Take a tour of Cincinnati concert venues
Felipe Garcia-Wasnich
Staff Writer
Mad Hatter
620 Scott St., Covington, Ky. 41011
859.291.2233
Across the river in Covington, punk, emo, indie and hard rock bands
blare through raw sets on the diminished stage at the Mad Hatter.
Admirable for its authentic feel and gritty location, the venue promises a unique interaction between fans and their favorite bands.
However, there are negative aspects to many of the Mad Hatter’s shows. Not only does the poorly engineered stage disable fans from seeing the acts, but sometimes the audio system keeps them from hearing the bands as well.
Still, as the murals of Kurt Cobain and other greats seem to suggest, experience is everything when it comes to live music.
Bogarts
2621 Vine St. Cincinnati
513.872.8801
Located in Clifton near UC, Bogarts features mostly rock and alternative acts.
Once in a while it breaks the pattern, and brings acts from more diverse genres
to Cincinnati.
Many regular patrons adore the venue for its well-equipped stage and widely appealing acts, but Bogarts has its downfalls. Though lighting and visuals of typical shows do not disappoint, music fans may exit the venue unimpressed.
Tight security and a general disregard for local acts leaves Bogarts feeling mediocre and standard. Still, it is this mediocrity that brings many big names to the venue.
Bogarts seems destined to remain the king of Cincinnati mid-range music venues. Its reign will continue to be secure because of its proximity to UC and its promoters’ sound business minds, which prohibit them from taking chances.
Madison Theatre
730 Madison Ave., Covington, KY 41011
859.491.2444
At first glance, the Madison Theatre seems to be just a reproduction of Clifton’s
dominant venue. Looks can be deceiving. With upcoming acts as diverse as the
saxophonist David Sanborn, the siren Ingrid Michaelson, the rock band Black
Keys and the hip-hop influenced Flobots, the Madison Theatre is more than a
Covington rival to Bogarts.
The similarities are obvious as the stage setup is similar and Madison Theatre’s security is almost as tight. Still, the variation in musical talent keeps this theater from being just another stop on the album tour.
Mad Frog
1 E. McMillan St. Cincinnati
513.784.9119
As another favorite locale near UC’s campus, Mad Frog serves as an alternative
for those who search for live music in Clifton, but want something more low-key
than Bogarts.
The bar and venue features an assorted selection of live acts that include local rock groups and reggae acts. The Mad Frog is the place to be for those that want a more hands-on experience with live music. Monday salsa nights are a favorite for returning patrons.
Southgate House
24 E. 3rd St. Newport, Ky. 41071
859.431.2201.
The dream home of any live music fanatic, this venue was built in Newport by
the influential Richard Southgate in 1814. Almost 200 years later, the mansion
has become the focal point of the local music scene.
The historic Southgate House appears, on the outside, to be a fully livable, four-story residence. The inside, however, is not as predictable. The first floor features a functional lounge, including an extensive jukebox.
Walking past the pool table and down the stairs to the basement reveals the remarkable venue located within the house. Including a spacious ballroom area, a stage large enough for bigger acts and even an upper-level sit-down balcony, this is where the real Southgate action happens.
A coveted second floor parlor and an art gallery on the third floor round out Southgate’s role as the cultural hub for the greater Cincinnati area.
Much like the house itself, the artist calendar is more than a one- trick pony. Southgate has featured an eclectic and impressive array of musical acts. Bands like The White Stripes, Arcade Fire, Guided by Voices, Clap Your Hands Say Yeah, My Morning Jacket, The Strokes, Stereolab and The Dirty Dozen Brass Band all have one thing in common: They’ve played Southgate.
The venue doesn’t short- change the local scene either. It often features
local acts both accomplished and lesser-known. Listen for the excellent audio
system always present in the ballroom to blast the music of the big ticket artists
during Cincinnati’s annual Midpoint Music Festival this year.
20th Century Theatre
3021 Madison Rd. Cincinnati, Ohio 45209
513.731.8000
Little more than a stone’s throw away from Xavier’s campus, 20th
Century Theatre is located in the lively backdrop of Oakley. Once a prominent
movie theater, it now hosts touring musical acts as well as private parties.
The most endearing feature of the venue is its spacious dance floor. There is plenty of room to sway to a range of artists that fall mostly into indie or folk-rock categories.
Unfortunately, this multipurpose venue does not guarantee live music every weekend. A majority of the venue’s calendar slots are occupied by private functions like anniversary parties or wedding receptions.
Coens cannot top ‘No Country for Old Men’
John LaFollette
Editor-in-Chief
Touting a production pedigree and an A-list cast, “Burn After Reading,” the latest film venture from Ethan and Joel Coen, seemed destined for greatness.
While it seems likely that the spy/thrill spoof will be a box office success—the film opened last weekend at no. 1—odds are against it matching up to the critical acclaim garnered by its Oscar-winning cousin, “No Country for Old Men.”
The two screenplays were written around the same time, according to the Coens, and fans hoped some of the bloody, sprawling, philosophical “No Country” genius would come through in “Burn After Reading.”
Instead, it seems like “Burn After Reading” served as a screenwriting foil for “No Country,” allowing the Coens an outlet for their natural sense of comedy, and the creative thrill falling flat in areas (see: timing and character study) where “No Country” soared.
Still, the boys who brought you the dark sense of inevitability in “Fargo,” the perfection of plot in “O Brother Where Art Thou” and the fantastic fantasy of “The Big Lebowski” have made a pretty decent movie.
John Malkovich is foul-mouthed, heavy-drinking CIA agent Osborne Cox who opens the film by throwing a tantrum after he is pushed out of the Agency to a low-level security clearance role at the State Department.
Thinking the decision is political when it is probably related to his ineffectiveness and strong affinity for drink, Cox starts work on a tell-all memoir he thinks will put the CIA on its ear.
Cox’s drinking problem is likely tied to his freeze-dried marriage with heartless wife Katie (Tilda Swinton), who is having an affair with jumpy, internet-cruising Harry Pfarrer (George Clooney).
With a mind for divorce, Katie copies her husband’s personal financial files (along with his memoir) to a computer disc that winds up in the hands of a pair of dimly-lit gym employees, Chad Feldheimer (Brad Pitt) and Linda Litzke (Frances McDormand).
Chad and Linda try to blackmail Cox, who understands part of how ludicrous the situation is, and hijinks ensue.
The plot is as thick as its swampy Washington, D.C. setting, and kudos to the movie-goer who can follow it without having previously read a review.
The dialogue is excellent, as expected from the Coens, though Cox gets too many of his laughs from using the F-word, and the laughter from a theater audience sometimes makes lines hard to catch.
As the film poster says, “Intelligence is relative,” and this comes through in the varying degrees of idiocy each character exhibits. It also makes for funny stuff when certain characters bump into each other over the course of the movie.
Still, the film is funniest when considered as a whole: Cox thinks he is infinitely more important than he is and acts accordingly, Pfarrer thinks and does the same and Chad and Linda are so warped that their behavior is understandable in light of everything else.
“Burn After Reading” is a hilarious exercise in self-absorptive reflection, and perfect for the walk home from the theater, but, unfortunately, it misses the comedic mark on screen.
Abrams’ ‘Fringe’ lives up to hype
Amy Windhorst
Campus News Editor
After months of hype, J.J. Abrams’ (producer of “Lost” and “Alias”) newest series “Fringe” is finally off the ground, accompanied by promising performances and modest ratings. The show follows a female FBI agent in her quest to understand strange phenomena.
The show, which will air Tuesdays at 9 p.m. on Fox, kicked off with a bang. In the first five minutes, viewers witnessed a plane filled with a man-melting toxin followed by gruesome imagery. This begins the series’ foray into the world of ‘fringe’ science, a journey which seems to point toward even wilder happenings such as teleportation, invisibility and speaking to the dead.
The strange incident aboard the plane is investigated by FBI special agent Olivia Dunham, (Anna Torv). She becomes further invested in the case when her professional partner and lover John Scott (Mark Valley) is infected with the same deadly chemicals.
The events of the episode lead Dunham to take up company with witty con-man Peter Bishop (Joshua Jackson, of “Dawson’s Creek” fame) and his somewhat crazy scientist father, Dr. Walter Bishop (John Noble). Bishop’s past as a brilliant, ground-breaking scientist leads to the unraveling of the case.
For the most part, the show’s cast seems well-suited to their respective roles; the chemistry between the three main protagonists was already tangible by the end of the pilot episode. John Noble’s performance as Dr. Bishop could veer towards the campy end of the spectrum—a problem for a show that asks audiences to take silly concepts seriously.
On the other hand, Joshua Jackson as the witty Peter Bishop kept the show lighthearted in spots, even criticizing the show’s own sci-fi premise. Newcomer Torv offered a solid, if not excellent, performance. Abrams, who has previously hand-picked unknown female talent such as Jennifer Garner and Evangeline Lilly, might have another star on his hands.
However, at the end of the day, the premise, not the cast, is what will likely cause viewers to trip.
The show demands a generous amount of suspension of disbelief. Thinking too long about LSD-induced telepathy or a woman with a fully mechanized arm will only get you into trouble with “Fringe.” Fans of shows such as the “X-Files” or “Lost” should know what to expect from this show’s sci-fi driven plot.
Like Abrams’ other shows, “Fringe” looks to be a fantasy-based experience that is heavily grounded in human relationships. Abrams has already hinted that the chemistry between Torv’s and Jackson’s characters will evolve beyond more than just friendly companionship.
Overall, the pilot ranks above average. The episode had enough shocks, twists and moments of solid character development to keep viewers interested for the full hour and a half. The pilot was nowhere near as spectacular as those of Abrams’ previous ventures, but it succeeded in establishing the groundwork for what is sure to be an intense, intricate television drama.
There will be an overarching storyline incorporated into the series, though Abrams insists it will not require the intense dedication demanded of the viewers of shows such as “Lost.” The show’s creators have stated that the overall plot has a specific direction, and that the endgame will be fulfilled no matter how long or short the series airs.
The show drew around nine million viewers during its pilot—an impressive number, though far from what might have been expected. Airing in a comfy timeslot after “House,” and the draw of a big-name producer like Abrams, means that Fox will be more than happy to give “Fringe” a few chances to hit the mark.
Let’s hope “Fringe’s” audience does the same.
Michael Phelps makes waves, gets laughs in lukewarm ‘SNL’ season premiere
Nora Heink
Asst. Arts & Entertainment Editor
Mention “Saturday Night Live” in casual conversation and you’re bound to get impassioned comments about the superiority of “MAD TV” or the classic response that “it was better before (insert any former cast member here, except Horatio Sanz) left the show.”
Let’s face it: the longtime king of sketch comedy shows has faltered over the past several seasons—a reality clearly evidenced by budget cuts and low ratings.
Like many viewers, I’ve developed a tormented relationship with the show, usually tuning in on Saturday nights to a hilarious opening sketch only to be disappointed at the mediocre antics that ensue after a few prolonged commercial breaks.
Last Saturday’s “SNL” premiere provided some funny, memorable moments, but suffered from the same inconsistency and lack of effort that has marred previous seasons.
It appears that the writers, stricken with the self-obsession that seems to characterize all of NBC these days, have realized that the studio audience, excited to merely sit inside the “SNL” studio, will laugh at just about anything put in front of them.
As usual, the funniest part of Saturday’s show was crammed into the first five minutes. Chances are the opening sketch—maybe the only sketch worth the hype surrounding the premiere—has already found you on the internet.
The skit brought back former cast member Tina Fey in a spot-on impression of vice presidential nominee Sarah Palin opposite Amy Poehler as Hillary Clinton and played off the vast differences between the two female candidates. It was “SNL’s” unique brand of political humor at its best.
The premiere was hosted by a subdued (and clothed) Michael Phelps, whose monologue was interrupted by words from William Shatner on the importance of “integrity” and an appearance by Phelps’ mother.
With the exception of NBC anchorman Brian Williams, whose appearance was so horrifying that CBS must have felt a lot better about having Katie Couric around, most guests who aren’t in show business usually manage to pull off a successful “SNL” appearance.
Phelps was no exception. Although his appearance on the show did make me wonder:
Does NBC officially own Michael Phelps or vice versa?
Rapper Lil’ Wayne, part of Phelps’ pre-race soundtrack, gave solid
performances of “Got Money” and “Lollipop.”
The remainder of the show typified “SNL’s” difficulties
over the past few seasons, lacking subtlety and depth in favor of annoying gimmicks.
The “Locker Room Motivation” sketch featured Will Forte as a swim
coach (wearing a mustache reminiscent of Mark Spitz for seemingly no reason)
encouraging a team of losers including, ironically, Michael Phelps.
The skit culminated in Forte dancing to a goofy polka tune, joined by a self-conscious Phelps. “Napoleon Dynamite” was the last and only time an audience bought a punch line like this one (and even then, I’m convinced it was a fluke).
Another sketch cast Phelps and Kristen Wiig as the ugly children of oblivious parents—now there’s an original premise.
“Weekend Update,” which usually delivers some of “SNL’s” best humor, drew a few laughs with more Palin jokes, but fell short.
Guest appearances were lackluster and included the atrocious ‘political comedian’ character, Nicholas Fehn, portrayed by Fred Armisen.
The gimmick surrounding this character is his inability to connect more than three words into a coherent thought. As a result, Fehn winds up sounding like an even more irritating version of ‘that guy’ from your freshman philosophy course.
I’m guessing the writers assumed that this nonsense would be so un-funny that it would turn out funny—perhaps they applied the same concept to the entire show itself. More likely they needed to burn some time during the program with no effort required.
I’m fairly certain that this character, along with tapes of Elmo from “Sesame Street” and the opening to “Access Hollywood,” are being used to break terrorists and in federal interrogations.
As with any show that produces material on a weekly basis, lackluster spots are inevitable, but for a show as revered as “SNL,” it’s difficult for fans to overlook the shortcomings of the past several seasons.
Fortunately, the program’s structure promises new talent is bound to arrive before long. And fortunately for NBC executives, this hope keeps viewers tuning in every Saturday. For now, at least it’s an election year.
Catherine Stahl
Diversions Editor
Gospel Explosion
At 4 p.m. on Saturday, Sept. 20 in Cintas Center, the XU Gospel Choir will perform in Evanston’s “Gospel Explosion” concert. The concert is a community event and will feature a number of Cincinnati’s best gospel choirs and artists. Tickets are $15 for adults, $10 for senior citizens and $5 for youth and students with ID. All proceeds will benefit the Evanston Community Scholarship Fund.
Jazz Ensemble concert
Like experiencing the full sound of a jazz band? Xavier’s own Jazz Ensemble
will hold a concert at 8:15 p.m. on Sunday, Sept. 21 in Long Recital hall in
Edgecliff. The concert is free and open to the public.Mid-day music
Xavier’s music department brings you “Music at Mid-day” at
12:30 p.m. on Friday, Sept. 19 in Long Recital hall. The short concert will
feature a Schumann sonata for piano and violin. It is free and open to the public.
Mid-day music
Xavier’s music department brings you “Music at Mid-day” at 12:30 p.m. on Friday, Sept. 19 in Long Recital hall. The short concert will feature a Schumann sonata for piano and violin. It is free and open to the public.
