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CINCINNATI’S NEWS AND ENTERTAINMENT WEEKLY | JAN. 24-30, 2010 | FREE

THE A F F O R D A B I L I TY P U Z Z L E

Walnut Hills is buzzing — but some longterm residents are struggling to stay around long enough to enjoy it BY N I C K SWA RTS E L L Ta f t Th e a t re .or g

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LETTERS Waitress Was a Winner Cheryl Reardon: Best show I have seen in a while! Kay Aye: It was so good! And OMG — I so wish I had that backdrop as a wall in every room in my house… Tyler Warren: Way to go, Rick! Jodi Franks: Fantastic show! Emily Thompson: Nick Thompson I wanna go Junette Anderson Gausman: I loved it!!! Amy Williams Alexaner: Can not wait. Comments posted at Facebook.com/CincinnatiCityBeat in response to the Jan. 17 post, “Critic Rick Pender raves about ‘Waitress,’ the touring show presented by Broadway in Cincinnati now at the Aronoff Center through 1/21.”

CONTACT US ONLINE CityBeat.com FACEBOOK @CincinnatiCityBeat TWITTER @CityBeatCincy @CityBeat_Eats @CityBeatMusic INSTAGRAM @CityBeatCincy SNAPCHAT @CityBeatCincy VOICEMAIL 513-665-4700 SNAIL MAIL 811 Race St., Fifth Floor Cincinnati, OH 45202 EMAIL Feedback/Letters/ Info/Questions: letters@citybeat.com News tips: nswartsell@citybeat.com

V+V Gets Love in Oakley lularoechristyredford: This looks like a pretty awesome place! Thanks for sharing. visionariumcincy: Thank you for sharing our story! #visionaryartforever kateharrow: I love these photos as much as I love  @visionariumcincy cincystateofbeing: Love this and @visionariumcincy

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advancedclinicalskin: Coming to see you! My son will love this!

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Comments posted at Instagram.com/citybeatcincy in response to the Jan. 18 post, “Visionaries + Voices is a 14-year-old nonprofit dedicated to providing artistic training to people with disabilities. Recently, they expanded upon their mission by opening up a new, inclusive learning studio and retail storefront in Oakley.” Photos @haaailstormm

Music Listings: mbreen@citybeat.com Event Listings: calendar@citybeat.com Dining News/Events: eats@citybeat.com Advertise: sales@citybeat.com Billing: billing@citybeat.com Staff: first initial of first name followed by last name@citybeat.com


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WHAT A WEEK! BY T.C. B R I T TO N

C I T Y B E AT. C O M   | 

J A N . 2 4 – 3 0 , 2 0 18

I’m Sorry, Dr. Jackson (Ooh!) Is This For Real?

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The White House last week released the results of Donald Trump’s recent physical. This is standard procedure for any president, but of course nothing can ever be normal with this administration, and the report did raise some eyebrows. Presidential physician Dr. Ronny Jackson found Trump to be in good mental and physical health, surprisingly releasing many details from the exam. Here are Trump’s deets: Height: 6' 3" Weight: 239 pounds Blood pressure: 122/74 Heart rate: 68 beats per minute Cardiac exam: normal (no murmurs detected) Eyes: 20/20 (corrected vision) Teeth and gums: healthy, no dentures Trump wanted to prove how big and beautiful his brain is (you know that’s how he described it), so he was given the Montreal Cognitive Assessment, which can help detect mild cognitive impairment and Alzheimer’s disease. He scored 30/30, which means he has no excuse for his regular Twitter meltdowns and terrible decisions. “In summary, the president’s overall health is excellent,” Jackson reported, adding that Trump would benefit from regular exercise and a diet lower in fats and carbs. Let’s pump the breaks real quick. It definitely looked like Trump was in need of some Fixodent last month when he slurred his speech while recognizing Jerusalem as Israel’s capital. But Jackson says Trump does not have a pair of dentures trying to escape his mouth like a wind-up chattering teeth toy. He was just on Sudafed that day, which dried him out. So let’s focus on what really matters: His weight. Now, there are plenty of examples of 6-foot-3, 239-pound athletes who look infinitely healthier than Trump, but you gotta remember that whole “muscle weighs more than fat” thing. But folks were quick to point out Trump’s reported height and weight gave him a BMI of 29.9. A normal BMI is between 18.5 and 24.9; 25 to 29.9 is considered overweight; 30 or more is obese. So while his McDiet is likely keeping Trump from being a svelte size, he’s still one pound away from being considered obese. And this, my friends, has been dubbed the girther theory. Like when Trump himself could not accept the fact that Barack Obama (miss you, bb) was born in the U.S., many find it curious that Trump’s height seems to have increased while his weight is thisclose to being fat pig status (his words). I personally will not rest until the president stands on one of those “Guess Your Weight” carnival scales on national television.

C I T Y B E AT I L L U S T R AT I O N / / S O U R C E I M A G E R Y : D O M I N I C R O O N E Y & L O V E L O R N P O E T S / C R E AT I V E C O M M O N S

Kimye’s Baby Is Here, Has Dumb Name

Kim Kardashian and Kanye West welcomed a baby girl via surrogate Jan. 15, KK announced early last week. Initially there was no baby name reported, but when she posted a picture of a Louis Vuitton print, Kardashian konspirators everywhere koncocted theories about it being a clue to Baby No. 3’s name. Could it be Louis? Vuitton? Elvie (“LV”) or Elle? An “E”-name would complete the family kompass: North, E, S(aint), West. And when Kim(’s nannies) would karry her around, people could sing the “Gold Digger” line, “with a baby Louis Vuitton under her underarm.” But no, they fucking named the kid Chicago. Chicago NoMiddleName West. Named after Kanye’s hometown, the couples’ youngest will go by the nickname Chi (“shy”). People have likened the name to a small Midwestern airport, an Illinois public school, a bootleg spinoff of the All That Jazz musical or an NBC medical/ crime drama. Something tells me the kid gives zero fucks about peasants’ opinions of her name, as she spits up on a $200 Hermes burp kloth.

Skittles Have Been Tricking Your Brain

If you see a bowl of brightly colored fruity candy, you can pretty much guess the flavors before you even taste a piece: Red is cherry, yellow is lemon, purple is grape. Right? Not always, according to NPR story on scientists studying how the senses

affect one another. When you see a bright orange beverage or candy, your brain expects an orange flavor — so much so, that some candies, like your standard gummy bears, don’t actually come in different flavors. It’s just your brain filling in the blanks. Skittles are another perfect example. The candy company discovered that it’s less expensive to give Skittles different dyes and fragrances than it is to actually flavor them. Sure enough, green Skittles look and smell like a sour apple, but they have the same flavor as the purple, red, orange and yellow ones. While this is interesting, scientists really need to explain why blue is universally the best flavor of candy even though blue raspberries aren’t even a thing.

The Real Reason to Tune Into the Olympics

The 2016 Summer Olympics in Rio were just 17 months ago, but they’re merely a blip in my memory. (It’s been an eventful 17 months, OK?) The U.S. women’s gymnastics team kicked ass (despite their disgusting abusive doctor), Ryan Lochte lied about getting robbed by fake armed cops and the world was introduced to Pita Taufatofua, a judo athlete from Tonga. Taufatofua was the country’s shirtless, oiled up flag-bearer in 2016, and his iconic image was burned into millions of viewers’ eyeballs as he strutted, glistening, in the parade during the opening ceremony. Well, he hasn’t rested since — in fact, he’s been training to become a winter athlete. Taufatofua, who before last year had only seen snow once and never owned a pair of skis, recently learned how to cross-country ski, and it turns out he’s pretty good. And by pretty good, I mean he has officially qualified for the 2018 Winter Olympics in PyeongChang. This is a huge feat, but how are fans going to be able to spot him in heavy winter garb? Can someone airbrush his golden abs onto a ski jacket? Will the opening ceremonies be warm enough to cater to topless athletes? Can Taufatofua train in the art of exotic dance next? Inquiring minds (read: horny broads) want to know! Contact T.C. Britton: letters@citybeat.com

This Week in Questionable Decisions… 1. Adult film star Stormy Daniels — who made headlines last week when it was reported that Trump’s lawyer paid her $130,000 in hush money — claimed she slept with Trump in 2006 while he was already married to Melania. And says he compared her to his daughter. Come on, Stormy. Him? 2. Certified babe January Jones might be dating perpetual Bachelor bachelor Nick Viall. Come on, Jan. Him? 3. A YouTuber (barf) spent 15 consecutive days saying the title of Lil Pump’s hit “Gucci Gang” over and over 1 million times (but it was to raise money for a charity, so I guess he gets a pass). 4. Rapper Offset came under fire for rapping the line “I cannot vibe with queers” in his verse on YFN Lucci’s new track “Boss Life” — another check in the homophobic tally for Hip Hop trio Migos. 5. Nancy Pelosi will appear as a judge on the next season of RuPaul’s Drag Race. 6. Trump tweeted a list of Fake News Awards winners… but the GOP.com link didn’t work for most. 7. City crews in Philadelphia greased up light poles with Crisco to try and curb Eagles fans from climbing them, per tradition. After Philly’s win over the Vikings, some fans managed to scale the poles anyway. 8. KFC UK (is that blasphemous?) is promoting gravy cocktail recipes, including the Gravy Mary, the Southern Twist and the Fingerlickin’ Sour. This just in: Trump has just ordered his first alcoholic beverage. 9. The U.S. government shut down. 10. Trump took credit for Saturday’s Women’s Marches. 11. Mark Wahlberg, Josh Duhamel and WWE wrestler Roman Reigns were ratted out by a convicted ’roids dealer. 12. Jennifer Lawrence garnered her first Razzie award — “Worst Actress” — for her role in the Darren Aronofsky’s controversial thriller, mother!


ON SECOND THOUGHT…

Salacious Stories or Mainstream News? BY B EN L . K AU F M A N

I was delighted by the judge’s decision to toss out the charges, saying federal prosecutors cheated when they didn’t provide exculpatory material to Bundy defense attorneys. Supreme Court rulings have required such sharing for decades. Compared to reining in the might of undisciplined federal prosecution, grazing fee payments are trivial. So is the prairie rebellion against federal agents and regulations. Another overlooked story suggests that reporters and pundits should rethink who manipulates whom in the Oval Office.  Conventional wisdom said Bannon was and may again be the classic sidekick — or marionette master — pulling strings to get Trump to further a vision of white Fortress America.  Now, the contrarian view comes from Matthew Gertz of liberal Media Matters. I found it in The Economist.  Gertz suggests that Fox News is dominating Trump and not the other way around. In three recent months, Gertz said, Trump is most likely to tweet after seeing something on Fox News. Looking at the timing of those tweets, many if not most come during or immediately after Fox & Friends and reflect what the hosts and guests say.  Initially, Bannon was of interest because he controlled alt-right Breitbart News and it rivaled Fox News in its promotion of Trump’s candidacy. After the 2016 election, Bannon remained close to Trump in their Cain-and-Abel bromance.  For now, Cain is ascendant. Bannon is out of the White House and no longer among Trump’s enablers. Until recently, he at least had Breitbart News. Now that Breitbart dumped Bannon, his place and influence in the GOP are uncertain.  Without Trump’s rants, Bannon risks returning to being a cipher on the antiimmigrant white nationalist fringe. If the children are listening, there is a post-biblical lesson in being a fallen angel. Bannon is a tasteless but powerful bully. That’s not news. However, when a tougher bully went after him, Bannon flinched and tried to crawl back with a craven, worshipful and almost erotic screed.  So much for Bannon, the white workingclass tough guy — monied, entitled Trump proved tougher.  On the other hand, the president’s loutish behavior burst through again with his characterization of Haiti and all of Africa as “shithole” countries hoping to tar Fortress America with black and brown immigrants.   Embarrassing? Yes. More deflection? Yes. Consequential? No. Slip of the tongue? Hardly. Trump’s hostility to people of color goes back decades to his days as an apartment mogul in New York and a casino magnate. In the same way, the news media

picked up on his equally fervent desire for immigrants like “Norwegians.” Can he say “Aryan”? News media haven’t missed the domestic political implications of his “shithole” characterization of Haiti and Africa. It may infuriate Haitians and Africans — brown, black and white — but Trump knows the GOP is going into an election year with little or no fear of significant votes from Haitian immigrants or African-Americans. 

“Trump remains the ultimate clickbait and nothing is beneath him in his drive to dominate the news cycles. After all, he became famous for being infamous and making boorishness as American as apple pie.” News media around the world are having a wonderful time, laughing or being offended. My favorite response came from London’s Independent.co.uk. It offers “61 ‘s**thole’ tourist destinations Trump has insulted.” Finally, let me get personal here. I lived and worked in a black-majority country in Africa. I reported from Cairo to Capetown and from Liberia to then-Tanganyika. Poor as they were and sometimes are now, those colonies and countries weren’t shitholes. If anything, their people were and are models of aspiration and striving, even knowing the search for a better life could kill them.  Contact Ben Kaufman: letters@citybeat.com

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You probably know more than you want to about the Trump family and the malfunctioning White House. Thank the mainstream news media for that. No rumor is so outlandish that some reporter won’t chase it. And I’m not even talking about the book, Fire and Fury, which recently went on sale and gave author Michael Wolff his Warholian 15 minutes of fame. I haven’t bought or read the book. Excerpts on websites of every flavor suggest there is nothing new of substance. Rather, the Oval Office and rest of the White House appear to be engaging more in junior-high nastiness, backstabbing and name-calling than in governing. To the degree that Trump is the object of all of this prurient activity, he’s moved from an unindicted sexual predator to Grand Deflector. Or Adulterer in Chief if the Wall Street Journal is to be believed about the $130,000 paid to silence an aging porn star shortly before the election.  But then, as well documented by Trump boasts and the news media, he was no stranger to adultery. The news media love it.  Why not? We’re told that the more fake news people read or hear, the more they appear to turn to real news. It’s as if having finished dessert, they ask, “Where’s the beef?” At the same time, what once was fodder for salacious supermarket weeklies has become mainstream news and those papers are in decline as what once was their monopoly on titillation is available everywhere.  Trump remains the ultimate clickbait and nothing is beneath him in his drive to dominate the news cycles. After all, he became famous for being infamous and making boorishness as American as apple pie.    So forget what EPA, Interior, CDC, Energy and others are doing to science, our inherited federal lands, the adult language of health, etc. — those predations are sidebars to the real story for the news media: Trump. That’s why major stories get short shrift from distracted news media.  For instance, did you see a story on the federal judge who found such egregious misconduct by government prosecutors that she threw out the charges against rebellious rancher Cliven Bundy?  “The government’s conduct in this case was indeed outrageous,” said U.S. District Judge Gloria M. Navarro. “There has been flagrant misconduct, substantial prejudice and no lesser remedy is sufficient.” That’s a big deal. Yet it barely made a ripple in the ongoing news media saga of Steve Bannon, Trump and author Wolff.  The Bundys and their allies graze cattle on federal land for which they are charged a fee. They objected, motivated in part by an overarching hostility to federal regulations. 

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NEWS

Voices and Votes A rift over this year’s Women’s March highlights a vital debate about the limits of voting BY N I C K SWA R T S E L L

O

n Jan. 20, roughly 10,000 people holding signs and chanting took to the streets of downtown Cincinnati, joining protests across the country on the one-year anniversary of marches protesting the inauguration of President Donald Trump. But a key group abstaining from the event highlighted a fundamental difference among activists looking to build movements for women’s rights. In sitting out the march and holding their own event later, Black Lives Matter Cincinnati challenged a central tenet of the event: That social change will come at the ballot box. Last year’s women’s marches protested well-documented statements by Trump that demeaned women, as well as the recorded claims by Trump in which he discussed touching women in ways that constitute sexual assault. Those marches also protested any number of policy decisions by conservative lawmakers that curtailed access to abortion and other health services. This year, Women’s March events across the country, called “Hear Our Vote,” were themed around electoral action. That included Cincinnati’s event, which featured a diverse array of speakers from various organizations working on health care, efforts to raise the minimum wage, racial injustices, immigration reform, housing and a number of other issues. The marches took place ahead of the 2018 Congressional elections, when the Democratic Party looks to take back the House of Representatives and Senate from Republican control. They also take place in the aftermath of Alabama’s Senate election

last year in which Democrat Doug Jones beat Republican Roy Moore. Jones was the first Democrat to win a Senate seat in Alabama in decades. Moore was accused of exploitative sexual relationships with underage women. Cincinnati’s event was laser-focused on that particular fight. “This year the theme will be ‘Hear Our Vote’ with a focus on voter registration and taking back the polls in 2018,” the Cincinnati event’s Facebook page stated. That emphasis ended up being a deal breaker for BLMC, which is independent from other Black Lives Matter groups across the country. Many of those groups elected to participate in voting-themed marches. BLMC did not. BLMC organizers say the group doesn’t believe the ballot is a way to truly empower people, citing issues facing many people of color that go beyond voting. Organizers with the group approached Cincinnati Women’s March leaders and asked if they would consider changing the name of the march to “Hear Our Voice,” which would be sufficiently broad to be inclusive to BLMC’s mission. Women’s March organizers declined to do that. “Everyone in the United States does not have a vote — whether because of immigration status, age, prior criminal convictions, access to official identification, transportation issues — but everyone does have a voice,” BLMC said in a Jan. 7 statement about abstaining from the event. “Even if all women could vote, the electoral system does not let anyone vote their way to liberation from oppression.” The statement caused controversy.

PH OTO: NIC K SWARTSELL

PH OTO: NIC K SWARTSELL

Some who planned to attend the Women’s March accused BLMC of being “divisive,” while others agreed with the group, citing long-standing racial tensions around the Women’s March movement. BLMC later put out a second clarifying statement saying it was not trying to speak for all people of color and has no personal qualms with march organizer Billie Mays or United We Stand, the activist organization that planned the event. “Never, ever have we pushed aside the concerns of women of color or anyone,” Mays said in a Facebook thread about BLMC’s announcement. “This really does hurt my heart. I realize we can’t all agree but we can be respectful of the work that is being done in so many ways by so many groups. I respect them all even if we can’t agree on it all.” Those organizers say they strived to make this year’s march diverse and intersectional. Leaders from more than 20 groups including Women Helping Women, the Greater Cincinnati Association of Nurses and many others spoke about their work in the context of a widely accepting and diverse movement at the local Women’s March. “Let’s be clear,” Women Helping Women President and CEO Kristin Shrimplin said. “Inequity generates a culture of violence. When racism, xenophobia, classism and other forms of oppression intersect with sexism, gender-based violence against marginalized populations increases significantly. We see it every day at our agency. Over the past year, the spike in services to immigrants, LGBTQ survivors has been huge. Enough is enough.” Those speakers sometimes, but not always, pivoted to the importance of voting during their remarks. At least a few incorporated the phrase “Black Lives Matter” or plugged BLMC’s event later in the day.

That event drew about 400 people, who crammed into nearly every available space in the Peaslee Neighborhood Center in Over-the-Rhine. There, they heard from speakers who say voting alone won’t solve the injustices many women face. “A five-minute checkmark is not going to cut it,” BLMC organizer Mona Jenkins said at the event. “Most of the changes that happen for us come from movements, not from the ballot box.” Jenkins cited the labor movement, Harriet Tubman’s efforts to lead the Underground Railroad, the Civil Rights movement and the 100-year organizing effort to win women’s suffrage in the United States as examples of pushes outside the electoral process that led to big changes. Jenkins and other BLMC organizers say they’re not trying to dissuade anyone from voting, but are urging people to be realistic about what it does and doesn’t accomplish. Organizers also say they’re not keen on endorsing or helping a particular political party. “We are willing to bend on certain things,” Jenkins said. “You want to vote, go vote. You want to march, march. But there are some things we’re not going to bend on. It was not about women today. Women were being used as a front for voting for the Democratic Party. That’s very hurtful.” Representatives from the American Indian Movement, Cincinnati’s chapter of the Democratic Socialists of America and other groups spoke at BLMC’s event, enumerating the ways in which they believe justice for women must go beyond the changes voting can bring. “When I was asked to be a speaker at the Women’s March, I wasn’t told it was about voting,” said Corine Fairbanks, a long-time organizer with the American Indian Movement. “When I found that out, I was like,

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An organizer speaks at Black Lives Matter Cincinnati’s Jan. 20 event.

Attendees at the 2018 Cincinnati Women’s March

09 CONTINUES ON PAGE 11


CITY DESK

Council to City Administration: Supplement Affordable Housing

Cold Weather Issues Sideline Streetcar BY N I C K SWA R T S EL L

All five of Cincinnati’s streetcars were shut down last weekend due to cold-weather equipment failures, according to a news release from the Southwest Ohio Regional Transit Authority Jan. 18. It was the second time cold weather caused the streetcar system to cease operations entirely. The system was also closed down during one evening last week, and ran with just one car at other times. Cincinnati City Manager Harry Black has called the closures “unacceptable” and says the city is withholding payment from the car’s manufacturer until the issues are resolved. Cincinnati Metro buses ran their routes along the 3.6-mile streetcar loop instead. Those buses displayed streetcar signs, stopped near streetcar stops on the streetcar’s schedule and honored streetcar tickets. The closure came after continued problems with the cars’ cold weather performance related to compressor units in the transit vehicles. CAF, the Spanish company that manufactured the streetcars, is in Cincinnati making fixes. But it’s also billing the city $4 million and counting for those repairs. “We are working with the City of Cincinnati, CAF and Transdev to resolve problems and restore service as quickly as possible,” Metro’s Director of Rail Services Paul Grether said. “Suspending service will allow the team to work intensively on the identified issues with the goal of providing service that is reliable and safe.”

BY N I C K SWA R T S EL L Cincinnati Mayor John Cranley says he has a long-term plan to shore up the city’s affordable housing. But a supermajority of Cincinnati City Council is calling for more action in the meantime. Seven members of council have signed a motion by Councilman David Mann asking the city to move more quickly on supplementary efforts. During the 2017 mayoral election, Cranley floated a plan that would put voluntary contributions from developers receiving tax abatements into an affordable housing fund via the same mechanism that is contributing funds to the city’s streetcar in downtown and Over-the-Rhine.

Cincinnati Bell Connector PH OTO: NIC K SWARTSELL

Those arrangements are called voluntary tax incentive contribution agreements, though you’ll often see them abbreviated as VTICA.

The city says CAF should resolve the issues free of charge since the issues have been apparent since the streetcar started running and the warranty period on the cars hasn’t even started yet. City Manager Black Jan. 18 fired off a memo to the mayor and city council saying the city has been holding back $4 million in payments to CAF until the problem is fixed. “Due to these ongoing manufacturer issues, at my direction, the city has not

paid CAF since November 2016, nor has the city agreed to final acceptance of the vehicles, meaning the clock has not yet started on the vehicle warrantees,” Black wrote in that memo. “The city will continue to withhold final acceptance and payments, now totaling more than $4 million, on the streetcar vehicles until they are in full working order, including air compressors, brakes and the wiring systems.”

Could Clifton Become a Community Entertainment District? BY N I C K SWA R T S EL L

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You might soon have more nightlife options in Clifton if neighborhood groups get their way.

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Cincinnati City Manager Harry Black today filed a memo with Cincinnati City Council and the mayor’s office regarding an application from Clifton Town Meeting — the neighborhood’s community council — and the Clifton Business and Professional Association seeking to establish a community entertainment district along Ludlow Avenue. A map of the proposed district shows it would also include the area around Good Samaritan Hospital and a northern section of Burnet Woods. The two groups, together

called Clifton Community LLC, want to create the district in order to attract new businesses and retain existing ones, according to the ordinance Black filed. The CED designation, which is conferred by the city, allows the state of Ohio’s Division of Liquor Control to create an additional pool of up to 15 liquor licenses for restaurants within the bounds of the district. Those licenses, which allow for liquor to be served on premises and allow beer and wine carry out, must stay within the district. They’re also much cheaper — $2,344 — than the extremely limited number of licenses the state allows a city. Scarcity can drive the cost of those

licenses well into five figures when one goes up for sale. A 2015 proposal creating a new CED in OTR was somewhat controversial, with some opponents saying the move would create too many bars in the neighborhood. The city eventually gave the OK for the proposal, which essentially split OTR’s CED into two separate districts — doubling the number of CED-created liquor licenses available there. Mayor John Cranley has generally been supportive of CEDs. “This is about whether there should be a cap on liquor licenses or not,” Cranley said in 2015 about the downtown and OTR districts. “Let a

thousand flowers bloom. Let the market determine which bars should succeed and fail.” Ohio is one of 17 states that limits the number of liquor licenses a city can receive. Municipalities are limited to one per 2,000 residents. The state’s cap on liquor licenses is a holdover from the country’s immediate post-Prohibition years, when lawmakers tried to navigate a compromise between the country’s distaste for its alcohol ban with the lingering political power of the Temperance Movement. The license caps have remained stubbornly lodged in the state’s legal code since. CONTINUES ON PAGE 11

Similar arrangements in other neighborhoods could be used for affordable housing, Cranley says. The proposal is one solution to Hamilton County’s 40,000-unit gap in affordable housing for the region’s poorest renters. CityBeat published a long look into disappearing affordable housing in one neighborhood, Over-the-Rhine, this summer. An in-depth analysis of Walnut Hills appears in this issue. In OTR, the most affordable housing — units costing about $400 for a one bedroom — decreased by 73 percent from 2000 to 2015, going from 3,235 units to just 869. Mann praised Cranley’s new program, but says more needs to be done. “The VTICA affordable housing initiative is a great start,” a Jan. 18 letter from Mann to city administration reads. “Since new revenues from newly approved commercial developments do not produce VTICA payments in lieu of taxes until the development is constructed and added to the tax rolls, we face delay before many dollars become available for affordable housing.” The letter asks city administration to suggest other methods for increasing the number of affordable housing units in the city, including leveraging tax abatements the city offers developers, changing zoning rules or flat-out requiring affordable housing for development projects involving any source of public subsidy. Council members Tamaya Dennard, Chris Seelbach, Jeff Pastor, Wendell Young, Greg Landsman and P.G. Sittenfeld have signed on to Mann’s motion.


FROM PAGE 10

Supporters of generating more liquor licenses say the caps present a big barrier to small businesses looking to get their start. That’s where CEDs come in. They allow a city to get more liquor licenses than normally stipulated under state law, but only in specific neighborhoods. Cincinnati’s first CEDs were two districts at The Banks created in 2008. In 2010, council made it much cheaper for applicants to apply for a CED, FROM PAGE 9

hmm, I’m not really feeling comfortable about that. Voting has never really done anything good for indigenous people. We’re only about 1 percent of the United States. The things we find important are usually voted against or they’re developed on or they’re taken away.” Indigenous people were not officially and uniformly given citizenship rights, including suffrage, until the 1924 Indian Citizenship Act. That act, however, had loopholes that weren’t closed until the 1968 Indian Civil Rights Act. Even today, indigenous people face barriers to voting, including sparse access to polling places on reservations. “When you talk to a native person about voting, there’s often skepticism that it’s not going to be a good deal,” Fairbanks said.

lowering the cost from $15,000 to $1,500. Since that time, the city has named 11 more districts in Northside, Over-the-Rhine, Walnut Hills, Pleasant Ridge, CUF, Madisonville, East Price Hill, Short Vine, College Hill and 3 East, a district encompassing East Side neighborhoods East End, Columbia Tusculum and Linwood. Cincinnati City Council must approve the district designation, after which the state would decide whether to issue the licenses.

Ed Vaughn, a member of activist group Cincinnati Revolutionary Students who focuses on trans issues, also said relying on voting leaves out large swaths of issues facing women, especially trans women of color. Vaughn mentioned the often-ignored murders of trans women as being one issue that goes beyond the ballot box. “We’re focusing on taking back the polls as if the polls are the only way to engage ourselves in political action and knowing the facts that there are threats within our lives that can’t be contained to the ballot box,” Vaughn said. “The fact that we have Richard Spencer, well known white nationalist, coming to the University of Cincinnati campus sometime this semester. We don’t vote on whether or not we want white nationalists on our campus. Those aren’t things that are going to go away in 2018 or 2020.”

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Townhomes on Kenton Street PH OTO: NIC K SWARTSELL

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The Affordability Puzzle

livia Harper was here when workers tore a yawning gulch through Walnut Hills. It ran up to her mother’s door before swallowing her house whole, making way for a wave of concrete that still runs through the neighborhood. The highway, I-71, claimed her sister’s house, too, some 45 years ago. In its wake, Harper saw the neighborhood where she grew up, taught school, did business and made memories continue to wilt. She stayed anyway. Now, at the cusp of Walnut Hills’ accelerating reinvigoration, Harper fears she may have to leave just as things are picking up again. Some of her neighbors, also black and low-income for the most part, have already had to move away from one of Cincinnati’s most historic and diverse neighborhoods. Still more face uncertainty. They represent one portion of the neighborhood’s 25,000 residents, but they reveal a difficult flipside to one of Cincinnati’s most celebrated examples of urban renaissance. Braving the December cold, Harper walks across the thin winter grass spanning the front yard of her house and three identical tan townhouses on Kenton Street to deliver a big box of diapers to her neighbor’s new baby two houses down. There, the thudding and banging of roofers on top of Sheron Kidd’s house is

WALNUT HILLS IS BUZZING — BUT SOME LONG-TERM RESIDENTS ARE STRUGGLING TO STAY AROUND LONG ENOUGH TO ENJOY IT By NICK SWARTSELL

keeping her 10-day-old great granddaughter from sleeping. Despite the noise, Kidd’s house is otherwise comfortable, the walls decorated with paintings and photographs. Kidd, who has lived here for the past six years with her granddaughter, sits on a cushy couch and talks over the noise about her pending move. “I’ve felt so helpless,” she says of the month she’s spent looking for housing since receiving notice from the townhome’s new owner, Moayed Harb, that she will have to move out. “I can’t sleep at night, thinking, ‘What if I don’t find anything tomorrow, and I can’t find anything the next day?’ You talk to people, and stuff’s already rented, or it’s like, $900 a month. We’re packing up, wondering where we’re going to go.” Residents at the Kenton Street townhomes found a letter in their mailbox in mid-November informing them of the sale of the property and giving them until the end of December to move. Residents pushed back, organized by the Greater Cincinnati Coalition for the Homeless, and, after some pressure, Harb moved the date back a month. The weeks after that letter have been a flurry of searching for apartments. After finding little in Walnut Hills that meets their budgets, both Kidd and Harper say they have taken to looking at places

in Carthage, at the edge of the city, or Cumminsville, an isolated, low-income neighborhood tucked away in the Mill Creek Valley. “It’s causing me to see the plight of African Americans in Cincinnati, period,” Harper says. “The places we’re being channeled into are places you would never want to live.” Some see these moves as an unfortunate, but necessary, inconvenience for long-term residents. But Dr. Mindy Thompson Fullilove, a professor of clinical psychiatry and public health at New York’s Columbia University who has studied the effects of displacement for decades, says such moves can be incredibly traumatic, life-changing events. “The losses that people suffer when they lose their neighborhood are losses of entire worlds,” she says. “It’s lifelong grief. When you’re forced to leave your neighborhood, you’re forced to leave your fundamental social, economic and emotional networks. And to rupture those is devastating.”

Big Gains — at a Cost It’s no secret Walnut Hills is experiencing a burst of activity, with new restaurants, bars, breweries and market-rate housing coming at an ever-accelerating clip to areas that have seen decades of disinvestment. A quick trip down McMillan Avenue, just blocks away from Kidd and Harper’s


Walnut Hills resident Olivia Harper PH OTO: NIC K SWARTSELL

The WHRF has facilitated many of the neighborhood’s new developments. It’s a different organization than the one that the neighborhood council created in 1977 to further affordable housing and the one that built the townhomes on Kenton Street in 1992. Six years ago, the organization underwent a reboot, refocusing its mission on cultivating public-private partnerships, efforts to activate urban spaces in the neighborhood and attempts to draw in new residents and businesses. By those measures, it’s made big progress toward its goals. But that growth has downsides. Just a few blocks from the Kenton Street townhouses at a pizza restaurant in a historic firehouse that WHRF played a part in rehabbing, the organization’s Executive Director Kevin Wright talks about the role the foundation has played in the neighborhood. “When you look at the big picture for the redevelopment foundation, the last five or six years have been about building an excitement and a market and bringing people back in,” he says. “We really feel like we’ve achieved that, so we’re shifting to put more focus on making sure that the market we’ve helped create helps people in the community, provides affordable housing and jobs.” Wright calls the plight of residents like

Harper and Kidd “terrible.” But he says he believes that doing development equitably is still an attainable, if complex, goal. Some place part of the blame for the plight of residents like Kidd and Harper at the feet of the redevelopment foundation itself for its role in the millions of dollars in new projects coming to the neighborhood. Others applaud the rehabilitation of the neighborhood’s crumbling housing and commercial buildings, and say the community’s economic prospects are buttressed, not hurt, by the foundation’s efforts. One thing those on various sides of the debate could probably agree on: addressing the Pandora’s box of forces that renewed interest in a neighborhood unleashes is likely beyond the reach of an organization like WHRF alone. Independent property owners who offer low rents or subsidized units have started selling as Walnut Hills heats up. That can leave low-income renters in a tough spot, especially those like Kidd and Harper who do not receive government rental assistance.

Investment and Displacement Harper says she moved into her townhome in 1992 on the premise that the affordable housing was part of a rent-to-own program. But that never came to fruition. She’s been the only tenant to ever live in her unit

Changing Kenton Street On an unseasonably warm day early in December, three women were hanging out on the steps of a building at the corner of

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homes, reveals the changes happening. Some buildings near the once-bustling business district are low-key — older, a little scruffy, but still buzzing with the lives of their inhabitants. Those often stand next to buildings that are mere shells, voids of vacant windows staring out onto the street. And, increasingly, others nearby are undergoing or have recently received renovation. The farther east you go, the more of the latter you’ll see. On one block of McMillan across Gilbert Avenue, movie titles line the shallow shelves of a video rental storefront that conceals a popular bar. Nearby, the silvery windows of MORTAR, a minorityfocused startup incubator, gleam in the sun. Those fronts, and others, are part of Trevarren Flats, a $10 million mixed-use historic rehab helmed by the Walnut Hills Redevelopment Foundation. The development’s six studios and 24 two-bedroom units run from $925-$1,450 a month. In keeping with an effort to reflect the neighborhood, at least racially, some of those new businesses are minority owned. Esoteric Brewing, the city’s first minorityowned brewery, is soon to come to the neighborhood’s iconic Paramount Building at the prominent corner of McMillan and Gilbert avenues. That redevelopment project will also have a mixed-income housing component. Just down the street, blackowned Just Q’in serves up barbecue.

through all of its owners. CityBeat wrote about Harper in 2016, when she attended public input meetings by the WHRF around development happening in the neighborhood. That public engagement effort led to the development of the Walnut Hills Reinvestment Plan. “Walnut Hills is changing,” the preamble to the 2016 plan reads. “Our community’s long time residents and businesses are welcoming new investment into the neighborhood for the first time in years. Our trajectory is set to return Walnut Hills to Cincinnati’s ‘second downtown’ that it once was. But we need to make sure we get there with our existing community fabric intact and leading the charge.” Despite the efforts, Harper, Kidd and others in the townhomes face a tough fate: be out by Jan. 31 or face physical eviction. The row of four houses where Kidd and Harper live, along with two others across the street, were constructed 25 years ago by the WHRF as affordable housing. They’ve changed hands a number of times since then. The row where Kidd and Harper live was mostly recently sold in November for $57,500 a house. “Join the Walnut Hills renaissance and invest in these rental units,” reads an old online ad for the buildings previously owned by Ed Horgan, who holds a number of properties in the neighborhood. “Long term leases have converted to month to month.” New owner Harb says he bought them as investment properties and is weighing what he’ll do with them. That could include selling them or living in one and renting out the others. But Harb says he wants to rehab them first, and that means Kidd and her neighbors have to go. In the meantime, the roofers work above their heads, readying the houses for their next occupants. Residents at the townhomes say Harb has been rude and threatening. One letter from the landlord tells residents not to call him, but to correspond only through notes left in the townhomes’ mailboxes. Harb offered as much as $500 if the residents moved out early, though the amount diminished the closer it got to the move out date. He says he feels for them, but that he’s simply doing what he’s legally entitled to do as the property’s owner. “Isn’t it a good thing that we’re trying to improve neighborhoods?” he asks. “Someone who works hard and gets a mortgage and wants to do something gets called heartless, like, ‘you’re kicking them out on Christmas.’ Don’t be a victim. Take the positive side of things and move on.” Kidd and Harper aren’t the only ones in this situation. Another buyer purchased one of the townhomes across Kenton, and its former residents have already left Walnut Hills. A couple blocks away, on Wayne Street, other residents have also recently left the neighborhood.

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“We can’t solve the problem on our own,” Kevin Wright says. “We need help. We need the city to help. We need these larger institutions to help. People need to understand that there are real victims of growth. But there are also real solutions to making sure that growth is inclusive.”

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‘that’s awful.’ But on a deeper level, what’s happening is, those contracts are helping make Scholar House happen. On the one hand, I think it’s hard to argue that taking those units of the distressed building and making Scholar House is bad. But at the same time, people are being moved out. I’m not going to sit here and say that’s a good thing. On any level, people losing their homes is bad.” Model says it has secured housing in Walnut Hills for the four families living in the two buildings. But others haven’t been so lucky. One of the other women gathered on the steps at the apartment building lived down the street until recently, when the property containing her apartment was sold. She was back in the neighborhood to visit. “They’re just wiping us out,” she said, giving her name but asking not to be identified in print. “They’re trying to push us out to the suburbs where we don’t want to go.” Charmaine Robinson, the third woman, is also back in the neighborhood to visit. She lived on Wayne Street before the house she was renting was sold earlier this year. She says she was offered the opportunity to buy the property, but its cost and condition didn’t work for her. She now lives off of Springfield Pike in the suburbs north of Cincinnati. Robinson is philosophical about the move. She says she likes her new neighborhood but misses Walnut Hills. She also notes that some others from the neighborhood in similar positions — including a friend who lived in a nowsold townhome across the street from Kidds’ — were not at all happy that they had to leave. Other buildings are also on the market. The property across

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Wayne and Kenton streets, where one of them lives for at least a little longer. It’s subsidized housing owned by local developer Model Group, and the women are poring over a letter the residents of the building received saying they will soon have to move and detailing an offer for relocation expenses. The two buildings, which Model bought last year in a deteriorated state, are coming down to make way for Firehouse Row, a mixed-use development by Indianapolisbased Milhaus and facilitated in part by the WHRF. The project features 4,500 feet of retail space and 124 units of higher-end market-rate housing. WHRF’s Wright says that housing subsidies from the U.S. Department of Housing and Urban Development associated with the Wayne Street properties will go to a new Model Group project called Scholar House, a $12 million, 45-unit apartment complex that will provide affordable housing for low-income single parents pursuing post-secondary education. “I think the Wayne Street issue is reflective of how complex this whole thing is,” Wright says. “We’re tearing down a building that’s affordable and moving people out of it and building a building that is high end — on the surface level it’s like,

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Wayne Street from the Model properties — built by the WHRF in 1992 as affordable housing for seniors — is for sale for $595,000. One page of a lengthy packet advertising the property details the rents currently charged in the building — between $400 and $500 a month. Another page lists a number of nearby buildings where rents are double or more than those amounts.

Sometimes Troubled, Always Home Kidd’s parents lived on Kenton Street for 15 years before she was born. She can tell you in detail about the warm summer days she spent as a preteen picking pears in her neighbor Eddie’s yard, who, all these years later, still lives on nearby May Street. “I’ve always told people I was born in Walnut Hills,” she says. “It’s always been in me.” She doesn’t idealize the neighborhood, and neither does Harper. Both say this part of Walnut Hills was once called “the Wild, Wild West” for crime and “house joints,” or underground bars run out of single-family homes.

• Eighty-six percent African American • Median household income: $16,659 • Residents paying more than half their income for housing: 35 percent • Median rent increase from 2011 to 2016: 20 percent

That’s a reputation that continues here. Last year, Kenton Street saw the shooting death of Jamie Urton, which happened March 24 after a young child ran out in front of Urton’s car as he drove down Kenton. Urton hit the child. When he left his car to check on the boy, he was shot and killed. The incident made local headlines for days. But like the problems facing it, Walnut Hills itself is complex, and there’s more to the story than an individual crime. Even into the 1930s, Walnut Hills had a large middle class that was both black and white. But a succession of blows hit the neighborhood hard. Redlining, or lending practices by banks that shun minority neighborhoods based on maps drawn by the federal government


“I’ve always told people I was born in Walnut Hills,” Sheron Kidd says. “It’s always been in me.”

Workers rehab a building on McMillan Avenue in Walnut Hills PH OTO: NIC K SWARTSELL

Fullilove says. “These neighborhoods were highly organized and functional,” she says of black communities disrupted by highway construction. “And they were never rebuilt. This is a catastrophe for the individual, especially people who were teens to adults. They’re very aware of the loss.”

Economic Lift, Demographic Shifts The neighborhood has yet to fully recover from decades of economic segregation and neglect. Some say organizations like WHRF can help heal those scars; others say they simply inflame them again. Nestled just next to the highway, Census tract 267 incorporates the area around Kenton Street, sometimes known as the “southwest quadrant” in Walnut Hills. The tract’s 1,600 residents are roughly 85 percent black. Nearly half live below the poverty line. The median household income in 2016 was estimated to be $16,659. That’s less than half the city’s median household income of about $35,000 a year, but up about $1,000 from 2010. The median rent in Harper and Kidd’s sector of Walnut Hills rose over 20 percent in the last six years, according to a review of successive years of the Census Bureau’s American Community Survey. At the same time, the percentage of renters paying more than 50 percent of their income in rent — well above the federal government’s guidelines for affordable

housing — went from 28 percent to 35 percent, according to that data. The tract lost 10 percent of its 1,449 black residents between 2011 and 2016, according to the ACS. In the same time frame, the neighborhood’s white population tripled, according to the data. While those loses and gains are within the margin of error for the ACS on any given year, data show this reduction in black population and increase in white population intensifying each year, suggesting a trend. People move out of a neighborhood for a host of reasons, and it’s not possible to say how many left Walnut Hills due to a lack of affordable housing. But it’s one very plausible factor.

The Future of Affordability Like many urban areas, the Cincinnati region is seeing a squeeze when it comes to housing affordability. The well-publicized gap stands at 40,000 units of housing needed to meet demand from Hamilton County’s lowest income renters, according to a study done by LISC (Local Initiatives Support Corporation) last year. The wait list for Section 8 vouchers or Cincinnati Metropolitan Housing Authority units can be years long, and few other options are readily available. The city’s affordable housing shortage hits neighborhoods like Walnut Hills hard. Currently, there are 1,103 subsidized units in Walnut Hills — about a quarter of all housing units in the neighborhood. Most are occupied, and almost all are

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in the 1930s, made it hard for businesses and homeowners to invest in Walnut Hills and other black enclaves in Cincinnati. The practice, illegal today, still hangs around. Two local banks, Union Savings Bank and Guardian Savings Bank, were sued by the federal government in 2016 for discriminatory loan practices in majorityblack Cincinnati neighborhoods like Walnut Hills. Battered by disinvestment and frustrations that exploded into civil unrest, Walnut Hills found itself a prime example of white flight in the 1950s and 1960s. The white population went from a slight majority in 1950 to about 20 percent today. Harper has lived in Walnut Hills since her birth in 1947, growing up on Foraker Avenue in the northwestern part of the neighborhood and attending — and later teaching at — Douglass Elementary School, which still exists. She remembers the colorful signs of black-owned mom-and-pop stores that lined Gilbert Avenue and other thoroughfares — laundromats, grocery stores, daycare centers, mechanics, barbershops. By the time I-71 came through Walnut Hills in the 1970s, disinvestment and blight had already begun and its white population was already streaming out. The highway, destroying homes, churches, businesses and schools, was insult to the slow-burning injury. The painful memories of neighborhoods cleared out for highways make new development rolling through all the more difficult to see, Columbia University’s

spread out among 15 aging, distressed apartment buildings like Alms Hill, which looms over Victory Parkway on the eastern end of the neighborhood. After years of not investing in the building and other affordable housing across the city, New Jerseybased owners PF Holdings saw the city of Cincinnati strip them of control of the properties and place them in receivership. The Alms was once a grand hotel that hosted galas for the city’s black elite. Now it and its hundred-plus units of HUDsubsidized housing hang in the balance, awaiting a buyer that will preserve it as affordable housing. Or, perhaps, turn it into something else entirely. WHRF’s Wright says the redevelopment foundation is shifting to focus on preserving and building affordable and so-called “workforce” housing for low and moderateincome people in Walnut Hills. By Wright’s count, Walnut Hills has 91 new affordable units recently completed or in the development pipeline. That’s 26 percent of the 350 new units recently built or coming to the neighborhood. Most of those affordable units are accessible to families making 45 percent of the area median income level or lower, Wright says. That income equates to about $33,000 for a family of four. Wright cites recent city moves putting a few million dollars into affordable housing as steps in the right direction, but says more needs to be done. “We’re not doing enough,” Wright says. “But we can’t solve the problem on our own. We need help. We need the city to help. We need these larger institutions to help. People need to understand that there are real victims of growth. But there are also real solutions to making sure that growth is inclusive. We need policy and we need more money.” In the meantime, residents like Harper wait. In late January, she found a smaller, temporary place in the neighborhood, but says she’ll need to find housing again soon. Her neighbors in the other townhomes, including Kidd, are moving out of Walnut Hills to places like Price Hill and Northern Kentucky. Much of the Walnut Hills that Harper loves exists only in memory. She’s desperately clinging to what’s left, she says, but fears she may end up exiled from even that as forces beyond her control compel her to move. “This is just the second phase of being displaced for me,” she says. “I know time changes things, things have to improve. But they should improve for everyone.”

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STUFF TO DO

Hot Reads for Cold Days The well-read staff of the Public Library of Cincinnati and Hamilton County regularly put together curated reading lists on their website. There are lists for books made into TV shows, buzzworthy releases, the top 10 borrowed books and more. Their “Hot Titles” recommendations collect what they think are future bestsellers — new additions which you can borrow in print, read as an eBook or even grab on eAudio. Here are the current top five from cincinnatilibrary.org. The Atomic City Girls by Janet Beard — In November of 1944, 18-year-old June Walker joins hundreds of other girls operating massive machines in a topsecret facility. Curious about her work, she begins a love affair with a young Jewish physicist and discovers more than she bargained for — especially after the bombing of Hiroshima brings her job into devastating focus. Force of Nature by Jane Harper — In this thriller, five colleagues go on a corporate retreat in the Australian backwoods, but one of them doesn’t come back. As Federal Police Agent Aaron Falk

WEDNESDAY 24

ART: Albrecht Dürer: The Age of Reformation and Renaissance examines the master’s prints and inspiration. See Big Picture on page 21.

The Gone World by Tom Sweterlitsch — In this sci-fi page-turner, a family is murdered and a daughter is missing. NCIS Special Agent Shannon Moss is assigned to the case. As one of the few agents cleared to investigate “strands of the multiverse,” or possible futures (think Minority Report), she discovers that every predicted outcome results in horrifying consequences. In the Enemy’s House: The Secret Saga of the FBI Agent and the Code Breaker Who Caught the Russian Spies by Howard Blum — In the 1940s, codebreaker Meredith Gardner and FBI Agent Bob Lamphere worked to uncover a intelligence mole who was feeding American nuclear secrets to the KGB. Without Precedent: Chief Justice John Marshall and His Times by Joel Richard Paul — Law professor Joel Richard Paul’s biography tells the story of Chief Justice of the Supreme Court, John Marshall (1755-1835).

child. Ensemble Theatre Cincinnati, 1127 Vine St., Over-the-Rhine, ensemblecincinnati.org. — RICK PENDER EVENT: Sunset Salons: Cultural Cuisines The Clifton Cultural Arts Center’s Sunset Salon series aims to facilitate conversation and participation via events, discussions, tastings and more, all themed around a specific topic. This time, it’s cultural cuisine. Take a trip around the world and taste diverse dishes from panelists including Josh Wamsley of Mazunte, Duy Nguyen of Pho Lang Thang and Hideki Harada of the forthcoming Kiki as they discuss the city’s food scene and share samples in a conversation facilitated by 513{eats} founder and CityBeat senior dining writer Ilene Ross. 6-8 p.m. Wednesday. $10 advance; $12 door. Clifton Cultural Arts Center, 3711 Clifton Ave., Clifton, cliftonculturalarts.org. — MAIJA ZUMMO

John Michael Presney as Carl Perkins PHOTO: JERRY NAUNHEIM JR.

THURSDAY 25

MUSIC: Minneapolisbased trio The Bad Plus translate Rock classics into Jazz at Live! at the Ludlow Garage. See Sound Advice on page 32. COMEDY: Brian Regan brings his stand-up tour to the Aronoff Center. See interview on page 22.

EVENT: Burns Night Celebration For all intents and purposes, Robert Burns is the national poet of Scotland, renowned for writing “Auld Lang Syne” (that song you sing on New Year’s Eve that no one really knows or understands the lyrics to) and “A Red, Red Rose.” Celtic societies across the world celebrate Burns Night on or near the man’s birthday, and in the case of downtown pub Nicholson’s, not only is Thursday their annual Burns Night Celebration, it’s also the bar’s 20th anniversary. Expect an evening of kilted bagpipers, Highland dancers, poetry, a “toast to the haggis” and plenty of Scotch

Ongoing Shows ONSTAGE: Million Dollar Quartet Cincinnati Playhouse in the Park, Mount Adams (through Feb. 18)

drinking. Entry is free but VIP tickets are available and include a Scottish buffet, welcome cocktail and souvenir. 7:30-11 p.m. Thursday. Free; $29.95 VIP. Nicholson’s, 625 Walnut St., Downtown, facebook. com/nicholsonsgastropub. — MAIJA ZUMMO

FRIDAY 26

MUSIC: Aimee Mann brings some moody and acoustic ruminations to the Madison Theater. See interview on page 30. ART: Liberating Insecurity at The Mockbee Bee Gallery in The Mockbee is hosting a closing reception for Minnesotabased multidisciplinary

artist Kendra Elyse Douglas. With her large-scale sculptural installation of Venus figurines, female torsos, flowers and casts of her own body, Liberating Insecurity investigates the impact of engaging with a personal sense of vulnerability in an effort to empower and liberate other women. According to the press release, the work “serves to radically reimagine how American culture views bodies, encouraging a social movement of body celebration.” Closing reception 6-9 p.m. Friday. Free. The Mockbee, 2260 Central Parkway, West End, facebook.com/ themockbee. — MARIA SEDA-REEDER

EVENT: Art After Dark: Winter is Here Much like Season 7 of Game of Thrones, winter is most definitely here and the Cincinnati Art Museum is offering frostbitten fans of Renaissance art a respite from the weather with this month’s Art After Dark. Take a free, interactive tour of Albrecht Dürer: The Age of Reformation and Renaissance with the Playhouse in the Park’s Off the Grid team, listen to Renaissance-themed music from Jameson’s Folly, check out performances from Ohio Renaissance Festival actors and grab food for purchase from Eli’s BBQ. I guess the real questions are: Will there be turkey legs? And where is your doublet? 5-9 p.m. Friday.

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ONSTAGE: The Humans If you made it through the holidays without boiling over at a family member, you should be congratulated. The working-class Blake family has no such luck in the regional premiere of Stephen Karam’s Tony Award-winning script from 2016. They gather for Thanksgiving dinner and within minutes they’re faced with feelings and fears we all dread: poverty, unemployment, sickness, loss of love, old age and death. Their intermingled fates are portrayed with humor, pain and poignancy as they contend with issues that are top of mind in America today. Guest director Michael Evan Haney has assembled six top-notch professional actors for this production. Through Feb. 17. $61 adult; $31 student; $27

investigates the mystery, he discovers the dark secrets that lurk in the wilderness.

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Free admission. Cincinnati Art Museum, 953 Eden Park Drive, Mount Adams, cincinnatiartmuseum.org. — MAIJA ZUMMO

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SATURDAY 27

ART: Brent Green and Sam Green bring their Live Cinema event to Memorial Hall as part of the CAC’s performance series. See interview on page 20. MUSIC: Zach Deputy brings some multi-instrumental songwriting to Urban Artifact. See Sound Advice on page 32. MUSIC: Hip Hop/Rock group Flobots head to Southgate House Revival. See Sound Advice on page 33. EVENT: Garage Brewed Moto Show Bust out the leather jacket, adjust the elastic strap of your goggles, and prime your appetite for suds: The Garage

SUNDAY 28

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Brewed Moto Show parks 50 of Cincinnati’s rarest, weirdest and most desirable motorcycles under Rhinegeist’s roof. Hosted by the Cincinnati Cafe Racer Club, the free event seeks to showcase the artistry of Midwestern builders and collectors, featuring a vast array of two-wheeled wonders that range from choppers to Mad Max-influenced “rat bikes.” Vehicles aren’t the only biker paraphernalia on display: Back by popular demand, the Biltwell Art show will exhibit sculptures and paintings by Cincy artists who swap out canvases for custom helmets. These wearable creations will be auctioned off to benefit local charities. Imagine biking to and from work with a unique masterpiece plastered to your dome. Come for the bikes, stay for the beer. 7:30 p.m. Saturday. Free. Rhinegeist, 1428 Race St., Over-theRhine, garagebrewed.com. — JUDE NOEL

COMEDY: Nikki Glaser Nikki Glaser has been doing stand-up her entire adult life, having started at age 19. She’s now become more reflective with her material. “I am a woman dealing with these issues like whether or not to get married, whether or not to have kids and all those things,” she says. She tries to keep her approach honest. “People might be like ‘I can’t believe she said that,’ but I like talking about things that will help make girls feel less alone. I would have loved for my (Comedy Central special, Perfect) to have been out when I was in high school and feeling I was the only one who thought this way.” She jokes her set is for 20-year-old white girls who feel directionless, but really it has a much broader appeal. “It’s fun for everyone,” she insists. Through Sunday. $15-$20. Go Bananas, 8410 Market Place Lane, Montgomery, gobananascomedy.com. — P.F. WILSON

FILM: Wasted! The Story Of Food Waste The United States throws out 40 percent of the food it produces. The film Wasted!, executive

produced by celebrity chef/writer/globe-trotter Anthony Bourdain, seeks solutions to help slice this dicey problem down to size. Featuring a cast of culinary icons from Dan Barber to Eve Turow Paul, the film reclaims the parts of plants and animals that often find their way to the rubbish heap. Bourdain and Co. extol the virtues of eating fish heads and finding more ecologically conscious ways to feed livestock, all the while relishing in the producer’s trademark cynical charm. “I don’t know if we deserve to live,” Bourdain says through a stifled giggle in Wasted!’s trailer. If you’re still convinced life’s worth living by the closing credits, stick around for a panel discussion with local chefs and waste management experts on how businesses can minimize their trash flow. Cincy-based broth brigade La Soupe, which rescues otherwise would-be-wasted produce and turns it into nutritious meals, will provide dinner. 3:30 p.m. Sunday. $20. Memorial Hall, 1225 Elm St., Over-the-Rhine, memorialhallotr.com. — JUDE NOEL

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PHOTO: STEVE HAMPTON

SATURDAY 27

TUESDAY 30

MUSIC: Noah Gundersen Seattle-based musician Noah Gundersen began releasing albums while still a teenager, gradually

building a strong and loyal following with his beautiful, intimate Indie Folk songs. At the beginning of the 2010s, Gundersen’s music started to reach even more people when it was used on various television shows. After his song “Family” was used on the popular Sons of Anarchy, he was commissioned to write another for the program; that song, “Day is Gone,” went on to score an Emmy nomination. On Gundersen’s latest album, White Noise, his artistry shines as he reaches beyond the relative starkness that found him lumped into the “Singer/ Songwriter” bin to explore new sonic terrain. The 2017 release proved to be just as compelling and emotionally resonate as his earlier work, projecting a similar lushness but one that is refracted through a more multidimensional filter, creating a broader, more cinematic atmosphere. Described by Gundersen as “a sensory overload” that was

inspired by (as he told Consequence of Sound) Radiohead, The Beatles, Serge Gainsbourg, Johnny Cash and, uh, Lionel Richie, the wide-angled White Noise is dynamic, from the lyrical themes to the oscillating rhythms and hues in the music. 8 p.m. Tuesday. $18; $20 day of show. Southgate House Revival, 111 E. Sixth St., Newport, southgatehouse. com. — MIKE BREEN

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EVENT: Findlay Market Chili Cook-off Chili: The Queen City’s most revered dish. Cheer on your favorite local amateur chefs as they concoct their own take on Cincinnati’s chili for the 14th-annual Findlay Market chili cook-off. Afterward, warm up with chili samples and enjoy the tunes of Johnson Treatment. Make it a bloody mary afternoon with a build-your-own bar from Watershed Distillery. If the cook-off samples didn’t satisfy your hunger, you can also grab some chili from market vendors, including Hispanic-style chili at Cake Rack Bakery or Bison-infused chili at Fresh Table. Soak either up with jalapeño bread from Em’s Sourdough or wash it down with chiliinspired tea (“Some Like it Hot”) from Churchill’s Fine Teas. Noon-4 p.m. Sunday. Samples: $2 per ticket; $10 for six; $15 for 20. Findlay Market, 1801 Race St., Over-the-Rhine, findlaymarket.org. — MACKENZIE MANLEY

EVENT: Bockfest Beefsteak Club Dinner Returning for its 26th year, Bockfest honors the heritage of Over-the-Rhine with three days’ worth of traditional German garb, plenty of pretzels and — as the festival’s name suggests — bock beer. To celebrate (and raise funds for the fest and parade), the historic Kauffman Brewery event space inside the Christian Moerlein Malt House Taproom is hosting the 2018 Beefsteak Club Dinner, a tradition that began at the turn of the 20th century, serving elegant meals and beer pairings to Cincinnati’s upper crust. Ronda Breeden and Arnold’s Bar and Grill will prepare the menu while Christian Moerlein handles the taps, keeping drinks flowing as artist Pam Kravetz presents a lineup of art and performance. Kravetz’s Carnival will feature Circus Mojo acts, a photo booth, body painting, mud wrestling, jugglers, fire breathers, tea-leaf readings and more. If you’ve ever fantasized about leading the life of an 1890s socialite, this your chance to do so for one night. (N.B.: Despite the name of this event, steak is not on the menu, oddly enough.) 6:30 p.m. Saturday $55. Christian Moerlein Malt House Taproom, 1621 Moore St., Over-the-Rhine, otrbrewerydistrict.thundertix.com. — JUDE NOEL

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ARTS & CULTURE

Stars of Stage and Screen Sam Green and Brent Green provide an evening of live music and projected film at Memorial Hall BY B R I A N B A K ER

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he use of live music with film goes all the way back to the silent era of cinema, when an in-house player was used to provide a soundtrack to accompany on-screen action. Seven years ago, documentary filmmaker Sam Green had the brainstorm to revive the concept in order to create a one-of-a-kind movie experience that would be like a concert, with the performance and sequence of events never exactly replicated. He and collaborating filmmaker/animator/musician Brent Green (no relation), together with four musicians, will demonstrate the results in Live Cinema Saturday night at Memorial Hall; it is part of the Contemporary Arts Center’s performance series. “I accidentally happened into it,” says Sam. “I was making a documentary about utopia, and it was sort of a complicated poem of a piece. I had these difference stories about utopia, one way or another, and there was no explanation or voiceover. To me, it was really interesting and I showed people a rough cut, and much to my chagrin, they said, ‘This makes no sense whatsoever.’ “And I was like, ‘Wow, shit!’ I was stuck, because I didn’t like films with narration. But someone said, ‘Would you do a presentation about your project in progress? Just show some clips and talk about it.’ And I said, ‘Sure, but that sounds boring so I’ll get my friend to do live music. It will be a very fancy PowerPoint presentation.’ “And I did that, and the funny thing was that it worked the way I wanted the film to work. People got it. They hung out afterward and it was great. Then someone else asked me to do the presentation, and at a certain point I (thought), ‘Well, I never heard of a live movie before but maybe that’s the form this one should take.’ ” As a result, Sam premiered the film Utopia in Four Movements with live musical accompaniment at the 2010 Sundance Film Festival and wound up touring the world with that presentation for the next two years. One of his more recent productions was 2012’s The Love Song of

Saturday’s performance will involve short documentaries. P H O T O : G AY L E L A I R D @ E X P L O R AT O R I U M

R. Buckminster Fuller, a film about the renowned architect and futurist, with a collaborative soundtrack by iconic Indie Rock trio Yo La Tengo. Sam’s current touring presentation is titled A Thousand Thoughts, created in collaboration with the internationally known Kronos Quartet. They are at Columbus’ Wexner Center for the Arts on Thursday. But due to scheduling conflicts and the difficulty in setting up the production, Kronos couldn’t follow Sam for his Cincinnati debut, and so he and Brent Green have concocted another multimedia presentation just for local audiences. “Brent is an animator and musician and an old friend of mine and we’ve both been doing live cinema separately for many years,” Sam says. “So we have always compared notes and exchanged tips. A couple years ago, one of us said — and I don’t even remember who at this point — ‘Why don’t we put together a program where we share a band and alternate doing little live narration/short films?’ And it sounded like a good idea so we tried it. “My stuff is very documentary and Brent’s is more animation and kooky and wild, almost like music in a way. He’s almost like a singer. But for some inexplicable reason, one plus one is three. There’s a synergy that changes both of our work

and makes it something else. Audiences seem to dig it, which I’m always pleasantly surprised by.” A good part of the success of any of the duo’s live cinema offerings hinges on the band. The one assembled for the CAC show is beyond reproach: former Fugazi drummer/multi-instrumentalist Brendan Canty; his brother James Canty, guitarist for The Make-Up and Ted Leo and the Pharmacists; Rebecca Foo, former Thee Silver Mt. Zion cellist/vocalist; and Kate Ryan. Together they create an appropriate musical bed for the imagery. “It’s a great band and we have a ton of fun,” Sam says. “And the pieces are just short little ditties. Brent has a piece about the woman who sewed the spacesuit for the dog that was sent into space by the Russians in the late ’50s. He grew up in rural Pennsylvania, and he’s got some pieces about his crazy family; there’s one about his grandfather chopping off his fingers accidentally.” Sam’s pieces are also narratives that document the stories of subjects like the oldest person in the world or Jazz icon Louis Armstrong’s personal archive. In the 1950s and ’60s, Armstrong would record himself hanging out with friends; Sam listened to the tapes and drew inspiration from them. There’s also a tale about the last

person in the San Francisco phone book. “There’s a wide range of topics, but hopefully people will laugh, cry and leave the theater a little different than when they came in,” he says. Perhaps the most interesting thing about Live Cinema — other than the Greens’ dueling narrations, which Sam compares to a Rap battle — is the ephemeral and singular nature of the performance. It’s completely different from the “repeat as necessary” construct of every other cinematic experience. “I kept coming back to this form because it had so much potential,” Sam says. “You’re using the tools of cinema at their most refined — live music, not just pre-recorded music, and huge images on the screen, not just a window on your computer. It’s the kind of thing where people know it’s never going to be the same twice and that you could fuck up, so there’s a certain frisson that comes with that. I don’t want to sound like a New Ager or a hippie, but the energy in the room is profoundly different when there’s somebody playing music live.” Brent Green & Sam Green: Live Cinema occurs 7:30 p.m. Saturday at Memorial Hall, 1225 Elm St., Over-the-Rhine. Tickets/more info: contemporaryartscenter.org.


BIG PICTURE

Was Dürer a Modernist? BY S T E V EN R O S EN

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On the face of it, Albrecht Dürer — the German Old Master who was one of art history’s greatest printmakers, deeply accomplished at engravings and woodcuts — wouldn’t have much in common with modernist sensibilities. He lived from 1471-1528, the “age of Reformation and Renaissance,” as the current Cincinnati Art Museum exhibit devoted to him is called. It’s on view through Feb. 11. And, since this superb show offers quite a bit of work devoted to religious subject matter — prints from his woodcut sets Life of the Virgin and Large Passion, for instance — he might seem to belong to a time when art treated religious depictions as gospel truth. Today, artists tend to look inward rather than upward for signs of faith. But there is one engraving in the show that argues for a different interpretation. “Melencolia I,” from 1514, makes Dürer seem a precursor to Contemporary art. It’s also probably “Melencolia I” is on display at the Cincinnati Art his most famous work — certainly his Museum. most “mysterious” (in the words of the P H O T O : C O U R T E S Y O F C I N C I N N AT I A R T M U S E U M show’s curator, Kristin Spangenberg) and most heavily analyzed. If you that announces “Melencolia I” as if it’s the believe that melancholy is as elemental a name of a country — a continent — on an human condition as happiness, but that we antique map. This isn’t purely symbolic; are reluctant to admit it because it implies there’s something more personal here. we are failures, Dürer was admitting it 500 Thanks to all the research into this years ago. landmark piece, we can understand much The exhibit, largely drawn from the of what Dürer was broadly representing. museum’s own print collection with some What we can’t be sure of is why. This is key loans, gives “Melencolia I” a pride of inspired by the archaic notion, going back place. It’s one of three “Master Engravings,” at least to Hippocrates, that melancholy so called because of their maturity and was caused by an excess of “black bile” in a accomplishment, that are together in the person’s system — black bile being one of show. And the art museum’s prints of these, the “four humours” thought to determine a 1943 bequest from Herbert Greer French, health. (The others are blood, phlegm and are quite good, with a crisp tonality and a yellow bile.) Melencolia I, in Dürer’s day, phenomenal subtlety to their lines, shadrefers to the type that struck artists and owing and details. caused a creative block. “Melencolia I” on first glance might seem Dürer, of course, was an artist — one of to be a slice of mythology — akin to, say, history’s greatest. Was he struggling with Dürer’s 1498-99 engraving of “Hercules,” melancholy himself? Was he saying it was which is in the show. A winged figure, perpart of his condition? Part of the human haps a goddess, sits amid a foreground of condition? Was it something he feared — all sorts of unused tools and objects, along was he confronting himself? Or was he with an animal and cherub looking forlorn empathizing with those who experienced it? from lack of attention. We feel that Dürer the artist is inside Much of what’s present in this image this artwork — not just that he’s emotionhas a specific symbolism. The hourglass is ally connected to it, but that he could be its running out of time. The scales are empty. subject. That gives it a possible psychologiThe magic square’s numbers add up to cal dimension that is indeed modern. 1514 — the year of this engraving as well as But is that a correct interpretation? the year Dürer’s mother died. All this can Art historians will be studying that for a be objectively deciphered (and the show’s long time. But what is clear is that Dürer’s wall text helps). “Melencolia I” has become a signpost to But this has something more ambiguwhere art has since gone — toward the ous, too. The winged figure’s left arm is intimate. The art museum show is a valubent at the elbow on a knee; her hand is able chance to study his work. pressed against her cheek. She looks in Albrecht Dürer: The Age of Reformation a funk, eyes betraying a glow of frustraand Renaissance is on view through Feb. tion (some might say sadness). On the far 11 at the Cincinnati Art Museum. More info: horizon, against a radiating sky and above cincinnatiartmuseum.org. water, a winged creature holds a banner

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A Circuitous Trip into the Woods BY R I C K PEN D ER

Karen Hartman’s comedy SuperTrue currently is getting its world premiere at Know Theatre via the National New Play Network. (In fact, it was on a 2015 list of noteworthy unproduced scripts by women and trans playwrights.) In advance publicity about the show, Know’s artistic director Andrew Hungerford stated, “This is a very timely play that centers around dealing with a world that hasn’t turned out the way one expected: How do you cope when plans have gone awry or when confronted with trauma? There are lessons of acceptance and coping in this script that I think are incredibly valuable for the world in which we’re living. And it helps that it’s super funny and delightfully theatrical.” Staged in Know’s Underground space, repurposed as an expressionistic forest, SuperTrue is the story of a desperate pair of married Gen-Xers who hope a woodland retreat will get their lives back on track. Janelle (Nicole Jeannine Smith) was an idealistic schoolteacher, but a violent trauma has left her damaged and fearful, eager for a fresh start that might involve pregnancy — even though her biological clock is running down. Her husband Martin (played by James Creque on opening weekend, then by Derek Snow Jan. 24-Feb. 10) has his own challenges: A one-time inventive programmer, his early work has been appropriated by a greedy company, giving him no credit. Now he’s being passed over. Janelle’s trauma has resulted in unemployment. To support them, Martin has to keep working in an organization he hates, and he’s rather resentful. He’s gone along with Janelle’s desire to go to the woods to procreate, but he’s torn between several pressing realities — leaving the woods to go to work for a company he hates, dealing with repairs to their roofless, damaged home and secretively developing a new app. They yearn for new direction, but paranoia keeps distracting them and the woods are not as peaceful as they had hoped. Janelle is angry at a deer that keeps approaching the cabin. She and Martin are not on the same wavelength regarding the outcome of their sojourn. Neither one is entirely honest with the other. Janelle has drafted a semi-coherent manifesto that culminates in the statement, “Tell the truth.” Getting to the truth in Hartman’s spiky, fragmented script is a circuitous journey. As directed by Holly L. Derr, Smith launches into her portrait of Janelle at a fever pitch and hardly slows down. Some dialogue, especially her arguments with Creque’s Martin, is so dense and flies by in such ranting tumults that it’s hard to grasp what is troubling either character. The story comes into focus in the final moments of the 80-minute piece, offering a kind of hopeful redemption. But it’s at the end of a lot of shouting and oblique

philosophizing. A third player, puppeteer Elizabeth Chinn Molloy, portrays the invasive deer and a mysterious child who wanders into Janelle’s life while Martin is away at work. (Erika Kate MacDonald has designed the simple, evocative cardboard puppets.) Is the child a figment of Janelle’s imagination or a plot device? Her presence injects a real-world intrusion (possibly a comment about immigration) that seems extraneous to the play’s narrative momen-

Nicole Jeannine Smith in SuperTrue PHOTO: DAN R. WINTERS PHOTOGR APHY

tum. But between this child and the app “SuperTrue” that Martin has created and designed to help Janelle cope with her trauma, the play does have an ending that, if not entirely happy, seems to be headed that way. The small stage is extended to the left and right by clotheslines hung with drying laundry — polo shirts, T-shirts and other casual items, all in shades of verdant forest green. They serve as surfaces for washes of Hungerford’s lighting design and Douglas Borntrager’s projections of images that illustrate the progress of Martin’s digital efforts. The cartoonish, two-dimensional cabin hardly seems like a locale where spiritual healing can occur. In the Underground’s cramped singlelevel space, sightlines are blocked for audience members in rear rows because Derr has staged several scenes with actors crouching or sitting on the cabin’s porch. Hartman has a flair for comic sparring, but Derr has coached the actors to hurtle through dense conversations in ways that provide scarce opportunity for laughter, possibly obscuring the next pithy thought that’s lobbed forth. SuperTrue deals with some important issues in contemporary life, but this new play would benefit from some pruning, sharper focus and a bit less speed. SuperTrue, presented by Know Theatre, continues through Feb. 10. More information/tickets: knowtheatre.org.


COMEDY

Interest of Conflict BY P. F. W I L S O N

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It’s Brian Regan against the world, or at least that’s how it seems when he’s on stage. “Years ago I remember talking to my mom,” he says by phone from his home in Las Vegas. “I think she was talking about my emergency-room bit.” One of his most popular, it’s the story of how he once had to take himself to the emergency room when he was having stomach pains and faced all manner of obstacles getting treatment — from having to drive himself there to convincing the hospital staff that his situation was pretty serious. “My mom was very complimentary, saying, ‘It was such a great routine that you got out of such a bad experience,’ ” he says. “She was suggesting that maybe if I had more bad experiences, I could create even more bits like that. I don’t want to do comedy that bad. I don’t want to live a miserable life to make great comedy. I’d rather Brian Regan is at the Aronoff Center Thursday night. live a wonderful life and have PHOTO: JOE HENSON no comedy.” Still, Regan — who perit’s been going on for years,” Regan says, forms at the Aronoff Center for the Arts on “and I suggest that maybe a good dad could Thursday — has to be aware of situations in solve it, because good dads can solve a a way that’s different from most people. problem in 30 seconds. So, this dad shows “As you go through life, you tend to not up and gets to the root of the problem.” only experience things normally but also “I’m sure somebody, somewhere could comedically, if they happen to be funny,” take offense to it,” he adds. “But I don’t he says. “I don’t know that I’m actively want to be afraid of breaking into new looking for funny things when I’m out and territory just because someone somewhere about. I just see something, experience might not like a joke. You have to push the something or read something and go, ‘Hey, boundaries a bit.” that’s funny.’ It can end up being a bit.” It’s an American tradition to make fun of Most often, those things come from the president, politics aside. awkward or uncomfortable moments. “I used to like when George W. Bush “When everything is perfect and fine, would say all this goofy stuff and people there’s no comedy there,” he says. “Comwould show clips of it,” Regan says. “But edy has to come from difficult, weird or I liked the man; I thought he had a good strange moments.” heart and cared about the country. It’s fun In the past, that has involved his daily to laugh at people’s weaknesses as long as interactions with people, places and things. it’s done good-naturedly.” But lately, he’s started to talk about what’s Everything is fair game by Regan’s going on in the world. reckoning. “I have recently started to venture into “I like the fact that there are comedians topics that are surprising to some people,” that want to go after Trump,” he says. he says. “In my last Netflix special, I did a “That’s their agenda and there are audihandful of jokes about politics and (North ences out there for that. But I also like the Korean leader) Kim Jong-un and subjects kind of comedy that doesn’t necessarily like that. But I like to do jokes that both take that route. I want everything to be sides can laugh at. It’s an interesting tightrepresented comedically, artistically and rope. Sometimes the mere subject can turn politically. So if this person is over here people off.” making fun of the color blue, then I want While there are likely very few Kim someone over here to make fun of the color Jong-un supporters seeing his act, other red. I want everything to be hit.” political topics can be dicey. However, if Brian Regan performs at Aronoff Center Regan thinks he has a good joke, he’ll tell for the Arts, 650 Walnut St., Downtown it: “I don’t want to be afraid of bringing up at 7:30 p.m. Thursday. Tickets/more info: a subject.” cincinnatiarts.org. For example, he has a bit about the Israeli-Palestinian conflict. “It’s about how

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The Kids Are Not All Right BY JAC K ER N

It’s charming to watch a couple of misfit Dance,” in which he gave another memokids join forces on screen to take on the rable (and f***ed up) performance. world in a heartwarming underdog love Similarly, Barden nails her role in what story. The End of the F***ing World (Netflix) could be a cheesy, over-the-top, damaged is not that type of story. At least not at first. girl cliché. Instead, she plays Alyssa as In this British series, boy meets girl, boy both fierce and vulnerable, a force to be plots to murder girl, boy gets girl. And it’s reckoned with and a girl in need of a hug. a comedy! Based on the graphic novel written and The boy here, 17-year-old James (Alex illustrated by Charles Forsman, the show Lawther), is convinced he’s a psychopath — really reads like a movie — it easily could a young Dexter, so to speak. James points to have been — but it doesn’t feel drawn his lack of empathy or friends, the collecout because the tight, tense episodes are tion of animals he’s killed and the time he dipped his hand into a deep fryer to “feel something” as the reasoning behind his selfdiagnosis, and resolves to move on to killing people. One day in the cafeteria, too-cool-for-school new girl Alyssa (Jessica Barden approaches James, flirting by way of insulting the loner. He obliges, going along with the relationship. After all, she’ll make the perfect target. When Alyssa’s scumbag stepdad pushes her over the edge, she convinces James to run away in search of her biological father. Again, he’s on Alex Lawther in The End of the F***ing World board, if only to take his PHOTO: COURTESY OF NETFLIX murder show on the road. Stumbling each mile along the way, James and Alyssa enjoy just 18-22 minutes long. In the end (of the some much-needed carefree fun that f***king world), it’s a complete story. So no, gives way to risky behavior and a series of I don’t hope this gets a second season, as increasingly serious crimes. The two dinemuch as I loved this one. and-dash, shoplift and hitchhike their TEOTFW offers everything you want out way around England, opening up to one of a good teen flick: Two kids against the another about their painful pasts along the world, a ride-or-die road trip, a sing-alongway. Alyssa’s angst and rage completely worthy soundtrack, actual complex teen blind her to James’ true intentions, yet characters — all dealt with in a mature way. she’s able to break through his detached, It handles some of the most dismal mateawkward demeanor from time to time. rial with empathy and humor. One intense encounter on their Bonnie I can’t help compare TEOTFW to and Clyde adventure reveals that James another Netflix teen series, 13 Reasons might not be the monster he’s made himWhy. That one explores the fallout of a high self out to be, and that Alyssa may finally schooler’s suicide after she leaves behind have someone in her corner. But the fallout a set of cassette tapes calling out everyone from their involvement might seal their who ever wronged her. Both shows follow fates nonetheless. young characters grappling to digest very As if the show’s title doesn’t give it away depressing circumstances. It could be from the jump, TEOTFW is a dark teen tale. argued that neither series is suitable for an But the heavy subject matter is handled audience as young as the characters that with a playful touch. Witty British humor, populate them. complete with fourth-wall-breaking winks You tune into 13 Reasons knowing Hanand nudges lighten the load. Like a youthnah Baker killed herself; you enter TEOful joyride, the series is a fun, wild romp TFW knowing James plans to kill someone with killer tunes blaring from the stereo. else. But where the former is predictable Besides a perfectly balanced tone, the and hollow, the latter is surprisingly acting — particularly by the two young heartfelt. leads — takes TEOTFW to another level. For young people, every decision, every Lawther captures the subtle complexities moment seems like life or death. For James of his intensely disturbed character. You and Alyssa, it is. And they flourish in it. might recognize him from the particularly Contact Jac Kern: @jackern grim Black Mirror episode “Shut Up and


FILM

‘Phantom Thread’ is Stitched Perfection BY T T S T ER N - EN ZI

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With Phantom Thread, director/writer both professionally and personally… until Paul Thomas Anderson fits audiences into she doesn’t. It’s when her rebellion takes the warm embrace of a perfectly conceived form that the film becomes something and stitched garment of a movie. Its appeal more than a distorted mirror image of our is timeless, even when its story contains current times. overtones of today’s issues. That may make Alma fights back, exerting her own the film a bit of a challenge for those mired considerable will and charms in a fierce in the cultural and political moment. resistance on two fronts. She has to, since Contemporary cinema is often out to Woodcock always has Cyril lurking nearby haunt us in the name of relevancy. to support him. Director/writer Anderson, But you sense Phantom Thread is differin this carefully constructed interplay, ent as soon as Reynolds Woodcock (Daniel ups the ante on the stakes set by Darren Day-Lewis) strides into the picture — he’s Aronofsky in last year’s mother!, which an upscale dressmaker for the elites and royals of London and the rest of Europe during the 1950s. He is, first and foremost, an artiste, complete with a temperament fostered by his ego and fed by the exacting management of his sister, Cyril (Lesley Manville). She handles the day-to-day details so that Woodcock need not worry about anything but the celestial attire he creates. Her command extends, in part, to Daniel Day-Lewis and Vicky Krieps in Phantom Thread Woodcock’s personal P H O T O : L A U R I E S P A R H A M / F O C U S F E AT U R E S space as well, where she orchestrates the revolving cast of muses that her brother set Jennifer Lawrence and Javier Bardem picks up and just as quickly discards like against one another in a similarly pitched cheap accessories. He can’t be bothered battle. But, unlike that film, Anderson with the pesky emotional entanglements stays true to the course he has initially, that these ladies bring with them, nor can carefully plotted for this movie. he accept that they believe they have a part It helps that he’s got Day-Lewis as in crafting his lifestyle. Woodcock in what morphs into an expertly So, it is intriguing when Woodcock lays conceived amalgamation of Day-Lewis eyes on Alma (Vicky Krieps), a shy and roles. That it may also be his last role — he awkward server at one of his favorite outhas been speaking of retirement — makes of-the-way restaurants. To the untrained its achievement all the more important. eye, Woodcock seems smitten, an eager Embedded in Woodcock are traces of yet quite experienced puppy in love with Tomas, the dashing Czech doctor he the coquettish young woman. But, truth played in Philip Kaufman’s The Unbearbe told, what unfolds for Alma is actually able Lightness of Being, fighting against an interview for a spot as Woodcock’s next the advances of a woman seeking to tie muse. What he sees is not an object of love, him down to a life of monogamy. You will but a moving mannequin, a perfect form find, too, in his outstanding performance, upon which to construct and give life to echoes of the romantically conflicted new dresses. Remember, this man lives for Newland Archer in Martin Scorsese’s The nothing other than his work and he is — by Age of Innocence. Woodcock could even be all accounts — the best at what he does. the less violent but still difficult alter ego This situation presents itself as the to Daniel Plainview, the driven prospector embodiment of the social ills we now at the center of Day-Lewis’s collaboration debate every day, especially within the with Anderson in There Will Be Blood.  film and entertainment industry. WoodWatching Phantom Thread is akin to cock is a man of power and influence, admiring the last garment from a legendusing all of the tools at his disposal — his ary fashion house — a piece absolutely refined good looks, his quiet intensity and beyond your means or station but one that the volcanic rage simmering underneath is still able to speak to and elevate your the surface — to cajole and coax women sensibilities. It is utterly transcendent and to do his bidding. Alma undresses for him, impossibly accessible all at once. (Now submits to his whims and follows his rules playing.) (R) Grade: A

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FOOD & DRINK

More S’Mores Quaintrelle Confections marshmallow bar makes artisan s’mores and sweets BY L E Y L A S H O KO O H E

M

Quaintrelle’s Build Your Own and Turtle s’mores PHOTO: HAILEY BOLLINGER

personal style, leisurely pastimes, charm and cultivation of life’s pleasures.” But she started small, first at farmers markets such as the Historic Harrison Farmers Market. “If you’ve ever tried her marshmallows, you know,” says Kraus’ friend Crissy Moses. “I remember when she first said, ‘I want to sell handmade marshmallows.’ It wasn’t until I actually tried one of hers that I was like, ‘Oh, my god, this absolutely could be, like, a thing.’ At the farmers market, I don’t think she’s ever attended (and) hasn’t sold completely out every single time.” Those sell-outs combined with online demand led to scaling up and joining the Incubator Kitchen Collective in Newport, Ky. Kraus kept climbing the proverbial ladder to success before going all-in on her venture. “Because I was doing so well I figured, ‘Why not? I’ve risked so much so far and it turned out (well), I might as well make the jump,’ and it was the best decision I’ve ever made,” she says. The premise of the retail location is slightly different from her wholesale business: It’s a s’mores bar that focuses heavily on the marshmallow portion of the s’more. Kraus makes all her own marshmallows in house — she says her perfectionism keeps her from letting anyone else take the reins. Each small batch is made with simple ingredients: water, sugar, gelatin, some salt and natural flavoring.

She doesn’t use egg whites, which give other marshmallows a more airy, quickdissolving mouthfeel. Hers are creamy, more dense and pillowy. You’re meant to get a bite of marshmallow in every bite of Quaintrelle’s s’mores. The distinctive square is sandwiched in between two graham crackers after being hand-roasted with a kitchen blowtorch, cradling generously layered toppings. (The graham cracker was gone all too soon from our attempts at consuming the pistachio s’more, so we scooped out the rest of the chocolate, nuts and mallow with our fingers.) The s’mores offerings on the hand-written blackboard change every month. For January, you can stop in and grab a White Chocolate Pretzel, which is self-explanatory; a Turtle, with vanilla mallow, milk chocolate, caramel and pecans; the D.C. Pistachio, with swirls of dark chocolate and crunchy pistachios on top; the Classic s’more (mallow, graham cracker and chocolate); or Build Your Own. For this option, you can mix and match from any of the toppings featured on that month’s s’mores’ board. In addition, Kraus offers “crispies,” which are variations on classic Rice Krispies treats, subbing in ingredients like Flamin’ Hot Cheetos, Oreos or Ruffles potato chips for the puffed rice cereal. The s’mores are each $5, the crispies are $3 and bags of marshmallows — in flavors including

snickerdoodle, chocolate chip, peanut butter and jelly and more — are available in the store for $6.99. The cost goes up to $7.99 for a bag of the boozy variation — marshmallows infused with alcohol, like this month’s bourbon mallow. For purists, you can buy an à la carte marshmallow for 50 cents. February and beyond offers lots of potential for Kraus. She’s toying with the idea of bringing back champagne-flavored mallows for Valentine’s Day (they enjoyed a limited release around New Year’s) and eyeing a vegan mallow option. She is quick to update her social media feeds, whether that means notifying customers of sellouts or identifying the crispie of the week, and is very attentive to her customers. In fact, the day we spoke with Kraus, she opened the shop on the only day it’s closed (Monday) to make s’mores for a family of three who had driven down from West Chester exclusively for her treats. “As long as people are happy with what I’m making, I’m happy,” she says. Quaintrelle Confections is located 1210 Main St., Over-the-Rhine. More info: quaintconfections.com.

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JJAANN.. 0234––0390,, 220018 18  ||   CCI ITTYYBBEEAT. AT.CCOOMM

eggie Kraus doesn’t like marshmallows. This isn’t too strange, until you consider the fact that she is the owner and proprietor of a gourmet marshmallow business and newly opened s’mores bar, Quaintrelle Confections. “I hate store-bought marshmallows,” Kraus says from the kitchen of Quaintrelle, which opened in November at 1210 Main St. in Over-the-Rhine. “I think Jet-Puffed is just disgusting. I like s’mores — I’ll eat them roasted — but I’ve never liked marshmallows.” The Cheviot resident graduated from Ohio University with a degree in anthropology and focused on archaeology, working as a contractor. She discovered a fondness for her marshmallows while in the middle of a stint as an assistant at an orthopedic office. Before that she worked as a hotel manager in between archaeological digs and hated what she was doing. Inspired by a painting she saw while looking for art to buy for the hotel, she realized that she needed to change her path. “I walked into (the artist’s) studio and this painting was there and I’ve never understood art, ever. I don’t get it when people say, ‘It just spoke to me.’ I’m like, ‘It’s a painting; how does it do that?’ This changed my life. I was mesmerized by this painting. I could not stop looking at it,” Kraus says. The piece, by artist Jennifer Mujezinovic, features a woman from the shoulders up in a suit jacket and button-down with an elongated neck and serious eyes. When Kraus saw it, she says she felt like it might as well have been a painting of her. She didn’t know then what she wanted to do, but she knew that what she was doing wasn’t it. (She now has a print of the painting at Quaintrelle.) Always interested in creative pursuits, Kraus had already tried her hand at making beef jerky, gummies and drink koozies. “I ended up randomly making a batch of marshmallows (about) a year and a half ago and it just felt right,” she says. “Everything about it. I enjoyed making them. I loved them, and I don’t even like marshmallows.” Lots of other people liked them, too. Indeed, though she didn’t know it quite yet, Kraus was well on her way to embodying the definition of her company’s name: A quaintrelle is a “woman who emphasizes a life of passion expressed through

23 27


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New Year, New Brews BY G A R I N PI R N I A

It’s a brand new year, which means new beers and new breweries. Nine Giant just released Save Ferris, a cranberry-orange Berliner weisse. It’s available on draft at the taproom. Monocle is the latest in Urban Artifact’s Midwest Fruit Tart Ale series. The mango-enhanced beer is available on draft at the taproom (no cans). MadTree’s hoppy porter Identity Crisis is back in cans and on draft for a limited time. Streetside’s latest beer in cans is the hashtag-able #blessed, a hoppy New England IPA. Each quarter, Braxton Labs is partnering with Starter Coffee to brew a coffee stout. A couple of weeks ago, they released the first one, Cycle Coffee Stout, available on draft at the taproom. Braxton also released Snow Shovel — a winter warmer brewed with cinnamon, honey and ginger and finished in rum barrels — in both bottles and on draft. Mardi Gras festivities take place Feb. 9-13, so BrewRiver GastroPub and Brink Brewing have teamed up for this year’s King Cake beer, which will begin pouring at both locations around that time. Last year’s King Cake iteration tasted better than the actual cake and came with a plastic baby on the rim. Fairfield will get its first brewery on Jan. 27 when Swine City Brewing opens to the public. Oxford’s Quarter Barrel Brewery & Pub recently opened a second location in Hamilton. They brew their own beers on-site, like “pretentious foreign language” beers Chapeau Girls grissette and Consigliere American pale ale. Finally, in beer expansion news, East End’s Bad Tom opened a location in Cleveland’s Ohio City neighborhood in early December, and MadTree started serving in Nashville this winter.

Events

Repro Health Happy Hour is a monthly networking event for people working on sexual and reproductive health, rights and justice, and issues of gender and sexuality. On Jan. 24, Urban Artifact hosts the happy hour for the kick-off of the Cincinnati chapter. A $5 cover will go toward Women Have Options Ohio. On Jan. 25, West Side Brewing will join forces with Babushka Pierogies for a pop-up dinner at the brewery. The menu includes potato-cheddar pierogies, stuffed cabbage rolls and kielbasa bowls. No reservations or tickets required. On Jan. 26, Rivertown will release new beer Uncle Andy in bottles. “Uncle Andy” is Andy Grigg, uncle of founder and brewmaster Jason Roeper. Andy even helped brew his namesake beer, a bourbon-barrelaged Russian imperial stout. For the past few Fridays, Christian Moerlein Brewing Co. has been releasing new beers on tap and in cans as part of their New Brew Friday. On Jan. 12, they released Emancipator Doppelbock for the

Braxton’s Snow Shovel PHOTO: PROVIDED

first time in cans. Then Jan. 19 saw the release of Power Stoutage Milk Stout. On Jan. 26, the brewery will release Big Hazy, a New England-style IPA. It’s described as having a “cosmic blend of Pacific Northwest hops” with aromas of passion fruit and mango. At noon on Jan. 27, Streetside continues its obsession with Stranger Things with A Day in the Upside Down/Firkin Fest. Local beer bloggers and local news stations will infuse a firkin of the Demogorgon stout with different adjuncts. Bockfest isn’t until the weekend of March 2, but Moerlein’s taproom will host Bockfest Carnivale on Jan. 27. The event will include art, “unique Bockfest experiences” and Arnold’s Bar and Grill food with beer pairings. Tickets are $55 per person or $95 per couple and include dinner, drinks, free parking and a Bockfest poster. Fifty West is getting into the canning game. On the morning of Jan. 28, they’ll co-host a brunch with the Colorado-based Oskar Blues. Brunchers will enjoy three courses of food — cornbread donuts, pork belly biscuits and braised brisket — alongside beers from both breweries. After the meal, brunchers will be able to take home a six-pack of Fifty West beer, included in the $45 ticket price. Winter Beerfest, Cincy’s largest beer festival, returns to the Duke Energy Convention Center Feb. 2-3. Expect hundreds of craft beers from across the nation, with a focus on local breweries such as 13 Below, 16 Lots, Fretboard, MadTree and many more. Tickets range from $20 (designated driver) to $95 (connoisseur level). Radio Artifact is an indie radio station that Urban Artifact owns and operates inside the brewery. On Feb. 3, they’ll host a fundraiser at the taproom. They’ll have live music from Go Go Buffalo, Lipstick Fiction and other bands, along with “a smorgasbord of menagerie.” Make a donation at the door. Every Thursday, Middletown brewery FigLeaf hosts a made-up game night called FigSix. Order one of their beers, roll a dice and pay the amount shown on the dice. Because each dice has numbers ranging from 2 to 5, the most you’ll pay is full price. Contact Garin Pirnia: letters@citybeat.com


CLASSES & EVENTS WEDNESDAY 24

Sunset Salons: Cultural Cuisines —Take a trip around the world and taste diverse dishes from panelists including Josh Wamsley of Mazunte, Duy Nguyen of Pho Lang Thang and Hideki Harada of the forthcoming Kiki as they discuss the city’s food scene and share samples in a conversation facilitated by 513{eats} founder and CityBeat senior dining writer Ilene Ross. 6-8 p.m. $10 advance; $12 door. Clifton Cultural Arts Center, 3711 Clifton Ave., Clifton, cliftonculturalarts.org.

THURSDAY 25

Classic and Delicious Weeknight Chicken — Learn to make an easy weeknight chicken dish: prosciutto-wrapped chicken with sage and honey-mustard sauce. 6-8:30 p.m. $75. Jungle Jim’s, 5440 Dixie Highway, Fairfield, junglejims.com. 20th Anniversary Burns Night Celebration — Celebrate the life of poet Robert Burns at Nicholson’s. There will be Celtic music, Highland dancers, poetry, bagpipers, a toast to haggis and more at this authentic Scottish event. 7:30-10:30 p.m. $29.95 VIP. Nicholson’s, 625 Walnut St., Downtown, 513564-9111, facebook.com/ nicholsonsgastropub. Music-Inspired Food and Drink — Head to 20 Brix for a five-course meal themed after music. 6 p.m. $65. 20 Brix, 101 Main St., Milford, 20brix.com.

FRIDAY 26

Cellarman’s Tour — The Brewing Heritage Trail leads this tour featuring the tales of several Cincinnati breweries, plus the city’s past and present brewing traditions. 1:30 p.m. By donation. Leaves from the Christian Moerlein Malt House Taproom, 1621 Moore St., Over-the-Rhine, brewingheritagetrail.org. Garage Brewed Moto Show — The fourth-annual invitational motorcycle show features bikes from the Ohio River Valley and the Midwest. There will be builders, custom bikes and more from professionals and garage enthusiasts. There will also be food and beer. Noon-midnight. Free. Rhinegeist, 1910 Elm St., Over-the-Rhine, garagebrewed.com. Intro to Indian with David Willocks — Learn how to make fresh, healthy Indian cuisine including red lentil dal with spinach, marinated chicken in tomato curry and fluffy basmati rice. 6:30-8:30 p.m. $65. Artichoke OTR, 1824 Elm St., Over-theRhine, artichokeotr.com.

Wasted! The Story of Food Waste — This film, featuring Anthony Bourdain and other celebrity chefs, tells the story about how to prevent, recover and recycle surplus food. Afterward, there will be a panel about how to tackle wasted food in commercial settings, plus creations made by La Soupe. 3:30 p.m. $20. Memorial Hall, 1225 Elm St., Over-the-Rhine, memorialhallotr.com. Findlay Market Chili CookOff — Cheer on your favorite local amateur chefs as they concoct their own take on Cincinnati’s chili for the 14thannual Findlay Market chili cook-off. Afterward, warm up with food samples and enjoy the tunes of Johnson Treatment. Noon-4 p.m. Sample pricing: $2 per ticket; $10 for six; $15 for 20. Findlay Market, 1801 Race St., Over-the-Rhine, findlaymarket.org.

MONDAY 29

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Northside Yacht Club Ramen Monday — The bar hosts chef Hideki Harada every Monday in January for a ramen pop-up. Veggie options available. Harada and his wife are opening Japanese restaurant Kiki in College Hill in late spring. 4 p.m. Prices vary. Northside Yacht Club, 4227 Spring Grove Ave., Northside, facebook.com/ northsideyachtclub.

TUESDAY 30

Ramen Tuesday at Please — Please hosts a ramen night every Tuesday with unique twists on the traditional dish. 5:30-10 p.m. Prices vary. Please, 1405 Clay St., Over-the-Rhine, pleasecincinnati.com.

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C I T Y B E AT. C O M

Rabbie Burns Night Dinner — Join the Caledonian

Beefsteak Club Dinner — This Bockfest Carnivale, curated by Pam Kravetz, includes art, performances and Bockfest experiences plus a menu from Ronda Breeden and Arnold’s Bar and Grill, with beer pairings from Christian Moerlein. Held in the historic Kauffman Brewery malt house, proceeds go to support Bockfest and the Bockfest Parade. 6:30 p.m. $55; $95 couple. Christian Moerlein Malt House Taproom, 1621 Moore St., Over-the-Rhine, otrbrewerydistrict.thundertix. com/events/120715.

SUNDAY 28

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SATURDAY 27

Society of Cincinnati for Burns Night, a celebration of poet Robert Burns. The party features food (including a haggis tasting), drink, song, poetry, dance and plenty of bagpipes. RSVP required. Highland attire suggested. 6 p.m. appetizers; 7 p.m. dinner. $28 adults; $14 children. Receptions, 10681 LovelandMadeira Road, Loveland, caledoniansociety.org.

J A N . 2 4 – 3 0 , 2 0 18

Wanted Dead or Alive: Murder Mystery Event — This murder mystery dinner is a Wild West shoot-out. The sheriff isn’t very good so it’s up to you to figure out who is behind the hijinks. Includes a three-course dinner. 7 p.m. $60. Old Spaghetti Factory, 6320 S. Gilmore Road, Fairfield, grimprov.com.

Most classes and events require registration and classes frequently sell out.

29


MUSIC

Folk Medicine Aimee Mann’s latest album release is a moody acoustic rumination on emotional distress BY B R I A N B A K ER

AT.CCOOMM  | | JJAANN. . 2140––3106,, 220018 18 CCI TI TYYBBEEAT.

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eginning with Whatever, Aimee Mann’s 1993 solo debut, the renowned Pop/Rock singer/songwriter has used melancholy as though it were another instrument in the studio. She’s never been afraid to admit that sadness is a palpable presence in her ninealbum catalog. But even with that consistent and pervasive moodiness threading through her material, Mann has an infectious way of investing those dark emotions with almost spritely melodies, creating a discernible tension between the messages within her songs and their upbeat delivery methods. She readily admits that she has long thought about doing an entire album’s worth of material where the musical atmosphere matches the downcast nature of the lyrics, but it wasn’t until she followed her last solo album, 2012’s Charmer, with a peppy 2014 Rock release from The Both, her full bore duo with Indie Rock icon Ted Leo, that she felt the time was right for a full album mope-a-thon. “The Both was such a snappy Rock trio that I felt that side of me was definitely taken care of,” Mann says. “I wanted to do something that was completely different. I was in the mood for it and I was in the mood to stay in that mood. Sometimes you want to do a record that’s a potpourri and sometimes you want to do a record that’s all one thing.” The resulting album, last year’s Mental Illness, was inspired by the emotional travails of a few of Mann’s close friends and subsequently translated into one of the most quietly powerful works in her discography. With a spare yet stellar backing band, a gently strummed acoustic guitar and the occasional swell of strings, Mann turned her friends’ low points into high art. “In the past couple of years, I had a lot of people around me who were struggling with mental illness,” she says. “Bipolar or PTSD or pathological lying, some really crazy stuff, and I really wanted to write about it.” Mann’s instincts have paid off. Mental Illness was recently nominated for a Best Folk Album Grammy. Given her long Pop/ Rock résumé, which includes her stint as the voice and bass of ‘Til Tuesday in the ‘80s, one might expect her to be at least somewhat chagrined over being nominated in a “Folk” category. But she thinks it makes perfect sense.

Aimee Mann PHOTO: SHERYL NIELDS

“Honestly, if you look at the Pop categories, I definitely feel a lot closer to Folk,” Mann says. “I don’t feel like I have anything in common with Taylor Swift at this point. (That music’s) very heavily produced, lots of dance elements and it just doesn’t have anything to do with me. I did conceive this record (where) the major influences were kind of classic Folk — not Peter, Paul & Mary, but a little bit of the second wave, like Leonard Cohen and Joni Mitchell, very guitar-based. Sometimes it was only acoustic guitar. Inevitably, you wind up putting more instruments on than you intended, but that was the original intention, to keep it very stripped down.” One of the great ironies surrounding Mann’s new album is that one of her most widely publicized new songs is pointedly about mental illness and yet does not appear on her album, Mental Illness. She contributed the gorgeous and poignant “Can’t You Tell” to the “30 Days, 30 Songs” campaign that protested the Trump presidency in song, but it arrived too late to make the project’s initial tracklist (it was added as the project expanded to its current “1,000 Days, 1,000 Songs”). “I’m pretty sure we had already finished (Mental Illness),” Mann says. “I forgot that they’d asked me to write that song and (it) was like, ‘OK, deadline,’ and I was like, ‘Oh my God!’ So I wrote and recorded it in two days. There wasn’t any time to think about

it, but I love that song. It’s a little hastily written — I would probably write a bridge for it (now) — but there’s something about it.” “Can’t You Tell” was written from the perspective of Trump in the run-up to his election win, painting him as running to spite his doubters, but not actually wanting “the job.” “It’s sad, if you think about it. Not that I’m not angry and outraged, but it’s all very pathetic,” Mann says. “There’s a lot of pathos in this scenario. It does have that flavor of tiptoeing around alcoholic dad, doesn’t it? Like, ‘What kind of mood is dad in? Has he started drinking already? Can I make it up to my room before he notices me and starts yelling?’ It’s interesting that he doesn’t drink because he is such an alcoholic parent; the volatile temper, playing different people in the family off each other. “Did you read Fire and Fury? It paints a picture of him as explosive and angry and being a real shit stirrer, but yet there’s a side of him that’s a real people pleaser, and that’s a side that allows him to be manipulated by different factions in his life. And that’s not comforting either.” With Mann’s complete reliance on balladry for Mental Illness, the setlists for her subsequent tours have been more sedate than her usual live presentation. As in the album itself, the impact of the show is contained within the songs. At the same time,

she’s found a workaround for performing catalog songs in an acoustic setting. “The show in general is quieter because we don’t have electric guitar,” she says. “I always include older stuff, it just depends on what seems to flow naturally, one from the other. There are songs we’re playing without electric guitar, but we have a brilliant keyboard player (Jamie Edwards) who can sound like he’s doing eight things at once, so we do manage to make it sound full but blended in with the new stuff.” In addition to her current tour, Mann has a lot of irons in the fire, including work on two musicals — one based on her 2005 boxing-themed album The Forgotten Arm and a completely original production. She’s also toying with the idea of following up Mental Illness with something extremely similar, although her creative whims can turn on a dime. “This last record was really satisfying, and I feel like having a Mental Illness Pt. II, because it’s a deep topic,” Mann says. “I think my great love is in quiet, sad, folky songs, but we’ll see when we get there. Maybe by that point I’ll be ready for another Thin Lizzy-inspired record.” Aimee Mann performs Friday at Madison Theater. Tickets/more info: madisontheateronline.com.


SPILL IT

Audley Expands Artistic Vision on ‘Pink’ BY M I K E B R EEN

Ampline Returns with ‘Passion’ This Friday, Greater Cincinnati’s Ampline returns to the record-store bins with Passion Relapse, its first album since 2010’s You Will Be Buried and fifth full-length overall. It’s also Ampline’s best work to date, which isn’t completely shocking given the musicians’ experience and extensive history.

Together since 2001, Ampline’s members have refined the band’s chemistry with extensive touring (in the U.S. and abroad), but they’ve always had a leg up in that department. The trio’s Rick McCarty and Mike Montgomery have been bandmates even longer, playing together in groups like Thistle, El Gigante and The Light Wires. It also doesn’t hurt to have a studio wiz in the ranks — a veteran sound engineer, Montgomery’s Candyland recording studio in Northern Kentucky has developed a strong reputation in the Indie Rock world, attracting MANAHAN not only area bands like Buffalo Killers and Mad Anthony (among many others), but also national/international talent like Protomartyr, Courtney Barnett and The Breeders (Montgomery also writes, records and tours with R. Ring, his project with The Breeders’ Kelley Deal). Though that background and context might suggest that Passion Relapse’s greatness is the result of the three musicians hunkering down in the studio for the past seven years, writing and meticulously adding layers upon layers of tracks, the opposite is true. Montgomery recently told The Big Takeover that the band wanted the album to sound like how Ampline sounds in concert, so the recording was done with as few overdubs as possible and ultimately only took a couple of days to track (“I guess we spent five years to prep for making the album in one weekend,” he said). Giving the album a raw immediacy and intensity, that economical, workman-like approach to recording is also reflected in the writing. The songs on Passion Relapse never meander, which, matched with Ampline’s musical tightness, creative rhythms and much-developed melodic muscles, makes it one of the best Indie Rock/Post Punk albums released so far in this young year. For anyone bemoaning the decline of “Guitar Rock” albums in the Indie music world, let Ampline ease your fears and assure you that the legacy carried over the years by bands like Dinosaur Jr., Built to Spill and Hot Snakes isn’t in danger of dropping off anytime soon. Ampline plays a free album release show in Passion Relapse’s honor this Saturday in the Lounge at Southgate House Revival (111 E. Sixth St., Newport, Ky., southgatehouse.com). Contact Mike Breen: mbreen@citybeat. com

BY M I K E B R EE N

1345 main st motrpub.com

Shutting Down Music Venue Shutdowns File this under “Something that would never happen in Trump’s America” — the U.K. government is stepping in to protect music venues from property developers, recognizing their importance to artist development and the national economy. The support comes on the heels of a campaign to put an end to the growing trend of new housing developments forcing pre-existing venues to close over noise complaints. A proposed law that would make soundproofing the responsibility of property developers building near music venues is expected to be in place as early as this summer.

Paying the Price of Partying Forward Anyone who has read the brilliant “Ask Andrew W.K.” column in The Village Voice knows singer/ multi-instrumentalist Andrew W.K. is more than just a sweaty, head-banging guy who really likes to party. Further proof of his righteous dude-ness came earlier this month when he responded to a tweet from a fan who got too revved up listening to W.K.’s new single on the radio and ended up getting a speeding ticket. Taking responsibility for the “sonic party power” that caused the violation, W.K. pleaded with the fan to let him pay the ticket (the fan ultimate declined and asked that the money be donated to a charity instead).

thu 25

partner, dinge

fri 26

vibrant troubadours winter sounds

s at 27

coastal club, sleeping bag

sun 28

future science: sketch comedy

mon 29

office party, bi

tue 30

word of mouth: open poetry writer’s night w/ kyle

wed 31

rachel baiman mike oberst

in details

free live music open for lunch

1404 main st (513) 345-7981

China vs. Hip Hop Chinese Hip Hop received a major mainstream boost with the massive success of The Rap of China, an online reality/talent show that resonated with billions of viewers and made several underground MCs stars overnight. But recent moves by the Chinese government suggest that those artists specifically — and Hip Hop, generally — are being targeted as part of a crackdown on popular culture in an effort to curb dissent. According to Reuters, two rappers were recently sanctioned for “bad behavior or content at odds with Communist Party values.” Chinese media first attacked rapper PG One, forcing him to apologize for lyrics that are allegedly misogynistic and promote drug use (his music reportedly also vanished online). More recently, Hip Hop artist GAI was taken off of an American Idol-like TV show on which he was in third place, with no explanation given.

2/2

2/11 2/10 2/13

why?, open mike eAgle

the dustbowl revivAl Arlo mckinley & the lonesome sound

cincy prohibition 2018 w/ the cincy brAss

Flynt Flossy And turquoise Jeep buy tickets at motr or woodwardtheater.com

18 | | CCI ITTYYBBEEAT. JJAANN.. 1204––1360,, 220018 AT.CCOOMM

After dynamic and energetic appearances in 2017 at the massive Ubahn Festival (alongside music titans like Big Sean and Steve Aoki) and the Cincinnati Entertainment Awards (where he performed with local Rock band and regular collaborator Sylmar), 2018 is looking to be an even bigger year for Cincinnati singer/songwriter Audley. This Friday, he is releasing his latest solo effort, Pink, on all major streaming platforms. On Pink, the full breadth of Audley’s talents — particularly from a performance and songwriting standpoint — is on glorious display, shinAudley’s Pink ing the spotlight on his P H O T O : J O N AT H A N growth and transformation as an artist over the past couple of years. Getting his start performing on Hip Hop bills around town, Audley gradually expanded his bookings to include shows at Rock clubs with local Indie bands like The Yugos and the aforementioned Sylmar. Like the most recent funkadelic work of Childish Gambino, Pink also moves away from a strictly Hip Hop format, exploding like a Technicolor dreamcoat threaded with elements of Neo Soul and modern/ classic R&B and Pop. Pink’s first single, the hyper-infectious “Game Over,” is a slinky, smoky Soul/R&B jam that is buoyed by atmospheric, jazzy electronics and keys, a deep bass groove and Audley’s soulful, elastic vocals. Likewise, “Hee” is a slow-burner in the spirit of D’Angelo, while “Soldiers” lurches on a throbbing bass line as Audley fluctuates between singing and rapping. Hip Hop is still deeply ingrained in Audley’s creative personality, manifesting itself often in the production (via the low-rumbling bass, kinetic beats and hypnotic loops). Pink’s recent single “Cathedral” is the album’s most overtly Hip Hop cut, showcasing Audley’s talents as an MC, but sonically retaining the sensual tone of the other tracks, a testament to Audley’s biggerpicture artistry. Beginning Friday, Pink is available on platforms like Spotify, Apple Music and Tidal. For more on Audley, visit facebook. com/audleyglove.

MINIMUM GAUGE

31 31


SOUND ADVICE The Bad Plus

Thursday • Live! at the Ludlow Garage

PERFORMS THE AC/DC SHOW

Fri, Jan 26, 7:30pm @ The Sonic Boom Room Sun, Jan 28, 4pm @ The Woodward Theater

CCI TI TYYBBE EAT. AT.CCOOMM | | J JAANN. .2140––3106, , 220018 18

THE RuSH SHOW

Sat, Jan 27, 7:30pm @ The Sonic Boom Room Sun, Jan 28, 7pm @ The Woodward Theater

30 32

Now Enrolling For Spring Shows & Adult Performance Program

Rock and Jazz have always had an uneasy alliance. When artists in one of those genres have attempted to incorporate elements of the other into their work, they have more often than not been castigated by purists on both sides of the musical equation and found themselves in the noman’s-land of alienating fans and critics alike. The Bad Plus has avoided this unenviable circumstance by adhering to the traditions of Jazz and honoring that heritage, certainly in its original compositions but specifically when the musicians have ventured into the minefield of translating iconic Rock anthems into the Jazz idiom. Over the 17 years of The Bad Plus’ history, the Minneapolis-based piano/upright bass/drums trio has managed to reinvent some of the most powerful and recognizable songs in the Rock canon as engaging and compelling Jazz workouts. Through a bizarre and fascinating process of key and tempo shifts, melody adaptation/ deconstruction and taking a compositional approach to arranging, The Bad Plus has successfully invested towering Rock classics with sparkling Jazz classicism while maintaining a wire-walking love and respect for both musical forms. Equally impressive in all this is the range of songs that The Bad Plus has interpreted over the years, from a Jazz-carnivalof-the-damned reworking of Pink Floyd’s “Comfortably Numb” to wildly evocative takes on Nirvana’s “Smells Like Teen Spirit” and “Lithium.” Along the way, The Bad Plus has inhabited and retooled the work of David Bowie, Queen, Pixies, Rush, The Bee Gees, Black Sabbath, Radiohead, Wilco, Blondie, Yes, Aphex Twin and Country legend Roger Miller, among many others. The Bad Plus brings that same spirit of invention and transformation to its original material. The trio’s compositional skills are on full display on all of its albums, but particularly on 2005’s Suspicious Activity? and 2010’s all-original Never Stop. The band’s self-penned material features a similar Jazz-power-trio approach, with melodic yet untethered piano runs, sinewy bass lines that simultaneously anchor and

kiCkiN’ COuNTRy

(Adult Performance Program) Fri, Feb 16, 10pm @ Rick’s Tavern & Grille Ticket and other information available at

Mason.SchoolofRock.com

The Bad Plus PHOTO: SHERVIN L AINEZ

Zach Deputy PHOTO: SOBEKEH MUSIC PHOTOGRAPHY

lift the melody and propulsive drumming that serves as both pulse and counterpoint. The wrinkle in the latest chapter of The Bad Plus story is the recent departure of founding pianist Ethan Iverson and the arrival of Orrin Evans to the fold. The chemistry between Iverson, bassist Reid Anderson and drummer Dave King was well documented and indisputable, and Evans now has a very big bench to fill. The change has been in the works for close to a year, so Evans was presumably hired for his like-minded skill set and has been cramming for his Bad Plus live debut. He made his studio introduction with last week’s release of Never Stop II, yet another album stocked with original material. Early reviews are enthusiastic about Evans’ addition to The Bad Plus, so it seems safe to say that the band has passed its chemistry exam. (Brian Baker)

Zach Deputy with Elementree Livity Project Saturday • Urban Artifact

Reading about, listening to and witnessing a performance by Zach Deputy are three entirely different experiences, and all of them are a mildly disorienting at first. But everything makes complete sense about two minutes into seeing him live. Deputy’s music incorporates a plethora of technology — including drum and looping machines, among several other effects and devices — but its core creation comes from his voice and an acoustic guitar. His studio recordings often sound like the work of a full-on powerhouse Funk band with a classic Soul vocalist that is also able to shapeshift into Reggae, Gospel, Hip Hop, Soca, Folk Rock, Pop, Blues and any number of other formats, pulling each into the sonic whole without making it sound like an awkward mash-up. In fact, a big part of the intensely rhythmic music’s appeal is its fluid, organic vibe. Then there are the performances. A Deputy concert is a kinetic, mesmerizing whir of energy, improvisation, soulfulness, playfulness and joy, though he performs alone and seated with his acoustic guitar on his lap the entire time, jostling between


859.431.2201

Future Sounds P.O.D. – Feb. 8, Madison Live

Municipal Waste – Feb. 17, Northside Yacht Club The Oh Hellos – March 3, 20th Century Theater Lights – March 8, Bogart’s Howard Jones – March 10, Live! at the Ludlow Garage Flobots

various knobs, buttons and microphones to concoct his groovy jams. After playing in bands for several years beginning in his early teens, Deputy started getting burned out, eventually selling his gear and eyeing a different line of work. But inspiration struck once again when he started playing shows with just his acoustic guitar and began experimenting with loops. His “one-man-band” shows became the talk of the Savannah, Ga. club circuit and word-of-mouth soon made him a popular draw nationwide. Deputy has continued to challenge himself when making an album, exploring his songwriting and presentation, as well as persistently reaching deeper into his bottomless bag of genres. His albums (and dozens of live releases, collected and updated at zachdeputy.bandcamp.com) give a great overview of what Deputy has to offer, but the uninitiated should take a peek at a few YouTube videos of him performing — you’ll immediately understand why people freak out about his shows and you’ll likely find yourself making plans to catch him when he pulls through Cincinnati this weekend. (Mike Breen)

Flobots with McLovins

Saturday • Southgate House Revival

no cover

Wednesday 1/24 Burning Caravan 8-11

Thursday 1/25 Todd Hepburn & Friends 8-11

Friday 1/26

TICKETS AVAILABLE AT THE SOUTHGATE HOUSE LOUNGE OR TICKETFLY.COM 1/24 - twisted pine; Ray vietti - januaRy aRtist in Residence 1/26 - davy knowles, the gRove; jody & sammy stapleton; punk Rock night 1/27 - ampline RecoRd Release w/ hot foR alice, vacation; flobots, mclovins 1/28 - home plate cd Release: bReak up lines, the jeRicho haRlot; pokey lafaRge 1/30 - noah & elizabeth gundeRson

Rabbit” Brackett and drummer Kenny “KennyO” Ortiz and dubbed the aggregation Flobots. Platypus became a local success and Flobots’ profile rose accordingly, so the group immediately set to work on a sophomore release, 2007’s Fight with Tools, its full-length debut. In fairly short order, Flobots became one of the most popular bands in Colorado, with their track “Handlebars” earning regular airplay. The local success led to a major-label record deal. In 2008, Universal Records reissued Fight with Tools and “Handlebars” was again a hit, reaching No. 3 on Billboard’s Modern Rock Tracks chart. Over the past decade, Flobots has released a trio of albums — 2010’s Survival Story (its last album for Universal), 2012’s The Circle in the Square (its first with renowned indie Shanachie) and last year’s Noenemies (the band’s first self-released album since the original issue of Fight With Tools) — and seen the defection of most of the band outside of the core of Laurie, Brackett and Ortiz. From the start, Flobots has been concerned with social and political activism, holding rallies and raising awareness about immigration reform, climate change and a host of other relevant causes, and Noenemies was, at its heart, a protest album highlighting those causes. The group’s politically focused song “Pray” was released on the day of Trump’s inauguration. Flobots and “Handlebars” were thrust back into the limelight last month when disgraced YouTuber Logan Paul rewrote the band’s biggest hit, a song that accentuated Flobots’ hope for human potential, as a crass objectification of women. On Twitter, the band called his rewrite “rampant misogyny and tone def douchebaggery,” and even recorded a response track, “Handle Your Bars.” Paul countered by pretending not to know who Flobots were. If this is a flame war, Flobots is working with a flamethrower and Paul has a book of soggy matches. Stay tuned for updates. (BB)

saTurday 1/27 The Steve Schmidt Trio 8-12 cocktaiLs

firepLaces

Wed. - Fri. open @ 4pm | Sat. open @ 6pm

1/31 - tiny moving paRts, mom jeans, oso oso, jetty bones; Ray vietti - januaRy aRtist in Residence 2/1 - joe buck youRself; tilfoRd selleRs, adam lee 2/2 - michael glabicki & diRk milleR (of Rusted Root); Root cellaR xtRact, jeRemy fRancis; the cousin kisseRs, sissy bRown

125 West Fourth st. | CinCinnati, ohio 45202

www.BromwellsHarthLounge.com

WWW.SOUTHGATEHOUSE.COM

JJAANN.. 1204––1360, ,220018 18 | | CCI TI TYYBBEEAT. AT.CCOOMM

For the past dozen years, Flobots has mixed Indie Rock and Hip Hop with a chemist’s precision to create an engaging and adrenalized hybrid that has attracted fans from both ends of its creative spectrum. Although Flobots began in Denver in 2005 with its self-released debut EP Platypus, frontman Jamie “Jonny 5” Laurie actually experimented with the Indie Rock/Hip Hop recipe five years earlier with producer Farhad “Yahktoe” Ebrahimi and a band under the name Jonny 5 + Yak. Forming in 2000, the project released the album Onomatopoeia the following year but almost immediately fell apart. In 2005, Laurie assembled a new band featuring MC/vocalist Stephen “Brer

Live Music

The Steve Schmidt Trio 8-12

PHOTO: AMANDA TIPTON

111 E 6th St Newport, KY 41071

31 33


LISTINGS

CityBeat’s music listings are free. Send info to Mike Breen at mbreen@citybeat.com. Listings are subject to change. See CityBeat.com for full music listings and all club locations. H is CityBeat staff’s stamp of approval.

WEDNESDAY 24

BROMWELL’S HÄRTH LOUNGE - Burning Caravan. 8 p.m. Gypsy Jazz. Free.

CROW’S NEST - Steve Dirr. 9 p.m. Acoustic. Free. GALLAGHER STUDENT CENTER THEATRE - Igor Butman Quintet. 8 p.m. Jazz. $30-$35. KNOTTY PINE - Dallas Moore. 10 p.m. Country. Free. NORTHSIDE YACHT CLUB - Leeway with By Force, Treason, Fixation and Fail Me. 8 p.m. Hardcore. $12, $14 day of show. SONNY’S ALL JAZZ LOUNGE - Karaoke. 7 p.m. Various. Free.

Dinge. 9:30 p.m. Indie/Rock/ Various. Free. URBAN ARTIFACT - Circle It with Free Kittens & Bread, Joe Tellmann Band and This Pine Box. 9 p.m. Indie/Alt/ Rock/Various. Free.

FRIDAY 26

ARNOLD’S BAR AND GRILL - Joe’s Truck Stop. 9 p.m. Americana. Free. BROMWELL’S HÄRTH LOUNGE - Steve Schmidt Electro-Trio. 8 p.m. Jazz. Free. COLLEGE HILL COFFEE CO. - Ellie Fabe. 7:30 p.m. Singer/Songwriter. Free. THE COMET - Tooth Lures a Fang. 10 p.m. Rock. Free. CROW’S NEST - Sam Hadfield. 10 p.m. Folk. Free.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Twisted Pine. 8 p.m. Americana/Various. $10.

THE GREENWICH - Sonny Moorman & Final Friday Blues. 8 p.m. Blues. $5.

URBAN ARTIFACT Blue Wisp Big Band. 8:30 p.m. Big Band Jazz. $10.

JEFF RUBY’S STEAKHOUSE - The Grace Lincoln Band. 8 p.m. R&B/Soul/ Jazz/Pop. Free.

THURSDAY 25

JIM AND JACK’S ON THE RIVER - Danny Frazier. 9 p.m. Country. Free.

H

ARNOLD’S BAR AND GRILL - Dottie Warner and Ricky Nye. 7:30 p.m. Jazz. Free. BROMWELL’S HÄRTH LOUNGE - Todd Hepburn and Friends. 8 p.m. Various. Free. COMMON ROOTS - Open Mic. 8 p.m. Various. Free. CROW’S NEST - Elia Burkhart. 9:30 p.m. Folk/ Americana. Free.

THE LISTING LOON - Jared Grabb with Brett Conlin and Marisa Seremet. 8 p.m. Singer/Songwriter. Free.

J A N . 2 4 – 3 0 , 2 0 18

LIVE! AT THE LUDLOW GARAGE - Rik Emmett Acoustic Duo. 8 p.m. Acoustic Rock. $25-$60.

LATITUDES BAR & BISTRO - Mike Sharfe and Brad Myers. 6 p.m. Jazz. Free.

H

MOTR PUB - Partner with

MADISON THEATER - Aimee Mann with Jonathan Coulton. 8 p.m. Folk/Rock/Pop. $32, $35 day of show. MANSION HILL TAVERN - The Bluebirds. 9 p.m. Blues/R&B. Cover.

Electro-Trio. 8 p.m. Jazz. Free. THE COMET - GRLwood with Lipstick Fiction and Progressive Dad. 10 p.m. Rock/Various. Free.

H

CROW’S NEST - Little Miami String Band. 10 p.m. Bluegrass. Free. DEPOT BARBECUE - April Aloisio. 7 p.m. Brazilian Jazz. THE GREENWICH - Push Play. 8:30 p.m. R&B/Funk. $8.

RADISSON CINCINNATI RIVERFRONT - Basic Truth. 8 p.m. Funk/R&B/Soul. Free (in The Fifth Lounge).

JIM AND JACK’S ON THE RIVER - Gen X Band. 9 p.m. Rock. Free.

THE REDMOOR - Soul Pocket. 9 p.m. Dance/ Pop/R&B. $10.

JIMMY B’S BAR & GRILL - Trailer Park Floosies. 10 p.m. Dance/Pop/Rock/Rap/ Country/R&B/Various. Cover.

RICK’S TAVERN - Turned Up Band. 10 p.m. R&B/Funk/ Rock. Cover.

KNOTTY PINE - Prizoner. 10 p.m. Rock. Cover.

THE SONIC BOOM ROOM - School of Rock Mason Tribute to AC/DC. 7:30 p.m. AC/DC tribute. $6, $8 day of show. SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Davy Knowles with The Grove. 9 p.m. Blues/Rock/ Various. $20, $25 day of show.

THOMPSON HOUSE Pickwick Commons with Rig Time. 8 p.m. Hardcore. $10.

MADISON LIVE - Madison Theater Band Challenge Round 2. 8 p.m. Various. $10.

34

PLAIN FOLK CAFE - The Bellowing Pines. 7:30 p.m. Alt/Rock/Various. Free.

L’BURG DRINKS & MORE - Trailer Park Floosies. 9:30 p.m. Dance/Pop/Rock/Rap/ Country/R&B/Various. Free.

KNOTTY PINE - Kenny Cowden. 9 p.m. Acoustic. Free.

MEMORIAL HALL - Los Lobos. 8 p.m. Rock/ Roots/Various. $30-$45.

OCTAVE - Hyryder. 8 p.m. Grateful Dead tribute. $12.

LATITUDES BAR & BISTRO - Deuces. 9 p.m. R&B/ Soul/Hip Hop/Various. Free.

THE HAMILTON - Michael McIntire. 7 p.m. Guitar/Various. Free.

H

NORTHSIDE YACHT CLUB - Hudson Falcons, Black Planet, New Third Worlds and Rat Trap. 8 p.m. Punk. Cover.

H

SYMPHONY HOTEL & RESTAURANT - Ben Levin Trio. 8 p.m. Blues/Boogie Woogie. Free.

C I T Y B E AT. C O M   | 

THE GREENWICH - Now Hear This. 8:30 p.m. Jazz. $5.

KNOTTY PINE - Prizoner. 10 p.m. Rock. Cover.

MOTR PUB - Vibrant Troubadours with Winter Sounds. 10 p.m. Alt/Rock. Free.

H

URBAN ARTIFACT - In the Pines, Brother O’ Brother, Town Criers and Brisco Darling. 9 p.m. Rock/ Various.

H

WASHINGTON PLATFORM SALOON & RESTAURANT - Marc Wolfley Quartet. 9 p.m. Jazz. $10 (food/drink minimum).

SATURDAY 27

ARNOLD’S BAR AND GRILL - Root Cellar Xtract. 9 p.m. Country Rock. Free.

H

LIVE! AT THE LUDLOW GARAGE - Rik Emmett Acoustic Duo. 8 p.m. Acoustic Rock. $25-$60. MADISON LIVE - Madison Theater Band Challenge Round 2. 8 p.m. Various. $10. MANSION HILL TAVERN - Mistermmann & the Mojo Band. 9 p.m. Blues. $3. MOTR PUB - Coastal Club with Sleeping Bag. 10 p.m. Alt/Pop/Rock. Free.

H

NORTHSIDE YACHT CLUB - “Beat Faction”. 9 p.m. DJ/ Alt/New Wave/Dance/ Various. OCTAVE - Hyryder. 8 p.m. Grateful Dead tribute. $12. RICK’S TAVERN - Top This Band. 10 p.m. Pop/R&B/ Various. $5. SILVERTON CAFE - Big Trouble Blues Band. 9 p.m. Blues. Free. SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Flotbots with McLovins. 10 p.m. Alt/Hip Hop/ Rock/Pop/Various. $12, $15 day of show.

H

THE AVENUE EVENT CENTER - Blac Youngsta. 10 p.m. Hip Hop. $30.

TAFT THEATRE - JJ Grey & Mofro and The Commonheart. 8 p.m. Americana/ Various. $29.50-$39.50.

BROMWELL’S HÄRTH LOUNGE - Steve Schmidt

THOMPSON HOUSE - JuJu Crow with Firefly. 8 p.m.

Rock. $10. THE UNDERGROUND Scott Simms with Gwala, Jeremiah Lewis, Young Marlew, J-Nibb, Roberto and Chaya Jones. 7 p.m. Hip Hop. Cover. URBAN ARTIFACT - Zach Deputy with Elementree Livity Project. 9 p.m. Soul/Funk/Latin/Reggae/Pop/Various. $8, $10 day of show.

H

WASHINGTON PLATFORM SALOON & RESTAURANT Pat Kelly and Michael Sharfe Quartet. 9 p.m. Jazz. $10 (food/drink minimum). WESTSIDE VENUE Shocker (album release show) with Automatic Evolution, Curse of Cassandra, Down One, Circus Ricky and Nexus Lives. 6 p.m. Rock/ Metal/Punk. $8.

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SUNDAY 28

LATITUDES BAR & BISTRO - Ben Levin Duo. 6 p.m. Blues/Boogie Woogie. Free. MANSION HILL TAVERN Open Jam with Deb Ohlinger. 6 p.m. Various. Free. MOTR PUB - In Details. 8 p.m. Alternative/Rock. Free. NORTHSIDE TAVERN - The Tillers. 9 p.m. Folk. Free.

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SONNY’S ALL BLUES LOUNGE - Blues jam session featuring Sonny’s All Blues Band. 8 p.m. Blues. Free. SONNY’S ALL JAZZ LOUNGE - The Art of Jazz featuring the music of Art Blakey. 8 p.m. Jazz. Free. SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Home Plate (release show) with Break Up Lines, The Jericho Harlot, Old Flames, Bright Lights and Scarlet Street. 7 p.m. Rock/Pop Punk/Emo/Various. $5.

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SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Pokey LaFarge. 8 p.m. Americana. $20, $25 day of show.

H

URBAN ARTIFACT - Mara Moon, Sonny B. Gould and The High Plains Drifter. 8

p.m. Indie/Folk/Rock/Acoustic/Various. Free. WOODWARD THEATER - School of Rock Mason Tribute to AC/DC (4 p.m.); Tribute to Rush (7 p.m.). 4 p.m. AC/DC/Rush tributes. $6, $8 day of show (includes admission to both shows).

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MONDAY 29

THE COMET - DJ Iron Chef, Matte SEXWAVE, Sesh Gang and Dom Gutta. 10 p.m. Hip Hop/Various. Free.

H

THE GREENWICH - Baron Von Ohlen & the Flying Circus Big Band. 7:30 p.m. Jazz. $5 (or two cannedgood donations for Freestore Foodbank). INCLINE LOUNGE AT THE CELESTIAL - Tom Schneider. 6 p.m. Jazz. Free. KNOTTY PINE - Pete DeNuzio. 9 p.m. Acoustic. Free. MADISON LIVE - Just Breathe Tour with Letters to a Liar, Today’s Last Tragedy, Mark My Words and Airways. 7 p.m. Metalcore. $8, $10 day of show. MCCAULY’S PUB - Open Jam with Sonny Moorman. 7 p.m. Blues/Various. Free. MOTR PUB - Office Party with Bi. 9 p.m. Rock. Free. NORTHSIDE TAVERN Northside Jazz Ensemble. 9 p.m. Jazz. Free.

TUESDAY 30

ARNOLD’S BAR AND GRILL - Ricky Nye. 7 p.m. Blues/Boogie Woogie. Free. CHRIST CHURCH CATHEDRAL - Music Live@Lunch with Ma Crow & Co. 12:10 p.m. Bluegrass. Free. THE COMET - Butt. 10 p.m. Punk. Free. CROW’S NEST - Open Mic Night. 8 p.m. Various. Free.

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Noah Gundersen with Elizabeth Gundersen. 8 p.m. Indie/Folk/Rock/Various. $18, $20 day of show.

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IN THE CIRCUIT COUR OF THE NINTH JUDICIAL CIRCUIT IN AND FOR ORANGE COUNTY, FLORIDA CASE NO: 2017-DR-17433 KIMBERLY ANNE DWYER-ROEW, Petitioner/Wife and KEEGAN ALLEN ROWE, Respondent/ Husband NOTICE OF ACTION FOR PETITION FOR DISSOLUTION OF MARRIAGE WITH MINOR CHILD(REN) AND OTHER RELIEF TO: KEEGAN ALLEN ROWE YOU ARE NOTIFIED that an action has been filed for Petition of Dissolution of Marriage With Minor Child(ren) and Other Relief against you and that you are required to serve a copy of your written objections, if any, to/on� R. Gregory Colvin, Esquire P.O. Box 3106 Orlando, FL 32802 on or before 02/01/2018, and file the original with the Clerk of this Court at 425 North Orange Avenue, Suite 320, Orlando, Florida 32801 before service on the Petitioner or immediately thereafter. If you failed to do so, a default may







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