Sorry to do this, guy who got hit in the face by Michael Boley's celebratory throw. But dang was it funny.

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Carl Lindner and Richard Farmer, are you paying attention?

In an exclusive at the Politico Web site this week, reporters obtained a copy of a confidential PowerPoint presentation created by the Republican National Committee about how it intends on raising money during this election cycle.

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While I’m not quite a junkie, I am fairly addicted to the “33 1/3” book series from publisher Continuum. If you’ve yet to hear about the series, the books are each dedicated to one specific album that has gained some sort of notoriety in the music world. The records chosen are mostly cult favorites with a few influential blockbusters mixed in. Of the 60 books written so far (each by a different author), the series has covered Pet Sounds, Songs in the Key in Life, Exile on Main St. and Led Zeppelin II but also lower-selling but no less influential recordings by the Magnetic Fields, Belle & Sebastian, Guided By Voices, DJ Shadow and Sonic Youth. (For a great overview, pick up one of the two Greatest Hits volumes released by the publisher.)

The tomes vary in approach, with some offering strictly historical examinations, some more about the author’s personal relationship with the album and others a mix of both. Chicago-based writer and music industry vet Bob Gendron has written what will likely be the only Cincinnati-connected album in the series, telling the tale behind Gentlemen, the major-label debut and relative breakthrough album by The Afghan Whigs. I would argue that records by Over the Rhine and The Ass Ponys, among others, deserve the 33 1/3 treatment, but they’re likely not well known enough to pique the publisher’s interest. I’d also argue that my personal favorite Whigs’ album, Black Love, should get a book, but the chances of having two Whigs stories in the series are just as slim.

Gendron mostly plays historian, telling the story via research and numerous interviews with the prime players, including all of the Whigs (drummer Steve Earle included), Sub Pop employees (Gendron himself used to be one) and other friends and industry connections. He also does a fantastic job of recreating the state of the Whigs at the time, a band of tight friends on the brink of major success yet also inflicted with drug issues and internal and external squabbles.

The story of Gentlemen is bookended by the tale of the band’s beginnings and their breakup, all the way up through last year’s greatest hits album. There are a lot of interesting tidbits and revelations. Gendron gets singer/songwriter Greg Dulli to talk about his serious relationship with the mysterious “Kris,” the dissolution of which led to the album’s tortuous, heartbroken tone. Other fun facts: Dulli recorded several of the album’s lead vocal tracks in one night while flying on coke and trying to impress a girl; Steve Earle was booted for several reasons (alcohol abuse, meddling girlfriend, creative control issues, ego conflict); and labelmate Linda Ronstadt was allegedly furious about the album’s cover (depicting a young boy and girl lounging on a bed), apparently under the impression that it was a naked bellybutton away from being child porn. It was also interesting to read that one of the band’s main friends at Elektra Records was feeding information to the nasty, slanderous 'zine Fat Greg Dulli.

Gendron gets to about every detail of the album, from the cover art’s original inspiration and liner notes to the songs’ inspirations and recording. But he doesn’t just relay facts. He also talks about Gentlemen as an artistic statement, carefully dissecting and describing the individual songs’ and the general album’s mood, cause and effect. Not only does Gendron’s book offer the last word on Gentlemen, it also shows what a compelling story The Afghan Whigs’ entire career remains.

For Whigs fans or even just those who were around Cincinnati to witness the band’s rise from little underground touring unit to soulful, seductive Rock machine, the book is a fascinating remembrance. For those who’ve never even heard of the Afghan Whigs, the story is universal and dramatic enough to be read as a novel (save the music-critic-y song dissertations).

The story is so good, in fact, that it would be great to see Gendron expand it beyond the 113 pages of this book. As his Gentlemen proves, the Whigs are deserving of a long-form biography that tells the band’s complete story. Who knows? Maybe Gentlemen: The Movie isn’t totally out of the realm of possibility.

Too bad John Belushi isn't around to play Greg. And Jimmy Page is too old to play Rick McCollum.

— Mike Breen

I hate when hard working people get ripped off. These kind of injustices can range from phishing scams to pickpockets, insurance companies' denying claims by any means necessary to bank CEO’s using bailout cash for beer money. It’s heart breaking to hear the stories of identity theft leaving people broke and in perpetual debt, or stock- and 401K-holders losing their future to corporate malfeasance.

Not that it is by any means “worse,” but I get a special bug up my ass (I’ve named him “Tony”) when I hear about artists and musicians getting ripped off. Having written about music for 18 years and played music for over 20, I’ve seen all kinds of scams designed to make cash off of the creative endeavors of others. From “battle of the bands” contests with exorbitant, unnecessary “entry” fees to club owners deciding at the end of the night that a band’s performance fee suddenly didn’t fit his budget to record labels putting no money into a project only to blame the band for not selling more albums (and coming at them to “recoup” costs), not paying or actually taking money from artists is its own little cottage industry within the music industry.

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Anyone familiar with Hamilton County government knows that a large segment of the jobs are essentially political appointments, given to cronies of whichever party controls the particular office doing the hiring.

Still, the political quid pro quo is usually kept somewhat discreet and hidden from public view. Not his time.

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Now that the U.S. House of Representatives approved a health care reform bill by a 219-212 vote and the Senate appears likely to follow suit, the political wagons are circling in what’s sure to be some nasty congressional races this fall.

Republicans, however, shouldn’t expect to cruise to victory, and here’s why.

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Il Volo — the popular Italian Opera trio from Sicily — features three teens with tenor voices so strong, they got America’s attention after one of the best guest performances in the history of American Idol, singing "O Sole Mio" last year. They formed in 2009 and were received very well in their native country, performing with some of the biggest international superstars in their short history. The group consists of Piero Barone, Ignazio Boschetto and Gianluca Ginoble. They are now set for their second U.S. tour which comes through Cincinnati tomorrow (Friday) night.

Il Volo is produced by long time industry veteran Tony Renis, who discovered the boys two years ago along with Grammy-winning producer Humberto Gatica (Michael Bublé, Josh Groban and Celine Dion).

CityBeat caught up with Gianluca Ginoble this week by phone to discuss his love of touring and how much he enjoys getting to do what he loves every day. He is just learning English but was able to provide a little insight into to the band’s grueling tour schedule. Check out Il Volo at Riverbend's PNC Pavilion on Friday.

CityBeat: I know you were introduced to opera from family members growing up in Italy. How important is family tradition to you?

Gianluca Ginoble: My family is the most important thing because my Grandpa is my inspiration. It was him that introduced me to this kind of music. But I love others as well, like Michael Buble and Frank Sinatra. I love Opera, but I also I love other kinds of music too. To me family is the most important thing.

CB: You guys are going to start a long tour being away from home. Is it hard being on the road being away from friends and family or what is the hardest part for you?

GG: When I am home, I can’t wait to do another tour because this is now my life. For me, it is like funny work because this is my passion. I am doing what I love to do, but when I am on tour I can’t wait to come back to my house and my home because I miss the family, my Grandpa. My Grandma died six months ago and for me it was an amazing pain. He was very important for me.

CB: I am sorry to hear that. Are there any places on the tour in the United States that you are specifically looking forward to playing, the location or the venue?

GG: Yes, yes, yes. My favorite city is Los Angeles. New York as well, but Los Angeles is the city of the dreams and the star, the Walk of Fame, the Oscars. For me it is the best city.

CB: What has been your rehearsal process for the tour? What has that been like for you?

GG: We have prepared with eight or nine hour rehearsals daily.

CB: Every day?

GG: Yes, because this is our first concert and we are preparing. When we have the soundcheck before the concert it is just 20 minutes or 30 minute,s so we have major rehearsals to get ready.

CB: How do you take care of your voices?

GG: Yes always, our voices are the most important thing.

CB: Do you ever see the band crossing over to pop music or do you think you will stay with Opera?

GG: I don’t know. We are open to many things. We did an American tour and it was wonderful, amazing because there were teenagers everywhere and in the U.S., in Miami, Los Angeles, New York and this is beautiful because it was our goal and this is a dream come true.

CB: Where do you see yourself or the band in 10 more years?

GG: I don’t know. I hope all this can continue in this way but life is unpredictable.

CB: What is your favorite song to sing and perform?

GG: "Smile," a Charlie Chaplin song.

CB: What can the fans look forward to in Cincinnati at the show?

GG: It is going to be a very beautiful show with more surprises. We have changed some things and I think it is going to be amazing. We have three new songs, which are a surprise.

CB: How do stay connected to your fans with Facebook or Twitter?

GG: Always, always. I update my fans, our fans. I am always doing “Greetings from …" I upload the pictures.

CB: What are you looking forward to the most on the tour?

GG: The most beautiful thing is to meet the fans. When I look at the people and they are happy and when they listen to our singing and we can make them happy, it is just beautiful.

While Halloween is still months away for most of us, the folks who run the Dent Schoolhouse, one of the area's most popular haunted houses, are hard at work retooling their frights for the crowds this fall.

On this episode we'll take a walk on the dark side for a behind the scenes tour of Cincinnati's Dent Schoolhouse. It's a rare, macabre treat to find out what makes it tick.

The Voices you'll hear include those of Josh Wells, Chuck Stross and Bud Stross, who own and operate the Dent Schoolhouse. Josh led the tour. You'll occasionally hear Chuck's voice as well as that of Randy Schaedel, who publishes the Cincinnati haunted house Web site The House of Doom. Chuck enjoyed scaring us on the tour and he's the one making the random loud crashes in the recording.

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The efforts to erect a plaque at the site of the old King Records facility (as well as myriad events related to the past and future of the ground-breaking record label, including this year’s Cincinnati Entertainment Awards) hopefully turned a lot of people on to the fact that Cincinnati’s music history is as rich as any city in the country.

Now, some of the same people who sought to honor King’s legacy are turning their focus on another monumental happening that should further enhance Cincy’s reputation as a blockbuster music town.

This coming Monday marks the 60th anniversary of a profoundly important recording session that took place at 811 Race St. in Downtown. Today, that building is home to CityBeat world headquarters, but 60 years ago, it was Herzog Studios.

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There's been a lot chatter in the vast, ever-opinionated movie blogosphere about the 2012 Sundance Film Festival's recently unveiled slate of films. Locally, the inclusion of Cincinnati native Todd Louiso's third directorial feature, Hello I Must Be Going, in the U.S. Dramatic competition is the most intriguing development.

But there's also another noteworthy local Sundance connection this week: Know Theatre is giving a 2011 Sundance film its Cincinnati premiere with a one-time screening 7 p.m. tonight (Dec. 7) in its space at 1120 Jackson St. in Over-the-Rhine. (Tickets are $10.)

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