nearing a settlement in a civil rights suit brought by actor Rob Brown. Brown, the star of TV series “Treme,” says the chain’s New York City store profiled him and others due to his race. He is black.  According to his suit, Brown was handcuffed and detained by security at the store for more than an hour when attempting to buy a watch for his mother. Other shoppers have filed similar complaints alleging they were held by security and accused of stealing because of their race. Details of the upcoming settlement have not been released.

• More questions are arising about ethics in the Ohio Attorney General’s office. The Dayton Daily News had an investigative piece Saturday about the AG’s office and the way it hands out contracts to outside firms. It’s a subject that has been reported on in the past–a number of media outlets have investigated law contracts the AG has awarded to legal firms who donate to the DeWine campaign and the Ohio GOP. Today’s piece finds similar connections with contracts awarded to firms to collect on debts owed to the state. The piece finds a high correlation between firms that donate to DeWine’s campaign and ones that get those collections contracts. Especially noteworthy are instances where firms run by those close to DeWine win contracts over more experienced vendors.

• Death and destruction. Racial Profiling. Allegations of cronyism. To give you a break from all the doom and gloom in this morning news, I found someone who has attained an amazing, completely laudable achievement, someone who can restore our faith in humanity and expand our understanding of what is possible in this world. It’s this guy, who just set the world record for number of tattoos of the same cartoon character on a person’s body. He has 41 Homer Simpson tats, all on his arm. He’s reached this pinnacle of human achievement despite having been forbidden from watching the show by his father, who he calls “a real life Ned Flanders” when he was growing up. Next time you think you can’t do something, that your goal is too hard, that the world is too harsh, remember this man. 

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<![CDATA[Lois Rosenthal, Cincinnati Arts Patron, Has Died]]>

It is with sadness that we report the death of one of Cincinnati's great art patrons, Lois Rosenthal, at age 75. This notice was in today's issue of The New York Times:

ROSENTHAL--Lois, 75, on July 20, 2014, died peacefully. She is survived by her husband Richard, their children Jennie (Allan) Berliant and David, her grandchildren Elizabeth and Andrew Berliant and Eva and Mae Rosenthal, and her brother Harvey (Mary) Reis. An activist, environmentalist, supporter and participant in organizations that defended the oppressed, the hungry, and the disadvantaged, she initiated many programs and activities. From the Ohio Innocence Project which has exonerated 17 wrongfully convicted people, to the Fresh Produce initiative at the Freestore Foodbank, and the Rosey Reader Program which has provided books to over 30,000 Cincinnati Public School children, grades K-3, to foster a love of reading, to her creation of Uptown Arts which provides free classes in art, music, acting and dance to five-ten year old city kids. During Lois' 28-year tenure on the board of the Cincinnati Playhouse in the Park, she and her husband established the Rosenthal New Play Prize which produced 15 world premier productions, several nominated both for the Pulitzer Prize and produced in New York. As a member of the Board of the Cincinnati Art Museum, Lois and Dick endowed the museum to allow free admission in perpetuity. Lois was also a member of the Board of The National Underground Railroad Freedom Center. There, once again drawing on her compassion for those with little or no voice, she envisioned, championed and funded Invisible: Slavery Today, the world's first museum-quality, permanent exhibition on the subjects of modern-day slavery and human trafficking. Along the way, Lois wrote a weekly consumer column for the Cincinnati Enquirer for 10 years, had a call-in radio show, and wrote features for several national magazines. Among her seven books, Living Better was a Book of the Month Club selection. Lois relaunched Story magazine in 1989 with her husband. In five of the 10 years she edited Story, it was nominated for the National Magazine Award for short fiction. In two of those years Story won the prestigious award. Like the founders of Story-- Whit Burnet and Martha Foley-- who first published the works of today's marquis writers, Lois first published stories by Juno Diaz, Elizabeth Graver and Nathan Englander among others. Mother, wife, friend to many, Lois Rosenthal transformed organizations, intellectually and with creative determination. We're all better for her high standards, her dynamic personality, the impact she made on so many lives, and her contagious enthusiasm for doing good.
There will be a memorial service in the Marx Theater at Cincinnati Playhouse in the Park at 4:30 p.m. on Sept. 15.
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<![CDATA[REVIEW: Louisville’s Forecastle Fest Day 2 ]]>

What I love about Day 2 of a fest is that I usually have my bearings — I understand the layout of the festival and know how to find what I need. What I love more about Day 2 of a fest is that, while things seem the same, there is still much to be discovered, like new music, food and more. When Day 2 of Forecastle arrived, I went into the morning with expectations that would end up being far exceeded. 

I got to the press tent early Saturday to meet with my first interview of the day, with Australian band Boy & Bear. I saw these guys perform at CMJ Music Marathon several years back and it was good to catch up with them again. I suggest listening to their latest record, Harlequin Dream, just released last year, if you‘ve never heard Boy & Bear before. The band will also be making their way across the United States in October, so look out for them! (LIYL The Avett Brothers, Trampled By Turtles). 


After talking to Dave and Dave of Boy & Bear, it was still early in the day, and I forgot that music didn’t start for another couple of hours. Thank goodness it wasn’t too early for Heine Brothers’ Coffee, so to my iced coffee sanctuary I went. The morning felt nice and calm before the craziness that is Forecastle arrived, so I took a moment to walk the grounds and soak everything in. I could feel great things coming for that day, and great things indeed did come. 


When the music finally began, I went to find my way to the Boom Stage (my unofficial favorite stage of the fest this year, I’ve decided), but not before meeting a fellow college radio DJ. We talked for a few about radio things and the bands we were excited to see that day, and when we finally split ways I found myself in front of Hurray for the Riff Raff. Funny enough, as my college radio station’s Music Director, I had passed on Alynda Lee Segarra‘s latest record, but as I stood watching her live set I couldn’t figure out why. She was amazing. With the full band, the sound was soulful and remnant of New Orleans Y’at, as if the group of musicians had just been resurrected from a Louisiana swamp (in the best way possible). I stuck around the stage for Boy & Bear and Lord Huron, who together gave me my Americana fix for the day, before traveling to the other side of the fest.


At the Ocean Stage, I waited for Avey Tare’s Slasher Flicks to begin. As a longtime fan of both Animal Collective and Dirty Projectors, I’ve been enjoying the recent collaboration between Dave “Avey Tare” Portner and Angel Deradoorian known as Slasher Flicks, and it was nice to see that happen live. It was clear that the audience was full of Animal Collective fans — where I was standing, Portner nearly started a riot when he came on to the stage. Slasher Flicks began full of high energy and noise, which one might expect from the howling (sometimes screeching) vocalist, who was backed by Ponytail drummer Jeremy Hyman. The audience bobbed along to each of the playfully spooky yet jazzy songs and the band, who had just come from the Pitchfork festival in Chicago, danced along with us from the stage. As the set ended, I quickly made my way back to the media tent to begin my next scheduled interviews.


First I talked to a few dudes from The Weeks, a band that is from Mississippi but now based in Nashville, about touring and new tunes. These guys recently toured with Kentucky’s own Buffalo Rodeo and noted that they prefer to tour with friends when given the chance. This was perhaps the most fun interview that I’ve done so far — these guys were super laidback, giving me the perfect opportunity to get out any nervous giggles before speaking with Dave “Avey Tare” Portner. 


A long time fan of Animal Collective, I was both excited and incredibly nervous to talk to the man who fronted the band, even if he was with a different project. We met in a trailer behind the Ocean Stage (which was, at the time, accompanied by a very loud DJ) and began to chat. Portner was incredibly kind and open to conversation, something I always appreciate about an artist. He opened up about the formation of Slasher Flicks, the new record and how it served as a means for “moving on.” He even dropped a hint about new Animal Collective material coming out within the next year. It is definitely worth noting that Portner complimented my bright green and electric blue nails, which I had been referring to earlier in the week as “boy repellent” on account of their somewhat crazy nature. Leave it up to a member of Animal Collective to like them, of course. 


After talking to Portner about my favorite Animal Collective songs and such off the record, I finally left him alone and floated across the fest to the Mast Stage. My head still buzzing and heart still racing from the conversation I just had, I stood swaying along to my favorites as Band of Horses belted from the stage. “No One’s Gonna Love You” and “Is There A Ghost” soared across the lawn for a moment that took me back to high school. I fell in love with the band all over again. 


As the night progressed, so did my exhaustion, so I found myself at a bench near the WFPK Port Stage for Drew Holcomb & the Neighbors. A refreshing break from the hustle and bustle of the day, Drew Holcomb and his band played their tunes as the soundtrack to the river at dusk, the colorful festival lights slowly growing more prominent against the evening sky. I’ll admit it, I closed my eyes for a minute to soak in the beautifully bluesy tunes traveling from the Port Stage, especially when “What Would I Do Without You” began. Holcomb sings pretty songs of love and Jesus, and the Forecastle crowd was definitely into it. I watched across the river as Jack White’s audience began crawling closer and closer to the stage, my cue to make my way over.


I decided to watch White perform from a distance, finding a spot where I could see him and not simply watch the screens on the sides of the stage. He cranked out White Stripes classics like “My Doorbell,” as well as his solo tracks like “Love Interruption” for the huge crowd. His band, in the most classic Rock & Roll way, was quite entertaining to watch. They didn’t need much as far as props and graphics go, just their energy and passion. 


It worked. White was the perfect end to Day 2, and, knowing Day 3 would be here soon, I looked forward to the few hours of sleep I would gather before heading out again.


To check out if you’re Forecastling today: Eno hammocks. Give your feet a break, they deserve it!


Sober Sailing. These guys want you to be safe and composed at the fest. They support each other in staying alcohol- and drug-free at Forecastle, so if you need some encouragement in doing the same, just give ‘em a visit. 


Heine Brothers’ Coffee. The folks working here have been especially kind and the coffee is great. What could be better than nice folks and good brew? 

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<![CDATA[REVIEW: Lousville’s Forecastle Fest Day 1 ]]>

Kentucky’s Forecastle is a music festival that I had never been to before this year. At the end of Day 1, I was asking myself why. 

After spending the majority of my Friday bouncing from stage to stage and tent to tent (still with much more to explore today), I found myself having the time of my life in this little temporary corner of Louisville known as Forecastle. Despite the spitting rain and chilly temperatures, the energy here is booming, the crowd is eager (though polite, for the most part) and the mood is happy. It’s obvious that it would take quite the storm to sink this ship, and it’s looking like smooth sailing from here for the next two days.


When I first got to Louisville after encountering terrible traffic (if you plan on going and are traveling south, LEAVE EARLY), I found myself a free little parking spot along River Road and proceeded on my trek to the festival. Free parking has its price, I suppose. For the record, you can pay to park, but was this gal was going to do what it took to save her pennies. 


Thankfully I found CityBeat’s own photographer extraordinaire Jesse Fox at check-in, and we both arrived just in time for our interview with Punk band Against Me!. We waited under the press tent about 20 minutes past the scheduled interview time (you get used to this in the music world and begin to expect it) until Laura Jane Grace and Atom Willard entered the scene. Jesse and I shook their hands with mouths agape and eyes wide, nervous as all-get-out. They turned out to be very kind and Laura complimented my belt (therefore I am wearing it every day forever now). It’s the little things, you know? This is what I love about music festivals, conferences, etc. — it truly is a different world. 


After our interview with Laura and Atom, we went to the Boom Stage to check out The Black Lips. These Atlanta-based dudes rule. Once their set finished I retreated once again to the media tent for some ’za from Mellow Mushroom and ah-mazing moonshine cocktails from Ole Smoky Tennessee Moonshine. (I also went to charge my phone.) I found familiar faces in the media tent as the CityBeat crew quite literally funneled in and took it over. I couldn’t have been more excited. I met new folks and took time to chat but was quickly out on the field again to explore. There is just so much to see!


I found myself back at the Boom Stage for Against Me! The band put on an amazing, high-energy performance with Laura Jane Grace bouncing around the stage. They played their best old hits (“I Was A Teenage Anarchist,” anyone?), but of course cranked out the new record, Transgender Dysphoria Blues, too. 


Once Against Me!’s set ended, I had a bit of time to explore. The layout of the festival is quite nice, really. Nothing is too far from wherever you want to go and food/restrooms are almost always within arm’s reach. I had no difficulty traveling from stage to stage and found it easy to find almost everything (except for the Port Stage, that one takes a bit more exploring to get to). I can appreciate these details about a festival of this size. 


I saw some old favorites one day one — Local Natives and Outkast, just to name a few — but I wanted to take the time to try something new as well. This was when I wandered to the Ocean Stage to find Nightmares On Wax. I had no idea what to expect and stood in the (what seemed to be very young) crowd, staring at the stage with the words “Nightmare On Wax” rotating in lights along the back of the stage. I began to get antsy, second-guessing my decision. Just then, the band excitedly entered the stage and began. The beat dropped and I couldn’t stop moving. The band’s sound is hard to pinpoint — there were definitely Reggae and Hip Hop influences in it, but it was perhaps more of a jam-band sound without all the instruments. I didn’t care what it was. I was into it, and so were the people around me. Not a soul was standing still. If you haven’t checked out Nightmares On Wax, the apparent brainchild of England native George Evelyn, you need to, especially when you’re sitting by the pool or driving on a summer night. 


Outkast ended the night of course, playing all the hits (“SpottieOttieDopaliscious” and “Da Art of Storytellin’ (Pt. 1)” are my personal favorites, but they played a lot of their later material, too). Their show was nothing short of amazing. Andre 3000 is as odd as ever, Big Boi was as cool as ever and the two are truly a match made in heaven. You don’t need me to tell you that, though. With sore feet and limbs, I trudged back to my car to retreat for the night. I’m already excited for day two.


Things to check out if you’re Forecastling this weekend: Old Smoky Tennessee Moonshine cocktails. They are amazing. I suggest the Dolly, but they are all delicious.


Giant creatures walking around. You can find a giant monkey, bird, man, caterpillar-thing. These things just make you happy. 


Poster exhibit on the far side of the festival (next to the Boom Stage). There are amazing band posters (which I’m a total sucker for) featuring tons of artists to check out. Go show ’em some love!  

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<![CDATA[Your Weekend To Do List: 7/18-7/20]]>

Cincy Summer Streets — a new free citywide festival series — takes cars off the road to make way for a pop-up playground for kids and adults alike. Like a block party on steroids, the inaugural Cincy Summer Streets takes over a one-mile strip in East Walnut Hills Saturday with activities like dance classes, yoga, magic shows, art workshops and more. Participating groups include Pones, Inc., Circus Mojo, Hoopinnati, Double Dutch Cincinnati Rope Twisters, Queen City Bikes, The Shakti Factory and The Yoga Bar. The fun takes place from 9 a.m.-2 p.m. Saturday on Woodburn Avenue between Madison Road and East McMillan Street, continuing down McMillan to Gilbert Avenue — so plan your driving and parking accordingly. Or better yet, bike over — Woodburn and McMillan will be open to foot traffic and bikes. Next month, Cincy Summer Streets heads to Northside for a similar fest Aug. 24. Find more details here.

A number of county fairs are in full swing this weekend: Kenton County (through Saturday), Butler County (Sunday through July 26), Warren County (through Saturday) and Clermont County (Sunday through July 26)

If your wardrobe could use an injection of local pride, stop by the Cincinnati T-Shirt Market Friday on Fountain Square. This annual market showcases more than a dozen local vendors. Whether you’re looking for tees representing area teams, Cincy-centric jokes or just local businesses, there are plenty of options on the square. The market runs until 11 p.m., coinciding with tonight’s MidPoint Indie Summer show. Young Colt, Mardou, DAAP Girls and Wesley Bright & the Hi-Lites will be rocking the MPMF stage on Fountain Square from 7-11 p.m.

The Burlington Antique Show has brought vintage collectibles to the Tri-state for the past 33 years. Unique, quality bits of nostalgia are all around at the show — you won’t need to rummage through tons of junk to find treasures, though sifting through the antiques is half the fun. The Burlington Antique Show is located on the Boone County Fairgrounds every third Sunday, April-October from 8 a.m. to 3 p.m. Admission is $3; early bird admission give eager shoppers early hours, 6-8 a.m., for $5.

Why not enjoy the classic summer tradition of a picnic in the park this weekend? This week’s cover story offers six picnicking destinations and tips on where to fill your basket nearby. Read it here.

For more art openings, parties, festivals and other stuff to do this weekend, check out our To Do picks, full calendar and Rick Pender’s Stage Door for weekend theater offerings.

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<![CDATA[Morning News and Stuff]]>

The news transpiring this morning is all across the board.

The reshaping of Cincinnati’s downtown continues, and one of the biggest signs of more impending changes is the increase in housing in the city’s urban core. More people are interested in living in or near downtown, and developers are happy to oblige. Construction is ongoing for nearly 1,000 new apartments and condos in and around downtown, The Business Courier reports in a rundown of new construction today. The biggest projects include phase two of The Banks, which will have 305 new apartments, the so-called 580 building on Walnut Street, which is being converted from office space to 179 luxury apartments, and between 180 and 225 new apartments going in above Macy’s downtown location. There are also a number of projects happening in Over-the-Rhine, including a $26 million development in the Pendleton area that will also include 40,000 feet of retail space.

• All that change isn’t going unnoticed. It seems like I’m talking about Cincinnati making it onto some top 10 list or national publication at least a couple times a week here at the morning news, and here’s another one: Fortune magazine included Cincinnati in a list of top five cities with up-and-coming downtown areas. The article highlights Over-the-Rhine, saying, “while it’s still a work in progress, it’s already been transformed into one of Cincinnati’s most vibrant communities.” Oh, to work at a national magazine, parachute into a city for a couple days and reduce complex, decades-old dynamics into pithy, erudite observations. But I digress.

Tea partiers won a victory of sorts in U.S. District Court yesterday when Judge Susan Dlott ruled a group of the political activists could pursue suits against Internal Revenue Service employees in Cincinnati. The activists’ claims, first filed last year, state that IRS officials unfairly flagged their applications for nonprofit status based on the fact the groups have names indicating they are conservative or have “tea party” in the name. Nonprofits can’t be primarily political, and in assessing a groups’ application, the IRS must determine the level of political involvement in which a group engages. While the IRS admits it did flag tea party groups, it also did so for some liberal groups, including Occupy-affiliated activists. Still, the conservative groups argue that the IRS acted in a discriminatory way by delaying or denying their applications. The judge’s ruling clears the way for the groups’ lawsuits to go forward.

• There’s a new senate candidate in Kentucky joining the Mitch McConnell/Alison Lundergan-Grimes fray, and he wants you to know he’s full of crap. “Honest” Gil Fulbright is a fake candidate created by represent.us, a group advocating to get big-money influence out of politics. Fulbright, who is played by an actor from New York, is pretty honest about his intentions.

“People of Kentucky, you deserve complete honesty, so here it is,” he says in a video. “I don't care about you. Unless you are a donor, a lobbyist who can write a big fat check, the result that you get from voting for me is negligible."

The parody is a way for the group to drive home its point that most politicians in Congress are beholden to the big-money donors who help them get elected. The group says satire is a more effective way to reach people than traditional news. Probably true.

Kentucky’s senate race, where Democrat Lundergan-Grimes is working to unseat incumbent and Senate Minority Leader Mitch McConnell, is expected to be the most expensive in history. Candidates and outside groups are on track to spend $100 million to convince voters they’re the better choice. A good deal of that money comes from big-money donors and PACs.

• Finally, while we’re talking about Kentucky, I need to share this story with you. The morning news absolutely does not condone law breaking, but if you’re going to do it, you might take a tip from this criminal genius. A Corbin, Kentucky man was arrested Tuesday for shoplifting. When taken to the station, he asked to make his requisite one phone call. Did he use that call to get in touch with a family member, friend or significant other who could bail him out? No, no. He used his only phone call to order five pizzas in the name of the officer who arrested him. The pizzas were then delivered to the police station, to the confusion of officers. This was either an A-plus troll move or an act of kindness. Something tells me this guy knew it was going to be a long night for everyone involved and just wanted to get the party started right. The authorities were not amused, however, and are now adding charges of impersonating an officer to his shoplifting counts.

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<![CDATA[Locals Buckle Up for Buckle Up Music Fest]]>

Just like at last weekend’s Bunbury Music Festival, this weekend’s inaugural Country/Folk/Americana-centric Buckle Up Music Festival (founded by the creators of Bunbury) will feature several great Cincinnati area artists. Fans planning to attend the fest (running today through Sunday at Sawyer Point/Yeatman’s Cove on the riverfront) should definitely makes time to check out some of the locals — collectively they are proof that Greater Cincinnati’s Roots scene remains one of the strongest in the region. (Click on each performer’s name for more info and song samples and click here for a map with stage locations.)

Greater Cincinnati acts performing at Buckle Up on Friday include The Dan Varner Band (2 p.m.; Amphitheater Stage), Andrew Hibbard (2:45 p.m.; Acoustic Stage), Lonesome Jared & the Heart Attacks (2:45 p.m.; Lawn Stage), Jamison Road (4:15 p.m.; Acoustic Stage), Messerly and Ewing (5:45 p.m.; Acoustic Stage), Jeremy Pinnell and the 55’s (6:30 p.m.; Amphitheater Stage) and Pistol Holler (8 p.m.; Amphitheater Stage).



On Saturday, catch local Buckle Up performers Wild Carrot (2:45 p.m.; Acoustic Stage), Shiny and the Spoon (2:45 p.m.; Lawn Stage), Kentucky Timbre (3:30 p.m.; Amphitheater Stage), Buffalo Wabs & the Price Hill Hustle (5 p.m.; Amphitheater Stage), Arlo McKinley & the Lonesome Sound (5:45 p.m.; Lawn Stage) and The Tillers (8 p.m.; Amphitheater Stage), who recently had their amazing new music video for the track “Willy Dear” world-premiered on the site for American Songwriter Magazine.



Sunday’s Buckle Up lineup features area performers Honey & Houston (2 p.m.; Lawn Stage), Alone at 3AM frontman Max Fender (2 p.m.; Acoustic Stage), The Kentucky Struts (2:45 p.m.; Amphitheater Stage), JetSet GetSet (3:30 p.m.; Lawn Stage), Straw Boss (4:15 p.m.; Amphitheater Stage), Mark Utley and Bulletville (5 p.m.; Lawn Stage), Bobby Mackey (5:45 p.m.; Amphitheater Stage) and Noah Smith (7:15 p.m.; Amphitheater Stage).



For the full Buckle Up lineup, ticket information and more, visit buckleupfestival.com. And check out our interview with founder Bill Donabedian about Buckle Up and last weekend’s Bunbury fest here and Brian Baker's Top 10 "must-sees" here.

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<![CDATA[Stage Door: Kentucky's the Place for Theater this Weekend]]>

The Commonwealth Theatre Company's production of Route 66 continues its dinner-theater run at Northern Kentucky University. It's about a band traveling from Chicago to the West Coast in the 1960s along one of America's most legendary highways. Along the way, they meet a lot of colorful characters and see a lot of America. Wes Carman, Roderick Justice, Dain Alan Paige and Joshua Steele make up "The Chicago Avenue Band," who make stops at juke joints, diners, cheap motels and curio shops in this coming of age story. Through July 27. Dinner and the show ($30): 859-572-5464.

Last Saturday evening I ended up at Highlands High School in Fort Thomas to see teacher Jason Burgess's production of The Addams Family featuring a herd of high school kids from all over Greater Cincinnati and Northern Kentucky. It's a perfect musical for the program Burgess has created (C.A.S.T, the Commonwealth Artists Summer Theatre), bringing together a ton of students who are in love with theater. Surrounding the central characters in The Addams Family, nicely portrayed by Aaron Schilling as Gomez, Lindsey Gwen Franxman as Morticia and Harrison Swayne as Uncle Fester, are 18 ghostly "ancestors." Each one is costumed (designer Laura Martin) from various periods with a clearly evident character; together they sing and dance as a coherent company. (Amy Burgess served as the production's choreographer, and Alex Gartner is the music director — in creepy makeup.) Through Sunday at 2 p.m. General admission ($10) at the door or online via www.showtix4u.com.

Monday evening at 8 p.m. brings the third installment of Serials! at Know Theatre (1120 Jackson St., Over-the-Rhine). It's a wacky summer-long set of a half-dozen episodic plays by local playwrights. So far we have seen meat falling from the sky, an NSA spook monitoring a contentious couple, a kid refusing to go to a funeral, a philosophical fetus, a suicidal pair competing over techniques and more. Each 10-15 minute episode is preceded by a clever recap to catch you up, even if it's your first time there. Rest assured there are cliffhangers — not to mention Know's well-stocked Underground Bar. Admission is $15. Tickets: 513-300-5669.

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<![CDATA[From The Copy Desk]]> The idea of using enough self control to pack a delicious meal, find a blanket and change locations without eating said lunch sounds futile to me, but this week’s cover story Pick a Picnic is about as inspiring it gets in the line of picnic inspiration. So pick up your copy and choose your own adventure, but first — here’s your dictionary for the issue.

Maybe the summer heat is stifling the writers’ vocab, (or they were out having too much fun this weekend at Bunbury) but there weren’t very many vocab words this week. That being said, that’s no excuse to let your vocabulary get stagnant, we’ll go with what we have …  

 

requisite: a thing necessary for the achievement of a specific end, n.

My college education hasn’t thus far outright taught me this word, but now I see I knew it all along. I know perfectly well “prerequisite” means “course you need to take before you take you’re smart enough to take the one you really want.” So a requisite is also something that is necessary. It seems that requisite and prerequisite are synonyms (so Google tells me), why are they both needed? 

In the issue: “Don’t forget the requisite potato pancake on the side,” referring to Rascals’ NY Deli in the Doggie Day in Amberley Village picnic option. I agree, potato products are a requisite for happiness — a good picnic, I mean. Is it lunchtime yet?

 

sycophantic: using flattery to win favor from those with influence, adj.

Without reading the definition, finish this sentence: If a journalist can be described as sycophantic, that journalist is also … ? Got nothing? Me either. Let’s get straight to the context clues.

In the paper: “Part of the problem, Sullivan said, is the failure of sycophantic Times writers and editors to ‘challenge and vet the views of these government sources,’ ”  in this week’s edition of Ben L. Kaufman’s Curmudgeon Notes. In the past three weeks, we’ve heard about mislabeled sources, shield laws and jingoistic editorials — anybody else miss Worst Week Ever?

 

Bonus Round: The bonus round is just as long as the regular round, folks.

nascent: a process or organization coming into existence and displaying signs of future potential, adj. Like when you read blog the first week you thought, “the nascent copy editing blog.” Scavenger Hunt! Maybe I’m crazy but I can’t seem to find this word in the issue …

 

Exclusive cultural lesson for the week!

So there’s a movie out now called And So It Goes, with Michael Douglas and Diane Keaton. TT-stern-enzi (in a preview that was cut for space) described Keaton’s role in the film world right now as the woman that gets the lothario male character to settle down a la As Good As It Gets with Jack Nicholson. I’m not a movie previewer but maybe the preview will get posted online today (I don’t know, I’m not the web editor or anything).

So Lothario is the name of the male character in The Impertinent Curiosity, a metastory in Don Quixote. Lothario is a seducer of woman, giving his name use as a noun meaning, “a man who behaves selfishly and irresponsibly in his sexual relationships with women.”

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<![CDATA[REVIEW: Bunbury Music Festival Day 3]]>

Sideways rain and swamp-ass, but it wasn't so bad. The storms were intermittent, the day was clearly not a total washout and, out of the nine days of Bunbury over the past three years, this one might just have ended on the highest note of them all.

Upon arrival, I was greeted by above-and-beyond volunteer Jacob Heintz, who advised serious attention to hydration, as several people had already passed out from the heat. In order to accommodate more fluids, I needed to make a deposit at the Yeatman's Cove First National Bank of Evacuation.


You know what's great about the Porta-Kleens in the summer? Heated seats. You know what's not great about Porta-Kleens in the summer? Heated everything else. I felt like I was microwaved to about medium rare by the time I was done with business. But I was treated to a bit of pithy wisdom in the form of a neatly scrawled line of graffiti in the unit — "No one is free. Even the birds are chained to the sky." Of course, the trade-off is that birds can shit anywhere they like, which somehow seems to involve my windshield an inordinate number of times a week.


At any rate, a spotty rain began within minutes of my arrival, so I headed down to the Main Stage to see if things were continuing on schedule. On the way, I passed Daniel in Stereo on the Acoustic Stage, where he seemed to be offering an evocative Jeff Buckley vibe. Very nice. When I got to the Main Stage, the Brick + Mortar set had just begun. The politically conscious World Rock guitar/drum duo from Toms River, N.J., was cooking along nicely, but about three songs in, the lightning flashed, the thunder cracked and the staff shut them down. 


"That sucks," noted guitarist/vocalist Brandon Asraf. "I had just tricked you into liking me for a minute." Then he launched into a stand-up comedy bit, quoting Half Baked and bemoaning his lack of life compared to his engaged drummer, John Tacon. "I'm single and chubby. What's up?" he said, canvassing the crowd. 


The crew finally had to shut off the power so that was the end of Brick + Mortar. (The band will return to Cincy on Aug. 15 for a free show on Fountain Square.)


Shortly after that, the flaming finger of God erupted from multiple clouds and the rain, gentle at first, ultimately came pissing down from the heavens. I had taken refuge in the Yeatman's Cove tunnels and thought I'd gotten way lucky to avoid the torrential downpour, but that proved ineffective as well when a tornadic wind blew the rain horizontally straight through the passageway. Everyone was drenched from cowlick to ass-crack and beyond.


Luckily, the storm didn't last long and the only issue at that point was how long the clean up and reset would take. I wandered down to the Main Stage to see if Red Wanting Blue was going to happen, but it appeared as though it would take a considerable amount of time, so I motored back down to the Warsteiner Stage to see what progress had been made there. 


To my unending delight, Kim Taylor was just getting started about the time she should have been wrapping up. I've been completely smitten with Kim's work since a friend at my long since defunct graphic design day job lived in the same apartment building with her. She had just begun her music career and had given my friend a copy of her self-released EP, which he passed along to me. Her gently compelling voice, her introspective and intelligent lyrics and her melancholic mastery of melody certainly gave me a chill similar to the one I felt after my first experience with Suzanne Vega, but Kim was most assuredly following a unique path, and so it has remained for the past decade and a half. 


I've seen Kim numerous times over the years and written at least three features and a few MidPoint previews ahead of her releases and appearances, and she never disappoints, as an interview or as an artist. The power of her presentation at Bunbury was obvious; with no more than her acoustic guitar and drummer Devon Ashley, Kim Taylor turned the vast expanse in front of the Warsteiner Stage into an intimate performance space that crackled with a quiet intensity. It is powerful testimony to Kim's ability to hold an audience that, with dark clouds roiling overhead and thunder rumbling ominously in the distance, there was even greater drama brewing on the Warsteiner Stage.


After a quick stop to use the Big Mac Bridge as an umbrella, it was down to the Lawn Stage to witness the mind-bending energy of The Yugos. The relatively new and insanely young four-piece channel the absolute best elements of '70s Punk and New Wave with a dash of Surf and a couple hundred thousand volts of charisma. Spend any appreciable time with The Yugos and you'll detect distinct flashes of the jerky time signatures of XTC and Talking Heads, the Pop verve of Flock of Seagulls and the dark intensity of Echo and the Bunnymen. Drummer Jordin Gough jumps around the stage as though fire ants have been ceremonially sewn into his black jeans; he stands on his drum stool and beats on his kit from above, he takes the floor tom into the audience and thumps on it like a brave calling his tribe to action, while bassist Jeremy Graham provides an equally schizophrenic bottom and guitarists Christian Gough and Jackson Deal are peeling off punky New Wave riffs and licks that are as nerve-rattlingly appealing as The Cure on speed or Devo on hallucinogenics laced with antipsychotics. 


At their Lawn Stage set, The Yugos rolled out their latest track, "Follow You," did the song about a dream where a robot chased Christian down a hill, constantly called out a guy in the audience that looked like James Franco, dedicated a song to Seth Rogen and implored the assembled multitude to shake their asses. Comedy, Surf/Punk and a heart needle full of adrenaline combine to make the perpetual motion music machine known as The Yugos; with five years under their belts already, they're bound to last a hell of a lot longer than their namesakes.


After a delicious burger from Dutch's in the Craft Beer Village and an equally delicious Puma Pilsner, courtesy of Black Owls hammer Brian Kitzmiller, it was a stroll over to the Main Stage to see ZZ Ward crank up her last couple of songs for a large and enthusiastic crowd and then down to the River Stage to catch a few songs from hot DJ/multi-instrumentalist Robert Delong, who filled the Serpentine Wall with Electronic music devotees who were digging his live-looped vibe with an almost religious fervor. Back on the Main Stage, Young the Giant blasted the swelling multitudes with the sticky/sweet Indie Rock hard candy that put them on a lot of attendees' must-see lists.


I took my leave of the growing crowd in front of the Main Stage — a combination of devoted Young the Giant fans and Flaming Lips aficionados staking out their space for the imminent start time — to catch The Orwells at the Warsteiner Stage. The Orwells made my personal don't-miss list after a little due diligence in checking out their history and sound online for a preview in last week's CityBeat and they didn't disappoint. 


The quartet's central Illinois lineage is pretty much all the Pop cred they require and they use it to sweeten their rough-edged Garage/Punk love, as evidenced on last year's Disgraceland and the subsequent Other Voices and Who Needs YouEPs. Given the band's ramshackle nature (they'd pair up nicely with Cincy bands Mad Anthony or The Harlequins for a local show), it seemed like The Orwells might come a little unglued in the live presentation, but they were perhaps a little more restrained than I would have imagined. That could have been the post-storm vibe. They did toss out a raw chunk of the Foundations' "Build Me Up Buttercup," so that was pretty cool. Here's hoping we can get them back for a full show in better circumstances in the very near future so we can see what happens when The Orwells really put the pedal to the floor.


I reluctantly ducked out of The Orwells a bit early to establish position for The Flaming Lips’ show, given the crush of rabid fans that were in all likelihood packing the front of the stage. For the sake of full disclosure, it should be noted at this juncture that I was looking forward to this show because I am a Flaming Lips virgin. I drank the Kool-Aid with Oh My Gawd!!! way back in 1987, but missed the local show on that tour because of my freelance production schedule. 


Since then, I've totally dug the studio Lips but somehow have never found my way to experiencing the live Lips; the closest I've ever gotten was nine years ago when I was in Austin for SXSW and Wayne Coyne came rolling down Sixth Street in the bubble with some sort of boombox entourage trailing behind, offering a soundtrack to the proceedings. And I suppose I could claim a certain amount of Lips cred for my two band interviews, the first with Steven Drozd in 2003 after the release of Yoshimi Battles the Pink Robots and the second with Wayne in 2008 to talk about the DVD release ofChristmas on Mars


But the Bunbury show represented the taking of my live Flaming Lips cherry; after a quarter century of studio foreplay, I was more than ready. And what a glorious deflowering it was. 


After taking to the stage, which was appointed like a Peter Max flashback of Leary-esque proportions, the Lips launched into "The Abandoned Hospital Ship," with Wayne outfitted in a tinsel hairsuit that gave him the appearance of a glammed up Sasquatch. When it was over, he greeted the crowd warmly and promised that, should the rain begin again to the extent that the show had to be stopped, the Lips would be staying and they would finish the show, no matter what. The vast expanse of Lips fans roared their relief and the band shot headlong into "Yoshimi Battles the Pink Robots, Pt. 1," and the crowd's bliss was palpable. 


After a set that was filled with brilliant Lippage ("Look...The Sun is Rising" and "A Spoonful Weighs a Ton" among them), dancing rainbows, magic mushrooms big enough to give Mario a coke boner, a gyrating sun and a video/LED presentation splashy enough to trigger a mild epileptic seizure, the clouds cried just slightly at the prospect of the end of the evening. The Lips took a short breather and then returned with the biggest one-two pay-off in Bunbury's short but potent history; the gorgeously contemplative "Do You Realize??" from Yoshimi and an absolutely epic version of the Beatles' "Lucy in the Sky with Diamonds," punctuated by several blasts from the four giant confetti cannons on stage. If I smoked cigarettes, I surely would have sparked one up after that conclusion.


And thus marked the end of Bunbury's third installment. The last day's weather difficulties notwithstanding, it was another flawlessly presented and managed music festival put on by one of the city's most knowledgeable and Zen-like business heads, Bill Donabedian, and his amazing staff, who all handle every detail from gravely major to almost subatomically minor with a combination of ninja professionalism and weaponized OCD. And, as Bill would be the first to tell you, it couldn't be done without the walking live army of volunteers who make this thing run with the precision of God's pocketwatch. 


Plans are already afoot for Bunbury 4; they get harder to surpass with each subsequent summer, and somehow Bill and his festival all-stars manage to do just that. See you at the gate next July.


SIDE NOTES


• A lot of notable absences in the crowd this year, particularly my brother-from-another-mother Matthew Fenton. Either he just couldn't make it down this year, or he's actually perfected his cloak of invisibility and skillfully avoided me for the entire weekend. I hope it's the former.


• Even with Sunday's threatened inclement weather, or as departing WCPO meterologist Larry Handley would characterize it, the blow job that nobody wants (no, Larry wouldn't say that, but I would and, in fact, just did), there was still a great turnout for the day's lineup. There was the inevitable run-in with Brent and Kat, and that makes every day worthwhile; they headed down to Brick + Mortar and after a swing around the grounds, I headed that way myself.


• With the advent of lightning and the first shutdowns of the day, I headed for the Yeatman's Cove tunnels before things got too crazy. Moments after entering, the sky opened up and the rain pissed down, so I thought luck was on my side. I stopped to talk with a group of photographers, one of whom I've seen numerous times at Bunbury and MidPoint, which has made us sort of nodding acquaintances. We chatted for a bit, then he introduced himself as Steve Ziegelmeyer and asked if I had attended a wedding last year for someone from Jungle Jim's. In fact, my wife and daughter and I have gotten to know one of the guys from the dairy department at the Route 4 store who goes by Squidd, and when he announced that he was engaged, he insisted that we come to the wedding, which we were honored to do. Turns out Steve's wife works with Squidd's wife at Jungle Jim's Eastgate store, and he was at the wedding. And when he said it, I totally remembered seeing him there and completely blanking on where I knew him from. He gave me his card and an idea for a feature; I'll be remembering him now.


• While I was waiting to see what would come of Kim Taylor's set, up strolled Eddy Mullet and his daughter Jess, looking none too worse the wear from Saturday's festivities. (Well, Eddy doesn't drink and Jess is 17, so the beating I take is typically incrementally worse than theirs, but I digress.) When the storm cranked up again, we headed for the shelter of the bridge and told ghost stories (they've got really good ones) until the sound of The Yugos drew us to the Lawn Stage.


• We were headed to Robert Delong's set when I was waylaid by Mr. Brian Kitzmiller, a drum beater of epic reputation and a beer buyer worthy of sainthood, or at least knighthood. When I steered over to Dutch's food booth for a burger, Brian introduced me to Jerry and Pam who run Dutch's (Brian knows at least 60% of every group of people that he finds himself in), as well as a couple of guys from the band The Easthills, who were playing the part of the Black Owls this year (their early afternoon set was rained out, like the Owls’ were in Year 1.) Over by the Delong set, the ubiquitous and always welcome King Slice appeared, as did Owls bassist Kip Roe and his sons, Kip Jr. and Ben, and we had ourselves a Rock & Roll convoy.


• Just before the Lips' extravaganza got underway, I ran into 500 Miles to Memphis frontman Ryan Malott, another prince of the local music realm, who was on his way down to the Warsteiner Stage to catch The Orwells. We had talked about the show when Ryan came into Class X to do Eddy's Kindred Sanction program for a Bunbury preview and a chat about the new 500MTM album, Stand There and Bleed, and I'm glad he reminded me. As I hit the Craft Beer Village on my way to The Orwells, I was absolutely floored to see my old friend Ric Hickey, one of the best guitarists this scene has ever produced, escorting his ladyfriend Michelle down to the Lips show. We caught up for a hot minute, then went our ways. Once at the Warsteiner Stage, as The Orwells were winding up, I spotted Mark Messerly near the back of the crowd, clearly contemplating how he would approach his Messerly & Ewing gig at next week's Buckle Up. No he was not; he was drinking a beer and imploring The Orwells to ramp it up. You know Mark. Venomous Valdez was right behind him, a vision in yellow on her birthday eve. Many happy returns, double V. And I finally caught up with Ryan, who introduced me to his lovely and relatively new wife Gina (I had to ask for her name twice because I'm old, I've got 40+ years of Rock & Roll ears and The Orwells had, in fact, ramped it up). As NRBQ once noted, you're good people, you are.


• We all wound up hanging together for a good portion of the Lips' set, but one of my favorite moments was the Roe boys' faces when I confessed that this was my first live Lips lock. They couldn't have looked more astonished if I'd told them I'd just eaten a half pound of heroin-soaked grapes. Kip and his boys have seen the Lips on numerous occasions and, as a result, once we got camped near the stage, Kip Jr. tapped me on the shoulder and very politely began pointing out the elements of the Lips' set design and what everything was for. It was a very good tutorial, a sweet gesture for a teenager to connect with an old duffer such as myself, and proof positive that childrearing is a high art and Kip Roe should teach the whole bloody world exactly how to do it.


• Finally, for the third consecutive year, the unofficial and extremely subjective results of my annual “Best T-Shirts at Bunbury” competition, selected and judged by me alone. This year was interesting for a couple of reasons, primarily because of Saturday's headliners, Paramore and Fall Out Boy. Their numerous fans were displaying their band love loud and proud, but I was struck by a rather odd observation; I'm fairly certain I didn't see two Fall Out Boy T-shirts featuring the same design (at least until the day after the show, when people who didn't have shirts likely bought them at the merch booths). Someone is accruing Donald Trump-like wealth from marketing an almost endless variety of FOB tees, that's for bloody sure. The other constant on Saturday was a steady parade of people in Ramones tees, in honor of Tommy Erdelyi, the last surviving original member of the legendary Punk band who succumbed to cancer on Friday. Bogart's owner Al Porkolab used to say that the best seat for a Ramones show was across the street at Dollar Bill's, where you could hear every note perfectly. I got his point, but I preferred my Ramones straight from the pipe. At any rate, R.I.P., Tommy.


And so, as always, in no particular order, until the winner at the end:


Hydrate Responsibly


Abraham Drinkin


#Dope


I (graphic of Kurt Russell as Snake Pliskin) NY


Soul Punk


Bad Decisions Make Great Stories


I Had Fun Once. It Was Awful.


Y'All (in the Yale typeface)


G-Dub (with George Washington in Raybans)


Nope (with Shepard Faireyesque cat illustration); followed by


Dope (with Shepard Faireyesque Questlove illustration)


There were many Foxy Shazam tees as well, including a vintage Flamingo Trigger design but my favorite was “Foxy Shazam. White Music for Black People”


Got B3? (I'm assuming they mean the keyboard and not the vitamin)


I Eat Glitter for Breakfast


Rock is Dead. Long Live Paper.


I May Be Your Best Option


I Ain't Even Mad


And my favorite T-shirt from this year's Bunbury crowd:


T-Rex hates push-ups (with a silhouette graphic depicting exactly why)

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<![CDATA[REVIEW: Bunbury Music Festival Day 2]]>

Another pretty good day overall. The temperature was a little higher, as was the humidity, and even when the clouds moved in and things seemed perhaps a little iffy, the good weather prevailed and all was right for the second day of Bunbury, v.3.

The day began as it ended the previous evening, with some quick face time with volunteer excelsior and one of the scene's most gifted guitarists, Jacob Heintz. A Bunbury blessing from Jacob is the first step in a great day. And before I'd even gotten to the gate, I was called out by Brandon Weaver, owner/operator of Iron Wing Studio in Covington, who hosted my interview with Seabird last year; he's got a great facility and he's a really nice guy, so if you're looking for a place to paint your sonic masterpiece, give him a call.


I wasn't really committed to seeing anything until relatively late in the schedule, so I decided to just float around the stages for the first few slots and maybe do a little sampling from each. It was a pretty successful plan, as it turned out.


My first stop was the Warsteiner Stage to check out Miner, but the guy at the mic introduced the group as the Family Band, so apparently there was a Miner adjustment. Hahahahahahaha. I'm laughing because I know you're not. At any rate, the rather large band sounded a lot like our own Josh Eagle and the Harvest City, if they'd been juiced up on My Morning Jacket. They were quite good.


Next it was a quick jaunt down to the Amphitheater Stage to see Brent James & the Vintage Youth. What started out as super tight bar boogie a la Aerosmith evolved into a super smart Rock show that drew on any number of potent influences, all of which were on full display when James and the Youth rolled out an absolutely jaw-dropping cover of Johnny Cash's "Folsom Prison Blues," a blazing blend of Bon Jovi dramatics and Georgia Satellites off-the-rails jamarama. Equally impressive was James' soulful swagger on "Needle to the Groove," and imagine my surprise when James called out his band, which includes regional wunderkind Ricky Veeneman, who won the 1999 Jimi Hendrix National Guitar Competition (when he was 15, by the way) and bassist Matt Gandenberger, who provided four-string assistance on a couple of tracks on Ricky's 2003 album, Change. James noted that the band would be opening for ZZ Top at the Horseshoe Casino in the near future, so here's a note to ticketholders — don't skip the opener.


After the Vintage Youth, I wandered down to the Main Stage to take in a little of Crass Mammoth's set. After a handful of songs, they struck me as gritter, punkier Modest Mouse with a Classic Rock vein and melodic Pop undercurrent that guitarist/vocalist Joseph Crowe characterized as "the cute part of the show." And once that was concluded, the north Georgia trio went right back to raw and ripping mode. There's a good chance that Crass Mammoth made as many new fans today as they drew from their fervent existing fan base.


From there, it was back to the Warsteiner Stage for an uplifting and raucous set from the pride of Hartford, Connecticut, Bronze Radio Return. Although there was more than a hint of Mumford and Sons/Lumineers Folk/Pop to BRR's presentation, there were also Rock elements ranging from The Black Crowes to Tom Petty to shades of Crash Test Dummies. The band drew a relatively big crowd and a good many of them were already fans, as evidenced by the large number of people singing along with nearly every song. Bronze Radio Return's frontman, Chris Henderson, was engaging and very much the band's ringmaster, their material was anthemic and joyful and I would love to see what the band would do with a long form set.


At this point, I decided to get my wander on and just roam the Bunbury grounds getting a taste of the musical talent that had been assembled for Day 2. First, there was New Politics down at the Main Stage, which reminded me of Neon Trees with a considerably heavier bottom and a Hip Hop heart. Next up was Bonesetters, a great Americana/Indie Rock band from Indianapolis that shimmered in the heat of the Lawn Stage with a palpable Jim James/Ryan Adams/Eef Barzelay vibe. Then it was back over to the Warsteiner Stage to catch a few songs from Nashville's Fly Golden Eagle, an atmospheric Roots/Soul/Psych Rock aggregation that grooves and jangles and totally lives up to the title of their 2011 album, Swagger. They've toured with Alabama Shakesm Dr. Dog and Arctic Monkeys and garnered comparisons to Lips both Black and Flaming, Beck and the Black Crowes, and that adds up to a band that needs to come on back. 


After digging a few FGE songs, I drifted down to the Amphitheater Stage to enjoy local-girl-made-good Jesse Thomas, who's gotten her songs placed on Shameless and Hart of Dixie. The L.A. resident/Covington native has a tang and twang that suggests Patty Griffin, Kathleen Edwards and Shawn Colvin, and that ain't bad company no matter how you slice it. Jesse drew a pretty healthy hometown crowd and she made the most of her first festival appearance, Bunbury or otherwise.


After Jesse Thomas' spirited set, it was a short stroll over to the Lawn Stage to experience the full frontal assault of Nashville's Modoc, who I got into by way of a story I did earlier in the year on Melvin Dillon and his vinyl-only label Soul Step Records. Modoc was one of Melvin's early signings when he approached the band about pressing vinyl on their excellent debut full-length. In the studio, Modoc make a mighty racket that crashes happily at the intersection of Led Zeppelin and Southern Rock, but everything that the band does so well in the sterile confines of the recording booth are amplified a dozen times and set ablaze like Jimi Hendrix's Stratocaster. Thunderous riffs, razor wire slide leads, pummeling bass lines and a drum sound heavy enough to drill through solid bedrock, Modoc does it all with a wink/nod sense of humor and a joyful passion that comes through with every note. They've played a couple of MidPoints (they’ll be back for this year’s MPMF) and they're building a pretty sizable following, if their Bunbury turnout was any indication. And as frontman Garry Crisp so eloquently put it, "We love Cincinnati. It's got sin in it twice!" Right back atcha, G-Dawg.


I managed to see at least some of Jane Decker's set. I'd talked to Jane and bassist Mitch Winsett two years ago when Belle Histoire was still a viable concern, but the band has since scattered to the wind and Jane has stepped away from a band configuration to make her mark as a solo artist. Her Bunbury set was supposed to be a full band gig, but something happened in the days before the festival and she wound up on the Lawn Stage singing to the acoustic guitar accompaniment of Sean (just Sean, apparently), her songwriting partner on a good deal of the album that is currently being mastered for an imminent release. Jane auditioned for The Voice last season and was bounced because the judges didn't know what to do with her. As I sat listening to her acoustic set at Bunbury, her incredibly poppy songs stripped to the essentials of Jane's beautiful Dolores O'Riordon-tinted voice and the simple counterpoint of Sean's tasteful acoustic soundtrack, I cannot imagine what Adam Levine wasn't hearing. Any of the songs Jane presented in her acoustic set could be produced up to megahit proportions and go toe-to-toe with Lorde, Arianna Grande, or whoever is the flavor of the moment. It certainly seems like Jane's moved beyond The Voice incident (the failure being theirs and not hers), and is ready to pursue her dream and make a skadillion dollars without Blake Shelton's help.


Molly Sullivan won the Singer/Songwriter CEA back in January and every time she puts herself in front of an audience, she offers a little more evidence to support that honor. She has an amazing vocal range, from midnight howl to 3 a.m. hush and she has the uncanny ability to shift from melodic Folk/Pop beauty to dissonant Jazz artfulness while retaining the thread of her creative identity. Molly's set at the Acoustic Stage was simply fantastic, further proof that her CEA win was no fluke and is likely to be followed by a few more similar triumphs down the line.


Over at the Main Stage, it wasn't too hard to see why Paramore is the current darling of high-octane Pop Rock. The band was physically moving air during their powerful and obviously well received set; their drums pounded their way into your rib cage and altered your heartbeat to a different time signature. I stuck around for a handful of songs but ultimately opted for an early exit in order to find some prime real estate on the Serpentine Wall.


Tonight would be Foxy Shazam's second appearance at Bunbury, and they had their work cut out for themselves. No one who witnessed their gig at the inaugural Bunbury two years ago will ever forget it; frontman Eric Nally imploring the Reds' Joey Votto to "hit the motherfucker out of the park," and Sky White tossing his keyboard into the crowd and then leaping in after it, continuing to play while the audience held it and him aloft. Oh, and they played a lot of great music. And therein lies a common misperception, that the band's onstage antics are somehow going to detract from their musical performance. This notion is typically floated by people who have never seen Foxy Shazam work an audience like a skilled pickpocket while simultaneously putting on a dazzling Rock show.


As advertised, Foxy presented their new album Gonzo in its entirety for the first 30 minutes of the set, with bassist Daisy Kaplan on guitar and guitarist Loren Turner on bass (it was a device they used to jump start the writing process and they decided to maintain the set up for the live translation). Where The Church of Rock and Roll was more of an immediate album, Gonzo is a work that reveals its gifts slowly, and those albums always seem to wind up being fan favorites. The packed Wall showed their appreciation for Gonzo with a fevered response to each of the album's nine songs.


Of course, it wouldn't be a Foxy show without Nally's brilliant non sequitur patter — like "The only difference between me and a scholar is how much we paid for what we know," and "If it was legal to shoot people, I'd be dead." The real showstopper came in the second half of the set, when Foxy hauled out the back catalog and Kaplan and Turner returned to their regular roles. By this time, trumpeter/vocalist Alex Nauth had tossed his horn into the light rigging a half dozen times, White had played his keys with his ass and Nally had somersaulted, vaulted, balanced and slid all over the stage. 


After blowing through high voltage turns on "Holy Touch" and "I Like It" (where Nally adlibbed, "Let me see your butthole, baby," something I'm fairly certain I never heard Barry White utter), among others, Nally introduced the band's last song of the evening thusly: "This next song, this last song, is about time travel. I wrote it next week." And with that, Foxy Shazam roared headlong into "Unstoppable," the anthemic 2010 hit from their self-titled album. As the band neared the end of the song, Nally called for cigarettes from the crowd; grabbing one from a pack, he lit it with a lighter thrown on the stage and called for the lights to be killed. As "Unstoppable" faded to its squalling conclusion, Nally blew sparks out of the end of the cigarette into the darkness on the stage, and then shrieked, "You're all pregnant!" He dropped the mic, the lights came up and that was the end. As unlikely as it seemed less than an hour before, Foxy Shazam had indeed cleared the bar they'd set two years ago. As the late Jack Palance used to intone on a weekly basis, "Believe it … or not."


I hung around after Foxy to chat with ClassX Radio’s Eddy Mullet whose daughter had a little trouble with rude doofuses, but he handled it with aggressive diplomacy. We were talking about our plans for the end of the evening, and I was tempted to bail on Fall Out Boy to get home and get started on these reviews, while Eddy seemed ready to call it a day as well. But at the last moment I decided to catch at least a few songs from the last band of the day, and announced it with the unfortunate phraseology, "I think I'll go check out a little Boy." Eddy's daughter Jess went, "Uhhh. …" Point taken.


So we all headed off toward the Main Stage area, me to find a good viewing position and them to see if the exit next to the stage was open (it wasn't). Having come this far, Eddy decided to stick around as well, and so we all lingered for a bit to witness the Pop/Punk majesty of Fall Out Boy. I've always liked the Wentz/Stump dynamic, perhaps not enough to passionately explore their output, but more than enough to appreciate the fact that they've elevated the conversation in the genre. But as Shakespeare noted, the play's the thing, and Fall Out Boy do the thing pretty well. 


Bookended by festival closers that were and would be visual orgasms of color and light (Empire of the Sun on Friday, Flaming Lips on Sunday), FOB chose to make their presentation the spectacle, playing their hits and beyond with an expansive flair without forgetting that they were compact and energetic Punk-tinted Pop songs. About midway through the set, an already adrenalized crowd went ballistic when Paramore's Hayley Williams stepped out to duet with the band on "Sugar, We're Goin Down," and the frenzy just continued from there. Patrick Stump played to the hometown crowd by giving a shout out to "our friends in Foxy Shazam," which was nice, and later Stump asked how many parents were in the audience, and reminisced how his father would take him to Punk shows in Chicago when he was a teenager, and as a tribute to all the DNA-linked chaperones in attendance, peeled off a sweet version of "We Are the Champions," followed with an incendiary spin through "Save Rock and Roll." 


At that point, we took our leave to beat the rush; as I was headed toward my car, I could hear the strains of "My Songs Know What You Did in the Dark," and I was really glad I'd stuck around to experience Fall Out Boy in this perfect setting.


SIDE NOTES


• On Bunbury Day 2, I began the day by filling the gastank with a carton of Island Noodles (with the teriyaki chicken, thank you), an amazing repast that lasted well into the evening, when I had a slightly less amazing but incredibly delicious Kobe Dog from Dutch's booth. Both are highly recommended (but the noodles are less likely to stop your heart; on the other hand, we're walking it off, are we not?)


• Saturday had a much different crowd vibe than Friday, due to the headliners for the evening, Paramore and Fall Out Boy. Usually I run into a half dozen friends and acquaintances before I've decided on which lunch and what beer to chase it. But it wasn't too long before I ran into Brent and Kat, the scene's most visible couple. They mentioned they were going to catch an unannounced set by Billy Catfish, and Kat said that she had noticed a distinct similarity between Billy's eyes and Brent's eyes. To that end, she noted that if Brent kicks it, she's going to ask Billy out. To which Brent replied, "If Kat dies, I'll ask Billy out, too." Together in everything, as it should be. Not long after, I crossed paths once again with another prince of the realm, The Ready Stance's Wes Pence and his son Wyatt, on the lookout for action of every imaginable variation. If you don't know Wes, there is a great gaping void in your life. And if you don't know The Ready Stance, same thing. As Dr. Steven Brule says, “Check it out.”


• I had seen photographer extraordinaire (and CityBeat alum) Sean Hughes having a little difficulty getting into the photo pit at the Warsteiner Stage with his pass on Friday (for the love of Annie Leibowitz, do you people know who he is?), and I told him that I was about to come over and throw my weight around. Not influence — I have none of that anywhere — but my actual weight. I can create a fatass distraction like nobody's business. On Saturday, Sean noted that he could have used my help later the day before, but I reminded him, "I can't be where you are, you have to be where I am, that's how my fatassery works." Then he saw girls in the misting station and said, "People getting wet … that's my thing," and off he went. Another prince? Most assuredly.


• At the Modoc show, I caught up with Soul Step Records owner/operator Melvin Dillon and his lovely sister Wendy. I figured I'd see Melvin there; he's a big fan of Modoc, having sought them out specifically to press the vinyl version of their self-titled debut LP. Melvin mentioned that he's currently working with a big name local band (I won't jinx the deal by announcing anything … yet) to do the vinyl version of their new album. Stay tuned. It will be epic.


• Once again, ran into Eddy Mullet, only this time with two daughters in his entourage; his youngest daughter Cassie was along for the ride on Saturday. Not quite the music fan that her sister Jess has become, Cassie did have a full-bore good time at the Foxy Shazam extravaganza, so she may be making some forays into the local music world with dear old dad in the near future. Or maybe not. Kids will always find their own way.

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<![CDATA[Morning News and Stuff]]>

Here it is: Everything (well, probably) that you need to know today.

The struggle to pay for renovations for Union Terminal and Music Hall continues to make news, with articles out this morning exploring the details of the buildings’ ownership and why a tax hike to fix them up won’t be like the much-loathed 1996 stadium deal. The Enquirer delves into the reasons why the city isn’t responsible for upkeep of the buildings even though it technically owns them. Basically, non-profits that lease the spaces are contractually obligated to pay for their maintenance, though the city also pitches in some funds to help.  Meanwhile, the Business Courier has a look at the way a tax hike would be structured. The piece points out that the increase doesn’t make the same assumptions about economic growth that the stadium deal did, and is therefore unlikely to balloon out of control.

• P&G left the game, but it turns out the game needs it. That game is adult diapers. The Cincinnati company is considering jumping back into adult incontinence products after leaving a decade ago. P&G already makes diapers for babies, and with the market for adult diapers growing by 8 percent a year, it’s an easy and attractive step that could net P&G $500 million annually. That’s great, but I find it a little depressing that as a nation we’re having a harder and harder time not peeing ourselves. But hey, the market is getting bigger because we’re all getting older because we’re living longer, right? That’s a good thing.

• One of the many reasons I left my former city of residence, Washington D.C., was a whale. A pink, cartoonish whale with a smug smile. Call it a reverse Ahab situation–I tried to avoid it, but instead of being elusive, it was ubiquitous. I came back here, to landlocked Ohio, partially to escape it. But now it has followed me. I’m talking about the logo for Vineyard Vines, an up-market clothing brand that recently announced it may build its first Ohio store in Kenwood. The brand specializes in a certain kind of east coast prep look. Think boat shoes. Novelty ties. Business casual pants in salt water taffy colors, or with little whales all over them. It’s a very Washington vibe, and before now you had to drive hours to get it. But soon, you too can be covered in little pink whales. It’s great news on the development front, to be sure, but it also gives me flashbacks to my time elbowing through gaggles of Georgetown grads for a spot at many a bar in DC.

• Cincinnati Symphony Orchestra and Christian Moerlein are teaming up to create a Lumenocity-themed beer for next month’s light show. Do I really need to say anything else about that? Sounds awesome.

• Ohio’s Board of Education is investigating reports that a Dayton charter school has been the site of racism, sexual misconduct, testing irregularities, misreporting of attendance figures, and other problems. A number of former teachers have testified that Horizon Science Academy has been mismanaged. The school is run by Chicago-based Concept Schools, which operates 19 schools in Ohio. The education organization is already under investigation by the FBI.

• Finally, the Transportation Safety Administration (you know, the folks who make you wait in line forever and have a machine that can see through your clothes) is probably one of the most-hated government agencies, but they can write a good blog. Their last few, about some of the crazy things people try to take through airport security, are pretty good reads (with pics!) Highlights include loaded guns, bullet-shaped knives, throwing knives, blades stashed in Scooby Doo greeting cards, fireworks, spent artillery shells and bear repellent. Four words for Samuel L. Jackson in case he’s looking for his next project/sequel opportunity: Bears on a Plane.

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<![CDATA[Morning News and Stuff]]>

Good morning all. I may be writing this news rundown from my porch at home, enjoying the amazing weather and eating Graeter’s black cherry ice cream for breakfast, but that doesn’t mean I’m not real, real serious about the news. Let’s do this.

As we reported yesterday, the Obama administration is expected to jump into the fight over early voting in Ohio. U.S. Attorney General Eric Holder made remarks, released yesterday, indicating that the Justice Department will file with the Ohio ACLU and other civil rights organizations already fighting reductions to early voting in the state. The administration has made voting rights a key issue following last year’s Supreme Court decision that rolled back certain sections of the 1965 Voting Rights Act.

• The head of Cincinnati Metro resigned yesterday, according to a press release by the Southern Ohio Regional Transit Authority. Metro’s CEO Terry Garcia Crews will step down immediately and will be temporarily replaced by Darryl Haley, who was Metro’s executive director of development. Metro will conduct a national search for her permanent replacement. In the press release, Crews says she’s leaving to focus on her family, including her parents, who live out of town, and to continue her transportation consulting business.

“I have great confidence in the leadership and the team at Metro and community leaders to carry forth the discussion and implementation of expanding public transportation in this community,” Garcia Crews said.

Metro gives about 17 million individual rides each year. Its role looks to grow as transit needs in the city expand and the streetcar comes online next year.

There was some drama in Over-the-Rhine last night, though the actual situation was not quite as intense as initial reports made it out to be. Police entered a building at 13th and Walnut to do an inspection at the request of the building’s owner. They came upon a man who fled from them. As he fled, a gun the man was carrying went off. Multiple news outlets reported the officers had been fired upon and that a standoff situation was developing. In reality, the gun accidentally went off as the man attempted to hide it in his pants. Which, yeah, probably not a great idea, but there you have it. The man fled to another building, threw the gun out a window and hid. He was arrested a short time later and faces multiple charges today. Still a scary scenario, but, you know, not exactly a police shootout.

A list put together by CityLab shows that Cincinnati is among the top cities in the country when it comes to design. While we all know the Queen City has some great graphic design and marketing talent, it’s surprising to see the city also ranks impressively high for industrial design. Our fair city is well-represented in nearly every category measured, which is pretty cool.

• Remember that guy who threatened to shoot down a helicopter a couple days ago? Yeah, a judge told him today to cool it with the guns for a while, and required him to turn over his firearms to authorities. I’m sure there are some hardcore gun rights activists out there fuming about how the government is infringing on his 1st Amendment right to express displeasure with helicopters and his 2nd Amendment right to bear arms, but me, I’m perfectly OK with it in this particular case. At least he didn't try hiding them in his pants.

• The race for Ohio governor is getting interesting. Democratic contender Ed FitzGerald’s campaign is citing polls that show him neck and neck with incumbent Gov. John Kasich, though, as with any poll that a campaign is excited about, it’s probably best to be wary. The poll was paid for by the Ohio Democratic Party and echoes another recent Democrat-funded poll showing FitzGerald within striking distance. However, both of these polls contradict earlier independent polling done this spring showing Kasich ahead by as many as 15 points.

FitzGerald’s campaign is getting proactive, though, dropping its first TV ad today. In the ad, FitzGerald implies that Gov. Kasich is all about the 1 percenters.

“Who is the promise of Ohio meant for?” FitzGerald asks in the 30 second spot. “Just the wealthy and well-connected?”

FitzGerald gives a shout out to “Ohioans who get up early and get it done every day,” which made me kind of feel bad about working from home while eating ice cream. He goes on to promise support for the state’s middle class, including more funding for teachers, police and firefighters. Though he never mentions Kasich by name, he hits on the idea that the current administration favors the wealthy again at the end of the ad.

Meanwhile, an attack site paid for by the Ohio Republican Party against the challenger called fitzgeraldforohio.com just sprung up. The site mostly attacks FitzGerald on his first choice of running mate, former lieutenant governor candidate Eric Kearney. Kearney quit the ticket in December last year after it was revealed he owed a large amount in back taxes. The site also features an ad linking FitzGerald to former Gov. Ted Strickland, who has endorsed FitzGerald. The ad argues that Strickland was bad for Ohio and FitzGerald would be, too.

In a kind of strange twist, however, the ad seems to blame Strickland for many ills Ohio faced due to the great recession, including spiking unemployment and budget overruns. As if those same dynamics weren’t happening in nearly every state around the country during Strickland’s term from 2007 to 2011, when the recession was at its worst. The candidates’ next filing deadline is just a couple weeks away, and it will be interesting to see if either grab more big bucks. Stay tuned.

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<![CDATA[REVIEW: The German Doctor]]>

It is only through an understanding of the undeniable facts of history that we can even begin to consider the evil that was Josef Mengele, the Nazi doctor who conducted the most horrific experiments on Jewish subjects during the Holocaust and then was able to elude the ensuing global manhunt for him that lasted decades. But writer-director Lucía Puenzo, in approaching one of the known episodes of his long-term flight from justice, offers a glimpse into the subtle charm (with more than a touch of real menace) of the man, which allowed him to roam the civilized world so freely.

The German Doctor finds Mengele (Àlex Brendemühl) crossing paths with an Argentinian family, and slipping through their defenses by focusing his attention on their young daughter Lilith (Florencia Bado), who develops a crush on the doctor. The family, headed by the suspicious Enzo (Diego Peretti) and his beautiful and quite pregnant wife Eva (Natalia Oreiro), is on its way to takeover the small hotel where Eva was raised.

Mengele, too, is headed to the same location and joins the family’s caravan. He immediately insinuates himself into Lilith’s good graces, speaking to her in conspiratorial fashion, treating her more as an adult than a child, which entices her rebellious nature. His interest in animal genetics piques her curiosity and leads her to ask the doctor for advice about her own physical development, since she, as a premature birth, has failed to grow and mature like her peers. Mengele gently tests, probes and measures her, offering assurances, especially to Lilith’s mother, who is worried about her current pregnancy. (And it turns out that Eva is to birth twins, which certainly intrigues Mengele and his nefarious interests in human genetics.)

All at once, Mengele uses each family member’s concerns to his advantage. Even Enzo, the most distrustful from the start, gets drawn in by Mengele, who invests in Enzo’s handcrafted doll-making enterprise, shifting the exquisite individuality and precise detail of Enzo’s efforts toward a more uniform production line approach incorporating what could have been a degree of heavy-handedness in this display of the Nazi’s master race mentality. Instead, it comes across as an example of chess-like manipulation of human nature in pursuit of an overall goal.

The seductive nature of evil is all the more powerful thanks to Bredemühl’s performance, which casts a strong dark shadow that never simply devolves into mere moustache twirling. His Mengele is all cold calculation, despite the fact that he could be mistaken for having a degree of human care and concern in him. Is he, in fact, truly infatuated with Lilith, or even Eva, for that matter? Enzo reacts out of what could be understood as jealousy for the attention Mengele shows to his wife and daughter, but again, history tells us that Mengele is all business.

This puts a certain perspective on the ability of the Third Reich to sweep a nation and much of Europe up in its fevered march toward domination and genocide. Popular culture representations hint at our curious fascination with such dark figures, but what emerges from those characterizations is a desire to remove any trace of human sensitivity or connection. Evil is best and most recognizable if there’s no way for us to miss its absence of heart and/or soul.

But could that kind of portrayal do justice to men like Mengele and Adolf Eichmann (Nazi officer and a major organizer of the Holocaust), who actively participated in such inhuman practices and escaped capture for so long, walking among us? We long to believe their lives were hellacious, in some way, as they were forced to constantly look over their shoulders while putting on a show or a mask of humanity.

The German Doctor presents a dry, yet far more likely scenario that highlights the indelible stain on all of us. Mengele is all too human, truth be told, eagerly pursuing his aims with an expansive network of support at the ready. He was not some lone predator outside the scope of civilized society, just as the Nazis weren’t a philosophical fringe group in Europe, ripping clumps of hair from their heads while foaming at the mouth; that kind of crazy we could have seen and avoided.

Think of all the evil geniuses we’ve encountered onscreen over the last 20 years. The Hannibal Lectors of film and television. The diabolical Jigsaw from the Saw franchise. Col. Hans Landa (Christoph Waltz) from Inglourious Basterds. What have they taught us? Evil ain’t crazy. Just watch (and watch out for) The German Doctor. (Opens Friday at Esquire Theatre) (R) Grade: A-

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<![CDATA[Obama Administration to Join Ohio Early Voting Fight]]> U.S. Attorney General Eric Holder last week said the Justice Department plans to join a lawsuit against the state of Ohio seeking to restore early voting in the state.

Holder revealed the DOJ’s intention to join the fight in Ohio over early voting during an interview about terrorism with ABC News in London July 11. That portion of the interview was unaired. Holder’s comments were revealed when the DOJ released transcripts to the press this week.

The Ohio suit, originally brought by the Ohio American Civil Liberties Union and other civil rights groups, claims the Republican-led elimination of early voting hours is unconstitutional because it will disproportionately affect minorities.

Ohio’s General Assembly, which is controlled by Republicans, passed laws in February eliminating six early voting days and same-day voter registration. Ohio Secretary of State Jon Husted subsequently eliminated early voting the last two Sundays before elections and on weekday evenings in the days before elections.

Some of Husted’s cuts to early voting the Sunday before elections were undone by a federal district court judge, who ruled that the state must reinstitute early voting in the final three days before an election. Despite that victory, the other cuts have yet to be restored and are the grounds for the ACLU’s lawsuit.

In the interview, Holder said voting is “the most basic of our rights” and vowed that he “will use every power that I have, every ability that I have as Attorney General to defend that right to vote.”

Holder also said the DOJ will file in another voting rights case over Wisconsin’s voter ID law, which has seen a pitched battle in federal courts.

Ohio Democratic gubernatorial candidate Ed FitzGerald applauded Holder’s comments in a news release today.

“I’m pleased that the U.S. Department of Justice will be joining the fight to protect voter rights in Ohio,” FitzGerald said in the release. “Under Governor Kasich, access to the polls has significantly decreased for hardworking Ohioans across the state.”

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<![CDATA[August MidPoint Indie Summer Show Adds New Act]]>

If you were excited to catch New Jersey Indie Pop duo Brick + Mortar at last weekend’s Bunbury Music Festival, you were probably also disappointed that the twosome’s set was cut short due to bad weather. But next month you’ll have another chance to see the band. And it won’t cost you a penny.

When the MidPoint Indie Summer series on Fountain Square was announced, organizers held back unveiling the full lineup for the Aug. 15 show. Ohio party rockers The Nightbeast were the only performers announced at the time. (Below is The Nightbeast's latest music video, "Paid and Rowdy.")



Now that Bunbury is over, organizers have announced that Brick + Mortar will join The Nightbeast as co-headliners for the free Aug. 15 show. B+M is signed to Island Records and its track “Locked in a Cage,” released earlier this year, did well on the Alt music charts.



The rest of Aug. 15 lineup will be announced soon. For the full rundown of Indie Summer shows on Fountain Square, click here.


UPDATE: The other two acts for the Aug. 15 Indie Summer show have been announced: The Protomen (who will be fresh off their stint on the Warped Tour) will headline and Dayton's Dangerkids will also perform. 


Another Bunbury band, Ohio Folk Rock crew Saintseneca, will also be returning to Cincinnati soon. The band is slated to perform at the MidPoint Music Festival in late September. Check out Saintseneca's recent appearance on World Cafe here



Get tickets, check out the ever-growing lineup and find more MPMF info here

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