CityBeat Sept. 28, 2016

CINCINNATI’S NEWS AND ENTERTAINMENT WEEKLY • SEPT. 28 – OCT. 04, 2016 • free

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SEPT. 26–OCT. 02

For 20+ Years

PHOTO : JENNIFER HOFFMAN

VOICES

What a Week!

BY T.C. Britton

WEDNESDAY SEPT. 21

America is reeling after yet another national tragedy.

One of the millennium’s first celebrity couple portmanteaus (lest we forget Bennifer) and the bane of Jennifer Aniston’s (fans’) existence, Brangelina is no more. Angelina Jolie filed for divorce from Brad Pitt early this week, pulling the plug on their two-year marriage/12-year relationship, citing irreconcilable differences. Is true love just a fallacy? Naturally, rumors are swirling, and this shit is getting extra messy. Some mention Brad’s drinking, weed smoking and anger as the main reasons for the filing, suggesting that Jolie is concerned for their children’s safety. There are even reports saying that child services is investigating Brad — some going so far as to question whether he’s involved in the recently rehashed Corey Haim sex abuse scandal. Oof. Others allege Angie hired a private eye to spy on Brad on the set of his upcoming movie with Marion Cotillard and discovered that he’s having an affair with his co-star (“Justice!” screams a million Anniston devotees — Fannistons?). Also in celebrity breakup news, Abel Tesfaye of The Weeknd parted ways with his iconic dreadlocks ahead of the release of his new album. No word yet on whether the weight of his hair was cutting off circulation to his head, inspiring 2015 hit “Can’t Feel My Face,” or if he was just trying to protect his career, since the 11th U.S. Circuit Court of Appeals recently ruled that it’s perfectly legal to not hire someone on the basis of them rocking locs.

THURSDAY SEPT. 22

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Two months after the company’s acquisition by Verizon, at least 500 million Yahoo accounts were revealed to have been hacked. So if you never got around to deleting your first-ever email address or completely forgot about that burner account (surely no one actually still uses Yahoo as their main email account, right?

Grandma?), it’s time to check in on that. Good luck remembering that old password from 2001. Another bit of news your grandma might be interested in: Panera salads are “pretty darn good.” That’s according to local Enquirer reviewer Polly Campbell, who has apparently stooped to covering fast-casual regional chains.

FRIDAY SEPT. 23

The 2016 MacArthur Fellows, aka recipients of the so-called “genius grants,” were announced this week.

Daryl Baldwin, a linguist and cultural preservationist from Miami University, is one of the 23 honorees. Not included on the list are: a very confused and spited Kanye West; the creators of UberEATS, which just rolled out in Cincinnati, meaning you can have macarons delivered to your door now; and Barb M. of Delhi, who read something she disagreed with on the internet and just continued on with her life without commenting. Here’s to celebrating the everyday heroes.

SATURDAY SEPT. 24

Las Vegas is often described as a playground for adults, with all the gambling, open container laws and straight-up legal prostitution. But lately it’s specifically been a playground for pop stars from the ’90s. Britney Spears is amidst the Greatest Comeback of All Time

(G-COAT) thanks to her Planet Hollywood residency, joining Mariah Carey, Jennifer Lopez and Boyz II Men in recent successful Vegas gigs. And now BSB is heading to Sin City. The Backstreet Boys have announced an upcoming residency at Planet Hollywood starting in March 2017. ALRIGHT!

SUNDAY SEPT. 25

Today in products nobody asked for: Back to the Future-inspired high-tech Nikes will hit stores just in time for holiday shopping. The sneakers, dubbed HyperAdapt 1.0 and modeled after Marty McFly’s self-lacing Air Mags seen in Back to the Future: Part II, automatically adjust to size when placed on the foot.

Buttons near the shoe’s tongue allow folks to tighten or loosen the nylon bands to fit (OK, so not actually selftying laces) and LED lights illuminate when adjusting and when the battery is low — these puppies must be charged, about three hours for a full battery that can last about two weeks. Similarly, the company behind Snapchat, which today has been rebranded as Snap Inc., launched a line of video-recording sunglasses that feed to the social media platform. Spectacles, as they’re called, have a recording feature that documents 10 seconds at a time with a tap of the finger, filming 150 degrees and syncing the video to smartphones. They’re available in black, orange and turquoise for $130 each and look like they were pulled from the Hunger Games rejected costume pile. Together, the two can make you look like you live in a dated depiction of the future, from head to toe. Like a douchey George Jetson.

MONDAY SEPT. 26

The first presidential debates of the season kicked off tonight at New York’s Hofstra University. They were originally set to take place at the nearby Wright State University, but the school was like, “Nah, Imma pass…” when it realized what a shitshow this was going to be (alright, it was budget and security concerns, but come on). Shockingly to many who can’t seem to avoid election news and views, it’s said that a good chunk of Americans don’t really educate themselves about the candidates and issues or decide who they’re voting for until the debates. So those new to the game were introduced to two people tonight: an ill elderly woman who this week was endorsed by The New York Times and, more surprisingly, The Cincinnati Enquirer — the first time the local paper has backed a Democrat after nearly a century of endorsing Republican presidential candidates — and the hybrid of Mr. Burns from The Simpsons and an expressive orangutan, who was recently backed by Gary Busey and begrudgingly endorsed by Ted Cruz.

TUESDAY SEPT. 27

In memoriam: This week we said goodbye to some greats in the public eye: In addition to the tragic death of 24-year-old Miami Marlins pitcher José Fernández, who was killed in a boating accident, Do the Right Thing actor Bill Nunn died at 62 and golf legend/beverage enthusiast Arnold Palmer passed away at 87.

CONTACT T.C. BRITTON: letters@ citybeat.com

Requiem for a “Meh” Reds Season

BY MIKE BREEN Did you know that the Cincinnati Reds actually participated in Major League Baseball’s regular season in 2016? You’d be forgiven for not noticing — it was another sub-mediocre “rebuilding” year for the franchise, which basically means the team fell on the sword and dumped as much talent as possible with an eye on being good “in the future.” Outside of a few fun streaks in the second half of the season and the joy of watching Billy Hamilton running, Brandon Phillips fielding and Joey Votto hitting, most casual fans couldn’t be bothered with root, root, rooting for the home team. And more dedicated fans not into sadomasochism probably looked away as a defense mechanism. Loving losers is painful.

But there were some bright spots in the Reds’ 2016 season!

We thought way too hard and long to come up with a list of positive takeaways.

• When you think of Cincinnati baseball, you think of names like Rose, Bench, Lennon, McCartney… oh, wait. The Reds shoehorned in Beatles Night in August and gave away a blanket with the legendary band’s logo and a Crosley Field logo. You see, The Beatles played at Crosley (the Reds’ old field) 50 years ago.

New Kids on the Block did a concert at Riverfront Stadium in 1990. So that’ll be a fun promotion for the 2040 season.

• Those who did go to, listen to or watch games got to learn a lot of new names in 2016. Keyvius Sampson! Skip Spencer!

Scott Schebler! Tim Adleman! (Quick — which one of those four names did we just make up?)

• Pete Rose, who is somehow simultaneously the pride and shame of Cincinnati, got to participate in official on-field activities — namely, being inducted into the Hall of Fame. Um, the Reds Hall of Fame. It was the capper of a weird year for Rose, during which he all but ensured his lifetime ban from baseball would remain in place by admitting he still gambles.

• The team honored Muhammad Ali with a moment of silence the day news broke that he had died. Ironically, had anyone not stood up during the singing of the National Anthem that followed, they probably would have gotten berated in the stands by more “patriotic” fans.

• The UDFs at the stadium started selling salads and fruit cups, but you could also hasten your own death by eating a bacon-wrapped bratwurst from the Great American Ball Park concession stands this year. Or you could buy an “All You Can Eat” wristband for $20 and gorge on unlimited soda, hot dogs, chips, popcorn and peanuts.

VOICES ON SECOND THOUGHT

Trump and Hillary Confirmed Who They Are

By Ben L. Kaufman

More than once, Trump denied statements with which Hillary and moderator NBC anchor Lester Holt confronted him. The New York Times counted at least 19 of these moments. In the same way, the split screen wasn’t kind to Trump: he grimaced, fidgeted with the mic and often appeared impatient.

Holt did a yeoman job. He wisely and rarely butted in. He let the candidates battle, choosing not to be the third dog in their fight. Holt’s most obvious intervention was when he used a Trump quote to refute Trump’s assertion that he’d never supported the Iraq war.

Mainstream media lies, insisted Trump, repeating familiar attacks on The New York Times and wondering why reporters won’t ask Fox News’ Sean Hannity about Trump’s opposition to the Iraq war.

More than once, Trump responded to Hillary’s criticism by saying, “That’s business” or “good business” as if bankruptcies, stiffing myriad subcontractors or being sued for housing discrimination should be admired as the American Way of Life.

Throughout, Trump’s underlying message was personal self-interest and profits as the yardsticks against which he measures his life and the value of America’s promises: trade agreements, NATO and other defense treaties, etc.

Everything is open to the art of the deal and he’s the artist; it’s smart to avoid paying federal income taxes and to using laws abroad to avoid taxes there. As another New Yorker, hotel magnate Leona Helmsley, famously said, “We don’t pay taxes. Only the little people pay taxes.”

Their last exchanges were among the most interesting. Holt asked about sexism and racism. Hillary quoted Trump’s denigration of women and he took the bait. However, instead of drawing explicit attention to her gender, he drew on internet conspiracies about Hillary’s health and “stamina.”

Again, he played into Hillary’s strength; she didn’t have to play the gender card: “As soon as he travels to 112 countries and negotiates a peace deal, a cease-fire, a release of dissidents, an opening of new opportunities in nations around the world or even spends 11 hours testifying in front of a congressional committee, he can talk to me about stamina,” she said.

Hillary raised Trump’s championing the birther challenge to the legitimacy of our first black president. As he does so often, Trump neither admitted error nor apologized, blaming Hillary’s aides

in 2008 for first raising doubts about Obama’s birthplace.

Trump ignored Hillary’s accusation that he promoted that “racist lie” for years, claiming instead that he was responsible for Obama releasing his birth certificate.

Pundits credit Trump’s embrace of the birther conspiracy for his rise in Republican politics, playing to white, angry Christian GOP voters. Only recently, Trump accepted Obama’s eligibility for the presidency.

The Hofstra University audience held its collective tongue until the exchanges over sexism and race, erupting with boos after Trump’s assertions and responses.

“Sadly and predictably, the debate was like so many Super Bowls — boring until the last minutes. ” Hillary didn’t let go. She accused Trump of “a long record of engaging in racist behavior.”

As for sexism, Hillary recalled Trump’s insults to women. “This is a man who has called women pigs, slobs and dogs, and someone who has said pregnancy is an inconvenience to employers, who has said women don’t deserve equal pay unless they do as good a job as men,” she said.

In one case, she said, he called a beauty pageant contestant “Miss Piggy. Then he called her Miss Housekeeping, because she was Latina. Donald, she has a name.”

In their last minutes, Hillary said she’d accept the decision of the voters without hesitation.

Trump grudgingly agreed to support the election result if Hillary won.

Trump knows how to game a system. He, his supporters, the news media and commentators set the bar so low that anything short of verbal disaster would be triumph. By that standard, he didn’t screw up Monday night and backers should have been delighted.

Trump also did his best to intimidate Holt in the days before the debate. As the news media noted, Trump could not resist another self-serving lie: The debate was rigged — Holt was a Democrat!

Wrong again. Holt’s a registered Republican.

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C I T Y B E A T . C O M • S E P T . 2 8 – O C T . 0 4 , 2 0 1 6 • 0 7

When the presidential debate started Monday night, it was as satisfying as a Super Bowl kickoff. We were ready. Americans had endured weeks of blather, speculation and faux expertise anticipating the big event.

Network panelists continued the hype into the final minutes before the debate, arguing what Trump and Hillary must do to win. We even got a parade of spouses and children. All that was missing was the CNN coin toss on stage to decide who got the first question.

At least it was the end of the hype… just like kickoff. Finally, we’d know whether the action would match the sturm und drang propagated by the news media, talk radio, internet sites and social media.

Unlike a football game, it’s up to viewers who won. My guess is each candidate’s core supporters were jubilant. Pollsters will give us an idea if any minds were changed.

At a minimum, Trump and Hillary confirmed our sense of who they are. Forget Mars and Venus. He’s Narcissus from New York, she’s Pollyana from the Midwest.

Early on, Trump blamed Hillary for so many national and international ills that she responded, “I have a feeling that by the end of this evening, I’m going to be blamed for everything that’s ever happened.”

“Why not?” Trump shot back.

“Why not? Yeah, why not,” Hillary replied.

“You know, just join the debate by saying more crazy things.”

Sadly and predictably, the debate was like so many Super Bowls — boring until the last minutes. It was acrimony and sarcasm without much new to anyone following the campaigns.

Hillary’s game plan was evident: draw on decades of experience, be forceful, pleasant and fact-rich without appearing wonky.

Answer questions asked and don’t toss anything at Trump that she couldn’t prove.

Hillary conceded personal errors but embraced national problems with American can-do spirit.

Trump was Trump, butting in whenever he liked and saying what he wanted to say, regardless of what he was asked. Trump was relatively controlled, but his characteristically over-broad assertions — often blaming Hillary’s decades of experience — invited fact-based challenges.

Trump faulted Hillary for trade treaties, the treaty that interrupted Iran’s nuclear weapon program and for the birth of ISIS. Other times, he went off-message and repeated dystopian claims about crime, illegal immigrants, unemployment and a general national malaise that opened him to new factual challenges.

My favorite line was, “Donald, I know you live in your own reality.”

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news

Credits Where Credits Are Due

Tax credits funding much of Ohio’s affordable housing development continue long-standing patterns of segregation

BY NICK SWARTSELL

MAPS : PROVIDED

F

Awards of low-income housing tax credits tend to concentrate in predominantly low-income, minority neighborhoods.

In Hamilton County, LIHTC has helped fund more than 140 affordable housing developments since 1986, many of them in the city of Cincinnati. Sixty-seven percent of LIHTC awards in the county between 2006 and 2015 worth more than $24 million went to projects in neighborhoods where more than 40 percent of residents live in poverty. There were a few exceptions — a project in Loveland and another in Springdale are recent examples — but, overall, only 13.4 percent of the credits went to projects in areas where the poverty rate was less than 20 percent.

The LIHTC program is part of a long line of efforts to provide affordable housing to low-income people. The first federal efforts at comprehensive affordable housing came in the 1930s with public housing projects, typified in Cincinnati by places like Laurel Homes and Lincoln Courts in the city’s West End. But by the 1970s, it was becoming apparent that those housing developments segregated low-income residents — many of them minorities — in a few isolated parts of town, often away from educational and work opportunities. Congress in 1974 created the Section 8 Housing Choice Voucher program, which sought to give low-income tenants wider choices on the housing market by subsidizing rents to private landlords. That program has had its own shortfalls, however.

“The whole idea of Section 8 in the beginning was that it was going to allow people to get out of the ghetto,” said Mike Daniel, a lawyer for the Inclusive Communities Project, in an Atlantic article about Section 8’s failings last year. “But there’s tremendous political pressure on housing authorities and HUD to not let it become an instrument of desegregation.”

Currently, the waiting list to get the vouchers in Hamilton County is long — more than 1,000 people — and there aren’t enough landlords renting to Section 8 tenants anyway. That’s where LIHTC, created in 1986, can help, advocates say.

“That’s actually a really critical dovetail in programs,” says Sharpe. “What is so important about tax credit developments is that they have to take vouchers. And, you know, vouchers are really supposed to be a tool for this sort of mobility. The problem is, landlords don’t have to take them, generally, and you find voucher patterns that mirror public housing patterns. So tax credit developments can help disperse that voucher usage because they must take vouchers.”

Now responsible for about 90 percent of subsidized housing development nationwide, according to HUD, the credits work like this: A developer looking to build affordable housing proposes a project to the Ohio

Housing Finance Agency, which uses a complex rubric taking into account things like the project’s proximity to transit, services and educational opportunities to determine who to award the credits to in a competitive process. Should a developer win the credits, they raise capital by in effect selling them to an investor, who then applies them toward income from other sources.

But within the LIHTC process are extra incentives and market pressures that often steer developers almost exclusively toward low-income neighborhoods. Chief among them is a 30 percent boost in subsidy available for developments in particular low-income neighborhoods called Qualified Census Tracts, where most residents make less than 60 percent of an area’s median income.

Often, those neighborhoods also happen to be where minorities are located, says University of Cincinnati real estate professor Mike Eriksen, an expert on LIHTC credits. He says that putting the developments in those places isn’t necessarily bad in and of itself.

“You need to understand the counterfactual and what would’ve been located in the projects’ absence,” he says. “In this sense, most of LIHTC subsidized housing CONTINUES ON PAGE 11

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or decades, housing advocates, the U.S. Department of Housing and Urban Development and various state agencies have worked to break up the stubborn economic and racial residential segregation found in many American neighborhoods.

Increasingly, that effort has come through the federal Low-Income Housing Tax Credit program (LIHTC), which aims to incentivize private developers to build affordable housing that would otherwise be impossible in the real estate market, widening the choices available to low-income residents and breaking up concentrated poverty.

But a look at the results of that program in Ohio shows that credits are very often granted to development projects in lowincome, often minority neighborhoods, continuing housing segregation and offering few new choices for those looking for mobility.

Advocates say that’s exactly what the program was designed to avoid and want the state to adjust how it hands out the credits.

But some experts point out that those lowincome neighborhoods need investment, too, and that programs shouldn’t only try to funnel poor people out of them.

“We really have clients who want choice,” says Steve Sharpe, a lawyer with Southwest Ohio Legal Aid, who worked on a recent study of LIHTC credits in Ohio. “There are some who want to live in communities where they grew up — they want those strengthened, and that’s totally cool. But there are some people who want an opportunity to move to other places. It shouldn’t just be white middle class people who have a choice in where they live.”

Southwest Ohio Legal Aid Society commissioned its study in cooperation with other legal aid societies throughout the state. It found that 83 percent of the 34,000 units created in Ohio with funding from the LIHTC program between 2006 and 2015 were in neighborhoods with poverty rates above 20 percent. A quarter of LIHTC units were in neighborhoods that were more than 75 percent black with poverty rates above 40 percent, compared to just under 3 percent of all housing units in the state.

That’s an especially important dynamic in Cincinnati. CityBeat last year documented the pervasive economic and racial segregation that divides the city, analyzing Census data to find that nine of the city’s lowestincome neighborhoods are predominantly black and that nine of its highest-income are predominantly white, leaving many minority residents trapped in the same low-income neighborhoods for generations (see “That Which Divides Us,” issue of Aug. 26, 2015).

news city desk BY cit ybeat staff

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The state of Ohio’s procedures for purging inactive voters from its voter registration rolls are illegal, the U.S. Sixth District Court of Appeals in Cincinnati ruled Sept. 23.

The ruling stems from a lawsuit against Ohio Secretary of State Jon Husted brought by the American Civil Liberties Union, the Ohio A. Philip Randolph Institute and the Northeast Ohio Coalition for the Homeless.

The U.S. Justice Department later joined the suit, which challenged the state’s practice of removing voters from the state’s registration rolls if they do not vote once in four years and don’t respond to an address verification mailing.

“The notices did not adequately inform voters of the consequences of failing to respond to the notice,” the 2-1 decision reads. “Rather, the form indicated that the recipient’s registration ‘may’ be canceled if he or she did not respond, re-register or vote in the next four years. Finally, the form failed to inform voters who had moved outside of Ohio on how they could remain eligible to vote in their new state.”

In April, the Randolph Institute and the Northeast Ohio Coalition for the Homeless filed the lawsuit against Husted over the practice. U.S. District Judge George Smith upheld Husted’s actions on June 29.

The U.S. Justice Department joined the suit in July. In its court filings asking the court to reverse lower court rulings, it says Ohio’s purging of voters for inactivity violates both the National Voter Registration Act of 1993 and the Help America Vote Act of 2002.

“If the voter does not receive or does not respond to the notice, and then does not vote in the following two federal elections, she is removed from the voter rolls,” states the government’s friend-of-the-court brief.

“This practice violates the NVRA and HAVA because it triggers the removal process without reliable evidence that a voter has moved.”

The practice has caused controversy.

Earlier this month, a group of voting rights activists and members of the group Cincinnati Nuns on the Bus gathered outside the Hamilton County Board of Elections to protest voter purges. The nuns, and other critics, say the purges target minority and other under-represented voters.

“This is a serious, serious issue,” said Monica McGloin, part of the Dominican Sisters of Hope. “We believe it is morally unacceptable that Hamilton County has failed to do anything in its power to prevent the unwarranted purging of voters in the county.”

The total number of Ohioans removed from voter rolls because of inactivity has not been tallied. At least 144,000 voters were purged for that reason in the state’s

three most populated counties — Cuyahoga, Franklin and Hamilton counties, according to news service Reuters. The Hamilton County Board of Elections said 14,022 voters were removed in 2015 for not showing activity in the past four years.. (Nick Swartsell)

Citations for Texting While Driving Continue to Rise Texting while driving has been illegal in Ohio for more than four years, but the number of texting tickets issued by the Ohio Highway Patrol continues to rise.

In 2014, the first full year of enforcement, 314 citations were issued to adult drivers.

That number grew 53 percent to 480 in 2015.

Through August, citations are on pace to hit 561 in 2016, up another 17 percent. Tickets issued to teenagers are headed for a slight decline from last year’s 48.

Cincinnati passed an ordinance in 2010 that went beyond a ban on texting while driving. The city’s law forbids drivers from operating any kind of mobile communication device to trade texts or engage the internet, except in emergencies or with hands-free systems. But even in the close quarters of downtown traffic, catching the scofflaws isn’t easy.

“The challenge is that it’s tough to enforce,” says Cincinnati Police Lt. Steve Saunders.

“Were they texting or dialing a number?

What are they doing? It’s pretty tough to make that call.”

On a statewide level, law enforcement also struggles with the intricacies of the law — when the Ohio General Assembly banned vehicular texting in 2011, it included provisions limiting an officer’s ability to stop a driver for the sole purpose of issuing a texting ticket. The state statute reads in part, “No officer shall view the interior or visually inspect any automobile being operating on any street or highway for the sole purpose of determining whether a violation of that nature has been or is being committed.”

Only when the driver is 17 or younger can a police officer in Ohio make a stop solely on the suspicion of using an electronic device.

Kentucky’s texting tickets peaked in 2015.

Kentucky State Police says it issued 159 that year and are on pace to issue 135 in 2016.

Almost every state has outlawed texting while driving, the holdouts being Arizona, Missouri, Montana and Texas. No federal or state agency collects traffic citation data from Ohio’s cities, counties and townships.

Thus, no one knows how many drivers have been cited for texting beyond those ticketed by the state Highway Patrol.

In its annual Crash Facts report, however, the Ohio Department of Public Safety shows how distracting electronic devices factor into motor vehicle accidents. Of the CONTINUES ON PAGE 11

FROM PAGE 09

is much higher-quality housing than either the vacant lot or abandoned building that would’ve been there.”

There are also social dynamics that play into the selection of the projects. One key factor OHFA uses when scoring applications for the tax credits is community engagement and support, something that can be hard to secure in higher-income neighborhoods where residents may have reservations about subsidized housing.

That’s something Jeniece Jones, executive director of Cincinnati’s Housing Opportunities Made Equal, sees often.

“We know there will be local pushback,” says Jones, who would like to see more LIHTC projects in higher-income areas.

“We know there will be some [not-in-myback-yard] mentality.”

Eriksen says there are new HUD efforts to expand affordable housing in

FROM PAGE 10

78,900 Ohio wrecks with injuries in 2015, for example, 123 involved texting or emailing, 84 involved an “electronic communication device” and 594 involved “phone.” Of the 424,283 wrecks leading to property damage, 393 involving texting or emailing.

Cheryl Parker, a AAA spokeswoman in

higher-income neighborhoods, including a new 30-percent subsidy boost given to projects in high-income ZIP codes that went into effect this June. Beyond that, however, Erikson says the focus shouldn’t just be on giving people opportunities to leave low-income communities.

“I feel strongly we need to invest in attributes and amenities in traditional low-income neighborhoods that low-income people value, like good schools, lowering crime, public transportation, accessible laundries,” he says.

Jones agrees, but says LIHTC allocations should be about “balance.” It’s important to keep working to extend choices for low-income tenants, she says.

“We have a lot of clients who have HUD choice vouchers who would like more choices. I don’t want people to give up and feel like there’s no point in trying” to find options in middle class and upper-income neighborhoods, she says. ©

Cincinnati, says that AAA believes that police officers should need no other reason to pull over drivers suspected of texting.

It would also like texting to be treated as a more dangerous moving violation with higher fines, not a “minor misdemeanor” with a maximum $150 fine under the current law. (James McNair)

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"Nancy" from contemporary arts center's roe ethridge: Nearest neighbor

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T om S c h i f f, c o - f ou n de r of O c t obe r ’ s F o t oF o c u s Bi e n n i a l as well as a longtime photo

collector and photographer, was amazed to recently read that 1.8 billion — yes, billion — photographs are uploaded and shared on social media every day.

Considering that he and James Crump (then a Cincinnati Art Museum curator) started FotoFocus in 2012 so that people here could see more photography, it would seem the goal has been met. The city, like the entire world, is awash in such visual imagery every second of the day.

“Of course, a lot of those are of dogs and cats and people’s lunch, but there are a lot of photographers making a lot of photographs today,” Schiff says. “The proliferation of photography is something people haven’t been able to fully grasp yet.”

So one might think nobody needs the gatekeepers of photography any longer, especially the curated exhibitions at museums and galleries that have become the hallmark of FotoFocus. After all, life is a photo exhibition now — the exhibitions are on your smartphone.

But maybe the opposite is true. Maybe people need curation more than ever.

“It is pretty easy to make a photograph these days,” Schiff says. “That makes it difficult to have a photograph that’s truly unique and stands out from all the others — one that’s made by a photographer who is serious, with a philosophy and methodology that is important.”

As for all those digital images not saved with an eye toward preservation? “A lot of them will just fade away,” Schiff says.

Really, the motto for this FotoFocus should be, to quote Buddy Holly, “Not Fade Away.” When the photographic

L-R : "Distant view of the domes, Yosemite," by carleton watkins from taf t museum's picturing the west | "Bester II, paris" from freedom center's zanele muholi : personae | "Ralph eugene meatyard"

by Jonathan Williams from cincinnati art museum's Kentucky renaissance

f eat u r es l e n s – base d a r t e x h ibits t h at o f f e r w o r k s o f l o n g – l asti n g va l u e | B Y S T E V E N R O S E N Honoring still-active Cincinnati photographers is an important aspect of FotoFocus. Some examples this year include longtime photojournalist Melvin Grier’s collection of work chronicling the Jazz world, Homage to a Sound, at the Kennedy Heights Arts Center (Oct. 1-Nov. 12), and photographer/video producer Ann Segal’s filmed conversation with photographers Anita Douthat and Cal Kowal at the Xavier University Art Gallery at the A.B. Cohen Center (Sept. 30-Oct. 28).

Exhibitions can feature cutting-edge Contemporary work that is intellectualized and deeply conceptual. At Wave Pool, where the show about our surveillance society, The Peeled Eye, already has opened, one of the artists — Paolo Cirio — captures a Google Street View image of a person and then creates a “Street Ghost” life-size vinyl print of it, which he attaches to the very spot where the original image was taken. There will be an example in the gallery.

Or, shows can be straightforwardly historical, like the Taft Museum of Art’s Picturing the West: Masterworks of 19th-Century Landscape Photography (Oct. 22-Jan. 15). Shows can also be a mix of the historical and the conceptual, such as the eagerly awaited Evidence at the Art Academy of Cincinnati (Sept. 30-Nov. 4). This features reproductions of the images used in a landmark 1977 San Francisco exhibition, also called Evidence, in which Mike Mandel and Larry Sultan displayed found photographs removed of all context.

The marquee FotoFocus shows for the most part are the ones in the major museums — besides the Taft, these include the Cincinnati Art Museum’s Kentucky Renaissance: The Lexington Camera Club and Its Community, 1954-1974 (Oct. 8-Jan. 1), the Columbus Museum of Art’s

The Sun Placed in the Abyss (Oct. 7-Jan. 8) and the Dayton Art Institute’s Ravaged Sublime: Landscape Photography in the 21st Century (Oct. 15-Jan. 8).

Moore, FotoFocus’ New York-based artistic director, curated several of the highest-profile exhibitions himself.

Arguably, FotoFocus’ single most important exhibition is the Moore-curated Roe Ethridge: Nearest Neighbor, which will be at the Contemporary Arts Center (Oct. 7-March 12).

This is the first solo museum show for the New York-based Ethridge, who has been called a “Post-Modernist” for the unsettling and challenging way he uses his art photography to repurpose and comment upon his commercial work.

“I think he is the most important photographer of his generation,” Moore says. “He’s been difficult for people to understand, because his work looks very familiar and kind of ordinary in a commercial way. It is glossy, but there are a lot of ideas living beneath the surface.

“He makes pictures often in a commercial setting, often as a job for hire with a model like Pamela Anderson, for instance,” Moore continues. “But then he reorganizes them and creates these narratives that are highly personal. He’s very restless and constantly recombining his imagery.”

The show, Moore says, will occupy multiple galleries at the CAC and use each to reveal how Ethridge’s work can be thematic and tell a story. (For those who want more, the artist will be at the CAC himself at 7 p.m. Oct. 7 to participate in a panel discussion about his work.)

But Moore’s Roe Ethridge show will have competition for attention from the exhibition that Brian Sholis, the Cincinnati Art Museum’s departing photography curator, is organizing. The museum is hoping Kentucky Renaissance: The Lexington Camera Club and Its Community,

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image has become so much digital clutter, how do we know what deserves to stand out and be remembered?

During October — and in some cases afterward, too — 49 venues here and in the surrounding region will host lens-based art exhibitions that organizers believe offer work of long-lasting value. These range from the large and venerable institutions, like the Cincinnati, Dayton and Columbus art museums and the National Underground Railroad Freedom Center, to places like Over-theRhine’s Robin Imaging Services and the West End’s Betts House that you might not even be familiar with.

Even the very streets of downtown are one big venue.

In J. Miles Wolf’s Obscure Cincinnati, an October-long interactive project sponsored by Downtown Cincinnati Inc., he is displaying on vacant storefront windows large photographic prints of unfamiliar area places and encouraging viewers to guess the locale.

This year’s FotoFocus has a theme, “the undocument,” so that participants have something to respond to in shaping their exhibitions. However, FotoFocus artistic director Kevin Moore cautions that the theme wasn’t meant to be so strong as to stifle or limit anyone.

“I was just meaning for it to get people to question the documentary character of photography,” Moore says.

And actually, exhibition themes have as broad a range as the venues — from something as gravely confrontational as Cincinnati Skirball Museum’s 12 Nazi Concentration Camps: Photographs by James Friedman (Oct. 13-Jan. 29, 2017) to something as full of good vibrations as Surface by Søren Solkær, a colorful portrait of contemporary street artists and their work at Covington’s BLDG through Nov. 11.

"The apparitions : adam and eve" from duane michals' the journey of the spirit after death, carl solway gallery

L-R : "Chipo" from jackie nickerson : August at freedom center | "Abstract" by z ygmunt s. glerl ach from kentucky renaissance at cincinnati art museum

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ten OTH eR r eCO M m En d eD sh OWS Works of Fire: Photographs by Christopher Colville — Through Nov. 4. Wright State University: Gallery 263 at the Robert and Elaine Stein Galleries, Dayton.

William Knipscher: Where the Light Goes — Through Nov. 26.

The Carnegie, Covington, Ky.

Photo-Real and Real-Photo — Sept. 30-Oct. 28. Manifest Gallery, East Walnut Hills.

Islands of the Blest — Oct. 1-Nov. 19. Presented by Cincinnati Art Museum at the Mercantile Library, Downtown.

William Ropp: Ethiopiques — Through Jan. 20. Iris Bookcafé and Gallery, Over-the-Rhine.

Straight to Video — Oct. 2-Nov. 23. DAAP Galleries: Reed Gallery, University of Cincinnati, Clifton Heights.

Data: Work by Franz Jantzen — Sept. 30-Nov. 12. Clay Street Press, Over-the-Rhine.

Foto Founders — Oct. 1-31.

Behringer-Crawford Museum, Covington, Ky.

Duane Michals: Sequences, Tintypes and Talking Pictures —Through Dec. 23. Carl Solway Gallery, West End.

Shine — Oct. 6-15. ArtWorks at the Public Library of Cincinnati and Hamilton County, Main Branch, Downtown.

CLOCKWISE FROM LEF T: "polish soldiers at entrance to auschwitz I concentration camp, oswiecim, pol and,1983" from skirball museum's 12 nazi concentration camps : photographs by james friedman | "Untitled" by ralph eugene meat yard from cincinnati art museum's kentucky renaissance | "Street ghosts" by Paolo cirio from wave pool's the peeled eye | photo from art academy's evidence, courtesy Mike mandel and estate of l arry sultan | "D*Face (engl and), london" by sØren SOLK ÆR AT BLDG | "PUNCTURED" BY WILLIAM E. JONES FROM CONTEMPORARY ARTS CENTER'S NEW SLIDESHOW

declaring their sexuality and difference — that puts them in danger. This is a very heroic series, and it’s very easy for people to comprehend what it’s about.”

Another Moore-curated show at the Freedom Center is also Africa-related: Jackie Nickerson: August (Oct. 1-Jan. 23). This consists of two series of color photographs portraying the lives of farm workers. A photographer who was born in Boston and raised in Great Britain, Nickerson has done projects in Ireland and Africa, and also collaborated with Kanye West. She was a successful fashion photographer who decided she needed a change and spent several years on a farm in Zimbabwe. That prompted her work here.

“She’s very sensitive to a person’s physiognomy — the way the work they do, the landscape they live in and the food they eat sculpts them,” Moore says. “She treats her subjects in a monumental way; some pictures are quite large. She has a vision of Africans as being individuals who are stylish and dignified. They just put together off-hand outfits and go to work in the field in a proud and dignified way.”

Moore also believes his show After Industry, at the Weston Art Gallery now through Nov. 27, is a major one.

Drawn from the collection of Gregory Gooding, it consists of photographs that investigate the relationship between our built environment and the natural landscape.

For instance, in the 1920s the German photographer Albert Renger-Patzsch saw beauty and optimistic Modernism in the new factories; in his photographs, he compared them favorably with trees. But by the 1970s, photographer Robert Adams found the new housing developments of the American West horrifying.

Moore’s other curated exhibitions are New Slideshow, a three-day (Oct. 6-9) exhibition at the CAC featuring artists including Nan Goldin, who base film narratives on still photographs; Robin Rhode: Three Films at the Freedom Center (Oct. 1-Jan. 23); Marlo Pascual: Three Works at the Weston Art Gallery (through Jan. 23); and Shifting Coordinates, which he and 21c Museum Hotel Curator Alice Gray Stites organized from its own collection (through Jan. 2).

In addition to the exhibitions, there is the special FotoFocus Biennial 2016 Program occurring Oct. 6-9 at various sites downtown. It gets underway at 6:30 p.m. on Oct. 6 when with guest speaker Roxana Marcoci, senior photography curator at the Museum of Modern Art, will speak on “The Re-Presentation of Louise Lawler’s Work” at the Jarson-Kaplan Theater in the Aronoff Center for the Arts.

(Lawler is a contemporary photographer whom Marcoci is considering for an upcoming exhibition in New York.)

Besides the opportunity to see and learn about the history and current state of photography, FotoFocus executive director Mary Ellen Goeke believes something else will come out of Biennial 2016.

“I’m very proud, after this third iteration of FotoFocus, that there’s this spirit of collaboration in the city among all the institutions we work with,” she says. “Not just the three art museums, but even with new spaces. FotoFocus sees itself as a modest nonprofit that has become an agent in bringing about this collaboration through its interest in photography.”

Passports for admission to all fee-charging venues during FOTOFOCUS BIENNIEL are $25. More info: fotofocusbiennial.org.

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1954-1974 will be groundbreaking and earn national attention. Sholis aims to show how Lexington became an influential Modernist haven because of the way innovative, explorative photographers like Ralph Meatyard, Van Deren Coke and Guy Mendes mingled with such writers as Thomas Merton, Wendell Berry and Guy Davenport.

Sholis sees the Camera Club as an important Middle American link to the artists of the 1950s, like photographer Robert Frank and the Beats, who rebelled against the conformist temper of the times.

“In the mid-1950s, the biggest photography project in the world was The Family of Man exhibition at the Museum of Modern Art,” he says. “It was a ‘We Are the World’ document-of-humanity kind of thing — a vision of the world countering the divisiveness of Cold War rhetoric.

“But many thought that was a narrow use of photography — it could be so much more,” Sholis continues. “These guys believed that photography was a tool of creative expression, just like painting or other art mediums.”

FotoFocus’ Moore is keeping very busy by curating seven addition exhibitions besides Roe Ethridge. Zanele Muholi: Personae (Oct. 1-Jan. 23) at the Freedom Center is an introduction to an important South African photographer, whose Faces and Phases series offers dynamic portraits of confident South African lesbians. (Muholi will be at the Freedom Center for a reception at 5:30 p.m. Oct. 8.)

“In South Africa, it’s dangerous to be lesbian or transgender,” Moore says. “Muholi was an activist first and started being a photographer. These are very straightforward black-and-white photographs, and (the subjects) are very active looking. A lot of these women are very strong with non-traditional gender looks. They are very brave in

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WEDNESDAY 28

ART: BLIND CINEMA has children describe the action of a film to a blindfolded audience. See feature on page 22.

ONSTAGE: THE SOUND OF MUSIC is one of many Broadway musicals coming to the Aronoff this season. See Curtain Call on page 23.

MUSIC: TUELO incorporates South African music with a folkish Pop/Rock style at MOTR Pub. See Sound Advice on page 34.

MUSIC: Guitar goddess ANA POPOVIC supports her just-released Trilogy at the Southgate House Revival. See Sound Advice on page 34.

THURSDAY 29

MUSIC: Jam band bastions MOE. play Moonlite Gardens at Coney Island. See Sound Advice on page 35.

ONSTAGE: DISGRACED It’s pretty remarkable when a play becomes timelier after its debut than when it was written, but that’s what has happened with Ayad Akhtar’s 2013 Pulitzer Prize winner.

In discussing Disgraced, he recently said, “I could never have guessed ... that the degradation of social discourse between these characters in this play could actually mirror what’s happening out in the world.”

His play digs into the taboo topics of religion and politics at a contentious dinner party, ignited by the Muslim experience in America. It’s one of the most produced plays in the U.S. this season, including this Cincinnati staging at the Playhouse.

Through Oct 23. $35-$85. Cincinnati Playhouse in the Park, 962 Mount Adams Circle, Mount Adams, 513-421-3888, cincyplay.com. — RICK PENDER

FRIDAY 30

MUSIC: Sonny Moorman closes out KING RECORDS MONTH at The Greenwich. See Spill It on page 33.

EVENT: THE PORKOPOLIS PIG & WHISKEY FESTIVAL CityBeat hosts the second-annual Porkopolis Pig & Whiskey Festival, a two-day smorgasbord offering the best bacon, bourbon and bites, plus live music and more at Washington Park. Favorite barbecue joints like Eli’s, Huit, Pit to Plate and Velvet Smoke will be serving up unique and meaty dishes, and booze brands like Jack Daniel’s, Old Forester and Woodford Reserve will be pouring samples of bourbon, scotch and whiskey. If brown liquor ain’t your thing, there will also be a beer tent. And Cincinnati’s best Bluegrass and Americana bands — including Young Heirlooms, Arlo McKinley & The Lonesome Sound, Comet Bluegrass All-Stars and Mark Utley and Bulletville — will take the stage throughout the weekend. There will be more than 50 varieties of whiskey to sample, but please note that some high-end and rarities may sell out. 5-10 p.m. Friday; 11 a.m.-10 p.m. Saturday. Free admission; samples for sale. Washington Park, 1230 Elm St., Over-the-Rhine, citybeat.com. — MAIJA ZUMMO

EVENT: WEEKEND OF FIRE Sick of flaming hot Cheetos and sub-par hot sauce? Well, you’re in luck. This weekend at Jungle Jim’s, more than 50 different vendors specializing in hot and spicy foods will be serving up their most dangerous concoctions.

Hot sauces and barbecue sauces, salsas, marinades, rubs and mustards will be sold and tested on the show floor, with spice levels ranging from mild to face-melting. Based on an audience vote, awards will be given to the vendors with the best and hottest bites. If you’re feeling brave, you can enter the “Arena of Fire” and compete against other attendees to determine whose taste buds can endure the most torture. Entertainment for the night? Fire jugglers, who will literally be eating the flames and doing other dangerous stunts. 6-10 p.m. Friday; 11 a.m.-7 p.m. Saturday; 11 a.m.-4 p.m. Sunday. $10 single

day; $1 child. Oscar Event Center at Jungle Jim’s, 5440 Dixie Highway, Fairfield, junglejims.com. — KYLER DAVIS EVENT: THE PELLÉAS TRILOGY The Cincinnati Symphony Orchestra presents the second installment of its three-year visual-music project, The Pelléas Trilogy.

The trilogy, Pelléas et Mélisande, explores how three composers — Schoenberg, Fauré and Debussy — interpreted Maurice Maeterlinck’s romantic and evocative play of the same name. The play follows a forbidden love between the title characters, and in the CSO’s production of “Part II: Water,” shifting multimedia and live performance will push the plot forward. 8 p.m. Friday and Saturday. $12-$65. Taft Theatre, 317 E. Fifth St., Downtown, cincinnatisymphony.org. — MAGGIE FULMER

ART: SHEIDA SOLEIMANI: MEDIUM OF EXCHANGE AT 1305 GALLERY One of the must-see shows of this year’s FotoFocus Biennial (there are several, really) is Medium of Exchange, featuring a new body of work by locally raised IranianAmerican artist Sheida Soleimani, a current assistant professor of graduate studies at the Rhode Island School of Design. Soleimani’s work actively deconstructs photographic images, which she gathers from various “documentary” source materials, then reproduces them into large-scale sculptural dioramas. Those composed visual vignettes are then re-photographed and re-presented to the viewers as actual artifacts. Opening reception 6-11 p.m. Friday. Through Oct. 23. Free. 1305 Gallery, 1305 Main St., CONTINUES ON PAGE 20

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COMEDY: CRACKIN’ UP Comedian Brian Million debuts his live variety show at the Liberty Funny Bone. A successful headlining comic who tours across the country, he wanted to do something for the folks here in the Tristate. Inspired by the late Bernie Mac’s HBO show, Midnight Mac, Million’s Crackin’ Up will present stand-up, sketch, musical performances and spoken word. “Most times you have to hit Chicago, New York or L.A. to see a similar style of show,” he says. “I think this will be a big win for the area.” 7:30 p.m. Thursday. $10. 7518 Bales St., Liberty Township, liberty.funnybone.com. — P.F. WILSON

FRIDAY 30

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CinCinnati art MuseuM | eden Park 953 eden Park dr | CinCinnati, ohio 45202

SATURDAY 01

EVENT: BARK OUT AGAINST BATTERING Washington Park goes to the dogs this weekend for Bark Out Against Battering, a pet-centric event that strives to raise awareness of the link between animal cruelty and domestic violence. According to the YWCA, nearly half of women in abusive relationships report staying with their partners out of concern for their pets, either because they have been threatened directly or because the majority of domestic violence shelters do not allow animals. To help ease some of these concerns, the YWCA has teamed up with the SPCA to provide protective shelter for pets in these situations. The seventh-annual Bark Out features food trucks, pet-product vendors, a photo booth, Cincinnati Circus performers and adoptable animals, and pups can participate in canine trick-or-treating and a costume contest and parade. 11 a.m.-1:30 p.m. Saturday. Free; donations encouraged. Washington Park, 1230 Elm St., Over-the-Rhine, ywcacincinnati.org. — EMILY BEGLEY

FROM PAGE 19

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Over-the-Rhine, fotofocusbiennial.com.

—MARIA SEDA-REEDER

Enameling Workshops Guest Instructors Online Registration

Tom Ellis

ATTRACTION: DENT SCHOOLHOUSE You may be familiar with famously terrifying names like Jason Voorhees, Michael Myers and Freddy Krueger, but have you heard of Charlie McFree? He was the janitor at a schoolhouse in Dent, Ohio that opened in 1894. McFree really disliked when children misbehaved, and according to legend he took his job just a little too seriously. When several kids vanished between 1942 and 1955, the students and faculty wondered where they went and — more importantly — why the school reeked of rotting flesh. Visit the Dent Schoolhouse to relive the nationally recognized nightmare. Weekends and select dates through Nov. 5. $20-$50. Dent Schoolhouse, 5963 Harrison Ave., Dent, frightsite. com. — KYLER DAVIS ART: GLOBE IN THE DARK: SERENDIPITY OF SOUND A new interactive installation by Michael

DeMaria brings an orchestra of sound to life at the touch of a hand at People’s Liberty’s Globe Gallery. The Serendipity of Sound debuts Friday during Globe in the Dark, an evening art event with food, drinks and music, and guests are invited to reserve a 15-minute time slot in advance to experience this work in a small-group setting. Opening reception 6-10 p.m. Friday. Through Dec. 10. Free. 1805 Elm St., Over-the-Rhine, peoplesliberty.org. — STEVEN ROSEN MUSIC: SMOOTH HOUND SMITH Nashville, Tenn.’s Smooth Hound Smith features just two players — singer/guitarist/ harmonica player/banjoist Zack Smith (who also provides the “drums” with his feet while playing) and singer/tambourine-shaker Caitlin Doyle — but their resourceful spin on American Roots music is as full-bodied as any group with a larger membership. The duo’s harmony-laden sound is organic and diverse, borrowing elements from Folk, Country, R&B, Blues and early Rock & Roll.

Natalie Maines of Dixie Chicks heard a song by the twosome and used the Shazam app

p h o t o : g o r m a n h e r i ta g e fa r m

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SATURDAY 01

EVENT: SUNFLOWER FESTIVAL Pumpkins, hayrides and sunflowers (obviously) set the scene for this picturesque autumn celebration. Gorman Heritage Farm’s annual Sunflower Festival is a celebration of the fall harvest season and a local favorite. After you pick out your perfect carving pumpkin and take a hayride or a carriage ride driven by a miniature horse, you can meet and greet animals from the farm. Head out to enjoy delicious eats from local food trucks, buy crafts from local artists and listen to live music, all while soaking up fall vibes and exploring the living history of a working farm. Pick a sunflower or two to take home with you so you don’t forget the experience — $1 each or $10 for 12. 10 a.m.-4 p.m. Saturday and Sunday. $8 adults; $5 kids. Gorman Heritage Farm, 10052 Reading Road, Evendale, gormanfarm.org. — MAGGIE FULMER

to find out who it was; when she discovered it was Smooth Hound Smith, the duo was asked to open dates on the Chick’s huge comeback tour this year. Also in 2016, the pair released the well-received Sweet Tennessee Honey album and a five-song live EP called Jam in the Van. 8:30 p.m. Friday. $12; $15 day of show. Southgate House Revival, 111 E. Sixth St., Newport, Ky., southgatehouse.com. — MIKE BREEN

SATURDAY 01

ART: The month-long FOTOFOCUS BIENNIAL celebration of lens-based art begins this weekend. See cover story on page 12.

SUNDAY 02

EVENT: HYDE PARK ART SHOW The 50th-annual Hyde Park Art Show transforms Hyde Park Square into a one-day art and craft market, featuring more than 200 Tristate artists working in a variety of mediums, including paint, printmaking, ceramics, jewelry, fiber, photography, sculpture and more. 10 a.m.-5 p.m. Sunday. Free admission. Hyde Park Square, hydeparksquare. org. — MAIJA ZUMMO

ONGOING SHOWS ONSTAGE The Diary of Anne Frank Cincy Shakes, Downtown (through Oct. 1)

Over-the-Rhine + 16-BitBar.com

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ATTRACTION: MERMAIDS RETURN Bring your little ones and watch mesmerizing mermaids (aka women dressed as mythical finned hybrids with above-average diving skills) at the Newport Aquarium. For a limited time, these underwater creatures will be swimming through the aquarium’s Amazon Tunnel with other aquatic animals, offering up-close and out-of-water daily meet-and-greets and photo-ops. At 6 p.m.

Friday, the Mermaid & Pirate Ball gives guests a chance to meet the mermaids at an after-hours, family-friendly costume party.

Come dressed as your favorite mermaid, pirate or any other fantastical character and participate in a treasure hunt, dancing and more. Mermaids on view through Oct. 16.

Ball $45.99. Mermaids Return free with

admission: $23.99 adult; $15.99 child. 1 Aquarium Way, Newport Ky., newportaquarium.com. — MADISON ASHLEY

arts & culture

Not Seeing Is Believing in ‘Blind Cinema’

Artist Britt Hatzius’ project explores the spaces between language and sight

BY MARIA SEDA-REEDER

P H O T O : m a r i o n g ott i

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B

ritt Hatzius is interested in the limits and power of language.

From Wednesday through Saturday, she will explore that subject at The Carnegie in a performance/film project called Blind Cinema. Designed to investigate what happens when children help the sightless visualize what they can’t see, the program is the start of the Contemporary Arts Center’s 2016-17 Black Box Performance Series.

The Brussels- and London-based artist will direct these performances, the latest in her ongoing, distinctive Blind Cinema series. These are collaborative screenings of the artist’s films in which children, ages 9-11, whisper descriptions about the wordless moving images they are watching to the blindfolded adults in front of them in a darkened movie theater.

“One of the things I love about Blind Cinema is that it’s unpredictable,” Hatsius says via FaceTime, with genuine earnestness.

“Each child has their own ways of speaking, and during a single performance every child will have their own experience of it. You can’t control anything and the experience will always be individual.”

All participants are sensitized due to the imposition of silence in a dark theater setting, and the children speak in hushed voices into listening funnels that reach one row ahead into the ears of the blindfolded adult audience. This invites an uncanny shared intimacy, as if the film itself is a secret to which the child is solely privy and must translate its meaning to the adult.

Hatzius was invited to Cincinnati after meeting the CAC’s performance curator, Drew Klein, at last year’s Time-Based Art Festival in Portland. Blind Cinema is co-presented by the CAC and the new Mini Microcinema.

According to the bio on her website, Hatzius works in photography, video, film and performance while “exploring ideas around language, interpretation and the potential for discrepancies, ruptures, deviations and (mis)communication.”

For the past year, she’s been touring Blind Cinema in 11 locations around the globe, including Greece, Chile and Scotland.

And, she adds during her FaceTime conversation, “Every screening is different.”

With a nod to the fragmentary and improvisational quality of the communicative performance (something her work has long been interested in), Hatzius adds, “Everything is dependent on the moment.”

At every Blind Cinema host city, Hatzius spends two to three hours in small-scale workshops with groups of local school children recruited by the host organization.

In Blind Cinema, children use funnels to describe a wordless movie to blindfolded adults.

They meet a day or two prior to the official event. She introduces the idea of “creating pictures in someone else’s mind,” and does image-description exercises with the students before they get the chance to try out for the actual performance.

Once they know the expectations, each child doesn’t see the actual film he or she will be narrating until the official screening — a practice that Hatzius says allows for a more “intuitive emotional response” from her young storytellers.

Judging from the consideration given to the experience of the children in her care, as detailed in the information sent out to host organizations for Blind Cinema, she seems just as interested in affecting them as she does her adult audience. (Her instructions state that hosts should make sure their local children are properly prepared and vetted, and that their families have an opportunity for separate parent-only Blind Cinema screenings.)

In fact, the premise of this project — an unspoken contract regarding sharing an intimate form of communication (whispering) between adult and child in a darkened yet public space — feels like a lesson in kindness and consideration for others.

The typical power dynamic of adults leading children is flipped on its head and,

instead, children make sense of Hatzius’ deliberately abstract and ambiguous films for the physically vulnerable, sensorydeprived adults.

“The fact that they are responsible for the adults makes them aware of how fragile and sensitive you can become when one sense is taken away,” Hatzius says. This shows, she thoughtfully adds, “how very fragile adults can be.”

The heightening of sensorial sensitivity seems to be one of the main objectives of this work. To that aim, the artist has worked with neuroscientists and blind people to create an assemblage of moments onscreen that, she says, “draws on the side of language and takes the difficulty of describing into account.”

Hatzius sees film as a metaphor for the way our brains process what our eyes see.

“Film reflects the fleetingness of images we build in our mind (and) the difficulty of holding an image in your mind,” she says.

Taking that into account, Hatzius purposefully composes the films for Blind Cinema with no clear narrative, thus allowing her temporarily sightless participants to focus on the experience and perhaps add to the children’s verbal descriptions with details from their own imagination.

While Hatzius is in town for the four screenings of Blind Cinema, she also planned on Tuesday to kick off the first night of public film screenings at the Mini Microcinema’s new home on Main Street in Over-the-Rhine. C. Jacqueline Wood’s avant-garde cinema, previously a pop-up, finally secured enough funding through grants from five local foundations to allow for this more permanent location. The Mini is currently partnering with The Carnegie as its fiscal agent while Wood works to attain its nonprofit status.

Instead of showing her personal work at the Mini, however, Hatzius curated a selection of mostly European experimental short films and videos that informed and inspired Blind Cinema — all exploring our relationship to language.

As art so often seeks to communicate those profound ideas between the nature of what we see and what we understand, Hatzius’ endeavors with performance seem like a fresh take on an eternal question.

BLIND CINEMA’s 7 p.m. performances Wednesday and Thursday are filled, but space is available for Friday and Saturday at The Carnegie, 1028 Scott St. in Covington. Admission is free with advance reservations at contemporaryartscenter.org.

a&c curtain call

The Sounds of Musicals at the Aronoff

BY RICK PENDER

FolLow  Us!  CITY BEAT IS ON SNAPCHAT!

Snapcode: CityBeatCincy CityBeatCincy

September 30, October 28 and November 23 Drinks, Art, Fun and FREE Admission

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Although it’s called “Broadway in Cincina nostalgic jukebox trip down memory lane nati,” the touring productions presented for Baby Boomers. It features Pop hits from at the downtown Aronoff Center for the the late ’60s and early ’70s, including “I Feel Arts might be more accurately labeled as The Earth Move,” “One Fine Day,” “(You “Broadway Musicals in Cincinnati.” The Make Me Feel Like) A Natural Woman” and series seldom offers dramatic plays, and “You’ve Got A Friend.” It won two 2014 Tony only occasionally presents shows that step Awards, including Best Leading Actress beyond musical theater. There’s a reason: in a Musical for Jessie Mueller, and its cast Musicals sell tickets, and audiences flock recording earned a 2015 Grammy. It continto see them. The Sound of Music, curues to play on Broadway. The tour features rently onstage through Oct. 9, kicks off the Abby Mueller, the younger sister of Jessie, as 2016-17 Cincinnati season. the beloved singer-songwriter.

Rodgers and Hammerstein’s legendary show premiered in 1959 and ran for four years on Broadway. The story of the postulant Maria and her musical success with the unruly children of the Von Trapp family elevated to an international phenomenon with the 1965 film featuring Julie Andrews. What’s onstage at the Aronoff is a brand-new production that will surely appeal to audiences of all ages, not unlike the live production that aired on NBC in December 2013.

Kerstin Anderson (center) plays Maria in The Sound of Music.

Four additional touring P H O T O : M atth e w M u r ph y productions constitute the Broadway in Cincinnati season, with several additional options.

The season offers two additional shows, Another family classic, The Little Merinviting subscribers to choose one to commaid (Jan. 17-29, 2017), is a Disney stage plete their package. I imagine serious musirendition of its popular animated film. It’s cal fans won’t hesitate to choose the witty the story of Ariel, weary of flipping her fins musical A Gentleman’s Guide to Love and eager to be on dry land. All the film’s and Murder (Jan. 3-8, 2017). Its one-week characters are on hand. run suggests that it’s not expected to draw A more mature production, Something big crowds, but it was the 2014 Tony Award Rotten! (Feb. 21-March 5, 2017) will winner for Best Musical. The black comedy, appeal to literate audiences. Set in 1595 inspired by a 1949 British film, Kind Hearts England, it’s a comedy about two brothers, and Coronets, is a farce about a distant Nick and Nigel Bottom, trying to write the heir who works to knock off eight relatives world’s first musical based on some quesstanding between him and a family fortune. tionable advice from a thoroughly unreliFor the stage production, the same actor able soothsayer. Their aim is to eclipse the plays all eight characters. limelight being hogged by Shakespeare, The other “season option,” The Illusionportrayed as an Elizabethan Rock star. It’s ists (March 21-26, 2017), is a one-week a hilarious satire on musicals and theater, magic showcase featuring seven of today’s full of slapstick everyone can enjoy most entertaining performers; not exactly whether or not they get all the gags. traditional theater, but certainly theatrical.

Matilda the Musical (April 4-16, 2017) Two more works are offered as special will be another hit with families, based on engagements, and they’re shows that have Roald Dahl’s beloved novel about a spunky, had multiple engagements locally, but telekinetic 5-year-old with a vivid imaginanever fail to draw audiences. The Phantion. She loves to read and she overcomes tom of the Opera (Nov. 15-27) gets two obstacles caused by adults at home and at weeks of a new touring production by school; she also helps Miss Honey, her browthe show’s original producer, Cameron beaten teacher, reclaim her life. The show Mackintosh. The other special presentawon a dozen Olivier Awards in London and tion will be the ultimate feel-good show five Tonys on Broadway in 2013. It continues using ABBA’s greatest hits, Mamma Mia! onstage in both London and New York City.

(March 10-12, 2017).

The season will wrap up with Beautiful – CONTACT RICK PENDER: rpender@citybeat.com The Carole King Musical (May 2-14, 2017),

a&c CLASSICAL MUSIC

Taft Theatre Brings CSO’s Sound to Life

BY ANNE ARENSTEIN

SEPTEMBER 23 – NOVEMBER 27, 2016

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Marlo Pascual: Three Works After Industry

Marlo Pascual: Untitled, 2013, digital C-print mounted on aluminum, stool, 43 x 55 x 11¾ inches. Photo: Jean Vong. Courtesy the artist and Casey Kaplan, NY.

After Industry: Frank Gohlke -- Grain Elevators, Cyclone, Minneapolis, 1974, 14 x 17 inches.

Collection of Gregory and Aline Gooding. © Frank Gohlke. Used with permission. Courtesy of Gallery Luisotti, Santa Monica, CA.

Families Create! Family Fun Workshop “Found Photos” Saturday, October 15, 10 a.m. – noon EXHIBITIONS SPONSOR

Aronoff Center for the Arts / 650 Walnut St., Cincinnati, OH 45202 / www.WestonArtGallery.com 2016-17 Season Sponsor: Dee and Tom Stegman Judith Titchener

The Cincinnati Symphony Orchestra’s seaThe orchestra segued into the final moveson opened at the Taft Theatre this month, ment that became the drama’s happy ending. and the two performances I attended were As if all restraints were lifted, Hahn played outstanding. The theater — a temporary with exuberance, literally making the home for the CSO during Music Hall’s renomusic dance. Again, perfection in the final vation — has great acoustics, and the CSO is challenging cadenza, and the final release playing better than ever there. The featured brought the audience to its feet. For an artists — Emanuel Ax and Hilary Hahn — encore, Hahn offered a playful Bach violin were also at the top of their game. solo piece, fluid and graceful.

Now in his mid-60s, pianist Ax’s perforThese two performances set the standard mance of Beethoven’s Piano Concerto No. 5 for the rest of the season, and put aside any in E-flat (“Emperor”) had a master’s authorlingering doubts about how the unamplified ity and youthful exuberance. CSO conductor orchestra would sound in the Taft Theatre.

Louis Langrée drew sensitive accompaniThe answer is: glorious. I was grinning ment from the orchestra, with gorgeous textures from strings and woodwinds. After three curtain calls, Ax played “Am Abend (In the Evening)” from German composer Robert Schumann’s Fantasiestücke, Op. 12, a lovely contrast to the “Emperor’s” rousing conclusion.

The CSO returned for Russian composer Dmitri Shostakovich’s enigmatic Symphony No. 5 in D minor, a work composed supposedly in response to the Stalin regime’s criticism of the Hilary Hahn performs with the CSO at Taft Theatre. composer. Shostakovich P H O T O : A J Wa lt z conformed to the complaints, but not completely. The CSO’s powerful performance brought out from the moment the great pianist Ax played the work’s despair and sly humor. Langrée’s the opening chords of Beethoven’s “Emperor.” masterful direction allowed even the most From where I sat, in the high reaches of the subdued passages to resonate.

Taft’s balcony, there was a crisp immediacy Last weekend’s concert opened with to the sound that was vastly superior to Schumann’s Symphony No. 4 in D minor, Music Hall — at least, pre-renovation. originally written as a birthday gift for the I sat in different areas of the hall for each composer’s wife, Clara. Schumann was concert, and the sound quality was consisnot a great orchestrator; Langrée’s crisp, tently high. There’s less decay -- meaning authoritative reading brought out the work’s the amount of time it takes for sound to fade inherent lyricism. into silence -- and the result is a transparent This evening belonged to violinist Hahn, clarity of sound that’s especially effective in who gave a revelatory performance of piano (soft) passages.

Beethoven’s Concerto in D major for Violin If there’s slightly less warmth, there’s and Orchestra. As the orchestra played the also less muddiness; the overall cohesive lengthy introduction, she turned to the string sound is terrific. Thanks to the geniuses at sections and leaned in, as if absorbing the Akustiks, the firm also overseeing the muchmusic before her entrance. needed acoustic renovations in Music Hall, Hahn’s rendition created a three-part a new shell was constructed at the Taft in drama, enhanced by attentive playing from addition to overhead sound baffles. the CSO. She took the first movement’s The Taft isn’t a perfect venue. There are tempo marking — “allegro, but not too much” complaints about bathrooms, the small — as a guide, and gave a brooding, wistful lobby, etc. But don’t let that stop you. Go quality to the movement’s themes, concludfor the acoustics. The CSO has always been ing with a beautifully executed cadenza. a great orchestra, and now you can really The second movement was even more hear how great it is. plaintive, but there was a heartfelt lyriThe CINCINNATI SYMPHONY ORCHESTRA cism, especially in the duet passages with performs The Pelléas Trilogy Part Ii: Water Friday the winds. Hahn’s mastery was evident and Saturday. More info: cincinnatisymphony.org. in the exquisite control of dynamics and

elegant phrasing.

a&c ALL LIT UP

CCM’S MAINSTAGE ACTING SERIES PROUDLY PRESENTS

BY JASON GARGANO

William Shakespeare’s

Sandra Cisneros Knows Writing Changes Lives

ROMEO AND JULIET

COLLEGE-CONSERVATORY OF MUSIC

SEPT. 28 (PREVIEW) – OCT. 2

TICKETS: $27 - $31 adults $17 – 20 non-UC students $15 – 18 UC students $15 preview performance “ [one of] the top 25 undergraduate drama schools.” – The Hollywood Reporter

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Sandra Cisneros believes in the power chapter titled “Those Who Don’t”: “Those of the written word to change lives. It who don’t know any better come into our saved her and she’s certain of its ongoing neighborhood scared. They think we’re relevance, even as its delivery system has dangerous. They think we will attack them changed and fractured in the years since with shiny knives. They are stupid people her debut, the 1984 novel The House on who are lost and got here by mistake.”

Mango Street — a vignette-driven work set Commenting on that observation, in her native working class Chicago neighCisneros says, “I think all politicians right borhood that unexpectedly broke through now are operating from some place of to a wide audience. absolute fear, especially the one you are The only daughter of first-generation naming (Donald Trump), but I wouldn’t say Mexicans parents, Cisneros struggled to he is the only one. We don’t have anyone forge a coherent identity — the lone female who’s comin from a place of calmness and amid a house dominated by men (she wisdom. I don’t see it, and it’s frightening had six brothers), she was a young woman trying to figure out how her Mexican heritage fit into an America shaken by the turbulence of the 1960s.

Poetry was her refuge. Following undergraduate work at Loyola University of Chicago, Cisneros headed to the famed Iowa Writers’ Workshop. As ever, she struggled to fit in and to find her voice.

Things changed when she decided to look inward and work from that place she knew best. She told the story Cisneros wrote 1984’s classic The House on Mango Street. of a young Mexican-American P H O T O : a l a n g o l d fa r b woman dealing with family and culture on the west side of Chicago. to me. The story that every politician tells “I wrote what would become The House is coming from a place of fear and not on Mango Street on the side, not for my compassion, not listening and not working thesis but as a kind of life jacket to support from a place of calmness.” me through a difficult graduate school But, as ever, she sees literature as a salve. experience,” Cisneros says by phone from “Stories are more and more important as her current home in Mexico.

I get older,” she says. “They may be deliv“So even though I was in the poetry workered in different packages — maybe they shop and writing a poetry thesis, I began that don’t come covered between two pieces of book writing it just for myself. I was told very cardboard anymore — but every day we’re early on by my thesis advisor that it wasn’t just bombarded with stories. So I have to poetry. And I agreed, because I was experisay that what we’re seeing, and what I’m menting and trying to incorporate the two seeing in my lifetime, is not the diminishgenres that I loved — fiction and poetry.” ing power of stories, but the growth of the Cisneros has written a number of diverse power of the story.” books since her debut, including last year’s “I believe literature should change the A House of My Own: Stories from My world, it should change people’s lives, but Life, a memoir or sorts. But The House on I didn’t write it with that intent,” she says.

Mango Street remains her best-known work.

“I wrote it to survive my own life. It has “All these years later, I see it as the work taught me a great spiritual lesson, and of a young woman,” Cisneros says. “I’m that is when you create things on behalf of pleased with what it’s done. I don’t feel others, with absolute love and no personal upset with everybody loving that book agenda, it will put us in a state of grace, because the reason why I wrote it was to and it will do the work of the spirit.” find my own voice. Also, it was shaped and SANDRA CISNEROS gives a literary non-fiction changed so much by my first job working reading and the Taft Hispanic Lecture at 7 p.m. as a high school teacher.”

Wednesday at the University of Cincinnati’s Reading The House on Mango Street Tangeman University Center. It is free and open today, one can’t help but think of a certain to the public. More info: artsci.uc.edu.

Republican presidential candidate when taking in passages like this one from a

a&c film

‘Katwe’ Is a Different Kind of Sports Film

BY T T STERN-ENZI

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Disney’s Queen of Katwe is a winning African story. It’s rooted in the experiences international tale about an uneducated Uganof Phiona, her coach and her proud yet dan girl trying to support her family who distrustful mother (Lupita Nyong’o). The wanders into a chess club and discovers she mother, based on her own reality, cannot has an innate talent and passion for the game. see how chess will lead to anything other That might just prove to be her escape. than the rampant abuse and molestation Queen of Katwe refreshingly goes against that befalls young girls in Ugandan villages. the grain of many other movies based on Unlike say, Boaz Yakin’s dark 1994 crime true stories. And what appeals the most thriller Fresh, which also employed the to our red-blooded American instincts are game of chess as a strategic tool for an sports dramas about plucky underdogs. imperiled young protagonist, Nair exposes This year at the Toronto International Film the harsh economic and societal situations Festival, I caught two boxing flicks — The under the blaring light of day. This forces Bleeder and Bleed for This — that centered on unlikely fighters who seized moments of glory and triumph from what should have been humbling defeats and setbacks.

Within that world of sports movies, Disney as a studio likes to cash in on familyfriendly renditions of sports dramas where the games or fields of play merge with the usually innocent characters, the players in love with competition and the parents, scouts and coaches who see Madina Nalwanga and David Oyelowo in Queen of Katwe and are inspired by this purity.

P H O T O : e d wa r d ec h wa l u And it must be noted, in most cases the protagonists are generally white men.

Think of The Rookie, the 2002 movie that audiences to witness Phiona’s struggles, captures the dream of a 39-year-old high while also refusing to mask or obscure school teacher and baseball coach (Dennis things with needless talk about the game.

Quaid), who challenges his team to play its Without a doubt, chess “saves” Phiona, best by agreeing to a professional tryout if but redemption doesn’t come from the indithe team wins a championship. That aging vidual pieces or their moves on the board, coach somehow gets signed, spends time which is meant to mirror aspects of her in the minor leagues and then gets called life. What transforms Phiona is the sense up to the big leagues, where he gets to pitch that her indomitable spirit, her willingness against the Texas Rangers. Or fast-forward to fight, will triumph when pressed into to 2014 and Million Dollar Arm, which service in a concrete and focused way. That tells the story of a sports agent (Jon Hamm) triumph doesn’t result at the expense of othwho pursues an unconventional recruiters in any life-altering manner — unlike in ing strategy, seeking talented South Asian Fresh, where pawns and other “pieces” are cricket players for coveted spots as pitchers removed from the game of life. in Major League Baseball. The fact that Audiences can appreciate Queen of the agent actually discovers a pair of nonKatwe as yet another underdog story spit traditional cricket-playing recruits takes a out by the Disney team, even though Nair’s backseat to his emotional arc. film doesn’t shy away from the difficult conSo Queen of Katwe is a departure from cerns about how rising in the world of comthe Disney formula. One of the two runnerpetitive chess has a truly complex impact of ups at Toronto for the Grolsch Audience the lives of Phiona and her family.

Award, the film’s narrative began as an We see the difficulty Phiona has adjustESPN Magazine article by Tim Crothers ing to the perks of traveling to tournaments that evolved into a book, which screenwhere she receives preferential treatment, writer William Wheeler and director Mira but then must return home to such bleak Nair (Monsoon Wedding) have crafted contrasts. Queen of Katwe is a tough into a story about the Ugandan girl Phiona triumph of will that doesn’t limit itself by Mutesi (Madina Nalwanga), whose future focusing so narrowly on the game alone. changes thanks to that chess club run by (Opens wide Friday) (PG) Grade: B Robert Katende (David Oyelowo).

CONTACT TT STERN-ENZI: letters@ citybeat.com Queen of Katwe is, first and foremost, an

IN THEATERS DEEPWATER HORIZON – The story is true and it should be fairly well-known to most, because it made headlines and dominated the news cycle back in April of 2010, when an explosion on the offshore drilling rig Deepwater Horizon created the worst oil spill in U.S. history.

What director Peter Berg (known for Friday Night Lights, The Kingdom and Lone Survivor) did here, working with screenwriters Matthew Michael Carnahan and Matthew Sand in adapting an article from David Rohde and Stephanie Saul, is narrow the focus down to the pivotal sequence of events that led up to the explosion and then render the chaos of the moment in all of its heat and frenzy. We primarily get two points of reference. One, Mike Williams (Mark Wahlberg), is an efficient and hardworking crewmember on the rig. We see him at home with his wife (Kate Hudson) and their young daughter on the morning he takes off. This brief interlude presents a man with everything to lose. And then there is Jimmy Harrell (Kurt Russell), the no-nonsense leader of the crew. Harrell and Williams are the thankless heroes in Berg’s survival tale, but Deepwater Horizon could (and really should) have broken up the presentation of the fiery action with a sobering examination of the consequences. In The Kingdom and Lone Survivor, Berg proved capable and surehanded in linking the frenzied peril to a single character, someone who would be the audience’s stand-in and its eyes and ears. One of the key differences in those films, however, was that the heroes were taking decisive action against outside forces or players with malicious intent. In Deepwater Horizon, Williams and Harrell work feverishly to save lives, but they are doing so against, to a large extent, their own interests. As workers on the rig, they helped to create this catastrophe and the destructive impact it had on the environment, which the film never discusses.

The movie wants us to focus on their trying to stay alive, on the altruistic concern of saving colleagues in harm’s way, on making sure that Williams gets back to his beautiful wife and daughter so then everything will be all right. (Opens wide Friday) – tt stern-enzi (PG-13) Grade: D+ ALSO OPENING THIS WEEK: Dancer // Demon // The Dressmaker // Masterminds // Miss Peregrine’s Home for Peculiar Children

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REVELING IN CULTURE since 1981

Live From New York, It’s Season 42

BY JAC KERN

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Saturday Night Live (Season Premiere, features host Margot Robbie (Suicide 11:30 p.m. Saturday, NBC) is an American Squad’s Harley Quinn) and musical guest institution. Going into its 42nd season this The Weeknd. week, the sketch comedy show has become one of the longest-running network television programs in the country.

American Horror Story: Roanoke (10 Of course, SNL is one of those shows p.m. Wednesday, FX) – This week, the trio that’s never as good as it used to be, looks for Flora, who vanished last week whether you’re referring to the original cast, leaving only her yellow hoodie behind … the Chris Farley/Mike Myers/Adam Sandler at the top of a hauntingly tall tree. era or Tina Fey’s seasons. It’s like a rite of Westworld (Series Premiere, 9 p.m. passage to hate on the current cast until the Sunday, HBO) – Exploring “the dawn of show hits another eventual high point. But it’s hard to deny that SNL has slipped in recent years.

There’s usually only a single knockout episode with the season’s biggest star host and a sprinkling of solid pre-recorded musical skits throughout the season. Yet each year I return, hoping the right mix of writers, cast and crew might capture the same energy as favorite seasons past.

I imagine it’s how Bengals fans feel sometimes.

So let’s start with the SNL’s Kate McKinnon was a winner at the 2016 Emmys. positives. Changes are PHOTO : Courtesy of ABC coming in the form of writing team: Chris Kelly and Sarah Schneider have been artificial consciousness and the future of promoted to co-head writers and there sin,” Westworld takes place at an eponyare seven new staff writers. Kate McKinmous futuristic amusement park where non, fresh off her Emmy win, is likely the attendees live out their Wild West fantabiggest player of the cast right now. The sies — from shootouts to brothel-hopping Ghostbusters breakout star portrays Hill— by taking advantage of hyper-realistic ary Clinton, which will be a regular charandroids. The drama stars Anthony acter in at least the first several episodes Hopkins as the park’s mastermind director, this season, and her collection of kooky Ed Harris as a gun-slinging park cowboy, characters will also keep her busy.

Evan Rachel Wood as a Western farm Former cast member Darrell Hammond girl who discovers her life is not what she (1995-2009) will continue to serve as the thought and many more stellar actors. show’s announcer while stepping in as Donald Trump and Bill Clinton, two of The Mindy Project (Season Premiere, his longtime impressions. New featured Tuesday, Hulu) – People have a very imporplayers include promoted writer Mikey Day, tant choice to make this fall. For some, it’s a Chicago improviser Alex Moffat and standpresidential candidate. For Mindy, it’s Jody up impressionist Melissa Villaseñor, the or Danny. Picking up with the love triangle show’s first Latina cast member. Michael created in Season 4’s cliffhanger finale, this Che, Pete Davidson and Leslie Jones have season features guest stars Nasim Pedrad, all been bumped up to repertory status.

Bryan Greenberg and B.J. Novak.

The season will also feature more This Is Us (10 p.m. Tuesday, NBC) – Looksketches and longer bits, thanks to a 30 ing to fill the weepy family dramedy void percent reduction of commercials during the show — hopefully this means more of that Parenthood left? This touchy-feely a good thing, and not that we’ll have to sit series is easy to like and… that twist! Kate through skits that otherwise would have gets support from her new boyfriend as she been left on the cutting-room floor. struggles to lose weight; Beth questions the On the downside, SNL booted two of motives of Randall’s biological father, Wilits longest-running cast members (since liam; marriage and raising three children 2010) that dominate impressions, includbegin to take a toll on Rebecca and Jack. ing the only player that portrays our curCONTACT JAC KERN: @jackern rent president. Saturday’s season opener

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FOOD & DRINK

You Can Have It All

A David Lynchian atmosphere, fusion menu and buckets of booze await at Howl at the Moon/Splitsville REVIEW BY MADGE MARIL

E

something ambiguously labeled “sweet and sour.” We tried to order the bucket but were told we would have to settle for the “Bone” version of the Adios Amigo, as the liquor content in the 86-ounce bucket would have incapacitated the two of us.

The Bone was only $15, which isn’t bad for 24 ounces of alcohol and sugar served on the rocks. The drink was electric blue. It tasted like blue, too. With all of the different types of liquor inside, there wasn’t a clear winner.

But that certainly doesn’t mean there were any losers. It was served with a few lemon slices and two cherries in a tall glass shaped like a cartoon bone (though I’m not sure if I would’ve landed on that metaphor had it not been fed to me by the menu).

I fancy myself a bit of a liquor expert and I drank a majority of the Adios Amigo and swore there was more soda and ice than alcohol. My boyfriend patted my hand lovingly. Ten minutes later, I was exclaiming, “Instagram is fake — where are our real friends?” as I took a photo of the disco ball above us. Twenty minutes later, his phone buzzed. I asked him who the hell was texting him at this hour. It was 8 p.m. It had been me. There’s something refreshing about the drinks at a chain restaurant packing a punch.

I imagine that if I called my father and asked him what he would put on the menu of a restaurant, he’d hem and haw, then suggest pizza, well, maybe, sushi? And burgers.

Definitely burgers. And that, folks, is the menu at Howl at the Moon/Splitsville: pizza, sushi, burgers, nachos, taco salad, brownie sundaes… it goes on and on. We ordered the crab Rangoon sushi roll ($10), a cheese pizza ($9) and the classic burger ($9) to sample the three major players.

The sushi came out first. Advertised as Kani Kama krab, cream cheese, water chestnuts and chives tempura-fried and served with Thai chili sauce, Sriracha chili sauce and spicy mayo, the sushi is surprisingly delicious for a classy bowling alley restaurant tackling Asian fusion. The sauces were served decoratively across the bottom of the plate and had a nice little karate kick to them.

The pizza was massive and delicious with a thick bready crust and a fresh-tasting tomato sauce under the layers of melting cheese you’d expect from an Americana restaurant. I’d been expecting a personal pizza for $9 — we were at The Banks after all.

Nope. Good news is that if you and boo are at The Banks on a budget, Howl at the Moon has you covered. They offered a variety of toppings for only a few more bucks, too; the most expensive pizzas are only $12.

The burger was typical, which is not at all a bad thing. It’s comforting to take a bite of

Howl at the Moon/Splitsville has food and drink options to please almost everyone, especially those who like blue alcohol. a burger and feel like you’ve had it a million times. It was a hearty sandwich with traditional toppings, served with thick steak fries.

When we got up to leave, a man leaned forward from his barstool and held up his fist to me. I’d been inside Howl at the Moon/ Splitsville long enough to know exactly what

to do: I whooped and fist-bumped him back.

Howl at the Moon renewed something warm and Midwestern inside of me. Something full of pizza, burgers and sushi. So if you find yourself wandering The Banks, stop into Howl at the Moon, because sometimes we really can have it all.

Howl at the Moon/Splitsville Go : 145 Second St. East, Downtown; Call : 513-421-2695; Internet: howlsplitsville. com/cincinnati-oh; Hours : 4 p.m.-1 a.m. Monday-Wednesday; 4 p.m.-2 a.m. ThursdayFriday; 11:30 a.m.-2 a.m. Saturday-Sunday.

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arlier this year, I was discussing apartment shopping with my father and we were going through a laundry list of what an ideal new apartment had to have: a washing machine, preferably two floors, a guest room, green space. Making these requests of the landlord gods was laughable and I doubted we’d ever be able to find an apartment that would make the cut.

But his reply was, “Why can’t we have it all?”

It is this question that fuels Howl at the Moon/Splitsville. Half TGI Friday’s on steroids, half luxury bowling alley, Howl at the Moon/Splitsville is Dad’s dream: it has everything.

The restaurant/entertainment destination is located at The Banks, already home to Cincinnati’s feverish hallucination of luxury sportsball and chrome, which I tend to forget exists until I’m being convinced by a friend that I, my high school’s anime club president, would enjoy a Reds game or that maybe Oktoberfest will be less crowded this year.

It was this exact thinking that led me to Howl at the Moon/Splitsville the Saturday of Oktoberfest. I was entirely too sober for the accordion music and the kind of aggressive hangry that was making my boyfriend ignore me. We were walking aimlessly past crowded food stands at the fest when I spotted Splitsville’s neon sign in the distance.

As we entered, a perky waitress seated us near the windows and asked us what kind of alcohol we wanted. The streetcar drifted by outside and men in lederhosen clambered on board. Yes, Howl at the Moon/Splitsville is adjacent to a streetcar stop. As Cincinnati Bell puts it: connecting what matters.

Howl at the Moon/Splitsville’s vibe was everything I hate to love about Ohio. Country Pop was blaring, there were six televisions playing sports I could watch from my booth alone, men were yelling at the athletes on the screen and a disco ball spun from the ceiling.

Past the bar was a stage with assorted instruments covered by a projector screen playing — you, guessed it — sports, which is great, depending on how much you love sports. There were signs advertising the ability to “book your next party here,” and I was flattered that this place thought I threw that many parties. The sound of bowling balls knocking through pins was a distant background noise. There are no words to describe the absolutely accidental Lynchian atmosphere this restaurant/bar/bowling alley has created.

For drinks, my boyfriend and I decided to split the Adios Amigo. We were trying to have it all, and this drink had it. It contains UV Blue vodka, curaçao, gin, tequila, rum, some sort of lemon and lime soda and

P H O T O : b l u e m a r t i n i photo g r a ph y

FOOD & DRINK WHAT’S THE HOPS

Pumpkin, Pints and Parties

BY GARIN PIRNIA

As we launch headlong into fall, the Oktoberfests keep coming — and so do the autumnal craft beers — as area breweries use football, fall and Halloween as excuses to serve and brew more beer.

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• Put a bird on it at Listermann’s Crafts & Drafts workshop 4-7 p.m. Oct. 2. Knock on Wood DIY Crafts, which hosts the workshop, will be offering two crafts for participants to create with a Halloween or fall theme, and Listermann will be offering the beers. The workshop costs $35 and includes supplies.

• The Covington Crawl 2: The Cov Abides is a Big Lebowski-themed scavenger hunt that takes participants through area bars, starting in MainStrasse and ending at Braxton. From 7-9 p.m. Oct. 8, teams of six have two hours to complete challenges such as taking a photo of someone with a mullet or drinking white Russians in a bathtub. Winners are tallied at the after party, complete

• Rhinegeist recently tapped Gummybomb, a reddish pale ale containing peach and grapefruit notes with Amarillo and Mosaic hops. The brewery also released cans of Crash, a hoppy pale ale with inklings of tangelo and papaya.

• Braxton has a new can on the market.

Blown Gasket — a once homebrewed robust porter — will be available for purchase in the taproom starting Oct. 4, but won’t be available on draft until Oct. 14, the date homebrew was legalized in 1978.

• Mt. Carmel will pour their fancy Belgian Quad beer, The Ardennes, exclusively every Thursday night at their taproom in fall and Fibonacci Brewing toasts fall with Taps & Tarot on Friday. winter.

PHOTO : Fibonacci Bre wing

Beer Events • The Cincinnati Donauschwaben Society throws its 24th-annual Oktoberfest Sept.

30-Oct. 2 at their hall in Colerain. The fest will feature a feast of spit-roasted chicken and pig, beer and live German bands.

• From 6-9 p.m. Sept. 30, Fibonacci Brewing toasts fall with Taps & Tarot, featuring tarot card readings and a tapping of their seasonal Tollhouse Caps² ghost reaper beer.

Ena’s Jerkmania food truck will also be on hand to dish out Caribbean eats.

• Patrick Swayze passed away in 2009, but from 5-11 p.m. on Sept. 30, Ei8ht Ball will recognize his drag efforts in the 1995 movie, To Wong Foo, Thanks for Everything! Julie Newmar. The brewery celebrates Swayze Day with a tapping of To Wong Brew, a sour brown ale brewed with tamarind.

• The city of Hamilton turns 225 this month, and the city is celebrating with a weeklong party Sept. 30-Oct. 7. Hamilton-based brewery Municipal Brew Works has brewed a special beer for the occasion called 1791, the year Hamilton was founded. The beer will be on hand at events like a birthday party at the brewery on Sept. 30 (free dessert!).

• Darkness Brewing gets into the fall spirit when they tap their latest beer, Blumpkin, a black pumpkin ale brewed with actual pumpkin and Colonel De spices. Drink it at the Horror Art Show 6-10 p.m. Oct. 1, featuring artists creating live horror-themed pieces and henna tattoos.

with live music, food trucks and bowling. It’s $69 for team registration; proceeds benefit Covington’s fire and police departments.

• Listermann hosts the fifth-annual Cincinnati Craft Brewers’ Oktoberfest 5 p.m.-midnight Oct. 14 and noon-11 p.m.

Oct. 15. Only one German Oktoberfest beer will be poured at the event, and the rest are autumnal beers from local breweries, including MadTree, Cellar Dweller, Blank Slate, Fifty West, Taft’s Ale House and more.

• Cincinnati Girls Pint Out is a local organization that encourages females to have a night out and drink craft beers. On Oct. 14, they team up with Ei8ht Ball for an event called Amelia (Beer)Hart, which entails imbibing local beers. Men can participate, too, but only women receive special deals.

Other Beer News • Rhinegeist has solidified its nownational domination after it started serving its beers in Boston. Finally, Bostonians get to sample Truth, Cougar, Crash and Franz and realize how much Ohio rules.

• Alexandria Brewing Company is in the midst of a Kickstarter campaign to raise $20,000 by Oct. 30 — so far they’ve raised almost $10,000. They aim to be the first brewery in Alexandria, Ky. since the 1880s.

CONTACT GARIN PIRNIA: letters@ citybeat.com

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

WEDNESDAY 28

Pizza Napoletana — Learn the authentic process of making the pizzas of Naples, Italy. 6-9 p.m. $68. Cooks’Wares, 11344 Montgomery Road, Harpers Point, cookswaresonline.com.

Pasta: Season, Sear & Sauce — Learn three ways to prepare pasta. 6-8 p.m. $75.

The Learning Kitchen, 7659 Cox Lane, West Chester, thelearningkitchen.com.

Signature Over-the-Rhine Tour — Learn about the history of Over-theRhine as you explore both casual and upscale eateries in the revitalized Vine Street corridor. Includes three to four sitdown 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-theRhine, cincinnatifoodtours.com.

THURSDAY 29

Hands-On with Dewey’s Pizza — Chuck Lipp of Dewey’s Pizza will demonstrate and make a few pizzas for the class and work with you to help you make one to take home and bake later. 6:30-9 p.m. $50.

Cooks’Wares, 11344 Montgomery Road, Harpers Point, cookswaresonline.com.

Breakfast Enchiladas for Dinner — A creative and easy meal for breakfast, lunch or dinner. Prepare breakfast enchiladas with sausage, scrambled eggs and tomatillo cream sauce. 6-8 p.m. $70. The Learning Kitchen, 7659 Cox Lane, West Chester, thelearningkitchen.com.

Jag’s Tastings 101 — A four-course steaktasting menu, paired with wine. 6:30 p.m. $50. Jag’s Steak and Seafood, 5980 West Chester Road, West Chester, jags.com.

Back to Basics: Sharpen Your Knife Skills — Chef Bungenstock teaches you how to handle knives like a pro. 6-9 p.m. $65. Midwest Culinary Institute, 3520 Central Parkway, Clifton, culinary.cincinnatistate.edu.

Porkopolis Pig & Whiskey Festival — A sampling of barbecue, bourbon and fun.

Includes a beer tent and live music. 5-10 p.m. Friday; 11 a.m.-10 p.m. Saturday.

Free. Washington Park, 1230 Elm St., Over-the-Rhine, citybeat.com.

Donauschwaben Oktoberfest — Features continuous live German music, a wide selection of food, more than 25 German and domestic beers, a pit-roasted Bavarian pig, chicken, sausage and more. 6 p.m.-midnight Friday; 2 p.m.-midnight Saturday; 10 a.m.-8 p.m. Sunday. $3.

Donauschwaben Park, 4290 Dry Ridge Road, Colerain, cincydonau.com.

SATURDAY 01

Sweet Stroll Through Over-the-Rhine — Explore the bakeries and specialty shops of OTR on a 2.5-hour walking tour. Includes six sweets samples and one glass of wine, beer, specialty coffee or tea. 10 a.m.-2:30 p.m. $45. Leaves from Daisy Mae’s Market in Findlay Market, 1801 Race St., Overthe-Rhine, cincinnatifoodtours.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 modernbreweries for tours and tastings. 10:30 a.m. $75. Christian Moerlein Malt House and Taproom, 1621 Moore St., Over-the-Rhine, cincybrewbus.com.

Sunflower Festival — A sunflower maze, pumpkins, hayrides, food trucks, local vendors and entertainment. 10 a.m.-4 p.m.

Saturday and Sunday. $8; $5 children and seniors. Gorman Heritage Farm, 10052 Reading Road, Evendale, gormanfarm.org.

Oxford Apple Butter Festival — An oldfashioned festival featuring apple butter, cider, live music, craft vendors, alpacas, funnel cakes and more. 10 a.m.-5 p.m. Saturday and Sunday. $4; free 12 and under. Hueston Woods Pioneer Farm, 6924 Brown Road, Oxford, oxfordmuseumassociation.com.

Kids and Teens in the Kitchen: Indian Feast — Chef Megan teaches kids how to make Indian dishes at home. 10 a.m.-1 p.m. $50. Midwest Culinary Institute, 3520 Central Parkway, Clifton, culinary. cincinnatistate.edu.

SUNDAY 02

Cincy Brunch Bus — Start your morning at Taft’s Ale House for some pints and pork products. 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 03

Sugar and Spice: Sweet and Savory Appetizers and Desserts — Contrasting flavors complement each other by bringing out the best in dishes like polenta squares and risotto croquettes. 6:30-9 p.m. $45.

Cooks’Wares, 11344 Montgomery Road, Harpers Point, cookswaresonline.com.

TUESDAY 04

Easy Weeknight Meal: Fresh Pasta with Sauces — Ilene Ross leads this class on learning how to make fresh pasta from scratch with a few great sauces. 11:30 a.m.-1:30 p.m. $40. Cooks’Wares, 11344 Montgomery Road, Harpers Point, cookswaresonline.com.

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FRIDAY 30

The New School Year Needs A New Treat

music

Getting Antsy

Plastic Ants is about to raise its profile exponentially with Imperial Phase, the band’s sophomore full-length

BY BRIAN BAKER

PHOTO : Michael wilson

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P

lastic Ants has been around in one form or another for the past six years, dropping an EP and two full-length albums in that time, including the quartet’s imminent sophomore disc, Imperial Phase.

The band, a perfect balance of local music luminaries and virtual unknowns, doesn’t play out with much regularity due to scheduling issues; guitarist/vocalist/ primary songwriter Robert Cherry is a full-time creative director, keyboardist Guy Vanasse is a church organist/pianist/choir director, bassist John Curley continues to divide his time between the rejuvenated Afghan Whigs and his behind-the-board work at his renowned Ultrasuede Studio and drummer Joe Klug remains perpetually busy behind the kit for Wussy, behind the bar at the Northside Tavern and behind the stroller of his newborn daughter, Georgia.

After a side discussion on the supernatural merits of The Who’s rhythm section, Klug offers a bit of trivia about his new addition.

“Since you brought it up, I will add that she was born on Keith Moon’s birthday,” Klug says over beer and pizza at Ultrasuede.

“Well, I want to be there for her 16th birthday when she drives her car into the pool,” Curley says.

With any luck, Plastic Ants will have the staying power to be the musical entertainment at Georgia Klug’s sweet-16 soirée.

The band’s sound hovers in the nexus of Indie Rock, Prog, Pop and an arsenal of influences stretching back to the members’ ’70s/’80s childhoods. Imperial Phase, the follow-up to 2014’s excellent Falling to Rise, features a slight sonic expansion with Cherry’s shift to electric guitar and a more cinematic lyrical scope, giving the band an urbane Glam feel, a bit like Al Stewart fronting the Spiders from Mars.

“It starts with ’60s and ’70s singer/ songwriters,” Cherry says. “All the classic ’60s/’70s bands, then all the Post Punk bands in the ’80s, Brit Pop in the ’90s. And I definitely love the Spiders from Mars. I think the area where our tastes intersect is early-’70s Abbey Road era — George Harrison is a big touch point, and Pink Floyd.

With this album, I think we all realized we had a passion for Yes. It’s one of those funny things that maybe you’re reluctant to admit — at least I was, based on where they wound up — but as we know each other better, you build trust and go, ‘Oh, you like that, too? Cool, we can try that.’

“There was a brief Metal phase, which has been amusing for Guy, who is classically trained.” Cherry continues. “John and I have been trying to convince him of the

Plastic Ants’ latest album shows the evolution of the musicians’ chemistry and comfort. value of AC/DC. He just humors us, but we’re making progress.”

Cherry’s been making progress since arriving in Cincinnati from Cleveland 11 years ago. In 2010, the former Alternative Press editor proposed Plastic Ants to old friend Curley, a band which consisted of them along with two of Cherry’s Toronto friends, guitarist Calvin Brown and drummer Andrew McMullen. The quartet’s eponymous debut EP sparked some interest, but there was an obvious stumbling block.

“The thing had a built-in limitation by the fact that we lived in different countries,” Curley says.

“That was the most wildly impractical band ever,” Cherry admits. “Two guys from the Canadian Queen City and two guys from the American Queen City.”

That United Nations version of Plastic Ants played several shows, but the logistics of crossing borders to get things done proved to be daunting. By 2012, Cherry and Curley began exploring a lineup with more immediate local ties. Klug was an easy choice — he and Curley had been the rhythm section for Staggering Statistics — but the selection of Curley’s longtime friend Vanasse for the other open slot was a wild card for a variety of reasons. To begin, he was a keyboardist, so Plastic Ants would be losing its second guitarist. And his aforementioned classical training and lack

of discernible Rock skills notwithstanding, Vanasse, who was sick and absent from the interview, had never been in a band before.

“I’d been in bands that had keyboard players, but not where keyboards were the cornerstone of the group,” Curley says. “I was inspired a little by The Zombies and the sound that those guys got. Rob and I definitely had conversations where we thought it would be cool to have keyboards instead of second guitar. Knowing Rob and hearing how he writes, I thought keyboards would be a cool way to open up the stuff he was already doing. Guy was an obvious choice because he’s a great person, easy to hang out with and fun to be around, like everybody else in the group.”

At this point, the musicians are working toward balancing their individual schedules to make more time for gigs, and finding the formula for translating Cherry’s demos into collaborative songs while maintaining their initial spark (as Klug notes, “Sometimes, by the time you get to the recording stage, the magic is gone”). But one thing the musicians agree on is that their songs need to form a cohesive whole.

“We all grew up listening to albums, we all like making albums,” Curley says. “We think about the recording of songs in terms of an album — how the songs follow each other.

I wouldn’t know how to approach it any

differently. The music industry is focused on singles, because that’s where the profit is.

Fortunately, we can do whatever we want.”

The big differences between Falling to Rise and Imperial Phase has been Cherry’s shift to electric guitar, the growth and evolution of the quartet’s chemistry and Vanasse’s rising comfort level with the band; he and Cherry co-wrote two songs on the new album, a first for both of them. As a result, Imperial Phase is the sign that Plastic Ants is tapping into its potential in a major way.

“Falling to Rise was the first-ever album Guy had made, and I’m super happy with what he brought to that, but by this album, he was more what I would call awake in the process,” Cherry says. “He came with a lot more ideas, and he was more confident in what he was offering. And we all had a better sense of what our strengths were. Knowing that Joe is a multi-instrumentalist, beyond being a great drummer, we encouraged him to contribute in ways he hadn’t before. He gave us some cool synth solos on ‘Tintype,’ and on ‘Sea of Upturned Faces,’ Joe suggested that solo, which is amazing. That’s the exciting thing, getting to know each other better and what we’re capable of individually and then mold the band identity and push the walls out.”

PLASTIC ANTS’ new album is available Oct. 7.

Pre-order it now at plasticants.bandcamp.com.

music spill it

King Records Month Comes to an End

BY MIKE BREEN

More Local Notes

Locals Bang Out Heavy Favorites

BY mike breen

OctOber 5

NederlaNder eNtertaiNmeNt PreseNts:

DEERHUNTER

w/ Jock Gang, Aldous Harding OctOber 7

What Would GG Text?

You know how there are times when you want to text someone that you feel like defecating in public and bashing your head in with a microphone until it bleeds, but you just don’t have time to type all of that out? Now, thanks to a new set of GG Allin-themed emojis, it’s easier than ever. The emojis were created to be representative of the debauched legacy of Allin, the most outrageous and controversial Punk artist of all time. Things don’t get too repulsive — iTunes wouldn’t sell the set if there was a “microphone shoved in anus” one — but there is a “chocolate”-covered banana (a toneddown reference to a stunt similar to the microphone incident) and a headstone emblazoned with “Scumfuc.”

No Thanks for the Mammaries In an interesting twist of karma, Tim Lambesis, singer for Christian Metal band As I Lay Dying, is growing boobs. The vocalist is serving a six-year jail sentence for attempting to hire someone to murder his wife. Part of Lambesis’ defense was that his steroid use had caused his erratic behavior.

In jail, Lambesis suffered side effects from steroid withdraw, including enlarged breasts. He is suing the medical staff at the jail for depriving him of the medication he was prescribed to fight the side effects, asking for a mere $35 million for his suffering.

Misfits No More Jerry Only of legendary Punk band Misfits was super psyched the group reunited for a couple of festival gigs recently. In interviews he talked about the band touring and making a new album, even telling Alternative Press he felt the band currently has “the potential to be the biggest band ever.” But singer Glenn Danzig, who has done well as a solo artist, apparently doesn’t see a huge market for elderly guys singing spooky Punk songs in skull makeup. He told The New York Times the reunion is over and that he highly doubted a new Misfits album would ever happen.

esseNtial PrOdUCtiONs PreseNts:

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OctOber 15

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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

OctOber 22

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w/ Steepwater Band, 90 PROOF TWANG OctOber 23

TWIZTID

September 28 esseNtial PrOdUCtiONs PreseNts:

THE MAIN SQUEEZE w/ Tropidelic September 30

ZEBRAS IN PUBLIC, The Last Troubadour, The Peaks OctOber 1

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C I T Y B E A T . C O M • S E P T . 2 8 – O C T . 0 4 , 2 0 1 6 • 3 3

September was designated King Records crowd with some hard and heavy favorites.

Month in Cincinnati, and numerous events The rest of the lineup includes Moonbow, throughout the area (from lectures and radio Red Beast, Lovecrush88, The Nothing, specials to concerts, film screenings and Dead Man String Band, The Whiskey more) celebrated the legacy of the locally Shambles, Magic Lightnin’ Boys, Moonbased record label that changed popular light and Whiskey, Endless Nameless, music beginning in the early ’40s. As SepChakras, House of Feeble Minds, Down tember comes to an end, King Month winds Strange Charm, Father Smash, Evil down with a pair of live music events.

Ivan, 95 Nasty, Blood on the Blade and On Thursday at 6 p.m., the Folk School Hillbillies of Death.

Coffee Parlor (332 Elm St., Ludlow, Ky., Tickets for the 8 p.m. show are $10. folkschoolcoffeeparlor.com) will pay tribute Organizers plan to donate proceeds to the to King’s different styles of music with Southgate House to help the venue improve local acts covering various King-released the sound system on the Lounge stage. tunes. Cincy’s R&B/Soul squad Krystal Peterson and the Queen City Band will play selections from the label’s classic R&B catalog, while the Americana/ Country/Blues group Joe’s Truck Shop will honor the label’s Roots music output.

There is no cover charge for Thursday’s event, although donations for the performers are appreciated.

Meanwhile, local Blues great Sonny Moorman closes out King Records Month at The Greenwich Krystal Peterson and the Queen City Band honor King Records.

(2442 Gilbert Ave., Walnut PHOTO : provided Hills, the-greenwich.com) Friday night. Moorman will pay tribute to guitar icon Lonnie Mack, who passed away earlier this year. Mack • Friday and Saturday, CityBeat preswas a session player on King releases and ents its second-annual Porkopolis Pig & also recorded some of his biggest hits at Whiskey Festival at Washington Park (1230 King’s studios for the local Fraternity label.

Elm St., Over-the-Rhine, washingtonpark.

Mack was one of the biggest influences on org). Along with various barbecue and pork the electric Blues Rock boom of the ’60s offerings and bourbon, whiskey and scotch and ’70s. Moorman performs at 8 p.m. and samples, the free festival also has a solid admission is $5. lineup of local Roots/Americana acts. PlayFind more about King Records (and King ing Friday (beginning at 5 p.m.) are Wilder, Records Month) at kingstudios.org.

Moonshine & Wine, Right Turn Clyde, Mark Utley & Bulletville and Comet Bluegrass All-Stars. Saturday, music begins at 2 p.m. and the lineup features If you were a fan of the old MTV show HuTown Holler, Arlo McKinley & The Headbangers Ball (or are a fan of classic Lonesome Sound, Hayden Kaye, Daniel Metal/Hard Rock in general), the Southgate Wayne, Harlot, The Part-Time GentleHouse Revival (111 E. Sixth St., Newport, men, Blair Carman and Young Heirlooms.

Ky., southgatehouse.com) is the place to be • This Friday, the monthly Punk Rock this Saturday. The BANG BANG Salon’s Night at Southgate House Revival is headHeadbangers Ball concert features a slew lined by Cincinnati’s The Z.G.’s, just back of local groups performing a pair of covers from a tour that took them to the West of their favorite Metal/Hard Rock tunes by Coast and back, with dates in Oakland, Las bands ranging from Mötley Crüe and Slayer Vegas, Dallas and Nashville (among others to Kyuss and Motörhead. stops). Friday’s openers are Dayton, Ohio’s Local acts of varying musical stripes are The Give-Ups and Richmond, Ind.’s Misunslated to appear — from Thrash, Indie Rock derstood. Showtime is 10 p.m. Admission and Blues Rock bands to Roots rockers and is just $5. even a Folk duo. Students from Mason’s CONTACT MIKE BREEN: mbreen@citybeat.com School of Rock will also entertain the

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LEGAL NOTICE: IN THE COURT OF COMMON PLEAS HAMILTON COUNTY, OHIO U.S. Bank National Association, as Trustee for Asset Backed Securities Corporation Home Equity Loan Trust 2002-HE3, 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 twenty-eight (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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MUSIC sound advice Tuelo with Enemy Planes Wednesday • MOTR Pub When South African native Tuelo Minah moved from her homeland to Connecticut in 2004, she had no intention of becoming a professional singer and songwriter. In fact, she says she never really sang when in South Africa and wasn’t aware of the secret talent she had within her.

Hearing Minah (who performs with her band as simply Tuelo) and her compelling voice and engaging songs on the 2014 album Tuelo & Her Cousins (“Her Cousins” is the name of her excellent backing band) and, even more so, on the forthcoming EP Zero, her lack of confidence is unfathomable.

She has an instantly gripping, unique and seemingly effortlessly soulful vocal style that oozes emotion and passion in a way truly gifted but “untrained” vocalists often do. Though there’s not much sonic similarity, it is reminiscent of Billie Holiday’s path Tuelo to developing her P H O T O : C a n d i c e McN i e l expressive, mysterious sound; without formal vocal training, Holiday found magic within her, and her singularity ended up making her the greatest singer in the history of Jazz.

Like Holiday, Minah appears to have just been born a natural.

Minah moved to Ana Popovic New York City in PHOTO : Ruben Tomas 2010 and started her new life as a singer in earnest. She began to get some impressive work (particularly for a “newcomer”), earning backup-singing gigs with artists like Paul Simon and Hugh Masekela. She also became a member of Angélique Kidjo’s band, contributing backups to Kijo albums like 2010’s Õÿö and 2014’s Eve. In NYC, Minah gradually found the members of her band, who’ve helped her create the equally captivating music to match her out-of-this-world singing. Her Cousins album features some interesting arrangements and songwriting, with Minah incorporating elements of South African music (and also occasionally singing in her native Setswana language) into the record’s folkish Pop/ Rock style, which also features dashes of Funk, Jazz and Soul. But with the Zero EP, it sounds like Minah has now found her musical voice, showcasing a more distinctive sonic structure that’s even more difficult to

pin to one precise genre. There’s an Enoesque ambient aura to most of the EP’s songs and the array of influences (including classic R&B/Soul and even some New Wave courtesy of some tastefully integrated synths) are less obvious, having been melted together into something Minah can truly call her own.

It’s sort of like the difference between her old boss Simon’s rudimental, touristy interpretation of African music on Graceland and the more creative, less obvious application of those same influences by Indie Pop rockers Vampire Weekend. And whether it’s the tinkering in the songwriting and musical motifs or a sign of Minah’s maturing and growing confidence as a frontperson, that dazzling voice shines even more brightly on Zero.

(Mike Breen) Ana Popovic Wednesday • Southgate House Revival Like Bonnie Raitt, Susan Tedeschi and a host of other gendermyth-busting talents, Ana Popovic obliterates the three-word suffix “for a girl” from a sentence that begins, “She plays great guitar...” For the past two decades, Popovic has applied her estimable performing and writing gifts to variations of the Blues, folding in elements of Rock, Funk, R&B and Jazz, played with soulful delicacy, concussive power and an irresistible groove-drunk swing that has helped her attract an evergrowing fan base.

Born in Belgrade, Serbia in 1976, Popovic became a Blues fan under her father’s tutelage and began her own guitar journey at age 15. Four years later, she formed the R&B/ Soul/Funk outfit Hush and spent the next three years gigging around Europe, playing clubs and festivals and earning an impressive reputation. In 1998, Hush recorded its first album of originals and Blues standards titled Hometown, which proved to be the group’s debut and swan song. Hush broke up when Popovic relocated to the Netherlands to study Jazz guitar.

In the midst of her studies, Popovic formed a band under her own name, which quickly led to her appearance on the Jimi Hendrix tribute album Blue Haze, raising her profile even further. In 2001, Popovic and her band recorded their debut album Hush! in Memphis with a variety of guest

musicians, including guitarist Bernard Allison. The success of the album convinced Popovic to abandon her guitar studies and devote full attention to her career.

Since 2003’s Comfort to the Soul, Popovic has released an album every two years, including six more studio sets and her 2005 live CD/DVD Ana!, recorded in concert at Amsterdam’s famed Melkweg club.

Popovic’s just-released triple album Trilogy — the discs are divided into “Morning,” “Mid-Day” and “Midnight” volumes — is a compendium of her musical brilliance, with soulful songs that soothe and scorch in equal measure, guitar runs and riffs that inspire thoughts of Hendrix, Frank Zappa, Carlos Santana, B.B. King and any number of other world-class axemasters and a husky voice that defines the raw emotion and endless depth of the Blues. (Brian Baker)

FUTURE SOUNDS PROPHETS OF RAGE – Oct. 5, Riverbend ADIA VICTORIA – Oct. 5, MOTR Pub JOHN SCOFIELD, JOHN MEDESKI & BILL STEWART – Oct. 8, Live! at the Ludlow Garage CAVEMAN – Oct. 12, Woodward Theater TODD SNIDER – Oct. 13, 20th Century 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

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DWEEZIL ZAPPA – Oct. 15, Madison Theater JIMMY EAT WORLD – Oct. 15, Bogart’s ANTHONY HAMILTON – Oct. 15, Aronoff Center UBAHN FEST WITH NAS, GIRL TALK, ATMOSPHERE AND MORE – Oct. 21-22, Riverfront Transit Center TEYANA TAYLOR – Oct. 22, OTR Live BLACKBERRY SMOKE – Oct. 22, Madison Theater MEWITHOUTYOU – Oct. 24, Southgate House Revival SAINT MOTEL – Oct. 24, Bogart’s ONRY OZZBORN AND ROB SONIC – Oct. 25, Woodward Theater THE JAYHAWKS – Nov. 1, Madison Theater COWBOY MOUTH – Nov. 2, Southgate House Revival TIMEFLIES – Nov. 3, Taft Theatre LISA LOEB – Live! at the Ludlow Garage WILD BELLE – Nov. 8, Woodward Theater

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C I T Y B E A T . C O M • S E P T . 2 8 – O C T . 0 4 , 2 0 1 6 • 3 5

moe.

Thursday • Moonlite Gardens at Coney Island Over a quarter century ago, a group of musical friends in Buffalo, N.Y. created a swinging assemblage they dubbed Five Guys Named Moe, taking the name from the classic swingin’ Louis Jordan song. The band eventually shifted to moe. a Frank Zappa-meetsPHOTO : Provided Grateful Dead style and, after realizing many other groups were using its original moniker, the musicians modified their band name to its more direct current state (period included).

After a handful of personnel changes, a lot of gigging and the recording of its first two albums, 1992’s Fatboy and 1994’s Headseed, moe. got serious — the members quit their day jobs, relocated to Albany and focused their efforts on making moe. happen on a bigger level. Moe.’s lineup has been stable for the past 17 years, and in that same time, the quintet has become not only one of the giants of the Jam community, but also an incredible philanthropic force, donating time, effort and music to causes as varied as tsunami, earthquake and hunger relief and autism resource assistance.

Since its official start in 1990, moe. has recorded 11 studio albums, including its most recent, 2014’s No Guts, No Glory, and issued a similar number of live releases. The band also began selling flash drives with recordings of performances to show attendees post-concert several years ago, in addition to offering live recordings through its website (moe.org). Adding even more to the wide availability of the group’s music, moe.’s

open-taping policy at concerts over the years has resulted in an astonishing availability of recordings; in just one location (the Internet Archive at archive.org), fans — who long ago christened themselves “moe.rons” — can peruse a stash of nearly 3,300 live shows and download them for free.

In its 27-year history, moe. has toured incessantly and regularly played at over two dozen festivals, including five appearances at Bonnaroo, four at the Gathering of the Vibes and annual dates since 2001 at Chillicothe, Ill.’ Summer Camp Music Festival. The band even launched a pair of music cruises and developed its own festival, moe.down, which was finally shuttered (at least temporarily) last year after a 15-year run. (BB)

TOP 5 LOCAL BANDS 1 MOTEL FACES 2 LEGGY 3 LEMON SKY 4 THE ALMIGHTY GET DOWN 5 BUFFALO WABS SUPPORT LOCAL MUSIC MERCH

music listings Wednesday 28 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 - Drew Rochette. 8 p.m. Acoustic. Free.

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

Esquire Theatre - The Dirty Shirleys. 7 p.m. Jazz. $5.

Jag’s Steak and Seafood - Steve Thomas. 6 p.m. Sax/Piano/ Vocals. Free.

Madison Live - The Main Squeeze with Tropidelic. 9 p.m.

Funk/Rock/Reggae/Hip Hop/ Jam. $10, $12 day of show.

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

SHOP @ CINCYMUSIC.COM

MOTR Pub - Enemy Planes H with Tuelo. 10 p.m. Indie/ Rock/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/Rock/ Various. Free.

Southgate House Revival H (Sanctuary) - Ana Popovic.

8 p.m. Blues. $22, $25 day of show.

3 6 • C I T Y B E A T . C O M • S E P T . 2 8 – O C T . 0 4 , 2 0 1 6

Thursday 29

Live! at the Ludlow Garage Martin Barre. 8 p.m. Rock. $25-$60.

The Mockbee - Pedestrian Deposit, No Heat, Tosca, Mass Comm, Jo Molo and DJ Home Alone 2. 9 p.m.

Electronic/Ambient/Drone. Free (donations encouraged).

MOTR Pub - Flying Underground with Pike 27. 10 p.m. Pop/Rock.

Free.

Knotty Pine - Final Order. 10 p.m.

Rock. Cover.

Legends Nightclub - String Theory. 8:30 p.m. Rock. $5.

Madison Live - Zebras In H Public, The Last Troubadour and The Peaks. 10 p.m. Rock/ Various. $10.

Plain Folk Cafe - Open Mic with Mike Lieser. 7 p.m. Various. Free.

Mansion Hill Tavern - Tickled Pink. 9 p.m. Blues. $4.

Southgate House Revival (Revival Room) - Sarah Borges.

8:30 p.m. Rock/Americana/ Folk/Indie. $12, $15 day of show.

MOTR Pub - LZRPNY with Red Hot Rebellion. 2 p.m. Blues/Pop/ Rock. Free.

Urban Artifact - Talk Mouth, Blood Handsome and Mr. Pointy.

10 p.m. Pop/Rock/Various. Free.

Friday 30 20th Century Theater - Zoso. 8 p.m. Led Zeppelin tribute. $20, $22 day of show.

Backstage Cafe - AutomaH ton, Stagecoach Inferno, Kingslayer and Fenrir. 7 p.m.

Metal/Various. $5, $8 day of show.

Bella Luna - Blue Birds Trio. 7 p.m. Classic Rock/Jazz. Free.

Blind Lemon - Warren Ulgh (9 p.m.); Bob Beckstedt (6 p.m.). 6 p.m. Acoustic/Various. Free.

Blue Note Harrison - Trailer Park Floosies and Sweet Revenge. 9 p.m. Rock/Pop/Dance/Country/ Various. Cover.

Bogart’s - Jeremy Pinnell H and Arlo McKinley & the Lonesome Sound. 8 p.m. Country/Americana. $10.

Arnold’s Bar and Grill - Dottie Warner and Wayne Shannon.

7:30 p.m. Jazz. Free.

Century Inn Restaurant - Jim Teepen. 8 p.m. Acoustic. Free.

Beer Sellar - Saving Stimpy. 6 p.m. Rock. Free.

Clifton Plaza - Mike Wade Jazz Quartet. 7 p.m. Jazz. Free.

Blind Lemon - Brian Goins. 8 p.m. Acoustic. Free.

Crow’s Nest - Drunken Cuddle and Willow Tree Carolers. 10 p.m.

Folk/Americana. Free.

Bogart’s - Perpetual Groove with Peridoni. 8 p.m. Rock/Various. $20.

Jim and Jack’s on the River - Southern Saviour. 9 p.m. Country/Rock. Free.

New Thought Unity H Center of Cincinnati - Rumi Birthday Concert with Ancient News, Mohenjo Daro, Ron Esposito, Audrey Causilla and Katy Moeggenberg. 7 p.m. Various. $10.

Northside Tavern - The H Tongue & Lips, Cougar Ace and Motel Faces. 10 p.m. Rock.

Free.

Northside Yacht Club H - “Vision” - A Racecar Event: Benefit for Our Daily Bread featuring Ellie Herring, Black Shield, RITES, Mememormee, REDCARD, Kevin Frey, Kevin Buster, schädel, Guyot and Tread. 8 p.m. Electronic/Various. Free (donations encouraged).

Oxford Community Arts Center - TenSoCo Concert Series featuring The Faux Frenchmen. 8 p.m.

Gypsy Jazz. $15.

Peecox Erlanger - Saving Stimpy.

9:30 p.m. Rock. $5.

Pirates Cove Bar & Grille - Basic Truth. 8 p.m. Funk/Soul/R&B. Free.

Plain Folk Cafe - Mad River Railroad. 7:30 p.m. Bluegrass. Free.

The Redmoor - A Kid Again Fundraiser with The Rusty Griswolds. 7 p.m. ’80s Pop/Rock/Dance. $55, $65 day of show.

Eastgate Brew & View - Encore Duo. 6:30 p.m. Acoustic. Free.

Rick’s Tavern - 90 Proof Twang with Carey Hunley Band. 10 p.m.

Country/Rock. $5.

Coney Island - moe. with H Earphorik. 8 p.m. Rock/Jam. $27.50, $30 day of show.

Harmony Hill Vineyards & Winery - Meridian. 5 p.m. Acoustic.

Free.

Silverton Cafe - Big Trouble. 9 p.m. Rock. Free.

The Greenwich - The New Gary McCauley Quartet. 8:30 p.m.

Jazz. $5.

Hollywood Casino - Bob Cushing.

8 p.m. Acoustic. Free (in the Hop House).

Southgate House Revival (Lounge) - Jody & Sammy Stapleton. 9:30 p.m. Roots/Various. Free.

Knotty Pine - Mitch and Steve. 9 p.m. Electronic Blues Pop Rock.

Free.

Jag’s Steak and Seafood - The Sly Band. 10 p.m. Pop/Dance/ Various. Cover.

Southgate House Revival H (Revival Room) - Punk Rock Night with The Z.G.s, The

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.

Give-Ups and Misunderstood. 10 p.m. Punk Rock. $5.

Southgate House Revival H (Sanctuary) - Smooth Hound Smith. 8:30 p.m. Americana. $12, $15 day of show.

The Underground - The Interns, Citizens Of Heaven, Brilliantly and Kamsterdam. 7 p.m. Rock/ Various. Cover.

Urban Artifact - Brother O’ Brother, Filthy Beast and Bucko.

8 p.m. Rock. Free.

The Mockbee - Von Clair, Eugenius, Ghost Hussy, RELIC and andaruGO. 6 p.m. Various. Free.

Northside Tavern - Sexy Time Live Band Karaoke. 9 p.m. Various. Free.

Plain Folk Cafe - East Fork Junction. 7:30 p.m. Bluegrass. Free.

Rick’s Tavern - Cherry on Top. 10 p.m. Pop/Dance/Various. $5.

Silverton Cafe - Chapter 4. 9 p.m. Dance/Funk. Free.

Southgate House Revival Washington Park - PorkopoH (Whole House) - Bang Bang H lis Pig & Whiskey Festival Salon’s Headbanger’s Ball featurwith Wilder, Moonshine & Wine, Right Turn Clyde, Mark Utley & Bulletville and Comet Bluegrass All-Stars. 5 p.m. Folk/Americana/Country/Bluegrass. Free.

Washington Platform Saloon & Restaurant - Brandon Coleman Group (9 p.m.); Todd Hepburn (5:30 p.m.). 5:30 p.m. Jazz. $10 (food/drink minimum).

Saturday 01

404 - Ricky Nye. 8 p.m. Blues/ Boogie Woogie. $7.

Bella Luna - Blue Birds Trio. 7 p.m. Classic Rock/Jazz. Free.

Blue Note Harrison - The Menus, Buzzbin and One Nite Stand. 8 p.m. Rock/Pop/Various.

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

Crow’s Nest - The 9th Street Stompers. 10 p.m. Swing/Jazz/ Rockabilly/Blues/Various. Free.

DeSha’s American Tavern - Cold Smoke. 8 p.m. Soul/Blues/Various. Free.

DownTowne Listening Room - Jeff Miller with Jordon Schneider. 7:30 p.m. Pop/Rock/ Various. $12.

H

Harmony Hill Vineyards & Winery – Encore Duo and Anna and the Deeper Well. 2 p.m. Acoustic/ Blues/Pop/Folk/Various. Free.

Knotty Pine - 3 Day Rule. 10 p.m.

Rock. Cover.

Thompson House - Written in Red (EP release show) with Call Me Ghost, Blank State, Death Before Disco and Point Seven. 8 p.m. AltRock. $10.

The Underground - The Underground Battle of the Bands with Noticing Icarus, Innova, Circle It and The Black Ties. 7 p.m. Various. Cover.

Urban Artifact - Timbre with Kate Wakefield and Abby Vice. 5 p.m. Indie Chamber Folk/Various. $10.

Washington Park - PorkopoH lis Pig & Whiskey Festival with HuTown Holler, Arlo McKinley

Northside Tavern - Bulletville.

8:30 p.m. Country. Free.

Northside Yacht Club - Hundredth, Trophy Eyes, Grave Friends, Underestimate and Eternal Void. 8 p.m. Metal/Hardcore. $10, $12 day of show.

Southgate House Revival (Sanctuary) - Benefit for Paula & Tony Taylor featuring Borderline, Thorn County and The Cousin Kissers. 2 p.m. Country. $20.

Taft Theatre - The Mavericks.

8 p.m. Country/Latin/Roots. $47.50-$57.50.

H

Bogart’s - Kevin Devine with H Local Waves and Motherfolk.

8 p.m. AltRock. $13.

The Celestial - Tom Schneider. 6 p.m. Piano. Free.

The Listing Loon - Scott H Tuma, Nevada Greene, Bob Bucko, Jr. and Parison. 10 p.m.

Experimental. Free.

McCauly’s Pub - Sonny Moorman. 7 p.m. Blues. Free.

MOTR Pub - Joesph with H Milan to Minsk. 10 p.m.

Indie/Pop/Rock. Free.

Northside Tavern - The Qtet. 10 p.m. Jazz/Rock/Funk/Various.

Free.

Northside Yacht Club - Bad Future and Black Planet. 8 p.m.

Punk.

tuesday 04

Washington Platform Saloon & Restaurant - The Faux Frenchmen. 9 p.m. Gypsy Jazz. $10 (food/drink minimum).

Jag’s Steak and Seafood - Zack Shelly and Chon Buckley. 6 p.m.

Piano/Vocals. Free.

The Comet - Comet Bluegrass All-Stars. 7:30 p.m. Bluegrass.

Free.

Knotty Pine - Randy Peak. 10 p.m. Acoustic. Free

Live! at the Ludlow Garage H - Ben Sollee. 8 p.m. Singer/ Songwriter/Cellist. $15-$27.

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

Free.

Madison Live - Oval Opus. 8 H p.m. Pop/Rock. $15, $20 day of show.

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

Mansion Hill Tavern - The Heaters. 9 p.m. Blues. $3.

The Mockbee - Bary Center, RITES and schadel. 8 p.m.

.com

Monday 03

& The Lonesome Sound, Hayden Kaye, Daniel Wayne, Harlot, The Part-Time Gentlemen, Blair Carman and Young Heirlooms. 2 p.m.

Folk/Americana/Various. Free.

Sunday 02

the all-new

Arnold’s Bar and Grill - John Redell. 7 p.m. Blues. Free.

The Mad Frog - Sarah Simmons.

8 p.m. Rock/Pop/Various. $10, $12 day of show.

The Mockbee - Kill Surf City, Blood Handsome and more. 9 p.m. Rock. Free (donations encouraged).

Northside Tavern - The Stealth Pastille. 10 p.m. Psych Pop/ Rock. Free.

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

Urban Artifact - Lipstick H Fiction, Milkman and Brain Dead Breath. 9 p.m. Rock. Free.

C I T Y B E A T . C O M • S E P T . 2 8 – O C T . 0 4 , 2 0 1 6 • 3 7

The Greenwich - Bianca Graham & the B-Mixx Xperiment. 9 p.m.

R&B/Soul/Pop. Free.

ing The Nothing, Moonbow, Dead Man String Band, Chakras, The Whiskey Shambles, Lovecrush88, The Magic Lightnin’ Boys, Red Beast, Moonlight & Whiskey and more. 8 p.m. Hard Rock/Metal/ Various. $10.

Electronic/Ambient/Drone. Free (donations encouraged).

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