In Memoriam: John Ballor, 1956-2019 - by Ricki C.

I have a heroically garbled cassette tape from 1978 of Romantic Noise, Willie Phoenix's best band EVER, playing a song called "I Feel New."  John Ballor, the lead guitarist of Romantic Noise, sings lead on the tune and it is, quite simply, one of the most gorgeous, heartfelt tunes I have ever heard in my rock & roll life.

The quote above was the first paragraph of The Ballad of Willie Phoenix part one / Romantic Noise and The Buttons, 1978-1980 in 2013, from my old blog, Growing Old With Rock & Roll. John only sang lead on about three tunes in Romantic Noise: the aforementioned “I Feel New,” another great power-pop tune called “Holly” and a raver called (I think) “Politician, Politician” that only got played once when I saw the band. (Songs came & went pretty quickly in those days, Willie was CRANKIN’ out the tunes, most of them good, many of them great.)

Colin wrote me yesterday and said that he read John had passed away. From what I can piece together with my rudimentary computer skills, John died peacefully in hospice care in Ann Arbor, MI, from complications of MS and cancer.

I’m not really gonna get into all that, though. I’m gonna remember John to the stage right of Willie, spinnin’ out great concise lead guitar lines & solos (Willie didn’t start playin’ lead guitar until The Shadowlords in 1982) and adding backing vocals along with bass player extraordinaire Greg Glasgow in Romantic Noise and The Buttons. You can check out all the stuff I said about those bands by following that link above if you like, but let me just say this: Willie Phoenix has been a genius musician since the first week we met in 1978, but those two bands – Romantic Noise and The Buttons – with John & Greg and successive drummers Dee Hunt and Jerry Hanahan were Willie’s best bands EVER, largely on the strength of the musicians involved in those bands. (On the other hand, Willie was writing SUCH great songs in that halcyon late-70’s era it’s possible that the quality of the tunes improved the musicianship of the band.)

John went on to play with a lot of other bands after The Buttons broke up in 1980: The Amenders, Civil Waif, The Waifs, etc. I think one of them even got signed to Arista in the 1990’s, but I’m not sure which one. I am sure of this, though, my favorite post-Buttons story about John involved that band. In the early ‘90’s Willie was playing with The True Soul Rockers; Kozmos on bass, Mike Parks on lead guitar and the rock-solid Jim Johnson on drums. One weekend the TSR was playing at Chollie’s, a little dive bar in the Graceland shopping center that was formerly a Long John Silvers. (You could still smell the fried fish in that place.)

It was summertime & hot and Mike Parks & I were hangin’ around outside during one of the set-breaks when a big-ass white limousine pulled into the parking lot and stopped in front of Chollie’s. Mike & I just looked at each other and Mike said, “Well, this guy’s gotta be lost.” The back door of the limo opened and out stepped John and his wife & Civil Waif band-mate Laura. (John just MIGHT have been wearing a white suit to match the limo, but my memory’s a little hazy on that.)

“Hey guys,” John smiled brightly, shaking Mike’s & my hands, “how’ve you been?” I laughed, fixed John with a stare and said, “John, you hired a fucking LIMO to make an entrance at CHOLLIE’S? Arista must be paying you a LOT of money.”

John just switched on that little-boy grin of his at my calling him out, and we went in and caught the last set. I think that might have been the last time I ever saw John, and I treasure that memory to this day.

Check out the picture below, and make no mistake: John Ballor was the PRETTIEST lead guitarist I ever changed a string for. – Ricki C. / May 1st, 2019.

ROMANTIC NOISE / 1978

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What I Learned at Chris Collaros' Funeral - by Scott Goldberg

I know for many, attending a funeral is difficult—knowing what to say to family or being around grief can be uncomfortable. For me, there is a closure that occurs at funerals that I find helpful. What I have invariably learned at funerals is the things we often view as frivolous are actually the things that resonate with people. They are things that connect us to each other and specifically to the person we have lost and come together to honor.

This past week I attended the funeral of Chris Collaros. Chris was the principal at Wickliffe, the elementary school my kids attended. My youngest is now a freshman in high school, so it’s been awhile since we have been active members of the Wickliffe community.

Nevertheless, the evening before the funeral my daughter (now a junior in high school) and I paid our respects at the funeral home. We weren’t alone. We arrived around 6 pm and wound our way through a line that took about an hour and a half to reach the family. Apparently, it had been this way the entire calling hours which began at 3 pm. Throughout the funeral home were mementos of Chris’ life. Most poignant were the notes, cards and pictures from Wickliffe students some with encouraging messages, and others just reporting on the current happenings at school and letting him know he was missed. One wall was decorated with some of the colorful ties Chris wore including his beloved Pittsburgh Steelers—as a Browns fan it reminded me even Chris Collaros had his flaws. We saw alumni families like ours, younger families with kids still attending Wickliffe, and we hugged past teachers that nurtured my kids and taught them about things like compassion and empathy that come in so handy at moments like these.

When we reached the family, I recounted to one of Chris’ daughters how our family was nervous when Chris became principal at Wickliffe. We had gotten to know the previous principal, Dr. Fred Burton and loved the community he had created at Wickliffe. But it didn’t take long for us to realize what Dr. Burton already knew--that Wickliffe was in good hands.

The next day at the funeral, I learned a lot I didn’t know about my kids’ principal. Back in the day, Chris Collaros was a football star in blue collar Steubenville. Mellancamp’s Jack and Diane running through my head—for Chris was Jackie—he was “a football star”. Good enough (and smart enough) to earn a scholarship to Princeton.

I learned Chris took the work he did quite serious, but I never felt like Chris took himself too seriously. Promoting progressive education in Upper Arlington is probably not as easy as Chris made it look. It wasn’t always clear to me what progressive education meant. But I knew it involved experiential learning, celebrating all kids, and respecting and tolerating all their differences. The result of which created a special community that our family is proud and grateful to be a part of.

I did know Chris played the guitar. Chris played in a band along with Fred Burton and a few other school administrators and they called themselves Principally Speaking. The band was a staple at the annual Wickliffe fundraising event. Chris brought his guitar to Wickliffe Town Meetings, Golden Star Choir performances, and occasionally on his visits to classrooms. The funeral was filled with music. Beautiful, uplifting music performed in part by the Upper Arlington High School choir.

The funeral was poignant and sad (I’ll admit I cried) for we had lost a great man who provided a wonderful learning environment for our kids, but I also left grateful to have known him. And even more grateful for the impact he has had on my children, my family, all the kids that graced the halls of Wickliffe, all the kids that then are affected by the spirit of Wickliffe when those kids move on to middle school and high school, well the impact is immeasurable.

Often what is written in pencilstorm can seem frivolous or beside the point. Somebody’s top five concerts, the Buckeyes prospects this season, or which Cleveland team is about to break my heart. But music and sports have a way of connecting and uniting people. It’s often how we explain our connections to our close friends and loved ones. That’s the exact opposite of frivolous—it’s vital and makes life worth living.

I wish Chris was still around to greet kids as they enter Wickliffe with that gapped-tooth infectious smile of his. Frankly, I wish he was around for next football season so he could witness the pounding the Browns are about to inflict on the Steelers and get a small taste of what it’s like to be a Browns fan for say the last 40 or so years. Thinking about Chris the song Forever Young keeps running through my head—not the Rod Stewart song, but the one by Alphaville (I had to look that up). I guess a job that requires you to be around kids all day can do that for you. He was a lucky man.

So next time someone who has touched your life passes, take the time to attend their funeral. You will be reminded of why they meant so much to you and you may learn something new about them. It will likely give you a chance to reflect on them, perhaps laugh about some anecdote, and cry a little too. I did all that at Chris’ funeral. And as the wise coach Jimmy Valvano said if you do all those things you’ve had a full day, you’ve had a heck of a day. - Scott Goldberg

Concert Review: Ex Hex / The Loving Touch, Ferndale, Mi. / April 8, 2019 - by Jeremy Porter

Photos by K.D. Bodnar. Do not share or use the photos elsewhere without permission. 

On the Weeknight Brutality Scale (WBS), Monday nights fall just short of Sundays and just above Tuesdays as the worst night of the week to play or go out. But sometimes a record just grabs ya by the privates, drags you out to the garage, puts you behind the wheel, and sends you down Woodward Avenue to get out for some rock. That’s what happened to me.  I really liked the last Ex Hex record Rips, but the new one – It’s Real – really sunk its claws in deep. It’s got all the hooks and guitars and clever songwriting, but all notched up into what is so-far my album of the year. I wasn’t going to miss the show, even after one bud bailed (out of town with wife), then another (too much going on), then another (“Gotta pass, man.”). 

There was a good Monday night crowd at The Loving Touch, a one-time massage parlour converted into a great music venue in a hip suburb just north of Detroit, for Moaning’s direct support set. We did our best to stay engaged, but the mix was muddy, reducing the bass to low-end sludge and too dominant a presence in the sound. There were some interesting reverb-drenched Tele licks here and there, but it was a bit shoe-gazey and just didn’t keep our attention. Sorry guys. Come back to Detroit and we’ll give ya another chance. 

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 Ex Hex came out looking every bit the part in leather and spandex pants and line checked their Gibsons, Fenders, and Koll guitars. I hadn’t even heard a note but I loved them already and was feeling the sting of regret about missing their past Detroit shows. A few minutes later the lights went down and “Breakin’ The Law” by Judas Priest played over the PA.  What followed was an hour of smart and hooky pop-punk-surf-metal (heavy on the pop-punk, light on the surf-metal) that sounded familiar and consistent, but kept reinventing itself throughout the set. Singer Mary Timony (Ex-Helium) led the way, providing vocals on most of the songs and playing most of the leads, but Betsy Wright stepped in to break it up a bit every few songs with some different vocal flavors and some solos that fell just on the other side of KK Downing. Laura Harris laid down a powerful and steady back-beat and lended a beautiful layer to the harmonies that give them such a great, deep sound. Touring bassist David Christian stood back and stayed in the pocket, but wasn’t disengaged or reduced to a hired-gun role on stage. Just when you started to think it was getting a little samey, they pulled it back to a slow roll for a song, teamed up for some killer guitarmonies, incorporated some unexpected slap-back effects, or pulled out the Flying V for some heavy riffs that wouldn’t sound out of place on a Holy Diver outtake. 

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It’s probably not PC to say, but I love women-led bands. Always have. Juliana Hatfield, Joan Jett and The Blackhearts, The Avengers, Bangles, The Go-Go’s, and more recently Best Coast, Bleached, The Muncie Girls, and Ex Hex. There’s an element to the female voice that adds a deeper layer to the “pop” in power-pop, a distinction that magnifies even further the dichotomy between melodic vocal lines and layered harmonies and loud, overdriven guitars that define the genre. Ex Hex have it down – a REAL rock show that was every bit as raw and dirty as it was melodic and beautiful. As good as this record is and that show was, I can’t wait to see what they do next. 


Setlist: 

You Fell Apart

Good Times

How You Got That Girl

Tough Enough

Waterfall

Another Dimension

Beast

Radiate

Don't Wanna Lose

Rainbow Shiner

Cosmic Cave

Everywhere


Jeremy Porter lives near Detroit and fronts the rock and roll band Jeremy Porter And The Tucos - www.thetucos.com

Follow them on Facebook to read his road blog about their adventures on the dive-bar circuit -
www.facebook.com/jeremyportermusic 


Twitter: @jeremyportermi | Instagram: @onetogive & @jeremyportermusic | www.rockandrollrestrooms.com


Bringing Columbus Musician Funding into Alignment with the Industry - by Andrew Choi

Here's an easy task for you to try out. Look at a major indie music publication's premieres and reviews for a week. Take each artist that is featured, and type the word "publicist" next to the artist name in a Google search. Keep track of the publication over a period of time, and you'll find that with indie music acts, almost without exception, the artists have hired one of only a handful of publicists. Run enough searches, and you'll have a pretty handy guide to who the top 6 American publicist agencies are for indie music. The reliance on publicists was recently highlighted by a major indie publication, who stated that for all intents and purposes, they did not listen to music that did not come from a label or publicist that they already trusted. This is all to say, as an indie musician who wants to "get your name out there", if you do not pay one of the major publicists - i.e., one of the ones that this publication trusts, you will fail.

I'm not here specifically to attack the state of music journalism - that's maybe a battle for another day. But I am here to present a proposal for Columbus musicians as to how to make sense of the music industry circa 2019. Over the past 5 years or so, I've talked with a number of Columbus musicians working on record releases, and the same patterns keep cropping up. Inevitably, I'll suggest that they find a publicist to work with. Inevitably, the musician doesn't have enough money to pay a major publicist for a record release. So they either try to work publicity for the record on their own, or they find some other publicist at a lower price - i.e., not one of the ones that our indie publication friend here "trusts". And inevitably, they don't get their record "out there" as well as they would like. In fact, there have been a few Columbus musicians over the past 5 years that have gotten some more significant media attention. And if you run a Google search, you'll find that there is a rather straightforward pattern that connects up to the list of major publicist agencies mentioned earlier. This is by no means a way of speaking ill of those musicians - many of them are musicians who I respect. The fact that you need to pay a good publicist to get your name out there isn't an issue with the musicians, but it is an issue about inequality. Because the fact of the matter is that many musicians don't have that kind of money to pay a publicist, and that fact shouldn't be the determining factor in why they were not able to get their name out there. And moreover, that fact shouldn't be the reason why many Columbus musicians who are marketable on a larger stage, aren't able to market themselves (and Columbus more broadly) to a bigger audience.

But what if there were a way to equalize that? The Greater Columbus Arts Council provides grants for marketing, found in their Grants & Services Guidelines. However, the marketing support appears to only go up to $1250. If you look at the pricing for some of these "trusted publicists", I would suggest that the lower-bound cost of these services is actually at least $1000-$2000 *per month*, where a record release requires at least a 3-month commitment. As such, it seems like this amount should be increased. (It appears that they could get around this by offering separate grants per member of a group - though this would not work for all music acts.  And the existence of a separate $2000 max grant for "bands" suggests that this isn't possible). Or at the very least, the guidance should be adjusted to make clear that any musician that is able to book a vetted publicist should be eligible for full subsidy through the grants program.  Relatedly the guidance states that "you are required to use Franklin County based vendors or suppliers or demonstrate a compelling need to use non-local services." If the money is to be used for a "trusted" publicist, it seems that this guidance would have to be adjusted.  The guidance is not in step with the music industry as it exists now.

For the guidance on grants for publicity, look at p. 23 ("2019 Pilot: Bands & Ensembles") and p. 29 ("Marketing Support") of the Greater Columbus Arts Council 2019 Grants & Services Guideline. http://www.gcac.org/wp-content/uploads/2019/03/2019-Grant-Guidelines-FINAL-w-Rubrics.pdf.

If I had the ability to set it up myself, I would suggest a $6000 upper limit, where the publicity is reserved only for full album releases of new material (not EPs), only for musicians who are currently living in Columbus, and only for vetted publicists that have a demonstrable record of publicity. The vetting requirement is important, because the whole idea is that Columbus is trying to actually market its musicians to the world, and it makes no sense to spend the money on people who have no record of doing that. The residence requirement seems important, because the idea is that this would be an actual enticement for musicians to stay in the city. These guidance suggestions also make it so that the city can limit the funds spent to where it has the most impact - full album releases. I would eliminate the current eligibility of expenses for design services, partly because I don't think you get much bang for your buck on that. (I.e., the bands that keep appearing in major publications all have the same publicists - they don't all have the same design services). There would be only a handful of releases that satisfy these guidelines every year, so this wouldn't be a very large expenditure by the city, given what else they've spent money on. As it happens, these publicists do not work with everyone who can pay for such services.

Musicians should be aware of the funds ($1250) currently available to pay for publicity. (The fact that many weren't aware of these funds is surprising).  But they should also either seek to increase the maximum amount offered by the city, or get clarification from the city that more can be offered (say by offering multiple $1250 grants to different band members, similar to what they may have done in the past). Additionally there should be a push to ensure that the funds can be used for non-local or vetted services. As it stands, I think the guidance is out of step with the industry at this time, given that Columbus presumably has the goal of exporting the work of its best musicians.  Finally, there should be some clarification as to whether the Columbus Music Commission can be a source for such funds. If this can be confirmed, then musicians in the city should feel unencumbered by the prospect of releasing a record without having enough money to pay for a proper publicist. Columbus should also see an uptick in the recognition of its musicians in larger publications. And this is, I think, what people want in the end. How else could you advertise a music city to the world except by giving proper attention to the musicians in the city? - Andrew Choi

In his free time, the author performs as St. Lenox. St. Lenox’s most recent record, Ten Fables of Young Ambition and Passionate Love was placed on Best Albums lists at PopMatters and AllMusic for the year 2018. PopMatters calls St. Lenox "a Whitmanian ... full of wry observations about the people and places he encounters and his search for love that capture the old courage teacher's modern sensibility."  AllMusic credits St. Lenox with “some of the most unique and unconventionally thrilling pop music in the late 2010s.”

Ohio County Trippin': Delaware County - by Nick Taggart

Previous County Trippin' from Nick Taggart: Meigs County - Medina County - Champaign County - Seneca County - Cuyahoga County - Fayette County - Sandusky County -

DELAWARE COUNTY

The Art of the Meal”

2-3 March 2019


Whenever we find a reason to drive north toward Delaware, more often than not, after passing I-270, we follow old State Route 315, also known as Olentangy River Road.  It may not be as fast as the parallel U.S. Route 23, but its two shaded lanes are much more scenic as they follow the course of the river. That was the path we followed as we entered the county on a cold March morning.  In the past, we’ve been rewarded with sights of deer, turtles sunning themselves on logs, and great blue herons wading in the shallows. We even saw a single car accident in real time when it flipped over onto its top. Anything is possible on old 315.  There were no airborne vehicles on this particular Saturday, but Michele did spot a kingfisher as I navigated the winding road.

Just before we would have met with Route 23, a few miles south of the county seat, we turned off onto Bunty Station Road.  That led us to Liberty Road and the Stratford Ecological Center, a private non-profit organization that dedicates itself to the admirable task of educating “children and adults in understanding the relationship between living things and their environment, thereby fostering an appreciation of the land and all life that depends on it.”  Its 236-acre organic farm contains a combination of animals, agricultural fields, and woods.

We arrived for the 8 a.m. seating of the Maple Sugar Pancake Breakfast, an annual fundraiser where visitors are able to start their day with homemade whole wheat pancakes, Stratford sausage, and local maple syrup.  I estimated there were about 80 other diners with us that hour, with additional like-sized groups planned for each of the following four hours.

After our breakfast, we walked along the trail leading to the Sugar Shack, passing lines of maple trees being tapped for their sap.  Inside the shack, we saw how the sap was then boiled down to syrup. On our return stroll, we stopped at one of the barns and got a closer look at their herd of llamas and goats.

Back in the car, we backtracked a bit on Olentangy River Road and crossed the river at Hyatts Road so we could reach Taggart Road.  The latter is only about a mile and a half long, but it follows the course of the river on its east side. Early settler Ebenezer Gray Taggart owned a 96-acre farm in this area in the mid-19th Century and the road was probably named for him.  He’s not a close relative that I’m aware of, but I still enjoy having my picture taken with signs containing my surname.

North of there, on Chapman Road, we had to slow down to allow a family of deer to cross in front of us.  Two adults and two yearlings ambled across the road and then stopped once they entered the safety of the woods so they could stare back at us.  (“Oh look, deer, it’s a couple of humans in a Ford Escape. Sometimes, you can catch them with their windows rolled down sunning themselves.”)

I’d planned a short hike through Seymour Woods State Nature Preserve, but we couldn’t find a safe place to pull our car off Winter Road near its gated entrance, so we drove east to Route 23 and south a couple miles to Lewis Center Road.  Continuing east, we drove toward Alum Creek State Park, where the road then dips and bends around the southern end of the reservoir. We turned into the parking lot at the Lower Dam Recreation Area and came face-to-face with the imposing Alum Creek Dam.

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In the parking lot is an historic marker paying homage to the forgotten community of Africa.  In 1824, when Samuel Patterson settled here, the area was known as East Orange. Patterson, an abolitionist, helped hide runaway slaves in his home.  He also invited anti-slavery speakers to spread their message at the local Methodist church. When a pro-slavery neighbor tried mocking Patterson and his like-minded friends by calling their community Africa, they simply accepted it and had East Orange renamed.  

Michele and I climbed the steep steps up the side of the dam, passing a very absorbed jogger who ignored our greeting.  Once he reached the bottom, he turned and jogged back to the top of the dam, and then dropped to the ground and did pushups, his black winter coat and water-repellant pants slapping against the hard concrete with each repetition.  If I was so intent on physical exertion on a cold winter morning, I, too, would probably ignore those around me.

A mile south of the dam on Bale Kenyon Road sits the Delaware County Bicentennial Barn, a century-old barn that can be easily seen by southbound drivers on Interstate 71.  The state’s 2003 bicentennial celebration doesn’t feel all that long ago, but many of the barns that were painted then with the bicentennial logo are now gone or have been repainted.  What was once a common sight, now feels like a special gift from the past. We pulled off the road at the wagon wheel gate that blocks further progress. I snapped a quick picture of the russet wood barn before looking both ways, twice, and backing out onto the road.  

We returned to Lewis Center Road and drove east as it changed names to Big Walnut Road.  At State Route 3, we turned north and skirted a couple of golf courses while staying to the west of Hoover Reservoir.  At Cherry Street, we turned east into the small town of Sunbury and pulled over at the cute little town square. Not only is a Civil War statue a point of interest, but also the large boulder on which it sits.

The man memorialized atop a bronze horse is Civil War Major General William Starke Rosecrans, whose resume was long and impressive.  Besides being born in Delaware County, he graduated from West Point in 1842, and was an engineer, architect, and inventor when he wasn’t commanding the Union Armies of the Ohio, the Cumberland, and the Missouri.  “Old Rosy” later served as Minister to Mexico and as a United States Congressman from California. He’s buried in Arlington National Cemetery. Of possible interest to Columbus Catholics, his brother, Sylvester, was the first bishop of the Columbus Diocese.

The base of the statue is a 40,000-pound rock known as a glacial erratic, a large igneous rock formed from ancient volcanic magma more than 2.5 billion years ago.  More recently – between 10,000 and 110,000 years ago – these erratics were pushed into central Ohio from northern Ontario by the Wisconsin glaciers. The erratic which eternally props up General Rosecrans is said to be one of the five largest erratics in the state.

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That, of course, begs the question, “Where is the largest erratic in Ohio?”  Fortunately, it’s located nearby, only a mile or so east of Sunbury, about a tenth of a mile north of Hartford Road.  It’s an oval-shaped granite boulder 22 feet long, 18 feet wide and 8 feet high with a circumference of 72 feet. The weight of the exposed portion of the erratic is about 200 tons.  Unfortunately, it sits on private property, so we couldn’t get a close-up view, but when a rock is that big, it looks massive even from afar.

We continued our tour of Old Rosy sites north of Sunbury on Rosecrans Road.  West of Blue Church Road, on the south side, sits an easy-to-miss plaque attached to a rock and enclosed on three sides by a black metal fence.  A half dozen small American flags help decorate the General Rosecrans Memorial. The words on the gold-framed marker, erected in 1940 by an American Legion post, record the General’s birth and death dates and explain that the memorial marks his birthplace.  I assume the Rosecrans homestead once stood nearby and that Old Rosy wasn’t hatched just outside by the side of the road.

Continuing north on State Route 61, we turned east onto Chambers Road to find the only covered bridge in the county.  Aptly named the Chambers Road Covered Bridge, it spans Big Walnut Creek and can still be driven over, which is pretty amazing considering it was built in 1883, but more believable once I learned it was renovated in the early 1980s.  The foundations were rebuilt and a concrete center pier added. A steel substructure also ensured the bridge could carry the weight of motor vehicles. The inside wooden planks are colorfully festooned with the usual graffiti informing travelers of who loves whom.  A budding artist also tried his hand at male genitalia representation; either that or a dachshund with big round ears.

Apparently, I’m logistically-challenged because after visiting the covered bridge in the northeast corner of the county, I decided the next item on our itinerary was a restaurant in the southwest corner of the county.  We followed State Route 42 mostly south and west around the county seat and across the Scioto River. Turning south on Dublin Road, we drove to the small community of Shawnee Hills where we found the Morgan House restaurant.

The eatery is built around an authentic log cabin that originally stood in Morgan County, Ohio.  The founders of the Morgan House had the cabin moved to its current location in 1985 and named the restaurant for John Hunt Morgan. I find it “interesting” that the website, in giving the restaurant’s history, describes Morgan as a “famed Civil War veteran,” and gives a brief biography of the man that only covers his pre-Civil War life.  He was in fact a Confederate general who led a raiding party of 1,000 troops through southern Indiana and Ohio in 1863. He was eventually captured and sent to the Ohio Penitentiary, from which he escaped. He was shot by Union troops in Tennessee a year later. Why name a restaurant near Dublin, Ohio for a Southern general? It is believed that Morgan may have stayed at the Morgan County cabin during his raid.

Laying history aside, Michele and I picked up menus and enjoyed a delicious lunch.  I started with a cup of tomato basil soup before moving on to the daily special, an open-faced turkey club sandwich on Texas toast.  Michele ordered the Morgan House soup, a “thick chicken cream-based soup with celery, onions, mushrooms, white wine, and black wild rice that features dominating flavors of sherry and curry,” and the Basket Lunch, which included a chicken salad sandwich with fruit and chips.

After our meal, and a quick perusal of the extensive gift shop in the Morgan House, we drove east along Glick Road atop the O’Shaughnessy Dam, and then north along the reservoir on Riverside Drive.  Fun fact: The O’Shaughnessy Reservoir, along with Hoover Reservoir, also in Delaware County, and Griggs Reservoir in Franklin County, supply 90% of the City of Columbus’s daily water needs of 140 million gallons.

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We entered the county seat of Delaware along Sandusky Street, passing the campus of Ohio Wesleyan University.  We found a parking spot on West Winter Street and proceeded on foot to investigate some of the local businesses.  Our first stop was Endangered Species, The Last Record Store on Earth. It’s also sometimes shortened to Pat’s Record Store for owner Patrick Bailey.  Perched behind the counter, the long gray-haired proprietor appeared just how you might imagine someone who has been in the record trade for 40 years to look.  On a previous visit, his friendly banter included some affectionately-intended (??) mocking comments regarding our purchase of an REO Speedwagon greatest hits cd.  Our selections this time of “The McGarrigle Hour” by Kate and Anna McGarrigle, and Hayes Carll’s “KMAG YOYO” escaped editorial comment.

Across Winter Street from the record store is Bun’s Restaurant, a local institution since 1864 when it opened as a bakery.  We’d eaten there on a previous visit to Delaware and our present county trip meal dance card was already full, so we had to give Bun’s a miss this time, but I’d recommend it to others.  The neon “Bun’s Restaurant” sign that hangs from an arch over the middle of the street makes it easy to find.

There are plenty of shops to check out on Sandusky Street, but we spent our time in the city’s two main antique stores: Sandusky Street Antiques and Delaware Antique Mall.  The former offers a nicer, higher end selection of goods, while the latter is larger and features more varied pickings. We came away however, without any purchases.

As the clock neared 4 p.m., our agreed upon check-in time for our night’s lodging, we returned to our car and made the short drive to the west end of the street and parked in front of the Winter Street Inn, a 142-year old Victorian-era home that was converted into a bed & breakfast by owners Rodger and Debbie in 2006.  Rodger met us at the door and led us upstairs where the Humphries Room awaited us. Named for a previous owner of the house who owned a thriving Ford dealership, the room featured silk wallpaper, an antique Persian rug, and a comfortable king-sized bed which provided us a spot for a late afternoon siesta.

It was dark by the time we returned outdoors.  We left the car behind and walked down Winter Street, appreciating the architecture of the Italianate homes that filled the lots, many of which appeared to be serving as frat houses, or were owned by people who liked decorating their facades with large Greek letters.

We stepped into the Staas Brewing Company, Delaware’s first (and only?) brewpub.  We sat at stools at the bar and requested a couple of porters; an 8% Baltic Porter for myself and a 6.4% Vanilla Porter for Michele.  Most of the chairs in the bar were occupied, mainly by folks who could have been grad students or parents of students from nearby OWU.  The television screens were muted, but contained sports-related programs. The beers were good and the ambiance was relaxed and inviting.

For a total contrast in clientele, our next stop was the Hamburger Inn Diner on Sandusky Street.  It’s another longtime Delaware institution, dating back to 1932. Closing time is 10 p.m. or midnight during the week, but its open all night on weekends.  Most of the stools at the U-shaped counters were occupied when we entered, but we found a couple at the back of the restaurant. Fox News was playing on the television and a Blue Lives Matter flag was displayed opposite an American flag.  There were lots of tattoos and piercings and overheard drama about people doing other people wrong. And that was just the staff! But everyone was friendly and helpful and the food was good and exactly what I was expecting. I had a cheeseburger and Michele had a chili dog.  We shared our sides of onion rings and waffle fries topped with bacon and cheese.

Feeling a bit stuffed after our meal, we rolled south down Sandusky Street and around the corner onto William Street. We paused at a historic marker memorializing the birthplace of Rutherford B. Hayes, nineteenth president of the United States.  The marker was erected in 1926, the same year the Hayes home was torn down. In its place is now a BP filling station, referred to on a website I came across as the Rutherford B. Hayes Birthplace Gas Station.

Continuing around another corner, we found Roop Brothers Bar, or Roops, as the locals call it.  “Where live classic rock and blues music lives!” The building is a nondescript red brick structure with stacked beer barrels out front.  Inside, the mostly middle aged crowd was preparing for a night of good rockin’ with local favorites, The Stolen Fire. The band was formed in 2011 by four professors from Ohio Wesleyan University.  I stepped up to the bar before the music started and ordered a pint of Brew Dog’s Radio Zombie Phone In, a Russian Imperial Stout. I noticed most of the other drinkers were ordering their brews in cans and bottles.  There was also Jägermeister available on tap!

We stayed for about an hour, listening while the band ran through a series of Zeppelin covers followed by “Pinball Wizard” and Bowie’s “Ziggy Stardust.”  They sounded good and the crowd was into them. After my nursed beer finally emptied, we stepped into the nippy night and strolled back to our B&B. We slept soundly.

I awoke the next morning early enough to shower before breakfast.  The bathroom for our room was so small, the washbasin was located outside it, near our bed.  As I sat on the toilet, I was mere inches away from the mirror that hung from the back of the door.  While performing my morning necessary, there was the spitting image of myself, pants down around his ankles, gawking at me.  It was a bit unnerving. I’d look away, but every time I snuck a peek, there I was, still staring.

Perv!

Promptly at 8 a.m., we descended the winding staircase to the first floor.  In the dining room, Rodger already had our places set. There was a bowl of mixed fruit and granola in yogurt, and on a side plate, a cherry-filled donut.  Coffee and juice filled our cups and when we were ready, the main entrée was brought out consisting of a sunny side egg atop a muffin, accompanied by slices of melon and pineapple.

After our meal, we hung out in our room for awhile, getting our money’s worth.  At 11 a.m., when we checked out, teeny random snowflakes had begun to fall. I snapped a photo of our B&B as well as the building across the street, the former George W. Campbell home, which was originally built in 1854.  It was designed with Romanesque and Norman Revival architectural features which included a round tower and arched windows and doorways made of locally-mined blue limestone. It now serves as the Delaware County Cultural Arts Center.

We drove northwest out of Delaware along West Central Avenue and then veered north on State Route 203 up to the village of Radnor for another architecturally unique structure.  At the entrance to the local graveyard is the Radnor Cemetery Lych Gate. Traditional in England and Wales, lych gates are covered gateways used to shelter coffins until clergymen arrive for burial. The Radnor version was designed by a local architect over a century ago to commemorate the early settlers of the town who emigrated from Wales.  It’s built of locally-quarried stone and features two openings: a larger one for a horse-drawn hearse and a smaller one for mourners. The gate was also given a tower resembling a church steeple to give it an ecclesiastical style.

We drove east from Radnor for about four miles until arriving at U.S. Route 23 about a mile north of the entrance to Delaware State Park.  I thought a little outdoor exercise might work off our morning donut. We wound through the park before stopping near the camp check-in station.  Near there was the beginning of the Lakeview Trail. For awhile, the path was dry and pleasant. The sky was a solid cloud, but we could see Delaware Lake.  The lake was formed in 1951 after the construction of a flood control dam. The state park was dedicated a year later.

Once the trail looped away from the water on its way to connecting to the Briar Patch Trail and the return to the parking lot, big muddy patches began getting in our way.  We tried walking around them, but the sides of the trail were lined with briars and needle-filled plants. The Sunday morning stroll became a slog as more and more sections of the trail contained standing water.  One can attempt to be very Zen about it all and concentrate on a particular mantra to distract from the trail conditions, but when that repeated word becomes, “fuckfuckfuckfuckfuckfuckFUCK!” then you realize your attempt at serene meditation is, well, in a word, fucked.

After a couple miles of less than ideal hiking, we arrived back at the lot and spent some time scraping off the brown slop that had caked to our boots before allowing ourselves back in the car.

As we drove back to Delaware, the snowflakes hitting the windshield became bigger and wetter.  We had made plans to meet my sister and her daughter at the 1808 American Bistro at 1 p.m. for Sunday brunch.  Katanya and Jennifer introduced us to this very fine restaurant a year ago and we looked forward to returning. I considered myself lucky when I spotted an open parking spot directly across the street.  After we parallel parked, the car behind pulled up next to us and rolled down a window. My sibling and niece were inside and were a bit miffed because they had seen a car vacate that prime parking spot and had quickly driven around the block so they could get it.  “Sorry!” I weakly responded, although I couldn’t stop laughing.

Once we sat down to eat, all thoughts of stolen parking spaces were forgotten as we were all easily distracted by the food.  The restaurant has been open for over a decade and has a deservedly good reputation for its Sunday brunch. I had the shrimp and grits which was outstanding with shrimp and andouille sausage bathing in polenta and a creamy Cajun sauce.  We all enjoyed a leisurely two-hour meal, which was long enough for a layer of snow to accumulate on the windows of our cars.

We said our goodbyes and swept our vehicle of snow and drove a few blocks away to the Richard M. Ross Art Museum on South Sandusky Street.  It’s housed in OWU’s Humphreys Art Hall, a former United State Post Office building. I was looking forward to seeing the current exhibit, “Yesterday, Today, Tomorrow,” a collection of curated works by African American artists and artists from the African Diaspora.

When we entered the museum, we saw right away that there was some sort of to-do taking place.  There were lots of well-dressed people milling about and socializing. (We later learned the Delaware Community Chorus was hosting a reception for its donors.)  Michele was hesitant about proceeding, but I really wanted to see the art and figured so long as we weren’t turned away, we could still do so. Michele’s misgivings were reinforced when we were somewhat strong-armed into wearing nametags.  I acquiesced quickly on the assumption that we’d be less conspicuous if we had nametags like everyone else. I was wrong. We were both greeted by name by complete strangers on multiple occasions. I’m not particularly fond of being so familiarly hailed by someone who doesn’t know me.

We did our best to circulate through the galleries, but it was near impossible at times as the hors d’oeuvres-munching, wine-swilling crowd didn’t seem to have a problem socializing directly in front of pieces while completely ignoring the art.

I was able to get close to one piece and was contemplating it when a guy ambled up next to me and asked with a laugh, “What does that say to you?”  I find the perusal of art in a gallery to be a somewhat personal experience and regardless of whether or not I have a specific reaction to a piece, I don’t want to discuss it with a stranger.  I had the feeling he didn’t want to seriously deliberate its merits anyway, but rather was just make a joke of it. I responded by ignoring him. After enough awkward silence passed, he finally took his plastic wine glass and moved on with a laugh and a mutter about still waiting for the art to say something to him.  I continued on my way while screaming in my head, “I just want to be left alone to look at the art!”

Michele later told me she did her best to display a demeanor that said, “Leave me alone,” but was unsuccessful time and time again.  Apparently, whatever talents the Chorus possesses in singing and fundraising far exceed the ability of its members to read body language.

I can’t imagine we resembled the normal philanthropist, what with our attire of cargo pants and mud-caked boots, but perhaps we were mistaken for the reclusive and deep-pocketed donors, Mr. and Mr. “Anonymous” who always appear at the top of contributor lists.

Percy King

Percy King

So the conditions were far from ideal, but we did our best to circulate through the rooms and actually look at the art.  There were a few artists represented with whom I was previously familiar such as Aminah Robinson and Kojo Kamau, but there were also many who were new to me.  It is always a pleasure to discover a new favorite. One example was the “First Avenue” triptych by Don “DonCee” Coulter, but the artist whose works may have made the biggest impression on both Michele and myself was Percy King.

OSU football fans may remember King as the safety who blocked a punt for a touchdown against Penn State in 1998.  After a brief stint with the Kansas City Chiefs, he turned to another passion of his: art. What he has since named, “Shaolin Wood Technique,” his works incorporate layered sheets of compressed composite wood.  The results are very cool-looking 3-D portraits of prominent cultural figures from Langston Hughes to Snoop Dog.

By the time we completed our tour of the exhibit and escaped to our car where we were both anxious to compare our museum experiences, the snowfall had increased in intensity.  Road visibility approached white-out conditions as we drove south on U.S. Route 23. I’d originally planned on ending our weekend with a hike in Highbanks Metro Park to see a couple of Adena mounds, but the weather situation forced a change.  We just kept driving south and soon exited the county.





Time spent in the county: 32 hours, 2 minutes

Miles driven in the county: 138 miles