This cultural history of Cincinnati explores how a love of books and reading transformed Ohio’s Queen City into a bibliophile’s paradise. Since its founding in 1788, Cincinnati has been home to lovers of books and reading. The early settlers swapped books with one another. By the early 1800s, civic leaders were envisioning the creation of a public library, and in 1814, the Circulating Library Society was founded. Other libraries followed, as did bookshops and stationers. These early social developments were followed by literary industries. Soon, printing and publishing made Cincinnati one of America’s centers for the book trade. Ault & Wiborg became one of the world’s largest manufacturers of printing ink, while the Strobridge Lithography Company produced the lion’s share of circus and show posters in the Western world. Author and rare book archivist Kevin Grace chronicles the centuries-long literary evolution of Cincinnati, a city that now boasts a thriving community of poets, playwrights, authors and booksellers.

Since its founding in 1788, Cincinnati has treasured books and reading. While the early settlers swapped books with one another, by the early 1800s, civic leaders were envisioning the creation of a public library; in 1814, the Circulating Library Society was founded. Other libraries followed, as did bookshops and stationers. Soon, printing and publishing made Cincinnati one of America's centers for the book trade. Ault & Wiborg became one of the world's largest manufacturers of printing ink. The Strobridge Lithography Company produced the lion's share of circus and show posters in the Western world. Embracing a city that has welcomed poets and playwrights, authors and booksellers--including a mobile book bus that can pop up anywhere--author Kevin Grace explores the rich heritage of reading and books in Cincinnati.

In 1783, the officers of the Continental Army created the Society of the Cincinnati. This veterans' organization was to preserve the memory of the revolutionary struggle and pursue the officers' common interest in outstanding pay and pensions. Henry Knox and Frederick Steuben were the society's chief organizers; George Washington himself served as president. Soon, a nationally distributed South Carolina pamphlet accused the Society of treachery; it would lead to the creation of a hereditary nobility in the United States and subvert republicanism into aristocracy; it was a secret government, a puppet of the French monarchy; its charitable fund would be used for bribes. These were only some of the accusations made against the Society. These were, however, unjustified. The author of this book explores why a part of the revolutionary leadership accused another of subversion in the difficult 1780s, and how the political culture of this period predisposed many leading Americans to think of the Cincinnati as a conspiracy.

When considering the tapestry of popular-music history that has emerged in the last 40 or so years - a chronicle that shows no signs of abating - there have been critical and enthusiastic studies of not just performers, or the cities in which they arose in any number, but also of the recorded legacy of such cities, i.e. its record labels. Cincinnati, for all its decades of accomplishment in the recorded-music arena, has been heretofore perhaps underserved. Apart from real-time newspaper articles of the 1940s-'70s, a number of fine books have appeared, each of which provides a further tantalizing look at the vast offerings of the Queen City and the Ohio River Valley. This book is the complete document of the subject at hand, and is intended as a bedrock upon which to construct a (hopefully ongoing) library of Cincinnati's record companies, a library that encompasses the aforementioned volumes as well as encourages new efforts from fresh pens. The subject, owing to the stunning breadth and depth of the city's industry and drive, is probably inexhaustible. The book - its targeted collectors and enthusiasts aside - also seeks to advance understanding two specific communities who were substantial parts of the cultural, political and musical milieu of Cincinnati (and indeed, great swaths of the Midwest): African-Americans and Appalachians. The contributions and excitement consistently delivered by these populations greatly enriched the styles and ever-shifting forms of American popular music, especially in the fecund Postwar era, and here the book intends to shed some new light on their conditions, treatment and influence both then and now. Finally, the book is a fond meditation upon a city with strengths and flaws, successes and failures, all of which can be found writ small in the record business of the 20th century. In our accelerating, fraying culture, the analog world of this story is not a lesser place - far from it. That world was one of grit, risk and often-sweet rewards. As it recedes ever further into the past, hopefully the story of its many and varied musical lights will remain engaging and inspiring.

Starting with a few songs and a dream in 1943, King Records--a leading American independent--launched musical careers from a shabby brick factory on Brewster Avenue in Cincinnati's Evanston neighborhood. Founder Sydney Nathan recorded country singers Cowboy Copas, Hawkshaw Hawkins, Wayne Raney, and others and later added black acts such as James Brown and the Famous Flames, Bull Moose Jackson, Hank Ballard and the Midnighters, Lonnie Johnson, and Freddy King. Meanwhile, King also explored polka, jazz, bluegrass, comedy, gospel, pop, and instrumental music--anything that Nathan could sell. Although King's Cincinnati factory closed in 1971, the company's diverse catalog of roots music had already become a phenomenon. Its legacy lives on in hundreds of classic recordings that are prized by collectors and musicians.

"Cincinnati loves goetta. Since its arrival with nineteenth-century Germanic immigrants, this humble dish has evolved from peasant staple to ubiquitous delicacy. Once upon a time, Cincinnatians found goetta mostly in neighborhood butcher shops, in Over-the-Rhine's so-called Goetta Alley and through Sander Packing, its first commercial producer. Now hungry locals scarf it down at diners and white-linen establishments alike and in everything from egg rolls to Reuben sandwiches. Tracing goetta from its Germanic origins and its first stop in Greater Cincinnati to its largest commercial producers, Queen City Sausage and Gliers, food etymologist and "Goettevangelist" Dann Woellert explores goetta's history in the city that made it regionally famous"--Back cover.

Explore the eccentric side of yesterday's Queen City Cincinnatians today wrap themselves in a comforting blanket of serene conformity, soothed by the myth that the Queen City has always been a bland, somewhat Germanic, little backwater. History tells us otherwise. Old Cincinnati was a pretty strange place. UFOs? Witchcraft? Sea Monsters? Occult societies? Public executions? All very common in Old Cincinnati. Over its history, this burgeoning river metropolis pursued the unusual, the sensational and the controversial. Cincinnati was big - among the ten largest U.S. cities. And it was rude and crude, still shaking off the dust from its years as a frontier outpost. Much of the popular nightlife then would be illegal today. Buckle up as author Greg Hand leads a rambunctious tour through the old, weird Cincinnati.