CityBeat Sept. 21, 2016 by Cincinnati CityBeat

CINCINNATI’S NE WS AND ENTERTAINMENT WEEKLY • SEP T. 21 – 27, 2016 • free

Amped and Revamped MidPoint Music Festival returns with a new layout and one of its best three-day lineups yet PAG E 15

OFFICIAL GUIDE INSIDE

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JOB FAIR We are looking to fill multiple positions at the following locations: Residence Inn Cincinnati Airport 2811 Circleport Drive Erlanger, KY 41018 859-282-7400 Hampton Inn Cincinnati Riverfront 200 Crescent Ave. Covington, KY 41011 859-581-7800 Hampton Inn Cincinnati Airport South 7379 Turfway Road Florence, KY 41042 859-283-1600 Courtyard Cincinnati Airport 3990 Olympic Blvd. Erlanger, KY 41018 859-647-9900 Springhill Suites Cincinnati Midtown 610 Eden Park Drive Cincinnati, OH 45202 513-381-8300

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Located at: Hampton Inn Cincinnati Riverfront 200 Crescent Avenue • Covington, KY 41011 For Directions: (859) 581-7800

VOL. 22 ISSUE 43 ON THE COVER: Kamasi Washington / Photo: provided

VOICES 04 NEWS 13 CITY DESK 14

COVER STORY 16 STUFF TO DO 27 ONGOING SHOWS 29

ARTS & CULTURE 30 TV AND FILM 34

FOOD & DRINK 37

EATS EVENTS AND CLASSES 39

MUSIC 40

SOUND ADVICE 42

CLASSIFIEDS 47 CITYBEAT.COM Facebook.com/CincinnatiCityBeat Twitter: @CityBeatCincy @CityBeatEats @CityBeatMusic Instagram: CityBeatCincy Snapchat: CityBeatCincy

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CityBeat covers news, public issues, arts and entertainment of interest to readers in Greater Cincinnati and Northern Kentucky. The views expressed in these pages do not necessarily represent those of the publishers. One copy per person of the current issue is free; additional copies, including back issues up to one year, are available at our offices for $1 each. SUBSCRIPTIONS: $70 for six months, $130 for one year (delivered via first–class mail). DEADLINES: Classified advertising, 5 p.m. Friday before publication; display advertising, 5 p.m. Thursday before publication. WAREHOUSING SERVICES: Harris Motor Express, 4261 Crawford St., Cincinnati, OH 45223.

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VOICES your voice LETTERS BOTHER US Cincinnati Will Miss Ed Moss

email letters@citybeat.com ONLINE citybeat.com

Juan Gaubeca Intimate inner-city Jazz and Blues the way it’s supposed to be. We will truly miss Ed and his cultural contribution to the flavor of Cincinnati. Comment posted at Facebook.com/CincinnatiCityBeat in response to Sept. 14 post, “R.I.P. Ed Moss, 1940-2016”

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It Will Always be a Streetcar James Whittington It’s a streetcar… Will always be a streetcar. Glad to see Cincinnati Bell’s sponsorship, but that doesn’t mean we all need to go around mimicking their advertising in our conversations… about our new Cincinnati streetcar! Joyce Schimpf It certainly looks more appealing than that yellow-and-black monstrosity.

@CityBeatCincy

Comments posted at Facebook.com/CincinnatiCityBeat in response to Sept. 8 post, “Connector vs. Streetcar”

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School Funding Is Critical James Whittington Appears we should all read the recent court decision from Connecticut regarding unequal school funding and its impact on young future American citizens… Comment posted at Facebook.com/CincinnatiCityBeat in response to Sept. 8 post, “Race, Poverty and 52 Neighborhoods”

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Go to the ‘Dark’ Side catherinengland @hillek46 We gotta go!! hillek46 @catherinengland “Variety of dark beers?” We can definitely go, gotta see what they got. bearcatslyft I’ve been to the Dark side, but not while I was driving. If you need a ride I’ll take you there. Comments posted at Instagram.com/ CityBeatCincy in response to Sept. 12 post, “Embrace your dark side at Bellevue’s new @darknessbrewing”

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VOICES On Second Thought

When Facts Get in the Way of a Good Story

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By Ben L. Kaufman

One of our least edifying quadrennial rites is the news media’s gleeful pounce on some defamatory rumors about a candidate. That a given rumor wasn’t verified before publishing is moot; too many facts can sink a good story. Usually, these prurient enterprises are accompanied by journalistic and legal ass-covering: The rumors we’re spreading probably aren’t true but it’s our duty to tell you what others are saying. I used to call this “the Virgin Rule.” We let others go first, then we report what they report. Today, it’s too much work to explain “virgin” and “rule.” I prefer the Italian mani pulite, clean hands. But our coverage of unproven rumors isn’t clean. Neither are our hands. That kind of wink-and-nod might have worked for some people some of the time before the tsunami of social media and the internet. What used to be “publish and be damned” is now “write for the web and correct later.” Think of presidential stains on “a blue Gap dress.” That rumor was out there for days before news media found it on the emerging online Drudge Report. Even then, it took days to develop into a credible story that almost brought down our chief executive and commander-in-chief. That’s so then. Not now. Once a rumor is out there, partisan wingnuts who infest the internet and social media push ugly, unproven suspicions until the news media have to report the phenomenon. Virgins and rules are nowhere to be seen. To fulfill our duty to inform the public, even when we know nothing, we have to report the spread of the damaging rumor. Sometimes, as the Gap dress proved, a defamatory rumor can be true. On the other hand, the “birther” controversy over Obama’s origin began as a rumor but followed a familiar trajectory into LaLa Land where it still is embraced by Donald Trump, among others. Lack of candor fuels the defamation industry. Rightwing echo chambers started the rumor that Hillary Clinton had a stroke or some other neurological impairment (beyond their standard accusation of congenital dishonesty). Hillary’s staff failed to honestly confirm that she’d had a concussion and blood clot after a 2012 fall, arousing deeper suspicions about her medical condition, her honesty and news media complicity. More recently, London’s Daily Mail tabloid and mailonline/dailymail.com defamed Melania Trump by accusation and innuendo. Challenged, the paper and website issued this year’s champion Golden Grovel: “On August 20, 2016, an article was

published in the Daily Mail newspaper titled ‘Racy photos, and troubling questions about his wife’s past that could derail Trump.’ “The article discussed whether allegations being made about Melania Trump could negatively affect her husband Donald Trump’s presidential bid. Among other things, the article noted that allegations have been made in a book available on Amazon about a modeling agency where Mrs. Trump worked in Milan being ‘something like a gentleman’s club,’ and an article published by Suzy, a Slovenian magazine, alleged that Mrs. Trump’s modeling agency in New York, run by Paolo Zampolli, ‘operated as an escort agency for wealthy clients.’ “The article, which was also published online by the mailonline/dailymail.com website under the headline ‘Naked photoshoots, and troubling questions about visas that won’t go away: The VERY racy past of Donald Trump’s Slovenian wife’ did not intend to state or suggest that these allegations are true, nor did it intend to state or suggest that Mrs. Trump ever worked as an ‘escort’ or in the ‘sex business.’ “To the contrary, The Daily Mail newspaper article stated that there was no support for the allegations, and it provided adamant denials from Mrs. Trump’s spokesperson and from Mr. Zampolli. “The point of the article was that these allegations could impact the U.S. presidential election even if they are untrue. Mrs. Trump’s counsel in the U.S. and the U.K. have stated unequivocally that the allegations about the modeling agencies are false. “To the extent that anything in the Daily Mail’s article was interpreted as stating or suggesting that Mrs. Trump worked as an ‘escort’ or in the ‘sex business,’ that she had a ‘composite or presentation card for the sex business’ or that either of the modeling agencies referenced in the article were engaged in these businesses, it is hereby retracted, and the Daily Mail newspaper regrets any such misinterpretation.” Wonderful. It’s a perfect Virgin Rule or mani pulite moment. Someone else said it first. We’re just telling you. In this country, Melania Trump filed a $150 million defamation lawsuit against the U.S. publisher of the Daily Mail and an unrelated blogger over their reports (since retracted) that she worked as an escort in the 1990s. According to the Huffington Post, her suit claims egregious, malicious and harmful actions of the publication and the blogger,

and which were “tremendously damaging to her personal and professional reputation.” The Daily Mail is one of a number of publications that reported the allegations. It removed the story from its website. Blogger Webster G. Tarpley, issued a formal retraction of his report. Tarpley said his online “Morning Briefing” on tarpley.net “referenced unfounded rumors and innuendo regarding Melania Trump … and her life prior to her marriage. The August 2, 2016 morning briefing asserted that it was widely known that Melania Trump previously worked as an escort and that Mrs. Trump was in fear of revelations that she used to work as an escort. The briefing also stated

“Lack of candor fuels the defamation industry.”

that multiple unnamed sources stated that Mrs. Trump was in a state of apoplectic tantrum, was suffering from a full-blown nervous breakdown, that both Melania Trump and Donald J. Trump feared the revelations coming to light and that Mrs. Trump’s condition was negatively affecting the presidential campaign of Donald J. Trump. “While the tarpley.net editors, writers and contributors did not generate said rumors, the briefing in question was not diligent in fact-checking or maintaining a healthy distance between innuendo and fact. As such, Webster G. Tarpley, as editor of the content that appears on tarpley.net, hereby officially retracts the August 2, 2016 morning briefing in full and apologizes to Mrs. Trump for any duress and harm she may have endured as a result of the contents of the August 2, 2016 morning briefing.” A couple comments: Statements by Daily Mail and Tarpley were defamatory. Defamation in this country has constitutional protection. Winning a suit can be tough for a public figure. In this case, a court probably will say Melania Trump is a public figure. In that case, she’ll first have to show that Daily Mail/ Tarpley knew the defamation was false when they published it or they published it with reckless disregard for whether it was false. CONTACT BEN L. KAUFMAN: letters@ citybeat.com

Things that Should Be Pumpkin Spiced BY DANNY CROSS

It’s basically fall now, which means it’s time to start enjoying all the pumpkinenhanced items local businesses invent during the season. From ice cream flavors like Graeter’s pumpkin and UDF’s pumpkin pie to Busken’s pumpkin spice donut and the lattes from whatever coffee shop you frequent, there will be plenty of festive point-of-sale temptations during the coming weeks. So for those who really hate the rest of the year in Cincinnati (summer’s too hot; winter’s too cold), here’s some other stuff to top with pumpkin spice this fall. • Chili: Some people say that Cincinnati chili has enough spices in it already — cinnamon, paprika, allspice, chocolate, etc. — but they’re idiots. Skyline and Gold Star put plenty of weird stuff on their menus (e.g. Gold Star’s Dorito’s nachos) so how could it hurt to sprinkle some pumpkin spice on a 3-way? It can’t. If it tastes bad, just add more hot sauce. • Grippo’s: Cincinnati’s favorite spicyass barbecue chip is already almost pumpkin-spice color. These shits are from Colerain where innovation abounds. (Full disclosure: The author of this article is basically from Colerain so any perceived sarcasm comes from a place of self-hatred but also love.) Replacing Grippo’s hot dust with pumpkin-spice dust would be pretty good. And leave the same orange residue on your fingers. • Beer: Cincinnati’s local breweries are really into making non-wussy craft beer, so a lot of them are kind of dicks about making pumpkin-flavored beer (it’s for college kids and moms). Sure, plenty of them will be producing other fall flavors and Oktoberfest brews and lots of cider (like a lot of cider), but would it kill someone to make a PSL version of an IPA? • Pizza: LaRosa’s topped a pizza with Montgomery Inn barbecue chicken, so why can’t someone mix some pumpkin into a veggie or Hawaiian pizza? There’s plenty of room on dessert and fig-based pies for America’s favorite fall flavor. Or at least toss some pumpkin seeds into a salad.

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VOICES CURMUDGEON NOTES

Rick Green Leaves ‘Enquirer’ By BEN L. KAUFMAN

I cheered Rick Green’s arrival as Enquirer publisher 18 months ago and the changes he and his chosen editor, Peter Bhatia, brought to the demoralized newsroom and readers. They gave talented reporters the time and resources to pursue stories involving public funds and officials. Green is moving on and up. That’s no surprise in the aggressively Darwinian Gannett empire where he has risen steadily since being my colleague and editor at The Enquirer. Rick will be vice president/news and editor of Gannett Co. Inc.’s newest acquisition, the North Jersey Media Group, which includes The Record of Bergen County across the George Washington Bridge from New York City. The Enquirer said Gannett added the assets of North Jersey Media Group to its USA Today Network this summer. “This was an unanticipated opportunity to help lead a large, awardwinning newsroom in the most competitive market in the country,” Rick said in the paper. “It is hard to describe my love of my native Ohio, the Cincinnati region and especially Enquirer Media. It always will be home. However, I could not pass up the chance to return to a newsroom … and work with such high-caliber journalists and storytellers.” He’s not kidding. As long as I’ve known him, he’s wanted to be the Enquirer editor. The irony was that when he returned to Cincinnati, he had to find someone else to fill that cherished role. His brief stay demonstrates what a solid journalist/publisher with corporate support can do. • Green was on the job in New Jersey barely two weeks and corporate Gannett commanded hundreds of layoffs in the group for which he is the new vice president and editor. Reportedly, more than a third of the newsroom people will go out the door and survivors will have to apply for their jobs and compete with each other to keep remaining jobs. Enquirer journalists went through the same soul-killing exercise before Green arrived in 2014. Some just left. • Libertarian presidential candidate Gary Johnson was stumped when an MSNBC interviewer asked him about Aleppo. “What is Aleppo?” he responded. After being told about the city and its misery, Johnson sagely added, “With regard to Syria, I do think that it’s a mess.” The New York Times’ story about the flub recalled the day Johnson asked, “Who’s

Harriet Tubman?” when directed to a room named for the abolitionist and former slave. Then the Times flaunted its own ignorance. Here are two corrections that followed the same Johnson story online: “Correction: September 8, 2016 An earlier version of this article misidentified the de facto capital of the Islamic State. It is Raqqa, in northern Syria, not Aleppo.” “Correction: September 8, 2016 An earlier version of the above correction misidentified the Syrian capital as Aleppo. It is Damascus.” You can’t make this shit up.

“As long as I’ve known him, he’s wanted to be the Enquirer editor.”

CONTACT BEN L. KAUFMAN: letters@citybeat.com

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• Untenured assistant professor Melissa Click was fired by the University of Missouri after calling on black students to lend her “some muscle” to get rid of journalists covering a public campus protest. Mizzou did the right thing. She now has a new gig. Gonzaga University in Spokane, Wash., gave her a one-year appointment as an untenured lecturer in the communication studies department. Fox cited a Kansas City Star story that quoted Elisabeth Mermann-Jozwiak, dean of the College of Arts and Sciences, saying Gonzaga knew of Click’s recent history and was confident in welcoming her to the university. The dean continued, “Dr. Click was hired through an extensive national search process that revealed her to be the most qualified and experienced candidate for the position. Dr. Click has excellent recommendations for both her teaching and scholarship, which includes an extensive record of publication. We are confident she has learned much from her experiences at the University of Missouri and believe she will uphold the rigorous standards of academic excellence demanded of Gonzaga faculty and students.”

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VOICES GUEST EDITORIAL

Where Will the Streetcar Go From Here? By DEREK BAUMAN

together, sharing stories, sharing ideas, sharing business plans. As we do, our differences — age, neighborhood, ethnicity, race, socio-economic background — become less relevant. We become closer as a community and learn to appreciate each other more. The streetcar’s opening weekend clearly demonstrated wide-ranging interest in the project and the growing city. Which is why the big stumbling points for transit in Cincinnati that have been put in place by some of our myopic leaders are so frustrating. The day after SORTA released the 50,000 opening-weekend ridership total, the city got an email from SORTA suggesting that the city increase streetcar service during Oktoberfest when more than 500,000 people were expected to descend on downtown. That set off a round of political wrangling and posturing. Thanks to the Chamber of Commerce, which moved Oktoberfest to avoid conflicting with the streetcar, service was spared during the festival. But SORTA and City Hall still had to fight over a measly $20,000 to run four streetcars instead of two over the weekend to maintain 15-minute wait times. If certain streetcar detractors and those concerned with the cost of running it really cared about revenue, you would think they would do everything they could to take advantage of what will likely be the highest ridership weekends each and every year. Why hadn’t City Hall already agreed to increase service for major events that occur on weekends, which are considered “off peak?” Half a million people. Off peak. Hell, even Bengals games on Sundays should have increased service. You can thank our mayor, a long-time and committed roadblock to the streetcar, for some of these difficulties. It’s difficult to take Mayor John Cranley’s leadership seriously when he continually stands in the way of such simple and — truth be told — financially sound planning. Cranley has been staunchly opposed to even studying an expanded Uptown route which, it should be noted, was already completely funded by federal money until Gov. John Kasich irresponsibly scrapped it in 2011 — $52 million, down the tubes. Such is the length transit opponents will go to sabotage a project. And, to that point, to sabotage transit in

general. Kasich has presided over budgets that provide some of the lowest levels of transit spending of any state in the country. Ohio ranked 42nd in the nation in 2014 for spending on buses and other transit projects. That’s just 63 cents per person. Illinois spends more than $63 per person by comparison. That lack of fiscal support has put our city’s bus service in a crunch. Just days after the streetcar’s triumphant opening weekend, SORTA announced it would need to shore up a $1.3 million shortfall by forestalling needed projects and cutting staff for Metro, the city’s bus service.

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“The streetcar’s opening weekend clearly demonstrated wide-ranging interest in the project and the growing city.” And even as some 75,000 jobs in the region remain unreachable by public transit, the transit authority’s leaders have admitted that its current financial situation is unsustainable. But it doesn’t have to be like this. The city of San Diego on Sept. 15 — two days after local Cincinnati leaders bickered over $20,000 that would be partially covered by increased ridership — learned that it had won a $1 billion grant from the federal government to pay for a planned 10-mile light rail extension. That would have paid for a lot of rail in Cincinnati, including a potential tunnel to Uptown and beyond. But we have no expansion plan, and therefore we wait while other cities move forward in a robust fashion. A failure to plan. A plan to fail. As impressive and exciting as the Cincinnati streetcar’s opening weekend and early ridership numbers were, we clearly have a long way to go before the naysayers stop trying to hurt the project for their own political gain. DEREK BAUMAN is the southwest Ohio director for All Aboard Ohio, a statewide rail and public transportation advocacy organization, and an activist supporting urban Cincinnati. Contact Derek: letters@citybeat.com or @derekbauman.

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The Cincinnati streetcar’s opening weekend was a rousing success by any measure. But Cincinnati is just at the start of its fight for great public transit. Long lines of eager passengers waited for their chance to try out the Cincinnati Bell Connector; local leaders — streetcar supporters and opponents alike — packed into ceremonial first-ride cars; and representatives from cities with new streetcars in operation and those still under construction came to town to participate in the festivities. Transit advocates from as far away as South Korea, England and Poland flew in to take part. By the end of the weekend, the Southwest Ohio Regional Transit Authority, which operates the streetcar, reported more than 50,000 rides from Sept. 9-11, a number that dwarfed Kansas City’s first-weekend ridership total of 32,000, which was impressive in its own right. As the weekend went on, and more riders got on board, it was evident that there was a cross section of the community ready to enjoy the streetcar. The cars were packed, and downtowners and visitors alike enjoyed this modern transportation and the changing city, which many have yet to see up close. Even after the system began charging fares on Monday — it was free all weekend thanks to sponsorships — the streetcar hit its ridership goals, gliding almost 13,000 people around town from Monday through Thursday. The previous Saturday afternoon, I found myself standing in typically close proximity to two older couples on the streetcar. To my left was a couple from Colerain who told me that they had not been downtown in years — they came for the streetcar opening and were enjoying going to a couple different restaurants, bars and Findlay Market. To my right was another older couple — they used to live in Clifton but had moved to Loveland when their kids were of school age, and they hadn’t been downtown in years, either. This is what transit does — it gets us out of our bubble of introversion. A suburban car-oriented lifestyle often means minimum human interaction. You go from your house bubble to your car bubble and then head to Kroger or Kenwood Towne Centre. If anyone other than a clerk talks to you, it will probably feel odd. Do I know you? Why are you talking to me? We will find that some of the great benefits to come to our city and our people via the streetcar and additional forms of mass transit are the interactions that will happen among strangers — people coming

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The Sometimes Treasurer

For an elected county official, Robert Goering spends an awful lot of time representing private clients BY JAMES MCNAIR

P H O T O : N I C K S WA R T S E L L

During his 25 years as county treasurer, Robert Goering has served as the city’s chief tax collector while taking on thousands of bankruptcy cases on the side. interview Sept. 14, Goering replied that he would be “happy” to call. Within three hours, he had a 180-degree change of heart and decreed, “You must use the below as my response, verbatim.” Troubled by the tax man’s imperative tone, CityBeat obliged. “I decline the request of CityBeat and James McNair for comment on any issues,” Goering wrote. “This is because of the recent articles, which I would label hatchet jobs and slanderous, on my attorney the Hamilton County prosecutor. It is not journalistic and is totally inappropriate that personal and family attacks were made by CityBeat and James McNair.” Because public officials will often relent to persistence, CityBeat sent Goering several specific questions. Among them: • How many hours per week do you typically work in the treasurer’s office versus your personal law office? • How do you manage the time requirements of a high-ranking county executive and a private attorney with a robust practice? Goering did not respond. CityBeat asked these questions because the federal court document filing system shows Goering as the listed attorney for more than 7,300 bankruptcy filings and appeals in Ohio and Kentucky since 1991, or nearly 300 per year, after filtering out hits for his father and law

firm colleague Robert Goering Sr. Jeff Cramerding, who ran unsuccessfully for treasurer in 2012, says it was difficult to make voters aware of Goering’s sporadic service to the county. Walsh, the 2016 opponent, is again pounding home the point, hoping that even Republicans will be outraged. “I don’t see how you can be a committed county executive and manage a law practice of that magnitude. He’s also a professor at NKU (Northern Kentucky University),” Walsh says. “I can’t imagine there’s much time left for him to be truly dedicated to running the county treasurer’s office. His energy is clearly not going into being treasurer.” David Pepper worked with Goering as a county commissioner from 2006 to 2010. Now chairman of the Ohio Democratic Party, he says Goering has time to spare because he doesn’t fully exploit the powers of the treasurer’s office for economic development purposes, as treasurers do in other counties. “The part-time nature of what he does speaks to the narrow vision he has for the office,” Pepper says. “He’s a small-C conservative and doesn’t think the office should do much more than its basic role. … If he had a full-fledged view of what the treasurer’s office should be doing, that would create problems for all the other work he’s doing.” The nature of Goering’s private law practice leads to another peculiar situation, one

that approaches, if not crosses, ethical lines. As a private attorney, Goering represents people who can’t pay their bills or mortgage. Most are declaring bankruptcy. Some face foreclosure as well. And who is hovering over the proceedings to make sure real estate taxes are paid? Goering the treasurer. “We’re the first lienholder,” says Hamilton County’s chief deputy treasurer Mike Lonneman. “We’re going to get paid before anybody, after court costs.” Goering’s self-issued permission to leave the treasurer’s office to practice law is not the norm in Ohio’s 88 counties. “I’d say for the most part it’s uncommon,” says Tom Steenrod, executive director of the County Treasurers Association of Ohio, in Nelsonville. “We have a few people who own farms — and farm — but also go into the office every day. I also know we have some CPAs, but who are very careful because they could have a potential conflict of interest on tax issues. Most spend full time in the office.” Walsh says Hamilton County voters need to know they’ve not been electing an 8-to-5 treasurer. “It’s been going on for 25 years and it makes you wonder if it’s ever going to change,” he says. CONTACT JAMES McNAIR: jmcnair@citybeat.com, 513-665-4700 x142 or @jmacnews

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obert Goering is one of Hamilton County’s most essential governmental executives. As treasurer, he serves as the county’s chief tax collector, making sure that citizens pay for services like schools and police protection. He is also the county’s chief investment officer, responsible for generating returns on public money while keeping it safe. In most Ohio counties, such crucial duties constitute a full-time job. Not in Hamilton County. Somehow, over his 25 years as treasurer, Goering has managed to find the time to run a very busy bankruptcy law practice in Cincinnati. He also represents private clients in foreclosure cases and financial disputes in state court. How does Goering pack two full-time occupations into a 40-hour work week? He’s not telling. Nothing requires him to report how much time he spends clocked in at the treasurer’s office, away from the Goering & Goering digs on Third Street. His critics — all Democrats — accuse him of being chronically AWOL from the job he was elected to perform. “It’s one of the county’s worst-kept secrets,” says Seth Walsh, the latest in a long line of Democratic treasurer-seekers. “Everyone knows about it and talks about it, yet people in power allow it to happen.” Actually, state law does not prevent Goering from moonlighting, just as it allowed county prosecutor Joe Deters to rack up $2 million from outside work during the last eight years. But while Deters takes a 30 percent pay cut for being part time, Goering is subject to no such lower pay rate. His yearly salary is $76,959, regardless of his face time in county hall. He does not disclose, in his annual reports to the Ohio Ethics Commission, how much he makes on the side. Goering’s connection to the treasurer’s office dates back to his teenage years. Wayne Wilke was the treasurer, and Rob, as he is known, opened mail. From there, he climbed the ranks to work “almost every position” in the office until his political appointment to the top spot in 1991, according to his campaign site. Election challengers since then have all fallen short, leaving Goering in what might come across as a lifetime appointment. For someone who has held elected office since the birth of the World Wide Web, Goering is as low-profile as they come. His public persona is certainly far below that of, say, Deters or county auditor Dusty Rhodes. CityBeat could not find any in-depth profiles of Goering, Facebook or Twitter accounts or even press releases from his county office. The media insularity shows. Responding to CityBeat’s emailed request for an

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Debate Highlights Fight Over Control of County Commission

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news city desk

Four candidates for two Hamilton County Commission seats squared off last week in a wide-ranging, hour-plus-long debate in Price Hill convened by WCPO. The forum touched on the region’s heroin crisis, possible solutions for replacing the aging, 84-year-old Western Hills Viaduct, ways to better manage the county’s Metropolitan Sewer District and other issues. As the opponents tangle, Republican control of the commission hangs in the balance. GOP politicians have held a majority on the three-member commission since 2010, but Democrats are looking to change that. Democratic State Rep. Denise Driehaus faced off against Republican opponent Dennis Deters, who was appointed to the commission earlier this year to fill a spot left by outgoing commissioner Greg Hartmann. Incumbent Democrat Todd Portune, meanwhile, took on small businessman Andrew Pappas. Looming largest during the debate: what to do about the joint city-county run MSD, which has seen controversy in recent months over questions about lack of oversight in its contracting practices and rate increases for users. Pappas used the problems at MSD to jab at Portune, a four-term commissioner and former Cincinnati city councilman. “This mess with MSD didn’t happen overnight, and I’m a little perplexed as to why it’s a priority to fix it now,” Pappas said. “We should have been on it earlier.” Deters took a similar tack, casting himself as a change agent on the commission and saying that it has moved much faster since he came on board in January. He said that the commission should be “the adult in the room” and take over management of MSD from the city of Cincinnati. The county owns the district, but it’s managed by the city. The two are currently in federal negotiations about future management of the district. Portune, on the other hand, highlighted his experience and his efforts to reduce spending at MSD while increasing efficiency. “I bring all my experience to the table in connection with the metropolitan sewer district,” he said. “We’re working diligently to resolve the issues with the city and to bring about a better, more representative and more accountable MSD for all of us.” Portune and Driehaus both stressed a more collaborative approach to dealing with MSD’s challenges. Driehaus slammed the Republican-led commission for not taking up recommendations put forward by a task force created to investigate the issue. She also floated the idea of creating a

non-partisan, independent board to control the district to “take the politics out of it.” Heroin was another big issue candidates highlighted. Driehaus argued that expanded availability of Narcan, an anti-overdose medication, as well as more long-range treatment options, including offering treatment in the Hamilton County Correctional Facility, are the best response for the overdose crisis. “We already have people literally detoxing in the jail, on the floor of the jail,” she said of the latter idea. “Wouldn’t it be more efficient to provide treatment in the jail, and ongoing, to keep those people out of the jail? Because oftentimes they use again and end up right back in jail, or overdosing and losing their lives.” Deters, on the other hand, said private partnerships with health providers are an important part of stemming overdoses and heroin abuse. He also highlighted his role on the Hamilton County Heroin Coalition, which is currently working to address the addiction crisis. The race between Driehaus and Deters looks to be hotly contested and expensive: Driehaus, term limited from her state representative seat in the 31st District, comes from a big political family. In addition to her high-profile public service, her brother Steve Driehaus served a term in the U.S. House representing Cincinnati and its western suburbs. Though Deters’ previous political experience is more limited — he previously served as a trustee for Colerain Township — his brother is high-profile Hamilton County Prosecutor Joe Deters. The commission candidate has filed to add his middle name — Joseph — to ballots voters will fill out in November to capitalize on his brother’s name recognition. Deters also has the backing of the Ohio Republican Party, which will be spending money toward his efforts to get elected. It’s a rare move for a statewide party to get so involved in a local election, likely signaling the importance the GOP places on holding onto its majority on the county’s highest decision-making body. Driehaus has stressed her collaborative approach to governance and her experience on key issues as big reasons she should be commissioner. “I’ve worked in a very bipartisan way,” she said of her time in the state House. “I’ve worked on education reform, economic development and heroin issues.” The race between Portune and newcomer Pappas is seen to be less competitive, with Portune at a big advantage. Pappas has made ad buys and has been spending a good deal of time campaigning around the county, however. (Nick Swartsell) CONTINUES ON PAGE 15

Cincinnati Police Expand Body Camera Program

The Cincinnati Police Department on Sept. 18 launched the second wave of its rollout of more than 700 police body cameras as officers in the city’s East Side neighborhoods covered by CPD District 2 began using the devices. Ninety-seven officers in that district will use the cameras, which record while police are on duty and send footage back to be stored on a server. Last month, 136 officers in CPD District 1, which covers downtown, started using the cameras. Officers in other districts will receive the devices in roughly two-week increments, starting with 115 officers in District 5 early next month. In District 4, 124 officers will get them later that month, and 148 officers in District 3 will receive them in November. CPD’s traffic and gang units will also be getting 64 of the cameras that month. Departments across the country have begun utilizing the body cameras for police officers, especially following controversial police shootings caught on video, including the shooting death of black motorist Samuel DuBose by white University of Cincinnati Police Officer Ray Tensing last summer. Tensing was wearing a body camera at the time and is due in court next month on murder and manslaughter charges. (NS)

City to Speed up Streetcar After Successful Launch

During Oktoberfest weekend, the Cincinnati streetcar had trouble hitting its goal of picking up passengers at stops every 12-15 minutes, but officials with SORTA and the city believe they have solutions for the problem. Officials say they’ll be adjusting traffic signals to better align with the timing of the streetcar and to loosen up the general flow of traffic through downtown and Over-the-Rhine. SORTA and city officials believe that inopportunely timed red lights have left streetcars caught at intersections longer than expected. There might also be bigger changes down the road: A $200,000 downtown traffic study that will be completed next year could shed light on other changes the city can make to improve overall traffic and streetcar operations along the 3.6mile loop. Despite the lags, ridership has met or exceeded expectations. More than 50,000 took rides on the transit system on its opening weekend, though tickets for the streetcar were free during that time. Another 29,000 rode the streetcar during Oktoberfest weekend, SORTA says, exceeding ridership expectations and coveirng $20,000 spent to run extra cars. (NS)

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Wednesday, October 12, 2016

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Amped and Revamped MidPoint Music Festival returns with a new layout and one of its best three-day lineups yet

Since its inception 15 years ago, Cincinnati’s MidPoint Music Festival has undergone changes almost continuously. Originally conceived as a showcase for unsigned acts, the first several years featured a “conference” aspect designed to help up-and-coming musicians. CityBeat took over the event and added higher-profile headliners beginning in 2008. Throughout it all, the venues have changed, utilizing outdoor spaces and whatever clubs were available and interested in becoming an MPMF showcase spot. The first MidPoint was actually spread throughout downtown and Northern Kentucky, while more recent years have seen it become concentrated in the Over-the-Rhine area. Through it all, it has remained a three-day celebration of today’s most unique and innovative music-makers. This year marks a new phase in MidPoint’s evolution. Music & Events Management, Inc. (or MEMI) has taken over the booking and production of the event, and this first year under new management should show signs of the company’s many years of experience in running events in Greater Cincinnati. (MEMI is a subsidiary of the Cincinnati Symphony Orchestra and has long presented big concerts at its venues like Riverbend and the Taft Theatre.)

Be sure to grab CityBeat’s official guide at the festival grounds during the 2016 festival this Friday-Sunday for info on performers, maps and much more. There is also a wealth of info at mpmf.com, and an MPMF app (available for Apple and Android users) that allows festgoers to create their own schedules. — M I K E B R EEN

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The biggest change is that fans of all ages will be able to enjoy MidPoint in its entirety, as the format shifts from mostly using several bars and clubs to utilizing four outdoor stages located along Sycamore Street in Over-the-Rhine. The lineup features some of the biggest acts MidPoint has ever showcased (including Band of Horses, Kamasi Washington, Car Seat Headrest and Frightened Rabbit, all profiled on the following pages), as well as a healthy dose of local artists and up-and-coming acts. Music begins earlier than in past years, so be sure to arrive in the afternoon to catch some of the exciting Cincinnati performers and lesser-known acts (to entice you to be an early bird, we’ve spotlighted 12 must-see acts playing earlier time slots on page 23). And if you’re low on dough, fear not: One of the four full-time stages (the Eli’s BBQ Stage at Sycamore and 14th streets) is free and open to the public.

P H O TO : C H R I S TO P H E R W I L S O N

Rubber Band Band Of Horses creatively stretches and mixes up its approach on Why Are You OK

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BY A L A N S C U L L E Y

Band Of Horses singer/guitarist Ben Bridwell can promise a couple of things to people who see the group Sunday at the MidPoint Music Festival. First off, expect the unexpected. “One thing that I do like about this band is I don’t know that we’ve ever played the same set list twice,” Bridwell says. “Over 12 years, I’m sure there have been times when we mistakenly, like unbeknownst to us, maybe copied (a set). But it seems fresh. And every day brings a new opportunity or a new vibe of whatever town you’re in or whatever the venue is. I feel like we try to pay really close attention to that. (I’ll even) research set lists from previous visits to make sure it’s not like (an earlier show) and we don’t open up with the same song as last time.” The other thing Bridwell can say with certainty is that Band Of Horses is the best it’s ever been as a live band. “I feel like we’ve only gotten stronger, as a live band especially,” he says. “We can be powerful and aggressive, and we’ve all grown with each other like that. But we can also be nuanced and a bit sweet. So I feel like we’re at peak form.” The recently released Why Are You OK is the third album featuring the current lineup. Over the course of making the first two Band Of Horses albums — 2006’s Everything All the Time and 2007’s Cease to Begin — Bridwell cycled through a half dozen musicians, creating the impression that Band Of Horses might essentially be a solo project operating under a band name, even though some of the other musicians shared writing

credits on songs. The next two albums poked plenty of holes in that notion. On 2010’s Infinite Arms, keyboardist Ryan Monroe and guitarist Tyler Ramsey each brought in a song, while Bridwell and Ramsey co-wrote the tune “Older.” And the song “Blue Beard” was credited to all five band members (including drummer Creighton Barrett). Bassist Bill Reynolds stepped up on 2012’s Mirage Rock, earning co-writing credits on five songs, while Ramsey pitched in on a pair of tunes. This was exactly what Bridwell had wanted to see happen when he formed Band Of Horses in 2004, shortly after the demise of his previous group, Clarissa’s Weird. “I know my limits, and I don’t seem to get much better with my playing abilities,” he says. “I mean, I can write songs, but my playing ability has never really matured. I’ve always known that I need a lot of help. (Finding) that great help with talent and attitude, ambition without cockiness, finding that right balance, it just took awhile.” The more collaborative Band Of Horses produced good results on Infinite Arms and Mirage Rock. The former album landed on many critics’ year-end best albums lists and was nominated for a Grammy for Best Alternative Album. Commercially, it easily outdid Cease To Begin, debuting at No. 7 on Billboard’s album chart. Response to Mirage Rock wasn’t quite as enthusiastic, but the album was favorably reviewed and solidified Band Of Horses’ place as one of the better bands on the Americana/Roots Rock scene.

But for Why Are You OK, Bridwell was ready to change up the creative approach again, and he took more control over the songwriting process. “I wanted to return a bit to home base. So I did spend more time going inward and not sharing as much as I possibly did the previous years,” Bridwell says. “I talked about it with the guys and they were with me every step of the way. They were like, ‘Oh, let him scratch his back a little, scratch his itch, and then we can kind of fill in where we’re needed.’ And the beauty of this band is no one has a defined role. Anybody can step up or sit back depending on what the song calls for. They stood behind me the whole way.” Bridwell also went into the new album with a decidedly different idea for how he wanted Why Are You OK to sound. Mirage Rock was recorded mostly live in the studio and had a lean sound. Bridwell didn’t want to go down that path this time. “I wanted to overthink this one,” he says. “I wanted a denser sound. I wanted it to be more lush. I wanted it to be pored over. I knew going in that this was going to cost an ass-load of money. I knew it was going to take an ass-load of time. But I was up to that challenge because I thought we needed to do that.” Bridwell was right about needing time to make Why Are You OK. Produced by Jason Lytle of the band Grandaddy, work on the album spanned about a year. Released in June, Why Are You OK has been well received critically and debuted at

No. 10 on Billboard’s album chart. It’s immediately apparent that the new album was going for a different vibe, as it opens with “Dull Times/The Moon,” a two-part epic that starts out lush and dreamy before shifting into assertive and gritty Rock for “The Moon” portion of the song. The rest of the album falls between those two stylistic extremes. “Solemn Oath” builds from a folky start into an expansive rocker. “Hag” is cinematic, with a beautiful synthesizer riff surrounding the song’s vulnerable lyrics and downright pretty vocal melody. “Country Teen” has a ’70s California Country Rock feel. Throughout, the songs boast rich vocal melodies from Bridwell, nicely layered instrumentation that never feels overblown and song structures that often build in drama and heft. Bridwell thinks this first round of touring behind the new album will be even more unpredictable, in terms of setlists. “Once you have those extended (runs of) theater shows or club shows, you can try new stuff at sound check every day,” he says. “And this tour especially is going to provide us with that because we haven’t had that quite yet on the cycle, just repeated chances to learn new things. That’s extended to covers and reworking different versions of songs. I think this is going to be a really great opportunity for this part of the cycle to really stretch out a bit.” BAND OF HORSES plays 9:30 p.m. Sunday on the Skyline Stage at 2016’s MidPoint Music Festival. Visit mpmf.com for tickets and details.

P H O TO : PR OV I D E D

Immortal Technique Kamasi Washington’s broad, cross-generational success proves the timelessness of Jazz music’s appeal BY S T E V EN R O S EN

Jazz to all types of audiences, they loved it. But we never before got a chance to bring our version of Jazz — from our generation, our neighborhood — to the people beyond. We felt if we had the opportunity, we could disprove this idea that Jazz somehow is not a likeable music.” Washington also knew something else. Contemporary Hip Hop and R&B artists liked Jazz and admired its players, which could give him cred with a younger generation. He had toured with Snoop Dogg and Raphael Saadiq, and provided important contributions to Kendrick Lamar’s landmark To Pimp a Butterfly album. “For most of my career, the artists I’ve worked with have not been Jazz artists,” he says. “But they had Jazz in their music and Jazz musicians in their band. Their appreciation for Jazz was huge. So even though the idea of Jazz had been so diminished that many thought people didn’t want to hear it, we disagreed.” Washington grew up in L.A.’s Inglewood neighborhood. His father was a soprano saxophonist and music teacher. His family’s friends were also musicians. “A lot of times as a kid, your friends are your parents’ friends’ kids,” Washington says. “And they were all musicians and were serious about it. It was something that was always in my life and it felt like it was going to be in my life.” As a youngster, he began playing the family piano and his father quickly recognized a protégé.

“I could sit there and play all day long and I didn’t get bored,” Washington says. “He knew it would pay off as I got older. He didn’t have to tell me to practice — he had to tell me to stop practicing because it was driving the neighbors crazy.” At age 13, he started playing sax. He enrolled in the L.A.’s Academy of Music and Performing Arts at Hamilton High School, and then went to UCLA on full scholarship to pursue ethnomusicology. He began playing with professional Jazz musicians he admired, like trumpeter and bandleader Gerald Wilson, McCoy Tyner and Freddie Hubbard. Today, Washington is an advocate of getting a formal music education, even while acknowledging it has its limits. “Whether it comes through an institution or your own personal level, to be knowledgeable in whatever you do is important,” he says. “I wouldn’t say that the only way for a person to get an education is at a university, but you do need to be educated.” He also believes there is a spiritual dimension to Jazz, a level of questing expressed by Coltrane on albums like A Love Supreme. “I feel that even when musicians don’t intend for their music to be ‘spiritual,’ there’s something that sets the spirit free,” Washington says. “Whenever you play music and reach someone, you reach them on a spiritual level. When someone says they like music because they feel it, that’s spiritual.” One reason for Jazz’s “square” image for many is because a stereotype has emerged regarding the way it’s heard live — that

fans sit quietly and listen intently without much physical interaction. And many of its greatest post-World War II musicians have wanted fans to really listen as they would at a Classical concert. “I understand that historically in Jazz, especially when African-Americans were coming out of an era where they weren’t allowed to express what’s on their minds, their musicians wanted people to hear their music as an instrument of the mind and not just connect with it on a more natural level,” Washington says. But at Washington’s concerts, especially those at Pop or outdoor festivals, the vibe can be more like that of a Jam-band show, with audience members moving, grooving and forming dance lines and circles. The closest thing to it in Jazz is the Sun Ra Arkestra or the Dirty Dozen Brass Band; in Pop it might be the Grateful Dead. Washington is comfortable with that. “Now, there’s a purpose in bringing people together,” he says. “So it’s a good thing, what they’re doing. If a person moves, it’s a sign they’re connecting. Even if you play music that’s not usually considered dance music, the musicians always move. The music inspires me to move, because I’m feeling it. So to me, if people move to my music, it’s a sign it’s reaching them. It’s a positive.” KAMASI WASHINGTON plays 6:15 p.m. Saturday on the Skyline Stage at 2016’s MidPoint Music Festival. Visit mpmf.com for tickets and details.

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Charismatic Los Angeles Jazz artist Kamasi Washington has been on a so-far phenomenally successful mission to bring Jazz to those unfamiliar with it. His first widely distributed Jazz album as a bandleader, last year’s three-disc (and nearly three-hour) The Epic, startled Jazz and Pop fans alike with its ambition and his tremendous range as both a tenor saxophonist and a composer/arranger. Not satisfied just to use a large ensemble of Jazz players, he also created parts for strings and choir. The result ranged from 1960s-style spiritual-union explorations reminiscent of such Free Jazz pioneers as John Coltrane, Albert Ayler and Pharoah Sanders to a swinging arrangement of Ray Noble’s 1938 standard “Cherokee” and even a take on Debussy’s “Clair de Lune.” The record made both Jazz and Pop best-of lists, and propelled the 35-year-old not only into major Jazz venues, but also onto the circuit of hip, Alternative/ Indie music festivals and into playing with the Los Angeles Philharmonic at Walt Disney Concert Hall. In a phone interview, Washington says that his success should be a rejoinder to all those who say Jazz has become a niche genre. What he is playing now is what he and his musician friends long had been doing as part of L.A.’s very active African-American arts scene. “There is this idea constantly being thrown out there that Jazz was ‘dying,’ ” he says. “From my perspective and that of my friends, it wasn’t true. In L.A., while playing

P H O TO : M ATA D O R R EC O R D S

From the Bedroom to the World Car Seat Headrest was Will Toledo’s D.I.Y. solo project until Matador Records came calling

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BY JAS O N G A R G A N O

Car Seat Headrest seems to have burst onto the scene fully formed, dropping two albums of dynamic, pleasingly slanted Indie Rock in an eight-month span. That includes this year’s Teens of Denial, the type of record that is immediately catchy and reveals new pleasures, both lyrical and sonic, with each listen. Think Guided by Voices fronted by early Elvis Costello. Or Modest Mouse by way of Superchunk. The reality is a little different — founder and frontdude Will Toledo had been writing songs on his own since 2010, most of which he posted for free as Car Seat Headrest on his Bandcamp page. Things turned after he graduated from college in 2014 — no longer considering music just a hobby, he moved from Virginia to Seattle intent on finding a backing band. Enter Matador Records, which first released a compilation album, Teens of Style — which drew from the best of Toledo’s early, copious solo material — followed by Teens of Denial, which is simply one of the best albums of 2016. CityBeat recently tracked down Toledo to discuss his move from bedroom craftsman to the maestro of a fully realized band. CityBeat: Do you approach or think about the songs any differently now that you’ve moved beyond just posting them on a website? Will Toledo: I never really had any interest in doing the physical product. The way the band started out was a very internet thing. It didn’t make sense to me when I

was starting out to pursue that aspect of it. When we did talk to Matador, that became a part of it. It was definitely something I put into consideration while making these records. I guess I sort of think about it as a songs-versus-albums deal. The format of the album still means something special to me that goes beyond the songs in it. In that sense, that’s what translates into the physical for me. I think it’s a legacy thing where an album is able to be preserved and you can pick up an album 20 years later and have roughly the same experience. And then with the more digital, immediate release style, context matters a lot more. It matters a lot more that you were there at the time experiencing it. That’s something that I was never familiar with growing up, because all the records I was listening to were 30 or 40 years old. CB: It’s interesting you say that, because sound-wise a lot has been made of the band’s resemblance to classic Indie Rock of the 1990s — stuff like Pavement and Superchunk and Modest Mouse and Guided by Voices. WT: Well, it’s kind of complicated because my major influences are not those records. I think (my influences are) the records that influenced those bands as well. I was listening to stuff from the ’60s and ’70s when I grew up. But at the same time, by the time I was in high school, I was listening to records from Guided by Voices and all that. They pointed me in a certain direction,

but it started earlier than that. It didn’t start with those ’90s bands. So now I feel like people pointing toward Indie Rock touchstones in relation to this record, it’s the obvious choice, but I don’t know if it’s the most accurate one, because that’s not really what I was going for when I was making it. CB: The other thing that influences that perception is that you decided to sign with Matador, which has a very specific history and context within Indie Rock circles. How did you hook up with them? WT: They approached me. Car Seat Headrest was pretty much a non-entity at that point, as far as the music industry was concerned. So it was pretty much an allor-nothing choice. I could keep going with where I was — we had a small but loyal following at that point — and maybe in 10 years we could get enough exposure to get some sort of foothold in the industry, or we could go with Matador. It was a fairly easy choice for me to make, because I wanted to take that step and go on to the next phase of my career. CB: I read that you designed the new album so that it would be perceived as a debut record. Why did you want it to be perceived that way? WT: I meant just that I wanted to design it to be my most successful record yet. I’d gotten to a point where I had a lot of records under my belt, and I felt like things were getting a little too dense, a little too selfreferential, and I wanted to do something

that sort of was a palate-cleanser. It ended up being this record. I wanted to push away from a lot of the stuff Car Seat Headrest had been defined as — lo-fi and the dense, long songs. I wanted to clean stuff up and sort of start fresh, especially since I knew, by 2015, that this record was going to get a lot more attention than any of my others. So for a lot of people it would be a debut. CB: The songs on this record seem to be written from more of a first-person perspective. Why were you interested in moving in that direction? WT: I was going into this album from a solo one called Nervous Young Man, which had a lot more character writing in it, thirdperson stuff or just singing from different characters’ perspectives, and I discovered I didn’t really like it. The songs that I wrote that way didn’t hold up. I felt like I was just being a second-rate author doing that sort of stuff. The appeal of being a musician and making music is that you can kind of indulge your ego a little bit. More than in any other type of art you’re allowed to sing about yourself a lot without it seeming too indulgent. I ended up playing that up on this record. I think it was the right step. I think it gives it more of a distinct personality. There’s also room for that personality to change on future records. CAR SEAT HEADREST plays 6:45 p.m. Saturday on the WNKU Stage at 2016’s MidPoint Music Festival. Visit mpmf.com for tickets and details.

P H O TO : DA N M A S S I E

Widespread ‘Panic’ Scotland’s Frightened Rabbit reinvents itself for latest album Painting of a Panic Attack BY A L A N S C U L L E Y

ending or anything,” Hutchison says. “But we definitely acknowledged that we needed some time to step away from it. It had been my life for over 10 years at that point, and it really had to sort of go into the background for a few months.” The creative change of environment came when Hutchison recruited Monaghan and Liddell for the Owl John project. Then there was Hutchison’s move to Los Angeles, which he enjoyed at times, but found it a difficult place for him and his girlfriend to build a circle of friends. So the couple looked for a more suitable locale and found it in Hudson, a town east of the northern edge of the Catskills. “It’s almost the opposite of L.A,,” Hutchison says. “It’s like 6,000 people live there out in the country, which (is) the kind of town I grew up in. But it also has a hipster element. I like the fact that it’s got an artist’s and musician’s community. There are lovely little venues, cafés, bars — there’s a community spirit that we both have really come to really enjoy.” Such big changes would seem like obvious fodder for new Frightened Rabbit songs. But Hutchison says initially he tried to continue writing in the story-song direction he pursued on Pedestrian Verse. But after realizing those lyrics weren’t connecting, he turned toward more personal topics. While Painting of a Panic Attack is not entirely autobiographical, several songs relate to Hutchison’s time in L.A. and life with his girlfriend.

“You’ve got songs like ‘Still Want To Be Here,’ which is obviously about Los Angeles,” Hutchison says. “I moved there for one reason and one reason only, and that was my girlfriend. Even though I was going through some periods of doubt about my connection to the city, I didn’t have any doubts about my connection to her. So that song is directly informed by our neighborhood, and feeling like a real outsider. I think we both felt like outsiders, but we were both in love with each other’s company. So that song is about absorbing yourself completely into another person’s life. And we both did that. It was kind of wonderful a lot of the time.” What also shifted during the development of Panic Attack was the band’s method for writing music. With the other members still living in Scotland, Hutchison and his bandmates had to trade ideas via the internet. This pushed them away from using guitar as a main songwriting instrument. Instead, they turned to laptops and crafting music using synthetic instrumentation as a foundation for the songs. This produced a fundamental shift in Frightened Rabbit’s sound on its latest album. “I had been sitting writing with a guitar since I was 14. That’s been 20 years, and it becomes quite habitual,” Hutchison says. “You get into these little modes of writing, and then I started recognizing patterns in what I had been doing. So to sit at a little keyboard/synthesizer and construct a song on that alone without even looking at a guitar, that’s naturally going to take it to a

different place. I think that’s why some of that material has moved forward, because it’s a much less guitar-driven album.” The songs on Panic Attack are built on beds of melody made up of synthesizer and electronic tones. The catchy foundation and mid-tempo feel of the group’s music, though, emerges intact, and the new album has considerable dynamic range. It opens with the disquieting yet enticing piano ballad “Death Dream,” then moves into “Get Out,” a song that explodes out of its simmering electronic pulse with bursts of guitar and drums. The third track, “I Wish I Was Sober,” reaches Coldplay-esque anthemic heights as it swells behind rolling drums and dreamy instrumental textures, while the jaunty rocker “Woke Up Hurting” blends electronic and Folk elements to nice effect. Exploring new musical territory with Painting of a Panic Attack has Hutchison excited about the future. “A lot of these sounds and a lot of the modes of working are just in their infancy for us, and we’re so keen to explore them further,” he says. “And I think this album has opened a door, and I don’t know where it’s going to lead. But we’re going to pursue it and we’re going to see where the next record takes us.” FRIGHTENED RABBIT plays 7 p.m. Saturday on the Elliot Stage at 2016’s MidPoint Music Festival. Visit mpmf.com for tickets and details.

C I T Y B E A T . C O M • S E P T . 2 1 – 2 7 , 2 0 1 6 • 2 1

Three years is enough time for major changes to happen in anyone’s life. And that’s certainly been the case for Scott Hutchison and the other musicians in the Scottish band Frightened Rabbit. That time has seen the group change guitarists, parting ways with Gordon Skene and bringing touring guitarist Simon Liddell on as a full-time member. For Hutchison, who started Frightened Rabbit as a solo project in 2003 before it evolved into a band, there was also a move from Scotland to Los Angeles to live with his girlfriend, and then a move from there to the small town of Hudson, N.Y. There was also a side project for Hutchison, released under the name Owl John. And then there was a major shift in how Hutchison approached songwriting for Frightened Rabbit, a move that has him considering the band’s first album in three years, Painting of a Panic Attack, as the start of a new phase for the group, which also includes Grant Hutchison (Scott’s brother, on drums), Billy Kennedy (guitar, bass) and Andy Monaghan (guitar, keyboards). The period of change began after Frightened Rabbit wrapped up touring in support of its fourth album, the 2013 release, Pedestrian Verse. Worn down from a decade of recording and touring, relations in the band were getting a bit frayed, and it was clear that it was time for a breather. “We didn’t ever really talk about the band

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TWELVE Reasons to Get to MPMF Early

The 2016 MidPoint Music Festival has higher-profile headliners, but also some can’t-miss earlier performers BY C I T Y B E AT M U S I C S TA FF

The thrill of discovery has always been a hallmark of the MidPoint Music Festival. From its earliest days when it featured all unsigned acts through its more recent multi-venue years, the excitement of exploring and the promise of potentially stumbling upon your new favorite band has made MidPoint one of Cincinnati’s most unique festival experiences. With this year’s new setup (four within-walking-distance outdoor stages along Sycamore Avenue in Over-the-Rhine), MidPoint has fewer performers than in the past few years. But that doesn’t mean organizers have front-loaded it with “sure-thing” draws. With earlier start times all three days (as opposed to the mostly nocturnal nature of previous MPMFs), the event features some high-quality if lesser-known acts that will

perform earlier sets. Which means you’re required to start early all three days if you want to experience the essence of MPMF. Music starts at 3 p.m. Friday and 1 p.m. on Saturday and Sunday. Below are a dozen reasons to get to MidPoint 2016 early. These previews were featured in CityBeat’s official guide, which will be available on the festival grounds and includes previews of every MPMF performer (plus stage maps and plenty more info). You can be assured that every Cincinnati-based band playing is worth your time (a few are highlighted below), and many of those artists are performing earlier as well, so that’s at least a dozen more reasons not to sleep in this weekend.

P H OT O S: PR OV I D E D

FRIDAY 23

WNKU Stage // 3:15 p.m.

Eli’s BBQ Stage // 3:45 p.m.

Elliot Stage // 4:30 p.m.

HOOPS (Bloomington, Ind.)

SMUT (Cincinnati)

Julia Jacklin (Sydney, Australia)

No, you didn’t read it wrong — Joesph is spelled “Joesph.” That one letter out of place is a good thematic device for this Cincinnati trio, whose latest release, There Comes the Lord, consistently tricks you into thinking you’re heading to one sonic destination when instead you find yourself, pretty happily, taken to another. Multi-instrumentalist of Pomegranates fame Joey Cook is the brainchild behind this blissed-out, delicately powerful album, piling on layers of synth, emphatic piano and dreamily reverbed vocals that point to ’60s Pop but take on a thoughtful, contemporary Shoegaze sheen, especially when coupled with guttural guitar licks and propulsive percussion. Cook brought on local music pals Pierce Geary and Devyn Glista to perform live. (Leyla Shokoohe)

The shimmering, atmospheric Indie Pop of HOOPS has its roots in founder Drew Auscherman’s ambient solo recordings. He then spent the summer of 2014 finding the right musicians to bring the songs to life. With HOOPS solidified as a quartet, the band began playing locally, then added regional tour dates, which, along with three self-released tapes, helped draw glowing attention from an increasing number of music press outlets (from My Old Kentucky Blog to NME). The group ultimately hooked up with Fat Possum Records, which released a dazzling selftitled EP in late August. Like a Shoegaze band forced to turn off their distortion pedals, HOOPS makes blissfully trippy songs that are warm, breezy and often transcendent. (Mike Breen)

With unbridled Post Punk energy impressively layered in various shades of harmonious guitar noise, SMUT has emerged in the Cincinnati underground music scene in just the past couple of years. The band’s five-song debut release, 2014’s Purse, lived up to the quintet’s description of its sound as Noise Pop, with snarling, fuzzed-out brashness and a lo-fi buzz driving the proceedings. But with this year’s four-song sam-soon release (both are available on the group’s Bandcamp page), SMUT showcased a sharper, more in-focus approach, lifting the chaotic fog slightly and allowing those scruffy guitarscapes and singer Tay Roebuck’s engaging vocal swagger to be all the more impactful. (MB)

Australian singer/songwriter Julia Jacklin asked her mother for singing lessons when she was 10 years old because she felt her accomplishments paled in comparison to Britney Spears. Since then, Jacklin has gone from learning her craft in a band to absorbing the work of women she admired to allowing her own voice to emerge from her wide-ranging influences. Jacklin’s been releasing songs in fits and starts over the past couple of years, but her incendiary appearance at this year’s SXSW got her noticed in a big way, as evidenced by the imminent release of her debut full-length album, Don’t Let the Kids Win. It’s like Angel Olsen and Fiona Apple channeling ’60s/’70s Folk singers, then learning the Dave Dobbyn songbook. (Brian Baker)

C I T Y B E A T . C O M • S E P T . 2 1 – 2 7 , 2 0 1 6 • 2 3

Elliot Stage // 3:30 p.m.

Joesph (Cincinnati)

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C LO C K W I S E F R O M T O P L E F T: A N I M A L M OT H E R / K N I F E T H E SY M P H O N Y / M I K E F LO S S / L U CY DAC U S // P H O TO S: PR OV I D E D

SATURDAY 24

Skyline Stage // 2 p.m.

Eli’s BBQ Stage // 4 p.m.

Skyline Stage // 4 p.m.

Animal Mother (Cincinnati)

Knife the Symphony (Cincinnati)

Mike Floss (Nashville, Tenn.)

WNKU Stage // 4:15 p.m.

Lucy Dacus (Richmond, Va.)

Self-described “Garage Jazz” trio Animal Mother is a welcome snap of exciting energy on the Cincinnati Jazz scene (and for MPMF as well). Tenor saxophonist Josh Kline’s rich tone is the perfect complement to the adventurous lines he explores, utilizing drummer Matt McAllister’s keen precision and robust sound and bassist Jon Massey’s rhythmic foundation to navigate the group into uncharted territory. Listen closely and you’ll hear notes of Punk and Rock influence, along with homages to legendary Jazz greats. Last year’s The Youth Will Rule is worth multiple listens, and its songs are even better live — “Paraklete” is particularly a gem. (LS)

Deeply steered by the SST/Touch & Go/ Dischord Hardcore scenes of the ’80s and ’90s, Knife the Symphony assembled a decade ago with the sole intent of moving forward and making a momentously visceral noise along the way. Mission accomplished. Knife the Symphony has been sporadically consistent over its 10-year history, gigging often and compiling an impressive catalog of scathing sheets of cacophonous splendor. The band’s last full-length, 2009’s heart-stopping yet nuanced Dead Tongues, has been followed by an album’s worth of splits with other acts, and Knife the Symphony continues to rage against the dying of the light, playing with a ferocity that could tear knee-sized holes in the universe’s well-worn jeans. (BB)

Living far from the hubs of whatever art you trade in can be frustrating from a career standpoint. But it can also do wonders for creativity. You can hear that in the gratifyingly imaginative sound of Nashville’s Mike Floss, a guiding light in the Country music capital’s strong but unheralded Hip Hop scene who has the style, skills and freshness to bring deserved attention to his city. If Floss’ elastic, dizzyingly musical sound on singles like “Kerosene” and the Don’t Blame the Youth mixtape continue to get the right exposure, there’s little doubt Floss and his inimitable work will make the jump to the next level with ease. With praise from Hip Hop blogs and appearances at the Bonnaroo and Made In America fests, Floss seems well on his way. (MB)

There is an almost breezy Jazz quality to Lucy Dacus’ tremulous voice and elongated phrasing, but the truly startling aspect of her presentation is her incisive, insightful and brutally honest lyrics, made more impressive in light of the fact that Dacus has just recently reached the age where she can drink in the clubs she plays. Her debut album, the recently released No Burden, explores the full spectrum of emotional experience with a breathtaking maturity and the kind of wisdom that typically comes after too many traumas and a lot of hard-fought healing. Dacus was recently name-checked by Democratic veep candidate Tim Kaine as a recent musical favorite. (BB)

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Developing a Global Palate Restaurants offer adventure and culinary tourism BY STE P HE N C ART E R -NOVOT NI “It gives them an opportunity to see different things and to contrast it to what they are used to. … It just keeps things interesting.” Neace grew up in a large family — he was the youngest of nine children. So he became open to new foods more out of necessity than invention. “Any time there was food put down, we ate it,” he says, laughing. “We had to eat it because there wasn’t always a whole lot to go around. We definitely ate everything that was presented to us. It was a humble background, and you never want to insult somebody who would offer food. So whenever somebody offered me food, I would oblige and eat it, whether I liked it or not. I might not have gone back for seconds, but I definitely would try something new.” Neace delights in sharing this enthusiasm for new tastes and food combinations with his students. “Being where we are, in Cincinnati, not all of our students are advantaged and have had the opportunity to expand their palates,” he says. “That happens as they come through the program, but I would say 80 percent of our students have not experienced dramatically different cuisines (before coming to school).” And, Neace says, introducing them to new flavors is also a way of introducing them to new cultures. Culinary tourism is an important aspect of becoming a global citizen. From an eclectic dining experience, one emerges as more culturally literate and develops an appreciation for world cultures. “That’s the goal of it,” he says, “to make them more self-aware and to understand these melting pots — what works and why it works for different cultures and how we can adapt to using the best of all the cultures. … The diversity, the great resources and opportunities in these cultures that they can experience and draw from is another tool in the tool belt that makes a person more successful.”

How to get started Of course, a menu at an ethnic restaurant can look like Greek to a first-time guest. It may actually be Greek, so there’s a learning curve for new diners sitting at the table. Picking among 20 or more different choices — and figuring out how to combine them — can present a challenge. “If you don’t know what you’re reading, you look at a Greek menu and you see some Souvlaki and you don’t really know what that is — that’s when you’re going to have to take a leap of faith and either communicate that to the server, asking, ‘What am I looking at here?’ and hopefully are guided into what that is.” Neace says it’s really important to expand and try new items. Even if you find out you dislike a dish, you’ve learned something. And being open to that sort of variance, realizing that every dish you try is not going to be something that would make it into a culinary journal, is part of the fun.

“Not everything is going to be a home run,” he says. “Knowing that going into it should help alleviate any disappointment. Not everything is going to be perfect or meet your expectations. Sometimes oatmeal is just oatmeal. But sometimes it can be garnished with some great accoutrements to make it over the top. “You just don’t know until you try it: there’s no silver bullet; there’s no path to know that it’s going to work for you,” he continues. “You just have to experiment. You have to see what you’ll like. It’s kind of like drinking wine. How do you know you like it or don’t like it until you try it? And the beautiful thing about wines is that there might be a year where you don’t like a varietal, but the grape changes from year to year. There’s really no reason why you can’t go back and try things again that you may not have liked the first time. They might be different. That’s just the simple fact of experiencing food.”

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It’s easy to stick with the old standbys when you go out to eat. Everyone has their favorite dishes, and part of what makes dining out fun is that familiar food is also comfort food. You expect that linguine that you have every time you go to your favorite Italian holein-the-wall will taste amazing today, just like it did yesterday and will tomorrow. But Alan Neace, associate dean executive chef of the Midwest Culinary Institute, says adventure should be part of your restaurant equation, too. “We need some variety in our life,” Neace says. “Imagine eating the same thing every day. At the school here, we focus on the lineage of French cooking. So if you look at that as a whole, there are a lot of great ingredients. But, the style that is used, the way that we cook here, it’s pretty linear. I think the idea of expanding on it and being able to do something different — different ingredients and different styles, the way different cuisines are done, makes it really exciting. I think it gives us an opportunity to see esoteric ingredients and cultures.” The Culinary Institute is part of Cincinnati State College, and Neace says many of the students with whom he works arrive at the school only able to cook a limited array of dishes. He says instructors at the school start by giving students an appreciation of French cuisine, exploring its lineage from simple to complex dishes. A full appreciation of one sort of ethnic cuisine allows students a depth of knowledge to draw upon when they try their hands at food from cultures and disciplines from the far reaches of the globe. Likewise, he says, this scheme can benefit diners. It’s like becoming well-versed in classic English literature — its themes and styles — before exploring world literature. It’s the first step toward developing a global palate. “They can see just how different it is compared to what they know, and it makes it exciting,” Neace says.

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Admit it — your eyes glaze over when you look at the wine list: the pressure to choose an appropriate blend; the foreign pronunciations; the looming taste test and approving nod. According to Mary Horn, vice president of fine wine sales and education at Heidelberg Distributing, you’re not alone. A lot of folks are intimidated by the wine-choosing process, but it’s not hard to get your feet wet — and you don’t have to stomp on grapes to do so. “I would recommend that if they can at least communicate what they know they like and what they don’t, they can ask the sommelier to help guide them in the right direction,” Horn says. “They can look for guidance that way. I don’t think there’s one quick little thing that you can tell somebody to make them feel comfortable with a wine list. But, if they can communicate whether they like Cabernet, they like a lot of tannin or they like buttery, oaky Chardonnay, then the sommelier or the beverage server can generally guide them to something they might enjoy.” Tannin adds a note of bitterness and dryness to wines. There are lengthy and extensive glossaries of wine terminology available, and it’s a good idea to study these as you move forward in developing your appreciation. But the most basic aspect to understand is that a sip of wine yields not just one taste, but many. And, as you learn about what you’re drinking, you’ll discover you can pick out the individual voices in the choir. A crude but handy way to get you started is understanding the notes in “American Champaign” — that is, Coca-Cola. Cola is not a natural flavor. It’s what’s called a fantasia blend by those in the beverage industry. Cola is made up of vanilla, cinnamon and citrus and, if you imagine the cola taste, you can taste all three. Pepsi leans toward lemon. Coke leans toward orange. From this humble, three-chord example, you can extrapolate into the world of adult beverages and the symphony of flavors they offer. “If you’re going to a steakhouse,

look for something that has tannin in it, like Cabernet Sauvignon,” Horn says. “If you are eating something with salt and fat, salt minimizes the perception of acid in a wine. Grilled flavors go well with oaky wines.” Oaky wines are wines that have been fermented in oak barrels and impart tones of vanilla, cream or smoke to a wine, softening its flavor. The terminology and the complexity of wines is part and parcel to it being an elegant beverage and a part of gourmet dining. But don’t get intimidated. Horn says wines can generally be viewed as either wines of quality — average, bottom-shelf wines — or the more expensive wines of character. “Wines of character either speak to the grapes that they’re made from or the place they come from,” Horn says. “If you’re drinking Barefoot Cabernet Sauvignon, you just know that it’s wine and it’s Cabernet. But, it’s got no other defining feature that’s telling you anything about it other than it’s inexpensive, easy-to-drink wine. If I go then to a Napa Valley Cabernet, say, Mount Veeder Cabernet, then I know that this wine is going to have more character because it’s coming from a

specific place, the Napa Valley.” The character refers to the complexity of the flavor and the different notes you can detect within that flavor. “These are going to be a little more sophisticated, a little more definable, and they’re going to have a definite personality,” Horn says. “Wines just of quality, these are inexpensive and speak to nothing other than the fact that they’re made from grapes and have alcohol in them.” Of course, personality is the reason you dine out in the first place: the restaurant’s décor, the cool bartender, the professionalism of your server. By virtue of just being in such an elegant place, you feel a little elegant yourself. Half of what you’re buying is the context. “Even if they’re a novice, people coming into a restaurant are either going to be comfort seekers or adventurers,” she says. “If they’re a comfort seeker, they’re going to look for something they are familiar with. Adventurers are going to start small, but they’re going to look to restaurant staff for guidance.” Horn is also the co-chair of the festival committee for the Cincinnati International Wine Festival. The event takes place every March and all proceeds go to charity. Wine tastings are an important avenue for developing your budding interest in wines, she says. “The more you taste and the more you understand your own palate, the better you can help yourself,” Horn says. “One of the big challenges is to accept the fact that you’re not going to like everything. Everything isn’t going to be your style or what you want to drink. And that’s okay. That’s the fun of the diversity of both wine and food. The more things you can try and the more you become accustomed to, the less likely you are to find things you don’t like. “The first time you try anything new, you don’t necessarily like it,” she continues. “The first sip you have of Scotch is off-putting. It’s smoky, it’s peaty, you don’t know what to do with it, so you think you don’t like it. The second sip you have isn’t quite as bad. By the third sip it’s OK. And by the fourth sip you need another glass. The same is true of wine — the more you can taste different flavors, the less fearful you are of those new tastes, and they become incorporated in what you like already.”

Handcrafted Wines. Modern Casual Dining. VISIT US AT OUR T WO CINCINNATI LOCATIONS:

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8080 MONTGOMERY ROAD CINCINNATI, OH 45236

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Banana Leaf Modern Thai

101 E Main St, Mason, OH 45040 (513) 234-0779 • bananaleafmodernthai.com FIR ST COUR SE: Banana Leaf House Salad Tom Yum Soup Tom Ka Soup SECOND COUR SE: Banana Leaf Signature Pad Thai Hanger Steak in Thai Port Wine Reduction Trio Mahi Mahi Panang Curry THIR D COUR SE: Coconut Creme Brulee Thai Tiramisu Macarons

BrewRiver GastroPub 2062 Riverside Dr, Cincinnati, OH 45202 (513) 861-2484 • brewrivergastropub.com FIR ST COUR SE: Plus a 4oz Beer Pairing Truffle Mac n’ Cheese Wedge Salad Canal Street Mussels SECOND COUR SE: Plus a 4oz Beer Pairing The Creole Queen Fried Green Tomato Burger The Cubano The Open-Faced Portobello SAMich THIR D COUR SE: Plus a 4oz Beer Pairing Dark Chocolate Brownie White Chocolate Macadamia Nut Blondie “Young’s” Double Chocolate Stout Cake

Cooper’s Hawk Winery & Restaurant 8080 Montgomery Road Cincinnati, OH 45236 (513) 488-1110 • coopershawkwinery.com

5075 Deerfield Blvd, Mason, OH 45040 (513) 234-9032 mason.firebirdsrestaurants.com

FIR ST COUR SE: Roasted Beets & Goat Cheese Caprese Flatbread Chicken Potstickers

FIR ST COUR SE: Nashville Hot Chicken Slider Homemade Chicken Tortilla Soup or Soup of the Day BLT, Mixed Greens or Caesar Salad

SECOND COUR SE: Dana’s Parmesan-Crusted Chicken Spaghetti & House-Made Meatballs Jambalaya Maple-Mustard Pretzel Crusted Pork THIR D COUR SE: S’more Budino Cooper’s Hawk Chocolate Cake Salted Caramel Créme Brulee O ne g l ass of wine with m ea l : Cooper’s Hawk Red or Cooper’s Hawk White

Behle Street by Sheli

2220 Grandview Drive, Ft. Mitchell KY 41017 (859) 341-8888 behlestreetbysheli.com/wordpress FIR ST COUR SE: Shrimp Cocktail Bruschetta SECOND COUR SE: Cafe Wedge Caesar THIR D COUR SE: Braised Short Ribs Ribeye Parmesan Crusted Grouper Jack Daniels Chops Truffle Oil Pasta C o m p l i m entar y D essert: Opera Cream Cake or Homemade Strawberry Shortcake

Boi Na Braza

441 Vine St, Cincinnati, OH 45202 (513) 421-7111 • boinabraza.com

1 0 2016 GRE ATER CINCINNATI R E S TA U R A N T W E E K

FIR ST COUR SE: Picanha con Alho Leg of Lamb Pork Ribs Top Sirloin Pork Loin w/Parmesan Salsichao Bottom Sirloin Chicken Leg Chicken Breast w/Bacon Beef Ribs SECOND COUR SE: Unlimited Salad Bar THIR D COUR SE: Carmel Turtle Cheesecake, Key Lime Pie, Carrot Cake, Chocolate Mousse Cake or Strawberry Sensation Cake

Firebirds Wood Fired Grill

SECOND COUR SE: Cilantro Grilled Chicken Chimichurri Flat Iron Steak Wood Grilled Filet Medallions Grilled Jumbo Shrimp THIR D COUR SE: Creme Brulèe Cheesecake Squares Chocolate Brownie Sundae Key Lime Pie; Warm Carrot Cake

Eddie Merlot’s

Jag’s Steak & Seafood & Piano Bar

SECOND COUR SE: Tomato Bisque Blue Crab + Corn Chowder House Salad Roast Salt Beet

FIR ST COUR SE: Blazing Blue Cheese Shrimp Lobster Bisque Caesar Salad

FIR ST COUR SE: Fig, Meat & Cheese Cranberry Glazed Wings Autumn Oysters

SECOND COUR SE: Duet of Filet Mignon & Salmon Angel Hair Shrimp Scampi French Cut Pork Chops

SECOND COUR SE: Cream of Asparagus Harvest Salad Roasted Beet Salad

THIR D COUR SE: Duck, Here Comes Your Filet Pacific Halibut Mediterranean Chicken

THIR D COUR SE: Bourbon Butter Cake Triple Chocolate Cake Crème Brulee

THIR D COUR SE: Grilled Filet Mignon Caramelized Scallops Bourbon Apple Pork Loin

Embers Restaurant

Jeff Ruby’s Carlo and Johnny

Brown Dog Cafe

1000 Summit Park Place, Cincinnati, OH 45242 (Summit Park Blue Ash) (513) 794-1610 • browndogcafe.com FIR ST COUR SE: Lemongrass Grilled Shrimp Artichoke Fritter CAB Carpaccio

The Capital Grille

3821 Edwards Road, Cincinnati, OH 45209 (513) 351-0814 • thecapitalgrille.com/ locations/oh/cincinnati/cincinnati/8052 FIR ST COUR SE: Wedge Caesar Salad Clam Chowder SECOND COUR SE: Filet Mignon 8oz All-Natural Herb Grilled Chicken Bone-In Dry Aged NY Strip 14oz Seared Citrus Glazed Salmon Porcini Rubbed Sliced Tenderloin THIR D COUR SE: Flourless Chocolate Espresso Cake Classic Créme Brûlée

Montgomery Plaza, 10808 Montgomery Rd Cincinnati, OH 45242 (513) 489-1212 • eddiemerlots.com

8170 Montgomery Road , Cincinnati, Ohio 45236 (513) 984-8090• embersrestaurant.com FIR ST COUR SE: Spicy Tuna Maki Roll Roasted Red Pepper Bisque Caesar Salad

VISIT greatercincinnatirestaurant week.com FOR DETAILED DESCRIPTIONS AND SPECIAL OFFERS

9769 Montgomery Rd Montgomery, OH 45242 (513) 936-8600 • jeffruby.com/carlo-johnny FIR ST COUR SE: Freddie Salad or Caesar Salad

SECOND COUR SE: 72 Hour Braised Short Rib Amish Chicken Breast Salmon

SECOND COUR SE: 6 Ounce Bone-In Filet Pan-Seared Salmon Chicken Parmesan

THIR D COUR SE: Lavender Panna Cotta Chocolate Mocha Cake

THIR D COUR SE: Jeff Ruby’s Very Own Cheesecake Chocolate Cake

The Golden Lamb

Jeff Ruby’s Precinct

27 S. Broadway Lebanon, Ohio 45036 (513) 932-5065 • goldenlamb.com FIR ST COUR SE: Wild Burgundy Escargot Mushroom & Goat Cheese Strudel

S P O N S O R E D B Y:

5980 West Chester Road West Chester, Ohio 45069 (513) 860-5353 • jags.com

SECOND COUR SE: Chef Nick’s Clam Chowder Roasted Beet & Apple Salad THIR D COUR SE: Indiana Duck Breast Shore-Style Seasonal Fresh Fish Grilled Venison Loin Pan-Fried Frog Legs Provencal

311 Delta Ave, Cincinnati, OH 45226 (513) 321-5454 • jeffruby.com/precinct FIR ST COUR SE: Freddie Salad or Caesar Salad SECOND COUR SE: 6 Ounce Bone-In Filet Walnut Crusted Salmon Porcini Crusted Chicken Breast

THIR D COUR SE: Jeff Ruby’s Very Own Cheesecake Chocolate Raspberry Cake

K aze

The National Exemplar 6880 Wooster Pike, Mariemont, Ohio 45227 (513) 271-2103 • nationalexemplar.com

1331 Vine St, Cincinnati, OH 45202 (513) 421-7826 • quanhapa.com

FIR ST COUR SE: Kato Roll (5pcs) “Otr” Roll (5 pcs) Pork Belly Bun

FIR ST COUR SE: Hungarian Mushroom Soup Kale Salad Mussels Roman Style Meatballs

FIR ST COUR SE: Okonomiyaki Tsukune

1400 Vine Street, Cincinnati, Ohio 45202 (513) 898-7991 • kazeotr.com

SECOND COUR SE: Miso Soup Kaze Salad THIR D COUR SE: Beef Bowl Katsu Bowl

L a Petite France Restaurant

Northland Shopping Center 3177 Glendale Milford Rd Cincinnati, OH 45241 (513) 733-8383 • lapetitefrance.biz FIR ST COUR SE: Soupe à l’Oignon Salade Caesar Seafood Bisque SECOND COUR SE: Poulet au Porto Baked Filet of Cod NY Strip Steak THIR D COUR SE: Mousse au Chocolat Tarte Tartin Peach Crepe

The Melting Pot

11023 Montgomery Rd, Cincinnati, OH 45249 (513) 530-5501 • meltingpot.com FIR ST COUR SE: Spinach and Artichoke Cheese Fondue Bourbon Bacon Cheddar Cheese Fondue SECOND COUR SE: Filet Mignon, Memphis BBQ Pork Medallion, Roasted Garlic Chicken, Teriyaki Sirloin, Chicken Potstickers and Vegetable Medley THIR D COUR SE: New York Cheese Cake Fondue Smores Chocolate Fondue

The Mercer

SECOND COUR SE: Bucatini all’ Amatriciana Wild Mushroom and Ramp Risotto Petite Filet Grilled Salmon THIR D COUR SE: Créme Brulee Carrot Cake Bread Pudding

The Palace at the Cincinnatian Hotel

601 Vine Street Cincinnati, Ohio 45202 (513) 381-3000 • palacecincinnati.com

THIR D COUR SE: Passion Fruit Panna Cotta Tiramisu Madisano’s Sorbe

THIR D COUR SE: Specialty Noodles 2 for $35

Prime 47

THIR D COUR SE: Salted Caramel Brownie Sundae Cranberry Raisin Bread Pudding

FIR ST COUR SE: House Salad Caesar Salad Lobster Bisque Soup Of The Day

Tano Bistro & Catering

THIR D COUR SE: Key Lime Pie Half Baked Cookie Grippo’s Pretzel Crusted Brownie

812 Race St, Cincinnati, OH 45202 (513) 721-2260 • thephx.com FIR ST COUR SE: Sauerkraut Balls Calamari Fritti Clam Chowder Little Gem Salad SECOND COUR SE: Black Ink Spaghetti Branzino Fall Risotto Short Rib THIR D COUR SE: Panna Cotta Pots de Créme Artisanal Cheese Plate

FIR ST COUR SE: Veal Meatballs Crispy Calamari

580 Walnut Street, Cincinnati, Ohio 45202 (513) 579-0720 • prime47cincy.com

SECOND COUR SE: Seafood Risotto Seared Marlin Seared Filet Mignon

The Presidents Room

9836 Montgomery Road Montgomery, Ohio 45242 & 6200 Muhlhauser Rd, West Chester Township, OH 45069 (513) 489-1444 & (513) 942-2100 stonecreekdining.com

SECOND COUR SE: Herb Crusted Salmon Bloody Mary Marinated Pork Chop

FIR ST COUR SE: Baby Arugula Salad Mole Braised Pork Belly King Crab Pot Pie

THIR D COUR SE: Sweet Corn Brulee French Toast

Stone Creek Dining Company

Prism Steakhouse

1000 Broadway St., Cincinnati, OH 45202 (513) 250-3294 • jackentertainment.com/ cincinnati/restaurants/

204 W Loveland Ave, Loveland, OH 45140 (513) 683.TANO (8266) • foodbytano.com FIR ST COUR SE: Grown-up Tater Tots Sprout & Snout Buffalo Chicken Queso SECOND COUR SE: Tano House Salad Roasted Beet Salad Bowl of Soup THIR D COUR SE: Stuffed Salmon Braised Bison Pasta Smoked Bone-in Pork Chop

FIR ST COUR SE: Lobster Bisque Caesar Salad Prism Chopped Salad

7565 Kenwood Rd, Cincinnati, OH 45236 (513) 984.1905 • triobistro.com

SECOND COUR SE: Steak Frites Free Range Chicken Linguini Scampi

FIR ST COUR SE: Caesar Salad Chopped House Salad Lobster Bisque

THIR D COUR SE: Vanilla Bean Cheesecake Black Forest Mousse Strawberry Lime Opera Cake

SECOND COUR SE: Filet Mignon Lemon Chicken Grilled Halibut Sweet Pea Ravioli

Seasons 52

trio bistro

THIR D COUR SE: Trio’s Banana Cream Pie Strawberry Shortcake

3819 Edwards Road, Cincinnati, Ohio 45209 (513) 631-5252 • seasons52.com/home

primavista

810 Matson Place, Cincinnati, Ohio 45204 (513) 251-6467 • pvista.com FIR ST COUR SE: Arugula Salad Pasta e Fagioli Potato Gnocchi SECOND COUR SE: Sautèed Veal Scallpine Broiled Verlasso Salmon Shrimp and Pesto THIR D COUR SE: Budino di Panettone Tiramisu

FIR ST COUR SE: Signature Flatbreads: Roasted Roma Tomato; Garlic Pesto Chicken; Blackened Steak & Blue Cheese; All-Natural Pepperoni SECOND COUR SE: Seasonal Spinach Salad Organic Field Greens Crisp Romaine & Baby Kale Caesar THIR D COUR SE: Cedar Plank-Roasted Salmon Wood-Grilled Filet Mignon Southern Style Shrimp & Grits Wood-Grilled Pork Tenderloin All-Natural Roasted Half Chicken Two Mini Indulgence Desserts

Restaurants with more than one option in the courses listed above will give guests a choice on selection.

Menus are subject to change.

2016 GRE ATER CINCINNATI R E S TA U R A N T W E E K 1 1

SECOND COUR SE: Amish Chicken Breast Branzino Risotto Macaroni

SECOND COUR SE: Papaya Salad

SECOND COUR SE: 6 oz Petite Filet 14 oz Cajun Berkshire Pork Chop Garlic Shrimp or Chicken Grilled Salmon

1324 Vine Street, Cincinnati, Ohio 45202 (513) 421-5111 • themercerotc.com FIR ST COUR SE: Artisan Mixed Greens Caesar Salad Roasted Brussels Sprouts

Quan Hapa

autHEntic tHai cuiSinE in the heart of Mason

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SD: I went to Kenyon College in Ohio. So I lived in Gambier for about four years. And, Tess, the character, does start with a lot of autobiographical information from my life. She moves to New York the same year that I did. She gets the same terrible apartment that I had. And she also makes a drive from Ohio, which I once made when I graduated college and moved to New York City in the summer of 2006. Besides that, we are very different. CB: The idea of becoming is interesting. The rise of foodie culture in the U.S. is in the process of becoming, too. Even places that were once provincial have become psuedurban in a way that they were not a decade ago.

let servers serve and diners dine Author Stephanie Danler on how diners can engage with a smarter, urbane foodie culture BY STE P HE N C ART E R -NOVOT NI CityBeat: Tell us about your book. Stephanie Danler: Sweetbitter is a coming-of-age novel based around a young woman who is 22 years old, and she moves to New York City and gets a job at a fine dining, landmark restaurant. From there, the story is really about her falling in love with the world of food and wine and her education within it, which isn’t just limited to her palate. Also it’s about her experiences with friendship and intimacy and lust — becoming. For me, it’s really a story about becoming a woman. CB: What’s the Ohio connection to the book?

CB: You’ve argued that serving has become more professional as well. SD: The job of being a server formerly had a whiff of failure, of having failed at something else. And that has completely disappeared. Maybe not completely, but in New York City it has for the most part. It is a valid profession. That is in part because of the exposure. It has become permissible. Once you start exposing a subculture, it becomes, by nature, more professional.

SD: I had a very different background from Tess insofar as food. I was familiar with restaurants. … That said, when I moved to New York, I didn’t have an awareness of foods in their season, foods being consumed at the peak of their season. I remember my first heirloom tomato was that summer of 2006, which is a scene that I fictionalize for the book. I grew up in California and we had tomatoes yearround and they were excellent. But to see these purple tomatoes and these yellow and orange tie-dyed tomatoes, they tasted like an entirely different fruit, and that was when I realized that food eaten close to its source and food that is waited for and food that is treated like a celebration tastes entirely different from something that you pick up from a supermarket and is always at a consistent level of barely ripeness. CB: What makes a great server? How can guests work with their servers to enhance their experience? SD: When I managed restaurants, my priority was education. I feel like an educated staff has the best chance of educating the diner or acting as an ambassador for a restaurant, to give the kind of food experience for which the restaurant was designed. What I look for in great service is — I still love to turn my meal over to the server. I love to ask what wine they are really interested in and I like to know their favorite dishes and how they like to course things. That is what they are trained to do. So many guests come in to a restaurant with a preconceived idea of how the meal should go. They want a California Chardonnay. They want their steak well-done and whatever their requirements are. But you’re really losing a lot of the nuance of the experience, often ignoring the reason you chose this place: because there’s an incredible chef or the esoteric and wide-ranging wine list. So unless you’re open to that and your server is educated in how to deliver that experience, the service suffers. The service suffers from staff that are not educated enough and guests that are not open enough.

2016 GRE ATER CINCINNATI R E S TA U R A N T W E E K 1 5

Stephanie Danler’s debut novel, Sweetbitter, chronicles the story of Tess, a one-time Midwesterner who moves into the high-profile New York City dining industry and finds herself in the process of “becoming” — becoming cultured, becoming an expert on serving and food and becoming who she feels she was meant to be. The novel is loosely based on Danler’s own experiences — she attended college at Ohio’s Kenyon College and did in fact pursue a journey of self-discovery in New York while working at the high-profile Union Square café. In a recent conversation with CityBeat, Danler discussed her novel, her palate and how to work with the wait staff at restaurants to get the most out of the experience.

SD: Just in the last 10 years we’ve seen an explosion of food and wine and restaurant awareness. A lot of that is television and a lot of that is a change that began to take place in 2003 in New York City, which was the exposure of its culture, which has slowly become mainstream culture. I think that it’s been exported to every city. An essential part of the urban experience now is to go out and experience the restaurants. There also is a larger number of people being educated in food and wine, so let’s say that everyone goes to CIA in upstate New York — the Culinary Institute of America — and everyone goes to New York City to become a server now, or to become a bartender or a restaurant manager. These people are leaving New York and they’re setting up shop all over the country. And so, there’s been this trickle-down effect. The intensity of the scene in New York has been to the benefit of any place interested in culture, interested in art and music. Now, food is a part of that same conversation.

CB: How did your experiences inform the expansion of your character’s palate?

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Over the past six years, the evolution of Us, Today as a force in the Cincinnati music scene has been breathtaking. Its first two self-recorded albums, 2011’s RH Sessions and 2012’s Beneath the Floorboards, hinted at the band’s potential, but with 2015’s TENENEMIES, the trio — vibraphonist Kristin Agee, guitarist Joel Griggs and drummer Jeff Mellott — eschewed its improv roots and carefully composed and arranged the songs, allowing the members’ Jazz and Classical training to meld their wide-ranging musical influences into a cohesive and thrilling unit. If you’re wondering how that went, the press has been loving TENENEMIES and the band won this year’s Indie/Alternative award at the Cincinnati Entertainment Awards. So, pretty well. (BB)

Combining sunny, beachy vibes with a generous helping of reverb and Indie sensibility, five-piece Cincinnati-based band Modern Aquatic is poised for big things. Beach Monster, their accurately titled first EP, is an outing of six dreamy songs that utilizes the band’s full strength of solid Rock guitar lines, plucky bass, lullaby-esque vocals and hazy drums to create the perfect beach-day soundtrack. Single “Blondie” is especially engaging, with thoughtful vocals and impressive musicality. Formed in 2015, the group has already supported a strong roster of local bands, notably fellow MPMFers MULTIMAGIC and Cincinnati Entertainment Award winners Dawg Yawp. Catch the band this year so you can say you saw Modern Aquatic before it was big. (LS)

Tyler Broderick writes the kind of timeless Pop hooks that can only come from a life immersed in the study (and deep understanding) of classic, legendary Pop Rock composers. With dashes of Psychedelia, splashes of warm textures and loads of upbeat charisma, the music of Broderick’s band Diners is instantly likeable and memorable. This month, Broderick and his rotating cast of co-conspirators release Three, the first Diners record to come out on the Asian Man label. This ain’t your everyday lo-fi bedroom Indie Pop — Diners’ songs are lush and deceptively intricate, while still letting the power of a great melody shine through like a beam of sunshine on every song. (MB)

Parsonsfield exudes the gentility of atmospheric Folk filtered through the visceral power of Rock, but it wasn’t always so. The quintet began as a contemporarily tinted string band with typical Bluegrass/Folk influences under the name Poor Old Shine, but the group recorded a pair of albums with producer Sam Kassirer at his Parsonsfield, Maine studio and wound up retooling its sound with Kassirer’s assistant engineer as the band’s new drummer. After learning its name held an unpleasant racial connotation, the group rechristened itself after the geographic location of its rebirth. Parsonsfield’s musical expansion continues at a big-bang pace on its just-released Blooming Through the Black. (BB)

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Eli’s BBQ Stage // 1:15 p.m.

Us, Today (Cincinnati)

THE

PELLÉAS TRILOGY

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PART ll: WATER

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cincinnatisymphony.org • 513.381.3300

Photo: Quinn Wharton

to do

Staff Recommendations

photo : provided

WEDNESDAY 21

ART: GLENN BROWN makes decay a hallmark of his art at the Contemporary Arts Center. See review on page 30. ART: Indie/Pop/Rock juggernaut OF MONTREAL plays Woodward Theater. See Sound Advice on page 42.

THURSDAY 22

MUSIC: RAILROAD EARTH brings Newgrass Jam to Bogart’s. See Sound Advice on page 42.

ONSTAGE: THE DIARY OF ANNE FRANK at Cincy Shakes is ultimately a celebration of the resilience of the human spirit. See review on page 33. COMEDY: ISAAC WITTY Isaac Witty is a Minneapolis-based comic from Tulsa, Okla., but he is also a favorite of Cincinnati audiences. Most of his comedy is based on his life experience and is filled with self-deprecating observations. For example, when he talks about being bald: “I like to say bald-ing. It sounds like I’m up to something,” he tells an audience. “I don’t like to say I’m losing my hair. That makes it sound like if I had been more responsible this wouldn’t have happened.” In addition to appearances on Conan and The Late Show with David Letterman, Witty is also a member of the sketch comedy group The Turkeys. Showtimes Thursday-Sunday. $8-$14. Go Bananas, 8410 Market Place Lane, Montgomery, gobananascomedy. com. — P.F. WILSON

ART: ANNIE OAKLEY MURAL DEDICATION On Thursday evening, ArtWorks dedicates the second female-centric mural in the Cincinnati Legend mural series, featuring world-famous sharpshooter for Buffalo Bill’s Wild West show, Annie Oakley. Formerly known as Phoebe Mosey, Annie lived in the Oakley neighborhood (likely the origin of her stage name). The mural stands nearly 7-stories tall on the side of the Voltage Furniture building at 3211 Madison

MUSIC: MARTIN SEXTON For more than a quarter century, Martin Sexton has been making music that incorporates a wide spectrum of influences, his mix of Rock, Soul, Pop, Folk and other American Roots music making him hard to pin down when looking for a precise category. Last year, the Massachusetts-based singer/songwriter celebrated his multifaceted inspirational range with Mixtape of the Open Road, an album that put his eclecticism front and center (while retaining a sense of cohesiveness) by recreating — with original compositions — the concept of a road trip “mixtape” full of favorite songs. Sexton ended last year with another diverse release, a best-of compilation built from fan suggestions that he made available as a free download on his website to thank his loyal followers. 8 p.m. Thursday. $25; $29 day of show. 20th Century Theater, 3021 Madison Road, Oakley, the20thcenturytheatre.com. — MIKE BREEN

Road, designed by Cincinnati-based fine artist Nicole Trimble. Meet the artist, get your photo taken “Wild West”-style and enjoy treats from local vendors. 6-7:30 p.m. Thursday. Free. Brazee Street Studios, 4426 Brazee St., Oakley, artworkscincinnati.org. — MARIA SEDA-REEDER

FRIDAY 23

MUSIC: THE GIBSON BROTHERS bring Bluegrass to Live! at the Ludlow Garage. See Sound Advice on page 43.

MUSIC: The 2016 MIDPOINT MUSIC FESTIVAL kicks off today. See cover story on page 16. EVENT: CINCINNATI COMIC EXPO Big names, big prizes and big opportunities are landing at the Convention Center this weekend. The Cincinnati Comic Expo

— one of the largest gatherings of comic creators, film and TV stars and vendors in the area — returns to the city with one of the most well-known stars of the comic book world: writer, editor, publisher and former president and CEO of Marvel Comics Stan Lee. Catch a Q&A session with Lee at 8:30 p.m. Friday after browsing geeky wares from dozens of vendors like Comic*Pop Collectibles, GameStop and Warrior Martial Arts Supplies. Other highlights of the event include an 8-Bit Geek Prom, a costume contest with a $1,000 prize and an out-ofthis-world Star Wars zone. Excelsior! Read an interview with Expo founders on page 32. 3-8 p.m. Friday; 10 a.m.-7 p.m. Saturday; 10 a.m.-5 p.m. Sunday. $30 Friday and Sunday; $40 Saturday; $60 weekend. Duke Energy Convention Center, 525 Elm St., Downtown, cincinnaticomicexpo.com. — EMILY BEGLEY

EVENT: CINCINNATI FOOD + WINE CLASSIC Tantalize your taste buds with three days of exotic food and wine from around the world as well as local delicacies. Join the Cincinnati Food + Wine Classic at Yeatman’s Cove for food as far as the eye can see and a bigger party than ever before. With an estimated 9,000 guests over the weekend, patrons will enjoy different themes each day and an opportunity to step outside their comfort zones. There will be food demonstrations, competitions, panel discussions and tasting seminars all weekend — including a Feast in the Park grand tasting Saturday with dishes from more than 40 regional and national chefs. 6:30-9:30 p.m. Friday; noon-9:30 p.m. Saturday; 11:30 a.m.-4 p.m. Sunday 25. Prices vary. 705 E. Pete CONTINUES ON PAGE 28

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EVENT: THE SLURRING BEE Everyone’s favorite drinking-and-spelling competition is back. The Slurring Bee drunk spelling bee invites intoxicated bar patrons and those who like to risk it all for the feeling of verbal superiority to take the stage and spell some words into a microphone. Each participant gets a nametag, a specialty shot before each round of spelling and a chance to win fabulous prizes and impress their friends. 8 p.m. registration Thursday. $5 entry fee. The Drinkery OTR, 1150 Main St., Over-the-Rhine, facebook. com/drinkery.otr. — MAIJA ZUMMO

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EVENT: FIRE UP THE NIGHT Although Riverfest was just a couple weeks ago, Cincinnati never gets tired of lighting the sky on fire. On Saturday, Coney Island hosts the fifth-annual Fire Up the Night event. The competition consists of multiple teams from different countries facing off for international pyromaniac bragging rights. This year, Greece, the Philippines and South Africa are all competing for the best display; the winner will be determined by a fivejudge panel and audience text vote. After the winner has been determined, Cincinnati’s own Rozzi’s Famous Fireworks will blow up the sky one more time for a finale. If you do finally get burned out, there will also be an empty-pool party, live music and even hot air balloons. Fireworks 8:30 p.m. Saturday. $5 walk-in; $25 car load. Coney Island, 6201 Kellogg Ave., California, coneyislandpark.com. — KYLER DAVIS

FROM PAGE 27

Rose Way, Downtown, cincinnatifoodandwineclassic.com. — MADI ASHLEY

SATURDAY 24

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MUSIC: YOUNG THE GIANT supports its latest album, Home of the Strange, at Madison Theater. See interview on page 40.

EVENT: COUNTRY APPLEFEST An apple a day keeps the doctor away, and one Applefest a year is probably just as helpful. Believe it or not, they offer up more than just apples: The Country Applefest is the longest-running craft festival in the city of Lebanon and draws a crowd of around 30,000 people every year. With a variety of apple-themed treats like fritters, pies and candy apples, you’ll get your fill for the doctor in no time. There’s plenty of barbecue and cookout food to go around, too. 10 a.m.-7 p.m. Saturday. Free admission. Warren County Fairgrounds, 665 N. Broadway St., Lebanon, countryapplefest. com. — MAGGIE FULMER EVENT: MOTOBERFEST Motorcycle and scooter enthusiasts ride and rejoice at Motoberfest, one of the

last rallies of the riding season. Join an urban group ride, listen to live music, play games, browse a bike show, bid on helmets designed by local artists and/or hit up Motoberfest-themed events at area bars, including the Northside Yacht Club, 16-Bit Bar+Arcade and Christian Moerlein Matlthouse Tap Room. 6 p.m. Sept. 23; 8 a.m. Sept. 24. $20 all-access pass. motoberfest. com. — MAIJA ZUMMO ART: AURAL LATRINALIA: THE BATHROOM SHOW The most recent event staged by NEAR*BY art collective, July’s High Art 2 on the Carew Tower observation deck, was such a resounding success that the artist collective has had to be especially creative in finding a site for its next event. So its members have chosen — what else? — public restrooms. For Aural Latrinalia, Richard Bitting, Intermedio, Jennifer Jolley, Numediacy, Sayak Shome and Matt Wetmore have created sound art installations in the bathrooms of the 21c Museum Hotel, Art Academy of Cincinnati, The Carnegie, Contemporary Arts Center, Wave Pool and the Weston Art Gallery. Opening reception 6-8 p.m. Saturday. Free. Weston Art Gallery,

photo : Jag’s Ste ak & Se afood & Piano Bar

MONDAY 26

EVENT: GREATER CINCINNATI RESTAURANT WEEK CityBeat is an alternative weekly newspaper that provides Cincinnati residents with coverage of local news, arts and culture — but CityBeat also wants to make sure you don’t go hungry. The next event in our plethora of food-and-drink-themed parties is Greater Cincinnati Restaurant Week, a seven-day celebration of culinary tourism in the Tristate. Through Oct. 2, area eateries will be providing guests with $35 multi-course prix-fixe menus. Participating restaurants include BrewRiver GastroPub, Jeff Ruby’s Precinct, La Petite France, Kaze, The Mercer, Primavista, Jag’s Steak & Seafood & Piano Bar and more. Visit the Greater Cincinnati Restaurant Week website to see a full list of participating restaurants and what they’re offering. Through Oct. 2. $35. greatercincinnatirestaurantweek.com. — MAIJA ZUMMO

650 Walnut St., Downtown, nearbycollective.org. — STEVEN ROSEN

SUNDAY 25

EVENT: GREAT OHIO RIVER SWIM The ninth-annual Great Ohio River Swim invites relatively accomplished swimmers — those with experience negotiating river currents and sighting in open water — to traverse the Ohio River. The course is about 900 meters and requires participants to verify that they are prepared to compete. 6:30 a.m. Sunday. $20-$25. Public Landing,

WITH ADULT BEVERAGES.

705 E. Pete Rose Way, Downtown, greatohioriverswim.com. — MAIJA ZUMMO EVENT: ART OFF PIKE Visit Covington this Sunday for art of every medium, a mural unveiling, costume parades, impromptu bean bag Plop!-ing and, of course, festival music and food. The 12th-annual Art Off Pike urban arts festival features artwork available for purchase by more than 50 makers and artisans, plus live performance art and interactive art installations. There will be costume parades at noon, 2 and 4 p.m., and inside Braxton Brewing Company, find specialty brews and a poster show from local design companies. Outside in the Madlot you can discover live music, food trucks and spoken word performances. 11 a.m.-5 p.m. Sunday. Free admission. Seventh Street between Washington and Madison streets, Covington, Ky., artoffpike.org. — MADI ASHLEY

ONGOING SHOWS ONSTAGE The Legend of Georgia McBride Ensemble Theatre, Over-the-Rhine (through Sept. 25)

Over-the-Rhine + 16-BitBar.com

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EVENT: GREAT OUTDOOR WEEKEND As tempting as it can be to watch Netflix and nap all weekend, this two-day experience might just change your mind. The 13th-annual Great Outdoor Weekend gives residents in Greater Cincinnati the chance to experience outdoor activities while also learning about nature awareness programs in the area. Both Saturday and Sunday are jam-packed with a plethora of events — more than 100 free activities across 40 different locations — including yoga, ziplining, hiking, fishing and kayaking. Saturday and Sunday. Free. greatoutdoorweekend.org. — MAGGIE FULMER

UNLEASH YOUR INNER CHILD...

arts & culture

An Old Master for Our Times

If painting is dead, Glenn Brown is carrying on with the corpse BY KATHY SCHWARTZ

I m a g e c o u r t e s y G a g o s i a n G a l l e r y // P h o t o : Mi c h a e l B o w l e s

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he Contemporary Arts Center opened a solo show by British painter Glenn Brown the same day that the Cincinnati Bell Connector debuted just outside its doors. That’s fitting, because both attractions play with the notion of time travel. What happens when we bring something from the past — whether it’s a streetcar or an Old Master — into the present world? After years of political fighting, it’s too early to conclude whether the Connector is a success. But Brown, who has weathered his own controversy over his use of appropriated images, makes a case for looking back as a way to move ahead. “I’m not trying to be old fashioned,” Brown says in an interview. “I don’t think that painting is old fashioned, yet.” Ironically, Brown gives fresh life to the Old Masters by making decay a hallmark of his art. With the help of Photoshop, he turns the skin in centuries-old portraits a ghostly green, melts faces and clouds eyeballs. We might breeze by the originals in a museum, but as consumers of pop culture, we can’t turn away from these beautifully grotesque characters that could inhabit a Rococo version of The Walking Dead. And Brown does want us to linger before these paintings in order to better appreciate a supposedly dead art. Brown, 50, says he’s spent his whole adult life hearing that painting is dead. When he left college in the early 1990s, video and performance art were in vogue. “If painting was really dead,” he told a CAC audience on opening night, “I figured, ‘Let’s see what we can do with the corpse.’ ” To highlight what he calls “the sexiness of oil paint,” he loves tricks such as trompe l’oeil. “The more games, the longer you look,” he says. Using tiny brushes, Brown meticulously produces swirling yet smoothas-glass paintings that flatten the original artists’ impasto strokes. The effect is both fascinating and frustrating for a viewer living in the digital age. “Are you looking at a photo or a strange print?” he asks during a walk-through of the exhibit. Conversely, his sculptures — or “3-D paintings,” as he refers to them — are thick with layers of oil paint that resemble gobs of taffy. Working on panels up to 6-and-a-halfby-10-and-a-half feet, Brown produces only a few paintings annually. Because of drying times, a sculpture might take two years. The New York Times last month reported that auction prices for pre-1800 works are falling as bidders favor Contemporary art. But Brown, whose paintings have sold for more than $8 million, says he isn’t consciously trying to make the Old Masters

Glenn Brown poses by his work “Chevalier” at last year’s Frieze London art fair. relevant to today’s buyers. Nor does he want to skewer their work as he mixes elements of high and low art. On the contrary, Brown reveres his predecessors and their skillful brushstrokes. Their medium — paint — is his message, with some contemporary social commentary thrown in. “I love the Old Masters,” Brown says. “Viewing them is as close as we can get to traveling to the 18th and 19th centuries.” Or even earlier. Working with images that he’s scanned from art history books or found online, Brown changes original colors, backgrounds and positions in order to showcase figures in ways that represent the cultural climate of the late-20th and early-21st centuries. “What would they think of us?” Brown asks before passing by “In My Time of Dying,” his spooky chartreuse version of Bernardo Strozzi’s “St. Jerome Meditating over the Bible,” a work from the 17th century. “Are we less in touch with nature? Have we lost a sense of humanity?” “The Great Queen Spider” is a headless, upside-down mashup of a range of sources: Diego Velázquez’s 17th-century portrait of Pope Innocent X, Francis Bacon’s 1953 appropriation of the same piece, Pablo

Picasso’s Blue Period and a 2002 episode of South Park that imagines a giant arachnid controlling the Catholic Church. Yes, dark comedy is another artistic trick. “I was brought up on Monty Python,” Brown says. “It feels normal to communicate that way. Am I sincere or ironic?” This exhibition of more than 30 works is Brown’s first solo U.S. show and comes here after debuting in Des Moines, Iowa. A survey of his past two decades, it includes a trio of sci-fi scenes that Brown painted in the mid-1990s. These pieces lack the stormy brushstrokes of Brown’s more recent paintings and they feel out of place amid the works that reference Old Masters. But at the same time, it’s easy to imagine some of Brown’s amorphous, alien-like beings leaving Earth to inhabit these desolate places. “Is our world getting better or worse?” Brown asks. “Do we need religion? Is science fiction a new kind of religion?” While Brown raises questions with his work, questions have also been raised about his work. Following some legal action, Brown’s sci-fi titles now acknowledge that his slightly tweaked images were copied from book illustrators Chris Foss, Anthony

Roberts and others. Not surprisingly, Brown truly transforms the source material for his later works. With some humility, Brown presents himself as one of a very long line of artists appropriating the works of others. The practice starts in art school. “We only achieve something great when we stand on the shoulders of those who have gone before,” he says. “I use a computer to make up for lacking in my abilities.” One of his sculptures, “The Glory of Spain,” appears to capture the artistic struggle to reconcile past and present. A 19th-century bronze statue of a young man shoulders an abstract, multicolored plume of paint. The cloud wraps around his neck, yet he’s remaining steady. In fact, what appears to be a grimace on his face might actually be a smile. “The contemporary and historical clash and fight -- maybe wrestle is a better word,” Brown says. “And they’re both enjoying it.” GLENN BROWN continues at the Contemporary Arts Center through Jan. 15, 2017. More info: contemporaryartscenter.org.

a&c the big picture

Us At The

Hosted At

BY STEVEN ROSEN

in Jo

m e

‘Kentucky Renaissance’ Is a Cincinnati Goodbye afternoon. He then brought photography to the streets, without irony, with a show called Big Pictures that featured reproductions of contemporary fine-art photographs on billboards around town. For all his community-mindedness, however, he didn’t produce parochial major exhibitions. His Eyes on the Street, which was presented for the 2014 FotoFocus Biennial, was an unusual, avant-garde take on “street photography.”

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Brian Sholis, CAM’s photography curator PHOTO : provided

His next big show, the 2015-16 Field Guide: Photographs by Jochen Lempert, was the German photographer’s first U.S. show, and it was challenging — experimental black-and-white nature photographs that Sholis chose not to frame or formally mount. Sholis had been thinking about Kentucky Renaissance well before coming here (and before photographer Mendes delivered a lecture about the Camera Club during his 2014 FotoFocus-related show organized by Iris Bookcafé and Gallery’s William Messer). “Five-and-a-half years ago, I was invited to curate an exhibition for a downtown New York nonprofit called Apex Art,” Sholis says. “And I wanted to do an exhibition about the friendship between Meatyard, Davenport, Berry and Merton.” But he was unable to get access to the late Davenport’s papers, so that show collapsed. “Five years ago, I didn’t know I’d be moving to Cincinnati and be just up the highway from Lexington,” he says. “So once I got here, I dredged up the idea.” By such serendipitous occurrences do art exhibits happen. Let’s hope there’s much more serendipity in Sholis’ future. CONTACT STEVEN ROSEN: srosen@citybeat.com

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Brian Sholis, the Cincinnati Art Museum’s photography curator, has been planning for his upcoming exhibition, Kentucky Renaissance: The Lexington Camera Club and Its Community, 1954–1974, to be the best one since he arrived three years ago. But until very recently, Sholis didn’t also plan on this being his last major exhibition at the museum. He believes the show, which opens Oct. 8 (for the FotoFocus Biennial) and continues through Jan. 1, 2017, will make a case that Lexington from the 1950s into the 1970s was a national center, a hotspot, for artistic breakthroughs in photography. He also hopes to gain attention for the way Camera Club photographers formed relationships with such writers as Thomas Merton, Wendell Berry and Guy Davenport during that time. The club’s principal member, the late Ralph Eugene Meatyard, has become recognized as one of America’s leading art photographers, especially for his surreal work featuring children in masks and costumes. But there are others that Sholis thinks deserve wider recognition, including Van Deren Coke, Guy Mendes and Robert C. May. That’s a cause for anticipation. Yet last week, the museum officially announced that Sholis has given notice. It released the letter he earlier wrote to the museum’s Friends of Photography group making the announcement. It said, in part: “In order to be closer to family, my wife Julia and I have decided to move to Toronto. I recently gave notice to the museum of my intention to leave; my last day in the office will be Friday, October 21. I am eager to share Kentucky Renaissance, Islands of the Blest (a traveling exhibition he’s bringing to the Mercantile Library) and several other programs with you before that date.” By email from New York, Sholis didn’t have much to add. His wife, artist Julia Dault, is from Toronto and her parents are there. They also have a young son, Walker. Perhaps because he had an unusual background as a curator, and as a result had some unusual ideas, Sholis made quite an impression during his short time here. (He has a master’s degree in American history from City University of New York, and was a New York-based writer, editor and independent photography and Contemporary art curator who worked at the Aperture Foundation when hired.) He was very community-minded. He threw an open house at the museum to introduce himself, standing in a small, temporary photo gallery (the museum doesn’t have a permanent one) talking to one and all who came during a long Sunday

a&c culture

Comic Expo Becomes a Pop Culture Convention

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BY LEYLA SHOKOOHE

Across from Kenwood Towne Centre

7599 Kenwood Road 513•891•2020

The evolution of a comic book superhero is fascinating to track. Spider-Man, for example, was introduced in 1962 as an ordinary teen — no otherworldly backstory, no alien superpowers. A small spider bite set into motion a fantastical adventure that comic book fans have loved and moviegoers have flocked to ever since. The organizers of the Cincinnati Comic Expo, aware of that following, are preparing for this weekend’s convention to be the biggest yet. Stan Lee, the creator of such iconic characters as Spider-Man, the X-Men, the Fantastic Four and Iron Man, to name a few, is headlining. The 93-year-old Lee appears all three days of the Expo at the Duke Energy Convention Center — portions of Friday and Sunday and the full day on Saturday. His appearance is important enough that Mayor John Cranley has declared Friday to be “Stan Lee Day.” This is evidence that the Cincinnati Comic Expo is, like a superhero, changing shape before our eyes. “We’ve grown into a pop culture convention, an entertainment venue where we try to have something for everybody,” says Matt Bredestege, one of the event’s founders. He joined forces with childhood friend Andrew Satterfield, a longtime comic collector and fan, in 2010 for the area’s first comic expo. That year, more than 1,800 people came to the Cintas Center at Xavier University. It has grown every year since: In 2015, 24,000 people flooded downtown’s convention center, clamoring to meet famous artists, television and movie actors and like-minded fans. So getting Lee seemed like a natural step for this year. “Getting Stan Lee is a thing any convention wants to do,” Bredestege says. “It’s the epitome of pop culture.” He cites Lee’s influence on the world of comics and the ripple effect of that accomplishment on movies, television and culture as reasons to lure him to the Cincinnati Comic Expo. But he and Satterfield knew they didn’t previously have the pull to bring Lee to town. He credits the Expo’s commitment to growth and inclusion with finally snagging the world-renowned artist, along with help from a friend who was able to facilitate a meeting between Bredestege and Lee’s team. There, Bredestege says, he was able to show the Expo’s track record with fans and guests, and Lee agreed to come. Of course, the Expo wouldn’t exist without its fans or the pop culture it embodies. This means bringing in a wide range of media guests (television and movie stars), artists, writers and more. Other guests at this year’s event include Dr. Who actor John Barrowman, a “fan favorite” according to Bredestege, and

Teddy Sears of Flash. Lee Meriwether, a former Miss America who played Catwoman in the 1966 Batman movie and on episodes of the 1960s television series, will be in attendance to celebrate the 50th anniversary of the film. Billy Dee Williams, the veteran actor who played Lando Calrissian

The legendary Stan Lee will attend Comic Expo. PHOTO : provided

in The Empire Strikes Back, will make an appearance, as will Dave Prowse, the British native who originally played (but did not voice) Darth Vader. There will also be props and vehicles on display, including Batmobiles from 1966 and 1989 as well as a Batcopter. “As organizers, we know Cincinnati,” Bredestege says. “We realize that people love the nostalgia stuff.” At the same time, Bredestege says, the organizers have to focus on the current comics franchises, too. David Mazouz of the TV show Gotham, based on DC Comics characters, will make his first Expo appearance, as will Karen Fukuhara of the summer blockbuster film Suicide Squad, also based on characters from DC Comics. The Expo has positioned itself as familyfriendly, thus planting seeds for fandom in the upcoming generation. That is good not just for the Cincinnati Comic Expo, but for comics as an enduring entertainment form. “Nowadays, you can get part of the storyline from the movie or TV show,” Bredestege says. “But if you really want to see more of that, you have to read the book. And that’s where the comic books come into play.” The 2016 CINCINNATI COMIC EXPO takes place Friday through Sunday at downtown’s Duke Energy Convention Center. More info: cincinnaticomicexpo.com.

a&c onstage

CCM’S MAINSTAGE ACTING SERIES PROUDLY PRESENTS

BY RICK PENDER

William Shakespeare’s

Cincy Shakes Brings Anne Frank’s Words to Life But it’s really on Lucien’s shoulders to carry the story of this sensitive, brave young woman, forced by the horrors of war and intolerance to explore her innermost emotions and thoughts at an age when most teenagers are consumed with immature issues. Lucien never caricatures Anne’s impetu-

ROMEO AND JULIET

H CRITIC’S

PICK H

Courtney Lucien is convincing as Anne Frank. P H O T O : m i k k i s c h a f f n e r photo g r a ph y

ous ways — she seriously announces that she wants to be “remarkable” — but in the moments when we hear Anne’s words in recorded voiceovers, or when Lucien is delivering them from a pool of light on a darkened stage, we see the real loss to the world of this insightful and promising voice, silenced by senseless oppression. “Will this ever be over?” she implores. As the play’s first act ends, a bit of visible sky inspires her. She yearns to see it “open wide” and prays for the freedom to experience the broader world where she might express herself. Anne’s writing buoys her up and sustains her despite the parameters of her restrictive confinement, even though she can have little confidence regarding what the not-too-distant future holds. With only a slight premonition of horrors that lay ahead, Lucien’s Anne exclaims why she writes: “I want to go on living — even after my death.” That’s precisely what Anne Frank’s life has done. Her words, brought to life visually and vividly in the final moment of Cincinnati Shakespeare’s fine production, bear witness to Anne’s promise, her tragedy and what her too-short life continues to deliver to a troubled world. THE DIARY OF ANNE FRANK, presented by Cincinnati Shakespeare Company, continues through Oct. 1. More info: cincyshakes.com.

COLLEGE-CONSERVATORY OF MUSIC

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Photo by Mark Lyons.

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Anne Frank, age 13, started a diary while she and her family became refugees from the Nazi regime in a cramped Amsterdam attic. Silence was the rule of life between 1942 and 1944 at Prinsengracht 263, a serious challenge for the sweet, talkative girl who was teased as “Miss Quack-Quack” by her school classmates. Instead, she poured out her words to her diary, recording not only the tedious events of life in hiding with her family and others, but also her ardent wishes and dreams. For a Hanukkah celebration, Anne improvised simple gifts for everyone, including earplugs for Mr. Dussel, a Jewish dentist who joined their hideout and shared her bedroom. She playfully told him she hoped they would enable him to sleep while she wrote with a scratchy fountain pen. More than 80 years later, we are lucky that her words were not silenced, but rather survived in her diary, first published in 1947 as The Diary of a Young Girl. Her story has had cinematic and theatrical iterations. A play by Frances Goodrich and Albert Hackett, now adapted by Wendy Kesselman, is a powerfully moving seasonopener for the Cincinnati Shakespeare Company. The production has been staged by artistic associate Jeremy Dubin and features company member Courtney Lucien in a convincing performance of the title role. The story of Anne, her parents Otto (Barry Mulholland) and Edith (Regina Pugh), her older sister Margot (Caitlin McWethy), as well as the Van Daans (Kelly Mengelkoch and Jim Hopkins), their son Peter (Kyle Brumley) and nervous Mr. Dussel (Billy Chace), has moments of humor, to be sure. But the oppressively close living circumstances tried the patience of all. Lucien convincingly conveys a full spectrum of adolescent emotions, from ebullient joy at a few movie star magazines to nights plagued by horrific, fearful nightmares. As Anne’s rational and caring father, Mulholland is the consistent peacemaker, often required to be braver than he ever imagined for the sake of his family. McWethy’s Margot speaks less than the others — she is an introverted, serious-minded young woman whose caring relationship with Anne is another reflection of her character’s strength. Pugh is Anne’s fearful and no-nonsense mother, impatient with Mrs. Van Daan and her privileged, flirtatious ways. Mengelkoch plays Mrs. Van Daan, potentially an object of scorn, with sensitivity. Hopkins’ portrait of Mr. Van Daan, a hulking man with profound appetites for food and cigarettes, is a counterpoint to the self-sacrificing Otto Frank. Brumley’s performance shows Peter’s evolution from a scornful fellow refugee to an ardent boyfriend, won over by Anne’s disarming manner.

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Toronto Makes ‘La La Land’ an Oscar Favorite BY T T STERN-ENZI

At the just-concluded Toronto Internamany of the critical darlings have already tional Film Festival, from which I have just been unveiled at other festivals (Sundance, returned after nine days, orange shirt-wearCannes, Venice and Telluride). But once the ing volunteers lurked near theater exits lights go down during that initial screening to collect votes from audience members on the first Thursday morning of the festival, for their favorite films. There is a rising I push aside all of the advance buzz and curiosity within the industry, specifically settle in. among the Academy Award prognosticators, And this year, Kenneth Lonergan’s Manregarding the opinions of the TIFF crowds. chester By the Sea was the very first film For instance, last year’s People’s Choice I saw, and it became the gold standard by winner, Room, went on to earn a Best Picwhich almost every other selection would ture nomination and a Best Actress Oscar be compared. Casey Affleck’s brooding for Brie Larson. Going back to 1999, four such winners (American Beauty, Slumdog Millionaire, The King’s Speech and 12 Years a Slave) also snagged the top prize at the Academy Awards. In that same period, Crouching Tiger, Hidden Dragon, Precious, Silver Linings Playbook and The Imitation Game joined Room as People’s Choice favorites and eventual Best Picture nominees. That bodes well for writerdirector Damien Chazelle’s Emma Stone and Ryan Gosling love to dance in La La Land. modern-day homage to the P H O T O : d a l e r o b i n e tt e Hollywood musicals of old, La La Land, which claimed the award at this year’s 41st Toronto Intermelancholy at having to come home to take national Film Festival. The Garth Daviscare of his teenage nephew (Lucas Hedges), directed film Lion came in second, followed once his older brother (Kyle Chandler) dies, by Mira Nair’s Queen of Katwe. La La Land, is unforgettable. the romantic tale of a struggling Jazz musiMy first runner-up is another examinacian (Ryan Gosling) and an aspiring actress tion into quiet desperation. Moonlight, (Emma Stone), had already earned Stone from director Barry Jenkins, sketches the the Best Actress prize at the recent Venice story of a young black man’s maturation in Film Festival, which I suppose makes Miami over three distinct periods — early it — and her — the early favorite in the fall childhood, mid-teens and young adultawards-season horse race. hood — and allows audiences to see how Late in the festival, following a special emotionally fraught his road to manhood press and industry screening, I was asked is. I was startled by Vikram Gandhi’s Barry, by a critic from a major daily newspaper the second feature this year to spotlight the about La La Land and shared my strong early life-defining experiences of President affinity for the film. I loved, in particular, Barack Obama. This zeroes in on his first how I felt walking out. I was humming its year as a transfer student at Columbia Unimelodies and stepping lightly, as if at any versity. Australian newcomer Devon Terrell moment I might start to dance on air. But plays the young Obama as he wanders the I also recognized that, in the end, it was dangerous minefield of cultural and racial merely a pleasant film. identity in the early 1980s. “It didn’t cure cancer,” my colleague said, It is a coming-of-age drama that skillfully and I nodded in agreement. That’s the probavoids the trap of tipping its hand. We know lem with the heightened expectations that who Barry will become, but Gandhi’s film result from all this tight-quarters collective never looks too far ahead. Its eyes are on chatter, especially when critics and audithe immediate prize of simply living in the ences fall into lockstep with one another. moment. Over the course of my nine days in That’s a good reminder for filmgoers durToronto, I attended 34 screenings, with ing the awards season. Just buy your tickets, the primary aim of scouting titles likely to sit back and enjoy the movies headed your become key players in the upcoming awards way soon from Toronto. season. From a critical standpoint, I always CONTACT TT STERN-ENZI: letters@ citybeat.com find that I am a bit behind the curve, since

IN THEATERS THE MAGNIFICENT SEVEN – Director Antoine Fuqua and Denzel Washington team up for a third time (following Training Day and The Equalizer), and they entice Training Day co-star Ethan Hawke to hitch his wagon along as well. This update of the 1960 John Sturges production, which was a Westernbased reimaging of Akira Kurosawa’s Seven Samurai, finds a bounty hunter (Washington) taking on an assignment to help a poor mining village protect itself against a greedy and ruthless robber baron (Peter Sarsgaard) and his army of goons. The bounty hunter enlists a ragtag collection of hired guns (Chris Pratt, Hawke, Vincent D’Onofrio, Byung-hun Lee, Manuel Garcia-Rulfo and Martin Sensmeier) and starts preparing the villagers for battle. Much has been made of the diversity on display, in terms of the casting, but there’s no thematic or political point inherent in that decision or any other creative choice in this remake, which leads to the question of its necessity in the first place. (Opens wide Friday) – tt stern-enzi (PG-13) Grade: D+ SNOWDEN – The man at the helm of this film is none other than Oliver Stone, who has recently been making films (World Trade Center, W.) only a step or two away from the immediacy of the moment. Stone obviously wanted to get this one just right. We’ve seen Edward Snowden being branded a traitor or a hero, depending upon the media outlet and the heated poke of the talking head doing the prodding. Documentarian Laura Poitras, in 2014’s Citizenfour, gave us a bracing look at the actual man himself. What emerges from Stone’s Snowden is the meticulous portrait of a guarded young man with an uncanny mind, interested in the idea of walls — the safety they provide and the ability to scale them. Snowden provides greater context than Citizenfour, as well as a clear presence in the form of Joseph Gordon-Levitt as Snowden. But Stone stares so intently at this carefully tended version of Snowden that it seems the filmmaker has forsaken all of the tricks up his sleeve. (Now playing) – tts (R) Grade: BALSO OPENING THIS WEEK: Author // Come What May // The Hollars // London Road // Storks

a&c FILM

Art House Theaters Learn From Record Store Day BY STEVEN ROSEN

(3:30 p.m.): From GKIDS, the distributor of sophisticated animated family films, comes two new shorts by the Belgian directors of the popular French-language A Town Called Panic. The new ones are Christmas Panic and Back to School Panic. • Danny Says (5 p.m.): Magnolia Pic-

Art House Theater Day poster PHOTO : provided

tures is offering this new documentary on Danny Fields, a Zelig-like pop culture figure who as a journalist and record-company executive was an early champion of The Doors, the Ramones, Lou Reed, Judy Collins and many more. “I was happy to make (Danny Says) available,” says Neal Block, Magnolia Pictures’ head of theatrical distribution, via (an edited) email. “Turning a film screening into an event is not a new idea, but it’s become so much more important, and more practical in the contemporary marketplace. Art House Theater Day is ‘eventized’ independent cinema on a larger scale.” • Phantasm (10 p.m.): This screening debuts Well Go USA Entertainment’s new 4-K digital restoration of a 1979 fantasy-horror picture by Don Coscarelli. The term “4-K” means 4,000 pixels per horizontal scan line, and it has become the current best choice for high-definition digital restorations of classic films. Art houses with 4-K projection equipment increasingly book and promote such releases as first-run product, since they can show them with far greater clarity than film buffs can see at home. For more info about ART HOUSE THEATER DAY screenings in Cincinnati, visit esquiretheatre. com. For general information, visit arthousetheaterday.org.

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As technological changes alter the way we watch movies, art houses — the often locally owned theaters that show the “quality” indie and foreign films that usually dominate end-of-year awards lists — are taking a page from the indie record stores. Many of them nationally, including the Esquire and the Mariemont locally, are participating in the first Art House Theater Day on Saturday. Participating theaters are offering special, one-day-only screenings of four movies. There is a $10 charge per film. (Cincinnati’s two art houses are also screening a fifth, The Rocky Horror Picture Show.) Indie record stores, fearing for their future as recorded-music consumers moved from compact discs to downloads, launched Record Store Day in 2008, with labels issuing special releases to drive people to the shops. It’s become an unofficial holiday, and is credited with reviving vinyl albums. Art houses now face a similar problem. As people increasingly choose to stream new movies, or watch via video-on-demand, the kinds of small, specialized films you once had to live in a city to see in a timely fashion are becoming readily available in living rooms everywhere. And since the art house audience is already smaller than the one for mainstream Hollywood films, this is a business threat. “We want people to know we provide a service for people who view movies as an art form,” says Diane Janicki, operations manager for Cincinnati’s Theatre Management Corp., which owns the Esquire and Mariemont. “These days, there are other platforms to find them, but this is where you also find other people who like the same movies. You can’t do that at home.” The idea originated with an association called Art House Convergence, which represents some 200 nonprofit and commercial theaters and has an annual conference. “I felt there was not enough understanding on a national level about what an art house does and what it adds to our cultural fabric,” says Gabe Chicoine, of the Austin Film Society and a co-director of National Art House Theater Day. “Many people are aware of their own city’s art theater, but not that there is a national network of theaters sharing independent, foreign and documentary films. This is a chance to tell people that this is a movement.” Here are details about the four movies to be nationally screened Saturday: • Time Bandits (1 p.m.): Janus Films is providing a new 2-K restoration of this 1981 fantasy classic by the visionary director (and Monty Python member) Terry Gilliam. He wrote it with Python member Michael Palin and stars Python John Cleese. • A Town Called Panic: Double Fun

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FOOD & DRINK

Corks, Crafts and Charcuterie

Corkopolis wine bar fills a gap in downtown’s Central Business District BY SARAH URMSTON

P H O T O : A l e x a n d r i a D u po n t

Corkopolis market and bar brings artisan wine — in bottles and on tap — to downtown. last that long, conveniently, but that’s the beauty of it.” Wine isn’t the only thing Corkopolis is bringing to the table (or bar top). They offer a fridge filled with a selection of beer — from foreign imports to local crafts — ready for carry out, as well as rotating brews on tap and hand-crafted cocktails, some without ditching the wine. Although the bar’s liquor selection is limited, Corkopolis has taken throwback cocktails and found ways to incorporate wine into them. “We take a French 75 — a classic cocktail,” Brown says. “We do gin, lemon, lime, orange, lavender simple syrup and then top it with a sparkling rosé. We serve it in a wine glass, it looks kind of like sangria, and it’s everything you want on a summer day.” Corkopolis also offers meat and cheese boards with products sourced locally from shops like Eckerlin Meats, Shadeau Breads and Avril-Bleh, including produce from Findlay Market. Because they are small bites, Brown says they get a lot of guests who come in before dinner reservations. “Everything is hormone- and chemicalfree,” Brown says. “Everything is all natural and healthy — we always want to present our guests with the best thing we can.” Corkopolis takes a different approach

to pairing methods, too, allowing guests to customize their meat and cheese boards with their choice of wine. “We’re very much about, ‘If you like it, it’s a good pairing,’ ” Brown says. “We don’t lock ourselves into what people think are good pairing methods. It’s about walking people through that and helping them find what they’re looking for.” Brown is as passionate about what happens behind the bar as he is about the people who sit on the other side of it. He sees Corkopolis as a place for those in the neighborhood to come together, hang out and talk with one another. “From servers who stop in for a bottle on their way home to people who live across the street who stop in for a glass before heading into their apartment — it’s great to be a part of the community,” he says. “For a lot of

people around here, this is their Cheers.” And the opening of the streetcar line is already bringing more faces into Corkopolis. “People aren’t exactly jumping off right here, but people also don’t walk Main Street a lot from downtown to OTR,” Brown says. “So just the visible traffic of people seeing that there’s stuff on Main Street is going to be really great. “If you want to go to OTR, there’s plenty of things to do,” he continues. “It’s not that we want to compete with them, but the Central Business District has been neglected for a long time. We think this part of downtown is definitely up-and-coming.” Craven agrees. “I think we picked a great time to open up something like this,” he says. “There’s no opportunity to buy serious wine down here. We want to be that opportunity.”

Corkopolis GO: 640 Main St., Downtown; Call: 513-381-3752; Internet: corkopolis.com; Hours: 11 a.m.-10 p.m. Monday-Thursday; 11 a.m.-11 p.m. Friday-Saturday; 1-6 p.m. Sunday.

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he philosophy of downtown’s new urban wine market and bar, Corkopolis, is simple: to provide wine that was meaningfully and thoughtfully created and sourced by people who care about the product, process and art form of wine-making. “The artisanal idea of what people think is wine, that’s what we’re into,” says Daniel Craven, manager and founder. Corkopolis makes the process of choosing good wine as simple as possible for everyone who walks into their shop, from the inexperienced to those who have cellars full of bottles at home. “We want to be serious about wine, but we don’t ever want to be stuffy,” Craven says. “We always want to be approachable.” Walking into the minimalist space on Main Street — designed by Craven himself — feels fresh; it’s a hip bar and bottle shop that wouldn’t feel out of place in Overthe-Rhine, but it’s something new for the Central Business District, a thoughtful approach to wine in a neighborhood where this kind of business doesn’t exist. The bar is open until 10 p.m. during the week, 11 p.m. on weekends and until 6 p.m. on Sunday, offering a curated selection of more than 400 bottles for carry out, weekly wine tastings and a laid-back but high-craft gathering space in a part of town where plenty of places close when (or before) nineto-fivers head home. Between the “party shelf” offering various (but not an overwhelming amount of) staff-suggested wines to selections organized by the headings “Old World” and “New World” — including an island of rosé — the market aims to make any shopper or visitor feel at ease when buying a bottle or sitting down for a glass at the in-house bar. In fact, every wine in the shop is hand-selected by Craven for taste, quality and value. “The thing we do here, the best way I can describe it, is a craft beer approach to wine,” says bartender Logan Brown. “You run into a lot of wine today at supermarkets where that wine is essentially made in a lab. We can literally pinpoint accurately where every wine in here came from; nothing came from a factory.” Similar to craft beer, the bar at Corkopolis offers a curated selection of wine on tap, which is a fun novelty but also has its own benefits. “It’s not going to go bad,” Brown says. “Most wines hold for a couple of days; some hold for a couple of weeks. Draft wine, you don’t have that issue. You have a keg of wine and it’s going to taste exactly the same in two months. We haven’t had wine

FOOD &DRINK RECENTLY REVIEWED BY citybeat STAFF

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Plaintiff vs. Mildred D. King (Deceased), et al Defendant(s) Case No. A1604362 Judge: Patrick T. Dinkelacker LEGAL NOTICE FOR SERVICE BY PUBLICATION The Court finds that the service of summons cannot be made other than by publication on Defendants: Unknown Heirs, Devisees, Legatees, Representatives and Creditors of Mildred D. King (Deceased), Unknown Spouse, if any of Mildred D, King (Deceased), whose last known place of residence are: Addresses Unknown, Each of you will take notice that on August 3, 2016, Plaintiff filed a Complaint for Foreclosure in the Hamilton County Court of Common Pleas, being A1604362 alleging that there is due to Plaintiff the sum of $39,919.44 plus interest at 11.50000% per annum from December 1, 2015, plus late charges, pre-payment penalties, title charges, court costs and expenses as applicable to the terms of the Promissory Note secured by a mortgage on the real property, which has a street address of 2376 Flora Street, Cincinnati, Ohio 45219 being permanent parcel number 100-0001-0301-00 . Plaintiff further alleges that by reason of a default in payment of said Promissory Note, the conditions of said Mortgage have been broken and the same has become absolute. Plaintiff prays that the Defendants named above be required to answer and assert any interest in said property of be forever barred from asserting any interest therein, for foreclosure of said mortgage, marshalling of liens, and the sale of said real property, and the proceeds of said sale be applied according to law. Said Defendants are required to file an Answer within twentyeight (28) days after last publication which shall be published once a week for three (3) consecutive weeks, or they might be denied a hearing in this case. Submitted by: Susana E. Lykins (0075603) Kelly M. Doherty (0072294) Attorneys for Plaintiff Anselmo Lindberg Oliver LLC 1771 W. Diehl, Suite 120 Naperville, Illinois 60563 Voice: (630) 453-6960 Fax: (630) 428-4620 Email: Ohiocourts@alolawgroup.com PURSUANT TO THE FAIR DEBT COLLECTION PRACTICES ACT, YOU ARE ADVISED THAT ANSELMO LINDBERG OLIVER LLC IS DEEMED TO BE A DEBT COLLECTOR FOR ITS RESPECTIVE CLIENTS AND ANY INFORMATION OBTAINED MAY BE USED FOR THAT PURPOSE.

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14 E. Fifth St., Covington, Ky., 859-206-6324, kentuckyhouseofgrill.com Tucked in a strip on Fifth Street in Covington, House of Grill’s interior is unassuming and relaxed. I ordered the eggplant stew ($11.99) on my first trip. The rich sauce hit the spot; the eggplant is simmered to draw out the flavor, along with melt-in-your-mouth beef. A rich sheen of oil glazed the top of the stew. When a stew has that sheen, you know it’s done right — Persian cooking prizes that gloss, as it indicates all flavors from the spices (saffron and sumac, typically) and the vegetables and meat have fully co-mingled. On a second, solo dining trip, I indulged and ordered an extensive array of Persian favorites. The veggie gormeh stew ($10.99) — whose star ingredient is fenugreek, a pungent and flavorful herb — was rich and aromatic, comprised of cilantro, kidney beans and Persian limes simmered in a dark green sauce. The staple partner-in-crime for nearly every dish is Basmati rice, topped with golden saffron and served here with a pat of butter (atypical in my many years of Persian dining, but perhaps regionally specific). House of Grill offers an authentic taste of Iran. There were no offerings of non-Persian hummus or tabbouleh, as happens in so many other Mediterranean restaurants trying to appeal to a generic familiarity. House of Grill sticks by the assertion that Persian food is good in its own right and that if you try the right stuff, you’ll be hooked for life. (Leyla Shokoohe)

Lisse Steakhuis 530 Main St., Covington, Ky., 859-360-7008, lisse.restaurant Absolutely stunning. That was our first impression of Lisse Steakhuis’ renovation of the former Chez Nora, which closed in 2014. Even from a block away, the sight of outdoor seating on balconies and a couple coats of bright, white paint made us quicken our steps to enter. My husband and I, along with another couple, dined at Lisse during its softopening phase on a weekday in early August. Main courses come under the headings “Pasta” ($19-$25), “From the Farm” ($21-$72) and “From the Coast” ($28-$32, plus “market price” for lobster and daily seafood specials). Based on our experience, I advise heading for the farm, although if you’re vegetarian, your choices will be slim. My husband, the reliable fish-eater, went with what was described as Faroe Island Salmon ($28). In

keeping with most steakhouses, the smallish fillet of salmon came naked on the plate with sauce but no sides or accompaniment. The same was true of my friend’s lamb chops ($34), perfectly cooked and sauced but strangely enough with no particular lamb flavor. They are adding a vegetable to some of the meat dishes, if only to improve the presentation. My friend’s husband ordered the steak salad ($19), romaine lettuce with tomatoes, bacon, caramelized onions and a six-ounce fillet. Although it was chunks of steak, not a fillet, there was plenty of meat and other ingredients with the salad, making it a good bang for the buck. We agreed that my Dutch Filet ($36) was the best entrée, although the price seemed high for a six-ounce steak. It did come with hutspot, a Dutch veggie combo of potatoes, onions and carrots that definitely enhanced the dish. The steak itself was both tender and flavorful and cooked exactly as ordered to medium rare. Kudos to the chef and other management staff for their responsiveness to customer feedback during the rollout period. (Pama Mitchell)

Nine Giant 6095 Montgomery Road, Pleasant Ridge, 513-3664550, ninegiant. com As a value, I believe every small town square should have a microbrewery to frequent; I know I would rather see one around every street corner than a Starbucks. So in the spirit of supporting and trying out neighborhood breweries, a friend and I met for drinks at Nine Giant Brewing, a new establishment on Montgomery Road in the heart of Pleasant Ridge. The first beer to catch my eye was the Nine Giant C.R.E.A.M. Described as crisp and light with notes of passion fruit, I figured it was a surefire option to start. However, with a name like C.R.E.A.M., I assumed it would be darker and, well, creamier in taste. My gal pal’s first order was the Amnesiac, which is what I drank following my C.R.E.A.M. Amnesiac is an amber and red ale with the richness of coffee, cocoa and berry. Along with our beers, we tried a few key items on the Nine Giant Snackery menu. One thing I will say about the snack spread — it is not void of indulgent options. We ordered fried pickles and a falafel sandwich. Of the two, the pickles stood out like rockstars. The best part was that they were sliced as opposed to solid spears, which kept the friedto-pickle ratio in check. My quick visit left me feeling like Nine Giant will live up to its fabled narrative as a risen giant. (Katie Holocher)

FOOD & DRINK classes & events Most classes and events require registration; classes frequently sell out.

WEDNESDAY 21

Signature Over-the-Rhine Tour — Learn about the history of Over-the-Rhine as you explore both casual and upscale eateries in the revitalized Vine Street corridor. Includes three to four sit-down stops plus one or two samples from specialty shops or bakeries. 11 a.m.-2 p.m. $45. Leaves from Daisy Mae’s Market in Findlay Market, 1801 Race St., Over-the-Rhine, cincinnatifoodtours.com.

Night of Nostalgia: Paranormal — Mixologist Molly Wellmann creates special ghostly themed cocktails after a tour from the Paranormal Society. 6-7:30 p.m. $10. Krohn Conservatory, 1501 Eden Park Drive, Mount Adams, krohn.cincyregister.com/ nostalgianight3.

THURSDAY 22

Amateur Chocolate Competition and Bourbon Tasting — Channel 12’s Liz Bonis and expert judges evaluate amateur chocolate makers and their sweets. Includes a silent auction. Benefits Tender Mercies. 5:308:30 p.m. $50; $40 before Sept. 15. New Riff Distillery, 24 Distillery Way, Newport, Ky., chocolateforgood.org. Nectar Dinner Club — A themed multicourse dinner with alcohol pairings. This month’s theme is “fermented and pickled.” 6:30 p.m. $40 for three courses; $47 for four courses. Nectar, 1000 Delta Ave., Mount Lookout, dineatnectar.com. Wander Walnut Hills — Learn about the history of Walnut Hills as you explore area bars, restaurants and specialty shops. Tour includes three sit-down stops plus samples from two speciality shops. 1:30-4:30 p.m. $45. Leaves from Fireside Pizza, 773 E. McMillan St., Walnut Hills, cincinnatifoodtours.com.

Cooking with the Colonel: Knifing Skills 201 — A hands-on class to learn basic knife skills. Close-toed shoes required. 5:30-8:30 p.m. $50. Colonel De, 18 N. Fort Thomas Ave., Fort Thomas, Ky., colonelde.com.

Harvest to Healing Dinner — A benefit for the University of Cincinnati’s Center for Integrative Health and Wellness. Featured speakers included Dr. David Miles Eisenberg of Harvard, Aviad Haramati of Georgetown and chef Adam Busby from the Culinary Institute of America. 5:30 p.m. Friday; dinner 5 p.m. Saturday. $500. Turner Farm, 7400 Given Road, Indian Hill, turnerfarm.org.

Seriously Good Shrimp & Grits — Work at your own station to prepare shrimp and grits with Andouille sausage. 6-8 p.m. $70. The Learning Kitchen, 7659 Cox Lane, West Chester, thelearningkitchen.com.

Glendale Craft Beer and Wine Fest — A two-day street fair with beer, wine, food and live music. 5-11 p.m. Friday; noon-11 p.m. Saturday. 30 Village Square, Glendale, glendalecraftbeerwinefestival.com. Newport Oktoberfest — A Munich-style Oktoberfest featuring German food, German beer and German music. 5-11 p.m. Friday; noon-11 p.m. Saturday; noon-9 p.m. Sunday. Free. Festival Park Newport, 101 Riverboat Row, Newport, Ky., newportky.gov. Cincinnati Food + Wine Classic — A celebration of Midwestern food and wine via grand tastings, demos, seminars, competitions, after parties and more. 6:30-9:30 p.m. Friday; noon-9:30 p.m. Saturday; 11 a.m.-4 p.m. Sunday. $75-$115. Yeatman’s Cove, 705 E. Pete Rose Way, Downtown, cincinnatifoodandwineclassic.com.

SATURDAY 24

Taste of the Levee — Features eatery options from Newport on the Levee, showcasing each tenant’s diversity in food options, including beer, music and street performances. 11:30 a.m.-6:30 p.m. Items cost $3 or less. Newport on the Levee, Newport, Ky., newportonthelevee.com.

Heritage and Hops Brewery District and Craft Brewery Tour — Two tours in one day. Visit the Brewing Heritage Trail to see historic breweries and underground lagering cellars and then visit three modern, local breweries for tours and tastings. 10:30 a.m. $75. Christian Moerlein Malt House Taproom, 1621 Moore St., Over-the-Rhine, cincybrewbus.com.

SUNDAY 25

Cincy Brunch Bus — Start your morning at Taft’s Ale House for some kegs and eggs, or pints and pork products, and then hop aboard the Cincy Brew Bus for stops at Rhinegeist and MadTree. 11 a.m. $52. Taft’s Ale House, 1429 Race St., Over-the-Rhine, cincybrewbus.com.

MONDAY 26

Greater Cincinnati Restaurant Week — A unique celebration of culinary tourism. Favorite local eateries are offering $35 prixfixe menus all week, including Brown Dog Café, Kaze, The Golden Lamb, Primavista and more. Through Oct. 2. $35. greatercincinnatirestaurantweek.com.

TUESDAY 27

Food Network Favorites — Follow recipes from Ina Garten, Giada and Emeril to create one great meal. 6-8 p.m. $75. The Learning Kitchen, 7659 Cox Lane, West Chester, thelearningkitchen.com.

BRUNCH

Sunday : 10:00am-2:00pm

LUNCH

Tuesday-Friday : 11:30am-2:00pm

DINNER

Monday-Thursday : 5:30pm-9:30pm Friday & Saturday : 5:30pm-10:00pm

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9/23 - Friday

Chef Philip Kurtz Dinner Specials Live Music from TBA 7-10pm

9/24 - Saturday

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C I T Y B E A T . C O M • S E P T . 2 1 – 2 7 , 2 0 1 6 • 3 9

FRIDAY 23

It's Teatime At The BonBonerie

music

The Young, Giant and Restless

Young the Giant shakes up its sonic and rhythmic approach on the dance-friendly Home of the Strange BY Brian Baker

P H O T O : L a u r e n D u ko f f

4 0 • C I T Y B E A T . C O M • S E P T . 2 1 – 2 7 , 2 0 1 6

ransitions have always been a stock in trade for Young the Giant — within songs, between albums and even in shifting identities a half-dozen years ago from the band’s previous incarnation as The Jakes. While that was potentially their biggest and most contentious transition, it was probably the easiest of all for the Irvine, Calif. Indie Rock quintet. “By the time we changed the name, there were only two original members of The Jakes,” drummer Francois Comtois says during tour rehearsals in Nashville, Tenn. “I was one of the newer members so it felt like I was playing in someone else’s band. I think we all felt like that. Sonically, we wanted something that was a little less genre-specific. “Not that The Jakes was, but I personally felt like it had a Dance Rock, super-fun Indie Pop type thing. There’s definitely still a lot of that, but we all wanted something that would allow us to explore different genres and moods. The name didn’t feel like it would fit anymore, and it was hard to have a sense of ownership when it wasn’t anything we all had chosen. So when we were ready to start working on that first record, we realized if we were going to change the name, we were going to have to do it now. And we did.” The band’s need for exploration and invention was well served by the name change. The sinewy, Police-tinged Indie Rock of its eponymous 2010 debut — cited by Amazon as the best Rock album of that year — gave way to the Math Rock precision and powerful polyrhythms of 2014’s Mind Over Matter, which led to Young the Giant’s latest triumph of sonic diversity, the danceable solution of the just-released Home of the Strange. “As the drummer, I think one of my responsibilities is to help the songs find a rhythmic identity, and how someone is going to move to the song,” Comtois says. “For Mind Over Matter, I was in a place where I wanted to explore more weird time stuff, slightly more Math Rock. I didn’t really acknowledge it at the time, but I just wanted to keep it interesting for me. This time around, I really just wanted it to be, ‘How are people going to move to it? How am I going to move to it?’” As it often happens, the ultimate direction that Young the Giant took with Home of the Strange was determined by the arrival of one decidedly different song in the writing process. Once the band conceived “Amerika,” which became the album’s opener and the first track leaked to announce its release, its course going forward was clear.

Young the GIant draws a lot of inspiration from its travels throughout America. Comtois says it “opened the floodgates.” “It was written in a way that we hadn’t written before and was touching on themes we hadn’t really explored but that we’d certainly been aware of,” he says. “Once we realized that it worked and that we felt comfortable in our ability to do that, we tried to follow that thread for the other songs.” The band’s new sonic architecture — moving from more complex rhythms to something more straightforward and danceable —forced them to consider new methods of execution in the studio. That played out for the remainder of the writing sessions and into the arranging and recording of the new songs. “We did half the writing by ourselves in a studio in downtown L.A. that had a bunch of old organs and really great old drum machines, and nice guitars and drums, pretty standard stuff,” Comtois says. “We had that sound going. Then we got into the studio with the guy who ended up being the producer, Alex Salibian, and his studio is set up a little more as an Electronic music studio, so we found a middle ground between the rootsy, organic sound and something a little more biting and contemporary.”

While Young the Giant exhibits its share of sonic reference points on Home of the Strange, Comtois notes that the band members tend to draw a lot of inspiration from their expanding experiences and maturity as a band. “I think the overarching thing for us is that it has to be based on our experiences,” Comtois says of what went into the new album. “In the past, a lot of that was coming to terms with what it is to be young or in love or those things that, as a young person, you struggle with. “I’m the eldest, I’m 28, but we’re all pushing mid-20s, getting closer to 30 and seeing the world around us, in particular touring around America over the past five years and seeing all the facets of this culture. It’s kind of an appreciation of how bizarre it can be, not necessarily in a bad or good way, there’s just a lot about it which is strange, and we thought that was a great and endless source of inspiration. “It’s beautiful,” he continues. “It really is very touching to see how different cultures can come together and form something entirely new, but still be reminiscent of where they come from. Hopefully, we can

continue to focus in on that.” Given the rhythmic differences between Young The Giant’s sound on Home of the Strange and the previous two albums, it seems natural to wonder if the band plans to apply the new sonic aesthetic to its older material in concert. “That’s a great question and it’s actually one that we’re asking ourselves right now,” Comtois says. “We’re going through a lot of the songs we haven’t played in a while and thinking about if they fit in their current form or if there’s a way we can make them fit better. “In certain cases, we’re not going to mess with it, but others will lend themselves to rearranging and just a fresh perspective, because that’s also cool,” he continues. “For us it’s about striking a balance where everyone feels like they’re getting what they came for, and it’s still interesting and fun and fresh for us. It’s definitely a little bit of a tightrope act.” YOUNG THE GIANT performs Saturday at Madison Theater with Ra Ra Riot. Tickets/more info: madisontheateronline.com.

music spill it

Locals at MidPoint Music Festival 2016 BY MIKE BREEN

More Local Notes

CONTACT MIKE BREEN: mbreen@citybeat.com

1345 main st motrpub.com

BY mike breen

Football for Prince Prince’s Super Bowl halftime performance was the best ever, so it actually made a lot of sense for his hometown NFL team, the Minnesota Vikings, to pay tribute to the legend during halftime at its home opener in its new stadium. The stadium was lit up in purple (fittingly and conveniently also the team’s color) and a Gospel group performed Prince’s “Purple Rain” in honor of the late artist. A spooky coincidence — the first touchdown scored in the Vikings’ new stadium was made by the opposing Green Bay Packers’ Aaron Rodgers and Jordy Nelson (Prince’s full name is Prince Rogers Nelson). Letting the Eagles-ish Soar The Rock and Roll Hall of Fame is sometimes criticized for failing to induct certain members of a group that has had a lot of membership turnover over the decades. But when Eagles were inducted, putting each of the seven members who contributed to the band’s legacy into the Hall was a no-brainer. It appears those behind the Kennedy Center Honors aren’t as detailed. Despite a fan petition, only Glenn Frey, Don Henley, Timothy B. Schmit and Joe Walsh will receive the Honors in December, leaving key musicians Bernie Leadon, Randy Meisner and Don Felder out in the cold. Organizers passed the blame, saying the surviving “big three” members were consulted. Against Against Me! British fashion retailer Topshop was recently called out by Against Me!’s Laura Jane Grace after it was discovered the company was selling a leather jacket with her band’s name emblazoned on the sleeve for $700. Though it could be passed off as the accident of a designer who Googled “Punk stuff” and thought “Against Me!” was some sort of lingo (like, uh, “Oi!”), the company was previously sued by Rihanna after selling a shirt with her image on it without permission. Topshop stopped selling the jacket and said it was “looking into” the snafu.

wEd 21

the americans

thu 22

majestic man jetlab, kuber

fri 23

mystic braves the dream ride, lemon sky

sat 24

xoe wise

sun future science: sketch comedy 25 left & right mon 26

caleb hawley

tuE 27

writer’s night w/ lucas word of mouth: open poetry free live music now open for lunch

1404 main st (513) 345-7981

sept

of montreAl

23/24

sept

Wussy

9/15

nick d & the believers

9/16

All them Witches buffAlo killers

buy tickets at motr or woodwardtheater.com

(513) 345-7981

C I T Y B E A T . C O M • S E P T . 2 1 – 2 7 , 2 0 1 6 • 4 1

The MidPoint Music Festival returns this on the success of — and widespread critical weekend for its 15th-annual event. This acclaim for — its Forever Sounds album, year, the fest (which runs Friday through the band toured throughout the United Sunday) has a new layout: As opposed States this summer and had a string of to using a dozen or so clubs and stages shows in the U.K. in the springtime. throughout Over-the-Rhine and downtown, This Friday and Saturday, the band is there will be four outdoor stages along taking a hometown victory lap with shows Sycamore Street in OTR, and though there at the Woodward Theater (1404 Main St., are some higher profile acts, there are a few Over-the-Rhine, woodwardtheater.com). less performers than in previous years. But Friday’s openers are Washington, D.C.’s organizers didn’t forget about Cincinnati’s The Paranoid Style and Cincinnati duo rich music scene — you can still catch Dawg Yawp, whose Tyler Randall will sit in several of your favorite local acts this weekend. And in some cases, you can do so without a ticket (daily tickets remain at ticketmaster.com, but three-day passes are no longer available). The Eli’s BBQ Stage at 14th Street and Sycamore is free and open to the public all weekend. The stage features some of the biggername bands, including Aloha, Russian Circles and Into It. Over It., as well as other touring acts, but local music fans can also witness plenty of The Harlequins play Saturday at the MidPoint Music Festival. Greater Cincinnati performPHOTO : Jon Fl annery ers. SMUT kicks things off Friday on the Eli’s Stage at 3:45 p.m., followed by fellow locals Royal with Wussy on sitar. On Saturday, CincinHolland, The Slippery Lips, Leggy and nati’s The Yugos and Lung (whose Kate Pluto Revolts. Saturday, the Eli’s Stage has Wakefield will play cello with the headlinCincy rockers Smoke Signals…, Knife the ers) open. Showtime is 9 p.m. both nights Symphony, Mala In Se and Honeyspiders. and tickets are $18 in advance (through Us, Today, Coconut Milk and Darlene cincyticket.com) or $22 at the door. play the free stage on Sunday. (Music begins • Arnold’s Bar and Grill (210 E. Eighth at 1 p.m. Saturday and Sunday.) St., Downtown, arnoldsbarandgrill.com) Cincinnati artists will also be featured on was a mainstay MidPoint Music Festival the other three stages, which are all located venue throughout the history of the event. around Sycamore and 12th streets. On With the festival switching formats, the Friday, catch Molly Sullivan and Injecting club’s services were no longer needed, but Strangers on the Skyline Stage and PUBthe legendary local watering hole decided LIC and Joesph on the Elliot Stage. “Garage it still wanted to have some fun this Jazz” ensemble Animal Mother plays weekend. In response, the free inaugural the Skyline Stage on Saturday, with The AB&GMF (that’s Arnold’s Bar & Grill Music Harlequins, Orchards and Multimagic Festival, for those bad with acronyms) playing the Elliot Stage and Ryan Fine & is being launched, bringing several local the Media performing on the WNKU Stage. acts together for performances Friday and Sunday’s lineup includes great local bands Saturday. like Alone at 3am on the Elliot Stage and For Friday’s AB&GMF festivities, Modern Aquatic and Young Heirlooms on Arnold’s hosts New Orleans-style Cajun the WNKU Stage. Jazz crew The Hot Magnolias at 7 p.m. and You can plot out your own personalized funky brass band The Cincy Brass at 9:30 schedule and bring it with you by using the p.m. on Friday. Saturday offers some excelmpmf.com site and the MPMF app. Visit lent Folk/Americana with The Willow Tree citybeat.com and follow all of CityBeat’s Carolers (7 p.m.) and Wonky Tonk (8:30 social media sites for updates from MPMF. p.m.), and Reggae from True Believers to close out the night at 10 p.m. Arnold’s is also teaming with West Sixth Brewery to offer a dozen of its beers throughout the weekend. • Cincinnati Indie Rock sensation Wussy had a phenomenal year in 2016. Capitalizing

MINIMUM GAUGE

PERFORMS SUNDAY,

SEPTEMBER 25

@ The Woodward Theater

4:00 PM RaMOnES vS thE claSh 7:00 PM MOtOwn

Motown will open with a tribute to King Records featuring legendary King session drummer Philip Paul ticket and other information available at

Mason.SchoolofRock.com now Enrolling For Fall Season Shows & adult Performance Program

MUSIC sound advice September 24

NederlaNder eNtertaiNmeNt PreseNts:

Young The gianT w/ Ra Ra Riot OctOber 5

NederlaNder eNtertaiNmeNt PreseNts:

DeeRhunTeR

w/ Jock Gang, Aldous Harding OctOber 7

esseNtial PrOdUCtiONs PreseNts:

goLDFiSh & JaCK LDND

OctOber 8

PuLSe8 CD ReLeaSe

WITH PULSE8, LIFE AFTER THIS, WINDS OF DECEMBER, SIGNAL THE REVOLUTION OctOber 15

esseNtial PrOdUCtiONs PreseNts:

DWeeZiL ZaPPa PLaYS WhaTeVeR The F@%K he WanTS! OctOber 16

BeneFiT FoR The goinS FaMiLY ConCeRT FoR MaRY OctOber 20

miCHelOB Ultra aNd ae dOOr & WiNdOW PreseNt:

Q102 BoSoM BaLL w/ Johnny Rzeznik, Ben Rector, Ruth B, Shawn Hook OctOber 21

MaDRigaL & aJa

September 21

The SainT JohnS w/ Birdtalker September 23 OHjam PreseNts:

MaSTa aCe (nYC), BPoS (SF), BanDuCCi & The WheeLS September 24

TRiaLS BY FaiTh, aLTeReD, aLFie LuCKeY BanD September 28 4 2 • C I T Y B E A T . C O M • S E P T . 2 1 – 2 7 , 2 0 1 6

esseNtial PrOdUCtiONs PreseNts:

The Main SQueeZe w/ Tropidelic September 30

ZeBRaS in PuBLiC,

The Last Troubadour, The Peaks OctOber 1

oVaL oPuS

4-packs of GA tickets available for $50 OctOber 7

esseNtial PrOdUCtiONs PreseNts:

KaLeiDoSCoPe JuKeBox OctOber 14

CuRSeS, JuggeRnauT, SLeeP CoMeS aFTeR DeaTh madisontheateronline

of Montreal with Ruby the Rabbitfoot Wednesday • Woodward Theater When Prince died only about four months after David Bowie passed away this year, one of the first people I thought of was Kevin Barnes, leader of the Indie/Pop/ Rock juggernaut of Montreal. Barnes’ music always struck me as the perfect combination of those two legends, as it has over the past two decades been alternately (and cumulatively) funky, sensual, glammy, catchy, cheeky, introspective, challenging, theatrical, inventive and weird. I bet an end-of-2016 “in memoriam” tribute to both icons helmed by Barnes would be endlessly riveting. (Get on that, New Year’s Rockin’ Eve people.) Barnes acknowledged the impact of his late musical heroes in an interview with philly.com earlier this month. “I have been listening to (Prince and Bowie’s) music my whole life, and a month hasn’t gone by of Montreal P H O T O : B e n Ro u s e without me turning to one or both of them for inspiration and consolation since I first discovered them as a teenager,” he said. “The physical world is infinitely less cool without them here, but their musical legacies are so deeply ingrained into the fabric of my being, at this point, nothing Railroad Earth could take them away PHOTO : Erin Mills from me. They’re just as alive now as ever.” Besides playing with staging, image and sexuality, like his heroes, Barnes has always switched things up musically and evolved as an artist with every album. From the earlier explorations of The Beatles/ Beach Boys Pop to the poetic, oddball Space Art Funk of ’00 classics like Hissing Fauna, Are You the Destroyer? to earthier, rockier, more recent excursions like Lousy with Sylvianbriar, Barnes rarely sits still for too long musically and continually works to sharpen his songwriting (a talent that, for all the glitter and flair of the group’s amazing, theatrical live show, sometimes gets overlooked). Barnes and his latest batch of oMers are currently touring behind this summer’s Innocence Reaches, which find of Montreal more seamlessly blending elements from throughout Barnes’ extraordinarily creative career. (Mike Breen)

Railroad Earth with Scott Pemberton Thursday • Bogart’s Some bands toil for years before catching the big break that nets them a record deal and the promise of next-level success. For Newgrass Jam band Railroad Earth, that process took a grueling five months. Like an Impossible Missions task force, the original sextet was assembled in New Jersey in early 2001 by manager Brian Ross, who crafted a band to back ex-From Good Homes songwriter Todd Sheaffer. Ross named the band after a Jack Kerouac short story and hustled the members into a studio to record a five-song demo within a month of forming, which led to an offer to appear at the Telluride Bluegrass Festival that June. Two months before Telluride, Ross ushered the band back to the studio to record another five songs, expanding the demo into a complete album. Ross then sent the album, titled The Black Bear Sessions, to Sugar Hill Records and suggested the label come check out Railroad Earth’s Telluride set. The Black Bear Sessions was independently released in early June, the band’s Telluride appearance was a week later (the band’s 10th gig since forming) and Sugar Hill offered them a contract the moment the musicians walked off the stage. Railroad Earth has been moving down the tracks at a similar clip for the past 15 years. The band’s fans, who dubbed themselves Hobos early on, has grown exponentially since 2001, right along with its catalog — six studio albums, including the group’s most recent, Last of the Outlaws, and a pair of live releases — and a burgeoning reputation for stellar live shows featuring an alchemical knack for improvisation. In short order, Railroad Earth became one of the Jam circuit’s most in-demand attractions, garnering numerous festival invitations and necessitating multiple-night tour stops. Last year, Railroad Earth backed guitarist Warren Haynes on an episode of PBS’ Front and Center, which led them to hit the studio together for Haynes’ 2015 album, Ashes & Dust. Five of the band’s six

haNdMade For 111 yearS founding members — guitarist/vocalist Sheaffer, multi-instrumentalists Tim Carbone and John Skehan, guitarist/saxophonist/ whateverist Andy Goessling and drummer Carey Harmon — have remained together from the start; bassist Andrew Altman has been on board for six years. With a propensity for Grateful Deadish Americana/Roots jams and Phish-like flights of Rock fancy, Railroad Earth has become one of America’s most durable and beloved progressive Bluegrass outfits. (Brian Baker)

FUTURE SOUNDS THE MAIN SQUEEZE – Sept. 28, Madison Live MOE. – Sept. 29, Moonlite Gardens THE MAVERICKS – Oct. 2, Taft Theatre KEVIN DEVINE – Oct. 2, Bogart’s PROPHETS OF RAGE – Oct. 5, Riverbend

HERITAGE

DEERHUNTER – Oct. 5, Madison Theater INGRID MICHAELSON – Oct. 6, Bogart’s

Now FouNd iN the tri-State • 15 MiNuteS FroM otr

CHRIS ROBINSON BROTHERHOOD – Oct. 6, 20th Century Theater

Red Wing Shoe Store: 8071 Connector Dr. • Florence, KY 41042-1466 • (859) 283-2909

THE STEELDRIVERS – Oct. 6, Taft Theatre SWITCHFOOT/RELIENT K – Oct. 7, Bogart’s CAVEMAN – Oct. 12, Woodward Theater BLACK REBEL MOTORCYCLE CLUB/DEATH FROM ABOVE 1979 – Oct. 14, Bogart’s MYSTIKAL/JUVENILE/BUN B/8 BALL & MJG – Oct. 14, U.S. Bank Arena DWEEZIL ZAPPA – Oct. 15, Madison Theater SUICIDAL TENDENCIES – Oct. 18, Bogart’s NICK LOWE/JOSH ROUSE – Oct. 19, 20th Century Theater BEACH SLANG/BLEACHED – Oct. 20, Southgate House Revival BEAR HANDS – Oct. 20, 20th Century Theater CARRIE UNDERWOOD – Oct. 20, U.S. Bank Arena BLACKBERRY SMOKE – Oct. 22, Madison Theater YELAWOLF – Oct. 27, Madison Theater PLANES MISTAKEN FOR STARS – Oct. 27, Northside Yacht Club KANSAS – Oct. 30, Taft Theatre THE JAYHAWKS – Nov. 1, Madison Theater WILD BELLE – Nov. 8, Woodward Theater YEASAYER – Nov. 8, 20th Century Theater GRIZ – Nov. 15, Bogart’s FIDLAR – Nov. 16, Madison Theater FIVE FINGER DEATH PUNCH/SHINEDOWN – Nov. 17, U.S. Bank Arena THE 1975 – Nov. 17, BB&T Arena FITZ & THE TANTRUMS – Nov. 20, Madison Theater

C I T Y B E A T . C O M • S E P T . 2 1 – 2 7 , 2 0 1 6 • 4 3

The Gibson Brothers Friday • Live! at the Ludlow Garage Hyperbolic words like “legendary” and “superstar” appear in music reviews to denote artists with lengthy tenures and the abiding respect of their fans, peers and the industry. To attach those two terms or others of a similar magnitude to The Gibson Brothers almost feels like damning with faint praise; brothers Eric and Leigh Gibson have been simultaneously honoring and contemporizing traditional Bluegrass music for nearly 30 years and seem as though they’re prepared to continue The Gibson Brothers their dual journey PHOTO : Jim McGuire into Bluegrass’ past and future for another three decades. The Gibsons, born less than a year apart in 1970 and 1971, were raised in a hardscrabble region of upstate New York near the Canadian border, and began playing and writing together in 1987. Bassist Mike Barber joined the Gibsons in 1993, in time for their 1994 debut album, Underneath a Harvest Moon, and he was perhaps the most fortuitous acquisition the act could have made. Often referred to as “the third Gibson Brother,” Barber has co-produced the band’s last six albums and his bass tone is the Gibsons’ bedrock solid foundation. A little over a decade after Barber’s arrival, The Gibson Brothers were awarded the International Bluegrass Music Association’s Emerging Artist of the Year award on the strength of their fourth release, Another Night of Waiting, and they’ve been racking up accolades ever since. Early on, Barber’s father Junior played Dobro with the Gibsons, but he retired in 2002, leading to the addition of fiddler Clayton Campbell. Renowned mandolinist Jesse Brock joined two years ago, replacing Joe Walsh (no, not that one) who had been with the group for nearly five years.

The Gibson Brothers’ most recent album, last year’s Brotherhood, is a perfect representation of their respect for Bluegrass history and their inherent need to make their own illustrious mark. An inventively conceived and arranged covers album, Brotherhood features songs by some of music’s most famous brother acts, including Bill and Charlie Monroe, Don and Phil Everly, Charlie and Ira Louvin and Jim and Jesse McReynolds, along with lesser-knowns like The York Brothers and The Blue Sky Boys, and stands as a catalog highlight. (BB)

music listings

FolLow  Us! 

Wednesday 21

Arnold’s Bar and Grill - Todd Hepburn. 7 p.m. Blues/Jazz/Various. Free. Bella Luna - RMS Band. 7 p.m. Soft Rock/Jazz. Free. Blind Lemon - Sara Hutchinson. 8 p.m. Acoustic. Free.

CITY BEAT IS ON SNAPCHAT!

Century Inn Restaurant - Paul Lake. 7 p.m. Pop/Rock/Jazz/Oldies/Various. Free.

Esquire Theatre - Live ’N Local with Cincinnati Dancing Pigs. 7 p.m. Americana/Jug band. $5.

Snapcode: CityBeatCincy

Jag’s Steak and Seafood - Steve Thomas. 6 p.m. Sax/Piano/Vocals. Free. Jean-Robert’s Table - Frenchaxe. 6:30 p.m. French Jazz. Free. The Listing Loon - Rachel Mousie and Marisa Moore. 9 p.m. Singer/ Songwriter. Free.

YOUNG THE GIANT SEPTEMBER 24th MADISON THEATER

Madison Live - The Saint Johns with Birdtalker. 8 p.m. Indie Americana. $12, $15 day of show. Mansion Hill Tavern - Losing Lucky. 8 p.m. Roots. Free. Miller’s Fill Inn - Karaoke with A Mystical Sound Sensation DJ Rob. 9 p.m. Various. Free. MOTR Pub - The Americans. 10 p.m. Rock/Americana. Free.

DEERHUNTER OCTOBER 5th MADISON THEATER ON SALE NOW VIA

4 4 • C I T Y B E A T . C O M • S E P T . 2 1 – 2 7 , 2 0 1 6

September

21st - The Saint Johns Madison Live 22nd - Martin Sexton 20th Century Theater 24th - Young The Giant Madison Theater 30th - ZOSO: Led Zeppelin Tribute 20th Century Theater October

1st - Wayne Brady Miami University 5th - Deerhunter Madison Theater 6th - Chris Robinson Brotherhood 20th Century Theater 10th - The Record Company 20th Century Theater 20th - Bear Hands 20th Century Theater 27th - Yelawolf Madison Theater November

5th - Rebelution Madison Theater 8th - Yeasayer 20th Century Theater 10th - Portugal. The Man Madison Theater 20th - Fitz & The Tantrums Madison Theater

www.nederlanderentertainment.com

Northside Tavern - Shiny Old Soul. 10 p.m. Rock/Roots/Swing/Blues/ Various. Free. Pit to Plate - Bluegrass Night with Vernon McIntyre’s Appalachian Grass. 7 p.m. Bluegrass. $2. Silverton Cafe - Bob Cushing. 8 p.m. Acoustic. Free. Southgate House Revival (Lounge) - Ric Hickey and Bam Powell. 9:30 p.m. Roots/Various. Free. Southgate House Revival (Revival Room) - Chant with Curse Mackey and RELIC. 9 p.m. Industrial. $8, $10 day of show. Washington Platform Saloon & Restaurant - Root Cellar eXtract. 7 p.m. Folk/Americana. $10 (food/ drink minimum).

Woodward Theater - of Montreal with Ruby The Rabbitfoot. 8 p.m. Indie/Pop/ Rock/Dance/Various. $15, $18 day of show.

Thursday 22

20th Century Theater Martin Sexton. 8 p.m. Roots/ Folk/Rock/Soul/Various. $25, $29 day of show. Arnold’s Bar and Grill - Dottie Warner and Wayne Shannon. 7:30 p.m. Jazz. Free.

Blind Lemon - Mark Macomber. 8 p.m. Acoustic. Free.

Knotty Pine - Hollywood. 10 p.m. Rock. Cover.

Bogart’s - Railroad Earth with Scott Pemberton. 4 p.m. Bluegrass/Jam. $22.

Legends Nightclub - Swingtime Big Band. 8:30 p.m. Big Band Jazz. $15.

Crow’s Nest - Aaron Cordell. 9:30 p.m. Folk/Americana. Free.

Fountain Square - Salsa on the Square with Latin Beat Project. 7 p.m. Salsa/Latin/Dance. Free. Greaves Concert Hall - Livingston Taylor. 7:30 p.m. Singer/Songwriter. $40. The Greenwich - The Steve Allee Quartet. 8:30 p.m. Jazz. $10. Knotty Pine - Kenny Cowden. 9 p.m. Acoustic. Free. MOTR Pub - Majestic Man, JetLab and Kuber. 10 p.m. Alt/Rock/Various. Free. Plain Folk Cafe - Open Mic with Al Leffler. 7 p.m. Various. Free. The Redmoor - Rock Out for Rusty featuring Smoking Jacks, Two Bit Calamity and open mic with The House Band. 7 p.m. Rock. $20.

Southgate House Revival (Sanctuary) - J.D. Wilkes and Dex Romweber. 9 p.m. Roots/ Rock/Various. $15. Urban Artifact - Fycus, Super Origami, Life Brother and Canadian Waves. 8 p.m. Indie/Rock/Funk/ Various. Free.

Friday 23

Arnold’s Bar and Grill AB&GMF with The Cincy Brass and The Hot Magnolias. 7 p.m. Jazz/Brass/Funk/Pop/Soul/ Various. Free. Bella Luna - Blue Birds Trio. 7 p.m. Classic Rock/Jazz. Free.

Blind Lemon - Jamonn Zeiler (9 p.m.); Cara Cloudy (6 p.m.). 6 p.m. Acoustic. Free. Century Inn Restaurant - Jim Teepen. 8 p.m. Acoustic. Free. The Comet - Hyper Tensions. 10 p.m. Soul Punk. Free. Crow’s Nest - Atlas River. 10 p.m. Country Blues. Free. Danny B’s Lounge - Bob Cushing. 8 p.m. Acoustic. Free. Grandview Tavern & Grille - Basic Truth. 8 p.m. Funk/R&B/Soul. Free.

The Greenwich - John Coltrane: Legacy. Jazz (7 p.m. film screening; 9 p.m. concert). $15.

Harmony Hill Vineyards & Winery - Doc Dan Meakin. 5 p.m. Rock/ Various. Free. Jag’s Steak and Seafood - The Company. 10 p.m. Dance/Various. Cover. Jim and Jack’s on the River Danny Frazier. 8 p.m. Country. Free.

Live! at the Ludlow Garage The Gibson Brothers. 8 p.m. Bluegrass. $20- $40.

Madison Live - Masta Ace, BPos and Banducci and The Wheels. 9 p.m. Hip Hop/Various. $10, $15 day of show. Mansion Hill Tavern - Blue Ravens. 8 p.m. Blues. $4. MOTR Pub - Mystic Braves with The Dream Ride and Lemon Sky. 10 p.m. Rock/Psych/Various. Free. MVP Bar & Grille - The Polecats. 9 p.m. Rock/Pop/Various Northside Tavern - Creature Comfort, Aaron Collins & The Blind Conductors and Sungaze. 10 p.m. Indie Rock. Free.

Northside Yacht Club Forever Grey, RITES, Inbreeder, Utah Jazz and DJ Home Alone 2. 9 p.m. Electronic/Various Pirates Cove Bar & Grille - The Refranes. 8 p.m. Rock/Various Plain Folk Cafe - David & Valerie Mayfield. 7:30 p.m. Bluegrass. Free. The Redmoor - All Female Vocal Revue with Jessica Lynne Moore, R.E.A., Lakeisa Ealy, Marla Lynn Brown, Mira Raye Smith and Dannie Wade. 8:30 p.m. Various. $10. Rick’s Tavern - Gee Your Band Smells Terrific. 9:30 p.m. ’70s Pop/Rock/Dance. $5.

Riverbend Music Center - Brantley Gilbert with Justin Moore and Colt Ford. 7 p.m. Country. $28.50- $53.25. Southgate House Revival (Lounge) - Todd Burge with M Ross Perkins. 9:30 p.m. Rock/Roots/ Various. Free.

Sycamore Street between Orchard and Elliot Streets MidPoint Music Festival 2016 with Future Islands, Tokyo Police Club, Antibalas, Langhorne Slim, Into It. Over It., The James Hunter Six and more. 3 p.m. Indie/Rock/Pop/ Soul/Various. $50 (or three-day pass; visit mpmf.com for details). Tin Roof Cincinnati - Jordan English (10 p.m.); Pete Dressman (6 p.m.). 6 p.m. Soul/Rock/Acoustic/ Various

The Underground - Battle of the Bands with Pointseven, Witches In Paris, The Tangees and Angel Lane. 7 p.m. Rock/Various. Cover.

Urban Artifact - Fareed Haque and His Funk Brothers. 8 p.m. Funk/Jazz/Fusion/Jam. Free. Washington Platform Saloon & Restaurant - John Zappa Quartet

CityBeat’s music listings are free. Send info to MIKE BREEN via email 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.

PROMOTIONS & JBM present Southgate houSe revival 1 1 1 E . 6 t h St . , N ew p o r t , KY 41 07 1

smooth hound smith (9 p.m.); John Ford (5:30 p.m.). 5:30 p.m. Jazz and Roots/Blues. $10 (food/drink minimum).

Woodward Theater - Wussy with The Yugos and Lung. 9 p.m. Indie/Rock/Various. $18, $22 day of show.

Saturday 24

Arnold’s Bar and Grill AB&GMF with Buffalo Wabs and the Price Hill Hustle, Wonky Tonk and The WIllow Tree Carolers. 7 p.m. Americana. Free. Bella Luna - Blue Birds Trio. 7 p.m. Classic Rock/Jazz. Free. Blind Lemon - Everett Sings (9 p.m.); Tom Roll (6 p.m.). 6 p.m. Various. Free. Blue Note Harrison - Buffalo Ridge Band, Partytown and Black Bone Cat. 10 p.m. Country/Rock/ Dance/Various.

Bogart’s - Rockstead (release show) with Roots of Creation, Shrub, See You in the Funnies and The Grove. 8 p.m. Reggae/Rock/ Pop/Various. $12.

The Cricket Lounge at The Cincinnatian Hotel - Phillip Paul Trio. 6 p.m. Jazz. Free.

Plain Folk Cafe - Best Day. 7:30 p.m. Country/Rock/Pop. Free. Rick’s Tavern - Everyday People Band. 10 p.m. R&B/Pop/Soul/ Dance/Funk/Rock. Cover. School of Rock Mason - School of Rock Mason’s Ramones vs. The Clash Show. 7:30 p.m. Rock/Punk. $6, $8 day of show. Silverton Cafe - Templin Road. 8 p.m. Rock. Free. Southgate House Revival (Revival Room) - Brian Dolzani and My Brother the Bear. 9 p.m. Americana. $6, $8 day of show.

Sycamore Street between Orchard and Elliot Streets - MidPoint Music Festival 2016 with JJ Grey & Mofro, Wolf Parade, Reggie Watts, Kamasi Washington, Bob Mould, Frightened Rabbit, The Budos Band, The Mountain Goats, Car Seat Headrest, Russian Circles and more. 1 p.m. Indie/Rock/Pop/ Roots/Jazz/Soul/Various. $50 (or three-day pass; visit mpmf.com for details). Tap & Barrel Tavern - Bob Cushing. 9 p.m. Acoustic. Free.

Crow’s Nest - HuTown Holler. 10 p.m. Folk/Americana. Free.

Thompson House - John Mullins with Brian Lee, Stephanie Combs, Delliah Witt, Nathan Jenkins and Daniel Sean Kremer. 8 p.m. Jam/ Roots/Various. Cover.

Depot Barbecue - April Aloisio. 7 p.m. Jazz/Bossa Nova. Free.

Tin Roof Cincinnati - Carter Winter. 8 p.m. Country.

Harmony Hill Vineyards & Winery Tim Snyder. 5 p.m. Acoustic. Free.

Washington Platform Saloon & Restaurant - Gringo Sambistas. 9 p.m. Brazilian Jazz. $10 (food/ drink minimum).

Jag’s Steak and Seafood - Wet Soul. 10 p.m. Funk/Soul/Dance/ Reggae. Cover. Jim and Jack’s on the River - Arvis Austin. 8 p.m. Country/Rock. Free. KJ’s Pub - Saving Stimpy. 9 p.m. Rock. Free. Knotty Pine - Hollywood. 10 p.m. Rock. Cover. Legends Nightclub - The Last Caballeros. 9 p.m. Rock/Country/ Latin/Americana. $12.

Live! at the Ludlow Garage - John Mayall. 8 p.m. Blues. $25- $60.

Sunday 25

Blind Lemon - Jeff Henry. 8 p.m. Acoustic. Free. The Comet - Comet Bluegrass AllStars. 7:30 p.m. Bluegrass. Free. Knotty Pine - Randy Peak. 10 p.m. Acoustic. Free.

Mansion Hill Tavern - Open Blues Jam with Uncle Woody & the Blue Bandits. 7 p.m. Blues. Free.

The Mad Frog - Russian Party with DJ Paul Klim. 8 p.m. EDM. Cover.

Miller’s Fill Inn - Karaoke with A Mystical Sound Sensation DJ Rob. 9 p.m. Various. Free.

Madison Live - Trials By Faith, Altered and The Alfie Luckey Band. 8 p.m. Rock/Metal. $10.

MOTR Pub - Left & Right. 10 p.m. Indie Rock. Free.

Madison Theater - Young the Giant with Ra Ra Riot. 8 p.m. Indie/Rock/Pop. $27.50, $30 day of show. Mansion Hill Tavern - Tim Goshorn Band. 9 p.m. Blues. $3.

MOTR Pub - Xoe Wise. 10 p.m. Pop/Rock/Electronic/ Various. Free.

Northside Tavern - Grace Lincoln. 8:30 p.m. Soul. Free.

Southgate House Revival (Sanctuary) - Webb Wilder and Lee Rolfes. 8 p.m. Blues/ Rock/Roots. $12, $15 day of show.

Sycamore Street between Orchard and Elliot Streets MidPoint Music Festival 2016 with Band of Horses, Lucero, Frank

Thompson House - Words Like Daggers with Into the Skies, You VS Yesterday and Jettison. 7 p.m. AltRock. $10, $12 day of show.

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Woodward Theater - School of Rock Mason’s The Clash vs. The Ramones Show. 4 p.m. Rock/ Punk. $6, $8 day of show.

Blind Lemon - Charlie Millikin. 8 p.m. Acoustic. Free.

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The Celestial - Tom Schneider. 6 p.m. Piano. Free. Knotty Pine - Open Mic. 8 p.m. Various. Free. McCauly’s Pub - Sonny Moorman. 7 p.m. Blues. Free.

MOTR Pub - Caleb Hawley. 10 p.m. Soul. Free.

Northside Tavern - Northside Jazz Ensemble. 10 p.m. Jazz. Free.

Northside Yacht Club Stepping Stone, Fatal Vision, Abraxas and Humility. 8 p.m. Hardcore/Thrash/Various. $6.

September: 22 23

Railroad Earth Adam Carolla

Blind Lemon - Nick Tuttle. 8 p.m. Acoustic guitar. Free.

Bogart’s - Melanie Martinez. 7:30 p.m. Pop. Sold out.

Rockstead CD Release Party Melanie Martinez

29 30

Perpetual Groove Jeremy Pinnell

Tuesday 27

Arnold’s Bar and Grill - Diamond Jim Dews. 7 p.m. Blues. Free.

The Comet - Moonbeau. 10 p.m. Indie/Electronic. Free.

Crow’s Nest - Open Mic Nite. 8 p.m. Various. Free. Jag’s Steak and Seafood - Zack Shelly and Chon Buckley. 6 p.m. Piano/Vocals. Free. MOTR Pub - Writer’s Night. 10 p.m. Open mic/Various. Free. Northside Tavern - Mayalou, Honey Combs and Combo Slice. 9:30 p.m. Various. Free.

Southgate House Revival (Sanctuary) - The Vibrators with Gang Green and SS-20. 8 p.m. Punk. $10, $12 day of show.

Stanley’s Pub - Trashgrass Night with members of Rumpke Mountain Boys. 9 p.m. Jamgrass/Bluegrass/ Jamgrass/Various. Cover.

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Woodward Theater - Wussy with Dawg Yawp and Paranoid Style. 9 p.m. Indie/Rock/Various. $18, $22 day of show.

Turner, Josh Ritter, Houndmouth, Nada Surf, AJJ, The Wood Brothers, Aloha, Joan of Arc, Elephant Revival, Potty Mouth, Vandaveer and more. 1 p.m. Indie/Rock/ Roots/Pop/Various. $50 (or three-day pass; visit mpmf.com for details).

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