WHAT SHOULD I BE DOING INSTEAD OF THIS?
 
 
by Mike Breen 11.14.2014 7 days ago
Posted In: Live Music, Local Music at 11:50 AM | Permalink | Comments (0)
 
 
chris forsyth & the solar motel band

Weekend Music: Chris Forsyth, Huun Huur Tu and More

Chris Forsyth & The Solar Motel Band bring their tour behind their debut studio album, the recently released Intensity Ghost, to The Comet in Northside tonight. Heart of Palm and Public Housing open the free 10 p.m. show.Forsyth, who co-founded the experimental group peeesseye in New York around the turn of the century, is an acclaimed guitarist known for his exploratory approach and compelling skills. He fell in love with the music of Television in high school and ultimately ended up taking lessons from that legendary band’s Richard Lloyd. You can hear the influence of Television particularly in his work with Solar Motel Band (which was formed based on the guitarist’s acclaimed Solar Motel album from last year). Many critics have described Forsyth’s most recent all-instrumental music as a cross between Television and The Grateful Dead; Forsyth (now based in Philly) discovered the Dead while immersed in the New York experimental music scene and was immediately drawn to it, so it’s a fair comparison. Overall, it’s very engaging, hypnotic stuff.   • Tonight and tomorrow sees the return of Ironfest, a huge two-night benefit concert in honor of late local music supporter and musician Iron Mike Davidson. This marks the fifth edition of the event since Davidson passed away in 2010.  Ironfest V, which continues to raise funds for Davidson’s family, takes over Newport’s Southgate House Revival both nights with a lineup stacked with local talent largely (but not entirely) from the worlds of Punk and Hard Rock. Friday’s lineup includes Mad Anthony, Martin Luther and the Kings, Kill City, Vampire Weekend at Bernie’s, Sweet Ray Laurel, Valley of the Sun, Lockland Brakes, Lohed, Subsets, Mala in Se, Black Signal and many more. Saturday at Ironfest, catch The Dopamines, Moonbow, Mudpies, We are Hex, Honeyspiders, Oxboard Drain, 500 Miles to Memphis, The Blue Rock Boys, Draculas, Ethicist, Cadaver Dogs and several others.  Click here for the full lineups.  Tickets each night are $5 in advance (available at ticketfly.com) or $10 at the door. Showtime is 7 p.m. both nights. • Tuvan throat singing string band Huun Huur Tu performs Saturday night at Parrish Auditorium on the Hamilton campus of Miami University. Derek Halsey explains the unique music in his preview of the show for this week’s CityBeat (read the full preview here). Tuvan throat singing describes the wild-sounding songs created by musicians in the southern Siberian and Mongolian Steppe region of Central Asia who, for want of a better explanation, use their throats as if they were a didgeridoo.  Not only does it sound cool — creating multiple notes at the same time using nothing but the human voice — but historically it was a way for humans to communicate over the vast plains in that part of the world, with different styles being created to represent different tribes. Saturday’s show starts at 7:30 p.m. Tickets are $25 (there are discount for seniors, students and “youth”) and can be purchased in advance here. • Cincinnati Blues crew The Whiskey Shambles host a release show at Over-the-Rhine’s The Drinkery in honor of their debut album, Loose Change for a Broken Man. The show is a benefit for the Save the Animals Foundation (where drummer Aaron Tyree volunteers). A $5 donation is requested at the door but you can be a jerk and not pay it; it’s technically a free show. JetLab opens things up at 9 p.m. and members of local choirs MUSE and Young Professionals Choral Collective are slated to make guest appearances with the Shambles. CityBeat’s Brian Baker spoke with the band about their origins and the new release for this week’s issue. Brian describes the album and band’s sound like this: While Loose Change exudes a contemporary vibe, the album bears the diverse hallmarks of the best ‘70s Blues Rock albums. Like Led Zeppelin, Cream and Free before them, The Whiskey Shambles channels first generation Blues subsets like Delta, Piedmont and Hill Country, combined with the members’ unique individual experiences to conjure an edgy, atmospheric vision of 21st century Blues. Click here to read the full feature story. Email newsletters for bands at ReverbNation.com • One of Cincinnati’s best bands, The Hiders, celebrate the release of their amazing new album Totem Saturday at Northside Tavern. The show is free. Singer/songwriter Ali Edwards (former bandmate of The Hiders’ frontman Billy Alletzhauser in Ruby Vileos) opens at 10 p.m. Click here for a full review of the great Totem. You can sample a few tracks here at The Hiders’ official site (click the “Melody” tab, then choose “Totem”). • Unique Cincinnati Americana group The Tadcasters have released a new EP and on Saturday they’re playing Stanley’s Pub in celebration. The show features two other Roots acts that have recently issued new material — La Grange, Texas, Folk/Rock/Roots act The Youngest (supporting the new album Feral Road) and Oliver Oak, an Indie Folk sextet from Columbus, Ohio (supporting its new Sleepless Wilds release). Showtime is 9 p.m. and there’s a small cover charge at the door. Here is “Chaingang” from The Tadcaster’s excellent new five-song EP: Free Electronic Press Kits template from ReverbNation.com • Sunday at the Southgate House Revival, friends of veteran local musician David Rhodes Brown are throwing a party in honor of his remarkable 50 years of playing music in the area. The multi-instrumentalist/singer/songwriter has been a part of numerous local acts in his half-century of service, coming into regional notoriety in the early ’80s with his long-running Rockabilly/Roots band The Warsaw Falcons (who will reunite and close out Sunday’s event) and going on to play with notable Greater Cincinnati groups like The StarDevils, Magnolia Mountain and numerous others. In 2010, Brown released his guest-laden solo album Browngrass & Wildflowers, and he’s played lap steel guitar with the popular Punk Pop/Roots Rock band 500 Miles to Memphis for the past several years. Many of Brown’s friends and current/former bandmates will perform some of his songs at the event, including Ryan Mallot, Mark Utley, Wilder, Todd Lipscomb, Gregory Burton, Elle Crash and Pike 27. More friends and bandmates (including CityBeat’s own Brian Baker and should-be Hamilton Country Commissioner Jim Tarbell) will also give Brown the “roast” treatment at the party.Click here for more details Showtime is 7 p.m. and admission is just $5.  Click here for more live music options this weekend and feel free to plug other shows in the comments. 
 
 
by Mike Breen 11.12.2014 9 days ago
Posted In: Local Music at 01:21 PM | Permalink | Comments (0)
 
 
speakerbeat

Twenty Years of Music in CityBeat

CityBeat’s veteran music writers talk writing about music (especially local music) for the past 20 years

In honor of CityBeat’s 20th anniversary, music editor Mike Breen and music section contributor Brian Baker (both of whom have been with the paper since the first issue) did an e-chat to discuss their experiences writing about music for the past two decades, from interview horror stories to the joys of covering Cincinnati musicians. Mike Breen: So 20 years. We were both working (or, rather, volunteering) at Everybody’s News when we found out EN’s editor John Fox was leaving to start a new paper. I remember when he first told me, when it was still hush hush, and asked me to come aboard as the music editor while I was still in college. He pulled me aside as we were leaving the EN building after a day of work, told me (in hushed tones) about his plans and said he’d like me to be the music editor. I was excited because I believed in John’s broader vision — providing a liberal/progressive voice for the city, celebrating the arts and striving to create quality journalism — but also because I was going to finally be paid for my work. Do you remember when you first heard word about CityBeat's formation?Brian Baker: Vividly. After John left EN, no one paid the slightest attention to me. I don't think they ran a single review of mine after his departure. At some point that following summer, John James, who'd been doing the Positively Yeah Yeah Yeah column, called me at my design day job and said John Fox wanted to have lunch to talk about something he's got planned. So the three of us met at this little seafood place on Reading Road and John (Fox) laid out the blueprint he had in mind for CityBeat. It sounded like a great idea, and my reaction was the same as yours. A byline and a check? Pinch me, I'm dreaming. But John offered a single caveat, and it would have rather lasting implications. He said, "I can't use you as a reviewer, I need you as a feature writer. Can you do that?" I said yes, and that really changed everything regarding my writing career. In a very tangible sense, everything that's happened to me over the past 20 years is due to John's insistence that I write features, and I owe him a great debt because of that one simple clause in our contract.MB: I remember months before the first issue of CityBeat I spent days putting together request letters to mail out to hundreds of record labels asking to be added to their mailing lists. Which is funny to think of now — we weren’t using email and, as opposed to receiving most review copies these days as downloads, we started getting dozens of CDs (and even cassettes at that point) a week. It’s crazy to me to think about doing research for reviews and stories in the very earliest days of CityBeat; I had a handful of “encyclopedias of music” books, but mostly we had to just rely on those press kit folders, which usually had a press release, a bio and then a stack of stapled-together photocopied reviews and interviews from other outlets. Now you can literally press a button and see every review and feature story ever written about an artist. It’s certainly easier now to be lazy.What do you think has changed the most about writing about music over the past 20 years?  BB: No question that the internet has made the research part of our jobs a whole lot easier. And today's connectivity makes it almost (although not quite entirely) impossible for publicists to duck our requests for material and interviews. But remember tearsheets? Sending physical proof of my features and reviews to labels and publicists used to be enormously time-consuming, especially after I started picking up outlets other than CityBeat. Now it's like everything else: email a link.Here's the thing about the new research paradigm. Back when my daughter was in 4th grade, her class and one other were doing a project on newspapers, where they split into groups, had editors and writers and each made their own version of a newspaper. Isabelle's teacher asked if I would be interested in talking to both classes about working on a real newspaper, which I happily agreed to do. The one point that I really tried to hammer home to the young journalistic minds in the group is that the internet has no editor, and you have to be incredibly careful with pulling what you think are facts from websites that may actually be offering little more than glorified opinions. In some ways, the internet has made everything incredibly easy, and in other ways, it has added in almost arcane levels of complexity that never existed before. As I am often fond of pointing out, computers didn't make everything better, they made everything different.MB: We’ll move on from computer-related stuff after this, but I want to vent about internet trolls so just humor me for a sec (haha). As I’m often fond of pointing out, the best thing about the internet is that everyone has a voice. And the worst thing about the internet is that everyone has a voice.In the earliest days, we had one computer in CityBeat’s office that had web access, so people had to share time. My earliest memory of interacting with a “reader” online was when some asshole kid sent me this scathing note about something I’d written about Goth or Industrial music. He was a dick to me, so I was a dick right back (some things never change!). He threatened to “tell my boss” the mean things I said to him, which may have been the first time I did a computer-related “LOL.” It’s weird to think of now, in a time when online trolls are just par for the course. It’s probably the thing I hate most about the job, and it was evident in my very first experience communicating with someone online about something I’d written. (I should give credit to my first “troll,” singer/songwriter/funnyman David Enright, who, since the internet was still developing and Facebook was many years away from giving voice to everyone’s vitriol, made hand-written fliers eviscerating me, CityBeat and CityBeat’s music section for being lame. He stapled them onto telephone poles all over the Clifton area. I wish I’d saved one.)We’d always talk about how we sort of wrote in a vacuum — we’d write stuff, throw it out there and assume people were reading it, but, outside of the rare “letter to the editor” or meeting people in the flesh, we had no idea how people were reacting to the content. Now we can kind of see in real time what people are reading (online) and get instant feedback if it hits the wrong or right chord. But people seem to mostly respond only when something pisses them off, which is fine, but it’s almost always rude and insulting, which is maddening. Anyway, you (wisely) stay off of social media, and I imagine you are spared a lot of this more annoying feedback. But over the years, what have your communications with both subjects and readers been like? Are they only mean to me or do you get some of that too? (For the record, most artists are very cool, even if a review isn’t especially glowing, and very few are anything but kind and polite when I meet them in person.)Also, and this is mostly for my own curiosity really, why do you avoid social media?BB: I think I've had maybe one or two weird trollish kind of events, and in both cases I tried to reframe my case for the sake of clarification and when that went nowhere, I just surrendered, which I'm guessing is probably the money shot for most of these boners, so you're welcome. The anonymity of the internet has made self-imagined giantkillers out of intellectual/emotional pipsqueaks, and it has become an occupational hazard for those of us who would dare offer an opinion to a great unwashed mass that now has the means to respond from the bliss of their ignorance at the click of a mouse. On the other hand, it has also given us an opportunity to have fascinating conversations with people who actually relish the thrill of debating divergent opinions without having to declare a winner. A fair trade, I suppose.My experience with the artists that I review and interview has always been, as you noted, very positive. And when I get introduced to people at shows, events, county fairs, beauty pageants and hog calling contests, and they realize I'm "that guy," they're always overwhelmingly nice, typically working up to a comment that goes, in general, "I've always loved your writing," and it's always nice to hear. A woman recently wrote in with some rather lavish praise about my online coverage of MidPoint, and her compliments were were well received by my always conflicted ego, although I was slightly bemused by this admission: "I've not read any previous articles by Mr. Baker..." So thanks for your kind words on my MidPoint reviewage, and if you're so inclined, there's 20 years of this stuff in the archive. Knock yourself out.As for my social media blackout, I'm neither Amish nor am I a crotchety old duffer who doesn't understand the platforms and just wants these damn kids to stay out of my internet yard. My avoidance of Facebook has become something of a cause celebre; I didn't join because I couldn't see the benefit weighed against the time involved in posting/monitoring/responding, and now I'm one of a dozen people connected to the modern world who is not on Facebook. At least part of the reason for the rest of it is the electronic array in the Bunker is just a couple of steps above the radio that the Professor made out of two palm fronds and a coconut shell on Gilligan's Island, and my phone is the Flintstones to everyone else's Jetsons. I have, in fact, grown rather weary of swearing at my 10-year-old Motorola flip phone (I know, I know), and I will soon be upgrading to something more befitting the second decade of the new millennium. And when that happens, I will probably be tweeting and whatnot with the rest of humanity. Until then, you kids stay the hell out of my internet yard.

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by Mike Breen 11.12.2014 9 days ago
Posted In: Live Music, Local Music at 11:11 AM | Permalink | Comments (0)
 
 
avi_buffalo_photo_ renata raksha

Music Tonight: Avi Buffalo, San Fermin and More

Avi Buffalo plays a free show tonight at MOTR Pub at 10 p.m. Cincinnati’s Founding Fathers open.  Avi Buffalo began when Californian teenager Avigdor Zahner-Isenberg began home-recording songs in high school. After completing high school, he had a full band and an offer from esteemed indie label SubPop Records quickly followed. Avi Buffalo’s sublime, ethereal Indie Pop wowed critics and fans alike upon the release of the band’s self-titled SubPop debut in 2010. There’s a sense of wonder, romance and mystery in Zahner-Isenberg songs, something even more evident on the group’s highly anticipated sophomore full-length, At Best Cuckold, which was released in early September and drew even higher praise from critics. Fans of The Shins and Grandaddy will appreciate the wispy, beautifully melodic genius of Avi Buffalo’s songs, which caress the eardrums as they burrow into the listener’s cranium.  • Ellis Ludwig-Leone’s Indie Chamber Pop project San Fermin returns to Cincinnati tonight for a show at the new Woodward Theater in Over-the-Rhine. The ensemble performed one of its first shows ever at last year’s MidPoint Music Festival in Cincinnati; despite their debut album not being out yet, the concert still sold out. Check out Jason Gargano’s interview with Ludwig-Leone from last week's CityBeat here. Tonight’s show at the Woodward kicks off at 8:30 p.m. with a performance by Mikhael Paskalev. Tickets are $17. • AltPop singer/songwriter Ingrid Michaelson plays the Taft Theatre tonight. Chris Koza opens the show at 8 p.m. Tickets are $25-$30.Michelson has built a large fan base and experienced chart success since her self-released debut album, Slow the Rain, came out in the middle of the last decade; her next album, Girls and Boys, was her breakthrough, garnering mainstream attention after various tracks were used on TV shows (most notably, Grey’s Anatomy). Despite offers from big corporate labels, Michaelson has remained largely a DIY artist, putting albums out through her own Cabin 24 label (though she now has distribution through the notoriously artist-friendly Mom + Pop Music imprint).  Here is the recently unveiled video for “Afterlife,” the second single from this year’s Lights Out album. The new LP was her most collaborative yet; written and recorded after bouts with illnesses and other issues that left her in a dark place, Michelson collaborated with a range of producers and fellow songwriters. Click here for more live music options in Greater Cincinnati tonight. 
 
 

Shamble On

Cincinnati’s The Whiskey Shambles aged in the barrel for years before tapping into their top-shelf Blues

0 Comments · Wednesday, November 12, 2014
The Whiskey Shambles’ membership seems like the set-up to an elaborate shaggy dog joke.  

The Hiders Return with Stunning New ‘Totem’

Plus, friends celebrate David Rhodes Brown's 50th anniversary in music and the two-day Ironfest returns

0 Comments · Wednesday, November 12, 2014
One of Cincinnati’s musical treasures, The Hiders, returns this week with another spectacular album, Totem. Plus, several friends,  peers and bandmates join forces to celebrate David Rhodes Brown's 50th anniversary of performing music and Ironfest V takes over Southgate House Revival on Friday and Saturday with stellar lineups for a good cause.  
by Mike Breen 11.10.2014 11 days ago
Posted In: Local Music, Music News at 11:59 AM | Permalink | Comments (0)
 
 
music1_wussy_photo_sean_hughes

Wussy to Make National TV Debut This Month

Cincinnati rockers to be featured on 'CBS This Morning' Nov. 29

Last month, several photos featuring the members of Cincinnati’s Wussy hanging out at the CBS studios in New York made their way to the band’s social media accounts. Turns out the band wasn’t just taking a studio tour; they were invited guests!Wussy filmed an in-studio session and were interviewed for a feature on the band that will appear on CBS This Morning Nov. 29. The date was revealed on this past Saturday’s CBS This Morning. It will be the band’s network television debut, the latest milestone for Wussy, which has seen its national profile continually rise gradually over the past several years. CBS This Morning’s Saturday edition has been doing weekly musician profiles for a while now on a segment called “Saturday Sessions.” The show has featured artists like The Head and the Heart, Trampled by Turtles, Delta Spirit, Gaslight Anthem and Counting Crows in recent months (British musicians Johnny Marr and James play the next two “Saturday Sessions,” respectively). Here are the Cincinnati natives of The National performing a session for the show earlier this year. Wussy plays the new Woodward Theater on New Year's Eve. 
 
 
by Charlie Harmon 11.07.2014 14 days ago
Posted In: Music History at 11:21 AM | Permalink | Comments (0)
 
 
ww

These Walls Have Heard It All: Woodward Theater

It’s 1791, and as William Woodward’s many siblings head out into the world — some to sea, some to South Carolina — he decides to head into the vast Northwest Territory to a little town that looks like hardly anything more than an outpost. Little did he know that a little more than a decade later he would be living in the Union state of Ohio, and that by a century later those woods and fields would be covered with busy roads and pounding industry. At this time, however, people lived in small townhouses with acres of land to farm, and Woodward came as a surveyor to work with that land. In the process, he began investing in real estate, got himself some land and settled on a good sized plot near Fifth Street Market — now known as Fountain Square. Hammering down coarse boards gathered from the flat boats that were dismantled upon reaching Cincinnati, Woodward built a house in 1803. Years later, in 1816, he upgraded, building the Woodward Mansion, a beautiful house of brick and hand-carved woodwork. All around the northern side of that house he fixed the problem of Cincinnati having no good fruit by starting a huge apple orchard that would crank out around 500 barrels of cider a year (ever wonder where Orchard Street in Over-the-Rhine got its name?). Through his investments and business endeavors, Woodward gained significant wealth, which he would then turn around and give back to the community out of his love for others and his era-appropriate fear of God. One of the major ways he gave back to the community still stands today — in 1831 Woodward High School opened thanks to his efforts and donations. Woodward High School was not only the first in the city, but the first high school to exist west of the Allegheny Mountains. When Woodward eventually grew old and passed away, his land and home was given to his wife, who also passed it on when she died. Eventually, by the time it was almost 100 years old in 1912, it was in the hands of a man named George C. Kolb. Kolb razed the house with the intention of building a theater in honor of Woodward. Not simply a businessman without a care for the history of the house, Kolb had a committee choose certain items from the mansion to be preserved. The wooden mantel and the front door were given to Woodward High School and, according to a news article at the time, the committee also saved a cupboard, balustrade and a window Woodward had been known to look out from into the woods. Once it was properly gutted of relics, the building was knocked to the ground and on top was built the beaux art-style building we see today (though the statues on either side of the door are replicas). It was opened as a movie theater on June 18, 1913, in the days when film was still a fresh and developing art form. To say silent film at that time was redundant, because recorded — and especially synchronized — sound was a concept beyond reality. For example, in 1917 you could have seen the then-new but now lost film The Railroad Raiders. The theater only lasted until 1933. While there are no records of why it closed, most speculate that the Great Depression kept people from having a nice night at the movies, causing the theater to go under. By 1935 the building was again showing something, but this time it was used cars under the name Andy Schain Inc. A newspaper ad from 1937 shows that you could buy a ’36 Chevy Town Sedan for $525, a ’29 Chevy Coach for $60 and a ’31 Chevy Sports Roadster for the mindboggling price of $10. In other words, you could’ve purchased that Coach for the amount you might spend at today’s Woodward Theater in a night of heavy drinking with your spouse (or alone, if you’re that hardcore). Around this point is where the trail runs dry except for a few sad drips. The used car shop closed sometime in the 1940s. While it’s hard to brush the dust off and find evidence, apparently there was a Kroger in the building in the 1950s. And jumping ahead to the ‘70s, it was a nightclub called Wanda Bear’s. In 1990 Greg Starnes bought the building, using it as storage for his antique shop further down Main Street until 1995, when he opened it as the second location of Greg’s Antiques. The end of Starnes’ tenure there is where Dan McCabe stepped in with his partners Chris Schadler and Chris Varias to begin work on this old building that has seen and heard it all. It’s heard the silence of an early 20th century film; the passionate debate between two 1930s jocks over the price of a hot ride; the chatting of lovers shopping for lemons and mustached men cheering a band; the cooing of an old lady over a doll that reminds her of her younger days; and most recently, the buzzing of drills and booming of hammers. Now once again the halls of this honorary building might listen to the rumbling and rattling of Rock music, the soft crying of a mother watching her daughter wed, or the perfectly timed joke of a comedian to the background of rollicking laughter. Whatever it is, as time rolls on these walls won’t stop listening. The Woodward Theater opens to the public tonight. Read more about Main Street’s newest music and events space here.
 
 

Ricky Nye Brings Back the Boogie

Plus news on Walk the Moon, Foxy Shazam and the second annual Guitars for Vets benefit

0 Comments · Wednesday, November 5, 2014
One of Cincinnati's most popular musicians, Ricky Nye, brings his Blues and Boogie Piano Summit back for its 15th year this weekend. Plus, Walk the Moon's new album, Talking is Hard, gets a release date, Foxy Shazam announce extended hiatus and Guitars for Vets presents its second annual benefit event Sunday.  
by Nick Grever 11.04.2014 17 days ago
Posted In: Live Music, Local Music, Live Blog at 02:39 PM | Permalink | Comments (0)
 
 
nestle-dibs-vanilla

Valley of the Sun Tour Diary: The Rules of Dibs

Hours spent in the van, hours spent waiting for sound check in the venue, hours spent wandering European cities waiting for the venue to open, hours waiting for show time and hours spent waiting for the show to wrap up. All of this adds up to lots of free on our hands and not much to do with it. So what is a Rock & Roll band — and its merch and sound guy — to do with opportunity? Why, play Dibs of course.Dibs is one of those rare games that has no end point. No one wins at Dibs; it is played simply to pass time and help spice up the long stretches of mind numbing nothingness that touring sometimes produces. As a public service to other bands in this situation, I would like to provide you with the objectives and rules of Dibs, as I have observed them, so that you may also join in on this wondrous game.First, a few opening remarks on Dibs. One: this game may sound a little inappropriate at times. This fact is not lost on us. But after four hours of staring out of the window of a van and seeing not much more than trees, plains and gas stations, your brain starts to atrophy. Dibs helps bring it back to back to life. Two: if, while playing Dibs, you question your values or moral code at any time, don’t be alarmed — this only means that you are human.Now, on to the good stuff!Objective: The objective of Dibs is to see an attractive person and call dibs on said person. Being that this tour is comprised of five straight men that are either single or separated from their significant others for three weeks, this means that attractive women of all kinds are being dibsed with a speed and fury unrelenting. But if your preferences differ, feel free to switch it up. Dibs is a game for all.Now, the objective is easy enough to grasp, but like all great games of skill and wit, it is easy to learn and hard to master. Which is why we have set up several unofficial rules that I will now place into record.Rules: A dibs-able person must be within eye contact. This means that I can’t call dibs on a girl that has gone around a corner or into a store and is no longer within my sight line. This rule works in conjunction with rule two. A dibs must be made with a witness present. No dibs can be called while you are alone: the witness must be able to see said dibs, verify the dibsworthiness and (if you’re lucky) become upset that they didn’t see said dibsworthy subject first. Seeing your friend’s pain is almost as satisfying as the initial dibs and should be celebrated. If a subject is dibsed, the decision cannot be reversed. This helps eliminate dibs calls made without full knowledge of the subject. There have been times where we’ve each made a dibs call early, only to regret the decision. On rare occasions, a special call may be utilized. We’ve classified this as a dibs grenade but other nomenclature may be used as well. It allows a player to blanket dibs a group of subjects. For example, when we played at a venue full of women wearing spiked leather jackets with black hair and facial piercings, I threw my grenade like an MLB pitcher. (4a. This power must be used selectively and with great precision. All witnesses present must verify the usage of a dibs grenade and vetoes made by said witnesses render the grenade null and void. A cool down period is in effect for each player’s grenade, generally accepted as one in each town or venue. Larger grenades [such as a grenade meant for the entire venue, such as mine] have longer cool downs and should used sparingly.If a subject is dibsed and then re-dibsed by another player, the witness has the responsibility to back up the original dibsee on their right to the call. If two dibsees and their witnesses cannot come to a consensus, timelines should be discussed and consulted to ascertain the true dibsee. And with that, you have the basics of Dibs. It is a game with a rich strategy behind it, a strategy that I will leave to you to discover. Due to its never-ending nature, it can keep you and your bandmates entertained for hours. Or at least until you’ve seen everyone who has walked through the door at the venue. Then it’s back to Tetris. Happy hunting!CityBeat contributor Nick Grever recently traveled Europe with Cincinnati Rock band Valley of the Sun and blogged about it for citybeat.com. His other dispatches can be found throughout the music blog.
 
 
by Nick Grever 10.31.2014 21 days ago
Posted In: Live Music, Local Music, Live Blog at 02:21 PM | Permalink | Comments (0)
 
 
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Valley of the Sun Tour Diary: Würst Merch Guy Ever

I crowd surfed for the first time ever in Strasbourg, France. And I did it in a hot dog costume.Man, I can’t wait to tell my grandkids this story. The hot dog spawned from a Facebook Messenger conversation before we even left. As we were preparing for the trip, the group bought me a glow in the dark skeleton onesie. It proved far too comfy and warm for it to be a nightly outfit in dirty, sweaty bars. I know this because I happily wore it around my house on several occasions. Through the conversation it was eventually decided that I needed an Elvis outfit to wear during shows. I agreed and took a trip to a local Spirit Halloween in search of my tour uniform. I was quickly disappointed. Not only did they not have any Elvis costumes, the employee told me that the only place she knew that had one was a costume rental shop across town. The price put the costume way out of my price range. So I had to come up with something just as American (i.e. over the top and ridiculous). I browsed around, shot down the idea of a German beer girl costume — no one needs to see that much of my upper thigh — and stumbled across an area of cheap, lazy costumes. One of which was the hot dog suit. I snapped a picture, sent it to the boys and was met with joyous approval. I was still under my assigned budget so I picked up a Flavor Flav-sized dollar sign pendant and made my way to the register. Now, I was truly ready for Europe. The hot dog costume has made an appearance a handful of times at shows, typically during the last song of the set or the encore. Sometimes I’ll put it on and rush to the front of the stage to get the guys to laugh and mess up. Being the consummate professionals that they are, they’ve never flubbed a song as far as I can tell. But recently, they’ve been requesting the hot dog from stage, meaning I have to quickly dig it out, throw it on and run out to the crowd. They usually do so for their own amusement or to drive sales at the merch booth by proclaiming they have the würst merch guy in history. I never said that these guys were comedians … Now, the majority of crowds just look confused by the sudden appearance of a hot dog at a Rock show but some get it and boy are their reactions spectacular. You haven’t lived until you’ve headbanged with two long hairs in a sweaty Halloween costume. But the crowd reaction in Strasbourg takes the cake. The show was Punk Rock all the way — the sound was awful, the fans were packed in like sardines and the beer was flowing freely. The crowd had already spawned a crowd surfer, which is an admirable feat due to the fact that the venue is in a basement. Crowd surfing and grazing the ceiling of a club rarely go hand-in-hand. When the band called for the hot dog, I pushed through and found myself in an open pit in the center of the crowd. The final song started and I began my “dancing” and headbanging with the crowd. Pictures were taken, laughs were had, and I thought that was the end of it. Then I saw the universal “You want to go up?” hand signal. Apparently crowd surfing crosses language barriers. Before I knew it, I was on top of the crowd trying to simultaneously avoid being dropped to the floor or bounced into the ceiling. It was awesome and scary and ridiculous and unbelievable all at the same time. If that’s not a great commercial for Spirit Halloween, I don’t know what is. Now I really can’t wait for our Halloween show tonight. We plan on having a merch guy who’s all skin and bones, a blinged out bassist and the würst drummer you’ve ever seen. Hey, I never said I was a comedian, either.
 
 

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