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CINCINNATI’S NEWS AND ENTERTAINMENT WEEKLY | MAY 08-14, 2019 | FREE

BY STEVEN ROSEN

The Cincinnati Art Museum’s immersive No Spectators: The Art of Burning Man brings the art of the Black Rock Desert playa to Eden Park

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NEWS Federal Court Strikes Down Ohio’s Congressional Map A three-judge panel unanimously ruled that Ohio Republicans gerrymandered the state’s congressional districts for partisan gain. But GOP officials have vowed to challenge the ruling BY N I C K SWA R T S EL L

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panel of three federal judges unanimously ruled May 3 that Ohio’s congressional map is unconstitutional. The ruling found that mapmakers manipulated congressional districts to benefit the Republican Party, a violation of voters’ constitutional right to choose their elected representatives. Ohio won’t be permitted to hold another election using the map, and the judges ordered state lawmakers to submit a new one by June 14. Ohio Republican elected officials vowed to appeal the decision, however. The Ohio A. Philip Randolph Institute, the Ohio League of Women’s Voters, the American Civil Liberties Union and other groups brought the lawsuit challenging Ohio’s 2012 congressional redistricting. Ohio’s current congressional map was drawn by a Republican-controlled panel in a Columbus hotel room in December 2011. From 2012 to 2016, Republicans in Ohio won 56 percent of the state’s votes for U.S. House candidates. But they netted 75 percent of Ohio’s seats in the House. In 2018, that pattern repeated, with Democrats getting only four of the state’s 16 seats. That’s because many of the state’s congressional districts are drawn so that races in them aren’t competitive, groups challenging the map say. Instead, large numbers of reliably conservative voters are concentrated in districts like Ohio’s 1st Congressional District, which encompasses the west side of Hamilton County and deep-red Warren County. U.S. Rep. Steve Chabot has held that district since the 1990s, save a brief exception in 2009 when Democrat Steve Driehaus defeated him for a single term just before the districts were redivided. The federal judges tore into that district and others like it, stating that “the plausible explanation for District 1’s configuration was the predominant desire to crack Democratic votes in Cincinnati, a cohesive center that would likely have elected a Democratic representative.” Overall, the map shows intent to draw districts for political gains, the judges said. “In this case, the bottom line is that the dominant party in state government manipulated district lines in an attempt to control electoral outcomes and thus

direct the political ideology of the state’s congressional delegation,” the judges’ ruling reads. According to the ruling, many of the districts are drawn — sometimes with wildly convoluted shapes — so as to divide up major population centers like Cincinnati, which have more liberal and minority voters. Heavily-urban Cuyahoga County in Cleveland, for example, is split four ways, each small section mixed with much more conservative suburban and rural areas. That division devalues the votes of urban communities, including predominantly minority ones, critics say. The Ohio Legislative Black Caucus applauded the ruling. “For too long our communities have suffered and been marginalized through an abuse of power with gerrymandering,” OLBC President and State Rep. Stephanie Howse said in a statement. “Ohioans have been clamoring for change to our electoral maps since they voted to pass Issue 1 in May 2018 and today their voices have been heard.” But Republican state officials say that the current map was drawn by Democrats and Republicans, who both gave up a district when the state lost two congressional seats due to a dwindling population. They also point out that the state will get a new congressional district map after the 2020 Census anyway after voters ratified Issue 1. “The process of redistricting is inherently political and it needs a political solution,” Ohio Attorney General Dave Yost said in February. “We have a new process in Ohio. And it’s a much better process than what’s gone on since the 1960s.” Currently, the party controlling Ohio’s General Assembly and governor’s office has almost complete control over how congressional districts are drawn every 10 years. The current map was drawn up in 2011 mostly in a hotel room in Columbus rented for $9,600 in taxpayer money by staffers for Republican state legislators. Two of those staffers, Ray DiRossi and Heather Mann, were each paid $105,000 as contractors for their work drawing the maps. The group working on the redistricting project called the hotel room “the

Ohio’s current congressional map PHOTO: OHIO S E C R E TA R Y O F S TAT E

bunker.” Correspondence between those working on the map and others within the GOP shows that, among other changes, mapmakers redrew boundaries to include now-Ohio GOP Chair Jane Timken’s headquarters in Canton in U.S. Rep. Jim Renacci’s district. At the time, Timken was the vice chair of the Stark County GOP and a major Renacci donor. The request for that change and others came from the office of then U.S. House Speaker John Boehner, who, according to the correspondence, had final say over the map. But in May last year, Ohio voters approved Issue 1, which seeks to reform the redistricting process. Under the reforms, legislatures will still draw the maps, but at least half of Democrats and half of Republicans in the legislature will have to approve the maps. If they can’t agree, a seven-member, bipartisan lawmaker commission will take over the redistricting, with at least two votes from members of each party needed to approve a map. If that also fails, the legislature can then draw a map without any restrictions — but it will be good for only four years, not 10.

The groups bringing the suit filed last year say that Ohioans shouldn’t have to wait for the coming Census to have districts that represent them. Federal judges Karen Nelson Moore, Timothy S. Black and Michael H. Watson in U.S. District Court in Cincinnati agreed — but the decision will face an appeal to the U.S. Supreme Court. An appeal is also likely for a similar case challenging Michigan’s Republican-drawn congressional districts, which a federal court struck down earlier this year. The Supreme Court is already considering other likely challenges to a Democratdrawn map in Maryland and a Republicandrawn map in North Carolina. Ohio Republicans say they will fight the decision. “Ohioans overwhelmingly approved our bipartisan effort to create a better process to draw congressional districts following the 2020 census,” Ohio Secretary of State Frank LaRose said in a statement following the decision. “Make no mistake, our office will work with county boards of elections to administer fair, accurate and secure elections in 2020, pending the conclusion of the judicial process.”

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Infant Mortality Down in Hamilton County, Though Disparities Remain BY N I C K SWA R T S EL L

Infant deaths have decreased significantly in Hamilton County, a new report shows, though there is still work to be done on pervasive disparities in health outcomes for minority infants. The county saw 92 babies die before their first birthday in 2018 — or 8.6 deaths per 1,000 live births, according to a report released by Cradle Cincinnati. That group has been working to reduce the county’s high infant mortality rate, which in 2011 was the second-highest in the country. This year’s numbers show a marked improvement over 2017, when 97 infants died, giving the county a rate of 9 infant deaths per 1,000 live births. But despite the improvement, the county still lags behind the nation’s overall rate of 5.8 infant deaths per 1,000 live births. That is in large part due to stubbornlyhigh mortality rates for black infants in Hamilton County. “The credit here belongs to our entire community,” Cradle Cincinnati Executive Director Ryan Adcock said in a statement. “Hundreds of individuals are playing a role in positive change in Hamilton County, from social service providers to nurses to moms and dads leading their own change. It’s only through our collective work that we’ve seen this kind of progress. Now, we need to bring that same collaboration and shared ambition to solve the intractable racial disparity that we still see in birth outcomes.” Those disparities don’t go away when

controlling for economic status, Cradle Cincinnati’s report says, and aren’t explained by parental behavior or genetics. While the rates for the county’s white and Hispanic infants roughly match the national rate, the mortality rate for black babies is more than three times the rate for white babies at 16.7 percent. Black babies also do worse here than they do nationally, where the infant mortality rate is 11.4 percent. Cradle has a number of suggestions and programs to address this disparity — from support groups for black women in their childbearing years to advocacy for more community health workers and group prenatal care to implicit bias care for prenatal workers and other efforts. Locations that already have a lot of investment in on-the-ground efforts to reduce infant mortality include Avondale, Price Hill and Villages at Roll Hill. “Our strategy now is to focus squarely and unapologetically on Black women,”

BY N I C K SWA R T S EL L Over-the-Rhine could get millions in federal funding that the city says would incentivize even more private investment in affordable housing under a program by the Ohio Housing Finance Agency.

Cradle Cincinnati announced programs focusing on black mothers. P H O T O : C R A D L E C I N C I N N AT I

Cradle Cincinnati Director of Community Strategies Meredith Shockley-Smith said in a statement. “The problem here is not with individuals’ behaviors, but rather with larger systems that are impacting Black families — regardless of income — in disproportionately negative ways.” Most of the infant deaths in 2018 — 57 percent — were due to preterm birth. But the county made progress here, reducing the number of preterm birth-related infant deaths by almost 20 percent. About 22 percent of infant deaths last year were due to birth defects and another 13 percent were sleep-related fatalities.

Former Jail Commander to Launch Campaign for Hamilton County Sheriff BY N I C K SWA R T S EL L

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The former head of the Hamilton County Justice Center, Charmaine McGuffey, will launch a bid for Hamilton County sheriff May 15, according to an email invitation to the kick-off event.

The campaign will put the county’s first female jail director in competition with fellow Democrat Sheriff Jim Neil, her former boss. Neil became the first Democrat elected sheriff in Hamilton County in nearly four decades in 2012. He proved popular enough to handily beat Republican Gary Lee in a bid for reelection, though he has also stoked frustration among some liberal fellow Democrats for an appearance at a campaign rally for President Donald Trump in West Chester in 2016, as well as issues around immigrant detention at the Hamilton County jail and other flash points. There have also been some bumps in the road for McGuffey, including a brief suspension and a demotion that led to her departure from the department. McGuffey had been with the county since 1983 and took her role as jail director in

2012. At that time, the jail was among the worst in the state, but under McGuffey’s leadership it improved to the point where it complied with state standards. McGuffey was also lauded for her work helping inmates recover from addiction. Some jail employees didn’t like McGuffey’s management style — or the fact that McGuffey wanted use-of-force incidents against inmates investigated more thoroughly, she claims. In January 2017, an employee at the jail filed a complaint alleging a hostile work environment under McGuffey. The county’s internal affairs department launched an investigation into the complaints. That investigation, citing allegations from four employees of favoritism, bullying and misleading statements to investigators by McGuffey, led to a demotion to a civilian post for McGuffey in May of that year. McGuffey subsequently quit, saying the investigation was biased. She filed a lawsuit in May last year in Ohio Southern District Court against the sheriff’s office, Neil, the county and the county

City Taps OTR for Millions in Affordable Housing Funding

commission alleging that her demotion was due to homophobia (McGuffey is a lesbian) and misogyny. That lawsuit is ongoing, with a jury trial scheduled for Jan. 13, 2020. In that lawsuit, McGuffey alleges four counts of discrimination and retaliation and that she was wrongfully terminated from her job. She claims male employees were given preferential treatment, that she was left out of management meetings and that some veteran employees under her management, all of whom were male, were insubordinate to her.

OHFA administers federal Low Income Housing Tax Credits here in the state. Usually, it doles out about $26.5 million a year in those credits, which are approved by the Internal Revenue Service to be awarded for affordable housing creation. But a new OHFA program called the FHAct50 Building Opportunity Fund could help the city attract as much as $30 million in affordable housing investment over a three-year period by letting Cincinnati, Cleveland and Columbus pick developers who receive extra credits above and beyond OHFA’s usual awards. OHFA asked cities to pick one neighborhood in which to dedicate the three-year, $3 million funding award. After opting into the program last September and soliciting plans for those awards, the city’s Department of Community and Economic Development has recommended OTR receive them. Five projects submitted by Model Group, the Cincinnati City Center Development Corporation (3CDC), Over-the-Rhine Community Housing, Tender Mercies, Talbert House and Cincinnati Metropolitan Housing Authority centered around OTR. “OTR identified more viable projects as demonstrated by site control, which provides a great assurance of ability to utilize the credits,” Cincinnati City Manager Patrick Duhaney wrote in a memo about DCED’s choice. “Also, OTR demonstrated a greater capacity to produce more family units, which OHFA is targeting.” Developers with plans for projects in Avondale and Walnut Hills also submitted proposals to DCED.

McGuffey was also cited for a confrontation with police outside a Covington bar in 2010, The Cincinnati Enquirer reports.

The program could represent a big opportunity for Cincinnati, which is struggling under the burden of a large affordable housing deficit.

McGuffey was charged with public intoxication, disorderly conduct and menacing in connection with that incident. McGuffey said she had two and a half beers the night of the confrontation, which started when police approached one of her friends about an open

In a departure from OHFA’s normal competitive process, in which the agency weighs applications from across the state using a large number of criteria, the city — along with Cleveland and Columbus — will get almost total say over which

CONTINUES ON PAGE 07

Democratic Presidential Hopeful Elizabeth Warren Coming to Cincinnati BY N I C K SWA R T S E L L U.S. Sen. Elizabeth Warren, a contender for the Democratic Party's nomination for the 2020 presidential election, will hold a town hall event at Bogart's in Cincinnati on May 11, according to information on her campaign website. Warren is one of more than 20 Democratic Party candidates vying for the chance to take on President Donald Trump. The senior Massachusetts senator and former law professor has floated some policy ideas seemingly aimed at young, progressive voters, including a plan that would forgive up to $50,000 in federal student loan debt for most borrowers and another that would force large, powerful tech companies like Google and Facebook to break up into smaller, competing entities. But Warren has also run into some controversy. After Trump poked Warren for past claims she made about having Native American ancestry, Warren released a video revealing the results of a genetic ancestry test that she said showed she did have indigenous forebearers. Some Native American groups found that assertion — and the presumed political motives behind it — offensive.

Warren was last in Cincinnati in April last year to campaign with then-Democratic Ohio gubernatorial contender Rich Cordray. At a rally during that visit, Warren proposed spending $100 billion in federal funds to fight the opioid epidemic in Ohio and other hard-hit states. Warren will also appear in Columbus at a town hall May 10. Her May 11 event in Cincinnati is scheduled to start at 11:30 a.m. FROM PAGE 06

container outside the bar. McGuffey wasn’t taken into custody and the charges were dropped, though she did serve a five-day suspension from her job with the Sheriff’s Department. Neil has proven popular as sheriff, but he also has his critics. The sheriff, sometimes described as a conservative Democrat, called his appearance at the Trump rally a “mistake” and said he’s more focused on being a law enforcement official than a politician. Then-Hamilton County Democratic Party Chair Tim Burke agreed Neil’s appearance was a mistake, but lauded his management of the sheriff’s office. It is clear that some in the Hamilton County Democratic Party want another option as the county’s demographics trend blue and the party’s leadership shifts. Several

powerful local Democrats, including Cincinnati City Council members P.G. Sittenfeld, Tamaya Dennard and Chris Seelbach, are listed as members of the host committee for McGuffey’s campaign launch, which will take place at Taft’s Brewpourium.

FROM PAGE 06

developers receive the credits. That’s as long as they present a transparent plan for picking the developers and as long as the picks are overseen by a board or commission that includes lowincome residents.

“How about we elect an incredibly qualified Democratic candidate for Hamilton County Sheriff who doesn’t support Trump, doesn’t attend Trump campaign rallies clapping and smiling, doesn’t wear Trump MAGA hats at weekly staff meetings and isn’t actually a Trump Republican?,” Seelbach posted on Facebook.

The downside: the cities will have to forfeit an advantage they have in OHFA’s regular scoring process for the rest of the credits it doles out for those three years. Each city can also only use the credits awarded through the FHAct50 program in a single neighborhood in order to maximize the impact of the program. And, because OHFA has set its sights on creating mixedincome communities, each city must demonstrate that for every unit of affordable housing created with the special credits, a unit of market-rate housing has been newly constructed in the same neighborhood.

McGuffey and Neil will likely face off in a primary next May ahead of the 2020 general election. It isn’t clear yet who Hamilton County Republicans might field in the race. “I worked for more than 30 years in the Sheriff’s Office to make it truly serve everyone in Hamilton County fairly, effectively, and economically,” McGuffey said in a statement. “I will lead the Department to ensure everyone is truly served by our patrols, in the jail, and in the courthouse. The people of Hamilton County deserve that.”

“We want to see every affordable housing unit paired with a market-rate unit to have a true mixed-income development,” OHFA’s Carlie Boos told council last year. Last year, some Cincinnati city council members expressed concerns that could exacerbate inequalities as Cincinnati neighborhoods not chosen for the special program will have a more difficult time competing in OHFA’s usual tax credit allocation process.

The race comes as the sheriff’s office faces overcrowding at the Hamilton County Justice Center and budget cuts that have challenged many county departments. Earlier this year, Neil announced he would lay off 10 sheriff’s deputies to bridge budget gaps.

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The Cincinnati Art Museum’s immersive No Spectators: The Art of Burning Man brings the art of the Black Rock Desert playa to Eden Park

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BY STEVEN ROSEN

| C I T Y B E AT. C O M

hen Chuck Lohre, a Clifton resident and owner of an Overthe-Rhine marketing and communications fi rm, decided to go to Burning Man in 2016, he wasn’t quite sure what to expect. He was bringing his art installation, a replica of Leonardo da Vinci’s flying machine, to assemble and display in the playa of Nevada’s remote Black Rock Desert, where Burning Man is held for a week around Labor Day every scorching summer. And he had a small camper with a 10-foot fiberglass mako shark atop it — a remnant of when his late father sold shark-leather goods out of the camper in Key West. But while he went with the right spirit for the imaginatively idiosyncratic and artful event that is sponsored by the nonprofit Burning Man Project, he was nevertheless overwhelmed with the scale, scope and beauty of what he found. There were some 70,000 people on the event’s grounds — activities were centered in the playa and in the temporarily constructed Black Rock City — and they were as devoted to making an impact on their temporary surroundings as he was. And they often had a skewed, Bizarro World-sensibility about how to go about doing that. And the way the burners — as attendees are called — ended the event seemed more out of a science fiction movie than any known American recreational or religious ceremony. On the penultimate night, they happily burned the giant effigy of the festival’s namesake. Then on the final night, the elaborate Burning Man Temple and its contents were consumed by fi re, signifying an acceptance of loss and a determination to find hope in the world outside Black Rock Desert. The Temple has been called “the soul” of Burning Man. “It’s like you went to another planet with different people living there, different vehicles, different buildings,” Lohre says. “I liked the playa because it was like a wonderful white gallery. It’s just a great (dry) lakebed, sort of like a moonscape, and all of a sudden there are these beautiful people and everybody’s very friendly and welcoming. It’s not like the real world. Everybody there has put in a huge commitment, and that’s really the special part of it.” There are far more people interested in attending the annual Burning Man event, and especially to see close-up the phantasmagoric and immersive artworks created for playa display and visitor interaction, than have the time, money and constitution to become burners. Tickets are expensive. There is physical hardship involved — heat, sun and winds can be extreme, and there are dust storms that cause blizzard-like whiteout conditions and force people to wear goggles. There is dark humor in the way the search field on the Burning Man website is pre-populated with the phrase “I am lost in a dust storm.” That’s one reason behind the current No Spectators: The Art of Burning Man exhibit at the Cincinnati Art Museum now through Sept. 2. It was organized by the Renwick Gallery of the Smithsonian American Art Museum, with the collaboration and assistance of the Burning Man Project, and travels to the Oakland Art Museum after Cincinnati. That also may be one reason for the overwhelming public response to the show, which is free and spread throughout the building. On opening day — April 26 — 5,000 people came to see it; over 10,000 showed up just the first weekend. (The show here occurs

in two phases — additional art will arrive for exhibition on June 7.) “I think this exhibition acts as a tease for the type of work you might find on the playa,” says David J. Brown, the guest curator for the show’s Cincinnati installment and a former curator at the Cincinnati Contemporary Arts Center. (Nora Atkinson, craft curator for the Smithsonian American Art Museum, organized the overall exhibition.) “Audiences are in awe — they’re not expecting the level of technique and creativity, the huge effort, that goes into making the majority of pieces in this exhibition,” he says. “It’s indicative of the kind of activity you can see out there.” Indeed, Brown has tried to give the exhibit’s stop in Cincinnati some of the sense of discovery that accompanies seeing the art in the playa, where distances are so great that coming across a specific installation is a surprise — even if you’re specifically looking for it. The exhibition is spread throughout the museum, like Nick Cave’s soundsuits were in 2012’s celebrated Meet Me at the Center of the Earth show. The exhibition pamphlet has a map showing the locations of the No Spectators artworks, but doesn’t tell you which is where. (There are directional signposts in the museum proper.) Here is a selective guide to some of the highlights of No Spectators’ first phase: No Spectators’ guest curator David J. Brown

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Two of the show’s biggest and most remarkable works greet you right after you walk into the museum’s main lobby. To the right, in galleries 147-149 (the Hanna Wing Gallery), is a Burning Man favorite, FoldHaus Collective’s psychedelic “Shrumen Lumen,” three tree-sized mushrooms with multi-colored LED lights within their translucent white skins. The mushrooms grow and spread out when you step on their individual floor pads. According to the art museum, there is supposedly still some desert sand in the folds of the giant mushrooms’ skins, which look like plastic mail crates.

Straight ahead of the lobby, at the start of the long, straight Schmidlapp Gallery, is the architecturally overflowing “Paper Arch” by Petaluma, California artists Michael Garlington and Natalia Bertotti. A complicated and time-consuming project, the wood structure of the Arc de Triomphe-like arch has been pasted with reproduced-on-paper imagery to give it a colorful, dazzling surface, like a giant collage. On one top corner, the

three-dimensional imagery billows out like a leaping, uncontrollable fire; in other locations there are peepholes where you can look inside and spy on secret scenes. You can also go upstairs to where the museum’s second-floor gallery looks down on the lobby and see the rooftop details of “Paper Arch” — animals, a woman, shells, flower petals, a sheep peeking from within a flower-bordered frame as if trying to survive. “Paper Arch,” like several other artworks in No Spectators, was commissioned specifically for the exhibit. Garlington and Bertotti have previously created two “photo chapels” at Burning Man, but they burned them at the end of the event. “We go knowing that,” Bertotti says. “It shows the resilience of creativity. We can always build another structure. It’s about not being so attached to one thing that you’re thinking you can never do this again.” As for the ultimate future of “Paper Arch,” Garlington says, “I see a fiery end.”

Just beyond “Paper Arch” is California artist Richard Wilks’ “Evotrope,” which he calls a “three-point unicycle” and the exhibit refers to as a giant mobile zoetrope because the blades on its centerpiece wheel can be turned so that their eye and fish embellishments move in cinematic fashion. Gallery 104 holds “Nova,” Christopher Schardt’s point-to-point star-shaped ceiling-hung sculpture. “Nova” features 21,600 LEDs programmed to Classical music. It’s a smaller version of a piece called “Firmament” that he built for the 2015 Burning Man. Near it in Gallery 105 is a piece that’s about as far removed from the peaceful, easy feeling that “Nova” engenders as Burning Man is from a small-town county fair. Duane Flatmo’s metallic, monstrous “Tin Pan Dragon” is a pedalpowered kinetic vehicle, a close cousin of Burning Man’s “mutant vehicles” that have been changed so much that they’re almost unrecognizable as a form

of transportation. While they still can be driven, they are primarily recognized as artworks. “Tin Pan Dragon,” which the Eureka, California artist brought to Burning Man in 2008, has a metal armature upon which a “skin” of silvery aluminum products, such as kitchen muffin tins, has been applied to give it a look of imposing toughness. Inside are seats where Flatmo and his team can pedal the beastly contraption, and also move its head and toothsome mouth so it shoots out flames. In No Spectators, it will not spit out fire for safety reasons. So visitors here will miss some of the thrilling effect that burners experienced on the nighttime playa. “The beauty about the dragon is you can work the controls and move that head completely around,” Flatmo says. “Then, people looking at it back up and say, ‘Oh no, I think it’s going to shoot fire at me.’ ” But they needn’t worry. “Burning Man is very stringent,” he says. “They won’t let anything go out on the playa that’s unsafe. I have a special mechanism, so it only shoots fire when I pull it back and get the head in an upright position.”

FoldHaus Collective’s “Shrumen Lumen”

Michael Garlington and Natalia Bertotti’s “Paper Arch”

Richard Wilks’ “Evotrope”

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Christopher Schardt’s “Nova”

Duane Flatmo’s “Tin Pan Dragon”

FILM AND COMMUNITY AT THE

BY STEVEN ROSEN

CAPITOL THEATER The outdoor art installations at the annual Burning Man event in Nevada are often monumental — they need their massive size to make a visual impact amid the seeming endlessness of the remote Black Rock Desert playa that serves as the event’s vast, dusty art gallery. And because they are so tall, complex and heavy, you might think their artists would need a fleet of five-ton cranes to assemble their creations out there in this wilderness. And, in a way, they do. Five Ton Crane is the name of an Oakland, California-based artist collective that over the years has created some of the most memorable (and cleverly named) Burning Man artworks. It is represented in the Cincinnati Art Museum’s current No Spectators: The Art of Burning Man exhibition by a new piece called “Capitol Theater” — an Art Deco-style movie theater on wheels that shows newly produced silent films for people to sit and watch. It was commissioned by the Renwick Gallery of the Smithsonian American Art Museum, which organized No Spectators. In 2007, Five Ton Crane debuted at Burning Man with “Steampunk Tree House.” In 2009 came “The Raygun Gothic Rocketship,” 2011 brought a Nautilus Submarine art car and the 2015 contribution was “Storied Haven — Big Boot” (gigantic footwear that you could climb up). Five Ton Crane could not contribute any of its previous art installations to this show, as they have since been sold and installed elsewhere. The collective’s name refers to its sense of purpose rather than to any construction equipment it might own or use — it exists to do the “heavy lifting” for individual artists who desire to work on projects too complex for any one to do alone. “The group is rather large — it’s more like a network with almost 200 people on our email list,” says Sean Orlando, a Five Ton Crane co-founder who is also the artist/owner of the Engineered Artworks creative design/build art studio. He and Five Ton Crane member Bree Hylkema, an artist/designer whose Obsolete Pictures company produces vintage-style silent films, are the credited lead artists on the “Capitol Theater” project.

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But there were many others involved.

“When we come up with projects, we’ll open it up to the group, but then we’ll think of who has specific skill sets or knowledge in a certain area that will best benefit the projects,” Orlando says. “We have metal fabricators, wood fabricators, engineers, painters, clothing designers, jewelers … So we’ll pull from all our resources as a group to build a collaborative art piece.” “Fine Ton Crane projects are intentionally supposed to be collaborative, to remove the ego of the artist from the equation,” he continues. “Even though it’s led by a lead artist, there is opportunity for all the other artists in the group to express themselves in their own way.”

“Capitol Theater,” commanding center space in the art museum’s second-floor Gallery 216 until Sept. 2, is certainly a sterling accomplishment of large-group expression. Designed to look somewhat like an English double-decker bus with an open-air movie theater on top, it is 12 feet wide, 16 feet high (counting its marquee), about 25 feet long and weighs approximately 4 tons. The collective had to send a team of eight people to Cincinnati to work with museum staff to install the artwork. In the gallery, people step aboard and take a seat to watch five short silent movies with original musical scores (a sixth is in final production and will be added soon). These films were directed by Allen White of Obsolete Pictures and can be stunningly artful, such as the Russian Constructivist-indebted Kokolores: A Modern Dance in Two Acts, or the more devilishly witty Welcome to the Moving Pictures, which instructs viewers on theater courtesy by asking them to “please put away your rotary phones.” Everything is custom-designed and fabricated by Five Ton Crane, save the axle. Although it doesn’t have an engine at this point, it was conceived to become a moving vehicle — an art car — after the No Spectators museum tour is over. But that doesn’t mean going aboard “Capitol Theater” now is a static experience — it’s designed so you can feel it move when other people ascend or descend, one of its many quirky touches. “Capitol Theater” is meant to give its visitors a taste of what movie watching was like in the days before films were streamed on large-screen TVs and small-screen smart phones, or seen at drab Big Box multiplexes. It’s designed to recall the Art Deco movie palaces of yore, like downtown Cincinnati’s dearly departed Albee Theatre. Especially its exterior, which is marked by a colorful marquee that crowns the top of the artwork’s front end, a box office where the driver’s cab would be, movie posters and even a few stylish light fixtures hung by Five Ton Crane in the gallery ceiling. “The whole movie experience was something special you couldn’t do all the time; you certainly couldn’t do it at home,” Hylkema says of movie-going in the 1920s and 1930s. “Theaters were gorgeous, people dressed up and it was an occasion. So this brings that back a little bit.” But it’d be misleading to label “Capitol Theater” a mere exercise in nostalgia. It has been created in that

Five Ton Crane’s “Capitol Theater”

The Art Deco-style theater on wheels shows newly produced silent films inimitable Burning Man way that encourages viewers to make all sorts of unexpected and often offbeat discoveries. For instance, while there is a real popcorn maker in the concession stand, the several hundred “popped” kernels inside have all been hand-sculpted by Hylkema out of modeling clay. The wrapped and boxed candy products — which Hylkema designed with Mike Woolson and Katie Keech — all have unusual names. “We weren’t allowed to have any food in the museum,” she explains. Five Ton Crane also hopes that the Cincinnati volunteers who will work at the “Capitol Theater” box office (which this author has opted to do) get into a suitable Burning Man spirit of role-playing and play-acting. “One of the positions you can work is to ‘sell’ tickets for the price of a joke or song,” Hylkema says. “That is one of the very, very favorite things about the theater to me. When you connect with somebody and they tell you something real about themselves, or look in your eyes and sing you a song, that’s some really amazing times. And then when they get the ticket, that’s a ticket that really means something to them. It’s their story now, not mine.’’

Marco Cochrane’s “Truth is Beauty”

Aaron Taylor Kuffner’s “Gamelatron Bidadari”

The golden gongs of Brooklyn artist Aaron Taylor Kuffner’s “Gamelatron Bidadari” so complement the decorative golden walls of the small Gallery 208 that the piece is easy to miss. But the gentle tones of the Indonesian-influenced music, played when teak robotic mallets strike those 32 gongs, get one’s attention. And it is a delight to watch and hear. Kuffner has displayed previous gamelatrons at Burning Man.

inside the museum, Krukowski says, so it will probably stay outside where visitors can leave remembrances to loved ones, as is done in Nevada. That brings up the question of how to dispose of it when No Spectators finishes its run in Cincinnati on Sept. 2, the same day that the 2019 Burning Man finishes in Nevada. (The Temple burning in Nevada occurs on the event’s last night, Sept. 1.) A thought is for Cincinnati to have its own Temple burn, but that’s easier said than done. As the museum grounds are part of Eden Park, the Temple would have to be moved off it to be burned. “The question is how to make a burn meaningful to people who have never been to Burning Man,” Krukowski says. “It’s embedded in the culture in Nevada, but just lighting a big thing on fire in the middle of a city is another thing. “At the very least, we should be looking at a careful public dismantling event, where pieces of the Temple are relocated and burned along with anything left there. We should be able to manage that, and I think that’s important to do.”

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No Spectators: The Art of Burning Man is on display at the Cincinnati Art Museum through Sept. 2. For more information on programs, events, how to participate in the Temple build and attend the June 7 Beyond Black Rock party hosted by the CAM Catalysts group of youngprofessional museum supporters, visit cincinnatiartmuseum.org.

She has had students in her nowcompleted Special Topics in Landscape Architecture studio/charette work with interested community members to build a domed Temple out of honeysuckle, an invasive species that needs to be cleared from the art museum’s hillside in order to create the recently announced Art Climb stairway. “This isn’t the kind of architecture you design perfectly; honeysuckle has a mind of its own and many students haven’t worked with a real site before,” Krukowski says. You can see the work-in-progress at the edge of the hillside along the entrance drive to the museum. She wants it finished this month in order to be consecrated by Crimson Rose, a founder of Burning Man, who comes to the art museum on June 6 to speak at the 7 p.m. Benesse Lecture. On a recent Saturday, in the unseasonably chilly weather, Krukowski was at the site with several others working away. And she appealed for more volunteers in order to get the Temple done on time. Yet while concerned, she also noticed that passersby had started to leave things — someone had placed a dreamcatcher amid the assembled honeysuckle. “There’s a level of personalization that’s starting to show,” she says. “There are starting to be these moments where people realize this is participatory.” Once the Temple is complete, it can’t go

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Besides the artwork of No Spectators, there is an ancillary show called City of Dust: The Evolution of Burning Man in Gallery 124, drawn from the collection of the Nevada Museum of Art in Reno. The ephemera, archival materials and photographs here are poignant — there’s a shadow box displaying enough lost car keys to start up every car in Nevada. There are also shelves containing jars of ashes from past burns of the famous Burning Man. They loom like holy relics. The City of Dust is also a good place to learn about Burning Man’s countercultural roots, and how it has managed to stay true to them even amid the event’s growth and spreading fame. It started informally in 1986, when Larry Harvey and Jerry James burned a wooden figure at San Francisco’s Baker Beach. As it grew, with input from the Cacophony Society group, police cracked down on the burning. So in 1990, that took place at Black Rock Desert. In 2000, David Best and Jack Haye

created the first Temple to observe the death of a friend — others left notes and offerings, and a powerful new annual tradition was born. Best has gone on to design nine Temples from wood, scrap and other flammable materials. His last was in 2016; it was 80 feet tall, 50 feet wide and needed a crew of 100 people to assemble. On the Burning Man website, Best has said that “in order for people to feel safe, to feel and express deep emotion so they can heal, the temples must be beautiful and delicate while at the same time being strong to provide comforting support.” For No Spectators’ showing at the Renwick Gallery in Washington, D.C., Best created a hauntingly contemplative, temporary Temple in a second-floor gallery. But it had to be destroyed — according to Cincinnati’s curator Brown. And that left Cincinnati without a temple, something it definitely wanted. “We basically asked the community — the local burners first — if it was interested in conceiving that,” Brown says. “We had a meet-and-greet in December and over 100 people showed up.” Samantha Krukowski, a University of Cincinnati College of Design, Architecture, Art and Planning associate professor, who is a Burning Man veteran and who has edited the book Playa Dust: Collected Stories from Burning Man, learned about the request from attendees and offered to do it.

THE CAM’S CAMERON KITCHIN AT

BURNING MAN BY STEVEN ROSEN

Rebekah Waites’ “Singularity” at 2018’s Burning Man | Photo: Rachel Gray Coming up in the museum world of the 1990s and 2000s as executive director of the Virginia Museum of Contemporary Art and director of the Memphis Brooks Museum of Art, Cameron Kitchin followed from afar the growth of the annual Burning Man event out at Black Rock Desert in Nevada. “It felt like a new model of art-making, a new idea about how artists create community,” says Kitchin, the Cincinnati Art Museum’s director since 2014. (He has just signed a new five-year contract.) “I spent time trying to understand the artists and what was happening, and understanding the transformation of a very small grassroots effort into something that grew up along with the energy and creative spirit of the Silicon Valley in 1990s.” (Burning Man’s origins are in California’s Bay Area, where many of its artists still live.)

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So, when the museum signed up to be one of the two other cities (the other is Oakland, California) displaying the Renwick Gallery of the Smithsonian American Art Museum-originated exhibit No Spectators: The Art of Burning Man, he thought the time was right to actually visit the event. He went to the 2018 weeklong Burning Man; what he felt and discovered there was profound.

He flew to Reno and took private transport to the temporary Black Rock City. “I was immediately welcomed,” he says. “The signal of welcome is a hug, an embrace, so you’re immediately greeted with that and then indoctrinated to the desert. I carried in only 23 pounds on my back — very basic needs if you change clothes.” He stayed at First Camp, where the event’s organizers tend to stay. “I slept in a shipping container — I would say ‘sleep’ is a relative term because nights are like days and days nights, so there’s no clear definition of when anyone takes a rest other than when your body says you need it.” “I also volunteered while I was there, so there was

structure to my time, indicating both a desire on my part and an expectation that everyone be a participant,” he continues. “I volunteered on trash details and on cleaning details and kitchen duties as part of the community of First Camp. And that introduced me to a lot of incredibly hard workers who help to make Burning Man possible.” In the evenings, when the sun went down and the colorful lights of the artwork transformed the otherwise dark playa, he would ride a bicycle or go in a decorated art car to see some of the several hundred art installations. “I probably saw a third of them — it’s impossible to see more than that,” he says. “You can see them from a distance, but the spacing between these is massive, and getting from place to place is a full-time enterprise.” He found himself especially drawn to the Temple. Each year since 2000, a lead artist designs the Temple, and it has achieved a sacred aura as people leave notes or remembrances of people who have passed away. On the last night of Burning Man, the Temple is burned, along with everything left there, in a symbolic act of cleansing and renewal. The 2018 Temple, named Galaxia, was designed by a London-based French architect, Arthur Mamou-Mani. (There was also a second Temple-like structure, a memorial to one of Burning Man’s founders, Larry Harvey, who died in 2018.) “There is a spirit of grief and processing and an outpouring that is slow but absolutely overwhelming,” Kitchin says. “So it’s a space that I could only spend so much time with. There’s definitely a lot of processing and grief, but it is shared.” “The sharing is the power of it,” he continues. “I think about those who lost children, those who had troubled relationships with loved ones and had a difficult time in understanding how to let go. And that processing makes it a communal exercise.” That act of burning, and the way it was witnessed by the participants, gave the Temple an additional, perhaps higher, level of meaning as Contemporary art, Kitchin says. Many of the other installations on

the playa, he says, are “intended sometimes for fun, sometimes for provocation, but done knowing that it’s completed when it’s activated by people in the space.” Yet, some individual artists may also choose to burn their playa creations, and Kitchin had mixed feelings about that. “At Burning Man, the idea you would destroy in order to create does not fit well with the notion of archives, history and preservation at a museum,” he says. The piece that most pronouncedly made him ponder this conflict was the work “Singularity” by Los Angeles artist Rebekah Waites. She and her team had created a series of houses, ranging in height from 35 feet to 5 inches, located inside bird cages, nesting-egg style. As one walked through the overall piece, wandering ever deeper into the desert-fantasia version of a domestic life, one was meant to hear the echoes of childhood traumas that Waites was channeling. And Kitchin heard them clearly. “It wasn’t complete until she took that last step (of burning)” Kitchin says. “For me, as a student of art history and a museum professional, seeing that beautiful work of art go from perfection to total elimination was painful. I understood why, but everything I’ve been trained in is that the exquisite object needed to be preserved. And I had to fight with every fiber of being to stand aside and let the artist do what she needed to do to complete the piece.” Reached in Los Angeles, Waites says she wasn’t originally expecting to burn the work at the event’s conclusion, but one of her team members had put a note inside the piece to his recently deceased father. When visitors saw it, they deluged “Singularity” with similar notes, turning it into an unofficial Temple. And Temples are meant to be burned. “That was very powerful,” she says. “I decided I had to burn the whole thing.” (She did save some of the smaller houses.) Kitchin came away from Burning Man better understanding the differences between the way the event shows reverence for art and the way an art museum does so. And this knowledge reinforced his commitment to exhibiting No Spectators: The Art of Burning Man. “It takes what we think we know and contradicts it,” he says of Burning Man. “What better definition is there for innovation and change than that?”

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arthur's Arthur’s double-decker patio and deck is a quiet, laid-back oasis tucked away on Hyde Park Square. Surrounded by ivy-covered brick and lit by old-fashioned gas lanterns and hanging lights, the outdoor space is the perfect setting to enjoy delicious food and fantastic service. Colorful tablecloths and cloth napkins complete the picture. Arthur’s carries a wide selection of salads, appetizers and sandwiches, but the burgers are the centerpiece of the menu, which range from classic beef patties to a handmade black bean burger that’s perfect for vegan guests. Other menu favorites include wonton poppers, a cod sandwich, fried cheese and, of course, the Arthur’s brownie. Guests can load their burgers with included toppings for no extra charge during Burger Madness every Sunday, Monday and Tuesday. Arthur’s also hosts Trivia with a Twist on Tuesday nights and celebrates half-price hump day on Wednesdays with half-priced beer pints and glasses of wine. Arthur's, 3516 Edwards Road, Hyde Park, 513-871-5543; 8221 Beechmont Ave., Anderson, 513-388-0152, arthurscincinnati.com. P H O T O : B R I T TA N Y T H O R N T O N

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The Brown Dog Cafe The Brown Dog Café’s 80-by-20-foot patio opens out onto Blue Ash’s sprawling Summit Park. Patrons can take a seat at tables, couches or an outdoor bar and enjoy live music on weekends. Order brick-oven pizza, burgers, fresh fish and wild game steaks and enjoy specials daily. The Brown Dog Cafe, 4335 Glendale-Milford Road, Summit Park, Blue Ash, 513-794-1610, browndogcafe.com.

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Fausto at the CAC From local brothers and restaurateurs the Ferrari Brothers, the Contemporary Arts Center’s forthcoming Fausto café will feature California-style cuisine — lighter, vegetable-forward fare with lots of citrus and olive oil. While the café itself is inside, the quaint and covered streetside patio — part of what architect Zaha Hadid called the museum’s 'Urban Carpet,' a continuous concrete surface that begins at the sidewalk and extends through the lobby curving upward all the way to the skylight at the top of the building — features three tables with seating for nine. Nestled alongside the CAC's glass-encased Kaplan Hall, with a view of changing contemporary art installations and performances from world-renowned artists, dark gray round tables and red chairs are surrounded by seasonally-arranged planters. The menu will change so often that every week will feel like a special item or rotation of ingredients. Fausto’s specialty will be feeding people good food in a creative atmosphere. Fausto, 44 E. Sixth St., Downtown, cincycac.org.

PHOTO : HAILEY BOLLINGER

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KEYSTONE Bar & Grill Kick off al fresco season at one of Keystone Bar & Grill’s spacious, shaded patios at three locations across the Greater Cincinnati area. Settle into a lively corner in Clifton at U Square @ the Loop, which seats 50, or people watch from the Covington patio, which seats 65. Or head to Hyde Park, their largest location, to relax on the 75-seater patio or catch a view from higher up on the balcony above Erie Avenue, which seats 20. Keystone specializes in made-from-scratch comfort food like its famous mac and cheese. Plated to serve any palate, everyone’s favorite cheesy pasta dish ranges from the classic, original Lovin’ Spoonful to the Fleetwood Mac with pesto, mozzarella and tomatoes. Pair your meal with a craft cocktail, beer or one of many daily drink specials. Visit on Saturdays and Sundays for a boozy brunch with $16 mimosa pitchers and specialty bloody marys. Keystone Covington, 313 Greenup St., Covington, 859-261-6777; Keystone Clifton, 249 Calhoun St., Clifton Heights, 513-221-5397; Keystone Hyde Park, 3384 Erie Ave., 513-321-2150, keystonebar.com.

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MCCORMICK & Schmick's McCormick & Schmick’s offers a quaint covered patio with seven tables, comfortable seating and a street-side view across from Fountain Square. Twenty-eight guests can be accommodated at a time. The restaurant is known for its fresh seafood and steaks, and happy hour takes place on the patio 4-6:30 p.m. daily. Because of its proximity to Fountain Square, there tends to be a lot of energy, and the Square’s entertainment is a part of the McCormick & Schmick’s experience. McCormick & Schmick's, 21 E. Fifth St., Downtown, 513-7219339, mccormickandschmicks.com.

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pompilios Pompilios is a casual, Italian-American family restaurant specializing in Italian-American cuisine: pasta and meatballs, Italian sausage, lasagna, fettuccine alfredo, chicken parmigiana, risotto balls, toasted raviolis, etc. They also have sandwiches and a kids menu, and a bar menu with flatbreads and specialty burgers. Pompilios offers music outside on Friday and Saturday nights, weather permitting. The outdoor scene is intimate in parts, while spacious and energetic in others. A beautiful tree spreads over some of the dining area and offers shade on warmer days. The covered dining area is a great place to take in a bocce game or a sporting event on TV. The restaurant has a weekly happy hour 3-6 p.m. Monday through Friday with discounted food and drinks. On the patio, they have a specialty drink menu and a threetap beer system featuring a Bocce Brew, a seasonal beer by Braxton Brewing and other local brewers. Pompilios works hard to replicate the warm, family atmosphere that has been the restaurantâ€™s trademark for nearly 85 years. Pompilios, 600 Washington Ave., Newport, 859-581-3065, pompilios.com. PHOTO : KHOI NGUYEN

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Samuel Adams cincinnati Taproom The Samuel Adams Cincinnati Taproom, located across from the Samuel Adams Cincinnati Brewery at the Urban Sites’ Film Center Project adjacent to Findlay Market, features a giant indoor taproom and adjacent outdoor patio. With authentic biergarten tables and benches from Germany, along with a gas firepit surrounded by Adirondack chairs, the more than 3,500-foot paved patio is family- and pet-friendly. Select from 12 types of draft beers, ranging from Samuel Adams staples to taproom-exclusive beers brewed in the onsite innovation brewery, to drink while you hang. For snacks, the taproom offers an oversized Bavarian pretzel, cooked to order and served with Samuel Adams Beer Cheese and Inglehoffer mustard. Or check out one of the visiting food trucks or Findlay Kitchen pop-ups. With seating for 105 and standing for 180, there’s plenty of space for everybody. Happy Hour runs 4-6 p.m. Tuesday-Friday and Industry Night Tuesday offers $2 off drafts for those in the hospitality business. 1727 Logan St., Over-the-Rhine, samueladams.com, facebook. com/samadamscincy PHOTO : HAILEY BOLLINGER

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TAFT mUSEUM OF ART The Taft Museum of Art's garden patio is the perfect place to relax and enjoy a delicious lunch, weekend brunch or light bites in a peaceful downtown oasis. The casual and family-friendly space seats 40 for a changing exhibition-inspired menu and daily specials, plus a full bar. Indulge in a meal in the tranquil surroundings, seated in the shade under a patio umbrella, or wander the garden itself. Make a reservation for a full meal or any of their other unique dining opportunities held throughout the year. The light bites menu — cheese plate or hummus and crudités with a glass of wine — is available from 2-4 p.m. on weekdays and 3-5 p.m. on weekends and no RSVP is needed. Taft Museum of Art, 316 Pike St., Downtown, 513-352-5140, taftmuseum.org/dine.

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LINDNER FAMILY CAFÉ HOURS Wednesday–Friday Lunch | 11 a.m.–2 p.m. Light bites | 2–4 p.m.

Saturday and Sunday Brunch | 11 a.m.–3 p.m. Light bites | 3–5 p.m.

al fresco 2019 | s p e c i a l a d v e r t i s i n g s e c t i o n

tillie's lounge & patio Escape the busy bar vibe at the cozy, enclosed patio and upper deck at Tillie’s Lounge. The outdoor space is decorated with Art Deco light features, string lights and fresh floral designs by WOW Windowboxes. The wooden deck is complete with oscillating fans and heaters, so the outdoor space can be enjoyed even at the height of summer and during the chilly fall and winter months. Tillie’s features a full bar that includes specialty champagne cocktails, a wide selection of craft brews, wine and seasonal cocktails. Hang out during happy hour for $3 well cocktails and domestic beers, or head over on Thursday nights for trivia. The patio is dog friendly and hosts an array of interactive games like Giant Jenga, Cornhole, Putting Green and the unique A-Hole game. And music and videos are played outside from the inhouse music video system. Tillie’s was recently awarded CityBeat's Best of Cincinnati reader picks for Best Bar in Northside, Best Cocktail Lounge, Best Bourbon Cocktail and Best Trivia. Tillie's, 4042 Hamilton Ave., Northside, 513-541-1414, tillieslounge.com. P H O T O : C I T Y B E AT

www.wowwindowboxes.com 513.402.2137

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C I T Y B E AT. C O M

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AUTOMATIC DRIP IRRIGATION Maintenance-free, worry-free automatic drip irrigation installed by the WOW Team

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YEAR-ROUND PLANTING Four seasons of signature arrangements that are guaranteed to “WOW!”

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al fresco 2019 | s p e c i a l a d v e r t i s i n g s e c t i o n

the view at shires' Garden The View at Shires' Garden is Cincinnati's newest rooftop restaurant and bar destination, overlooking the city's riverfront and The Banks. Opening in late spring, The View at Shires' Garden will boast a 2,000-square-foot patio for the best al fresco dining and drinking in the Queen City. Relax and enjoy a craft cocktail, exceptional wine and craft beer or fresh, eclectic seasonal small plates from extraordinary culinary and bar teams. The patio will offer unmatched views and is lined with greenery and various seating arrangements, including intimate dining for groups of two; large, community dining and drinking tables; and smaller seating with fire pit bowls to gather around on chilly nights. An outdoor bar completes the space, with a reverse-side humidor and cigar patio. During the warmer months, the patio will host live music, entertainment and events. During colder months, a baby grand piano will be played in the main indoor dining room/lounge. The View at Shires' Garden, 309 Vine St., 10th Floor, Downtown, theviewatshiresgarden.com. PHOTO : HAILEY BOLLINGER

309 VINE STREET, 10TH FLOOR

C I T Y B E AT. C O M

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Opening in June

INSPIRED BY THE HISTORY THAT HAS STOOD BEFORE OUR TIME, THE VIEW AT SHIRES’ GARDEN IS THE QUEEN CITY’S NEWEST ROOFTOP RESTAURANT AND BAR DESTINATION, FEATURING SEASONAL PLATES, CRAFT COCKTAILS, WINE, AND BEER, ENTERTAINMENT AND EVENTS. OPEN SEVEN DAYS A WEEK, FEATURING LUNCH, DINNER, AND WEEKEND BRUNCH. THEVIEWATSHIRESGARDEN.COM - FACEBOOK.COM/SHIRESGARDEN Grand Opening Celebration Details Coming Soon

al fresco 2019 | s p e c i a l a d v e r t i s i n g s e c t i o n

taste of belgium Taste of Belgium at The Banks has two patios: the first sits along Rosa Parks, facing the Freedom Center, and the second patio runs the length of the bistro along Freedom way â€” facing Smale Riverfront Park and the Ohio River, offering a terrific view of the Roebling Bridge. The smaller of the patios is sunny during the morning/early afternoon but offers a nice break from the heat in the evening. The second is sunny for most of the day and heated for those chilly evenings. The airy patio invites guests to sit and stay a while: Sip on a Belgian beer while taking in a river and city view, or try one of the restaurant's Belgian-American dishes, like the super popular Waffle & Chicken. Happy hour is 3-6 p.m. Tuesday through Friday, with $2 off any of their 54 drafts, plus $3 well drinks and $3 bistro wines. Taste of Belgium at The Banks has the best seats for viewing the Friday night fireworks at Great American Ball Park â€” a great way to end a late dinner. Taste of Belgium at The Banks, 16 W. Freedom Way, Downtown, 513-396-5800, authenticwaffle.com.

PHOTO : HAILEY BOLLINGER

OTR | 1135 Vine Street

Clifton | 2845 Vine Street

Rookwood | 3825 Edwards Road

The Banks | 16 W Freedom Way

C I T Y B E AT. C O M

Call 513.396.5800 or go to authenticwaffle.com to reserve a table today

Over a dozen authentic Belgian biers available at any of our 4 bistro locations

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ENJOY A BIER ON OUR PATIOS

STUFF TO DO Ongoing Shows ONSTAGE: Mercury Know Theatre, Over-the-Rhine (through May 11)

WEDNESDAY 08

ART: No Spectators: The Art of Burning Man brings the phantasmagoric and immersive artworks of the Black Rock Desert playa to the Cincinnati Art Museum. See cover story on page 08. MUSIC: Indie troubadour Kristian Matsson heads to the Madison Theater as The Tallest Man on Earth. See Sound Advice on page 43.

THURSDAY 09

Moms get free admission to the Cincinnati Zoo on Sunday aka Mother’s Day.

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ONSTAGE: Baskerville: A Sherlock Holmes Mystery at Falcon Theatre is a campy and comedic take on the detective classic. See review on page 33.

EVENT: Professor Lorenzo’s Carnival of Mysteries It’s part circus, part escape room and part interactive art installation. Sound mysterious? It’s supposed to be. It’s Professor Lorenzo’s Carnival of Mysteries. Throughout May, this enigmatic carnival at the People’s Liberty Globefront Gallery will be offering a variety of puzzles, an old-timey hi-striker, an augmented reality scavenger hunt in Findlay Market and free popcorn to fuel all your hard work. Spending an afternoon solving puzzles and deciphering clues may eventually lead to heated inter-group arguments, but it could all be worth it for the elusive rewards in the end. For all ages. Thursday-Sunday through May 26. Free admission. People’s Liberty Globefront Gallery, 1805 Elm St., Over-the-Rhine, carnivalofmysteries.com. — TOMMY MCDONALD EVENT: House Party at the Taft Museum of Art Make yourself at home in the art museum: The Taft is hosting a house party with food, drinks, live music

P H O T O : K AT H Y N E W T O N

and art all themed around bourbon, barbecue and Bluegrass. Eli’s BBQ will be serving cocktails and light bites for you to enjoy while you listen to Jake Speed & The Freddies in the garden. Play a giant lawn game while sipping on some bourbon or take a tour of the galleries and make your own scrape painting. 5-8 p.m. Thursday. Free admission. Taft Museum of Art, 316 Pike St., Downtown, facebook.com/ taftmuseum. — BEN REES CLASSICAL: Opera is a Drag Two centuries-old performances of extravagance collide for a repeat of last year’s sold-out “Opera is a Drag” show at Below Zero Lounge. With the pointed cone-shaped bras, boisterous singing and outlandish costumes bigger than a queen’s personality, the world of opera harmonizes beautifully with the

marvelously exaggerated jush of the drag stage. This drag show, produced with Cincinnati Opera Center Stage, promises to parody the German opera Ariadne auf Naxos — thematically about the competition for public attention between high and low art — and the soundtrack will be a resoundingly vivacious mix of Opera and Pop music. The space is a mix of standing room and seating. 7-9:30 p.m. Thursday. $15. Below Zero Lounge, 1120 Walnut St., Over-the-Rhine, facebook.com/cincinnatiopera. — TOMMY MCDONALD

FRIDAY 10

MUSIC: Backyard Tire Fire’s Edward David Anderson supports his latest solo effort, Chasing Butterflies, at the Southgate House Revival. See Sound Advice on page 44.

MUSIC: Long Island-based quartet Tauk brings a sci-fiinspired mix of Progressive Rock, Hip Hop and Jazz to the Madison Theater. See feature on page 41. EVENT: Appalachian Festival The 50th-annual Appalachian Festival celebrates the culture and heritage of Appalachia during a three-day fest held over Mother’s Day weekend. Experience music, homestyle food, arts and crafts, dancing and other authentic experiences in a mock pioneer village. One of Cincinnati’s most popular annual festivals, it brings around 10,000 people to Coney Island to see more than 100 crafters, historic reenactors, farm animals, storytellers, blacksmiths, weavers, Native American drummers and dozens of entertainers spread across three stages, from

The Tillers and Rabbit Hash String Band to the Cincinnati Highland Dancers and Kentucky Bluegrass Cloggers. The fest goes on rain or shine. 9 a.m.-9 p.m. Friday; 10 a.m.-9 p.m. Saturday; 10 a.m.-6 p.m. Sunday. Friday: $5 adults; $2 seniors; $1 children; ; free 4 and under. Saturday/ Sunday: $10 adults; $5 seniors; $2 children; free 4 and under. Coney Island Amusement Park, 6201 Kellogg Ave., California, appalachianfestival.org. — BEN REES MUSIC: Insane Clown Posse In support of their latest album, Fearless Fred Fury (which is, obviously, the “fourth Joker Card in the second Deck of the Dark Carnival”), Insane Clown Posse will be pulling through Cincinnati this week. The infamous Rap duo of Shaggy 2 Dope and

Violent J will be joined by Rittz, Mushroomhead, Mac Lethal and Kissing Candice for the show. ICP had a run of packed, Faygo-soaked shows at Bogart’s over the past couple of decades (in 2017, they played The Venue Cincinnati), including one in 2005 that was reviewed for the UK’s NME by yours truly (if you’re wondering what I wrote — I appreciated the spectacle but wondered if the fans were as in on the jokiness as much as the two rappers so obviously were). ICP recently dropped (via World Star Hip Hop) a new “Psypher” titled “8 Ways To Die,” featuring Three 6 Mafia co-founder DJ Paul, Stitches, Esham, Mac Lethal, Ouija Macc and Cage. In other recent ICP news that has confused the press, Shaggy and J apparently did an acoustic set at South By Southwest. Local fans CONTINUES ON PAGE 29

PHOTO: GERSH.COM

FRIDAY 10

COMEDY: Adam Ray “I was a fat kid growing up,” says comedian Adam Ray, “and I think that’s where a lot of my comedy came from. I was known as the little chub that wore sweatpants to class and said something funny when he raised his hand to answer a question, so I thought, ‘OK. I’m going to try and make people laugh all the time.’ ” From there he began impersonating friends, relatives and teachers. He brought his friends into the act, as it were, in junior high by making funny videos. “Instead of getting drunk or fucked up, we’d make these little movies and entertain ourselves.” In high school, Ray and his buddies completely took over the high school news program. “We turned it into a sketch comedy show,” he says. “We turned it into 15 minutes of comedy, with five minutes of announcements at the end. The teachers finally started turning it off.” 7:30 and 10 p.m. Friday; 7 and 10 p.m. Saturday; 7 p.m. Sunday. $12-$45. Funny Bone Liberty, 7518 Bales St., Liberty Township, liberty.funnybone. com. — P.F. WILSON

JUNE 14 15 & 15 16 MAY 30 MAY 31 JUNE 1 B L O O M I N G T O N ,

MARIA BAMFORD PRESENTED BY COOK MEDICAL

THE BUDDY COLE MONOLOGUES PRESENTED BY BLOOMINGTON PRIDE

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STEWART HUFF PRESENTED BY

THE COMEDY ATTIC

PL US OVER 60 OF THE N ATIONʼS BES T COMEDIANS

C I T Y B E AT. C O M

EVENT: Asian Food Fest Pad Thai, banh mi, chow mein, sushi, curry… Listing every exquisite Asian dish might be impossible, but the ninth annual Asian Food Fest will let you savor all the best Eastern cuisine in the Queen City. For one weekend, 34 restaurants and food trucks representing over 10 different countries — from Cambodia to China and India to Taiwan — will sell small samples of their best dishes for between $2 and $6. A “secret menu” booth will also offer a transitory series of homemade fare from local amateur chefs like Sichuan cold noodles on Saturday and veggie Vietnamese fried spring rolls on Sunday. There will also be performances from dancers, DJs and martial artists. Noon-10 p.m. Saturday; noon-8 p.m. Sunday. Free admission. Freedom Way at The Banks, between Walnut and Elm streets, Downtown, asianfoodfest.org. — TOMMY MCDONALD

ON SALE now!

should mark their calendars beyond this week’s tour stop — 2019’s Gathering of the Juggalos is coming up this summer and it’s taking place only about a three-hour car ride from Cincinnati. The 20th-annual GotJ is set for Lawrence County Recreational Park near Bloomington, Indiana July 31-Aug. 3. 5:45 p.m.

EVENT: Cincinnati SneakerBall Local nonprofit Bigger Than Sneakers, from the team behind Corporate sneaker boutique, is hosting its second annual SneakerBall; guests are invited to dress in black-tie attire complemented by their favorite pair of kicks. This gala will feature live music, art, a silent auction and connect guests with local professionals, influencers and sports figures including celebrity ambassador Matt Kemp, a new player for the Cincinnati Reds. Proceeds from this event will go toward the Children’s Hospital Charitable Care Fund which helps families dealing with overwhelming medical costs. Tickets include a drink and hors d’oeuvres. 8 p.m.- midnight Friday. $75. Cincinnati Museum Center, 1301 Western Ave., Queensgate, 2019cincysb.eventbrite.com. — BEN REES

EVENT: Crafty Supermarket Crafty Supermarket celebrates a double-digit milestone this Mother’s Day weekend: The market will be taking over Music Hall’s ballroom for its 20th event. The juried show will bring more than 100 vendors to Overthe-Rhine — everything from fine artists to jewelry makers and craft culinary creatives to woodworkers, apothecary artisans, clothing designers and more. “Some of the same vendors apply every year, which are crowd favorites, and we always try to give new and up-andcoming artists a chance to vend for the first time,” said organizer Chris Salley-Davis in a press release. “It’s really exciting to offer a platform to help launch independent artists and their careers.” The indie craft show will also feature food for sale from locals Dojo Gelato, Adesso Coffee, Eli’s BBQ, Macaron Bar and Quite Frankly. The first 100 shoppers in the door will get a free swag bag; more than 3,000 shoppers are expected to attend. 11 a.m.-6 p.m. Saturday. Free admission. Music Hall, 1241 Elm St., Over-theRhine, craftysupermarket. com. — MAIJA ZUMMO

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FROM PAGE 28

Friday. $35; $40 day of show. Riverfront Live, 4343 Kellogg Ave., Columbia Tusculum, riverfrontlivecincy. com. — MIKE BREEN

SATURDAY 11

P H O T O : C I N C I N N AT I P R E S E R V AT I O N A S S O C I AT I O N

PRIDE NIGHT

SATURDAY, MAY 11 SCHMIDT MEMORIAL FIELDHOUSE AT XAVIER UNIVERSITY

C I T Y B E AT. C O M

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Info & tickets: cincinnatirollergirls.com

EVENT: The O.F.F. Market Head to MadTree’s Barrel Warehouse for an afternoon of shopping. The O.F.F. Market brings together local “artists, bakers, chefs, scavengers, mobile boutiques and everything in between” for an indoor indie market. Shop local while you sip local on any variety of MadTree’s beer offerings. 10 a.m.-4 p.m. Saturday. Free admission. MadTree, 3301 Madison Road, Oakley, facebook.com/theoffmarket. — MAIJA ZUMMO EVENT: Late Night Date Night The Cincinnati Observatory will open after hours on Saturday to give grownups a sneak peek into the planets and stars of the next celestial season. Take a guided tour of the observatory and get an up close and personal viewing of the skies through the oldest telescope in the United States, weather permitting. Take that special someone out for a night under the stars. Adults only. 10:30 p.m.midnight Saturday. $25. Cincinnati Observatory, 3489 Observatory Place, Mount Lookout, cincinnatiobservatory.org. — KIARA REECE

SUNDAY 12

EVENT: Mother’s Day at the Cincinnati Zoo Come out to celebrate Mother’s Day at the Cincinnati Zoo, recently named the

best zoo in the country by readers of USA Today. All mothers get in free on their special day, plus the entire month of May is an homage to mom at the zoo during Zoo Babies. Hunt for 6-foot-tall stork statues throughout the park to lead you to the newest and cutest zoo additions, like Maximus, the 6-month-old colobus monkey; a quiver of spitting cobras hatched last June; Mani, the 6-month-old tamandua; and seven penguin chicks — all hatched between December and March — with names like Pierogi, Linguini, Toast and Jam. 10 a.m.- 5 p.m. Sunday. $15 adult; $9 child/senior (online); free for moms. Cincinnati Zoo & Botanical Garden, 3400 Vine St., Avondale, cincinnatizoo.org. — TOMMY MCDONALD

MONDAY 13

MUSIC: Buke and Gase, Ben Sloan and Intermedio head to the Hoffner Lodge for a collaborative music showcase. See Sound Advice on page 44.

SATURDAY 11

EVENT: Cincinnati Preservation Association: One Great house Tour The Cincinnati Preservation Association, a nonprofit that helps (as the name suggests) preserve historic cultural resources through education, advocacy and support, is hosting a tour of the Lloyd Taft House. The 7,000-square-foot Lloyd Taft House, located on a wooded estate in Indian Hill, is one of the area’s best-known late-20th-century Modern homes. Built in 1978 for the grandson of President William Howard Taft, it is the only local residential work of New York architect Charles Gwathmey and earned the American Institute of Architects’ National Honor Award in 1984. Tickets include a tour and access to speakers throughout the day who will be covering topics including Modernism in Cincinnati, Cincinnati’s Terrace Plaza Hotel and Saving the Rauh House. Tours will be given on the half hour; select your tour time when you purchase tickets. 1-5 p.m. Saturday. $35 non-member; $30 members advance; $35 day-of members. Park at the Armstrong Chapel, 5125 Drake Road, Indian Hill, cincinnatipreservation.org. — MAIJA ZUMMO

YOUR WEEKEND TO DO LIST: LOCAL.CITYBEAT.COM

rs • July 15-2

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AT 580 MARKET GOURMET • AMERICANO BURGER BAR • ANDERSON PUB & GRILL • ARNOLD’S • B + A STREET KITCHEN • BARD’S BURGERS AND CHILI • BARLEYCORNS • BAR LOUIE • BROWN DOG CAFE • BRU BURGER BAR • BUCKETHEADS • BUFFALO BOB’S • BUFFALO WINGS & RINGS • BURGER BROTHERS • BURGERFI • BURGERS & CRAFTS • CHANDLER’S • CHAPTER MT. ADAMS • CHART HOUSE • CITY GOAT • COPPINS • DEVINO’S BAR & GRILL • DRAKE’S • DUNLAP CAFE • FLIPDADDY’S • FLIPSIDE • FREDDY’S • FRENCHIE FRESH • GABBY’S • GAME ON! • GRANDVIEW TAVERN • HANG OVER EASY • HOUSE OF ORANGE • J TAPS • KEYSTONE BAR & GRILL • KITCHEN 1883 • LADDER 19 • LOCAL POST • LONGNECK’S SPORTS GRILL • LUCKY DOG GRILLE • MAC SHACK • MACARON BAR • MACKENZIE RIVER • MARTINO’S ON VINE • MECKLENBURG GARDENS • MITA’S • MOTR • MURRAY’S WINGS • NATION KITCHEN & BAR • NATIONAL EXEMPLAR • NICHOLSON’S TAVERN & PUB • OAKLEY PUB & GRILL • OVERLOOK KITCHEN + BAR • PARKERS BLUE ASH • PAVILION • PAXTON’S GRILL • PRICE HILL CHILI • PRIME • PUBLIC HOUSE • QUEEN CITY WHIP • RAMSEY’S TRAILSIDE • SALAZAR • SALEM GARDENS • SAMMY’S CRAFT BURGERS & BEERS • SANDBAR • SILVERTON CAFE • SLATTS • SMOKE JUSTIS • STREET CITY PUB • TASTE OF BELGIUM • TAVERN ON THE BEND • TELA • THE BIRCH TERRACE PARK • THE PUB • TICKLE PICKLE • TOAST & BERRY • TRES BELLE CAKES • TRIO • WAHLBURGERS • WASHINGTON PLATFORM

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FRY BIRD!

| C I T Y B E AT. C O M

The CAM Acquires The Nancy Rexroth Collection

ARTS & CULTURE

Rexroth’s dreamy black-and-white photography finds a permanent home at the Cincinnati Art Museum BY J U D E N O EL

C I T Y B E AT. C O M

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“J

ust about anyone in the photography world can tell you about their IOWA moment,” says Nathaniel Stein, associate curator of photography at the Cincinnati Art Museum. A square photobook with a lavender cover, IOWA is the only published collection of work by photographer Nancy Rexroth. Initially printed in 1977, it redefined the criteria for an effective photograph, eschewing clarity and sharpness for atmosphere and emotion. Each image was shot with a Diana camera — a toy with primitive specs and a plastic lens that produced blurred, black-andwhite prints. It is Rexroth’s eye that extracted something greater than the sum of the Diana’s ramshackle parts. Produced in rural Ohio — but meant to represent her childhood memories visiting Iowa — the seminal book feels like something even more distant than a dream. Boys float through smeared skies. A flock of chickens liquefies to form a living cloud. A smiling man vibrates like an atom. The closest most people will get to viewing Rexroth’s work in person is through an ultra-rare copy of the book’s original run (or its 2017 reprint). But that may change soon. On April 2, the CAM announced its acquisition of The Nancy Rexroth Collection — a set of over 300 photos that includes the complete IOWA collection, previously unseen work from the same period and a number of post-IOWA works printed in various media. “If you want to understand the IOWA body of work, this is where you’ll come to see it,” Stein says. “The work is represented in other museums, but nowhere else with the sort of scope and completeness that we will represent here.” Stein says that the acquisition also includes early work that Rexroth produced before attending grad school at Ohio University, before she began working with the Diana camera. Though more decipherable than her more well-known pieces, this portraiture hints at future dreaminess. In “Woman in Kitchen, London, England,” Rexroth’s camera focuses on two dishtowels, which obscure the face of a woman in the foreground. The window in the back of “My Mother, Arlington, Virginia” warps into an IOWAn fog. Outside the IOWA canon, the collection

includes platinum printing — a process that Rexroth published a guide to in the late 1970s — and some more abstract Polaroid transfers created in the ’80s. In the latter category is “Maze,” which superimposes an unfinished web of branching lines atop pastel shapes. If her prior work was a hazy memory, these are something of a loosely-constructed trip. There’s even some work that Stein and the museum are still devising ways to exhibit. “In the ’70s, when (Rexroth) was in the extremely productive creative moment (that produced IOWA), she was also working in other processes,” Stein says. “She made 120mm film positives, which in one case she mounted as a slideshow — almost like a motion picture broken up into stills. It’s a completely unseen work, which is very much of the 1970s moment, that we should account for in our histories of photography, and I’m excited to bring that to the public.” When Stein was hired by the CAM in 2017, he wasn’t yet aware that Rexroth lived in Cincinnati. He was, however, in search of ways to better represent women artists in the museum’s collection, having undergone his aforementioned “IOWA moment” while previously working at the Philadelphia Museum of Art. It wasn’t until he got ahold of the museum’s Friends of Photography list that Rexroth entered his radar. “Here’s the email that looks like the email of a person named Nancy Rexroth,” he remembers. “I’m thinking, ‘Could that be?’” It was. And it wasn’t long after Stein arrived in Cincinnati that his conversations with Rexroth began. Shaping the acquisition of The Nancy Rexroth Collection took place over an extensive series of conversations in which the pair looked over the entire archive with one another. Though Rexroth initially expected the museum to take particular interest in the IOWA collection, Stein stressed the importance of highlighting her entire career and development as an artist. “That’s the sort of contribution that we as an institution are making to the larger field of photography — this collaboration with her,” Stein says. Since their initial meeting in a library study room, the pair have become close friends. They have lunch regularly and

“Mother, Poetry Pose, Arlington, Virginia” P H O T O : T H E 1 9 8 8 R E X R O T H F A M I LY T R U S T

“Boys Flying, Amesville, Ohio” PH OTO: T H E 19 8 8 R E X R OT H F A M I LY T R U S T

brainstorm thank you notes to museum donors. Rexroth leaves presents for Stein’s son on her porch. “I’m moved and honored that this has transpired in my life, that she’s part of my life now,” he says. Due to the logistical challenges of displaying a large body of work — research, collaboration with other institutions, conservation — it will likely be five or more years before we see a full exhibition of The Nancy Rexroth Collection. In between that time, though, the museum will find ways to share bits and pieces of what becomes available. “I don’t want to acquire this and lock (Rexroth’s work) up for six years,” Stein says. “Within the next year or so, there will be a small feature of five to eight prints that

“Mississippi Drive, Muscatine, Iowa” PH OTO: T H E 19 8 8 R E X R O T H F A M I LY T R U S T

shows some of the real gems.” That presentation will be in the CAM’s new acquisition feature gallery near the front of the museum. If you’re itching to see Rexroth’s work ASAP, you can purchase a reprinted version of IOWA via the University of Texas press. In a time where your friends’ Finsta account is laden with intentionally blurred selfies and Spotify playlists are filled with atmospheric lo-fi Pop, perhaps the book is more of the moment now than it has ever been. For more information or if you would like to make gift toward the acquisition of The Nancy Rexroth Collection, visit cincinnatiartmuseum.org/rexroth.

ONSTAGE

‘Baskerville’ is More Camp than Classic R E V I E W BY JAC K I E M U L AY

S ATU RDAY , J U NE 22 , 2019 THE PHOENIX VENDORS CHÉ- VIP COURT ST REET L OB ST ER B AR COZ Y’S CAFE + PUB DEL GARDO’S FIERY HEN FIRST WAT CH FLIPDADDY’S HOLT MAN’S DONUT S

KE YSTONE BAR & GRILL LOLA’S- VIP LOUVINO LYDIA’S ON LUDLOW ME CKLE NBURG GARDE NS NATIONAL E XE MP LAR NICHOLSON’S TAVE RN & P UB

OTR BAGE LRY RE VOLUTION ROTISSE RIE ROSE DALE SLATTS P UB SLE E P Y BE E CAFE STATION FAMILY BBQ SUGAR N’ SP ICE THE P UB WILD E GGS

MORE TO BE ANNOUNCED

T IC KE TS ON S A LE NOW AT WWW. B R U N C H E D C I N CY . C O M

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Sir Arthur Conan Doyle’s The Hound of the so than physical comedy, as well as a scalBaskervilles — the third installment of four ing back of the exaggerated atmosphere. crime novels featuring Sherlock Holmes The set, designed by Derek Snow and — is one of the most famous stories ever Ted J. Weil, did not match the location written, and certainly the best-known for the majority of the production. in Doyle’s classic detective series. CurAdditionally, it had strange supplemental rently onstage at Newport’s Falcon Theatre, elements that jutted outward; and though Baskerville: A Sherlock Holmes Mystery is Snow, the director, made ample use of the more camp than dread. space, it felt confused and unfocused. The Falcon’s updated and more comedic set was painted almost cartoonishly, as if take on the suspenseful mystery folto heighten the production’s silly nature. lows the renowned Sherlock Holmes (Matt Dentino) and his faithful companion, Dr. John Watson (Alan Kootsher), as the two are called in to investigate a series of murders that have targeted a line of heirs to the Baskerville estate. The family blames the killings on a demonic hound from hell — but is someone (or something) else the culprit? As the duo take on their new boisterous American client — the last living heir of Matt Dentino as Holmes (left) and Alan Kootsher as Watson the Baskerville estate PHOTO: KRIST Y RUCKER — the detectives parse urban legend, the terrifying and mystical hound and a In the fast-paced and frenzied show, dark ensemble of increasingly zany and each actor created such wonderful deceptive characters. variance in voice and physicality that But this production leans more heavily the over-delivery quickly became into the comedic side of this refreshed overpowering. But one stand-out script and, in doing so, ignores much of the performer was Nick DeNuzio, who played deception and suspense the text attempts Sir Henry Baskerville and a mountain of to create. The play itself, written by Ken other ensemble characters. Ludwig of Lend Me a Tenor, is a comedy. DeNuzio committed to making each However, the show’s over-the-top direction of his characters wholly unique and is a disservice to the source material. exceptionally strange, which made Three of the five actors are tasked with for entertaining performances and creating over 40 eccentric characters impressively fast changes between that confound the mystery at hand. And characters throughout the play. However, though successful at creating the variance like his other castmates, he could not required to take on the massive number escape the excessively loud and forced of characters, the cast’s frenetic energy farcical undercurrent to the production. quickly teeters over the edge from skillful With flubbed lines and blackouts that fun into manic confusion. took a hair too long — or didn’t happen at This approach makes it difficult to focus all — the production could have been more on or follow the play’s storyline, causing polished, though these issues could be due it to be mired in its own distractions. As a to opening night jitters. result, at times, Baskerville drags on. The opening night production garnered Though the play is certainly a comedy, plentiful guffaws, but it lacked an overall laughs are already generously provided in artistic direction that could have propelled the text. In over-acting and committing it forward into a unique and more accesso ferociously to a vaudevillian delivery of sible take on an old whodunit classic. each and every moment, the production Falcon Theatre’s Baskerville: A Sherlock quickly becomes overwhelming. Holmes Mystery runs through May 18. This production likely would have been More info/tickets: falcontheater.net. more successful with a more truthful and straightforward approach to the comedic moments, which are moments of wit more

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2019

Mussorgsky & Mahler: Games of Thrones FRIDAY MAY 24

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Ideal for: Opera lovers, musical extroverts, storytellers and bards, spectacle seekers and bigger-is-better listeners—attend if you like Romantic and virtuosic music. 513.381.3300 • mayfestival.com

CLASSICAL

May Festival Looks to the ‘Great Beyond’ BY B I L L F U R B EE

Proclaimed as “a celebration of the human voice,” the 2019 Cincinnati May Festival takes place this month with four performances at Music Hall exploring the Great Beyond: The Immortal (May 17), Silences Between (May 18), Mahler & Mussorgsky: Games of Thrones (May 24) and Bach’s St. Matthew Passion (May 25). Complementary programming throughout the city is intended to engage and entertain as well. The annual May Festival features about 130 vocalists performing in concert with the Cincinnati Symphony Orchestra. Regarded as Cincinnati’s preeminent cultural institution, it’s the longest-running choral festival in the Western Hemisphere. Though its history is uniquely Cincinnati, the fest also collaborates with artists from around the world. Principal Conductor Juanjo Mena says the May Fest will work with artistic collaborators from outside the region. These include Scottish composer Sir James MacMillan and the Grammywinning eight-member avant-garde choral ensemble Roomful of Teeth. “Cincinnati’s cultural scene is grounded in tradition,” Mena says, “but not afraid to support new works by contemporary artists.” To that point, it’s good to note this probably isn’t your grandparents’ choral fest. Mena describes the May Fest’s North American premiere of Mark Simpson’s oratorio The Immortal as incorporating “surround-sound electronics” alongside the CSO, the May Festival Chorus, baritone Rod Gilfry and Roomful of Teeth. It’s appropriate for the festival to open the door for collaborators from around the globe. As a matter of fact, its roots go back to the homeland of many early immigrants. In the 1800s, these families brought a love of choral festivals to the Americas, which were wildly popular in Europe. Here in Cincinnati, they’d gather for Saengerfests, performing grand works in choral unison. Think about it: the May Festival was founded in 1873, the Cincinnati Art Museum came along in 1886, the Art Academy of Cincinnati opened in 1887 and our own Cincinnati Symphony Orchestra was born in 1895. The Queen City was quite the cultural hub, with all eyes on our Ohio River banks to see what would come next. The very first May Festival concert was a smash, and it wasn’t hard to generate excitement for a follow-up in 1875. Unfortunately for performers — and the estimated 4,000 in attendance (with another 2,000 estimated in the streets outside) — a passing thunderstorm pelting the leaky tin roof of Saengerfest Hall put a damper on things. That, in its own way, was a big reason for the construction of today’s Music Hall; its Springer Auditorium was ready in time for the third May Festival Chorus in 1878 — where the May Festival still takes place in the present day.

“Of course, the May Festival doesn’t just take place inside Music Hall,” Mena says. “Last year I invited an Otxote — a group of eight male singers from my homeland, the Basque Country of Spain — to perform not only before my concerts at Music Hall, but also in Fountain Square, in local restaurants, in schools and retirement homes. It is crucial that we take the May Festival into our communities.” Because of the legacy and continued success of the May Festival, its organizers take great pride in attracting new listeners.

Principal Conductor Juanjo Mena P H O T O : M I C H A E L N OVA K

One of last year’s highlights was an invitation to community members to rehearse movements of Handel’s Messiah under the May Festival Chorus’ Director Robert Porco. It was a hit — nearly 200 individuals sang in the final concert as members of the community chorus. “There was no audition process,” Mena says. “It was important to me that everyone was welcome, and I was mindful that an audition would have been a barrier.” This year, the concept goes even further. An entire concert — Sounds of the City on May 19 — will be dedicated to giving community choruses the chance to perform at Music Hall. The concert will be free to attend. “Engaging our entire audience — and by that I mean existing audience members and those waiting to be welcomed — is of great importance to me, and it is even more of a challenge when there are only four concerts to program,” Mena says. “I am searching to continuously enhance and rejuvenate the festival with interesting and attractive programs and projects, but at the same time to really engage with our society — with people in our community who enjoy singing in an amateur capacity. “I’d like to convince them that the May Festival is their home, too.” The May Festival takes place May 17 to May 25 at various venues across Cincinnati. More info/tickets: mayfestival.com.

CULTURE

Arcade Legacy Launches Pinball League BY S E A N M . PE T ER S

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Attention local pinball wizards: There’s a new league in Cincinnati. The Arcade Legacy: Bar Edition Pinball League will wrap up its inaugural run May 5, enjoying a successful premiere with 36 registered players. (The finals will be held May 26.) The league has been a long time coming, says Jesse Baker, owner and operator of Arcade Legacy. While the spring season is nearly over, the next season will start in Pinball machines at Arcade Legacy: Bar Edition late September. Registration PHOTO: SEAN M. PETERS costs $15, which goes toward International Flipper Pinball attend on a weekly basis since it revolves Association (IFPA) fees and cash payouts around participants’ personal schedules for top scorers. — a detail that he calls a “major game The league has three skill tiers — A, B changer.” and C — and Baker says that in the first “It has also added another great way for week, participants will be grouped by their the community of players to get together initial scores, which are compiled through and share their love of pinball,” he says. a series of 10 games. Behr’s current favorite pinball machine “In each division, there’s a money payout is Deadpool, inspired by Marvel’s infaand a prize payout. The top three in each mous “Merc with a Mouth” and the 2016 division get a percentage of the league fees Ryan Reynolds film of the same name. and there’s a trophy for the winners of each Arcade Legacy’s Baker is a bit of a division,” Baker says. “Even the lowerpinball whiz himself, ranked as the 143rd skilled players have a chance to win money best pinball player on the planet, accordand a trophy because you only play with ing to the IFPA, which serves as the official the people in your division.” governing body for pinball as a competiFor the next seven weeks, participants tive sport. Ever since Baker was a boy, he play several games in a group of four played the silver ball, but only in the past people competing in three rounds with three years has he started to compete in the goal of claiming the high score. Every officially sanctioned IFPA tournaments. week, participants play the same game. One of Baker’s favorite machines, a Depending on if you win or lose, players game called Road Show, is played by his can move up or down in the rankings. local league. Unlike a bowling league, where you “It’s a construction game, which right have to schedule around a specific night off the bat is probably not all that exciting to play with your team, the pinball league sounding to most people,” he says. allows you to come in to Arcade Legacy: In the game, you move across the United Bar Edition in Northside any day of the States. In the middle, there’s a map with week and play at your own pace. A staff different cities, each with different goals. member will verify your score and enter As a pinball expert, Baker has the it into the official lists. (Of course, some credentials to give pretty good advice to people plan it so they can play with their anyone about how to succeed in the game. team.) For starters, know the rules. “A league is good for getting into pinball “You can get up there and you can flip because it’s lower pressure,” Baker says. around and get a few points, but you’re not “You don’t have to play with other people, going to get too far,” he says. “You have to you can just play by yourself, put your know the right sequence of shots; that’s a scores up and see how you do against your huge battle. Then there’s having to aim; opponents.” that’s not something someone can really One of the season’s highest-scoring teach you — you just have to stand there league members is Tony Behr, a dental and practice it.” ceramist and fine arts professional by If you’re interested in signing up for next trade. (Behr is in the “A” division.) season’s league, be sure to follow Arcade “For someone in my position, the league Legacy: Bar Edition on Facebook. If you’d has gone very well,” Behr says. “I have a like to get some practice in, they also hold very busy lifestyle and I cannot make it tournaments every second Saturday and to as many tournaments as I would like the last Friday of every month. to. Tournaments were the only means For more information on how to join I had to be involved with competitive Arcade Legacy: Bar Edition’s Pinball pinball.” League, visit facebook.com/albaredition. This league, he says, has allowed him to

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2019

The Immortal:

Featuring Roomful of Teeth! FRIDAY MAY 17

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8 pm | Music Hall

Ideal for: Romantics, philosophers, wonderers, poets—attend if you like great literary texts and exploring the possibilities of the human voice. 513.381.3300 • mayfestival.com

‘Billions’ is a Killer Take on Power and Greed BY JAC K ER N

Like an investment compounding interest still mysterious three seasons into their year after year, Wall Street drama Billions run. Working with family is always risky, (9 p.m. Sundays, Showtime) improves and it’s interesting to see how someone season after season. Now in its fourth, as unemotional and calculated as Taylor it’s a wonder the series hasn’t garnered navigates that dynamic, particularly with more attention, particularly in the awards someone who shares their brilliance yet circuit. The writing and acting elevate two struggles to accept their identity, down to topics I don’t find particularly compelling basic pronouns. (but are handled very well) — New York politics and high finance — into a fascinating take on power, greed and corruption at the highest levels. Balanced by comedic sidekicks and expertly employed pop culture references and cameos, Billions is like the sadistic The cast of Showtime’s Wall Street drama Billions lovechild of PHOTO: COURTESY OF SHOW TIME House of Cards and Entourage. If the subject matter doesn’t entice you, Chuck has his own adversaries, the cast certainly will. Billions features a which seem to multiply during his run killer lineup of talent you’ve likely seen for attorney general of New York. The elsewhere — Paul Giamatti (duh), Damian measures he’s willing to take to secure Lewis (Homeland), Maggie Siff (Tara, Sons the office are shocking to audiences and of Anarchy), Jeffrey DeMunn (Dale, The the other characters alike, particularly Walking Dead), David Costabile (Gale, as they pertain to a damning blackmail Breaking Bad) — and some you likely situation. Then there’s his father, Chuck haven’t yet, like Asia Kate Dillon, Toby Rhoades, Sr. (DeMunn), a constant force Leonard Moore and Condola Rashad. Just of antagonism. Come to think of it, all seeing the lot interact onscreen is enterthe dads in this show kind of suck. But taining, as so many of them have taken on watching Giamatti and DeMunn go toe to truly despicable roles. Unsurprisingly, in toe is an utter delight — a scene where the the underbelly of politics and wealth live junior briefly impersonates his father is some dastardly bastards. alone Emmy worthy. (Seriously, where are For years, at the heart of the story was the nominations for this show?) the unrelenting rivalry between hedge For Chuck and Axe, along with all fund manager and billionaire bad boy their underlings, deals and favors mount Bobby “Axe” Axelrod (Lewis) and the undein a high-stakes game of “I scratch your feated U.S. attorney intent on taking him back, you scratch mine.” This builds these down, Chuck Rhoades (Giamatti). This seacharacters, their bank accounts and their son they’ve finally leveraged their mutual influence up and up — until, just as swiftly, interests — one of many being Chuck’s they fall like dominoes. Double-crossing, wife Wendy (Siff), Bobby’s secret weapon sabotage and manipulation abound. and in-house psychiatrist at his firm Axe Somehow the narrative isn’t bogged Capital — and teamed up to become what down by all the bad guys, perhaps because looks to be an unstoppable duo. they have so much fun doing it. For all the Axe has a new enemy this season — insider talk and takedowns, there is some former mentee and wunderkind Taylor necessary levity and great comedy elicited Mason (Dillon, considered the first actor to from fleece vest-clad finance bros. And a play a nonbinary character on mainstream new partner — in more ways than one — TV), who left Axe Cap to start their own for Axe is a breath of fresh air. firm. It’s a perfect example of not knowIf you’re watching TV this Sunday, odds ing who to root for on this show. Loyalties are you’re tuning into a different drama are constantly changing and everyone is on another premium cable outlet. But if primarily motivated by self-interest. you like following power-hungry leaders Viewers also get to know Taylor a bit eliminating their enemies on the quest for more when they begin working with their dominance, DVR Billions, too. father (Kevin Pollak), who provides insight Contact Jac Kern: @jackern into the background of a character that’s

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Heady Rotation

FOOD & DRINK

The Wheel’s monthly pop-up dinners provide standing opportunities to experience fine dining with strangers BY K AT I E H O LO C H ER

C I T Y B E AT. C O M

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veryone should have the opportunity to dine with really exquisite strangers. I’ve had that opportunity just three times in my life and yet it is one of my favorite things to do — to attend an intimate coursed dinner with communal seating and an unknown guest list. It transforms going out to eat into an artful experience. Now, one cannot usually decide on a whim to attend one of these dinners as they are typically offered in a pop-up fashion, however Chrissy Antenucci has turned this concept into a mainstay of her business at The Wheel in Oakley. And that means there are now standing opportunities for many to experience a pop-up dinner party — if they can RSVP quickly enough, that is. When Antenucci first decided to open a restaurant, she ran into issues with zoning restraints and other snags and decided to turn her space into a carry-out spot instead. It was only during construction that she started hosting pop-up dinners to somewhat work against the time it was taking to get The Wheel up and running. The private dinners, spread by word of mouth, email and social media, grew in such popularity that she decided they would be an ongoing part of her business plan, a way to spin a positive outcome from her obstacles. What most people were interested in was the unique twist of going out to eat in a seemingly nondescript “restaurant.” The Wheel, which is located in a storefront next to a handful of brick apartment buildings at the end of Brotherton Road, is easy to overlook. By day, it is a sandwich, pasta and pizza carry-out, but by night it transforms into a space where 20 people come together to sit across from one another to be served five courses of Antenucci’s choosing and preparing. And the latter is the most amazing part. My husband and I secured two highly sought-after spots one wildly rainy night in April. I went in that evening with high expectations. I had been hearing all about these dinners for months. My husband had previously attended a private party and all he said when he came home that night was, “You’re going to love it; out of this world.” After that rainy April date night, all I can say is that he was absolutely right. Upon arrival, we were seated across from one another near the center of the table. To my left, a married couple from Indian Hill who were waiting on two other

couples to complete their party of six. To my right, a recently retired Duke Energy engineer who was in town from North Carolina visiting her daughter. We exchanged pleasantries and personal experiences with both of our flanked parties, all the while pouring each other glasses from our own brought bottles of wine. Then the courses started. The Wheel The antipasti 3805 Brotherton was a fresh pea Road, Oakley, soup with ramp thewheeloakley.com frittata and truffle focaccia. Antenucci acknowledged it was the persistent Course four was definitely my favorite, rain that day that served as the impetus for as I have yet to meet an agnolotti I don’t starting with soup. This bowl was creamy like. Antenucci prepared a carrot agnolotti and pungent and promising. A bit of each with morels, brown butter and sage. While component individually was good, but carrots can carry a sharp sweetness, they a bite heavy with the ramp frittata and were perfectly housed in the agnolotti the green base of the soup was the most pocket, and with the earthiness of a impactful. I would have been down for two morel and that sweetly rich dousing of frittatas in my bowl because they were very, brown butter and sage, this was the pasta very good. equivalent of reading a book by a fire. The second course was a salad made For dessert was angel food cake with with Antenucci’s own fresh goat cheese, kumquats and a Meyer lemon sabayon. pickled strawberries, fava beans prepared I always love a creamy, citrus cake-like in a pink peppercorn marinade and 80 dessert and this one shone brightly. While Acres lettuces, all dressed with a basilI was slightly stuffed heading into this whey vinaigrette. This salad was extremely final course, I was able to make room. light, yet sweetly savory. Fruit on salad The tanginess of the kumquats with the tends to veer toward sweet, but this salad piquant sabayon made for one uplifting yet had a strong herbal presence that made settling final mark. it feel anchored. The warming soup then, In the end, the entire dinner beat on dare I say, warming salad, kept us all on as rhythmically as the rain against the the right trajectory. sidewalk out front. Between the bobbing Course three was a tagliolini with crab of conversations, the sharing of BYOprosecco fondue and a tomato tarragon wine and the cadence of each course, The broth. While I am typically not into Wheel’s pop-up dinner left me impressed watery broth, especially when it comes and wildly appreciative. to a pasta course, I was not at all put off In fact, it would be my recommendation here. The tagliolini, which is handmade that you not go with a party of four or six, — as is everything that Antenucci offers but just two. Make it a date and go into the — was sturdy yet silky and proved to be night knowing you are there to immerse particularly satisfying rolled up around a yourself in both the food and the table. big bite of crab. Now, these opportunities can be hard to

Tagliolini with crab prosecco fondue and a tomato tarragon broth and a salad with strawberries PHOTO: HAILEY BOLLINGER

come by and while The Wheel offers them on a monthly basis, it can be difficult to get an RSVP. In order to secure a spot, you must request to join the listserve by emailing thewheeloakley@gmail.com. Then you have to wait to receive an email that announces that month’s pop-up dates. Once you see that in your inbox, you’ll need to reply with your request ASAP — and we are talking within minutes. When I first tried to attend a dinner in January, I emailed them not 40 minutes after getting the email and my request could not be accommodated; they sold out that quickly. However, if and when you do find yourself lucky enough to have a reserved seat, just know you are getting in on something very special and very good. As I walked back out into the rain after enjoying an evening not only with my husband, but also with those who I happened to be seated next to, I realized that this is exactly the kind of thing I want to encourage everyone to experience. A dinner at The Wheel is something really special and not to be missed, as hard as a spot may be to secure.

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THE DISH

BrewRiver Expands in Linwood BY L AU R A L E AV I T T th

EST. 1933

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Bread pudding and Pasta Monica PHOTO: HAILEY BOLLINGER

Mark Cooper Amy McFarland and Billy Larkin

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BrewRiver Creole Kitchen, 4632 Eastern Ave., Linwood, brewrivercreolekitchen.com.

UPCOMING LIVE PERFORMANCES

they are New Orleans-themed,” Bowman says. “We called ourselves ‘Creole’ because it comes from the influence of French, Spanish, African, Italian, even Vietnamese in New Orleans food. Cajun is one of those influences, but Creole food is all these people landing in the Port of New Orleans and bringing their cultural background to their cooking; it’s more like fusion.” One example of a Creole-influenced dish is the Pasta Monica; it’s inspired by the wildly popular Crawfish Monica from New Orleans Jazz Fest. The plump shrimp are generously coated in a Creole cream sauce, which manages to pack a major flavor punch without burning one’s tongue off. This spring, Brink Brewing Co. made a limited-run King Cake beer — a good accompaniment to the pasta, served in a glass with a brightly-colored sugar rim. The menu also contains a wide variety of recognizable dishes, from short rib poutine to fish and chips. No New Orleans theme would be complete without tunes and BrewRiver Creole Kitchen brings in music of all kinds almost every night of the week. “We have Blues, Boogie-Woogie, Jazz, the New Orleans classics,” Bowman says. “On the weekends, we also some acoustic duos, ’70s, oldies, all with great harmonies.” New Orleans and Cincinnati, in Bowman’s opinion, share some of the caring and character that she wants to reflect in the service and ambiance of the restaurant. “We (Cincinnati) are the most northern Southern city,” she says. “There’s a type of hospitality in Southern cities where people look at you on the street and say ‘hi,’ and I feel like we do that here.” A few months after opening, BrewRiver Creole Kitchen has begun to settle into its niche: upscale fusion dishes in a historic setting. “We are family-owned, through and through,” Bowman says. “This restaurant is a letter of love, an expression of the passion that we have for what we do.”

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Hearing a Boogie-Woogie tune on the piano while sipping a craft cocktail on a brightly furnished patio with a magnolia tree in view — you wouldn’t even have to squint to think you were in New Orleans. The atmosphere and cuisine at BrewRiver Creole Kitchen brings the spirit of the Crescent City to Cincinnati in a stately 150-year-old building on Eastern Avenue. From 2011 until 2018, owner Joby Bowman and chef Michael Shields ran BrewRiver GastroPub on nearby Riverside Drive before deciding to branch out in two directions at once: BrewRiver became a taproom food provider at Sonder Brewing in Mason at nearly the same time they made the transition from a smaller gastropub location in the East End to a larger building in Linwood (previously occupied by Bella Luna). “No sane human being opens two restaurants within two months of each other, but the universe and time decided what was going to happen,” Bowman says. “Many of my guests said, ‘Things happen for a reason and you are in the right place now.’ That’s how I choose to look at it; yes, it was hard, but it pushed us into a good direction.” The transition has created expansive opportunities; by growing from a 97-seat restaurant with a 45-seat patio to a 200-seat restaurant with a 35-seat patio, BrewRiver has the chance to serve far more guests and, in the future, offer private parties and receptions. “Ultimately, we picked (the Eastern Avenue space) because of the location, the beauty and the history of this building; it was always a restaurant since 1862,” Bowman says. “It already has that New Orleans feel because it is a 19th-century building.” Opening two places in two months last fall, though, was no picnic; as the timing had it though, BrewRiver at Sonder opened first and was a good place for employees to work while the Creole Kitchen got up and running. The Creole Kitchen location has opened up options for chef Shields to add new items to the menu — broiled oysters, fried green tomatoes with a pecan cornmeal crust and bread pudding for dessert. And the duo envisions more and more seasonal and New Orleans-inspired dishes, given the larger kitchen. “With this space, we can do things that we couldn’t do before: a steak dish as a special, jambalaya, muffuletta,” Bowman says. “We had jambalaya as a special for Mardi Gras, and it was on practically every table.” One factor that the name change allowed Bowman and Shields to emphasize was the special connection they have to Creole cuisine; Shields worked with chef Emeril Lagasse for six years, three in New Orleans and three at Lagasse’s Atlanta restaurant. “People get confused by our restaurant because restaurants are usually Cajun if

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MUSIC Tauk of the Town For its latest recording efforts, progressive Funk/Fusion group Tauk took inspiration from unique sources like Ex Machina and Black Mirror BY DAV I D G I L D E R U B I O

Tauk PHOTO: SOUL VISION

being a live band and I think live shows (are) where we excel. But there’s definitely an avenue for movies and things like that. We’re capable of doing more than just playing in a band.” While Tauk can be musically complex, its ability to connect with an audience in a concert setting is paramount for what the quartet does. That connection is as important to the band members as it is to the people coming out to see them. “Fans coming out to see us can expect a good time. You’ve gotta dance and have fun. We take ourselves seriously, but you can’t take yourself too seriously,” Carter says. “You have to remember that we’re doing this because it’s what we love to do. When you’re sharing with people, it’s our music, but they own a part of it as well. “The bottom line is that we want to have fun and make it enjoyable. Everything from a nice two-step and head-banging to jumping around — however you feel inspired, we definitely give 110 percent when we’re playing it live.” Tauk plays Covington’s Madison Theater May 10. Tickets/more show info: madisontheateronline.com.

C I T Y B E AT. C O M

booking gigs at Manhattan-based venues like The Bitter End. “Long Island’s music scene is really tough,” Carter says. “It’s really cover bands and Punk, which is good if you’re in cover bands or a Punk band. For us, we learned early that the city was really where it’s at if you wanted to be taken seriously and get that experience at an early age, which was great.” Brooklyn drummer Teel was recruited later by the trio after college. The unofficial fifth member of the band is music industry veteran Robert Carranza, who has worked with a broad range of artists and has produced all of Tauk’s studio efforts. His contributions have been and continue to be greatly appreciated by the members of the band. “I think it says something for somebody to be as broad musically as Robert is,” Carter says of Carranza’s extensive experience. “For him to work with Jack Johnson and then to work with Ozomatli, Mars Volta and Marilyn Manson is him working on completely different genres on the spectrum. He’s mixed for movies. For what we do, it definitely helps, given that we’re an instrumental band. We bounce ideas off of him. “We obviously love to play live music and

of “CMF 9000” to the psychedelic melding of guitar, keyboards and rhythms on “Let It Ride” and the melodic riffing on “Convoy” to the juxtaposition of ethereal shading and chaotic vibes on “Checkmate.” It’s that kind of sprawling musical approach that Carter feels is Tauk’s strength, even more so when it comes to trying to define the band. “It’s really hard to put a genre to Tauk,” Carter says. “I always ask people how they would describe it and I get everything from instrumental Rock Fusion to Prog Fusion to Funk. It ranges. I’m not really sure, but that’s a good place to be. “I think in today’s day and age, you look in the 1990s and there was Post Rock and all these different variations of Rock. What’s Alternative Rock now? There are so many different ways to have these sub-genres. Now, it’s about what feels good and what’s coming back around. That’s obviously something that’s subjective, but if it feels good, it feels good. And people who know that will feel it.” The roots for Tauk date back to when Carter, Jalbert and Dolan met up in middle school. What started out as jamming as part of an impromptu extra-curricular activity eventually morphed into the trio graduating from playing Long Island to

M A Y 0 8 -1 4 , 2 0 19

o one would ever accuse Tauk of being easily definable. The instrumental Long Island-based outfit delves into a fusion of Progressive Rock, Hip Hop and Jazz that’s served them well over the past several years. Ever since vocalist Alessandro Zanelli left the fold in 2011, the quartet of Matt Jalbert, Charlie Dolan, Alric “A.C.” Carter and Isaac Teel have soldiered on to great success as an all-instrumental combo. The group has become a favorite on the Jam band circuit, sharing bills with the likes of Umphrey’s McGee, Widespread Panic and Lettuce. Along the way, they’ve also recorded four well-received albums. The musicians’ love of the unorthodox can be further found in unique influences like science fiction and the concept of artificial intelligence. In 2018, Tauk released a two-part project that kicked off with the EP Shapeshifter I: Construct, followed by the recently released fulllength follow-up Shapeshifter II: Outbreak. For Carter, film and television was where the spark of inspiration began. “The theme of artificial intelligence commentary on where we’re going in movies like Ex Machina and Black Mirror were definitely inspirations that we drew on to create these songs,” he says. “Plus, (to record) we had an opportunity to set up in this old house (in Oyster Bay, New York) that no one has been living in for years. We put in our sound board and all our gear in there and it happened in that house, in the living room. It was a really cool experience that we were able to do all the pre-production, recording and overdubs all in the same space. The house definitely lent itself to that, being old and creepy. It just had this vibe that fed into where we were trying to go.” Recorded in December 2017, both releases will tickle the fancy of anyone who has an affinity for the Funk-flavored Jazz/Fusion stylings of Medeski Martin & Wood, Soulive and Sex Mob. The band does a deep-dive into the sci-fi side of the pool, serving up songs ranging from the futuristic soundscape and heady grooves

C I T Y B E AT. C O M

M A Y 0 8 -1 4 , 2 0 19

SPILL IT

The Ophelias Release Live Audiotree EP BY M I K E B R EE N

Cincinnati-based Indie/Art Pop band The Ophelias recently dropped a seven-track live EP. On May 1, the reigning Cincinnati Entertainment Award winners in the “Indie/ Alternative” category released the EP of songs recorded last month as part of the popular music platform Audiotree’s live sessions. The Ophelias on Audiotree Live is available on all major digital The Ophelias outlets to stream or purchase. Video P H O T O : A U D I O T R E E .T V of the full session is also available via YouTube. Visit topcatscincy.com) on May 11. audiotree.tv for links to all of the content. AP Counterfeit is one third of the Six of the seven tracks on the EP are Cincinnati trio Counterfeit Money songs from the band’s full-length Almost, Machine. He’s touring in support of his which was released a year ago through solo EP, Lassie, which is described as “a respected indie label Joyful Noise post-apocalyptic progressive Hip Hop Recordings. The other track is “Adam’s snack” and is available on most major Apple” from The Ophelias’ Creature Native, streaming platforms via the local imprint which was recorded in 2015 and released Grasshopper Juice Records. in 2017 by Joyful Noise as part of its The Top Cats show features an limited-edition White Label series. impressive supporting cast that includes For the Audiotree session, the band a set from Counterfeit Money Machine, got to record for the first time with its plus local favorites like Triiibe, WeirDose expanded touring ensemble, in which (with Counterfeit Money Machine’s singer/guitarist Spencer Peppet, drummer soundscaping genius Juan Cosby) and Micaela Adams and violinist Andrea Haskell. Gutmann Fuentes are joined by violinist Showtime is 9 p.m. and tickets are Nina Payiatis and bassist Jo Shaffer. $10. For more on AP Counterfeit visit Working with the touring musicians apcounterfeit.bandcamp.com and opened up some new possibilities when it grasshopperjuice.com. came to recording some of the previously• Speaking of Top Cats, the legendary released material. local club (which reopened last year under “It was especially great playing (Almost new management) is hosting a “battle of track) ‘Lunar Rover’ with Nina because we the bands” competition this summer and were able to create those looped rounds is currently taking submissions. that are so integral to the song,” Fuentes According to a press release, Top Cats’ said in a press release. “Last Band Standing” contest will award The Ophelias will embark on a quick run over $10,000 in cash and prizes to the of tour dates with fellow Cincinnati band winners. There will be four rounds with Leggy next month, beginning in Detroit four acts over four nights in July, with and wrapping up in Brooklyn. the victors from each night going on to For more on the band visit compete in the finals on Aug. 2. theopheliasband.com. Submissions are being accepted until More Local Notes June 1 via cloudpresskit.com. There is a $10 • Cincinnati Hip Hop artist AP Counterfeit submission fee. is currently in the midst of a coast-to-coast More details can be found at tour with Chicago-bred/Minneapolistopcatscincy.com, under the “Last Band based MC Longshot, who records for the Standing” tab at the top of the homepage. esteemed Doomtree Records. The pair’s Contact Mike Breen: Against All Odds tour winds through mbreen@citybeat.com Cincinnati this weekend with a show at Top Cats (2820 Vine St., Corryville,

MINIMUM GAUGE BY M I K E B R EEN

Funeral Songs A UK chain of funeral homes called Co-op Funeralcare recently released the results of its latest poll to find the most popular songs played at funerals (in the UK) and, for the first time, not a single traditional hymn placed in the Top 10. Frank Sinatra’s “My Way” again landed at the top of the chart, followed by songs by Bette Midler, Robbie Williams, Nat King Cole and Eva Cassidy. Ed Sheeran’s song for his late grandmother, “Supermarket Flowers,” made its top 10 debut, coming in at No. 6. Beyond the top 10, popular Rock songs played at funerals included Meat Loaf’s “Bat Out of Hell” and Led Zeppelin’s “Stairway to Heaven.” Monty Python’s “Always Look on the Bright Side of Life” — which unseated Sinatra in the top spot in 2014 — now sits at No. 10.

Wu-Tang Gets on the Map It certainly must be a great honor to have a street name after you, something many beloved celebrities have experienced. But the Wu-Tang Clan recently had an entire chunk of a neighborhood renamed in their honor. The Hip Hop group has long been loud and proud about their Staten Island roots and now the streets of the Park Hill section of the New York borough are collectively known as the Wu-Tang Clan District. Several fans turned out to mark the christening, with councilwoman Debi Rose honoring the group by saying they “put Staten on the map internationally.”

Chance Revives Nuggets Is there anything Chance the Rapper can’t do? The Kit Kat and Doritos spokesperson recently engaged with another brand on social media — Wendy’s — and now it appears he has altered the fast food chain’s menu. Or maybe it was just part of a paid endorsement. Chance tweeted a wish that Wendy’s would bring back their spicy chicken nuggets, which were discontinued in 2017. Not one to miss out on a big promo opportunity, the burger chain replied saying they’d do it if their retweet got more than two million likes (which, of course, it did in less than two days). Chance also rode the hype, announcing on Twitter that his new album would be out in “less than two months,” adding the hashtag “#spicychickennuggets,” which we really hope isn’t the title.

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The Wild Hunt and the Sometimes the Blues is Just a Passing Bird EP, which featured his first recordings as The Tallest Man on Earth with an electric guitar. Matsson’s third album, 2012’s There’s No Leaving Now, led to European and American touring, including an appearance at the prestigious Newport Folk Festival. His fourth album, 2015’s Dark Bird is Home, was primarily influenced by Matsson’s divorce and the death of a family member; the album also featured more complex arrangements and a greater array of instruments, a marked change in musical direction. That shift was largely reflected in Matsson’s latest release and first new album in four years, I Love You. It’s a Fever Dream. Although Matsson was exposed to Bob Dylan, Pete Seeger and Woody Guthrie as a teenager, he insists that his work stands apart from that Folk heritage. He discovered open tunings through listening to Nick Drake and he counts Roscoe Holcomb, Cat Power, Feist and Emmylou Harris as direct influences. However he comes by it, the distinctively unique music that Matsson makes as The Tallest Man on Earth is powerful, emotive, engaging, haunting and simultaneously heartbreaking and healing. (Brian Baker)

M A Y 0 8 -1 4 , 2 0 19

As of last year, Sultan Kösen was certified the tallest man by Guinness World Records, measuring an astonishing 8 feet, 1 inch tall (his actual height may be 8 feet, 4 inches but he measures shorter due to scoliosis and poor posture). But the metaphorical honor still belongs to Swedish native Kristian Matsson, who travels the world as an Indie Folk troubadour under the banner of The Tallest Man on Earth. He may be nearly three feet shorter than the world’s actual tallest man, but Matsson’s talent, emotionally engaged lyricism and melodic gift puts him shoulder to shoulder with some of the giants of music. Born in Leksand, Sweden in April 1983 (just four months after tallest man Kösen. Coincidence? Probably), Matsson studied Classical guitar as a teenager, but quickly became bored with the genre’s mathematical precision and abandoned his lessons. As a young adult, he formed the Garage Pop outfit Montezumas. After its break-up, he tested the water the following year with the release of a five-song debut EP under his The Tallest Man on Earth pseudonym. At that point, Matsson had no intention of maintaining an ongoing solo career, keeping his identity a complete secret. The turning point came with the 2008 release of his debut full-length, Shallow Grave, which was almost universally praised and was cited as one of the year’s best albums by a number of media outlets. That buzz led Bon Iver’s Justin Vernon to invite Matsson to open for the band’s 2008 tour, which led to The Tallest Man on Earth’s first wide-scale solo tour and then a 2010 contract with Bloomington, Indiana’s Dead Oceans label. That same year, Matsson released his twin debuts for Dead Oceans — the sophomore full-length

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After 18 years in the music business, songwriter and multi-instrumentalist Edward David Anderson has seen a thing or two. As a leader of Bloomington, Illinois’ Americana/Rock outfit Backyard Tire Fire, he released eight albums to the acclaim of both critics and a rapidly growing fanbase. Extensive tours alongside acts like Cracker, JJ Grey & Mofro and Reverend Horton Heat brought the group even more notoriety and they were a frequent spin on Greater Cincinnati’s WNKU. Then, in 2011, the band went on indefinite hiatus. But Anderson plowed ahead. His solo work is frank, heartland Folk, for sure, but there’s also some Midwest Soul, a certain earthiness and his trademark dog-catcher’s-net of Pop sensibility. “Songs about people and places, about life and love and loss. It’s Roots music, cultivated in the fertile soil of the Midwest,” he says of his music in promo materials. Anderson’s solo debut, Lies & Wishes, landed in 2014, followed in 2015 by Lower Alabama: The Loxley Sessions. His latest, released late last year, is Chasing Butterflies. On Butterflies, tales of bad tattoos (“The story of my life’s written on my skin”) and self-doubt (“There’s a restlessness I guess/I’m uneasy I confess”) bookend a series of plaintive, endearing tales. Basics for the album’s 10 tracks came about quickly, captured over just a few days in Muscle Shoals, Alabama at the studio of Grammy Award-winning producer Jimmy Nutt (The SteelDrivers). “I’ve always wanted to make a record in Muscle Shoals. But it needed to be the right batch of songs with the right people,” Anderson says. “I don’t think I could have written these tunes when I was 25. Everything I’ve done, the people I’ve met, all the places I’ve been, have brought me to this moment.” Here’s hoping Anderson continues to chase the butterflies that bring the rest of us such great music. Counting live albums and pre-Backyard Tire Fire work,

In 2016, the seeds were planted for a new collaborative collective featuring artists and musicians from all over the world. Dubbed 37d03d (which spells “People,” if you flip it upside down), the project introduced an online platform last year to freely share audio from the numerous participants — including members of The National, Bon Iver and many other solo and group acts — as well as their varied collaborations. The artistic spirit of 37d03d has also manifested itself at live events, including a recent two-day event in Berlin that included Bryce and Aaron Dessner, Justin Vernon, Nils Frahm, Sam Amidon, Damien Rice, My Brightest Diamond and more. Local fans of those artists will get to experience a similar event on May 13 at Northside’s Hoffner Lodge, as three 37d03d affiliates team up for an 8 p.m. showcase that includes members of Cincinnati’s own arts collaborative, Intermedio, a music-based collective that experiments with and expands on the concept of concert performance, as they did with the recent On Touching piece that was part of the Contemporary Arts Center’s This Time Tomorrow fest. Also participating in the May 13 event is brilliant Cincinnati percussionist Ben Sloan, a member of the local band A Delicate Motor who has worked with artists like The National and Why?. Sloan is readying the release of his first EP under his own name, m u t e d c o l o r s, which is due this fall. Rounding out the interesting May 13 event is Buke and Gase, a fantastic Art Pop duo from Brooklyn that has garnered widespread acclaim and worked with the likes of Lou Reed and Laurie Anderson, Animal Collective and — again! — The National. Aron Sanchez’s and Arone Dyer’s band moniker comes from the two self-made stringed instruments that are at the core of their music, a highly melodic, electronicspainted sound that brings to mind the progressive artistry of Björk or Tune-Yards. The duo’s thoroughly compelling Scholars — Buke and Gase’s first new album in six years — was released earlier this year. Sloan and Dyer performed with Intermedio’s Eric Blyth at a 37d03d event in Berlin last year, so the forthcoming show is a bit of a reunion and offers a chance to catch a rare performance sure to be loaded with more of that trademark collaborative spirit. (Mike Breen)

LISTINGS

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

WEDNESDAY 08

STANLEY’S PUB - 3 Peace and Missing Jacque. 10 p.m. Rock. Cover.

and Siren Suit. 10 p.m. Progressive/Indie/Rock/Various. Free.

CAFFÈ VIVACE - Blue Wisp Big Band. 8 p.m. Big Band Jazz. $10.

URBAN ARTIFACT - Pout, The Hollow Souls, Literary Squirrel and Actual Italians. 9 p.m. Rock/Punk/Various.

PEECOX ERLANGER Saving Stimpy. 9:30 p.m. Rock. $5.

BOGART’S - Overkill. 7 p.m. Metal. $25.

HILTON NETHERLAND PALM COURT - Brian Cashwell Trio. 6 p.m. Jazz. Free.

MADISON THEATER - The Tallest Man on Earth. 9 p.m. Indie Folk. $30, $35 day of show.

MOTR PUB - The Yawpers with In the Whales and Ghost Wolves. 10 p.m. Rock/Roots/Various. Free.

NORTHSIDE TAVERN - Joesph, Logan Brown and Mavis the Dog. 9 p.m. Indie Rock. Free. SOUTHGATE HOUSE REVIVAL (LOUNGE) - St. Stevns Choir with Sarah Gail Davis. 9 p.m. Roots/Various. Free.

STANLEY’S PUB - Maritime Law & Friends. 9 p.m. Acoustic/Jam. Free.

THURSDAY 09

ARNOLD’S BAR AND GRILL - Philip Paul Trio. 7:30 p.m. Jazz. Free. BOGART’S - Led Zeppelin 2. 8 p.m. Led Zep tribute. $10. CAFFÈ VIVACE - Eric Wulzelbacher Quartet. 7:30 p.m. Jazz. Cover. COMMON ROOTS - Open Mic. 8 p.m. Various. Free. HILTON NETHERLAND PALM COURT - Steve Schmidt Trio. 6 p.m. Jazz. Free.

RIVERFRONT LIVE Double Vision: A Tribute to Foreigner. 9 p.m. Foreigner tribute. $8, $10 day of show.

ARNOLD’S BAR AND GRILL - Chelsea Ford and The Trouble. 8 p.m. Americana. Free. BOGART’S - Damien Escobar. 8 p.m. Jazz/Classical/ Pop/Various. $20-$49.50.

BROMWELL’S HÄRTH LOUNGE - Steve Schmidt Trio. 9 p.m. Jazz. Free. CAFFÈ VIVACE - Triage. 8:30 p.m. Jazz. Cover.

COLUMBIA PERFORMANCE CENTER - 2019 DMC Cincinnati DJ Battle. 6 p.m. Hip Hop/Turntablism/DJ. $12.

THE COMET - Mynah Tones and Darlene. 10 p.m. Indie/Pop/Rock. Free.

COMMON ROOTS - Old Souls Stringband. 8 p.m. Roots. $5. FRETBOARD BREWING COMPANY - 3 Piece Revival. 8 p.m. Rock. Free. HILTON NETHERLAND PALM COURT - Faux Frenchmen. 9 p.m. Jazz. Free. JAG’S STEAK AND SEAFOOD - The Sly Band. 9 p.m. Pop/Rock/Dance/Various. $5.

MADISON THEATER Tauk with Goose. 8:30 p.m. Funk/Jazz/Jam/Progressive. $15. MANHATTAN HARBOUR MARINA - Shannon Gatliff. 8 p.m. Acoustic. Free.

MANSION HILL TAVERN - Johnny Fink and the Intrusion. 9 p.m. Blues. Cover. MARTY’S HOPS & VINES Over Easy. 9 p.m. Soft Rock. Free.

MOTR PUB - Hissing Tiles with Fool’s Ghost

W E D THE YAWPERS (BOULDER) W/ IN THE WHALE (DENVER) & GHOST WOLVES (AUSTIN) 8

THE REDMOOR - Monday Night Big Band. 8 p.m. Big Band Jazz. Cover.

THU 9

RICK’S TAVERN - Elementree Livity Project. 10 p.m. Reggae. Cover.

RIVERFRONT LIVE Insane Clown Posse with Rittz, Mushroomhead, DJ Paul and more. 5:45 p.m. Rap. $35, $40 day of show.

SCHWARTZ’S POINT Zakk Jones Trio. 8:30 p.m. Jazz. Cover. THE SHOW ON 42 - Pandora Effect. 9:30 p.m. Rock

SOUTHGATE HOUSE REVIVAL (LOUNGE) - Edward David Anderson. 9:30 p.m. Roots/Rock/Various. Free.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Ruby Boots with Indianola. 9 p.m. Indie/ Roots/Rock/Various. $13, $15 day of show.

MAYBIRD (ROCHESTER, NY) W/ MAHWAH

FRI 10

HISSING TILES W/ FOOL’S GHOST (LOUISVILLE) & SIREN SUIT

S AT 11

TEEN (NYC) W/ BEN SLOAN

SUN 12

THE PRESCRIPTIONS (NASHVILLE) W/ WATCHFROGS & CAVE MODE, COMEDY ANARCHY IN THE SWORD ROOM

MON 13

ART D’ECCO (GULF ISLANDS, BC) W/ GA-20 (COLEMINE RECORDS)

T U E MOTR MOUTH 6-YEAR ANNIVERSARY W/ MAX FINE (NYC) WRITER’S NIGHT W/ ROB 14 VOTED BEST OPEN MIC BY CITYBEAT READERS

5 /9

THE MOUNTAIN GOATS WITH SHANA CLEVELAND

5 /1 2

SCHOOL OF ROCK MASON: THE MUSIC OF MICHAEL JACKSON

5 /1 2

SCHOOL OF ROCK MASON: TRIBUTE TO QUEEN

5 /16

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SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Anna Stine with Darity. 8 p.m. Indie Folk. $18, $20 day of show. STANLEY’S PUB - The Ark Band. 10 p.m. Reggae. Cover.

THOMPSON HOUSE - P.O.D. with Nonpoint, Islander and Nine Shrines. 7 p.m. Rock. $25-$50.

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TOP CATS - Matthew Thiessen and The Earthquakes with You Vs Yesterday. 9 p.m. AltPop. $12.

URBAN ARTIFACT Mistar Anderson with Flocks and Jameron. 9 p.m. Hip Hop/Funk/Soul/ Electronic/Various.

WASHINGTON PLATFORM - Marc Fields Quartet. 9 p.m. Jazz. $10 (food/drink minimum).

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C I T Y B E AT. C O M

MOTR PUB - Maybird with Mahwaw. 10 p.m. Indie Pop. Free.

PLAIN FOLK CAFE - Troubadours of Divine Bliss. 7:30 p.m. Roots. Free.

MOLLY MALONE’S IRISH PUB & RESTAURANT Missy Werner Band. 7:30 p.m. Bluegrass. Free.

FRIDAY 10

1345 MAIN ST MOTRPUB.COM

M A Y 0 8 -1 4 , 2 0 19

LUDLOW GARAGE California Guitar Trio with Montreal Guitar Trio. 8:30 p.m. Rock/Various. $25-$50.

WOODWARD THEATER - The Mountain Goats with Shana Cleveland. 8 p.m. Indie/Roots. Sold out.

1404 MAIN ST (513) 345-7981

PUZZLE SATURDAY 11

12 MILE CREEK WINERY - Encore Duo. 5:30 p.m. Acoustic Classic Rock. Free.

ARNOLDâ€™S BAR AND GRILL - Krystal Peterson the the Queen City Band. 8 p.m. R&B/Various. Free.

BROMWELLâ€™S HĂ„RTH LOUNGE - Dixie Karas with The Steve Schmidt Trio. 9 p.m. Jazz. Free. CAFFĂˆ VIVACE - Rick VanMatre Quintet. 8:30 p.m. Jazz. Cover. THE COMET - Maxwell Hedron. 10 p.m. Indie Rock. Free. COMMON ROOTS - Cash Only. 8 p.m. Acoustic Pop. $5. FRETBOARD BREWING COMPANY - The Newbees. 8 p.m. Pop/Rock/Roots. Free. FRETBOARD BREWING COMPANY - Peaceful Sorrow. 6 p.m. Indie Folk. Free. HILTON NETHERLAND PALM COURT - Randy Villars Quartet. 9 p.m. Jazz. Free. KNOTTY PINE - Flatline. 10 p.m. Rock. Cover. LUDLOW GARAGE - Sax To The Max featuring Michael Lington, Vincent Ingala and Paul Taylor. 8:30 p.m. Jazz. $40-$75. THE MAD FROG - Beyond Reality 2019. 8:30 p.m. DJ/ Electronic/Dance. $10.

C I T Y B E AT. C O M

M A Y 0 8 -1 4 , 2 0 19

MANHATTAN HARBOUR MARINA - Pandora Effect. 8 p.m. Rock. Free,

MANSION HILL TAVERN - Tickled Pink. 9 p.m. Blues. Cover. MARTYâ€™S HOPS & VINES T & D. 9 p.m. Acoustic. Free.

H H

MIAMI VALLEY GAMING - Sugaray Rayford. 8 p.m. Soul

MOTR PUB - Teen with Ben Sloan. 10 p.m. Indie Pop. Free. NORTHSIDE TAVERN

- Devourist and Summoning The Lich, Lectularius, JeffreyDonger and Hate Icon. 6:30 p.m. Metal. Free. PIRATES COVE BAR & GRILLE - Basic Truth. 7 p.m. Funk/Soul/R&B. Free. THE REDMOOR - Soul Pocket. 9 p.m. R&B/Pop/ Dance. $10. SCHWARTZâ€™S POINT Andrew Lin Trio. 8:30 p.m. Jazz. Cover. SOUTHGATE HOUSE REVIVAL (LOUNGE) - Rod Hamdallah with Mutts. 9:30 p.m. Rock/Blues/Various. Free.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Nora Jane Struthers with Noah Smith. 8 p.m. Roots/Country. $10, $12 day of show.

SOUTHGATE HOUSE REVIVAL (SANCTUARY) Alice Peacock with Robert Lowell. 7 p.m. Folk/Americana. $18, $20 day of show. STANLEYâ€™S PUB - Moselle with The Vibe. 10 p.m. Jam/ Funk. Cover.

THOMPSON HOUSE - Bear Grillz. 9 p.m. EDM/Bass. $25, $30 day of show.

TOP CATS - Longshot and AP Counterfeit with Triiibe, Counterfeit Money Machine, Weirdose, Juan Cosby and Haskell. 9 p.m. Hip Hop

URBAN ARTIFACT Go Go Buffalo, Zoo Trippinâ€™, Boy Shorts and Drop the Sun. 9 p.m. Rock/ Various. WASHINGTON PLATFORM - Ron Jones Quartet. 9 p.m. Jazz. $10 (food/drink minimum).

MOTR PUB - The Prescriptions. 8 p.m. Roots/Rock/ Various. Free.

PNC PAVILION AT RIVERBEND - The 1975 with Pale Waves and No Rome. 7 p.m. Alternative Pop. Sold out.

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - School of Rock Cincinnati Presents Festival Rock/Rock 101. 4 p.m. Rock. $6, $8 day of show.

7. Cuckoo bananas 13. Bind legally 15. Cuckoo bananas 16. Leaves in a cafetiĂ¨re 17. Lawns where animated characters hang out? 19. Common female Russian name

23. Lie

WOODWARD THEATER - School of Rock Mason: The Music of Michael Jackson (4 p.m.) and Tribute to Queen (7 p.m.). 4 p.m. Pop/Rock. $6, $8 day of show.

MONDAY 13

HILTON NETHERLAND PALM COURT - Peter Gemus Trio. 6 p.m. Jazz. Free,

HOFFNER MASONIC LODGE - Buke & Gase with Ben Sloan and Intermedio. 8 p.m. Progressive/Indie/ Art Pop. $10.

MOTR PUB - Art Dâ€™Ecco with GA-20. 9 p.m. Indie Rock. Free.

NORTHSIDE TAVERN Northside Jazz Ensemble. 10 p.m. Jazz. Free.

TUESDAY 14

CAFFĂˆ VIVACE - Scott Wojahn Trio. 7:30 p.m. Jazz HILTON NETHERLAND PALM COURT - Pam Mallory Trio. 6 p.m. Jazz NORTHSIDE TAVERN Peaceful Sorrow. 9 p.m. Indie Folk. Free.

SUNDAY 12

NORTHSIDE YACHT CLUB - BadcopBadcop. 9 p.m. Punk. $10, $12 day of show. STANLEYâ€™S PUB - Trashgrass Troubadours with Moriah Haven and Nick Giese. 8 p.m. Bluegrass/Folk. Cover.

SEE CITYBEAT.COM FOR FULL MUSIC LISTINGS AND ALL CLUB LOCATIONS.

BY B R EN DA N E M M E T T Q U I G L E Y

22. The Swamp machinery: Abbr.

14. Chrome, e.g.

WIEDEMANN BREWERY AND TAPROOM - Ricky Nye. 5:30 p.m. Blues/Boogie Woogie.

YORK STREET CAFĂ‰ - Lady Joya and the Rhythm and Blues Band. 8 p.m. R&B. $5.

LATITUDES BAR & BISTRO - BlueBirds. 8 p.m. Rock/R&B. Free.

AC R O S S

1. Battle between filling stations

Itâ€™s A Lot

24. Read Across America org.

25. Coral ___

27. Acted as tour guide

28. NBA star Anthonyâ€™s a coward? 34. Laundromat array 35. Word said when the lights come on 38. Stuff El Chapo doesnâ€™t want public? 42. Soothing sound 44. Mlle.: French :: ___ : Spanish 45. Wrestler Shamrock 46. First Nation people 48. Weapon in a silo 50. Capital with suburbs BygdĂ¸y and GrĂźnerlĂ¸kka

2. Crunch target 3. Crafty 4. Samhain religion 5. Turkish officer 6. Co. makeover 7. Decreasing instrument? 8. Getting into othersâ€™ business 9. Symbol of hard work 10. Van Morrison album regularly included in all-time best lists 11. Bother

51. â€œI Like Itâ€? rapper who also makes barrels?

12. Took out of context?

55. Psychological paradigm of perfection

16. Sweetums

56. Demands, as respect or payment 60. Shakespearean verses 61. â€˜80s throwback jeans 62. Likely guests at golfer Samâ€™s wedding

14. Babyâ€™s sock 18. Riding mower brand 19. Like music you might rip 20. Jet name 21. Van Halen singer after Sammy Hagar 26. Leave quickly 29. â€œ___ culpaâ€?

63. Heart inserts

30. Fuck up

DOWN

31. WWII crafts

1. Grp. making the right choices?

32. LA Kings president Robitaille

33. â€œCatch-22â€? character that practices crashes

Catherine 47. Patsyâ€™s â€œAb Fabâ€? pal

36. Old tape comp company

49. Some video files 50. Speak on the dais

37. â€œIt should come ___ surpriseâ€?

52. Tagged

39. Shrubs that share their name with women

53. Vegas actions 54. Way out?

40. Rank above maj.

57. Recycling bin item

41. One-named conservative street artist

58. Rock blaster, for short

42. What a skeleton key provides

59. â€œWeâ€™re in trouble, here,â€? briefly

43. Whence Henry VIIIâ€™s first wife

L AST WEEKâ€™S ANSWERS:

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Extra Space Storage hold a public auction at the location indicated: 2900 Crescent Springs Pike, Erlanger KY 41018 on May 21st 2019 at 12:45pm 153,404,338,342,439,611,502 The auction will be listed and advertised on www.storagetreasures.com. 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. Extra Space Storage will hold a public auction at the location indicated: 525 W 35th St, Covington, KY 41015 on Tuesday May 21, 2019 at 1:30 PM. Unit 02330, Unit 03206, Unit 02209, Unit 02317, Unit 03132, Unit 04230, Unit 03418, Unit 04120, Unit 03253, Unit 03235, Unit 05119, Unit 04109, Unit 05139, Unit 03264, Unit 06113 The auction will be listed and advertised on storagetreasures.

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JUNE 14TH and 15th, 2019

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Tales of The Waria Stories of love and longing from transgender women in Indonesia, the world's largest Muslim country

Playing at Esquire Theatre on Ludlow Ave May 14th | 7:30pm Tickets $12

C I T Y B E AT. C O M

M A Y 0 8 -1 4 , 2 0 19

Cincinnati Film Society's Rainbow Film Series is in partnership with Esquire Theatre and supported by ArtsWave

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