Cincinnati Pop/Rock band BoyMeetsWorld returns to the Madison Theater in Covington Friday to celebrate its debut EP, Do What’s Best For You. The band is co-headlining the show with fellow Cincy Pop Rock/Punk crew Radio Rescue, which is releasing its newest effort, the band’s sophomore EP, The Soundtrack to Second Place.
Radio Rescue’s Pop Rock has some of the power of Hardcore and Metal (particularly in the blazing drum work and some of the chunky guitar riffing) and occasional gang and/or screamed vocals. Adding another unique element is the prominent use of synthesizer, which gives the band’s sound a bonus texture. While that description might make Radio Rescue’s sound come off like a mismatched mess, it’s impressive how cohesive and focused the band’s upbeat and endearing sound is, with its just-right mix of power crunch, synth squiggles and sweet hooks.
Here is Radio Rescue's video for new EP track "If Loose Lips Sink Ships, Then You're The Titanic."
BoyMeetsWorld was formed just last summer by three brothers: Craig (singer) and Ryan (drummer) Sulken, who are twins, plus older brother Brad Sulken (bass). Guitarists Pat Bryant and Drew Richter round out the band. In its first year as a group, BoyMeetsWorld took home the first-place prize at the Battle of the Bands hosted by Forest Park teen club, The Underground.
The band has a knack for strong Pop hooks and an overall uplifting vibe. Songs like “Head Up High” and “Girl In Front” are best described as Power Pop, written with a maturity and craftiness of a band on their third or fourth album, not first EP. Bryant and Richter offer up some compelling guitar interplay, while the Sulken rhythm section is reminiscent of the high-flying telepathy of Fall Out Boy’s. Meanwhile, singer Craig’s high, earnest vocal approach works especially well in the context of the band’s youthful anthems.
Here is a lyric video for BMW's new EP track, "Girl in Front."
Friday’s co-release show at the Madison Theater also includes opening acts Aristo, Canoes, Ready to Live and The Sweet Addiction. The event is open to all ages and doors open at 6 p.m. Showtime is 7 p.m. Cover is $10 at the door.
I'm off to the Humana
Festival of New American Plays at Actors Theatre of Louisville this
weekend, where I'll be checking out plays that could well be on their
way to theaters across America in future seasons. For those of you
staying here in Greater Cincinnati, there's lots of good stuff to get
out and see onstage:
I feel like an entire calendar year has passed since my last blog entry. The thought of "how much time has passed this year" is instantly canceled out by the perplexing conclusion of that it's really only April. This year has been one long workweek for me and I honestly would not have it any other way.
The main focus of these past few weeks has been the preparation and actual duration of South by Southwest (SXSW), the largest music festival/conference in the USA. This event is best described as organized chaos, with almost 2,000 bands performing showcases on 80 or so stages with about 500,000 running around a small downtown setting in the evening. This does not include the 2,000 or so “unofficial” artists that come to play free events during the day, basically creating a microcosm for a week that involves live music, networking, workshops, cheap beer and even cheaper tacos. Most people have a love hate relationship with it, yet still return each year for the spectacle.
This year was very unique experience for myself, not only
because I was not preforming (I did for 3-years in a row and last year
came down just with The Counter Rhythm Group), but for the fact that my
main focus was not necessarily on music/artists (crazy, right?). This
year, rather, I was down to unveil Musicians’ Desk Reference to a
select few individuals that are considered important in the music
industry (and rightfully so, I might add). These meetings were
strategically in place for equal parts discussion, pre-endorsement and
even some initial shock value.
I cannot describe to you the feeling of anxiety and pride you have when presenting something to the world that almost no one has seen. A blogger that is way more full of themselves may describe it as close to bringing a new life into the world, but I'm definitely not that guy. Still, it is pretty amazing indeed. For any music fans out there, Haim and Alpine were definitely my highlights this year.
While I cannot technically say whom/what companies I met with down at the festival (legal blah blah blah), I can say that they are significant entities designed to help musicians in this ever-changing industry and all of the meetings went extremely well, even vastly exceeding my expectations at times.
The overall week went better than I had hoped and there are definitely some tricks up my sleeve for the release of Musicians’ Desk Reference this fall.
The actual informal networking at SXSW is what absolutely
amazes me. My job (in addition to Izzi Krombholz’s, employee
extraordinaire) was to literally go hang out with other people in the
music business, dip in and see a few songs of a set and then find a
quiet corner to have a drink and talk shop about what both parties do
and how they could potentially help each other in the industry.
Maybe my next written venture should be titled, “How to Network at SXSW: Drink, Talk, Drink, Talk, Drink, Drink, 15-minute Nap, Tacos, Talk and Drink.” I see a fruitful career move here.
By now you’re asking, “Why has he spent the entire duration of this blog yapping about SXSW?” Because this single week has such a large impact on the music industry, if you are a fan that has the slightest interest in music culture you should be paying attention. This organized chaos dictates what you are going to read about in music magazines and blogs for months to come, what videos you’ll see go viral, the secondary headliners that you’ll pay hundreds to see at music festivals, the fashion trends for the summer and fall, the soundtracks to the latest electronic commercials featuring artists that win all of the awards and your annoying “mainstream/generic” friends are going to be bugging you about next year.
My favorite part of SXSW is not the festival itself, but its sound waves that echo year-round in music venues like The Comet and Mayday and mid-sized festivals such as Midpoint and Bunbury. If you are not one of the individuals willing to pay hundreds (or thousands) of dollars to make the musical exodus, I strongly encourage you to exhaust the minimal amount of research required to see if the bands playing in venues around town have made the trek to perform at such an elite event. If so, consider it a stamp of approval by the music industry and, most importantly, give these bands a chance when they come to you. I often hear chatter from people wishing that they could go be a part of the festivities and see these “unforgettable performances” from “groundbreaking artists” in “intimate venues,” yet they have no clue that their chances of seeing that same scenario in a city like ours (often times for FREE) is extremely high and is tirelessly being written about week after week by poor Mr. Breen and Mr. Baker. Open your eyes and ears people; you’ll probably be glad you did.
Sorry for the rant, but I do feel it was necessary. Next
month I promise to write more about the book, as we have some major
updates taking place, in addition to having what we hope to be 99%
completed prototype in our hands. Exciting times for sure! But for now,
go appreciate some awesome live music (April is the busiest touring
month of the year due to post-SXSW tours) and have some fun for me … I
will not see the light day for several weeks to come. Send help and some
Thai Express if I don’t turn in my next blog on time next month.
Brian Penick of local music promotions company The Counter Rhythm Group is guest blogging for CityBeat monthly to provide a behind-the-scenes look at his journey to release his interactive industry guidebook, Musicians' Desk Reference
City Manager Milton Dohoney Jr. and other city administration officials say the city will have to carry out Plan B, which would lay off 344 city employees, including 189 cops and 80 firefighters. But council members Chris Seelbach, P.G. Sittenfeld, Charlie Winburn and Chris Smitherman claim there are other ways — casino revenue and cuts elsewhere — to balance the budget.
The meeting got testy after a few council members called the city administration “disingenuous” for framing Plan B and the parking plan as the only two budget options, prompting Mayor Mark Mallory to slam council members for attempting to pin the city’s budget woes on the city administration.
“I don’t think anyone in the administration wants to see their colleagues laid off,” Mallory said. “The administration makes a recommendation to this mayor and to this council. The final decision makers are the elected leaders.”
He added, “What’s disingenuous is to create a crisis and then criticize the administration for its response to the crisis when those responsible for dealing with the crisis are the elected leaders. It would be like an arsonist setting a building on fire and then complaining about how long it took the fire department to get there and what equipment they used to put out the fire.”
Lea Eriksen, the city’s budget director, said the ideas she heard at the special session today would not be enough to close the budget gap.
Throughout the discussion, the city administration repeatedly dismissed ideas presented by council members as not enough to overcome the city’s $35 million deficit and avoid layoffs. By the city administration’s admission, even Plan B would only close about $26 million of the projected deficit.
How that budget gap is closed may come with additional expenses. Eriksen said the budget gap may reach $45 million if the city carries out Plan B because the city would also be forced to pay for accrued leave and unemployment insurance.
Still, Assistant City Manager David Holmes admitted the city could balance the deficit without Plan B or the parking plan, but the numbers must “add up” and would require direction from City Council.
When the discussion came to casino revenues, Holmes said the city administration feels “uncomfortable” projecting casino revenue because the state’s projections have trended downward in the past few years. In 2009, the state government estimated Ohio’s casinos would take in $1.9 billion a year, but that projection was changed to $957.7 million a year in February.
Eriksen said the city estimates between $9 million and $11 million in casino funds will be available to the city. She said even if Cincinnati’s Horseshoe Casino hits its $100 million goal, the city will not be able to get the $21 million previously touted by Horseshoe Casino General Manager Kevin Kline because the money is pooled with money from other casinos around the state, which has fallen far below projections, before it’s distributed to cities and counties.
When asked about shifting parking meter revenue to the general fund to help balance the budget, Eriksen said doing so would ultimately be a “wash” because of expenses currently attached to parking meter revenue.
Seelbach suggested making more cuts through the
priority-driven budgeting process. Eriksen explained Plan B does cut
programs that were poorly ranked by the process — the mounted patrol
unit, arts funding and recreation centers were a few examples she cited. But
only relying on programs ranked poorly by the priority-driven budgeting process would “decimate” departments and
programs that the city deems essential, she said.
In the original 2013 budget proposal put forward by the city manager, mounted patrol was cut, but Seelbach lobbied for the program’s restoration.
Multiple council members brought up traveling and training costs as potential areas to cut, but Eriksen said the city administration had not considered further cuts in those areas because the leftover expenses are currently used to get certifications that city employees “need to do their jobs.”
Councilman Charlie Winburn, the lone Republican on City Council, asked the city administration if they tried to balance the budget without layoffs. Eriksen replied, “Yeah, that was called the parking plan.” She added without the parking plan, it would be “mathematically impossible” to balance the budget without layoffs.
When Winburn suggested city employees should take salary cuts, Eriksen said such cuts would require extensive negotiations with unions because about 90 percent of the city’s employees are unionized.
In November, Winburn was one of the prominent supporters of giving the city manager a raise and bonus.
Vice Mayor Roxanne Qualls, a Democrat running for mayor, said she would be open to using any revenues possible for reducing the budget gap, but she said City Council must acknowledge the harsh budget realities facing the city — further re-emphasizing points she made in a blog post Sunday.
John Cranley, another Democrat running for mayor, has said in the past that the threat of layoffs is “the boy crying wolf.” Cranley released his own budget plan on March 28 that he says would avoid layoffs and balance the budget without the parking plan, but some critics say the budget’s revenue estimates are unrealistic.
Eriksen said Cincinnati has run structurally imbalanced budgets since 2001, but city officials say deficits have been made much worse by state cuts in local government funding carried out by Gov. John Kasich and the Republican legislature since 2010 (“Enemy of the State,” issue of March 20).
City Council approved the parking plan in a 5-4 vote on March 6 that would lease the city’s parking assets to the Port Authority to raise funds that would help balance the deficit for the next two fiscal years and pay for new development projects, including the construction of a downtown grocery store (“Parking Stimulus,” issue of Feb. 27).
Opponents of the parking plan, who say they fear it will lead to rate hikes, filed their petitions for a referendum effort today. It is so far unclear whether they have the 8,522 verified signatures required to put the issue on the November ballot.
City Council will hold a special meeting at 2 p.m. today to discuss alternatives to laying off cops and firefighters to balance the budget, which CityBeat covered in detail here. Council members Chris Seelbach and P.G. Sittenfeld are pushing to use casino revenue and cuts elsewhere in the budget to avoid cutting public safety services. A spokesperson for Vice Mayor Roxanne Qualls, a Democrat running for mayor, told CityBeat that Qualls will also consider every option available. John Cranley, another Democratic candidate for mayor, has long called the threat of layoffs “the boy crying wolf.”
City Council unanimously passed a motion yesterday that will require all parades receiving financial support from the city to adhere to the city’s anti-discrimination policies. Council members cautioned that the measure won’t require event hosts to invite fringe groups, but it will ensure LGBT individuals, people of color and women are allowed to participate in future events. The measure was inspired by a recent controversy surrounding the St. Patrick’s Day Parade, which barred an LGBT group from participating.
An appeals court will hear arguments over the Cincinnati parking plan and the city’s use of emergency clauses on May 6, even though the city had asked for a final decision by May 1. Hamilton County Judge Robert Winkler’s original ruling decided emergency clauses do not remove the possibility of a referendum. Emergency clauses are regularly used by City Council to remove a 30-day waiting period on passed legislation, but the city says that power is weakened by Winkler’s ruling since the city will now have to wait for referendum efforts to safely begin implementation.
Meanwhile, referendum organizers against the parking plan are expected to drop off petitions at City Hall later today. Organizers previously said they have more than 10,000 unverified signatures, but they’ll need 8,522 verified signatures to get the issue on the ballot. The parking plan, which CityBeat explained in further detail here, would lease Cincinnati’s parking assets to the Port of Greater Development Authority to raise funds that would be used to help balance the deficit for the next two fiscal years and launch development projects, including a downtown grocery store.
This week’s CityBeat commentary: “Poor Messaging Holds Back Parking Plan.”
JobsOhio agreed to let State Auditor Dave Yost check their books — private funds and all — last month, but Yost says he’s still in talks with the agency about future audits. JobsOhio is a publicly funded, nonprofit corporation established by Gov. John Kasich and the Ohio legislature to eventually replace the Ohio Department of Development.
Kasich’s advice for opponents of the Medicaid expansion: “Kick them in the shins.” As part of a broader budget proposal, the governor is seeking to take advantage of Obamacare to expand Medicaid with financial support from the federal government, but some Republican legislators fear the money won’t be there in a few years. Independent analysts say the Medicaid expansion will save Ohio money, which CityBeat covered alongside Kasich’s budget in further detail here.
The cost of Reds games has gone down since last season, according to one study.
Ohio’s improving economy is leading to less problem loans in the statewide mortgage market.
Headline: “Nobody Wants a Facebook Phone.”
A new laser zaps away cocaine addiction from rats.
The annual Tunes & Blooms concert series at the Cincinnati Zoo kicks off today. Despite the late-coming spring, the weekly series — which showcases two local musical acts at each event — is in honor of the blooming flowers of the Zoo's Botanical Gardens. At least the snow is gone … (If you're going purely for the flowers, the Zoo's website says, "Due to unusually cool temperatures, our horticulture experts don't expect our tulips to be in bloom until mid April.")
The free concerts go down every Thursday in April and run 6 p.m. - 8:30 p.m. Admission to the Zoo is free after 5 p.m. If you park in the Zoo lot, it'll cost you $8.
Today sees the return of Bluegrass supergroup the Comet Bluegrass All-Stars and Americana supergroup Magnolia Mountain.
Here is the rest of the month's lineup:
April 11: Jake Speed and the Freddies/The Turkeys
April 18: Shiny & the Spoon/Shiny Old Soul
April 25: The Ark Band/The Cliftones
City Council today unanimously passed a motion that will require parades funded by the city to adhere to the city's anti-discrimination policies, marking the end of an effort that began when the Cincinnati St. Patrick's Day Parade barred an LGBT group from participating.
The motion, which was championed by Councilman Chris Seelbach, requires any future parade that receives funding from the city to respect the city's protected class rules, which prevent discrimination against people of color, women and LGBT individuals.
Council members cautioned that the measure won’t require event hosts to invite fringe groups, but it will make it so LGBT individuals, people of color and women are allowed to participate in future events.
The motion was passed in response to a controversy that began when the St. Patrick's Day Parade prevented the Gay, Lesbian, Straight Education Network (GLSEN) from participating. Seelbach, the first openly gay council member, told CityBeat that Chris Schulte and other parade organizers excluded GLSEN because they didn't want the holiday event, which has Catholic roots, to be affiliated with members of the gay and lesbian community.
Schulte later sent out a press release claiming the parade's rules do not allow for the advancement of "any political party, social movement or cause," even though the parade allows politicians and other political groups to march.
In response to the controversy, Seelbach and other council members boycotted the parade. Councilwoman Laure Quinlivan was the only Democratic council member to participate, but she protested the parade's decision by walking alongside a banner in support of marriage equality.
The parade controversy was also picked up by national news outlets, including Buzzfeed and The Huffington Post.
Boy band lovers of the ‘80s and ‘90s will unite for this music spectacular from New
Kids on the Block, Boyz II Men and Cincy’s own 98 Degrees. The tour kicks off next
month and Nick Lachey & Co. may not officially come home until the sold-out
concert June 25, but Buzzfeed is already getting in the spirit with this
collection of photos that reminds us about how Justin Jeffre was essentially
the Michelle Williams of 98 Degrees.
Upon looking up some 98 deets on Wikipedia, I realized dude is the only bandmate
who doesn’t have his own page. And he ran for mayor in 2005! Poor Justin.
At least he took a break from rehearsing to stop by our Best of Cincinnati party last week (and if you obnoxiously asked him for a photo or just squealed and pointed at his presence…Shame on you), which was just one day before the release of the reunited band’s newest single. “Microphone” (which, according to The Daily Beast’s painstaking analysis, could have also been entitled “Penis”) has all the ingredients for a killer boy band tune: a danceable beat, barely-subtle phallic references that preteens could unknowingly sing on the back of the school bus, and lyrics that pay tribute to the group’s barber shop quartet past (“Say, ‘do-re-mi-fa-sooooo’ ”).
Cabrera? He was an early-2000s Pop singer who dated pre-Pete Wentz Ashlee
Simpson and was later resurrected on that post-Lauren Conrad final season of
The Hills that probably only I watched. Well, in a move I can only wish I was bold enough to pull first, he got Ryan Gosling’s face tatted
on his calf.
One glance at the InAPPropriate
Comedy trailer and it was obvious — that shit was going to be bad. But as
this Huffington Post live-blog of the — ahem — “film” describes, it was baaad. Like being-inside-Lindsay-Lohan’s-vagina
bad (Spoiler Alert).
The Walking Dead’s third season finale was Sunday night and, though the season closer was full of ample zombie/Governor scariness, the most terrifying part of the night came during the live after-show, Talking Dead. Somehow, this dude managed to make it on the air:
Hey, if you want a captive, conspiracy-loving audience to stir up, TWD fans are it.
OK, time to get serious for a minute. I don’t usually like to discuss serious matters like death or illness on this silly pop culture blog, but this latest news from MTV is just too crazy to ignore. A cast member from Buckwild, MTV’s take on the rednecksploitation trend that replaced Jersey Shore, was found dead in his car after having gone missing over the weekend. While full details have not officially been released, it’s looking like the accident is a result of off-roading after a stint at a local watering hole. Shain Gandee, 21, was found dead with his uncle and a friend in Gandee’s truck, which was partially submerged in mud. Their deaths have been ruled accidents, caused by carbon monoxide poisoning (with the car's exhaust stuck under mud, fumes filled the car).
Obviously, this is tragic and not
something to make light of. What’s really disturbing is that, had this not
taken a terrible turn, the whole drinking-and-mudding scenario is something
that easily would have been included in an episode of the series. Not that MTV
needs to be a beacon for safety (see: Jackass,
Ridiculousness, the Jersey Shore's “smoosh room,” etc.)
But maybe it’s time to seriously re-think what we promote via reality TV
bullshit. Production on the show's second season has since been halted and it has been reported that Gandee's funeral expenses will be covered by Buckwild producers.
And here’s a cute video of baby Gorilla Gladys at the Cincinnati Zoo to help you recover from that story.
While waiting in line for 45 minutes for the sold-out Wavves show at The Basement in Columbus, Ohio, I begin to notice a much longer line accumulating outside the substantially bigger and more extravagant venue directly across from me, The LC Pavilion.
Then, just as I’m about to ask the stoned kid next to me who is playing at The LC tonight, an older couple with leather jackets – the woman with pink highlights in her beach blonde hair – grabs my attention.
“Excuse me, sir. Is this the line for Garbage?” she asks.
“Well, that depends on your definition of Garbage, ma'am.” I reply.
After this smartass comment, I quickly apologize and assure them that this is the line for the Wavves show and that ’90s Alt-rockers, Garbage, are playing next door. During this short conversation, I realize something.
There are only two basic differences between those fans going to see Garbage at The LC and the fans going to see Wavves at The Basement — the generational gap and the smells permeating from the separate lines (their line smelled of liquor, while most on our side reeked of weed and unwashed clothes).
It was as if the people in the Wavves line were getting a glimpse into the future (mirror, mirror, on the wall, is THAT what I’m going to look like in 2033?) while the Garbage fans were getting a taste of their younger years (mirror, mirror, on the wall, did I look THAT bad in 1993?)
After the wait, the doors finally open and as I walk inside The Basement, I notice immediately that it lives up to its name. It is dark, cold, and even has that musty smell that basements do. It was like going into my Grandma’s basement as a kid, except this one had a fully stocked bar, a small stage, and a 20-by-20 pit that was filled as soon as the doors opened. (Step up your game, Grandma!)
The show finally kicks off around 8 p.m. as the group Cheatahs takes the stage. Although they have a decent 30-minute set, their slower, Pop-infused Grunge style seems ill-fitting for both the ambiance of the venue but also the acts that follow them. During their last song, I wonder if perhaps Cheatahs would have been better received as an opener for Garbage across the corridor rather than opening for the Punk/Surf rockers Wavves.
After Cheatahs finish, the second act, FIDLAR (an acronym for “Fuck it, dawg, life’s a risk”), comes on and the intensity of the show is taken to a whole new level. Although some critics have called this band Skate Punk, for me, that term seems to coincide with terrible Pop Punk and Tony Hawk Pro Skater games (which were amazing), so I’d like to deem them “Party Punk” for the sheer fact that most their lyrics deal with the fact that they like to get high and drunk off of shitty weed, cocaine and alcohol.
Their blistering opener, “Cheap Beer”, starts the set with a burst of energy that never falters during the next 40 or so minutes. By the time they finish, vocalist/guitarist Zac Carper is crowd surfing and ending their final song dangling from the sprinkler system that hangs above the pit full of exhausted but excited fans.
As FIDLAR exited and Wavves starts setting up, most of the patrons come out of the pit looking so tired it didn’t seem like they were going to make it through to the headlining act. Some of the concertgoers leave after FIDLAR’s explosive and energetic set, partially because, as I said before, they were too debilitated to go on.
I personally believe, though, that some left because The Basement has acquired the stench of a 16-year-old boy’s room (for those of you who haven’t had the pleasure of experiencing this distinctive smell, it’s basically a combination between musk, sweat, weed and alcohol) from all the jumping, moshing and mashing going on in the crowd.
The people that pushed through, however, are treated with the opportunity to see a very special and intimate Wavves performance. Nathan Williams opens up the set with the unflinching Surf Rock anthem “Idiot”, which not only is a fan favorite of the night (along with “Green Eyes” and “Super Soaker”), but also keeps that intensity set up by FIDLAR’s performance and takes it higher.
Wavves' set-list isn’t just comprised of songs off older LPs, as they accomplish a pretty choice mix of the earlier material and new, catchy, sing-a-long tracks like “Demon to Lean On”, “Sail to the Sun” and “Afraid of Heights,” off their latest album of the same name.
A pretty flawless musical performance and Williams’ witty, in-between song banter with the crowd (my personal favorite is when he almost chipped his tooth adjusting the microphone and said he was going to look like rapper Danny Brown by the end of the show) coupled with guitarist Stephen Pope’s bedazzled, purple tights and outlandish behavior give fans more than their money’s worth.
As previously stated, for those fans that stuck around for Wavves (which was most of the people there), we witnessed a truly special night. Not because this will be the last opportunity to ever see this band perform live again, but more because, with Wavves' new album, Afraid of Heights, getting the accolades it deserves and the band's following growing greater everyday, we will most likely never see them in this small of a setting again. In fact, I’d bet good money (if I had any) that the next time Wavves visits Columbus, they won’t be headlining The Basement but the venue across corridor, The LC Pavilion — even if Garbage is in town that night.