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TWO DECADES OF MUSICAL ACCLAIM Looking back at Cincinnati Entertainment Awards’ 20 years of celebrating local music BY MIKE BREEN | PAGE 11 CINCINNATI’S NEWS AND ENTERTAINMENT WEEKLY | NOV. 08-14, 2017 | FREE

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Fear The Future Tour










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© 2017 | CityBeat is a registered trademark of CityBeat Communications, LLC. All rights reserved. No part of this publication may be reproduced without written permission. CityBeat covers news, public issues, arts and entertainment of interest to readers in Greater Cincinnati and Northern Kentucky. The views expressed in these pages do not necessarily represent those of the publishers. One copy per person of the current issue is free; additional copies, including back issues up to one year, are available at our offices for $1 each. Subscriptions: $70 for six months, $130 for one year (delivered via first–class mail). Advertising Deadline: Display advertising, 12 p.m. Wednesday before publication; Classified advertising, 5 p.m. Thursday before publication. Warehousing Services: Harris Motor Express, 4261 Crawford Street, Cincinnati, OH 45223.


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LETTERS Companies Need Fee Caps Thanks for looking into this and telling it the way it is (“A Bill in Sheep’s Clothing,” issue of Nov. 1). While we not-for-profit credit counseling companies don’t make a lot of money, these debt settlement companies cruise. They make a lot of money. By the time their clients get to us, they’re in such bad shape, there’s not much we can do for them. — Paul Donahue, president of nonprofit

Woodward’s New Marquee Kym LuvMusic: This is great news to say the least. Amanda Hollinger: Yay!! My votes counted! Alison Dean Lausche: So awesome! Comments posted at­ Beat in response to Nov. 2 post, “Woodward Theater wins $150,000 grant to rebuild marquee”

Good Job, Cincinnati

Contact Us ONLINE FACEBOOK @CincinnatiCityBeat TWITTER @CityBeatCincy @CityBeat_Eats @CityBeatMusic INSTAGRAM @CityBeatCincy SNAPCHAT @CityBeatCincy VOICEMAIL 513-665-4700 SNAIL MAIL 811 Race St., Fifth Floor Cincinnati, OH 45202 email Feedback/Letters/ Info/Questions: News tips: Music Listings: Event Listings:

mama_sarahmarie93: @kjnutter we saw this preview at the Esquire! mariettak8: This had a strong recommendation today on Pop Culture Happy Hour.

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Comment posted at in response to Nov. 3 post, “The Killing of a Sacred Deer lets Cincinnati be Cincinnati in this locally filmed and highly unsettling feature”


Dining News/Events: Advertise: Billing: Staff: first initial of first name followed by last

UPCOMING EVENTS Nov. 06-12 Cincinnati Pizza Week Nov. 19 Cincinnati Entertainment Awards Dec. 06 Bourbon & Bacon

What A Week! BY T.C. B R I T TO N

Halloween Out, Christmas In

The lull between PSL/jack o’lantern/scary movie season and Mariah Carey/gift shopping/deck the halls season shrinks more and more every year. So at the stroke of midnight on Halloween Tuesday night, holiday season officially began. Christmassy commercials are already in full swing. Starbucks’ holiday cup made its debut with little outrage this time around. Twitter was abuzz with the notion of a Thanksgiving cover charge when one user revealed she and the rest of her family each pay her aunt $30 for the holiday dinner. Oprah dropped her “Favorite Things,” a holiday gift list with 102 items! Products that receive this blessed designation routinely become hot commodities — Graeter’s got a huge national push when O gushed about the ice cream on her show years ago. But you don’t have to be a media mogul goddess to afford the gifts on this list, like a $40 shower turban, $20 hand creams and five pounds of fresh blueberries for $50. The most expensive item? A 55-inch TV that displays works of art instead of a blank black screen when it’s turned off. Lavish for us normos, but you know Oprah probably uses that to decorate her dogs’ guest bathroom.

New iPhone, Who Dis?

1. Donald Trump Jr. celebrated Halloween by tweeting that he’s taking half of his daughter’s candy away and giving it to a kid who did not trick-or-treat to teach her about socialism. Is this a Jimmy Kimmel prank? 2. The Cleveland Browns missed out on a trade for the Bengals’ AJ McCarron because they turned in their paperwork late. Oops! 3. KFC made a fried chickenscented bath bomb. 4. InfoWars reported that Hitler is still alive, according to the recently released JFK files.

This cup shouldn’t make anyone mad. P H O T O : P ro v id e d

The Lion King Reboot Announcement Is Cast Goals

Director Jon Favreau has been working with Disney on a live-action-ish remake of the 1994 animated classic The Lion King for more than a year, and this week fans finally got some news in terms of the cast. After months of speculation, it’s confirmed that Queen B herself Beyoncé will voice Nala, so you know that soundtrack — which will likely include all new music — is gonna be on point. She’ll star alongside Donald Glover as Simba, Chiwetel Ejiofor as Scar and James Earl Jones reprising his role as Mufasa. The casting perfection doesn’t stop there! Simba’s sidekicks Timon and Pumbaa will be voiced by Billy Eichner and Seth Rogen, respectively. Alfre Woodard, John Oliver, KeeganMichael Key and Eric Andre round out the cast. Rap trio Migos took to Twitter asking to be considered for the roles of the three hyenas, which would actually be perfect. Since most animals cannot lip sync to Beyoncé, the movie will use CGI to recreate live-action elements, like in Favreau’s 2016 remake of The Jungle Book. Insiders got a glimpse into the visuals at Disney’s D23 expo this summer — a shotfor-shot recreation of the opening “Circle of Life” scene received with much fanfare. Beyoncé’s The Lion King is set to premiere on July 19, 2019.

Random Acts of Protest

Nov. 8 is the kind of first anniversary you don’t want to celebrate with champagne and stale wedding cake because it marks

one year since some people went and elected a toddler with Twitter as president of the United States. While we’re likely stuck with this administration for at least the next three years — rumors have been circulating about Trump not seeking a second term, fingers crossed — there are many ways to take a stand against its buffoonery. For example, when Trump stopped in Hawaii before his big Asia trip, he was greeted with signs that read, “Welcome to Kenya” — a nod to his pushing the ridiculous Obama birther conspiracy. Meanwhile on the mainland, actress Mila Kunis revealed that she donates to Planned Parenthood in Mike Pence’s name on a monthly basis. Apparently the organization sends the veep a thank-you note after each donation. Iconic! However, acts of defiance don’t always go well. Ask Juli Briskman. You might have seen her photographed biking alongside Trump’s motorcade recently with a middle finger erected. While most of America responded, “We feel you, girl,” Briskman’s boss did not and actually fired her ass. She was told that using the photo as her profile pic violated the company’s social media policy and was promptly shown the door. Anyone hiring a marketing and communications badass?

Scenes From the NYC Marathon

The 47th annual New York City Marathon was Sunday, and New Yorkers weren’t about to let a recent terrorist attack on the city keep them from turning out. Shalane Flanagan won the race, becoming

5. Steph Curry is inexplicably mentioned in the proposed GOP tax plan. 6. Happy Gilmore actor Christopher McDonald tried to get out of a DUI by identifying himself as Shooter McGavin. (It didn’t work.) 7. Sparkling water fountains were installed in Paris, France. (Only a questionable decision because I’m jealous.) 8. Puff Daddy changed his name again... to Brother Love. 9. “Papa John” Schnatter blamed falling sales on NFL player protests. 10. In Japan, Trump asked why the “country of samurai warriors” didn’t shoot down North Korean missiles. 11. Host Larry David made a concentration camp joke on Saturday Night Live.

the first American woman to win the marathon in 40 years. She completed the 26.2 miles in just under two and a half hours while you were probably still in your pajamas trying to figure out which clocks in your house were correct after daylight savings time ended. But the real winner was the child spectator holding a “Nobody poop” sign as racers passed. From the mouths of babes. Contact T.C. Britton: letters@

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The $1,000 iPhone X went on sale Friday and if you thought you could wait a couple days before encasing it in a protective barrier, you are living on the edge because this thing is breakable AF. With a glass screen and back, scratches and cracks are more likely than ever, and replacing both runs upward of $800 if you didn’t invest in the $200 warranty. Take all our dollars, Apple! A new iOs update came for the rest of iPhone users, too, which means a bunch of new emojis are finally here! A hedgehog, brain, curling stone, broccoli, two dinosaurs, a full range of gray-haired and bearded faces and “person in a steamy room” — highly specific stuff here — are now available for your texting pleasure. Gingers of the world are still calling for redhead emojis, which might be coming as soon as next year #JusticeForGingers. You can also now search keywords to find photos in your camera roll. So if you look up “dog,” you should find all the shots of your furry friends. Obviously people are animals and will try to search for dirty shit, so Apple put censors to work so you can’t search for boobs or penises. But Chrissy Teigen found one term that made it through: brassiere. Several other users also discovered if you search “brassiere” in your photos, you’ll find a collection of shots with cleavage, sleeveless tops or dresses, or just a woman’s general chest area. I tried it and nothing came up so I’m not sure if this has been fixed or if my phone is low-key body shaming me.

This Week in Questionable Decisions…



Echoes of a Lost West End Finding Kenyon-Barr recalls the dense, vibrant community lost to urban renewal BY N I C K SWA R T S EL L



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ne day six decades ago, a tremendous roar rippled through Melvin Grier’s classroom at Holy Trinity School on West Fifth and Mound streets, and he and his classmates ran to a window to see Holy Trinity’s neighboring 99-yearold church building being torn to the ground. That was just the beginning. By 1958, the school itself was sold and demolished to make way for I-75, according to Cincinnati Archdiocese records. It was the end of Holy Trinity in the West End, and the acceleration of a process city and federal officials were calling urban renewal. “We were still living there when they were tearing buildings down,” Grier says of watching the process unfold. “Imagine if the house you grew up in wasn’t there. Everything from my childhood is gone.” A retaining wall still stands near to the space once occupied by the four-story cold water flat at 651 W. Fifth St. Grier grew up in with his widower father. It’s the last remnant of the neighborhood he recognizes, he says. That and 2,800 photographs. A new exhibit and panel series by historic preservationist and University of Cincinnati doctoral student Anne Steinert called Finding Kenyon-Barr is raising the ghosts of a demolished West End with archival photos the city snapped of many doomed buildings before it tore them down. Today, the Cincinnati Museum Center holds those photos. Steinert and volunteers spent time narrowing down the museum’s cache to 39, which are displayed extra-large on the walls of a gallery provided by The Community Builders at 1202 Linn St. in the West End. Portions of 1934 Sanborn Insurance maps are posted next to these photographs to give a sense of the density of the neighborhood, and tablet computers in the gallery let attendees see the spots as they exist today. The pictures — some capturing a range of interactions between city employees and neighborhood residents — provide haunting memorials of the lost neighborhood, and, some say, a reminder about contemporary urban change. “There is so little left,” Steinert says of the neighborhood. “We have nothing to show

P H O T O S : C I N C I N N AT I M U S E U M C E N T E R . C I N C I N N AT I H I S T O R Y L I B R A R Y & A R C H I V E S

for this place that was 297 acres of dense urban land.” The same year Holy Trinity’s last building was shuttered and razed, the city of Cincinnati approved final plans for a feat astonishing in its size and for its relative obscurity today: the removal of an entire neighborhood. By the time it was all over in the early 1960s, the city had torn down more than 1,000 buildings containing 10,000 units of housing, hundreds of businesses and nearly every place of worship in the neighborhood. An area the size of Over-theRhine occupying the flat, sprawling plain west of downtown was simply wiped clean in the name of highway construction, what planning documents call “slum clearance” and a landing spot for light industry. City documents at the time estimate the population of this neighborhood, which demolition planners dubbed Kenyon-Barr, to be more than 25,000 people. Most of them were black. Today, just 120 people live in the grey, mostly empty Census tract designated as Queensgate that roughly corresponds to the area demolished. The name itself is something of an artifact of disappointment. After the city had little success selling the newly cleared land to the more than 100 businesses it called, a marketing firm suggested changing the name to Queensgate to make it more appealing.

“It’s a rebranding of a neighborhood that was a vital, busy, interesting, beautiful place where real people lived,” Steinert says. It wasn’t just a slum to be cleared, residents like Grier and author John Harshaw say. It was the cultural epicenter of Cincinnati’s black community and also a place to learn about other people. Harshaw lived at 1030 Seventh St., “a moon walk from Price Hill,” he says. “It was a grand mixture of people,” Harshaw says. “Irish, Jewish, black, people from everywhere. Everyone looked after everyone else.” Harshaw remembers the food — learning about sauerkraut, kielbasa and other items from European immigrant families, as well as the hot dogs at black theaters like the Regency and the Lincoln where music legends like Cab Calloway and Duke Ellington played. His most prominent memory, however, is a lesson about race and power he learned in the West End that set him on the course to becoming a bank president. After working a day at Shillito’s Department Store downtown while he was in high school, Harshaw went to the neighborhood’s sole bank to open a savings account with his paycheck. The teller told him the bank’s policy prohibited giving accounts to blacks.

He went to his neighbor Abe Faust, a Russian immigrant, to cash the check at his grocery store. He related to Faust what the bank told him. Harshaw says Faust marched him back to the bank, where the grocer confronted the bank teller and told him he would withdraw his business if Harshaw wasn’t given a savings account. The teller relented. “I said, ‘I need to make sure this doesn’t happen any more,’ ” Harshaw says. “That’s when I started wanting to be a banker.” Harshaw, Grier and other former residents say stories like these are what really defi ne the lost part of the West End. After the demolitions, Harshaw’s family moved to Laurel Homes, a federal housing project just north of the neighborhood that had recently been de-segregated. Grier, who would go on to spend three decades with the Cincinnati Post as an acclaimed photojournalist, moved to Avondale following the demolitions. It was a mixed experience, he says. The houses were nicer in Avondale, with hot water, big lawns and more space. But the social and cultural fabric Grier knew was torn apart by the destruction of the West End. He mourned the loss of proximity to jazz venues like the Cotton Club — just a block from his home — where he CONTINUES ON PAGE 09

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city desk

Commissioners Appoint New Library Trustee Amid Controversy By N I C K SWA R T S EL L

Hamilton County Commissioners on Nov. 1 voted to appoint Karen Clemons to the Public Library of Cincinnati and Hamilton County’s Board of Trustees. Clemons replaces trustee Allen Zaring, whose term expired in September. The appointment comes as the library’s governing body mulls a controversial plan to decommission the north building of the library’s downtown campus and possibly sell it to private developers. Hamilton County Commission President Todd Portune praised Zaring, first appointed in 2010, during the commission’s Nov. 1 meeting, but said it was time for a change on the board. Portune acknowledged the controversy around the north building as he discussed Clemons’ appointment. Portune last month had stern words for the board, which drew up its plan for the downtown facility without much public input. “There has been a lot of interest in this appointment and in whether the board would be continuing the service of Mr. Zaring … or whether the board would move in a different direction and choose to appoint a different member,” Portune said. “Ms. Clemons meets the needs that we see

of having good, strong, active, vocal and diverse representation.” Opponents of the library’s north building plan were boosting their own pick, University of Cincinnati academic librarian Sean Crowe, as Zaring’s replacement. However, members of the group say they’re cautiously optimistic about Clemons, who has yet to decide where she falls on the library’s facility plan. “It seems like the appointment of an educator is a step in the right direction in terms of the board’s makeup,” said Keep Our Library member Vince Tafolla. “It’s good to get somebody who has shown a commitment to education and to children, rather than a developer or corporate lawyer.” Clemons is the principal at St. Bernard Elementary School. She started as a vice principal at St. Bernard-Elmwood Place City Schools in 2013. Prior to that, Clemons spent a decade as a teacher at Mt. Healthy City Schools, Fairfield City Schools and Cincinnati College Preparatory Academy, according to the application she submitted to become trustee. “Karen represents balance to the board,” commissioner Denise Driehaus said. “Her focus, obviously, is on education and on

kids. To me, that’s so important to creating some balance and some responsiveness on the library board.” After extending the application deadline, Hamilton County Commissioners received six applications for the trustee position, including Zaring’s, Clemons’ and Crowe’s. Other applicants included Jeffrey Hall, principal at Cincinnati Public Schools’ Frederick Douglass Elementary School, attorney Joshua Langdon and retired educator and former CPS board president Susan Cranley, Cincinnati Mayor John Cranley’s mother. Activists say the board is still not engaging the public in a satisfactory way when it comes to the plans for its downtown north building. At their October meeting, the board declined a request to hear 30 minutes of public input about the plan. “There’s not a really good way to address the board on an ongoing basis,” Tafolla says. Portune promised that the commission would push for more public input and transparency as the library moved forward with its planning process. He said he would introduce a resolution at the next county commission meeting instructing the library board to hold public meetings to gather input about its plan.

Public Works Supervisor Fired for Whistleblowing, Suit Alleges By N I C K SWA R T S EL L A former superintendent of the city of Cincinnati’s Public Works Department filed a lawsuit against the city Nov. 3, alleging he was fired for highlighting waste of tax dollars related to the use of third-party contractors.

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City Manager Harry Black is named in the lawsuit. The suit by Gary Colorez, hired in June this year and fired Sept. 8, is the third lawsuit against Black claiming he has engaged in retaliatory behavior, including firing whistleblowers.


“Mr. Colorez’s complaint contains numerous allegations that are either false, contain half-truths, or demonstrate a lack of knowledge about the City and the Public Services Department,” Terry Nestor, representing the city’s law department, said in a statement responding to the suit. “The City categorically denies any allegation of inappropriate contracting or overpayment. ” Colorez says in his suit that he attempted to highlight and rectify multiple situations in

which taxpayer dollars were being wasted or misspent. Those included situations in which Colorez claims vendors like Contract Sweepers, who have a $880,000 contract with the city, were not sweeping downtown streets when they were supposed to. Another vendor, Greenspace, was getting paid to mow lots they did not mow, Colorez claims, and were overcharging the city for lot abatements they were doing. In the suit, Colorez says he began refusing to sign payment orders on those contracts and says he told his supervisor, Director of Public Services Maraskeshia Smith, that he could use city crews to do both of these jobs for less money, estimating the city could save $500,000 on the street sweeping alone. Colorez also says he challenged the city’s use of purchasing clearinghouse BFX, LLC, which he says is owned by a close friend of Black named Al Foxx. Colorez says he was fired for these efforts.

“In short, Mr. Colorez made it well known within the City administration that he was relentlessly seeking answers as to why the City was using third-party vendors to perform these (and other) services given that the City costs had risen by 100% to 200% with this approach,” the lawsuit reads. “Following (and as a direct result of) these complaints and initiatives by Mr. Colorez, Mrs. Smith fired him. Mr. Colorez’s termination had been approved by City Manager Harry Black.” BFX has come up in another recent lawsuit against the city alleging similar misconduct filed by Cincinnati Police Captain Jeff Butler. According to that suit, Foxx used to work with Black when the former worked for the city of Baltimore. According to Butler’s suit, the city pays the company an unnecessary 15 percent markup. The city denies that. Black has said he had no say in the contract awarded to BFX, which the city manager has said came as part of a

pilot program for awarding contracts to minority-owned businesses. Those contracts are not put out to bid. “I had zero contact with either of these firms,’’ Black told Cincinnati City Council Sept. 27. “I had absolutely nothing to do with this.” Butler filed his suit Sept. 12 alleging he was passed over for promotions because he highlighted misuse of funds meant for the city’s Emergency Call Center within the department. Butler has had brushes with controversy in the past — he allegedly used a racial slur during an internal interview in 1999. A recording of that interview came to light in 2004. Another lawsuit by Cincinnati Fire Department District Chief Raffel Prophett filed Oct. 23 claims he was passed over for promotions due to his efforts to flag wrongdoing within the department. The city has also denied allegations contained in that suit.

Suit Alleges Racial Discrimination by Greater Cincinnati Company By JAMES MCNAIR A Kennedy Heights man is claiming in a lawsuit that he was fired by a Batavia company after posting on Facebook a photo he took of a racially offensive comment written on a toilet paper dispenser in a factory bathroom. The suit was filed last month in U.S. District Court in Cincinnati by Justin Evegan, who is black. Evegan alleges that Milacron Plastics Technologies Group, plant manager Tom McDonald and three other employees engaged in race discrimination and retaliation around his firing. Evegan states that he was in a bathroom stall in August 2016 when he saw “kill the niggers” written on the toilet paper dispenser. Elsewhere in the stall, he claims, was an image of former President Obama riding a pig with a quote bubble saying “Allahu Akhbar” (Arabic for “God is great”). Above Obama was a group of balloons tied together by a noose. Evegan says he reported the graffiti to his supervisor, who told him it had been removed. It wasn’t, Evegan says, so he took a picture of the phrase and showed it to his supervisor and, this time, McDonald. When the phrase still hadn’t been removed on Aug. 23, Evegan posted the picture on his Facebook page along with his comment, “(T)his is what I have too deal with at my job. I told my forman (sic) two weeks ago about this and look. I bet if I put smthn up about another race it would be off the next day. #racismisSTILLreal.” Evegan says he was fired Nov. 1 and that the phrase still hadn’t been removed the day prior to his dismissal. “They claim they fired him for a different Facebook Live post about how hostile the work environment was,” says Evegan’s lawyer, Brian Butler of Cincinnati. “It depicted machines in the background, and the company says it violated their proprietary information policy.” Evegan states he was originally hired by Milacron as an electrician in February 2016. Butler says Evegan has not found steady work since his firing. The lawsuit asks for unspecified financial damages and job reinstatement. Milacron spokesman Michael Ellis says the company does not comment on pending lawsuits. But he says Milacron does not condone “the kind of behavior described in the lawsuit.” “Milacron is committed to a fair workplace that is free from sexual, racial or other unlawful harassment, and from threats or acts of violence or physical intimidation,” Ellis says. 


would sit outside and listen as musicians in their fine suits filed in and out. “What was taking place, in addition to destruction of homes, was the destruction of a cultural entity,” he says. “We had the storefront churches. We had Catholic churches. We had jazz clubs. We had bars. We had restaurants. All of this was run by African Americans. And it all absolutely went away. I think we’ve paid a big price for that.” The disruption of the community and resettlement of its predominantly black members set demographic and economic patterns that continue today. As black residents forced out of the West End streamed into neighborhoods like Avondale, Mount Auburn, Walnut Hills and elsewhere, they experienced an array of new systemic challenges officials seem not to have anticipated. A 1958 letter from then-NAACP Cincinnati Executive Secretary Kenneth Banks to the organization’s national housing office calls Cincinnati’s approach to resettlement “casual” and explains that the city had yet to identify enough places for blacks to move into. Banks also said that developers were hesitant to build housing for blacks. The confluence of policy decisions and market dynamics following urban renewal put up huge new obstacles for

blacks. In 2015, CityBeat detailed the journey of one former West End resident, Gus Whitfield, whose story illustrates those challenges (“That Which Divides Us,” issue of Aug. 26, 2015). For Harshaw, the personal connections were the biggest loss in the aftermath of the West End’s erasure. “No longer could Abe Faust and his wife Mary look out the window and say, ‘Hey, John, get off that car,’ ” Harshaw says of life after the city’s Kenyon-Barr project. “That didn’t happen anymore because we were all spread out.” Steinert says the photos — now on display for the public to see, thanks to Finding Kenyon-Barr — are a reminder of the vibrancy of the West End. In a new era of rapid urban change in Over-the-Rhine, Walnut Hills and other neighborhoods — Grier brings up institutional expansion in Avondale — there’s social and political import in the exhibition. But the photos are also deeply personal. Harshaw says he cried when he first found the photo of his house in the Museum Center’s collection. “I blew it up and hung it on the wall,” he says. “There were my grandparents and all my friends.” Finding Kenyon Barr is open noon-4 p.m. Sundays, 3-7 p.m. Tuesdays and 10 a.m.-2 p.m. Fridays. Panel discussions will take place Nov. 16 and 30 and Dec. 14. All begin at 6:30 p.m. at 1202 Linn St.

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T w o De c a de s of Mu sic a l A cc l a im Looking back at Cincinnati Entertainment Awards’ 20 years of celebrating the city’s rich and diverse local music makers BY M I K E B R EE N In 1997, CityBeat founders John Fox and Dan Bockrath solidified an idea to complement the arts coverage in their 2-year-old altweekly: throw a big party celebrating local performing artists, try to get as many of them to show up as possible, make sure alcohol is available and give out some trophies under the guise of an “awards show.” The concept wasn’t entirely “new” — it was something of an altweekly tradition (I coincidently attended the hugely popular one presented by The Austin Chronicle during the 1995 South By Southwest conference/showcase in Texas). But it was new to Cincinnati, and it was decided that — with the help of CityBeat critic Rick Pender — the awards program would honor not only local musicians, but also those from the local theater community. The name “Cincinnati Entertainment Awards” was decided upon due to the multiple disciplines covered. (Oddly enough, the CEAs weren’t the first such awards show in Cincinnati. The Cincinnati Enquirer’s music critic Larry Nager had apparently been scheming up a similar local-music awards program for the daily paper. Legend has it that once he got wind of CityBeat’s plans, “The Cammys” were suddenly fast-tracked and took place a few months earlier in 1997.) The first CEAs ceremony was held at the Sycamore Gardens nightclub in Over-the-Rhine (which is currently the club OTR Live). Some of the behind-the-scenes talk (which continued over the years) involved concerns over whether the theater and music communities would mesh well in a joint awards program — would the wild musicians clash with some of the older theater crowd? — but the majority of us enjoyed the crossover and contrast. We did learn from the performances that year though — high-octave mini-sets from bands like The Tigerlilies (who were joined onstage by some colorful dancer friends), a sword-fight scene from Hamlet and a Mark Twain monologue created an awkward programming flow, leading to only musical theater performances at future CEAs. From the start, the CEAs strived to not only honor Cincinnati’s current (the bulk of the nominees) and future musical acts (prominently spotlighted in the annual New Artist of the Year category and satellite showcase events like BRINK and the Best New Bands concert), but also those who came before and paved the way. Cincinnati music legends Rob Fetters, Bob Nyswonger and Chris Arduser brought their band project The Bears out of hibernation to perform for their induction into the CEA Hall of Fame in 1997, playing a jaw-dropping closing set, as did celebrated and influential musician Adrian Belew. The Hall of Fame inductions continued for a decade and honored everyone from legendary Jazz DJ Oscar Treadwell and Blues shouter H-Bomb Ferguson to Modern Rock artists The Afghan Whigs and Over the Rhine. The CEAs have also long partnered with the Cincinnati USA Music Heritage Foundation, whose members have organized presentations about their various successful missions to draw attention to the vital contributions Cincinnati institutions like King Records and Herzog Studios have made to popular music. The CEAs have grown since 1997, selling out bigger venues and stepping up the overall production value. The theater CEAs were split off into a separate show in the mid-’00s. In a throwback to the Cammys’ head-butting, due to disorganization and the confusion created when CityBeat was convinced to combine forces with The Enquirer’s theater awards, both programs unfortunately ended a few years later. But those “wild musicians” of Cincinnati still show up in full force to perform, heckle, complain, celebrate, drink and party with their compadres every single year. Looking back over the nominees, winners, ceremonies, performances and general debauchery of the CEAs over the past two decades, we’re so thankful they do. The 2017 Cincinnati Entertainment Awards celebration takes place Nov. 19 at Over-the-Rhine’s Memorial Hall. Tickets/more info: n o v. 0 8 – 1 4 , 2 0 1 7   |   C i t y B e at. c o m


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Sycamore Gardens (Over-the-Rhine) Performers: The Bears, The Tigerlilies, Lee Harvey Skaswald, PsychoAcoustic Orchestra, Uncle Daddy & the Family Secret, IsWhat?! CEA Hall of Fame Induction: Adrian Belew, Rob Fetters, Bob Nyswonger, Chris Arduser (The Bears)

19 9 8 Nov. 23

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Performers: The Afghan Whigs, Rob Fetters, Big In Iowa, Janet Pressley, Watusi Tribe, Throneberry

Emery Theater (Over-the-Rhine)

Aronoff Center (Downtown)

Performers: Otis Williams, David Wolfenberger, The Greenhornes, Roger Klug

Performers: Steve Schmidt, Mike Wade, Greg Mahan, Five Deez, The Simpletons, Tracy Walker, The Fairmount Girls

Taft Theatre (Downtown)

And the Winners Were: Artist of the Year: Throneberry Album of the Year:  Rob Fetters’ Lefty Loose Righty Tight New Artist of the Year: Oval Opus

Nov. 22

CEA Hall of Fame Induction: King Records

Nov. 27

CEA Hall of Fame Induction: Oscar Treadwell

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Old Saint George (University Heights) Performers: Saturday Supercade, Rob Fetters, Chuck Cleaver, Ruby Vileos, Bill Caffie, Len’s Lounge, Headwig & the Angry Inch all-stars And the Winners Were: Artist of the Year: The Ass Ponys Album of the Year: The Bears’ Car Caught Fire New Artist of the Year: Ruby Vileos

And the Winners Were: Artist of the Year: David Wolfenberger Album of the Year:  Ray’s Music Exchange’s Alivexchange New Artist of the Year: All Weather Girl

And the Winners Were: Artist of the Year: The Tigerlilies Album of the Year:  The Tigerlilies’ Space Age Love Songs

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New Artist of the Year: The Fairmount Girls


Memories: The inaugural CEA event was a bit manic, as everyone (from the attendees to the organizers) was kind of sizing up what exactly the purpose of it all was. But it ended up being a fun night, topped off by a jaw-dropping performance from The Bears. The band hadn’t been active for several years, but when the musicians kicked off their pre-show soundcheck with “Superboy,” they sounded as tight and electrifying as they did when the song was first released on The Bears’ debut album 10 years earlier. Jerry Springer appeared to present an award — via video, which froze up (it wouldn’t be the last CEA tech glitch). Local drag queen Mrs. Sorken hosted. The CEAs only “tie” occurred this year (Chalk and Roundhead received the exact same amount of votes in the awkwardly named Alternative/ Underground category).

And the Winners Were: Artist of the Year: The Simpletons Album of the Year:  The Ass Ponys’ Some Stupid with a Flare Gun

CEA Hall of Fame Induction: The Afghan Whigs Memories: For year two, the CEAs moved to the much larger Taft Theatre, which if you attended you’ll very much remember, also serves alcohol. Singer/wildman Mojo Nixon (who’d moved to Cincy for a radio gig at WEBN) joined even-keeled local radio legend Jim Scott to host the event, and the pair’s Odd Couple chemistry made for either the worst or — if you weren’t producing the show — the best hosting presence in CEA history (let’s just say Mojo really appreciated the free beer backstage). Former local booking agent/manager Dan Reed (now a public-radio icon) returned to induct the Whigs into the Hall of Fame. Though tardy to the stage (leading to some hilariously teetering Mojo vamping and, unfortunately, lots of people hitting the exits), the Whigs — fresh off of the release of their final (first-incarnation) album, 1965 — and its extended entourage were transcendent. Whigs tourmates Throneberry — which released what would also turn out to be its swan song, Squinting Before the Dazzle, in 1998 — also rocked the Taft stage and won Artist of the Year.

New Artist of the Year: The Stapletons

Memories: On the move again, the CEAs were one of the last public events in the historic Emery Theater before a remodeling project that turned the main building into an apartment complex (the event would return there almost a decade later). After inducting Cincinnati’s most broadly influential music institution, King Records, into the Hall of Fame, King legend and Cincy native Otis Williams (who, with his rotating Charms Doo-Wop group, scored several Pop and R&B hits in the ’50s) closed out the night with a 20-minute set. Williams, who now has a street named after him in Evanston, asked for a few hundred bucks to perform and also requested that it be paid in cash before going on stage, undoubtedly a defensive mechanism developed over years of being ripped off (something for which King had a reputation).

Memories: The new millennium saw the ceremony squeeze into the Aronoff’s Jarson-Kaplan Theater and included what was an early trademark of the CEAs — cute kids playing violins, a nod to the program’s initial beneficiary, Lonely Instruments for Needy Kids. Oscar Treadwell might have been the only non-musician inducted into the CEA’s Hall of Fame, but the DJ/ historian’s importance to Jazz looms much larger than most players. He earned the respect of giants like Charlie Parker and Thelonious Monk (among huge number of other legends), who both name-checked their friends in song titles; current local Jazz greats Steve Schmidt and Mike Wade both played during the show. Also notable: Cincy Boogie Woogie piano icon Ricky Nye won his first Blues CEA, making him the person to beat in the category over the next 15 years.

CEA Hall of Fame Induction: Cal Collins Memories: The CEAs went to church in 2001, moving to former holy place Old Saint George near the University of Cincinnati, which, as the show-runners soon found out (and Punk band Saturday Supercade emphasized with their opening set), was not exactly conducive to the acoustics of loud Rock bands. Artist of the Year winners The Ass Ponys were unable to play, so singer/guitarist frontman Chuck Cleaver got roped into playing a rare “solo acoustic” set. At a couple of CEA preview shows leading up to the event, Cleaver’s new friend Lisa Walker joined him onstage at the last second to sing harmony. It went so well that she reprised the role at the CEAs and afterward formed Wussy, which grew into one of Cincinnati’s most acclaimed bands. Also notable was the peak convergence of the theater/ music duality, when actor/singer Todd Almond reunited with an all-star local-music backing band and played as Hedwig & the Angry Inch, roles they played earlier in the year during a successful run of the Hedwig musical at Ensemble Theatre.

2002 Nov. 25


Old Saint George Performers: Thee Shams, Boom Bip, Jake Speed, Readymaid, Kim Taylor, IsWhat?!, Mike Wade CEA Hall of Fame Induction: Bootsy Collins

2003 Nov. 24

And the Winners Were: Artist of the Year: Jake Speed Album of the Year: Boom Bip’s Seed to Sun

Old Saint George Performers: Over the Rhine, Pearlene, William Menefield, Ma Crow, The Five Deez, The Light Wires

New Artist of the Year: Kim Taylor

Nov. 19

2004 Nov. 22

Old Saint George Performers: Heartless Bastards, Culture Queer, Big Joe Duskin, Ali Edwards, Derrick Sanderson’s Soul Expression, The Sidecars, The Chocolate Horse CEA Hall of Fame Induction: Big Joe Duskin

Taft Theatre


Performers: Kenny Smith, Da Muttss, The Hiders, Viva La Foxx, Freekbass, Mike Wade, Staggering Statistics

Taft Theatre

CEA Hall of Fame Induction: Kenny Smith

Performers: John Von Ohlen, Cathedrals, 500 Miles to Memphis, Heartless Bastards, Marvin and the Experience, Czar*Nok, The Greenhornes

And the Winners Were: Artist of the Year: IsWhat?!

Nov. 21

CEA Hall of Fame Induction: John Von Ohlen

Album of the Year: Heartless Bastards’ All This Time New Artist of the Year: Buffalo Killers

And the Winners Were: Artist of the Year: Thee Shams Album of the Year: Culture Queer’s Supersize It Under Pontius Pilate New Artist of the Year: Cathedrals

And the Winners Were: Artist of the Year: Pearlene Album of the Year: Mallory’s The First One Hundred Years New Artist of the Year:  Cari Clara

And the Winners Were: Artist of the Year: Heartless Bastards Album of the Year: Heartless Bastards’ Stairs and Elevators

CEA Hall of Fame Induction: Over the Rhine Memories: OK, the CEA organizers really like Old Saint George (there was a perfectly funky ambiance to it that felt right). Over the Rhine’s Karin Bergquist played a beautiful, chillinducing solo-piano version of “Ohio” after accepting the group’s Hall of Fame honors, while The Light Wires (featuring singer/songwriter Jeremy Pinnell, whose successful solo Country career scored him multiple CEA nomination this year) offered an equally mesmerizing set of heavenly Indie/Americana. Hip Hop group The Five Deez rocked a highenergy set that literally resembled an aerobic routine, leaving some crowd members a bit puzzled. Brian Newman, who’d go on to become Lady Gaga’s go-to Jazz partner and score his own major-label deal, won the 2003 Jazz CEA.

New Artist of the Year: Staggering Statistics

Memories: The CEA’s last year at Old Saint George (and also the last year the band Jackass won the Hard Rock/Metal category after several years of dominance) felt like it — the building noticeably needed repair (access to the church’s balcony was hindered by a collapsed stairwell). Confined to a wheelchair, Blues hero and Hall of Fame inductee Big Joe Duskin’s performance was, sadly, one of his last. Now a versatile artist based in New York, C. Spencer Yeh won the first Experimental CEA; fittingly, his acceptance speech was delivered in some indiscernible language (Elfin? Alien?).

Memories: 2005’s return to the Taft marked the first year the music and theater CEAs were split into separate ceremonies. The production and turnout were light-years beyond the CEAs’ 1998 debut at the Taft. Iconic local Jazz drummer/mentor/bandleader John Von Ohlen stole the show with a great set with some fellow Jazz greats — musicians of every stripe were in awe. Though based in Austin, Texas now, Erika Wennerstrom and Heartless Bastards took off quickly when they formed in Cincinnati, dominating the CEAs in their first year of eligibility.

Memories: The 2006 awards show included some wonderful tributes to local music heavyweights we lost that year, like Oscar Treadwell, Marjean Wisby and Sam Nation. Thrillingly chaotic Punk crew Viva La Foxx provided an all-time CEA highlight performance, after which singer Amy Combs crawled back under the just-closed curtain to retrieve a stray high-heel shoe (to the amusement of co-host Bob Herzog). Late, great IsWhat?! bassist Chris Walker got political during the group’s Artist of the Year acceptance speech, saying simply, “Impeach Bush. Impeach Cheney” (hmmm — will anyone say anything bad about our current prez at this year’s CEAs?). Veteran Soul singer Kenny Smith performed six tunes with a band that included members of Pearlene and other local musicians, and sounded amazing considering he hadn’t performed in front of people in 30 years.

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Memories: Despite the sound issues (and valiant efforts to dampen the ping-ponging audio), the CEAs returned to Old Saint George and drew its biggest crowd yet. Thee Shams (featuring future members of Buffalo Killers) played the openingact role of blasting everyone’s ears to get them used to the active acoustics, while Readymaid’s rich, layered Indie Rock somehow utilized the funky room sound to create something more befitting a church (the backup chorus helped). Bootsy Collins graciously accepted the Hall of Fame nod, joined at the event by his brother and longtime guitar partner, the late Catfish Collins, and — between that giant top hat and numerous fans wanting to say hello — caused some major traffic jams in the skinny lower corridors of the church near the bathrooms. Progressive Electronic artist Boom Bip closed the night by debuting his new band, which didn’t stay together long; he moved to California and drew global acclaim for his new work, which included collaborations with members of Super Furry Animals, Franz Ferdinand and Red Hot Chili Peppers (among many others).


2007 Nov. 19

Taft Theatre Performers: Tropicoso, Over the Rhine, Wussy, Bad Veins, Buffalo Killers, Angels of Meth

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2008 Nov. 23

Emery Theater And the Winners Were: Artist of the Year: Seabird Album of the Year:  The Sundresses’ Barkinghaus New Artist of the Year: Daniel Martin Moore

Nov. 21

2009 Nov. 22

Madison Theater (Covington, Ky.) Performers: The Lions Rampant, Magnolia Mountain, You, You’re Awesome, II Juicy, Small Time Crooks, Brian Olive

Madison Theater Performers: Foxy Shazam, The Cincy Brass, The Pinstripes, The Guitars, No No Knots, Kim Taylor, Dallas Moore

2 011 Nov. 20

And the Winners Were: Artist of the Year: Foxy Shazam  Album of the Year:  The Lions Rampant’s  It’s Fun to Do Bad Things 

Madison Theater Performers: Wussy, Pomegranates, Young Heirlooms, Los Honchos, Two Headed Dog, Ma Crow and the Lady Slippers

New Artist of the Year: Pop Empire 

And the Winners Were: Artist of the Year: Buffalo Killers Album of the Year:  Wussy’s Left For Dead New Artist of the Year: The Seedy Seeds

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CEA Hall of Fame Induction: H-Bomb Ferguson


Memories: The 2007 CEAs were sponsored by Scion, which you couldn’t escape knowing due to the constant mentions and omnipresent branding (the video “skits” aired throughout the show were painful). But 2007’s show was otherwise top-notch — Over the Rhine got both jazzy and noisy to the delight of the crowd; Wussy included a part of Donovan’s “Atlantis,” bringing out members of The Fairmount Girls and 7 Speed Vortex to sing backups; and Salsa faves Tropicoso closed the night by filling the stage with musicians, dancers and pure joy. At least two members of winning bands were late to the stage after making mad dashes from the bathroom when their names were announced; Jason Wolf of Rumpke Mountain Boys just made it at the very last second of the acceptance speech, emitting a victorious “Whoo!” into the microphone before the music started up again.

Performers: Bootsy Collins and the J.B.s, Ralph Stanley and the Clinch Mountain Boys, The Sundresses, Eclipse, The Seedy Seeds Memories: With the Emery Theater attempting a comeback (it didn’t work out), the 2008 CEAs returned to the beautiful but dilapidated venue in a big way. Though it was the first year without a Hall of Fame induction, two huge musical icons connected to King Records helped celebrate the label’s 65th birthday. Bootsy Collins opened the show with a rare local performance and paid tribute to King superstar and former boss James Brown (joined by other Brown associates), while Ralph Stanley (whose Stanley Brothers were a cornerstone Bluegrass act for King) closed the night; the late legend’s appearance was such a big deal, “Ralph only” tickets were made available (general tickets sold out). The Fairmount Girls presented their Fashion Trashies awards for the sixth year in the row; the CEA tradition has included appearances on the red carpet before the show as well as a post-ceremony ceremony at the after party where various fun awards are given out to honor attendees’ sartorial choices.

And the Winners Were: Artist of the Year: Walk the Moon

And the Winners Were: Artist of the Year: Bad Veins Album of the Year: The Seedy Seeds’ Count the Days New Artist of the Year: Daniel Martin Moore

Memories: The CEAs moved out of not only Cincinnati but also Ohio for a seven-year run at Covington’s Madison Theater beginning in 2009. The show’s performers the first year there were a strong cross-section of Cincinnati’s diverse music scene that year — Garage Rock, Americana, R&B, Hip Hop, Soul and Pop were all represented — and the looser bar/club feel fit the event’s vibe well. Cincinnati USA Music Heritage Foundation reps talked about the importance of Clyde Stubblefield, whose “Funky Drummer” beat for James Brown is one of the most sampled in Hip Hop history, as well as how Hank Williams and others recorded seminal music at Cincinnati’s Herzog Studios, the site of which got a historical marker earlier that day.

Memories: Foxy Shazam was one of Cincinnati’s all-time best live acts and the rockers’ insanely energetic performance at the 2010 CEA show (with a horn assist from The Cincy Brass) was one of the highlights of the event’s history. Riding high off of its self-titled major-label debut and non-stop tour schedule, the band fittingly won the Best Live Act trophy after performing, then capped off the night with the Artist of the Year nod. Elsewhere, the CEA tradition of winners and presenters referencing current news and pop cultural events manifested itself in a member of Small Time Crooks’ acceptance speech (“George Bush doesn’t care about white people”), while a presentation introduced the audience to the planned King Studios complex in Evanston (which is still in the works) and reps from Cincinnati USA Music Heritage Foundation talked about the org’s involvement in trying to get a memorial plaque placed at the site of the 1979 Who concert tragedy (it has since been erected outside of what is now U.S. Bank Arena).

Album of the Year: Brian Olive’s Two of Everything New Artist of the Year:  SHADOWRAPTR

Memories: There are a few moments at every CEA show where we wonder what’s going to happen when the winner is announced and no one comes to the stage to accept the award. The second year at the Madison was a big one for that, but it was, as they say, a “good problem to have,” because most of the winners who were absent were tending to their blossoming careers on tour or otherwise, including DJ Clockwork, Rumpke Mountain Boys and Foxy Shazam, who were traveling the U.K with The Darkness. On the road with Fitz and the Tantrums, Walk the Moon was building up its national profile (this was pre-“Shut Up and Dance,” after its major-label debut) when the musicians won Artist of the Year, setting the stage for a classic, adorable CEA moment when their mothers accepted on their behalf.

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(a k a 2 013) Jan. 27, 2013

Madison Theater Performers: Bad Veins, Jess Lamb, The Dopamines, Gold Shoes, Culture Queer, Magnolia Mountain And the Winners Were: Artist of the Year: Wussy Album of the Year:  Wussy’s Strawberry New Artist of the Year:  DAAP Girls

2 014 Jan. 26

Madison Theater Performers: Honey & Houston, Moonbow, The Yugos, The Tillers, Rob Fetters and the Saint Ain’t Mangled Angels, The Upset Victory, DAAP Girls, The Almighty Get Down, Valley High

Jan. 25

Madison Theater Performers: Mad Anthony, The Cliftones, Young Heirlooms, Zebras in Public, Injecting Strangers, Buggs tha Rocka, Dark Colour

2 016 Jan. 31

Madison Theater Performers: Jess Lamb, The Slippery Lips, Buffalo Wabs & The Price Hill Hustle, Noah Wotherspoon Band, Abiyah, Rumpke Mountain Boys and The Whiskey Shambles

2 017 Nov. 19

Memorial Hall (Over-the-Rhine) Performers: TBA (coming soon) Memories: To be determined. The CEAs initially were held around Thanksgiving time — first on the

And the Winners Were: Artist of the Year: Wussy Album of the Year:  Wussy’s Attica! New Artist of the Year:  Honeyspiders

And the Winners Were: Artist of the Year: Jess Lamb Album of the Year:  Honeyspiders’ Honeyspiders

Album of the Year: Fists of Love’s I Sang My Heart Out to a Snake Once New Artist of the Year:  Tweens

Memories: CityBeat’s Arts and Culture Editor Jac Kern — who made a few funny appearances during the previous CEAs — took over hosting duties and was hilarious (and not in the typical canned-joke-award-show-banter way). The Best Music Video category was introduced (“8 Ball” by Hip Hop crew Valley High won). And Walk the Moon members Nicholas Petricca and Eli Maiman were in town this year and gave a great acceptance speech after their Artist of the Year win, thanking and praising Cincinnati for its great music and support for musicians.

Memories: Capping off yet another breakthrough year that saw their profile rise internationally, the members of Wussy — the band whose origins trace back directly to the 2002 CEA show — took home Artist and Album of the Year honor (full circle!), just as they did in 2013. Previous Jazz CEA winner Brian Newman — taking a breather from his work with Lady Gaga and Tony Bennett on the Cheek to Cheek album and subsequent performances, as well as his own increasingly popular shows in his adopted NYC home base — brought his trumpet to jam with Reggae greats The Cliftones for a killer set, and perennial CEA Hip Hop nominee and winner Buggs Tha Rocka (who now goes by SPEED Walton and has a project coming out soon through a Capital Records partnership) performed tracks from his recent album, including one with a pair of dancers from the Cincinnati Ballet.

Memories: WNKU’s Matt Sledge hosted the 2016 CEAs, which featured stellar performances from acts like high-wire rockers The Slippery Lips (featuring highoctane frontperson Jesse Fox, then CityBeat’s staff photographer) and Rumpke Mountain Boys, who had been consistently nominated for the Bluegrass CEAs (often winning), but regular tour jaunts across the country usually meant they’d miss the show (it was worth the wait). Nominated for five CEAs, Jess Lamb’s profile had been raised considerably by her appearance on American Idol, but she had shown local audiences her talent was deeper than most who find success on TV talent shows. Lamb drove that point home with an excellent opening set, which included a David Bowie tribute featuring singer/ songwriter Wonky Tonk, and was rewarded at the end of the night with Artist of the Year honors.

Check out more Cincinnati Entertainment Awards history at

Monday before Turkey Day, then on the Sunday. The thought was there would be a better chance of artists working out of town being home for the holiday, and local performances were less likely on Mondays and Sunday. It was moved to the end of January in 2012 (there was, amusingly, one year where organizers worried about clashing with the Super Bowl, because the Bengals were totally going to be in it — ha!). After the 2016 show, due to some staffing turnover and a desire to do the CEAs 20-year celebration justice, it was determined that the show would move back to Thanksgiving time, meaning technically a year was skipped — though this is the 2017 CEAs, the body of work from local musicians in 2016 didn’t get a proper ceremony. Fear not: The fans and committee members that determined the final ballot were instructed to include all of 2016 when considering the accomplishments of all potential nominees. Apologies for the confusion.

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Memories: Though most CEAs have been hosted by TV or radio personalities, 2013 was a fun year thanks to host Ted Clark, who was getting attention for his funny Ted Clark After Dark live talk show appearances. The CEA timeline gets a little weird this year with a shift to January from November (we were too overwhelmed with music after taking over and putting on the big MidPoint Music Festival in late September). That means what were technically the “2012” Cincinnati Entertainment Awards were held in 2013… and not in Cincinnati. Performance highlights included Benjamin Davis of Bad Veins opening the show solo (with his backing tape machine) and playing a great version of The Muppets’ “The Rainbow Connection,” Culture Queer playing with guest Ricky Nye (who donned his drag outfit) and Jess Lamb, who was lesser known at the time, making her mesmerizing performance all the more impactful (in just a few years, she’d appear on American Idol and claim Artist of the Year CEA honors).

New Artist of the Year: Dawg Yawp

And the Winners Were: Artist of the Year: Walk the Moon

And the Winners Are: Come and find out — tickets can be purchased now at


(513) 351-0064 Liberty Way | 7240 Outfitters Way West Chester, OH 45069 (513) 755-0678 Oakley | 3208 Vandercar Way Cincinnati, OH 45209 (513) 351-0064



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Upcoming Holiday Markets The big ol’ weekend-long Greater Cincinnati Holiday Market is taking over Duke Energy Convention Center Friday through Sunday with hundreds of vendors hawking tons of homemade (and semihomemade) giftables for plenty of people on your list. But fear not: If you don’t feel like checking off everyone in one go (or don’t feel like paying an entry fee), there are plenty more markets where that came from, all featuring a varying collection of curated wares from crafters, artisans and more. Here are a few:

The O.F.F. Market

10 a.m.-4 p.m. Nov. 19 MadTree, 3301 Madison Road, Oakley, 11 a.m.-4 p.m. Dec. 3 20th Century Theater, 3021 Madison Road, Oakley,

Art on Vine

Noon-7 p.m. Nov. 19 and Noon-7 p.m. Dec. 17 Rhinegiest, 1910 Elm St., Overthe-Rhine,

Crafty Supermarket

11 a.m.-6 p.m. Dec. 2 Music Hall Ballroom, 1241 Elm St., Over-the-Rhine,


MUSIC: Adrian + Meredith bring an infectious swing to MOTR Pub. See Sound Advice on page 32.

FILM: The touching short Apotome — featuring taxidermied animals from Paris’ National Museum of Natural History — is part of Wave Pool’s Animal Magnetism show. See Big Picture on page 23.

1-6 p.m. Dec. 3 Urban Artifact, 1660 Blue Rock St., Northside,

The City Flea Holiday Market

5-10 p.m. Dec. 16 Washington Park, 1230 Elm St., Over-the-Rhine,

Craft Menagerie Last-Minute Holiday Market

11 a.m.-4 p.m. Dec. 23 Arnold’s Bar & Grill, 210 E. Eighth St., Downtown, facebook. com/craftmenagerie13

is a story about the creative process. A 2015-16 hit on Broadway, the show is based on the 2004 biopic featuring Johnny Depp as Barrie. Through Nov. 19. $30-$94. Aronoff Center, 650 Walnut St., Downtown, — RICK PENDER


ONSTAGE: Frank Ferrante stars as Groucho Marx in his one-man show, An Evening with Groucho. See interview on page 20. COMEDY: Sebastian Maniscalco brings his Why Would You Do That? tour to the Taft Theatre. See interview on page 22.

The City Flea Holiday Market PHOTOs: PROVIDED

walks up to your man; you want to know what the deal is. She could be blind, crippled and crazy, but you want to know what the deal is. ‘Where do you know her from?’ ” Washington is also an accomplished pianist and spent five years on the Houston police force. “People always ask me, ‘When cops confiscate marijuana, do you burn it?’ ” To which he replies, “Yes, a little bit at a time.” Through Sunday. $8-$14. Go Bananas, 8410 Market Place Lane, Montgomery, gobananascomedy. com. — P.F. WILSON


MUSIC: Canadian Indie rockers Arkells play the Madison Theater. See Sound Advice on page 32.

FILM: Director Todd Haynes’ Wonderstruck captures the coming of age of two youngsters living during the late 1920s and 1970s. See review on page 24.

COMEDY: Billy D. Washington “Black women are jealous as hell,” Billy D. Washington tells an audience. “You don’t care what kind of woman

EVENT: Jungle Jim’s International Wine Festival Cheers to 10 years of the International Wine Festival at Jungle Jim’s. The foodie haven brings more than 400

wines from over 90 wineries around the world to Fairfield for a weekend of sipping, savoring and learning. Raise a glass during this elegant evening and enjoy vino, bite-sized snacks and charcuterie while mingling with friends. The Grand Tasting ticket includes a commemorative glass, food pairings, a tasting guide and live music. Upgrade to a Connoisseur package for educational wine classes, an international dinner by the bite, open bar and a private restroom. 7-10 p.m. Friday and Saturday. $60-$115; $25-$75 nondrinker. Jungle Jim’s, 5440 Dixie Highway, Fairfield, — MAIJA ZUMMO EVENT: Greater Cincinnati Holiday Market At this one-stop market, savvy shoppers can knock out all of their holiday giftbuying needs in a single weekend. Enjoy over 350 one-of-a-kind boutiques and specialty stores at the

Ongoing Shows VISUAL ART: Iris Van Herpen: Transforming Fashion at Cincinnati Art Museum, Mount Adams (through Jan. 7, 2018)

Greater Cincinnati Holiday Market, from handicrafts and farmhouse finds to clothes, candles and cozy knits. The event is kid-friendly but if you get overwhelmed, rest assured there is a wine and appetizer lounge to ease the holiday stress — and plenty of gourmet goodies at the adjacent Cincy Specialty Food & Treats Show. 10 a.m.-5 p.m. Friday-Sunday; early admission Friday and Saturday for an upcharge. $10 daily; free kids under 12. Duke Energy Convention Center, 525 Elm St., Downtown, — ALISON BAXTER

EVENT: Outreels Cincinnati Cincinnati Film Society hosts this LGBTQ film fest. Three days of feature-length movies and animated shorts await viewers, showcasing films like Del Shores’ A Very Sordid Wedding, set in a sleepy Texas town woefully ill-prepared for the imminent prospect of marriage equality; Brotherly Love, a film about a brother in the Catholic Church smitten with a foxy divorcee landscaper; and Freedom Fighters: The Ray, which tells the story of the first gay superhero to lead his own comic book series. On the final day, a photo exhibit commemorating the history of gay bars in the Queen City will be on display to accompany a compelling documentary about a North Carolina gay bar, Dickenson Avenue: The (Mostly) True Story of The Paddock Club. Scheduling blocks begin 7:30 p.m. Friday; 3 p.m. Saturday; 2 p.m. CONTINUES ON PAGE 18

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ONSTAGE: Finding Neverland You probably know the story of Peter Pan: Neverland, Captain Hook, The Lost Boys and all that. But if you wonder where this story came from — how Peter became Pan — you should pay a visit to the Aronoff Center sometime during the next two weeks for a performance of this Broadway touring production. It’s about British playwright J.M. Barrie, who found inspiration for a children’s classic in a family with four rambunctious boys and their widowed mother. It’s very romanticized, but it

Ohio Explored Holiday Maker Mart



Specialty and traditional pizzas, salads, hoagies, appetizers and a large selection of beer and wine! 601 MonMouth St. newport, KY 41071 859-261-4900 newportpizzacoMpanY.coM

Sunday. $10 single ticket; $50 festival pass. Warsaw Federal Incline Theater, 801 Madison Place, Price Hill, cincinnatifi — ERIN COUCH HOLIDAY: Christmas Nights of Lights Load your family up in the minivan for a fun night of Christmas lights twinkling to the sounds of holiday music. Dancing candy canes, glowing snowflakes, a tunnel of lights and much more will be on display for you to admire from the warmth of your car. This year, an extra half-mile, two new animated trees and a second light tunnel have been added. Sundown-10 p.m. through Jan. 1. $6; $3 kids; free 3 and under. Coney Island, 6201 Kellogg Ave., California, — KENNEDY PONDER


MUSIC: Funk and Afrobeat band The Motet play

Bogart’s. See interview on page 30. EVENT: Northside Record Fair Stifle the haters that say that the “outdated” medium of vinyl is better left in your dad’s basement by coming to the Northside Record Fair this Sunday. North Church will be bursting at the seams with thousands of records from vendors spanning across the Midwest and beyond, with retailers like Torn Light Records (from just across the river in Bellevue) to private sellers hailing from Louisville, Indianapolis and Tennesse. Check out over 40 tables of LPs, 45s, 7-inches, cassettes, CDs, posters, T-shirts and more nostalgic memorabilia. And, for the hardcore vinyl junkies, you can sneak in an hour before the doors open with an early bird pass to get a jumpstart on the rarest records. 11 a.m.-4 p.m. Saturday. $5; $10 early bird. North Church, 4222 Hamilton Ave., Northside, northsiderecordfair. com. — ERIN COUCH

EVENT: Cincinnati Coffee Festival Everyone loves a cup of joe. Calling all brewing enthusiasts and java critics for this year’s 2017 Cincinnati Coffee Festival. Enjoy live music, tastings and the opportunity to purchase your favorite coffee products from Cincinnati’s local brewers and roasters. Coffee drinkers from across the Midwest will join in to shop, drink, smell and buy the best of what the Queen City has to offer. 10 a.m.-5 p.m. Saturday; 11 a.m.-4 p.m. Sunday. $12 daily; $17.50 early admission; $17.50-$23 weekend pass. Music Hall, 1241 Elm St., Over-the-Rhine, — ALISON BAXTER


CLASSICAL MUSIC: American Originals Vol. 2 Join the Cincinnati Symphony as they record American Originals Vol. 2, live from Music Hall. Vol. 2 continues in the vein of the fi rst CSO American


This is Neapolitan Done Right

TV: Cincinnati LEEDs the Nation While city officials struggle with solutions for the District 5 police station, the West Side’s District 3 headquarters takes the spotlight. The focus of a 25-minute documentary, District 3 in Westwood has earned national acclaim as the first police station in the United States to generate more energy than it uses each year — no small feat for a building that operates 24/7 — through geothermal wells and solar panels. It’s also the first building in which the Cincinnati government invited citizens to design public art. Produced by Peabody Award-winner Laure Quinlivan, Cincinnati LEEDs the Nation shows how the city built more than a new structure with the District 3 station; it fostered a community. 9 p.m. Thursday on CET; rebroadcast 5 p.m. Sunday. — JUDY GEORGE

Plus: Plus: -Wide -Wide Selection Selection of of Fine Fine Wines Wines -Signature -Signature Cocktails Cocktails and and Full Full Bar Bar -Coffees -Coffees and and Espresso Espresso Imported Imported from from Italia Italia -Authentic -Authentic and and Creative Creative Desserts Desserts



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Cincy Pizza Week: Enjoy the classic Margherita -or- the Buffalo Chicken & Bacon for just $8! Pair with a Braxton Pint, on special all week!


Camporsso Wood Fired Pizzeria 2475 Dixie Highway | Ft. Mitchell, KY 41017 859.331.0155 | Monday: Closed | Tuesday-Thursday: 11a-3p | 5p-10p Friday - Saturday: 11a-3p | 5p-11p | Sunday: 11a-3p PHOTO: BRI LONG



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P R E S E N T E D B Y:

O F F I C I A L L O C AT I O N S C A M P O ROSS O WO O D FI R E D P IZ ZE R I A 2475 Dixie Highway, Fort Mitchell, KY

H O US E O F O R A N G E S P O R TS BA R & G R I L L 433 Johnson St., Covington, KY

12” Margherita: Long-proofed Neopolitan dough, crushed San Marzano tomatoes, housemade mozzarella, fresh basil, EVOO, finished with Parmegiano Reggiano

12” Bitterballen Flatbread: Housemade curry ketchup base covered with our delicious homemade Bitterballen mix, green peppers, and gouda cheese. Topped with panko sprinkle and whole-grain mustard drizzle

12” Buffalo Chicken & Bacon: Housemade buffalo sauce, Amish free-range chicken, applewood smoked bacon and mozzarella

C ATC H -A- FI R E P IZ Z A MadTree Brewing, 3301 Madison Road, Oakley

BR A X TO N BR E W I N G COM PA N Y 27 W. Seventh St., Covington, KY Buy a beer and have Mac’s Pizza Pub delivered to the Braxton Taproom!

B R I C K OV E N LOV E L A N D 390 Loveland Madeira Road, Loveland Delivery available 16” Large 1 Topping : Housemade dough and our own red sauce prepared with fresh tomatoes, topped with our three cheese blend and your choice of one topping 12” Teriyaki Chicken Pizza: Housemade dough with teriyaki sauce, mild cheeses, chicken, onion, fresh mushroom, red bell pepper and shredded carrot topped with a sprinkle of sesame seeds. (Vegetarian option: sub pineapple for chicken.)

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B R I X X WO O D FI R E D P IZ Z A 9640 Mason-Montgomery Road, Mason 10” Cincy BBQ Pizza: Thin crust artisan-style pizza with housemade BBQ Sauce, smoked gouda cheese, smoked pork, topped with candied bacon and garlic dill pickles 10” The Veggie: Thin crust artisan-style pizza with a basil pesto base, fresh Roma tomatoes, housemade mozzarella, wild mushrooms, caramelized onions and broccolini

B ROW N D O G C A FE 1000 Summit Place (Summit Park), BlueAsh 12” The Flyin’ Hawaiian: House-smoked pork belly with pineapple, red onion, cheddar, and Texas-style BBQ sauce

10” Buffalo Soldier: (Buffalo Chicken) signature buffalo sauce, spiced chicken, red onion, four cheeses + gorgonzola topped with celery and ranch 10” Natural Mystic: (Margherita) traditional red sauce, basil, roasted tomato, fresh mozzarella, sea salt

D E L I C I O C OA L FI R E D P IZ Z A 3701 Montgomery Road, Norwood 13” Cheddar Mac: Zesty creme fraiche base, cavatappi pasta, sharp cheddar, formaggio-fusione cheese

D I C K M A N N’S K E N T U C K Y S P O R T S C A FE 479 Orphanage Road, Fort Wright, KY 12” BarnFire: A shout out to our firefighters who came up with this recipe. The BarnFire is a thin-crust pizza topped with marinara sauce, ground beef, sausage, pepperoni, Franks Red Hot sauce, crushed red pepper and mozzarella cheese

GOODFELLAS PIZZERIA 1211 Main St., Over-the-Rhine 603 Main St., Covington, KY 12” Frankie Pickles: Spicy pepperoni paired with zesty dill pickle chips finished with a buffalo ranch drizzle. Pickles and pizza is not traditional, but it packs a punch in flavor and will leave your taste buds watering for that next bite 12” Zucchini Gagootz: A “crazy in the head” Italian or a delightful yummy hanging squash? Thinly sliced zucchini layers rest on a bed of 100% whole milk mozzarella cheese, sprinkled with airy, crisp panko breadcrumbs, fresh parsley and finished with a dusting of parmesan. This pie is GAGOOTZ!

H A RV ES T P IZ ZE R I A OT R 1739 Elm St., Over-the-Rhine 9” Any House Specialty Pizza

I N C L I N E PU B L I C H O US E 2601 W. Eighth St., Price Hill 10”-12” BBQ Chicken Pizza: BBQ sauce, red onions, grilled chicken, pepper jack cheese, house blend cheese, fresh cilantro (pizza available every day except Sunday 10 a.m. - 2 p.m.)

M AC K E NZI E R I V E R P IZ Z A , G R I L L & PU B 2905 Dixie Highway, Crestview Hills, KY 12” Fresh Tomato Basil: Classic tomato sauce, fresh basil, tomatoes, garlic and mozzarella

M AC’S P IZ Z A PU B 205 W. McMillan St., Clifton Heights 6309 Wooster Pke., Mariemont 2920 W. US-22 & 3, Mainville 604 Main St., Covington, KY Delivery to Braxton Brewing Co. 12” The Don: Fresh handmade pizza dough topped with red sauce, housemade meatballs, pepperoni, banana peppers, fresh basil, and a hand-shredded mozzerella and provolone cheese blend finished off with a brush of garlic butter on the crust

M O D P IZ Z A 7240 Outfitters Way, West Chester 3208 Vandercar Way, Oakley 5225 Cornerstone North Blvd., Centerville 11” Mad Dog: Artisan thin-style crust, housemade red sauce, mozzarella, pepperoni, mild Italian sausage, and ground beef 11” Dillon James: Artisan thin-style crust, housemade red sauce, mozzarella, garlic, fresh chopped basil, tomatoes, and asiago cheese Top either pizza off with a fountain drink or hand spun milkshake. The choice is yours!

• $ 8 P I ZZAS • ci n ci n n at ipi z z Aw e e k . c o m • M o l ly M a lo n e’s I r i s h Pu b & R es tau r a n t 112 E. Fourth St. Covington, KY 6111 Montgomery Road, Pleasant Ridge

P iz ze l ii 7639 Wooster Pike, Mariemont

T wo C i t i es P iz z a C o. 202 West Main St., Mason, OH

10” Spiral Margherita: Red sauce, housemade basil infused mozzarella finished with garlic-infused olive oil

12” any Pizza: Our hand-tossed dough and sauce are made fresh daily and baked in a brick oven for the perfect thin-crust pizza

P iz ze r i a Lo c a l e 7800 Montgomery Road, Kenwood 9540 Mason Montgomery Road, Mason

12” The Cabbie-Thin Crust: Gouda, bacon, red onion, potato, scallions, chipotle aioli drizzle, and garlic crema drizzle on our housemade New York-style crust

N e w p o r t P iz z a C o mpa n y 601 Monmouth St., Newport, KY 12” Wiseguy: For the gangster in all of us! A combination of salami, capicola, and pepperoni with feta cheese, fresh basil and a three-cheese blend atop a New York-style dough 12” Pepperoni: A traditional pepperoni New York-style pizza

Pa lomi n o 505 Vine St., Downtown 12” Fresh Roma & Mozzarella: Housemade San Marzano marinara, fresh basil, shaved garlic 12” Incredible Pepperoni: Aged mozzarella, housemade San Marzano marinara 12” Housemade Hot Italian: Sausage & Mushroom, Aged mozzarella, red chili flakes, housemade San Marzano marinara

P i e o lo gy P iz ze r i a 128 W. McMillan St., Clifton Heights 7578 Beechmont Ave., Anderson 11” Custom Pizza; Unlimited Toppings + Drink, Pie Rise Thick Crust or our Original Thin Crust. Unlimited toppings of your choice. Pizza deal includes an Alta Palla organic craft soda

10” Any one-topping pizza

P iz z a C u ci n ova 8060 Montgomery Road, Kenwood 10” Craft Your Own: Craft your own pizza with unlimited toppings and a chocolate chunk cookie

P os t O ffic e Pl ac e (P O P) 3923 Eastern Ave., Columbia Tusculum 10” BBQ Chicken: A crispy, thin-crust pizza topped with Sweet Baby Ray’s BBQ sauce, blackened chicken, and red onion

R a pi d Fi r e d P iz z a 12096 Montgomery Road, Loveland 720 Eastgate South Drive, Eastgate 3583 Dixie Highway, Middletown 7555 Mall Road Florence, KY Any Craft or Build-Your-Own: Choose any craft or buildyour-own pizza with your choice of toppings on thin, pan or No-Doh crust, plus a medium fountain drink. Glutenfree crust is available for an additional charge

S t ro n g’s B r ic k Ov e n Piz ze r i a 336 Monmouth St., Newport, KY 1 East High St., Lawrenceburg, IN 1990 N. Bend Road, Hebron, KY 10” Pizza Alla Vodka: Strong’s famous vodka cream sauce, mozzarella, seasoned fresh mushrooms, spinach and prosciutto

Ta f t’s B r e w p o u r i um at Ta f t’s B r e w i n g C o. 4831 Spring Grove Ave., Spring Grove Village 10” BBQ Pork Pie: New Haven-style Apizza topped with cherrywood amber pulled pork, housemade BBQ sauce, smoked white cheddar, fresh jalapeños, red onion, garlic, extra virgin olive oil and cilantro (Open Wednesday-Sunday)

Tag l i o 3531 Columbia Parkway, Columbia Tusculum 14” Bianco: Extra virgin olive oil, garlic, parsley, fresh ricotta, aged mozzarella

Z a b lo n g 23 E. Sixth St., Downtown 12” Oblong CarbonarZA: Rich, sweet housemade ‘Southern Cream’ sauce and Mozzarella base. Topped with hand pulled roasted chicken breast, smoked and seasoned pork belly, and sliced cherry tomatoes

S n a ppy To m ato P iz z a (22 lo c at i o n s) Alexandria, 8248 Alexandria Pike, Alexandria, KY Bright, 2005 Jamison Drive, Lawrenceburg, IN Burlington, 6111A Burgundy Hill Drive, Burlington, KY Cold Spring, 4140 Alexandria Pike, Cold Spring, KY Dent, 7074 Harrison Ave., Cincinnati Downtown, 330 Walnut St., Cincinnati Dry Ridge, 118 School Road, Dry Ridge, KY Eastgate, 960 Kennedy’s Landing, Cincinnati Erlanger, 643 Stevenson Road, Erlanger, KY Fairfax, 6016 Wooster Pike, Cincinnat Fairfield Township, 3917 Tylersville Road, Hamilton Falmouth, 1300 Ridgeway Ave., Falmouth, KY Florence, 8450 U.S. 42, Florence, KY Ft. Thomas, 1177 S Ft. Thomas Ave., Fort Thomas, KY Ft. Wright, 485 Orphanage Road, Ft. Wright, KY Maineville, 6647 Ohio 48, Maineville New Richmond, 1041 Old US 52, New Richmond Richwood, 311 Richwood Road, Walton, KY Rising Sun, 624 N High St., Rising Sun, IN Ross, 3755 Hamilton Cleves Road, Hamilton Walton, 3 N Main St., Walton, KY Warsaw, 310 E Main St., Warsaw, KY 12” (Medium) Loaded Potato Pizza: The Loaded Potato Pizza begins with a base of creamy ranch dressing, topped with thick pieces of potato, crisp bacon, and topped with extra cheese. (Excludes gluten-free crust)

= Bra x ton Special

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P i es & P i n t s 56 W. Freedom Way, The Banks, Downtown 5901 E. Galbraith Road, Kenwood 7621 Gibson St., Liberty Township

11” Pepperoni & Budino: Personal pepperoni pizza and budino pudding dessert

9” Pepperoni-Deep Dish: Chicago pepperoni, fresh chunky tomato sauce, and whole milk mozzarella on our housemade Chicago-style crust

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P H O T O : T i m othy S accenti


Originals album (featuring Rosanne Cash, Over the Rhine, Aoife O’Donovan and more) by celebrating American popular music from the early 20th century through today with performances from Roots and Blues singer Rhiannon Giddens, Ragtime singersongwriter Pokey LaFarge and Bluegrass masters Steep Canyon Rangers. 8

p.m. Friday and Saturday; 2 p.m. Sunday. $25-$105. Music Hall, 1241 Elm St., Over-the-Rhine, — KENNEDY PONDER


MUSIC: Swing with Brian Setzer Orchestra at the Taft

Theatre. See Sound Advice on page 33. MUSIC: Have you bought your tickets for the Cincinnati Entertainment Awards? It’s the 20th anniversary of the show; see reminiscences and reviews of past CEAs in the cover story on page 10.


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MUSIC: Flying Lotus It’s impossible to define what engaging avant-garde artist Steven Ellison actually does in just a sentence or two, and each subsequent project from the experimental multimedia/multi-genre producer/filmmaker/musician/MC/DJ seems to add another paragraph to the definition. So for the sake of time/space, for those uninitiated, Ellison’s Flying Lotus alter ego has produced an endlessly fascinating discography over the past decade-plus, fusing Electronic styles and Hip Hop with tones of Jazz and Soul like a mad scientist who sometimes seems to add a pinch of LSD to their concoctions. If you judge someone by the company they keep, Flying Lotus runs in the same creative circles as artists like Thundercat, Kendrick Lamar, Odd Future, Kamasi Washington and Radiohead, all of whom he’s collaborated with. This year has been another busy and productive one for Flying Lotus — besides penning liner notes for a compilation of material by the late Alice Coltrane (his grandmother’s sister, making John Coltrane his grand-uncle), co-writing and directing the horror/ comedy film Kuso and curating the Sled Island Music and Arts Festival in Canada, he also masterminded a 3-D concert experience, which he is currently touring. The “Flying Lotus in 3-D” show coming to Covington this weekend features carefully designed visuals that are choreographed with the music and enhanced with 3-D technology (viewable through the glasses given to showgoers). Dispatches from recent performances indicate the A/V adventure is so absorbingly and intriguingly captivating, even the most severe smartphone/social media junkie will forget their device is in their pocket. (For more preview coverage of this show, check out the music section at 8 p.m. Saturday. $30. Madison Theater, 730 Madison Ave., Covington, Ky., — MIKE BREEN


Groucho Marx in Mount Adams


Frank Ferrante becomes the zany, wisecracking Marx brother at the Playhouse in the Park BY R I C K PEN D ER

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roucho Marx once quipped, “Blessed are the cracked, for they shall let in the light.” At the tender age of 9, actor Frank Ferrante was inspired by the light of Marx’s humor. “I was raised in a fairly repressed household,” he says, “a Catholic-Italian family. We played by the rules. To experience a Marx Brothers film as a boy was life-shifting, seeing this kind of rule-breaking approach to existence. I couldn’t articulate it when I was watching these films on television.” The Marx Brothers’ inspired comedy act, mixing antic slapstick with clever witticisms and puns (a Groucho specialty), made them stars of the stage and films like Animal Crackers, A Night at the Opera and Monkey Business. Groucho then went on to radio and television fame as the host of a comic game show called You Bet Your Life. He died in 1977 at age 86. Now, after several decades of impersonating Groucho, Ferrante can identify the key elements of his comedy. “I love his irreverence, I love that he calls it like he sees it, I love the complexity of his persona,” he says. “It’s not just his rat-a-tat-tat dialogue and that look we’ve all come to know. There’s a great deal of nuance. He surprises you. He surprises me! You don’t know what he’s going to say. When I’m asked what is at the core of his appeal and why, I say he still exhilarates me.” Ferrante is now 54, but he first took a dive into the role while he was an undergraduate studying theater at the University of Southern California in the early 1980s. His directing mentor suggested he find a script and perform as Groucho. Ferrante met Elaine Stritch, the veteran actress and singer, following an appearance on The Tonight Show with Johnny Carson, and she gave him the text for a one-man show, An Elephant in My Pajamas, that her husband John Bay had performed. Ferrante did it at USC. “That’s how it started,” he says. “I fig-ured I had to do something with my life and I knew I had a great passion for humor — specifically for the humor of the Marx Brothers. I was looking for a way to express myself and to be part of a tradition.” Ferrante’s fascination with Groucho has kept him engaged in numerous projects for more than three decades. “I’ve been able to release that part of me that wants to be free and not always play by the rules,” he says.

Although Ferrante’s career has encompassed other acting and directing, his bread-and-butter has been that of “the greatest living interpreter of Groucho Marx’s material,” as The New York Times described him. After his performance at USC, Groucho’s son Arthur recruited him to star in an off-Broadway production of Groucho: A Life in Revue. (Arthur wrote the script.) That long-running show, in which Ferrante played the iconic humorist and television host from age 15 to 85, gained national recognition when it aired on PBS stations in 2001. This week Ferrante keeps the ball rolling with his own show, one he’s been perfecting for more than a decade: An Evening with Groucho, onstage at the Cincinnati Playhouse in the Park. (It’s scheduled to be on the Shelterhouse stage through midDecember although, based on past Playhouse holiday shows, it could be extended.) His Cincinnati appearance is an opportunity to refine the show that he’s performed in 500 cities, playing the role of Groucho more than 2,500 times. “There’s going to be a production element we’ve never had before, a visual component that’s all new,” he says. “I’ll be doing new stories and it’s going to be restaged.” He’s pleased by the Playhouse’s enthusiastic support for his production. Ferrante first comes onstage as himself. “I rhapsodize about my childhood interest and passion for Groucho and then cannonball into him,” he says. “It’s an experience as if someone had seen him live in 1934. He seldom performed alone during that time — he was always with his brothers. But if he’d been asked to do a one-man show, it would be like this.” Ferrante uses songs and material from Groucho’s Broadway and film career, focusing on the 1920s and 1930s vaudeville era. “I take on his brothers, his relationship with Margaret Dumont, Charlie Chaplin and W.C. Fields. You get a sense of his style, his brash quality,” he says. Ferrante also mentions his director, Dreya Weber, who has worked with him for several years. “She’s brought a different tone to the piece as we continue to evolve it,” he says. “She was adamant about giving it another quality to express Groucho’s interests.” For instance, he was a voracious reader. Ferrante has added stories about his correspondence with poet T.S. Eliot and his love of music by the operetta team of

Ferrante has been performing as Groucho for decades. P H O T O : co u rte s y of fr a nk ferr a nte prod u ction s

Gilbert and Sullivan. Ferrante’s performance includes an array of Groucho’s zany songs — the likes of “Hooray for Captain Spaulding,” “Lydia the Tattooed Lady” and “Hello, I Must Be Going” — performed with newly added pianist Gerald Sternbach. The Shelterhouse stage’s intimate setting — seating 225 in rows around the stage on three sides — gives Ferrante a perfect opportunity to do what Groucho excelled at: off-the-cuff, quick-witted banter with audiences and guests. “That’s the highlight of the piece, the interactive quality of the improv, the ad-libbing,” Ferrante says. “Almost every comic actor who does a show like this has a file, but my goal is always to invent new interactions

with every performance, since the audience is different every time. It allows for returns from those who’ve experienced the show at some point because they know it’s not going to be the same. Every show is different.” It’s clear that he relishes the opportunity to portray Groucho. “I love performing,” he says in an interview in the Playhouse program. “I love acting. I’m a man of the theater. And every show is different.” Marx once said, “If you’re not having fun, you’re doing something wrong.” It’s readily apparent that Ferrante will be having fun. An Evening With Groucho, presented by the Cincinnati Playhouse in the Park, continues through Dec. 17. Tickets/more info:


Broadway Today; Cincinnati Soon? BY R I C K PEN D ER

Iris van Herpen: Transforming Fashion Now–January 7, 2018

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Ticketed. Members receive free tickets. Presented by:

Generously supported by:

The Wohlgemuth Herschede Foundation Iris van Herpen: Transforming Fashion is co-organized by the High Museum of Art, Atlanta and the Groninger Museum, The Netherlands. The exhibition was curated by Sarah Schleuning, High Museum of Art, and Mark Wilson and Sue-an van der Zijpp, Groninger Museum.


Iris van Herpen (b. 1984), The Netherlands, Crystallization, Dress, Collar (detail), July 2010, transparent polyethylene terephthalate, ECCO leather with oil treatment, goat leather, silver chains and viscose, Groninger Museum, 2012.0206.a-b, © Iris van Herpen. Photo by Michel Zoeter


I spent last weekend in New York City sound similar in Arabic and Hebrew. with colleagues from the American TheThey become stranded overnight. The atre Critics Association, so I had a chance characters communicate and fi nd comto see shows that might turn up in Cincinmon ground using broken English — nati in a touring production or staged by sometimes none too effectively, someour local theaters. times evocatively. The likeliest prospect is Chazz PalminTony Shalhoub plays Tewfiq, the stiff, teri’s A Bronx Tale, a coming-of-age story widowed conductor who heads the musiset in New York City’s Italian-American cians who wear Robin’s-egg blue uniBronx neighborhood in the 1960s. Palforms that remind the bemused townsminteri performed it as a one-man show people of Michael Jackson or Sgt. Pepper. in 1989. In 1993, it became a movie starAs Dina, the world-weary, sensuous ring Palminteri and Robert De Niro. Now proprietor of a café where the characters it’s a musical about a boy (at age 9 and intersect, Katrina Lenk (who was in the then as a young man who narrates) caught between working-class family values and organized crime. With a Rhythm & Blues and Doo-Wop score by Alan Menken, A Bronx Tale’s music more closely resembles his Little Shop of Horrors songs than his more recent Disney-produced hits Beauty and the Beast, The Little Mermaid and Aladdin. Add some spirited choreography by Sergio Trujillo, and it’s a crowd-pleasing production that several reviewers have compared to comfort food — “plain The cast of A Band’s Visit, currently on Broadway old pasta with red sauce.” P H O T O : M AT T H E W M U R P H Y Trust me, in another year or two, it will be at the Aronoff Center. original Broadway cast of Once) turns in I also caught an audience-pleasing a warm, sensuous performance, breaking comedy, The Play That Goes Wrong, a through Tewfiq’s reserved formality — at British import now performed by an least for a few shared moments in the song American cast. It’s a rip-roaring backstage “Something Different.” farce about a disaster-plagued amateur The show’s score by David Yazbek (The theater company staging a wheezy murder Full Monty, Dirty Rotten Scoundrels) is a mystery in a theater that has a devious, striking mélange of Middle Eastern melodangerous life of its own. From the get-go dies and tonalities using traditional instruthere are countless problems and mishaps ments, including a darbuka (drum) and the (as the title warns) as the production slowly, oud, a short-necked stringed instrument. hilariously and chaotically disintegrates. It Instead of focusing on cultural differwas fun to watch, but not nearly as enterences, The Band’s Visit illustrates common taining as Michael Frayn’s peerless Noises emotions shared by humanity. One fellow Off, which Cincinnati audiences can enjoy stares at a pay phone for hours, yearning when Cincy Shakes stages it next spring. for a returned phone call from a lover; The show that will truly stick with me another, an inveterate and unsuccessful was The Band’s Visit, a small-scale musiArab Romeo, eventually coaches a withcal based on a 2007 Israeli fi lm about an drawn Israeli to make a romantic move Egyptian police orchestra that strays off (“Haled’s Song About Love”). course while traveling to a gig, ending up The show is transferring to Broadway in a town in the middle of Israel’s Negev after a much praised, four-week Off-Broaddesert. It’s reminiscent of the charming way run a year ago; it won a 2017 Drama 2012 Tony Award-winning musical Once Critics’ Circle Award for Best Musical. It (based on another 2007 fi lm) about everyopens this week at the Ethel Barrymore day people coming together to make music Theatre. (I saw it with an appreciative preand find shared threads of humanity. view audience.) The Band’s Visit is wistful, The Band’s Visit bridges linguistic and bittersweet, touching and funny, the kind cultural disconnections: The bmembers of heartfelt show that can win audiences. It mistake Petah Tikva, a sizeable city with certainly captivated me. a new Arab cultural center, for the tiny, Contact Rick Pender: rpender@ socially backward (and fictional) town of Bet Hatikva because the towns’ names




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Maniscalco Waited for His Big Break BY P. F. W I L S O N

One door is closing and another is Anthony walked in,” he says. “He ended opening as comedian Sebastian Manisup taking Freddy on the road with him, calco winds down his Why Would You just because he saw him perform that Do Th at? tour. The comedian performs night.” Thursday at the Taft Theatre, telling tales Maniscalco himself was fortunate of life’s little annoyances as well as his enough to have a manager at the Four experience as a new father. Seasons who allowed him to take his To gather material, he has gone back half-hour break and go do stand-up. That and listened to several episodes of the was more difficult than it might sound. podcast he does with friend and fellow “It’s not really easy to leave the property comic Pete Correale called, simply, Th e and come back,” he says. “In fact, it’s not Pete and Sebastian Show. It has become something I should have been doing in a popular program on SiriusXM satellite the fi rst place because the Four Seasons and streaming radio. operates on such a high level of service “We do the podcast via phone,” Maniscalco says. He is based in Los Angeles while Correale lives in western New York, but the two did manage to get together in New York City recently. “When I get to see him in person, it’s always a good night. He’s a pretty funny cat and when we get going it’s really fun to be around.” The podcast is basically the two comics sharing funny stories about their personal and professional lives. “It’s not guest-driven,” Maniscalco says. “It’s more Comedian Sebastian Maniscalco laid-back. We’re like oil PHOTO: TODD ROSENBERG and water. He’s a beer and peanuts kind of guy and I’m a glass of wine and a nice slice of and hospitality. For a waiter to leave the cheese guy, so it works out.” property, asking another waiter to watch It’s only recently that Maniscalco has his section, is not really something they discovered some of those stories could pride themselves on.” be developed into bits on stage. Another However, for his last four years in that source of material will be his new book, job, he did just that. “I didn’t want to which debuts in February 2018. miss the opportunity of doing the mate“In January I’m going launch a tour rial,” he says. “And you never knew who called Stay Hungry, which is the same was going to be in the room.” title as the book,” he says. “It’s basiLooking back, he remembers with cally essays about the last 20 years of regret not paying more attention to the my career, everything from the jobs I high-brow events that took place at the had to moving out to Los Angeles, going prestigious Four Seasons. “I really could into debt, my father getting me out of have educated myself,” he says. “I go out debt. It’s the ups and downs of a career in to restaurants now and I’m into wine stand-up comedy.” and food, but I wish I had a little more His last day job was at the Four Seasons knowledge. The Four Seasons could have Hotel in Beverly Hills, where he worked as provided a lot of that. It’s like not paying a waiter. Often, he’d run out on his break attention in school.” and head to the Comedy Store club to do a He may yet parlay that food interest quick set before hustling back to the hotel. and passion into some sort of TV vehicle, “I wish I would have kept a journal for the however. “Food is a huge part of my sake of memories,” he says. life, growing up in an Italian family,” he While he took the job to supplement says. “My mother and father were always his income, he promised himself he cooking and now my wife and I love to would never miss an opportunity to entertain at our house. We got married perform stand-up — thus the running up in Napa Valley four years ago. It would back and forth. be nice to turn that into a TV show of For those willing to play comedy clubs some sort, so we’ll see.” while unknown, good fortune can strike. Sebastian Maniscalco performs 7 p.m. Maniscalco recalls the experience of Thursday at downtown’s Taft Theatre. the late comedian Freddy Soto. “He was performing one night and singer Marc Tickets/more info:


Seeing Our Oneness with Elephants BY S T E V EN R O S EN

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It’s going to sound funny, I fear, to Might there be a bond between the two describe the short fi lm Apotome — a key species — a love for music? element in Wave Pool’s current Animal On Geri Walton’s excellent website Magnetism exhibit — after I say how — “unique histories from the 18th and profound and mesmerizingly beautiful 19th centuries” at — she I found it. describes that performance: “On 29 May The 2013 fi lm was made in Paris 1798, eleven musicians from the Conservaby two Puerto Rico-based artists: the tory of Music provided a concert for the two Philadelphia-born Jennifer Allora and elephants as they dined. Among the pieces the Cuba-born Guillermo Calzadilla. played was a piece in B minor from Gluck’s Their idea was to photograph inside Paris’ Iphigenia and an adagio from the opera DarNational Museum of Natural History, with danus. The orchestra was arranged around the camera moving steadfastly past the a trap door so the elephants could not see cavalcade of sometimes fierce-looking, them. When ‘everything was ready, and a sometimes terrified taxidermied animals in storage in its underground Zooteque. It also studies, with devoted detail, bones kept in this area. But that’s just the half of it. The fi lm also features a singing human being among these silent remains, vocalizing for his captive audience: Tim Storms, an American whose deep, low voice can hit a subsonic note that’s equivalent to eight octaves below the lowest G on a piano. (The artists/ fi lmmakers of Apotome sent Wave Pool a special Video still of a bone from the film Apotome, now at Wave Pool sound system with their PHOTO: COURTESY ARTISTS AND KURIMANZUT TO, MEXICO CIT Y digital print so visitors can hear some of Storms’ deepest and most gravelly vocal sounds.) profound silence reigned; the trap-door was It’s a major achievement for the nonnoiselessly opened, and the concert began.’ profit Camp Washington-based Wave Pool The elephants responded with ‘curiosity, to have this fi lm, which is being shown on astonishment and anxiety.’ ” a loop during business hours until Animal In Apotome, Allora and Calzadilla, with Magnetism closes on Nov. 18. Th is is its Storms as their empathic accomplice, are fi rst Midwest presentation, says Calcagno channeling that performance. He is singCullen, Wave Pool’s executive director. ing some of the same compositions that Cullen credits Animal Magnetism’s curawere performed for Hans and Parkie. After tor, University of Cincinnati associate Art moving past the long-dead animals on disHistory professor Kim Paice, for arranging play — a veritable zoo with zebras, monit. The fi lm shows upstairs from the main keys, lions, bats and more — he inspects gallery, in a darkened room where Wave and sings to the bones of the elephants. Pool has permanently installed a screen In some shots, the fi lm just focuses on donated by artist Anthony Luensman. Storms’ face above the mouth. In others, When a fi lm — even a 23-minute one the mouth doesn’t seem to move, so there’s like this — is this appealing to eyes and a disembodied aspect to his voice. The fi lm ears, you don’t need to care so much starts and ends with ultrasound images of about the “why” of it. But actually that his throat, but the image sort of looks like a “why factor” adds to our understanding face — a ghost in the machine. and appreciation of Apotome. In 1798, This is when the power of Apotome during the last days of the French Revolureally hits. Is this, like the original concert, tion, the nation brought two elephants to a new attempt at enlightenment — a Paris from the Netherlands — Hans and scientific experiment in what seems like a Parkie — that the Dutch had themselves new age of ignorance? Or is it a requiem, a taken from what is now the Asian island memorial to our inability, so far in history, nation of Sri Lanka. to connect with and respect all species, The French treated them like royalty, including ourselves? if you could overlook the fact they were Animal Magnetism is on display captive living things. As this was the age of through Nov. 18 at Wave Pool, 2940 Enlightenment, with its promise of Liberty, Colerain Ave., Camp Washington. Equality, Fraternity, the French decided to serenade the two elephants with a concert. More info:




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A Most Wonderful ‘Wonderstruck’ BY T T S T ER N - EN ZI

As the end of 2017 approaches, it is As with New York in the 1920s, the Big time to consider that it might come to be Apple in the 1970s has a life and character defined, movie-wise, as a year of Wonders. that are unmistakable. Here, the fi lm’s Patty Jenkins gave us a Wonder Woman warm colors — transitioning from an movie that proved we were more than autumnal feel in the Midwest sequences ready for a female superhero, while writerto the Disco Era vibe of the urban landdirector Angela Robinson exposed the real scape — captures a familiarity for even story behind the creation of that beloved those who have never set foot in New York character in Professor Marston and the City. There are hints of the wild nature of Wonder Women. Coming up, we have Stethe concrete jungle, but when Ben meets phen Chbosky’s adaptation of R.J. Palacio’s Jamie (Jaden Michael), a young ally who bestselling novel Wonder and then Woody serves as a guide through the maze of Allen’s Wonder Wheel, featuring Kate the boroughs, we see that New York has Winslet as a beleaguered wife struggling to find meaning in her underwhelming life on Coney Island in the 1950s. But right now, the focus belongs to Todd Haynes, whose Wonderstruck just might be the most wonderful of them all, a brilliant and heartfelt merging of the innocence of youth and the crushing weight of adult realities and responsibilities. The movie is based on the 2011 juvenile-fiction novel by Brian Selznick, who also wrote the screenplay. Haynes, known to be a Millicent Simmonds plays Rose, a deaf girl in 1920s New York. quiet master of intimate PHOTO: MYLES ARONOWITZ /COURTESY OF AMA ZON STUDIOS period dramas (Far From A N D R O A D S I D E AT T R A C T I O N S Heaven and Carol) tackles the challenge of creating two different and quite distinct time frames always been a much friendlier place than at once. He did something similar in Velvet its reputation allowed us to believe. Goldmine, which grooved between the early To spotlight parallels between Rose and 1970s and the mid-1980s as a journalist Ben, Ben loses his hearing before arriving (Christian Bale) digs into the careers of in the city and must appeal to the innate Glam Rock star Brian Slade (Jonathan Rhys kindness of everyone he encounters. The Meyers) and Curt Wild (Ewan McGregor), affl iction, in Haynes’ fairytale rendering, is the American singer who inspired Slade. little more than an inconvenience for Ben, At its core, Wonderstruck captures the but it has a revelatory impact on everyone coming of age of two youngsters. Rose else. We see the power of redemption, in (Millicent Simmonds) lives in New York City instances large and small, along the way. It during the late 1920s. Precocious but deaf, even starts to color Rose’s world as well. she lives out her days in isolation, hidden There is a gentleness that permeates from the hustle and bustle of the life that’s the fi lm, which keeps Wonderstruck from imagined to be too dangerous for her. Yet sliding into sentimentality; all of the Rose slips free, wandering the city in puryoung actors handle the responsibility suit of adventure and meaningful encounof grounding the narrative admirably. ters. Haynes presents the city in black and Haynes steers them away from playing white footage, conjuring silent newsreels or too broadly for the camera, heightening a melodramatic weeper from that age, tugthe fi lm’s emotional honesty. ging gently at our heartstrings. Simmonds in particular has the open Across the time divide stands Ben (Oakes and expressive face of a silent-era screen Fegley), a young boy living a quiet life in the actor. She is so perfectly suited for her Midwest in 1977. He’s got a loving mother role that her scenes play as if she walked (Michelle Williams) and an eager and active out of an old serial from back in the day. imagination. Ben sees the seams that bind Fegley and Michael fi nd ways, in scene reality together and constantly searches for after scene, to capture an unexpected more. When his mother dies, Ben discovers innocence and sense of hope in a time a clue about the father he’s never known not usually associated with such notions. and embarks on a journey to find him. That, in and of itself, is a sign of the kind When Ben makes his way to New York, the of wonders that, in the hands of a master setting and time frame truly assert themlike Haynes, never cease. (Opening Friday selves as active players in the story. at the Mariemont Theatre.) (PG) Grade: A


‘Stranger Things 2’ Lives Up to Original BY JAC K ER N

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Stranger Things (Netflix) took most of some of last season’s secondary players. A us by surprise when it debuted in 2016. A group of such strong actors begs for comcompelling and frightening romp through plex roles, and this season we get to know the 1980s Midwest and its treacherous parSteve (Joe Keery), Dustin (Gaten Matarazzo), allel plane, the show highlighted a group Lucas (Caleb McLaughlin) and others on a of talented child and young adult actors — deeper, more fleshed-out level. along with Winona Ryder in her first major The same can’t be said about many of television role — under the direction of the new characters introduced this season, the Duffer Brothers (who, unless you had although Sean Astin shines as the lovable watched Wayward Pines, you’d probably nerd dating Will’s mom Joyce (Ryder). never heard of). One theory that has followed Stranger It was a perfect storm. Stranger Things Things since the beginning is that there are made a huge cultural impact — everyone more children like Eleven — kids taken binged and talked about theories, countless from their parents and experimented on Halloween costumes were crafted after the characters and it went on to get award attention. Who could forget Ryder’s expressive reaction during David Harbour’s acceptance speech? And who couldn’t relate to the Upside Down in the wake of the 2016 presidential election? Questions abounded as the second season approached this fall. Can Eleven make her way back from the Upside Down? Will there ever be #JusticeForBarb? How does Steve maintain those gorgeous locks? But most Will (Noah Schnapp) with the mysterious Upside Down monster importantly, could it possiP H O T O : courtesy of netf l i x bly recapture the magic of Season 1? In short, yes. Stranger Things 2 has that at Hawkins Lab who have also developed same unique spark that its first iteration special powers. Given her “name” and 011 did. It’s an emotional rollercoaster with tattoo, it would make sense that there was, the warmth of nostalgia, the terror of both at some point, at least 10 others, right? Seasupernatural scaries and real-life monsters son 2 immediately addresses this idea in the and the relatable charm of friends worth opening scene and returns to it several epifighting for. sodes later, before abruptly abandoning the This season picks up nearly one year after storyline altogether. It’s one of the weaker the events of last year’s finale. As teased in plots in an otherwise satisfying season. the final moments of that episode, Will is Stranger Things has been referred to back home in Hawkins, Ind., but he’s not as nostalgia bait, with some arguing that the same. His time spent in the alternate there are too many ’80s references and othdimension known as the Upside Down has ers claiming they’re not accurate. I think obviously deeply affected him, and he’s left the show handles it with care in a way I with a sort of post-traumatic stress disorder haven’t seen since the short-lived dramedy that causes him to see terrifying things that Freaks and Geeks. aren’t really there. Or are they? It’s not just the arcade games and While Will’s disappearance is central to Ghostbusters Halloween costumes and the Season 1 story, we actually didn’t get the tacky green Ford Pinto. Beyond the to see much of actor Noah Schnapp. He props and wardrobes, nostalgia is about a plays a much bigger on-screen role this feeling. Regardless of the decade, everyone time around, which is fantastic because can relate to having your heart broken by Schnapp — having just turned 13, the your first love or mustering up the courage youngest of the cast — gives a multi-layto ask a girl to dance. Stranger Things sucered, chilling performance. ceeds in those simple moments. In fact, all these young stars have upped And in those moments, we’re reminded their game even beyond their stellar that underdogs can be heroes, jerks can first-season performances — Millie Bobby be reformed and you can get through anyBrown (Eleven) and Finn Wolfhard (who thing — from a school bully to a mind-conplays Mike and also starred in the recent It trolling multidimensional demon — with a reboot) are clearly destined for greatness. little help from your friends. One of the best aspects of this season is the character development, particularly for Follow Jac Kern on Twitter: @jackern


tickets on sale now at



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Walk the red carpet and celebrate 20 years of the cincinnati music scene at the cea’s


featuring performances from : young heirlooms, moonbeau, the hiders, carriers, audley, lauren elyse, this pine box, and more!


Dining Blind Charity dinner provides the unique experience of eating while blindfolded BY S T EPH EN N OVOT N I


Dining in the Dark will offer a glimpse into what it’s like to have a visual impairment. PHOTO: THINKSTOCK

that people who are blind are just regular people and eating or living while blind is different, but it’s not that different. “So many people think if they lose their vision, their life is over,” she says. “But it’s not. We can teach people the skills to be as independent as they would like to be. Sometimes people say that someone who can’t see must hear better. “Well, it’s not that they can hear better, it’s just that there is a certain awareness that has been developed because they are not able to see. It depends on the day and how I’m doing as to how well I can memorize where things are. “I’ve put the fork to my mouth and there hasn’t been anything on it and I hope nobody saw me do that. Most of the time I’m not going to ask someone where things are on the plate. I’m just going to figure it out.” Dining In the Dark takes place at 6-9 p.m. Nov. 18 at the Manor House, 7440 Mason Montgomery Road, Mason. Learn more and register for tickets at



lights are on. I can see some shapes and shadows of different things. I’ve never been able to see color or read print but I can tell a lot of contrast. Something light colored against a dark background, I can usually see it.” Holladay says whatever the amount of loss, it affects all aspects of life, including eating meals. Helping people understand this is the point of Dining in the Dark. “Someone is going to put the blindfold on and think, ‘Wow, I really had a lot of trouble with this,’ ” Holladay says. “But for someone like me, who has been blind her entire life and has been eating and doing all my daily life things blind, it’s not a new thing. For someone in their 60s and losing their vision, it can be more difficult. ‘What is this here?’ and, ‘If I touch this with my fork, what is it?’ They’re just developing those extrasensory skills. ” Everyone’s experience with blindness is unique and, Holladay says, she expects people attending the dinner will have unique experiences as well. She hopes participants walk away from the event with an understanding


little stick of butter that they give you instead of eating my roll. It was an eyeopening experience.” If Richardson’s experience was a clumsy one, it was also common among the other diners at the event. “We were disoriented,” she says. “A lot of people didn’t know what they were eating. For me personally, I cut my chicken but cut it in half. It was clearly not a bite size and it looked like I was shoving a whole piece of chicken in my mouth. “Most of the women were dressed pretty fancy in evening gowns and they were worried about spilling the sauce so they had their napkins draped all over them, which isn’t normal. “Each table had a person who was actually blind who was like a table captain. We could go over our experience with them and they could give us advice or laugh at our expense or say, ‘Yeah, I know what you’re going through because that’s what I do every day.’ ” Jennifer Holladay, who manages volunteers at CABVI, has been blind her whole life. She explains that being blind is rarely all or nothing — most people are blind by degrees. “Very few people see nothing,” she says. “Most people see light and shadows, and that’s what I can see. I can tell when the

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hefs take great pride in the visual presentation of a meal. And, as attested to by all those Snapchats of delicately arranged entrées, it’s a big part of the experience for diners as well. But, what if you couldn’t see your meal or even the plate it’s on? That’s the premise behind Dining in the Dark, a dinner party during which patrons get to experience what it’s like to share a meal when you’re blind. Aaron Bley, director of community relations for the Cincinnati Association for the Blind and Visually Impaired (CABVI), says the fundraiser is inspired by similar dinners held across the country. During Dining in the Dark, around 300 guests will enjoy fi ne French cuisine, and there will be a silent auction and cash bar. It resembles many other charity dinners in all ways but one: At the time the meal is served, things go a little differently. “We are providing silk blindfolds on everyone’s chair,” Bley says. “We’ll ask everyone to put the blindfold on. The lights will be dimmed just enough so that the servers can still see what they’re doing. The dinner entrée will be served and everyone will be eating dinner. They’ll be doing that in complete darkness.” Bley says he wants this not only to be a fun charity event but also an experiential and educational one, too. “We want people to really walk away with a sense — albeit a limited sense — of what it is like to be severely visually impaired or blind,” he says. “It really isn’t so much about what they’re eating, but the experience of just eating in the dark and what people who really are blind really go through when they’re trying to manipulate and maneuver at a dinner party or a restaurant.” Stefanie Richardson, who works in communications at CABVI, attended a similar event in Indianapolis last year. She is sighted and says she thought she would have an easier time eating, given that she has shared meals with friends at work who are blind. “When my plate was put in front of me, I tried to memorize really quickly what was on it before my blindfold was on,” Richardson says. “But that didn’t work. I ended up eating the green top of the carrot. I took someone else’s drink and drank that on accident. I ate the whole



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Jean-François Flechet I N T ERV I E W BY I L EN E R O S S

If you follow local restaurant lore, you’re probably familiar with the tale of the tall, lanky Belgian dude who showed up one day at Findlay Market, waffle iron in hand, and proceeded to set the town on fire with his hometown cuisine, becoming an integral part of our region’s business community. The story is mostly true, so we recently sat down for lunch at Clifton’s Maki Express Ramen House with Jean-François Flechet — the aforementioned dude and the mind behind Taste of Belgium — and found out that what might seem like an overnight success story was in reality a business plan gone awry.

floor is still there, all the exposed brick, we kept as much as we possibly could. When we opened Clifton, we were in a brand new location. We had the students and it was a lot bigger and we wanted a focus on the bar and a lot of TVs cause we figured it was gonna have kind of a sports bar feeling. With Rookwood we switched the team of architects. We were able to

CityBeat: As the legend goes, you arrived in Cincinnati with one waffle iron and started your empire. True? Jean-François Flechet: I arrived long before waffles. I arrived in March 2000 to work for a market research company. … I stuck around and after I got my green card, I thought of doing something different. I invented a hot-food vending machine with a friend of mine, spent a few years on that and then we had some hiccup with investors. Then I started making waffles to try to pay the bills in between until I found another group of investors. Then the waffles really took off. CB: And you started with one waffle iron at Findlay Market? JF: Yes, one waffle iron at Findlay Market. Well, actually, that’s not true. The very fi rst time I baked waffles was at the Coachella music festival in California in 2007 and it was an absolute disaster, so when I came back I thought, “Let’s do this on a little bit smaller scale.” And so I started in the back of Madison’s Produce. CB: What’s so great about Liege-style Belgian waffles? JF: Where I grew up, food, you just sit at a table and you eat your food with fork and knife. There were no McDonald’s, no fast food — the only fast food was like the waffle. If you go to Brussels, there are toppings on it. But where I grew up, it’s just something they served in a piece of wax paper and it’s good on its own. It’s really simple and it’s easy to produce and I just thought, “That’s something I can give it a shot.” CB: Taste of Belgium has grown into a family of many very different restaurants, each with a very different feel. What was your thought process behind the planning of the locations? JF: For OTR, when we opened it, we had so little capital that we opened it totally bare boned. We kept the existing HVAC, the floor, the ceiling; we put the cheapest possible hood at the back. We didn’t have a prep kitchen — we were stacking boxes of potatoes and putting cutting boards on top of it. We did the big remodel last year. Being in a historic structure we wanted to keep the building as intact as possible, so that’s why the tin ceiling is still there, the original

Flechet and his empire-building waffle iron PHOTO: HAILEY BOLLINGER

draw a more modern (place) — something that would be in the line of how I wanted the place to look moving forward. From Rookwood on, it’s more of a grown-up Taste of Belgium. CB: Tell me about your latest restaurant, Taste of Belgium at The Banks. JF: The Banks is kind of the shiny jewel. The one thing I wanted to have at The Banks is the best-rated beer list in the city. We have 54 beers on draft, we have over 100 in bottles and we have beers that you will not fi nd anywhere else. Local beers are great, but I don’t care if people are drinking beer simply because it’s local. For us, the way we look at it, ask us what’s good. It could be local, it could be Belgian, it could come from a small brewery in Switzerland that makes only Belgian sour — Brasserie Trois Dames, we almost always have some of their stuff on draft. CB: Could you ever have imagined that our traditionally German city would embrace Belgian cuisine so whole-heartedly? JF: I had no idea. My plan was never to get into the restaurant business, so I failed miserably. Taste of Belgium has five Cincinnati locations. More info:


Cincinnati Pizza Week — CityBeat brings you $8 pizzas from Cincinnati’s most popular pizza joints. Each participating Cincinnati Pizza Week restaurant will bake up their own spin on the wheel — from signature pies to secret menu specialties and more. It’s seven days of paying homage to all things ’za, no matter how you slice it. Through Sunday. $8. More information at Pasta Workshop — Learn how to make authentic Italian pasta like ravioli with roasted tomato sauce, linguine with clams and maltagliati con pollpettone. Wine or beer is included. 6-9 p.m. $65. Midwest Culinary Institute at Cincinnati State, 3520 Central Parkway, Clifton, Crab Carnival — Washington Platform hosts its 17th-annual Crab Carnival with an entire menu devoted to steamed or chilled crab; crabbatizers; crab soups, salads and sandwiches; and crab in other creative iterations. Through Nov. 12. Prices vary. Washington Platform & Saloon, 1000 Elm St., Downtown,


Around the World with Eight Teas — This fourweek course will take you around the world through different types and cultures of loose-leaf tea. Learn, taste, blend and take home teas from each session, which will include an introduction to each tea, a tasting and hands-on blending

experience. 6:30-8:30 p.m. Thursdays through Dec. 7. $69. UC Victory Parkway Campus, 2220 Victory Parkway, Eden Park, commu.html. Pizza Workshop with Tablespoon Cooking Co. — Get hands-on experience making pizza from start to finish. Learn how to make dough, roll it out, make sauce and pair clever topping combos. All skill levels are welcome and beer and wine will be provided. 6-9 p.m. $65. Findlay Kitchen, 1719 Elm St., Over-theRhine, classes.


Greenacres Art & Bourbon Tasting Tour — Greenacres presents tastings “from the palette and for the palate” with artwork created by the Greenacres Artists Guild accompanied by dinner by the bite and bourbon tastings from well-known and local distilleries. 6-9 p.m. $60-$70. Greenacres Arts Center, 8400 Blome Road, Indian Hill, Culinary Basics — This class covers the basics you need to succeed in the kitchen: proper knife skills, safety, sanitation, etiquette, technique and sauces. 6-8 p.m. $59. Findlay Kitchen, 1719 Elm St., Over-theRhine, html. Jungle Jim’s International Wine Festival — The 10th annual International Wine Festival features more than 400 wines from more than 90 wineries around the world, plus bite-size delicacies, charcuterie and more. 7-10 p.m. Friday and Saturday. $65 Grand Tasting; $125 Connoisseur; $25 Grand Tasting non-drinker; $75 Connoisseur nondrinker. Jungle Jim’s, 5440 Dixie Highway, Fairfield,


A World of Tastes — Learn to make anything but typical American food in this class by exploring the flavors of Mexico, the Mediterranean,

Morocco and India. 1-4 p.m. $50. Midwest Culinary Institute at Cincinnati State, 3520 Central Parkway, Clifton, Cincinnati Coffee Festival — Features tastings, samples, live music, demos and a chance to purchase coffee-related products. There will be world-class roasters, coffee shops, artisan food purveyors and professional baristas on hand. 10 a.m.-5 p.m. Saturday; 11 a.m.-4 p.m. Sunday. $12 daily; $17.50 early admission; $17.50-$23 weekend pass. Music Hall, 1241 Elm St., Over-the-Rhine, Roll Your Own: HandsOn Sushi — In this class, discover the correct way to cook sushi rice, the difference between sushi, sashimi, maki and nigiri and how to make bonus dishes including miso soup and Japanese carrot and lettuce salad with ginger dressing. 11 a.m.1:30 p.m. $55. Cooks’Wares, 11344 Montgomery Road, Harper’s Point, Barons Brew Bus Tour — This four-hour tour takes you to four popular Northern Kentucky and Cincinnati breweries: Taft’s Ale House, Braxton Brewing Co., Christian Moerlein and Wooden Cask Brewing Co. Sample more than 14 locally made craft beers and take tours of the beer making process, with bonus info about local beer history. Noon. $65. Tour begins at Taft’s Ale House, 1429 Race St., Overthe-Rhine,


Healthy Hostess Gifts: Mason Jar Soups — Emily Post stresses that it’s good manners to bring a gift to thank your host or hostess for their hospitality. Learn how to create quick and easy beautiful homemade gifts by layering ingredients in a Mason jar. 6:30-8:30 p.m. $39. UC Victory Parkway Campus, 2220 Victory Parkway, Eden Park,



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Murder and George Remus on the Menu — Queen City History’s Michael Morgan spins tales of 1920s bootlegger and murder suspect George Remus as you enjoy a four-course dinner paired with craft cocktails featuring locally distilled George Remus Whiskey. 6-9 p.m. $60. Washington Platform Saloon & Restaurant, 1000 Elm St., Downtown,

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



Finding a New Groove The Motet return reinvigorated by a new singer and album BY A L A N S C U L L E Y

C i t y B e at. c o m  |   n o v. 0 8 – 1 4 , 2 0 1 7



s 2015 came to an end, Lyle Divinsky had his immediate future pretty well mapped out. He was releasing his solo album Uneven Floors and getting ready to hit the road to promote the new music. Then everything changed: Divinsky was contacted by The Motet, a Funk band that suddenly found itself in need of a new lead singer. Even though Uneven Floors was making some noise behind a Top 5 Soul music single in the U.K., it didn’t take any convincing for Divinsky to change his plans and find out if he was the right fit for The Motet. “It was pretty funny timing,” he says. “I had started to get some love from over in the U.K. and Japan. I was just about to click ‘send’ trying to book a bunch of stuff. I was running my own thing, like managing myself, so it was a lot of work, and then The Motet opportunity came around.” The only initial issue for Divinsky was whether or not he could continue to do solo and side projects if he were to become The Motet’s new singer. And that concern was alleviated immediately. “It was kind of a no-brainer to me,” he says. “I know a lot of the guys in the band also have little side projects that they do and solo projects that they pursue. I talked to them, making sure I would still be able to do something like that as well.” But even with some signs of promise for his solo career, the opportunity to join such an established group — the band will mark its 20th anniversary next year — was a significant step up for Divinsky, career-wise. “They allowed me to just kind of jump up a whole lot of rungs on the ladder to be able to join in with an incredible working machine,” he says. With career considerations out of the way, the next questions to address were musical. The Motet had started recording its seventh studio album, Totem, and had essentially completed basic tracks for the songs. The group needed lyrics and vocal melodies for some songs and wanted to improve on the lyrics and melodies that had been completed for other songs. So to test their musical chemistry with Divinsky, the band members sent him the instrumental tracks for “The Truth,” a song that looked destined for the scrap heap in its vocal-less form.

The Motet P H O T O : em i ly se v i n photo g r aphy

“My first test was writing to that song,” Divinsky says. “It was kind of immediate. The idea of ‘The Truth’ came pretty quickly for the hook. And it was kind of a good sign for me, where I was incredibly inspired by the music. So I turned that around, sent it back to them and they loved it.” After getting together with the band for a rehearsal and then doing an initial run of shows in early 2016, the singer was invited to become an official Motet member. Divinsky is a good fit for the Funk-centric group, growing up in Portland, Maine on Funk and Soul music thanks to his father, who’s also a singer. “If I can sing half as good as he does by the time I get older, then I know I’m going to be all right,” he says of his dad. By his high school years, Divinsky also developed a passion for Hip Hop, but never thought about music as a career until he gave up on his original dream job. “I was kind of the delusional little boy that thought he was going to go pro in basketball,” Divinsky says. “And I kept that delusion going pretty long until, funny enough, I was talking smack with my coach and being like, ‘Hey, are you going to let me sing the national anthem,’ just expecting him to be like, ‘Oh, shut up and go run.’ And he was like ,‘Yeah, sure, I’ll set it up right now.’ So I had to step up and do it.

“Right around the same time, I reconnected with some old friends that had been playing a bunch of music. They asked me to come jam. So it all kind of worked out at the same time. I just fell in love with it (music) and never looked back.” Divinsky went on to attend Skidmore College near Saratoga Springs, N.Y. In 2009, he moved to New York City to pursue music. Within about a year, he recorded and self-released his first album, Traveling Man, and started scraping around for gigs at night, while often playing solo in the subway during the day. He made more money in tips for his busking work than he did for his club shows, often using the subway proceeds to pay his band members. Slowly but surely Divinsky made progress on the New York City scene. His fortunes got a boost when he was chosen for the Songwriters Hall of Fame’s Abe Olman Scholarship award. “I had been playing in New York for about four years at that point,” Divinsky says. “My buddy who was working over at BMI, unbeknownst to me, (had) put my name into the pool and I ended up getting chosen for it, which was a pretty amazing thing. And so they gave me some money to spend toward music. I got to take some trips and learned about a bunch of music and got myself a little bit of gear so I could keep on doing (my) thing.”

Divinsky’s work on The Motet’s Totem and its spirited, soulful and richly funky tunes like “The Truth,” “Fool No More” and “I Know It Too Well” are proof that the current lineup — with fellow new member/sax player Drew Sayers and holdover members Dave Watts (drums), Joey Porter (keyboards), Ryan Jalbert (guitar), Gabriel Mervine (trumpet) and Garrett Sayers (bass) — are on course to continue making its best music yet. Divinsky says fans that see The Motet this fall will experience a group that has developed considerably as a live unit in its time touring together. “Every night’s a conversation and every night you get to learn a little bit more about each other’s playing and where the songs want to go and how we want to kind of morph things to best suit us and best inspire us,” Divinsky says. “I think we’re getting to the point where we don’t have to think about it nearly as much. When you’re able to just be in the moment with each other, then that’s when the special moments happen. I think where we’re at and what we’re getting into, those special moments are just coming more and more frequently.” The Motet plays Bogart’s Saturday with Dopapod. Tickets/info:


Shape-Shifting with Pike 27 BY M I K E B R EEN


1345 main st

CMA Rescinds Restrictions At every major awards show since about, oh, Nov. 9, 2016, artists haven’t been shy about voicing political and social concerns. But the Country Music Association wanted to avoid such unpleasantness at its upcoming CMA awards, instructing media members not to ask any artists questions about recent gun violence, gun rights or politics in general. After the public (and a few artists with integrity, including Brad Paisley) expressed outrage, the group lifted the restrictions. The CMA’s initial action was an obvious attempt to avoid backlash from its core fans/consumers, and the incident fuels more questions not only about why so many Country acts shy away from denouncing things like gun violence and white supremacists, but also what that says about much of the audience for the music.

Terrifying Headline of the Week

wed 8

adrian + meredith

thu 9

all-seeing eyes greg ashley (of gris gris)

fri 10

smut, casper skulls

s at 11

the war & the treaty

sun 12

dj bo in the know

mon 13

birds, stuyedeyed

tue 14

motr mouth: stand-up comedy writer’s night w/ lucas

free live music now open for lunch

For passionate, knowledgeable and tasteful fans of television and music, there aren’t many word combinations that instantly trigger disgust and disdain like “Cop Rock” and “Five For Fighting.” The folks at Stereogum tied together the two maligned entities — a disastrous cop-show-asmusical TV series and a contemporary Soft Rock band — in the chilling headline of a recent news item about a new ABC show: “The Next Cop Rock? ABC Readying Musical Police Drama From Five For Fighting.”

1404 main st (513) 345-7981

Put Your Toys Away, Marilyn 11 /21

11 /24

11 /27

psychodots annual thanksgiving show

dawg yawp homecoming show/live video shoot

diet cig sammi lanzetta, vanity creeps

buy tickets at motr or


11 /25

pere ubu

johnny dowd


With mass murders at the hands of gunmen during concerts in Paris and Las Vegas, for safety’s sake (and to avoid mass hysteria and panic), it’s probably time to rethink working prop guns into your live show. But Marilyn Manson decided that his fake-assault-rifle schtick, which involved pointing a gun (with a mic attached) at the audience during a recent concert, was perfectly acceptable just weeks after the Las Vegas incident and hours after a mass shooting in a Texas church. Manson pulled the stunt in San Bernardino, Calif., where 14 people were gunned down less than two years ago. He likely did it for maximum shock value and was perhaps trying to make some kind of statement, but the only clear message it sent was that Marilyn Manson is a huge asshole.

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The evolution of Pike 27 has been one also an ability to vividly and perceptively of the more interesting to behold in recent translate and project through song a full Cincinnati music history. Built around range of moods and emotions (from pasthe songwriting of frontperson and sion and ache to triumph, joy and beyond). veteran local musician Dave Purcell, the The album’s accompanying press band’s debut album, Falling Down Hard, release accurately notes The Long Fight is emerged at the turn of the century, showreminiscent of Costello’s 1982 masterwork casing a captivatingly rootsy and rockin’ Imperial Bedroom, on which he notably vibe. Not long after, the Americana feel expanded his instrumental palette. While began to fade in favor of a smart, melodic a lot of that appraisal can be traced to the Rock sound inspired by Purcell’s longtime love of artists like Elvis Costello (more on him shortly) and R.E.M. But when Purcell moved to Northern Ohio in 2007, the band ended. In 2015, with Purcell back in Cincinnati and musically reinvigorated, Pike 27 released Calling Out, an EP reintroduction. The following year, the band settled into local studio Ultrasuede with producers Gary Shell and John Hoff man to record The Long Fight, its fi rst full-length since 2001. After the recording, the lineup shifted, most notably with Purcell moving to drums — his fi rst instrument — following the departure of Dave Killen. He continued to provide vocals when Pike 27 performed live, but then another major change occurred. Dan Mecher — who proved himself to be one of the best songwritPike 27’s The Long Fight ers in the area while fronting his PHOTO: PROVIDED band, Turnbull ACs — joined Purcell (now more fully focused on drumming, with occasional vocal vocals, melodies and overall structuring turns), bassist Sean Rhiney and guitarist (the core of the amazing “Help Me Down” Mike Fair, taking over the lead vocal spot, captures Costello’s Pop Rock genius perplaying guitar and bringing in some of his fectly), the arrangements also help steer own songs. things in that direction with help from Though The Long Fight features Pike several guest musicians. A horn section 27’s pre-drummer-move lineup, it is such (Sean Fitzpatrick, Dominic Marino and a fantastic album — from the songs and Phillip Hilger), strings (Kate Wakefield performances to the crisp, rich producon cello; she also provides wonderful, tion — and the band put so much work atmospheric background vocals), singing into it, it was still pressed up and will from the great Beth Harris and keys from be available Friday at area independent the estimable Chris Comer add new colrecord stores and pike27.bandcamp. ors and shading to the Pike 27 sound on com, as well as through all major online various songs throughout The Long Fight, streaming outlets. helping to make it one of the best CincinThe songwriting prowess, emotive nati-produced releases of 2017. Besides vocals and strong playing from Rhiney being a thoroughly satisfying listen, the and Fair that became trademarks of Pike album should also leave you exception27 are in peak form on The Long Fight. ally excited (especially if you’re familiar While the album is capable of rocking with Mecher’s talents) to see where the with Stonesian swagger (see: “St. Andrew,” new Pike 27 lineup takes things next. featuring some rippin’ lead guitar work, The band hosts a release party for The and “No Closer to the Truth”), the Costello Long Fight this Saturday at York Street association is the most apt one here. Café (738 York St., Newport, yorkstoline. Although that should be one of the most com). The show kicks off at 9 p.m. with a flattering comparisons a Rock & Roll band set from Mike Tittel and Lauren Bray of could ever receive, that’s not to say Pike New Sincerity Works. Admission is $5; 27 has turned into a cheap Attractions $10 gets you through the door and a copy knock-off. Like other great musical acts of the new album on CD. of the past 40 years, Pike 27 conjures the For more, go to same spirit as the best of the massively Contact Mike Breen: mbreen@ influential Costello’s work, sharing with him not only a melodic magnetism, but




Adrian + Meredith PHOTO: PROVIDED

produced the album and provided upright assistance. Pedal-steelist and guitarist Paul Niehaus, Adrian’s longtime bandmate, has an impressive CV of tour/session work, including jobs with Iron & Wine, Calexico, Yo La Tengo, Bobby Bare Jr., Justin Townes Earle and many others. Adrian + Meredith tour in duo, trio and full band configurations, and while it’s hard to tell from their website which of those is on the road at the moment (a Facebook tour poster does feature a photo of the full ensemble), it hardly matters, because Adrian + Meredith play with a nuanced ferocity that works no matter how many people are on stage. (Brian Baker)

Adrian + Meredith Wednesday • MOTR Pub

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Now opeN iN Northside! N O V. 0 8 – 1 4 , 2 0 1 7

norThsiDe 4179 Hamilton Ave. 513-569-0420 o’BrYonViLLe 2034 Madison Rd. 513-871-HEMP



sharonViLLe 11353 Lebanon Rd. 513-524-HEMP


DaYTon 548 Wilmington Ave. 937-991-1015

h e m p, Va p e & s m o k e h a B e r D a s h e r Y

Detroit is a longstanding crucible for every type of musical experimentalism, from the sweet soulful truth of the Motown Records stable of talent to the howling heart-punch of The Stooges and MC5 to the cracked Blues mirror of The White Stripes. East Nashville, Tenn. is a contemporary hotbed of musical activity, the majority of which is well separated from mainstream Music City by a distinct difference in tone and attitude. With that in mind, it’s hardly a surprise that Adrian + Meredith have their roots in the former and are fully entrenched in the latter. Adrian Krygowski was born and raised in Detroit, growing up with a distinct love of Rock and Punk and the urge to make his own music. He eventually embarked on a decade-long solo career that led him to a show in Washington, D.C. where he met Meredith Brown, a native of Ann Arbor, Mich., who had been a fi xture in the city’s Folk/old-time Country scene as a traditional fiddler. Three years ago, Meredith guested on Adrian’s solo album, Roam, which resulted in their marriage, as well as their full professional partnership as Adrian + Meredith and their 2016 debut recording together, More Than a Little. There is an infectious swing and a swaggering stomp that permeates every moment of More Than a Little; imagine what the Squirrel Nut Zippers would have sounded like if Jimbo Mathus had been nannied by Jack White’s mother rather than Charley Patton’s daughter. Adrian had already adopted an interesting clawhammer approach to playing acoustic guitar and possesses a freewheeling vocal style that sounds like a hybrid of the aforementioned Mathus and White, with hints of Pokey LaFarge and Mojo Nixon. Meredith leavens and grounds all that with traditional fiddle accompaniment and smoky vocal harmonies that quiver with angelic experience and devilish intent. Comparisons to theLegendary Shack Shakers aren’t out of line; Mark Robertson, the Shack Shakers’ former bassist,



Thursday • Madison Live

Since 2006, Arkells has grown from a passionate young college Indie Rock band into a mature yet still visceral and engaging collective. Along the way, the group has been nominated for and won a number of Juno Awards, cementing its place in Canadian music history. Arkells’ journey began at McMaster University in Hamilton, Ontario, when vocalists/guitarists Max Kerman and Mike DeAngelis met at a university introductory week event and their subsequent conversation revealed their mirrored musical interests. Arkells came to fruition with the addition of fellow McMaster students Dan Griffi n (keyboards/vocals), Nick Dika (bass) and Tim Oxford (drums/percussion); the band members adopted the name of the street where they lived and rehearsed for their moniker. Arkells put in two solid years of gigging and honing its craft before releasing a debut album, Jackson Square, featuring the group’s Barenaked-Ladies-meetsU2-and-World-Party brand of Indie Rock/ Pop. Although the album failed to chart, its fi rst single, “Oh, the Boss is Coming,” hit the Top 5 in Canada, which led to a performance at the halftime show for Hamilton’s Vanier Cup, the U Sports football championship. In 2009, Arkells won a


Future Sounds

Brian Setzer Orchestra

Diet Cig – Nov. 27, Woodward Theater Over the Rhine – Dec. 8, Memorial Hall Milo – Dec. 14, Urban Artifact Hippo Campus – Feb. 7, 20th Century Theatre Greensky Bluegrass – Feb. 8, Madison Theater Eric Johnson – March 14, Taft Theatre Ballroom


Brian Setzer Orchestra

Wednesday 11/8 The Phil DeGreg Trio 8-11

Thursday 11/9

TICKETS AVAILABLE AT THE SOUTHGATE HOUSE LOUNGE OR TICKETFLY.COM 11/8 keeps, carriers, this pine box; noah smith - nov. artist in residence, eric bolander

Todd Hepburn & Friends 8-11

11/9 zated lifestyle presents for the community show; eric bair, kevin fox

Friday 11/10

11/10 & 11/11 ironfest viii

Mandy Gaines with The Steve Schmidt Trio 8-12

11/12 the please please me ep release, ashley peacock, margaret darling, tommy, lisa walker (of wussy)

saTurday 11/11

11/14 blue water highway; the village bicycle

The Steve Schmidt Trio featuring Brian Lovely 8-12 CoCktails


Wed. - Fri. open @ 4pm | Sat. open @ 6pm 125 West Fourth st. | CinCinnati, ohio 45202

11/15 sarah borges & the broken singles featuring eric ‘roscoe’ ambel; davina & the vagabonds; noah smith artist in residence, harlot 11/16 diana chittester, taylor hughes 11/17 grayson jenkins, arlo mckinley, wes smith; darrin hacquard, joe macheret


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DaYTon 548 Wilmington Ave. 937-991-1015

h e m p, Va p e & s m o k e h a B e r D a s h e r Y


When you think of the yuletide season, Rockabilly and Swing music may not be the holiday soundtrack that fi rst comes to mind. However, amid the Christmas clichés of carols, hymns and moldy standards stands a more uniquely invigorating listening experience for this time of year that’s fueled by those two elements — the Brian Setzer Orchestra.

no Cover


Tuesday • Taft Theatre

As visions of tattoos, hep-cats and switchblades swirl through your mind — you remember Brian Setzer’s heyday with The Stray Cats in the ’80s — it may be understandably difficult to reconcile his pompadour and leather with the Santa season. But until you’ve heard “Jingle Bells” fi ltered through the sonic twang of a Gretsch guitar that is set to stun and leading an 18-piece Big Band extravaganza, please hold your judgment. Setzer began his own holiday tradition way back in 1996 when he was asked to score some music for the movie Jingle All the Way. The collaboration inspired a mutant blend of Setzer’s fret-worthy fi reworks, rooted in his beloved ’50s Rockabilly, orchestral Jazz/Swing and rowdy Xmas cheer. All told, he and his Orchestra have released almost half a dozen holiday-themed records since then, and it’s become a seasonal sensation that often comes to Cincinnati and the Taft Theatre. From Boogie Woogie Christmas back in 2002 through Rockin’ Rudolph in 2015, Setzer’s Big Band gang has rocked many a blue winter moon. For sheer musicianship, exuberance and chutzpah, this combo is hard to beat. Now recording on Surfdog Records, Setzer embodies the veteran, virtuoso guitar player — he’s simply one of the best — with enough showman’s flash and charisma to dominate and easily lead two horn sections, a drummer, a stand-up bassist and a few female back-up singers dressed in their finest red and leopard-skin outfits.  It’s a winter party where the master of ceremonies teases the crowd with snatches of “Stray Cat Strut,” and then caroms into “You’re a Mean One, Mr. Grinch” with sleigh bells blazing — the Grinch never sounded so sweet. With Setzer grinning, jiving and swinging his wide-bodied Gretsch around like a dance partner during a BSO show, the audience usually responds by twisting in the aisles non-stop, and the party is on. (Gregory Gaston)

live MusiC

N O V. 0 8 – 1 4 , 2 0 1 7

best-new-artist award in a Toronto radio station’s fan-voted competition. The following year — four years after forming and two years after that first album — Arkells won the Juno for New Group of the Year. In 2011, the band released its sophomore album, Michigan Left, which incorporated more soulful influences; the group quickly became known for including Motown cover sets at its performances. Th ree months after the album’s release, Griffi n resigned from the band to return to school and was replaced by Anthony Carone. Following the success of Michigan Left and its singles, Arkells took home the Group of the Year Juno in 2012. Two years later, the band released its third album, High Noon, which just missed the top of the Canadian charts, while its two official singles, “Leather Jacket” and “Come to Light,” took the No. 1 and 2 spots, respectively. Arkells won both Group and Rock Album Junos as a result and High Noon was longlisted for the 2015 Polaris Prize. Last year, Arkells released Morning Report, the band’s most Pop-based, personal and compelling work to date. The album earned the group two more Juno nominations, festival gigs like Coachella and Sasquatch and a headlining show at FirstOntario Centre in front of 10,000 adoring fans. Want to know what Arkells is all about? Take Emerson, Lake & Palmer’s advice — roll up, see the show. (BB)

111 E 6th St Newport, KY 41071



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

Wednesday 08

20th Century Theater John Paul White with Logan Ledger. 8 p.m. Folk/ Country/Americana. $18-$20.


Knotty Pine - Dallas Moore. 10 p.m. Country. Free. The Mockbee - Mr. Cheeks (Lost Boyz), Vast Aire (Cannibal Ox), Blvck Seeds, Q-Easy, Kelby Savage and Gigio. 9 p.m. Hip Hop/Various. $15-$20.


The Comet - Soften Stella, Fever9 and Swoops. 10 p.m. Rock/Indie/Various. Free.


Southgate House Revival (Lounge) - Noah Smith. 8 p.m. Country. Free.

Jag’s Steak and Seafood The Company Band. 5 p.m. Dance/Pop/Various. $5.

Southgate House Revival (Revival Room) - Keeps, Carriers and This Pine Box. 8 p.m. Indie Rock. $10.

Jim and Jack’s On The River - Danny Frazier. 9 p.m. Country. Free.

Urban Artifact - Blue Wisp Big Band. 8:30 p.m. Big Band Jazz. $10.


Bogart’s - The Lacs. 8 p.m. Southern Rock/Southern Rap. $25. Common Roots - Open Mic. 8 p.m. Various. Free. Crow’s Nest - James Weston. 9:30 p.m. Acoustic/ Folk/Americana. Free. Madison Live - Arkells. 8 p.m. AltRock. $15, $18 day of show.


MOTR Pub - All Seeing Eyes with Greg Ashley. 10 p.m. Blues/Rock/Various. Free.


Southgate House Revival (Lounge) - Eric Bair and Kevin Fox. 9:30 p.m. Singer/ Songwriter/Various. Free. Southgate House Revival (Sanctuary) - Sweeten, Banks, DJ T Dot, Princess Tiana and many more. 9 p.m. Various. $12. Urban Artifact - Fruit & Flowers, Sweet Lil, Ohmme and Darlene. 9 p.m. Rock/ Indie/Alt/Various. Free.

Friday 10

Arnold’s Bar and Grill River City Roustabout. 9 p.m. Folk. Free.

Rick’s Tavern - Heather Roush Band. 10 p.m. Country. Cover. Rohs Street Café - Kites. 8 p.m. Indie Folk

Crow’s Nest - Matthew Simpson. 10 p.m. Americana. Free.

Arnold’s Bar and Grill - Dottie Warner and Ricky Nye. 7:30 p.m. Jazz. Free.

The Redmoor - Ellis Paul. 8:30 p.m. Singer/ Songwriter. $20-$25.


Bromwell’s Härth Lounge - Mandy Gaines with The Steve Schmidt Trio. 8 p.m. Jazz. Free.

MOTR Pub - Adrian + Meredith. 9 p.m. Folk/ Americana. Free.

Thursday 09

C i t y B e at. c o m  |   n o v. 0 8 – 1 4 , 2 0 1 7

Bogart’s - Sixteen Candles. 8 p.m. ’80s Pop/Rock. $5.



Blue Note Harrison Strangelove and Sullivan & Janszen Band. 9 p.m. Rock/ Various.

Knotty Pine - Flatline. 10 p.m. Rock. Cover. Madison Live - Colors In Mind (release show) with The Earth Laid Bare, Others By No One and Dynamite Thunderpunch. 8:30 p.m. Rock/Alternative/ Various. $10. Mansion Hill Tavern - Doug Hart Band. 9 p.m. Blues. $4. Marty’s Hops & Vines - Just Two Howlers. 9 p.m. Classic Rock. Free. Memorial Hall - Justin Townes Earle with Joshua Hedley. 8 p.m. Folk/ Country/Blues/Americana. $35-$55.


The Mockbee - Kastle, Bitflip, Gateway and Malamba. 9 p.m. EDM/Dubstep. $10-$15. MOTR Pub - Smut with Casper Skulls. 10 p.m. Indie/ Post Punk/Various. Free. Muggbees Bar & Grill - Saving Stimpy. 9:30 p.m. Rock. $5. Music Hall - “American Originals: Vol. 2” featuring Rhiannon Giddens, Pokey Lafarge and Steep Canyon Rangers with The Cincinnati Pops. 8 p.m. Americana/Classical. $25-$150.


MVP Bar & Grille - Indie Rock Night with Flying Underground, Tickled Pink and The Graveblankets. 9 p.m. Rock/Pop/Various. Cover.


Silverton Cafe - The Groove. 9 p.m. Blues/Various. Free. Southgate House Revival - Ironfest VII with Tiger Sex, The Nothing, Roosevelt, Dead Man String Band, Lohed, Veronica Grim & The Heavy Hearts, Smoke Healer, Lovecrush 88, The Jericho Harlot, Calumet, Arlo McKinley & The Lonesome Sound, Matt Woods, Treason, Billy Catfish, Smoke Signals..., The Smoke Parade, Black Tractor, Mollusk, Dc Planet, The Randy Savages, Bloodgate, We’re Witches and more. 7 p.m. Rock/Various. $5, $10 day of show. The Underground - Battle Of The Bands Round 2 with J-Nibb, Dr J & The Apostles, Break Up Lines and Scott Simms. 7 p.m. Various. Cover. The Underground - Friday Giants, Cinema Century, Heart Means More, Self-Ish and Into The Skies. 7 p.m. Rock/Various. Cover. Urban Artifact - Kuber, Hello Luna, Tooth Lures A Fang and Founding Fathers. 9 p.m. Rock/Alt/Pop/Various. Free. Washington Platform Saloon & Restaurant - Rob Parton Quartet. 9 p.m. Jazz. $10 (Food/Drink Minimum).

Saturday 11

Blue Note Harrison - Final Order and Twistlock. 9 p.m. Rock

Bogart’s - Dopapod and The Motet. 9 p.m. Jam/ Funk/Soul/Electronic/Rock/ Various. $20.


Bromwell’s Härth Lounge Steve Schmidt Trio featuring Brian Lovely. 8 p.m. Jazz. Free. Cincinnatian Hotel - Philip Paul Trio. 7 p.m. Jazz. Free. The Comet - Twen with Scanner and Fun Machine. 10 p.m. Indie/Rock/Various. Free.


Crow’s Nest - The Tillers. 10 p.m. Folk. Free.

Depot Barbecue - April Aloisio. 7 p.m. Jazz. Free. Downtowne Listening Room - Jameson Elder and Hanna Rae. 7:30 p.m. Pop/ Rock. $15. Jag’s Steak and Seafood C-RAS Band. 9 p.m. Reggae/ Dance/Various. $5. Jim and Jack’s On The River - Bourbon Road Band. 9 p.m. Country. Free. Knotty Pine - Flatline. 10 p.m. Rock. Cover. Live! at the Ludlow Garage - High South. 8 p.m. Folk Rock. $12-$15. Madison Live - Kaitlyn Peace & The Electric Generals (EP release show) with Green Light Morning. 8 p.m. Indie Pop. $12, $15 day of show.


Madison Theater Flying Lotus in 3D with Seven Davis Jr. 8 p.m. Electronic/Hip Hop/Experimental/ Progressive. $30.


Mansion Hill Tavern - Misterrmann & The Mojo Band. 9 p.m. Blues. $3. Marty’s Hops & Vines - Bob Ross Trio. 9 p.m. Jazz. Free. The Mockbee - Echo Mecca, John Bender, Organtica and Liquid Hologram. 10 p.m. Electronic/Various. Free. MOTR Pub - The War & The Treaty. 10 p.m. Blues/Roots/ R&B/Gospel/Various. Free. Music Hall - “American Originals: Vol. 2” featuring Rhiannon Giddens, Pokey Lafarge and Steep Canyon Rangers with The Cincinnati Pops. 8 p.m. Americana/Classical. $25-$150.


Northside Yacht Club Geiger Counter, Coelacanth, Sewage Grinder and Pedalstrike. 9 p.m. Punk/Metal. $5.

Southgate House Revival - Ironfest with JIMS, Casino Warrior, Hex Bombs, Cadaver Dogs, The Perfect Children, Tommy Grit & The Pricks, The Skulx, Punching Moses, Draculas, The Z.G.S, Boss’ Daughter, The Dopamines, Hide, 40rty, Very Special Guests, Wonky Tonk & The High Life, Lockjaw, Honeyspiders, Mad Anthony, Vampire Weekend At Bernie’s, Blood On The Blade, The Story Changes, Above This Fire, Jess Lamb and The Factory, Moonbow and more. 7 p.m. Rock/Various. $5, $10 day of show.


Taft Theatre - Marc Broussard. 8 p.m. Roots/Folk/Soul/ Funk/Various. $20, $25 day of show. Urban Artifact - See Yourself Music Festival with Jayme Shaye, Mell Omii, Ashley Laschelle, Danny Talented, Stillwell Blue and more. 8 p.m. Hip Hop/Various. Free. Washington Platform Saloon & Restaurant Mandy Gaines. 9 p.m. Jazz. $10 (Food/Drink Minimum). York Street Cafe - Pike 27 (Album Release Show) with New Sincerity Works (Duo). 9 p.m. Rock. $5-$10.

Sunday 12

Gallagher Student Center Theatre - Barry Douglas. 2:30 p.m. Jazz. $25-$30. The Greenwich - Psychoacoustic Orchestra. 7:30 p.m. Jazz. $6-$12.


Mansion Hill Tavern - Open Blues Jam with Jimmy D. Rogers. 6 p.m. Blues. Free. Music Hall - “American Originals: Vol. 2” featuring Rhiannon Giddens, Pokey Lafarge and Steep Canyon Rangers with The Cincinnati Pops. 2 p.m. Americana/Classical. $25-$150.


with Steve Kortyka Plus Animal Mother. 6 p.m. Jazz/ Various. $15. Sonny’s All Blues Lounge Blues Jam Session featuring Sonny’s All Blues Band. 8 p.m. Blues. Free. Southgate House Revival (Revival Room) - The Please Please Me with Ashley Peacock, Margaret Darling, Tommy and Lisa Walker. 7 p.m. $8.


Urban Artifact - Shady Bug, Sky Hank & Heady Weed and Sarn Helen. 9 p.m. Rock/ Indie/Various. Free.

Monday 13

The Greenwich - Baron Von Ohlen & The Flying Circus Big Band. 7:30 p.m. Jazz. $5.


Incline Lounge At The Celestial - Tom Schneider. 6 p.m. Jazz. Free. The Mockbee - Oh Jam! presents Off Tha Block Mondays featuring Hosts Stallitix, Goodword, DJ Noah I Mean, Chestah T, Gift Of Gabi, Christian, Toph and Preston Bell Charles Iii. 10 p.m. Hip Hop. Free. MOTR Pub - Birds with Stuyedeyed. 9 p.m. Pop/ Rock/Indie/Various. Free.

Tuesday 14

Arnold’s Bar and Grill Casey Campbell. 7 p.m. Blues/Roots. Free. The Comet - Blvck Seeds. 10 p.m. Spoken Word/Soul/Various. Free.


The Mockbee - Lizdelise, Jettison, Laura Wolf and Kid Esp. 8:30 p.m. Rock/Various. Free. Southgate House Revival (Lounge) - The Village Bicycle. 9:30 p.m. Alt/Rock/ Various. Free. Southgate House Revival (Sanctuary) - Blue Water Highway. 8 p.m. Americana. $8, $10 day of show.

Rick’s Tavern - Freak Mythology with Hot Zombie and The Interns. 8 p.m. Rock. Cover.

Northside Tavern – “Classical Revolution.” 8 p.m. Classical/Various. Free.


Shamrock Sports Bar & Grill - Ralph and The Rhythm Hounds. 9 p.m. Blues/Rock.

Northside Yacht Club - Dergeistsentinel with Chinchees, Unwelcomeguests, Touch and Birdscage. 9 p.m. Punk/ Rock. Free.


Silverton Cafe - Thunder Road. 9 p.m. Rock/Various. Free.


The Redmoor - Original Farm League Big Band

Taft Theatre - The Brian Setzer Orchestra with The Texas Gentlemen. 8 p.m. Holiday/Swing/Rockabilly/ Various. $34.50-$65.50. Urban Artifact - Lipstick Fiction with Swoops and Skrt. 9 p.m. Rock/Punk/Various. Free.


We Have Achieved Peak Puzzle


By B rendan E mmett Q u igley

Ac r o s s


1. Former Alaskan capital 2. “There’s ___ every crowd”


3. Chess champion Viswanathan ___ 4. Middle East people 5. Singer Lee ___ Womack 6. They’re read at carousels 7. “Toora ___...” (Irish lullaby syllables) 8. City grid lines 9. “___ be surprised” 10. “We’re drowning” 11. Rebuttal’s position 12. Jam band from Vermont 13. Match up, as Dropbox files 15. hein cooler 21. Certain in one’s mind 24. “Das Schicksal ist ___ mieser Verrater” (“The Fault in our Stars” in German) 26. Sank, as a putt 27. “Dead Souls” novelist Nikolai 29. One picking a new 401(k) plan, likely 30. Bill passing achievements?: Abbr.

31. Just the best 32. Early spring blooms 33. Polio vaccine creator 34. They’ve got double the chances of getting a date on Saturday, briefly 35. Snarling dog 36. Planks work them 38. Court writer 41. With two outs to go 42. Sun 44. Computer programming iteration

45. Michelob brew 47. Half-pints 48. stock 49. Scotch-___ (scouring pad) 50. Lawn ball game 51. Egyptian crosses 52. Irish dances 53. Gossipmonger Barrett 54. Evine rival 56. Big degree 59. “The Big Listen” network


PUBLIC NOTICE: Division of the State Fire Marshal Bureau of Underground Storage Tank Regulations Pursuant to the rules governing the remediation of releases of petroleum from underground storage tank (UST) system(s), notice to the public is required whenever there is a confirmed release of petroleum from an UST system(s) that requires a remedial action plan (See Ohio Administrative Code 1301:7-913(K)). Notice is hereby given that a confirmed release of petroleum has occurred from the UST system(s) located at: SUNOCO #0043-9208 901W 8TH ST CINCINNATI, OH HAMILTON COUNTY Release #31000569-N00001. A remedial action plan (RAP) dated February 25, 2016, was submitted by the owner and/or operator of the UST system(s) for the review and approval of the State Fire Marshal (SFM). Once the SFM has reviewed and approved the RAP, the owner and/or operator of the UST system(s) will be required to implement the RAP. A copy of the RAP, as well as other documentation relating to this release and the UST system(s) involved, is maintained by the Bureau of Underground Storage Tank Regulations (BUSTR), and are available for inspection and copying by the public. Please make all requests for copies of the RAP or for inspection of the RAP and other related documentation in writing to BUSTR, P.O. Box 687, Reynoldsburg, Ohio 43068. The SFM will accept written comments on this RAP for a period of 21 days from the date of publication of this notice. You may submit any comments regarding this site and the RAP, in writing, at the above address. For further information, please contact Ralph Mertz at (614) 752-7097. Please reference release # 310 0 0 5 6 9 - N 0 0 0 01 when making all inquiries or comments. 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) 2611165 on November 21, 2017 on or after 12:00 pm: Pamela Henry, 04132, household items; Harold Schmidt, 02132, Appliances furniture; Todd Clark, 07112, Furniture household items; Cathy Martin, 03338, Household goods, furniture; Daniel York, 02209, Household goods; George Semple, 05141, Household goods, furniture; Walt Preston, 02235, 15 boxes and car seat; April Peters, 03318, couch table, household; Tiffani Johnson, 03201, Boxes, queen bed, box spring, small chair, tables,; Angela Thompson, 03124, bed, washer, dryer, dining room set, household; Kristin Scheve, 03231, Gen. household items; Shirley Rosenbalm, 03255, Baby stuff and personal items; George Ball, 03133, Misc household items; Stephanie Edmondson, 04604, Misc household items; Anthony Anness, 06111, clothes, tools; Maggie Mcdaniel, 03431, Household Furniture; Extra Space Storage 2526 Ritchie Ave Crescent Springs KY, 41017 November 21, 2017 at or after 11:30 am: Kevin Summe, Unit 345, Household Items; Jalil Rasheed, Unit 312, chairs, tables, items for daycare; 5970 Centennial Circle, Florence, KY 41042, 859-4085219, November 21st, 2017, 10:30 am: Helen Branham, 958, Household; Anna York, 929, Furniture, appliances and boxes; Brittany Thornberry, 853, Small furniture pieces and boxes; Dave Turner, 703, Clothes, household items, beds; Madeline Bell, 854, Totes, washer and dryer; Robert McMurray,818, Household items; 2900 Crescent Springs Rd, Erlanger, KY 41018 on Tuesday, November 21st at 11:00 AM: Regina Ruth, Unit 228, Household items; Brittany Webster, Unit 239, Household goods/Furniture; Agnes Diaz, Unit 246, 2 Couches, dining table, twin beds; Mark Beiser, Unit 503, Household goods; William Poore, Unit 631, Household goods/Furniture; Juan Arango-Jimenez, Unit 906/927, Household goods; Extra Space Storage, 8080 Steilen Dr. Florence, KY 41042 on November 21, 2017 at or after 10 am: Gregory Williams, Unit 1524, Household Goods; Michael L Grob, Unit

1601, Household Goods; Cindy Edwards, Unit 2702, Household Goods; Stacie Kinnett, Unit 705, Household Goods; Kristi Austin, Unit 740, Household Goods; Kristi Austin, Unit 1710, Household Goods; Elbert “Skip” Eubank, Unit 2122, Household Goods; Marlene Harvey, Unit 615, Household Goods; Plantation Point Master Assn Susan Cobb, Unit 1711, Household/Office Furniture; Sierra Turner, Unit 722, Clothes; Stevie Harris, Unit 733, Household Goods; Tiffany Janos, Unit 218, Household Goods; Tiffany Janos, Unit 227, Household Goods; Rahul Patel, Unit 5, Household Goods; Russell Gibson, Unit 223, Household Goods; David Dye, Unit 206, 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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n o v. 0 8 – 1 4 , 2 0 1 7   |   C i t y B e at. c o m

1. Time in the tub 5. Feel funky 8. Some online admins 14. Double entendre 16. Like some grins 17. Attack verbally 18. Blast onto, as the scene 19. “It takes all ___” 20. Threw a curve 22. Corner key 23. Afterthoughts 24. Equal, to Etienne 26. Brit. title of respect 27. Some grunts 28. Guiding belief 30. Hits gently, as a window 34. Apse spot 37. Hip-hopper’s headgear 38. “Yo, dude,” formally 39. Do another soundtrack 40. Powder-covered footwear 42. Meals where four questions are asked 43. Tigger’s creator 44. Female kid 45. Crematorium holder 46. Get on the list 48. Band whose second letter is usually written backward 52. A-Rod’s babe 53. ___ Duke (Hunter S. Thompson’s alter ego) 54. Saginaw Bay lake 55. “Time to act!” 58. Like some pans 60. ___ Green, Scotland 61. Five-star 62. Glide nonchalantly 63. When Arbor Day is observed: Abbr. 64. Takes in

To advertise in CityBeat classifieds, email or call 513-665-4700.







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N O V. 0 8 – 1 4 , 2 0 1 7

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Seeking registrar/receptionist with computer, website management, social media and writing skills. Knowledge of contemporary art history essential. Send resume to: office@solwaygallery. com. No Phone Calls, Please.


CityBeat needs contractors to deliver CityBeat every Wednesday between 9am and 3pm. Qualified candidates must have appropriate vehicle, insurance for that vehicle and understand that they are contracted to deliver that route every Wednesday. CityBeat drivers are paid per stop and make $14.00 to $16.00 per hr. after fuel expense.

Please reply by email and leave your day and evening phone numbers. Please reply by email only. Phone calls will not be accepted.


Seamless integration of the best digital gear and classics from the analog era including 2” 24 track. Wide variety of classic microphones, mic pre-amps, hardware effects and dynamics, many popular plug-ins and accurate synchronization between DAW and 2” 24 track. Large live room and 3 isolation rooms. All for an unbelievable rate. Event/Show sound, lighting and video production services available as well. Call or email Steve for additional info and gear list; (513) 368-7770 or (513) 729-2786 or


Dissolution: An amicable end to marriage. Easier on your heart. Easier on your wallet. Starting at $500 plus court costs. 12 Hour Turnaround.

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CityBeat Nov. 08, 2017