2 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 3
4 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022 PUBLISHER TONY FRANK EDITOR-IN-CHIEF ASHLEY MOOR MANAGING EDITOR ALLISON BABKA DIGITAL CONTENT EDITOR MAGGY MCDONEL SPECIAL SECTIONS EDITOR MAIJA ZUMMO STAFF WRITER MADELINE FENING CALENDAR EDITOR, WRITER SEAN M. PETERS CREATIVE DIRECTOR HAIMANTI GERMAIN PRODUCTION MANAGER SEAN BIERI GRAPHIC DESIGNER ASPEN SMIT CONTRIBUTING EDITORS MUSIC: MIKE BREEN ARTS & CULTURE: MACKENZIE MANLEY THEATER: RICK PENDER DINING CRITIC: PAMA MITCHELL CONTRIBUTING WRITERS ANNE ARENSTEIN, BRIAN BAKER, STEPHEN NOVOTNI, BRIAN CROSS, HAYLEY DAY, JANE DURRELL, BILL FURBEE, JASON GARGANO, GREGORY GASTON, AUSTIN GAYLE, MCKENZIE GRAHAM, NICK GREVER, KATIE GRIFFITH, KATIE HOLOCHER, BEN L. KAUFMAN, DEIRDRE KAYE, JAC KERN, HARPER LEE, MADGE MARIL, ANNE MITCHELL, LAUREN MORETTO, TAMERA LENZ MUENTE, JACKIE MULAY, JUDE NOEL, GARIN PIRNIA, KATHY SCHWARTZ, MARIA SEDA-REEDER, LEYLA SHOKOOHE, SAMI STEWART, STEVEN ROSEN, KATHY Y. WILSON, P.F. WILSON, MORGAN ZUMBIEL CONTRIBUTING PHOTOGRAPHERS HAILEY BOLLINGER, SCOTT DITTGEN, JESSE FOX, PHIL HEIDENREICH, KHOI NGUYEN, BRITTANY THORNTON, CATIE VIOX SENIOR DIGITAL CONSULTANTMARKETING MARK COLEMAN DISTRIBUTION TEAM TOM SAND, STEVE FERGUSON EUCLID MEDIA GROUP CHIEF EXECUTIVE OFFICER ANDREW ZELMAN CHIEF OPERATING OFFICERS CHRIS KEATING, MICHAEL WAGNER VP OF DIGITAL SERVICES STACY VOLHEIN DIGITAL OPERATIONS COORDINATOR JAIME WWW.EUCLIDMEDIAGROUP.COMMONZON 06 NEWS VOL. 27 | ISSUE 19 ON THE COVER: FRIDAY NIGHT LIGHTS PHOTO BY: MICHAEL ASHER 10 COVER 16 ARTS & CULTURE 23 EATS 26 MUSIC 31 CROSSWORD CITYBEAT 811 RACE ST., FOURTH FLOOR, CINCINNATI, OH 45202 PHONE: 513-665-4700 | FAX: 513-665-4368 | CITYBEAT.COM PRINTED ON RECYCLED PAPER WITH SOY-BASED INKS PLEASE RECYCLE THIS NEWSPAPER! THANKS. :) © 2022 | CityBeat is a registered trademark of CityBeat Communications, LLC. All rights reserved. No part of this publication may be reproduced without written permission. CityBeat covers news, public issues, arts and entertainment of interest to readers in Greater Cincinnati and Northern Kentucky. The views expressed in these pages do not necessarily represent those of the publishers. One copy per person of the current issue is free; additional copies, including back issues up to one year, are available at our offices for $1 each. Subscriptions: $70 for six months, $130 for one year (delivered via rst–class mail). Advertising Deadline: Display advertising, 12 p.m. Wednesday before publication; Classi ed advertising, 5 p.m. Thursday before publication. Warehousing Services: Harris Motor Express, 4261 Crawford Street, Cincinnati, OH 45223. Industrial Engineers - Apparel Manufacturing needed by our Cincinnati, Ohio facility to monitor produc tion levels of each operation and implement process changes to increase operator efficiencies using TSS (Toyota Sewing System) for modular manufactur ing; conduct production analysis time studies and set manufacturing production rates; perform data analysis using ISO 9001 quality management system to produce daily/weekly/monthly reports on produc tion to be shared with plant management; ensure compliance with safety guidelines and governmental regulations. Candidates must have a minimum of a Bachelor’s Degree (foreign degree equivalent accept able) in Industrial Engineering and 2 years of expe rience in the above job duties as applied to apparel manufacturing as an Industrial Engineer or in any related occupational title. Compensation commen surate with knowledge & experience. Travel Required within the United States 2-3 days per week. If offered the position, applicant is subject to background check and drug screening. Send resumes to Fechheimer Brothers Company, Attn: Cameron Ashbrook, 4545 Malsbary Rd, Cincinnati, OH 45242
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 5
Both gures are a contrast to the 2005-2006 school year, when only 32% of schools had an SRO, Educa tionWeek says. And the University of Connecticut Center for Education Policy Analysis says, “In 1975, only 1% of schools reported having police o cers on site, but by 2018, approxi mately 58% of schools had at least one sworn law enforcement o cial pres ent during the school week.”
“Rates of youth violence were plummeting independent of law enforcement interventions. Addition ally, SPOs [school police o cers] have been linked with exacerbating
NEWS
e number of police in schools has been rising since the ‘90s, when the 1999 Columbine High School mass shooting and attempted bombing put safety on more schools’ radars. Continued school shootings like those at Sandy Hook Elementary School in Newtown, Connecticut (2012) and
anyway.During a Sept. 12 meeting, the Cincinnati Public Schools Board of Education voted 6-1 to continue using school resource o cers (SROs) from the Cincinnati Police Department in school buildings. Board member Mike Moroski was the lone vote against the practice.
6 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
rough tweets, board member Mike Moroski outlined why he’d voted against the resolution.
BY ALLISON BABKA
tudies may show that police in schools aren’t useful, but a local district has decided to keep them anyway.During a Sept. 12 meeting, the Cincinnati Public Schools Board of Education voted 6-1 to continue using school resource o cers (SROs) from the Cincinnati Police Department in school buildings. Board member Mike Moroski was the lone vote against the practice.
According to the CPS youth services unit website, SROs are police o cers who “enforce laws on school grounds.” An article from EducationWeek says that SROs typically are armed and carry handcu s and other restraints. CPD has the third-oldest SRO program in the nation, the department says.
e number of schools welcoming police into their halls has risen in recent years. According to EducationWeek, about 45% of schools had an SRO in place at least once a week during the 2017-2018 school year, with another
Doubts about e ectiveness
PHOTO: ROBIN JONATHAN DEUTSCH, UNSPLASH
Cops to Remain in Cincinnati Public Schools after Board of Education Vote
rough tweets, board member Mike Moroski outlined why he’d voted against the resolution.
Studies and educators continue to implore schools to reconsider police.
Before the Sept. 12 meeting, stu dents and community members urged Cincinnati Public Schools Board of Education members to vote against using SROs again, to no avail. Mem bers a rming the police attempted to calm“Youprotesters.haven’tbeen ignored at all. We’ve listened to you. Just because it isn’t the result you want doesn’t mean we’re not listening. Your voices do matter,” board member Kareem Moncree-Mo ett said after the vote.
From the authors:
Cincinnati Police Department officers continue to have a presence in local schools, to the consternation of some students and community members.
“Secondly, I have assigned to the Administration *and* Board, at least three times, that we nd *any* data that speaks to the e cacy of the SRO program, i.e., how does it *help* our students be better versions of them selves. I have yet to see any such data,” heSchoolcontinued.resource o cers are under increased scrutiny, as studies have shown that policing overwhelmingly targets or a ects students of color. A report from Brookings urges schools to reconsider partnering with police.
“Rates of youth violence were plummeting independent of law enforcement interventions. Addition ally, SPOs [school police o cers] have been linked with exacerbating
An article from EducationWeek says that SROs typically are armed and carry handcu s and other restraints. CPD has the third-oldest SRO program in the nation, the department says.
Increasing arms
Doubts about e ectiveness
Robb Elementary School in Uvalde, Texas (2022) have pushed school administrations to bring in even more police with state and national funding.“efederal Community Oriented Policing Services in Schools Program (COPS) distributed $68 million to jurisdictions in 2000, resulting in the hiring of 599 SPOs in 289 communi ties across the country,” the Brookings Institution says.
Increasing arms
“Firstly, I began asking for an audit of our MOU with CPD about three years ago. I was troubled that we had no oversight of the program,” Moroski said in part on Sept. 12.
Cops to Remain in Cincinnati Public Schools after Board of Education Vote
Studies and educators continue to implore schools to reconsider police.
“Secondly, I have assigned to the Administration *and* Board, at least three times, that we nd *any* data that speaks to the e cacy of the SRO program, i.e., how does it *help* our students be better versions of them selves. I have yet to see any such data,” heSchoolcontinued.resource o cers are under increased scrutiny, as studies have shown that policing overwhelmingly targets or a ects students of color. A report from Brookings urges schools to reconsider partnering with police. From the authors:
e number of police in schools has been rising since the ‘90s, when the 1999 Columbine High School mass shooting and attempted bombing put safety on more schools’ radars. Continued school shootings like those at Sandy Hook Elementary School in Newtown, Connecticut (2012) and
BY ALLISON BABKA
13% saying they brought in police who were not SROs. e National Asso ciation of School Resource O cers shares similar data, pointing to a 2018 report by the National Center for Education Statistics that shows 42% of public schools had at least one SRO present at least one day a week during the 2015-2016 school year.
Cincinnati Police Department officers continue to have a presence in local schools, to the consternation of some students and community members.
According to the CPS youth services unit website, SROs are police o cers who “enforce laws on school grounds.”
“Firstly, I began asking for an audit of our MOU with CPD about three years ago. I was troubled that we had no oversight of the program,” Moroski said in part on Sept. 12.
Robb Elementary School in Uvalde, Texas (2022) have pushed school administrations to bring in even more police with state and national funding.“efederal Community Oriented Policing Services in Schools Program (COPS) distributed $68 million to jurisdictions in 2000, resulting in the hiring of 599 SPOs in 289 communi ties across the country,” the Brookings Institution says.
Both gures are a contrast to the 2005-2006 school year, when only 32% of schools had an SRO, Educa tionWeek says. And the University of Connecticut Center for Education Policy Analysis says, “In 1975, only 1% of schools reported having police o cers on site, but by 2018, approxi mately 58% of schools had at least one sworn law enforcement o cial pres ent during the school week.”
S
PHOTO: ROBIN JONATHAN DEUTSCH, UNSPLASH
S
e number of schools welcoming police into their halls has risen in recent years. According to EducationWeek, about 45% of schools had an SRO in place at least once a week during the 2017-2018 school year, with another
tudies may show that police in schools aren’t useful, but a local district has decided to keep them
Before the Sept. 12 meeting, stu dents and community members urged Cincinnati Public Schools Board of Education members to vote against using SROs again, to no avail. Mem bers a rming the police attempted to calm“Youprotesters.haven’tbeen ignored at all. We’ve listened to you. Just because it isn’t the result you want doesn’t mean we’re not listening. Your voices do matter,” board member Kareem Moncree-Mo ett said after the vote.
NEWS
13% saying they brought in police who were not SROs. e National Asso ciation of School Resource O cers shares similar data, pointing to a 2018 report by the National Center for Education Statistics that shows 42% of public schools had at least one SRO present at least one day a week during the 2015-2016 school year.
e city owns several of the original parcels at 1540 Brewster Ave. at por tion was constructed in 1921 and in part is “a one-story brick warehouse that houses 17,604 square feet and occu pies .69 acre,” Dahan said. Adjoining that building is a “one-story utilitarian garage” that Dahan describes as being in fair
PHOTO: HAILEY BOLLINGER
racial disparities in justice involve ment and youth being driven deeper into the juvenile and adult criminal justice systems. Rather than prevent ing crime, SPOs have been linked with increased arrests for noncriminal, youthful behavior, fueling the schoolto-prison pipeline.”
features interactive aspects, including a recording studio, performance space, rotating and permanent exhibitions and an abundant collection of historic artifacts.“Onbehalf of the King Records Legacy Foundation and what we stand for, we are extremely pleased to see this major step come to the light for the local to global community,” Kent Butts, the board chair and executive director of the King Records Legacy Foundation, said in a statement to CityBeat “It is well deserved and long overdue! We are honored to be stewards for King Records and be a part of assisting in the success of this as well as other endeavors on its behalf.”
King Records’ inclusion on the National Register of Historic Places could generate more grants to preserve and renovate the site.
As Beth Johnson, executive director of the Cincinnati Preservation Association, told CityBeat in a previously published interview, a spot on the National Register of Historic Places creates an opportunity for the foundation to apply for historic tax credits.
According to the Education Com mission of the States, Ohio requires school resource o cers to have just 40 hours of training.
According to the Education Com mission of the States, Ohio requires school resource o cers to have just 40 hours of training.
InWilliams.June,the Ohio Historic Site Preservation Advisory Board approved the nomination of the King Records complex to be listed on the National Register of Historic Places. Nominations for properties in Ohio are processed by the State Historic Preservation O ce, and then the approved proposals are sent to the National Park Service, which ultimately makes the nal decision.
On Sept. 6, the King Records studio buildings, located at 1536-1540 Brewster Ave. in Evanston, were o cially listed on the National Register of Historic Places.
King Records’ spot on the National Register of Historic Places cements its status as an iconic xture in the nation’s music history. From the 1940s into the early 1970s, the Cincinnati label produced several celebrated and legendary musicians, including James Brown, Bootsy Collins, Philip Paul and Otis
e King Records Legacy Foundation has entered into a development agreement with the city to renovate the King Records complex – an agreement that will likely be nalized by the end of September. For now, the group is working with at least a three-year agenda and an initial, tentative $20 million budget. So far, the foundation has secured $200,000 in private funding and a pledged $1 million from the city.
As Beth Johnson, executive director of the Cincinnati Preservation Association, told CityBeat in a previously published interview, a spot on the National Register of Historic Places creates an opportunity for the foundation to apply for historic tax credits.
BY ASHLEY MOOR AND KATIE GRIFFITH
On Sept. 6, the King Records studio buildings, located at 1536-1540 Brewster Ave. in Evanston, were o cially listed on the National Register of Historic Places.
Since forming in 2020, the King Records Legacy Foundation has been crafting a vision for a historic complex that will permanently mark Evanston as the birthplace of a special sound that in uenced the nation. e placement on the National Register of Historic Places will aid in that vision, which includes the creation of a learning center on the property that
National Register of Historic Places Adds King Records Studio Buildings in Evanston
King Records’ inclusion on the National Register of Historic Places could generate more grants to preserve and renovate the site.
T
e city owns several of the original parcels at 1540 Brewster Ave. at por tion was constructed in 1921 and in part is “a one-story brick warehouse that houses 17,604 square feet and occu pies .69 acre,” Dahan said. Adjoining that building is a “one-story utilitarian garage” that Dahan describes as being in fair
e ACLU and its Campaign for Smart Justice partnered with the Young Activists Coalition to research disciplinary practices at the school system from 2021 to 2022 and said the research showed an “over-policing” of Black students as well as “racially disparate discipline” in the schools that perpetuated the school-to-prison pipeline.“econtract between the police and the district grants CPD unilateral power over school policing, while CPS remains in the dark,” the ACLU and YAC concluded in the study.
e remaining parcels, which are privately owned today, are at 1548 Brewster Ave. – three interconnected structures, 26,434 square feet on .414 acres. is portion of the property is not listed on the National Register of Historic Places.
“One of the most important things is, it does open the building up to be eligible for historic tax credits, which, in combination with both the Ohio historic preservation tax credit as well as the federal, can provide up to 45% credit on expenses in regards to the rehabilitation of the building,” Johnson said in August.
T
“[Beingit. on the National Register of Historic Places] gives this building gravitas,” Dahan told CityBeat in a previ ously published interview. “ e federal government is saying this is a signi cant place in American history — that it’s not just signi cant in Cincinnati and Ohio, but is signi cant to every U.S. citizen from Alaska to Florida to Maine.”
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 7
InWilliams.June,the Ohio Historic Site Preservation Advisory Board approved the nomination of the King Records complex to be listed on the National Register of Historic Places. Nominations for properties in Ohio are processed by the State Historic Preservation O ce, and then the approved proposals are sent to the National Park Service, which ultimately makes the nal decision.
King Records’ spot on the National Register of Historic Places cements its status as an iconic xture in the nation’s music history. From the 1940s into the early 1970s, the Cincinnati label produced several celebrated and legendary musicians, including James Brown, Bootsy Collins, Philip Paul and Otis
Since forming in 2020, the King Records Legacy Foundation has been crafting a vision for a historic complex that will permanently mark Evanston as the birthplace of a special sound that in uenced the nation. e placement on the National Register of Historic Places will aid in that vision, which includes the creation of a learning center on the property that
e King Records Legacy Foundation has entered into a development agreement with the city to renovate the King Records complex – an agreement that will likely be nalized by the end of September. For now, the group is working with at least a three-year agenda and an initial, tentative $20 million budget. So far, the foundation has secured $200,000 in private funding and a pledged $1 million from the city.
In addition, a recent study from the ACLU of Ohio speci cally called out the presence of Cincinnati Police Department o cers in and around local public schools. e organization recommended that the Cincinnati Public Schools system address what the ACLU calls “discipline disparities” that a ect Black students the most.
e Cincinnati Police Department also is dealing with a spate of recent public incidents regarding o cers using racial slurs while on duty. O cer Rose Valentino recently was red for using the n-word near a school, while o cer Kelly Drach was sus pended for seven days without pay for calling telemarketers “sand n-words” (both o cers used the actual phrases in the moment, according to records).
Ohio Gov. Mike DeWine signed a law in June permitting teachers to be armed with just 24 hours of training, though Cincinnati Public Schools immediately passed a resolution pro hibiting armed teachers on campus.
racial disparities in justice involve ment and youth being driven deeper into the juvenile and adult criminal justice systems. Rather than prevent ing crime, SPOs have been linked with increased arrests for noncriminal, youthful behavior, fueling the schoolto-prison pipeline.”
Being placed on the National Register of Historic Places will provide certain tax credits, easements and grants for those developing the property, and it also will give King Records even more “gravitas,” as Charlie Dahan, co-author of King Records’ nomination proposal, calls
PHOTO: HAILEY BOLLINGER
he King Records Legacy Foundation has achieved another milestone on its path to preserving the history of King Records.
he King Records Legacy Foundation has achieved another milestone on its path to preserving the history of King Records.
King Records’ old studio/o ce on Brewster Avenue was named a historic landmark by the city in 2015, and in 2018 Cincinnati City Council approved a land swap with the existing owner of the former studio property, who had been threatening demolition of the dilapi dated buildings.
King Records’ old studio/o ce on Brewster Avenue was named a historic landmark by the city in 2015, and in 2018 Cincinnati City Council approved a land swap with the existing owner of the former studio property, who had been threatening demolition of the dilapi dated buildings.
features interactive aspects, including a recording studio, performance space, rotating and permanent exhibitions and an abundant collection of historic
artifacts.“Onbehalf of the King Records Legacy Foundation and what we stand for, we are extremely pleased to see this major step come to the light for the local to global community,” Kent Butts, the board chair and executive director of the King Records Legacy Foundation, said in a statement to CityBeat “It is well deserved and long overdue! We are honored to be stewards for King Records and be a part of assisting in the success of this as well as other endeavors on its behalf.”
“One of the most important things is, it does open the building up to be eligible for historic tax credits, which, in combination with both the Ohio historic preservation tax credit as well as the federal, can provide up to 45% credit on expenses in regards to the rehabilitation of the building,” Johnson said in August.
In addition, a recent study from the ACLU of Ohio speci cally called out the presence of Cincinnati Police Department o cers in and around local public schools. e organization recommended that the Cincinnati Public Schools system address what the ACLU calls “discipline disparities” that a ect Black students the most.
BY ASHLEY MOOR AND KATIE GRIFFITH
Whencondition.thatspace operated as King Records, the building on the rst parcel had two oors. e second oor held o ces, storage, a remix studio and the art department. e rst oor contained a large studio and areas for shipping and receiving, printing, inspection and insertion, plating and testing, machine shop, press room and mill room, according to a sketch in e King Records Story by Darren Blase.
Being placed on the National Register of Historic Places will provide certain tax credits, easements and grants for those developing the property, and it also will give King Records even more “gravitas,” as Charlie Dahan, co-author of King Records’ nomination proposal, calls“[Beingit. on the National Register of Historic Places] gives this building gravitas,” Dahan told CityBeat in a previ ously published interview. “ e federal government is saying this is a signi cant place in American history — that it’s not just signi cant in Cincinnati and Ohio, but is signi cant to every U.S. citizen from Alaska to Florida to Maine.”
Whencondition.thatspace operated as King Records, the building on the rst parcel had two oors. e second oor held o ces, storage, a remix studio and the art department. e rst oor contained a large studio and areas for shipping and receiving, printing, inspection and insertion, plating and testing, machine shop, press room and mill room, according to a sketch in e King Records Story by Darren Blase.
e ACLU and its Campaign for Smart Justice partnered with the Young Activists Coalition to research disciplinary practices at the school system from 2021 to 2022 and said the research showed an “over-policing” of Black students as well as “racially disparate discipline” in the schools that perpetuated the school-to-prison pipeline.“econtract between the police and the district grants CPD unilateral power over school policing, while CPS remains in the dark,” the ACLU and YAC concluded in the study.
National Register of Historic Places Adds King Records Studio Buildings in Evanston
School resource o cers are under increased scrutiny, as studies have shown that police.partneringtourgesfromcolor.studentstargetsoverwhelminglypolicingoraectsofAreportBrookingsschoolsreconsiderwith
e Cincinnati Police Department also is dealing with a spate of recent public incidents regarding o cers using racial slurs while on duty. O cer Rose Valentino recently was red for using the n-word near a school, while o cer Kelly Drach was sus pended for seven days without pay for calling telemarketers “sand n-words” (both o cers used the actual phrases in the moment, according to records).
Ohio Gov. Mike DeWine signed a law in June permitting teachers to be armed with just 24 hours of training, though Cincinnati Public Schools immediately passed a resolution pro hibiting armed teachers on campus.
e remaining parcels, which are privately owned today, are at 1548 Brewster Ave. – three interconnected structures, 26,434 square feet on .414 acres. is portion of the property is not listed on the National Register of Historic Places.
School resource o cers are under increased scrutiny, as studies have shown that police.partneringtourgesfromcolor.studentstargetsoverwhelminglypolicingoraectsofAreportBrookingsschoolsreconsiderwith
8 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
e Cincinnati Reds were eliminated from all postseason contention after losing a double-header to the Pittsburgh Pirates at Great American Ball Park on Sept. 13. is means that the Reds will not compete for a Wild Card spot, will miss the postseason yet again and will have another losing season.
Listen for Votto in the broadcast booth
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 9
If you’re too sad to stick with baseball but still need to cheer, Cincinnati has a few other teams that would love to have some support. e Cincin nati Bengals – led by quarterback and Sports Illustrated cover boy Joe Burrow – began its regular season on Sept. 11 with a close loss to Rust Belt rivals the Pittsburgh Steelers, but the Super Bowl LVI runners-up have plenty of steam left for fans at the newly named Paycor Stadium. FC Cincinnati notched a huge win over the San Jose Earthquakes on Sept. 10 and are unbeaten in the previous nine matches as of press time. e Cincinnati Rollergirls also had a bout on Sept. 10 – their rst in more than two years, thanks to the COVID-19 pandemic – and are looking forward to another on Oct. 8. Meanwhile, the Cincinnati Cyclones are gear ing up for a new season on the ice in Heritage Bank Center in October, complete with cheap beer, jersey nights, bobblehead giveaways and fun themes. (AB)
e Reds previously were eliminated from the National League Central race after the Sept. 10 loss to the Milwaukee Brewers. As of press time on Sept. 19, the St. Louis Cardinals and the seemingly immortal Albert Pujols are leading the Brewers in the NL Central by eight games.Asof press time, the Reds are 58-89 on the 2022 season and are 28.5 games behind the NL Central-leading Cardinals. Even if the Reds were to win all 15 of their remaining games – a highly unlikely scenario – the team still would be upside down on its record with a win percentage of just .451 at best. Earlier this year, baseball experts had predicted that the Reds were on pace for a 125-loss season – the lowest for any team since 1900, thanks, in part, to the franchise’s worst start ever.
A
slow start, nagging injuries and lagging o ense doomed baseball in Cincinnati this year.
isup.iswhat fans had feared when
e Reds are putting up another postseason goose egg, but there’s still plenty of sports goodness in Cincinnati as the 2022 regular season winds down:
Playo baseball is great, but there’s beauty in the sport regardless of a championship chase (though, yeah, that would be nice). Nine innings of chess in a riverside park with meat cones for a snack? Sign us up. When it comes to ticket prices and conces sions, Great American Ball Park is one of the cheapest MLB stadiums to take a family of four, according to e Hustle. Besides, players are still per forming. Starting pitcher Nick Lodolo has shown sizzle on the mound, out elder Aristides Aquino has been in the highlight reels for home-run heroics and amazing elding, and speedball rookie Hunter Greene had 11 strikeouts against the Cardinals after his rehab stint in Louisville. Plus, 2023’s new battles with every single franchise – including each American League team – are really only a few months away.
BY ALLISON BABKA
First baseman Joey Votto hasn’t played since Aug. 16, thanks to sur gery on his rotator cu and bicep, but that doesn’t mean he’s far from Great American Ball Park. As one of the best interviewees anywhere, Votto con tinues to join broadcasters for game insights and plain-old tomfoolery.
PHOTO:ALLISON BABKA
The Cincinnati Reds don’t have much to cheer about as 2022 winds down.
the start of the season, Reds owner Bob Castellini said that he wanted to concentrate on developing younger players, which heralded a cut in payroll. Feeling betrayed and fearing that 2022 would not be a legitimate push for playo glory, a large group of fans raised more than $4,000 ahead of Opening Day for a billboard urging Castellini to sell the Reds to someone who would invest in winning. at I-75 billboard and fans’ growing lack of trust in the team elicited a sharp response from the Reds’ chief operating o cer – and Bob Castellini’s son – Phil Castellini, who told 700 AM WLW radio that Cincinnatians essentially would just have to deal with it when the team refused to pay for productive veteran players. Phil Castellini later walked back his comments and sent an apology note to Reds sta .
Go to the park anyway
Focus on other sports
team owners cut payroll and traded prominent players before the season even began and then again at the Aug. 2 trade deadline – yet another “rebuilding season” instead of a playo run.
He recently talked to John Sadak and Cooperstown inductee Barry Larkin in the booth about everything from crafting a good swing to the view of the eld to the ongoing retirement/ victory lap for the St. Louis Cardinals’ Albert Pujols, all while re-upping an old conversation about nipples that dugout reporter Jim Day would rather forget. Also, fans can vote for Votto to receive the Roberto Clem ente Award at roberto-clemente-award.mlb.com/community/
e Cincinnati Reds’ nal weeks include series against the Boston Red Sox, Milwaukee Brewers and Pittsburgh Pirates. e 2022 season-ending series will be against the Chicago Cubs Oct. 3-5 at Great American Ball Park.
Postseason action has been hard to come by for the Reds, who also did not see any extended play in 2021. During the COVID-shortened 2020 season, the Reds made it to the Wild Card playo s but lost to the Atlanta Braves without scoring at all; before that, Cincinnati hadn’t been to the postseason since 2013. e Reds have had just ve winning seasons out of the last 21; that will worsen to ve of 22 seasons, once 2022 wraps
Cincinnati Reds Eliminated from 2022 Postseason Contention, Face Another Losing Season
Fan enthusiasm and trust have been waning since the Reds lost free agents like 2021 All-Star out elder Nick Castellanos during the o season and traded away big contributors like Jesse Winker, third baseman Eugenio Suárez and pitcher Sonny Gray. is summer, the team also traded out elder Tommy Pham, starting pitcher Luis Castillo, out elder Tyler Naquin, starting pitcher Tyler Mahle and in elder Brandon Drury.Justbefore
3 ings to Do Now at the Reds Are Knocked out of Extended Play
Rosie Red feasts on unique snacks at Cincinnati’s Great American Ball Park.
PHOTO:RON VALLE
To an observer, these are longtime professionals at work.Inreality, they’re college students getting national air time before their careers have even really begun.
Students from the media production division at the University of Cincinnati’s College-Conservatory of Music work outside the classroom to produce and direct television broadcasts that air live on ESPN+ as part of a recent partnership with the university’s athletics department. It’s a unique opportunity – no other school in the American Athletic Conference (AAC) uses student media teams linked to a curriculum to produce live feeds for the network – that over just a couple of years has generated post-grad jobs. Alumni are landing at ESPN, with the Bengals and at other big-name sports entities, and the program is attracting more and more ambitious high schoolers.
“BLACK ON LINE. READY TO OPEN!”
BY MICHAEL ASHER
A director shouts commands to the media team covering a University of Cincinnati Bearcats soccer game on a sunny August day at Gettler Stadium. From the sidelines and in the broadcast booth, the entire team is completely dialed in, expertly beaming a nuanced production to viewers on ESPN+.
But as with so many great experiences, the
“All right, everyone lock in and let’s have a good show. Ready to roll open in 5…4…3…2…1…”
10 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
“Graphics, park the lower-third on font two and ready to animate full screen on font three.”
“Audio, track font four and talent mics.”
“Cameras, set your shots! Tape, queue up home in red and away in blue.”
FRIDAYLIGHTSNIGHT A blossoming partnership with ESPN+ is putting University of Cincinnati media production students in the national spotlight.
ESPN+ has broadcast standards that are a bit hard to de ne, says assistant professor of multi-camera productions Joe Brackman.
e idea continued to expand with the announcement of the American Athletic Conference’s new television contract with ESPN. e athletics department and the media production division within CCM saw an opportunity to partner on meeting the stringent ESPN+ broadcast requirements.
e university purchased a replay system and integrated all of the new equipment into videoboard productions for the 2015-2016 football season at Nippert Stadium.
Above: Joe Brackman, assistant professor of multi-camera productions, calls the shots in the broadcast control room at UC’s Nippert West Pavilion.
e contract was and still is similar to deals with larger college athletic conferences such as the Southeastern Conference (SEC), Atlantic Coast Conference (ACC) and Big 12 Conference.
MAKING THE SNAP
“I was able to work with the Hamilton County [Commissioners] and get a donation of ve cameras, lenses and support equipment that had originally been in Great American Ball Park and Paul Brown Stadium [now called Paycor Stadium],” says Bill Frigge, a 1998 graduate of UC’s media production program and current associate director of athletics.
“How can it bene t our students?” Frigge says he kept asking himself. “I saw it more as an investment that we would make as athletics, and I got Kevin and those guys to buy in and start to think about developing classes that would complement.”
Above left: Jack Langen checks microphone levels before a women’s soccer game in August.
e ESPN contract was the catalyst for UC’s current program, but the university already had been considering ways to improve in-house sports coverage. at included acquiring some much-needed equipment from local government o cials.
But there was a big obstacle: at the time, the media production program at UC didn’t have a sports media class or professor, let alone the resources to produce live athletics matches on television.
In 2019, Owens, Frigge and Burke agreed with UC Athletics director John Cunningham and former CCM dean Stanley Romanstein that instead of hiring professional freelance television teams, the university largely would rely on student crews for ESPN+ productions. ey foresaw that the opportunity would help students develop into live production skills while UC distinguished itself from other AAC schools. Frigge and Burke both say they had full con dence in the choice and admit to having no o cial backup
He adds that freelance production professionals –like the ones other universities within the conference were using – were standard, easy to deal with and could hit the ground running. ey come with a high price tag, though. Besides, Frigge still was looking for
“[It’s] a little bit wishy washy” and “varies based on the day and the sport,” he says. “You need a minimum number of cameras – probably three to ve – replay, graphics and then a score bug.”
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 11
the student angle.
“If the conference comes in and says that we have to produce these games, I have to hire somebody,” Frigge says.
ASHERMICHAELPHOTOS:
innovative collaboration between UC and ESPN+ came down to radical decision making.
In March 2019, ESPN reached an agreement on a 12-year $1 billion media rights television contract with the American Athletic Conference, leaving mem ber universities with a short window to facilitate the logistics of creating broadcast-worthy productions.
“ at’s kind of an important start,” Frigge tells CityBeat. “We were able to actually have a robust production.”Associateprofessor and former media production division head John Owens was the rst to reach out to Frigge and the athletics department, Frigge says. Owens initially was looking for investments in the television studio housed in the lower level of Mary Emery Hall, but Frigge says the conversations soon became focused on how to get students involved.
e “Kevin” that Frigge mentions is Kevin Burke, who took over as media production division head in the fall of 2018. He saw that Frigge’s vision could happen, “but only if we hire a faculty member to do this, and that we create classes that are integrated into our curriculum.”“Itwasarisk starting this,” Burke says. “ at [student productions] was a radical idea for many of the other schools.”
12 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
Brackman tells CityBeat that he started his career working at Ohio University with video board presentations. He later moved on to New Mexico State University, producing 45-50 events a year on Fox Sports Arizona [now called Bally Sports Arizona], Altitude Sports and ESPN 3.
“I was looking around at opportunities that might be in Cincinnati, to move closer to family, and that was where I stumbled across the posting,” Brackman says.
“ e pandemic had things all delayed. I thought we had until January or February. Lo and behold, they’re like, ‘Oh, no, you have to cover all of the basketball,” Frigge tells CityBeat
“In my time at New Mexico State, I was already working with students, teaching the basics on how to shoot, how to edit, how to run replay, graphics, all those sorts of things,” Brackman tells CityBeat
“To kind of come in on the ground oor of what we were building here at Cincinnati and having an opportunity to put my stamp on it to an extent, and have some input and do things in a way that I thought would be the best for everyone” was his goal, he says.
In order to be ready at the start of the basketball season that November, Frigge hired national architecture rm DLR Group to assist with the design and engineering of the control room.
“It was a national search. We had people from all over the world applying,” says Burke, who served as head of the search committee.
“I knew we had hit a homerun with that hire,” Frigge says.
TAKING THE KICK
“ ere became a whirlwind of e ort to get our control room up and running to start producing basketball for ESPN+,” Brackman adds.
Despite the control room’s incomplete status, UC began production for ESPN+ on Nov. 25, 2020, for the women’s basketball game vs Northern Kentucky University. Frigge admits there were mistakes but says, “We were on par with our peers in the conference very quickly.”
“Most start as camera operators during their rst events, then move into control room positions like
Brackman says his rst project in July 2020 was to assist in the founding, planning and execution of the ESPN+ control room on the fth oor press box in Nippert Stadium’s West Pavilion. He was eager to get started, he says.
Assistant director of broadcasting and new media Matt Noonan works with Brackman to train students on game-day operations and prepare them for di erent crew positions.
After narrowing the applicants to nalists in February of 2020, the COVID-19 pandemic forced the remainder of the process online. CCM hired Emmy award winner Brackman that April.
“[Brackman] was just the perfect person for the job,” Burke says. “He had done something very identical to what we wanted already.”
“ e thrill and the excitement of producing live sports, television [and] covering live games is something that has always appealed to me. So when I was doing the other work, I, you know, kind of longed for that.”
football began that August, and COVID-19 delays slowed the build of the control room and pushed back the ESPN+ production schedule, Brackman says.
“I think we spent over half a million dollars in equipment,” Frigge estimates.
But UC still needed someone with the knowledge and skills to teach students the fundamentals of sports production – and quickly. Burke wrote a job description for a new position titled “assistant professor of multi-camera productions.”
He then spent a few years working in Columbus on “GameTime with Urban Meyer” but was eager to return to the live sports environment.
Frigge and the athletic department, which funded the salary of the new position for the rst two years, supported the choice.
O cially dubbed “Introduction to Sports Media Production,” Brackman’s new course launched for the fall semester of 2020-2021 academic year. e new initiative continued UC’s legacy of actively teaching students through hands-on learning experiences, and the course quali ed as an on-campus co-op opportunity o ered in collaboration with the o ce of experience-based learning and career education. Frigge says that students were – and continue to be –paid to work in production as they learn. e control room was still under construction as
HITTING THE GOAL
e productions are high quality, but the initiative continues to be all about the students.
plan in place.
Unlike in the early days, UC’s production control room now is fully equipped with Ross Video technologies and Grass Valley cameras, two major players in both the sports and news television industries.
Brackman says there are challenges when working with students and putting on a live television broadcast, but in the end, it’s worth it.
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 13
2020-2021 academic year were hired to join the Cincinnati Bengals’ JungleVision Productions crew for that season, thanks to a connection from Brackman. at relationship has grown into UC students consistently being part of JungleVision’s game-day crew, says Bengals game and event entertainment coordinator Alex Schweppe.
“He [Bolander] is like a Swiss Army knife. From camera to replay to TD, he really does it all,” Schweppe tells CityBeat. “Not only was his skill pretty crafty, but the thing that really stuck out to us was his attitude.”Schweppe says that’s been his experience with many UC students from Brackman’s program.
“All across the board, Joe has an insanely talented group who is ready to work,” Schweppe says. “We’ve trusted his judgment, and it has totally paid o .”
replay, graphics and audio,” Brackman says.
“To know that we had the ability, we had all the pieces in place to make it happen and they’d come and review and they agreed – well, that was a pretty big
Above left: Jeremy Youngquist assists Alex Jacob in banking clips for player packages.
Above: Nic Dumancic operates camera two, focusing on key players for replays.
Another class, “Producing and Directing for Live Sports,” takes a deeper dive into the preparation and planning of a broadcast. Over a semester, students are required to work 16 games, develop storylines as a producer and cut games live as a director, all for airing on ESPN+.
“Ten or 12 of us were in that rst semester, and we really were just guring out how things worked,” Bolander tells CityBeat
Bolander says that about nine students from the
“ ey reached out to some of us from the class, who were involved there as a graphics operator on Xpression, which is pretty cool because I already had some prior knowledge going into that,” Bolander says.
“ ey’ve been incredibly impressed by our student e orts in production and have even o ered us up as a model in the American [Athletic] Conference for other schools looking to incorporate students,” BrackmanFriggesays.notes that a high point came when ESPN contacted the university about producing the linear broadcast of the Jan. 20 men’s basketball game against the University of Tulsa on ESPNU, using the newly built control room and UC students as crew.
“Once they’ve made their way around the control
ough Brackman’s program hasn’t been in place long, it already has produced successful alumni. Jack Bolander, a 2022 UC graduate, had enrolled in “Introduction to Sports Media Production” for the pilot semester in 2020.
Bolander also has been hired to work on in-house video board productions by three of Cincinnati’s professional sports teams: Bengals, Reds and FC Cincinnati. Bolander credits his work with Ross Xpression – a graphics system – and the Ross carbonite switcher in the University of Cincinnati control room as key to securing his FCC crew position.
And UC’s student broadcasts already have received recognition from ESPN.
“It’s an opportunity for students to really get a feel, taste and hands-on application of what it’s like to work in this industry,” Brackman says.
After taking the course four straight semesters and graduating from UC with a bachelor’s of ne arts in media production, Bolander occasionally returns as an independent contractor who works on games and leads new students on productions.
ASHERMICHAELPHOTOS:
room and they’re a little bit more experienced in their educational journey, then they’ll be trained to be leaders in the control room,” Brackman says.
“I enjoy sharing the success of productions with the students,” Brackman says. “We want to have fun, and we want to be proud of the work that we’re doing.”“Introduction to Sports Media Production” requires each student to work at least eight games in a semester, and no experience is necessary. Each game is about a ve- to eight-hour commitment outside of class. Depending on the season, students have the opportunity to cover soccer, football, volleyball, basketball, baseball, lacrosse and more. e lecture portion of the class teaches students about the sports television industry, operation of professional equipment and how to nd a job.
14 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 15
And the initiative will continue to grow, he says, with high school students clamoring to wade into the fray once they enroll at UC. At the end of the spring semes ter, Brackman, Burke and the media production team hosted a digital sports summit to connect students to
“Everythingsays.we do is focused around things that the students will become involved with and providing that experiential learning bene t that will help them in their careers,” Burke continues. “ e bene ts of expanding what we’re doing here would be phenom enal for our students, UC athletics and the university as a whole.”
ESPN has even hired UC alumni, Burke says. Jordan Whitman and Tori Muñoz (both 2021 UC gradu ates) work as graphic operators, Gri n King (‘22) is an audio operator in the REMI (remote modulation integration) operations department and Caitlyn Ziele niewski (‘22) is a production assistant in the ESPN Next program.“Iwouldn’t be where I am today without them,” Zieleniewski says about her experience in the sports media courses with Brackman. “I feel con dent in my knowledge and skills in the control room thanks to my two years of being in Joe’s classes.”
As the crew dives into its 2022-2023 e orts this fall, UC’s athletics department has hired full-time televi sion production engineer Steve Graham to support the technical coordination of the productions, Brackman says. Additionally, UC alum and full-time producer at ESPN Josh Kramer is joining Brackman in teaching “Introduction to Sports Media Production,” handling the lecture portion remotely while Brackman handles the live event sessions.
“In terms of growth of the program, it’s a balancing act between attracting students, being able to fund additional faculty and additional classes at the same time,” Brackman adds.
King feels similarly.
“Coming into this position, I was a little unsure of how prepared I was to be working on these high-level productions,” King says. “But I’ve found that Joe did a great job of creating a professional environment for our ESPN+ productions that closely resembles what you will experience at the highest levels of sports broadcasting.”Burkesaysthe program will continue to pay dividends.“isisa sustainable model. We feel that we’ve had tremendous success in the rst two years,” he says.
“We had over 70 students from four states attend that online event,” Burke says. “Some of our connec tions from ESPN were there. We had several of our alumni who work in sports media, from the Los Ange les Rams, Cleveland Cavaliers and Bally Sports Ohio.”
professionals in the sports industry as well as to market the program to prospective students.
“It gives students an opportunity to kind of grow their skill set and their con dence before they’re ready to take a turn to directing or producing,” Brackman says.
ASHERMICHAELPHOTO:
Above: Mason Foley and Nic Dumancic operate cameras one and two from Calhoun Garage at Gettler Stadium as UC’s women’s soccer team takes on Northern Kentucky University on Aug. 18.
deal,” Frigge says.
“We have a working professional from the industry providing rsthand knowledge and connections to the students,” Brackman says.
Brackman has added a third course, “Advanced Techniques in Live Sports Production,” to build on what was taught during the two existing courses.
Students who feel more comfortable in front of the camera can enroll in the new on-air talent develop ment course for both play-by-play and color announc ers, which will be o ered for the rst time in the spring. e class will be taught by adjunct professor Betsy Ross, an Emmy-winning sports reporter who previously had worked at ESPN and now is president of Cincinnati sports entertainment communication company Game Day Communications.
Brackman says the sports television industry con tinues to grow and is actively hiring right now because sports are universal commonalities that provide enter tainment, unite people together and generate culture. As such, he has big plans for the media production division in future.
“I want to see people start their freshman year and work with us, be involved and grow all those years,” Brackman
But he was far more than a local notable. Long before the Boston-born and Chicago-raised Green moved to Cincinnati, he had made his impact with Binky Brown, which he wrote and drew in 1972 while living in San Francisco. ere, he was part of its emerging “underground” comics movement. Binky Brown depicted — through an alter ego — the ways in which Green’s obsessive-compulsive disorder (OCD) tormented him, especially as it related to
Green was a meticulous and creative sign painter, whose high standards and belief in hand lettering made his work notable in Cincinnati. His signs are around town, especially at Shake It Records, whose front window features his mural-like painting on wood of a music a cionado browsing a record store’s choice goods under “Wall to Wall Vinyl” lettering. Green also was an
Remembering an Underground Innovator
ARTS &
He was that and much more. His 1972 comic book series Binky Brown Meets the Holy Virgin Mary is regarded by many as the rst autobiographical comic and a progenitor of a major new literary style with origins in cartooning.
A new exhibit at Northside’s (DSGN)CLLCTV celebrates the life and work of Cincinnati cartoonist and sign painter Justin Green.
Green was a meticulous and creative sign painter, whose high standards and belief in hand lettering made his work notable in Cincinnati. His signs are around town, especially at Shake It Records, whose front window features his mural-like painting on wood of a music a cionado browsing a record store’s choice goods under “Wall to Wall Vinyl” lettering. Green also was an
his wife Carol Tyler — an acclaimed cartoonist — and their thenpre-teen daughter Julia Green moved to Cincinnati from Sacramento in the late 1990s. He started making quite a local impact as a comic artist, a sign painter and a music lover.
he headed the team that created the popular Cincinnati Musical Legends card deck, under the auspices of ArtWorks and Northside’s Shake It Records.
A
CULTURE
Green’s monthly comic for the Cincin nati-based Signs of the Times publication, which he had started while in California, proved so popular that a collection was published in 1995. For ArtWorks, he was lead designer and teaching artist for the delightful “A Postcard From Home” mural in Carthage. And in the 2010s,
PHOTOS:COURTESY OF JULIA GREEN
Green’s monthly comic for the Cincin nati-based Signs of the Times publication, which he had started while in California, proved so popular that a collection was published in 1995. For ArtWorks, he was lead designer and teaching artist for the delightful “A Postcard From Home” mural in Carthage. And in the 2010s,
He was that and much more. His 1972 comic book series Binky Brown Meets the Holy Virgin Mary is regarded by many as the rst autobiographical comic and a progenitor of a major new literary style with origins in cartooning.
ARTS & CULTURE
BY STEVEN ROSEN
Beginning Oct. 6 and continuing through Dec. 31, there will be an art exhibition to show his work’s — and life’s — breadth and depth at (DSGN) CLLCTV in Northside. Opening night is just for friends and family and will be a memorial tribute that requires an
advance RSVP at dsgncllctv.com. e public opening will occur Oct. 7 from 7-11Green,p.m. his wife Carol Tyler — an acclaimed cartoonist — and their thenpre-teen daughter Julia Green moved to Cincinnati from Sacramento in the late 1990s. He started making quite a local impact as a comic artist, a sign painter and a music lover.
fter Justin Green died in April, he was remembered by Art Works CEO and artistic director Colleen Houston as “one of our commu nity’s greatest art icons.”
accomplished guitarist who wrote a tune called “Sign Painter Blues”.
A new exhibit at Northside’s (DSGN)CLLCTV celebrates the life and work of Cincinnati cartoonist and sign painter Justin Green.
Justin Green (bottom left) created “A Postcard From Home” mural in Carthage and Binky Brown Meets the Holy Virgin Mary
ere, he was part of its emerging “underground” comics movement.
Beginning Oct. 6 and continuing through Dec. 31, there will be an art exhibition to show his work’s — and life’s — breadth and depth at (DSGN) CLLCTV in Northside. Opening night is just for friends and family and will be a memorial tribute that requires an
fter Justin Green died in April, he was remembered by Art Works CEO and artistic director Colleen Houston as “one of our commu nity’s greatest art icons.”
Binky Brown depicted — through an alter ego — the ways in which Green’s obsessive-compulsive disorder (OCD) tormented him, especially as it related to
But he was far more than a local notable. Long before the Boston-born and Chicago-raised Green moved to Cincinnati, he had made his impact with Binky Brown, which he wrote and drew in 1972 while living in San Francisco.
BY STEVEN ROSEN
Remembering an Underground Innovator
A
advance RSVP at dsgncllctv.com. e public opening will occur Oct. 7 from 7-11Green,p.m.
he headed the team that created the popular Cincinnati Musical Legends card deck, under the auspices of ArtWorks and Northside’s Shake It Records.
16 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
accomplished guitarist who wrote a tune called “Sign Painter Blues”.
Her father’s health declined too rap idly for an orderly planning of the show to be completed quickly. When Green died, he was still drawing sketches for the exhibition, which he had also titled. e immediate family — Julia and Tyler — needed until now to do the show right by Green’s wishes. ey also wanted to plan ancillary events during the exhibi tion’s course, with information to be shared later. Green’s daughter from an earlier marriage, Catlin Wulferdingen, also provided some general input.
It took quite a while to make this show happen — Green died on April 23 at age 76 from colon cancer. But it was a com plicated project.
sometimes originals and sometimes reproductions.“It’scooltosee his thoughts and process behind nished products — his mind is amazing,” she says.
“I’ve had this gallery since 2021, and I’ve been bugging him to do a show since then,” Julia says. “But he has such a large body of work, he felt overwhelmed by the idea and kept putting it o . When he found out he didn’t have a lot of time, he wanted to do an art show as one of his last hurrahs. en, when he found out he had maybe three months left, he said, ‘I want this to be instead of a (traditional) memorial service. I want the opening to be as soon as I’m on my deathbed so people feel urgency to see it.’”
“ ere’s been a renewed interest in hand lettering,” Swormstedt says. “In this era of planned obsolescence, people are really interested in things hand-done.” Swormstedt sees carry-over interest in Green’s advocacy of artful signs with beautiful lettering with the new popular ity of tattoos and street murals.
ere may well be some attendees from throughout the country at the open ing — not just other comic artists or sign painters, but also Green’s biographer and a lmmaker working on a documen tary about him and wife Tyler.
Info: dsgncllctv.com.
Her father’s health declined too rap idly for an orderly planning of the show to be completed quickly. When Green died, he was still drawing sketches for the exhibition, which he had also titled. e immediate family — Julia and Tyler — needed until now to do the show right by Green’s wishes. ey also wanted to plan ancillary events during the exhibi tion’s course, with information to be shared later. Green’s daughter from an earlier marriage, Catlin Wulferdingen, also provided some general input.
It became a very personal project.
It took quite a while to make this show happen — Green died on April 23 at age 76 from colon cancer. But it was a com plicated project.
e exhibit’s nal section will have personal material. is will feature Green’s chair, books, clothing and — for the opening, at least — his ashes.
Green was ahead of the times as a sign maker as well as a comic artist. Tod Swormstedt, the editor who approved his Signs of the Times work and now is president of the American Sign Museum in Camp Washington, says Green’s craft has proven prescient.
It became a very personal project.
e exhibition will have a Binky Brown section as well as one for artwork from some of his other underground comics, like the 1976 Sacred and Profane. One section will be devoted to Green’s miscellaneous works, such as ArtWorks projects and in-progress ideas. His studio will also be recreated, and such meaningful mementoes as fan letters from celebrated writers Kurt Vonnegut and Tom Wolfe will be featured, as will correspondence from fellow comic artists Robert Crumb and S. Clay AnotherWilson.section will be devoted to his sign making and related art, including work from his Sign Game comic and his workshop.“Heliked signs because they gave him relief from OCD,” Tyler says. “A sign gave him a chance to focus on something and see it through to fruition.”
e exhibit opening next month at (DSGN)CLLCTV is called Binky Brown’s Funeral Pyre. His daughter Julia coowns the gallery with Mike Gonsalves.
ere may well be some attendees from throughout the country at the open ing — not just other comic artists or sign painters, but also Green’s biographer and a lmmaker working on a documen tary about him and wife Tyler.
Swormstedt sees carry-over interest in Green’s advocacy of artful signs with beautiful lettering with the new popular ity of tattoos and street murals.
“It’s called the Inner Sanctum,” Julia says.Everything considered, Binky Brown’s Funeral Pyre will be a portrait of an art ist and man as admired by his family, friends and fans.
“ ere’s all this artwork but the true artwork is him, and this will show that,” says Wulferdingen, who lives in Chico, California. “Everything in his life he approached as thoughtfully as he did Binky Brown
ey will be shown alongside work,
Green was ahead of the times as a sign maker as well as a comic artist. Tod Swormstedt, the editor who approved his Signs of the Times work and now is president of the American Sign Museum in Camp Washington, says Green’s craft has proven prescient.
“We are not a museum; this is my daughter’s gallery,” says Tyler. “What has to come through is the love, because Julia and Katie are mourning their dad and honoring his wish.”
“It’s called the Inner Sanctum,” Julia says.Everything considered, Binky Brown’s Funeral Pyre will be a portrait of an art ist and man as admired by his family, friends and fans.
Binky Brown has since been hailed by such “alternative” or “underground” comic giants as Art Spiegelman and Bill Gri th. In 2009, when the presti gious publishing house McSweeney’s issued a hardbound edition of the book, Publishers Weekly called Binky Brown “the Rosetta Stone of autobiographical comics.” And in 2012, it was the focus of an exhibition in Lisbon, Portugal.
e exhibit opening next month at (DSGN)CLLCTV is called Binky Brown’s Funeral Pyre. His daughter Julia coowns the gallery with Mike Gonsalves.
“I’ve had this gallery since 2021, and I’ve been bugging him to do a show since then,” Julia says. “But he has such a large body of work, he felt overwhelmed by the idea and kept putting it o . When he found out he didn’t have a lot of time, he wanted to do an art show as one of his last hurrahs. en, when he found out he had maybe three months left, he said, ‘I want this to be instead of a (traditional) memorial service. I want the opening to be as soon as I’m on my deathbed so people feel urgency to see it.’”
“ ere’s been a renewed interest in hand lettering,” Swormstedt says. “In this era of planned obsolescence, people are really interested in things hand-done.”
e exhibit’s nal section will have personal material. is will feature Green’s chair, books, clothing and — for the opening, at least — his ashes.
“Just creating the right set-up for the bird feeders in his backyard took his full attention in the same way that a comic would, or a sign,” she continues. “Or his weird concoctions in the kitchen. I think the show will tell the full story of who he was in a way that people don’t know. It will have the tangible artifacts that tell why we love him.”
Binky Brown’s Funeral Pyre runs Oct. 6-Dec. 31 at (DSGN)CLLCTV, 4150 Hamilton Ave., Northside. Info: dsgncllctv.com.
Binky Brown has since been hailed by such “alternative” or “underground” comic giants as Art Spiegelman and Bill Gri th. In 2009, when the presti gious publishing house McSweeney’s issued a hardbound edition of the book, Publishers Weekly called Binky Brown “the Rosetta Stone of autobiographical comics.” And in 2012, it was the focus of an exhibition in Lisbon, Portugal.
While Green saved much, his originals for his work — including Binky Brown — had often been sold inexpensively.“Inthe1970s, he was in a renegade art form, so the value placed on his work then wasn’t what it is today,” Julia explains. “Oftentimes, my dad would just sell them to collectors to make rent. But the miracle is he did still save a lot of Savedwork.” and planned for display, she says, will be his sketchbooks, notebooks and writings that outline his ideas. ey will be shown alongside work,
“ ere’s all this artwork but the true artwork is him, and this will show that,” says Wulferdingen, who lives in Chico, California. “Everything in his life he approached as thoughtfully as he did Binky Brown
“We are not a museum; this is my daughter’s gallery,” says Tyler. “What has to come through is the love, because Julia and Katie are mourning their dad and honoring his wish.”
e exhibition will have a Binky Brown section as well as one for artwork from some of his other underground comics, like the 1976 Sacred and Profane. One section will be devoted to Green’s miscellaneous works, such as ArtWorks projects and in-progress ideas. His studio will also be recreated, and such meaningful mementoes as fan letters from celebrated writers Kurt Vonnegut and Tom Wolfe will be featured, as will correspondence from fellow comic artists Robert Crumb and S. Clay AnotherWilson.section will be devoted to his sign making and related art, including work from his Sign Game comic and his workshop.“Heliked signs because they gave him relief from OCD,” Tyler says. “A sign gave him a chance to focus on something and see it through to fruition.”
sometimes originals and sometimes reproductions.“It’scooltosee his thoughts and process behind nished products — his mind is amazing,” she says.
Binky Brown’s Funeral Pyre runs Oct. 6-Dec. 31 at (DSGN)CLLCTV, 4150 Hamilton Ave., Northside.
his con icted Catholic upbringing.
While Green saved much, his originals for his work — including Binky Brown — had often been sold inexpensively.“Inthe1970s, he was in a renegade art form, so the value placed on his work then wasn’t what it is today,” Julia explains. “Oftentimes, my dad would just sell them to collectors to make rent. But the miracle is he did still save a lot of Savedwork.” and planned for display, she says, will be his sketchbooks, notebooks and writings that outline his ideas.
“Just creating the right set-up for the bird feeders in his backyard took his full attention in the same way that a comic would, or a sign,” she continues. “Or his weird concoctions in the kitchen. I think the show will tell the full story of who he was in a way that people don’t know. It will have the tangible artifacts that tell why we love him.”
his con icted Catholic upbringing.
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 17
18 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
PHOTO:ZACH ROSING
Murder on the Orient Express was developed as a co-production between the Playhouse and Indiana Repertory eatre in early 2020. It’s the story of ten passengers on a luxurious train traveling from Istanbul to Western Europe. After an unexpected stop in the snowy mountains, only nine are still alive — and everyone else is a suspect. Finding the killer is the task of Christie’s renowned detective Hercule Poirot.
“ is show was a big hit o -Broadway several years ago, and it’s something I’ve been aware of for a while,” Robison says.
full array of modern theater technology. It aism to enhance the Playhouse’s ability to attract top talent — actors, directors and designers. ere also will be an increased potential for co-productions with other theaters and for tryouts of Broadway-bound productions. e Rouse eatre will have its grand opening in March 2023.
Up rst will be Ken Ludwig’s popular adaptation of Agatha Christie’s Murder on the Orient Express at the JarsonKaplan eater, opening on Sept. 25.
“I certainly hope that these collaborations mean positive relations for the future,” Robison says. “Everyone has been really enthusiastic and cooperative. I think Cincinnati is recognized and well known as a friendly arts community — we don’t think of each other as the competition. We really are in a rising-tide-lifting-all-boats sort of community. So everybody wins in this fall season.”isisan opportunity for Playhouse subscribers to visit other Cincinnati theaters and see productions elsewhere, Robison adds.
Andrew May plays Hercule Poirot in Murder on the Orient Express.
One of Broadway’s greatest musicals, A Chorus Line (March 11-April 15) will be the rst Playhouse production performed at the Rouse eatre. e Shelterhouse season gets underway with e Chinese Lady (March 25-April 30).
BY RICK PENDER
At the Incline eater in Price Hill, the Playhouse will o er e Lion (Nov. 12-Dec. 4).
e season wraps up with two world premieres: a comedy, Origin Story (May 20-June 25) in the Shelterhouse, and a mainstage adaptation of the great Western lm Shane (June 3-25). e latter is a co-production with the renowned Guthrie eater in Minneapolis.
e Playhouse’s new mainstage, the Rouse eatre, has been designed as an up-to-date production facility o ering a
piece itself and the performer are magnetic, physical, and inspirational,” Robison says. “I thought this would be a great greeting card for Joanie to bring to Cincinnati – her way to say, ‘ is is who I am, this is what I bring to the table as a theater director.”
e Playhouse’s new mainstage, the Rouse eatre, has been designed as an up-to-date production facility o ering a
PHOTO:PAMELA RAITH
he Cincinnati Playhouse in the Park will not produce shows in Eden Park this fall. e Marx eatre, the Playhouse’s longtime mainstage, has been demolished to make way for the new “Moe and Jack’s Place – e Rouse eatre.” For several months, access to the existing Rosenthal Shelterhouse eatre will also be restricted.Instead, Playhouse shows will move to three other venues around town: e Arono Center’s Jarson-Kaplan eater, the Otto M. Budig eatre at Covington’s Carnegie Center and Cincinnati Landmark Productions’ Warsaw Federal Incline eater.
“I said absolutely we wanted it,” Robison says. “It’s a really sincere, lovely biographical story, told as a folk musical. He tells the story of his young life, and it’s mesmerizing.”
e Cincinnati Playhouse in the Park’s 2022-2023 opens with Murder on the Orient Express on Sept. 25 at the Arono Center’s Jarson-Kaplan eatre.
“We have the same creative team and the same director, but the show had to be re-designed for the Jarson-Kaplan instead of the Marx eatre.”
Vanessa Severo stars as Frida Kahlo in and wrote the script for Frida … A Self-Portrait.
e Playhouse’s producing artistic director Blake Robison tells CityBeat that he got the idea from Atlanta’s Alliance
“All three [venues] were very cooperative and eager,” Robison says. “We need a venue that can accommodate all of our subscribers and all of the many single ticket buyers who are going to come to see it.”
Robison says that the welcoming nature of Cincinnati’s theater community made it possible for them to collaborate with other local companies.
e Rouse eatre will o er another Playhouse production of one of August Wilson’s memorable “Century Cycle” plays, Seven Guitars (April 23-May 14).
e Rouse eatre will o er another Playhouse production of one of August Wilson’s memorable “Century Cycle” plays, Seven Guitars (April 23-May 14).
“Indiana got their half in early in 2020, and then March of 2020 hit, and
e Playhouse anticipates that it will be hugely popular, recalling interest in prior best-selling productions of Christie’s mysteries: Ten Little Indians in 1982 and again in 2002; e Mousetrap in 1995; and Witness for the Prosecution in 2006.
Max Alexander-Taylor leads The Lion, a one-man show.
“We have heard from some subscribers that they’ve never been to the Carnegie, they’ve never been to the Incline eater. So that’s part of the mutually bene cial situation we nd ourselves in,” Robison says.
PHOTO:OWEN CAREY FOR PORTLAND CENTER STAGE
BY RICK PENDER
T
CULTURE
e Cincinnati Playhouse in the Park’s 2022-2023 opens with Murder on the Orient Express on Sept. 25 at the Arono Center’s Jarson-Kaplan eatre.
“We have heard from some subscribers that they’ve never been to the Carnegie, they’ve never been to the Incline eater. So that’s part of the mutually bene cial situation we nd ourselves in,” Robison says.
About half of the original cast was still available, including actor Andrew May, as Poirot, he adds.
PHOTO:ZACH ROSING
After the depths of the pandemic, it was produced in London. Knowing of Robison’s interest, the director planned to bring it to his theater in Arizona and asked if it might work in Cincinnati.
he Cincinnati Playhouse in the Park will not produce shows in Eden Park this fall. e Marx eatre, the Playhouse’s longtime mainstage, has been demolished to make way for the new “Moe and Jack’s Place – e Rouse eatre.” For several months, access to the existing Rosenthal Shelterhouse eatre will also be restricted.Instead, Playhouse shows will move to three other venues around town: e Arono Center’s Jarson-Kaplan eater, the Otto M. Budig eatre at Covington’s Carnegie Center and Cincinnati Landmark Productions’ Warsaw Federal Incline eater.
“I said absolutely we wanted it,” Robison says. “It’s a really sincere, lovely biographical story, told as a folk musical. He tells the story of his young life, and it’s mesmerizing.”
“Wheneatre.they had to take a pause for a giant renovation there, they took a whole season o -site, a season of plays in di erent neighborhoods all over Atlanta. at inspired us to dig in and see if we could do it in a smaller way — just for the fall, not the whole season,” Robison says. “We loved the idea that we’re going into di erent neighborhoods, running into di erent people, making new friends and inviting them back to Eden Park when we open the new theater in March.”
full array of modern theater technology. It aism to enhance the Playhouse’s ability to attract top talent — actors, directors and designers. ere also will be an increased potential for co-productions with other theaters and for tryouts of Broadway-bound productions. e Rouse eatre will have its grand opening in March 2023.
Max Alexander-Taylor leads The Lion, a one-man show. PHOTO:PAMELA RAITH
Info: cincyplay.com.
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 19
Robison says that the welcoming nature of Cincinnati’s theater community made it possible for them to collaborate with other local companies.
T
Info: cincyplay.com.
“Indiana got their half in early in 2020, and then March of 2020 hit, and
2022-2023
“All three [venues] were very cooperative and eager,” Robison says. “We need a venue that can accommodate all of our subscribers and all of the many single ticket buyers who are going to come to see it.”
One of Broadway’s greatest musicals, A Chorus Line (March 11-April 15) will be the rst Playhouse production performed at the Rouse eatre. e Shelterhouse season gets underway with e Chinese Lady (March 25-April 30).
e one-man show portrays a singersongwriter who tells his family’s stormy story, presenting his tale with monologues and songs and using six di erent guitars.“Ithad a small tour to regional theaters, which we were not able to get at the time,” Robison says.
Cincinnati Playhouse in the Park’s Unconventional Season Opens with Agatha Christie Classic
Up rst will be Ken Ludwig’s popular adaptation of Agatha Christie’s Murder on the Orient Express at the JarsonKaplan eater, opening on Sept. 25.
After the depths of the pandemic, it was produced in London. Knowing of Robison’s interest, the director planned to bring it to his theater in Arizona and asked if it might work in Cincinnati.
e one-man show portrays a singersongwriter who tells his family’s stormy story, presenting his tale with monologues and songs and using six di erent guitars.“Ithad a small tour to regional theaters, which we were not able to get at the time,” Robison says.
e Playhouse anticipates that it will be hugely popular, recalling interest in prior best-selling productions of Christie’s mysteries: Ten Little Indians in 1982 and again in 2002; e Mousetrap in 1995; and Witness for the Prosecution in 2006.
Andrew May plays Hercule Poirot in Murder on the Orient Express.
e Playhouse’s producing artistic director Blake Robison tells CityBeat that he got the idea from Atlanta’s Alliance“Wheneatre.they had to take a pause for a giant renovation there, they took a whole season o -site, a season of plays in di erent neighborhoods all over Atlanta. at inspired us to dig in and see if we could do it in a smaller way — just for the fall, not the whole season,” Robison says. “We loved the idea that we’re going into di erent neighborhoods, running into di erent people, making new friends and inviting them back to Eden Park when we open the new theater in March.”
2022-2023
“ is show was a big hit o -Broadway several years ago, and it’s something I’ve been aware of for a while,” Robison says.
Each production has been matched speci cally to the venue.
e Playhouse’s other two o -site productions are solo performances –the kind of shows typically presented in the Rosenthal Shelterhouse eatre. Frida … A Self Portrait (Oct. 15-Nov. 6) is slated for the Carnegie. It’s an imaginative show about Mexican painter Frida Kahlo, developed by the Playhouse’s new associate artistic director Joanie Schultz. Robison traveled to Portland, Oregon, to see it staged there when Schultz was being hired. It stars Vanessa Severo, who also wrote the script.“e piece itself and the performer are magnetic, physical, and inspirational,” Robison says. “I thought this would be a great greeting card for Joanie to bring to Cincinnati – her way to say, ‘ is is who I am, this is what I bring to the table as a theater director.”
we weren’t able to do the second half of the co-production,” Robison explains. “We have the same creative team and the same director, but the show had to be re-designed for the Jarson-Kaplan instead of the Marx eatre.”
Murder on the Orient Express was developed as a co-production between the Playhouse and Indiana Repertory eatre in early 2020. It’s the story of ten passengers on a luxurious train traveling from Istanbul to Western Europe. After an unexpected stop in the snowy mountains, only nine are still alive — and everyone else is a suspect. Finding the killer is the task of Christie’s renowned detective Hercule Poirot.
e season wraps up with two world premieres: a comedy, Origin Story (May 20-June 25) in the Shelterhouse, and a mainstage adaptation of the great Western lm Shane (June 3-25). e latter is a co-production with the renowned Guthrie eater in Minneapolis.
we weren’t able to do the second half of the co-production,” Robison explains.
e Playhouse’s other two o -site productions are solo performances –the kind of shows typically presented in the Rosenthal Shelterhouse eatre. Frida … A Self Portrait (Oct. 15-Nov. 6) is slated for the Carnegie. It’s an imaginative show about Mexican painter Frida Kahlo, developed by the Playhouse’s new associate artistic director Joanie Schultz. Robison traveled to Portland, Oregon, to see it staged there when Schultz was being hired. It stars Vanessa Severo, who also wrote the script.“e
Vanessa Severo stars as Frida Kahlo in and wrote the script for Frida … A Self-Portrait. PHOTO:OWEN CAREY FOR PORTLAND CENTER STAGE
Each production has been matched speci cally to the venue.
CULTURE
About half of the original cast was still available, including actor Andrew May, as Poirot, he adds.
“I certainly hope that these collaborations mean positive relations for the future,” Robison says. “Everyone has been really enthusiastic and cooperative. I think Cincinnati is recognized and well known as a friendly arts community — we don’t think of each other as the competition. We really are in a rising-tide-lifting-all-boats sort of community. So everybody wins in this fall season.”isisan opportunity for Playhouse subscribers to visit other Cincinnati theaters and see productions elsewhere, Robison adds.
Cincinnati Playhouse in the Park’s Unconventional Season Opens with Agatha Christie Classic
At the Incline eater in Price Hill, the Playhouse will o er e Lion (Nov. 12-Dec. 4).
20 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
Many of them will open their doors to the public for tours and demonstrations for Made In Camp on Saturday, Oct. 8, from noon to 4 p.m.
N
Made In Camp is a free neighborhood open house designed to connect the public with Camp Washington creatives and organizations.
PHOTOS: PROVIDED BY WAVE POOL
is year’s event is expected to feature a similar number of venues along the same route (as of press time, Wave Pool hasn’t announced a list of participating venues). Live music will be performed at CampSITE Sculpture Park, the American Sign Museum and the Camp Washington Community Board; some of the musical artists include Static Falls, Fairmount Girls and All Seeing Eyes. Pizza will be provided at FLAG Studio by sculpture artist Joe Girandola.
Last year for Made In Camp, Colborn set up a stamp-making station at Jessamine Studios for people to ink their own stamps. is year, she’s welcoming people into her workspace at Jessamine Studios and inviting conversations around her work. Colborn, a painter, will be exploring how ideas of threshold and sanctuary can exist simultaneously in the same space.
Artists, Makers Open Their Doors in Camp Washington for ‘Made in Camp’ Community Event
is year’s event is expected to feature a similar number of venues along the same route (as of press time, Wave Pool hasn’t announced a list of participating venues). Live music will be performed at CampSITE Sculpture Park, the American Sign Museum and the Camp Washington Community Board; some of the musical artists include Static Falls, Fairmount Girls and All Seeing Eyes. Pizza will be provided at FLAG Studio by sculpture artist Joe Girandola.
From the outside, Camp Washington (which residents often a ectionately referred to as “Camp” or “the Camp”) re ects aspects of its industrial past. e neighborhood was the center of Cincinnati’s pork industry in the early 20th century, employing thousands of residents at meatpacking plants. Like other manufacturing facilities, the plants are no longer in operation, but they’ve found new life through a present-day artistic renaissance (it’s worth noting, too, that many decadesold manufacturers like SpringDot, Queen City Steel Treating Company, Meyer Tool, and Queen City Sausage continue to thrive. Camp Washington Chili, founded in 1940, is still a savory mainstay).TodSwormstedt, founder of the American Sign Museum and one of the Made In Camp founders, says Camp Washington today is “where art meets industry.”“ere’s a lot of industrial fabrication happening in the Camp, particularly in metal and plastic, which is some of the same ‘fabrication’ that artists use,” Swormstedt says. “ e artists and the factories are using the same materials, but obviously one is creating consumer goods and one is creating art.”
“I know it’s usually black and white, but I see some grayness in there,” says Swormtedt. “ e collaboration between ne artists and industrial fabricators, that’s kind of what’s behind the whole idea of Made in Camp.”
“ ese events are so great for getting people interested and introduced to all of the creative arts in Cincinnati,” says Colborn. “When you get the opportunity to hop into an artist’s studio, it’s an intimate experience, and it’s also a sort of kernel. It becomes a spark that maybe ignites interest in going to see other gallery shows or going to see the museum shows… It’s a great way to get people interested in the arts because those initial conversations with an artist can really open up a lot.”
active but often “hidden from view.”
From the outside, Camp Washington (which residents often a ectionately referred to as “Camp” or “the Camp”) re ects aspects of its industrial past. e neighborhood was the center of Cincinnati’s pork industry in the early 20th century, employing thousands of residents at meatpacking plants. Like other manufacturing facilities, the plants are no longer in operation, but they’ve found new life through a present-day artistic renaissance (it’s worth noting, too, that many decadesold manufacturers like SpringDot, Queen City Steel Treating Company, Meyer Tool, and Queen City Sausage continue to thrive. Camp Washington Chili, founded in 1940, is still a savory mainstay).TodSwormstedt, founder of the American Sign Museum and one of the Made In Camp founders, says Camp Washington today is “where art meets industry.”“ere’s a lot of industrial fabrication happening in the Camp, particularly in metal and plastic, which is some of the same ‘fabrication’ that artists use,” Swormstedt says. “ e artists and the factories are using the same materials, but obviously one is creating consumer goods and one is creating art.”
Now in its fth year, Made In Camp is a free, neighborhood-wide open house designed to connect the public with makers, artists, collectives and organizations who have studios, galleries and workshops in the Camp Washington community. e 2021 event included 34 participating venues along main roads Colerain Avenue, Spring Grove Avenue, Hopple Street and adjacent side streets.
“As a Perentesisourothercando,andpeopleonlystrivemakerspace,communitywetobenotaplacewherecancomeseewhatwebutalsowecelebratemakersincommunity,”says.
estled between Clifton and Fairmount and preceded by a century-long history of manufacturing and production, today’s Camp Washington is teeming with creative energy. Artists, makers and manufacturers have reimagined former factories and buildings as new spaces for creation and innovation.
Many of them will open their doors to the public for tours and demonstrations for Made In Camp on Saturday, Oct. 8, from noon to 4 p.m.
N
Katherine Colborn is a Cincinnatibased artist who’s returning to Made In Camp after participating last year. She’s called Camp Washington home since 2020, operating out of Jessamine Studios alongside 11 other artists near
Colerain Avenue. Colborn says she wasn’t seeking out Camp Washington as an artistic base, but the a ordable rates mixed with the energy and closeness of the creative community have made it ideal.
“I want people who drive through Camp Washington each day on their commute to maybe think of the painters, welders, printers and carvers that are working within these buildings as they pass by, rather than thinking of them as vacant or underutilized, as perhaps many might before attending this event,” Cullen tells CityBeat
BY NATALIE CLARE
e American Sign Museum will be o ering tours, opportunities to make your own sticker designs and conversations with local artist Gratia Banta.
A few blocks southwest of Jessamine Studios, Hive13 will be o ering tours, activities and demonstrations in the parking lot next to its building. e creative space is encouraging people to consider music as a form of making, in the spirit of DIY (“do-it-yourself”). Most notably, it will be holding demonstrations of a Tesla coil, a high-voltage instrument that can make music by changingKonstantinosfrequencies.Perentesis, Hive13’s outreach committee chairperson, says Hive13 is a community workshop that provides resources like tools, hardware and equipment for makers.Perentesis says their community includes artists, metalworkers, welders, educators, machinists and engineers. Unlike traditional studio spaces, Hive13 members can access the facility 24/7.
“Camp Washington has been a hub for makers for such a long time. We should be able to celebrate each other and celebrate our work and be able to celebrate that this is Camp Washington—we do such cool stu here. You should come, too.”
“I want people who drive through Camp Washington each day on their commute to maybe think of the painters, welders, printers and carvers that are working within these buildings as they pass by, rather than thinking of them as vacant or underutilized, as perhaps many might before attending this event,” Cullen tells CityBeat.
Made in Camp runs noon-4 p.m. Oct. 8 in Camp Washington. wavepoolgallery.org/made-in-camp.Info:
Colerain Avenue. Colborn says she wasn’t seeking out Camp Washington as an artistic base, but the a ordable rates mixed with the energy and closeness of the creative community have made it ideal.
CULTURE
PHOTOS: PROVIDED BY WAVE POOL
“As a community makerspace, we strive to be not only a place where people can come and see what we do but also, we can celebrate other makers in our community,” Perentesis says.
“I know it’s usually black and white, but I see some grayness in there,” says Swormtedt. “ e collaboration between ne artists and industrial fabricators, that’s kind of what’s behind the whole idea of Made in Camp.”
Last year for Made In Camp, Colborn set up a stamp-making station at Jessamine Studios for people to ink their own stamps. is year, she’s welcoming people into her workspace at Jessamine Studios and inviting conversations around her work. Colborn, a painter, will be exploring how ideas of threshold and sanctuary can exist simultaneously in the same space.
Swormstedt sees the American Sign Museum as a metaphor for where art meets industry: the museum collects and preserves commercial signs (made by fabricators) and presents them in a gallery setting (for artistic appreciation and education). at connection opens up larger conversations about the distinction between commercial art and ne art.
“As a community makerspace, we strive to be not only a place where people can come and see what we do but also, we can celebrate other makers in our community,” Perentesis says. “Camp Washington has been a hub for makers for such a long time. We should be able to celebrate each other and celebrate our work and be able to celebrate that this is Camp Washington—we do such cool stu here. You should come, too.”
Artists, Makers Open Their Doors in Camp Washington for ‘Made in Camp’ Community Event BY NATALIE CLARE
Made in Camp runs noon-4 p.m. Oct. 8 in Camp Washington. wavepoolgallery.org/made-in-camp.Info:
Cal Cullen, executive director of Wave Pool and one of the founders of Made In Camp, says the event has grown consistently since its inauguration in 2017. Its mission is to highlight the neighborhood’s artist and maker community, which Cullen says is very
“As a Perentesisourothercando,andpeopleonlystrivemakerspace,communitywetobenotaplacewherecancomeseewhatwebutalsowecelebratemakersincommunity,”says.
A few blocks southwest of Jessamine Studios, Hive13 will be o ering tours, activities and demonstrations in the parking lot next to its building. e creative space is encouraging people to consider music as a form of making, in the spirit of DIY (“do-it-yourself”). Most notably, it will be holding demonstrations of a Tesla coil, a high-voltage instrument that can make music by changingKonstantinosfrequencies.Perentesis, Hive13’s outreach committee chairperson, says Hive13 is a community workshop that provides resources like tools, hardware and equipment for makers.Perentesis says their community includes artists, metalworkers, welders, educators, machinists and engineers. Unlike traditional studio spaces, Hive13 members can access the facility 24/7.
Katherine Colborn is a Cincinnatibased artist who’s returning to Made In Camp after participating last year. She’s called Camp Washington home since 2020, operating out of Jessamine Studios alongside 11 other artists near
“ ese events are so great for getting people interested and introduced to all of the creative arts in Cincinnati,” says Colborn. “When you get the opportunity to hop into an artist’s studio, it’s an intimate experience, and it’s also a sort of kernel. It becomes a spark that maybe ignites interest in going to see other gallery shows or going to see the museum shows… It’s a great way to get people interested in the arts because those initial conversations with an artist can really open up a lot.”
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 21 CULTURE
Cal Cullen, executive director of Wave Pool and one of the founders of Made In Camp, says the event has grown consistently since its inauguration in 2017. Its mission is to highlight the neighborhood’s artist and maker community, which Cullen says is very
active but often “hidden from view.”
e American Sign Museum will be o ering tours, opportunities to make your own sticker designs and conversations with local artist Gratia Banta.
Made In Camp is a free neighborhood open house designed to connect the public with Camp Washington creatives and organizations.
Swormstedt sees the American Sign Museum as a metaphor for where art meets industry: the museum collects and preserves commercial signs (made by fabricators) and presents them in a gallery setting (for artistic appreciation and education). at connection opens up larger conversations about the distinction between commercial art and ne art.
estled between Clifton and Fairmount and preceded by a century-long history of manufacturing and production, today’s Camp Washington is teeming with creative energy. Artists, makers and manufacturers have reimagined former factories and buildings as new spaces for creation and innovation.
Now in its fth year, Made In Camp is a free, neighborhood-wide open house designed to connect the public with makers, artists, collectives and organizations who have studios, galleries and workshops in the Camp Washington community. e 2021 event included 34 participating venues along main roads Colerain Avenue, Spring Grove Avenue, Hopple Street and adjacent side streets.
French-Forward Fare
e almond-chocolate sponge cake enrobed in chocolate ganache frosting and laced with espresso crème can’t beRoycebeat. serves dinner seven days a week and brunch on Saturday and Sunday. It will add lunch service soon.
I also recommend the entrée-sized plat called Quark Boulette, dumplings made with quark cheese. Tender, round pu s of cheesy dough sat in a warm bed of grilled corn kernels, sau teed mushrooms and pecorino cheese, the savory avors melting into a sort of late summer stew. is excellent dish would go well with almost any of the wines by the glass, even one of the hearty reds.
We tried two sh entrees, trout amandine and skate wing with romesco sauce. e lemony sauce on the trout helped elevate a traditional but bland dish, but both sh portions were small for the price, especially $34 for the skate.
PHOTOS: CATIE VIOX
I also recommend the entrée-sized plat called Quark Boulette, dumplings made with quark cheese. Tender, round pu s of cheesy dough sat in a warm bed of grilled corn kernels, sau teed mushrooms and pecorino cheese, the savory avors melting into a sort of late summer stew. is excellent dish would go well with almost any of the wines by the glass, even one of the hearty reds.
Royce, 501 Vine St., Downtown.
My favorite was their gussied-up Old Fashioned (called Bugatti Chiron here), made with Old Forester 86, Grand Marnier, two kinds of bitters and “coated in Applewood smoke.” If you’re looking for something with more visual air, try the Dreyfus A air (based on tequila) or Carry the One (an interesting combination of Hennessey and Cointreau) to get the full wow factor, presentation-wise.
My love a air with France started with a crush on my high school French teacher and then was seared into my heart forever when I had the good fortune to spend two weeks in Paris at the impressionable age of 17. I’ve been back many times to that city and other regions of the country, enjoying every visit and have even been able to get by with passable Accordingly,French.Ibidwelcome to Royce, a beautifully designed restaurant that opened this summer across from Fountain Square in the new Foundry development. Calling itself a French brasserie, Royce’s menu and wine list are indeed mostly in French, and you’ll nd plenty of enticing frites, pâtés, and fruits de mer. ey nabbed an excellent chef, Jared Bennett, who had made his former kitchen at Branch one of my favorites. He also helmed Metropole and Khora. In other words, he’s bona de, and I look forward to seeing what he does Roycehere.isowned by a highly successful
Roycebeat. serves dinner seven days a week and brunch on Saturday and Sunday. It will add lunch service soon.
We tried two sh entrees, trout amandine and skate wing with romesco sauce. e lemony sauce on the trout helped elevate a traditional but bland dish, but both sh portions were small for the price, especially $34 for the skate.
At present, Royce o ers three des serts: crème brulee plus versions of opera crème cake and lemon tart. I love crème brulee, but we decided to try the less-common o erings. Both the tart and cake were lovely, but go with the cake if you need to pick one.
Nashville restaurateur, Terry Raley, who already has one Cincinnati winner with Pearlstar Oyster Camp + Bar in Over-the-Rhine. Even considering the formidable challenges of today’s restaurant business, Royce has the pedigree, location and energy to be a worthy addition to the heart of downtown Cincinnati. If it is missing something for this Francophile — like, actual French people anywhere in evidence — that probably won’t a ect its long-term success. I doubt that the well-heeled clientele enjoying the restaurant’s seafood towers and fancy cocktails will be troubled by the formulaic, bistro-bynumbers vibe it gave me. Shaking that thought from my head, I found plenty to like, and many reasons to return.
You might need a minute to become oriented to Royce’s menu, whether or not deciphering the French slows you down. You won’t see a familiar snacks/ appetizers/entrees menu organization. Instead, the four menu sections list Charcuterie, Fruits de Mer (seafood, or raw bar), Les Plats (entreés, but also salads and bread service) and Côtés (sides).Wearranged our meal into a traditional three-course sequence. For starters, we skipped charcuterie and selected items from the seafood bar, sharing oysters, pickled mussels and rillettes of smoked trout with a baguette. e seafood was fresh and fragrant, but someone in the kitchen ramped up the salt a bit too much with the rillettes (a creamy trout spread to put on crackers or baguette slices). I noticed a couple of other over-salted dishes later, triggering one of my dining-out pet peeves (go easy on the salt and let me add more at the table, if I want to).
At present, Royce o ers three des serts: crème brulee plus versions of opera crème cake and lemon tart. I love crème brulee, but we decided to try the less-common o erings. Both the tart and cake were lovely, but go with the cake if you need to pick one.
Cocktail prices are on the high side ($14-$16), as are the glass pours of wine ($14-$25), but at least you’re getting high-quality libations. ere’s not a weak link in the wine pours, and I could imagine stopping by to work my way through those glasses along with a bit of charcuterie or something from the raw bar. Glass pours are not listed as also available by the bottle, however, which is a courtesy I hope will be extended in the future.eplace wasn’t packed when we went on a Wednesday evening. Empty tables kept the noise down, though I still couldn’t hear the folks at the other end of our table for much of the evening. Our servers were attentive but not pushy, and gave us time to relax with drinks before ordering food. All evening, the pace of service went well.
Recently-opened French brasserie Royce o ers an impressive menu and wine list at e Foundry.
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 23
My favorite was their gussied-up Old Fashioned (called Bugatti Chiron here), made with Old Forester 86, Grand Marnier, two kinds of bitters and “coated in Applewood smoke.” If you’re looking for something with more visual air, try the Dreyfus A air (based on tequila) or Carry the One (an interesting combination of Hennessey and Cointreau) to get the full wow factor, presentation-wise.
Bennett wasn’t cooking the night I went for dinner with ve friends. My seat faced the open kitchen with its crew of ve, minus the head chef, and it was fun to have that activity as a backdrop. Colorful surfaces of copper and brass, bright red seat cushions against stark white walls, and the house’s penchant for show-stopping presentations of food and drink add to the theatricality. Sta ers delivered raw bar o erings on the impressive, multi-layered ceramic tower, eliciting excited reactions at each table. Some of the elaborate cocktails were so beautiful
s a lifelong Francophile, I am intrigued whenever our city welcomes a French restaurant. Hand me a menu written in French along with a wine list of carefully chosen champagnes, burgundies, Bordeaux and Loire Valley whites, and we are o to a good start.
French-Forward Fare
A
that we felt almost sorry to disturb them. Luckily, we got over that, and the drinks tasted as good as they looked.
Info: royce-cincy.com.
REVIEW BY PAMA MITCHELL
Royce, 501 Vine St., Downtown. Info: royce-cincy.com. & DRINK
If you like French fries (frites), you’re in luck, as many of the plats come with them. Two at our table had a frites dish – one with mussels, the other duck breast. I thought the fries themselves were comme ci, comme ça — okay, not great — but the protein that accompa nied them were excellent. Perhaps the best bite I had all night was a taste of my friend’s duck breast, a tender piece of meat that was expertly seasoned and perfectly cooked.
My love a air with France started with a crush on my high school French teacher and then was seared into my heart forever when I had the good fortune to spend two weeks in Paris at the impressionable age of 17. I’ve been back many times to that city and other regions of the country, enjoying every visit and have even been able to get by with passable Accordingly,French.Ibidwelcome to Royce, a beautifully designed restaurant that opened this summer across from Fountain Square in the new Foundry development. Calling itself a French brasserie, Royce’s menu and wine list are indeed mostly in French, and you’ll nd plenty of enticing frites, pâtés, and fruits de mer. ey nabbed an excellent chef, Jared Bennett, who had made his former kitchen at Branch one of my favorites. He also helmed Metropole and Khora. In other words, he’s bona de, and I look forward to seeing what he does Roycehere.isowned by a highly successful
s a lifelong Francophile, I am intrigued whenever our city welcomes a French restaurant. Hand me a menu written in French along with a wine list of carefully chosen champagnes, burgundies, Bordeaux and Loire Valley whites, and we are o to a good start.
FOOD & DRINK
FOOD
A
Royce serves French cuisine with an emphasis on seafood.
Recently-opened French brasserie Royce o ers an impressive menu and wine list at e Foundry.
If you like French fries (frites), you’re in luck, as many of the plats come with them. Two at our table had a frites dish – one with mussels, the other duck breast. I thought the fries themselves were comme ci, comme ça — okay, not great — but the protein that accompa nied them were excellent. Perhaps the best bite I had all night was a taste of my friend’s duck breast, a tender piece of meat that was expertly seasoned and perfectly cooked.
REVIEW BY PAMA MITCHELL
You might need a minute to become oriented to Royce’s menu, whether or not deciphering the French slows you down. You won’t see a familiar snacks/ appetizers/entrees menu organization. Instead, the four menu sections list Charcuterie, Fruits de Mer (seafood, or raw bar), Les Plats (entreés, but also salads and bread service) and Côtés (sides).Wearranged our meal into a traditional three-course sequence. For starters, we skipped charcuterie and selected items from the seafood bar, sharing oysters, pickled mussels and rillettes of smoked trout with a baguette. e seafood was fresh and fragrant, but someone in the kitchen ramped up the salt a bit too much with the rillettes (a creamy trout spread to put on crackers or baguette slices). I noticed a couple of other over-salted dishes later, triggering one of my dining-out pet peeves (go easy on the salt and let me add more at the table, if I want to).
that we felt almost sorry to disturb them. Luckily, we got over that, and the drinks tasted as good as they looked.
Nashville restaurateur, Terry Raley, who already has one Cincinnati winner with Pearlstar Oyster Camp + Bar in Over-the-Rhine. Even considering the formidable challenges of today’s restaurant business, Royce has the pedigree, location and energy to be a worthy addition to the heart of downtown Cincinnati. If it is missing something for this Francophile — like, actual French people anywhere in evidence — that probably won’t a ect its long-term success. I doubt that the well-heeled clientele enjoying the restaurant’s seafood towers and fancy cocktails will be troubled by the formulaic, bistro-bynumbers vibe it gave me. Shaking that thought from my head, I found plenty to like, and many reasons to return.
Bennett wasn’t cooking the night I went for dinner with ve friends. My seat faced the open kitchen with its crew of ve, minus the head chef, and it was fun to have that activity as a backdrop. Colorful surfaces of copper and brass, bright red seat cushions against stark white walls, and the house’s penchant for show-stopping presentations of food and drink add to the theatricality. Sta ers delivered raw bar o erings on the impressive, multi-layered ceramic tower, eliciting excited reactions at each table. Some of the elaborate cocktails were so beautiful
e almond-chocolate sponge cake enrobed in chocolate ganache frosting and laced with espresso crème can’t be
Cocktail prices are on the high side ($14-$16), as are the glass pours of wine ($14-$25), but at least you’re getting high-quality libations. ere’s not a weak link in the wine pours, and I could imagine stopping by to work my way through those glasses along with a bit of charcuterie or something from the raw bar. Glass pours are not listed as also available by the bottle, however, which is a courtesy I hope will be extended in the future.eplace wasn’t packed when we went on a Wednesday evening. Empty tables kept the noise down, though I still couldn’t hear the folks at the other end of our table for much of the evening. Our servers were attentive but not pushy, and gave us time to relax with drinks before ordering food. All evening, the pace of service went well.
Rosie’s Pies & Pints has rebranded as Rosie’s Italian with its downtown reopening.
has been a sweet summer season for the Cincinnati dining scene with the recent openings of several baker ies and ice cream shops. But it isn’t all just sugar — there’s some spice, too. e Queen City has also welcomed an Italian comfort food spot, a New York-style deli and a new location of a brunch favorite.
Greater Cincinnati Restaurant Openings You May Have Missed BY CITYBEAT STAFF
El Camino Baking Co. College Hill is now home to El Camino Baking Co., owned by Ryan Morgan, who gained national attention as owner and head baker of Sixteen Bricks, and pastry chef Megan Ketover, who’s established a great reputation in the industry as executive pastry chef for Boca and, more recently, Khora and Hart & Cru. As of the opening date in late August, the bakery o ers an assortment of pastries — think seasonal fruit tarts, croissants and other elevated fare — and for bread, there’s
Rosie’s Italian Crown Restaurant Group (Crown Republic Gastropub, Losanti, La Can tina) has refreshed and reopened one of its downtown eateries. e former Rosie’s Pies & Pints — which temporarily closed in August — has been trans formed into Rosie’s Italian. Helmed by chef and owner Anthony Sitek, the menu focuses on family recipes and tradi tions. Diners can expect scratch-made pastas, Italian-style main dishes and the same New Jersey-style pizzas Rosie’s was previously known for. e menu is divided into antipasti, shareables, primi (pastas), secondi (entrees) and pizza.
ere are options like stromboli, Puglian orecchiette with sausage and broccolini, chicken piccata and a Tie-Dye Pizza with vodka sauce, tomato sauce and pesto.
Milkman
Good Spoon Creamery
the former rotisserie chicken’s spot on Race Street. e eatery serves up nos talgic vibes, smash burgers and a long list of soft serve, sundaes and shakes — both boozy and non. With a unique take on classic diner food, dishes include burgers topped with everything from jalapeno cream cheese to Cincinnati chili, fried chicken sandwiches and “not a burger” options like hot dogs, salads and Italian beef sandwiches. ere is also plenty for non-meat eaters includ ing tofu nugs and fried tofu substitutions from local CinSoy. 1106 Race St., Over the Rhine, milkmanbar.com.
ere are options like stromboli, Puglian orecchiette with sausage and broccolini, chicken piccata and a Tie-Dye Pizza with vodka sauce, tomato sauce and pesto.
PHOTO: HAILEY BOLLINGER, PROVIDED BY ROSIE’S ITALIAN
Gold Spoon Creamery, a hand-scooped ice cream shop, has opened its rst location at Summit Park in Blue Ash. Previously, it operated as a pop-up shop within Proud Hound Co ee in Silverton. Owned and operated by husband-andwife duo Emily and Nate Henderson and their business partner Erin Fay, Good Spoon serves up unique and all-natural avors. After the Hendersons married in 2020, they dreamed of opening a small
Rosie’s Italian Crown Restaurant Group (Crown Republic Gastropub, Losanti, La Can tina) has refreshed and reopened one of its downtown eateries. e former Rosie’s Pies & Pints — which temporarily closed in August — has been trans formed into Rosie’s Italian. Helmed by chef and owner Anthony Sitek, the menu focuses on family recipes and tradi tions. Diners can expect scratch-made pastas, Italian-style main dishes and the same New Jersey-style pizzas Rosie’s was previously known for. e menu is divided into antipasti, shareables, primi (pastas), secondi (entrees) and pizza.
Gold Spoon Creamery, a hand-scooped ice cream shop, has opened its rst location at Summit Park in Blue Ash. Previously, it operated as a pop-up shop within Proud Hound Co ee in Silverton. Owned and operated by husband-andwife duo Emily and Nate Henderson and their business partner Erin Fay, Good Spoon serves up unique and all-natural avors. After the Hendersons married in 2020, they dreamed of opening a small
Daylily Deli
Two Cincinnati culinary and co ee favorites have banded together to bring a little bit of the Big Apple to the Queen City. Chef Jose Salazar and his JPS Res taurant Group and Deeper Roots Co ee have partnered to open Daylily Deli, a New York City-inspired bodega, deli and co eeshop in Columbia Tusculum. e menu features everything from the New York staple egg and cheese on a roll to a chopped cheese sandwich (with ground beef, cheese, banana peppers, sauteed onion, lettuce, tomato and special sauce on a hoagie) and even an egg cream co ee soda. Along with a selection of grocery staples and goods from local artisans, Daylily also serves wine and beer, plus Deeper Roots’ full co ee menu. 3751 Eastern Ave., Columbia Tusculum, daylilydeli.com.
Rosie’s Pies & Pints has rebranded as Rosie’s Italian with its downtown reopening.
PHOTO: HAILEY BOLLINGER, PROVIDED BY ROSIE’S ITALIAN
It has been a sweet summer season for the Cincinnati dining scene with the recent openings of several baker ies and ice cream shops. But it isn’t all just sugar — there’s some spice, too. e Queen City has also welcomed an Italian comfort food spot, a New York-style deli and a new location of a brunch favorite.
e goal is to embody the feeling of a Sunday Italian supper. 300 E. Seventh St., Downtown, rosiesitaliankitchen.com.
El Camino Baking Co. College Hill is now home to El Camino Baking Co., owned by Ryan Morgan, who gained national attention as owner and head baker of Sixteen Bricks, and pastry chef Megan Ketover, who’s established a great reputation in the industry as executive pastry chef for Boca and, more recently, Khora and Hart & Cru. As of the opening date in late August, the bakery o ers an assortment of pastries — think seasonal fruit tarts, croissants and other elevated fare — and for bread, there’s
24 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
e goal is to embody the feeling of a Sunday Italian supper. 300 E. Seventh St., Downtown, rosiesitaliankitchen.com.
Milkman
Good Spoon Creamery
cardamom and apricot bread made with khorason ancient grain our, pain de Campagne, schiacciata made with Yocora Rojo our, whole wheat “Super Seed” loaves and spelt-made baguettes and pretzels. e menu rotates because, as Morgan puts it, El Camino gives him the chance to make bread that he wants to bake. e bakery serves co ee along with all of its carb-centric o erings and is set to add pizza to the menu in the near future — once Morgan builds out the rest of the building, which will include a dining room. 5915 Hamil ton Ave., College Hill, instagram.com/ el_caminobakingco.
Helmed by the team behind Revolution Rotisserie, Milkman recently opened in
Daylily Deli
THE DISH
Two Cincinnati culinary and co ee favorites have banded together to bring a little bit of the Big Apple to the Queen City. Chef Jose Salazar and his JPS Res taurant Group and Deeper Roots Co ee have partnered to open Daylily Deli, a New York City-inspired bodega, deli and co eeshop in Columbia Tusculum. e menu features everything from the New York staple egg and cheese on a roll to a chopped cheese sandwich (with ground beef, cheese, banana peppers, sauteed onion, lettuce, tomato and special sauce on a hoagie) and even an egg cream co ee soda. Along with a selection of grocery staples and goods from local artisans, Daylily also serves wine and beer, plus Deeper Roots’ full co ee menu. 3751 Eastern Ave., Columbia Tusculum, daylilydeli.com.
CITYBEAT STAFF THE DISH
It
Helmed by the team behind Revolution Rotisserie, Milkman recently opened in
the former rotisserie chicken’s spot on Race Street. e eatery serves up nos talgic vibes, smash burgers and a long list of soft serve, sundaes and shakes — both boozy and non. With a unique take on classic diner food, dishes include burgers topped with everything from jalapeno cream cheese to Cincinnati chili, fried chicken sandwiches and “not a burger” options like hot dogs, salads and Italian beef sandwiches. ere is also plenty for non-meat eaters includ ing tofu nugs and fried tofu substitutions from local CinSoy. 1106 Race St., Over the Rhine, milkmanbar.com.
Greater Cincinnati Restaurant Openings You May Have Missed BY
cardamom and apricot bread made with khorason ancient grain our, pain de Campagne, schiacciata made with Yocora Rojo our, whole wheat “Super Seed” loaves and spelt-made baguettes and pretzels. e menu rotates because, as Morgan puts it, El Camino gives him the chance to make bread that he wants to bake. e bakery serves co ee along with all of its carb-centric o erings and is set to add pizza to the menu in the near future — once Morgan builds out the rest of the building, which will include a dining room. 5915 Hamil ton Ave., College Hill, instagram.com/ el_caminobakingco.
Sleepy Bee College Hill
Maya’s Bakes
Green District Blue Ash Louisville-based, fast-casual chain
e menu is loaded up with bar food classics with appetizers like deep-fried cheese sticks and chips and queso, as well as sandwiches like the dijon turkey club, fried sh and cheeseburger. 402 Licking Pike, Wilder, barleycornsbrewhouse.com.
As of Aug. 31, woman-owned bakery Maya’s Bakes has opened on Elm Street in Findlay market for a limited time. Owner Kemaya Molden will be serving up her sweat treats that she has been perfecting in her 20 years of baking experience. Maya’s Bakes was previously an outdoor market vendor and is part of Findlay Kitchen— a nonpro t that focuses on supporting local food entrepreneurs. Molden bakes delicious homestyle treats that anyone can enjoy at the pop-up, as well as through DoorDash and local restaurants Embers and Trio Bistro. Maya’s Bakes will be open at this location until the end of the year. 1811 Elm St., mayasbakes.com.Over-the-Rhine,
As of Aug. 31, woman-owned bakery Maya’s Bakes has opened on Elm Street in Findlay market for a limited time. Owner Kemaya Molden will be serving up her sweat treats that she has been perfecting in her 20 years of baking experience. Maya’s Bakes was previously an outdoor market vendor and is part of Findlay Kitchen— a nonpro t that focuses on supporting local food entrepreneurs. Molden bakes delicious homestyle treats that anyone can enjoy at the pop-up, as well as through DoorDash and local restaurants Embers and Trio Bistro. Maya’s Bakes will be open at this location until the end of the year. 1811 Elm St., mayasbakes.com.Over-the-Rhine,
business together. Both ice cream a cio nados, they decided to go to “ice cream school” in Idaho with the goal of bring ing their skills back home to Cincinnati. Customers can choose from 16 di er ent homemade avors that range from traditional, like cookies n’ cream and pistachio, to signature avors like the St. Looey Gooey – a cream cheese-based ice cream with caramel swirl and vanilla poundcake. 10235 Summit Parkway, Blue Ash, goldspooncreamery.com.
Barleycorn’s Brewhouse
e spot, which was previously a re station, is described as a “new twist on a classic, hometown brand.” e brewhouse focuses on featuring local craft beer and food plus its own housemade brews and eats from the test kitchen. ere’s also a small selection of signature cocktails that range from the Bloody Mary to the Old Fashioned.
Northern Kentucky chain Barleycorn’s recently opened its rst brewhouse. Barleycorn’s Brewhouse o cially opened on Aug. 15 in Wilder, Kentucky.
Barleycorn’s Brewhouse
Popular Cincinnati brunch spot
vegetarian options. 5920 Hamilton Ave., College Hill, sleepybeecafe.com.
Sleepy Bee Cafe has o cially opened a location in College Hill. Sleepy Bee, which o ers brunch and lunch options focused on fresh local ingredients, opened its newest location on Aug. 21 as part of the $9.5 million project that is looking to revitalize College Hill, the KeyMark development. e Sleepy Bee location is situated inside of what was a vacant “Furniture Store Building” on Hamilton Avenue. is new spot will be serving all the favorites from buttermilk pancakes to avocado toast to breakfast sandwiches, plus plenty of vegan and
Sleepy Bee College Hill
vegetarian options. 5920 Hamilton Ave., College Hill, sleepybeecafe.com.
Green District Blue Ash Louisville-based, fast-casual chain Green District opened a second Cincinnati location on Aug. 30. e buildyour-own salad (and wrap) concept opened in Blue Ash at the Regency Commons shopping center. e menu o ers seven signature chopped salads. ere’s standard choices like a Hide & Go Greek or What About Cobb, plus quippier creations like the ai One On, with Sriracha shrimp, red cabbage, edamame, carrot, cucumber, green onion, dry-roasted peanuts, crispy wontons and ai peanut dressing. Green District will also be opening two more Cincinnati locations by early 2023, per a release from the restaurant. 11255 Reed Hartman Highway., Blue Ash, gdsalads.com
Maya’s Bakes
Sleepy Bee Cafe has o cially opened a location in College Hill. Sleepy Bee, which o ers brunch and lunch options focused on fresh local ingredients, opened its newest location on Aug. 21 as part of the $9.5 million project that is looking to revitalize College Hill, the KeyMark development. e Sleepy Bee location is situated inside of what was a vacant “Furniture Store Building” on Hamilton Avenue. is new spot will be serving all the favorites from buttermilk pancakes to avocado toast to breakfast sandwiches, plus plenty of vegan and
Green District opened a second Cincinnati location on Aug. 30. e buildyour-own salad (and wrap) concept opened in Blue Ash at the Regency Commons shopping center. e menu o ers seven signature chopped salads. ere’s standard choices like a Hide & Go Greek or What About Cobb, plus quippier creations like the ai One On, with Sriracha shrimp, red cabbage, edamame, carrot, cucumber, green onion, dry-roasted peanuts, crispy wontons and ai peanut dressing. Green District will also be opening two more Cincinnati locations by early 2023, per a release from the restaurant. 11255 Reed Hartman Highway., Blue Ash, gdsalads.com.
business together. Both ice cream a cio nados, they decided to go to “ice cream school” in Idaho with the goal of bring ing their skills back home to Cincinnati. Customers can choose from 16 di er ent homemade avors that range from traditional, like cookies n’ cream and pistachio, to signature avors like the St. Looey Gooey – a cream cheese-based ice cream with caramel swirl and vanilla poundcake. 10235 Summit Parkway, Blue Ash, goldspooncreamery.com.
Northern Kentucky chain Barleycorn’s recently opened its rst brewhouse. Barleycorn’s Brewhouse o cially opened on Aug. 15 in Wilder, Kentucky. e spot, which was previously a re station, is described as a “new twist on a classic, hometown brand.” e brewhouse focuses on featuring local craft beer and food plus its own housemade brews and eats from the test kitchen. ere’s also a small selection of signature cocktails that range from the Bloody Mary to the Old Fashioned. e menu is loaded up with bar food classics with appetizers like deep-fried cheese sticks and chips and queso, as well as sandwiches like the dijon turkey club, fried sh and cheeseburger. 402 Licking Pike, Wilder, barleycornsbrewhouse.com.
Popular Cincinnati brunch spot
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 25
BY BRIAN BAKER
“I’m gifted at a lot of things that people don’t know,” says Clock. “I want to start using those other gifts.”
Running Like Clockwork
arrett Uddin, known locally and globally as Clockwork DJ ( or DJ Clockwork, or to fans and friends, simply Clock), is feeling – how do we say this delicately? – under the weather. He spoke at an Art Academy of Cincinnati event the previous evening and then DJ’ed the afterparty, where there was an open bar. Hence the oppressive weight of the…weather. at weight is almost immediately lifted once Clock begins talking animatedly about the past four years and how his career and life have taken a turn that he could never have predicted, all because of his best friend’s death.
e Cincinnati native/New York City resident beams while discussing his newest recording project, Super Beats
e problem was I had promised Mac I would never DJ for another artist, ever, and I wanted to stick by that. So I had to recalibrate my whole way of thinking.”
“I spent nine years on the road with Mac, like, this is my brother,” says Clock. “People who understand touring understand how quick you can develop a family with someone.”
“It was fucked up when he passed, I’ll be honest,” says Clock. “It was a lightning bolt to the heart. I had to gure out what I was going to do. Keep DJing?
Cincinnati native Clockwork DJ reimagines his career after the death of his collaborating partner, Mac Miller.
In the 2000s, Clock’s local pro le as a rising young DJ exploded into the national and international consciousness when local hip hop promoter Sean Herron introduced Clock to his new signing, a teenage rapper named Mac Miller. Miller’s rst studio album, 2011’s Blue Slide Park, became the rst independently-distributed album to debut in the top slot on the Billboard 200 album chart in over a decade and a half.For the subsequent nine years, Clock
was looking forward to the payday of hitting the road to promote the new release. at payday never materialized.
PHOTO: MASON MILLS
ings came to a tragic halt when Miller died of an accidental overdose in 2018; three men were subsequently arrested for providing Miller with prescription medication that was laced with fentanyl. Clock’s world was suddenly in shambles; Miller hadn’t toured in months because he was recording the songs that ultimately comprised his posthumous album, Circles, and Clock
MUSIC
His friend Shyvonne Sanganoo had previously tried to enlist his services
Cincinnati native Clockwork DJ reimagines his career after the death of his collaborating partner, Mac Miller.
Tape, and his con dence over ows as he details plans for a future that didn’t seem at all bright in September 2018.
Tape, and his con dence over ows as he details plans for a future that didn’t seem at all bright in September 2018.
G
arrett Uddin, known locally and globally as Clockwork DJ ( or DJ Clockwork, or to fans and friends, simply Clock), is feeling – how do we say this delicately? – under the weather. He spoke at an Art Academy of Cincinnati event the previous evening and then DJ’ed the afterparty, where there was an open bar. Hence the oppressive weight of the…weather. at weight is almost immediately lifted once Clock begins talking animatedly about the past four years and how his career and life have taken a turn that he could never have predicted, all because of his best friend’s death. e Cincinnati native/New York City resident beams while discussing his newest recording project, Super Beats
Clock knew he would never stop making and presenting music, so production and straight DJ gigs were still in play, but his immediate concern was paying the bills (“I live in New York City,” he says. “ ings aren’t cheap.”).
26 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
MUSIC
In the 2000s, Clock’s local pro le as a rising young DJ exploded into the national and international consciousness when local hip hop promoter Sean Herron introduced Clock to his new signing, a teenage rapper named Mac Miller. Miller’s rst studio album, 2011’s Blue Slide Park, became the rst independently-distributed album to debut in the top slot on the Billboard 200 album chart in over a decade and a half.For the subsequent nine years, Clock
His friend Shyvonne Sanganoo had previously tried to enlist his services
Running Like Clockwork
G
“I spent nine years on the road with Mac, like, this is my brother,” says Clock. “People who understand touring understand how quick you can develop a family with someone.”
was Miller’s o cial DJ and became one of his closest friends, accompanying him in the studio and providing the soundtrack for every tour.
was looking forward to the payday of hitting the road to promote the new release. at payday never materialized.
e problem was I had promised Mac I would never DJ for another artist, ever, and I wanted to stick by that. So I had to recalibrate my whole way of thinking.”
BY BRIAN BAKER
was Miller’s o cial DJ and became one of his closest friends, accompanying him in the studio and providing the soundtrack for every tour.
Clock knew he would never stop making and presenting music, so production and straight DJ gigs were still in play, but his immediate concern was paying the bills (“I live in New York City,” he says. “ ings aren’t cheap.”).
“It was fucked up when he passed, I’ll be honest,” says Clock. “It was a lightning bolt to the heart. I had to gure out what I was going to do. Keep DJing?
ings came to a tragic halt when Miller died of an accidental overdose in 2018; three men were subsequently arrested for providing Miller with prescription medication that was laced with fentanyl. Clock’s world was suddenly in shambles; Miller hadn’t toured in months because he was recording the songs that ultimately comprised his posthumous album, Circles, and Clock
“I’m gifted at a lot of things that people don’t know,” says Clock. “I want to start using those other gifts.”
Clockwork DJ spent nearly a decade touring with rapper Mac Miller.
“I never got a natural high in my life before teaching those kids. I’m not a teacher, I don’t have kids, I’m not around kids. To go into a classroom in New York City – the mecca of hip hop – and teach DJing to kids in Harlem and they love every minute of it, that is crazy ful lling, man,” Clock says. “ ere are kids that graduated and are pursuing DJ careers because of the class I taught. I’ve never felt anything like that in my life.”
To learn more about Clockwork DJ and his upcoming projects, visit clockwork.com.got-
“Super Beats Tape is a project that’s been stemming for two or three years,” says Clock. “It was a bunch of beats I’d been making that maybe I’d sent to an artist and they didn’t use them or beats I made that weren’t being used for any thing. So I was doing this cleaning ses sion on my computer and I was like, ‘Yo, I have so many beats. If I put out a beats tape, it will show my production side in addition to being something people can go listen
Clock has also been busy in the studio. Last year, he put together Remixxed, a reimagined compilation of Miller’s tunes to celebrate what would have been the rapper’s 29th birthday. And this year, Clock dropped his debut solo studio album, a beats release titled Super Beats Tape, an 8-bit videogame soundtrack exhibiting his production skills and musical intuition.
To learn more about Clockwork DJ and his upcoming projects, visit clockwork.com.got-
“I’m making the mix, I’m hearing his voice and I’m excited about it. I’m hearing how things are shaping up, like, ‘ is is about to be re,’ and in that moment, I’m just being creative,” says Clock. “I might hear a certain line where I was in the studio when he recorded it and it might hit a little di erently. ose are moments when I pause the music and it hits me, like, ‘Bro is really gone. We used to do some crazy shit.’”
recent progress was the COVID quarantine, and even that wasn’t a major issue. After getting through that time with, as he describes it, “music and a lot of weed,” he continued his personal reinvention and is venturing down new paths this year. He’s just dropped his contribution to the NFT milieu with a ve-track self-titled remix package through Limewire, which has rebranded as an NFT marketplace, and he’s at work on what he calls his “DJ Khalid-type album,” with a lot of features from his many musical friends.
In some ways, Clock says he feels like being the caretaker for Miller’s legacy is part of his purpose going forward. He also acknowledges that between that and the energy he’s devoted to reblazing his career trail, he hasn’t had many opportunities to truly mourn the loss of his best “Whenfriend.hepassed, I cried, but I was in a stuck position,” says Clock. “It’s been weird. I’ve tried to accept it, but I might not even know how to accept it. I might not know how to grieve. I just try to stay creative and be super grateful for the time I did have with him.”
Clock also is in the midst of creating a second volume of Remixxed as a tribute to Miller. While some might wonder if listening to Miller’s catalog might trigger bouts of grief, Clock sees it as a labor of love.
Part of that gratitude extends to Miller’s fanbase, who have defended Clock against any number of internet trolls.
Clock also is in the midst of creating a second volume of Remixxed as a tribute to Miller. While some might wonder if listening to Miller’s catalog might trigger bouts of grief, Clock sees it as a labor of love.
“I’m making the mix, I’m hearing his voice and I’m excited about it. I’m hearing how things are shaping up, like, ‘ is is about to be re,’ and in that moment, I’m just being creative,” says Clock. “I might hear a certain line where I was in the studio when he recorded it and it might hit a little di erently. ose are moments when I pause the music and it hits me, like, ‘Bro is really gone. We used to do some crazy shit.’”
Part of that gratitude extends to Miller’s fanbase, who have defended Clock against any number of internet trolls.
In addition to Clock’s teaching artist work at Urban Arts, he secured a consulting gig with a high school a liated with UA, which has led to more teaching opportunities for students interested in DJing and music production. UA also has a relationship with several jails in New York, and Clock has signed up for that option as well.
“Shout out to the Macheads, because I know they’ll be reading this,” says Clock. “ ey’ve always had my back whenever anybody posts something negative. I’ve done DJ gigs where I’ll play a set of Mac’s music, and people will come up and say, ‘Man, you never hear Mac in clubs. anks for playing that.’ Sometimes they’ll recognize me, but a lot of times, they just tell me how Mac changed their lives and how much he meant to them, and I just say, ‘Me too. Rest in peace, Mac. Blessings.’”
“Shout out to the Macheads, because I know they’ll be reading this,” says Clock. “ ey’ve always had my back whenever anybody posts something negative. I’ve done DJ gigs where I’ll play a set of Mac’s music, and people will come up and say, ‘Man, you never hear Mac in clubs. anks for playing that.’ Sometimes they’ll recognize me, but a lot of times, they just tell me how Mac changed their lives and how much he meant to them, and I just say, ‘Me too. Rest in peace, Mac. Blessings.’”
“If I have the platform to keep my friend’s legacy alive, I will,” Clock continues. “I’d want him to do that for me, you know? I just want to keep his name fresh.”
“If I have the platform to keep my friend’s legacy alive, I will,” Clock continues. “I’d want him to do that for me, you know? I just want to keep his name fresh.”
as a teaching artist for a non-pro t organization in New York called Urban Arts Partnership, and he made vague promises to check out their facilities but never followed through on them. In the immediate aftermath of Miller’s death, Clock ran into Sanganoo, ironically at e House of Yes club in New York, and she quickly chastised him for his inaction.“Shegave me this whole speech, and I said, ‘I’m gonna come check you out on Monday,’ and she was like, ‘No you ain’t. I don’t believe you,’” Clock recalls with a laugh. “I ended up going, though, on Monday. She gave me the whole tour and I talked to all the supervisors. I ended up taking the teaching artist posi tion and that changed my life forever.
as a teaching artist for a non-pro t organization in New York called Urban Arts Partnership, and he made vague promises to check out their facilities but never followed through on them. In the immediate aftermath of Miller’s death, Clock ran into Sanganoo, ironically at e House of Yes club in New York, and she quickly chastised him for his inaction.“Shegave me this whole speech, and I said, ‘I’m gonna come check you out on Monday,’ and she was like, ‘No you ain’t. I don’t believe you,’” Clock recalls with a laugh. “I ended up going, though, on Monday. She gave me the whole tour and I talked to all the supervisors. I ended up taking the teaching artist posi tion and that changed my life forever.
“Peopleto.’”always had a liking for my production because it’s unique, so it came from years of production and being ignored,” Clock continues. “I was like, ‘Fuck it, let me do my own thing.’”
“I haven’t done it yet, but I’m the only one on the list because none of the other teachers want to do it,” he says with a laugh. “I’m like, ‘Let me in there.’”eonly thing that slowed Clock’s
Clock has also been busy in the studio. Last year, he put together Remixxed, a reimagined compilation of Miller’s tunes to celebrate what would have been the rapper’s 29th birthday. And this year, Clock dropped his debut solo studio album, a beats release titled Super Beats Tape, an 8-bit videogame soundtrack exhibiting his production skills and musical intuition.
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 27
recent progress was the COVID quarantine, and even that wasn’t a major issue. After getting through that time with, as he describes it, “music and a lot of weed,” he continued his personal reinvention and is venturing down new paths this year. He’s just dropped his contribution to the NFT milieu with a ve-track self-titled remix package through Limewire, which has rebranded as an NFT marketplace, and he’s at work on what he calls his “DJ Khalid-type album,” with a lot of features from his many musical friends.
“Super Beats Tape is a project that’s been stemming for two or three years,” says Clock. “It was a bunch of beats I’d been making that maybe I’d sent to an artist and they didn’t use them or beats I made that weren’t being used for any thing. So I was doing this cleaning ses sion on my computer and I was like, ‘Yo, I have so many beats. If I put out a beats tape, it will show my production side in addition to being something people can go listen
“I haven’t done it yet, but I’m the only one on the list because none of the other teachers want to do it,” he says with a laugh. “I’m like, ‘Let me in there.’”eonly thing that slowed Clock’s
In some ways, Clock says he feels like being the caretaker for Miller’s legacy is part of his purpose going forward. He also acknowledges that between that and the energy he’s devoted to reblazing his career trail, he hasn’t had many opportunities to truly mourn the loss of his best “Whenfriend.hepassed, I cried, but I was in a stuck position,” says Clock. “It’s been weird. I’ve tried to accept it, but I might not even know how to accept it. I might not know how to grieve. I just try to stay creative and be super grateful for the time I did have with him.”
In addition to Clock’s teaching artist work at Urban Arts, he secured a consulting gig with a high school a liated with UA, which has led to more teaching opportunities for students interested in DJing and music production. UA also has a relationship with several jails in New York, and Clock has signed up for that option as well.
“I never got a natural high in my life before teaching those kids. I’m not a teacher, I don’t have kids, I’m not around kids. To go into a classroom in New York City – the mecca of hip hop – and teach DJing to kids in Harlem and they love every minute of it, that is crazy ful lling, man,” Clock says. “ ere are kids that graduated and are pursuing DJ careers because of the class I taught. I’ve never felt anything like that in my life.”
“Peopleto.’”always had a liking for my production because it’s unique, so it came from years of production and being ignored,” Clock continues. “I was like, ‘Fuck it, let me do my own thing.’”
28 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
Lucinda Williams
PHOTO: DANNY CLINCH, ALL EYES MEDIA
In addition to Miles Davis and
BILLY COBHAM
September 30 • Madison eater
ADVICE
(Drum’n Voice Remixed 2).
In 1971, Cobham became a member of the acclaimed jazz fusion band Mahavishnu Orchestra in its rst incarnation after playing with the band’s founder, guitarist John McLaughlin, on Miles Davis records — including the experimental classic Bitches Brew e jazz fusion band found success on Columbia Records, pushing boundaries and nding new ground with a mix of jazz, funk, rock and roll and Indian classical music.
SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 29
Lucinda Williams plays Madison
e Crosswinds Project began in 2018 and revisits Cobham’s 1974 Crosswinds album and other innovative work from the 1970s. It continues with 30 more dates this fall. Billy Cobham’s Crosswinds Project features Scott Tibbs on keyboards, Tim Landers on bass and Mark Whit eld on guitar.
LUCINDA WILLIAMS
e last time Lucinda Williams tore through our neck of the woods was four years ago when she was sandwiched between opener Steve Earle and headliner Dwight Yoakam at the PNC Pavilion on the cheekily dubbed “LSD Tour.” Williams’ blazing set was conclusive evidence that she easily could have been the evening’s closer, and her appearance on stage with Earle and Yoakam for the main attraction’s closing encore of “Dim Lights, ick Smoke (And Loud, Loud Music)” showed that she stood shoulder to shoulder with the best acts in the Americana scene. It was the thrilling conclusion to a show that was a cartwheeling series of highlights. From the outset, Williams was a critical if not commercial success, and she could have ridden her songwriting accolades – by way of Mary Chapin Carpenter’s cover of “Passionate Kisses,” which resulted in Williams’ rst Grammy win – to a very comfortable living as a writer providing brilliant material for other performers. But the Louisiana native was born to perform her own work and she proved that with a relentless early career in Texas, playing every honky tonk and dive bar gig she was o ered. Williams’ tenacity and natural ability to inhabit any musical style that caught her ear – country, blues, rock, folk – paid o with her fth album, 1998’s Car Wheels on a Gravel Road, an audio scrapbook of Americana genius that resulted in yet another Grammy win and vaulted her into the widerWilliams’spotlight.diversity is on constant display, whether in the studio or on stage. She’s covered Bruce Spring steen’s “Factory,” Woody Guthrie’s “House of Earth,” AC/DC’s “It’s a Long Way to the Top” and Jimi Hendrix’s “Angel,” the latter on a jazz collabo ration with legendary saxophonist Charles Lloyd. Moreover, the guest lists on her albums read like a who’s who of contemporary music.
eater at 8 p.m. Sept. 30. Doors open at 7 p.m. ere are no COVID-19 protocols in place for the event. Info: madisontheater.com. (Brian Baker)
PHOTO: DANNY CLINCH, ALL EYES MEDIA
Oct. 2 • Ludlow Garage Panamanian drummer Billy Cobham rst rose to prominence in the 1960s and 1970s as a collaborating musician with Miles Davis and member of innovative and in uential jazz fusion band Mahavishnu Orchestra. On Oct. 2, the legendary drummer will make a stop at Clifton’s Ludlow Garage with his Crosswinds Project.
Often referred to as the fusion genre’s greatest drummer, Cobham was named one of the 25 most in uential drummers in 2001 by Modern Drummer magazine. His style is frenetic, expansive and precise like a calculated explosion in rhythm.
Lucinda Williams plays Madison
September 30 • Madison eater e last time Lucinda Williams tore through our neck of the woods was four years ago when she was sandwiched between opener Steve Earle and headliner Dwight Yoakam at the PNC Pavilion on the cheekily dubbed “LSD Tour.” Williams’ blazing set was conclusive evidence that she easily could have been the evening’s closer, and her appearance on stage with Earle and Yoakam for the main attraction’s closing encore of “Dim Lights, ick Smoke (And Loud, Loud Music)” showed that she stood shoulder to shoulder with the best acts in the Americana scene. It was the thrilling conclusion to a show that was a cartwheeling series of highlights. From the outset, Williams was a critical if not commercial success, and she could have ridden her songwriting accolades – by way of Mary Chapin Carpenter’s cover of “Passionate Kisses,” which resulted in Williams’ rst Grammy win – to a very comfortable living as a writer providing brilliant material for other performers. But the Louisiana native was born to perform her own work and she proved that with a relentless early career in Texas, playing every honky tonk and dive bar gig she was o ered. Williams’ tenacity and natural ability to inhabit any musical style that caught her ear – country, blues, rock, folk – paid o with her fth album, 1998’s Car Wheels on a Gravel Road, an audio scrapbook of Americana genius that resulted in yet another Grammy win and vaulted her into the widerWilliams’spotlight.diversity is on constant display, whether in the studio or on stage. She’s covered Bruce Spring steen’s “Factory,” Woody Guthrie’s “House of Earth,” AC/DC’s “It’s a Long Way to the Top” and Jimi Hendrix’s “Angel,” the latter on a jazz collabo ration with legendary saxophonist Charles Lloyd. Moreover, the guest lists on her albums read like a who’s who of contemporary music.
SOUND
Billy Cobham plays Ludlow Garage at 7:30 p.m. Oct. 2. Doors open at 6 p.m. ere are no COVID-19 protocols in place for the event. Info: ludlowgaragecincinnati.com. (Brent Stroud)
Billy PHOTO:CobhamPROVIDED BY BILLY COBHAM
But it is in performance where Wil liams’ luminous musical spirit shines the brightest – where she folds all of her creative gifts into an aural origami swan of exquisite power, gritty beauty and front porch charm. A Lucinda Wil liams gig is as uplifting as a church ser vice, as sweaty as a roadhouse dance oor, as joyous as a Cajun wedding and as enlightening as a musicologist’s microdosed acid trip.
Mahavishnu Orchestra, Cobham played on records for jazz legends like Mose Allison, Quincy Jones, Sonny Rollins and McCoy Tyner. Not just limited to jazz, Cobham also worked on recordings for singer-songwriter Carly Simon, ‘70s funk band e Brothers Johnson and Grateful Dead side project Bobby and the CobhamMidnites.alsohas an extensive career as a bandleader, stretching percussion into even more innovative spheres illustrated in dozens of albums released between 1973 (Spectrum) and 2021
LUCINDA WILLIAMS
Panamanian drummer Billy Cobham rst rose to prominence in the 1960s and 1970s as a collaborating musician with Miles Davis and member of innovative and in uential jazz fusion band Mahavishnu Orchestra. On Oct. 2, the legendary drummer will make a stop at Clifton’s Ludlow Garage with his Crosswinds Project.
Oct. 2 • Ludlow Garage
In addition to Miles Davis and
Mahavishnu Orchestra, Cobham played on records for jazz legends like Mose Allison, Quincy Jones, Sonny Rollins and McCoy Tyner. Not just limited to jazz, Cobham also worked on recordings for singer-songwriter Carly Simon, ‘70s funk band e Brothers Johnson and Grateful Dead side project Bobby and the CobhamMidnites.alsohas an extensive career as a bandleader, stretching percussion into even more innovative spheres illustrated in dozens of albums released between 1973 (Spectrum) and 2021
SOUND ADVICE
Lucinda Williams
But it is in performance where Wil liams’ luminous musical spirit shines the brightest – where she folds all of her creative gifts into an aural origami swan of exquisite power, gritty beauty and front porch charm. A Lucinda Wil liams gig is as uplifting as a church ser vice, as sweaty as a roadhouse dance oor, as joyous as a Cajun wedding and as enlightening as a musicologist’s microdosed acid trip.
eater at 8 p.m. Sept. 30. Doors open at 7 p.m. ere are no COVID-19 protocols in place for the event. Info: madisontheater.com. (Brian Baker)
(Drum’n Voice Remixed 2). e Crosswinds Project began in 2018 and revisits Cobham’s 1974 Crosswinds album and other innovative work from the 1970s. It continues with 30 more dates this fall. Billy Cobham’s Crosswinds Project features Scott Tibbs on keyboards, Tim Landers on bass and Mark Whit eld on guitar.
Billy Cobham plays Ludlow Garage at 7:30 p.m. Oct. 2. Doors open at 6 p.m. ere are no COVID-19 protocols in place for the event. Info: ludlowgaragecincinnati.com. (Brent Stroud)
Often referred to as the fusion genre’s greatest drummer, Cobham was named one of the 25 most in uential drummers in 2001 by Modern Drummer magazine. His style is frenetic, expansive and precise like a calculated explosion in rhythm.
Billy PHOTO:CobhamPROVIDED BY BILLY COBHAM
BILLY COBHAM
In 1971, Cobham became a member of the acclaimed jazz fusion band Mahavishnu Orchestra in its rst incarnation after playing with the band’s founder, guitarist John McLaughlin, on Miles Davis records — including the experimental classic Bitches Brew e jazz fusion band found success on Columbia Records, pushing boundaries and nding new ground with a mix of jazz, funk, rock and roll and Indian classical music.
30 CITYBEAT.COM | SEPTEMBER 21-OCTOBER 4, 2022
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SEPTEMBER 21-OCTOBER 4, 2022 | CITYBEAT.COM 31 CROSSWORD FORGET IT BY BRENDAN EMMETT WWW.BRENDANEMMETTQUIGLEY.COMQUIGLEY 1.AcrossAnimal transporter 4. Still live, as a game ball 10. Got bigger 14. Forbidden for Muslims 15. Stipulation for some parking garages 16. Spot for icicles and Christmas lights 17. Dayton-to-Columbus dir. 18. Helicopters to hospitals 20. Flying start 22. “Where is the ___?” 23. Burning bright 24. Like some spicy eggs 26. Prefix with -futurism 27. Celebrated scoring a goal in soccer, maybe 28. Rock and Roll Hall of Fame guitarist with a doctorate in astrophysics 32. Netanyahu’s party 34. County festivals 35. Petting zoo female 36. Byway to the highway 37. Better’s opposite 38. “Praise Jesus!” 39. Cy Young candidate 40. One with a new employee badge 41. 11-time PGA Player of the Year 42. Witch’s skill 44. Character in “Six” who sings “I Don’t Need Your Love” 45. L’eau lands 46. “Nobody else feels that way” 49. In and of ___ 52. Charged particle 53. They’re said when the lights are turned on 54. Never ever 57. Like Allegra or Zyrtec 58. Hiker’s depression 59. Bald baby 60. Stage of a journey 61. Compost heap’s giveaway 62. Bad looks 63. Stat for a 39-Across 1. DownDirectly in front (of) 2. Indian princess 3. Best Picture winner between “The Deer Hunter” and “Ordinary People” 4. 2021 hurricane 5. “___ it!” 6. Game show hosted by Michael Strahan, familiarly 7. Type of job in a garage 8. The Sun Devils of the Pac-12 9. Create panic in a theater, say 10. Annual tabletop game expo 11. Run like the wind 12. All tied up 13. Bridge seat 19. Mystical glows 21. Start to shine at the gym 25. Kitchen covering LAST PUZZLE’S ANSWERS: Bertha HelmickG. ATTORNEY AT LAW DISSOLVE Dissolution:MARRIAGEYOURAnamicableend to
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