What OSU Players May Leave Early? Baver Answers Colin's Questions

Colin: What are your thoughts on the CFP final four? Did they get it right?

Baver: I don’t have a huge beef with it. Would Bama have gotten the nod if they weren’t Alabama”? Probably not. Did Ohio State deserve the nod over Bama for the last spot? You can certainly make a decent case for it. But when you lose by 31 pts to unranked Iowa, you made your own bed. The thing I hate the most is the “choosing the BEST team” argument. If you take that argument literally, Bama is in the playoff every year, and is your #1 seed in that playoff every year. Hell, a 9-3 Bama team would still get in, while a 12-1 Wisconsin team with a similar strength of schedule would not. It’s complete hogwash that this is a so-called focus point of the committee.

Colin: Did JT's performance in the Big Ten title game hurt the Buckeyes chances to leap frog Alabama?

Baver: I think OSU winning by less than a TD did indeed hurt them, and JT certainly wasn’t himself against Wisconsin. His ability to move laterally was diminished big time, and I am not sure he throws those picks if he were healthy. The Iowa game aside, JT does not throw many picks. The guy is a warrior and deserves major praise for playing 6 days after surgery. I didn’t think he could pull it off.

Colin: Was this Buckeye team, with JT starting capable of winning a rematch with Clemson and how damaging would another bad loss be to the 2018 Buckeye chances of getting into the CFB?

Baver: I honestly think they could have beaten any of the other three teams, had OSU edged Bama for the last spot. Ohio St could have also lost to any of the three. And a healthy JT woud have been OSU’s best option to beat Clemson, Georgia or Oklahoma. You would have gotten a much better showing out of Ohio St if they had a playoff rematch with Clemson. As for part two of your question….no doubt about it. The committee had Clemson’s 31-0 beat down of the Buckeyes last year in the back of their mind, when they chose Bama over Ohio St.

Colin: There is now an early signing period starting on DEC 20th. How does this affect OSU and what do we need to know about the upcoming class?

Baver: Ohio State currently has 17 verbal commitments. Here is the breakdown: 9 recruits have said they “will” sign early; 3 say they will “likely” sign early; 3 are undecided; and 2 say they will sign in February. There isn’t a lot of shakeout from this new rule with OSU’s class or any other big program’s class…at lease not yet. It will be interesting to see what happens with those who don’t sign early.

As for this OSU class, it’s the top rated class in the nation right now. Urban and his crew have been machines on the recruiting trail the past two years, more so than before when their recruiting was “merely” elite. They may lose 4-star QB prospect Emory Jones. But the verbal commitment the Bucks just got from 3-star QB Matthew Baldwin would ease that loss a bit. Baldwin looks like a major diamond in the rough, and might end up being a better college QB than Emory Jones.

Colin: On a similar note, what Buckeye players should leave early for the draft and/or possibly sit out the Cotton Bowl to avoid one final risk of injury before finally getting paid to put their bodies on the line? 

Baver: It appears no one is sitting out the Cotton Bowl. Someone told me that game is meaningless. Tell John Cooper that (most) bowl games are meaningless, and he’ll probably be on the phone to Andy Geiger shortly thereafter. Sitting out bowl games is a double-edged sword, in my opinion. But leaving after your 3rd year is usually an NFL prospect’s best choice. Eight OSU guys might forego their 4th year: Weber, Campbell, Dixon, Prince, Dre’Mont Jones, Hubbard, Baker, and Ward. Hubbard and Ward are almost certainly out the door. Dre’Mont is likely gone too. I’d put the over/under at 5, in terms of the # of Buckeyes leaving with eligibility left on the table. Maybe I stay one more year if I’m Isaiah Prince. If I am any of the other 7 guys, I’d probably be leaning toward leaving.

Holiday Edition of Some Things to See: in Columbus and Streaming Online - by Anne Marie

In early November, some friends and I had plans to have lunch at Heirloom Cafe and see the Cindy Sherman: Imitation of Life exhibition at the Wexner Center.  But there was a hitch.  Veterans Day was celebrated that Friday and OSU, including the Wex, was closed.  Bummer.  We were physically hungry and art-starved and so we headed instead to the Columbus Museum of Art where we enjoyed lunch at the Cameron Mitchell-catered Schokko Art Cafe overlooking the new sculpture garden and then toured the current CMA special exhibition, Beyond Impressionism – Paris, Fin de Siècle: Signac, Redon, Toulouse-Lautrec and Their Contemporaries.

The CMA is the only U.S. stop for this exhibit of more than 100 paintings, prints, drawings and other works. If you are still reading this, you may just be enough into art to know that Columbus is also the only traveling location for the Cindy Sherman exhibit as well. You may be asking yourself just how is humble li'l old Columbus shaking off its Cowtown reputation and pulling off these art coups?  I'm not sure, but however it’s happening it’s all the more reason to go see some art.  

Presented in partnership with the Guggenheim Museum in Bilbao, Spain, the Beyond Impressionism exhibition explores the Parisian art scene, focusing on the most important French avant-garde artists of the late 19th century, including Paul Signac, Maximilien Luce, Maurice Denis, Pierre Bonnard, Félix Vallotton, Odilon Redon, and Henri de Toulouse-Lautrec.  This exhibit has something for everyone.  Impressionism, Symbolism, Pointillism, the Nabis, and Art Nouveau. My favorite find was Redon, whose displayed works ranged from hybrids of humans and inanimate objects like The Egg to images of fantastic creatures like Pegasus to delicate but vibrant flowers or an imaginary vision of a beautiful boat.

The Egg (1885)

The Wing (1893)

Pegasus (1895-1900)

If you are like we were the day of our visit, and are overly chatty and many of the pieces lead you to reminiscence about past trips or art history classes taken back in the day when you were in college, you will definitely have a hard time seeing this is one viewing.  By the end, we could only briefly walk through the prints by the Nabis, the best known of which are the colorful Moulin Rouge posters of Toulouse-Lautrec.

Good thing the exhibit is on view through January 21, 2018 since I need to go back.  Museum admission is free on Sundays and the exhibit is only $6 and free to members.    

I got the stomach flu the weekend after Thanksgiving. Luckily, it really was a stomach bug and not anything related to the turkey day meal itself since no one else was taken out by it. With Caitlin in Pittsburgh for a weekend of hockey and the guys off busy with Blue Jackets hockey and Buckeye football, I was left on the couch recovering - and in charge of the remote control.

I’d had the Glen Campbell documentary, Glen Campbell: I’ll Be Me, on my “to watch” radar for years and with Campbell's August passing, Scott Carr’s mention of the film again in his in memoriam piece,  and an encore presentation of a story about the making of the documentary that aired on All Things Considered, I felt it was overdue for viewing. If you haven’t heard about this one, it follows Campbell and his wife Kim as they receive his Alzheimer's diagnosis and then embark with a small extended family on what began as a 5-week farewell tour that eventually expanded into over 150 shows across the country over 15 months.  While I’m not a huge country music fan, I grew up in the pre-Sony Walkman days of AM/FM radio where the whole country seemed to know the same songs and watch the same few tv channels so I know a few of his solo hits. But before fame struck, Campbell was a studio musician with The Wrecking Crew and he has immense musical talent that transcends genres. At first I enjoyed the film and watching Campbell soaking up the applause from his faithful fans. He was still able to play the music even as lyrics completely evaded him without the teleprompter. But, I couldn’t quite finish it. It was just too painful to watch this man who was the epitome of the alpha male (four times married, the embodiment of the Rhinestone Cowboy and the Wichita Lineman) as his kids kept teasing him forgetting to stay on his mark on the stage or as he had to pee in wastebaskets because he couldn’t remember the way to the bathroom.

Next up was The Winding Stream, another 2014 documentary, about the Virginia folk band the Carter Family. This quirky little film tells the story using interviews and goofy, but kinda charming, animated still photos intermixed with musical footage. I wasn’t at all familiar with the early story of the start of the Original Carter Family and enjoyed having living relatives tell the tale of how A.P., Sara and Maybelle Carter left the family farm in 1927 to travel to Bristol, Virginia to make recordings in an old hat factory. But what was most fascinating about the early period was the story of A.P. collecting music from all over the country and turning it into songs. On the one hand, old family music that wasn’t recorded anywhere else and may have been lost was preserved but, on the other, no compensation was paid.  The film moves through the start of Mother Maybelle and the Carter Sisters, the end of Sara and A.P.’s marriage and her self-imposed exile to marry and live with his cousin Coy in California, June Carter’s marriage to Johnny Cash, and up to the creation of the Carter Family Fold, where you can still go hear their music today in Virginia.

Last, but not least, I watched Gimme Danger, Jim Jarmusch’s film making the case that the Stooges were one of the most under-appreciated, greatest rock-n-roll bands of all time. I have to say I expected more scenes of wild mayhem in this movie, but I was good with what I got instead.  Iggy Pop, at age 69, looking intensely at the camera and telling the story as clearly he wants it told. And I respect that. I recently heard that reporters are pissed that Robert Plant, out to support his latest solo album, essentially tells them to go get a life when they keep asking him if he plans to write a book.  He tells them it’s all between his ears and that’s enough.  I get the sense that for Iggy that’s not quite enough but he wants to tell the story his way.  What’s there is good stuff (you just wish there was more). Childhood stories, opening for the MC5, working with Bowie, almost making it to stardom but needing to return home broke to his parents’ trailer, and performance footage. One of my favorite moments is when Jarmusch captures the reaction of the Asheton brothers’ mother, as related by their little sister, of when Iggy called to put the band back together 35 years later. “Iggy called! Iggy called and he wants to get the band back together!” says the excited 70-something year old about her 50-something year old sons getting to play with the Stooges again.  I love that power of rock and roll.

Happy viewing! - Anne Marie

Wes John Cichosz Threads the Needle with New Record - by Matt Walters

In order to succeed in today's music industry, artists are frequently encouraged to have the widest possible appeal. 

Be immediate.

Be universal.

Don't ever be obscure!

After all, in this digital download age, instant gratification has become the calling card of the marketplace. To satisfy restless fans in the ADD era, where tens of millions of entertainment options are available at any possible second, there is simply no room left for an emerging artist to try to be an acquired taste. There's too little mantle space left to display a newly-discovered curio, anyway, with all of the instantaneous access we have to million of songs. Yes, it would be sheer folly for any artist to attempt to become that unlikely favorite you loudly champion in that back room to your oldest friends, as the hours turn from late to early, and as the scotch runs three fingers deeper....

..and yet, against all odds...Wes John Cichosz will be exactly that thing, should you give him the opportunity. 

Cichosz's sophomore effort, "The Moon Threads a Needle" is an exceptional triumph of nuance and subtlety. Each of the nine tracks are a distinctive blend of sophisticated musicianship and incisive lyrical wit, set against a backdrop of uniquely imaginative arrangement. 

It's the early solo work of Paul Simon (at his most sardonically clever and concise) blending with hints of Steely Dan at the height of their tragically sharp wit and stupefying arrangement powers. It's the muscles of Zappa's compositional prowess flexing to couple with the mellifluous delicacy and dynamics of the great late-70s solo artists: Lowell George, Loggins and Messina, and yes, Boz Scaggs. 

If these seem contradictory, believe me, they should be. This record should be a convoluted, disastrous mess. However, "Moon" is quite the opposite. Wes has painstakingly synthesized these sharply distinct ingredients into an cool, organic, cohesive stew that simultaneously cooks and flows. 

In a word, it's fucking brilliant.  (Okay, that's two words. Here's two more: Sue me.)

The album opener and lead single, "Everybody Says," contains so many things that "everybody" would probably caution you against doing in a song these days...beyond the ridiculously irresistible chorus, of course. 

There's way too much exposition before we hit the first hook.  There's way too little volume going on to excite and titillate the impatient, and there's way too many key changes to grab the listener. Ah, but grab you, it does- and his songs don't exactly do a good job of letting go, once their hooks sink in. As it turns out, the acoustic exposition is utterly crucial to change your ear from hearing to listening, while the space within the Royal Scam-influenced verse lets the wine of the words breathe, and the chorus arrangement features a sophistication that is curiously never overbearing despite its playful dance. 

This track is a tour-de-force of all things that encompass the totality of Cichosz: the top-shelf musicianship featuring his brilliant acoustic guitar phrasings and virtuoso-caliber saxophone; the deliberate arrangements that always sound effortless beyond the complexity they betray to the careful listener; the iconoclastic, against-the-grain philosophy of the sharp-tongued anti-hero he crafts, his voice filled to the brim with the rough-hewn character and subtle dynamics that his incredible lyrics demand. All of it is channeled through an observational-but-cutting lyrical humor that is woven to tie it all together, standing steadfast, just on the dry side of dry, just on the funny side of helpless, just on the right side of cynical despair. It's crucial to it all. 

The title track spills out of that first song in the second position, almost as a plaintive sigh of relief, as a wheeze of a guitar phrase that resolves into a caesura, and then breathes into a pleasant, understated melodic theme. "The Moon Threads A Needle" is the perfect linking verb in the first paragraph of an essay, featuring beautiful reeds and a nice set of harmonies over an anti-chorus, which is really more of a resting point between complex musical passages than a hook. Still, it manages to get into your head in the most subversive of ways. The highlight actually threading the needle is a dizzying middle eight, conjuring instrumental Zappa in the perfect part of his compositional career- after he abandoned the cheap thrills of pure satire, but before he waded so far into the synclavier that he forgot how to really make a band routinely dazzle an audience. 

I've always felt there was a natural link between album sequencing and a proper batting order in baseball, and so the most immediate and best pure pop song of the album, "Kittens and Ice Cream," coming in at #3 in the lineup (the best hitter for average), tickles me even beyond memes of the two titular nouns ever could. It's thematically reminiscent of "Something in 4/4 time" from the underrated 1980 Daryl Hall solo LP "Sacred Songs" (where Daryl's catchy commentary on label executives goes nuclear after a Robert Fripp guitar break with reversed rhythm patterns is inserted into an otherwise tailor-made radio hit); here we have a common-key, artfully crafted pop song with an insidiously toe-tapping chorus admonishing us of the evils of modern consumerism. The punchline is everything, though. Wes' sarcastic optimist still hopes for the best, despite "the clear and present manger never seem(ing) so far away", wishing that "one day skies will open up to equal rain." He's always riding the edge with a wink and a smile, rather than cynically diving over it. I love that. 

I could go track by track and reveal all of the details I've personally mined from this incredible album, but to do that would simply rob you of the discovery I hope you dare to make for yourself. All of the other tracks contain similar musical and lyrical depth, and like all other exceptional albums, it's almost impossible for me to choose my least favorite song. The "Blackout" opening lyrical couplet is a brilliant observation on life's spell of diminishment (one I've definitely felt resonate while occasionally lost in the wilderness of my own head in an increasingly confusing music industry); "Important Stallion" showcases Wes' supple, modular, crack band of Chicago professionals in their hottest bebop shuffle, behind the beat but aggressive...a loose feel, but tight as hell; "Bottle Made of Twine" pushes the sonic climax of the album into progressive territory, in ways that are truly daring...but never truly pretentious, with breathtaking dynamic contrast through it all. "The Birds of November 6th" contains the sweetest jazz vocal harmonies, borrowing all the right things from yacht rock while checking the self indulgence at the door. "The Only Day" is a fitting exercise in the confident restraint of a great songwriter, and "When Molly Got Lost" has an undeniable roll of a rhythm paired with an infectious call and response.

In another era, Wes John Cichosz would be a Signed, Fully Financed Artist, one who would already be making his way around sold out mid-level venues with the muscle of a Columbia or Warner Bros behind him, as he gathered momentum towards the next phase of his career. Yes, he's that good. It's sad that with the evaporation of truly exploitable financial opportunities in the music industry, some truly deserving artists can't get the exposure to lead them to that Big Break. However, like Wes' lovable anti-hero, I also happen to be a not-quite-cynical optimist, preferring to believe that one day skies will open up to equal rain, too, and that the Wes John Cichoszs of the world will get their due alongside the other great songwriting virtuosos we already know. My advice is to jump on board now... because it never goes out of style to be the first one of your friends to find a gem like him.     Click here for his website

Matt Walters is a retired professional poker player, theatre industry Union thug, lead guitarist and keyboard player for Roxy Swain, and the songwriter, vocalist and frontman of Sixcups. When not negotiating, recording, or performing, he is typically found at Galloping Ghost in Brookfield Illinois, setting high scores on obscure Japanese arcade games. He still resides in Oak Park, IL after all these years, and is occasionally persuaded to write about music.

I'll Tell You Who Belongs In the Rock and Roll Hall of Fame - by Colin Gawel

Nineteen acts have been nominated to be inducted in the rock and roll hall of fame in 2018. Fans can vote for five acts they feel deserve the nod by clicking here. I'll go ahead and save you the trouble and tell you who gets the thumbs up and thumbs down. I know there is the popular misconception that arguments for and against the rock hall are purely subjective. I concede this is the case for everybody on the planet except for one person. Me. My opinion is strictly objective. 

I think reasonable people can agree that being a member of Why Isn't Cheap Trick in the Rock and Roll Hall of Fame? gives me added insight compared to just a "regular" music fan.  I know what you are thinking, "Why does Colin waste his time sharing his thoughts with us bloggees when he could just as easily send a text to Jann Wenner telling him who should be in the rock hall?" 

That's a tough question, but a fair one. The simple truth is that while it is true I am over qualified to write this article and share it with you nice folks, I am no elitist. Rock n roll is music for the people so it would be selfish of me to keep my insights to myself. Possibly even cruel. So on that note, let's boogie!

No Brainers: Judas Priest and Radiohead. Metal has been under-represented and along with Iron Maiden, nothing has held up better over time than Priest. As for RH, they are the REM of their generation. I was a bigger fan of The Bends though everybody lost their shit over OK Computer. Also of note is that the rock hall induction has become a televised HBO concert so they need some actual fans to fill an arena. Having these two bands on the bill would be a good start. I have three votes left.

 I can appreciate what Link Wray, Nina Simone, Kate Bush and Sister Rosetta Sharp have contributed to the rock and roll cause, but they don't deserve a vote here. The rock hall needs to slide them in some back door the way Baseball does with their veterans committee. I still have three votes left and 13 bands to choose from. 

Good bands, but not Hall of Fame worthy:

Eurythmics - Nice videos sure, but the band barely toured. Without MTV would they even exist? I do love the song Why by Annie Lennox, though.

J. Geils Band - I know, I know, everybody on the West side of Columbus loves J. Geils. Yes, they were a very, very good bar band who broke through the mainstream with Freeze Frame. But, very good is not HOF worthy. Bonus points for the bouncing ball lyrics on the Love Stinks video and the fact you could rub one out to Centerfold on MTV in middle school if you didn't have time to wait around for a Madonna video. 

Dire Straits - I could be won over by the case for Mark Knopfler. Now, that guy has had a career. Dire Straights, Notting Hillbillies, Princess Bride, all that cool shit with Emmylou Harris. But just Dire Straits? They may get the money for nuthin' and chicks for free, but no rock hall for you.

Moody Blues - Naw 

I have three votes left and nine bands to choose from. 

The Zombies - I wanted to get on board with these guys but they only put out two records in their hey day. If you only put out two records, one better be call Appetite for Destruction. Thumbs down.  (editor's note: Two records in their heyday? Not even close, Colin, not even close, but don't get me started.) (My note back to Ricki C. Right now I'm staring at The Zombies discography and they have a release in 1965, one in 1968 and not another until 1991 - Colin) 

The Cars - Speaking of amazing debut records, The Cars may be the best in history. How many other bands arrived on the scene fully formed? Off the top of my head.......

AC/DC - Jailbreak     Guns n Roses - Appetite    Tracy Chapman   Maybe Ramones?

and The Cars. Problem is, they sort of ran out of steam soon after and sunk into self-parody with the Mutt Lange produced Hello Again bumble bee video stuff.  Ugh. Lots to like here and I want to root for Elliot Easton but The Cars don't quite deserve it. Though they will probably get inducted to help fill seats in the ceremony. Thumbs Down. 

Rage Against the Machine - Damn, I've come around to these guys and that concert in England is jaw dropping but if Rage is going to get in I suppose it's only fair the MC5 get in first. Thumbs down.

MC5 - Ok, Ricki and Big $ love this band and they score huge points for Kick Out the Jams and having their manager get busted twice for selling weed to the same undercover agent. My knock against the 5 for all their swag is how many great songs do they really have? Ah, hell, who needs great songs when you can just scream KICK OUT THE JAMS, MOTHERFUCKERS! The MC5 have waited long enough. Thumbs up. 

Two votes left for five bands. 

Rufus featuring Shaka Kahn? What the hell is that? No.

Bon Jovi - As I wrote in a separate piece, the only argument for Bon Jovi is their huge record sales during the late 80's. Upon closer examination during the same period Whitesnake was selling six million records and even Stryper went platinum. Bon Jovi are the Sammy Sosa of rock n roll. Inflated numbers masking their awfulness. They are a better version of KISS during the Crazy Nights era. Does that deserve to be immortalized? Ten thumbs down. 

Two votes for three bands

The Meters - When in doubt go with a band from New Orleans. Somebody is going to have to get people dancing at the induction ceremony after Radiohead performs. These guys can lay it down. Beat out J. Geils for my vote. Thumbs up. 

Two Votes - Two Bands

Hmm....this comes down to a difference of styles. I know people love Depeche Mode and that Personal Jesus song was pretty bad-ass but.....

LL Cool J stood next to Rick Rubin at the very beginning of the NYC hip hop scene. Run DMC, The Beastie Boys and Public Enemy soon followed. I've never bought that stupid veiled racist bullshit that rap isn't rock. Crank up Mama Said Knock You Out next to Ace of Spades and let's call it a draw. 

Thumbs up to LL Cool Jay. Depeche Mode has to wait another year.

So the 2018 Rock n Roll Hall of Fame inductees are:

Judas Priest - Radiohead - The MC5  - The Meters - LL Cool J

Colin Gawel plays in Watershed and the League Bowlers. He founded Pencilstorm just so he could write about stuff like this while ignoring customers at Colin's Coffee. 

Review: Mock and Roll Premiere at Gateway Film Center - by Pete Vogel

 

“We are the best damn Black Owls parody band in the land!” shouts Bun, the drummer for Liberty Mean, a band of hapless Millenials from Columbus, OH.

This line pretty much sums up ‘Mock and Roll’ in a nutshell.  The movie begs as many questions as it answers and it spoke to me on many levels at its Columbus premiere at Gateway Theater this past Sunday: It took a few pages from the theatre of the absurd, sprinkled it with a dash of comic tomfoolery and marinated it in pure goofiness.

Mock and Roll is a mockumentary film about the band Liberty Mean, a four-piece unit of clueless Millenials—comprised of Robin, Tom, Rick and Bun (do you get the joke yet?)—who parody another local band, The Black Owls, for a tiny crowd of followers at various dive bars around Columbus.  The band is basically using their minimal fame to cobble together a documentary that Robin’s brother—Sully—is filming for the band’s archives.  

[Again, this begs more questions than answers, such as: 1.) Why would a local band parody another local band; and 2.) Why would anyone DOCUMENT a local band parodying another local band?]

Such is the theme of ‘Mock and Roll.’  In the spirit of ‘Spinal Tap,’ ‘Best of Show,’ ‘Bill and Ted’s Excellent Adventure’ and ‘Fargo’—‘Mock and Roll’ follows the life of the band, who come up with insane ideas on how to expand their audience (and revenue).  At first it was parodying bigger acts—such as Foghat and Cheap Trick—but those never got off the ground.  Then they decided to parody their favorite local band, The Black Owls (read: minimal fan base), and rewrite lyrics to the band’s tunes.  

Like most bands, Liberty Mean (who get their name from a lyric from The Black Owls) want to expand their fan base by playing to larger audiences, so they come up with the crazy notion that they should attend South by Southwest (SWSW), the largest music festival in the US.  They have no plan other than to attend the event in Texas: they aren’t booked for the event and have no contacts there.  But they feel they have to go, as if Austin was Mecca and all other details would miraculously fall into place.

The band makes several failed attempts to raise money for the cause: their crowd-funding page (managed by the guitarist’s girlfriend) only raises $27.50, and their gigs pay slightly more than that.  They decide to lend their bodies (and minds) to science in an attempt to raise quick cash, but the ensuing acid trips administered by a local quack only have negative effects on the band (especially Bun).  Bun has a bad trip, quits the band, and considers a solo career (“I can sing too!” he bellows).  After a brief hiatus, Bun rejoins the band and comes up with a third plan: his cousin needs help delivering art, so he talks the band into taking on these shady courier jobs.

This is where the movie takes a page out of ‘Fargo’—but you’ll have to check out the movie to see what I’m talking about!  

The writer and producer, Mark Stewart, says he has no political or social message to convey to his audience, but after sitting in the theater for two hours I came away with plenty.  The first message conveyed to me was the fact that many Millenials use ‘magical thinking’ in pursuit of their artistic dreams.  I’ve seen this many times in my career: I’m a professional musician/instructor and have worked with dozens of Millenials.  They think that technology alone will make it possible for them to attain their goals in five easy steps.  Many think they can write/record/produce an album, put it on Spotify and become instant millionaires without ever leaving home.  Or they could show up at open mic, play a couple tunes, and hundreds of people will buy their EPs.  Or this: Go to SXSW, play a venue on Sixth St. and get discovered by the next Phil Spector (true story).  

Liberty Mean has plenty of these ideas, yet none are given proper reflection by its band members.  All of them are consumed with one thing: THIS idea will make us money!  Yet they somehow forget to learn the lessons from their decisions and ultimately pay the price.  Very Seinfeldian in that regard.

There are too many absurd moments to reflect on all of them, but I think my favorite is when the band meets a couple of future fans that are curious about the band.  They tell them all about their parody act.  “I’ve never heard of them,” says one female fan, when asked about the Black Owls.  “Well, they’re from Ohio,” says Rick in response.  Another absurd moment was when the band finally reached the conclusion that they won’t be able to make the trip to Austin due to limited funds to buy plane tickets.  [Hint: struggling bands don’t FLY—they rent vans!]  The absurdity is endless, and those who like pure silliness will find plenty in this film.

Without intent, Mark Stewart has something profound to say about the DIY movement and Millenials, but I’m sure those messages simply seeped through the movie unintentionally.  As a musician—and colleague to many Millenials—it spoke volumes to me.  Even the casual music—or mockumentary—fan will find this film a treat; it is definitely worth checking out.  There’s a profound morality tale built into the absurdist notion of these clueless characters.           

Of particular note, it was great to see a local filmmaker pay homage to Columbus in so many ways.  As a proud native, I was happy to see so many familiar places—and faces—scattered throughout the film.  I’m sure audiences throughout the country might appreciate the satire even more than its homegrown ones—it’s definitely making some noise outside of I-270.  

If you like music, comedy, satire and goofiness then this is definitely the movie for you.  It’s winning awards at all the film festivals and is planning on premiering at many more in 2018—definitely take in this flick and enjoy the ride.

Congratulations to Mark Stewart on a wonderful movie and a wonderful homage to a great music town: Columbus, Ohio.  And congratulations to local band The Black Owls, whose music is peppered throughout the film.  It’s always a treat to see kudos granted to local artists.  And it’s a rare treat to see filmmakers making their debuts in their sixth decade—pursuing art is pursuing the fountain of youth.  I am reminded of Glen Hansard’s two-word comment after winning the Grammy for Best Song from the indie movie ‘Once.’  He simply said: “Make art.”

Make art, indeed.  Make it.  Make it.  

Pete Vogel is a musician and filmaker who happens to write for Pencilstorm too. Learn more at Petevogel.com .

Remembering Malcolm Young - by Scott Carr

Remembering Malcolm Young ( January 6, 1953 – November 18, 2017 )

If you follow my ramblings on Pencil Storm you already know I am a huge Kiss and Alice Cooper fan. I am also a big fan of the thunder from down under known as AC/DC. It is with great sadness that my first writing about the Aussie rockers comes with the passing of rhythm guitarist Malcolm Young.

Generally when people talk about AC/DC they are quick to mention the zany antics of lead guitarist Angus Young, younger brother of Malcolm. The praises thrown at Angus are very well placed but often overshadow the importance of his big brother. Even Angus himself often spoke of the important role Malcolm played in the band.  

Check out this excerpt from a Guitar World Magazine where Angus gives some insight about his brother...

"ANGUS YOUNG: Malcolm's really underrated. He makes the band sound so full, and I couldn't ask for a better rhythm player. Sometimes I look at Malcolm while he's playing, and I'm completely awestruck by the sheer power of it. He's doing something much more unique than what I do—with that raw, natural sound of his.

People like Malcolm, Steve Cropper, Chuck Berry and Keith Richards—they're all doing something better than the rest of us. I can't deny that Eric Clapton's and Eddie Van Halen's lead stuff has influenced a stack of people, but for me it's the rhythm thing that's way more impressive and important to a band. Malcolm is a big inspiration to me; he keeps me on my feet.

Even when I'm tired from running around the stage for two hours, I'll look back at what he's doing and it gives me that boot up the backside I sometimes need. [laughs] Also, he can always tell me if I'm playing well or if I'm not. Mal's a very tough critic, and I know that if I can please him, I can please the world.

A lot of people say, "AC/DC—that's the band with the little guy who runs around in school shorts!" But I wouldn't be able to do what I do without Malcolm and the other guys pumping out the rhythm. They make me look good. Mal is really a great all-around guitarist. I know it says "rhythm guitar" on the album jacket, but if he sits down to play a solo, he can do it better than me. Not a lot of people have picked up on this, but in the early days he used to play lead. But then he said to me, "No, you take the solos. I'll just bang away back here." And what's more, he actually plays rhythms. He just doesn't make a noise; he works them out, and he knows when not to play".

AC/DC was/is Malcolm's band. It was his idea and he was the man with the plan. He started AC/DC with Angus because he felt like there was no real rock 'n roll out there. With that he set out to fix things and for the next 40+ years he continued on the path to bring rock 'n roll to the people. Singer Brian Johnson recently commented that Malcolm gave rock 'n roll "a fist".

I guess it's fitting that I attended my first AC/DC concert with my older brother. We saw them on the Powerage tour in 1978 with Cheap Trick opening. That concert still stands as one of my all time favorite concerts ever.....a game-changer.  I was still in grade school and my brother was six years ahead of me but he always let his little brother tag along to all the cool concerts even though his peers would rag him pretty hard.  My brother played guitar and was in a band, so he was an early inspiration on my future musical endeavors. 

Nothing can really take the place of that brotherly connection, so reading what Angus said about Malcolm really hits home.

My first AC/DC show

Angus with Malcolm's 1963 Gretch guitar known as "The Beast".

Hearing AC/DC in 1978 was a real eye-opener. I had never heard anything like it. The guitar riffs were so big and crunchy and every song was instantly catchy and stuck in my brain. After hearing Powerage for the first time I began seeking out the bands back catalog that included several albums that I had no idea existed. Along with the records the band had released in the US, there were other records that were only released in Australia. I had to have them all, which took some time.

The release of Highway To Hell in 1979 took the band to whole new level and the band really started breaking worldwide. I got to see them again on this tour and I would say they had become my second favorite band just behind Kiss but if I'm being totally honest I probably played Highway To Hell way more than I did Kiss' Dynasty in 1979 and I love Dynasty.

Sadly in the dawn of the new decade while working on their follow up to Highway To Hell singer Bon Scott unexpectedly passed away. I was devastated at this news. I was even more devastated when it was announced that the band planned to continue on with a new singer, because I figured no one could replace Bon. 

Back In Black was released on July 25th, 1980 with new singer Brain Johnson at the helm and the next chapter for AC/DC had started. At first listen I did not like hearing a new voice in the band but those big crunchy guitar riffs from Malcolm and Angus seemed to make it work. I guess it was then that I realized how important those guitars were to the sound of AC/DC. I did miss Bon and my interest in the band would drift with each record but the sound that the Young brothers created was undeniable and uniquely their own.

Malcolm will be missed and there will never be another quite like him but he has left behind forty years of big crunchy guitar riffs that will continue to shake foundations worldwide.

RIP Mal

Malcolm Young tribute in Melbourne Australia 

Check out some of my favorite lesser known AC/DC songs below......

Scott Carr is a guitarist who plays in the Columbus, OH  bands Radio Tramps and Returning April. Scott is also an avid collector of vinyl records and works at Lost Weekend Records. So...if you are looking for Scott....you'll either find him in a dimly lit bar playing his guitar or in a record store digging for the holy grail.