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J.T. Ryder

Through Conquests And Crusades…To Chunkin’

November 9, 2010 By J.T. Ryder Leave a Comment

Talking Trébuchets With Dayton’s Own American Chuckers

Regardless of one’s own opinion on violence, weapons of war often bring about a sense of awe just with their cunningly destructive force. One of the weapons of war that never fails to fascinate is the trébuchet, a mechanical siege engine dating back, in a less sophisticated form, to the 5th century B.C. The trébuchet, through the aid of engineering, became fearsome engines of war, growing larger, delivering a more devastatingly larger payload with more range and accuracy, playing a pivotal role during both Crusades and then all the way into the late 1400’s. With the advent of gunpowder, the trébuchet faded away as a weapon of war, its last known use being in 1521 during a siege of an Aztec capital. The first shot, however, managed to do nothing more than to fling the payload high into the air…until gravity took over, sending the payload plummeting straight down, destroying the trébuchet itself.

This is an illustrative point about how much mechanical engineering and applied mathematics are needed to not only manufacture the siege machine, but to fine-tune the trajectory so that you don’t create a scenario that looks as if it was intended for a Warner Bros. cartoon. In recent years, trébuchets have been used more for recreational purposes, flinging anything from flaming pianos to small cars far afield for the amusement of onlookers.

The premier event for this spectator sport is the Punkin’ Chunkin’ World Championships hosted by the World Championship Punkin’ Chunkin’ Association (WCPCA) and has been held in Bridgeville, Delaware since 1986. The WPCA is a nonprofit organization which raises money for scholarships and charitable organizations through this event. They break the machines up into categories, including air cannons, centrifugals, catapults and trébuchets. I was able to speak recently with Patrick Imlay, the team captain of Dayton’s own American Chucker. The first thing I asked him was about the design of Team American Chucker’s trebuchet, which did not follow the mechanics of a historical trebuchet.

“It’s called a floating arm trebuchet, so the weight comes straight down and the arm actually rolls across a rail to make the arm go forward.” Patrick went on to describe the engineering principles and physics behind the machine. “If the weight falls in a straight line, that gives you more efficiency. If a weight swings along an arc, like a traditional trébuchet, that is less efficient. So, the higher the weight falls, the more energy you get out of the weight and the straighter the weight falls, the more energy you’ll get. With our machine, what it is doing is accelerating at about 9.8 meters per second squared and from the time it’s released, it’s accelerating downward, so the higher we can get it, the more acceleration and velocity we will get and the more energy we will have to throw with.”

Even though I flunked remedial math in high school, I was fascinated with the physics behind what most would be happy to view as a devastatingly ass kickin’ machine. Imaly stated that some of the refitting that they were doing on the trébuchet for this year’s competition dealt with increasing the weight and reinforcing the machine to be able to withstand the aforementioned weight.

“What the weight does is, the bigger the arm is, if there is more weight, it helps the arm turn the corner without slowing down. More weight creates more momentum, which means that as you try to turn a heavier, longer arm, with more weight you will turn it equally as fast. There’s a certain point where, if you have enough weight, you’ll turn that corner regardless of the size of the arm. There’s a trade off between the amount of weight you lift up and the structure that it’s going to take to lift all that weight, and the structure that you want to have in place to handle all of that weight that is falling.” As an example, Imlay then explained, “So, if you put 30,000 lbs fifty feet up in the air and drop it, your system has to be able to handle all of that force or you have to transfer all that force to the pumpkin. If you have a misfire, you have 30,000 lbs of weight coming down onto something. Most of what we do to tune the machine is to keep it light and efficient.”

All this talk gave me the urge to take my silverware and make a makeshift trébuchet to launch some chicken wings onto that table over by the door. You know, the one with the guy talking annoyingly loud on his cell phone. In fact, I have had fleeting dreams of building a trébuchet for home use. I have fantasized about being able to launch my lawn clippings several blocks over with the hopes of making a bulls-eye onto that guy’s house who lets his dog crap in my yard.

Okay, back to the competition. The Punkin’ Chunkin’ World Championships has become a big thing in the last ten to fifteen years, gaining more attention and coverage form the media outlets. The Science Channel has even dedicated a whole show to the competition, which airs on Thanksgiving. As the attention has increased, so has the level of competition.

“Right! Just in one class there were eighteen machines and there were easily sixty machines out there at that contest. The first day last year (2009), they barely got all the competitors done. It went all morning, through the day until dark.” Imlay added that, “The second and third day went pretty quick about having the next team ready and putting them on the clock. They put you on the clock and then you have to fire within that window, then they measure the throw…their pretty methodical about structure of going down the line.”

In 2009, American Chucker entered the competition for the first time and managed to walk away with second place. With each competitor allowed to have three throws, after which the distance is measured and recorded. American Chucker’s throws were relatively consistent, being 1,427.28 ft, 1,424.27 ft and 1,885.99 ft. In contrast, the first place winner, Yankee Siege’s numbers were rather erratic, which were 1,298.16 ft., 1,869.32 ft. and it’s winning throw of 2,034.21 ft. Imlay explained to me the reason for Yankee Siege’s inconsistent throws.

“It’s weight is called a hinged swinging weight, so there’s a fixed pivot point and then the weight basket is hinged so that it can drop farther, but in the end, when you watch the machine throw, it continues with this violent rocking and that is all the energy that is left in that machine while, with our machine, the load comes straight down and kind of bounces once and that is all the energy that is left.” Imlay went on to say that, “Because of the way Yankee Siege is built and how inefficient it is, they end up dropping a lot of weight…twelve tons of weight…and they end up with a lot of left over energy in the machine which means that the whole machine has to be bigger and stronger so that the weight doesn’t break it.”

Since our conversation had been almost exclusively focused on the physics of punkin’ chunkin’, I decided to ask a more personal question to end out interview: Had Imlay ever thought about duct taping a co-worker, family member or friend up and launching them form the American Chucker?

“No.” he said, then after a moment of thought added, “Maybe some of the people on the team have thought about doing that to me.”

Even though the 2010 Punkin’ Chunkin’ World Championships are already over, I will not reveal the results. This will not stop me, however, from making sucker bets with my family on Thanksgiving Day while we watch the program on the Science Channel at 8:00 pm, which will be hosted by Jamie and Adam from the Mythbusters.

Filed Under: Spectator Sports, The Featured Articles Tagged With: air cannon, American Chucker, catapult, centrifugal, mayhem, Patrick Imlay, pumpkins, punkin chunkin, Science Channel, throwing, tossing, trebuchet, wpafb

Jimmy Pardo: The Jazz Zinger

November 2, 2010 By J.T. Ryder 2 Comments

From Comedy Clubs To Conan, This Comedian Is Never Not Funny

After studying for a year at the American Academy of Dramatic Arts in Pasadena, California, Jimmy Pardo decided to go back to his home state of Illinois and entered the comedy scene during the halcyon days of the eighties. Coming up through the ranks, Jimmy went on to become a headliner, appearing in his own Comedy Central half-hour special and making guest appearances on television shows like That Seventies Show and Becker. Always casting a nervous eye on the future, Jimmy has taken a practical approach to his career, creating opportunities for himself instead of waiting for that ephemeral big break. By doing so, Jimmy has created several shows of his own, such as Running Your Trap, You Bet Your Life and a very successful one man show, understatedly titled Attention Must Be Paid: The Jimmy Pardo Story. Not satisfied with becoming stale or behind the times, Pardo hosts a critically acclaimed and wildly successful podcast, Never Not Funny, which is an unscripted talk with various guests from the world of comedy as well as Pardo’s unique humor.

What follows is an (almost) unedited transcript of my most recent interview with the acerbically witty comedian as he was in transit to the world’s best day job…

J.T.: How are you doing?
Jimmy: Good! Jimmy Pardo calling…but obviously you know that.

J.T.: See? I was editing pictures from a pole fitness class. That’s where you rate with me. ‘Pictures of hot, nubile women exercising on stripper poles…what? Jimmy Pardo is on the phone? Well, let me just put these away then!’
Jimmy: Well good for you! And those are ladies you know, right?

J.T.: Yeah.
Jimmy: That makes it hotter, doesn’t it?

J.T.: Yeah, it has that ‘girl next door’ quality to it.
Jimmy: Yeah! Right! I like it. I love the idea of it.

J.T.: Well, how is everything in your world?
Jimmy: Everything is good. As we speak, I am driving to go to work with Conan.

J.T.: That was going to be my first question. I was wondering where that was going to lead because you were there right when the Jay Leno hammer fell.
Jimmy: I was. I was there for the whole seven months of the Tonight Show with Conan O’Brien and, luckily, I got picked up to go to work again. Today is our first test show and, as I said, I’m heading there right now.

J.T.: That is just ultra-cool.
Jimmy: Yeah! I’m really excited about it. I don’t…and if I’m repeating myself, I apologize… this is a great group of people to work with and Conan is just a terrific guy and I’m honored to be part of such a terrific team. I know that sounds like a press release, but I mean it.

J.T.: Oh, well yeah. You know, the way that Conan has handled this whole situation, from beginning to end, has just been classy and funny at the same time. I think that it has boosted his image in a  lot of people’s eyes.
Jimmy: It really has. It’s made him sort of like this underdog/folk hero too. People are like, here’s this guy who, for no reason, got shit on, basically. He was putting on and doing a great show, he was being funny and he was getting the ratings in the demographics that they had told him that they had wanted him to do, and then they went, ‘Yeah, you know what? That’s not what we want after all *click*’ It’s just ridiculous.

J.T.: Yeah, and things went the other way for Leno as well.
Jimmy: Oh, absolutely.

J.T.: On many different levels.
Jimmy: You know, (Leno) didn’t come off well in any of those interviews that he gave, during and post, in my opinion.

J.T.: Well, switching gears, Never Not Funny is doing really well…
Jimmy: We are doing very well and I’m proud to be a part of that as well. I’ve never been prouder of anything than I am about the podcast.

J.T.: Well, I read a while back that it even got a write up in GQ Magazine…
Jimmy: Yeah! They were nice enough to mention us as their Number One Relatively Obscure Thing To be Paid Attention To and hopefully that got us a few more listeners.

J.T.: Well, that’s kind of a left handed compliment, isn’t it?
Jimmy: (Laughing) Yeah, right! Well, you know how everything needs to be snarky, right?

J.T.: Yeah, but it’s like, ‘Should I say thank you or smack the fuck out of someone?’
Jimmy: Yeah, well, you read Entertainment Weekly and everything has to be some backhanded compliment. It just can’t be, ‘Hey! This is great!’ Everything just has to have that subtext of snarkiness to it.

J.T.: Right! You know, when people have asked me to describe your show, I always say…and you might disagree with this…but there seems to be different styles of stage presence and types of delivery, so I put it into musical terms which is to say that there are those whose performance is more like grunge and some that are more like classical jazz. I’ve always describe your act as being like watching classical jazz. It’s almost got that Catskills quality to it.
Jimmy: I don’t, uh…I don’t disagree with anything you have said. In fact, I’m very flattered when people refer to my delivery as jazz because I do think it has some of those elements, if you are trying to compare it to music because it’s got that rhythm and it can take off into another rhythm. No, I one hundred percent agree with you and I appreciate the compliment and I take it as such.

J.T.: Well, how would you describe your act to someone who hasn’t seen you perform?
Jimmy: You know what? I’ve been trying to figure that out for twenty years. How do you put into words the nonsense I do? You know, I used to call it ‘high energy sarcasm,’ or somebody once described it as that in a review of my show and, at the time, I thought it summed up what I do. I still think it does, but when people think of sarcasm, they picture some dour guy, like a guy that just stands there and is mean, bitter and angry…and that is certainly not what I am. But when they said ‘high energy sarcasm’ I thought, ‘Well, that makes sense because I’m also not Dane Cook or Steve Byrne, who are both fine comics. I’m not one of these guys that shits on those guys. But, they are these high energy kind of guys, but they aren’t really sarcastic. So, for me, high energy sarcasm worked, but I do so much improvisation on stage these days that if there was a way to figure out something like, ‘high energy improvisational sarcasm’…but boy, doesn’t that sound like a shit show? (laughing) I don’t know. I really don’t know how to describe it.

J.T.: That’s what I mean. I have a hard time describing your show because you can go from an egocentric dictator at one point directly into some self deprecating rant about yourself.
Jimmy: It’s, uh…you know what? I mean, that’s exactly it too.

J.T.: Maybe highly energetic schizophrenia.
Jimmy: You know, I want to say that somebody used that term to describe my show once before too. A woman in Ann Arbor called me that. But, I don’t disagree with that either. You’re right…I mean the egocentric dictator is kind of rough…but yeah, I turn it around and then I’m the stooge, which I think is necessary because if you’re just up there yelling, you’re just an a-hole, don’t you think? I mean, you have to turn it on yourself at some point. I think some of these young comics don’t realize that part of it. I apologize J.T., but at zero with this question. It’s odd to try and describe what it is that I do. It’s just funny and…I don’t know. I’m a failure. (laughs)

J.T.: Let’s talk about the Never Not Funny podcasts for a minute then. What do you have coming up with that? Any interesting interviews slated?
Jimmy: You know, we have Scott Aukerman makes his return (October 27th) and next week my beautiful wife Danielle Koenig will be on the show. We’re coming to the end of this season, and we’ve had a lot of new guests this season and added some new faces to the show and I already have a lot of new faces lined up for season eight, but I don’t want to give those away because it won’t be a surprise when we do it.

J.T.: That and you’ll jinx yourself and they’ll pull out at the last minute the moment you utter their names.
Jimmy: Oh, of course. The minute you printed their name, that guy would cancel. We also have the Podcast-o-thon coming up the day after Thanksgiving. This year we’re going to go for twelve hours where last year we only went for nine. We raised over twenty-one thousand bucks last year. We’re hoping to best that, but I don’t see that being possible, but I would should love it if it happened. Starting today, as a matter of fact, we began to book the people for that event. I sent out a bunch of invitations to appear for it and hopefully soon they will start to come back to me, so there will be that as well as well as the regulars from the show and we will have a great twelve hour marathon.

J.T.: What is the charity that you are raising money for?
Jimmy: It goes to Smile Train. That’s the charity that goes to Third World countries and fixes cleft palates.

J.T.: Oh yeah!
Jimmy: Yeah, you’ve probably seen the ads like in the back of Parade Magazine.

J.T.: Yeah, some of the most horrific pictures in those ads.
Jimmy: They really are. I picked up Parade Magazine and I saw this ad and it says, ‘Each surgery only costs $250.’ So, I immediately donated…not because I’m this big money guy…I don’t have money to donate, but I was so moved by those horrific pictures that I thought, ‘Jesus Christ! For $250 bucks you can fix this kid’s face? Why not donate?’ Then when it came time last year for the end of the season, we said, ‘Hey, let’s do a marathon podcast just for the fun of it!’ and then I thought, ‘You know what? Let’s do it for this charity.’ So, when we raised this much money…I never…I never felt like I had done something better for the world in my life than giving this much money to save this many kids. It really felt great and hopefully we can do the same this year.

J.T.: Well, I sincerely hope it does as well. With the podcasts getting more popular, are people seeking you out asking to be a guest instead of visa versa?
Jimmy: Oh yeah, yeah, yeah, yeah! People…uh…not so much calling, but if I’m like out at a show, (comedians) are like, ‘Yeah, I’d sure like to show up on that podcast!’ Nine times out of ten, I go, ‘Yeah!’ and walk away and hope they never bring it up again. With the one out of ten, I’ll go back to my co-host producer Matt (Belknap) and tell him, ‘Hey! Kevin Pollak wants to do our show!’ and so it’s like, ‘Great! Let’s book him!’ and we definitely get him on as quickly as we can. But, with all of the requests, sadly, there’s a reason you haven’t been asked my friend. By the way, some of those are really funny people, but not funny in conversation. You know, I used to hear Steve Dahl and Garry Meier do radio out of Chicago and they interviewed Jerry Seinfeld who, at the time my…you know…and man, he was awful!

J.T.: Oh yeah, I’ve seen a ton of interviews where you would have gotten better reactions out of coma patients.
Jimmy: Don’t you think?

J.T.: Yeah, he always just gave really short, deadpan answers.
Jimmy: Just horrible! Not even funny! You’re not promoting your show! You just…showed up! So, again, it’s not an insult to these people when I don’t want to have them on, it’s just I know that they are not going to be right for that format.

J.T.: I’ve always thought that about some of these morning radio shows. There are some absolutely hysterical people that have been on there, but the format kills them.
Jimmy: Right!

J.T.: Ron Shock is a perfect example because he is a brilliantly funny man, but his long drawling type of storytelling does not survive on that ADHD programming format. I mean, before he is 1/16th through a story, someone has already interrupted him and derailed the whole thing…
Jimmy: Exactly! Boy! You’re not kidding either. You’re just derailed and, like in Ron’s case, with that Southern drawl, how do you go back like, ‘Anyhow, what Ah wuz sayin’ wuz…’ It would make you sound like a dick, so you drop it and you’re done. So, instead of coming off with this really funny story, people listening are like, ‘Well, that made no sense! Thank God someone interrupted it!’ Yeah, I agree with you. I one hundred percent agree.

J.T.: By the same token, there are people that are absolutely hysterical on radio, and you would think that their stage show would utilize that improvisation, but after four or five years, it’s the same routine.
Jimmy: (laughing) Right!

J.T.: Well, that’s like that air bass thing you do on Bob and Tom. At least since their program has been picked up for television broadcast by WGN, you can get the more subtle nuances of the air bass performance.
Jimmy: Definitely. You know, as much as I want exposure, the downside is that anytime I go to a Bob and Tom market, there’s always at least one guy that yells out, ‘Air bass!’ It’s like, ‘Okay, there’s no music playing sir. It doesn’t apply to what we are doing currently.’ And by the way, and you know this: They don’t yell out when it’s quiet…they yell it out one word before the punchline. ‘Air bass!’ Yeah, thanks.

J.T.: Well, have you picked up any other air instruments like the accordion?
Jimmy: I have not. I stick strictly with the bass. You know, when you perfect an instrument like that, you don’t want to take away from its uniqueness. How’s that for a ridiculous answer (laughing).

J.T.: What you should do is if someone yells out for air bass, you should just stop what you’re doing and do like a three minute solo without any music or noise whatsoever and then, when you’re done, remind everyone to thank the gentleman after the show for suggesting that encore performance.
Jimmy: Right! I mean, obviously I do other nonsense, like I tap dance for no reason…you know, I’m doing this Cajun character who just shows up out of nowhere now, for no reason.

J.T.: (laughing) I haven’t seen that yet.
Jimmy: Oh, it is the dumbest thing you will see in your entire life. I’m not going to lie to you: I’ve never, in my entire career in comedy, I’ve never heard an audience laugh harder than when I do this dumb Cajun guy. It doesn’t last more than two minutes, because it can’t because it is so ridiculous, but when I do it, I still get spit-takes. I mean, Jesus Christ, I’ve worked my ass off for twenty years and, as it turns out, I do this dumb Cajun guy and he gets the biggest laugh. Fair enough.

J.T.: You caught the Larry the Cable Guy syndrome.
Jimmy: Yeah, right. But I never go more than two minutes because I don’t want to be that guy…you know, with all of his billions of dollars. I don’t want that. No.

J.T.: That’s funny because I just watched the roast of Larry the Cable Guy and Greg Giraldo just tore into him.
Jimmy: He was great, Greg. Everybody says Jeff Ross, they call him the ‘master of the roast,’ but I think Greg was. Don’t you think?

J.T.: Greg’s stuff was brilliant.
Jimmy: Nobody was writing sharper material than Greg.

J.T.: Oh, I mean, Greg Giraldo doing the Flavor Flav roast with, ‘You look like Idi Amin after a three year crack binge on the sun!’ That is an elegant reference.
Jimmy: (laughing) Gorgeous!

J.T.: I got to meet Greg once when he middled for Colin Quinn. I was very surprised. He was a very subdued guy off stage.
Jimmy: You know, it surprised me to. I met him a couple of times at the Montreal Comedy Festival and he’s one of those guys that, like when you see him, with what he does on stage, which is so quick and sarcastic, but off stage, it’s like, ‘Hey man, I’m Greg.’ And it’s like, ‘Oh! Oh good! We’re just people.’

J.T.: If you ever get a chance to, look up Greg’s interview in Psychology Today…it definitely gives some insight into what happened.
Jimmy: Okay. I will definitely look that up when I get home tonight.

J.T.: So, your role on Conan: are you doing the warm up only or are you going to be getting into the writing as well?
Jimmy: You know, I’ll still be just the opening act, but I’m hoping to get in some more sketches this go-round. I did a few for the Tonight Show (with Conan O’Brien) that, due to time constraints, never aired. I am hoping to get in some more sketches and to be a little more involved, but for the most part right now, I’m happy to just go out and be the warm up act and have, quite frankly, the greatest day job in the world.

J.T.: That would be fantastic. Have you been told to keep things in check?
Jimmy: You know what, the only notes that I was ever given, to be honest with you, is just ‘don’t swear.’ That was it.

J.T.: I interviewed Archbishop Schnurr and the whole way to the interview, I’m smoking like a freight train telling myself, ‘Don’t say fuck, don’t say fuck and for fuck’s sake, don’t say goddamn.’ Then I got worried that I had hyped myself up so much that the first words out of my mouth were going to be, ‘Fuck, fuck, fucking, fuckity fuck!’…and then I would go straight to hell.
Jimmy: (laughing) Of course! You know, it’s funny, I did a private gig once, which I can’t stand doing, by the way, and before I went on, the guy goes, ‘The only thing I ask is just  don’t say fuck.’ So I said, ‘Oh, okay.’ So I decided to replace every ‘fuck’ in my act with ‘goddamn.’ As it turns out, that might be a little more offensive to some people. Turns out that saying, ‘This goddamn thing and that goddamn thing’…some people truly get offended by that. Okay, good enough.

J.T.: Now, you’ve played Wiley’s a few times…
Jimmy: This will be my third time there. I used to play Joker’s way back in the day, so when that kind of went down, Rob (Haney) was kind enough to call me up, so I went over there and I love it.

J.T.: Do you think it’s a good room for you?
Jimmy: You know what? I’m a guy that speaks so positively about comedy clubs as opposed to venues, and you have one of each in Dayton. I love Wiley’s and while he might not get the numbers that the other club gets, in my opinion, you’re getting comedy fans as opposed to people who just want a night out. I like a nice 150-200 seat room with the stage right there and the people are right there with you, so you can communicate as opposed to perform. That’s the problem…well, I guess it’s not a problem…well, I kind of think it’s a problem…I think that having the stage and the audience so separated has made some comedians go in the direction of, ‘I should perform! I need to kill!’ as opposed to just worrying about being funny. That’s what I love about Wiley’s…even back in the day when Joker’s was there. There were many years when Joker’s drew tremendous crowds. Then, sadly, it became a place for bachelorette parties and you end up wanting to slam your head against a wall.

J.T.: There’s no competing with a bachelorette party.
Jimmy: The day that someone puts a rule out across the country that bachelorette parties are not allowed at comedy clubs, that guy will be my hero.

J.T.: Speaking of Rob, when he told me he sent you an email warning you that I wanted an interview, he said, ‘Oh, I told him that a local writer wanted to interview him and that you were a big fan of his iPod.’ Rob and technology equals a bad mix.
Jimmy: You know, Rob will send me an email and if it takes me more than one word to respond, he’ll write back, ‘Can you just pick up the phone!’ He’s like a dad in that way. Like a dad…if you picture the stereotypical dad…that’s Rob. ‘I don’t understand this future!’

J.T.: When he said I loved your iPod instead of Podcast, I was like, ‘Yeah, I love how Jimmy’s playlist jumps from Marilyn Manson to Air Supply…it’s such an eclectic mix.’
Jimmy: You know, there’s a good chance that might happen. Yeah, you’ve seen my iPod. You like the way I handle it. You like the case and the clear plastic I put over it to prevent scratches.

J.T.: Well, let’s wrap this up. Is there anything that you want out there that we haven’t covered?
Jimmy: Nah, I think that covers it. In fact, I’m going to be pulling into a garage and I’m probably going to lose you. I sure do appreciate you taking the time to do a story.

J.T.: And I surely appreciate you taking the time to talk with me. I will definitely see you when you get to Wiley’s then.
Jimmy: Fantastic! I look forward to it. Thank you so much and I appreciate it J.T.

You can catch the sweetly sardonic humor of Jimmy Pardo for a limited engagement at Wiley’s Comedy Niteclub (101 Pine St. in the Oregon District) on Friday November 5th at 9:00 pm and for two shows on Saturday, November 6th at 8:00 pm and 10:30 pm. Tickets range from $10 to $12 and, since this is a special show, no coupons, passes or offers can be accepted. Call (937) 224-JOKE to make reservations and for more information, check out Wiley’s website at www.wileyscomedyclub.com or become friends with them on Facebook.

Filed Under: Comedy, The Featured Articles Tagged With: Conan O'Brien, Greg Giraldo, Jimmy Pardo, Never Not Funny, podcasts, Pompous Clown, Rob Haney, stand up, Wiley's Comedy Niteclub, You Bet Your Life

“Of Soft And Golden Hue”

October 28, 2010 By J.T. Ryder 3 Comments

The Stoddard Avenue Pumpkin Glow

“When black cats prowl and pumpkins gleam,
May luck be yours on Halloween.”

Judith Chaffin

Reflecting on a pumpkin patch, it reminds me of the way a community should truly be. Occupying your own mounded hill, you are nurtured from the same sustenance offered to your neighbor. When you bask in the warmth of a sunlit day, your neighbors feel the sun’s impartial rays as well. When hard times befall you, the community must endure the inclement storms. Eventually, your vines and roots tangle and twist together, becoming a communal plot of land. Could it be that a simple jack-o’-lantern could bring a community of people together as well?

Many years ago, Judy Chaffin envision ghoulishly glowing pumpkin lighting the perfect darkness of the McKinley Park located on Forest Ave. by the Dayton Art Institute. Her vision remained a wil-o’the-wisp…until she moved nearby onto Stoddard Ave.

“When I moved onto Stoddard Ave., I thought, ‘Boy, if we put some over on the hill, how neat would that look?’” Judy reminisce. “I then asked my brother and his wife if they would help me and I went out and bought thirty-six pumpkins and, back then, I thought that was huge! So, we put them over there and people stopped by and seemed to really like them and that was really nice.”

The hill behind the Greek Orthodox Church seemed perfect, providing the pumpkins with a raised dais so that the casual passersby would fall under it’s eerie orange stare while the stone edifice of the Church itself endowed the tableaux with the ideal backdrop. The idea seemed to grow all on it’s own, sending tendrils and roots through the fertile furrows of the imagination. Judy recounted how the pumpkin patch grew with each subsequent year that passed.

“Then the next year, we decided to go for a little more. We tried to increase it by twenty-five or so…we did seventy-five, then one hundred, then one hundred and twenty-five…it just kept going up and up and up.” With a wave, Judy said, “At some point, it just jumped up to three hundred, and once that number goes up, you really can’t go back down. Last year it jumped to like four hundred and this year we have like five hundred pumpkins.”

In the beginning, Judy would trek up towards Springfield each night after work to cull through a local pumpkin farm, loading up her little Honda Civic with all that it would carry. After a few years, her brother helped her by loading up his van with the orange gourd-like squash. Eventually, she was referred to another Springfield area farmer who not only negotiated a fair price for the prestigious pumpkins, but more importantly…he delivered.

Neighbors and friends have joined into the mix, offering their services from gutting and cleaning to carving, placing and lighting the finished pumpkins. It became a neighborhood affair.

“Well, I think that a lot of them like to bring people into the neighborhood for something positive. You know how it is. If you say, ‘Oh, I live over by the Dayton Art Institute’ people are aghast. It’s not like that. It’s a great neighborhood.” Judy opined, “I think that is why the neighbors enjoy it because we have people from all over…we have people from Sidney and Troy and other cities that come down. It’s just nice. I have friends from Cincinnati who come up to see it.”

With every manner of carving displayed, the Pumpkin Glow has definitely grown, taking in the hearts and imaginations of people from far away cities who have hear about the extraordinary exhibit by word of mouth. The sheer logistics is staggering when one realizes how few people are involved in the actual process of cleaning and carving the pumpkins. Before I left, Judy outlined the schedule for this year’s Pumpkin Glow for me.

“We’re going to try and put them up early this year at about eleven o’clock in the morning and then at about four-thirty or five o’clock, we’ll begin lighting them and they’ll stay lit well past midnight. Then they will be up Saturday night and Sunday night and then Monday, we take them off the hill.” Judy ended by alluding to one of the many factors that make this such a special occasion. “Some people want us to keep them lit until Monday. I think that two nights is enough…it’s fleeting, and that’s what makes it so special.”

The Stoddard Avenue Pumpkin Glow can be seen on Saturday and Sunday, October 30th and 31st. It is a display that is well worth seeing, not only for it’s sheer eerie beauty, but also for the sense of community that it invokes on this All Hallows Eve.

“Only the knife knows what goes on in the heart of a pumpkin.”
~Simone Schwarz-Bart

...let the carnage begin!

[album: http://www.daytonmostmetro.com/wp-content/plugins/dm-albums/dm-albums.php?currdir=/wp-content/uploads/dm-albums/Stoddard Ave. Pumpkin Glow/]

Filed Under: The Featured Articles Tagged With: All Hallow's Eve, carving, halloween, jack-o'-lantern, Judith Chaffin, pumpkin, Stoddard Avenue Pumpkin Glow

Reaching For The Brass Pole

October 27, 2010 By J.T. Ryder 24 Comments

Pole Vixens Xtreme Takes Exercise To New Heights

Light streams in from the massive, industrial windows, highlighting the pastel purple and pinks of the décor, glinting off of the poles that shoot down from the ceiling, like metallic stalactites that securely anchored themselves into the floor. The light also plays off the forms of several women, glinting off of their perspiring bodies as they enthusiastically work out to a high energy deep bass groove. Laughter and congratulatory catcalls can be heard over the music as Geneva Duncan’s voice is heard over the cacophony, instructing her class in a cajoling tone, demonstrating to all what the next moves will be and what she hopes to achieve with them. In between classes, I was able to talk to Geneva Duncan, owner and instructor for Pole Vixens Xtreme. The first thing I wanted to know was how she hoped to overcome the common perceptions that immediately leap to people’s minds when their hear the words, “pole dancing.” To my surprise, instead of completely distancing herself from the more tawdry aspects associated with strip clubs, Geneva has chosen to embrace some of those features and mold them into her own vision, thereby taking away any of the negative connotations that some may have.

Geneva Duncan and Crystal Sullivan ~Photo by Brooke Medlin

“My goal is to actually incorporate some of the stripper moves and make it more elegant. With that in mind, we have created a whole workout regime while keeping the sensuality of the movements.” Geneva went on to outline her reasoning for incorporating the pole into her exercise routine. “Every woman, I don’t care who you are, has a yearning to be a sensual creature. We, as women, always criticize ourselves and we are not 100% confident or comfortable with our looks. Out goal is to get you out of that mode and to try something different and something out of the ordinary.”

Geneva went on to address the perceptions of pole dancing by stating;

“A lot of men get the idea twisted. I can’t say all men, but a lot of men. When you say ‘pole dancing’ they automatically think strippers, go-go dancing and women hustling for money.” To counteract that, Geneva explains that, “What we’re trying to do is to change the mind frame of people who think like that, so you can feel comfortable sending your wife to a class because it can only enhance your intimacy. It can also enhance her figure and enhance her confidence level and it can bring back a spark to your relationship.”

I asked Geborah, Pole Vixen’s Zumba instructor, the same question about overcoming people’s perception of the poles.

“Well, the only way that people can get over the controversial idea of pole fitness is to come through here and see what we are doing. I think it is definitely important for people to get their knowledge firsthand as far as what pole fitness is all about.” Geborah add rather succinctly that, “We do not strip in here…absolutely not. We are very classy and tasteful women who love to work out and feel sexy while we are doing it.”

Mardi McNeil ~Photo by Frank Coleman

As the group got ready for Geborah’s Zumba class, I spoke with Mardi McNeil, Pole Vixen’s business manager about how they were marketing the programs, who was their target demographics and what were some of the classes that are available and what kind of classes may be available in the future.

“Right now, most of our marketing is online, through Facebook and our website as well as by word of mouth. We have posted some flyers and signs, like for this event and we just shot a commercial today. Our target audience is every woman of every size, every fitness level and from ages eighteen to ninety-nine.” As for the classes available, Mardi said, “Well, right now we have the Polercise  classes, which is basically the pole fitness which incorporates the use of the pole predominantly. We also have Zumba classes with Geborah as well as target classes, like the Absolutely Abs class and the Booty-Max class, that target a specific area that someone might want to work on. We’ve got some other things in the works, like getting some punching bags in for kickboxing and we are looking at potentially adding yoga and massage therapy classes.”

I watched as Lady Geborah led the ladies through a distinctive Zumba routine, interspersed with standard stretching exercises, repetitive movement exercises and gently laced with Latin and jazz dance movements. The women were enjoying themselves so much, it didn’t seem like a workout at all…except for the perspiration and the satisfied exhaustion afterwards. Was Zumba a definitive workout?

Geborah ~Photo by Brooke Medlin

“Oh yes, definitely! The Zumba class format combines both slow and fast rhythms that tone and sculpt the body. You can get a full body workout when you’re doing Zumba. You can burn from 250 up to 1,000 calories based on how hard you want to work out in a Zumba class. It will help you tone your muscles as well as help you lose inches. Zumba is the new way to work out.” Geborah said, emphatically.

It seemed as if I was witnessing a choreograph dance routine rather than a regular workout. It looked effortless and sensual, unlike other Zumba classes that looked very rigid and brittle. It just didn’t appear to be what one would envision when one would picture a regular gym workout.

“No, it doesn’t and that is one of the reasons that I love it because, being that I love dance and fitness and dance is the easiest way for me to exercise.” Geborah said, with a laugh. “I love to share the opportunity for other people to dance as well as work out and also to learn different techniques while they’re dancing and get a good workout. You gain so much when you get involved in Zumba fitness.”

I asked Geborah about her conspicuous incorporation of dance rhythms and movements into her program and the sensual eroticism that it conveys.

“It does. I mean, as a lady, you love to move and shake your hips. It’s a natural thing for a woman to move her body gracefully and to move her hips. There is a sensual nature to it.” As for the dance movements, Geborah said, “With Zumba, you can do Latin dance moves, ranging from Salsa to the rumba. You can do hip-hop dance moves,  but I like to incorporate jazz as well as some more modern movements as well. I’m all about movement.”

Geneva Duncan and Crystal Sullivan ~Photo by Brooke Medlin

During a break, I was able to speak to one of students, Crystal Sullivan, to ask her why she had picked Pole Vixens Xtreme.

“I picked Pole Vixens Xtreme, first of all, because of the safe environment: I feel comfortable there. It’s just a very warm and welcoming atmosphere because I am kind of self conscious about my body…” After a pause, Crystal continued by saying, “I have issues with how big I have gotten, but here, I feel comfortable. Here, I’m not embarrassed. I feel open and free to actually work out so that it will really benefit my body versus going to a gym and not giving it 100% because I’m kind of worrying about what the person next to me is thinking. I guess, just overall, I love the comfort level here at Pole Vixens.”

I wondered if there was a ‘feel good’ aspect to the classes, over and above the general yearning to stay fit.

“Oh absolutely! Working out here doesn’t become tedious because there is always laughter, the friendship, the camaraderie…it’s just like hanging out with your girlfriends.” Crustal added that, “We mentally encourage one another, we emotionally encourage one another and we support each other no matter what size, shape, complexion or age.”

After the classes were over, Geneva and I got to sit down for a moment. The first thing I needed was for her to define some of the things about her unique approach to exercise, such as what to call it.

“Polercise. That is a signature type of exercise routine that was created by my mother, Miss Sue, and that is a signature type of class that also goes along with our other signature classes.” Geneva explained further that, “Polercise is like full fledged cardio, with a warm up and a cool down at the end, but the main thing about Polercise is that we are doing a full cardio workout incorporating the poles. It’s a lot of swings on the pole and stances utilizing the pole. We’ve got 1,200 square feet to workout in, so we’re definitely going to get that cardio pumping.”

Geneva Duncan and Denise Brookshire ~Photo by Brooke Medlin

From what I had seen, it also looked as if utilizing the poles also created a demanding muscular workout as well, using kinetic energy as well as adaptations of some familiar isometric exercises.

“Oh yes, we are definitely training your muscles, and here’s the thing: Every class is different! It’s muscle confusion to the max. We confuse the muscles by having you do things one way and then switch it up or energize it another way.” I had to have Geneva explain to me what ‘muscle confusion’ was. “Muscle confusion, to those that don’t know the term, are when your muscles are getting worked one way one day, and then the next day, it’s totally different. If you do the same routines and work the same muscles, you end up on a plateau and your body ends up conditioned to it and the exercise stops being relevant. So, we need to confuse your muscles where they are getting stretched in every way possible.”

Although there are several layers to this, albeit the obvious one being the fitness aspect and the running undercurrent of sensuality that the classes imbue, there is one thing that seems to sum up the differences between Pole Vixens and other larger box-type gyms: a unified camaraderie. Crystal seemed to encapsulate that best when she said;

“We are literally all in this together. It’s not a workout because you’re hanging out with your friends. That’s exactly what it feels like.”

To check out all Pole Vixens Xtreme has to offer, go online to their website.

Check out Pole Vixens Commercial Here!

Filed Under: Active Living, The Featured Articles Tagged With: Crystal Sullivan, Denise Brookshire, excercise, fitness, Geborah, Geneva Duncan, hip-hop dance, kickboxing, Mardi McNeil, pole dancing, pole fitness, Pole Vixens Xtreme, polercise, yoga, zumba

Heywood Holds A Hootenanny

October 26, 2010 By J.T. Ryder 1 Comment

The Insane Genius Of Heywood Banks

The first time I saw Heywood Banks (aka Stuart Mitchell), it was in the late eighties at Wiley’s Comedy Club at it’s original location on Patterson Rd. right next to The Pony Keg. I had no clue who he was…I just had free tickets. I can’t remember anything about the opening act, but when Heywood appeared on the stage, I knew that things were going to be different. Not different as in “life changing” or radically cutting edge. More like the way one might describe that weird cousin that never leaves his room, is continually clothed in dirty sweatpants and a Transformers T-shirt and keeps a collection of flies that he has caught because they’re his “friends.”

Heywood bounded up onstage in a glaringly mismatched outfit that would make a 1970’s used car salesman jealous. His horn rimmed glasses glinted in the spotlight and across his iridescent green and yellow plaid sport coat. He held within his hand a well worn, yet shiny guitar and a moment of mild trepidation filled my soul as I wondered what form of musical yodeling I would have to endure. Remember; this was the time of Weird Al and Dr. Gonzo and everyone that could play four chords and did not possess the sex appeal and/or impenetrable liver needed to become a rock star fancied themselves a comedian instead.

Luckily, my fears quickly melted away as Heywood launched into a blurred performance that was absolutely relentless. The comedic hits rained down so fast that your brain couldn’t keep up. You found yourself laughing at a subtle play on words or a particularly astute cultural reference from two songs back and ended up kicking your brain and ears into overdrive, feverishly attempting to catch up with Heywood’s maniacal pace.

Heywood Banks and Emmi Rehmert ~ May 2010

Years later, at Wiley’s new location in the Oregon District, I was standing outside smoking when I noticed a disheveled man extricating himself from behind the wheel of his car, which was loaded floor to ceiling with boxes, junk and a precariously placed toaster that was inexplicably jammed against the back window. The man fumbled about with this box and then that one, his hair a wild, untamed gray banner blowing in the wind. As he stood up and pulled at his goatee, I was struck by the fact that if you slammed a Confederate uniform onto his thin frame, he would make a perfect performer for a Civil War reenactment. I felt a pang of shame as I stood there, entertaining such thoughts about someone who clearly had to be homeless. I looked on with pity as he dove into the car, burrowing towards the back to retrieve, of all things, the toaster!

All things became clear as he wrenched his way out of the car and yelled to Rob Haney, the current owner of Wiley’s Comedy Niteclub, “Do you have two forks?”

A musical genius does require his instrument.

Heywood’s last tenure at Wiley’s Comedy Niteclub was a largely sold out affair, with night after night of wall to wall people crowding Wiley’s walls laughing hysterically at Heywood’s musical musings and quick comedic wit. Offstage, Heywood possesses a very amiable personality and has an interest in a wide variety of subjects, including history and prognostications of future events. Night after night, throngs of fans would line up to get an autograph or just to get their picture taken with the uniquely clothed comedian, taking with them a token of a perfect evening of comedy.

To be able to witness for yourself the frenzied freestyle comedy of Heywood Banks, Wiley’s Comedy Niteclub will be hosting a series of special shows featuring the comedian on  Thursday October 28th at 7:30 pm  and for two shows on Friday October 29th at 7:00 pm and 9:30 pm. Admission is $15 on Thursday and $20 for Friday’s shows. Since this is a special show, no passes, coupons or offers will be accpted. Heywood is best known for his songs Toast!, Big Butter Jesus as well as a score of other tunes, which you can check out on his website at www.heywoodbanks.com .

Filed Under: Comedy, The Featured Articles Tagged With: Big Butter Jesus, comedian, Comedy, comic, Heywood Banks, Stuart Mitchell, Toast!, Wiley's Comedy Niteclub, Wiper Blades

True Man Group

September 29, 2010 By J.T. Ryder Leave a Comment

The Blue Man Group Set To Perform At Schuster Center

September 29th, 2010

            I somehow became fascinated with the Blue Man Group quite some time ago. It is an easy thing to do, what with the level of musicianship, production values and sheer creativity of the troupe. What fascinated me most, however, is that the basic premise of the Blue Man being the perfect empty vessel, the perfect blank screen on which countless elemental dreams could be projected upon. The music seems to serve as an insistent accompaniment for the journey.

I had heard that the Blue Man Group were creating a new production, so I secured an interview with Mark Frankel, one of the members of the Blue Man Group who will be appearing inDayton. I

“Yeah, we just finished a load-in and tech in Fayetteville,Arkansas and we were sort of working out the bugs. We did some previews there that showed us that we really have a great show on our hands.” Frankel went on to say that, “Fayetteville was exciting and inDallas, the opening has been really, really strong and then the next city isDayton. Daytonians are going to be some of the very first people to have a chance to see this show.”

What are the differences between this new show and the other tours that the Blue Man have embarked on?

“There will be some elements that you may recognize from the Vegas shows, but then there is some brand new content that is focusing on technology and our relationships to things like Facebook and our devices like iPhones and Blackberries…these devices that kind of put up barrier between us, so we’re taking a good look at it. If you go around outside and you’re walking with your kids and you’ll see a parent that’s got his face down into his Droid or whatever and looking at stuff on Facebook…he’s actually experiencing the world through this little two dimensional device when there is a whole three dimensional world right in front of him.”

So, if I’m connecting the dots correctly, a group of blue mutes are going to teach us something about communication?

Mark Frankel

“That’s a fair point. Yeah, but it speaks to the honest nature that the Blue Man communicates. Because he is silent, he is not bound to any sort of text that would dictate an emotion, the audience member can take away an experience that’s personal to them.” Frankel said. “It’s a very effective way to communicate an emotion as opposed to a play, where there’s lines that dictate, ‘I’m angry’ or ‘I’m sad.’ It’s a charm of the character and it’s a unique way to convey an idea.”

With technology and communication as a theme, have there been a lot more technological elements added to the show?

“With regards specifically with the new show, I think that there are some very, very exciting technical elements that really have never been tried before. I know that that is kind of trite to say, but truly, we are doing stuff where these systems had to be designed to do exactly what we wanted them to do, so it’s not just lights. We’re using video and lighting as well and the video screens are interactive with…the whole stage is part of what we are calling 2.5 D (two and a half dimensional).” Explaining further, Frankel said, “It’s a 3D show interacting with two dimensional video and we are kind of jumping between those two worlds a lot. Again, we are dealing with these two different worlds all the time and I think the lines are starting to blur. I don’t know if that is a good thing or a bad thing.”

Sometimes, hiding in plain sight was the best way to show your true self, your actual nature. I wondered if Frankel had found this to be true from becoming his character.

“Yeah, that’s a very true part of this character…a truism, if you will. By putting on this mask, we’re actually able to be more honest. It’s not unlike, and I’m sure we’ve all had this experience, when you meet somebody and you know that this relationship is going to be finite and you know that you’ll probably never see this person again, you’re way more honest with them than someone with whom you would see again and who you’ll have consequences with. So, by the same stroke, with this mask, they don’t know who we are and they shouldn’t really care who we are: they’re just looking at this character and I can be totally myself with them. In fact, in a way, some people have said that with this character, that by putting on this mask, we’re not really putting on a mask, but that we’re taking away the normal mask that we wear and what you’re seeing with the Blue Man character is the layer beneath…maybe even several layers beneath.”

Frankel went deeper with his explanation of the Blue Man character by putting it in terms of everyday life.

“We all put on masks every day. You go to your job and we have to put on that smiling face for your boss and your co-workers and you go home and you have to pretend that the day hasn’t driven you nuts and you have to be a good dad or a good partner or whatever.” Frankel went on to say that, “These things, if you were really, really stripping them down and really being honest. The Blue Man is essentially taking the human condition and bringing it down to its basic elements: wonder, love, caring, humor, the hero, the shaman, anger happiness. All these things are arc of the show that the Blue Man is experiencing in a very open and a very clear way.”

The piercing lights and percussive sounds emanate from the stage, with frenetically moving figures silhouetted against a backdrop of flashing video screens as knurled and curled PVC instruments wend their way this way and that. This is the performance. This is the routine…but not the reality. The Blue Man Group, while being an entertaining and creative force, also serve as a microscope by which we can view our own relative existence from a very safe distance, allowing these blue mutants the luxury of exploring the outer fringes and base realities of the human condition.

[yframe url=’http://www.youtube.com/watch?v=KR3ZcTb-PJU’]

Filed Under: Community Tagged With: Artist, Blue Man Group, BMG, Chris Wink, Dayton Music, J.T. Ryder, Mark Frankel, musicians, performance, pipes, pvc, Schuster Performance Center, tubes

Queer As Funny

September 10, 2010 By J.T. Ryder Leave a Comment

Poppy Champlin Brings The Queer Queens Of Qomedy To Wiley’s

The Queer Queens Of Qomedy are Qumming! Not only is that poor grammar, but it sounds more than a bit dirty as well. Poppy Champlin, creator of the Queer Queens of Qomedy, has been a staple of the comedy scene, appearing on Comic’s Unleashed with Byron Allen, Rosie O’Donnell’s Stand-up Spotlight and has recently unveiled a new show on Showtime called Pride: The Gay and Lesbian Comedy Slam. Having spoken with Poppy several times over the years, one thing that she has stated over and over was that the show was not strictly geared towards the LGBT crowd as well as her love of Wiley’s Comedy Niteclub itself.

Appearing with Poppy this time around are comedians Dana Austin, who hails from Cleveland, and Shann Carr, who has published a hilarious book called, You’re Going To Be Gay! The Queer Queens will reign over Wiley’s on Thursday September 9th at 8:00 pm, Friday at 9:00 pm, Saturday at 8:00 pm and 10:30 pm and then on Sunday at 8:00 pm. Tickets range from $10 to $20, so either call (937) 224-JOKE (5653) for more information or to make reservations or go to Wiley’s website at www.wileyscomedyclub.com.

J.T.: Since the name of the tour is The Queer Queens of Qomedy, I’m going let you give me an overview of what people can expect.
Poppy: Well, this is something new that we’re doing in Dayton that we’ve never done before, which I’m looking forward to seeing how it goes. Usually we just do one night wherever we go. Like in Chicago, we did one night and we had a good show. Now, this will be different because we’ll be at Wiley’s from Thursday through Sunday. The two other comics that I’m bringing are really, really, really good and they’re really well known in the queer comedy world, so it’s giving people more of an opportunity to see them over a longer amount of time. These two comics…Shann Carr is a story teller comedian and weaves a story and then slams you with a great punchline. Dana Austin is a African American comic who tells it like it is, so pay attention. They’re more mainstream, so hopefully the people in the area that are used to great comedy, because I know Wiley’s gets great comics, they can also come and enjoy this without feeling like they’re going to be inundated with gay this and gay that. It’s really more great comedy than it is queer comedy…but, it is queer. We are all gay.

J.T.: You have made Wiley’s a regular stop on your yearly tours. What is it about the club that you like?
Poppy: I like Wileys because it is an old comedy club and there is plenty of comedy chi in the room and I am a part of the old guard of comics and belong in that room.

J.T.: Are you going to have to change up the act a little bit to accommodate playing at Wiley’s?
Poppy: Yeah, I’ll change it a little. I mean, I used to play there all the time. I used to do Wiley’s back in 92’-93’…and I think even 91’…and I used to have a blast!

J.T.: …and you will find that it hasn’t changed since then.
Poppy: (Laughs) Yeah, it was a blast and I always used to just have so much fun there. I remember that I was the one who had broken the record there for being the longest on stage. I mean, since then, it’s been broken many times, but I remember being up there for like two hours one time. You know, I was just sitting up there just drinking and buying people shots and they’re buying me shots and we were just having a good time. I just know that Wiley’s is a fun place and when people go there, they always have a good time. This time around, I would probably bring out more of my drinking material versus some feminist material or something like that, so, more towards blue collar material and whatever works in the area.
J.T.: Do you feel that your shows kind of bridge the gap between the LGBT communities and “mainstream” communities?
Poppy: They sure could bridge the gap if the straight community would be daring enough to check us out…

J.T.: Do you think that the Queer Queens of Qomedy Tour challenges people’s perceptions?
Poppy: Yes it is tough to get past the name sometimes and those that are scared by the name do not show up and those that are not scared by the name come out and don’t even consider the name for the next one or one like it.

J.T.: Do you have a large following of fans in the Dayton and Miami Valley area?
Poppy: This is the 3rd year so when the word goes out that we are coming the LGBT community rallies and puts it out on the net and since it is a relatively small community, so the peeps should come out to support and enjoy!

Filed Under: Comedy, The Featured Articles Tagged With: comedian, Comedy, Dana Austin, lgbt, Poppy Champlin, Queer Queens Of Comedy, Shann Carr, tour, Wiley's, Wiley's Comedy Niteclub

X-Fest Countdown – Papa’s Got A Brand New Bag

September 9, 2010 By J.T. Ryder Leave a Comment

An Interview With Jacoby Shaddix From Papa Roach

In Vacaville, California, a city nestled in the Northeast corner of the San Francisco Bay area, two friends (Jacoby Shaddix and Dave Buckner) met up at a football game and the two fell into a conversation about music. Later on, they were joined by a trombonist by the name of Ben Luther and bassist Will James and they all decided to enter the school’s talent contest, where they performed a version of Jimi Hendrix’s Fire…which is hard to imagine being performed with a trombone accompaniment. It didn’t matter much as Ben Luther was replaced by a lead guitarist by the name of Jerry Horton. The band called themselves Papa Roach, which was culled from the nickname of Jacoby’s step-grandfather Howard William Roatch, who would later, in 2006, commit suicide. In the early days, Papa Roach toured around the bay area in a van nicknamed Moby Dick, honing their skills, getting exposed to various genres of music and garnering fans.

Around 1994, the band compiled and recorded an EP titled Potatoes For Christmas and remained on their grueling tour schedule. They followed up that recording with a demo call Caca Bonita, which was cut in 1995. Will James became more involved in going to a church camp, making it impossible for him to attend gigs and practices, so the group replaced him with their roadie, Tobin Esperance. In ’97, the group recorded their first LP, Old Friends From Young Years, which they supported by touring with the likes of Incubus, Powerman 5000, Hed PE, Snot, Far and Static-X. In 1998 and 1999, Papa Roach recorded Five Tracks Deep and Let ‘Em Know, respectively, and while it sold well and garnered some interest from a high profile record company, the boys at Warner Bros. Took a declined to sign the band, passing up songs like Infest, Last Resort and Broken Home.

DreamWorks Records picked up the band in 1999 and, upon some reworking of older material and laying down the tracks for some new material, Papa Roach released their major label debut album on April 25th, 2000…and it sold 30,000 copies the first week.

The passing years has seen Papa Roach emerging as a distinctive force in the rock and roll arena, morphing from their nu metal rage into something that you cannot easily put your finger on. It’s almost like you can see the band with their eyes, ears and fingers straining to take in the ambient sounds of the world, melding it into a streaming stream of satisfied angst, borrowing elements of electronica, the glitter bands, the arena rockers, the anthemic masters and twisting it into a new sound. In listening to the tight live tracks and the crunching electronic loops on their new album, Time For Annihalation, it seems that Papa’s got a brand new bag indeed.

I was lucky enough to be able to get an interview with Jacoby Shaddix, lead singer of Papa Roach, before their appearance at X-Fest in Dayton, Ohio.

J.T.: Hey, how are you doing today? (static) Are we on?
Jacoby: Yeah, can you hear me?

J.T.: Just barely. Can you hear me alright?
Jacoby: Can you hear me?

J.T.: (line clears up) Ah! There we go. That’s better. How are you doing today?
Jacoby: Fine, man. We just got done with the European tour and we flew in yesterday, so I’m just hitting the ground running, you know? We’ve only got a short time before the new album comes out.

J.T.: What date is that due to drop again?
Jacoby: August 31st.

J.T.: Okay. So that means everyone’s going to be all over it right when you get to X-Fest here.
Jacoby: Oh, hell yeah.

J.T.: Now, how many times have you guys played the Dayton area?
Jacoby: As far as X-Fest, to be honest, maybe once or twice before, but I know we’ve been in Dayton a bunch over our career.

J.T.: With the new album, one of the things I wanted to talk to you about is that, especially when you listen to other bands, Papa Roach seems to have matured rather quickly in comparison. Was that intentional? Was that like everybody in the band had the same vision and focus?
Jacoby: I mean, yeah, for us, years and years of being a band and making music together really…we weren’t going so much for more of a mature sound, but more about letting the music take us where it’s going to take us. With our first record, we came in with Nu Metal and rap metal with things like Last Resort and Between Angels And Insects and then, over the years, it kind of evolved into into a more straight ahead rock band. We really enjoy that: me in particular to prove myself as a valid rock and roll singer. I think over the past two records, we really been able to secure ourselves as a staple of rock music and earn some respect over the years and backed that up with a lot of touring and we’ve put out a few records now, so it’s not our rookie year no more and we’re here to stay. That’s what’s up.

J.T.: Yeah, You know, a lot of bands spend their whole career striving to create a “signature sound,” and you guys seem to head in the opposite direction and just follow what interests you at the time. Has that alienated any of your fan base?
Jacoby: Oh, I think, really and truly, that that has really afforded us an opportunity maintain our relevance as a rock and roll band. I think that if we had just done the same thing over and over, we would have just been a one trick pony and become a parody of ourselves. I really just don’t see that happening. I grew up listening to bands like the Red Hot Chilli Peppers and Led Zeppelin…particularly Led Zeppelin was one of those bands that just always evolved. They had elements of folk in their music. They had elements of metal. They had elements of rhythm and blues and just straight ahead rock and roll. They had a lot of different influences in their style and, yeah, they were a rock band, but they experimented a lot with their sound. We look at that and go, ‘Alright, I want to do that! I want to evolve!’ Not necessarily to sound like Led Zeppelin, but just to have the freedom to explore different sounds.

J.T.: Well, with these festivals or on some of the larger tours the band has been on, does it kind of get you out of the vacuum and you hear things that other people are doing and spark your brain into going in another direction?
Jacoby: Oh yeah, definitely. I think sharing the stage with a lot of different types of bands…we just went to Europe and we did shows with metal bands, but then we did shows with super alternative bands like The Sound and even hip hop reggae groups, which were killer, so we hear that and I’m like, ‘Fuck! That would be cool to just funk it up again!’ I mean, who knows? I do really enjoy playing with a bunch of different styles of bands though.

J.T.: Well, whenever you guys have a new release and it hits the radio, I’ll listen to the song and then the DJ will be like, ‘…and that was Papa Roach!’ and I’ll be like, ‘Really?’ Usually I can pick up on who a group is by vocals and style, but even your vocals change up, which is amazing.
Jacoby: Yeah, we always try to push it, man. We always try to do something different.

J.T.: Well, like with the new one, the live tracks that are on it…I’ve never heard a live album that made you feel as if you were there. It was just so crisp and such a good balance of the band and the audience…
Jacoby: Well, pretty much the way we recorded the show, we obviously put microphones on the instruments and did that whole nine, but also, we put a lot of microphones in the crowd. That was the goal. We wanted to make the listener feel like they were a part of this experience going on and I think we captured the energy of the crowd sing-a-longs and stuff like that. That’s the one thing: we always involve our audience with our show and I believe that it’s a live record that will inspire the fans to want to come to see the show.

J.T.: So do you think, with the album dropping so soon before X-Fest, are you guys going to be riding that in?
Jacoby: Oh yeah! We’re going to be playing new stuff as well as the classics, so it’s going to be a bangin’ set.

J.T.: Well, I am guessing that you are on one of the press junket marathons, so I will try and cut this short for you…
Jacoby: Oh, I got some time…what’s up?

J.T.: Okay! Well, what do you think about Kick In The Teeth…that has kind of that throwback, old style anthem rock vibe to it…
Jacoby: It’s kind of got sort of a Gary Glitter vibe to it.

J.T.: Yeah!
Jacoby: We heard that and it’s kind of got that anthemic thing to it and it’s different and we kind of twisted it up. We listen to other bands and it inspires us to write our own shit. It’s just got that arena rock/anthemic thing to it that we like and it’s got that killer crowd sing-a-long stuff. When we were working on that song, it was apparent that it would fit really well in the ‘live’ realm, like in front of an audience. That’s what it’s about. We’re really proud of that song. I think Burn is another song that is a little more…we also wanted to go with a little more modern sounding stuff like with a distorted violin loop and stuff like that and just mix it up and have a good time, and that song Burn, I think is another big rock anthem. We’re going to go shoot a video for it here in a minute, so I’m excited about that too.

J.T.: Yeah, I love that song. When I got the album, that was the first song I homed in on because I thought it was a cover of that Nine Inch Nails song.
Jacoby: Yeah! That’s that song off the Natural Born Killers soundtrack, right?

J.T.: Yeah.
Jacoby: Yeah, that’s a bad ass track right there.

J.T.: Well, coming off of this album, are you already looking towards the direction of the next one?
Jacoby: Oh, well, when we go out on our next headlining tour, we’ll start writing new material. I think it will be interesting with songs like Burn that has those keyboard sounds and loops and stuff like that, we kind of want to keep going down that path. That is kind of the direction that we want to keep going in and I think that knowing that now will really help us focus in and make it easy for us to create the sound that we’re going for.

J.T.: You know, I just spoke with Chris Stein from Blondie and some other musicians from that CBGB era in the seventies and I just kind of submerged myself in that scene. There’s a lot of music there that seemed to miss at that time, but feels like it would hit with some of the technological advances in music and production that we have now. It’s almost like it needs to be revisited.
Jacoby: Oh yeah, that is some great classic punk rock.

J.T.: I think Papa Roach’s music seems to embrace a lot of that early, raw sound.
Jacoby: I think, for us, that is a sound that has a lot of raw power and energy and it’s something that we’re drawn to and strive for. It think that the early punk rock is the most honest sound. I mean, those guys were just wearing their hearts on their sleeves and that is a lot like Papa Roach. Do we actually sound like an early seventies punk band? No. But the spirit is definitely alive within our music.

J.T.: I remember reading a quote from you that you said you would never do the nu metal/rap type music again. If it came up and fit in the writing of a song, would it be something that you would pursue?
Jacoby: Oh I mean, at any point in time, anything goes. I think we went with achieving a goal and proving ourselves as a valid rock band and now that we have, the playing field is really open now. I will never say never.

J.T.: Cool. Is there anything out there that I haven’t asked you that you want out there?
Jacoby: Um…that’s pretty much it. That’s what’s going on in our world right now.

J.T.: Well, I guess send a message to Dayton and have them come out to X-Fest.
Jacoby: Dayton: Anybody coming to X-Fest, you better wear your diapers because we’re going to rock the shit out of you!

J.T.: (laughs) That should be a t-shirt for your merch table.
Jacoby: There you go, baby!

J.T.: Well, I thank you very much for your time and…
Jacoby: Well, hopefully I’ll see you in Dayton.

J.T.: Yeah, hopefully I’ll be able to catch up with you in the press tent at X-Fest then.
Jacoby: Alright. Take care and if you see me, tap me on the shoulder and tell me that you’re the guy who interviewed me.

J.T.: Okay, cool. I sure will. I’ll talk to you later.
Jacoby: Okay, take it easy bro’.

Papa Roach will be joined by Shinedown, Seether, the Sick Puppies, Drowning Pool, the Dirty Heads, Redline Chemistry, the Paper Tongues, American Bang and Janus on September 12th at the Montgomery County Fairgrounds during X-Fest. The festival begins at noon and you can purchase tickets at any Ticketmaster outlet for $35 or at the gate the day of the show for $40.

Filed Under: Dayton Music, The Featured Articles Tagged With: Ben Lutehr, Between Angels And Insects, Dave Buckner, Infest, Jacoby Shaddix, Jerry Horton, Kick In The Teeth, Papa Roach, Time For Annihalation, Tobin Esperance, Tony Palermo, Will James, WXEG, X-Fest

X-Fest Countdown – Tongues Untied

September 5, 2010 By J.T. Ryder Leave a Comment

An Interview With Paper Tongues’ Guitarists Devin Forbes & Joey Signa

The Paper Tongues began organically, coalescing from within the Charlotte, NC music scene in 2007, eventually releasing their debut album on March 30th, 2010. The future members of the Paper Tongues drifted into the orbit of Uptown Charlotte, where those who had something to play and wanted to be heard go. It has been misquoted at times that the Paper Tongues created something called The Improv Music Experience. It was nothing so formal as one might infer from the misquote. It was more in line with a jam session with different musicians joining the fray at will. Yet, it did serve an important function as it introduced and nurtured those who would eventually form the Paper Tongues.

It is a rare thing for a band to meet, meld and mature in such a short span of time. Going from performing impromptu jam sessions, then laying down demo tracks and promoting them on MySpace, which gained them an immediate moderate notoriety and jump started their journey through the world of the club circuit. Fast forward a short time later and we see the group as polished performers, introducing the masses to their music through their self titled debut album, which ran up to #110 in the Billboard charts. The spotlight began to shine more intensely on this seven member group and they began touring with the likes of Flyleaf, Everclear and Switchfoot and, at various times, sharing the stage with Anberlin, 30 Seconds To Mars, Rise Against and Muse.

Describing the band’s sound is impossible. They have, in other interviews, described it as “club rock,” but that is an oversimplification. While their music does possess the incessant hooks and danceability that is a requirement of the club scene, but there is more depth to their lyrics and more of a layered texture to their rhythms and melodies. All seven members of the band bring various influences to the sound of the whole and almost every conceivable musical genre becomes can be found lurking within the band’s tracks. From the pop-hop, maniacally insistent song Ride To California to Trinity, with its roughly apocalyptic R&B vocals set against a backdrop of electronic elements and a symphonic wall of guitars.

Aswan North possesses a beatific face framed with spiraled curls and a voice that runs the gamut from harsh hip hop to intensely burning R&B. He possesses a shamnistic stage presence, like a hip hop Jim Morrison, his body becoming another facet of his voice, interpreting the lyrics with an animistic wave of emotive motion. The other members of the band are a constant surge of movement and sound with Cody Blackler working the keys of his Fender Rhodes, Devin Forbes and Joey Signa laying down the guitar tracks while Daniel Santell wields his bass guitar, creating a running rhythm on each song. Jordan Hardee keeps the beat behind his drum kit, producing a percussive drive behind the band while Clayton Simon utilizes his synthesizers for flourishes and persistent rhythms, holding together and expanding the sound of the band.

I have been able to interview two of the guitarists from the Paper Tongues (Devin Forbes and Joey Signa) prior to their appearance at X-Fest to ask them about the roots of the group, their diverse fan base and their plans for the future…

J.T.: This is kind of a multi-tiered question: With bands like Switchfoot, Flyleaf, Muse and yourselves, there is a vastly shifting terrain within the music industry. It seems like the whole industry is changing and your group is on the forefront of this change in terms of marketing, performances, venues, etc. Do you see this change as bringing the fans and the group closer together as opposed to the “supergroup” days when fans filed into an arena, the band played their set list and then everyone went home?
Devin Forbes: I really hope so. Not that we don’t want to reach as many people as possible…we would love to play arena’s if we got the opportunity…but the band/crowd interaction is so important to us. The first thing Aswan does at the beginning of every show is jump out in the audience to shake as many hands as possible. We love hanging out after the show to meet people and actually make some kind of connection beyond the performance. As far as things changing from the “supergroup” days, I really don’t know what it’s going to look like a year from now or five years from now. We’re just taking life as it comes and trying to be as prepared as possible for changes that are inevitable.

J.T.: Have these changes affected the way your music is created, possibly giving you more freedom to write and create works that reflect the really, real world?
Devin Forbes: I think that there has been so much music in the past however many years that is extremely fun to listen to, but doesn’t really have a message. People are ready to hear something positive that actually hits on deeper issues. Granted, I listen to just about anything and there is obviously a time and a place for every kind of music, be it hip-hop, rock, dance, club, funk, folk, or jazz. We write about what means the most to us and hope that it touches somebody in a real way.

J.T.: With the Papers Tongues penchant for playing with other acts (usually in tours consisting of more than three or four bands) or playing the various festivals, like X-Fest, do you feel the band picks up influences from the music being played around them?
Joey Signa: Every chance we get to watch and hang out with other bands we do, because we have so much to learn from them. Bands that have been around for a long time, and our contemporaries. Bands that are in the same place as us, figuring it out just like we are. We get inspired by all different ways, and one of them is definitely seeing how other bands move us.

J.T.: On that same note, do you feel that the band has been able to grow and mature quicker by being in such close proximity to more seasoned bands, maybe avoiding pitfalls that other groups have had to endure?
Joey Signa: There is no doubt we have gotten to see what the “other side” looks like when it comes to bands who have been through a lot more than we have. We are not ashamed to ask for advice. There is no formula to this thing, but a lot of bands share the same experiences so its nice to hear what they have to say.

J.T.: Your music is such a fusion of so many different influences, from hot hip hop beats and hooks to crushingly heavy riffs; does this endless well of energy make it difficult to create a signature sound or does the sound kind of create itself?
Devin Forbes: It has been somewhat been creating itself. When you put 7 musicians from completely different backgrounds in a room and tell them to write a song, the outcome is a complete mystery. There are so many influences floating around our group and showing up in songs where we’d least expect it. There really is a piece of everybody in our music which gives it a sound we’re not sure what to call. It’s hard to define, but it hasn’t been hard to create our sound; it’s just a combo of all of us. Of course we are still trying to figure out what exactly our sound is. I think it will always be a collage of different styles.

J.T.: From reading blog posts and various newspaper articles about the band, it seems as if you are drawing quite a fan base from some really radically different demographics that kind of mirrors the facets of the band’s various personalities and tastes. Does the band kind of feed off of that fan base, pushing themselves to take on broader musical influences?
Joey Signa: Absolutely. I love seeing parents and their children at our shows, both equally excited to be there. It is so inspiring to get to see the people who are grabbing on to our music in a deeper way than, ‘Oh, its a cool hit song.’ We always want to be there for our fans, in every way. They are the reason we tour so much and hang out after every show! Our songs aren’t personal, they’re ‘For the People.’

J.T.: You can feel a lot of the essence of each member of the band’s personality and essence and contributions in each of the songs Paper Tongues has performed. Does that ever leave any of the members of the group feeling emotionally drained or vulnerable?
Devin Forbes: Of course! Performing in front of people is the most naked and vulnerable you could ever be. When we write these songs, we’re in a room to ourselves and we have the freedom to explore anything we want with music without being judged. When you play in front of people, it’s taking something you have written, an expression of you innermost being, and putting it up for judgment. The audience has every right to simply say, ‘Eh, this really isn’t that good,’ but you just spent a month working on wording it just right. It’s hard to put that much personal emotion on the line every day.

J.T.: With seven members, does it become a logistical nightmare to tour incessantly as you do?
Devin Forbes: Yeah, it’s insane trying to get seven people on the same page every single day. Being on time for sound checks, interviews, radio performances, shows, signings, etc, is a nightmare in itself. We do our best and truly love what we do. We love being busy and touring all the time. This is our passion and we do it with zeal. It’s hard, but worth every minute.

J.T.: What is the next step for the band?
Joey Signa: Tour. Tour. Tour. Touring is so important and we will continue to tour as long as we can. We want to meet come face to face with as many fans as we can.

On September 12th, The X (WXEG) welcomes Shinedown, Seether, Papa Roach, the Sick Puppies, Drowning Pool, the Dirty Heads, Redline Chemistry, the Paper Tongues, American Bang and Janus to the Montgomery County Fairgrounds for the fifteenth annual X-Fest. Tickets are $35 through any Ticketmaster outlet or $40 at the gate the day of the show.

Filed Under: Dayton Music, The Featured Articles Tagged With: Aswan North, band, Charlotte, Clayton Simon, Cody Blackler, Daniel Santell, Dayton Music, Devin Forbes, Joey Signa, Jordan Hardee, North Carolina, Paper Tongues, Ride To California, The X, Trinity, WXEG, X-Fest

The Shangrila Of Spirit

August 12, 2010 By J.T. Ryder Leave a Comment

Mahalo To Festiki

Several years ago, when Bill Winger opened Daddy Katz in Moraine, I met up with him to try and understand the clientele that he was catering to: the tiki culture. His shop seemed to be a virtual catchall of kitsch, with black velvet Polynesian themed paintings, Surf Ohio clothing, old bicycles and skates, hot rod memorabilia and a variety of other items that seemed to have little or no relation, but at the same time, seemed to encompass a larger cultural statement, all set to a rockabilly/exotica soundtrack. When we first sat down, Bill said:

“It does go back to a much simpler lifestyle. I think people were much more interested in enjoying life. Maybe they weren’t as stressed out. I don’t know, because at that time, I hadn’t even born yet. Now, people who have lived through that time period might tell you something different. But, we look back at those times and thing, ‘God, life was easier back then.’ That’s part of the draw with what’s going on with this.” Bill went on to explain that, “There are large groups that are getting bigger out there that really enjoy the old tiki lounge/bars. They enjoy a properly mixed drink. You go to a lot of restaurants and ask for a Mai Tai and they slam it together and say, ‘Here!’ A real Mai Tai needs to be mixed with proper ingredients and care and served properly. The people who are into the tiki culture appreciate that. I mean, you can tell a properly mixed drink versus this crap that they give you at some bars. According to some of the tiki sites, there are some groups out there. One of the groups is the FOM, the Fraternal Order of the Moai (FOM) and they are an organization which cultivates the old tiki bars and restaurants and the things like the properly mixed drinks and some of the lifestyles that it represents.”

Fast forward years later to 2009 and I find myself reviewing an event that fully represented this culture: Festiki. Festiki is the brainchild of Ron Kaplan, a friend of Bill’s and the creator of the cult fashion statement known simply as Surf Ohio. Ron’s concept was that this sense of lifestyle was more of a state of mind rather than a place, which he so eloquently demonstrated with his ubiquitous surfer riding the crest of a mythical Midwestern wave. Last year’s festival kind of came out of nowhere and there were very few people (speaking strictly of those who weren’t already in the loop) who knew exactly what to expect. There was a feeling of trepidation on Ron Kaplan’s part as he sought out sponsors for Festiki’s first outing.

“This is only year two and I can certainly remember last year going to potential sponsors and having many of them cock an eyebrow, saying, ‘Surf Ohio, what?’ or ‘What’s Surf Ohio?’” Kaplan said dryly. “It’s kind of like a joke: if you have to explain the punchline, then it’s most probably a lost cause.”

Yet, against all the fears of failure, the 2009 Festiki, by all accounts, was a huge success. It offered the public a radically different experience from the usual fairway kiosks and funnel cake trailers. Under a vibrant caul of rockabilly/surf sounds, the crowds mingled in a relaxed atmosphere of a shared experience. In relating to the creation of Festiki and the issues he faced the first year, Kaplan explained that:

“Well, I really kind of created it intuitively…the event almost channeled itself through me. As I got the idea for it, like a lot of big ideas, it’s a lot of small ideas over time that come together. I was, though, pleasantly surprised. Given the number of meetings I had with potential sponsors, so many of them looked at me like I was kind of nuts, I thought, ‘Gee, is that going to the public’s perception too?’” Kaplan went on to say that, “I think people got it though, and that’s why they came out in droves. The other thing was just seeing it all unfolding and everybody just having a great time…that was really heartening and I knew then that I absolutely was going to do another one. Of course, I had and have a great group of volunteers and vendors and suppliers helping me.”

This year’s Festiki promises to be bigger and better, without falling into the the cavernous commercial abyss that other festivals seem to fall prey to. Festiki is more of an organically conceptualized event where leisure and relaxation are the key elements rather than a frantic headlong run in an attempt to have fun. At Festiki, one can wander about, checking out the enlightening displays, gaze in awe at the spectacularly detailed award winning sand sculptures created by Ted Siebert, partake in Polynesian inspired cuisine or just lie back and relax as the waves of rocakbilly/surf music wash over you. This is more a communal communion of cultures as opposed to the individual desperation of distraction that passes for entertainment nowadays. During our conversation, Kaplan describes it as “the ultimate staycation.”

“There are a lot of people that can’t take that trip. I mean, you can’t go to the Gulf Coast because it’s all covered in oil, and maybe you can’t afford the condo in Hilton Head this summer for the whole clan, so for ten bucks, at least for a day, you can feel like you went to the shore and kicked back under the rustling palms with your beverage of choice and listened to some great tunes.”

As for the “great tunes,” you can catch The Space Cossacks, a surf revival band out of Washington, D.C. Then there is Vegas 66 from Columbus whose style is given the all encompassing description of “swingin’ surfa-rocka-psycho-punka-jazza-you name it.” Other bands include Tyrd Fyrgysyn and the MasterXploders, the Maderia, Crazy Joe and the Mad River Outlaws and, rounding out the bill, Dayton’s own Nick Kizirnis Band, whose surf music has graced several television shows. Other entertainment included Surfabilly Freakout, a troupe of Djs serving up a distinctively eclectic portion of music ranging from exotica to psychobilly music. The beautifully expressive Leilani Duteil brings the traditional hula dance to Dayton, accompanied by vocals and guitar work of Francis Llacuna and the characteristic sound of the slack key guitar played by O’ahu native, Curtis Silva. The Soul Fyre Tribe lights up the night with their martial arts inspired fire dancing. One thing to keep an eye out for is the unparalleled artistically destructive display presented by Kevin Moore, the “hot rod tiki carver,” who will carve a giant tiki by hand, then set it on fire using the flame thrower dual exhausts of his blacked out rat rod.

Festiki will be held on August 14th from at the historic Old River Park, which is located on River Road, with access to it from behind 1611 S. Main St. Admission is $10 for those 18 and up, $5 for students 10 to 18 and those under 9 are admitted for free. The events start at noon and run until after 10 pm. A portion of the proceeds goes to the Surfrider Foundation, for not only education in surfing activities, but also to keep the coastal areas pristine. Festiki is a production created by Surf Ohio and the Fraternal Order of the Moai. For more information, go to the Festiki website at http://www.fraternalorderofmoai.org/festiki/ .

Filed Under: Arts & Entertainment, The Featured Articles Tagged With: Bill Winger, Crazy Joe and the Mad River Outlaws, Curtis Silva, Daddy Katz, Festiki, Francis Llacuna, Fraternal Order of the Moai, hot rods, Kevin Moore, Leilani Duteil, Nick Kizirnis Band, Old River Park, Polynesian, rat rods, Ron Kaplan, sandcastles, Surfabilly Freakout, Ted Siebert, the Maderia, The Sould Fyre Tribe, The Space Cossacks, tiki culture, Tyrd Fyrgysyn and the MasterXploder, Vegas 66

Dayton Celtic Festival 2010 With Gaelic Storm

July 27, 2010 By J.T. Ryder 1 Comment

A First Class Party In Third Class

Gaelic Storm happens to be one of the more notable acts currently on the Gaelic/Celtic scene. From an inauspicious beginning of playing a small pub in Santa Monica, CA, to (within a year of their inception) appearing in one of the most popularly successful movies of all time (Titanic), Gaelic Storm has led a charmed life indeed. They appeared in Titanic in one of the most memorably pivotal scenes in the movie, playing John Ryan’s Polka for an Irish party in third class. From their, they were catapulted onto the scene, taking on a grueling tour schedule that has not relented in all the ensuing years.

One of the things that makes Gaelic Storm so accessible is the perfect blend and balance of traditional Irish and Scottish songs and melodies mixed with various influences from around the world and enlivened with an edge of rock and roll. The energy that flows from the stage when Gaelic Storm performs is very much real and the audience feeds right back into that energy, making it consummately genuine.

I was able to interview Steve Twigger, guitarist and part of the lead vocals for the band, as he took a brief respite from the road. What follows is the unexpurgated transcripts of that interview.

J.T.: How are you doing today?
Steve: Good, good.

J.T.: Where are you at in the world?
Steve: Uh, down in Austin.

J.T.: Well, I guess the first thing, before I forget to ask…I just now, literally ten minutes ago, got a copy of Cabbage, so I haven’t been able to give it a listen yet…is that going to be for sale at the Dayton Celtic Festival?
Steve: I think it is, yes. I think it is officially for release on the third and, if I’m not mistaken, we’re kind of sneaking it out there early for Dayton. I might want to confirm that. I’m not 100% sure.

J.T.: I can’t remember what year it was, but it was a similar circumstance and you guys brought and sold copies before the official release date.
Steve: Yeah, and that, as I recall, is sort of what we are doing this time, but I want to make sure.

(Editor’s Note: The new CD will be available at the festival!)

J.T.: Now, how is the album being receive critique-wise?
Steve: Well, it’s the early days yet. There’s a few reviews coming in, but people seem to be taking to it. There’s a mention of it being a little different than what we have done in the past, but I tend to think that it’s a lot of the Gaelic Storm that people are used to done with a lot more energy, if that’s possible. I think that we have taken off in a couple of different paths that might be interesting to people.

J.T.: There’s seems that there would always be a risk in changing or experimenting with new sounds. Did that cross your mind when you embarked on this?
Steve: Oh yes! You know, the music is sort of a vehicle for us to enjoy ourselves and for the night to be enjoyable for everybody. That is kind of how we set off playing. We had no ax to grind or soapbox to stand on. We just honestly and purely wanted to enjoy ourselves and so for us, as I said, the music is that vehicle to achieve that. We have nothing to prove and no artistic bones to grind here. But, as you go along, you realize that sometimes you are moving over familiar ground and you start wandering towards other influences. I think there are more than a few influences in this CD, musical genres that we’re all kind of interested in.

J.T.: Well, I had recently interviewed Scythian and when I read their bio, it touted them as having a Ukrainian/Celtic sound and I thought, ‘That sounds…horrific.’
Steve: (Laughing)

J.T.: Well, I listened to it and the back beat and the Gypsy vibe lent itself well to the Celtic music. Do you guys, when you’re at some of these open folk festivals, do you find yourself listening to other forms of World music, are you influenced by these other genres?
Steve: Yeah, in fact, we were just in Spain. We played up in Galacia, up in the northwest of Spain, at a huge festival up there with like 30,000 people. Of course, there they had some of the usual suspects from Ireland and England, but of course the local Gaelic and Celtic music there is huge. They love the (uilleann) pipes, but it is a very different sound than what we are used to and especially to what Americans term to be Celtic music. There is almost a Middle Eastern influence throughout Galacian music. On tour, we’ll pass through France and listen to the music of Brittany, the Breton music. So, all in all, even within the subsection of Gaelic music, there are different sounds. You don’t have to step out of the genre to hear completely different sounds.

J.T.: Well, and I think that’s what a lot of people whom I term ‘The Purists’…I think it’s hard to explain to them that even when you are speaking about ‘traditional’ Celtic music, there are so many other influences in it, even back then, so to point at something and say, ‘This is Celtic music’ seems kind of difficult.
Steve: Yeah, I agree with you 100% on that and I think that people have picked one particular aspect of it and decided to cling to that as if it were the rarest of antiquities. Well, fine, put on a shelf, put it in a frame and keep it there, and meanwhile, the music just keeps on moving and changing.

J.T.: Exactly. Now, you guys have played Dayton…I can’t even count the number of times that you have been here. Do you have any special memories of Dayton?
Steve: Well, Dayton has always been family to us. We met Bill Russell, who runs the festival, many, many years ago. I remember his daughters were dancing out in the crowd and we brought them up on stage. They were young back then and they were Irish dancing and so we brought them up on stage. Then, they showed up at another theater that we played at somewhere in Ohio and we put them up on stage and then afterward, in the lobby, we met their parents and became friends with them and saw them at subsequent events. Through the relationship we had with them, they built up kind of a comfort to progress into promoting shows, so we really feel like we’ve been hand in hand with them through the process. You know, we were there at the very first Celtic Festival in Dayton and here we are again, however many years later. So, it definitely has a family feel in Dayton. We always try to make the music completely accessible and seamless with the audience and I really think that it’s come to fruition there in Dayton. That’s the way it should be! It’s not just about us going up on stage. We’ve made friends and those friends have gone on to create events that we play at, and that’s the heart of folk music right there.

J.T.: That’s the way it’s supposed to be.
Steve: Yeah! Yep.

J.T.: Well, you were saying earlier about the different influences before and I think that it would work the opposite way where people that think that Celtic music is a certain type of music and that they don’t want anything to do with it will hear your take on it and be drawn in and maybe explore other facets of the genre.
Steve: Yeah, well, you know, we’ve certainly done our part. We’re on the road two-hundred days a year for the last fourteen or fifteen years and as we’ve gone along, we’ve tried to bridge a few gaps, I guess, and without stepping on toes. You know, the purists, the sort of elder statesmen of the Celtic world, they certainly looked down their nose at us when we first started. Over the course of time, we’ve become friends with them and they have, of course, realized that there is plenty of room for all kinds of adaptations and variations.

J.T.: Well, I want to thank you for taking the time to talk with me. Is there anything that you wanted out there that I haven’t asked?
Steve: Um, just ask people to go to our website and get a hold of us. Of course, we have a free download on the page if they don’t want to jump in and buy the CD, there’s a free download, so they can start to enjoy it for free.

J.T.: Well, and definitely to see you all live.
Steve: Well, you know, it really is fulfilling for us to see reviews that the first words are, ‘You have to see them live!’ Whatever goes down on that CD is fine, but we really put ourselves completely into our performances.

J.T.: And a lot of energy. Well, I want to thank you again for talking with me and I hope to meet up with you during the Celtic Festival.
Steve: Fantastic J.T. I hope you really enjoy the CD there.

Filed Under: Arts & Entertainment, The Featured Articles Tagged With: Bill Russell, Cabbage, Celtic, Dayton Celtic Festival, Gaelic, Gaelic Storm, Jessie Burns, Patrick Murphy, Peter Purvis, Ryan Lacey, Scottish, Steve Twigger, United Irish of Dayton

Dayton Celtic Festival 2010 With Scythian

July 23, 2010 By J.T. Ryder 1 Comment

And Interview With Scythian

Once again, the sounds of fiddles, pipes and step dancing will echo out over Riverscape MetroPark (111 E. Monument Ave.) as the United Irish of Dayton present the 9th Annual Dayton Celtic Festival on July 30th, 31st and August 1st. The festival, as always, will offer an eclectic collection of music, crafts, demonstrations and displays celebrating everything Celtic.

One of the bands that will be performing is the epitome of eclectic. Known simply as Scythian, the bands has created a unique blend with their Ukrainian and Middle Eastern Heritage with their love of Celtic music to conjure up a sound that is as singularly seamlessly as it is effortlessly energetic. They have quickly become road veterans on the Celtic circuit (having played at the last three Dayton Celtic Festivals alone), but they are also enjoying a rather large crossover popularity at the various bluegrass, Americana and grassroots styled festivals.

I was able to speak at length with one of the founding members of the band, Danylo Fedoryka, and what follows is our unedited conversation about the progression of their music, their influences and their current projects.

J.T.: Well, I guess the first thing is is how you all came up with the whole Ukrainian slant to your music?
Dan: Oh! My brother and I kind of started the band and our parents both immigrated from the Ukraine during World War II. It was just sort of a progression. We started playing mostly Celtic music, but then we had this music that we grew up with and we wanted to start playing some of our heritage and so we kind of came up with this mix.

J.T.: You know, the thing is, I listened to a lot of your stuff and there were some that had an almost total Ukrainian/Gypsy sound to it, then there were other things that you had that was Celtic music, but the back beat had that Gypsy flavor to it.
Dan: Yeah! Or, also, Middle Eastern because our drummer, his dad is from Jordan. I really think that the Celtic music lends itself really well to Middle Eastern drums. They have the same rhythms. So do African beats, like 6/8 time…the Irish jigs are in the same rhythm as the African tribal beats. They actually say that in Ireland, the Egyptian monks came over and things like the Celtic cross and those symbols are actually Coptic, which is Egyptian. The bagpipes also originated elsewhere as well, in the Middle East, so it seems somewhere, way, way back, those cultures immigrated from wherever they were from and influenced the Irish culture and tradition. It’s kind of cool to play the Ukrainian music with the Celtic music because there is almost a natural fit, going towards the East.

J.T.: I have to admit that I was really surprised by it too. When I read that it was Celtic music with a Ukrainian flavor, I was like, ‘Oh no…this is going to be horrific. I mean, there are a couple of Slavic influenced bands out there that have moshed their own traditional sound with something that God never intended and it comes out sounding like cats being strangled.
Dan: Yeah! (laughing) There have definitely been some failed attempts, or it can come across as cheesy or contrived.

J.T.: Well, like I said, this seemed to lend itself really well to create a great blending.
Dan: Well, I think that one of the reasons that we are attracted to Celtic music is that the stuff resonated with the things that we grew up with, because the Ukrainians are somewhat like the Irish in a lot of respects. They were the peasants of that part of the world. They were farmers whose main staple was the potato and they were oppressed throughout most of their history. I guess we just find a lot of commonalities between our cultural traditions and the Celtic traditions and culture. Because of the musical selections that we pick in the Celtic genre that we try and bring back into our Ukrainian influences, it meshes very well. It’s not like we say, ‘Well I want to make Whiskey In A Jar Slavic.’ It’s just not going to work.

J.T.: Well, certain elements could lend themselves to another treatment of sorts. It’s kind of like Béla Fleck: he’s pulled off some stuff within the bluegrass genre that is just amazing. I mean, when you hear it described, you’re like, ‘Okay, a banjo with African tribal rhythms? Um, no.’ But then you hear it and it’s absolutely seamless.
Dan: Yeah! It’s very interesting that, as a musician, I tend to be a little bit skeptical, and then once it goes down, it sounds awesome. We were in Pittsburgh at the Pittsburgh Irish Festival and afterward, there was an after party and there was a guy who was from India. He played in an Irish band called Corned Beef and Curry and so we were playing and he was playing some stuff and so I was like, ‘Hey! Can we play something from India?’ and so he was like, ‘Okay, cool.’ He said, ‘Start playing one of your Irish songs.’ we started playing one of our songs called Drums of Belfast in the key of D Minor and he just laid down these ridiculous Indian melodies over this Celtic song. It just sounded off the chain. But before he started playing, I said, ‘I don’t know if this is going to work,’ but it ended up being dynamite and I just love those moments where you go, ‘Oh my Gosh! This really does work!’

J.T.: So how have you guys been accepted on the Celtic circuit?
Dan: Well, at first, there was a lot of skepticism about us, but people liked our energy, but they didn’t know if this whole ‘eclectic’ thing would work. So, our first year, we only ended up with like three or festivals interested in us, but after that, I think it really resonated a lot, especially since we really try and incorporate the crowd into it. My grandmother, she’s still living and she’s one hundred years old and she used to tell us that every three or four months, a fiddler would come to her village and when that happened, everything stopped, everyone finished work and went into a bar and the fiddler would play for like five or six hours straight and everyone would just dance. It was their only opportunity to let off steam. My brother and I just loved that imagery of just a fiddler coming in and having a hoedown and enabling that and so I think our vibe, even though we had a vibe of a communal entity, there is something separate from that which I think the Irish festivals capture and that I think happened in Ireland where they would have sessions and people would get up and dance. About fifty to sixty percent of our music is still Celtic, or Celtic based, so it wasn’t like we weren’t Celtic at all, but I think, after the first year, word caught on, which is great. This year we were at the Milwaukee Irish Fest for the fourth straight year and we’re going to be in Dayton for the third straight year and I think we are going to be expanding a little bit. When you get asked back, it’s just a real good feeling to know that people really value what they were, at first, a little skeptical about. They value it somewhat like a flavor, a break from straight out Celtic music all weekend long, so people can feel some of the other influences out there. It’s been fun as the appreciation grows.

J.T.: Well, one of my things has been that there should be someone in there that crosses over different lines to cater to those who may have a preconceived notion of what, say, Celtic music is, so this different aspect draws them in and they are then able to explore the more ‘purer’ forms of the genre.
Dan: Yeah! The cross-pollination. See, to me, that’s forward thinking and that is how festivals will grow.

J.T.: Yeah, if you have the same groups year after year with the same sound, it can become tedious, and that would be counterproductive in growing a festival.
Dan: Well, Bill Russell over at the Dayton Celtic Festival has done a great job bringing in bands that are cutting edge. He had brought in Slide for a couple of years and, in my mind, they are the best traditional band on the circuit. If you like traditional Irish music, I would say that there is no one better than that band for that.

J.T.: Well, even when you’re talking about the Chieftains, who most would consider the ‘old guard’ of Celtic music, they have never really be what you would call ‘traditional.’ They have dipped into many different genres. Their last recording had a South American influence. Long story short, there were regiments of Irish soldiers fighting the Mexican-American War and a lot of them deserted into South America, so there are pockets of ‘traditional’ South American music that is heavily influenced by the Celtic music.
Dan: Ah, interesting.

J.T.: Well, the Irish immigrants were basically conscripted into the military. America said, ‘If you run down here and fight our war, we’ll let you into the country,’ but most Irishmen couldn’t bring themselves to fight fellow Catholics, so they deserted. But the music, it’s still part of the Celtic heritage, just like bluegrass is. I guess I just have a problem with that purist mentality. It has it’s place for preservation, but music is a living entity.
Dan: Yeah, we grew up with that. We’re classically trained. Our mom went to Julliard and she was very into only classical music, and so that is what we were trying to get away from. When we started and we came across some of those attitudes, it really rubbed us the wrong way. There’s a living tradition, I think, and the people like The Chieftains will step outside of their comfort zone. I think that is what all art is. You should never be finished.

J.T.: Yeah, you become complacent and stagnant. Where do you guys see yourselves going from this point in time?
Dan: Well, we’re kind of positioned pretty interestingly, like we’ve somehow manged to span across a lot of different circuits. There is a certain ‘what is it?’ quality to our identity. People can’t really pigeonhole us, so we find ourselves doing really, really well in the more grassroots circuits. We get incredible responses at those festivals. We’re biggest in the Celtic circuits I think, but we’re not too far behind that on those grassroots circuits. We have also found ourselves in the bluegrass circuits. We’ve been at MerleFest, which is in North Carolina.

J.T.: There’s a lot of stuff coming out of North Carolina.
Dan: You know, North Carolina is a really awesome state for us because there are a lot of Scottish people there and a lot of Celtic people who live in the mountains and who are really into bluegrass, so like when we play our Celtic stuff, they just go nuts. It’s really a powerful state for us. MerleFest has been really good for us, to open us up to a different realm in terms of Americana and bluegrass. Think that this summer is going to a really big one for us, because last year, even though we did a lot of festivals, this year I think we feel a little bit more comfortable and established. We spent like six weeks in the studio recording our next album and it’s all original and it will be nice coming out of that because, you know, you just become that much tighter when you do that. We have new product, like we have a new live CD and a new DVD. This is our first ever live DVD and we’ve been waiting years to get it done and we finally completed it. My brother and I just did a children’s album…

J.T.: Oh that would be cool.
Dan: Yeah! It’s just been something that…we have a bunch of nephews and nieces…we actually have like twenty-five nephews and nieces…

J.T.: Jesus!
Dan: Yeah! I know! And we have to entertain them, so we thought, ‘Why don’t we just put this down on an album?’ so we kind of wrote it for them. It was just nice for us…if you’re just doing one thing all the time, and treating everything like it’s just a source of money, then it isn’t art anymore. It’s been really satisfying for us to just dabble in a lot of different things. I just see this summer is going to be a big summer for us, being like, ‘Okay, we’ve arrived’ and I think our show is always getting better and it’s a pretty powerful show now. We’re kind of looking to bring in some supplemental performers for certain shows to just have some fun. When you go into the studio, your songs take different shapes, so we’re like, ‘Well, let’s bring that onto the road with us.’ It’s not going to be every show, but like my sister played cello on the album and I want to get her out for some festivals. I think she’s going to be at the Dayton one. It’s just going to be fun for us to see how we mature into a band that is comfortable using guest performers and can incorporate other elements to make a bigger sound.

J.T.: Yeah, and it keeps everyone on their toes.
Dan: Yeah, and for those who have seen us over the years, it’s going to be like, ‘Oh! This is something new!’

J.T.: Well, the live stuff I’ve seen from you guys, it seems like interacting with the crowd seems to be a big, integral part of the performance.
Dan: Definitely! For us it’s just like…I can go watch a virtuosic performer, but I find myself getting bored. I want to have some kind of interaction with that person. Ultimately I feel like it’s the Emperor’s New Clothes, where people are saying, ‘It’s so amazing! It’s so Amazing!’ but if you really stop, you’re like, ‘No, it’s boring.’ People want to have that interaction, they want variety. I was talking to our engineer at the studio and we were trying to discuss the length of the album ad he said, ‘I highly recommend, so not go longer than forty-three minutes…’

J.T.: Well, that’s rather specific.
Dan: Yeah! He said that it is the longest that the human mind can really focus if you don;t have any visual cues. It was interesting listening to his philosophy on that. We feel really strongly about that. We customize every set list. We show up and get a feel for the venue and then we sit down and we really stress mixing up instrumentals, the vocals and what genres would appeal to this specific audience. I guess you can say it’s almost like ADD.

J.T.: Well, I guess that’s kind of the way everything is now.
Dan: Yeah, but I think there are times for everything, like it would be fun to do something completely out of the ordinary, like an acoustic set or with mellow music, because you don’t want to be pigeonholed, like this is all you can do, so it will be like you show up at a show and you’re like, ‘Man, I wasn’t expecting this!’ I think there needs to be a magnanimity of spirit. I think that’s the key for performers that they need to give of themselves on stage and it’s amazing, as far as classical logic goes, the crowd can sense in an instant if you’re being egotistical or insincere. It’s amazing how quickly you can lose a crowd in the span of a second. They could have been right there with you and then, all of a sudden, you just left them behind because they’re sensing that they’re not the focal point anymore.

J.T.: Yeah, that cuts across any type of entertainment.
Dan: Yeah, that’s been really interesting, learning the psychology of crowds. That’s one of the things that’s kind of nice about all these festivals…I’m not going to label the people that put these festivals on. They are just a bunch of independent people who are in the same boat as us and there’s kind of a hunger, but there’s also a kind of approachability that people have to these artists and I rarely run into people that have egos on these circuits, and that’s nice.

J.T.: Well, another good thing about the festival circuits are the influences that you can run into. You’re not in a vacuum.
Joe: Yeah, you especially see it on like the grassroots festivals. There’s tons of that going on because people really like to sit in with other people. We actually had a guy that sat in with us at one festival. He is a banjo player and a great banjo player at that. He was like, ‘Hey! I want to sit in with you guys.’ so we were like okay, we’ll pick a couple of songs and all of a sudden, we’re like, ‘Oh my Gosh! This is brilliant!’ and we got stretched because of that. At the Celtic festivals, there’s the after parties where everyone jams all night long. It really is a great oasis for musicians.

J.T.: Uh-oh…I just got an email from your publicist saying that she left a message for Mike to track you down so you will call me.
Dan: (Laughing) Yeah! They’re on me!

J.T.: Yeah, when you said your producer told you that forty-three minutes is the longest a person can pay attention to something, I automatically flashed on Amadeus…do you remember that movie?
Dan: I love that movie!

J.T.: When they were telling Amadeus he would have to cut out parts from his masterpiece because, ‘there are too many notes for the royal ear.’
Dan: (Laughing) That’s great…’for the royal ear’…I have to remember that.

J.T.: Well, is there anything that you want out there that I haven’t already asked?
Dan: Well, there is one thing, if you can mention it, is that we’re excited about touring the Midwest for the next month and that we’re coming back to Dayton with brand new product, the live album Vol. II and the live DVD that we just released and the kid’s album and that we’re just coming out of six weeks in the studio, so we’re really taken what we’ve learned in the studio and we plan to hit the road running.

You can catch Scythian performing live at the Dayton Celtic Festival on the WDTN Stage on Friday, July 30th at 10 pm, Saturday July 31st at 2:20 pm and Sunday August 1st at 1:40 pm. They will also be seen on the Guinness Stage on Saturday at 8:00 pm. For more information about Scythian, go to their website, which has their whole history and their current projects, tour dates, pictures and a collection of their music. For more information about the upcoming Celtic Festival, go to the United Irish of Dayton’s website for a list of scheduled events and musicians slated to perform.

Filed Under: Arts & Entertainment, The Featured Articles Tagged With: Alexander Fedoryka, Bill Russell, Celtic, Danylo Fedoryka, Dayton Celtic Festival, Dayton Music, Gaelic, Ireland, Irish, Josef Crosby, Middle East, Mike Ounallah, rhythms, Scythian, Ukrainian, Untied Irish of Dayton

The Passion Of Pin-Up

June 22, 2010 By J.T. Ryder 11 Comments

Cherry Lee’s Salon Caters To A Classic Culture

A look, lost in time, revived to make eyes follow and fantasies unfurl. The bobby-pinned curls cascading down in huge rolls to frame a perfectly finished face, replete with fire engine red lipstick and a hint of blush to complete the illusion. The clothes have to keep up with the walk as the eyes take in the severely lined stockings, teasingly tempting as they make their way under a flared skirt. The straight cut bangs hovering above smoky eyes. The poses and positions that, while innocent enough, still evoke strong urges within the male’s psyche. This is the world of pin-up culture.

A local woman, Cassandra Barker, yearned to bring these frozen moments in time to life. She scrimped and saved, all while raising her children, until she was able to open her own salon to cater to the needs of the pin-up, rockabilly, hot rod culture. Her dream was realized last year when she was able to open the doors of Cherry Lee’s Salon, a place for ‘Classy Broads & Fancy Fellas’. In speaking with Cassandra, the first hurdle was defining what the culture is that her shop caters to.

“It’s retro or pin-up or anything that you would look at like that.” Cassandra said. “If you come into the salon, you’ll see that there’s real old pin-up stuff on the walls and the counter tops are decoupaged with pin-up stuff and Nancy Drew and all kinds of other stuff.”

Since this is not the run of the mill hair salon, I wondered how Cassandra got drawn into this specific type of hair styling.

“Well, I think what happened with me, I had a lot of theater background. I did hair working for Phantom of the Opera for a little bit and I learned a lot about Victorian hair. Basically, hair is just like fashion: it changes throughout the course of the years, but it keeps its general structure.” Cassandra went on to say that, “I took the things I learned from Phantom of the Opera and started incorporating it into up-dos for proms and weddings and things kind of went from there. I started researching it and made sure I was staying authentic, like using a beeswax that they used to use back in the day, because…that’s what they used to use. I try to keep as true as I can with the products we use because they worked.”

A hairstyle is just as identifiable as any other fashion or body modification. People instantly recognize what station or class or culture you are from based on your clothing and your coif, even recognizing what era a specific hairstyle may be from. What is the current interest in retro hairstyles and fashion? Could it be that, since we are currently living lives on the edge of the unknown that we cast a look back, trying to recapture a simpler, more contented era?

“I think so for sure. The time period that we focus most of our stuff on, there was no money, there were hard times and we’re kind of going back to that style and it’s easy; it’s not that expensive and everyone seemed happy.” Cassandra opined. “I think that what it comes down to…they were even talking in the news the other day that moonshine was on a resurgence and stuff is starting to come back that was cheap, but made fun happen, you know what I mean? I think that a lot of that is coming back and hopefully that starts to push everybody at least if not towards doing better monetarily, at least feeling better in their general life, which I’m 100% for.”

I wondered if this was the only type of hair styling that Cassandra did or if it was a full service salon. Cassandra answered my question by saying;

“I had a girl sitting in here watching me one day and she said, ‘The range of people that you have walk through your door amazes me!’ I have a range of people from real pin-up, retro girls who do all the photo shoots with the cars to a mom to a little kid to a little old lady, and I can do any of it. I worked at Square 1 Salon for almost ten years. I can do the soccer mom hair and I can do anything else, but my focus and passion is definitely the pin-up stuff and the more retro stuff.”

One might wonder what the purpose is of all of this retro-vision. Was there a purpose behind all of it?

“Basically…and I know this sounds cheesy and hokey…it comes down to making people feel the best that they can. I mean, if it’s taking a housewife, who has been a housewife forever and ever and ever and who has worn t-shirts and jeans for the last ten years, who sits at home and cooks and cleans and taking them and bringing them out, giving them a fresh look and giving them new hair and make-up and giving them that sexy little pin-up look. It’s frozen into some other land and then they all of a sudden have confidence again and start feeling good about themselves.” Cassandra added that, “Actually, I think it scares the crap out of their husbands. Like, every girl I know who has come in here, who had been kind of plain Jane and then they walk out with a little Betty Page pin-up look with dark hair.

Were there other markets that catered to the pin-up/hot rod culture? Where could you get the clothing and other accoutrements?

“They can pick up some of Nikki Forte’s pin-up design stuff here. Nikki has been bringing stuff in and out of the salon. She’s actually been getting pin-up stuff for the girls and is looking at opening a little boutique inside of the salon. It’s in the works. You know, Dayton, since it is out of the eye of everything that is going on with retro and pin-up, it’s harder to get a hold of the stuff.”

As we wrapped our conversation up, Cassandra told me about a big event that was taking place at our mutual friend, Bill Winger’s shop called Daddy Katz in Moraine.

“On July 9th, we’re actually doing a pin-up training camp at Bill’s shop (Daddy Katz).” Cassandra went on to detail the event. “It’s going to be two hours of one-on-one make-up, hair training and finishing…like I’ll finish their hair and make-up. Joe Schuster from Cincinnati will do a one hour photo shoot with each girl and they will walk away with a disc of pictures and later on, they will get an edited picture of the best picture from their shoot. It’s going to be really cool. There’s a lot of stuff like that going on in California, but there’s not anything going on that around here.”

Cherry Lee’s Salon for Classy Broads & Fancy Fellas is located at 2712 Linden Ave., but is open by appointment only. You can call (937) 901-6589 to make an appointment. Mention this article and you will receive $5 off their cut and style.

Filed Under: Community, The Featured Articles Tagged With: Cassandra Barker, Cherry Lee's Salon, cut, cuts, cutting, Dayton, hair, hairstyles, hot rod, local business, pin-up, retro, rockabilly, style

An Apple Yesterday

June 7, 2010 By J.T. Ryder Leave a Comment

Vincent G. Apple Was A Self Starter

Dayton originals. We have many of them still around, but in the late 1800’s and early 1900’s, there seemed to be a brainstorm that brewed over the Miami Valley, striking the populace with the adventuresome allure of invention. One of the most prolific among them was a man named Vincent G. Apple. Born in Miamisburg, Ohio on January 26th, 1874, Vincent went on to found his first company (Franklin Electric Company) at the tender age of eighteen. The Franklin Electric Company eventually evolved into the Dayton Electric and Manufacturing Company, with several more ventures following, including Apple Electric Company and Apple Laboratories.

Apple’s inventive nature rivaled that of Thomas Alva Edison, surpassing the Wizard of Menlo Park in some respects. Apple’s inventions included a magneto starting system for the Wright Flyer, an automobile lighting system, tungsten bulbs and, his most acknowledged invention, the isolated home/farm lighting system. Apple had received 350 patents in his lifetime and, at the time of his death at age 58, there were still 130 patents awaiting approval at the Patent Office. Other inventions that he had developed would have brought the amount of patents he had either received or was eligible for to around 1,500 total patents.

When looking up Vincent G. Apple’s history, I came across a passage on Wright State’s Miami Valley-Dayton – Inventors and Inventions page which said, “In 1902, he introduced what is thought to be the first electric self-starter for an automobile.” This struck me as odd and I referred to two pictures that I had obtained some years ago. I actually found them in a junk shop on E. Third St., at the bottom of an old freezer chest, the kind used by soda shops back in the day. There were stacks of pictures and I chose these two because they were old pictures of cars and I thought that my father, a car aficionado, might appreciate them. I gave very little thought to the typewritten notes, glued to the back of the photographs on some type of woven linen. I had read the notes, but was overly unfamiliar with the history of automobiles, but when I read that little line on the Wright State site, I knew that the name Vincent G. Apple had appeared in the notes.

Here are the two photographs, front and back. If you have any information about the history of the pictures, or the invention, feel free to either comment here or send me an email.

Filed Under: Dayton History Tagged With: Apple Electric Company, Apple Laboratories, automotive electrical system, Dayton Electric and Manufacturing Company, Dayton Patented, Franklin Electric Company, inventions, inventor, patens, self starter, tungsten bulb, Vincent G. Apple, Wright Flyer

“So A Dyslexic Walks Into A Bra…”

June 5, 2010 By J.T. Ryder 2 Comments

…and Other Tales From the Fringe of Dayton’s Comedy Scene.

The only sound cutting through the sea of silence is a slight feedback whine as the flop sweat pours from your forehead, reflecting chromatic prisms from the glaring, white-hot spotlight. You clench the microphone with sweat-slicked hands, as your mind becomes an echoing chamber of panic. You can’t even make out the faces in the crowd, the piercing light obliterates their features, changing the warmth of humanity into an amorphous blob of judgment. How could this have happened? Your mom told you that you were funny. The clerk at UDF always laughed at your jokes. Your shadow, nailed against the faux brick wall by the merciless spotlight, seems to shrink as your confidence bids you a fond adieu, leaving you for climes that are more hospitable. You either recover quickly, raining down a torrent of bon mots to cover your previous gaffe, or you walk the longest walk ever made under the glaring reproach of the unamused.
Stand up comedy is one of the least understood and surely one of the most minimally regarded of the performing arts, yet it is one of the most difficult crafts to hone, execute and endure. The constant pressure to produce and perform is unrelenting. Development of a single joke’s precision, synthesis and rhythm is always evolving. The eternal search for material, the sharpening of lines, the shaping of words and the final development of delivery is exhaustive. Ironically, just as perfection is almost within reach, the material is usually scrapped because it is no longer topical or has become tired and mawkish and now, all new material must be captured and crafted.
In an attempt to check out the local comedy scene with an eye for how they all got started, I interviewed several local comics. Some of them are fairly new to the landscape, appearing at open mic nights for very little or no compensation, while others are national road veterans, having amassed quite an impressive resume’. The first question that arises would have to be why anyone would want to pursue a career in comedy in the first place.
A seasoned comedian, Mark Fradl, started his career in 1992 and ran hard until 1999, before abruptly leaving the stage completely for various reasons, including being burnt out on the road and its day to day hustle. He returned to stand up several years ago because the desire for performing live was re-ignited within him. When I asked him recently why anyone would get into comedy, he said, “I think you’ll find most comics have the same story: people told them they were funny. They somehow got up the courage to go up that first time at an open mic night (still the hardest thing I’ve ever done) and they just kept doing it. The dream starts huge – Tonight Show, Letterman, sitcom – but quickly narrows down to more immediate goals – get a strong five minutes, get a strong fifteen minutes, get ANY work, get good work, and then the Holy Grail of goals: quit the day job. I think that’s what keeps people in it, there’s always another little rung to climb. Step-by-step you’re deeper into the life.”
Ryan Singer, who used to be a schoolteacher for Dayton Public Schools and is now on national tours stated candidly, “I just had to. It is that simple. As a kid I remember seeing standup comedians on television and thinking to myself, ‘that is the best job ever!'”
A recent college graduate as well as a fairly current addition to the local comedy scene, Mat Thornburg took a slightly different route to the stage. “I was really involved in theater in high school” he wrote me, “and I always ended up getting cast as the comic relief. People kept telling me that I should try standup comedy, but I had no idea how to get started. Then when I was in college they had a comedy contest to win tickets to see Dane Cook. So I guess you could say the reason I got on stage the first time was because I wanted to see Dane Cook, but really it was something that I was going to do sooner or later and the contest was just an easy way to make that first step.”
Jeff Bang, nicknamed, quite unimaginatively ‘Banger’, is a butcher by day and does stand up locally as well as working at Wiley’s comedy club as a…well…I’m not really sure what Banger does, keeping me company while I stand outside and smoke, I guess. Anyway, when I asked him why he kept doing stand up, he answered my question with a question.
“Why do I keep doing it? Do you know what it’s like to get a good high? A big rush?” To which I replied that not only had I never imbibed in any illicit drugs in the past, I would eschew all illegal substances in the future if in fact any illegal substances were presented to me. He did not believe me, informing me that I was full of bovine fecal matter and continued onto his point. “There is no bigger rush than standing on a stage and making people laugh. There is no bigger rush. You get up there and do it and you have however many people are there, a hundred, a thousand, however many, and they’re in the palm of your hand and they are just hanging on every word. There is no bigger rush than that.”
Mark Fradl echoed Banger’s reasoning with, “…the good shows are great enough to get you through the bad ones. There’s still the insane rush of coming up with an idea and doing it on stage that night and honing it show after show. And there’s still a thrill in seeing how you’re bringing some pure laughter into someone’s life.”
“You’ve got to have that burning desire like 24/7 that makes you want to go out… just want to go out. You’re scared and nervous, but you want to go out there.” remarks James Earl Tompkins from Springfield. Originally from the East Side of Chicago, he landed at Wilberforce and Central State in his mid-twenties. His inspiration actually came from a speech class where he learned how to debate and discuss topics. He saw that he could apply those concepts to comedy and began trying to hone the mechanics at open mic events. His first forays did not always go as planned. “I felt so small on a lot of those days. I just wanted to hide. Hide out for weeks.” He sought solace in books that showed him the pitfalls of failure and how to strike back and overcome over adversity.
Egyptian born Sherif Hedeyat, who lives in a three-bedroom sleeper cell in Centerville and is one of the members of the Axis of Evil Comedy Tour, started in much the same way. While attending Wright State University, he tried out an open mic night at the now defunct Joker’s Comedy Café.
“I remember I was in the lounge at Wright State,” Sherif recalls, “and I remember somebody saying, ‘Hey, you’re pretty funny. You should try doing comedy at Joker’s.’ I went in there one night and just ate it bad. Literally it was like a year between my first and second time on stage because I was sitting there going, ‘Man! That was a painful experience!’ Then the second time on stage…well, it’s kind of like a drug. You start once, then you go back a while later and then you start to want it and you get better and you want it more, and it progressed.”
With ego crushing moments, little or no pay and the constant reworking of material, why would some partially sane person keep subjecting themselves to this potentially abusive mistress? The rush and the possibility of fame and fortune are motivating forces, but definitely not one that ranks the highest in most of the comedians’ minds that I interviewed.
“I keep doing it because there’s nothing else that provides the same thrill or satisfaction.” says Mat Thornburg. “Standup is great because you know instantly how you’re doing. That can be bad when you’re not doing well, but when you are doing well it’s great to hear it in the audience’s laughter. I think another reason I keep doing it is that there’s always room for improvement. There’s always something I can get better at or something I can make funnier and every performance is an opportunity to learn something new about standup and what works for you as a performer.”
I wondered if the national headliners looked down upon the aspiring comedian with disdain. Having already slogged up the mountain, did they view the local comics as untalented plebes or would they remember the arduous journey that they themselves had made and offer some assistance. I asked Banger this question, because he has a unique perspective, hanging out at Wiley’s, doing whatever it is he does there.
“A good headliner will look at an open mic guy that’s ‘got it’, especially the ones who’ve ‘got it’, and encourage them and they’ll give them little tips here and there.” Jeff said, “The ones (headliners) who are stuck on themselves, and they’re not usually the best headliner in the world, those are the ones that look down on the open mic guys.”
Ryan Singer had a slightly differing view, stating, “I think headliners don’t spend much time thinking about the local comedians one way or the other. I think headliners have their own careers to worry about and especially in the business nowadays, it can be brutal because there are so many comedians out there trying to work the same rooms. It is a tough business and when you do find a headliner that wants to help you, it is truly a random act of kindness. There are those that enjoy seeing the local comedians and offer good advice about building a career. Most young comedians don’t want to hear the advice because is all about patience and hard work. It takes a long time to become an overnight success in comedy.”
The Dayton and surrounding area has nurtured many nationally known humorists and comedians. Jonathan Winters, Erma Bombeck, Dave Chappelle, Drew Hastings, Dave Zage, Kenny Smith, Jesse Joyce, Gary Owen, Rob Haney…the list goes on and on. Is the Dayton comedy scene still a vibrant and living player on the national stage?
“Actually, I see a lot of good, up and coming comedians.” said Sherif. “There was a time for several years when we (local comedians) weren’t working ‘together’. I mean, when I came up, Cincinnati had Josh Sneed, Greg Warren and those guys, they were all hanging out together, they were writing together, they were in the clubs hanging out, they were creating that scene. In Dayton, it was almost like everyone was just doing their own thing or they were going to Cincinnati or Columbus to hang out. It seems like ever since the Funnybone opened (in Beavercreek) we got a whole new clientele and audience and we’ve got a whole new crop of comedians.”
To stand at a microphone alone, captured by the spotlight in front of a group of strangers with the intent of making them laugh is a daunting task unto itself. A classically trained actor performing a one man show does not have to carefully gauge the spectators and change up lines in midstream or alter the dialogue to please his audience. If an audience came to see Hamlet, then Hamlet they shall see. Yet how do you please a group that just shows up with the expectation of being made to laugh? Everyone’s sensibilities and sense of humor are truly not the same. The ability to have a rural farmer sitting next to a office worker who is seated near a college student and having them all succumbing to the least understood of all human reactions, that of laughter…well, one is truly encountering art at its most refined.
You can check out some of the best that the area has to offer almost any given Sunday at Wiley’s Comedy Niteclub (check website for details). This coming month, from July 1st through the 4th, Wiley’s will be holding a comedy contest, which I would like to think of as a Comedic Thunderdome-esque Cage Match of Epic Proportions, but Rob Haney just tells me to shut up when I say things like that. Anyway, you can come down and watch the best of the best compete for comedic glory or, since there is enough time, stand in front of a mirror, your dog and your family for a month, spitting the best anecdotes and one liners you can think of, honing your skills for the Big Time! The winner will receive $1,000 in American currency and forever secure their place in the Dayton’s Hall of Humor…well, if we had one of those here in Dayton, I’m sure that you would be secured there. Check out the open mic nights, and especially come out and support the local talent for the Wiley’s Comedy Contest on Thursday, July 1st at 8:30 pm, Friday, July 2nd at 9:00 pm, Saturday July 3rd at 8:00 pm and 10:30 pm and Sunday, July 4th at 8:30 pm. Tickets are a mere $2. To enter the contest yourself, contact via e-mail Jack Wilson funnymayor@aol.com.

Filed Under: Comedy, The Featured Articles Tagged With: Banger, comedian, Comedy, comic, Jeff Bang, Mark Fradl, Mat Thornburg, open mic, Rob Haney, Ryan Singer, Sherif Hedeyat, Wiley's Comedy Niteclub

Desolation Dayton

June 4, 2010 By J.T. Ryder 35 Comments

Tim Riordan’s “Listening Tour” And My Plea For Action

I attended one of the stops on Tim Riordan’s (Dayton’s current City Manager) “listening tour” on June 3rd at the Southeast Priority Board (2160 E. Fifth St.). There were around forty or fifty people crammed into the cramped board room, with representatives from the priority board, the city commission and various other local governmental agencies in attendance. Dayton Mayor Gary Leitzell and City Manager Tim Riordan were also in attendance, with Mr. Riordan conducting the salient portion of the meeting, which was to gain insights and ideas from the citizenry of Dayton. Mr Riordan presented a fifteen minute slideshow which outlined the economic situation that Dayton was in at this time as well as some of the nuts and bolts costs involved with running the city and its services. The charts detailed the lost jobs that the area has suffered through, the standing of the general fund and charted all the income and property taxes collected, all juxtaposed against the inflationary index. The glaring truth that was revealed was that Dayton fell well below the inflationary index and lagged far behind every other major city in Ohio.

We are all familiar with the national and international occurrences and trends that led to the failing economy, but on a local level, those events were exacerbated by poor leadership, petty personal greed and a massively myopic shortsightedness. While the portents and omens of what was to come became glaringly evident, the City chose to continually woo large manufacturers in the baseless hope of garnering an anchor for the City’s wildly wavering economy. Heads of corporations and industries were flown in to meet with City officials while, at the same time, businesses that had been here for decades and decades, and who had been left to fend for themselves, quietly closed their doors. The City mustered all of their resources, offering tantalizing tax abatements and lucrative property proposals to these corporate big wigs while people lost their livelihoods and their homes and, those who had not fallen into foreclosure, fled the city fearing the worst that was eventually to come. The City chose to court a chimera instead of taking care of their base: the people…and now they want to listen.

As if making my point, one member of the assemblage brought up a point that members within the civil service divisions of the City of Dayton (most notably the Parks and Recreations division) had submitted suggested and well thought out and presented plans to the City and these suggestions were unilaterally ignored. At times during the question and answer period, City Manager Tim Riordan seemed jovial then dismissive then passively aggressive in responding to the group’s questions and suggestions. One particular point that was brought up was the $400,000 that it costs to mow the 4,000+ vacant properties in the City of Dayton. Riordan said, somewhat coarsely, that the citizens should take matters into their own hands and mow the overgrown lots in their neighborhoods instead of whining about it to the City. Moshe Oren, one of the citizens in attendance, stated that he did, in fact, mow several vacant properties in his neighborhood, but asked if the City would make available some landscaping equipment to make the job a less daunting task. An answer was not forthcoming and Mr. Riordan went on to the next question. It struck me that this would be a solution to save an estimated $2,400,000 a year (based on one mowing cycle over a six month period). The City could provide the neighborhood Priority Boards with several lawn mowers and weed eaters and local groups, such as neighborhood associations, church groups and others that live within that vicinity, could sign them out and mow the various abandoned properties in the area. If the City was worried about liability issues, a blanket waiver form could be provided and signed.

The more the meeting went on, the more it seemed as if it was nothing more than a diversionary display. It was a way for the City to do whatever they had decided to do from the outset and then, if people complain, they have a plausible deniability. They can point to the meetings (which aren’t advertised all that well) and say, “Look! The people of Dayton had every opportunity to be heard! We are making these decisions based on what was suggested!”

One of the more eloquent points came from Mike Schommer, a Southeast Priority Board member when he said:

“I’m not saying that the City of Dayton is never going to come back, but if there are no big innovations that spur on some new development here…” he trailed off, letting the listeners come to their own conclusions. He went on to say that, “Right now we are going to stay either stagnant, or perhaps suffer a smaller decline. Based on the statement I just made, I think we’ve been making moves in this city…tactical moves…to prepare for that and one of them is the deconstruction of the houses. The demand has gone way down and the supply has gone way up and by eliminating these houses, it’s kind of balancing things out so we can compete with the suburbs, who already have a lesser supply. In that thought, when you tie all that together and, in thinking about the budget, I think we need to start thinking of a lesser city government because there is lesser community to still serve.”

“When it comes to (suggesting to increase taxes), on paper it looks fine and $100 seems small, but to many of those residents still left in the city, it is perhaps more than their budget can bear.” Offering up a solution, Schommer said, “What I think we have to do is we have to start saying, ‘What can we do to cater to the residents? What can we do to be prepared to deal with the residents that we are going to be left with?’ In doing so, I don’t think that raising taxes is the best proposition for the simple fact that you’re trying to make up the difference of a work force and a population that was much greater out of the few residents and workers that are left which is only going to further drive anyone who is left in the city away.”

Schommer’s arguments resonated with the room and made me think back to a few weeks ago when I had interview Mr. Riordan and later attended the unveiling of The Greater Downtown Dayton Plan. The tone was much different then than it was that evening in the hot boardroom of the Southeast Priority Board. During the unveiling of The Greater Downtown Dayton Plan, held at the Dayton Racquet Club, the mood was jubilant and hopeful, with all the players in Dayton congratulating each other on such a fine plan. There was an optimistic air that the money that would be needed to embark on this new endeavor would materialize somehow. In stark contrast, the mood at the “listening tour” was darkly dour, where very little, if any, good news imparted. How can this be justified? How can monies seemingly be pulled from thin air for restructuring the river for kayaking or creating pavilions throughout the city for live musical performances, yet the hinterlands of Dayton are left to contend with all of the issues surrounding an abandoned and deteriorating neighborhood? How can one justify the “need” for a 3C Rail System or a comprehensive broadband network when the realistic and day to day needs of the majority of the population is being threatened to be scaled back or even terminated? Does it mean that anyone outside of this magical and invisible circle around the downtown area is less of a citizen or is less in need of the services that their tax dollars were intended for?

The argument would be made that this is for the future, a means to an end. In reading through studies pertaining to the attraction and retention of businesses and employees, especially within the technological industries, the powers that be set out to create a plan that would attract these technological businesses and the employees that come with them. The whole “plan,” however is overshadowed by a myriad of “ifs.” It is a “build it and they will come” kind of mentality wherein the people with ideas try and craft a perfect carrot, not realizing that they have splintered the stick into a million pieces.

Maybe I am too cynical. Maybe the whole thing will work and we will end up living in the Emerald Gem City (without the flying monkeys and such). Maybe we will become the model on which others cities will rate their success. I just can’t seem to ignore what I see and hear on a daily basis. Maybe there are two separate Daytons and I just happen to live in the one that is destined for desolation. Whatever the case, let’s put this whole “listening” thing to the test. Post your ideas to cut the city budget here and also send it to budgetideas@cityofdayton.org and we’ll see, together, when any of them come to fruition or if the case has already been closed and we are doomed to a future of raised taxes with the added benefit of having our services cut.

Filed Under: Local Government/Politics, Opinion Tagged With: budget, City of Dayton, Commission, deficit, Gary Leitzell, housing, listening tour, Mike Schommer, rhetoric, services, Southeast Priority Board, suggestion, taxes, Tim Riordan

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June 17 @ 6:00 pm - 7:00 pm Recurring

Tai Chi & Qigong at the River

Offered by Immortal Tree Qigong. Each hour-long Tai Chi & Qigong session will start with breathing exercises, warm up, and...

Free
7:00 pm

Reading: Vignettes of The Belonging Project

June 17 @ 7:00 pm

Reading: Vignettes of The Belonging Project

join us for a public reading of the second draft of Vignettes of The Belonging Project at The Loft Theatre...

Free
7:00 pm - 8:30 pm

A Juneteenth Discussion

June 17 @ 7:00 pm - 8:30 pm

A Juneteenth Discussion

Presenter Karen D. Brame of Special Collections and esteemed guests of the community share on the past, present and future...

7:00 pm - 9:30 pm Recurring

Trivia with Rob

June 17 @ 7:00 pm - 9:30 pm Recurring

Trivia with Rob

Come test your brain, enjoy great food and drinks, and have some fun!

+ 1 More
5:00 am - 9:00 pm Recurring

Free Wednesdays in June at the YMCA!

June 18 @ 5:00 am - 9:00 pm Recurring

Free Wednesdays in June at the YMCA!

🎉 Free Wednesdays in June at the YMCA! 🎉 No membership? No problem! Every Wednesday in June, you're invited to...

Free
9:45 am - 3:00 pm Recurring

ILLYS Fire Pizza

June 18 @ 9:45 am - 3:00 pm Recurring

ILLYS Fire Pizza

We are a mobile wood fired pizza company that specialize in turkey products such as Turkey pepperoni, Italian Turkey sausage,...

10:00 am - 1:00 pm Recurring

Fairborn Farmers Market

June 18 @ 10:00 am - 1:00 pm Recurring

Fairborn Farmers Market

The Fairborn Farmers Market was established with the intent to provide the Fairborn community access to fresh and wholesome products...

Free
10:00 am - 2:00 pm

ACutAbove-Schnitzel&More

June 18 @ 10:00 am - 2:00 pm

ACutAbove-Schnitzel&More

Pork Schnitzel Sandwich A German Classic, Pork loin, lettuce, tomato and secret sauce on a kaiser bun $13.00 Chicken Schnitzel...

11:00 am - 1:30 pm

What The Taco?!

June 18 @ 11:00 am - 1:30 pm

What The Taco?!

Chipotle Chicken Taco GRILLED CHICKEN, SHREDDED LETTUCE, PICO DE GALLO, CILANTRO SOUR CREAM & MONTEREY JACK $10.00 Ground Beef Taco...

5:30 pm - 9:30 pm

Spass Nacht 2025: An Austrian Festival

June 18 @ 5:30 pm - 9:30 pm

Spass Nacht 2025: An Austrian Festival

In honor of Kettering’s sister city, Steyr, Austria, we celebrate with a Spass Nacht (translation: Fun Night). Strap on your...

Free
6:00 pm - 7:30 pm Recurring

Community Fitness Bootcamp

June 18 @ 6:00 pm - 7:30 pm Recurring

Community Fitness Bootcamp

Join The Unit for an exciting bootcamp workout that will take you through RiverScape in a whole new way. Whether...

Free
6:00 pm - 7:30 pm

Pride Month Panel Discussion: LGBTQIA+ Allyship & Inclusivity

June 18 @ 6:00 pm - 7:30 pm

Pride Month Panel Discussion: LGBTQIA+ Allyship & Inclusivity

will focus on LGBTQIA+ Allyship & Inclusivity, feature a panel discussion led by community leaders and educators, and include an...

Free
+ 4 More
8:00 am - 6:00 pm Recurring

Cinn-Wagon food truck

June 19 @ 8:00 am - 6:00 pm Recurring

Cinn-Wagon food truck

Cinn-Wagon food truck will join us out front at Miami Valley Sports Bar on June 8, 12, 14, 15, 18, 19,...

9:00 am - 3:30 pm

Xenia Community Garage Sale

June 19 @ 9:00 am - 3:30 pm

Xenia Community Garage Sale

Browse through gently used and new items from the residents at Reserves of Xenia. Like any garage sale, you're bound...

11:00 am - 3:00 pm

The Fairborn Juneteenth Celebration

June 19 @ 11:00 am - 3:00 pm

The Fairborn Juneteenth Celebration

This "Did you know" was brought to you by the Fairborn Lion's Club. On June 19th, 1865, the Union Soldiers...

11:30 am - 2:30 pm

Cousins Maine Lobster Truck

June 19 @ 11:30 am - 2:30 pm

Cousins Maine Lobster Truck

1:00 pm - 5:00 pm

Yellow Springs Juneteenth celebration

June 19 @ 1:00 pm - 5:00 pm

Yellow Springs Juneteenth celebration

The community is invited to join the Coretta Scott King Center at Antioch College and the Yellow Springs Juneteenth Committee...

2:30 pm - 6:30 pm

Springboro Juneteenth Jubilee Blood Drive

June 19 @ 2:30 pm - 6:30 pm

Springboro Juneteenth Jubilee Blood Drive

COMMUNITY BLOOD DRIVE IN PARTNERSHIP WITH VERSITI AT SOUTHWEST CHURCH!No matter the color of our skin, we all have the...

4:00 pm - 6:00 pm

A Midsummer’s Reading Bash

June 19 @ 4:00 pm - 6:00 pm

A Midsummer’s Reading Bash

Have you been working hard to “Color Our World” for the Teen Summer Reading Program recently? If so, come relax...

Free
4:00 pm - 7:00 pm Recurring

Lebanon Farmers Market

June 19 @ 4:00 pm - 7:00 pm Recurring

Lebanon Farmers Market

The Lebanon Farmers Market is open 4 pm to 7 pm every Thursday mid-May through mid-October.  We are located in...

+ 11 More
8:00 am - 9:00 am

African American Community Fund Annual Breakfast Meeting

June 20 @ 8:00 am - 9:00 am

African American Community Fund Annual Breakfast Meeting

The Dayton Foundation’s African American Community Fund cordially invites you to its Annual Fundraising Breakfast Meeting on Friday, June 20,...

Free
9:00 am - 3:30 pm Recurring

Xenia Community Garage Sale

June 20 @ 9:00 am - 3:30 pm Recurring

Xenia Community Garage Sale

Browse through gently used and new items from the residents at Reserves of Xenia. Like any garage sale, you're bound...

12:00 pm - 3:00 pm

Claybourne GRILLE

June 20 @ 12:00 pm - 3:00 pm

Claybourne GRILLE

3:00 pm - 7:00 pm

The Lumpia Queen

June 20 @ 3:00 pm - 7:00 pm

The Lumpia Queen

4:00 pm - 10:00 pm Recurring

Cruise In at the Roadhouse

June 20 @ 4:00 pm - 10:00 pm Recurring

Cruise In at the Roadhouse

Cruise In at the Roadhouse is taking place at Rip Rap Roadhouse, which is located at 6024 Rip Rap Rd. in Huber Heights....

5:00 pm - 9:00 pm

Freakin Ricans Food Truck

June 20 @ 5:00 pm - 9:00 pm

Freakin Ricans Food Truck

6:00 pm - 8:00 pm

Sketcher Social Session: Advanced Drawing

June 20 @ 6:00 pm - 8:00 pm

Sketcher Social Session: Advanced Drawing

Sketcher Social Session: Advanced Drawing Join in the fun with fellow sketching enthusiasts for an in-depth experience with drawing. Each...

$40
6:00 pm - 9:00 pm Recurring

LIVE TRIVIA with Trivia Shark

June 20 @ 6:00 pm - 9:00 pm Recurring

LIVE TRIVIA with Trivia Shark

Join us every Friday night at 6pm for Dayton's Best LIVE TRIVIA with Trivia Shark at Miami Valley Sports Bar!...

+ 11 More
8:00 am - 12:00 pm Recurring

Yellow Springs Farmers Market

June 21 @ 8:00 am - 12:00 pm Recurring

Yellow Springs Farmers Market

For over 20 years this market has been made up of a hardworking group of men, women and children, dedicated...

8:00 am - 12:00 pm

Squeaky Wheels Cups & Cones

June 21 @ 8:00 am - 12:00 pm

Squeaky Wheels Cups & Cones

8:30 am - 12:00 pm Recurring

Downtown Franklin Farmers Market

June 21 @ 8:30 am - 12:00 pm Recurring

Downtown Franklin Farmers Market

Join us every Saturday through Sept 13, 8.30 a.m. - 12 p.m. for local products including fresh produce, honey/jams, and...

9:00 am - 12:00 pm Recurring

Oakwood Farmers Market

June 21 @ 9:00 am - 12:00 pm Recurring

Oakwood Farmers Market

The 2025 Oakwood Farmers’ Market will be held Saturdays, June 7th thru October 11th, from 9 am until 12pm. The...

9:00 am - 1:00 pm Recurring

Greene County Farmers Market

June 21 @ 9:00 am - 1:00 pm Recurring

Greene County Farmers Market

The outdoor Farmers Market on Indian Ripple Rd. in Beavercreek runs Saturdays, 9-1 even during the winter months. Check out...

9:00 am - 2:00 pm Recurring

Shiloh Farmers Market

June 21 @ 9:00 am - 2:00 pm Recurring

Shiloh Farmers Market

The farmers’ market is located on the corner of Main St. & Philadelphia Dr, in the parking lot of Shiloh...

9:00 am - 3:30 pm Recurring

Xenia Community Garage Sale

June 21 @ 9:00 am - 3:30 pm Recurring

Xenia Community Garage Sale

Browse through gently used and new items from the residents at Reserves of Xenia. Like any garage sale, you're bound...

9:00 am - 6:00 pm

Dayton Air Show

June 21 @ 9:00 am - 6:00 pm

Dayton Air Show

U.S. Air Force Thunderbirds The Thunderbirds will headline the 2025 Dayton Air Show. READ MORE U.S. Army Golden Knights Formed...

$35
+ 28 More
9:00 am - 12:00 pm

Downtown Troy Farmers’ Market

June 22 @ 9:00 am - 12:00 pm

Downtown Troy Farmers’ Market

Downtown Troy Farmers' Market will run Saturday mornings 9:00 am to 12:00 pm from June 22nd, 2013 through September 21st,...

9:00 am - 6:00 pm Recurring

Dayton Air Show

June 22 @ 9:00 am - 6:00 pm Recurring

Dayton Air Show

U.S. Air Force Thunderbirds The Thunderbirds will headline the 2025 Dayton Air Show. READ MORE U.S. Army Golden Knights Formed...

$35
10:00 am - 2:00 pm

The Historic Oregon District Summer Garden Tour!

June 22 @ 10:00 am - 2:00 pm

The Historic Oregon District Summer Garden Tour!

⚘️ Enjoy a self-guided tour through vibrant private gardens and explore the natural beauty that makes the neighborhood so unique....

$25
11:00 am - 12:30 pm Recurring

Gelato Making Adventure

June 22 @ 11:00 am - 12:30 pm Recurring

Gelato Making Adventure

$20
11:00 am - 1:00 pm

Kid’s Pasta Class

June 22 @ 11:00 am - 1:00 pm

Kid’s Pasta Class

Kid's Pasta Class (For Ages 3-7) Bring your littles in for a fun hands-on pasta making where we'll hand-mix dough...

11:00 am - 2:00 pm

Lazy Baker Pizza Maker

June 22 @ 11:00 am - 2:00 pm

Lazy Baker Pizza Maker

11:00 am - 3:00 pm

All-Corvette Car Show

June 22 @ 11:00 am - 3:00 pm

All-Corvette Car Show

Enjoy food, fun and CORVETTE’S with GREATER DAYTON CORVETTE CLUB!! Join us in Fairborn for one Southwest Ohio’s best All...

Free
11:00 am - 4:00 pm Recurring

What The Taco?!

June 22 @ 11:00 am - 4:00 pm Recurring

What The Taco?!

Chipotle Chicken Taco GRILLED CHICKEN, SHREDDED LETTUCE, PICO DE GALLO, CILANTRO SOUR CREAM & MONTEREY JACK $10.00 Ground Beef Taco...

+ 12 More
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