Scene Oct 28, 2015

October 28 - November 3, 2015 • VOL. 46 Issue 17

Dixieland,Ohio The mystifying support for the Confederate flag in the Northeast corner of a Union state.

By Sam Allard

T:12 in

magazine | clevescene.com | October 28 - November 3, 2015 B:12 in

2 S:11.25 in

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magazine | clevescene.com | October 28 - November 3, 2015 3

OCTOBER 28 - NOVEMBER 3, 2015 • VOLUME 46 N o 1 7 Dedicated to Free Times founder Richard H. Siegel (1935-1993) and Scene founder Richard Kabat Publisher Chris Keating

CONTENTS

56

Associate Publisher Desiree Bourgeois Editor Vince Grzegorek

Upfront

Editorial Managing Editor Eric Sandy Music Editor Jeff Niesel Staff Writer Sam Allard Web Editor Alaina Nutile Dining Editor Douglas Trattner Contributing Dining Editor Nikki Delamotte Stage Editor Christine Howey Visual Arts Editor Josh Usmani Interns Xan Schwartz, Brittany Rees, Brandon Koziol

6

NEOMG and City Council duke it out over CPP allegations, Tanner Fischbach returns, and more

Framed

12

Feature

15

All the best photos we’ve shared with you this week

Advertising Senior Multimedia Account Executive John Crobar, Shayne Rose Multimedia Account Executive Kiara Hunter-Davis, Joseph Williamson, Savannah Drdek Classified Account Executive Alice Leslie Creative Services Production Manager Steve Miluch Layout Editor/Graphic Designer Christine Hahn Staff Photographer Emanuel Wallace

On the mystifying support for the Confederate Flag in Northeast Ohio

Business Asst. To The Publisher Angela Lott Sales Assistant/Receptionist Megan Stimac

Get Out!

Dozens of events spanning the next week in Cleveland

33

Circulation Circulation Director Don Kriss Euclid Media Group Chief Executive Officer Andrew Zelman Chief Operating Officers Chris Keating, Michael Wagner Chief Financial Officer Brian Painley Human Resources Director Lisa Beilstein Digital Operations Coordinator Jaime Monzon

Art

41

Stage

42

Film

45

Dining

47

www.euclidmediagroup.com National Advertising Voice Media Group 1-800-278-9866, voicemediagroup.com

Lakewood Community College exhibit traces skulls and skeletons in pop culture

Cesear’s Forum tries to massage Peter Weiss’ The Investigation, but it rubs the wrong way

Cleveland Scene Magazine is published every week by Euclid Media Group.

Verified Audit Member Cleveland Distribution Scene is available free of charge, limited to one copy per reader Copyright The entire contents of Cleveland Scene Magazine are copyright 2015 by Euclid Media Group. Reproduction in whole or in part without written permission of the publisher is prohibited. Publisher does not assume any liability for unsolicited manuscripts, materials, or other content. Any submission must include a stamped, self-addressed envelope.

All editorial, advertising, and business correspondence should be mailed to the address listed above.

Subscriptions $150 (1 yr); $ 80 (6 mos.) Send name, address and zip code with check or money order to the address listed above with the title ‘Attn: Subscription Department’

Newsroom drama Truth mythologizes Dan Rather’s fall from grace

A tasty Southern hodge-podge at Chow Chow, and more

Music

...The story continues at clevescene.com 53

Eccentric singer-songwriter Kinky Friedman returns with his first studio release in over 30 years, and more

Savage Love Toxic distrust Printed By

72 COVER BY CHRISTINE HAHN PHOTO BY SAM ALLARD

Are You Seeing Clearly?

Eyes Examined • Mark A. Davis, OD

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magazine | clevescene.com | October 28 - November 3, 2015

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UPFRONT NEOMG VS. CITY COUNCIL: COMBATANTS TRADE BLOWS IN CPP DEBATE and Power.

In a letter to the editor, Kelley gently called Bender’s relationship with that firm a “curious” one.

Kelley wrote in his letter, and told Scene by phone, that a “bad taste” left in his mouth was specifically in reference to Bender’s professional situation, not (as the Plain Dealer implied) that the information had been made public in the first place.

He told Scene he didn’t know whether or not the adjustment charge was appropriate -- that’s what the committee meeting will seek to investigate -- but regardless, Bender never once brought up the fee to him when they worked together. Kelley was chair of the Public Utilities committee at the time, and both men agreed that their working relationship had been good. Bender even called it “outstanding,” moments before saying that “what Kevin Kelley believes is irrelevant.”

But Kelley said he must’ve hurt the Plain Dealer’s feelings or something with his “grain of salt” comment because he’s now on the receiving end of what feels like a personal vendetta.

“They bought Bender’s story hook, line and sinker,” Kelley told Scene.

“They’re making it seem like CPP has had some diabolical agenda... They took my comments out of context.”

The Plain Dealer published an editorial in its Sunday Forum section which knocked Kelley and his actions in the wake of Atassi’s reporting: “The fact that Kelley’s first reaction was to lash out at Bender, and his subsequent comment that he was taking the accusations “with a grain of salt,” makes one wonder how aggressive council’s look into the fee is likely to be,” the Editorial Board opined. “Anything other than a comprehensive, fully public inquiry would ill serve the residents of Cleveland and the customers of Cleveland Public Power. If Bender’s allegations are correct -- and they appear to be -- Kelley and City Council

THIS WEEK

ON WEDNESDAY, [SADLY, AFTER our Tuesday p.m. deadline] Cleveland City Council convened for a special Public Utilities committee meeting to “get to the bottom of” all this Cleveland Public Power brouhaha you’ve been reading about.

If you haven’t, here’s the abstract: Former CPP director Paul Bender, who now runs a “highly respected” consulting firm with expertise in utility billing systems, reached out to Leila Atassi at the NEOMG to blow an enormous whistle on the utility he used to run. CPP had been charging an illegal “ecological adjustment fee,” Bender alleged, to the tune of $128 million over the course of 16 years.

Bender said that when he was in charge, back in 2013, he brought this to the attention of Mayor Jackson and his staff, but that his objections were ignored. The theory is that, in order to compete with private-sector behemoth FirstEnergy, CPP wanted to keep its base rate low and continue using money from the ecological adjustment fee for operational expenses with a loose environmental connection -things like tree-trimming and snow removal.

“At the time, I received no feedback [from the Mayor] at all,” Bender told Scene when we spoke with him by phone last week.

Council President Kevin Kelley was upset by Bender’s decision to alert the media -- “If this was really bothering his conscience,” he told the NEOMG, “there were plenty of other ways to do it.”

Kelley was quoted saying that he took the NEOMG’s initial story “with a grain of salt,” because so much of it came from a former director who now serves as a pricey consultant for Landskroner, Grieco, Merriman, LLC, the fim that filed a Class Action Lawsuit against the Cleveland utility shortly after Atassi’s first story ran.

Bender is also consulting for the firm’s overbilling case against the Los Angeles Department of Water

ALL CANDY MATTERS

6

magazine | clevescene.com | October 28 - November 3, 2015

Middleburg Heights first-graders march and successfully petition mayor to extend trick-or-treat hours.

(Breaking: Middleburg Heights first-graders suddenly frontrunners in most local elections.)

BRAIN FARTS

may have little choice but to follow Bender’s advice, and either cut costs or enact a rate increase. So far, Kelley’s public statements suggest that he would have preferred that Bender’s concerns about the hidden fee not come up in a public forum. That is unfortunate. It appears that city officials already have operated quite enough out of the public eye with the people’s dollars.”

My my my.

On Friday afternoon, Kelley tried to explain to Scene why the issue is complicated for him. Some of it has to do with the narrative being crafted at the NEOMG, the idea of Bender as a gallant whistleblower out to save the public from a devious public utility.

A whistleblower often blows a whistle at tremendous personal risk -- have a look at Edward Snowden, or even at Abdul-Malik Ali, the Cleveland Hopkins Airport employee who came to the NEOMG with information about the airport’s staffing levels even after he’d alerted his superiors last year and been demoted in retaliation.

But Kevin Kelley invited us to consider what sort of personal risk Paul Bender was taking by “blowing the whistle” on Cleveland Public Power. None, was the answer he was shooting for. In fact, as a consultant for the attorneys filing suit, he stands to make a great deal of money.

The Plain Dealer, in its Sunday editorial, said that Kelley “suggested that Bender had a curious relationship with the law firm” that filed suit against CPP, but didn’t elaborate on that relationship or concede that Kelley’s suggestion was grounded in fact.

Nor did they mention that, as a self-sustaining public utility -- like Hopkins, CPP has to pay for itself -- if CPP lost a major lawsuit, the ratepayer would be on the hook: for a subsequent rate increase, sure, but also for costly legal fees and the beaucoup man hours for a consultant, who, a lot like the monitor in a consent decree, would

Brain surgery at Case Medical Center broadcast live on National Geographic Channel. PD editorial board skips it, content to chillax with low-fat popcorn and Turner Classic Movies.

#NEOCRIBS

Local ponzi schemer arrested in Peru after a decade on the run. When in NEO, he converted a building on his Wayne County property into a replica 16th century pub, with jewels and gold coins hidden in the walls. Whaaaaaaaaaaaa-

work to ensure that the terms of any potential settlement is implemented accurately.

THE FULLY EXPECTED YET ODDLY REASSURING RETURN OF TANNER FISCHBACH “I think the voters of Cuyahoga County are ready,” Tanner Fischbach tells Scene over lunch at the Corner Alley on East Fourth. “I think I might be the light at the end of the tunnel.”

The last time Fischbach and Scene met, his campaign for Cuyahoga County Executive had come to an abrupt halt. His calls for an upending of the county government had ended.

Now, though, the old optimism — the fire — is back.

This month, Fischbach pulled petitions for the soon-to-be-vacant helm of County Council’s Fourth District. Incumbent Chuck Germana, a Democrat, is not running for re-election. (The Fourth District encompasses Parma, Parma Heights and Middleburg Heights.)

Fischbach tells us he’s got nothing to lose. The only fodder political opponents might have for the inevitable attack ads has to do with his inexperience. He hasn’t held elected office. But Fischbach is prepared for his natural rejoinder: “Oh, so you have experience?” he says as he looks at his watch. “It’s Oct. 23, almost 2 o’clock, and it’s the same as it’s been the past 30 years.”

But what’s the plan, Tanner?

Well, the 21-year-old conservative — who once described himself as a “young Republican punk” — wants to focus local government on the people who vote and pay taxes, rather than the people who fill out the comfy chairs in council chambers. He talks about bringing Ohio’s slowly growing jobs numbers to the north coast and lowering the tax burden on new and old homeowners. (Property valuations are the number one issue that residents have been urging Fischbach

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UPFRONT to work on so far, he says.)

As he familiarizes himself with the structure and reach of county government, Fischbach hopes to capitalize on the downtown development boom by bringing businesses south to his district.

Helping the county’s small and big businesses means fostering healthy competition — the county’s antipoaching agreement is a bad deal for that sense of competition, he says.

County Executive Armond Budish is catering too much to bigbusiness interests of the downtown core, Fischbach says, adding that the government’s ken seems too narrowly focused on next year’s Republican National Convention, “which is great, but what happens after the fact?”

For now, he’s hitting the Fourth District streets and gathering signatures he’ll need to officially enter the race. You can expect another fundraiser at Ace’s in Middleburg Heights shortly after the new year, as well, where he’ll doubtlessly opine on the future of county politics.

“My district won’t be part of anything that’s a bad deal for my district or the county,” he says. “I’m trying to bring Cuyahoga County back.”

Photo by Eric Sandy

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Photo by Sam Allard

FEATURE

Dixieland,Ohio The mystifying support for the Confederate flag in the northeast corner of a Union state

By Sam Allard IT’S A DEWY, FRAGRANT, LATE summer morning in historic Willoughby, Ohio, 30 miles east of downtown Cleveland. And in the meeting room adjacent to Mayor David Anderson’s office on the second floor of City Hall, the mood has gotten tense. Maggie Rice, a 28-yearold activist, Willoughby resident, and recent contributor to the NewsHerald’s “Another Viewpoint” section, is confronting Anderson about the Confederate flag.

She’s here on behalf of the activist network Organize Lake

County. Much like Organize CLE, the Lake County collective picked up steam in the wake of Tamir Rice’s death and allied itself with the Black Lives Matter movement. In Willoughby, Rice and her cohort have been unpopular ever since they installed themselves across the street from a law enforcement appreciation rally last year.

As promised in her News-Herald editorial, Rice is now presenting the mayor a list of demands. At the August Last Stop Willoughby Parade, one float flew a panoply of Confederate flags, and Organize Lake County would like one of two things, Rice says: that Willoughby issue an official apology and brand the party responsible for the float a “hate group,” and/or that

Willoughby remove itself from future parades entirely, to communicate that it will not associate with hate groups or spend taxpayer dollars on public events that might be interpreted as supporting them.

Rice, wearing a hat with a Black Lives Matter pin, is methodical as she presents a packet of information to Anderson. She first highlights the history of the group in question — it’s the local camp of the national Sons of Confederate Veterans — and traces a media narrative of the national group’s affiliation with the League of the South, a known racist organization.

She then chronicles an abbreviated history of the Confederate battle flag.

“The Confederate flag, we are told, represents heritage, not hate,” reads a quote from Southern historian Gordon Rhea, in Rice’s packet (a copy

of which she provided Scene). “But why should we celebrate a heritage grounded in hate, a heritage whose self-avowed reason for existence was the exploitation and debasement of a sizable segment of its population?”

Mayor Anderson, blue-blazered and bespectacled, listens intently across the table, having granted Rice the courtesy of a private audience even after she and three other Organize Lake County reps met the previous week with law director John Wiles, your standard churlish suburban law director (i.e., partner at Wiles Richards, a firm specializing in suburban municipal law), and made no progress. But it’s clear this morning that though Anderson is happy to meet with Rice and hear her out, he has no interest in

magazine | clevescene.com | October 28 - November 3, 2015 15

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Photo by Sam Allard

FEATURE

South High Rebels take the field.

meeting her demands.

“I’m certainly willing to say the city’s never going to do anything to support a Confederate flag,” Anderson says, after stressing that though the flag may be offensive to people of color, First Amendment rights take precedence over municipal preference.

His rebuttal is essentially twofold.

On one hand, he tells Rice, it’s the parade organizers, the downtown business owners who comprise “Heart of Willoughby,” who make the decisions about the floats. They typically only select groups who have been vital to the economic resurgence of Willoughby’s downtown. But they can’t legally censor anyone on a public street.

That’s not entirely accurate. Heart of Willoughby president Kathi Cannon, who owns a New York-style deli on Erie Street, says that “all registrations are accepted and welcome to march in the parade as long as they follow the rules and regulations” included in the registration materials (italics added for emphasis). Those rules stipulate that, although “the parade is not a forum for any particular political, religious or social point of view” (Rule #4), “The Heart of Willoughby Inc.’s decisions regarding parade entries, their eligibility, placement and judging is final” (Rule #5). So what they say goes.

But moreover, Anderson takes pains to explain, the City of Willoughby only has two opportunities to march in parades every year, at the Last Stop Willoughby event and on Memorial Day. Every politician who represents the people of Willoughby takes advantage of both, to greet and celebrate with constituents — to, in Anderson’s words, “throw candy.” The idea that the city wouldn’t participate, he suggests, is insane.

18

This summer, the Sons of Confederate Veterans took home first place honors in the “classic vehicle” category, marching alongside their parade partners, the United Daughters of the Confederacy. Floats were judged, according to Kathi Cannon, by the AllAmerican Parade Judges Association, Inc. As to the SCV’s contribution to Willoughby’s economic vitality, Scene won’t speculate, but Anderson says the local camp, helmed by a Mr. Curtis and Mrs. Gloria Early of Willowick, is most definitely among the “historical” faction within the apparently bipolar national organization. Mayor Anderson hashed things out with Mr. Early over coffee, he tells Rice, and believes that he and his wife care much more about things like genealogies and gravestones than they do about politics.

“Would the city make a request ...” says Rice, fishing for a consolation prize now that she and Anderson have reached an impasse.

“No, see, Maggie, no. We can’t.

That’s like asking, that’s like me requesting ...”

“You can’t do it? Okay, well then I guess, could the city make a statement ...” “... like requesting the gay and lesbian community carry ... ” “Right. Okay, okay, I get it.” “ ... not carry the rainbow flag, which I mean, no, I never would.”

“Would the city make a statement ...” Rice begins, then pauses, visibly irked. “To be fair, the rainbow flag has never been flown at any lynchings that I’m aware of. I think it’s a very separate issue and I don’t like the two being compared.”

“No no no. I’m just saying ...”

(Mayor Anderson contacted Scene the

magazine | clevescene.com | October 28 - November 3, 2015

following day, apologizing for any possible misinterpretation. He said he never intended to compare the two flags and what they stood for. He said he was uneasy about the comment and that he thought Maggie was very gracious in her response.)

“These are not two special interest groups,” Rice says firmly. “We’re talking about racist violence and celebration of inclusion, two very different things. However, will the city of Willoughby say that they don’t want to march under a Confederate flag in a parade? That’s what it comes down to for me.”

“We’ve never marched under a Confederate flag,” Anderson says.

“I mean you did. You did this summer. I watched it happen.”

“We did not,” Anderson insists. “We did not.”

“You don’t see how the two, how putting ‘City of Willoughby’ and ‘Confederate flag’ next to each other — those two symbols — puts in the minds of the people watching the parade, including people of color, that one supports the other?”

“I think a couple of thousand people watched that parade, Maggie, and you’re the only person that’s asked me about it.”

Indeed. The local reaction to Rice’s Aug. 26 “Another Viewpoint” editorial in the local paper, neutrally titled “Flags and symbols, which may be harmless to some, can be offensive,” was, with few exceptions, pretty hostile. Readers commented on both the News-Herald website and on Facebook, chastising the newspaper for only printing one side of a divisive issue and laying into Rice for the audacity to question the freedom of speech.

And though online commenters are hardly a representative sample, the sentiments of flag supporters in Willoughby echo a growing clangor of battle flag support all around the state.

To refresh, we live in the state of Ohio, which is a Union state.

But ever since Dylann Storm Roof murdered nine black people at the Emanuel African Methodist Episcopal church in South Carolina early this summer, the Confederate battle flag debate has been forcibly re-thrust into the national spotlight.

Roof was seen in many published pictures brandishing or wearing the Confederate battle flag. His license plates bore the image of three of the flag’s iterations.

In the wake of the massacre, Confederate flag supporters have crawled out of the woodwork, in Ohio and elsewhere, to publicize their support for Southern heritage, and to assert that the flag had absolutely nothing to do with Dylann Roof and his actions.

South Carolina, for its part, removed the Confederate flag from its statehouse grounds in July, where it had flown since 1961. Similar actions were taken across the South: in Alabama, Florida, on the campus of the University of Mississippi. Equal and opposite protests mushroomed in response, and questions about the flag’s place in the American past and present have even trickled into the discourse of presidential candidacies.

John Kasich, for one, said he supported South Carolina’s decision to remove the flag.

But these conversations, which tend to be heated, aren’t just happening in the South.

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held a parade that one organizer said wouldn’t have been possible without the momentum generated by South Carolina. Until this summer, they’d only ever been able to gather five or 10 vehicles for a demonstration.

In Norwalk, Ohio (just south of Sandusky), a group called the North Central Ohio Confederate Supporters now hosts a monthly rally outside the Huron County Courthouse. Organizer Ray Back told the Sandusky Register that his group is exercising its free speech rights, and that the members are eager to educate “ignorant” passersby.

In Port Clinton, the police chief got heat for wearing a gaudy Confederate flag vest, and then for refusing to apologize. The local NAACP chapter chimed in to say that the item was especially insensitive, given the rocky relations between the black community and law enforcement.

Out west of Cleveland, a Lorain County Confederate Support Group emerged after county Democrats withdrew from the fair when they heard Confederate flags would be displayed and sold. The group now solicits support on its Facebook page where its mission is described thusly: “Lorain County Confederate Support Group is here to educate people of the meaning of the Confederate flag and be the voice of souhthern herritage support [sic].”

Organizer Tom Maybaugh has continually maintained that his support for the flag is not about racism — “It’s not about racism. Not one little bit,” he told the Chronicle-Telegram — and insists that the flag is a sign of free speech and “people standing behind what they believe in.”

Which is one reason, perhaps, the flag issue has caused special friction in Willoughby. There, the local high school’s mascot is the ‘Rebel,’ symbolized not by a James Deanish anti-authority figure, but by a

grimacing Confederate soldier. And there, the Confederate battle flag has long been embraced as a symbol of school pride.

Lisa Stevens is an ’85 alum of Willoughby’s South High. She’s now the president of Rebel Families — “mostly a group of volunteer moms,” she says, “a pack of rule followers, not rebels” — and says that, in accordance with current school policy, the group doesn’t promote or sell any school apparel (what they call spirit wear) featuring the Confederate flag.

“I think it’s just known that it would not be appropriate,” Stevens tells Scene. “I received an inquiry from an ’81 alum this summer when the topic really heated up nationally, requesting some flag spirit wear. I let her know there was no longer any available.”

In 2010, the organization (which was known, at that time, as South Rebel Moms and was formed in light of the fact that women weren’t allowed in the Booster Club) was discouraged from selling a T-shirt in preparation for the Eastlake North game, the annual “Border Battle,” which depicted a Confederate flag. Then-principal Paul Lombardo intervened to say that the school district did not endorse or recognize the flag and that the school would subsidize a redesigned shirt. At that time, 250 had already been sold.

Though the flag was officially banned from school grounds in the ’90s, there have been scattered incidents of students wearing it to football games throughout the years. Even this year, Stevens says, a boy showed up to a game with a Confederate flag on his ballcap.

“He was asked by the assistant principal to remove the hat or else leave the stadium,” Stevens says.

At her class’ 30-year reunion this summer, Stevens says the flag topic came up regularly in conversation.

“I don’t think I have ever talked

to an alum who doesn’t miss it, or at least the days when it wasn’t an issue in Willoughby,” Stevens says.

“My memories from the ’80s include the beautiful flag, not even depicting Southern culture but our ‘glory days.’”

Current South High principal Patrick Ward concurs. “There is a Willoughby reality, and then another context that our kids don’t know,” he says in a phone call with Scene.

Asked facetiously if there are, for example, African-American students enrolled at South High, and whether or not Civil War and Civil Rights material is being taught in American History classes, and whether or not students are probably aware of the flag’s larger context, Ward says sure.

But still.

The two groups making the Confederate flag an issue out there are parents and alums who attended South High in the ’80s and ’90s, and the news media.

“On a day-to-day basis, it really never comes up.” he says.

This is only Ward’s second year as principal at South High, having spent the previous 14 as a teacher and assistant principal in the Mayfield City School District, but he says he can only recall one instance when a student wore Confederate flag imagery to school.

“We asked the kid to change his shirt and that was it,” he says. “Like anything, there’s a certain set of expectations around dress. Just like a drug symbol would not be appropriate in school, the Confederate flag wouldn’t be either.”

Specifically forbidden in the Willoughby-Eastlake code of conduct, along with pajama bottoms, spiked jewelry, crop tops, and “undergarments worn on the outside of clothing,” is any dress that causes or is likely to cause “a hostile, intimidating, degrading, offensive, harassing, or discriminatory environment.” Confederate flags fit squarely into that category.

But again, other than the occasional letterman jacket from a parent or cousin, it’s a rare occurrence on campus. The flag was removed from the gymnasium and school grounds in 1993 when a visiting basketball team wrote letters expressing dismay and discomfort at the racist symbol. Visiting parents were reportedly shocked. The Associated Press swooped in; they’d covered a similar debate at Toledo’s Bowsher High School, also “the Rebels,” in the ’80s.

Then-principal Glenn Caroff said that though the flag would be removed, the team’s name was not an issue — indeed, several other Ohio

high schools have a Rebel mascot, including CMSD’s John Adams — and he wouldn’t forbid students from waving Confederate flags at games.

“That is an individual freedom-ofspeech issue,” Caroff said at the time.

Not so much these days. Patrick Ward says that the district “really had a conversation” about the policy back in the early 2000s, and that most of his students were in the third and fourth grades at that time.

“They’re just so young that when they get here — unless attention is called to it, like in the past couple of months — they don’t understand the issue ... . Look, in 1959, Union High School split into two and we ended up on the wrong side of Euclid Avenue, the south side, and that’s why we’re having this conversation.

Flash forward to today, it’s really not a controversy.”

Don’t tell that to Mayor David Anderson. He graduated from South High in 1970, and says his whole yearbook is full of Confederate flags.

Like most of his classmates, he remembers the flag fondly. But he says when the school district made the decision to ban it in ’93, he stood by them, even when residents begged him to intercede on their behalf.

“People stopped me in the grocery store and asked me why I wasn’t standing up for them,” Anderson tells Scene the day before his meeting with Rice. “And I said I’ve got to stand with the district on this. We’ve got students coming into our gym to play basketball, to play volleyball, and we don’t want them to feel uncomfortable.”

Anderson acknowledges that the flag has been used as a symbol of hate by groups like the Ku Klux Klan and the American Nazi Party — he says he watched a terrific HBO documentary on the subject — groups that South High ought not to be associated with.

But what about the city of Willoughby itself?

Maggie Rice and the activists of Organize Lake County feel very strongly that the Sons of Confederate Veterans’ float at the Last Stop Willoughby Parade in August cast Willoughby in a negative light, especially for the “newcomers” who the parade was billed as trying to attract.

Scene was not at the parade, but read about the float in Rice’s op-ed in the News-Herald: “A mini-van pulled a small trailer, with a wooden silhouette of a kneeling soldier, and flying above, several flags: an American flag, a Confederate national flag (which consists of the familiar stars and bars, as well as a white rectangle and a red stripe), and confusingly, an Alabama state flag.

magazine | clevescene.com | October 28 - November 3, 2015 21

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“This parade said to people visiting Willoughby, particularly people of color (including the young girls of the predominantly black dance team who performed), that Willoughby is not for them; that we don’t welcome them, and that our city is not a safe environment for them.”

Curtis and Gloria Early ardently disagree. They’ve been residents of Willowick for 40-plus years and have been marching in Willoughby for at least 15.

“And every year we get welcomed,” Curtis Early tells Scene. “They even call us. I was sick this year for the Mentor parade, and they called and said, ‘Where are you? We hope that you didn’t stop coming because of what happened down in South Carolina.’ We march in every parade around and we win trophies like mad.”

Scene can confirm. The Earlys have converted an addition on their home, built in 1984 for Mr. Early’s elderly parents, into a bona fide museum of revisionist history, celebrating Early’s own Confederate ancestors — Gen. Jubal A. Early among them — and black partisans who either fought for the South or who currently claim membership in the Sons of Confederate Veterans. Also included among the photos and battle-flag paraphernalia are trophies and medals the Earlys have acquired through the years.

The Earlys are nice people, by which we mean they welcome Scene into their home and engage in conversation without violent personal invective. Curtis Early’s easygoing voice is less a Southern twang than it is a backwoods Appalachian drawl: “Flowers” is flars. But they are also parrots for a host of Tea Party, Lost Cause Movement and battle flagthumping sources that purport to explain the “true history” of the United States. Curtis Early is the treasurer of the Akron Camp of the Sons of

Confederate Veterans — one of Ohio’s seven outposts — and he believes fervently, for example, that the Civil War was fought over taxation and states’ rights.

“But they wanna make it about Lincoln and the slaves,” he tells Scene, moments after we set foot in his home.

The “they” he continually references is unclear, but is most likely represented by the Yankee government and its agencies and attaches, not the least of which is the education system.

“Our public schools are being taught by our government,” Early later confides in Scene. “They’re allowed to teach the ‘politically correct history,’ that slavery was the cause of the war.

You’ve gotta watch yourself.”

To right this grievous wrong, the Earlys travel around the region and give presentations on “what life was like” in the 1800s. This work is apart from Mr. Early’s involvement in the Sons of Confederate Veterans and, in fact, is much more about life in coalmining towns such as the one from which he hails. “Poop pots and mine rats as big as dogs,” is the gist.

But during Scene’s trip to the Early museum, Mr. Early focuses much more on African Americans, and their involvement in Confederate causes.

“There’s a lot of black people who do know the true history,” Mr. Early says. “They don’t want you to know it, but there was between 60 and 100,000 blacks who fought for the South willingly, and that’s the false part of history. They want to take our flag down because they don’t know the true history. We got quite a few black members in Sons of Confederate Veterans. They don’t want you to know that either.”

For 30 minutes, Scene watches an online video, at the Earlys’ invitation, of a speech by one H.K. Edgerton, a black member of the Sons of Confederate Veterans and a theatric supporter of the Confederate flag.

The video appears on a Tea Party website. On the wall behind Mr. Early’s computer are more than 50 numbered

magazine | clevescene.com | October 28 - November 3, 2015

magazine | clevescene.com | October 28 - November 3, 2015 23

11/15/15

FEATURE binders, which comprise the ongoing research for the Earlys’ next book. It will focus on “rich black slave owners,” he says.

Throughout our conversation, Mr. Early identifies both the NAACP and the ACLU as “hate groups.” He also calls Organize Lake County a hate group, and says, with respect to the News-Herald editorial, that Maggie Rice doesn’t know what she’s talking about.

“I know she’s about 23 years of age [sic],” he says. “What does she know about history at 23? Where’s she getting her information?”

The Earlys take exception to just about everything in the piece, but in particular to Rice’s misidentification of the flags on their float. Mr. Early says that he has been cutting back on the use of the Confederate battle flag and that the flags they flew were all “legal state flags.” He holds them up for Scene on his back porch in succession: the U.S. Civil War flag from 1865; the Mississippi state flag; the “Bonnie Blue Flag” which was used briefly by Mississippi during its secession; the North Carolina state flag; and the Alabama state flag.

“And the one that’s on my flagpole now is Irish,” Early says. “Because 40 percent of the Confederate Army was Irish and I’m 100 percent Irish.”

Even as we depart, Mr. Early, through his screen door, continues to loft factoids about the “War of Northern Aggression.”

Much less aggressive than the purported advance of the Union states into Dixieland is the toothless offensive scheming of the Eastlake North Rangers. Despite the best efforts of QB Zane Bunnell, they’re getting trounced by the South High Rebels in the annual “Border Battle” at Classic Park, home of the Lake County Captains, on Oct. 2. The score after one quarter is South 24, North 0.

South High has beaten their former Union classmates in this matchup every year since 2004. The dominance is so humdrum by now that the ‘rivalry’ talk is mostly ironic. Case in point: The theme of the Rebel Families spirit wear this evening is, “Let’s Make it a Dozen.” Emblazoned on the back of the T-shirts and sweatshirts is a Rebel soldier, arms akimbo, embossed over “04, 05, 06, 07, 08, 09, 10, 11, 12, 13, 14 …”

One assumes that the South High football fans appareled as such, who continue to swarm into the stadium in the biting Lake County winds,

24

magazine | clevescene.com | October 28 - November 3, 2015

are nowhere near as ideologically entrenched as Curtis and Gloria Early.

But they still don’t take kindly to the small group of Organize Lake County demonstrators, Maggie Rice among them, holding signs, beating a drum and passing out literature outside the gate.

“The City of Willoughby continues to endorse the display of Confederate imagery,” reads a handout, topped by an image of Dylan Roof.

Scene observes no altercations between the protesters and the fans.

Many ignore the demonstration, though a few make a show of crumpling up their handouts and hurling them at nearby garbage cans.

Organize Lake County, much like those on the issue’s opposing side, frames its presence as an effort to “educate the public.” But Rice says few people seem all that amenable to engagement.

“I had one guy who asked why I don’t like the flag, and I said because it’s been flown at lynchings,” she tells Scene; the anecdote is now posted on the Organize Lake County Facebook page. “As he walked away he said, ‘What if I like lynchings?’”

Inside the stadium, we spot the Confederate flag on a handful of letter jackets and on the baseball caps of a few grizzled dudes who look amenable to engagement indeed. But otherwise, the atmosphere is that of a very basic Friday night high school football game.

But when the Rebels score — when, for example, wide receiver Devannaire Conliffe catches a 40-yard touchdown pass from quarterback Mike Federico — and the crowds explode, so too does a cannon situated on the Classic Park warning track. A real cannon. It is a much-beloved school tradition and it’s one in which the student section delights repeatedly this evening.

For Scene, the frequent blasts and the attendant smoke italicize the football field-as-battlefield metaphor.

But we suspect the students are content to interpret that metaphor in a general way. We suspect that after the removal of the Confederate flag as the official school flag in the ’90s, the tides’ turning would have been implicit, and the conflation of racist pride and school pride would thereafter have required a sin of commission.

We suspect, in fact, that on the Venn diagram of South High fans (students, alums, whomever) and Confederate flag diehards, only the overlapping few would relish this carnage of South over North as a kind of revenge.

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Dia de los Muertos Cabaret Show For the past three years, local burlesque dancer Bella Sin has hosted a Dia de los Muertos Cabaret show. Designed to celebrate Day of the Dead, the Hispanic answer to Halloween, the show features a slew of top dancers.

Tonight at 8 at the Beachland Tavern, the tradition continues as Bella Sin will perform alongside Ellie St. Cyr, Sable Champagne and Lilith Avalon. Tickets are $10 to $20. (Jeff Niesel) 15711 Waterloo Rd., 216-383-1124, beachlandballroom.com.

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She’ll perform the piece tonight

Dia de los Muertos in the Detroit Shoreway neighborhood. See: Saturday.

at 7:30 at the Cleveland Museum of Art. Brooks will be on hand to introduce the program. Tickets are $30 to $40. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

FILM

Unity Cleveland Cinemas’ Fall Doc Series continues tonight with a screening of Unity, a film about “compassion for all beings.” Writer-director Shaun Monson spent seven years making the movie and enlisted 100 celebrity narrators, including Casey Affleck, Zoe Saldana, Beth Hart and Dr. Dre. The film criticizes the dualistic nature of religion, politics and sports and asks why, after all these years, we can’t seem to get along. The screening takes place at 7:30 at the Cedar Lee Theatre. Regular admission rates apply. (Niesel) 2163 Lee Rd., Cleveland Heights, 440-717-4696, clevelandcinemas.com.

THUR 10/29 FAMILY FUN

Alvin and the Chipmunks Originally created for a novelty record way back in 1958, Alvin and the Chipmunks continually reinvent themselves for each

new generation. The singing anthropomorphic chipmunks are now the subject of a interactive live musical. Accompanied by the Chipettes, the Chipmunks promise to appeal to fans of all ages with “live performances that will feature world-class production, music, special effects, and fun interactivity to encourage audience participation.”

Tonight’s show takes place at 6 p.m. at the State Theatre. Tickets are $38 to $68. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org.

ART

Chicks with Balls Judy Takács’ ongoing Chicks with Balls series of oil paintings comes to the Tri-C East gallery today. The series portrays local women (many of whom are artists and/or arts professionals) topless, holding various balls.

The work presents these women as “unsung heroes of their Midwestern lives.” The balls they choose for coverage symbolize the obstacles and struggles they overcome throughout their daily lives. Large balls symbolize overwhelming burdens, while overflowing armfuls of balls represent juggling many issues.

Other symbolic balls include Magic 8 balls, basketballs, whif-

fle balls and crystal balls, each with their own meaning. Takács hopes viewers will see their own mothers, wives, sisters and friends as “chicks with balls.”

Stop by today for an opening reception from 6 to 8:30 p.m. The free exhibition remains on view through Nov. 24. (Josh Usmani) 4250 Richmond Rd., Highland Hills, 216-987-2095, tri-c.edu.

FILM

Cinema Fantastique: Jean Rollin Just in time for Halloween, the Cleveland Institute of Art Cinematheque presents Cinema Fantastique: Jean Rollin, a series devoted to the films of the late French director Jean Rollin.

Known for their outlandishness, his low-budget films (he made over 50) come off as slightly surreal. They loosely fit into the dark fantasy genre. The Cinematheque will screen new digital restorations of four of his films this weekend. Tonight at 6:45, it shows The Shiver of Vampires.

The Iron Rose follows at 8:40, Fascination screens tomorrow night at 8:30 and Lips of Blood follows at 10:10 p.m. Tickets are $9. (Niesel) 11610 Euclid Ave., 216-4217450, cia.edu.

magazine | clevescene.com | October 28 - November 3, 2015 33

GET OUT

FRI

10/30

FILM SPORTS

Monsters vs. Charlotte Checkers Earlier this month, the Lake Erie Monsters played their first game of the season at home and came away with a big win in which they scored three goals in the final period. Tonight at 7 at the Q, they square off against the Charlotte Checkers. It’s college ID night, so college students with a valid ID can buy special $6 tickets. Tickets for the general public start at $10. The Monsters play the Checkers again at 7 p.m. on Saturday at the Q. Because that game takes place on Halloween, patrons are encouraged to come in costume. (Niesel) 1 Center Ct., 216-420-2000, theqarena.com.

The Hunchback of Notre Dame A classic 1923 silent film, The Hunchback of Notre Dame centers on Quasimodo (Lon Chaney Sr. ), a deformed human who works as the bell ringer of the Cathedral of Notre Dame in Paris. He sacrifices his life to save a gypsy (Patsy Ruth Miller) who once befriended him. He aims to save her from his diabolical master. For tonight’s screening of the film, acclaimed organist Todd Wilson will improvise an accompanying score on Severance Hall’s Norton Memorial Organ. The event begins at 8 p.m. at Severance Hall. Tickets start at $30. (Niesel) 11001 Euclid Ave., 216-231-1111, clevelandorchestra.com.

SPORTS

HALLOWEEN

Playhouse Scare Today from 5 to 11 p.m., the Playhouse Square District hosts Playhouse Scare, an event that will celebrate Halloween with a “creepy crawl” featuring great food and drink specials from participating restaurants and bars. You can register to win restaurant gift certificates at every location and qualify to win a luxury Playhouse Square gift package. Psychic medium Marianne Goldweber will offer free séances in Connor Palace beginning at 7 p.m. Happy hours begin at 5 p.m. and participating restaurants and bars include Bin 216, Cibreo, Cowell & Hubbard, District, Encore and Blue Bar, Hofbrauhaus, Parnell’s, pHuel Café and Sung’s House. (Niesel) playhousesquare.org.

COMEDY

Thea Vidale Standup comedian and actress Thea Vidale likes to tell jokes about marijuana and Jesus — and sometimes she combines the two.

“God put weed on the earth so people can get along,” she likes to say, adding that she doesn’t care to be around drunk people.

Rather than rely on a narrative style, Vidale uses a rapid-fire delivery to launch her one-liners. Tonight’s show starts at 7:30 at the Improv. Additional performances are scheduled at the club through Sunday. Tickets are $17; 21 and over please. (Niesel) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.

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magazine | clevescene.com | October 28 - November 3, 2015

Cavs vs. Miami Heat We’re not alone in thinking that a healthy Cleveland Cavaliers would have brought home a title this past season. But injuries to two of the team’s Big Three proved too much to overcome against a sharp-shooting Golden State Warriors squad. But hope springs eternal and if this year’s team can stay healthy, it should be headed back to the Finals. The quest begins tonight as the season opens with a 7 p.m. game against the Miami Heat, the team to which Cavs star LeBron James once defected. The game is sold out so your best chance to grab tickets is through a broker. (Niesel) 1 Center Ct., 216-420-2000, theqarena.com.

THEATER

Force Continuum A hot topic, the issue of police use of force has proven to be a divisive one. Tonight, Karamu House theater tackles the issue with the production of playwright Kia Corthron’s Force Continuum, which opens at 7:30 p.m. with performances through Sunday, Nov. 22. Local writer and playwright Michael Oatman directs the play about an African-American family that features three generations of police officers. Additionally, Karamu will host two community talkbacks after Sunday matinee performances on Nov. 8 and Nov. 22. Karamu CEO Tony Sias and marketing director Daniel GrayKontar will moderate the discussions that will feature special guest Ronnie Dunn, a Cleveland

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GET OUT State University professor of urban studies and member of Gov. John Kasich’s Police and Community Relations Task Force. Tickets are $37. (Niesel) 2355 East 89th St., 216-795-7070, karamuhouse.org.

HALLOWEEN

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Gods and Monsters Start your Halloween weekend by attending Artful’s Gods and Monsters party today at 8 p.m. at the Bottlehouse Brewery. This Halloween party and fundraiser features food, raffles, art, music

by DJ Jared Plotts, a costume contest, live drawing activities from Dr. Sketchy and exquisite corpse collaborations hosted by Blick Art Materials’ Justin Will. Tickets are $20 and must be purchased in advance. All proceeds will be applied to their matching grant challenge to help Artful secure a Cleveland Heights home for itself and its artists. 21 and older. (Usmani) 2050 Lee Rd., Cleveland Heights, 216-214-2120, artfulcleveland.org.

ART

International Exhibition This weekend, Harris Stanton Gallery’s Cleveland location debuts its Second Annual International Exhibition. Participating artists include Yuji Hiratsuka (Japan), Pierre Boncompain (France), Alexander Befelein (Germany) and Bernard Cathelin (France).

The featured artist, Japanese printmaker Hiratsuka, combines the methods of chine collé and intaglio etching to create humorous images which whimsically draw from the ancient and the contemporary to express “the mismatched combinations and hodgepodge which is Japanese daily life.” A free opening reception takes place from 6 to 8:30 p.m., with a gallery talk with owner Meg Harris about midway through the opening. The exhibition remains on view through Dec. 14. (Usmani) 1370 West Ninth St., 216-471-8882, harrisatantongallery.com.

DANCE

Permanent Moments Permanent Moments, the season opener at Case Western Reserve University’s dance department, features “Triptych” by guest

36

magazine | clevescene.com | October 28 - November 3, 2015

artist Larry Keigwin as well as “new and revisited works” by department faculty. Created by Keigwin in 2009, “Triptych” has never been performed by dancers outside his New York-based dance company. Department of dance professor and artistic director Gary Galbraith will also restage his work “Islands of Desire,” which explores the “travails of a couple who long to reconnect but are hampered by the ever-present multimedia that infuses the lovers’ personal space.” Tickets are $7 for students, $10 for CWRU employees and seniors, and $15 for general admission.Tonight’s performances is at 8 p.m.; additional performances are set through Nov. 7 at the Mather Dance Center on the CWRU campus. (Niesel) 11201 Bellflower Rd., 216-368-5246, dance.case.edu.

ART

Photographic Works The second series of exhibitions at 2731 Prospect features Photographic Works by Cleveland-based Joseph Minek, and Cincinnatibased Amber Stucke’s Symbiosis State drawings. Minek’s current work explores photographic materials by creating work without a camera. His creative process is based on experimentation with photographic paper and chemicals in the darkroom. Stucke’s interdisciplinary roles as an artist, writer and naturalist influence her interest in symbiosis. The exhibitions open with a reception from 6 to 9 p.m. today. Both artists will discuss their work during separate artist talks: Joseph Minek at 2 p.m. on Saturday, Nov. 14, and Amber Stucke at 2 p.m. on Saturday, Dec. 5. Following Stucke’s presentation, the gallery will host a closing reception. It’s all free. (Usmani).

2731 Prospect Ave., 888-273-1881, 2731prospect.com.

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magazine | clevescene.com | October 28 - November 3, 2015 37

GET OUT

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(Niesel) 1407 Euclid Ave., 216-241-6000, playhousesquare.org.

MUSIC

Arts District bars and restaurants will have specials. The event kicks off at 11 a.m., and the parade starts at 3:30 p.m. Admission is free. (Niesel) diademuertosohio.com.

The Songs of John Kander It’s a testament to his talent and stamina that this 88-yearold Oberlin alum still works on Broadway. Over the course of a lengthy career, the songwriter

SUN 11/01 MUSIC

Johnny Mathis Now 80 years old, John Royce

Pan Alley standards and even disco. He performs tonight at 7 at Connor Palace. Tickets start at $10. (Niesel) 1615 Euclid Ave., 216-241-6000, playhousesquare.org.

MON 11/02 MUSIC

Author Series with Jason King For their annual Music Masters Series, the folks at the Rock Hall have chosen to pay tribute to soul singer Smokey Robinson. The events leading up to the Nov. 7 gala concert commence today with an author series featuring musician, journalist, DJ and producer Jason King. As director of global studies and director of writing, history and emergent media studies at New York University, King regularly writes for magazines and has appeared in many music documentaries. Today’s talk, which takes place at 7 p.m. at the Library Reading Room at the Rock and Roll Hall of Fame Library and Archives on the Tri-C Metro campus, will focus on Robinson’s songwriting techniques and attempt to explain the Quiet Storm radio format. Admission is free but reservations are required.

(Niesel) 2809 Woodland Ave., 216-515-1956, library.rockhall.com.

FILM

The Forbidden Room Canadian director Guy Maddin has a reputation for making experimental, nearly inscrutable films. His effort, The Forbidden Room, has been described as “a compendium of absurdist minimelodramas inspired by movies of the late-silent, early-sound era, and rendered in distressed visuals using the primitive, archaic techniques of that bygone time.”

Yikes. Today at 5 p.m. and tomorrow night at 8:10 p.m., the Cleveland Institute of Art Cinematheque presents the local premiere of the movie. Tickets are $9.

(Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

FILM

Halloween Surprise Movie To celebrate Halloween, tonight at 9:20, the Cleveland Institute of Art Cinematheque plans to show a classic horror movie made during the past 40 years that has never screened at the Cinematheque. It will also be shown in a rare 35-mm archive print. The Cinematheque wants it to be a surprise so it’s not divulging the title. But here’s a hint: The film was popular enough in its day to be followed by a sequel and later remade. No one under 18 will be admitted. Tickets are $9. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

SPOKEN WORD

Tribute concert Nov. 7th Playhouse Square’s State Theatre Performances by:

Dennis Edwards, Martha Reeves, Mary Wilson, and The Robert Glasper Experiment

HALLOWEEN

The Masque of the Red Death One of the great Gothic fiction stories of all time, Edgar Allan Poe’s “The Masque of the Red Death” offers an intriguing allegory about death. It also happens to be the title of the Halloween party that takes place tonight at 8 at the Akron Civic Theatre. Billed as “the premier macabre Halloween masquerade party for adults,” the event is open only to guests who are 21 and over. The $75 admission includes a signature cocktail and light hors d’oeuvres by Dishes by Design. Elegant attire is required. (Niesel)

38

Rockhall.com/SmokeyAMM has written tunes for Cabaret, Chicago and Kiss of the Spider Woman. Tonight, he and Tony award winner Karen Ziemba host Perfectly Marvelous: The Songs of John Kander, a tribute to his work. The event takes place at 8 at the Allen Theatre and repeats at 2 p.m. tomorrow. Tickets are $35 to $50, and $30 to $45 for the Musical Theatre Project members.

magazine | clevescene.com | October 28 - November 3, 2015

“Johnny” Mathis remains one of the last original crooners. Mathis, who sings popular standards and jazz, has put up some remarkable numbers over the course of his career. He’s sold something like 350 million albums worldwide and defies genres as he plays Brazilian music, Spanish music, soul music, rhythm and blues, soft rock, Broadway theatre, Tin

Between the Lines: All Access Cleveland Over the years, local photographer Janet Macoska has taken some amazing photos. She’s captured rock icons such as David Bowie, Led Zeppelin, the Clash, Devo, Heart, AC/DC and the Kinks. In All Access: Cleveland— The Rock and Roll Photography of Janet Macoska, her new book that she’s co-authored with local writer Peter Chakerian, she documents 40 years of shooting rock concerts in Cleveland. Tonight at 7:30 at the Euclid Tavern, she and Chakerian host Between the Lines: All Access Cleveland, a free talk about the book. The event begins at 7:30; register on the website below. (Niesel) 11625 Euclid Ave., 216-231-5400, happydogeuclidtavern.getn2.it.

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GET OUT a natural for the Happy Dog Monday Night Trivia. Starting at 8 p.m., expect themed rounds — it’s a crapshoot — and general knowledge questions that seem considerably trickier than some of the other live trivia locales in town. Obviously, have a hot dog and a craft brew while you’re at it.

And arrive early. The tables fill up quickly. (Sam Allard) 5801 Detroit Ave., 216-651-9474, happydogcleveland.com.

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magazine | clevescene.com | October 28 - November 3, 2015

Brews & Prose Tonight’s session of Brews & Prose features three terrific talents. Both the New Yorker and NPR chose Michael W. Clune’s memoir, White Out: The Secret Life of Heroin, as one of 2013’s best books. Currently an English professor at Case Western Reserve University, Clune has also written two scholarly books, American Literature and the Free Market and Writing Against Time; his creative and critical work has appeared in Harper’s, Behavioral and Brain Sciences and other publications. He’ll be joined by photographer Barney Taxel, who has lived and taught in Cleveland since 1967. Last year, he published The Lake View Cemetery: Photographs From Cleveland’s Historic Landmark, a book that included over thirty photographs.

Laura Taxel wrote the essays that accompany her husband’s images.

The talk begins at 7 p.m. in the Market Garden Brewery basement. Other than the cost of your beers, it’s free. (Niesel) 1947 West 25th St., 216-621-4000, marketgardenbrewery.com.

SPOKEN WORD

Cosmopolitan Comics Every other week in the Cleveland Public Library’s second-floor literature department, Cosmopolitan Comics, a graphic novel book club, takes on a different topic.

Guest reader Valentino Zullo coordinates the series that takes a look at world history through the medium of comics. Topics include the Holocaust, revolution in Iran, and genocide in Rwanda, all of which are “documented from the personal perspective of these artists and writers in graphic nar-

rative form.” Today’s talk takes place at 4:30 p.m. Admission is free. (Niesel) 325 Superior Ave., 216-623-2800, cpl.org.

THEATER

A Gentleman’s Guide to Love & Murder Winner of the 2014 Tony Award for Best Musical, A Gentleman’s Guide to Love & Murder focuses on Monty, a guy who stands to inherit a family fortune if he can only eliminate the eight relatives who stand in his way.

To make matters worse, he has to cope with the complications of having both a mistress and a fiancée. The musical comedy opens tonight at 7:30 at Connor Palace. Tickets are $10 to $100 and the play runs through Nov. 15. (Niesel) 1615 Euclid Ave., 216-241-6000, playhousesquare.org.

NIGHT LIFE

Trivia Tuesdays How do you spend your Tuesday nights? If you’re not at Nano Brew in Ohio City, you’re definitely missing out. This friendly neighborhood brewpub hosts weekly trivia nights from 8 to 10 p.m. The folks at Nano Brew love bikes almost as much as they love beer, and they’re happy to share that love by giving you half off your first drink when they see your bike helmet.

(Alaina Nutile) 1859 West 25th St., 216-8626631, nanobrewcleveland.com.

SPOKEN WORD

The War in Yemen You Don’t Know About One of the world’s oldest societies, Yemen is also the poorest Arab country. During uprisings in 2011, the Yemenis mobilized peaceful protests and forced president Ali Abdullah Saleh to step down. Now the country finds itself mired in a violent contest between northern rebel groups and Saudi and Emirati forces. In a talk dubbed the War in Yemen You Don’t Know About, University of Richmond professor Sheila Carapico, one of the few Yemen experts in the U.S., will speak about the unfolding crisis and its complex historical background with WCPN host/ producer Tony Ganzer. The free lecture starts at 7:30 p.m. at the Happy Dog. (Niesel)

Find more events @clevescene.com t@cleveland_scene

58 la

ART

801 Detroit Ave., 216-651-9474, happydogcleveand.com.

GRATEFUL DEAD Lakewood Community College exhibit traces skulls and skeletons in pop culture

By Josh Usmani START YOUR HALLOWEEN weekend early this Thursday at the Gallery at Lakeland Community College with gallery coordinator and exhibition curator Mary Urbas’ Skull and Skeleton IV: Folk Art to Pop Culture, a celebration of Dia de los Muertos. This unique, biennial invitational began in 2009 with just 18 artists. It grew to 55 artists in 2011 and continued to expand to 64 artists in 2013. This year’s exhibition includes more than 300 works by more than 80 artists from a dozen states and around the world.

“It’s about embracing life and death and our mortality,” says Urbas, a life-long collector of skull art and artifacts. “Being raised Roman Catholic, the rebellious side in me was drawn to skulls for the initial shock value. I took a life-changing trip to Mexico in the early ’90s and embraced its cultural diversity and folk art. The rest, as the saying goes, is history!”

Urbas continues: “Dia de los Muertos invites the participant to acknowledge the fact that death is a constant companion from birth, an accepted friend to be joked and played with, perhaps because of the ironic foreknowledge of the fatal reality.

What was once reserved as a quasi logo for pirates and poison labels, skulls have taken over America’s pop culture. This timely exhibit happens to not only coincide with the traditional use of skulls and skeletons for Halloween, but also with Hispanic Heritage Month. Latin American artists were creating Mexican skull art for the Day of the Dead long before heavy metal bands used skulls on album artwork and fashion designers emblazoned their textiles.”

Now in its fourth incarnation, this year’s Skull and Skeleton show features work by more than 80 international, national, regional and local artists from a dozen states, including Ohio, Arizona, California, Florida, Pennsylvania, Massachusetts, Michigan, Missouri, North Carolina, Tennessee and Washington, as well as

“Gaia,” by Jaymi Zents

England and Mexico.

“I gather artists and images all the time, in preparation for the Skull and Skeleton exhibition, which I produce on odd years,” Urbas says.

“I visit almost every art show, juried exhibition and outdoor arts festival recruiting artists. Once I put the word out on Facebook, images were sent to me and referrals to check out other artists. I am active on social media and am always on the lookout for new artists, compelling work and visuals that reinforce my aesthetic. I can reach artists from all over and am able to invite them to participate in this show and others. I challenged a few of my artist friends to come over to the ‘skele side’ and create work. Quite a few took up the gauntlet and created

School Middle School Art Club to honor the memories of departed relatives and friends.

“This year you’ll see clay artists, jewelers, soft sculpture, outsider art and more. Devout Home (Rocky River) and Galeria Quetzal (Little Italy) specialize in Hispanic folk art and home furnishings, and will have selections from their collections on display,” says Urbas. “I curate and include artists working in a variety of media and styles. Some of the images are fun, happy and colorful, more folk art inspired. Others are very dark, macabre, cynical and sarcastic. I wanted to share this ‘culture’ with the viewers and make them realize that there are quite a few artists working in this ‘genre,’ if you could call it so.”

SKULL AND SKELETON IV: FOLK ART TO POP CULTURE, A CELEBRATION OF DIA DE LOS MUERTOS THE GALLERY AT LAKELAND COMMUNITY COLLEGE 7700 CLOCKTOWER DR., KIRTLAND, 440-525-7029, LAKELANDCC.EDU/GALLERY

some incredible art. There are skele collectors all over the world!”

The exhibition’s 300 works feature a variety of media, including oil/ acrylic/encaustic painting, textiles/ fiber, printmaking, drawing, photography, digital art, sculpture, glass, wood, ceramics and ceramic sculpture, mixed media, assemblage art and jewelry. Additionally, an ofrenda (temporary altar) will be created by the Urban Community

Stop by on Thursday from 6 to 9 p.m. for an artist reception, costume party and Boneyard Market, featuring artists and artisan vendors selling skull and skeleton themed items at a lower price point.

“I added the Boneyard Market to the event, as an opportunity for some of the exhibiting artists to show some of their lower priced skull and skeleton themed items in a pop-up gallery type of venue,” Urbas says.

“Honestly, I run out of space every time I do this show. I can’t seem to say no to artists who create cool and awesome work!”

The Boneyard Market includes work by Robert J. Carroll, Ron Carroll, Danielle Dore-Rook, Keri Gortz, Devout Home, Cris Hertle, Allen Kradlak, Less Ego, More Love, Susan M. Lucas, Deborah McGroder, RobinAnne Payne and Galeria Quetzal.

Selections from Urbas’ personal skull-themed art collection will be displayed in the exhibition.

“I love and collect Mexican folk art, especially skulls and skeletons,” says Urbas. “As the former diversity specialist at Lakeland, I wanted to curate a show that would connect with our student body — pun intended — to educate the public about Dia de los Muertos and its cultural contribution to world art. That it was based on a religious holiday and really wasn’t about Halloween, it just occurred at the same time of year.”

Skull and Skeleton in Art IV: Folk Art to Pop Culture remains on view through Nov. 6. Gallery tours with Mary Urbas are available by appointment. The exhibition and related events are free.

jusmani@clevescene.com t@cleveland_scene

magazine | clevescene.com | October 28 - November 3, 2015 41

STAGE RISK BUT NO REWARD

Cesear’s Forum tries to massage Peter Weiss’ The Investigation, but it rubs the wrong way

By Christine Howey Photo by Brian Jeffery Bowers

John Kolibab, Jeanne Task, Michael Regnier, Tricia Bestic, Zach Griffin

CESEAR’S FORUM DESCRIBES itself as “Cleveland’s smallest resident professional theater company,” but that may be a bit grandiose. This tiny company is a niche theater tucked inside a nook and shoved deep into a cranny. Many Playhouse Square theatergoers, as they bustle through the hallways on their way to the Palace or State theaters, never even know there’s another theater down that unobtrusive stairway to the left.

But that basement space is where Cesear’s Forum has been staging plays, lo these many years, for small and select audiences. And it has always been led by founder and artistic director Greg Cesear. As Keith A. Joseph, local theater critic par excellence once put it: “Cesear rates a crown of laurels, for he is as foolhardily brave as any conquering hero in his championing of esoteric theatrical classics that bedevil firstyear theater majors.”

Although they don’t produce many plays during a given year, no doubt due to a budget that probably approximates what Playhouse Square allocates for a month’s worth of Styrofoam cups, Cesear’s Forum soldiers on with pride and purpose.

Their mission is to produce plays that “combine social commitment with

42

theatrical experimentation, works that shine light on the gamut of human experience.”

And that they have done over the years, often producing exceptional productions of a variety of plays that usually aren’t done elsewhere. This is theater for adventuresome audiences who are not put off by challenging scripts and risk-taking staging. And as a result, a jaunt into Cesear’s little underground hideaway can often be quite rewarding.

Of course, when you’re all about rolling the dice theatrically, sometimes the results come up snake eyes. Their current production of Peter Weiss’ The Investigation is a case in point. A classic example of verbatim theater, in which plays are built from the actual accounts of people involved in

Weiss assembled this work. When it was produced at many theaters that same year, the reaction was powerful, with controversy swirling around Weiss’ technique of presenting the testimony of witnesses juxtaposed with the self-serving statements of camp guards and supervisors.

None of the victims are identified (except one, who doesn’t speak), and their recitation of detailed atrocities becomes numbing.

And that is as it should be, since the play wants to make the plight of these victims universal and not specific. Delivered straight-faced and without emotion, the agonies pile one atop the other and the result should be shattering.

This production is both good and original. Unfortunately, what is good

PETER WEISS’ THE INVESTIGATION

THROUGH NOV. 14, PRODUCED BY CESEAR’S FORUM AT KENNEDY’S AT PLAYHOUSE SQUARE, 1501 EUCLID AVE., 216-241-6000, PLAYHOUSESQUARE.ORG

a particular event, The Investigation gives chapter and verse descriptions of the horrors committed at the Auschwitz concentration camp.

The play takes place during the Frankfurt-Auschwitz Trials, which ended in 1965, the same year Peter

magazine | clevescene.com | October 28 - November 3, 2015

is not original, and what is original is not good. The Weiss script is certainly good, as it deploys facts, even down to the measurements of sleeping platforms and torture rooms. This fact-based approach serves to distance the audience from the individuals

and thereby enlist observers in the banality of this overwhelming evil.

And when the evil is described, including babies being torn limb from limb, it still shocks one to the core.

But the original aspects of the production, developed by director Cesear, don’t serve the piece well. It begins as people are finding their seats, with one of the actors, a game John Kolibab, mopping the stage, yelling offstage to another staff person, and bantering with the audience. He also calls the roll of the audience, reading some real names of patrons who reserved seats and insisting that they respond, “Here!”

This attempt at comic distancing (and perhaps a bit of pseudoauthoritarianism) is a chancy stroke that just doesn’t work. In order to be effective, this pre-show improv should be more stylized and pointed, not just a guy shuffling around and trying to cadge titters from the mostly mystified onlookers. Then, a planted singer (Audrey Baran) is invited on stage to trill a song from sheet music accompanied by a violinist (Max Bruno) — a pre-planned gambit that is a tiny bit excruciating in its obviousness. Again, it should be done bigger with a sharper comic edge, or not at all.

Once the actual play begins, Cesear over-blocks his actors, who are almost constantly in motion, carrying chairs on and off stage, facing the audience and then facing away, testifying seriously or chatting casually to one another. It’s basically a cluster-block, and it makes it hard to actually focus on the words. Not to mention the terror behind the words.

The talented cast labors mightily to make it all work. In addition to Kolibab they include Tricia Bestic, Brian Bowers, Zach Griffin, Michael Johnson, Lee Mackey, Michael Regnier, Jeanne Task and Valerie Young.

While The Investigation does not succeed, it is one more example of the risks Greg Cesear and his troupe love to take. And for that, they deserve a deep bow.

scene@clevescene.com t@christinehowey

magazine | clevescene.com | October 28 - November 3, 2015 43

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LOOSE TRUTH

Newsroom drama mythologizes Dan Rather’s fall from grace

By Sam Allard OPINION: THE BEST PART ABOUT Truth, the newsroom drama starring Robert Redford as Dan Rather and Cate Blanchett as his hard-hitting producer Mary Mapes, is that it will whet your whistle for Spotlight, the investigative journalism movie about the Boston Globe and their explosive reports on the Catholic Church, which opens later this year. Spotlight figures to be a much better movie than Truth.

Fact: Truth opens Friday at theaters area wide.

Fact: Odd that Truth is called Truth, when its source material is the memoir of Mapes herself.

Rather’s longtime producer was shitcanned shortly after the 2004 60 Minutes report on Pres. George W. Bush’s military service which featured controversial documents.

Description: Mapes is portrayed as the gutsy heroine who only wants to ask questions. She’s got a meekly bearded husband who comforts her with pillow talk on the order of: “When you stop asking questions, they’ve won.”

Description: Robert freaking Redford plays Rather, if you’re wondering whether or not the film is sympathetic to CBS’ biggest

scapegoat. He’s captured in dramatic shadow and spotlight throughout.

Even if everyone didn’t make a point of worshipping him to his face, he’d still seem more like a deity than a newsroom anchor.

Conjecture: The whole goal of the film is to absolve Rather from any wrongdoing in the 2004 scandal. He’s the wholesome, heroic ambassador to American Living Rooms — “Courage,” was his signoff — who simply got swept up in the reporting! He was getting all his intel from his producer, and she genuinely believed that the critical documents were accurate!

Conjecture: Most everyone can sympathize with the unforgiving pressures of deadline journalism, of meeting excruciating standards of fairness and accuracy; but a portrayal this baldly exculpatory, a portrayal which almost literally grinds an ax on-screen for George W. Bush, the CBS executives, and CBS’ parent company Viacom, weakens its arguments.

Example: Topher Grace, who plays the young buck reporter Mike Smith on the 60 Minutes investigative team, screams at the execs about White House involvement in silencing CBS

as he’s being escorted from the office.

“Don’t you see what’s happening here?”

Background: The story Mapes and the gang are reporting is about George W. Bush and his alleged preferential treatment in the Texas Air National Guard. Bush had been accepted in the first place, the story alleged, to avoid Vietnam.

Thereafter, he barely showed up. The 60 Minutes story aired weeks before the 2004 presidential election, and both Bush and Kerry’s military records were among that season’s hot-button issues, given the ongoing war in Iraq. The film goes to great pains to argue that the story remains, in all likelihood, true, but that CBS’ corporate image was so dear to its executives that they caved under pressure. Instead of backing their team, they launched an internal investigation in which the provenance of the story’s documents and the political leanings of the reporters were put under the microscope. This investigation is framed as a total sham.

Opinion: The script, for the most

SPOTLIGHT: CINEMA FANTASTIQUE AT THE CINEMATHEQUE PRIOR TO HIS DEATH IN 2010, French director Jean Rollin churned out more than 50 movies during the course of a six-decade career.

A couple of years ago, Kino Lorber reissued several of his best-known movies to much fanfare. On Oct. 29 and 30, the Cleveland Institute of Art Cinematheque will screen four of them as part of a tribute dubbed Cinema Fantastique.

“I haven’t shown his movies before,” says Cinematheque director John Ewing. “When Kino Lorber released his films on video, the New York Times reviewed them as did Film Comment and Sight and Sound. I started looking him up. He made something like 50 films. I have a fairly new film encyclopedia, and

he was listed in there. I found lots of references to him. He did have a definite following. I like the fact that he was influenced by the surrealists and by silent cinema.”

The Cinematheque plans to show The Shiver of the Vampires (Oct. 29), The Iron Rose (Oct. 29), Fascination (Oct. 30) and Lips of Blood (Oct. 30). Known as one of Rollin’s most inventive movies, The Shiver of the Vampires centers on a couple that has a run-in with the undead. The highly erotic flick features a spooky film score and plenty of nudity.

Cincinnati-based film critic Tim Lucas praises its “poetic images” and “surrealistic sequences.”

“They’re very low-budget films but inventive and sexy and even

scary,” says Ewing, who adds that the Cinematheque wanted to do something other than screen Night of the Living of the Dead for Halloween. “I think I have whittled it down to the essential four. He seems to be taken seriously in that people in Europe wrote about him.

He was a true auteur who struggled to make the movies he wanted to make. He had a big impact on true cinephiles and the surrealists. I do love movies of that era — the ’60s and ’70s — simply because things were opening up and filmmakers were experimenting.” — Jeff Niesel

scene@clevescene.com t@cleveland_scene

part, leaves a great deal to be desired.

After exulting in the rapid-fire precision of Aaron Sorkin’s Steve Jobs, the vague moralizing and mythologizing here feels more like propaganda than history. Elizabeth Moss, who plays journalism professor Lucy Scott, gets many of the script’s worst lines. “This one’s important, isn’t it?” she seems to ask every few minutes.

Verdict: For many reasons, the original 60 Minutes report was important. And for many others, Truth isn’t. Foremost among them is that moviegoers, a lot like civicminded consumers of journalism, still largely would rather see conspiracies proved than theorized.

ALSO OPENING

Burnt Bradley Cooper is a bad-boy chef who returns to a high-profile London restaurant after diva antics derailed a promising culinary career.

Sienna Miller co-stars. (Opening wide.)

Our Brand is Crisis An American political campaign strategist (Sandra Bullock) travels to South America to work her campaign magic on a candidate struggling against an entrenched leader. David Gordon Green directs. (Opening wide.)

Scouts Guide to the Zombie Apocalypse Boy Scouts try to save their town from a zombie outbreak in yet another twist on the genre.

Paranormal Activity writer Christopher Landon wrote and directed this one, which opens locally at Tower City for a limited engagement.

magazine | clevescene.com | October 28 - November 3, 2015 45

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CHOW TOWN

Photos by Emanuel Wallace

EAT A tasty Southern hodge podge at Chow Chow

By Douglas Trattner IF AND WHEN WEED BECOMES legal in Ohio, Chow Chow Kitchen stands to benefit almost as much as the head shops that will supply all that paper, glass and brass paraphernalia. Although it’s not billed that way, this sporty little Lakewood cafe is selling some of the best stoner food in the tri-county region.

Exhibit A: Corn Dogs ($6), smoky andouille slices dipped in cornmeal batter, fried to crackling and threaded seven deep onto a wooden skewer. But it’s the dipping sauce, this creamy, smoky “gumbo crema” that will leave diners — baked or otherwise — licking the plastic ramekin clean.

In all of his descriptions of Chow Chow leading up to its early October opening, owner Joseph Zegarac never once uttered the phrase “Southern street food.” Hell, I’m not sure that it’s even a thing. But after two visits during which I ordered more than three-quarters of the menu (devouring much of it in the car on the drive home), that’s exactly how I’d describe it. Street food is food that you eat on the run, and that’s the rule of thumb here, where less than a dozen seats cater mainly to those

anxiously waiting for their take-out orders to be filled.

Like a discriminating shopper in an edibles dispensary, Zegarac handpicked some of his favorite Southern comfort food dishes for inclusion on the menu regardless of their place of origin, be it New Orleans, Nashville or the Low Country of South Carolina.

Other dishes he simply plucked out of thin air, likely inventions of an overactive imagination.

Exhibit B: West City Pork ($9), the love child of General Tso’s and city chicken, features crispy nuggets of popcorn pork tossed in a sweet and spicy blackberry glaze and sided by fiery Cajun fried rice.

Walk into Chow Chow and you’ll be greeted not only by a cheerful host/order-taker/cashier, but also a wall full of colorful menu boards ostensibly designed for the attentionchallenged. Like circus sideshow banners promising two-headed calves or the bearded lady, Chow Chow’s billboards tout “Smoked Pork Po’ Boys” and “FISH ‘n’ CHIPS” and “HOT Chicken!” Another placard promises relief in the form of ice-cold Southern sweet tea.

I had sky-high hopes for that

Nashville hot chicken ($7.50), a howlin’ hot upgrade to fried chicken.

In Nashville — and anywhere the dish is done right — the chicken is fried until golden brown and then subjected to a hot oil and spice mixture that delivers the signature blast furnace of heat while preserving every bit of crunch. That’s not the formula here, where the fried chicken gets more of a buffalo-style toss in hot sauce that adds fire but at the expense of crispiness.

My only gripe with the regular fried chicken, here called Winner Dinner ($7.50), is that white meat is the only option. Granted, the bone-in meat is moist and juicy, but I’d love to see how that sexy, golden brown outfit looks on a leg or thigh. The “dinner” portion of the dish includes good and lumpy mashed potatoes, a flaky biscuit and a dollop of white gravy.

In a land devoid of snowplows and salt trucks, you gotta wonder how Southerners came up with a repertoire of soups, stews and brews so comforting they’d make flannel pajamas feel jealous. Zegarac’s bowls are so meaty, flavorful and deeply satisfying that calling them soups is a missed opportunity.

Exhibits C1: Gumbo; and C2: Ham & Bean. At $4 per serving, these two soups might be the best things going here. Served atop a bed of white rice, the gumbo is smoky and spicy, with tender chunks of pork and okra bobbing in the rust-colored gravy. Just like it sounds, the ham and bean soup is loaded with meaty tangles of shredded ham and powdery pintos in a creamy, peppery base that managed to extract every last bit of flavor out of that blessed pig.

CHOW CHOW KITCHEN 14201 MADISON AVE., LAKEWOOD 216-712-4126

Like the occasional bong hit, Chow Chow is not an everyday occasion. Fried foods outnumber non-fried foods 2-to-1, and I’m including desserts like the banana ice cream sandwich in the tally. But who’s keeping track when you’re staring down a platter of pankobreaded catfish ($9) and housemade potato chips the size of shoehorns?

Or smoked salmon-studded hushpuppies ($6) that get dunked into lemony tartar sauce? Or a Po’ Boy ($7.50) sandwich stuffed with crispy nuggets of BBQ fried chicken topped with coleslaw and sweet pickles? Not me, that’s who.

FYI: If for some reason it feels like time is moving like molasses, it’s a good idea to call in your dinner order well ahead of time.

dtrattner@clevescene.com t@dougtrattner magazine | clevescene.com | October 28 - November 3, 2015 47

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magazine | clevescene.com | October 28 - November 3, 2015

EAT

Kanatzar

RISING STAR CHEF: DICK KANATZAR

By Nikki Delamotte AS EXECUTIVE CHEF OF FINE dining destination Vaccaro’s Trattoria (1000 Ghent Rd., Akron, 330-6666158, vactrat.com) Akron born and bred Dick Kanatzar has long been a champion of the local food scene.

Dedicated to working with nearby Dunkler Farms and Rittman Orchards for produce, the 33-year-old chef has injected some modern creativity into the classic Italian fare.

When he’s not at Vaccaro’s, Kanatzar operates Dick’s Kitchen (chefdickskitchen.com), his popular series of pop-up dinners.

It was while working at Noodle Cat a few years back that the owners of Akron bar and retail outlet Portage Lakes Brewing Company spotted Kanatzar, a regular customer.

Talks quickly turned to a potential collaboration: Last May, the chef began his Dick’s Kitchen dinners at the beer shop. The prix fixe tastings are designed around whatever brewery the store is featuring that evening. He’s since begun hosting pop-ups at bars throughout Northeast Ohio.

“I’m a craft-beer nut,” Kanatzar says. “With the huge craft explosion over the last five years, every time I get a chance to work with a brewery, I jump on it.”

When developing the menu for the latest in the series, a pop-up at Brick and Barrel in the Flats, Kanatzar’s offerings took a twist. For a chilly weekend afternoon in Cleveland, he thought, few things go together as well as tacos, tailgates and beer.

“I’m a ‘tacos everyday’ kind of guy,” he says, raising a lid to reveal a platter of carnitas, microgreens, pickled vegetables, lime crème fraiche and peach and pear salsa.

In this case, the accompanying

brew du jour is Elevator Brewery’s Bleeding Buckeye red ale. To bring out the citrus of their Hoppy Wheat Ale, he motions to a cilantro lime slaw, revealing his right hand inked with an octopus tentacle emerging from a noodle bowl. The tattoo represents the enduring influence of Noodle Cat. Even at Vaccaro’s, the chef sneaks the occasional ramen bowl onto the specials list — and it’s become an unlikely hit.

His first Dick’s Kitchen popup featured Great Lakes Brewing Company’s Lavender Burning River Firkin, paired with grilled watermelon, ramps, yellow tomato salsa and walleye. Sustainable seafood has become a focal point.

When Brew Kettle came to Portage Lakes, Kanatzar created a pecan ice cream to team with their Nut Brown Ale. He works regularly with Pav’s Creamery, the ice cream stand he frequented in his youth.

With no kitchen to hide behind, Kanatzar relishes the opportunity for chef-diner interaction.

“I try to pick foods people might not be used to,” he says. “I get to interact a lot more with people. We talk about the beer. It’s an educational thing.”

After leaving Brick and Barrel, he’ll head to Portage Lakes Brewing Company for the second Dick’s Kitchen feast of the day. Deschutes Brewery is in town and Kanatzar is taking his tacos for Round 2. After that, it’s time to concoct some new ideas for his next dinner on Nov. 23, at the Barrel Room in Canton.

“At the end of the night when I go home, I have a beer,” says Kanatzar.

scene@clevescene.com t@cleveland_scene

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magazine | clevescene.com | October 28 - November 3, 2015 49

EAT Located in the Heart of Cleveland’s Historic Little Italy

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BRIDGETTE TROCK WAS miserable at her restaurant job working as a bar manager for a local chain of bar and grills, where as an hourly employee she busted her hump for tips. When she wasn’t working hard, she was working even harder to find a new career path.

“It was exhausting,” she says.

“I had been looking for a salaried position for a very long time but it was just hard.”

“Although we have a ton of restaurants around here, not everybody is in the right fit.”

— Jason Beudert She pursued the conventional jobsearch path of signing up for every jobs website out there, from Indeed.com to Glassdoor, all with the same results.

“All they do is send out 120 emails a day and none of them are relevant to me,” she says She even tried employing the services of a recruiter, but left the experience with the same feelings of frustration because the headhunter had no intimate knowledge of the restaurant business, let alone the local dining scene. And then she met Jason Beudert, who had recently found her friend a great new job.

“I got in touch with Jason and after talking to him I thought this is perfect, this guy knows what I’m talking about,” Trock says.

Throughout the past 20 years, Beudert has worked in restaurants as a dishwasher, server, bartender, host, cook and manager. But it was in his last position, as food writer for Scene and regular food personality on Q104, that he began to fully grasp the need for a dedicated restaurant recruiter.

“When they would realize my connection to the Cleveland food scene, restaurant managers and owners are always asking me, ‘Do you know of anyone looking for a

50

magazine | clevescene.com | October 28 - November 3, 2015

job?’” Beudert explains.

Those persistent pleas led him to establish Restaurant Recruits, a firm dedicated to finding employment for both hourly and salaried employees, from hosts and servers to kitchen managers and chefs.

Restaurant Recruits works closely with local colleges, community based organizations and award-winning restaurant groups to place qualified candidates.

“With all of these restaurants opening, it’s important that we can identify great talent, young talent, experienced talent and connect them with award-winning restaurant groups,” Beudert explains.

Beudert says that he doesn’t simply move people from one job to another; he finds people a better job.

“Although we have a ton of restaurants around here, not everybody is in the right fit,” he says. “A lot of restaurant employees are ready for a change. Perhaps they work for a national chain but would like to find a job at a great independent restaurant group that will train them well, pay them well and create a career environment.”

All candidates undergo a rigid internal interview screening process, complete with a thorough reference check. They also are put through a “guest service” test, in which they are asked to answer a series of hypothetical questions designed to identify a “guest first” mentality.

“We only want to represent and place the most driven and hospitable candidates,” says Beudert. “We believe that if you lack the willingness to learn and lack a positive personality, you will not make it through our process.”

For Trock, who will begin the next chapter of her career in a few weeks as assistant manager at Winking Lizard, the future has never looked brighter.

“I’m moving from a good company to a great company where there is room to grow,” she says. “I feel I have growth potential and now is my time to shine.”

dtrattner@clevescene.com t@dougtrattner

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magazine | clevescene.com | October 28 - November 3, 2015 51

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THE RIDE OF HIS LIFE

Eccentric singer-songwriter Kinky Friedman returns with his first studio release in over 30 years

By Jeff Niesel VETERAN SINGER-SONGWRITER Kinky Friedman has done it all.

Over the course of a career that started in the ’60s when he played with the surf spoof act King Arthur & the Charlottes — a group known for its one and only single, “Schwinn 24/Beach Party Boo Boo” — Friedman has toured with Dylan’s Rolling Thunder Revue; recorded with Eric Clapton, most of the Band and Ringo Starr; and appeared on Saturday Night Live and at the Grand Ole Opry. And, oh yeah, he wrote a song that became the tune that the late Nelson Mandela counted as one of this favorites. Say what?

“Nelson Mandela listened to the smuggled cassette tape of Sold American,” says Friedman via phone from his Texas ranch. “He was in prison for 17 years. The guy in the cell next to him was Tokyo Sexwale. I met Tokyo Sexwale, one of his right-hand men, when I was in South Africa. He told me that Mandela was a big fan. He said, ‘We smuggled what we could. I was in the cell next to him and the signoff song that he played every night was ‘Ride ’Em Jewboy.’ That went on for the better part of three years. The last thing on my mind was that Nelson Mandela would be listening to it in a prison cell. That makes the song and the whole career significant.”

Friedman’s latest studio album, The Loneliest Man I Ever Met, features originals such as “Sold American,” “Nashville Casualty and Life” and the aforementioned “Ride ’Em Jewboy.” The alt-country album also includes Friedman’s take on tunes by Tom Waits, Johnny Cash, Bob Dylan, Merle Haggard and friend Willie Nelson, who produced and performs on his own “Bloody Mary Morning.” Guests include guitarist Joe Cirotti, the Willie

Nelson Family Band’s Mickey Raphael and Little Jewford, the bandleader of the Texas Jewboys. It’s Friedman’s first effort in over three decades.

“Life gets in the way,” says Friedman, who has written a slew of detective novels and once ran for governor of Texas. “I’ve been writing books and

Somehow the slogan, “My governor is a Jewish cowboy,” didn’t get Kinky Friedman elected to governor.

columns. Politics gets in the way too.”

He credits Brian Molnar, who produced the album, with pointing him in the right direction.

“He did the thing at the ranch and found a great guitar player along with an engineer,” Friedman says. “They were from Jersey. I called them the Jersey Boys. They’re the only sound you hear on the record. There are three original songs and nine interpretative renderings. Elvis never wrote a song

and Sinatra never wrote a song.

The interpretation is what’s happening here.

I’m not doing this to educate millennials.

It’s a record of songs that I love. The more I play the record, the more it seems like a mirror.

‘Christmas Card from a Hooker in Minneapolis’ might be known by 2 percent of the audience. It’s halfway between Bob [Dylan] and Kinky.

It’s right in the middle, I think. Of course, ‘My Shit’s Fucked Up’ isn’t so much about Warren Zevon dying of cancer as it is a visionary song. It’s a perfect description of our country and our world today. Our shit’s fucked up. It might not be fixable this time.”

That notion — that the world is

broken and can’t be fixed — inspired the sentiments found on many of the album’s tunes. And Friedman says it’s hard to find songwriters as good as guys like his pal Willie Nelson. “’Bloody Mary Morning’ is out of rhythm, but that’s its charm,” says Friedman. “It’s spontaneous and has spirit. It’s a perfect song.

Willie is the jazz cowboy on that one.

That’s a perfect example. That’s the difference between important and significant. It’s maybe not important like Miley Cyrus or Garth Brooks or Toby Keith. There’s nothing wrong with those people; it’s just that the songs that are coming out now sound like they’re music for frat parties. They were written by committees of four and five people.

They have click tracks. Toby Keith

magazine | clevescene.com | October 28 - November 3, 2015 53

MUSIC is pushing one billion dollars now in profit. I never met and have nothing against him. That’s important to his publishers and fanbase and all that shit, but it’s not significant.”

So who does he think has made “significant” art?

“Gram Parsons is significant,” he says. “Shel Silverstein is.

Warren Zevon is. Tom Waits is.

Kinky Friedman would love to be part of that group instead of the other group. That is a group that can inspire young people and the geezers. You can’t fail to see a show

by Willie or Bob or Billy Joe Shaver or Merle and not go away with a little different sensibility.

A tune he wrote years ago, the album’s somber title track which features a gentle guitar riff and nearly whispered vocals, refers to a struggling singer-songwriter from Nashville whom Friedman says never got his due.

“It was written about 25 years ago by me and Will Hoover in Nashville,” he says. “It’s about our friend Tompall Glaser who we feel is an outsider in the Outlaw movement.

He burned more bridges and had a lot more to lose than Willie and Waylon who were like gypsies.

Tompall was already the king of the hill. I wrote that when I was a struggling singer-songwriter in Nashville. That’s as close to Jesus as you’ll ever get. It’s a really pure calling. It’s a wonderful thing to be. These guys can’t do it again — Willie and Bob [Dylan]. They’re distanced from their art by their success. If they did do it and wrote some great stuff, they’re so good

When Friedman ran for governor in 2004, he used a variety of slogans, including “My governor is a Jewish cowboy” and “He Ain’t Kinky, He’s My Governor.” Those didn’t win him the election, though they did get him some attention in the media. He continues to follow politics, though he says he’s done “picking on Obama.”

“Rick Perry, who is my favorite nemesis, is out,” he says. “I can’t do jokes about him anymore. The crowd always picks Barabbas. You can bet if there’s anyone good there, they don’t pick them. They’ll kill him.

There’s only one thing I don’t like about [Donald] Trump. I prefer Mr. Anonymous. If you give money to a children’s hospital, you shouldn’t put your name up there in big letters.

He’s not corrupt. Neither is Bernie Sanders. Those two are not. I don’t know, though. We need to limit everyone to two terms — one in office and one in prison. That would go a long way to help.”

For the current tour, Friedman says he’ll play material from the new album and delve into his notorious past.

“There will be old favorites,” he says. “I can’t get around to not doing ‘They Ain’t Makin’ Jews Like Jesus Anymore’ and ‘I’m Proud to be an Asshole from El Paso.’ I will have Joe Cirotti with me, who did some beautiful guitar work on the record.

We have a lot of merch. We have T-shirts and sweatshirts. I will sign anything but bad legislation.”

Friedman admits the current tour, a month of nearly back-to-back shows that takes him away from his beloved ranch, will be a haul.

“I’m sad about leaving my four dogs,” he says. “I explained to them what I have to do. This is a tour

KINKY FRIEDMAN 8 P.M. TUESDAY, NOV. 3, WILBERT’S FOOD & MUSIC, 812 HURON RD. EAST, 216-902-4663. TICKETS: $30, WILBERTSMUSIC.COM

that you can’t tell if the stuff is great or if it’s just the doing it.

There are a lot of factors at work here but the big one is cultural ADD. No one is going to listen to a record any more. They don’t even listen to a whole song. They can’t keep it in their heads. In politics, it’s the same damn thing. Look at the continent of Africa. Do you see any Mandelas rising there? No, you don’t. You see a bunch of brutal corrupt black leaders who are just as corrupt as the white leaders before them. You don’t see a Churchill or an Abe Lincoln.”

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magazine | clevescene.com | October 28 - November 3, 2015

on the Hank Williams level. When you’re doing back-to-back shows with no nights off, you are going to be running on pure adrenaline.

You’ll be raw and pure and hearing voices and all your good angels will hopefully be there with you.

It’s really a test. I’m 70 years old, though I read at the 72-year-old level. I feel like the white Richard Pryor, who would probably be a homeless person if he were around today.”

jniesel@clevescene.com t@jniesel

magazine | clevescene.com | October 28 - November 3, 2015 55

MUSIC BETTER THIS WAY

Big K.R.I.T. takes the road less traveled to find success

By Emanuel Wallace

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music moves. It may not be your favorite record on the radio or take off like that, but over time, people will gravitate to my content and my sound because they know they can’t get it anywhere else.”

He says he plans to continue in the same artistic direction.

“I’m just excited to keep this feel and this vibe going musically,” he says.

“It’s just a brighter aspect, because I’m happy with where I am in life and it definitely shows in the music. At the same time, the person I was during [the 2010 mixtape] Krit Wuz Here isn’t the person I am now as far as experiencing life, and I really want to take people with me on this journey musically.”

Even with all of his accomplishments, Big K.R.I.T. still carries a huge chip on his shoulder when it comes to being accepted as a lyrical artist. “I still have to prove myself,” he says. “It might just be the pressure that I’m putting on myself, and I’m always going to go as hard as I can to make sure that quality music is noted and understood and paid attention to. When it comes to art nowadays, shock value gets more attention than a really great body of work or great art, and that’s sad.”

He has no regrets at all about venting his frustrations and is beginning to accept the position he’s in at this point in his career. “If I can’t tell the world how I feel, then there’s something wrong,” he insists. “I’m starting to get to a place where I’m

Big K.R.I.T. wears many musical hats.

Ludacris to Melanie Fiona. The main artist he really wanted to work with was Cleveland’s own Bobby Womack, who passed away in June of last year after battling a multitude of illnesses.

“Yeah, Bobby Womack was the one,” K.R.I.T. says when asked about the

BIG K.R.I.T. AND BJ THE CHICAGO KID 7 P.M., FRIDAY, OCT. 30, GROG SHOP, 2785 EUCLID HEIGHTS BLVD., CLEVELAND HEIGHTS, 216-321-5588.

TICKETS: $25 ADVANCE, 28 DOS, GROGSHOP.GS

understanding that my path is my path and it’s gonna be what it’s gonna be, but that’s not going to stop me from always pushing the envelope.

I’m always going to go the distance with my music no matter what, even if people aren’t paying attention or giving me a certain kind of shine like they might do with other artists.”

As far as collaborations go, Big K.R.I.T. has worked with artists that span the spectrum from B.B. King to

magazine | clevescene.com | October 28 - November 3, 2015

Photo by Jonathan Mannion

THE PAST YEAR HAS BEEN ONE of tremendous artistic growth for Meridian, Mississippi, rapper Big K.R.I.T. (an acronym that stands for King Remembered In Time). The theatrical trailer for the hit movie Sicario featured one of his songs and the rapper embarked on an Australian tour. After years of being in complete control of his creative process — from the production and songwriting to the mixing and mastering of his projects — K.R.I.T. finally decided to venture away from his comfort zone during the recording of Cadillactica, his second album with Def Jam. The album was well received by many critics, but K.R.I.T. still finds himself fighting for respect in some aspects.

“I’m so used to producing for myself pretty much and kind of really sticking to what I enjoy as far as drum packages and samples and the things that I use,” he says via phone. “So when I started working on Cadillactica, it was more about me trying to get out of that by working with other producers and using more obscure instruments and just challenging myself even about where I was recording.”

Based in Atlanta, the rapper/ producer traveled to Miami to record with Jim Jonsin and spent time in Los Angeles as well. “I was just trying to not be in my house and working so much,” he says. “Even just being able to get in the studio with the producers that I was working with freed me up to write a little bit differently. I could dive deeper into Cadillactica. I wanted the album to sound sonically different than anything I had done before that.”

The night before this interview was scheduled to take place, K.R.I.T. released a surprise project, It’s Better This Way. “It’s really all about becoming comfortable in my space,” he says when asked about his approach to creating his latest mixtape. “I’m not really chasing the sound that everybody else is on or chasing what people are familiar with on radio, but just kind of finding my own pocket or my own niche and building on it as much as possible. I’m not doing it all by myself, but rather while working with musicians who can bring certain parts to life and make sure that the

artists he would love to create with.

“It hurt me when he passed because that was something I was looking forward to just because of the songs I had sampled from him.” Other living legends that K.R.I.T. would like to get in the studio with include Frankie Beverly & Maze, Al Green, Bootsy Collins, George Clinton, Ron Isley and Bill Withers.

K.R.I.T. anticipates his upcoming show at the Grog Shop will be as

jam-packed as it was the last time he played the club.

“It’s just so much music and when it comes to certain places, the demand is a little higher than others,” he says, as there were talks of doing two shows to accommodate fans. “You really don’t want to wait to come back around so you try to give them two shows in one day. I’m one of those people where, when it comes to the performance, I’m going to go all in and I can get those fans who might get off work late. All that energy and adrenaline keeps pumping, After I do that first show, it ain’t like I go straight to sleep.

I’m ready to go out there again. I’d be excited to do two shows in one night because it’s definitely a milestone for me. You best believe the second show is going to be just as good as the first one and vice versa.”

mwallace@clevescene.com t@mannywallace

magazine | clevescene.com | October 28 - November 3, 2015 57

MUSIC A GARRULOUS GUY WHO RETAINS a Scottish accent though he’s lived in Los Angeles for the past 25 years, singer-songwriter Colin Hay clams up a bit when we start to prod him about Men at Work, the Australian pop group that became a global sensation (and introduced the world to the Aussie delicacy known as Vegemite) back in the ’80s. But when we ask about the group’s initial breakup, which occurred in 1986, a mere six years after the band formed, he becomes a bit more forthcoming.

“We couldn’t stand each other,” he says via phone from his L.A. home.

“It’s difficult to say [if the overnight success contributed to the breakup]. I think everything affects everything. If we hadn’t become successful, maybe it would have been shorter lived. I don’t think it was a band that was destined to go the distance. When you think about it, it’s dumb. It’s stupid. Why would you break up when you created all that success and a lot of income?

It doesn’t make any sense. There’s no sense to it. As soon as you realize there’s no sense to it, then you can be okay with it. There you go. Most bands do break up because of one reason or another. Anytime you have men — it’s usually men — together for a period of time, that tends to happen. They’re idiots.”

While Men at Work might not have been “destined to go the distance,” the second chapter of Hay’s career certainly looks to be. It includes 12 solo albums (his latest, Next Year People, was released in February on Compass Records), a variety of acting gigs and multiple appearances on the TV show Scrubs. He’s toured his ass off all the while. Following the success of the Last Summer on Earth outing with Barenaked Ladies and Violent Femmes that brought him to town this past summer, Hay will launch a solo excursion across the Midwest and Northeast starting in Cleveland on Oct. 29.

Major contributors to the record include young Cuban emigres San Miguel Perez and Yosmel Montejo, pianist Larry Goldings, pianist/ Hammond player Jeff Babko (Jimmy Kimmel), drummer Charlie Paxson and Colin’s wife, vocalist Cecilia Noël.

Long-time friend Michael Georgiades co-wrote six of the album’s 12 tracks and contributed guitar and backing vocals.

“I keep my aspirations minimal,” says Hay when asked about his approach to the initial songwriting sessions. “I just try to write better

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Photo Courtesy of Conqueroo

Working from home has worked out for Colin Hay.

MAN AT WORK

Singer-songwriter Colin Hay takes a DIY approach on his latest album

By Jeff Niesel songs than the last album. That’s the only brief I give myself. I just try to make it better. Some ideas have been sitting around for a little while. The main difference was that I co-wrote several songs with Michael Georgiades, who lives just up the road from me. That was different from the past records. I think I did a couple with him one record before. On this record, we had a lot of fun. We had a great time coming up with these tunes and recording them. A lot of them are fairly new ideas and were written and recorded quickly.”

One of the reasons why the songs were written so quickly has to do with the fact that Hay has a studio

he says. “It makes sense to record downstairs because it’s there. I started doing that when I didn’t have a deal — not that that makes a difference now.

Whatever records I make now I just pay for myself because I don’t have that kind of record deal. The reason why I worked on this one is because I had to learn how to do it. There was no interest in me so I had to make it up as I went along. Rather than go to another studio and invest all that money, I just figured I would put the whole thing together myself so that at least I would have a playpen where I could mess around with things and fuck up things and it doesn’t matter so much.”

COLIN HAY 8 P.M. THURSDAY, OCT. 29, 2230 EUCLID AVE., 866-468-3401.

TICKETS: $40, TRINITYCLEVELAND.ORG

in his home.

“My studio is downstairs in the basement,” he says before poking fun at the situation. “I’m glad the stairs are involved because I think it’s important that if you have to go to work, to go down some stairs. Or up some stairs.

But I think stairs are crucial.”

He says he’s not opposed to using other studios. He just prefers working from home.

“I like recording in other studios as well but it just takes more organizing, and it’s a different kind of experience,”

magazine | clevescene.com | October 28 - November 3, 2015

Hay wrote the title song, a somber acoustic number that borrows from Woody Guthrie and sounds a bit like the quieter side of Richard Thompson, from the perspective of farmers struggling to survive the Depression and Dust Bowl droughts.

“I saw a documentary about that human condition of doing the same thing every year expecting a different result and hoping the rains will come,” he says. “People got mad and got ill and died. All kinds of horror went on.

It’s a remarkable thing. People will

persevere. Although my situation was nowhere near as bleak as anything like trying to make a living farming, I did find myself doing the same thing every year. I would tour every year and go out on the road. After awhile, you wonder if it’s what you are supposed to be doing or if it’s just habit and if you’re repeating yourself and hoping to get different results. All those kinds of questions. They’re sometimes tricky to answer. There’s nobody forcing you to do anything. It’s just a choice to go on the road or not. I keep doing it.”

The autobiographical “Waiting in the Rain” references Hay’s childhood in Scotland prior to moving to Australia with his family when he was 14. The song starts with only vocals and acoustic guitar but finishes with a flourish of keyboards and cooing backing vocals.

“I grew up in a music shop in Scotland,” he says. “When I was messing around with this musical idea for the song, it reminded me of listening to records and music in my mother and father’s shop. That’s where the idea came from. Just before I left, I started taking guitar lessons when I was about 12. They had a shop from 1958 to 1967. It was a pretty exciting period to have a music shop. Whatever the music was of the day was what I heard. I loved pop music at the time.

That was the Beatles and the Kinks and the Rolling Stones and the Who and Elvis and Bob Dylan and everyone else in between. I loved Johnny Cash and Jim Reeves.”

Hay’s solo career has included several forays into film and TV; Scrubs creator and longtime fan Zach Braff included Hay’s “I Just Don’t Think I’ll Ever Get Over You” on the Grammy-winning soundtrack to the film Garden State. Hay’s “Waiting for My Real Life to Begin” can be heard on the soundtrack to the film Words and Pictures. He also voiced a character in the animated film The Wild. Hay is also the subject of the documentary Colin Hay: Waiting for My Real Life; the movie recently made its world premiere at the Melbourne International Film Festival.

The current tour will extend into November; then, Hay will begin to start thinking about the next solo album.

“I’m trying not to, because you try to trick yourself into getting ideas by pretending you don’t have any,” he says. “I’m hoping that by doing that, I can trick myself into actually having good ideas. That’s the theory. I’m not sure how it will work out, but I’m going with that.”

jniesel@clevescene.com t@jniesel

magazine | clevescene.com | October 28 - November 3, 2015 59

LIVEWIRE

all the live music you should see this week Photo courtesy of Conqueroo

WED

10/28

Sound Tribe Sector 9: A staple of this young millennium’s jam circuit, STS9 had a huge hand in cultivating the current scene of livetronica bands. While they routinely release live recordings, the band’s most recent album remains 2011’s EP, When the Dust Settles. On those five tracks, STS9 continued to push their sound from the band’s roots of deep space funk (see “Moon Socket”) into more simply danceable electronica (the present-day “Scheme”). Despite the ups and downs of a nearly 20-year career together, the STS9 has grown considerably with each phase. “Our repertoire is bigger than it has ever been,” drummer Zach Velmer told Jambase last fall. “We’ve written new songs and are going back to old songs and I think the setlists are showing that.

It’s epic. It’s breathing new life in, and it’s just fucking epic.” (Eric Sandy), 8 p.m., $27.50 ADV, $30 DOS. House of Blues.

Vanna/Like Pacific/Rarity/We Were Kids/Hello Weekend: Filed neatly into the expansive post-hardcore scene, Vanna has delivered a number of high-octane albums through a litany of lineup changes.

Their latest, VOID, mashes relentless distortion against throatburning screams and Eric Gross’ pulsing drumming. For those who like to throw down in the pit and release their angst through double-bass pedals, Vanna’s got the goods. Just this month, the band released an EP of covers: stuff like “Beautiful People” and “Got the Life.” While these versions don’t stray far from the originals, it’s still a nice addition to the Vanna repertoire. They should make for a nice addition to the live show, too. (Sandy), 7 p.m., $13 ADV, $15 DOS. Mahall’s 20 Lanes.

10 X 3 Hosted by Brent Kirby (in the Wine Bar): 8 p.m. Brothers Lounge.

Acid King/Contra/Pillars: 9 p.m., $12 ADV, $15 DOS. Now That’s Class.

Anybody Killa: 6 p.m., $12 ADV, $15 DOS. Agora Ballroom.

Elliott Ingersoll’s Forethought Folk Music/Ernest Elshaw/Andrew Bonnis: 6 p.m. Barking Spider Tavern.

Jane Monheit: 7 p.m., $30.

Nighttown.

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Holly and Dave roll into town to play the Beachland. See: Tuesday.

Not a Planet (in the Supper Club): 8 p.m., $7. Music Box Supper Club.

Pipe Dream/Arielle Tindel/Lea Marra: 8 p.m., $10 ADV, $12 DOS. Grog Shop.

Jackie Warren: 7 p.m., Free. BLU Jazz+.

THU

10/29

Chamba Music: Last year, bassist Ed Sotelo and flautist Kathryn Metz, an ethnomusicologist who works at the Rock and Roll Hall of Fame and Museum, started playing Brazilian music as Bossa Novella. “Kathryn and I wanted to play Latin American music from different countries,” says Sotelo, who describes himself as a “dude whose parents are from Argentina but was born at Metro.” The band has since expanded to include percussionist Geoffrey Peterson and violinist and mandolin player Jeff Schuler. Rechristened Chamba Music, the group played a few shows last summer on the patio at Luxe. Today’s show is part of a regular happy hour residency.

“We’re concentrating on Brazilian music right now,” says Sotelo.

“Some Brazilian tunes have made it into the jazz canon. That’s an easier point for us to start. Some of the the Brazilian stuff is easier to handle if you’ve ever heard any jazz. I grew

magazine | clevescene.com | October 28 - November 3, 2015

up listening to traditional Argentine music, but I didn’t learn how to play it.” (Niesel), 5 p.m., Free. The Euclid Tavern.

Andy Mineo: You can judge rapper Andy Mineo’s popularity by the fact that “You Can’t Stop Me,” the rambunctious single off last year’s Never Land, which sold over 90,000 units and logged more than one million page views on YouTube, recently won “MLB’s top walk up song” for ESPN’s inaugural Whammy Awards. It beat out Taylor Swift’s “Bad Blood” and Big Sean’s “Blessings.” Produced by !llmind (J.Cole, Drake, 50 Cent), Mineo’s new album, Uncomfortable, debuted last month to critical acclaim. Mineo explores his sensitive side with a song like “Hear My Heart,” a soulful tribute to his deaf sister. Mineo even created a sign-language video to announce the tune. (Niesel), 8 p.m., $22 ADV, $25 DOS. House of Blues.

Blu Jazz Jam with Theron Brown: 8 p.m., $8. BLU Jazz+.

Cuyuga/Guy Pernetti/The Dirty Baxters: 6 p.m. Barking Spider Tavern.

CWRU School of Law Board SPLIF Fundraiser: 9 p.m. The Euclid Tavern.

Howie Day CD Release Concert/Brad Ray: 7:30 p.m., $22 ADV, $25 DOS. Music Box Supper Club.

Escape the Fate/A Skylit Drive/ Sworn In/Sirens & Sailors/Myka

Relocate: 6 p.m., $16 ADV, $18 DOS. Agora Ballroom.

Great Father CD Release/John Kalman: 9 p.m., $5. Grog Shop.

Chris Hatton’s Musical Circus (in the Wine Bar): 8 p.m. Brothers Lounge.

Colin Hay: 8 p.m., $40. Trinity Cathedral.

The Independents: 7 p.m., $10 ADV, $13 DOS. The Foundry.

Jam Night with the Bad Boys of Blues: 9 p.m., Free. Brothers Lounge.

Kinski/Relaxer/Car Jammers: 8:30 p.m., $10. Beachland Tavern.

Kitschy/Bent Knee/Village Bicycle: 9 p.m., $5. Happy Dog. Jane Monheit: 7 p.m., $30.

Nighttown.

New York Taps/Mr. California and the Mr. California Band/The Burger Boys: 9 p.m., $5. Now That’s Class.

A Silent Film/Flagship: 8:30 p.m., $15 ADV, $17 DOS. Beachland Ballroom.

Victor Wainwright & Wildroots (in the Supper Club): 8 p.m., $12 ADV, $15 DOS. Music Box Supper Club.

Rodney Whitaker: 8 p.m., $15. Bop Stop.

FRI

10/30

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62

magazine | clevescene.com | October 28 - November 3, 2015

Halloween bash, the Beachland promises “endless entertainment throughout the night,” and there will be a costume contest, DJs and drink specials. Eight local cover bands featuring members of local acts like Boys From County Hell, Scarlet and the Harlots and the Hot Rails, are slated to perform. The bands will cover Van Halen, Bob Dylan, Soundgarden, Neil Young and the Smiths. Additionally, the Beachland will provide a free shuttle (courtesy of the Cleveland Brew Bus) that will run between Parkview Nite Club and the Beachland all night. Tickets are $8 with a costume and $12 without a costume. (Niesel), 8 p.m., $8-$12.

Beachland Ballroom.

Big K.R.I.T./BJ the Chicago Kid: 7 p.m., $25 ADV, $28 DOS. Grog Shop.

Rachel Brown & the Beatnik Playboys (in the Supper Club): 8 p.m., $7. Music Box Supper Club.

The Can’t Evens/Bill Fox: 9 p.m., $5. Happy Dog. The Hot Sardines: $54. E.J. Thomas Hall.

Carlos Jones and the P.L.U.S. Band/The Blue Drivers/George Foley & Friends: 5:30 p.m.

Barking Spider Tavern.

Dennis Lewin: 10:30 p.m., free.

Nighttown.

The Nots/Mole People/Young Humans/Swirly in the Fryer: 9 p.m., $8. Now That’s Class.

Reggae for Food with Carlos Jones & the P.L.U.S. Band/Umojah Nation/Jah Messengers/Hybrid Shakedown/MC Poppa Dave Smeltz: 8 p.m., $15 ADV, $20 DOS. Music Box Supper Club.

Saul Glennon/Kiss Me Deadly: 9 p.m., $5. The Euclid Tavern.

Bobby Selvaggio: The Standards Project: 8 p.m., $12. BLU Jazz+.

Shout Band: 9:30 p.m., $5. Brothers Lounge.

SoNuvo: 8:30 p.m., $10. Nighttown.

Soul Music and Other Music for the Soul with Lawrence Daniel Caswell: 6 p.m., Free. Happy Dog. Sounds of Jazz Featuring Nancy Redd (in the Wine Bar): 8 p.m.

Brothers Lounge.

Spazmatics: 9 p.m., $10. Vosh Club.

Survivor Halloween Girl Sockhop with Jeff Klemm & the Letters/ Younger Still/Telamon: 8:30 p.m., $10. Musica.

Teddy Boys/Chomp/Beach Stav/ Erienauts/Bloom: 8 p.m., $8 ADV, $10 DOS. Mahall’s 20 Lanes.

The Vinyls: 8 p.m., $20. Bop Stop.

SAT

10/31

Hey Monea! Halloween Album Release with Special Guest Mark Leach: In 2009, Hey Monea! released its first EP but then took four years to follow it up with 2013’s Cheap Souvenirs. For it, band recruited Dennis Herring, who produced the first few Modest Mouse records, to record the disc at his studio in Oxford, Miss.

Herring brings out the band’s soulful side on songs such as “Pollyanna” and “Stay,” tunes with catchy, radio friendly melodies that recall the alt-rock of the mid’90s. Tonight, the band celebrates the release of its latest effort The 50, another strong effort. The “Buenos Noches” features on a lazy Latin vibe and “Filthy Rich” benefits from cooing backing vocals and skittish percussion.

The album effectively shows off the band’s musical range. (Niesel), 9 p.m., $10. Musica.

Aiden/Kissing Candice/Ashes to Angels: 12 p.m., $15 ADV, $18 DOS. Agora Ballroom.

Blue Oyster Cult: 8 p.m. Hard Rock Rocksino.

Trish Breit (in the Wine Bar): 8 p.m. Brothers Lounge.

Broccoli Samurai/Vibe & Direct: 9 p.m., $10 ADV, $13 ADV. Grog Shop.

Daveferatu/Nick Wilkinson and the Featured Players: 9 p.m., $5.

Happy Dog. Disco Inferno: 9 p.m., $10. Vosh Club.

Diego Figueiredo: 8:30 p.m., $20.

Nighttown.

Halloween Show with Mellow Harsher/Falter/Hemdale/MDFL: 9 p.m., $5. Now That’s Class.

Hubb’s Groove Halloween Bash: 8 p.m., $15. BLU Jazz+.

Mushroomhead: 6 p.m., $29 ADV, $35 DOS. The Agora Theatre.

Muttsquerade with the New Soft Shoe/Jay Patrick Boland and Friends (in the Supper Club): 8 p.m., $10. Music Box Supper Club.

Schwartz Brothers: 8:30 p.m., $6.

Beachland Tavern.

That 80s Band: 9:30 p.m., $5.

Brothers Lounge.

The Tubes: 8:30 p.m., $40-$55. The Tangier.

Jackie Warren: 10:30 p.m., free.

Nighttown.

Xe La/Ray McNiece Tongue N Groove: 8 p.m. Barking Spider Tavern.

YOB/Black Cobra/Sparrowmilk: 8:30 p.m., $15 ADV, $17 DOS. Beachland Ballroom.

SUN

11/01

Crash Coffin and the Pallbearers (in the Supper Club): 7 p.m., $7.

Music Box Supper Club.

Lil’ Debbie/Chad Taylor/Tribe/ Young James & Toby: 8:30 p.m., $15. Grog Shop.

Nostalgia Factor: 3 p.m. Barking Spider Tavern.

Nan O’Malley: 7 p.m., $10.

Nighttown.

Mike Petrone (in the Wine Bar): 5:30 p.m. Brothers Lounge.

The Rocket 88s: 3 p.m. Barking Spider Tavern.

The Stone Foxes/White Buffalo Woman/Matt Miller Band: 8 p.m., $12. Beachland Tavern.

Together For Nepal Benefit/Thor Platter Band/Old No. 55: 5 p.m., $25-$40. Beachland Ballroom.

Tuff Sunshine/Extra Medium Pony/ Liz Kelly: 8:30 p.m., $5. Mahall’s 20 Lanes.

moN

Cane: Though she plays a mix of R&B and garage rock these days, she grew up listening to punk rock in the UK, where she joined outsider artist and poet Billy Childish in his garage rocking act the Del Monas, which then became Thee Headcoatees. Her association with Childish, in turn, helped her establish herself in the indie rock world and subsequently led to collaborations with critically acclaimed acts such as the White Stripes, Mudhoney and Rocket from the Crypt. Hooking up with drummer Lawyer Dave five years ago spawned the Brokeoffs. Her

newest album, Coulda Shoulda Woulda, features an equal quotient of garage rock rave-ups and lonesome ballads. It’s stellar stuff.

(Niesel), 8:30 p.m., $10. Beachland Tavern.

2 Set Tuesday Featuring the Jerry Allen Band: 7 p.m. Brothers Lounge.

Combichrist/The Birthday Massacre/MXMS/Echo Black: 6 p.m., $20 ADV, $25 DOS. Agora Ballroom.

Jerry Cunningham Quartet: 7 p.m., $15. Nighttown.

Dangermuffin/Syrup: 8:30 p.m., $8.

Grog Shop.

Kinky Friedman: 8 p.m., $30.

Wilbert’s.

Froth: 8:30 p.m., $8. Mahall’s 20 Lanes.

Ernie Krivda and the Fat Tuesday Big Band: 7 p.m., $10. Vosh Club.

Open Mic Night with Gary Hall: 8 p.m. Barking Spider Tavern.

Sing for Your Supper: A Night of Classical Music Sponsored by WXZ: 6 p.m., Free. The Euclid Tavern.

SoMo/Jordan Bratton: 8 p.m., $25.

House of Blues.

scene@clevescene.com t@cleveland_scene

11/02

Futurebirds/Waylon Speed: Psychedelic country: Futurebirds’ music touches on a fairly bipolar network of influences. On their latest album, Hotel Parties, the band chugs through reverb-tinged chord progressions and dusty percussion. With a slacker drawl, Carter King sings his way through rambling American anthems (“Paranoia Letters,” “Xmas Drags”) and more plaintive offerings (like the title track). It’s heady stuff, though -- at once shimmering and rocking, and then morose. (Sandy), 8:30 p.m., $10 ADV, $12 DOS. Beachland Tavern.

Acoustic Alchemy: 8 p.m., $16-$20.

The Kent Stage.

Skatch Anderson Orchestra: 8 p.m., $10. Brothers Lounge.

George Foley & Friends/Mark Ruppee/Glimpse 2: Hamir Atwal & Mike Sopko: 6 p.m. Barking Spider Tavern.

Musket Hawk/Grin and Bear It: 9 p.m., $5. Now That’s Class.

Dave Rawlings Machine: 8 p.m., $38 ADV, $42 DOS. Music Box Supper Club.

Velvet Voyage (in the Wine Bar): 8 p.m. Brothers Lounge.

Yellowcard/New Found Glory/ Tigers Jaw: 7:30 p.m., $25 ADV, $28 DOS. House of Blues.

TUE

11/03

Holly Golightly and the Brokeoffs/ Lonesome Ranger/Austin Walkin

magazine | clevescene.com | October 28 - November 3, 2015 63

Photo by Bryon Miller

BAND OF THE WEEK

GREAT FATHER

By Jeff Niesel MEET THE BAND Brandon Stevens (guitar, vocals), Ben Gmetro (lap steel), Mike Allan (bass), Steve Simantiris (guitar), Matt Chasney (drums) FINGER-PICKING GOOD Singer-songwriter Brandon Stevens quit playing music for about 10 years to devote his attention to the Cleveland/New York-based indie record label Exitstencil that he runs.

Then, three years ago, while living in New York, he started playing music again. “Seeing everyone there doing stuff got me off my ass,” he says. “I started playing guitar, and I bought an expensive Gibson J-200 because I thought if I made that commitment, I would start to play again. I learned finger-picking from scratch. I started listening to [singer-songwriter] Townes Van Zandt and ’70s Texas songwriters. I love the style of that stuff.”

GOOD PRESS NEVER HURTS For its debut album, Bicentennial Blue, the group went to New Warsaw studios in New York to record with producer/multi-instrumentalist Riley McMahon (Spottiswoode & His Enemies). “He can play any instrument,” says Stevens. “We got together with him and [drummer] Will [Mason] who was in [the indie rock act] Like Bells. The three of us did it over the course of three months before I moved back to Cleveland.”

Stevens says he wrote over 20 songs; nine of those ended up on the album.

The release has gotten some pretty good press: Performer Magazine

64

magazine | clevescene.com | October 28 - November 3, 2015

pronounced it “Vinyl of the Month,” and made comparisons to early John Lennon in a review.

WHY YOU SHOULD HEAR THEM The acoustic-based songs on Bicentennial Blue have a quiet intensity to them. A somber song that sounds a bit like the late, great Nick Drake, “Nobody Likes a Long Goodbye” features a gentle guitar melody and hushed vocals. Earlier this year, the band debuted a grainy video for the tune. It features vintage footage of various city skylines. “Years ago, my mom and uncle went on a trip they always talk about,” says Stevens.

“They said it was awful. They hopped in the car. My uncle, who was only 14 at the time, ended up becoming a professional photographer and he filmed all this footage. There are even shots of Cleveland. They got it transferred to DVD at Christmas.

They have general shots of everyday life and it fit well with the song.

That was my first attempt at editing a video too.” For the upcoming Cleveland show, Stevens has recruited members of local acts such as Dreadful Yawns and Six Parts Seven to back him.

WHERE YOU CAN HEAR THEM exitstencil.org.

WHERE YOU CAN SEE THEM Great Father performs with Mike Uva and John Kalman at 9 p.m. on Thursday, Oct. 29, at the Grog Shop.

jniesel@clevescene.com t@jniesel

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magazine | clevescene.com | October 28 - November 3, 2015

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66

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The Hot Sardines One of the best NYC jazz bands around!

Pipe Dream will thank its fans with a special show before leaving for SoCal.

PIPE DREAM TO PLAY FAREWELL SHOW

By Jeff Niesel THE LOCAL POP-PUNK BAND Pipe Dream — guitarist Spencer Hendricks, singer-bassist Jack Ellis and guitarist Gavin Sterkel — formed in late 2012 when the guys were still high school students. Set to relocate to Los Angeles at the end of the month, the band will celebrate the end of a great run with a farewell show on Wednesday, Oct. 28, at the Grog Shop.

The band’s not breaking up — it’s just moving across the country.

“We went to Chagrin Falls High School, and we were looking for something to do besides work,” says Hendricks when asked about how the band initially came together.

The group recorded its first album, Circles, locally at Whiteout Audio, and quickly became a band to watch.

Recorded at Whiteout Audio just a few months after the release of Circles, Pipe Dream’s 2013 EP Horizon shows off the local band’s sensitive side.

That’s apparent right from the start as the opening title track sounds like Green Day covering a Coldplay tune.

Released last year, The Oak, another strong effort, features a slew of pop gems. A mellow, acoustic guitardriven song that features the sound of children playing in the background, the title track comes off as a great, unpretentious ballad.

“We spent a lot more time on the record,” says Hendricks of The Oak. “We started writing in September of 2013. We had a whole bunch of ideas.

We completed one song and then another, and we would keep changing

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everything. We recorded six or seven songs and then narrowed it down Buy tickets at Ticketmaster.com and all Ticketmaster locations. to the final four that went on it. We wanted to bring back that childhood feeling of being a kid. And we wanted to show how we’ve been trying to Sardines 4.55x5.9.indd 1 10/26/15 grow as songwriters.”

Though Hendricks says performing in Cleveland has been great, the band is ready to move on.

It recently signed to Los Angelesbased Franklin Street Entertainment Management and has decided to move out to Los Angeles to be closer to what’s left of the music industry.

“Cleveland’s amazing but everyone is in Los Angeles,” says Hendricks.

“The biggest connection could be right down the street. It’s a matter of meeting the right people.”

The three guys plan to cram into a one-bedroom in Toluca Lake.

For the show at the Grog, the band will pay tribute to its Cleveland fans.

“We got so much support from Cleveland, so we want the show to be more of a hangout,” says Hendricks.

“We just want to personally thank everyone. We will do an acoustic set with new songs.”

Expect the new songs to be more uptempo.

“It’s great to have someone cry to one of our songs but we want people to smile,” says Hendricks. “We want to be more upbeat and pop. We haven’t explored that territory before.”

2:24 PM

jniesel@clevescene.com t@jniesel magazine | clevescene.com | October 28 - November 3, 2015 67

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magazine | clevescene.com | October 28 - November 3, 2015

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magazine | clevescene.com | October 28 - November 3, 2015 69

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magazine | clevescene.com | October 28 - November 3, 2015

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magazine | clevescene.com | October 28 - November 3, 2015

Dear Dan, I am a straight, married, 38-year-old woman. My husband and I have two children. I have been with my husband for 12 years, married for six. Three years after we were married, we found out that he was HIV positive. We had both had multiple tests throughout our relationship because of physicals and the process we went through to get pregnant. Both of us were negative then, but only I am now. Needless to say, he was infected as a result of him cheating. We worked through that and remained married.

Recently I saw a message from a woman saying, “Call me or I am calling your wife.” I identified myself, and she and I spoke briefly. I asked her how long they were having a relationship, and she told me since January. I did not mention his status. I confronted him, and he claims she is a crazy stalker. He says there was a brief flirtation but then she became clingy and “crazy,” and he did not know how to tell me without compromising our relationship. He blocked her calls and e-mails. He is undetectable, and we use condoms. He has never tried to not use a condom when we have had sex. In the state where we live, a positive person who does not inform a person of their status before having sex faces up to five years in prison. I have brought this to his attention. He is sticking to his story that he did not have sex with her. I do not believe him. We met with a therapist last week, only for a placement consultation.

We did not mention his status. This is my biggest issue: I don’t think we can work through our problems without honesty.

I need him to come clean and admit to me—and our therapist—that he had sex with this woman. If he does, I believe the therapist will be legally obligated to report his behavior to the police. I am preparing myself for divorce, something he doesn’t know, and while I don’t want to have him arrested, I feel we need the therapy in order to respectfully co-parent—and lying to a therapist or omitting the full truth seems crazy.

—Seeking Truth About This Unpleasant Situation “Where to start?” asked Peter Staley, the legendary AIDS activist, founding director of the Treatment Action Group, and longtime board member of the American Foundation for AIDS Research.

“I’ll leave the relationship issues to you, Dan, but isn’t the level of distrust here the most toxic part of the story?”

The level of distrust does strike me

as toxic—but seeing as your husband cheated, STATUS, and not for the first time, your distrust is understandable.

What I don’t understand is your desire to see your husband sent to prison. You don’t want honesty (he doesn’t seem capable of that), you don’t want to “work through your problems” (your marriage is over), you just want your soon-to-be ex-husband to rot in jail.

But since you don’t want to call the police yourself—you don’t want your fingerprints on this—you want to con your husband (with my help!) into telling “the full truth” to a therapist who will have to call the police.

“STATUS really does appear to be plotting her revenge here,” said Staley.

“Divorce, checking her state’s HIV criminalization laws, drawing her husband into making a confession that could land him in prison.”

And the instrument of your revenge— laws that require HIV-positive people to disclose to their sex partners—are unjust and unworkable.

“I stand with every public-health organization, including UNAIDS and the World Health Organization, in abhorring HIV criminalization laws like the one STATUS cites,” said Staley.

“We already have laws on the books that can adequately deal with someone who knowingly and intentionally transmits HIV to someone else. Adding additional laws around HIV disclosure, especially when no transmission occurs, ends up causing more harm than good. Stigma rises. Fewer people disclose. Jilted partners use the laws to lash out.”

That’s exactly what you sound like, STATUS: a jilted partner who hopes to use an unjust law to lash out at her soonto-be ex-husband. And while you have cause to be angry (serial adulterers suck), you don’t have grounds to destroy your husband’s life. And you can’t rationalize your plot based on the “danger” your husband presented to the other woman.

Your husband is taking his meds and has an undetectable viral load. That means he’s effectively noninfectious. So even if he didn’t use condoms with this woman—and you don’t even know for sure if he was fucking her (and he’d be a fool to admit to you that he was)—he didn’t put her at risk of acquiring HIV. Follow Peter Staley on Twitter @ peterstaley and on Facebook at facebook. com/peterstaley.

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magazine | clevescene.com | October 28 - November 3, 2015 73

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magazine | clevescene.com | October 28 - November 3, 2015

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magazine | clevescene.com | October 28 - November 3, 2015 75

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