Contributed

Greater Cincinnati Restaurant Week returns this spring to bring a unique dining experience to the Greater Cincinnati Area. During the week of April 7-13, participating restaurants will offer $26, $36, $46 and $56 three-course prix fixe menus.

Greater Cincinnati Restaurant Week provides the opportunity for locals to be immersed in the culinary talents of the Cincinnati area, while restaurants are able to create new customer relationships, and reward existing ones. Seven days of delicious dining provides for an opportunity to be a culinary tourist in your own backyard. 

Select restaurants will also be offering options from beverage sponsors : MadTree Brewing, Maker’s Mark, Saratoga Still Water, and SWAY by MadTree. Earn points on the app while indulging in the divine three-course meals, beer specials, and seasonal-inspired cocktails.

In addition to great deals at participating restaurants, Greater Cincinnati Restaurant Week directly benefits Cincinnati Children’s hospital with $1 from every meal going directly to Children’s.  Additionally – Restaurant Week Organizers match the first 1,000 meals served by donating $1 per meal. 

In the last 5 years, Restaurant Week has raised more than $100,000 to support Cincinnati Children’s greatest needs. Those donations help provide care for families whose insurance does not cover the cost of treatments, lay the groundwork for life-changing research and allows Children’s to grow the programs most in demand.

With the return of Greater Cincinnati Restaurant Week comes the return of the Greater Cincinnati Restaurant Week app! This will provide access to the list of participating restaurants, the menus being offered, locations, hours of operation and more – all in the palm of your hand. Guests will be able to map out their culinary tour for the week, check in to earn points, view Maker’s Mark drink specials, participate in contests, and receive real-time updates through the app, available now on the App Store and on Google Play. Download HERE.

The list of participating restaurants currently includes: 20 Brix, Agave & Rye, Alcove Kitchen + Bar, Artemis Mediterranean Bistro, Bakersfield, Baru, Benihana, Bourbon’s Craft Kitchen & Bar, BrewRiver Creole Kitchen, Brown Dog Cafe, BRU Burger Bar, Butcher and Barrel, Cap City Fine Diner and Bar, Chart House, Ché, Condado Tacos, Coppin’s, Council Oak Steaks and Seafood, Cowboy Sally’s, Eddie Merlot’s Steakhouse, Eighteen at The Radisson, Embers Restaurant, Frosthaus, Gyu-Kaku Japanese BBQ, Hawkers Alley, Ivory House, Jag’s Steak & Seafood, Kona Grill, Krueger’s Tavern, Lalo Chino Latino, Le Bar A Boeuf, Libby’s Southern Comfort, Livery Montgomery, LouVino Over-The-Rhine, MadTree Brewing, MadTree Parks & Rec, Maki Mono, Matt The Millers, McCollums’ on York, McCormick & Schmick’s Seafood & Steaks, Metropole, Moerlein Lager House, Montgomery Inn, Nicola’s, Padrino, Pennyflower Bistro and Bar, Primavista, Prime Cincinnati, Ripple Wine Bar, Sacred Beast Diner, Seasons 52, Shires’ Rooftop, SOB Steakhouse, Somm Wine Bar, Sorrento’s Italian Joint, Stone Creek Dining Company Montgomery, The Capital Grille, The Davidson, The Golden Lamb, The Green Line Kitchen and Cocktails, The Melting Pot, TRIO Bistro, Truva Turkish Kitchen, Via Vite, Vintage On Race, W Bar + Bistro, and Youyu. Restaurants subject to change.

For more information about the event and to view menus, visit greatercincinnatirestaurantweek.com.

Event Info:

• April 7-13, 3-course prix fixe menus for $26, $36, $46, and $56
• Age: This is an all-ages event. Some locations may be 21+
• Menus will be available at www.greatercincinnatirestaurantweek.com
• Greater Cincinnati Restaurant Week App: Check in at three or more restaurants to be entered for a grand prize drawing
• Follow @CincinnatiRestaurantWeek On Instagram 
• RSVP to the Facebook event for updates
• Media contact : Chanell Karr, ckarr@citybeat.com

The post Experience local culinary talents at Greater Cincinnati Restaurant Week appeared first on The Cincinnati Herald .

Springtime is fast approaching and quick light meals are in the forecast. Most of us are watching our money and our waistlines.

Pacific Foods is the top tier of canned organic soups by “CAMPBELL’S SOUP”. which most of us grew up eating. Pacific Foods has several flavors of soup. They make for a delicious lunch or dinner. A single can of soup is two servings. Found in local area grocers and prices are terrific. Pair them with a glass of wine and enjoy the simple life.

Chicken and noodle with tender cuts of chicken, veggies, and a savory broth. Pairs perfectly with a chilled glass of chardonnay and a spicy Gewürztraminer.

Chicken and wild rice nice chunks of tender white chicken and elegant wild rice with a rich broth. Will pair with an unoaked chardonnay, pinot Blanc, and organic prosecco.

Plant based split pea has a creamy base with plenty of whole peas, and carrots. This is how I like a split pea soup to taste, and the texture is great. Very nicely paired with Pinot Nero and Frappato.

Harissa and lentil a new flavor with exotic spices. Very hearty and filling with lots of beans and veggies. I enjoyed my bowl with a glass of tempranillo from Spain, also would pair well with a glass of cab franc.

Chicken style-tortilla with rice is also new and my favorite of the line up. Packed full of chicken, beans, perfectly cooked rice, and a spicy red broth. A nice soup for a glass Nero ‘d Avola, and sweet red sangria would be awesome to temper the spiciness.

Add a few crackers, left over proteins, left over veggies, and a slice of cornbread to the soups to round out the meal.

Pacific Foods offers many flavors of soup, low sodium bone broth, and plant-based milks. All non-GMO and certified organic products. Campbell’s soup acquired Pacific Foods in 2017 and practices DEI in 2025.

https://www.pacificfoods.com

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By Michael Elliott, Towson University

Picture a packed stadium of fans in extreme weather, all clad in their favorite jerseys, cheering and cursing at their favorite American football team or European soccer club. Or a crush of screaming fans, singing and dancing in unison at a Taylor Swift or K-pop concert. Or a sea of costumed “Star Wars” fans, lightsabers aloft, filling up movie theaters on opening night of a new movie.

Plenty of people like to watch sports, attend concerts and go to the movies. But what about those fans – the die-hard ones, if you will – whose dedication goes even further? The fans whose daily lives are deeply intertwined with their interests?

Die-hard fans tend to have a detailed, intricate knowledge. They collect, display and cherish memorabilia. They flock to iconic “pilgrimage” places: King’s Cross Train Station in London for “Harry Potter” fans, or Graceland in Memphis, Tennessee, for Elvis devotees. Their interests inspire them, shaping how they behave and view the world.

This level of devotion seems to go well beyond entertainment. Indeed, it may seem, well, almost religious.

Since 2018, I have been studying the realm of “comic-con culture”: fandoms built on comic books, superheroes, science fiction, anime and manga, gaming and cosplay. Based on my surveys and follow-up interviews, I have found that many dedicated fans describe something sacred about their experiences, something beyond entertainment and escapism.

Defining ‘sacred’

What does “sacred” mean, exactly?

A popular starting point is French sociologist Emile Durkheim and his 1912 treatise, “The Elementary Forms of Religious Life.” One of Durkheim’s most enduring legacies is how he defined religion in terms of beliefs and practices about “sacred things” that unify a community. The sacred, he explained, is something a group sets apart as powerful, transcendent and holy, clearly distinguished from the mundane world of everyday affairs.

This conception of religion includes gods or the supernatural, but it is not exclusive to them. Other beliefs and practices can be sacred, too. Durkheim’s insights have inspired many scholars, including those who study fan behavior.

In my own work as a sociologist, I organize this concept of the sacred into seven specific dimensions. For example, the sacred is powerful: a potent force that garners respect, fear and awe. The sacred is transcendent: revered and dignified beyond everyday affairs. And the sacred provides meaning: a source of essential values and purpose.

Comic-con culture

For several years, I’ve been distributing surveys at comic conventions on the East Coast of the U.S. and conducting follow-up interviews. The questions gather a variety of data, but also measure whether fans experience their interests as sacred, and in what ways.

The results are striking. While fans certainly enjoy entertainment and escape, their responses also highlight several aspects of how I define “sacredness” – particularly its ability to instill moral values, provide creative inspiration and reinforce communal bonds.

Many fans describe comic-con culture as a source of principles – such as inclusivity, compassion and self-development – that guide their behavior.

Comics “have always focused on issues of justice, inequality, power dynamics, and the ethics around things like use of force, etc., all of which have affected my own feelings and beliefs about ethical behavior,” one respondent shared. Other fans highlighted quotes from “Spider-Man” – “with great power comes great responsibility” – and “Harry Potter”: “We must choose between what is right and what is easy.”

Another respondent spoke about the Jedi: the ancient order of monklike warriors who channel forces of good to help others and maintain peace in the “Star Wars” universe. This universe “personifies how to go about treating the world around me and trying to do ‘the next right thing,’” the fan explained. “The Jedi, though not perfect, help me have a personal code in how I treat people. … If ‘Jedi’ were a real religion I’d probably be an active participant.”

Comic-con culture sparks passion and enjoyment; it is a wellspring of inspiration and creativity. The Japanese genres of anime and manga are “an art form of self-expression and it creates an [outlet] for individuals to express themselves freely,” one person wrote. In particular, they mentioned cosplay, which is short for “costume play”: the faithful recreation of a favorite character from a game, movie or comic, both in dress and mannerisms. Cosplayers are a mainstay of comic conventions, as are cosplay contests.

Another remarked, “being a fan of tabletop RPGs [role-playing games] allows me to create collaborative stories with others. I consider this storytelling powerful and important.”

Comic-con culture enables people to connect with like-minded individuals and forge meaningful relationships around these interests. It can also inspire a strong sense of fellowship.

Highlighting the power of these connections, one respondent said, “as an atheist, there’s not much I believe in. Being a fan has inspired me to believe in people, and that there is some purpose to my life.” Fandom groups “have given me decades-long friendships that span the globe,” another said.

Finally, comic-con culture is a sanctuary; it provides space for fans to be themselves, helps them cope with personal struggles, and inspires hope.

This was a prominent theme. For example, one attendee from Philadelphia divulged mental health issues but explained how his involvement in board-game tournaments and the role-playing game Dungeons & Dragons offered a safe space from anxiety: “I feel like when I’m doing these things, I can really be me. So, it’s more about letting myself be my true self and not feeling, or not caring, about the others around me that are judging me.”

Given these findings, I believe that social scientists need to consider popular culture more seriously as a fundamental feature of society that people can make sacred in different ways.

This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Michael Elliott, Towson University

Read more:

• America’s postwar fling with romance comics
• Luce, a cartoon mascot for Catholic Church’s 2025 Jubilee, appeals to a younger generation while embracing time-honored traditions
• ‘Across the Spider-Verse’ and the Latino legacy of Spider-Man

Michael Elliott has received funding for this research from the Society for the Scientific Study of Religion. 

Feature Image: An attendee dressed as Dvalin from the video game ‘Genshin Impact’ poses during New York Comic Con in October 2024. Charles Sykes/Invision/AP

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Contributed

Award-winning producer Kiah Clingman returns to her hometown for the highly anticipated screening of Color Book at the Over the Rhine International Film Festival on March 6, 2025. The film, written and directed by David Fortune, has garnered national and international recognition, world premiering at the 2024 Tribeca Film Festival before making its international debut at the 50th Deauville Film Festival, where it was awarded the Prix de la Critique (Critic’s Prize). Most recently, Color Book has been nominated for two NAACP Awards at the 56th NAACP Image Awards, including Outstanding Breakthrough Creative – Feature Film.

A Cincinnati native, Clingman is the daughter of James and Sylvia Clingman and a proud alumna of Princeton High School.

Color Book is a beautifully observed story about a father-and-son relationship. After a heartbreaking loss, Lucky (Will Catlett) becomes a widowed single father to his son Mason (Jeremiah Daniels), who has Down syndrome. As they navigate their shared grief, the two learn to connect, forming a delicate but unbreakable bond.

This moving drama marks the narrative feature film debut of David Fortune, who was recently recognized by Variety as one of its “10 Directors to Watch” for 2025, alongside filmmakers like Coralie Fargeat (The Substance), Malcolm Washington (The Piano Lesson), and Halina Reijn (Babygirl). In addition, Variety selected Color Book as its Critic’s Pick, highlighting the film’s emotional depth and compelling performances.

Produced by Kiah Clingman, Kristen Uno, and Autumn Bailey Ford, Color Book is executive produced by Naturi Naughton, Two Lewis (Take Two Entertainment), and Korstian Vandiver.

Opening Night Gala & Special Talkback

The hometown premiere of Color Book will take place on March 6, 2025, as part of the Opening Night Gala at the Over the Rhine International Film Festival. Following the screening, there will be a special talkback with Marissa Bode, who starred in Wicked.

Ticket Information

Tickets for the Over the Rhine International Film Festival, including the Color Book screening and Opening Night Gala, are available at: OTR Film Festival Tickets

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Roberta Flack, the Grammy-winning singer and pianist whose smooth vocals and intimate style made her a defining artist of the 1970s, died February 24 at her home surrounded by family. She was 88. Her publicist, Elaine Schock, confirmed the news in a statement. Flack revealed in 2022 that she had been diagnosed with amyotrophic lateral sclerosis (ALS), also known as Lou Gehrig’s disease, which had taken away her ability to sing.

Her death came just one day after the passing of soul-funk singer Gwen McCrae, who died Sunday at 81. McCrae, best known for hits like “Rockin’ Chair” and “Funky Sensation,” was celebrated for her enduring influence on soul and disco music. It also came just days after three-time Grammy nominee and Rock and Roll Hall of Famer Jerry Butler, a premier soul singer of the 1960s, died at 85.

Butler, known as “Ice Man,” had numerous hits including “For Your Precious Love,” and “Make It Easy on Yourself.”

Butler’s niece, Yolanda Goff, told The Associated Press that Butler died of Parkinson’s disease at his home in Chicago.

Roberta Flack: A Life in Music

Born Roberta Cleopatra Flack on February 10, 1937, in Black Mountain, North Carolina, she was raised in Arlington, Virginia, where her musical roots were cultivated at the Lomax African Methodist Episcopal Zion Church. Flack began piano lessons at nine and earned a full scholarship to Howard University at 15. She initially studied piano before switching to voice. She graduated at 19 and later taught music and English in North Carolina after her father’s death.

In Washington, D.C., Flack balanced teaching with nightclub performances, captivating audiences at local venues like Mr. Henry’s on Capitol Hill. Her breakthrough came when jazz pianist Les McCann discovered her and arranged an audition with Atlantic Records. Her 1969 debut album First Take initially received little attention until Clint Eastwood featured her rendition of “The First Time Ever I Saw Your Face” in his 1971 film Play Misty for Me. Released as a single in 1972, the song topped the Billboard Hot 100 for six weeks and earned Flack her first Grammy Award for Record of the Year.

Flack’s success soared with her 1973 recording of “Killing Me Softly with His Song,” which became her signature hit. The song spent five weeks at No. 1 on the Billboard Hot 100 and earned her two Grammys: Record of the Year and Best Female Pop Vocal Performance. With the win, Flack became the first artist to earn consecutive Record of the Year awards.

Her partnership with Donny Hathaway produced hits like “Where Is the Love,” which won a Grammy for Best Pop Performance by a Duo or Group. She continued her chart success with “Feel Like Makin’ Love” in 1974, making her the first female vocalist to top the Hot 100 in three consecutive years. Flack’s later collaborations with Peabo Bryson and Maxi Priest yielded popular tracks like “Tonight I Celebrate My Love” and “Set the Night to Music.”

Throughout her career, Flack advocated for artist rights and founded the Roberta Flack School of Music, providing free music education to underprivileged youth. She received a star on the Hollywood Walk of Fame in 1999 and performed for Nelson Mandela that same year. Flack is survived by her son, musician Bernard Wright.

Gwen McCrae: Soul and Disco Legacy

Gwen McCrae, celebrated for her rich voice and lasting impact on the disco and soul music scenes, died Sunday at 81. A statement from her official brand account called her passing “more bad news” for the music world and acknowledged how fans “are still jamming to ‘Rockin’ Chair’ all these years later.”

Born Gwen Mosley in Pensacola, Florida, McCrae began singing in church choirs before meeting George McCrae, whom she married in 1963. The couple performed as a duo and signed with Henry Stone’s Alston label. By 1970, McCrae had achieved early success with “Lead Me On.” In 1972, she released “Always On My Mind,” a song later popularized by artists including Elvis Presley, Willie Nelson, and the Pet Shop Boys.

Her biggest commercial success came in 1975 with “Rockin’ Chair,” which topped the R&B chart and reached No. 9 on the Billboard Hot 100. While the single remains her most widely recognized hit, many fans and DJs remember her for the 1981 club favorite “Funky Sensation,” which has endured as a dance floor staple.

McCrae’s career spanned decades, and her other notable songs included “Keep the Fire Burning.” Despite her accomplishments, she often spoke about the lack of recognition and fair compensation for Black artists of her era.

After suffering a stroke in 2012 that left her partially paralyzed, McCrae retired from performing. Her daughter, Leah McCrae, carries on the family’s musical legacy as a solo artist and member of the group Daughters of Soul.

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By Deborah W. Parker

“Just Because I am a Librarian doesn’t mean I have to dress like one.”

With this breezy pronouncement, Belle da Costa Greene handily differentiated herself from most librarians.

She stood out for other reasons, too.

In the early 20th century – a time when men held most positions of authority – Greene was a celebrated book agent, a curator and the first director of the Morgan Library. She also earned US$10,000 a year, about $280,000 today, while other librarians were making roughly $400.

She was also a Black woman who passed as white.

Born in 1879, Belle was the daughter of two light-skinned Black Americans, Genevieve Fleet and Richard T. Greener, the first Black man to graduate from Harvard. When the two separated in 1897, Fleet changed the family’s last name to Greene and, along with her five children, crossed the color line. Belle Marion Greener became Belle da Costa Greene – the “da Costa” a subtle claim to her Portuguese ancestry.

When banking magnate J.P. Morgan sought a librarian in 1905, his nephew Junius Morgan recommended Greene, who had been one of his co-workers at the Princeton Library.

Henceforth, Greene’s life didn’t just kick into a higher gear. It was supercharged. She became a lively fixture at social gatherings among America’s wealthiest families. Her world encompassed Gilded Age mansions, country retreats, rare book enclaves, auction houses, museums and art galleries. Bold, vivacious and glamorous, the keenly intelligent Greene attracted attention wherever she went.

I found myself drawn to the worlds Greene entered and the people she described in her lively letters to her lover, art scholar Bernard Berenson. In 2024, I published a book, “Becoming Belle Da Costa Greene,” which explores her voice, her self-invention, her love of art and literature, and her path-breaking work as a librarian.

Yet I’m often asked whether Greene mentions her passing as white in her writings. She did not. Greene was one of hundreds of thousands of light-skinned Black Americans who passed as white in the Jim Crow era. While speculation about Greene’s background circulated in her lifetime, nothing was confirmed until historian Jean Strouse revealed the identities of Greene’s parents in her 1999 biography, “Morgan: American Financier.” Until that point, only Greene’s mother and siblings knew the story of their Black heritage.

“Passing” can often raise more questions than answers. But Greene did not largely define herself through one category, such as her racial identity. Instead, she constructed a self through the things she loved.

‘I love this life – don’t you?’

In my view, any consideration of Greene’s attitudes toward her own race must remain an open question. And uncertainty can be acknowledged – even embraced – with judgments suspended.

The Morgan Library & Museum currently has an exhibition on Greene that will run until May 4, 2025 – one that’s already generated debates about Greene and the significance of her passing.

One section of the exhibition, “Questioning the Color Line,” includes novels on passing, paintings such as Archibald J. Motley Jr.’s “The Octoroon Girl,” photographs of Greene, and clips from Oscar Micheaux’s 1932 film “Veiled Aristocrats” and John M. Stahl’s 1934 film “Imitation of Life,” which portray painful scenes between white-passing characters and their family members.

None of these objects clarifies Greene’s particular relationship to passing. Instead, they place the librarian within melodramatic and conventional representations about passing that stress self-division and angst.

We don’t know – perhaps we will never know – whether Greene had similar moments of self-doubt.

Yet some critics have concluded as much. In his review of the exhibition for The New Yorker, critic Hilton Als laments what Greene’s passing had cost her. He describes her as a “girl who loved power,” a woman who “became a member of another race – not Black or white but alternately grandiose and self-despising.”

There’s a lot of certainty in such a pronouncement – and scant evidence furnished to support such declarations.

New York Times columnist John McWhorter takes issue with Als’s depiction of the librarian’s passing in a Jan. 23, 2025, article.

Citing passages from her letters in which Greene excitedly describes reading the Arabic folktales “The Thousand and One Nights” and seeing exhibitions of modern art, McWhorter asks readers to reconsider this “witty, puckish soul who savored books and art” and “had an active social life.”

What if Greene gave her race little thought, McWhorter wonders. What if she simply saw the notion of race and racial categorization as “a fiction” and instead lived her life to its fullest? Of course, her light skin afforded her the opportunity that other Black people of her era didn’t have. But does that necessarily mean that she was self-loathing or conflicted?

“[W]e are all wearing trousers and I love them,” Greene writes in one letter to Berenson, adding, “The Library grows more wonderful every day and I am terribly happy in my work here … I love this life – don’t you?”

Greene’s vitality captivated Berenson, who once described the librarian as “incredibly and miraculously responsive.”

The connoisseur was not the only contemporary who admired Greene’s effervescence. In “The Living Present,” an account of the activities of women before and after World War II, Greene’s friend Gertrude Atherton paid tribute to Greene, a “girl so fond of society, so fashionable in dress and appointments” that she could impress any stranger with her “overflowing joie de vivre.”

Crafting an aura

Viewed through a more expansive lens, Greene’s passing can be seen as part of an exercise in self-fashioning and self-invention.

Greene dressed to be noticed – and she was. Meta Harrsen, the librarian Greene hired in 1922, offers a rare eye-witness account. On the day Greene interviewed Harrsen, “she wore a dress of dark red Italian brocade shot with silver threads, a gold braided girdle, and an emerald necklace.”

Greene understood well the power of clothes to project a distinct identity – a highly crafted one in this case, and one befitting a connoisseur of rare books.

At that, she excelled. She became known for her stunning acquisition coups: her purchase of 16 rare editions of the works of English printer William Caxton at an auction; her procurement of the highly coveted Crusader’s Bible through a private negotiation; and her acquisition of the Spanish Apocalypse Commentary, a medieval text written by a Spanish monk that Greene was able to buy at a steep discount.

To me, a 1915 photo captures Greene’s confidence and aura more than any other image of the librarian.

She posed in her home and wasn’t shot in soft focus with a studio backdrop as other photographs tend to portray her. Sitting on the arm of a large chair upholstered in a tapestry weave, she wears an elaborate hat with a large ostrich plume, a high-necked blouse under a long, loosely belted jacket with a ruffled cuff over a long dark skirt. The decor is no less striking: Flemish tapestries decorate the walls behind her, and a liturgical vestment is draped over the bookcase. Looking directly at the viewer, Greene is assured and poised.

Greene’s stylish flair was not simply decorative. It was a testament to her vibrant personality and the joy she took in her work. Rather than judge her according to contemporary notions of racial identity, I prefer to marvel over her achievements and how she became a model for generations of future librarians.

Greene didn’t just pass. She surpassed – in spectacular ways.

This article is republished from The Conversation, a nonprofit, independent news organization bringing you facts and trustworthy analysis to help you make sense of our complex world. It was written by: Deborah W. Parker, University of Virginia

Read more:

• Gen Z and millennials have an unlikely love affair with their local libraries
• Sellout! How political corruption shaped an American insult
• The Gilded Age novel that helps explain our fascination with Luigi Mangione

Deborah W. Parker does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

Feature Image: A 1910 watercolor portrait of Belle da Costa Greene by Laura Coombs Hills. The Morgan Library & Museum, New York, gift of the Estate of Belle da Costa Greene.

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He’s a Black superhero who can handle his business. A Captain America who puts villains in their place.

At some point, Captain America, the Steve Rogers version with Chris Evans, passed his Vibranium shield to the new Captain America, played by Anthony Mackie. It was an easy transition with some key differences. The former was white and a good dude. The new superhero is Black and a good dude—a man who is self-aware and cognizant of this opportunity for an African American.

That’s the vision of Nigerian American writer/director Julius Onah (The Cloverfield Paradox). That’s the plan set forth by the socially conscious team of screenwriters: Rob Edwards, Malcolm Spellman, Dalan Musso, Peter Glanz and Onah. Introduce the movie going public to an Avengers warrior who is comfortable in his skin and able to express his point of view as he carries a legend forward: “If I’m not on point, I feel Iike I Iet down everyone else who is waiting for a seat at the table.” 

Sam Wilson, aka Captain America (Mackie), should have been a bit suspicious when friend/foe President Thaddeus Ross (Harrison Ford) invited him to the White House for a gathering of international leaders. Yet there he was with his mentor Isaiah Bradley (Carl Lumbly, TV’s M.A.N.T.I.S.) and his mentee Joaquin Torres (Danny Ramirez, Top Gun Maverik). Security, as run by Ruth Bat-Seraph (Shira Haas, Unorthodox), was tight.

Ross is being handled by Secret Service agent Leila Taylor (Xosha Roquemore, Precious). Prime Minister Ozaki of Japan (Takehiro Hira, Shõgun), Prime Minister Kapur of India (Harsh Nayyar, Men in Black) and the French President (Rick Espaillat, Dallas Buyer’s Club) are in attendance. The heads of state are ready to negotiate over a prime, coveted metal, adamantium. In what could have been a routine meeting, all hell breaks loose. Mayhem. Shooting, Accusations. Investigations.

The very intriguing narrative heads in a multitude of directions. Action scenes pop up frequently enough to keep the most fidgety kid, tween and teen mesmerized. Onah directs all scenes with a verve that is consistent until the final credits. He gets great help with the footage’s rhythm from editors Madeleine Gavin and Matthew Schmidt (Avengers: Endgame) who clip scenes right where they need to be sliced.

Production design by Ramsey Avery (10 Cloverfield Lane) is sufficient but not extraordinary. Ditto on the cinematography (Kramer Morgenthau, Creed III). The costumes (Gersha Phillips, The Woman King) are a tad better than those elements. If all the visual aspects where at The Dark Knight level, and the stunt choreography was good as that in John Wick: Chpater4, but PG-13, this superhero movie would be great and not just good. Also, though Laura Karpman’s (American Fiction) musical score releases bursts of energy, there isn’t a playlist of chart-stopping rap, rock or pop tunes that could further capture a young audience’s attention span.

Fascinating, sci-fi trickery adds to the mix. Devious villains (Giancarlo Esposito, Breaking Bad; Tim Blake Nelson, Old Henry) keep the heroes guessing and looking over their shoulders. Plot piece by plot piece, the narrative builds and builds to two big crescendos. The first is dazzling with dual storylines converging until they hit a climax. The second is all too typical of a comic book hero movie.

Strong performances abound. Ford, an octogenarian, still knows how to storm through a scene. Esposito and Nelson seethe with venom. Though Haas is petite, most won’t question her combat skills. In a very disarming way, Lumbly is the feisty older uncle we all wish we had. His scenes with Mackie peak when the latter tries to save the former. Bradley: “Man, no escaping this time. I’m gonna die in here. You wanna help me?” Captain America: “Yes!” Bradley: “Don’t come back.”

Mackie and Ramirez seem to share a charming, genuine brotherhood. An affability between the Captain and wannabe Falcon that adds depth. The younger Ramirez has the right amount of yearning, ambition and cockiness for twentysomething audiences. Mackie, always on the periphery in the Avengers movies, now heads his own film venture. His time waiting in the wings pass off. He’s come into his own, possesses leading man qualities and seems indestructible. Every scene he’s in, he owns. Using humor, sadness, anger and happiness he lets his emotions steal the spotlight. His version of Captain America is stalwart and in charge. Everything clicks.

There’s enough excitement in this action/adventure movie to entertain the whole family, whether they’re Avengers diehards or novices. That’s because this superhero film stands on its own. As does its lead actor. Mackie handles his business, and consequently so does the new Captain America.

Photos by Eli Adé

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After World War II morale across the country was depleted from the loss of manufacturing jobs. To spread hope and cheer Jackie Ormes pitched a comic about a spunky little girl and her silent sister to the Pittsburgh Courier.

Patty Jo ‘n’ Ginger debuted September 1^st, 1945. The comic ran in fourteen editions of the Courier touching more than a million people a week. Themes from the comic strip included African American life experiences, World War II, and social justice.

In 1947 Ormes contracted with the Terri Lee doll company of Lincoln, Nebraska to create a doll of her character Patty Jo. A mold was used to create the doll’s body. The faces were painted by hand. Patty Jo was the first African American doll to have an extensive upscale wardrobe.

Ormes was the first nationally syndicated African American woman cartoonist. Her strips and comics ran in black owned newspapers such as the Chicago defender. She retired in 1956 as her rheumatoid arthritis got the best of her.

She remained married to Earl Clark Ormes until his death in 1976. They had a daughter, but she passed away due to a brain tumor at the age of three.

Posthumously in 2014 Ormes was inducted into the National Association of Black Journalists Hall of Fame. In 2018 she was selected for the Will Eisner Hall of Fame award. Regarded as the most prestigious and significant award in the comic industry.

She passed away on December 26, 1985.

Cartoon Characters Gregory and his biological daughter Key-Low-Low are created by Sterling Haynes.

The post Jackie Ormes: Pioneering black comic industry with Patty Jo appeared first on The Cincinnati Herald .

By Kelsey Costa

Valentine’s Day is celebrated in many countries around the world as a day to honor love and connection.

Beyond flowers and heartfelt gestures, food plays a big part in how people enjoy this day together.

From chocolate treats to fancy meals, different parts of the world celebrate Valentine’s Day in their own unique ways.

This story dives into food trends found in MyFitnessPal food log data, showing how people from different cultures celebrate love with food.

How the Data Was Collected 

The Business Intelligence team at MyFitnessPal looked at food entries from January 2020 to today. 

They focused on countries where February 14 is widely celebrated and compared food logs to regular daily entries. This helped identify the foods that see the biggest spikes during Valentine’s celebrations. 

Based on this data, here are the countries with noteworthy Valentine’s Day food trends.

What People Ate by Country

MyFitnessPal

United States: Sweet Treats and Luxurious Dishes

Unsurprisingly, U.S. Valentine’s Day food logs showed a focus on indulgence. 

Chocolate-covered strawberries stole the spotlight. These beloved treats saw an astounding 4,612% spike on February 14, making them a key feature of American Valentine’s celebrations.

Peanut butter hearts and brownie batter donuts followed, each seeing an increase of 2,400% in food logs.

But it wasn’t just sweets that saw a rise in consumption on Valentine’s Day.

Luxurious meals also ranked highly, particularly lobster tail dishes, which saw a surge of over 1,000% on February 14 compared to any other day. 

This pricey shellfish is often considered a delicacy, which shows that Americans will indulge their loved ones on special occasions like Valentine’s Day.

In the U.S., heart-shaped treats are still a classic symbol of love, with items like chocolate hearts and conversation hearts also climbing the ranks.

MyFitnessPal

Canada: A Heart-Shaped Celebration

Canada’s Valentine’s Day trends mirror those of its southern neighbor. Chocolate-covered strawberries led entries with a 3,418% increase on the day of love according to the data.

Additionally, many Canadians celebrated February 14 with heart-shaped sweets—a timeless symbol of love and romance. 

These treats are among the most logged Valentine’s Day indulgences in the country:

• Chocolate hearts (+3,250%)
• Cinnamon heart candies (+1,500%)
• Heart-shaped sugar cookies (+1,200%)

Lobster tails were also heavily featured. Logs for this shellfish increased over 1,000%, signifying Canadians’ shared appreciation for an upscale Valentine’s dinner.

MyFitnessPal

United Kingdom: Luxurious Flavors and Inspired Indulgences

Across the pond, the U.K. also embraces the Valentine’s Day staple of chocolate-covered strawberries, with a 3,133% increase in logs.

But Brits also showed their love for savory indulgences, with potato Dauphinoise logging 2,675% more on Valentine’s Day.

Like potatoes au gratin and scalloped potatoes, potato Dauphinoise is a rich, comforting side dish made with sliced potatoes, cheese, and cream.

This side is likely paired with Beef Wellington, which emerged as the top main dish, experiencing a 1,940% increase in food logs. Known for its rich, high-quality cut of beef, this dish is often reserved for special occasions. 

Clearly, people in the U.K. also enjoy dining in luxury on Valentine’s Day.

Other notable trends according to the data included profiterole stacks, a tower of French pastries filled with cream and covered in chocolate sauce, and the tarte au citron, a tangy lemon tart.

These popular French and Italian desserts showcase the influence of other European cultures on Valentine’s Day celebrations in the U.K.

MyFitnessPal

Ireland: Sweet and Health-Conscious Indulgences

In Ireland, Valentine’s Day indulgences took an interesting turn, blending classic romantic favorites with modern, health-conscious treats.

According to the data, a sweet carrot side dish stole the show, with a massive 2,550% increase in popularity on February 14.

Still, chocolate remained a top contender. Chocolate-covered treats surged 2,200%, including chocolate-covered strawberries, which saw an 1,800% increase in food logs.

Spicy hearts and chocolate truffles were also among the nation’s favorite romantic treats.

Surprisingly, protein-packed snacks had notable rises in popularity on Valentine’s Day, too.

Salted caramel protein yogurt, high-protein chocolate pudding with a topping, and a peach-orange high-protein yogurt drink rose sharply. This shows a shift toward healthier indulgences.

MyFitnessPal

Australia: Modern Twist on a Traditional Favorite

Australia’s food logging trends around Valentine’s Day were not as pronounced as in some other countries, but a couple of treats stood out as celebratory. 

The top indulgent food was hot cross buns, which are spiced sweet buns that originated in the U.K.

But this standout food had an Australian twist. These hot cross buns were filled with the caramelized flavor of Biscoff spread.

This modern take on traditional hot cross buns saw a big jump in popularity, with a 1133% spike in logs on February 14.

So, while Biscoff-filled hot cross buns are typically an Easter treat in Australia, they appear to have become a Valentine’s Day favorite as well.

Also, like in other countries, chocolate-covered strawberries were a popular Valentine’s treat in Australia. Consumption on this day surged by 967%, adding a fresh touch to their romantic celebrations.

MyFitnessPal

South Africa: Indulgent Marshmallow Treats

In South Africa, marshmallow treats seem to be integral to Valentine’s Day celebrations.

Marshmallow pies took the spotlight with a 1,586% surge according to the data, making them the top logged indulgence of the day.

Other favorites that logged a 1,000% or more increase included mallow-filled chocolate hearts and Sweetie or Cutie Pies. These “pies” are iconic desserts made of wafer, marshmallow, and chocolate.

South Africans also embraced classic Valentine’s Day treats. These include chocolate-covered strawberries (+1,500%) and red velvet cupcakes (+824%).

MyFitnessPal

Italy: Rich Chocolates and Deep Fried Delights

In Italy, the mugcake dominated Valentine’s Day celebrations. Food logs for this single-serving dessert showed an astounding 4,200% increase on this day.

Carnival-inspired deep-fried treats were another highlight, combining festive traditions with romantic celebrations.

These crispy confections were among the most popular indulgences:

• Fried chiacchiere (fried pastry strips) (+1,467%)
• Castagnole (fried dough balls) (+1,279%)
• Frappe di Carnevale (fried pastry ribbons) (+1,200%)

Classic Italian favorites also held their place. On Valentine’s Day, sanguinaccio (sweet blood chocolate pudding) was up 1,350% and Baci Perugina Fondentissimo (dark chocolate kisses) rose 1,200%.

Chocolate appears to remain a symbol of love in Italy, along with fried pastries and rich desserts.

Other Notable Countries (A-Z)

• Algeria: Chocolate crème brûlée (3800%)
• American Samoa: Iced apple cake (23,200%)
• Argentina: Red velvet cake (1167%)
• Austria: Fine hearts (1,833%), I love Milka pralines (1,400%), Macarons (1,300%), I love Milka pralines strawberry cream (1,200%)
• Bulgaria: Fine heart chocolate (3,450%), Herb-cooked ham (2,050%), Ferrero Rocher balls (1,667%), Scitec chocolate peanut (1,500%)
• Denmark: Fastelavn bun (pastry cream filled with cardamom) (2,350%), Praline nougat hearts (1,443%)
• Indonesia: Light cheesecake (1,250%)
• Malaysia: German cookies (1,050%), Luxury chocolate cake (1,050%)
• Netherlands: Hazelnut creme pralines (1,600%), Nonnevot (doughnut in the shape of a bow) (950%)
• New Zealand: Raffaello (coconut-almond truffle) (925%), Chocolate cross bun block (900%), Caramel squares (880%)
• Norway: Shrovetide bun (jam-filled bun with whipped cream) (6,867%), Semla (Swedish cream bun) (4,900%), Rum cake (1,657%), Whipped cream (1,191%), Menuett marzipan cake (1,150%)
• Pakistan: Chocolate-covered sweets (4,900%)
• Peru: Chardonnay wine (2,750%), Marshmallow (2,750%)
• Philippines: Toblerone (chocolate) (1,750%)
• Poland: Lindor truffle box or bag (4,900%), Wild boar (3,773%), Belgian chocolate sea shells (2,350%), Salted caramel cake (1,540%)
• Portugal: Malassadas (Portuguese doughnuts) (1,414%), I love Milka pralines (1,150%), Dark chocolate rings (1,150%)
• Spain: Cod (3,600%), White chocolate wafer bar (Bueno White) (3,100%), Carnival ears (fried pastries) (1,600%)
• Sweden: Golden jelly hearts (10,150%), Lindor irresistibly smooth milk (7,750%), Red jelly hearts (7,600%), Noblesse hearts (4,050%)
• Switzerland: Pisco sour (2,233%), Chocolate heart (1,950%), Lindor milk balls (1,150%)
• Thailand: Mint chocolate (2,550%)
• Turkey: Chocolate-covered strawberries (3,750%), Chocolate pretzels (1,250%), Chocolate chip mini-cookies (1,250%)

Food: A Universal Language of Love

Chocolate-covered strawberries and luxurious dinners may be popular worldwide, but Valentine’s Day food traditions are as diverse as the cultures that celebrate them. 

From Canada’s heart-shaped confections to Italy’s deep-fried desserts or the U.K.’s fine dining fare, every country brings its unique flavor to the table. 

These traditions reflect each culture’s unique identity, which is shaped by lifestyle preferences and ever-changing global food trends.

One thing is clear across cultures and countries: On Valentine’s Day, food is a universal language of love and connection, whether you prefer elegant indulgences or simple heartfelt expressions.

*Note: Brazil does not celebrate Valentine’s Day on February 14; countries including India, Mexico, Saudi Arabia, France, Chile, Belgium, Romania, Colombia, the United Arab Emirates, Singapore, Morocco, Vietnam, and Hong Kong do not appear to eat differently on February 14; countries including Russia, China, Egypt, Japan, Taiwan, Israel, Ukraine, and Greece logged in their respective languages and were not translated for this article.

This story was produced by MyFitnessPal and reviewed and distributed by Stacker.

Feature Image: MyFitnessPal

The post What people eat around the world on Valentine’s Day appeared first on The Cincinnati Herald .

By Phil Paradis, Actors & Playwrights Collaborative

Paul Robeson & The Douglass-Lincoln Debates is a rare theatrical double bill of three performances that will feature Paul Robeson starring former Cincinnati City Councilman and police officer Wendell Young and The Douglass-Lincoln Debates by Douglas D. Miron. 

Performances will be Friday, February 28, at 7:30 p.m., and Saturday, March 1 at 2 p.m. and at 7:30 p.m. at the Harriet Tubman Theater, The National Underground Railroad Freedom Center, 50 E. Freedom Way, Cincinnati, 45202  

Playwright Phillip Hayes Dean’s Paul Robeson chronicles the life of Robeson from New Jersey childhood to international stardom as singer, actor, and modern hero of Civil Rights. Robeson’s musical and athletic talents lead him on a path to the concert stage and acting in Eugene O’Neill’s plays on Broadway. Robeson faced many struggles as he lived life on his own terms, being branded a communist for his politics and outspoken views. James Earl Jones originated the role in the play’s Broadway premiere. Wendell Young will portray Robeson and sing some of his standards including “Ol’ Man River” and “Swing Low, Sweet Chariot” and other folk and popular songs. Avery Hammonds directs.

When I asked Mr. Young if he would care to share some of his thoughts about portraying the great Paul Robeson in this one-man play, he kindly took time out of his busy rehearsal schedule to respond to my questions.

Paradis: How did you become involved with this one-man dramatic portrait of Paul Robeson?

Wendell Young: I was vaguely aware of Paul Robeson when I saw Avery Brooks portray him on stage. I then began to learn about Mr. Robeson and have been intrigued by his life ever since. I like having the opportunity to portray him and introduce him to young people who may never have heard of him. I hope to portray Mr. Robeson well enough to spark interest in his life and music and maybe inspire others to learn more about him.

This is a serious role and I haven’t performed a serious role before. This is also a solo performance. These are new experiences for me. I’m facing a huge challenge but I’m loving the opportunity to try something new  

The Douglass-Lincoln Debates by Douglas D. Miron is based on historical facts and three meetings of celebrated orator, author and abolitionist Frederick Douglass and President Abraham Lincoln.      

Meticulously researched, the play explores the fascinating relationship of the two leaders and giants of oratory. North Carolina native and actor Steffon Sharpless plays Frederick Douglass and Virginia native and author Doug Miron plays President Abraham Lincoln. 

Paul Robeson & The Douglass-Lincoln Debates is a rare theatrical double bill of three performances Friday, February 28 at 7:30 p.m., and Saturday, March 1 at 2 p.m.  and at 7:30 p.m.. at the Harriet Tubman Theater, The National Underground Railroad Freedom Center, 50 E. Freedom Way, Cincinnati.

Tickets are Adults $35  Seniors/Students $30  Group Discount Rate (10+) $25 each. Tickets are available here.

Individuals and Organizations wishing to be Event Sponsors should contact co-producers Don Sherman at (513) 236-5942 or Phil Paradis at (859) 653-6344.

The post A double bill of drama and music from Cincinnati Black Theatre appeared first on The Cincinnati Herald .