Category: Inspiration (page 5 of 7)

October 2, 2018

Free Sample

Originally published in the October 2018 issue of (614) Magazine

Microgreens are the original petite cuisine. Dainty and delicate atop any dish, served at some of the most revered restaurants in Columbus, the highfalutin alternative to salad or sprouts might have an unlikely source.

Drew Sample supplies a select set of chefs throughout Central Ohio, eager to acquire his premium small-scale produce, from an equally small-scale farm he operates on a tiny lot in North Linden—a neighborhood hardly known as a hotbed of horticulture.

“For me, urban farming really was a political act, it’s showing what you’re about instead of what you’re against,” he explained. “Decentralizing the food system and helping to create a different relationship between people and what they eat is essential.”

An intriguing addition to an otherwise sanguine salad, those diminutive doses of arugula, mustard, and cilantro aren’t meant to make your plate pretty. Microgreens have all of the nutrient density and flavor intensity destined to become a mature plant, just harvested in days or a couple of weeks instead of months.

“They’re more than an upscale garnish, but sometimes folks don’t know where to begin beyond salad. I think burgers are the way to go,” he explained, noting how he tries to help chefs get creative. “They add so much color and texture. My dad surprised me by putting micro-radish on mashed potatoes, it’s peppery. So now I’ve converted several people to microgreens with this photo he sent me of his mashed potatoes.”

Hailing from Toledo, with family roots in Kentucky, Sample returned to Columbus in his late 20s, having spent a stretch of his formative years here from adolescence to early adulthood. But a soul-crushing corporate sales job and suburbia never quite fit his free spirit or sense of purpose.

“I learned something from every job I’ve had that helped me go into business for myself. But most of the time, it seemed like I was just getting paid to deal with irate customers,” he revealed. “I was looking for a business to fall back on and farming was something I knew I could do.”

Sample’s inspiration and knowledge of farming came firsthand from his grandfather, a farmer who left Appalachia looking for the promise of urban life, only to find a different kind of struggle. It’s a work ethic that rubbed off from an early age, and when the opportunity arrived, it was seed money from his grandfather that helped him start Capital City Gardens.

“I harvested yesterday and I’m going to deliver everything today. That’s my edge over bigger companies that charge more for a lower quality product,” he explained. “A lot of farmers charge a delivery fee. I live in the city, so I don’t have to—and if chefs let me know they need something I happen to have, I can add it to the delivery.”

There are no slick brochures or advertising budget. Capital City Gardens is as organic as marketing gets. Clients vary widely, but his business is built almost exclusively on personal referrals, from the Refectory and the Ohio State Faculty Club, to The Guild House, M at Miranova, and Cameron’s American Bistro. A couple of breweries also round out the list, but he’s always looking for customers, with a soft pitch and a smile.

“I picked up The Little Kitchen food truck at a farmers market,” he explained. “I just asked her where she got her microgreens, offered her some of mine, and she started buying.”

Sample originally started by volunteering with a community farm on the south side of the city, harvesting and working the farmers market on the weekends. You’ll still find him lending a hand at the Westgate Farmers Market, even beyond operating his own booth.

“Farmers markets are built on ground-up innovation. For me, it’s easy to just set up and not worry about how to take SNAP. I can just tell people I accept anything you have for food,” he explained. “You go where you’re deserved, not simply where you’re needed. It’s why I’m happy to donate my produce and time to people who hustle and work hard to improve their own communities.”

But once-weekly markets alone weren’t enough to build a business, and by the end of his first summer, economic realities started to set in.

“Last season, most of my income was coming from farmers markets. So when it ended, I was in a lot of trouble,” he admitted, even working at a pizza joint as a side gig while growing his roster of restaurants. Now they’re the majority of his business, and OH Pizza and Brew is a client. “Restaurants have to pick and choose what they buy locally, so I work with chefs to understand what they want before I plant.”

His margins are lower, and so is his surplus, growing just enough to sell or share with family, friends, and neighbors—who’ve all become less suspicious and skeptical of his unlikely grow operation. Spoilage is so low, he doesn’t even bother trying to write it off on his taxes, or carry crop insurance, the safety net standard for most farms. Worms turn what little is left into the next crop of greens.

Capital City Gardens isn’t entirely a one-man operation. Sample still gets his hands dirty, but credits his farm manager Rich Fraztel with allowing him more time to focus on building customer relationships while keeping the growing pains of expansion to a minimum.

“People who go into business for themselves focus too much on the money. Success comes from building relationships,” he opined. “If you take care of your customers, the money will be there. That’s what makes the difference.”

Once the weather worsens, Capital City Gardens transforms exclusively to an indoor endeavor. The converted basement allows for tight control of light, temperature, and humidity with crops on rolling racks rotated for consistent quality and maximum yield. While the rest of the world waits for enough private investment and government subsidies for vertical farming to finally take off, Sample is just making it work by intuition and necessity.

Urban farming isn’t Sample’s only political passion project, nor is his pioneer persona tethered to the terrestrial. He also hosts The Sample Hour, a prolific podcast started on a whim back in 2012 to chronicle the conversations he and his friends were already having on topics profound and obscure. From self-reliance to permaculture, Thomas Sowell to topsoil, it now attracts guest interviews from Mike Michalowicz, former Wall Street Journal small business columnist and folk hero for would-be entrepreneurs everywhere, to Thaddeus Russell, the disavowed academic whose A Renegade History of the United States was published as a response to being tossed off the faculty of Barnard College.

His podcast churns opinions and electrons as easily as he turns the earth, and for the same reason—daring to cultivate something novel in the age of ordinary.

Sample’s pivot from microgreens to macroeconomics comes naturally, an approachable iconoclast who thinks labels are for canned vegetables and rhetoric, not people or ideas. It’s another trait he inherited from his grandfather, who passed away recently, but whose grounding influence and relationship with the land lives on in Capital City Gardens.

“Toward the end, we’d sit and I’d read him excerpts from Wendell Berry I knew he’d appreciate. It was invigorating for both of us,” Sample revealed. “Like any farm, it would be nearly impossible if I couldn’t do it on my own land. He’s the one who allowed me to do this. This is his legacy.” ▩

For more on Sample’s podcast, visit samplehour.com

October 2, 2018

To-May-To, To-Mah-To

Originally published in the October 2018 issue of (614) Magazine

Few foods are as fabled or fickle as the tomato.

Too much water and they spot, too much sun and they rot, and the ones in the grocery store always pale in comparison to those you buy off a tailgate or on the side of the road.

That’s where you’ll find Dick Capuano most days from late April to early September. His homegrown tomato stand adorned in traditional Italian green, white, and red is on the same stretch of land his ancestors settled more than a century ago.

“I grew up here. Mom and Dad always had a garden, so I always had a rototiller in my hands,” he recalled. “I love tomatoes, and once people have a homegrown one, they keep coming back for them.”

You won’t find San Margherita on every map, and if you drive through too fast, you might miss it entirely. The tiny unincorporated village, just west of the Scioto River, was founded by Italian immigrants who toiled in the nearby quarry. They eventually built homes and planted gardens along the edge of what is now Trabue Road. Most of the original settlers had ties to the same province in the old country, whose patron Saint Margaret inspired the name of their new community.

“Everyone who lived here between the two tracks grew something, and maybe had chickens, a hog, or a cow. It’s how they got by and survived,” Capuano explained. “It’s how San Margherita stayed San Margherita. Everyone had their own grapes and made their own wine, they grew plenty of vegetables, and they all had plenty to eat.”

Development is slowly swallowing those plots of land and the heritage of those who once lived there. There are only a handful of descendants of the first families still living or working in San Margherita. Some of the land remains idle, and still supports farms like Capuano’s, where his better years have boasted upwards of nearly 2,000 plants. Most of these are varieties of tomatoes, but various peppers and signature grapes are always in high demand.

“My time is up October 15, which is after the end of the season,” he explained, hoping that the land’s new owners might let him keep planting depending on their timeline for development. “I really don’t know what’s going to happen next year.”

It’s not the first time Capuano has faced such uncertainty and seeming futility. During his tour in Vietnam, it was his responsibility to remove roadside mines and clear the way for convoys, only to do the same thing the following day after fresh mines were planted under the cloak of night. A firefight earned him a Purple Heart, but he’s put more than his share of blood and sweat into his tomato stand only to see it threatened by another invisible enemy.

“I used to sell out of the garage,” he recalled. “But in 2005 I moved closer to the road and the stand has been here ever since.”

Capuano keeps it simple and predictable. Crops grow on the same soil year after year. He turns under the plants to go back into the soil over the winter and repeats the process the following spring, planting fresh tomato plants entirely by hand.

Only tomato enthusiasts can truly appreciate the depth of his bench, like baseball cards lined up on a giant table waiting to be discovered by a new generation of loyal fans. From contemporary classics like Early Girls and Carolina Gold to vintage heirloom varieties like Kellogg’s Breakfast and Gigantesque, if you can’t find the perfect taste and texture of tomato, you’re just not looking.

“I pull them before they get too big and start to split, then let them ripen the rest of the way on my porch before bringing them to the stand,” he explained. “But the rain we’ve had the past couple of weeks combined with the heat means this is the last of them.”

Don’t count Capuano out too soon. His cousin Joe still has a plot of land just down the road, and though it’s increasingly hard for anyone his age to plan too far ahead, one year at a time is as good a plan as any. He’s technically been retired as a carpenter for nearly three decades already, and despite the long hours and hot days in the field and at the stand, he’s not quite willing to let it go just yet.

“When I retired, I decided to go into my garden as my little hobby, and it just kept growing,” he said. “It’s hard work in the field, but it’s also peaceful here in the shade. I guess you could call it my man cave.” ▩

August 2, 2018

Back in Time

Originally published in the August 2018 issue of (614) Magazine

Scott Mulhollen stared at the screen in silent disbelief. With only an hour notice, he’d received a tip on an eBay auction too good to be true. As the clock ticked away with only seconds to spare, he made his first and only bid.

He took a moment to let the win sink in, then he picked up the phone to confirm it was all really happening. The stranger who answered seemed somber, then his wife got on the line and was clearly confused. She didn’t even know her husband was selling it.

“Who is this?” she asked again, to which he politely replied, “I’m Scott, the guy who just bought your DeLorean.”

Graciously offering to back out of the sale, Mulhollen learned the car was the couple’s first purchase together when they were wed in 1982 and had been meticulously maintained ever since. But now retired and downsizing, it was time to move on.

“I didn’t have the heart to tell them what I was going to do to their car. You never know how someone is going to react,” he recalled. “So I chose to respect their memories, assuring them I was going to take care of it as lovingly as they had, that it wasn’t going to a chop shop or flipper.”

Mulhollen wasn’t kidding. He loves the car, and has his whole life. But he’s no classic car aficionado or broker of automotive ephemera intent on turning a quick buck.

“You rarely find a car this pristine and well preserved, and never at this price,” Mulhollen explained, whose bid was well above the $28,500 he actually paid. “The guy who owned it before me was an electrical engineer and stripped the entire car and rewired it, because DeLoreans were known for sometimes catching on fire. Collectors want everything original, so I was the only bidder.”

That was hardly the end of the upgrades. It’s taken nearly 30 years and a small fortune to realize the vision of his adolescence. But after months of delays and painstaking modifications, Scott Mulhollen is now the owner of a bona fide time machine.

“I remember sitting in the theater as a kid watching Back to the Future and dreaming about someday owning ‘that car,’” he confessed.

Mulhollen now runs his own self-defense school, which often requires connecting with kids who aren’t always easy to reach. A long-time collector of iconic ’80s memorabilia, his office is more of a museum dedicated to his childhood, from Garfield to Ghostbusters. Not just trinkets either — everything from autographed animation cells to a legit proton pack. Even his martial arts background and enthusiasm for teaching grew out of his own experience with bullying. He was an actual Karate Kid who defied more than a few naysayers and turned a calling into a career. “When kids come here, it helps to let them know I was just like them,” he explained. “But there was still that one big dream that remained out of reach.”

For those of a certain age, it’s almost impossible to overstate how beloved Back to the Future is as both a personal and pop cultural milestone. I was an exchange student to Japan in the summer of ’86 and my host brother had a bootleg recording of just the audio from Back to the Future he’d played on his Walkman nearly nonstop for a year before I arrived. It’s essentially how he learned English. We’re still in touch, and can still exchange every line of dialogue even decades later.

“When I was initially considering all of this, I knew it had to be a business to make sense, but one that enabled me to share this passion with others and make a positive impact,” he recalled. “With the right combination of private rentals and charity events, I knew I could make it work.”

It cost nearly twice as much to convert the car as he’d paid for it, and it shows. It looks handmade, which it is and as it should. There’s a delicate balance to creating cinematic replicas. Too stingy and it feels cheap. Too polished and it feels mass-produced. Perhaps only the Batmobile is as indelible down to the most exacting detail. Complete with lighting and sound effects, diodes and doodads, Marty McFly himself couldn’t tell the difference.

“When the film’s prop makers were designing the car, they wanted it to look like something Doc Brown could have made in his garage,” he explained. “It took the builder seven months, and even then, he’d have taken another month or two if I let him.”

Once you get past the heavy price tag, the sticker shock gives way to immediate envy. Plenty of people spend as much or more on a midlife crisis car that no one wants to have over for their birthday party or private gathering. You could have just another Tesla, or you could have a time machine and folks will gladly pay you to come hang out for a few hours.

“My goal is three years to pay off the car, a few big gigs and we’ll get there,” he noted. “The car isn’t really an expense; it’s an investment that holds its value. I could sell it tomorrow and still make money on the deal.”

Delays in the conversion pushed the debut until just after Ready Player One’s premiere — which was unfortunate, but not tragic. Summer commitments like Ohio Comic Con and a recent al fresco screening of Back to the Future at the Gateway Film Center were already booked, and events to raise funds for children’s charities and Parkinson’s research were also in the works. But blockbuster blowouts aren’t the only option to get up close and personal with a piece of the past, or the future.

“I have a woman coming down today from Toledo with her husband to see the car, and he has no idea. Those are the reactions that are priceless,” Mulhollen said. “People get emotional, they get overwhelmed. I’ve had people cry before, whether you’re a CEO or the guy who operates the forklift. They may be in their forties, but when they sit in this car, suddenly they’re 10 again. It really is a time machine.” ▩

For scheduled events and private rental details, visit ohiotimemachinerental.com

August 2, 2018

Cocktail Curiosity

Originally published in the August 2018 issue of (614) Magazine

Chad White doesn’t look like what you’d probably expect from the founder of the Ohio Rum Society. He lacks the sailor’s swagger and pirate’s pedigree some mistakenly associate with the world’s most versatile and diverse distilled spirit. Also absent is the alienating ego that easily identifies pretentious experts in elixirs as unmistakably as a parrot, an eye patch, or a peg leg.

Instead, you’ll find the modest charm and Midwestern demeanor of a kid from Toledo, captured by the allure of Columbus more than a decade ago, who carved out his own corner of the local craft cocktail scene in a category that stretches far past the fabled shores of the Caribbean.

“I was the victim of really great niche marketing,” White confessed of his college years at Ohio University and an early affinity for rum. “It wasn’t until I ordered a flight of premium rums with a friend at a rum bar in Cleveland that I realized there was more out there.”

The most familiar names in American rum aren’t awful, but aren’t exactly transparent either. Adulterated by artificial flavoring and coloring, many are more like alcoholic soda pop than true spirits. Luckily, White and his future wife’s shared love of travel afforded him the opportunity to collect interesting bottles from exotic locations, a hobby that quickly escalated, perhaps out of hand.

“It wasn’t long before my suitcases were coming back filled with rum,” he chided. “My wife told me I either had to drink it or share it—not just the rum, but my passion for it.”

Columbus has a knack for finding or following the next new thing. From coffee and cocktails to breweries and barbecue, White knew he couldn’t be the only one in town experimenting at home with his spirit of choice. What started as just another Facebook group to exchange articles and opinions on the emerging rum scene didn’t stay there long.

“That online conversation soon evolved into inviting friends to my house for tastings,” he recalled. “If there were a bunch of bourbon drinkers, I’d start out with something dry and well-balanced, but with a little weight, obviously aged, with bold flavors.”

Further reinforcing the notion that everyone already seems to know everyone else in Columbus, that first formal gathering at Grass Skirt Tiki Room quickly grew to connections and subsequent soirées at Curio, Denmark on High, Blind Lady Tavern, and The Light of Seven Matchsticks. It turned out there was quite a bit of quiet dabbling behind local bars as well, substituting rum for traditional base spirits.

“It connected me with all of these underground rum geeks—bartenders, proprietors, but also curious cocktailers—people who love brown spirits like bourbon, or white spirits like tequila. People who love the craft of fermentation and distillation.”

White is a recruiter for the tech sector by day, a knack that clearly extends beyond his keyboard. Unlike similar ‘societies’ that simply need to usher a readymade community into the same room, White had to educate and elevate rum among the masses while roping everyone into the same orbit.

Two years in, there’s no slowdown in sight, with meetings nearly monthly, an updated membership program, and a new name—recognizing the greater geographic reach and influence of his growing group of self-described ‘rumheads.’

“We began as the Central Ohio Rum Society, but soon started pulling in members from around the state for our tastings. So we’re now the Ohio Rum Society, even though our interest is really international.”

Themed meetings from “January in Jamaica” to “Rum, Beer, and Revolution” tap into the convergence of history and chemistry, as well as practical and tactical conversations, like getting rum into the country a little easier by flying back through Puerto Rico for a less onerous trip through U.S. Customs.

“I have three bottles of rum I ordered from Europe that have been waiting for weeks in Customs in Chicago,” he explained. “Importers are still figuring out if there is enough interest in the States to distribute here. So that’s part of the hunt.”

Speaking of flights, no conversation about rum would be complete without one. Like most, I know what I like even if I lack the keen palette or industry jargon to put it into words. But that’s where White and his fellow rumheads earn their reputation as approachable connoisseurs, not another class of liquor snobs. Chad carefully curated a collection based on my beer and bourbon background. In fact, he could easily spot each style and brand at a glance, an impressive feat after more than an hour of cocktails and chit-chat in a deliberately dim tiki bar.

He described the origin and attributes of each as I sipped and swished, noting the time and terroir evident in the sweet heat and woody finish of the aged rums before moving up to the bright bite and botanical nuances of the rhum agricole, made from distilled cane juice, not fermented molasses. The journey from 60 proof to 120 was dangerously delicious, and it’s a flight that might require a copilot to get home.

“Rum is a shapeshifter,” he explained. “That’s what we love about it.”

Obsession over such subtleties may sound like the musings of wine wonks. But as an admitted rum amateur, the flavor profiles actually fit right in line with my inner coffee geek—sometimes spicy, earthy, or even floral, but never one note.

We wrapped up with shots from his personal stash (a rare bottle from Barbados actually signed by the distiller) and a couple more classic cocktails, further burnishing the depth and breadth the right rum can bring to nearly any glass—not just those with a garish garnish or bawdy boat drinks in your buddy’s basement.

“None of these rums were available in Ohio when I started,” he revealed, noting the reach of the Ohio Rum Society in creating demand from restaurants to retail. “It’s why rum is still so shrouded in mystery for most, past the major brands. But that’s why we’re here. Columbus is a trendsetter, and we’re fundamentally changing the way people think about rum.” ▩

For more on the Ohio Rum Society, find them on Facebook.

July 1, 2018

Change is in the Wind

Originally published in the July 2018 issue of (614) Magazine

Pop Quiz: What does the City of Columbus flag look like?

If you don’t know, you’re not alone. And even if you do, you probably aren’t too excited about it. But maybe that can change, and should change. At least that’s the opinion of an army of armchair vexillologists (flag geeks), who think many of our obscure symbols of civic pride nationwide are overdue for an upgrade.

Citizens from Sioux Falls to Milwaukee are organizing campaigns and committees to rethink the most obvious, yet often inconspicuous, incarnation of their cities. As an emerging epicenter of arts and innovation, perhaps we should join them.

“I didn’t even realize what our city flag looked like. I’m sure I’d seen it before, but never really paid much attention to it,” confessed Paul Nini, OSU design professor, and creator of The People’s Flag of Columbus. “This situation of a city flag like we have is pretty common because they’re generally created by governments, not designers. They just have the official seal and whatever else they throw on there.”

Nini was inspired by Roman Mars, Newark native and host of the prolific design-focused podcast 99% Invisible. Mars also happened to be the keynote speaker at an industry conference Nini attended in 2015 and the idea stuck.

“I tried to follow the basic rules of what makes a great flag. The design should be simple and memorable and have meaning behind the forms,” he explained. “It has negative white spaces that come through the center representing Broad and High, with the star as a symbol that we’re the state capital. The fields of blue and green with a semicircle represent the Scioto River and the Franklinton peninsula, the heart of the city, the original area of downtown. Anything more complicated gets tricky.”

For those who may not know, the current city flag is only the latest incarnation, with several since its inception. Over time, it’s come to incorporate images of the statehouse, Buckeye leaves, and the Santa Maria, along with the typical eagle, stars, and other stuff shared by nearly every flag of the era. But it’s all so cluttered and compressed, you have to squint to even make any of it out.

In contrast, Ohio’s swallowtail burgee is the rock star of state flags, cited by historians and designers alike as a prime example of following the rules, but still breaking them. For more than a century, Ohio didn’t even have an official flag. But Cleveland architect John Eisenmann’s design and the symbolism behind it still feel modern, unlike the Columbus flag, despite being about the same age.

“The original proposal tried to use the original colors, to get the city interested in it,” Nini recalled. “This was before Ginther was elected mayor and was still City Council president. I talked to his chief of staff who essentially said, ‘This is nice, but it isn’t really on our radar.’”

Reluctance is pretty typical as well. The current design was created by a CPD officer, denoted by the shield. That and the contemporary controversy over the city’s namesake are where sentiment and sensitivity collide. Even if our flag wasn’t what critics call a “badge on a bed sheet,” changing it won’t be easy.

“That’s very different than a city like Chicago with its four six-pointed stars embraced by everyone, from city government to its citizens,” noted Nini. “They love it. They use it everywhere. It’s a symbol of pride for the city.”

Nini was raised in Clintonville and still calls it home, but a recent grad school reunion in Chicago only reinforced his resolve that Columbus is a city that is changing, and our flag should reflect that.

“I was at my alma mater and friends and faculty were saying, ‘We keep hearing how cool Columbus is now,’” he said. “That’s what’s happening, and our flag should be a symbol of the city and where we are going. Whether or not everyone is going to get behind it, I have no idea.”

Nini isn’t the only one vexed by our city flag, though his design does seem to have the most traction. There’s an alternate concept that maintains the current color scheme and features a compass rose, a more iconic reference to Christopher Columbus. There’s even a “Bad Flags” blog based in Columbus with the snarky suggestion of a giant ice cream cone as a more accurate and less divisive symbol for the city.

“I decided not to worry about the government and rebrand it ‘The People’s Flag’ and promote it that way — a path of least resistance,” he chided. “Having been involved in lots of things over the years — as a musician, I’ve been in bands — I’ve learned it’s always best to keep your expectations low, because then you don’t get too disappointed.”

All great ideas get pushback. But we live in a branded city in a branded age. Former Mayor Coleman had the foresight to enlist local agency Ologie to help define and design the city’s visual identity. The flag wasn’t included in that effort, perhaps a hint of how truly invisible municipal flags have become.

“Last summer, I finally found a place that would do on-demand printing and fabrication of flags. Everywhere else I found before would make the flags, but I’d have to buy like a hundred of them and handle all of the sales and shipping myself,” he said. “Now you can buy just one, for anyone who wants to fly it. There are also t-shirts, buttons, decals. If you don’t want to buy a flag, you can still show your support.”

Those supporters have swelled beyond his students and the creative community, and literally letting folks put his idea into the wind has been a winning strategy in other cities where initial proposals to update their flags also fell flat. It’s a battle of attrition, but not a bitter one.

“Having grown up here in the ’60s and ’70s, the city has grown up too. People love the city now and appreciate it for what it’s become,” Nini said, hoping that organic adoption and a few influential brand champions can find the inroads that have thus far remained elusive. “If I drive by homes and local businesses that are flying the flag with pride, that’s the point. A flag should be something people can rally around, a brand that brings communities together. Even if the city doesn’t see it yet, hopefully they will. ▩

For more on The People’s Flag of Columbus, visit columbuspeoplesflag.com

June 18, 2018

The Dube Abides

Originally published in the Summer 2018 issue of Stock & Barrel

When the beloved Blue Danube abruptly announced they were closing after 78 years, the news nearly broke hearts and local Facebook feeds. But early reports of their eminent demise were perhaps a bit premature.

Yes, the most recent operator Bob Swaim had planned to hold on into June. And the Margetis family, which has actually owned the building for decades while retaining rights to the name, quietly revealed plans to remodel and reopen the restaurant in the coming months. No one has offered much in the way of details or assurances, not wanting to become the victim or villain in this story. And neither narrative would likely allay fears about possibly losing yet another Columbus culinary landmark to a pretentious gastropub or gaudy watering hole with no soul.

Rather than dwell on what we don’t know, let’s celebrate what we do know about the Dube, hoping that a people’s history might sway both sides into preserving part of what makes The Blue Danube unique, instead of letting a cloudy and contentious transition turn into an excuse to sabotage or abandon what folks love most.

Gaye Spetka’s story stretches back to the early years, when her parents first got together following WWII. “It was more posh back then when my parents had their first date there. My father went to OSU after the war, and my mother was shocked when he ordered a beer,” she laughed. Spetka became a regular herself in the ‘70s. She was thankful for the chance to pass on the legacy before it may be lost. “It was a treat to take my niece and her now husband there to share the story of how her grandparents met. But so much of what I remember of the campus area isn’t the same; it’s ticky-tacky steel and glass structures and asphalt parking lots.”

Colin Dearth is among four generations of faithful patrons, marking family milestones at the Dube for decades. “My grandfather was an Army medic who came to Ohio State and met my grandmother. My parents were both juniors at OSU in the ’60s when I was born and lived right around the corner,” he recalled. Dearth grew up to serve in the 82nd Airborne and Special Forces, but didn’t forget simpler times as a teenager spent scarfing down fries smothered in chicken gravy with friends. “I’d come home and spend 20 minutes going over the menu, but still ordered the steak and eggs every time for like 10 years. And PBR pints for a buck-fifty? They may as well have filled up my trunk.” Now a father of three, he orders the vegetarian chef’s salad and hasn’t had a beer in years. “I’ve celebrated too many birthdays there to count. All of my daughters sat in highchairs at the Dube.”

Natalie Thomson was a waitress there in the ’80s, when the Margetis family previously ran the place. “My father played saxophone and we’d walk from Dick’s Den down to the Dube for a bite to eat afterward. I started working there when I was 17. Some nights, I was the only waitress working as we got closer to close,” she revealed. An anachronism in the age of the smartphone, Thomson also remembers when tenants from the adjacent apartments used the payphone as their personal phone number, and waitresses would run next door to let folks know when they had a call. The experience was a far cry from her eventual occupation as a chef, though formative and unforgettable. “I’ve worked in fine dining restaurants, but I still love a greasy spoon.”

Rico Sullivan also discovered the Dube in the ’80s as a teen, when he and his brother used to sell hot dogs during game days at OSU. “After the game, we’d all go to the video arcade, then The Blue Danube and try to act all hip like the college students we saw there. I fell in love with the fish platter back then,” he recalled. “We loved the atmosphere of the place.” Sullivan went on to teach martial arts and took his students there as well. His wife is originally from Pakistan and still considers it her first true taste of America. “My wife and I eat there and always get nostalgic about our first date. It was heartbreaking to find out they are closing. I have a lot of great memories invested in The Blue Danube.”

Dawn Chapman used to sneak into bars and clubs with her fake ID, but actually came to the Dube when she wanted to be alone. “Sometimes, you just need to escape everyone. I was very shy, so I’d go there to write, smoke cigarettes, and drink coffee. It’s also the first place I ever had a gyro,” she recalled. But it proved difficult to be alone for long at The Blue Danube, forging friendships that endure to this day — and others just for the night. “I always hoped to paint a ceiling tile. ‘Paint a tile and we’ll add it to the pile,’ they said, but I never got around to it. I used to make jewelry, and a few of my designs were inspired by certain ceiling tiles. Tile 32 is still my favorite.”

Mike Cavender found something strangely familiar at The Blue Danube since moving to Columbus in the late ’90s. “There are so many places where we used to go that are gone now. Places like North Campus Video and the Dube weren’t homogenized and still seemed a little rougher around the edges. That’s how I felt back then — rougher around the edges,” he explained. Though a “committed carnivore,” Cavender admitted their black bean burger was his first, and a pleasant surprise. His wife was already familiar with the Dube, particularly its infamous jukebox, when they met. But he’d long considered it a litmus test for whether a date was the right fit. “If you go there on a first date and are both into that kind of place, it’s probably going to work out.”

Despite the brisk bump in business, as the days slipped toward the end of this chapter and the beginning of the next, the Dube’s most recent incarnation just couldn’t hold on any longer. In fact, the Friday after the initial announcement, they had to close early because the kitchen ran out of food and had to restock — perhaps a hint in hindsight foreshadowing the final week. As for the iconic neon inside and out, that Grilled Cheese and Dom Pérignon special, and the fate of those famous ceiling tiles, no one seems to know for sure what will stay or go. When asked prior to the unexpected last call, a bartender simply replied, “Bob’s got a lot on his plate.” ▩

June 1, 2018

Aidan 5

Originally published in the June 2018 issue of (614) Magazine

Bryan Michael Block wasn’t surprised when the phone rang, but it wasn’t the call he was expecting. The conversation was short, but sufficient. He opened the door to his closet and grabbed a gray-striped tie and weathered leather jacket to make sure he looked the part of a police detective. There was a serial killer, it was his job to stop him, and the clock was ticking. But this wasn’t any ordinary case. The murder he was called to solve was his own.

Block has an unsettling stature when the situation requires it. Imagine the disheveled understatement of Harrison Ford in Blade Runner amplified by the ominous presence of Vincent D’Onofrio on a bad day. That grim and gritty look is the reason he was originally cast as the lead actor in the ambitious and acclaimed science-fiction series Aidan 5, which recently returned with its long-awaited second season after starting as a short nearly a decade ago.

“We didn’t know what genre was going to get pulled out of that hat. It could have been a western or a romance. With the 48-Hour Film Project it could have been anything,” recalled Block, whose impulsive and intuitive wardrobe selection set the tone for the lead character. “When they pulled sci-fi, that’s when they decided to make a futuristic film noir.”

Professional and lifelong friendships often intersect with the 48-Hour Film Project, an international competition where local teams squeeze the entire motion picture production process into just two days.

“After the acting was done against a green screen, the backgrounds were drawn and scanned in,” Block explained. “It was really just pen and pencil on a sketch pad, cut up in Photoshop, and dropped into a timeline.”

The finished film was low tech, but high concept — a composite comic book look more akin to Sin City than an A-ha music video. Audiences and the industry took notice, making the rounds online and at larger festivals, eventually making it all the way to Cannes. Even William Shatner tweeted his approval of its innovative techniques and technology with the envious interrogative, “Why aren’t I in it?”

“Ben Bays, who is also a producer here in town, approached us after the 48 about turning it into a web series, how we needed to take this world and expand it,” he explained. “That’s when we started to explore the details and fill in the blanks on the future we’d created.”

The original series opens in 2064 with Detective James Aidan standing over his own corpse, one of several clones with which Block appears on screen simultaneously, stitched together digitally in post-production. A world where cloning is commonplace was a crucial creative device and plot point that propels the now 30-episode series. The entire production was created and executed in Columbus essentially as a community film project, with a cast and crew too numerous to name.

“Season One was shot for no money and was cobbled together. But we had a lot of help between favors, friends, and filmmakers willing to show up for several Saturdays,” Block noted. “Season Two is three and a half hours. Add that to the three hours of Season One and we have four feature films worth of finished content.”

The new season is still set in the same dystopian future, and also employed the signature green screen meets black box theater approach. But unlike the original short or the first series that followed, Season Two took several years to complete, funded through Kickstarter to build interest and cover incidentals.

Filming took place in Columbus as well, minus one notable cameo that was almost too good to be true — Richard Hatch, best known for roles in both the original and reimagined reboot of Battlestar Galactica, but also a passionate supporter of streaming series, podcasts, and similar emerging storytelling platforms.

“We reached out to him, but knew it was a long shot. Even though his scene was small, it was pivotal. We sent him the script and he said he really liked the series and the part,” revealed Bays, showrunner and executive producer of Aidan 5. “He specifically mentioned one of the reasons he was doing it was because he was so impressed with the production and performances in Season One and liked working on projects with up-and-coming talent.”

Schedules didn’t align to shoot Hatch’s scene here. But a green screen can be anywhere, so you’d never know Hatch was in L.A. while Bays directed remotely.

“I just Skyped in and directed over a laptop,” Bays added. “There is even a cast photo of everyone in the studio with Richard and someone is holding up a laptop with my face on the other end.”

Aside from consistent studio space, the second season also piqued the interest of local talent, with more than 40 speaking parts and dozens of extras populating their imaginary world. Even the late John Kuhn, artistic director of the Actors’ Theatre of Columbus read for a role.

“It was the first time we’d ever met him and his voice captivated us. He had such gravitas we decided to create a villain around it,” recalled Block, whose contributions also included casting and helping to create the series backstory. “His performance and reputation gave Aidan 5 a lot of legitimacy in the local the theater community, and the episodic nature allowed us to feature local actors in scenes where everyone felt like a guest star.”

As for the final fate of James Aidan and his clones, Bays confirmed the series was always intended to be a trilogy — but we may have to wait a while before the next installment of episodes, just so everyone can catch their collective breath.

“One of the things about Aidan 5 that we love most is that it is so collaborative. It really is a group of friends working together with the local acting community to create something greater than any of us could do on our own,” explained Bays. “Whether it’s someone like Richard Hatch from L.A. or someone local like John Kuhn, the series creates an outlet for filmmakers, writers, and actors to be a part of something that puts Columbus on the map.” ▩

Both seasons are available now at aidan5.com

March 15, 2018

Searching for Johnny Marzetti

Originally published in the Spring 2018 issue of Stock & Barrel

Philadelphia has the cheesesteak. Boston has clam “chowda.” And New York and Chicago are forever at odds over whose style of pizza is superior.

But did you know Columbus has its own signature dish?

Once an outsider from the East Coast, I thought Johnny Marzetti sounded like someone who might play shortstop for Reds or halfback for the Browns. Despite this lazy lasagna’s legendary following, the uninitiated often learn about it first from new friends and neighbors who eagerly share childhood memories of the dish and its local origin. That doesn’t mean everyone from the Wall Street Journal to Saveur hasn’t reheated the same tale of Teresa Marzetti naming the unassuming entrée of pasta, ground beef, tomato sauce, and cheese after her son-in-law, and how she served it in the family restaurant decades before the name Marzetti became synonymous with salad dressing. Even the Ohio History Connection seems to support the story.

Unfortunately, there’s very little meat to the myth. Though the restaurant was real (two of them in fact, run by two families both named Marzetti) not a single advertisement or menu from either over the better part of a century mentions the dish. Teresa was also very real, though the company that still bears her name is equally adamant that any relation to Johnny Marzetti is likely more folklore than fact.

But that doesn’t mean folks love it any less. It kind of makes it a legit urban legend. An Italian matriarch, fresh off the boat from Florence, pulls together some modest ingredients and creates a sensation so deceptively simple that more than a hundred years later petite cuisine and molecular gastronomy still can’t beat it? Who wouldn’t eat up that story, even if the details are still suspect? It sure beats calling it the long-lost cousin of Hamburger Helper.

Finding the truth behind Johnny Marzetti is nearly as tough as finding it on a menu, unless you know where to look and who to ask.

“We usually have it on Mondays. That’s how it’s been for 29 years,” recalled Kathy Pappas, whose husband, Tommy has been dishing Johnny Marzetti at his eponymous westside diner for nearly three decades. “Our specials are ready to go, for people who don’t have much time for lunch. Johnny Marzetti is perfect, so we make enough for about 50 orders and we always run out.”

At Tommy’s Diner, like most places that secretly serve Johnny Marzetti, even though it’s not on the menu, it’s not exactly off the menu either—nor is there just one recipe. Most often macaroni, rotini or bowtie also work just fine. Vegetables include onions, green pepper, and mushrooms. (Though I highly recommend throwing in some zucchini.) Choice of cheese seems to fall into three schools. Cheddar is the most popular, but mozzarella makes a strong showing as well. Tommy’s tops theirs with a generous portion of grated parm. Opinions also vary on whether it goes into the oven for a quick brown and a bubbly finish, or straight to the plate with shreds or just a sprinkle. Whether original or avant-garde, everyone seems to agree it’s not exactly a chili mac or just another name for goulash.

Nancy’s Home Cooking in Clintonville actually does have it on the menu, but only makes the comfort food classic on Tuesdays. Paul’s Fifth Avenue, India Oak Bar and Grill, and German Village Coffee Shop quietly rotate traditional, yet individual, versions through their daily specials. Kolache Republic sometimes stuffs it into their savory pastry to make it more portable, and Columbus newcomer ClusterTruck will even deliver it to your door. None of them have it on the menu. Service Bar in the Short North does, offering an upscale variation for $21. (That’s quite the price hike from the 45 cents Teresa used to charge at the restaurant back in the 1920s—maybe she did, but probably not.)

The genius and longevity of Johnny Marzetti comes from its easy and adaptable recipe. A quick Facebook query in advance of this article unleashed a flood of photos and fond recollections. People actually sent me pictures of their leftover lunch, or a casserole dish fresh from the oven, previous dinner plans scuttled and inspired by the passionate conversation and competing recipes. From grins to groans, even its detractors shared cafeteria cautionary tales and school lunch lore with a smile.

Perhaps the most telling story about the enduring popularity of Johnny Marzetti came by way of a neighbor who revealed her mother regularly makes enormous batches of it for her church, as well as gatherings at the Westgate Recreation Center.

“What’s great about it is that it’s inexpensive. You get a lot for your money, and you can add to it or leave things out,” explained Tasha Corson. “My mom used to put just hamburger in hers, but I add sausage to mine, and sometimes some chiles, to give a little kick to it.” Corson also uses a blend of cheddar and Monterey Jack along with seasonings that lean more Southwest. “The largest batch I make feeds 30 to 40, and I make it in a big stock pot. That way people can put cheese on it if they want to, or not,” she explained. “I’ve made it in the oven too, to melt the cheese. That’s why I like it, because you can really make it your own.”

Corson was actually generous enough to invite me over for dinner, along with my editor and a photographer, eager to share her take on the dish that was part of her childhood, and in turn her children’s, with total strangers. Even if the recipe and mystery surrounding it are still uncertain, the power it has to create lifelong memories and bring people together with a familiar flavor isn’t. Whether it’s served at a lunch counter, a kitchen table, or a potluck dinner, the most important ingredients they all share are creativity and community—and that’s what makes Johnny Marzetti uniquely and unmistakably Columbus. ▩

Johnny on the Spot

These joints still serve up the city’s elusive culinary creation—but days and times vary.

· Tommy’s Diner 914 W Broad St.
· Nancy’s Home Cooking 3133 N High St.
· Paul’s Fifth Avenue 1565 W Fifth Ave.
· India Oak Bar & Grill 590 Oakland Park Ave.
· German Village Coffee Shop 193 Thurman Ave.
· Kolache Republic 730 S High St.
· ClusterTruck 342 E Long St.
· Service Bar 1230 Courtland Ave.

Teresa Marzetti’s Original Recipe
(Maybe, MAybe Not)

· 3 tablespoons olive oil
· 1 large onion, chopped
· 3⁄4 pound mushrooms, cleaned and sliced
· 2 pounds lean ground beef
· 3 1⁄2 cups tomato sauce
· 1 1⁄2 pounds cheddar cheese, shredded
· 1 pound elbow macaroni, cooked and drained

Sauté onion in oil until limp, about 3 minutes.
Add mushrooms and fry until juices are released, about 5 minutes.
Add beef and cook, stirring, breaking up clumps, until no longer red.
Remove from heat and mix in tomato sauce and all but 1 cup of cheese
Transfer to greased 9 x 13-inch baking dish and add macaroni.
Toss gently to mix.
Scatter remaining cheese on top.
Bake, uncovered, in 350-degree oven until browned and bubbling (35 to 40 minutes).
Serves 10 to 12.

A freelance writer for the Chicago Tribune liked this story so much, she practically plagiarized it, right down to the headline and adding “her own” recipe at the end. You can find it here. Compare for yourself.

March 15, 2018

Rehab Hell

Originally published in the Spring 2018 issue of 614 HOME

Buy cheap, do-it-yourself, and make more money in a few weeks than you’d otherwise make all year. There are entire networks of flippers and fixer-uppers pushing the premise like televangelists — the new prophets of profit.

Don’t let those episodes that finish everything in an hour fool you. Rehabbing a house isn’t quick, cheap, or easy — it’s slow, expensive, and painful. And yet, we decided to do it anyway.

We weren’t idealistic urban pioneers determined to reclaim a small square of the city. Suburbia had simply lost its allure amid busybodies, constant construction, and a well-heeled school district that suddenly hit the skids and started slashing programs affecting our kids.

After enumerable open houses that never panned out, we kept coming back to the same dilapidated home on a double lot that was clearly vacant, but never for sale. A real estate agent in the neighborhood tracked down the out-of-town owners and found the right person, on the right day, in the right mood to consider a cold offer.

We already knew it needed a lot of work. Here’s what we didn’t know about Rehab Hell:

Everything will cost more and take longer.

Unlike the typical flip, we actually planned to live there — maybe forever. So we didn’t mind spending a little more to make it what we wanted instead of what it was.

But moving a sink and knocking out a wall to connect your kitchen and living room is a lot less complicated on paper than it is once permits and engineers are involved. Add the AC unit, electrical wiring, and copper plumbing that had been pillaged before we bought it and it adds up fast.

What was supposed to be a 12-month rehab is approaching two years, which included months with two mortgages, plus rent and storage. We eventually had to realign the “fix list” to just the minimum number of projects to make the house habitable, then leave the rest for later. It’s a strategy that would have saved both time and money had we started there instead.

Referrals are important, but imperfect.

The place had been home to a fair number of felines during the two years it was empty. We literally bought a cathouse. Every window was broken or wouldn’t open. (Never mind the smell. If there were a fire, everyone would die.)

After combing through lots of online ratings, we selected a local window company we hoped would replace the fire hazard and foul odor with some fresh air. The sales guy was as slick as their receptionist was sweet. But that all changed once they had our money. Months of excuses turned to silence. Calls and emails were ignored. Only after threatening to come to their office and throw a rock through the front window just to see if anyone would show up to fix it did they finally schedule the installation. With the wisdom of hindsight, some of those swelling reviews now seem highly suspect.

It’s okay to be thrifty, just not foolish.

There are actually plenty of repairs the average homeowner can handle with the right tools and YouTube. I don’t mind admitting I’m slow and sloppy at just about every task I’ve taken on, or that I essentially learned to tile floors and shower walls by watching The Vanilla Ice Project.

But sometimes you bring in a pro just to keep your new home from blowing up or burning down. I can sweat pipes and swap light fixtures just fine, but when it comes to breaker boxes and things that go boom, better to be safe than dead.

We asked around and found a quasi-retired electrician to make sense of our mess, and a former plumber who still likes to get his hands wet and runs gas lines on the side. They were both willing to supervise my work or assist for far less than an ordinary contractor.

Always work from the inside out.

Every instinct suggests fixing ugly first, but resist the urge. We started down the wrong road by lining up exterior improvements, when we should have stayed focused on the less sexy projects inside. I should have pulled off the aluminum siding earlier to discover solid cedar underneath before wasting time shopping for new siding only to end up restoring what we had. We should have replaced the water heater and finished the bathroom first, not last.

Fortunately we found a guy who was able to repair and refinish the floors and feather in new wood so well a hummingbird couldn’t tell the difference. But it would have been much easier to tackle the plaster and painting first. Ideally it should have been windows, plaster and paint, then floors. Now we’re doing it in reverse, having to cover up the floors to keep from screwing them up.

Know your neighborhood and your neighbors.

I still joke that I went out for a beer and came back with a house, but that’s not far from the truth. We were already looking for a new place to live. But while writing a story about a group of Westgate homebrewers who get together every few months in someone’s backyard or living room to share and compare, I realized what I’d overlooked entirely in our search — genuine community.

That’s the real reason why after months of frustration with few prospects we decided to make an offer on a rare pre-war ranch, despite its many faults, even though it wasn’t for sale.

Since then, this gathering of former strangers has eagerly offered their tools, time, and talents to make this long-neglected house a home. The guy around the corner is redoing the roof, a dude on the other side of the park helped hang the kitchen cabinets, and those floors were saved by someone from down the block.

This is the most important advice, and probably the only thing we did right from the start. You’re not just buying a house, whether you’re flipping it or moving in. You’re buying a neighborhood and the people who live there are the real investment, and what ultimately determines whether it’s all worth it. ▩

March 1, 2018

Q & A(rnold)

Originally published in the March 2018 issue of (614) Magazine

Aftermath, 2017. Photo By Brian Douglas/Courtesy Lionsgate Premiere

It’s no surprise action heroes are Hollywood’s single greatest export.

Amid wildfires, mudslides, drought, and rolling blackouts, it’s a wonder the filmmaking capital of the world has survived any better than its on-screen alter ego, regularly ravaged by everything from earthquakes to alien invasions. The cost of living is untenable, the traffic is intolerable, even the most groundbreaking feature film of last year was titled simply Get Out — and like most movies and television series these days, it wasn’t filmed there either.

California has in many ways become the star of its own disaster film. How can you tell? After years of economic malaise and mismanagement, the voters there actually asked Arnold Schwarzenegger to save them, and maybe we in Columbus should too.

This year marks the 30th anniversary of the Arnold Sports Festival, held the first weekend of this month. What started three decades ago as the Arnold Classic, the former bodybuilding championship has ballooned into a four-day health and fitness expo celebrating more than 75 established and obscure sports, from fencing to axe throwing.

But Schwarzenegger’s ties to Central Ohio run much deeper than just a long weekend once a year.

Back in 1970, Worthington Mayor Jim Lorimer invited a 23-year-old Austrian bodybuilder to the World Weightlifting Championship’s new Mr. World competition in Columbus to vie for the title and a cash prize of $500.

Arnold passed. The three-time consecutive winner of the Mr. Universe competition was already scheduled to defend his title in London, but Lorimer wasn’t taking no for an answer. He offered to fly Schwarzenegger back from London to Columbus immediately after the event there so he could compete.

Outside the then close-knit bodybuilding community, Arnold was just some guy who struggled to shop off the rack. That was all about to change. He won both Mr. Universe and Mr. World in the same weekend, a feat that was featured on ABC’s wildly popular Wide World of Sports, introducing him to his largest audience to date.

Schwarzenegger confided in Lorimer his dream of sponsoring his own tournament after he retired from the sport, and a seed was planted. After hosting several successful Mr. Olympia competitions here in the ’70s, and a brief acting hiatus in the early ’80s, Arnold ultimately launched his own competition in Columbus 30 years ago this month.

So what does that have to do with our fledgling film industry? More than you think.

Arnold has become an ambassador for Columbus for more than just sports. His annual health and fitness expo celebrates the city as much as the events and athletes. His own celebrity doesn’t just rub off on us; he’s helped introduce us to new audiences, just like we did for him with that first Mr. World competition.

He could have talked his action hero buddies Sylvester Stallone and Bruce Willis into opening Planet Movies anywhere on Earth, the motion picture rival to Hard Rock Café that coupled a Planet Hollywood restaurant with an upscale movie theater complex. But he chose Easton Town Center, and even though the concept was short-lived, the investment and effort shouldn’t be forgotten.

Action heroes also have a reputation for formulaic personas from one film to the next. Schwarzenegger is the exception, never afraid to try something unexpected or face the critics if an endeavor falls flat.

Yes, he’s been a barbarian, a commando, a spy, a hitman, and a killer cyborg from the future. But he’s also been a kindergarten teacher, Danny DeVito’s genetic better half, and even pregnant. His blockbuster appeal hasn’t stopped him from making fun of his own typecasting or being cast against type. Recent performances in Maggie as the protective father of girl slowly succumbing to a global pandemic that turns victims into zombies, and in Aftermath as an anguished survivor determined to avenge his family’s death from a mid-air collision, show an unexpected range and depth.

As soon as you think you know Arnold, he’s going to do something to prove you wrong.

How did your experience with the Arnold Classic influence the decision to shoot the film Aftermath here? What makes Columbus ideal as an emerging film city?

Columbus is a fantastic place for anything and everything. I’ve spent time in Columbus for 48 years through our bodybuilding championship, that then developed into the world championships in many different sports through our sport and fitness festival. It’s a perfect place that I use as an example, where the private sector and public sector work really well together. They’re very well coordinated. There’s no “we” against “them.” It’s always “us,” and it’s always what is best for the community. It doesn’t matter if it’s Republicans or Democrats in office, they all know they ultimately have to serve in a way to bring more businesses here. I have seen the great growth of the Arnold Classic and how dedicated the city officials are, and also the people at the state level. They’ve helped us every step of the way to make the Arnold Classic Sports and Fitness Festival successful. This is how it became the biggest in the world. This year we have 20,000 participants from 80 different nations. It’s gigantic, and we wouldn’t be able to do it anywhere else than Columbus.

When I did the movie Aftermath, I told the production company when there was a debate about should we go to Atlanta, or New Mexico, or Cleveland, I said to them, “Look, let me explain to you a little about Columbus…”. I told them basically what I told you. It’s an extraordinary place, and that I’ve talked to the mayor many times, the governor many times, and they all said if you come here with a production, we will help you because we want to establish ourselves as a city where you should go to shoot movies. Big movies, small movies, documentaries, whatever you want to do. So I took the risk. I said, “I’m not going to do the movie unless we shoot it in Columbus.” They decided to investigate, to check into it, and this is why after looking around, talking to the film commission, they realized this is a very friendly place where they are opening up their arms to productions. So we shot the movie here and the producers walked away absolutely delighted with one of the best experiences they’ve ever had.

My idea was that this would be the opening, and those production people would go to Hollywood and tell others about it. That’s exactly what happened.

This is why I think it’s a great place. Because people work together, they work tirelessly. People are talented here — the stage crew, the people who build sets — they’re energetic, they’re passionate. This is something you cannot buy. It’s not just tax credits. I made this clear, Columbus maybe doesn’t have the best tax credits, but you will get your money’s worth in many other ways, and it paid off.

Why is it important to take risks in film? Why do actors need to take risks, why do filmmakers need to take risks? Why is it important to get out of your box?

I don’t think there’s a difference from one field to another. One cannot say, why do you need to take risks in movies, why do you need to take risks in the parts that you play, what genre of movies you make? There are people who love to take risks, and there are people who like to play it safe. I think I’ve always been a person who thrives on risk. When I started in bodybuilding back in Austria they said, “You’ll never be a bodybuilder. Austrians are known for soccer and skiing. But bodybuilding? Forget it.” But I took the risk. It’s no different than taking the risk of running for governor. In movies, you have to take risks. Hollywood is a place that loves to put you in a box. You’re the action guy. You’re going to make action movies, and you’re going to do one script after the next — which I did, and that was very successful during the ’80s and ’90s. But there’s a time when I’ve done enough of that, after I’ve satisfied the studios’ needs, to show that I can do other things, that there’s a different Arnold in there than most people know. So I take the risk.

When I did Twins, I said to the studio, I know you don’t want to put much money behind this like an action movie. They said they wanted to make a minimum amount, and I said, “Then, don’t pay me? I’ll take the risk. It’s my first comedy. Why don’t you not pay me or the director or Danny DeVito, and just give us the back end?” We took that risk and it was my most successful movie at that time in my life, and I had a backend of 20 percent.

You couldn’t ever get that deal today. It was all about being able to take that risk.

When you get to be more mature, with age you’re much more believable to play a father in Aftermath or in Maggie, with more acting than action. When you’re younger and an action star, they won’t write material like this for you. They write scenes with great action, but they won’t write scenes with great dialogue and great character building. That’s just the way it is. For me, it was great to take those risks whether it’s Aftermath and Maggie, or Twins and Kindergarten Cop and Junior. I wanted to branch out because there is a side of me that is also like that. So I think taking risks in which parts you take and which productions you choose is absolutely essential.

Typecasting is tough to escape, with studios and with audiences. Is there a role or genre of film that you haven’t done and would like to?

We’re putting together a western. I’ve never really done one, and I’ve always wanted to do a western. It’s being developed with Amazon and it’s going to be eight segments, like a miniseries. It’s a terrific project — very intense, action-packed, great characters. We’ll most likely start shooting next year. It’s being written right now. This year, I’m going to be shooting Terminator in Spain, and Budapest, Hungary. We’re finalizing the script for Triplets, which will be a sequel to Twins with Eddie Murphy as the third twin brother.

The industry and audiences are still divided over the use of computer generated versions of real actors and actresses. As someone who has starred opposite a CGI version of his younger self twice, what’s your opinion on the use and future of computer generated actors?

I want to see movies that are thoroughly entertaining. I don’t look at it as whether it’s computer generated or not. Wise directors like James Cameron who use visual effects will make sure those things he can do in real life, he will shoot in real life. I think if it is well done, it’s okay to use the technology because that’s why it was developed in the first place, to be able to entertain people better. If the script says the Terminator looks exactly the same as he did in 1984, the reality is that my body doesn’t look the same as it did in 1984. So whether you computer generate it, or use someone else’s body, or they enhance your body, or use someone else’s body and put your face on it, depending on what the script says, it may be the only way you can do it. In Conan the Barbarian, I had to fight a giant snake. You could tell that it was mechanically operated, and people didn’t mind because it was the only technology available then. Computer generated technology has a very important part in movie making. I don’t mind it at all if I get enhanced one way or another to look younger — like if my character is supposed to be 50, instead of 70 — any help I can get, I’ll take it.

Speaking of reboots, I’d be remiss not to ask if King Conan rumors are true. Is there another Conan installment we can look forward to with an elder Conan?

That is correct. Those movies were really big hits way back when. It’s a theme in Hollywood, to come back to titles that are well-known. Independent companies take risks with production titles no one has ever heard of or that are new. But studios like recognizable names. That’s why Twins is becoming Triplets, it’s why they’re now writing King Conan, which is why there’s a Terminator 6 — which is all good for me, to keep those franchises alive.

Some parents push their kids into their own profession. Others push them away. The upcoming release of Midnight Sun is your son Patrick’s first starring role. How do you feel about him getting into the family business?

I never discouraged him from going into the movie business. I think it’s a great business to be in. But I also make it clear to all of my kids — no matter which field they get into — they have to be smart with business, and they have to be smart with money. My son is very serious about acting, but he’s also very serious as a businessman. He’s always been entrepreneurial. While I’m proud of him and his work in the movies, I’m also proud of him and his work outside the movies — so that he never ends up being vulnerable. It’s important to have a passion for acting, but it’s also important to be financially independent — not having to sell out and take a role just because they offer good money. He’s really serious about acting, but he’s also really smart about it. I was so proud when I saw his movie, and I think people are going to be surprised by his performance.

As a Midwestern city, Columbus can pretend to be anywhere on film, but many filmmakers don’t realize it. How practical is it to shoot here instead of more familiar film cities?

Columbus has so many different sides to it. When we shot Aftermath, we had no problem finding any backdrops whatsoever. The plane crash site was done a little bit outside of Columbus, we shot in a jail and had free reign over that location. You can find government buildings and high-rises, dangerous looking alleys. If it’s a modern looking shopping mall, there’s Easton Town Center. If you want to find a nice Spielbergian kind of community like you see in many of his movies, you have that in Columbus. You literally have everything that you need. I don’t think there is anything anyone would say you don’t have. If you’re shooting a movie that takes place in New York, I would highly recommend you shoot 95 percent of the movie in Columbus. Five percent of the movie — all of the exteriors, walking on 42nd Street or Broadway, or Central Park or aerial shots of the city — you go to New York to shoot that. But the rest it? You can shoot it all in Columbus. ▩

The 30th annual Arnold Classic will take place March 1 – 4. Aftermath is available for rent on iTunes, Amazon and YouTube.

Johnny on the Spot

Teresa Marzetti’s Original Recipe(Maybe, MAybe Not)

Teresa Marzetti’s Original Recipe
(Maybe, MAybe Not)