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IN INDIA, THE CLOTH LIVES ON Cincinnati Ar t Museum’s The Fabric of India tells stories of tradition, tex tiles

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NEWS From Tents to Courts Cincinnati’s fight over policies outlawing tent cities mirrors a larger national debate BY N I C K SWA R T S E L L

City crews this summer remove a tent city from underneath an overpass in downtown Cincinnati PH OTO: NIC K SWARTSELL

“We’re not here because we want them to sleep outside or in places not fit for human habitation,” he said at a news conference about the filing. “We’re here because they have no place else to go.” Nonprofit Strategies to End Homelessness, which coordinates shelters and programs to move people into permanent housing, counted more than 7,100 Cincinnatians who experienced homelessness at some point last year. Though shelters in the area had been full or over capacity, they made room to accommodate those in the camps, according to Strategies to End Homelessness CEO Kevin Finn. The final tent city here was located on private land owned by nonprofit Over-theRhine Community Housing. Inhabitants there cleared the camp in August under threat of arrest. In Akron, a similar situation unfolded this summer when city officials told property owner Sage Lewis that he must disband his Homeless Charity Village, home to about 50 people otherwise experiencing homelessness. The camp existed on his property for a year and a half. In September, Akron City Council voted to order Lewis to vacate the camp by Thanksgiving, something he said he didn’t believe was CONTINUES ON PAGE 07

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County Prosecutor Joe Deters, Ruehlman, Hamilton County, the City of Cincinnati and the Hamilton County Court of Common Pleas. Officials representing the city and Hamilton County argue that tent cities like the ones that sprang up this summer present a public health hazard, and that they attract drug use and violent crime. Officials also argue that because there was room in shelters for those living in the camps, using threat of arrest to clear the tent cities is acceptable and legal. Advocates, however, have pushed back at that claim and tie the prevalence of the camps to lack of access to affordable housing, mental health treatment, good-paying jobs and other necessities. Chin has a college degree. He has held down jobs and housing. But he also lost housing when his father evicted him. “Everyone has different reasons for being homeless,” he says. “According to society, I have mental health conditions. People can say all day long, ‘get a job, do this, do that,’ I’ve done all those things. We need to stop fixating on generalizations.” According to attorney Bennett Allen, who is representing the plaintiffs in the lawsuit against the city and county, the fight isn’t about keeping tent cities or making sure people sleep outside.

than best, practice by criminalizing those living in encampments for simply trying to survive, costing the city more than providing shelter or housing while giving homeless citizens arrest records, fines, and fees that will only make it more difficult for them to exit homelessness.” Cincinnati officials’ efforts to remove a tent city under Fort Washington Way in July escalated into a drawn-out game of cat and mouse between city and Hamilton County officials and residents of various camps that popped up in Pendelton and Over-the-Rhine. In the midst of that fight, Hamilton County Common Pleas Judge Robert Ruehlman issued a restraining order at the request of the city and Hamilton County Prosecutor Joe Deters that made it illegal to camp outside in the neighborhoods where the tent cities were popping up (later it was extended to include all of Hamilton County). That sparked the filing challenging Ruehlman’s order from Phillips, another camp resident. The amended complaint in U.S. District Court looks to add the Homeless Coalition and camp resident Chin as plaintiffs. It also seeks to add Cincinnati Mayor John Cranley and City Solicitor Paula Boggs Muething to the list of defendants, which currently includes Hamilton

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tanding near a large window that looks out on Pendleton and Over-theRhine from long-time advocacy hub the Peaslee Center, Patrick Chin is holding a spirited conversation with attendees at a just-finished news conference. He has a freshly-buzzed head, crisp fleece sweatshirt and detailed explanations about subjects like the excellence of Starbucks’ filtered water. But he’s mainly here to talk about the fact that he may become a plaintiff in a lawsuit against the City of Cincinnati and Hamilton County over his treatment this summer, when he lived in a tent city downtown near Third Street. Attorneys representing another inhabitant at that camp, Joe Phillips, filed the original lawsuit in federal district court this summer alleging that a restraining order issued by a county judge effectively makes it illegal to be homeless. The Greater Cincinnati Homeless Coalition Nov. 19 filed amendments to the original lawsuit seeking to block an injunction that effectively made sleeping outside illegal in Hamilton County. It’s not a struggle isolated to Cincinnati: places as disparate as Akron, Ohio, Boise, Idaho and San Francisco have also wrestled with similar moves by municipalities. The ongoing litigation — in Cincinnati and elsewhere — could have big implications for the ways in which people who do not have access to housing are treated. The debate over how to address tent cities comes as the number of encampments seems to be growing. The National Law Center on Homelessness & Poverty has tracked media coverage of tent cities involving people experiencing homelessness over the past decade. According to research the group issued last year, there were 19 reported encampments across the country in 2007. By 2016, the last year full data was available, that number had risen to 277. “Cincinnati, like many cities in the U.S., is struggling with a dramatic growth in visible homelessness,” NLCHP Senior Attorney Eric Tars says. “Unfortunately, Cincinnati is engaging in a worst, rather

CITY DESK

City Releases ‘Gang of Five’ Texts for Private Court Review, Prosecutor Issues Subpoenas BY N I C K SWA R T S EL L

The Hamlton County Prosecutor’s office has issued subpoenas for council members caught up in ongoing litigation around texts sent during the exit of then-Cincinnati City Manager Harry Black this spring. Five Democrats on council received the subpoenas Nov. 27 at City Hall in relation to the legal flap around alleged violations of open meetings laws. The city turned over some of the controversial texts to the First District Court of Appeals on Nov. 20. The messages will remain under court-ordered seal until it is determined which, if any, are public record. Earlier this year, conservative activist Mark Millerand his attorney Brian Shrive, both members of the group Coalition Opposed to Additional Spending and Taxes, filed a lawsuit seeking texts sent March 1 through March 19 between Council members Tamaya Dennard, Greg Landsman, Chris Seelbach, P.G. Sittenfeld and Wendell Young. The group discussed the impending ouster of then-Cincinnati

City Manager Harry Black by Mayor John Cranley, as well as other city business. Cranley wanted Black fired after Black fired a high-ranking Cincinnati Police official. Cincinnati City Council, however, resisted the proposed settlement worth hundreds of thousands of dollars that Black was offered. Eventually, Black resigned after it became apparent there were enough votes on council to fire him. Miller and Shrive contend that the texts between the five council members represent a violation of open meetings laws. Hamilton County Common Pleas Court Judge Robert Ruehlman ruled last month that the city must release all texts sent by any of the five council members during the time period in question. The Cincinnati City Solicitor’s office appealed that ruling. On Nov. 20, Shrive alleged that city officials revealed in court that some of the messages sent by two council members were not available because one, Young, erased his and because another, Dennard,

dropped her phone in a pool. Some of the texts in question were released in the aftermath of Black’s departure. They reveal the five Democrats discussed how they would approach Cranley’s attempts to fire Black, as well as chats about other impending city business. The messages at times use somewhat disparaging language about the mayor. However, not all of the texts were released, leading to the protracted court battle with potentially big political dimensions. Ruehlman last month rejected a request from former City Council candidate Derek Bauman to join the lawsuit in order to seek the release of texts from councilman Christopher Smitherman, who was involved in a text group with all nine council members and Black. Texts from Smitherman, three other council members and Cranley will not be released under Ruehlman’s order. In response to records requests for texts covering the time period around Black’s ouster, Cranley has

said that he dropped his phone in a hot tub and could not provide them. There are some political implications at work here — Smitherman has announced he will run for mayor in 2021 and Sittenfeld is said to be strongly considering a run as well. Cranley and COAST are both allies of Smitherman, while Bauman and his attorney are Sittenfeld supporters. The release of the texts of the five progressive council members to Shrive would give him a potentially powerful political weapon to use in the coming mayoral election. Shrive has not yet said which, if any, of the texts he will make public if he gets them. Smitherman has decried the attempt to gain his text messages as “evil,” blaming the five council members for it. Landsman has alleged that Smitherman threatened him during a council committee meeting. The conservative-leaning independent today called the texts evidence of “corruption.”

Arts Center Unveils New Proposals for Potential Facility in Burnet Woods BY N I C K SWA R T S EL L The Clifton Cultural Arts Center is still considering a new home in the neighborhood’s Burnet Woods, one of Cincinnati’s largest and most-loved parks. But the locations it is mulling and the dimensions of the building it is considering have changed.

The CCAC will use about $1.5 million it received via a settlement with CPS, another $1.5 million in New Market Tax Credits and $5 million it plans to raise from private donors.

The organization has been on the hunt for a new site since it lost the cavernous Clifton School building it leased from Cincinnati Public Schools last year.

The Board did not vote on the plan, but Cincinnati Parks did provide some feedback on the early designs.

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But CCAC’s proposal back in May to build a 25,000-square-foot, three-story arts facility on the park’s Brookline Drive elicited some controversy fueled by those who oppose more construction in the park.

After feedback, CCAC commissioned preliminary concepts for a potential building in the park from design firm Emerson Design. It also shifted its focus to two different potential locations: one in a vacant field on the southwestern edge of the park where Clifton Avenue and Martin Luther King, Jr. Boulevard intersect, and another location in the interior of the park, south of its iconic bandstand just off Clifton Avenue. CCAC representatives Nov. 15 presented those initial plans, along with an outline for how it would pay for the estimated $8 million construction costs and its ongoing business plan, to the Cincinnati Board of Park Commissioners.

One potential plan on the edge of the park could have a facility with a footprint of about 14,000 square feet, with the whole location taking up 17,000 square feet. The other proposed facility in the park’s interior would be about 10,000 square feet, with the entire site there encompassing about 12,300 square feet. Both facilities would be two stories tall and would have 40 parking spaces around them, mostly on existing pavement. CCAC would lease either site from Cincinnati Parks, though it’s unclear at this point what the lease price would be. Meanwhile, some Burnet Woods fans still aren’t happy with the idea of building there. A petition drive has garnered more than 2,600 signatures asking the park board to leave the woods alone.

Renderings show a proposed CCAC facility in Burnet Woods PHOTO: PROVIDED

“What remains of Burnet Woods is now a rare urban preserve, home to diverse plant and animal species,” the petition states. “The few structures within the park serve only to provide enrichment and enlightenment for park visitors. Since the middle of the last century, the Cincinnati Park Board has not allowed the construction of additional buildings proposed for Burnet Woods. Envisioned structures would have served the community, but their bricks and paved parking areas would have destroyed more of the surviving parkland.” A new facility for the CCAC would be highly environmentally friendly, the art

center’s representatives say, and much of the building would be built below grade and incorporate materials found in the park, limiting how much they would block views and their impact on the park’s character. “These plans incorporated all of the community feedback we have heard over the past six months,” CCAC director Leslie Mooney wrote in an email to park supporters today. “Our goal is to create a highly sustainable design that not only has a net neutral impact, but that actually improves the park’s wildlife habitat and environment.”

about whether officials here were overstepping their bounds. But the county argued that’s not the case, because it was “a premises which is completely lacking the public health and safety requirements that are required by Ohio law,” the city and Patrick Chin, a former Cincinnati tent city resident, is looking to become a county’s request plaintiff in a lawsuit challenging laws around homelessness in Cincinnati for Ruehlman’s injunction reads. PH OTO: NIC K SWARTSELL In the weeks after the camp FROM PAGE 05 was cleared, some residents who were unable to find housing received citations from police for sleeping outside. possible. He filed a lawsuit to challenge the Considering a case challenging similar city’s right to order him to clear his land. moves in Boise, Idaho in September, the The standoff between Lewis and the city Ninth U.S. Circuit Court of Appeals o ruled drew national media coverage. that laws that punish sleeping outside The threats of arrest for camp inhabitare unconstitutional, citing the Eighth ants in Cincinnati sparked some debate Amendment’s prohibition on cruel and

unusual punishment. That ruling is only binding in nine western states, however. And it includes a provision very pertinent to Cincinnati’s fight this summer. The court ruled that it’s only unconstitutional to penalize those sleeping outside when other options — such as shelters — aren’t available. Advocates like the Homeless Coalition say shelter capacity shouldn’t matter. But they also take issue with the assertion that there is enough shelter space in the region, and in the latest court filing, the group shares data from the Department of Housing and Urban Development about calls to a Hamilton County hotline for emergency shelter access. An average day in August, the last month of the tent city standoff, saw calls looking for space in family shelters for roughly 94 people, the filing says. 95 percent of those people were turned away due to lack of space. Those calling the hotline looking for space in shelters for individuals fared somewhat better, the filing shows — but 73 percent were turned away due to lack of space. The filing presents similar data illustrating individuals and families turned away from shelters due to lack of space for a number of other recent months. Advocates have also extended the

debate beyond criminalizing homelessness, pointing to the region’s housing gap as a root cause of the problem. The amended filing now also notes that Hamilton County needs tens of thousands of units of affordable housing to meet demand from those making under $14,000 a year, according to a study by the Greater Cincinnati Local Initiatives Support Corporation. That’s a similar tack advocates are taking nationally. Tars, the National Law Center on Homelessness & Poverty attorney, worked on the case out of Boise. He says the aim of that lawsuit was to try to get cities to think bigger and find real solutions for people without homes. “Rather than wasting further resources fighting in the courts to preserve these unconstitutional and ineffective approaches, cities like Cincinnati should look to our principles and best practices, create low-barrier shelter, day shelters, and permanent housing so that homeless persons do not have to be on the streets in the first place,” he says. “This will be a win-win for businesses, housed and unhoused residents alike, and for the elected officials that actually solve the problem of homelessness.”

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IN INDIA, THE CLOTH LIVES ON

Cincinnati Ar t Museum’s The Fabric of India tells stories of tradition, struggle and triumph through tex tiles BY MACKENZIE MANLE Y PHOTOS BY H A IL E Y BOL L INGER

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The Fabric of India exhibit at the Cincinnati Ar t Museum

ike the process of creating textiles itself, Cincinnati Art Museum’s The Fabric of India exhibition weaves intricate threads that tell the story of a country steeped in rich history, culture and tradition. And perhaps India’s tale is best recounted through the art of creating cloth, a symbol not only of the past, but also of modern possibilities. In part, it was that narrative underscoring the sheer beauty of many Indian fabrics that inspired Cynthia Amnéus — the museum’s curator of fashion arts and textiles — to bring the exhibit, originally organized by the Victoria and Albert Museum in London, to Cincinnati. “Indian textiles didn’t just exist in a little bubble of history, but there is a robust and very active fashion and textile industry happening today,” Amnéus says. “That (element) was really important to us.” Despite their colorful, bold and strong impact on India (and, really, the world), the show is the first major exhibtion focused specifically on handmade Indian fabrics. The Fabric of India’s

run at Cincinnati Art Museum marks its debut in the United States. Originally opened at Victoria and Albert in 2015, The Fabric of India was helmed by that museum’s senior curator Rosemary Crill. As she neared retirement, Crill felt it was time to unearth V&M’s collection of Indian textiles, most of which were inherited from England’s India Museum (established in the early 19th century by the British East India Company) when it was shuttered in 1879. Amnéus estimates that 70 percent of what was originally on view at V&M is in the current exhibit in Cincinnati. Though the show in London was larger, the V&M formatted the current iteration of The Fabric of India to make its size more manageable for other museums to display. A few of the most ancient and fragile pieces from the V&M collection weren’t able to make the trip. Though some pieces in the first run of the show stretched back to the 8th century, the oldest you’ll see at the exhibit in Cincinnati are from the 15th century.

IN DE TA IL On display in the Cincinnati Art Musem’s Western & Southern Galleries — the same space occupied by the highly-trafficked Terracotta Army exhibit earlier this year — The Fabric of India features over 170 handmade objects. It’s not organized chronologically, but thematically, with six distinct sections. The pieces in the exhibit range in depth and detail. Amnéus claims that there’s so much to show that she can barely fit it all into an hour-long tour. As we walk through the space, she stops at nearly every piece and recounts its history. The exhibit is filled with warm hues and intricate designs, depicted through everything from the border of a dress embroidered with the emerald green wings of jewel beetles to a hanging, or bithiya, that fills an entire room with red, green and gold. Created in the first half of the 20th century and likely used to decorate during a festival or wedding, the colorful bithiya was (remarkably) found on a New York City sidewalk in 1994. One of Amnéus’ personal favorites of the show may appear on the surface to be more minimalist. Located near the front of the “Nature and Making” section, a piece of sheer, off-white muslin hangs. But look closer: the threads within are tightly and intricately spun. “To spin it that fine by hand and to weave such fine fabric is

amazing,” she says. “I mean, that speaks to me of the skill of these Indian artisans.” She also points out a Kashmir map shawl that shows the city of Srinagar from an aerial view. “You can look at it through the plexiglass and be amazed by it, but I was two inches from it when it came out of the crate and taking detailed pictures,” Amnéus says. “I couldn’t imagine making stitches that small to embroider something and it’s just a beautiful piece. You can look at it forever and discover new things.” The tiniest of details populate the shaw’s cityscape. According to a catalog of the gallery edited by Crill, the map is oriented with the east side of Srinagar at the top. There, lush gardens unfold. Specifically, the Mughal gardens of Nishat Bagh and Shalimar Bagh. As depicted on the shawl, the gardens are near Dal Lake, where shikaras — lightweight, flat-bottomed boats — languidly float. In one spot, a man is even seen taking a dip. Houses crowd the shawl, as do temples and cross-shaped mosques. Soldiers ride on horseback. Labels of landmarks and districts are marked in Persian script. Embroidered with goat hair, all of the shaw’s many subtle details take place within a space of 7.5 inches by 6.5 inches.

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Dress border embroidered with jewel beetle wings

M O R E T H A N CLOT HE S In the video, the leader looks up and waves at the camera while chatting with nearby citizens. Unlike the vivid colors that fill most of The Fabric of India, this section feels starkly minimal. Post-independence, Jawaharlal Nehru (India’s first prime minister and a Gandhi follower himself) continued to use the influence of khadi cloth. But unlike Gandhi, Nehru believed that mass industrialization, as opposed to a handmade, villageled economy, was the key to furthering India’s development. “But (Nehru) realized that there were a lot of artisans and makers that depended on that handwork to survive,” Amnéus says. “So he started to create these government organizations that supported, nurtured and continued those traditions.” The movement as a whole is partially why traditional textilemaking methods are still so important in country. “They’re not losing that,” she says. “Which happens with a lot of cultures — the generations die out and those techniques haven’t been passed down and die out.”

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Even India’s flag — adopted in 1947 after the country declared independence from Britain — harkens back to its textile heritage. A blue 24-spoke wheel sits in the center, backdropped by white with strips of orange and green. By law, every flag is made with khadi cloth, a simple, handwoven fabric that carries connotations of defiance and freedom. Mahatma Gandhi, a leader of the Indian independence movement, pushed for its use. In the 20th century, as explored in the exhibit’s section about the “Political Power of Textiles,” Gandhi believed swaraj (selfrule) could be made possible through economic self-reliance. “For him, khadi embodied moral, social, economic and political values,” reads the Fabric of India catalog. He called for Indians to create and wear their own cloth, even holding mass spinning demonstrations. A video in the exhibit depicts Gandhi spinning cloth and wearing simple clothes, a purposeful move on his part because he wanted to relate to the masses, especially those in the lower class. Gandhi once said, “Foreign cloth must be totally banished from the Indian market, if India is to become an economically free nation, if her peasantry is to be freed from chronic pauperism… protection of her staple industry is her birthright.”

Tr a d i t i o n a l c l o t h i n g made of khadi cloth

Contemporar y saris showcase how Indian designers bring tradition into modern fashion

TH E M O D ER N AGE

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striking contemporary saris, the iconic draped women’s garment. According to the catalog, since the traditional sari has been in decline, designers have been creating a more modern look that caters to “a generation of affluent, cosmopolitan women.” Take the exhibit’s “Moon Sari,” designed by Aziz and Suleman Khatri. Radiant white spheres bleed into dark blue on the fabric, which drapes over one shoulder and features elegant pleats. Another outfit in the exhibit is a jacket designed by Rajesh Pratap Singh. Awash in orange and denim blue, the fabric first appears floral, a callback to the classic blockprinted ajrakh process. But peer closer and skulls are revealed. It’s a striking mesh of tradition and new-age flair. “In the exhibition, you see European designers who are respectfully using Indian artists and you see Indian artists who are either doing the work themselves or pulling other craftsmen and artisans to do that work,” Amnéus says. “So there’s a great connection there. It’s good to see those original techniques being used and introduced to new people.”

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To understand the full weight of The Fabric of India, one must first become acquainted with the methods used to create the items that populate the museum’s walls. That’s where the exhibit begins — by asking, “How?” As a person who works in textiles, Amnéus says that most people don’t understand the process. “So it’s a great opportunity,” she says, “but also it gives you a preface for all the things you’re going to see, and know how those things are made and the time-consuming handwork that went into that.” When Amnéus visited India last November, she attended workshops where she saw these traditional techniques being done firsthand. But she says she also saw how people were “creating contemporary pieces that interest a more global audience,” instead of solely working within tradition. Today, Amnéus notes that many Indians are taking those traditional techniques passed down for centuries and becoming designers, making their work marketable to a wider audience. Perhaps this notion is most visible when guests arrive at the end of the Fabric of India exhibit and are greeted by a row of

T h e ” S h r i n e F l a g ” t e l l s t h e s t o r y o f a n 11 t h - c e n t u r y M u s l i m w a r r i o r s a i n t

TH E FA B R I C O F S TO RY T EL L IN G When piecing the entirety of The Fabric of India together, viewers see that cloth is just the medium through which expansive narratives are told. There is work layered in religious iconography, like the “Shrine Flag” splayed across a wall. More akin to folk art style, the edges are zig-zagged rather than a traditional geometric shape. In the center lies a bleeding body, over which another figure weeps. But they’re surrounded by chaos. Zoom out and you see that the piece depicts the story of an 11th-century Muslim warrior saint named Saiyyad Salar Mas’ud who, on the night before he was to be married, died in battle at 19 years old. Other pieces tell the story of Eastern and Western cultures colliding, providing a backdrop for viewers to better understand the effects of orientalism and colonialism. For example, “Depicting Nations Hanging” (dated to 1640-50) shows men and boys donning Eastern dress, but their striking blue eyes reveal them to be Westerners. Below, women wear a mix of European and Indian styles. The placard beside the hanging notes that such themes would become more present in the coming century.

“We have this idea of what India and Indians are all about,” Amnéus explains. “They were (a) very sophisticated culture thousands and thousands of years ago, and their history is very long and the history of textiles is very long. When the Europeans came in the early 1600s, cotton was a new thing to them.” But the Indians had been producing cotton long ago. Europeans also didn’t know the technical information about mordants that Indians did. And some of the techniques they used were so complex it took months to complete. Amnéus calls it a great story of sophistication that the exhibit is attempting to bring to the public. “For me, one of the parts of the exhibition that is fascinating is this cross-cultural aesthetic exchange,” she says. “So, the Indians would use their traditional techniques, but if Armenian traders came in and said, ‘We want you to recreate this,’ or Europeans said, ‘Here’s a botanical illustration, can you make this?’ the Indians would tailor their exports to their clientele. They would always put their own spin on it.” In short, they became masters at catering to the people who wanted a piece of their artistry.

B U IL D IN G B R I D GE S Going forward, as chief curator, Amnéus wants to make sure the CAM’s lineup is as diverse as possible. “I just think it’s important; those are the people that come to the museum. And we want as diverse of a population as possible, so we want to offer them something that reflects their culture,” she says. “Not that only Indians are going to come to the show — we don’t want to have that relationship with our visitors — but we want our exhibits and collections to reflect a very diverse population.” At the end of The Fabric of India, an overall narrative of India and its people and culture comes into focus. It’s one of resilience sparked in wide-raging color and stitched with percise, careful hands. But it also is apparent that the story of a people bound to both tradition and contemporary wiles hasn’t ended, and perhaps never will. The cloth lives on. The Fabric of India runs through Jan. 6, 2019 at the Cincinnati Art Museum. More information on special exhibition prices can be found at cincinnatiartmuseum.org.

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Through bringing the exhibit to Cincinnati, Amnéus feels the Cincinnati Art Museum was able to strengthen its relationship with the city’s Indian community. The museum was particularly pleased with the turnout for Oct. 26’s Art After Dark event, at which they celebrated Diwali, a Hindu festival of light marking the beginning of the fiscal year in India. Jill Dunne, CAM’s Director of Marketing and Communications, says nearly 1,800 people attended the Diwali edition of the museum’s popular after-hours event. “And it was one of the most diverse crowds we’ve ever had at Art After Dark — especially with the American-Indian community,” she adds. “We had people wearing saris. It was amazing. Amazing, amazing.” The Fabric of India was partially made possible by an $11.75 million gift from Carl and Alice Bimel (Carl died in 2013; Alice in 2008) intended to bring in art from South Asia, Iran and Afghanistan. So when the news that the Victoria and Albert Museum was readying The Fabric of India for the road was brought to Amnéus’ desk, she saw it as an opportunity. With the gift, the museum also hired a new curator of South Asian and Islamic art, Ainsley M. Cameron. Another exhibit curerently on display across the hall from the Museum’s Terrace Café is Collecting Calligraphy: Arts of the Islamic World.

NOVEMBER 25TH

MEMORIAL HALL

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FOR HELPING US CELEBRATE THE LOCAL SINGERS, GUITARISTS, DRUMMERS, FIDDLERS, KEYBOARD PLAYERS, BANJO PLAYES, BEAT MAKERS, SONGWRITERS, NOISE-MAKERS AND EARTH-SHAKES WHO ENTERTAIN US IN THE MUSIC VENUES OF GREATER CINCINNATI AS WELL AS VENUES ALL ACROSS THE COUNTRY. THE CEAS ARE A CELEBRATION FIRST AND AN AWARDS PROGRAM SECOND, SO THANK YOU FOR COMING OUT, SUPPORTING, AND CELEBRATING!

CONGRATULATIONS ON ANOTHER SUCCESSFUL YEAR IN MUSIC!

STUFF TO DO Ongoing Shows ONSTAGE: Susan Swayne and the Bewildered Bride Know Theatre, Overthe-Rhine (through Dec. 16) A Christmas Carol Playhouse in the Park, Mount Adams (through Dec. 29)

WEDNESDAY 28

COMEDY: “A Sunnydale Christmas” with Trailer Park Boys Cincinnati is about to get real greasy. The troublemakers from Sunnyvale Trailer Park are stopping by the Queen City to spread some holiday cheer, which in this case means liquor, dope, pepperoni and cheeseburgers. Ricky, Julian, Bubbles and Randy are coming straight from the hit show Trailer Park Boys and there’s no telling whether Santa will deem them naughty or nice this side of the Canadian border. The boys will put on a Christmas concert that explores the true meaning of the holiday and, if the Nova Scotian television series can give you any insight, they’ll probably commit a few felonies along the way there, bud. 8 p.m. Wednesday. $34.50-$59.50. Taft Theatre, 317 E. Fifth St., Downtown, tafttheatre.org. — SEAN M. PETERS

THURSDAY 29

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acts. 7 p.m. doors; 8 p.m. show Thursday. $38-$58. Taft Theatre, 317 E. Fifth St., Downtown, tafttheatre.org. — MAIJA ZUMMO

what draws a lot of people to the Minumental. To see how much an artist can cram into two square inches.” Reception and sale 5-8 p.m. Friday. Art on display through Dec. 7. Free admission. Art Academy of Cincinnati, 1212 Jackson St., Over-the-Rhine, artacademy.edu. — MAIJA ZUMMO EVENT: Christmas Saengerfest A variety of choirs are taking over Over-the-Rhine this holiday season, giving you an excuse to tour historic churches, breweries and Memorial Hall. The seventhannual Christmas Saegnerfest tour features seven venues, each hosting performances from 21 different

vocal groups. Complementary shuttles will be there to transport guests from venue to venue, so no need to designate a driver. Multiple of the choirs to be featured are winners from the World Choir Games and the full performer list include groups ranging from the Friendly Sons of Saint Patrick and the May Festival Community Chorus Ensemble to the Delta Kings and Young Professionals Choral Collective. The event is open to all ages, so you can bring everyone down to get into the holiday spirit. 7-10 p.m. Friday and Saturday. $30. Various locations in Over-the-Rhine, americanlegacytours.com. — MARLENA TOEBBEN CONTINUES ON PAGE 18

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FRIDAY 30

ART: Minumental Exhibit and Sale at the Art Academy of Cincinnati The Art Academy is celebrating its approaching 150th birthday with the 31st annual

Minumental exhibit. Original pieces created by local artists — who are either faculty, staff, students or alumni of the Art Academy — and sized no larger than 2-inches-by-2-inches will be for sale for one night only. The popular Minumental event was created by Professor Emeritus Gary Gaffney in 1987 and featured just 35 entries at a gallery in Eden Park. Today, the event features more than 1,000 works. “It grew out of a classroom assignment that the students found to be fun,” Gaffney says in a release about the origin. “I had them working very big and very small. And the very small turned out to be very concentrated and intimate. And I think that’s

ONSTAGE: A Christmas Story “You’ll shoot yer eye out, kid.” Embrace the alluring glow of the leg lamp during Covedale Center for the Performing Arts’ production of A Christmas Story. If you’re like me, you probably watch it in your PJs every year on Christmas Eve, but this time you can catch the sentimental tale — based on Jean Shepherd’s memoir about growing up in Indiana in the 1940s — onstage. In case you needed a plot refresher: Ralphie Parker

really wants a Red Ryder BB gun for Christmas, begs almost everyone for it, mutters “Oh, Fudge” a lot (except he didn’t say fudge), takes on the school bullies, watches his pal get his tongue stuck to a frosted lamppost and is forced to wear a pink bunny onesie. Through Dec. 23. $26-$29. Covedale Center for the Performing Arts, 4990 Glenway Ave., Covedale, cincinnatilandmarkproductions.com. — MACKENZIE MANLEY

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DANCE: Swan Lake While you wait for Cincinnati Ballet’s annual presentation of The Nutcracker (Dec. 13-24) to take over Music Hall, see another one of Tchaikovsky’s classics — Swan Lake — at the Taft Theatre. The Ukraine’s National Ballet Theatre of Odessa brings 55 dancers to the United States on the troupe’s first tour of America to perform this romantic tale of a prince, a swan maiden and an evil spell. The fullscale production features music from Tchaikovsky and choreography from Marius Petipa and Lev Ivanov in four

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EVENT: Crafty Supermarket Holiday Craft Show Move over, Black Friday: 6,000 shoppers are expected at this pop-up handmade market, which boasts over 100 juried and hand-selected makers. This holiday’s edition takes place in Music Hall and includes a live DJ, local grub and vendors upon vendors to peruse for the perfect gift for whomever you need to cross of your list. The first 100 shoppers will receive a free swag bag. Here, you’re likely to find unique gifts that range from heavenly bath bombs to handcrafted jewelry and art and everything in between. 11 a.m.-6 p.m. Saturday. Free admission. Music Hall, 1241 Elm St., Over-the-Rhine, craftysupermarket.com. — MACKENZIE MANLEY

FROM PAGE 17

EVENT: RedsFest Baseball season may be over, but RedsFest, “the official winter warm-up of the Cincinnati Reds,” celebrates the upcoming 150th anniversary of baseball’s first professional team — aka the 1869 Red Stockings aka the Reds — with a weekend’s worth of activities and appearances. Current major leaguers, past alumni, future stars and more, like Billy Hamilton, Joey Votto and Corky Miller, will be at the Duke Energy Convention Center for appearances, autograph signings and some will even be taking photos with Reds fans. In addition to players,

RedsFest features vendor booths with merchandise and memorabilia, interactive fan activities like carnival games and batting cages, kids programming, Bingo and poker tournaments, a celebrity home run derby at an indoor baseball field and more. The event benefits the Reds Community Fund. 3-10:30 p.m. Friday; 11 a.m.-6:30 p.m. Saturday. $17 adult single day; $7 child single day; $25 adult two-day pass; $12 child two-day pass. Duke Energy Convention Center, 525 Elm St., Downtown, mlb.com/ reds/fans/redsfest. — MAIJA ZUMMO

SATURDAY 01

EVENT: Covington Winter Night Bazaar It’s December, which means holiday-themed events are getting into full swing. This winter night market is back for its fourth year in a row. Local stores, food and booze will be on hand to help you buy or fuel all your remaining gift-purchasing needs. Find everything from handmade soap to art and refreshments from the likes of Second Sight Spirits, Lil’s Bagels and Roebling Point Books & Coffee. This is an outdoor event, so make sure

to dress warm. Don’t miss out on hot buttered rum and “Holly Jolly” cocktails. In addition, look out for a special appearance from the Budweiser Clydesdale horses at the event from 6 p.m. to 9 p.m. 4 p.m.-10 p.m. Saturday. Free admission. 302 Court St., Covington, Ky., facebook.com/covingtonnightbazaar. — MARLENA TOEBBEN COMEDY: Pete Lee “I’ve spent most of my career on the road,” says comedian Pete Lee. “So, a few year ago, I decided to downshift and stay home in New York City and perform more and audition more.” That makes his upcoming appearance at the Funny Bone that much more special. “I just get to let loose. I’m usually doing just 15-minute sets in New York, but in Cincinnati I’ll get to go for an hour,” he says. Outside of stand-up, Lee has worked on truTV’s Greatest Ever and NFL Rush and recently became a regular performer at New York’s famous Comedy Cellar, which has been both challenging and thrilling. “One night I followed Chris Rock and Tracy Morgan. I was the guy that volunteered to go up after that murderers row. I was like ‘I’ll do it. I’ll try it.’” 7 and 10 p.m. Saturday; 7 p.m. Sunday. $10-$15. Funny Bone Liberty, 7518 Bales St., Liberty Township, liberty.funnybone.com. — P.F. WILSON EVENT: Dark Charge Day at Braxton

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MONDAY 03

C NCY JUST GOT way COOLER COMING THIS FALL

appearances from Santa and Mrs. Claus and plenty of crafty handmade holiday shopping. 10 a.m.-8 p.m. Saturday. Free. Downtown Lebanon, facebook.com/ lebanonchamber. — MAIJA ZUMMO

MONDAY 03

EVENT: Lots O’ Latkes at the Mayerson JCC Spend the second night of Hanukkah at the Mayerson JCC for an evening of holiday festivities. Light candles on the menorah, indulge in a free latke bar, sing Hanukkah-themed songs and make holiday-themed crafts. 5-7 p.m. Monday. Free. Mayerson JCC, 8485 Ridge Road, Amberley Village, mayersonjcc.org. — MAIJA ZUMMO

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EVENT: Lebanon HorseDrawn Carriage Parade and Festival The 30th-annual Lebanon Horse-Drawn Carriage Parade and Festival is a self-explanatory holiday procession featuring strictly horse-drawn carriages with two parades: one at 1 p.m. and one at 7 p.m. Lebanon’s quaint downtown area will also be taken over by local food and craft vendors along Mulberry and Mechanic streets. Originally launched as an old-fashioned street festival and antique horsedrawn carriage parade to draw Christmas crowds to the town for shopping and other festivities has become an annual tradition with elves, a live nativity scene,

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EVENT: Ugly Sweater Bar Crawl with 16-Bit The human being is a social creature that craves safety in numbers. This fact is most evident during holidaythemed events like the third-annual Ugly Sweater Bar Crawl. While “ugly” is subjective, there’s no shortage of tacky holiday-themed sweaters that might not be at the height of fashion these days and, with the purchase of a ticket, participants are

treated to drink specials and fun holiday activities with other thirsty, similarly garbed partygoers. The crawl starts at 16-Bit Bar+Arcade and will, well, crawl across OTR to around a dozen other bars, many of whom will only admit ticket holders during the festivities. Additional stops include MOTR Pub, Drinkery OTR, Revel OTR, The Hub, The Rook OTR and more. 2-10 p.m. Saturday. $22.50. 16 Bit Bar+Arcade, 1331 Walnut St., Overthe-Rhine, 16-bitbar.com/ cincy. — SEAN M. PETERS

MAIN ST in OTR

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A good beer is a great friend in these turbulent times and, sometimes, to overcome the darkness in your soul you must drink a beer that’s even darker. Braxton Brewing Company is celebrating the newest release of Dark Charge, its line of bourbonbarrel-aged Imperial Stouts. Festivities at this winter block party include live music, guest beers from friendly breweries and food prepared by local restaurants inspired by the Dark Charge beer. The event is free to attend, and food and drinks are available for purchase. If you’re feeling extra, VIP tickets are available with a slew of perks — two specialty drink tickets, five non-specialty tickets, a limited-edition print, food from ALTO Pizza Kitchen, a private bathroom and more — sure to delight the beer connoisseur in your life. You can purchase Dark Charge to go at the party as well with a limit of two bottles per variant per person. 11 a.m.-1 a.m. Saturday. Free admission; $75 VIP. Braxton Brewing Co., 27 W. Seventh St., Covington, braxtonbrewing. com. — SEAN M. PETERS

MUSIC: Albert Hammond Jr. Even before the music begins, the Strokes story is fascinating; one early subplot involves singer Julian Casablancas befriending a future bandmate, guitarist Albert Hammond Jr. (son of a famous British singer/ songwriter and former Argentinian model), in Switzerland where both were attending boarding school. The pair (and the singer’s earlier school chums) would later form The Strokes after becoming roommates in Casablancas’ native New York City. In between Strokes albums and tours, all of the musicians have indulged a variety of interesting outside musical projects. Hammond Jr.’s solo albums are among the best, showcasing his talents as a songwriter more completely, while also (of course) spotlighting the artsy, Post Punk guitar work that is a cornerstone of The Strokes’ sound. Hammond Jr. is currently touring in support of his fourth solo album, Francis Trouble, which was released in March and is themed around “the stillborn death of his twin brother, Francis, and the lingering effects that event has had in his life and music.” 8 p.m. Monday. $23; $25 day of show. 20th Century Theater, 3021 Madison Road, Oakley, the20thcenturytheatre.com. — MIKE BREEN

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

ARTS & CULTURE Reading Regionally A look at some notable 2018 books with regional connections to Cincinnati BY S T E V EN R O S EN

Regional books from 2018 COVERS: PROVIDED

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most important concert promoter during the Rock era, has written about their many memorable shows in her self-published Rock This Town! Backstage in Cleveland: Stories you never heard & swag you never saw. Although Belkin produced Cincinnati shows, the book is focused on northeastern Ohio concerts. Among other things, Belkin Productions booked David Bowie’s fi rst U.S. concert (in 1972 at Cleveland’s Music Hall) and fi lled the city’s 78,000-capacity Memorial Stadium for The Rolling Stones. Cincinnati-based cartoonist Carol Tyler’s Fab4 Mania: A Beatles Obsession and the Concert of a Lifetime (Fantagraphics Books), is a poignant graphic novel based on a diary-like book she made at age 13 about wanting to see the Beatles play a concert near her Chicago home in 1965. And while Susan Whitall’s Fever: Little Willie John — A Fast Life, Mysterious Death and the Birth of Soul (Titan Books) isn’t new (it was published in 2011), it is newly relevant because the character of John — a 1950s-era King Records singer who first recorded the classic “Fever” — plays such an important part in Cincinnati Playhouse’s current Cincinnati King. Whitall’s book offers a chance to learn more about John.

Schuster) is set in the fictional town of New Canaan and concerns four former classmates experiencing the Rust Belt’s decay. NPR called it “a sprawling, beautiful novel that explores the aftermath of the Great Recession and the wars in Iraq and Afghanistan, and a powerful look at the tenuous bonds that hold people together at their best and at their worst.” Nico Walker’s Cherry (Alfred A. Knopf) just landed on The New York Times’ list of 2018’s 100 Best Books. A literary exercise in tough, violent noir, it follows a damaged, dope-sick Iraqi War medic who returns to Cleveland and robs banks. It’s also semiautobiographical — Walker wrote it while serving time for bank robbery at a federal prison in Ashland, Ky. In non-fiction, the University of Cincinnati Press is preparing for the school’s 2019 bicentennial with a collection of fascinating, thoughtfully written essays about its history. From the Temple of Zeus to the Hyperloop: University of Cincinnati Stories, was edited by Greg Hand, UC’s former vice president for public relations. And Dylan Taylor-Lehman looks at the colorful task of governing in Yellow Springs, Ohio — home of the progressive Antioch College

— in Dance of the Trustees: On the Astonishing Concerns of a Small Ohio Township (The Ohio State University Press). Cincinnati historian/writer Jeff Suess released a lovely book with great photographs called Cincinnati: Then and Now (Pavilion Books). You may not be pleased when you see what now stands where the Shubert Theater or the Price Hill Incline were located, but other landmarks — like Union Terminal and the Roebling Suspension Bridge — have aged very well. This year’s Terracotta Army: Legacy of the First Emperor of China was the highest-attended ticketed exhibition at Cincinnati Art Museum since ’82-’83’s Treasures of the Tower of London, and you can relive it with the hardbound catalog, authored by Li Jian and Hou-mei Sung and published by the Virginia Museum of Fine Arts. It’s been a busy year for books about music history and the music business. Hamilton, Ohio-based music writer Randy McNutt has just self-published his latest work, Spinning the Groove: An A-Z Guide to the Lingo and Legacy of the Old Record Business. Want to know what “sleepersville” or “glue job” meant? The definitions of those terms and many others are here. Fran Belkin, whose husband Jules (with his brother Mike) was probably Ohio’s

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“regional book” can be defi ned broadly (the author is from Cleveland) or narrowly (it could be about University of Cincinnati’s history). As a result, in any given year there are many to choose from. Thus, this survey of 2018’s most notable regional books is necessarily selective. To me, the most significant 2018 book of regional interest is a collection of poetry. That’s not only because of what it is, but also because of whose writing it features. The Road Itself (Dos Madres Press) is an overview of the poetry of Aralee Strange, who was very much a part of Cincinnati’s arts community for the approximately 20 years she lived here. Although she died in 2013, she has continued to be a source of inspiration for those who knew her. After time spent in Atlanta, Birmingham, Ala., Cambridge, Mass. and New York City, Strange lived in Over-the-Rhine and Adams County, Ohio from the ’80s through the ’00s. She then moved to Athens in her home state of Georgia, where she died. At a time when OTR’s Main Street had urban blight (but also a developing Bohemianism), Strange found strong, vivid source material there. She wrote the poems “dr. pain on main,” “dr. pain’s downtown ramble bone” and “dr. pain’s main street remedy,” which are all included in The Road Itself. As she was close with visual artists, the book features cover art by Jay Bolotin — also a Cincinnatian — and contributions from others. Moving on to regional novels, there were some that attracted national attention in 2018. Leah Stewart, a creative writing professor and chair of the Creating Writing: Fiction program at University of Cincinnati, published What You Don’t Know About Charlie Outlaw (G.P. Putnam’s Sons) in spring. It’s the story of an actor who gets kidnapped when he leaves the U.S. for a secluded island. CityBeat called it “a carefully crafted meditation on modern identity and the divisions between our private and public selves” and Entertainment Weekly listed it as one of 10 books to read if you love A Star Is Born. The opioid crisis factors into two attention-grabbing regional novels, both debuts by relatively new writers. Stephen Markley’s Ohio (Simon &

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ONSTAGE

Women are in Charge in ‘Susan Swayne’ BY R I C K PEN D ER

Some unexpected twists and surprising turns are encountered in Know Theatre’s production of Reina Hardy’s Susan Swayne and the Bewildered Bride. First off, the stage looks nothing like the usual off-kilter sets typically employed at Know. In fact, there’s a proscenium frame with a red velvet curtain that opens to reveal a twodimensional scene of monochromatic grey walls, depicting a street in late 19th-century London. A proper, decorous and supremely confident Lisa DeRoberts as Susan Swayne (left) and Ernaisja woman — the title character, played Curry as Isabelle Fontaine-Kite by Lisa DeRoberts — enters. But it’s immediately evident she’s more than P H O T O : J A S O N S H E L D O N a simple Victorian woman, despite an early, arch exclamation of “Oh, turnips!” women to be exact — are in charge. Moments into the show she’s accosted Swayne is clearly the most eagerly and by another woman, Isabelle Fontaine-Kite capably in charge, ready to take on and (Ernaisja Curry), who accuses her of havovercome any dire challenge. DeRoberts ing an affair with the attacker’s husband. makes her an imposing, daunting and Swayne subdues her handily by displaying dryly witty protagonist. Except for one evident martial arts skills (enhanced by an humorous lapse in the second act, she is umbrella that later proves to be even more generally unflappable as events unspool. than protection against rain) beyond what On more than one occasion, it’s her job to one would expect of a woman in that time. sort things out and set them right as mysWe learn that Swayne is a founding teries are encountered and solved. member of the Society of Lady DetecCurry might have the most challengtives, a secret association of women who ing role, since Isabelle swings manically solve crimes and know how to defend between hysteria and manipulation. It’s themselves. After persuading Isabelle that a melodramatic role, in keeping with the she must be mistaken, Swayne takes her style of the Victorian era that playwright to the Society’s headquarters where they Hardy is satirizing. Curry performs it as meet no-nonsense and in-charge Lady best she can, given this caricatured porBomberry (Regina Pugh) and two upstart trait of a demented, “bewildered” woman apprentices — earnest Adelaide (Kearston who spews forth great torrents of verbiage. Hawkins-Johnson) and eager and easily Her crazed behavior is humorously baldistracted Madeline (the very amusing anced in a late scene by Pugh, Rouse and Alexx Rouse). They spend much of their Hawkins-Johnston sitting side-by-side time in “corsetless” combat practicing and calmly sipping tea in synchronized swordplay. choreography. Noelle Wedig-Johnston’s costumes are The production has been staged with period perfect. Swayne and Isabelle are a firm hand by Tamara Winters, Know’s nicely decked out with bustles and such, associate artistic director. It would be easy while Bomberry and her students are frefor this comedy to descend into chaos, but quently appareled in an intriguing array she has kept the reins taut enough that of Victorian undergarments that allow for we follow the zigzagging plot with ease. It dueling. should also be mentioned that John Baca, When Katherine Denn (Jordan Trovilthe production’s fight director, has spiced lion) — a member of SOLD not much the production with all sorts of breathtakappreciated by Swayne — turns up, her ing combat with swords — and more. presence spurs confusion and more Susan Swayne and the Bewildered Bride mystery. Isabelle, the show’s “bewildered is an entertaining show without much of a bride,” identifies Katherine as someone message beyond the fact that women can else. The plot spins off into mayhem and be just as swashbuckling as men. Indeed, melees, plots and counterplots, where the men in this production never get some gender-fluid identity keeps the chartheir buckles swashed — Swayne and her acters and the audience guessing. colleagues are much too adept and ready This is a feminist comedy, to be sure: to take on every challenge with zest and Chris Wesselman and Nathan Tubbs are good humor. They are “a pack of unnatural generic men that play the occasional thug women,” anachronistically ahead of their and opium addict, and serve as stagetime, but fully prepared to keep audiences hands to turn flat scenic panels (Andrew J. laughing. Hungerford’s simple, clever and adaptable Know Theatre’s Susan Swayne and the designs) from one configuration to another Bewildered Bride continues through Dec. for quick scene changes. 15. Tickets/more info: knowtheatre.com. So the women — aggressively assertive

FILM

Music vs. Totalitarianism in ‘Free to Rock’ BY JAC K I E M U L AY

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Documentary film Free to Rock explores the powerful and lasting impact music — Rock & Roll in particular — has on social movements. Directed by Jim Brown and narrated by Kiefer Sutherland, the 60-minute film will be screened Nov. 30 at the University of Cincinnati’s MainStreet Cinema. A Q&A session will follow with Cincinnati native Doug Yeager, a writer, researcher and producer for the film. Doug Yeager, co-producer of Free to Rock The screening is Yeager’s first return PHOTO: PROVIDED to his hometown in a little over 40 years. He began his career as a concert promoter in the project for the next decade. Yeager, and entertainment producer in Cincinnati who studied International Relations at after attending UC. UC (a degree he finished at Aix-Marseille For Yeager and Nick Binkley (another University in France), also has participated producer on the film), Free to Rock has in social movements for civil rights and been a labor of love for more than a decade. against the Vietnam War. The duo’s first encounter dates back to “In my life and career, I have always been 1990s San Francisco. It was at this time, involved in social activist movements and just after the Post-Soviet aliyah — in which human rights movements,” he says. “To former Soviet Union president Mikhail me, the story (in Free to Rock) fused interGorbachev allowed Jewish citizens to leave national politics, social activism and music the USSR and immigrate to Israel — that together. You couldn’t separate them.” Binkley sheltered refugees who ended up Yeager says interviews with a pair of in San Francisco instead of Israel. Many of prominent Cold War-era figures — former the refugees were underground musicians U.S. President Jimmy Carter and former and they shared their stories — tales of President of the Soviet Union Mikhail constant fear and sometimes torture — Gorbachev — were a big part of the reason with Binkley. In turn, he started to share why the film took so long to complete. He their stories with others who would listen. describes the process of making the docu“He thought that Rock music was one of mentary as like building upon a foundathe most impactful forces in ending the tion. Each interview helped the production USSR,” Yeager says. team build a pyramid of sources that At that time, the Soviet Union (which eventually lent enough credibility to gain collapsed in ‘91) was so closed off from access to important figures like Carter, other cultures that the government would Gorbachev and even Rock stars like The jam radio stations to prevent music and Beach Boys and Billy Joel. propaganda from getting in, Yeager says. Though the film focuses on the cultural One country managed to get around those and historical impact that Rock & Roll had attempts, however. According to Yeager, in on the world, Yeager knows that’s not the Latvia, citizens were close enough to other only draw for audiences of the film. signals that they could fix their radios to “Half of the people will come just pick up Western stations. because Metallica and Billy Joel are in “They rebelled against the Soviet Union the film,” Yeager admits. “But I’m hopthrough Rock music,” Yeager asserts. ing that it will make people think a little Yeager and Binkley’s first interview for more deeply about the power of music and the film took place in Latvia in 2005. It was culture and what it can do to transform a with an underground Rock musician who society. And how it can affect change in told Yeager and Binkley of how he was tortotalitarian societies.” tured by the Kremlin and threatened with Free to Rock will be screened Nov. 30 at his family’s death. 12:15 p.m. in the University of Cincinnati’s More than just a compelling historiMainStreet Cinema in Tangeman Univercal story, the subject of the documentary sity Center, followed by a Q&A session with appealed to all of Yeager’s passions in Doug Yeager. More info: uc.edu/mainstreet. life, which helped fuel his involvement

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Cincy Museum’s Trains Keep A-Rollin’ BY B R I A N B A K ER

Trains captivated the American psyche when they first appeared in early 19th century, ultimately becoming a pervasive element in art, literature, film and music (even after automobile and air travel facilitated their decline). That same allure translated to toy trains when they were introduced in 1896 by Cincinnati’s Carlisle & Finch Company. Initially, a model train set was an expensive luxury Cincinnati Museum Center’s Holiday Junction returns this year reserved for wealthy adult collectors and not P H O T O : P R O V I D E D B Y C I N C I N N AT I M U S E U M C E N T E R intended for children. Although model trains can reconnect and fall in love with both all became accessible with the advent of mass over again.” production, they remained beyond the In July 2016, the CMC closed for the means of many parents. first overall renovation of Union Terminal The passion for trains has taken many since its 1933 completion. The project was forms, many of which can be experienced completed for the museum’s limited Nov. in Cincinnati Museum Center’s annual 2 preview and for a larger scale Nov. 17 Holiday Junction display, which features reopening, which included the first look the Duke Energy Holiday Trains. since 2015 at the newly redesigned Holiday The display’s origins can be traced to Junction Featuring the Duke Energy Holi1946, when the Cincinnati Gas & Electric day Trains exhibit. The decision to shelve Company was gifted an elaborate train set Holiday Junction during the renovation by the Baltimore & Ohio Railroad, which and not move it to a temporary location built it in 1935 to teach rail yard operation was made reluctantly by the CMC due to the military. CG&E displayed the assemto the fragile nature of the trains, which bled set — more than 300 cars and 60 are only two years younger than Union locomotives running on 1000 feet of track Terminal. — in their office lobby at Fourth and Main The new set-up was conceived by Reverb streets as a free holiday treat to downtown Art + Design CEO and Creative Director shoppers. Dubbed Holiday Junction, it was Michelle D’Cruz. It features a playful prehugely popular and became an annual sentation of the Cincinnati and Northern Christmas tradition, surviving the comKentucky skylines, linked by the Roebling pany’s 1994 transition to Cinergy and 2006 Suspension Bridge. Local landmarks are acquisition by Duke Energy. shown off, too — including Paul Brown In 2011, Duke Energy transferred the Stadium, Music Hall and Union Terminal trains to the Cincinnati Museum Center itself. at Union Terminal for conservation and “Since the layout began, the topper has exhibition due to their age and condition. always been a dynamic piece that has It was a perfect new venue, given Union changed and been eagerly anticipated,” Terminal’s former life as the city’s primary says Hefner. “As we began to reimagine the train station and its current status as a gallery, we thought about doing a whimsimuseum tasked with preserving the city’s cal take on the region’s skyline to welcome cultural history. back a uniquely Cincinnati piece.” Cody Hefner — the museum’s director Holiday Junction’s revised track layout of communications — says that the CMC also features configurations dating back to assembled the display as a permanent the early 20 century, so real train aficioexhibit to avoid unnecessary wear and tear, nados can have fun identifying the new but the gallery is only open for viewing and old formations within the display’s during the holiday season. This year he intricate diorama. says they’re not only excited for the trains’ Young fan favorite Thomas the Tank return, but also to welcome people back Engine and his steel-wheeled peer group to Union Terminal after the remodeling have also returned to active service. The project. display is now visible in its entirety from “The train layout has been a beloved the mezzanine entry, with the redesigned holiday staple, a truly multi-generational space offering better viewing angles. experience that people talk about long Holiday Junction Featuring the Duke after they leave them,” Hefner says. “Union Energy Holiday Trains is on display Terminal is much the same way, a place through Jan. 27, 2019. For more info visit that has meant so much to so many over cincymuseum.org. the decades. This holiday season people

‘Homecoming’ Will Mess With Your Head BY JAC K ER N

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Conspiracy theories have long existed in there. Maybe she doesn’t want to. fringe circles, but this type of thinking At Homecoming, she worked extensively has become more mainstream in recent with optimistic vet Walter Cruz (portrayed years, whether it’s being spouted by world by Stephan James of Race and the anticileaders or used as an explanation for pated If Beale Street Could Talk, who gives atrocities in society. And while these ideas a perfectly understated performance); he are flawed and often false, they open a line truly engages in the therapy and believes of questioning: Do you trust the messages he is in good hands. But not everyone in delivered by authority — your government the program is as trusting as Walter and leaders, your boss? Do they truly have your questions surrounding Homecoming’s best interests at heart? Would you even mission permeate from him to Heidi. really want to know the truth? Red pill or Years later, a pencil-pushing fed from blue pill? Amazon’s Homecoming sends its characters — and viewers — down this mysterious rabbit hole as it follows Heidi Bergman (Julia Roberts) during and after her stint working at a government facility for veterans. Based on the fictional podcast of the same name created by Eli Horowitz and Micah Bloomberg (both credited as series creators here), Homecoming is Julia Roberts as Heidi Bergman (left) and Stephan James as directed and executive proWalter Cruz duced by Sam Esmail. And since we won’t be getting a COURTESY OF AMA ZON STUDIOS new season of the director’s brilliant hacker thriller Mr. Robot this year, Homecoming is an excelthe Department of Defense (Whigham) lent way to get your Esmail fix. sets out to follow up on a complaint filed The two series initially seem unrelated against Homecoming. He’s determined to on the surface, but there are many eleuncover the truth about this mysterious ments he artfully employs in both: amazprogram years after its apparent end. But ing uncut, continual shots; unreliable it’s also after anyone cares, including his narratives with protagonists going through boss, who demands he drop it. He doesn’t, psychological breakthroughs and competand once the layers of the case are peeled ing with their own minds to find truth; back, odd turns begin to pile up. even a few actors, including the always At 30 minutes a pop, the deeply engrossfabulous Bobby Cannavale and SMILF’s ing episodes pass so quickly — stop me if Frankie Shaw. you’ve heard this before — that it’s difficult The entire cast, including Sissy Spacek, not to binge. The only thing that might Alex Karpovsky (Girls) and Shea Whigham hold you back is the emotional punch (who shines in everything from Boardthe series packs. Homecoming loads an walk Empire to Vice Principals), deliver impressive amount of twisty psychologipowerful performances. Julia Roberts is cal drama into a half-hour (some popular impeccable as Heidi — an absolute Emmy series with hour-plus episodes should take contender. Remarking on decorated film note). There are so many hints, cinematic actors transitioning to TV is a moot point references, clues, red herrings and “Easter now — so much television, especially of eggs,” it would take multiple viewings to the streaming variety like on Amazon, has catch them all. Pay attention to the aspect a cinematic caliber — but it’s always excitratios as the show jumps back and forth ing to see a favorite performer in a new in time. Each cinematographic element is medium. thoughtfully executed. It’s hard to explain in much detail what Once the truth about Homecoming Heidi’s job is because she doesn’t really is uncovered — and fear not, definitive seem to have a complete grasp on things. details are eventually revealed — the In the past, she served as caseworker at characters are left with the difficult task Homecoming Transitional Support Center, of deciding whether to move on with that where recently returned American soldiers knowledge and leave well enough alone are helped to better acclimate to civilor expose the truth, potentially upending ian life. But in the future she’s working perfectly fine lives. It begs the question: as a waitress and living with her mother Would you want to know if you were living (Spacek), which is odd for a woman who a happy, healthy lie? once held such a high-level job. She doesn’t Contact Jac Kern: @jackern seem to remember much about her time

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324 Ludlow Ave., Clifton, facebook.com/sitwells. coffeehouse Clifton coffee shop mainstay Sitwell’s has reopened under new ownership, and is now known as Sitwell’s Act II. The café closed its doors this January after a quarter century of business on Ludlow Avenue in the neighborhood’s Gaslight District. Now owned by Florencia Garayoa and her husband Alex Barden, the couple are determined to preserve what made Sitwell’s an iconic Cincinnati hangout while adding their own philosophy and personality. While Barden is a Cincinnati native, Garayoa is from Argentina and she was an employee at Sitwell’s during its last few months of operation under the original owner, Lisa Storie. The couple purchased Sitwell’s and began renovations, giving the interior a complete overhaul. Chef Kyle Scrimsher, formerly of E+O Kitchen in Hyde Park, was hired and tasked with creating a fully vegetarian and vegan menu. One featured sandwich is their Greek gyro made with seitan which, upon sampling, resembles traditional shaved gyro meat in both taste and texture. The glass noodle summer roll is springy, fresh and spicy with the included Thai chili sauce. Their quinoa and black bean salsa is one of several grain salads offered and was especially delicious when paired with some old-fashioned potato chips that served to scoop the salad like a dip. Soups include Vietnamese pho, vegan chili and a rotating soup du jour. Garayoa’s heritage is also represented on the menu via empanadas, Argentine wine and mate, an herbaceous drink similar to yerba mate tea that’s served in a traditional gourd and sipped through a filtered metal straw. (Sean M. Peters)

LouVino 1142 Main St., Over-theRhine, louvino.com Take your taste buds on a journey from the marigold-lined pathways of Château Guiraud in France to the Alps-framed Castelfeder winery in northern Italy — all while dining at LouVino in Over-the-Rhine. The concept restaurant opened in late August on Main Street and offers 60 wines by the glass as well as small plates inspired by Southern cuisine. You’ll see some familiar names on the wine list, too, as flights are named after Ohio and Kentucky celebrities like Carmen Electra and John Legend. They are served in three 2-ounce pours and can be paired with cheese for an additional $2. Individual glasses are 6 ounces and range in price

from $8 to $29. If, like me, you have limited experience with wine, they make it easy by organizing their selection by type — white, red, rosé etc. — and their characteristics, whether that be bold, savory or vibrant. They also have cocktails, mocktails and beer. While their wine selection is impressive, their elevated comfort food deserves a spotlight of its own, too. There are two menus: classics and seasonal. The former features dishes that are permanently available while the latter is a rotating menu dictated by the chef. For food we shared the Brussels sprouts salad ($10) which came in a cilantro lime vinaigrette, the steak and hoe cakes ($14), the beef sliders ($12) and the loaded baked potato tots ($9). While they’re called small plates, you get very generous portions. Two per person would be more than enough to leave you satisfied. (Lauren Moretto)

Maize OTR 1438 Race St., Over-theRhine, maizeotr.com Maize, a new Over-theRhine eatery which opened in early July, specializes in a unique fusion menu that honors traditional recipes from across Latin America, with an emphasis on Venezuelan cuisine. The restaurant takes its name from maize, a corn flour dating back some 10,000 years and first utilized by indigenous Mexicans. The flour serves as the basis for the arepas, cachapas and empanadas served at Maize, and indeed, is the starting point for the restaurant’s concept. To that end, the menu is colorful and varied, with dishes from across the region that complement one another while retaining their traditional roots like the Peruvian ceviche, Mexican street corn and Venezuelan cachapas and asado negro. For appetizers, my friend ordered the ceviche ($9) and, on our server’s recommendation, I tried the guasacaca gruesa ($8), which is a chunky Venezuelan avocado dip, similar to guacamole, but prepared with olive brine for acidity instead of lime. Allow me, briefly, to exalt the ceviche: it was perfect. Crisp, bright, tangy, fresh; it tasted like the ocean. For my main, I ordered the reina pepiada arepa ($9), stuffed with avocado chicken salad, red onion, queso de mano (think mozzarella but saltier) and cilantro. It was filling and very, very good. Empanadas and traditional Venezuelan cachapas, a sweet corn pancake, are also available. My pal ordered the asado negro de costilla de res ($22), which was a true fusion dish: it’s a traditional Venezuelan braised short rib with a panela base, served on top of Puerto Rican mofongo with heirloom carrots and a sorghum foam. (Leyla Shokoohe)

CLASSES & EVENTS WEDNESDAY 28

Raclette Night at The Rhined — On top of their excellent selection of cheese, which you can grab to go by weight or eat inside on a curated cheese board, The Rhined also offer a specialty sandwich of the week, adult “lunchables” and their newish Raclette Night, where on Wednesday nights from 5 p.m. until they sell out, they heat and scrape raclette cheese (a type of Swiss) onto a selection of goodies like potatoes, veggies and charcuterie. Starts at 5 p.m. Free admission. The Rhined, 1737 Elm St., Over-the-Rhine, facebook. com/therhined.

THURSDAY 29 Ballet + Root Beer — This all-ages event brings guests inside the ballet’s magical Nutcracker with a chance to see the rehearsal, eat pizza from Dewey’s and meet other fans. Includes cash bar. 6-8 p.m. Cincinnati Ballet Studios, 1555 Central Parkway, Over-the-Rhine, cballet.org. Whiskey & Watches at Richter & Phillips — Sip on free whiskey while browsing the jewelers watch collection, with food from Money Chicken. 5:30 p.m. Free; register online. Richter & Phillips Jewelers, 601 Main St., Over-the-Rhine, facebook.com/richterandphillips.

Chocolate Tasting with The Midwest Culinary Institute — The Midwest Culinary Institute from Cincinnati State heads to the Cincinnati Museum Center for a chocolate tasting at the Chocolate: The Exhibit. Noon-3 p.m. $14 adult; $12 senior; $10 child; $7 member adult; free member child. Cincinnati Museum Center, 1301 Western Ave., Queensgate, cincymusuem. org/chocolate. Ethnic Eats in Over-theRhine Food and Culture Tour — Sample eats from around the world without leaving Over-the-Rhine. Learn a brief history of the area’s German immigrants and visit multiple local restaurants, like Quan Hapa, Maize OTR, Kaze and Injoy, for five food samples and information. 1 p.m. $59 adult; $49 children. Washington Park, 1230 Elm St., Over-the-Rhine, riversidefoodtours.com. Ugly Sweater Bar Crawl — Put on your tackiest holiday sweater and get ready to drink your way through OTR. Tickets include a T-shirt, koozie, drink specials and more with stops at 16 Bit, MOTR Pub Mr. Pitiful’s, Revel OTR, Below Zero Lounge (with a holiday drag show), the Drinkery and more to come. 2-10 p.m. $22.50. 16 Bit Bar+Arcade, Over-the-Rhine, 16-bitbar. com/cincy.

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Dilly Holiday Extravaganza — The Dilly holiday party transforms the entire restaurant into a holiday extravaganza with hors d’oeuvres, featured champagnes and red and white wines, seasonal beer and more. 5-8 p.m. $85, Dilly Bistro, Bar & Bottle Shop, 6818 Wooster Pike, Mariemont, dillybistro. com.

MONDAY 03

Cooking, Cocktails and Crafts with Maker’s Mark — Get up close and personal with Maker’s Mark bourbon. Watch a demo from Cincinnati chef Christian Gill from Boomtown Biscuits & Whiskey as he cooks with Maker’s Mark. Then watch cocktail demos from mixologists Emmy Fredericks and Catherine Manabat. Then make your own bourbon barrel ornament. And sample spirits on a guided tasting. 6-9 p.m. $40. The Backstage Event Center, 625 Walnut St., Downtown, facebook.com/diverseeventsohio.

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Women for Israel Vodka and Latkes — Cincinnati hostesses from across the area invite you into their homes to celebrate Hanukkah, cook latkes and sip on spirits. Pick the home of your choice and visit for vodka and latkes. 7-10 p.m. Address provided upon RSVP. More info: jnf.org.

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Bengals Pregame Pedal Wagon — Take a seat aboard the pregame Pedal Wagon for a three-hour boozy tour before kick-off. Visit some of the city’s best sports bars for discounted drink specials before making your way to Paul Brown Stadium. Bar stops may include O’Malley’s in the Alley, Rhinehaus, HalfCut, MOTR and more. 9:45 a.m. $19. Pedal Wagon Cincinnati, 1114 Bunker Alley, Over-theRhine, pedalwagon.com.

convenes for this evening of holiday booze. Watershed Distillery will be in the house to teach guests how to make three different cocktails using their spirits. Light bites from The Rhined will accompany your cocktail class. 4-6 p.m. $40. Memorial Hall, 1225 Elm St., Over-theRhine, memorialhallotr.com.

Beginner Home Brew Class at Listermann Brewing Co. — Take this home brew class to learn about extract brewing, from sanitation to fermentation and bottling. Class is limited to 25 people. 6-10 p.m. $20. Listermann Brewing Co., 1621 Dana Ave., Norwood, listermannbrewing.com.

SATURDAY 01

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Vino at the Memo: Sparkling Wines & Nicholas Longworth — Learn the history of Cincinnati’s father of wine, Nicholas Longworth, while sampling some sparkling holiday wines — cava, cremant de loire, etc. Wine will be paired with light bites. 6-8 p.m. $50. Memorial Hall, 1225 Elm St., Over-theRhine, memorialhallotr.com.

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

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MUSIC ’Set to Stun Expanding beyond Americana expectations on To The Sunset has paid off for acclaimed singer/songwriter Amanda Shires BY B I L L F U R B EE

Amanda Shires P H O T O : E L I Z A V E TA PORODINA

Shaver’s advice was based on a couple of songs he’d heard that Shires recorded as a kind of demo reel to get jobs — to show that singing was also in her toolkit. “He said, ‘These are good songs. You should go be a songwriter in Nashville,’ ” she remembers. “About a year later, I realized he was right.” And now, the rest of the world knows, too. Bidding adieu by phone, Shires offers some sweet words of enticement for local fans planning (or thinking about coming) to see her in concert in Newport, Ky. “My dance moves are best described as inhumane,” she warns, “but I’m gonna do them anyway. Y’all are welcome to join me!” Amanda Shires plays Dec. 1 at Southgate House Revival. Tickets/more info: southgatehouse.com.

C I T Y B E AT. C O M

the instrument hanging on the wall of a pawnshop and asking her dad to buy it for her. She was, to say the least, a quick study — just five years later, she was in the band that once backed Bob Wills, the iconic “King of Western Swing.” “I fell in with the Playboys because I loved that type of music,” Shires says. “I knew I wanted to play music, (but) didn’t know I was going to be a songwriter. I didn’t ever think about writing songs.” That step came along soon enough, though. In fact, it was none other than legendary Outlaw Country singer Billy Joe Shaver who encouraged Shires to go the singer/songwriter route. She had accompanied him on some shows and was initially taken aback by his encouragement. “I thought he was firing me,” Shires says of the moment Shaver suggested a change in direction. “I was like, ‘No! I love playing the fiddle!’ ”

Working with Grammy Award-winning producer Dave Cobb, she knew what she wanted Sunset to sound like… at least in spirit. As she explains in the press materials for the new album, she had an abstract concept of the sonic approach going into the project that made it seem more like an artistic mission. “I explained (to Cobb) that I wanted the songs to have atmosphere, that the album was going to be sort of poppy and that I was doing that to bring some sunshine into the world, ’cause it’s pretty dark right now,” she says. Looking back on the creative process behind To The Sunset, in a recent phone interview Shires notes some of the other factors behind the album’s shape and sound. For example, she wrote much of it hiding away in a closet as Isbell watched the couple’s daughter in an adjacent room. “There (was) nowhere to hide,” she says. “I just started writing and tearing apart my journals and taping the parts I liked to the wall, and shredding the rest. Being in that small of a confined place, I could hear everything (in my head) as I was making it up.” She also says her Texas roots likely influenced the album’s aura. “Some of it, like the atmospheric things, are a result of where I’m from,” she says, “like the way the sky looks or the wind sounds. I did have an idea of what I wanted to do sonically.” Lyrically, of course, Shires says her MFA studies at the Sewanee college in Tennessee were crucial to the new album’s impact. Mostly, it made her a more focused and efficient writer. “I think it’s really made a difference,” she says. “I’d only been writing for about two years (when I moved to Nashville), and felt like I was operating solely on instinct… which is great, but also (makes it) hard to choose the direction for a song. I’d spend four hours fussing over a preposition. The degree has helped me a lot in editing, seeing clichés and being able to remove them, and to make the puzzle work for me. I feel like I can make choices and defend them.” “I still use my instinct,” she clarifies, “but feel like I’m able to say what I want to a lot easier.” Things like lyrics and poetry weren’t on 10-year-old Amanda Shires’ mind when she began playing violin after spotting

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ll eyes on are on Amanda Shires. Even more so since the Nashvillevia-Texas singer/songwriter/fiddler sharpened a collection of pens to deliver her most alluring work yet, an album rife with reflections of her past, but also chock-full of new horizons. This year’s widely-acclaimed To The Sunset is a graceful, fearless next step in the songwriter’s continually evolving career, one begat over 20 years ago with the legendary Western Swing group Texas Playboys when the young prodigy was just 15. Shires has been especially busy of late. In just the two years following her fourth solo album, 2016’s My Piece of Land, the 36-year-old has been presented with the Americana Association’s Emerging Artist award and earned an MFA in poetry. She also welcomed motherhood with the birth of daughter Mercy, a collaboration with husband Jason Isbell, himself an accomplished singer/songwriter. That’s a whole lot of life experience and perspective to pack into just 10 songs, but Shires does so comfortably. Her storyteller’s dialogue seems effortless and welcoming, whether determining to celebrate life’s unexpectedly sour moments in “Break Out The Champagne,” confidently turning a “Parking Lot Pirouette” for just a few moments more or recounting the grisly tale of a tormented soul unable to find relief of their demons in “Wasn’t I Paying Attention.” Songwriting is “cheaper than a therapist,” Shires has said. Vocally, Shires is deliberate and soulful, at times conjuring both Neko Case’s smoky aura and Dolly Parton’s bold direction. Sonically, To The Sunset is filled with colorful accents, stretching and bursting beyond the boundaries and expectations of traditional Americana and Roots music. Her buoyant narratives and tragic tales are complemented by masterful playing and a production style that enables surprises, like sparse electronic percussion and the oversaturated, raw-nerve immediacy of some of the guitar work. Tone-twisting effects pedals were utilized on her primary instrument, the same fiddle she played way-back-when with the Texas Playboys. Shires’ backup band while tracking To The Sunset at Nashville’s historic RCA Studio A consisted of Isbell, drummer Jerry Pentecost and keyboardist Peter Levin.

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MINIMUM GAUGE

CEA Spirit is Bigger Than Awards BY M I K E B R EE N

On Nov. 25, the Cincinnati Entertainment Awards ceremony took place at Over-theRhine’s Memorial Hall. The show was founded by CityBeat 21 years ago to pay tribute to the local music-makers who make Greater Cincinnati’s music scene so amazing. There were great performances by local artists and award presentation in 19 categories, but the overall theme of this year’s CEAs was once again all about appreciation for living in such a music-rich city. If there is any tradition of the CEA program itself it’s that — as we’ve written many times, the show is a veritable love fest. The 2018 CEA ceremony began on a somber note. Veteran local act Over the Rhine was scheduled to open the night but canceled due to illness, so the evening started with a remembrance of the local musicians and behind-the-scenes members of the Cincinnati music community who passed away in the last year, including recording/ tech expert Dave Davis, the Southgate House’s Ross Raleigh, Blue Wisp Big Band drummer/co-founder John Von Ohlen and Freekbass and The Bump Assembly’s Joel “Razor Sharp” Johnson. Co-host Aaron Sharpe (of the late, great WNKU) asked that instead of a moment of silence, the audience give the dearly departed a more suitable tribute — a standing ovation. Sharpe and Chanell Karr (a DJ for Inhailer Radio who in previous years helped organize the CEAs) were great first-time CEA hosts, keeping the show moving nicely and helping smooth things over during lulls or tech issues. When Freekbass later won the “R&B/ Funk/Soul” CEA, the singer/bassist got choked up as he dedicated the award to his late bandmate; Jazz pianist Steve Schmidt did likewise while accepting the Blue Wisp Big Band’s latest CEA (in the Jazz category), paying tribute to the ensemble’s “founding father” during his acceptance speech. Freekbass opened the night with a tasty slab of tight, quirky Funk, playing with the same ace band that joined him for his annual Funksgiving show a couple of nights before. Vocalist Sammi Garett of Brooklyn band Turkuaz added extra color to the grooviness, as did Foxy Shazam keyboardist Sky White, who’s been filling in with the Bump Assembly in the wake of Johnson’s passing. It was the first of many great live performances throughout the night, including short sets from Indie Soul group Knotts (who pumped up the sequins and size of the band for the event), AltPop newcomers PHYSCO, cello/drums Indie Rock duo Lung and Triiibe, whose set turned into a Cincinnati Hip Hop cypher, with guests like Ronin Halloway, Patterns of Chaos and Devin Burgess joining the group onstage. Meanwhile, Foxy Shazam vocalist and masterful showman Eric Nally was the

BY M I K E B R EEN

Holiday Music Icons in the Making

Eric Nally at the 2018 CEAs PHOTO: HAILEY BOLLINGER

night’s surprise guest; the singer — who appeared on the cover of CityBeat’s recent Music Issue — debuted a new song to close the night out in style. By welcoming fellow nominees and others onstage, Triiibe’s set emphasized the spirit of community that the CEAs strive to spotlight every year. It can be a tough balance sometimes, since an awards show necessarily has “winners and losers” and sometimes people feel left out. But the beautiful thing about the CEAs is that it is always the artists and presenters who make sure that Cincinnati’s music scene — as a whole — is shouted out and celebrated. During a segment from the Cincinnati Music Heritage Foundation discussing King Records’ 75th anniversary events, King legend Otis Williams perhaps laid out that “big picture” outlook best. “The biggest love you can have is music. Music brings us all together,” Williams reminded the audience. “There are no ‘bests’… there’s just music.” Here is the full list of 2018 CEA winners: Artist of the Year: TRIIIBE Album of the Year: MOONBEAU New Artist of the Year: KNOTTS Bluegrass: RUMPKE MOUNTAIN BOYS Country: 90 PROOF TWANG Folk/Americana: THE TILLERS World Music/Reggae: THE CLIFTONES Rock: WUSSY Metal/Hard Rock: GO GO BUFFALO Indie/Alternative: THE OPHELIAS Punk: THE PISTOL MYSTICS Blues: NOAH WOTHERSPOON R&B/Funk/Soul: FREEKBASS Jazz: BLUE WISP BIG BAND Hip Hop: TRIIIBE Electronic: MOONBEAU Best Live Act: GO GO BUFFALO Best Music Video: THE TILLERS – “RIVERBOAT DISHWASHING SONG” Singer/Songwriter: WONKY TONK Contact Mike Breen: mbreen@citybeat.com

Compared to the holidays that bookend it — Halloween and Christmas — Thanksgiving doesn’t seem to lend itself to “holiday songs.” But the purely American holiday does have a few big boosters besides Adam Sandler, whose “The Thanksgiving Song” has cornered the underserved market ever since it was unveiled in the early ’90s. Indie Rock stars The National seem to gradually be compiling their own Thanksgiving Holiday Classics album; this past Thanksgiving saw the release of the group’s fourth Turkey Day chestnut, “Save the Bird” (the T-giving series began with 2012’s “Kill the Turkey”). It’s The National’s latest collaboration with the makers of the Thanksgiving-crazed animated show Bob’s Burgers, who turned the band members into cartoons again for this year’s accompanying music video.

No Fines For Rock

Last year’s “Kid Rock for Senate” campaign sure seemed like a promotional stunt from the start, but after Donald Trump’s promotional stunt got him into the White House, everyone was hedging their bets. Though he finally admitted it was just new album promo, the Federal Elections Commission was asked to weigh in on whether the fake campaign violated any laws, after it was reported for failing to register or report contributions. More than a year later, the FEC cleared Rock of any violations, though — weirdly — it was a 3-1 decision. The board said Rock didn’t take “even the most basic steps” to get a real campaign rolling. Rock told Howard Stern last year that the joke was “the most creative thing I’ve ever done.”

Lip-Syncing Controversy?

Apparently it’s a big revelation that singers lip-sync during the Macy’s Thanksgiving Day Parade? The scam was revealed this year thanks to some technical glitches during the annual Macy’s commercial that made the performers look dumb. People took to social media to critique singer Rita Ora’s bad lip-syncing effort (she says it’s because she’s used to performing live), while John Legend took to social media to critique the parade for not having the “capacity to handle the sound requirements for a live performance.” The parade has been televised nationally since 1952.

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The National’s Matt Berninger and Paramore’s Hayley Williams. She had released four solo EPs during The Civil Wars’ tenure, and with the band’s official cessation in 2014, she commenced work on her first full-length solo album, Venus, which was released in 2015. All of the emotions that Williams had experienced in her life and career, from The Civil Wars’ dissolution and marital difficulties to motherhood and her father’s death, were grist for the songs on Venus. Late last year, while she was early in her second pregnancy (daughter Poppy Lou was born in August) and recently relocated in Nashville, she began work on her new, largely acoustic album, Front Porch, which is due in early 2019. Williams has already released two songs from the set, the haunting “Canary” and the quietly compelling “The Trouble with Wanting.” With all of Joy Williams’ amazing accomplishments over the past 20 years, even greater triumphs may be waiting just over the next rise. (Brian Baker)

Wed / Thur / Sun 8:00 - 18+ Friday 7:30 & 10:00 - 18+ Saturday 7:30 & 10:00 - 21+

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Joy Williams has had a relatively wild career path over the past two decades, with plenty of personal and professional tumult along the way, specifically her Everesthigh/Mariana-trench-low roller coaster ride with The Civil Wars. The Michigan-born/California-raised singer/songwriter’s musical journey began in 1999 with her self-penned songs of spirituality and faith, which led to a contract with Reunion Records as a Contemporary Christian artist. At that point, Williams was 17 and still in high school. Over the subsequent few years, she forged a successful career in the Contemporary Christian world, then broke away from Reunion to start her own label and artist development company. Williams was on a songwriting retreat in Nashville in 2008 when she was randomly paired with fellow singer/songwriter/ solo artist John Paul White. The creative spark between them was undeniable. The following year they formed The Civil Wars and began writing Gothic Folk songs of romantic and doomed love that sounded like covers of tunes from a bygone era. The Civil Wars were an immediate hit. The duo won three Grammys for their exquisite 2011 studio debut, Barton Hollow, and another one for their 2013 self-titled sophomore album, but by then they had already announced their indefinite hiatus, which was upgraded to a break-up in 2014. As soon as the hiatus was announced, Williams began collaborating with a wide variety of artists, including Chris Cornell,

MUSIC EDITOR MIKE BREEN KNOWS MUSIC. name suggests) and one part Glam Rock melodrama. It’s a massive sound — one that doesn’t need to flex its muscles to size up. (Jude Noel)

Combo Chimbita with A Delicate Motor and Aaron Madrigal

BE LIKE BREEN.

Tuesday • Northside Tavern

Combo Chimbita P H O T O : C O M B O C H I M B I TA . B A N D C A M P. C O M

FROM PAGE 31

FOTOCRIME with Hissing Tiles Sunday • Northside Yacht Club

READ CITYBEAT.COM/MUSIC EVERYDAY.

Friday

11/30

Open for f r Dinner fo 4:00 PM Tue-Sat Doors open 7:00 Show starts 8:30 354 Ludlow Ave. Cincinnati,OH 45220

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LudlowGarageCincinnati.com

Thursday November 29

Saturday Dec 1

Music journalists (including myself) tend to toss the term “Post Punk” around with reckless abandon, herding just about any gloomy, somewhat experimental act under the genre’s umbrella. Listen to enough of the stuff and you’ll quickly be able to parse out the genre’s core tenets — chugging basslines, industrial textures and choppy guitar riffs dripping with acidity. But what does it really mean? Post Punk’s name implies a progression from mere Punk, and its grititer, more melodic structures don’t seem like enough of a leap to put a border between Joy Division and The Sex Pistols. To Ryan Patterson, frontman of Louisville, Ky.-based trio FOTOCRIME, working within the genre represents personal progression. A longtime member of Hardcore and Metal projects in his local scene, he’s gravitated from sludgy aggression to softer, more expressive songcraft. FOTOCRIME’s debut LP, Principle of Pain, was a conscious effort to eschew machismo, diving headfirst into the brooding romanticism favored by ’80s AltRock bands like The Cure and Killing Joke. “As a male who’s a big guy … there’s a perception about me because of my appearance and with (my previous band) Coliseum, a perception about our music,” Patterson told Treblezine earlier this year. “I just don’t like that overbearing, intense masculinity. It’s about tenderness and exploration and artistry and things like that. It’s not about chest beating.” His new material may lack the volcanic grit that marked his work with Coliseum, but Principle of Pain still packs intensity in spades. His vocals lurch from muttered spoken-word verses to feverish gasps that recall Depeche Mode. Synthesized strings and reverb-soaked guitar pluckings complete FOTOCRIME’s theatrical flair — one part hardboiled film noir (as the group’s

According to its official bio, the foursome Combo Chimbita has roots in Columbia and is based in New York, but the band “lives in the future.” One listen to their trippy, experimental eight-track release from last year, Abya Yala, and it’s hard to argue with Combo Chimbita’s stated residency. Though Latin music is at its core, much like Brazilian Psych pioneers Os Mutates, Combo Chimbita takes those elements well beyond tradition and twists them into new forms. The band began in New York City when singer Carolina Oliveros (the only member who doesn’t use a pseudonym), synth player/bassist Prince of Queens, guitarist Niño Lento and drummer Dilemastronauta began improvising and experimenting during a regular residency in Brooklyn. The musicians took the cumbia rhythms and sounds of Columbia and turned them inside out, adding other elements (from Funk to African drumming to modern Haitian music, and numerous points in between and beyond) gathered from their varied interests and crate-digging excursions. Though together for a couple of years, the acclaimed Abya Yala led to widespread touring, which has helped build up Combo Chimbita’s reputation as a uniquely mesmerizing and engaging live act. Late last year, the FutureWorldBeat band played NPR’s World Café and this year the group has performed with acts like AfroBeat stars Antibalas and Indie rockers Parquet Courts. The quartet also graced a few high profile festival stages this past year and Combo Chimbita’s name is already popping up on some early fest lineup announcements for 2019. That, combined with the Nov. 26 announcement of their signing with the Anti- label, ensures you’ll be hearing a lot more about the band in the coming year as word continues to spread. But why wait to experience the group’s self-described “tropical futurism” when you can see them in a small-club setting before the end of 2018? Combo Chimbita’s Cincinnati visit on Dec. 4 is a rare ticketed show at Northside Tavern. Advanced tickets are available for $10 at cincyticket.com. (Mike Breen)

LISTINGS

CityBeat’s music listings are free. Send info to Mike Breen at mbreen@citybeat.com. Listings are subject to change. See CityBeat.com for full music listings and all club locations. H is CityBeat staff’s stamp of approval.

WEDNESDAY 28

BLIND LEMON–Tom Roll. 7:30 p.m. Acoustic. Free.

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

HILTON NETHERLAND PALM COURT–Kim Pensyl Trio. 6 p.m. Jazz. Free. THE MAD FROG–Way Back Wednesdays with DJ BlazeWright. 9 p.m. ’70s-’90s/DJ. Free.

MEMORIAL HALL– The Lone Bellow with Robert Ellis. 8 p.m. Folk/ Americana. $35-$55. MERITAGE–Sonny Moorman. 7 p.m. Blues. Free.

H H

MOTR PUB–Dead Rider and Lung. 10 p.m. Indie Rock. Free.

SOUTHGATE HOUSE REVIVAL (LOUNGE)– Queen City Silver Stars. 9 p.m. Reggae/Caribbean/ WorldBeat. Free.

STANLEY’S PUB–Maritime Law & Friends. 10 p.m. Acoustic. Free.

URBAN ARTIFACT– Fairmount Girls with Swim Team. 8 p.m. Indie/ Pop/Rock/Punk/Various. Free.

THURSDAY 29

BLIND LEMON–Mark Macomber. 7:30 p.m. Acoustic. Free.

CAFFÈ VIVACE–Ron Enyard Trio. 7:30 p.m. Jazz. COMMON ROOTS–Common Roots Open Mic. 8 p.m. Open Mic. Free.

HILTON NETHERLAND PALM COURT–Wayne Yeager Trio with Pam Mallory. 6 p.m. Jazz. Free.

LUDLOW GARAGE– Savoy Brown with Sonny Moorman. 8:30 p.m. Rock. $20-$45.

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

MADISON LIVE– Rayland Baxter with Bendigo Fletcher. 8 p.m. AltCountry. $15, $18 day of show. MCCAULY’S PUB–Kevin Fox. 7 p.m. Rock. Free.

MOTR PUB–CAVE with Flocks. 10 p.m. Indie/ Psych/Electronic/Jazz/Various. Free.

NORTHSIDE TAVERN– “Karaoke Fantastic”. 9 p.m. Various. Free. SCHWARTZ’S POINT JAZZ & ACOUSTIC CLUB– Pat Kelly Duo. 8 p.m. Jazz. Cover. SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–Busman’s Holiday. 8 p.m. Indie Pop. $8, $10 day of show.

STANLEY’S PUB– Wyatt Edmondson. 9 p.m. Pop. Free.

URBAN ARTIFACT–Darkotica with DJ Styclo and STEPHEN29. 10 p.m. Goth/ DJ/Various.

FRIDAY 30

20TH CENTURY THEATER–Joy Williams. 8 p.m. Americana. $17-$20.

ARNOLD’S BAR AND GRILL–Willow Tree Carolers. 9 p.m. Americana. Free. BLIND LEMON–Jamonn Zeiler. 9 p.m. Acoustic. Free. BROMWELL’S HÄRTH LOUNGE–The Emmaline Band. 9 p.m. Jazz. Free. CAFFÈ VIVACE–Five Little Bears. 8:00 p.m. Jazz. GRANDVIEW TAVERN & GRILLE–Rollins Davis Band. 8 p.m. Pop/Jazz/R&B. Free.

H H

THE GREENWICH– Sonny Moorman Group. 8 p.m. Blues. $5.

HILTON NETHERLAND PALM COURT– Ricky Nye Inc. 9 p.m. Blues/ Boogie Woogie. Free.

JAG’S STEAK AND SEAFOOD–The Company Band. 9 p.m. Dance/Various. $5. JIM AND JACK’S ON THE RIVER–Whiskey Town. 8 p.m. Acoustic. Free. JOCKO’S PUB–Saving Stimpy. 9:30 p.m. Rock. Free. KNOTTY PINE–Black Bone Cat. 10 p.m. Rock. Cover. LUDLOW GARAGE–The Meditations. 8:30 p.m. Reggae. $15-$20.

THE MAD FROG–Electric Son with Go Analog. 8 p.m. Funk/Blues/Various.

$5.

MADISON LIVE–Post Animal with Illiterate Light and Knotts. 8 p.m. Alt/ Psych/Rock/Various. $13, $15 day of show.

MANSION HILL TAVERN– Tickled Pink. 9 p.m. Blues. Cover.

MOTR PUB–Audley with Us, Today, Patterns of Chaos, Fletcher and Pvnce. 10 p.m. Hip Hop/ Funk/Alt/Post Rock/Soul/ Various. Free.

NORTHSIDE TAVERN– Lo the Loyal Conscripts, Analog Bandits, Colors in Mind and Expeditions. 10 p.m. Rock/Various. Free. PLAIN FOLK CAFE–Sawmill Ridge. 7:30 p.m. Bluegrass. Free.

THE REDMOOR–CancerFree Christmas

with Sound Mind. 7:30 p.m. AltRock. $20. RICK’S TAVERN–3 Day Rule. 10 p.m. Rock. Cover.

SCHWARTZ’S POINT JAZZ & ACOUSTIC CLUB–Shawn Maxwell Quartet. 8:30 p.m. Jazz. Cover.

SILVERTON CAFE–Full Circle. 9 p.m. Rock. Free. SOUTHGATE HOUSE REVIVAL (LOUNGE)–Raelyn Nelson Band. 9:30 p.m. Country. Free. SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–The Parachute Brigade. 8 p.m. Indie/Folk Rock. $5, $8 day of show.

SOUTHGATE HOUSE REVIVAL (SANCTUARY)–Mascots, Elbow CONTINUES ON PAGE 3 4

C I T Y B E AT. C O M

Electronic/Dance. Cover.

KNOTTY PINE–Kenny Cowden. 9 p.m. Acoustic. Free.

PHOTO: TIM NAGLE

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THE GREENWICH–Now Hear This. 8:30 p.m. Jazz. $5.

Post Animal plays Friday at Madison Live

THOMPSON HOUSE– Crafter with Subtleties, Fail to Decay, Vehemian, Vain Interior and Qbert R Seiter. 7 p.m. Metal. $10.

H H

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

Room, Scarlet Street and Beloved Youth. 8 p.m. Rock/ Pop/Punk. $10, $12 day of show.

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STANLEY’S PUB–Sam Burns & the Orchard Circle with Chad Applegate. 10 p.m. Bluegrass. Cover.

TAFT THEATRE–John Butler Trio with Dustin Thomas. 7:30 p.m. Rock. $28.50-$48.50.

THOMPSON HOUSE– Thomas Erak and the Shoreline with Andrés and H.A.R.D. 7:30 p.m. Progressive/Alt/Rock. $10.

TOP CATS–Resonator, Trauma Illinois and Freak Mythology. 8 p.m. Rock/Various. Cover.

URBAN ARTIFACT– The Sedonas with Drop The Sun and Sleepy Drums. 8 p.m. Indie Rock.

JIM AND JACK’S ON THE RIVER–Derek Alan Band. 9 p.m. Country. Free.

RICK’S TAVERN–Second Wind. 10 p.m. Rock/Soul. Cover.

SATURDAY 01

KNOTTY PINE–Black Bone Cat. 10 p.m. Rock. Cover.

SILVERTON CAFE–Sonny Moorman Group. 9 p.m. Blues. Free.

ARNOLD’S BAR AND GRILL–Cincinnati Dancing Pigs. 9 p.m. Americana/Jug band. Free. BLIND LEMON–G Burton. 9 p.m. Acoustic. Free. BLUE NOTE HARRISON– Trailer Park Floosies. 10 p.m. Rock/Pop/Country/Dance/ Rap/Various. $5. BROMWELL’S HÄRTH LOUNGE–Rusty Burge with The Steve Schmidt Trio. 9 p.m. Jazz. Free. CAFFÈ VIVACE–Eugene Goss Trio. 7:30 p.m. Jazz. JAG’S STEAK AND SEAFOOD–Gee Your Band Smells Terrific. 9 p.m. ’70s Pop/Dance/Rock. $5.

LUDLOW GARAGE– Canned Heat with Ben Levin. 8:30 p.m. Rock/Blues. $20-$30.

MADISON LIVE–Ill Gates and Jantsen. 9 p.m. DJ/EDM. $22, $25 day of show. MANSION HILL TAVERN– Dudley Taft. 9 p.m. Blues. Cover.

MOTR PUB–Siren Suit (EP release) with GRLwood and Lashes. 10 p.m. Indie/Rock/Various. Free.

NORTHSIDE TAVERN– Sexy Time Live Band Karaoke. 9 p.m. Various. Free. PLAIN FOLK CAFE–Fox N

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–Sarah Borges. 8 p.m. Roots Rock. $12, $15 day of show.

SOUTHGATE HOUSE REVIVAL (SANCTUARY)–Amanda Shires with Cory Branan. 9 p.m. Roots/ Rock/Pop. $20, $22 day of show.

STANLEY’S PUB–Bucket. 10 p.m. Rock/Various. Cover. TAFT THEATRE–Chris Tomlin. 7:30 p.m. Singer/ Songwriter/Holiday. $28-$98.

MOTR PUB–Sunny War. 9:30 p.m. Blues/Folk/Punk. Free.

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

MOTR PUB–Big Bliss with Sungaze. 8 p.m. Indie Rock. Free.

Hounds. 7:30 p.m. Bluegrass. Free.

THE MAD FROG– Open Jam. 8 p.m. Various. Free.

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

JAPP’S–Ricky Nye. 7 p.m. Blues/Boogie Woogie. Free.

NORTHSIDE TAVERN– Northside Jazz Ensemble. 10 p.m. Jazz. Free.

CAFFÈ VIVACE–Original Farm League Big Band. 2:30 p.m. Jazz.

WASHINGTON PLATFORM SALOON & RESTAURANT– Chako, Sharfe McCord & Wolfly. 9 p.m. Jazz. $10 (food/drink minimum).

CAFFÈ VIVACE–Loveland HS Jazz Band. 7 p.m. Jazz.

SUNDAY 02

BLIND LEMON–Jeff Henry. 8:30 p.m. Acoustic. Free.

FROM PAGE 33

20TH CENTURY THEATER–Albert Hammond Jr. 8 p.m. Alt/Rock. $23, $25 day of show.

BLIND LEMON–Ben Armstrong. 7:30 p.m. Acoustic. Free.

WASHINGTON PLATFORM SALOON & RESTAURANT–Pat Kelly Quartet. 9 p.m. Jazz. $10 (food/drink minimum).

PHOTO: HIVEMINDPR.COM

TOP CATS–Orchid in the Ivy (album release) with You Vs. Yesterday, Heart Means More and Oh So Luminous. 8 p.m. Rock. Cover. URBAN ARTIFACT– Temple Of Void with Rotting Kingdom. 7:30 p.m. Death/Doom. $10.

Petra Glynt performs Sunday at Top Cats

MONDAY 03

NORTHSIDE YACHT CLUB–Fotocrime with Hissing Tiles. 9 p.m. Post Punk/Electronic/Various. $8.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM)–Joe Robinson. 7 p.m. Guitar/Rock/Various. $18, $20 day of show.

SOUTHGATE HOUSE REVIVAL (SANCTUARY)–Bayside. 8:30 p.m. Acoustic Pop/Rock. $22, $26 day of show.

TOP CATS–Petra Glynt. 8 p.m. Alt/Experimental/Pop. $5.

URBAN ARTIFACT–Beyond the Titans with Eunoia and Brain Clinic. 9 p.m. Metal/ Various. $5. WASHINGTON PLATFORM SALOON & RESTAURANT– Traditional New Orleans Jazz Brunch with 2nd Line Jazz Trio. 11:30 a.m. Jazz. $10 (food/drink minimum).

TUESDAY 04

BOGART’S–Snails, Svdden Death and Hekler. 8 p.m. EDM. $22.

CAFFÈ VIVACE–Lynne Scott & Lee Stolar. 7:30 p.m. Jazz. LATITUDES BAR & BISTRO–Latitudes House Band and Open Mic. 8 p.m. Various (open mic at 11 p.m.). Free. THE MAD FROG–House Music. 9 p.m. EDM. Free. NORTHSIDE TAVERN– Impel Music Series. 9 p.m. Improv/Various. Free.

NORTHSIDE TAVERN–Combo Chimbita. 9:30 p.m. Alt/AfroCaribbean/ Psych/Various. $10.

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

STANLEY’S PUB– Trashgrass Tuesday with The Trashgrass Troubadours and Chelsea Ford & the Trouble. 8 p.m. Bluegrass. Cover.

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

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