Scene Nov 4, 2015

November 4 - 10, 2015 • VOL. 46 Issue 18

The lives and deaths of Northeast Ohio’s hidden potter’s fields

By Eric Sandy

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NOVEMBER 4 - 10, 2015 • VOLUME 46 N O 1 8

Dedicated to Free Times founder Richard H. Siegel (1935-1993) and Scene founder Richard Kabat Publisher Chris Keating

CONTENTS

52

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

8

VICE premieres documentary on Sowell murders, RTA responds to questions, and more

Framed

12

Feature

16

Get Out!

25

Art

32

Stage

33

Film

35

Dining

37

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

Notes on how and why the destitute dead of Northeast Ohio are remembered

Creative Services Production Manager Steve Miluch Layout Editor/Graphic Designer Christine Hahn Staff Photographer Emanuel Wallace Business Asst. To The Publisher Angela Lott Sales Assistant/Receptionist Megan Stimac

Dozens of events spanning the next week in Cleveland

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

SPACES’ annual benefit tees up a grand party and a worthy cause

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

The Call at Dobama Theatre pivots away from the subject matter bull’s-eye

Cleveland Scene 737 Bolivar Rd, #4100 Cleveland, OH 44115 www.clevescene.com Phone 216-241-7550 Retail & Classified Fax 216-241-6275 Editoral Fax 216-802-7212 E-mail scene@clevescene.com

Rock star Streep influenced Suffragette in more ways than one

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’

The ups and downs of expanding or standing pat in the Cleveland restaurant scene, and more

Music

47

The Rock Hall pays tribute to soul/R&B singersongwriter Smokey Robinson, and more

Savage Love

The last word on sexless marriages

818 Huron Cleveland

Prospect Music

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SCENE with you with our iPad app!

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COVER PHOTO BY EMANUEL WALLACE

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7/31/15 3:06 PM

magazine | clevescene.com | November 4 - 10, 2015 7

UPFRONT SIX YEARS OF PAIN: DOCUMENTARY CASTS LIGHT ON IMPERIAL AVENUE MURDERS Photo by Eric Sandy

THIS WEEK

SIX YEARS HAVE PASSED SINCE the discovery of Anthony Sowell’s crimes led to aftershocks of pain and tragedy in Cleveland’s Mt. Pleasant neighborhood. VICE reporter Wilbert Cooper — a Strongsville native — returned to Cleveland to craft an hourlong documentary on the crimes and what has happened since.

The film premiered Tuesday on VICE. Cooper’s parents worked for the Cleveland Division of Police; his father grew up and worked in Mt. Pleasant. Since 2009, while Cooper was attending Ohio University, he has heard countless stories from his father about the homicide investigation that unearthed Sowell’s evil activities.

“The process for me of coming back to the story wanting to tell it is connecting the dots that he laid out for me from the very beginning,” Cooper says. “And [it involved] seeing how this story relates to some of the bigger systemic problems that we have, especially in terms of the black community and police.”

Former Plain Dealer staffers like Stan Donaldson helped pave the way for the VICE reporting, which focuses in part on the police department’s sex crimes unit and missing persons unit.

At issue to this day are staffing levels.

For instance, current reports list 16 officers in the sex crimes unit.

There were 13 at the time of the Sowell investigation -- a particularly noteworthy problem when discussing the department’s access to resources.

There simply weren’t enough people on the force to manage the workload; by most accounts, there still aren’t.

“There have been some improvements made within the Cleveland Police Department and on the law enforcement side, but it’s probably not to the level that I think most of the citizens of Cleveland would like to see,” Cooper says.

Cooper connected with many of the families involved with the crimes

8

Family members of the Imperial Avenue victims gather on Oct. 29.

and their aftermath — a tight-knit community of loved ones left with profound pain and unanswered questions. In the last scene of the film, Cooper joins some of the family members and listens to them describe the rippling aftermath in the years since the crimes were discovered.

“It’s really hard for them to have to go back and tell these stories again,” Cooper says. “That’s a very, very painful thing. There was a time when they were forced to tell these stories again and again. And every writer and every journalist that came to talk to them said, you know, this is going to create something. And as we’ve seen, there hasn’t been as much done as we need done. It took a lot to get them to open up and share those stories.”

On Oct. 29, family members and friends of the Imperial Avenue victims gathered at the site of the tragedy.

They shared prayers and news, and they released doves into the evening sky. The beginnings of a proper memorial had been laid on the lot, though promises remain unkept and ideas stagnate in time. (“That’s still on the table,” one man says, answering a question about the possibility of renaming Imperial Avenue.) As

COME ON DOWN

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former homicide detective Mel Smith tells Cooper in the film: “Promises were made but not kept. But the truth of the matter is, promises are always made in the inner-city and not kept.”

Michelle Mason’s mother said that the pain of her daughter’s murder hurts her more as time wears on: “We have lost our family members, never to see them again, never to see them again.”

After prayer and song and a few hopeful statements, the small crowd disperses.

Cooper sums up the sentiment: “As the city has tried to forget the Sowell murders, back in Mt. Pleasant the victims and their families have been left with no recognition or support -- a reminder of how little the city cares about what happened.”

CALABRESE NAMES HIS PRICE Two weeks back, we reported on the doomsday predictions of local rail advocacy group All Aboard Ohio: “Cleveland Rail Shutdown Unavoidable,” wrote the group’s Executive Director Ken Prendergast in a post which suggested that RTA wouldn’t have the funds to maintain its Blue/Green Line fleet in as

Rock Gaming to take full control of Horseshoe Casino management.

Roulette winners who land on red will now also receive a rambling late-night email from chairman Dan Gilbert.

magazine | clevescene.com | November 4 - 10, 2015

CHUMP

Successful same-sex marriage lawsuit will cost Ohio $1.3 million in attorney’s fees. Attorney General Mike DeWine, in one last dick move in this matter, suggests fees be paid “in pennies.”

little as five years.

At the time, RTA CEO Joe Calabrese called those predictions “absolutely false,” and told Scene -- what else -- that RTA had no plans to abandon either the Blue or Green lines, 100-year-old “community assets.”

RTA said that it was “exploring” whether or not a single rail car fleet could replace what is now two different and non-interchangeable fleets. If that were the case, the current 108 rail cars could be replaced by approximately 70.

Calabrese has now come out and said that, yes, he wants to raise $280 million to finance 70 rail cars at $4 million a pop. And the money that RTA is putting aside every year won’t come close to covering the cost.

Calabrese says he’ll look to the state of Ohio and the Federal Government to help finance a new fleet, but one wonders what in the world makes him think Governor John Kasich will suddenly about-face and decide that public transit is a worthwhile investment.

In a 2014 study, the Ohio Department of Transportation found that the average state supports 20 percent of the cost of transit, while Ohio supports only one percent. One percent! The study recommended that Ohio increase its transit funding to 10 percent by 2015. And while the Governor proposed a modest increase in the current budget, that increase was not contained in the final budget bill. (FYI: Opportunity Corridor price tag = $331 million).

Meanwhile, Prendergast reminded ideastream that every winter, the aging rail fleet reveals itself as a fleet in need of repair and replacement.

“And that need is only going to grow more acute as time goes on,” he said.

scene@clevescene.com t @cleveland_scene

QUALITY OF LIFE Not sure if anyone else has mentioned this, but it’s getting pretty dark out there pretty early these days.

magazine | clevescene.com | November 4 - 10, 2015 9

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magazine | clevescene.com | November 4 - 10, 2015 15

Photo by Emanuel Wallace

FEATURE

A QUEST ACROSS THE RIVER STYX A lone cross stands in the tree line at Cleveland’s potter’s field.

How and why the destitute dead of Northeast Ohio are remembered

By Eric Sandy WITH EACH NAME, A BELL TOLLS in memoriam. The low hum of suburban traffic provides a droning bass line as a group of 50 or so takes a Saturday morning in October to remember the dead.

The Rev. Raymond Guiao is presiding over a prayer service, a semiannual gathering of the Saint Joseph of Arimathea Pallbearer Ministry at Memorial Park, known historically as the local potter’s field.

Here, the city’s poor and destitute and nearly forgotten souls rest in eternity.

Guiao says, very simply, that the group is here “to give to those who have died and gone to the other side of life the dignity of being remembered.”

Students from St. Ignatius High School take turns reading off the names of everyone who has been buried since the last time the ministry congregated here. The bell tolls onward.

The potter’s field in Cleveland is quite difficult to find, and that’s not by happenstance. Located among a

16

thicket of trees abutting Highland Park Golf Course, the cemetery bears no roadside signifiers. One must sort of guess which plaintive curb cut on Green Road will lead him or her to the cemetery. (It’s the second one in on the west side of Green, just north of Harvard.) On the city of Cleveland’s website, it’s the only one of the city’s cemeteries that doesn’t have an address listed.

More than 18,000 men, women and children have been buried here since the cemetery’s opening in 1904, according to estimates. (Scene’s request to peruse the cemetery ledgers remains tied up in a Freedom of Information Act filing.) No one is permitted to be here when someone is being buried, which is quite often: The Saint Joseph of Arimathea Pallbearer Ministry buries more than 250 people each year in Memorial Park.

There are no headstones, no markers, no visible pattern to the cemetery’s layout — just a single treelined driveway winding through the cemetery. When an Ignatius student takes a single carnation and walks across the park for a moment of silent prayer, there’s no discernable place to pause and reflect. And so they take in the whole of the property: the unavoidably finite and humble resting place for those who tripped into death

magazine | clevescene.com | November 4 - 10, 2015

penniless and alone.

The central argument here — one repeated by small groups of the sacred and secular alike all over the world — is that we should embrace the memories of these people. They came before us, helping to construct the grand narrative of our society, strand by strand, in their own quiet ways. If we truly are all in this together, that deserves something.

“This is us recognizing these people who led full lives and showing them that we remember them,” St. Ignatius graduate Connor Williams says.

Dying isn’t free. The last act of a life is also the last act of consumerism.

The average funeral costs between $6,000 and $10,000 these days. And even when the journey into the afterlife involves no family members or friends — and thus no funeral — there is still the pragmatic and cultural process of laying a person’s remains to rest.

Bottom line? For the poorest and most isolated among us, indigent burials clock in somewhere between $500 and $1,000. Those costs are borne by a person’s city of residence, according to a 2001 Ohio law. Most cities have their own cemeteries, some of which are specifically designated for the poorest residents. Private

cemeteries often donate plots to city governments as well, expressly for the purpose of indigent burials.

But if death itself is already a conversation our society tends to avoid, then the fates of the poorest and most isolated among us are stories that we often willfully obliterate.

If we look toward our deaths at all, we look hopefully forward to leaving an imprint — a hope that our departures will have left a mark and that we will be remembered.

Confronting the idea that there are those among us who will not be afforded that celebration is discomforting.

In that way, pauper burials and potter’s fields are processed in a cold bureaucratic sense. When someone dies and investigators determine that there are no funds, no bank accounts, no family members to take care of the arrangements, then the journey to join others like them begins.

Often enough, according to Cuyahoga County medical examiner Thomas Gilson, the process to identify someone as “indigent” begins at the scene of death. Perhaps this person died unattended; perhaps he or she was murdered. Investigators will then collect information on the person’s family, neighbors or co-workers to begin making notifications and to

All it takes is a little time for nature to cover up a tragedy, to give the impression of healing a wound.

It may not be common knowledge even today, but the small cemetery on Deerview Lane in Lafayette Township

at least has a sign now declaring it as a burial ground. And while the wooden marker is presently broken and lying on the ground, at least it’s there. Lafayette Township trustee Lynda Bowers, along with a group of residents and historians and resident historians, helped make that sign happen, along with the flag, too, which whips around late-October gusts of wind when Scene comes looking for the place.

For decades, this cemetery was a guarded secret.

Located just down the road from the Medina County Home — referred to a century ago as “the insane building” — this isosceles sliver of land is one of thousands of small and mostly hidden potter’s fields in the U.S. This is where the indigent and destitute of the Medina area were buried, where they were promptly concealed from society and time.

The grass is neatly grown in now and pine needles coat the ground. A railroad runs across the western edge, in all likelihood right over the top of various 19th-century graves. Light depressions dot the land and signify the orderly resting places of the dead. With a small driveway nearby, this land, now owned by the Medina County Parks District, is a gentle

roadside dock for long-lost souls.

As recently as the mid-2000s, however, overgrowth and poison ivy ruled the property. A passing driver, even one actively on the hunt for hidden cemeteries, would be none the wiser.

“I had always heard about the cemetery, because I grew up in the area,” Bowers says. “But, you know, things that didn’t really need to be a secret were a secret.”

Bowers is known around town as a “cemetery nerd,” she says. These stories matter to her. After a lifetime of picking up on faintly whispered rumors of a potter’s field somewhere in the area, she began to dig for the truth and try to find out where this place could be. She began to talk about her quest into the past, gathering compatriots along the way.

Former Medina County administrator John Stricker took note.

And as serendipity tends to sprout in special moments, Stricker called Bowers in February 2006. He would die of lung cancer two weeks later, but first he needed to share an unexpected discovery with Bowers. “He called me and he said, ‘I’m at the county offices, I’m in my old office. I have something that you want. Come here.’

“When a guy who you know is

dying calls you and says he has something you want, you go,” Bowers says. She went.

She arrived to find Stricker’s desk completely bare, save for a single sheet of paper that he slid toward her. “This is what you’re looking for,” he said.

“You’ll know what to do with this.”

It was a hand-drawn map of a cemetery on Deerview Lane.

The term “potter’s field” comes from the New Testament, Matthew 27:7 to be specific, and it refers to “a burying place for strangers.” By Biblical accounts, Judas Iscariot killed himself in grief after betraying Jesus Christ for 30 pieces of silver. A group of priests used that bribe money to purchase a plot of land and began burying strangers and cast-offs like Iscariot there.

Two thousand years later, not much has changed.

“There are cemeteries like this all over the state,” Bowers says, referring to long-hidden potter’s fields. And even though Cleveland’s potter’s field isn’t actively covered up by time and vegetation, one could still argue that it’s been hidden from the local consciousness, what with no address, sign or headstones.

Members of the Saint Joseph of Arimathea Pallbearer Ministry attend a prayer service at Memorial Park.

Photo by Eric Sandy

determine whether there’s a financial support system to shuttle this person into the afterlife.

“When [leads] get exhausted, we do just turn to the Internet to try to do searches, for family or next of kin,” Gilson says. When nothing turns up at the end of all possible pathways, Gilson’s office will get the person’s hometown law department involved. That process alone might take weeks after an already drawn-out investigative process.

“It sort of buys us more time: Any of these leads that may become fruitful, it gives them some time to ripen,” Gilson says.

But while there have always been sacred groups waiting on the other side to remember and consider the poorest souls, the legal framework for indigent burials hasn’t always been there. Long before the advent of laws and processes like this, those who wanted to hide the destitute of society were able to do so with ease.

magazine | clevescene.com | November 4 - 10, 2015 17

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FEATURE

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magazine | clevescene.com | November 4 - 10, 2015

The small plot of land on Deerview Lane was once part of the Medina County Home’s property. In the early 20th century, the home was a place for the destitute, the indigent, the insane.

(These days, anyone can live there — even, say, snowbird millionaires who winter in Naples and live at the county home the rest of the year — as long as they cover the monthly rate.)

Around 100 years ago, when the home brimmed with the downand-out, there wasn’t a law on the books that dictated what to do with the penniless dead. When paupers died at the Medina County Home — just like countless other facilities the world over — their bodies were sort of just tossed into a convenient corner of the property. In this case, they were sent about 100 yards up the road to a small and mostly adhoc burial ground.

“The county home cemetery wasn’t forgotten,” Bowers says. “The county home cemetery was hidden.

It wasn’t forgotten. But it was hidden long enough that it became forgotten. It was kind of a pretty well-kept secret — not just in Medina County, but in every county. It was something that decent people didn’t talk about.”

For the past 14 years, municipalities have covered the costs of indigent burials. (The state of Ohio allotted $750 per burial prior to 2001.) Couple that with the past few decades’ push for increased transparency and sunshine laws, and the records of such afterlife protocol bear out at least a baseline of reverence not seen in earlier years.

The last known burial at the Medina County Home cemetery took

place on Sept. 18, 1950. From there, time and social pressures pushed memories of the place into the local ether. Already an undesirable topic for the dinner table, the cemetery and its residents washed into the recesses of history. Weeds and poison ivy took root. In the 1970s, the county ran a water line through the land with nary a mention of the dozens of pine boxes and bodies resting underground. It’s possible the workers didn’t even notice.

Time wore on.

Stricker’s map changed everything, though. Bowers and a group of people — including local historian Eli Beachy and Deerview Lane resident Jim Cottrell — suddenly had some facts with which to line the old rumors. The quest began in earnest.

Bowers and the collective fished through old Medina Gazette articles for hours on end. For instance, she learned about Joe Pornoski, one of the final men to be interred at the cemetery. From the newspaper’s July 1, 1949, edition: “Joe Pornoski, 65, who had been employed until two weeks ago by Frank Gavalak on County Road 38 in Brunswick township, ended his life by hanging himself to a tree in the apple orchard of Joe Gavalak a short distance away on the same road, sometime Monday.”

That’s what happened to Joe Pornoski. These stories matter.

But first, the group had to unearth the cemetery itself. A group of local residents gathered regularly at the site to clear away brush, cut down trees and haul off debris. “A

lot of people got poison ivy,” Bowers says.

Once cleared, clues to the property’s history became clearer.

The next step of Bowers’ quest was to record the lives of everyone buried there. Much like the physical work, this was not easy.

One man, 101 years old now, remembered burying people in the cemetery. He helped clarify the extent of the hand-drawn map to Bowers, pointing out the depressions that signified shallow graves marked on the paper.

With the map in hand and the cemetery property clearing up, Bowers began requesting any and all public records pertaining to the cemetery parcels. County offices turned Bowers away, saying that there were no records of anything. “No one was talking about anything,” she recalls.

She was hoping to gather records from the county home, hoping, for instance, to find payments from the county to the home for indigent burials. From there, she figured, she could identify names associated with payments, and then learn who was buried in the cemetery.

“And if they weren’t buried in any other local cemetery, you can assume they were buried on the county home property,” Bowers says. No dice; no one was giving up records.

Hence the turn toward newspaper microfilm.

“The county home — and therefore the cemetery itself — is a microcosm of America,” Eli Beachy told the Medina Gazette in 2007.

“It’s a good reflection of how we were. Plus, there are so many stories in this cemetery, they just can’t be forgotten.”

Along the way, as this research unfolded in the mid- to late-2000s, Wooster resident Mike McCann assembled all of the records into one volume. McCann has done this sort of cemetery cataloging work in counties all over Northeast Ohio.

The end result is a massive tome of data about many cemeteries in the area. Each of the 192 burials in the small cemetery was given an entry in the book — an historical note memorializing that person.

Indigent burials continue regularly in Medina County and elsewhere. (Most indigent burials involve the “cremains” of a person and, in Medina County, take place at Waltz Cemetery.) But having a legal framework to outline the process doesn’t mean that civil society confronts this issue any more often than people did 100 years ago. Bowers says she and the group

worked on this quest for eight or nine years, filling in wide gaps of local history and memorializing the hidden dead of her township.

The place is visible now, but it still occupies only a quiet corner of the world around it.

“Nobody really wanted to get stuck with a cemetery,” Bowers says of various agencies’ unwillingness to act as stewards of the land over the years. “But it was very important to me. I just wanted the county to recognize the area, to preserve the area. It’s protected now.”

There’s a line often credited to graffiti artist Banksy that goes like this: “They say you die twice. One time when you stop breathing and a second time, a bit later on, when somebody says your name for the last time.” It was hard not to think of that idea while walking across a cemetery and recalling the names read aloud at the Cleveland prayer service, or sifting through the records gathered by Bowers and the rest of her group.

“You want to know anything about Lafayette cemeteries, go call Lynda. She’s the cemetery nerd.”

That’s what you might hear if you truck down to Medina County and start asking questions about where all the bodies are buried. At least that what Bowers tells us.

There’s good reason for that. She comes from a “very military family,” and she was raised with a great deal of respect for the country’s war dead. Just about every cemetery in the U.S. lays claim to the memory and honor of someone lost in war.

It’s as true in Medina County as it is elsewhere.

And most of these older cemeteries also bear the bodies of the original settlers of Ohio’s small towns “These are the people who cleared the land,” Bowers says.

“These were the people who settled here. These were the people who had the first stores, the first post offices. These are the people who are responsible for taking care of the land where we live today.”

Those stories may appear to be locked up now, 6 feet deep in Ohio soil and covered with time. But as long as we take a moment to remember, these lives are not lost forever.

“I didn’t want to lose that stuff,” Bowers says, “so I collected as many stories as I could.”

esandy@clevescene.com t @ericsandy

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magazine | clevescene.com | November 4 - 10, 2015

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FEATURE

NOWHERE MAN What happens when an unidentified body washes ashore in Cleveland?

By Eric Sandy THE OFFICIAL WORD IS THAT he died in “early winter or earlier.”

That’d be late 2013 or thereabouts, though it’s possible he died several years prior. No one can say for sure, because there’s only so much decomposition a body can undergo.

Nonetheless, the man was found in Lake Erie on May 23, 2014, near the breakwall by Burke Lakefront Airport. It was a clear and crisp day, and the waves were gentle.

The man was wearing a pair of 36-by-32 Wranglers and black, Brahma-brand steel-toe boots, size 7 1/2. (Brahmas are carried at Walmart and Sears.) He was between the ages of 45 and 58, and he was white. According to the medical examiner’s notes, he had no teeth.

He may have been wearing dentures at the time of his death; he may not have.

At some point, the man’s nose and left cheek had been broken.

Cuyahoga County Medical Examiner Thomas Gilson says the nose was broken sometime during his lifetime — possibly years prior to his

22

Courtesy of the Cuyahoga County Medical Examiner’s office

The unidentified man.

death — making that a particularly noteworthy detail. Perhaps there was a family somewhere looking for a father or a husband, and perhaps he had a crooked nose.

Perhaps not.

In the ensuing days and weeks

magazine | clevescene.com | November 4 - 10, 2015

after his body was discovered, the Cuyahoga County Regional Forensic Science Laboratory created a DNA profile for the man — a relatively simple matter, one that gives the office a rich look at a person’s biological “story” — but that doesn’t

mean much without either a sample from the man prior to death or a sample from a family member. The lab doesn’t have either. And thus they have nothing to match their profile to.

“We don’t know who we’re looking for,” Gilson says, leveling the facts of the case in a recent conversation with Scene. “And if we don’t know, we can’t use that to identify him without some break that gives us a suggestion of who he might be.” (The first forensic use of DNA occurred in 1986. The technology arrived in Cuyahoga County in the 1990s, when crime labs really began to implement it. It’s standard operating procedure now.)

For months, investigators struck out on all leads.

“All attempts at identification, thus far, have been unsuccessful,” the medical examiner wrote in a public statement five months after the man’s body was found. “The presence of work shoes raises the possibility that the decedent went missing while working on or near

FEATURE Lake Erie.”

The work shoes, the broken nose: glimmers of hope. More than a year after those words, though, there’s no new information on the case.

Gilson’s office receives the body of anyone who has an “unexpected, violent or unexplained sudden death.”

He refers to the bodies of decedents

“This guy is found essentially floating in the waters behind the Rock Hall, and from that point, you don’t have a real scene.”

— Thomas Gilson as “coming to the office,” as though it were a business meeting. Gilson would prefer the government do what it can to humanize the dead and indigent and unidentified, and, in Cuyahoga County, it does. The office performs autopsies on about half of the 2,500 bodies it receives each year.

“This guy is found essentially floating in the waters behind the Rock Hall,” Gilson says. “And from that point, you don’t have a real scene.

He’s just in water, and we don’t know how he got there. So we can’t look for, you know, other things that might be helpful.” He means the investigative process that unfolds at, say, someone’s apartment after the discovery of an “unattended” death. Do they have a doctor’s phone number on the fridge?

Hospital records on the desk? A wallet?

But when there are no personal effects lying around — when a man washes ashore from Lake Erie — there are a select number of avenues to identification: X-rays, dental records, fingerprints, DNA. Fingerprints can be compared against an international database which includes Canada, another possible source for this man who ended up in Lake Erie. But the man’s fingers had decomposed, leaving no prints to pick up. Same with DNA: Run it through a database, and cross your fingers. No matches here, though.

An anthropologist was brought in to create a sketch of the man, one that accentuated his known facial features.

“The thing that was compelling about him, and that I thought might make this work, is that he had a broken nose,” Gilson says. “It’s not recently broken; it was broken during his lifetime.”

By January 2015, investigators had turned toward central Ohio, “after receiving several tips that the sketches they’d generated resembled someone with family there,” according to the Columbus Dispatch at the time.

Nothing concrete turned up. Dead ends, all around.

The medical examiner’s office has exhausted its leads. “We’re kind of at a roadblock now,” Gilson says.

“There’s nothing more right now we can do to drive this forward.” He adds that some have suggested reversepaternity searches through the state’s criminal databases. But that raises a host of civil liberty issues. Using the state bank of criminal background information to identify private individuals isn’t something that’s backed up by law or precedent.

And so, more than a year after he was found in Cleveland, the man was buried at the 90-acre Riverside Cemetery in June of this year. The medical examiner’s office does not cremate unidentified bodies, even though cremation has become a more common and cost-effective end for indigent decedents.

The hope remains that he will one day be identified. “If we need to, we can go back,” Gilson says. “If we’d had this conversation 25 years ago, nobody would be talking about DNA as a means of identification. So, no sense in destroying whatever potential future technology might lend itself.”

It’s unclear what misfortune this man met before ending up in the lake. But among the mysteries that surround him, he may also be on the wrong side of time. Technology, brilliant in its capabilities as it is right now, may need to advance before people like Gilson can answer the question: Who is this man?

“I’ve been here four-and-a-half years,” Gilson says. “He’s the only individual we haven’t identified in that timeframe. So it’s unusual.”

The resounding conclusion from the July 2014 autopsy remains a matter of fact to this day: “It was determined that on an unknown date in 2013, the said White Male Unidentified was in unknown location(s), when he expired in an undetermined circumstance. That death in this case was the end result of undetermined, sustained in a manner undetermined.”

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GET OUT

everything you should do this week

WED 11/04 BEER

Hoppin’ Frog Hoppy Hour Much like the Fat Head’s tasting room in Middleburg Heights, the Hoppin’ Frog tasting room in Akron is in a non-descript strip of storage facilities and warehouses. But step inside and you’ll find a cozy tasting room with a huge array of the brewery’s wonderful libations.

The place features “hoppy hour” every weekday from 3 to 7 p.m.

Tonight, the brewers visit the tasting room from 5 to 7 p.m.

While they don’t fill growlers, you can drink bottles on site or take ’em to go. The place also offers a “Hoppin’ Frog Rare & Vintage” list as well as a guest bottle list. And you can order from a limited food menu too.

(Jeff Niesel) 1680-F Waterloo Rd., Akron, 234-525-3764, hoppinfrog.com/tasting-room.

SPORTS

Cavs vs. Knicks We have a hard time remembering when the New York Knicks, once one of the NBA’s best franchises, last put together a competitive team. Even with Carmelo Anthony, one of the league’s elite players, the Knicks have struggled to get wins. This year’s team doesn’t appear very formidable either and the Cavs shouldn’t have much trouble notching a win at tonight’s contest, which begins at 8 at the Q. It’s part of a home stand that includes games on Friday, Sunday and Tuesday, Nov. 10. Tickets start at $10. (Niesel) 1 Center Ct., 216-420-2000, theqarena.com.

Celebrate fall with Scene’s inaugural Maize. See: Saturday.

Comedy Festival that took place in August. A frenetic comic, he likes to joke about personal things such as his marriage and kids. The performance begins tonight at 8 at Hilarities. Tickets are $13 to $18. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

of Hamlet. See the play as it’s broadcast live tonight at 7 at the Cedar Lee Theatre. Tickets are $20. (Niesel) 2163 Lee Rd., Cleveland Heights, 216-321-5411, clevelandcinemas.com.

NIGHTLIFE

COMEDY

Keep Talking Keep Talking is an exciting storytellers program where locals can share their real-life experiences on a theme. This month’s theme is “Coming Home.”

Stories range from the insightful and sad to the funny and bizarre. Held in the Happy Dog’s basement, the Underdog, the series is your chance to grab a drink and a dog while listening to some of your Cleveland neighbors amuse you with their tales.

Tonight’s edition starts at 8 and costs $5. (Patrick Stoops) 5801 Detroit Ave., 216-651-9474, happydogcleveland.com.

Greer Barnes In a recent routine delivered on Mixtape Comedy Show, comedian Greer Barnes jokes about cyber bullying. “These guys are a bunch of punk asses because my bully sat right next to me,” he says in recalling how he used to get bullied in school for no good reason. Greer, who delivers his jokes with a slow, deliberate style, was recently picked as one of Louie C.K.’s “Seven Comedians to Watch.” He performs tonight at 7:30 at the Improv and has shows scheduled through Sunday. Tickets are $17 to $20.

(Niesel) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.

COMEDY

Aaron Kleiber Voted class clown in high school, comedian Aaron Kleiber has built up quite the resume.

He embarked on the #Deathsquad tour with Doug Benson, Tom Segura, Tony Hinchcliffe and Brian Redban and has appeared on the very funny podcast Doug Loves Movies with Doug Benson. An alum of Chicago’s Second City, Kleiber recently served as Standup Director for the Pittsburgh

FILM

Hamlet Best known for playing Sherlock Holmes in the series Sherlock, British actor Benedict Cumberbatch has recently received a number of awards for his acting prowess. Nominated for an Oscar for his role in The Imitation Game, he comes to acting from a true thespian’s point of view. So it shouldn’t come as a surprise that he stars in the National Theatre production

THUR 11/05

of humor, she recently appeared in Diablo Cody’s latest movie, Paradise. Her first book, Life as I Blow It, also made the New York Times best-seller list. She performs at 8 tonight at Hilarities and has shows scheduled through Saturday. Tickets are $23 to $25. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

ART

Kiln to Table Local ceramicist Gina DeSantis teams up with Toast Wine Bar this evening for Kiln to Table, a special exhibition-as-dinner plated on DeSantis’ custom, handmade tableware — which itself was inspired by Toast’s menu and decor and designed to accentuate the meal’s presentation. Dinner is served from 4:30 to 11 p.m.; reservations should be made at the number below.

Pieces will be available for sale after dinner. (Josh Usmani) 1365 West 65th St., 216-862-8974, toastcleveland.com.

FILM

COMEDY

Sarah Colonna In a skit she calls Boyfriends to Avoid, comedian Sarah Colonna lists the various types of boyfriends to avoid, giving them names like “The Quick Draw” and “The Runaway.” Colonna, a regular on Chelsea Lately, also worked on the show’s spin-off scripted series After Lately. A smart writer with a saucy sense

Queen of the Earth Mad Men’s Elisabeth Moss stars in writer-director Alex Ross’ Queen of the Earth, a movie about a woman on the verge of a nervous breakdown. After her father commits suicide and her mother leaves her, she retreats to her friend’s lakeside home to try to recuperate. The film makes its Cleveland debut tonight at 6:45 at the Cleveland

magazine | clevescene.com | November 4 - 10, 2015 25

TrueNorth Cultural Arts Presents:

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MUSIC

Institute of Art Cinematheque. It shows again at 9:10 p.m. tomorrow. Tickets are $9. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

DANCE

Ubu Roi Written by Alfred Jarry, Ubu Roi ranks as “one of most original and powerful burlesques of all time.” Performed by the Cleveland State University’s theatre and dance department, the piece addresses the human condition as Jarry based the character Ubu Roi on one of his schoolteachers. The performance takes place tonight at 7:30 at the Helen Rosenfeld Lewis Bialosky Lab Theatre. Tickets are $10, and performances take place throughout the weekend. (Niesel) 1407 Euclid Ave, 216-771-8403, playhousesquare.org.

FRI

11/06

ART

Heading Utopia The Cleveland Foundation’s Fall 2015 Creative Fusion residencies conclude at the end of this month, and the artists from around the world and their host organizations are presenting exhibitions in celebration of their works. Today from 6 to 9 p.m., Zygote Press presents Behrang Samadzadegan’s Heading Utopia. Samadzadegan is based in Tehran, Iran, and works in a variety of media, including painting, print, video and installation.

Samadzadegan’s work explores themes of social and cultural identity through the possibility (and impossibility) of the “images” he constructs. During his residency, the artist has worked with the drawing and painting departments at Cleveland Institute of Art and the Shaker Heights Boys and Girls Club, as well as visiting classes at Case Western Reserve University and St. Martin de Porre. He will be part of a special panel discussion at MOCA Cleveland on Nov. 9.

Heading Utopia remains on view through Nov. 21 during Zygote’s regular business hours and by appointment. It’s free. (Usmani) 1410 East 30th St., 216-621-2900, zygotepress.com.

26

magazine | clevescene.com | November 4 - 10, 2015

Heritage Concert Series The Heritage Concert Series brings nationally known folk and roots acts to town to play intimate concerts at the Happy Days Lodge in Peninsula. Tonight, Louisiana’s Pine Leaf Boys perform their distinctive brand of Cajun music. Patrons can choose from soups, snacks and sweets from the Conservancy Canteen, along with drinks, which will be available for purchase before and during the concert; but it’s not a sit-down meal.

Doors open at 7 and the concert begins at 8 p.m. Tickets are $17.

(Niesel) 500 West Streetsboro Rd., Peninsula, 330-657-2909, ConservancyforCVNP.org.

ART

Juried Art Exhibit This year’s 44th annual Juried Art Exhibit at Chagrin Fall’s Valley Art Center opens with an awards reception from 6 to 8 tonight. Besides the usual Best in Show and awards for first, second and third place, tonight’s laurels include several community sponsored awards like the Hardy Watercolor Award and the Phyllis Lloyd Memorial Award.

The presentation begins at 7 p.m. This year’s show was juried

by Tom Huck, Deborah Pinter and Mark Yasenchack. The free exhibit remains on view through Dec. 23. (Usmani) 155 Bell St., Chagrin Falls, 440-247-7507, valleyartcenter.org.

LECTURE

Lunch with the Russo Brothers Former Clevelanders Anthony and Joe Russo have gone on to become big-time Hollywood directors. They started small with films such as Welcome to Collinwood, a comedy that stars William H. Macy, George Clooney and Sam Rockwell, and recently directed 2014’s Captain America: The Winter Soldier. They’re also on board to direct the next Avengers flicks, due out in 2018 and 2019. They’ll be in town at noon today to host the Greater Cleveland Film Commission’s 2015 Behind The Camera: Lunch with the Russo Brothers at the InterContinental Cleveland Hotel.

For every ticket purchased, a ticket to a private educational lecture with the Russo brothers will be donated to a local high school or college student pursu-

GET OUT ing a career in media production.

Tickets start at $150. Call the number below or visit the website for registration or more information.(Niesel) 9801 Carnegie Ave., 216-623-3910, clevelandfilm.com.

tral work. The concert will also feature a special guest: Greek violinist Leonidas Kavakos, who will play Shostakovich’s Violin Concerto No. 1. Tickets to today’s concert start at $29 and additional performances take place at 8 p.m. tomorrow and 3 p.m. on Sunday. (Niesel) 11001 Euclid Ave., 216-231-1111, clevelandorchestra.com.

ART

Mix at CMA The Cleveland Museum of Art’s first Friday MIX Happy Hours take place on the first Friday of the month, and November’s theme is Bloom. Attend the event and you can explore the special exhibition Painting the Modern Garden: Monet to Matisse; unique floral designs inspired by the collection will also be on view in the atrium. There will be a cash bar. Food will be available for purchase in the museum’s restaurant and cafe. The event takes place from 5 to 10 p.m.

Tickets are $18, or free for CMA members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

DANCE

Greg Thompson’s Showgirls Las Vegas has a reputation for producing some stellar showgirl shows. Tonight, you can get a taste of Las Vegas as Greg Thompson’s Showgirls, a traveling revue out of Vegas, takes to the stage. The performances take place tonight at 7 and 9:30 at Club Velvet at the Hard Rock Rocksino. If past performances are any indication, expect to see dance routines set to songs such as ZZ Top’s “Legs.” Tickets are $29.95 to $36.95. (Niesel) 10705 Northfield Rd., Northfield, 330-908-7793, hrrocksinonorthfieldpark.com.

ART

ART

Scans Before returning to Chile, Adolfo Bimer, the Cleveland Print Room’s current Creative Fusion artist in residence, presents new work created during his time in Cleveland. His paintings examine and explore “the material and metaphorical Innerness of the human body.” Bimer is interested in the development of medical imaging technology (xrays, microscopy, scans and even anatomical drawing) as tools to understand our inner body we would otherwise never see.

Bimer’s Scans opens with a free reception today from 5 to 9 p.m.

(Usmani) 2550 Superior Ave., 216-401-5981, clevelandprintroom.com.

Unreliable Systems Abbey Blake and Catherine Spencer met during their residency as part of the Cleveland West Arts League’s Six in Studio. The project selected six artists to share CWAL’s exhibition space at 78th Street Studios for a month. Both artists’ interest in abstraction, as well as influences of Mother Nature and manmade, mechanical devices is evident in their work. Blake and Spencer present new and recent work in Unreliable Systems at Baldwin-Wallace’s Fawick Gallery this month. Both artists will be in the gallery for an opening reception today from 5 to 8 p.m.

Unreliable Systems remains on view through Dec. 4. It’s free. (Usmani) 95 East Bagley Rd., 440-826-2239, bw.edu.

MUSIC

MUSIC

Symphonic Dances After a jaunt through Europe, the Cleveland Orchestra returns to Severance Hall this weekend and celebrates with a new program. Dubbed “Symphonic Dances,” the program features the music of Rachmaninoff, a quintessential Romantic composer. This morning at 11, the orchestra will perform his Symphonic Dances, his last orches-

The Voice of a Legend Touring with a production based on his first PBS special, Pasquale Esposito Celebrates Enrico Caruso, Italian tenor Pasquale Esposito makes his Cleveland debut tonight.

Born in Naples, Esposito immigrated to the United States in 1998; he’s subsequently released seven fulllength albums and toured the United States and Europe. Tonight, a band of international musicians will join him as he pays homage to Italian tenor

magazine | clevescene.com | November 4 - 10, 2015 27

GET OUT Enrico Caruso. The concert begins at 8 at the Hanna Theatre. Tickets are $45 to $65. (Niesel) 2067 East 14th St., 216-241-6000, playhousesquare.org.

ART

places such as Berlin, Lisbon, Los Angeles, Cuba, Moscow, Tokyo and the Australian Outback. With some help from Janus films, the Cleveland Institute of Art Cinematheque pays tribute to the auteur this month in a series dubbed With Portraits Along the Road. The series launches today with a screening of the 1972 flick The Goalie’s Anxiety at the Penalty Kick, a film about a goalkeeper

LECTURE

DANCE

A Graphic Novel Series Comic books aren’t just for kids.

With that in mind, local comics scholar Valentino Zullo hosts a regular graphic novel speakers series in the literature department on the second floor of the Cleveland Public Library. Today Zullo’s guest will be Dr. Tammy Clewell, a literary scholar at Kent State University.

Stepping 4 Life Show Greek sororities and fraternities get to display their artistic sensibilities at tonight’s fifth annual Stepping 4 Life Greek Step Show competition.

The event will feature D.J. LoKey on the ones and twos. It will also include a special guest performance by Elec Simon, formerly of Stomp fame.

The women of Delta Sigma Theta Sorority, Inc. and men of Omega Psi Phi Fraternity, Inc. of Central State University will aim to defend their 2014 championship titles. The event begins at 6 at the Akron Civic Theater. Tickets are $15 in advance, $20 day of the show. (Niesel) 182 South Main St., Akron, 330-253-2488, akroncivic.com.

Walk All Over Waterloo The growth of Collinwood’s Waterloo Arts District is evident this month, as numerous galleries debut new exhibitions throughout the neighborhood during this evening’s Walk All Over Waterloo event. Among the many attractions, the Maria Neil Art Project presents new work by Libby Chaney; Gallery One Sixty debuts its new group show, Northern Exposure; Waterloo Arts hosts a reception for its Creative Fusion resident artist Kuenlin Tsai of Taipei, Taiwan; and Loren Naji opens the doors of his new Art Lounge above Waterloo Arts. Naji’s Art Lounge hosts a grand opening reception tonight for its first exhibition, Cheap Thrills, featuring Thomas Kassai’s wall constructions. You can walk all over Waterloo from 5 to 9 p.m., although individual gallery hours may vary. (Usmani) waterlooarts.org.

SAT

FESTIVAL

Maize Thanks to recently completed development, the East Bank of the Flats now boasts a terrific collection of new bars, restaurants and clubs. Today from 11 a.m. to 7 p.m., the businesses will come together for Maize, Scene’s inaugural fall festival. There will be food and drinks, local vendors, and you’ll even find a kids pavilion at the family friendly event. Post-grunge rockers Candlebox headline, and the Spazmatics will perform as well. College football games will be broadcast at the Shock Top Build-a-Bar, and you can tour the Flats with EB Fitness.

Admission to the outdoor event is free.

(Niesel) scenefestival.com.

11/07

SPORTS

An Evening with Scott Hamilton Back in the ’70s, Styx released some heavy-duty concept albums that established it as a true prog rock force. While the band no longer includes singer Dennis DeYoung, it has soldiered on. The group will perform tonight at the Q as skater Scott Hamilton presents a special show featuring more than a dozen Olympic, Canadian, U.S. and world skating champions, including Ilia Kulia, Jeffrey Buttle, Kimmie Meissner, Jeremy Abbott, Kaitlyn Weaver and Andrew Poje, Ryan Bradley, Kim Navarro and Brent Bommentre, Shawn Sawyer and Isabelle Tobias and Ilya Tkachenko. The event begins at 5 p.m. at the Q. Tickets are $29.50 to $59.50. (Niesel) 1 Center Ct., 216-420-2000, theqarena.com.

FILM

The Goalie’s Anxiety at the Penalty Kick One of the key leaders of the New German Cinema, director Wim Wenders has put together a remarkable resume over the course of a career that stretches back to the ’60s. The guy has shot movies all over the world and filmed in exotic

28

DANCE

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

Dennis Edwards, Martha Reeves, Mary Wilson, Avery*Sunshine, Avant, Bilal, JoJo, Eric Roberson, The Robert Glasper Experiment, Michelle Williams with Musical Director Adam Blackstone Special Guest Appearances by Hall of Fame Inductees Smokey Robinson and Berry Gordy, Jr.

Rockhall.com/SmokeyAMM

ODC/Dance Founded in 1971 in Oberlin, ODC/ Dance relocated to San Francisco in 1976 and became a groundbreaking contemporary dance company. Artistic director Brenda Way creates “smart, exuberant and fearless dance that matters.” Tonight’s performance will feature boulders and bones inspired by the works of visual artist Andy Goldsworthy. Avant-cellist Zoë Keating provides the music. The group performs tonight at 8 at the Ohio Theatre.

Tickets are $25 to $65. (Niesel) 1501 Euclid Ave., 216-241-6000, playhousesquare.org.

FILM

who freezes during a penalty kick.

A new 4-K digital restoration of the film screens at 5 tonight and at 8:40 tomorrow night. Wenders’ 1974 film, Alice in the Cities, is also being shown; it screens at 7 tonight and 6:30 p.m. tomorrow. Tickets to each movie are $9. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

magazine | clevescene.com | November 4 - 10, 2015

Her talk will be a special event for Veteran’s Day. From the Homefront and the Frontlines: British, Dominion, and Allied First World War Comics and Cartoons, 1914-1920 will be presented at 3:30 p.m. It’s a one-hour program and admission is free. (Niesel) 325 Superior Ave., 216-623-2800, cpl.org.

Rocky Horror Picture Show Because it’s the first Saturday of the month, the Cedar Lee Theatre will host a midnight screening of the 1975 cult classic, The Rocky Horror Picture Show. Bring toast, rice and some newspaper. Tickets are $9.50. (Niesel) 2163 Lee Rd., Cleveland Heights, 216-321-5411, clevelandcinemas.com.

magazine | clevescene.com | November 4 - 10, 2015 29

GET OUT MUSIC

Take the A Train Cleveland Jazz Orchestra artistic director Paul Ferguson honors Frank Sinatra and Billie Holiday with tonight’s concert, dubbed Take the A Train. Expect to hear new takes on traditional favorites like “Take the A Train” and “Strange Fruit,” among others.

The concert begins at 8 p.m. at the Hanna Theatre. Tickets are $25. (Niesel) 2067 East 14th St., 216-241-6000, playhousesquare.org.

SUN 11/08 COMEDY

Bo Burnham Comedian Bo Burnham puts other young comics to shame. Burnham, who became the youngest person to ever record a half-hour Comedy Central special, has been on the fast track to success. Since making the Comedy Central debut at age 18, he’s released two hour-long specials, 2010’s Words, Words, Words and 2013’s what.

He performs tonight at 8 at the State Theatre. Tickets are $39.50.

(Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org.

FILM

Fantasia Originally released in 1940, Fantasia received widespread acclaim when it first hit theaters. The innovative use of music had much to do with the positive reception.

Set to classical music conducted

by Leopold Stokowski, the film features several performances by the Philadelphia Orchestra.

Today at 2 and 7 p.m., the Cedar Lee Theatre will screen a new print that features a behind-thescenes look at the orchestra’s rehearsals. In addition, conductor Yannik Nezet-Seguin will discuss the film’s significance and provide some historical context. Tickets are $12.50; the film screens again at 7 p.m. on Tuesday. (Niesel) 2163 Lee Rd., Cleveland Heights, 216-321-5411, clevelandcinemas.com.

NIGHTLIFE

Holocaust Survivor Band Currently on display at the Maltz Museum of Jewish Heritage,

30

magazine | clevescene.com | November 4 - 10, 2015

Violins of Hope features a variety of Holocaust violins that have been rescued and restored. Today at 1 p.m. at the Mandel Jewish Community Center’s Stonehill Auditorium, you can hear two Holocaust survivors tell their stories of survival as they talk about playing klezmer music in what they call the Holocaust Survivor Band. The event takes place at 1 p.m. Tickets are $20, $15 for Maltz Museum and JCC members. (Niesel) 26001 South Woodland Rd., Beachwood, 216-831-0700, mandeljcc.org.

MON 11/09 FOOD

Vegan Mondays If you’re vegan, vegetarian, gluten free, or just plain interested in trying something new, head over to Townhall in Ohio City this evening from 5 to 10 p.m. for Vegan Night. Work your way through the delicious and healthy vegan menu, featuring hits like Veggie Vegan Flatbread (think fresh tomatoes, chiles, mushrooms and vegan cheese), Tofu Etouffee (blackened tofu, onions, tomatoes and brown rice) or many of the regular menu items made vegan. If you’re still feeling skeptical, know this: Monday night is also Craft Beer Night and all 36 crafts are only $3 from 6 p.m. to close. Cheers!

(Alaina Nutile) 1909 West 25th St., 216-344-9400, townhallohiocity.com.

TUE

11/10

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.

(Nutile) 1859 West 25th St., 216-862-6631, nanobrewcleveland.com.

Find more events @clevescene.com t@cleveland_scene

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magazine | clevescene.com | November 4 - 10, 2015 31

Photos by Jerry Mann

ART

The annual benefit is one of the most anticipated art events in town, with plenty of original work for sale to help SPACES keep doing what it does.

SAFE SPACE

SPACES’ annual benefit tees up a grand party and a worthy cause

By Josh Usmani SPACES’ ANNUAL BENEFIT HAS become a tradition for the local art community. Each year, on the Saturday following Halloween, the organization hosts a costume party and silent art auction to raise funds for its operating expenses. The timing of the event is designed to offer guests one last chance to dress up before the Halloween costumes go back into storage. The eccentric theme varies from year to year; this year’s theme is based around Douglas Adams’ The Hitchhiker’s Guide to the Galaxy.

How does this all get put together?

Each year, SPACES selects guests of honor who have played an integral role in SPACES’ history. This year’s Nov. 7 benefit honors legendary gallerist William Busta, and his wife Joan Tomkins, for their dedication to supporting local art and artists and launching countless careers. They will have a hand in a specially curated selection of works up for grabs during the digital art auction.

“Thirty-five years ago, Bill Busta figured out that Cleveland artists needed an advocate, not just a sales guy,” says SPACES benefit co-chair Jordan Davis. “His gallery was a forum for artistic growth, and he helped fuel the creative trajectory of many of our most accomplished artists. Bill and his partner Joan Tomkins worked to advance the state of the artist, as well as the art. Alongside SPACES and MOCA, Busta was a pioneer in creating an atmosphere of informed dialogue between artist and audience that we almost take for granted today.”

More than 75 artists have donated work to this year’s silent auction.

Guests can preview auction items on SPACES’ website and bid online using their phones.

32

“The SPACES annual benefit gives us the chance to show off the incredible artists in our expansive community and celebrate our guests of honor for the work they do to make Cleveland a world-class art city,” explains SPACES executive director Christina Vassallo.

VIP guests will get plenty of extra benefits, including early access beginning at 6:30 p.m., with first dibs on the art and a guaranteed purchase price before the general public begins bidding. VIPs will be greeted with hearty hors d’oeuvres, an open bar, live music by the Trepanning Trio and preferred parking. Additional perks available throughout the evening include exclusive access to the VIP lounge, a digital art giveaway (see details below) and local artists on hand to entertain with 5-minute caricatures to commemorate the evening. VIP tickets are available for $150 ($100 tax deductible) Additionally, the first 80 VIP ticket holders will receive a customized SPACES flashdrive with four digital artworks preloaded onto it, including works by Catherine Butler, Thu Tran and Jason Eppink, as well as a new piece by Jef Scharf, made specifically

Just looking to party and dance the night away? Dance party tickets include 10 p.m. access, light hors d’oeuvres, entertainment by Square Biz aka DJ Funk Shway and access to the cash bar. Dance Party tickets are $10 (100% tax-deductible). Bid numbers may be purchased at the door for an additional $10.

As we mentioned earlier, it’s become one of those dates on the calendar that are circled by fans way in advance of the event.

“This is my second benefit and art auction with SPACES,” says Vassallo. “Last year we enjoyed an outrageously successful event and raised enough money to expand our community outreach and deliver outstanding support to the artists we serve in 2015. These funds are crucial to the gallery. They pay for the heat, the water, the staff, and all aspects of running this gallery so that we can continue to support the artists and their work. We intend to match last year’s success and have a whole lot of fun doing it!”

All proceeds from the benefit and art auction go to SPACES’ general operating budget. These funds provide the support and infrastructure for

SPACES ANNUAL BENEFIT SATURDAY, NOV. 7, 2220 SUPERIOR VIADUCT, 216-621-2314, SPACESGALLERY.ORG

for the benefit. All of the contributing artists have previously participated in SPACES programming.

If you’re not among the VIP crowd, general admission includes 8 p.m. entry, an official bidding number, the guaranteed purchase price option, light hors d’oeuvres, a cash bar, and a dance party. General admission tickets are $50 ($35 tax deductible).

magazine | clevescene.com | November 4 - 10, 2015

turning ideas into projects, while introducing and integrating artists and audiences. As a platform for artists who explore and experiment, SPACES hosts an international residency program in addition to exhibitions featuring the work of local, regional, and national artists who push the bounds of concepts and media.

SPACES began very humbly with a rather plain-looking notice created on an average typewriter

by Ohio native James Rosenberger.

The document invited members of the arts community to a “gathering” on May 25, 1978, at 1375 Euclid Avenue. The letter read, “A space is an interdisciplinary arena for the visual and performing arts with an interest in creating and presenting new art including individual and collaborative works. The purpose of this first gathering is to introduce a space to area artists, and to discuss with them outlets for their creative energies during this first year.”

In the 37 years since that initial gathering, SPACES has presented the work of more than 9,000 artists in its three venues: Playhouse Square (1978 to 1981), Warehouse District (1981 to 1990) and Superior Viaduct (1990 to present). During its time on the Viaduct, SPACES has established itself as a sanctuary and laboratory for contemporary artists seeking safe places to experiment with new ideas and media. Their unique programming brings artists to Cleveland from throughout the U.S. and around the world, and still allows local and regional artists an opportunity to showcase their talents as well.

It can be difficult to articulate the role of SPACES, because it’s designed to form around ideas: The organization and exhibition space are meant to be as flexible as possible to support a wide range of possibilities.

With this kind of malleability, SPACES is designed to change and grow with whatever comes next.

jusmani@clevescene.com t@cleveland_scene

STAGE MISFIRE Photo by Brian Jeffery Bowers

The Call at Dobama Theatre pivots away from the subject matter bull’s-eye

Photo courtesy of Steve Wagner Photography

By Christine Howey

SOMETIMES, A DETAIL IN A scenic design reveals more about a play than is intended. In one of the early scenes in The Call by Tanya Barfield, Anne and Peter are painting the bedroom of a child they plan to adopt. While a couple of the large wall panels are painted white, three of the panels are only partly finished, with a few random roller swipes of paint drying on the existing dark red surfaces.

And the first thought is: Who paints a room like that — starting one panel then jumping to another and then to a third? It makes no sense. In a similar way, Barfield’s script jumps from one subject area to another, makes a few swipes at engaging the subject at hand, and then flits off in another direction.

The supposed issue at the core of this play is the desire of a metropolitan white couple, Anne and Peter, to have a child. After multiple miscarriages and other failed efforts, they have decided to adopt. And they agree that adopting a baby from Africa would perfectly fit their bill.

When they announce their decision to their best friends, an AfricanAmerican lesbian couple, some doubts intercede. While Rebecca is excited about the prospect of her long-time friend Anne being a mother, Rebecca’s partner Drea has doubts. She wonders at first why Peter and Anne couldn’t adopt an African-American child

here in the States. And later, Rebecca questions Anne’s ability to accurately convey African cultural information and attitudes to the child.

These are compelling questions and ripe fodder for theatrical exploration.

But unaccountably, playwright Barfield keeps veering away from involved discussion of these issues just as they seem ready to catch fire.

This hesitancy is telegraphed in the first scene, a laborious and essentially unnecessary description of a safari Rebecca and Drea recently went on in Africa. It’s as if Barfield doesn’t really want to grapple with the very subject she is about to introduce.

These scripting feints continue throughout. Act 1 ends with Anne and Peter becoming aware that the girl they’re adopting isn’t a baby, but more like 4 years old. In this world of overseas adoption, an older child indicates the possibility that the young girl might have serious medical or psychological issues.

into a Robin Williams-like improv artist and regales her with an African tale ending in a profound pronouncement. He tells her, as if speaking from Mount Olympus: “You want a child from Africa, but you don’t want Africa.” Oh, snap!

And finally, Barfield completely destroys any pretense at being serious about the whole whiteAmericans-adopting-an-African-child thing by throwing a whole new subplot on the fire. This involves David, Rebecca’s brother, who a few years earlier volunteered in Africa with Peter. David’s tragic demise leads to some additional soul searching but very little dramatic tension, since it is never woven into the rest of the story in any meaningful way.

As a result of all these switchovers, the script of The Call poses a daunting challenge. Director Matthew Wright and his five actors do what they can with this material.

THE CALL

THROUGH NOV. 15 AT DOBAMA THEATRE, 2340 LEE RD., CLEVELAND HEIGHTS, 216-932-3396, DOBAMA.ORG

But as Act 2 begins, that thematic momentum is tossed aside as Anne and Peter’s apartment neighbor, a conveniently placed African native named Alemu, meets Anne by accident in a dog park. This shy and smiling man then morphs

Ursula Cataan is a believable Anne, registering her character’s longing for motherhood in touching ways.

And even though Peter is too often left to pout and/or glower off on the side, Abraham Adams makes him as sympathetic as possible.

In the role of Rebecca, the fine actor Carly Germany gets off to a startlingly over-the-top beginning — think “Crazy Eyes” Warren from Orange Is the New Black, high on angel dust—as she regales Anne and Peter with the exhaustive safari anecdote. But she soon settles down into a more recognizable form and relates well with a properly dour Corlesia Smith as Drea. But understandably, Germany seems at a loss to communicate Rebecca’s emotional reaction over the loss of her brother, since it seems there are at least two scenes missing that would have set up that moment.

Nathan A. Lilly performs with precise control as Alemu, but even he can’t make sense of this character who seems to have been dropped into the plot by accident from an earlier revision. In particular, Alemu’s insistence on bringing boxes of supplies (disposable hypodermic needles, used sneakers) for his neighbors to take to Africa defies logic on many levels.

It’s always a shame when a play targets an important topic and falls short. But with The Call, it feels like the playwright just keeps pivoting away from the bull’s-eye, firing arrows off in all directions.

scene@clevescene.com t@christinehowey

magazine | clevescene.com | November 4 - 10, 2015 33

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magazine | clevescene.com | November 4 - 10, 2015 CLEVELAND SCENE WED: 11/104/15 4 COLOR

F

#

MOVIES

in theaters

ROCK STAR STREEP INFLUENCED SUFFRAGETTE IN MORE WAYS THAN ONE Talking research and production with the period drama’s writer and director

By Sam Allard DIGGING INTO THE PRESS NOTES for Suffragette feels a lot like cozying up to a graduate dissertation. The film, which opens Friday at the Cedar Lee, Valley View and Crocker Park, tells the story of a group of women battling for suffrage in Great Britain during the early 20th century. Director Sarah Gavron and screenwriter Abi Morgan say they spent six years working on the project.

“We were grappling with the historical authenticity of the piece,” says Morgan, at a roundtable interview in New York City in October.

“Should we do the biopic version or something else? I think the desire was to find a prism through which to look at this extraordinary 18 months of history.”

Those 18 months span a period of increased involvement from women across classes in Great Britain, when the movement’s tactics transitioned from peaceful protest to militant activism. And the prism that Morgan and Gavron settled on was the perspective of the working women who became so vital to the cause. They were women who had the most to lose.

“These women made huge sacrifices,” says Morgan, who garnered much of her information from historic testimonials that

Gavron discovered. “Many of them were incarcerated and force fed. For the upper-middle class women, they didn’t have the conflict of going back afterwards and losing their jobs. But for the working-class women, their lives had really fallen apart. Their jobs weren’t waiting for them. No one had taken care of their children. These were the foot soldiers: they had so much to lose in so many ways, and yet what the vote would mean to them was so radical.”

To portray the movie’s central figure, a fictional composite named Maude Watts, Gavron and Morgan managed to cast Carey Mulligan.

“We’d wanted Carey for a long time,” says Gavron, “She’s an actor who can inhabit a role so fully, so truthfully. I went to lunch with her and after 15 minutes, she said she wanted to do it.”

They built the cast around her, enlisting Helena Bonham-Carter (whose great-grandfather is Lord Herbert Asquith, former prime minister and chief antagonist of the sufrage movement), Brendan Gleeson and Meryl Streep.

Streep, however, who plays the movement’s leader, Emmeline Pankhurst, is only on screen for one scene, a rousing speech given to her

disciples before she slips off into the night to evade arrest. Gavron concedes that most filmmakers who get Meryl Streep generally like to use her gifts as extensively as they can.

“But we weren’t telling [Pankhurst’s] story,” Morgan says. “We were telling the story of the working women. But to have Meryl, who has always been such an incredible advocate for women in the industry, was so wonderful. For us, it was about using her charisma and her beam of light to bring out of the shadows women that haven’t been written about before. In a way, it took an iconic actress to play an iconic part.”

Morgan says that one of the most striking (and unusual) elements of the set was seeing this group of four

or five leading, substantial female actors in conversation with one another.

“You almost never see more than one or two,” says Morgan, “and to see them all talking and sharing — this eclectic group — that became more important than the film itself.”

Gavron hopes the film, by being so specific — “it’s about a small group of women during one year in a tiny corner of London,” — will resonate universally.

“We want it to prompt discourse around global inequality,” Gavron says, “discourse across ages and cultures and genders. We talked about this film as a kickass film, and if it can prompt further discourse, we’d be hugely grateful.”

SPOTLIGHT: I SMILE BACK AND MISS YOU ALREADY CRITICS OFTEN COMPLAIN THAT Hollywood doesn’t offer many good roles for women. The producers behind I Miss You Already and I Smile Back, two new dramas opening on Friday, would beg to differ. While the subject matter of each movie differs, both center on women and feature terrific performances by Toni Collette and Sarah Silverman, their respective stars. I Miss You Already opens areawide while I Smile Back opens exclusively at the Cedar Lee. Director Catherine Hardwicke (Thirteen) helms I Miss You Already, a sometimes difficult-to-watch drama about how a fight with cancer complicates the friendship between Milly (Toni Collette) and Jess (Drew Barrymore). Friends since grade school, the two have a relationship that borders on co-dependency as the

outgoing Milly relies upon Jess to bail her out when she drinks too much or pisses off the wrong person. She’s in constant need of attention and the much shyer Jess regularly provides a fix.

But when Milly gets diagnosed with breast cancer, her happy-golucky attitude takes a hit. And as a publicist who’s already self-conscious about her looks, she begins to doubt her ability to exist in a world where she has to regularly dress up and strut her stuff. A hippie chick at heart, Jess lives on a tiny houseboat with her working-class husband.

While she doesn’t always identify with Milly, when it becomes clear that Milly might have to have a mastectomy, she becomes much more sympathetic. And Milly takes advantage.

The film provides a frank look at

how cancer can complicate even the strongest friendships. In a refreshing twist, the husbands take to the sidelines; the plot focuses primarily on the two women. While it often tries too hard to tug at the heartstrings (it’s a real tearjerker), Collette’s solid performance keeps the movie from Lifetime Channel territory.

On the other hand, ain’t nothing sentimental about I Smile Back. Comedian Sarah Silverman plays Laney, an upper-middleclass housewife with two kids and a husband. She struggles with depression and substitutes a combination of pills and alcohol for the lithium she’s prescribed to take.

She’s also screwing her husband’s jerkoff best friend Donny (Thomas Sadoski), a guy who shares her love of coke and booze and lies to Laney about

how much he can’t stand his wife.

When things come to a head and Laney has a complete meltdown, she checks into a rehab clinic. “Do you want me to talk about my daddy issues or my drug issues first?” she sarcastically asks the doctor once she gets past her withdrawal.

Based on Amy Koppelman’s 2008 novel of the same name, the film doesn’t have much of a story to it. The slow-moving plot makes it come off more as a character study than a narrative. But Silverman is a revelation. Known for her sarcastic wit, she dials things back and bares it all (literally and figuratively) in a solid performance. — Jeff Niesel

scene@clevescene.com t@cleveland_scene

magazine | clevescene.com | November 4 - 10, 2015 35

Day Of The Dead Party

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magazine | clevescene.com | November 4 - 10, 2015

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Photo by Meltbarandgrilled.com

GROWING PAINS The ups and downs of expanding or standing pat in the Cleveland restaurant scene

By Douglas Trattner NINE YEARS AGO, MATT FISH unveiled Melt Bar & Grilled in a tatty Lakewood bar that barely accommodated 50 guests — and that’s counting the folks sandwiched in at the bar. Jump to today and that number lands somewhere around 800 when you tally up all the seats found throughout Melt’s six locations spread across two cities.

If bigger is better, then by all outward measures Fish is a restaurant success story, a paradigm to be analyzed and emulated by every ambitious new restaurant owner out there. In the restaurant industry there seems to exist this belief that the measure of a chef-owner is determined by the number of seats and units under his or her control.

But along with increased revenue and, hopefully, profits often come diminished food and service quality, additional labor headaches, crushing debt and the reduced likelihood that you will be doing something you love in a place that feels like home.

“There are parts of me that wish I had never expanded because life was a lot easier, it was simpler,” Fish admits.

For 16 years Karen Small has, as numerous deferential chefs have expressed, “kept her head down and worked.” Throughout her tenure as chef and owner of Flying Fig, Small says that she never once seriously considered opening another restaurant. Of course, in the

beginning an operator is too focused on the day-to-day tasks to look down the road, but it didn’t take long for Small to recognize and accept her path.

“There are parts of me that wish I had never expanded because life was a lot easier, it was simpler.”

— Matt Fish “As time went on it became pretty clear to me that the way to maintain quality and maintain consistency and maintain the vibe that I wanted to have in a restaurant personally was to keep it small and single-unit,” she says. “When I talk about quality, I’m talking about being able to make sure that everything that goes out on a plate is the way we want it, and I think that’s difficult to do if you’re extended too far.”

Call him a control freak, but chef and owner Nolan Konkoski is not comfortable — or even familiar — with the concept of delegating much responsibility at his 75-seat Southern-influenced eatery SOHO Kitchen. Throughout his career

Konkoski has only worked in small restaurants, absorbing everything he needed to know at previous places of employment like Lopez, Momocho and Tartine.

“I don’t know how some of these guys do it; it’s hard enough to run this one small place,” Konkoski says of his multi-unit colleagues.

“The more things that me and Molly [Smith] can have a hand in and touch, keep an eye on and control, the better our restaurant is going to be.”

We keep hearing about the talent crunch that is affecting the local restaurant industry, and those issues only seem to get exacerbated with each additional linear foot of kitchen line and square foot of dining room space. Odds dictate that the more employees one is compelled to hire, the more incompetent staffers one is bound to bear, says Konkoski.

“You’re always at the mercy of other knuckleheads,” he states matter-of-factly. “Whether it’s on the line, serving tables or bartending, this business is populated by a lot of people who aren’t very good. The bigger you are, the more people you have to have on staff, the more issues you will have because the talent pool is only so big.”

Lean operators like Konkoski, Small and others also are less reliant on multiple partners, investors and lenders, all of whom can muddy the waters when it comes to quality,

efficiency and peace of mind.

“To open a restaurant is a lot of money, but it’s a lot easier to open a small place from a financial standpoint, in terms of the amount of equipment you’re going to need, decorations, seating ...,” says Konkoski. “You always hear nightmare stories about bad partnerships in this business.

To open a 300-seater, I can’t even imagine.”

Matt Fish can. To the outside world it must look like Fish is rolling in dough, what with his soaring celebrity status and vast, expanding empire of grilled cheese restaurants. But the truth is that each of those shiny new eateries cost mountains to erect, the type of investment that will take years to recoup.

“My life from Day 1 was if this fails I walk away basically free and clear. I tried, it didn’t work and I can bounce back and start over again,” Fish says of his humble beginnings.

“But now I’m so far in debt that I would need 10 years to dig myself out of the hole. That weighs over my head in ways that it never did.”

For owners, restaurants are not merely homes away from home; they are your home. The amount of time spent at the shop compared to those few, blessed hours of slumber back at the crash pad are so lopsided that you might as well make sure your surroundings match your

magazine | clevescene.com | November 4 - 10, 2015 37

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preferences. That was the mindset of Jonah Oryszak, who designed Plum, his intimate 50-seat Ohio City bistro, around the notion of personal comfort.

“If you’re going to open a place, to spend this much time and uproot your whole life working on a place, it should be the kind of place you would want to go,” Oryszak says.

“When we sat down and started thinking about all of the coolest places we’ve ever been and what we like about those places, it always came back to small. The nice thing about a small space is it doesn’t take a lot of people for it to feel like something cool is going on in there, and that makes people want to be there.”

What’s more, adds Oryszak, when that small space begins to show its age, it will be a more manageable endeavor to refresh and revive it compared to a 300-seat beast.

“If you’re around long enough, everybody is going to have to do it eventually,” Oryszak says. “So in 10 years from now when Punch Bowl Social starts to look dated, are you going to renovate the entire place? If our place looks dated 10 years from now, it will be a lot easier to renovate because it’s small.”

All of the above is not to say that small, successful restaurants don’t have their share of shortcomings. If you are lucky enough to make it as long as Karen Small, you too might have cobbled together a reliable staff of veterans who can function just

fine in your absence. For creative folks like chefs, stagnation is its own kind of suffering.

“When you have a restaurant that operates on its own because of very good people who have been there a very long time, it does become enticing to put your energies into something else,” Small admits. “In a successful restaurant there are not a whole lot of avenues for change. When people like you how you are, you don’t want to be completely different tomorrow.”

Konkoski concurs, but says that he and partner Molly Smith always manage to talk themselves off the ledge.

“When you’re creative people, you can’t help but think about what’s next; there’s always chatter, your wheels start spinning,” he says. “But then it always comes back to staffing, and that’s more terrifying than the financial aspect of growing.”

For all of his honest impressions about what it’s like to be the very public face of a large, unstoppable restaurant chain that began life as a neighborhood bar and grill, Matt Fish says that he wouldn’t have done it any other way.

“I don’t have regrets — I don’t want to live that way. That’s why I opened up Melt in the first place.”

dtrattner@clevescene.com t@dougtrattner

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EAT RESTAURANT ‘WEEK’ GOES TO NOV. 14

By Douglas Trattner IT’S THAT TIME OF YEAR AGAIN, diners. For 13 food-filled days, dozens of local, independent restaurants will be offering special three-course prix fixe meals for just $33 (not counting tax and tip), although some restaurants diverge slightly off that price.

The 11th annual Cleveland Restaurant Week kicked off on Nov. 2 and runs through Nov. 14.

“This is the promotion that kicks off holiday dining,” says John McDonnell, Cleveland Independents’ president and owner of Tartine Bistro.

“It gives everyone an opportunity to visit new places and explore a variety of flavors.”

This year, 53 member restaurants are participating, the largest tally to date.

Here are just some of the participants: Bistro 185, Blue Point Grille, Chinato, Don’s Lighthouse, Blue Canyon, Fahrenheit, EDWINS, Fire, Flour, Flying Fig, La Dolce Vita, Luxe, Marotta’s, Melt, Moxie, Paladar, Pier W, Red, Spice, Taste, Thyme, Toast and Ty Fun. Book a spot at Cabin Club and you can enjoy French onion soup, twin tournedos of filet mignon topped with sautéed shrimp, and flourless chocolate torte. Stop by Sasa and feast on a shrimp tempura and spicy tuna roll, marinated sliced tenderloin cooked on a hot ishiyaki stone, and green tea cookies with latte. Over at Pier W, diners can enjoy a special three-course meal complete with wine pairings, like local squash and potato chowder with Oregon Pinot Gris, and Acadian redfish a la meniere with an Alsatian Riesling.

Check out clevelandindependents. com for all the info and menus.

up,” Fasulko says of the concept’s genesis.

After simultaneously working their way through Bad Girl Ventures and Cleveland Culinary Launch & Kitchen, Fasulko and Pippin began selling their delicious beer-themed confections at the Cleveland Flea, Rising Star and Pour coffee, and other pop-up events around town. The goal was to continue finetuning the product, getting better at business, and open a brick and mortar shop in about five years.

Sometime in late winter, Brewnuts will open up a doughnut-themed bar in the Detroit Shoreway neighborhood.

The very prominent corner space at the

intersection of West 65th and Detroit was most recently home to councilman Matt Zone’s office. At 1,200 square feet, the space marks a major improvement over previous locations the couple has worked out of, including a tiny, temporary storefront in Tremont.

“In a lot of ways we got to take our bumps and bruises in that space — go through some trials and tribulations that hopefully will make the next transition a little bit smoother,” Fasulko says.

For the first time, Brewnuts will have an onsite kitchen, which will allow them to expand their product line to include more cake, yeast and

fresh-baked doughnuts. Up front will be space for a bar/counter and seating for approximately 75 guests. Assuming an upcoming ballot initiative goes as planned, the space will have use of a full liquor license.

“We want this to be more of a communal space, a hang-out spot with great music, the opportunity to play some games, and the opportunity to treat it more as a bar. The whole idea is to let people experience the beers that we use in the doughnuts.” Fasulko explains.

dtrattner@clevescene.com t@dougtrattner

EVERYBODY’S FAVORITE BEERBASED DOUGHNUT, BREWNUTS LANDS A PERMANENT HOME Two years ago, Shelley Fasulko and John Pippin introduced Clevelanders to Brewnuts, and the response has been nothing short of remarkable. How could it not have been? These are local beer-flavored doughnuts we’re talking about after all.

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magazine | clevescene.com | November 4 - 10, 2015 41

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magazine | clevescene.com | November 4 - 10, 2015

Courtesy of the Rock and Roll Hall of Fame and Museum

MUSIC

A MOTOWN MAN

The Rock Hall pays tribute to soul/R&B singer-songwriter Smokey Robinson

By Jeff Niesel

A difficult childhood didn’t deter Smokey Robinson

NOW IN ITS 20TH YEAR, THE Rock and Roll Hall of Fame and Museum’s annual Music Masters Series gives fans an incredibly indepth look at a Rock Hall inductee.

The week-long event doesn’t have a parallel: It includes a series of lectures, concerts and films, culminating in a gala concert on Nov. 7 at Playhouse Square.

This year’s gala concert, which will acknowledge the life and music of soul/R&B singer Smokey Robinson, features Rock and Roll Hall of Fame inductees such as Dennis Edwards, Martha Reeves and Mary Wilson, who’ll perform Robinson’s music.

Organizer Lauren Onkey, the Rock Hall’s former vice president of education and public programming, says Robinson was a logical choice for the annual event.

“It’s remarkable that it’s the 20th year, and I feel so privileged to have had a chance to steward it for the years I was part of it,” says Onkey, who’ll participate in her last Masters Series since taking on a new position as dean of Tri-C’s new Mandel Humanities Center. “It’s a unique program in trying to communicate the significance of some of the Rock

Hall’s most influential inductees to new audiences. There are tribute shows and tribute albums everywhere nowadays. And there are lots of benefits. What Music Masters does is more than a tribute. It’s, ‘Why is this artist important and what did they do?’ Our honorees are never the ones that people complain about. Music Masters asks why, and then tries to communicate it to different audiences and people of different ages.”

The series commenced with “Smokey Robinson and the Sensual Black Avant-Garde,” a lecture by writer and scholar Jason King. The event took place Nov. 2, at the Library Reading Room inside the Rock Hall’s Library & Archives. King regularly contributes to publications like Billboard, Buzzfeed and Slate. For his talk, he re-contextualized “Robinson’s masterful songwriting and production by taking a closer look at his inauguration of the innovative Quiet Storm format alongside purveyors like Roberta Flack, Leon Ware and Minnie Riperton.”

The festivities continue at 8 p.m. Wednesday, Nov. 4, with an Evening with Members of the Music Masters Tribute Band in the Rock

Hall’s Foster Theater on the fourth He’s [Motown founder] Berry Gordy’s floor. Jason Hanley, the Rock Hall’s key collaborator and that range of interim vice president of education stories that can “My tell about him Somehow theyou slogan, governor and public programs, will interview made him compelling for the 20th is a Jewish cowboy,” didn’t get Kinky several members of the band who year.” Friedman elected to governor. will perform at the Nov. 7 tribute Robinson, who grew up in Detroit, concert. At 7 p.m. Thursday, Nov. 5, had a difficult upbringing, but at Case Western Reserve University’s like many of rock and soul music’s Tinkham Veale University Center, esteemed rock writer Dave Marsh will give the keynote lecture. Then, from 10:30 a.m. until 3:30 p.m. on Saturday, Nov. 7, the annual Music Masters Conference will take place in the Rock and Roll Hall of Fame’s Foster Theater. The conference will celebrate Robinson’s impact on popular music and include a presentation by author David Ritz.

Onkey says the decision to pay tribute to Robinson wasn’t a difficult one to make. He’s been a candidate for the series for some time now.

— Lauren Onkey “We were looking for somebody in the 20th year who could put a different spin on the program,” she greatest talents, he found ways to says. “We never covered Motown, and overcome poverty and tragedy. In that opened a broad story. What’s 1955, he formed the Five Chimes significant about Smokey is that with friend Ronald White and he’s important on three fronts. He’s classmate Pete Moore. That band important as a performer and as a would morph into the Matadors and songwriter but also as a businessman. then the Miracles, one of Motown’s

“What has always struck me about [Robinson] is where does that kind of ambition come from, his songwriting is so good so early.

magazine | clevescene.com | November 4 - 10, 2015 47

MUSIC

concert. Dennis Edwards, Martha Reeves and Mary Wilson — all of whom are Rock Hall inductees — will perform along with Grammy winner the Robert Glasper Experiment. Adam Blackstone, a guy who’s served as the musical director for acts like Rihanna, Janet Jackson, Maroon 5, Jay Z, Pharrell Williams and Justin Timberlake, will serve as the tribute concert’s musical director. New guests who have been added to the line-up and are now scheduled to perform include Avant, Avery*Sunshine, Bilal, JoJo, Eric Roberson and Michelle Williams.

Robinson will be in attendance but

first signings. It’s a great American rags-to-riches story.

“What has always struck me about [Robinson] is where does that kind of ambition come from,” says Onkey. “His songwriting is so good so early. He’s trying to reach for the stars when he’s really young.

I’m amazed by that. He had this real ambition to make his mark in popular music in the broadest sense.”

Early on in his career when he first met Gordy, he carried a notebook with him that Photo courtesy of Wikipedia had 100 songs in it.

That alone suggests his tremendous work ethic.

“I interviewed him in 2011 for our Hall of Fame series,” says Onkey. “He talks about his mother and loving poetry. He speaks in parables. He got together with Berry Gordy, who was already writing good songs, and there’s something in the alchemy of that relationship. The other thing about Smokey Robison — and sometimes we forget to say this about our great musicians — he worked really hard at his craft.

He committed himself to getting better and Clockwise from top left: Bobby Rogers, Marv Tarplin, taking advantage of that Ronald White, Claudette Robinson and Smokey Robinson creative environment at Motown.”

After years of working with the Miracles until isn’t slated to perform. To open the 1972, Robison successfully launched concert, Case Western Reserve will a solo career, delivering hits such as bestow an honorary Doctorate of “Cruisin’” (1979), “Being with You” Humane Letters upon Robinson.

(1981) and “Just to See Her” (1987), “Jason [Hanley] and I have moody ballads that show off his collaborated for years on this gorgeous upper-register voice. With program,” says Onkey. “That was a his solo career, Robinson proved he goal of ours. We want to make [the didn’t need to be part of a band to be gala concert] even more of a show. successful.

There’s some storytelling, but we’ll “In his personal life, he wanted to do that through video packages get off the road and he was working rather than having talking on stage. in the business but it took a little It seems to work. Audiences get the bit of time before he really hits it significance of the story. Now that as a solo artist; but he was making there’s so much great performance great music out of the gate,” says footage video, which wasn’t the case Onkey. “He certainly was always 10 years ago, it’s great to show that. looking forward. He experiments People will see some really classic rhythmically over the years. It might Smokey performances. People will go back to the songwriting and walk out feeling like they get it.” having a good song. I think because he could go back to that, he was able to succeed.” jniesel@clevescene.com Several significant acts have @jniesel signed on to perform at the tribute

t

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MUSIC HE’S A SOUL MAN Singer-songwriter Anderson East taps into his roots for Delilah ON ONE PARTICULAR NIGHT AT Nashville’s Bluebird Cafe, a place where singer-songwriters can nurture their crafts, singer-songwriter Anderson East threw back a few too many beers prior to getting on the stage and had to stop his performance for a bathroom break. Well, that’s one way to leave a lasting impression with the tastemakers often in the audience; the maneuver didn’t deter Dave Cobb, who was so impressed with East that he offered to produce his next album.

“I made it a little bit of a scene,” says East via phone from a Boise tour stop. “I had one or two too many Coors Lights and I stopped the show so I could take a restroom break and that made a memorable impression on [Cobb]. He introduced himself after the show and told me he was a producer. Pretty much everybody in Nashville is a producer, so I didn’t take it too heavily. I asked him who he was working with. He spouted off the names of some people I had never heard of. When he said he was about to finish Jason Isbell’s record, my ears perked up. I’ve been a fan of Jason’s for a long time. We took it from there. We geeked out about music and recording and the whole nine. We became friends through all of that.”

That partnership reaps dividends on East’s new album, Delilah, which came out earlier this year to widespread acclaim on Low Country Sound/Elektra Records; it’s the first release on the new imprint run by Cobb. The retro-sounding album opener “Only You” features cooing backing vocals and a lively horn arrangement as East belts out the chorus, “I’ve been waiting so long.”

That song sets the tone for the songs that follow. The album’s single, “Satisfy Me,” sounds like a classic cut during the ’60s. It recently debuted at No. 28 on the AAA Radio chart.

East has nurtured his soulful voice from an early age.

“I grew up in the church,” he says. “My granddad was a preacher.

My mom was a piano player. My dad was a gospel singer and that kind of thing. I grew up with that gospel tradition. There was never too much of a pop music sensibility, at least in our

50

house.”

All that would change when East, who recalls being 11 or 12 at the time, spotted a neighborhood kid whose older brother had a guitar.

“I just knew I needed one of those,” he says. “The rebellious teenager kicked in that just wanted to make noise. That happened, that progressed and I got more and more interested in it later. I got a four-track tape recorder and that’s where all my interest went.

I was recording myself all the time.

It all progressed from there, being able to make a good-sounding record and play an instrument and write songs and sing. It all stems from that, from hearing something played back through the speaker.”

A performance at the grade-school talent show convinced East that he needed to pursue singing and songwriting even further.

“I honestly don’t remember if we won,” East says with a laugh. “We won in our own minds if we didn’t win actually.”

East then moved to Nashville when he was 18. He initially worked with singer-songwriter Holly Williams and played with her for the next year-anda-half or two years.

“It was a really great experience,” says East. “It was my first time getting to go out on the road and

Photo by Neil Krug

By Jeff Niesel

Anderson East

character from the Old Testament who stripped Samson of his powers.

“I don’t think there’s a narrative that each song ties together with a nice bow, but there’s some thematic things throughout,” he says. “Behind it all, it’s a record of wanting or longing for somebody. It started off with the tune ‘Devil in Me,’ which mentions Delilah. As I was playing it back, I thought all the songs tied into that story, not in a spiritual way

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play music. She was incredibly sweet and let me open for her on a bunch of tours. I would play guitar for her and sing harmony too. It was a lot of fun — developing great friendships and getting to play great music and getting to see things I wouldn’t have seen otherwise. It was a really wonderful experience.”

Prior to Delilah, he self-released a few albums that established him as a significant talent. Those, in turn, led to the writing sessions for Delilah, an album whose title refers to the

magazine | clevescene.com | November 4 - 10, 2015

but in a secular narrative. It seemed appropriate that a beautiful woman could bring down the strongest man in the world.”

Another highlight includes a cover of the George Jackson song, “Find ’Em, Fool ’Em and Forget ’Em.” East and Cobb dug through the vaults at FAME Studios in Muscle Shoals.

“I wanted to dig through some stuff they had around that nobody had ever heard,” he says. “They surprisingly said, ‘Yes. You can come and dig around.’ We were sitting

upstairs with Rodney Hall. He played that tune of George’s. His dad, Rick Hall, wrote that song. He played it as a joke. I thought it was amazing.

It was so groovy. And the lyrics are so backward. You think he’s a real sleazebag at the top of it. When the second verse rolls around, you realize he had his heart broken and is trying to put up his defense mechanisms. I thought it was good storytelling. It’s such a juxtaposition between where you start and where you end up. We went back down and it’s the last song we recorded. Hopefully we did it some justice. It sure is a lot of fun to play.”

For the current tour, East has a horn section in tow. He says the new material calls out for a horn section and being able to bring it on tour — a rarity these days — has been a real treat.

“It feels really nice to have that support and that color come through,” he says. “People come up to us after the show and tell us they’ve enjoyed the music and are connecting with it.

You can spot people in the audience singing along. It’s a great feeling.

Nobody told me it’s terrible, so either they’re just being really polite or some people actually like it.”

jniesel@clevescene.com t@jniesel

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magazine | clevescene.com | November 4 - 10, 2015 51

MUSIC QUEEN OF THE HIGHWAY

Singer-songwriter Nikki Lane boasts a rapidly growing fanbase

By Jeff Niesel BORN IN SOUTH CAROLINA, singer-songwriter Nikki Lane moved to California thinking that she would be an A&R rep.

“I think I just thought I would flirt with dudes and I would have a credit card and it would be fabulous,” she laughs via phone. “I got there and started transitioning into wanting to work in design and fashion. I still didn’t know what it meant. I was a high-school dropout. I just didn’t want to pay anyone to teach me anything.”

But instead of wining and dining up-and-coming bands, she started designing shoes. For five or six years after that, she tried her hand at a mix of things, including high-end retail.

“I was trying to learn how to run a successful business,” she says. “I manufactured and sold things. Being a musician now, merch has become one of my favorite pastimes. I’m wellequipped for what I didn’t intend to do.”

Well-equipped is right. Thanks to the success of last year’s All or Nothin’, Lane has quickly been crowned “The First Lady of Outlaw Country.”

She certainly deserves the title, even though her musical tastes are really quite eclectic.

“My mother listened to ’60s and Motown music,” she says. “My dad listened ’80s and ’90s pop country. My grandfather was into what he called mountain music with a dulcimer. I was well-versed in different types of music.

I was that kind of kid who grew up on MTV. I used to joke that MTV was my babysitter during the summers. I was the product of the radio. I wasn’t collecting records at a young age. I was focused on the outdoors and crafts more than music. It wasn’t until I moved to California that I discovered a strong personal taste in music and started to learn about records that weren’t on the radio.”

While in California, she started writing snippets of songs while driving and would hum out melodies.

“They were never developed as songs because they weren’t even fully developed thoughts,” she says. “I did have a series on cassette long before I made a record. That will probably come out some day. They’re lacking completion, but they’re fun for me to look back and reference. I can see the amount of work I’ve gotten done in the

52

Photo by Glynis Carpenter

Nikki Lane

last six years.”

Lane, who’s just completed tours with Shakey Graves, Jenny Lewis and Social Distortion, raised eyebrows last year with All or Nothin’, a terrific collection of twangy tunes produced

by Black Keys’ singer-guitarist Dan Auerbach. The album made several “Best of 2014” lists when it came out last year. New West Records even released a 19-track deluxe version of the record, which includes the previously unreleased “Can’t Get Enough.”

Lane’s first record, which never came out, was a solo writing effort, but her manager encouraged her to do some co-writing on 2011’s Walk of Shame. For All or Nothin’, she did some co-writing with Auerbach. A song like “Love’s on Fire” benefits from a sparse intro that leads into a beautiful duet.

together. I was being realistic about being broke and he was daydreaming.

When we wrote it, we were on the roof and it was acoustic and soft and when we went downstairs, that was the natural way to showcase it to the band. There had to be a cohesiveness to it. You can’t just throw one bare bones track on it. That was fun. I like that the boys thought to do a key change.

We wanted to have that moment of vulnerability and then tie it in with everything else.”

Another highlight, the rowdy “Sleep with a Stranger,” could pass as an Old 97s tune. Lane describes it as song about “getting married and getting divorced.”

“It’s the series of events that follow when you’re making and breaking relationships,” she says. “You got out and want to do something bad. You can go out and ride motorcycles with

NIKKI LANE, CLEAR PLASTIC MASKS, REBEKAH JEAN 8:30 P.M. SUNDAY, NOV. 8, BEACHLAND TAVERN, 15711 WATERLOO RD., 216-383-1124.

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“I love the softness at the beginning before the violin and fiddle kick in,” says Lane. “We got to the end of the record and had a few days left. We were done with what we lined up.

We were starting to come in at 1 in the afternoon and feel out some new songs. We went in that morning and tried to write something. I had been recently married to a touring musician. Dan was a touring musician. We were talking about the reality of touring and keeping it

magazine | clevescene.com | November 4 - 10, 2015

the boys. You can go into [Nashville clubs] 308, or to Robert’s or to the Crying Wolf. I picked a scenario from every one of those. It’s about walking into a cowboy club and picking up a cowboy. It’s about going out and letting loose because you haven’t been able to for a long time. It’s the full range of emotions you experience when you make decisions like that.”

It comes off as the kind of song you’d stereotypically expect to hear from a guy rather than a woman.

“I hear that quite often,” says Lane. “That’s funny to me. I know just as many women who cheat and sleep around as I do men. I guess women aren’t supposed to talk about it. It’s good I get a stamp of bravery for talking about reality. I don’t not misbehave just because I’m a lady. I can be a lady too all day long. And I can break the hearts just like the rest of them. I try to do all the things the boys do better.

The deluxe version of the album features the ballad “Can’t Get Enough,” a song Lane initially thought wouldn’t fit on the record.

“That was a true vulnerable moment of a love song,” she says. “I don’t write too many true love songs where I’m feeling swept away by someone. It’s easy to write a song about one person and then by the end it relates more to another person.

When the record came out, I was going through a moment of insane vulnerability. I didn’t know if someone would pick up the record or if I could handle my divorce or the rebounds.

I canned the most vulnerable song because I didn’t want to show any signs of weakness. It ended up being perfect. When we did the deluxe, it was something to add on. I’m glad we have those and not just the ridiculous live tracks that ended up on Spotify. I have another couple of songs that are similar to that.”

Lane says she’s started tracking songs for a follow-up album.

“The songs are all there and they’re just all over the place,” she says. “We have a song called ‘700,000 Rednecks.’

It mocks my hometown and the popcountry theory that you need that many fans on commercial radio. Lots of songs about distance and roads. I’m naming the record Highway Queen.

Let’s be real. I deserve the title. There’s another heartbreaking love song about somebody on the other side of the country. To me it’s impossible to not be autobiographical. Most of what’s going on is related to being a touring musician and figuring out what’s next and talking about it and trying to relate to the people we meet on the road and the fans we’ve been making.”

jniesel@clevescene.com t@jniesel

magazine | clevescene.com | November 4 - 10, 2015 53

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54

magazine | clevescene.com | November 4 - 10, 2015

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WED

11/04

Kat Edmonson/Milton: 8 p.m., $20 ADV, $22 DOS. Music Box Supper Club.

Kendrick Lamar - TDE Presents: 1st Annual Kunta’s Groove Sessions: The past three years have seen the ascension of Kendrick Lamar from K.Dot the mixtape phenom to Kendrick Lamar the world renowned emcee.

On the heels of a performance with the National Symphony Orchestra, Lamar is taking his show on the road with a set of dates being labeled as “King Kunta’s Groove Sessions” and focusing on smaller venues instead of arenas. If his high energy performances of the past are any indication of what to expect, then the show will indeed be “Alright.” (Emanuel Wallace), 7 p.m. House of Blues.

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

Automagik/Public Squares/The Great Perhaps: 8:30 p.m., $8.

Beachland Tavern.

Fat Vegan/Splat (in Club Atlantis): 10 p.m., $5. Now That’s Class.

Gary Hall/Eric Oswald: 8 p.m.

Barking Spider Tavern.

Pleasure Leftists/Outside World/ Total Babes: $5. Happy Dog. Tall Heights (in the Supper Club): 8 p.m., $7. Music Box Supper Club.

Rock Wehrmann: 7 p.m., Free. BLU Jazz+.

THU

11/05

BUKU, Infuze, Sean 216, Jae Andres, Shaggs: 9:30 p.m., $12 ADV, $15 DOS. Beachland Ballroom.

Fred and Toody of Dead Moon/Uno Lady/Shitbox Jimmy: 8 p.m., $12 ADV, $15 DOS. Now That’s Class.

The Gunshy/Meredian/The Public: 8 p.m., $5. Now That’s Class.

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

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

Pete McCann: 8 p.m., $15. BLU Jazz+.

Willie Nile/Jefferson Grizzard: 8 p.m., $20. Beachland Tavern.

Packy Malley presents Working Man’s Reggae Show with The Ark Band: 7 p.m., $5. Grog Shop.

56

Rapper Kendrick Lamar rolls into House of Blues. See: Wednesday.

The Polyphonic Spree 15th Anniversary Tour/The Sharp Things: 8 p.m., $25 ADV, $28 ADV. Music Box Supper Club.

The Rat Pack Featuring Frank, Dean & Sammy: 7 p.m., $5. Vosh Club.

Sidewalk Chalk/Three Seas Collective: 9 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes.

Spyder Stompers/The Fretters/ Pushing Chain: 6 p.m. Barking Spider Tavern.

Swamps of Jersey (in the Supper Club): 7:30 p.m., $7. Music Box Supper Club.

FRI

11/06

Fuse TV Presents: Big Freedia Bounce Shakedown 2015: Has one truly lived prior to attending a Big Freedia show? It’s a question we ponder daily during our editorial meetings. The answer is a resounding hell naw. Big Freedia, the Queen Diva, helped popularize

magazine | clevescene.com | November 4 - 10, 2015

New Orleans bounce music, which pairs fast-paced, hip-hop-stylized beats against call-and-response lyrics. Check out some of her iconic joints, like “Excuse” and “Y’all Get Back Now.” If you aren’t shaking your ass on the twos and fours, then you’re doing it wrong and will be chastised publicly for such. Let Freedia do what she do.

Listen, we caught her show a few years ago, and it’s just one big party. Bounce music is pretty easy and fun to get into; all you’ve got to do is dance. Azz everywhere.

(Eric Sandy), 8:05 p.m., $20. House of Blues Cambridge Room.

Sun Ra Arkestra/Bobby Selvaggio Quartet: It’s been more than 20 years since jazz pioneer Sun Ra departed this plane, but his Arkestra plays on. True to form, the ensemble remains a fluid project as lineup changes are the group’s only constant. The as-yetuninitiated should pick up this year’s Live at Babylon, a sterling collection of mostly Ra-penned

classics performed under the direction of Marshall Allen. It’s a tightly crafted set, anchored at points by the mind-bending “Ra #2” and exotic space lounge trip of “Satellites are Spinning,” along with the rest of the disc’s highwater marks. The Arkestra is still swinging, but it’s not like they show up in Cleveland everyday. Go check them out. (Sandy), 8 p.m., $22 ADV, $25 DOS. Music Box Supper Club.

Chris Allen & Don Dixon and Friends (in the Supper Club): 8:30 p.m., $10 ADV, $12 DOS. Music Box Supper Club.

Johnny Cochran: 8 p.m., $12. BLU Jazz+.

Dead Leaves CD Release Show: 9 p.m., $5. Mahall’s 20 Lanes.

The Dirty Baxters/98KB: 9 p.m., $10. Vosh Club.

Duvalby Bros./Banging Fragiles/ Tinko: 9 p.m., $7. Grog Shop.

Easy Street Band: 7 p.m., $25-$40.

The Tangier.

Will Hoge: 9 p.m., $20. Musica.

Chris Irvine and Zach Clarke: 8 p.m., $10. Bop Stop.

Rebekah Jean/Matt Honta & The Haymakers: 9 p.m., $5. The Euclid Tavern.

The Jimmy Jack Band: 9:30 p.m., $5. Brothers Lounge.

Nate Jones with The Empty Pockets/Guggy’s Rock-n-Roll 101, Top Hat Black: 8:30 p.m., $10 ADV, $12 DOS. Beachland Tavern.

Phil Keaggy: 8:30 p.m., $50.

Nighttown.

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

Nighttown.

The Lone Bellow, Anderson East, Hugh Masterson: 8 p.m., $20$109. Beachland Ballroom.

Brad Marin and Friends (in the Wine Bar): Brothers Lounge.

The Mavericks: 8 p.m. Hard Rock Rocksino.

MidnightPassenger / CorduroySeason/TeddyBoys/ AgelessMales: 9 p.m., $10.

Mahall’s 20 Lanes.

Soul Music and Other Music for the Soul with Lawrence Daniel Caswell: 6 p.m., Free. Happy Dog.] Terrain/George Foley & Friends/ Loretta Lausin Quartet: 5:30 p.m. Barking Spider Tavern.

White Hills/Terminal Lovers: 9 p.m., $6. Happy Dog. Zoso/Dead Man’s Mail: 8 p.m., $10$15. House of Blues.

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TUESDAY 11.10 LYRICAL RHYTHMS 7:30PM Open Mic | Live Band | Drink Specials WEDNESDAY 11.11 MUG NIGHT = $2 PBR Mugs DJs Elliot Nash + GinoXL

SAT 12/26

Monday’s Mona Lisa Pillars Goodnight Tonight • Home for Fall

The Mosers

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THE LIGHTHOUSE & THE WHALER

WINDHAND MARK NORMAND DANAVA Monolord

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Nick D & The Believers • Polars

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THU 12/31

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FRNKIERO & THE CELLABRATION Roger Harvey • Jared Hart

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Wed 11/4 BEST OF THE BEST: HALLOWEEN HANGOVER Mon 11/16 MAKE ‘EM LAUGH MONDAY Thu11/19 DJTopGun/A Right To Create Present FEAST ON THE EAST Tue 11/24 ELLE KING SOLD OUT! Thu 11/26 Thanksgiving Takeover hosted by RAY JR. Sat 11/28 I-TAL Thu 12/3 ARK BAND • Wildlife Soundz Wed 12/9 ERIC BELLINGER CANCELLED Thu 12/11 THADDEUS ANNA GREENE • Tom Evanchuck Sat 12/12 HYBRID SHAKEDOWN • Cold Heat Family Band Sun 12/27 ARANKA FABIAN • Gypsydaze Fri 1/8 SKULL PRACTITIONERS (Jason Victor of Dream Syndicate) Sat 1/9 BRAVE BONES • Posh Army • The Science Fair Thu 1/14 HARI KONDABLOU hosted by Ramon Rivas Wed 1/27 GRAVEYARD • Spiders TICKETS TO GROG SHOP EVENTS ARE AVAILABLE THROUGH

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BROTHERTIGER Bliss Nova

Happy Hour Every Day until 9 PM WEDNESDAY 11.4 MUG NIGHT = $2 PBR Mugs DJs Elliot Nash + GinoXL

FRIDAY 11.6 PLAYERS BALL Playing All The Throwbacks!

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magazine | clevescene.com | November 4 - 10, 2015 57

LIVEWIRE SAT

11/07

Blind Guardian/Grave Digger: 8 p.m., $23 ADV, $25 DOS. House of Blues.

Leo Coach Duo (in the Wine Bar): 8 p.m. Brothers Lounge.

David Wax Museum/Anthony D’Amato: 8 p.m., $12. Beachland Tavern.

Easy Street Band: 7 p.m., $25-$40.

The Tangier.

Fresh Produce Presents: The Fresh Fest with Tony Sin/Wes Starkks/ Vigatron/Brian Menace/San Goodee/J Knight/C. Ames: 9 p.m.

Now That’s Class.

Jonny Two Bags, Scott H Biram, Jesse Dayton: 9 p.m., $15. Grog Shop.

Phil Keaggy: 8:30 p.m., $50.

Nighttown.

Bill Lestock/Annual Food Drive with host Michael McDonald: 7 p.m. Barking Spider Tavern.

Lydia Loveless/White Buffalo Woman/Angela Perley & the Howlin’ Moon: 9 p.m., $12.

Musica.

Archie McElrath: 8 p.m., $15. Bop Stop.

Kip Moore, Michael Ray: 7 p.m.

Masonic Auditorium.

Tom Paxton/Michael J. Miles: 8 p.m., $25 ADV, $28 DOS. Music Box Supper Club.

Ken Peplowski and Gary Smulyan: 7 p.m., $25. BLU Jazz+.

Players Club: 9:30 p.m., $10.

Brothers Lounge.

Radioactive: 9 p.m., $5. Vosh Club.

Shinedown/Breaking Benjamin: 7 p.m. Covelli Centre (Youngstown).

Shooter Sharp & The Shootouts: 9 p.m., $5. Happy Dog. Sofa King Killer/Thelma and the Sleaze: 9 p.m., $8. The Euclid Tavern.

Tankcsapda: 8:30 p.m., $30 ADV, $35 DOS. Beachland Ballroom.

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

Nighttown.

Wayne Szalinski/Triathalon/Soft Copy: 8 p.m. Mahall’s 20 Lanes.

Hank Williams & Friends by Hillbilly Idol (in the Supper Club): 8 p.m., $7. Music Box Supper Club.

SUN

11/08

The Saddest Landscape/Empire!

Empire!/Wild Moth, Signals Midwest (in the Locker Room): Threading the strains of early2000s emo through the post-

58

magazine | clevescene.com | November 4 - 10, 2015

hardcore needle, The Saddest Landscape holds a great underthe-radar position in multiple scenes. The band’s latest, Darkness Forgives, is a headbanging trip through their namesake. These are fast, pulsing journal entries from alienated minds. In tunes like “Souls Worth Saving,” singer Kyle Durfey spits his frustration through the speakers and waxes wrothful in rhyme. It’s either the perfect antidote or the most troublesome remedy for a bad day. We’ve all got demons; TSL just makes ‘em sound thrilling.

(Sandy), 9 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes.

Dany Lou Grass: 6 p.m. Barking Spider Tavern.

Nikki Lane/Clear Plastic Masks: 8:30 p.m., $15. Beachland Tavern.

Moon Rocks: 9 p.m., $5. Happy Dog. Sonny Moorman (in the Supper Club): 7 p.m., $7. Music Box Supper Club.

Night Owls: 3 p.m. Barking Spider Tavern.

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

Red Light Roxy: 7 p.m., $15.

Nighttown.

Street Corner Symphony: 7 p.m., $15. Musica.

Sunday Noise Lunch with Mike Crooker/Fyodor Novotny / Nathan Matan / Own Weather One / Jordan Davis / Tiger Village / Dissilient / Tom Orange / Steven Slane / YYRYYR / Andrew Auten / J: 4 p.m. Now That’s Class.

Vic Ruggiero (The Slackers)/S.S. Web/Xela: 8:30 p.m., $10 ADV, $12 DOS. Grog Shop.

MON

11/09

Devin The Dude/Potluck/Woulf/ Acemial: Houston, Texas rapper Devin the Dude has been in the business for over twenty years delivering his own brand of hip-hop. Devin cut his teeth (or planted his seeds, if you will) with Rap-A-Lot Records in the mid-90s as the breakout member of Odd Squad. It’s Devin’s charismatic but ordinary everyman approach to most life situations in general that allows him to be as crass as he wants to be without necessarily coming off as threatening and has enabled him to have a cult following among both weedsmokers and nonsmokers alike.

(Wallace), 9 p.m., $20 ADV, $22 DOS. Grog Shop.

Storm Large: A finalist in 2006 on the CBS show Rock Star: Supernova, singer Storm Large has done a bit of everything. In the ‘90s, she sang with various

b a r k i n g s p i d e r t a ve r n . c o m

LIVE MUSIC

NO COVER

HAVE A PICNIC, RELAX & ENJOY

Thursday November 5 Pushing Chain 6:00 (americana, roots) The Fretters 8:00 (americana) Spyder Stompers 10:00 (americana, blues)

Friday November 6 George Foley & Friends 5:30 (jazz) Loretta Lausin Quartet 8:00 (jazz, pop, rhythm & blues) Terrain 10:00 (rock)

Saturday November 7 ANNUAL FOOD DRIVE 7:00 Hosted by Michael McDonald Bill Lestock 10:00 (bluegrass, folk)

Sunday November 8 Night Owls 3:00 (jazz) 11310 JUNIPER RD., CLEVELAND • 216.421.2863

Sit down with your guests.

Advertise with SCENE. Call 216-241-7550 for more information.

punk bands in San Francisco.

She hooked up with the eclectic lounge/jazz act Pink Martini Pink Martini in 2011 and has sung with k.d. lang, pianist Kirill Gerstein, punk rocker John Doe, singersongwriter Rufus Wainwright, and funk icon George Clinton. Expect the unexpected from tonight’s gig, the first of a two-night stand at Nighttown. (Niesel), 7 p.m., $15.

Nighttown.

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

The Bones of J.R. Jones, Kiss Me Deadly, Mike Uva: 8:30 p.m., $7.

Beachland Tavern.

Tim Daisy and Warchester Project: 8 p.m., $10. Bop Stop.

Ernie Krivda & The Jazz Workshop/ Space Love: 7 p.m. Barking Spider Tavern.

Everything Went Black/Anxieties: 9 p.m., Free. Now That’s Class.

Fever the Ghost/Turtle Island: 8:30 p.m., $8. Mahall’s 20 Lanes.

Leon Russell/Tom Evanchuck: 8 p.m., $35 ADV, $55 DOS. Beachland Ballroom.

Travis Scott: 7 p.m. House of Blues.

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

TUE

4630 Ridge Road Brooklyn, Ohio 44144

216-749-5509

www.agostinos.events Formerly Ridge Manor Banquet Center

Relive the COMPLETE Beatles Experience!! & PRESENT

The Beatles Experience

AS HISTORY DICTATES THAT IT SHOULD BE

The Beatles were more than just a bunch of hit songs - The Look, The Sound, The Culture and most importantly The ENERGY of the youth in the 1960s was all ignited by the coming of The Fab Four from Liverpool.

You can’t afford to miss this experience! Call Agostino’s TODAY for tickets at (216) 749-5509. Once purchased, tickets will be available at Will Call at our event center.

November 21, 2015

Agostino’s Catering & Event Center 4630 Ridge Rd. Brooklyn, Ohio 44144

Doors open at 6:30pm / concert starts at 8pm.

Cash bar and Beatles themed food available!

Choose from dishes like Kansas City Hey Hey Hey pulled pork sandwiches and Penny Lane Popcorn to a delicious Strawberry Fields Martini!

Learn More At www.agostinosevents.com

11/10

Storm Large: 7 p.m., $15. Nighttown Brothertiger/Bliss Nova/Asound/ Simply Shady: 8 p.m., $7 ADV, $10 DOS. Grog Shop.

Billy Coakley Drum Solo: 8 p.m., $5.

Brothers Lounge.

Dear Rouge Rah Rah, Diverge: 7 p.m., $8 ADV, $10 DOS. Mahall’s 20 Lanes.

The Dirty/Nil/Go On Gunslinger/ Rooted (in the Locker Room): 7 p.m., $8. Mahall’s 20 Lanes.

Dom Kennedy/Casey Veggies/Jay 305: 7 p.m., $20. House of Blues.

Hands Like Houses, I The Mighty, Lower Than Atlantis, Brigades, Too Close to Touch: 6:30 p.m., $15 ADV, $17 DOS. Beachland Ballroom.

Brian Henke/Charlie Mosbrook: 8 p.m. Barking Spider Tavern.

The Hooten Hallers: 9 p.m., $5. Now That’s Class.

Kim Nazarian CD Release: 8 p.m., $20. Bop Stop.

Peelander-Z/Tufted Puffins: 9 p.m., $10 ADV, $13 DOS. Beachland Tavern.

Two Set Tuesday Featuring Erin Nicole and the Chill Factor: 7 p.m.

Brothers Lounge.

Dan Zola Orchestra: 7:30 p.m., $10.

Vosh Club.

scene@clevescene.com t@cleveland_scene

•Vaporizers + Smoking Accessories •e-Cigarettes + e-Juice •Kratom + Herbal Supplements •Hookahs + Shisha •Record Players + Thousands of Lp’s •Gauges + Body Jewelry •T-shirts + Sunglasses

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MON • WING NIGHT 5:00-10:00

FRI 11/6 • 9:30

JIMMY JACK BAND

SKATCH ANDERSSEN ORCHESTRA 8:00 (Big Band Jazz)

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PLAYERS CLUB

TUE • SUSHI NIGHT 5:00-10:00 WED • $5 BURGER NIGHT 5:00-10:00 THURS • PRIME RIB 5:00-10:00

LADIES NIGHT

SUN 11/8 • 3:00

7:00PM-2:30AM $4 WINE • MARTINIS • CHAMPAGNE

CLEV IMPROV GROUP

WINE BAR

Comedy

TUE 11/10 • 8:00

BAD BOYS OF BLUES JAM NIGHT 9:00 FRI 11/6 • 8:00

BILLY COAKLEY

BRAD MARIN & FRIENDS SAT. 11/7 • 8:00

DRUM SOLO

FRI 11/13 • 9:30

ZYDECO

MO’ MOJO SAT 11/14 • 9:30

EVERY SUNDAY 5:30

MIKE PETRONE

EVERY MONDAY - JAZZ

VELVET VOYAGE 8:00 TUE. 11/10 2 SET TUESDAY 7:00 & 9:00

DISCO INFERNO WED 11/18 • 8:00

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CHRIS HATTON’S MUSICAL CIRCUS

ALL GENRES • ALL STYLES

magazine | clevescene.com | November 4 - 10, 2015 59

Photo courtesy of Fleming Artists

BAND OF THE WEEK LIVE ENTERTAINMENT Thurs. November 5

ThE RAT PAck

Your Home For The Browns, Buckeyes & Cavs Home of the NFL Sunday Ticket

• COMING SOON • Nov 6th The Armstrong Bearcat Band

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(Opening Band) 9:00pm

ThE DIRTy BAxTERS Sat. November 7

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Nov 7th

Bad Habit

9:00pm Sun. November 8

Happy Hour 3-7 BABY BACK RIBS

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All You Can Eat Crab Legs $38

FRI

Ribeye Dinner $10.99 Pierogi and Perch

SAT

THURS WED

TUES

Enjoy Dax’s First Annual Pig Roast November 15th

Prime Rib

P RES ENT ED B y

cleveland Stage Alliance

7:00pm | visit web to purchase tickets

Tues. November 10

DAN ZoLA oRchESTRA 7:30pm Fri. November 13

ShockwAVE

(MoTowN BAND) 9:00pm Sat. November 14

• WHAT’S NEXT • Burnt River Band .... Nov. 13 East Wind .................Nov. 14 Cool Breeze ......... Nov. 20th Viscous Cycle ........ Nov 25th FORMALLY THE WING WAREHOUSE (UNDER NEW OWNERSHIP) 7979 BROADVIEW ROAD, BROADVIEW HTS. OHIO

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60

9:00pm Great music, food and drink Book your special events with us.

1414 RiveRside dRive Lakewood 216-767-5202 • Voshclub.com

magazine | clevescene.com | November 4 - 10, 2015

MEET THE BAND: Crystal Bowersox (vocals, guitar) AN EARLY BLOOMER: Born in Elliston, Crystal started performing at age 10.

She played at bars in the Toledo area, busked at train stations and hit the open mic circuit. “I only knew about 10 songs at the time,” she says. “I repeated those 10 songs over and over.

My parents — I love them — but they never really knew what to do with me or how to facilitate that kind of career.

I wasn’t going to be Taylor Swift.

But they knew local musicians and introduced them to me. They taught me how to do the four-hour cover gig.

I realized I preferred to play original material. I turned 17 and ran off to the big city and realized busking was a great way to stay afloat.”

THE AMERICAN IDOL EXPERIENCE: In 2010, she placed second on American Idol — not bad for someone who didn’t really feel compelled to compete. “It was something I never wanted to do,” she admits. “It had been around for several years. People had suggested I should try out. I’ve never been a TV gal. I don’t like watching it. I needed to swallow my pride. I’ve never been nervous to perform, but when I auditioned, I was shaking like a jackhammer.”

STAR POWER: Since American Idol, she has performed alongside acts such as Harry Connick Jr., Joe Cocker and Alanis Morrisette. “John Popper coming to Austin and playing a whole set with me was great,” she says when asked about some of the highlights. “I

still deal with an inferiority complex.

I’ve just now started to see myself as a peer. It was when I was having lunch with Renee Zellweger. I told her I couldn’t believe I was sitting there with her. She stopped me and said we’re all just kids from somewhere.

That’s helped level the playing field for me. I’ve gotten to work with my heroes and it’s been great.”

WHY YOU SHOULD HEAR HER: The songs on Bowersox’s 2013 album All That for This run a wide gamut. Tunes such as the harmonica-and horn-driven “Home” possess a Blues Traveler vibe, and Bowersox’s supple voice — she sounds a lot like Jewel — packs a real punch. “That record was easier to make than my last one,” she says.

“We had more creative freedom in our instrumentation. We did everything to tape so it has that warm retro sound in the rhythm section. There’s a lot of ear candy on tracks. [Producer Steve Berlin] gave me a confidence booster.”

She says her new EP, Promises, best represents her creative vision. “It’s just an independent thing,” she says.

“I feel that it is my best so far. It best represents who I am. It’s much happier because I am much happier.”

WHERE YOU CAN HEAR HER: crystalbowersox.com.

WHERE YOU CAN SEE HER: Crystal Bowersox performs at 8 p.m. on Saturday, Nov. 7, at the Kent Stage.

jniesel@clevescene.com t@jniesel

magazine | clevescene.com | November 4 - 10, 2015 61

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Ballet up-close October 30, 2015 7:00pm

62

magazine | clevescene.com | November 4 - 10, 2015

Dr. Margaret Carlson, Director Richard Dickinson MFA, Associate Director

$25 adults / $10 kids

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Sneek peak of new dances & fan favorites After party with dancers Post reception and drinks Photo station with costumes!

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magazine | clevescene.com | November 4 - 10, 2015 63

SAVAGE LOVE Find your happy hour.

Download SCENE’s official happy hour app! clevescene.com/happyhours

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64

magazine | clevescene.com | November 4 - 10, 2015

Teligence/18+

SEXLESS MARRIAGES: THE LAST WORD

By Dan Savage

DEAR READERS: Two weeks ago, I announced I would be taking a nice long break from questions about miserable sexless marriages. (I don’t get questions about happily sexless marriages.) I tossed out my standard line of advice to those who’ve exhausted medical, psychological, and situational fixes (“Do what you need to do to stay married and stay sane”), and I moved on to other relationship problems. Readers impacted by sexless marriages—men and women on “both sides of the bed”— wrote in to share their experiences and insights. I’ve decided to let them have the last word on the subject.

Dear Dan, Since you don’t want to give any more advice to readers stuck in sexually unfulfilling marriages they can’t or don’t want to end, will you allow me to give a little advice from the perspective of the other woman, i.e., the person who makes it possible for them to “stay married and stay sane”? I contacted an old flame when my marriage ended. He was married. His wife refused to have sex with him but also expected him to stay faithful to her. Their kids were still in school. He honestly believed that staying together was the best thing for the kids. I went into it thinking it was going to be a fling, a temporary thing to get me over my husband and back in the game. But the sex was mindblowingly good. And here’s the thing about amazing sex: It bonds people. We fell in love all over again. He told me our affair made his sexless marriage bearable. He was happier and a more patient father, he bickered less with his wife. He made me feel beautiful, desirable, known, and accepted—all feelings that had been lacking in my marriage. But I was in the shadows.

Every assignation was a risk. I couldn’t introduce him to my friends, my son, or my family. After four years, I couldn’t take it anymore. My ego was shredded.

So I ended it. I was tired of the fear, lying and hiding, and being secondary.

My advice to readers stuck in sexless marriages who cheat to “stay sane”: Beware of unintended consequences.

You can have an affair with the most discreet, careful partner who accepts your circumstances, who makes no demands, who provides you with both

a warm body to fuck and the passion that has drained out of your marriage.

You can be careful not to get caught. It might be incredible for a while. But the chances of nothing going wrong and of everyone remaining happy over the long term are vanishingly small. It’s a matter of time before someone gets hurt.

— Ruby Tuesday Dear Dan, I’m the “other man” to a woman whose husband won’t fuck her. The guy must be gay or asexual, because his wife is beautiful, smart, and great in bed. I’ve never wanted marriage or kids, so this arrangement works well for me. The only time it got awkward was when my girlfriend—this other guy’s wife—broached the subject of monogamy. Asking for a monogamous commitment when you’re married to someone else? Seemed nuts. But I hadn’t slept with anyone else for three years, or even wanted to, so I was already monogamous in practice.

— Monogamous In Theory Now Too Dear Dan, If my ex-husband wrote to you, he’d say I didn’t want to have sex with him anymore and he was going crazy. The truth is, I wanted to have sex—but I didn’t want it to be in one of the same three positions we’d been doing it for seven years. I was bored and asked for some variety, and he refused to do it.

My boredom turned into frustration, and frustration turned into anger. At a certain point, the idea of having sex with him made me want to beat the living shit out of something. Was I supposed to continue satisfying him when my needs weren’t being met?

Our mistake was waiting until I hit the angry point to get into therapy. We should have gone when I was bored. He wound up having an affair and blamed me because I didn’t want to have sex with him. But there was a good reason why I didn’t want to have sex with him. Maybe before you advise people in “sexless” marriages to have affairs, you could tell them to do some selfexamination first?

— Husband’s Always Right

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magazine | clevescene.com | November 4 - 10, 2015 65

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You are hereby ORDERED to appear in the Juvenile Court of Warren County, Tennessee at McMinnville, Tennessee on the 11th day of January, 2016,at 9:00 AM for the Hearing on the Petition by the State of Tennessee, Department of Children’s Services.

If you fail to do so, a default judgment will be taken against you pursuant to Tenn. Code Ann. § 36-1-117(n) and Rule 55 of the Tenn. R. of Civ. P. for the relief demanded in the Petition.

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| November 4 - 10, 2015

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magazine | clevescene.com | November 4 - 10, 2015 67

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