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J U LY 18 – 2 4 , 2 0 18

BY T.C. B R I T TO N

read, “Trump well below par.” Kylie Jenner Is Rich As the weekend came to The latest issue of Forbes higha close, attention shifted to lights America’s 60 richest Trump’s next meeting: with self-made women, including Vladimir Putin in Helsinki. A Oprah (No. 6), Spanx founder Finnish newspaper greeted Sara Blakely (No. 21) and the presidents with 300 Madonna (No. 36). Ranking at billboards, welcoming them No. 27 with a near-$1 billion to the “land of free press,” net worth is 20-year-old kosand quoting some of Trump’s metic kween and Kardashian troublesome attempts to heiress Kylie Jenner. She discredit news media. earned $166.5 million in the last year, making her the Build-a-Bear’s Own highest paid female celebrity of 100 top-earners — all Fyre Festival before she can legally get a When many mall-centric drink at a bar. Some people retailers are shutting their took issue with the mag calldoors during this internet ing her “self-made,” since that shopping age, the hell on term generally insinuates earth that is the Build-aa sort of “started from the Bear Workshop is actually bottom, now we here” kind thriving. Honestly, when of journey. And while no one I first heard about the toy is denying that the youngest store’s epic fail of a discount of the Kardashian klan built promotion, I figured it was a hugely successful beauty some last-ditch attempt at a empire, she certainly didn’t cash grab before going the build it from the ground up way of Toys “R” Us. I thought all on her own — and she was it was on the ever-growing basically born a millionaire. list of things Millennials are Dictionary.com threw killing because they aren’t shade at the article, defining having kids, and the ones self-made in social media that are aren’t dropping $70 using her as an example in a on a stuffed animal for them. Kylie Jenner: self-made makeup mogul? tweet that read, “Self-made But apparently Build-a-Bear P H O T O : B Y H AY U ( H T T P S : / / W E B . A R C H I V E . O R G / W E B / 2 0 1 8 0 4 0 5 2 11 7 2 8 / H T T P S : / / means having succeeded in is still going strong — the W W W .Y O U T U B E . C O M / W AT C H ? V = D P 6 S V C 4 G L R K ) life unaided. Used in a sentence: company has been profitable Forbes says that Kylie Jenner is a for four years straight now. self-made woman.” Well, that was before parents before Trump showed up. He told The Sun, Haters gonna hate, and Kylie’s gonna showed up with pitchforks Thursday after of the queen, “If you think of it, for so many keep stacking that cash. After announcits “Pay Your Age” sales event was abruptly years she has represented her country, she ing that she’s stopped using lip fillers, and cut short and the store turned away hopehas really never made a mistake. You don’t judging by how jacked up they used to be, ful kids. Shoppers were promised teddy see, like, anything embarrassing.” Huh. that should save a pretty penny. Will the bears for the cost of their child’s age in Next, Trump traveled to Scotland, where poster child for teen injectables embrace dollars — quite a deal for the overpriced he’s opening a golf resort. He tweeted, her old face again? Maybe the new mom is plushies — prompting hundreds of folks to “(Scotland) is going wild over the vote. They striving for an actual family resemblance line up around locations across the countook their country back, just like we will after finally realizing that plastic surgery is try. It got so crazy, the company pulled the take America back. No games!” apparnot genetic. plug on the event hours into the day, citing ently in reference to the Brexit vote. Only… safety concerns. Truly, few things sound Scotland voted overwhelmingly to remain Trump Takes England more dangerous that swarms of strollerin the European Union (something Trump Donald Trump made his first official visit pushing moms with cranky toddlers, so I called a “foe” of the U.S.). Scots were to the U.K. last week, and you have to hand don’t blame them. But that didn’t stop the quick to remind him of this, introducing it to him, he managed to ignite even the disappointed masses from #TakingtoTTrump to their vibrant and robust insult “keep calm and carry on” crew. Tens of witter. The company has apologized and vocabulary, which includes “witless fuckthousands of protestors marched in Lonexplained that all kids can shop during ing cocksplat,” “weaselheaded fucknugdon’s streets and beyond and gave us other their birth month and “pay your age.” get,” “mangled apricot hellbeast,” “clueless random acts of protest, including a crop In all this mess, yet another company I numpty,” “bloviating flesh bag,” “toupéd circle that read “bastard Trump” in Rusaim to avoid for the rest of my life, Chuck fucktrumpet” and “tiny fingered, Cheetosian and a 20-foot inflatable Trump baby E. Cheese, saw an opportunity. Just 30 faced ferret wearing shitgobbon.” Twitter that followed him from Britain to Scotland. minutes after B-a-B cancelled its sale, was like that scene from Liar Liar when The diapered blimp will make its way to C.E.C. offered families pay-your-age prices Jim Carey is insulting his entire office, only the U.S. next month thanks to an online for 30 minutes of all-you-can-play. You see, with more impressive language. Scots are campaign that quickly funded its journey. at Chuck E. Cheese, it’s always a shitshow roasting champions! Trump and Melania met Queen Elizaand safety is never a concern. That’s just One protestor kept their message mild beth II for the first time, but not before part of the Chuck E. Cheese fun. and their actions bold as they paraglided making the queen wait for tea! QEII waited over the new Trump hotel with a sign that Contact T.C. Britton: letters@citybeat.com in the summer heat for nearly 15 minutes

This Week in Questionable Decisions… 1. Yet again, The Bachelorette was interrupted last Monday by Trump’s face. This time to offer his SCOTUS nominee Brett Kavanaugh. He does not get a rose from us. 2. IHOb was a lie. The International House of Pancakes remains just that, as the company admitted its buzzed-about name change was only a temporary burger promotion. 3. Desus and Mero revealed that once they signed their new Showtime deal, VICELAND acted like a bitter ex and cancelled their nightly talk show two months ahead of contract. 4. Cardi B and Offset, whose government names — Belcalis Marlenis Almanzar and Kiari Kendrell Cephus — are even wilder than their stage monikers, had their baby and named her…Kulture Kiari Cephus. Kulture sounds like a Kylie Jenner baby name reject, and yet I kind of like it. 5. R.I.P. Costco Polish hot dogs. The store’s food court has nixed the popular sausage in favor of new, healthier fare. 6. R.I.P. Papa John’s career. P.J. himself John Schnatter stepped down as chairman (after stepping down as CEO in December) when it was revealed that he used the N-word on a conference call. Smooth, papa. He’s since been evicted from the P.J.’s offices and removed as spokesperson. 7. Henry Cavill offered some dumb remarks on #MeToo, saying he’s afraid if he talks to women he’ll be called a rapist. 8. Stormy Daniels was arrested in an Ohio strip club for “allegedly allowing a customer to touch her while on stage in a non-sexual manner.” Lucky for her, the charges were dismissed and she’s free to take on her next dancing gig in Atlanta, with a caveat: No motorboating. Seriously. 9. A new game show will have players compete to pay off their student loan debt. Fun! 10. Crocs is now selling a high-heeled version of their footwear monstrosities. For when you’ve got a kitchen shift at 5 but you’re going on a date a 10.

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NEWS

Going with the Flow The Ohio River Valley Sanitation Commission oversees the health of a river that provides drinking water to more than five million people. But it may shed many of its pollution standards soon. BY N I C K SWA R T S E L L

The Ohio River PH OTO: NIC K SWARTSELL

The minority cited recent moves by Congress and the Trump administration that they say raise concerns about commitment to environmental protection. The elimination of the federal Stream Protection Rule and proposals by the EPA to revise guidelines for what counts as protected bodies of water, they say, “reflect that the standards and scope of the Clean Water Act and regulations adopted pursuant to that Act are neither static, nor necessarily as broad or protective, as might be needed to address the specific needs of the Ohio River Basin.” There are roughly 600 permitted companies and other groups discharging waste into the Ohio River. The federal Clean Water Act, administered by the EPA, recommends maximum levels of pollutants these entities are allowed to discharge. States, however, make their own standards, which the EPA then approves. ORSANCO’s standards exist alongside those state standards. While the state CONTINUES ON PAGE 09

C I T Y B E AT. C O M

Director Richard Harrison told WVXU earlier this year. “Our compact is not changing. I’m confident that our commission is not going to move forward with something that will harm the water quality of the Ohio River.” Some environmental groups, and a minority of the commission, however, strongly disagree. Some commissioners with ORSANCO have expressed “grave concern” with the move and argue that eliminating the body’s standards when it comes to ambient levels of various pollutants can only hinder efforts to maintain and improve the river’s health. “ORSANCO, as a federally-sanctioned compact among several signatory states, possesses a degree of insulation from the vagaries of the political process, and is able to research, develop, propose and adopt standards tailored to the specific needs of the river in an atmosphere that stresses sound science and data-driven policy,” dissenting commissioners said in their minority report opposing the elimination of the rules.

public input. Now, before the commission formally adopts its rollback on pollution standards, it is accepting another round of public input and hosting a public hearing July 26 at the Holiday Inn near the Cincinnati International Airport in Erlanger, Ky. Formed in 1948, Cincinnati-based ORSANCO has worked to make the Ohio River clean and safe, in part by setting standards for the maximum levels of various pollutants in the river. The commission’s standards have long been used by states to ensure that the Ohio River is clean enough for recreation, drinking and other uses. But now commissioners say that the federal EPA, founded in 1970; the 1972 federal Clean Water Act; and state environmental agencies have made those standards redundant. “The commission is considering this because, the thought is, with the robust state programs and the U.S. EPA’s program, there are better uses of our resources than really having a potentially redundant third layer of standards,” ORSANCO Executive

J U LY 18 – 2 4 , 2 0 18

wo decades before the Environmental Protection Agency did so, an eight-state commission looked out for the health of the nearly 1,000mile stretch of the Ohio River that defines Cincinnati and provides more than five million people with drinking water. But the Ohio River Valley Sanitation Commission, or ORSANCO, could soon walk back from a key part of that role. Residents of Greater Cincinnati and elsewhere will get to weigh in later this month as ORSANCO takes final steps to back away from many of the pollution control standards it has provided states along the river. A majority of the commission says many of the standards are redundant — rules from federal and state agencies are currently keeping water quality in the river at the level ORSANCO wants to see independent of its criteria. But critics of the proposal say a significant number of the standards aren’t duplicated by federal or state agencies and that the commission needs to continue doing everything it can to ensure water quality, especially as the Trump administration works to roll back environmental regulations. The commission began a regular review process of its standards back in January with an ad-hoc committee and calls for

CITY DESK

Gaps Remain in Documentation of Councilmember’s Campaign BY N I C K SWA R T S EL L

Months after Cincinnati’s November city council election, questions remain about key documents related to a first-term council member’s campaign. Councilman Jeff Pastor recently filed amended campaign finance reports detailing expenditures his campaign made, including some $50,000 on advertising that came out of Pastor’s own pocket. However, the nature of those expenditures is still murky, despite the amended forms. Meanwhile, a tax document that could shed light on the activities of the nonprofit Pastor oversees — including $25,000 checks granted to local churches which Pastor himself handed out during the campaign — is not yet available, according to the Internal Revenue Service. The deadline for a nonprofit’s form 990, which details money taken in and spent as well as leadership salaries and other information, is generally May 15, though extensions by the IRS are not uncommon. A spokesperson for the IRS declined to discuss whether the nonprofit had been granted an extension, and voicemail messages left with the foundation by a CityBeat reporter were not returned. Pastor, a Republican and former educator, was elected in November last year, grabbing the ninth and final council seat on a razor-thin 223 vote margin over Democrat Michelle Dillingham. Pastor initially called the $50,000 he spent on his campaign a loan, but his latest campaign finance forms filed with the Hamilton County Board of Elections list them as in-kind donations, meaning

Pastor cannot be reimbursed by his campaign for the money. The newly-filed forms list the in-kind donations as expenditures for advertising, but do not have any further details about what the money was used for. The spending has raised questions because the amount coincides with a loan given the candidate by conservative businessman Charles Shor, who also granted Pastor a $500,000 mortgage to buy a house in North Avondale. Shor and Pastor’s relationship goes back to at least September 2017, two months prior to the election. That’s when Shor, the former owner of the nation’s largest paper bag manufacturer, hired Pastor to be the executive director of his nonprofit, the Charles L. Shor Foundation for Epilepsy Research. Shor has lived with epilepsy since the age of 25. Campaign finance filings show that Pastor loaned his own campaign $54,000 days after he was hired. Pastor has not disclosed his salary at the foundation, nor his other income. As part of his job with the foundation, Pastor appeared at several African-American churches and presented checks for $25,000 in front of the congregation, a rival campaign told CityBeat before the election. That could not be confirmed during the election, but recently, leadership at one of those churches, New Prospect Baptist Church, acknowledged to CityBeat that Pastor did visit his church to deliver a check from the Shor Foundation. In addition, Laure Quinlivan, who ran against Pastor in the November election,

says she witnessed him deliver a check to the Greater New Hope Baptist Church in Walnut Hills; leadership at other churches, including Corinthian Baptist Church, have acknowledged that they also received checks, according to the Business Courier. It’s unclear how many churches the Shor Foundation gave checks to, or how many of those checks Pastor presented. The nonprofit’s 990 tax forms for 2017 should shed more light on the former question when they are released. In 2015 and 2016, the Shor Foundation filed its 990 reports before the May deadline. However, in years prior to that, it filed as late as November. Pastor acknowledges the contributions and the fact that he presented them to churches but did not say how many were made. “I have presented several checks to further the outreach missions of AfricanAmerican and white churches in my capacity as executive director of the foundation,” he said in an email responding to questions about the donations. “The churches cannot as a matter of law get involved in politics in the pulpit. It is shameful these allegations are being lobbed at pillars of the African-American spiritual community.” Quinlivan says Pastor’s appearance at New Hope took place before the election. Corinthian Rev. KZ Smith says he does not recall when the donation was delivered to his church. New Prospect leadership initially said that Pastor presented their donation prior to the election, but later reversed that

statement and said it came afterward. New Prospect’s Rev. Damon Lynch III says he did not permit Pastor or any other candidate to campaign at the church but did let him appear in front of the congregation and speak about the Shor Foundation’s work. “Charlie got mad at me,” Lynch says. “I didn’t allow one politician to campaign in our church, and that includes Jeff.” Lynch says he introduced Pastor and Shor. The church and the nonprofit had a previous relationship. The Shor Foundation gave New Prospect $181,500 the year prior, according to the nonprofit’s 990 tax forms. That kind of giving is relatively new for the foundation, which until recently donated almost exclusively to epilepsy organizations and a couple local foundations. It began giving heavily to a number of schools, religious institutions and nonprofits in 2016. Following the election, questions arose about some of Pastor’s campaign’s spending and the Hamilton County Board of Elections asked him to file amended forms. Pastor received two extensions, the latest on June 4, to do so. Pastor has said that mistakes on earlier versions of his campaign finance forms that left off the spending were due to the volunteers and college students he had working on the documents. The first-term councilmember says he tapped Graydon Law and an accounting firm to help him with the revisions, and that there are still a few items they are working on accounting for.

University of Cincinnati Researchers Shed New Light on Native American Settlement

C I T Y B E AT. C O M

J U LY 18 – 2 4 , 2 0 18

BY N I C K SWA R T S EL L

Today, Northern New Mexico’s Chaco Canyon is an eerie but magnificent collection of adobe dwellings up to four stories tall that were abandoned centuries ago. Before that, native people lived there — but how those residents subsisted in the arid climate and the number of people who lived there permanently has been the topic of debate among scientists. A multi-disciplinary team of University of Cincinnati researchers may have shed some new light on those questions with a recent study published in the academic journal PLOS One. The team’s research suggests that the soil at Chaco Canyon — long thought to be too salty to grow crops — could have supported agriculture after all. That, plus irrigation channels that collected

the region’s scant 9 inches of yearly rainwater, may be what allowed a population of up to 1,200 to live at the canyons full-time. “The evidence is compelling that they produced most of the food that they consumed in Chaco Canyon and devised sophisticated irrigation strategies to do it,” UC Geography Professor Nicholas Dunning told UC Magazine recently. UC geography PhD graduate Jon-Paul McCool, who now teaches at Valparaiso University, was the study’s lead author. The full team of researchers from UC included archeologists, biologists and geologists, who spent weeks during multiple summers collecting soil samples and other research material. Previous theories posited that Chaco Canyon, a site with religious significance,

supported a small full-time population that hosted pilgrims by importing food and other necessities from other settlements. But the nearest place to get those items at the time would have been a settlement more than 50 miles away at the Chuska Mountains, near what is now the Arizona border. That would have been a challenge, since no evidence exists suggesting the people at Chaco Canyon or anywhere nearby used beasts of burden. Of course, there is much to suggest Chaco residents did have some contact with the outside world. Past archeological digs have uncovered evidence of sophisticated trading practices — sea shells from California and cacao from Mexico, for example. But those occasional encounters and

trade for nonperishable items alone would not have sustained the settlement. Chaco hosted a vibrant civilization that left behind rich turquoise carvings and sophisticated petroglyphs among other artifacts. The people living there established their homes, many multiple stories tall and built into the canyon walls, over a 500-year period between 800 and 1300 AD. After that, human habitation at the site happened only intermittently and tapered off for reasons researchers still don’t fully understand. Still, the UC study sheds some light on how the inhabitants at Chaco Canyon were able to live in the desert conditions for half a millennium.

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guidelines generally regulate what is coming specifically out of dischargers’ pipes, the commission creates guidelines for ambient pollution levels in the water as a whole. While commissioners supporting a rollback of ORSANCO’s pollution standards say that the state guidelines largely achieve goals for pollution reduction on their own, dissenting commissioners point out that there are 188 instances in which ORSANCO has set pollution criteria that six of the member states and the federal EPA don’t have. Simply relying on the state and federal EPA standards “may not be adequate to protect the aquatic life and uses of the Ohio River,” the dissenting commissioners wrote. ORSANCO is made up of 23 commissioners, with two or three each tapped by the governors of Illinois, Indiana, Kentucky, New York, Ohio, Pennsylvania, Virginia, and West Virginia — the states the river flows through — as well as two others appointed by the federal government. Most of those appointees have had long careers with state EPAs, regional water conservancies or other environmental groups. One of the federal government’s appointees is George Elmaraghy, who served at the Ohio EPA for nearly four decades. Elmaraghy was chief of its surface water division when he was asked to resign by Gov. John Kasich in 2013 after opposing mining permits sought by coal companies in the state. A small minority of the commission, including West Virginia’s David Flannery and Ronald Potesta, however, are also industry consultants or attorneys who have represented industrial clients in matters around environmental regulations. Potesta, whose consulting firm works with a gamut of clients from nonprofits to companies in the mining, manufacturing and chemical industries, chairs the commission. The potential shift away from ORSANCO’s pollution control standards comes as the commission undertakes its usual triennial review of those guidelines. Earlier this year, an ad-hoc committee of commissioners reviewed those rules, as well as solicited public feedback about them, and came up with five possible actions ORSANCO could take. The first would have eliminated all pollution standards the body sets. The second, called Alternative Two, was the one recommended by the committee and approved by a majority of the whole commission. That alternative would step back from a substantial number of ORSANCO’s standards around pollution control. The draft proposal for this set of standards shows whole chapters of pollution

control regulations crossed out in red, with a few new passages added in. For the most part, it guts ORSANCO’s role as an agency regulating discharge into the Ohio River. ORSANCO Executive Director Harrison points out, however, that the commission does a number of other things with a small staff of just 20 employees — public outreach, spill mitigation and response, river cleanups, monitoring of fish and insect health and population, and other efforts. “It’s important that our resources are used wisely,” Harrison said. “We have to make sure that our programs are providing the best value to our partners. This is something that has been thoroughly reviewed. The commission has been very transparent. We’re approaching this as a very transparent, objective process.” But some environmental activists say ORSANCO needs to stay the course. Rich Cogen is the executive director of the Ohio River Foundation, a Blue Ash nonprofit founded in 2000 to preserve and improve the quality of the river. He says that not all states have equal ability to set their own standards alone as stipulated by the Clean Water Act. “Without ORSANCO’s standards all Ohio River states will have to develop their own standards, which may very well lead to interstate litigation as downriver states fight to protect their water quality that might be jeopardized by weaker upriver state standards,” Cogen says. “ORSANCO is not working well in the defense of the river and the five million people who depend on it for their drinking water. They should be working with all the states collaboratively for uniform standards for all water quality standards. Instead they are throwing up their hands and inviting multi-state chaos.” Other activists are concerned about the erosion of another layer of protections as the Trump administration peels back federal environmental regulations. “I think it’s critical that ORSANCO be the cheerleader, the advocate, the folks who go to the mat for keeping the Ohio River clean and getting it even cleaner and holding the states and the federal EPA accountable,” former Green Umbrella Executive Director Brewster Rhoads said earlier this year. “This is somewhat political, I get it, but we’ve had a change in administration and folks at the helm of the U.S. EPA and some of the state EPAs who frankly are not into the concerns… of the average citizen who cares about clean water. I would hope that ORSANCO would do everything it humanly can to monitor and blow the whistle when folks are not meeting the basic standards and frankly championing higher standards whenever it’s possible.”

BRICK BY

BRICK

n January 2015, Cincinnati Opera’s Director of Production Glenn Plott visited Opera Montreal to check out a potential presentation. He stopped by to see the company’s general director, his friend and colleague Pierre Dufour. What Dufour played wasn’t related to the opera production Plott had come to investigate, but rather from something in the pipeline. “He closed the door and played me three tracks that were operatic versions of (Pink Floyd’s) The Wall,” Plott says. “I was so excited that when I got back, I played the tracks for staff, but there didn’t seem to be any traction.” Three years later, one of the year’s most highly anticipated events on the local cultural calendar begins Friday (July 20) as Cincinnati Opera presents the U.S. premiere of Another Brick in the Wall at Music Hall, with an original score adapted from Pink Floyd’s 1979 classic Rock album The Wall. Last year’s world premiere by Opera Montreal sold out 10 performances, garnered international coverage and led to Cincinnati Opera signing on as a co-producer. There will be five 7:30 p.m. performances here through July 31. “Adapted from” — those are key words. Another Brick in the Wall is not a note-for-note transcription of the music written by Pink Floyd’s bassist/vocalist/songwriter Roger Waters, although the lyrics are all there. The operatic version is by Canadian composer Julien Bilodeau and incorporates themes from the iconic album for a large orchestra, minus electric guitars and percussion. The burned-out and alienated Rock star named Pink who dominates the album’s narrative now shares the stage with seven other singers portraying the characters in his life. The 51-member chorus has a huge role, and 21 nonspeaking, non-singing extras fill the stage; 64 Cincinnati

Symphony Orchestra musicians play the score live. And the staging itself incorporates the high-tech production values of a pricey Rock concert and Cirque du Soleil. Another Brick in the Wall represents several walls tumbling down on its way to success — it’s a new work that’s immediately accessible, both musically and theatrically, to Pink Floyd fans, opera buffs and everyone in between. It’s a huge step into the future for Cincinnati Opera, a company that has been producing new works for almost a decade but never on this scale. This opera’s genesis and the way that Cincinnati scored the U.S. premiere are also opera-worthy stories, themselves. It’s appropriate that Another Brick in the Wall’s transformation from Rock opera to full-on operatic adaptation took place in Montreal, which is the city where the seeds for the creation of Pink Floyd’s The Wall were planted. Montreal’s initially fractious relationship with Pink Floyd and Waters dates back to July 1977, when the band concluded the “In the Flesh” tour at the city’s Olympic Stadium. Disgusted by the crowd’s behavior, Waters spit at an audience member, and later spoke of his increasing feelings of alienation from everything and everyone. He began composing The Wall almost immediately afterward, structuring it as a concept album about the Rock musician Pink, who isolates himself at the peak of his success with harrowing consequences. Waters drew on his own conflicts with authority, the loss of his father and the erratic behavior of former band member Syd Barrett. The wall Pink builds is a powerful metaphor that became an equally powerful visual in the band’s subsequent tours.

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BY ANNE ARENSTEIN

CONTINUES ON PAGE 12

Nathan Keoughan will play the lead character Pink in the Cincinnati production. PHOTO: HAILEY BOLLINGER

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

CINCINNATI OPERA LAUNCHES THE U.S. PREMIERE OF ANOTHER BRICK IN THE WALL, A THEATRICAL ROCK OPERA BASED ON PINK FLOYD’S ICONIC 1979 ALBUM THE WALL

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FROM PAGE 10

The Wall became one of the highestselling albums ever, with over 23 million copies sold. It has also been critically wellregarded — ranked by Rolling Stone as 87th on its list of the top 500 rock albums. Alan Parker’s 1982 surrealistic film adaptation also became a cult classic. Among the millions wearing out their LPs was Opera Montreal’s Dufour, who joined the organization as head of production and took on additional responsibilities as general director in 2006. “That album changed my life,” he says. “I lost my father in an accident when I was 8. When I first listened as a kid, I understood that there was a missing father in it.” Dufour also sensed the operatic potential for The Wall, but his first priority for Opera Montreal was rescuing it from financial ruin with innovative programming and technically sophisticated productions. An operatic version of The Wall remained on a proverbial back burner for Dufour, but he turned up the heat when a city commissioner stopped by in the autumn of 2013. “He asked me if I had a project that would be relevant for celebrating Montreal’s 375th anniversary during our 2016-17 season,” Dufour says. “I said, ‘Why don’t we do The Wall as an opera?’ He was silent for a few minutes and then he asked, ‘Can you do it?’ I said, ‘Let’s try.’ ” Dufour and the company’s general artistic director, Michel Beaulac, contacted Waters’ management. Waters had left Pink Floyd in 1985 and started a solo career. But he took ownership of The Wall by staging the huge concert known as The Wall – Live in Berlin in 1990 and by starting his Wall Live tour in 2010. “They said thank you very much for the offer but the answer is no,” Dufour says, with a wide grin. “But I thought, ‘Why should I take no for an answer?’ ” Dufour and Beaulac had already recruited Bilodeau to create the musical score. Bilodeau had been commissioned to compose a piece for the dedication of Montreal’s new symphonic hall in 2011, which Beaulac attended. Three years later, he called Bilodeau with his offer. The latter was surprised and pleased. “They didn’t know that I’ve been a Pink Floyd fan since I was a kid,” Bilodeau says, speaking by phone from Montreal. “I felt comfortable taking on the project.” Dufour then wrote directly to Waters, who replied with what Waters later told a Rolling Stone reporter was “a pompous letter.” But Dufour remembers it differently — that Waters wrote he was moved by the request to create an opera but was cautious because “I’ve never heard anything from Pop or Rock that was adapted to that stage that wasn’t ridiculous.” And Waters added what Dufour calls the first hopeful moment. “He said we can’t do a transcription of his work — we have to make it an opera with a score that keeps some of the melodic and rhythmic lines but is mostly original.” Bilodeau recalls the most hopeful part of

Another Brick in the Wall composer Julien Bilodeau (left) and former Pink Floyd member Roger Waters PHOTO: PROVIDED

the missive: “He said to have the composer write one track, meet him in New York and then we’ll see.” So Bilodeau composed three tracks to demonstrate the dramatic curve and fluidity he wanted to achieve — the same three tracks that Dufour later played for Cincinnati Opera’s Plott. The biggest challenge was Waters’ request for a track of probably the bestknown piece, “Another Brick in the Wall, Part 2.” Just before Christmas in 2014, Dufour, Bilodeau and stage director Dominic Champagne met with Waters in his New York apartment. They played the three MIDI files and collectively held their breath. “There was no body language and he listened with his eyes closed,” Dufour says. When the verdict came down 15 minutes later, Bilodeau remembers it as unforgettable. “He looked at me, and he said, ‘OK.

Marie-Chantale Vaillancourt’s costume sketch for the Mother character. Right: Costumes backstage, ready for the Cincinnati’s premiere. PHOTO: HAILEY BOLLINGER

It’s good. It’s very good. You got it.’ It was a really, really, really special moment for me, you can imagine. Even though it was a computer file, he listened closely. He was very pleased and moved.” Six weeks later, Waters called Dufour to give Another Brick in the Wall the official go-ahead. Waters only asked to be kept informed as the project developed. Everyone involved agrees that it’s rare — if not unheard-of — for an artist to cede control to this extent. “Everything is about trust,” Dufour says. “We met with him four or five times as the opera took shape. Hearing his own story, especially about losing his father, was his biggest contribution.” Bilodeau adds that he had tremendous freedom in composing the score, which incorporates all of the original lyrics. Waters had only one concern. “He wanted it to be accessible and tonal,” Bilodeau

says. He spent all of 2015 composing the first act. There was another crucial factor. Waters’ successful Rock stagings of The Wall had incorporated previously unavailable theatrical and technical elements that satisfied Waters’ own production goals. So that’s why Champagne — a well-regarded director, playwright and designer — joined the creative team of Another Brick in the Wall as stage director. His extensive productions credits include Montreal-based Cirque du Soleil productions Zumanity and LOVE, the latter a collaboration with the Beatles’ Apple Corps, Ltd and based on the band’s songs. He welcomed the opportunity to work on Another Brick in the Wall, since he ironically had once discussed the production potential of The Wall for Cirque with Waters in 2005. That was the same year Cirque launched LOVE in Las Vegas. After hearing those early Another Brick

Scene from Montreal’s production of Another Brick in the Wall PHOTO: Y VES RENAUD, OPER A DE MONTREAL

Another Brick in the Wall is presented by Cincinnati Opera for five 7:30 p.m. performances between Friday (July 20) and July 31 at Music Hall (1241 Elm St., Over-theRhine). Tickets: cincinnatiopera.org.

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volume,” Keoughan says. “The show starts very ethereal in a way and gets very dark and intense at the end. In the last 20 minutes, there are a lot of things that are shocking, when the character snaps. You want to snap, but you also want to sing the high C at the end.” Keoughan cites scenes involving a fascist rally as the most resonant ones for him, as the emotional intensity explodes. He has had monthly coaching sessions in voice and acting leading up to these performances, and he says he relies on conductor Alain Trudel to support him and the other singers. Trudel, a leading Canadian conductor and recently appointed music director of Ohio’s Toledo Symphony, conducted the world premiere in Montreal. He says the Montreal orchestra loved Bilodeau’s score from the very first note. “It’s a purely symphonic work — John Adams with Wagnerian breadth and some touches of Puccini at the end of Act I,” he says. “I like conducting ‘Don’t Leave Me Now,’ which ends Act I, as much as anything else.” Trudel calls himself a drill sergeant for marking, a technique that spares the voice during rehearsal. He has high praise for Keoughan. “He’s been preparing for this for two years and he’s really, really good,” Trudel says. The Cincinnati production’s director, Suzanne Crocker, worked on the original staging, and most of the original production team or their assistants will oversee the highly complex technical aspects here. Adding coordination of video and sound overlays will be a huge challenge for Plott and his staff. The set is made up of three movable walls, one of which is an LED screen, pushed by stagehands. Video is a major component, handled by four projectors. Keeping the imagery consistent is

“Each scene refers to the original one in a very different manner,” Bilodeau says. “It’s up to each listener to refer to it or not.” He also fleshed out characters, giving voice to Pink’s mother, father, wife and other characters referenced in the original album. But outside of Pink, the chorus takes on the biggest role. “The choir became a character, becoming the voice of the people or a character’s inner voice. It’s a pillar of my work,” Bilodeau says. Mirageas recalls talking to chorus members after a rehearsal. “They told me there’s so much to learn and it’s hard but, wow, it’s good,” he says. Bilodeau acknowledges that hardcore Pink Floyd fans may be disappointed that this isn’t a straightforward operatic transcription of a Rock album, but he insists that, as much as he likes Rock, its simplicity and beat just don’t translate well into an operatic orchestral score. In Cincinnati, baritone Nathan Keoughan debuts as the tragic, selfdestructive Pink, a role played in Montreal by Etienne Dupuis. Keoughan had been the “cover” — the operatic term for an understudy — for Dupuis in Montreal and had actually been the first person ever to sing the operatic role of Pink, in that December 2016 read-through that Mirageas attended. Keoughan says his opera training and his background in musical theater prepared him for Another Brick in the Wall’s unique demands. “I have to sing incredibly high notes, which I never thought I had,” he says. “I started out as a bass-baritone and now I’m a baritone touching the edges of tenor.” In addition to the stratospheric high notes, Pink is onstage for virtually the entire opera. “I have to basically grow into the

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in the Wall compositions in 2015, Cincinnati Opera’s Plott never lost his enthusiasm for it as a production here. He continued to receive additional music tracks from Dufour and passed them on to Cincinnati Opera’s artistic director, Evans Mirageas. “My first response was, ‘Oh, come on. Really?’ ” Mirageas says with a laugh. “But Glenn, who never gets excited about anything, was raving about it.” When Opera Montreal announced an orchestral read-through with singers and chorus for December 2016, prior to the opera’s premiere in March 2017, Plott urged his boss to go and witness it. By the end of the first act, Mirageas was ready to bring it to Cincinnati. But he wanted to do more than simply present it. “We were so enthusiastic that we decided to be co-producers,” he says, explaining that means that in return for a major investment, Cincinnati Opera would be entitled to artistic input as the production evolved, a share in future revenues — and the U.S. premiere. The Montreal premiere and following nine performances in March 2017 were sold out. Waters attended opening night; there were standing ovations. Overall, it was a marketer’s demographic dream: sizable chunks of the audience were first-time operagoers under 40. (By that time, Dufour had resigned from Opera Montreal to start his own company, Productions Opera Concept MP, devoted to contemporary innovative projects in opera.) Despite Another Brick in the Wall’s success, the creative team — which now included Cincinnati Opera — revised the first act’s score and staging for Cincinnati’s production. So, what will local audiences see and hear? Bilodeau’s score is a fascinating composition. In the excerpts I’ve heard, themes and melodic references flit in and out.

handled by mapping the wall’s movements and requires split-second timing. Another tricky element is the huge number of costumes for the large cast making frequent changes. Plott added a second technical rehearsal to the Cincinnati schedule to allow for time to coordinate everything. Hosting Another Brick in the Wall’s U.S. premiere has entailed an outsize marketing effort, encompassing ads in national news media, television spots and even coffee-cup sleeves. Cincinnati Opera wants to achieve a similar demographic shift, like what happened in Montreal. “Over 25 percent of the total audience (in Montreal) traveled over 100 miles to see it,” Mirageas says. “I found the number of young people in the audience particularly heartening.” Baby Boomer parents brought their children and grandchildren, according to Dufour. Cincinnati Opera board member Liz Kathman Grubow attended the Montreal premiere and was overwhelmed. “There was a sense of wow; the buzz at intermission was amazing,” she says. “I was just mesmerized in a way that only opera can do.” She says Cincinnati’s board fully supports the investment in this co-production. “You have to do this in order to be vibrant and relevant and provide audiences with works they wouldn’t see otherwise,” she says. “That’s the only way we’ll be a thriving organization.” There’s a lot riding on Another Brick in the Wall, financially and artistically. Officials won’t discuss ticket sales, but the box office was consistently busy while I waited at the Cincinnati Opera’s office for the interviews for this story. Waters doesn’t plan to be in the audience here, Cincinnati Opera says, but at least 10 representatives from other U.S. opera companies will be checking out Another Brick in the Wall during its run. And Dufour adds that talks are in progress for productions in Buenos Aires, England, France and Toronto. Mirageas sees Another Brick in the Wall as both a breakthrough and also a continuation of Cincinnati Opera’s mission. “This is the first piece of popular music to be transformed into a genuine work of art, and the way it evolved is a breakthrough,” he says. “It’s also a continuation of our commitment to bring new works with a social message, like Silent Night, Fellow Travelers and As One.” Press coverage promises to be extensive, too. Rolling Stone and the British publication The Observer lauded the Montreal production, but the Montreal press was mixed. That didn’t matter to Dufour and his crew — they got the master’s approval during the premiere’s intermission. “Powerful shit, man,” Waters told Dufour.

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J U LY 18 – 2 4 , 2 0 18

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STUFF TO DO Ongoing Shows VISUAL ART: Alison Crocette: A Circus of One Contemporary Arts Center, Downtown (through Aug. 19) Firelei Báez: To See Beyond Contemporary Arts Center, Downtown (through Aug. 19)

WEDNESDAY 18

ONSTAGE: The Mystery of Irma Vep at the Warsaw Federal Incline Theater is a madcap penny dreadfulstyle comedy. See review on page 20.

ART: View famous 1940s photographs in Ansel Adams: A Photographer’s Evolution at the Taft Museum of Art and Yousuf Karsh: American Portraits at the Dayton Art Institute. See feature on page 22.

the most recent effort, Dirty Pictures (Part 2), it seems inevitable that their cultishly loyal fan base will grow to the point where they’ll have to trade in their club reputation for bigger venues somewhere down the line. 8 p.m. Wednesday. $15. Southgate House Revival, 111 E. Sixth St., Newport, Ky., southgatehouse.com. — MIKE BREEN

THURSDAY 19

MUSIC: The Warped Tour makes its final Cincinnati stop as it wraps up 24 years of cross-country touring this year. See an interview with founder Kevin Lyman on page 29.

MUSIC: Red, White & Zoo The Cincinnati Zoo welcomes Country singers Jordan Davis and Granger Smith for a Red, White & Zoo concert. Listen to Davis and Smith perform their own unique take on Country style. Davis, the Shreveport, La.born and Nashville-trained musician, blends lyrically driven songwriting with big

production sounds and is working on his debut album for Universal Music Group Nashville. Smith, a guitarplaying Texan, learned his songwriting craft in Nashville and hit mainstream Country radio with singles like “Backroad Song.” Concert proceeds will go to the USO of Central and Southern Ohio, and for every ticket bought, the Cincinnati Zoo will donate a ticket to a local military member. 7 p.m. doors Thursday. $20. Cincinnati Zoo & Botanical Garden, 3400 Vine St., Avondale, cincinnatizoo.org. — LIZZY SCHMITT FILM: Cinema at the Center: House and Home The Contemporary Arts Center has teamed up with the Mini Microcinema to screen a program titled House and Home: A Series of Short Films About Architecture and Place. Curated by the Mini’s C. Jacqueline Wood, the films are stitched together to explore the relationship between

architecture and the emotional ties that make a house a home. Prepare to dig deep into the ties that bind us to the places we hold near and dear to our hearts. The series includes works by Peter Greenway, Kara Blake, Ezra Wube, John Smith and Rawane Nassif. 6:30 p.m. doors; 7 p.m. showtime Thursday. Contemporary Arts Center, 44 E. Sixth St., Downtown, contemporaryartscenter.org. — SAMI STEWART

FRIDAY 20

OPERA: Another Brick in the Wall — a Rock opera based on the music of Pink Floyd — makes its U.S. debut at the Cincinnati Opera. See cover story on page 10. ART: The Cincinnati Art Museum’s warm and nostalgic Make Way for Ducklings: The Art of Robert McCloskey exhibits the work of the local children’s book illustrator. See feature on page 19.

COMEDY: T.J. Miller The sometimes-controversial comedian and actor T.J. Miller takes the stage Friday and Saturday at the Funny Bone in Liberty Township. A headlining comedian for years, he is perhaps better known as an actor thanks to his run on the hit HBO series Silicon Valley. He left that show after two seasons, much to the dismay of fans including Jimmy Kimmel, who asked Miller about it last year on his talk show. Miller explained he simply wanted to spend more time with his wife in New York and that the plot presented a good exit point. On stage, Miller’s act can be described as “contained silliness.” “That’s a pretty good way of putting it,” he says. “I don’t think I’ve ever heard that exact phrase. I like to think that I’m a very polite maniac.” Miller offers up a variety of comedy in his set. “There’s observational stuff, true stories, then there are things that are just

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the way great musical acts have long garnered buzz — by touring relentlessly and blowing people away in person with their music and live presence. In concert, the Philly band’s relentless energy has created undeniable “word of mouth” clout, because practically every single person who witnesses Low Cut Connie perform falls in love with them, ranging from the average music lover who may have stumbled onto them at a club to slightly more famous fans like Elton John and Bruce Springsteen. Even President Obama showed the rock and rollers some love by putting a song of theirs on one of his popular Spotify playlists (it’s unclear whether he’s ever actually rocked out to them live; chances are a mesmerized staffer turned him on). Driven by frontperson Adam Weiner, Low Cut Connie isn’t quite a household name yet. But with the dedication to touring and the soulful, well-crafted Rock sound exhibited on albums like

MUSIC: Low Cut Connie Low Cut Connie personifies

PHOTO: MARA ROBINSON

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FILM: Washington Park Summer Cinema Series: A League of Their Own When World War II threatens the survival of Major League Baseball — aka all the dudes are going to fight overseas — Chicago Cubs owner Walter Harvey has the bright idea of making a women’s baseball league. A League of Their Own is a fictionalized version of the real All-American Girls Professional Baseball League, following the Rockford Peaches — a real team that just celebrated its 75th anniversary. The on-screen version of the Peaches features Geena Davis, Madonna, Lori Petty, Rosie O’Donnell and more, with coach Tom Hanks. Directed by Penny Marshall, this film spawned the quote, “There’s no crying in baseball,” and some excellent Halloween costumes. 9 p.m. Wednesday. Free admission. Washington Park, 1230 Elm St., Overthe-Rhine, washingtonpark. org. — MAIJA ZUMMO

Low Cut Connie

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FROM PAGE 15

absurdist notions,” he says. 7:30 and 10 p.m. Friday; 7 and 10 p.m. Saturday. $25$55. Funny Bone Liberty, 7518 Bales St., Liberty Township, liberty.funnybone. com. — P.F. WILSON

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ONSTAGE: All The Way Vice President Lyndon B. Johnson unexpectedly became an American president when John F. Kennedy was assassinated in 1963. A year later, Johnson ran to fill the office he assumed in the midst of tragedy. His campaign slogan: “All the Way with LBJ.” Robert Schenkkan has translated the ambitious Texan into a theatrical character in this 2012 script, first presented at the Oregon Shakespeare Festival. And Johnson is indeed presented as a Shakespearean figure, charismatic and conflicted, portrayed by A.J. Ford from Mariemont Players. It’s unusual fare for a community theater, but it’s sure to be compelling with staging by veteran director Ed Cohen. Read a review on page 21. Through July 29. $20; $15 student. 4101 Walton Creek Road, Mariemont, mariemontplayers.com. — RICK PENDER

PHOTO: PROVIDED

ART: Pharmacognosy Illustrated at the Lloyd Library & Museum Pharmacognosy is, according to Merriam-Webster, “the branch of pharmacology dealing with medicinal substances of biological origin and especially medicinal substances obtained from plants.” The Lloyd Library & Museum has created a display related to the field featuring artifacts, archives and equipment that deal with natural pharmaceuticals. View medical illustrations, botanical art and medicinal plant specimens for a deeper and colorful learning experience. Opening reception 5:30-8 p.m. Friday. Free. Lloyd Library & Museum, 917 Plum St., Downtown, lloydlibrary.org. — MAIJA ZUMMO EVENT: Suicide is a Drag The Ohio Chapter of the American Foundation for Suicide Prevention, ISQCBBE and the Cincinnati Sisters are hosting this event to help raise awareness about the rate of suicide in this country, particularly among members of the LGBTQ community. Suicide is a Drag will feature food, drinks and a drag show. All donations go to AFSP

research, prevention, education and advocacy. 7-10 p.m. Friday. $10. American Sign Museum, 1330 Monmouth Ave., Camp Washington, facebook.com/afspohiochapter. — MAIJA ZUMMO

SATURDAY 21

EVENT: The City Flea Cincy’s original curated urban flea market returns to Washington Park for a day of local shopping. The park will be taken over by hundreds of vendors and small business selling everything from craft coffee and vintage finds to T-shirts, ceramics and skincare. 10 a.m.-4 p.m. Saturday. Free admission. Washington Park, 1230 Elm St., Over-the-Rhine, thecityflea.com. — MAIJA ZUMMO EVENT: Tequila Fest Cincinnati Some people love a wine tasting, others dream of the Kentucky Bourbon Trail. Tequila lovers, now is your time. Head downtown for a night of tequila tasting, live music and (probably) some agave-influenced shenanigans. Sample up to 12 of over 50 different top-shelf tequilas and enjoy beer and drink specials, a 50/50 raffle and entertainment from The Sun King Warriors and One

SATURDAY 21

EVENT: NamasDEY Practice your best downward dog pose in preparation for the fourth annual “NamasDEY” yoga class on the field of Paul Brown Stadium. Led by instructors from The Yoga Bar, you’ll be guided through a variety of standing and seated poses, which have been shown to help strength and flexibility. Don’t worry: there will also be plenty of mindful breathing and mediation, so bring a mat and get ready to namaslay with the “Who Dey” Nation. Proceeds go toward helping provide feminine care products to women in need. Register online. Held rain or shine. 8 a.m. check-in; 9 a.m. class Saturday. $10. Paul Brown Stadium, 1 Paul Brown Stadium, Downtown, bengals.com/fans/namasdey. — LIZZY SCHMITT

PHOTO: TORE SÆTRE

SUNDAY 22

COMEDY: Neil Hamburger What do you get when you add a tux to greasy combover and a throat full of phlegm? The “brilliantly awful” Neil Hamburger, so says the New York Times. The anti-comedy underdog (a character played by Australian comedian and musician Gregg Turkington) is coming to Cincinnati and bringing with him his sometimes rude, usually gross and reliably off-color jokes. But it’s not all for laughs. He asks existential, intrinsically human questions like, “Why did Metallica cut their hair?” and, “Why did God create Domino’s Pizza?” The answers? Well, we’d rather not print them — all we’ll say is that they’re literally horrible. If you’re eager enough to know, you can ask him yourself on Sunday. But be warned, if you talk during his set, he’ll definitely heckle you back. 7-10 p.m. Sunday. $20. The Woodward Theater, 1404 Main St., Over-the-Rhine, woodwardtheater.com. –– MORGAN ZUMBIEL

COMEDY: An Evening of Female Comics & More Women Writing for (a)

YOUR WEEKEND TO DO LIST: LOCAL.CITYBEAT.COM

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TUESDAY 24

Change hosts an evening of female-centric stand-up at Go Bananas. Expect a blend of comedy, short plays, storytelling and lip sync battles with ticket sales benefitting the mission of WWf(a)C to help individuals develop their writing skills and creativity and strengthen their voices. Mary Pierce Brosmer, Karol Dyer, Drue Johnston and Lisa Cors Rocklin will be doing stand-up, with playwright Teri Foltz and Sandy Lingo provided the 10-minute plays. Randy Weeks will spin stories and a handful of ladies will compete in some classic lip sync battles. 8 p.m. Tuesday. $18 advance; $20 door. Go Bananas, 8410 Market Place Lane, Montgomery, gobananascomedy. com. — MAIJA ZUMMO

EVENT: Crafted Food, Beer & Music Festival What better way to spend a Saturday afternoon than eating as much food as possible and washing it all down with 84 ounces of beer? Sawyer Point is hosting a riverside picnic in conjunction with

seven different restaurants and more than 38 craft beer options featuring everyone from Bouquet Restaurant & Wine Bar and the Mac Shack to Fifty West, MadTree, Rhinegeist and Bad Tom Smith. Beer drinkin’ tunes will be provided courtesy of Buffalo Wabs & The Price Hill Hustle and Doc Robinson. And you don’t have to feel bad about your gluttony because a portion of the ticket sales will go toward funding the League for Animal Welfare. 2-6 p.m. Saturday. $60; $85 VIP; $35 designated driver. Sawyer Point, 705 E. Pete Rose Way, Downtown, craftedfest.com. —SAMI STEWART

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World Tribe. Hit up the food trucks or purchase a VIP ticket for access to a DIY taco bar and more premium tequilas like Roca Patrón Añejo 44 and Don Julio 1942. With roughly half-ounce sample pours, you’re getting at least six tequila shots, if not more. Just know — once you start getting the urge to dance on the stage, it’s time to go home. 7-11 p.m. Saturday. $45 general admission; $125 VIP; $50 late registration (July 15 to July 20). Fountain Square, 520 Vine St., Downtown, tequilafestusa.com. — MORGAN ZUMBIEL

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ARTS & CULTURE

A Hug for a Hamilton Hero CAM makes way for Ducklings and more in celebration of children’s author/illustrator Robert McCloskey BY K AT H Y S C H WA R T Z

Illustration from Burt Dow: Deep-Water Man P H O T O : T H E M AY M A S S E E C O L L E C T I O N , E M P O R I A S TAT E U N I V E R S I T Y

fan of Abstract Expressionism and took a humorous poke at Jackson Pollock in his final book, Burt Dow: Deep-Water Man (1963). When fisherman Burt is swallowed by a whale, he escapes by splashing paint against the beast’s innards to induce a belch. A reclusive McCloskey illustrated a few more books by Keith Robertson up to 1970, continued to paint for himself and experimented with making puppets, but Holtrop believes that by the mid-1960s, he no longer saw a spot on children’s shelves for his quiet stories about the security found in family and small towns. The same year that McCloskey published Burt Dow, Maurice Sendak introduced the scary world of Where the Wild Things Are, and kids responded. Yet in the 21st century, who doesn’t crave a hug? “It’s still important to show the security of small towns. It’s still important to show the security of family,” Holtrop says. “The look of families may have changed, but the nature of families hasn’t, and that’s what you see in these books.” Make Way for Ducklings is on view Friday (July 20) through Sept. 9 at the Cincinnati Art Museum. More info: cincinnatiartmuseum.org.

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stands outside Hamilton’s Heritage Hall. Inside, fans will find the one-room Robert McCloskey Museum, where newspaper articles and early sketches reference an all-American upbringing filled with band performances, swimming and other wholesome pursuits. “He started his career at a real sweet spot of Americans telling American stories,” Holtrop says. Children’s literature had been filled with Mother Goose nursery rhymes and fairy tales, Aesop’s fables and British offerings such as Winnie-the-Pooh. McCloskey’s One Morning in Maine, featuring his daughters Sal and Jane, is about clam digging, a loose tooth and boating into town to get ice cream. He elevates the everyday narrative with crisp black-andwhite drawings that could be frames from old home movies. These memories are colorized in Time of Wonder and paintings that McCloskey did for pleasure around his home in Deer Isle, Maine. He softens and shifts the focus from faces to places, depicting dock life, cottages, seascapes and endless summer days in watercolors that are reminiscent of the Regionalism and Realism of Thomas Hart Benton and Edward Hopper. McCloskey didn’t talk about artists he admired, but Holtrop says he wasn’t a

Honors were nothing new to McCloskey. He attended Boston’s Vesper George School of Art on a scholarship, and at age 19 he was commissioned to design the basrelief carvings on Hamilton’s new municipal building. Yet he never thought he was going to be an award-winning children’s book illustrator, Holtrop says. “And he really didn’t think of himself as a children’s book illustrator,” she adds. “He thought of himself as an artist who just happened to do children’s books.” As a young man in Hamilton, McCloskey made wood engravings to illustrate high school publications, taught a soap carving class to YMCA campers, and spent two summers crafting a totem pole from a 500-pound cedar beam. His first book, Lentil (1940), is kind of a love letter to his hometown. Its pages even include a veterans’ memorial that looks a lot like the Soldiers, Sailors and Pioneers Monument in Hamilton’s downtown. But the partly autobiographical tale about a harmonicaplaying boy who saves the day in fictional Alto, Ohio, came about only after May Massee, the first children’s editor at Viking Press, advised the art student to forget his classical paintings of “limpid pools and Pegasuses” and return home and draw what he knew. Today, a bronze sculpture of Lentil

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he Cincinnati Art Museum’s Emily Holtrop pauses as she searches for the perfect words to sum up the books of Robert McCloskey, the late Hamilton, Ohio-born author/illustrator best known for taking young readers blueberry picking in Maine and on a delightful walk with ducklings, starting some 70 years ago. “They feel just kind of… sweet and warm,” says Holtrop, the museum’s director of learning and interpretation. “They’re a hug!” Now she’s bringing to town an exhibition that returns the affection. Make Way for Ducklings: The Art of Robert McCloskey, organized by the Eric Carle Museum of Picture Book Art in Amherst, Mass., opens Friday (July 20). More than 100 pieces, including preliminary book sketches, private paintings and photographs of McCloskey with his daughters have been assembled for a thoughtful, nostalgic study of an artist who shied away from attention himself but depicted everything around him with careful detail. McCloskey drew mallards that looked like mallards, not anthropomorphic cartoons. As he worked on what would become his most famous book, he even purchased 16 ducks and kept them in his Greenwich Village apartment so he could watch them waddle and swim. “He was very passionate about taking time to see. Not just look, but really see,” Holtrop says. McCloskey died in 2003 at age 88. The author of only eight books, he was the first two-time winner of the Caldecott Medal for children’s illustrators. He received the first for his warm sepia drawings in 1941’s Make Way for Ducklings, the beloved story of a feathered family that stops traffic on the way to Boston’s Public Garden. The second recognized Time of Wonder (1957), in which dreamy watercolors depict the beauty of his adopted state of Maine. Additionally, he won the runner-up Caldecott Honor three times, for Blueberries for Sal (1948), One Morning in Maine (1952) and Journey Cake, Ho! (1953), written by Ruth Sawyer, his mother-in-law.

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ONSTAGE

‘Irma Vep’ Lampoons Gothic Melodrama R E V I E W BY R I C K PEN D ER

Prolific comedic playwright and actor Charles Ludlam staged and performed in an amazing number of comic plays for Off-Broadway’s Ridiculous Theatrical Company, which he founded in 1984. His best-known work, The Mystery of Irma Vep, a satirical send-up of sensational “penny dreadfuls” that pokes fun at overheated Gothic melodramas, was a hit before and after Ludlam’s death from AIDS in 1987 at the age of 44. The show has been a recurrent and popular production for three decades; it was the Ryan J. Poole (left) and Tyler Gau in Irma Vep most-produced play in America in 1991. It’s back for Cincinnati P H O T O : TA M M Y C A S S E S A audiences in a summer production by Cincinnati Landmark pen-and-ink set as several dressers help Productions at the Warsaw Federal Incline the actors make their changes. Off-stage Theater in East Price Hill. lines continue to spill forth as costumes Ludlam’s delirious tale — set at “Manare swapped. (The night I attended, a balky dacrest,” an ancient, sinister estate on a door became an opportunity for additional remote desolate moor — pokes fun at litercomment by the quick-witted actors; the ary classics by the likes of the Brontë sisters stagehand who repaired it at intermission and Edgar Allan Poe, plays by Shakespeare, earned a round of applause.) Alfred Hitchcock’s 1940 psychological A production of this show is necessarthriller Rebecca and more. Ludlam was ily fueled by unrestrained theatricality. known for pushing theatrical boundaries; Director Bob Brunner keeps Gau and Poole he liked to say he was “recycling culture.” spinning at a high rate of speed, but their In addition to his witty writing — the unbridled performances sometimes outshow’s crazed plot overflows with literary strip the humor or fail to allow breathing references, horrible puns and double room for comic elements to soak in. entendres — Ludlam excelled as an The actors are surely energetic and extraordinary comic performer. talented performers, but their relish for the In Irma Vep he wrote a piece that madness needs to be contained. Ludlam required him and his partner Everett once wrote, “Our slant was actually to take Quinton to play eight characters, making things very seriously, especially focusquick changes and often cross-dressing. ing on those things held in low esteem by This was a novel idea in 1984; it’s a more society and revaluing them, giving them common theatrical trope today in shows new meaning, new worth, by changing such as Greater Tuna and The 39 Steps. their context.” At the Incline, Ryan J. Poole and Tyler The magic of Irma Vep is that it deconGau take on the exhausting challenge of structs the horror genre while simultaneplaying numerous characters. Gau exits ously celebrating its elements. Ludlam disthrough one door as the officious, knowdained performances that were too campy, it-all maid Jane Twisden and returns preferring to present absurd characters seconds later as the lord of the manor, straightforwardly. Too often Poole and Edgar Hillcrest, an eminent Egyptologist Gau are overtly over the top, swamping the who tragically lost his wife and son to a show’s subtle and sophisticated humor. werewolf. We learn that he is “hung up on There are plenty of amusing moments his mummy.” When the scene changes in this production, to be sure, but the pace to a tomb in Egypt, a mummy case opens is so rapid — Irma Vep’s three acts are to reveal a lively, hungry and long-dead compressed into a 110-minute producoccupant. tion with one intermission — that it’s not Poole is Nicodemus Underwood, a always easy to appreciate the gleeful wit wooden-legged Scotsman who is Manbehind the writing. A production of Irma dacrest’s Shakespeare-spouting handyVep needs more than actors doing funny man — and also a frustrated werewolf. In voices, silly walks, double takes and mugthe blink of an eye he becomes demure, ging — Ludlam yearned to celebrate these elegant Lady Enid, Lord Edgar’s second over-heated traditions, not simply make wife, wearing a mess of a blond wig. fun of them. Irma Vep, Lord Edgar’s possibly late The Mystery of Irma Vep is at the Warsaw first wife, pops in and out at surprising Federal Incline Theater (801 Matson Place, moments and is represented by a portrait East Price Hill) through Aug. 5. More info: that occasionally bleeds. There’s a lot cincinnatilandmarkproductions.com. going on behind the Incline’s cartoonish,

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ONSTAGE

7/9/18

4:18 PM

Mariemont Players Go ‘All the Way’ with LBJ BY JAC K I E M U L AY

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The lights go up on stage at Mariemont mostly succeeds at its mission. There are Players’ All The Way and an onscreen proone or two West Wing-like walk-and-talk jection interrupts the show with a special scenes thrown in by director Ed Cohen news bulletin from Nov. 22, 1963. President that pay nice homage to past great politiJohn F. Kennedy has been assassinated in cal dramas, and they also heighten the Dallas. The stage sits silent for a moment. play’s sense of urgency. However, with its Then the lights go up on now-President dense subject material and the political Lyndon B. Johnson, JFK’s vice president jargon that’s thrown around so casually who has had to take the power he insists by the characters, All The Way can be difhe never wanted. But he plans to use it to ficult to keep up with. At times it felt a bit support the civil rights movement — and unfocused. get elected president in his own right in At the performance seen for this review, C November 1964. some cast members stumbled over their All The Way follows Johnson and the lines or forgot them altogether, which M landmark Civil Rights Act of 1964 as it made it difficult to keep the audience Y makes its arduous journey toward congresengaged in an already dense show. The sional passage to end state-sanctioned production was aided, however, by the pro-CM segregation — then the norm in the South. jections in the back of the stage. Footage During Johnson’s first year in office as an from the 1960s was projected directly overMY “accidental president,” he campaigns vigorthe president’s Oval Office desk. CY ously to get elected in 1964 as president. Perhaps the most successful device But it’s tricky. As a Southern (Texas) employed in the projections was the countCMY Democrat who supports the Civil Rights down that displayed the decreasing numAct, he worries that the South — then a ber of days left before the 1964 presidentialK stronghold for Democrats — will turn election. This element, designed by Dan against the national party because the Dermody and Michael Morehead, created latter supports civil rights. Johnson wants mounting pressure and heightened the to keep it Democrat, and worries that if he sense of urgency as the election looms. loses it, the Republicans might win the election. But he also wants to do the right thing. As Johnson, actor A.J. Ford becomes increasingly presidential as the Mariemont Players’ All The Way progresses. Yet Ford also captures the aggressive insecurity of a man fighting for what he believes is right, who feels abandoned as various political interests pursue their own conflicting goals. He is particularly worried that the pro-civil-rights A.J. Ford as LBJ (left) and Derek Snow as Martin Luther King Jr. Mississippi Freedom Democratic Party is threatening to PHOTO: KPIX PHOTOGRAPHY challenge the conservative Mississippi delegation to the 1964 Democratic convention, which could The show feels eerily familiar in its threaten party unity. presentation of the varying arguments All The Way also follows civil rights surrounding civil rights. Phrases about leader Martin Luther King Jr.’s fight to “overstepping the Constitution” and bring unity to the cause. The play shows the thin arguments on behalf of “states’ how the civil rights movement incorporights” fly out of the mouths of Southern rated several different advocacy groups opponents with ease. It’s no wonder the who favored different tactics, like the Mariemont Players chose this show for the Southern Christian Leadership Confer2017-18 season. ence and the Student Nonviolent CoordiThe production ends with LBJ’s historic nating Committee. As King, actor Derek landslide victory, but takes a moment to Snow does a solid job of capturing the show us each presidential election that complexities facing a leader bringing followed. It breaks down how individual together myriad valid but conflicting states voted, showing that Southern states viewpoints. increasingly turned against Democrats. All The Way was written by Robert It’s an eerie note to end on, but quite a Schenkkan and had its premiere in Oregon powerful one. in 2012. It moved to Broadway in 2014, with All The Way is onstage at Mariemont PlayBreaking Bad’s Bryan Cranston as Johnson. ers (4101 Walton Creek Road, Mariemont) He won a Tony for his performance. through July 29. Tickets/more info: At Mariemont Players, the play is a dry mariemontplayers.com. and earnest portrayal of politics, and it

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VISUAL ART

Two Museum Exhibits; Two Classic 1941 Photographs BY S T E V EN R O S EN

Two of the most influential and instantly recognizable — but very different — photographs ever taken in North America were done in the final months of the same year: 1941. As fate would have it, you can study excellent prints of both at two separate, simultaneous exhibitions at local museums through Sept. 16. Both are black-and-white. One, “Moonrise, Hernandez, New Mexico” by Ansel Adams, essentially is a spookily atmospheric landscape in a remote New Mexico location. Seeing it close-up now, as a pristine gelatin silver print in an exhibit at the Taft Museum of Art, you feel its darkening sky is about to reveal big secrets. The other influential photograph, a gelatin silver print by the portraitist Yousuf Karsh on display at the Dayton Art Institute, couldn’t be less eerily atmospheric. A stiffly dressed Winston Churchill, the British prime minister then under the pressure of World War II, glowers into the camera, looking willfully strong. Your eyes and Churchill’s are together “locked in tight,” to quote Bob Dylan, and there’s no peaceful, quiet way out. You are facing, to use a word often used to describe Churchill in this definitive photograph, a “bulldog.” The Taft’s Ansel Adams: A Photographer’s Evolution contains the “Moonrise” image and others that mostly come from a private collection; Dayton Art Institute’s Yousuf Karsh: American Portraits features prints on loan from the Smithsonian Institution’s National Portrait Gallery. The Adams exhibit of 52 photos is a satisfying mid-size survey of his career as a sensitive chronicler of the American wilderness, primarily the West. When he was 14, in the mid-1910s, his family took a trip to Yosemite National Park in California and his dad gave him a Kodak Box Brownie camera. The future was decided. He became one of America’s most recognizable photographers until his death in 1984. This exhibit does an excellent job of delineating the difference between his early prints and his later ones. Later in life, he made new enlarged prints of older photographs, and heightened the tonal contrast for dramatic effect. Most of this show consists of the earlier “vintage” prints from the collection of Judith Hochberg and Michael Mattis, but the Taft has added some later ones from private collectors and the Cleveland Museum of Art. “Moonrise” is probably Adams’ most famous image, ironic since it’s not taken in a national park. The view is of a small, isolated town in rural New Mexico that Adams came across while driving as night approached. I’ve done my share of night driving in rural New Mexico; you can really feel like you’re whistling in a giant graveyard. In the photo, the moon is rising while clouds are low on the horizon and still contain some whiteness. A small church looks

“Moonrise, Hernandez, New Mexico” by photographer Ansel Adams P H O T O : C O L L E C T I O N O F C E N T E R F O R C R E AT I V E P H O T O G R A P H Y, U N I V E R S I T Y O F A R I Z O N A . © A N S E L ADAMS PUBLISHING RIGHTS TRUST

like a citadel; the crosses and tombstones in its cemetery still have some whiteness amid the dying of the light. This isn’t exclusively a landscape, but the small town seems as much a part of its terrain — of Western land — as Half Dome in Yosemite, another Adams subject in this show. (As Wikipedia explains, there’s some confusion about when “Moonrise” was actually was taken — Adams said in a 1983 book that the date was Oct. 31, 1941, but an expert has since calculated it to be Nov. 1.) The Taft has put both a vintage print actually made in the 1940s (from the Hochberg/Mattis collection) next to a later enlarged one, from a different collection, that Adams developed in the 1970s. The later one really captures your eye because the contrast is so much more intense — the sky has turned pitch black, the clouds seem to be whirling ruptures in the horizon, and some of the crosses are brighter. It’s definitely more dramatic, but the subtlety of the earlier print feels more organic. Still, it’s undeniable that photography and society have moved toward a larger-is-better appreciation of photographic images. I would never call the Armenian-born Karsh, who immigrated to Canada in 1925 and lived until 2002, a “celebrity”

photographer. The Dayton exhibit shows he photographed the best and the brightest (including some actors) of his time, but they had to earn his attention through meaningful accomplishment rather than mere publicity. And such subjects featured in this show of 48 black-and-white prints surely did achieve that — Albert Einstein, Andy Warhol, Jackie Robinson, Eleanor Roosevelt and Humphrey Bogart, for example. But what’s key in making his work so memorable, as the exhibit explains, is that he didn’t just assume their accomplishment earned them the right to tell him how they would pose. He wasn’t deferential. And that’s why his Dec. 31, 1941 photograph of Churchill is so famous. It was taken after the latter spoke to the Canadian Parliament in Ottawa. Japan had bombed Pearl Harbor on Dec. 7, so the U.S. had entered World War II. Canada, already in the war in Europe, had added Japan as an enemy. So Churchill was certainly doing Karsh a favor to stand still for a photographic portrait — he doubtlessly had something more important to do. The story is that Churchill made Karsh wait until he lit his ever-present cigar. But Karsh, after setting up, removed the cigar because it got in his camera’s — our eye’s

“Sir Winston Leonard Spencer Churchill” P H O T O : Y O U S U F K A R S H , N AT I O N A L P O R T R A I T G A L L E R Y, S M I T H S O N I A N I N S T I T U T I O N . © E S TAT E O F YO US U F K AR S H

— way. That action caused the glint of anger we see in the photograph. Seeing these shows makes you realize that what’s most important about photography isn’t the genre but rather the photographer’s instincts, and what each one is prepared to do to get their perfect shot. More information: taftmuseum.org; daytonartinstitute.org.

FILM

Why Are Netflix Original Movies so Bad? BY T T S T ER N - EN ZI

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

Netflix has seized the crown from HBO this year, with 112 Emmy nominations to 108 for the premium cable network. As reported in the Los Angeles Times last week, “It was the most of any network and more than double its total from two years ago.” The streaming service, working outside the evolving network and cable television model, has been able to make this charge due to its ability to overwhelm the market, thereby offering titles Daniel Doheny in Alex Strangelove that cover every genre, from the gilded prestige PHOTO: PROVIDED of The Crown to the gritty apocalyptic Western world of Godless. high school senior intent on going all the Yet, when it comes to original movies, way with his girlfriend, Claire (Madeline which should be a great opportunity for Weinstein), until Elliot (Antonio Marziale) Netflix, the streaming giant appears to be wanders into his life. The premise is more stuck in the “straight-to-video” undertow straightforward than Love, Simon, and of the past. Back in the day, that appelwith talented writer-director Craig Johnlation hung like a storm cloud over titles son in the driver’s seat, there’s a glimmer with cheaper B-movie aesthetics and forof hope. merly bankable stars now on the decline But despite all its “bold” talk about (projects from Jean-Claude Van Damme sexual and gender fluidity, the film lacks or Steven Seagal after their mid-1980s/ the beautiful darkness Johnson brought early 1990s peaks), or low-rent sequels to — with Kristen Wiig and Bill Hader as his unglamorous hits when the headlining partners-in-crime — to the powerful film stars refused a return engagement (AmeriThe Skeleton Twins, a romantic dramedy. can Pie Presents: Band Camp). Enlisting talent like Johnson would In the early half of 2018, Netflix rolled seem like Netflix is making a conscious out a pair of movies from Adam Devine, and conspicuous upgrade in its approach a comedic character actor with credits to original films, following on the heels of from television (Modern Family) and film its late 2017 team-up with indie writer(the Pitch Perfect franchise) that probably director Noah Baumbach (The Squid and caused the company to bet on his breakout the Whale, Greenberg) for The Meyerowitz potential as a star. Yet, the romcom When Stories. That featured such heavyweights in We First Met clunkily attempted to blend its cast as Emma Thompson, Dustin Hoffelements of Big with Groundhog Day, and man and Ben Stiller, with Adam Sandler Game Over, Man! sought to replay Die holding the center in a quietly revelatory Hard with a trio of bumbling bros and dramatic turn. resulted in 90-plus minutes of flash-frozen But that film — an affecting study of mediocrity. family dynamics, steeped as it was in Next, it seems someone in the pitch Baumbach’s arch — was a case of Netflix room had the tired idea to target the young acquiring an adult film to gain prestige adult audience with a story about a quirky on the festival circuit, with an eye toward teen (Joey King) who has never been awards and limited theatrical release. It kissed. She decides to stage a kissing booth was not an original Netflix production. at her high school carnival, which gives her But its own productions just aren’t as the chance to plant one on her ultra-cool equally ambitious — it struck up a partsecret crush (Jacob Elordi), who happens nership deal with Sandler to spit out the to be the brother of her best friend (Joel flaccid action-comedy The Do Over, The Courtney). You can see the sparks flying, Ridiculous 6 and The Week Of, his latest right? And it’s called, with wild originality, team-up with fellow comedian Chris Rock. The Kissing Booth. Netflix was born as the sun was setting The service’s bottom-feeding stream on the DVD market and quickly adapted to continues with Alex Strangelove, another the virtual reality of streaming content, yet of its YA-wannabe titles. This one has a it looks like it’s dooming itself to compete TV-Mature rating, which teases audiences for the audience by adhering to the old with the possibility of a franker handling straight-to-video playbook. of the romantic quandary faced by Alex Contact ttstern-enzi: letters@citybeat.com Truelove (Daniel Doheny), a virginal

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| J U LY 18 â&#x20AC;&#x201C; 2 4 , 2 0 18

FOOD & DRINK

A Dose of Sparkling Water Queen City Hemp uses the cannabis compound cannabidiol as an ingredient in its novel CBD Seltzer BY M O R G A N Z U M B I EL

Three flavors of cannabidiol-infused seltzer PHOTO: HAILEY BOLLINGER

originally released the blood orange on tap at Taste of Cincinnati last year, and that was the first time we brought the product out on the market. Going back this year was very humbling,” Balzer says. “There’s been kind of an amazing response to it. Lemon lavender is my favorite so far.” As more people warm to the idea of CBD products, Queen City Hemp will keep growing. Right now, the seltzer is available in specialty stores like Clifton Natural Foods, Hemptations, Jungle Jim’s and Party Source, but Balzer says their goal is to hit mainstream markets like Kroger. They’ve also got their name on the lease of a new 3,000-square-foot space, meaning it’s all the more likely you’ll be able to find your CBD fix on the shelves between the energy drinks and the Arizona iced teas by the end of the year. Much of Queen City Hemp’s growth, Balzer says, can be attributed to social changes. “The overall awareness of using cannabis therapeutically has risen exponentially over the last decade, really, in all parts of the country,” he says. “Being able to speak on CBD in cannabis, specifically, is a lot easier than it was three years ago when we started.” Get more info on Queen City Hemp and CBD Seltzer at qcinfusion.com.

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waters are not as aggressively carbonated as other sparkling waters and the flavors are noticeable without tasting too sugary or artificial. In fact, Queen City Hemp doesn’t use any additives at all. There’s no caffeine, no sugar, no sodium and no artificial flavors. You’ll find only four ingredients listed on the can: carbonated water, natural flavors, potassium sorbate (to preserve freshness) and hemp extract, the source of the CBD. Bodies can process CBD differently and dosage is based on what ailment you want to treat, so there isn’t a whole lot of the extract in each can — just 5 milligrams in every 12 ounces. Queen City Hemp recommends that newbies to CBD start off will small doses, like that in the seltzer, see how they feel, and then build from there. As for flavor options, you can currently buy the seltzer in blood orange, passion fruit or guava, all with just a hint of hemp. The flavor of hemp itself is “somewhat bitter” says Balzer, but with notes of eucalyptus, black pepper and citrus. “I think of it as a good tonic water, but without the quinine or sodium,” he says. Balzer says he wants to eventually can the CBD Seltzer without any added flavors to let the hemp really shine. It might be a little while before that all-natural hemp flavor is out on shelves, but Queen City Hemp’s newest flavor, lemon lavender, will be canned later this month after a triumphant soft release at the Taste of Cincinnati back in May. “That was a special moment because we

cannabinoids. They’re different in that THC has a psychoactive effect and CBD does not. That’s a big thing.” So if you’re looking for a high, you’ve come to the wrong place, but there are a lot of other reasons why people use CBD oil. According to CBD fans and proponents who use it as a health supplement, the oil has anti-inflammatory properties and can be used to treat everything from chronic pain to anxiety and seizures. There have even been some studies that suggest it slows the growth of cancer cells. People with autoimmune diseases have found relief using it, too. Balzer recounts one of Queen City Hemp’s earliest customers — a woman with multiple sclerosis who was able to ditch all of her medications after adopting CBD. There are lots of ways to take CBD, which is labeled as a dietary supplement, but for Balzer, it’s all about offering quality options. “We wanted something that’s truly an optimal delivery system,” he says. “A tincture will last longer. You can take that in the morning, at night. And a vape will act very fast. It’s good in a reactive setting, but it’s not going to last as long and you’re not going to need as much. The seltzer is going to be kind of in between there in that it acts extremely fast and you can feel it, you know, kind of through your body.” Balzer gets that sparkling waters aren’t agreeable to everyone’s palate. If you seriously hate the fizz, there’s a good chance you won’t dig CBD Seltzer, either, but these

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hat do you drink in the morning? Smoothies? Boring. Coffee? Predictable. How about a CBD Seltzer? No, it isn’t a marijuana thing. Although it may sound a bit like a bougier version of La Croix reserved for hipsters and hippies, it’s actually more akin to taking your morning vitamins than it is a vice. The seltzer is the creation of Queen City Hemp, a Cincinnati-based company that was born in 2015 after talking to patients who could’ve benefitted from medical marijuana who were left high and dry after legislation failed to legalize it in Ohio. Originally hoping to break into the cannabis industry, the company’s focus turned to hemp, selling CBD oils for vaping and taking sublingually (aka under the tongue). CBD seltzer has only been on the market for a year, but the plan for the product was there from the get-go. “No one was doing it,” says Nicholas Balzer, Queen City Hemp’s CEO. “At the time there were a few companies in legal states doing it with cannabis and they were subpar. They weren’t stable. They had varying effects. The consistency wasn’t there. The quality of the science wasn’t up to snuff, in our opinion. (The drinks) usually had some artificial ingredients in them, like artificial sweetener and flavor. It was kind of like ‘Bleh. It can be better than this.’” And Balzer and his company worked to make it better. Now, Queen City Hemp rolls out its CBD Seltzer from Findlay Kitchen, a “food business incubator” that is home to other Cincinnati staples like Eli’s BBQ and Babushka Pierogies. From there, the cans are sent to local markets as well as markets in 16 other states across the country. Since Ohio isn’t a state where marijuana is legal, you won’t find any psychoactive ingredients in this seltzer. (Sorry.) There’s a common misconception that CBD is the same as marijuana but using CBD oil isn’t going to have the same effect as smoking a joint. “CBD is just one of the compounds in the plant,” Balzer says. “It’s a cannabinoid. CBD stands for cannabidiol, and cannabidiol is easily found in hemp and cannabis. THC is one of the well-known

THE DISH

OTR’S Cherbourg Cyprus is a Gluten-Free/Nut-Free Bakery That Blends French and Greek Flavors BY SA M I S T E WA R T A N D M A I JA Z U M M O

Cherbourg Cyprus’ OTR bakery

C I T Y B E AT. C O M

J U LY 18 – 2 4 , 2 0 18

PHOTO: HAILEY BOLLINGER

Decades ago, as her friends were splashing the summer away at the local pool, little Geri Peacock was fool-proofing her cookie recipe in a hot kitchen. At 10 years old, she was creating and analyzing test batches of baked goods in her free time, staring down at the batter and wondering which steps she could take to make it better. It’s no surprise that as an adult, Peacock is a baker by trade; she just opened the second location of her Columbus, Ohio-based Cherbourg Bakery here on Race Street, adjacent to Findlay Market. In its seven years in existence, the Columbus Cherbourg has become a worththe-drive cultish destination for locals on the hunt for allergy-friendly pastries — everything Cherbourg makes is both

gluten-free and nut-free. The Cincinnati bakery is no different, except for the name. OTR’s Cherbourg Cyprus is inspired by the blue-collar grit of Cherbourg, a seaside town in France, and the warmth and hospitality of the people of Cyprus, a Mediterranean island. And Peacock has family ties to Cherbourg: her grandfather helped liberate the town during World War II. The name also applies to the menu. The internationally-inspired OTR shop features not only French- and Mediterraneanstyle pastries — brioche, loukoumades, Cherbourg’s famous double lemon bars, muffins, cookies and cake — but also savory eggy deliciousness, like inventive stratas, quiches and individual skillet servings of shakshuka (eggs baked in a rich

tomato sauce with a dollop of ricotta and a hefty sprinkle of fresh herbs). “I sat down and ate it right out of the skillet the other day — it’s just so good,” Peacock says of the shakshuka. Everything in the bakery case must have a “wow factor” or it doesn’t make the cut. Peacock’s standards for quality, flavor, texture and presentation are high, which sets her apart from those baking gluten-free goods simply to fuel the fad. “If you’re doing gluten-free for the sake of doing gluten-free, you’re doing the bare minimum,” she says. “The reality of it is that it’s very hard work. It’s not for the faint of heart.” Peacock embarked on her gluten-free baking pilgrimage after being diagnosed

with celiac disease in 2009. The main treatment for celiac is a gluten-free diet, and because baked goods are full of gluten, many living with the condition eliminate sweets — or get accustomed to those that are a sub-par facsimile of the real thing. (Many people also eliminate gluten from their diets for health and weight loss reasons, not just because of the intolerance that comes with celiac.) Peacock missed cookies and assumed others who couldn’t eat gluten did too, so she started baking allergy-friendly sweets not only for herself, but also the outside community. There was a need for a to-diefor gluten-free bakery in the Columbus area, so she grabbed her whisk, flipped on the oven and started baking.

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Cherbourg’s famous lemon square PHOTO: HAILEY BOLLINGER

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C I T Y B E AT. C O M

Cherbourg Cyprus is located at 1804 Race St., Over-the-Rhine. More info at cherbourgcyprus.com.

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in recently and he was so nervous because he didn’t know what he could eat here and his mom said, ‘Everything,’” she says. “His eyes lit up and...I watched him sit and eat his first donut. I was thinking, ‘This is kind of life-changing right now.’” And what about the everyday bakery customer who is astonished to find out what they just ate was gluten-free and tasted that good? “Those are the moments where I’m incredibly proud,” Peacock says.

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Kids that attended a celiac support group at a children’s hospital were her first taste testers. “I knew that kids would tell me if they suck or (not),” Peacock says of her first pastries. “I want my food to have kid appeal as much as I want it to be foodie oriented for those who have a sophisticated palate, but also for those who just want a chocolate chip cookie.” Peacock successfully moved from farmers markets to a pastry case at a Columbus natural foods market before opening Cherbourg Bakery in 2011. Using a unique combination of rice and tapioca flour as a flour replacement and Ohio’s Hartzler Dairy, the small-batch baked goods are free of gums, fillers and dyes. The composition and flavor profile are equal to any excellent artisan bakery, and the lack of gluten is imperceptible. All items are also safe for those with nut allergies, which frequently goes hand in hand with celiac disease. Cherbourg became such a success that Cincinnatians who were sick of making the drive up to Columbus started asking Peacock to open a second location here. “We had a ton of people from Cincy driving up to Columbus every weekend to get something,” confirms Leslie, a baker at Cherbourg. “So a handful of regulars talked us into (opening a store) down here. We couldn’t pass it up. We were sick of our customers having to make that drive.” Regardless of Cincy’s openness to tasting new things, some people still have an aversion to gluten-free goodies. Peacock says sometimes when a guest hears the bakery is all gluten-free, “that’s the second people decide they don’t want to try it… and walk right out the door.” But Leslie recounts an opposite story — where those with severe allergies can come and enjoy Cherbourg’s baked goods without fear. “This kid (with a severe nut allergy) came

CLASSES & EVENTS WEDNESDAY 18

EST. 1933

Cincinnati Burger Week — CityBeat hosts the annual Burger Week fest, featuring $5 specialty burgers all week long at participating restaurants. From gourmet blends to off-menu specialties and even beer pairings, CB pays tribute to America’s sweetheart: the hamburger. Find participating restaurants, burgers and more at cincinnatiburgerweek.com.

NIVERSARY

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Carnival Eats! A Selection of Tasty Images at the CAC — PLUS Cincinnati brings together photographers and food stylists for a networking event that also displays a hipster carnival food image series. Look at the photos, dine on carnival bites and grab a drink at the bar. 5-9 p.m. Free admission. Contemporary Arts Center, 44 E. Sixth St., Downtown, contemporaryartscenter.org. Summer Dinner on the Terrace at Via Vite — Enjoy food and wine on the restaurant’s Fountain Square-adjacent outdoor terrace. There will be a welcome cocktail reception and apertivo, followed by a dinner featuring an assortment of iconic Italian dishes — served familystyle — with four wines. 6:30 p.m. $65. Via Vite, 520 Vine St., Downtown, viaviterestaurant.com.

THURSDAY 19

C I T Y B E AT. C O M

J U LY 18 – 2 4 , 2 0 18

Spice it Up!

New

Sandwiches

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

patio for discounted drinks — 25 percent of bar revenue from 3-8 p.m. will go to the organization. 3-8 p.m. Free admission. Taste of Belgium at The Banks, 16 W. Freedom Way, Downtown, facebook.com/tobthebanks. Red, Wine & Blue Tasting at We Olive — Chef Jessica of We Olive prepares a themed tasting menu including rainbow truffle fries, root and fruit salad, sausage and peppers and patriot parfait with paired wines. 6-8 p.m. $45. We Olive & Wine Bar, 33 E. Sixth St., Downtown, facebook.com/weolivecincy. Vino at the Memo: The Art of Wine — Enjoy four wine tastings, paired with cheese and charcuterie selections from The Rhined, and a tour of the artwork of Memorial Hall. 6-8 p.m. $50. Memorial Hall, 1225 Elm St., Over-theRhine, memorialhallotr.com.

FRIDAY 20

Schützenfest Cincinnati 2018 — Germans brought Schützenfest to Cincinnati in the 1860s with an event that includes the shooting of a hand-carved eagle, authentic German food, live German music, rides, attractions and German and domestic beer (and wine). 6 p.m.-midnight Friday; 4 p.m.-midnight Saturday; 1-9 p.m. Sunday. Free. Kolping Society, 10235 Mill Road, Finneytown, schuetzenfestcincy.com.

Urban Gardening & Edible Flowers — Join Kaia Goodwin of nonprofit The Abundance Box as she introduces six different edible flowers and shows you different ways to eat them. Julie Pelle of Potager + Pottery will also be on hand to give inspiration on how to transform a small urban yard into an organic garden. 6:30-9 p.m. Free. People’s Liberty, 1805 Elm St., Over-the-Rhine, facebook.com/pplslbrty.

Tequila Fest Cincinnati 2018 — The second-annual downtown Tequila Fest features more than 50 different tequilas, beer specials, food trucks and live entertainment. Tickets include 12 samples. 7-11 p.m. $40$125. Fountain Square, Fifth and Vine streets, Downtown, tequilafestusa.com.

Give Back Happy Hour: My Furry Valentine — Taste of Belgium is hosting My Furry Valentine, the area’s largest rescue pet adoption awareness organization, for a special afternoon happy hour. Bring your furry friend to the restaurant’s large

Crafted Food, Beer & Music Festival — Sawyer Point is hosting a riverside picnic in conjunction with seven different restaurants and more than 38 craft beer options. Beer drinkin’ tunes will be provided courtesy of Buffalo Wabs & The Price

SATURDAY 21

Hill Hustle and Doc Robinson. Proceeds benefit the League for Animal Welfare. 2-6 p.m. Saturday. $60; $85 VIP; $35 designated driver. Sawyer Point, 705 E. Pete Rose Way, Downtown, craftedfest.com.

SUNDAY 22

Brunch Before the Ballpark — Hang out at Fountain Square before the Red’s afternoon home game for brunch foods from local food trucks and drinks from the Fountain Square Bar. 10 a.m.- 4 p.m. Free. Fountain Square, Fifth and Vine streets, Downtown, myfountainsquare.com. Summer Bake Sale at Please — OTR eatery Please is hosting a series of part brunch/part pop-up “bake sales” with some of the finest female pastry chefs in the country — all complemented by featured wines, exclusively from female winemakers. Zoe Taylor is the featured chef in July. Taylor is a decorated pastry chef from Milktooth in Indianapolis. 11 a.m.-2 p.m. Free admission. Please, 1405 Clay St., Over-the-Rhine, pleasecincinnati.com. Roast: Gin and Brandy Cocktails with Lechon — Enjoy an afternoon of drinking and dining with chef Mapi De Veyra of Quan Hapa and a cash bar featuring Kentucky Wild Gin cocktails and Copper & King brandy cocktails. For $20, enjoy an islander-style pig roast. A vegetarian plate is available. Noon-6 p.m. Free admission. New Riff Distilling, 24 Distillery Way, Bellevue, newriffdistilling.com.

TUESDAY 24

Women of Cincy Boozy Hour — This monthly happy hour, hosted by Women of Cincy, takes place at a female-owned location. This time, head to the motherdaughter helmed Gather Cincy co-working space for cocktails, conversation and tours. 6-8 p.m. Free admission. Gather Cincy, 2345 Ashland Ave., East Walnut Hills, facebook.com/ womenofcincy.

MUSIC One More for the Road Kevin Lyman talks about the final run for the Vans Warped Tour BY A L A N S C U L L E Y

Kevin Lyman PHOTO: CHAD SENGSTOCK

though, is the future of some of the nonprofits that have been part of the Warped experience. Each year dozens of organizations have traveled with Warped, and a good number of fledgling groups grew into influential operations through the exposure and volunteer participation they’ve generated on the tour. Working with these organizations has long been a major priority for him. “One of the hardest things of ending this (tour) is trying to figure out how to continue to help them with their missions,” Lyman says. “We’ve got some plans in place. We’re not walking away from them.” Lyman himself has plenty of ways to fill his time now that he’s not booking and running Warped Tour. Besides staying involved with some of the nonprofits, he will be available to consult on certain festivals or other events and he has accepted a teaching position with the University of Southern California starting this fall. Having some time off during “summertime” for the first time since his days with Lollapalooza, Lyman has one other undertaking on his mind. “Now I’m going to travel in a different way,” he says. “I get to take my wife on a summer vacation. It will be awesome. Next summer will be our first summer vacation in 27 years.” The all-day Vans Warped Tour comes to Riverbend for a final time on Thursday (July 19). Tickets and more info: riverbend.org.

C I T Y B E AT. C O M

well as emerging acts that touch on everything from Pop Rock (Echosmith) and Punk (Doll Skin) to Metal (Amity Affliction) and beyond. Due to the aforementioned financial realities, Lyman says he wasn’t able to book all of the returning acts he wanted, although some groups that helped put Warped on the map are making one-off guest appearances at various tour stops. He likes what this year’s lineup offers and what he’s seen with ticket sales so far. “I have a very solid lineup and it’s all people who wanted to be there,” he says. He says the varied roster of acts from different Warped eras seems to have helped expand the typical fanbase for the tour. “I’m very happy with how I think we’re selling our tickets, who we’re selling our tickets to this year,” Lyman says. “It looks like we’re selling to a fan that maybe remembers their good times at Warped Tour, that’s maybe a few years older, that 20- to 35-year-old set. I really think it’s going to be a celebration of people who are true music fans, who remember those times (at Warped) and are going to come out and have a great last summer with us.” The absence of a Warped Tour going forward will leave a void for some bands, especially the newer Alt-leaning acts that have been able to establish a buzz and a following for themselves on the tour. But Lyman figures those acts will find other touring options that will work for them. One void that is a concern for Lyman,

they’d come back, (do Warped Tour) and hopefully do a couple (European festivals) in August. But now there’s a full three months of festivals going on in Europe.” With the bulk of their income stream shifting heavily to the touring arena, Lyman says he’s sympathetic to bands’ financial necessities. “It’s understandable. They only make their money from touring, so in the shortterm thinking, maybe they could go make more money (in Europe),” he says. On a personal level, Lyman also found himself getting worn down from the long hours he puts in traveling with the tour, making sure things run smoothly. He typically starts work before sunrise and doesn’t finish until dark, some 16 hours later. Physically, it’s become a challenge for Lyman, now 57, to maintain his hands-on approach to managing the tour. He has a knee replacement and a surgically rebuilt ankle to testify to the wear and tear. “I go 100 percent on everything I do,” he says. “I’m always in the middle of it and I will always be in the middle of everything I do. But the physical toll on me has gotten too hard.” So, yes, Lyman sounds ready to leave behind the grind of Warped, but not until he takes one last trip around the country. For Warped’s final voyage, Lyman assembled a diverse lineup of talent that includes a number of veteran bands that have had multiple outings on the tour (Less Than Jake, Reel Big Fish and Every Time I Die) as

J U LY 18 – 2 4 , 2 0 18

evin Lyman is approaching this summer’s 24th edition of the Warped Tour thinking about something that never needed to enter his thoughts during most of the years he’s organized and overseen it: He’s thinking about his life without Warped. Last fall, Lyman announced that 2018 would be the last year for Warped as a traveling festival that visits cities coast to coast. It’s the end of an era in the concert world. Warped wasn’t Lyman’s first traveling festival — before launching Warped, Lyman worked for three years on Lollapalooza when it was breaking ground as a touring multi-band festival. But it is the last such tour from the ’90s heyday, having outlasted Ozzfest, Lollapalooza, H.O.R.D.E., Lilith Fair and every other traveling tour. Lyman suspects the concept of the traveling festival has seen its day and lists multiple reasons why it’s unlikely to happen again. One reason is finances. The transportation costs of getting some 70 bands and everything that comes with them to the venues have increased, as have band fees, insurance and other expenditures. It’s also become a bigger challenge to book bands popular enough to anchor Warped stages and drive ticket sales. That wasn’t an issue in the first decade or so, when Warped was essentially the only big summer package tour going for bands in the Punk and AltRock worlds. Back then, managers and record labels clamored for one of the coveted tour slots. The business of music and touring has also changed in big ways, and the changes haven’t always worked in Warped’s favor. For one thing, album sales have tanked in the era of downloading and streaming services. Without much revenue from album sales, bands have to make their money on touring. Lyman says Warped is simply not seen by some industry professionals as the best summer touring option anymore, particularly for the kind of acts that could bring name recognition and a measure of star power to the tour. “When I started Warped Tour, there wasn’t a full summer (of festivals) in Europe that you could go to,” Lyman says. “Bands used to go over there in June, do a couple of festivals in early June, and then

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The majority of works are from the collection of Michael Mattis and Judith Hochberg, with selections from the Cleveland Museum of Art and the collection of Connie and Jack Sullivan. This exhibition is organized by art2art Circulating Exhibitions, LLC, and the Taft Museum of Art. IMAGE: Denali and Wonder Lake, Denali National Park, Alaska, 1947. Photograph by Ansel Adams. Image courtesy of Collection Center for Creative Photography, University of Arizona. ©The Ansel Adams Publishing Rights Trust

Remembering Ross Raleigh BY N I C K G R E V ER

Amid the essentials found within SouthRoss built the Southgate House’s reputagate House Revival’s office is a massive coltion the old-fashioned way, by welcoming lection of show posters. Posters are hung anyone who walked in the door, sitting on the walls, stacked on shelves, rolled up them down and having a conversation. in plastic bins and nestled in just about Time and time again, Morrella has heard every other spot that isn’t currently taken stories of people who unknowingly spoke up by a computer or filing cabinet. It feels with Ross, shared a few drinks and only like a museum in the making; a museum later found out he was the owner of the for a venue that’s been around — in one establishment. form or another — for four decades and for “He loved talking to people; he loved the man that made it all possible. meeting people; he loved people that had Ross Raleigh, the owner and operator different types of stories, different types of the original Southgate House music of backgrounds,” Morrella says. “And he venue (just across the river from Cincinnati on Third Street in Newport, Ky.) and later the Southgate House Revival (three blocks away in Newport at 111 E. Sixth St.) died on June 7, 2018, but he left behind a legacy that’s as simple as it is meaningful: Give musicians and music fans a place to have a good time and be sure to treat everyone like family while they are there. “In this business, you can’t say, ‘Here’s my business plan and I’m going to stick with it for the The Southgate House’s Ross Raleigh next 20 years,’ ” says Ross’ daughter Morrella Raleigh, PHOTO: MORELL A RALEIGH who is also the general manager of the Southgate House Revival. “The business itself could talk to them. And because he was changes drastically over time, and I think so well read and liked music and film so it was part of the nature of his personalmuch he had something he could talk to ity that he was a ‘go with the flow’ kind of most people about.” guy, so he would be open to new things all It is this earnest and endearing devotion the time and I think that was part of what to keeping the Southgate House a welcommade (the Southgate House) the great ing environment for people from all walks place that it was.” of life that will be remembered most about Ross started the Southgate House Ross Raleigh. Fans and musicians from endeavor in the 1970s after attending across the country have poured out their Bluegrass festivals and wanting to give the fond memories to Morrella since his passartists a place to play year-round. While ing, stories that have taught her even more he started with a focus on Bluegrass and about her father than she had ever known. Country music in 1976, within a few years In many ways, Morrella has carried on the Southgate House opened its doors to her father’s work. She has kept up the tradianyone who didn’t have anywhere else to tion of buying multiple copies of CDs from play — it became a supportive haven for bands she particularly enjoys in order to touring acts and especially local musicians pass them out to friends. Our recent interfrom throughout the Greater Cincinnati view also often veered off into memories of region. Hosting everything from Punk to shows gone by and anecdotes about Ross Country bands — and most points beyond — the man was a storyteller and that has and in between — the Raleighs took their definitely passed on to his daughter. philosophy with them when they relocated Even with Ross gone, the aura of the from their original home in a historic NewSouthgate House is still one of openness port mansion and opened the Southgate and warmth. You only need to look at all House Revival in an old church in 2012. the smiling faces of the staff and patrons Morrella says her father wanted everyalike to know that while Ross is gone, he is one to have a good time at the club, as long far from forgotten. as “no one is damaging anything or hurtFor more on the Southgate House Revival, ing each other,” she says. “He didn’t want visit southgatehouse.com a place that was rowdy. He wanted people that liked to have a few drinks and people that wanted to listen to music.”

SOUND ADVICE

THURSDAY July 26pm Allman Brothers Drummer Returns to The Ludlow Garage

JAIMO's JASSSZ BAND With Very Special Guest Erin Coburn

Doors 7:00

Show 8:30

Messthetics PHOTO: ANTONIA TRICARICO

All Ages

The Messthetics with Hher and S/heep Wednesday • Northside Tavern

342 Ludlow Ave. Cincinnati. OH 45220 513.221.4111

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heartbeat, and Pirog’s imaginative approach to synthesizing his various influences and directions, where he combines his cerebral Jazz intuition with his thunderous riffmongering. As a trio, the group has no interest in Post Hardcore displays of shred mastery, instead committing to creating a pummeling and yet still nuanced pas de trois among its talented players. The Messthetics’ self-titled debut album was recorded on the floor of Canty’s practice space with minimal overdubs and was released in March on Dischord Records (the indie imprint co-founded by Fugazi bandmate Ian MacKaye back in 1980) to almost universal praise. (Brian Baker)

Nearly 20 years ago, guitarist/vocalist Ethan Miller co-founded Comets on Fire, a raucous SoCal Psych/Garage Rock quintet with a mile-wide experimental streak and a cultishly fervent fan base. Although the

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J U LY 18 – 2 4 , 2 0 18

The Messthetics effectively disprove a couple of musical tropes. The Washington, D.C. trio offers solid evidence that a) quasi supergroups are not boring, and b) neither are instrumental Math/Post Rock bands. On the supergroup front, The Messthetics consists of some fairly potent names from the D.C. scene: drummer Brendan Canty and bassist Joe Lally are best known as the rhythm section from Fugazi, which has been on indefinite hiatus for the past 15 years. The band is rounded out by guitarist Anthony Pirog, renowned for his Jazz work as well as his Stoner/Doom outfit Skysaw, which also includes Smashing Pumpkins drummer Jimmy Chamberlin and multi-instrumentalist Mike Reina. During Fugazi’s long, dark teatime, Canty started his Trixie film production company and created the “Burn to Shine” music video series, featuring bands playing a single song live in a house slated for demolition. He also helped create Wilco’s tour film Ashes of American Flags and Eddie Vedder’s solo DVD Water on the Road and became an active producer while working on side projects like Garland of Hours and Deathfix. Lally has maintained a solid solo career, releasing three albums under his own name, the last in 2011, while joining a variety of bands including Decahedron and Ataxia (with former Red Hot Chili Peppers guitarist John Frusciante) and serving as touring bassist for a variety of artists. Pirog has fronted a number of duo, trio and sextet Jazz configurations. The power and appeal of The Messthetics is the well documented chemistry between Lally and Canty, whose effervescent groove was Fugazi’s swinging

which hit the streets early last month. By all accounts, the freshly energized Howlin Rain has given the new album a scorching presentation on its latest tour circuit, with Miller and his new cohorts sounding like stallkicking thoroughbreds. This is one summer storm that will be completely welcomed. (BB)

Maren Morris with Niall Horan

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band checked all the right boxes for new millennium noisemongers, Miller ultimately wanted to explore a sound rooted in Classic Rock melodicism and traditions. To that end he formed Howlin Rain, a side project that quickly eclipsed its parent band in terms of exposure and acceptance. The earliest incarnation of Howlin Rain featured Miller’s high school bandmate Ian Gradek and drummer John Moloney, the lineup responsible for the band’s eponymous debut in 2006. Thereafter, Howlin Rain was something of a revolving door affair with Miller as the only constant, which may explain the consistency of the band’s swampy Psych/Blues sound over the past dozen years. By the band’s sophomore album, 2008’s Magnificent Fiend, Howlin Rain had expanded to a quintet, which is how it remained through two additional EPs and a third album, 2012’s The Russian Wilds. When the band came off the road touring the album, Miller opted out of his contract with Rick Rubin’s American Recordings and the group effectively dissolved. In 2014, Miller independently dropped Live Rain, the aptly titled live album culled from various shows on the Russian Wilds circuit, which served as a stopgap release until he could map out his strategy going forward. He assembled a set of studio players to represent Howlin Rain and released the uneven but still powerful Mansion Songs in 2015; Miller identified the album in the accompanying publicity materials as the first volley in a proposed trilogy of albums. In the interim, Miller put together a new Howlin Rain lineup — guitarist Dan Cervantes, bassist Jeff McElroy and drummer Justin Smith — and created his own label, Silver Current, to release their sixth and perhaps best album to date, the brilliantly rough and tumble The Alligator Bride,

Wednesday • Riverbend Music Center Breakthrough. Breakthrough. Breakthrough? In the last two years, Country/ Pop crossover artist Maren Morris has picked up that “breakthrough” tag from nearly everyone who has mentioned her name. While it’s certainly a compliment and a sentiment that Morris is no doubt eating up, it’s not exactly a fair analysis. Morris is a whole lot more than just some fresh new thing. She may be young, but Morris has been working hard and paying her dues for quite a long time. The Texan got her first guitar before she finished middle school. Her first album was released shortly after her 15th birthday, in 2005. From that point in her budding career, Morris had two more independent albums released within the next six years. After that, Morris spent a few years writing songs for big names like Tim McGraw and Kelly Clarkson. She even contributed several songs to various Nashville TV episodes. It wasn’t until more than a decade after her first album that Morris finally struck gold in her own career with her first big label release, Hero. It’s that 2016 album — and singles like “My Church” and “I Could Use a Love Song” — that landed Morris on a bigger stage. It even found her collecting kudos from the likes of Sir Elton John and the Grammys. And as if her hard work on the Country scene wasn’t enough, Morris also recently dove into the Pop world. Her partnership with Zedd and the musical group Grey on “The Middle” is this summer’s inescapable hit. So “breakthrough” doesn’t really cut it. Maren Morris has been working hard and playing the game for a decade — at 28, she’s practically a seasoned veteran. She only crashed into most of our lives fairly recently, but she’s got staying power to keep her around for decades to come. (Deirdre Kaye).

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 18

Millikin. 7:30 p.m. Acoustic. Free.

BLIND LEMON–Dave Hawkins. 7:30 p.m. Folk/ Celtic. Free.

CAFFÈ VIVACE–Dan Radank Duo. 7:30 p.m. Jazz.

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

THE COMET–Alexa Dexa, Nanny and Halvsies. 10 p.m. Indie/Pop/Rock. Free. KNOTTY PINE–Dallas Moore & Lucky Chucky. 10 p.m. Country. Free. THE LISTING LOON–Ricky Nye. 8:30 p.m. Blues/Boogie Woogie. Free.

MADISON LIVE–Big Something. 8 p.m. AltRock. $15, $17 day of show.

THE COMET–Didi and Pop Empire. 10 p.m. Indie/Pop/Rock. Free.

CROW’S NEST–Easy Tom Eby. 10 p.m. Americana. Free. HORSE & BARREL–Sonny Moorman. 6 p.m. Blues. Free. KNOTTY PINE–Chalis. 9 p.m. Pop/Rock/Varous. Free. THE MAD FROG–EDM Thursdays. 6 p.m. DJ/Electronic/Dance. Cover.

MARTY’S HOPS & VINES– Mike Biere and Rick Boyer. 7 p.m. Acoustic. Free.

MADISON THEATER–Beatles vs. Stones: A Musical Showdown. 8 p.m. Classic Rock. $30-$65.

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

MOTR PUB–Kasey Waldon with Joe’s Truck Stop. 9 p.m. Americana. Free.

NORTHSIDE TAVERN–The Messthetics with Hher and S/heep. 8 p.m. Indie Rock/Post Punk/Various. $5.

PNC PAVILION AT RIVERBEND–Jason Isbell & the 400 Unit with Hiss Golden Messenger. 7 p.m. Americana/Rock. $23.50-$59. SONNY’S ALL JAZZ LOUNGE–Karaoke. 7 p.m. Various. Free. SOUTHGATE HOUSE REVIVAL (LOUNGE)–Arlo Mckinley with Justin Wells. 9 p.m. Americana/Folk/Country/Various. Free.

ARNOLD’S BAR AND GRILL–Dottie Warner and Wayne Shannon. 7:30 p.m. Jazz. Free. BLIND LEMON–Charlie

RIVERBEND MUSIC CENTER–Vans Warped Tour with Bowling For Soup, Less Than Jake, Broadside, Twiztid, Mayday Parade, Unearth, Motionless In White, Deez Nuts, We The Kings, Every Time I Die, Real Friends, Reel Big Fish, Silverstein, Simple Plan and more. 11 a.m. Alt/Rock/Pop/ Punk/Various. $45, $50 day of show. SCHWARTZ’S POINT JAZZ & ACOUSTIC CLUB– Michael Cruse Trio. 8 p.m. Jazz. Cover.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–Thelma and the Sleaze with Breaking Glass. 8 p.m. Rock. $5, $8 day of show. SOUTHGATE HOUSE REVIVAL (SANCTUARY)– Dan Baird & Homemade Sin with The Exit Strategy. 8 p.m. Roots/Rock. $18.

URBAN ARTIFACT– ADDVantz, Allen 4 President,

CAFFÈ VIVACE–Kathy Wade Trio. 8:30 p.m. Jazz. THE COMET–Alouette and Hateflirt. 10 p.m. Noise Pop/ Punk/Various. Free. COMMON ROOTS–Anna Applegate. 8 p.m. Acoustic. Free. CROW’S NEST–The Inturns. 10 p.m. Rock. Free. FRETBOARD BREWING COMPANY–Ricky Nye Inc. 8 p.m. Blues/Boogie Woogie. HILLSIDE GASTROPUB– Sonny Moorman Group. 8:30 p.m. Blues JAG’S STEAK AND SEAFOOD–Airwave. 9 p.m. Pop/ Dance/R&B. $5. JIM AND JACK’S ON THE RIVER–Danny Frazier. 9 p.m. Country. Free. KNOTTY PINE–13:30. 10 p.m. Rock. Cover. LUDLOW GARAGE–Jonathan Butler. 8:30 p.m. Contemporary Jazz. $40-$75.

THE MAD FROG– D.O.A. with The Turbo A.C.’s’ and The Z.G.’s. 8 p.m. Punk. $15, $20 day of show. MANSION HILL TAVERN– Soul Pushers. 9 p.m. Blues. Cover. MARTY’S HOPS & VINES– Chris Lee. 9 p.m. Acoustic. Free.

H H

MOTR PUB–In the Pines with Curio Key Club. 10 p.m. AltRock. Free. NORTHSIDE YACHT CLUB–Black Signal, Hexadiode and Flocks. 8 p.m. Electronic/Various.

OCTAVE–Emmaline with Sundae Drives. 8 p.m. Jazz/ Soul/Pop/Various. $5. RICK’S TAVERN–Turned Up Band. 9:30 p.m. Dance/

Chris Stapleton plays at Riverbend Music Center October 4 P H O T O : C H R I S S TA P L E T O N . C O M

Pop/Various. Cover.

$10 (food/drink minimum).

SCHWARTZ’S POINT JAZZ & ACOUSTIC CLUB–Max Gise Trio. 8:30 p.m. Jazz. Cover.

SATURDAY 21

SOUTHGATE HOUSE REVIVAL (SANCTUARY)–Lost Coast (EP release) with Calumet and Of The Dell. 8 p.m. Rock/ Roots/Various. $10. STAGE FORTY-THREE– Michael Tyler with Matt Waters. 8:30 p.m. Country. $20.

TAFT THEATRE–Fleet Foxes with Nilüfer Yanya. 8 p.m. Indie Folk. $37.50-$47.50 URBAN ARTIFACT–The Crashlanders, Life Brother, The Kno Nothings and All Nighter. 9 p.m. Psych/Alt/ Rock/Various. VINKOLET WINERY AND RESTAURANT–Terry Metcalf. 7 p.m. Blues. Free. WASHINGTON PLATFORM SALOON & RESTAURANT– John Zappa Trio. 9 p.m. Jazz.

ARNOLD’S BAR AND GRILL–Warrick and Lowell. 9 p.m. Americana. Free.

JIM AND JACK’S ON THE RIVER–Ron Fletcher & the Southern Edge Band. 9 p.m. Country/Rock. Free. KNOTTY PINE–90 Proof Twang. 10 p.m. Country. Cover.

THE AVENUE EVENT CENTER–Lil Baby with DJ Fresh, DJ Major League and more. 10 p.m. Hip Hop. $40-$80.

BLIND LEMON–Willow. 9 p.m. Acoustic. Free.

BOGART’S–Lyfe Jennings. 7 p.m. R&B/ Pop. $38.

BROMWELL’S HÄRTH LOUNGE–Adia Dobbins with the Ben Tweedt Trio. 9 p.m. Jazz. Free. CAFFÈ VIVACE–Lynne Scott with DeGreg, Gemus and Taylor. 8 p.m. Jazz. COMMON ROOTS–Dramatic Rhythms. 8 p.m. Various. Free. JAG’S STEAK AND SEAFOOD–My Sister Sarah. 9:30 p.m. Rock/Pop. $5.

LUDLOW GARAGE– Femi Kuti & The Positive Force. 8:30 p.m. AfroBeat/World. $20-$45. MADISON LIVE–Local Summer Showcase with 6 Hours to Kill, Mister Mason, Samson and Sundae Drives. 8:30 p.m. Rock/ Pop/Various. $10, $12 day of show.

MADISON THEATER– Harbour, Circle It, 90’s Kids and The Vims. 8 p.m. AltRock/AltPop. $12, $15 day of show. MANSION HILL TAVERN– Rhythm Jones. 9 p.m. Blues. Cover. MARTY’S HOPS & VINES– Patty Lane. 9 p.m. Jazz. Free.

C I T Y B E AT. C O M

THURSDAY 19

PLAIN FOLK CAFE–Open Mic with Pete Schultz. 7 p.m. Various. Free.

BLIND LEMON–Donna Frost. 9 p.m. Acoustic. Free.

URBAN ARTIFACT–1310, Shawan and the Wonton and Anna Applegate. 9 p.m. Reggae/Rock/Punk/Various. Free.

NORTHSIDE TAVERN– Karaoke Fantastic. 9 p.m. Various. Free.

FRIDAY 20

ARNOLD’S BAR AND GRILL–Doc and Ruth. 9 p.m. Old Time. Free.

J U LY 18 – 2 4 , 2 0 18

SOUTHGATE HOUSE REVIVAL (SANCTUARY)–Low Cut Connie. 8 p.m. Rock & Roll. $15.

MOTR PUB–The Sea The Sea and Shiny and the Spoon. 10 p.m. Indie/ Folk/Various. Free.

ProFound, Papa Gora, Sheldon Belcher, Supreme Prisms, Sess & Ponzu and DJ Iron Chef. 9 p.m. Hip Hop/R&B. Free.

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MOTR PUB – The Grove record release. 10 p.m. Rock/Various. Free.

MVP BAR & GRILLE–Planet Axe Tour with Ryan Roxie, Brandon Gibbs and Joel Kosche. 9 p.m. Rock. $10. NORTHSIDE TAVERN–Paper Doll Scissor Fight. 10 p.m. Alt/Rock/Various. Free.

H H

NORTHSIDE YACHT CLUB–Transplant Fest with Incantation, Ringworm, Black Fast and more. 6:30 p.m. Metal. $25.

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OCTAVE–Random Rab and Lapa. 8 p.m. Electronic/Indie/Dance/Jam/Various. $10, $12 day of show.

7/18 - LOWCUT CONNIE, ARLO MCKINLEY W/ JUSTIN WELLS

7/19 - DAN BAIRD & HOMEMADE SIN, THE EXIT STRATEGY, THELMA AND THE SLEAZE W/ BREAKING GLASS, VERONICA GRIM, NOAH SUGARMAN, CHELSEA LOVITT & BOYS 7/20 - LOST COAST COSMIC AMERICAN MUSIC EP RELEASE W/ CALUMET, OF THE DELL, ROYAL HOLLAND AND THE ROTATION ETERNAL RETURN ALBUM PRE-ORDER PARTY 7/21 - MUSIC MAYHEM, COUGAR ACE, THE RATTLETRAPS, CINCINNATI NOIR

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PIRATES COVE BAR & GRILLE–Basic Truth. 8 p.m. Funk/R&B/Soul. Free. PLAIN FOLK CAFE–Tadcasters. 7:30 p.m. Bluesgrass/Roots. Free. RICK’S TAVERN–Wayward Son. 9:30 p.m. Classic Rock. Cover. SCHWARTZ’S POINT JAZZ & ACOUSTIC CLUB–Ron Enyard with David Tarbell, Rob Allgeyer and Dan Drees. 8:30 p.m. Jazz. Cover. SILVERTON CAFE–DeJaVue. 9 p.m. Rock/ Various. Free. SOUTHGATE HOUSE REVIVAL (LOUNGE)– Cougar Ace with The Rattletraps. 9:30 p.m. Rock & Roll/Various. Free. SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–“Cincinnati Noir.” 10 p.m. Dance/Alt/ DJ/Various. $5.

SAV E T H E DAT E!

SOUTHGATE HOUSE REVIVAL–Music Mayhem featuring Chakras, Catalytic, Murder Machine, Blood of Heroes, Secret Circle Society and Smoke Healer. 6 p.m. Rock. $10.

THOMPSON HOUSE–Acoustic Showcase featuring Ronnie Patterson. 8 p.m. Acoustic. $10.

Wednesday, December 5th New Riff Distilling 5:30-8:30 P.M.

C I T Y B E AT. C O M

J U LY 18 – 2 4 , 2 0 18

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Acoustic. Free. LATITUDES BAR & BISTRO–Blue Birds Band. 8 p.m. R&B/Rock. Free. MANSION HILL TAVERN–Open Blues Jam with Deb Olinger. 6 p.m. Blues. Free.

MOTR PUB–Howlin Rain with Mountain Movers. 8 p.m. Rock. Free.

NORTHSIDE YACHT CLUB–Ramallah. 8:30 p.m. Hardcore. $12, $15 day of show.

PNC PAVILION AT RIVERBEND–Tedeschi Trucks Band Wheels of Soul 2018 featuring Drive-By Truckers and Marcus King Band. 6:30 p.m. Roots/Rock/Soul/Various. $23.50-$86.

SONNY’S ALL BLUES LOUNGE–Blues jam session featuring Sonny’s All Blues Band. 8 p.m. Blues. Free. SONNY’S ALL JAZZ LOUNGE–The Art of Jazz featuring the music of Art Blakey. 8 p.m. Jazz. Free. STANLEY’S PUB–Stanley’s Open Jam. 8 p.m. Various. Free.

MONDAY 23

BLIND LEMON–Ben Armstrong. 7:30 p.m. Acoustic. Free. MANSION HILL TAVERN–Acoustic Jam with John Redell and Friends. 8 p.m. Acoustic. Free. MOTR PUB–Mobley with up+dn. 8 p.m. Indie/ Rock/R&B/Pop. Free. NORTHSIDE TAVERN–The Qtet. 9:30 p.m. Rock/Funk/Fusion/Jazz/Various. Free. PACHINKO–Open Mic. 9 p.m. Various. Free.

URBAN ARTIFACT–Giant Peach and Mardou. 9:30 p.m. Indie Rock/Post Punk. Free.

TUESDAY 24

URBAN ARTIFACT–MASQ, Watchfrogs and Souther. 9 p.m. Indie/Pop/Rock. Free.

BLIND LEMON–Nick Tuttle. 8:30 p.m. Acoustic. Free.

THE VENUE CINCINNATI – L.A. Guns. 5:30 p.m. Rock. Cover.

CAFFÈ VIVACE–The Martini Project. 7 p.m. Jazz.

WASHINGTON PLATFORM SALOON & RESTAURANT–Andrew Hartman Trio. 9 p.m. Jazz. $10 (food/drink minimum).

NORTHSIDE TAVERN–Levee and The Pines. 10 p.m. Indie/Soul/Pop/Rock. Free.

SUNDAY 22

BLIND LEMON–Jeff Henry. 8:30 p.m.

Future Sounds Five Iron Frenzy – Aug. 4, Southgate House Revival WHY? – Aug. 31, Woodward Theater Family and Friends – Sept. 18, Madison Live Robbie Fulks – Sept. 27, Southgate House Revival

RIVERBEND MUSIC CENTER–Chris Brown with H.E.R., 6lack and Rich The Kid. 7 p.m. Pop/R&B/Hip Hop. $39.99-$149.99.

Leftover Salmon – Oct. 4, Madison Theater Chris Stapleton – Oct. 4, Riverbend Music Center Lauv – Oct. 9, Bogart’s Martin Barre – Oct. 25, Ludlow Garage John 5 – Oct. 31, Blue Note Harrison Mothers – Oct. 31, MOTR Pub

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DELIVERY CONTRACTORS NEEDED

CityBeat needs contractors to deliver CityBeat every Wednesday between 9am and 3pm. Qualified candidates must have appropriate vehicle, insurance for that vehicle and understand that they are contracted to deliver that route every Wednesday. CityBeat drivers are paid per stop and make $14.00 to $16.00 per hr. after fuel expense. Please reply by email and leave your day and evening phone numbers. Please reply by email only. Phone calls will not be accepted. sferguson@citybeat.com

NIGHT GARDEN RECORDING STUDIO

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

Learn about ACCESS: an emergency cardiac arrest study that may affect you or someone you know Indiana’s Largest “Antiques & Vintage-Only” Market

Next Show – Sunday, Aug 5 Every First Sunday May - October

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What

The purpose of this research study is to determine if cardiac arrest patients do better if initially transported to the cardiac catheterization lab or initially transported to the intensive care unit for consultation by a cardiologist. All patients will receive standard medical care and will be randomized to one of these two options, similar to flipping a coin.

Who

Adults who experience out-of-hospital cardiac arrest due to ventricular tachycardia or ventricular fibrillation and are transported to the University of Cincinnati Medical Center.

Details

For details on the risks and benefits, exception from informed consent, opt-out bracelets, and other aspects of the study, please call (513)584-0477 or, email accesstrial@uc.edu, or visit the website at z.umn.edu/accesstrial.

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