CityBeat | May 1, 2024

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VOL. 28 | ISSUE 09 ON THE COVER: LOUIS L ANGRÉE DIRECTS A LIVESTREAMED CINCINNATI SYMPHONY ORCHESTRA CONCERT IN 2021 PHOTO: PROVIDED BY CINCINNATI SYMPHONY ORCHESTRA

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NEWS

A demonstrator holds a pro-union sign outside KCVG in Hebron, Kentucky on March 18.

P H OTO : A I DA N M A H O N E Y

Amazon Union-Busting Trial in Cincinnati Postponed to August

CityBeat was inside the hearing room where union organizers said Amazon is intentionally delaying their trial.

BY M A D E L I N E F E N I N G

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he April trial between Amazon and the National Labor Relations Board (NLRB) in Cincinnati stopped before any opening statements or witness testimony could be heard, and it won’t pick up again until later this summer.

Lawyers for Amazon — who are responding to allegations of unfair treatment of unionizing employees at the company’s largest air hub in Hebron, Kentucky, known as KCVG — successfully argued to a federal administrative judge that Amazon needs time to review documents requested by the NLRB alongside the Transportation Security Administration (TSA).

Because Amazon’s air hub at KCVG is an airport, it must comply with federal TSA law about sharing sensitive security information, or SSI as it’s called in court documents. In a motion presented on April 23, Amazon’s lawyers asked for a protection order to give the company time to seek guidance from TSA. “Amazon is responsible for the security at a portion of the CVG airport, and Amazon must comply with the specific TSA Regulations governing airport security,” reads the motion from Amazon’s lawyers.

The NLRB issued a consolidated complaint against Amazon on March 5, alleging Amazon retaliated against several KCVG employees for union

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organizing, required employees to attend anti-union presentations and tracked employees who were engaging in union activity, among other complaints.

One of the incidents mentioned in the complaint is a union rally on March 18, 2023. During that rally, Amazon security blocked off protestors from the entrance to KCVG and escorted out visiting union organizers from Amazon’s Staten Island warehouse, including Amazon Labor Union (ALU) president Chris Smalls.

Amazon’s lawyers said discussing this day on the record during proceedings would compromise security at the facility.

“The General Counsel’s allegations concern a planned protest that was held on March 18, 2023 on or near Amazon’s private property. Amazon’s response to the planned protest implicates Amazon’s security requirements and protocols at the CVG airport and thus implicates SSI,” Amazon’s motion reads.

General council for the Amazon workers from the NLRB disagreed, calling Amazon’s attempts to delay the hearing a stalling tactic.

“Respondent’s inexcusable delay in raising this claim to either the [NLRB] or TSA in advance of the trial leads to but one conclusion - that respondent’s arguments are largely specious and advanced for purposes of delaying the hearing,”

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reads the NLRB’s response to Amazon’s motion.

Judge Ira Sandron did not accept the motion or strike it down, but he did agree with Amazon that guidance from TSA was needed to make sure the proceedings don’t pose a security issue.

“Going forward with testimony could violate federal security laws,” Sandron said during Wednesday’s proceedings.

The trial will be on pause until Aug. 19, 2024, with the expectation that Amazon will alert the court if TSA has completed its assessment early.

Amazon employees and union organizers are frustrated with the judge’s decision.

“I’m aggravated. Amazon is just delaying this and wasting everyone’s time,” said Jordan Martin, KCVG ramp associate and supporter of the union drive.

ALU-KCVG organizer Elan Axelbank told CityBeat that Amazon’s push to delay proceedings is a sign the company is feeling the heat from employees.

“The way Amazon acted in that courtroom this week shows that they’re scared of workers’ power at KCVG,” Axelbank said. “It shows that they actually know that they violated the law.”

Amazon’s lawyers declined to comment on the case, and Amazon corporate did not respond to CityBeat’s request for comment by press time. But labor

researchers tell CityBeat that Amazon’s behavior is par for the course for the multi-billion dollar retail giant.

Maite Tapia is an associate professor at the School of Human Resources and Labor Relations at Michigan State University. She studies labor unions and, for the past two years, has studied the newfound labor movement within Amazon’s warehouses.

“Unionizing at Amazon is a very recent phenomenon, just because it is so hard to unionize these workplaces,” Tapia told CityBeat. “The Amazon union-busting tactics that we see at KCVG are nothing new. Through our research, we’ve seen very similar tactics by Amazon, for example, at warehouses in Alabama and New York.”

Given that KCVG is the first air hub to unionize under Amazon, Tapia said Amazon’s motion to delay the trail so they can consult with TSA may sound necessary, but reminds people to consider Amazon’s history with union-busting.

“From an outside perspective, it seems reasonable. When we hear things like, ‘We have more security issues,’ or, ‘There’s sensitive information, we have to check with TSA,’ that sounds reasonable. But we also know at the same time from research that has been going on for a long time, that corporations will try to do everything they can to delay [these trials],” Tapia said. “It’s really a typical tactic to suppress unionization, because then as a group of workers, you might lose momentum, you lose energy, you might lose engaged workers.”

Employees file a 10(j) injunction Travis Lavenski, a lawyer representing ALU-KCVG, doesn’t want workers to lose their momentum. He’s filed a 10(j) federal injunction requiring Amazon to stop any unfair labor practices while the NLRB case is being litigated.

“Immediate injunctive is necessary for employees to effectively enjoy their rights to form a union in their workplace,” Lavenski said.

The 10(j) injunction is one of the only tools the NLRB has to actually require companies to change their behavior, as Congress hasn’t given the federal agency much authority to penalize employers for violating workers’ rights to unionize.

Because NLRB cases can take months or even years to resolve, the 10(j) injunction gives organizing employees a fairer shot at collective bargaining while the case plays out in court.

“Absent an injunction, Amazon will continue to effectively block workers’ access to the most effective venue to communicate with coworkers about the benefits of unionizing; to discriminate against workers who are vocal about the union; and to spread fear amongst those

who might otherwise be amenable to the prospect of unionizing,” Lavenski said.

The NLRB has not yet decided to take on the injunction case, but Lavenski told CityBeat that the NLRB sometimes pursues these injunctions before unions request them in order to protect workers. “[The Labor Board] let us know that they are considering it, and that they were also considering it on their own as well, just because it’s such a big case,” he said.

Why the Supreme Court matters in this case The 10(j) injunction is currently in the legal spotlight, but not because of Amazon. Starbucks has asked the United States Supreme Court to raise the bar for federal circuit courts who grant 10(j) injunctions after a lower court denied the company’s appeal of a 6th Circuit ruling that required Starbucks to rehire seven employees who were allegedly fired for union activity.

The injunction allowed employees at the Starbucks in Memphis to hold a union election while the NLRB case continued. Baristas voted 11 to 3 to join Workers United, the Starbucks employees union.

Lawyers for Starbucks argue that the federal district courts have too low a threshold for granting 10(j) injunctions, saying such injunctive relief should be reserved only for extreme cases. Starbucks wants the justices to impose a singular, rigorous standard across all lower courts.

“If Starbucks gets its way, it will probably be a little bit harder to get 10(j) relief,” Lavenski said. “Which, I mean, it already is very difficult to get that injunctive relief.”

The justices’ decision could have ripple effects for unions across the country, including KCVG, where employees are fighting for higher wages, among other demands.

Background on the union effort at KCVG Employees at KCVG began union efforts in November 2022 after upper management announced there would be no peak pay for the 2022 holiday rush, but mandatory overtime would be required. Amazon’s gross profit for the 2023 fiscal year was $256.202 billion, an 18.52% increase year-overyear for the world’s largest retailer.

Employees pushing for a union at KCVG are asking for a standard $30-per-hour wage, improved health benefits, on-site translation for non-native English speakers, union representation at disciplinary hearings and more.

Ohio Abortion Care Advocate Makes TIME’s 100 Most Influential People in the World List

BY M A D E L I N E F E N I N G

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ne of Ohio’s biggest champions for abortion care access is being honored on a global

scale.

Lauren Blauvelt, executive director of Planned Parenthood Advocates of Ohio, was named to TIME’s list of 100 Most Influential People in the World on April 17.

Blauvelt, who recently moved to Columbus from Cincinnati, was selected for her role spearheading the campaign for Issue 1, the Ohio constitutional amendment that sought to protect an individual’s right to “make and carry out one’s own reproductive decisions.” TIME praised Blauvelt for her work as co-chair of Ohioans United for Reproductive Rights, where she helped secure constitutional protections for abortion access in the state. “[Blauvelt] represents all the people who worked day and night to get out the vote, and all the voters who came out in support of Issue 1 in November 2023 — the first time voters in a Republican-controlled state weighed in directly on the right to an abortion since the Supreme Court overturned Roe v. Wade in 2022. Ohio provided a blueprint for other states to follow,” writes TIME. In a press email, Blauvelt said her journey to the TIME honor started at the University of Cincinnati.

“When I co-founded a reproductive rights organization at the University of Cincinnati 15 years ago, I never could have imagined that my determination for protecting Ohioans’ reproductive rights would lead to my taking on a leadership role in the historic win to change the Ohio Constitution to protect abortion access,” she said.

“Through my roles as student intern, organizer, and now executive director of Planned Parenthood Advocates of Ohio, I am thankful for all the opportunities I’ve received to partner with incredible and diverse organizations and people that truly care for our state and the people who call Ohio home.”

After Roe v. Wade was overturned in June 2022, Ohio’s six-week abortion ban went into effect for about 11 weeks until a Hamilton County judge put a temporary restraining order on the

Last year, Ohioans voted resoundingly in favor of the abortion rights amendment, Issue 1, with 56.76% support.

P H OTO : A I DA N M A H O N E Y

bill. While the “heartbeat” bill was put on hold in court, abortion was legal in Ohio up until 22 weeks gestation while clashing Issue 1 campaigns fought to define the abortion narrative in the state. On Nov. 7, Ohioans passed Issue 1 with more than 56% of the vote. The language of the amendment included abortion, contraception, fertility treatments and miscarriage care. The results mean patients in Ohio and nearby states can continue to seek out legal abortion care in the state before the gestational age of viability, or about 24 weeks.

But for Blauvelt, there’s still work to be done to lessen the burden of accessing abortion care for patients in Ohio.

“Winning Issue 1 is not the final stop,” Blauvelt said. “We still have a long journey ahead to make abortion access, and more broadly safe and thriving communities, a reality for all of us.”

What’s next?

Blauvelt tells CityBeat that current litigation is targeting certain abortion barriers, like the mandatory 24-hour waiting period for patients who see a doctor asking for an abortion.

“It’s medically unnecessary and is a giant burden for accessing care,” Blauvent tells CityBeat. “Most Ohioans do not live in a county where there is an abortion provider, and a 24-hour waiting period means you have to come back at least twice. [...] And just because it says 24 hours, that doesn’t mean there’s an appointment available the next day, it doesn’t mean that you can get off work two days in a row or find childcare.”

The lawsuit was filed in March by

the American Civil Liberties Union of Ohio (ACLU), Planned Parenthood Federation of America and the law firm Covington & Burling LLP. While announcing the lawsuit, the ACLU said the passage of Issue 1 makes the rules like the 24-hour waiting period unconstitutional.

“These laws are now in clear violation of the newly amended Ohio Constitution, which enshrines the explicit and fundamental right to abortion and forbids the state from burdening, prohibiting, penalizing, and interfering with access to abortion, and discriminating against abortion patients and providers,” said Jessie Hill, cooperating attorney for the ACLU of Ohio. “Whatever a patient’s reasons, accessing abortion is essential to their autonomy, dignity, and ability to care for themselves and their families.”

According to Blauvelt, the 24-hour waiting period rule compounds already packed appointment waitlists in Ohio. She said one minor schedule change can have serious impacts on the state’s small network of abortion care providers.

“Because there are so few providers – if someone is sick, if someone takes a job somewhere else – any change in who is available to provide care has a huge impact on the waiting period,” she said. “If people can’t be seen in Columbus, then all of a sudden, there’s gonna be more people coming to Cincinnati. We’re doing everything to meet this moment. But we have to see patients from other cities, other states that can’t get the care in their community. Ohio is the closest state for most in the South, Southeast and Midwest.”

The ACLU’s lawsuit against the state is ongoing.

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Indiana Rep. Jim Banks P H OTO : O F F I C I A L P O RT R A IT

Indiana Rep. Jim Banks Introduces Bill to Defund NPR

BY AS H L E Y M O O R

A

t the end of a long, long few weeks for National Public Radio (NPR), Indiana Rep. Jim Banks (R-IN, 3rd District) introduced legislation Friday to defund the media organization.

In an exclusive article written by right-wing news organization The Daily Caller and in a series of tweets posted on X, Banks said that Americans shouldn’t be “forced to fund Democrat propaganda.”

All of the drama began when a senior business editor at NPR, Uri Berliner, had an essay published in the Free Press about what he felt was a serious issue at the media organization — that the liberal biases of the reporters compromised good journalism. According to Berliner, the media organization had lost America’s trust with its progressive slant.

Berliner received a five-day suspension for his essay, with NPR reprimanding the editor for failing to get approval from them to write an assignment for another publication.

He officially resigned on April 17, writing in a social media post that he couldn’t work for the network’s chief executive, Katherine Maher, who criticized him publicly.

“I cannot work in a newsroom where I am disparaged by a new C.E.O. whose divisive views confirm the very problems at NPR I cite in my Free Press

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essay,” Berliner said on X. His comments are likely in response to Maher’s official statement on the matter released on April 12, in which she seemingly criticized Berliner for questioning the integrity of NPR journalists.

“Asking a question about whether we’re living up to our mission should always be fair game: after all, journalism is nothing if not hard questions,” Maher said in her statement. “Questioning whether our people are serving our mission with integrity, based on little more than the recognition of their identity, is profoundly disrespectful, hurtful and demeaning.”

After Berliner’s essay was published, many right-wing thinkers were quick to criticize NPR and call for its defunding, including Sen. Ted Cruz (R-Texas) and Elon Musk.

Currently, NPR is funded mostly by corporate sponsors and licensing and member fees. According to NPR, less than 1% of the media company’s cash flow comes from grants from the publicly funded Corporation for Public Broadcasting and “federal agencies and departments.”

Banks, who is running for Indiana’s U.S. senate seat, introduced the “Defund NPR Act,” which would, as it states, remove any public funding for NPR.

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a TAKE D

CityBeat speaks with

LOUIS LANGRÉE about his legacy as he prepares to conclude his impressive tenure as Cincinnati Symphony Orchestra’s music director

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BY ANNE ARENSTEIN

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s the New York Times noted last July, Louis Langrée concludes “a quietly transformative era” as the maestro ends his 11-season tenure as the Cincinnati Symphony Orchestra’s music director with two sets of concerts in May. It’s the end of an era for me, too. I interviewed Langrée throughout his CSO career and it’s been a rare and unique privilege to gain a sense of him as a musician and a generous human being deeply committed to his art, the CSO and the Cincinnati community.

I was in the crowd for Langrée’s debut as CSO’s music director at the 2013 Lumenocity show, which concluded with a dazzling performance of Ravel’s “Boléro” and astounding projections on Music Hall’s east façade as the audience of 35,000 people roared in delight.

He looked happily dazed following the performance as the exiting crowd waved and shouted bravos. Our first interview followed a month later; it was literally midnight in Paris when we spoke over the phone, and that postconcert ebullience was clearly audible.

He put up with my fractured French, assuring me that it was better than his English. As if. But speaking French became our M.O., adding another dimension to that favorite word of his: sharing.

How lucky for Cincinnati that he; his wife, actress and author Aimée Langrée; and their children, Celeste and Antoine, relocated here from Paris. The Langrées were regulars at arts events in Cincinnati, sometimes as audience members, sometimes as participants. Their kids graduated from Walnut Hills High School and the Langrées were enthusiastic supporters of the school’s music and dramatic programs.

That spirit of generosity extended to nurturing the next generation of

performers and audience members through Langrée’s passion for sharing his knowledge and love for music beyond Music Hall. He conducted the Walnut Hills High School Chamber Orchestra. He led College-Conservatory of Music’s Philharmonia Orchestra in a thrilling performance of Berlioz’s Symphonie Fantastique. After the concert, I greeted him while CCM students thronged behind me. “Your public awaits,” I said. “No, no,” he gently corrected me. “My colleagues.”

In 2020, CCM voice students sang all the supporting roles in the CSO’s luminous production of Ravel’s L’Enfant et les Sortilèges. They and Langrée agreed that those performances were unforgettable.

No matter what the topic, I always sensed that I was speaking with an 18th-century philosophe, a person embodying the French Enlightenment’s ideals of liberty, equality and unity (or fraternity), who possessed genuine curiosity about the entire world. Throughout his CSO tenure, we spoke over the phone, at his lovely East Walnut Hills residence, in his Music Hall office and on Zoom. The interviews were genuine dialogues; he never shied away from tough questions and

Louis Langrée conducting Ravel’s Boléro at Lumenocity in 2013 P H O T O : M A R K LYO N S

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his thoughtful responses were always (pardon the pun) enlightening.

Langrée grew up in Alsace in northeastern France, a rural area famous for its wine and beer. An avid gardener, Langrée’s references to gardening frequently pop up in interview transcripts.

One of my favorites: “I compare my work to that of a simple peasant, growing the best and most organic sounds.”

An interview with the maestro I met with Langrée in February to discuss his legacy at the CSO when he was in town to conduct Brahms’ A German Requiem. Although our time was limited, Langrée responded with characteristic thoughtfulness, candor and generosity.

In our first interview in October 2013, you frequently used the word “share.” What has the CSO shared with you and how has your sense of sharing changed?

Sharing isn’t an act; it’s a state of being. My first questions to myself when I arrived here were what can we — orchestra and conductor — make together and what should we make together, especially in Cincinnati where people seem to feel the CSO’s relevance more than in many other cities?

Music is sharing in three senses. Music is a dialogue: one performs, listens and responds. That was my job last night (at rehearsals for the Brahms’ Requiem), especially for the musicians who have no words but respond to singers. In last night’s rehearsal, when the baritone sings a phrase, the trumpets echo him. Even if they don’t pronounce the words, we understand. And without that sharing, music is only notes on a page.

We all became aware of more profound ways of sharing during the pandemic. Live performances couldn’t happen and the CSO committed to livestreaming our performances on different platforms. The responses were amazing. We started out very modestly — just me and (CSO CEO and president) Jonathan Martin speaking from our homes, but we reached hundreds and then thousands of people all over the world. I told the orchestra that although we had to cancel our world tour, we still brought Cincinnati to the world.

You and your family made the difficult decision to move to Cincinnati and you stayed here throughout COVID lockdowns. What did you gain from the experience?

Conductor Simon Rattle told me if you want to be a genuine music director of a city’s orchestra, you have to live in that city to understand it. You can’t check the local and social media. Only if you deeply understand yourself and the city’s problems can the symphony be part of the solutions.

For me, it was obvious and necessary

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Louis Langrée and Maya Angelou in 2013 P H O T O : M A R K LYO N S

that we move here. We had no direct connection to Cincinnati, so it was especially difficult for our children. But it was also inspiring to confront different cultures, different schools, different neighborhoods. After graduating from Walnut Hills, our kids chose universities in English-speaking countries. If they hadn’t had this global sense of the world, their lives would have been different.

This experience has helped all of us gain a sense of ourselves in the world.

I wanted to be a Cincinnatian and during the pandemic, I wanted to stay close to the orchestra. I wanted to find ways to keep them performing and we were so fortunate that we did that, through commissioning fanfares and being one of the first orchestras to livestream.

Community outreach was a significant part of your time here. What were memorable moments for you?

“One City, One Symphony” was a project begun by (former CSO CEO) Trey Devey and, in 2012, I led a performance of Beethoven’s 9th Symphony that was shown on the large screens on Fountain Square. After we moved here, I was walking through Fountain Square when a police officer saw me and began whistling the “Ode to Joy”!

That was amazing! We did a series with the Pops about heroes and we did a volunteer project with Cincinnati Parks Department to show how you can be a hero in your own community. That was amazing too!

Are there other concerts that had special resonance for you?

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In my first season, we did Copland’s A Lincoln Portrait with Maya Angelou and she was so impressive as the narrator. That voice! [Langrée goes into his office, returning with an inscribed copy of Angelou’s I Know Why the Caged Bird Sings]. She gave me this and it’s a treasure I’ve kept in my desk here.

The Beethoven Akademie concert series we did in February 2020, just before the pandemic, was phenomenal. I think we showed that Beethoven wanted to be part of his larger community. The orchestra played so beautifully for Pelléas et Mélisande and L’Enfant et les Sortilèges.

And many of the works we performed during the pandemic had been rarely performed, especially those by Black composers. They were revelations.

The orchestra’s sound is different from when you began your tenure, thanks to 28 musicians you appointed and a refurbished Music Hall. What differences do you hear?

When I arrived, there were many musicians close to retirement age, so it was an opportunity to renew.

I think the sound and the style are more flexible now in colors, shaping a phrase and articulating it. As you say, the hall is smaller, so you can hear more details. Before the renovation, the hall sounded like a cavern. Now, the sound is closer to the public and the public is closer to the orchestra. Bravo to the architects, the donors, to everyone who was involved in it! It’s been a huge success.

I know the COVID shutdown made you angry, but you worked through

it by growing a beard, advocating for livestreaming, featuring works by Black composers and commissioning fanfares, aiding both composers and musicians.

Yes, I was angry and I felt guilty that in the middle of this disaster, there were so many beautiful experiences. Tyler Secor (Langrée’s assistant at the time) was a huge part of helping me discover new works. He introduced me to Julia Perry’s “Homunculus,” an extraordinary piece.

Then he said, maybe you should look at “You Have the Right to Remain Silent”

by Anthony Davis. And I thought, “Oh, that’s a great title;” it made me think of silence and what silence is. But it’s a completely different thing.

I was so proud to be part of promoting American music, not only commissioning and performing new works, but also conducting pieces that already existed and giving them a second chance, especially for Anthony Davis because, after that, the New York Philharmonic and the Boston Symphony performed it. Now major orchestras play it, so it’s back on the radar.

For composers, COVID was a disaster, so we created a commissioning project. Cincinnati is the place for fanfares, the home of Copland’s “Fanfare for the Common Man.” We asked for fanfares in completely different styles for different instruments. I’ll never forget Dwight Perry playing Matthias Pintscher’s oboe fanfare from the balcony at the first livestream.

You’re responsible for 45 commissioned orchestral works and 31

Louis Langrée directs a digital capture rehearsal with the Cincinnati Symphony Orchestra in 2020 P H OTO : T Y L E R S E C O R

premieres over the course of your CSO career. What were some highlights?

After Maya Angelou died, we wanted to continue to honor her legacy and we dedicated the 2015 One City One Symphony to her. We commissioned TJ Cole, Jonathan Bailey Holland and Kristin Kuster to set three of her poems (“Elegy,” “Equality” and “Forgive”). That is a beautiful memory, these young, bold composers inspired by her poetry.

At the other end is the last symphony of Christopher Rouse, who died a week before we premiered his 6th Symphony in October 2019. It’s poignant, magnificent. And it was unforgettable.

What is an unfulfilled ambition you have for the CSO? [Sighs.] When I arrived, a taxi driver asked me if I came to Cincinnati to work for P&G. When I said no, I’m the symphony’s music director, he said, “Oh wow, the symphony!” But when I asked how many concerts he’d been to, he said, “No, it’s not for me — but I know they’re good.”

I wanted this sort of person to come and be proud of something they’ve experienced, not just passing in front of Music Hall. After COVID, we turned to social media and although it helped everyone to keep performing, now we must balance it with live experience versus the digital livestream, one of the best being presented, but nothing takes the place of live performances.

I would like to have succeeded more, but I’m proud of what I’ve accomplished.

You introduced and advocated for performers and composers of color to CSO audiences. How can American orchestras be more proactive in the

same way?

I think that everyone’s reacting viscerally in a way that doesn’t help to repair or rebuild. To say orchestras are racist, fine. For me, having an auditioning musician play behind a screen is important because then you pay attention to the level of playing. Removing the screen is very racist for me because the only thing you expect is the image and that doesn’t help nurture talent.

How is it that the richest democracy in the world [America] has such an unequal educational system? It’s awful. Let’s give the whole world a chance. I’m very proud of our Diversity Fellows program. We train them; we help them; we give them keys to be able to win auditions behind screens, and when they win, it’s because they are the best candidate.

People told me “Oh, we’re so glad that for the first time in the orchestra’s history, a female concertmaster was hired.” No, I said. I chose the best candidate. That’s the dignity that music can give and the best way to push back against racism.

Anything else?

Life gives us so many surprises and we have to take risks. I’m so proud of my city and this orchestra. Life is beautiful!

Grand merci and forts bravos, mon vieux. A très bientôt. (Many thanks and bravissimo, old friend. ’Til next time).

Langrée’s Grand Finale, featuring the world premiere of CSO commission Broken in Parts by Anthony Davis, is on May 10 and 11 at 7:30 p.m. and May 12 at 2 p.m. at Music Hall.

Info: cincinnatisymphony.org.

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ARTS & CULTURE

Carol Tyler and Justin Green, the subjects of John Kinhart’s new documentary, Married to Comics P H OTO : C O U RT E SY O F J O H N K I N H A RT

The Art of Perseverance

New film about Cincinnati creators of autobiographical comics gets screening here

BY ST E V E N RO S E N

E

ver since it had a premiere screening in Silver Spring, Maryland, last year, people in Cincinnati have been eagerly awaiting a chance to see John Kinhart’s new, long-in-the-works documentary Married to Comics.

It’s an intimate, perceptive and artfully deep look into the lives of two married Cincinnati creators of autobiographical comics/graphic novels — Justin Green and Carol Tyler. Green’s 1972 Binky Brown Meets the Holy Virgin Mary is considered the first major autobiographical work of the genre.

Now, Married to Comics will have a screening at Clifton’s Esquire Theatre on May 16 at 7 p.m. It’s part of the film’s careful roll-out at film festivals and select cities.

The two artists moved to the Cincinnati area from California in the late 1990s, and both became celebrated locally. Green found a new, devoted following here for his music-historyrelated artworks championed by Shake It Records, while Tyler has won praise for her graphic memoir and other art, especially 2015’s Soldier’s Heart: The

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Campaign to Understand My WWII Veteran Father.

Green died in 2022 of cancer at age 76, while Tyler — now 72 — continues to live here and create. Their daughter Julia, also featured in the movie, operates the Northside art gallery (DSGN) CLLCTV. For Kinhart, 44, who lives in Maryland, finishing this film is the culmination of years of work. Besides being a documentarian, he makes art, and in the mid to late 2000s, he began experimenting with drawing autobiographical comics/cartoons. As he grew to like it and developed a delicate line, he started thinking of doing a documentary about, quite naturally, autobiographical comics and their origin.

At around the same time, he had met some people familiar with the Underground Comix movement — which had roots in the counterculture — while making a 2007 doc about Baltimore cult-film creator Don Dohler, Blood, Boobs & Beast. And they told him about a relatively unknown giant of the movement, Justin Green, and his Binky Brown autobiographical

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comic. In it, Green told and imaginatively depicted how he suffered from, according to Kinhart, a kind of obsessive-compulsive disorder (OCD) that medical studies call “scrupulosity.” It is anxiety caused by religious issues — he had attended a parochial school as a child. The comic is now considered a landmark in the emergence of a major new artform — the cartoonist Art Spiegelman has said that without Binky there would be no Maus, for which he won a Pulitzer in 1992.

“As I was reading about him, it said he’s married to Carol,” Kinhart says in an interview. “So I clicked on her, then bought and read her books. I had Binky fresh in my head and I’m reading her Soldier’s Heart and I’m seeing she’s revealing some really vulnerable moments of turmoil in their marriage. That’s a critical element to telling a great story in film — having a subject who is willing to share her vulnerabilities.

“I realized this subject had potential to transcend beyond the normal documentary about an artist,” he continues.

“I like those kinds of documentaries,

but I wanted to go deeper, which is what autobiographical comics do. The more personal they get, the more you feel like you’ve made a connection with the author. So that’s what I was aiming to achieve with this documentary.”

There was indeed turmoil in their marriage, although also deep love.

Tyler had moved to Cincinnati without Green, who had become involved with another woman. When he did arrive here, they often spent time apart. That leads to a particularly beautiful element of the film — the use of Tyler’s video footage of a weather vane outside her apartment window, filmed as the seasons change around it. It becomes symbolic in the film.

Green at first was quite reticent to take part in Kinhart’s film. But he did eventually agree, and he speaks in a resonant voice that conveys wisdom and a searching effort to understand the world and people around him, as well as his own art. This becomes one of the film’s most wrenching aspects, as later Green starts to succumb to the conspiratorial fantasies he finds on social media, especially regarding the roots of

Carol Tyler’s comics P H OTO : C O U RT E SY O F J O H N K I N H A RT

9/11. He tries to talk about it in the film, still using that gentle voice.

To give an idea of how much Green was held in regard by the giants of contemporary comics and cartooning, one need only look at those who are interviewed in Married to Comics — they include Spiegelman, Chris Ware and Robert Crumb. In fact, Crumb was the last footage that Kinhart shot. In May 2023, Crumb came to Cincinnati from France as part of an American trip following the 2022 death from cancer of his wife, the noted comics artist Aline Kominsky-Crumb.

“I had a window of a couple days in May when we thought it was going to happen,” Kinhart recalls. “So I went out there and he was visiting for a couple days and we were able to shoot some footage. Carol had been suffering this terrible grief for a long time, so I think this presence of an old friend going through the same thing was healing for her.”

In the end, Kinhart found Tyler inspirational. “I think she is this critical engine to the story of the movie,” he says. Just like her friend says in the film, at the end her comics always have a sense of hope. That was one of the things I think really brings a connection to the audience.

“And a lot of people who watch the

movie talk about how much they’re affected by her experience, her challenges, working hard and creating opportunities for herself, and having her day in the sun.”

And Tyler has equal respect for Kinhart’s work: “John is such a terrific film artist, capturing the highs and lows of our relationship,” she says via email.

“It’s an honor to have been a part of his project. Although it’s hard for me to be objective. I recognize our lives as shown in the film, which bursts out at first with a jolt of excitement. Then it slowly begins to mull things over, drawing us deeper into the story, by delicately examining the convoluted details of our dynamic.

“Eventually, it becomes a tissue box affair, leading to a greater understanding of how intense, impossible, and yet exceptional this life between me and Justin truly was. Every time I see the movie, I love and miss him even more, almost unbearably.

“Which brings me to, ‘What would Justin have thought of this?’ Completely embarrassed, yet absolutely humbled and proud of John’s poetic interpretation.”

Married to Comics will be screened at Esquire Theatre on May 16 at 7 p.m.

Info: esquiretheatre.com.

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CULTURE

Cincinnati Photographers Enjoy the Resurgence of Film Photography

BY LO GA N T U R N E R

P H OTO : DA N I E L I RO H

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here’s no denying the popularity of photography as an artistic medium. Whether it’s the barrier of entry or the meshing of technology with artistry, it seems like photography grows in popularity every year. With this growing popularity, photography, much like fashion and storytelling, has found itself in a cycle — a cycle of what’s in and what’s out. What’s old has now become new again, and what’s new is the rise of film photography.

For those who don’t remember, film was once the only way to transfer real life into images for us to cherish forever.

Little canisters filled with chemical strips were commonplace on department store shelves for customers to purchase to refill their cameras whenever they wanted to capture memories. It was normal to buy disposable cameras containing film if you wanted something to take photos of things like a family vacation or road trip. Film was everything for photographers, amateurs and professionals alike.

However, everything isn’t meant to last. In the late ‘80s and early ‘90s, the digital camera first hit the market. Film became impractical and increasingly less cost-efficient compared to its digital alternative. Families everywhere could now purchase cheap digicams. Professionals bought DSLR cameras that ran on batteries and SD cards that made their jobs infinitely easier. Photography had forever changed and film became nothing but an antique fad.

Like vinyl and platform shoes, film has seen a renaissance. Photography enthusiasts ensured film never truly died, constantly supporting companies like Kodak and Fujifilm. Then, much like any

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trend, influencers also got a hold of film.

Despite how people feel about it, Kylie Jenner posting film photos to her Instagram breathed life into the floundering art form. The great thing about film’s rise is that it isn’t just confined to those who are looking for what’s trending. Film has also found a foothold here in Cincinnati.

Kyle Woodford, a Cincinnati-based film photographer, described why he decided to choose film over the convenience of digital.

“Film for me is much more about the process than anything,” Woodford told CityBeat. “Having to choose the right film, the right type of camera, manually expose and take the shot all while having no clue what your photo will end up looking like is the reason I shoot film.

Although it sounds much more complicated, it makes shooting much simpler for me. I am bound by the choices I made when picking my film stock and camera.”

These artistic choices when it comes to film photography come through in Woodford’s work. He describes his style as a “person” photographer. Woodford shoots street photography in hopes of capturing the candidness of everyday life.

“I always say street photography is like people-watching except with a camera.

Not knowing exactly what you’ll find on any given day is the best part for me.

Street photography is very much out of my control which makes it more satisfying whenever I can get a good photo.”

Can’t all this still be accomplished digitally though? Is film just another status symbol, or does it offer any practicality for actual photographers? Local photographer Daniel Iroh, who shoots

both digital and film, explains why film could be the choice for artists.

“So back when I was a teenager, I made the grave error of saving all the digital photographs I had taken up until that point to my laptop and I didn’t have a separate backup,” Iroh told CityBeat. “Eventually, the hard drive on that laptop failed spectacularly, and attempts to recover the data failed.” Iroh explained that this experience deterred him from taking photos for several years. Eventually, he wanted to document his bicycle adventures, so to avoid the pain of permanently losing his photos again, he picked up shooting film.

Despite the practicality and vibes that shooting film brings, it’s much more than that for those currently in the hobby. There seems to be a true passion burning from some human desire to stay attached to this old medium. “I think a lot of people enjoy the methodical approach to photography that shooting film with a vintage camera requires. Also, in a digital world, we find ourselves finding solace in physical mediums, and shooting film can provide that.”

Dan Liang, a Cincinnati photographer who was recently featured on CineStill’s platforms, also shed some light on the personal passion photographers feel towards film.

“Shooting film is everything to me,” Liang said. “From holding a roll of film in your hand, just holding film is cool.

To picking a camera and composing the shot and waiting for it to come out, it’s like a journey. … I started with digital for maybe a month or two and I didn’t like it. I don’t know what it was, but the process just wasn’t fun for me.”

With the rise in film being fueled by people like Liang, Iroh and Woodford, it’s safe to say the scene in Cincinnati is in a good state. In fact, according to the locals, it’s continuing to grow.

“I think the film photography scene here has grown so much,” Woodford says. “There is so much support and resources here for new people who want to get into film. I think the photographers around Cincy, film or digital, do a great job at involving the community.”

Iroh elaborated more on this community Woodford spoke of, “Thanks to the power of social media, I’ve personally been able to connect with several members of this community and I’m now close friends with some. Recently I started going on photo walks in Northside every Thursday evening. I’m trying to get the word out so more people can show up. It’s been fun to connect with fellow film shooters on these walks.”

If you’ve ever had an interest in shooting film, now is the time to do so. With a community that is currently growing in numbers, and one that’s so willing to accept others, the barrier to getting into film photography hasn’t been this low since the ‘90s. Various Cincinnati photography groups, like the Photography Club of Greater Cincinnati and Cincinnati Photography Group, are open for people to join. Film and digital photographers alike meet up once or twice a week in Washington Park to go on photo walks. All you have to do to join them is show up. Shops like Western Hills Photo & Hobby can set you up with the equipment and film you’ll need to start. All these are ways you can make yourself a part of the film photography community today.

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CULTURE

Pianist Brianna Matzke’s Tremors are at the Heart of The Response Project’s Newest Exhibit

BY L E Y L A S H O KO O H E

T

he body is the conduit for creating all art, but Brianna Matzke is taking it one step further for TREMOR, the latest installment of The Response Project.

This unique commissioning initiative seeks responses from composers and artists to a certain idea or piece of existing art, weaving them all together for a special, one-night-only performance.

Past Response Projects have seen artists from a variety of creative disciplines make new work in response to Bob Dylan’s Highway 61 Revisited album, a 2015 Late Show exchange between Killer Mike and Stephen Colbert, and even a pandemic presentation, The Oliveros Response Project in 2021. TREMOR is no different, presented with concert:nova and in collaboration with artists from Visionaries + Voices and Britni Bicknaver, all asked to respond to Matzke’s essential tremor.

“I shake every day, all day, and so the only way I know how to play piano is with these hands that shake,” said Matzke.

“So my most authentic artistry is shaking hands. It’s at the heart of my authentic expression at the piano and if my hands suddenly one day stopped shaking, it wouldn’t be my artistry anymore.”

A professional pianist and professor of music at Wilmington College, Matzke has been playing the piano since her childhood. She studied piano performance at the University of Kansas and received her Doctor of Musical Arts in piano performance from the University of Cincinnati’s College-Conservatory of Music in 2014.

The piano is integral to her profession, and her person.

So when she first began to notice her hands shaking in her mid-twenties in grad school, she chalked it up to stress, or fatigue, or anxiety or too much caffeine.

But her colleagues and fellow students also noticed her shaking hands. And, eventually, the shaking became too pronounced to overlook.

“The moment that I knew I was going to get the diagnosis [was] this spiral test where they ask you to draw a spiral,” said Matzke. “The doctor just put a blank sheet of paper in front of us. He was sitting across from me and he just very calmly drew a spiral with his pen. It was so smooth and a perfect draw and I knew, watching him draw that, that I was not going to be able to draw a spiral like that.

He handed me the pen and I drew it and it was all shaky because that’s what it looks like when I draw. I knew, based on what I saw on the internet, that my spiral was an essential tremor spiral.”

Matzke was officially diagnosed with essential tremor in early 2020, and all that it has entailed and unveiled for Matzke

Dr. Brianna Matzke will be performing work in response to her essential tremor during TREMOR. P H O T O : R YA N B A C K P H O T O G R A P H Y

about herself and her art in the ensuing years is at the heart of TREMOR. “After that diagnosis, I already knew I wanted to use music to process what was happening to me,” she said.

Matzke isn’t alone in her experience in the classical music world. Beethoven suffered severe tinnitus, composing his Ninth Symphony in a state of progressive hearing loss. Ravel of “Boléro” fame suffered from brain disease. The renowned 20th-century pianist and conductor Leon Fleisher was diagnosed with focal dystonia, a neurological disorder that affected his right hand and ability to perform. Fleisher moved his focus to performing only with his left hand and later commissioning music composed for the left hand.

And of course there are the five composers whose work Matzke will perform: Hanna Benn, Matthew Evan Taylor, Adeliia Faizullina, Forrest Pierce and Molly Joyce, all of whom resonated in unique ways with TREMOR’s central theme of disability and beauty.

“A lot of scholars have pointed out instances of composers going back to Beethoven or Schumann [having disabilities] and how that informed their work and how it wasn’t labeled like that,” said Joyce.

A graduate of Juilliard and The Royal Conservatoire in the Hague, with a master’s in composition from Yale, Joyce also holds an advanced certificate and master of arts in disability studies from CUNY School of Professional Studies.

“A lot of my work focuses on disability as a creative source and stems from a disability I acquired about 25 years ago in a car accident, and it informs a lot of my work,” said Joyce, whose left hand was impaired in that accident.

Joyce composes for a variety of

instruments and artists, as well as performing her own works. “Affection,” her solo piano composition for TREMOR, is about holding grace for a disorder or disability, rather than resenting it, and allowing those affections to move one in a progressive direction.

“For this piece, the idea starts with a simple, straightforward melody, very, very simple, but beautiful,” said Matzke. “A tremor is introduced into the melody and it becomes more unpredictable. [Simultaneously] low notes are introduced … that build in strength and the tremor becomes more regular, so by the end of the piece, it just feels like strength through the tremor.”

Among the other composers contributing commissioned pieces for TREMOR is Forrest Pierce, a professor of music theory and composition at the University of Kansas. They met while Matzke was a student and they stayed in touch over the years. A few conversations in 2022 about Pierce’s work and Matzke’s tremor led to the inspiration for “something, shimmering,” his composition for TREMOR. “My main goal was to find a way to capture the beauty of [a] shimmering cottonwood leaf, but to also find ways in which Brianna’s particular experience of this tremor would be amplified, embodied, expressed, articulated, through the piano technique that was being asked for,” said Pierce. “something, shimmering” requires a prepared piano, which is altered with various implements to produce different sounds. Here, those implements include the suction-cupped ends of children’s toothbrushes and car windshield squeegees. To perform the piece — and evoke that namesake shimmering — Matzke wears a mesh glove fitted with ten silver-plated earrings in the shape of

cottonwood leaves on her right hand.

“I’m trying to interweave my own physical experience, which involves a lot of internal noise in my own body, so I’m trying to communicate as the composer, with Brianna’s body, by including my persistent tinnitus that I have ringing in my ears, the popping of my spine and neck, the tension that’s in my brain stem, and all of these other things so there’s a kind of hybriding of kinesthetic experience in the piece,” said Pierce. “All in the service of the larger incantatory intention of the piece.”

Work created by artists with developmental disabilities from Visionaries & Voices will be featured in an exhibition at The Well in Camp Washington through May 6, in a visual art complement to the concert on May 5. These artists include Nick Kraft, Rosalind Bush, Milo Gleich, Vince Cole and Linda Kunick. Bicknaver also contributes a sonic work to the lineup.

“I just want people to feel seen,” said Matzke. “I want us to feel kinship with one another at these events, and that kinship can only come through being vulnerable and authentic. I’m trying to present myself as vulnerable and authentic so hopefully that helps people see each other that way, too. I want to bring visibility to disability, artists with disability, lived experience of disability, I want to raise awareness of essential tremor. I hope people can come experience something interesting and beautiful — they can walk away and feel like they know how to make the world a little bit nicer.”

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TREMOR debuts May 5 at the American Sign Museum in Camp Washington.

More info: concertnova.com/ concerts-events/s17/tremor-exhibit.

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FOOD & DRINK

Braxton Brewing Co. and O.K.I. Bourbon’s collab launches Saturday, May 4.

P H O T O : P R O V I D E D BY R M D A DV E R T I S I N G

Braxton Brewing Partners With O.K.I. Bourbon and Molly Wellmann on Expanded Cocktail Program Braxton Brewing says the partnership will change the traditional brewery experience.

BY K AT H E R I N E BA R R I E R

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ovington-based brewery Braxton Brewing Co. is teaming up with local bourbon brand O.K.I. Bourbon to add some spirit to its beverage options. The collab will add a unique bourbon experience and expanded cocktail program, led by iconic Cincinnati mixologist Molly Wellmann, to all of Braxton’s taprooms.

Braxton says this partnership will elevate the craft beverage experience in the Cincinnati Northern Kentucky area and reinvent the traditional brewery experience as demand for spirits and cocktails surge.

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“We’re thrilled to embark on this exciting journey with O.K.I. Bourbon,” said Jake Rouse, Co-Founder and CEO of Braxton Brewing Co. “This partnership represents a pivotal moment for us as we expand our offerings beyond beer to meet the evolving tastes of our loyal patrons. By joining forces with O.K.I., we’re not just crafting drinks; we’re crafting experiences, inviting our guests to savor every sip and immerse themselves in the rich tapestry of flavors our collaboration will unveil.”

The brewery adds O.K.I. Bourbon offers a rich history of finely crafted

bourbon that stays true to Braxton’s mission of giving guests an unparalleled experience and innovative beverages.

An official launch of the collab is set for the brewery’s annual Derby Party on Saturday, May 4.

Braxton Brewing Co., 27 W. Seventh St., Covington & 331 E. 13th St., Pendleton.

More info: braxtonbrewing.com.

Learn more about O.K.I. Bourbon by visiting seelbachs.com/collections/o-k-i.

EATS

New Bar and Restaurant ‘The Park’ to Open at The Banks This Summer

BY K AT H E R I N E BA R R I E R

A rendering of The Park restaurant and bar opening on Freedom Way this summer.

R E N D E R I N G : P R OV I D E D BY G A M E D AY C O M M U N I C AT I O N S

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new bar and restaurant at The Banks will bring the outside in.

The Park, a new concept from Greater Cincinnati hospitality leaders Will Hodges and Chase Daoud, is

expected to open this summer at 161 E. Freedom Way. Hodges is a fixture of the entertainment scene at The Banks, and this is his and Daoud’s second venture

together: The pair opened The Well bar in Covington in January 2023.

The Park’s concept, as its name suggests, offers the outdoor feel of a park setting, with a tree-like sculpture

centerpiece that guests can dine under inside and year-round patio seating outside. The space will have a modern aesthetic, and the drinks menu will feature cocktails and classic beverages.

The drinks will also be paired with food from Good Plates Eatery, a creative, American-style restaurant in CUF that offers the perfect picnicesque food for a day at “The Park.”

Chef Andrew Schlanser of Good Plates is known for serving classic American comfort food with bold flavors, including sandwiches and bowls for both meat-eaters and vegetarians.

Good Plates and Schlanser are also known for giving back to the community, having offered thousands of free holiday meals over the last few years and hosting coat drives.

Schlanser says he’s always looking for new ways to engage with and feed the community.

The Park is expected to open in June.

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For more information, follow The Park on Instagram at @theparkcincy.

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EATS

Greater Cincinnati Bars That Also Serve Up Excellent Food

BY C I T Y B E AT STA F F

T

hese Greater Cincinnati watering holes have their priorities straight: a great selection of cocktails, beer and wine paired with enough snacks and entrées to keep your appetite satiated and your thirst quenched. From dives with delicious bar fare like wings and burgers to upscale joints with light bites and tapas, here are some local bars that also hit the mark when it comes to food.

Incline Public House 2601 W. Eighth St., East Price Hill Named after the Cincinnati inclines that traveled to Price Hill, Incline Public House features a gorgeous view of the city and delicious American food for brunch, lunch and dinner. While you enjoy the view of downtown Cincinnati on their all-season patio, try one of their popular pizzas, like the equal-parts sweet and salty Prosciutto Fig, featuring fig jam, Italian ham, goat cheese, caramelized onions and arugula on top. Or, build your own using the expansive list of sauces, cheeses and toppings. Pair it with one of their local craft brews on tap and their mouthwatering short rib poutine to split with the table to top off the experience.

Baru has elevated cocktails and sushi

Northside Yacht Club 4231 Spring Grove Ave., Northside A little bit naughty nautical, a little bit rock ‘n roll, Northside Yacht Club is the perfect, chill spot to kick your feet up with a drink and a plate of something greasy and delicious. The landlocked yacht club serves up classics like sandwiches, burgers, wings and fries, as well as vegan and gluten-free options. They also have an extensive craft cocktail list – including their infamous peanut butter tequila shooter – as well as brunch during the weekend.

Hometown Heroes 640 Sixth Ave., Dayton In addition to cheap drinks, Hometown Heroes is known for its great wings, Cheese Bombs and ooey-gooey fries covered with goetta and queso, plus an outdoor patio. Remember Bosco Sticks from grade school? Relive that gourmet here in the form of Hometown Heroes’ Cheesy Garlic Bread, along with soft pretzel bites, onion rings and cheesy, bacon tater tots.

Ali’s Bar and Grill 7820 Camargo Road, Madeira Ali’s is Madeira’s friendly neighborhood bar and grill, dedicated to being a spot for families and friends to gather and enjoy good food and drinks together.

Alison Tepe-Guy and her husband, Dan

P H O T O : T W I N S P I R E P H O T O G R A P H Y / P R O V I D E D BY B A R U

Bowman, started the restaurant in honor of Ali’s son, Tyson, who passed away in a car accident. His memory is present in many parts of the restaurant, including some of his favorites being featured on the menu. Ali’s ensures everything on the menu is handcrafted with high-quality ingredients, from the burgers, made with a three-cut blend of brisket, short rib and chuck ground, to the Gremlin Pizza, with house-made dough and fresh toppings.

The couple also use the restaurant and bar as a way to give back to the community, raising money for local organizations and starting a memorial scholarship fund in Tyson’s name.

Knockback Nats 10 Seventh St., Downtown Wings are king at neighborhood bar Knockback Nats, whether they’re drydrubbed or tossed in one of Knockback Nats’ 12 sauces, including their awardwinning bourbon-pineapple barbecue and spicy garlic ranch. Come as you are and enjoy a beer or two, plus dart boards, video golf, video bowling and a jukebox.

And more than a few loyal customers come to The Comet’s Sunday brunch to feast off the hangover they earned in the same bar on Saturday night.

The Comet 4579 Hamilton Ave., Northside This vintage-styled neon-lit Northside garage rock bar has a daily menu of bigass burritos, strong booze and live music.

Baru 595 Race St., Downtown This elevated sushi and cocktail concept places most of its focus on its atmosphere and unique menu, all centered

Indulge in beer and incredible wings at Knockback Nats P H OTO : H A I L E Y B O L L I N G E R

around its bar, which has been strategically placed to be the focal point of the restaurant. The idea behind Baru is stay-and-drink sushi, inspired by izakaya, which are beloved Japanese establishments where guests can stay, drink and unwind long into the night.

Its menu is sophisticated but approachable, with fresh fish flown in daily, American and Japanese wagyu and

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shareable items. It also offers omakase meals, where guests leave dining decisions up to the chef.

Gas Light Cafe 6104 Montgomery Road, Pleasant Ridge This Pleasant Ridge eatery and drinkery has been a neighborhood staple for generations. Behind the bar, there’s a large list of local, domestic and craft drafts on tap, along with a full liquor shelf if you need some spirit. Stop by for a casual lunch or dinner, or watch sports on one of their TVs. What goes well with a cold draft of your favorite beer? The Gas Light Burger, daily homemade chili, onion rings, tuna melt, chef salad and potato skins with cheese and bacon.

Arnold’s Bar and Grill 210 Eighth St., Downtown Open since 1861, Arnold’s is the oldest continuously running tavern in town, complete with dark wood walls, vintage memorabilia and a big ol’ bathtub in the dining room rumored to have been used to make gin during Prohibition.

A Cincinnati classic, it serves up a nice range of lunch and dinner options — pasta, sandwiches and burgers, plus vegan and gluten-free options — at bargain prices. Enjoy a local draft in the outdoor beer garden and almost daily live music. It was also named as one of the best bars in America by Esquire magazine.

Lounge outside in the beer garden while you sip on the alcoholic beverage of your choice and eat delicious food P H OTO : H A I L E Y B O L L I N G E R

HighGrain Brewing Co. 6860 Plainfield Road, Silverton HighGrain is a brewery and scratch kitchen, brewing a variety of beers with sustainability in mind. The beer list focuses on Pilsners, IPAs and lagers, but you’ll also find a milk stout as well as a couple cocktails made with HighGrain’s house sparkling lemon mineral water, Limo. The food menu rotates seasonally and features locally sourced ingredients. It’s also a destination for the entire family, with a dog-friendly, fenced-in biergarten, a kids’ food menu and ample parking.

City View Tavern 403 Oregon St., Mt. Adams City View Tavern is Mt. Adams’ beloved hillside dive and home of one of the best spicy bloody marys, along with offering some of the best views in town.

The burgers are damn tasty, too.

Rooftop at 21c 609 Walnut St., Downtown After a rebrand of its rooftop bar, 21c Museum Hotel opened The Rooftop at the 21c, offering guests a relaxing place to lounge while they enjoy a cocktail, some snacks and an incredible view of downtown Cincinnati. New chef Zachary Barnes’ menu has transformed the bar into an oasis with Peruvian-style

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Enjoy sweeping views of the Cincinnati skyline with a nice burger and cocktail P H OTO : A I DA N M A H O N E Y

fare and coastal-inspired cocktails.

Opening for the season soon.

Juniper’s 409 W. Sixth St., Covington Gin is the star of the show when it comes to Juniper’s cocktail menu, with drinks that are crafted with time-tested techniques, but through a lens of innovation that keeps everything exciting and fresh. The bar features a collection of over 200 gins — which is always growing — and an Old World-inspired aesthetic, with low lighting and decor that looks straight out of a Victorian

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parlor — perfect for sipping on some botanical delights. To eat, you’ll find a rotating selection of tapas, including a bread service featuring local bread with honey brown butter, Lebanese wagyu beef meatballs and pot pie, which can be made with chicken or vegan.

March First Brewing 7885 E. Kemper Road, Blue Ash; 10 Fountain Square Plaza, Downtown Named for the first day our home was recognized as a state, March First Brewing boasts an impressive variety of drinks made on the premises, including

beer, cider, whiskey, schnapps, vodka, rum and hard seltzer. If you stop by to sip on some brews, stay and have a bite to eat; the brewery offers snacks like pretzels and beer cheese plus pizza and sandwiches.

Friendly Stop Bar & Grill 985 Congress Ave., Glendale Friendly Stop lives up to its name as a friendly place to roll in for a drink or a meal. The walls of the bar and restaurant are covered in license plates, leaning into that nostalgic, pulled-offthe-road feeling of all great roadside

Come to Hometown Heroes for standard (but excellent) dive fare P H O T O : L I Z D AV I S

establishments. The menu features classic bar fare like wings and burgers, as well as comfort food like its meatloaf plates, barbecue and down-homestyle sides like mashed potatoes and coleslaw. To drink, you have a variety of beers on tap and bottled to choose from, as well as a small selection of wines.

The Well/Grub Local 8 W. Seventh St., Covington Described as equal parts cool and casual, The Well provides a laidback and cozy lounge, as well as a large patio, with plenty of seating throughout and large-screen TVs, making it a great game-day destination. Meanwhile, its food arm, Grub Local serves up elevated bar fare with some twists on local flavors, like its Cincy-Style Chili Dip and Hank Panky Balls, made with goetta.

W Bar + Bistro 3447 Epworth Ave., Westwood Quickly becoming a West Side favorite, W Bar + Bistro opened in the former Henke Winery space in 2022. Billing itself as a casual, all-day restaurant, W Bar + Bistro’s food excels beyond casual.

With a menu driven by chef specialties, everything — from the Korean-fried chicken sandwich to the poutine and braised short rib served with risotto — is packed with flavor. You can also post up at the bar and enjoy a selection of draft and bottled beers, wines by the glass or one of W’s signature cocktails (the sangria in any flavor is not to be slept on).

The Pony 1346 Main St., Over-the-Rhine By the looks of it, you’d think The Pony has been around for decades, with its honeycomb tile floors, low-hanging green bar lamps and a glowing neon

sign luring you in for an old-fashioned.

Turns out, the comfortable dive-bar decor is the machination of hipsters, and we’re not at all mad about it. Cocktails include the Pony Express (grape vodka, blue curaçao, lemonade and grenadine) and the Old Work House, a seasonal old-fashioned with bourbon, strawberry-rhubarb syrup and black walnut bitters. For food, they serve up what you’d typically find at a bar, but turned up a notch. From burgers to roast beef sandwiches to chicken wing dip, everything is delicious.

Molly Malone’s 112 E. Fourth St., Covington If you crave the camaraderie of a Dublin bar, Molly Malone’s restaurant and pub offers an authentic taste of the Emerald Isle with its Jameson Whiskey on tap and menu of traditional fare and appetizers, such as its popular beer-battered cod served with coleslaw and chips.

Open seven days a week for lunch and dinner, the pub plays just about every soccer and rugby game live and keeps the kitchen open late on Fridays and Saturdays so you can keep the party going well into the night after your favorite team’s win.

Arlin’s 307 Ludlow Ave., Clifton Arlin’s may have changed names and hands quite a few times since its inception, but it’s been Clifton Gaslight District’s premier neighborhood pub since the 1890s. Here you can enjoy a beer on the big back patio and beer garden and listen to live music. The nofrills atmosphere includes a pool room, plus 20 taps, sports on the TVs and a jukebox. And while it’s best known as a bar, Arlin’s also has a food menu with a variety of burgers, sandwiches and even some Tex-Mex fare.

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MUSIC-SOUND ADVICE

MUSIC Embracing Her Impact Cincinnati musician ANNIE D speaks with CityBeat about her musical journey ahead of a string of releases this year

BY E R I C BAT E S

W

ith a new EP and a live recording, ANNIE D (Ann Driscoll) will grace this spring and summer with her amazing music.

ANNIE D began her musical journey at the age of seven, beginning with guitar lessons. Then, at the age of 11, she began writing and recording her own songs. She also learned how to play the drums and piano, and took double bass lessons from Dayton Philharmonic principal bassist Debbie Taylor and Cincinnati jazz legend Michael Sharfe.

Now, ANNIE D is excited to share her latest endeavor, an EP and a live recording. These two collections, ANNIE D Live at the Tone Shoppe, available May 9, and Anthology Vol 1, out May 2, will feature songs familiar to those who have attended her incredible live shows.

Live at the Tone Shoppe will present two songs, “Colors” and “Obloquy.”

Both works were recorded live by Eric Cronstein at The Tone Shoppe. “Colors” was mixed and mastered by Michael Oliva, and “Obloquy” was mixed by Mike Montgomery at Candyland Studio, and then mastered by Adam Pleiman at Play Audio Agency.

In the song “Colors,” ANNIE D tackles the subject of finding the power to change one’s mental state and identifying the various positives and negatives within that journey.

“Embrace for Impact” is inspired by the writings of historian Raul Hilberg, and musically influenced by Radiohead’s Hail to the Thief.

“It’s an exercise in empathetic imagination and a tribute to those who have been victimized by war and persecution,” ANNIE D told CityBeat of “Embrace for Impact.”

Music videos for “Colors” and “Obloquy,” directed and edited by Josh Purnell, capturing the live performances of both songs, will be released as companions to the EP. The EP, Anthology Vol 1, is the beginning of an ongoing project to release the Cincinnati native’s abundant backcatalog of material. This trio of songs, “Embrace for Impact,” “Colors” and “The World’s Worst Weather Man” was recorded and produced by ANNIE D at

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her home studio.

Being an extremely accomplished musician and multi-instrumentalist, ANNIE D played every instrument on the album. Orchestrations by Oliva, who also mixed and mastered the songs, and backing vocals by Coast Off’s Chris Robinson, are featured on the songs as well.

Live at the Tone Shoppe will feature artwork by Charity Bonapfel, Kelsey Stack, and Purnell. The artwork for Anthology Vol. 1 is still in production; the typography is designed by Mia Carruthers.

ANNIE D received a lot of positive attention for her music during her years in high school and college, but soon after became dispirited, primarily because she felt she lacked the necessary personal maturity to parlay her earlier attention into greater opportunities. Therefore, throughout her 20s, ANNIE D performed and released her music fitfully. Many factors played a part in the sporadic music-making during those years. The concept of making money through music and being commercially successful no longer made sense to ANNIE D, and it became more and more difficult for her to find the impetus for making and sharing music publicly.

But after much time and reflection ANNIE D, now in her mid 30s, settled on a particular rationale, in that for her it felt unnatural and spiritually unsound not to share her music. And in writing music about confronting darkness and despair she felt each song she wrote was a concrete example of choosing creation over destruction, and “in a culture that incentivizes self-destruction,” ANNIE D tells CityBeat, “I feel it’s a message worth sharing.”

One major decision ANNIE D made in her musical life was settling on the moniker, ANNIE D. In adopting the name, she’s found it extremely helpful in disconnecting her musical project from her personal identity as a human being. The decision to give her musical endeavor the name ANNIE D was an effort to help shield her, a spiritual layer that would potentially protect her from the psychological risks that both praise

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ANNIE D P H O T O : D AV I D D E W I T T

and criticism might bring.

Above all else, as a human being, ANNIE D values high character.

Kindness, reliability, listening skills, patience, resiliency and curiosity are virtues she works on one day at a time.

So, when speaking about the title, ANNIE D, and the crucial role it plays in her life, she tells CityBeat, “Whether or not people like or dislike my music has very little to do with my value as a human, and it’s easier to concretize that boundary when you have a moniker.”

Producing, performing and recording on her own is something ANNIE D is very passionate about. Anthology Vol. 1 was recorded in her home studio, a space that’s become a haven for her creativity. While working at Play Audio Agency, ANNIE D has clocked in hours of hands-on experience and has learned a great deal about engineering and production, invaluable knowledge she puts to good use in her home setup.

Among the many instruments ANNIE D owns and plays masterfully, she has a few personal favorites, the first being a Fender Telecaster that she’s owned since 2012. The flawless setup and maintenance of this classic electric

guitar is attributed to Andrew Aragon, a trusted friend of ANNIE D’s for many years.

The song “Embrace for Impact” features a double bass that’s been in ANNIE D’s possession since high school — the same one she used during her time as a member of the Cincinnati Symphony Youth Orchestra.

Another favorite instrument of ANNIE D’s is a Casio CZ-1000 she found in a shed behind an apartment in Bushwick, which supplies quirky, idiosyncratic keyboard sounds on “Embrace for Impact” and “The World’s Worst Weather Man.” With deeply honest and unapologetic authenticity, ANNIE D elevates Cincinnati’s music community, and her music fills the hungry souls of all who are fortunate enough to bear witness to her extraordinary gifts.

Watch for ANNIE D’s releases, ANNIE D Live at The Tone Shoppe, out May 9, and Anthology Vol 1, out May 23.

Be sure to also catch her live at the North by Northside Festival at the Northside Tavern on May 26.

greatest singer/songwriters of all time.

Rufus Wainwright plays Ludlow Garage at 7:30 p.m. on May 7. Info: ludlowgaragecincinnati.com. (Eric Bates)

SOUND ADVICE

KRAFTWERK

Rufus Wainwright P H OTO : TO N Y H AU S E R

Kraftwerk P H OTO : C O U RT E SY O F K R A F T W E R K

RUFUS WAINWRIGHT May 7 • Ludlow Garage On May 7, celebrated singer/songwriter Rufus Wainwright will appear at Ludlow Garage in Clifton. In 1998, Rufus, son of famed folk singers Loudon Wainwright and Kate McGarrigle, burst onto the music scene with his self-titled debut album, released

by DreamWorks Records. Rolling Stone named the debut the best album of the year and Wainwright the best new artist.

Prior to the release, Rufus had lived in Canada and played weekly shows at Cafe Sarajevo in Montreal and soon after moved to New York City where he performed regularly at Club Fez. But it was when he relocated to Los Angeles that he began recording his first album. Once the record was released,

Rufus embarked on a long tour to promote it, first sharing the stage with Sean Lennon and later headlining his own shows.

After the tour, Wainwright relocated back to New York City and moved into the Chelsea Hotel. It was in the six months he lived in the infamous establishment that he wrote most of the songs that would later become his second album, Poses. Released in 2001, Poses was another critically acclaimed release, which sent him even further up the musical ladder.

From 2001 to 2004 he toured with music superstars Sting and Tori Amos.

Rufus Wainwright’s appearance at the Ludlow Garage isn’t the first time the iconic artist has brought his music to Cincinnati. Rufus’ ties to the Queen City date back to 2018 when his second opera, Hadrian, was part of the

workshop Opera Fusion: New Works, which was a collaboration with Cincinnati Opera and the University of Cincinnati College-Conservatory of Music.

Wainwright’s love of opera began in his early teens, and in the early 2000s the Met Opera in New York City commissioned what would be his first opera, entitled Prima Donna, which later premiered at the Manchester International Festival. In 2015 Prima Donna was revived in a new production and accompanied by a film directed by Francesco Vezzoli. Rufus’ performance at the Ludlow Garage is part of his current tour promoting his latest release, Folkocracy, his 11th studio release, an album he refers to as a recorded birthday party where he invited all the singers he admired to sing with him.

Do not miss this once-in-a-lifetime opportunity to see and hear one of the

May 16 • MegaCorp Pavilion Electronic music pioneers Kraftwerk will bless Cincinnati with their robot pop music this May ahead of a ninedate residency in Los Angeles. With just two U.S. dates outside of their residency — one at MegaCorp Pavilion in Newport and one in Columbus — Ohio fans have an unusual chance to catch this elusive quartet live.

Formed in Germany in the ‘70s, Kraftwerk was born from the experimental krautrock scene. They incorporated electronic instrumentation, like synthesizers and drum machines, landing on a sound that pairs poppy hooks and melodies against sparse, robotic compositions. The band is credited with influencing multiple modern genres, from post-rock to ambient music. Pieces of their songs “Trans-Europe Express” and “Numbers” were recreated in one of the earliest hip-hop hits, “Planet Rock” by Afrika Bambaataa.

A 2014 article in The Telegraph by music journalist Neil McCormick pondered whether Kraftwerk could be “the most influential group in pop history.” The British music website NME once declared that The Beatles and Kraftwerk are “the two most important bands in music history.”

Kraftwerk has received a Grammy Lifetime Achievement Award and a Grammy for Best Dance/Electronic Album for their live album, 3-D The Catalogue. In 2021 they were inducted into the Rock & Roll Hall of Fame.

The group, which has had multiple lineups over the decades, is notoriously evasive, offering little insight into their process or potential new work. Nevertheless, their music and mysterious persona continue to draw people in. In a rare 2017 interview with Ralf Hütter, the only original member still with the group, The Guardian calls their work “prophetic, gleamingly futuristic” and “overflowing with melodic genius.”

Hütter says that despite the cold, electronic undertones of their image, Kraftwerk’s music “is emotional.”

“People a long time ago had difficulties finding the sensitivity of electronics,” Hütter says. “But when you go and see your doctor and he does a heart test, it is electronics that are very sensitive to this. It’s the same with an instrument.”

Kraftwerk plays MegaCorp Pavilion on May 16. Doors open at 7 p.m. More info: promowestlive.com. (Katrina Eresman)

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SWALLOWING THE TRUTH CROSSWORD 1.

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BY B R EN DA N E M M E T T Q U I G L E Y W W W. B R E N DA N E M M E T TQ U I G L E Y.C O M

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38. “Whatcha cooking?”

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41. Do some character assassination?

49. Proof transition word

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53. *Clumsy person

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56. King Charles’s sister

11. Scow or dhow

48. Racing vehicle

59. Prefix with gender

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50. Paid male companion

60. Prefix with thermal

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70. Dragon killer

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