Reach Dayton Mayor Gary D. Leitzell at (937) 333-3653 or GaryLeitzell@DaytonCityPaper.com

Dayton Hamvention celebrates its 62nd anniversary at Hara Arena May 17, 18 and 19. The long-running amateur (ham) radio convention got its start in the Gem City back in 1952 and has since become the largest in the world. Amateur radio operators (hams) travel from all corners of the globe to participate in the historic event.

While much of ham radio revolves around recreation, the pastime can also be a very serious endeavor. According to Dayton Hamvention Committee Member Henry Ruminski, “Hams are licensed by the Federal Communications Commission (FCC) and participate in a variety of radio activities. While much of it may be for personal enjoyment, such as talking to someone in a distant country or to another ham traveling through the area, it also has a serious side. It is called the ‘Amateur Radio Service’ because hams provide important emergency communications when other systems fail or are loaded during a crisis. When all else fails, amateur radio can get the message through.”

In fact, ham radio has come to the rescue during many of our nation’s gravest emergencies. Ruminski noted, “When cell phone systems crashed on 9/11, hams stepped in to provide communication. They also provided vital life-and-death capabilities until systems could be rebuilt after Hurricanes Katrina, Rita and Wilma destroyed other communications. To prepare for real emergencies, many hams provide communication to a variety of public service activities such as races, walks, parades – any event where trained communicators are needed to ensure vital information is passed quickly and efficiently.

“However, most of the time, the 700,000 amateur radio operators in the United States are just enjoying their pastime, transmitting voice, data and pictures through the air without depending on commercial systems,” Ruminski added.

The Dayton Hamvention is the prominent avenue by which hams can enjoy their pastime. I had the chance to conduct a more extensive interview with Dayton Hamvention Committee Member Henry Ruminski in anticipation of the event.

How long has the Dayton Hamvention been the world’s largest amateur radio gathering?

Hamvention may have been the largest amateur radio gathering from the beginning. It definitely has been the largest for the last 40 years or so. – Henry Ruminski

Were there other ham radio conventions before Hamvention? 

There were hamfests before the Dayton Hamvention. However, none gained the size and reputation of Hamvention. -HR

Dayton’s John Willig had the idea for a Ham Radio Convention in 1950, but was turned down by the Dayton Amateur Radio Association (DARA). It wasn’t until Frank Schwab was elected President in 1952 that the convention got off the ground. Do you know why there was apprehension about starting the Dayton Hamvention (then called the Southwestern Ohio Ham-vention)?

There was hesitation because some wondered if enough people would attend to cover the costs. -HR

Are any of Hamvention’s founders or first attendees still involved?

I do not believe any of the original founders are still around, but Ron Moorefield, W8ILC, who is on this year’s committee, has attended every one and been actively involved for many years. -HR

This year’s theme is “DX Hamvention.” Can you elaborate on what that means?

“DX” is a symbol that refers to the distant contact. A Dayton ham talking to someone in Australia would be “working DX.” The 2013 theme, “DX Hamvention” reflects this important part of ham radio. “Hamvention is often an important DX destination for amateurs from all over the globe. Working DX is often a mix of magic, conditions and the diligent application of radio theory,” according to Charles Kaiser, KD8JZR, general chairman for the event. Kaiser noted that many attendees return each year to Dayton to meet other hams they have talked to on the radio. “The quest for that distant contact advances amateur radio on many levels so the Hamvention team is honoring DX in all of its forms this year,” Kaiser said. -HR

What’s the farthest you’ve seen someone travel to be part of Dayton Hamvention?

We have had people from Australia, China, New Zealand, India, Japan, etc.  -HR

In addition to hobby, ham radio can also be used during emergency situations, when regular communication channels fail? Have you ever had to use ham radio during an emergency? If not, do you have any uplifting stories regarding the employment of ham radio during emergencies?

I personally have only participated in “minor” emergencies such as the ice storm that blacked out most of eastern Ohio 25 years ago. Hams rode along with the emergency crews from outside the area who could not communicate with each other. Hams ensured that all crews were clear before an attempt was made to restore power. -HR

Do you have anything else you would like to add about Dayton Hamvention 2013?

Sales of flea market, inside exhibit spaces and advance tickets are running ahead of last year. The 400+ volunteers are working hard to provide our visitors with another pleasant Hamvention experience.  -HR

The 62nd Annual Dayton Hamvention takes place May 17, 18 and 19 at Hara Arena, 1001 Shiloh Springs Rd. For more information, please visit hamvention.org

Reach DCP freelance writer Leo DeLuca at LeoDeLuca@DaytonCityPaper.com

Mark Luedtke is an electrical engineer with a degree from the University of Cincinnati and currently works for a Dayton attorney. He can be reached at MarkLuedtke@DaytonCityPaper.com.

After cutting her teeth with Boston college rock icons Pixies in the late ‘80s and early ‘90s, Dayton’s Kim Deal returned home to rekindle her other band, The Breeders, with twin sister Kelley, bassist Josephine Wiggs and newly-recruited drummer Jim MacPherson. In 1992, the band set to work on what would become one of the most successful albums of the first wave of alt rock, Last Splash (released August 31, 1993), due in large part to the omnipresence of the single “Cannonball.”

As the album reached its 20th anniversary this year, The Breeders and their label 4AD compiled a boxed set for Last Splash, complete with reimagined packaging, out-of-print singles, a live set from that era and an extensively curated booklet. The results are stunning, an impeccable reissue of one of the era’s finest albums. In support of the reissue, the Last Splash-era lineup has reformed, along with violinist/keyboardist Carrie Bradley, touring throughout the U.S. this spring, with additional dates in Europe, the U.S. and Australia planned throughout the remainder of the year. The Dayton City Paper spoke with Kelley Deal about the reissue, the resulting tour and what lies ahead for this reunion.

How did the reissue come together? Did 4AD approach you or was it something you were thinking about? 

Kim and I were sitting on the couch, and as she remembers it, and I’ll take credit, I said, “You know, next year is gonna be the twentieth anniversary of Last Splash.” And she said, “Oh, really?” And then we started talking about what we could or may do about that. I think they were talking about it. Then we were working with somebody and they said, “Let me call 4AD and see if they want to do anything about it and see if they’d be interested in reissuing it or putting something out.” And they did. -Kelley Deal

When you first approached 4AD about reissuing Last Splash, how did all the bonus materials come in?

They’re a really cool label. We basically made out a wish list; we said, “Here’s what we want.” Every step of the way – the artwork, should the different discs retain their original artwork, to the copy writing of the booklet, to collecting the photos, to placing the photos – we’ve been working hard on it. We’ve been working very closely with Chris Glass; he did the booklet for us as far as laying it out. So, we just kinda gave them a wish list and they told us “no” on, like, two things and other than that it’s been pretty amazing. -KD

How did the tour come about? 

That’s what we really wanted to do was tour. We wanted to do the album from start to finish. And we wanted to do any kind of B-sides that might make sense in terms of that. So, we thought about it and we talked to Jim and Josephine to see if they would be interested, first of all. The responses we got back from them were, “Absolutely!” At that point, we started making schedules about having people fly in or drive in. So we just started getting together and everybody worked really hard beforehand and relearned some parts. … I think we’d done every song live except for “Mad Lucas.” The thing we wanted to do was when we got together was working and building and re-creating a song. -KD

Twenty years later, what is your impression of Last Splash?

I think it’s a perfect album, you know what I mean? As far as dropping a needle on it and letting the songs go. The path that it takes you on, the journey that you go on, you’re never sonically bored. There’s always something sonically intriguing or odd or creative that you don’t hear. I think it’s crazy that it can run the gamut of the sugar-pop of “Divine Hammer” to the absolute dirge that is “Mad Lucas.” And that’s all on one record? And seamlessly. It’s not like it’s jolting, it’s lovely. It all makes sense, and I think that’s amazing. I think that was just dumb luck. You can’t make that happen. -KD

You did the pre-tour show at Southgate House. How did you feel about that?

I felt great about it. We wanted to get out of Kim’s basement so we could understand certain things. For instance, Joe hasn’t played in a loud rock band for years. Jim’s a player, he always plays. Carrie was doing new things. She was having pedals she was incorporating. It was important for her to get a feel for what the gear would sound like on stage. It’s always good to have a dress rehearsal. Southgate House was a wonderful place to do that, and they were so nice and generous with what they were doing that we decided the next time we did this and worked with them, let’s just do a show. … It’s coming up on a year from when we first thought about this, so we’ve got a remarkable amount of stuff done. -KD

For more information on the Last Splash boxed set and The Breeders’ tour itinerary, visit thebreederslsxx.com.

Subversion and influence of the masses via popular music is hardly a new thing, whether by design or just uninformed opinions of those who “don’t get it.” This issue has long dogged the heavy metal genre, in particular. Dating back to the beginnings of heavy metal, British metal forefathers Black Sabbath were accused of spreading the gospel of evil and being “Satanic” for their doomy melodies, lurching song structures and dark, ominous stories about Lucifer’s love, spell-weaving wizards and the wicked nature of humankind. Some 40 years later and in light of more overt expressions lyrically, musically and visually of all things blasphemous, heavy metal has lost some of its initial intrigue and mystery over the years as public tolerance for all things dark, twisted and owing to the Devil doesn’t ruffle the feathers of the status quo these days like it used to.

Along comes the then-unknown Swedish heavy metal sextet Ghost. On the strength of a demo and a single released in 2010, the band created a stir in the metal underground both for its retro heavy metal sounds recalling artists such as Black Sabbath, Mercyful Fate, Blue Oyster Cult and Witchfinder General. While referencing these classic metal acts, Ghost drew even more intrigue for its unlikely pop-influenced melodies and sing-along choruses about morbid subjects as human sacrifices, evil witches, allegiance to Satan and the birth of the antichrist. This intrigue was solidified upon with the band’s first official full-length release, Opus Eponymous, in 2011. Press release materials for Opus Eponymous added an extra layer of curiosity to their burgeoning reputation, stating that, “Ghost is the name of an anonymous devil worshipping ministry, that in order to spread its unholy gospels and trick mankind into believing the end is ultimately a good thing, have decided to use the ever so popular rock music medium as a way to achieve their ends.” The band refuses to identify its members by names, choosing to only by known as “Nameless Ghouls” and hiding their faces underneath black hooded robes, masks, costumes and makeup. Even when giving face-to-face interviews, band members appear in their creepy, ritualistic regalia and have their voices distorted a la those secretive interviewees one might see on “20/20” or “Dateline NBC.”

With its macabre visual mystique and arresting musical mixture of heavy metal and ‘60s psychedelic pop, Opus Eponymous garnered Ghost accolades from both the metal community as well as music critics, earning the group the 2011 Grammy Award for “Best Hard Rock Album” in their native country – quite an unusual feat of mainstream recognition. Meanwhile, tours all over Europe and North America commenced to rave reviews praising the band’s musical chops and theatrical imagery. Then, in 2012, Ghost found themselves perhaps inexplicably signing to the Loma Vista imprint of Universal Records and receiving a jaw-dropping $ 750,000 advance for the making of the band’s first full-length for the major label. These reports seemed suspicious given Ghost’s self-imposed rule of anonymity, as well as its lyrical dedication to praising the Devil and all its related intent. Let’s face it, what corporate radio station would ever allow singles with “Hail Satan” chants anywhere near its Top 40 playlist?

The signing of Ghost – now known as Ghost B.C. in North America, due to legal issues – to Universal Records turned out not to be a hoax, and in April 2013 the band’s second full-length offering Infestissumam was unleashed. Despite an obvious lack of commercial potential, within one week of release the album debuted at #28 on Billboard. Why? First of all, the band’s imagery of faceless, hooded would-be monks and a frontman resembling a skull-faced Satanic pope has proved to be a visual aphrodisiac, drawing curiosity from even the most oblivious music rag reader and Youtube purveyor.

Then there’s the music itself – Infestissumam, while being slicker in production, is still musically a logical successor to Opus Eponymous. This time around, though, Ghost emphasizes its penchant for pop melody over the chugging, doom metal riffs that dominated its debut album while taking some ambitious musical chances to keep the proceedings fresh and adventurous.

Infestissumam’s debut single “Secular Haze” begins with a carnivalesque, waltz-time organ melody that is joined in by shifting metallic guitar chords that eventually swells into a glorious, soaring chorus led by Papa Emeritus II’s harmonious, cleanly sung lead vocals. Another song of note is the album’s follow up single “Year Zero,” which features the juxtaposition of Satanic chanting and a bouncy disco drumbeat underscoring lyrics of mankind’s failures and ultimate demise with the rise of Satan, aided by choirs and a sonic overload of bells and manic guitar work that builds to an intense climax before fluttering airily into a subdued keyboard solo. It is this type of subversion and juxtaposition that Ghost B.C. specializes in – using their metal roots along with their photogenic band imagery married to ear-infectious pop melodies, Ghost has managed to indoctrinate both underground metal fans as well as the unrelated, unsuspecting members of the music listening public into their fold that otherwise would not identify with the band’s obsessions with Satan and evil in general. This skill that Ghost has in spades might just explain their unlikely popularity.

Ghost B.C. is scheduled to play at the Rock on the Range festival in Columbus Crew Stadium in Columbus on Sunday, May 19. Single day tickets are $ 69.50. For more information, visit rockontherange.com or infestissumam.com.

At this year’s San Francisco Film Festival, Steven Soderbergh delivered an intriguing address on the state of the film industry. What made it so fascinating may, in part, have been the timing. Soderbergh is on what amounts to a farewell tour, having announced his retirement from feature filmmaking. He has expressed a desire to pursue other interests – painting, writing and theater – but at the heart of things is the sense that Soderbergh is fed up with playing the game that one has to play in order to get movies made.

He kicked things off by defining the difference between movies and cinema. “A movie,” he said, “is something you see” whereas “cinema is something that is made.” The making focuses on a “specificity of vision” that anchors the creative process. There isn’t necessarily a negative connotation inherent in the idea of “movies.” What concerns Soderbergh is the industry’s overwhelming reliance on developing a matrix that skews more towards “movies” over “cinema.” He’s merely arguing for balance – much needed in this case.

In the middle of his address, Soderbergh offered a personal endorsement for a cadre of filmmakers – Amy Seimetz, Barry Jenkins and Shane Carruth – who, if he, in an ideal world, had half a billion dollars and the ability to greenlight projects, would be drafted – with a three-picture deal – to follow their muses. Likely, he sees a bit of himself in them, and he’s appreciating the reality that allowed him to eventually move back and forth between the indie and studio worlds. These three folks currently operate in the cinematic, but Soderbergh dreams, for them, of the “what if,” the “what might be.”

“Upstream Color,” the new film from Carruth, is now available on video on demand (VOD) and DVD, having burst out on the festival scene earlier this year (it was a favorite at Sundance). Like “Primer,” his debut, “Upstream Color” bends minds and warps sensibilities to such an extent that multiple viewings and heated post-screening discussions are mandatory to crack the coded frames. It is a love story, featuring Carruth and Seimetz in the lead roles, but filtered through the refracted prism of Christopher Nolan’s “Memento” and Darren Aronofsky’s “The Fountain” with light from Brit Marling’s speculative lamp on a sumptuous backdrop courtesy of Terrence Malick.

Too much, right?

Well, “Upstream Color” demands repeat immersion; its narrative opens up and it provides a key that unlocks a secret door in the minds of the audience as well. Is it a date movie? Why, yes it is, but for the kind of date that never ends. You and your companion may find yourselves linked by a psychic bond on an astral plane, a dreamscape where only the two of you exist. We talk about wanting/desiring intimacy, but this might be far more than we could ever imagine.

The film is about an organism – a worm capable of generating a toxin that, once ingested, creates a link between others that can even cross species. The science embedded in the fiction is epic in scale and scope, but Carruth’s execution is at once lyric and plainly rooted in familiar elements of the every day like pig farms and identity theft.

Likely, no other film this year will feature a thief with a carefully obscured face who explains, “I have to apologize. I was born with a disfigurement where my head is made of the same material as the sun.”

That sounds crazy, surreal and more than a little daunting – and it is. But it also provides an antidote to the blockbusting fare that, over time, comes to feel like the kind of fast-food diet that could wipe us out creatively far too soon. Soderbergh is right; we need some cinema to keep us healthy and whole.

Reach DCP film critic T.T. Stern-Enzi at Film@DaytonCityPaper.com

“Next to Normal” – a rock opera with a plot and a social conscience – is now playing at the Victoria Theatre as part of the Premier Health Broadway Series. Locally produced by The Human Race Theatre Company, the 2010 Pulitzer Prize winner for Drama and the 2009 Tony Award winner for Best Score includes both New York and local professionals.

The plot involves life in a family living with a bi-polar member; lives that are touched and twisted by the actions and reactions that affect spouse and children. Mental health and the need for treatment is real life. Considering the ethics of treatment is very much a part of this tell-it-like-it-is story line. It was a bold topic when it debuted on Broadway four years ago, and it continues to feel brave and edgy, working in powerful ways thanks to the strong performances and wise direction.

Director Scott Stoney has selected a cast of strong voices, a well-balanced ensemble able to meet the musical challenge of an opera form with almost every word sung. As the mom, Trisha Rapier carries the load – both musically and dramatically. With subtlety and vulnerability, Rapier gives us the ups and downs her character, Diana, constantly experiences.

As in real life families, everyone who shares a bi-polar person’s life has stories to tell. Eric Michael Krop is Gabe, the son, who not only energizes the show musically, but adds the drama of hallucination to his mother’s perceptions, evidencing her illness. Their scenes together are well-balanced and powerful.

Dan, the faithful husband who tries to help to be logical in the face of feelings and behaviors he cannot understand, is played by Jamie Cordes. His pain and the kind of support he offers is written with understanding by Yorkey and played with quiet perception.

The forgotten child – often a victim in real life bi-polar families – Natalie changes from a compulsive, overachieving daughter to a disenchanted, desperate druggie, played by Emily Price. Along with Diana and Gabe, Natalie sings “Superboy and Invisible Girl.” Of course, she has to acquire a boyfriend. Henry – played by young Jon Heller – is just savvy enough to understand that Natalie needs consistent support. He perseveres with three progressive musical pleas; “Hey” to Natalie to let him be there for her.

Beyond the immediate family comes the doctor – or a series of doctors – and questions of ethics. Ably contrasted are Dr. Madden and Dr. Fine, each played by J.J. Tiemeyer. Should Diana be medicated to the point where she is “stable” without feeling any ups or downs? “I Miss the Mountains,” she sings. Should she receive Electroconvulsive Therapy (ECT) treatments and lose many of her memories? And then what? She sings, “Wish I Were Here.” How does a family know the answer to questions like that? Whose decision is it to make? How do they cope with the consequences? What is “normal”? This show does ask its audience to think … and to feel.

The music by Tom Kitt, with book and lyrics by Brian Yorkey, is smart and melodic. It ranges from belt-it-out rock to a smidgen of a “Sound of Music” joke – “My Favorite Pill’ – and varieties in between. Most of the lyrics are clear and well projected, although the five-piece orchestra occasionally overwhelms. A few audience members felt some of the songs sung from the second story of the house were not clear.

Unusual in a rock orchestra is the cello, played by Jacob Yates. The poignancy and pain of Kitt’s music written for that instrument is striking. Conductor Jay Brunner (guitar) shares the musical direction with Scott Stoney, who also is credited as choreographer.

The three-story set by David Centers is very linear and compartmentalized, perhaps reflecting the divisions between characters and their individual needs. It is geometric and strong, while being flexible and functional. It works with the creative lighting design by veteran John Rensel, with bold colors changing and illuminating the house, reflecting feelings the characters are experiencing.

In a pre-opening interview, Eric Michael Krop (Gabe) said one of the show’s challenges is singing while running up and down the stairway. He gets lots of opportunities to prove just how well he has conquered that task.

In the same interview, Linda Rapier (Diane) said she had first become aware of the show several years ago and is thoroughly delighted with the opportunity to perform it in Dayton. “The cast has come to know and understand each other and the meaning of the script, thanks to our rehearsal time together with Scott,” said Rapier. For Director Stoney, his early “table work” where the actors dig in to the play’s conflicts and connections is essential.

“Next to Normal” is a different sort of offering for the Broadway series and some audience members may be surprised by serious issues as entertainment. Like many other topics that we previously “just didn’t talk about,” mental illness may affect someone we know, whether we talk about it or not. Many families, not only the family on stage, find the strength to cope. The play ends on a note of hope, not a pat solution. Like the late second act mother/daughter duet, “Maybe,” the Victoria and the Human Race offer hope for increasing awareness that we are all next to normal.

“Next to Normal” runs through Sunday, May 19 at the Victoria Theatre, 138 N. Main St. Tickets are $ 40-$ 86, plus fees. For all times and additional information, please visit victoriatheatre.com/shows/next-to-normal/.

Reach DCP theatre critic Jacqui Theobald at JacquiTheobald@DaytonCityPaper.com.

How much noise can two people make? How loud can it get? And most importantly, how well-crafted and catchy can the songs be? If you’re new to Dayton’s The Story Changes, you might be pleasantly surprised. Listening to the band’s music is already an enjoyable trip back to the energetic pop-punk anthems that ruled the mid-to-late ‘90s alternative scene, but the second you find out there’s only two people in the band … well, prepare to have your head explode.

Singer/guitarist Mark McMillon and drummer Christopher “Poppy” Lee have been making vigorous, melodic rock n’ roll for eight years now, and even with that length of time behind them it doesn’t look like they’ll be stopping any time soon. On Saturday, May 18 the band will celebrate the release of their third full-length album, Static and Trembling, with a show at Blind Bob’s, in the city that gave birth to the group.

“The two of us have a lot of love for Dayton, our friends here and the music scene that exists,” said McMillon. “We don’t play Dayton very often these days, so the release show is going to be a lot of fun. Hometown shows are always special.”

The band started with McMillon and Poppy knowing each other as friends first before bandmates, with the two playing shows together in different bands throughout the area. “We always got along really well,” said McMillon. “He was hard-working and shared a love for a lot of the same bands I did. Once I started an early version of The Story Changes, we went through some lineup changes as, most young bands do. Eventually, when Poppy came on board, things solidified rather quickly and we started touring and released our first album.”

As for carrying on as a duo, the two see it as a glass half-full kind of thing. For one, there’s less equipment and mouths to feed on the road, making touring that much more efficient. More importantly, it comes down to the right kind of chemistry, and these two seem to have the formula down pat.

“Being a two-piece makes the most sense for us,” explained McMillon. “We have a lot of fun performing with just the two of us. The dynamic between us works really well stripped down on stage, and it makes for a fun live show.”

The Story Changes made a name for themselves through relentless touring, and the results are evident by the strong following the band still retains after nearly a decade together. For Static and Trembling, the two slowed down a bit in order to focus more on writing and recording the new record. “It was really important for us to take our time on this album,” McMillon said. “We were in a position to spend a lot of time writing without any sort of real deadline. I think the entire album sounds different than anything else we’ve done before, yet still sounds like a Story Changes record.”

The album was recorded locally at Popside Studios in Troy with producer/engineer Micah Carli, who pushed the group to expand upon ideas outside of their normal comfort zone. The outcome is indeed an album that sounds oddly familiar and strangely different. Songs like “Song Inside Your Head” and the single “Hashtags and Therapists” (the latter of which got a recent write-up from the A.V. Club) have the same dynamic flair the band is known for, but songs like “We Were Numb” and “Nobody’s Poet” find the duo in slightly different territory, making use of new thoughts and ideas. At times, they succeed in incorporating outside instruments like cello, viola, mandolin and even a lap-steel guitar to achieve a bigger sound when it’s needed. Overall, it’s an album full of surprises that will leave fans both old and new hungry for another listen. Trust me, this thing rocks.

As for the release show, one thing the band can’t wait to do is see the people they don’t get to normally see between touring and recording. “We are extremely proud of Static and Trembling and we’re looking forward to celebrating the release with our friends and family,” said McMillon. As for what they have in store for the show, the band hinted that they may have something on reserve for their hometown allegiance. “We plan on playing a good mix of new songs as well as some favorites from our entire catalogue – there might even be a surprise or two thrown in!”

Needless to say, it’s a special show for a special band whose roots are firmly planted in Dayton music lore, and this is something that both men never take for granted. “Being from Dayton means you have to work hard in order to achieve your goals,” said McMillon. “Nothing is handed out freely here, but this city has always been full of very talented and hardworking musicians who have learned to make things happen on their own, and that’s what makes it so great.”

The Story Changes will celebrate the release of their new album Static and Trembling Saturday, May 18 at Blind Bob’s, 430 E. Fifth St. Also on the bill are Lovely, Kris N., and Good Sir Con Artist. Admission is $ 5 for 21 and up. Doors open at 9 p.m. For more information, visit thestorychanges.com.