CityBeat Oct. 04, 2017

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A Sesquicentennial Celebration

The University of Cincinnati’s College-Conservatory of Music marks its 150th anniversary with a year of special programming BY EMILY BEGLEY  |  PAGE 13




kathleen madigan “Boxed Wine and Big Foot Tour”




cover story 13





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October 5–9, 2017 Turfway Park 7500 Turfway Rd, Florence, KY 41042 Thurs–Sun 10a–7p, Mon 10a–6p



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No More National Anthem at Games


best coast

Doug Hamilton: I quite agree. Players on the field for the anthem is relatively new. In 2009, the (Department of Defense) began paying NFL teams for displays of militaristic patriotism to stimulate recruitment. Why do I need the anthem played at a for-profit event to which I bought a ticket? Not like I didn’t drive past dozens of American flags on the way to the event. I know what country I’m in. I know the history of it. I don’t need a military-centered display to remind me what lots and lots of my tax dollars go toward. And I’ll bet NONE of the people who so stridently make a big deal out of hearing it played publicly have it on their personal playlist!

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OcTOber 16 · 20Th ceNTUrY TheATer Visit to enter for a chance to win tickets to this upcoming show!

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Comment posted at in response to Sept. 25 post, “Honor the National Anthem by Playing It Less”

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is giving away Bengals tickets to the

Y’all Love Parking Dorothy Gillstrap: The city paid dearly for that property — over $30 million! Now to sell it for a fraction of the cost at $8 million would be wasteful. I know nothing is final on the sale but it’s foolish if that’s all the city will get.

SNAPCHAT CityBeatCincy

Stan Litz: Parking is very expensive downtown and the funds could be used for more services in the neighborhoods.

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Join us at the following location where you can enter for your chance to win. Tickets will be

Bonnie Speeg: Heaven only knows if they’d have built more parking for patrons. The #1 reason it keeps me from going as often as I’d like. #1 reason. Comments posted at in response to Sept. 25 post, “Library officials apologize for detention of man protesting potential sale of north building”

Time for Apple Ale

given away that night on location. Tickets include entry into the game on the Miller Lite Who

@lunchlobbycinci: Ummm yes.

Dey Deck as well as complimentary beverages and food. #itsmillertime

“Prepare to spend the fall tipsy. @marchfirstbrew released their seasonal ale Apple Fritter Cider this week.” Posted at CityBeatCincy on Oct.2.

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Miller Lite Who Dey Deck Giveaway Location:

Sunday 10/22 Cloverleaf Pub 4-5:15pm


More info: Cit

3269 Bend Rd Cincinnati, OH 45239 Win Tickets to the 10/29 Bengals vs Colts game on the Miller Lite Who Dey Deck!

OCT. 05

NOV. 06–12

NOV. 19

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What a Week! BY T.C. Britton


Father of Playboy and cultural icon Hugh Hefner died of natural causes in his infamous mansion at age 91 Wednesday. Friends and fans alike shared memories of Hef and his magazine, which as we all know is read primarily for “the articles.” In fact, Playboy shifted its focus more toward editorial content when it stopped showing full-frontal nudity in 2016. It took less than a year for the company to reverse its decision, bringing boobies back this past spring. Of course, Hefner was a longtime controversial figure. A recent New York Times op-ed identifies the professional playboy as “a pornographer and chauvinist who got rich on masturbation, consumerism and the exploitation of women, aged into a leering grotesque in a captain’s hat, and died a pack rat in a decaying manse where porn blared during his pathetic orgies.” Oof. And one of Hef’s creepier attributes was his complicated relationship with Marilyn Monroe, a woman he’d never met. Monroe appeared inside and on the cover of the magazine’s debut issue in 1953, in old photos Hefner purchased without her consent. Considering that, it’s especially unsettling that in 1992 he purchased the crypt next to Monroe’s for $75,000, saying, “Spending eternity next to Marilyn is too sweet to pass up.” Gross, Hef. R.I.P. — rest in perversion!

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Move over, Pennywise. This real-life killer clown is scary AF. In 1990, a Florida woman was attacked in her home in one of the most disturbing of ways: a person in full-clown regalia carrying flowers and balloons came to her door and shot her. The victim, Marlene Warren, eventually died from her wounds and the case was never solved. Fast-forward 27 years and the mystery has finally come to an end. Longtime suspect Sheila Keen Warren was arrested this week, and if you’re wondering if she’s related to the victim due to their shared last name, think again — 12 years after allegedly killing Marlene, Sheila married the woman’s husband! It’s believed the two were having an affair at the time of the murder. Lifetime should really jump on this story and create a dramatized TV movie. With the popularity of ’90s true crime, this could be the Amy Fisher-It crossover deranged fans could only dream of.


Savage Trump burns are a dime a dozen these days. I just read the headline, “Kim Kardashian Goes Nuclear On Trump And Twitter Is Loving It,” so... It turns out a Massachusetts school librarian wins the #resistance award this week after rejecting the First Lady’s donation of books. In

honor of National Read a Book Day (these pseudo-holidays must be stopped), Melania Trump donated a collection of 10 Dr. Seuss reads to top-ranked schools across the country. Librarian Liz Phipps Soeiro from Cambridgeport Elementary School was all, “Thanks but no thanks.” In an open letter to Melania, Soeiro explained that many other schools have a much higher need for book donations than the award-winning institutions she chose to honor, that the White House ought to turn its attention to education policies and that Dr. Seuss is actually

cliché and kinda racist! In the ultimate “boom, bitch” move, she encouraged Melania to reach out to her local librarian for more recommendations. I’d cheer for Soeiro, but she’d probably just shush me.


Saturday Night Live returned this week for its 43rd season. Ahead of Saturday’s premiere, it was announced that Butler County native Luke Null, a Lakota East grad and Ohio University alum, was among the three new cast members. Countless entertainment

websites shared the casting news, struggling to spell “Cincinatti” correctly. Being a newbie, Null didn’t get too much airtime in Saturday’s episode, which featured Ryan Gosling and Jay Z. Alec Baldwin returned as President Trump and likened 45 to the football players he’s raging a Twitter war against, saying, “I’m combative, I like to win and I might have a degenerative brain disease.” Elsewhere, Gosling took credit for “saving Jazz” via La La Land, recounted his abduction by aliens and raged against Avatar’s use of the lamented Papyrus font.


What Was Up with This Spaghetti Dinner? BY JEFF BEYER

COLLEGE HILL – A Tristate mom this week cooked a very bland spaghetti dinner while entertaining friends and family. Joan Henderson was reportedly inspired to host a dinner after watching “several TV programs where people sat around the table, talked and enjoyed eating together.” Henderson, who is 43 and lives in College Hill, says that she “cooks occasionally for her young family, but they never really have a family dinner like she and her parents used to.” Henderson used boxed noodles, which she admittedly left in the water to boil about 10 minutes too long, making them very soggy — like chicken noodle soup noodles from a can and not like the delicious, slightly crunchy ones found in the boxed chicken noodle soup variety. She also used tomato sauce from a jar, identified by one diner as “probably mushroom and onion.” Nine-year-old Aiden Henderson said he was grateful for not having to go hungry, but expressed frustration at his mother’s cooking skills. “I wish she’d just use a recipe from the internet. I don’t think there’s even any salt in this,” Aiden said, arms outstretched and shrugging his shoulders. After a short pause he added, “And I used to love spaghetti.” Henderson decided at the last minute to invite her next-door neighbor Rodney

Lemuel to the affair. “When I was planning the meal, I guess I overestimated what we needed, so I thought, ‘Why not share the love?’ ” Henderson said. “And Rodney’s been a widower for several years now — so of course I wanted to invite him over, too.” Lemuel, 72, who has lived in a small Cape Cod next door to the Hendersons since they first moved in nine years ago, seemed to share little Aiden’s dismay with the meal. “I see the pizza guy delivering here all the time,” he said. “I thought we were going to eat pizza for chrissakes!” Henderson’s husband, Chip, 45, showed interest in finding a diplomatic solution to the awkward situation, but also thought the meal was a waste of calories. “I knew I could’ve been eating something more delicious, but I didn’t want to hurt my wife’s feelings, so I thought about slipping it under the table to the dog. But then I thought, ‘Shit! Spaghetti is really splashy and we have a very light-colored carpet.’ ” Most diners pushed the spaghetti around for a while and then piled it up in various formations on their plates in an attempt to make it appear as if they had eaten an acceptable amount of the tasteless noodles and sauce. Mrs. Henderson said she had had a great time and is planning on making “something Mexican” for next month’s get-together.

The Juice is loose: After serving a nine-year prison sentence, O.J. Simpson was released on parole early Sunday morning. Simpson left a Nevada facility dressed in head-to-toe denim, also known as a Canadian tuxedo. Paparazzi followed Simpson after his release, catching up with him at a gas station where he was spotted in the back of a white SUV an — oh Lordt, here we go again...


Tom Cruise may have an inflated ego, but does he also have an inflated booty? An eagle-eyed viewer and true American hero noticed Cruise sporting an unusually plump bubble butt in a scene from Valkyrie, sharing on Twitter back in August. Some speculated he may stuff his cheeks like he stuffs his shoes with lifts; others argued as an actor who does his own stunts, it may be nothing more than protective padding. And it could have ended with that. But Cruise commented on the conspiracy this week, claiming no prosthetic was used in the film and he always does his own “mooning,” ew. Tom Cruise fake butt-gate is the kind of news I live for, because it’s so silly yet you know he takes it seriously. This week Cruise probably wishes ass-implant speculation was his biggest problem after his latest film, American Made, had one of the lowest openings in his career. Heh, “lowest opening.”


This week in questionable decisions: Twitter began testing 280-character tweets, doubling its previous limit; Spanish luxury fashion house Balenciaga collaborated with Crocs for Paris Fashion Week, with models stomping the runway in plastic platform clogs; conditioned to froth at the mouth whenever an athlete bends a leg joint, confused fans at Sunday’s Steelers-Ravens game booed loudly when the team kneeled in prayer before the singing of the National Anthem; MTV’s Total Request Live is back on the air. CONTACT T.C. BRITTON: letters@


Honor the National Anthem by Playing It Less BY JACK BRENNAN

realize how much better it would be if we rejected the conservative political correctness that says the anthem MUST be played before every friggin’ game on everybody’s schedule. If you don’t go to ballgames — if plays or concerts or something else non-sports is your thing — you rarely or never encounter the anthem. It’s just not on the program, and no one thinks a thing of it. It’s a sports thing to perform it every time. And if you go to a lot of sports events, you know what anthem time can be like. Some people deftly manage to be in a concourse, outside the area where custom demands their attention. They can efficiently use the dead time in a conversation or a concession line. As for those still in the stands, some pay reverent attention, but others just look like zombies and still others are staring at their phones or whispering to their neighbors. So if we truly do revere the anthem, why don’t we make it truly special and perform it only on national holidays or at championship games? Why do we submit it to quiet disrespect by playing it before every mundane and less-than-consequential contest? Do it enough relatively meaningless times, and by sheer force of chance and numbers it can even get ugly. As an Enquirer reporter covering the Reds in 1990, I was made to witness in person the arguably Worst Anthem Ever, the Roseanne Barr one at a San Diego Padres game when she spit, grabbed her crotch and sang just horribly. I’ve never really figured out what the hell her deal was with that, but it was quite a mess. Really, though, we know why the anthem is singularly attached to sports. Much as many of us liberals enjoy them, sports at their genetic core are tied up with hardline conservative “values.” They mostly feature patriarchal authority figures enforcing strict codes of discipline, and they prize muscle and aggressiveness over intellect and empathy. What’s more conservative and traditional than the way we present the anthem? Hey, I get it that sports are kind of inherently conservative. Teams need strict regimens to perform well. You can’t stop practice every 20 minutes to make sure no one is feeling tired, or stifled in the area of their personal expression. And it’s OK that even with kids, one side has to “lose.” But it’s still a shame that the “Love It or Leave It” segment has managed to exercise

such philosophical control over the anthem, and particularly at sports events. I see it as in large part as a feel-good exercise for people who don’t really “Support Our Troops” in any meaningful way. (After they cheer, some go vote down levies for mental and physical rehab services.) And sports teams and leagues often push the envelope toward pandering to jingoism (defined by Webster as “extreme chauvinism or nationalism, marked especially by a belligerent foreign policy.”) So in addition to saving the anthem for truly meaningful times, how about we occasionally link it with something great about America besides soldiers and flyover warplanes? Yes, our military personnel are

Read us on your phone when you’re at the bar by yourself.

“Sports teams and leagues often push the envelope toward pandering to jingoism.”

worthy of our great respect and gratitude, but honoring some marching Peace Corps workers might be nice for a change. And instead of making the auxiliary song be Lee Greenwood’s “God Bless the USA” — which glorifies war and implies there’s no need to change a thing in this country — imagine backing up the anthem with Lennon’s “Imagine,” which says that maybe our highest ideals should include striving for a bit more justice and equality. Prior to the last few weeks, I didn’t think there was a chance in hell we could actually come to honoring the anthem more by playing it less. There seemed no way that the hard right wing could be stopped from ferocious pushback in such a case, and the teams and their leagues weren’t about to risk that. But now, ironically, the players’ spirited defense of their right to protest might cause the right to rethink its stand. If the anthem is played fewer times, after all, it means fewer chances for it to be used as a vehicle for the statements those puffed-up “patriots” just hate. And maybe the protests, however legitimate, would move on to another platform. And then the national anthem would finally be where it should be on the scene of American sports. CONTACT JACK BRENNAN:

the all-new


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Now that National Football League players (and even some owners) have rebuked Donald Trump and other hardline conservatives, establishing by the sheer force of numbers their right to dignified protest during the national anthem, let’s move to another anthem-related issue. Why, for anyone’s sake, do we choose to perform the anthem at every U.S. sports event above the high school level, and even many at that level? Let me start this discussion by recapping a behind-the-scenes incident from my time as public relations director for the Bengals: It was 10 or so years ago at Paul Brown Stadium, long before Colin Kaepernick or any other NFL player thought of kneeling during the anthem. But at anthem time on this Sunday, the FOX TV producer working the game was livid. “Goddammit, your anthem is running long!” he screamed to me by phone from the production truck. “You gotta speed this up! We’re on the air at exactly 1:00:30, and if we have to open and that anthem is not finished, you guys are going to be hearing from us next week!” A hurried call to our team’s “gameday presentation” staff reached only a voicemail, and it was pointless anyway. It was too late to affect the course of events. As for the cause of this horrid situation? Possibly the anthem had started late, due to a previous element in the meticulously tight “Pregame Time Format” running too long. Or perhaps the singer was just not well-disciplined and hadn’t held to the rehearsal time. Maybe it was partly my fault, for not properly ensuring full mid-week communication between the producer and the gameday people. Either way, a TV disaster loomed, and I was powerless to do anything but watch and listen as Francis Scott Key’s words and music played out on the field… Then sighs of relief, as the singer put a wrap on it just in the nick of time. The producer had overreacted. But though it was ultimately a non-issue, it sticks in my mind to this day how angry and frantic the producer became when he thought his NFL game was going to open with The StarSpangled Banner. Huh? Yes indeed, the same TV networks that join sports leagues in so reveling in the anthem on special occasions consider it a loser most of the time. When protests aren’t dominating the news, garden-variety anthem presentations at the vast bulk of games (and not just football) are something to be scrupulously avoided for the TV audience. It’s considered dead air, two minutes and 30-odd seconds of something very few really care about. It’s boring, OK? And that one close call at PBS helps me

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Exhibitions and Events Anila Quayyum Agha: All The Flowers Are For Me Now–October 15, 2017

Art in Bloom October 26–29, 2017

William Kentridge: More Sweetly Play the Dance Now–January 28, 2018

Albrecht Dürer: The Age of Reformation and Renaissance November 17, 2017–February 11, 2018

Ana England: Kinship September 8, 2017–March 4, 2018

Terracotta Army: Legacy of the First Emperor of China April 20–August 12, 2018

Iris van Herpen: Transforming Fashion October 13, 2017–January 7, 2018

Art After Dark Final Fridays

General operating support generously provided by:

Anila Quayyum Agha (b. 1965), All the Flowers Are for Me (Red), laser-cut lacquered steel and lightbulb, Alice Bimel Endowment for Asian Art, 2017.7


Reforming Again

Data suggests updating the Collaborative Agreement might take more than a quick refresh By NICK SWARTSELL

P H O T O : N i c k S wa r ts e l l


and the spirit alive, in theory as well as in practice,” Cranley said during a recent forum on the effort. Cranley was a City Council member when the original agreement was forged. Central to the effort is a taskforce headed by Saul Green, an attorney whom federal courts tapped to monitor the original Collaborative Agreement in 2002. He and others, including University of Cincinnati criminal justice professor John Eck, will produce a report detailing the efficacy of the agreement thus far and making recommendations for further reforms. “We as a country haven’t gotten on top of this,” Green said at a Sept. 27 forum about the refresh efforts, citing the nationwide tumult over police shootings of unarmed black citizens across the country captured on ever-more ubiquitous cell phone cameras. “We’re still having problems between the police and the community.” Among the focuses of the effort: ramping up community engagement with the Citizens Complaint Authority. The CCA was created by the Collaborative to give citizens an independent place to lodge complaints about police misconduct. But it has struggled with funding woes and leadership changes in the recent past.

Attendees at a march for racial justice last year place flowers near where Timothy Thomas was shot in 2001. Thomas’ death sparked unrest and ongoing reform efforts in Cincinnati. As refresh efforts ramp up, distrust for law enforcement in Cincinnati along racial and class lines remains. That’s not surprising — statistics show deep racial disparities linger when it comes to Cincinnati’s justice system. A study commissioned by the Black United Front and executed by University of Cincinnati faculty and graduate students surveyed more than 1,250 residents of Cincinnati and nearby areas about their attitudes when it comes to the Cincinnati Police Department. The respondents — about 41 percent black and 59 percent white — roughly mirror the city’s racial makeup and were further statistically weighted to match 2016 Census estimates for Cincinnati. Fifty-one percent of black residents surveyed say they have little to no trust in the police, while just 20 percent of non-black residents said the same. Two out of three black residents strongly disagreed with the statement that CPD treats people equally, while only 28 percent of non-black respondents felt that way. Other findings were more nuanced. Thirtyseven percent of black residents surveyed thought police-community relations had improved since the Collaborative, while 28

percent thought relations hadn’t improved. The survey also measured wider elements of Cincinnati society. Seventy-one percent of black residents surveyed said they had zero or little trust in Hamilton County courts, compared to just 28 percent of whites surveyed, and 68 percent of black respondents said they had little or no faith in Cincinnati’s government, compared to 46 percent of white respondents. Another survey of criminal justice and other professionals in Cincinnati funded by the city had some similar findings. Twenty of 31 respondents to that survey disagreed with the idea that the city of Cincinnati fairly and equitably enforces the law among all groups of residents, though they rated CPD high in other areas. “Police and citizens need to acknowledge that there is a pattern of targeting minorities in metropolitan Cincinnati and other cities, suburbs and rural areas,” one of the respondents wrote. University of Cincinnati political science professor Brian Calfano helped put together the surveys. He says they’re just one piece of the puzzle. CONTINUES ON PAGE 11

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t’s been 15 years since the city of Cincinnati, its police department and racial justice advocates entered into an unprecedented agreement to reform law enforcement practices. After a decade and a half, those groups are exploring how to update the nationally lauded, but perhaps unfinished, Collaborative Agreement. City officials are optimistic about the refresh. Cincinnati Police Department leadership and officers say, for the most part, that they’re on board. Advocates who were part of the original Collaborative say it’s brought positive change, but also point to deep and remaining distrust and disparities. It will take efforts beyond policing to address community problems and fulfill the promises of the original agreement, they believe. Cincinnati’s hard-won reform effort stems from a lawsuit filed against the city by the Black United Front after the deaths of 15 black citizens at the hands of police. Cincinnati civil rights attorney Al Gerhardstein, who serves as counsel for the Black United Front, still has the jacket 19-year-old Timothy Thomas was wearing when Cincinnati Police officer Stephen Roach shot and killed him in 2001, sparking days of civil unrest in Over-the-Rhine and setting the city on the path toward the Collaborative. He says it reminds him of the life-and-death stakes of the work at hand. “We (have) dramatically reduced arrests in recent years, and that’s great,” Gerhardstein says. “But there remains a deep racial disparity in the arrests we continue to make, and that’s a challenge, through this collaborative refresh, we must address.” City officials, including Mayor John Cranley, put a more positive spin on the electionyear effort. They point out that the refresh is a voluntary measure meant to shore up what is already a lauded model. Indeed, federal oversight for the city’s reform efforts ended in 2008 when a judge deemed all parties compliant to the agreement. Activists involved in the original agreement, however, don’t want politics in the city’s push. “This isn’t about any candidate,” Black United Front’s Iris Roley says. “This isn’t to support John Cranley. We do need a refresh, but the people should be running this, not City Hall.” The idea to update the Collaborative Agreement took root in December of last year, and the city formally launched the refresh with a packed news conference at City Hall in early June. “We want to make sure we keep our Collaborative Agreement updated, refreshed,

news city desk BY cit ybeat staff

WantS yOu tO



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OctOber 12 · 20th century theater Visit to enter for a chance to win tickets to this upcoming show!

Kentucky Democrats Groom Fresh Faces for Office Fifteen years ago, Northern Kentucky had a Democratic Congressman, a Democratic governor that all three counties supported and Democrats in four of its nine state House seats. Looking at the political landscape today, that might as well have been 150 years ago. A Republican, Thomas Massie, serves the region in the U.S. House of Representatives. Northern Kentucky backed Republican Matt Bevin for governor in 2015. All four of its state senators and seven of its nine state House members are Republican. And Republicans occupy every non-judicial office in Boone, Campbell and Kenton county governments. Democrats want to revive themselves from their coma. To that end, Democratic catalysts Nathan and Mary Lee Chance Smith sponsored a candidate boot camp in Covington on Sept. 23 for about 35 Dems pondering a run for office in Kentucky. The six-hour workshop is part of a campaign called “Project Run.” About a dozen current and former Democratic officials spoke, including Hamilton County Clerk of Courts Aftab Pureval, who last November became the first Democrat to win that office in 113 years. “Many races here go completely uncontested and so, oftentimes, the Republicans who are winning these seats are putting very little effort into the race,” Mary Lee Smith says. “They don’t have to spend any money. They don’t have to go door to door. They’re just basically a shoo-in.” The boot camp covered election basics: ballot requirements, campaign fund raising and organizing, and developing a message. Smith says the event was an outgrowth of the fairly new Fort Mitchell Democrats club, which has grown to more than 210 people. “We want to help these folks get on the ballot. That’s number one,” she says. “I feel very hopeful that Democrats can get back in the game. I think now is the perfect time.” At least two candidates for the Kentucky House of Representatives emerged at the boot camp. One, Jason Kilmer of Fort Thomas, wants to run for House District 68, represented since 1999 by Republican Joseph Fischer. He wants to assert himself for a middle class “being the scapegoat for tax cuts for the affluent.” He also wants to develop alternatives in dealing with the opioid crisis and defend the working class and public schools. “Joe Fischer has served honorably for a long time, but I think he has fallen victim to complacency and an ideological party agenda,” says Kilmer, who grew up in Alexandria and works as a mechanical drafter for Johnson & Johnson. “When

constituents are calling and writing your office at the rate they were to oppose charter school legislation and you still vote for it, something has to give.” Josh Blair, a Kenton County native and college professor who lives in Erlanger, attended the boot camp to prepare for a run against incumbent Diane St. Onge for Kentucky’s 63rd House district. He says he wants to help “everyday Kentuckians” by protecting public education and public pensions, solving the opioid epidemic and keeping taxes low. “I don’t think it’s important for more Democrats to run for office; I think it’s important for more people to run for office,” Blair says. “I think every election, general and primary, should give citizens a choice. ” (James McNair)

FC Cincinnati Fans: Soccer Stadium Top Priority Is a stadium for FC Cincinnati among Hamilton County’s most pressing needs? More than 100 soccer fans who showed up at a county commission meeting on infrastructure Sept. 27 think so. FC Cincinnati General Manager Jeff Berding, a former Cincinnati City Councilman, was there as well, seeking to make the case that without the stadium, FC may have a very difficult time securing a Major League Soccer franchise up for grabs. At the meeting, Berding argued that the stadium should be “among the first” pri­orities for the county because MLS requires plans for dedicated stadium by the end of the year. He, and FC fans, are asking for a $100 million match from the county that would be combined with $100 million in private investment to make the stadium happen. Commissioners so far haven’t been overly friendly to the idea. The Western Hills Viaduct needs a $330 million replacement. The Hamilton County jail is severely overcrowded, housing 400 more inmates than it was designed for. Over the next decade, the county is facing a $260 million maintenance backlog if trends continue. And the county’s means by which it might fund those needed projects are nearly tapped. Others are also lining up for public money. Owners of U.S. Bank Arena released a letter immediately after last week’s commission meeting requesting that the county’s Port Authority buy the aging 40-year-old building, tear it down, and construct a new arena at a cost of $342 million. Cincinnati attorney Tim Mara decried bids to spend taxpayer money on sports venues as other needs loomed. “It makes no sense to divert scarce money to building a soccer stadium when these vital needs remain unfunded,” he said. (Nick Swartsell)


“Statistical analysis is really good at isolating certain things, but we shouldn’t take these results as the only word about what’s driving certain perceptions people hold in the community,” he says. Beyond perceptions, some specific things have improved since 2002. Use of force by police in Cincinnati has dropped nearly 70 percent in the past 15 years. Injuries sustained during encounters with officers have dropped by more than half. But deeper disparities remain. In 2001, the ratio of black citizens arrested hovered around 77 percent. That percentage hasn’t budged since and has, in fact, been higher in some recent years. Disparities for juvenile arrests are even more stark. And between 2010 and 2016, police shot four times as many black residents as white residents in Cincinnati, which is 45 percent black and 50 percent white. Twenty-eight black individuals have been involved in officer-involved shootings, while seven white individuals have been involved in similar incidents. Blacks also account for a similarly disproportionate percentage of the city’s crimes, which often happen in low-income areas where minorities have been isolated by decades of government policies and market forces. Those factors can influence the ways in which those communities are policed. “We’re seeing that neighborhood plays a role,” UC Ph.D. student Shaonta Allen says about the survey, which she helped create.

“We have this institution of policing, but it looks different and operates differently in different neighborhoods. That’s a key finding that we should be recognizing.” There are signs attitudes are changing. A survey of 300 CPD officers found many not only accept the Collaborative, but think it’s been an asset to the department — a marked shift in sentiment to the days following 2001. “People want to be engaged, informed, they want to take part in this and they want to be helpful,” CPD Assistant Chief David Bailey said about officer responses to the survey. That shift may be fragile, however. The refresh effort found itself in choppy waters earlier this summer as Cincinnati’s Fraternal Order of Police Lodge #69 voted to pull out of the process over fallout from the Ray Tensing trial. Only about 10 percent of the FOP’s membership, mostly retired officers, took part in the initial vote. A more recent vote late last month gave the FOP the goahead to rejoin the refresh. For reform advocates, the refresh is part of a long process. “The disparities are huge, but I think things we’re seeing aren’t so complex that we can’t tackle the issues,“ Roley says. “We’ve seen some incremental changes happening. What this gives us is the ability to pull the layers of the onion back to see where people can plug in to help fill in the gaps, to pump some real, live citizen thought into fixing it.“ ©


Keynote Speakers Tabitha Soren (left) and Justine Kurland (right)

PROGRAM SCHEDULE 8:30am Breakfast Reception 9:45am

Welcome and Opening Remarks

10:00am Panel: Still They Persist, with FemFour 11:00am Panel: Gender and Imaging in the Online Realm 12:00pm Lunch Break 1:00pm

Panel: Women of Latin American Film


Panel: Woman with a Camera


Comment by Aruna D’Souza: Photography in an Intersectional Field





5:00pm Keynote Conversation with Tabitha Soren and Justine Kurland: Shooting America Visit for more details and a complete schedule.

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Women of Latin American Film, 1pm

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A Sesquicentennial Celebration The University of Cincinnati’s College-Conservatory of Music marks its 150th anniversary with a year of special programming

l- r : c l a r a b a u r / p h o t o : p r o v i d e d // CC M V I LLA G E / p h o t o : j ay yo c i s


October, 1867: A group of young women attends a voice class at one of the first music conservatories in the United States. Called the Cincinnati Conservatory of Music, it operates out of a single rented room at Miss Nourse’s School for Young Ladies, a finishing school in Walnut Hills.

A Singular Sensation If the College-Conservatory of Music were to stage the story of its history, the play would open with a single woman leading students from behind the keys of a piano in a rented Walnut Hills classroom. Her name? Clara Baur, a 31-year-old music lover from Stuttgart, Germany whose Cincinnati Conservatory of Music would become one of the most renowned music schools in the world.

May Festival, a choral celebration that today spans the course of two weeks. The event was such a success that it prompted the construction of the largest concert hall in America: Music Hall. Along with a group of May Festival founders, businessmen Reuben Springer and George Ward Nichols established the College of Music of Cincinnati in 1878 and named Thomas its first director. Classes were initially held in Dexter Hall on the third floor of Music Hall and were attended by about 500 day and evening students. “So here you have a single 31-year-old woman who started a conservatory, and 11 years later some of the most wealthy businessmen (in Cincinnati) opened a rival institution,” McClung says. In response to that competition, Baur moved her conservatory from Miss Nourse’s in 1902 and into the former Shillito family mansion in Mount Auburn. At the time, the school boasted an enrollment of 1,000 students and 30 faculty members, including some of the most well-known musicians of the time.

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October, 2017: Following collaborations, evolutions and unprecedented growth, the University of Cincinnati’s College-Conservatory of Music — the present iteration of the Cincinnati Conservatory of Music — celebrates the 150th anniversary of its founding with an ambitious sesquicentennial season and a year of special events.

“Clara Baur had this idea of trying to create a conservatory where the faculty would create a kind of family-like environment for the students,” says CCM Interim Dean Bruce McClung. “One-hundred-and-fifty years later, we still talk about the ‘CCM family.’ In many ways, she not only founded the school — her idea is very much about what a conservatory could be and is still imprinted on the way we do things.” The conservatory was one of four in the United States when it was established in 1867, but it was the first to be founded by a woman, according to McClung. Baur originally came to Cincinnati at the age of 13 to “keep house” for her two elder brothers, McClung says; she later returned to Europe to take classes in voice and piano — lessons she would bring back to Cincinnati and use as the bones of the conservatory. But in 1873, an event was held that would catalyze staunch competition to the school. A group of visionaries led by violinist and conductor Theodore Thomas — who later became the first conductor of the Chicago Symphony Orchestra — organized Cincinnati’s inaugural


MAINSTAGE SERIES Seussical (Oct. 19-22, 25-29)

c l o k w i s e f r o m t o p l e f t: s h i l l i t o m a n s i o n / c c m i n t h e 1 9 6 0 s / c o l l e g e o f m u s i c o f c i n c i n n at i // p h o t o s : p r o v i d e d

From the Tony-Award winning team of Lynn Ahrens and CCM alumnus Stephen Flaherty (1982), Seussical brings the colorful pages of Dr. Seuss’ beloved books to life. Expect to see familiar characters from the Cat in the Hat to Horton the Elephant throughout the show, now one of the most performed in America.

Candide (Nov. 16-19) This production is part of a worldwide celebration of late composer and conductor Leonard Bernstein’s 100th birthday. Part opera, part operetta and part stage musical, Candide journeys through Voltaire’s “best of all possible worlds” and is filled with satirical humor.

The Art of Motion (Nov. 30-Dec. 3) CCM’s department of dance presents this mixed repertoire, which features The Little Mermaid choreographed by guest artist and Missouri Ballet Theatre Director Adam Sage. The conservatory’s Café MoMus ensemble will also present the world premiere of Shaker Loops, featuring a collaboration with faculty member Henry Hildebrandt of UC’s School of Design, Architecture, Art and Planning.

Love and Information (Feb. 8-11, 2018) What do you know? One hundred characters attempt to answer that question in this exploration of technology and humans’ search for knowledge. Among its scenes: “Someone sneezes. Someone won’t answer the door. Someone put an elephant on the stairs.”

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And Then There was One Baur served as the sole director of her conservatory — without taking a salary — for 45 years until her death in 1912, at which point her niece, Bertha Baur, was appointed. Bertha led the conservatory in a new direction, turning it into a nonprofit organization called the Cincinnati Institute of Fine Arts. She served as president emeritus until her death in 1940. Meanwhile, the College of Music was thriving. According to CCM historical documents, it moved into a permanent building in 1884 called The Odeon, located on Elm Street in Over-the-Rhine. It contained a 1,500-seat theater and 24 practice rooms and was one of the first schools in America with its own concert hall. In 1936, the college founded the first American collegiate broadcast department, headed by WLW staff musician Uberto Templeton Neely. Cincinnati’s WLW began experimenting with broadcasting at 500 kilowatts in 1934, using more power and transmitting over more miles than any other radio station in the country had done before — or ever would. The College of Music’s unique offering of a broadcasting department was implemented during a time when radio was rapidly evolving and gaining widespread

popularity, and 10 years later, the school began granting Bachelors of Fine Arts in Radio Broadcasting. With Baur’s conservatory suffering poor enrollment and significant financial struggles, it became clear that merging the two powerful Cincinnati institutions was imminent. That merge took place in 1955, when the conservatory and college combined to become the Cincinnati College-Conservatory of Music. Seven years later, CCM officially became the 14th and final college at the University of Cincinnati.

Back to the Future A century and a half after Baur established her conservatory, the College-Conservatory of Music is one of the top music schools in the world. It hosts nearly 1,000 events per year — from solo recitals to fully staged theatrical performances — and offers nine degrees in more than 100 possible majors, including electronic media, ballet and makeup and wig design. Combined undergrad and graduate enrollment nears 1,500 annually, and McClung says this year’s student population represents 32 countries and 43 states. CCM graduates go on to acquire positions in nearly every entertainment-related field, from performing in

Jesus Christ Superstar (Feb. 22-25; Feb. 28-March 4, 2018) Told through the eyes of Judas Iscariot, this cult-favorite tells the story of Jesus’ final week of life. The popular musical is the first by Andrew Lloyd Webber and Tim Rice to be produced for the professional stage; expect an iconic 1970s Rock score (including the titular anthem).

Gianna Schicchi + Suor Angelica (March 22-25, 2018) Two of Puccini’s most popular operas combine for this MainStage production, highlighting the Italian composer’s mastery of emotional storytelling.

Legends of Dance (April 12-14, 2018) The CCM Ballet Ensemble ushers in the spring with a mixed bill accompanied by the CCM Concert Orchestra. Faculty member Deirdre Carberry stages the celebrated classical ballet The Kingdom of the Shades with music by Ludwig Minkus. The Sleeping Beauty (Act III) closes out the production with music by Tchaikovsky.

c l o k w i s e f r o m t o p l e f t: s t u d e n t s i n 1 9 6 3 / K at h l e e n B at t l e i n W e s t S i d e S t o r y ( 1 97 0 ) / J a m e s T r u i t t e T e a c h i n g D a n c e // p h o t o s : p r o v i d e d

IT ALL STARTED HERE: DISTINGUISHED CCM ALUMNI Christy Altomare (2008) American actress and singer-songwriter currently starring in the titular role in Broadway’s Anastasia.

Adrien Finkel (2008) Producer and development executive of Party Over Here, a Los Angeles development company run by The Lonely Island. Has also appeared in commercials for Nintendo and Wendy’s.

Brian Newman (2003) Bandleader for Lady Gaga and Tony Bennett. See him perform at CCM on Jan. 19, 2018.

Randy Harrison (2000) Known for his role as Justin Taylor on Showtime’s Queer as Folk, he has also had guest appearances on series like Mr. Robot and New York is Dead.

Xian Zhang (2000) The first female music director of the New Jersey Symphony Orchestra. Also the first woman conductor appointed to any titled post within the BBC National Orchestra of Wales.

Kevin McCollum (1984) A Broadway musical theater producer who has received three Tony Awards for Best Musical for In the Heights, Avenue Q and Rent.

Stephen Flaherty (1982) In collaboration with lyricist and writer Lynn Ahrens, Flaherty created the songs and score for the 1997 animated film Anastasia, which has now been adapted for Broadway.

Donald Lawrence (1981) Gospel songwriter and record producer who has receive multiple Grammys and Stellar Awards for his work.

of performances in everything from musical theater to E-media. The Jan. 19, 2018 event concludes with a dance featuring CCM alum Brian Newman, who is now the bandleader for Lady Gaga and Tony Bennett. McClung also mentions an orchestra performance called Con Amore: From CCM with Love, a special concert program that celebrates the more than 600 couples who met their partners while students at CCM. “That’s something we’re looking forward to that’ll be kind of like a piece of the sesquicentennial that will continue in the future,” he says. “So we’ll do this concert every season to celebrate all the couples who met here at CCM.” And that’s just a nominal portion of what the sesquicentennial has to offer. Other highlights include Feast of Carols, performances of holiday favorites by the CCM Chamber Choir, UC Men’s and Women’s Choruses and other choral groups (Dec. 2-3); Celebrate Youth (March 18, 2018), commemorating the Cincinnati Children’s Choir’s 25th anniversary; and the annual-favorite PRISM concert, which features performers from CCM Preparatory (March 25, 2018).

Beyond the Sesquicentennial Despite CCM’s expansive list of achievements and milestones, the college isn’t finished growing. A $15 million

infrastructure project including upgrades to performance spaces is expected to be completed by December of this year, according to Curt Whitacre, CCM director of marketing and communications. “These renovations are the birthday gift that keeps on giving,” he says. “We are updating the theater technology and audio/video systems in all of our major performance spaces, which allows students to continue to learn on the same kind of equipment that they will find in the professional realm.” Upgrades include the implementation of fiber optic cables in all major performance spaces, which will allow events to be live-streamed, and the installation of new seating and carpeting to improve audience members’ experience. It’s a fitting birthday gift for a school that’s provided a century-and-a-half’s worth of world-class performances and education — one that, located at the epicenter of the city, has greatly contributed to Cincinnati’s rich cultural history, McClung says. And it all started with a single woman driven by a passion for music, igniting the spark behind one of the premiere music institutions in the world. For more information about CCM’S SESQUICENTENNIAL SE ASON and a full list of events and performances, visit

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Broadway shows to writing and directing to designing makeup for movies and television — and a significant part of the sesquicentennial season is reconnecting with that “CCM family.” “Throughout our sesquicentennial planning, we’ve said our mission with the anniversary is to honor CCM’s history, celebrate our present and look forward to our future,” says Becky Butts, CCM assistant public information officer. “For me, a key part of CCM’s anniversary season is how we are reconnecting with CCM alumni — who represent our past, present and future.” The season culminates April 21, 2018 with an event called the Sesquicentennial Alumni Showcase, when CCM alumni return to the school to perform alongside current students. Those participating have not yet been announced. “Reconnecting with alumni not only brings exciting performances to Cincinnati, but it also give current CCM students opportunities to learn from professional artists and make connections for their future careers,” Butts says. The sesquicentennial features myriad performances and special events in a variety of fields, including winds, piano, jazz, choral, percussion and many others. McClung says he is particularly looking forward to the 15th-annual installment of Moveable Feast, a sampling

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to do

Staff Recommendations

p h o t o : T o n y A r r a s m i t h , A r r a s m i t h & A s s o c i at e s

WEDNESDAY 04 ART: THE CARNEGIE opens its exhi­ bition season with four new shows — including two season-long exhibits. See feature on page 23. MUSIC: THE GROWLERS play the Woodward Theater. See Sound Advice on page 32. MUSIC: MIKE GORDON plays two sets at the 20th Century Theater. See Sound Advice on page 32. HALLOWEEN: FRIGHT NIGHT Washington Park continues free movie nights into fall with Fright Night, a series of spooky flicks on the lawn. Things kick off with Disney’s Halloween cult classic, Hocus Pocus. The 17th-century Sanderson sisters (Bette Midler, Kathy Najimy and Sarah Jessica Parker) — three witches hanged for sucking the life out of children to regain their youth in colonial Salem, Mass. — are resurrected in 1993 when a virgin, Max, lights the Black Flame Can­ dle in their old cottage. Hilarity, drama and zombie ex-lovers ensue when the sisters navigate contemporary Halloween customs and modern technology (using vacuums instead of brooms, etc.), as they attempt to kidnap a bunch of kids so they can live forever. Next up, Casper (Oct. 18) and The Ring (Oct. 25). 8-10 p.m. Free. Washington Park, 1230 Elm St., Over-the-Rhine, — MAIJA ZUMMO


COMEDY: MARY MACK Mary Mack normally spends winters in California and summers in Minnesota. “Oh, I don’t know if we’re rich enough to use the word ‘summer’ as a verb,” she says. “We sleep on sofas in the woods and in my camper. It’s great for creativity.” Her hus­ band, fellow comic Tim Harmston, uses the time for other pursuits. “He waits for

ONSTAGE: MR. JOY Communities are built around personal connections. That’s what this play by Daniel Beaty, a New York writer who grew up in Dayton, Ohio is all about. Clarissa, age 11, tries to piece together what has happened to a Chinese shoe shop owner in Harlem who has tragically disappeared. We hear her perspective and those of eight more neighbors whose lives were affected by Mr. Joy. Actress Debra Walton (a graduate of the University of Cincinnati’s College-Conservatory of Music) plays all the characters, young and old, male and female, revealing the invisible ties that bind them together. Through Oct. 22. $30-$85. Cincinnati Playhouse in the Park, 962 Mount Adams Circle, Mount Adams, — RICK PENDER

football season to start,” she says. “In case any of your readers have trouble sleeping, I’m providing a new service where I rent out Tim and he stands by your bed and talks about his fantasy football team. In five minutes you’re out. I’ve halved my meds.” Showtimes Thursday-Sunday. $8-$14. Go Bananas, 8410 Market Place Lane, Montgomery, gobananascomedy. com. — P.F. WILSON

FRIDAY 06 ONSTAGE: MUSIC HALL’s grand reopening weekend kicks off with a performance by the Cincinnati Symphony Orchestra. See feature on page 20. MUSIC: Rootsy singer/songwriter LILLY HIATT supports her latest album, Trinity Lane, at Southgate House Revival. See interview on page 31.

EVENT: CLIFTONFEST This two-day arts and music fest celebrates the Clifton Gaslight community, packing Ludlow Avenue full of vendors, artists, 3-D chalk drawers and bands including The Faux Frenchmen, Buffalo Wabs & The Price Hill Hustle, Krystal Peterson & the Queen City Band and The Cliftones. The Saturday pet parade kicks off at 2:15 p.m. with prizes for best costume, best owner/ pet lookalike, wildest wag and more. There will also be a 5K run/walk through Burnet Woods and a wine tasting for those 21 and older. 6-10 p.m. Friday; 10 a.m.-11p.m. Saturday. Free. Ludlow Avenue, Clifton, — ALISON BAXTER


FEMINISM, POLITICS at Memorial Hall. See Big Picture on page 21. HALLOWEEN: HALLZOOWEEN Trick-or-treating isn’t just for humans. Ani­ mals get in on the Halloween fun at the zoo’s annual HallZOOween, complete with animal encounters, a Hogwarts Express train ride and treat stations throughout the grounds. Polar bears, elephants, painted dogs, otters, meerkats and more will be given pumpkins during special enrichment activities; go online for a daily schedule. Kids are encour­ aged to come in costume and bring their own treat bags. 10 a.m.-5 p.m. Saturdays and Sundays through October. Free with zoo admission: $19 adults; $13 children and seniors. Cincinnati Zoo & Botanical Garden, 3400 Vine St., Avondale, — EMILY BEGLEY CONTINUES ON PAGE 18

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EVENT: HOPSCOTCH It’s Thursday night. Do you know where your Scotch is? Most likely at HopScotch, CityBeat’s inaugural tasting celebration of Irish whiskey, Scotch and craft beer. Only 250 tickets are available for this alcohol adventure at New Riff, featuring samples from brands including Glenfiddich, Slane Whiskey, Isle of Arran, Tullamore Dew, Bruichladdich Distillery and more. Cincy Brew Bus will be shuttling guests from a nearby parking lot, and the after party continues at Braxton Labs inside the Party Source. 5:30-8:30 p.m. $25; $30 day-of. New Riff, 24 Distillery Way, Newport, Ky., — MAIJA ZUMMO


b o dy b u i l d e r Ta z z i e C o l o m b // p h o t o : R a c h e l R a m p l e m a n

THURSDAY 05 FILM: DANCING BACKWARDS IN HIGH HEELS AT THE MINI MICROCINEMA Originally from Cincinnati and currently based in New York City, filmmaker Rachel Rampleman is best known for her lens-based work that explores themes of gender, artifice and spectacle. Her subjects are often exuberantly bold and irrepressible female/femme personalities who revel in challenging outdated expressions of identity. The real life muses and collaborators at which Rampleman aims her video camera include the world’s first and only all female Mötley Crüe tribute band and the world’s longest competing female bodybuilder/powerlifter, among others. 7:30 p.m. Thursday. Free admission. Mini Microcinema, 1329 Main St., Over-the-Rhine, — MARIA SEDA-REEDER

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EVENT: MINI MAKER FAIRE/ SHAKESBEEREAN FILM FESTIVAL Attention amateur and professional inventors, artists, crafters, engineers and performers: Come to the Mini Maker Faire at the Hamilton County Fairgrounds to display your specialized skills in a community-building event. Like the name implies, the Mini Maker Faire is a downsized version of the Maker Faire — a family-friendly showcase of creativity and resourcefulness. Whether you’ve invented a robot that speaks six languages or just want to show off what you’ve tinkered in your garage, you’re free to participate in the biggest show-and-tell in the city. Come for the inventions, but stay for the beer (and Shakespeare!) at the ShakesBEERean Film Festival later on Saturday evening. Pizza from Fireside Pizza and beer from Taft’s will be served and, of course, Shakespeare movies will be played. Cometh ’round! 11 a.m.-10 p.m. Saturday and Sunday. $7 advance; $10 day-of. Hamilton County Fairgrounds, 7801 Anthony Wayne Ave., Carthage, — ERIN COUCH HALLOWEEN: HIGHWAY 50 FRIGHT FIELD If you’re interested in real chills and thrills this Halloween, the children of the corn have returned to the Highway 50 Fright Field,

located on an authentic 1830s farm near an Indian archeological site. Brave guests will traverse through a cornfield, down a haunted trail, into a haunted wood and back through a haunted field — at night, in the dark. Flesh-eating freaks, bloody horrors and dreadful surprises abound. Opt for a “triple threat” ticket ($27 adults; $24 children) and gain entry to the Night-Time Corn MAZE and Operation Termination Zombie Paintball. FYI: Heavy rain will typically cause the attractions to close. 8 p.m.-midnight Fridays and Saturdays through Oct. 28. $12 adults; $10 children. 11294 Highway 50, North Bend, Ohio, highway50frightfield. com. — MAIJA ZUMMO HALLOWEEN: FALL-O-WEEN During Coney Island’s weekend Fall-O-Ween festival, trick-or-treat through the Creep County Fair, walk through a not-so-scary town comprised of whimsical kid-sized buildings and meet a host of slightly spooky characters. Additional activities include pumpkin painting, a Halloween-themed magic show, pony rides, a pumpkin launch and an apple pie school, where kids can create their own pies. Head over to the park’s Famous Fairways golf course, which has been transformed into a creepy-crawly playground, and catch a showing of Fright Lights, a choreographed light show set to



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Dayton Street Tour Touts History and Livability By Stephen Novotni


hen you ask most people about the history of their home, they typically shrug. They might remember the empty nesters who sold them the house or they may have found some long-ago carved initials in a tree in the backyard, but mostly a home’s past is forgotten. But along the West End’s Dayton Street — once known as Millionaire’s Row — there is a deep remembrance of the people who built one of Cincinnati’s oldest neighborhoods and a push to return the partially restored and partially blighted street to its former glory. “They’re wonderful old homes — they’re grand and beyond,” says homeowner Sharon Cook. Cook is among about a dozen residents who plan to open their doors to the public for the biannual Dayton Street Historic District walking tour, slated for Oct. 8. The tour showcases rehabbed homes along three of the four blocks of Dayton Street, east of Lynn Street. Many are fine examples of how the rich lived in 19th-century Cincinnati, showcasing Greek Revival, Italianate, Second Empire and Victorian architecture. “There’s lots of history here worth preserving,” Cook says. “The stories of the individual houses is a history that deserves to be handed down to generations years from now.” Cook’s home was first occupied in 1857 by Edward Harwood Jr., a conductor of the Underground Railroad. She says she moved to the street in 1994 and that the neighborhood has slowly improved since then. “This is the best it’s been,” she says. “It started getting rehabbed in the ’70s, but it never took off. It was never really cohesive. But now, it’s tighter. Crime is less, drugs seem to be less, there’s more neighborly participation and it just feels like we are finally on our way. It’s a lot of young, new influences, people with energy and jobs that can afford to do the rehab. It’s been a huge difference.”

New to the Neighborhood

maintained as a museum for decades, showcasing the opulence of early Cincinnati. Acevedo’s home, built in 1866, was once owned by Cincinnati’s first leather tanner, Henry Martin. Even Cincinnati’s first mayor lived on the street, Acevedo says. “It was the affluent who built this neighborhood,” Cook says. Think of it as the precursor to Indian Hill. Of course, that was a long time ago, and many houses still sit vacant. But it’s not for lack of interest. Many are owned by investors who are sitting on the houses and waiting to cash in. “We have a lot of vacant houses,” Acevedo says. “But way less than there were 10 years ago.” Getting these homes occupied and functional is one of the primary goals of the Dayton Street Preservation Foundation, of which Acevedo and Cook are members and which puts on the tour to promote revitalization on Dayton Street. “A lot of these houses were inherited or purchased some years ago by random people as an investment,” Acevedo says. “They’re just sitting on their homes. Now

that Dayton Street is picking up, we feel like there’s a lot of people who just want to make a buck off of them. But, eventually, these homes will be sold to single families and these homes will be restored to their former glory.”

An OTR Alternative Prices for homes in the neighborhood aren’t cheap — $250,000 and more is typical — but neither have they reached the stratospheric, speculative costs of structures in nearby Over-the-Rhine. “OTR is bursting at the seams and people are spending a lot of money there,” Cook says. “For a lot less they can live in a similar situation.” Acevedo adds that the West End is more family oriented. And, as Cook and Acevedo are quick to note, it’s a quieter area than the progressive dinner party and bar-hopping found in OTR. “I don’t think there’s a need, necessarily, to have a bar right next to your home,” Acevedo says. “There are a lot of places that are going to come available soon for rental. I think overall, people enjoy that this is a

street with friendly neighbors. You can sit outside of your home and not have metered parking. You know everybody walking down the street.” New residents are required to maintain the historic character of the exterior homes. But inside, some of the centuryand-a-half-old structures are as modern as anything you might see in the ’burbs. Cook says the tour is self-led and each house is different. Individual homeowners are presenting their homes and their histories and can answer questions from visitors. The homes range from completely rehabbed and modernized to historically accurate to projects that have just begun. “It’s from one extreme to another,” Cook says. “You’d be amazed at what the younger generation has done with these. I’m a traditionalist and my house is pretty traditional, but what the new folks have done is also very pretty.” The DAY TON STREE T HISTORIC DISTRICT WALKING TOUR is scheduled for 1-4 p.m. Oct. 8. $10; free 12 and under. More info : day tonstree

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Abdiel Acevedo is one of those more recent residents who Cook describes. He’s been on Dayton Street for two years and has been living in his home while rehabbing it. Acevedo says he used to walk along Dayton Street while on his way to work and he fell in love with the architecture. Dayton Street is probably best known for the Hauk House, originally owned by philanthropist and brewer John Hauk, who once saved the Cincinnati Zoo from financial ruin. The Hauk House has been

renovated 1860s home // PHOTO : HAILEY BOLLINGER

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CMC Properties What does your business uniquely offer residents dedicated to city living?  The former Cincinnati Shakespeare Company theater is situated conveniently between OTR and The Banks, in the Central Business District. The theater offers walkability to several businesses, including bars and restaurants, and is four blocks from Fountain Square. The building offers an indoor pool on the top floor and 24-hour fitness center for tenants of the theater.

How has your business grown or changed during recent years? The building that houses the theater has been dramatically renovated in the three years since it was purchased, and future renovation plans are on the horizon. We are currently adding 10,000 square feet of new office space above the theater and will convert  the old skywalk to windows to give the office space natural light and a new look to the building. The office is a separate space from the theater.

In what ways are you excited for the future of city living in Cincinnati, and how does your business plan to be a part of the change? We are excited to see the continuing revitalization of downtown and hope to see our theater become a part of it! Our vision is to find a new tenant who brings a unique entertainment experience for residents of downtown.

5,075 square foot theatre space for lease

(Former Cincinnati Shakespeare Theatre Location) Ideal Venue for movies, plays, lecture, and other events Conviently located in Downtown Cincinnati’s entertainment and business center

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Within walking distance to major employers such as P&G, US Bank, and Kroger as well as Paul Brown Stadium, Fountain Square, and Washington Park Offered by CMC Properties Please Contact Commercial Leasing Manager Pete Montgomery


Garfield Tower •


CiTiRAMA Expands to the Suburbs By Stephen Novotni


L-r : t. j. ackermann and dan dressman // PHOTO : HAILEY BOLLINGER

is built like steps, with city services and the Mill Creek at the bottom of the stairs and each street on a progressively higher step until you reach the top of the hill, where Winton Woods begins. Woodlawn Meadows is near the middle of the staircase. It is also adjacent to a hike-bike path and Glenwood Gardens, so there are many natural amenities surrounding the development. Ackermann says the folks buying in are of many different races and backgrounds and that diversity is one of the neighborhood’s strengths. Woodlawn Meadows is the first newhome development in Woodlawn in almost two decades. Dan Dressman, executive director of the Home Builders Association of Greater Cincinnati, describes the community as “phenomenal.” “It has so many things going for it,” Dressman says. He says the buy-in price is very affordable as well. Much of that has to do with land prices. Compared to costs in Mason, West Chester and Madeira, the lots are less than half the cost — $37,000 to $47,000 in Woodlawn versus more than $100,000 elsewhere.

“Most of the time the problem in the outerring suburban neighborhoods, is the availability of the lots — there just aren’t lots to be found,” Dressman says.

A Catalyst for Growth The Home Builders Association has been around since 1934 and was started as part of the New Deal to provide housing to veterans. At that time, the association was generally concerned only with suburbs. “The whole concept of associations like ours was started to spur new housing after the second World War,” Dressman says. “We started (CiTiRAMA) in 1996 because we saw some great opportunities and urban neighborhoods that were really in decline. We thought there were some great opportunities and we were really ahead of our time. If you look now at what’s going on in Cincinnati and its urban neighborhoods, they’re hot.” Dressman says neighborhoods are selected as development sites for CiTiRAMA on the basis of their potential for regrowth. “We typically look at neighborhoods that are on the decline and have some great potential,” Dressman says, referring to

past CiTiRAMAs in Northside and College Hill. “We’ve seen some real turnaround there, and if you look at the housing prices, the values have increased dramatically. I think we can justifiably say that CiTiRAMA has a lot to do with the regeneration of new housing and the increase in housing prices.” Ackermann says Woodlawn asked the Home Builders Association to build and present CiTiRAMA in Woodlawn. The village saw the value the event could bring and courted the event. “The Village of Woodlawn saw the success CiTiRAMAs were having revitalizing the neighborhoods such as Northside and College Hill,” Ackermann says. Dressman says they are taking the model of what they have done in the city and applying it to an outer ring community. “We are anticipating that others will follow after they see the success we have in Woodlawn,” Dressman says. CiTiR AMA runs from Oct. 7-15 in Woodl awn Meadows. $10; free ages 12 and under. More info :

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very year, CiTiRAMA plants a new neighborhood in Greater Cincinnati. Depending on whether you’re optimistic or cynical, you could see it as neighborhood revitalization or just big development. Either way, there’s at least a pinch of dreams in the mix as well. And, you’ve got to admit, there’s something alluring about that new-house smell. CiTiRAMA is put together by the Home Builders Association of Greater Cincinnati and is the (mostly) urban counterpart to HOMEARAMA. Each year, a parcel of land is chosen and developed into new home sites. Past years’ developments have been located in Bond Hill, College Hill and Northside, to name a few. The 2017 CiTiRAMA is being held in the secondring suburban neighborhood of Woodlawn. Just a block away from Woodlawn City Hall and the Woodlawn Community Center, the new development is called Woodlawn Meadows. This is the first CiTiRAMA held outside the city limits of Cincinnati. Woodlawn Meadows developer T.J. Ackermann says 30 of the 43 homes in the development have already sold, which is unprecedented. Normally, he says, 16 to 20 homes are sold in the first year of a development. The homes are selling for between $250,000 and $350,000. One thing that has helped the project’s success, Ackermann says, is having support from Dr. Thomas Woods-Tucker, the Superintendent of Princeton City School District. “He is a big proponent of this development, and the school district was instrumental in approving a full tax abatement for this property for 15 years,” Ackermann says. “He sees the value in long-term investment in this community and in bringing new homes and new students into the school district. The school district will end up reaping the long-term benefit.” It can be hard to imagine what vacant land looked like before it became a home. And it’s just as hard to see a development on what was once just land. But every neighborhood is built from scratch, and Woodlawn Meadows looked completely different in 2016. “This was city-owned land and it was used for debris, for organic materials,” Ackermann says. “So all the tree limbs, all the branches, all the leaves from Woodlawn, the city services would collect it here.” Today, it’s more neighborhood than field. Half of the homes are near completion and the rest are in the early stages of construction. This part of Woodlawn

Solar Power Offers an Efficient Alternative to the Grid By Stephen Novotni

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f you’ve ever started a fire with a magnifying glass, you know first-hand how powerful the sun can be. It seems like it shouldn’t be so easy to start paper smoldering, but it is. Likewise, it’s surprisingly easy and cost effective to squeeze electricity from sunlight. Locals who benefit from solar power in business and at home say switching to solar power makes good sense. Zach Wieber is the director of operations at Icon Solar, a solar installer based in Milford. He says there are many misconceptions about solar: principally, that it is exotic and out of reach to most homeowners. But it is actually one of the most practical choices you can make, he says. Icon installs photovoltaic systems in homes and businesses. A typical photovoltaic system for a home costs $20,000-$25,000. And whether you finance or pay outright, it can end up saving you a lot in the long-run. Wieber notes that a bill from Duke Energy of $100 per month translates into $12,000 over a decade — and that’s if electric rates stay the same. On average, he says, solar panels generate 80 percent of a home’s power, so a utility bill might drop to anywhere from $10 to about $35 per month depending on your consumption and the orientation of your roof. A south-facing roof is the most efficient. “One of the things that is a misconception with solar is that people look at solar as a cost,” Wieber says. “What we’re doing is just reallocating money that you are already spending. It’s not a cost. You’re not taking money out of your vacation fund to buy solar. You’re not taking money from remodeling the bathroom to buy solar. What you’re doing is taking money that you’re already spending with Duke and spending it somewhere else. How much is what you’re doing now going to cost you? You’re paying your electric bill because you’ve never had a choice.” Wieber says his company looks at how much electricity a homeowner has used over the last year and makes a recommendation as to the size of the system. There is an element of instant gratification as you get to see the results on the first bill. “You can purchase a solar array that will produce that same amount of electricity for anywhere from a half to a third the cost,” Wieber says. “Some months you won’t have a bill at all, some months you’ll have a bill. But the net for that entire year will offset 80 percent of the cost because during those months when you produce more power than what you’re using, it’s sending that power to Duke and Duke credits you dollar for dollar for what you send back. When it’s nighttime and you start using, you get those credits

Residential sol ar panels // PHOTO : THINKSTOCK

back from Duke before they start charging you again for electricity.” Also, a home solar system can be just as reliable as the grid. “There’s not much that goes on on a daily basis where we’re not using solar in some capacity,” Wieber says. “Your TV comes from satellites. Your cell phone comes from satellites. There’s a lot of things that we depend on every single day that depend on solar. Up in the sky, there’s no electric to run to them. They have solar panels attached to them and they’ve had solar panels attached since the ’60s and the ’70s. Very few times do we have a mass outage of people’s cell phones, because it’s a very reliable source of electricity.” Krista Atkins Nutter, an interior designer and architect, designed her family home in Milford to be an example of how far green design can be pushed. She and her husband Ken are very proud of what they achieved and enjoy sharing their experiences. “We have three sun systems,” Ken says. “We have the photovoltaic, the solar water system and we also have passive solar. We heat and cool through use of the sun. We

built the house as an educational model. We used materials and construction methods that are good for the environment.” The Nutter home also incorporates a rainwater collection system that supplies much of the water the family uses. The home was one of the stops along this year’s Green Energy Ohio Tour, an event showcasing environmentally responsible and lowenergy residences throughout Ohio. There were a half-dozen homes around Cincinnati that were open to the public during the last weekend of September. On the surface, the Nutter home looks modern, but typical. Ken and Krista have shown the differences in their home to more than 2,000 visitors since it was built in 2007. Notably, 22 solar panels on the roof supply power, and their electric meter runs backward during the day. Ken, a high school teacher, says they spend around $800 to $900 annually on the electricity they use that is over and above what they produce. Their home is 2,800 square feet and includes an outdoor pool. The bill was about $400 annually before the addition of the pool. Ken says they used to

think a lot about the money when they first started, but now the reduced bills just seem normal. “We buy at night and then the meter goes backward during the day,” he says. “We used to get a report daily. But now, we’re past that.” Ken says he encourages people who visit to address the insulation in their homes before looking into solar. New appliances, new windows — that stuff isn’t as sexy as photovoltaics, but it builds a foundation for responsible energy use and makes sure your energy isn’t literally being swept out the front door. Krista teaches environmental design with the Art Institute of Pittsburgh–Online Division and built the home as an example of what is possible. “The return on the investment for the solar hot water heater was about five to six years, so our hot water now is basically free,” she says. “The solar electric system is about 12 years, so in a couple of years we’re generating energy for free. It’s a no-brainer, really. The only time it doesn’t make sense is if you know you’re going to be leaving a place before that 12 years is up.” ©

Perfect Parks for Relaxing, Exploring and Socializing by cit ybeat staff

Over-the-Rhine The six-acre Washington Park (1230 Elm St., is a renovated 150-year-old urban public space that offers a quiet respite from the hustle and bustle of the city — like Central Park, but a lot smaller and without a zoo or restaurant. But what it lacks in zoos, it makes up for in interactive features like a dog park, children’s playground, sycnchronizable splashable jets and an elevated deck with lounge seating, yard games and a full bar (hooray!). The park also offers plenty of free programming, from instructor-led workouts, movie screenings and pop-up markets to beer fests, holiday happenings and happy hours. It’s basically Over-the-Rhine’s backyard.

Mount Airy

Downtown Riverfront The Banks ( is a booming mixed-use riverfront development between the Reds’ and Bengals’ stadiums with lots of space and a family-friendly vibe. It’s home to the multi-level riverfront dining destination of local brewery Moerlein Lager House (115 Joe Nuxhall Way,, with 25 beers on tap and a great view of the Ohio River. Rent a surrey bike ( and ride along riverfront park Sawyer Point (705 E. Pete Rose Way, or neighboring Smale Riverfront Park (100 W. Mehring Way, smale-riverfront-park) near the Roebling Suspension Bridge, with spraygrounds, bench-swings and a whimsical carousel.

Spring Grove Village More than 150 years after its founding, Spring Grove Cemetery & Arboretum’s (4521 Spring Grove Ave., springgrove. org) 730-acre grounds are considered a masterpiece of landscaping art. Many famous Cincinnati families have found final resting places here, displaying their wealth in ornate marble and granite monuments, mausoleums and weeping stone angels. The nonprofit Heritage Foundation offers various tours of the aforementioned, as well as walkabouts focusing on topics such as horticulture, architecture and Civil War history.

Hyde Park Square (2700 Erie Ave., boasts an impressive collection of eclectic shops and restaurants. Wine Walk Wednesdays on second Wednesdays feature live music, promotional pricing and plenty of wine

(June-October). The Hyde Park Farmers Market (Erie Avenue and Edwards Road, offers fresh produce and locally made wares 9:30 a.m.1:30 p.m. Sundays (May-October).

Mount Lookout The 224-acre Ault Park (5090 Observatory Ave., is the perfect place for a walk, run or picnic, offering nine trails. Get a gorgeous view of the Ohio River from nearby Alms Park (710 Tusculum Ave., overlook. Called Bald Hill, the point was originally cleared by Native Americans to get a look at the early settlement below.

Price Hill/West Side March to the beat of your own drum (literally) at Percussion Park (3546 Warsaw Ave,, an interactive sculptural instrument installation built by Cincinnati musician Ben Sloan and fueled by local creative philanthropic lab People’s Liberty. Colorful DIY percussion instruments — marimbas, chimes,

cymbals and drums — are made out of repurposed wood, steel, propane tanks, PVC pipes, old gears and bike racks and affixed to a concrete pad underneath a park pergola. Anyone is welcome to come play, for free. It’s a vibrant and musical addition to the up-and-coming East Price Hill neighborhood.

Northern Kentucky Devou Park ( offers incomparable river views, as well as a golf course and the Behringer-Crawford Museum (1600 Montague Road,, dedicated to collecting, preserving and exhibiting the Ohio Valley’s heritage. The 13-block Licking Riverside Drive Historic District includes Civil War homes, carriage houses, Underground Railroad tunnels and life-size bronze statues of historic figures in lifelike poses; take your picture fake-sketching next to the permanently sketching John James Audubon, who visited Northern Kentucky in 1819. Goebel Park (501 Philadelphia St., is a community gathering spot at the edge of MainStrasse

Village that features a herd of goats that help eat weeds and maintain the park’s landscape. The annual running of the Goebel Goats ( is an entertaining afternoon spawned after the goats famously escaped for a 24-hour jaunt through the city in 2016.

Blue Ash Formerly the site of the Blue Ash Airport, Summit Park (4335 Glendale Milford Road, features winding walking trails, a spacious lawn, a dog park and a creative and colorful children’s playground. When the streetfood savants behind Over-the-Rhine’s Senate (1100 Summit Drive, opened a second location here this summer, the ’burbs were blessed with favorite high-end hot dogs, like the Trailer Park, with applewood bacon, American cheese, coleslaw and crushed spicy-sweet Grippo’s, plus sidekicks like truffle fries and shortrib poutine. But the Blue Ash menu also includes a dedicated kids menu, Sunday brunch (eggs, goetta, chilaquiles, etc.) and a creamy Salted Caramel Frostee.

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Hyde Park

e verybody’s treehouse in Mount Airy Forest // PHOTO : HAILEY BOLLINGER

For those in the know, Everybody’s Treehouse feels like a slice of a childhood fairytale. Buried in the thick of the 1,500-acre Mount Airy Forest (5083 Colerain Ave., cincinnatiparks. com), this whimsical arboreal abode is one of Cincinnati Park’s biggest secrets. Thronged by trees and wildlife, the elevated, wheelchair-accessible treehouse is the perfect spot to curl up with a book, plan a picnic, hang out with friends or laze away the day. For more outdoor exploration, the Western Wildlife Corridor ( runs along the Ohio River’s scenic wooded hillsides and greenspaces from the Mill Creek to the Great Miami River border. It’s full of parks, preserves and some strenuous hiking.




CITYSERIESCINCINNATI.COM Prices and community details are subject to change by developer and builder at any time. June 2017

Sanctuary Court, just 2 blocks from DeSales Corner, is modern custom living at its best. Nine single-family detached residences offer a wide range of flexible designs featuring 2,540 SF, 3 bedrooms, 2.5 baths, a 2-car garage, and finished lower level, with the option of adding a study, balcony or even an elevator. Find out more today and build exactly the life you want near everywhere you want to go. FOR MORE INFORMATION, CONTACT:

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Thank you Cincinnati for voting us

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FRIDAY 06 ART: INTRUDE AT PYRAMID HILL SCULPTURE PARK Don’t be late for a very important date. Giant glowing white rabbits — one over 23 feet tall — are coming to Pyramid Hill Sculpture Park & Museum. Intrude is an installation by Australian artist Amanda Parer, who includes an environmental message in her inflatable art. In her homeland, the animals are an invasive species, introduced to the continent by European settlers in the late 1700s. Parer uses the big bunnies’ playful images to break through barriers to discuss humans’ huge ecological impact. The nylon sculptures will be at Pyramid Hill just over a week, so before they all dash off, the park is packing in events like a Hip Hop night, a hoppy hour, a “hare” salon show and a Mad Hatter tea party. Noon-10 p.m. daily through Oct. 15. Until 7 p.m.: $8 adults; $3 ages 6-12; free for members. After 7 p.m.: $10 adults; $5 ages 6-12; $5 members. Pyramid Hill Sculpture Park & Museum, 1763 Hamilton Cleves Road, Hamilton, — KATHY SCHWARTZ

popular Halloween tunes. 11 a.m.-5 p.m. Saturday and Sunday through Oct. 22. $11; free ages 2 and younger. Coney Island, 6201 Kellogg Ave., California, — KENNEDY PONDER

Sunday. $10 per person (cash only); tickets available on site one hour before tours begin. Leaves from the corner of Dayton and Baymiller streets, West End, — KENNEDY PONDER



EVENT: JOHN CLEESE AND THE HOLY GRAIL take over the Taft Theatre for a film screening and Q&A; coconuts not provided. Read an interview with Cleese on page 22.

EVENT: DAYTON STREET HISTORIC HOUSE TOUR Take a walk down historic “Millionaire’s Row” and explore the homes located in the West End of Cincinnati. Dayton Street used to be home to some of the richest people in the city, and the architectural styles of their grand mansions include Greek Revival, Italianate, Second Empire and Victorian. More than a dozen homes will be open to tourists on this walking tour, including the 1870 Hauk House and the Heberle School. See the City Living insert for more information. 1-4 p.m.

ONGOING shows ONSTAGE The Arsonists Know Theatre, Over-the-Rhine (through Oct. 14)

Over-the-Rhine +

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MUSIC: ANDREW W.K. plays Bogart’s. See Sound Advice on page 33.

HALLOWEEN: CAMPFIRE CLASSICS The deck at Washington Park (recently renamed the “Southwest Porch”) will become a live read-aloud session with Warlock Vorobok during the spooky Campfire Classics series. This week, hear eerie and supernatural stories from Bram Stoker and H.P. Lovecraft. This event is open to all ages and the deck will be selling beer, wine, mixed drinks and soft drinks. 7-8:30 p.m. Free. Washington Park, 1230 Elm St., Over-the-Rhine, — ALISON BAXTER

arts & culture

‘New’ Music Hall Is Ready for Its Close-up Renovated historic venue looks great, so how will it sound? BY ANNE ARENSTEIN

PHOTO : haile y bollinger

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hen Cincinnati Symphony Orchestra’s music director Louis Langrée raises his baton at 8 p.m. on Friday, Music Hall will officially be back in business. At a cost of $143 million, the renovation of the historic, 139-year-old building is one of the region’s largest such projects — and the work has been completed on schedule. Your first chance to see and hear it for yourself occurs Friday and Saturday as the CSO opens its season with a program that includes works by John Adams, Beethoven and Scriabin and a world premiere by Jonathan Bailey Holland. Upon entering the building, there’s no doubt you’re still in Music Hall. Only it’s different — very different. Inside Springer Auditorium, which is where the CSO and Cincinnati Pops will perform (as will the Cincinnati Opera, Cincinnati Ballet and May Festival, for at least some performances), lifts extend the stage so that the orchestra is seated forward and closer to the audience — a critical factor for the acoustic changes. To accommodate the acoustic upgrades and more comfortable seating, Springer Auditorium’s seating capacity is down markedly, from 3,417 to 2,269 for the CSO/Pops and up to 2,500 for the Cincinnati Opera. “The hall was narrowed down and the rear wall moved forward in the orchestra and first balcony to enhance the sound’s return to the audience and to the musicians onstage,” says Paul Scarbrough of Akustiks, the acoustic design firm that oversaw sound renovations. The seats are the people’s choice, determined by the voting of Music Hall audiences. The light wood-framed seats are one inch wider than they were previously and there are two more inches of legroom per seat. On the orchestra floor, the box seats have been eliminated and there is no center aisle. But orchestra seats do have cup holders, as do select balcony seats. There are still pillars in the orchestra and balcony sections, but Chris Pinelo, vice president of communications for the CSO, assures that the sound has not been compromised. New steps with a center railing make it easier to get to third-floor gallery seats. Springer’s big chandelier is still in place, every crystal cleaned and the lighting replaced with LED bulbs that can be operated from an iPad. The ceiling’s central oil painting glows after a thorough cleaning. In addition to downsizing Springer, an acoustic “cloud” above the stage, made up of adjustable glass panels, should help musicians onstage hear each other. Scarbrough says he’s pleased with the initial results and hopes audiences will be,

Suspended panels form a new acoustic “cloud” over the Music Hall stage. too. “We’re all very excited by what we’re hearing,” he says. “We wanted to preserve that warm, embracing sound and enhance it so that everyone hears it.” Overall for Music Hall, differences are immediately apparent, even before coming through the Elm Street main entrance. (For the foreseeable future, there is no longer a Central Parkway entrance.) In addition to some banks of windows, the overhang over the front doors is gone. The new interior box office is just south of the entrance doors. And there’s greater accessibility on the inside, from the relocation of the box office to the high-speed elevators. The number of bathrooms has increased by 60 percent. Seats are more comfortable, especially in the gallery. The Edyth B. Lindner Grand Foyer itself is brighter, thanks to restored windows on the front façade. The Grand Foyer’s red slate and white marble checkered floor has been cleaned and the space’s overall color scheme softened to warm taupe. The three chandeliers that used to be in the Grand Foyer have been moved to their original location in Corbett Tower; new Grand Foyer lighting is provided by fixtures on the balcony railings. One of the most dramatic changes is Corbett Tower, where removing the dropped

ceiling revealed an additional 14 feet in height and the remains of a stenciled ceiling, which has been beautifully recreated. The original windows were uncovered, providing natural light and a breathtaking view eastward of Washington Park, Over-the-Rhine and the hillsides beyond. Corbett Tower will become the home of the Cincinnati Chamber Players’ four-concert series, beginning Dec. 1. Other changes aren’t as visible. Project architects from PWWG, a leading firm in historic renovation and adaptive reuse, added 31,000 square feet to the building by incorporating space that had previously been covered up or filled in. Space that long ago once accommodated wrestling matches now incorporates the Wilks Studio, a combination rehearsal hall and event space. The Critic’s Club has been eliminated and its former site now houses offices for the Cincinnati Arts Association and the Society for the Preservation of Music Hall. The CSO’s music library also has expanded, high-density storage. Technological improvements abound, beginning with an abundance of LED screens to watch a performance, get previews of upcoming events or check out the bar menu. All operational and mechanical

systems are updated, including a stateof-the-art lighting system controlled in an enclosed booth at the rear of the balcony. The entire building has public WiFi. A final aspect that may not be obvious is the sheer scale of this collaboration involving the resident companies, architects, historic preservation experts, consultants and construction crews. Opening on schedule is a tribute to the shared sense of responsibility. “It’s been a solid team effort,” says Jeff Martin, who oversaw the renovation on behalf of 3CDC. “There are hundreds of people working here and there’s no room for error. The amount of work that’s gotten done is just mind-boggling when you consider the parties involved. The support from everyone involved and especially the Cincinnati community has been tremendous.” Akustiks’ Scarbrough adds, “We’re hoping that audiences will say, ‘Wow, this is the Music Hall I remember. I can’t tell what they changed.’ We all will feel a certain sense that we’ve done our job well if that’s how people respond.” MUSIC HALL’s grand opening weekend takes place Friday and Saturday. Tickets/more information:

a&c big picture

FotoFocus Symposium on Photography, Feminism BY STEVEN ROSEN

says. “And then to have even these A-list PBS directors take their work to film festivals and have nine people see it, when I had had 80 million viewers, I couldn’t wrap my head around that. “I felt if I was going to have nobody looking at my work, I might as well be in the art world and do something purely coming from my heart. It could still seek out a certain amount of truth, but more of an emotional truth than a hard facts.”

Tabitha Soren is a keynote speaker on Saturday. PHOTO : provided

She feels she’s mostly been inclined to seek out projects that attempt to capture or conjure an emotional state, such as her photography series Running and Panic Beach, which features powerful waves off coastlines around the world. But her most extensive work to date is an exception to that — Fantasy Life: Baseball and the American Dream (published this year as a book) followed the minor league baseball picks of the Oakland A’s from 2003 until recently. It will be at Pittsburgh’s Silver Eye Center for Photography beginning Dec. 1. “The entire time I was shooting it, I was thinking about these players having a second act,” Soren says. “I knew in my head most of them weren’t going to make it to the Major Leagues. But after the book came out, I was doing interviews with the players and they said, ‘Tabitha was working on her second act, too.’ At the time, that hadn’t occurred to me. I didn’t realize we were working on parallel things, working toward establishing ourselves in a different arena.” SECOND CENTURY: PHOTOGRAPHY, FEMINISM, POLITICS starts at 9:45 a.m. Saturday at Memorial Hall, 1225 Elm St., Over-the-Rhine. Admission is free. More info:


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FotoFocus, the nonprofit organization that promotes deep appreciation of photography, has a free all-day symposium at Memorial Hall on Saturday called Second Century: Photography, Feminism, Politics. In describing the event, Kevin Moore — the group’s artistic director and curator — said via email that the current “intensely politicized moment goes beyond feminism; it’s a lingering (seemingly increasing) polarization that was exacerbated by the 2016 election, after which the populace seems to be on the brink of civil war regarding the future on all issues, be they social, environmental, fiscal, international. Even scientific data has been questioned and politicized.” So with that as a premise, this should be a lively and insightful event. FotoFocus has lined up many local and national speakers for panel discussions and individual conversations. The panels include: “Still They Persist, with FemFour,” which has assembled an archive of material from this year’s Women’s March; “Gender and Imaging in the Online Realm;” “Women of Latin American Film;” and “Woman with a Camera.” The discussions are “Comment by Aruna D’Souza: Photography in an Intersectional Field” and a closing keynote conversation with photographers Tabitha Soren and Justine Kurland called “Shooting America.” Both have had their work presented in museums and books. If Soren’s name seems familiar beyond the world of art photography, it’s because in the 1980s she was involved with MTV’s groundbreaking Choose or Lose effort to register young people to vote. She went on to news coverage at MTV and broadcast networks. But while studying at Stanford University under a John S. Knight Journalism Fellowship, she became interested in art photography and learned the technical aspects of it. “I had this lovely relationship with my audience at MTV News, because I was same age and had a certain commonality there in terms of our interests,” Soren says by phone from San Francisco. “So asking my questions felt like pursuing my own passions. “Then I started working at NBC and The Today Show, and I worked at a newsmagazine with Katy Couric and Tom Brokaw, and they all had bigger audiences. As a result, the work gets very watered down. I just felt there was no edge there. It was just too mainstream. I felt like the more successful I got, the more interesting tangential ideas and gray areas were left on the cutting-room floor.” At Stanford, she thought about switching her focus to making journalistic documentaries. “But when I dipped a toe in that world, I saw how much my director and producer friends spent fundraising,” she


Ask John Cleese BY P.F. WILSON

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The premise is simple for the John Cleese and the Holy Grail live show at the Taft Theatre on Sunday: “They show the movie, then I go up onstage, normally with a local radio host, and he or she asks a few questions,” Cleese says. “Then we open it up to the audience and we get wonderfully silly questions from them.” That’s the evening summed up, but don’t be fooled by the simplicity. “People love it,” Cleese says. “It’s the easiest money I’ve ever made. It’s like falling off a log.” Cleese, of course, is a member of the highly revered comedy troupe Monty Python, who made, among other iconic comedy creations, the film Monty Python and the Holy Grail in 1975. The troupe had just finished its wildly successful TV series, Monty Python’s Flying Circus, and while the show had been a hit from its start in 1969 in the U.K., many wondered if American audiences would be as keen on the concept. Cleese and the other Pythons were among the skeptics. “I was invited into the Playboy Club in London by a fellow called Victor Lownes (head of Playboy UK),” Cleese says. “He said to me, ‘I love Monty Python. I’ve been watching it, but it will never get onto American television.’ ” Cleese didn’t disagree. Before that meeting, a representative from Boston’s PBS affiliate, WGBH, went to London. “He’d heard about the show, watched it with us and when the second show finished screening and the lights went on, he looked as though he’d seen a ghost,” Cleese says. “He was white as a sheet because he could see his career just ending overnight if he had anything to do with us. He muttered a few words, staggered out and disappeared forever. We never expected to get on American television.” Ultimately, Americans took to Monty Python. The PBS station in Dallas picked up the series in 1974, and from there the troupe went on to become a TV comedy institution. But the initial exposure for most Americans was the Holy Grail movie. Cleese, of course, is quite proud of the film, but like any artist he’s not completely satisfied with it. “I think the first 50 minutes is really wonderfully funny,” he says. “The best of our stuff. But I don’t think the second half is so good, and I’m beginning to sway people that I’m right.” Indeed, Cleese has re-edited the ending and has been showing that to audiences on tour. “I think my ending is better than the one we have in the film,” he says. The audience can decide for themselves and give their input during the questionand-answer period after the screening.

“The conversation afterward gets very amusing, with the most extraordinary questions,” Cleese says. A recent audience member asked him if, should he be able to turn one of the other Pythons into a dessert, what would it be? “That’s a wonderful question,” he says. Might other Monty Python films receive the same screening/Q&A treatment? Many hardcore fans over the years have insisted

Cleese will answer audience questions Sunday. PHOTO : provided

that Monty Python’s religious satire Life of Brian is the troupe’s best cinematic effort. However, Cleese isn’t sure he’d be able to do the same thing with that film. “I would love to do that,” he says. “But I don’t think it would be as safe as it was in 1979, because there are people who blow up abortion clinics and kill doctors, and I wouldn’t want to die out on the road in one of these little theaters in the Midwest. That would be a sad way to go. I like life more and more as I get older.” Life of Brian is certainly the Pythons’ most controversial work. “The whole film was condemned by the Catholics and the Calvinists; it was protested by Presbyterians, Orthodox Jews, liberal Jews,” Cleese says. “And I think at least seven groups said that the people who follow their religion should not see this film.” At the time, the Pythons were asked if that response worried them. Cleese remembers his colleague Eric Idle’s response: “It doesn’t worry us; it means we’ve done a good job. It’s the first time in 2,000 years that they’ve been able to agree on anything.” JOHN CLEESE AND THE HOLY GRAIL takes place 7:30 p.m. Sunday at the Taft Theatre, 317 E. Fifth St., Downtown. Tickets/more info:


The Carnegie Adds Season-Long Shows BY KATHY SCHWARTZ

inaugural show at Northside’s Anytime Dept. gallery this summer. Over four days, Distel and Franklin visited the spaces of about 25 local artists. Franklin chose five of them for Joy, and added four from Portland and New York. Distel is pleased that even those who weren’t selected for this show now have connections across the country. Like the temporary The Other Thing, the season-long Joy is about art trying

Installation by Alicia Little for The Other Thing P H O T O : p r o v i d e d b y T h e C a r n eg i e

to be something else, only Joy is socialminded rather than genre-focused. Art is a means of activism or meditation. The world is in trouble, but there are ways to deal, the artists suggest. Inspired by the anarchist Bartolomeo Vanzetti, who protested low wages with the slogan “We cannot live on clams alone,” artist Amanda Curreri has tied mussel shells on sticks as noisemakers. Visitors are invited back to The Carnegie for food and talk on Nov. 12, or they can sign up in the gallery for one of Curreri’s CLAMS dinners on Oct. 26. Throughout Joy, we notice other artists figuring out how to negotiate everyday life. Kristan Kennedy washes her dyed linen paintings as a way of embracing pure chance. Visionaries + Voices’ Romando Love writes poems about evil people. And Lydia Rosenberg of Anytime Dept. collects “The Right Tool for the Job” — an array of lock picks — on a ring. Distel, meanwhile, hopes that he holds the golden key — one that allows the new gallery format to bring more people through The Carnegie’s doors. THE CARNEGIE is located at 1028 Scott Blvd., Covington, Ky. More info:

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The Carnegie’s exhibitions director, Matt Distel, passes a papier-mâché video game case on the floor of the main gallery and imagines what visitors must be saying about him and the notion of opening the 2017-18 season with four shows and what seems like a cast of thousands. “ ‘Distel has really lost control of his space! He’s not even cleaning up!’ ” he jokes. Of course, the realistic-looking case, made by Northern Kentucky artist Joey Versoza, is meant to be there. It’s part of The Other Thing, an enjoyable exhibit featuring eight artists, both local and not, who create illusions and challenge expectations as they move between media. Alice Pixley Young activates rarely used staircases of The Carnegie by playing with video, 3-D-printed forms and light. Nick Fagan turns a line drawing into a sculpture. Modern quilter Heather Braunlin-Jones stitches a Minimalist painting. And an installation by Alicia Little spills from the wall to the floor as it morphs from painting to sculpture and from soft to solid. “It looks like it’s one thing, but it turns out it’s the other thing,” Distel says during a walk-through with local painter/sculptor Michael Stillion, the show’s curator. “It is what it isn’t,” Stillion observes. “ ‘It is what it isn’t’ — the tagline that we should have used,” Distel says sardonically. His second-guessing is understandable, because Distel is shaking up the galleries’ format. The Other Thing and text & subtext & big deal — the touching final collaboration between photographer Diana Duncan Holmes and her late husband, poet Timothy Riordan — continue through Nov. 19 as part of the rotating lineup. But, for the first time, Distel also has introduced season-long installations. My Arms are Like Joy Joy Joy Joy! and Andrey Kozakov: Trading Room are part of an effort to engage visitors in new ways. The Carnegie’s exhibition season is compressed because it does not host shows over the summer and needs time to regroup after its popular two-day Art of Food fundraiser each winter. “To get public programming built around exhibitions, it’s really difficult,” he says. “Having these shows up for a year (through July 1, 2018) means we can do things like a dinner, gallery talks and performances.” Visitors of all ages can help Trading Room evolve as they make, take and leave notes, sock puppets, paper airplanes and other treasures in drawers that the Cincinnati-based, Ukraine-born Kozakov installed in a magical tree. Distel also wants to open up networks for local artists. He was glad to find another “studio junkie” in Joy curator Derek Franklin of Portland, Ore., whose art was in the

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A Visionary Director’s ‘Blade Runner 2049’ BY T T STERN-ENZI


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In Blade Runner 2049, director Denis K heads off to investigate Morton and, Villeneuve (Arrival) takes audiences along the way, stumbles upon something back to Ridley Scott’s noirish version of more: the revelation that former blade runthe future as presented in the 1982 clasner Deckard is still alive and living in seclusic Blade Runner, adapted from Philip sion in the wasteland of the Las Vegas desert. K. Dick’s novel Do Androids Dream of This complicates things but also crystalizes Electric Sheep? for K the pursuit of the meaning of life and That first film, set in Los Angeles in 2019, humanity, rooted in belief in love and some was laden with dark angst. Replicants — greater plan, but not in a higher power. bioengineered life forms with heightened If K were to achieve that higher level of strength, speed, resilience and intelligence awareness, he would most certainly find — were illegal on Earth in 2019 but used in himself face-to-face with Blade Runner off-world colonies to handle the dangerous workload that humans no longer wanted to perform. But these adult human “copies” began to rebel and kill their human makers. In Scott’s film, special “blade runner” officers like Rick Deckard (Harrison Ford) were charged with pursuing and ultimately “retiring” the rogue replicants. In this sequel, moved 30 years into the future, the setting is now even more of an existential grind. Hampton Fancher, one of the Ryan Gosling as K in Blade Runner 2049 first movie’s screenwriters, P H O T O : S t e ph e n va u g h a n /© a l c o n e n t e r ta i n m e n t returns as a co-screenwriter with Michael Green. We 2049 director Villeneuve, a fast-rising visionlearn that replicants were completely ary of cinema. Villeneuve here is a raw and outlawed once the Tyrell Corporation raucous engineer behind these all-too-human (their primary manufacturer) went broke. replicants and their search for a purpose upon But then the program was revisited by new which most of humankind has turned its back. owner Niander Wallace (Jared Leto) and This French-Canadian director conupgraded. It’s the same old story, the same stantly tests and redefines what it means old sad song, about society needing cheap, to live. His efforts challenge the notion that strong slave labor and doing everything to humanity must be framed by the linearity degrade the humanity of said labor only to of life and death. He’s done this especially have the field hands rise up. with last year’s Arrival. It detonated Villeneuve shows us that 30 years into our conceptions of time and space as we, Blade Runner’s future, there’s a noticeable through the character of linguistics profesdowngrade when it comes to the people, sor Louise Banks (Amy Adams), sought the regular humans. Audiences could be to learn and interpret an alien language forgiven for asking where everybody is, capable of unlocking universal secrets. because natural-born human beings seem And there will be even more revelations to be deep in hiding. Afraid, maybe, of the when Villeneuve tackles his next assignment: Southern California snowfall that looks like Frank Herbert’s Dune, a story of experimennuclear winter. Terrified of the replicants, tation conducted over thousands of years to with their limitless strength, vitality and biologically engineer a messiah who can be brooding awareness — their desires to be. many places at once by accessing and harInevitable death is what the writer/social nessing genetic memories. (In Blade Runner critic Cornel West believes makes us human 2049, it is memory, eternally fleeting, that — living, striving and suffering in the face bedevils the soulful replicant K.) of the unavoidable end. The replicants here Villeneuve is on a quest to break down our know this feeling. They see it in the arrival fears of a purposeless life, which is a miracuof blade runners like K (Ryan Gosling), the lous task in and of itself. By picking up the new breed of replicant who hunt down the remaining older versions who still dream narrative baton that original Blade Runner their dreams of electric sheep — ones like director Scott carried for so long, Villeneuve Sapper Morton (Dave Bautista), who farms a immerses us in the hopeful reawakening piece of forgotten land and pays tribute daily to a future that beckons us to rush forward to the miracle he witnessed decades ago. without fear. (Opens Friday.) (R) Grade: A

ON SCREEN Weaponized Cruise By T T STERN-ENZI

Tom Cruise is the quintessential allAmerican male. He is the rock-jawed hero with his dark hair and roguish smile, forever running off — thoughtlessly — to “do” something. Cruise is a man of action, first and foremost. He embodies the idea of “shoot first and ask questions later;” it matters little whether or not the characters he plays actually bear arms or not, maybe because Cruise is a weapon unto himself. All of that grinning charm and explosive energy contained in that compact human package are dangerous. Which is why his latest film, American Made, is a damned near perfect Tom Cruise vehicle — for good and ill. It is the true story of Barry Seal (Cruise), a bored pilot who starts off working for the CIA (after he’s caught smuggling Cuban cigars into the country) but soon finds himself running drugs and guns during the 1980s and getting involved with the Medellín Cartel, as well as the U.S. government’s efforts to undermine Nicaragua’s Sandinista government. As presented by Cruise, Seal is a good old boy, eager for a little fun to spice up the grinding routine. He imagines himself to be a hero with the guts for all the glory he believes is headed his way. Let’s be honest — that’s the real American Dream; not all the hokey pride and principle stuff we’re spoon-fed. And if you think about it, that’s exactly what Cruise has been selling for most of his career. But maybe it’s time that we pump the brakes and consider whether or not we’re down for the breezy star-powered attraction that director Doug Liman and Cruise are peddling here. Liman definitely knows how to exploit the classic appeal of movie stars — think Brad Pitt and Angelina Jolie in Mr. and Mrs. Smith. But in American Made, he and Cruise have concocted a rollercoaster ride that rockets to the heavens on manufactured thrills, then comes crashing down into a swamp of lies, corruption and political scandal that caused problems like the escalating drug problem that we refuse to honestly discuss. How very American. Thanks, Tom Cruise. (Continuing in theaters.) (R) Grade: C-

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Fifty Shades of Pfefferman BY JAC KERN

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At the risk of glorifying lazy internet-speak, flashbacks revealing their ancestors’ stories Transparent (Season 4 on Amazon) brings make up some of the series’ more enigmatic ALL THE FEELS. From the first notes of its scenes — so it’s a natural progression for the whimsical title sequence to the often-abrupt show to devote an entire season to the topic. closing credits, each episode of this dramedy Garnering the title of “most Jewish TV is an emotional rollercoaster. And after each show ever” as of late, this season brings the 30-minute ride, you’ll want to run right back Pfefferman family to the Holy Land. Here in line to enjoy another. we meet some of Maura’s long-lost relatives Transparent deals with some heavy in Israel. These people — strangers, yet subjects. The premise surrounds a family family — force Maura to consider decisions patriarch, now Maura Pfefferman (Jeffrey she’s made in the past that inform her role Tambor), coming out at age 70 as transgenas a father, her transition and why she hid der. Maura’s ex-wife Shelly (Judith Light) and children Sarah (Amy Landecker), Josh (Jay Duplass) and Ali (Gaby Hoffmann) each adapt to the change in different ways — though frequently selfishly so, a hallmark trait of the family — as they all juggle a number of personal issues. This season finds Maura out of retirement and back in the classroom, clearly feeling more comfortable in her skin and in front of a class of college students. An opportunity to lecture at a conference on Jeffrey Tambor (right) and Jenny O’Hara in Transparent gender and Judaism brings P H O T O : c o u r t e s y a m a z o n p r i m e v i d eo her to Tel Aviv. Reeling from an embarrassing and public end to a relationship, Ali joins her. her true self for so long. Back in Los Angeles, Shelly looks to capitalMuch like how Maura’s transition has ize on the cruise-line performance of her echoed Ali’s personal evolution throughout one-woman show by taking improv classes, each season, the trip has a heavy impact but continues to struggle with her family not on this youngest Pfefferman. She’s shifted taking her seriously. Josh finds it hard to do so from dating only men to only women and now that she’s living with him. Dealing with begun to present herself more androgya breakup of his own and still managing the nously. In Israel, her identity crisis comes to death of a figure from childhood, he sinks to a a head not just in terms of gender expresnew low (which strangely includes a never-refsion or sexuality, but also her religion. erenced weight gain by way of an obvious fat Despite her ties to Judaism, she expresses suit). Sarah is back with on-again, off-again a clear interest in the Palestinian side, conhusband Len (Rob Huebel), but their attempt stantly reminding the family of injustices as to reconcile her possible sex addiction gives they tour Jerusalem. way to the couple entertaining a third party Ali’s discomfort is evident throughout the (Alia Shawkat), for better and worse. trip. Maura confronts her, asking if she’s Transparent is a fantastic portrait of a trans, but that’s not really what it’s about. Ali transgender woman (creator Jill Soloway’s struggles with the binary: being single vs. in father also transitioned late in life), but the an exclusive relationship, gay vs. straight, cis show also explores modern family dynamics, vs. trans, Israel vs. Palestine, Eastern tradiheritage and rituals better than any show on tions vs. Western ideals. The world pushes us right now, maybe ever. Where NBC’s popular into black or white categories when so often This Is Us gives viewers a soapy, sappy look we live in the many shades of gray. at perfectly imperfect families (and I am a And that seems to be the unifying theme fan of that show) and all problems are solved of Transparent’s fourth season: life is not to by the end of the hour, the stories in Transbe boxed up like pretty little Christmas packparent are not always so neatly wrapped ages — or, rather, Hanukkah packages. The up in each episode or season. Sometimes Pfeffermans and friends will continue to defy families are imperfectly imperfect. Some the norm and Transparent will continue struggles continue beyond the rolling credits. to explore a messy, complicated group of And that’s OK. people. But you just might call that their gift. Transparent has always explored JudaCONTACT JAC KERN: @jackern ism and the family roots — fever-dream

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Share: Cheesebar finds a home in Pleasant Ridge BY MACKENZIE MANLEY


Diners can choose from an array of rotating curated cheese plates ($15-$25) with themes like the Ooh La La European board or the Tapas Con Queso Spanish board, or opt to add charcuterie from the shop’s selection of meats, which range from prosciutto to Ohio’s North Country salami and chorizo. Accoutrement like marcona almonds, olives and preserves come on the side. Pair your board with wine — right now, Share offers six whites and six reds — or a beer from a local brewery. Frank says she owes breweries after years of parking her food truck outside their businesses. In the future, Frank says they plan to host a monthly class where they bring in a different local brewery and teach attendees about the process of making both cheese and beer. Most customers place trust in Frank to lead them through the path of righteous cheese tasting. She says she and her employees ask every customer if they have any taste or texture aversions, and the majority of the plates sold are “chef’s choice,” where staffers pick the cheese samples for you. “It’s really cool. People are like ‘Have at it. We’re here to try new things,’ ” Frank says. “They’ll say, ‘The stinkier, the better.’ To me, that’s really fun.” But it hasn’t always been fun or easy. A few months after initially signing a lease on the space, Frank was crossing the street with her father when she was struck by a Metro bus in Hyde Park, crushing her foot; her father died on the scene. The months that followed the incident — on Jan. 27, 2016 — put everything on hold. Frank says she was immobile, bedridden and couldn’t walk or drive for half of 2016. Despite this, she never doubted that Share: Cheesebar would happen — just that it would be delayed. “It’s hard. It’s hard to sit down. I’ll sit at the cash register on a stool as much as I can, but when someone comes in I stand up and want to greet them and interact with them,” Frank says. “At night, I’m a little better and I’ll sit in my wheelchair in the storage closet and work from there.” It’s just her reality, she says, crediting her team of seven for keeping her grounded. They remind her to relax when she’s overexerting herself. During the month of October, Frank says she’ll face another foot surgery after which she won’t be able to bear weight on it for six weeks. Though she’ll have to be out of the shop more than she’d like — “I’m just neurotic and type A; it’s my baby,” Frank says — she has full faith in her staff to carry out her passion.

Share offers a curated selection of artisan cheese boards and charcuterie with themes like European, Spanish and chef’s choice.

“I have an amazing group of people here,” she says, adding that in some ways it’s almost frightening how well her team syncs up and gets along. Some she knew prior to Share and others she didn’t. Regardless, the group is planning to make their chemistry tangible via matching tattoos of a cheese knife. “We have a good time around here. I’m surrounded by deliciousness,” Frank says. “From a purely selfish standpoint, I get to see my neighbors, my friends. It’s not a bad

gig. If you have to work for a living, it’s not a bad gig.” As she wraps up a conversation, a neighbor walks in and says hi, welcoming her to Pleasant Ridge as a business, and she starts to stand from her stool behind the cash register. SHARE: CHEESEBAR is located at 6105 Ridge Ave., Pleasant Ridge. More info:

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hare: Cheesebar is a reflection of its owner, Emily Frank. Fused with a sense of energetic calm, she takes whatever comes her way in stride. After all, that’s what she says an entrepreneur does: figures it out. After six years of owning C’est Cheese gourmet grilled cheese food truck, a Queen City staple, the transition to a cheesefocused brick-and-mortar felt natural. “The truck is going really well and the city has been kind and embraced us, but I started a couple of years ago thinking ‘OK, what’s next?’ ” Frank says. “I don’t want to be in a food truck for the rest of my life.” A step up from the nostalgic ooze of grilled cheese, Frank looked toward a more refined presentation when creating Share’s concept — the cheese plate, minus the pretension. “I think cheese can be a lot like wine, right? It’s intimidating,” she says. “Some people know they like Brie cheese but don’t know what animal produces the milk to make the Brie cheese, or what else is like a Brie cheese. That’s OK. As long as you’re willing to try it and have a little fun, you’re my kind of people.” When finding a home for her cheese aspirations, Frank looked to her own neighborhood, Pleasant Ridge. Once lined with vacant shops, the main drag is now home to a host of cool, local endeavors, including Nine Giant Brewing, whose opening last year made the area perfect from a business standpoint, according to Frank. Share: Cheesebar opened in July. “I love everything about this community. I’m fairly involved with a lot of things going on — I can walk into the coffee shop and know half-a-dozen people there,” she says. “It’s a very welcoming, supportive and diverse community. All these new businesses coming in at the same time is just icing on the cake.” Inside, the space is both a reflection of Frank and the connections she has created. Light pours in through windows that line the front and right side of the cozy building. The clean walls are hung with minimalistic canvases made by a graphic designer pal, and a large spray-painted pink chandelier a friend found on Craigslist dangles from the ceiling. A glass cabinet near the front is filled with a streamlined selection of artisan cheeses from near and far. One is soaked in wine and topped with a grape leaf, another — called TeaHive, from Utah — is rubbed with black tea and bergamot. One is coined the “Pleasant Ridge Reserve,” though the nutty delicacy comes from Wisconsin.

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Taft’s Brewpourium Introduces New Haven Apizza BY AUSTIN GAYLE


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Over-the-Rhine brewpub Taft’s Ale House has taken its talents to Spring Grove Village, opening a second location — Taft’s Brewpourium — and pivoting its menu from a focus on tri-tip steak to a unique East Coast-style pizza. “This area is dying for something like this,” says Taft’s owner and managing partner Dave Kassling. “There’s a lot of people who live over here, and there’s really only fast food options. So we’re offering something completely different, and I think that’s going to go a long way.” New Haven “apizza” is a crispy and coal-fired version of Neapolitan pizza that originated in New Haven, Conn. Kassling, a graduate of the prestigious Tony Gemignani’s International School of Pizza in San Francisco, chose to offer apizza over other styles (e.g. New York, Chicago) because William Howard Taft — former president, Cincinnati native and brewery namesake — went to Yale in New Haven. “We wanted to change it up,” Kassling says. “(At Taft’s Ale House in OTR), the original idea was to offer a kind of meat that most people don’t know in Cincinnati, and that was the tri-tip. Here, we decided we wanted to bring New Haven-style pizza, which is nowhere to be found in Cincinnati.” The dough, made with filtered water and flour imported from Italy, is what makes apizza so different. “The beauty of the pizza is that it’s cooked in a coal-fired oven,” Kassling says. “Those coals get to 1,000 degrees. Most of the baking doesn’t go near that temperature, but we move it over at the end to give it a nice, light char. It really gives you that crunch while staying soft on the inside. It’s wonderful.” The menu features several specialty pies made popular by New Haven’s apizza originator — and one of the oldest pizzeria’s in America — Frank Pepe’s Pizzeria Napoletana: a white clam pizza (clams, extra virgin olive oil, parmesan, garlic, pecorino and oregano) and the original tomato pie (imported crushed Italian tomatoes, light pecorino and extra virgin olive oil). Food director Katie Klug says the Roebling pie has been the restaurant’s top seller since opening in September. Like Kassling, Klug also attended the International School of Pizza. “We’re really excited about the Roebling,” she says. “It’s kind of like a meatlover’s-style pizza but with ricotta.” Klug says the Spring Grove has also been an early favorite. “(It) just has tons of veggies, marinated eggplant, green peppers, mushrooms, artichoke hearts, red onion, and after it’s baked it gets fresh arugula and a balsamic drizzle,” she says. Some of the pizzas also incorporate Taft’s beer, either infused in the crust or other toppings. The BBQ Pork Pie is topped

with pulled pork marinated overnight in the brewery’s Cherrywood Red Ale, with red onion, jalapeño and smoked cheddar. Though Klug’s pizza could steal the show, the menu also offers a handful of sandwiches, salads and appetizers. Owner Kassling is working to expand Taft’s beer presence beyond Cincinnati. The 50,000-square-foot Brewpourium — once a P&G lab and a streetcar building facility — will serve as Taft’s primary brewing facility.

Coal-fired white clam apizza PHOTO : Haile y Bollinger

“Right now, we have the capacity to do about 15,000 barrels,” he says. “However, the building is large enough for us to do over 100,000. So, if we’re fortunate enough to see demand for our beer, someday we’ll be in this building doing even more.” Taft’s beer is currently available at more than 400 Cincinnati locations, including local grocery stores. With the Brewpourium up and running, the crew hopes to use the added production space to push cans up toward Dayton and into Northern Kentucky. As such, those who visit will have an opportunity to see beer production in action and enjoy the open space of the taproom. “When we found (the new building), it was just in great shape,” Kassling says. “It was perfect for our needs because not only did it have space for expansion but also a great front area for us to use as a taproom.” The taproom, open Wednesday through Sunday, also features darts, cornhole, shufflepuck and several TVs, allowing both beer connoisseurs and families to enjoy all that Taft’s Brewpourium has to offer. TAFT’S BREWPOURIUM is located at 4831 Spring Grove Ave., Spring Grove Village. More info:

F&D classes & events Most classes and events require registration; classes frequently sell out.

WEDNESDAY 04 Taste the World Food Tour at Findlay Market — Learn about the history of Ohio’s oldest public market while taking a tour and enjoying samples from five specialty merchants. 11 a.m. $20; $5 optional wine tasting. Leaves from the information desk at Findlay Market, 1801 Race St., Over-the-Rhine,

THURSDAY 05 HopScotch — Join 250 of your closest friends for an Irish whiskey, Scotch and craft beer tasting (with bonus light bites). Hosted by CityBeat. 5:30-8:30 p.m. $20$30. New Riff, 24 Distillery Way, Newport, Ky., Tapas! Culinary Class — An internationally themed class focusing on traditional and modern takes on a Spanish-style tapas menu. 6-8 p.m. $75. Findlay Kitchen, 1719 Elm St., Over-the-Rhine,

FRIDAY 06 Donauschwaben Oktoberfest — The Cincinnati Donauschwaben Society hosts this Oktoberfest celebration with more than 25 beers on tap, live entertainment, homemade food and a car show. Friday-Sunday. $3; free for kids 12 and under. Cincinnati Donauschwaben Society, 4290 Dry Ridge Road, Colerain, Keg Tapping Horror Art Show! — Pregame the Halloween season at Darkness Brewing with a special tapping of their Blumpkin black pumpkin ale and Witch Head Nebula blood red IPA. There will also be live horror art from local artists, scary movies screening and warm pumpkin cider. 7-11 p.m. Free admission. Darkness Brewing, 224 Fairfield Ave., Bellevue, Ky.,

Murder Mystery Dinner Train — All aboard the LM&M railroad for a night of mystery and a multi-course meal. Suspicious characters will board the train and a mystery will unfold as you travel through Southwest Ohio. The ride stops at the Golden Lamb for a buffet dinner before you return to the train to solve the mystery. 6:15 p.m. boarding. $84.95. LM&M station, 127 S. Mechanic, Lebanon,

Leukemia & Lymphoma Society Pub Crawl — Head to the Cheviot entertainment district for an evening of drinking for a cause. For $10, get a crawl card to guide your night. Complete the crawl and get a koozie and entry into a prize raffle. 7 p.m. $10. Kellers Cheviot Café, 3737 Glenmore Ave., Cheviot, searchable on Facebook.

SATURDAY 07 Weekend of Fire — Feel the burn at the Weekend of Fire, serving more than 300 flaming delicacies from more than 50 vendors — and it ain’t just hot sauce. Check out the Arena of Fire for eating competitions all weekend. 11 a.m.-7 p.m. Saturday; 11 a.m.-4 p.m. Sunday. $10; $12 at the door; child pricing available. Jungle Jim’s, 5440 Dixie Highway, Fairfield, ShakesBeerean Film Festival — The Cincinnati Museum Center’s CurioCity program takes over the Hamilton County Fairgrounds for an evening of Shakespearean film and local brews. Costumes are encouraged. 7 p.m. $10-$17. Hamilton County Fairgrounds, 7700 Vine St., Carthage, Columbia Tusculum Home & Pub Tour — Take a walking tour of historic Columbia Tusculum, with access to homes — including some “painted ladies” — buildings and food and drink specials at neighborhood pubs. 11 a.m.-4 p.m. $12 advance; $15 day of. Tour begins at Columbia Square, 3527 Columbia Parkway, Columbia Tusculum,



Sun-Thurs 11am - 9pm Fri-Sat 11am - 11pm 4 1 7 2 H a m i l t o n av e C i n C i n n at i o H , 4 5 2 2 3


Enjoy Our Spiced Wine This Autumn! DRINK LOC AL SHOP LOC AL

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SUNDAY 08 Findlay Fall Food Fest — Head to Findlay Market to celebrate the bounty of the season. There will be pumpkin painting, cooking demos, live music, craft cocktails, seasonal beer and festive fall specials at participating market vendors. 10 a.m.-4 p.m. Free admission. Findlay Market, 1801 Race St., Over-the-Rhine,

MONDAY 09 Fall Pasta — Unlock the mystery of homemade pasta, made using fresh and seasonal ingredients. In this class, you’ll get hands-on experience perfecting pasta dough, adding sauce and integrating other ingredients. Wine included with after-class tasting. 6:308:30 p.m. $90. Turner Farm, 7400 Given Road, Indian Hill,

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Nauti Night at the Aquarium — Paint the town blue and party with the penguins at the 12th-annual Nauti Night fundraiser. Dress in your favorite blue-hued cocktail attire and enjoy unlimited food and drinks from more than 20 vendors, exotic animal encounters, live entertainment and a silent auction. Benefits the WAVE Foundation. 7:30 p.m.-12:30 a.m. $85; $150 couple; $70 annual passholder. Newport Aquarium, 1 Aquarium Way, Newport, Ky.,

Taps & Tarot — Celebrate the season with Taps & Tarot, Fibonacci’s popular mystical event series. Get a reading by Sarah Hayes and drink beer. 6-10:30 p.m. $15 readings. Fibonacci Brewing, 1445 Compton Road, Mount Healthy, fibonaccibrewing.


OCTOber 5th • 5:30-8:30 Pm New Riff Distillery // Newport, Ky


Early bird tickets available at The Party Source: $20 General admission tickets available online: $25

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Featuring Drinks From:

Featuring Food From:

Featuring Beer From:


Trinity Pain

Lilly Hiatt channeled her emotional turmoil into Trinity Lane, her third and best album BY BRIAN BAKER

P H O T O : N e w W e s t R ec or d s / A ly s s e G a f k j e n


Lilly Hiatt writes about her hard-fought sobriety, her mother’s death and more on Trinity Lane. She didn’t hold back in the influence department, either. A good many of her avowed influences — Pearl Jam, Pixies, The Breeders, Dinosaur Jr. — found fertile ground in Hiatt’s new songs, making the recently released Trinity Lane her loudest and most energetic album to date. “They just creeped up,” Hiatt says. “That’s always been a part of my upbringing and influence in music. I think I’ve been a little shy about letting that part come through, but I was feeling a little more liberated and working with people that I feel encouraged that, and it was something I really enjoyed.” One of those people was Shovels & Rope guitarist/vocalist Michael Trent, who produced Trinity Lane. Recommended by a good friend at her label, New West Records, Hiatt trusted Trent to shepherd her new songs through the studio process. And that trust was perfectly placed. “We started talking on the phone and I was intrigued because I didn’t know that he made records,” Hiatt says. “We went back and forth for awhile, and I realized pretty quickly this guy was going to get where I wanted to go and what I wanted to do. He’s a pretty cool guy and it was a neat opportunity to work with someone like him.”

Hiatt credits Trent with brightening what could have been an extremely somber album, but she clearly brought a bristling set of songs to the sessions, from the stream-of-consciousness composition and sky saw guitar of “The Night David Bowie Died” to the Lucinda-Williams-channelingBruce-Springsteen burn of “Records” to the Punk-tinted twang of the title track. At the same time, Hiatt’s expansive Roots/Americana sound remains in the forefront, particularly on “Imposter,” an emotion-laden ode to her father’s dedication after her mother’s death, the Country/ Folk moan of “Different, I Guess” and the warts-and-all memory lane stroll of “So Much You Don’t Know.” Hiatt doesn’t wrestle so vehemently with her sobriety anymore and she doesn’t carry around the anger and resentment toward her mother for choosing to so abruptly leave her behind. It may not exactly be contentment, but at least it’s a resolution of sorts. “Emotionally, I felt pretty disconnected spiritually and emotionally, and I was tired of it,” Hiatt says. “At first it was hard to not drink, but after a year or so, it wasn’t as

hard and my life was getting better. But other things became hard, like accepting certain aspects of my personality. “Self-acceptance can be a difficult journey for anyone. And when you lose a parent, there’s this mysterious hole in your life and you question things about yourself and where you got things from. But then I was tapping into something a little deeper spiritually. “There were things about her I could be angry with her for, but then growing up and struggling with what seemed like similar mental things — depression, sensitivity and being an empath, which I’m pretty sure she was and I know I am — you see how that can take people down. It can also give you a lot of strength, but you have to twist it in that way. It takes a lot of acceptance to use it in a way that empowers you.” LILLY HIATT plays the Southgate House Revival with Daphne Willis on Friday. More info/tickets:

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n her first two albums, Lilly Hiatt displayed her natural musical gifts for rootsy melody and lyricism, the result of a lifetime’s exposure to the craft through her hyper-talented father, Grammy-nominated singer/songwriter John Hiatt. Her sophomore album, 2015’s Royal Blue, touched on her myriad influences — Grunge, 1970s singer/songwriter fare, Britpop, ’80s Synth Pop and more — while remaining rooted in the Americana vibe that she knew so well. But when the time came to follow it up, Hiatt was living a long, dark teatime of the soul. Hiatt was heartbroken after a break-up, still coming to grips with her hard-fought sobriety and just beginning to reconcile her adult feelings about her mother’s suicide when she was a baby. She found an apartment off Trinity Lane in East Nashville and, after touring as John Moreland’s opener, began documenting the emotional maelstrom she had been experiencing in her new songs. “A little bit of it was written in the midst of it,” says Hiatt from her Nashville home. “But it took some pulling back and sitting with some of those emotions to produce a fruitful time of writing.” Although Hiatt was creating very dark and personal songs in this period that didn’t necessarily line up with her existing catalog, she hadn’t really shifted her songwriting process to any significant degree. That was primarily because you can’t change what doesn’t actually exist. “I’ve never really had a particular process — I mostly just write when the muse hits,” she says. “I definitely had a lot more time to myself this past summer when I wrote a lot of those songs. My roommate was gone and I could be as loud as I wanted in the house. I don’t want to say I made myself write, I just had to because I didn’t know what I was to do with myself if I didn’t.” Most importantly, Hiatt didn’t hold back as far as subject matter was concerned. No corner was too dark to explore, no emotion too messy to reveal in the songs that emerged from her need to write. “I felt like it was all fair game,” she says. “It’s nothing that people haven’t felt before, the things I’m talking about — they’re not unique emotions. They might be a little specific, but I feel like it’s fairly normal stuff; get your heart broken, deal with things. “I definitely wrote a little more about my struggles with some addictions but it wasn’t intentional — it was just there and it was something I was facing more in myself, so naturally it wove its way into the writing.”


MUSIC sound advice


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8 Andrew W.K.

9 The Lacs

13 Brett Young

10 Theory Of a Deadman

10 Sixteen Candles

22 Bone Thugs-N-Harmony

12 UFO & Saxon

11 Dopapod & The Motet

23 Thunderstruck

13 Sigma Chi Derby Days

15 Dirty Heads

29 Saved By The 90’s

15 Salt Melts Cincinnati

17 Jack & Jack

16 Ron Pope

21 Jackyl

17 Secondhand Serenade

22 90’s Grunge Night

19 UC Sigma Phi Fall Ball

29 21 Savage

JaNuaRy 5 Southern Accents

21 Motionless In White 22 311 3 2   •   C I T Y B E A T . C O M   •   O C T . 0 4  –  1 0 , 2 0 1 7

27 The Lox 28 Kip Moore 30 Flogging Molly


JUdah & the Lion


The Growlers Wednesday • Woodward Theater The Growlers have spent the last 11 years perfecting their unique Indie Rock hybrid, which has been described as “Beach Goth” — a swirling, slinky style that touches on elements of Pop, Surf, Dance, Psychedelia, Country and Garage Rock. The band’s five albums, three EPs and three singles have a syncopated, squiggly edge, sounding like the children of Talking Heads and Muse raised in the mellow chill of Southern California on a steady diet of Modest Mouse and Thee Oh Sees. The Growlers began in 2006 with friends Matt Taylor and Brooks Nielsen, playing guitar and singing along respectively. After adding members to flesh out the lineup, the collective relocated to Long Beach, California and began writing the material that would The Growlers comprise their elecP H O T O : C u lt R ecor d s trifying live sets. But first a name change was in order: Initially dubbing themselves the Heebie-Geebies, they landed on the idea of identifying themselves after their homegrown euphemism for emptying their colons (i.e., taking a growler), and thus was born The Mike Gordon Growlers. Glad you P H O T O : a n dy m a n n asked? Originally formed around a love of Psychedelic and Surf Rock, The Growlers released their potent debut, 2009’s Are You In or Out?, while they were still enamored with their earliest influences. The band quickly began to indulge their experimental natures, turning out music from a broad spectrum of inspirations and experiences. By their sophomore album, 2010’s Hot Tropics, The Growlers were exploring a sonic agenda that included a Gypsy Jazz take on Psych Folk and Surf Rock and a decidedly confident studio approach that was forged in the live furnace. That confidence was underscored when they went into the studio with Dan Auerbach at the console for 2013’s Hung at Heart, but when the sessions proved unsatisfactory to the band, they hit reset and made the album on their own. The Growlers’ next two releases, 2013’s Gilded Pleasures and 2014’s Chinese Fountain,

continued their Gypsy-Surf-with-a-twist direction, but after signing with Cult Records for last year’s City Club, the band installed Strokes frontman Julian Casablancas as producer and crafted a BrianEno-as-snakecharmer vibe on the quiet end and a thumping dance floor groove at the red end of the meter. The Growlers have toured with a murderer’s row of great artists — the Black Keys, Julian Casablancas, Devendra Banhart and Jonathan Richman, among them —and are one of Indie Rock’s great under-recognized outfits. No shit. (Brian Baker) Mike Gordon Wednesday • 20th Century Theater It’s not even remotely surprising that Mike Gordon has over a half dozen distinct project bands and collaborations on his résumé, not including his 30-year gig as bassist for Phish and his ever-expanding solo pursuits. An accomplished multi-instrumentalist — bass, guitar, banjo and piano — Gordon is also a restless and curious creative soul with interests in various Country branches, including Honky Tonk, Folk and Bluegrass, as well as Calypso, Reggae and traditional Jewish musical forms. These inspirations have wormed their way into every aspect of Gordon’s astonishing career. Gordon’s first semi-solo venture was 2002’s Clone, his collaboration with legendary Folk guitarist Leo Kottke, followed a year later by his first true solo release, Inside In. Some of the tracks had actually been recorded five years earlier and then stockpiled until Gordon had time to revisit them. Before Phish reconvened in 2009, Gordon did one more album with Kottke, 2005’s Sixty Six Steps; his evocative sophomore solo album, 2008’s The Green Sparrow, which featured cameos from Phishmates Trey Anastasio and Page McConnell; and four live sets — two solo and one each from the Benevento-Russo Duo and the Rhythm Devils, a Grateful Dead side project. A year after Phish’s triumphant return, Gordon released Moss, an album that he described as “bass centric,” followed four years later by Overstep, a continuation of his multi-genre approach, featuring a mix


of Reggae, Funk, Jazz and chugging Rock. Gordon’s latest solo studio effort OGOGO, released three weeks ago, follows in the footsteps of its predecessors by offering an eclectic deviation from his Phishy Jam work, but departs from his solo blueprint by being daringly simple and experimental, all while retaining a funky foundation. OGOGO’s first two singles have clear commercial potential with an appealing edge; “Steps” is an ethereal, Tropidelic Pop song with all the earmarks of a radio hit, while “Victim” is a groovetastic wah wah Funk workout. Much of OGOGO employs synthesizers and programmed beats, with plenty of Gordon’s patented weirdness and splashes of Reggae, Psychedelia and his odd takes on Folk and Funk, overlaid with lots of aggressive Ambient noise. After nearly a decade and a half, Gordon has shaken off any Phish purists who were disenchanted with his (relatively) straightforward songcraft and acute sonic oddballery and has attracted a fervent fan base that delights in his erratic yet utterly enchanting flights of fancy. (BB)

experience, every sensation, every fear, every joy, every clarity, every confusion, every up, every down ... all extruded and concentrated into one thick syrup of super life-force feeling, and then psychically amplified by the celebratory spirit of glorious partying.” (Jason Gargano)

FUTURE SOUNDS DREW HOLCOMB AND THE NEIGHBORS – Oct. 12, 20th Century Theater UFO/SAXON – Oct. 12, Bogart’s PINBACK – Oct. 13, Woodward Theater WHEELER WALKER JR. – Oct. 15, Madison Live RON POPE – Oct. 16, Bogart’s BEST COAST – Oct. 16, 20th Century Theater SECONDHAND SERENADE – Oct. 17, Bogart’s THE FLOOZIES – Oct. 18, 20th Century Theater FLAMIN’ GROOVIES – Oct. 20, Southgate House Revival OPEN MIKE EAGLE – Oct. 21, Chameleon

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wed 4

against the grain brewing co. beer tasting

fri 6

the scrappers, grotesque brooms, all-seeing eyes

sat 7

tigerlilies “space age loVesongs” 20th anniVersary, reD sKylarK

sun 8

ryley walKer, carriers

mon 9

xela, miir

tue 10 wed 11

motr mouth: stanD-up comeDy

writer’s night w/ lucas

bob log iii, we’re witches free liVe music now open for lunch


LOW CUT CONNIE – Oct. 21, MOTR Pub IMAGINE DRAGONS – Oct. 21, U.S. Bank Arena MOTIONLESS IN WHITE – Oct. 21, Bogart’s

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311 – Oct. 22, Bogart’s THE STRUMBELLAS – Oct. 23, 20th Century Theater COLIN HAY – Oct. 29, Taft Theatre MEWITHOUTYOU – Oct. 29, Southgate House Revival FLOGGING MOLLY – Oct. 30, Bogart’s SCOTT BRADLEE’S POSTMODERN JUKEBOX – Oct. 31, Taft Theatre BEACH SLANG – Nov. 2, Southgate House Revival PRIMUS – Nov. 3, Taft Theatre CHASE RICE – Nov. 4, Bogart’s RODNEY CARRINGTON – Nov. 4, Taft Theatre REGINA SPEKTOR – Nov. 5, Taft Theatre DREAM THEATER – Nov. 6, Taft Theatre MILK CARTON KIDS – Nov. 7, Taft Theatre ARKELLS – Nov. 9, Madison Live DOPAPOD/THE MOTET – Nov. 11, Bogart’s FLYING LOTUS – Nov. 11, Madison Theater MARC BROUSSARD – Nov. 11, Taft Theatre THE BRIAN SETZER ORCHESTRA – Nov. 14, Taft Theatre DIRTY HEADS – Nov. 15, Bogart’s

live MusiC no Cover

Wednesday 10/4 Open Mic w/ Billy Larkin & Amy McFarland 8-11


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Thursday 10/5 Todd Hepburn & Friends 8-11

Friday 10/6 April Aloisio w/ the BBG Trio 8-12

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Pinback: autumn of the SeraPhS 10th anniverSary tour

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Andrew W.K. Andrew W.K. P H O T O : J o n ath a n T ho r p e Sunday • Bogart’s Andrew W.K. hasn’t released an album since 2009, but don’t think the man born as Andrew Wilkes-Krier has been in hibernation the least eight years: The Michigan native went on a speaking tour dubbed “The Power of Partying,” launched his own political party called the Party Party, gave the keynote speech at a My Little Pony convention, delivered a guest lecture at the Oxford Union titled “The Philosophy of Partying” and, perhaps best of all, released a pizza guitar. For the uninitiated, Andrew W.K. rose to prominence behind his 2001 debut fulllength I Get Wet, a collection of straightforward Hard Rock anthems anchored by his exuberant sing-shout voice and highlighted by his signature song, “Party Hard.” And now it seems the world’s most dedicated partier is ready to get back to his bread and butter — going on tour to highlight songs from his six albums and releasing a new record that will drop in March 2018. Here’s what he said in a statement about the new album, which of course will center around his favorite activity: “I’m going for the sound of pure, unadulterated power; every emotion, every thought, every

111 E 6th St Newport, KY 41071

music listings

CityBeat’s music listings are free. Send info to Listings are subject to change. See for full music listings and all club locations. H is CityBeat staff’s stamp of approval.


ARNOLD’S BAR & GRILL — Todd Hepburn. 7 p.m. Piano. Free.

BREWRIVER GASTROPUB — Wine Wednesday with Old Green Eyes and BBG. 6 p.m. Standards. Free. BROMWELL’S HÄRTH LOUNGE — Open Mic Night with Billy Larkin and Amy McFarland. 8 pm. No cover. JAG’S STEAK & SEAFOOD — Steve Thomas. 6 p.m. ’80s Covers. Free. MANSION HILL TAVERN — Losing Lucky. 8 p.m. Blues. Free. SOUTHGATE HOUSE H REVIVAL (SANCTUARY) — An Evening with Chris Hillman

& Herb Pedersen with John Jorgenson. 8 p.m. Country Rock. $25-$30. SOUTHGATE HOUSE REVIVAL (LOUNGE) — October Artists in Residence: Chuck Cleaver & Mark Utley with Amber Nash of Shiny and the Spoon. 8 p.m. Singer/Songwriter. Free.

WOODWARD THEATER — The Growlers with “Delicate Steve” Marion. 8 p.m. Psychedelic Rock. $20 advance; $25 day of.


URBAN ARTIFACT — Blue Wisp Big Band. 8:30 p.m. Jazz/Big Band. $10. KNOTTY PINE — Dallas Moore with Lucky Chucky. 10 p.m. Country/Rock/Southern. Free. STANLEY’S PUB — Jonathan Luck Spaulding. 9:30 p.m. Reggae. Free.

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PIT TO PLATE — Weedly Wednesday Bluegrass Night. 7 p.m. Bluegrass. Free. MARTY’S HOPS & VINES — Dave Hawkins with Peg Buchanan. 7 p.m. Folk/Celtic/Singer/ Songwriter. Free.


ARNOLD’S BAR & GRILL — Dottie Warner and Wayne Shanon. 7:30 p.m. Jazz. Free. BROMWELL’S HÄRTH LOUNGE — Todd Hepburn and Friends. 8 p.m. Eclectic Mix. No cover.

THE GREENWICH — Mike Scharfe’s Mambo Combo. 8 p.m. Jazz. $5.

NORTHSIDE TAVERN — Moira, Build Us Fiction and Marr. 10 p.m. Dream Pop. Free.

LIVE! AT THE LUDLOW GARAGE — John Popper. 8 p.m. Pop. $35-$75.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) — Lilly Hiatt and Daphne Willis. 8 p.m. Rock/Country/Folk. $10-$12.

TAFT THEATRE — The Simon & Garfunkel Story. 8 p.m. Simon & Garfunkel tribute. $22.50-$36.50. NORTHSIDE TAVERN — Karaoke Fantastic. 9 p.m. Karaoke. Free. NORTHSIDE YACHT CLUB — H Big Eyes with Vacation. 9 p.m. Rock. Free. COMMON ROOTS — Thursday Night Open Mic. 8 p.m. Various. Free. KNOTTY PINE — Kenny Cowden. 9 p.m. Singer/Songwriter/Rock/ Pop/Country. Free. PLAIN FOLK CAFÉ — Open Mic hosted by Christina Schnetzer. 7 p.m. Various. Free. JIM AND JACK’S ON THE RIVER — Mike David. THE MOCKBEE — Rock & Bass Local Music Showcase. 9 p.m. Rock. $7 presale; $10 at the door.


ARNOLD’S BAR & GRILL — 46 Long and Lagniappe. 6 p.m. Blues/Cajun. Free.


BROMWELL’S HÄRTH LOUNGE — April Aloisio and the BBG Trio. 8 pm. THE GREENWICH — Rollins Davis Band featuring Deborah Hunter. 9 p.m. Jazz/R&B. $5.


SOUTHGATE HOUSE REVIVAL (SANCTUARY) — OK Computer 20th Anniversary Tribute Show featuring Radiohead Tribute Band, Black Signal and Margaret Darling. 9 p.m. Radiohead tribute. $10. SOUTHGATE HOSUE REVIVAL (LOUNGE) — Warsaw Falcons and Wilder. 9:30 p.m. Rock. Free. TAFT THEATRE — Dark Star Orchestra. 8 p.m. Grateful Dead tribute. $25-$40. WOODWARD THEATER H — Blind Pilot with Tall Heights. 9 p.m. Indie Folk/Pop. $18 advance; $20 day of.

URBAN ARTIFACT — Season Ten, Kerchief, Peace Attack and Sun Delay. 9 p.m. New Wave/ Experimental/Indie/Rock. Free. THE COMET — umin, Off the Meat Rack, Silent Tongues and Curta. 10 p.m. Alternative/ Indie/Hip-Hop. Free.


THE MAD FROG — LANTANA. 8 p.m. Hip-Hop/Rap. $10. PLAIN FOLK CAFÉ — P’s in a Pod. 7:30 p.m. Bluegrass. Free. JAPP’S — Burning Caravan. 6 p.m. Gypsy Jazz. Free. SILVERTON CAFÉ — String Theory. 9 p.m. Acoustic/Folk/ Rock/Country. Free.

JAG’S STEAK & SEAFOOD — Zack Shelly & Chon Buckley and The Sly Band. Piano/Vocals. $5 cover.

MARTY’S HOPS & VINES — Wild Mountain Berries. 9 p.m. Americana/Blues/Jazz/Country. Free.

LIVE! AT THE LUDLOW GARAGE — Melodime with Jim Trace and the Makers. 8 p.m. Rock. $15.

MUSIC HALL — Music Hall H Grand Opening Weekend with Cincinnati Symphony


MANSION HILL TAVERN — Doug Hart Band. 9 p.m. Blues/Rock. $4. MOTR PUB — The Scrappers with Grotesque Brooms and All Seeing Eyes. 10:30 p.m. Rock n’ Roll. Free.

Orchestra. 8 p.m. Classical. $20-$120.


ARNOLD’S BAR & GRILL — Cincinnati Dancing Pigs. 9 p.m. Jug. Free.

BROMWELL’S HÄRTH LOUNGE — Steve Schmidt Trio featuring Mandy Gaines. 8 p.m. Jazz. No cover. THE GREENWICH — Kelly H Richey. 8 p.m. Blues Rock. $10. JAG’S STEKA & SEAFOOD — The Fixx Band. 7:30 p.m. Various. $5. LIVE! AT THE LUDLOW GARAGE — Euge Groove. 8 p.m. Jazz. $35-$75. MANSION HILL TAVERN H — Noah Wotherspoon Band. 9 p.m. Blues. $4. MOTR PUB — Tiger Lilies: Space Age Love Songs 20th Anniversary with Red Skylark. 10:30 p.m. Pop Rock. Free.


NORTHSIDE TAVERN — The New School Montessori Rocks with Sexy Time Live Band Karaoke. 8 p.m. Karaoke. Free. SOUTHGATE HOUSE REVIVAL (SANCTUARY) — The Big Ol Family Reunion: Noah Smith with Brent James & the Vintage Youth, Michael Moeller and Tana Matz. 7:30 p.m. Country. $12 advance; $15 doors; $30 VIP.


SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) — Psychobilly Night: Rebel City Wreckers with The Tallywhackers, MG and the Gas City Three and The Lei Men. 9 p.m. Rockabilly. $5. SOUTHGATE HOUSE REVIVAL (LOUNGE) — The Cousin Kissers. 9:30 p.m. Country. Free. URBAN ARTIFACT — Lauren Eylise with Blvck Seeds and Emmaline. 9 p.m. R&B. Free. THE COMET — Googly Eyes, Cheap Fantasy and Real Dom. 10 p.m. Experimental/Noise/ Pop. Free. PLAIN FOLK CAFÉ — Low Country Boil 7:30 p.m. Rock. Free. THE MOCKBEE — Kelby Savage, Abby Vice, Devin Burgess, Xzela, Lunar Thought, Luna Bruja, Ajoke, Cing Curt, Jay Hill, and Joness. 9 p.m. Rap/Hip-Hop/Singer/ Songwriter. $7. STANLEY’S PUB — The Spectacular Fantastic with

Optical Illusion and The Recreational. 10 p.m. Pop/Rock. Cover. SILVERTON CAFÉ — Thunder Road. 8:30 p.m. Blues/Rock. Free. MARTY’S HOPS & VINES — New Brew. 9 p.m. Covers/Classic Rock. Free. MUSIC HALL — Music Hall H Grand Opening Weekend with Cincinnati Symphony Orchestra. 8 p.m. Classical. $20-$120.


20TH CENTURY THEATER — Iris Dement. 8 p.m. Singer/ songwriter. $30-$35.


BOGART’S — Andrew W.K. with The Nightbeast. 8 p.m. Singersongwriter. $17. BREWRIVER GASTROPUB — Todd Hepburn. 10 a.m. Blues/ Various. Free. MANSION HILL TAVERN — Open Blues Jam. 6 p.m. Blues. Free. MOTR PUB — Ryley Walker H with Carriers. 9 p.m. Blues. Free. NORTHSIDE TAVERN — Classical Revolution. 8 p.m. Classical. Free.

MANSION HILL TAVERN — Open Mic with John Redell. Blues. Free. MOTR PUB — Xela with Miir. 9 p.m. Electronic. Free. NORTHSIDE TAVERN — Northside Jazz Ensemble. 10 p.m. Jazz. Free. URBAN ARTIFACT — Dan DiMonte Trio. 8-11 p.m. Jazz/ Indie/Rock. Free. THE COMET — Monday Night at the Comet Open Mic. 10 p.m. Various. Free.


ARNOLD’S BAR & GRILL — H Cincinnati Blues Society presents Bluesday Tuesday with Casey Campbell. 7 p.m. Blues. Free.

BOGART’S — Second-annual Rockers 4 Knockers featuring Theory of a Deadman and Ayron Jones. 8 p.m. Rock. $26 ($2 of every ticket sold benefits Pink Ribbon Girls). BREWRIVER GASTROPUB — John Ford. 6 p.m. Blues. Free. JAG’S STEAK & SEAFOOD — Zack Shelly & Chon Buckley. 6 p.m. Paino/Vocals. Free. NORTHSIDE YACHT CLUB — Conveyer. 9 p.m. Rock. Free.

SOUTHGATE HOUSE REVIVAL (LOUNGE) — Roanoke with Warrick & Lowell and Ben Knight. 6 p.m. Blues/Jazz/Various. Free.

SOUTHGATE HOUSE H REVIVAL (SANCTUARY) — The Breeders with Vacation. 8

URBAN ARTIFACT — Wild Adriatic. 8 p.m. Rock/Blues/ Soul. Free.

SOUTHGATE HOUSE REVIVAL (LOUNGE) — Such Gold. 9:30 p.m. Punk Rock. Free.

THE COMET — The Comet Bluegrass All-Stars. 7:30 p.m. Bluegrass. Free.

URBAN ARTIFACT — Their Accomplices with Misunderstood. 10:30 p.m.-12:30 a.m. Punk. Free.

KNOTTY PINE — Randy Peak!. 10 p.m. Acoustic/Rock/Country/ Blues. Free. THE MOCKBEE — Dog Lady Island, No Dreams, Gene Pick, Mandible, Plough Share. 8 p.m. Various. $5.


JAG’S STEAK & SEAFOOD — Jeff Henry. 6 p.m. Singer/Songwriter. Free.

p.m. Alternative Rock. $25.

THE COMET — Lung. 10 p.m. Rock/Cello/Indie. Free. KNOTTY PINE — Mean Jean Karaoke. 9 p.m. Karaoke. Free. THE MOCKBEE — Machine Girl, Stella, Jared Presley, and Five Star Hotel & Dizayga. 9 p.m. Electronic/Garage/Ambient/ Blues/Rock. STANLEY’S PUB - Trashgrass Tuesday featuring members of Rumpke Mt. Boys. 9 p.m. Bluegrass. Cover.

crossword puzzle


Pot Holders

BY Brendan Emmet t Quigley



72. Knitted baby shoe 73. Neptune or Pluto 74. Devoured voraciously 75. Clear blue sky Dow n

1. “Alas!” 2. Sunday singers 3. Mojo or juju 4. Struck a match 5. Court icon Arthur 6. The bite stuff? 7. Cash reg. display 8. “A Way With Words” airer 9. Cockpit announcement 10. Graceful woman 11. Clearing 12. Safety item for boaters 13. In-house # 15. Bathtub dirt 19. Timeline part 24. Words to a winner 26. Left the group, maybe 28. Shakes’ peers? 29. “You’re the only ___ can trust” 30. Little disagreements

31. Other than what was listed 33. “Whatever” reaction 37. Bitcoin, e.g. 38. Item for an angler 40. Speak harshly of 41. “Uh, probably” 42. Sent back to a lower court 43. Organizational chart topper, for short 44. Suffix that means “little” in Spanish 51. Sex authority Westheimer last week’s answers

52. Social event 54. Tharp of choreography 55. Not at all with it 56. Lighter option 57. Rebuff an offer 59. Take the driver’s seat 62. Lotion base 64. Pull laboriously 66. Feed bag nibble 67. Article in France-Soir 68. 19th in a Greek series 69. Crib kid

Notice is hereby given that Extra Space Storage will sell at public auction at the storage facility listed below, to satisfy the lien of the owner, personal property described below belonging to those individuals listed below at location indicated: 2526 Ritchie Ave Crescent Springs Ky, 41017 October 17, 2017 at or after 11:30 am. Fernando Cortez, Unit P14, Vehicle-Chevy Tahoe; Timothy Gleeson, Unit

Notice is hereby given that Extra Space Storage will sell at public auction at the storage facility listed below, to satisfy the lien of the owner, personal property described below belonging to those individuals listed below at location indicated: 5970 Centennial Circle, Florence, KY 41042, 859-408-5219, October 17th, 2017, 10:30 am. James Allen, 644, Household; Helen Branham, 958, Household; Douglas Reed, 1033, Household; Britton Smith, 554, Household items; Brittany Thornberry, 853, Small furniture pieces and boxes; Athena Skiddle, 432, Household items. Purchases must be made with cash only and paid at the above referenced facility in order to complete the transaction. Extra Space Storage may refuse any bid and may rescind any purchase up until the winning bidder takes possession of the personal property. Notice is hereby given that Extra Space Storage will sell at public auction at the storage facility listed below, to satisfy the lien of the owner, personal property described below belonging to those individuals listed below at location indicated: 2900 Crescent Springs Rd, Erlanger, KY 41018 on Tuesday, October 17th at 11:00 AM. Donald Huntley, Unit 310, Household Goods; Regina A Garrett, Unit 328, Household Goods; Josh Schmidt, Unit 447,Misc. Household Items. Purchases must be made with cash only and paid at the above referenced facility in order to complete the transaction. Extra Space Storage may

refuse any bid and may rescind any purchase up until the winning bidder takes possession of the personal property. Notice is hereby given that Extra Space Storage will sell at public auction at the storage facility listed below, to satisfy the lien of the owner, personal property described below belonging to those individuals listed below at location indicated: 8080 Steilen Dr. Florence, KY 41042 on October 17, 2017 at or after 10 am. Tim Behne, Unit 2339, Work Equipment; William G Henson, Unit 645, Household Goods; Trista Kinman, Unit 1014, Household Goods; Cindy Edwards, Unit 2702, Household Goods; Stacie Kinnett, Unit 705, Boxes, Chair, Bedroom Set; Glenda Phillips, Unit 2301, Small entertainment center; Arif Safi, Unit 28, Household Goods; Crystal Main, Unit 2811, Apartment Furnishings and boxes; Gregory J Williams, Unit 515, Curio cabinets, desk, clothes; David Garland, Unit 1122, Household Goods; Phillip Clos, Unit 2631, 3 bedroom home, furniture and boxes; Ronald Hopper, Unit 2116, Household Goods. Purchases must be made with cash only and paid at the above referenced facility in order to complete the transaction. Extra Space Storage may refuse any bid and may rescind any purchase up until the winning bidder takes possession of the personal property.

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C I T Y B E A T . C O M   •  O C T . 0 4   –   1 0 , 2 0 1 7   •  3 5

1. La ___ (Milan opera house) 6. Rooftop spinners 11. Acapulco approval 14. Call to a waitress 16. On “E” 17. Films 18. Region where Watts is, commonly 20. Salamander 21. Feel malaise 22. French cabbage 23. State tree of Maine 25. Put on the line? 27. Kentucky tourist spot 32. Flower’s support 34. First name in feminist folk-rock 35. Hershiser on the hill 36. Previously named 38. Sign on a staff 39. “Untouchables” head 40. One might be needed to get a passport 45. Many months 46. Pink-slips 47. Julie or Marie: Abbr. 48. Kind of wrestler 49. Comprehended 50. 5:2, e.g. 53. Places to work out 58. Archer with wings 60. Winter blanket 61. Columbus ship 63. Accelerando’s opp. 64. Mindinfluencing drug 65. Teens’s lifestyles 70. “___ no hooks” 71. Largest privately owned Hawaiian island

Notice is hereby given that Extra Space Storage will sell at public auction, to satisfy the lien of the owner, personal property described below belonging to those individuals listed below at location indicated: 525 W 35th St Covington, KY 41015 (859) 261-1165 on October 17, 2017 on or after 12:00 pm. Richard Jarvis, 04414, Household items; Andrew Swegles, 04603, misc furniture and personal items; Tiffany Ellis, 02124, house hold; Daniel York, 02317, Household Goods; Carolyn Poindexter, 02418, queen bed, twin bed, couch; Kristina Wolford, 03259, Furniture; Alisa Webb, 03336, clothes, shoes and a table; Tim Myers, 06116, Misc household items; Roseanna Fuston, 03226, Furniture household items; Tiffany Frazier, 03206, Household Goods, Furniture, collectables; William Estes, 04232, Household goods and garage equipment; Brenna Howard, 03101, Household items.; Robert Oberer, 04125, Misc household furniture and appliances; Quentin Bartel, 04113, beds, household; Tabitha Gentry, 04219, Household furniture and other misc items; Nina Wilson, 06102, baby stuff, clothes, fishing poles, totes, games. Purchases must be made with cash only and paid at the above referenced facility in order to complete the transaction. Extra Space Storage may refuse any bid and may rescind any purchase up until the winning bidder takes possession of the personal property.

P21, Vehicle- Box truck; Rebecca Haynes, Unit 607, Misc. Household goods; Cody Chance, Unit 241, 40 Boxes. Purchases must be made with cash only and paid at the above referenced facility in order to complete the transaction. Extra Space Storage may refuse any bid and may rescind any purchase up until the winning bidder takes possession of the personal property.

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