CityBeat | Nov. 7, 2018

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LETTERS

Aftab’s Campaign Manager Out

CONTACT US

Diego Sebastian Moena: My wife volunteers for the Aftab campaign. Her first week there, several people from the Chabot campaign tried to infiltrate their meetings. What’s more, I live in Cheviot. Just last night, somebody came through the Cheviot and Green Township area and stole all the Aftab yard signs. I’m seeing shady campaign strategies on both sides, but I’m only seeing one candidate hold his people accountable for their actions. This story does nothing to dissuade me from voting for Aftab. If anything, it reaffirms my belief that he is dedicated to upholding the ethical standards he has campaigned on.

Eileen Broughton: We will have to see how this plays out, but I have met Aftab and he is a good man and, as far as I am concerned, a way better representative for District 1. The NY Times poll that has him behind is admittedly small in scope and could be off by 5 points. Please don’t let this discourage you from voting for Aftab.

Nick Stick: Lol looks like 2 more years of the world’s most gravity-defying combover Todd Boeke: Sounds like another corrupt Democrat

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Comments posted at Facebook.com/CincinnatiCityBeat in response to the Oct. 31 post, “Democratic congressional hopeful Aftab Pureval has dismissed members of his campaign staff and accepted the resignation of Sarah Topy, his campaign manager, just days before voters decide between him and Republican incumbent U.S. Rep. Steve Chabot.”

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That Pesky Constitution

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Photo Guy (The Mob): I didn’t know that Chabot is a constitutional scholar. Who knew! A former storefront lawyer who practiced law only for a few years should be on the Supreme Court, boofing Burger Beer.

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EMAIL Hamilton County Clerk of Courts Aftab Pureval PHOTO: HAILEY BOLLINGER

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Comment posted on twitter.com/CityBeatCincy in response to the Oct. 31 post, “Even staunch conservatives — including the U.S. House’s most powerful Republican — acknowledge Trump is wrong about his ability to use an executive order to change birthright citizenship. Chabot should do the same.”

Because Chrissy Teigen Won’t Be There?

OHIOWOMEN4TRUMP: That’s a total shame!

Seriously, People LOVE Chrissy Teigen

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Laura Voted!: BUT WAIT! Is @chrissyteigen coming???? jk! What an honor and a bunch of fun! @johnlegend #EGOT Sofia Geiler: @chrissyteigen DO YOU THINK HE’LL SIGN MY COPY OF CRAVINGS??? And no, I own nothing of John’s so take that as a win sister. (((513Eats))): @chrissyteigen Will you be here in Cincinnati??? Please tell me you’ll be here in Cincinnati. Cincinnati needs you.

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Comment posted on twitter.com/CityBeatMusic in response to the Nov. 1 post, “Singer/songwriter John Legend (the youngest person to ever win an Emmy, Grammy, Oscar and Tony) is coming to Ohio Sunday to encourage voting, joining @AftabPureval and other Democratic candidates in Cleveland, Dayton and Cincinnati.”

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Music Listings: mbreen@citybeat.com

Comments posted on twitter.com/CityBeatCincy in response to the Nov. 1 post, “Ohio Native and EGOT Superstar John Legend is Coming to Cincinnati this Weekend to Get Out the Vote.”

Libertarian State Candidates First, I wanted to thank you guys for giving our Libertarian candidates a fair shake in the paper-version of the 2018 Election Guide you published recently!

Mad props. But, I had one concern about the website: It seems the website itself doesn’t reflect this fairness. For example, the article about statewide offices does not include the Libertarian candidate for Secretary of State (Dustin Nanna), nor our candidate for State Auditor (Robert Coogan). Considering this was not the case in the paper version, I assume this was done in error. Please, correct this issue and give the statewide Libertarian candidates coverage just like you are with the other candidates on the ballot! It would mean a lot to me and many others living in Cincinnati, and would show that CityBeat is dedicated to fair and balanced coverage for ALL candidates on the ballot! Thank you.

— Justin Nolan; comment sent citybeat.com

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NEWS

Potential — and Pitfalls — Lie in Cincinnati’s ‘Opportunity Zones’ Earlier this year, several Cincinnati Census tracts were designated “Opportunity Zones.”

Here’s what that could mean for neighborhoods like the West End.

A vacant building on the corner of Baymiller and York streets in the West End PH OTO: NIC K SWARTSELL

BY N I C K SWA R T S EL L

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capital investment, sidelined capital, back invested into areas that are the best emerging markets on the planet earth, which are right here in the United States of America,” Booker said on PBS’ State of Affairs with Steve Adubato in August.

While many details have yet to be nailed down, the basic idea behind Opportunity Zones is that they will incentivize those with big pots of money gleaned from capital gains — that is, equity in successful companies, stocks and other investment income — to pour that money into initiatives in low-income neighborhoods.

States have each picked 25 percent of their low-income Census tracts to receive the designation. Investors will be able to create so-called “opportunity funds” to invest in businesses and development projects in those areas. Those funds will be required to put 90 percent of their holdings into businesses or projects in Opportunity Zone neighborhoods, and they will have a finite amount of time — the exact limit is yet to be decided — to make those investments.

In return for putting money into funds for Opportunity Zone investments, investors will receive a tax deferral on their capital gains until 2026 and a 15 percent reduction in their capital gains tax bill.

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present a Rubik’s cube for those looking to boost urban neighborhoods. Enter the Opportunity Zone concept, an idea created by a think tank funded by Napster co-founder and former Facebook president Sean Parker.

Parker stepped down from Facebook more than a decade ago, but the equity he received in the company made him a billionaire. He’s funneled plenty of that money into initiatives aimed at social causes, and his Economic Innovation Group is the latest project along those lines.

EIG drew up the initial proposals for Opportunity Zones as a way to incentivize tech entrepreneurs like Parker to use the millions they had on paper to benefit lowincome communities in the real world, and then lobbied lawmakers to make the idea a reality.

The GOP’s drive to pass tax cuts through Congress last year presented an opportunity to get the idea written into law, and a bipartisan group of more than 100 lawmakers, including prominent Senate Democrat Cory Booker and Ohio’s U.S. Rep. Pat Tiberi, were willing to help. Eventually, the U.S. Senate tucked the Investing in Opportunity Act (the formal name for the legislation creating Opportunity Zones) into Republicans’ larger tax bill.

“We were able to put together something that we knew could get a lot of the parked

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live in the neighborhood, according to the 2016 American Community Survey, and there are any number of businesses and organizations working every day in the neighborhood, many housed in structurally and aesthetically sound buildings. Census data shows the vacancy rate here is around 20 percent — not ideal, but not exactly the burnt-out husk of a neighborhood stereotypes might have you believe. Much of the neighborhood’s remaining architecture is historic and the focus of preservation efforts.

There is more still to the story. Racial restrictions on housing in the 19th and 20th centuries pushed many of the city’s black residents into the West End before the large-scale demolition of half the neighborhood under urban renewal and the construction of I-75 pushed as many as 20,000 mostly black residents back out again in the early 1960s.

The West End’s rough racial and economic history has left a clear legacy.

Eighty-five percent of the neighborhood’s residents are black. The median household income is an astonishingly low $15,000 a year — well less than half the city’s median.

Despite the challenges, however, many of the neighborhood’s residents say they love the West End and want to stay there.

The West End’s complex bundle of problems, promises and current strengths

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t doesn’t take much to see the legacy of disinvestment in Cincinnati’s West End: A quick walk along streets like Baymiller Street and Freeman Avenue will tell the tale.

As you move north and west, away from the clusters of neatly-kept historic rowhouses that border downtown and past lines of largely uniform, subsidized CityWest housing, the signs of long-term racial and economic isolation increase: the overgrown lots full of forlorn cars; squat, empty brick buildings with windows cinder-blocked shut; crumbling houses and apartment buildings.

A new initiative called Opportunity Zones — a law that trades tax breaks for investment in low-income areas passed earlier this year as part of Congressional Republicans’ tax cut law — could funnel investment into the neighborhood that it hasn’t seen in decades.

But the West End illustrates the doubleedged sword the new program could represent: Depending on how the rules governing opportunity zones are set, they could also let wealthy investors off with a lighter tax bill while stoking real estate fires in low-income areas that displace residents.

The crumbling buildings and vacant lots are just one side of the story in the West End, of course. About 6,140 people

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CITY DESK

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Leadership Shakeups Roil United Way Amid Accusations of Racial Bias

BY N I C K SWA R T S EL L

Days after the tumultuous resignation of United Way of Greater Cincinnati CEO Michael Johnson, the nonprofit’s board chair has also stepped down. As the dust settles, the organization’s interim CEO has promised an internal audit of workplace conditions and racial equity concerns.

UWGC announced in a statement Friday that Julia Poston would no longer lead the organization’s board of directors.

In a letter explaining her resignation, Poston says she is leaving in order to eliminate distraction from the “unproductive debate” around Johnson’s departure, which has been marked by turbulence and accusations of discriminatory animus against him.

“As dedicated as I am to my service as UWGC Board Chair, it is clear to me that we can’t be distracted by this unproductive debate that feels singularly focused on my role,” she wrote. “No matter the ‘fairness’ of the debate; we must focus on moving forward constructively.”

Johnson took a leave of absence from his role at UWGC late last month. In an Oct. 26 email to the nonprofit’s board, Johnson alleged that a “hostile work environment” and “subtle threats” were making it difficult to do his job.

“She is unfairly attacking my credibility with key stakeholders and creating challenges within our organization,” Johnson wrote of Poston in that letter, first reported on by WCPO and The Cincinnati Enquirer.

Johnson also alleged that he was not made aware of financial difficulties facing UWGC when he took the job — difficulties that could threaten key United Way programs. Fundraising difficulties faced

by UWGC — similar to those facing United Way organizations across the country — could mean 20 percent cuts at the local organization.

Last week, after Johnson’s email became public, UWGC announced that he would exit the organization on amicable terms.

“Thank you Cincinnati for making me uncomfortable,” Johnson wrote after his departure was announced. “This is what leadership is all about and I believe my time here will help address some of the underlying challenges the region faces.”

A group of prominent African-American

United Way of Greater Cincinnati PHOTO: NICK SWARTSELL

leaders has protested Johnson’s treatment, saying his departure is indicative of the resistance black leaders often face in Cincinnati. Johnson’s supporters have pointed out his short tenure — he served just three months — his positive results at his former job and his presence in the community, including his active role during the city’s struggle around downtown tent cities, as reasons he was a great fit for UWGC. On Nov. 1, Councilwoman Tamaya Dennard joined calls supporting Johnson and asking for Poston’s departure.

“Michael Johnson was exactly who we needed at the helm of United Way Greater Cincinnati,” Dennard said in her letter.

“He was ready to challenge the systems that have created such inequality and poverty in our region. I was impressed by him immediately. I’m sad to see him go, especially under these circumstances.

He wasn’t allowed to be the CEO he was hired to be. Michael’s departure is another instance of a larger issue of retaining black leadership in Cincinnati.”

Later that day, 30 staff members from the United Way signed a letter also asking Poston — and UWGC’s entire executive committee — to leave. Five of those staff members signed anonymously, but the rest signed their full names.

“Michael was an inspiration to many of us,” the letter from UWGC’s staff says. “He challenged the status quo and emboldened

our team to do the same. We mourn his loss. But in the short time he was with us, there is no doubt that he has left behind a legacy. He has created a stronger, more resilient team who is willing, and now able to say with more commitment than ever that we WILL unite communities to change lives, like Michael Johnson changed ours.”

Poston, who had served on UWGC’s board since 2008 and became its chair last year, resigned the next morning during a board of directors meeting. Board Chairelect Tim Elsbrock will take her place.

Johnson will return to Madison, Wisconsin to head the Dane County Boys and Girls Club, a position he held for eight years before coming to Cincinnati.

UWGC Senior Vice President Ross Meyer is serving as the organization’s interim CEO. In a Nov. 2 statement, Meyer said UWGC is committed to joining with other organizations to discuss issues around racial equity, and will also undertake a racial equity audit and workplace culture assessment.

“We are all part of the change that must happen together,” he wrote. “I am proud of the work United Way has done and continues to do to help change systems and break barriers that hold people back.

We have much work to do. That is clear. But our call to unite will always be the guiding principle for us at United Way.”

FROM PAGE 07

And should they keep their money in their opportunity zone investments for 10 years or more, they’ll pay no tax on the dividends they make on those investments.

While so-called “vice businesses” like casinos and liquor stores are ineligible for opportunity fund investment, the Investing in Opportunity Act leaves the field more or less wide open otherwise. Investors could pour money into affordable housing, or into luxury condos. They could use it to provide low-cost loans to give local businesses capital to expand, or use it to back larger enterprise.

The deal represents a potentially huge windfall for investors. But will it help the low-income neighborhoods that receive the designation? That depends, some say.

“The challenge is making sure the program doesn’t hurt the people it’s meant to help,” Policy Matter Ohio’s Wendy Patton wrote earlier this year.

“The federal law encouraged states to establish Opportunity Zones in places where developers are already investing — like Ohio City in Cleveland, The Ohio State University area in Columbus and Over-the-Rhine in Cincinnati. In these neighborhoods, it will be a challenge to ensure that residents are not priced out of their homes and are hired for the jobs that are created. It’s only possible with strict accountability and reporting standards, community advisory boards and community benefits agreements with teeth.”

Ohio nominated 320 of its 1,300 eligible Census tracts for the program. Like parts of OTR, West End Census tracts 264, 265 and 2 officially received opportunity zone designation earlier this year, though tract 269 — which has a median household income of just $10,000 a year — did not.

Tracts in Avondale, Bond Hill, Camp Washington, Corryville, South Cumminsville, Evanston, North and South Fairmount, Madisonville, parts of the Price Hill neighborhoods, Northside and Queensgate also received the designation.

The selection of the West End tracts wasn’t entirely unexpected — last year, as FC Cincinnati made its pitch for building a major league soccer stadium in the neighborhood, President and General Manager Jeff Berding pledged the team would lobby to get the West End named as an Opportunity Zone.

It is very unlikely all of the 8,700 Census tracts across the country designated Opportunity Zones will see the kind of massive investments the legislation touts. But, with FC Cincinnati’s roughly $200 million stadium coming to the neighborhood, and with development and investment already ramping up even before talk of the stadium started, it seems like the West End has a good chance of becoming one of the neighborhoods that does.

CONTINUES ON PAGE 09

FROM PAGE 08

Jason Briers of the Community Barber Shop PH OTO: NIC K SWARTSELL

With that investment could come some pitfalls, especially in a neighborhood where real estate speculation has already begun and where a full 84 percent of residents are renters and many can’t afford the city’s median rents.

Already, some businesses in the footprint of FC Cincinnati’s coming stadium are struggling to find new places to set up shop, and some in the community feel the changes that facility alone will bring will change the West End in ways that won’t be inclusive for them.

Initially, soul food carry-out Just Cookin’s Monica Williams was hopeful about the development of FC Cincinnati’s stadium, saying she was told she would need to move sometime before the new year and that the team would help her find a new place. She even took some trips hunting for spaces with former Cincinnati Mayor Mark Mallory, a West End fixture who works for the team doing community engagement.

Williams is less enthused about the move these days after learning that she will need to be out by November and that assistance will come as a single $20,000 payment from the team and another $1,350 from her landlord, Rev. Patrick Winkler. In addition to Williams’ restaurant, Winkler’s property includes his church, Lighthouse Ministries, and a long-running barber shop run by Jason Briers as well as Briers’ residence and a convenience store run by Briers’ brother.

The convenience store and the barber shop took the $20,000. Williams, however, initially held out, saying it wouldn’t be enough for her. Eventually, she took the team’s offer, though she says she will still need more help from other sources.

Briers took over the barber shop from his father, who founded it in the West End in the 1960s. He says he’s still looking for new locations for the shop and his residence, though he expresses some doubt

about whether he’ll be able to stay in the barber business — or the neighborhood.

“I don’t want to leave,” Briers said earlier this year. “My clientele is here. I don’t understand how they did us like this. I have an apartment upstairs. I’m losing a place to live and a place for business. I’m being displaced.”

There are worries more displacement could come as interest in the neighborhood continues to ramp up. Neighborhood groups and the Greater Cincinnati Redevelopment Authority — which has commissioned a housing study as part of preparations for the coming FCC stadium — are working to address those concerns.

But it’s clear the West End is vulnerable.

The overall makeup of the West End’s housing stock won’t be clear until that study is complete, but here’s what we know: the neighborhood contains roughly 1,000 units of rental housing more likely to stay affordable long-term due to ownership

by Cincinnati Metropolitan Housing Authority or because they were built by private developers like The Community Builders using Low Income Housing Tax Credits. Census data shows that more than 3,000 of the neighborhood’s residents live below the poverty line. Another 1,300 live above the poverty level but still well below the income needed to comfortably afford the city’s average rent, which has hovered around $900 a month in recent months.

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Whether those residents see benefits from the investment that is likely coming will depend on what that investment looks like, and what the rules governing it will be.

Congress is still working on that last part.

Patton, of progressive-leaning think tank Policy Matters Ohio, says that those rules will be critically important. She advocates for measures — including community benefits agreements, local oversight committees and others — that ensure projects sparked by Opportunity Zone designation are equitable and community-approved.

Other policy experts are similarly ambivalent about the concept so far.

“The theoretical effect of the Zone tax subsidies on local residents is ambiguous,” Brooking Institution’s Adam Looney wrote in late February. “It’s a subsidy based on capital appreciation, not on employment or local services, and includes no provisions intended to retain local residents or promote inclusive housing.”

Looney goes on to point out that Opportunity Zones differ in important ways from past federal programs centered around Census tracts like the Clinton-era Empowerment Zones program, which included incentives for local employment, boosts to locally-owned business and provided grants to municipalities to invest how they saw fit. No such mechanisms exist within Opportunity Zones — at least, not yet.

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THE ART ACADEMY AT T HE SCHOOL SHOWC A SE S I T S IMPAC T, HIS T ORY A ND E Y E T O T HE F U T URE IN A NE W BOOK A HE A D OF I T S 2 0 19 SE SQUICEN T ENNI A L

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he names of important local, national and even international artists who have studied, taught or guest-lectured at the Art Academy of Cincinnati in its 150-year history could fi ll a book.

A quick few: Frank Duveneck, Julian Stanczak, Jim Dine, Charley and Edie Harper, Maybelle Richardson Stamper, Jim Flora, Paul Chidlaw, Petah Coyne, Emily Hanako Momohara, John Ruthven, Thom Shaw, Josef Albers, Maria Longworth Nichols Storer, Thomas Satterwhite Noble, Tom Bacher, Chris Sickels, Tom Wesselmann, Elizabeth Nourse, Richard Felton Outcault… you get the idea.

But, strangely, there never has been a published book — until now. Getting a jump on the upcoming 2019 sesquicentennial, Art Academy 150: Make Art. Make a Difference was just released with a celebratory party at Rookwood Pottery on Oct. 27. The initial printing consists of 200 numbered copies, each in a 9-inch square format with an angle-cut, upper-right corner — a traditional Art Academy graphic style.

It was written by local historian Jeff Suess and designed

by Art Academy graduate Steve Weinstein of Envoi Design.

Joan Kaup, who had the idea for the publication, served as publisher/managing editor.

The book chronicles the school’s journey during its 150 years — starting in 1869 as the independent, downtownbased McMicken School of Design; becoming part of the new University of Cincinnati in 1871; changing its name to the Art Academy of Cincinnati in 1887 after leaving UC to partner with the new Cincinnati Art Museum and have its own building on that institution’s idyllic Eden Park campus; separating from the museum to move in 2005 to

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T HE A R T AC A DEM Y ’S OT R C A MPUS P H O T O: A R T A C A D E M Y OF C IN C IN N AT I

former commercial buildings at 1212 Jackson St. in what was then still-gritty, not-yet-chic Over-the-Rhine.

“Saturday night at the book launch, I had a feeling I never felt before,” says Mark Grote, the school’s interim president since John Sullivan retired in June. “It was a humbling experience to see all in one place what this college has been for 150 years. That’s a humbling experience for me to know (while) helping us figure out what the future is going to be.”

Grote believes the book also helps the Art Academy — an accredited nonprofit independent institution with some 200 undergraduates and big plans for growth — get the word out about itself to the city-at-large. “Not enough people know who the Art Academy is and the incredible impact we’ve had on this city and even on art throughout the country and in some cases the world,” he says.

“There’s a story in the book that one of our graduates from a long time ago is one of the first people to actually create the idea of a comic strip,” he continues, providing an example of one the school’s little-known highlights.

“You can almost trace back comic strips to an Art Academy grad. And there are other stories like that. So having this book is our way of telling people who we are and what we’re proud of.”

That student, by the way, was Richard Felton Outcault, who studied at the Academy from 1878-81, when it was called the McMicken School of Design. As the new book tells it — by inventively using a comic book form designed

by Marlowe Wesley — Outcault in 1896 drew a cartoon for The New York Journal, “The Yellow Kid and His New Phonograph,” that had “all the hallmarks of comic strips.”

“CR A Z Y CAT, CR A Z Y QUILT ” BY EDIE H A RP ER P H O T O: B R E T T HARPER

“ Y EL LOW K ID” BY RICH A RD F ELTON OU TC AULT P H O T O: H E R I TA GE A U C T IO N S

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“ SE A S C A P ES # 2 1” BY TOM W ES SEL M A NN P H O T O: C IN C IN N AT I ART MUSEUM

JOHN AU GU S T U S K N A PP IL LUS T R AT ION F ROM JOHN URI L LOY D’S ETIDORHPA P H O T O: L L OY D L I B R A RY A ND MUSEUM

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F R A NK DU V ENECK (S TA NDIN G L EF T ) T E ACHIN G A CL A S S AT T HE AC A DEM Y P H O T O: M A RY R. S C HIF F L IB R A RY A ND A RC H I V E S

Its immediate popularity inspired other papers to follow and a new graphic-art form was born.

Outcault also was friends with another student, John Augustus Knapp, who himself has a unique claim to fame. He created the fantastical illustrations for visionary Cincinnati pharmacist John Uri Lloyd’s fi rst novel, 1895’s mystical Etidorhpa: or, the end of the earth: the strange history of a mysterious being and the account of a remarkable journey. It has come to be considered one of the great — if difficult to read — American cult novels; some consider it the first psychedelic novel and Knapp’s illustrations are highly regarded.

Actually, there have been previous attempts at writing the Art Academy’s history. According to Amanda Parker-Wolery, the school’s marketing director, in 2009 former Academic Dean Diane Smith had students in her Approaches to History class each write a paper on a different 20-year period of school history. They got up to the 1960s when she stopped teaching the course. Also, Rebecca Wright Bilbo did a doctoral dissertation at Indiana University on “Academic or Industrial: Educating the Artist in Nineteenth-Century Cincinnati,” which concentrated on the academy’s fi rst years.

“Bilbo’s thesis was great — really in depth, 150 pages,” says Suess, an Enquirer librarian/history columnist whose previous books include Cincinnati Then and Now and Hidden History of Cincinnati. “It gave a really nice foundation. (But) then you get to the next chunk (of the school’s history), and there’s not really much written.”

Fortunately, he says, Cincinnati Art Museum’s Mary R. Schiff Library and Archives has kept its collected information on the academy — from handwritten letters from the Longworth family, critical early benefactors, to school newspapers and old photographs.

“I spent several days going through old stuff — they’re very curated,” Suess says. “And they were very generous in giving us photos. They even scanned in photos that were requested.”

Those archives helped Suess prepare a very colorful book chapter on the academy’s costumed Beaux Arts Balls, which seem to have been established by 1900 and then continued into the 1950s. (After a dormant period, balls returned in 1987 for the school’s centennial.)

In the old days, they had themes such as Mother Goose Ball (1915), Feast of the Little Green God (1924), Alice in Wonderland (1931), Dante’s Inferno (1934) and Adam to Atom (1947).

As Suess writes in the book of the early days: “The balls were known for the grandiose dress and costumes as well as for the behavior that was scandalous for the time. Drinking, smoking and scantily-clad students were shocking yet de rigueur for such events.” They also had surprises — the book recalls how, at the 1932 Reincarnation Ball, “a body in a casket was rolled in and scared the orchestra.”

The Beaux Arts Balls moved around to different sites, including the Art Museum’s Great Hall. “They were legendary,” Suess says.

Using the book as well as other sources, here are thumbnail sketches of just a few of the many notable artists associated with the Art Academy, from the early days to the recent past: • In the early days, two students — Mary Louise McLaughlin and Maria Longworth Nichols (whose father, Joseph Longworth, funded the McMicken School of Design) — became interested in china painting as a result of taking

Benn Pitman’s classes at the school. In 1879, McLaughlin developed an underglaze technique that Longworth used successfully at her Rookwood Pottery. As the book explains, the two women were rivals but also “made Cincinnati ‘the cradle of American art pottery.’ ” Further, the Art Academy played a key role in Rookwood’s ongoing success. As Nancy E. Owen observed in Rookwood Pottery at the Philadelphia Museum of Art: The Gerald and Virginia Gordon Collection, “The School of Design of the University of Cincinnati, which was transferred to Cincinnati Art Museum in 1884 and renamed Art Academy of Cincinnati in 1887, supported formal training in decorative and industrial arts. Since Rookwood art pottery required the difficult technique of painting underglaze decoration, such training was essential for employment.”

Rookwood in 1887 even hired an Art Academy professor to visit once a week and critique or make suggestions to the decorators, she writes.

• While the school’s second leader, Frank Duveneck, has always been one of the city’s best-known and consistently exhibited artists (he was born and raised in Covington), its fi rst one — principal/instructor Thomas Satterwhite Noble — was very accomplished in his own right. But because he did his most notable paintings before moving from New York City to take the job here, he’s comparatively unknown locally.

Born and raised in Lexington, Ky., where his father used “hired” (the book puts quotation marks around the word) slaves on his hemp farm, Noble served in the Confederate Army as a draughtsman, sketching guns during the Civil War. But after the war, he painted four significant anti-slavery paintings so powerful they toured the country. The most famous of these is 1868’s “Margaret Garner,” also known as “The Modern Medea,” which depicted the African-American slave who killed her own daughter rather than see her become a slave, too. Garner then escaped to Cincinnati but was caught. Garner’s life was the basis for Toni Morrison’s Pulitzer Prize-winning novel Beloved, as well as for a 2005 opera that was co-commissioned by Cincinnati Opera.

“Duveneck was the Michael Jordan of the school, it’s hard not to think,” Suess says. “Noble’s great work was made before he came here and gets forgotten. But it was a big deal to have someone of his caliber.”

• The stylized, colorful nature and wildlife paintings of the late Charley Harper, who both studied and taught at the Art Academy, have been rediscovered big time

by Modernists in recent years, thanks to designer Todd Oldham and Harper’s son Brett championing them to younger generations. You can now find Harper calendars, greeting cards and other material in gift shops coast-tocoast. Oldham and Brett also have made recent strides to get the equally colorful art of Harper’s wife Edie — a student whom he met at the Art Academy on his fi rst day there in 1940 — better known. In 2017, her charming “Crazy Cat, Crazy Quilt” was the model for a new ArtWorks mural on Walnut Street in Over-the-Rhine.

• While the revival of interest in the Harpers’ approach to Modernist art and graphic design has been high-profi le, the new interest in the late Jim Flora’s jazzy, playful and colorfully surreal 1940s/1950s record-album illustrations has been more under-the-radar. To some extent, the interest has mirrored the resurgence of vinyl records. There is now a website devoted to him, and three books since 2000 have been devoted to his album-jacket art. Also, three of

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

The Art Academy of Cincinnati is located at 1212 Jackson St., Over-the-Rhine. For more info on the school’s anniversary and to order the book, visit artacademy.edu/ news-events/150th-anniversary.

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his children’s books have been recently reprinted. Born in Bellefontaine, Ohio, he attended the Art Academy from 1935-1939, where he met his future wife, Jane Sinnickson.

• Among the recent Art Academy graduates who have found success in the world of Contemporary art is Petah Coyne, who studied printmaking and photography from 1973-1977. She has gone on to be an acclaimed New Yorkbased sculptor, known for her use of such unusual material as taxidermy animals, car parts and hair. She has had shows at the Cincinnati Art Museum, Nashville’s Frist Art Museum and MASS MoCA in North Adams, Mass.

“The best thing about the Art Academy, when I attended, was the high level of artistic freedom,” she said in a statement supplied for the book. “As long as you were working, the faculty didn’t bother you, but allowed you to experiment. This, I feel, is most important. Also, most of the teachers at the Academy shared what they were doing artistically with their students: the problems and solutions they found in their own work. The teachers were quite open and giving of their time and energy. Lastly, but probably most importantly, was that for the first time in my life I saw working artists. The teachers were able to support themselves and continue to be prolific with their own work.

This was excellent role modeling for me.”

This is an especially good time for a book about the Art Academy’s history, as well as for a sesquicentennial.

According to the school’s Parker-Wolery, the school now has a balanced budget and is seeking growth — to 250 or ideally 300 students — through expanding its programs. To that end, it is starting a fundraising campaign to convert unused fi rst-floor space that once housed a brewpub into Future House — a $2.3 million project to create space for new or expanded classes in social-practice art and motion graphics (fi lm/video/animation). Paige Williams, the current vice president for academic affairs/academic dean, says the school initially hopes to create a new minor in social-practice art and major in motion graphics, for which it recently hired a new faculty member. Grote added that the school also is considering building a dormitory.

The Academy’s optimistic, expansive mood reflects a belief that its 2005 move to Over-the-Rhine has now been accepted by prospective students and their parents. That wasn’t always the case. When the move occurred, the area was still recovering from the 2001 civil disturbance prompted by the police shooting of an unarmed black man.

“The first few years were iff y; we had some staff who refused to move downtown with us,” says Kim Krause, a now-retired long-time faculty member who was the school’s fi ne arts chair from 1997-2012 and academic dean from 2013 to this year.

“We also knew we had to change our mission. We wanted to be a much edgier kind of school. Doing all that at once turned out to be more difficult than we thought.

“We didn’t have a lot of money and we had to get people convinced (the move) was a really good idea. In hindsight, a lot has happened since in that neighborhood,” Krause says.

“Our presence was a catalyst that told people, ‘It’s going to be OK.’ ’’

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A l i m i t e d a m o u n t o f t i c k e t s r e m a i n at Pa r t y S o u r c e c a s e c e n t r a l

STUFF TO DO Ongoing Shows VISUAL ART: Akram Zaatari: The Fold - Space, time and the image Contemporary Arts Center, Downtown (through Feb. 10, 2019) VISUAL ART: Mamma Andersson: Memory Banks Contemporary Arts Center, Downtown (through Feb. 10, 2019)

WEDNESDAY 07

EVENT: Cincinnati Pizza Week CityBeat’s Cincinnati Pizza Week takes over area pizzerias for seven days of $8 specialty pies. Participants — like Goodfellas, ALTO, Dewey’s, Brick Oven Loveland and many more — will be offering sit-down specials; grab an official Pizza Week Passport and get a stamp at each location you visit to register to win a pizza prize package. Through Nov. 11. cincinnatipizzaweek.com.

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PHOTO: HAILEY BOLLINGER

THURSDAY 08

FRIDAY 09

EVENT: Drink and Draw: Boozy Botany Local floral designer Una Floral and plant design studio Fern are heading to the Contemporary Arts Center for an evening of drinking and drawing. Both brands will be on hand in the CAC lobby for a plant and bouquet pop-up, which

FILM: Bill & Ted’s Bogus Journey at The Esquire It’s been two years since William “Bill” S. Preston Esq. and Theodore “Ted” Logan traveled back in time in a phonebooth for their school history report and the duo is about to win the San Dimas battle of the bands with their group Wyld Stallyns. If they win, it will create a distant future utopian society that at least one person isn’t happy with. And that person sends

MUSIC: Cincinnati Chamber Folk trio Harpeth Rising plays Memorial Hall with Secret Sisters. See an interview with Harpeth Rising on page 39 and Sound Advice for Secret Sisters on page 42.

EVENT: The second-annual Cincinnati Coffee Festival takes over Music Hall. See feature on page 35.

some Bill and Ted robots to the past to kill Bill and Ted and prevent the creation of this ideal future. End result: Bill and Ted are dead and must navigate the perils, pitfalls and comedies of hell before trying to return to the mortal realm to save the world. The dudes from The Cinema Guys podcast will be on hand to introduce the film and hold a Q&A discussion afterward so you can ask questions like, “Why was a sequel even made to Bill & Ted’s Excellent Adventure?”

This may be one of the only times you can see this 1991 classic on the big screen again. 10 p.m. Friday. $10 adult; $7.50 senior/child.

Esquire Theatre, 320 Ludlow Ave., Clifton, esquiretheatre. com. — MAIJA ZUMMO EVENT: Walk on Woodburn The ever-expanding businesses on Woodburn Avenue in East Walnut Hills are hosting an after-hours, after-work walk to discover what the neighborhood has

to offer. Manifest gallery will be hosting an opening reception for three new exhibits, indigenous craft shop will be hosting a special Amy Greely trunk shop, Café deSales will be offering tarot readings and reiki, Woodburn Games will be hosting a Magic the Gathering session and Chapeau Couture will have an artisan showcase. There will also be beer at Woodburn Brewery, cocktails at Myrtle’s Punch House, 10 percent off your order at O Pie O (with proof of purchase of an item from another area business) and plenty more. 6-9 p.m. Friday.

Free admission. Woodburn Avenue, East Walnut Hills, facebook.com/eastwalnuthills. — MAIJA ZUMMO ONSTAGE: In Love and Warcraft World of Warcraft has developed a negative reputation as the pastime for anti-social video gamers who could use a shower, but the massive multiplayer online role-playing video

game is the social release for all kinds of people who use the game to connect with others in ways they may rather not offline. In Love and Warcraft is a new play that explores the culture of WOW players and how falling in love IRL can affect one’s relationship with their online kin. Through Nov. 18. $26; $23 Carnegie and ArtsPass members; $19 students. The Carnegie, 1028 Scott Blvd., Covington, thecarnegie.com. — SEAN M. PETERS COMEDY: Chad Daniels Chad Daniels’ schedule usually allows him to be home the first few days of the week. “Monday, I’ll take the kids to school and then go to my office,” the Fergus Falls, Minn. resident says.

While it’s not a typical 9-to-5 grind, Daniels treats it like a job, writing in his journal for an hour or so to get his mind kickstarted. “I have a whiteboard with ideas and a corkboard with little recipe CONTINUES ON PAGE 28

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will provide inspiration for aspiring artists to draw. Art supplies will be provided, and warm spiked cider and autumn treats will be available for purchase from the bar. 6-8 p.m. Thursday. Free admission. Contemporary Arts Center, 44 E. Sixth St., Downtown, contemporaryartscenter.org. — MAIJA ZUMMO

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costumes. After the screening, stick around for a conversation about the state of the country as seen through the lens of this film. The ticket donation includes light snacks. 6-9 p.m. Wednesday. $7. St. Peter’s United Church of Christ, 6210 Ridge Ave., Pleasant Ridge, facebook.com/stpeterscinci.

— MAIJA ZUMMO

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FILM: RBG at St. Peter’s United Church of Christ Supreme Court Justice Ruth Bader Ginsburg, the 85-year-old trailblazer and neck-doily-wearing voice of women’s rights and pop culture touchstone, is chronicled in the new documentary RBG. The film explores the journey and career trajectory, as well as the legal legacy, of Ginsburg from her start arguing gender discrimination cases before the Supreme Court in the 1960s to being sworn in as a justice of that same court in 1993. Learn about landmark cases brought before her and find out why Ginsburg — or the Notorious R.B.G. (also the name of a book about her and an associated tumblr account) — has been appearing on coffee mugs, in Saturday Night Live skits and little girls’ Halloween

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cards pinned to it, and I’ll take those down and go over them.” A successful headlining comedian, he has no desire to move to a larger city or either coast.

“In the Midwest, you can rent a huge four-bedroom house on a river...for eighthundred-bucks a month. If you can find happiness in the places where rent is cheaper, then that’s the way to go.” 7:30 and 10 p.m.

Friday and Saturday. $18.

Go Bananas, 8410 Market Place Lane, Montgomery, gobananascomedy.com.

— P.F. WILSON EVENT: Jungle Jim’s International Wine Festival The 11th-annual Jungle Jim’s International Wine Festival brings more than 400 wines from 90 wineries to the store’s Oscar Event Center.

Both beginners and wine enthusiasts can discover new favorite wines from around the world, paired with chef-prepared gourmet appetizers. Connoisseur tickets include rare wine tastings, a gourmet dinner by-the-bite themed to complement international wines, an open bar and a commemorative glass. 7-10 p.m.

Friday and Saturday. Daily cost: $69.23 Grand Tasting; $133.13 Connoisseur tickets; $79.88 Connoisseur

non-drinker; $26.63 nondrinker. Jungle Jim’s, 5440 Dixie Highway, Fairfield, junglejims. com. — MAIJA ZUMMO

EVENT: Response Project: Highway 61 Revisited Chase Public is hosting a Response Project based on Bob Dylan’s seminal Highway 61 Revisited. At the event, respondents will reflect on Dylan’s songs in any way they see fit, either musical performance, dance, a diatribe or tribute — the response is up to the performer. 7 p.m. doors; 8 p.m. show Friday. Free admission. Chase Public, 2868 Colerain Ave., Camp Washington, chasepublic. com. — SEAN M. PETERS

SATURDAY 10

SATURDAY 10

ATTRACTIONS: A Crystal Holiday at the Krohn Conservatory The Krohn opens its annual holiday floral show at 10:15 a.m. on Saturday with a special surprise unveiling of a new featured building for the annual holiday display.

(There will also be free cupcakes for the first 200 visitors.) This year’s theme is A Crystal Holiday and the conservatory’s cache of tropical and lush green plants will be complemented by a “shimmering frozen landscape,” fragrant holiday floral displays, model trains and mini Cincinnati buildings constructed out of whimsical natural materials.

Through Jan. 6, 2019. $7 adults; $4 youth; free ages 4 and under. Krohn Conservatory, 1501 Eden Park Drive, Mount Adams, cincinnatiparks.com/ krohn. — MAIJA ZUMMO

MUSIC: An Evening with Dawes: Passwords Tour takes over the Taft Theatre.

See Sound Advice on page 43.

ART: Domus Oculi in Camp Washington FotoFocus exhibit Domus Oculi — or “House of Eyes” — is being held over in Camp Washington through Nov. 18.

The freestanding structure created to house camera obscura viewing devices uses antiquated lenses and traditional image-capturing techniques to contrast their methodology against those used in phone cameras and other digital technology.

Artist Erin Taylor created the piece, as a press release says, to act “as a

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MONDAY 12

SUNDAY 11

MUSIC: Casper Skulls play the Northside Yacht Club. See Sound Advice on page 43.

EVENT: Art On Vine Art and craft market Art On Vine is moving inside for the season and into Rhinegeist’s OTR taproom. Find handmade goods from more than 70 different artists as your browse and sip on a beer.

Food will be available from Sartre. Noon-7 p.m. Sunday.

Free admission. Rhinegeist, 1910 Elm St., Over-theRhine, artonvinecincy.com.

— MAIJA ZUMMO

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EVENT: Launch the Line Cincinnati Union Bethel’s “Launch the Line” fundraiser is a take on TV show Project Runway, where seven local fashion designers have been matched with a graduate from CUB’s Off the Streets program and a local model to create two looks under the concept of “Strong Woman.”

Off the Streets is a program that serves women with histories of sex trafficking and exploitation and helps

them find “safety, recovery and empowerment.” Using the vision of their Off the Streets grad, these teams will put looks on local movers and shakers like artist and educator Pam Kravetz, mixologist Molly Wellmann and Cynthia Booth, President and CEO of COBCO Enterprises, which will then be judged by a panel. The panel will critique the work and select one winning collection. 7-11 p.m. Saturday. $75. Lunken Airport Hangar 2, 4510 Airport Road, East End, cubcincy.org. — MAIJA ZUMMO

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counterpoint to the deluge of images we encounter in our digital world and redirects our attention to the world around us. Simultaneously, Domus Oculi acts as a transitory archive of the Camp Washington neighborhood, connecting the viewer

to this often overlooked city fabric.” Noon-4 p.m. Saturday and Sunday through Nov. 18.

2868 Colerain Ave., Camp Washington, fotofocusbiennial.org.

— MAIJA ZUMMO

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MUSIC: Mike Shinoda In late March, Linkin Park singer/ rapper/songwriter/multi-instrumentalist Mike Shinoda released his first solo album, Post Traumatic, which featured songs he’d written in the wake of his friend and bandmate Chester Bennington’s death in the summer of 2017. The album features guests like Machine Gun Kelly, Chino Moreno and K. Flay and other members of Linkin Park. “Listening to a recorded song is not the same as experiencing that song live on stage,” he said in a press release.

“In sharing a live experience with you, my hope is to inspire questions, answers, answers, and reflections — (not) only about my story, but about your own. The search for meaning is boundless, and art is often one of our best vehicles.” On the tour, Shinoda has been performing Linkin Park songs like “When They Come for Me,” “Sorry for Now” and “Numb” (during which the audience sings Bennington’s vocal parts), as well as tunes from his Fort Minor side project. 7 p.m. Monday. $39.50.

Bogart’s, 2621 Vine St., Corryville, bogarts.com. — MIKE BREEN

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Tom LeClair’s ‘Passing Away’ Mines for Truth

ARTS & CULTURE

Published by Cincinnati-based Waxing Press, the author says his most recent novel will be his last

BY JAS O N G A R G A N O

C I T Y B E AT. C O M

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T

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om LeClair has dedicated his life to the written word. And now, 48 years after he first started teaching literature at the University of Cincinnati and several years after he relocated to Brooklyn, N.Y., LeClair says his latest novel, Passing Away — published by Cincinnatibased Waxing Press in early October — will be his last.

The fourth in a series following Passing Off, Passing On and Passing Through, the new book’s meta narrative again centers on Cincinnati-based Michael Keever’s writings. Keever is a truth-bending memoirist who relays stories from the perspective of three seemingly unconnected figures: his long-estranged older brother Patrick, who lives in the family’s rural Vermont home; former U.S. President Calvin Coolidge; and Frederic Tudor, the “Ice King” of 19th-century America. But the three are tied together through one overriding theme: all are near death.

Passing Away is also concerned with correcting the past. Each of the three stories tries to find the “truth,” a goal Keever and his subjects often stretch to fit their preferred narrative — and a subject that, as LeClair is well aware, is under considerable assault in our current social and political age. LeClair’s writing impressively renders the three different voices — from the mid-19th-century vernacular of Tudor to the 1933 postpresidency musings of Coolidge to the contemporary setting of Michael and Patrick Keever; it’s no doubt the result of deep research and the culmination of a life devoted to dissecting the writing of others.

LeClair came of age in Vermont in the 1950s, an era when newspapers and books were more at the forefront of our civic and personal lives. He studied literature voraciously and eventually graduated with a Ph.D. from Duke University in North Carolina. A few years later, in 1970, he began teaching at UC, a run that lasted four decades and resulted in his designation as Professor Emeritus.

LeClair came to wider attention in literary circles via the 1988 publication of In the Loop: Don DeLillo and the Systems Novel, an incisive critical study of DeLillo, a novelist who not only fascinated LeClair but would also go on to become one of the most revered writers of the last half-century. Two more books of literary criticism followed, as did a raft of book

reviews and essays for the likes of The New Republic, The New York Times Book Review, BookForum and The Washington Post.

But it wasn’t until Passing Off, released in 1996, that LeClair tackled fiction.

“I came to fiction-writing late,” LeClair says by phone from his Brooklyn home. “I was 52 years old when my first novel was published, and I’d never written any fiction before that. I just decided I was going to write this novel. I had never written short stories or anything.”

At the heart of LeClair’s Passing series is the aforementioned Keever, a former basketball player — a “passing” point guard — who, in this latest book, finds himself teaching creative nonfiction at a fictional placed called Queen City College and who is continuing his own series of memoirs via a novel also called Passing Away. The metaphysical layers are endless, an aspect of the series that continues to pique LeClair’s interest.

“There are a lot of reasons,” LeClair says when asked why he continues to return to Keever and the Passing universe he created more than two decades ago. “One of them is that (John) Updike wrote four books about his shooter, Rabbit, and I kind of wanted to do a fourth one about my passer, Michael Keever. I find it comfortable to write in his voice. Whenever I think about a subject to write about I ask myself, ‘Is Keever right for this job?’ And I guess I also had never really written much about his background in Vermont, and so I thought this would be a chance to give background that wasn’t in the first three.”

Of course, it’s likely not a coincidence that LeClair also grew up in Vermont.

“I like the connections among the books and how they build on one another,” LeClair says. “I was a big proponent when I was teaching and writing reviews of long books, and my students used to make fun of me because I had not written a long book. I think of this series as a fairly long book. I guess it would be something like 700 pages if you put all of them together.”

The post-modern approach to narrative has long been of particular interest to LeClair.

“Don DeLillo condescended to what he called ‘around the house and in the garden fiction.’ I don’t write that kind of fiction,” he says. “And I don’t know that that’s necessarily an influence of my criticism.”

The best of which he says were about larger

Passing Away cover PH OTO: WA XIN G PRESS

novels, like Thomas Pynchon’s Gravity’s Rainbow, William Gaddis’ J R, and Robert Coover’s The Public Burning — all of which he called huge, information-rich reads.

“Those are the people that I most admired, but I was no genius,” he says. “I wasn’t going to write one of those, but I think the influence is there that I wanted to do something more than just tell stories about domestic lives.”

And yet he does delve quite deeply into the personal matters of Passing Away’s three figures, illumining aspects of their lives that would have otherwise gone unnoticed.

Speaking of unnoticed, LeClair is well aware that his particular style of novel has a limited audience, which brings us back to the fact that he says this will be his final fictional outing.

“Right now, I mostly write protest signs and protest at Trump Tower, as I will today in a couple of hours and stand there with a couple of friends,” he says when asked if Passing Away will indeed be his final novel.

“Talk about futility. You think writing fiction is futile? Standing there in front of Trump Tower with a protest sign — there’s futility.”

The author also released a collection of essays on Trump last year and went on to say that the virality of protest signs receives a circulation that far outweighs those who read his books. “Which is kind of ironic, right?”

Tom LeClair’s Passing Away, published by the local Waxing Press, can be found at waxingpress.com.

CLASSICAL

Pianist Bespalko Brings Jazz to Xavier

BY A N N E A R EN S T EI N

C I T Y B E AT. C O M

For more info on the Xavier Piano Series and Xavier Jazz Series, visit xavier.edu/musicseries.

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And that’s what we’re after.”

This season’s lineup is wide-ranging, both artistically and internationally. The great bassist, bandleader and composer Christian McBride kicked off the series on Oct. 28.

Next, on Nov. 16, drummer Mark Guiliana will make his Cincinnati debut with his quartet Space Heroes at the Music Resource Center (in East Walnut Hills). “Mark is an amazing drummer who’s collaborated with some of the biggest names in Jazz and Rock,” Bespalko says.

“He was a force on David Bowie’s last album Blackstar.” The New Jersey native has previously collaborated with two other artists that will perform during the series.

In January, saxophonist Butman brings his Moscow Jazz Orchestra for a Benny Goodman tribute. “He’s my personal idol, the man who brought Jazz to Moscow,” Bespalko says. “And it will be great to hear Russians playing Jazz.”

Israeli trumpeter Avishai Cohen, who Bespalko has followed for years, has been another one of her bucket-list artists.

Come March, she finally got him on the Xavier schedule. Cohen and his quartet will perform original compositions that Bespalko characterizes as avant-garde and compelling.

The Jazz Series concludes in April with another of Bespalko’s idols, pianist Brad Mehldau, who has collaborated with some of the top names in Jazz and Electronic music (including the aforementioned Guiliana), as well as been featured on film soundtracks. She hopes the program includes selections from his most recent release, After Bach.

“He takes off from Bach keyboard pieces, improvises on them and creates these Jazz introspectives that are like reading someone’s diary,” she says.

Bespalko also oversees the school’s Piano Series that features Classical pianists and coordinates outreach efforts to area high schools with master classes, teacher workshops and concert tickets.

She also performs frequently throughout the region — and not only to keep her piano chops in shape.

“I am absolutely committed to bringing live music to my new hometown, Cincinnati,” she says. “It’s an incredibly rewarding experience for the performers and for me.”

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Polina Bespalko was a student at the renowned Moscow State Tchaikovsky Conservatory in Russia and already an acclaimed piano soloist when Moscow’s first Jazz club opened in 1998. Now, 20 years later, Bespalko invited the Jazz club’s founder, Igor Butman to perform during the current 2018-19 Xavier University Music Series, which she oversees.

As a student, Bespalko was initially focused on Classical repertoire.

“But my teacher, Nikolai Polina Bespalko Petrov, did a lot of piano improvisation and I PHOTO: PROVIDED listened to some Jazz recordings,” she says. “I didn’t really know the artists or much about Jazz, but I’m a Jazz listener now.”

Bespalko arrived in Cincinnati in 2001 for graduate studies in piano at the University of Cincinnati’s CollegeConservatory of Music, where she received a Master of Arts diploma. She then completed her doctorate in 2013.

“Jazz was a new discovery for me and I tried to listen to as much live and recorded music as I could,” she says. “In between studies, performing and the birth of my daughter.”

Xavier’s series offers unique opportunities to hear outstanding Classical pianists and Jazz musicians in an intimate setting. During the 2006 and 2007 sessions, Father John Heim, S.J. — the founder of the music series and a huge Jazz fan — invited her to be a featured artist.

A year later, in 2008, Xavier appointed Bespalko coordinator of the piano department; following Father Heim’s retirement in 2014, she took over the music series.

She’s met the challenges of identifying talent, negotiating contracts and bringing in new audiences — all in a second language for her — with the same commitment she brings to her own performances.

“My goal from the start is to bring in great names and to raise the bar. No matter what the genre; if music excites me, I go for that,” she says. “Good music is good music, and when an artist can bring out the emotion and get that connection with an audience, then it’s accessible to everybody.”

She’s also tweaking both the Classical and Jazz rosters by bringing in artists at the top of their game who will challenge audiences with their repertoire and performance styles.

“So far, no one has left our concerts saying they were bored,” she says with a laugh. “They may not have liked it but I know they’ve had an emotional response.

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Cincy Neighborhoods Get Their Own Flags

BY M O R G A N Z U M B I EL

There are few things that instill more loyalty in a Cincinnatian’s heart than where you went to high school, where you get your favorite chili and what side of town you call home.

Henry Frondorf knows this better than anyone.

President of the Westwood Civic Association, he founded the Cincinnati Neighborhood Games in 2016, aka an Olympics-style extravaganza where neighborhood teams compete in events like cornhole, tug-ofMock-ups of flags for all 52 Cincinnati neighborhoods war, hula-hoop endurance and super-sized Jenga.

PHOTO: COURTESY OF CINCYFL AGS Flags of participating groups are typically waved at opening ceremonies, and the Cincinnati their neighborhoods — and how they’d Neighborhood Games are no different. want their home visually represented.

But at the inaugural event, Frondorf “The grant that we won is a place-making found that no neighborhood actually had grant,” Cliff-Perbix says. “So the idea is that their own flag to fly. This called for a little these flags get adopted and people want to improvisation on his part. fly them and as you traverse the city, you’ll “Basically, I was up at 2 a.m. in my have a visual representation of where underwear designing these things before you’re going.” the neighborhood games,” he says.

Keeping in line with rule No. 4, the flags The idea for CincyFlags was born — won’t have any writing on them, but rather Frondorf would design a flag for all 52 have the neighborhoods be represented Cincy districts. He applied for an Engage by color and imagery. For example, a preCincy Challenge Grant, “a unique liminary design for Paddock Hills included community building competition” a blue wave pattern to represent its swim through the City of Cincinnati aimed at club and a crown formed from the shape launching creative projects with the goal of of a pin oak leaf, the type of tree that was bettering the community. planted at every house when the neighborBut there was one hitch in the plan: He hood was established. A draft for the West didn’t know anything about design. Enter: End flag included red and white for Taft Joshua Mattie and Chris Cliff-Perbix, the High School, and designs for Over-thecollective force behind We Be Team, a local Rhine feature Music Hall’s Rose Window. art and design studio.

Frondorf, Mattie, Cliff-Perbix and the The trifecta’s concept was selected this rest of the designers are now focused on spring from a pool of 17 finalists and won presenting the designs to the communities a $10,000 grant from city, which was then they represent and giving members the matched by the Carol Ann and Ralph chance to give feedback and vote.

V. Haile, Jr./U.S. Bank Foundation. (Five “Success with the project is getting the others also won grants.) community to feel that their voices were Most of those dollars are going toward heard and they were truly represented the dozen or so professional designers in these designs and feel compelled to fly spread across eight teams tasked with them,” Mattie says. producing the flag designs themselves, The final results will be unveiled at a all while following the official rules of party tentatively planned for February, good flag design according to the North one year from when the group first joined American Vexillological Association (a real forces. organization defined by their “common “We want it to have some anticipation, enthusiasm for flags”). The rules for a some sense of occasion,” Mattie says. perfect flag are clear: 1. Keep it simple; 2.

“It’s a really cool moment to get all the Use meaningful symbolism; 3. Use two or neighborhoods together for something three basic colors; 4. No lettering or seals; that isn’t a pressing political concern or and 5. Be distinctive or be related. something that’s demanding a transaction The designs are executed by professionfrom them. Let’s just get together and talk als, but the team wanted community memabout our neighborhoods and how they’re bers to have a say in what their flags would all cool. All 52 of them.” look like, so for phase one of the project For more information on CincyFlags or to they ran an online survey and hosted vote for your own neighborhood’s flag, visit workshops throughout the city to find out cincyflags.com. what Cincinnatians valued most about

FILM

Jonah Hill’s ‘Mid90s’ Transcends the Decade R E V I E W BY M AC K EN ZI E M A N L E Y

Sunny Suljic as Stevie in Mid90s PHOTO: COURTESY OF A 24

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themselves. Zoom out, and it’s really a slice-of-life film about a boy emerging into his teenage years, finally realizing that rebellion is a possibility. He finds this new sense of self in a group of skaters that are more akin to a dysfunctional family unit.

Ruben (Gio Galicia), the other younger member of the pack, has a rocky home life. When Fuckshit drives the kids to their respective homes, we see him go up to his apartment door and promptly leave, skating away to avoid his mother. One could assume that he bottles this anger and channels it through jealousy toward Stevie, as the pack gets closer to him.

Stevie’s mother, who picks up part-time work as a hooker, often feels just as lost as her sons — despite how hard she tries to be open and connect.

There’s no monumental point or heavy plotline. The viewer is left with loose, extracted memories. Like a DIY skate-vid, the film moves from moment to moment. It glides against pavement, and the trajectory is to, well, nowhere in particular. It’s about the movements in-between, and the essence of a subculture steeped by restlessness. In Mid90s, it’s evident that director Hill was chasing authenticity. As each scene slides into the other, the glossy L.A. sun permeating the vibes, Hill is felt wholly.

He doesn’t shy away from showcasing the era’s messier aspects — the crass, sometimes slur-filled language, the glorification of drugs and apathy in the guise of being cool. The good slices are there, too. See: a killer Hip Hop- and College Rock-infused soundtrack, slacker slapstick and good vibes. It’s a genuine portrayal of growing up and becoming one’s self; it just happens to also be about skating.

By the end, after a car crash that leaves Stevie in the hospital and both of his families — biological and newly-found — gathered around his bedside, we’re left meditating on the catharsis skaters understand best: Falling down and getting back up. As Fuckshit puts it: “That’s why we ride a piece of wood. Like, what that does to somebody’s spirit.” (Now playing) Grade: B+

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Disclaimer: I was born smack dab in the middle of the ’90s — 1996 — so I know decade gatekeepers may say that I can’t really understand the nostalgic hues of Jonah Hill’s Mid90s, set in L.A.; I didn’t live it. But Hill’s directorial debut transcends time and mines at a more universal feeling: The nagging aimlessness many young people face. Like slacker cult classics Clerks and Kids, Mid90s is more about navigating the feelings of growing up rather than dwelling on any particular moment or takeaway.

The film opens on 13-year-old Stevie (Sunny Suljic) being beaten up by his older brother Ian, a brooding force portrayed by Lucas Hedges. They scream and tussle, and Stevie — donning a Street Fighter T-shirt — is told to stay out of his older bro’s room and stop pilfering through his CDs. The beating is recurrent, unbeknownst to their single mom, Dabney (Katherine Waterston). Hedges portrays the character with restrained brilliance, as scenes show him slurping orange juice directly from the carton, mumbling hateful comments and sporting buzzed hair, tiny hoop earrings and a wide breadth of emotional distance.

Equally as troubling is watching Stevie self-harm. After stealing money from his mom to buy a new skateboard (encouraged

by Ian), he furiously rakes a hairbrush on his upper thigh and stomach, ravaged by guilt. In other scenes he strangles himself with a wire and punches himself until he cries in frustration.

As someone who inflicted similar pain on themselves at that age (scratching, biting and punching), the scenes were hard to view, but also cathartic — I didn’t consider those self-inflicted acts a form of self-harm until I went to college. I also appreciated the relatable portrayal. At one point, an older boy, Ray (Na-kel Smith) tells Stevie that he takes “the hardest hits of anyone I’ve ever seen; you know you don’t have to do that.”

And those words could very well act as the thesis statement of the film. Pain, emotion, restraint and the need to release underscore most scenes in Mid90s. Be it Stevie attempting a skate trick he wasn’t ready for and tumbling to the ground.

Or the way that the lovingly nicknamed ‘Fuckshit’ self-medicates with drugs and alcohol — letting his grades slip and passion for skating dwindle while claiming not to give a shit. Or how the shy ‘Fourth Grade’ escapes through the lens of his camera, capturing every kickflip, ollie, wipe-out and carve.

On one hand, it’s a story about a young, lonely boy finding friendship in a group of ragtag skaters after wandering into a skate shop, becoming fascinated by the culture and edging himself into the crew.

On another note, it’s a portrait of a broken, middle-class family trying to connect, but never quite finding ways to express

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Composing the Quiet Desperation of ‘Wildlife’ R E V I E W BY T T S T ER N - EN ZI

I have come to appreciate a particular Jeanette stays home and cuts as many brand of literary-to-film adaptation, corners as possible until she feels she has which I didn’t realize until I reached no other choice but to embark on an affair the end of Paul Dano’s new film Wildlife, with her boss (Bill Camp), an opportunistic based on Richard Ford’s 1990 novel of and paternalistic figure. the same name. It was the first screening It is fair to say that audiences will know I attended at this year’s Toronto International Film Festival; a spot that, in recent years, has gone to other signature titles like Luca Guadagnino’s luscious translation of André Aciman’s Call Me

By Your Name (from 2017) or writer-director Kenneth Lonergan’s original drama Manchester By The Sea (from 2016).

The spoken word matters and we remember the dramatic arc of key perCarey Mulligan (left) and Jake Gyllenhaal in Wildlife formances in these films, but the thing that stays PHOTO: COURTESY OF IFC FILMS with me — the haunting refrains in each instance — comes more from how the filmmakers early on where this story is headed, but composed moving frames that could be Dano’s expert execution makes the journey read like novels. a diverting (and at times disturbing) At first glance, this would seem even experience. The performances, starting more impressive in the case of Dano, a with Mulligan’s Jeanette, capture the first-time cowriter (with Zoe Kazan) and escalating desperation of people caught director who is better known as an actor — up in social and cultural boxes that are on he went toe-to-toe with Daniel Day Lewis the verge of squeezing the life out of them. in There Will Be Blood and played the Everyone is fighting and at odds with not younger version of Brian Wilson in Love only each other, but also with themselves & Mercy — until you consider the fact that and the choices they have made.

Dano has worked under the tutelage of On a deeper level, Wildlife reminds filmmakers like Paul Thomas Anderson me of Revolutionary Road, the 2008 Sam (There Will Be Blood), Spike Jonze (Where Mendes film based on a Richard Yates the Wild Things Are), Kelly Reichardt novel which featured Leonardo DiCaprio, (Meek’s Cutoff), and Steve McQueen (12 Kate Winslet and Michael Shannon.

Years a Slave). It is obvious that Dano was Shannon earned an Academy Award doing more than merely taking direction; nomination for Supporting Actor for his he was also absorbing how each filmmaker work, and the film also got nods for Art navigated the craft of storytelling.

Direction and Costume Design.

No matter how broad the scale of the I find the latter distinctions more production, a meaningful degree of telling because they speak to how visual intimacy must exist, not only between the composition is analogous to what a gifted characters onscreen, but with audiences writer can do with words. Authors generate as they seek ways to be immersed in the sensory details that place us in a time scenes. and location that might otherwise be In Wildlife, the stripped-down narrative completely unfamiliar to us, but they make shows a young boy, Joe Brinson (Ed Oxenit well known. bould), quietly observe the gradual disFilmmakers who convert narratives solution of his parent’s marriage. His father, from the page to the screen operate in Jerry (Jake Gyllenhaal), is an uncomprosimilar modes. That notion is apparent mising and principled man of meager in Wildlife as Dano provides viewers means, but his young son can still easily with textural cues that are capable of look up to and imagine emulating him. His augmenting the work of his cast. We are mother, Jeanette (Carey Mulligan), is more treated to moments of watching Jerry practical and driven. But she’s handcuffed fight wild fires of unbridled majesty and by social conventions that define the role destructive impact; this contrasts with the of women both in families and as potential empty spaces of the Brinson household, breadwinners. which lets us know this place is no home When Jerry loses his job and sees no for Jerry, Jeanette or Joe. Dano shows other option than to sign up to fight wild rather than tells us these things — as only fires, the dangerous undertaking separates a master storyteller can. (Opens Friday) him from his family for weeks at a time.

(PG-13) Grade: A

FOOD & DRINK Vegan To Go in Over-theRhine Essen Kitchen delivery and take-away creates inventive and substantial plant-based meals

BY M O R G A N Z U M B I EL

E

A chef-created specialty dish crafted using all plant-based ingredients PHOTO: B. EMMIT JONES

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

C I T Y B E AT. C O M

and the flavor threw me off. I was like ‘Wow, this doesn’t taste the same anymore.’”

Since they’re working with vegetables, that rabbit food thing is mostly right, Lopez points out. But the meals Essen is dishing out are plenty worthy of human palates.

“In some of the tasting events we’ve had so far, people are surprised that it’s all 100 percent plant-based,” Bittner says. “They’re completely pleasantly surprised that food can be that satisfying and that interesting without lots of butter.”

While the team at Essen skews vegan, that doesn’t mean that they’ll require the same of their customers. Dietary snobbery has no home at Essen, so don’t worry.

According to López, the point of Essen Kitchen is to get veggies back on the menu in a substantial way. “It’s not to turn the meat lovers into vegans or vegetarians completely,” he says. “It’s just to remind them of what they’re missing.”

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face when you eat it.”

Staples like beans, greens and grains (quinoa is a favorite here) will be utilized year-round, but customers can expect weekly specials and exciting changes with the turning of the seasons. Fall and winter menus feature pumpkins, squash and dark, leafy greens like kale, while fruits and veggies like strawberries and ramps can be expected during the spring and summer.

Some items come á la carte, but the intention is that customers will order carefully composed meals consisting of items that are meant to be paired together.

Lunch boxes, which run about $15, include a main dish and two sides. Currently, they are only available for pick-up, but soon you can have Essen delivered to your door through delivery services like DoorDash and Uber Eats.

The chef himself admits that while he isn’t 100-percent vegan, his diet has begun to change after crafting Essen’s menu.

“Lately I’ve been seeking out more (plantbased foods). I’ve been stepping away from everything else,” he says. “I just realized a couple weeks ago that I don’t like beef anymore. I made myself a great steak with all the seasonings and I took two bites of it

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ssen Kitchen is no ordinary take-away. The new take-out and delivery kitchen, which opened this week in Over-the-Rhine, aims to bring a new kind of menu to the Cincinnati restaurant scene.

Sure, Essen serves up soups, salads and sandwiches like any other respectable establishment. But there aren’t any chicken Caesars or ham and swiss sammies to be found here. In fact, this kitchen doesn’t stock any meat, dairy or eggs at all: The entire menu is plant-based.

Essen The brainchild of motherKitchen daughter team Lida Bilokur and 1 Findlay St., Patricia Bittner, Essen began Over-the-Rhine, with the goal of making plant513-802-5013, based (aka vegan) meals more essenkitchen.com. fun, accessible and affordable. mango tapenade Hours: 11 a.m.-2 p.m.

“I’m never really satisfied with and cauliflowerMonday-Friday. what I get at restaurants,” says fennel purée. He Bittner, who keeps her diet as also employs plant-based as possible. “For the technique of the most part, the vegetables are spherification, a uninventive, uninteresting and process that turns they’re not even fully developed. sauces and oils They could be way more into teeny-tiny interesting. And that was the requirement little spheres that look just like caviar. that we had of our chef — that they would Considering the fanciful presentation just be interesting.” usually associated with fine dining, it’s Enter chef Yasel López, a graduate of easy to forget that this stuff is made for the University of Havana with a degree in delivery. food science and a résumé that lists stints “We wanted the food to be inventive and in restaurants from Cuba to Lexington, Ky. a little bit of a surprise,” Bittner says.

When it came time to create the menu for “Groundbreaking,” López adds. “That’s Essen, he got creative and made something the word I like to use.” that would appeal to not only vegans but Essen’s menu will change seasonally also vegetarians and omnivores alike. as fresh ingredients are sourced from “People feel skeptical about the ‘vegan’ the same small, local farms that supply word, you know? They go, ‘Oh, that’s just produce to some of Cincinnati’s top rabbit food. That’s just a bunch of salads,’” restaurants. he says.

“We’re working with what nature gave López plays with color and texture just us,” López says. “The farmers take care of as much as he experiments with flavor. At the food, right? So we as chefs should be tasting events this summer, he dressed thankful to them, first of all, and take care up dishes with a hot sauce foam frothed of the food as well. It’s a process of love and up with the aid of CO2, spicy-sweet care, so you guys got that smile on your

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Coffee Festival Returns with More Buzz

BY L AU R A L E AV I T T

This weekend (Nov. 9-11), Music Hall will more about this.’ The vendors can educate be energized with the excitement — and you to the level that you want to learn,” caffeine — of the second annual CincinCogen says. nati Coffee Festival. The historic, renovated One of the biggest reasons to visit the venue will host a gaggle of vendors and festival is to sample the different kinds of artisanal coffee aficionados, ready to share coffee, from a variety of beans and roasts to samples of their coffee and more. trendier drinks like cold brew and nitrogen Now is a special time in the history of coffee. coffee; the popularization of coffee as a “It’s a welcoming, all-encompassing product has been described in terms of event: we have people come to the festival “waves” — the first wave was when coffee who don’t like coffee,” Cogen says. “We will became a drink for the masses, creating a have baked goods, tea (and) chocolate.” coffeehouse culture in the 1800s. The secThe Cincinnati Coffee Festival is more ond wave of coffee happened in the 1970s, than a destination for coffee lovers; it when specialty coffees gained popularity. began last year as a fundraiser for the Ohio The third wave of coffee, which began in the early 2000s and continues now, has yielded an increased focus on the bean: how it is grown and roasted, and how the beans are blended to create unique flavor profiles that really blossom in an extremely fresh, hand-prepared cup of coffee.

The Cincinnati Coffee Festival — the largest such gathering in the Midwest — allows visitors to delve deeper into (or experience for the first time) thirdThe 2017 Cincinnati Coffee Festival wave artisan and specialty coffees. The weekend will PHOTO: PROVIDED consist of educational workshops, vendors looking to share samples of many kinds of River Foundation, a nonprofit that works coffee-related products and live music to to educate people living near the Ohio maintain the “coffee shop” atmosphere.

River about how to appreciate and protect New this year is The Art of Coffee, a cofthe delicate ecosystems that maintain our fee-focused art exhibit featuring art from water supply. local students and professional artists “You can’t have great coffee without great that plays off the idea of last year’s super water,” Cogen says. “Many people don’t successful Latte Art Throwdown. That know just how much good water impacts throwdown will be held again this year us. The Ohio River influences our entire (10:30 a.m. Saturday) and feature baristas watershed.” competing to create the most beautiful Their educational efforts reach thoudesigns on the top of the foamed milk that sands of children and adults each year, and characterizes the beverage. An additional the money raised by the coffee festival interactive latte-art option will be Latte allows them to reach more people while Art in Action (3 p.m. Saturday), a chance to also organizing and promoting conservalearn how to make those designs yourself. tion of local species in the river basin.

The festival has also added a Friday Tickets to the fest are available at a Trade Day before the public festival on variety of levels, from regular admisSaturday and Sunday to cater to industry sion through VIP and VIP Gold. Some of professionals who are interested in speakthe perks of the VIP passes include early ing with vendors. admission and fast track entry, which can “We’re going to have workshops and both be helpful when the festival gets busy. demos specifically for people in the trade: There are also volunteer opportunities people who own coffee shops or who want available, accessible on the website. Tickto get into the coffee shop business, even ets are expected to go quickly, especially people who want to get into the trade,” says the limited VIP and VIP Gold levels.

Judi Cogen, the festival event director.

The Cincinnati Coffee Festival runs 10 The rest of the weekend is for people who a.m.-5 p.m. Saturday and 11 a.m.-4 p.m. appreciate coffee on a variety of levels, and Sunday. Tickets start at $12.50 (advance) anyone can participate, with or without and $15 (door) for general admission and much research into the coffee world. go up to $40 for VIP Gold. Get more info “We’ve got everyone coming, from ‘just and tickets at cincinnaticoffeefestival.com. pour me a cup of coffee’ to ‘let me learn

CLASSES & EVENTS WEDNESDAY 07

Cincinnati Pizza Week — CityBeat’s Cincinnati Pizza Week takes over area pizzerias for seven days of $8 specialty pies. Participants — like Goodfellas, ALTO, Dewey’s, Brick Oven Loveland and many more — will be offering sit-down specials; grab an official Pizza Week Passport and get a stamp at each location you visit. Through Nov. 11. $8 pizzas. More info at cincinnatipizzaweek.com.

THURSDAY 08

Butchery Basics with Tablespoon Cooking Co. — Break down a chicken into quarter, spatchcock and eight pieces, and learn how to work with a reputable butcher to purchase highquality chicken. Also learn how to safely handle raw chicken, carve a roasted chicken, turn bones into stock and find different ways to cook different parts of the bird. 6-9 p.m. $75. Tablespoon Cooking Co., 1719 Elm St., Over-the-Rhine, tablespooncookingco.com.

FRIDAY 09

Jungle Jim’s International Wine Festival — The 11thannual Jungle Jim’s International Wine Festival brings more than 400 wines from 90 wineries to the store’s Oscar Event Center. 7-10 p.m. Friday and Saturday.

Daily ticket prices: $69.23 Grand Tasting; $133.13 Connoisseur tickets; $79.88 Connoisseur non-drinker; $26.63 non-drinker. Oscar Event Center at Jungle Jim’s, 5440 Dixie Highway, Fairfield, junglejims.com.

Harvest Pig Roast Dinner — Enjoy a German-style pig roast dinner and paired beers with live music provided by The Polka Warriors Band. 7-10 p.m. $24 adult; $12 child. Mecklenburg Gardens, 302 E. University Ave., Corryville, facebook.com/ mecklenburg.gardens.

SATURDAY 10

mix and stuff several types of sausage. Tickets includes an Avril-Bleh T-shirt, a bratwurst lunch and 15 or 17 pounds of freshly-made sausage to take home. 10 a.m.-2 p.m. $125. Avril-Bleh Meat Market, 33 E. Court St., Downtown, facebook.com/ avrilbleh.

MONDAY 12

Cincinnati Coffee Festival — The second-annual Cincinnati Coffee Festival at Music Hall features coffee tastings, samples, demos, latte art competitions and live music. Find world-class roasters, local coffee shops, professional baristas and craft food creators so you can learn about, sample and buy coffee. 10 a.m.-5 p.m.

Saturday; 11 a.m.-4 p.m.

Sunday. $12.50 per day general admission; $20 VIP (includes early admission and fast-track entry). Music Hall, 1241 Elm St., Over-theRhine, cincinnaticoffeefestival.com.

Northside Yacht Club Ramen Mondays — The bar is bringing back ramen Mondays featuring chef Hideki Harada’s greatest hits. The chef will prepare shio ramen (roasted pork in chicken broth, Napa cabbage, green onion, tea-marinated egg) and kimchi veggie ramen (miso broth, housemade kimchi, green onion, tea-marinated egg). Bonus: He will also be serving curry donuts. 4 p.m.

Mondays. $11 per ramen.

Northside Yacht Club, 4227 Spring Grove Ave., Northside, facebook.com/ northsideyachtclub.

Dining in the Dark at Madison Event Center — This event, hosted by the Cincinnati Association for the Blind and Visually Impaired, asks diners to don a blindfold at dinner to experience the challenges faced by those with vision loss. 6-10 p.m. $150; $25 after-party. The Madison Event Center, 700 Madison Ave., Covington, donate.cincyblind.org.

TUESDAY 13

SUNDAY 11

George Remus Birthday Bash — Celebrate Cincinnati bootlegger George Remus with Remus-brand bourbon cocktails, Fifty West’s Ghost of Imogene beer on tap and a Remusthemed dinner. 6-9 p.m.

Incline Public House, 2601 W. Eighth St., Price Hill, facebook.com/ inclinepublichouse.

C I T Y B E AT. C O M

Avril-Bleh Sausage Making Class — Avril-Bleh butchers host this popular class about making your own meat. Learn how to grind,

Pierogi and Paczki Class with Babushka Pierogies — Babushka Pierogies leads this class on how to make pierogies and paczki. Bring a rolling pin and a container to bring food home. 6-8 p.m. $65. Findlay Kitchen, 1719 Elm St., Over-the-Rhine, findlaykitchen.org.

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Urban Earth Farms Harvest Pancake Brunch at Imago — The secondannual harvest brunch from Urban Earth Farms helps raise funds to keep the farm and operation running.

Urban Earth is a project and program of Enright Ridge Urban Ecovillage that provides shares of vegetables through a Community Supported Agriculture program.

10 a.m.-2 p.m. $10; $5 child.

Imago, 700 Enright Ave., Price Hill, facebook.com/ enrightcsa.

Pie & Beer Pairing with OCD Cakes at Braxton Brewing Co. — Local OCD Cakes will be bringing handmade pies to Braxton for a paired flight of craft pies and craft beer. Tickets include a welcome beer and four food and drink pairings.

6-9 p.m. $30. Braxton Brewing Co., 27 W. Seventh St., Covington, facebook.com/ braxtonbrewingcompany.

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The Brewer’s Table at Moerlein Lager House — This dinner’s theme is “Who needs turkey when you have beef jerky?” Brewers and chefs partner together for this Brewer’s Table dinner featuring a flight of Moerlein beers with chef-created food focused on jerky. The dinner is limited to 24 people.

7 p.m. $16. Moerlein Lager House, 115 Joe Nuxhall Way, Downtown, facebook.com/ moerleinlagerhouse.

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

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PERFORMANCES BY AMPLINE, KNOTTS, LUNG, OVER THE RHINE, PHYSCO, TRIIIBE & A SPECIAL GUEST PERFORMANCE

C I T Y B E AT. C O M

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SUNDAY, NOVEMBER 25TH MEMORIAL HALL

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TICKETS AVAIL ABLE AT WWW.CINCINNATIENTERTAINMENTAWARDS.COM

MUSIC

Come On Up for the Rising Cincinnati’s Harpeth Rising blends disparate genres and experiences to create a uniquely compelling Chamber Folk presentation

BY B R I A N B A K ER

F

(L to R): Harpeth Rising’s Michelle Younger, Jordana Greenberg and Maria Di Meglio P H O T O : D A N I E L M O T TA

and performing creativity.

“We were surprised at how well it came together, but when you look deeper into it, you realize that all of this music stems from Folk traditions of other cultures,” Greenberg says. “Our American tradition of Folk music is actually an amalgamation of the music of hundreds of other cultures, and we think of that as having its own natural sound, so there’s no reason that something that’s a different part of the spectrum of those cultures wouldn’t also sound natural, and we hope that it does.”

Greenberg notes that Shifted was written over a greater expanse of time, as opposed to Against All Tides, which came together relatively quickly. The major difference between the two is the addition of guitar to Harpeth Rising’s instrumental array, thanks to Younger’s skills.

“I never felt that not having a guitar necessarily defined our sound, and I don’t think that having one makes us not sound like ourselves,” Greenberg says with a laugh. “We like to experiment with percussive sounds, and I think we did that a little more on this album, using the wood of our instruments and our hands. We have a bass drum that use with a drum pad, and tambourine and cowbell that we take on the road. I like having a percussive groove.

It’s just important for us to find new ways to incorporate that while retaining the natural sound of the string instruments.”

Harpeth Rising performs at 8 p.m.

Thursday (Nov. 8) at Over-the-Rhine’s Memorial Hall with Secret Sisters. Tickets/ more info: memorialhallotr.com.

C I T Y B E AT. C O M

Charlottesville, Va. All three were classically trained in some of the country’s most prestigious music programs, and they all found a passion for singing after their studies. But Greenberg notes that it’s the diversity within Harpeth Rising that most clearly defines the group’s unique sound.

“Our sound is the result of the differences in our backgrounds,” she says. “When I first started playing with Maria, I loved her sense of rhythm with the cello. She had a lot of bass-player sensibility and syncopation, and the syncopation particularly is built in because her family has Balkan and Serbian traditions, and there’s just a strong rhythmic element to a lot of the music from those cultures.

“I grew up in Canada and a lot of the music I grew up with, besides Classical, which was a strong part of my childhood, were the traditional Canadian songwriters — Leonard Cohen, Neil Young and Stan Rogers, one of my personal heroes. So I’ve always been obsessed with the written word and lyricism. And Michelle is really steeped in traditional, old-time banjo playing, which is a genre that sprung out of a variety of other genres, but it adds that Appalachian feel to everything.

“There are more influences than that, but if you add Classical to that mix, you have singer/songwriter-meets-EasternEuropean-meets-Appalchia-meetsClassical, and those are our major categorical influences.”

The band itself was amazed at the sonic intersection of their educational, cultural and musical diversity, but ultimately those differences fueled the trio’s songwriting

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band,” says Greenberg, who now lives in Price Hill. “So we didn’t end up staying in Nashville, but we always liked the word ‘Harpeth.’ It sounds kind of mystical; some people think it sounds a little Olde English or Celtic, but we don’t necessarily mean for that to be the impression.”

After a few personnel shifts and the recording of 2015’s Shifted, Greenberg and Di Meglio sent out the word that they were seeking someone with, as Liam Neeson would describe, “a very particular set of skills.” They were introduced to Younger, a masterful banjo player and also a direct descendent of Cole Younger, the notorious compatriot of Jesse James, which launched the latest version of Harpeth Rising; last year’s Against All Tides was Younger’s studio debut with the band.

“We put out the call for someone who didn’t have to be classically trained but was comfortable using Classical language to talk about non-Classical music,” Greenberg says. “What we do has strong roots in the oral tradition and improvisation, but our language is all very Classical and nerdy, and we wanted a bandmate who shares that. So we sent some e-mails to guitar teachers at some music schools around the country and Stephen Aron at Oberlin (College & Conservatory) responded, ‘Unbelievably, I think I have the perfect person for this position.’ ” The band’s three members come from very diverse backgrounds. Greenberg was born in Canada and then subsequently raised in Indiana, Di Meglio is a native New Yorker and Younger hails from

N O V. 7 - 1 3 , 2 0 18

rom the very beginning, music has evolved by virtue of creative people taking interesting chances and making unexpected choices. In the modern age, musicians routinely use the chocolatein-my-peanut-butter paradigm to push their lyrical/instrumental/compositional boundaries and arrive at new and exciting answers to endless self-posed questions.

In that context, violinist/lyricist Jordana Greenberg and her Harpeth Rising comrades, cellist Maria Di Meglio and banjoist Michelle Younger, are following time-tested methods for crafting new sounds based on their musical training and diverse influences, particularly on their latest album, last year’s Against All Tides. In Harpeth Rising’s case, there are fairly straight lines that connect British and American Folk traditions and Appalachian Bluegrass, including their gorgeous three-part harmonies, but the trio’s wild card is the Classical training that underpins their sound.

“All three of us have Classical music backgrounds and were connected by the Classical music world even though we were in very different parts of the world,” says Greenberg, a Cincinnati resident who works with local youth orchestra MYCincinnati.

Greenberg and Di Meglio met in Bloomington, Ind. when Greenberg returned to visit family after graduate school in Boston and a walkabout that included time in Hawaii. Di Meglio was finishing her master’s degree from Indiana University, also Greenberg’s alma mater, and mutual friends arranged a meeting, which sparked a serious musical connection. They played as a duo for a time before relocating to Nashville in 2010, where they officially became Harpeth Rising (named after a nearby river), adding additional members and recording a trio of albums.

“I think we were young enough at the time that we just expected that where we landed was where we would stay permanently, not understanding that it would take a lot of different moves to find the right place for us personally and as a

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SPILL IT

Sylmar Returns with Two New Songs

BY M I K E B R EEN

BY M I K E B R EE N

Earning Posthumously

Forbes recently released its list of “Highest-Paid Dead Celebrities” of the year and, unsurprisingly, a pair of musical icons — Michael Jackson and Elvis Presley — again have the No. 1 and 2 spots, respectively. Jackson took the top spot easily — his estate made $400 million in 2018, while runner-up Presley pulled in just $40 million. Bob Marley came in at No. 5 (his estate has stepped up merchandising to include marijuana strains and paraphernalia), Prince (whose posthumous record sales have been huge) came in at No. 9 and John Lennon rounded out the Top 10. Rapper XXXTentacion, who was murdered in June at age 20, came in at No. 11, making $11 million after racking up 4 billion streams following the news of his death.

GNR and RiRi Requests

Rihanna and Axl Rose are the latest expressing dismay over Donald Trump’s use of their music at campaign rallies. On Nov. 4, Rose announced on Twitter that he had formally requested Guns ’N’ Roses’ music no longer be used and noted the loophole used to get around using the music without authorization — “blanket performance licenses” purchased by venues, usually so they can do things like play AC/DC songs during hockey games. Rihanna also chimed in after being alerted that her “Don’t Stop the Music” was being played as free Trump T-shirts were being thrown into the crowd. “Me nor my people would ever be at or around one of those tragic rallies,” she wrote on Twitter.

Why People Love Death

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TICKE TS AVAIL ABLE AT THE SOUTHGATE HOUSE LOUNGE OR TICKE TFLY.COM 11/7 - AUSTIN LUCAS, QUEEN CITY SILVER STARS W/ THE MITCHELLS, JOSH EAGLE

11/8 - KARAOKE NIGHT!, FRONTIER FOLK NEBRASKA, ERICA BLINN

11/9 - IRONFEST IX NIGHT ONE 11/10 - IRONFEST IX NIGHT TWO

|

11/11 - CARSON MCHONE, JEREMY PINELL 11/13 - BAD BAD HATS, PARTY NAILS

WWW.SOUTHGATEHOUSE.COM

C I T Y B E AT. C O M

Psychologist William Forde Thompson recently published the results of his latest study on why people are drawn to Death Metal.

For the study, Thompson played music by bands like Cannibal Corpse to fans and non-fans, then recorded their reactions. The results were unsurprising — as Thompson told Scientific American, the fans aren’t “angry people with violent tendencies,” and listening to music they like, even if it is classified as “extreme” or “violent,” gives them positive feelings.

Thompson says he is trying to understand the “paradox of enjoying a negative emotion,” and chose Death Metal to explore the attraction to “violent” music.

His studies so far suggest that fans find the music cathartic and are attracted to the non-conformist, outsider aspect of it.

1345 MAIN ST MOTRPUB.COM

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In a relatively short time span, dynamic Cincinnati quintet Sylmar (which formed in 2016) grew into one of the more promising and, increasingly, popular original Indie Rock bands in the city. After a steady diet of regional touring and regular local shows, Sylmar’s ever-growing following helped the group nearly sell out the 600-capacity Woodward Sylmar Theater a few months back.

The band returns to test PHOTO: PROVIDED local venue capacities Saturday (Nov. 10) as Sylmar plays the recently revived Top Cats (2820 Pines open the show.

Vine St., Corryville, topcatscincy.com).

Sylmar’s new single will be available This time, the five-piece is celebrating digitally beginning Nov. 10. Visit the release of a “double single,” featuring thesylmarband.com for more info. two brand new tracks — “Bipolar Ball” and Ironfest Stays Massive “College Try.” It’s the first new music from The two-day Ironfest music event returns the band since last year’s self-titled debut this weekend for its ninth year at Southgate album, and it marks the beginning of a House Revival (111 E. Sixth St., Newport, spate of forthcoming recording projects, southgatehouse.com). The event, which including a vinyl EP next year and a sophotakes place Friday and Saturday (Nov. 9 more full-length that isn’t due until 2020. and 10) on all three of the venue’s stages, On the new track “Bipolar Ball,” Sylmar has become one of the most anticipated beautifully showcases the supple charm concerts of the year for many area music of their music, which is artfully composed lovers and is always stockpiled with tons of and arranged, rising and falling with a lowGreater Cincinnati’s best musical acts, as key but effectively emotive sense of drama well as touring and regional bands. This and soulfulness that is often mesmerizing. year’s Ironfest again features more than 50 Beginning with a sparse, rhythmic guitar performers over two nights. riff and the alluring vocals of Brian Founder/organizer John Gerhardt McCullough (whose versatile voice is created Ironfest to honor the memory of wonderfully reflective of Sylmar’s musical his friend, the late “Iron” Mike Davidson, elasticity), the song layers guitars and keys a fellow musician and huge music fan. over a pulsating groove as the tones and CityBeat spoke with Gerhardt in 2016 about hues shift with both a spellbinding fluidity how the event was actually Davidson’s idea, and a creative vacillation that makes sparked one night over drinks.

Sylmar so distinct.

“We were both talking about funerals and The structuring makes Sylmar’s sound dissertations and wakes and we both were a kind of anti-Pop, as they reinterpret like, ‘Dude, if anything were to happen, the standard, go-to “verse, chorus, don’t worry about going to the funeral verse” songwriting concept. But that or the layout, just throw a big party,’” doesn’t mean it’s “anti-catchy.” The more Gerhardt said. impulsive, non-cookie-cutter approach Local acts playing Ironfest IX Friday makes Sylmar’s music a more cerebral night include Smoke Signals…, Veronica experience than a lot of Modern Rock. As Grim & The Heavy Hearts, Tommy Grit & shown on the narcotic, dreamlike “College The Pricks, The Nothing, Lockjaw, Knife Try,” the musicians (and guest vocalist The Symphony, Mollusk, Blacklight Michaela Miller) collectively paint the Barbarian, Old City, Calumet and canvas in pursuit of eliciting an emotional newcomers Blessed Black. On Saturday, response from the listener, rather than catch hometown artists like Tiger Sex, 500 simply pushing baseline mental buttons Miles to Memphis, Smokehealer, Heavy via the repetition of hooks. The way it Hinges, Smoke Parade, Go Go Buffalo, builds and resolves is almost cinematic in The Perfect Children, Casino Warrior, nature and a great example of the group’s The Dopamines, Wonky Tonk, Valley of unique grasp of how to use textures the Sun and the new band Still Witches. and, perhaps mostly importantly, space Tickets are $5 per night in advance via to reach deeper into the listener’s head. ticketweb.com or $10 each night at the When you listen to Sylmar songs, you feel door. Visit facebook.com/ironfest3 for full them breathing, twitching, living. lineups and more info.

Doors for Saturday’s Top Cats show open at 8 p.m. and admission is $10. Local Contact Mike Breen: mbreen@citybeat.com groups Spooky Dreamland and In the

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The Secret Sisters PHOTO: PROVIDED

MUSIC EDITOR MIKE BREEN KNOWS MUSIC.

BE LIKE BREEN.

The Secret Sisters with Harpeth Rising Thursday • Memorial Hall

READ CITYBEAT.COM/MUSIC EVERYDAY.

C I T Y B E AT. C O M

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WE’RE HUNGRY!

42

SEND RESTAURANT TIPS, NEWS AND PRESS RELEASES TO EATS@CITYBEAT.COM

It was 2012 when I realized The Secret Sisters and I were kindred spirits. Their track “Tomorrow Will Be Kinder” floated from the Hunger Games soundtrack and settled into my life with necessity — it was everything I needed to hear.

From my first listen, I knew that someday it would be the song I’d Dawes use to say goodbye to my Mamaw, one of my best friends. Mamaw, PHOTO: honestly, lived a pretty charmed adult life until my grandfather died in 1990. It shattered her (and most of my family). Nothing was the same for her and each day was filled with an ache to return to his side. In early 2015, I’d spend one long night sitting by her hospice bed, singing all her favorite songs as she slowly drifted away.

There were plenty of Gospel tracks, plus the likes of Bing Crosby, Rosemary Clooney and The Andrews Sisters. But The Secret Sisters continued to find their way back into the loop. I knew she’d love their harmonies and their vintage tone, and I knew that (for her anyway) tomorrow would be kinder. For a short time afterward, it hurt to listen to any of those songs. The harmonies made me miss my best friend. But it was those harmonies that drew me back in.

As it turned out, tomorrow wasn’t particularly kind to The Secret Sisters, Laura and Lydia Rogers. Despite the bump in clout thanks to Hunger Games, the duo’s sophomore release, Put Your Needle Down, didn’t fare as well as their label had hoped. They soon found themselves dropped and in the midst of a lawsuit with

MAGDALENA WOSINSK A

an ex-manager.

Still, their troubles didn’t last long. By late 2015, they found themselves invited to hit the road with Brandi Carlile. It’s that tour collaboration that led to her offer to produce their next album. With no label and light wallets, The Secret Sisters turned to the internet for help and crowd-funded the album, You Don’t Own Me Anymore, which was released in 2017 and soared past Needle’s sales numbers. Most significantly, though, it found The Secret Sisters garnering some of the love they’ve long deserved by way of a Grammy Nomination for Best Folk Album.

Things still seem to be trending upward for the duo. Most recently, the Sisters were handpicked by John Prine to sing backup vocals on the legend’s “Spotify Singles” session. Earlier this fall, they performed at historic venue The Ryman in Nashville.

Now, The Secret Sisters are also touring the country, taking turns opening for Ray LaMontagne and headlining their own shows.

Come sing along. I’ll be there… crying.

(Deirdre Kaye)

JBM PROMOTIONS presents 20TH CENTURY THEATER

3021 Madison Rd. • Cincinnati, OH 45209

Casper Skulls with State Champion, Smut and The Virginia Creepers Sunday • Northside Yacht Club

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November 15th

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

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Dawes likes to stay busy. The Los Angelesbased band’s latest, Passwords, is its sixth full-length album in less than a decade, somewhat of a rarity in today’s age of elongated release and tour cycles. It seems frontman Taylor Goldsmith can’t help but get his detailed, often wistful lyrical musings out there for all to witness. Pair that with a tuneful, Folk-fortified Rock & Roll backdrop reminiscent of the heyday of L.A.’s Laurel Canyon music scene and comparisons to Jackson Browne and Crosby, Stills & Nash and the like are inevitable.

The new record — which, like its 2016 predecessor, We’re All Gonna Die, incorporates keyboards in a more robust way — also signals a shift in Goldsmith’s already intimate tales of love and longing.

“Before the new songs, I had never used words like ‘never’ or ‘forever’ in a lyric,” he said in a recent interview with The New York Times. “Now, I’m willing to stand behind those words because I have a commitment to decency that I’ve never felt before. For five albums, I would create an image of someone that wasn’t true to who they were. I’d be in love with an idea. It’s not an uncommon problem.”

Goldsmith’s evolution seems to have been spurred by his engagement to actress/ singer Mandy Moore, a development evident throughout Passwords in ways both obvious and subtle. Curiously, now that his personal life is seemingly content, Goldsmith seems to be focusing his sights more fully on the world around him.

Exhibit A is the opening track, “Living in the Future,” an epic of sorts that melds Neil Young-esque guitar riffage with surging keyboards and lyrics about the paranoia induced by modern technology. Goldsmith admits that the future is fraught, but at least he has true love on his side. (Jason Gargano)

It’s a shame Casper Skulls couldn’t have floated through town just a couple weeks earlier — sometime closer to Halloween. On an aesthetic level, they’re perfectly attuned to the holiday’s cozier cues: the Toronto quartet shares its first name with pop culture’s friendliest phantom, and the cover of the band’s latest LP, Mercy Works, features folksy sketches of a bat and a contorted body that wouldn’t feel out of place on the pages of a Scary Stories to Tell in the Dark collection.

In terms of ethos, they also have much in common with All Hallows’ Eve, assuming the role of a one-band costume party when they hit the studio. Spin the first few tracks of Mercy Works and you’ll get it. The record serves as a tribute to all things noisy and ’90s, serving up a couple poppy takes on the droning Art Rock soundscapes perfected by Sonic Youth and Pixies, flawlessly capturing Pavement’s sardonic swagger on “What’s That Good For” and even capitalizing on the opportunity to incorporate elements of early Emo on the oddly-titled “I Stared At ‘Moses and the Burning Bush.’ ” The band dons many masks, but that’s not to say they’re merely masters of disguise. Casper Skulls are still quite recognizable behind their layers of fuzz and reverb, crafting scrappy lo-fi Pop that fits neatly into the same zeitgeist that houses Frankie Cosmos and Alex G. They’re for the Indie kids and the parents of those kids, eager to recapture the days of bumping Dinosaur Jr. CDs in the station wagon.

They’re here for the ghosts, too. Not to be downer, but we’ll warn you ahead of time: Casper Skulls will make you revel in nostalgic warmth while simultaneously forcing you to reflect on your own mortality. The 2016 EP Lips and Skull is a marriage of the mundane and the morbid, pairing quips about an undying devotion to the Toronto Blue Jays and their Starbucks order (“Grande. Blonde.”) with stark reminders that it takes even more conviction to stand up against corrupt hierarchies. There’s also a song about running errands for a dead person. Heavy stuff.

Halloween may have passed, but Casper Skulls deliver enough wintry malaise to last you through Christmas. Embrace the cold. (Jude Noel)

AN EVENING WITH TOM RUSH

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

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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 07

H

20TH CENTURY THEATER–James McMurtry with Bonnie Whitmore. 8 p.m.

Folk/Rock. $22, $25 day of show.

BOGART’S–PRETTYMUCH with Gunnar Gehl.

7:30 p.m. Pop. $25.

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

HILTON NETHERLAND PALM COURT–Patsy Myer Trio. 6 p.m. Jazz. Free.

THE MAD FROG–Way Back Wednesdays with DJ BlazeWright. 9 p.m. ’70s-’90s/DJ. Free.

MERITAGE–Sonny Moorman. 7 p.m. Blues. Free.

H

SOUTHGATE HOUSE REVIVAL (LOUNGE)– Queen City Silver Stars with The Mitchells and Josh Eagle. 9 p.m. Reggae/Roots/ Indie/Various. Free.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–Austin Lucas. 8 p.m. Country/Folk. $12, $15 day of show.

STANLEY’S PUB–Nerak Roth Patterson. 9 p.m. Blues Rock. Cover.

H

TAFT THEATRE–Deafheaven and DIIV with Chastity. 8 p.m. Rock/Metal/ Indie/Various. $20, $25 day of show (in the Ballroom).

HILTON NETHERLAND PALM COURT–Pat Kelley Trio. 6 p.m. Jazz. Free.

H

LUDLOW GARAGE– The Alarm with The Tigerlilies. 8:30 p.m. AltRock. $15-$35.

THE MAD FROG–EDM Thursdays. 9 p.m. DJ/Electronic/Dance. Cover.

H

MADISON THEATER– The Dead South with The Hooten Hallers and Sean Geil. 8 p.m. Americana. $20, $23 day of show.

MCCAULY’S PUB–K.J. Summerville. 7 p.m. Acoustic. Free.

H

MEMORIAL HALL– Secret Sisters and Harpeth Rising. 8 p.m. Folk/ Chamber Folk/Americana. $30-$45.

MOTR PUB–Madeline Kenney with Blossom Hall.

10 p.m. Indie/Alt/Rock/Pop. Free.

SCHWARTZ’S POINT JAZZ & ACOUSTIC CLUB–Mandy Gaines with Jordan Pollard.

8 p.m. Jazz. Cover.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–Frontier Folk Nebraska with Erica Blinn. 9 p.m. Rock. $10.

STANLEY’S PUB–Georgia Rae. 9 p.m. Americana. Free.

TOP CATS–Country Night.

8 p.m. Country. $5.

TAFT THEATRE–Rumours of Fleetwood Mac. 7:30 p.m. Fleetwood Mac tribute. $29-$45.

THURSDAY 08

FRIDAY 09

ARNOLD’S BAR AND GRILL–River City Roustabout. 9 p.m. Folk. Free.

H

BLIND LEMON–Warren Ulgh. 9 p.m. Acoustic. Free.

BLUE NOTE HARRISON–Devildriver. 6:30 p.m. Rock. $20, $25 day of show.

BOGART’S–Lary Over. 8 p.m. Rap. $18.

BOGART’S–The Bronson Arroyo Band. 8 p.m. Rock. $10.

H

THE GREENWICH–Just Friends Friday with Kathy Wade featuring Randy

THE GREENWICH– Phil DeGreg & Brasilia.

8:30 p.m. Jazz. $5.

HILTON NETHERLAND PALM COURT–John Zappa Quartet. 9 p.m. Jazz. Free.

JAG’S STEAK AND SEAFOOD–2-4 Flinching. 9 p.m.

Rock/Pop/Dance. Cover.

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

KNOTTY PINE–Flatline. 10 p.m. Rock. Cover.

L’BURG DRINKS & MORE– Pandora Effect. 9:30 p.m.

Rock

H

LUDLOW GARAGE– John Medeski’s Mad Skillet. 8:30 p.m. Jazz/Blues/ Rock/R&B. $20-$45.

H

MOTR PUB–Wesley Bright & The Honeytones. 10 p.m. Soul/Funk.

Free.

NORTHSIDE TAVERN– Jamwave and The Midwestern. 8 p.m. Reggae/Rock.

Free.

H

NORTHSIDE YACHT CLUB–The Amprays (release party) with Leopard Print Taser and Static Falls.

9 p.m. Indie Rock/Pop. $7.

OCTAVE–Discogiving with Captain Midnight and Subterranean. 8:30 p.m. Rock/ Jam/Various. $10.

STANLEY’S PUB–The Dreadful Wind & Rain and Airshow. 10 p.m. Bluegrass/ Jam. Cover.

PLAIN FOLK CAFE–Kevin Fox. 7:30 p.m. Acoustic

H H

RICK’S TAVERN–Elementree Livity Project. 10 p.m.

Reggae. Cover.

H

RIVERFRONT LIVE– Corey Smith with The Davisson Brothers Band.

8:30 p.m. Country. $20, $25 day of show.

SCHWARTZ’S POINT JAZZ & ACOUSTIC CLUB–Phil DeGreg Trio. 8:30 p.m. Jazz.

Cover.

SILVERTON CAFE–The Remains. 9 p.m. Rock. Free.

H

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–Ironfest IX with Smoke Signals…, Veronica Grim & The Heavy Hearts, Tommy Grit & The Pricks, The Nothing, Lockjaw, Knife The Symphony, Mollusk, Casteless, Blacklight Barbarian, Old City, Draculas, Calumet, Blessed Black and more. 6:30 p.m. Rock/Various. $5, $10 day of show.

TAFT THEATRE–Kansas. 8 p.m. Progressive Rock. $39.50-$125.

TOP CATS–The Birthday Massacre. 7 p.m.

AltRock. $20.

URBAN ARTIFACT–Blues, Brews & BBQ Mill Creek Alliance Fundraiser with Chuck Brisbin & Cold Tuna. 6:30 p.m. Blues. $50, $60 day of show.

WASHINGTON PLATFORM SALOON & RESTAURANT–The Swinging Axes.

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

SATURDAY 10

ARNOLD’S BAR AND GRILL–The Folkin’ Grassholes. 9 p.m. Bluegrass.

Free.

BLIND LEMON–Sal & Joya.

9 p.m. Acoustic. Free.

H

BOGART’S–Thrice with The Bronx and Teenage Wrist. 8 p.m. Rock. $23.50.

BROMWELL’S HÄRTH

LOUNGE–Rusty Burge with The Steve Schmidt Trio. 9 p.m. Jazz. Free.

CAFFÈ VIVACE–The Limehouse Ramblers. 8:30 p.m. Jazz.

H H

CHRIST CHURCH CATHEDRAL–Ellery. 7 p.m. Folk Pop

COMMON ROOTS– The Tillers. 8 p.m. Folk.

Cover.

DEPOT BARBECUE–Forest Hills Bluegrass Band. 7 p.m.

Bluegrass. Free.

HILTON NETHERLAND PALM COURT–Max Gise Quartet. 9 p.m. Jazz. Free.

JAG’S STEAK AND SEAFOOD–Gee Your Band Smells Terrific. 9 p.m. ’70s Pop/Rock/Dance. Cover.

KNOTTY PINE–Flatline. 10 p.m. Rock. Cover.

H

THE LISTING LOON– Aaron Collins and Palamara. 8 p.m. Indie/Folk/ Various

LUDLOW GARAGE– Joshua Radin with Lily Kershaw. 8:30 p.m. Pop/ Rock. $30-$50.

C I T Y B E AT. C O M

COMMON ROOTS–Common Roots Open Mic. 8 p.m.

Open Mic. Free.

CAFFÈ VIVACE–Brent Gallaher Organ Quartet. 8:30 p.m. Jazz.

Villars Trio. 9 p.m. Jazz. $10.

|

CAFFÈ VIVACE–Pam Mallory & Wayne Yeager. 7:30 p.m. Jazz.

BROMWELL’S HÄRTH LOUNGE–Eric Lechliter with The Steve Schmidt Trio. 9 p.m. Jazz. Free.

PHOTO: PROVIDED

N O V. 7 - 1 3 , 2 0 18

ARNOLD’S BAR AND GRILL–Sean Geil. 7 p.m.

Folk. Free.

Carson McHone plays Sunday at Southgate House Revival

45

PUZZLE

H

THE MAD FROG–sfam with BRWN BEAR, Gardella and Serotonin Deaf.

9 p.m. Electronic/Dance/DJ. Cover.

MADISON LIVE–Moon Hooch. 8 p.m. $12, $15 day of show.

MCCAULY’S PUB–Whiskey Business. 8:30 p.m. Rock.

Free.

H H

MOTR PUB–The Cliftones. 10 p.m. Reggae.

Free.

NORTHSIDE TAVERN–Human Heart, Sleepcrawler and Vick Baker.

10 p.m. Rock. Free.

OCTAVE–Le Bal Masque featuring ChuckDiesel. 7 p.m. DJ/Dance. Free.

PLAIN FOLK CAFE–The Jenkins Twins. 7:30 p.m.

Americana. Free.

RICK’S TAVERN–DV8. 7 p.m. Rock. Cover.

SCHWARTZ’S POINT JAZZ & ACOUSTIC CLUB– Michael Cruse Trio. 8:30 p.m.

Jazz. Cover.

SILVERTON CAFE–Night Owls. 9 p.m. Rock. Free.

H

C I T Y B E AT. C O M

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SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–Ironfest IX with Tiger Sex, 500 Miles to Memphis, Smokehealer, Heavy Hinges, Smoke Parade, Go Go Buffalo, The Perfect Children, Casino Warrior, The Dopamines, Raging Nathans, Dead Man String Band, JIMS, Wonky Tonk, Valley of the Sun, Still Witches and more. 6 p.m.

Rock/Various. $5, $10 day of show.

46

STANLEY’S PUB–Misunderstood, Mike Defendant & Katrina Jo, The Kno Nothings and Dark Harbor. 10 p.m. Rock/Various. Cover.

H H

TAFT THEATRE– Dawes. 8 p.m. Roots/ Rock. $34.50-$44.50.

TOP CATS–Sylmar (release party) with In The Pines and Spooky Dreamland. 8 p.m. AltRock. $10.

URBAN ARTIFACT–Vehicle.

9 p.m. Rock/Pop.

H

PALM COURT–Peter Gemus Trio. 6 p.m. Jazz.

Free.

AC R O S S

1. Squeeze boxes?

You Are What You Eat

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

WOODEN CASK BREWING COMPANY– Lemon Sky, The Grove and St. Bernard. 7 p.m. Rock. $7.

MOTR PUB–India Ramey. 9 p.m. AltCountry. Free.

H

10. Kissing sound

SUNDAY 11

PACHINKO–Open Mic. 9 p.m. Various. Free.

14. Latin lover’s flower

H

15. Chop in two 16. Canned fruit brand

TUESDAY 13

17. Ice cream brand

H

18. Drunk as a skunk

LATITUDES BAR & BISTRO–Blue Birds Band. 8 p.m. R&B/Rock. Free.

20TH CENTURY THEATER–Justin Courtney Pierre. 8 p.m. AltRock. $23, $25 day of show.

CAFFĂˆ VIVACE–Patsy Meyer Trio. 7:30 p.m. Jazz.

20. Ignoramus

H

H

25. Ignoramus

26. Democrat megadonor Steyer

27. Just ducky

BOGART’S–Cleopatrick. 8 p.m. Rock. $12.

CAFFĂˆ VIVACE–Maunter & Gemmer Quartet. 2:30 p.m.

Jazz.

HILTON NETHERLAND PALM COURT–Mike Darrah.

10:30 a.m. Jazz. Free.

THE LISTING LOON– The Graveblankets with Copper. 7 p.m. Pop/Rock/ Roots. Free.

MOTR PUB–Smokin’ Zeus.

8 p.m. Rock/Various. Free.

H

NORTHSIDE YACHT CLUB–Casper Skulls with State Champion, Smut and The Virginia Creepers. 9 p.m. Indie Rock. Cover.

SCHWARTZ’S POINT JAZZ & ACOUSTIC CLUB– Brazilian Tea Time Jazz with Thiago. 3:30 p.m. Jazz

H

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–Carson McHone and Jeremy Pinnell. 7 p.m.

Country. $10, $12 day of show.

STANLEY’S PUB–Stanley’s Open Jam. 8 p.m. Various.

Free.

H

URBAN ARTIFACT– Hello Luna, Stutterer and Little Devices. 9 p.m.

AltRock. Free.

MONDAY 12

H

BOGART’S–Mike Shinoda with Don Broco. 8 p.m. Rock/Alt/Rap. $39.50.

CAFFĂˆ VIVACE–You’ll Never Know: An Evening with Rosemary Clooney. 7 p.m. Jazz.

TAFT THEATRE–Joe Bonamassa. 8 p.m.

Blues Rock. $81.50-$181.50.

THE COMET–Audley with Flocks, Patterns of Chaos and Jess Lamb and the Factory. 10 p.m. R&B/ Soul/Pop/Hip Hop/Electronic/Jazz/Various. Free.

LATITUDES BAR & BISTRO–Latitudes House Band and Open Mic. 8 p.m.

Various (open mic at 11 p.m.). Free.

H

NORTHSIDE TAVERN–Jay Bolotin with Ali Edwards, Diana Darby and Billy Aletzhauser. 8 p.m.

Rock/Various. Free.

H

5. Cheap Super PAC attack

H

TAFT THEATRE–John Hiatt. 7:30 p.m. Roots/ Rock. $38.50-$49.50.

32. Mickey of Hollywood 34. Disney princess with a blonde braid 35. They’re all true

DOWN

1. “You ___ a life saver�

2. Make some changes to, briefly

39. Germ of an idea

3. Fills with passion

40. Lifelong wrestler’s affliction

4. Pageant band 5. Hotdogs 6. Hotel staff

44. “Check your ___ at the door�

7. Vogue rival

45. Bothers

8. Turn away

46. Chill

9. War’s steed, in the Apocalypse

48. Bruins, on scoreboards 49. Casino machines

10. Molly, chemically

51. In its own gravy

11. Scrabble addict in a Stefan Fatsis book

53. Weakling’s giveaway

12. Rah ___ (Nicki Minaj BFF)

56. Hurt

13. Bros

57. “You can count on me�

21. Feedbag morsel

58. Competes 60. Dog biter 61. Band-Aid rival

THE GREENWICH–The Flying Circus Big Band. 7:30 p.m. Big Band Jazz. $5.

62. Impressive panache

HILTON NETHERLAND

64. Gives off

63. Marries 65. Scream

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

30. Bullshitted

PACHINKO–Acoustic Tuesdays. 9 p.m. Acoustic/ Various. Free.

STANLEY’S PUB–Trashgrass Tuesday with Dark Moon Hollow and The Bad Hats. 10 p.m. Bluegrass.

Cover.

23. Durable wood

43. Length of time

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–Bad Bad Hats with Party Nails. 8 p.m. Indie Rock. $10, $12 day of show.

19. Tests in a tube, for short

NORTHSIDE YACHT CLUB–Hangman, Combust, Burn Victim, Compulse and Split Tongue. 9 p.m.

Hardcore

H

22. Moody punk, or moody punk offshoot 23. He plays Donald on 59-Down 24. Deane of the Continental Congress 28. Michelle of U.S. women’s soccer

29. Some kings and queens

49. Went undercover

31. Tibetan spiritual leaders

50. Nail down

33. Website’s feedback, say 36. Amber colored drink

51. Attorney follower 52. “I’m taking a photo here!�

37. Gear’s tooth

53. New client, so to speak

38. Snake eyes total

54. It goes round and round

41. Disguised, for short

55. Apply plumber’s putty

42. Spanish wine

56. Internet initialism to go along with a reaction pic

47. Values 48. Constructs

59. See 23-Down

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Notice is hereby given that Extra Space Storage will sell at public auction at the storage facility listed below: 5970 Centennial

Extra Space Storage hold a public auction at the location indicated: 2900 Crescent Springs Pike Erlanger, KY 41018 November 20th 2018 12:45PM Unit 135, Unit 146, Unit 207, Unit 256, Unit 264, Unit 290, Unit 310, Unit 313, Unit 434, Unit 826, Unit 827, Unit 1017 The auction will be listed and advertised on www.storagetreasures.com.

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be made with cash only and paid at the above referenced facility in order to complete the transaction. Extra Space Storage may refuse any bid and may rescind any purchase up until the winning bidder takes possession of the personal property.

N O V. 7 - 1 3 , 2 0 18

All adult line ads must contain the exact phrase “Body Rubs” and/or “Adult Entertainment.” Illegal services may not be offered in any ad. CityBeat does not accept, condone or promote advertisements for illegal activity.

Every ad purchase includes ONE phone number or e-mail address listing. Additional phone numbers & e-mail addresses can be printed for $10 each.

Ad copy & payment must be received by FRIDAY AT NOON. for the Wednesday issue.

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In-Call Body Rub

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47

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

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All online tickets are sold out

48

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