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NEWS

Can Collaboration Reduce Juvenile Justice Disparities?

Hamilton County was the top choice to participate in an innovative program offered by Georgetown University. Can it move the needle on complex issues in the juvenile justice system?

Hamilton County Juvenile Court PH OTO: NIC K SWARTSELL

BY N I C K SWA R T S EL L

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ike many counties across the country, Hamilton County faces a large, high-stakes challenge: how to serve and educate young people even as racial, ethnic and class disparities in and outside school districts, juvenile court and other systems continue.

But last week, 48 representatives from seven Hamilton County agencies met over the course of five days with experts tapped

by Georgetown University to plan new ways to reduce those disparities and the overall flow of students into the juvenile justice system.

The program funded by participating agencies and the Haile Foundation, the Mayerson Center and Joining Forces for Children is a big deal, participants say.

Over the course of follow-up meetings, the agencies will agree on a months-long project designed to address issues around equity, school discipline and diversion from the usual paths into the juvenile justice system. Georgetown will track that project’s success over time.

As CityBeat reported recently in a deep dive on the county’s system, understanding juvenile justice — and the racial and economic disparities that manifest in this county and others — means engaging with a complex set of interrelated systems.

In Hamilton County, the number of juvenile arrests and intakes into the system’s youth detention has dropped sharply over the past two decades. But racial disparities have proven harder to reduce.

Police are arresting far fewer youth than they used to — perhaps partly due to a national trend in falling crime rates — and Hamilton County Juvenile Court is locking up or sending away far fewer of them to state juvenile detention centers thanks in part to a series of diversion programs, court officials say.

In 1995, Hamilton County Juvenile Court sent 440 young people, most of them African-American, to detention facilities run by Ohio’s Department of Youth Services. Last year, it sent just 60. It also transferred 130 young people to the adult justice system via a process known as “bind-over” in 1995; last year, it transferred 33. Of those, however, 30 were black.

In a county where Census data says 30.3 percent of people under 18 are AfricanAmerican, 81 percent of the more than 2,000 minors issued warrants through the Hamilton County Juvenile Court last year were black, according to data CityBeat obtained from the court — up from 75 percent in 2015. And 75 percent of the 930 young people admitted to the county’s youth detention center in 2018 were black — though that’s down from 80 percent in 2015.

Few dispute the clear over-representation of black youth in the county’s juvenile justice system. And those disparities

certainly aren’t unique to Hamilton County — they’re part of national trends involving race and the justice system in a country where the prison population ballooned from 500,000 in 1980 to more than 2 million by 2015 and in which black citizens are incarcerated at five times the rate whites citizens are, according to data from the U.S. Department of Justice. Those trends extend to juveniles. While roughly 14 percent of the U.S. population under the age of 18 is black, data shows that 42 percent of children detained in juvenile justice systems across the country are black.

But that is just the start of the conversation. Why are so many more black youth arrested in Hamilton County? What happens to them when they enter the juvenile system? What roles do racial bias, socioeconomic factors and the trauma that can come with growing up without resources play?

Those are some of the weighty questions that local participants in the Georgetown program are wrestling with.

Legal Aid Society of Southwest Ohio Managing Attorney Elaine Fink, along with Hamilton County Juvenile Court administrators and others, helped pull the county’s application for the program together. She says it’s a big opportunity to

work on vexing systemic issues manifesting in Hamilton County and other jurisdictions around the country.

“These district and public systems are coming together to address those issues, to keep more students in school, to intentionally look at data on disproportionality of disciplinary removals, referrals to juvenile court, which are all tied into children leaving school, dropping out, getting pushed out,” Fink says. “We’re talking about wrapping around behavioral health services, issues of trauma, understanding implicit bias.”

Hamilton County applied via a highly competitive process to participate in the program and came out as Georgetown’s number one choice.

The program, run through the university’s Center for Juvenile Justice Reform, has been around since 2015. Generally, jurisdictions like Hamilton County would travel to Washington, D.C. to participate, but this year the program went on the road.

Shay Bilchik is director of the center at Georgetown. He says Hamilton County’s application for the program stood out because it included not just one school district or court, but an entire array of agencies. Hamilton County Juvenile Court, CONTINUES ON PAGE 08

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NEWS

SORTA Board Will Present Bus Levy to Voters About three quarters of a .8-percent Hamilton County sales tax increase would go to transit under the plan board members approved

Metro buses at Government Square PH OTO: NIC K SWARTSELL

BY N I C K SWA R T S EL L

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he board of the Southwest Ohio Regional Transit Authority voted 12-1 to present a Hamilton County sales tax increase on the March 2020 ballot to fund improvements to the region’s Metro bus system at a special meeting Sept. 30.

If voters approve, about 75 percent of the projected $130 million from the tax increase would fund a plan called Reinventing Metro. The plan promises eight new bus routes to and from employment centers around the county; expanded hours and more frequent service on existing routes throughout the week and on weekends; 24-hour service along six major corridors; new transit centers; smaller circulator buses and crosstown routes; and better service for people with disabilities.

“That’s a plan that should allow riders to use the system as a practical alternative,” SORTA Board Chair Kreg Keesee said.

“Oftentimes we think of folks using the bus because it’s the only choice they have. We don’t want that to be the case in the future.”

Another roughly 25 percent of the money raised by the tax increase would go to infrastructure repair that has at least some connection to transit — roads and bridges that transit uses on its routes. That money would be administered by the Hamilton County Public Works Integrating Committee, which is made up of officials from municipalities across the county.

Originally, SORTA officials estimated a .7-percent tax increase would be necessary to fund Reinventing Metro. But Keesee says Metro has become more efficient and sales tax projections have increased, meaning the major improvements could be done with the current proposal.

The tax increase would boost Hamilton County’s overall sales tax rate to between 7.55 percent and 7.8 percent, depending on whether a sales tax used to fund restoration of Union Terminal is allowed to lapse

or used to fill budget gaps the county faces.

If the bus levy passes, Hamilton County would have the state’s second highest sales tax rate behind Cuyahoga County’s 8-percent rate.

After protracted discussions, the levy now has the backing of the Greater Cincinnati USA Regional Chamber of Commerce, Hamilton County Commission and a number of city elected officials.

“By now, I think you know that the Cincinnati Chamber is all-in on transportation,” Chamber CEO Jill Meyer said at a news conference Sept. 30. “What we know is that our region will continue to grow only if we connect people to jobs and continue to attract more talent to our region.”

Transit activist Cam Hardy, president of Cincinnati’s Better Bus Coalition, supports the plan.

“We have been waiting for this action,” Hardy said. “SORTA has needed these dollars for a very long time… we will be at the front of this campaign. I plan on spending about 30 hours a day inside the city and the county talking to residents, voters, business owners, bus operators and educating them about what’s at stake.”

Since 1973, Metro has been funded by a .3-percent earnings tax levied by the city, along with scant state contributions and some federal dollars. That’s highly unusual — most large transit systems are funded by county taxpayers.

Metro, which hasn’t received an increase in funding from local taxpayers since 2002, currently gets by on $100 million a year. But the bus system badly needs more funding. It faces a $5.8 million budget deficit this year and needs many millions of dollars in investment to

become better-functioning and connect more Greater Cincinnati residents to jobs.

SORTA officials say the Reinventing Metro plan could substantively improve bus service if voters approve the sales tax increase. In the meantime, the bus system is in a tough spot.

Metro’s precarious financial situation hasn’t been helped by state funding. Ohio’s state funding for public transit per capita is among the lowest in the country. Some help will likely be coming to Metro’s budget via a 10.5-cent increase in the state’s gas tax, however, which will generate roughly $70 million more for public transit every year. But that money will need to be divvied up among the state’s 60 transit agencies.

Thousands of riders on SORTA’s Metro system face long, convoluted commutes, some riding for more than an hour and taking transfers to get from one Cincinnati neighborhood to another just a few miles away. Those riders include people like Whitney Harmon, whom CityBeat spoke to for an earlier story on Metro. Harmon rides the bus an hour each way from her home in Winton Terrace to her job as a cook downtown. Others face even longer commutes.

A University of Minnesota report last year ranked Cincinnati 39th in the country in terms of jobs accessible by public transit, even though the city ranks 26th in overall employment. The Cleveland metro area, by contrast, ranked 29th for transit accessibility, even though it ranked lower than Cincinnati (28th) for overall jobs. The Columbus metro area came in 25th for accessibility to jobs via transit, though it ranks 31st for overall employment.

Other peer cities like St. Louis, Pittsburgh, Indianapolis and Louisville, Kentucky also fare better in the rankings for overall accessibility, though Cincinnati did better than Nashville and Kansas City.

Of the Cincinnati metropolitan area’s 1,018,914 jobs, just 365 are accessible by transit within 10 minutes, according to the report. Another 2,157 are accessible within 20 minutes. Those numbers are lower than Ohio’s other big cities, and the gap gets even bigger for jobs accessible within 40 to 60 minutes. Both Columbus and Cleveland have more than 74,500 jobs reachable by transit in that time. Despite having more jobs overall, the Cincinnati metropolitan area has just 48,793 jobs you can reach via public transit in an hour.

After years of uncertainty about the financial state of Metro, Cincinnati City Council last month took a first step toward the new funding model by pledging to eliminate the portion of the city’s earnings tax that goes to Metro should a countywide levy pass. City voters will need to approve that change to the city’s charter.

Overall, the city’s income tax is 2.1 percent, meaning that eliminating Metro’s portion would lower the city’s earnings tax to 1.8 percent. That’s easily the lowest of any major city in Ohio.

“This will be the largest commitment to public transportation in the history of this county,” Mayor John Cranley said of the proposed levy. Cranley also highlighted the potential investment in infrastructure.

The levy will appear on the coming March 17 ballot, when the Democratic presidential primary is expected to draw out a larger proportion of progressive voters.

CITY DESK

Census: Cincinnati Poverty Falls Slightly

More Bus-Only Lanes Could Be Coming to Cincinnati

BY N I C K SWA R T S EL L

BY N I C K SWA R T S E L L

More than one in four Cincinnatians lives in poverty, U.S. Census estimates released Sept. 26 reveal — giving the city the fifthhighest poverty rate in the country among cities with more than 250,000 people.

Cincinnati’s 25.2-percent poverty rate represents the lowest poverty level here since the onset of the Great Recession, but not a full recovery. In 2007, the year before the recession, the city’s poverty level was 23.5 percent. It has been as high as 31.3 percent in 2013.

The federal government’s poverty threshold is about $12,000 for a single person or a little less than $25,000 for a family of four.

In Cincinnati, that includes almost 40 percent of the city’s black residents and about 16 percent of the city’s white residents.

The federal government’s poverty threshold is a bare-bones level of existence, most social service experts say, and many other Cincinnatians are at or below 200 percent of the poverty line — the level that starts to be sustainable for individuals and families.

In 2016, more than 143,000 of Cincinnati’s residents lived at or under that threshold.

When the city’s poverty level was at its peak, Mayor John Cranley campaigned partially on lowering the city’s sky-high poverty rate. He created the city’s Childhood Poverty Collaborative in 2015 as well as the Hand Up program, which provides $10-an-hour jobs to low-income residents.

As of last year, that program has provided jobs to more than 500 Cincinnatians.

Though poverty has fallen here since 2013, it hasn’t fallen nearly as fast as it has statewide — where there has been a 12.5-percent drop in the past five years — or

nationally, where poverty has decreased by 15 percent in that time.

The city isn’t the poorest in Ohio, which has an overall poverty rate roughly one point higher than the national rate at 14 percent.

Cleveland’s poverty rate is 33.1 percent, the second-highest in the nation behind Detroit. Columbus, Ohio’s capital city, has a poverty rate of roughly 20 percent.

Toledo came in just behind Cincinnati with the sixth-highest poverty rate in the nation at an even 25 percent.

Like the nation as a whole, Cincinnati’s unemployment rate has dropped to just over 4 percent — lower than Ohio’s 4.6 percent.

But wages have remained stagnant and most areas where jobs are growing — the service industry, mainly — do not offer jobs paying the same wages as industrial jobs the city and region have lost over time.

Last year, a study from left-leaning think tank Policy Matters Ohio found that six out of the region’s 10 most common jobs don’t pay a living wage.

In the metro area, the most common job last year was in the food preparation field, where the median annual salary is about $19,000 a year.

About 32,000 people in the metro area do this kind of work. Other common jobs not paying living wages included retail sales (another 30,000 local employees), wait staff (20,000 regional employees), stock clerks (more than 17,000 employees in the region) and janitors and maintenance personnel (more than 15,000 workers in the metro area).

Last year, Cincinnati took a step that supporters said would boost the region’s Metro bus service by making the curb lane along a stretch of Main Street downtown between Government Square and Central Parkway a bus-only lane during morning and afternoon rush hours.

Now, the city may expand the program.

Cincinnati City Council Sept. 25 passed a motion asking city administration to study the feasibility of putting more bus-only lanes in along busy corridors in Cincinnati.

The motion also names Reading Road between Paddock Road in North Avondale and William Howard Taft Road in Corryville as a corridor the city should look at specifically.

Other areas that could see bus-only lanes in the future include Montgomery Road as it passes through Kennedy Heights and Pleasant Ridge, Ludlow and Hamilton Aves. in Clifton and Northside, Colerain Ave. and Glenway and Warsaw Aves on the West Side.

The point of the lanes is to make it easier for buses to navigate busy city streets, leading to quicker routes, better on-time performance and, eventually, more riders.

Councilmember P.G. Sittenfeld, who submitted the Sept. 25 motion, says that the Reading Road and other potential bus-only lane locations will be decided by an analysis the Southwest Ohio Regional Transit Authority has developed that compares areas where a bus-only lane could make a big difference with the difficulty associated with establishing a bus-only lane there for at least a few hours during the day.

“We looked at a matrix they have that looks at impact and feasibility,” he said. “If the impact isn’t that great, and it’s hard to do, it’s not going to be high on the list. So that kind of guided us.”

Sittenfeld cited the success of the Main Street lane as a reason he wants to see the city look into establishing more busonly lanes in the future.

Data from Metro shows that the lanes have somewhat improved headways and reduced the variability in the amount of time routes took.

That bus-only lane launched Nov. 5 as a pilot program to test out the concept advocated by transit activist group the Better Bus Coalition and passed by Cincinnati City Council earlier that year.

Stretching from Fifth Street to Central Parkway and active between 7-9 a.m. and 4-6 p.m. Monday through Friday, the goal of the lane has been to speed up bus service in one of the city’s busiest corridors, hopefully improving service system-wide.

Fifth Street’s Government Square is the city’s central bus hub, and more than 600 buses travel the stretch every weekday, according to Metro. Only about 90 of those use the right lane on Main Street to pick passengers up at bus stops, however.

“We basically started with the most ambitious part of the city we could have, Main Street coming out of downtown, obviously very busy — so I feel like the fact that that has been both accepted and well-received opens the pathway to at least study and find out where we can do this again,” Sittenfeld said.

Millennium Hotel Sale Continues Moving Forward

BY N I C K SWA R T S EL L The potential sale of one of downtown Cincinnati’s most important properties will continue to move forward for now.

That prompted suspicion from Commission Member Stephanie Summerow Dumas, the sole no vote against the plan.

Dumas says the county is wasting its money and that the $1.3 million payment is a bad deal. But Commission President Denise Driehaus and Commission Member Todd Portune both say the payment is

The commission believes a new hotel at the site could generate as much as $1.67 million in hotel taxes its first year. The current facility generated about $670,000 last year.

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Many, including Mayor John Cranley and

Under the proposed deal, the combined convention center expansion and new hotel could cost as much as $500 million.

The Port of Greater Cincinnati would issue tax-exempt bonds to fund the

There was just one catch: Millennium wanted more than a million dollars in earnest money. It issued two extensions but gave a final deadline of Sept. 26 or the deal would be off. That money was something of a risk — neither the purchase or the hotel replacement plans are entirely worked out yet.

a chance worth taking.

“We have the opportunity to solve what our community has collectively identified as the biggest challenge related to regional growth,” Driehaus said in a statement. “A down payment from the hotel tax restricted fund would provide a path forward on a first-class convention hotel, which is the linchpin to increasing convention center business and growing our economy.”

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Another $1.3 million would be due at the closing of the sale, likely early next year.

Then Vandercar founder Rob Smyjunas broke through after a decade of efforts, getting Beng to agree to a $36 million purchase contract on the Millennium in August. Smyjunas, as well as city and county leaders, envision demolishing the current, 51-year-old building and starting fresh — as well as possibly expanding the neighboring convention center.

construction and proceeds from its operation would pay off that debt.

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Hamilton County Commission Sept. 26 voted 2-1 to provide $1.3 million from hotel tax revenue as earnest money in a proposed sale of the Millennium Hotel to Oakley-based developer Vandercar LLC by current owner, an LLC held by the Millennium founder Kwek Leng Beng of Singapore. The Port of Greater Cincinnati Development Authority voted the next day to accept the money to make the earnest payment.

county officials, have complained about the 872-room hotel’s condition and lack of upgrades. But until now, no one could convince the owners to sell the property.

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FROM PAGE 04

the Legal Aid Society of Greater Cincinnati, Cincinnati Public Schools, Northwest Local School District, Princeton City Schools, Hamilton County Job & Family Services and Hamilton County Educational Service Center, which supports districts in the county, are all participating, as are individual police personnel called school resource officers who are assigned to posts in each school district.

“We were looking at this application and saying, ‘This is a remarkable opportunity to move an agenda forward in a way that is somewhat unique,’ ” Bilchik says. “We didn’t get that kind of application from the other communities we considered. Not that they weren’t good applications — they are, and we’re going to work with some of those communities — but Hamilton County became our top choice because of that dimension.”

Bilchik also has praise for some initiatives the county juvenile court is already working on, including its partnership with Legal Aid called Kids in School Rule! That program helps address the educational needs of foster children and has had great success, he says.

“It is one of the most remarkable programs we’ve seen anywhere in the country in focusing on the educational needs of kids in foster care,” he says, touting the

results the program has achieved. “If you can say that kids who experienced this program — who are in foster care — graduate at higher rates than the general population of students in a school district, then you’re doing something right.”

It’s not the first time agencies in Hamilton County have participated in the program.

In 2015, Hamilton County Juvenile Court Administrator Carla Guenther, representatives from Northwest Local School District and Fink from Legal Aid applied for and were accepted into the program, travelling to DC to work with Georgetown experts.

A program at Northwest called the Student and Family Engagement (SAFE) Council emerged from that experience.

That program looks to divert students in the district away from traditional court proceedings toward more holistic and individualized efforts to address behavioral and truancy issues.

Each SAFE Council hearing includes a court hearing officer and clerk, but also a Northwest student services director, social worker, enrollment supervisor, truancy officer and sometimes the school’s principal and counselor.

Northwest Assistant Superintendent Darrell Yater says that program has moved

the needle, keeping more kids in school and out of the formal justice system.

“Through that process, because we have all those people there who have access to records and information and services, we reduce barriers and fix the problem,” he says. “If there is a reason they’re not coming to school, we can remove the barrier and attendance improves. We also work with the students to make sure barriers to academic success are removed. Because we knew the powerful impact it could have, when Georgetown announced this year that they were willing to come to a community and have a broader regional impact, we were very excited to bring more people to the table. We have a lot of kids that we share across agencies and districts. How do we work together to reduce barriers?”

Cincinnati Public Schools Director of Positive School Culture & Safety Dr. Carrie Bunger also identified collaboration as a key goal of her district’s participation in the program.

She says that CPS already has a number of programs it feels are making a dent in juvenile justice inequities and the number of young people who end up in court or detention.

Those include the district’s Positive School Culture and Safety initiative, behavioral health support for students

and a mental health partner at each of the district’s 62 schools, efforts to avoid student suspension and expulsion in most cases, two diversionary programs and other programs.

But she says the district has more work to do, especially when it comes to working with the other agencies in the county.

“How do we truly and effectively communicate across the juvenile court, CPS, Job and Family Services and others so that we can impact the life of a child without so much red tape and barriers?” she asks. “We certainly have that in pieces, but everyone together in a consistent, clear way, I think we’ll need to continue to work on that.”

Bunger also says the district wants to expand how it carries out diversionary work.

“We also want to find ways of increasing diversionary programing,” she says. “That doesn’t just mean an unofficial docket instead of a student going downtown to juvenile court. It means what strategies and interventions can we put into place to divert students from going down that pathway, that school to prison pipeline.

Whether that’s increased mental health services, increased social-emotional learning, increased behavior support —all of those pieces. It’s all of the interventions and what we can do better.”

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BLINK, an immersive art and light experience stretching from Findlay Market to Covington, returns for a second run

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IT WILL BE DARK SOON.

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The sun sinks lower every day since the solstice and the evening air is beginning to shake away its last traces of summer. But Cincinnati is just waking up, its electric pulse soon to radiate across the night sky with sound and light. By the time the street lights flicker on, the city will already be glowing.

That will be the case, at least, when BLINK — a four-night light and art experience spanning 30 city blocks through Over-the-Rhine, downtown and, new this year, across an illuminated Roebling Bridge into Covington — returns to the area by popular demand after the event’s inaugural event in 2017. Now in its second run, BLINK will kick off on Thursday, Oct. 10 at dusk with a 3,200-participant-led parade down Vine Street. Through Sunday, Oct. 13, the cityscape will be transformed by way of large-scale new murals, light installations, interactive sculptures, performance art, live entertainment and projection mapping — a technique that projects computer-programmed light, color and animations across three-dimensional surfaces.

(BLINK runs 7-11 p.m. nightly.)

Produced by local creative agencies Brave Berlin, AGAR and ArtWorks, with support from the Cincinnati USA Regional Chamber, the Carol Ann & Ralph V. Haile, Jr./U.S. Bank Foundation and a number of other sponsors, BLINK was originally conceived as a way to see Cincinnati as a “future city,” a vision outlined in the event’s manifesto. The people of Greater Cincinnati “work and play and draw the light from one another until it outshines the sun,” it reads. “Together they shine with celebration, laughter and labor shared for all the world to see, and in the blink of an eye, their radiance is undeniable.”

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Organizers estimated more than one million people experienced BLINK in 2017. In 2019, the event will have grown by 10 blocks and one city. And it will well exceed 2017’s $3 million budget, although Cincinnati USA Regional Chamber President and CEO Jill P. Meyer says they’ve yet to determine a precise cost, as fundraising for the event is still ongoing. For organizers, bringing the experience back was never an if but a when.

“On the heels of that last event, everybody was so fired up about it,” Meyer says.

“People said to us afterward, ‘Will they come back to Cincinnati?’ And I would say ‘Who?’ They’d say, ‘The BLINK people.’ And I would say, ‘We are the BLINK people, collectively in Cincinnati,’ ” she continues. “The magic of BLINK was that everybody in this town owned it. They are what energized it in a way that is unmatched by anything else.”

For this year’s event, BLINK’s organizers recruited local, national and international artists to create 16 new murals and 39 projection mappings. (In 2017, BLINK brought nine permanent murals and 22 projection mappings to the city.) Designed as a completely immersive experience, the city will be filled with sound and light at every turn. Video projections will turn murals into moving, breathing spectacles, and some of Cincinnati’s and Covington’s most recognizable buildings will take on new life. Fountain Square and the iconic “Genius of Water” fountain will be awash in blue, pink and purple light in an interactive projection mapping experience called “re:FRACTION.” Architects of Air, who brought the popular “Katena” installation to Washington Park in 2017 will return with the world premiere of another inflatable, explorable palace, “Dodecalis.” And “RUMBLE: A Contemporary Voice for the Bridge that Sings” will see the Roebling Bridge encompassed in light, music and ambient sound as it glitters across the Ohio River.

From Findlay Street in Cincinnati to Seventh Street in Covington, the weekend will see roughly three miles of luminous alleyways, interactive art and twinkling buildings.

“When we announced BLINK in 2017, not a lot of people could even imagine what it was going to be,” says Tamara Harkavy, ArtWorks’ founding CEO and artistic director. “(Artists) came in force this year when we put the call out. They had a much deeper understanding rooted in BLINK of 2017 and they just turned it up.”

BLINK will also host a bevy of free, live music across six stages throughout the weekend. Notably, Alternative Pop band Grouplove will play the RiverCenter Blvd. Stage (10 E. Rivercenter Blvd., Covington) 10 p.m. on Oct. 12.

The rest of the lineup includes some of the best artists from the Cincinnati music scene (and beyond).

Organizers agree that what distinguishes BLINK is not just the feat on the production end, but the energy and enthusiasm that the people of the Queen City bring to the experience.

“Cincinnati is so great about celebrating Cincinnati,” Harkavy says.

“It’s a celebration of everyone here, for everyone here, by so many people.”

Meyer says that there are few places in the world — if any — that can pull off an event like BLINK the way Cincinnati does. After the event closed successfully in 2017, she got calls from colleagues in other cities who asked how they pulled off such a large-scale event so successfully. When she shared how it came to fruition, she was met with the same response again and again: “That could never happen here.”

“If you haven’t looked around, it’s a pretty beautiful city. We’re sitting here in this architectural gem,” she says. “Why wouldn’t we play with this a bit and make it even more beautiful?

Not every city can claim that. BLINK is something that can only happen here.”

While the shining beacon of BLINK will be a sight to behold, it also aims to highlight what Cincinnati has always been: a city ready to look to the future and move forward into the light.

Between the official lineup and the hundreds of other related events planned across the city over the weekend, we could dedicate an entire issue to the artists and creators involved in BLINK. Instead, here’s a glimpse at just some of the work included in the experience this year.

RENDERING OF ”RE:FRACTION”| PROVIDED BY BLINK

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UNDENIABLE.”

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“THE PEOPLE OF GRE ATER CINCINNATI W O R K A N D P L AY A N D DRAW THE LIGHT FROM ONE ANOTHER UNTIL IT OUTSHINES THE SUN. TOGETHER THEY SHINE WITH CELEBRATION, LAUGHTER AND LABOR SHARED FOR ALL THE WORLD TO SEE, AND IN THE BLINK OF AN EYE, THEIR RADIANCE IS

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THE ART OF ARCHITECTS OF AIR

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In 2017, Washington Park played host to “Katena,” an inflated, palace-like “luminarium” that glowed in vivid color. As BLINK’s only ticketed event (it cost $5), it also proved to be one of the most popular. Outside, its rounded arches and floral turrets made it resemble a miniature, alien version of Music Hall. Inside, visitors were left to explore, marvel and meditate within its caverns, described by its artists as “something between a womb and a cathedral.” Created by Architects of Air, a British production company founded by artist Alan Parkinson in 1992, “Katena” was one of many touring installations that have been visited by over 3 million people in 40 countries across five continents.

Architects of Air will return to BLINK, this time for the world premiere of the new luminarium “Dodecalis.” Like its predecessors, Architects of Air writes on its website that “Dodecalis” will be inspired by “natural forms, geometric solids (and) Islamic and Gothic architecture.”

The luminarium aims to immerse viewers in a calming sensory experience through radiant light, color and sound. There are no bright, flashing lights, but instead a soft, saturated glow and a contemplative soundscape. Unlike flashy, energetic displays outside the walls of “Dodecalis,” the luminarium carries a strange, provocative, otherworldly beauty. Architects of Air’s past luminariums have been compared to everything from stained glass windows to space stations to living, breathing beings.

The sense of wonder and awe the futuristic works evoke fit right in with the ethos of BLINK, making it the perfect place for the “Dodecalis” world premiere.

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A R C H I T E C T O F A I R ’ S “ K AT E N A” AT B L I N K 2 0 1 7 | P H O T O : H A I L E Y B O L L I N G E R

“When you look at what we’ve pulled off here, and will pull off again, it would be a no-brainer for any artist or creative to want to launch something big and bold at BLINK,” says Chamber President Meyer, citing the creativity, care and innovation of the people who call the region home.

Long lines for "Dodecalis" are a given, but if it's anything like "Katena" the rewards will be well worth the wait. (Admission is $10; $5 for kids under 10 and free for those 2 and under.)

BEHIND THE SCENES WITH BRAVE BERLIN The idea of something as large-scale and collaborative as BLINK is an exciting concept.

Making the dream a reality is a different story.

That’s where Steve McGowan and Dan Reynolds step in. They’re the co-founders of Brave Berlin, the Cincinnati-based media production company behind many of the projection mapping projects that will be on display.

They also produced Lumenocity, which saw the façade of Music Hall illuminated with whimsical scenes set to the music of the Cincinnati Symphony Orchestra. Previously having designed sensory experiences for corporate and retail clients, it was the first time they’d been able to stretch their creative muscles beyond convincing customers to buy something.

“It was just about creating a moment of magic through the arts and we were really, really turned on by that,” Reynolds says. “We kind of felt like this was our time to break out and do work that satisfies us and gives back to the city.”

It was in 2015, two years before BLINK first took hold of the Queen City, that the idea of something grander first became a possibility.

“We were just days away from our third installation of Lumenocity at Music Hall, and our benefactor and partner Tim Maloney (president and CEO of the Haile Foundation) came up to us — literally while we were in a tech rehearsal for Lumenocity — and asked, ‘So what’s next?’” Reynolds says.

What followed, of course, was BLINK, and now the experience (Reynolds and McGowan say that it has become more of an arts philosophy than just an event) is returning in full force.

This time around, Brave Berlin has put a heavy focus on artist collaborations for BLINK. Cincinnati has become a living gallery of murals — which they attribute to the dedication of ArtWorks and AGAR — and spectators will notice how many will be given new life through projection mapping.

One such mural is Saya Woolfalk’s new

“Visionary Reality Threshold,” which occupies the space that previously featured the “What’s Happening Downtown” mural at 1005 Walnut St. Recent visitors to the Contemporary Arts Center will recognize her work: Woolfalk’s surrealist exhibition A Cabinet of Anticipation runs through Oct. 27. In swirling, hypnotic color, “Visionary Reality Threshold” appears as if through a kaleidoscope. A puzzle of pattern and geometry, a single eye sits open at its center, surrounded by blue flame. Already mesmerizing in its own right, it will become a pulsing, psychedelic trip through Brave Berlin’s animated projections.

It’s not just the murals that will be seen in a new light. Brave Berlin and their BLINK collaborators are using buildings across Cincinnati and Covington as canvases for the art.

“You can take ornate, architectural gems, like City Hall, and project onto them and celebrate every detail of the architecture,” says McGowan.

Philadelphia-based Klip Collective will

exhibit their projection work, “Energy Cycle,” on Covington’s historic Hannaford building.

“Energy Cycle” explores the physical properties of energy through “flowing charges of light.” Reynolds says Klip is a pioneer in the art form.

“They’ve been doing it longer than almost anyone in North America, and their work is just astounding,” he says. “When you give them a location like the Hannaford building, which is stunning to look at all by itself, that is going to be a showstopper.”

Brave Berlin is also bringing new, larger experiences to BLINK this year, like “re:FRACTION” at Fountain Square, which McGowan describes as “a totally different, immersive experience altogether.” With the entire square bathed in light, visitors will be transported into a beautiful expression of the fountain’s water and movement: a celebration of a true Cincinnati icon.

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RENDERING OF ARCHITECTS OF AIR’S “DODECALIS” | PROVIDED BY BLINK

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Locals know the John A. Roebling Suspension Bridge well. Opened in 1867 as a precursor to the Brooklyn Bridge, its unmistakable stone towers and sky-blue trusses make their way onto every postcard and skyline shot of Cincinnati.

During BLINK, the original lifeline between Ohio and Kentucky will be reimagined in an explosion of color and sound through “RUMBLE: A Contemporary Voice for the Bridge that Sings,” the fruit of a partnership between Brave Berlin, Vincent Lighting Systems and MASARY Studios. An initiative of Maria Finkelmeier, Sam Okerstrom-Lang and Ryan Edwards, the Boston-based collective MASARY uses their expertise in fine art, percussion, music composition, video animation and live performance to reshape urban landscapes through light projections and unique soundscapes. “RUMBLE” is their first site-specific installation outside of New England.

Finding a voice for the Roebling required getting up close and personal with the bridge.

“We were physically on the bridge with backpacks full of drumsticks and professional recording gear for an afternoon, recording anything we thought might be interesting — from birds in the park to kids playing to trucks,” Edwards says.

Then, the team used their drumsticks and mallets to literally play the bridge like an instrument, listening to what it had to say.

“The other place we look for sound is not necessarily in audio vibrations, but in (the bridge’s) physicality,” Edwards continues. They searched for “hidden music” embedded in the structure: everything from the bridge’s main towers to its suspension cables to its trusses visually represented musical information that would later be translated into sound.

There’s a reason for that: When spectators watch the bridge flow in waves of rhythmic color, the progression of movement should give the illusion that the bridge itself is creating its own joyful noise.

“When you hear a melody go up and down a scale, you’re going to see it move up and down the bridge. When you hear a bass, the big towers are going to vibrate with sound,” Finkelmeier says.

BLINK attendees will be able to experience “RUMBLE” in a variety of ways. One is from a viewing area on the Ohio side of the river.

Another is from the bridge itself, whether you choose to walk across or buzz between Cincinnati and Covington in an Oggo e-car — the only auto traffic allowed on the bridge during BLINK. When on the bridge, Finkelmeier says, “you’re going to feel like you’re a part of the installation itself, (like) there are secrets around every corner.”

Over the course of an hour, “RUMBLE” will cycle through periods of gentle, ambient sound as well as seven distinct stories told through music. One of the seven is titled “Johanna’s Hymn.” Named for John A. Roebling’s wife — who raised their nine children while he traveled the country building bridges — the tune includes vocal samples from the Cincinnati Boychoir and was inspired by church bells Finkelmeier heard on Sycamore Street.

A Cincinnati native herself, Finkelmeier notes that “RUMBLE” was most impacted by the Roebling’s power to connect and inspire, as well as the two cities it represents.

“It’s an opportunity for me to thank the place that raised me,” she says. “The bridge itself was a prototype, kind of in the center of the country, the heartland. This festival is also this massive, beautiful glow of humanity in the middle of the country.”

Like the Roebling — which ties together the riverbanks of Ohio and Kentucky — MASARY’s main objective is to unite people through powerful transformations in a public space.

In crafting a voice for a Cincinnati icon, that mission is realized in a breathtaking collision of soul and song.

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A VOICE FOR THE SINGING BRIDGE

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T H E R O E B L I N G B R I D G E ( B Y D AY ) PHOTO: HAILEY BOLLINGER

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2017 BLINK | PHOTOS: HAILEY BOLLINGER

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A BRIGHTER (UNIFIED) FUTURE

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BLINK unfolds Oct. 10-13 and will stretch from the perimeter of Over-the-Rhine’s Findlay Market across the Roebling Bridge and into Covington.

More info: blinkcincinnati.com.

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see neighborhood people,” they say. “If the environment seems inhospitable and it doesn’t feel like your neighborhood anymore, then you start to question, like, ‘Do I belong?’ ” While all residents in OTR are neighbors in a technical sense, the artists behind “UPdate?” express remorse for losing touch with a community-centric way of life that values new and old residents equally. Their goal is to help find common ground between the increasingly commercial area and the people who call it home.

Sunflowers are a vital motif in the projection mapping: a symbol of fresh, living things, healthy and whole. There’s a metaphor to be found here. On good days, sunflowers rotate out to bask in the light of the sun. In stormy weather, they turn inward toward one another, protecting and ensuring the survival of all.

“That’s what we need to do here,” Drummond says. “Come together.”

Although they’re not officially affiliated with BLINK itself, the team is eager to share in the excitement of the weekend.

“We want a beautiful neighborhood. We want to be a part of these celebrations,” says Beck. “Some of these creative ideas and wonderful, beautiful reasons why (people) want to come to Over-the-Rhine are some of the same reasons why we live here.”

What’s important, they emphasize, is that the upward momentum of BLINK will inspire permanent, positive change for residents.

Collaborator Janet Albright-Captain says she wants audiences to recognize that while artistic, “UPdate?” isn’t about entertainment, but rather “the people who still live here after BLINK is over.” She’s optimistic, and it’s clear that the sun will continue to shine on the entire community even after the electric whir of BLINK’s technicolor light fades away.

“We’re planting a seed,” she says. “A seed that’s spreading.”

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A part of the official BLINK manifesto reads: “The people of the future city are unified and enlightened.” It begs the response: How are those bonds of unity formed? And to whom does a better tomorrow belong?

One grassroots effort will address these questions in “Time for an UPdate?,” a projection mapping and performance art piece, not affiliated with BLINK but conceived and orchestrated by residents in Over-theRhine. (“UPdate?” will occur all four nights of the event.) An installment of the ongoing Storefronts series produced at the Miami University Center for Community Engagement on Vine Street, the work will spotlight issues of community, belonging and the Over-the-Rhine economic boom that some longtime residents feel has left them behind.

Centering around the idea of a town crier as a messenger, one performer will lead a call and response as a narrative animation is projected overhead, prompting other artists to share in real-time personal reflections on memory and dreams for the future of OTR. In the words of Mary Clare Rietz, a MUCCE facilitating artist, the center is in a “highly visible, dramatically gentrified section” of OTR. What’s in the storefront windows, she explains, gives a clue as to what’s happening in a neighborhood and how it’s perceived.

Storefronts aims to ensure that the entire community is represented.

With plenty of new bars, retail developments and luxury apartments in the area, the need for affordable housing has not been entirely forgotten. But, “UPdate?” collaborator Tony Drummond asks, “Affordable to who? Affordable housing is not low-income housing. This place got diverse so quickly. I hope the right person will see that it’s pushing people out.”

Collaborator Key Beck adds that pricing isn’t the only factor in displacing community members.

“When I was growing up and I had family that lived down here, you would basically only

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O F F I C I A L C I N C I N N AT I H O R C HATA G

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CARN ITAS TACO

Pulled pork, pico de gallo (tomato, onion, avocado, cilantro). Served in soft corn tortilla.

VEGGI E TACO

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TACOS BARBACOA M IXTA

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must be 21+ Please drink responsibly

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Lightly fried cod, shredded lettuce, tomato, guacamole, queso fresco cheese, poblano sour cream and charred tomato salsa.

AUTH ENTIC BARBACOA TACO

Authentic Barbacoa (marinated beef) made in-house and serve on a fresh soft corn taco with lime, onion, and cilantro. Served with an order of freshly fried chips and homemade salsa. Additional sauces available at your table. Steak tacos also available for this promotion.

R O LL O N I N

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( 3 L O C AT I O N S )

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Beef and veggie tacos also available for this promotion.

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BEERS

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Homemade roasted green tomatillo sauce, with cotija cheese, red onions, and cilantro served on a fresh corn tortilla.

S LATT S G

BEST I N TH E CITY TACO

Flour tortillas with your choice of blackened tilapia, slow cooked carnitas, or slow cooked chicken, stuffed with curry-cabbage slaw and topped with pico de gallo and spicy aioli.

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STUFF TO DO

Ongoing Shows ONSTAGE: The Absentee Know Theatre, Over-the-Rhine (through Oct. 5) ONSTAGE: Alias Grace Playhouse in the Park, Mount Adams (through Oct. 27)

THURSDAY 03

FILM: Fright Nights at Washington Park Washington Park hosts film screenings Thursday, Friday and Sunday night to start October off with some family-friendly frights. First up is Hocus Pocus, the Disney favorite featuring the witchy 17th-century Sanderson sisters, who are brought back from the dead after a virgin lights the black flame candle. On Friday, it’s Halloweentown, a ’90s Disney Channel romp about some siblings and their witch grandmother who have to save the mortal world from supernatural powers and keep the spooky citizens of Halloweentown safe. On Sunday, it’s Beetlejuice (…

Beetlejuice, Beetlejuice), everyone’s favorite crusty poltergeist. Concessions will be open with wine, beer and drink specials. Films start at 8 p.m. Thursday, Oct. 3; Friday, Oct. 4; and Sunday, Oct. 6. Free admission.

Washington Park, 1230 Elm St., Over-the-Rhine, washingtonpark.org. — MAIJA ZUMMO

PHOTO: JOELLE GUEGUEN

allhallowsevellc.com.

— MAIJA ZUMMO

FRIDAY 04

EVENT: CliftonFest This annual fest takes over Ludlow Avenue for a weekend of art, music and shopping. The eighth-annual CliftonFest captures the spirit of the neighborhood with a plethora of live music — everything from Rock and Reggae to Blues and R&B — along with popular live sidewalk chalk drawing artists and a mural unveiling.

Friday night features live Jazz and a wine tasting on Clifton Plaza. Saturday keeps the party going with street performers; beer tents; kids games; more live music from the likes of The Cliftones, IsWhat?! and the Tracy Walker Band; a costumed pet parade (with prizes for best Pet/Owner Lookalike, Pet Floats and Most Mysterious Heritage).

EVENT: All Hallows Eve Terror Town The former grounds of the Old West Fest have been transformed into a Dodge City ghost town — literally. Well, almost literally.

A prop fabrication and haunted attraction team has transformed the space into an immersive 19th-century Terror Town with shops, vendors, restaurants, bars and an outdoor theater screening classic horror films. There are also theater performances, games and a 30-minute haunted trail based on Wild West folklore.

7 p.m.-2 a.m. Fridays and Saturdays; 7 p.m.-midnight Sundays through Nov. 3. $25. 1449 Greenbush Cobb Road, Williamsburg,

Note: Ludlow Avenue will be closed to traffic between Clifton and Middletown avenues on Saturday. 6-10 p.m. Friday, Oct. 4; 10 a.m.-midnight Saturday, Oct. 5. Free admission. Ludlow Avenue, Clifton, cliftonfest. com. — MAIJA ZUMMO MUSIC: Legends of Hip Hop The Legends of Hip Hop tour is like a living Spotify playlist made up of some of the more influential Rap artists of the past 30 years. It also serves as a great exhibition of localized Hip Hop scenes from that same time period.

Representing the Bay Area are E-40 and Too Short. Too Short rose to prominence in the late ’80s, became involved in the Southern Hip Hop scene at the turn of the century and collaborated with a wide range of artists throughout his

career — from Tupac Shakur to Lady Gaga. Memphis’ 8Ball & MJG are two of the most respected rappers to ever emerge from the South; the duo has two entries — Comin’ Out Hard and On Top of the World — on Complex’s Best Rap Albums of the ’90s list. Along with his solo work, Houston MC Scarface became a Hip Hop legend with the Geto Boys and is considered one of the best lyricists to ever hold a mic. Rounding out the Legends of Hip Hop Cincinnati tour stop is another Texan, Bun B (who rose to prominence as one half of the duo UGK), Atlanta’s Pastor Troy and New Orleans’ Mystikal, who broke through to the mainstream in 2000 with his James Brownian hit “Shake Ya Ass.” Some of the artists in the lineup have worked CONTINUES ON PAGE 36

C I T Y B E AT. C O M

Hartwell, cincylibraryfriends. org. — ERIN GARDNER

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find notes or writing in your purchase. Daily markdowns, clearance bins and discount carts will be available throughout the sale, as well as a large selection of non-library science fiction novels. All mass-market paperbacks will be 50 cents.

The books are organized by categories like self-help, fiction, horror, sci-fi and local. More books will be on tables outside, if the weather permits. Restocking will take place daily and volunteers are happy to guide you to a specific section and answer questions. Members get 50 percent off purchases on Sunday. 10 a.m.-7:30 p.m. Thursday, Oct. 3 and Friday, Oct. 4; 10 a.m.-6 p.m.

Saturday, Oct. 5; noon-5 p.m. Sunday, Oct. 6. Free admission. The Friends’ Used Book Store at the Warehouse, 8456 Vine St.,

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EVENT: Friends of the Public Library Used Book Sale The Friends of the Public Library, which is an independent organization supporting the Public Library of Cincinnati and Hamilton County, is putting on its annual fall book sale. The warehouse holds over 100,000 titles, but thousands more will be available to purchase so make to check your shelf and your wallet. All of the books are either library discards or private donations, so don’t be surprised if you

The Cliftones

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FROM PAGE 35

together in the past, so don’t be surprised to see some onstage crossover throughout the night. 8 p.m. Friday, Oct. 4. $63-$129. U.S. Bank Arena, 100 Broadway, Downtown, usbankarena. com. — MIKE BREEN

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EVENT: Haunted Brewery Tour Take this haunted tour along the Cincinnati Brewing Heritage Trail and stop at the Christian Moerlein Malt House Taproom to solve a creepy puzzle. In this interactive mystery, you’ll hear five haunted tales and use clues to figure out which story isn’t based on true history. The production is a collaboration between Christian Moerlein Brewing, the Brewing Heritage Trail, Cincinnati Escape Room and Cincinnati Landmark Productions. It’s a trip back in time, through a darkened brewery and into an abandoned cellar. They’ve added lights-on tours this year. Starting at 7 p.m. Fridays and 6 p.m. Saturdays in October. $25. Christian Moerlein Malt House Taproom, 1621 Moore St., Over-the-Rhine, hauntedbrewerytour.com. — MACKENZIE MANLEY

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EVENT: Kentucky Wool Festival Drive through winding country roads before landing at the Kentucky Wool Fest; be greeted by the wafting scent of fried food, twangy banjos, a petting zoo and vendor booths with handcrafted items selling everything from threads to keep you warm to goat-milk soap and lots and lots of wool. Watch sheep herding and sheep shearing demos as well as artisans turn wool into yarn and fiber works. 10 a.m.-10 p.m.

Friday, Oct. 4 and Saturday, Oct. 5; 10 a.m.-6 p.m. Sunday, Oct. 6. $5. 48 Concord Caddo Road, Falmouth, kywoolfest.org.

— MACKENZIE MANLEY ONSTAGE: AC2 Live: An Intimate Event with Anderson Cooper and Andy Cohen Andy Cohen and Anderson Cooper met on a blind date more than 25 years ago and have been close pals ever since, their comedic chemistry on display on social media, Cohen’s late-night

talk show Watch What Happens Live and CNN’s New Year’s Eve Live, which the pair has hosted since 2017-18. And over the past four years, they’ve taken their friendship and all its stories on the road as part of their show, AC2 Live, which stops in Cincinnati on Oct. 4.

The tour offers an unscripted, unfiltered and informal fireside chat with the two silver foxes, with a Q&A portion and embarrassing old video clips to boot. “It’s like going out to a bar with us and hearing our stories,” Cohen says. 8 p.m. Friday, Oct. 4. $58.75 -$353.75.

Aronoff Center, 650 Walnut St., Downtown, cincinnatiarts.org.

— JAC KERN EVENT: Sunflower Festival at Gorman Heritage Farm If you follow ‘hip’ folks on Instagram, they probably post an EVENT: Weekannual #candid of themselves in a end of Fire field of sunflowers. And most likely, Calling all spice it was taken at Gorman Herilovers: Jungle tage Farm’s Sunflower Festival.

Jim’s Weekend of Honestly: totally worth it for the Fire presents all cute pics alone. This autumnal things hot, from celebration will put you in the salsas and dry seasonal spirit — crisp, early rubs to sauces, fall weather; harvest hues of red, marinades and orange and yellow; cozy hayrides mustards. There (bonus: snag some hot cocoa will be hundreds beforehand); and, duh, sunflowof foods to ers. As the sweet fall ruffles your sample as well as sweater, sway to live music or an Arena of Fire munch on grub from a selection competition with of food trucks and vendors. The newly imagined fest includes hayrides, a sunflower contests and field maze, food trucks, pumpkin showdowns to picking and a MadTree beer garsee who can eat den. Sunflowers are $1 per stem (or create) the or $10 per dozen. 10 a.m.-6 p.m. spiciest items.

Saturday, Oct. 5 and Sunday, Oct. Bring a friend — 6. $8 adults; $5 kids 3-17/seniors; free kids under 3. Gorman Herior foe — who can tage Farm, 10052 Reading Road, handle the heat Evendale, gormanfarm.org. and peruse over — MACKENZIE MANLEY 50 vendors, see who will win the WOFI awards, build your own and local acts and raises extremely wicked bloody money for a good cause. mary at the Singe Bar and The idea for the festival get ready to burn a hole in sprung from the formation of your belly. 11 a.m.-6 p.m. the nonprofit Winning With Saturday, Oct. 5; 11 a.m.-4 ALS, which Tom Miller estabp.m. Sunday, Oct. 6. $10 lished in the wake of his own adults; $2 kids. Jungle Jim’s, ALS (also known as Lou 5440 Dixie Highway, FairGehrig’s Disease) diagnosis field, junglejims.com. in 2015. Created to assist — MAIJA ZUMMO young children who have parents with the disease, MUSIC: Cripple Creek Miller also wanted to do Music Festival something unique as a funThis weekend sees the draiser, so he and his group return of Northern Kenof volunteers launched the tucky’s Cripple Creek Music festival last year and brought Festival, a day-long outdoor in popular touring outfit Karl concert that features touring

SATURDAY 05

SATURDAY 05

PHOTO: PROVIDED

Denson’s Tiny Universe to headline the inaugural Cripple Creek event. This year’s fest has another Jam-band-scene favorite as a headliner — singer/keyboardist Melvin Seals, who worked extensively with the Jerry Garcia Band. Seals and his JGB crew will be playing with another Grateful Dead affiliate, John Kadlecik, the guitarist for elite Dead tribute ensemble Dark Star Orchestra who also played with Bob Weir and Phil Lesh in the band Furthur. The rest of the 2019 Cripple Creek festival’s lineup includes Brooklyn Soul Rock group Revel In Dimes and Lexington, Kentucky Blues Rock quintet Magnolia Boulevard, plus area acts like Trauma Illinois, Blue Moon Soup and Casey Campbell. 2 p.m. Saturday, Oct. 5. $36. DCCH Fairgrounds, 75 Orphanage Road, Fort Mitchell, winningwithals.org. — MIKE BREEN EVENT: HallZOOween HallZOOween is more about the treats than the tricks.

Kids and animals alike will be treated to special themed activities. Kids can trick-ortreat at stations scattered throughout the grounds, catch a show from Phil

Dalton’s Theater of Illusion and even hop on the Hogwarts Express. Be magically sorted at the Transfiguration Station, board the Scareousel and enjoy special animal encounters. Costumes are encouraged, as is bringing along your own treat bag to help the zoo go green.

Noon-5 p.m. Saturdays and Sundays through Oct. 27.

Free with zoo admission: $15 adults; $9 kids. Cincinnati Zoo & Botanical Garden, 3400 Vine St., Avondale, cincinnatizoo.org. — MAIJA ZUMMO EVENT: Wizard Pub Crawl Accio, alcohol! The thirdannual Wizard Pub Crawl through Over-the-Rhine invites muggles, wizards, witches and everyone in between to imbibe many potions as they make their way from 16-Bit Bar+Arcade to partner drinking destinations including MOTR Pub, Mr. Pitiful’s, Below Zero, Drinkery OTR, Revel OTR Urban Winery, OTR Live and more. Tickets include a signature wand and wand box, a Hogwarts house certificate at the end of the crawl, a best dressed competition, house-colored wristbands for sorting purposes, a wizard backdrop

for photo-ops, themed drink specials at each destination, ticket-only access to several bars and DJs. VIP tickets include shirts while supplies last. 3-10 p.m. Saturday, Oct. 5. $20; $40 VIP. Check in at 16-Bit Bar+Arcade, 1331 Walnut St., Over-the-Rhine, facebook.com/barcrawlusa.

— MAIJA ZUMMO EVENT: Northside Flea This open-air flea market is hosted by Building Value and features a variety of handcrafted items from regional vendors. The focus here is on sustainability and upcycled items made from reclaimed, recycled or salvaged materials, along with natural goods. Vendors include Queen City Alchemy, ReVamper Vintage, Crafty Delinquent, Applehead City Pet, Unsung Salvage Design Company and more. The event is family-friendly and leashed dogs are welcome.

10 a.m.-4 p.m. Saturday, Oct. 5. Free admission. Building Value, 4040 Spring Grove Ave., Northside, facebook. com/northsideflea. — MAIJA ZUMMO COMEDY: Matt Stanton Florence, Kentucky native Matt Stanton just celebrated his 15th year in stand-up comedy. In that time he

has lived in Chicago, Minneapolis, Pittsburgh and now San Diego. Along the way he’s soaked up the comedy scene in each town.

Currently, he oscillates between featuring for other comics and headlining his own shows. “If I’m headlining your city, you probably have a minor league AA baseball team,” he notes. On Saturday, he’ll celebrate a homecoming of sorts as he headlines a show at Taft’s Brewpourium for Laughs at Taft’s from Bombs Away!

Comedy. “I booked the entire line up, and they’re all comedians regionally that I really like,” he says. “You’re not going to hear the same type of voice over and over because there are enough suburban white guys in comedy — and I’m white enough for everybody.” Other comics include Johnnie Johnson, Paige Polesnak, Kelly Horan, Phil Pointer and J. Patrick McCoig with host Wayne Memmott. Ticketholders get $2 off each beer they drink all night. 7 p.m. doors; 8 p.m. shows Saturday, Oct. 5. $10. Taft’s Brewpourium, 4831 Spring Grove Ave., Spring Grove Village, facebook.com/bombsawaycomedy. — P.F. WILSON

TUESDAY 08

EVENT: Pan Am Layover Lounge Gorilla Cinema Presents has an imaginative pop-up experience on the docket through Oct. 13. The Pan Am Layover Lounge will take over downtown’s Tokyo Kitty, inviting guests on a fake escape to a variety of the airline’s most popular destinations, including Tokyo, Hawaii, Mexico City, London and even the moon. All will evoke the now-defunct airline’s nostalgic goldenage-of-flight-style of service and branding. The intimate experience hosts four guests for a 45-minute “trip.”

Tickets include two cocktails, souvenir glassware and rare Pan Am collectibles. Tickets are currently sold out, so unless you already have one or know someone who knows someone, you can still get some cool Pan Am swag at the gift shop, which is open during the duration of the event. Expect items like limited-edition prints and other merch. Through Oct. 13. $50. Pan Am Layover Lounge, 575 Race St., Downtown, @panamlayoverlounge. — HAILEY BOLLINGER

THURSDAY 10

EVENT: BLINK In its inaugural 2017 run, BLINK Cincinnati was one of the largest and most innovative light and art events in the nation, transforming city blocks all the way from The Banks to the edges of Over-the-Rhine into a glowing, pulsing wonderscape.

For four days, Cincinnatians could feast their eyes on large-scale projection mapping, light-based sculptures and installations, a parade, murals and performances. If you missed it in 2017, don’t fret: BLINK is back for a second run Oct. 10-13, 2019 — this time stretching across the Roebling Bridge and into Covington, Kentucky.

This year’s fest will span 30 blocks, feature those same beloved large-scale light and art events, and also include a live performance from AltRock act Grouplove. To mark the expansion across the Ohio River, BLINK also plans to illuminate the Roebling, bathing it in “beautiful color, light and sound.” See the cover story for more info.

Oct. 10-13. Free. More info at blinkcincinnati.com. — MACKENZIE MANLEY CONTINUES ON PAGE 38 PHOTO: WILLIAM K ANER

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LIT: An Evening with Blondie Iconic Blondie singer Debbie Harry is coming to Cincinnati to discuss her anticipated memoir, Face It. The book, Harry said in an interview with Rolling Stone in February, tells Blondie’s story “from my sort of warped little perspective.”

Presented by Joseph-Beth Booksellers, the event, dubbed “An Evening with Blondie,” will also feature Harry’s bandmate Chris Stein and the book’s creative director, multidisciplinary artist Rob Roth. There will be a discussion about Blondie’s career, as well as a video presentation created

by Roth. 7 p.m. Monday, Oct. 7. $32.50. Walnut Hills High School, 3250 Victory Pkwy., Walnut Hills, josephbeth.com. — MIKE BREEN

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PHOTO: DJJAM PHOTO

THURSDAY 10

EVENT: Zoo Brew Time to party with the animals during Zoo Brew, part of the Cincinnati Zoo’s Toast to the Wild Series, which raises funds and awareness for the Lindner Center for the Conservation & Research of Endangered Wildlife. Zoo Brew is bigger than ever this year, with expanded hours, a larger layout and more tickets. Admission includes 12 drink samples and a welcome drink, a commemorative glass, food available for purchase, animal encounters and access to animal habitats, live music from Randy Houser and the Mama Said String Band and bonus beer samples throughout the event from participating breweries. Rain or shine. 6:30-9:30 p.m. Thursday, Oct. 10. $50; $30 designated driver; discounts for members. Cincinnati Zoo & Botanical Garden, 3400 Vine St., Avondale, cincinnatizoo.org. — MAIJA ZUMMO

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EVENT: Cincinnati Coffee Festival The third-annual Cincinnati Coffee Festival returns to the Queen City and has moved from OTR’s Music hall to a larger venue, taking over the Grand Ballroom at downtown’s Duke Energy Convention Center. The event will kick off with a Trade Day on Friday, which is reserved for coffee shop owners, baristas and enthusiasts interested in learning more about the coffee world. The rest of the weekend will be open to the public, hosting 60 different vendors including coffee and tea shops, bakeries, pastry shops and chocolatiers. In addition to a larger venue, this year’s event will have a few other new features. The inaugural Coffee Olympics will host a variety of fun competitions where guests can cheer on their favorite coffee shops. There will also be a casual presentation and conversation hub called Campfire Coffee. The Latte Art Throwdown will return to the festival this year, where baristas can compete for the title of top latte artist, and attendees who want to practice latte art can participate in Latte Art in Action. There

will also be coffee-related demonstrations, live music and a larger Art of Coffee gallery, which features various artworks. 12:30-6 p.m. Friday, Oct. 11; 10 a.m.-5 p.m. Saturday, Oct. 12; 11 a.m.-4 p.m. Sunday, Oct. 13. $10 Trade Day; $12.50 advance general admission; $15 day of; $20 advance VIP (includes early admission and a swag bag); $25 day of VIP. Duke Energy Convention Center, 525 Elm St., Downtown, cincinnaticoffeefestival.com.

— HAILEY BOLLINGER FILM: Horror Film Fest: An Evening of Vampires at the Cincinnati Art Museum Its spooky season and the Cincinnati Art Museum is taking cinematic advantage by hosting an evening of vampire-centric film screenings. The triple feature includes a screening of Let the Right One In, a poetic and tender Swedish story about a bullied 12-year-old who befriends the vampire next door; A Girl Walks Home Alone at Night, a pulpy Iranian vampire Western that the director says is like “Sergio Leone and David Lynch had an Iranian Rock & Roll baby, and then Nosferatu came and babysat for them;” and Nosferatu the

Vampyre, Warner Herzog’s homage to the classic silent film. Seating is first-come, first-served and there is a cash bar. Screenings take place in the Fath Auditorium.

5-11 p.m. Friday, Oct. 11.

Cincinnati Art Museum, 953 Eden Park Drive, Mount Adams, cincinnatiartmuseum.org. — MAIJA ZUMMO EVENT: Wellness Your Way Festival Kroger is bringing its Wellness Your Way Festival back to the Duke Energy Convention Center with a big ol’ roster of health and fitness celebs, wellness experts and Jewel, the singer-songwriter and fest co-founder. The stated goal of Wellness Your Way is that it is “a lifealtering weekend experience to kick-start your journey to a healthy lifestyle.” Held Oct. 11-13, the convention center will be broken into different zones focused on things like cooking, education, fitness, nutrition, etc. Celebrities slated to appear include Jewel, social media man Perez Hilton, P90X founder Tony Horton, nutritionist and TODAY Show correspondent Joy Bauer and more. In addition to wellness-focused events, there will also be a musical competition that invites undiscovered artists

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EVENT: Cincinnati Taco Week Taco Tuesday is taking over the whole dang week during CityBeat’s Cincinnati Taco Week, seven days of $2 tacos from area eateries and taquerias including Agave & Rye, B&A Street Kitchen, Frida 602, Lalo, Los Potrillos, Lucius Q, Taqueria Mercado and more. Each location will be serving a special (or several special) Taco Week tacos. These creative and/or classic options will frequently be complemented by an el Jimador tequila special. Check with each restaurant and make sure to print out a Taco Week passport; get your passport stamped at three or more restaurants and you’ll be entered to win a contest. Guests must purchase three or more tacots. Oct. 14-20. Get more info at cincytacoweek.com.

— MAIJA ZUMMO

to perform in front of a panel of judges (including Jewel), and a Bee-U-Tique Expo in collaboration with the Queen Bee Half Marathon expo. Fest starts at 11 a.m.

Friday, Oct. 11; Saturday, Oct. 12; Sunday, Oct. 13. $10 per day; $25 three-day pass; $35 three-day VIP. Duke Energy Convention Center, 525 Elm St., Overthe-Rhine, wellnessyourwayfestival.com. — MAIJA ZUMMO

SATURDAY 12

SUNDAY 13

EVENT: eat.play. give.

The de Cavel Family SIDS Foundation is hosting its 16th-annual SIDS awareness brunch event — eat.play. give. — at the Midwest Culinary Institute at Cincinnati State. It’s a chance for attendees to eat and drink their way through food stations crafted by chefs from restaurants and epicurean destinations including Boca, Boomtown Biscuits & Whiskey, Fausto, Karrikin Spirits Co., Orchids at Palm Court, Mita’s and more. There will also be cocktails from Molly Wellmann, wine, a silent auction, kids’ activities and live entertainment. JeanRobert de Cavel and his wife, Annette, started their foundation after losing fourmonth-old daughter Tatiana to Sudden Infant Death Syndrome (SIDS) in 2002.

Since then, they have raised funds for SIDS research and education, most recently donating a $11,500 grant to local Cradle Cincinnati, dedicated to reducing infant mortality. 11 a.m.-2 p.m.

Sunday, Oct. 13. $75 adult; $45 young adult (12-20); $25 child (5-12). Midwest Culinary Institute, 3520 Central Parkway, Clifton, eatplaygive.net. — MAIJA ZUMMO

TUESDAY 15

YOUR WEEKEND TO DO LIST: LOCAL.CITYBEAT.COM

C I T Y B E AT. C O M

MUSIC: Macy Gray Clifton’s Ludlow Garage shut down a couple of months ago for a summerlong renovation project that ups the capacity from 300 to 500-plus people. The venue’s reopening was delayed, however, causing singer Macy Gray’s September show at the club (the intended “grand reopening” event) to be postponed. A Canton, Ohio native, Gray’s jazzy voice — a perfectly soulful blend of silky flow and earthy rasp — first charmed most listeners in 1999 with her huge hit “I Try,” off of her debut album, On How Life Is. Since then, Gray has acted in films, collaborated with some of the biggest artists in the world (from Natalie Cole and Dolly Parton to Justin Timberlake and Ariana Grande) and released nine more albums, including a full-album cover of Stevie Wonder’s Talking Book; her first official Jazz LP, Stripped; and Ruby, which drew praise from critics when it was released last year. 8:30 p.m. Tuesday, Oct. 15. $45-$80. Ludlow Garage, 342 Ludlow Ave., Clifton, ludlowgaragecincinnati.com.

— MIKE BREEN

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EVENT: Second Sunday on Main Second Sunday on Main coincides with the final evening of BLINK so the party is being extended into the evening hours. During the day, check out live music

and a biergarten lounge. In the evening, there will be more live music from Brooklynn Rae, Chelsea Ford and The Trouble, Knotts and In the Pines, plus vendors and more fun. Noon-4 p.m. and 6-11 p.m. with biergarten hours noon-11 p.m. Sunday, Oct. 13. Free admission.

Main Street between 12th and Liberty streets, Overthe-Rhine, facebook.com/ otrssom. — MAIJA ZUMMO

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SPORTS: Cincinnati Cyclones The Cincinnati Cyclones kick off hockey season with their first face off against the Wheeling Nailers. And not only is it the first home game of the season, it’s also the first dollar dog and dollar beer night. That’s right: Fans can get $1 John Morrell hot dogs, $1 Donatos pizza, $1 soda and $1 beer (like cans of Miller High Life and PBR; not craft drafts). It’s the perfect night to start perfecting your beer-can-pyramidbuilding skills and drunkenly shouting “fight” at different people on the ice. The first 5,000 fans will also get a free Cyclones calendar. 7:30 p.m. puck drop Saturday, Oct. 12. Tickets start at $18. U.S. Bank Arena, 100 Broadway St., Downtown, cycloneshockey.com. — MAIJA ZUMMO

P H OTO : AG AV E A N D RY E

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ARTS & CULTURE Filmmaker-In-Residence Ya’Ke Smith, Taft Museum’s 2019 Duncanson Artistin-Residence, arrives in Cincinnati for film screenings, discussions and more

BY S T E V EN R O S EN

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Ya’Ke Smith, Taft Museum of Art’s 2019 Duncanson Artist-in-Residence P H O T O : P R O V I D E D B Y TA F T M U S E U M O F A R T

white audiences, black audiences, all audiences would be able to see themselves in those people I’m putting on screen,” Smith says. “Ultimately, it’s about creating characters that have some sort of universal quality to them. Yes, our experiences are different, and the experiences of AfricanAmericans are very different from those of white people on a subject. But ultimately, we’re all humans and want and need the same things.”

The Taft Museum (316 Pike St., Downtown, taftmuseum.org) will hold a public reception for Ya’Ke Smith from 6-8 p.m. on Sunday, Oct. 6. For tickets to Over-the-Rhine Film Festival events, visit otrfilmfest.org.

C I T Y B E AT. C O M

“For me as a black man I want to be sure I’m telling a story that means something to me,” he says, “means something to the subject I’m featuring, and also attracts that particular audience because they see themselves on screen in a new and interesting way.

“I’m not just trying to create positive images or negative images, but I’m trying to create images that show the full spectrum of this full humanity of people of color. Our white counterparts have always been able to exist in all of those realms, but we have not.”

At the same time, he doesn’t want to exclude any audience from his work.

“In telling those narratives, I would hope

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other African-Americans were not able to exhibit, and he was creating art traditionally made by white creators.

“So he broke down doors. We’re having artists today still breaking down these barriers. Duncanson 100 years ago was at the forefront of that.”

Breaking down barriers is what Smith’s own filmmaking art is about. At age 38, he already has a long string of independently made narrative features and shorts to his name and has won numerous awards. His newest work, Heavenly, just won for Best Short Film at the Frame4Frame Festival in Arlington, Texas.

Smith was always interested in storytelling and made his first film at age 15 after borrowing equipment from his San Antonio high school’s arts programs. “I made a movie over the weekend with friends, and I’ve been making movies ever since,” he says.

One source of inspiration was seeing the late John Singleton’s groundbreaking 1991 Boyz n the Hood, a drama about the dreams and fears of the residents of historically black South Central Los Angeles.

“I saw it (while) living in San Antonio, where there were a lot of gangs,” he says.

“When the film came out, I felt like I saw myself and a lot of other people I knew off-screen represented in a way that felt authentic,” he says. “It gave them back their humanity and allowed them to speak for themselves. When I saw that, I saw that these are the kind of films I want to make.

It showed me for the first time how powerful films can be.”

His first feature film, Wolf, took the Grand Jury Prize at the 2012 Dallas International Film Festival and can be seen on Amazon Prime.

“It’s the story of a family where the son has been molested by their pastor,” he says.

“It deals with the fallout of that, the church cover-up, the family struggle. In many ways, the action was committed against the whole family by a pastor who married them, baptized the kid. They have to come to terms with their faith, decide how to continue on.”

African-Americans are at the center of much of his work, he continues, with the objective of allowing them to tell their own stories in a way that historically hasn’t been the case. When someone else is telling a story about black characters, he says one can sense “another’s gaze” looking into the African-American community.

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he Over-the-Rhine International Film Festival that runs Oct. 2-6 serves as the Cincinnati debut for filmmaker Ya’Ke Smith, Taft Museum of Art’s 2019 Duncanson Artist-in-Residence.

The residency program, established in 1986, honors the fact that arts patron Nicholas Longworth in the mid-1800s commissioned the African-American painter Robert S. Duncanson to create murals for his home, which is now the Taft Museum.

The residency has been for contemporary African-American artists.

The Over-the-Rhine Film Festival, which features over 80 films in various genres, will present Smith’s five-episode web series The Beginning and Ending of Everything twice — at 3 p.m. Oct. 4 at the Art Academy of Cincinnati and at 3:45 p.m.

Oct. 5 at the National Underground Railroad Freedom Center’s Harriet Tubman Theater. (Additionally, Smith will appear at a Freedom Center workshop, “Realities of Micro-Budget Filmmaking,” at 1:30 p.m. on Oct. 5. He is also a jurist for the film festival’s awards, to be announced at a 7 p.m. ceremony on Oct. 5 at 3 Points Brewery.)

Beginning and Ending, made in 2017, is an expansion of Smith’s 2014 short, dawn.

It’s the kind of realistic narrative film that he wants to make as an independent filmmaker — ones with topical issues relevant to contemporary American society.

“It centers around a woman released from prison, and deals with her struggles to adjust to life on the outside while also searching for a child she had while in prison,” he says. “Both it and dawn. are loosely based on the experiences of my sister and other people I’ve known who have struggled to put their lives back together when released (from incarceration).”

It is rare for a filmmaker to be the recipient of the Duncanson honor — documentarian William Greaves received it in 1991.

According to Elise Solomon, the Taft’s director of learning and engagement, the museum and the Duncanson Society decided to choose a filmmaker again this year in recognition of the growing presence of the film industry here.

Smith, who teaches filmmaking at the University of Texas at Austin, decided to apply after seeing a posting, although he had not heard of Duncanson.

“I did research and realized the man was working in a medium that African-Americans were excluded from,” he says via phone. “He was exhibiting in places that

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LITERATURE

Face the Music Music icon Debbie Harry talks about her justreleased memoir Face It ahead of local ‘An Evening with Blondie’ book-tour stop

BY JAS O N G A R G A N O

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Debbie Harry PHOTO: DENNIS MCGUIRE

Along with her pioneering musical work, Harry’s celebrity earned her sex-symbol status. She writes about her sexual experiences and various encounters, both good and bad, with men over the years in Face It with a rare frankness.

“I think it’s about time that the playing ground was leveled a little bit,” Harry says when asked about the #MeToo movement.

“My stories and the events and the things that happened to me are as factual and as true as they could possibly make them.

Maybe I didn’t go into great emotional detail but I think the important thing for me was about the resolve in living with myself and living with things that have happened to me. I think it’s about survival and encouraging a certain strength within myself and perhaps for others.”

Harry, now 74 and still creatively active, can’t believe that she has finished Face It and that it’s finally out in the world for all to see.

“I’m still dealing with it,” she says. “I’m going to be dealing with it for a while.

Maybe I’ll never live it down, but I guess I just wanted to get it out. Maybe I’m looking to turn a page in my life.”

Debbie Harry’s tour for Face It comes to Walnut Hills High School (3250 Victory Pkwy, Walnut Hills) on Oct. 7. “An Evening with Blondie” will feature conversation and a visual presentation, with Harry, Blondie co-founder Chris Stein and multimedia artist Rob Roth. Tickets/more info: blondie.net and brownpapertickets.com.

C I T Y B E AT. C O M

that was the place for me. I think it was instinctive somehow that I would feel most comfortable in that environment and that it would be the most exciting and the most challenging thing. I was drawn to the exotic and mysterious. I was intoxicated by the idea. I couldn’t escape it. I really couldn’t.”

As expected, Face It touches on the various celebrities and artists Harry has encountered over the last five decades — from Andy Warhol, Jean-Michel Basquiat and David Bowie to The Ramones, John Waters and William S. Burroughs — but one person has had the biggest impact: Chris Stein, co-founder and guitarist of Blondie, her personal partner for 13 years and friend and collaborator for life.

“He was just so supportive and understanding,” she says when asked about Stein’s influence on her creative and personal evolution. “He grew up in New York City in a sort of beatnik family. He was sort of automatically there, and I was wanting to get to that state of mind. For whatever reason, the poor guy, he sort of understood what I liked and what I wanted.

We understood each other almost instantaneously, so I think it was unavoidable in that respect. We were very fortunate that we met. He was just a great person for me to meet and work with and to love — so, lucky me.”

Stein was a grounding force, especially during the whirlwind period of Blondie’s rise from aspiring Punk Rock outfit to the worldwide phenomenon they would become via hit songs like “Heart of Glass,” “Call Me” and “Rapture.”

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recent phone interview. “I’m not an experienced or particularly skilled writer but I’m used to pulling my thoughts together in lyrics. Having to get an idea across in a few lines with a few words, I have a lot of experience with that, so I guess making something conversational and making an audience understand what you’re saying is something that I’m very familiar with.

“Sitting down and writing a longer piece, what I really had to learn was to not be so brief and not be so abbreviated and to develop a picture in a person’s mind. That was kind of a challenge.”

Harry was born as Angela Trimble on July 1, 1945 to a single mother who died from cancer six months later. A middleclass couple, Richard and Cathy Harry, adopted the baby and rechristened her Deborah. Face It’s early chapters are among the most fascinating for those familiar with Harry as a performer and public figure, as they reveal clues to how and why she became the woman we know today.

Harry writes that she had a rather normal childhood in the suburban New Jersey town of Hawthorne, which is about 25 miles northwest of New York City. As a teenager, she was already dreaming of becoming a performer or artist and was traveling to the city to take in what she could. Harry was especially intrigued by the bohemian underworld she encountered and was determined to live that life herself. By 19, she moved to Manhattan and has never really left.

“It was my fascination from a very early age,” Harry says of New York. “I felt like

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here was a time, from the late 1970s through the early ’80s, when Debbie Harry was one of the most transfixing and recognizable human beings on the planet.

As lead singer and co-songwriter in Blondie, the New York City New Wave sextet that became a Pop juggernaut, Harry’s sleek visage and devil-may-care attitude embodied a downtown cool that now barely exists. She came off like a bohemian Marilyn Monroe, a platinumblonde chanteuse with effortless style and a sexuality so assured it verged on banality.

As Rob Sheffield wrote in the Spin Alternative Record Guide, “Deborah Harry was the most exquisitely tired singer in history.

Even her emotionally direct songs wafted on the exhausted sigh of someone who’d whisper in our ears about infatuation and heartbreak only as long as it took for her bath to run.”

Whether intentional or not, there’s always been a mysterious, almost alien quality to Harry’s persona, which makes her new memoir, the just-published Face It, such an intriguing look behind the mask.

Her national book tour for Face It includes a visit to Cincinnati’s Walnut Hills High School on Oct. 7 at 7 p.m.

“At first, it was against my better judgment to do a memoir/autobiography, but it seems appropriate at this time in my life to get it over with and remember,” she writes near the end of the 368-page book, which is laden with photos and various artwork related to or inspired by Harry’s nearly half-century in the spotlight.

Face It is not rendered in same highliterary mold of recent biographies by Bruce Springsteen or Patti Smith; it’s anecdote-driven but largely chronological, the remembrances of a whirlwind life that came of age long before the daily social media documentation of our current era.

She writes about the many ups and downs of her life through a spare, conversational prose style so matter-of-fact it makes Raymond Carver’s look florid.

“I don’t think I really had much choice about that,” Harry says when asked about her straightforward approach during a

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VISUAL ARTS

MARK YOUR CALENDAR FOR THESE ‘DON’T MISS’ EVENTS

OCT. 14 - 20

OCT. 24

NOV. 4 - 10

C I T Y B E AT. C O M

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FOR MORE INFORMATION VISIT CITYBEAT.COM

Colescott’s Transgressive Tradition

BY J U D E N O EL

Equally satirical and shocking, Robert Colescott’s paintings look cunningly back at their observer, awaiting a response. Art and Race Matters, which runs at the Contemporary Arts Center through Jan. 12, is the first retrospective to span the artist’s career from 1949 to his death in 2009. The first African-American artist to receive a solo exhibition at the Venice Biennale, Colescott explored popular Robert Colescott’s “The Wreckage of the Medusa” culture as it relates to the black experience, exposP H O T O : R AY L I T M A N / E S TAT E O F R O B E R T C O L E S C O T T ing underlying prejudice through a transgressive as Matthew and I were going through the lens. wonderful stuff that had gotten revealed, The exhibition feels as relevant as ever, was how some of the ideas that we think addressing controversial issues with Coleabout Colescott — appropriating art, scott’s blend of exploitation and absurd which we thought started in the ’70s — was humor. Lowery Stokes Sims, a longtime actually going on in the ’60s.” associate of Colescott’s, curated the The 1962 piece “From a Fragment retrospective alongside historian Matthew Sargent”, which zooms in and crops Weseley, accumulating 85 paintings from the left corner of John Singer Sargent’s over five decades of work.

“The Daughters of Edward Darley Boit,” Colescott’s most prolific period, coverabridges the original’s realism into a ing the ’70s and ’80s, shows keen preflat, eerie stare-down with a young girl. science while appropriating a wide range “Olympia,” completed in 1959, reorganizes of styles and cultural allusions from the Manet’s painting of the same title to depict past. The most incisive works from this its white subject and black servant as period parody the greatest hits of the westequals. ern canon — Picasso’s “Les Demoiselles Just as revelatory are the works prod’Avignon,” Matisse’s “Dance,” Leutze’s duced during Colescott’s trips to Egypt “Washington Crossing the Delaware” — from 1964 to 1967. “We Await Thee,” rendering their subjects in blackface while composed with oils pilfered from house borrowing aesthetic cues from Jazz-era painters, envisions a surreal tangle of bodcartoons and the Bay Area’s underground ies and spirits in the crevices of a desert comix explosion of the late ’60s. landscape. “Nubian Queen,” painted two “Eat Dem Taters,” a 1975 riff on Vincent years later, ventures into fauvist territory, van Gogh’s austere “The Potato Eaters,” depicting an ancient burial ground as an interrupts the original’s muted earth tones ascending tapestry of reds, greens and with Colescott’s re-imagined title dispinks. played in cartoon typeface. There’s a stark The later selections in Colescott’s contrast between the humble solemnity of retrospective demonstrate a loosening of Van Gogh’s portrayal of Dutch peasants to style as well as the development of a rich Colescott’s sardonic employment of grovocabulary of imagery, which allowed for tesque, smiling stereotypes — one that’s more complex commentary. “Choctaw long been reflected in representations of Nickel,” from 1994, is among the most visuthe working class. ally engaging of these.

“I was attacking the myth of the ‘happy Art and Race Matters concludes with a darkie,’ ” Colescott told ARTnews in 2003. brief survey of Colescott’s work in the early “It’s been all too convenient for white 2000s, when the artist faced the chalpeople to believe that black people can lenges of working with Parkinson’s disease. sing, laugh, dance and be happy even in “Sleeping Beauty,” from 2002, is the last and the most dire circumstances.” largest of these, a return to stream-of-conThe earlier portion of the exhibition, scious abstraction that tangles wiry figures beginning with Colescott’s graduation into a curtain’s fold of blood-red acrylics. from University of California, Berkeley in It’s a departure from the crowded tableaux 1949, traces his initial experiments in cubof his earlier work, figures that may or may ist abstraction to his first forays into the not be human bursting into pyrotechnic colorful, folksy style he’d develop over the deconstructions against a blank rift. course of his career.

“Other surveys of (Colescott’s) work did Art and Race Matters is on view at the things in 10-year increments,” Sims says.

Contemporary Arts Center through Jan. 12, “But, never before have we had a show that 2020. More info: contemporaryartscenter.org. shows the ’40s and ’50s. One of the things,

CULTURE

Tim’s Picks Keeps the Past Alive

BY S E A N M . PE T ER S

When you meet someone who has made it their job to sell off their collection of old odds and ends, it’s interesting to know what they first collected first as a child. In the case of Tim Fuller, owner and operator of Tim’s Picks on Main Street in Over-theRhine, it’s baseball cards. His father ran a drugstore that sold them, which enabled young Fuller to build his collection to a sizable quantity. Does he still have any of them? No, he learned early on that prized collectibles can be easily sold off, in his case for beer money back in college.

Tim’s Picks on Main storefront P H O T O : M I T C H E L L PA R T O N

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Tim’s Picks on Main is located at 1336 Main Street. More info: tims-picks.com.

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Tim’s Picks is a vintage/antique store that specializes in local ephemera dating back to the turn of the 20th century. When I spoke with Fuller in his shop we sat on a pair of elegant mid-century modern Rattan wrought iron chairs with polished wooden seats, where I received a lesson on his favorite items both up for sale and not.

The fact that he’s able to educate you while maintaining a conversational and casual tone is not surprising: The shop is Fuller’s retirement plan after a 25-year career as a social studies teacher at Anderson High School.

He and his wife Connie purchased the space at 1336 Main St., formerly occupied

by Shadeau Breads, last October. After some major renovations, including a new floor, walls, HVAC system and the opening of a skylight that was previously covered up, the shop was ready to open by May. “I retired in 2015 and from then until we opened this store I was primarily out searching, shaking the trees, looking for anything that struck my fancy and that I thought I could turn people on to and sell,” he says. “It was in the back of my head while I was still teaching.”

The collection in the shop is eclectic and spans decades of pop culture, sports, music, kitchenware, fashion and beyond.

If you’re a Rolling Stones fan you can get satisfaction here; vintage concert T-shirts,

posters, magazine interviews and vinyl records make up a sort of Stones shrine in the middle of the shop. Those are all from his collection, but before retirement his overall inventory increased exponentially.

“My wife had an eccentric aunt. She and her husband never had children. She passed in 2012 and she had a house out in Mt. Healthy, two bedrooms with an attic and a basement,” he says. “Literally floor to ceiling, stacked with things. She was a hoarder, but an organized hoarder.

When she passed I started going through the house and I found an amazing number of things.”

Some of the items procured include Ditzler calendars featuring buxom pin-up gals made between the 1950s and ’80s. There are T-shirts, space-related memorabilia, Miami license plates, Holiday Inn towels, jackets and more. There are a number of autographs from racers, film stars, comedians and even Neil Armstrong, but Fuller is waiting for the right time to verify these items. (This was easy to do, since the aunt provided contextual papers known as provenance with the autographs that explain where and when they were signed to add legitimacy.)

Other sources of inventory Fuller relies on are Craigslist, antique and thrift shops and online auctions — it’s a daily hustle.

All the items he has that aren’t in the OTR shop are stored in a building in Blue Ash. The store may not be a museum, but Fuller always enjoys when a potential customer is made happy from a flash of nostalgia upon seeing something from their youth. To give an example, Fuller brings out a 1961 Cincinnati phone book — an item he’ll likely keep around for display only, unless an unbeatable offer is made.

“I’ve had people come in and ask if it’s for sale. Originally it was, but then more and more people, I noticed them looking up their home from when they were a kid or their grandparents’ houses and they’ll take a picture of it,” he says. “Who would’ve thought we’d be taking a picture of our phone number out of a phone book with our phones? Technology brings irony, I guess.”

Fuller does buy antiques, but, to help people from wasting too much time and energy, he’s not really interested in large wooden furniture as it takes up too much space to be worthwhile. Call ahead if you’re curious about any items.

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A Punch-Drunk Clown in a Punch-Drunk World

BY T T S T ER N - EN ZI

Arthur Fleck (Joaquin Phoenix) is a clown.

Seriously. He slaps on the white face paint, a baldpate with frizzy tufts of hair on the sides and a button nose and attempts to make people laugh. He works at the local children’s hospital, entertaining sick kids and their families. He wears sandwich boards or twirls signs on sidewalks for shops advertising sales or announcing that they’re going out of business.

Joaquin Phoenix as Arthur Fleck in Joker It would be a stretch to call what Arthur does a P H O T O : W A R N E R B R O S . / N I K O TA V E R N I S E hustle, but he’s not alone.

There’s a whole crop of low-rent clowns for sale, but now it’s all very literal. Arthur kills eking out an existence somewhere on the three guys on the subway. It starts off as far side of the margins of Gotham City. The self-defense, but along the way, Arthur version of the DC comics’ locale in Joker is discovers a sense of agency, purpose and worse than grim or even gritty. It somehow freedom in the act. He’s uncaged and makes the New York City of the 1970s look unhinged. inviting.

As much as the idea of Arthur Fleck Gotham City, as imagined by Todd Philseems tiring and demands pity from the lips (The Hangover trilogy) for this standaudience, something in him (specifically alone DC feature, is a step or two away Phoenix’s perfectly toxic performance) from war-torn, only because no one feels reminds me of Edward Norton in Fight there’s anything worth fighting for in this Club. He can’t quite make the right adjustgod-forsaken place. Even its would-be poliment to the world around him, as he is. ticians, like Mayoral candidate Thomas He needs an alter-ego, another persona Wayne (Brett Cullen), make it sound like capable of taking the hurt and translating hope is a mythic, all-but-forgotten dream it for him in a way that others will recogof the past. nize and respond to.

As far as clowns go, though, Arthur Phoenix’s Joker fashions everything, all seems highly self-aware. He’s in therapy, the pain and frustration, into a weapon, because he knows that something is wrong the tip of a spear that can rally others who with him (and the whole world, for that are feeling the same. matter) and he wants to figure out if he There was a line in Christopher Nolan’s can get better. He laughs too hard, too long The Dark Knight, spoken by Alfred and at the wrong times, but at least he’s (Michael Caine), the trusted advisor and still laughing. Laughter has gone the way butler to Bruce Wayne/Batman (Christian of hope in Gotham City, except for on the Bale), about that film’s version of the Joker late-night show Arthur watches with his (Heath Ledger), or at least men like him. mother (Frances Conroy) that is hosted Alfred speaks of terrorists who don’t seek

by Murray Franklin (Robert De Niro), a riches or high-minded political gains, but bellicose king of comedy reigning over a instead wreak havoc on the world, just so desperate kingdom. they can watch it burn.

Arthur longs to be discovered by FrankIn The Dark Knight, Ledger’s clown lin, to sit in that studio audience and be prince of crime truly wanted to start fires called onstage to offer a joke or two or a and would probably go on lighting fuses, heartfelt plea to remember to do the right even striking the very match that would thing that will touch everyone and make consume himself at some point. Phoenix’s Gotham a better place. Talk about a wild Joker is a different kind of clown altogether. and crazy dream. It’ll never happen.

Forget the fire starters and the symbolic And that’s the point of Joker. Nothing leaders of change. This Joker is wild and on good can ever survive in this world, so the loose because the man Arthur Fleck everyone might as well go a little bit crazy. could have been is dead. All that remains Arthur lacks the tools to determine what a is a shell of a man calling out to a desper“little bit” looks like and Gotham City keeps ate and lonely world. (Opens Oct. 4) (R) shoveling on overflowing helpings of grief Grade: B and nastiness, enough to bury Arthur.

Contact tt stern-enzi: Of course, when he claws his way out of letters@citybeat.com this metaphoric grave, he’s a changed man.

The first thing he does is find a couple of patsies to replace him in that dead zone,

FILM

An Intimate Familial Portrait in ‘América’

BY M AC K EN ZI E M A N L E Y

Warmly intimate and authentic, América hones in on the lives of three Mexican brothers — Diego, Rodriguez and Bruno — who become caretakers for the documentary film’s namesake, their 93-year-old grandmother. This comes after their father, Luis, is jailed for accusations of elder neglect, América having fallen from her bed while he was away.

From tense conversations between the siblings — which, at times, broil to outright anger — to tender moments of care, América allows viewers to be entirely immersed in the complexities of its subjects. And it does so with effortless delicacy carried frame-to-frame.

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says he brought his gear and went to Diego’s hometown of Colima. Upon meeting América, he was taken by the relationship between her and Diego.

“I’ve never seen — or rarely seen — intergenerational intimacy like that, especially with a young man,” Stoll says.

“More broadly, I was just really moved and intrigued by this project of all these young eccentric people being like ‘Let’s all live together and take care of our grandmother.’ ” Stoll lived with the family for the next few years, on and off, filming what would become América. In that time, he captured the brothers’ highs and lows of caring for their matriarch, who had dementia. The film shows the daily grind of this process — helping her walk to regain strength, quiet moments of conservation, bathing her, quarreling about how to best care for her and, in one scene, administering an enema. Though his physical presence is imperceptible, Stoll’s empathy renders itself beautifully to the screen.

“I don’t purport to know how it felt for them to have gone through the same Diego (left) with his brother Bruno and their grandmother América thing that they did, but I experienced a lot of it PHOTO: ERICK STOLL AND CHASE WHITESIDE really closely,” Stoll says.

“The joys of seeing América Directed by Wright State University get better — because she was getting better alumni Erick Stoll and Chase Whiteside under their care — (and) the relief of Luis — the former now lives in Cincinnati, the finally getting out of jail after bribing the latter in New York City — the feature judge.” manifested as happenstance and was shot At one point Stoll took a step back in over the course of three years. Since its filming because he felt too close to the situpremiere in 2018, América has garnered ation. As a collaborator, Stoll says Whitepraise from The Guardian, Time Out Lonside, who wasn’t as present during filming, don, The New York Times and more. Come was essential in the editing process in that Oct. 3, the doc will be screened as part of he was able to lend a detached perspective. the Over-the-Rhine International Film “I was so invested in every character, Festival at the Contemporary Arts Center. every complexity, that I think if I had tried And on Oct. 7 a shortened 60-minute to edit alone I would have still been workversion will be broadcast on PBS as part of ing on it or I’d have an eight-hour film or their documentary series POV. something,” Stoll says, adding that there’s In a recent interview with Stoll, he told a process akin to sculpting when distilling me that the film’s origins stemmed from a so much footage into a 76-minute feature. project focusing on the tourism industry.

The film closes with a “two years later” It was during this time that he met Diego epilogue. Diego and Bruno hold a ceramic at a party, their connection immediate. container to their chests, containing what After being kicked out of his apartment, is assumed to be their grandmother’s Diego — who worked as an entertainer in ashes. They laugh and cry together, leavthe coastal Mexican resort town of Puerto ing us with a summation of América — a Vallarta — came to live with Stoll briefly. study in coming to terms with our own “Then, as is revealed (in the film), this humanity. whole thing happens with América and América screens at the Contemporary Luis, his dad, and he just really quickly Arts Center as part of the Over-the-Rhine had to go home,” Stoll says. “I didn’t follow International Film Festival on Oct. 3 and 6; him right away. It was maybe a few weeks visit otrfilmfest.org for details. The film airs later when things had stabilized there a on PBS’s POV on Oct. 7 at 10 p.m.; little bit.” check amdoc.org for info.

Without the intention of filming, Stoll

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Worth-the-Wait Ramen

FOOD & DRINK

Kiki College Hill, from former Kaze owner/ chef Hideki Harada and his wife, Yuko, is a neighborhood izakaya years in the making

BY SA M I S T E WA R T

K

Kiki’s ramen PHOTO: HAILEY BOLLINGER

FIND MORE RESTAURANT NEWS AND REVIEWS AT CITYBEAT.COM/ FOOD-DRINK

C I T Y B E AT. C O M

because both come with a lacy crown of fried cheese. Or the curry pan, a sort of fried bread or dumpling which Hideki has described as a “curry donut,” with potato, onion and carrot.

Don’t expect to have ramen leftovers for tomorrow’s lunch. You likely won’t need a to-go container after a meal here, but you can plan on leaving comfortably full. Kiki doesn’t serve gargantuan bowls of ramen.

You know — the ones that constitute two full meals and maybe a snack, too. They serve just enough soup to satisfy and still allow room for a smattering of small plates.

The restaurant is currently waiting on its liquor license and has partnered with neighbor Brink Brewing Co. on a special lemongrass green tea helles that will be served only at Kiki once the first keg is gone from Brink.

All those years in the making have made Hideki and Yuko’s ramen spot worth the wait. Grab a bowl, bring some friends, split the check. Kiki’s just one more reason to venture over to College Hill.

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While Kiki was transitioning from an idea to reality, Hideki, Ellerhorst and Brackett sold ramen at the Northside Yacht Club on Monday nights. The pop-ups gained traction quickly.

They started serving at 4 p.m. and continued until there was no more soup; some nights it only took a few hours to run their stock pots dry.

“I think our record was 190 bowls in three and a half hours,” Ellerhorst says. “We were doing roughly 50 bowls of ramen Kiki College Hill an hour.”

5932 Hamilton Ave., College Hill, At the end of their kikicincinnati.com pop-up stint at the bar in March, the Haradas took Ellerhorst and Brackett to Japan to experience ramen and sushi from the source. They ate at both ends of the spectrum — the multinot that the space is small (it seats 65); it’s course fine-dining restaurants like the one that so many ramen-lovers and frequentwhere Hideki and Yuko cut their teeth, and ers of NSYC have been waiting years for the glorified ramen vending machines where arrival of College Hill’s ramen spot. you punch in your order and a bowl of There are nine appetizers and two variramen shows up at a pick-up window. eties of ramen on the current Kiki menu Hideki and Yuko always knew they — that’s it. But it isn’t lacking; the menu wanted to open a restaurant together is focused and there’s a bit of something eventually: prep during the day, break for for everyone. Veg-heads and meat lovers lunch, sling bowls of ramen in the evening can dine in harmony here, and there’s an — the usual back-of-house schedule. But option for gluten-free noodles. they also have a daughter in grade school The two ramen choices are shio ramen, to factor in. a chicken broth with pork belly, negi (a “We’ll sit her down before service and Japanese green onion), a tea-marinated knock some math questions out,” Hideki egg and rayu (chili oil); and kimchi ramen, says. featuring housemade kimchi, tofu, negi You may be able to spot her bobbing and a tea-marinated egg. Both are priced bowls of ramen en route to the dining at $9. room at Kiki, or peering into the window to To warm up your pre-ramen palate, try the kitchen, watching her parents do what the shishito peppers crowned with fluffy they do best. shreds of parmesan cheese and eat them You can watch in awe, too, now that with your hands (there are stems on those Kiki is up and running. The week of the peppers for a reason) or the edamame that Aug. 28 grand opening proved the comcomes piled high and deep and tossed in munity’s support for this long-awaited sea salt or tare. If you’re looking for punchramen arrival in previously ramen-less ier flavors, go with the karaage — fried College Hill. That week’s turnout made chicken with an option to add bright oroshi it difficult to grab a table and even more ponzu or mellow Jordy mayo (named after difficult to hold it together while waiting Ellerhorst). But you could never go wrong (not-so) patiently for a bowl of noodles. It’s with the gyoza, either pork or mushroom,

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iki College Hill has opened its doors after two years of planning, fundraising, pop-ups and patience.

Owners Hideki and Yuko Harada have created their dream restaurant in an old corner bank at 5932 Hamilton Ave. They worked with the College Hill Community Urban Redevelopment Corporation (CHCURC) to nail down the space and build it out, while Hideki and his two sous chefs, Jordan Ellerhorst and Alex Brackett, spent a year and a half hosting pop-up ramen nights at the Northside Yacht Club.

Hideki, Ellerhorst and Brackett are all veterans of Over-the-Rhine’s Kaze; Hideki was the former owner/chef of the Japanese gastropub.

The name is derived from Hideki’s kindergarten-to-college nickname, Kiki.

While he wasn’t a fan of it growing up, he decided to use it as the moniker for his long-dreamed-of ramen house; it’s also the name of the bulls-eyed ceramic shot glass used in sake tasting called a kiki-choko.

A Cincinnati native, Hideki met his wife, Yuko, while in culinary school in Japan.

“She was very comforting because I was this Japanese-American in Japan, no idea about mannerisms, just a deer in the headlights,” he says.

Hideki and Yuko worked for the same fine-dining sushi restaurant while they were in school. She helped him learn cultural customs that were integral to his success in the Japanese culinary industry.

After some time, Hideki worked up the confidence to buy her a drink “and the rest is history,” he says.

Before moving to Japan for culinary school, Hideki worked in a corner at a sushi bar, out of sight from customers, barley making legal wages. After graduating, gaining experience with Japanese cuisine and moving back to the States, Hideki jumped around Cincinnati’s culinary scene. He helped open the sushi bar at Embers in Kenwood and later opened Kaze, where he met Ellerhorst and Brackett.

After years of using his degree for largescale fine dining, Hideki started to lose sight of the light at the end of the tunnel.

“Two years ago, I started feeling that tension,” he says. “Like, ‘I don’t want to be a chef anymore.’ ” He scheduled a meeting with the CHCURC to see about acquiring a space “and it just sort of happened,” he says.

The vision was always for an izakaya, a Japanese pub for tapas-style bites and after-work cocktails.

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DRINK

Dualism at Comfort Station

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

Behind a bright blue door in Walnut Hills, Comfort Station is hidden in plain sight.

The newest bar from Stuart King, one of the founders of Sundry and Vice in Overthe-Rhine, Comfort Station has recently taken up residence in — wait for it — an old public restroom.

“At times (Cincinnati) was very much at the forefront of proper urban society in the United States,” King says. “It was on the vanguard of providing public services, like the public comfort stations.”

In the early part of the 20th century, public restrooms, or comfort stations, were a popular institution spread throughout Europe, and Cincinnati jumped on the bandwagon. Eden Park still has one.

The Walnut Hills Public Comfort Station was built in 1914 and opened on Aug. 11 that same year, King says. The property has been abandoned for many decades, exposed to the elements and damaged, but when King found the spot in 2014, he saw it as a diamond in the rough.

“I found this before Sundry was even under construction, and was completely taken with it right away,” he says. “We had the building locked down, hoping and praying we could come up with something interesting, and it wasn’t until the last year we really started drilling down on this thing.”

The existing building features provided inspiration for the design. King utilized the original upstairs skylights in the main bar space and transformed the basement men’s room into its own small bar, where he says the bartenders can experiment with cocktails to their hearts’ content.

“We try to take a more fun, lighter approach to things (upstairs),” King says.

“The downstairs bar is going to be a chance for some of our most talented bartenders to take things not only seriously but really stretch their legs creatively. It’s going to be a much more fine-tuned, experimental approach to cocktailing.”

The contrast between the two spaces — upstairs and downstairs — is marked, and appealing.

Open the aforementioned blue women’s room door and you’re greeted by a bright room with an abundance of hanging greenery. A long velvety blue booth and pops of blue repeat throughout the airy space, and the mirrored bar back makes the room seem larger than it is. It opens onto the back patio, an urban grotto of sorts, complete with mustard-yellow cushions nestled into an elevated seating nook and a wooden stadium-seating built-in.

“Throughout a bunch of research, we got inspired by this light versus dark generality,” King says. “We wanted to create two entirely distinct spaces within the same building, and then we joked that it was a little bit of a metaphor for all of us.

Upstairs is what you put on your Instagram, and downstairs is the stuff you don’t tell anybody.”

I started upstairs with an Everything Nice cocktail, featuring gin, lemon, egg white and piquette, a low-alcohol wine.

It’s a layered, plum-colored concoction I wouldn’t normally try, as I’m more of a whiskey girl, but I’m glad I expanded my horizons, because it was sharp and sweet and strong. I followed it up with a red summer wine, a Sevillean specialty that I found to surpass sangria as a fruity, hot-weatherappropriate beverage in every way.

I made my way downstairs a few nights later. The men’s room door isn’t painted any bright color, but there is a small white doorbell; press it, and the door opens immediately. A host greeted me and my companions and we descended the steps under the glowing neon-red sign proclaiming, “Sin Now, Pay Later.” Indeed.

The downstairs bar’s Instagram handle is @Among_the_Lost, and inspiration from Dante’s Inferno is widely felt in the speakeasy-reminiscent, candlelit space. I ordered the Happy To See You, a bourbon beauty with sherry, creme de banane and cinnamon smoke from a burnt stick of cinnamon. The cinnamony-burnt-ness pleasantly infused every sip, and the creme de banane and bourbon combo took my taste buds for a ride. A friend ordered

Comfort Station’s back patio PHOTO: HAILEY BOLLINGER

the Barrel Roll, a wildly strong, bourbonforward cocktail with blackberry, basil and black pepper. The only bummer of the evening came when we wanted to venture back up to the land of the living — there is no moving between the two bars, which is appropriately on-brand.

King’s near-future plans for Comfort Station include programming live music and bringing in a mobile fire pit on the patio, as well as screening the Super Bowl and the Kentucky Derby on the 100-inch drop-down projector in the upstairs bar.

A self-explanatory regular Sunday Day Party is forthcoming. A special Halloween celebration is planned for every Tuesday in October. For all its conceptuality, King wants to be sure Comfort Station doesn’t take itself too seriously.

“We can be a little bit silly and irreverent about it,” he says.

Comfort Station, 793 E. McMillan St., Walnut Hills, facebook.com/ comfortstationcincinnati.

The “Why Not Elope” with cantaloupe and rum PHOTO: HAILEY BOLLINGER

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Fausto

44 E. Sixth St., Downtown, faustoatthecac.com Fausto, a new restaurant in the lobby of the Contemporary Arts Center, is the latest offering from Tony and Austin Ferrari’s expanding food service empire in Cincinnati. The attention to detail on the Fausto menu is impeccable.

The brothers use only locally sourced products and they recycle and partner with GoZero, a local food compost courier, so no scrap of food left on a plate goes to waste.

The menu is contemporary and upbeat.

A heightened brunch, lunch or dinner experience, for sure — not many places are serving trout roe on potatoes — but one that safely resists pretension. Tony describes Fausto’s food as “California cuisine” with splashes of citrus and extravirgin olive oil, not full of fat or butter.

Breakfast is served from 7 a.m. to 2 p.m.

There are several eggs and toast options, a chia seed pudding, and that above-mentioned trout roe, which is served on the cleverly named “potatoes and eggs” creme fraiche. For patrons familiar with the Ferrari brothers’ Camp Washington joint, Mom ‘n ‘em, you’ll be pleased to know they serve Deeper Roots coffee here, too. Lunch runs from 10 a.m. to 2:30 p.m., with plenty of light and crisp salads and sandwiches.

Dinner offerings feel more involved; there is a three-course selection for $39, or several individual entrees (called “attractions” on their menu), appetizers (“beginnings”), pasta and dessert (“endings”). (Leyla Shokoohe)

Phoenician Taverna

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611 Main St., Downtown, centro.mazuntetacos.com The newest Mazunte location opened in downtown Cincinnati at the end of July, just days before the six-year anniversary of the flagship Mazunte Taqueria, located in a Madisonville strip mall. The taqueria envelops Oaxacan culture, while Mazunte Centro is inspired by the vibrancy of Mexico City.

Centro still serves the classics — tacos and tostadas, tequila and Topo Chico.

But a handful of dishes exclusive to this location were added to the menu, namely tortas and tlayudas (imagine a love child between a Mexican pizza and a giant loaded nacho).

The house recommends splitting a tlayuda — expect leftovers for two and a table littered with crumpled, grease-stained napkins, tortilla remnants and runaway salsa dribbles by the end of your meal.

The impressive chicharrón de queso is also new on the Centro menu. Literally translated to “cheese cracklings,” it’s a disc of shredded cheese wrapped around a wine bottle and fried. Don’t be alarmed when a foot-tall cheese tube arrives at your table; be amazed. It’s an excellent two-for-one deal — snap some off and dip it in salsa roja or salsa verde (both if you’re bold) or crumble it over the tlayuda for an added crunch factor.

Out-the-door-tacos for those on their lunch break and lingering evenings sipping tequila are both served with the same warm hospitality. Although folks in Mexico indulge in a leisurely meal and siesta midday and grab street tacos at night, Americans are more accustomed to working through lunch and partying after dark. Mazunte Centro is serving Mexico City food on a Cincinnati schedule. (Sami Stewart)

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7944 Mason Montgomery Road, Mason, facebook.com/ phoeniciantaverna Phoenician Taverna has established a glittering reputation in its six years of operation for serving superb, authentic Lebanese food in a strip center in a suburb — recently turning up on local top 10 lists with downtown and Over-the-Rhine establishments helmed by famed chefs.

I asked our server whether we should go with their version of baba ghannouge — a smoky eggplant dip with lemon, garlic, tahini, pomegranate seeds and olive oil — or a less familiar (to us) m’hammara (walnut) dip ($6.75). He didn’t hesitate for one second: walnut dip, he said — a house specialty. The dip, more of a spread really, contains ground walnuts, roasted red pepper, onions, spices, pomegranate reduction and plenty of olive oil. Lathered on a hand-sized hot pita straight from the oven, it was heavenly.

What struck me about this first morsel of food I tried at Phoenician and most of everything else we ate was the subtlety of its spicing. You might think you’d be able to identify specific spice flavors, but it was harder than I thought. It was a mélange with allspice and cinnamon and… what else? The combinations were genius, and not once did pepper or chili notes burn my mouth, as happens more often than I like in less skillful cookery.

From the non-vegetarian mezza, we settled on sujuk ($7), a sausage made with lamb, beef and garlic and served warm in a rich tomato sauce. With a glass of French rosé wine, this course was ethereal and I would have been happy stopping there. But we kept going, ordering main dishes and even dessert. (Pama Mitchell)

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MUSIC

Catching Your Own Wave Synthwave provocateur Com Truise moves from an interstellar storyline to an earthbound tale with Persuasion System

BY B R I A N B A K ER

S

Com Truise PHOTO: EFFIXX

but by the sound of the ’80s. I like ’80s music now but I hated it when I started. I just liked the drum sound. I got really into Funk, I love Bruce Hornsby and Boards of Canada, but I don’t listen to much Synthwave. I want to stay uninfluenced by it. I’ve always been on the fringes of it anyway.”

As a graphic designer, Haley conceives and executes his music from a visual perspective; a good deal of the Com Truise catalog has an expansive and cinematic feel, reflective of his avowed influences.

His new live presentation is rife with projections and visual translations of the accompanying music. Given the breadth of his catalog, the challenge continues to be faithfully representing his oeuvre to his fervent fan base.

“I play a pretty good cross section of my catalog,” Haley says of his live show. “I’ve got to hit every base. I get people every night yelling out songs I haven’t played in forever, but I think what I play currently is a pretty good representation. I’m always adjusting it, and getting an itch to put in something new and making new visual content for it.”

Com Truise plays Friday, Oct. 4 at Madison Theater. Tickets/more info: madisontheater.com.

C I T Y B E AT. C O M

they just didn’t fit anywhere else. It’s about 50-50 (old and new songs), actually.”

Haley’s musical and graphic design evolution go hand in hand. As a teenager, he was exposed to Electronic music via cable television, leading him to ask his parents for turntables for Christmas. He began making his own Drum and Bass tracks and eventually had an online radio show, for which he designed his own flyers and advertisements. Haley was self-taught in all of his disciplines; his only practical education was in web development and he quit because he wound up teaching the teacher.

“I wish I’d toughed it out just to have done it,” he says. “I went deep into graphic design, but I was doing both for so long as hobbies. I thought, ‘Maybe this is something I could do as a career,’ and I got a job and then music took over years later.”

Haley acknowledges that Com Truise and his other various entities are by and large considered Synthwave by virtue of their slim proximity to the genre’s characteristics. But cites fairly broad influences when talking about his work, and almost none of them include things from his recognized genre.

“I draw from all over the place,” says Haley. “Definitely a lot of film scores: John Carpenter; the Alien films; Blade Runner.

I wasn’t necessarily inspired by the ’80s

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don’t really write about that stuff, especially with the early efforts. I had the (sci-fi) story to keep me on track. This was my first release where I didn’t focus on a story and instead let myself accept my immediate surroundings to influence me. Moving across the country and starting a new life with a person is pretty heavily in there.”

Given Haley’s penchant for new identities when he concocts a fresh sonic approach, it might have seemed logical to forge a new pseudonym for an album based on his actual life. He might well have done just that, except for his legal obligation to his longstanding label, Ghostly International.

“It was a contractual agreement,” Haley says with a laugh. “This was supposed to be an EP, but I ended up with these older extra tracks, and I said, ‘Let’s do a kind of extended EP.’ Then there’s one more record with the current contract with Ghostly, so until then, I will be Com Truise.”

A fair amount of Persuasion System consists of tracks Haley created along his six-release conceptual arc that didn’t fit the narrative he envisioned. With a little work, they dovetailed nicely with his new songs.

“Some of the (Persuasion) tracks are actually older ideas that have been kicking around and didn’t really have a home, so I thought I’d refresh them,” Haley says. “I was really excited about the tunes, but

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eth Haley doesn’t have a musical identity crisis. When he arrives at a creative juncture that requires a different solution, he simply crafts a new identity.

Since beginning his Synthwave career a dozen years ago, Haley has recorded under a variety of banners, including Sarin Sunday, SYSTM and Airliner, all of which have enjoyed a certain level of acclaim and recognition. Three years into his musical journey, Haley, who had been a full time graphic designer and art director and part time Electronic hobbyist, released 2010’s Cyanide Sisters, his first project under the name Com Truise.

Like Haley’s other pseudonymous works, the Com Truise catalog was conceptual, telling the story of a “synthetic astronaut” named, conveniently enough, Com Truise, and his struggle to free himself from an oppressive totalitarian society. The story finally wove its way to a conclusion on 2017’s Iteration, after three albums and three EPs. Haley acknowledges that his science fiction tale was somewhat fluid over the course of its telling.

“It was definitely a bit of self-dictation,” he says. “You take breaks and lose track of stuff. Before every release, I would write a couple of paragraphs and then I’d try to stick to that, but I didn’t really know where it was going from the get-go.”

After wrapping up his story arc on Iteration, Haley toured the album and then took a little personal time to reflect and process.

He’d met a woman and fallen in love, and the pair eventually moved from Los Angeles to Orlando, Florida, where Haley has set up his new studio stocked with completely new hardware and software, necessitating a good deal of self-training.

The personal reflection and the time spent learning how to operate his new set-up ultimately led Haley to create his most intimate album to date, the recently released Persuasion System.

“It’s more of its own story,” says Haley.

“It’s my take on my current life situation. I

53

AUTO//UPDATE: PHOTOGRAPHY IN THE ELECTRONIC AGE SYMPOSIUM The FotoFocus day-long symposium will examine photography and film in today’s artistic and political climate. Participants will address digital technology’s impact on photography and video, and its disruption of art-making and news cycles in a media obsessed world.

FOTOFOCUS SYMPOSIUM October 5, 2019, 9am–6pm The Carnegie, Covington, KY

#FotoFocus #FFAutoUpdate

5pm Artist Keynote with Trevor Paglen MacArthur Genius Grant awardee Trevor Paglen investigates mass surveillance and data collection in an effort to see the historical moment we live in and imagine alternative futures.

AUTO//UPDATE EXHIBITION The accompanying exhibition, AutoUpdate, features 44 artists from Ohio, Kentucky, and Indiana who work at the intersection of photography and new media.

ON VIEW: September 14–November 16 RECEPTION: October 4, 5–8pm, 7pm Performance

All events will be held at The Carnegie, 1028 Scott Blvd, Cov. FREE AND OPEN TO THE PUBLIC

OCTOBER 4 RIVERFRONT LIVE TICKETS ON SALE FRIDAY AT 10AM RIVERFRONTLIVECINCY.COM - OR ALL TICKETMASTER OUTLETS AND THE VENUE BOX OFFICE

C I T Y B E AT. C O M

|

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PURCHASE AT

54

Trevor Paglen, “Weil” (Even the Dead Are Not Safe) Eigenface, 2017

SUBLIMEWITHROME.COM

For complete details, visit

FOTOFOCUS.ORG

Upcoming shows Sublime with Rome Tropidelic and The Expendables October 4 Anders Osborne October 11 Ballyhoo October 13 All That Remains & Lacuna Coil October 15 Michael Franti & Spearhead October 30 California Honeydrops November 6 Bonerama Novmeber 13 Bone Thugs-N-Harmony Novmeber 16 riverfrontlivecincy.com

SPILL IT

Celebrating Cincinnati’s Punk Rock Past

BY M I K E B R EEN

be joined on the panel by musicians who appear on the compilation, including Mike Enright (Ed Davis Band), Jim Cole (The Customs), David Lewis (11,000 Switches), Robert Beatty (Beef), Vivien Rusche (The Dents, Alterior Motives), Forest Bivens (The Customs, Beef, The Verbs), Doug Hallet (The Dents, Latex Theatre) and John Schmidt (The Erector Set, The Malcontent).

The Oct. 20 panel runs from 6:30-9 p.m. and will be followed by a solo performance by 11,000 Switches’ Lewis. The event is free and open to all ages.

New Local Releases

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

• On Oct. 4, singer/songwriter/guitarist Rachel Maxann will release her first album with her band Fickle Hellcat. The group’s self-titled full-length is the latest chapter in Maxann’s musical pursuits. A Cincinnati native, she got her start fronting a Funk/ Rock band in Athens, Ohio, then went on to pursue projects while living in places like New Orleans and Los Angeles, forming Fickle Hellcat upon her return to the Queen City.

The band’s debut showHoZac Records’ We Were Living in Cincinnati compilation album chronicles the Queen City’s early Punk scene. cases Maxann’s alluring, PHOTO: PROVIDED BY HOZ AC RECORDS emotive vocal style, which adds extra weight and depth to the songs’ strong pneumonia.) found time to squeeze in work on a new melodic pull and smooth blend of Pop, solo album. Six Feet of Earth, Oberst’s The album is a wonderful showcase Folk, Soul and Rock. second solo venture, is slated for release on of Acarya’s expanded lineup of the past Fickle Hellcat will be doing some Oct. 12 via his Reggieville Records label. couple of years, which saw the group add regional touring to support the new Six Feet of Earth contains a mix of tradibassist Jack Youngblood, electric guitaralbum’s release, including a show Friday, tional Folk ballads from Scotland, England, ist Max Patrick and Hannah MacNeal Oct. 4 at 7 p.m. at Bishop’s Quarter (212 W. Ireland and the U.S., as well as a few origion viola. Wu’s sprawling rhythms and Loveland Ave., Loveland, bishopsquarternals. Described as a mix of “murder balDavidson’s soulful, soaring acoustic guitar bar.com). lads, love stories, work songs, traditional and vocals create a huge sound already, For more info on the band, visit fickleinstrumentals” and more, Oberst sings and as evidenced on 2013’s Reperio Terra EP, hellcat.com. plays banjo and a few other instruments on but The Way Home boosts their hypnotic, • Self-described “Tribal Rock” group the album, with some friends helping out textural AltRock even more, adding more Acarya was formed by singer/songwriter/ on the recording on instruments like cello, shadows and colors. Acarya’s music has an guitarist Wes Davidson and percussionuilleann pipes and even sitar. engagingly organic rise-and-fall dynamic ist extraordinaire Liz Wu at the start of Oberst will celebrate the release of Six full of drama, romance and mystery and the decade. After a few EP releases and Feet of Earth on Saturday, Oct. 12 at The that wide-screen vision echoes works by extended touring over the years, the Southgate House Revival (111 E. Sixth St., everyone from Peter Gabriel to U2 to Imaggroup is gearing up for the release of its Newport, southgatehouse.com). Tickets for ine Dragons throughout The Way Home. debut full-length album, The Way Home, the 8 p.m. release show are $10 in advance For more on the group, visit acaryaband. which will be available starting Oct. 10 at (through ticketweb.com) or $12 at the door. com. acaryaband.com. (The group was slated to Find more on Oberst at mikeoberst.com.

• Cincinnati Folk musician Mike Oberst perform on Oct. 5 at the annual Cliftonhas been keeping busy with regular bouts Contact Mike Breen: Fest on Ludlow Avenue in Clifton, but had to cancel as Davidson recovers from mbreen@citybeat.com of touring with The Tillers, but he’s also

O C T. 2 -1 5 , 2 0 19

Murphy’s Pub has been a mainstay University of Cincinnati-area hangout since 1969, nestled just a few blocks down the hill from campus on West Clifton Avenue.

Twenty years into the bar’s 50-yearhistory, things took a decidedly Rock & Roll turn, as the promoters who’d booked “weird” Punk, Post Punk, Indie Rock and experimental acts at Northern Kentucky venues like the Jockey Club and Top Hat brought that same programming sensibility to Murphy’s.

As the ’80s turned into the ’90s, Murphy’s Pub was a haven for local bands — including young upstarts The Afghan Whigs — as well as touring acts like The Jesus Lizard (according to The Jesus Lizard Book, their 1989 Murphy’s show was the band’s first outside of Chicago), L7, Unsane, The Laughing Hyenas and Nirvana, who came to the club on Oct. 6, 1989, on the soon-to-be-huge group’s tour for debut album Bleach (released that June).

On Oct. 18 and 19, the spirit of that era of Murphy’s will return with the “Dirty Thirty” celebration, honoring the 30th anniversary of the bar’s brief stint as Greater Cincinnati’s underground music hotspot. Musicians from the ’80s Punk/ Post Punk local scene, as well as likeminded current acts, will perform in the bar’s back room, where those early performances took place.

Bands to appear over the two nights include 11,000 Switches, The Tigerlilies, The Mudlarks, Smoothy, IdleAires, Tweens, Tiger Sex, Stallone N’ Roses and The Dummy Ups, featuring members of The Customs, The Auburnaires and The Erector Set. Advanced tickets for the Dirty Thirty concerts ($15 for one-night or $25 for twoday passes) are available for purchase in person at Murphy’s Pub, Shake It Records and Herzog Music.

Another special “supergroup” performing during the Oct. 18-19 celebration is Harambe’s Heroes, which, like The Dummy Ups, features members of some former Cincinnati-area bands that are featured on the forthcoming We Were Living in Cincinnati compilation album, which chronicles the Queen City’s early Punk scene.

That anthology — being released later this year on Chicago’s HoZac Records (in conjunction with locally-based Shake It Records) with the subtitle “Punk and Underground Sounds from Ohio’s Queen City (1975-1982)” — was compiled by Peter Aaron, whose Sub-Fudge org did the booking at Murphy’s during the “Dirty Thirty” era.

On Oct. 20, Aaron — now an author and musician living in New York — will moderate We Were Living in Cincinnati: A Punk Panel, a discussion about the Queen City’s Punk Rock past at downtown’s Herzog Music (811 Race St., herzogmusic.com).

According to a press release, Aaron will

55

Delfeayo Marsalis Quintet

SOUND ADVICE

C I T Y B E AT. C O M

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Friday, Oct. 4 • Caffè Vivace

56

There are few family dynasties as prominent — in any field — as the Marsalises are in Jazz. The New Orleans clan includes patriarch Ellis Marsalis and an all-time Jazz supergroup in sons Wynton (trumpet), Branford (sax), Jason (drums) and Delfeayo, one of the greatest trombonists in music today.

Delfeayo Marsalis was inspired to take up trombone due to early influences like Tommy Dorsey, Curtis Fuller and, of course, J.J. Johnson. In a recent interview with the Santa Barbara Independent, Marsalis talked about how the brothers’ personalities led to the different instruments they each pursued. He described the trumpet as more individualistic, with the sax having to determine how to interact with it — whether harmoniously or “in argument.” He said the trombone/trombonist is more of a mediator.

“If the saxophone and the trumpet are arguing, the trombone comes along and says, ‘Hey, man, everything’s going to be cool,’ ” he explained. “And if they’re getting along too much, then the trombone has to kind of stir the pot and say, ‘Hold on — it ain’t that cool.’ The trombonist has to be the most flexible in the New Orleans Jazz band. I would say that suits my personality, inside of the family.”

Also an accomplished producer, Marsalis has worked the boards on recordings by artists like Harry Connick, Jr. and Terence Blanchard and he played in the bands of legends like Art Blakey, Slide Hampton, Max Roach and Elvin Jones.

As a composer, his work has long had a big-picture, conceptual edge. His 1992 debut album, Pontius Pilate’s Decision, was inspired by Bible stories, while his 2016 album, Make America Great Again! (with songs like “Back To Africa” and a skronkily re-arranged “Star-Spangled Banner”), was a musical response to the social anxiety brought about by Donald Trump’s successful presidential campaign.

That album was with Marsalis’ Uptown Jazz Orchestra, a collective he founded in 2008 that features multiple generations of New Orleans players who strive to reach new audiences and preserve and celebrate Jazz as a living, breathing art form. It’s an extension of the Uptown Music Theatre, a community arts and education organization he founded in New Orleans in 2000.

For Marsalis’ two Cincinnati shows on Oct. 4, he’ll be joined by alto saxophonist Khari Allen Lee, pianist Richard Johnson, bassist David Pulphus and drummer Willie Green III. (Mike Breen)

Man Man with GRLwood and Go Go Buffalo Sunday, Oct. 6 • Top Cats

Birthed in Philadelphia and based in Los Angeles, Man Man is the brainchild of Ryan Kattner, aka Honus Honus, the

Delfeayo Marsalis PHOTO: Z ACK SMITH

pianist/lead vocalist/songwriter extraordinaire whose Art Folk/ Rock conglomeration answers the unasked question: “What would result from a songwriting round that featured Tom Waits, Captain Beefheart, Jimbo Mathus, Gogol Bordello’s Eugene Hutz and Low Cut Connie’s Adam Weiner?” The spectacularly weird and wonderful response is “The kitchen sink orchestra that plays bohemian Indie Rock for a carousel that features animatronics designed by Man Man Salvador Dali and Stan Winston.”

PHOTO: PROVIDED BY ANTI- RECORDS Honus began conducting Man Man as a pinwheeling and wildly eclectic Art Rock collective most recent full-length, 2013’s The Fleshtones in 2003, with no intention of pursuing a On Oni Pond. While there’s PH OTO: YO R K WI L S O N career in music and believing that the first been a six-year lull for Man Man, Man Man album, 2004’s The Man in a Blue Honus has remained busy in that has returned to the road and prisoners will Turban with a Face, would likely be the last. span, recording his solo debut not be taken. (Brian Baker) Somehow convinced to do a sophomore Use Your Delusion in 2016 and his second album, Honus and Man Man concocted album with Indie Rock supergroup Mister The Fleshtones Six Demon Bag, a better-produced version Heavenly in 2017. Back in August, Honus Monday, Oct. 7 • Southgate House of its predecessor’s manic experimentaldropped a tantalizing hint that a new Man ism and the band’s official launching pad.

Man album might be on the way in the Revival The album led to a profile-raising tour form of a Sub Pop Records Singles Club No band in Rock history has a more coinopening for Modest Mouse and a contract contribution featuring the songs “Beached” cidental origin story than The Fleshtones. with Epitaph imprint Anti- Records. and “Witch.”

The Garage Rock icons began in 1976 when Since then, Man Man has released Get your tribal face paint mixed and roommates Keith Streng and Jan Marek three albums for the label, including their design your best battle visage; Man Man

for a three-year run in the ‘80s; the show was the precursor to the “Alternative” video program 120 Minutes.

Although The Fleshtones’ highest-charting album was 1982’s Roman Gods, which just nudges its way onto the Billboard 200 at No. 172, the band has amassed a loyal cult following, particularly among their musical peer group. The band has been produced by Peter Buck, Steve Albini and Lenny Kaye, among many others.

They’ve inspired one of the great Rock biographies, 2007’s Sweat: The Story of the Fleshtones, America’s Garage Band, as well a film documentary, 2009’s Pardon Us For Living, But the Graveyard is Full.

With no significant hiatus in four-plus decades and only slight tinkering in the lineup, The Fleshtones really are America’s greatest garage band. (BB) Young Thug PHOTO: NIKKO L AMERE

Tuesday, Oct. 8 • PNC Pavilion at Riverbend

PHOTO: CREDIT

C I T Y B E AT. C O M

CONTINUES ON PAGE 58

Caption

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In the past decade, Hip Hop artist Young Thug has become one of the most ubiquitous figures in popular music. That’s not just through the success of his own mixtapes and albums, including his first No. 1 — the recently released So Much Fun — or his status as a go-to collaborator to the stars (recent pairings have included Ed Sheeran and Post Malone). His sonic fingerprint is hard to underestimate — his unique style, tics and phrasings have become a part of the fabric of Hip Hop circa 2019. The New York Times recently called Young Thug “one of the most innovative — and most emulated — hip-hop artists of the 2010s.”

A guiding light of Atlanta’s rich and abundant music scene, Young Thug got his start at the beginning of the ’10s by releasing a series of mixtapes that caught the ear of Gucci Mane, who signed him to his Atlantic Records-distributed 1017 Brick Squad Records. Thug’s 1017 Thug mixtape broke big in 2013 and earned rave reviews from high-profile critics and media outlets.

Since then, Thug (who now records for Atlantic Records proper) has released a steady stream of similarly acclaimed and

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Pakulski found abandoned instruments in their rented basement, with Streng on guitar, Pakulski on bass and friends Peter Zaremba and Lenny Calderon joining on keyboards and drums, respectively. After three years of local/regional gigging, The Fleshtones released their debut single, the highly influential “American Beat,” in 1979.

The Fleshtones have had only a handful of lineup changes in the past 42 years — founders Streng and Zaremba have been constants, drummer Bill Milhizer joined in 1980 and bassist Ken Fox arrived in 1990 — making them among the longest continually operating American bands.

The Fleshtones have notched some amazing accomplishments along the way, not the least of which is the release of nearly three dozen studio and live full-length albums, EPs and compilations. Their latest album was the cheekily titled The Band Drinks for Free in 2016, and their next album, The Face of the Screaming Werewolf, is slated for next year. Early on, the band shared a rehearsal space with the legendary Cramps, and they’ve counted Clem Burke (Blondie), Fred Smith (Blondie/Television/Johnny Thunders and the Heartbreakers) and Andy Shernoff (The Dictators) as interim touring/studio members. Zaremba was even an MTV VJ, hosting IRS Records’ The Cutting Edge

Young Thug with Machine Gun Kelly, YBN Nahmir and Strick

57

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58

10 /20

SCHOOL OF ROCK MASON: A TRIBUTE TO THE WHO

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commercially successful mixtapes, as well as a non-stop string of cameos and collaborations. His work can be heard on a pair of No. 1 singles — Camila Cabello’s 2017 hit “Havana” and Childish Gambino’s “This Is America,” which earned Thug his first Grammy when it won Song of the Year honors in February.

Young Thug’s influence is especially easy to spot given his decidedly eccentric creative and personal nature, evident in everything from his singular “adlibs” — those remarkably musical and rhythmic vocal outbursts and blips that thread through everything he does — to the sometimes befuddling and absurdist humor that shines through in his Twitter posts (“no homo we smokin penises!!!” remains an all-time head-scratcher). Like the current President (Old Thug?), Young Thug occasionally issues edicts by tweet, though his are far more entertaining/less terrifying. Last year he announced on Twitter that he’d changed his name to SEX (this has not seemed to have stuck) and more recently he proclaimed his current tour with Machine Gun Kelly the “Justin Bieber Big” tour, which may have a better chance of sticking — Young Thug recently posted an Instagram photo of him wearing a “Justin Bieber Big” tour hoody. (MB)

Charlie Daniels Band

Saturday, Oct. 12 • Hollywood Casino Lawrenceburg

Charlie Daniels — who will be celebrating his 83rd birthday on Oct. 28 — is in his sixth decade of music. The singer/fiddler/ guitarist’s career took off in the late ’60s/ early ’70s. A session musician, Daniels played on albums by Bob Dylan, Leonard Cohen and the Marshall Tucker Band, among many others; he released his first solo album in 1971.

Daniels had a string of Country hits in the ’70s and his Rock edge resulted in some crossover action on radio and the charts. That action came to a head in 1979 when the Charlie Daniels Band’s iconic “The Devil Went Down to Georgia” — and its tale of a satanic fiddle battle — became a gigantic hit, topping the Country singles chart and, with its Rock edge, gaining extra traction from Pop and Rock radio. The song reached No. 3 on the overall Billboard singles chart and got a boost again when it was featured in the 1980 hit film Urban Cowboy.

Daniels had a few more modest Pop crossover hits in the ’80s and later made waves on the Christian music charts with his forays into Gospel. He was inducted into the Country Music Hall of Fame in 2016. Daniels does a lot of charity work for veteran’s organizations and is an outspoken conservative pundit, penning occasional op-eds about things like gun rights (he calls recent calls for gun control “political desperation by also-rans trying to get a little more face time on TV to bolster their faltering campaigns”), the Mueller Report and more on the “Soap Box” section

All That Remains P H O T O : P R O V I D E D B Y AT O M S P L I T T E R P R

of his website.

This year, Daniels is celebrating the 40th anniversary of “Devil” — described on his site as “most impactful fiddle-centric song to ever be released.”

“People ask me if I imagined ‘The Devil Went Down To Georgia’ would be the success it has been,” Daniels says on his website. “My answer is I had no idea that 40 years after the fact we would still be talking about it almost as if it was a new release.” (MB)

All That Remains

Tuesday, Oct. 15 • Riverfront Live

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

Philip Labonte was the second frontman for Shadows Fall in the unexpectedly fertile Metal scene of Springfield, Massachusetts, providing lead vocals for the band’s seminal Melodic Death Metal debut, 1997’s Somber Eyes to the Sky. But within a year he was shown the door due to oftcited “musical differences.” Labonte had already been exploring a side project he was calling All That Remains so, with his release from Shadows Fall, he began devoting his full attention to it. ATR’s 2002 debut, Behind Silence and Solitude, was an extension of the Melodic Death Metal direction of Shadows Fall, as was its follow-up, 2004’s Little Darkened Heart, albeit with superior production values.

ATR’s acclaimed third album was their next-level breakthrough; 2006’s The Fall of Ideals caused big buzz and earned them a spot on that year’s Ozzfest tour. Late

in 2007, ATR released their debut live CD/DVD, which was followed in 2008 by several major tours, including slots on the Warped Tour and the Rockstar Mayhem Festival.

The band’s seventh album, 2015’s The Order of Things, generated a fair amount of negative press, with many reviews noting that ATR had moved away from their patented sound in favor of a more mainstream direction. Longtime fans of pure Pop music, ATR folded in programming and Electronic influences while maintaining their trademark density and volume on 2017’s Madness.

Although All That Remains had endured a number of lineup shifts, the band’s membership was solid for nine years, until the departure of bassist Jeanne Sagan in 2015.

The most recent roll call change was sadly shocking; founding member Oli Herbert drowned just two weeks before the release of ATR’s newest album, Victim of the New Disease. Herbert’s death was ruled “suspicious” due to toxicology reports indicating non-prescribed antidepressants and sleeping pills in his system and the investigation is ongoing.

Earlier this year, ATR announced that interim guitarist Jason Richardson (Chelsea Grin, Born of Osiris) had been promoted to full member. Given the band’s recent evolution and tragic lineup change, a corresponding sonic shift would seem to be imminent, and the band’s current tour could be a preview of things to come. (BB)

59

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 02

MOTR PUB - Mynah Tones with Life Brother. 10 p.m.

Pop/Roots/Various. Free.

THE MAD FROG - smith., Lodurr and more. 9 p.m.

Bass/EDM. $10.

AND TAPROOM - Troubadours of Divine Bliss. 8 p.m.

Folk. Free.

CAFFÈ VIVACE – Blue Wisp Big Band. 8 p.m. Jazz.

Cover.

SOUTHGATE HOUSE REVIVAL (LOUNGE) - Mt. Pleasant String Band. 8 p.m.

Bluegrass. Free.

H

SATURDAY 05

BLIND LEMON - Tom Roll.

8 p.m. Acoustic. Free.

H

BOGART’S - Catfish and the Bottlemen. 8 p.m. Rock. $30.

BRICKHOUSE PUB & GRUB - Bam Powell and the Troublemakers. 7 p.m.

Rock/R&B. Free.

HILTON NETHERLAND PALM COURT - Mike Darrah Trio. 6 p.m. Jazz. Free.

MANSION HILL TAVERN Losing Lucky. 8 p.m. Roots.

Free.

H

MEMORIAL HALL Lee Ann Womack with Sarah Siskind. 8 p.m.

Country. $36-$47.

REVEL OTR URBAN WINERY - “The High Note”. 8:30 p.m. Jazz. Free.

THURSDAY 03

ARNOLD’S BAR AND GRILL - Philip Paul Trio.

7:30 p.m. Jazz. Free.

BLIND LEMON - Mark Macomber. 8 p.m. Acoustic.

Free.

BOGART’S - Cody Johnson.

8 p.m. Country. $30.

CAFFÈ VIVACE - Steve Allee Trio. 7:30 p.m. Jazz.

COMMON ROOTS - Open Mic. 8 p.m. Various. Free.

DELHI PUB - Rockne’s Open Mic. 8 p.m. Various.

Free.

C I T Y B E AT. C O M

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FRETBOARD BREWING COMPANY - Battle of The Brewery Bands – Round 1. 6 p.m. Various. Free.

60

H

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Gold Connections.

9 p.m. Indie Rock. $8, $10 day of show.

H

URBAN ARTIFACT Outer Vibe and Moselle.

9 p.m. Rock/Pop/Various

WASHINGTON PLATFORM - Grassroots Ramble. 8 p.m.

Bluegrass. $10 (food/drink minimum).

FRIDAY 04

ARNOLD’S BAR AND GRILL - Mike Oberst. 8 p.m.

Folk. Free.

H

MOTR PUB - The Harlequins with Shantih Shantih and Stallone N’ Roses. 10 p.m. Rock. Free.

H

NORTHSIDE YACHT CLUB - Kharma with Reserving Dirtnaps, Adrenaline, Transgression and Gates to Hell. 8 p.m. Metal. $10, $12 day of show.

PLAIN FOLK CAFE - Ronnie Vaughn Trio. 7:30 p.m.

Rock. Free.

BLIND LEMON - Kyle English. 9 p.m. Acoustic. Free.

BLUE NOTE HARRISON Saving Abel. 7 p.m. Rock. $15.

RICK’S TAVERN - Blackbone Cat. 10 p.m. $5.

BOGART’S - The Four Horsemen. 8 p.m. Metallica tribute. $10.

BROMWELL’S HÄRTH LOUNGE - Rusty Burge with The Phil DeGreg Trio. 9 p.m.

Jazz. Free.

H

CAFFÈ VIVACE - Delfeayo Marsalis Quintet.

Jazz. Cover (shows at 8 p.m. and 10 p.m.).

FRETBOARD BREWING COMPANY - Crown Watts. 8 p.m. Prog/Alt Rock. Free.

HILTON NETHERLAND PALM COURT - Brad Myers/Mandy Gaines Quartet. 9 p.m. Jazz. Free.

JAG’S STEAK AND SEAFOOD - The Whammies.

9:30 p.m. ’80s Pop/Rock.

Cover.

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

Free.

JIM AND JACK’S ON THE RIVER - Chuck Brisbin. 9 p.m. Blues. Free.

H

KNOTTY PINE - Naked Karate Girls. 10 p.m. Rock/ Pop/Various. Cover.

MEMORIAL HALL - The Eagles Project. 8 p.m.

Eagles tribute. $18.

MANSION HILL TAVERN - Doug Hart Band. 9 p.m.

Blues. Cover.

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

HILTON NETHERLAND PALM COURT - Randy Villars Trio. 6 p.m. Jazz. Free.

MADISON LIVE Blackfoot Gypsies. 8 p.m. Southern Rock. $10, $12 day of show.

MADISON THEATER - Com Truise with ford. and Thoma. 8 p.m. Electronic/Chillwave. $19.

H

LUDLOW GARAGE Adrian Belew with Saul Zonana. 8:30 p.m. Rock/ Pop/Progressive/Various. $25-$50.

H

RIVERFRONT LIVE Sublime with Rome with The Expendables and Tropidelic. 7 p.m. Rock/Pop/ Ska. $25-$59.

SOUTHGATE HOUSE REVIVAL (LOUNGE) - Falls City Boys. 9:30 p.m. Roots/ Various. Free.

H

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Noah Smith. 8 p.m.

Country. $10, $15 day of show.

H

ARNOLD’S BAR AND GRILL - Cincinnati Dancing Pigs. 8 p.m. Americana/Jug band. Free.

BLIND LEMON - Zack & Corey. 9 p.m. Soul/R&B. Free.

BLUE NOTE HARRISON - John Waite. 7 p.m. Pop/ Rock. $35-$45.

BOGART’S - U2 Revue with Blue Eighty and The Magnums. 8 p.m. Rock. $10.

BROMWELL’S HÄRTH LOUNGE - The Steve Schmidt Trio. 9 p.m. Jazz.

Free.

CAFFÈ VIVACE - Mandy Gaines Quartet. 8:30 p.m.

Jazz. Cover.

H

DCCH CENTER FOR CHILDREN AND FAMILIES - Cripple Creek Music Festival with Melvin Seals and JGB, Revel in Dimes, Casey Campbell Band, Andy King & Dangertown, Magnolia Boulevard, Trauma Illinois, Blue Moon Soup and Sasha’s Gypsy Trio. 3 p.m.

Rock/Roots/Jam/Various. $36 (benefit for Winning with ALS, Inc.).

H

FRETBOARD BREWING COMPANY - Dan Baird & Homemade Sin with Electric Son. 7:30 p.m.

Roots/Rock. Free.

TOP CATS - Michael Graves and The Epidemic. 6 p.m.

Punk. $15.

HILTON NETHERLAND PALM COURT - Mambo Combo. 9 p.m. Jazz. Free.

URBAN ARTIFACT - DeadCentric. 9 p.m. Grateful Dead tribute

JAG’S STEAK AND SEAFOOD - Flip Cup Allstars.

9:30 p.m. Rock/Pop/Dance.

Cover.

H

U.S. BANK ARENA - Legends of Hip Hop with E-40, Mystikal, Scarface, 8 Ball & MJG, Too Short, Bun B and Pastor Troy. 8 p.m. Hip Hop. $63-$129.

WASHINGTON PLATFORM - Greg Chako and the Organized Trio. 9 p.m. Jazz. $10 (food/drink minimum).

WESTSIDE VENUE – Open mic. 7 p.m. Various. Free.

WIEDEMANN BREWERY

JEN’S BAR AND GRILL The Pandora Project. 9:30 p.m. Rock JIM AND JACK’S ON THE RIVER - Michelle Robinson Band. 9 p.m. Country. Free.

KNOTTY PINE - Lt. Dan’s New Legs. 10 p.m. Dance/ Pop/Various. Cover.

LUDLOW GARAGE - The Dirty Doors: A Tribute. 8:30 p.m. Doors tribute. $15-$30.

H

MADISON THEATER - Jukebox The Ghost with Harbour. 8 p.m. Alt/Pop/ Rock. $20, $25 day of show.

p.m. Jazz. $10 (food/drink minimum).

MANSION HILL TAVERN - Jay Jesse Johnson. 9 p.m. Blues. Cover.

WESTSIDE VENUE Cheviot Community Foundation’s Music Series presents Daniel Bennet and the Dirty Shirleys. 8 p.m. Jazz. $10.

MOTR PUB - Plastic Ants, Amprays and This Pine Box. 10 p.m. Indie Rock. Free.

WIEDEMANN BREWERY AND TAPROOM - Full Circle.

7:30 p.m. Classic Rock/R&B/ Blues. Free.

H

SUNDAY 06

H H

NORTHSIDE YACHT CLUB - Casteless, Shores of Elysium, From Another Planet and Bloodgate. 9 p.m. Metal. $1.

PEECOX ERLANGER Saving Stimpy. 9:30 p.m.

Rock. $5.

PLAIN FOLK CAFE - Sawmill Ridge Bluegrass. 7:30 p.m. Bluegrass. Free.

H

THE REDMOOR Sound Body Jazz Orchestra. 7:30 p.m. Jazz. $10.

RICK’S TAVERN - Second Wind. 10 p.m. Rock/Soul.

Cover.

H

SEASONGOOD PAVILION - Serenity Jam Music & Art Fest with Gypsy Hotel, Butch Jones and the Standard Country Time Band, Robin Lacy & Dezydeco, Dell Zell, G. Miles and The Band Of Helping Hands, Erin Coburn and more. Noon Rock/Blues/ Roots/Country/Various. Free.

SOUTHGATE HOUSE REVIVAL (LOUNGE) - Amelia White with Matt Baumann and Jeremy Smart. 9:30 p.m.

Singer/Songwriter. Free.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Ben Danaher and Josh Morningstar. 9 p.m.

Country/Americana. $10, $15 day of show.

H

THOMPSON HOUSE Round2Crew Presents; The Finally Home Show. 8 p.m. Rap. $15-$150.

H

URBAN ARTIFACT Saving Escape, Heavy Hinges and Flatland Harmony Experiment. 9 p.m.

Rock/Roots/Blues/Various.

Free.

WASHINGTON PLATFORM - Rusty Burge Trio. 9

BLIND LEMON - Jeff Henry.

8 p.m. Acoustic. Free.

H

GALLAGHER STUDENT CENTER THEATRE - Cecile McLorin Salvant. 7:30 p.m. Jazz. $15-$35.

HILTON NETHERLAND PALM COURT - Rob Allgeyer. 10:30 a.m. Jazz. Free.

LATITUDES BAR & BISTRO - BlueBirds. 8 p.m.

Rock/R&B. Free.

MOTR PUB - Shamarr Allen.

8 p.m. Jazz/Funk/Rock/Various. Free.

H

TOP CATS - Man Man with GRLwood and Go Go Buffalo. 8 p.m. AltRock. $17.

WASHINGTON PLATFORM - Traditional New Orleans Jazz Brunch with 2nd Line Jazz Trio. 11:30 a.m. Jazz. $10 (food/drink minimum).

WESTSIDE VENUE - Blues Jam with Jimmy D. Rodgers and Lil Al Thomas. 7 p.m.

Blues. Free.

MONDAY 07

BLIND LEMON - Ben Armstrong. 8 p.m. Acoustic. Free.

HILTON NETHERLAND PALM COURT - Nick Fryer Trio. 6 p.m. Jazz. Free.

MCCAULY’S PUB - Open Jam with Sonny Moorman. 7 p.m. Blues/Various. Free.

MOTR PUB - Operator Music Band with Grand Process. 9 p.m. Indie Pop/ Rock. Free.

H

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - The Fleshtones. 7:30 p.m. Garage Rock. $22, $25 day of show.

TUESDAY 08

ARNOLD’S BAR AND GRILL - Ben Levin. 7 p.m.

Blues. Free.

8 p.m. Acoustic.

Free.

BLIND LEMON - Nick Tuttle.

8:30 p.m. Acoustic. Free.

BOGART’S Hardy with Hunter Phelps. 8 p.m.

Country. $18.

BREWRIVER CREOLE KITCHEN - The Twirlers. 7 p.m. R&B/Classic Pop/Standards. Free.

CAFFÈ VIVACE - Charlie Suits Quintet. 7:30 p.m.

Jazz.

CAFFÈ VIVACE - CCM Faculty Jazztet. 7:30 p.m. Jazz.

COMMON ROOTS - Open Mic. 8 p.m. Various. Free.

HILTON NETHERLAND PALM COURT - Pam Mallory Trio. 6 p.m. Jazz. Free.

H

PNC PAVILION AT RIVERBEND - Young Thug and Machine Gun Kelly with YBN Nahmir and Strick. 7:30 p.m. Hip Hop. $23.50-$49.50.

WEDNESDAY 09

BLIND LEMON - Thom Stephenson. 8 p.m. Acoustic.

Free.

BRICKHOUSE PUB & GRUB - The Twirlers. 7 p.m.

R&B/Pop/Various

H

CAFFÈ VIVACE – Blue Wisp Big Band. 8 p.m.

Jazz. Cover.

HILTON NETHERLAND PALM COURT - Brad Myers Trio. 6 p.m. Jazz. Free.

LUDLOW GARAGE - Towne.

8:30 p.m. Folk. $15-$25.

MOTR PUB - Andrew Deadman. 10 p.m. Rock. Free.

H

PNC PAVILION AT RIVERBEND - GRiZ. 7 p.m. Funk/Dance/Electronic/ Alt. $23.50-$44.50.

REVEL OTR URBAN WINERY - “The High Note.” 8:30 p.m. Jazz. Free.

H

ARNOLD’S BAR AND GRILL - Philip Paul Trio.

7:30 p.m. Jazz. Free.

BLIND LEMON - Billy Otten.

LUDLOW GARAGE - Arielle.

8:30 p.m. Singer/ Songwriter. $15-$30.

H

MOTR PUB - Jack Burton Overdrive, The Mobros and Tooth Lures a Fang. 10 p.m. Indie Rock.

Free.

Grammy-winning Jazz vocalist Cécile McLorin Salvant performs at Xavier’s Gallagher Student Center Theater Sunday, Oct. 6.

PHOTO: PROVIDED BY THE KURKL AND AGENCY

H

NORTHSIDE YACHT CLUB - Vacation (10year anniversary show) with R. Ring, Kneeling In Piss and Flesh Mother. 9 p.m.

Rock/Punk/Various. $8, $10 day of show.

SOUTHGATE HOUSE REVIVAL (LOUNGE) Elizabeth Bowman. 9:30 p.m.

Americana. Free.

H

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Sarah Shook & The Disarmers with Senora May. 8 p.m. Americana/Country. $12.

TOP CATS - Pegboard Nerds. 9 p.m. Electronic. $15.

URBAN ARTIFACT 4REEL. 8 p.m. Rock.

WASHINGTON PLATFORM - Grassroots Ramble. 8 p.m.

Bluegrass. $10 (food/drink minimum).

FRIDAY 11

H

ARNOLD’S BAR AND GRILL - Buffalo Wabs and the Price Hill Hustle. 8 p.m. Americana. Free.

BOGART’S - Who’s Bad - A Michael Jackson Experience.

8 p.m. Pop. $12.

Cover.

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

KNOTTY PINE - Final Order.

10 p.m. Rock. Cover.

LUDLOW GARAGE Michael Martin Murphey.

8:30 p.m. Americana. $20-$50.

BROMWELL’S HÄRTH LOUNGE - Jim Connerley/ Gary Gorrell Quartet. 9 p.m.

Jazz. Free.

H

H

CAFFÈ VIVACE - Joe Policastro Trio. 8:30 p.m. Jazz. Cover.

MANSION HILL TAVERN - Dudley Taft. 9 p.m. Blues.

Cover.

HILTON NETHERLAND PALM COURT - Faux Frenchmen. 9 p.m. Jazz.

Free.

H

JAG’S STEAK AND SEAFOOD - The Sly Band.

9:30 p.m. Rock/Pop/Dance.

PLAIN FOLK CAFE - Skirt and Boots. 7:30 p.m. Acoustic. Free.

THE MAD FROG Future Joy with DJ Em and Elton Tom. 9 p.m. EDM. $5-$10.

MOTR PUB - Us, Today with PoC and up+dn. 10 p.m. Post Rock/Alt/Hip Hop/ Various. Free.

RICK’S TAVERN - Top This Band. 10 p.m. R&B/Dance/ Pop/Various. Cover.

H

RIVERFRONT LIVE Anders Osborne. 9 p.m.

Americana. $20.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Angela Perley with Harlot. 9 p.m. Folk/Country/ Rock. $12, $15 day of show.

H

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Smooth Hound Smith.

8 p.m. Roots/Rock. $20, $22 day of show.

Sharfe and John Taylor. 9 p.m. Jazz. $10 (food/drink minimum).

WIEDEMANN BREWERY AND TAPROOM - Thom Stephenson Trio. 7:30 p.m.

Classic Rock/R&B. Free.

SATURDAY 12

ARNOLD’S BAR AND GRILL - The Hot Magnolias.

8 p.m. New Orleans/Jazz/ Various. Free.

BLIND LEMON - Cee Love & Bruce Laten. 9 p.m.

Acoustic. Free.

THOMPSON HOUSE Brojob and Inferious. 7 p.m.

Metal. $15.

BLUE NOTE HARRISON - Sabbath. 7 p.m. Black Sabbath tribute. $10.

URBAN ARTIFACT - Lines In The Sky, Near Here and Children of Mana. 10 p.m.

Indie Rock/Prog/Various.

BOGART’S - Here Come the Mummies. 8 p.m. Funk. $27.50.

WASHINGTON PLATFORM - Brad Myers with Mike

H

BROMWELL’S HÄRTH LOUNGE - Mike Darrah Trio. 9 p.m. Jazz. Free.

C I T Y B E AT. C O M

THURSDAY 10

KNOTTY PINE Mitch Greve. 9 p.m. Acoustic.

Free.

|

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Griffin House. 8 p.m.

Singer/Songwriter. $20, $25 day of show.

HILTON NETHERLAND PALM COURT - Lynne Scott Trio. 6 p.m.

Jazz. Free.

O C T. 2 -1 5 , 2 0 19

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Whitacre with The Grove. 8 p.m. Americana/ Rock/Various.

DELHI PUB Rockne’s Open Mic. 8 p.m. Various. Free.

61

PUZZLE

LISTINGS CAFFĂˆ VIVACE - Burge/ Allee Quartet. 8:30 p.m.

Jazz. Cover.

JACK CINCINNATI CASINO - George Thorogood & The Destroyers. 8 p.m. Blues Rock. $30.

H

15. Ethnomusicologist Alan 18. Up and at ‘em

JAG’S STEAK AND SEAFOOD - My Sister Sarah.

9:30 p.m. Rock/Pop. Cover.

19. Like a drip

H H

LEGENDS BAR AND VENUE - Settle Your Scores with Break Up Lines, You Vs. Yesterday and Starless. 7:30 p.m. Rock. $10.

H

LUDLOW GARAGE John Pizzarelli. 8:30 p.m. Jazz. $35-$60.

MANSION HILL TAVERN Minsterman and the Mojo Band. 9 p.m. Blues. Cover.

H

MOTR PUB Automagik with The Vims and Ohio Valley Salvage. 10 p.m. Indie/Pop/ Rock. Free.

NORTHSIDE YACHT CLUB - The Cowboys, Indonesian Junk and Cold Stereo. 9 p.m.

Rock/Pop. $8.

PLAIN FOLK CAFE - My Brother’s Keeper. 7:30 p.m.

Americana. Free.

O C T. 2 -1 5 , 2 0 19

5. Blocks 9. Invisibility cloak?

13. Immigrants’ Rights Project org.

LAWRENCEBURG EVENT CENTER Charlie Daniels Band. 7:30 p.m. Country/Gospel/Rock. $29-$64.

|

HILTON NETHERLAND PALM COURT - Jim Anderson Quartet. 9 p.m. Jazz.

Free.

KNOTTY PINE - Michelle Robinson Band. 10 p.m.

Country. Cover.

C I T Y B E AT. C O M

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

AC R O S S

1. Here’s the kicker

RICK’S TAVERN - HiFi Honey. 10 p.m. Pop/Rock/ Country/Various. Cover.

RIVERFRONT LIVE - Jinjer with The Browning. 7 p.m.

Metal. $15, $20 day of show.

SOUTHGATE HOUSE REVIVAL (LOUNGE) - Mack McKenzie with John Simon.

9 p.m. AltCountry/Roots Rock. Free.

H

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Mike Oberst

16. “Too bad�

20. Real babe 22. 24-Across’s 362: Abbr.

24. Daniel took over his spot as Giants QB Smooth Hound Smith plays Southgate House Revival Oct. 11 PHOTO: PROVIDED BY THE ARTIST

(album release show). 8 p.m.

Folk. $10, $12 day of show.

THOMPSON HOUSE - Dirt Monkey, Jantsen and Sfam.

9 p.m. Electronic/Dance. $20-$35.

H

TOP CATS - Kongos. 9 p.m. AltRock. $20-$199.

WASHINGTON PLATFORM - Camille Saba Smith with the Patrick Kelly Trio. 9 p.m. Jazz. $10 (food/drink minimum).

WIEDEMANN BREWERY AND TAPROOM - Cousin Kissers. 8 p.m. Country.

Free.

SUNDAY 13

HILTON NETHERLAND PALM COURT - Rob Allgeyer. 10:30 a.m. Jazz. Free.

LATITUDES BAR & BISTRO - BlueBirds. 8 p.m.

Rock/R&B. Free.

H H

LUDLOW GARAGE Pat Travers Band. 8:30 p.m. Rock. $20-$45.

MOTR PUB - Porcupine with Knife the Symphony and Hyperstatic.

8 p.m. Rock/Indie/Post Punk.

Free.

RIVERFRONT LIVE - Ballyhoo!. 8 p.m. AltRock. $17.

WESTSIDE VENUE - Blues Jam with Jimmy D. Rodgers and Lil Al Thomas. 7 p.m.

Blues. Free.

WIEDEMANN BREWERY

AND TAPROOM - Everything’s Jake. 10 p.m. Classic Rock/R&B/Blues. Free.

MONDAY 14

28. Purplish-red color

37. One in a line in an airport

25. Maker of the z15 mainframe

35. “Only Connect� channel, with “the�

14. Head out

JIM AND JACK’S ON THE RIVER - Deuces Wild. 9 p.m.

Country. Free.

62

Launch Pad

38. Sheet

HILTON NETHERLAND PALM COURT - Nick Fryer Trio. 6 p.m. Jazz. Free.

39. Bar munchies?

Jamaica

outside of the city

player’s wager

41. Islamic prayer surface

3. “Frozen� character who sings “In Summer�

31. Brexit Party founder’s first name

54. Stare slack-jawed

MCCAULY’S PUB - Open Jam with Sonny Moorman. 7 p.m. Blues/Various. Free.

43. First name of a WWII bomber

32. Indigenous Alaskan

55. End-of-semester milestone

33. Moxie

56. Coloration

34. Hit below the belt

57. Does the math?

36. Talking animal in the Book of Numbers

59. Actor Sardarov of “Chicago Fire�

40. In a neat and trim fashion

61. Playful river denizen

45. Lacy trap

62. Org. co-founded

by W.E.B. Du Bois

MOTR PUB - Coy Comer and the Wanderers. 9 p.m.

Free.

H

NORTHSIDE YACHT CLUB - Night Witch, Slutbomb and more. 9 p.m.

Hardcore.

TUESDAY 15

ARNOLD’S BAR AND GRILL - Cheryl Renee. 7 p.m. Blues. Free.

CAFFĂˆ VIVACE - Mandy Gaines and Steve Schmidt.

7:30 p.m. Jazz, HILTON NETHERLAND PALM COURT - Brian Cashwell Trio. 6 p.m. Jazz. Free.

H H

LUDLOW GARAGE Macy Gray. 8:30 p.m.

Pop/Jazz/Various. $45-$80.

RIVERFRONT LIVE All That Remains and Lacuna Coil. 6:30 p.m. Rock. $30.50.

H

TOP CATS - Capstan with Rarity, Neverkept, Children of Mana and Into the Skies. 7 p.m. Rock. $13.

42. Accustom to

4. “For shame�

44. Stein quaff

5. Actor in the rock supergroup Hollywood Vampires

46. PTA’s appeal

6. WWII losers

47. “I got this�

7. Itsy-bitsy bug

50. Representative Lieu

8. River Achilles was dipped into

51. Matched, as terms

9. Farm-town prank done out of boredom

52. Subway alternative 54. Preps 60. Singer/songwriter Lewis 64. Sort of symmetry 65. Launch an app on a touchscreen, and a hint to the crossings of certain squares in this puzzle 67. Garden flower 68. Looking grim 69. Offshoot like the Shakers 70. First responders, for short 71. Bad attitude 72. Some Dadaist sculptures DOWN

1. Baby doe 2. ___ Rios,

10. Latin 101 conjugation 11. Create 12. Field team with plenty of pull 15. Boxer nicknamed “She Bee Stingin’�

17. Herb Alpert & the Tijuana Brass record label 21. Etta in the comics 23. Enjoyed the recliner 25. “The Wild Duck� playwright 26. Dietary supplement that reduces gas 27. His “4� was retired by the Giants 29. “Grand Hotel� star 30. Nabe just

58. Slay

48. 52-Across assignment: Abbr.

63. Calendar entries: Abbr.

49. Ponder

66. See 54-Down

53. With 67-Down, matches another

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DELIVERY CONTRACTORS NEEDED

CityBeat needs contractors to deliver CityBeat every Wednesday between 9am and 3pm.

Qualified candidates must have appropriate vehicle, insurance for that vehicle and understand that they are contracted to deliver that route every Wednesday. CityBeat drivers are paid per stop and make $14.00 to $16.00 per hr. after fuel expense. Please reply by email and leave your day and evening phone numbers.

Please reply by email only. Phone calls will not be accepted. sferguson@citybeat.com

810 Sycamore St. 4th Fl,

GOLD is over $1500 an Ounce!

If you have any gold or silver jewelry you no longer want or wear NOW is a great time to sell!

Your old jewelry could be worth thousands of dollars!

If you would like sell or if you have questions, call or text 513-205-2681 I am a local buyer, pay cash, have 39 years experience, and I guarantee the highest price!

NOW REOPENED

Starting at $500 plus court costs.

12 Hour Turnaround.

$500 OH 45202 810 SycamoreStarting St. 4th Fl,at Cincinnati, plus court costs.

513.651.9666 12 Hour Turnaround.

NIGHT GARDEN RECORDING STUDIO

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

Tohi

Cincinnati, OH 45202

513.651.9666

Cincinnati’s Only Hemp Spa, Tea House, and Boutique Massage • Facials • Waxing • detox Sauna Mani/pedi • tea House • Smoothie Bar • Hemp Boutique

attention grabbing ads.

FIND OUT MORE. SALES@CITYBEAT.COM

942 HatcH St. • Mt adaMS 513-421-8644 • toHiSpa.coM

Oct. 12th • 9am-5pm 250+ handcrafted arts vendors, crafts & food

Soin Stage • 9am-5pm

Egyptian Breeze Belly Dancers • Live Music

Music & Beer Fest • 12-7pm

O C T. 2 -1 5 , 2 0 19

Fun in the sun with local bands & cold craft beer

YSCHAMBER YELLOW SPRINGS CHAMBER OF COMMERCE

enterprising ideas + meaningful support

C I T Y B E AT. C O M

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Free Shuttle Service • 9am-7pm

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Presenting Sponsors:

Festival Sponsor:

Festival Partners:

SUNDAY, NOVEMBER 24 MEMORIAL HALL WWW.CINCINNATIENTERTAINMENTAWARDS.COM

937.767.2686 f yellowspringsohio.org