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114 68 CREDITS EDITORS/PRODUCTION TEAM Marlin Pickens

DESIGN TEAM

CONTENTS

PSP

CONTRIBUTORS

How Hard Does Cleveland Rock?

The 2020-21 Cleveland Cavaliers

Where it All Began: Rock Rises in Cleveland

Rocking in the ’70s

A Season Cut Short

Rock’s Hallowed Ground

Rock & Roll History on Display

Cavs in the Community Cleveland Cavaliers City Edition

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Joe Gabriele, Josh Sabo, Emily Thomas, Lauren Marvinney, The Optimist, Tony Brown, Kevin Johnson, Blaine Fridrick, Nick Prost, Jay Wallace

PHOTOS Getty Images; Courtesy of Rock & Roll Hall of Fame; Courtesy of Rock & Roll Hall of Fame/ Kevin Mazur Getty Images

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How Hard Does Cleveland Rock? Let Us Count The Ways BY TOM NONDORF

Every city has a claim to fame of one sort or another, and when it comes to music, a handful of cities are synonymous with various genres, movements and moments in the evolution of the audio art form. Detroit is forever entwined with the sounds of Motown Records. Philly has its own unique strain of soul. Nashville has the country cats, and Memphis, Chicago, and St. Louis each brought something spectacular to the blues. When it comes to rock and roll music, many cities have huge stakes in the story as well. New York City was the heart of the recording industry at the dawn of the genre, and saw everything from the rise of American punk and new wave in the hallowed and putrid halls of CBGB’s to the birth of hip hop in the Bronx. San Francisco had the psychedelic scenes of Haight brought nightly onto the stage of the Fillmore West. LA’s trail ran from the Beach Boys surfin’ sounds to the Doors on Sunset Strip to the country-folk-rock vibes of the ’70s. The ’90s saw Seattle become a flashpoint for the alt rock that dominated that decade. Athens, Ga., Seattle, D.C., Boston, Minneapolis, New Orleans… all had scenes, sounds, and artists all their own… This very perfunctory and way over-simplified

introductory copy is all intended to slide us into the heart of our inquiry: What is Cleveland’s place at the rock and roll table? Since 1995, the arrival of the Rock & Roll Hall of Fame on the shores of Lake Erie—with I.M. Pei’s futurist design looking like a Hipgnosis album cover brought to life—has given the city a very good place-setting indeed. One might even say Cleveland is now the centerpiece. Rock and rollers and music legends from the world over have vied to be enshrined in this institution, and by now, many millions of music fans have traveled here to explore the museum. For locals, the very existence of the RRHOF in town was a victory for the city unparalleled till the Cavs brought home the Larry O’Brien Championship trophy in 2016. But do natives, visitors and inductees themselves fully consider the bona ﬁdes of Cleveland’s place in rock history? In the pages and features that follow, we’ll explore the irrefutable legitimacy of Cleveland’s claim to rock royalty.

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Owner Leo Mintz outside Record Rendezvous, one of the country’s ﬁrst record shops, undated. Gift of Steve Petryszyn. Courtesy of the Rock & Roll Hall of Fame.

Etymologically Crucial

When I was a kid, fascinated with early rock and roll, adults would tell me Cleveland radio personality Alan Freed invented the term “rock and roll.” Though that the term was used well back before the ‘50s and appears in rhythm and blues numbers from the ’30s and even sea shanties from the 1800s, Freed was indeed the first to popularly use the term to describe it, and Cleveland-area listeners to his radio show were among the first to hear it. Freed would forever be associated with rock and roll, and would ride the wave to become one of the biggest celebrity deejays and tastemakers in the country, manage Cleveland band The Moonglows, and even become immortalized in the 1978 film, “American Hot Wax.”

A Prehistoric Concert

“When we attempted to bring you, with every sincere good intention, the finest event that you have ever attended in Cleveland or elsewhere, we had no idea that the turnout would come anywhere close to the tremendous number of folks who turned out last night at the Cleveland Arena...” That’s Freed beginning his on-air apology the day after the fiasco known as the Moondog Coronation Ball in 1952, which was simultaneously one of the first rock concerts ever attempted and one of the first rock riots. Cleveland was so ahead of the curve that young people were already crashing venues to catch nascent rock acts and witness this new cultural phenomenon three years before Bill Haley and his Comets’ “Rock Around the Clock” would bring

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the craze into mainstream America. Such is the mystique of the concert that nobody agrees if music even played before the cops cleared the joint.

Beloved Fans

The Outsiders

Courtesy of Rock & Roll Hall of Fame

In the prime of Beatlemania, the Beatles played the city twice, ﬁrst at Public Hall, a show where the crowd went so bonkers, the mayor banned the band from the city. The moptops nevertheless returned in 1966 for a show at the more accommodating Municipal Stadium, only to have to pause the show and hide out for a spell when Beatlemaniacs stormed the stage. To this day, passionate (though more orderly) music-lovers remain a calling card of the city for bands who play the city’s many venues. There are cooler audiences, perhaps, folks who sit on their hands or placidly enjoy the show, but bands from AC/DC to Zeppelin could always count on being buoyed by the intensity, knowledgeability and heart of the Northeast Ohio audiences. Sounds not unlike what any Cavs player, or really any athlete playing in Cleveland would tell you about local gameday crowds.

It Literally Rocks

Tracy Chapman

Photo by Christine Alicino; Courtesy of the Rock & Roll Hall of Fame

Okay, not, “literally;” what I should really say is “literarily,” as Ian Hunter immortalized the city in his ancient (1979) scrolls (lyrics) to the song “Cleveland Rocks,” an anthem he says on his website was inspired by the city having “a lot of heart.” The track was, of course, used as the theme to The Drew Carey Show, immortalizing it to non-Clevelanders (Cleveland had long since given Hunter the key to the city). Speaking of hearts and rocks, in the Huey Lewis and the News evergreen song, “The Heart of Rock & Roll,” Mr. Lewis namechecks 14 cities where the heart of rock and roll is “still beating.” Number 13 is Cleveland, just ahead of Detroit (sorry Pistons fans), not that the cities are numbered in order of rock importance (sorry also to Bulls fans, since Chicago doesn’t even get a shout-out in the original recording, though Huey did go back and add some cities later for local airplay).

Our Own Motown

Pere Ubu

Photo by Deborah Trebittz; Courtesy of the Rock & Roll Hall of Fame

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Though Cleveland ﬁnished ahead of Detroit in the Huey song and has won an NBA title more recently than the Pistons, the city would have to bow down to Detroit and the Motown record label for what it means to popular music, having spawned artists like The Supremes, Smokey Robinson, Marvin Gaye, The Temptations, Martha Reeves… But what if I SW ORD M AGAZI NE | 7

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Machine Gun Kelly

Courtesy of Rock & Roll Hall of Fame

told you of a label out of Willoughby called Cleveland International Records whose owner was mostly putting out polka albums when he decided to invest in a singer-songwriter duo who had been turned down by every other label in the universe? The owner was Steve Popovich and the album he backed was Meat Loaf and Jim Steinman’s 1977 pomp-rock opera, “Bat Out of Hell,” which you can wiki right now and ﬁnd is the third-highestselling album in the history of planet earth, ahead of Pink Floyd’s “Dark Side of the Moon” and behind only Michael Jackson’s “Thriller” and AC/ DC’s “Back in Black.” It’s no wonder Steinman has called Cleveland “the greatest rock and roll city.” And of Course…A Panoply of Talent A major part of a city’s musical fabric comes from the artists that were born there, and the welcoming arms of Cleveland’s various music scenes has also made for a rich tapestry of artists from elsewhere who came to Cleveland to get on the path to musical immortality. Let’s survey just a few of the names with Clevelandic beginnings and associations.

If you were looking up the sales figures for “Bat Out of Hell,” you would also see the Eagles’ “Hotel California” on the list of top-selling albums of all time, and Joe Walsh, who, having burst onto the scene in Cleveland with his first successful band, the James Gang, joined the Eagles just in time for that multiplatinum opus…The James Gang’s drummer Jim Fox, had been in an early version of the Outsiders, a Cleveland band featuring Sonny Geraci that went on to major success on Capitol Records with the classic “Time Won’t Let Me.” Geraci would strike gold again leading the band Climax near the top of the charts with “Precious and Few”…Walsh pal, Michael Stanley wrote some of the most Cleveland-centric rock songs, while his band’s “He Can’t Love You” made the Top 40 and was one of the music videos played on the first day of MTV…Another first-day MTV act, made huge through airplay on the channel, was The Cars, who formed in Boston but featured Lakewood’s late, great Ben Orr (who met Cars late, great front-man Ric Ocasek while in Cleveland)…From the Cars to Cleveland-born Wynona Carr, who went from Gospel to writing and singing her own brand of R&B/early rock in the 1950s and has been cited as a forgotten pioneer…Another pioneer, in the genre that came to be known as “power pop,” Eric Carmen and his band the Raspberries formed in Cleveland and gave the world the top-five gold record “Go All the Way” in 1972, among other hits and solo smashes…Cleveland native Tracy Chapman’s “Fast Car” took the world by storm in 1988, as did her debut album, which topped the charts in eight countries and sold 6 million records in the U.S. alone…Two members of Guns N’ Roses (though not at the same time) Steven Adler and Gilby Clarke, both were from Cleveland…Girl-group the Poni-Tails of “Born Too Late” fame were from Lyndhurst…Screamin’ Jay Hawkins, whose 1956 single “I Put A Spell On You” remains a shock rock and Halloween favorite, was Cleveland born and raised…Rapper Kid Cudi attended Solon High School and counts Cleveland-natives Bone Thugs-N-Harmony among his influences…Rapper-to-punker and mega8 | SW ORD M A G A Z IN E

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chart-topper Machine Gun Kelly is vocal and about his Shaker Heights and Cleveland heritage…Trent Reznor came to Cleveland from Pennsylvania to ﬁnd his fortune by forming Nine Inch Nails…A shufﬂing NIN lineup yielded the formation of another platinum-selling band from Cleveland in Filter… R&B legend Bobby Womack and his brothers hailed from Cleveland as did the brothers LeVert and the Dazz Band…Early punk legends the Dead Boys formed in Cleveland, as did art-rock trailblazers Pere Ubu, metal band Chimaira, and current indie

rockers Cloud Nothings and the Sidekicks (shoutout to them for featuring a vintage Cavs jersey in their videos)…extending outward towards Akron, you can add in Devo, Chrissie Hynde of the Pretenders, the Black Keys, the Waitresses among many others that show the breadth and depth of Cleveland’s rock bench.

The Cars

Photo by Robert Mattheu; Courtesy of the Rock & Roll Hall of Fame

Kid Cudi

Courtesy of Rock & Roll Hall of Fame

Ben Orr

Photo by Jean Renard; Courtesy of the Rock & Roll Hall of Fame

Gilby Clarke

Photo by Daniella Clarke; Courtesy of the Rock & Roll Hall of Fame

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PLAYER

NO.

POS

HEIGHT

WEIGHT

BIRTHDATE

AGE

EXP

SCHOOL

Jarrett Allen

6-11

243 lbs

04/21/98

Texas

Matthew Dellavedova

6-3

200 lbs

09/08/90

St. Mary’s College of California

Damyean Dotson

6-5

210 lbs

05/06/94

Houston

Darius Garland

6-1

192 lbs

01/26/00

Vanderbilt

Kevin Love

F-C

6-8

251 lbs

09/07/88

UCLA

JaVale McGee

C-F

7-0

270 lbs

01/19/88

Nevada-Reno

Larry Nance Jr.

F-C

6-7

245 lbs

01/01/93

Wyoming

Isaac Okoro

F-G

6-5

225 lbs

01/26/01

Auburn

Cedi Osman

6-7

230 lbs

04/08/95

Anadolu Efes

Taurean Prince

6-7

218 lbs

03/22/94

Baylor

Collin Sexton

6-1

190 lbs

01/04/99

Alabama

Lamar Stevens

6-6

230 lbs

07/09/97

Penn State

Dean Wade

F-C

6-9

228 lbs

11/20/96

Kansas State

Dylan Windler

G-F

6-6

196 lbs

09/22/96

Belmont

2020-21 COACHING STAFF Head Coach: J.B. Bickerstaff Assistant Coach: Antonio Lang Assistant Coach: Greg Buckner Assistant Coach: Dan Geriot Assistant Coach: Lindsay Gottlieb Assistant Coach: J.J. Outlaw Trainer: Stephen Spiro

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WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? J. COLE J. COLE NAME ONE ARTIST YOU’VE NEVER SEEN LIVE BUT NAME ARTIST WOULDONE LIKE TO? YOU’VE NEVER SEEN LIVE BUT WOULD LIKE TO. BRUNO MARS BRUNO MARS WHAT WAS THE FIRST CONCERT YOU ATTENDED? WHAT WASATTENDED THE FIRST CONCERT YOU ATTENDED? NEVER A CONCERT NEVER ATTENDED A CONCERT WHAT IS YOUR FAVORITE INSTRUMENT? WHAT IS YOUR FAVORITE INSTRUMENT? SAXOPHONE SAXOPHONE

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Interior of the Cleveland Arena for the Moondog Coronation Ball, often regarded as the ﬁrst rock and roll concert, March 21, 1952. Gift of Steve Petryszyn. Courtesy of the Rock & Roll Hall of Fame.

Interior of Record Rendezvous, 1950s.

Gift of Steve Petryszyn. Courtesy of the Rock & Roll Hall of Fame.

Exterior of the Cleveland Arena with marquis advertising the Moondog Coronation Ball, 1952. Gift of Steve Petryszyn. Courtesy of the Rock & Roll Hall of Fame.

BY TOM NONDORF

WHERE IT ALL BEGAN: ROCK RISES IN CLEVELAND Rock and roll wasn’t born in Cleveland, but a case could be made that it was there in the delivery room at the birth, and might’ve even helped cut the cord.

The Beatles performing at Cleveland’s Public Hall, September 15, 1964. Photographer George Shuba. Courtesy of the Rock & Roll Hall of Fame.

Rock music was percolating, bubbling up from the ether in the late 1940s and earlier, in many cities, primarily among the African American populace. It existed in the rich stew of jump blues, gospel, R&B, and boogie-woogie, uptempo music by small combos as opposed to big bands, and even a bit of what was called “hillbilly” music as well. It was maybe more importantly an attitude thing. Music that was going to be rawer and more in-your-face than the post-war pop and balladry dominant at the time. But, as the decade turned, none of this had coalesced into a “thing” yet. The Andrews Sisters and Ames Brothers were still ruling the airwaves. Everyone was safe.

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Beatles fans at the Cleveland Public Hall show, September 15, 1964. Photographer George Shuba. Courtesy of the Rock & Roll Hall of Fame.

The mainstream hadn’t caught onto this rising phenomenon yet. In the unfortunate reality of the time, R&B was referred to commonly as “race” music and was mostly segregated off of major radio stations. For a new sound to develop from underground hipster music to a cultural phenomenon that would take the world by storm, it needed two things: It needed a benefactor, someone who was willing to withstand the slings and arrows of bigots who didn’t think white kids should be listening to Black performers who weren’t as smooth as the great Nat King Cole. And it needed a name. It got both in Cleveland. It begins with Leo Mintz, founder of Record Rendezvous on Prospect Avenue. He had opened the shop in 1939, selling 78s just a few years after Benny Goodman had touched off the musical revolution of his era, getting young people dancing madly to swing music. Mintz might have had memories of the swing craze in his mind a decade later (swing itself was a popularized take on hot jazz by numerous AfricanAmerican artists); the story goes, he couldn’t help but notice a lot of white kids coming into his shop and taking an interest in (and dancing madly to) the R&B records he had on hand. Record Rendezvous was unique for the time in that Mintz allowed customers to browse freely, and had listening booths so people

could “pick and play before you pay.” It also had an integrated customer base, and Mintz began to realize that young people of all backgrounds were finding their way to this music without the benefit of having heard it on the radio. How many records could he sell if somebody actually started playing this stuff on the airwaves? Enter radio personality Alan Freed. Freed, who grew up in Salem, had been in Youngstown, then Akron, working at WAKR, announcing Zips basketball games and spinning records. At some point in the late ’40s, Mintz and Freed became acquainted, and Freed ended up in Cleveland seeing the youthful, pan-racial excitement at Record Rendezvous firsthand. In 1951, Freed got an overnight spot on Cleveland’s WJW, seemingly a low-risk environment to try to plug a few R&B jammers from Mintz’s shop. Word got around fast, among kids of all backgrounds: Someone was playing “our” music on the radio. Imagine you’re a kid in Cleveland, in the summer of 1951. Radio is geared more towards your parents than you. Perry Como and Rosemary Clooney are cool, but you’re looking for something a little edgier, music-wise. You can’t hop on your cellphone and flip through a hundred years of music on Spotify to find stuff you dig. If you hear a song you like, you

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can’t hear it again until the next time a guy plays it on the radio, unless you go buy the record. You hop the bus to the Rendezvous and there are a bunch of peers who share your mindset there, craving this unbelievable new music you’ve been hearing. You buy what you can, but at home you gotta share hi-ﬁ time with dad’s Vaughan Monroe records. Then words gets out. “Check out WJW tonight!” It was nothing less than the beginning of a revolution. And here’s the thing. This would happen all across the United States and beyond, but it would take almost four years to reach the mainstream. Cleveland was that far ahead of the curve! And between Mintz and Freed, the revolution now had its name: Rock and Roll. The term had existed in various R&B records, generally of a spicy nature. Freed gets most often credited for coining the term to refer to the genre. Mintz’s family claims the idea was his. Whoever said it ﬁrst, it certainly stuck. Now, having been handed the ball (and the wax) by Mintz, Freed ran with it. How a prankster-uncle looking guy with a gruff demeanor became the radio shaman, leading kids away from their parents towards these dangerous new sounds seems hard to fathom now, but there was little else like Freed at the time. He not only was

playing music kids couldn’t hear elsewhere, he wasn’t like any other radio personalities. He christened himself “Moondog,” and his listeners made up the “Moondog Kingdom.” It wasn’t a radio show you were passively listening to, but a “rock and roll party” you were hanging out and dancing at until 2 a.m. (or more likely, pretending to, while hiding from your parents with your radio under your blankets, as the Ramones recalled in “Do You Remember Rock ‘n’ Roll Radio?” namechecking Freed in 1980). With the popularity of the show and Freed himself soaring, and broadcasts stretching as far as New York, Freed made his first attempt—anyone’s first attempt— to create a rock and roll live show. In March of 1952, the Moondog Coronation Ball at the Cleveland Arena (original home of the Cavs) was to be rock and roll’s first happening. Only it didn’t really happen. Like Ten Cent Beer Night at Cleveland Stadium 22 years later, the Coronation Ball was a victim of its own success, as 20,000 Moondog-crazed kids showed up and clogged the 10,000-seat arena, leading to a cancellation, which then led to something like a riot. Though Freed was apologetic and the grownups of the city were apoplectic, the show was proof of concept for Freed and anyone else who was paying attention, that rock and roll was, as Danny and the Juniors would later sing, here to stay.

Beatles fans rush the stage, while the Cleveland police attempt to hold back the crowd at Public Hall, September 15, 1964. Photographer George Shuba. Courtesy of the Rock & Roll Hall of Fame.

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The arrival of rock and roll music as a cultural force in the world cannot be overstated. It had to seem to a lot of people like it appeared suddenly out of the sky like one of Bill Haley’s Comets, but, as with “Rock Around the Clock,” the 1955 Haley song that is often cited as the dawn of the genre, there’s much more to the story. And a huge part of that story, as we’ve seen, takes place in Cleveland. Freed would leave Ohio for New York City in 1954, the year before “Clock” broke big in the film “The Blackboard Jungle” and made rock and roll a household name even to people outside of Cleveland, as the song became the first genuine rocker to top the American charts. Freed would appear in several rocksploitation motion pictures including a couple with Haley, and would become a household name himself, eventually for bad reasons, getting caught up in the payola scandal that rocked the music biz, his career sacrificed as a kind of payback for parents who’d seen their kids abandon Doris Day for Little Richard. He died in 1965, but his immortality was ensured when he was inducted into the Rock and Roll Hall of Fame in the very first class.

ELVIS IN CLEVELAND

Alan Freed is but one legend of the Cleveland airwaves, and another is Bill Randle, “The Pied Piper of Cleveland,” who filled the void after Freed left town, becoming immensely popular and influential at radio station WERE. Casey Kasem, who later occupied Freed’s deejay seat at WJW on the way to national glory, once told the Akron Beacon Journal, “I always knew that Cleveland was a great center for popular music, going back to the Bill Randle days.” As rock advanced beyond Bill Haley and his Comets, a new sensation appeared on the horizon, and Randle was an early champion of this force of nature known as Elvis Presley. Randle played some of Elvis’s early Sun Records recordings on air, once again putting Clevelanders at the vanguard of something huge. Due to Randle breaking Elvis in Cleveland, Randle was asked by Jimmy and Tommy Dorsey to introduce Elvis on their CBS television program, “Stage Show,” in January of 1956. This was Elvis’s very first appearance on national TV. But Randle had done more than play Elvis’s records. He asked Elvis to come to suburban Cleveland and play a concert at Brooklyn High, along with Pat Boone, The Four Lads, and good ol’ Bill Haley. This was in 1955 and marked Elvis’s very first concert appearance north of the Mason-Dixon Line. The show was filmed as a promo film about Randle—which indicates the degree of celebrity disc jockeys like Freed and Randle held at the time—and it remains some of the most sought-after lost film footage in the entertainment world.

THE BEATLES TOLD TO BEAT IT

After Elvis exploded and then went into the army, rock was spinning its wheels—if not losing its edge— for a few years until the next big sensation came over from England. The Beatles famously didn’t tour very long into their meteoric career, and by 1966, gave it up entirely, but they still managed to come to Cleveland twice, with both shows having shades of the Moondog madness of a decade earlier.

Cleveland police keeping back fans while Jimi Hendrix performs at Music Hall, March 26, 1968. Photographer George Shuba. Courtesy of the Rock & Roll Hall of Fame.

Though deejays like New York’s Murray the K (aka “The Fifth Beatle”) glommed onto the Beatles, the star power over teens had fully swung towards the artists by the time the moptops arrived in town for their gig at the venerable Public Hall in September of ’64. The nation was full-on in the grips of Beatlemania and the

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chance for teens to catch a glimpse of their heroes led to a comedy of John, Paul, George, Ringo and Cleveland police using all manner of subterfuge just to escape their hotel to get to the venue. Then, when fans overran the barricades and got on stage (rock security was not quite figured out yet in those days), police ordered a halt to the show after three songs. After the Beatles stewed and the crowd calmed down, the band was able to complete the gig. As a result of the mayhem that night and at a Rolling Stones concert two months later, Mayor Ralph Locher banned rock shows from public venues. This left the city out of the mix when the Beatles planned their 1965 U.S. tour. Locher lifted the ban in time for the boys to return to play at Municipal Stadium in 1966. Once again, Cleveland fans’ love of rock got the better of them and they overwhelmed security, causing chaos and another stop to a show. This was becoming the norm, unfortunately. The once wacky fun of being chased around and having fans interrupt performances had gotten seriously old for the band members, and two weeks after, the Beatles finished their tour and never started one again. Fun Beatle-adjacent fact: in his final interview, Stone Temple Pilots singer Scott Weiland said his first-ever concert was the Beatles tribute show “Beatlemania” at Blossom Music Center.

HENDRIX, 1968

By the time the Beatles played live again for the only other time, in their 1969 ﬁlmed appearance atop Apple Corps in London, the world of rock and roll was light years away from the Beatlemania of ’64. And the world of Moondog Freed might as well have been on the actual moon. What had seemed so dangerous and wild to parents of the early 1950s had gotten even wilder and actually dangerous for the Beatles, as the world itself became a little more, well, wild and dangerous. In the volatile year of 1968, the Jimi Hendrix Experience played two gigs along with the Soft Machine at Public Hall on March 26. Hendrix’ incendiary guitar style threatened to turn actually explosive when a bomb threat was made on the venue. According to Time magazine, after people checked under their seats, the show went on, with Hendrix remarking, “Nobody but Jimi burns a house down.” Of course, the audience, inspired by his playing, went on to give the venue its worst beatdown “since it was battered three years ago by the Beatles.” Nine days later, Martin Luther King Jr. was assassinated in Memphis, and Hendrix would turn his grief into a legendary impromptu gig in New York with B.B. King, Joni Mitchell, Janis Joplin and others. Lest your takeaway be, “wow, so many famous gigs in Cleveland turned into catastrophes!” note of course that there have been thousands and thousands of performances that did not descend into the bad kind of chaos, but the passion of Cleveland music lovers—going back to dancing in Record Rendezvous to closing down the Moondog Coronation Ball and continuing to through the turbulent ’60s to the present day—is a big part of why the city is a beloved stop on any musician’s tour schedule, and why Cleveland is home to the Rock & Roll Hall of Fame which, after being temporarily closed due to the COVID-19 pandemic, re-opened to the public on MLK Day 2021, hopefully a sign of better, more rocking days to come.

Jimi Hendrix performing at Cleveland’s Music Hall, March 26, 1968. Photographer George Shuba. Courtesy of the Rock & Roll Hall of Fame.

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WHO IS YOUR GO-TO BAND OR ARTIST WHEN YOU CAN’T DECIDE ON SOMETHING TO LISTEN TO? DRAKE WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? J. COLE WHAT IS YOUR FAVORITE TV THEME SONG? THE NAME WAYANS ONE ARTISTBROS YOU’VE NEVER SEEN LIVE BUT WOULD LIKE TO? FROM 1-10,MARS RATE YOUR SINGING ABILITY. BRUNO 2 WHAT WAS THE FIRST CONCERT YOU ATTENDED? WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? NEVER ATTENDED A CONCERT LIL WAYNE WHAT IS YOUR FAVORITE INSTRUMENT? WHERE IS YOUR FAVORITE PLACE TO LISTEN TO MUSIC? SAXOPHONE SHOWER & CAR

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WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? WHAT WAS THE FIRST CONCERT YOU ATTENDED? J. COLE CHRIS BROWN NAME ONE ARTIST YOU’VE NEVER SEEN LIVE BUT NAME ONE ARTIST YOU’VE NEVER SEEN LIVE BUT WOULD LIKE TO? WOULD LIKE TO? BRUNO MARS LIL UZI / LIL BABY WHAT WAS THE FIRST CONCERT YOU ATTENDED? FROM 1-10, RATE YOUR SINGING ABILITY. NEVER ATTENDED A CONCERT 10 WHAT IS YOUR FAVORITE INSTRUMENT? WHAT IS YOUR FAVORITE GENRE OF MUSIC? SAXOPHONE HIP-HOP

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ROCKIN IN THE ‘70s BY MICHAEL BRADLEY

It wasn’t supposed to happen in Cleveland. Columbia Records wanted to put the legendary August 1978 Bruce Springsteen concert in another city, like Chicago or Detroit. Larger markets.

But the folks at WMMS-FM, the mighty “Buzzard,” protested. Why go to one of those towns, they argued, when the event will not be received with the same enthusiasm and outright mania that it would be in their town. The argument they made was simple:

accommodations outside the Agora for fans hoping to get as close to the stage as possible. Adding to the excitement was the fact that WMMS would air the show live, a broadcast its parent company decided to make available in several other markets.

“If it’s in another city, it’s just another concert. If it’s in Cleveland, it is the concert.”

And so, when WMMS DJ Kid Leo stepped to the microphone to introduce the band, the atmosphere had a kinetic feel, even if “adult beverages” weren’t being served, in an attempt to cut down on background noise from rowdy attendees. Leo set it up perfectly.

That was hard to refute. So, Columbia relented and announced that on August 9, Springsteen and the E Street Band would play a free gig at the Agora Theater and Ballroom to celebrate WMMS’ 10th anniversary. Tickets would be distributed by lottery, and seats at the hall – which held fewer than 1,000 fans – would be general admission. That meant some overnight sidewalk

“Ladies and gentlemen: The Main Event. Round for round, pound for pound, there ain’t no ﬁner band around. Bruce Springsteen and the E Street Band!”

After razzing Leo about memorizing that intro at home, Springsteen greeted the crowd and asked a simple question: “Are you ready to shake them summertime blues?” With that, the band burst into the Eddie Cochran anthem of the same name, and one of the most famous concerts of the ‘70s – or any other era, for that matter – kicked off. Cleveland had embraced Springsteen as only a few other cities had. Sure, Springsteen was big in his native New Jersey, as well as Philadelphia and New York, but he hadn’t gained too much attention elsewhere. Thanks to the “Cleveland Boys,” a small cadre of fans who had met Springsteen back in Jersey, and ‘MMS, the Bruce gospel had been spread to the city. And thanks to the concert, which

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Belkin Productions advertisement from Scene for the World Series of Rock at Cleveland Stadium, featuring Lynyrd Skynyrd, the Beach Boys, Joe Walsh, and REO Speedwagon, June 1974. Courtesy of the Rock & Roll Hall of Fame.

Plain Dealer rock critic Jane Scott’s copy of Meat Loaf’s Bat Out of Hell, 1977, one of the ﬁrst releases on Cleveland International Records, eventually selling 43 million copies. Gift of the Jane Scott Estate. Courtesy of the Rock & Roll Hall of Fame

became a favorite of bootleggers for decades, the city’s relationship with the rocker grew. The show remains a seminal moment in the Springsteen coda but also an example of the excitement, influence and sheer fun of the Cleveland music scene in the 1970s. As concerts became happenings, musicians grew into superstars and the industry exploded, Cleveland played a vital role, just as it had in the ‘50s and ‘60s. In the process, it created a decade-long argument for why it deserved to be the home of the Rock & Roll Hall of Fame. The city’s appetite for rock music exploded, but other genres experienced heightened attention, too. Few who lived in the area during the ’70s can forget the Richfield Coliseum’s opening night, October 26, 1974, when Frank Sinatra staged a concert for a sellout throng of 21,000 people, many of whom waited an hour or longer in traffic near the arena. Because the Coliseum was hard by the I-271/SR303 interchange, jams were typical when

Single for Ian Hunter’s “Cleveland Rocks,” 1979. Gift of Bill Anderson. Courtesy of the Rock & Roll Hall of Fame.

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games or shows were staged there. Those who made it in time for the opener heard Sinatra sing “The Lady is a Tramp” at the outset of a 14-song set. He closed with “My Way” and thrilled patrons with other classics like “I Get a Kick Out of You,” “Send in the Clowns” and “I’ve Got You Under My Skin.” Talk about opening up a building in style. Two nights later, Stevie Wonder dazzled fans with his hits in support of the July 1974 release “Fulfillingness’ First Finale,” with Elton John hitting the Richfield stage five days after that to complete a legendary first week of music at the new venue. Earlier that year, the first three World Series of Rock concerts were held at Cleveland Stadium,

beginning a seven-year run that would lure some of music’s biggest acts to the cavernous edifice and also feature some of the rowdiest moments in the city’s history. With multiple acts spread out over several hours and as many as 88,000 fired-up fans in attendance, mayhem was almost inevitable. The concerts were staged by legendary Cleveland promoter Mike Belkin, in conjunction with WMMS. The first show featured The Beach Boys, Joe Walsh, Lynyrd Skynyrd and REO Speedwagon. Two other shows took place that summer, with Emerson Lake & Palmer and Crosby, Stills, Nash & Young as the headliners. Santana and The Band were also on the ’74 bills.

Scene advertisement for Ian Hunter event at Peaches Records & Tapes for his album You’re Never Alone with a Schizophrenic, featuring “Cleveland Rocks,” June 20, 1979. Courtesy of the Rock & Roll Hall of Fame.

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Belkin’s role in the Cleveland music scene wasn’t limited to the giant outdoor shows. He also managed the Michael Stanley Band and Wild Cherry, which had a giant hit with “Play That Funky Music” and included Donny Iris, who later had a successful solo career. Cleveland was also the launching pad for The Raspberries, who in the early ‘70s brought power pop to the forefront with a string of hits, including “Go All The Way” and “I Wanna Be With You.” Lead singer Eric Carmen later broke with the group and enjoyed success in the mid-1970s with “All By Myself” and “Never Gonna Fall in Love Again.” Another Cleveland native, Bobby Womack, spent plenty of time on the Billboard Hot 100 and R&B charts during the ‘70s, most notably with “Lookin’ For a Love.”

Euclid Beach Band Courtesy of the Rock & Roll Hall of Fame.

Ellen Foley Courtesy of the Rock & Roll Hall of Fame.

There were four World Series shows in 1975, with The Rolling Stones standing atop a strong lineup of acts that included Yes, Aerosmith, Rod Stewart and Chicago. There was no ’76 concert, but in 1977, Pink Floyd was the sole act at one of the two shows, with the other boasting a powerhouse lineup of Peter Frampton, Bob Seger and the Silver Bullet Band and The J. Geils Band. The Stones returned in ’78, and Fleetwood Mac was the big name on one of the other two shows, which came at the band’s “Rumors” peak. There was only one 1979 World Series show, but that was quite enough. While the bill was outstanding – Aerosmith, Ted Nugent, Journey, Thin Lizzy, AC/DC, The Scorpions – the crowd was more unruly than any of its predecessors. There were five reported shootings and many other acts of violence, and the backstage vibe at the show was also a bit off and was highlighted (lowlighted?) by a scuffle involving the wives of two Aerosmith band members. The next summer, Seger and his band headlined the final World Series show.

The Pretenders began in nearby Akron during the ‘70s and hit it big with their 1980 self-titled release but spent the ‘70s honing their new-wave sound in area clubs. Another Akron band, Devo, became a sensation in the late ‘70s with its album “Q: Are We Not Men? A: We Are Devo!” and appeared as the musical guest on “Saturday Night Live” in October 1978. And David Allan Coe, who was at the forefront of the Outlaw Country movement, was an Akron native. The biggest musical release associated with Cleveland came in October 1977, when Steve Popovich’s Cleveland International Records put out Meat Loaf’s “Bat Out of Hell.” Popovich, who grew up in Cleveland, had been a successful executive at Columbia Records and Epic Records. When no other label would go near the operatic LP, which was developed from a futuristic musical take on Peter Pan created by songwriter Jim Steinman, Popovich grabbed it and distributed it through Cleveland International. The record sold 43 million copies worldwide. On Sept. 6, 1978, at the Blossom Music Center, Meat Loaf received his gold record for the album on stage. While that concert made news for the presentation – and the terriﬁc content of “Bat Out of Hell” – Cleveland had many other outstanding and notable shows during the 1970s. On September

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The Clash on its first-ever trip to the United States. While the Agora, Cleveland Stadium and Richfield Coliseum hosted many notable acts, Public Hall, which opened in 1922, had a remarkable lineup during the 1970s, welcoming such luminaries as Elvis Presley, The Who, B.B. King, The Grateful Dead, Johnny Cash, Joni Mitchell and Billy Joel. In April 1971, Michael Jackson made his first-ever appearance in Cleveland, with his brothers in the Jackson 5. Michael, who was only 11, Steve Popovich The Boyzz needed special permission to appear Courtesy of the Rock & Roll Hall of Fame. Courtesy of the Rock & Roll Hall of Fame. that night. The Jackson 5 returned 22, 1972, David Bowie played his first concert in in ’72 and ’73, and things got so out of control at the United States. Although several of his other the 1973 show that band manager Bob Jones had Midwest dates featured low ticket sales, the concert management turn up the lights so he could implore at the Cleveland Music Hall was a huge success. people to calm down. They did, and the show Jane Scott the Plain-Dealer’s music critic, was continued. particularly impressed and wrote, “Orange-haired Bowie, one of the most important figures of ’70s In March 1979, Ian Hunter provided a fitting end rock, seemed a little awkward at an earlier press to a great decade of music in the city. The song, conference, but after his smash show, he eluded “Cleveland Rocks,” which he had released two his security guards and was eager to talk about years earlier as “England Rocks,” commemorated coming shows. We reporters sensed that a star was his affection for Cleveland, which was the site of the born that night.” first club Hunter’s old band, Mott the Hoople, sold out in America. The coasts weren’t big fans of the Although Led Zeppelin’s 1975 show at the band, but Cleveland loved it, and Hunter insisted Richfield Coliseum – its first in the city since ’69 – that the song was written with the city in mind, even is considered strong, the April 27, 1977 return is if its first iteration referenced his native country. It legendary. Included in the three-hour show are an begins with legendary Cleveland DJ Alan Freed epic Jimmy Page guitar solo and a rare all-acoustic welcoming listeners to “The Moondog Show” and set. Like the ’78 Springsteen bootleg from the became an unofficial city anthem. On June 19, Agora, the recording of this show, nicknamed “The 1979 then-mayor Dennis Kucinich awarded Hunter Destroyer,” was the most coveted Zeppelin pirate the key to the city. It was another example of the recording. city’s great musical culture during the decade and proved once again what Kiss bassist Gene There were many other significant moments Simmons had shouted from the Public Hall stage throughout the 1970s in the Cleveland area, during a 1975 concert: including Pink Floyd’s 1972 appearance at the Akron Civic Center, when the band played the “Don’t anybody ever say Cleveland can’t rock and entire, unreleased-as-yet “Dark Side of the Moon” roll!” album. In late December, 1976, Patti Smith dazzled an Agora audience with her passionate musical Indeed. energy. The Agora also withstood a 1979 visit from SWORD M AGAZI NE | 51

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WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? J. COLE

WHAT WAS THE FIRST CONCERT YOU ATTENDED? THE BEACH BOYS WHICH TEAMMATE DO YOU THINK SINGS THE BEST? LARRY NANCE JR. WHAT IS YOUR FAVORITE TV THEME SONG? THE SOPRANOS

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NAME ONE ARTIST YOU’VE NEVER SEEN LIVE BUT WOULD LIKE TO? BRUNO MARS WHAT WAS THE FIRST CONCERT YOU ATTENDED? NEVER ATTENDED A CONCERT WHAT IS YOUR FAVORITE INSTRUMENT? SAXOPHONE

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Concussion symptoms usually show up right away, but you might not notice that something “isn’t right” for hours or days. A concussion feels different to each person, so it is important to tell your parents and doctor how you are feeling. The information provided in this document or through linkages to other sites is not a substitute for medical or professional care. Questions about diagnosis and treatment for concussion should be directed to a physician or other health care provider.

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WHAT IS YOUR FAVORITE TV THEME SONG? THE FRESH PRINCE OF BEL-AIR WHAT IS YOUR FAVORITE INSTRUMENT? SAXOPHONE FROM 1-10, RATE YOUR SINGING ABILITY. 6 WHO IS YOUR ALL-TIME FAVORITE ARTIST? DRAKE WHERE IS YOUR FAVORITE PLACE TO LISTEN TO MUSIC? CAR NAME ONE MUSICAL ARTIST YOU WISH WAS STILL ALIVE. MICHAEL JACKSON

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IF YOU COULD RECORD A SONG WITH ANY MUSICAL ARTIST, WHO WOULD IT BE? J. COLE FROM 1-10, RATE YOUR SINGING ABILITY. 4 WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? WHAT WAS THE LAST CONCERT YOU ATTENDED? J. COLE DRAKE NAME ONE ARTIST YOU’VE NEVER SEEN LIVE BUT WHO IS LIKE ONE ARTIST WOULD TO? YOU REMEMBER YOUR PARENT/ GUARDIAN PLAYING AS A CHILD? BRUNO MARS TEVIN CAMPBELL WHAT WAS THE FIRST CONCERT YOU ATTENDED? WHICH TEAMMATE CAN SING THE BEST? NEVER ATTENDED A CONCERT ME WHAT IS YOUR FAVORITE INSTRUMENT? WHAT IS YOUR GO-TO KARAOKE SONG? SAXOPHONE BOHEMIAN RHAPSODY

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THE 2019-20 CLEVELAND MONSTERS’ YEAR IN REVIEW Tony Brown, “Voice of the Monsters”

he 2019-20 season was without question a campaign of change for the AHL’s Cleveland Monsters and a year that featured the most abrupt and unexpected halt to play in the club’s 13-year history. With 14 games left on the team’s schedule, the COVID-19 pandemic slammed the door on the Monsters’ dreams of a playoff push following a 3-2 overtime loss in Charlotte on March 11th, leaving Cleveland alone in eighth place in the North Division standings with 55 points and a 2431-5-2 record through 62 outings.

Joining the Monsters prior to last season for his ﬁrst AHL coaching stint since the early 1990’s was experienced bench boss Mike Eaves, a veteran of over 30 seasons in the professional and collegiate coaching ranks. Most recently, Eaves served as head coach at Minnesota’s St. Olaf College (2016-19) and before that with his alma mater, the University of Wisconsin, where he guided the Badgers for 14 seasons (2002-16), helping Wisconsin to a pair of appearances in the NCAA National Championship Game (2006, 2010), claiming the national crown

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in 2006. Taking the reigns for Cleveland upon his hiring in June of 2019, Eaves became the club’s sixth head coach in team history and was joined at the Monsters’ helm by incoming General Manager Chris Clark, who also serves as Director of Player Personnel for Cleveland’s NHL affiliate, the Columbus Blue Jackets. Speaking of the Blue Jackets, last season marked the fifth year of Cleveland and Columbus’ highly successful affiliation and, due to myriad injuries at the NHL level, one of the major themes of the campaign for both clubs was the fact that numerous Monsters players were utilized and relied upon by the Jackets throughout the season. In 2019-20, several key Cleveland pieces saw their on-ice success propel them to hockey’s highest level, including forwards Marko Dano, Nathan Gerbe, Jakob Lilja, Ryan MacInnis, Stefan Matteau, Kole Sherwood, Kevin Stenlund, and Calvin Thurkauf, defenseman Gabriel Carlsson, and goaltender Matiss Kivlenieks. Cleveland’s top scorer last season was playmaking defenseman Adam Clendening, who led the Monsters in both assists (34) and points (41), ranking in the AHL’s top-five among blue-liners in both categories. Rookie forward Trey Fix-Wolansky tallied a teamhigh 12 goals, as did Matteau, while Cleveland platooned in the crease with five goaltenders seeing action during the season. Young Finnish backstop Veini Vehvilainen impressed in the first North American action of his career, leading the Monsters with 33 appearances in 201920, while Kivlenieks played 20

games for Cleveland, net-minder/ goaltending coach Brad Thiessen manned the blue paint eight times, and Columbus’ top two goalies, Joonas Korpisalo and Elvis Merzlikins, made appearances for Cleveland also, both on rehab assignments. Last year, Eaves and his staff opted to split the team’s captaincy between a pair of respected, experienced leaders in the club’s forward group. Veteran goal scorer Zac Dalpe wore the captain’s “C” on the road, while Gerbe led the team during home games and defenseman Dillon Simpson served as Cleveland’s full-time alternate captain. Despite the screeching halt to play and the team’s injury-fueled personnel issues, Cleveland still managed to make history last year, or at least their devoted fans did, as 2019-20 marked the ﬁrst time in Monsters franchise history that the club led the AHL in average attendance. Last season, passionate Northeast Ohio hockey fans packed Rocket Mortgage FieldHouse to the tune of over 9,000 supporters per game. With the AHL still reﬁning its approach for the 2020-21 season, here’s to hoping the NHL’s recent announcement of a January start for a shortened, 56-game season serves as a positive indicator for the Monsters’ long-awaited return to the ice in downtown Cleveland, where Monsters players, coaches, and staff members eagerly await the day they’ll be able to once again share the incomparable game-night atmosphere at the FieldHouse with the AHL’s best fans, just as soon as it’s safe to do so.

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ROCK’S HALLOWED

GROUND

BY JON COOPER

In 1979, former Mott the Hoople frontman Ian Hunter released the rock anthem, “Cleveland Rocks.”

Cleveland Wins Rock & Roll Hall of Fame. Courtesy of the Rock & Roll Hall of Fame.

That declaration wasn’t news to anyone in Cleveland. The city knew all about its history of, and propensity for, great rock and roll, although it did proudly embrace the sentiment. Radio station WMMS even played the song every Friday at 5 p.m. to kick off the weekend. This passion for this genre of music made it fitting that the Rock & Roll Hall of Fame and Museum would make its home in Cleveland.

The city not only has always been a hot spot for rock and roll, it can even take credit for introducing the phrase to the American lexicon. The phrase “Rock and Roll” first came out of the mouth of Cleveland D.J. Alan Freed, who coined the phrase while working at WJW and who helped put together what is regarded as the first rock and roll concert, “The Moondog Coronation Ball,” on March 21, 1952 at Cleveland Arena.

Legendary venues like The Agora, Public Hall, Leo’s Casino, Gleason’s Musical Bar and Pirate’s Cove (later Peabody’s Downunder) just to name a few, combined with arena-sized venues like Cleveland Arena and Richfield Coliseum, made Cleveland a regular stop for touring bands, many of whom would eventually wind up in the Hall of Fame. The Rock & Roll Hall of Fame was established in 1983 by

Atlantic Records founder Ahmet Ertegun and, in January of 1986 scheduled its first inductions. It would be a tremendous inaugural class, that included Elvis Presley, Buddy Holly, Jerry Lee Lewis, James Brown, Chuck Berry, The Everly Brothers, Sam Cooke, Ray Charles, Little Richard, and Fats Domino, early rock influencers Jimmy Rodgers, Jimmy Yancey and Robert Johnson and nonperformers Sam Phillips and Freed.

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Courtesy of the Rock & Roll Hall of Fame.

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70 | SW ORD MA G A Z IN E Then-Ohio Governor Richard F. Celesto and Cleveland Mayor George V. Voinovich celebrate Cleveland’s selection as the site for the Rock & Roll Hall of Fame. Photographer Janet Macoska. Courtesy of the Rock & Roll Hall of Fame.

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But selecting that first class of inductees would be easier than selecting a home for the Hall, itself. In 1985, as the search began, Cleveland was a strong candidate but still was something of a dark horse in the face of such stiff competition, as New York, the front-runner, Memphis, Philadelphia, Nashville, Chicago, and San Francisco. Despite its pedigree -- it had earned the nickname “The Rock and Roll Capital of the World” -- Clevelanders knew their city’s image needed a new shine. The ‘80s had done a number on the city’s reputation, having gone through such misfortune as defaulting on nearly $15 million dollars and the Cuyahoga River catching fire. Sports teams also were down, as from 1980-85 the Cavaliers, MLB’s Indians, and the NFL’s Browns managed only three winning seasons and a .500 season, and made four postseason appearances -- all first-round exits (the Cavs fell 3-1 in the first round in 1984-85 to eventual Eastern Conference champion Boston, while the Browns were one-and-done three times). Cleveland needed a win and rock and roll was going to get it. The city did its part, creating The Civic Committee. Led by Executive Vice President of the Greater Cleveland Growth Association K. Michael Benz and including representatives of trailblazing radio station WMMS, Henry LoConti, Sr., the owner of rock club Agora and political heavy-hitters Governor Dick Celeste and then-Mayor George Voinovich, the committee raised some $65 million to get the ball rolling in the effort to bring the hallowed ground in Cleveland. “The two things that changed the whole thing were money because Cleveland was able to pony up the money they really needed, and the enthusiasm from the people of Northern Ohio,” said Norm N. Nite, a former Cleveland D.J. and author of the book ‘The House That Rock Built: How it Took Time, Money, Music Moguls, Corporate Types, Politicians, Media, Artists, and Fans To Bring the Rock Hall To Cleveland,’ who was part of the committee which formed the pitch to Ertegun, Jan Wenner, co-Founder of Rolling Stone Magazine, and other music bigwigs. They signed petitions and made those phone calls. Later on, even Sam Phillips from Memphis said, ‘You guys deserve it because you put your money where the mouth is, and you were able to do it.” Cleveland native Eric Carmen, former lead vocalist for ‘70s pop group The Raspberries, kept the ball rolling, penning a song called “The Rock Stops Here,” which got major radio play on WMMS and throughout the city. Clevelanders further advanced the ball, rallying behind the song and the movement. Some 660,000 of them signed a petition to house the Hall and residents flooded a USA Today

phone-in poll asking which city should get it. Legendary rocker Chuck Berry took the ball and ran it -- actually, you could say “Duck-walked” it -- the rest of the way. On March 21, 1986, Berry, nicknamed “The Father of Rock and Roll,” and a regular at Gleason’s, headlined a concert at Cleveland Union Terminal Train Station to mark the 34th anniversary of the Moondog Coronation Ball. Moondog Coronation Ball II, as it’d be known, inspired “Rock and Roll Day” throughout the city. The day the music thrived in Cleveland swayed the committee and Cleveland won the bid. World-famous architect I.M. Pei was hired to create a shrine that captured both the city of Cleveland and its passion for rock and roll. Pei’s unique body of works, including The John F. Kennedy Presidential Library and Museum in Boston, the Louvre Pyramid in Paris, and the East Wing of the National Gallery of Art in Washington D.C., made him the ideal choice. A 65,000-square-foot area of North Coast Harbor on the shores of Lake Erie was chosen as the location for the hall and ground was broken on June 7, 1993. The ceremony was attended by Berry, Billy Joel, Sam Phillips of Sam and Dave fame, ‘50s R&B singer-songwriter Ruth Brown, aka, “The Queen of R&B,” Pete Townshend, legendary windmilling guitarist for The Who, Carl Gardner lead vocalist of The Coasters, and Dave Pirner, frontman for Soul Asylum. While the Hall of Fame was being built, other giant venues continued the tradition of hosting big-time rock stars. Rocket Mortgage FieldHouse opened as Gund Arena on Oct. 17, 1994 to a sold-out concert by a five-time Grammy Award-winner and 23-time Grammy Award nominee Billy Joel. The new home of the Cavaliers, the IHL’s Cleveland Lumberjacks, Arena Football League’s Cleveland Gladiators, the WNBA’s Cleveland Rockers and the MAC Men’s and Women’s postseason tournaments was a premier destination for major concerts. The “piano man” was the perfect artist to debut the new venue’s state-of-the-art acoustics and surround sound. A little more than two years after breaking ground, on Sept. 1, 1995, the Hall was complete. Voinovich, now Governor, and Cleveland Mayor Michael R. White along with Little Richard and Yoko Ono were among a contingent of 10,000 at the ribbon cutting. Over the next two nights, Municipal Stadium held a star-studded, multi-generational event in front of 65,000, one of the largest SWORD M AGAZI NE | 71

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Promotional material from the grand opening of Gund Arena, featuring Billy Joel, October 17, 1994. Gift of Michael Galloway. Courtesy of the Rock & Roll Hall of Fame.

concerts in city history. It was a solar system of Rock’s past, present and future. The galaxy of stars included Bruce Springsteen, Berry, Bob Dylan, Little Richard, Jerry Lee Lewis, Johnny Cash, Aretha Franklin, Al Green, James Brown, Eric Burdon, John Fogerty, Robbie Robertson, Sam Moore, the Kinks, Martha Reeves & the Vandellas, the Allman Brothers Band, John Mellencamp, George Clinton, Bon Jovi, Sheryl Crow, the Pretenders, Iggy Pop, Melissa Ethridge, and Jackson Browne. Those packed houses confirmed that, without a doubt, choosing Cleveland for the Hall of Fame was the right call. This year’s Cavs are recognizing the Rock & Roll Hall of Fame with a logo saluting the Hall gracing the floor at Rocket Mortgage FieldHouse, while the team will pay tribute by donning alt-city uniforms. There’s also a “Cleveland Amplified” exhibit at the Rock & Roll Hall of Fame museum, intertwining the city’s music and sports. “At its heart, Cleveland is a rock and roll city in a passionate sports town,” said Tracy Marek, the Cavaliers chief marketing officer told Cleveland.com. “The new City Edition uniform brings together what makes us move and groove in the streets and on the court.” As Berry once proclaimed, “Hail! Hail! Rock ‘n’ Roll.”

Poster for the opening Concert for the Rock Hall, held at Cleveland Municipal Stadium, September 2, 1995. Artist Derek Hess. Courtesy of the Rock & Roll Hall of Fame.

Photograph from the groundbreaking of the Rock & Roll Hall of Fame, including Dave Pirner (Soul Asylum), architect I.M. Pei, then-Ohio Governor George V. Voinovich, Ruth Brown, Billy Joel, and Rock Hall cofounder Ahmet Ertegun, among others, June 7, 1993. Photographer Janet Macoska. Courtesy of the Rock & Roll Hall of Fame.

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FINDING HIS OWN WAY TO GREAT.

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As we social distance, COVID-19 pushes us apart. As we help children around the world, we pull together. The pandemic shows how connected we all are, how the quality of life anywhere affects everyone’s health and well-being, everywhere. Children in the world’s poorest places face the gravest risks — not just from COVID-19, but also from its ripple effects, especially hunger. Because when parents can’t work, children can’t eat. We’ve never seen a crisis like this. But ChildFund is helping millions of children across Africa, Asia and the Americas stay connected to what they need to grow up healthy, educated and safe. In the biggest emergency response of ChildFund’s 80-year history, we and caring people everywhere are pulling together to make sure that children not only survive the pandemic but thrive beyond it.

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WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? WHAT IS YOUR FAVORITE SONG? J. COLE HEART ON ICE NAME ONE ARTIST YOU’VE NEVER SEEN LIVE BUT WHERE YOUR WOULD IS LIKE TO?FAVORITE PLACE TO LISTEN TO MUSIC? CAR BRUNO MARS IF YOUWAS WERE ARTIST AND COULD WITH ANY WHAT THEANFIRST CONCERT YOU SIGN ATTENDED? MUSICAL WHICH WOULD IT BE? NEVER LABEL, ATTENDED A CONCERT YOUNG MONEY WHAT IS YOUR FAVORITE INSTRUMENT? WHAT ARTIST MUST YOU LISTEN TO PREGAME? SAXOPHONE LIL BABY

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Last year, Sam was too sick to dream. He has Primary Immunodeficiency or PI. Thanks to the Jeffrey Modell Foundation, he has been properly diagnosed and treated. Now he’s head of the class.

helping children reach for their dreams

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Athletes vs. Crohn’s & Colitis was founded in 2017 by Cavaliers’ forward, Larry Nance Jr. and Noah Weber.

OU R M IS SIO N To raise awareness of Crohn’s & Colitis in the adolescent population and help children realize their potential despite being diagnosed with a chronic illness.

OU R G O A L S • Use our national platform and Larry and Noah’s stories to bring awareness to IBD, as well as serve as a positive role model for those living with this disease. • Connect young people afflicted with Crohn’s or Colitis to athletes who have overcome similar challenges and inspire them to succeed. • Provide scholarships to high school student-athletes who are challenged by IBD and overcame hurdles to reach their goals. • Direct funds towards Crohn’s & Colitis research at the Cleveland Clinic and Mount Sinai IBD Clinical Center.

For more information, visit: athletesvscrohns.org

WHAT IS YOUR FAVORITE INSTRUMENT? GUITAR WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? WHICH TEAMMATE CAN SING THE BEST? J. COLE NO ONE SINGS NAME ONE ARTIST YOU’VE NEVER SEEN LIVE BUT FROM WOULD1-10, LIKERATE TO? YOUR SINGING ABILITY. 1 BRUNO MARS IF YOUWAS COULD ANY MUSICALYOU GROUP FOR A WHAT THEJOIN FIRST CONCERT ATTENDED? SINGLE GROUP WOULD IT BE? NEVERPERFORMANCE, ATTENDED WHAT A CONCERT AC/DC WHAT IS YOUR FAVORITE INSTRUMENT? WHAT IS YOUR FAVORITE MUSICAL GENRE? SAXOPHONE CHILL

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WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? J. COLE NAME ONE ARTIST YOU’VE NEVER SEEN LIVE BUT IF YOU COULD RECORD A SONG WITH ANY MUSICAL WOULD LIKE TO? ARTIST, WHO WOULD IT BE? BRUNO MARS TORY LANEZ WHAT WAS THE FIRST CONCERT YOU ATTENDED? WHERE IS ATTENDED YOUR FAVORITEAPLACE TO LISTEN TO MUSIC? NEVER CONCERT GAME ROOM WHAT IS YOUR FAVORITE INSTRUMENT? WHAT WAS THE LAST CONCERT YOU ATTENDED? SAXOPHONE B2K

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Defend her right to childhood.

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WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? NAME ONE MUSICAL ARTIST YOU WISH WAS STILL ALIVE. J. COLE MICHAEL JACKSON NAME ONE ARTIST YOU’VE NEVER SEEN LIVE BUT WHAT YOURTO? FAVORITE SONG? WOULDISLIKE AMBITION BY WALE BRUNO MARS IF YOUWAS COULD A SONG WITH ANY MUSICAL WHAT THERECORD FIRST CONCERT YOU ATTENDED? ARTIST, WOULD IT BE? NEVERWHO ATTENDED A CONCERT MEEK MILL WHAT IS YOUR FAVORITE INSTRUMENT? WHAT IS YOUR FAVORITE INSTRUMENT? SAXOPHONE DRUMS

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ROCK AND ROLL From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen (2009),

HISTORY ON

Photographer Carl Fowler. Courtesy of the Rock & Roll Hall of Fame

DISPLAY BY MICHAEL BRADLEY

It started with a head trip. It endures with a taste of some difﬁcult reality. When the Rock & Roll Hall of Fame opened in 1997, it did so with a sprawling look at music’s psychedelic era, when a variety of musical, cultural, political, stylistic and artistic phenomena combined to create a deﬁning state of mind and a rebellious response to authority. Titled “I Want To Take You Higher,” after the Sly & The Family Stone song of the same name, the exhibit included more than 500 artifacts and was designed to replicate the trippy period from 1965-69, which included ‘67’s Summer of Love and the seminal 1969 concert at Woodstock. Nearly 25 years later, a different kind of activism was highlighted at the Hall of Fame. The 2020 exhibit “It’s Been

Said All Along: Voices of Rage, Hope and Empowerment” highlighted musicians past and present who have worked for social justice and tried to stop abuses of power. The collection of artifacts highlighted the quest for real change and continued to prove that no matter how much the Hall is known for the actual music that has characterized rock and roll, its message remains one of and for the people and their journey down freedom’s many avenues. During the Hall’s 24-year existence, it has provided visitors with a collection of exhibits – both permanent and temporary – designed to show every facet of rock’s personality and to present the music in ways that allow museum visitors to learn about so much more than the beat. In addition to highlighting the musicians and the

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Cleveland Rocks (2017), Photographer Lacey Criswell. Courtesy of the Rock & Roll Hall of Fame

Stay Tuned: Rock On TV (2018), Courtesy of the Rock & Roll Hall of Fame sounds they created, exhibits have focused on significant milestones, such as Woodstock and the 50th anniversary of Motown Records; Cleveland’s rock-n-roll history; rock’s role in politics; influential business figures like Ahmet Ertegun and legendary blues men and women – Muddy Waters, Bessie Smith, Lead Belly – whose work influenced rock music. Of course, there is the main permanent display, found on Level 3, where the collection of inductees is celebrated. The exhibit features all of the legends in the Hall and their stories. There is also extra content about the most recent inductees, celebrating their careers and impacts on rock history. Visitors can spend hours learning about the legends, exploring rare memorabilia and viewing video of

concert performances, listening to their Career Defining Playlists and reliving the top moments from their induction ceremonies. After doing all of that, visitors can head into the Connor Theater to see a film from Oscar-winning director Jonathan Demme that highlights some of rock’s seminal moments. Other permanent displays include the Main Exhibit Hall, which celebrates Elvis Presley, The Beatles, Rolling Stones and other rock legends, rap music’s heroes and influencers and the music of Cleveland and the Midwest. On the museum’s fourth floor is a dynamic tribute to Pink Floyd’s vital opus “The Wall.” While it is important to acknowledge the greats who have been enshrined and the Big Stories of rock’s history, SWORD M AGAZI NE | 95

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much of the Hall’s power comes from the temporary exhibits that rotate throughout the museum. Because rock’s progression is not linear, and it’s impossible to tell its story in one narrative, the continual refreshing of the displays allows visitors to learn about music from a variety of perspectives. That way, they can understand how rich the history is and how much there is to learn. It all started in 1997 – the Hall’s first year – with the look at rock’s late-‘60s psychedelic detour. It was the 30th anniversary of the Summer of Love, and “I Want to Take You Higher” was the first temporary exhibit at the Hall of Fame. It was portrayed in various formats, including black-andwhite photographs, videos and actual artifacts that brought the turbulent, kaleidoscopic times to life. It focused on San Francisco and London, two of the significant centers of

the movement, and was laid out in a flower-shaped floor plan, with each “petal” focusing on one year from 1965-69. The exhibit culminated with a look at Woodstock, which remains the defining moment of ‘60s. A year later, the Hall of Fame paid tribute to Elvis Presley, rock and roll’s “King” and for many the spark that triggered rock’s explosion. Presley was a part of the 1986 first class inducted into the Hall, and the exhibit included more than 100 artifacts from his Graceland mansion, as well as memorabilia from manager Colonel Tom Parker and from Sam Phillips, the founder of Sun Records – and an inaugural class inductee as well. One year later, another trailblazer, Janis Joplin, was celebrated. Although her career was short when she died at the age of 27, Joplin’s talent and influence were significant. Her powerful voice and dynamic

Grateful Dead: The Long, Strange Trip (2012), Courtesy of the Rock & Roll Hall of Fame stage presence electriﬁed audiences and showed that a woman could deliver forceful rock music as well – or better than – any man. The display included her personal letters and photographs taken by her family and friends. In 2000, a pair of giants received special recognition when the Hall highlighted John Lennon and Muddy Waters. In “Got My Mojo Working,” Waters’ pioneering blues music was presented through his guitars, original recordings and photographs. Lennon’s life and work were highlighted to coincide with what would have been his 60th birthday, as well as the 20th anniversary of the former Beatle’s murder in 1980. The single biggest exhibit of Lennon artifacts included nearly 30 handwritten lyric manuscripts, photographs and his drawings and some striking items, such as the glasses he wore when he was shot. The decision to spotlight Waters was unassailable, but the 2001 exhibit that commemorated rock’s “Early

Influences” went beyond one man’s contributions and illuminated the substantial contributions of Waters, Robert Johnson, Woody Guthrie, Jimmy Rodgers, Bessie Smith and a host of others whose pioneering musical compositions helped birth rock music and inspire generations of performers. That year, Smith was part of a landmark display, “Bessie Smith and Women of the Blues,” which highlighted vital performers of the first half of the 20th century, including Ma Rainey, Billie Holiday, Mamie Smith and Alberta Hunter. While previous exhibits had focused on pioneers, influences and legends, the 2002 “Fifty Years of Rock and Roll” brought everybody together in the Museum’s main gallery. Organized by decade, the presentation included an avalanche of memorabilia. Visitors could see outfits worn by performers on stage and album covers, props used during performances and instruments. Nearly 80 artists

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were represented in the giant retrospective. That same year, the Hall celebrated 50 years of Atlantic Records, which was started by Ertegun, during Black History Month. One of the most influential labels of all time, Atlantic was also home to many great African-American artists, including Ray Charles, Aretha Franklin and The Drifters. Charles received the individual treatment in 2004 – quite appropriately – in an exhibit entitled “The Genius of Ray Charles.” The legend had died earlier that year, but the Hall brought his career to life with a rare and spectacular collection of personal and professional items. A braille text panel was created to give visitors the experience of reading in braille and to provide further insight into Charles’ remarkable life. Some of the clubs where Charles played early in his career were brought to life earlier that year in “American Music,” an exhibit of photographs from the book of the same name by legendary photographer Annie Leibovitz. She had visited juke joints in Mississippi, honkytonks in Texas and jazz clubs in New Orleans to create a tapestry of images celebrating the homes of America’s singular sound. In 2006, the Hall celebrated two very different but still highly influential artists with displays featuring Bob Dylan and The Clash. To highlight Dylan, America’s troubadour, curators amassed rare interview footage, instruments, handwritten lyric sheets and photographs. To bring The Clash’s pure power and rebellious message to visitors, the Hall presented instruments, stage clothing and manuscripts of the groundbreaking punk/new wave band. The highlight of 2007’s exhibit schedule was a look at the 1967 Monterey Pop Festival, which featured a collection of legendary artists – The Who, Jimi Hendrix, Janis Joplin, The Grateful Dead – and which had a huge influence on

Rolling Stones: 50 Years of Satisfaction (2013), Courtesy of the Rock & Roll Hall of Fame

Motown: The Sound of Young America Turns 50 (2009), Courtesy of the Rock & Roll Hall of Fame

rock music in America. It included artifacts from many of the performers and photographs that helped bring the important event to life. And since Cleveland helped rock and roll into a more vibrant existence, the Hall in 2008 launched two exhibits commemorating that status. One was a tribute to WMMS, the radio station responsible for launching the careers of many famous musicians. The other was a look at rock music in Cleveland from 1963-69 through the lens of photographer George Shuba. Five years later, Jimmy Baynes’ images of African-American life and music throughout the city in the 1950s and ‘60s brought a powerful part of Cleveland’s history to the Hall. Detroit isn’t too far from Cleveland, and its role in rock’s history is undisputed, a fact brought forward in 2009 with a tribute to Motown on its 50th anniversary. Clothing, posters, sheet music and recordings of the record label’s biggest stars emphasized its monumental contribution to music and American culture. A Jersey boy, Bruce Springsteen, was celebrated that year, too, and in 2011 Otis Redding’s Hall of Fame career was spotlighted, with guitar virtuoso Chuck Berry getting much-deserved attention a year later. Also in ’11, the Hall paid tribute to “Women Who Rock” with an exhibit featuring more than 70 artists and their signiﬁcant contributions to rock. The Rolling Stones’ 50th anniversary was commemorated in 2013, and the next year featured a double-barreled dose of soul and hip-hop. “Sweet Soul Music” looked at the Muscle Shoals recording studio’s history, while “Fresh, Wild, Fly and Bold” contained photos from Joe Conzo of the early days of rap and hiphop music and culture. Over the past few years, the Hall has been instrumental in demonstrating how music can be a force for change. The 2016 exhibit “Louder Than Words: Rock, Power, Politics” showed how musicians have fought for civil rights and against oppression. And the 2020 “It’s Been Said All Along” display showed that no matter what the time period or the generation, musicians will always speak out for justice and seek positive change in the world. It’s another example that this musical journey has been more about the rhythm, beat and words. It has been about the people.

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DIFFERENT NATIONAL ORIGINS.

SAME FAIR HOUSING RIGHTS.

It is illegal for landlords and real estate agents to deny you housing opportunities because of your ethnicity. The Fair Housing Act prohibits housing discrimination based on national origin. If you believe you have experienced a violation of your rights, file a complaint.

Go to hud.gov/fairhousing or call 1-800-669-9777 Federal Relay Service 1-800-877-8339

FAIR HOUSING: THE LAW IS ON YOUR SIDE. A public service message from the U.S. Department of Housing and Urban Development in cooperation with the National Fair Housing Alliance. The federal Fair Housing Act prohibits discrimination because of race, color, religion, national origin, sex, familial status or disability.

The Cleveland Cavaliers are committed to positively impacting important social issues in our community in the areas of education, health & wellness, youth & family services and volunteerism. Through our community programs and initiatives, and with ﬁnancial support from the Cavaliers Community Foundation, the Cavaliers aim to set the standard of giving in our community.

EDUCATION READ TO ACHIEVE

Presented by Cleveland-Cliffs

Read to Achieve is a season long campaign that encourages youth to develop a life-long love of reading both on their own and as a community! Through reading activities, reading timeouts and donations, Read to Achieve reaches thousands of elementary and middle school students in Northeast Ohio!

CAVALIERS/HUNTINGTON SCHOLARSHIP PROGRAM Presented by Huntington

For the 30th season, the Cavaliers and Huntington will award 10 Northeast Ohio high school seniors with a $2,000.00 college scholarship through the Cavaliers/Huntington Scholarship Program. Graduating seniors must submit a 500-word essay, perform a high level of service in their communities, provide a high school transcript, submit ACT and/ or SAT scores (if required by the accredited school the student plans to attend) and one letter of recommendation.

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READING & LEARNING CENTERS

In association with Sherwin-Williams

The development of Reading & Learning Centers (RLC) throughout Northeast Ohio provides qualiﬁed non-proﬁt organizations with an opportunity to improve the condition of its current facility as well as the quality of its literacy and educational programming. With these resources, these organizations will be able to provide the children they serve with better access to books, technology and educational programs. The renovation of RLC’s includes, but is not limited to, the following elements: • • • • • • • • • •

Fresh paint New ﬂooring Installation of bookshelves and cabinets Updated lights and ﬁxtures Replacement ceiling tiles Purchasing of new furniture Updated technology, such as computers and iPads Donation of new books Cavaliers signage and photos Mobile unit to move from classroom to classroom

Since 2004, the Cavaliers have created 21 Reading & Learning Centers at community-based organizations: St. Martin de Porres Family Center (Cleveland), Project: LEARN of Summit County (Akron), the Drew Gooden Reading & Learning Center at East End Neighborhood House (Cleveland), E. Prep Academy (Cleveland), the Eric Snow Reading & Learning Center at the Ed “Peel” Coleman Recreation Center (Canton), Boys & Girls Club-West Side Club (Cleveland), Douglas McArthur Girls Leadership Academy (Cleveland), Kenneth Clement Boys Leadership Academy (Cleveland), AJ Rickoff School (Cleveland), Nordson Boys & Girls Club (Elyria), West Side Ecumenical Ministries (Cleveland), St. Thomas Aquinas (Cleveland), John Marshall High School (Cleveland), Boys & Girls Club of Cleveland at FDR (Cleveland), Broadway Boys & Girls Club (Cleveland), Stepstone Academy (Cleveland), Boys & Girls Club at John Adams (Cleveland), Boys & Girls Club at East Tech (Cleveland), H. Barbara Booker School (Cleveland), Thurgood Marshall Neighborhood Resource & Recreation Center (Cleveland) and a sensory room at Clara E. Westropp School (Cleveland).

HEAD OF THE CLASS Head of the Class recognizes teachers in Northeast Ohio for making a difference in their students’ lives both inside and outside the classroom. Head of the Class teachers must work to ensure the academic success of their students, be involved in their school community and set an example for students and educators alike!

ALL-STAR KIDS All-Star Kids recognizes elementary, middle and high school students in Northeast Ohio who shine brightly both in and out of the classroom! AllStar Kids must demonstrate strong or improving academics, have a positive attitude, act as an example to their peers and be involved in their school community.

CAVALIERS/GOODYEAR $1 MILLION FOR STEM SUPPORT In connection to a partnership between the Cavs and the Goodyear Tire & Rubber Company announced in 2017, the relationship will yield a very special community beneﬁt to schools in Cleveland and Akron. The Cavaliers are funding $1 million of support to STEM (Science, Technology, Engineering and Mathematics) programs in the Cleveland Metropolitan School District and Akron Public Schools.

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NBA MATH HOOPS

Presented by Rocket Mortgage

The Cavaliers and Learn Fresh are proud to deliver NBA Math Hoops, presented by Rocket Mortgage, to students and educators throughout Ohio. NBA Math Hoops ties math education to the game of basketball and the current statistics of the NBA/WNBA’s biggest stars. The program is centered around a board game, mobile app and 12-lesson curriculum that is tied to the Common Core State Standards for mathematics and 21st Century Learning Skills. Participants use the program regularly in the classroom and after-school programs and take part in special team-sponsored events including a Tip-off Clinic for educators and a State Championship for outstanding students. Each year, one student from Ohio is also selected to participate in the NBA Math Hoops National Championship!

HEALTH & WELLNESS FIT AS A PRO

Presented by Medical Mutual and in association with Giant Eagle

Fit As A Pro is a season long program that encourages youth to live an overall healthy lifestyle through physical ﬁtness and well-balanced nutrition. Through monthly health and wellness activities, Fit As A Pro reaches thousands of elementary and middle school students in Northeast Ohio!

The program includes over 100 sites and partners in the region, including the Boys & Girls Clubs of Northeast Ohio, Cleveland Metropolitan School District, Columbus After-School All-Stars, Cuyahoga Metropolitan Housing Authority, Ohio Afterschool Network, Open Doors Academy and more. Nationally, over 30,000 students participate in the program, showing consistent mathematical and social-emotional gains on an annual study analyzed by the American Institutes for Research.

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WHEELCHAIR CAVALIERS Presented by Cleveland

Established in 1992, the Wheelchair Cavaliers partners with the Cleveland Cavaliers and Cleveland Clinic to compete on a national level as part of the National Wheelchair Basketball Association. Off the court, the Wheelchair Cavaliers mission is to make a difference in the community by helping educate and provide opportunities to children and newly injured adults with disabilities by building awareness. This mission is accomplished through various outreach efforts in the community including halftime appearances, speaking at schools/community organizations, performing demonstrations, competing at the highest level and continuing to bring championships to the Cavaliers organization and the people of Greater Cleveland. The program also includes a Jr. Wheelchair Cavaliers team in partnership with the Achievement Centers for Children.

YOUTH & FAMILY SERVICES LEGACY PROJECTS Cavaliers Legacy Projects are designed to provide children and families in Northeast Ohio with safe places to Live, Learn and Play. Since 2008, the Cavaliers have completed seven (7) such projects, including the funding and construction of a home for Greater Cleveland Habitat for Humanity; the construction of an outdoor basketball court at East End Neighborhood House; the installation of an outdoor sports court at the Cleveland Clinic Children’s Hospital for Rehabilitation; the renovation of a family lounge at the Cleveland Clinic Children’s Hospital for Rehabilitation; the renovation of a family room and resource center at Ronald McDonald House of Greater Cleveland; refurbishment of an activity room at Cleveland Clinic Children’s; and most recently a sibling drop-off room at Cleveland Clinic Children’s Main Campus.

BASKETBALL COURT REFURBISHMENTS The Cavs have partnered with the City of Cleveland to refurbish the basketball courts in the City’s Neighborhood Resource and Recreation Centers as well as the high school gyms in need in the Cleveland Metropolitan School District (CMSD). Eight (8) neighborhood resource and recreation center courts have been refurbished - Cudell, Earle B. Turner, Sterling, Estabrook, Lonnie Burten, Thurgood Marshall, Glenville and Cory – along with the basketball court at CMSD’s Rhodes College & Career Academy and School of Environmental Studies.

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SEASON OF GIVING From Thanksgiving through the New Year, the NBA and its teams celebrate the “Season of Giving”, a host of events designed to help spread the joy of the holiday season to those in our community!

CAVALIERS HARVEST FOR HUNGER CAMPAIGN The Cleveland Cavaliers are teaming up with the Greater Cleveland Food Bank for the 2021 Harvest for Hunger Campaign! Harvest for Hunger is a joint effort of four area food banks to raise money and food to ﬁght hunger in 21 Northeast and North Central Ohio counties and make a difference in the lives of hungry children and families in our community.

VOLUNTEERISM tMVP: Team Member Volunteer Program

CAVALIERS & MONSTERS TOY DRIVE Presented by Lexus

The Cavaliers and Cleveland Monsters are “All for One, One for All” this holiday season as they team up once again for the annual Toy Drive! Fans joined us in helping make the holidays special for children in our community by making a donation through the Cavaliers Community Foundation to support the holiday efforts of pre-selected non-proﬁts in Northeast Ohio that were matched $1 for $1 by the Cavaliers Community Foundation up to $5,000!

Team Members of the Cavaliers Operating Company, including members of the Cavaliers, Cleveland Monsters, Canton Charge and Rocket Mortgage FieldHouse, strive to make a difference in our community through various volunteer opportunities. Team Members volunteer as a part of company programs and initiatives as well as with local non-proﬁt organizations each month. Through volunteering, serving on non-proﬁt boards and participating in local philanthropic activities and events, the Cavaliers Operating Company strives to be a champion in the community!

CAVALIER LEGENDS The mission of the Cavaliers Legends Program is to promote, enhance and preserve the team’s lineage by acting as a resource of support for former players. Legends allow fans to reconnect with the history of Cavaliers basketball and maintain strong relationships within its local and surrounding communities. Cavaliers Legends who are currently actively involved in the program include Austin Carr, Jim Chones, Barry Clemens, Larry Nance, Sr., Bingo Smith, Elmore Smith and Campy Russell.

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CAVALIERS COMMUNITY FOUNDATION MISSION

The Cavaliers Community Foundation (CCF) supports programs for children, families and young adults designed to positively impact the community in the areas of education, health, recreation, employment, entrepreneurship and life skills. Since its inception in 1993, more than $24,000,000 has been granted through the CCF to local nonproﬁt organizations.

PROGRAM GUIDELINES

The Cavaliers Community Foundation invites qualiﬁed, taxexempt organizations in Northeast Ohio, seeking funding from the foundation, to submit a letter of inquiry to the CCF Board for review, consideration and response.

CAVALIERS COMMUNITY FOUNDATION ALL-TIME GRANT RECIPIENTS • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Achievement Centers for Children American Cancer Society American Red Cross Cleveland Chapter Bellﬂower Center for the Prevention of Child Abuse Berea Children’s Home Bicentennial Commission Big Brothers Big Sisters of Cleveland Bizdom Boys & Girls Clubs of Northeast Ohio Care Alliance Case Western Reserve University Centers for Families and Children City of Cleveland Division of Recreation City Year Cleanland, Ohio Cleveland Botanical Garden Cleveland Center for Economic Education Cleveland Christian Home Cleveland Clinic Foundation Cleveland Courage Fund Cleveland Education Fund Cleveland Housing Network Cleveland Initiative for Education Cleveland State University Foundation Cleveland Women, Inc. College Now Greater Cleveland Cornerstone of Hope Council for Economic Opportunity in Greater Cleveland Cuyahoga Community College Fund Cuyahoga County Invest in Children Cuyahoga Valley Association

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Cuyahoga Valley National Park Association Drink Local. Drink Tap. East Akron Community House Easter Seals Northeast Ohio Effective Leadership Academy Family Promise of Greater Cleveland GiGi’s Playhouse Greater Cleveland Habitat for Humanity Greater Cleveland Food Bank Group Workcamps HARAMBEE Hattie Larlham HELP Foundation, Inc. Hope Meadows Inner City Schools—Diocese of Cleveland Journey Center for Safety and Healing Junior Achievement of Greater Cleveland Juvenile Diabetes International, Inc. Lake Erie Girl Scouts Council Lakemore United Community Council Leprechaun Foundation Malone College Marycrest Music Through the Streets NE Ohio Chapter of the National MS Society Neighborhood Centers Association New Life Community Ohio Cancer Research Associates Ohio Caring Foundation Old Stone Education Foundation Open Doors Academy Pathway Caring for Children ParkWorks

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Personal Physicians’ Care of Ohio Prayers from Maria Project LEARN Project Love Providence House Safe Landing Youth Shelter Say Yes to Education - Cleveland Shoes & Clothes for Kids Special Olympics Ohio St. Edward High School St. Mary’s Parish CYO St. Peter’s School Summit County Boys & Girls Clubs Summit County CYO & Community Service Summit County Urban League The Akron Blind Center The City Mission The Cleveland Society for the Blind The Eleanor Rainey Memorial Institute The Foundation Fighting Blindness The Gathering Place The Hanna Perkins School The Salvation Army The Sokol Greater Cleveland The Twelve, Inc. United Cerebral Palsy University Settlement Urban League Visiting Nurse Association West Side Ecumenical Ministry WVIZ-TV Youth Opportunities Unlimited YWCA of Greater Cleveland

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WHAT YOURALL-TIME FAVORITEFAVORITE INSTRUMENT? WHO ISISYOUR MUSICAL ARTIST? PIANO J. COLE WHAT YOUR FAVORITE NAME IS ONE ARTIST YOU’VEALBUM? NEVER SEEN LIVE BUT MY TURN BY LIL BABY WOULD LIKE TO? BRUNO MARS IF YOU COULD JOIN ANY MUSICAL GROUP FOR A SINGLE PERFORMANCE, WHAT GROUP WOULD IT BE? WHAT WAS THE FIRST CONCERT YOU ATTENDED? MIGOS NEVER ATTENDED A CONCERT NAME ARTIST YOU’VEINSTRUMENT? NEVER SEEN LIVE BUT WHAT ONE IS YOUR FAVORITE WOULD LIKE TO? SAXOPHONE YOUNG THUG

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WHO IS YOUR ALL-TIME FAVORITE MUSICAL ARTIST? J. COLE NAME ONE ARTIST YOU’VE NEVER SEEN LIVE BUT WOULD LIKE TO? WHAT WAS MARS THE LAST CONCERT YOU ATTENDED? BRUNO I HAVE NEVER ATTENDED A CONCERT WHAT WAS THE FIRST CONCERT YOU ATTENDED? WHERE IS ATTENDED YOUR FAVORITEAPLACE TO LISTEN TO MUSIC? NEVER CONCERT IN THE SHOWER WHAT IS YOUR FAVORITE INSTRUMENT? WHO INFLUENCED YOUR MUSICAL TASTE? SAXOPHONE MY FAMILY

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CLEVELAND CAVALIERS CITY EDITION: READY TO ROCK & ROLL By Pete Croatto

The Cavs’ NBA championship in 2016, which ended a 52-year drought for Cleveland’s major sports teams, feels like a lifetime ago. That’s how quickly the NBA moves. The same with pop culture. Movies, books, television shows, and music enter and exit our queues—and our lives. But Los Angeles and New York City still serve as the pillars of America’s entertainment scene. Cleveland nary gets a mention. Once again, the Cavs, along with the Rock & Roll Hall of Fame, have changed the narrative to celebrate the city’s rightful place in music history. *** Behold the team’s City Edition uniforms, a partnership between the Cavs and the Rock & Roll Hall of Fame, which pay tribute to rock and roll, the musical genre born in a city that grew up to take over the world. The gritty touches in this ensemble shake, rattle, and roll. The waistband of the black shorts features a silhouette of the Cleveland skyline within a white guitar pick. On the right short leg, Cleveland badges inspired by tour pins and jacket patches amplify the bond between the Cavaliers, the Rock & Roll Hall of Fame, and the city both call home. The uniforms will be worn at select games throughout the 2020-21 season. “We are thrilled to team up with the Cavaliers to amplify Cleveland’s rock and roll heart through the City Edition uniform,” said Greg Harris, president and CEO of The Rock & Roll Hall of Fame. “This allows us to tell our exciting story throughout the Cavs basketball season.” The story begins in the early 1950s, the quiet before the storm. Cleveland disc jockey Alan Freed introduces new genre of music to a bunch of bored kids. On his WJWAM radio show, Freed plays rhythmic and soulful songs that make kids dance in the aisles at Record Rendezvous, one of the nation’s first record stores. Freed popularizes African American music called “rhythm and blues” to a new audience craving the urban vibe. He calls it “rock and roll.” Freed organizes history’s first rock concert, the Moondog Coronation Ball, featuring a lineup of R&B artists. An estimated 20,000 fans—outside and inside—flock to the

11,000 seat Cleveland Arena on March 21,1952. For a little perspective, Motown’s first hit record, “Money (That’s What I Want)” reaches #2 on Billboard’s R&B chart in 1960; the Beach Boys are founded a year later. The Beatles land in America—and drive a nation of teenagers wild on The Ed Sullivan Show--in February 1964. Rap is a New York City delight until The Sugar Hill Gang bang-bang say up jump the boogie mainstream in 1979. Without Freed spinning the platters that matter, America’s musical history—heck, it’s actual history--remains incomplete. At best, dance floors, car rides, and singing in the shower would turn staid. Though it’s lovely, you can’t really groove to Beethoven’s fifth symphony. Millions of grateful Americans bopping with ear buds at their desk or enduring a run on the treadmill owe a debt to Cleveland— and a little extra. In the 1970s, the city’s impact as a hitmaker grew alongside progressive rock station WMMS 100.7 FM and the Agora concert venue, which gave platforms to littleknown artists destined for greatness—Bruce Springsteen, David Bowie, Tom Petty and the Heartbreakers. Frequently, the stars are born here. The Raspberries (“Go All the Way”), Bone Thugs-n-Harmony (“Crossroads”), and the iconic Nine Inch Nails are just three homegrown hit-makers. (We will overlook Raspberries’ frontman Eric Carmen’s best-known solo effort, the icky “All by Myself,” but celebrate Nine Inch Nails’ Trent Reznor’s scores for David Fincher’s films.) For good measure, the Black Keys, like another treasured Cleveland institution adored the world over, hails from Akron. The next time somebody asks why the Rock & Roll Hall of Fame is in Cleveland, tell them that the city knew what was cool long before anyone else did. *** “At its heart, Cleveland is a rock and roll city in a passionate sports town,” said Tracy Marek, Cavaliers chief marketing officer. “The Cavs new City Edition uniform

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David Lee Roth-like kick. LeBron James making the impossible possible, providing at least one Michael Jackson moonwalk moment every game. Kyrie Irving handling a basketball like Jam Master Jay worked the turntables. For the Cavaliers, music and hoops have mingled beyond Kevin Love’s Uncle Mike being a founding member of the Beach Boys. Back in 1975, when the Cavs’ biggest rival was a lack of respect, it released the funkiest fight song in NBA history, “Come on Cavs (Got to Make It Happen).” According to Joe Gabriele’s entertaining 2003 account of the song’s creation, Cavs owner Nick Mileti, who owned radio station WWWE, felt the young team needed something extra. He tasked local radio personality Larry Morrow to create a modern-day version of “Sweet Georgia Brown.” The result, according to no less an authority than Austin Carr, was the “best professional team fight song ever.” He may be right. To those who think that record belongs in a museum, you’re in luck! A copy of “Come on Cavs” is at the Rock & Roll Hall of Fame as part of the “Cleveland Amplified” exhibit. This partnership between the Cavs and the museum features artifacts that speak to the longstanding connection between music and sports, including Larry Nance Jr.’s 2020-21 City Edition jersey and the Air Jordan IVs Chuck D of Public Enemy wore. Many Cavs have stepped up to the mic. The beloved Price, an All-NBA point guard and two-time three-point contest champ, released a spiritual album, Stand Steadfast, with his group, Lifeline. A trip to YouTube finds Price and his bandmates having a blast lip-syncing to the saxophonebrings together what makes us move and groove in the streets and on the court.” The new duds are not the only way the Cavs are celebrating the city’s connection to rock and roll this season. On designated City Edition theme nights, a specially designed court featuring the weathered “C” at half court will complement the team’s uniform. Designed by the Cavaliers creative team and constructed by Cincinnati Floor Company, the City Edition Court has a black perimeter—featuring a design inspired by the Record Rendezvous storefront sign—that frames the smoky gray hard wood floor. On each baseline, Cleveland is centered in the same white irregular type from the front chest of the uniform. Tour pin-inspired Cleveland badges and the Rocket Mortgage FieldHouse logo are on each half court. The east sideline features the Goodyear wordmark, also on each half court, with the NBA logo positioned at the half court line. The court is a fitting, funky tribute to the acts honored at the Rock & Roll Hall of Fame, but an accidental nod to the Cavs’ superstars who have turned their home court into a stage. Mark Price slithering between two closing defenders en route to the hoop. World B. Free finishing his jump shots with a 116 | SW ORD MA G A Z IN E

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infused “He’s Alive” in what looks like a massive storage closet...the darkened wing of a community theater stage? It’s hard to say. The serenely smiling, pleated pants-wearing, sweater-sporting Price provides a jarring contrast to his intense on-court persona, but he racks up the points and ably assists his co-singers in this bouncy tune. (His band once played a postgame concert at the Coliseum after beating the Seattle SuperSonics.) Deep playoff runs have always inspired music to fuel the team. In 2009, Forward Joe Smith penned a hip-hop song, “Playoff Anthem,” that was played throughout Cavs home postseason games. In the 2016 championship season, Lil Wayne wrote a custom song titled “OFF OFF OFF” for the team that mentioned each player from LeBron James to Timofey Mozgov. One of former Cav Iman Shumpert’s contributions to the 2016 championship run was his 2015-16 anthem, “The Name Drop,” a rousing number featuring Shumpert delivering lyrics at a rapid, lyrical pace that would make Andre 3000 beam. “To me, rapping is an art,” Shumpert, who has released four albums, wrote for Bleacher Report in 2015. “I express myself through song when I can’t let people in on my thoughts otherwise. I need the creative process.” Shumpert revealed that rapping was his escape from the game, and that he had written hundreds of songs. When it comes to rapping basketball players, the greatest is Shaquille O’Neal, whose debut 1993 album, Shaq Diesel, went

platinum and yielded two top 40 hits. “O’Neal,” according to The Undefeated, “is the first and only professional athlete to make a credible mark on the music game.” Sadly, when the future Hall of Famer landed in Cleveland in 2009, the 37-yearold Shaq Diesel was nearing “E” on rhyme—his last album was released in 2001—and playing time. He averaged 12 points and 6.7 rebounds a game in his one season as a Cav, well below his hefty career averages. *** O’Neal retired after the 2010-11 season. A younger generation knows him as a jovial basketball analyst and pitchman, not as a rapper or a generation-defining center. That’s the bittersweet beauty of basketball and music. It’s forever changing, making room for new artists who redefine the rules, leaving us breathless as past idols drift away. The City Edition court and uniforms will be featured at select games this season, but if Clevelanders want to bask in the city’s status as a music influencer and as a haven for great basketball, the Rocket Mortgage FieldHouse and The Rock & Roll Hall of Fame are here to stay. Past or present, Cleveland, indeed, rocks.

Pete Croatto is the author of From Hang Time to Prime Time: Business, Entertainment, and the Birth of the Modernday NBA (Atria Books), which was released on December 1.

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WHAT WAS THE FIRST CONCERT YOU ATTENDED? WIZ KHALIFA IF YOU COULD JOIN ANY MUSICAL GROUP FOR A SINGLE WHAT GROUP WOULD IT BE? WHO IS PERFORMANCE, YOUR ALL-TIME FAVORITE MUSICAL ARTIST? THE JACKSON 5 J. COLE WHO YOUR GO-TO BANDNEVER OR ARTIST YOU NAMEISONE ARTIST YOU’VE SEENWHEN LIVE BUT CAN’T DECIDE ON SOMETHING TO LISTEN TO? WOULD LIKE TO? JUICE BRUNOWRLD MARS NAME YOU’VE NEVERYOU SEEN LIVE BUT WHAT ONE WAS ARTIST THE FIRST CONCERT ATTENDED? WOULD LIKE TO? NEVER ATTENDED A CONCERT KANYE WEST WHAT IS YOUR FAVORITE INSTRUMENT? WHICH TEAMMATE IS THE MOST ENTERTAINING? SAXOPHONE JAVALE MCGEE

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