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NEWS

Gunning for the Goal FC Cincinnati’s West End stadium needs a final set of approvals from Cincinnati City Council — but that could be complicated BY N I C K SWA R T S EL L

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s Cincinnati City Council sits poised to give final approvals for FC Cincinnati’s $250 million stadium in the West End, some loose ends remain. Council will likely vote on key approvals for the stadium Feb. 13, after this article goes to press. But even if legislation around a land deal and zoning variance pass, questions will likely linger. A recent study about the impact stadium noise could have on Music Hall, concerns about parking and street closures, a displaced West End business owner and details around the transfer of city land in the stadium’s footprint have all presented last-minute challenges as the team drives toward the goal box of a March 2021 opening for its new Major League Soccer facility. The biggest piece of the puzzle seemed ready to slide into place last week, when Mayor John Cranley presented council with a deal that would deed FC Cincinnati city-owned land appraised at $1.6 million. But that deal hasn’t been simple. The land has been a sticking point between council and the team, which had originally asked that the city give it a portion of a parking lot north of Cincinnati Police District 1 Headquarters and part of Central Avenue for one dollar. Council balked at that. Cranley’s new deal would still give FC Cincinnati that land for a dollar, but would net the city some extras in exchange. Some council members, however, have questioned how much value the deal brings to the city. The largest part of the deal would be the promise of $400,000 a year until 2031 in ticket admissions taxes from stadium events. Anything over that would be put into development efforts around the stadium — potentially a new garage at the Town Center garage site on the corner of Ezzard Charles Drive and Central Parkway. FC Cincinnati says ticket sales at Nippert Stadium generate about $250,000 in admissions taxes a year, though ticket prices will rise when the team joins Major League Soccer. At a Feb. 11 Budget and Finance Committee meeting in which council members advanced the legislation around the land deal, council member P.G. Sittenfeld said that that the team estimates it will generate about $370,000 a year in ticket tax revenue should it sell out every game.

But council member Chris Seelbach has said the city will likely see that much in ticket tax revenue without the deal in coming years as the team ups its ticket prices. The other extras on offer center around the Town Center Garage across Ezzard Charles Drive. Those include payments from the team of about $55,000 a year to replace parking revenue lost when officers begin parking at the garage just south of CPD headquarters, up to $750,000 from FCC to add a 67-space parking lot near that garage, and another $300,000 to help move an evidence processing unit from CPD District 1 to District 3. The team would also lease spaces in that garage from the city starting at $150,000 a year until 2025, when the cost would increase every two years. In return for all of that, the team would get the roughly one acre in parcels from the city and the first rights to buy the land occupied by CPD District 1 if the city decided to sell it. However, the city likely stands to get more money if it keeps the garage under its control and sets parking prices itself. It stands to make slightly more than the $150,000 a year if it charged its current special events rate of $10, and could up the price to $20 — a level the team is rumored to be considering. Also worrisome for some members of council — a provision that would stick employees of public radio and others nearby with game day rates on days FCC has control of the garage, even if they have monthly passes. Seelbach says the deal seems better than the initial ask by the team, which faced dubious prospects in council. But he said he still wasn’t satisfied with it. “Looking at what we have before us and being expected to vote on it on Wednesday (Feb. 13), this is a mess,” he said Feb. 11.

The future site of FC Cincinnati’s West End stadium, which needs key approvals from Cincinnati City Council PH OTO: NIC K SWARTSELL

There are other potential sticking points, several council members say, including the fate of West End business owner Monica Williams’ soul food restaurant Just Cookin’. Williams, along with two other businesses and one resident, had to relocate late last year from their rented spaces in the State Theater, which is in the stadium’s footprint. Those businesses originally got $20,000 from FC Cincinnati, which they said would not be enough to reestablish themselves at new locations. FC Cincinnati has pledged to provide another $50,000, pay Williams’ rent at a new location for two years and to help her find a new location in the West End, where she wants to remain. Council member Greg Landsman says a deal is close to relocate Williams. “There should be something in the next 48 hours for people to look at and say, ‘This is great,’ ” he said after the Feb. 11 committee meeting. “Assuming it works for Monica, it seems to be heading in that direction.” Williams says she is still very nervous about the state of her business and has taken a third-shift job at Kroger in the meantime. She is interested in a Portowned spot on Linn Street — where the barber shop that once occupied the State Theater might also go — but negotiations are ongoing. There are other potential snags as well, including a recently released report showing that noise from the stadium could bleed into Music Hall’s Springer

Auditorium and rehearsal spaces. The team has pointed out that its current home, University of Cincinnati’s Nippert Stadium, is closer to UC’s College-Conservatory of Music than the new stadium will be to Music Hall, and that there have been no complaints about the current location. Others, including Mayor Cranley, have pointed out that the noise level will be relatively low — about a quarter of the sound bleeding into Music Hall from passing streetcars, which hits about 48 decibels according to a city study. But some council members remain skeptical. Council member David Mann pointed out that the science behind acoustics is more complicated than the mayor and FC Cincinnati suggest, a notion Connecticut consulting firm Akustiks, which issued the preliminary report, mentioned in a rebuttal letter to the team. “If the sound is 68 decibels and you add another 12, which I think is what the report says, now you’re at 80,” Mann said, pointing out that decibels don’t compound in a linear fashion. “That is a lot louder than 68. We should probably consult somebody who understands this stuff.” A final report from Akustiks, including potential noise mitigation solutions, is due this week. The issue looks likely to cloud a key vote around zoning variances for the team. Those variances passed through the city’s Planning Commission, which CONTINUES ON PAGE 08

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CITY DESK

Local Groups, Immigrants Push Back on Calls for a Border Wall BY N I C K SWA R T S EL L

Ohio Residents Line Up to Buy $500,000 in Medical Marijuana BY N I C K SWA R T S EL L

A coalition of Greater Cincinnati faith organizations, community organizing groups, immigrants and their advocates on Feb. 6 issued a sharp rebuke to President Donald Trump’s State of the Union address: Don’t build a wall. Trump touched on a number of points in his address Feb. 5, but among them, he doubled down on calls to build a wall along the United States’ southern border with Mexico. The president and his supporters say that the wall is necessary to stem the flow of undocumented immigrants and illicit drugs into the U.S. During his address, Trump said he welcomes documented immigration, but called undocumented immigration “an urgent national crisis” and again warned that caravans of migrants from Central America are streaming toward the U.S. Trump’s demand for $5.6 billion to build the wall — a demand that Democrats in Congress have resisted — resulted in the longest-ever federal government shutdown in the U.S. Another shutdown could loom in the near future over the impasse. Trump’s critics say a wall is unnecessary, expensive and immoral, and that undocumented immigrants are mostly families seeking asylum, not criminals. Local groups who advocate for immigrants are pushing back against the president’s message. Representatives from the Intercommunity Justice and Peace Center, League of United Latin American Citizens Cincinnati, AFL-CIO Cincinnati, Catholic Interfaith Workers Center, Council on American-Islamic Relations Ohio’s Cincinnati Chapter and other activist and faith-based organizations held a news conference to share a letter the group has sent to Congress asking elected leaders to

refuse to vote for money to build the wall. “Obviously we’re here right after the State of the Union,” LULAC member and immigration attorney Don Sherman said. “But we understand this has been a continuous situation in which President Trump is calling for a wall and calling this a national emergency when it is not an emergency. It’s an emergency for those in Central America who are suffering from violence and hunger.” The letter cites recent Department of Homeland Security data showing that most illegal drugs streaming across the border come through legal entry points and points out that border apprehensions are down by three-quarters since high points in the early 2000s. Instead of spending billions on a wall, the groups suggest, the U.S. government should provide aid to Central American countries like Guatemala, El Salvador and others that have been wracked with corruption, violence and economic despair, conditions activists say have been in many cases caused by U.S. political actions and policies like the Central American Free Trade Agreement. The coalition also wants Congress to pass comprehensive immigration reform, including permanent protection for young people brought into the U.S. by their parents. Among those who spoke out against Trump’s calls for a wall along the border were local immigrants. Rosanna Jimenez-Eche-Verria and her husband left Guatemala 17 years ago after she says corrupt government officials disrupted their livelihoods as construction contractors and threatened the lives of their family. They left in 2002, eventually gaining

political asylum and citizenship. Verria says others in her country leaving more recently are simply trying to do the same and should have the opportunity to apply for asylum. “They are leaving Guatemala because of the corruption in the country,” she says. “It is too much, with drug trafficking rooted in the highest levels of government. That’s led to extreme poverty, violations of human rights, lack of employment, lack of security. There are not enough doctors or medicine. The people of Guatemala are immigrating because they are desperate due to the situation in their countries, or because they have been threatened by entrepreneurs who are taking away their land. It’s important that the U.S. government grant the opportunity, as my family and I have taken, to request political asylum. They only want the opportunity to provide for themselves and their families.” Rita Enriquez, another speaker, came to the Cincinnati area from Honduras with her family when she was 15. She says that violence forced her family to flee. Because she came with her parents as a minor, she was protected under the Obama-era Deferred Action for Childhood Arrivals — a policy with a cloudy future in the Trump era. “In my village, there was so much violence,” she says. “They were killing people for nothing, and the police would do nothing about it. The cemetery in my village didn’t have any room for any more people. So my mom got scared and decided to try and come here to make a better life for those in my family. I’ve been here since 2000, and I’d like to ask the president for a chance to keep DACA. We’re not criminals. I’d like to work and have a life here with my kids.”

Hamilton County Sheriff Will Lay Off 10 Deputies Due to Budget Shortfall BY N I C K SWA R T S EL L

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Starting next month, the Hamilton County Sheriff’s Office will have 10 fewer deputies, Sheriff Jim Neil announced Feb. 7.

Those cuts come as part of a larger effort to reduce the number of deputies the county employs down to 800. The sheriff’s office had 930 deputies in July but has since cut down to 896 via a hiring freeze. Neil said the layoffs were unavoidable after Hamilton County Commissioners voted on cuts across county offices to address a $29 million shortfall in the county’s $239 million annual budget. The sheriff’s office lost $5.5 million from its more than $70 million budget due to the cuts. Three of the deputies laid off will be in

court services, four from enforcement and another three from administration. Those positions will be filled by senior deputies who are being moved from the county’s electronic monitoring program, which the probation department will take over. They’re the first layoffs the office has seen in over a decade since the 2008 closure of the Queensgate jail.

Local Government Fund and estate taxes between 2011 and last year, Hamilton County Auditor Dusty Rhodes said last year.

There are a number of factors behind the county’s budget shortfall, including the federal elimination of a tax on Medicaid care. The county won’t be able to collect roughly $6 million this year due to that change. The county is also smarting from the reduction in state funding to local governments. Hamilton County lost $66 million in revenue from Ohio’s

Hamilton County Commissioners voted to increase the county’s sales tax earlier this year before backing off due to pressure from anti-tax conservatives.

Overall, various cuts to state funding cost the county as much as $32 million a year, Hamilton County Commissioner Denise Driehaus has said.

Driehaus has tied the shortfall to reductions in state and federal funding. “The federal government and the state government, in my view, have shifted the

Ohio has almost 13,000 residents who can legally buy medical marijuana, according to the state’s pharmacy board. The state’s patient registry launched Dec. 3. Between that time and Feb. 7, 12,873 people applied and have been granted a card allowing them to purchase medical marijuana from the state’s five licensed dispensaries, which have sold almost 70 pounds of marijuana. Those sales have netted more than $500,000 since the dispensaries opened Jan. 16. Because the state’s 38 processing facilities aren’t open yet, only dried marijuana for vaporization is available, with oils and edibles still on the horizon. At least a few of the processors are slated to open next month, the state says. The state’s medical marijuana system was supposed to be operational by last September, but the process saw a number of road bumps. Delays seem likely to continue. Fewer than half the 374 doctors licensed to prescribe medical marijuana have done so, the pharmacy board reports, and only two of the state’s five chosen testing sites are operational. Another 4,200 patients are awaiting certification, according to the pharmacy board. There are more than 20 medical conditions that can qualify a person for a card, but the vast majority of those already licensed in Ohio, almost 11,000 people, have chronic pain that cannot be treated by other means. Only about a third of those receiving the cards in Ohio are under the age of 40. Almost half are over the age of 50.

tax burden to local communities,” she said last year. Hamilton County produces more tax revenue for the state than average. While the county’s 810,000 residents account for about 7 percent of the state’s 11 million people, the county’s sales taxes accounted for more than 8 percent of Ohio’s overall sales tax receipts in 2015. It contributes even more to the state’s income tax collections — about 10 percent of the state’s take annually. But the budget woes aren’t entirely from the state cuts. More than $100 million in county sales taxes, a main source of revenue, have been dedicated to Cincinnati’s two riverfront stadiums and renovations at Union Terminal. And Neil has routinely overspent his budget, spending almost $5 million more than he was allocated last year.

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Proposal Would Put $700,000 in Affordable Housing Trust Fund BY N I C K SWA R T S EL L The City of Cincinnati could make an investment into an affordable housing trust fund created last December, Mayor John Cranley and council member David Mann announced at an event at the former Manse Hotel in Walnut Hills. The proposal would make a one-time contribution of $700,000 from city-owned railroad revenues to the fund, which was created last year without a dedicated revenue source. The Cincinnatus Association will also contribute $1,000 to the fund. Other funding sources have been proposed, including a potential tax on short-term rentals, though none have been approved by council yet. Walnut Hills is one of several Cincinnati neighborhoods that has seen rental prices rise, leaving some residents struggling. City-wide, Cincinnati has a gap of almost 30,000 units of housing affordable to low-income renters, data suggests. Cincinnati City Council will need to approve the plan.

FROM PAGE 04

approved the team’s initial development plans for the six-story, 26,000-seat, 62,000-square-foot stadium last month. One of the elements of the plan approved by the commission includes temporary closures of Central Parkway, a major artery downtown, during game days. Despite inclusion in the planning documents presented to the planning commission, approval of those closures would likely fall to the Cincinnati Police Department. Council members Chris Seelbach, Tamaya Dennard, Greg Landsman, P.G. Sittenfeld and Wendell Young have signed a motion that would oppose closures of the parkway. Assistant City Manager John Juech says the city is considering whether to allow the closures, which he says may be necessary for safety reasons. Also still up in the air — a dispute over the parking lot of the Cincinnati Ballet, which sits on the corner of Central Parkway and Liberty Street. The ballet, which holds a 17-year lease on the space owned by FC Cincinnati, last week sent council members a letter asking them to hold off on a vote until the situation is resolved. In that letter, an attorney for the

ballet says that the team’s zoning variance request is invalid because it does not have complete control of the land for which it is seeking the zoning change. The coming votes mark council’s last chance to have a say in the stadium’s design, which will go before the Planning Commission again for final approval. Some members of Over-the-Rhine Community Council have urged the city to hold off on voting to approve the zoning variance until more details about the plan, including traffic, road closures and noise mitigation, are made final. “The team’s proposal is to complete studies and plans for managing parking and traffic, and controlling light and noise, after the final City Council approval, denying residents and elected city officials the opportunity to engage in the planning choices that will have a longterm impact,” OTRCC member Margy Waller wrote in a Feb. 5 letter to council. “A concept plan and proposed zoning change that fails to address the serious quality-oflife concerns raised by nearby residents cannot be consistent with the City or neighborhood plans. At this point, we do not know how these issues will be

managed.” Some West End residents near the stadium also have concerns about light, sound, traffic and other qualityof-life issues. FC Cincinnati says it has undertaken extensive community engagement around the potential stadium, though the prospect has been controversial. The West End Community Council’s general body voted against the stadium last year, though the body’s executive board approved the stadium. The team drew up a community benefits agreement with a few neighborhood representatives just before Cincinnati City Council approved a $35 million infrastructure package to support the stadium last year. But despite assurances from the team that they have consulted the community, Earl Brown, who has lived on Bauer Avenue just north of the stadium site for three decades, says he and his neighbors were never consulted about the coming facility. “What impact will this have on residents on the street?” he asked. “No one has ever spoken to me or other residents about this.”

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D O S C H E R â€™ S C A N DY FAC TO R Y | P H OTO : PA I G E D E G LOW

CINCINNATI’S CONFECTIONER THE HISTORIC DOSCHER’S CANDY CO. HAND-MAKES FRENCH CHEWS, CANDY CANES AND CANDY BUTTONS OUT OF A NOSTALGIC NEWTOWN FARMHOUSE BY MORGAN ZUMBIEL

You can smell it before you see it. Outside the entrance to the oldest continuously operating candy company in the United States, the air is thick with the delicious scent of vanilla. On the first day of factor y tours of the year, the team at Doscher ’s Candy Co. in Newtown has been at wor k since 7 a.m. This week, they’re making nothing but vanilla French Chew taffy bars. The floor inside the factor y is dusted with a fine white powder, which will undoubtedly be tracked out into the gift shop on the shoes of ever yone who passes through.

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French Chew taffy isn’t the only candy Doscher ’s is known for. It’s also the oldest candy cane producer in the countr y, and one of only t wo companies that still makes candy canes in the U.S. They begin chur ning out pepper mint candy canes in the ear ly summer to fill orders for the holiday season, as well as flavors that have year-round appeal like blueberr y, green apple and the ever-popular bir thday cake.

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In the middle of the after noon on a weekday, this crowd is compr ised mainly of young kids and their parents. About a dozen little noses are pressed up against the windows as they peer into the kitchen. On the other side of the glass, three men are hard at wor k perfecting yet another batch of candy, using the same recipe and handmade method as when the company began production way back in 1871.

And in September 2018, Doscher ’s acquired yet another classic Amer ican candy. After the Necco candy company went bankr upt, Doscher ’s bought the Candy Button brand, saving the colorful little candy dots from extinction. A few t weaks were made for br ighter colors and better flavors, but the candy already fit r ight in with the company’s st yle of confectioner y as well as its nostalgic values. Founded by Claus Doscher, a young Ger man immigrant, the company began as Doscher Bros. Wholesale Confectioners and first opened on East Fifth Street downtown near where the Taft Theatre stands today. Operations later moved to a factor y on Central Par kway before relocating again in 1946 to 24 W. Cour t St., where the company remained for 71 years.

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In 2017, Doscher ’s expanded from their cramped downtown offices into a far mhouse that seems like it was pulled straight out of a stor ybook — delicate white tr im surrounds pale-yellow br ick, the doors are painted a br ight cherr y red and a pair of chimneys poke out of the roof. The house was built in 1835 as a pr ivate home, but it looks like it was destined to become a candy store. Doscher ’s newest location not only has enough room for the factor y and offices, but also a retail store and a quaint tea room that opens for lunch once a week. The 8,000-squarefoot red bar n out back allows for space to br ing customers in to see this little piece of living histor y for themselves.

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Leading the tours is Greg Clar k, Doscher ’s vice president of business development and one of its owning par tners. His official title lends to the belief that he’s all business, but just like ever yone at Doscher ’s, he’s a candy man at hear t. He lear ned the ar t of old-fashioned candy making from Claus’ great-grandson Henr y Doscher III when he came on board in 2003. “He was the nuts and bolts of the company,” Clar k says of Henr y. “The handmade approach the Doschers had and the careful craftsmanship of making candy is hard to lear n. And lear ning it from the best, Mr. Doscher, who had been doing it his whole life, was just incredibly valuable.” It may be difficult to master, but Doscher ’s production st yle is prett y straightforward, seeing that they’ve been doing things more or less the same way since the company’s inception. They’re even using some of the same equipment: French Chews are made in small, 150-pound batches that are mixed in one of t wo copper kettles that have been used as long as Doscher ’s has been in business. “They hold the secrets to the French Chews,” Clar k says, and he estimates that together they’re probably wor th more than the company itself.

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There are currently 12 employees who wor k in the factor y, but even the owners get involved in candy making. Doscher ’s approach is “absolutely hands on,” Clar k says. “My new par tners who’ve come on about three years ago — same exact training. They get in the kitchen and they lear n how to make the candy and wor k batches. (They) know all the ins and outs of ever ything there is to do with making the candy.”

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Production here is an exact science that was perfected over a centur y ago. It’s rare to find candy that’s still made with such care, but even though the location and ownership of the company has changed some in the past 147 years, little else has. From French Chews to candy canes to Candy Buttons, the process is a labor-intensive one from the moment ingredients are first added to the mixers to when the finished candy is wrapped, packaged and shipped off across the countr y. Sure, Doscher ’s could probably increase its profits by adding more shifts to the wor kday or investing in fast machiner y, but Clar k says things are just as they should be. “There’s no cutting cor ners,” he says. “We can’t mass produce any of our candy because it’s done by hand…That’s a huge responsibilit y to continue that tradition but I realize how impor tant it is not only to the company but to people who buy our candy. When you eat the candy, you can see a difference.” To Clar k, this t ype of candy production means more than just making a sale. It’s about honor ing the value of a Cincinnati tradition and shar ing it with the cit y and beyond. It’s a legacy Doscher ’s is happy to continue.

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“It’s ver y humbling,” he says. “We’re ver y proud.”

D o s c h e r ’s C a n d y C o. i s l o c ate d at 6 9 26 M a i n S t ., N ew tow n. M o r e i nfo: d o s c h er s c a n d i e s.c o m.

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AGLAMESIS BROTHERS 3046 Madison Road, Oakley; 9899 Montgomery Road, Montgomery, aglamesis.com

4037 Hamilton Ave., Northside, chocolatslatour.com

Shalini Latour started making chocolate at the age of 14, later becoming a pastry chef and baker (with a stint at the BonBonerie) and launching her fair-trade Chocolats Latour brand in 2009. Now operating out of a shared storefront in Northside — the Chocolate Bee, with local honey entrepreneur Bee Haven — Latour is known for her creative flavor combinations, made using local ingredients including cream and milk from Snowville Creamery and herbs sourced from her own garden. For example, the Bollywood bar blends dark chocolate with turmeric, curry, mango, coconut and golden raisins while the Perfume of Provence takes white chocolate and infuses it with lavender, lemon and sea salt.

4271 Harrison Ave., Western Hills; 2692 Madison Road, Rookwood, fawncandy.com

After returning home from World War II, Paul Guenther opened the Fawn Candy Company with his wife, Jean, to sell homemade ice cream, and they eventually began to make and sell their own candies. Still owned by Guenther’s four daughters, the local shop specializes in small-batch traditional candies like cream candy, fudge and peanut brittle. Customer favorites include buckeyes, turtles and caramel apples. After 73 years of business, the Fawn Candy Co. continues to make small batches of their candies daily at their two locations in Western Hills and Norwood. What they’re known for: If you want to take a walk on the savory side, try their chocolate-covered bacon. Fawn dips baked thick-cut bacon in milk chocolate and then tops it with a decorative white chocolate drizzle. They also sell chocolate-drizzled popcorn and potato chips for that sought-after taste-bud-blasting combo of sweet and salty. — BEN REES

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What they’re known for: Chocolats Latour is known for their chocolate bars but look for seasonal offerings including hand-painted truffles. Shapes range from flowers and orbs to zombie bunnies for Easter in all different flavors — solid milk chocolate, salted caramel, gianduja, etc. For Valentine’s Day, the Love & Kisses truffles are lip- and heart-shaped hand-painted dark chocolate truffles filled with flavors like passion fruit black tea and rum, grapefruit moonshine, vodka rose and basil and more. — MAIJA ZUMMO

FAWN CANDY CO.

What they’re known for: If nuts and chocolate are your go-to candy combo, enjoy their giant pecandes, made by spreading homemade caramel over chopped pecans before coating them in either milk or dark chocolate. For those who want something sweeter, try the jimmy creams, made by covering buttery chocolate fondant icing in more chocolate and topping it with chocolate sprinkles. — TOMMY MCDONALD

CHOCOLATS LATOUR

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Thomas and Nicholas Aglamesis, two brothers who immigrated to Cincinnati from Sparta, Greece in the late 19th century, opened their first ice cream and candy parlor in Norwood in 1908. While the Great Depression forced them to sell that store less than two decades later, their second location, established in 1913, still remains virtually unchanged from the day it opened in Oakley, with chic Tiffany lamps and a marble soda fountain. Thomas’ son, James, took over the family business in the 1950s and kept the recipes and methods of the older generation consistent, churning out rich ice cream, fresh fruit sorbets (try the pink champagne flavor) and assorted copperkettle-crafted chocolate candies. The store’s quality has earned it national acclaim from publications including The New York Times and Bon Appétit.

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bought by the pound. Another favorite is their chocolate marshmallow hearts with hand-whipped marshmallow carefully coated by hand in light chocolate. — TM

LOVELAND SWEETS 124 W. Loveland Ave., Loveland, lovelandsweets.com

HENRY’S CANDY CO. 243 High St., Hamilton, facebook.com/henryscandyco

Henry’s Candy Co. is a colorful and playfully Pop art familyowned and operated confectioner that sells candy by the pound in downtown Hamilton. Sweets of all sorts — from assorted chocolates and fruit gummies to wax lips and lollipops — are laid out in a rainbow’s worth of color-blocked cases for customers to browse and fill a bag (or bags) of whatever bites they like. Family and community are at the heart of Henry’s. The store is named after the owners’ late son and the goal of the shop is to “strive to contribute color and smiles to the continual rebirth of Hamilton.” In additional to nostalgic sweets and contemporary candies, Henry’s also offers savory snack mixes and sugar-free options — and wild candy-infused window displays for anyone walking by. What they’re known for: Henry’s is no stranger to the wonderful world of gummy candies, but they have a soft spot for gummy bears and carry more than 20 different versions of the squishy animal candy. — BR

GRAETER’S

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Multiple Cincinnati locations, graeters.com

It’s safe to assume that almost everyone who’s spent time in Cincinnati has been to Graeter’s for some of Oprah’s favorite ice cream, but don’t overlook their handmade chocolate candies. The family business, now in its fourth generation, began making and selling chocolate not long after Louis Graeter began selling ice cream at Pendleton Street markets in 1868. Louis’ first store would not open until 1900 when he and his third wife, Regina, moved to 967 E. McMillan St. where their sweet creations would be produced and sold. After Louis’ 1919 death, Regina expanded operations and their second location opened in Hyde Park in 1922. Since then, Graeter’s has expanded to 53 locations — mostly in Ohio and Kentucky — and can be found in 6,000 stores across America. What they’re known for: Outside of their signature French Pot ice cream, Graeter’s is also known for their decadent opera creams — butter and fresh cream hide inside hand-decanted dark chocolate shells which can be

Founded in 2006, this nostalgia-inducing confectioner offers a blend of housemade items and an array of other specialty sweets. They make tons of chocolate offerings in house, from marshmallow clouds (aka chocolate-covered marshmallows) to caramels and a variety of turtles, as well as small-batch ice cream and stock a selection of novelty bulk candies and vintage options like Chick-O-Sticks and rootbeer barrels. They also serve coffee, tea and espresso drinks. What they’re known for: Owner Gloria Wilson and Co. make various candy barks —sheets of chocolate filled with different things like candy or nuts — that are really popular. Birthday cake bark and unicorn bark are colorful and dotted with sprinkles, whereas options like almond bark or toffee bark attract traditionalists. — MZ

MAVERICK CHOCOLATE 129 W. Elder St., Over-the-Rhine; 2651 Edmondson Road, Rookwood, maverickchocolate.com

This bean-to-bar chocolatier just opened a second storefront in Rookwood; its flagship Findlay Market operation opened in 2014. Helmed by Paul Picton and his wife, the self-taught couple and the rest of the Maverick team purchase ethically sourced, direct-trade cacao beans from farmers in countries like Belize, Ecuador and Peru and then do everything from sorting, roasting,

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grinding and tempering to flavoring, molding and packaging in their shop. Their award-winning bars come in flavors ranging from classic 70 percent Belize Dark Chocolate (a winner of a 2019 Good Food Award) to Prohibition Milk Chocolate made with Kentucky bourbon. They also make cocoa powder, drinking chocolate, gianduja chocolate-hazelnut spread and cocoa nibs. What they’re known for: Try their uber popular Fahrenheit 513 dark chocolate bar, made with a secret blend of chilies and spices and “waves of cinnamon.” It’s got heat and sweet. — MZ

PATTY’S OLD FASHIONED POPCORN 3437 Michigan Ave., Hyde Park, pattysoldfashionedpopcorn.com

Patty’s Old Fashioned Popcorn is a gourmet popcorn and classic candy shop just off of Hyde Park Square. In 2010, two ex-Mormons from Utah decided to bring their old-school popcorn cooking to the Midwest and launched Patty’s using century-old recipes and techniques. Now, the shop is run by DJ Snider and his dad, Nick, who learned the copperkettle technique from original owners Randy and Pat. All the popcorn flavors are made onsite in copper kettles, mixed with oars from the very early 1900s. Patty’s is also known for their handmade candies like turtles, pretzel rods and fresh caramel. What they’re known for: Patty’s Old Fashioned Popcorn specializes in, you guessed it, popcorn. Try their crowd favorite Italian black truffle popcorn made with Mediterranean sea salt, mixed with bits of truffle, or Cincy-style corn with a blend of caramel and white cheddar. While you’re there picking up a bag of popcorn, treat yourself to something sweet, too. — BR

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the shop continues to sell traditional and modern candies side by side. The company was sold to Supreme Nut & Candy in 2000, but according to Rohr, they promised not to change the name or location of the store to keep its authenticity intact. “If Willy Wonka lived in Cincinnati, that would be his home,” she says. What they’re known for: Minges & Sons specializes in bulk candy, but they have a candy counter where one can buy small bags of candy for anyone in need of a treat for one. — BR

PERFETTI VAN MELLE 3645 Turfway Road, Erlanger, perfettivanmelle.com

One of the world’s largest candy manufacturers is right here in the Greater Cincinnati area, although many residents aren’t aware of it. Perfetti Van Melle’s company name might not ring a bell, but their primary domestic products sure do: Airheads and Mentos. The company’s U.S. headquarters is just a little bit south of Cincinnati, in Erlanger, Kentucky. The organization boasts worldwide sales of $3 billion annually, employs more than 17.7 thousand around the world, sells candy in 150 countries and oversees 30 manufacturing facilities. In 1946, Ambrogio and Egidio Perfetti began making candy just outside of Milan, Italy; in 1900, Izaak Van Melle began a small confectionery business in his grandfather’s bakery. In 2001, Perfetti acquired Van Melle, creating Perfetti Van Melle as we know it today. What they’re known for: Nearly everyone has tried Airheads and Mentos at some point, but the company also creates a number of unique regional treats that aren’t household names around here. Two great examples: Chupa Chups Magics lollipops are filled with fizzy powder and have been around since 1958, and Alpenliebe’s chewy caramels reflect the company’s European roots. Mentos were introduced in 1945, and Airheads were born in 1985. — BILL FURBEE

QUAINTRELLE CONFECTIONS 1210 Main St., Over-the-Rhine, quaintconfections.com

Meggie Kraus started her artisan marshmallow bar in November 2017, selling dense, creamy and pillowy squares handcrafted with only water, sugar, gelatin, salt and assorted flavorings. Her OTR s’more bar sandwiches hand-torched flavored marshmallows (vanilla, espresso, peppermint, etc.) between graham crackers, layered with toppings (Oreos, toffee, coconut and more) and drizzled with dark chocolate, caramel or peanut butter. But if you don’t want to wait in store for a s’more, you can take a bag of marshmallows home. Grab a bag of classic vanilla, matcha or chocolate chip.

SCHNEIDER’S SWEET SHOP 420 Fairfield Ave., Bellevue, schneiderscandies.com

Founded in 1939, Robert and Lill Schneider took charge soon after their family established this location as a neighborhood candy and ice cream shop. When Robert retired in 1986, his son Jack took over with his wife, Kathy. Located in historic Bellevue, Schneider’s is situated on the corner of Fairfield and Foote, among a number of other independent familyowned businesses which also define the area’s small-town charm. Eager patrons peer through glass displays at rows of handcrafted treats and know the staff here by first name. What they’re known for: Opera creams are the most popular item at Schneider’s, but other specialties include fudge, caramels, cordial cherries, pecan caramelettes (turtles) and Kentucky Cream Candy. The shop is also known for serving up a unique northern Kentucky treat: homemade ice balls. The shop boasts a soda fountain and satisfies locals with malts, shakes, floats, sundaes and banana splits, as well. — BF

SWEET TOOTH CANDIES 125 W. 11th St., Newport, sweettoothchocolates.com

One of Newport’s most beloved spots is Sweet Tooth Candies, and its striped red and white awning out front has been a welcome sight for young and old alike for decades. This regional gem is open year-round to keep locals and out-of-town visitors stocked up with handmade candies and ready-to-enjoy seasonal treats. What they’re known for: In the summer, customers from near and far line up for ice balls (kind of like a Sno-Cone with the option to add ice cream); in the winter, caramel apples are in season and not to be missed. The shop is also known for its homemade buckeyes, opera creams, molasses chips and chocolate butter. — BF

What they’re known for: Marshmallows, obviously. We recommend heading to the storefront to build your own s’more — just check their Instagram before you go. Some days Quaintrelle sells out of marshmallows early and has to close up shop. — MZ

138 W. Court St., Downtown, 513-241-7376

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The oldest candy shop in Cincinnati, Peter Minges & Sons tries to keep their candy and store as traditional as possible. Walking into this downtown candy shop is like walking into the early 20th century. According to Heather Rohr, the current manager, the shelves, counters and the building itself are all the same as when Peter Minges moved in from a mule-drawn wagon. They even display pictures and antiques on the back wall from the beginning of the company. Opened since 1905,

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PETER MINGES & SON

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BY BILL FURBEE Dann Woeller t, local food enthusiast and self-proclaimed food et ymologist, is the author of Cincinnati Candy: A Sweet History. (He’s also wr itten The Authentic History of Cincinnati Chili, Historic Restaurants of Cincinnati and his new book, Cincinnati Goetta: A D electable History, is due later this year.) We got in touch with Woeller t to discuss the significance of regional sweet treats and how they correspond with our histor y and culture.

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“No one had really delved into (documenting local candy histor y),” Woeller t says of Cincinnati Candy.

But before Cincinnati was known as a brewer y cit y, it was a candy cit y with factor ies that shipped product all over the countr y. “In 1850 there were more candy factor ies than brewer ies in Cincinnati,” he says. That was due in no small par t to the immigrants defining our communities.

“From the 1860s to the 1890s, most of Cincinnati’s confectioners were Ger man,” Woeller t says. This changed with the Balkan wars. “Like the chili pioneers, immigrants from the area around Spar ta, Greece immigrated to the United States and Cincinnati and dominated the candy industr y. The Aglamesis family was par t of this wave of Spar tans who opened candy shops in Cincinnati,” he says. And if you think that Feb. 14 is the nation’s biggest candy holiday, think again. “Valentine’s Day has always been a way for the candy industr y to boost sales bet ween Chr istmas and Easter,” Woeller t says. Easter is the reigning sales champ, while Halloween and Chr istmas follow. “But ever ybody loves something sweet on Valentine’s Day. I prefer chewy cinnamon jelly hear ts, myself.”

’S N N A D FUN CINCINNATI CANDY FACTS D O S C H E R ’ S C A N D I E S S I G N | P H OTO : PA I G E D E G LOW

Candy corn was first released commercially in Cincinnati in 1898 by the Goelitz Company, which went on to become the Jelly Belly Corporation out of California. They still make candy corn to the original Cincinnati recipe.

Most early candy manufacturers in Cincinnati also sold and distributed fireworks.

The inventor of the opera cream, Robert H. Putman, and the inventor of the marshmallow Peep, Roscoe Rodda, were partners in a Cincinnati candy business. They separated after there was a split in the Christian Catholic Apostolic Church, led by Dr. John Alexander Dowie, the religious cult in which they were both deacons. Dowie started the socialist religious community in Zion, Illinois, north of Chicago, which both Putman and Rodda visited and were active with.

4. Doscher’s made a Goo Goo Cluster knockoff in the early 1950s called the Goober Cluster — around the same time that the Bluegrass classic “Foggy Mountain Breakdown” was being recorded at Cincinnati’s Herzog studio. Lester Flatt and Earl Scruggs went on to perform at the Grand Ole Opry, where the original Goo Goo Cluster would be the only candy advertised onstage (it’s also considered the nation’s first “combination” candy bar).

Cincinnati claims the only candy in our nation’s history to be named after a famous musician: Jazz orchestra leader Paul Whiteman. It was called the “Paul-I-Plop,” and was made by the William C. Johnson Company here to promote his orchestra’s three-week stay in town at the Sinton Hotel. A 5-cent donut-shaped candy made of chocolate, caramel and coconut, it was similar to a modern-day Girl Scout Samoa cookie.

Cincinnati Candy Barons started the National Confectioners Association in 1884, still the longest continually-operating professional organization in the United States; they were also instrumental in forming what became Sweetest Day in the early 1910s, leading up to WWI. Sweetest Day was not intended to be a Valentine’s Day-type holiday — rather, it was originally a benefit for orphans, the sick, the elderly and the infirm.

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More candy and food history can be found on Dann Woellert’s blog at dannwoellertthefoodetymologist.wordpress.com.

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Dolly Varden Chocolate company in the West End of Cincinnati is credited with introducing the chocolate cherry cordial to the American market in the early 1910s.

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Unfortunately, most of the chocolate Americans consume comes to us as the result of child slave labor in Africa. Ensure you’re getting ethical chocolate by supporting “bean-to-bar” producers, who source their beans through practices like direct trade and fair trade. Award-winning local favorite Maverick Chocolate is one such ethical bean-to-bar chocolatier.

T E E W S SIPS

CANDY-ADORNED COCKTAILS FOR A BOOZY SUGAR RUSH BY KIARA REECE

Find your inner “kid in the candy store” at these four local bars, which add confections to their cocktails to show how ver y sweet happy hour — or any hour — can be. TOUCAN T WISTER | PHOTO: HAILEY BOLLINGER CARRIE FISHER | PHOTO: HAILEY BOLLINGER

THE BIRDCAGE 16-BIT BAR+ARCADE

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The Carrie Fisher: Coconut rum, blueberry vodka, blue curaçao, pineapple and lime juice and rock candy

Who says you can’t meet your date at the arcade anymore? 16-Bit takes you on a journey to childhood offering more than 50 vintage arcade games and signature nostalgia-inducing drinks to follow. “Our bartender used The Force to come up with this recipe,” says Operations Manager Bob Berley. The cocktail pays homage to the late, great Fisher, who rose to fame as Princess Leia in the Star Wars movies, and looks like something you might drink at the Mos Eisley Cantina. 1331 Walnut St., Over-the-Rhine, 16-bitbar.com.

The Toucan Twister: A blend of seven fruit-flavored vodkas, freshsqueezed orange juice, lemonade and Sprite with a rainbow Tutti Frutti lollipop garnish The Birdcage is a new downtown LGBTQ nightclub and lounge that opened in late October. The colorful environment has also rubbed off on the cocktails, which are named after tropical birds. This signature drink is fun and fizzy and topped with a lollipop from local candy shop Peter Minges & Sons. The menu also features the Hummingbird, with bourbon, lemon and orange juice and a sugar candy lime wedge, and the large-format Fish Bowl, with a sugar candy grapefruit garnish. 927 Race St., Downtown, birdcagecincinnati.com.

OTR CANDY BAR The Sour Patch Kids Martini: Gin, sweet and sour mix, DeKuyper Grape Pucker, pineapple juice and Sour Patch Kids garnish If the overall theme of Findlay Market-adjacent artisan and vintage confectioner OTR Candy Bar does not send you back to the days of childhood, this drink definitely will. “The cocktail is the perfect homage for adults who are enjoying it for their inner child who has a desire to satisfy their sweet tooth,” says manager Kaylee Harrison. “ We love that the products in our store remind our customers of their childhood in a way they never have before, in the form of a cocktail.” 1735 Elm St., Over-the-Rhine, otrcandybar.com.

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ROOK OTR The Pretty, Pretty Princess: Sparkling wine, amaretto and cotton candy with a candy necklace

1115 Vine St., Over-the-Rhine, therookotr.com.

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This bar offers a unique experience not just in its more than 1,000 board game options, but also in the drinks it serves. Based off of the 1989 dressup-style board game, this drink lives up to its royal name and lets the imbiber dress up as well: the candy necklace garnish is edible and wearable. The menu also features a Pixy Stix martini, with vodka, sour grape, sour island, lemon-lime soda and a rim covered in Pixy Stix powder.

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VALENTINE’S DAY H E A RT B R E A K :

SWEETHEARTS IN DEMAND BY BILL FURBEE This year, the iconic Necco Sweethear ts candy — those tiny, chalk y hear ts bear ing messages like “Be Mine” — will be hard to find. Spangler Candy Company bought the Sweethear ts brand last year after Necco declared bankr uptcy, and a recent announcement broke the news that there wouldn’t be time to “meet customer expectations” for the candy this Valentine’s Day. Previously, a repor ted 8 billion conversation hear ts had been produced annually — that’s 100,000 pounds ever y day.

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Spangler, headquar tered here in Br yan, Ohio, is pr imar ily known for the production of Dum-Dums and Saf-T-Pops and Circus Peanuts.

Some competitors, like Brach’s, are hoping to fill the void with similar candy hear ts of their own, but Necco’s have been by far Amer ica’s favor ite, gar ner ing a repor ted 80 percent of the mar ket share. Sales had been on the r ise, and CandyStore.com repor ts that 2018 even saw the candy hear ts topping hear t-shaped boxes of chocolate in domestic sales.

Present-day Sweethear ts date back to 1902; or iginal messages like “Be Good” and “Kiss Me” are still in production, with moder nized hear ts bear ing phrases like “Text Me.” Updating the messages became an annual tradition in the 1990s, with the first being a quaint “Fax Me.” Back before that, in the 1860s, an ear ly relative of the conversation hear t called Mottoes was a popular treat, featur ing rolled-up notes pr inted on paper inside scallopshaped candies. The Sweethear ts stor y will continue, though... hopefully. Spangler CEO Kir k Vashaw was quoted in a press release saying, “We are looking forward to announcing the relaunch of Sweethear ts for the 2020 Valentine’s Day season.” However, that press release has been taken down. It was replaced by a related, hear tening image with candy hear ts saying: “Miss U 2,” “Wait 4 Me,” and “Back Soon.”

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CandyStore.com repor ts the image was followed with, “We wish we could have Sweethear ts out for the 2019 Valentine season, but it’s just not possible. We are committed to making sure these brands meet consumer expectations when they re-enter the mar ket. Doing it r ight takes time.” It should be noted that, in addition to competitors’ versions of the classic candy, consumers may find linger ing supplies of Necco’s Sweethear ts intended for last year ’s Valentine’s Day.

STUFF TO DO Ongoing Shows ART: Funniest Joke in Cincinnati Wave Pool, Camp Washington (through Feb. 23) ONSTAGE: In the Heights Playhouse in the Park, Mount Adams (through Feb. 17)

WEDNESDAY 13

VISUAL ART: John Waters: Indecent Exposure is a retrospective of Waters’ visual art at Columbus’ Wexner Center. See interview on page 31.

VISUAL ART: Winslow Homer to Georgia O’Keeffe maps 100 years of art at the Taft Museum. See feature on page 32.

The Sleeping Beauty PHOTO: PROVIDED BY C I N C I N N AT I B A L L E T

COMEDY: Globe-trotting comedian Sean Patton

COMEDY: Jeff Dye Jeff Dye is probably most widely recognized for his work on MTV shows like Money from Strangers and Girl Code. “I am single,” he tells an audience. “I had a girlfriend and then she was like, ‘I want to get married and have babies,’ and I was like, ‘You have changed. This is not the woman I met.’ She used to be happy with fish stick Friday.” He reasons his maturity level might be hindering his prospects. “There’s no reason to grow up when you’re me. I spend my whole day like an 8-year-old with cash. I love video games, pro wrestling and once a week I throw up because I ate too much candy.” 7:30 p.m. Thursday; 7:30 and 10 p.m. Friday; 7 and 10 p.m. Saturday; 7 p.m. Sunday. $12-$65 Thursday; $15-$45 other. Funny Bone, 7518 Bales St., Liberty Township, liberty.funnybone. com. — P.F. WILSON

ONSTAGE: The Sleeping Beauty The Cincinnati Ballet revisits a fairy tale classic with The Sleeping Beauty. The last time the ballet staged The Sleeping Beauty was during the 2010-2011 season and this rendition features Tchaikovsky’s score, played by the Cincinnati Symphony Orchestra, with choreography by Devon Carney. “It’s a 21st-century version that pays homage to a 19thcentury classic,” Carney said in a release. The ballet tells the story of princess Aurora, who is cursed by an evil fairy to prick her finger on the needle of a spinning wheel on her 16th birthday and die. But instead of death, a good fairy grants 100 years of sleep, until Aurora is awakened by true love’s kiss. 7:30 p.m. Thursday; 8 p.m. Friday; 2 and 8 p.m. Saturday; 1 and 6:30 p.m. Sunday.$40 on Valentine’s Day; $36$128 other performances. Music Hall, 1241 Elm St., Over-the-Rhine, cballet.org. — KIARA REECE

EVENT: Taft House Party The Taft Museum of Art is taking the pressure off of creating that perfect Valentine’s Day date because they are doing it for you. From a DJ spinning romantic hits to DIY aromatherapy and even finding out you and your special someone’s future with palm reading, this Taft House Party is aimed at lovers. Channel your Lady and the Tramp moment with food from the Italian Truck or simply enjoy some signature cocktails at the cash bar before taking a guided stroll through the gallery for a “Match-Making in the Museum” tour. 5-8 p.m. Thursday. Free admission. Taft Museum of Art, 316 Pike St., Downtown, taftmuseum. org. — KIARA REECE ATTRACTIONS: Egypt: The Time of Pharaohs Opening Reception Travel back to the time when pharaohs ruled and men could wear makeup without it being a big deal; this Valentine’s Day, an exclusive

Cincinnati Museum Center event lets you see the American debut of over 350 ancient Egyptian artifacts dating back more than four millennia the night before the exhibition goes public. Finger foods and cocktails are complimentary, and you’ll get insider information from the exhibit’s curators and archaeologists. Unique historic artifacts like a bust of the longest-serving female pharaoh, Hatshepsut, are presented in conjunction with modern 3-D recreations of mummies and detailed models of lost cities. Stick around for the Pharaohs in Love after-party. 6-10 p.m. Thursday. $100. Cincinnati Museum Center, 1301 Western Ave., Queensgate, cincymuseum.org. — TOMMY MCDONALD

FRIDAY 15

MUSIC: Anderson East brings some Nashville Soul to the Madison Theater. See Sound Advice on page 44. CONTINUES ON PAGE 28

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THURSDAY 14

heads to Go Bananas. See interview on page 33.

FILM: Rebecca at the Esquire Theatre Alfred Hitchcock released his masterpiece Rebecca in 1940 and it won the Academy Award for Best Picture and Cinematography out of its 11 nominations. Seventy-nine years later, it is still considered a cinematic masterpiece with a 100 percent fresh rating on Rotten Tomatoes. The Esquire is paying tribute to the Master of Suspense this month with three of Hitchcock’s works from the 1940s, beginning with Rebecca, a black-andwhite Gothic thriller about aristocrat and widower Maxim de Winter and his second bride, who finds that she is living in the shadow of Winter’s first wife. 7 p.m. Wednesday. $10.25 adults; $7.75 children/seniors. Esquire Theatre, 320 Ludlow Ave., Clifton, esquiretheatre. com. — BEN REES

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LIT: Jessica Chiccehitto Hindman An aspiring violinist leaves Appalachia for New York City to pursue her dream of becoming a classical musician. She lands a gig in a professional ensemble — but there’s a catch: The group doesn’t actually perform; rather “the composer” blasts music from a CD, which sounds a lot like the Titanic soundtrack. In a gist, that’s the basis of Jessica Chiccehitto Hindman’s memoir, Sounds Like Titanic. A local author and English professor at Northern Kentucky University, the memoir marks her full-length debut, having been previously published in The New York Times Magazine, Oprah Magazine and McSweeney’s. Ultimately a coming-of-age story, Hindman finds herself disillusioned and at odds with the false reality that surrounds her. Grab a copy and get it signed by Hindman at Joseph-Beth. 7 p.m. Wednesday. Free. JosephBeth Booksellers, 2692 Madison Road, Norwood, josephbeth.com. — MACKENZIE MANLEY

SATURDAY 16

EVENT: MadTree Winter Bonanza We all need something to get us out of our cozy abodes during these cold and uneventful winter months. MadTree invites the people of Cincinnati to its taproom to enjoy their 2019 Winter Bonanza, featuring beer, music and local eats. If you like beer, they’ll have a wide selection of local brews from their own rareities to guest taps from Fifty West, Braxton, DogBerry, Streetside, Urban Artifact, Warped Wing and more. If you like food, a selection of food trucks will be offering everything from pizza to Mexican and Korean barbecue to brunch. And if you like music, a lineup of artists will be playing from 1 p.m. to 1 a.m. including Queen City Silver Stars, Blue Moon Soup, BANNERS and DJ Fuseamania. Drink tickets are $6 each for pours of beer, cider or cocktails (sizes vary on the spirit). More than 3,000 people are showing interest on the Facebook event page, so while this party is free, MadTree will limit entry when they reach capacity. Noon-1 a.m. Saturday. Free admission; $6 drink tickets. MadTree, 3301 Madison Road, Oakley, facebook.com/madtree. — BEN REES FROM PAGE 27

MUSIC: Randy Brecker This year marks the 50th anniversary of the release of Score, the debut album from Jazz trumpet legend Randy Brecker. But Brecker’s contributions to music extend well beyond his impressive and diverse solo discography. A key participant in the early Rock crossovers with Jazz, Brecker was a part of Blood, Sweat & Tears’ 1968 debut album and formed early Fusion group Dreams with his saxophonist brother Michael; the later Brecker Brothers band would go

on to release six albums and scored numerous Grammy nominations in their relatively brief run through the early ’80s. Along with tenure in Clark Terry’s Big Bad Band, Art Blakey’s Jazz Messengers and Jaco Pastorius’ early ’80s group, Brecker has also been an enduring in-demand studio musician, appearing on albums by everyone from Frank Sinatra, James Taylor and Lou Reed to Aerosmith, Parliament-Funkadelic and Frank Zappa. A six-time Grammy winner, Brecker has remained incredibly

active; this year he’ll release two new albums, including Rocks, a collection of his compositions from various periods of his career recorded with the NDR Big Band and Hamburg Radio Jazz Orchestra and featuring guests like Ada Rovatti and David Sanborn. Brecker will perform four sets at the intimate Caffè Vivace this weekend. For his two shows on Friday, Cincinnati’s Phil DeGreg Trio will back him up; Brecker is joined by the local Five Little Bears ensemble for his two Saturday sets. 8 p.m. and

PHOTO: PROVIDED BY MADTREE

10 p.m. Friday and Saturday. $20. Caffè Vivace, 975 E. McMillan St., Walnut Hills, caffevivace.com. — MIKE BREEN

SATURDAY 16

EVENT: Midwest Dhamaka 2019 Celebrate South Asian culture by witnessing

energetic choreography and dizzying footwork coupled with ear-worm melodies in the eighth-annual Midwest Dhamaka competition. Every year, eight of America’s best Bollywood-fusion dance teams come to Cincinnati for a chance to win a Bollywood America championship bid (Bollywood America is the world’s largest fusion

competition). This infectiously rhythmic style of dance combines classic Indian styles with Western Contemporary, hip hop, jazz and electronic elements to create a captivating combination of sound and motion. Award-winning dance teams from Gainesville, Florida, Philadelphia and even Los Angeles will be showcasing

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THEIR HISTORY OUR STORY 28

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FEBRUARY 1 – MARCH 24, 2019

Thoughts Made Visceral Curated by C. M. Turner Britni Bicknaver Vittoria Daiello Elese Daniel Alex McClay Exhibition Sponsor Whitney and Phillip Long

MONDAY 18

EVENT: AmerAsia Buns, Bao and Beer East meets West at Landlocked Social House when Covington’s premier Amer-Asian restaurant and Japanese beers rarely seen in this hemisphere come together in savory harmony. Pair AmerAsia’s pork bao and steamed veggie buns with a can of Kiuchi Brewery’s citrusy Yuzu Lager — complete with an adorable cartoon owl — or some 8 percent ABV ginger beer on tap. Free glassware will be given out to lucky early attendees. Unwind after your week has begun and take your palate on a trip across the Pacific Ocean. 6 p.m. Monday. Free admission. Landlocked Social House, 648 E. McMillan St., Walnut Hills, facebook.com/landlockedsocialhouse. — TOMMY MCDONALD

SUNDAY 17

MONDAY 18

FEBRUARY 1 – APRIL 7, 2019 Dominic Guarnaschelli: Incognitum Exhibition Support: Anonymous

Migiwa Orimo: Proximity of Syllables Exhibition Co-Sponsors: Anonymous; Judge Mark and Sue Ann Painter/Cincinnati Book Publishing

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TUESDAY 19

MUSIC: Poetry slam and Hip Hop star Watsky brings his highly melodic MC skills to Bogart’s. See Sound Advice on page 45.

MUSIC: Indie Church Girls take over the Northside Yacht Club. See Sound Advice on page 45.

WEDNESDAY 20

MUSIC: Kurt Vile brings his singular blend of psychedelic-tinged Folk Rock and cosmic musings to the Taft Theatre. See interview on page 41.

YOUR WEEKEND TO DO LIST: LOCAL.CITYBEAT.COM

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EVENT: Hamilton Sing-ALong For Sexual Health Now, we can all admit it, Hamilton’s quick rhymes and catchy beat had us all screaming “I’m not throwing away my shot” at some point. Instead of having to embrace your inner Broadway star in the shower, Tokyo Kitty and Planned Parenthood are hosting an

event for Hamilton lovers to sing on a karaoke stage. Special guest host DJ Kita Kitty will be spinning some of your favorite songs from the Broadway hit, plus Chicago, Rent and other musicals to raise money for the ACT fund, which helps provide access to IUD birth control for people who may not have insurance or money to afford it. The evening also includes the possibility to win tickets to Hamilton at the Aronoff, signed memorabilia and the chance to sponsor a singer. Ten percent of bar sales will be donated as well. Must be 21 and over. 6-11 p.m. Monday. Free admission. Tokyo Kitty, 575 Race St., Downtown, facebook. com/thattokyobar. — KIARA REECE

EVENT: Valentine’s Day Sweet & Savory Stroll at Findlay Market Findlay Market offers a day to celebrate Valentine’s Day with food tastings, drink pairings and romantic music. Couples, family and friends are invited to partake in a stroll through the heated

farmers market shed of Cincinnati’s oldest market to taste samples from local vendors selling sweet treats like mini cheesecake, tea and candy. Other vendors will offer samples of savory items like hummus, meatballs and salsa. Pair all of these sweet and savory goodies with cans of beer or glasses of wine available for purchase at the Valentine’s Day bar. Ticket-holders are eligible to grab any five samples, plus 10 percent off products bought from select merchants, and will be entered into a raffle to win a bouquet of flowers from The Budding Florist. See the Findlay Market website for tickets and a full list of vendors. 11 a.m.-3 p.m. Sunday. $20. Findlay Market, 1801 Race St., Over-the-Rhine, findlaymarket.org. — BEN REES

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their best routines one night only at the School for Creative and Performing Arts. 6 p.m. Saturday. $20. SCPA 108 W. Central Parkway, Over-the-rhine, midwestdhamaka.com. — TOMMY MCDONALD

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ARTS & CULTURE

Getting ‘Indecent’ with John Waters A film director with a cult following, John Waters returns to the Wexner Center, the site of his first solo show, for a retrospective BY S T E V EN R O S EN

John Waters PHOTO: COURTESY OF THE ARTIST

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art,” he says. “The worst movie is 24 frames per second. One of those is good. So there is no such thing as a bad movie.” Moving on to the third and final gallery displaying his work, Waters stops at “Faux Video Room,” a piece made from a birch-painted plywood doorframe and a synthetic velour curtain on a chromed pole. If you pull back the curtain, you face not an entranceway to a screening room but John Waters’ “Study Art for Prestige or Spite” a barrier. “This is really for collectors who think PHOTO: COURTESY OF SPRÜTH MAGERS GALLERY they should have video art but they don’t have room in their house,” he says. “There is no room.” room is evident. For example, “Devil’s There is also, naturally, no video art. But Orders” is a photograph of an angry devil there is sound — Waters says it’s related wall illustration, along with the crudely to the infamous Jim Jones, who led his scrawled phrase, “Blow me asshole.” religious cult to mass death in Guyana. Waters explains how he got his revenge Waters points to a needlepoint pillow on this homophobic display. “This is my with the word “FLOP” on it. “Every favorite,” Waters says. “I saw that in a executive that you pitch a movie to has heterosexual biker bar, took a picture, ran a needlepoint pillow, but they never say out, came back and sold it for $5,000.” ‘flop,’ which everyone has had,” he says. “So this celebrates something everyone has John Waters: Indecent Exposure runs had but doesn’t talk about.” through April 28 at the Wexner Center for Waters’ show does end with what he the Arts (1871 N. High St., Columbus). For calls “the X-rated room” for its overtly more information, visit wexarts.org. sexual material. The humor in this

made me this art piece. They wrote ‘deceased’ (or) ‘dead.’” He soon comes to what he calls two framed-together photos of the titles of obscure movies Dr. Dolittle 2 and A Knight’s Tale, entitled “9/11” “This one I think is the scariest piece in the whole show, because those two movies nobody remembers. They were what was about to be shown on the planes on 9/11,” Waters says. “It was really hard for me to find that out — they never showed. It would have been worse if you crashed into the World Trade Center watching Dr. Dolittle 2. So I feel as if it’s an optimistic piece.” At the second gallery, Waters explains his “Shooting Script,” aka a photo that reveals the blank cardboard backings of used-up legal pads. Here, his commentary adds poignancy to a somewhat quizzical piece. “This one is hopeful for a writer,” Waters says. “I write everything by hand — all my movies, all my ideas for shows — and this is what’s (left) after I’m done. What a success! I’ve used all these pads. This is an anti-writer’s block piece for writers.” The Waters retrospective repeatedly features framed series of screenshot images from movies. Their purpose can be strange or illuminating, depending on one’s interest in the way Waters likes to subvert the original meaning of his source material. For instance, from the classic 1956 movie The Bad Seed, he has put together screenshots of what’s supposed to look like framed artwork in the background of interior scenes. Why? “It had nothing to do with the plot; I’m a real art thief in this,” Waters says. “One thing in the movies you’re not supposed to ever notice is how they fill the walls.” Another example of this kind of work is a photo series devoted to actress Grace Kelly’s elbows. There is a clear ulterior motive here, a commentary on the sexist way that male filmgoers respond to actresses. “Men always say, ‘Nice tits’ about women. So I said, ‘Nice elbows on Grace Kelly.’ Nobody ever says that. And she does have nice elbows,” he says. Jean-Luc Godard once famously said that “Cinema is truth 24 times a second.” Waters has a corollary. “Every movie has something in it that you can take a picture of and make it into some kind of twisted

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here’s nothing quite like having John Waters himself lead a tour of Indecent Exposure, the retrospective of his visual art that just opened at The Ohio State University’s Wexner Center for the Arts. You not only get to see close-up the works — 160 photographs, sculptures, sound works and moving images — but also get an often-hilarious running commentary from this accomplished multidisciplinary artist and master entertainer. The show originated at the Baltimore Museum of Art in Waters’ hometown. But Waters has a tie to the Wexner Center, too. In 1999, they became home to his first solo exhibition. Most famous for the movies he directed, such as Pink Flamingos and Hairspray, his visual art often functions as laughinducing visual jokes on the state of the arts, especially filmmaking. And, yes, he’s not afraid to make a sexual reference here and there, sometimes combining it with cinephilia, as in the large wooden ruler that measures out “Fellini’s 8½.” He also has a perversely amusing, Hitchcockian fascination with death. Waters, alas, isn’t slated to give any more personal tours of this show while it’s up at the Wexner through April 28. Luckily, I taped his media tour with my somewhat problematic cassette recorder (or maybe my operation of it was somewhat problematic). What follows are excerpts of that tour. He starts with an explanation of his oeuvre: “Basically, I’m trying to be the failed publicist and celebrate everything that goes wrong in the art world and in movies, with humor,” he says. “I don’t think I’m mean; I love what I make fun of.” His challenge in making contemporary art is to constantly ask himself, “Is it wrong to be funny?” In the first of the three galleries devoted to his work, after stopping at three photographs that have been digitally altered to make their subjects — including Waters, himself — appear to have had some extreme, almost otherworldly, facial plastic surgery, he moves to a 2003 photograph called “Return to Sender.” It shows a collection of returned letters. “I sent letters to dead celebrities at their last address and put my return address on the back, and they came back to me,” he says. “I didn’t touch anything; the postmen

VISUAL ARTS

The Road to Abstraction at the Taft Museum of Art BY M AC K EN ZI E M A N L E Y

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Winslow Homer to Georgia O’Keeffe: American Paintings from The Phillips Collection — the Taft Museum of Art’s current temporary exhibition in the third-floor gallery — begins with a lush work by George Inness. Set in an Italian countryside, associate curator Tamera Muente points out its three-dimensional appearance during a tour. Entitled “Lake Albano,” a cypress tree cuts softly through the middle, acting as a space divider. Tile-roofed villas peek out from hills in the distance. In the foreground, people lounge, their features hazy and soft. Painted in 1869, the work represents the crossroads of Romanticism and Realism. In the same room, Homer’s painting “To the Rescue” hangs in contrast. Two women walk along a seashore; they blur into the indistinct horizon, surrounded by clashes of white, tan and grayish blue. One of the women’s scarves hovers in the wind as a man carrying a rope follows behind them. Here, Muente says, Homer uses “broad, expressive strokes” to create a sense of human struggle against the sea. Beginning with work in the late 19th century, the exhibit moves through 100 years, tracing all the way to the 1960s. Running through May 19, Winslow Homer

to Georgia O’Keeffe includes 54 paintings and one sculpture, all drawn from The Phillips Collection in Washington D.C., which was founded on the private collection of Duncan Phillips. “You’re not only seeing a broad overview of the development of Modernism,” Muente says. “You’re also seeing an individual’s vision.” In part, that vision was to set American artists on equal par to their European counterparts. Phillips believed that selftaught artists like John Kane and Grandma Moses, artists of color — both Allan Rohan Crite and Horace Pippin are featured — and immigrants deserved to be supported and represented. One of the sections — “Memory and Identity” — is dedicated to this. These works vary in style and subject, from the crumbling industrial landscape of Kane’s “Across the Strip” to Grandma Moses’ “Hoosick Falls in Winter,” which warmly depicts a small town covered in fresh snow. “You do see this dichotomy of artists inspired by nature and artists inspired by urban life and industry,” Muente says. Of the latter category was Edward Hopper, who has two paintings featured. In one work, “Sunday,” a man sits on a curb in New Jersey. A slant of yellow light spills

over his hunched body. As Muente notes, the colors seem “off kilter.” Like much of Hopper’s work, it’s a lonely depiction of modern urban life. “There are (artists) like Georgia O’Keeffe, who are looking at nature and they’re simplifying it, kind of distilling it to its essence. And then people who are inspired by the city as well. We’re moving through the 1920s, ’30s and ’40s, when American cities are growing at an exponential rate,” Muente says. “So people like Edward Hopper were looking at the ways the city isolated people and changed their lives.” O’Keeffe, who played with shadows, light and form rather than fine details, often filed her subjects down to their bare bones. She once said, “It is only by selection, by elimination, by emphasis that we get at the real meaning of things.” That concept could easily translate to the work of artists that came decades after. By the time visitors enter the last gallery, they’ll be greeted by complete abstraction, says Muente. But everything else builds to that. And by walking through each room — divided into thematic sections — the road to Abstract Expressionism reveals itself. “When you move into the last space, one wall will be Cubist-inspired work, but it’s

Georgia O’Keeffe’s “Ranchos Church” C R E D I T: T H E P H I L L I P S C O L L E C T I O N

still kind of hanging on to representational paintings,” Muente says. “In those works, you’ll still be able to make out a shape here and there that maybe echoes something you would see in the real world, whereas the Abstract Expressionism paintings — unless it’s something you’re bringing to it — are not based in visual reality.” The exhibit feels like a collective breath. Take in: salty seascapes, a minimal adobe church, smog-fueled cities, families unwinding. Let out: vibrant colors, swirls of shapes, uneven textures, saturation. Winslow Homer to Georgia O’Keeffe runs through May 19 at the Taft Museum of Art (316 Pike St., Downtown). More info/tickets: taftmuseum.org.

COMEDY

Around the World with Sean Patton BY P. F. W I L S O N

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Over the past year, comedian Sean Patton has toured nearly nonstop all over the world — including stays in Asia and the U.K. — starting with a trip to the Melbourne Comedy Festival in Australia, which he notes didn’t actually feel all that foreign. “Yeah, they drive on the opposite side of the road and they have some odd eating habits and they drink like they’re trying to prove something,” he says. “But ultimately it feels very American and very similar. They’re also very tolerant there.” And now, Cincinnati audiences will get a chance to see the comic perform at Go Bananas, with showtimes slated Thursday through Sunday. Known for his dry and sometimes dark humor, Patton’s Sean Patton routines have been featured on The Tonight Show Starring Jimmy Fallon, PHOTO: PROVIDED Conan, TruTV’s Comedy Knockout and Comedy Central’s This is Not Happening and Live at Gotham, among really felt foreign,” he says. “When you go others. to Europe, particularly England, it takes Originally from New Orleans, he says you about a day to say, ‘Oh, this all makes he moved to New York City and then Los sense.’ You get used to it and roll with it, Angeles to pursue his career in comedy. which makes it more interesting.” With fellow comic Jay Larson, he returned In China, that process took longer. He to NOLA to film an episode of The Best Bars says he didn’t have the same freedoms in America, which ran for two seasons on that he has in the West in terms of what he Esquire Network. could joke about. “Jay had never been to New Orleans, “That was the thing I liked the least about and he was like, ‘How are we even in the being over there,” he says. “Over here you’ll United States? I feel like we’re in another talk to a friend that reads a lot of blacktime and in Europe.’ It’s a beautiful city listed websites or goes down a lot of rabbit and it has that Southern charm,” Patton holes. They talk about how America is says. “You really don’t have to do anything, losing freedom of speech, and I say to them, you can just walk around and have drinks, ‘Go spend a week in China where they actugo to cafés and restaurants and you’re ally don’t have freedom of speech.’ ” entertained.” For instance, he notes that before comeThough he relocated, the comedian dians go onstage in China, they’re given notes that the stand-up scene in the Big topics they can’t talk about, which include Easy has taken off recently — with shows Tibet, Taiwan and Tiananmen Square. nearly every night and a theater dedicated Since material has to be reviewed beforesolely to stand-up, sketch and improv. hand, he says the sense of improvisation While many of his stories are drawn doesn’t exist as it does elsewhere. from his New Orleans upbringing, others When he performed in Melbourne, delve into personal experiences, with critic Steve Bennett noted his New topics ranging from living with obsessiveOrleans drawl and laid-back demeanor, compulsive disorder to more crass writing that Patton creates an “intimate material, like playing a marijuana clarinet. atmosphere” in his work. “It’s helpful and also hurtful that I try “At the risk of evoking the Louisiana and stay away from topics I know other stereotypes he hates, you can envisage him comedians might go after, which is a lot,” telling this story on the porch, nursing a he says. “My material comes through bourbon as the sun sets on another humid experiences and from places people maybe day in the swamps,” the review reads. aren’t looking.” Ultimately, as Patton notes in his bio, he Of that, he says touring in different wants to share himself with audiences — parts of the world has helped cement his whomever and wherever they are. approach to comedy. Last fall, he toured Sean Patton performs at Go Bananas China, with stops in Shanghai, Beijing and (8410 Market Place Lane, Montgomery) smaller cities like Chengdu. But it came Thursday-Sunday. More info/tickets: with a bit of culture shock. gobananascomedy.com. “It was interesting, culturally, because it

LIT

Local Author Jessica Strawser Releases Third Tale of Domestic Suspense BY M AC K EN ZI E M A N L E Y

Jessica Strawser’s third novel, Forget You Know Me, descends straight into fastpaced tension. Two childhood friends — Liza and Molly — sit down to video chat over wine, painting glossier versions of their respective lives with forced smiles. As Molly leaves momentarily to check on her kids, Liza gets a glimpse of an intruder at Molly’s house. Everything goes black. But when Liza calls the cops and rushes to her friend’s aid — driving all the way from Chicago to Cincinnati — she’s met with agitation from Molly. The novel itself deals with navigating adult relationships: the two friends aren’t as close as they once were; Molly’s marriage is unraveling; Liza misses her hometown, Cincinnati, which she left for a job in the Windy City. “This catalyst at the beginning of the book is going to make everybody sit up and confront things they’ve been sweeping under the rug for too long, for better or for worse,” Strawser says. “And it’s going to have to shake out and either go one way or the other. When you reach that point when you grow apart from somebody you care about — is there a way back from that? Is there a way to turn that around?” Those concepts drive the plot forward. By weaving between three points of view

— Liza, Molly and Daniel, Molly’s husband — Strawser creates a quilted character study. From a bird’s eye view, the reader must knit together the disparate threads of friendship gone awry. Her first two novels (Not That I could Tell and Almost Missed You) tread similar themes, and all interweave narratives; she dubs the overarching genre as “domestic suspense.” “All three of my novels so far have been about family and marriage, but also friendship,” Strawser says. “What was different in this novel was depicting a friendship that had really just been growing apart.” Perhaps it’s this element that makes the characters most relatable. They’re smacked with full-blown adulthood. Kids. Jobs. Marriages. Looming uncertainty about one’s life trajectory. “It can be a bittersweet thing,” she says of the evolving nature of adult relationships. “I think these friends have grown apart to the point where they’re either just going to let it go or somebody’s going to make a real effort to reverse what has happened between them.” Strawser, the editor-at-large for Writer’s Digest magazine, recently was named the Public Library of Cincinnati and Hamilton

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Jessica Strawser PHOTO: CORRIE SCHAFFELD

increasingly tangled plot. In part, that immersion is purposeful. Strawser drops you immediately in the opening scene and leaves you scrambling for breath in the fallout. But that pace isn’t kept. Everything slows. The real story is not the mystery of the masked man, but rather everything that orbits around that moment. Forget You Know Me leaves you piecing together fractured bits when this trio of friends’ façade finally cracks. It begs the question: What can be salvaged, if anything, when the screen goes black?

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County’s writer-in-residence, which she says is “an amazing resource for local aspiring writers as well as avid readers” that will allow her to offer workshops, monthly office hours and take over as host of the podcast Inside the Writer’s Head. It’s work she’s excited to do in her own backyard. And despite being a transplant to the Queen City — she’s originally from Pittsburgh — Strawser’s fondness for the city is evident in her novels. Locals will recognize a few spots in Forget You Know Me. Among them are Lunken Airport and its onsite restaurant, Sky Galley, and the Cincinnati Nature Center, where she actually wrote sections of the novel. “It’s one of my favorite places to write, so it’s cool to be sitting in the location when you’re trying to picture the characters and conjure what they go through,” she says. “I think it’s a really meaningful place to a lot of people. So I hope that I was able to make it meaningful to my character, Molly.” Strawser was able to beautifully render Cincy in prose; the characters roil within, each interacting — and at times, struggling — with their surroundings in different ways. But it could also be any Midwestern city. And the trio could be any group of old friends. It’s easy to immerse yourself in the

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Soderbergh’s ‘High Flying’ Retirement BY T T S T ER N - EN ZI

MARK YOUR CALENDAR FOR THESE ‘DON’T MISS’ EVENTS

MARCH 27 BEST OF CINCINNATI 2019

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to make smartphone footage look like the perfect tool for storytelling. And by partnering with streaming giant Netflix, Soderbergh is operating outside the traditional film distribution system to his own benefit. The film follows a sports agent, Ray (André Holland), who is looking to subvert the system during an NBA lockout that puts players and owners at an impasse. The film takes on an autobiographical element for Soderbergh, asking: Should players exert more control over themselves as commodities versus working at the behest of owners? Substitute directors or actors for the athletes and studios for team owners and you can see where this is going, right? The script, from Academy Award winner Tarell Alvin McCraney (Moonlight), speaks to how ownership has layered a financial game on top of the games players engage in on the court, which is all about the capitalistic bottom line. We’ve seen this kind of brinkmanship in other areas. In 1993, Prince offered himself up as an example by sculpting the word “slave” into his beard and demanding the right to control the master copies of his music library. He faced scorn from record labels and harsh criticism from the media, but other artists paid attention and soon starting negotiating all kinds of deals for themselves. Prince even went into his own form of “retirement,” reducing his commercial output in the traditional system, but finding new ways to get music out to his fans. Is this what Soderbergh has been practicing? His own version of the Prince retreat? If so, he’s showing us how retirement might actually be a creative second coming. Hallelujah!

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In January of 1989, Sex, Lies, and Videotape debuted at the Sundance Film Festival. It was the first narrative feature from Steven Soderbergh and is a seminal moment in both the history of Sundance and modern film lore. But at the time, Soderbergh just seemed like a guy with his head down watching for the next story to tell. At first, he stuck to the indie world with Kafka and King of the Hill, but eventually he veered to a larger audience. For instance, his 1995 adaptation of a Don Tracy novel, The Underneath, attempted to bridge classic noir with contemporary sensibilities without pandering to the slam-bam talky violence of Quentin Tarantino’s trendy spin. Soderbergh found a mainstream groove with Out of Sight, another adaptation (this time of Elmore Leonard), by partnering with A-list talent. George Clooney became the accessible face of Soderbergh’s transition. The dynamic duo would work together on a string of unlikely projects: a remake of the Rat Pack throwaway Ocean’s Eleven (and its two sequels), a remarkably concise distillation of Andrei Tarkovsky’s sci-fi mind-bender Solaris and the World War II thriller The Good German. In some ways, this was Soderbergh creating a template. The payoff came during a stretch run with the one-two punch of Traffic and Erin Brockovich, a pair of films with high-caliber talent (Michael Douglas and eventual Best Supporting Actor winner Benicio Del Toro in the former film and Best Actress winner Julia Roberts in the latter). Soderbergh earned Best Director nominations for both films; he ended up winning for Erin Brockovich. Through assuming the pseudonyms Peter Andrews and Sam Lowry, he teased film critics and fans alike. As if his talents were a secret, the move allowed him to take on multiple roles in his films, including cinematography and writing, respectively. Soderbergh exhibited a restless streak; as he bounced between tasks on films, it never felt like grand conceit. Rather, it was more of a personal challenge to keep himself engaged in the craft. Which is why it wasn’t terribly surprising when he announced his retirement from filmmaking in 2013. And then, a year later, got back behind camera on the premium cable series The Knick, which would be followed by work on Mosaic, another series. The same year, he helmed the down-home caper Logan Lucky. The man is a game changer, a revolutionary. Soderbergh’s latest, High Flying Bird, finds him once again utilizing an iPhone as the primary camera lens. (His first to use the tactic was 2018’s Unsane, which he shot in two weeks.) Using an iPhone 8 equipped with a wide-angle lens made by Moondog Labs, he’s figured out how

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FOOD & DRINK More to Eat in MainStrasse Southern-style pub grub hub Main Street Tavern joins the lineup of local restaurants in Covington BY M C K E N ZI E G R A H A M

A spread of some of the dishes available at Main Street Tavern. PHOTO: HAILEY BOLLINGER

Main Street Tavern

local beef and topped with pimento cheese, crispy fried onions, barbecue sauce, lettuce and tomato. The surprise star of this meal was the buttery, golden bun with a Wonder Bread-soft interior, and the french fries doused with everyone’s favorite: Grippo’s barbecue spice. The burger was cooked all the way through — a must if it’s my grandma behind the menu, but a bummer if you ordered it medium like we did. Choice in the doneness of beef is mostly a ruse in restaurants anyway, but it makes a difference when the meat is high quality, as it is at the Tavern. Still, there wasn’t a crumb left and won’t be the next time. Dessert was a tough choice and without a dedicated spot on the menu, it’s clear the restaurant takes the time to switch up its seasonal offerings. Available that night was a cheesecake made with a biscuit crust and cranberry compote; a cranberry curd tart; a “fluffer nutter” brownie with a peanut butter layer and marshmallow top; and bread pudding. We opted for the cheesecake ($5), which made me go home and excitedly Google “biscuit crusts.” My Pinterest dessert board will never be the same.

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housemade baloney glazed with either sweet or spicy sauce and a hefty scoop of chow-chow (a sort of pickled vegetable relish). The biscuit was beautifully browned with those strangely enticing bubbles on top. It was soft, but not too pillowy, and held its own against the thick ring of fried baloney, which was pleasant and mild, but succulent enough for multiple napkins. The chow-chow was a bit of a mystery. Its sweet-tart crunch played nicely alongside the meat. The spicy sauce was only spicy by north-of-the-river standards, but had good flavor, while the sweet sauce was a barbecue sauce. One order of sliders could easily be split in two for an appetizer, and as a serving for one, it was a small meal. Our first entrée was a house special called The Rev’s Fried Chicken ($14). With a name as Southern as that we had high expectations for the bird and weren’t disappointed. The crispy skin was crunchy until the last bite, and the meat was literally falling off the bone, which was both strange and enticing in a fried meal. The juicy meat was offset by a rich peppered milk gravy that came draped on top of the leg, thigh and boneless breast. The black pepper was intense, and while the flavor was good, it would have been better served on the side. The chicken came with mashed potatoes and slaw. The second entrée we ordered was the Cowboy Bill Watts Burger ($12), made with

mustard and mayonnaise. After tasting the food, I can well believe it. The restaurant has an excellent dinner menu, but in a smart move, it also serves brunch from 10 a.m.-3 p.m. on Saturdays and Sundays with various delicious looking arrangements of waffles, biscuits, gravy, meats, French toast and sandwiches. A few other weekly specialty events include Service Industry Mondays, Fancy Grilled Cheese Tuesdays (here for it; this night also includes $3 cherry and grape bombs), Waffle Wednesdays and $3 Craft Can Thursdays. Cans play a fairly big role at the Tavern since they only offer a few beers on tap, but this doesn’t feel like a problem with their excellent selection of canned high-quality local and craft brews, plus a healthy wine list. When I asked our server about mixed drinks, he shrugged and asked what I was looking for. I got a beer. The website offers a list of six cocktails, but these didn’t seem to be an option in the restaurant. All’s well that ends with a beer, and the Urban Artifact sour IPA I got was delicious. We started off with the biscuit and baloney sliders ($7). These come with

701 Main St., Covington, 859-815-8236, mainsttaverncov.com

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lthough MainStrasse isn’t in Ohio, it’s certainly a destination for food-loving Cincinnatians — and for good reason. Foodies from both sides of the river can find their favorites on this small stretch of road, with not a chain in sight. It’s the ideal area to hop from place to place and have a small bite (or big one) at each eatery and make a night of it. At first glance, Main Street Tavern is easy to overlook among the other trendy spots on the road with updated exteriors. The Tavern is in the building that once held Mulligan’s Pub and still rocks some of the gritty bar vibes, with chipped paint and a few beer signs. In fact, the building housed the original Main Street Tavern before it was Mulligan’s, which was around for 73 years, arguably making this Main Street Tavern an automatic mainstay on the strip. The comfy bar aesthetic continues on the inside. I almost expected the Cheers theme song to start playing when we walked in, as the first thing you see are bar stools lined up against an old wooden bar with wood paneling behind it and a chalkboard menu listing beer and wine options. The tables are set with classic red tablecloths, and the modern version of a jukebox, TouchTunes, is set up along one wall. This is a cozy place to settle in for a casual, slow-moving evening. Our friendly server was the bartender too, and he juggled both zones of the restaurant with apparent ease. The Tavern has multiple rooms for dining but only had the front one in service on the Friday night we were there. It was both spacious and intimate, without too many other diners or people sitting at the bar. In a twist that epitomizes the passion that has gone into making this restaurant a reality, co-owner Bill Lynch (with Trent Riley) is also the chef and menu creator. Our server didn’t hesitate to tell us how much Lynch loves food, and happily declared that the only store-bought items Lynch allows on the premises are ketchup,

THE DISH

Some Top Stops for Dumplings BY S E A N M . PE T ER S

Hungry for dumplings? I’m referring to the predominantly Asian-inspired variety, not the starch-based Western kind, like those found in chicken and dumpling stew. No, these Eastern-style sort-ofmeatballs are gift wrapped in a thin dough, which are then pan seared, deep fried or steamed with a simplicity that makes them delicious and versatile. Here are several local takeout options at which to find excellent dumplings.

Bridges Nepali Cuisine

Bridges Nepali Cuisine in Northside has been advertising a new menu item called momos. These Nepalese dumplings are filled with chicken or a vegan option, which you can then have steamed or fried. A single order comes with 10 momos for $10. I opted for fried chicken momos, which are golden brown and look like big, deep-fried pearl onions. The crispy exterior gives way to a pillowy mixture of buttery ground chicken, onion, peppers, ginger, garlic and a classic Nepali spice blend of cumin, white pepper, cinnamon, nutmeg and cardamom. Nepali food, to oversimplify, is an amalgamation of Chinese and Indian recipes; that’s not surprising given Nepal’s geographic location between the two large nations. Momos are extravagantly flavorful, smoky and savory and the included dipping sauce is tomato based with a bright and spicy profile to help accentuate the already flavor-packed dumplings. The order is quite large, so don’t treat momos like a side dish unless you’re sharing or are prepared for leftovers. If you visit Bridges specifically to try their momos, get a side of aloo wala, a spicy chilled potato dish marinated with cumin, olive oil, turmeric and fenugreek seeds. The heat level on any dish can be controlled according to your preference. 4165 Hamilton Ave., Northside, bridgesnorthside.com.

Shanghai Mama’s

Shanghai Mama’s has been a fixture in the Central Business District for nearly two

decades, serving up classic Chinese fare in a 1920s-inspired brown brick dining room. Their menu includes all the takeout essentials for a Chinese restaurant in the Midwest, including a versatile offering of dumplings. First on the table was pan-seared vegetable gyoza. The filling consists of mixed vegetables including water chestnut, carrot, greens, corn and glass noodle. Served with a ginger-soy dipping sauce, they’re extremely satisfying on the palate, with a nice crunch from the filling. Next came potstickers. The steamed flour wrap was generously filled with ground pork and cabbage. It was a meaty bite and very juicy alongside its sweet and salty dipping sauce. Flavorful and basic. The third dumpling I tried was the Shanghai traditional, which is another steamed option that contains minced pork and cabbage, but also an explosive amount of broth inside the dumpling that necessitates you slurp the contents as soon as you’ve bitten through so as not to lose all the flavorful liquid — like xiaolongbao, or soup dumplings. If you try only one dumpling when you visit, go for the traditional. 216 E. Sixth St., Downtown, shanghaimamas.com.

Ninja Grill Japanese & Hibachi Express

The branding for Ninja Grill Japanese & Hibachi Express did not inspire much interest in me when they opened for business near the University of Cincinnati. Perhaps I was initially dissuaded by the gimmicky charm of a Japanese restaurant that felt the need to incorporate ninjas to catch the attention of its American clientele, like I was being culturally pandered to on a scale I wasn’t comfortable with as an adult. Fortunately, I shed the chip on my shoulder and was pleasantly surprised by the restaurant’s excellent dumplings — just called “dumpling” on the menu. Filled with ground chicken, Ninja Grill’s dumplings are very tender, savory and addictive.

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The dumplings are good two-biters, so you can really soak the filling with the soy-based dipping sauce on the second half. Get a side of miso soup and Bridges chicken momos zucchini tempura PHOTO: SEAN M. PETERS with your dumplings and you’ve got an extremely satisfying lunch for less than $11. 229 W. McMillan St., Clifton, ninjagrillusa.com.

Other dumpling destinations:

• Uncle Yip’s serves authentic southern Chinese cuisine with full dim sum service during weekend brunch. Dim sum consists of small portions of food delivered in steamer baskets, and dumpling dishes like shrimp dumplings, barbecue pork buns and chicken sui mai are popular (and only $3.95 each). 10736 Reading Road, Evendale, uncleyips.com. • Fortune Noodle House is known for their handmade and hand-pulled noodles, but they also offer assorted appetizers including pork and Chinese cabbage potstickers and dumplings. 349 Calhoun St., Clifton, fortunenoodles.com. • The Loving Hut vegan café makes their own popular grilled dumplings, stuffed with tofu and green onions and served with a special house sauce. 6227 Montgomery Road, Pleasant Ridge, lovinghut.us/cincinnati. • Riverside Korean Restaurant does Korean-style dumplings, offering an

Ninja Grill dumplings PHOTO: SEAN M. PETERS

order of goon man du for an appetizer. Seven pieces are pan fried and filled with vegetables and tofu. 512 Madison Ave., Covington, riversidekoreanrestaurant.com. • AmerAsia has a sort of cult following for their Dragon’s Breath wontons — ground pork meatballs wrapped in a wonton, boiled/simmered (not fried) and topped with hot red chili paste and fresh cilantro. 521 Madison Ave., Covington, facebook.com/kungfoodchu.

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CLASSES & EVENTS WEDNESDAY 13

GALentine’s Day at the Cincinnati Zoo — Bring your bestie and enjoy appetizers, entrées and dessert, plus a cash bar and animal encounters. 6-9 p.m. $60. Cincinnati Zoo & Botanical Garden, 3400 Vine St., Avondale, cincinnatizoo.org. Galentine’s Latte Art Throwdown — Drinks, coffee art and a little competition is how Landlocked Social House is celebrating Galentine’s Day. A 24-person bracket-style tournament will judge the best female coffee artist. These talented baristas will be judged on definition, symmetry and difficulty. Wine, beer, cider and water will all be on tap. 6-10 p.m. Free admission. Landlocked Social House, 648 E. McMillan Street, Walnut Hills, landlockedsocialhouse.com. Babushka Pierogies Pop-Up at West Side Brewing — Babushka Pierogies is heading to the taproom for a pop-up featuring potato-cheddar pierogies, stuffed cabbage rolls and kielbasa bowls. 5-8:30 p.m. West Side Brewing, 3044 Harrison Ave., Westwood, westsidebrewing.com.

THURSDAY 14

Sliders and Pints at Streetside — On V-Day, Streetside and Street Chef Brigade will team up for a special dinner featuring four sliders and two pints of beers. 6-8:30 p.m. $28. Streetside Brewery, 4003 Eastern Ave., East End, facebook.com/ streetsidebrewery. LouVino’s Four-Course Valentine’s Day Dinner — LouVino has got your Valentine’s meal covered, serving a romantic fourcourse dinner. Revel in warm brie, salad, filet or scampi and red velvet chocolate terrine for dessert. 5-9 p.m. $50-$75. LouVino, 1142 Main St., Over-the-Rhine, louvino.com/otr.

FRIDAY 15

Brink Second Anniversary Bash — Brink celebrates its second birthday with a three-day party. Things kick off Friday with a special bottle release, food from Stellar Street Eats and Money Chicken and live music. On Saturday there will be more food and live music. And on Sunday, it’s College Hill Day and Family Funday with a College Hill photo at 3 p.m. and birthday cake from College Hill Cakery (opening

EST. 1933

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SATURDAY 16

MadTree Winter Bonanza 2019 — Head to MadTree for a backyard party with beers, bands and food. MadTree will be pouring specialty beers. It will also be your first chance to drink PsycHOPathy, Lift and Shade in newly redesigned cans. There will be live music, food and guest taps. All drinks are $6 each with various pour sizes depending on the style: beer, cider or cocktail. Noon-1 a.m. Free admission. MadTree, 3301 Madison Road, Oakley, facebook. com/madtree. Valentine’s Dinner at Taft’s — Celebrate the art of love during a delicious meal at the Taft. Admire art and enjoy a four-course meal with four specially chosen wine pairings. Price includes four courses and selected wine. Additional alcoholic beverages will be available for purchase. 5 and 7:30 p.m. $94-$107. Taft Museum of Art, 316 Pike St., Downtown, taftmuseum.org.

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MONDAY 18

Kung Food AmerAsia Buns, Bao and Beer — AmerAsia heads to Landlocked for a pop-up dinner featuring pork bao and steamed veggie buns. They will also be serving a rare Kiuchi Brewery beer, with other Japanese brews available. 6-9 p.m. Landlocked Social House, 648 E. McMillan St., Walnut Hills, facebook.com/ landlockedsocialhouse.

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TUESDAY 19

Taft’s and The Rhined Beer and Cheese Pairing — Head to Taft’s for a paired beer and cheese tasting. Tickets include five brews and five cheeses. 6 p.m. $35. Taft’s Ale House, 1429 Race St., Over-the-Rhine, facebook.com/taftsbeerco.

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Valentine’s Day at Memorial Hall — Memorial Hall is

Valentine’s Day at Hotel Covington — The Valentine’s Day prix fixe menu at Hotel Covington features a three-course menu created by chef Mitch Arens with options like oyster soup, seared salmon, coffeecrusted Denver steak and saffron risotto. 5-9 p.m. $55. Hotel Covington, 638 Madison Ave., Covington, hotelcovington.com.

soon). Kiki will also be doing a pop-up on Sunday. 3 p.m.close Friday; noon-close Saturday and Sunday. Free admission. Brink Brewing Co., 5905 Hamilton Ave., College Hill, facebook.com/ brinkbrewing.

Valentine’s at Longfellow — Head to Longfellow for $5 Pink Squirrel cocktails and $7 pasta bowls with butter, parmigiano and nutmeg, plus “sad bastard” music. 4-11 p.m. Longfellow, 1233 Clay St., Over-theRhine, facebook.com/ longfellowcinti.

hosting a Romeo and Julietthemed four-course dinner to celebrate the day of love. The night will be filled with wine (non-poisonous), cocktails, music, Shakespearean actors and delectable food. Elias Leisring of Eli’s Barbeque will work his skills on the wood-fired grill along with chef Christian Gill of Boomtown Biscuits & Whiskey. 6 and 8:30 p.m. $65. Memorial Hall, 1225 Elm St., Over-the-Rhine, memorialhallotr.com.

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Valentine’s Day Dinner Party at Schwartz’s Point — All we really need is love and music. Experience both at Schwartz’s Point, where you’ll be taken away by the voice of Emily Grace Jordan, along with some of the best Jazz musicians in the city and a delectable dinner buffet. 6:30-10:30 p.m. $29-$34. Schwartz’s Point, 1901 Vine St., Over-the-Rhine, facebook.com/schwartzspoint.

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Unbottled and Flowing Kurt Vile talks Country influences, baseball references and the epic ambition behind his latest album, Bottle It In BY G R EG O RY G AS TO N

Kurt Vile P H O T O : M ATA D O R R E C O R D S

A different kind of inspiration was behind the lyrics of “Cold Was the Wind,” a wry, woozy blues in which Vile riffs on one of America’s favorite pastimes. Vile offers baseball poetry on the song, singing, “Christmas in Siberia with a little bitty case of the delirium tremens/For some reason, picture Roger Clemens/But Mike Schmidt’s more of the city I came with/ Crossed my heart and hope to die.” Assuming he’s a baseball junkie — and with the reference to Schmidt, a Philadelphia Phillies great— I jokingly mention a certain Cincinnati baseball hero who was also once a Phillie. But Vile sets me straight, clarifying that he isn’t actually a huge fan of the sport. Turns out, the name-checks are more a sign of his sense of humor. “No, that’s kind of a joke,” he says of the song references. “I mean, I would collect baseball cards in the late ’80s, and my next door neighbor who was my best friend, he was the big baseball fan. I just liked to pretend that I was. I interject jokes when people are talking about sports — I’ll mention literally random retired baseball players. Roger Clemens and Mike Schmidt are (just) from Boston and Philly, and I’ve lived in both cities.” “But,” he confesses, “I definitely have some Pete Rose cards.” Kurt Vile performs Wednesday, Feb. 20 at the Taft Theatre. Tickets/more info: tafttheatre.org.

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of “Rollin’ with the Flow.” Vile takes the Countrypolitan style — the swelling strings and overly bright backup voices — out of Charlie Rich’s 1977 version and improves on it with a stark yearning vocal, almost making it a statement on his own career with its rolling-with-the-punches vibe. Elsewhere, on songs like “Come Again,” Vile uses the banjo to punctuate bluesy lines with a droning slur. “The banjo would definitely be described as my roots,” Vile says. “I love American Roots music, for sure. I grew up on Bluegrass and old Country with my dad, and then later Delta Blues — he turned me onto some of that and I took it even further on my own. “But the last few years, I got more into American Country music. I grew up on the basics, like Johnny Cash and Hank Williams, through my dad, but somewhere along the way, I read that George Jones biography and it was all over then. I read like every Country book… once you start reading about the Country people, all the Rock books that you read make it seem like they’re a bunch of posers.” Besides Lattimore’s harp additions, other signs of the inspiration Vile derives from collaboration can be heard in contributions from artists like Sonic Youth’s Kim Gordon, Warpaint’s Stella Mozgawa, singer/songwriter Cass McCombs and ace pedal-steel session player Farmer Dave Scher.

is back to swinging marathon grooves after stripping down his sound for a few albums. He loves to collaborate; for instance, Mary Lattimore plays harp on the standout title track, a melancholy, slow throb twilight-lit by keyboards and dusky vocals. Another distinctive long-player, the playful “Bassackwards,” unspools like a stoned, stream-of-conscious amble down the beach as memories flicker and guitars squall like seagulls in the sun. Vile says he didn’t choose his latest album’s title as any sort of thematic motto, but more to bring attention to one of the songs he loved the most. “I didn’t want ‘Bottle It In’ to get overlooked,” Vile says of the album’s longest track. “That’s definitely the most epic (song), though it’s sort of an understated epic. It captures the whole era of making that record for me. So that’s a big reason (for the album title) — I didn’t want the song to go unnoticed (and not to) try to make an overall argument about keeping your feelings in.” “Otherwise, it would be like, ‘Oh, there’s a 10-minute, minimal orchestral song that went by, that’s a weird one,’ ” he adds. “It’s an important song for me.” To escape the anxieties of plane travel while touring, Vile would listen to Country music and bliss out in twang-fueled dreams. His love for the genre started at an early age, and it spills over on Bottle It In with a shambling, irresistible cover

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avigating around his hometown Philly streets with uncanny sonar, Kurt Vile dodges parking tickets as he makes renegade stops for quick-trip shopping adventures. It’s a snapshot of a day in the life of the exuberant family man/ rocker as he ricochets around town doing errands in the music video for “Loading Zones,” the rambunctious opener of Vile’s eclectic and freewheeling latest album, Bottle It In. Now 39 years old with two young daughters and seven solo albums under his belt, Vile says the basis of the video was definitely autobiographical. “It’s something I do,” he says. “I definitely came up with the concept — driving around in a goofy mood and getting things done.” Headlong motion — a hit-and-run approach — has become a guiding ethos for Vile, especially over his last three records, including a 2017 duo release with Courtney Barnett, Lotta Sea Lice. Vile conceives his music often while on tour and records it in various studios on the road; he made Bottle It In with producers Shawn Everett and Rob Schnapf in Los Angeles and Peter Katis in Bridgeport, Connecticut. From his early roots in Philadelphia and playing with his buddy Adam Granduciel’s band War on Drugs to his breakthrough album on Matador Records, 2011’s Smoke Ring for My Halo, Vile’s singular blend of psychedelic-tinged Folk Rock and quirky poetry offers a heady brew of sweet dissonance, wit and cosmic musing. Vile’s jeans-and-flannel roadie look and laid-back persona belie his restless ambition. “Subliminally, I knew I was going to go for it, no matter what,” Vile says of his intent going into recording Bottle It In. “I would say the last record, b’lieve i’m goin down, was kind of similar because I didn’t have a set producer for that one either. We just started from scratch with the band. I definitely wanted to make some kind of statement, but I kind of always do. I always picture my records epic in their own way.” With three tracks hovering around the 10-minute mark on Bottle It In, Vile

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“It was meant as a sincere tribute” is the latest excuse being thrown around to explain why wearing blackface isn’t racist. After Virginia governor Ralph Northam admitted he once wore blackface while mimicking Michael Jackson in an effort to win a dance contest, Virginia’s attorney general, Mark Herring, fessed up and said he too wore blackface in 1980 when he went to a party dressed as one of his favorite rappers, Kurtis Blow. The now-59-year-old Hip Hop pioneer was not flattered, telling TMZ he found Herring’s actions “totally offensive and disrespectful, degrading. It’s ugly.” Blow told The Washington Times the whole incident was “opening up some deep, historical scars.”

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Jack White has notched another career milestone, and it’s definitely one of the more unique bullet-points on his résumé. White is now credited as a composer on “Toy,” an offbeat Pop song that won the worldwide Eurovision music competition for Israel last year after it was performed by Netta Barzilai. After “Toy” won, Universal Music Group hinted that it might sue on White’s behalf because of some similarities to The White Stripes’ hit “Seven Nation Army.” Nearly 10 months after the competition finale, The New York Times recently reported that a settlement was reached and White now has a credit on the song.

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This year’s Grammys had a few potentially redemptive moments, like Brandi Carlile’s soul-engulfing performance of “The Joke,” but it will likely be remembered as the year of the no-show. Donald Glover (aka Childish Gambino) didn’t make it to collect his Record and Song of the Year Grammys for “This Is America” (the first Hip Hop song to earn those honors) for reasons that were still unknown as of press time. Glover reportedly declined an offer to perform at the ceremony, as did Drake, who did at least show up to accept Best Rap Song honors for his track “God’s Plan.” But leave it to the Grammys to awkwardly cut away to a McDonald’s commercial during Drake’s acceptance speech, as he was telling all of the artists watching not to put much credence into winning awards. When Drake paused during the speech, producers reportedly thought he’d finished.

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This weekend, dynamic Cincinnati Rock crew Lemon Sky is releasing a new EP, Mirco Dos. The band is celebrating its first new music in three years with a free show Saturday, Feb. 16 at MOTR Pub (1345 Main St., Over-the-Rhine, motrpub.com). Cleveland, Ohio rockers The Sublets will open the night at 10 p.m. Featuring singer/ guitarist Aaron Madrigal, drummer Eric Keyes, bassist Steve Korfhagen and guitarists Ed Bruker and Eric Cronstein, Lemon Sky accurately describes its sound as “Psych Rock/ Prog Pop.” The quintet’s previous release, the full-length Dos, came out three years ago this Thursday and was the follow-up to Lemon Sky’s Lemon Sky’s Micro Dos EP self-titled 2011 debut. Dos and Lemon Sky are both PHOTO: PROVIDED available at lemonsky. the Southgate House Revival (111 E. Sixth bandcamp.com as “paySt., Newport, southgatehouse.com) will be what-you-want” downloads; they are also the final one in its current format, which available to order on vinyl through the has been running for nearly four years Bandcamp site. on a monthly-ish basis at the Northern According to a press release, Micro Kentucky venue. Dos includes songs recorded during the PRNC is, fittingly, going out with a bang, Dos sessions that didn’t make the album with several special performances. Along because they didn’t quite fit with the eight with being a birthday celebration for show tracks chosen for the 2016 full-length. As organizer and longtime Cincinnati Punk the band members told CityBeat in late musician Johnny Outlaw, Friday’s Punk 2015 when making Dos, they were very Rock night finale will serve as the release conscious of making a fluid and cohesive party for Rise from the Ashes, a new fourartistic statement with the album. song EP from The Pistol Mystics, reigning “That’s the thing about not going for a winners of the Cincinnati Entertainment particular sound,” Madrigal said. “If you Award in the Punk category. listen to (Dos tracks) ‘Guillotine’ or ‘Kept Some of the greats of the genre will be in Beyond,’ and then ‘Navel of the Moon,’ paid hearty tribute at the final monthly (they sound nothing alike), but placed PRNC. The trio Warts & Jorts features local where it is on the record, it totally makes music aces Scotty Wood, Aaron Thomas sense. We know what the sounds are, and and Jamie Combs playing the music of we plot out the course of the record. That’s Motörhead, while The Barrio Boys is a why the cohesion itself isn’t an issue, as gang of area Punk veterans (headed up long as we have it properly mapped out.” by Outlaw) playing “a carefully curated The Micro Dos tracklisting includes jukebox of your classic (Punk Rock) four songs — “Cabin Fever,” “Near Here,” favorites from the early heyday of the “Moses Acid” and “I Am One.” genre.” The Boys debuted last year at the Mirco Dos will be available beginning Punk Rock Night in October. Saturday on streaming sites like Spotify or Hammered With Jesus opens Friday’s as a digital download through platforms show in the Southgate House Revival’s like Amazon. For more info, visit Revival Room at 9 p.m. As has been lemonskymusic.com. the case with all PRNC events, Friday’s farewell is another low-dough show — Punk Rock Night Finale admission is just $6. Punk Rock Night Cincinnati, an offshoot For more info, visit facebook.com/ of a popular live-music showcase in prncincy. Indianapolis, is presenting its final show Contact Mike Breen: this weekend. According to a Facebook mbreen@citybeat.com event posting, Friday’s Punk Rock Night at

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Born and raised in Alabama and now an entrenched Nashville resident, Anderson East had the prototypical Southern Baptist upbringing critical to the success of Soul/ Roots Rock singer/songwriters, with a minister grandfather and musical parents — dad in the church choir and mom behind the piano. Oddly enough (or perhaps not odd at all), it was East’s more secular influences that drove him to teach himself to play the piano in high school, spurred on by his love of Ben Folds. By that point, East had already written and performed his first song for his seventh-grade talent show. After graduating college and moving to Nashville to pursue his career, East scored an early gig playing guitar and singing harmonies behind Holly Williams, but his solo career began in 2009 with the selfrelease of his first album, Closing Credits for a Fire, which was credited under his given name, Mike Anderson. His first full-length as Anderson East, 2012’s crowdfunded Flowers of the Broken Hearted, showcased his musical duality; the two-CD set was divided into a white and a red disc, the former displaying his Americana/Soul talents and the latter exuding a darker vibe and Rock-based atmosphere. East’s big break came when he was spotted by red-hot producer Dave Cobb at a writers round at Nashville’s legendary Bluebird Café. Cobb was mesmerized by East’s songs, stories and presence and immediately made him the first signing to his newly established Elektra Records imprint, Low Country Sound. Their resulting studio collaboration, 2015’s

Watsky PHOTO: MIKE SQUIRES

Delilah, was a critical sensation and exponentially increased East’s industry profile. Within months of its release, East was dating Miranda Lambert and wound up co-writing two songs for her 2016 album, The Weight of These Wings. Last year’s Encore was East’s breakthrough album; he co-wrote with Cobb, Chris Stapleton, the late Avicii, Ed Sheeran, Snow Patrol’s Johnny McDaid and Willie Nelson, among others. The album cracked the Top 50 of the Billboard 200 chart and hit the Top 5 of both the Folk and Rock album charts. East’s co-write with Sheeran, McDaid and longtime writing partner Aaron Raitiere, “All On My Mind,” was nominated for a Grammy for Best American Roots Performance. It’s a safe bet that when East turned 30 last July, he didn’t freak out about his odometer turning over. Anderson East was born older than 30 — it’s in his exquisitely soulful vocal rasp and the vintage approach he takes to his songs of joy and heartbreak, triumph and despair, all delivered from the same deep well of emotion and perspective. (Brian Baker)

myself?’ ” Watsky said in an interview with Alternative Press. “I think for years I’ve been afraid to go negative because I believe kindness is such an important quality to carry through the world. But I went to therapy this past year, and one of the themes…was that every human has a light and a dark side, and that doesn’t make you a bad person.” (Mike Breen) Church Girls PHOTO: JOSEPH WRIGHT

Watsky

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Philadelphia’s Church Girls is led by singer/guitarist Mariel Beaumont, who delivers heart-swelling melodies as she and the rest of the group — which currently features drummer Michael Liszka, guitarist Joseph Wright and bassist Vince Vullo — lay down evocative, perfectly-matched Guitar Rock that is enchantingly dynamic and emotive. Since Beaumont formed the group about half a decade ago, Church Girls has released a handful of EPs and one fulllength album (2017’s Hidalgo), all loaded with compelling songs that are “catchy” but not necessarily in a pandering “Pop song” way, instead drawing the ear with unique structuring and arrangements. Listening to Church Girls’ full discography chronologically, you can hear Beaumont’s confidence grow as a writer and performer (she is the sole constant in a lineup that has rotated fairly consistently). That artistic progression continues with Cycles, Church Girls’ new EP, which stands as the band’s finest piece of work yet. Still rooted in Beaumont’s majestic songwriting, the EP finds the group’s sound developing into something more muscular and focused, leading to more pointed descriptions of Church Girls’ sound as “Post Punk,” rather than “soft Indie Rock” or “Folk Rock” (as some critics tagged them in earlier reviews). Cycles is also powerful lyrically and conceptually, with the songs themed around relationships made complex by substance abuse — or, as Beaumont explained to mxdwn.com last month, the idea of “the continuity of conflict and forgiveness with someone who has an addiction.” And though still not traditionally “Pop”minded, Beaumont offers some incredibly impactful hooks throughout the EP’s five tracks (“Distant Peaks” is a non-stop earworm), making Cycles all the more effective. Though only about 15 minutes long, Cycles makes for a deep and fully engaging listening experience. (MB)

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George Watsky’s career offers an archetypal story for finding success as a poet in the 21st century. A San Francisco native, Watsky (who works under his surname solely) got his start doing slam poetry in his early teens, performing and competing locally before he started notching broader recognition. After an attention-grabbing appearance on HBO’s Def Poetry Jam in 2007, Watsky’s one-man show in Boston led to a feature profile in The Boston Globe that dubbed him a “poetry-slam star.” Then came the launch of his Hip Hop career. Watsky showed off his impressive MC skills on his eponymous 2009 album, seamlessly translating his smart and clever writing about social issues and modern life into the Indie Hip Hop realm. Watsky’s next 21st-century cultural touchstone was a 2011 video of him rapping titled “Pale kid raps fast” that went viral, racking up four million views in just two days. Watsky began touring all over the world with his 2013 album, Cardboard Castles, and his next two albums — 2014’s All You Can Do and 2016’s x Infinity — featured collaborations with everyone from Anderson .Paak to Rock legend Stephen Stills. Hamilton creator LinManuel Miranda is also a friend and fan of Watsky’s. The MC/poet contributed to The Hamilton Mixtape album and Miranda’s praiseful quote about Watsky’s 2016 collection of essays, How to Ruin Everything, was plastered on the book’s cover, giving it a boost on its way to becoming a New York Times bestseller. In early January, Watsky released his fifth album, Complaint, which is highly melodic and features the rapper showcasing his affable singing voice more than ever. Complaint is also his most inward-looking album to date, showing an endearing vulnerability in its honest personal observations. “This one is more saying, ‘Why am I afraid to write about certain aspects of

Church Girls with Fycus and Feral Friends

LISTINGS

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

WEDNESDAY 13

BLUE NOTE HARRISON - Hinder with Soil. 7 p.m. Rock. $20. CAFFÈ VIVACE – Blue Wisp Big Band. 8 p.m. Jazz. Cover. THE GREENWICH - Josh Kline Quartet. 8:30 p.m. Jazz. $5. MOTR PUB - Vireo with Quiet Lives. 10 p.m. Indie Rock. Free. SOUTHGATE HOUSE REVIVAL (LOUNGE) - Ryan Malott with Wonky Tonk. 9 p.m. Singer/Songwriter. Free.

SOUTHGATE HOUSE REVIVAL (SANCTUARY) - Albert Lee with The Cryers. 7:30 p.m. Rock/ Roots/Various. $27.50/$30 day of show.

URBAN ARTIFACT Marjorie Lee and the Lovers with Harlot & The Hounds and Blossom Hall. 9 a.m. Indie/Pop/Folk/Rock/ Various. Free.

THURSDAY 14

ARNOLD’S BAR AND GRILL - Philip Paul Trio. 7 p.m. Jazz. Free.

BOGART’S - Drake Party - Real Fake Love. 9 p.m. Dance/DJ. $10. THE GREENWICH - Angie Coyle Quartet. 8:30 p.m. Jazz. $5. HILTON NETHERLAND PALM COURT - Wayne Yeager Trio with Pam Mallory. 6 p.m. Jazz. Free.

C I T Y B E AT. C O M

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MOTR PUB - Weeknight with Molly Sullivan. 10 p.m. Free.

THE PHOENIX - Chris Comer Trio. 5:30 p.m. Jazz. Free.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - The Harmed Brothers with Maria Carrelli. 9 p.m. Roots. $10, $14 day of show. STANLEY’S PUB - KY Myle. 10 p.m. Country/Blues. Cover.

TOP CATS - Electric Son, Watchfrogs, Resonator and Wolf Moon Revival. 8 p.m.

Funk/Blues/Rock/Various. Cover. URBAN ARTIFACT - Electric Orange Peel. 9 p.m. Progressive/Jam. Free.

U.S. BANK ARENA The Valentine’s Love Jam with Tyrese, Avant, Dru Hill, Next and 112. 8 p.m. R&B/Pop. $39-$125. WASHINGTON PLATFORM - Mike Sharfe Trio. 6 p.m. Jazz. $10 (food/drink minimum).

FRIDAY 15

ARNOLD’S BAR AND GRILL - The Tadcasters. 8 p.m. Americana. Free. BLIND LEMON - Will and Olivia. 9 p.m. Acoustic. Free. BOGART’S - Elton John vs. Billy Joel Tribute. 8 p.m. Elton John/Billy Joel tributes. $10. BROMWELL’S HÄRTH LOUNGE - The Burning Caravan. 9 p.m. Jazz. Free.

CAFFÈ VIVACE Randy Brecker with The Phil DeGreg Trio. Sets at 8 and 10 p.m. Jazz. $20.

THE COMET - Brian Sauer with Adam Yust. 10 p.m. Americana/Folk. Free. COMMON ROOTS - Old Souls String Band. 8 p.m. Bluegrass. $5. THE GREENWICH - Radio Black. 8:30 p.m. Soul/R&B/ Hip Hop/Dance. $10. HILTON NETHERLAND PALM COURT - John Zappa Quartet. 9 p.m. Jazz. Free/ JAG’S STEAK AND SEAFOOD - The Sly Band. 9 p.m. Pop/Dance/Rock/Various. $5. JIM AND JACK’S ON THE RIVER - Danny Frazier. 9 p.m. Country. Free. KNOTTY PINE - Black Bone Cat. 10 p.m. Rock. Cover LUDLOW GARAGE - The Dirty Doors. 8:30 p.m. Doors tribute. $15-$30. LYDIA’S ON LUDLOW - Ma Crow & Co. 7 p.m. Bluegrass. Free. MADISON LIVE - Spencer Sutherland with The Social.

8 p.m. Pop. Sold out.

MADISON THEATER - Anderson East with Lucie Silvas. 8 p.m. Soul/ Roots. $22, $25 day of show.

MANSION HILL TAVERN - Doug Hart Band. 9 p.m. Blues. Cover. MARTY’S HOPS & VINES Rockin’ George LaVigne. 9 p.m. Acoustic Rock. Free.

MOTR PUB - Triiibe with Us, Today. 10 p.m. Hip Hop/Post Rock/Various. Free.

NORTHSIDE TAVERN Ethnic Friends, Season Ten and Growhorns. 10 p.m. Rock. Free.

NORTHSIDE YACHT CLUB - Pickwick Commons with Deadculture and Coldcase. 7 p.m. Hardcore/ Metalcore. $5. OCTAVE - Goose. 9 p.m. Funk/Folk/Jam/Various. $10. PLAIN FOLK CAFE - Mike Liester. 7:30 p.m. Acoustic. Free.

RADISSON CINCINNATI RIVERFRONT - Basic Truth. 8 p.m. Funk/R&B/Soul. Free (in the Fifth Lounge). THE REDMOOR - The Colour of Rhythm and Balderdash. 8 p.m. R&B/Rock. Cover. RICK’S TAVERN - Stratus. 9:30 p.m. Rock/Country. Cover. SOUTHGATE HOUSE REVIVAL (LOUNGE) - Mudpies. 9:30 p.m. Rock/Blues/ Roots. Free.

SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Punk Rock Night Cincinnati presents Johnny Outlaw’s Birthday Show with Warts & Jorts: A Motörhead Tribute, The Pistol Mystics and The Barrio Boys. 10 p.m. Rock/Punk. $6. STANLEY’S PUB - Suede Jackets. 10 p.m. Rock. Free.

TOP CATS - See You In The Funnies, Matt Waters and Jeremy Neal. 9 p.m. Rock/Alt/Pop/Various. Cover.

TURFWAY PARK - Trailer Park Floosies. 9 p.m. Dance/

Rock/Pop/Rap/Country/Various. Free.

URBAN ARTIFACT Here Come Here, In the AM, Courtney From Work and Red Samantha. 9 p.m. AltRock. Free.

WASHINGTON PLATFORM - Lynn Scott with the Pat Kelly Trio. 9 p.m. Jazz. $10 (food/drink minimum).

SATURDAY 16

ARNOLD’S BAR AND GRILL - Modern Groove Jazz Band. 8 p.m. Jazz. Free.

THE AVENUE EVENT CENTER - Skally. 10 p.m. Hip Hop. $25-$40. BLIND LEMON - Warren Ulgh. 9 p.m. Acoustic. Free.

BOGART’S - Like a Storm, Royal Tusk and Afterlife. 7 p.m. Rock. Cover. BROMWELL’S HÄRTH LOUNGE - Grace Lincoln with The Mike Darrah Trio. 9 p.m. Jazz. Free. CAFFÈ VIVACE - Randy Brecker with Five Little Bears. 8 p.m. Jazz. $20 (8 and 10 p.m.).

THE COMET - Smug. 10 p.m. Alternative Rock. Free.

COMMON ROOTS - Danbient. 8 p.m. Electronic. $5. THE GREENWICH - Push Play. 8:30 p.m. R&B/Funk. $8. HILTON NETHERLAND PALM COURT - FrenchAxe. 9 p.m. Jazz. Free. KNOTTY PINE - Black Bone Cat. 10 p.m. Rock. Cover LUDLOW GARAGE - Alex Bugnon. 8:30 p.m. Jazz. $35-$65. MANSION HILL TAVERN - Jeff Bonta & the Tucker Boys. 9 p.m. Blues. Cover. MARTY’S HOPS & VINES - Two Blue. 9 p.m. Acoustic. Free.

MOTR PUB - Lemon Sky (EP release show) with The Sublets. 10 p.m. Rock. Free.

NORTHSIDE TAVERN - Sleepcrawler, Ampline and A.M. Nice. 10 p.m. Indie Rock/Post Punk. Free.

NORTHSIDE YACHT CLUB - Karkosa and Volcandra with Winterhymn, Verment and Dementia’s Creed. 8 p.m. Metal. $10. OCTAVE - Hyryder. 9 p.m. Grateful Dead tribute. $10. PLAIN FOLK CAFE - China Catz. 7:30 p.m. Grateful Dead tribute. Free. REDWINE & CO. - Mark Gibson. 8 p.m. Soul/Blues/ Rock. Free. RICK’S TAVERN - Bad Habit. 10 p.m. Rock. Cover.

SOUTHGATE HOUSE REVIVAL (LOUNGE) Angela Perley with Harlot. 9 p.m. Roots. Free. SOUTHGATE HOUSE REVIVAL (REVIVAL ROOM) - Cincinnati Noir. 10 p.m. Goth/Alt/New Wave/DJ/ Dance/Various. $5. SOUTHGATE HOUSE REVIVAL (SANCTUARY) Voodoo Carnival 2019 with Dead Man String Band, The Spockers, Madame Gigi’s Outrageous French Cancan Dancers and more. 8 p.m. Various. $15, $20 day of show. STANLEY’S PUB - Terrapin Moon. 10 p.m. Grateful Dead tribute. Cover.

THOMPSON HOUSE James Durbin. 7 p.m. Acoustic. $12-$40. URBAN ARTIFACT - The Zeroes, Watchfrogs and Feral Friends. 8 p.m. Rock U.S. BANK ARENA - Winter Jam Tour 360 2019 with Newsboys United, Danny Gokey, Mandisa, Rend Collective, Ledger, NewSong, Hollyn, Zane Black, Ty Brassel, Manic Drive and Dan Bremnes. 6 p.m. Christian/ Pop/Various. $15 (at the door). WASHINGTON PLATFORM - Andrea Cefalo Quartet. 9 p.m. Jazz. $10 (food/drink minimum).

SUNDAY 17

BOGART’S - Gin Blossoms’ “New Miserable Experience Live”. 8 p.m. Pop/Rock. $30.

H H

MOTR PUB - Majetic with Danny & His Fantasy. 8 p.m. AltPop. Free.

NORTHSIDE TAVERN - Dead Fish Drop In and The Mynah Tones. 8 p.m. Pop/Rock/Roots/Various. Free. SOUTHGATE HOUSE REVIVAL (SANCTUARY) School Of Rock Tribute To Led Zeppelin. 7 p.m. Led Zep tribute. $6, $8 day of show.

TOP CATS - Stillwell Blue with Jameel Zion, Tyshawn Colquitt and Khari. 7 p.m. Pop/R&B/Soul

URBAN ARTIFACT Hey Monea with Melodk EyE and Ethan Sak. 9 p.m. Pop/Rock. Free.

MONDAY 18

MOTR PUB - Autopilot. 9 p.m. Indie Rock. Free.

NORTHSIDE TAVERN - Luke Smith & the Foundation. 9 p.m. Blues/Jazz/Soul/ Various. Free.

TUESDAY 19

BOGART’S - Watsky. 8 p.m. Hip Hop. $23.

CAFFÈ VIVACE - Ricky Nye & Bekah Williams. 7:30 p.m. Jazz/Blues. THE COMET - Casteless, Sewage Grinder, Ethicist and more. 9 p.m. Metal/Various. Free.

NORTHSIDE YACHT CLUB - Church Girls with Feral Friends and Fycus. 8 p.m. Indie Rock. Cover.

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TOP CATS - Brandon “Taz” Niederauer. 8 p.m. Rock/Blues. $8.

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