Humidity wrapped around the town and stifled the sound of a car door slamming shut, which did not startle the buzzing of the cicadas and the croaking of the frogs that sang for those who were still awake. Like Elijah Broussard, who strolled toward the entrance of the only bar in town. Climbing onto the porch, he stopped and took a seat on the empty chair frame. They must have taken the cushions inside in case it rained. It was uncomfortable, but he wasn't one to complain.
He reached into his pocket and took out a pack of cigarettes, pulling one out of the box. He rolled it around in between his fingers— considering. The idea of smoke filling his lungs and the tang of tar on his tongue allured him. Always had ever since he had his first one at fourteen.
The paper felt smooth against his calloused fingers. He flipped it between his knuckles, gently so he wouldn't snap it in half. That would be a waste. He slid the cigarette back into the box.
Smoking was nice, but tonight, he wanted a drink.
The bar wasn't crowded, he noted as he counted the cars in the parking lot, but there were still a fair few. Despite the late hour, a weekend attracted the same crowd: Working men who went to the bar instead of going home because they didn’t want to be good husbands.
His bones ached, and his sore legs protested as he pulled himself from the metal frame of a chair. He stuffed the cigarette box back into his pocket and grabbed the door handle. The cool metal comforted like the feel of the paper rolled around tobacco. He pushed the door open and was immediately met with drunken chatter and a sweet guitar weeping from the janky Wurlitzer.
The regulars sat around the bartop, guffawing at the bartender's jokes. Detective Jimmy Murdock's daughter. She was just trying to get some money before she went off to college. He pitied her, she had no mother to show her how to live. How to love. Just a deadbeat cop for a father.
As Elijah approached, the men sitting at the countertop downed their drinks, then got up and left to go to the back. He didn’t grumble, nor did he bemoan their decision. If they wanted to hate him for whatever reason, he’d let them. It wasn’t worth the fight.
"There he is! Man of the hour," the only man left at the bar called to him. Samuel, as Elijah recalled, had recently divorced his wife, Ethel. He spent most of his time at the bar, making it his new home. Elijah did not pity him. He had heard the late-night calls that came into the precinct. A woman's desperate voice crying and pleading from the receiver while pots and pans clattered in the background.
Elijah was no fool.
So he didn't say a word. The bartender gave him a smile. Seems like she pitied him too.
"What’ll it be, sir?" she asked even though she didn't have to. Elijah always ordered the same thing, every time he visited the place.
“Sazerac,” he grunted.
She hadn’t waited for his reply before she started making his drink, already coating the cup in absinthe.
"Michael, get him an extra shot, on me," Samuel ordered. "Gotta make sure the pride of Domrémy gets the best."
Elijah smacked his lips together and refused to let his brow furrow. He looked down at his hands instead, but good ol' Samuel kept on running his mouth. Something about how the chatter on his police scanner had been quiet lately.
He had a moment of bliss when Samuel shut up to take a sip of his drink. Whiskey. Neat. Elijah hoped he’d choke, but the man only slapped Elijah on the back. His hand lingered there too long for Elijah's taste.
“But you know, if there’s anything I can do, I’ll be there in a cocaine heartbeat.”
“Yeah, sure,” Elijah said absently, wringing his hands together as he waited for his drink. He glanced to Michael, who stared at the two of them with a nervous look on her face, her knuckles white as she gripped the glass.
“We’re all out of rye whiskey, but we have Bourbon, is that alright?” she asked, her voice so quiet that Elijah struggled to hear her over the new Eagles song that played from the jukebox in the corner.
Something would be off about the taste. It wouldn’t be quite right, just a bit smoother and just a tad sweeter.
Elijah opened his mouth, but Samuel opened his trap.
"Damn girl, how’d you run out of liquor in a bar?" Samuel slammed his glass down so hard that Elijah was surprised it didn't shatter. He didn’t react, but the girl flinched, her eyes wide with worry. He caught her gaze and she stared right back at him with big blues. Her lids shimmered in the dim light. The smokey-eye look was too old for her. She was barely old enough to vote, let alone taste what she was serving. But tears had started to well, the corners of her eyeshadow smudging. He didn’t want her mascara to run. It had never looked pretty on his mama either.
Elijah stared at Samuel as if he had cut her. And with the look on her face, he might as well have.
"It's fine, Sam," Elijah clapped him on the shoulder a little too hard and took a sip of his drink, “Bourbon is just fine. Isn't that right?" Michael nodded frantically. “Just remember to put in that order tonight so they get it first thing in the mornin’,” Elijah said as he offered his handkerchief to the girl.
Michael visibly relaxed and accepted the cloth. She dabbed the corners of her eyes gently and handed it back to Elijah. He curled her fingers around it.
“Keep it.” She nodded and pocketed it, then leaned forward until she was elbow-deep in the sink as she focused on washing the glasses from the men who had long since gone to the back to play a game of drunken pool.
Samuel leaned back in his seat, finally quiet. He busied himself with another sip of his whiskey. But he still stared at the young girl, eyes ablaze. His gaze wandered down to her chest, her cleavage peeking over her shirt as she washed the drinking glasses.
It was Elijah’s turn to slam his glass down on the counter, catching the attention of Samuel. He looked over at Elijah like one of them puppy dogs, waiting for its master to give him a damn bone.
"Why don't you go pass a good time with the gents in the back,” his voice rumbled from his chest, anger broiling in his gut. "They're playin' billiards." Elijah stared at Samuel, waiting for him to get up out of his chair and leave. Samuel downed the rest of his whiskey and left his glass on the counter to scurry over to the boys in the back of the bar. When Elijah turned back, Michael had a great big grin on her face.
"What're you smilin' at?" He grabbed his drink and pulled it closer to him, looking down at the ice cubes. They twinkled in the dim light.
"That's just the most I heard you talk since I met you, Mister Broussard." Michael leaned on the counter, her elbows pressing into the old cherry wood. It had been the same counter since Elijah was a boy, when his mother would drag him along when she would meet with her boyfriends. She never could find a sitter.
"Don't get used to it," he mumbled in response. Elijah twirled the cup and watched theamber-colored drink swirl, listening to the ice as it clinked against the glass. Out of the corner of his eye, he watched Michael wipe down the counter with a damp rag. He grunted as he heard Samuel in the back getting rowdy with the boys. He was always trying to impress Elijah for whatever reason. He couldn't quite give a damn why if he was honest. He was always trying to be buddy-buddy with the law enforcement in the town, as if that would get him special treatment.
It made Elijah sick. So he took another sip of his drink.
Elijah looked up to find Michael polishing an empty glass. She stared at him expectantly, like he was about to pull out a case file and start working on it.
"What is it?"
"Well, I'm lookin' into colleges now and I just..." She trailed off as she turned around to shelve the dried cup. He downed the rest of his drink and slid the cup towards her. When Michael turned around, she grabbed the glass and started to make another drink for him.
"Spit it out, kid," he grumbled.
"Every night I come into work and all I hear is talk about the force. Who was arrested, who's got a warrant out on 'em. You know, all that stuff." She fixed his drink up, washing the glass out with absinthe first, then grabbing the cup she had just shelved to make the rest of his drink. "And then I go home and hear my pa talk all about whatever case he's workin'." Michael handed him his second drink. "I've been hearin' 'bout crime all my life. I think it's about time I do something about it."
Elijah nodded his head in thanks for the glass. He sat there as Micheal started to tell him about all the colleges she was applying to, what her grades were like now, and how she couldn't wait to get into a program.
He didn't drink, his gaze focused on the cracks in the wooden counter. The water damage. The chipped wood.
He listened until the phone ringing cut her off.
"Hold on, Mister Broussard." Michael threw her bar towel over her shoulder and twirled around to grab the phone off of the hook. Elijah watched as she twisted the cord around her index finger. Her nails were painted red. It was a shade brighter than what his mother wore when she went out to see her boyfriends. Bile burned the back of his throat. Red nails were for hookers.
"Well Daddy, as a matter of fact, he's sitting at my counter right now," Michael chirped. She wilted as she listened. "Oh, okay. I see. I'll tell him." She let the cord slip away from her finger. "Alright, bye now." She hung the phone on the receiver and turned around to face Elijah again, her eyes sad.
"Guess that's my cue, huh?"
Michael nodded.
"My daddy said that there's been a fire at Daley's old barn right off of Charlotte Drive. The firefighters called him and asked for you to go on down and take a look," Michael explained as she grabbed Elijah's cup.
"Don't dump it. Have it for yourself," Elijah told her with a lopsided grin. She looked at him with wide eyes and looked around the bar. The usuals were all still playing billiards in the back. No one else was upfront. She turned back to him with a wide grin on her face.
"You're sweet. Thanks, Mister Elijah." She set it on the shelf next to the bottles of liquor. Elijah stared at her intently.
"You aren't gonna drink it now?"
Michael shook her head with a laugh. "When I finish my shift, I'll toast to you, the pride of Domrémy," she said mockingly while she raised her hand and pretended to clink glasses. "Go on now, go catch the bastard who keeps burning things down 'round here."
Reaching into his pocket, Elijah procured his wallet, pulled out a ten-dollar bill, and set it on the counter. Getting up from his seat, he cleared his throat and threw on his jacket.
"Major in psych."
"What?" Michael looked at him, her big blue eyes full of confusion. "What'd you say?"
"If you want to catch bastards, major in psych." With that, Elijah turned on his heel and left. If Michael responded, then he didn't hear her.
The gravel crunching under his rubber boots, the thick humidity wrapped around him, but it wasn't the kind of warmth that he preferred. Putting a hand on his belt, he sauntered over to his old pick-up truck. He shoved the key in the door to unlock the driver's side and climbed in.
One hand dug into his pocket, finding his matchbox and an open pack of cigarettes. He grabbed one and placed it between his lips. He held it there as he threw the box onto the passenger's seat and grabbed a match. Striking it, Elijah's eyes brightened as he saw sparks and smelled smoke. He could hear his heart beating in his ears. He inhaled deeply, the puffs of smoke rising to meet the inside of his nostrils and dive deep into his lungs.
The flame’s dance flickered in his eyes. He felt the heat approaching his fingers as the match ate away at the wooden stick. But before it could burn his fingers, he brought the flame to the white tip of the cigarette and watched the flame engulf it. His body shivered, a series of shocks shooting down his spine. Arousal pooled in his gut, like waves inching up the shore and swallowing up the sand.
He shook out the match and tossed it out the open window with the flick of a wrist. With scarred hands, he took the cigarette from his mouth. He opened his mouth and let the smoke seep from between his chapped lips. The taste of tar complimented the sweetness of the Bourbon, his mouth rejoicing at the taste of brimstone.
With one hand holding his cigarette, he fished his keys out of his pocket and, shoved them into the ignition. He turned the car on and brought the butt of the cigarette to his mouth again. He inhaled deeply, smiling in satisfaction. The smoke drifted out of his mouth from in between his teeth.
He hummed softly as he ran a hand across his thigh, the jean material rough against his calloused fingers. His hand trailed to the steering wheel, palming the leather. He set his cigarette between his lips and scratched at his beard before he brought his hand to the gear shift. He backed out of the driveway and put the car in drive to pull out of the parking lot.
He smoked as he drove until the cigarette burned him.
Graphic by Lucas Yang for Midstory. Images courtesy of the Cleveland Memory Project and Michael Wilson.
It may come as a surprise that — for a moment in the late 1970s—English music magazine NME declared Akron, Ohio, “the new Liverpool.” That talent scouts from big music labels scoured the city for the next big thing in punk, signing bands like Devo, The Rubber City Rebels, Tin Huey and The Bizarros. That Robert Christgau wrote in Village Voice how “the heedless eclecticism of [those] bands ... reflects both Akron-Cleveland's paucity of original culture and its tradition of openness to new pop music.” But really none of this was all that unlikely—that a rainy, Midwestern industrial town was the perfect incubator for the punk rock explosion that would be dubbed the Akron Sound.
“[These musicians] were looking for some way not to follow their dads into the rubber factories. These were kids of working class factory families who grabbed onto punk and new wave,” Calvin Rydbom, archivist of The “Akron Sound” Museum said.
In the mid-1970s, the four bands that would become the center of the Akron Sound boom—Devo, The Rubber City Rebels, the Bizarros and Tin Huey—were largely constrained to the same venues in the Akron-Cleveland-Kent area.
“You know I'm going to say there’s no Akron Sound, right?” Susan Schmidt Horning, guitarist and vocalist for Chi-Pig, said. “It's appropriate for some cities to have a sound. It has to do with the musicians and the studios and something where you have a body of people doing the music, where you get a similar literal sound. But we had a whole bunch of different bands, so we all had different sounds.”
Chi-Pig performing at Derby Downs, a soap box car racetrack in Akron. Image courtesy of Andrew Cahan.
Schmidt Horning remembers a diet of Magic Mirror records, church music and Broadway recordings before discovering the Beach Boys on the radio at 10. She started a cover band called the Poor Girls in middle school, one of the earliest all-female bands in the area.
“My early inspiration was The Beach Boys. I don't know if that comes out in any of our music, but certainly [in] the music that we did with the Poor Girls, which was a lot of Motown, rhythm and blues, pop and rock. We covered everything from Eddie [Floyd’s] ‘Knock on Wood,’ the Supremes, the Four Tops,” Schmidt Horning said. “And when I went to Berklee, I was very much influenced by jazz ... So that's in there somewhere.”
Formed at a Devo show, Chi-Pig got their name from a local barbeque restaurant and rejected the traditional plaid-and-jeans aesthetic of the ‘70s in favor of Ricky Ricardo-style shirts and gold lamé pants they found at the sidewalk sale of a high-end Akron women’s clothing store.
Tin Huey playing their first gig with saxophonist Ralph Carney. Image courtesy of the Cleveland Memory Project.
Harvey Gold, keyboardist and vocalist for Tin Huey, described their music as eccentric—even for the diversity of the Akron punk scene. Formed in 1972, Tin Huey began as an acoustic band. One night, Gold listened to the Velvet Underground’s “White Light/White Heat,” and the band’s direction completely changed.
“From the very beginning, Tin Huey was very difficult to define. There's the old saying, ‘you are what you eat,’ and we ate a lot of things. We started it with the Beatles and the Stones and the Yardbirds, and then the Velvets and Captain Beefheart and Soft Machine had big influences on us,” he said.
Schmidt Horning and Gold both recalled that Akron didn’t really have a traditional music scene — punk and new wave bands didn’t have a regular place to play. Chi-Pig and Tin Huey went to clubs in neighboring cities, like JB’s at Kent.
Gold said that Tin Huey struggled to reconcile their artistic perspective with the limited opportunities available to them. At an early audition, a booking agent sat Tin Huey down and said, “You know, you guys are really, really good at what you do, but there’s only two ways that you can go. One is you go ahead and play the original music of the stuff that you do. The other way is to integrate Top 40 into what you're doing, and then sneak in your material once you've built a following.” The band’s immediate reaction? “Well, thank you, but we're not going to do that.”
“In the 1970s you needed to have a record deal with a major label to get tour support, to get distribution,” Schmidt Horning said. “You didn't have the ability to get your records out and get them played on radio.”
But then everything changed with Devo.
“I don't even know if [Devo] had early success; audiences didn't get them at first.” Rydbom said. “In the beginning, [Devo] had those huge letters on stage and props. And Mark [Mothersbaugh] said, ‘yeah, they're a cool prop for what we're doing, and we can also use it to fend off the crowd, if the audience attacks us.”
Devo performing in 1978. Image courtesy of Malcolm Riviera via Wikimedia Commons.
Devo, formed in 1973, was born from anger in the wake of the 1970 Kent State shootings. The name “Devo” (short for “de-evolution”) reflects the idea that humanity is not progressing but de-evolving into “dysfunction and herd mentality.” Rydbom believes that Devo’s 1976 short film, “The Truth About De-Evolution,” launched their career. Filmed at the Goodyear World of Rubber museum in Akron, it follows the band members as factory workers who slowly devolve amid ensuing chaos. The film went on to win an award at the Ann Arbor Michigan Film Festival.
“This is like four years before MTV, before most people were even thinking about doing videos. [Bands] were happy to do just performance," Schmidt Horning said. “But Devo was really ahead of the curve.”
Devo’s film managed to pique the attention of David Bowie and Brian Eno, who, in 1978, helped them put together their first album and get signed to Warner Music Group in the U.S. and Virgin Records in the U.K., where their cover of “I Can’t Get No (Satisfaction)” found early success.
“When people think of [Devo] outside of Akron, they remember them as the goofy guys on MTV in the ‘80s in the jumpsuits—but their music is very angry. Their songs have an anger to them that unless you really pay attention, you’re not realizing,” Rydbom said.
With their costumed performances and quirky onstage antics, Devo was initially better suited for European audiences than Akronites. Their 1978 debut album peaked at No. 78 in the U.S., while in the U.K., they hit No. 12. Two years later, the single “Whip It,” finally brought Devo to mainstream American audiences, reaching No. 14 on the Billboard Hot 100 chart.
Rydbom said English music journalists asked Mothersbaugh about Akron. Thinking of both locations as dirty, dingy factory towns, he said—“it’s a lot like Liverpool.” Interpreting Mothersbaugh’s words as referring to Liverpool’s prolific music scene, they ran stories saying as much. Suddenly, clubs in London were having “Akron nights,” where you got in free with an Akron ID. British independent label Stiff Records worked with the Akron Sound bands to put together “The Akron Compilation” album, which had a scratch-and-sniff cover that if you scratched it—you'd get the odor of rubber.
A copy of “The Akron Compilation.” Image courtesy of the Cleveland Memory Project.
At the same time, Chris Butler from Tin Huey wrote to Robert Christgau of The Village Voice. Butler wrote that "anybody doing anything at all against our gray Midwestern nothingness deserves attention.” He complained that Christgau, an American, was covering everything in England and the East Coast but not what was in his own backyard—the Midwest. Concurrently, Nick Nicholis of the Bizarros sent a Rubber City Rebels collaboration album called “From Akron.”
Christgau traveled to Akron to listen to Tin Huey and the other bands, publishing the piece, “A Real New Wave Rolls Out of Ohio.” Christgau was most impressed by the local camaraderie and earnestness: “Different sorts of dissidents were banded together in a fellowship of defiant pleasure... These are syntheses unhampered by the preconceptions of more cosmopolitan or more rooted places.” He singled out Tin Huey’s saxophonist Ralph Carney as “remarkable,” in that he “wasn't above playing a duck call or using his head as a percussion device.”
Christgau told label executives about Akron, and a few weeks later they came too. Gold remembers that Karin Berg, head of scouting at Warner, was so impressed with Tin Huey that she came up to them after the performance and asked if they had legal representation—and if not, she’d recommend someone to them—because she wanted to offer Tin Huey a contract. In the wake of Devo’s international success, Mark Mothersbaugh’s one-liner and Robert Christgau’s piece, Tin Huey, the Rubber City Rebels and the Bizarros all got signed to major record labels.
“We told the rest of the guys in the band [what] had just happened, and we went back up on stage. Probably played one of our worst sets ever. We were so freaked out and excited, like, so loud and fast and terrible, we thought, ‘oh we've ruined it. We've managed to blow it in the course of 45 minutes,’” Gold said.
A promotional photo for Tin Huey’s debut album. Image courtesy of Warner Bros. Records via Wikimedia Commons.
Tin Huey and the Rubber City Rebels traveled to Los Angeles to record their albums, where the Rubber City Rebels commandeered a billboard to paint it in the style of a postcard from Akron. Gold also got to work with one of his biggest influences: Captain Beefheart.
“We were sort of the outcasts of the music world. And for some reason, we hung around long enough,” Gold said. “Suddenly it was cool to be a geek.”
But just as quickly as the industry gives, it takes away.
“It’s everything, and then it’s gone,” was how Buzz Clic from the Rubber City Rebels summed up the commercial success of Akron Sound in a 2003 documentary.
In 1980, a year after the release of their debut album, Warner dropped Tin Huey. One by one, every Akron band that scored a major label record deal — except Devo — was dropped by their label.
A promotional photo of the Bizarros. Image courtesy of the Cleveland Memory Project.
Rydbom attributes some of the slump to the luck of the draw. Originally signed to a side label of Mercury Records focused on punk and new wave bands, the Bizarros were meant to be marketed as such, without the expectation of mainstream album sales. But after the album was finished, Mercury discontinued the side label and it was released on the main label without any marketing push at all.
“There was every belief that ‘[the Bizarros are] an odd band, but they put on such a great live show. If we get them on the road, it might not be until their second or third album, [but] they will eventually break,’” Rydbom said.
But the oil crisis of the 1970s, according to Rydbom, drove up production costs for vinyl albums. Suddenly record labels were more hesitant to gamble for long-run success with alternative and punk musicians.
“When [Tin Huey] did our album for Warner Brothers, we compromised nothing for it, and as a result, we came up with an album that was — a nice way of putting it would be eclectic,” Gold said. “And so it was really, really difficult — I would consider it logically impossible — to find a proper audience.”
Meanwhile, Chi-Pig and the other bands left in Akron continued hoping for their own shots at success.
“Everybody had the expectation that the spotlight was still going to stay on Akron,” Gold said. “Everybody was waiting for somebody from the record labels to come by and see ‘em again.”
Chi-Pig kept playing shows in Ohio and along the East Coast until the late 1970s. Schmidt Horning remembers getting the chance to record at a studio in Florida during unbooked studio time, and Chi-Pig finished their album in hopes of getting that coveted record deal. But they never got signed.
“We got back from a trip to New York, and shortly after that, [drummer Rich Roberts] decided he didn’t want to continue with the band. And at that point, I think [bassist Debbie Smith] and I were burned out. It’s frustrating and it’s disappointing when you’re working so hard for something and you don’t get what you’re hoping to get,” Schmidt Horning said.
Schmidt Horning went back to college and received a doctorate in history. She said her background as a musician has inspired her current research on sound engineering and the history of all-female bands. With time, technological improvements alleviated the distribution bottleneck. Although the master tapes of Chi-Pig’s album were owned by the Florida studio, Schmidt Horning was able to digitize and release the “Miami” CD 20 years later.
The Tin Huey members split up geographically to pursue their own projects, independently recording and touring until 1982. In 2003, the band reunited to perform at the Rock & Roll Hall of Fame.
Tin Huey in the 21st century. Image courtesy of Dolli Quattrocchi Gold.
Other bands and musicians from the area continued playing in some form across Akron, New York, Los Angeles and internationally. Rydbom said that the Rubber City Rebels have, oddly enough, garnered a huge following in Japan.
“People joke, ‘it’s something in the water,’ but an abnormal amount of creative people came out of Akron in the ‘70s in the music scene,” Rydbom said.
Rydbom is working on incorporating the memorabilia and story of the “Akron Sound” Museum into a bigger-picture collection at the Akron History Center, set to open sometime in 2024.
Downtown Akron in 2012. Image courtesy of Ken Lund via Flickr.
Gold is still incredibly interested in the musical DNA of Akron. Highlighting the success of the Black Keys, the industrial sound of Dink and the recent rise of his granddaughter’s band Detention, he still thinks of Akron as unique.
“Culture follows money. And there was a period in Akron because of the rubber factories that there was really a lot of money. It wasn't just money amongst the elite who worked as executives at the rubber shops, it was the middle class,” Gold said. “Mothers had raised expectations [for their kids] to go to the [Cleveland Orchestra], to go on trips to the museums, to be educated. It was really that American dream of wanting everybody to do better than the previous generation, to go to college. Then when the rubber shops left, it created absolutely—and very quickly—a real schism, a cultural dissonance, an economic dissonance. But you still have the kids, [who to this day] have that cultural, aesthetic hunger as part of our DNA.”
Gold believes blending that cultural schism with the sound of progressive music at the time was the perfect recipe for what was coming out of not just Akron, but the post-industrial Midwest.
“You had some pretty strange bands coming out of Cleveland. You had some really high-intensity bands come out of the Detroit, Ann Arbor area because of the car industry going down. Everything in the steel industry went down in Pittsburgh. The effect is a little different in each town; there's a certain recipe that each one of them had that was a little bit unique. If you take that and then throw in the herd mentality of the record labels—you got yourself the Akron Sound,” Gold said.