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Glass House

Glass House New Year's party 2002-03

Glass House, as it came to be known over time, was a memorable and dare I say even legendary residence located at the corner of Mulford Avenue and McClain Road. Well, the house is still there, of course – it’s just that the people and circumstances which made it so remarkable, lending it that nickname which would even wind up making its way into places like Columbus Alive!, have long since gone away.

Among the unique features, at least during this time, were that it was a large house chopped into two separate units, and yet both shared the same basement. One had a Mulford address (1177) and the other McClain (977). Also, which is probably the ideal setup – considering the whole shared basement business – all the people living in both halves during this period in question knew one another prior to moving in here. You wouldn’t exactly want to roll the dice with some random dude having access to your half of this funky duplex, only for him to wind up as the next Dahmer or whatever.

But anyway. My first visit to this residence occurred during the New Year’s Eve transitioning from 2001 to 2002. I can’t quite recall the exact mix of roommates at this time, because for example Norman Flores hadn’t entered the picture over here yet, but the most “famous” lineup I would say eventually consisted of Chris Hostetler, Keith Spain, and Norman on the Mulford side, with Kevin Spain and assorted roomies or even flying solo on the McClain half. Whatever the precise mix of occupants at this point, though, I know Chris was living here, because he was the primary instigator and ringleader for a big New Year’s blowout at his pad. Which would become, if it wasn’t already prior to this, an annual ritual.

Speaking of annual rituals, Mad Dog 20/20 entered that hallowed realm itself on this very night, but only on New Year’s. We had all long since moved beyond our formative years drinking Mad Dog otherwise, which is what made it such a hilariously retro pick for the party. To be reprised every single year thereafter, by whatever crew I happened to show up with. On this initial occasion, it was Matt Montanya, Libby, Kevin Kasper (I don’t think Vanessa was with him for some reason), Kim, and me, riding together to the house, which had not yet been labeled Glass House. Libby and Kim had both eaten mushrooms prior to leaving for the bash. We stopped off at this convenience store on Kenny Road for some alcohol, which was when an already half drunk Kasper insisted with a mischievous snicker that we should totally show up with some Mad Dog, totally. Which is where the whole thing started.

Of course, by this stage in our lives, if you’re showing up with Mad Dog, you’re going to suffer some wild guffaws and eye rolls. It’s the equivalent of maybe rocking a bottle of Boone’s Farm wine or clutching cans of malt liquor or something as you roll up into the shindig. One year, by which point the MD 20/20 had long since become ingrained in our New Year’s culture, a bunch of us wasted no time in passing the bottle around the kitchen, instantly upon arrival. Scott Imsland declared, “you guys are fuckin stupid”…then proceeded to immediately reach out and snatch it from whoever was holding it, tilt his head back for a healthy slug himself.

Eh, so onto specifics. I actually don’t recall a ton about that maiden voyage into this precinct. Other than it was still years before I would get a cell phone and, this being an era where I was messing around with Lisa, I called her at some point from the kitchen landline phone, surrounded by mobs of people, only because I had promised to do so. But couldn’t stop laughing for whatever reason, which in one of the most baffling examples ever, made her ultra-paranoid mind leap to absurd conclusions. “Why are you laughing? Are you getting a blowjob?” she demanded. Which only served to make me laugh harder, in turn upping her paranoia. “You are, aren’t you!? You’re getting a blowjob right now!”

I’m like, “what!? What on earth would make you think that?” but she just kept going on and on, and therefore so did my laughter.

By the next year’s party, I had long since become a basic fixture here myself, and become that much more comfortable. Enough so to show up toting a film camera, snapping photos…and to also bring Miles with me as my lone guest. He was already quite blasted and this was the infamous New Year’s where, though not bringing up this topic at all prior to our arrival, somehow the instant we strolled onto this quite crowded scene, he got on this huge kick, practically shouting, “AW, DUDE, WHO’S GOT THE COKE!? ANYBODY GOT COKE?” in that notorious loud and chalky voice he gets when drunk. He went around from room to room, repeatedly, demanding this of its occupants. When everybody he encountered basically just shrugged and told him sorry about your luck, but no, Miles then eventually pivoted in most unexpected fashion indeed: by going through the kitchen cupboards until he found a big bag of totally normal white sugar. And chalking up lines of that on the countertop, snorting it instead.

Andy Lorenz and Dan Bandman at Glass House
Andy Lorenz holding on for dear life to Dan Bandman. Seeing this picture for the 1st time, Dan joked, “the most remarkable thing about it is I’m wearing a long sleeve shirt on one arm and a short sleeve shirt on the other.”

Word of Miles’s sugar snorting antics spread like wildfire, more so than actual drug usage ever would have. And as such this became a huge attraction, watching Miles continually vacuum up a line of Domino every so often – because, try as he might, he was unable to convince anyone else that they should join him. Despite, pinching his nose, his continual instance that, “DUDE, I’M SERIOUS, YOU GUYS SHOULD TRY IT! YOU CAN REALLY FEEL SOMETHIN!” and so on.

He wound up leaving at some point, but I crashed there that night. Then the next morning a handful of us were sitting around the living room, recapping the events, when Crystal said to me, “was that your friend?” regarding the already infamous sugar snorting fiend.

“Yes….,” I reluctantly admitted.

“What an ass,” she concluded with a disbelieving laugh.

I don’t think I ever really made an ass of myself at any of these, personally, although maybe it’s just that my bar for embarrassment is so high (or is it low? This is one of those euphemisms which somewhat confuses me). The closest you might argue I came, though, was one New Year’s where I worked two jobs, back to back, but had seriously eaten nothing all day, prior to coming here. Was kind of banking on there being some food here of some sort, but instead only encountered…this gigantic frosted red velvet cake, sitting on the dining room table.

After the long work day, no food, probably not much sleep the night before it’s safe to say, I was just completely spent. Therefore all I did was inhale a couple pieces of cake, drink actually very little, before effectively saying fuck this to myself. But not a word to anyone else, as I stealthily crawled behind the couch, in this gap I had spotted between it and the wall (don’t ask me how), and passed out for the night, I think before the ball even dropped. It seemed like an awesome hiding place. Yet I awakened the following morning to discover I was completely covered in red velvet cake – people had eventually spotted me there, then found it hilarious to drop little cake bombs from up above, chortle over how I wasn’t even responding.

Norman making a triumphant Glass House entrance.
Norman making a triumphant Glass House entrance.
me outside Glass House
Me outside the house. I don’t think this was the red velvet cake night, but it may very well have been. I actually kind of like this picture, except of course MUST have something spilled all over my shirt – I suppose it’s too much to ask that I would ever take one totally normal photo, ever.

II.

Leap Year Glass House show 2004

Live music would of course become a staple here, too, in the basement. In addition to the show referenced above, I recall at least one other where Superstar Rookie played (I think) their only ever reunion set, some five years after disbanding. That was I believe the night Matt Montanya acted as between-band entertainment, as he got up on the mic and did his world famous, spot on Bill Cosby and Richard Pryor imitations, reciting many of their comedy bits verbatim, to the delight of the masses.

Naturally, in a sprawling house at least partially occupied by musicians, some tunes were recorded here as well. Including at least one full-length album I’m aware of, A Year At Mulford & McClain by Kevin Spain and Phil Minor. It’s a stunning, fully instrumental effort, somewhat of a departure – at least for Spain, from his work with The Judas Cow and others. You can listen to a solid chunk of it here, along with one video I made (on my own, but with their blessing) of my favorite track, Weave:

As you can see from the liner notes, this was fully recorded and mastered et cetera right here. The project has a tremendously warm and atmospheric sound to it. Unfortunately, for years now my disc has been so scratched up that it won’t play or rip the last three songs on the disc. And I’ve discussed this with Spain, but it appears that he doesn’t have any left in his possession, or at least can’t locate them if he does. He probably has those tracks somewhere in his files, but admits at this point he can’t remember what names they gave to which instrumentals, and isn’t fully confident exactly what these last three tunes are. So it remains an incomplete mystery. Copies were only ever handed out to some of his friends, so if any of you have one, by all means please let me know.

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Early Empire

Early Empire CD tray card

As someone who was at their first and last shows, not to mention countless in between, I had a bird’s eye view of their all too brief flight path. During that time, Early Empire went from being a good group to one I was going around proclaiming as the best live band in Columbus.

The picture above is the tray card from their lone CD, and features what most would consider their classic lineup. They actually had two other bass players before Joel, while the other four guys were there from the beginning. This was by far their longest tenured, most memorable, and consistently best iteration, though – but then again, in any guise, they were always good, from the first show onwards.

My only complaint is that these guys didn’t do more. As is sadly often the case from bands of that era (anything before 2008-ish, really), their music is currently unavailable on the streaming services, the only CDs limited to what was pressed at the time. They released this five (actually six) track EP in 2005, Resolutions and a Gun, and that was that, although they had many more songs than this in their live set, and I know recorded some others, at some point along the line. My favorite is probably Simpleton, which gets off to this amazingly frenetic start and never really lets off the gas from there, even when slowing things down a smidgen in the middle. Recorded at Diamond Mine studios in 2003, it’s a killer release from start to finish.

This is some relentlessly compelling modern rock, and I was able to find one official video, for Television Eyes, on YouTube. It’s fun trying to play spot-the-venue on there, although the cuts are so fast I wasn’t having much luck. Maybe you will fare a little better:

The lone bum note about this release is, I’m not exactly crazy about the cover. The picture of them inside is awesome, and I like the liner note tray card idea. That all looks cool. It’s just the cover image itself that doesn’t really work for me, and I would say doesn’t seem to match the project as a whole. But these are exceedingly minor beefs, and don’t matter. Actually, I’ll tell you what this whole EP reminds me of: it’s like something from a seminal band who went on to greater heights, where their first 3-4 albums are all considered classics. Their debut, a somewhat rare, hard to find EP on a smaller label, meanwhile, is merely rated as very, very good. Kind of like maybe the career trajectory of Tool, whose Opiate EP also had not the greatest cover. The only difference is…life got in the way for these Early Empire guys, and the full length albums (at least thus far), of which they were certainly capable and I would even say were expected to deliver, never came. Anyway, here’s the EP in full:

In an April 2006 issue of Columbus Alive, Stephen Slaybaugh gives it a favorable review, coupled with a photo of these five lads standing in front of that very familiar internal window in Andyman’s Treehouse. Then there’s a writeup in a July 2006 Other Paper concerning their last show and impending breakup – as reported, singer Chris Hostetler was moving to L.A., and guitarist Travis Tyo to Raleigh. “It seems like we’re just peaking now,” Tony Bair laments, and I would agree. Up until the very end, though, they are still practicing roughly once a week, and this piece nicely describes the 8×12 practice space over at bassist Joel Walter’s house. One factual error I would like to point out though is that the article claims they were formed at Comfest 2002. Well, it’s possible they agreed to form the band there, but their live debut, in November that year at Andyman’s, was heavily hyped as being just that. Also, reporter Chris Deville uses the word “goofball” twice to describe them, and I just would never think to use that adjective in conjunction with this band. But overall, yeah, it’s a cool article, capped with a totally different photo of the five of them at Andyman’s, this time in the performance room, with Joel posing in triumphant fashion while the other four offer appreciative smiles behind him.

I still have the recording I made of their first ever show. This is among the secret little treasures I’ve been hanging onto all this time, for deployment at just the right moment. And it feels like posting this dedicated page in their honor is as perfect as it gets, for leaking at least one of the tracks. The rest I will hold onto as a bargaining chip, so to speak – a bargaining chip because there’s been discussion over the years, off and on, of letting their unreleased studio recordings reach the light of day. I’ve even been involved in these discussions, on three separate occasions I can think of, where a few of us have had extensive back and forth about getting this stuff out there, over a series of days or weeks, and they were enlistening my theoretical help. Sometimes even with talk of a reunion show appended. But, who knows what happens, something continually goes haywire on this front, and these talks fizzle.

Until that happens, here’s the first live performance of Simpleton for you, from Andyman’s Treehouse in November of 2002. I can’t quite make out what Hostetler’s saying at the very end, as far as the song title, but it sounds like they must have changed that over time. Still the same song, though, effectively –

Known Shows:

2002

November, Andyman’s Treehouse

December 20, Skully’s

2003

May 10, Little Brother’s

August 15, Red 16

2004

February 28, a Glass House party. With The Handshake and The Judas Cow.

2005

January 22, Andyman’s Treehouse

April 15, a Glass House party

2006

January 10, Cafe Bourbon Street

March 3, Carabar:

It’s about a block away from Broad, in German Village -esque type block that’s actually kind of cool and respectable – not the usual ghetto that Parsons would imply.

Erin just started back at work, and she’s here. Pops a tire just as she’s pulling up to the curb in front of the bar, but at least this means she gets to come inside and wait and have a beer until the tow truck comes.

Judas Cow play first with a backlit projector showing old video clips of them, with vaguely psychedelic touches around the edge (supposed to be Floyd-esque blobs, but this doesn’t really come off). Our mob is getting to be mighty sizable now – Norm, Keith, Matt Hubbard, Greg & Michelle, Jay & Lori (and Lori has friend, some blonde with curly hair, who’s checking me out – but I’m never introduced?), Martha, Nathan and Rob from our writer’s group (Nathan wears hilarious brown leather jacket with grey duct tape all over holding it together), Kyle, his buddy Sean, Josh Minto, Ned, in addition to all those guys in the bands. John O’ Conner works bar here, as does Amber.

Bearded quiet but nice guy running sound – that’s the owner. Soundboard in between black & white checkered dance floor (why always this design?) And tables are on north half of bar. Jay drinking pitcher of Youngstown Stout, or whatever it’s called, he’d never heard of it before and neither have I. Dan and Ancie bring an assload of pizzas – I hold the door for them on our way in, having arrived at the same time, ask if they plan on vacationing anywhere, they were walking up the same time as me.

Early Empire play 2nd and completely blow the doors off the place. They’ve gotten so incredibly good. They’re selling CDs now, on a side table – though still have not had official “CD release” party. Chris amusingly full of himself onstage, as is occasionally the case – announces some of the things everyone’s celebrating tonight, yet even as Ancie’s Dan is trying to get his attention, and Chris grubbed on the pizza with everyone else, he says nothing about their 20th.

“What else, hey what else….,” he ruminates, while Dan Schmidt waves a hand near the front.

In the background, Ninja Scroll is playing, and Norm’s so familiar with the movie that at one point he says, “this is one of the best scenes of the movie coming up.” Chris says he lost his voice by the end of the set, but if so it didn’t show.

Mirrors left wall of stage; Spain complains it makes the cymbals a terrible wall of shitty noise. Bandman telling some story to Michelle about drinking in Mexico and having “the Sasquatch holler” (puking) the next day. The Handshake play last, and suffer by comparison, I hate to say, to Early Empire.

Earlier, Dan Bandman and I were at the bar and bump into Miriam Sobel, the girl who was doing sign language two days ago (another Mansfield alum) at the Vonnegut appearance. We’re clowning around with her, because as we noted right after leaving, somehow none of us caught what her sign language was when Kurt made his “blowjob” joke. So we’re asking her if she can possibly demonstrate that for us now.

April 8, Andyman’s Treehouse. CD release party

July 21, Andyman’s Treehouse. Farewell show.

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1998

Tickets stub from Aerosmith, Polaris Amphitheater, 1998

January 1 – the collective misery of the John Cooper era continues as OSU suffers a relative blowout in the Sugar Bowl, losing to 4th ranked Florida State. Though a 31-14 drubbing doesn’t look too horrific on paper, the Damon’s where I was working went from a riotous mob to mass walkouts somewhere around the halfway mark.

January 4 – Brasiliera play at Dick’s Den. At the behest of bartender Dusty, who also slings drinks at Damon’s, I’m finally getting around to checking out this legendary jazz epicenter for the first time tonight. He said he would slide me a free beer or two, and that’s pretty much all a cash strapped character such as I needs to hear.

The bar will establish itself with an auspicious start before I even set foot in the place. As I pull up to the curb on High, a short distance from the club, there’s a police cruiser with his jackpot lights twirling even closer to it, nearly in front. After making my way underneath the famous question mark sign and inside the bar, some crazy old timer, eyeballing the nonexistent scene out there with intensity, tells me that someone was just mugged up the street.  

He adds that this is a dangerous neighborhood and that such incidents are constantly transpiring around here – which I find a guffaw inducing sentiment. No region is truly insulated from crime, but calling this area a rough part of town is a sizeable stretch. This is north campus. It’s no more dangerous than any other area of campus, and probably less so than many. Back in the summer I was even accosted on Summit while walking home from Studio 35. Some drunken or deranged hillbilly kept pace with me on the opposite sidewalk, block after block, and kept shouting insults, how he was going to run across the street and kick my ass. I’m not sure where he came from, for he appeared out of nowhere. Spotting, as it happens, a police cruiser with his lights on up ahead, I told myself to just keep calmly walking and saying nothing, until I reached that destination. Only to do so and find no officer in sight. Upon which, thinking it a good idea not to let this madman see where I live, I hook a left at the next intersection and book it out of range. 

You can’t let fluke occurrences deter you from perfectly reasonable experiences. I’ve walked past this bar by myself, actually, to and from work or even just goofing around, on countless occasions. Setting foot inside a strange place is always nerve wracking, for whatever reason, particularly if alone, but the day we start fearing these neighborhoods is a mighty dim one. 

Seeing a familiar face always helps with the comfort level and the safety, regardless, and when Dusty cheers my name from behind the bar, I already feel at home inside this cozy, wood paneled establishment. As I drop into an empty seat at said bar, he slides this unadventurous drinker a bottle of Budweiser, which is another old friend, you might say, the proverbial worn pair of shoes. A concept extending in some fashion to the band on stage in the other half of the room, Brasiliera, whom I’m never witnessed before, yet have seen mentioned in print countless times via Alive! or The Other Paper. 

A band composed of seven white people who appear to be in their mid-thirties, they’re nonetheless blowing what I would term a Latin tinged jazz. The chick singing and dude playing the trombone seem to function as ringleaders with this troupe, complemented in exquisite fashion by another girl on flute, the guys manning drums, bass, guitar and piano posts. A very talented group, probably the best I’ve seen since moving to Columbus and if not then running a close second only to those swing leaning lads in Thirteen O’Clock. 

As for the bar itself, this dark wood motif prevails everywhere, decorated in the same down to earth style as and exuding an identical vibe to Ruby’s. One key difference is that, by force of conscious decision and also as byproduct of booking these bands, this place does skew a little older. It’s far less saturated with hippie types, dependent instead upon a more reserved, non-cannabis-reeking hepcat crowd. Predominantly male, too, I would gauge, so it’s not exactly babe central. Just a solid entertainment option maybe once or twice a year. 

Dusty buys me a second beer, as I check out their impressive liquor arsenal along a mirror lined wall behind the bar. Elsewhere, there’s a chalkboard posted, listing a number of upcoming bands. Then tonight’s outfit is on break and two of the members are chatting with this guy in a nearby stool, who by the sounds of things must run this place. 

I’m listening to their conversation for a while and then, by the time Brasiliera grace the stage once more, I’ve just about killed this drink. Upon doing so, I thank Dusty and tip him a couple of bucks, though am wondering on the ride home if this was an etiquette faux pas on my part – at the very least, I should have slid him the cost of that second beer, as this is presumably the whole point of inviting people you know to your bar and sneaking them gratis beverages. 

As it turns out, though figuring I’ll just apologize the next time I see him at work, that never happens. He’s just another character in the long line of them who simply stop showing up at our rib joint, and nowhere near the most remarkable. Sorry, Dusty, nothing personal – I’m mostly thinking about the women we worked with, and wouldn’t consider myself a remarkable character, either.

January 13 – Superstar Rookie, Midway, and Vena Cava play at Little Brothers.

January 21 – the Cincinnati Reds’ Winter Caravan comes to Flannagan’s. Manager Jack McKeon, hitting coach Ken Griffey, Sr., a couple announcers (among them Joe Nuxhall) and four players make this treacherous promotional journey.

February 1 – Trio Melange play Short North Tavern. This it would seem is a traveling portion of the Cleveland Orchestra, featuring flutist Heidi Ruby-Kushious, harp player Tina Struble and the cello master Paul Kushious.

February 4 – Swabby continues his residency at the Northberg Tavern.

February 6 – Alan & I split a pitcher & play some pool at Ruby Tuesday. Then we grab some more beer and sit down on the other side to watch this weird ass band called Foley.

Once they take the stage, we decide to sit down at a table in that darkened half of the bar to observe the show. And while they are thankfully free of the standard Dead style marathon jam trappings of seemingly ¾ the bands who play here, this is probably the strangest outfit I’ve seen thus far, Columbus or anywhere else. 

After they’ve finished setting up and launch into their first set, we can’t tell if this is the actual performance or a quote unquote warmup for the real gig. Though the bar is about halfway full and these tables occupied to pretty much the same ratio, the bass player sits in a chair with his back to the crowd the entire time. He and his cohorts in this trio, a guitarist and drummer, play nothing but jazzy, upbeat instrumentals, which is fine, except they keep stopping and starting songs over again, even if a couple of minutes into the piece. 

Alan and I exchange puzzled glances and many a what the fuck?, as it’s hard to tell just what these guys are trying to accomplish – had one of them messed up and picked the tune up from scratch, or did they like it so much they wanted to play it again, or was it some kind of experimental stuff like late issue Coltrane or Miles or something, where they were trying different variations based around the same melody? Then again, for all we know, these guys may very well still be in practice mode. It’s not like, I don’t know, they actually address the crowd or anything, not even once. But after about an hour of this, we’ve seen enough. 

“You ready to go?” Alan asks me. 

“Yeah,” I nod. 

As we’re standing up to leave, however, he happens to glance at this table behind us, where amid the deeper gloom of that recess, some kid of roughly our age, with short buzzed hair, sits alone. Though I certainly would not, Alan insists he recognizes this dude and believes he went to high school with us. Thus walks over to talk to the guy, while I’m stuck watching more of this Foley horseshit. 

He does keep the conversation mercifully brief, returning to explain, as we leave, that this was Aaron Little, an upperclassman who used to have really long hair back in our teenage years. The name does sound somewhat familiar, although I’m still astounded that Alan picked him out in there. After Alan explained that he plays the drums, Aaron mentioned that he has a little basement studio at his place over in Clintonville, and is looking to assemble a band. The two of them then exchanged numbers. 

February 7 – Superstar Rookie/Salthorse show at Little Brothers.

February 9 – Local Color show at Not Al’s Rockers.

February 15 – a Cajun band named File (there should be an accent mark over the e, though I’m too lazy to figure that out at the moment) plays at Little Brothers.

Also, the professor of piano at Denison University, Stephen Zank, travels a short distance up the road to put on a performance here. It’s a free concert held at the Graves Recital Hall on Karl Rd, start time 4pm

And then a little later on, at 6pm, OSU’s Concert and Symphonic Bands take the stage at the Wexner Center. This one is free of charge, too.

February 18 – Secretary of State Madeleine Albright comes to St. John Arena to discuss a possible invasion of Iraq. The crowd is out of control, booing & challenging her every point, a disastrous town meeting that’s broadcast live on CNN.

February 26 – The OSU men’s hockey team plays its final game at the Ice Rink.

February 28 – And then two nights later, its men’s basketball team closes out the St. John Arena era with an overtime loss to Penn State. Both programs, along with the women’s b-ball, are moving to the Schottenstein Center when it opens in the fall.

March 7 – Drexel Grandview has a one-off midnight showing for the Neil Young tour documentary, Year Of The Horse. This is my first visit to this theater. I count an attendance grand total of 8 – although it’s worth noting and kind of cool that none of us leave until after the end credits have finished.

March 17 – St. Patrick’s Day Irish Fest event at Vets Memorial. I’ve just gotten home from work when Alan & Snoop breeze in, want to know if I feel like going. The ticket price ($10) is a bit too rich for my blood, however. “Mine too,” Alan admits, “but I figured what the hell.”

My coworker Kathleen is having a party at her place later, which is mainly what I’m concerned about. We agree to meet up after they leave the Irish Fest and hit this party. As it turns out, which seems like an amazing coincidence, Snoop lives at 100 W. Maynard, Kathleen in an apartment at 161. So Alan, Snoop, some of his roommates and I walk down to the party. One of Snoop’s friends, John S, takes one look at some of the people on the balcony, before we’ve even reached the building, says, “oh no. Huh uh. I’m outta here,” turns around and walks back to the house. We’re cracking up because it’s hard to imagine what would’ve provoked this reaction.

Uncle Sam’s Dream Machine play at Ruby Tuesday. Alan and Snoop cap off the festivities over there watching them. It’s a weird night even by St. Patty’s standards and Damon had been at Ruby’s earlier himself, before he and I join forces for a breakfast run over to Sugar Shack.

March 28

Guided By Voices show at Bernie’s Bagels. For an in depth rundown of the club’s events calendar, please visit that page.

April 7 – Dick Dale show at the Newport. For a full recap of their 1998 events (and beyond), please click the link to visit that page.

May 9 – George Strait is at the Horseshoe, selling upwards of 70,000 tickets for this StraitFest show. That’s nearly twice of what U2 managed a year earlier, and more than even the Rolling Stones moved, last September. Who said this wasn’t a cow town? Our friends Mandy and Melissa and Mandy’s mom attend the concert, parking at our house and hanging out for like 5 minutes before walking down there.

May 13 – Some crappy band named Buddha’s Toothbrush is playing at Victory’s. This I know because Damon, Alan, and I somehow get the bright idea to check out that scene on a Wednesday. It’s completely dead. A few hot chicks but not many. In fact, some guy comes up and asks us, “is this a gay bar? I’m from out of town.”

We tell him no, then once he’s out of earshot, Damon jokes that he felt like adding, “no, but if you’re looking for one…,” and then making up some directions.

Each of us have exactly one beer apiece – who could afford more than one here? Although they do have a single redeeming feature, which is pizza for 80 cents a slice on Wednesdays. This is the kind of thing you tend to forget entirely, that Victory’s did (and may still) serve not just pizza but surprisingly decent pizza. I don’t remember this at all, but it says so in my notes. Anyway, we scarf down a couple of slices each, then split this lame establishment in favor of karaoke night at Woody’s.

May 20 – Alan and Larry attend Creed show at Newport. I’m invited but am not interested in going.

It’s a strange night all around. By the time those two return, we have a mini gathering shaping up at our house. But though I almost never come down with even the slightest cold, I’m feeling majorly ill out of nowhere and will spend the entire night in my bed, missing the festivities altogether. Meanwhile, a house that’s basically across the street from us burns to the ground. I have my windows open and can hear the crackling flames, as their orange lights dance around my dark bedroom, while the firemen shout instructions to one another, and people in our kitchen discuss what’s happening as they crane their necks for a look.

May 27 – Superstar Rookie are at Cafe Bourbon Street. Alan and Damon attend this show.

June 8 – Damon and I are walking to Not Al’s Too, and are right behind Bernie’s when Dave Copper exits the back door with some drums in his hand. Whatever hour this is, he just finished playing, but says it’s for another band and not Superstar Rookie. Dan and Travis and some other friends are down there at the bar anyway, but we don’t bother going in. As it turns out I forgot my ID and can’t get into Not Al’s.

June 10 – Swervedriver and Spoon show at Little Brothers, which I’m lucky enough to attend for free.

August 2 – This appears to be the day that OSU’s student newspaper The Lantern went live online, or at least uploaded a bunch of older content. It took me a little while to figure this out, and was creating some major confusion when attempting to verify dates in the event calendar – like for Stache’s, which went out of business in May of ’97. Stumbling onto a Lantern entry for 8/2/98 saying bands were playing at Stache’s “this weekend” sent me down a short lived rabbit hole, wondering if there was a brief revival for this legendary venue, and I never heard about it.

September 23 – Jill and I attend an Aerosmith show at Polaris Amphitheater. Monster Magnet opens. She’s decided that dreadful ballad from Armageddon is “our song” (guys have no say in matters like these), and they play that, sure, but otherwise it’s a pretty killer show. The two Joes in the band are amazing. Perry’s guitar tone is out of this world, and Kramer’s a complete animal on the drum kit. Monster Magnet are decent, although the only thing I remember distinctly is that they played Space Lord last, of course, and the crowd really got into belting out the chorus – that’s actually somewhat unusual for an opening act, in my experience. Jill’s wearing open toed sandals and by the end of the night, the dewy lawn has frozen her feet half solid.

October 1 – Gloritone, Superstar Rookie, 84 Nash, The Deal at Little Brothers

November 23 – WWF’s “Monday Night Raw” is filmed at the Schottenstein Center. Shaggy 2 Dope and Violent J of Insane Clown Posse are “with” some crew called The Oddities, whatever that means. They lose to an awesome sounding duo called The Head Bangers (Mosh & Thrasher). The Rock wins to hold onto his championship crown. Andy Kaufman’s buddy Jerry Lawler is one of the commentators.

December 28 – I think Superstar Rookie might have played a show on West Oakland somewhere.

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Northberg Tavern

Donatos-Pizza-OSU-Campus

Superstar Rookie book their second ever show at Northberg Tavern, a bar on High Street in the basement of a Donatos Pizza. This marks the live addition of one Tony Bair to the lineup, a lead guitarist about whom they still remain somewhat ambivalent. Although the other members have surely honed their own skills in the interim, and would have improved upon the debut gig regardless, I think Tony’s insertion gives them a more interesting and original sound.

This underground bar has only recently begun booking bands, so I’m not expecting much in the form of sound quality, but beer’s supposed to flow cheaply here and the place is sure to burst at the seams with familiar faces. As an added incentive Travis is hosting a party at his place after the show, and considering he always threw the best bashes in high school, this is not one to miss.

The Northberg is located beneath a Donatos Pizza at the corner of Frambes and High. After descending a flight of stairs and handing over the minimal admission to an absent minded doorman, I find most of the gang immediately, probably because they’re clustered at the most prominent table in the room. A long, banana shaped table with holes cut out to wrap around two pillars, it runs through the center of the tiny bar and affords the best possible view.

A funky, electric blue light suffuses the space, lending it a sickly and garish 1980s worthy hue. That coupled with the poor sound in the early going don’t seem to promise much of a future, and you add a sterile basement vibe into the mix. But man, though we never would have dreamed such at the time, for about a solid year, I and my friends – in various configurations, and numerous reasons – will wind up spending an awful lot of time at the Northberg.

Though other random diversions will occasionally draw us here, the twin pillars of our attraction become this local amateur comedy night, and the mind-blowing live appearances by one man with an acoustic guitar, this cat named Swabby.

Our initial experience with the local comedy business will occur on a Tuesday night in December. Cary had bailed on me at the last hour, meaning it’s just Damon and me conducting this surreal, double-billed tour of campus, one which began by taking in a jazz band at Sugar Shack. Now we are here. Damon’s never set foot inside this subterranean establishment, and neither of us have witnessed anything quite like this, whatever the location. After paying three bucks apiece to gain entry, we just barely catch the tail end of some freak performing a drag routine as a sort of opening act. He departs the stage as soon as we enter, though, to be replaced by some Faye chick who is acting as master of ceremonies for the humor extravaganza we’re about to behold.

“We’ve got an eclectic lineup tonight,” she smirks, “eclectic, eclectic…I like that word. Eclectic.”

I’m not quite sure what to make of our hostess, at least not without a more substantial body of data. On one hand she is kind of funny, albeit in a smarmy, self-satisfied manner. Heavy on the smarm, yes. But you can tell she’s intelligent, and would surely be a riot, if a touch neurotic, to hang out with sometime. Would she be a bit much to take in larger doses, however? More importantly, would we consider her doable? And must conversation always drift in this direction regarding members of the fairer sex? Well, yes, so it would seem, right or wrong – especially as she is a short brunette with attractive features.

“I’d do her, but she’d probably get on my nerves after a while, you know?” I conclude.

“Yeah, I know what you mean…,” Damon agrees with a nod of the head.

First up are the quote unquote amateurs, local comedians who don’t perform anywhere, competing for the door money. Some remarkably unfunny lady with big tits wins this competition, solely on account of having more friends and family in the crowd than anyone else – she talks about her breast reduction initially, and that goes over okay, but it’s all downhill from there. Still, everything is based on applause, and she pockets the cash, although Damon and I both find this tall, skinny guy who came on last to be the best.

Next up are the professionals, or rather those that actually have been performing, around town for the most part. One big black guy with short, dyed blonde hair, Vince, steals the show, as he has everybody in this joint rolling in the aisles. Unfortunately, this lighter skinned black fellow who goes by the handle Demetrius Nicodemus – a nice guy, obviously, but still – follows Vince and bombs hardcore. Most of the amateurs were better.

“Wow…that was…wiggity wiggity wack,” Faye comments, cackling to herself, onstage again after his time is up – and the way they signal this is by holding a lighter up from in back, a task left to one of the other pros.

“I think she’s making fun of him, saying wiggity wiggity wack,” Damon theorizes.

But the best part of the whole show is by far improv, making it well worth the money we’ve spent to attend this highly entertaining potpourri of attractions. This guy with long curly brown hair and big nose, Marc Heuck, is running the first bit as Alec Trebek, host of Jeopardy. He rattles off six categories – such as People, Places, and so on, and one of the comedians kicks matters off by making a selection. Many years later Marc winds up with his own game show on Comedy Central, incidentally, but for now he’s stuck here in amateur night at the Northberg.

The first category chosen is Things. An audience member shouts out the name of a random object and the comedians ring in, try to come up with something funny that fits. If enough people laugh, Heuck will say, “okay, pick a category,” to the comedian that nailed it. And so forth.

Next up is Freeze, a game where two comedians take the stage and, once again, have an audience member shout something out, this time an activity.

“Frisbee!” someone says

So the two of them are acting out a skit based on a Frisbee, until another comedian, whichever one thinks up a good little bit, yells, “freeze!”

This comedian then climbs aboard the stage, taps one of the guys, and takes his place, acting out a new skit he’s just come up with based on what it looks like the one person remaining is doing, often stuck in a pose which bears no resemblance to the task at hand. Or at least an act, like bending over, which does crop up with a curious plenitude, that can be interpreted any number of ways. These results are the most consistently riotous of the night, as even Demetrius doesn’t perform half bad in spots.

Finally, all the pros grace the stage at once and form a line. As before, the audience is instructed to shout out a profession, and the comedians take turns acting out what the worst person would be for this particular job.

“Teacher!”

“Gynecologist!”

I holler out, “porn star!” from where we are sitting to the left of the stage, but unfortunately none of them could can up with anything too earth shattering for this, despite the apparent ripeness of the topic.

Marc, an extremely quick-witted guy, seems among the most adept at this. His sense of humor generally runs into dry territory, similar to ours (when we’re not in full blown jackass mode, that is), and we get a real kick out of his antics. If grading every category a la the Olympics or a talent show, he would probably land the highest score, for it’s interesting to note that almost nobody, however funny in one segment, is consistently good across the board. Vince for example isn’t so hot at this type of improv, though all of the short, short fat guys are great for some reason, and Faye does alright, too. Demetrius still blows chunks, however.

“Man, I wish he’d just leave!” I tell Damon.


II.

In the earliest months of its incarnation, this place went by Northberg Underground instead. According to my notes, they only changed their name to the much more durable Tavern identity at some point in early ’98. And adding further confusion to this issue, any events calendar you would see at the time or for years to follow would typically list this space as Donatos – although they don’t have trouble filling the place regardless, and it may have accidentally lent them some otherwise unfathomable cool.

While initially not impressed by the guy, a second visit was all it took to convince me that my coworkers were correct in their assessment. Swabby’s the real deal in working a crowd like putty in his hands, blasting Johnny Bravo’s paltry by comparison following out of the water, exceeding even Uncle Frank Medley’s performances up north in the entertainment department. I can only hope that this is one of his typical nights so Alan can see what I’m talking about. 

Alan parks at this apartment complex nearby and we walk over to High Street, slip into the door at Donatos and down the side stairwell. We immediately locate Mill Run, Gina, and Julie, along with some other people I don’t know, sprawled along some booths just inside the door of this dim pizza shop basement. Stumbling around in this cavern is highly reminiscent of doing the same in our living room, but we manage to grope our way around and grab seats in their midst. It just so happens that Swabby is on break when we arrive, though using the opportunity to gladhandle his fan base, kiss babies and shake hands. Even without hearing a note yet you can gauge from the electricity of the crowd that he is on his game tonight, and as he takes the stage again, the insanity level eclipses even the last time I saw him. 

Packed beyond belief, with a ton of underage girls in here, in great moods as they’re managing to get served without difficulty, this scene is exactly what’s missing now at Woody’s. Still yet to strum so much as a chord on his acoustic, he’s whipping them into a frenzy with stage banter alone. Then he begins playing, and the place erupts into absolute mayhem. 

It’s hard to say what Swabby – his first name, I believe, might be Mark – has perfected to make his routine the winning combination, above all others we’ve seen mining a similar vein. Part of it I’m sure has to be appearance, his clean-cut normalcy, winning smile, and short, fuzzy black hair sticking up all over the place. He’s also tall, and I’m sure most of the girls present would describe him as cute. Still, that can only take you so far, as does that bit about roaming the crowds on break. Though the closest local analogy I can think of would be AJ Angelo’s efforts at the same, even he pulls up short in that department. Sure, our buddy Dan Bandman also comes to mind, the way he makes a point of talking to everyone at one of his shows, but there’s something intrinsically different somehow about an indie band playing originals, versus these exceptionally polished cover song guys who bend over backwards to actually schmooze a crowd.  

None of this would matter, naturally, if it weren’t for the music, and this is the real clinic, a textbook study in exactly what to play to work a college crowd into a fervor. He makes funny faces and refuses to take himself too seriously, while whipping out one singalong after another. Nothing is too cheesy for this Swabby cat, although, on the opposite side of that line, you will clearly find plenty he has excised: no singer-songwriter crap here, no angst riddled grunge, nothing which even remotely drags. Only the silliest, catchiest fare will suffice, whatever it takes to get these kids dancing and shouting along. 

So what are we talking? We are talking everything from the Brady Bunch theme, to the Proclaimers’ lone hit 500 Miles, to Blister In The Sun to Chuck Berry’s My Ding-A-Ling. The latter he has turned into a masterful call-and-response, as he croons the first three lines of the chorus, then slams on the brakes as the crowd takes over to belt out its conclusion. 

People are standing on chairs, on the tables even, pounding mugs and bottles. It’s utterly unlike anything we’ve seen in a bar, rivaling all but the best of national acts glimpsed in arenas or amphitheaters. And he is really just getting warmed up. 

Oh What A Night finds its way into the set. If something isn’t working, he isn’t afraid to switch gears on a dime, jump into a completely different song, and mere seconds typically separate finished ones, even, unless he’s pausing for air or to voice a brief little motivational speech. Commercials are within bounds, too, as proven by his admirable rendition of If I Could Be Like Mike. What this reminds you of most of all, really, is a Jimmy Buffet concert, which makes sense as he glides into Brown Eyed Girl and then his tour de force, Margaritaville, for which Swabby has crafted an original – as far as I know – back and forth breakdown. This occurs immediately after the line about there being a woman to blame, after which our ringleader stops playing, as the guys shout one line, followed by the girls in the crowd screaming the next, on and on in alternating fashion: 

“ALWAYS IS!” the guys declare. 

“YOU WISH!” reply the women at full volume. 

“SUCK MY DICK!” 

“SUCK MY LEFT TIT!” 

“SUCK MY LEFT NUT!” 

“SUCK MY RIGHT TIT!” 

“SUCK MY RIGHT NUT!” 

“FUCK YOU!” 

They know their lines without prompting, without a hitch, meaning that he’s surely been slipping in that segment for years. From here he picks up the baton and runs with it again, until the next chorus, where this dialog repeats itself, all three times its head rears in the song.  

Still, despite the insanity, and the plethora of gorgeous females, it gets to be a bit overwhelming after a while. Gina and Mill Run are also both too wasted to carry on much of a conversation during the rare moments it’s quiet enough to do so. After about one full set of this, we say our goodbyes and head outside to Alan’s truck. Only to discover it’s nowhere in sight.

“Fuck!” he shouts, “we weren’t even here an hour!”

I’ve been in this situation before, and it’s almost as though there’s an optical illusion at play. Though the tow away notice is in plain sight now, neither of us has noticed it before. Call it selective vision when you’re itching to get somewhere, causing your brain to shut down and overlook the obvious. But for now, there’s nothing to do, but make note of the phone number, trudge up the hill to Summit Street and home.

III.

Word begins to steadily increase about the outrageousness of these Swabby outings. He is now occupying a residency of sorts, playing every Wednesday and Thursday at the Northberg, every week. Soon after this latest visit, we manage to convince Damon and Paul that they have to come see this dude, pronto. And though we have chosen a Thursday for their initiation, which is for whatever reason the less insane of the two nights, without fail – I think because this is basically the start of a campus weekend, therefore there’s a lot more going on around here – they are nonetheless duly impressed.

We continue to sing his praises, luring still others into his lair. And it’s on another not too distant Wednesday that this scene reaches its absolute apex, a night where the familiar trio of Alan, me and Damon are joined by his sister Melissa, as we traipse down from the house on Summit.

From the moment our feet bottom out in this basement, it’s clear that the Northberg Tavern is reaching for rarified air tonight. The number two appears to carry some sort of magical significance, a recurring theme through virtually every encounter this outing will bring. We even initially have a second destination in mind, are intent upon winding up there as we leave the house – having spotted an unknown band’s gig flyer earlier today, with a black and white picture of our elementary school guidance counselor upon it, for a show tonight at Bernie’s Distillery, curiosity is absolutely gnawing at us – but the four of us don’t quite make it down there. 

Damon runs into two girls he knows from OSU, as does Melissa encounter a pair of her future sorority sisters. In both cases, although this surely makes us disgusting pigs, some of us have a curious inability to remember the less attractive sidekick’s name. Regarding Damon’s classmate, whom he has mentioned before and would like to hook up with, since she is both beautiful and cool, Carmen is the attractive brunette in the ballcap. This is a look not nearly as many girls pull off well as believe they do, but it works for her. She’s curvaceous and boasting the ideal proportion of  meat on her bones, her dark hair curly and long even though tucked up under that hat right now. Unfortunately, her friend, whose name may or may not have been Ashley, I forget, resembles a man more than anything else. 

This pattern holds when the time arrives to meet Melissa’s newest chums. Katie is the looker of the duo, her really tall wing-woman not so much. But, while a veritable ream of my coworkers are also on hand, as expected, the finest of these aren’t necessarily well represented, either, so I can’t much complain. This being a Swabby show, the Wade sisters Julie and Gina are present as always, along with their new roommate who is also the most freshly hired server at our restaurant, Jen Z. She’s an old friend of theirs from the Cincinnati region who just arrived in town, and possesses a sweet demeanor to compliment somewhat of a baby face framed by her luxurious, full mane of wavy black hair.  

Still, though always perfectly pleasant to be around, one wouldn’t count them the highlight of this occasion. Both are spoken for and, truth be known, probably a bit too subdued for our tastes. No, that honor would go to their swarm of female cohorts, a tangled knot occupying this huge central table maybe ten feet from the stage. Most of them are hot, and, according to Gina, one hundred percent are single right now.  

Even so, there are two in particular commanding our attention. Damon and I are standing watching Swabby mug his way through Cecilia. Or should I say, listening to him play it, for there’s this blonde with a smoking body bent over right in front of us, talking to someone at the table, her sublime ass all but shoved in our faces. Mill Run is on the other side of me, about four or five sheets to the wind this time around, and I don’t even have to say anything, he knows exactly what we’re thinking. 

“She’s very single, Jay, and a maneater,” he tells me with his standard husky throated chuckle. 

Introductions are handed out soon enough. This we learn is Joy, while her copper haired colleague, equally gorgeous, is Jenny. Unfortunately in this instance, though I’m otherwise happy to see him, John H happens to be on the scene as well. He has already trained his laser beams upon Joy well in advance of our arrival, meaning we likely don’t stand a prayer. 

Elsewhere, the familiar faces radiate like crop circles from this post. Danielle and Bobbi, John L, the cooks contingent well represented by the likes of Jeremiah and Rookie. Sean McEvoy and his reconciled former/current girlfriend Carrie, even. Oh, but what is this? While surely the maniacal work of John H’s, too, for I can’t imagine who else would have called her, here comes Keisha, trailed by Pam with considerable fanfare into this cavern. Except he claims wonderment to see her here himself, having like me given this up as a lost cause ages ago. 

“She’s a player,” he offers, with a knowing, almost sad grin and a shake of the head. 

That seems to be the consensus, a theory which looks mighty solid at a casual glance. But playing whom, exactly? And are we sure she isn’t just playing herself? This is a question which still warrants further scrutiny, perhaps. The problem with nights like these, however, is that your head is spinning to such an extent that focus becomes an issue. Grasping at once for everything, you often wind up with nothing. It also doesn’t always help when you know in the back of your mind there’s always a contingency plan, a pretty much sure thing you can sleep with whenever. Sometimes this knowledge lends you confidence, but it can just as easily create complacency, and you must fight this thought at every turn. 

In keeping with a theme established at her parties, Keisha makes her rounds and flirts with every guy in the room. Enough to make each feel special, and desire her even more, without actually tipping her hand in any direction. And the much more conservative seeming Pam continues to follow suit, more or less, completing the circuit if not the sentiment. Yet when the smoke clears and they’re left scrambling for seats, it’s encouraging that these two set up shop near us – although as packed as this place is, there’s really not much else. A number of us, our foursome and the two Johns included, have been shoved to the backside of this massive central table, with my view especially atrocious as I’m forced to crane around a giant metal pole to see the stage. Keisha and Pam fall into the leftmost flank, next to John L, within shouting distance if nothing else. 

Occasions like this make it almost as much fun to imagine what our absent coworkers are up to at this moment, what kind of chumps are stuck on the floor or behind the grill or the hostess stand this very second. Almost, but…well, not even close, not right now. Dudes with backwards baseball caps are standing on some of the tables, same as last week, and a few go as far now as to start ripping out drop ceiling tiles in the grip of this inexplicable mania. Nobody connected with the bar objects. Meanwhile Swabby expertly shifts from one singalong to the next to the next without pause, ripping at present into Blister In The Sun. 

“See, I always knew this would go over with these college kids!” Damon observes, a reference to our own efforts at learning this in the Paleozoic Epoch of last spring. 

Oh, but what is this, the Swabster does slam on the brakes now, although a sly grin accompanies this move and you know it’s all just part of the plan. “I’m not playing any more until I see some tits!” he announces. And whereas in our clumsy hands such a declaration would surely fall into the perv pile, in response to him it’s met with a raucous cheer. 

“Okay!” Sean’s girlfriend Carrie shouts, she of the smooth, rosy cheeked face, compact frame and silky straight raven hair. She stands up and our breath catches in our throats as she makes a motion to yank up her shirt – though it’s all just one big fakeout, a decoy, causing her to spin around and regard this crowd with a broad smile before sitting back down. 

Danielle, however, obliges our ringleader by flopping out one gigantic, milky white boob, cupping one hand underneath it for his and everyone else’s appraisal. Normally one of the more reserved chicks we work with, she’s been on a mission of late, dumping her longtime boyfriend, announcing she’s moving to Florida in a couple of months merely to shake up her life. Has already put in her notice with management for that distant date, even, and you have to admire these bold moves, root for a totally normal person courageous enough to try something new.  

Regarding this display of flesh, however, while not exactly complaining, let’s just say she hasn’t ever entered my fantasies. Alan and Damon are apparently jolted into a state of superawareness by it, however, as they bolt from their chairs and decide to make an end run around the right side of the table. Not to view our round blonde veteran waitress with that shock of white hair and the perpetual, comically cranky sneer of an agitated spinster, but rather to glimpse the entire scene in greater detail. As a result, they return with reports of a really nice-looking skinny girl whipping up her shirt and flashing both breasts, an arm’s reach away from them. 

It’s great to have these two back in the loop again. Though the Icehouse twenty ouncers are flowing throughout the bar, these baseball bat shaped bottles with faux athletic tape up top, though I know seemingly half the room and would surely have a fine time regardless, it’s nonetheless never quite as exciting when they’re not around. It’s the shared history, this narrative to which we are continually adding, sure, but also that these two are as genuinely entertaining as anyone else within this huge extended circle. So while you can call me troublemaker or devil’s advocate or any such handy catchphrase, all of my angling has been conducted with this thought in mind: wishing they were single like me and still working this campus scene, too. And the thing is, while neither will come right out and admit as much, they’re both feeling the same way of late, it’s obvious. That they might have left something on the table, and are itching to get back in the game. 

By the time Swabby’s stopped playing and the crowd has considerably thinned, those of us remaining look and feel a little bit like war survivors who’ve retreated to the nearest bunker. In this instance, our fortress happens to be a raised rather than sunken one, for we survivors are seated around that central table – though absolute carnage does surround us, all the same.  

We are eventually the last patrons remaining in the bar, Damon, Alan, Melissa, myself, plus Carmen and this friend we are calling Ashley. My head is swimming, not with drink but rather per usual the parting conversation with Keisha, one which has me feeling confused and fired up all at once. 

As is their custom, she and Pam hung around here for maybe an hour before heading up the road. Either a more exciting outpost awaited them, or else the serious minded sidekick had to study again, I’m not sure. I’m standing near the back wall, though, and she seeks me out; again maybe she’s doing this with all the guys, maybe this is her genius. Actually I know this is her genius. But it feels different, somehow, different than she is with all the others as well as different from how she used to be around me. I like to think maybe she’s picking up on the vibe that I’ve marked her down as a hopeless cause, and that this increases the attraction somehow. 

She takes both my hands in hers, one in each, and smiles at me, affixing those incandescent blue-green eyes on mine. “I wanted to talk to you!” she coos, then insists, “I’ll call you sometime this week, okay?” 

When his girlfriend Carrie was suddenly feeling mysteriously not so hot, Sean McEvoy bailed at an early hour, too. Concerning those who hung around to watch Swabby to the titillating end, John H will wind up tagging along with Mill Run, Joy, Jen Z and company back to the Wade sisters’ apartment on Lane. John H will eventually submit a full report to his dossier detailing how he banged Joy at said apartment, this very evening. On one hand, coupled with Mill Run’s warning, and the ease with which this transpired, it’s fairly easy to conclude well, this Joy is clearly damaged goods. But on the other, it’s kind of hard not to think hmm, yeah, and I sure would like to find out for myself.  

Once again though I have the constant antics of my roomies to keep me entertained, and focused upon the here and now. Alan’s about half tooted up, a don’t-give-a-fuck state which makes him even more hilarious than usual, which simultaneously often proving irresistible to the fairer sex. So it is that this Ashley or whatever has taken a shine to him. She’s blasted too, however, and is for some reason seated with a pitcher of beer she’s ordered, intended for her consumption alone. Every time she turns her head, Alan sneakily springs to attention and grabs the pitcher, siphons off a little more beer into his own glass.

Damon’s attempting to work the magic with Carmen in much more subdued, coherent fashion. But now the tavern is closing for the night and the bartenders are asking us to leave. 

“Would you go get my coat for me?” Ashley meekly requests of Alan. 

“Fuuuuuck youuuuu,” he blurts.  

Ashley’s shocked into speechlessness, only stares at him, an astonished expression on her face.

“What do I look like?” Alan quips, then, shaking his head, adds, “that’s a good one. Whew.” He then helps himself to another healthy dose of her beer, this time right out in the open.


IV.

Damon has gotten to where he’s more than a little agitated now when his girlfriend, Shannon, actually drives down to Columbus for a visit. She’s called him up out of the blue on a Tuesday night, announcing just such an intrusion. He paces around the kitchen, fuming about how this messes up his entire week.

When Shannon arrives, the three of us decide to traipse down for amateur comedy night at the Northberg. This weekly variety show has lost some of its luster after repeated visits, but we can’t think of any better options in such a pinch. The last time Damon and I came here, this really attractive professionally dressed redheaded woman, probably in her mid 30s, wouldn’t stop staring at the two of us the entire time. She’s actually turned around and beaming in our direction most of the night, instead of watching the comedians. When one of them makes a joke about a plastic pussy, the entire room erupts with laughter, including us. 

“You boys aren’t talking about me, are you?” she asks. We both mumble a quick no, and I guess we’re just a little too young or unsure of ourselves or something, because like idiots neither of us makes a move to score with this older chick. Damon will admit, though, that he had the perfect comeback on the tip of his tongue, as soon as she said that, but couldn’t bring himself to blurt it out.

“I almost said, not unless you’ve got a plastic pussy!” he tells me.

Nothing quite so entertaining will transpire this time around. Part of the problem is that the element of surprise is lost after a few visits, and the comedians begin repeating themselves. The more ambitious or experimental ones might not, though this only means they run into consistency issues, as almost nobody is gut busting hilarious with every outing. A difficulty further compounded in that the best of the bunch, as you might imagine, are typically the first ones to move on, and disappear from this scene.

Demetrius Nicodemus, for example, though he seems like a nice guy, is the least funny of the lot, and took over hosting duties from Faye last month. At one of Swabby’s shows I happened to be in the men’s room the same time he and some of his buddies were, and heard him repeating jokes from the night before, passing them off as his own material. Coming here means we’re unfortunately subject to something even worse, i.e. a ton of his mugging and filler content between acts.

One fresh face is making his debut tonight, Rich Couris, or at least this is the first we’ve ever seen of him. He has this razor sharp smart-alecky wit in the Dennis Miller vein, in fact his voice even sounds similar. You can tell he’s somewhat of an elitist, and is fine with that, as these jokes aren’t told for everyone’s benefit, he doesn’t feel the need to seek the entire crowd’s approval. In spite of this attitude – or, in reality, because of it – the three of us will laugh no harder the entire night than during his set. And this isn’t to say he’s above the common man’s subject matter, for example, topical sexual content.

“Now this Monica Lewinsky’s saying she gave Bill Clinton oral sex, and that he missed her face, came all over her blue sweater….” Rich begins, “I’d just like to say to Clinton – HELLO! HOW COULD YOU MISS A TARGET THAT BIG!”

In defense of our host, Demetrius is enjoying one of his better nights, too. I can’t imagine how difficult it must be to succeed in this pursuit, and he clearly works hard at this. His major problem as I see it is that, as a person of shall we say mixed heritage, he can’t seem to make up his mind which crowd he’s pandering to. Half of the time it’s as though he’s attempting to act black and the other half white, instead of just being himself. Plus, he’s just not that original in either material or style. Still, he does have us rolling during one segment tonight, a first, so it’s possible he’s figuring things out.

A singular strange occurrence, which I never bring up, has me feeling like my heart is going to jump free of its moorings, even as my jaw slides past it to the floor. As we sit in chairs at a front table immediately before the stage – which makes the spotlight sensation even worse – the pulse beat hammers away in my neck with increasing urgency, though a sinking dread floods me otherwise. There’s this skinny young white kid on the stage who starts into a story, which really has no point, it’s obviously just a crazy encounter he can’t get over and wants to mention. He says he was at the Yucatan Liquor Stand one night with some friends, sitting at a table upstairs…when a nice looking older woman, a brunette maybe somewhere around 30…approaches him out of the blue, kisses him on the lips and asks for his number. But then he never hears from her again.

He doesn’t give her name, but doesn’t really have to. There are just way too many similarities here, and I know he was one of Teresa’s victims, too. I shoot surreptitious glances over to Damon, wondering if Paul, my only witness, ever told him about that incident – because I, imagine that, hadn’t mentioned it to a soul – but he’s just watching the comedian and seems oblivious. Then the kid concludes his tale with a shrug, saying something to the effect of, I don’t know, it was just really weird and moves on, sans any sort of punchline.

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Superstar Rookie

superhero poster from Superstar Rookie's debut performance, Cafe Bourbon Street

The first ever Superstar Rookie show arrives the same night as a torrential downpour, easily the worst rain seen all summer. Even so, I walk up to Café Bourbon Street from our house, hopping over puddles because Alan’s at work and I’m not sure who else would give me a lift right this minute.

I spotted a couple different flyers of theirs on High Street earlier that same day. The one above, featuring some sweet looking though possibly copyright protected superheroes, is more in keeping with their sound and band name. But this Screech number shown below isn’t without its charms – particularly as I must have picked it up off the sidewalk or something, as shoe prints are visible on my original copy:

poster from Superstar Rookie debut performance, Cafe Bourbon Street
poster from first ever Superstar Rookie show

When I arrive, Dan hands me a pair of official band stickers. They’re black and white, with the band name in lowercase block letters, and an image of two kids pointing up at the sky. Bandman’s got on a 3-piece suit and below that, a Superstar Rookie tee shirt, a little bit of additional advertising. These are available for purchase for the low, low price of $10, and you have to hand it to Bandman and company, they really did their homework promoting every angle of this puppy. Beyond all that, though, Dan’s mania knows no bounds, and this is great to see, someone with this much genuine enthusiasm for playing music.

I’ve always told him he should put together an act called Dan Bandman’s One Man Band, but based upon that instrumental demo he played for us a few weeks ago, these Superstar Rookies will rise above the novelty status of my tongue in cheek suggestion. Since the night we met for drinks at Café Bourbon Street they’ve formally agreed upon Brandon Tuber as their singer, have crafted lyrics and vocal melodies for their songs. Brandon never sang in any capacity before this but Dan always felt Tuber was the right person for the job, and eventually convinced him to accept it.

So they also manage to convince the old man who owns this place to host his first ever rock show. Though initially unsure it would pan out financially, as he paces around tonight behind the bar, I swear I can spot dollar signs floating around in the pupils of his eyes. The bar is wall to wall people, all of them having paid three bucks apiece for admission, most dropping untold wads of cash for drinks.

He’s jacked the house lights up to a more sensible level for the show, subduing the creepy, murky green and orange glow his tavern usually bathes in. The piano’s gone, too, making room for more tables, never to return. Though no live music has ever saturated these walls before it’s clear there will be plenty of it in the near future, as many nights a week as the old man thinks he can turn a buck. It must seem like a grand epiphany to him, this occasion, the registers overflowing with cash.

Customarily almost a middle aged dive bar, the clientele has reconfigured itself as a hip, happening hot spot. A sea of eighteen to twenty five year olds flying from one table to the next, everyone knows everyone here, we’re all friends from back home coming to root our local boys on. Though alive with activity, I somehow manage to pin down one booth unoccupied in the center of the room and slide my body into it. A perfect vantage point to track the who’s who of everyone in attendance, as I kick back and take a look around the room.

Ben Kick, now a hardcore heroin addict, nods off at a table in the corner. Despite his troubles he’s doing better than many of us are in some respects, for somehow the seedier fringe of any society attracts a certain element of gorgeous females. This explains how he’s landed Tiffany Miller as his girlfriend, a megawatt babe these days, tattooed and streetwise sexy. She sits beside her man, kicking him underneath the table whenever he drifts asleep, though each time his eyes snap open for only a moment before he nods off again.

Dan’s roommate Norman and his brother Jose Flores are here, pleasant Filipino kids I worked with at a fast food restaurant in Mansfield about five years ago. Ron Fry and Jeremy Wendling, two more casual acquaintances from my high school days, are among the paid attendance as well. Steve Simmers is accounted for, too, another chum from back home. He is also covered in tattoos, and sports a wild mane of shaggy black hair, but despite his appearance and occasional zany comments, he’s the most genuine and harmless character you could ever hope to meet.

Superstar-Rookie-business-card
Superstar Rookie business card

Dan’s making his rounds, glad-handling his constituency, and in so doing slides into my booth. This is the point at which he slides me the stickers, in fact. I mention having spotted a couple of their flyers earlier today while goofing around on High Street.

“Yeah, we made up four different kinds,” he says, nodding his head.

“Hey, I dig the three piece,” I tell him, when he stands to move on to the next party, kiss some babies or something. He flashes me the patented Dan Bandman smile, all squinty eyes and white teeth, laughs and tells me thanks.

My eyes drift repeatedly to Seresa, behind the bar tonight and assuredly netting a small fortune in tips. Looking just as lovely as the first time I met her, attired in tight, sparkling clothing that accentuates her impressive frame. She floats through the room with a deftness bordering on astounding, cataloging each drink order and delivering it without flaw, never mind the oceans of bodies she’s squeezing through.

“Why aren’t you drinking?” she asks in passing my table.

“Running low on funds,” I tell her with a grin.

Minutes later, she wordlessly sets a beer down in front of me and walks away without breaking stride.

“Thanks!” I call out behind her.

“No problem,” she turns around and smiles.

Secret Of Flight are the opening act, another – you guessed – group of former cronies from the Mansfield region. Some of them I think still live up there and have driven down just for the show. Dave Kemp, on bass, I know recently made the move to Columbus, but I’m not sure about Chris Hostetler and Jamie Ferguson, the vocalist and guitarist respectively, whereas I don’t even know the drummer at all.

Running into all these familiar faces is cool and everything, but it feels like a frantic dash in some respects, strained attempts to make meaningful contact with everyone in the space of a couple hours, all the while taking in a rock show. Really it just highlights for me that I’m not the only tight lipped character, for most of these guys don’t have much to say, either. Despite having gone to high school with Ferguson and Kemp and meeting Hostetler through some of the other dudes, like many of our friends they’re mellow, laid back fellows who guard their words and as such it’s difficult even for a marginal friend such as I to describe them in any more detail. They’re like Fry and Wendling, or for that matter Kick before the lurid details of his drug problems, meaning they’ve always just been around but I don’t know anything about any of them.

Secret of Flight begins their set, and the words pleasant surprise fail to serve them justice. Kemp’s bass lines are incredible, fluid and unique and melodic as hell, made all the more amazing in considering that he’s almost too wasted to walk. Meanwhile Ferguson’s got this fantastic guitar sound, flowing smooth as water and bright as a hundred watt light bulb. Hostetler doesn’t have the most dynamic range in the universe maybe but does make the most of it, wavering between the familiar speak-to-shout-to-speak dynamic made famous by a number of other independent bands. Still, it fits the music well, and though neither he nor the drummer are particularly jaw-dropping tonight, they provide a steady backdrop for the instrumental heroics of Kemp and Ferguson.

Earlier this summer, Dan played had played their demo for us at a house party, at a time when the band was still an instrumental trio. I liked it, but at the time ruffled some feathers by suggesting it was kind of power poppy, a little heavier but in the vein of early Cheap Trick.

“Cheap Trick,” Bandman had scoffed, shooting me a dark glance as he ejected the cassette.

I suppose at least one band member is bound to be offended, or at least find it ridiculous, whatever comparisons you make or genre you suggest. It’s best to say you dig it and move on. A week or so after that, a bunch of us are sitting at this very bar when Dan tells me they’ve settled on the tentative moniker Superstar Rookie. I think it’s great and suits their sound like a well-oiled kick drum, but on that day, at least, he was having second thoughts, worried that it might not fit their aesthetic.

As Superstar Rookie launch into their opening song, I recognize that Dan had been correct in scoffing at my power pop label for their music. They’re a little too loud and a tad bit loose for that designation. And as such, he might have been correct in suffering second thoughts and considering the band’s name a mismatch for their sound – but I don’t know, I still kind of like it anyway. Besides, it isn’t as if their direction is even etched in stone as of yet.

“The whole half time breakdown thing we learned from Copper,” Dan will tell me later, and cites, when I ask, the chorus of A-Ha’s Take On Me as an example, the way the music briefly slows down to half speed before revving up again. “That’s a trick he taught us.”

And aside from this conscious signpost, they lace in covers from multiple eras alongside their still relatively new originals. Beyond Dan and his three piece suit on guitar, my good friend Travis Tyo functions as bassist, with this burly redheaded guy Dave Copper manning the drums and the new recruit Brandon singing, by every indication a ball of nerves, terrified. The stage is adequate in size but not much beyond that, yet to their credit both Dan and Brandon make the most of it, canvassing both ends, jumping around, infused with as much animation as this limited arena will around.

In sound they are sloppy and unprofessional as hell, yet somehow make it work, winning you over in much the same manner as the neighborhood mutt. Call it the old Bandman charm – he and Travis have been at this together stretching clear back to our scholastic days, both in Mansfield and Columbus, and their seamless unison combined with Dan’s obvious enthusiasm make for a compelling combination. Travis smiles and rides his bass lines but even he can’t take his eyes off the guitarist, by all rights it’s the main attraction here.

Copper’s a powerhouse phenom with more chops than any other drummer I’ve seen around town, yet appears bored behind the kit, his face expressionless and detached from everything else happening on stage. As for Tuber’s vocals, he’s somewhat shaky and not nearly loud enough, and also displays this amusing trait of turning red in the cheeks when he sings, face and vocal inflection both reminiscent of a teenage kid arguing with his mom. But the lyrics and in fact the band’s song structures in general suggest something unheard of before, a new composite sound, a resolute avoidance of cliches.

Alan shows up halfway through their set, munching on a submarine sandwich he’s purchased at an undisclosed gas station. The more fast paced our lives become the worse the quality of our food gets, it seems, and this vile creation I’m watching him inhale represents the latest link in his diet’s de-evolutionary chain. After putting in a two to ten shift at the airport he’s stopped home only long enough to change, and now we stand in the back of the bar because he’s still too wound up to sit down.

Excuse me, Steve Simmer says, stumbling up to Alan and me as if we’re complete strangers, my eyesight’s not very good. Is that Dan “Three Fingers” Bandman playing guitar?

This question is so bizarre on so many levels that it’s best to not even attempt thinking about it. We mumble a response in the affirmative and he thanks us while shuffling away, though not before Alan hands Steve the remains of the noxious sub. We share a laugh over the whole peculiar encounter, my roommate and I do, from his acceptance of the sandwich to his efforts across the bar of pawning the sub off onto Ben Kick and Ron Fry. Ron in fact punches Steve in the arm at last as if telling him to piss off, at which point Simmers finally gives up the ghost and tosses the offending sandwich aside.

“Three Fingers Bandman?” Alan finally gets around to wondering aloud, “what the fuck’s that supposed to mean?”

“I have no idea,” I admit.

The only possible explanation I can divine is something to do with the three piece suit Dan was wearing at the beginning of the show. But the suit’s long since history, as Dan strips down to just the dress slacks and a white Superstar Rookie tee shirt. Now he’s sliding across the stage on his back as he reels off a guitar solo, grinning at this obvious homage to a cheesy rock era gone by.

He laughs at my comparisons to Cheap Trick but there’s definitely an element of the overblown 70s here, and the glorious 1980s, too, but just a touch. Handclaps and singalong choruses colliding against a crunchy guitar tone familiar from eras past. An indie rock pedigree buffered against Copper’s dexterous drum patterns with a dash of Replacements-esque sloppiness thrown in the mix, manifesting itself in the way they’ll start a song over if anyone hits a bum note. One selection features Brandon reading a favorite book passage through this megaphone, thus flipping over the last stone they might have left unturned in their quest for the perfect show.

After a short break, the band returns for an encore. Whereas their main set features strictly original material, here they veer into the familiar land of time tested covers, beginning with Just What I Needed by the Cars. For this one Brandon enlists the audience, coaxing them into shouting out each chorus by holding his microphone above the crowd, a move met with thunderous, roaring approval. But now that we’ve heard the thunder here comes the lightning, knocking out the bar’s power supply just as the band kicks into Just Like Heaven by the Cure.

We fidget in snickering silence for a few moments, waiting for the juice to return and end this evening proper. When it does some five minutes later the Superstars eschew wrapping up their Cure tribute and instead opt for a much more modern one, closing out the night with a Built To Spill song I fail to recognize. Then the show’s over and they’re putting away their equipment and as we congratulate the four members on a job well done, Ron Fry and some of the other fringe characters are hamming it up on the microphone, eager for a portion of the spotlight. Amusing as this is Alan and I wave to everyone else and disappear down the road, off to a keg party across town.

Superstar Rookie have lurched out of the gates with an impressive debut, though they’ve understandably still got some kinks to iron out. Truth be told, while I wouldn’t have admitted this to anyone, the secret in the opening band’s name might be that I unexpectedly liked them a little better. Secret Of Flight launched into the stratosphere tonight, but then again this was Bandman and the guys’ first time out, and much better things are forthcoming from them.

By the time their second gig arrives about a month later, held at the Northberg Tavern on High Street, they’ve augmented the lineup with a lead guitarist, Tony Bair. Thus begins a schizophrenic patch of sorts, in which they’re attempting to decide whether this fifth member belongs or not – although in my mind, the answer is a resounding yes.

Superstar-Rookie-sticker
Superstar Rookie sticker

II.

Superstar Rookie will release their debut album, The Problem With Words, in 2000. By this point Tony Bair is already out of the band, and they are back to the fourpiece which kicked things off during this first show. It’s a solid, high energy release, and the music mostly explodes out of your speakers. If I have one complaint, it’s that vocalist Brandon Tuber sounds different on here than he did during their live shows. He doesn’t sound bad, just exactly that: different. On this disc his vocals come across as clipped, whereas during their gigs his voice was somewhat more expansive. I’m not sure if this was a conscious decision, or accidental, or something that just happened at the control board while recording. One exception is Pulling Oliver’s Wings, which might be the best song on the album and is a good example of what I’m talking about. Here he really gets to belt it out, giving you a good indication of what their shows were like:

The album truly hits its stride from this point forward, actually, as songs #5 through 10 are probably the high point. Some guitar solos might have been nice, sure, but you don’t really miss Bair’s absence a ton, as great as he is. I think there’s enough variety here to make up for that extra piece – particularly on Pete’s Dragon, where Bandman submits a nice little shredding interlude, as well as a cool acoustic breakdown. And you even get to hear Dan sing lead on Expost Facto, an added bonus. I’ve always liked bands that shake things up with more than one vocalist, so this is a terrific change of pace.

Though initially released on local label Diaphragm Records, a product of Workbook Studios, this album is sadly now out of print. And to date they’ve not yet made it available for streaming, either. Here’s to hoping The Problem With Words will see a proper reissue one day. And who knows, maybe a reunion will be in the cards, too. For now you can jam on this classic cut here, and if you like what you hear, pick up a used copy of the album online.