London
Calling
The Taft Museum of Art’s Fashion & Sensibility exhibit brings costumes from film adaptations of Jane Austen’s novels to life. BY MACKENZIE MANLEY
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VOL. 27 | ISSUE 12 ON THE COVER: CAROLINE BINGLEY’S SILK EVENING DRESS FROM 1995’S PRIDE AND PREJUDICE PHOTO: HAILEY BOLLINGER
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MEMI CONCERT CALENDAR
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WHISKEY MYERS with Shane Smith & The Saints and 49 Winchester STEELY DAN with Snarky Puppy THE WOOD BROTHERS & GUSTER with David Wax Museum JOSH GROBAN with Preservation Hall Jazz Band, Lucia Micarelli, and Eleri Ward TRAIN with Jewel, Blues Traveler, and Will Anderson An Acoustic Evening with TREY ANASTASIO WELCOME TO NIGHT VALE with Carrie Elkin and Danny Schmidt THE CHICKS with Patty Griffin DEAD & COMPANY KENNY CHESNEY with Carly Pearce JACKSON BROWNE BRUCE HORNSBY & THE NOISEMAKERS with Carm MAREN MORRIS with Brent Cobb MT. JOY with Madison Cunningham BIG BAD VOODOO DADDY
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BIG TIME RUSH with Dixie D'Amelio The Andrew J Brady Music Center THE DOOBIE BROTHERS Riverbend Music Center SANTANA and EARTH, WIND & FIRE Riverbend Music Center ROD STEWART with Cheap Trick Riverbend Music Center TEDESCHI TRUCKS BAND with Los Lobos and Gabe Dixon PNC Pavilion THE CULT with Black Rebel Motorcycle Club and Zola Jesus PNC Pavilion STEVE-O Taft Theatre KEITH URBAN with Ingrid Andress Riverbend Music Center CELESTE BARBER Taft Theatre SOLD OUT 5 SECONDS OF SUMMER with Pale Waves The Andrew J Brady Music Center BONNIE RAITT with Mavis Staples The Andrew J Brady Music Center THE PSYCHEDELIC FURS with X The Andrew J Brady Music Center SOLD OUT BARENAKED LADIES with Gin Blossoms and Toad The Wet Sprocket PNC Pavilion JIMMY BUFFETT & The Coral Reefer Band Riverbend Music Center LITTLE FEAT with Nicki Bluhm Taft Theatre CHICAGO & BRIAN WILSON with Al Jardine and Blondie Chaplin Riverbend Music Center TROUBLE NO MORE with Rebirth Brass Band and Aaron Lee Tasjan PNC Pavilion BACKSTREET BOYS with Delta Goodrem Riverbend Music Center Outlaw Music Fest. feat. WILLIE NELSON, ZZ TOP, GOV'T MULE and Larkin Poe Riverbend Music Center BUDDY GUY and JOHN HIATT & THE GONERS feat. Sonny Landreth Taft Theatre Riverbend Music Center ONEREPUBLIC with Needtobreathe
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HILLSONG UNITED, Tauren Wells, Andy Mineo, TAYA, and Ryan Ellis CHRIS BROWN & LIL BABY GLASS ANIMALS SOLD OUT ANDREW BIRD and IRON & WINE with Meshell Ndegeocello
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NEWS
Cincinnati Mayor Aftab Pureval speaks during an event in June. P H O T O : C I T Y O F C I N C I N N AT I
Cincinnati Mayor on Gun Massacres: State Leaders Stand in the Way of Action “There is a fundamental disconnect between the problem on our streets and the solutions being advocated at the federal and state level.” BY A L L I S O N BA B K A
M
ayors of big cities across the United States – including Cincinnati – are pleading with state and federal officials to finally address the onslaught of gun violence throughout the country. Just days after yet another violent
shooting, officials met at the annual United States Conference of Mayors in Reno to determine what, if anything, could be done about the massacres. But one of the big problems, they say, is that state legislators – particularly in Republican-controlled states like Ohio
– prevent even modest gun-control or violence-reduction proposals from going to a vote or even getting discussion, or they actively pass measures that block local governments from passing their own safety laws. Cincinnati Mayor Aftab Pureval was in Reno for the conference, which ran June 3-6. “We’re doing everything we can at the local level, partnering with the Department of Justice, ATF (Bureau of Alcohol, Tobacco, Firearms and Explosives), and the FBI (Federal Bureau of Investigation) with our local law enforcement to prevent the importation of illegal guns,” Pureval tells Steve Inskeep, host of NPR’s Morning Edition, in an interview released June 7. “But the fact of the matter is there are now more guns than people in our country, and it’s creating an arms race where people don’t feel safe unless they have a gun. So guns beget more guns, which unfortunately makes us all unsafe.”
A rise in gun ownership and violence In 2000, there were three activeshooter, multiple-victim incidents in the United States; in 2020, there were 40, data shows. And in 2020, firearms were the leading cause of death for children throughout the nation. Small Arms Survey, a research project in Switzerland, estimates that there are 390 million guns circulating around the globe. It also estimates that the United States has about 120.5 firearms per 100 residents. The country next on the list is conflict-ridden Yemen, which has “just” 52.8 firearms per 100 people. Gun murders continue to climb throughout the United States. “The 19,384 gun murders that took place in 2020 were the most since at least 1968, exceeding the previous peak of 18,253 recorded by the CDC in 1993. The 2020 total represented a 34% increase from the year before, a 49% increase over five years and a 75% increase over 10 years,” Pew Research Center says. And research from the Centers for Disease
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Control and Prevention shows that 79% of homicides in the United States in 2020 were performed with guns. That’s again higher than anywhere else in the world, with Canada at 37% and Australia at 13%. In Ohio, nearly 1,800 residents died via firearms in 2021 – almost as many as in 2020, the state’s reigning record year.
“We are not powerless” Citing Cincinnati’s new program that sends mental health professionals and paramedics instead of police to certain types of non-violent 911 calls as well as the Cincinnati Police Department’s new Crime Gun Intelligence Center, Pureval says local leaders in the Queen City and others are trying to find solutions to mass violence but feel stymied. “We are not powerless to do anything about gun violence,” Prevail tells Inskeep on Morning Edition. “But when we’re talking specifically gun control, local leaders are preempted by their state houses or by the federal government and really don’t have very many tools to manage the accessibility of guns.” Research by the New York Times shows that a number of mass shootings could have been prevented or caused fewer deaths and injuries had better laws and background checks been in place in states and federally. On the federal level, Democrats and Republican Senators have been discussing how to control access to weapons – or at least to better understand who is buying them – but Republicans have indicated they’re not interested in raising the age at which someone can
buy a firearm. Currently, 18-year-olds can legally purchase “long guns” like rifles, while they must wait until age 21 to buy handguns. But many rules go out the window when it comes to purchases at gun shows or from family (as of press time, a bi-partisan group of legislators had developed the initial framework for a bill that may close some questionable gun-purchase practices). In Ohio, Republicans passed a bill that would allow boards of education to permit teachers to carry firearms in schools. Gov. Mike DeWine signed the legislation on June 13, even though teachers overwhelmingly are against it, particularly in schools with large populations of non-white students. Teachers also are concerned about being able to safely store the guns and for the potential for even more violence on campus. DeWine has repeatedly supported gun protections. “In 2019, an hour north of here in Dayton, Ohio, a gunman opened fire and in 32 seconds murdered nine people and injured 27. It was a shocking tragedy of gun violence. At that time, leaders from the state, from the federal government came to Dayton and promised action,” Pureval says. “But in the three years since the tragedy in Dayton, not only have our state leaders signed into law a permitless concealed carry law in opposition of law enforcement, but also have signed “Stand Your Ground” and also now is on the verge of passing a resolution which would create more guns in our schools by arming our teachers. Instead of doing something about gun violence, unfortunately our state leaders have taken us in the
opposite direction.” Dayton Mayor Jeffrey J. Mims Jr. remembers the massacre in his city well. In a June 6 article from the New York Times, Mims – who, like Pureval, had attended the Conference of Mayors and is a Democrat – says that he had hoped things would change after DeWine and other leaders visited Dayton and saw the community pleading for action. He remembers DeWine proposing a “red flag bill” that would allow police to take guns from owners who are deemed “dangerous.” “We say, OK, maybe this will make a difference so these folks will not have died in vain,” Mims tells New York Times writer Mitch Smith. But Ohio Republicans did not pass the law, and DeWine dropped the issue. Nan Whaley, who was Dayton’s mayor at the time of the shooting and is now running against DeWine for Ohio’s governor seat, recently told CityBeat that DeWine has not taken any action. “Mike DeWine is afraid of extremists, is unwilling to do what needs to be done to keep communities safe,” Whaley says. “Unfortunately, it’s not a matter of ‘if,’ it’s a matter of ‘when’ this [mass shootings] happens again in Ohio. Mike DeWine can give his thoughts and prayers and put the flag at half-staff and do all kinds of bullshit action, but the fact of the matter is, when it was time to do something, he cowardly went to the back and let extremists run the state.”
A focus on gun access Pureval says that throughout the country, the main issues are “universal accessibility” to guns and “the inability to resolve differences peacefully” and that Ohio lawmakers are not addressing those. “All of the measures in Columbus are doing nothing to mitigate or interrupt the accessibility of guns, but rather making access to guns more [easy]. So there is a fundamental disconnect between the problem on our streets and the solutions being advocated at the federal and state level,” Pureval says. Pureval says mayors are taking action locally, but U.S. Senators need to address the issue as a country. Comparatively, the United States’ northern neighbor Canada is moving toward a ban on importing, buying or selling guns. “The situation is as serious as it can be. It’s not just Cincinnati; it’s a challenge all across our country, which is why we are so in desperate need of federal action,” he tells NPR. “Mayors across the country just met at the U.S. Conference of Mayors – Republicans and Democrats – 250 of us in the United States are pleading that the Senate does something to start mitigating this problem.” “I am optimistic that at a certain point, people are going to look around and be shocked into action,” he tells the New York Times in a separate interview. “I’m surprised we’re not there yet.”
George Clooney’s Documentary on Ohio State University Sexual Abuse Scandal Lands at HBO BY V I N C E G R Z EG O R E K , M A I JA Z U M M O A N D A L L I S O N BA B K A
HBO has grabbed the rights to George Clooney’s documentary about the Richard Strauss sexual abuse scandal at Ohio State University. The doc is being produced by Clooney – who attended Mason schools as a youth – and Grant Heslov’s Smokehouse Pictures in partnership with Sports Illustrated Studios and 101 Studios. Eva Orner, an Oscar winner, has signed on to direct. The documentary, based on the October 2020 Sports Illustrated feature by Jon Wertheim, will take a deep look at Strauss’s abuse of hundreds of victims from 1978 to 1998, a scandal that
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continues to reverberate in Columbus and nationally. Ohio Congressman Jim Jordan, who was an assistant coach on the college’s wrestling team, has repeatedly been accused of ignoring Strauss’s behavior. “Grant and I are very proud to be working on this project with HBO,” Clooney said in a statement. “It’s a devastating story about people in power abusing and then covering up their criminal actions against students. The fact that it hasn’t been resolved as of yet is deeply disturbing.” In 2019, OSU released the findings of an investigation undertaken by a
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private law firm hired by the university, sharing that Strauss had abused at least 177 men during his tenure at the school. What’s more, school leaders at the time knew about the abuse, the report states. Strauss abused athletes playing at least 16 sports at the university plus others who attended a campus health center and an off-campus clinic between 1979 and 1997, according to the investigation. Strauss was employed at OSU from 1978 to 1998. “The report concludes that university personnel at the time had knowledge of complaints and concerns about Strauss’
conduct as early as 1979 but failed to investigate or act meaningfully,” a 2019 statement from OSU read. “In 1996, Ohio State removed Strauss from his role as a physician in both the Department of Athletics and Student Health Services. His actions were reported to the State Medical Board of Ohio that same year. The report found that the university failed to report Strauss’ conduct to law enforcement. He was allowed to voluntarily retire in 1998 with emeritus status.” Strauss died by suicide in 2005.
Juneteenth Celebrations Planned Throughout Greater Cincinnati BY L AU R E N S E R G E A N D L I N D SAY W I E LO N S K I
On June 19, 1865, Union soldiers arrived in Galveston, Texas, with the news that enslaved African-Americans were now free and that the Civil War had finally ended — two and a half years after U.S. President Abraham Lincoln had signed the Emancipation Proclamation. Festivities ensued. And now more than 150 years later, June 19 or “Juneteenth” is a nationally celebrated holiday honoring the end of chattel slavery in the United States, as well as the continued fight for equality. In 2021, Juneteenth became a federally recognized holiday. And this year, there are numerous events in the Cincinnati area – from parades and block parties to intimate discussions and historical remembrances – to celebrate the complexity and importance of Juneteenth. Here’s a small sampling of what’s coming up:
Juneteenth Flag Raising in Norwood and Elsewhere The city of Norwood will hold its first city-wide Juneteenth celebration that includes Jazz in the Park and Sound the Alarm, plus a flag raising, a paint-andsip event and a pool party. (Cincinnati, Hamilton County and other local jurisdictions also are scheduling flag raisings and celebrations this month.) June 17-18 in Norwood. norwoodohio. gov. (Lindsay Wielonski)
Juneteenth Celebration at Findlay Market Findlay Market ‘s Juneteenth weekend will kick off on June 17 with a celebration at Jane’s, featuring live music and drinks. On June 18, Kai Stoudemire-Williams, founder of the “Black is Excellence” campaign, will lead a panel discussion at The Columns alongside Tim Barr, Alice Frazier, Paul Booth Sr. and Adoria Maxberry to discuss the history and importance of the holiday. On June 19, there will be a ticketed tasting event featuring local Black-owned businesses. June 17-19. Free admission, but tasting tickets start at $10. 1801 Race Street, Over-the-Rhine. findlaymarket.org. (LW)
Juneteenth Festival at Eden Park Juneteenth Cincinnati began its annual Juneteenth Festival in 1988 and recognizes the conclusion of chattel slavery as well as the ongoing
The Juneteenth flag flies outside Cincinnati City Hall in 2020. P H OTO : H A I L E Y B O L L I N G E R
difficulties and discrimination still facing Black Americans. The festival will include live music along two stages, historical discussions, arts and food. Noon-9 p.m. June 18. Free admission. 950 Eden Park Dr., Walnut Hills/Mt. Adams, juneteenthcincinnati.org. (Lauren Serge)
Juneteenth Parade in Middletown This year, Middletown will hold its first Juneteenth parade. Hosted by Key Better Days Society, the parade will go through downtown Middletown and will end at Verity Parkway and Lafayette Avenue. 9-11:30 a.m. June 18. Main Street, Middletown, bit.ly/3b0glmD. (LS)
Young Black Genius Block Party at Ziegler Park Sweet Sistah Splash will host a Young Black Genius Block Party for Juneteenth, celebrating Black culture specifically among Black youth and business professionals. The celebration will include vendors, speakers, live music, food trucks and resources for entrepreneurship. 2-6 p.m. June 18. Free admission. 1322 Sycamore St., Downtown, facebook.com/SweetSistahSplash. (LS)
Father’s Day Concert at Eden Park The Father’s Day concert, a tradition of the Cincinnati Juneteenth celebrations, provides a space for AfricanAmerican performers to present their talents. This year’s event will include
a variety of music styles from several musical performers. 2-6 p.m. June 19. 600 Art Museum Dr., Walnut Hills/Mt. Adams, juneteenthcincinnati.org. (LS)
Juneteenth Parade in the West End The Cincinnati Official Juneteenth Parade will collaborate with Hands That Heal Homeless Organization, YourGo2Girl Youth Arts & Entertainment and the Juneteenth Cincinnati Festival to host its first parade in the West End. Participants are encouraged to wear red, white and blue. 10 a.m.-1 p.m. June 20. West End, thecojp.com. (LW) For more events, visit the Juneteenth Cincinnati website at juneteenthcincinnati.org.
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London
Calling
The Taft Museum of Art’s Fashion & Sensibility exhibit brings costumes from film adaptations of Jane Austen’s novels to life. BY MACKENZIE MANLEY
Caroline Bingley’s silk evening dress from 1995’s Pride and Prejudice P H OTO : H A I L E Y B O L L I N G E R
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Jane Austen: Fashion & Sensibility features nearly 40 costumes and accessories from popular film and television adaptations of Austen’s work. P H OTO : H A I L E Y B O L L I N G E R
G
et ready to promenade at the Taft Museum of Art this summer: Fashion & Sensibility made its North American debut on June 11. Traveling from London, England, the exhibition features costumes from a number of acclaimed film adaptations of Jane Austen’s beloved novels. On display in the Fifth Third Gallery and throughout the Taft historic house, the exhibition gives Austen fans the chance to see costumes worn in films like Pride & Prejudice, Emma, Sense & Sensibility and Mansfield Park from the award-winning collection of British costume house Cosprop Ltd. It includes the dusters, capes, tailcoats, trousers, trimmed bonnets, spencers (cropped jackets for women), high-waisted dresses and suits that brought life to beloved characters like Emma Woodhouse, Elizabeth Bennet, the Dashwood Sisters, Mr. Fitzwilliam Darcy, Lady Catherine de Bourgh, Fanny Price, Colonel Brandon and more. In the Fifth Third Gallery, the costumes are grouped by film; each section includes information not only about the original novel and subsequent adaptation but also the historical context of the Regency Era and the time’s popular fashion. According to Taft curator Tamera Muente, Jane Austen: Fashion &
Sensibility also examines how costume designers use dress to visually demonstrate issues present in Austen’s novels, such as the period’s social and class structure. “One good example – and there are many – is the 1995 BBC series of Pride & Prejudice,” Muente tells CityBeat. For those unfamiliar with the 1813 book, Austen’s Pride & Prejudice follows the five sisters of the Bennet family, and the family’s house is being passed to the closest male relative instead of one of the daughters. That means marrying rich is the family’s only shot at financial stability. Muente, whose favorite Austen adaptation is Ang Lee’s Sense & Sensibility, comes by her appreciation for Austen’s work naturally. She was an English undergraduate student before receiving an M.A. in art history, and Muente read Austen’s novels while at college in the ‘90s. During a summer trip to London, she pored over Mansfield Park, she says, and while working on the exhibition revisited Austen’s novels and film adaptations. Muente explains that the BBC series’ costume designer Dinah Collin dressed the sisters with this struggle in mind. According to a label accompanying a day dress worn by Polly Maberly as Kitty
Lydia Bennet’s cloak and dress from 1995’s Pride and Prejudice P H OTO : H A I L E Y B O L L I N G E R
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Bennet, much of the printed muslin fabric used for the sisters’ dresses was custom-made for the BBC Series. “Their social and economic status is in contrast with the wealthy Charles Bingley and his sisters who arrive in the country. The story begins there,” Muente says. “The costume designer really used color and fabric to visually represent those class differences. The Bennet sisters are dressed in cotton and pale colors while the Bingley sisters are dressed in silk, bold colors and more exotic high fashion.” Another example is the 2007 madefor-TV film Mansfield Park. Based on Austen’s 1814 novel, the story is about Fanny Price, a poor girl who is sent to live with her aristocratic aunt and uncle. Muente explains that Fanny dons outdated clothing in the movie. Her dress is foiled by rival Mary Crawford, a Londoner who was born into high society. University of Cincinnati professor emerita Barbara Wenner, an Austen expert, also points out this distinction. Wenner will lend her expertise during tours on select days through the exhibition’s September 4 run. “Fanny comes with an outfit that looks like it’s the 1790s. Obviously, it’s someone’s old outfit. You’ll notice that the waist is not as high (on Fanny’s dress),” Wenner says. “That’s a marker of what was going on in the early 1800s. The waists get higher and higher until there are about four inches above the waistline of fabric. Fanny has an old-fashioned dress on. If you knew anything about it, you’d go, ‘Oh, yeah, she’s out of date.’” Muente points out that costuming allows viewers to not only differentiate between the characters’ social statuses but their personalities, too. As characters develop and evolve throughout the story, so do their costumes. This development can be seen in the 2005 Pride & Prejudice adaptation starring Matthew Macfadyen as Fitzwilliam Darcy opposite Keira Knightley, who stars as the strong-willed, independent Elizabeth Bennet. “Mr. Darcy at the beginning is very buttoned up with the high-Regency collars. He’s very stiff,” Muente says. “By the end, he proposes in what is essentially a state of undress. He’s wearing an unbuttoned shirt and a long coat.” That costume, as worn in the 2005 film Pride & Prejudice, is featured in the exhibition. Designed by Jacqueline Durran, this Mr. Darcy outfit is also part of what is arguably one of the most well-known scenes in the Austen film universe––even for those who aren’t fans. Having been rebuffed prior, Mr. Darcy approaches Bennet as she strolls through the countryside on an overcast
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Fashions in the exhibition were worn by Kate Winslet, Emma Thompson, Gwyneth Paltrow, Judi Dench, Colin Firth, Hugh Grant and others. P H OTO : H A I L E Y B O L L I N G E R
morning. His cotton coat, layered above a loose linen shirt, ruffles in the breeze; the sunrise peaks above the horizon. “You have bewitched me body and soul and I love, I love, I love you,” he confesses before proposing to a softened Elizabeth. Muente says that scene marks Mr. Darcy’s change in character from a reserved, buttoned-up person to a romantic who is hopelessly in love–– an evolution made evident through his costuming. While the exhibition features a large number of costumes from the 1995 version of Pride Prejudice, museum-goers will get to see a few from the 2005 adaptation, as well. Also included are costumes worn by Kate Winslet, Emma Thompson and others in 1995’s Sense & Sensibility. Two Emma films––one starring Gwyneth Paltrow and the other Kate Beckinsale as the titular character––were released in 1996, and patrons can see items from both. Costumes from Mansfield Park (2007) round out the group. “It’s been really interesting to learn about the thinking behind how the costumes are going to represent the story,” Muente says. “The 1995 Pride & Prejudice is set around 1813 or so, whereas in the 2005 version, the director (Joe Wright) wanted to set the film in the late 1790s because he wasn’t a fan of the high-waisted Regency dresses. He decided to set the film from the era when Jane Austen wrote her first draft of Pride & Prejudice, around 1797.” These decisions resulted in each film tackling a different period of dress, and both works received recognition:
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Kitty Bennet’s muslin day dress and Mary Bennet’s cotton pinafore dress from 1995’s Pride and Prejudice P H OTO : H A I L E Y B O L L I N G E R
Mr. Darcy’s coat, shirt and trousers from 2005’s Pride and Prejudice P H OTO : H A I L E Y B O L L I N G E R
Fanny Dashwood’s silk dress and embroidered headdress from 1995’s Sense and Sensibility P H OTO : H A I L E Y B O L L I N G E R
Fanny Dashwood’s gauze and silk attire from 1995’s Sense and Sensibility P H OTO : H A I L E Y B O L L I N G E R
Jacqueline Durran nabbed an Oscar nomination for costume design in 2005 while Dinah Collin received an Emmy for the ‘90s miniseries, which drew upon styles from 1810-1813. While the costume designers aim to be historically accurate, Muente says they also take liberties to better show class differences, personalities and relationships between characters. Quotes from Austen’s books and letters can be found throughout the Fifth Third Gallery and along corridors throughout the Taft; an interactive station even allows visitors to pen their own letters. Aside from details about costume design, the exhibition also digs deeper into details about men’s underwear, the various layers women wore under dresses and where they shopped for clothing. “There’s also historical context about the Regency Era,” Muente says. “There was a lot of upheaval. Even though the fashion was so graceful and elegant, and seems very rational and neoclassical, England was at war through the entire period. Slavery was being debated and was eventually abolished during the Regency period. There’s a lot going on historically––lots of influence from the Middle East and North Africa in fashion. Some of the content of the show gets into that as well.” Though the Regency Era historically refers to the years between 1811-1820, a panel in the exhibit says that the style stretched from 1795-1825, when all six of Austen’s completed books were published (another remains unfinished). The period is marked by King George III’s deteriorating mental state as his son, the Prince of Wales, ruled as regent. Visitors can see spots Austen herself frequented while in London via a 7’x13’ map made in 1746, about half a century before she began writing. Housed in the Sinton Gallery, the map is accompanied by two costumes worn by the Dashwood sisters to a ball in London in Sense & Sensibility. Though many of Austen’s novels are set in the English countryside, this map, lent by the estate of Sallie Robinson Wadsworth, shows London locations from both Austen’s fiction and her personal life. The map includes coordinates marking places such as where she met with her publisher John Murray as well as Twinings, her tea shop of choice. Like several of the locations spotlighted, the latter remains open today. One spot on the map is 10 Henrietta Street, the flat that once belonged to Austen’s brother Henry and where she stayed while visiting London. Wenner says Austen did much of her revising of Emma while in the city. “You can see the places that she set her novels for where people lived and you can see where she lived by looking
at the map,” Wenner says. “It’s amazingly detailed. You can see all the little streets and the houses and places where they dyed cloth and put them on what they call tender hooks out in the field.” Fashion & Sensibility’s opening also marks the completion of the museum’s $12.7 million preservation efforts. Titled the Bicentennial Infrastructure Project, the museum broke ground last summer with aims not only to enhance visitor experience but to preserve the 200-year-old building’s exteriors, improve insulation, update its HVAC and security systems and more. A National Historic Landmark, the Taft was built as a home circa 1820, around the same time that many of Austen’s novels and various film adaptations are set. Muente says the house was built at the tail-end of Regencystyle fashion. “The Regency Era is filled with all these neoclassical influences. So dresses and architecture are inspired by Greek and Roman sculpture,” Muente says. “The Taft House was inspired by just that. It’s a neoclassical building, so it shows the influence of that globally. These fashions were popular in England but also originated in France. It’s why we call those high-waisted dresses empire waistlines––it’s because they originated during the Napoleonic Empire.” Now visitors can see that influence’s movement from France to England and across the Atlantic Ocean to the United States. Built just three years after Austen’s death, the Taft Museum will give patrons a chance to see costumes inspired by the Regency Era in a historic setting. On the inside, Muente says visitors will notice changes to the Taft’s permanent collection galleries, with curators developing 200 new labels, renaming galleries, creating fresh designs and moving a few works to new locations. While working on the exhibition, Muente’s first idea was to put the films’ wedding dresses in the Music Room, where Charles and Anna Taft married on December 4, 1873. According to a historical account on the Taft’s website, the wedding was hailed by the Cincinnati Enquirer as the “social event of the season.” The show also interweaves costumes with various artworks, such as the dress worn by Judi Dench as the pompous Lady Catherine de Bourgh in the 2005 Pride & Prejudice. The costume is housed in the newly-titled Portraits & Prosperity Gallery, which Muente says is all about how portraiture projects wealth. “Lady Catherine de Bourgh is superwealthy. She is wearing this dress that harkens back to the earlier 1790s,” Muente says. “Some of the portraits of
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The exhibition features a massive map of London from the mid-1700s. P H OTO : H A I L E Y B O L L I N G E R
Award-winning British costume house Cosprop Ltd. provided the items for the Taft’s exhibition.
Lady Catherine de Bourgh’s gown in 2005’s Pride and Prejudice
P H OTO : H A I L E Y B O L L I N G E R
P H OTO : H A I L E Y B O L L I N G E R
women in that gallery are from that era. I think that dress is going to really connect well with art in that space.” Wenner says she thinks Austen is a great way to welcome people back to a newly-revamped Taft, which she calls a work of art in and of itself – especially as Regency-era romances at large continue to have a prolonged pop-culture moment. Netflix’s Bridgerton series – based on novels by Julia Quinn – became the streaming giant’s most-watched English-language television series when it premiered in 2020. And the mid-1990s saw several Austen adaptations hit silver and small screens. Autumn de Wilde’s 2000 film Emma received great acclaim, even nabbing an Academy Awards nomination for Best Costume Design. “Jane never goes out of style,” says Candice Hern, a bestselling romance author and popular speaker on Regency and Jane Austen topics. Hern will speak at 6:30 p.m. July 7 at the Taft about fashion and dress in Regency Britain. Her presentation will cover day and evening wear as well as specialty fashions like court dress, riding habits and mourning
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dress. Hailing from Minneapolis, the talk will mark Hern’s first time in Cincinnati. Hern says she has collected Regency fashion prints and magazines – of which she has more than 800 – for about 40 years. Her presentation will give audiences a chance to see some of these prints and learn about definitions like “undress,” or clothes one would wear in the comfort of home; “halfdress,” which is somewhere in between, such as afternoon walking dresses; and “full dress,” the attire worn in the late evening or to fancier events. “Because these are based on the magazines of the period, most of the magazines, and the ones with the most beautiful prints, were expensive,” Hern says. “They were targeted to affluent women. So someone of Jane Austen’s economic, financial situation would not have been able to afford any of these things or have the occasion to wear a ball gown.” However, Hern says that when ladies of all classes went to a dressmaker, these magazines and prints were used as a guide for what was popular. Just like
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modern fashion magazines, the trends changed month-to-month, from colors to hemlines and waist placements. Julia Quinn even called on Hern to reference her collection of prints when she was first writing Bridgerton. Of the show and recent adaptations, Hern thinks their popularity allows younger audiences to experience the genre and, hopefully, inspire them to read Austen’s novels. Now 72-years-old, Hern first read Austen after picking up a paperback copy of Pride & Prejudice at a Scholastic Book Fair when she was 12. “The journey to getting to those love stories in Jane Austen is all based on character,” Hern says. “They are just some of the wittiest, brilliant bits of dialogue and narrative that you can ever read. I’m a big fan, as you can tell.” Other programs during Fashion & Sensibility include docent-led tours on select Sundays; afternoon tea in the Taft’s historic garden on select Thursdays (light Regency-inspired bites included); free Cincinnati Chamber Orchestra concerts on June 19, July 17 and August 28; and a bookbinding workshop on August 6, among others.
“There’s just a constant interest in Jane Austen stories and the Regency Era,” Muente says. “I think the timeless nature of her stories is one reason for that.” Wenner has a similar sentiment, noting that Jane Austen’s works are populated with characters with personalities one would recognize in their own social circles, even in 2022. In daily life, you might see a boasting, foolish woman like Mrs. Elton or run into a Mr. Woodhouse, a chronic worrier preoccupied with health and the weather, both of which are from Emma. “The books aren’t dated, really,” Wenner says. “If you look at them, and look at the general concerns about money, marriage and society, a lot of them are still things we deal with today. Austen managed to go beyond her era in that.” Jane Austen: Fashion & Sensibility runs through Sept. 4 at the Taft Museum of Art, 316 Pike St., Downtown. Info: taftmuseum.org/ jane-austen.
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ARTS & CULTURE
Latoya Watson (left) and Darrah Dunn founded The Black Pearl Experience. P H OTO : C H R I ST I N A G A R R E T T AT 3 3 W E S T STUDIOS
Cultivating Connections
The Black Pearl Experience hosts social events for the Black queer community in Cincinnati and beyond. BY N ATA L I E C L A R E
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For a good four hours, come and be free.” That’s what The Black Pearl Experience co-founders Latoya Watson and Darrah Dunn want for the attendees of their social events — freedom to dance, drink, socialize and come as they are. In the spaces they create, they hope to foster joy, connections and a sense of belonging for the Black queer community. The Black Pearl Experience was formed in 2021 and has hosted 10 events in Cincinnati since then. On the
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upcoming slate: a Juneteenth celebration on June 19 at Somerset, Pride Night on June 25 at The Mockbee and Pride Sunday Funday on June 26 at Queen City Radio. Upon moving to Cincinnati, Watson and Dunn realized that there was a lack of establishments specifically formed for Black queer women. Watson had attended the University of Cincinnati and lived in Washington, D.C., for several years before returning three years ago with her partner; Dunn grew up in Detroit and moved to Cincinnati a
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decade ago with her wife. “In D.C., just like Detroit, the music and art scene for Black Queer women is booming. We can go anywhere. There are places for us, there are places carved out for us to exist,” Watson tells CityBeat. “So when I moved to Cincinnati, I noticed that that wasn’t a thing here, and the gay spaces that we had – as much as they were trying – weren’t catered to Queer women specifically.” Dunn shared similar experiences. She came out at 17 years old, and she says being able to go places specifically for Black queer women in Detroit now makes her appreciate what she had when she had it. Although D.C. and Detroit seem to offer more social outlets for Queer women than Cincinnati does, statistics still show a declining presence of establishments for their community nationwide. The Lesbian Bar Project, comprised of documentarians and film producers like LGBTQ+ activist and comedian Lea DeLaria, reports there were an estimated 200 lesbian bars open in the U.S. in the late 1980s, but as of today, there are only 21. The Black
Pearl Experience cites this statistic on its website and indicates that Cincinnati has no lesbian bars and no venues that center Black queer women or people who identify as women/non-binary. The Lesbian Bar Project produced a short documentary that explores the history and significance of these spaces (the film is available at lesbianbarproject.com). In it, interviewees describe how bars offer a safe space and homelike community for queer people. “When thinking about why we need to preserve lesbian spaces, it really is about recognizing that a lesbian exists and there’s really great pride in lesbian identity,” Shawn(ta) Smith-Cruz, a librarian who volunteers at the Lesbian Herstory Archives in New York City, says in the film. Dunn says being in social spaces not specifically geared towards the Black queer experience brings about feelings of alienation. “It feels like, in a sense, you don’t exist. It’s kinda like an out-of-body experience,” Dunn says. Watson, who describes a similar feeling as Dunn, recalls how different it was
The Black Pearl Experience hosted its “Holiday Szn Day Party” in December. P H O T O : C H R I S T I N A G A R R E T T AT 3 3 W E S T S T U D I O S
when she immersed herself in Black queer spaces years ago. “I really came to be myself in D.C. because I didn’t know how I should dress or how I should talk or how I should present myself in the world,” Watson says. “It wasn’t until I started going to these social spaces and meeting all these folks that just come from so many different places and they’re their authentic selves, that I started becoming more authentically me.” Watson and Dunn take these insights into deep consideration for their events. Dunn uses sage to cleanse herself, Watson and the overall space to clear negative energy. They prefer booking venues that have gender-neutral restrooms and provide free condoms, tampons, pads and hygiene products that are sold by a woman of color. Watson also makes a point to greet and welcome event attendees, called “Pearls.” Dunn, who goes by DJ Rah D professionally, spins house, disco, hip-hop, techno and R&B music, playing wellknown artists like Janet Jackson and Juvenile while taking into account the styles of music that may be specific to the Pearls in attendance. “Knowing we’ve got a couple people from New Orleans, I’ll play bounce music. So, I do try to make sure I curate the music and make sure I play stuff that we can relate to and also play things that people aren’t so familiar with,” Dunn says. Watson and Dunn say folks have traveled from Dayton, Columbus, Cleveland, Kentucky, D.C., Atlanta and even Los Angeles to attend Black Pearl Experience events — which, they say, points to a widely felt need for such places. They find their attendance growing with each event they host, too. Loren McCauley of Cincinnati has gone to almost every Black Pearl Experience event and says her “jaw hit the floor” when she learned about them. “I went to school in Chicago, and that is where I really became comfortable
in my identity being a queer Black woman,” McCauley says. “In cities like Chicago, D.C., New York and the like, it feels easier to find spaces and communities that you can relate to. Those spaces aided in my self discovery and who I am today.” Asha White, a Cincinnati-based artist and longtime friend of Watson’s, reflects on how this plays out in Cincinnati. “Cincinnati is a small, segregated, conservative city,” White says. “Prior to the Black Pearl Experience, Black Queer people were off in their own separate space, in small communities. Black Pearl is community. It is a place for us to find friends, family, possibly romance in a small town. It brings us together in a place of acceptance and not just during Pride month.” In December, the Black Pearl Experience hosted “Holiday Szn Day Party” at Tiki Tiki Bang Bang, one of the bars owned by local company Gorilla Cinema. Katie Treviño, Gorilla Cinema owner and founder, says her team “fell in love” with the Pearls. The business is in talks with The Black Pearl Experience to host more events at Gorilla’s establishments. “I think my favorite thing about them is a quality women tend to have by nature,” Treviño says of Watson and Dunn. “If you don’t see it — make it. These are the type of people who change the world. They both moved to Cincinnati from other, larger cities and they didn’t see events for people who looked like them. So they created some.” “It sounds simple, but not everyone is brave enough to take a step like that.”
Learn more about The Black Pearl Experience at blackpearlexperience.com.
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CULTURE
It’s a New Day for the Legacy of Cincinnati’s Doris Day BY ST E V E N RO S E N
Doris Day poses in a promotional image for the 1965 film Do Not Disturb. P H OTO : C O U RT E SY O F H E R M E S P R E S S
A century is a long time for a popculture icon to stay in the public’s consciousness., but two new releases are trying to ensure that it happens for a local legend. Doris Day often is cited as the most important Cincinnatian ever to become an arts performer. Born on April 3, 1922 — 100 years ago — as Doris Mary Anne Kappelhoff, she had huge, ongoing success as a singer with the jazzy big bands of the 1940s and then as a solo pop vocalist. She sang hugely popular versions of such now-iconic songs like “Sentimental Journey,” “Secret Love,” “Que Sera, Sera” and more. And starting with the 1948 musical comedy Romance on the High Seas and continuing until her last
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film in 1968, With Six You Get Eggroll, she was as recognizable a Hollywood star as there was (she also had a television series for five years after her last movie). But conventional wisdom holds that Kappelhoff ’s cultural importance has waned with time. That’s partly because she lived long past her Hollywood heyday, dying in Carmel Valley, California, in 2019 at age 97. But her musical style also had paled well before then. Once Boomers – who generally were born between the late 1940s and early 1960s – became old enough to start buying records, they opted for their own kinds of music rather than the singer’s jazzy or cinematic numbers. And Kappelhoff ’s
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Doris Day (pictured here as a toddler) was raised in Cincinnati. P H OTO : C O U RT E SY O F H E R M E S P R E S S
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CINCINNATI PRIDE, INC. 49 YEARS OF CINCINNATI PRIDE Pride Month is finally here! It’s hard to believe that a decade has passed since our most recent Festival and Parade. Or at least, it feels like a decade. Much like you, we did a lot of self-reflection over the past couple of years and have implemented changes that have positive impacts for the community. We’ve grown the size of our board, expanded our focus to year-round programming, and laid the groundwork for a long-lasting reminder of the contributions made by members of the Greater Cincinnati LGBTQ+ community.
Joel Lam Treasurer
Andrew Bare Secretary
Dustin Lewis Director of Programming
Jen Scott Director of Compliance
Jake Hitch Director of Communication
Clarity Amrein Director of Development
Michael Cotrell Festival Co-Chair
Megan Green Festival Co-Chair
Nate Braun Member at Large
Jenny Mitchell Member at Large
Elliot Draznin Member at Large
Brandy Griffin Member at Large
We have an exciting calendar of experiences for the community to take part in. Some are long-standing traditions we do annually while others are new partnerships with organizations throughout the area. Please take the opportunity to venture out and celebrate! Let’s also take the opportunity to honor why the Pride movement started. Our community is unfairly targeted, harassed, and discriminated against. Like many marginalized communities, we are treated and made to feel as though we are second-class citizens and our inalienable rights to liberty and freedom are subject to lawmakers’ votes. Our communities are under attack. Lawmakers across the nation (including Ohio, Kentucky, and Indiana) threaten whether individuals can make the correct healthcare decisions for themselves, as is being presented in Ohio HB 454. Additional legislation is being presented that is specifically pointed at marginalized communities, and would have a lasting negative impact on society as a whole. Pride started as a protest. As such, the “Pride Parade” will now be referred to as the “Pride March”. We encourage everyone to remember the spirit of protest, as we MARCH throughout downtown Cincinnati on June 25, at 11am. We want change and we are going to make our voices heard, by those responsible for these power grabs aimed at minorities. Lawmakers will continue to hear our voices, until there is the realization that OUR RIGHTS are not up for a debate. We haven’t backed down before, and we won’t now. We look forward to seeing everyone this Pride Month. It is long overdue, and we have missed you more than you know.
Benjamin Morano President
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Day dances at a Warner Bros. Studio dress rehearsal in the 1950s.
Day poses in a promotional image for the 1960 thriller Midnight Lace.
P H OTO : C O U RT E SY O F H E R M E S P R E S S
P H OTO : C O U RT E SY O F H E R M E S P R E S S
romantic comedies of the ‘60s didn’t seem to keep up with the changes brought on by the feminist movement and the edgy movies of New Hollywood. With that in mind, you might figure this year’s centenary of Kappelhoff ’s birth would pass quietly; you would be wrong. Not only are organizers of the centenary observation bringing forth new or forgotten archival material – including music and photographs that shed light on her Cincinnati childhood and the beginning of her musical career – but the new activity is being accompanied by a fierce reappraisal and defense of her worth in the culture-at-large. The two marquee centenary events are the upcoming publication of the book Doris Day: Images of a Hollywood Icon and the release of a new album, Early Day: Rare Songs from the Radio, 1939-1950. The album is noteworthy locally for making widely available two 1939 radio-broadcast recordings of Kappelhoff singing with a Cincinnati band led by Barney Rapp, who is credited for her discovery. The songs “Little Sir Echo” and “I’m Happy About the Whole Thing” were broadcast nationwide from a nightclub that Rapp owned, Sign of the Drum, which was located along Reading Road in Paddock Hills/Bond Hill. In 1939, Rapp had auditioned the
still-teenage Kappelhoff as a singer because the existing one, his wife Ruby Wright, was pregnant. Shortly after, Rapp suggested that Kappelhoff shorten her last name to “Day.” The rest is history, although it took her a few more years — and participation in non-Cincinnatian Les Brown’s Band of Renown — to achieve her true national breakthrough. “She never failed to mention her beginning with him,” says Herb Reisenfeld, a Cincinnati devotee of the late Rapp’s music who also married Rapp’s daughter. “Whenever (Day) was on TV on different shows, she always mentioned Barney Rapp.” Early Day: Rare Songs from the Radio, 1939-1950 also has a recording of Day singing on a 1943 WLW radio show called The Lion’s Roar, plus there’s a snippet of “Ain’t Misbehavin’” from a WLW radio audition. The book Doris Day: Images of a Hollywood Icon, slated to be published later in June, treats Day like royalty – and she has some impressive fans on board to write appreciations of her artistry and character. The foreword is by Sir Paul McCartney, Great American Songbook historian and singer Michael Feinstein assesses her musical career, and Turner Classic Movies’ film historian Eddie Muller writes glowingly about her worth as an actress.
Day smiles with her grandmother in front of the family’s Evanston home. P H OTO : C O U RT E SY O F H E R M E S P R E S S
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Images of a Hollywood icon’s photos cover her life from infanthood in Cincinnati’s Evanston neighborhood to her 97th birthday party at home in California, with plenty of glossy, colorful photographs from her film career and life in the public eye. The latter are endlessly complementary — she’s radiant as sunshine with her light hair, wide smile and lively, modernist fashions. Cincinnatians particularly will be fascinated with the rediscovered images from her childhood as Doris Kappelhoff. The book’s “Early Day” section shows her and brother Paul (who died in 1957) as small children, as a baby held by her grandmother in front of the Evanston home, as a child riding a tricycle or sitting on a horse, as budding dancer in a hand-holding dance pose with a girlfriend, and more. “When she moved out to Carmel and married her fourth and final husband, they started remodeling the property and she never unboxed the collections of photos and transparencies and things,” says Jim Pierson, who co-edited and -compiled Doris Day: Images of a Hollywood Icon and also produced the compilation album. “There was this loft in the back of her bedroom wing where she also had a dressing room, and there was this doorway that was like a panel in the wall. So she never even thought to go up there and basically used it as storage. It was filled with dozens of boxes.” “It was really fortunate to find this buried treasure after her passing,” Pierson continues. “It was kind of a hidden, lost archive encompassing several parcels of historical materials, going back to Ohio and her infancy.” Her longtime public activism on behalf of animal welfare also grows ever more impressive today. She had left her assets to benefit animals, including through the work of the non-profit Doris Day Animal Foundation. “She loved Cincinnati,” says Bob Bashara, the book’s executive editor, who was also Day’s business manager and, for the last years of her life, personal manager. He is now CEO of her animal foundation, Doris Day Animal Foundation. “It was never her intention to leave Cincinnati. It was really one of those things where she was just this really talented little girl, and life just took her in a different direction than she had planned for herself.”
As a child, Day lived in the Cincinnati neighborhood of Evanston. P H OTO : C O U RT E SY O F H E R M E S P R E S S
Order Doris Day: Images of a Hollywood Icon at hermespress.com. Purchase Early Day: Rare Songs from the Radio, 1939-1950 at realgonemusic.com. Day (right) dances with a friend in a Cincinnati backyard. P H OTO : C O U RT E SY O F H E R M E S P R E S S
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R E V I E W BY R I C K P E N D E R
CRITIC’S PICK
ONSTAGE
Deeply Human Revelations Are at the Heart of Ensemble Theatre’s Tiny Beautiful Things
Kelly Mengelkoch plays Sugar in Ensemble Theatre’s Tiny Beautiful Things. P H O T O : R YA N K U R T Z
Struggling writer Cheryl Strayed took a flyer in 2010 when she was invited to take over an unpaid online advice column, “Dear Sugar,” on the literary website, The Rumpus. For two years she had offered heartfelt advice that involved sharing some of her own stories as she responded to letters from people who were troubled, lovelorn, shattered, and inquisitive. Their letters and her responses, often candid but always caring, were brought together in a book, Tiny Beautiful Things. Actor and playwright Nia Vardalos (best known for My Big Fat Greek Wedding) then translated Strayed’s material into the play of the same name that’s concluding the 2021-2022 season at Ensemble Theatre Cincinnati.
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Cincinnati Shakespeare Company’s 18-year veteran Kelly Mengelkoch embodies “Sugar,” the nom de plume Strayed had adopted. After some brief false starts, she finds a way to answer the often painful questions from a trio of letter writers. Rather than simply telling them how to handle the situations and circumstances that prompted them to write to a stranger, she humanizes her answers with stories from her own life. But before she dives into her thoughtful responses to “Confused,” “Stuck,” “Crushed” and other correspondents played by Michael G. Bath, Kearston Hawkins-Johnson and Taha Mandviwala, Mengelkoch’s Sugar listens intently and compassionately. Her
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openly expressive face lays the foundation as she excavates Sugar’s past experiences that connect meaningfully with the situations she’s asked to address. The letter writers in Tiny Beautiful Things assume multiple identities, sometimes voices from opposite genders or ages not those of the actors, sometimes in almost choral fashion. More than once, Hawkins-Johnson becomes the persona or presence of Sugar’s mother, who died at 45, as Sugar recalls her own grief at a death. Mandviwala is especially affecting as an 11-year-old boy in one of Sugar’s recollections who briefly steals an item from her and then confesses to his reasons for doing so. These interactions add depth to the storytelling without being
overly intrusive. The letter writers press her to reveal Sugar’s actual identity, which she dodges until late in the 80-minute performance. “When I took on ‘Sugar,’” she tells them, “I wrote the only way I know, and that is with radical sincerity and open arms. What has been most surprising is how much more you all gave back to me.” “Sugar is not just me. We created something together,” she adds. “We are all ‘Sugar.’” Bath, who has appeared frequently on Ensemble’s Over-the-Rhine stage as well as at other local theaters, is especially touching in a scene in the show’s final moments as a father grieving the tragic death of his 22-year-old son in a
Kearston Hawkins-Johnson, Taha Mandviwala and Michael G. Bath (L-R) confront Sugar (Mengelkoch) in Tiny Beautiful Things. P H O T O : R YA N K U R T Z
car accident. He enumerates more than 20 reasons why he’s struggled to write to Sugar. She responds in kind with her own numbered list, and Bath listens with sadness, surprise, and ultimately gratitude — all demonstrated mutely, just with facial expressions. Mengelkoch touches him on his shoulder as she concludes her response, the only time her character physically interacts with one of the writers. Director D. Lynn Meyers has kept this material from simply being recited letters and responses. She moves the performers fluidly around Brian c. Mehring’s detailed, lived-in set of four rooms on intersecting circular platforms: a kitchen table, a living room, a study with a desk, a cozy alcove. None of these has a singular purpose; all four actors wander and circulate, sometimes converging on Sugar on the couch in the central living room (often arrayed with unfolded laundry), sometimes sitting on steps or at the table or desk. They don’t interact, but they — like Sugar — often pay close attention to one another and to Sugar. Mehring’s sets are, as always, enhanced by numerous details gathered and placed by properties curator, Shannon Rae Lutz, another ETC veteran (Mehring has created more than 100 designs for ETC). Not all of Sugar’s exchanges with her letter writer are serious. Some evoke chuckles, including one about a “sexy Santa” and another about a middleaged married man who has a crush on
a friend. Sugar succinctly compares the object of the latter’s obsession to “a motorcycle with no one on it. Dazzling. Going nowhere.” But most of Sugar’s responses are powerful and evocative, thoughtful responses to people who truly need some insights. Mengelkoch makes these interactions powerful by listening in a seriously focused way and then digging deep into her own life. Much of the material in Tiny Beautiful Things is mature; there are discussions of child abuse, sexual abuse, assault, and drugs. These are not presented in a salacious way, but rather as deeply human pain that needs to be addressed. I suspect Cincinnati audiences seeing this moving production will find that Sugar’s empathic advice on pain, loss, love and forgiveness is as powerful for them as it is for her correspondents.
Tiny Beautiful Things, presented by Ensemble Theatre Cincinnati, continues through June 25. Info: ensemblecincinnati.org.
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FOOD & DRINK
The Baker’s Table rewrites the restaurant’s menu each week. P H OTO : M I C H A E L T IT T E L
Jazzing Things Up Rustic seasonal cuisine and live music enhances the charming ambiance during Sundays at The Baker’s Table in Newport. R E V I E W BY PA M A M IT C H E L L
I
f you live north of the Ohio River, the plentitude of chef-driven restaurants makes it easy to dine in Cincinnati and not venture far afield. We have convenient access to meals from kitchens helmed by the likes of Jose Salazar, Jean-Robert de Cavel, Vanessa Miller and Josh Campbell, to name just a few favorites. What attracted me to dinner at The Baker’s Table in Newport
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was the chance to hear a jazz duo that plays a regular Sunday gig there. To my surprise and delight, the meal turned into one of my top dining experiences this year. I had enjoyed dinner at The Baker’s Table a couple of times before COVID19 upended everything. The talent behind the establishment deserved wide attention from its opening day
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in late 2018, but it didn’t seem like an essential destination, given all the more accessible options closer to my Clifton home. Now, however, I think it may be one of the very best restaurants in the region, worthy of frequent visits. Owners Dave Willocks and Wendy Braun have made a few crucial changes since the 2020 early-pandemic days and subsequent shrinkage of the restaurant world. They switched from day and evening service to dinners only and moved from an a la carte menu to a fixed-price menu. They also opened a fast/casual place across the street, The Baker’s Table Bakery and Pizza. As we move – however cautiously – out of pandemic mode, Willocks says that these efforts have paid off, creating a more thriving, stable business. The result for diners
is evident not only in the delicious food but also in seamless, attentive but unobtrusive service. The utility of having a separate bakery increasingly made sense after the restrictions imposed by COVID-19, Willocks says. After all, the importance of bread and other baked goods to the mission of the restaurant is clear from the name they chose. Willocks says that they have never bought a loaf of bread, pie crust or even crackers from another purveyor. When the restaurant closed and then reopened at reduced capacity in 2020, he realized that they needed more baking capacity. Although the bakery seats only 30, it’s also set up for easy carry-out, not only for bread and other baked goods but also for a selection of 12-inch pizzas now offered
The Baker’s Table opened to rave reviews back in late 2018. P H O T O : C O U R T E S Y O F T H E B A K E R’ S TA B L E
several nights a week. As with most full-service restaurants, Saturday dinner is the busiest meal at The Baker’s Table. Sundays are special, though, with live music during dinner service and brunch at the bakery 10:30 a.m.-1:30 p.m. I’d visited the bakery just for coffee and scones or cookies, not yet for brunch or pizza. But now I also can enthusiastically recommend Sunday dinner at the restaurant. On top of his expertise as a chef, Willocks is an accomplished musician with a degree in jazz guitar. Almost as soon as The Baker’s Table added dinner service, in 2019, he brought in musical entertainment. One night, Phil DeGreg substituted for another act and told Willocks he would love to have a regular gig at The Baker’s Table. Now you can catch DeGreg and his partner, bass player Aaron Jacobs, most Sundays starting at 5:30 p.m. Patrons can thank co-owner Braun for the congenial environment of both the restaurant’s dining room and the bakery and café. Her design skills are evident in myriad ways, such as how the bakery allows customers to watch the staff as they craft loaves, pizzas, scones and other pastries for the big ovens. The main dining room of The Baker’s Table
couldn’t be more inviting, with wellspaced tables and spot-on décor. As pleasant as it is to listen to the live music in the lovely ambiance of the restaurant, the experience gets even better thanks to the wonderful food coming out of the kitchen. Willocks started as a chef in California before moving to Newport and had the good fortune to work with Jose Salazar at both Mita’s and Salazar’s. He reveres Salazar as “a meticulous teacher” who helped him develop skills as a chef. In fall 2020 when most of the COVID restrictions had been lifted, Willocks and Braun hired a young chef de cuisine, Porter Lewis. Willocks describes Lewis as a gifted butcher, wonderfully creative with pasta, and as having the same approach to produce as he does: “We let what comes from the farm drive the menu.” Willocks and Lewis “rewrite the menu every week,” Willocks says, so your choices will be different from those my date and I had a couple of weeks ago. You’ll select either two or three courses, prix fixe ($48 or $66), from menu sections labeled Beginnings, Pasta, and Mains, with Desserts priced separately. The Beginnings tend to be variations on salads but can also
Dave Willocks is chef and owner of The Baker’s Table. P H O T O : C O U R T E S Y O F T H E B A K E R’ S TA B L E
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Pianist Phil DeGreg performs at The Baker’s Table. P H O T O : C O U R T E S Y O F T H E B A K E R’ S TA B L E
Bassist Aaron Jacobs performs at The Baker’s Table. P H O T O : C O U R T E S Y O F T H E B A K E R’ S TA B L E
The Baker’s Table Bakery and Pizza serves brunch on Sundays. P H OTO : J O N M E D I N A
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include hot dishes; my braised spring greens was just that, spring on a plate, served warm. We skipped the pasta and went for Mains. I had ocean trout with Carolina Gold rice (always an enticing ingredient), and he enjoyed a dish based on lamb sausage and farro. Two weeks later, the trout was still on the menu but the lamb had been replaced by a duck preparation that sounded just as inviting. A sign above the front door announces “Rustic Seasonal Cuisine.” Willocks elaborates on the term “rustic,” saying, “We draw our inspiration from old-world, handcrafted culinary traditions. We don’t use modern gastronomical techniques or technology — or even plastic wrap — and the plating presentation is intended to be simple and natural. The goal is to let the ingredients speak for themselves, instead of being complicated by a lot of fussy technique.”
I love the bit about not using plastic wrap. The musicians seem to appreciate the place as much as diners do. Bassist Jacobs says this is his favorite gig, and pianist DeGreg agrees, mentioning the great meal they get after they’ve played. “It’s a very friendly place,” DeGreg adds, “with no stodginess and a very low-key, relaxed atmosphere.” The Baker’s Table serves dinner Thursday-Saturday. The bakery/café is open for coffee, pastries and lunch Wednesday-Sunday and reopens for pizza service 5-9 p.m. on those evenings. The Baker’s Table is located at 1004 Monmouth St., Newport. Info: bakerstablenewport.com.
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REVIEW
Soul Secrets in Over-the-Rhine Honors Candice Holloway’s Ancestors with Savory Soul Food BY S E A N M . P E T E RS
Fried chicken, collard greens and macaroni and cheese are on the menu at Soul Secrets. P H OTO : H A I L E Y B O L L I N G E R
Candice Holloway makes her ancestors proud. When describing the soul food showcased at her newly opened Soul Secrets in Over-the-Rhine, Holloway talks about her grandmother, Alice, who was born in 1927 in Forsyth, Georgia. “We trace back to 1864,” Holloway tells CityBeat. “I know that a lot of the recipes that my grandmother shared with me, she shared with her own grandmother. So, our recipes – that’s what we bring to the table. They’re historic, they’re traditional, they are original, they’re from scratch, they are made with love.” Even more specifically, the recipes are delicious. A look at the menu shows entrees that, in a lot of the South, would just be called good ol’ home cooking, like fried chicken, shrimp and grits, fried whiting and catfish. On the side there’s macaroni and cheese, collard greens with turkey, corn on the cob, sweet potatoes
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and cornbread — the kinds of dishes prepared for the family and that you’d hope for when someone offers to “fix you a plate.” Soul food is deeply personal, but it serves the community. “My grandmother would cook on a holiday and she would make pans of food for different people in the community or church members,” Holloway says. “So, starting to cater is really just duplicating some of the things that my grandmother did.” Holloway launched Soul Secrets as a caterer in 2018 after she began to transition out of her business-consulting career to focus on food with her daughter. Utilizing non-profit food business incubator Findlay Kitchen, Soul Secrets was able to reach a wide enough clientele to entice real-estate development group 3CDC to lease its newly opened storefront at 1434 Vine Street in OTR, the neighborhood’s main strip with a majority of its most lucrative
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Soul Secrets’ storefront opened in Over-the-Rhine in April. P H OTO : H A I L E Y B O L L I N G E R
Candice Holloway uses her grandmother’s recipes in Soul Secrets’ cuisine. P H OTO : H A I L E Y B O L L I N G E R
investments. The effort required an immense amount of work for Holloway, but she credits her family for getting her through. “I think that strength and determination comes from when I watched my grandmother, but she wasn’t fortunate enough to get to where I am today,” Holloway says. “She didn’t have the resources or the tools or even the education; my grandmother had a sixth grade education. I think that this is just something that I would like to leave for my own daughter and her daughter, to say that this is what we can carry on.” Soul Secrets’ menu will expand once operations are a bit more established, but I’d be content eating the fried fish that was brought to the table every time I visit. My first plate was fried whiting with macaroni and cheese and collards on the side. The fish was hand-breaded and seasoned with a savory blend of spices that highlighted the flaky, flavorful fish. With nothing more than a few dashes of the Frank’s RedHot that Soul Secrets provided, I gladly ate the generously sized entree. If you’ve had genuine homemade macaroni and cheese with the nice charred bit of topping, then Soul Secrets’ version was one to compare with your favorites. The collards also are an essential component in soul food, and the ones here were a crowdpleaser. Not overly salty or acidic, the greens had enough bite for me to know they weren’t overcooked into mushy oblivion. Of course, the cornbread was handy once I’d eaten my greens, as the little puck-sized portion sopped up any
Shrimp and grits is one of Soul Secrets’ menu offerings inspired by Holloway’s family recipes. P H OTO : H A I L E Y B O L L I N G E R
remaining collard-braising stock. Soul Secrets has a modest cocktail menu with bright, eye-catching drinks that are begging for Instagram clout while favoring sweeter tasting notes. The house cocktail is made with Hennessy, lemonade, strawberry slices and puree, garnished with a lemon wheel. For something truly beautiful but potent, the 427 is a rainbow in a glass, made with white coconut rum, vodka and a blend of fruit juices and colored liqueurs.
Eagle-eyed Soul Secrets visitors may notice that the logo features a little red bird. This has a very special meaning to Hollowway. “Red birds are typically symbolic of ancestral spirits that are present with you,” Holloway explains. “It’s reflective of our roots, our heritage. I want people to know we’re a Black-owned business but we are not only a Black-owned business – I’m a woman as well. So I wanted to stand out and say, ‘Hey, we can do this.’ We want to make some changes in
how we are doing business in the city, so I wanted to highlight the fact that we’re here.” When I visited, the waitstaff wore black T-shirts with a simple-yet-profound message: “My ancestors sent me.” That’s certainly the case for Holloway, who has made it a point to bring those ancestors along with her, making sure they never fade away. Soul Secrets, 1434 Vine St., Overthe-Rhine, soulsecretscincy.com.
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MUSIC
Alex Newell P H O T O : J I M M Y F O N TA I N E
Gleefully Prideful A decade into his entertainment career, Alex Newell is bringing his “boogie shoes” to the Cincinnati Pride Festival. BY K AT R I N A E R E S M A N
T
en years ago, Alex Newell (he/ she/they) attended Pride in San Diego. It was his first Pride event, and he was there to perform. The star,
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known then for his role as Unique Adams on Glee, took to the stage in bold red leggings and chunky studded heels. In one YouTube upload from that day,
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Newell grooves across the stage singing KC and the Sunshine Band’s “Boogie Shoes,” hitting all the high notes with natural ease. The audience claps and sings along. It’s all joy and energy. Newell tells CityBeat that this San Diego Pride premiere was a “full whirlwind.” Those who are attending the Pride Festival in Cincinnati this year will be
blessed by another of Newell’s performances. The gender-fluid singer and actor is headlining the event, alongside Shea Diamond, Jordy and Daya. Newell’s professional career launched in 2011 when he – like 34,000 other contestants – submitted an audition tape to The Glee Project, a reality show that served as an extended audition for Glee. He
The gender-fluid singer and actor is headlining the event, alongside Shea Diamond, Jordy and Daya.
was a runner-up, initially earning two episodes in Glee as Unique Adams, a transgender student who feels most confident when presenting female. In his first episode during the third season, Newell performs as Unique and slays in a rendition of the aforementioned “Boogie Shoes.” Unique was one of the first transgender characters on a prime time show, bold and unafraid to express her true self. Through his portrayal of the character, Newell — who shares these traits with Unique — became an inspiration to young LGBTQ+ folx as well as parents of queer youth. The character quickly became an audience favorite, and Newell regularly returned for Glee’s remaining seasons. Since Newell’s Pride premiere 10 years ago, he has made appearances at Pride celebrations across the country. Each June keeps him busy, “doing Prides and panels and seeing my chosen family,” he tells CityBeat. Chosen families are a central part of the LGBTQ+ community. Many queer folx find support, companionship and community through chosen relationships, in lieu of or in addition to a supportive biological family. For Newell, a chosen family is a unit he enjoys alongside a biological mother who has supported him since the start. In his 2020 single “Mama Told Me,” Newell celebrates the presence of his mother and all maternal figures in the LGBTQ+ community. In an interview with Paper magazine that year, Newell says, “I know that I have one of the strongest mothers, who raised me since I was six, and all by herself.” With his mother by his side, Newell says came out as a gay man with confidence and pride, even in the religious context of his upbringing. The conflict between personal religion and a queer identity can be challenging to navigate, but for Newell, it was about loving himself and creating his own unique relationship to religion. “Your faith is something personal for you, and no one can take that away from you!” Newell says. “You have to be steadfast in that!” When Glee ended in 2014, Newell turned his attention to his musical career, collaborating with artists such as Blonde and The Knocks and creating
discotheque-worthy songs like “All Cried Out,” and “Collect My Love.” In 2016, he released his debut EP, Power. That same year, he contributed backing vocals for the song “Hands,” a tribute to the 2016 Pulse nightclub shooting in Orlando, with all song proceeds going to victims or their families. In addition to Newell, the song featured stars like Britney Spears, Kacey Musgraves, Gwen Stefani and Jennifer Lopez. Newell also has found success on Broadway. He made his debut in 2017 with the role of Asaka in Once on This Island. When you’re performing live on Broadway, Newell explains, you’re pacing yourself for eight shows a week. But when you’re headlining an event or putting on a one-off concert, it can be more of a sprint. “[It’s] one night only, and you can go all out!” Newell says. It seems as though Newell has been expertly balancing between pacing himself and going all out since he was just a kid. He started singing at age two and was a television star before he graduated high school. He recently wrapped on his role on Zoey’s Extraordinary Playlist, in which he played a genderfluid DJ named Mo over two seasons and a film. Newell’s latest single “Attitude” was released in January and is another karaoke-worthy pop hit. So how does this humble diva keep up with all his projects while avoiding burnout? “You have to be disciplined while still having fun with it!” Newell says. “It’s all fun at the end of the day.”
Since Newell’s Pride premiere 10 years ago, he has made appearances at Pride celebrations across the country. Each June keeps him busy, “doing Prides and panels and seeing my chosen family,” he tells CityBeat.
See Alex Newell during the Cincinnati Pride Festival on June 25 at Sawyer Point Park, 705 E. Pete Rose Way, Downtown. Info: cincinnatipride.org.
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SOUND ADVICE The Chicks
June 21 • Riverbend Music Center The Chicks still aren’t “ready to make nice,” and our ears are all the better for it. It’s been nearly 20 years since The Chicks’ frontwoman Natalie Maines (rightly) criticized a U.S. president’s pro-war stance and triggered a major backlash from those pushing post-9/11 “America-first” jingoism. “First these turncoats tried to spark a modern reflection of country music, and then they went after George W. Bush’s invasion of Iraq? How dare these traitors? How dare these women?” The good ol’ boys fought back against the band’s free speech by tanking their album and ticket sales and making death threats, because ain’t that America? But the Chicks’ punk-rock moment continues to reverberate today, sadly, as the United States grapples with Donald Trump’s MAGA cult, the U.S. Supreme Court prepares to allow states to outlaw and criminalize abortion and women worldwide are targets for gun and domestic violence. The band – Maines along with Emily Strayer and Martie Maguire – promises to retain their outspoken spark as they settle into their new 27-city tour through North America. The acclaimed 2020 album Gaslighter – their first in 14 years – will provide the fuel for the women’s current fire. Written in the midst of Maines’ divorce, Gaslighter is a blend of nervy directness and swirling emotions. In a recent interview with People magazine, Maines said that portions of the pandemic-delayed tour’s nightly setlists will be determined by a dice roll and that family members will be performing with the band. Standards like “Goodbye Earl” and “Sin Wagon” will be reworked alongside new songs “Julianna Calm Down” and “Sleep at Night.” And nobody should expect a subdued version of The Chicks this far into their career. “We’re not going to hold back,” Maines told People. The Chicks will play Riverbend Music Center at 7:30 p.m. June 21. Doors open at 6 p.m. Patty Griffin will open the show. Masks and proof of COVID-19 vaccination are optional. Info: riverbend.org. (Allison Babka)
Bon Iver
June 21 • PromoWest Pavilion at Ovation Bon Iver moves at a deliberate pace. The band — which is essentially singer/ songwriter Justin Vernon backed by
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The Chicks P H O T O : FA C E B O O K . C O M / T H E C H I C K S
various players — has released just three full-length albums since the 2007 debut For Emma, Forever Ago, an affecting folk-fortified breakup record that remains a classic of its kind. Vernon prefers to perfect his visions, evidenced by the gradual sonic evolution from the straightforward acoustics of For Emma to the obtuse, electronically enhanced textures of his most recent effort, 2019’s i, i. While Bon Iver’s studio efforts grow more otherworldly, their live shows remain tethered to earth. Vernon’s distinctive falsetto, which is manipulated via Auto-Tune and other masking techniques in the studio, emanates from a more flesh-and-blood place in a live setting, giving the songs a less alien feel than their recorded counterparts. Reports on the current tour – Bon Iver’s first since the pandemic hit – reveal a set list heavy on tunes from i, i, a record that combines the traditional instrumentation (acoustic guitars, horns, strings and piano) of For Emma with the more experimental stylizations of 2016’s 22, A Million. Vernon’s rise from rural Wisconsin folkie to multi-Grammy-nominated artist and collaborator with everyone from Kanye West to Taylor Swift is one of the more curious developments of the current age. The spotlight can be a strange place to be for a guy who would rather revel in the creative aspects of his chosen endeavor, but it’s something he’s come to accept. “Power has come to me,” Vernon told Pitchfork in a 2019 interview, “but it’s not fun to wield by yourself, and it’s not
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Bon Iver P H OTO : M O S E S N A M K U N G , W I K I M E D I A C O M M O N S
as useful if it’s just your vision.” He uses that power to benefit various progressive interests and causes, including the recent single “PDLIF,” which he wrote for frontline healthcare workers during the worst of the COVID-19 pandemic. The acronym stands for Please Don’t Live in Fear, a phrase Vernon has come to embody in multiple ways. Bon Iver will play PromoWest Pavilion at Ovation at 5:30 p.m. June 21. Bonny Light Horseman will open the show. There are no COVID-19 requirements. Info: promowestlive.com. (Jason Gargano)
Maren Morris
June 25 • ICON Festival Stage at Smale Park A lot has happened since Maren Morris last released an album, 2019’s GIRL. Like artists everywhere, the
genre-jumping singer-songwriter put her career on hold when the pandemic hit in March 2020, including freshly minted side project The Highwomen, a fruitful collaboration with Brandi Carlile, Natalie Hemby and Amanda Shires. Then, just weeks later, she delivered her first child, a difficult birth that left the now-32-year-old Texas native suffering from postpartum depression. The experience couldn’t help but find its way into Morris’ recently released third major-label effort, Humble Quest, which is heavy on introspection without wallowing in self-pity. The sleek 11-song set mixes traditional country with elements of pop, rock and R&B courtesy of producer du jour Greg Kurstin, whose extensive resume includes work with artists as diverse as Devo and The Shins to Pink and Kelly Clarkson. The title track opens with this admission: “Haven’t looked up in a while/
Maren Morris P H OTO : JA M I E N E LS O N
Been bitin’ my tongue behind a smile” before a chorus of “I’m on a humble quest/And damn, I do my best/Not gonna hold my breath/’Cause I still haven’t found it yet.” “Humble” seems to be front of mind for Morris’ these days. “It fascinated me that I had such a complicated relationship with that word, and I wanted to dive deeper into why,” Morris said in a recent interview with Vanity Fair. “We’re just so exposed to our own criticisms in social media and all of that. So, I was starting to wonder after what I’ve achieved in two records, am I still down to earth?” The nationwide “Humble Quest Tour,” which opened this month and runs through October, will be heavy on new songs, but Morris promises an acoustic set to, per a TikTok post, “break out some older stuff & deep cuts.” Maren Morris will play the ICON Festival Stage at Smale Park at 8 p.m. June 25. Doors open at 6:30 p.m. Brent Cobb will open the show. There are no COVID-19 requirements. Info: bradymusiccenter.com. (JG)
The Avett Brothers
June 28 • Timberwolf Amphitheatre at Kings Island From nearly the outset, the Avetts’ acoustic music filtered its country/folk/ honky tonk roots through the youthful punk/indie/pop/rock lens of their late ‘90s bands. The first Avett Brothers release came in 2000, when the band was still a side project of Nemo, Scott Avett’s college band which had eventually absorbed Seth Avett’s high school group Margo. After Nemo’s dissolution, the brothers concentrated on their acoustic side hustle with upright
bassist Bob Crawford, quickly establishing their brilliance at hybridizing their genre influences into a sound that was vaguely reminiscent and yet singularly their own. Enraptured critics compared the Avetts to Townes Van Zandt and the Beatles and their fan base grew exponentially as they graduated from indie darlings to semi-major label powerhouse with their signing to Rick Rubin’s American Recordings. The Avetts’ 20th anniversary should have been a busy celebratory year but, like everything everywhere, was cut short due to the COVID-19 pandemic. They managed to record and release The Third Gleam, the third installment in their stripped-down-to-a-trio series of EPs, and perform three dozen dates, but the debut of the stage musical Swept Away, inspired by and featuring the Avetts’ music, was postponed until earlier this year. And now the full band – featuring cellist Joe Kwon, and touring members Mike Marsh (drums), Bonnie Avett-Rini (piano) and Tania Elizabeth (violin, vocals) – are returning to the road with a vengeance after a two-year stretch that saw them play little more than two months worth of gigs. If there was ever a prime time to witness the might and humble majesty of the Avett Brothers, it would be any night on this tour. Additional note: this will be the first performance of Kings Island’s recently resuscitated concert series at Timberwolf Amphitheatre. The Avett Brothers will play Timberwolf Amphitheatre at 8 p.m. June 28. Gates open at 7 p.m. Masks and other COVID-19 protocols are optional. Info: visitkingsisland.com. (Brian Baker)
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What The purpose of this study is to evaluate whether giving whole blood transfusion early in the course of treatment would help severely injured patients that lose a lot of blood survive their injuries.
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Who Adults 18 to 90 years old who are severely injured patients that lose a lot of blood (hemorrhagic shock). Details For more information or to opt-out of this study, contact the TOWAR Study Hotline at (513) 558-6332 or TOWAR@uc.edu.
15-21 IRB # 2021-0772
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