Songwriter John D. Loudermilk called it quits this past week at the age of 82. But man was he a master of songcraft, of disguised defiance and blinky humor, and building on the musical bones that'd come before him. In fact, the kickass-named Loudermilk is known for many oddball things in song, but not for this Hoyt Axton-helmed ’69 Nashville masterpiece, The Open Mind of John D. Loudermilk, one of a handful of albums he recorded for RCA/Victor in the ’60s. It's a mad pastiche of psych, straight-up country, pop, protest folk, with sitar drones and big-band nods and lots of plucky acoustics, as well as a treasure-trove of beat philosophies, well-sketched characters and swampy epistles to bizarre loves (including a graveyard romp).

My fave among faves here is “The Jones’.” In the album’s notes, Loudermilk writes that he penned the tune “for those who fall for Madison Avenue ‘truth,’ Haight-Ashbury ‘freedom’ and Washington D.C., 'advice and assistance.'” He nailed it too. The song's a perfect little pop parable that Tim Hardin could’ve written, with sweet dynamic shifts, panning backup vocals, and a gentle acoustic guitar that builds to a chorus that’s as a sugary a protest as you’ll likely ever hear.    

In honor of J.D. Loudermilk, we say goodnight, brilliant sir, and sweet dreams.  

**If you can the find the Omni Recording Corporation’s beautiful 2007 reissue of this album, it features restored audio straight off the master tape reels, as well the album John D. Loudermilk Sings A Bizarre Collection of the Most Beautiful Songs, plus his versions of songs he wrote that others had hits with including the ubiquitous “Tobacco Road,” “Indian Reservation” (called “The Lament of the Cherokee Reservation Indian”) and “The Little Bird” (and seek out Marianne Faithful’s tender version).

If you've been driving around town lately, you've probably seen the signs lining the roadsides and medians: "Change the Board!" and "Change the Board! Rustand, Stegeman, Betts." The Board referred to on the signs is, of course, the TUSD Governing Board. The group paying the bill is TUSD Kids First.

If you're a Facebook user who's interested in local education, most likely you've also seen the TUSD Kids First posts which began showing up in February of this year. Most of them are links to stories which appeared in online publications and blogs, local newspapers and television news. The vast majority of the stories are critical of TUSD. The most recurrent phrase in the comment area above the story is "the dysfunctional 3-2 board."

Until the signs showed up on Tucson's streets, indicating that TUSD Kids First has some serious money behind it, it looked like a small grassroots group highly critical of TUSD Superintendent Sanchez and three board members: Adelita Grijalva, Kristel Foster and Cam Juarez. But a look at the Pima County government's Campaign Finance website shows that it's an independent expenditure committee which filed its papers in early February. In its most recent filing, it reported receiving a total of $35,150 in donations as of Aug. 18 of this year.

Five donors accounted for $31,500 of the funds received. The committee's chair, Jimmy Lovelace, contributed $3,334. Its treasurer, Kathleen Campbell, contributed $8,170. The other major contributors are Jim Click, $7,500, Cody Richie, $7,500, and Tom Regina, $5,000.

Happy Celebrate Bisexuality Day, everybody! Are you celebrating? Gettin' bi alright?

As we detailed in this week's cover story, Tucson Pride is happening next week and you should be there. Spotify has a few pretty spectacular playlists to help you get in a Pride state of mind, but I personally believe you need to start with the video above: "Gettin' Bi" from Crazy Ex Girlfriend.  

The rest of your "Getting Ready For Pride" to do list: Buy a ticket, apply to be a vendor/parade and, of course, read up on the changes from last year. 

Phillip Brooks, better known by his ring name CM Punk, went from World Wrestling Entertainment Champion to having a 0-1 record in the Ultimate Fighting Championship in UFC 203 on Sept. 10.

The 37-year-old former professional wrestler's debut only last two minutes and 14 seconds and
lost by submission to 2-0 fighter Mickey Gall, who is 24. This was Punk’s dream: To get the chance to fight in the UFC and the bravery to go into the octagon is commendable. But, what is the dream and how brave is he really?

Punk is well set. He has been wrestling for most of his life and has been able to climb the ranks in that world and he reached stardom in the WWE, which comes with a pretty penny. He built a legion of fans which still support him even after he left the WWE two years ago. His status allowed him to receive the three fight contract with the UFC with no past experience. Fairly easy when you think about his opponent's journey.

Gall has been fighting since he was 13-years-old. Training hard, climbing the ropes in mixed martial arts and has been able to reach the UFC. Sound familiar? However, Gall has a long way if he wishes to reach the level Punk did in the WWE, which in the UFC is uncertain.

Unlike in the WWE, where superstars are chosen and match results decided based on crowd reaction and on the “buy rate,” the fighters in the UFC are a sort of independent contractor. Their results decide whether or not they get another fight. If Gall would have lost this fight, more certain then not, he would not have another fight in the UFC until he showed his stripes, again. 

When it comes to the minimum-wage issues, there’s a huge gulf between Sen. John McCain and his Democratic challenger, Congresswoman Ann Kirkpatrick.

Last week, Kirkpatrick came out in support of Prop 206, the Fair Wages and Healthy Families Act that voters will decide in the November election.

The proposition would increase the Arizona minimum wage from the current $8.05 an hour to $10 in 2017 and $12 by 2020, with future increases based on cost-of-living adjustments. It would also mandate that employers provide with at least three days of sick leave.

Kirkpatrick said that she encouraged “every voter to stand with Arizona families” in a prepared statement.

“No one who works 40 hours a week should have to live in poverty and decide between buying groceries, medicine or paying the bills,” said Kirkpatrick. “Raising the minimum wage offers hardworking families the opportunity to put food on the table, care for their children, and creates a better future for our state.”

But in an interview with the Weekly, McCain said the proposition would be bad for Arizona families.

“Twice I’ve talked to groups of franchisees here in Arizona, Taco Bell and McDonalds, those places that give you the first rung on the ladder,” McCain said. “They said, ‘Fine. The next time you drive up to a window, you won’t be talking to a person. The next time you they hand you a hamburger and French fries, it will come out a slot. … They have a certain profit margin. They cannot raise their cost of their product or people will stop purchasing it. So what are they going to do? They’re going to automate. So somebody is going to have to convince me that it’s good for employment in America, and I don’t think it is.”

I suppose it has to be done for the students. Arizona Repertory Theatre is a part of the theater program at the UA, and although there are many factors guiding the choice of plays for a given season, one of the foremost would logically be to give students a range of plays that would demand varied skills. That would result in the young thespians being exposed to lots of different types of plays, presenting challenges not only for the actors, but the designers as well.

I really can’t think of another reason that those who make these sorts of decisions would bring us Epic Proportions, a play so unarguably bad that this must be the lesson where you learn how to work with really bad material. Director Brent Gibbs oversees the action here, and in his ever capable hands the cast and crew have worked hard to make us smile at all the silliness.

I wasn’t familiar with this play by Larry Coen and David Crane, and since ART usually brings us really fine productions, I was eager to experience this one.

But what was revealed in a big, bold way was a farce/melodrama sort of thing that’s mostly just a string of jokes and sight gags. The premise of the story seems fodder appropriate for such a treatment. There is a large film crew in the middle of the desert (near Tucson) working on a big-time film—think Ben-Hur and The Ten Commandments sort of thing—by big-time director D. W DeWitt—think Cecil B. DeMille. I really don’t know the exact plot of the fictional film, called Exeunt Omnes; I’m not sure we were really given that information because it’s not that important. No, the story that’s ours involves an film extra, Benny (Zachary Zupke), a young man hoping to be “discovered,” his brother Phil (Matthew Osvog) who comes to try to get him to come back home but who is himself sucked into the world of making big Hollywood films in the desert himself, and the brothers vying for the love of Louise (Tyler Reaser), who’s in charge of the extras, which number about 3400. It’s your typical epic melodrama sort of story, with chases and sword fights and mistaken identities and burning bushes that get out of hand and such, but it’s far from epic.

The students give it great effort. The thing is, this sort of stuff is really very hard to do well. Everything must be crisp, the timing perfect, actors fully committed to their personas. And this cast was invested. Sometimes their efforts made you forget that the material doesn’t deserve their investment. But they did well what they were called on to do. I'm sure there have been many
lessons learned.

The opening night audience, which was stuffed with students, seemed to enjoy
themselves immensely. And really, if this is the kind of silliness that might
entice some of them back to see the better stuff, I’m all for it.

Epic Proportions
Presented by Arizona Repertory Theatre
Various times Thursdays through Sundays through Oct. 9
Marroney Theatre on the University campus
Near Park and Speedway
$28
Running time: 90 minutes with no intermission
621-1162; theatre.arizona.edu

Six weeks ago, I wrote a post about a resolution from the NAACP calling for a moratorium on new charter schools. It's important to note, the resolution calls for a moratorium on opening new schools, not a shuttering of current schools, though one of its purposes is to take a closer look at those already operating in black communities, some of which, the resolution says, are the educational equivalent of subprime mortgages. The resolution is pending. It should be voted on sometime this year. 

Now there's a response, a letter with 160 signers, which begins, "Dear Esteemed NAACP Board Members," and sings the praises of charter schools, especially those in black neighborhoods. The letter asks that members of the NAACP board meet with representatives of the signers to discuss the resolution and, they hope, decide to vote it down.

The effort is spearheaded by two organizations, the National Alliance for Public Charter Schools and the Black Alliance for Educational Options. Both groups are heavily funded by some of the deepest pockets in the privatization/"education reform" movement. In 2014 alone, the Walton Foundation, created by the Walmart fortune, gave NAPCS $1 million and BAEO $3.5 million. The Bill & Melinda Gates Foundation gave NAPCS $3 million in 2014. Its last contribution to BAEO was $250,000 in 2012. NAPCS also gets funding from at least ten other funds, including the Charles and Helen Schwab Foundation and The Broad Education Foundation. I couldn't find any information on other BAEO funders.

Clearly, these aren't small, community-based grassroots organizations. They're significant, well funded players in the vast charter/voucher ground game.

Your Weekly guide to keeping busy in the Old Pueblo. 

Food & Booze

Arizona Wine Dinner: If you're looking for a fun, night out with delicious food and wine, be sure to check out the Arizona Wine Dinner at Maynards Market & Kitchen. All the food will be prepared by the Maynards Kitchen team to complement hand crafted wines from the wonderful state of Arizona. Each ticket costs $69 and includes all the meals, tax and gratuity! 7 p.m. Friday, Sept. 23. Maynards Market & Kitchen, 400 N. Toole Ave. $69 each. 

World Margarita Championship: This 10th Annual Margarita Championship is back again! The Southern Arizona Arts and Cultural Alliance and Tucson Originals partner together to bring you an unforgettable evening of spirited cocktail competitions, tastings of world-class margaritas and tequilas, southwest cuisines and more. Tickets are $55 and this is also a 21+ event and tickets are expected to sell out, so get yours quickly while you can! Friday, Sept. 30. 6 p.m. The Westin La Paloma Resort & Spa, 3800 E. Sunrise Drive. $55 each.

Taste of Tucson: Have an appetite to show your town pride? Joining the Tucson Originals as they host the second annual Taste of Tucson on Sunday, Sept. 25. Among the 16 restaurants who will be at the festi-val: Kingfisher Bar and Grill, Fresco Pizzeria and Gourmet Girls Gluten Free Baker/Bistro. You’ll also enjoy music, raffles, games and spot for kids to play. The fun starts at 11 a.m. and wraps up at 2 p.m. at the northwest corner of Reid Park. Admission is free but you’ll have to pay for your food. A portion of the proceeds will benefit Big Brothers Big Sisters of Tucson. Reid Park, Reid Park, 100 Country Club Road.

Festivals

40th Annual Greek Tucson Greek Festival: Come celebrate Greek traditions at Tucson's 40th Annual Greek Festival at the St. Demetrios Orthodox Church! The event is being held for four days this month from Friday, Sept. 22 to Sunday, Sept. 25. There will be a variety of foods, drinks and entertainment. The festival will hold concerts from local Greek music groups and award-winning Panathenian Dancers. There will also be a Greek Market that will offer traditional breads, pastries, cheese, olives, hummus, jewelry, clothing and much more. The event is $3 per person and is free for children under 12, active duty military, fire police and first responders with ID card. Times very by day, check in on their website. Saint Demetrios Greek Orthodox Church, 1145 East Fort Lowell Road. $3, free for children under 12. 

Ask and you shall receive! We have had so many people request our avocado toast that we have decided to officially put it on the menu! #prepandpastry 📸: @nateares40

A photo posted by @prepandpastry on Sep 8, 2016 at 11:46am PDT

Be honest. If you could pair an awesome meal with a cocktail before noon—without getting labeled a boozehound—what are the chances you’d do it?

Judging by the large number of loyal customers at one of Tucson’s long-time best brunch spots, Prep & Pastry, lots of people would, as a treat or as a regular tradition. At peak weekend hours, the Campbell location (3073 N. Campbell Ave.) is packed.

Lucky for brunch-lovers across the city (OK, mostly central and the east side, depending on how far you’ll drive), Prep & Pastry is one of several locally owned restaurants to expand this summer, recently opening a new location on Grant Road near Wilmot at 6450 E Grant Road, Unit 160. 

It opened in July to huge fanfare on Instagram, where it showcased beautiful blueberry-topped bagels, pretty pancakes and “Prep’s potatoes,” as well as colorful cocktails with a wide assortment of tasty garnishes. Oh, and the people in those IG pics (staff and customers) weren’t hard on the eyes, either. Online reviews affirm that the place’s food and drinks taste as good as they photograph—certainly on par as the food at the original Prep & Pastry.

So if you’ve found yourself waiting around too long at the Campbell P&P—but you love its tasty food, polite service and hip atmosphere—check out the new east of there. (Heaven forbid you go to a diner—according to Prep & Pastry, “Brunch without booze is just a sad, late breakfast.”)

Sure, blow and women and depression and panic went lengths to ravage the Mississippi-born singer’s vocal range and tone (it finished him off in the end) but it’s that hold-a-note-despite-the-odds quality—a perfect aural metaphor of just hanging on—that made David Ruffin one of the greatest soul singers to draw a breath. His voice didn’t age as much as reveal his life’s face-plants and failures and attendant sadnesses. And ain’t that what singing is all about? How did that stop mattering? Music would sound a lot different now had Ruff never existed.  

This autobiographical, you-can’t-tie-me-down tune even references Tucson, Arizona in its open-road romance, and is tempered with a sense of yearning that defined Ruff’s life. There’s a lilting, post-psych/Sly Stone undercurrent too—the wah-wah guitar heroics and Funk Bros swing—that gets mellowed-out with an early ’70 bedroom-soul groove. Features a thoughtful, almost spry arrangement by David Van DePitte (Jackson 5), and production and co-write by undersung Detroiter Bobby Miller (Gene Chandler, Earth, Wind and Fire).

“The Rovin’ Kind” leads off Ruff’s third official, post-Temptations solo Motown LP (official ’cause Motown head Berry Gordy shockingly shelved Ruff’s brilliant third album, which finally saw light in 2004). The tune was originally tracked for the Four Tops, and then another ex-Temptation, Eddie Kendricks, before Ruff got it.  

By this time Gordy had no love for Ruffin, hence Motown scarcely promoted this 1973 self-titled album. (It stiffed, peaking at No. 170 on the Billboard pop chart.) More, Gordy stopped Ruff from recording songs penned by A-list writers. But the good shit always rises, and years and years later Gordy has been proven dead wrong, and Ruffin gave us this, and many others, as well as that voice.

Sidenote: I owned a house in Detroit near 7 Mile and Livernois that was a few blocks from where Ruffin’ had lived when he recorded this song. One old woman neighbor remembered him in the hood from back in the day. She had a crush on him, of course, and said Ruff was bigger than life. “In that big black car, he seemed higher than the sun,” she’d told me. “He didn’t walk as much as float.” I’ll never forget that.