CityBeat | Sept. 5, 2018 by Cincinnati CityBeat

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NEWS The Meaning of Sanctuary A federal court case illustrates questions about the relationship between Hamilton County and ICE BY N I C K SWA R T S EL L

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he detention of an asylum-seeker from El Salvador in county jail under a federal hold from immigration authorities has big personal stakes — and could have bigger political implications as attorneys challenge the county and the federal government. Manuel Ventura-Pineda’s month-long detention in the Hamilton County Justice Center started in July, after he was arrested on misdemeanor assault charges for biting Charles Brewster, Jr. in his torso. He’s pleaded not guilty. Witnesses of the altercation say Ventura-Pineda was defending himself from an attack. There’s a twist: Last year, Brewster pleaded guilty to threatening Ventura-Pineda’s family with a gun. The day he arrived at the jail, Immigration and Customs Enforcement placed a federal hold on Ventura-Pineda. That move has triggered a federal lawsuit in the U.S. Southern Ohio District Court, filed by attorney Charleston Wang, alleging ICE and the Hamilton County Sheriff’s Office are violating Ventura-Pineda’s constitutional rights. Beyond the personal implications for Ventura-Pineda, the case is significant as a hazy window into the relationship between the county, home to selfproclaimed immigrant-friendly sanctuary city Cincinnati, and ICE, which has ramped up enforcement efforts around the “zero tolerance” immigration policies of President Trump’s administration. The sheriff’s office declined to comment on emailed questions about the case and the means by which ICE learns about county jail detainees in order to place holds on them. Immigration attorneys, however, believe the sheriff’s office is actively working with ICE, a direct contradiction to an agreement between immigrant advocates and Hamilton County Sheriff Jim Neil. Those attorneys also have questions about Cincinnati Police actions around Ventura-Pineda’s arrest, including why Brewster, the other man in the tussle, was not also arrested, despite a history of menacing the family. CPD declined to comment on the case.

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Wang has also filed a motion in Hamilton County Courts asking the city and county to drop the assault charge against Ventura-Pineda. Ventura-Pineda’s wife, Kristen Clark, witnessed the incident. She says she, her husband and others were at an apartment complex in Pleasant Ridge, where they used to live, to discuss a wage theft complaint brought by the Cincinnati Interfaith Workers Center that involved some of their former neighbors. Clark says Brewster harassed VenturaPineda and others, eventually taking off his shirt and challenging Ventura-Pineda to a fight. When Ventura-Pineda walked away, Clark says, Brewster punched him in the back of the head and took him to the ground. “He was beating my husband, choking him,” she says. “I guess my husband bit him, trying to get up.” A police report of the incident doesn’t yield much detail, but does show that both Ventura-Pineda and Brewster had evident, but mild, injuries. The report doesn’t include any statements from witnesses to the events but does say Brewster accused Ventura-Pineda of hitting him with a bottle. The phone number listed on the police report as Brewster’s was inactive. A

voicemail left with another cell phone number associated with a man named Charles Brewster, Jr. who has the same birthdate and address as the man involved in the incident was not returned. It wasn’t the first time Brewster had been in a confrontation with the family. The July prior, Hamilton County prosecutors charged him with three counts of aggravated menacing and one count of having weapons while under disability — a fifth-degree felony — after Brewster threatened Clark, Ventura-Pineda’s son Jefferson and other residents of the same Pleasant Ridge apartment complex with a firearm. Clark says that incident started when Brewster became mad that the family was speaking Spanish. “He thought we were talking about him,” she says. “We weren’t. But he got angry. He told us we need to speak English.” Hamilton County court records show Brewster eventually pleaded guilty to one count of aggravated menacing and received a sentence of 180 days in jail. Ventura-Pineda, Clark and their children all moved away from the complex shortly afterward. They returned this July to speak with their former neighbors about the wage theft complaint, Clark says. That’s when the second confrontation with

Brewster began. Clark says Brewster had to be separated from Ventura-Pineda by two bystanders. Police arrived later in the evening and, after seeing the bite marks on Brewster waiting nearby in his car, arrested Ventura-Pineda, who by this point had returned to the parking lot of the complex and was waiting in a car with others. In addition to the police reports and other documentation from the 2018 incident, CityBeat has asked for records about the July 2017 confrontation, which Clark says was video recorded on a bystander’s phone. Meanwhile, Ventura-Pineda waits in the Hamilton County Justice Center for a hearing next month. Because he has an ICE detainer, he would not be released even if he posted the $1,500 bail set by Hamilton County Courts. That, immigration attorneys say, is wrong. The detainers are used to order local authorities to hold inmates who are removable from the United States. They are often a prelude to deportation. Federal courts in Illinois, Texas and other states have ruled that such practices around ICE detainers violate the Fourth Amendment. Ventura-Pineda’s suit also CONTINUES ON PAGE 08

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FROM PAGE 06

CITY DESK

Researchers to Study UC Connection to Slavery BY N I C K SWA R T S EL L

The University of Cincinnati, today one of the city’s largest employers and one of Ohio’s most prominent state universities, didn’t come into existence until five years after the Civil War ended and enslaved African-Americans were emancipated. But its history goes back earlier than its official 1870 birthday — and so does its connection with America’s legacy of slavery. In fact, the university owes its existence to a slave owner in some profound ways. Now, researchers will find out more about that connection and others. University of Cincinnati Provost Kristi A. Nelson announced Aug. 21 that UC would join more than 40 other institutions of higher education as a member of Universities Studying Slavery. The group, which was founded at the University of Virginia, works to better understand the relationship between some of America’s most respected and well-established institutions — its colleges and universities — and the system of forced labor that existed throughout the southern United States in the 19th century. There will be plenty to unravel at UC in that regard. The university exists due to Charles McMicken, for whom UC’s McMicken Hall is named. McMicken was a wealthy landowner in Cincinnati who also owned several plantations in Louisiana using slave labor. He is even suspected of fathering children with his slaves. McMicken’s will freed his slaves upon his death. Upon his death from pneumonia in 1858, McMicken bequeathed land worth roughly $1 million to the City of Cincinnati so that a college “for white boys and girls” could be

established. That land, and other provisions of his will, were held up in court for several years. The Ohio State Legislature granted Cincinnati the right to establish its municipal university 12 years later, after emancipation, and the university never expressly forbade UC’s McMicken Hall black students as McMicken seemed to PHOTO: PROVIDED suggest. It would take until 1886, however, for UC to see its first black graduate, a man named Henry Malachi Griffin. As it grew, UC absorbed other schools, including the Medical College of Ohio, which was founded in 1819. That’s the date UC will celebrate next year as its bicentennial. The coming 200-year milestone has triggered the effort to research the school’s connection with slavery. As a first move, UC has established the Research Panel on University-City Relations to examine contributions made by enslaved people to UC. Associate Dean of Humanities David Stradling will chair the 16-member panel, which will also include former spokesman Greg Hand, a prolific writer and researcher of local history. In addition to historical research, the panel will take special interest in the ways in which UC serves African-Americans in the surrounding community, according to a UC

news release. While Cincinnati is roughly 45 percent black, African-Americans comprise just 8.4 percent of UC’s student enrollment, according to statistics provided by the university. Overall, UC’s minority enrollment is 21 percent. “As the university approaches its bicentennial, this work will support UC’s mission as a comprehensive urban public research institution by addressing both historical and contemporary issues dealing with race and inequality in higher education and in university communities,” Provost Nelson said in a statement. “The Research Panel on University-City Relations will also engage scholars to undertake a broad examination of UC’s relationship with the City of Cincinnati, and its African-American community, to strengthen community partnerships and explore how inclusion can be activated in more innovative and impactful ways.”

alleges that the practice violates the Fifth and Sixth Amendments. Ventura-Pineda’s situation is especially troubling, his advocates say, because he is in the process of pursuing an asylum claim. He has cooperated with that process and has a hearing next month on his request. The lawsuit names U.S. Attorney General Jeff Sessions, U.S. Department of Homeland Security Kirstjen M. Nielsen, Hamilton County Sheriff Neil and the ICE agent who issued the detainer, called an I-200. “Under the United States Constitution, a person charged with a crime is presumed to be innocent until proven guilty beyond reasonable doubt by the admission of probative evidence,” the lawsuit reads. “Under Ohio law, a person charged with a first degree misdemeanor has the right to have the charge tried to a jury verdict and said plea of not guilty stands unless convicted without exception by all the jurors.” Beyond the specifics of his case, Ventura-Pineda’s situation illustrates questions about the relationship between ICE and the Hamilton County Sheriff’s Office. About two and a half years ago, a broad coalition of faith groups, advocates for immigrants and others met with Hamilton County Sheriff Neil, a Democrat, to ask him to change polices followed under previous Sheriff Simon Leis, a Republican. According to the coalition, Neil agreed to end the practice of calling ICE for anyone suspected of being an undocumented immigrant. “Under Leis, anyone with an accent triggered a call to ICE,” immigration attorney Don Sherman says. The agreement was a big improvement over that policy — for a while. But Ventura-Pineda’s detention shows the sheriff’s office isn’t following its agreement, Sherman says. CONTINUES ON PAGE 09

Cincinnati Councilman: Hold Bird Liable for Injuries

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BY N I C K SWA R T S EL L

If Cincinnati City Councilman David Mann gets his way, the company that provides electric rental scooters could be liable if anyone is injured due to behavior from their users. Mann Aug. 29 announced a motion that would hold California-based Bird Rides responsible for injuries scooter riders cause should the riders themselves not be able to pay for them. The legislation comes after at least one incident in which a pedestrian had to go to Urgent Care with minor injuries after a teenager hit her with a scooter. The scooters, which are limited to 15 miles per hour, have become popular in Cincinnati. But their dockless design — riders can leave them anywhere — and

the fact they popped up overnight in Cincinnati earlier this summer without warning to public officials have made them controversial. Some say riders aren’t considerate of pedestrians, leave them scattered on sidewalks and cause other nuisances. Nashville, Denver, Austin, Miami and Louisville have all enacted at least temporary bans on the scooters over similar concerns. The city and Bird came to an agreement earlier this month that leaves the city without liability for the scooters. The city later agreed to let Bird increase the number of scooters here — up to 200 — but Bird would like to bring even more. The city will have to approve that request, but since

Bird’s policies set aside a dollar for the city for every scooter on the street each day, officials have some incentive to allow more scooters here. City officials have worked to try and mitigate concerns. Cincinnati’s Department of Transportation and Engineering recently released guidelines for use of the scooters, which include not using them on sidewalks, watching out for pedestrians, and following traffic laws. Mann says that many times, those rules are not being followed. “My personal observation is that a huge proportionate of the Birds are being used in violation of the basic guidelines — on sidewalks, in pedestrian crosswalks or violating traffic signals,” he wrote. “Some

people have already sustained injury. Others will follow.” The city won’t be liable for those injuries, Mann says — but under the current arrangement, it’s unclear if Bird would be, either. “Bird has agreed to indemnify the City for acts of Bird for which someone might attempt to hold the City responsible,” Mann says. “That is fine for the City. But what about innocent citizens who are injured by Bird customers? What about Bird customers who are unknown because they flee the scene of an accident? What about Bird customers who are known but do not have insurance or assets to cover the damages to their victims?”

FROM PAGE 08

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He believes the sheriff’s office has been actively reaching out to ICE with detainees they believe to be undocumented, and that the sheriff has been putting holds on detainees who may be undocumented. At any given time, a handful of inmates listed on the Justice Center’s inmate information website with traditionally Hispanic surnames have a “Y” next to their names, indicating a detainer. While other federal agencies and even other local law enforcement institutions can issue holds, Sherman says many are likely ICE detainers. A recent CityBeat review of that list found 10 such inmates, mostly in the justice center on minor charges. “We don’t see this as the way the policy was initiated and agreed on,” Sherman says. Ventura-Pineda’s lawsuit alleges that evidence backs up this claim. The lawsuit points out that the sheriff’s website listed Ventura-Pineda with a hold shortly after he arrived at the justice center in the early hours of July 27. But ICE did not fax its I-200 form, which orders detainers, until hours later, at about 9 a.m. that morning. The sheriff’s office has said in the past that it treats immigrants like any other person coming into the justice center. Neil is a Democrat but has often skewed toward the conservative side of the political spectrum. He appeared onstage at a March 2016 campaign event for Donald Trump in West Chester with Trump and Butler County Sheriff Rick Jones, a nationally known advocate for zero-tolerance immigration enforcement. Neil later apologized for the appearance. The idea that the sheriff’s office might in some way be working with ICE puts a wrinkle in the idea that Cincinnati is a so-called “sanctuary city” — that is, a place where local authorities won’t aid ICE in removing undocumented immigrants who have not committed violent crimes. Cincinnati Mayor John Cranley and members of Cincinnati City Council proclaimed Cincinnati a sanctuary city in January 2017. Attorneys and advocates say they’ve recently met with city and county officials as they seek answers for why Ventura-Pineda is in jail. Meanwhile, his family waits. Clark says Ventura-Pineda’s detention has been hard. He helps her care for her two children from a previous relationship as well as his own son and a nephew over whom he has custody. “It’s financially difficult,” she says. “And he’s like a dad to my kids. My 4-year-old asks all the time when he’s coming home.”

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FALL ARTS PREVIEW DA N C E

C i n c i n n a t i B a l l e t ’s Bold New Choreographer Jennifer Archibald brings high energy to the organization as its first female resident choreographer BY LEYLA SHOKOOHE P H OTO : H A I L EY BOLLINGER

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ennifer Archibald likes a challenge. A native of Toronto and graduate of The Ailey School in New York City, she’s Cincinnati Ballet’s newest — and fi rst female — resident choreographer. She was appointed to that position in 2017. Her works for the company have been praised since she first choreographed for the ballet during its 2014-15 season. And her latest contribution debuts as part of the Kaplan New Works Series, which opens this year’s ballet season with performances between Sept. 13 and 23. Cincinnati Ballet’s website says that, for her world-premiere piece, “Archibald will focus on the strength of the male dancer with a new ballet for five powerhouse men.” Archibald’s all-male piece for New Works is called “Quem Vive Vera,” or “he who lives shall see” in Latin. It portrays five men struggling to map out their futures, and follows the same vein of contemplation and understanding that many of her previous pieces have. “(It’s my) fi rst time creating an all-male piece,” she says. “I wanted to do a 10-minute work and see if I could get these guys doing some really strong partnering. It’s going to be a challenge for me, but I want to be able to challenge myself, and bring Cincinnati new things to see. It’s not ‘just another Jennifer Archibald’.” Not that there would be anything wrong with the latter. Archibald has built a reputation for herself as an exciting choreographer, blending Hip Hop and urban dance aesthetics with more classical pointe shoes to yield a wholly original experience. Her choreography has an angular quality, perhaps better described as fierceness. Or, better still, boldness, and it’s a through line in many of her pieces. Her choreographic process — both in the classroom and in the rehearsal studio — yields that result, but it doesn’t come easy. “You’re going to be vulnerable, you might get upset, you might not be able to get the step immediately,” Archibald says. “We’re transmitting energy and we are going to work together to make sure this work is dope on stage. I

know that my choreography only exists if my dancers are completely engaged.” Cincinnati Ballet performed her last work for the company, “Myoho,” at the National Choreographic Festival in Salt Lake City this past May. Having debuted at the company’s Director’s Cut program this past April, “Myoho” is a vibrant, resonant ensemble work, with scenes of unapologetic female domination and an emotionally moving male pas de deux. Archibald is happy about her unconventional and high-energy creative choices, and what it inspires in the dancers. “When we went on tour to Ballet West, they shut shit down there,” she says. “They were onstage and people were like, ‘Oh, who are these kids?’ I was proud that they were mine. I’m definitely unorthodox in the ballet world where I’m like, ‘That’s that Hip Hop, we’re battling shit out, let’s shut shit down!’ I know I bring that energy to the room.” Victoria Morgan, Cincinnati Ballet’s artistic director, is fully on board with Archibald’s style. “In every case, for the women in (‘Myoho’), there was power, attack, sharpness and angle. And she saved the part of the ballet that really was the most vulnerable and tender for the men,” Morgan says. “I think we’ll see more and more of that as our art form starts to more accurately reflect our world.” And while Archibald tends to fl ip the traditional gender roles of ballet on their respective heads, it’s not necessarily the driving force behind her work. She emphasizes her focus on substance and style. She’s also hesitant to attribute any specific qualities of her choreographic leadership to her own gender, saying that personality has a lot to do with the way choreographers work with dancers. But Morgan sees her gender as an asset. “I think it’s important that women see another woman at the front of the room,” Morgan says. “And a woman who is dynamic, commands attention and is someone who can

push you to your limits and beyond. You realize, ‘Wait, hey, I’m inspired by a woman.’ In our art form, it doesn’t happen typically in that way.” While your own preconceived notions of ballet might conjure up images of beautiful, lithe women in tutus, men are predominantly at the choreographic helm. Morgan has been combatting that stereotype, routinely giving women the stage to showcase their work (local choreographer Heather Britt is a noted example), even going so far as having an all-female-choreographed Director’s Cut program in 2017. For the upcoming New Works, the five pieces on the mixed-repertoire program come from two women — Archibald and Mia Michaels, of So You Think You Can Dance fame — and three men — San Francisco Ballet’s Myles Thatcher and Cincinnati Ballet dancers David Morse and Taylor Carrasco. Carrasco joined Cincinnati Ballet’s second company in the 2014-15 season and worked with Archibald then on a piece she created for those dancers to perform at the Cincinnati Zoo’s Zoofari fundraiser. “She knows exactly what she wants and how to get it,” he says. “She moves quickly, and if you don’t at least show her that you’re trying to catch up, you’re going to be left behind. She likes people who are involved in the process but also very receptive to her process.” There’s a sense of earthiness to Archibald’s work in Carrasco’s description, and it’s evident to anyone who’s ever seen her choreography. “My work isn’t superficial,” Archibald says. “My work is about human behavior, and within those investigations there are lot of stories to be told. They are real, and those realities are where I begin my emotional attachment to the work before I enter the studio.” The Kaplan New Works Series opens Sept. 13 at the Jarson-Kaplan Theater in the Aronoff Center for the Arts (650 Walnut St., Downtown). More information: cballet.org.

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FALL ARTS PREVIEW VISUAL ARTS

Re - i n t r o d u c i n g William Messer

The curator with a contrary streak turns reflective while staging his final photography show at Iris Bookcafe BY KATHY SCHWARTZ

P H OTO : H A I L EY BOLLINGER

C I T Y B E AT. C O M

S E P T E M B E R 5 – 11, 2 0 18

illiam Messer was wearing a nametag, but he wasn’t sure who he was anymore. The curator of Iris Bookcafe and Gallery was decades removed from his 1970s heyday as the American upstart who introduced the U.K. to its own contemporary photographers as well as emerging artists from the rest of Europe. He had seemed on the verge of establishing an even bigger reputation back in his own country in 1983, when a long recovery from a traumatic brain injury (TBI) dashed those plans. For a year he struggled to write or even use a phone. Now here he was in 2009, about to address art critics in Ireland, when the world’s foremost authority on painter Francis Bacon approached and inquired whether he was William Messer — the William Messer. “Does everybody know who this is?” British scholar/curator Martin Harrison asked the crowd. “This man is a legend in my country.” Occasional words of affi rmation have kept Messer motivated back in his hometown of Cincinnati — though it’s clear he’d like more recognition for his work in art and anti-censorship circles. His is a tale of two lives — before and after the injury affected his rise. “People here really don’t know much about me,” he says. Messer has curated four photography shows a year at Iris for 10 years, bringing in international names and museum-quality exhibits. Now he’s calling it quits, tired and ready to move on, though not away, after he stages Re-membering an Archive: Iris at 10 during the FotoFocus Biennial. A retrospective of work by artists he has previously shown, it opens Sept. 28. Though he grows frustrated with some of Cincinnati’s movers and shakers (and vice versa), Messer clings to the idea that one person can make a difference. He understands that he comes across as arrogant because of his standards, but he also chokes up multiple times during our interview, which took place days before a major surgery unrelated to the TBI.

As he regains strength while preparing for his final Iris exhibition, he’s asking each of the nearly 40 photographers he’s presented over the years to provide a single picture. The show’s title borrows from the FotoFocus theme of “Open Archive,” but it also speaks to how much memories, and being remembered, matter to Messer. His appreciation for photography as a fi ne art led him to Britain in the early ’70s and a role with Bill Jay, onetime editor of the influential Creative Camera magazine, as Jay became the first director of Photography at the Institute of Contemporary Arts in London. Alone, they built a slide library for the institute’s Photo Study Centre. Messer felt like a pioneer, especially as he later reached out to emerging photographers in Eastern Europe while directing a gallery in Cardiff, Wales. “Every place, they were discovering their own photographic history one country at a time,” he says. Messer tears up as he speaks of Jindrich Štreit, a Czech he calls the best photographer he’s ever seen. His works documenting life under Communist oppression were smuggled to Wales so Messer could arrange a show. Unfortunately, Messer was voted out of his job in Cardiff before he could host an exhibit. And back in Czechoslovakia, authorities learned of Štreit’s activities and imprisoned him. Štreit gained fame since then, but Messer feels remorse that attention didn’t come sooner. An undaunted Messer had hoped to continue showcasing international names in San Diego, where he was applying to be the founding director of the Museum of Photographic Arts. Then his accident happened and he returned to Cincinnati to recover from the TBI. “Everything sort of drifted away,” he says. “There was nothing left but me.” He’d fi nd purpose again working with Iris owner Julie Fay, as curator at the since-closed Images gallery and as a voice against censorship during the 1990 obscenity case against the Contemporary Arts Center over pictures by Robert Mapplethorpe. Following the CAC’s acquittal,

Messer steered Images toward groundbreaking shows about AIDS, gender and the environment. In 2015, he was one of the curators for After the Moment, the CAC’s 25th anniversary retrospective of the Mapplethorpe exhibit. That same year, he showed some of his own work at The Carnegie. Largely, though, he’s felt left out here. “I raise issues. I say things out loud,” he says. He did that more than 50 years ago as a student at Cincinnati Country Day School, where he successfully persuaded administrators to introduce an arts curriculum. Even after he’d found a teacher and a classroom, the leadership told him no other students would be interested. “ ‘You’re the only one.’ This is the sort of thing I’ve heard all my life,” Messer says. But Cincinnati hasn’t heard the last of him. He’s writing a history of photography for children, for one thing. There’s also an exhibition he wants to do, called The Naked Truth. It would be an extension of a workshop he did in former Soviet Georgia with four women. Barred from having live models, Messer introduced them to naked self-portraiture. He chokes up again as he remembers Qeta, one of the participants: “She said, ‘Before I took this workshop, I didn’t know who I was, or what I wanted to do with my life. Now I know both,’ ” he says. Qeta later photographed Georgian women of all ages and sizes naked in their kitchen, the only place they could call their own. “And it was beautiful,” Messer says. “They radiate. You can feel them going, ‘This is me! This is my space! This is who I am!’ ” As he bares his soul to Cincinnati, Messer is saying the same thing. Re-Membering An Archive: Iris At 10 opens Sept. 28 at Iris Bookcafe and Gallery (1331 Main St., Over-the-Rhine). The show runs through Feb. 1. More info: fotofocusbiennial.org.

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FEATURING

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FALL ARTS PREVIEW FILM

A New Downtown Theater C i n c i n n a t i Wo r l d C i n e m a o p e n s a permanent home in the former Cincinnati Shakespeare Company space BY STEVEN ROSEN

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S E P T E M B E R 5 – 11, 2 0 18

P H OTO : P R OV I D E D

t’s late on a weekday morning, and Cincinnati World Cinema’s Tim Swallow is inside his organization’s new downtown Garfield Theatre, screening a movie for an audience of two — himself and this writer. It’s not even a fi lm he’s planning to show, once the theater’s programming gets underway in earnest in September (after a soft-opening presentation of the documentary Dark Money for one weekend in August). But it’s one dearly important to him — Hong Kong director Wong Kar-Wai’s 2000 fi lm In the Mood for Love, which is internationally praised for its inventive and intensive use of color. After setting things up at a table on the stage in back of the screen, he takes his place in a seat to watch the fi lm be rear-projected. “In The Mood for Love is a great test,” he says. “We have a brand new OPPO (digital player) deck that upscales Blu-ray (disc quality) to near 4K, so it’s a great picture, but you’re also able to see the shadows and how deep the blacks are. Plus the fi lm’s costume design is so colorful. There are a lot of scenes where things just pop. That makes it a great test.” It’s a successful test, he believes, for the Garfield Theatre, at 719 Race St. on the fi rst floor of the Garfield Tower, formerly the home of the Cincinnati Shakespeare Company. Now the 150 seats inside its Mark P. Painter Theatre await discovery when the high-profi le fi lm presentations start in September. Swallow has rented the Garfield out to Brand Old Productions on Sept. 15-16 to show a Cincinnati-made drama, 75. Sept. 22 brings one half of what Swallow calls a “Stage & Screen” combo — he’s presenting the 1966 fi lm version of the Broadway musical A Funny Thing Happened on the Way to the Forum while Cincy Shakes offers a stage version at its new home in Over-the-Rhine. On Sept. 26, Cincinnati World Cinema is bringing in the new documentary about Joan Jett, Bad Reputation. On Oct. 13-14, it is presenting Katherine Durack’s Suff ragists in Cincinnati,

which includes the documentary Iron Jawed Angels. And in probably the Garfield’s biggest booking to date, on Nov. 3-4 director Sky Bergman is coming to Cincinnati for three screenings of her new documentary Lives Well Lived, which celebrates the experiences, wit and wisdom of adults ages 75-100. This fi lm has become a grassroots sensation since it started being distributed in March — its website shows bookings in 26 states and Canada, including six cities in Ohio alone. Swallow’s Cincinnati World Cinema has been presenting movies at various locations around town since 2002, from Cincinnati Art Museum to the Showboat Majestic. It has most recently been at Memorial Hall, primarily to show its annual Oscar Shorts presentations. The Garfield will allow for an increase in activity, plus establish regular days for showings that fans count on (although Swallow still plans to use the larger Memorial Hall for Oscar Shorts). “Probably two fi lms a month was it for us on a regular basis previously, so we can stretch to an additional fi lm, additional (screenings), or both,” Swallow says. “We’re looking at retrospectives, at some classics. We’ve got a young guy on the programming committee who’s gungho on some horror fi lms. That probably won’t pull many of the old salts of Cincinnati World Cinema, but there seems to be a burgeoning population of younger people who are interested. We’ll have a neighborhood theater feel.” Swallow also plans to rent it out for uses other than fi lm screenings — a podcaster and an a cappella group have already been booked, he says. When Cincinnati Shakespeare Company moved from the 719 Race location in 2017 to its own new building in Over-the-Rhine, Swallow saw a chance for a permanent home. Knowing the first-floor spot inside the high-rise apartment building had once housed boutique-size movie theaters — including the famous Movieola/The Movies repertory cinema of the 1980s — he negotiated a lease. And then, since there wasn’t much left inside besides the

seats, he started creating a theater he could be proud of. And he is proud, during a tour. It starts right at the front entrance, where the black awning above the glass doors has “Cincinnati World Cinema” in fiery-colored lettering. Next to that, shaped like a circular logo patch, is the wording “The Garfield Theatre.” Inside the lobby, he points to the frames on the wall for movie posters — a holdover from previous owners. “We just had some large-format posters printed that will fi ll the display cases perfectly. I’m lucky to have the frames.” Inside the auditorium itself, Swallow has cut back the old Cincinnati Shakespeare stage. “That’s so at some point, if we want, we can add another row,” he says. “We certainly have room for wheelchairs and accessibility.” He has placed his professional 16-by-9-foot screen, which sits on a basic truss configuration, in the middle of that stage, with JBL Eon speakers on either side. “This throws the house quite nice,” he says of the sound. Inside the actual theater, formerly a black box when Cincinnati Shakespeare had it, the concrete-block walls have been painted a lively, warm red. The wood pillars are flat black, “to be as invisible as possible.” Cincinnati World Cinema is a nonprofit organization, but its only board members are founders Swallow, his wife Margaret and John Alberti, a Northern Kentucky University professor and English program director (who will lead a discussion after the Joan Jett fi lm). It welcomes volunteers. “I tried to avoid boards as much as I can,” Swallow says. “When you’re running a small shop, it’s just another encumbrance.” However, he says, “We’re going to grow it. We’re adding people in advisory groups to see how they do. And it’s under consideration to sell memberships; we want to make sure can we can do it right. But I don’t see a mass explosion into a big organization. I see it step by step.” For more info on Cincinnati World Cinema (719 Race St., Downtown), visit cincyworldcinema.org.

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FALL ARTS PREVIEW

ONSTAGE

Seeing, Feeling, To u c h i n g , H e a l i n g . . . S inging and Dancing

B r o a d w a y m u s i c a l T h e W h o’s To m m y receives a “lightly staged” presentation at Memorial Hall BY RICK PENDER

P H OTO : W H I T N EY HAMMONS

C I T Y B E AT. C O M

S E P T E M B E R 5 – 11, 2 0 18

ince 1969, The Who’s Tommy has been striking resonant chords — first as a concept album by the legendary Rock group, then as a star-studded 1975 fi lm and finally as a 1993 Broadway musical. That final incarnation, winner of five Tony Awards (including one for Pete Townshend’s original score and another for Wayne Cilento’s choreography) ran for more than two years. The powerful work will soon be available to Cincinnati audiences in Over-the-Rhine’s 556-seat Memorial Hall. The renovated 1908 building, now in service as an event venue for nearly two years, has hosted concerts and speakers, but this theatrical concert staging is a first. Joshua Steele, the facility’s manager, previously managed The Carnegie in Covington and put together a series of “lightly staged” shows there. “The medium is really interesting to me as a producer, especially at Memorial Hall,” Steele says. “It allows us to present repertoire that wouldn’t be possible as a fully realized production in our space. In general, the format can give life to shows that might be technically or fi nancially unwieldy, but which can thrive in a pared-down setting.” “Tommy allows us to dip our toe into theatrical waters while embracing the popular music programming that’s been so successful at Memorial Hall,” he continues. “It’s our hope that patrons who have seen artists like Graham Nash, Arlo Guthrie and Victor Wooten will come out and hear the music of The Who, and that we can welcome new musical theater patrons as well.” Steele has recruited actress and dancer Leslie Goddard to direct and choreograph Tommy for four performances across two weekends in September. With Broadway experience and more recent onstage work locally for Ensemble Theatre, The Carnegie (she played Roxie Hart in a production of Chicago that Steele produced) and Dayton’s Human Race Theatre Company, she is a fi ne choice. The success of a production like this depends on onstage talent, Steele believes.

“Without the trappings for a fully realized show, the quality of the overall experience is even more in the hands of the performers,” he says. “You also need a production team who enjoys working within unique constraints, have broad imaginations and are willing collaborators. Leslie has been terrific in this respect.” Tommy’s story begins at age 4 when he witnesses his father — who was thought to be dead but then unexpectedly returns from a World War II POW camp — shoot and kill the man who has become his mother’s lover. Although he is shielded from the violent act, Tommy sees it reflected in a mirror and is traumatized. He withdraws completely by becoming deaf, dumb and blind, and remains unresponsive to efforts ranging from well-intended to abusive to reach him — until he’s introduced to pinball at a youth club and plays brilliantly. He becomes a hero, a “Pinball Wizard,” and a subject of fan adulation for people yearning to understand his recovery and his gifts. Only when he breaks free from the horrific image in the mirror does he become truly free. In a recent interview, Goddard said she performed in prior productions of Tommy, one as a student at New York University and another at a professional theater in Michigan. She and her husband David are both choreographers (although he now works as a psychologist); David and Steele are high school friends. At dinner with Steele, Goddard pitched an idea: “You know what would be fun? If we did a concert version of some musical in this new space that you have,” she said. He quickly agreed. This production won’t simply be actors standing at music stands. In fact, its dance captain is University of Cincinnati’s College-Conservatory of Music musical theater grad Katie Johannigman, now teaching and directing at UC. The production will feature projections developed for Broadway. Music director Steve Goers (a regular at Cincinnati Playhouse, Ensemble Theatre, CCM and elsewhere) is leading a band. Goers also has

interesting plans to use Sycamore High School’s 24-voice select choral ensemble, which performed with Foreigner last summer at Riverbend. Goddard’s cast of 13 local professional performers should be up to the challenge, led by Northern Kentucky University alum Noah Berry as Tommy and Wright State University alum Zack Steele as Captain Walker. “There will be full-out dancing,” Goddard says. “They are awesome dancers and actors. It should be fun to watch them sing and dance this score.” She mapped out a rigorous rehearsal schedule, preparing intensively for a week-and-a-half prior to the Sept. 14 opening. “The ensemble has been going full-tilt through rehearsals, from 10 in the morning until 10 at night, pounding it out and putting it together,” she says. Goddard defi nitely wanted this production to go beyond actors reading from scripts. “We’ll have great lights and an amazing band, vocalists that blow your head off — exciting in that way, and the story comes across through that kind of telling of it,” she says, adding, “There’s some stuff in this show that is not child-friendly, and we plan to gloss through that a little bit as we get to the meat of the story.” The show’s message, Goddard says, is about looking within yourself rather than to other people. “The imagery of that mirror breaking open is central,” she says. “People need to live their own lives, fi nd out what is true for them and go forward. I hope everyone will hear that message and take it forward into their everyday lives. Your mind is the one you need to use, more important than following some person. Tommy is the one who says, ‘I don’t want you to be like me. You are all individuals and you are special; you all have something important to say.’ ” The Who’s Tommy will be performed September 14-15 and Sept. 20-21 at Memorial Hall (1225 Elm St., Over-theRhine). Tickets/more info: memorialhallotr.com.

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FALL ARTS PREVIEW MORE PICKS

2 1 M o r e Fa l l Arts Picks By CityBeat Staff

STEPHEN MARKLEY P H OTO : M I C H A E L A M I CO

Lit

Stephen Markley

C I T Y B E AT. C O M

S E P T E M B E R 5 – 11, 2 0 18

Stephen Markley’s Ohio is creating buzz as a “Great American Rustbelt Novel” for its story of four former high-school classmates returning to New Canaan, Ohio after 9/11 and the start of the Great Recession to confront unresolved personal issues against a societal backdrop of foreclosures, Walmarts and opioid addiction. Its publisher, Simon & Schuster, considers it a fiction counterpart to Hillbilly Elegy or Janesville. The author will be here to discuss and sign copies of his ambitious book, a debut novel. 7 p.m. Sept. 13. Free. Joseph-Beth Booksellers, 2692 Madison Road, Rookwood Commons, Norwood, josephbeth.com.

EVENT: The World’s Largest Twist Dance

Central to the King Records legacy is that its recording artist Hank Ballard recorded the original version of “The Twist” — the greatest dance craze ever — at King 60 years ago this November. (It’d didn’t become a hit until non-King artist Chubby Checker covered it in 1960.) To celebrate Ballard’s musical milestone during King Records Month, attendees at the Sept. 7 Cincinnati Reds game will attempt The World’s Largest Twist Dance at Great American Ball Park, after the game’s conclusion and before the traditional Friday night fireworks. If this catches on, watch for The World’s Largest Mashed Potato Dance next year. 6:40 p.m. game Sept. 7. Free with game ticket. Great American Ball Park, 100 Joe Nuxhall Way, Downtown, kingstudios.org.

VISUAL ART: Collecting Calligraphy: Arts of the Islamic World

Collecting Calligraphy: Arts of the Islamic World at the Cincinnati Art Museum explores the craftsmanship, skill, beauty and function of calligraphy from the 9th century to the 20th, featuring 55 works on paper including historic manuscripts, pages from the Qur’an, calligraphic practice sheets and political decrees from such countries as Spain, Turkey, Syria, Iran and India. The show celebrates a recent gift to the museum from Cincinnati residents JoLynn and Byron Gustin, but the institution has been acquiring Islamic calligraphy since the 1940s and has a substantial collection. Many of these items will be on public display for the first time. Sept. 7-Jan. 27, 2019. Free admission. Cincinnati Art Museum, 953 Eden Park Drive, Mount Adams, cincinnatiartmuseum.org.

ONSTAGE: A Funny Thing Happened on the Way to the Forum

After 25 years, the venerable Cincinnati Shakespeare Company tries something “new” — for it, if not for us. It is presenting a musical: Stephen Sondheim’s 1962 Tony Awardwinning A Funny Thing Happened on the Way to the Forum. A humorous tale about a scheming slave in ancient Rome, it has the infectious energy of vaudeville along with such songs as “Pretty Little Picture,” “Everybody Ought to Have a Maid,” “I’m Calm,” “Bring Me My Bride” and more. Sept. 7-29. $67 adult;

$63 senior; $41 student. Cincinnati Shakespeare Company, 1195 Elm St., Over-the-Rhine, cincyshakes.com.

LIT: Luc Sante

The author Luc Sante, this year’s guest for the Mercantile Library’s Albert Pyle Urban Lecture, writes about the forgotten lives of cities by using photographs, police records, newspapers, pamphlets, song lyrics, legends and anecdotes as research material. His books include Low Life: Lures and Snares of Old New York and The Other Paris. Sante’s appearance starts with a reception followed by a talk. 6 p.m. reception; 6:30 p.m. talk Sept. 13. $15; free for members. Mercantile Library, 414 Walnut St., Downtown, mercantilelibrary.com.

VISUAL ART: Mickalene Thomas

Mickalene Thomas rules the fall season at Ohio art museums. As part of the region-wide FotoFocus Biennial 2018 (see separate entry), she’ll be featured in Dayton Art Institute’s Muse: Mickalene Thomas Photographs from Oct. 20-Jan. 13, 2019. (There’s also a companion show, tête-à-tête, featuring photos that inspired her.) The brilliant African-American artist also has a major show — Mickalene Thomas: I Can’t See You Without Me — at Columbus’ Wexner Center for the Arts Sept. 13-Dec. 30. It will include nearly 30 paintings, videos and immersive installations. The show will focus primarily on her large-scale paintings, with each of the Wexner’s four galleries

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

M I R A N D A J U LY P H OTO : TO D D CO L E

Visual Art

Fo t o Fo c u s B i e n n i a l 2 0 1 8 The FotoFocus Biennial, which has a theme of “Open Archives” in photography, has so many exhibits at various venues going on during October (with some spillover into subsequent months) that it really deserves its own CityBeat cover story. And it’s getting one — watch for the Oct. 3 issue. But the heart of the FotoFocus organization’s own programming occurs Oct. 4-7 at such locales as the Taft Museum of Art (the opening of Paris to New York: Photographs by Eugène Atget and Berenice Abbott); Contemporary Arts Center (openings of Akram Zaatari: The Fold–Space, time and the image; Mamma Andersson: Memory Banks; and No Two Alike: Karl Blossfeldt, Francis Bruguière, Thomas Ruff); Memorial Hall (an all-day Oct. 6 symposium followed by a performance of Teju Cole and Vijay Iyer’s Blind Spot); and the Woodward Theater (an Oct. 7 appearance by the filmmaker, artist, author, screenwriter and actress Miranda July). Passports for all events are $25. More info and tickets at fotofocusbiennal.org.

devoted to one of Thomas’ strong influences: her late mother, Sandra; her former lover, Maya; her current partner, Racquel; and herself. Mickalene Thomas: I Can’t See You Without Me: Sept. 13-Dec. 30. $8 adults; $6 seniors/faculty and students. Wexner Center for the Arts, 1871 N. High St., Columbus, wexarts.org. Muse: Mickalene Thomas Photographs: Oct. 20-Jan. 13, 2019. $8 adults; $5 seniors/military; free students, youth. Dayton Art Institute, 456 Belmonte Park North, Dayton, daytonartinstitute.org.

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PERFORMANCE: Henry Rollins Travel Slideshow

Renaissance man Henry Rollins has already made his mark in the worlds of Punk and Post-Punk, Spoken Word, film criticism, writing, publishing, acting and radio programming. Now he’s taking on Rick Steves as a travel personality. For his Henry Rollins Travel Slideshow, he is showing photos he took during visits to Baghdad, Pyongyang and other hot (or cold) spots in the Middle East, Africa, Central Asia, South America and Antarctica. And he will tell the stories behind the pictures. 7:30 p.m. Sept. 20. $30; $155 VIP. Music Hall Ballroom, 1241 Elm St., Over-the-Rhine, cincinnatiarts.org.

CLASSICAL: Alma de España

When was the last time you could attend an opening gala for only $35? Cincinnati Song Initiative launches its third season with Alma de España, a three-year project presenting songs by six Spanish-speaking composers. There is a good reason

for celebration because the featured singers are soprano Paulina Villarreal and mezzo Jessica Rivera, who was Nuria in Cincinnati Opera’s 2008 production of Osvaldo Golijov’s Ainadamar. Cincinnati Song Initiative’s concert settings are always intimate and followed by a reception. 7:30 p.m. Sept. 22. $35; $15 student. Willis Music Steinway Gallery, 8118 Montgomery Road, Kenwood, cincinnatisonginitiative.org.

COMEDY: Improv Festival Cincy

Improv Festival Cincy celebrates its fifth anniversary in September with an increase in shows, more local troupes and more chances to see headliners. It also has workshops taught by traveling artists and after-parties with the artists. Among the headliners are Atlanta’s Working Title, Chicago’s Emily Fightmaster and Friends, Portland’s Broke Company, Minneapolis’ The Bearded Company and from Chicago an improvised Rock Opera titled Anarchy. Sept. 27-29. $35 for two performance tickets; $65 for four performance tickets; $90 for six performance tickets. Memorial Hall, 1225 Elm St., Over-the-Rhine, ifcincy.com.

CLASSICAL: Akropolis Reed Quintet

Matinee Musicale has been working to change its image of being your grandparents’ concert series, and there’s no better demonstration of its progressivism than the Akropolis Reed Quintet. In less than a decade, Akropolis has won major awards recognizing its innovative performances and

P H OTO : M A RT I N C H E R RY

Classical

The Dharma at Big Sur The Dharma at Big Sur is one of John Adams’ most popular compositions, written for solo electric six-string violin and orchestra. The 2003 world premiere featured violinist Tracy Silverman, a proponent for new music whose work inspires composers including Nico Muhly and Terry Riley and who is making his Cincinnati Symphony Orchestra debut. Adams’ dream-like soundscape evokes a soaring flight up the Pacific coast and Silverman’s performance will be one you want to hear. Visuals by videographer Adam Larsen accompany this performance, but with The Dharma, just listening is enough. 11 a.m. Oct. 5; 8 p.m. Oct. 6. $14-$99. Music Hall, 1241 Elm St., Over-the-Rhine, cincinnatisymphony.org.

THE KAPLAN

NEW WORKS SERIES September 13-23 | Aronoff Center

PETER PAN

October 25-28 | Music Hall

THE NUTCRACKER December 13-24 | Music Hall

THE SLEEPING BEAUTY February 14-17 | Music Hall

DIRECTOR’S CUT FIREBIRD + RITE OF SPRING March 21-24 | Music Hall

FAMILY SERIES

ALADDIN

March 30-April 7 | Aronoff Center S E P T E M B E R 5 – 11, 2 0 18

BOLD MOVES SECHS TÄNZE + DANCING TO OZ

April 25-28 | Aronoff Center

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TICKETS ON SALE NOW! OFFICIAL SPORTS MEDICINE PROVIDER

P H O T O : M AT T H E W M U R P H Y

Classical Imani Winds

commitment to education. Now, at long last, they’re here. Don’t expect standard rep; the audience and a boom box may be part of the act. 3 p.m. Sept. 30. $25-$35. Memorial Hall, 1225 Elm St., Over-the-Rhine, matineemusicalecincinnati.org.

VISUAL ART: Life: Gillian Wearing

For its contribution to FotoFocus, the Cincinnati Art Museum is presenting a major exhibition featuring works by the Turner Prize-winning British conceptual artist Gillian Wearing, who will also receive the museum’s Margaret Schiele Prize. Life: Gillian Wearing will include a concise selection of the artist’s past lens-based work, including photographs and videos, along with four new projects receiving their world premiere in Cincinnati. The $12 ticket price (members are free) also includes admission to the overlapping Fabric of India show. Oct. 5-Dec. 30. $12; $6 seniors/students/children; free for members. Cincinnati Art Museum, 953 Eden Park Drive, Mount Adams, cincinnatiartmuseum.org.

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P H OTO : V I C TO R I A A N D A L B E RT M U S E U M LO N D O N

Visual Art

The Fabric of India Organized by London’s Victoria and Albert Museum, The Fabric of India is a major exhibition that features examples of Indian textiles from the V&A, international partners, leading designers and the Cincinnati Art Museum’s own permanent collection. India’s handmade textiles date back at least 6,000 years and are central to the country’s identity. The exhibit will be in six thematic sections and trace the development of the nation’s fabric from its origin to work today by leading designers. Admission is $12 (members free) and will also allow entry to the overlapping Gillian Wearing special exhibition. Oct. 19-Jan. 6, 2019. $12; $6 seniors/students/children; free for members. Cincinnati Art Museum, 953 Eden Park Drive, Mount Adams, cincinnatiartmuseum.org.

CLASSICAL: A Woman’s Voice

concert:nova kicks off its 12th season of innovative collaborations with A Woman’s Voice, musical responses to a video created by visual artist Gillian Wearing that touches on memory and identity “among other things.” The video is part of Life: Gillian Wearing, a FotoFocus Biennial exhibition coming to the Cincinnati Art Museum, and the concert program features works by seven different women. 7 p.m. Oct. 7 and Oct. 9. Ticket prices TBD. Cincinnati Art Museum, 953 Eden Park Drive, Mount Adams, concertnova.com.

EVENT: Downtown Tour of Living

After a hiatus, the Downtown Tour of Living is returning in October to show off some of the many apartments and condos in the booming central city. Presented by Downtown Cincinnati Inc. and Switch Collection, it will offer a self-guided, walkable tour of the brand-new Crane Factory Flats, formerly the Cincinnati Board of Elections headquarters, as well as visits to AT580, City Club Apartments, ENCORE Urban Living, Radius at The Banks, Renaissance at the Power Building,

Imani Winds has been defying the traditional definition of a chamber ensemble for more than 20 years. They’ve collaborated with Jazz musician Wayne Shorter, commissioned dozens of works and brought a sense of adventurous delight to the Classical rep. The five members cite music from Africa and Latin and North America as their influences. The Cincinnati program includes works by Nikolai Rimsky-Korsakov, Astor Piazzolla, György Ligeti, Reena Esmail and the ensemble’s French horn player Jeff Scott and flautist Valerie Coleman. Bonus: The encore might be music from John Coltrane. 7:30 p.m. Oct. 23. $30. Aronoff Center, 650 Walnut St., Downtown, cincychamber.org.

Seven at Broadway, Eight One Three Broadway, East Eight Lofts, Shillito Lofts, The Dominion Condos, The Reserve, The Biltmore, Sycamore Place and The Gramercy. Noon-5 p.m. Oct. 13. $10 advance; $15 day of. downtowncincinnati.com.

ONSTAGE: Cincinnati King

Local music history gets transformed into a contemporary musical (with a historic bent) in the long-awaited Cincinnati Playhouse world premiere of KJ Sanchez’s Cincinnati King, about this city’s revolutionary King Records. Based on interviews, the play traces the rise of music pioneer Syd Nathan and shares behind-the-scenes stories about the singers and musicians who played the tunes. It features such hits as “The Twist,” “Blues Stay Away From Me,” “Fever” and “Need Your Love So Bad.” Nov. 8-Dec. 23. Tickets start at $35. Cincinnati Playhouse in the Park, 962 Mount Adams Circle, Mount Adams, cincyplay.com.

PERFORMANCE: Something Is Happening Here

Bob Dylan’s 1965 album Highway 61 Revisited is one of the most impactful in recorded-music history — it made a Pop superstar out of an artist whose songs (“Like a Rolling Stone,” “Ballad of a Thin Man,” “Desolation Row”) seemed way too mysteriously surrealistic and dangerous for mainstream culture. But those were the times. To mark it, the Cincinnati Response Project is presenting its Something Is Happening Here multimedia event, at which 12 pianist/composers, nine filmmakers and six multidisciplinary artists will create a community-wide artistic response to the songs on Dylan’s album. The event’s different sections will be curated by the Contemporary Arts Center (solo piano), Mini Microcinema (film) and Chase Public (multidisciplinary responses). Ticket prices are on a sliding scale. 7 p.m. Nov. 15 and Nov. 16. $8-$25 single night; $15-$45 two-night. Woodward Theater, 1404 Main St., Over-the-Rhine, theresponseproject.org.

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On the Road

Contemporary Dance Theater gets its always rewarding 2018-19 season underway with a production from ZviDance, the company led by Israeli-born choreographer Zvi Gotheiner, sure to be interesting to fans of both dance and literature. On the Road is a multimedia collaboration of contemporary dance and video design, utilizing Jack Kerouac’s landmark Beat road-trip novel as a starting point. To create it, Gotheiner, four dancers and video artist Josh Higgason retraced Kerouac’s first two-week trip from New York to Los Angeles. On occasion, they would stop the car to develop dance moves right on the road. The commissioned music score is by Swedish composer Jukka Rintamäki; lighting design is by Mark London. 8 p.m. Oct. 26 and Oct. 27. $29$34 adults; $29 senior; $24 student; early bird discounts through Sept. 13. Aronoff Center, 650 Walnut St., Downtown, cincinnatiarts.org.

P H OTO : M E N A B RU N E T T E O F X M B P H OTO G R A P H Y

ONSTAGE: Susan Swayne and the Bewildered Bride

The Know Theatre is calling its production of Susan Swayne and the Bewildered Bride — from rising-star playwright Reina Hardy — “Mary Poppins meets The League of Extraordinary Gentleman.” The Society of Lady Detectives consists of proper Victorian women who love swordplay. But a member might be Isabelle Fontaine-Kite’s missing husband, so Swayne must investigate. Cross-dressing, double crosses, opium and topless fencing ensue in this swashbuckling farce. Nov. 24-Dec. 16. $25; $5 Wednesday performances. Know Theatre, 1120 Jackson St., Over-the-Rhine, knowtheatre.com.

CLASSICAL: Opera Fusion: New Works

Opera Fusion: New Works provides the opportunity to see operas in progress, many of which go on to successful premieres — and subsequent productions at major opera houses (see: Fellow Travelers, Champion, Doubt). Postville: Hometown to the World, with a libretto by Kimberly Reed and music by Laura Kaminsky, is the next opera in the workshop series. Cultural clashes abound in this true story of a Kosher meat-packing plant in Postville, Iowa that employed dozens of illegal Mexican workers. Both Reed and Kaminsky made their operatic debuts with As One, the standout of this past Cincinnati Opera season. 7:309:30 p.m. Dec. 6. Free but reservations are required. Music Hall’s Wilks Studio, 1241 Elm St., Over-theRhine, cincinnatiopera.org.

STUFF TO DO Ongoing Shows ONSTAGE: Misery Cincinnati Playhouse in the Park, Mount Adams (through Sept. 29)

WEDNESDAY 05

ART: War Gastronomy: Recipes of Relocation at the Contemporary Arts Center uses cuisine to tell personal stories of change. See feature on page 32.

MUSIC: Folk band Birds of Chicago brings exquisite musicianship and stellar harmonies to the Taft Theatre. See Sound Advice on page 42.

sale. 6 p.m. parade and fair 7 p.m. Thursday; 5-11 p.m. Friday; noon-11 p.m. Saturday; noon-9:30 p.m. Sunday. Free Thursday; $5 adults and free for children 12 and under the rest of the weekend. Harvest Home Park Fairgrounds, 3961 North Bend Road, Cheviot, harvesthomefair.com. — MAIJA ZUMMO COMEDY: Sam Evans Sam Evans is a native of Perrysburg, Ohio. He moved to the Queen City to major in English at the University of Cincinnati but soon discovered he liked stand-up comedy much more than any career path his degree could have led him down. After performing around the Tri-State for a few years, including some time in the sketch comedy show called Underbelly, he headed to New York City where he is currently based. At first his jokes centered on his post-graduation struggles. Now, he’s expanded into jokes about relationships

and his family. “My brother got married,” he tells an audience. “He’s a religious guy and had a lot of churchgoing people in his wedding party.” The groom hired a party bus to go from the ceremony to the reception. “If you put a bunch of churchgoing people on a party bus, it will suck the party out of the bus, and then it just becomes a regular bus.” Through Sunday. $8-$14. Go Bananas, 8410 Market Place Lane, Montgomery, gobananascomedy.com. — P.F. WILSON

FRIDAY 07

MUSIC: Jukebox the Ghost Formed 15 years ago while the members were college students in Washington, D.C., Jukebox the Ghost’s discography is one of the most consistent in contemporary Alternative Pop. The trio — pianist Ben Thornewill, guitarist Tommy Siegel and drummer Jesse Kristin — moved to Philly after graduation and its

debut album, Let Live & Let Gives, caught a lot people’s attention, including Ben Folds, one of the band’s more obvious influences (Queen is the other artist referenced in every single JtG write-up, including, now, this one) who took the group on tour. The band’s hypermelodic sound — danceable and technologically modern, but timeless in its Pop song structuring — was even more fully realized on 2010’s Everything Under the Sun, JtG’s first album for the Yep Roc label, which helped push the group into the national consciousness. Though they never stopped touring to satiate their fervent devotees across the country, the band took some time shaping the follow-up to its 2014 self-titled debut. The wait for new recorded material was over this year, though; in late March, the band dropped Off to the Races, its fifth full-length effort. The album hit No. 5 on Billboard’s Heatseekers Albums chart (and No. 13

on the Independent Albums listing) and Pop Matters called it a return to the band’s “weirder” roots and JtG’s best album since Everything Under the Sun. 8 p.m. Friday. $20 advance; $22 day of. Taft Theatre Ballroom, 317 E. Fifth St., Downtown, tafttheatre.org. — MIKE BREEN EVENT: Greater Cincinnati Tattoo Arts Convention We get it, Cincinnati is cool now. Well, Cincinnati is about to became even cooler thanks to the inaugural Greater Cincinnati Tattoo Arts Convention happening this weekend, hosted by Villain Arts, the “world’s largest and most successful tattoo arts convention tour.” While at the convention, guests can walk-up and get a tattoo or book an appointment to get some fresh ink from the 150-plus artists in attendance. Tattoo contests covering a range of categories including Best CONTINUES ON PAGE 28

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EVENT: Harvest Home Fair “The Biggest Little Fair” in Ohio is back and taking over downtown Cheviot for the 159th year. The four-day fest starts with a parade on Thursday from the intersection of Harrison and Frances avenues to Harvest Home Park, where the rest of the weekend’s activities take place. Through Sunday, fairgoers can check out live entertainment, carnival rides, 4-H animal and horticulture exhibits and horse, flower and art shows. There will be quaint contests with cash prizes for the best homemade beer, chili, salsa and wine, as well as prizes for the best in show in both sweet and bread baking, canning, needlework and more. Check out the fair kitchen for classic snacks like hot dogs, french fries and LaRosa’s by the slice, plus a Friday fish dinner, Saturday roast beef special and Sunday three-piece chicken dinner from nearby favorite Ron’s Roost. Well-behaved leashed dogs are welcome and, don’t worry, there will be alcohol available for

PHOTO: PROVIDED

FILM: Indian Film Festival This festival is Greater Cincinnati’s only film fest focused specifically on Indian cinema. Catch premieres of feature, documentary and short films either made in the Indian subcontinent — aka Southern Asia, which includes countries like India, Pakistan, Afghanistan, Tibet

THURSDAY 06

Jukebox the Ghost

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MUSIC: Pentatonix Craving some dreamy a capella? A fan of smooth Pop? Got a teen who loves Pitch Perfect or Glee? Or maybe a grandparent who thinks modern, wholesome music doesn’t exist? Aye, Pentatonix is the answer. Catch the threetime Grammy winning, multi-platinum-selling, five-piece group serve up some fresh, stunning vocals sans instrumental accompaniment. The modern Pop group may be mostly associated with Christmastime, but you don’t have to limit your magic intake. Earlier this year they released a volume of modern Pop covers, so expect to hear some a capella takes on tracks like “Finesse,” “Despacito,” and “Havana.” 8 p.m. Wednesday. $21.50-$126. Riverbend Music Center, 6295 Kellogg Ave., California, riverbend. org. — MACKENZIE MANLEY

Bangladesh, Nepal, Bhutun and Sri Lanka — or about the people that reside there. Things will kick off Wednesday and continue until Sept. 10. Beyond flicks, peep some post-watch chats and award ceremonies. The festival is organized by Cincinnati Sister Cities and the Cincinnati Art Museum with the objective of bringing awareness to Indian culture within the Greater Cincinnati community. On opening night, they’ll screen James Ivory’s 1983 Heart and Dust at the museum, in which a woman discovers a family scandal involving her deceased grandmother. The evening includes a cocktail reception. Through Sept. 10. Various prices and locations, iffcincy.com. — MACKENZIE MANLEY

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Portrait, Best Lettering and Best Traditional will take place throughout the weekend, and sideshowstyle entertainment acts like Alakazam: The Human Knot and Live Human Suspension will be there to distract you from the pain. 2 p.m.-midnight Friday; 11 a.m.-midnight Saturday; 11 a.m.-8 p.m. Sunday. $20 per day; $40 for a three-day pass. Northern Kentucky Convention Center, 1 W. RiverCenter Blvd., Covington, Ky., villianarts. com. — MARLENA TOEBBEN

COMING SOON

CLASSICAL: Star Wars: A New Hope with the Cincinnati Pops In a galaxy far, far away there was really, really rad music. Scored by composer John Williams, the music of Star Wars: A New Hope soundtracked the childhoods of an entire generation. Sink into nostalgia as the Cincinnati Pops perform the score live as Leia, Luke and Han Solo fight for the resistance on the big screen. 7-10 p.m. Friday.

$25-$105. Music Hall, 1241 Elm St., Over-the-Rhine, cincinnatisymphony.org. — MACKENZIE MANLEY EVENT: Listermann Brewing Co. 10th Anniversary Party Listermann is celebrating its 10th birthday with a weekend’s worth of events and activities. Things kickoff with a ticketed event on Friday, featuring brews from more than 20 of the brewery’s “distinguished, delightful and stupendous friends” from around the country to provide a special and rare beer list. Friday’s event also features food vendors. Tickets (there are only 300 of them available) include 30 four-ounce drinks, two food items and a commemorative glass. Saturday, Listermann gets into the Oktoberfest spirit with a Bavarian taproom takeover; expect local brews, German food, games and more. Then on Sunday, events get family-friendly with games, activities, face painting, beer (for grownups) and visits from the Cincinnati Zoo’s animal ambassadors (12:30-1:15

p.m.). 6:30 p.m. early bird and 7:30 p.m. regular admission Friday; noon-11 p.m. Saturday; noon-8 p.m. Sunday. Tickets $79.99 early bird for Friday and $59.99 regular admission; free for Saturday and Sunday. Listermann Brewing Co., 1621 Dana Ave., Evanston, listermannbrewing.com. — MAIJA ZUMMO EVENT: Art & Wine Festival Vinoklet’s annual Art & Wine Festival turns 20 this year as live bands and more than 60 art vendors get ready to take over the vineyard grounds all weekend. Friday’s kick-off event features MC Steve Sommers, music from Red Hot Dancing Queens and Vernon McIntyre & Appalachian Grass and food and wine. There will be more Bluegrass and Americanainspired acts playing music all weekend, while shoppers can browse the art booths or purchase tickets to sample wine, cheese and more. Reservations are required for the restaurant, but there will also be a special Sunday fried chicken dinner ($12) available in the on-site

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FRIDAY 07

OCTOBER 8-14, 2018 W e ’ r e b r i n g i n g yo u $2 Taco s f ro m s o m e of Cincinnati’s most popular taqueros!

Every day is Taco Tuesday during Taco Week.

EVENT: Rüya Coffee Grand Opening A good cup of coffee can transcend culture. At least, that’s the premise behind Rüya Coffee, the brainchild of Melissa Aydogan, one of People’s Liberty’s 2018 Globe Grant recipients. She’s a first-generation Turkish-American. Through Rüya — a pop-up Turkish coffeehouse that will be open from Sept. 7 to Nov. 18 — she hopes to lend a positive voice to a generation of Middle-Easterners marginalized by the media. Attend the grand opening and you can expect cozy ground seating, warm Turkish rugs, dangling lanterns and traditional music. Oh, and really robust, thick black coffee. Opening reception 6-9 p.m. Friday. Through Nov. 18. Free admission. Rüya Coffee, 1805 Elm St., Overthe-Rhine, ruyacoffee.com. — MACKENZIE MANLEY

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SATURDAY 08

EVENT: Red Bull Soapbox Race Red Bull’s Soapbox Race returns to Mount Adams for an afternoon of daring downhill racing. Experienced and amateur racers are invited to construct their own vehicles out of whatever material they have available. Use your imagination to create the fastest or most interesting racer. Points will be awarded based on speed, creativity and showmanship. Sixty teams have already been selected to participate — 35 of which are from Ohio and range from “dad and daughter teams to mechanical engineers, Reds fans to chili connoisseurs, first timers to reigning champions,” says Red Bull. If you aren’t racing, secure a spot on the sidelines to watch the action. The family-friend (but not pet-friendly) event features all-day racing, with an awards ceremony at 4 p.m. Food and beverage vendors will be on hand serving up snacks so do not bring your own food, water, alcohol or coolers. Pits open 10 a.m. Saturday; racing begins at 11 a.m. Free. Eden Park, Mount Adams, soapboxrace.redbull.com. — MAIJA ZUMMO

gazebo. 7-11 p.m. Friday; noon-11 p.m. Saturday and Sunday. Free admission; tickets required for tastings and food. Vinoklet Winery & Restaurant, 11069 Colerain Ave., Colerain, vinokletwines. com. — MAIJA ZUMMO

SATURDAY 08

SUNDAY 09

MUSIC: Quintron and Miss Pussycat are a surreal and compelling combo of a puppet show and organ music and they’re playing Urban Artifact. See Sound Advice on page 42.

TUESDAY 11

MUSIC: Jimmie Dale Gilmore and Dave Alvin bring some hippie Country to the Southgate House Revival. See interview with Gilmore on page 40.

YOUR WEEKEND TO DO LIST: LOCAL.CITYBEAT.COM

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MUSIC: Bit Brigade bridges the gap between music and video game sounds at the Southgate House Revival with an interactive live show featuring instruments and a Nintendo Entertainment System. See Sound Advice on page 43.

EVENT: Second Sunday on Main Over-the-Rhine’s monthly summer street festival gets a King Records upgrade this month with a special Second Sunday on Main celebration during September’s King Records Month. As per usual, there will be vendors, food and beer stops, live music and other arts programming lining the

street, but keep an eye out for a special pop-up record fair as well as performances from the likes of the Afrochine Studio Orchestra and Comet Bluegrass AllStars. Noon-5 p.m. Sunday. Free admission. Main Street between 12th and Liberty streets, Over-the-Rhine, secondsundayonmain.org. — MAIJA ZUMMO

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EVENT: Great American Beer Rush Bored with just drinking your beer? Need a little adrenaline addition to that Saturday suds buzz? Taft’s and Fifty West are hosting the Great American Beer Rush, an Amazing Race-style scavenger hunt bar crawl that takes interested drinkers through downtown Cincinnati for an afternoon of clues, brews and mental and physical challenges. The Beer Rush begins at Washington Park, where teams will get their first clue. Then it’s off to six different destinations, where you’ll face formidable challenges and also drink beer. The winning team will get a grand prize from

each brewery. 10 a.m.-3 p.m. Saturday. $25 per person; teams consist of four people. Washington Park, 1230 Elm St., Overthe-Rhine, facebook.com/ taftsbeer, facebook.com/ fiftywestbrewingcompany. — MAIJA ZUMMO

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ARTS & CULTURE A Radical New Way to Exhibit Art The Carnegie’s Matt Distel is letting artists and guest curators have more say in shaping his gallery’s season BY M A R I A S EDA - R EED ER

Matt Distel at The Carnegie PHOTO: HAILEY BOLLINGER

realized he needed to let others make more decisions. “That’s where I started hitting on the idea that it needs to be less Matt Distel curating shows at The Carnegie,” he says. Meanwhile, there are two previously planned, more structured exhibits that will occur as Open Source continues — and will also possibly be influenced by Distel’s experiment. The first, Forealism Tribe: The Forealism Files, also opens Sept. 7 and has no formal closing date. It marks The Carnegie’s participation in the FotoFocus Biennial, which is devoted to photography and lens-based art. And on March 15, the exhibit Radical Visibility will be devoted to Chicago-based artist, designer, performer and theorist Sky Cubacub, who will design and create 50 handmade garments for specific community members. Overall, Distel is seeking to transform our idea about the ways in which a contemporary artist-driven process might look. In doing so, he hopes to facilitate a dialogue between artists and guest curators, as well as between his audience and the artworks. It is not a simple approach, so there is a lot of room for missteps and mistakes — but also growth. “I’ll screw up and I’m OK with that,” Distel says with sincerity. And he seems genuinely excited to take on the challenge. The Carnegie is located at 1028 Scott Blvd., Covington. More info: thecarnegie.com.

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Cincinnati student-driven collaborative book press — to handle mobile signage. They will keep track of where individual artworks have been as they change locations in the galleries. While there is no firm end date to Open Source, Distel has scheduled opening receptions for new phases. “Open Source 1.2” begins Nov. 30, “Open Source 1.3” begins March 15, and the “1.4” edition has a May 31 starting date. Distel began to experiment with this idea three or four years ago, when he started bringing out-of-town curators in for studio visits to build or augment local exhibitions. The idea was to see how arts institutions like The Carnegie could help connect artists from this area to people outside of Cincinnati. “And it kinda worked,” Distel says. Visiting curators like Bill Thelen from Lump Gallery in Raleigh, N.C. and Derek Franklin from Portland, Ore. met local artists when they were in town for studio visits, and subsequently selected work they liked here for shows in their cities. Creating relationships like those is part of the new process. That’s important, Distel believes, because the relationship could serve the long-term needs of an artist more than just participating in one particular gallery exhibition. When The Carnegie as an institution began creating ways to connect artists from this area to people from outside of the Greater Cincinnati art scene, Distel

named Open Source formally begins. Distel explains that Open Source has a first phase — he calls it “Open Source 1.1” — in which five independent curators with various experience levels and artistic perspectives went out for studio visits. They are: Annie Dell’Aria, assistant professor of Art History at Miami University; Sarabel Santos Negrón, an artist and the director of Museo de Arte de Bayamon in Puerto Rico; Linda Schwartz, an independent curator and owner of Alternate Projects; C.M. Turner, artist, writer and independent curator; and Cori Wolff, director of the Longworth-Anderson Series at Cincinnati’s Memorial Hall. They selected 22 artists to show work. Throughout the season, additional curators will be invited to reconceive that art already on display in the six galleries, and also to visit studios to select new artists and pieces to exhibit. Instead of the usual one to two years of lead time necessary between seeing work in a studio and scheduling it for gallery display, Distel and his curators can add something to the show as soon as inspiration strikes. The individual galleries will swell and shrink as new curators constantly renegotiate the space. In terms of keeping track of the checklist and signage, the fluctuating nature of exhibition could be a nightmare. But in true collaborative fashion, Distel is enlisting the help of more artists — in this case, HOT TAKE PRESS, a University of

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he Carnegie’s exhibitions director, Matt Distel, doesn’t mince words. Dry-witted and deadpan, he spoke with CityBeat about fundamental changes in his annual exhibition format, which will revolutionize the ways in which artwork gets into the nonprofit Covington arts center’s galleries. “These are partly built on optimism and hope, and partly based on complete cynicism and defeat,” he says. The longtime curator, who has worked for nearly every local arts institution in town, says he began reexamining the standard approach for putting together discrete thematic shows as a routine way of reconsidering his audience — many of whom visit The Carnegie to take in a show at the theater rather than an exhibit in the galleries. “They’re largely a passive audience,” Distel says. “They might not care about how this is an art show about an overarching theme.” “I don’t want to ignore them,” he continues. “They want to look at artwork and go, ‘Oh, this is really cool,’ and this will give them that. But if I build an exhibition process around them, I would lose my other invested group of people.” And that invested audience, according to the curator, is artists, by and large. So instead of presenting traditionally curated group shows, framed by a yearlong calendar season with each centered around a common theme, Distel is prioritizing The Carnegie’s mission to support the work of local and regional artists. To do so, he has created a process that underscores relationship building and studio visits between artists and external independent curators — thereby minimizing his own voice. Rather than five or six separate shows per year that demonstrate or explore concepts Distel discovered by visiting artists’ studios, The Carnegie will become a shifting exhibition space, curated by many and constantly in flux. This experiment begins Sept. 7, when the season-long project

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VISUAL ART

The Fine Art of Sharing Recipes BY ER I N C O U C H

Upon entering the Contemporary Arts TV and a visual archive of past stories Center this September, museumgoers from previous displays of War Gastronomy. might be asking themselves why an In the spirit of the mobility theme, the unassuming street food cart has set up counter where food is served will be shop in the museum’s lobby? The short fashioned from the crates that transported answer, according to San Francisco’s the food cart from California. However, the Collective Action Studio co-founder most eye-catching elements are the large Chris Treggiari, is that food is a way to paintings of doors mounted adjacent to the connect with people, share our stories and dining table. create community — and all of these are The paintings were inspired by the considered forms of art. He is an artist on stories of immigrant women from The Welthe project War Gastronomy, which uses come Project. The doors are based on their that cart. memories of the doors in their childhood “There’s a long lineage of this type of art, and I think we’re just an extension of that, and I think in this day and age it’s really important to share stories with each other,” he says. “I think the art manifests in the fact that we’re placing the situation with people there, we’re putting it together, and then we’re allowing for this place to be inclusive, open, sometimes celebratory. (It’s) to allow people to really share their thoughts and feelings through this medium of food.” War Gastronomy installation War Gastronomy will be on view at the CAC from PHOTO: COLLECTIVE ACTION STUDIO Sept. 5-22, in partnership with Camp Washington’s Wave Pool gallery and The Welcome homes, so they are painted in a hazy manProject, a nonprofit that sets out to help ner to emulate nostalgia and memory. The refugee and immigrant women via art food shared will also be their own recipes. classes and community-building. However, War Gastronomy’s display at the CAC the exhibit isn’t simply a food cart, a coincides with The Welcome Project’s goal couple tables and people serving up grub to receive an Impact 100 grant to open up a to whoever walks by. It’s a hub for people teaching kitchen and fresh produce market to share their relocation stories — whether in Camp Washington. The other finalists that be a physical move, a culture shock or for the grant include Outdoor Adventure a state-of-mind transition. Clubs for Greater Cincinnati, La Soupe, War Gastronomy was first inspired by Venice on Vine, Welcome House and City the way that the grandmother of Collective Gospel Mission. Action Studio’s other co-founder, Justin Cal Cullen, executive director of Wave Hoover, told him tales about her immigraPool and The Welcome Project, says War tion experience. She also passed down Gastronomy is just one way to tell these her recipes to Hoover’s family. So, it only women’s stories. And, if they manage to seemed natural that War Gastronomy obtain that grant, it certainly won’t be the would be centered on sharing relocation last. stories via recipe sharing. “Wave Pool’s mission is to really blur the And that’s the kicker for the exhibit: boundaries between contemporary art The idea is if you share your recipe, War and social justice,” she says. “And I think Gastronomy might cook it up for future that War Gastronomy is the perfect fit as a museum visitors. For Hoover, sharing way to activate the recipes that are coming recipes is an outlet for human connection. out of The Welcome Project and give them (The name comes from the fact that the a bigger platform. recipes come from displacement mostly “It basically acts as a microphone for caused by war.) these women to be able to share their The centerpiece of the exhibit is the food stories with Greater Cincinnati.” cart. (Hoover will be serving small bites at War Gastronomy will be on view at the the 6-8 p.m. opening reception on Sept. 5.) Contemporary Arts Center (44 E. Sixth St., You’ll also find a rustic 10-foot-long coffee Downtown) Sept. 5-22. More information: table, where you can munch and connect contemporaryartscenter.org. with other visitors, plus a serving bar, a

ONSTAGE

A Tale of Two Fringes: Edmonton and Cincy BY ER I CA R EI D

OCTOBER 23 - NOVEMBER 4

Paul Strickland and Erika Kate MacDonald PHOTO: ERICA REID

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fire-breathers without ever shelling out for a ticket. The festival goes so far as to nickname these two types of audience: “Innies” and “Outies.” “The outdoor component is a huge draw,” Hartman says. “Most people who are here for the outdoor festival are not necessarily here for the indoor performances, so that’s our opportunity to hopefully expand the audience for indoor.” The other artists agree, suggesting the outdoor buskers create a pool of potential ticket-buyers who have already shown an interest in the performing arts. From the curtain speeches to the post-show messages of thanks, individual performances in Edmonton felt similar to how they have felt in Cincinnati. However, it was a thrilling experience to watch shows such as The Coldharts’ Eddie Poe, a work that has passed through Cincinnati and clearly has now been revised and tightened. These shows that travel are works in progress, each benefiting from on-the-road workshops with audiences whose tastes often differ. When MacDonald’s Evacuated played to a sold-out house in Edmonton, I had a sense of the years of testing, rehearsing and revising that have sculpted this show into one that now stands out. The 37th Edmonton Fringe Festival, which closed on Aug. 26, marked the end of the summer Fringe circuit for many performers. Strickland and MacDonald are making their way home to Covington, Ky. As for The Coldharts, in order to return to Cincinnati, they will need to invent a brand new show.

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For many theatergoers, the Cincinnati Fringe Festival is a two-week affair, a whirlwind art blitz that wraps up in early June followed by a year’s rest. But for many participating artists, Cincy Fringe is the kick-off for a larger performance circuit that will take them to cities such as Edinburgh, Scotland and Boulder, Colo. In August, I had an opportunity to experience two days of the Edmonton Fringe Festival in Alberta, Canada. At 37 years old, the Edmonton Fringe is the oldest and largest in North America — an enormous festival of over 1,600 performances in more than 45 venues. Besides being a large and potentially lucrative festival, Edmonton Fringe is also scheduled between other large Canadian festivals, including Vancouver, Calgary and Winnipeg. This makes it an attractive route for traveling Fringe performers — among those are several that are familiar to Cincinnati Fringe audiences, including Martin Dockery (Moonlight After Midnight) and The Wonderheads (Grim and Fischer, LOON). During my visit to Edmonton, I had the fortune to meet up with such Cincy Fringe participants as Paul Strickland (Balls of Yarns, Ain’t True and Uncle False, ExTrashVaganza!), Erika Kate MacDonald (Evacuated, which was performed in Cincinnati as Ice Candle; ExTrashVaganza!; Tales Too Tall for Trailers) and performing team The Coldharts, made up of Katie Hartman and Nick Ryan (Edgar Allan, The Unrepentant Necrophile, The Legend of White Woman Creek). What brings Cincinnati’s Strickland and MacDonald and New York’s Hartman and Ryan thousands of miles to Alberta? The potential for revenue is an obvious place to start. Edmonton Fringe Festival — most Fringe festivals in North America, in fact — operate on a model that requires artists to pay heavy fees upfront. The artists then take home 100 percent of their ticket revenue. Considering Edmonton Fringe’s wide draw, earnings can be high. Strickland suggests he can earn three- or four-months’ income from a solid run in Edmonton. “If a lot of things go well and you throw up your sail and the wind catches you, you can ride on that for a long time,” he says. “That’s a really important thing.” Cincy Fringe’s model is different. Artists pay no upfront fee and they split their ticket revenue with the producer, Know Theatre. This can put a ceiling on the revenue a performer can bring in, but it removes some of the risk from trying out new works. As a result, Cincy Fringe is a good place to experiment. There are other ways that this Canadian festival feels different from Cincy Fringe. For example, a central element of the Edmonton Fringe is a broad offering of free outdoor performances. Audience members can see talented jugglers, drummers and

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ONSTAGE

SUNDAY, NOVEMBER 25TH MEMORIAL HALL

Looking Forward to Fall Theater Productions BY R I C K PEN D ER

As the fall theater season gets cranked up, here are some local productions I’m eager to see. Fly By Night (Ensemble Theatre Cincinnati, through Sept. 29) — ETC’s D. Lynn Meyers knows which shows her audiences will love, even when they’re not familiar titles. Her season kicks off with this darkly comic Rock musical launched by New York City’s Playwrights Horizons in 2014. The life of a melancholy sandwich maker changes dramatically when he meets a pair of sisters during the Matthew Lewis Johnson as Pseudolus in Forum Northeast blackout of 1965. They set off on a star-crossed journey PHOTO: MIKKI SCHAFFNER PHOTOGRAPHY of love and connection told with a catchy score and inventive Dad’s an architect; Mom packs lunches storytelling. and pours cereal; the daughter and son are Misery (Playhouse in the Park, through angsty, wisecracking teens. But Mom has Sept. 29) — Stephen King knows how to fought manic depression for 16 years, and scare people. His creepy novel about a their lives are anything but normal. This writer held hostage became a 1990 screen powerful show about profound grief, devthriller with James Caan and Kathy Bates. astating loss, bewildering psychiatry and Screenwriter William Goldman adapted it the challenges of modern life is an audafor the stage, and it’s the season opener for cious choice for the West Side theater. Cincinnati’s Tony Award-winning regional Guys and Dolls (University of Cincintheater. Rescued from a car crash, the nati’s College-Conservatory of Music, Oct. writer’s salvation by his “number one fan” 19-27) — For 50 years, CCM has trained takes a nightmarish turn that becomes a Broadway stars. This 1950 show about spine-tingling cat-and-mouse game. With gamblers in rough-and-tumble New York a veteran Broadway team for stage combat City in the 1930s will be the centerpiece and effects, the story will unfold in a of an anniversary celebration. (Oct. 20 is gripping (but not gruesome) way. a special performance and gala.) Comic A Funny Thing Happened on the Way gangsters and their girls face complicato the Forum (Cincinnati Shakespeare tions, and hard-boiled Sky Masterson tries Company, Sept. 7-29) — Beginning its to win over straitlaced missionary Sarah 25th season, the classic theater company Brown. No need to roll the dice: With CCM presents something “new” for them: a choreographer Diane Lala staging the classic musical — Stephen Sondheim’s show, it’s a safe bet for entertainment. 1962 Tony Award winner. Inspired by Cincinnati King (Playhouse in the Park, humorous plays from ancient Rome, it’s Nov. 3-Dec. 23) — Celebrate local music about wily, scheming slave Pseudolus and history in this world-premiere musical it uses the infectious energy of vaudeville, about Cincinnati’s revolutionary King complete with shenanigans, hijinks Records. Based on interviews, the story and tomfoolery, to tell its story. With traces the rise of music pioneer Syd Nathan desperate lovers, scheming neighbors and and shares behind-the-scenes stories scandalous secrets, it’s one of the all-time about the singers and musicians who funniest Broadway musicals. played the tunes. Lots of hits including Mr. Burns (Xavier University, Sept. 7-9) “The Twist,” “Blues Stay Away From Me,” — Anne Washburn’s “post-electric play” “Fever” and “Need Your Love So Bad.” explores how pop culture from one era Susan Swayne and the Bewildered could evolve into mythology for another. Bride (Know Theatre, Nov. 24-Dec. 26) — After the collapse of civilization, survivors Playwright Reina Hardy is a rising star; piece together the plot of an episode of The this is the first local production of one of Simpsons from memory. That becomes the her plays. The Society of Lady Detectives live entertainment of a post-apocalyptic consists of proper Victorian women who society that yearns to hold onto its past. love swordplay. But a member might be After 75 years, the stories morph into Isabelle Fontaine-Kite’s missing husband, myths and legends from which new forms so Swayne is investigating. The swashof performance are created. A tribute to buckling adventure uses cross-dressing, live theater — and to the resilience of Bart double-crosses, opium and topless fencing Simpson. for this tale of identity and ambition within Next to Normal (Warsaw Federal Incline the social constraints of Victorian society. Theater, Oct. 4-21) — The 2009 Tony AwardContact Rick Pender: winning musical portrays a suburban famrpender@citybeat.com ily coping with crisis and mental illness.

‘The Sinner’ Stays Compelling in New Season BY JAC K ER N

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Last year’s debut “whydunnit” series Julian was raised by leader Vera Walker and Jessica Biel vehicle The Sinner (10 (Coon). p.m. Wednesdays, USA) is back with Mosswood Grove is something of a new characters, new murders and a notorious mystery for others in the comfew familiar faces. Last year’s star stays munity but Heather has a potentially behind the camera this time around as helpful tie: Years ago, she and her girlwe’re introduced to another killer whose friend Marin (Hannah Gross) snuck into motives remain mysterious. Mosswood; Heather was skeptical, Marin The Sinner was billed as a limited series was intrigued. Marin vanished soon after, during its premiere in 2017. I’ve grown and her disappearance hangs over Heather, wary of supposedly standalone minisewho is desperate to connect that lingering ries that suddenly garner another season mystery with this new case and solve both. after a successful run. Take Big Little Lies, What exactly binds this cult is still foggy for instance. The fantastic HBO hit was halfway through the season — psychothersimilarly marketed as a seven-episode apy, hypnosis, labyrinths and a giant rock miniseries, but after it garnered love from all hold some significance. And its memfans and critics and swept the awards bers are dropping like flies. But that doesn’t circuit (in the limited series category), a deter Harry from trying to get a deeper second season was in the works. understanding of the group’s beliefs. As Now, don’t get me wrong: I’m excited the case triggers memories of his difficult for more of Reese Witherspoon’s Madeline childhood — a mentally ill mother, abanMartha Mackenzie and the addition of donment, shame — it’s unclear if he’s just Meryl Streep to the cast, but BLL told a going deep to investigate or is truly seeking pretty complete story on its own. Lightning some kind of peace or clarity through rarely strikes twice. Why mess with something already fully realized? (And, if it goes on to get nominated again, will it move to the competitive drama category?) But The Sinner, originally based on the titular novel by German crime writer Petra Hammesfahr, is different. The first season — about a woman who inexplicably snaps and kills a stranger during a family beach day and the detective who helps her discover why — tied up Bill Pullman and Carrie Coon all its loose ends, so it makes sense that Season 2 takes an PHOTO: COURTESY USA anthological move. Focusing on a different crime, The Sinner ventures out of the source book these unconventional means. and into original storytelling territory. Oh, First off, sign me up for any cult that and Carrie Coon stars. More on the screen Coon leads, because the actress has won queen in a moment. me over in everything from Gone Girl Detective Harry Ambrose (Bill Pullman) to Fargo’s third season to the criminally returns, this time to investigate a murder underrated The Leftovers. She helps elevate near his hometown in Upstate New York what could be wacky, convenient and — a location that brings personal implicaoff-the-rails into a spooky thriller you’re tions for the troubled cop. Harry’s personal compelled to ride. (Her husband, Tracy life played a significant role last season, as Letts, plays a supporting role as Heather’s we saw him get divorced, battle addiction father and is great, as always.) In fact, and depression and use BDSM as a coping the entire cast does a fine job, especially mechanism for his personal trauma. But 13-year-old Elisha Henig as the unsettling we didn’t learn much about his childhood, yet sympathetic Julian. which is explored more in-depth here. Where Season 1 focused a lot on Central to the story is Julian, a 13-yearChristianity and the conventional old boy accused of poisoning his parents. definition of sin, the second season Only they’re not his parents, biologically or introduces a nontraditional (and, to this legally. In fact, the woman who claims to point, mysterious) belief set, spinning the be his mother isn’t technically his mother idea of what it means to be “the sinner” — either. The twisty plot leads Harry and what’s forgivable, what’s justifiable, what’s young detective Heather Novack (Natalie not — in a new, intriguing direction. Paul) to small-town cult Mosswood Grove Contact Jac Kern: @jackern — a “utopian commune” as it were — where

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FOOD & DRINK

Girls to the Front Chef Frances Kroner of Sleepy Bee Café hosts a series of dinners to provide the seed fund for a female-focused restaurant and beverage organization BY K AT I E H O LO C H ER

Chef Frances Kroner (left) and the rest of the CWFD team from an August dinner PHOTO: HAILEY BOLLINGER

A plated dish from one of August’s CWFD dinners PHOTO: HAILEY BOLLINGER

embraces female talent and leadership.” While the pop-ups themselves may have ended — the dinners were held July 25, Aug. 1, 15 and 22 — it is clear that the work to create something bigger and supportive of women in this industry and city is well on its way. Follow Aster (facebook.com/asteronfourth) or the “Cincinnati Women Chefs and Restaurateurs” group on Facebook for upcoming CWFD events.

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

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to create CWFD, Cincinnati Women in Food and Drink. Its mission is to “advance and celebrate women in food and drink through connection, education and mentorship to empower their success,” Kroner says. “To start, we are spreading the word and putting together a network of women in the food and beverage industries in Cincinnati,” she says. “We are hosting the dinner series to start up a seed fund to do a bit more branding and infrastructure for the group. “After that, we will work toward education opportunities — small-scale conferences, mentorship. We want the group to properly reflect the needs of the community, so while we have a general direction, the scope and strategy is being influenced by the women we are meeting.” Getting to enjoy delicious food, created by incredible female talent, in an amazingly intimate setting alongside strangers was exciting enough, but it was even better to learn that the profits from the evening would be used to further the bigger mission of CWFD. I am looking forward to following Kroner and CWFD’s vision to be a “forward-thinking industry culture that

Dean’s Mediterranean. The beet labneh spread stole the show for me: it was bright, pungent and wildly savory. Then there were two entrée courses. The first was a chermoula trout served with buckwheat couscous and roasted grape tomatoes. This was crafted by Emma Cotter, executive sous chef at Sleepy Bee. The second was Moroccan chicken thighs with spicy stewed red lentils and harissa potatoes. This was curated by Kroner and Rhonda Marcotte, chef and owner of Flash in the Pan Personal Chef Services. I assumed the trout would be my favorite, but it was actually the chicken thighs that shined. Like the mezze platter, the thighs were so richly spiced that they too stood as awesome testaments to the theme. The finale was a dessert course, another by Cotter, and it was absolutely delicious. The dish was a piece of fig-and-almond cake with grilled stone fruit and honeyed greek yogurt. The fruit, yogurt and cake bite came together perfectly. Yet, what ultimately ended up being even better than the dinner itself was being introduced to the bigger plan Kroner was cooking up. After attending the National Women Chefs & Restaurateurs Conference this past March in Minneapolis with Sandy Gross and the aforementioned Cotter, both of Sleepy Bee, Kroner came back to Cincinnati realizing she needed to create an organization for women in the industry here. Thus she began the foundational work

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have only had this experience a couple of times in my life, but it is my most favorite thing: dining with strangers. It was on Instagram where I caught a post by Frances Kroner, executive chef of Sleepy Bee Café and Aster on Fourth. She was advertising a pop-up dinner series featuring women chefs and mixologists. I knew no other details but I needn’t any because if it involved Kroner and an allfemale lineup, all I needed to know was where to sign up. I quickly RSVPed for two (for me and my husband) and went in not knowing exactly what to expect. I wasn’t sure of the set up or whether we’d be ordering food or just enjoy a prix-fixe menu, or even if we’d be dining individually or as a group. However, it ended up being exactly what I was hoping it would be: a private table set for 12 on the balcony of downtown’s Aster with a menu of the set courses laid out before us. When I walked in and saw that, I grabbed my husband’s hand and squeezed it out of excitement. And then we sat ourselves in the middle of the table, surrounded by strangers, set to dine. First to greet us was the inimitable mixologist Molly Wellmann of Japp’s and Myrtle’s Punch House. She concocted the signature cocktail for the evening, one she dubbed The Spicy Man, with vodka, mandarin, homemade five-spice simple syrup and soda. It was pulpy and punchy and perfectly potent. The dinner’s theme was “Moroccan” and the drink rolled out quite the Moroccan-inspired carpet. However, the cocktail was only the beginning as there were also wine pairings provided by Kate McDonald, owner and vintner of OTR’s Skeleton Root Urban Winery. After The Spicy Man, she paired each course with wine and it became apparent we were all in excellent beverage hands. First up in food was the appetizer mezze platter, featuring a beet labneh spread, bulgur wheat with pomegranate and walnut, hummus, baba ganoush, muhammara and olives. Each and every speck and spread was deeply flavorful and all were brought to us by Kate Zaidan of

THE DISH

Monthly ‘Tea Dances’ Celebrate and Connect Cincinnati’s LGBTQ Community BY M AC K EN ZI E M A N L E Y

An August Tea Dance at Three Points Brewery P H O T O : P AT T Y S A L A S

successful,” Cooke says of the dances, which draw in hundreds each month. “I think they’re doing their part to reinforce that this is a welcoming and great city.” In the past, Cooke says the dances were mainly white, gay men. When he decided to bring the tradition back, he wanted that to change. One of Cooke’s goals was to serve the underrepresented LGBTQ community. “And he’s done that,” says Will Walters, a 20-something attendee and friend of Cooke. “That’s why I love this because it brings everyone together in one night, and it should be like that all the time,” Walters says. “I’ve lived around the country and seen what it’s like and I love it. But I love Cincinnati...I was born here, grew up here and I can see it happening here. I just want people to see that.” At Three Points, Walters came with a group of friends after work. When you look around the brewery space, a spectrum of identities can be seen. “You don’t have to worry. Just come to a

Richard Cooke (left) and husband Marty Wagner P H O T O : P AT T Y S A L A S

place where you can be yourself. Who cares if you’re a little bit bigger or if you’re wearing this or that, nobody cares,” Walters says. “You’re human. We’re all hanging out and having fun together and that’s all that matters.” As Cooke weaves through the crowded party at Three Points, multiple patrons stop to hug him or kiss him on the cheek. And this isn’t just a shebang for older generations, rather Cooke wanted young people — maybe for the first time — to experience the dances. “It’s wonderful seeing the younger generation chatting, networking and mixing with the older generation,” he says with a smile. “I love to see that.” But they also spread love to businesses

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It’s a Sunday afternoon, but power Pop weaves through Over-the-Rhine’s Ziegler Park — faint, but pulsating. The sound can be traced to Three Points Brewery. Inside, hundreds of people dance and chat, craft brews in hand; some attendees lounge on the edge of the bar’s open-air window. They’re all here for the same reason: It’s Time for Another Tea Dance. The tea dance is a revived LGBTQ tradition that dates back to the 1940s and ’50s. Richard Cooke and his husband Marty Wagner brought them to Cincinnati in April 2017 with new life. Each month, the dances unfold at a different bar, but always on a Sunday afternoon. (The next event is 4 p.m. Sept. 9 in Washington Park.) Historically, tea dances functioned as an event in which gay couples could openly dance with one another. In the 1940s and ’50s it was illegal for same-sex couples to dance and touch in public, so they had to go underground. “That’s how the tea dances really started, in these tea rooms where same-sex couples could meet, socialize and dance. Back then it was a refined affair,” Cooke says. “Nice music, maybe a string quartet, there’d be some dancing and if the police came they would scramble and opposite-sex couples would be dancing.” It wasn’t until the Stonewall Riots of 1969 — a series of violent demonstrations between the LGBTQ community and police sparked by a police raid of a gay club in Greenwich Village in New York City — that the modern gay rights movement began to surface into the mainstream. And with it, the dances. Cooke says that in bigger cities, like NYC or San Francisco, they’d have bigger afternoon events. Though he didn’t come out until he was 30, he recalls going to dances in Chicago and the Key West, the latter of which he still frequents. Now, he says Cincinnati is more inclusive than it once was; Cooke credits initiatives by city council for that. “There was space that really opened up that allowed it to flourish and be

across the city, hoping that attendees can discover new places that Cincinnati has to offer. In that, it’s a symbiotic relationship: bars get business and the LGBTQ community and allies can come together. As the months go on, Cooke says the tea dances gain popularity. Nearly 400-500 attend each. In August, there were two tea dance events — one at Three Points and another at Aladdin’s Eatery. Times may be a-changin, but most bars cater to the cisgender, heterosexual population. Cooke says that the queer community can fit in there, but he believes it’s also important to have spaces where the LGBTQ population is predominant. That was the inspiration behind the first tea dance. Cooke and his friends used to gather at a now-closed OTR bar Neons; when it shuttered in December 2016, they scattered. The bar staff that Cooke’s friends grew to love went to different bars and there was no longer a common stomping ground. “We were lamenting that last February in Mr. Pitiful’s on a Sunday afternoon where one of our bartender friends (Laura Switzer) was now working,” Cooke says. He told Switzer that he missed everyone gathering, so he told her about the tea dances. Two months later, the now-popular event was born at Mr. Pitful’s. “My theory is that, we’ve almost done a 360 with these social media apps,” Cooke says. “People are now craving for connections, friendships and safe encounters.” As music wafts in and out of Three Points, the place feels unified by a common bond of free expression. Everything goes here. One man dances with his walker, another in a Geisha-style dress. They raise their hands under purple-hued lights and afternoon sun leaks through open windows. “These people mean something to me,” Walters says. “Even if I don’t know them. I love seeing people have a good time.” The next Tea Dance will be held 4 p.m. Sept. 9 in Washington Park. More info: facebook.com/teadancecinci.

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CLASSES & EVENTS THURSDAY 06

Antinori Wine Dinner at Nicola’s —This six-course dinner features paired wines from Antinori’s vineyard estates in Tuscany and Umbria in Italy. 6-10 p.m. $125. Nicola’s Restaurant, 1420 Sycamore St., Overthe-Rhine, nicolasotr.com. Taft House Party — Start the weekend early at the Taft. See the current Ansel Adams exhibit and learn about FotoFocus, listen to music by The Tillers, watch how to make prints with Pull Club Studio and buy drinks or light bites from the bar. 5-8 p.m. Free ticket with RSVP. Taft Museum of Art, 316 Pike St., Downtown, taftmuseum.org. Mug Club at The Video Archive — Every Thursday, head to The Video Archive to drink some cheap beer and eat Taglio pizza. Buy a $6 mug and your first beer is free. 8 p.m. Free admission. The Video Archive, 965 E. McMillan St., Walnut Hills, facebook.com/ videoarchivecincinnati.

FRIDAY 07

Listermann 10th Anniversary — Listermann Brewing Co. celebrates 10 years in business with a three-day party featuring a ticketed event Friday and free events Saturday and Sunday. On Friday night, entry is limited to 300 people, who can sample beer from more than 20 breweries around the country. Saturday will feature an Oktoberfest theme, with German food, games, fun and beer. Sunday is a family-friendly day with games, Cincinnati Zoo animal ambassador encounters and face painting. 6:30 p.m. early admission Friday; 7:30 p.m. regular admission Friday; noon-11 p.m. Saturday; noon-8 p.m. Sunday. $79.99 early VIP; $59.99 regular admission. Listermann Brewing Co., 1621 Dana Ave., Evanston, facebook. com/listermannbrewing. Art & Wine Festival at Vinoklet — Vinoklet throws the 20th-annual Art & Wine Festival, featuring live music, wine, beer, food and more than 60 booths of arts vendors. Sunday night, there’s a special fried chicken event from noon-5 p.m. with $12 dinners. 7-11 p.m. Friday; noon-11 p.m. Saturday and Sunday. Free admission. Vinoklet Winery, Restaurant & Vineyard, 11069 Colerain Ave., Colerain, vinokletwines.com.

SATURDAY 08

Brewing Heritage Cellarman’s Tour — Learn about the 19th-century workers who built the dangerous lagering tunnels

Queen City Radio Turns Two — Over-the-Rhine biergarten Queen City Radio turns two with an all-day happy hour (including Jell-o and mystery shots), live music by Grace Lincoln and DJ Prymtime, a Framester photobooth and cake pops. Noon-2:30 a.m. Free admission. Queen City Radio, 222 W. 12th St., Over-the-Rhine, facebook. com/queencityradiobar. Great American Beer Rush — Fifty West and Taft’s join together for the inaugural Great American Beer Rush, an Amazing Race-style bar crawl through downtown with physical and mental challenges … and beer. The winning team gets prizes from the breweries. 10 a.m.-3 p.m. $100.89. Washington Park, 1230 Elm St., Over-the-Rhine, facebook.com/taftsbeer.

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September Tea Dance in Washington Park — The monthly Tea Dance takes over Washington Park for a daytime dance for the LGBTQ+ community and allies with music from DJ Thaddeus and Bjorg, with drinks from the porch bar. 4-7 p.m. Free admission. Washington Park, 1230 Elm St., Overthe-Rhine, facebook.com/ teadancecinci.

TUESDAY 11

Low and Slow is the Way to Go: Slow Cooking Techniques — Learn how to braise, stew and roast one-pot meals. 11:30 a.m.-2 p.m. $75. Turner Farm, 7400 Given Road, Indian Hill, turnerfarm.org.

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Fork + Bottle Dinner: Maker’s Mark — Chef Jared Bennett will craft a four-course dinner (and canapes) with bourbon and bourbon cocktail pairings. Maker’s Mark’s Jacklyn Evans will be on hand with insights into the bourbon. 7-10:30 p.m. $75. Metropole, 609 Walnut St., Downtown, metropoleonwalnut.com.

and the Beer Barons who built their fortunes producing local brews. Tour includes a visit underground into the lagering cellar of the Schmidt Brothers Brewery and a beer tasting at the Christian Moerlein Malt House Taproom. 12:30 p.m. $25. Leaves from the Christian Moerlein Malt House Taproom, 1621 Moore St., Over-the-Rhine, brewingheritagetrail.org.

Rüya Coffee Grand Opening — This Turkish coffeehouse, funded by People’s Liberty, pops up in the nonprofit’s Findlay Market Globefront gallery. Learn Turkish coffee brewing methods and sample tea and coffee cocktails and Mediterranean bites while listening to Turkish music.

6-9 p.m. Free admission. Rüya Coffee, 1805 Elm St., Over-the-Rhine, facebook. com/ruyacoffee.

S E P T E M B E R 5 – 11, 2 0 18

Taste to Remember at Rhinegeist — The Children’s Hunger Alliance hosts its fifth-annual Taste to Remember event to raise funds to provide healthy meals for food-insecure children in Ohio. Sample food from area restaurants, check out a chef competition and select from 10 beer options on tap. There will also be a raffle, mystery wine pull, live and silent auction and complimentary beer, wine and soda. 6:308:30 p.m. $75; $50 young professional; $25 VIP reception. Rhinegeist, 1910 Elm St., Over-the-Rhine, childrenshungeralliance.org.

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

MUSIC

Get Together Jimmie Dale Gilmore and Dave Alvin pay tribute to the Folk Blues masters they bonded over on Downey to Lubbock BY S T E V EN R O S EN

C I T Y B E AT. C O M

S E P T E M B E R 5 – 11, 2 0 18

his was an unconventional interview with Jimmie Dale Gilmore, to say the least. When we connected via phone, he was in a physical rehab center in Lubbock, Texas to visit his 91-year-old mother, who was recovering from a broken hip. Our talk was interrupted several times so he could say something to encourage her, or because doctors and a speech therapist came in to check on her progress and talk to him. For the final portion of the interview, Gilmore was reached in a Lubbock Best Buy, where he had gone to get a charger for his much-used cell phone. Through it all, the Grammy-nominated Gilmore remained upbeat and enthusiastic about his ongoing tour with Dave Alvin, the new album that accompanies it and his love of music. A native of Lubbock in the flatlands of West Texas, he has successfully applied his distinctly gentle, unusually wavering voice to Country, Blues, Folk and Rock long before there was a name — Americana — for his style. Before that term was coined, you could call just him — as he sings on the new album’s rumbling title song, “Downey to Lubbock” — “a hippie Country singer.” He still is just that, actually, his long flowing hair now gray and white. “It really is a tongue-in-cheek thing, because the word ‘hippie’ to me was meant to denigrate anybody who acted weird,” he says. “It came to be a euphemism for anybody not a complete conformist. It always has kind of irked me, but at the same time it did come to refer to the people I identified with. I was particularly strange for a Country singer.” Gilmore and Alvin — the Grammywinning Americana singer/songwriter/ guitarist who co-founded the 1980s band The Blasters — got the idea for the album when touring together for a few 2017 dates in the Southwest. “We both assumed it would be a song swap, but immediately we discovered we knew a bunch of stuff (to play) together,” Gilmore says. “Very quickly, we started doing every show together. I’d play rhythm guitar and he’d play lead. And Dave got me back into playing harmonica, which I hadn’t done in 30 years.” The two realized they had a shared history. Both used to attend concerts at Los Angeles’ Ash Grove music club, which lasted from 1958-73 and presented such Folk and Blues masters as Sonny Terry & Brownie McGhee, Lightnin’ Hopkins

and Bukka White. Alvin was raised in Downey, Calif., so it’s understandable that he would hang out in nearby L.A. But how did a quintessential Texas flatlander get there? “I figured with the kind of music I was into, that (California) was the place for it,” Gilmore says. “I was already married and with a baby daughter when we moved out in 1965, and that was really the heyday of Folk Blues. That’s when I started making music on my own. My first professional gig was in San Diego while I was living in Los Angeles. Back then, I played every Saturday night for a period. I think I made about $16, but it was big time to me.” Downey to Lubbock, which the two co-produced in a studio with assisting musicians, reflects their shared love for the artists they saw there — or would have wanted to. They do Brownie and Ruth McGhee’s “Walk On,” Lightnin’ Hopkins’ “Buddy Brown’s Blues” and a 1928 classic by Will Shade of the Memphis Jug Band, “Stealin’, Stealin.’” There are also songs by more recent Folk/Country troubadours who have passed on — Steve Young’s “Silverlake,” John Stewart’s “July, You’re a Woman” and Chris Gaffney’s “The Gardens.” Additionally, Gilmore sings a raucous tune from when high-adrenaline R&B was beginning to turn into Rock & Roll: Lloyd Price’s 1952 “Lawdy Miss Clawdy.” “That’s New Orleans music; that could be considered one of the first Rock & Roll songs,” Gilmore says. There are also two songs that have quite a bite — “Deportee (Plane Wreck at Los Gatos),” Woody Guthrie and Martin

Dave Alvin (left) and Jimmie Dale Gilmore PHOTO: TIM REESE PHOTOGRAPHY

Hoffman’s protest song about Mexican migrant workers who die in a plane crash while being sent home from the U.S.; and The Youngbloods’ 1969 Folk Rock hit “Get Together,” a wistfully hopeful look ahead to better, more peaceful times than the tumultuous 1960s. Gilmore sings the lead on both songs. “Dave introduces those by saying they are both timeless and timely,” Gilmore says. Gilmore has long been performing the oft-recorded “Deportee” — the first version he heard was by Joan Baez. “When we were doing this recording, Dave said he’d (first) listened to about 100 recordings of it, and then he said, ‘Wait a minute, Jimmie already has his own take on it, we’ll just do it the way he does it.’ ” The pair has been closing their shows with “Get Together.” A longtime fan, Gilmore believes Youngbloods lead singer Jesse Colin Young sang it beautifully. “The meaning of the song is so apropos to these times,” he says. “And I love music that’s able to reflect that.” While Gilmore has had a successful solo

recording career, he is especially highly regarded for being a member, with fellow Texas songwriters Joe Ely and Butch Hancock, of the proto-Americana band The Flatlanders, which recorded an obscure and virtually unreleased — but very prescient — 1972 album. The band didn’t last lon, but as their solo careers progressed, Rounder Records re-released the album in 1991 as More a Legend than a Band. Since 2002, The Flatlanders have released three albums, touring occasionally. The last Flatlanders’ album of new material came out in 2009, so they once again can be considered more a legend than a band. But maybe not for much longer. “We still do the one-off concerts,” Gilmore says. “And we’ve already started talking about doing another project. With us, starting to talk about it means it’s still several years down the road. But we’re still all best friends.” Jimmie Dale Gilmore and Dave Alvin perform Tuesday (Sept. 11) at Southgate House Revival. Tickets/more info: southgatehouse.com.

A unique dual “release party” event Saturband’s first release for the label and the day brings together homegrown music and follow-up to last year’s Bottom of the Barrel. drink recipes at Urban Artifact (1660 Blue The album’s first two singles — “Butcher” Rock St., Northside, artifactbeer.com). (which was accompanied by a music video Cincinnati musicians and mixologists featuring a host of the musicians’ local MayaLou Banatwala and Kristen Kreft music peers) and “Spiders” — are great are releasing their collaborative book representations of the band’s powerful project, Rocktails: An Amped Up Spin on sound. Atop drummer Daisy Kaplan’s Mixology, kicking off Saturday’s event with cyclonic and atmospheric percussion a “cocktail hour meet and greet” and book backdrop, singer/cellist Kate Wakefield signing at 8:30 p.m. evokes a whirl of energy and emotion, creKreft and Banatwala have been promiating varying textures on her cello, which nent members of the Cincinnati music often rocks harder than an army of discommunity for the past several years, torted guitars. Wakefield’s dynamic vocals showcasing two of the best voices in the scene with their bands The Perfect Children and Heavy Hinges, respectively. They’ve also crossed paths behind the bar, working locally as bartenders for more than half a decade. Rocktails grew out of a monthly event the pair hosts at Northside’s The Listing Loon. For the “pop up parties,” Banatwala and Kreft would transform the space to fit their “Rocktails Experience,” while also booking various ’Rocktails’ authors Kristen Kreft and MayaLou Banatwala bands or DJs to perform. Tying everything together PHOTO: PROVIDED was the drink menu, which feature handcrafted cocktails inspired by and in tribute to a are equally multidimensional, alternately variety of musical acts. rising with a hair-raising fervor and slinkFor example, there’s the homage to ing with a more delicate but no less intent Siouxsie Sioux of Goth-y AltRock pioneers and intense purr. Siouxsie and the Banshees, which comFor more on Lung’s All the King’s Horses bines “the grit of pear juice with the sexy visit lungtheband.com and sofaburn.com. notes of round dark rum, bitter Campari, Nominate Your Faves for grape soda and a black licorice garnish.” The duo’s local-music roots show in 2018’s CEAs other recipes. Their “Dirty Blues” cocktail This November, for the 21st year, the was inspired by Northern Kentucky’s All Cincinnati Entertainment Awards will Seeing Eyes and it’s incredibly imaginative, celebrate Greater Cincinnati’s rich original described as “Absinthe soaked, flamed music scene, with awards given to artists candy cigarettes affixed into gummy in various genres and categories. Before orange slices as garnishes, atop a smokey the ceremony/party (Nov. 25 at Memorial Laphroig rinsed whiskey and beer cocktail Hall) we’re again asking for your help in spiked with Watershed’s Noccino Black coming up with the nominees. Walnut Liqueur.” Music fans can write in their favorite The first edition of the Rocktails book area artists for the 2018 CEAs and get them available Saturday will be followed by a in the running for an official nomination. planned updated version with recipes The top nominees from this first round inspired solely by artists with Cincinnati will be presented to the CEA nominating connections. committee, which determines the final Following the book signing, great local ballot; that ballot will be available for group Carriers and Madison, Wisc.’s public voting later this month. Proud Parents will perform. Then the You can find the first-round ballot link at second part of Saturday’s release-partying citybeat.com/music/cincinnati-entertainkicks in, as phenomenal Cincinnati Post ment-awards. Get your picks in fast — it Punk duo Lung rocks out in honor of the closes Sept. 7. release of their sophomore album, All the King’s Horses. Contact Mike Breen: On Friday, All the King’s Horses is being mbreen@citybeat.com issued via Sofa Burn Records, marking the

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Ted Cruz Somehow Got Even Less Cool

It doesn’t take much to “out cool” Senator Ted Cruz. Did you once wear sunglasses that didn’t make you look like a potato wearing sunglasses? Congratulations, you’re cooler than Ted Cruz. Somehow, the Texas GOP managed to take his competitor in the upcoming Senate race, Beto O’Rourke, to new heights of cool with what was apparently meant to be a sick burn. Intending to shame O’Rourke and disgust voters by posting a black-and-white photo of his ’90s Punk Rock band Foss (in which he wears a — gasp! — dress) with the caption, “Sorry, can’t debate. We have a gig,” it seemed to have the opposite effect, as Twitter commenters swooned over O’Rourke’s credentials (and hotness). Among Ted Cruz’s many flaws, being a lame-ass nerd is pretty low on the list, but besides appealing to those who wouldn’t vote for a Democrat even if it was revealed Ted Cruz actually is the Zodiac Killer, it still seems like bad politics to point out how much of a not-lame-ass nerd your opponent is.

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“Weird Al” Finally Gets His Star

Speaking of nerds (in this case, a proud and actually cool one), “Weird Al” Yankovic recently received a star on the Hollywood Walk of Fame. Finally! Why has it taken 32 years since the release of Polka Party! to give Weird Al a stupid Hollywood star?! Yankovic, of course, gave a charming, heartfelt, humble and funny speech on his big day, pointedly and politely asking that no one take a pickaxe to his star. “Unless,” he clarified, “at some point in the future I do something unfathomably monstrous and evil, in which case, sure, fine, OK, go ahead”

Khaled’s New Side-Biz

You can now sit around your house and yell out your name just like DJ Khaled does! The producer/DJ/hypeman has launched a new line of furniture, We the Best Home. In a statement, Khaled said the creative design — which he was “involved in every aspect of” — is “an extension of me.” Photos released to Billboard show We the Best Home to include a leather couch and loveseat, lots of gold and a mirror-lined dining room set that (though certainly made of the highest quality materials?) resembles something straight off the floor of Rent-A-Center.

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SOUND ADVICE Birds of Chicago with Anthony da Costa

Wednesday • Taft Theatre If there is any truth to the old adage “the family that plays together, stays together,” JT Nero and Allison Russell can look forward to a long and happy life, as soulmates as well as bandmates. Since 2012, Nero and Russell have fronted Birds of Chicago, a fluid collection of talent that has identified and explored the convergent sweet spot of Folk, Americana and Soul, highlighted by exquisite musicianship and stellar harmonies. Nero and Russell’s journey began well before the launch of Birds of Chicago. They met while Nero was fronting his band, JT and the Clouds, and Russell was paired up with Be Good Tanyas member Trish Klein in Po’ Girl. The Clouds opened for Po’ Girls Canadian headlining dates, and they reversed marquee positions for the Clouds’ American shows. By 2009, Russell had relocated from Montreal to live with Nero in Chicago and two years later, the two collaborated on Nero’s solo album, mountains/forests. Soon after, they began performing as a duo under their own names and bringing in a rotating cast of friends as accompanists, which led to a Kickstarter campaign for funds to take the group into the studio. Sensing that they needed to give the entity an actual name, Nero and Russell decided to christen their band Birds of Chicago, the album title they had settled on. After their self-released 2012 debut, Birds of Chicago hit the festival circuit with a vengeance and began making serious waves in the Folk/Americana community. The following year, Nero and Russell were married, and in January 2014, they welcomed a daughter. Russell was touring until just before the baby was born and hit the road four weeks post-birth (with the whole family in tow). At the end of 2014, Birds of Chicago released their second album, Live From Space, and then launched a hastily organized Kickstarter campaign to back their next studio album, which renowned singer/songwriter Joe Henry had agreed to produce. They reached their $40,000 goal in a week and a half, and released the album, Real Midnight, in 2016. The album was embraced by fans and critics, lauded by NPR and spent a month at No. 1 on the Euro Americana Chart.

Birds of Chicago PHOTO: BIG HASSLE MEDIA

Quintron and Miss Pussycat PH OTO: J U DY C O PPER

Last year, Birds of Chicago signed with Signature Sound and released the digital American Flowers EP, followed this past May by the full-length Love in Wartime, co-produced by Nero and Luther Dickinson, son of legendary Memphis performer/ producer Jim Dickinson and frontman of the North Mississippi All-Stars. Birds of Chicago call their style “secular Gospel,” but everyone else calls it jaw-dropping, awe-inspiring and a much-needed light in dark times. (Brian Baker)

Quintron and Miss Pussycat with Lipstick Fiction and Googly Eyes Sunday • Urban Artifact

With a few exceptions, in Cincinnati’s underground Rock circuit of the ’90s, there was a span of time where you basically knew what you were going to get when you went to a show — some variation of scruffy Gen X-ers playing loud guitars. But every now and then, an act would come to town that was blissfully confounding. It wasn’t just “unique” — there was literally nothing else like it. Emerging from New Orleans, Quintron and Miss Pussycat were an enigma. And they still very much are. To nutshell it: Quintron plays organ, triggers other sounds and sings while Miss Pussycat

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performs puppet shows. It’s wonderfully strange and compelling and a bit surreal, though even that word doesn’t fully explain the experience. David Lynch himself would probably fall into a paralyzed state of chin-scratching contemplation trying to contextualize one of the duo’s performances. Getting her artistic start in Oklahoma at a “Christian Puppet Youth Ministry,” Miss Pussycat’s puppetry is storyline-based, playful and fantastically odd. The hand puppets and sets are handmade and colorful, resembling something Pee Wee Herman might play with between takes while filming his Playhouse on the big-boy set.

Bit Brigade PHOTO: NICKEL EDGE

Bit Brigade with Mike Montgomery, Mollusk and Off the Meat Rack

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NIGHT!, NATIVE HARROW, SLIPPERY CREEK

For some members of older generations not paying attention, the shifting and massive role video games play in culture right now is beyond comprehension. Watching videos or live streams of other people playing video games is one of the most popular forms of entertainment for many under 30. A recent report found that 380 million people watch esports (competitive gaming tournaments) around the world, online and, increasingly, on television. Watching gamers is a multi-billion dollar (and multi-faceted) industry and, if you’re good enough, gaming is a viable vocation. A large artistic community has been growing around gaming culture for years, largely among enthusiastic fans and outside of the big-buck industry maneuvering. On the musical end, everyone from Electronic and Hip Hop to Metal musicians have paid tribute to the sounds heard within popular video games. From a performance standpoint, one of the best is Athens, Ga. quintet Bit Brigade, whose concerts are multimedia experiences, combining progressive Indie Rock with the growing fascination of watching others play video games. Bit Brigade features Bryant Williamson and Jace Bartet on guitars, Luke Fields on bass, Mike Albanese on drums and Noah McCarthy, who is kind of the “frontperson” — he plays classic Nintendo Entertainment System (NES) games on stage, to which the band provides the soundtrack. Using the musical themes and sounds from the actual games, the band follows the gameplay live, but there isn’t a ton of improv. McCarthy and the musicians work together to plot out and time their sessions, though the element of surprise (dying or not making the next level) is always there, of course. Musically, the band (which tours the U.S. Rock club circuit consistently) is a tight mix of Post Punk, Indie and Prog Rock — some of the musicians are also in the Athens instrumental Indie Rock band Double Ferrari. So far, Bit Brigade has done such NES games as Contra (the one that started it all), Castlevania, The Legend of Zelda and Metroid, all of which are available as albums at bitbrigade. bandcamp.com. For the group’s visit to Newport, Mega Man II will be played. (MB)

S E P T E M B E R 5 – 11, 2 0 18

With Miss Pussycat often singing backup and playing maracas, Quintron coaxes music out of his huge organ set up, which is built into the front of an old car. Quintron is an inventive tinkerer, so the organ is like a Hammond B3 that has been completely rewired and tricked out with an array of analog electronic quirks. The music has been called “Psychedelic Soul” and “Swamp Tech” (also the name of the duo’s 2005 album, which was paired with Miss Pussycat’s puppet film, The Electric Swamp). Describing the act on a surface level makes it seem like Quintron and Miss Pussycat are some sort of art project meant to be stared at and deeply considered, but the duo’s performances are very much Rock & Roll shows — energetic, explosive and life affirming testaments to the power of performance and DIY ingenuity, however unconventional. The pair’s latest projects include a book (written by Quintron and illustrated by Miss Pussycat) about traveling through Europe and a music video for their cover of Roky Erickson’s “Creature with the Atom Brain,” which is featured on the compilation Dr. Demento Covered in Punk. Quintron, who has released over a dozen albums since 1994, teamed up with Third Man Records last year to showcase his Weather Warlock, a large analog synth that is controlled by the weather. Quintron’s

Weather Warlock performance during the 2017 eclipse at the Third Man storefront in Nashville was recently issued by the label on vinyl (Third Man also released a live set from Quintron and Miss Pussycat). Quintron and Weather Warlock are touring with Stoner/Doom Metal icons Sleep later this year; that tour comes to Cincinnati’s Taft Theatre on Dec. 10. (Mike Breen)

Charlie Millikin

WWW.SOUTHGATEHOUSE.COM

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

| S E P T E M B E R 5 â&#x20AC;&#x201C; 11, 2 0 18

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 05

MOTR PUB - Mega Ran with Microphone Misfitz and Juice Lee. 10 p.m. Hip Hop. Free.

NORTHSIDE TAVERN Small Wars, JM Lansdowne and Seth Robinson. 9 p.m. Rock. Free.

RIVERBEND - Pentatonix with Echosmith and Calum Scott. 8 p.m. Pop. $25-$129.50.

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Pokey LaFarge. 8 p.m. Americana/Roots/Various. $20, $25 day of show. STANLEY’S PUB - TGTG and Anna Applegate. 9 p.m. Indie. Free.

TAFT THEATRE Birds of Chicago with Anthony DaCosta. 8 p.m. Americana. $17, $20 day of show (in the Ballroom).

URBAN ARTIFACT - Brooklynn Rae, Freedom Moore, Marisa S, Lauren Eylise and Xzela. 9:30 p.m. Neo/Indie/Soul/ Pop/Various.

THURSDAY 06

CAFFÈ VIVACE - Bill Gemmer Trio. 7:30 p.m. Jazz.

FOUNTAIN SQUARE - Salsa on the Square with Al Son Del Iya. 7 p.m. Latin/Salsa/Dance. Free.

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

LUDLOW GARAGE Mason Jennings with Charlie Millikin. 8:30 p.m. Folk/Pop. $15-$40.

MOTR PUB - Frontier Folk Nebraska with The Singing Butcher. 10 p.m. Rock. Free.

SCHWARTZ’S POINT Andrew Haug and Josh

RICK’S TAVERN - Heather Roush Band. 10 p.m. Country. Cover.

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Billy Strings with The Wooks. 8 p.m. Bluegrass/ Americana. $18, $20 day of show.

SCHWARTZ’S POINT - Ron Enyard Trio. 8:30 p.m. Jazz. Cover.

STANLEY’S PUB - Funk Fest with Planet Booty and Solar Disco Force. 10 p.m. Funk.

FRIDAY 07

H H

50 WEST BREWING CO. - Redemptioners. 7 p.m. Americana. Free.

ARNOLD’S BAR AND GRILL - Chelsea Ford and The Trouble. 9 p.m. Americana. Free. BOGART’S - The Little Mermen. 8 p.m. Disney Rock. $12. BROMWELL’S HÄRTH LOUNGE - Emmaline Campbell Band. 9 p.m. Jazz. Free. CAFFÈ VIVACE - TrioKait. 8:30 p.m. Jazz. COLLEGE HILL COFFEE CO. - RIcky Nye. 7:30 p.m. Blues/Boogie Woogie. Free.

THE COMET - Devan Mulvaney and Marjorie Lee & the Lovers. 10 p.m. Alt/ Roots/Pop/Various. Free.

FOUNTAIN SQUARE Lauren Eylise, Abiyah and Freedom Nicole Moore. 7 p.m. Soul/Hip Hop/Pop/ Rock/Various. Free. HILTON NETHERLAND PALM COURT - John Zappa Quartet (9 p.m.); Nick Fryer/ Rob Allgeyer Duo (5:30 p.m.). 5:30 p.m. Jazz. Free.

JIM AND JACK’S - Danny Frazier. 9 p.m. Country. Cover. KNOTTY PINE - Final Order. 10 p.m. Rock. Free. MANSION HILL TAVERN Chuck Brisbin & the Tuna Project. 9 p.m. Blues. Cover. MARTY’S HOPS & VINES - Wild Mountain Berries. 9 p.m. Americana. Free. MOTR PUB - Left Lane Cruiser. 10 p.m. Blues Rock.

SILVERTON CAFE Unmarked Cars. 9 p.m. Rock. Free. SOUTHGATE HOUSE REVIVAL (LOUNGE) Root Cellar Xtract. 9:30 p.m. Country Rock. Free.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - New Music Showcase 2 with Soulgroup, Chalk Eye, Wilde Violet, New Sincerity Works and more. 7 p.m. Rock/Various. $8.

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Roomful of Blues with Johnny Fink and the Intrusion. 7 p.m. Blues. $22-$32.

STAGE FORTY-THREE - Colt Ford. 8:30 p.m. Country. $30.

STANLEY’S PUB Scroungehound, Vatics and Indighost. 9 p.m. Psych/ Blues. Cover.

COMMON ROOTS - Rockne Riddlebarger. 8 p.m. Tropical Jam. Free. HILTON NETHERLAND PALM COURT - Max Gise Quartet (9 p.m.); Mike Darrah Quartet (5:30 p.m.). 5:30 p.m. Jazz. Free. JAG’S STEAK AND SEAFOOD - The Whammies. 9 p.m. ’80s Pop/Dance/Rock/ Various. $5.

LAWRENCEBURG EVENT CENTER Wynonna and The Big Noise. 8 p.m. Country. $20-$30.

H H

LUDLOW GARAGE Johnny A. 8:30 p.m. Rock. $15-$37.50.

THE MAD FROG Voice of Addiction with Rhythm & Booze, Lockjaw, TVOG and UnderTipper. 8 p.m. Punk. $5. MADISON THEATER - Tattoo Convention After Party with Put To Rest, The World I Knew and Mortuary. 9 p.m. Rock. $10, $13 day of show.

MANSION HILL TAVERN - Jeff Bonta & the Tucker Boys. 9 p.m. Blues. Cover. MAURY’S TINY COVE Ricky Nye. 7:30 p.m. Blues/ Boogie Woogie. Free. MOTR PUB - In the Pines with Mister Moon. 10 p.m. AltRock. Free.

TAFT THEATRE - Jukebox the Ghost with The Greeting Committee. 8 p.m. Indie Pop. $20, $22 day of show (in the Ballroom).

URBAN ARTIFACT - Kate Wakefield, Static Fur and Sungaze. 9 p.m. Indie/Rock/ Various. Free.

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

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

SATURDAY 08

BLIND LEMON - Zach and Corey. 9 p.m. Acoustic. Free.

BROMWELL’S HÄRTH LOUNGE - Andrew Haug Trio. 9 p.m. Jazz. Free. CAFFÈ VIVACE - Rusty Burge Quartet. 8:30 p.m. Jazz. THE COMET - Ttotals and The Harlequins. 10 p.m. Rock. Free.

NORTHSIDE YACHT CLUB - Brian Olive with Grotesque Brooms and Fizzed. 9 p.m. Rock. $10, $12 day of show.

RICK’S TAVERN - Strange Love. 10 p.m. Rock/Pop/ Various. Cover. SCHWARTZ’S POINT Emily Jordan. 8:30 p.m. Jazz. Cover.

SOUTHGATE HOUSE REVIVAL - Southgate Roots Revival: Fall Folk Festival with Buffalo Wabs and the Price Hill Hustle, Young Heirlooms, Repeating Arms, Come Bluegrass All-Stars, Eric Bolander, Wicked Piece, Calumet, Wilder, Warrick & Lowell and more. 6 p.m. Folk/Americana. $15, $20 day of show.

STANLEY’S PUB - Ross Hollow and White Line Fever Band. 10 p.m. Bluegrass/ Americana. Cover. THOMPSON HOUSE WVRM with Pains. 8 p.m. Death Metal. $10.

URBAN ARTIFACT Lung (album release show), plus “Rocktails: An Amped Up Spin On Mixology” release, Proud Parents and Carriers. 9 p.m. Rock/ Indie/Various.

WASHINGTON PLATFORM - Pamela Mallory and Wayne Yeager. 9 p.m. Jazz. $10 (food/drink minimum).

SUNDAY 09

LATITUDES BAR & BISTRO - Blue Birds Band. 8 p.m. R&B/Rock. Free. THE MAD FROG - Happy Little Accidents, Change the Channel, Fabricated Freedom, 7” Gamble and The Honeysuckles. 6 p.m. Rock. $10. MANSION HILL TAVERN Open Blues Jam with Deb Olinger. 6 p.m. Blues. Free.

H H

MOTR PUB - Big Business with mr.phylzzz. 8 p.m. Rock. Free.

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Take Me to Whiskey Town: A Ryan Adams Tribute Show with Young Heirlooms, Mark Utley & Magnolia Mountain, Dead Man String Band and Jay Kay & Friends. 7:30 p.m. Ryan Adams tribute. $10, $12 day of show.

TAFT THEATRE Brandi Carlile with Katie Herzig. 7:30 p.m. Country. $36-$70.50.

URBAN ARTIFACT Quintron and Miss Pussycat with Lipstick Fiction and Googly Eyes. 9 p.m. Avant Garde/Punk/Blues/ Various. Cover. VINKOLET WINERY - Art & Wine Festival with Anna & the Deeper Well and Scallywags. 1 p.m. Various.

WOODWARD THEATER - School of Rock Mason Presents: The Reggae Show. 7 p.m. Reggae. $6, $8 day of show.

MONDAY 10

HILTON NETHERLAND PALM COURT - Gemus, Allgeyer, Fryer Trio. 6 p.m. Jazz. Free. THE MAD FROG - Art + Fashion + Hip-Hop with Jaybee Lamahj. 7 p.m. Hip Hop. $5. NORTHSIDE TAVERN Northside Jazz Ensemble. 10 p.m. Jazz

TUESDAY 11

BOGART’S - Orgy with Motograter, Brand of Julez and The Crowned. 8 p.m. AltRock. $17.

CAFFÈ VIVACE - Emily Grace Jordan & Wayne Yeager. 7:30 p.m. Jazz.

NORTHSIDE TAVERN The Pack AD, Brother O’ Brother and Lemon Sky. 9 p.m. Rock. Free.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Bit Brigade with Mollusk, Off The Meat Rack and Mike Montgomery. 9 p.m. Gamer Rock/Indie Rock/Various. $10.

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Dave Alvin and Jimmie Dale Gilmore. 8 p.m. Roots/Americana. $30-$40.

Future Sounds Marcus King Band – Sept. 23, Bogart’s Maps & Atlases – Sept. 28, MOTR Pub Leftover Salmon – Oct. 4, Madison Theater Pete Yorn – Oct. 18, Taft Theatre Ballroom Nicki Bluhm – Nov. 6, Taft Theatre Ballroom Bronson Arroyo Band – Nov. 9, Bogart’s Music of CREAM – Nov. 16, Bogart’s Jackyl – Nov. 20, Bogart’s Aminé – Nov. 29, Bogart’s Sleep – Dec. 10, Taft Theatre

C I T Y B E AT. C O M

RIVERBEND MUSIC CENTER - Lady Antebellum and Darius Rucker with Russell Dickerson. 7 p.m. Country. $29.50-$94.25.

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

NORTHSIDE YACHT CLUB - The Pietasters with Newport Secret Six and Ernie Johnson From Detroit. 9 p.m. Ska/Reggae/Various. $12, $15 day of show.

SOUTHGATE HOUSE REVIVAL (LOUNGE) Native Harrow with Slippery Creek. 9 p.m. Folk/Rock. Free.

Free.

S E P T E M B E R 5 – 11, 2 0 18

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