Scene Nov 11, 2015

November 11 - 17, 2015 • VOL. 46 Issue 19

Smog Veil Records’ new reissue campaign digs deep into Cleveland’s twisted rock ’n’ roll past

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magazine | clevescene.com | November 11 - 17, 2015 3

NOVEMBER 11 - 17, 2015 • VOLUME 46 N O 1 9

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

CONTENTS

43

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

Abducted teen Julian Hernandez deals with sudden spotlight, questions of racial bias arise in court, and more

Framed

12

Feature

17

Get Out!

29

Art

38

Stage

39

Film

41

Dining

43

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 Classifi ed Account Executive Alice Leslie Creative Services Production Manager Steve Miluch Layout Editor/Graphic Designer Christine Hahn Staff Photographer Emanuel Wallace

Smog Veil Records digs deep into Cleveland’s twisted rock ’n’ roll past for a special reissue series

Circulation Circulation Director Don Kriss Euclid Media Group Chief Executive Offi cer Andrew Zelman Chief Operating Offi cers Chris Keating, Michael Wagner Chief Financial Offi cer Brian Painley Human Resources Director Lisa Beilstein Digital Operations Coordinator Jaime Monzon www.euclidmediagroup.com National Advertising Voice Media Group 1-800-278-9866, voicemediagroup.com

Dozens of events spanning the next week in Cleveland

36 hours of arts in Columbus

Learn how to find your fortune in A Gentleman’s Guide to Love & Murder

Cleveland Scene 737 Bolivar Rd, #4100 Cleveland, OH 44115 www.clevescene.com Phone 216-241-7550 Retail & Classifi ed Fax 216-241-6275 Editoral Fax 216-802-7212 E-mail scene@clevescene.com Cleveland Scene Magazine is published every week by Euclid Media Group.

Verifi ed 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’

Brie Larson and young Jacob Tremblay astound in adaptation of Room

The reinvention of Press Wine Bar is still a work in progress, and more

Music

51

A ‘wild’ painting inspired singer-songwriter Vanessa Carlton’s new album, and more

Savage Love Send in the clowns

Take

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magazine | clevescene.com | November 11 - 17, 2015

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magazine | clevescene.com | November 11 - 17, 2015 5

UPFRONT ABDUCTED TEEN JULIAN HERNANDEZ BEARS HIS FATHER NO ILL WILL

THIS WEEK

CLEVELAND’S TRENDIEST neighborhoods are now also becoming veritable hubs for abduction and captivity. In 2013, we need not remind you, Ariel Castro’s home on Seymour Avenue -- the fringes of Ohio City! -- was revealed as a house of horrors, home for years to Amanda Berry, Gina DeJesus and Michelle Knight.

And just last week, a Cleveland teen living on West 17th Street -- Tremont -- learned he had been abducted by his father in Alabama in 2002 when he applied to colleges and had trouble verifying his social security number.

The teen, born Julian Hernandez, is now 18 years old. With the aid of a high school counselor, he located his name on a database with the National Center for Missing and Exploited Children. Authorities were alerted.

Hernandez was officially identified last Monday. He’d been living with his father, Bobby Hernandez and was unharmed.

Julian was reported missing in August 2002, when he was only five, by his mother in a suburb of Birmingham, Alabama. It was presumed at the time that he’d been kidnapped by his father Bobby, who didn’t have custody, and that they’d assume different names.

Bobby Hernandez was arrested here in Cuyahoga County and is being held on charges of tampering with records and providing false information to the BMV. He will likely face charges of abduction back in Alabama (a charge that could result in one to 10 years in prison).

Julian’s mother, through a spokesperson, told Alabama’s WVTM that she was grateful for the wave of support her son’s story had generated, but that she wouldn’t be granting any media requests.

“We ask that the media respect our privacy as we focus on Julian’s

6

Hernandez as a young boy and digitally aged to 16.

well-being during this difficult time in his life,” she said.

Julian hasn’t been so lucky. After his story broke, he had to fend off local media with an earnest plea for privacy.

“At this point, I just simply want to be normal!” he wrote. “I want to go through my day like I did before this week, just being a normal 18-year-old. I have goals that I am trying to meet, so please, again, respect my request for privacy.

Please, no more spotlights, no more cameras, no more reporters sneaking into my school or showing up at my house, and no more microphones in my face. I just want to be left alone.”

USA Today nonetheless continued digging and discovered that a reddit user with a very similar story had asked the online community for help in the weeks before his discovery.

“How can I correct my school records with my real name and Social Security number and still have time to apply for scholarships for college?” He wanted to know.

Though he has since deleted the posts, the anonymous user did confirm that he was Julian Hernandez.

DON DRAPER HE’S NOT

Sports media fussing over Bernie Kosar’s latest pronouncement that he wants to run the Browns. When pressed, Kosar qualifies that he just wants “a really nice office with a bar.”

GABAGOOL

“‘I’m not angry at my father in the slightest,” he wrote. “I remember that he used to ask me ‘If I ever committed a terrible crime, would you still love me?’ I still do, even after learning everything.”

JURY SELECTION IN RECENT CASE RAISES QUESTIONS OF RACIAL DISCRIMINATION During the civil trial that eventually landed the estate of Kenny Smith a $5.5-million award from the city of Cleveland for its role in Smith’s wrongful death, the city’s legal representation tried to remove two black jurors from the panel. (Smith was a 20-year-old black man.)

That’s not unusual in itself, but the sidebar debate among attorneys and Judge Solomon Oliver illuminates a greater truth about how the justice is delivered in U.S. courts.

The Smith family’s attorney, Terry Gilbert, challenged the dismissal of the black jurors under Batson v. Kentucky, a Supreme Court case that prohibits attorneys from dismissing jurors “based solely on their race.” Each attorney is permitted a certain number

Jimmy Dimora wiretap conversations make for great entertainment following public release. Our favorite part was the subtle vocal undertone of crushing anxiety slowing killing a very empty man.

magazine | clevescene.com | November 11 - 17, 2015

I-TEAM

Carl Monday investigates claims that pit bulls are bad. Edited out of his final story was hidden-camera footage of a pit bull caught masturbating in the Berea library.

of “peremptory” challenges to individuals juror selections. A Batson challenge, in turn, demands the attorney explain why he or she is requesting the dismissal of a particular juror, if the question of racial motivation arises.

In a rare move, one of Gilbert’s challenges to the city attorney’s jury decisions was sustained.

The city’s attorney, John Bacevice, argued that a black woman on the panel should be dismissed because she was the mother of a child who died and that that might bias her toward the Smith family’s plight. It turned out the “child” was a 44-year-old man, and the attorney had not questioned her as to whether he died of, say, a police shooting or natural causes.

“I’m going to sustain this challenge,” Oliver said. “I never have done this before, but really it never occurred to me based on the reading of her background, nor I did not hear anything in the questioning that suggests that the mere fact that she has a child who is deceased that would prevent her from being able to serve as a juror. I don’t follow that logic, that because a person has someone who is deceased they wouldn’t be able to serve. We have had many people serve, and also in cases involving death, so I think that’s a broad — I didn’t get that.”

(Read the transcript of the conversation at clevescene.com.)

That was the first time Oliver had sustained such a Batson challenge in his career — and the first time Gilbert had received a successful result following his own invocation of Batson.

The timing of those trial transcripts being unsealed this month is noteworthy, as the U.S. Supreme Court is currently hearing evidence in a case that directly deals with the legacy of Batson v.

Kentucky.

QUALITY OF LIFE

You’ve become a more complete person since boycotting the Browns.

magazine | clevescene.com | November 11 - 17, 2015 7

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UPFRONT The SCOTUS case involves Timothy Foster, who confessed to the murder of a white woman as a black teenager in 1986. He was convicted, but new evidence — and a rallying cry from the prosecution — is emboldening his request.

In short, notes from the trial have been uncovered that show the prosecutors marking all African Americans on the jury panel with a “B” next to their name. As The Guardian reported, “Of the six jurors marked ‘definite no’ by prosecutors, five were African American, while the only white person struck off the list had a declared opposition to the death penalty so should not have been included anyway.”

The defense in that case is moving for a new trial under the Batson precedent.

RICE FAMILY PUSHES FOR PROSECUTOR TIMOTHY MCGINTY TO RECUSE HIMSELF FROM CASE

DIGIT WIDGET

Faced with a steady increase in odd behavior from Cuyahoga County Prosecutor Timothy McGinty, the Rice family and their attorneys are calling for him to recuse himself from the case involving Cleveland police officer Timothy Loehmann.

Among the family’s most vocalized points is that McGinty has not yet publicly grasped how the release of two independent reports on the Nov. 22, 2014 shooting might impact the grand jury proceedings. (The grand jury is under way now, and information from the hearings is being leaked to the local press. McGinty has admitted that he knows who’s leaking the information.)

During a Nov. 5 political event in Fairview Park, McGinty answered questions about the state of the case. One reporter asked what he made of the Rice family’s calls for a special prosecutor.

10

He responded: “Well isn’t that interesting. They wait until they didn’t like the reports they received.

They’re very interesting people — let me just leave it at that — and they have their own economic motives.”

McGinty later released a statement on the matter: “The response was not about Ms. Rice. We have never once criticized Tamir’s mother or questioned her right to grieve in any way.”

The question that he was responding to, however, specifically referred to “Samaria Rice’s attorney...and Samaria Rice herself.”

In response, the letter from the Rice family and their attorneys states: “Your public comments impugning the integrity of Ms. Rice and her representatives have now resulted in a situation where your office has not only made a decision to present biased and discredited expert testimony to the grand jury, but you are now taking the remarkable tact of attacking the motives of a grieving crime victim and her attorneys who are attempting to secure justice for her and her family.”

Read the full letter at clevescene. com.

RTA IS WORKING ON IT!!!

Greater Cleveland Regional Transit Authority boss Joe Calabrese, in a statement Friday, fought back against “certain circles” who have been predicting, in apocalyptic terms, the demise of the Rapid’s Blue and Green Lines.

“Many of the same individuals who are continually asking RTA to expand the rail are now sounding the alarm about RTA’s ability to maintain the existing rail network into the future!” Calabrese shouted into the digital wind.

But Calabrese has maintained that he will not abandon the rail lines, despite their high cost and inadequate funding from the state and federal government.

Reiterating RTA’s commitment, Calabrese said that the transit

$1.8 MILLION

Cost of overtime pay for Cleveland police officers working street protests in wake of MIchael Brelo verdict.

93

authority’s capital plan will invest $110 million in rail over the next five years. And they will continue to explore alternatives to shutting down the east side’s cherished community assets.

“RTA is not only verbally committed to maintaining its rail network, but is actively working on it!” Calabrese once again indicated the intensity of his conviction with an exclamation point.

The only viable solution currently offered, however, is replacing “some” of the fleet rather than the whole fleet by 2025. Short of that, Calabrese and co. are just looking for increased public and private-sector support.

“This support...has grown in recent years, as projects such as the Downtown Trolleys, the HealthLine and the Cleveland State Line have resulted in tremendous success, not just for the riders, but for the local economy, as well,” said Calabrese.

“The goal is now to leverage that support.”

Support is necessary because replacing the rail cars is extremely expensive, roughly $4 million per. Calabrese said he’d like to find funding for 70 of them ($280 million in total) and the current finances available just won’t cut it.

Rail riders, by the way, represent just 19 percent of RTA’s total customers, but rail costs account for 45 percent of its budget.

But in Friday’s statement, he strongly stated once again that he had no plans to abandon rail. And he reminded critics, by the way, that Cl eveland’s rail cars aren’t nearly as old as those in use elsewhere around the country.

“For example, several fleets of rail cars in New York, New Jersey and Boston, which are operated in daily service, were built in the 1960s,” Calabrese said. Wait for it: “Many streetcars around the nation, especially in San Francisco, were built at the turn of the century!”

Number of Blaze Pizza locations nationwide. The company, co-owned

by LeBron James, is eyeing the Northeast Ohio market currently.

magazine | clevescene.com | November 11 - 17, 2015

EAST CLEVELAND CRASH DETAILS RELEASED A 26-page report completed by

6:45 A.M.

Start time for Kyrie Irving’s three-hour rehab sessions each day, according to ESPN. Irving says he has a date in mind for his return to active roster.

the Ohio State Highway Patrol detailing the circumstances and actions of East Cleveland police officer Kyle Pettus and 22-year-old Christopher LaShon Kimble on the night of October 3 show just how many things went wrong in the leadup to Pettus’s cruiser hitting and killing Kimble.

Initial reports that had sirens and emergency lights flashing on the East Cleveland vehicle as it traveled through the intersection of Superior Ave. and Emily St. are now called into question, along with other assumptions made in the aftermath of the tragic accident. It seems no part of that evening was without something malfunctioning or broken or being done incorrectly.

- There’s uncertainty whether Officer Pettus, 35, had his emergency lights activated or not while driving. The report now indicates a that he didn’t - Same goes for sirens - Kimble was crossing the intersection at a diagonal - The paint demarcating the actual crosswalks at the intersection was worn away and faded - The 2014 Ford Taurus Pettus was driving had a broken headlight - All crosswalk signals at the intersection were broken - Multiple street lights in the area were broken and the intersection was very dark - The road was wet - Pettus likely didn’t turn on his body camera until after the crash - While Pettus had been on the East Cleveland force for a year, it was only the fourth time he was out in a squad car by himself - While initial reports from East Cleveland police indicate the dashboard camera had malfunctioned and thus didn’t catch the incident, there’s uncertainty now whether Pettus simply hadn’t activated the camera to begin with Pettus remains on restricted duty. No decision on possible charges has been made.

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magazine | clevescene.com | November 11 - 17, 2015 11

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magazine | clevescene.com | November 11 - 17, 2015

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magazine | clevescene.com | November 11 - 17, 2015 15

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magazine | clevescene.com | November 11 - 17, 2015

FEATURE

Photo by Jeff Niesel

PLATTERS THAT MATTER Smog Veil Records digs deep into Cleveland’s twisted rock ’n’ roll past for a special reissue series

By Jeff Niesel FRANK MAUCERI LIKES TO say that his office is wherever his laptop happens to be. Today, it’s New York City for the owner of Smog Veil Records. The Greenwich Village brownstone where he and his wife Lisa occasionally live might not have all the trappings of a record label office but it’s not your typical flat either. A few Shepard Fairey “Obey” prints hang in the living room. In the master bedroom, prints by Devo singer Mark Mothersbaugh feature a cute little girl whose face looks more like a ghoul than an Alice in Wonderland stand-in.

“Come Alive! Join the underground generation,” reads an Allen Ginsberg poster that shows a bearded Ginsberg with his arms extended high into the air, a red, white and blue hat balanced precariously atop his head. That sentiment could pass as Smog Veil’s mission statement. The label specializes in reissuing old Cleveland punk bands, and Mauceri has also signed a number of new Cleveland punk acts over the years.

When the label first launched in 1991, it released a 7-inch by nowlegendary local hardcore heroes the Spudmonsters. More recently, it’s put out albums by the garage blues band Obnox and art punk noisemakers This Moment in Black History, two of the city’s best punk/garage/indie rock acts.

Though Mauceri, who grew up on Cleveland east side, rarely comes to Cleveland — he visits his parents in Lake County a couple times a year — Smog Veil has done much to nurture the local scene. That continues with Smog Veil’s latest and most ambitious project yet: Mauceri and company have launched a special reissue campaign dubbed Platters du Cuyahoga.

The series commences this month with the release of Albert Ayler’s

Ghosts Live at the Yellow Ghetto, a studio effort from the art-punk band X_X. Two more albums in the first series — Robert Bensick’s French Pictures in London and the Mr. Stress Blues Band’s Live At the Brick Cottage 1972-73 — will come out in early 2016. Each release will arrive on vinyl and be accompanied by extensive liner notes put together

by Andrew Russ and Nick Blakey, a sharp research team Mauceri has hired specifically for the project.

“There’s a big demand for archival releases from Cleveland, and there’s a lot of great Cleveland-produced music that either never got released or has been out of print forever,” says Mauceri, who, with his round glasses, mutton chops and receding hairline, looks a bit like an older, hipper Harry Potter.

“There’s this great treasure trove of recordings out there that I can draw upon,” he continues. “For me, each of these records has a story behind it. It’s more than putting out a record with 10 songs and a fancy cover. It’s important to tell the story.

There’s a great history behind each of the records, and we want to bring the record out of the vacuum that exists and into a reality. All the records were not only underappreciated in their time, but they’re relevant today and serve as a commentary about where Cleveland is now and where it’s heading.”

Andrew Russ, one half of the research duo, holds down a day gig as a research engineer/scientist at the Ohio Research Institute for Transportation and the Environment at Ohio University. He regularly sifts through back issues of The Plain Dealer to track down old reviews and stories: He’s even tracked down the original classified ad that brought Rocket from the Tombs together. He and the tall, stocky Blakey, a guy who grew up in San Francisco, where

SmogVeil’s Nick Blakey (left) and Frank Mauceri are the architects behind a new reissue campaign.

he ended up hanging out in record stores and receiving what he dubs “a real education,” have helped guide the project.

“I would rather read about bands like the Rolling Stones, the Beatles, the Kinks and the Who than throw a football when I was a kid, which confounded my father,” says Blakey, who’s taken a train into Manhattan to join Mauceri today as he discusses the series’ impending launch. They’re decked out in sneakers, blue jeans and T-shirts and look like a pair of overgrown teenagers as they sit on a plush blue sofa and dish on the extensive time they’ve devoted to Platters du Cuyahoga and the motivation for unearthing long-lost gems.

“I now work at the record store In Your Ear,” says Blakey, who appropriately enough talks about rock ’n’ roll history with a scholar’s acumen. “We can’t keep classic rock in stock. We can’t keep Pere Ubu in stock. We can’t keep anything related to Detroit or Cleveland in the ’70s in stock.”

IT ALL STARTS WITH THE EELS Historically, Cleveland’s role in punk rock’s development might rank with that of major epicenters such as New York and London. In Clinton Heylin’s 1993 book From the Velvets to the Voidoids: A Pre-Punk History for a Post-Punk World, Cleveland figures strongly. “Cleveland was the only U.S. city to have a contemporary wave of pre-punk exponents,” Heylin writes. In the book, he interviews

various members of Cleveland’s formative punk bands and tells the story of how the electric eels, Mirrors, Rocket from the Tombs, Pere Ubu and the Dead Boys went against the grain and emerged from a steel town bestknown as a classic rock hotbed.

When electric eels formed in 1972, guitarist John Morton — who currently leads X_X — would try to antagonize people by walking around town with bleached-blonde hair, wearing eye shadow and earrings.

A frustrated art student who would drag lawn mowers and sheets of metal onstage in order to break from convention, Morton loved to push the boundaries of performance art. The band’s single “Agitated”/“Cyclotron” wasn’t issued until 1978 when the British label Rough Trade put it out at the recommendation of rock scribe Jon Savage. With its snotty vocals and snarling guitars, the single represents punk rock in its most primal form.

“You could say in hindsight that they were the first punk band, but I don’t know,” Scat Records owner Robert Griffin told us in a 2002 interview. “Does it make a difference if the monkeys know they’re typing Shakespeare? It’s almost a metaphysical question.”

Morton, who now lives in upstate New York and works as an artist, often cites Charlotte Pressler, wife of the late Rocket from the Tombs singer-guitarist Peter Laughner, who once said that Cleveland was promised the end of the world but didn’t get it. That, along with a healthy dose of late-night TV host

magazine | clevescene.com | November 11 - 17, 2015 17

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Photo courtesy of SmogVeil Records

a secretive craft like music. You are outside. I can’t answer for why you or anyone else should think it matters.

It’s not my problem.”

Russ has a more straightforward explanation for why underground music blossomed in Cleveland in the ’70s.

“Ghoulardi introduced mayhem to local TV, and it rubbed off on an impressionable set of Cleveland youth,” he says. “Michael Weldon in Mirrors started a magazine dedicated to those B-movies. That’s definitely a factor. A lot of bands would come through Cleveland and by the mid’70s, it became the place to start your tour if you’re trying to break big in America. It certainly worked for David Bowie.”

FEATURE

THE SMOG VEIL STORY

X_X back in the day.

Ghoulardi, a guy whose motto was “stay sick,” helped fuel the discontent you hear in much of the punk music that emerged from Cleveland in the ’70s. That motto inspired acts such as the Cramps, who issued an album called Stay Sick in 1990.

“We didn’t know what we were doing,” says Morton. “I know that for myself and the electric eels, I wanted to make music for myself.

I had to feel good about it. I have always followed that. I always like provocation. I’m like a trickster. Let’s get it going. Free jazz [is] angry, confrontational music. Albert Ayler couldn’t have picked something to make his career worse. What is something that people will hate and disdain? It’s very much the same with punk music. Let’s do something aggressive and angry that’s not easy to listen to. That’s what I chose.”

Anger and aggression can certainly be found in the music of Rocket from the Tombs, a band that would eventually spawn Pere Ubu and the Dead Boys. Rocket from the Tombs’ singer David Thomas and Cinderella Backstreet singer-guitarist Peter Laughner would leave Rocket and join guitarist Tom Herman, bass guitarist Tim Wright, drummer Scott Krauss and synthesist Allen Ravenstine to form Pere Ubu in 1975.

One of the band’s early “hits” was a rendition of Rocket from the Tombs’ “Final Solution,” a nihilistic song about not fitting in and wanting an end rather than a cure.

Laughner would eventually leave

20

the band and die from pancreatitis at age 24. “Peter’s death was the end of an era for me,” writes rock critic Lester Bangs. “An era of the most intense worship of nihilism and deathtripping in all marketable forms.”

Back in 2002, Smog Veil Records released The Day the Earth Met the Rocket from the Tombs, a compilation of the band’s best tunes, and gave the band a second life.

The group has been touring and

recording ever since.

“Those who were involved in the time, like me, are interested because it is part of our lives and we were dedicated to music and rock music, especially as a language, as an art and as a means of finding adulthood/ meaning/substance,” Tombs singer David Thomas once explained in an email exchange we had with him.

“The people inside of something have different motivations and perspectives to the people outside, especially in

Mauceri was born and raised in Euclid. He discovered college radio when he was in his teens. “I realized there was a lot of other stuff out there,” he says, recalling that he would shop at places such as Record Rendezvous, Record Revolution, the Drome, Chris’ Warped Records. “I was a record collector when I was a kid. I never played in a band. I don’t know how to play any instruments.”

He worked at the college radio station at Ohio State University where he held down the Friday afternoon shift. “The business end of music always interested me,” he says, adding that he studied entertainment law (in addition to other forms of law) at Cleveland State University’s law Photo by Anastasia Pantsios

Bill Miller

magazine | clevescene.com | November 11 - 17, 2015

GET OUT ing the concert. Doors open at 7, and the concert begins at 8 p.m.

Tickets are $17 for adults, $12 for Conservancy members and $5 for children ages 3 to 12. (Niesel) 500 West Streetsboro Rd., Peninsula, 330-657-2909, ConservancyforCVNP.org.

MUSIC

Kent Reggae Jam Some 15 venues in downtown Kent will participate in the annual Kent Reggae Jam that takes place today from 5:30 p.m. to 1 a.m. The festival promises bands from a variety of musical genres.

Acts such as Carlos Jones, Dreadlock Dave and his jam band Waterband, the Jimmy Buffett cover band Gypsies in the Palace and the Steelin’ Hearts Pan Duo will perform. This is the fourth Kent music festival of 2015 presented by the Crooked River Arts Council. The locally owned and operated Wayside Furniture is the title sponsor. Find more information on the website. (Niesel) kentreggaejam.com.

COMEDY

Lisa Lampanelli The Queen of Mean, Lisa Lampanelli is known for her racy and controversial style of comedy. Originally an accomplished journalist, Lampanelli began her standup career in New York in the early ’90s. She got her big break at the New York Friar’s Club roast of Chevy Chase in 2002, and she’s been a huge name in comedy ever since. Her set is fearless, raw and raunchy, although her form of insult comedy will make you laugh despite its offensiveness. She’s been heralded as “more of a standout than a standup” by Jim Carrey; and Howard Stern called her a “true original and brilliant comic.” This is definitely not a show to miss.

Lampanelli performs at 7:30 and 9:30 tonight at the Tangier in Akron. Tickets start at $45. (Kaitlin Siegel) 532 West Market St., Akron, 330-376-7171, thetangier.com.

FILM

Men of the Cloth Three Italian master tailors talk about the decline of the apprentice system in Men of the Cloth.

They maintain that true tailors are like sculptors and that the

32

magazine | clevescene.com | November 11 - 17, 2015

artists are harder to come by in a world of mass-produced, readyto-wear clothing. Tailor Davide Cotugno will appear in person after tonight’s screening, which takes place at 6:45 at the Cleveland Museum of Art. Tickets are $9. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

SPORTS

Monsters vs. Grand Rapids Griffins It’s been nearly two weeks since the Lake Erie Monsters have played a home game at the Q. Tonight, they face off against the Grand Rapids Griffins in the first of a two-night stand. The Monsters fared well on their road trip, notching wins against the Manitoba Moose and the Charlotte Checkers. As part of a seasonlong promotion on Friday nights, fans can purchase $1 sodas, $2 hotdogs and $3 beers. Tickets to the game start at $10 and the two teams play each other again tomorrow night at 7 at the Q. (Niesel) 1 Center Ct., 216-420-2000, theqarena.com.

COMEDY

Derek Richards Originally from Detroit, comedian Derek Richards likes to joke about his blue-collar background.

While not as crass and crude as redneck comics, he does joke about his working-class past. He likes to joke about how he once worked as a DJ at a strip club and dated a stripper named Angel who often misspelled her own name and wrote “Angle” instead.

Richards performs tonight at 7:30 and 10 at Club Velvet at the Hard Rock Rocksino. He also performs at 7 and 9:30 tomorrow night. Tickets are $13 to $18.

(Niesel) 10705 Northfield Rd., Northfield, 330-908-7793, hrrocksinonorthfieldpark.com.

COMEDY

Pauly Shore A fixture on MTV in the ’80s, flamboyant comic Pauly Shore might be the man who popularized upspeak. His rapid-fire style often borders on the obnoxious as he delivers lines that sound so unstructured, you gotta think he just makes up much of his material on the spot. Shore, who also once somehow wrangled a movie deal with Disney — a true mystery since he regularly uses obscenities on stage — takes a

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FEATURE school. “I didn’t follow any particular course of study other than what I needed to pass the bar exam, but music still interested me.”

He started the label just as he graduated from law school.

Because he was friends with the Spudmonsters’ Chris Andrews and saw the band a hundred times or more, he knew the band would be easy to work with. The first two pressings of the single sold out quickly.

“The business was a lot different then than it is now,” says Mauceri.

“You could run an ad in certain punk magazines and sell a large portion of the pressings through mail order. Get Hip in Pittsburgh could sell records.

It was easier to do it at that time even though there was no Internet.”

two pressings. The band did a couple of small tours and recorded new material that features their homage to Albert Ayler.

“Albert Ayler was Cleveland’s greatest jazz musician. He was a mind-blowing musician but had a troubled past and it’s unfortunate he’s not around anymore. The record is an important first step. It connects the present with the past. It pays homage to the one of the Cleveland greats.”

Blakey gets a kick out of recalling what happened when the group recently played Boston.

“Two textbook punk kids ran to the bar and said it was the worst

band they ever heard. They said, ‘Fuck them. Fuck this club.” And then they stormed out. I thought, ‘It’s 2015 and John Morton is still causing the same reaction he did in 1974,’” he says. “I think this happened when they played ‘No Nonsense.’

It’s amazing to think that a song that’s as old as me can still have that reaction. I don’t know if people still riot to Stravinsky’s “The Rites of Spring.” But when I saw that happen, I thought: Mission accomplished.”

Rooted in free jazz and rock ’n’ roll, the album opens with “I Am an Instrument,” a bit of weird spoken word that sounds like a

free jazz rendition of a Moody Blues song. The band picks up the pace with distortion-fueled “The Social Whirpool” and “Tool Jazz,” a song that features the whirring of a drill.

Experimental to the core, the album shows just how avant-garde the band remains.

The first series also includes the Mr. Stress Blues Band’s Live at the Brick Cottage 1972-73, a release from one of Northeast Ohio’s longest running blues bands. Mauceri estimates the Mr. Stress Blues Band, which started in 1966 and ended in 2010, had something like 50 different band members over the years.

THE CURRENT CAMPAIGN Because he’s been doing archival releases for 15 years now, Mauceri hadn’t done too many reissues in the past three or four years. The Platters releases will be formatted on vinyl as well as CD and download/ streaming. Each release will contain extensive liner notes, all carefully crafted and researched. Byron Coley (Forced Exposure, NY Rocker, Boston Rock, Spin, Arthur Magazine column with Thurston Moore) penned the liner notes for X_X; and Blakey (The Boston Phoenix, EQ, Chunklet, Your Flesh, The Peter Laughner Archive) wrote the notes for the Robert Bensick and Mr. Stress releases. The logo for the series features an image of Terminal Tower.

“I wanted to raise the game and tell the stories in a much more indepth and personal manner,” says Mauceri. “I wanted to really focus on a particular period and focus on how that is relevant to Cleveland history and to keep certain things alive in the discussion. Through all the research we’ve done on [the late singer-guitarist] Peter Laughner, we came to realize that his contemporaries were just as important. This isn’t just some nostalgia trip.”

Slated to come out later this month, Albert Ayler’s Ghosts Live at the Yellow Ghetto kicks off the series. A visual artist of some stature, Morton recently put the band back together after a label in Finland (Ekto Records) put together the old recordings. Mauceri assisted in gathering the materials for a new master. The reissue went through

magazine | clevescene.com | November 11 - 17, 2015 23

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24

magazine | clevescene.com | November 11 - 17, 2015

“He’s the definition of a working musician,” says Mauceri. “They never took breaks. They would play four sets at the Brick Cottage. This was in the winter. They would do their own load in. One time [band leader] Bill [Miller], who also worked a day job, thought he was having a heart attack. They rushed him to the hospital. After getting treated, he hustled back to the club to play the last set.”

The release chronicles the band at the “height of its powers.” The album features two different line-ups with a different drummer.

“Bill Miller and I did a lot of ‘hunting’ together, and we were trying to fill in blanks,” says Blakey.

“There were members he didn’t talk to, and they were willing to speak to me and that was really unique. A lot of times people don’t want to give credit, (but) they had respect for Bill and wanted to set the story straight.”

Some of the material on the album came in a bundle from Tom Rinda, who used to play bass in the band.

“It’s this incredibly hot Chicago blues,” says Blakey. “They were heavily influenced by the Paul Butterfield Blues Band, but it makes the Butterfield Blues Band sound like Robert Cray. It’s fiery stuff. Bill wanted to get a recording out from this era because he felt like Chuck Drazdik was one of the best guitarists he had, but no recording had ever been released. He wanted him to get recognition and was really selfless about a lot of this stuff.”

The Muddy Waters song “Walkin’ Through the Park” starts with a bit of woozy harmonica before gritty guitars and bluesy vocals kick in. “Get Out of My Life Woman” possesses a distinctive swagger and sounds like something that should have been a hit.

The third album in the first series, Robert Bensick’s French Pictures in London has the most fascinating back story of the three releases. The album features Bensick along with Scott Krauss and Tom Herman who joined Pere Ubu after recording the album.

“The album tells the story of another neighborhood in Cleveland centered on East 23rd Street and Euclid, and the Plaza, which was an apartment building owned by Allen Ravenstine who later joined Pere Ubu,” says Mauceri. “It’s about the unofficial artist colony that was located in the building. The record is lyrically about living in the Plaza in

Photo by Daniel Mainzer

FEATURE

1974 and 1975.”

Bensick has a “convoluted and fantastically strange” past that starts in Sandusky in the mid-’60s.

He played in the bubble-gum garage band the Munx who had a regional hit and toured a bit. Bensick quit the band and moved to Cleveland where he enrolled at Cleveland State and was named art student of the year in

Robert Bensick

1972. “To celebrate, he was supposed to put together a show of sculptures but instead of doing that he put together an avant-garde electronic freak out.

“The show annoyed the hell out of everyone, except him, of course,” says Mauceri. “The band [Hy Maya] somehow managed to get some additional gigs.”

Bensick had interest from A&M Records. He recorded the album at Agency Recording, above at the Agora, in the summer of 1975. He wanted Eric Carmen to help him release the record, so he passed the reels on to him. Bensick never hears back. Carmen gives the reels to Kid Leo who gives them to Alan Howarth who owned Pi Corp, an electronic musical instrument shop. Howarth, a guy Mauceri calls “an unknown genius,” introduced synthesizers to Cleveland musicians. Friends with Bensick, he moved to Los Angeles after getting a gig as the tech for Weather Report. He composes soundtrack music for some of John Carpenter’s best-known films and develops a team of sound engineers who worked on the first Star Trek films.

The tapes never made it to Los Angeles record label execs. Howarth puts them in his closet and forgets about them. Bensick moves on to other bands, including the electronic duo Berlin West. Bensick then moves to New York to work in finance.

He now lives in Florida as a “guru

FEA

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FEATURE spiritualist” who grows his own moringa.

He shared the lost tapes with Mauceri, and Paul Hamann at the Painesville-based recording studio SUMA did some additional work on them. Though a bit more on the jam rock side of things, the album could pass as a release from Syd Barrett, the former Pink Floyd member who made several psychedelic albums before his death in 2006.

Mauceri says he has the next series sketched out in his head. “I’m hoping to do many more,” he says. “I know which three releases I would like to do.

We’re working on the licensing, but it’s not yet complete.”

THE LAUGHNER PROJECT

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clevescene.com/giveaways for your chance to win Tickets to see TSO at Quicken Loans Arena for the December 30 3:30 pm show Plus 1 Grand Prize Winner Will Also Receive 2 TSO 2015 Tour Jackets

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magazine | clevescene.com | November 11 - 17, 2015

Famous for his short but significant life, singer-guitarist Peter Laughner looms large over the Platters project.

Ten years ago, Smog Veil released the first fully licensed Rocket from the Tombs retrospective. That got Mauceri interested in archiving the band’s legacy and exploring Laughner’s role.

“We have this huge archive of recordings, many of which had not been archived and most of which have not been bootlegged,” he says. “We have photos, original lyrics and all his bylines from the various places he wrote. He posted classified ads looking for musicians, and crazy stuff he used to post like that. I don’t know what we’re going to do with it all.”

Mauceri says he has no timeframe for a Laughner retrospective, but says that whatever he does needs to be “perfect.” He doesn’t think the research is done. Mauceri estimates probably 50 licensors own some portion of the man’s music.

“It’s a huge project if you consider how many people need to sign off on it,” he says. “People want to listen to the music, read the story and find out more. There’s lots of speculation about what it’s going to be. I wish I could be more definitive, but we have more work to do. We have enough materials to put out a multi-volume book and even for 50 LPs or a large box set.”

“Laughner is a man of so many hats,” says Blakey. “While he was playing in Rocket from the Tombs, he was also playing jazz fusion with Bensick. He also did the occasional folky acoustic thing where he played Michael Hurley and Richard Thompson covers. This was all happening at the same time. It’s not summed up in a single volume. Doug Morgan released an excellent overview

of Laughner on his Koolie label in 1982. But it’s not just Ubu or Rocket or Cinderella or Friction. There’s so much more. [Laughner] would get bored quickly and would get turned on to new things. I surprise myself every time we find out about something that nobody knew about. We’re sprinting to find people. We need to do as many of these interviews as we can right now.”

Mauceri describes him as a “great songwriter” and a “willing collaborator.” He introduced other influences. He was a champion of Lou Reed and Bruce Springsteen at a time when they weren’t well known.

“He was a great interpreter of other people’s music,” says Blakey.

“He took the Patti Smith single to Kid Leo at WMMS. He was pushing Bruce Springsteen and Jesse Winchester and Richard Thompson on everyone. He liked Cecil Taylor as much as he liked the Ramones and Lou Reed. Someone said that they saw him for the last time at a Tom Waits concert at Kent State. He was like a sponge. He wanted to know about and see as much as he could and he hung out with people who were as equally interested.”

LIVING LEGENDS Blakey says he hadn’t been to University Circle before this year, when he went to Miller’s memorial at the Euclid Tavern in June. But meeting people he had previously read about proved to be inspirational.

“To me, people like [blues artists] Glenn Schwartz or Jimmy Ley are like living legends,” says Blakey. “They’re not doing the casino circuit. They’re doing the down and dirty. You can walk up to them on the street and talk to them. To me, that’s so important.

It’s happening now and you’ll see them and they’ll still give you something worthwhile.”

Mauceri adds that University Circle represents the “natural progression of what happened in the 1970s and before that.” He says he doesn’t think the development represents gentrification but an extension of the area’s history.

“There’s something for everybody,” says Mauceri, adding that he intends to print thousands of copies of each release and the albums will circulate worldwide. “It could trend older, but I think there is something for everyone there. It’s more than just music. It’s geared toward people who want a sense of history and want to know what happened on these streets they’re walking down right now.”

jniesel@clevescene.com t@jniesel

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magazine | clevescene.com | November 11 - 17, 2015 27

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magazine | clevescene.com | November 11 - 17, 2015

GET OUT

everything you should do this week Photo by Emanuel Wallace

WED 11/11

skills make it an ineffective way to keep their romance alive. She performs tonight at 8 at Hilarities and has shows scheduled through Saturday. Tickets are $23. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

FOOD

Food and Wine Inspired by Art Tonight’s edition of Food and Wine Inspired by Art, a monthly culinary series at Provenance, the restaurant inside the Cleveland Museum of Art, will appeal to foodies and art lovers alike. The menu includes a chef’s amuse bouche as a starter, followed by four courses, each paired with wine. Chef-partner Doug Katz, the leader of the restaurant’s culinary team, will be on hand to discuss each dish and its preparation. Tickets are $90 per person ($70 per person for CMA members) plus tax and gratuity. Seating begins promptly at 6:30 p.m.

Reservations are available exclusively by phone at the number below. (Jeff Niesel) 11150 East Blvd., 216-707-2600, clevelandart.org.

MUSIC

Kaleidosong The first of a series of concerts dubbed Inspired Stories Presents, today’s Veteran’s Day Tribute Concert at the Federated Church in Chagrin Falls pays tribute to veterans with a performance by Kaleidosong, a group of regional singers. The concert opens with two pieces arranged by Robert Shaw, and also includes popular tunes from the Andrews Sisters and composer Irving Berlin. The concert serves as a benefit for the Family Support division of the Wounded Warrior Project. Tickets are $15 for regular admission, $12 for seniors, veterans, or family of those serving in the military.

Kids under 18 are free. (Niesel) 76 Bell St., Chagrin Falls, 440-247-6490, fedchurch.org.

FILM

Whiskey Business returns to Red Space. See: Friday.

combination of the two). Admission is free. (Niesel) 11625 Euclid Ave., 216-231-5400, happydogeuclidtavern.getn2.it.

ART

A Meet & Greet Today from 5:30 to 6:30 p.m., the Happy Dog hosts a meet & greet event for Zygote Press’ current artist in residence Mandy Bernard. Bernard and her husband reside in Homer, Alaska, where she has maintained an Etsy site (HomesteadingRoasters) for her hand-printed textile and paper goods for more than five years.

Bernard earned a BS in environmental studies from Roanoke College with a minor in fine arts, and a Masters in urban and regional planning from Virginia Tech. Outside of Etsy, Bernard’s work can be found at Bunnell Street Art Gallery and Sustainable Wares in Homer, Alaska, and seasonally at the Homer Farmers’ Market. She will discuss the process behind her Repeated Pattern works. It’s free. (Josh Usmani) 5801 Detroit Ave., 216-651-9474, happydogcleveland.com.

SPOKEN WORD

Life, the Universe & Hot Dogs At press time, the topic for tonight’s Life, the Universe & Hot Dogs event that takes place at 7 at the Euclid Tavern had yet to be determined. Patricia Princehouse, the director of Case Western Reserve University’s program in evolutionary biology and outreach director for the Institute for the Science of Origins, promises an exciting program that will either be about human evolution or horned dinosaurs (but not some

THUR 11/12 FILM

Experimenter Peter Sarsgaard stars in this biopic about Yale social psychologist Stanley Milgram, a guy famous for showing that ordinary people would administer electric shocks to people if someone in authority instructed them to do so. Winona Ryder, Taryn Manning, Anton Yelchin and Jim Gaffigan co-star.

The movie screens at 8:45 tonight and at 6:55 on Saturday night at the Cleveland Institute of Art Cinematheque. Tickets are $9.

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

FUNDRAISER

Gin and Jazz The Friends of the Massillon Museum fundraiser promises to provide a festive flashback. Dubbed Gin and Jazz, the event takes place today from 5 to 8:30 p.m. at the museum. There will be cocktails, appetizers and underworld trivia with Columbia Heights native Rudy Turkal in unique surroundings. Patrons can take their photos with antique cars as backdrops. Beverage and raffle tickets will be sold at the event, where cash, checks, and credit cards will be accepted. Tickets are $30. (Niesel) 121 Lincoln Way, Massillon, 330-833-4061, massillonmuseum.org.

COMEDY

Heather McDonald A comedian, actress, producer and author, Heather McDonald does a bit of everything. Her resume includes the TLC program, Let’s Talk About Sex, for which she serves as host, and the bestselling book My Inappropriate Life: Some Material Not Suitable for Small Children, Nuns, or Mature Adults. A full-time writer and producer for Chelsea Lately, she likes to jokes about personal topics such as marriage, adding that she’s into sexual fantasies but her husband’s poor acting

Poverty Inc. Poverty has become a growing problem in both the States and in the rest of the world. The jury is still out on how best to combat it.

But throwing a bunch of money at the problem doesn’t seem to be working. That’s the premise behind Poverty Inc., a new documentary film about the issue. The film features over 150 interviews shot during a four-period. The film “challenges the notion that systematic foreign-aid giving is a solution for development.” It screens tonight at 6:30 at John Carroll University’s Donahue Auditorium. Admission is free. A discussion will follow the screening. Tickets aren’t required.

(Niesel) 1 John Carroll Blvd., University Heights, 216-397-1886, jcu.edu.

FILM

Short Films by Wim Wenders 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 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 continues tonight with a screening of five early shorts that Wenders made during film school for television.

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

ART

A Panel Discussion In conjunction with Nevet Yitzhak’s Off the Ruling Class video-based installation, part of MOCA Cleveland’s Fall 2015 exhibitions, MOCA hosts a panel

magazine | clevescene.com | November 11 - 17, 2015 29

GET OUT discussion exploring the 1970 bombing of the Cleveland Museum of Art’s Auguste Rodin sculpture, “The Thinker.” Using the bombing and Yitzhak’s installation as a starting point, the panel will discuss the effects of cultural terrorism, as well as the role and power of icons in secular society. The panel includes assistant director and associate curator of Ancient Art at the Toledo Museum of Art Adam Levine; director of graduate studies and an associate professor for CWRU’s political science department Pete Moore; and Behrang Samadzadegan, one of the Cleveland Foundation’s Creative Fusion resident artists.

Brittany M. Hudak, communications manager of the Collective Arts Network (CAN) Journal, moderates. The discussion takes place from 7 to 8:30 p.m. and is free with MOCA Cleveland admission. (Usmani) 11400 Euclid Ave., 216-421-8671, mocacleveland.org.

FRI

11/13

ART

Artscape Looking for some unique holiday shopping this weekend? Now in its 11th year, MOCA Cleveland’s Artscape is considered the premier juried design and gift event in the region, with gifts, jewelry and accessories by carefully selected artists and vendors. MOCA hosts an Early Shopping Party from 5 to 9 p.m. today ($10; free for members). Artscape continues on Saturday and Sunday from 11 a.m. to 5 p.m. with free admission. For a list of participating artists, designers and vendors, visit the website. (Usmani) 11400 Euclid Ave., 216-421-8671, mocacleveland.org/artscape2015.

FOOD

Fabulous Food Show The Fabulous Food Show turns 10 this year and plans to celebrate in style with a line-up of celebrity chefs, interactive demonstrations, and, of course, plenty of enticing eats. Cleveland’s own Michael Symon, as well as Cake Boss’ Buddy Valastro, Chopped’s Aaron Sanchez, and Top Chef’s Gail Simmons will be on hand.

Billed as “America’s largest presentation of fine food, fine art,

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breweries, wineries, restaurants, and purveyors all under one roof,” the show really is something to see if you’ve never been.

Last year alone, the weekend-long event brought in nearly 30,000 attendees, and this year’s line-up is supposed to draw even bigger crowds. New on the docket is a happy hour with Gail Simmons, food truck gatherings and demonstrations with Northeast Ohio’s most beloved mobile eateries, a “Concert in the Kitchen” with guest musicians the Samples, and even a gospel brunch presented by the House of Blues. Boatloads of other culinary-themed activities will be going on all weekend long. (Alaina Nutile) 1 I-X Center Dr., 216-676-6000, fabulousfoodshow.com.

NIGHTLIFE

Freaky Tiki Fridays As if to ward off winter, jazz/surf/ spy instrumentalists Martini Five-O will bring a beach vibe tonight to Prosperity Social Club in Tremont. The band hosts Freaky Tiki Fridays, an event that features $6 Mai Tais, Pama Palomas, mango-habanero Margaritas and other retro-cool cocktails. Appetizer specials include throwback items like coconut shrimp, pigs in a blanket, Hawaiian meatballs and pineapple chicken skewers.

“Tiki has always represented an American desire to escape somewhere exotic,” says Prosperity Social Club owner Bonnie Flinner in a press release. “While sipping on a lime-and-rum concoction and listening to the surf sounds of Martini Five-O may not be an island getaway, it is a fun way to forget about the work week and the blustery weather for one night.” The fun runs from 9 p.m. to midnight. (Niesel) 1109 Starkweather Ave., 216-937-1938, prosperitysocialclub.com.

MUSIC

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, Heather Maloney, a singer who started as a classically trained vocalist but has since studied opera, jazz, Indian vocals and music theory, performs. Patrons can enjoy soups, snacks and sweets from the Conservancy Canteen, along with drinks, which will be available for purchase before and dur-

TrueNorth Cultural Arts Presents:

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TrueNorth Chorale & Chamber Orchestra along with

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GET OUT ing the concert. Doors open at 7, and the concert begins at 8 p.m.

Tickets are $17 for adults, $12 for Conservancy members and $5 for children ages 3 to 12. (Niesel) 500 West Streetsboro Rd., Peninsula, 330-657-2909, ConservancyforCVNP.org.

MUSIC

Kent Reggae Jam Some 15 venues in downtown Kent will participate in the annual Kent Reggae Jam that takes place today from 5:30 p.m. to 1 a.m. The festival promises bands from a variety of musical genres.

Acts such as Carlos Jones, Dreadlock Dave and his jam band Waterband, the Jimmy Buffett cover band Gypsies in the Palace and the Steelin’ Hearts Pan Duo will perform. This is the fourth Kent music festival of 2015 presented by the Crooked River Arts Council. The locally owned and operated Wayside Furniture is the title sponsor. Find more information on the website. (Niesel) kentreggaejam.com.

COMEDY

Lisa Lampanelli The Queen of Mean, Lisa Lampanelli is known for her racy and controversial style of comedy. Originally an accomplished journalist, Lampanelli began her standup career in New York in the early ’90s. She got her big break at the New York Friar’s Club roast of Chevy Chase in 2002, and she’s been a huge name in comedy ever since. Her set is fearless, raw and raunchy, although her form of insult comedy will make you laugh despite its offensiveness. She’s been heralded as “more of a standout than a standup” by Jim Carrey; and Howard Stern called her a “true original and brilliant comic.” This is definitely not a show to miss.

Lampanelli performs at 7:30 and 9:30 tonight at the Tangier in Akron. Tickets start at $45. (Kaitlin Siegel) 532 West Market St., Akron, 330-376-7171, thetangier.com.

FILM

Men of the Cloth Three Italian master tailors talk about the decline of the apprentice system in Men of the Cloth.

They maintain that true tailors are like sculptors and that the

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magazine | clevescene.com | November 11 - 17, 2015

artists are harder to come by in a world of mass-produced, readyto-wear clothing. Tailor Davide Cotugno will appear in person after tonight’s screening, which takes place at 6:45 at the Cleveland Museum of Art. Tickets are $9. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

SPORTS

Monsters vs. Grand Rapids Griffins It’s been nearly two weeks since the Lake Erie Monsters have played a home game at the Q. Tonight, they face off against the Grand Rapids Griffins in the first of a two-night stand. The Monsters fared well on their road trip, notching wins against the Manitoba Moose and the Charlotte Checkers. As part of a seasonlong promotion on Friday nights, fans can purchase $1 sodas, $2 hotdogs and $3 beers. Tickets to the game start at $10 and the two teams play each other again tomorrow night at 7 at the Q. (Niesel) 1 Center Ct., 216-420-2000, theqarena.com.

COMEDY

Derek Richards Originally from Detroit, comedian Derek Richards likes to joke about his blue-collar background.

While not as crass and crude as redneck comics, he does joke about his working-class past. He likes to joke about how he once worked as a DJ at a strip club and dated a stripper named Angel who often misspelled her own name and wrote “Angle” instead.

Richards performs tonight at 7:30 and 10 at Club Velvet at the Hard Rock Rocksino. He also performs at 7 and 9:30 tomorrow night. Tickets are $13 to $18.

(Niesel) 10705 Northfield Rd., Northfield, 330-908-7793, hrrocksinonorthfieldpark.com.

COMEDY

Pauly Shore A fixture on MTV in the ’80s, flamboyant comic Pauly Shore might be the man who popularized upspeak. His rapid-fire style often borders on the obnoxious as he delivers lines that sound so unstructured, you gotta think he just makes up much of his material on the spot. Shore, who also once somehow wrangled a movie deal with Disney — a true mystery since he regularly uses obscenities on stage — takes a

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Photo: Janet

• Glassblowing and Blacksmithing classes and demonstrations

GET OUT casual, stream-of-consciousness approach to performing. Expect each show to be wildly different from the previous one. He takes the stage at 7:30 tonight at the Improv and has shows scheduled through Sunday. Tickets start at $25. (Niesel) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.

Riot, an all-vinyl record show, from 10 a.m. to 4 p.m. today. The event will feature national and local record dealers selling quality vinyl records. Admission to the event is free, but for $10, guests can purchase the early bird special and be admitted to the show at 9 a.m. to get the first crack at

days. Scene’s former visual arts editor, Gill is now director of the Collective Arts Network and editor and publisher of its CAN Journal. Last month, he debuted his new hand-printed book, A Pocket Full of Change, along with a related exhibition at Tregoning & Company. Today, he’s hosting a

FESTIVAL

Whiskey Business Regardless of how you spell it (both whiskey and whisky are technically correct, by the way) or how you enjoy it (neat, dirty, on the rocks, straight or mixed), the best way to appreciate whiskey is to savor it the way you might a good wine. Tonight from 7 to 11 p.m., you’ll have that opportunity at Whiskey Business, a Scene whiskey, Scotch and bourbon tasting that takes place at Red Space. Brand ambassadors will be on hand to offer insights, and you can sample food from local restaurants too. Tickets are $40 online. (Niesel) 2400 Superior Ave., 800-604-1844, whiskeybusinesscle.com.

SAT

11/14

MUSIC

Beachland Record Riot The compact disc might be headed toward extinction but vinyl sales continue to rise. Vinyl addicts will undoubtedly be happy to hear that the Beachland Ballroom and Tavern will host Record

34

FILM

Kings of the Road The Cleveland Institute of Art Cinematheque continues its tribute to Wim Wenders tonight (see Thursday’s listings) with a screening of Kings of Road, a film about a traveling motion picture salesman who encounters a child psychologist who’s wrecked her car. A new 4k digital restoration of the film screens tonight at 8:45 and shows again tomorrow night at 6:30. Tickets are $9.

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

ART

FOOD

Winter Harvest Dinner Winter is almost here, so why not celebrate its arrival rather than mourn the departure of fall?

Tonight at 6:30, Amp 150 offers its final harvest dinner of the year. The winter harvest menu includes sausage-stuffed garden peppers, tomato ragout, squash soup, pumpernickel crouton, roasted squash salad, pumpkin seed brittle, Lake Erie Creamery goat cheese, apple vinaigrette, scallops, farro, Brussels sprouts, and apple pies. Tickets are $45.

(Niesel) 4277 West 150th St. (inside the Airport Marriott), 216-706-8787, amp150.com.

members and $119 for Zygote Press members. (Usmani) 1410 East 30th St., 216-621-2900, zygotepress.com.

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 the shopping opportunities. The Beachland hosted a similar event back in March and has plans to host a Record Riot every spring and fall. (Niesel) 15711 Waterloo Rd., 216-383-1124, beachlandballroom.com.

ART

Holiday Card Making Workshop Michael Gill is a busy man these

magazine | clevescene.com | November 11 - 17, 2015

letterpress holiday card making workshop at Zygote Press. He’ll be teaching the basics of letterpress on Zygote’s Cleveland-made Chandler & Price press. Under Gill’s guidance, you’ll use the press to create a series of prints to take home and give away. Letterpress is a perfect way to create unique, inexpensive holiday cards. Space is limited. This twoday workshop is $140 for non-

Kozo Harvest Ever wonder what it takes to turn trees into paper? You can find out today and tomorrow during the annual Kozo Harvest at the Morgan Art of Papermaking Conservatory and Educational Foundation. The Morgan’s Caraboolad Garden boasts the largest kozo (paper mulberry tree) grove in the United States. The annual harvest fest offers the community an opportunity to participate in a hands-on, in-depth demonstration of the process of turning the raw material into beautiful handmade paper. Attendees will have the opportunity to harvest, steam, scrape and beat kozo. This year’s harvest fest takes place from 10 a.m. to 4 p.m. today and tomorrow. It’s free. (Usmani) 1754 East 47th St., 216-361-9255, morganconservatory.org.

SUN 11/15 FILM

The Cut An Armenian man becomes separated from his wife and daughters in The Cut, a period piece set just after the Armenian genocide, as World War I begins.

When the man, a survivor of the mass killings, hears that his daughters are still alive, he sets out to find them, traveling to Cuba and America in search of them. The film screens today at 3:30 p.m. at the Cleveland Institute of Art Cinematheque.

Tickets are $9. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu./cinematheque.

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magazine | clevescene.com | November 11 - 17, 2015 35

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Hamlet Best known for playing Sherlock Holmes in the series Sherlock, British actor Benedict Cumberbatch was recently 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 of Hamlet. The play is broadcast live tonight at 7 at the Cedar Lee Theatre. Tickets are $20. (Niesel) 2163 Lee Rd., Cleveland Heights, 216-321-5411, clevelandcinemas.com.

Calder Quartet originally formed just for “fun” — at least until members decided to make a career of it. Since then, the quartet has performed at Kennedy Center and Lincoln Center. At one point, members were artists in residence at the Oberlin Conservatory of Music. The group has played pieces by cutting-edge composers such as Christopher Rouse, Terry Riley and Thomas Adès, and has performed with bands like the National and the Airborne Toxic Event. Winners of the 2014 Avery Fisher Career Grant, the group embraces a range of genres. It performs tonight at 7:30 at the Transformer Station. Tickets are $25, or $22 for CMA members.

(Niesel) 1460 West 29th St., 216-938-5429, transformerstation.org.

COMEDY

PHOTO BY LINDSEY BEST © 2015 BLUE MAN PRODUCTIONS, LLC.

Pat McGann Comedian Pat McGann made the switch from packaging salesman to standup comedian back in 2007 and has never looked back.

Having solid roots in Chicago, McGann is looking to spread his humor to everyone he can. Calm and collected on stage and quick on the trigger, McGann jokes about the things that go on in his life and his marriage. He performs tonight at 7 at Hilarities.

Tickets are $13. (Martin Harp) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

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The Singing Angels A musical group featuring members of different races and creeds, the Singing Angels regularly tours the world. The group recently performed in such far-flung locations as New York, Branson and Geneva. Traveling so extensively is no easy task, given that the choir contains some 250 vocalists. Today, they bring their Holiday Spectacular to the State Theatre. Expect to hear plenty of Christmas classics starting at 2 p.m. Tickets are $17 to $42. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org.

MON 11/16

MUSIC

Israel Philharmonic Orchestra Founded on the cusp of World War II when Polish violinist Bronislaw Huberman auditioned leading Jewish musicians across Europe and gave them jobs that wound up saving their lives, the Israel Philharmonic claims to be one of Israel’s oldest and most influential cultural institutions, providing “an eloquent voice for peace,” and serving as a powerful cultural ambassador. Tonight, Zubin Mehta leads the orchestra as it plays pieces by Bardanashvili, Ravel and Dvorak. The concert begins at 7:30 p.m. at Severance Hall. Tickets start at $39. (Niesel) 11001 Euclid Ave., 216-231-1111, clevelandorchestra.com.

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MUSIC

Classical Revolution Cleveland Classical Revolution Cleveland brings great chamber music to the people. Showcasing a variety of performers in bars, cafes and the like, it’s actually not that different from how people used to listen to chamber music. Full of immensely talented performers, CRC re-instills the relevancy of this vibrant art form. Tonight’s all-ages performance at the Happy Dog starts at 8. It’s free.

(Patrick Stoops) 5801 Detroit Ave., 216-651-9474, happydogcleveland.com.

MUSIC

216-241-6000 Group Sales 216-640-8600 playhousesquare.org

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magazine | clevescene.com | November 11 - 17, 2015

Calder Quartet Launched at Southern California University over a decade ago, the

Find more events @clevescene.com t@cleveland_scene

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magazine | clevescene.com | November 11 - 17, 2015 37

ART

PACK AND PLAY 36 hours of arts in Columbus

By Josh Usmani LAST MONTH, AT THE INVITATION of Experience Columbus, the city’s PR arm, art and travel writers from across America and Canada descended on the state’s capital to take in the arts scene, which has blossomed in recent years. It’s fascinating to see the similarities between Cleveland and Columbus in person (passion for sports, sprawling metropolises centered around water, etc.), and the visit also illuminated differences, including Cleveland’s Rust Belt imagery and ethos as opposed to Columbus’ more diversified economy and university atmosphere.

The timing of the trip was pinned to the grand opening of the renovated Columbus Museum of Art and HighBall, the city’s annual two-night costume party and fashion competition. But for the art-seeker, there’s plenty more to see even before you leave the hotel. The downtown Hilton boasts 225 original works by 128 artists from the Greater Columbus area. But you’re not here for the hotel.

First, early Friday, we headed to the Wexner Center for Arts. The building itself is a work of art: It was architect Peter Eisenman’s first major publicly scaled project.

Eisenman would later design the Columbus Convention Center, among a number of other public projects.

The Wexner’s design contains few right angles, creating a skewed perspective with diagonals that guide your eyes around the building’s interior. The Wexner is a multifaceted venue, exhibiting visual art, film/ video, performance art, dance, live music and special public programs.

Currently on display through Dec. 27, After Picasso features nearly 150

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works in a diverse variety of media by 80 of Picasso’s contemporaries including Mike Bidlo, David Hockney, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Jackson Pollack, Peter Saul, Cindy Sherman, and Andy Warhol. Any fans of modern and contemporary art history will find plenty of inside jokes in this fittingly heartfelt, yet sometimes lighthearted, homage to the pioneer of geometric cubism.

Shortly after, it was off to the newly expanded and remodeled Columbus Museum of Art. The new Margaret M. Walter wing adds 50,000 square feet to the footprint, including more than 21,000 square feet of new gallery space. Designed to complement the original structure, the new wing features an upper level permanent gallery space, video gallery, Chin Gallery (housing Mel Chin’s “Spirit”), lower level special exhibition space, museum store and Schokko Art Cafe. The renovations continue outside the museum, with 14 works of art installed throughout the beautifully landscaped grounds around the building. The Museum reopened with approximately 375 works on display in its permanent galleries.

From Nov. 20 through Feb. 21, 2016, the CMoA hosts a special exhibition, Think Outside the Brick: The Creative Art of LEGO. Similar to Cleveland and other arts-rich areas, the neighborhoods are where most of the action is. In Columbus, that’s Franklinton, the burgeoning arts community that’s home to the Columbus Idea Foundry and, as with any good neighborhood, a brewery. In this case that’s Land Grant Brewery.

Franklinton’s also home to 400

magazine | clevescene.com | November 11 - 17, 2015

West Rich, which is most comparable in Cleveland to 78th Street Studios or the Screw Factory. This former industrial manufacturing warehouse has been repurposed into a dynamic, 105,000-square-foot arts complex, complete with more traditional office space and a fully functional restaurant and bar (Strongwater Food and Spirits). The complex includes multiple special event and exhibition spaces, as well as more than 120 units. The building’s tenants include more than 150 visual artists, dancers, aerial artists, tech companies, retail spaces — even an architecture firm and ukulele classes. Franklinton Fridays (think Tremont’s art walk or Third Fridays at 78th Street Studios) run the second Friday of each month between 7 and 11 p.m.

By the way, what was that Idea Foundry we mentioned? Well, admittedly, it was one of the coolest parts of the tour. CEO Alex Bandar describes it as a “gym for makers.”

It’s a community workshop, learning center and creative space featuring training on and access to tools and technology, from conventional to state of the art. More than 300 members have access to 3D printers, computercontrolled mills, laser cutters and welding equipment. Check their schedule for unique social events where you get to play with some of the stuff.

In what more resembles a high quality museum than traditional gallery, Ron and Ann Pizzuti’s eponymous Pizzuti Collection (which has a gift shop and archived library) is currently home to Us Is Them, an exhibition whose title is taken from celebrated African-American artist Hank Willis Thomas, whose

work is featured in the collection.

In general, the building houses a rotating schedule of temporary, themed exhibitions that are typically created exclusively from the personal collection of the owners.

The Pizzutis are busy. They also run Joseph Editions, which brought with it the new Joseph Hotel. In an effort to fill the hotel with artwork, the Pizzutis founded Joseph Editions. More than a gallery, Joseph Editions selects Columbus and Ohiobased artists to work with master printmakers to create a limited edition collection of new prints. In addition to creating exciting new work for the hotel, Joseph Editions aims to make collecting contemporary art more accessible to everyone.

There’s all that and we haven’t even mentioned the Short North yet, which includes Hammond Harkins Galleries, Brandt-Roberts Galleries and Lindsay Gallery. Harkins, it struck us, has a strong dedication to supporting Columbus-based artists.

After many years in the suburbs, Hammond Harkins recently relocated to its new home in the Short North.

At Lindsay Gallery, we took in the current exhibition of large paintings

by Joey Monsoon. Monsoon’s distorted portraits are reminiscent of Egon Schiele. This cohesive exhibition of dynamic, well-crafted portraits remains on view through November.

The takeaway: Whether you have a free day or a full weekend, it’s worth the short two-hour drive to Cleveland’s southern neighbor for a diverse and exciting batch of visual art.

jusmani@clevescene.com t@cleveland_scene

STAGE MACABRE FUN AND FRIVOLITY

Learn how to find your fortune in A Gentleman’s Guide to Love & Murder, now at Playhouse Square

By Christine Howey PEOPLE ARE A REAL PROBLEM, since they always seem to be standing in your way. You want a promotion, but there’s already somebody else occupying that corner office. You want to live in that gorgeous house by the lake, but there’s already a homeowner reading a book on that particular front porch.

Or you want to inherit that family fortune, but you are way back in line for the inheritance. For the lawabiding, that’s just tough luck. But for the homicidally inclined, it’s a glorious opportunity.

So it is for Monty Navarro in the crisply written and lushly scored musical A Gentleman’s Guide to Love & Murder, now at Playhouse Square. Broadway newcomers Robert L. Freedman (book and lyrics) and Steven Lutvak (music and lyrics) find inspiration in the rhythms and witticisms of Gilbert & Sullivan to inform this whiz-bang romp.

The sprightly music enables this serial-killer operetta to charm the socks off anyone. Also, quite aside from the tunes, one of the big draws of this show on Broadway was one actor who played multiple roles with sharp comic timing and clear character delineations. In this touring production, the actor summoned to play all those roles doesn’t quite achieve that same level of antic wackiness, but the play still works just fine.

Told in the form of a memoir, the aforementioned Monty is languishing at the tail end of a long line of wealthy D’Ysquiths.

His mommy, you see, was a black sheep D’Ysquith who ran off with a sexy Castilian musician and she was summarily disinherited. But Monty’s bloodline is still intact, and he figures he could become the Earl of Highhurst if only those other eight people in front of him would somehow disappear.

That’s when the light bulb goes on and Monty begins to pursue his campaign to thin out the herd of the pompous and insufferable Diequicks, er, D’Ysquiths. Monty also has a secondary agenda: earning the hand of lovely but shallow Sibella, the girl he is courting but who flicks him away because of his poverty.

Finding his request to rejoin the family rejected by the D’Ysquiths, Monty begins to seek out the doomed family members one by one. First to go is the dotty clergyman, Rev. Ezekial D’Ysquith, who unwisely

murders proceed — a fatal attack by cannibals here, a lethal “accident” with a barbell there — Monty is efficiently ratcheting his way up the family tree. Along the way, he accepts that it may not work out Photo courtesy of Playhouse Square

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chooses to show Monty the view from the top of his church’s bell tower.

With a little assistance from Monty, the Rev soon finds the fast way down to the ground and Monty is one step closer to his fortune.

As the comically arranged

with Sibella, who is now engaged to another, so he opts for a romance with lovely young Phoebe, a distant D’Ysquith relative and not someone on his hit list.

The songs in Gentleman’s Guide range from delightful to

uproariously funny. In the latter category is “Better with a Man,” a lyrical tribute to the joys of gay sex sung by Monty and Henry, the brother of Phoebe who is soon snuffed out by a frenzied hive of bees (wittily captured with some nifty staging effects). And the showstopper is “I’ve Decided to Marry You,” in which Monty is literally and figuratively caught between Sibella and Phoebe in a door-slamming comic gem.

Ezekial and all the other soon-tobe-snuffed-out D’Ysquiths are played

by John Rapson. He does a fine job with the Reverend and a couple others. But his insanely demanding acting task requires that he craft instantly recognizable characters that are humorous in different ways. And too many times, what should be sharp edges between one character and another are instead a bit blurry and ill-defined.

Perhaps Rapson is occasionally distracted by all the clothing changes, diving in and out of costume designer Linda Cho’s sumptuous and clever duds in seconds flat. At times, you simply can’t believe that the same guy is back on the stage in entirely different garb. Ah, the glories of Velcro!

The other lead role, Monty, is handled with precision and wide-eyed innocent venality by Kevin Massey. As Sibella, Kristen Beth Williams takes blissful selfinvolvement to a new level, and Adrienne Eller contributes a strong voice as Phoebe.

Director Darko Tresnjak creates a volley of different humorous twists on a set designed by Alexander Dodge to resemble an English music hall, complete with scalloped footlights and its own nicely detailed proscenium. And combined with the talents of lighting designer Philip S. Rosenberg and projection designer Aaron Rhyne, this is a production that satisfies the eye and ear while never bypassing the brain.

scene@clevescene.com t@christinehowey

magazine | clevescene.com | November 11 - 17, 2015 39

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magazine | clevescene.com | November 11 - 17, 2015

12/1/15

Admission Prices: Daily Admission $10 (at the door) Weekend Admission $25 (Fri-Sun)

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MOVIES

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ROOM TRIUMPHANT!

Brie Larson and young Jacob Tremblay astound in novel adaptation

By Sam Allard EVEN WITHOUT THE SLY appearance of Ohio license plates, it would’ve been clear from the industrial silos and cloudy autumn skies that Irish director Lenny Abrahamson was influenced in large part by the Ariel Castro house of horrors as he shaped and directed Room. The runaway bestselling novel by writer Emma Donoghue has been faithfully and, given the challenges of the source material, somewhat miraculously adapted. The Cleveland connection makes sense too, given that the story follows a young boy and his mother as they escape from captivity and (re)discover the outside world. It opens in wide release Friday.

And be forewarned: Your guts will be so thoroughly punched that you may need abdominal padding.

The star of the show from start to finish is young actor Jacob Tremblay.

He plays Jack, the 5-year-old whose belated introduction to the world is billed as the movie’s magic hook.

In the novel, told from Jack’s point of view, readers are privy to his discoveries in an intimate way. A successful adaptation required a performer of rare and precocious gifts. Tremblay is. From his total acceptance of the room he occupies

as the sum of the livable world — outside the room’s door is outer space, his mother has taught him — to his tentative, and often overwhelming, first forays into new rooms and new experiences, his performance (coaxed by what must have been a profoundly tender and communicative director) is a marvel to behold.

There’s a scene when a petrified Jack is executing the escape orchestrated by his mother. He wriggles free from a carpet in the bed of their captor’s truck, where he’s been playing dead. And as the final flap of fabric falls away, Jack

sees, for the first time, in all its infinite vastness overhead, the sky.

As you watch the huge, innocent eyes of this boy gobble up the world, accompanied by a crescendoing score, your heart may beat right out of its chest. It’s the most stirring moment I’ve seen onscreen this year, Fury Road included.

Brie Larson is on-target as well.

Her character has been imprisoned in a room for 7 years and has given birth to a child (born of nightly rapings), whom she wants only to protect. Larson will get Oscar attention in part because she appears with neither bra nor

makeup, but her perpetual struggle to create normalcy in her horrifying circumstances, and then her struggle to find happiness after escaping them, are heartrending.

Though much of the film’s trailer and marketing focus on Jack and his mom’s life after they’ve escaped, a sizeable chunk of the movie occurs within the cramped confines of the “room.” It’s a credit to the designers and cinematographer Danny Cohen (The King’s Speech, Les Miserables) that they made it a complete world.

It’s filmed with movement and perspective as Jack and his ma so painfully and gloriously inhabit it.

off. It’s frankly too jokey. These men are subsisting on a thimble of canned tuna per day, washed down with a sip of sedimentary water, and yet they manage to pal around non-stop. There are a few moments of frayed nerves — Banderas hogging the spotlight once a connection is established with the outside world — but you never get the sense that anyone’s life is legitimately at stake. Couple that with the campy dramas unfolding above ground — a wife and a mistress duke it out in the local press; Binoche falls for Santoro — and you’re never sure how to feel.

Perhaps that’s why the script has contrived moments of danger and urgency that serve only as cheap adrenaline shots, not as functional pieces of a story. Surely the lamest scene in the film occurs when Byrne tells Santoro that their attempt to reach the miners by drill has failed.

They overshot their mark 2,000 feet below, he says, and there’s not

enough time left to try again. But Santoro, with enough ardor and glee to convince us he’d cracked interdimensional travel, says he’s figured out a solution.

“We shoot to miss,” he tells Byrne.

“Shoot to miss?” Byrne asks. “Now you’re thinking,” and he pauses, goshwowed by the genius. “Now you’re thinking like a miner.”

How this solves any of the logistical nightmares at hand is not the province of this movie. Director Patricia Riggen has other logistical nightmares from which to wake, like how to organically introduce an audience to an unwieldy ensemble cast (she doesn’t) and how to condense a drama that unfolded over 69 days into a narrative drama that unfolds over two hours (she can’t). — Sam Allard

SPOTLIGHT: THE 33 THE 33 IS “THE CHILEAN MINER movie” you assumed was probably coming at some point. It attempts to dramatize the global news event from 2010, when 33 miners at a treacherous gold and copper mine in northern Chile survived deep beneath the earth’s surface for 69 days.

The movie, we’re very sorry to report, is more or less an unqualified failure. One of the few moments that comes close to historic or emotional authenticity doesn’t arrive until the closing credits, when the real-live 33 are filmed on a beach, smiling and embracing as text tells us that the men we just saw portrayed by Antonio Banderas, Lou Diamond Phillips, Oscar from The Office and 29 others were never compensated in any way for the accident. Lordy… but if this sounds like just the herbal supplement to spice up your South-American-themed date night this weekend, it opens Friday at

select theaters.

One of its biggest problems is its synthetic feel, its gloss: Not only are all the Chileans speaking English, much of the film’s principal cast is lily white. Chocolat’s Juliette Binoche plays the sister of one of the miners and the ringleader of the “family and friends” contingent at the accident site. A great deal of eye makeup constitutes her first and last credential as a South American empanada vendor. California native Bob Gunton, he of Shawshank and, more recently, Netflix’s Daredevil, plays Chile’s president. And though the Brazilian dish Rodrigo Santoro plays his chief of mining, the nation’s leading engineer is brought to a form of life by a windswept Gabriel Byrne.

The collapse of the mine itself, and the deep spiral of its underground service ramps, are jolting to see — who knew it went so deep? — but the tone of the scenes down there is way

scene@clevescene.com t@cleveland_scene

magazine | clevescene.com | November 11 - 17, 2015 41

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magazine | clevescene.com | November 11 - 17, 2015

FALSE STARTS

Photos by Emanuel Wallace

EAT The reinvention of Press Wine Bar is still a work in progress

By Douglas Trattner IT’S NEVER EASY FOR A restaurant to reinvent itself. First impressions tend to get hard-wired into a diner’s brain, and persuading people to adjust that opinion is no easier than unlearning how to ride a bike.

But the owners of Press Wine Bar in Tremont had devised a blueprint to do just that. In an attempt to better compete with their high-caliber restaurant neighbors, management planned to hire a new chef, debut an entirely new menu, and drop the “wine bar” designation.

“With everybody stepping up their game around town, and everything new opening up, our philosophy is to focus more on being a restaurant than being a wine bar,” owner John Owen explained during the lead up to the transition. “We’re really excited to have a complete culture change for us.”

Only that’s not really how it went down — at least not yet.

In place of Press 2.0, the restaurant feels more like Press 1.4, a pleasant new update but with numerous bugs still left to work out.

While management did in fact bring in a skilled new chef, who soon after Labor Day unveiled an all-new menu, little else about the operation seems to have evolved along with it. Not only is the “wine bar” label still firmly affixed to the exterior of the building, the culture that has long supported it still lingers in the dining room.

Executive chef Matthew Spinner, a Clevelander who previously relocated to Chicago to work at high-end restaurants like Next and Sink|Swim, is attempting to elevate the food at this high-profile Tremont setting, but appears to be swimming upstream.

From setting and service to staffing and supply, hiccups keep getting in the way of wonderful meals.

“Next-level” dining, I’m pretty certain, requires a staff of more than three, but that’s the amount of warm bodies we counted on a

Crab Salad

Fried Chicken

recent Tuesday evening. One server, one bartender, one cook in the open kitchen. Our server, who doubled as the hostess, showed us to a wooden table that was, like every other table in the room, unset, lacking the sort of linens, silver, tableware and glassware that alert one to the fact that he or she is in a restaurant. At least we weren’t seated at a high-top, which appear to outnumber regular tables.

Spinner’s menu is peppered with cheffy terms like “gastrique” and “ver ju” and “guavasteen” and “sauce nantua,” precisely the types of descriptions that require a

Halibut Chop

A frugal operation favors running out of food over having to pitch it. I get it, but that translated into four or five dishes over two visits that were unavailable. In place of a seductive sounding but 86’ed shrimp & lobster pot pie we netted a delightful and refreshing crab salad ($11), the delicately sweet meat kissed by bright citrus, tossed with crisp slivers of fennel and gilded by fresh truffle.

It took me two visits to finally score Spinner’s out-of-this-world halibut chop ($19), a bone-in collar cut that is loaded with exceedingly rich meat from the neck and belly. The silky textured flesh is complemented by a

PRESS WINE BAR 2221 PROFESSOR AVE., 216-566-9463 PRESSWINEBAR.COM

knowledgeable, patient server to walk a diner through it all. That’s not going to happen in a one- or two-server bar like Press. In a classic case of dump-and-run, we were left to our own devices to sort out the whats and hows of dishes like gulf prawns on sauce Romesco ($10), plated with an intriguing but mysterious dehydrated powder. Snacking on a clutch of variously flavored deviled eggs ($7) was a bit like playing Russian roulette.

pair of equally smooth purees built from potatoes and parsnips.

In Spinner’s hands, customarily homespun dishes like chicken paprikash ($17) and fried chicken ($17) get promoted to haute cuisine, with the latter benefitting from a ridiculously thin, crisp crust that kept the slender-sliced boneless meat juicy. Paired with sauerkraut, buttered egg noodles, crispy pork nuggets and slivered apples, the dish is like an entire German banquet on a

single plate.

Not one to be restrained by place or time, Spinner turns out tasty renditions of a corny tamale ($13) on vegetarian hash topped with squash ribbons, and Korean-style chicken wings ($15) served with kimchi and two types of sauces. There are times when technique and presentation detract from the end product, like a duck breast ($17), likely sous vide, with an odd texture and zero crispy skin. Minimalistic plate presentations make dishes like the shrimp or deviled eggs feel cold and lonely.

Every visit to Press seems to be met with a new version of the menu.

Dishes come and go, and even those that remain take on new form.

That behavior, says Spinner, can be attributed to a little bit of nature and a little bit of nurture.

“I’m always changing menus, dishes and preparations — it’s how I am,” says Spinner. “But everything we’re doing right now is a learning process for everyone involved. We want to start slow and raise the bar over time.”

I know that I’ll be watching for the 2.0 version.

dtrattner@clevescene.com t@dougtrattner

magazine | clevescene.com | November 11 - 17, 2015 43

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magazine | clevescene.com | November 11 - 17, 2015

IF PROOF IS NEEDED THAT THE best restaurants are those that never stop evolving, the Black Pig (2801 Bridge Ave., 216-862-7551, blackpigcle. com) is steadfast evidence.

After moving last year from his original home along the bustling main drag of Ohio City to the nearby corner of Bridge and West 28th, chef and owner Michael Nowak redesigned the menu to better fit its more intimate new setting. Now, looking back on nearly a year in its new location, the time has come for additional changes in both menu and staff.

Working in tandem with Nowak is celebrated chef Jill Vedaa, who returns to the kitchen for the first time since the closing of Rockefeller’s last spring.

Joining Vedaa is executive sous chef Jack Moore, a Greenhouse Tavern alum. The arrival of the talented pair signals a renewed focus on daily and seasonally inspired dishes.

“We decided to go with a more ambitious menu than we’ve done before,” say Nowak. “This is going to be more of creating new dishes every single day, which is great for creative people; it keeps us sharp.”

While many favorites remain, a new feature titled “The Weekly Pig” will offer a limited number of specials derived from a single local heritage breed hog. Diners can look forward to dishes like boudin blanc, beer sausage and schnitzel. And when they’re gone, they’re gone.

“The menu’s going to say it came from this farm, it weighed this much, it was this breed and these are the dishes we made out of it,” Nowak explains. “It creates a great personal connection between the diner and the food. It’s truly a nose-to-tail experience.”

The original five-course tasting menu will be joined by two new threecourse versions. A pasta tasting menu was added after Nowak realized that almost a quarter of diners ordered dishes like the popular mushroom agnolotti. The other menu, which changes daily, will consist of a first course, entree and dessert.

This constant inventiveness, Nowak explains, requires a backbone of talent.

Vedaa had been a longtime patron of

the Black Pig before she came on board this summer. She’ll continue to help transition the new menu while she plans to open a restaurant of her own.

Already she’s ramped up the dessert menu with fall selections like the Spiced Chocolate Pot de Creme.

Prior to joining the Pig, Vedaa had experience with sausage making but had never broken down a whole

“We decided to go with a more ambitious menu than we’ve ever done before.”

— Michael Nowak hog. Nowak’s guidance has been instrumental in helping her gain the fresh perspective she was looking for.

“You’re your own chef for so long that you sometimes get stuck in a rut,” Vedaa says. “It’s been quite an educational experience coming to work here.”

That expanded focus on daily creations is part of what attracted Moore, who moved to Cleveland two years ago for a job at Greenhouse, where he delved deep into fermentation and preserving practices.

“One thing I really wanted to focus on by coming over here was being able to find ways to make money off of what someone would normally throw away,” says Moore. “As opposed to throwing your apple peels away, let’s make apple vinegar. That’s the biggest thing I want to bring, to make sure we’re not wasting anything.”

Nowak is looking forward to testing their creative collaborations.

“We consider this a chance to edit, make some tweaks and make things even better in our fourth year in business and second year into the future,” he says.

scene@clevescene.com t@cleveland_scene

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NEW POP-UPS AT SPOTTED OWL Introducing diners to Filipino food

By Douglas Trattner APART FROM A SMALL CARRYout spot in Parma, the volume of Filipino offerings in Northeast Ohio is meager to nonexistent.

Already, though, Tom Madrilejos has been working to remedy that shortcoming. For more than a year the home-schooled cook has been fine-tuning his repertoire of Filipino dishes, and if his recent debut at this summer’s Night Market proved anything, it’s that there’s a growing interest and demand for the food.

“I was born in Northeast Ohio, but I’m Filipino and, like pretty much every other Filipino, you grow up eating this food at home and then you go off to school and have to learn how to cook it because no one else is there to do it for you,” Madrilejos explains.

The next step for Madrilejos and his budding brand, Carabao Filipino Cuisine, will be twice-weekly pop-ups at the Spotted Owl. Beginning this Thursday and running from 5 to 8 p.m. on Thursdays and Mondays, the events will feature four to six dishes priced between $5 and $10.

On the menu will be lumpia, Filipino–style spring rolls filled with ground pork, cilantro, garlic

and shallots served with sweet chile sauce; chicken adobo, here served slider-style on pandesal, or Filipini salt bread; and sisig, often called the best drinking food on the planet.

Pork parts are boiled, grilled, then crisped up on a sizzling hot plate with raw onions and served on rice.

Also on the concise menu will be pancit, a “party dish” consisting of thin rice vermicelli with sauteed veggies, soy and lemon.

“It’s the original fusion cuisine,” Madrilejos says of Filipino cooking The arrangement is best described as a win-win for Carabao and Spotted Owl, which struggles to fill its seats before 9 p.m., according to owner Will Hollingsworth.

“Obviously, we’re known for our beverage and that’s what we do, but getting people in for beverage early in the evening has been a challenge for us; people want that food component,” Hollingsworth says. “I really like what Platform is doing with Plum and Saucisson. I think it’s a really cool model that makes a lot of sense for what we do.”

The food works in concert with the Owl’s happy hour, which runs from 5 to 7 p.m. and features $2

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refills on punches, highballs and coolers as well as cheap drafts and a daily boilermaker.

“I’m mostly just excited about this Filipino food,” Hollingsworth adds.

“It’s different, it’s really cool food, and it’s great drinking food.”

If things continue to go well for Madrilejos, who also works as head bartender at Graffiti Social Kitchen, Carabao Filipino Cuisine might soon find itself in any number of more permanent positions.

“At first I just wanted to introduce Clevelanders to Filipino food, but I think there are a lot of opportunities down the road,” Madrilejos says.

POPULAR FOOD TRUCK BOCA LOCA BURRITO FACTORY FINDS PERMANENT HOME IN BEREA For about two years diners have waited in line at the Boca Loca food truck for delicious burritos served up with a side of sass from owner Heather Doeberling.

Now folks can cop a squat at her brand new 30-seat restaurant, just steps from the campus of Baldwin Wallace University in Berea (1 Berea Commons, 440-625-0121, bocalocaburritofactory.com), which opened last week.

Once admittedly obsessed with Chipotle’s burritos, Doeberling often found herself waiting in line surrounded by plenty of disgruntled customers and staff.

“I thought, I can make a better burrito, make sure it’s locally sourced, I can give back to the community which I’m a part of, and I can make people have fun while they’re waiting,” she explains. “Boca Loca means crazy mouth, which means you’ll never know what comes out of our mouths.”

The restaurant takes the place of Sandwich Delites, a neighborhood staple since 1975. During lunch and dinner, customers will find all their favorite truck-based dishes and then some. Along with burrito favorites like the Big Wet One filled with carnitas, cilantro-lime rice, black beans, pico de gallo and cheese and smothered in melted queso sauce, and the Cubano with carnitas, ham, cheese, mustard and spicy pickles, there is an all-new line-up of starters.

One unique aspect of the eatery is that they are part of the BW student meal plan.

“Before, the only options other than the cafeteria was Domino’s,”

Doeberling says. “College kids need decent food too.”

As for the truck, it still makes the occasional rounds, so keep an eye — and ear — out for Doeberling and partner Emily Moes.

DETAILS EMERGE ON RED-BASED RESTAURANT TO OPEN ON PROSPECT AVENUE Since it was announced that Red Restaurant Group took possession of the Gateway District building at 811 Prospect Avenue, rumors have swirled as to what restaurant — or type of restaurant — would ultimately emerge following the planning phase of the process. After all, the restaurant group has in its portfolio Moxie the Restaurant and three Red Steakhouses. Given that one of those Red locations is right down the block, the smart money was on Moxie.

Sounds like that would have been a sucker’s bet.

“We are not limiting ourselves on what we are going to serve,” explains chef and partner Jonathan Bennett.

“It will be extremely cost-effective food with a lot of salads, a lot of sandwiches and a lot of healthier options.”

Given the size of the building, which has been vacant since it was built in the late 1990s, that makes perfect sense. Tentatively called 811, the restaurant will be a vast departure for Bennett, who has only worked in tightly focused fine-dining establishments.

“I’m still trying to wrap my head around the concept,” he says halfjokingly. “It’s all over the place.”

He describes the concept as a “no-holds-barred international amalgamation” with inspiration coming from all over the globe.

“Who says we can’t have Korean fried chicken and a burger on the same menu? There’s Chinatown and Little Italy right down the street.

America is a melting pot — and we’re not done melting.”

In addition to salads and sandwiches, diners might have their choice of sushi, burgers and yakitori grilled over charcoal.

“Maybe a carnitas sandwich with spicy tomato soup, because it’s tasty!”

Bennett and partners Jon Gross, Brad Friedlander and Peter Vauthy are wrapping up the planning and design phase and soon will begin the build-out phase. The latest estimates place opening day in late spring.

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magazine | clevescene.com | November 11 - 17, 2015

MUSIC A BEAUTIFUL JUXTAPOSITION

A ‘wild’ painting inspired singer-songwriter Vanessa Carlton’s new album

By Jeff Niesel WHEN SINGER-SONGWRITER Vanessa Carlton entered the pop/ rock world in 2002, superficial female pop singers dominated the airwaves. That year, Forbes magazine called singer Britney Spears the world’s most powerful celebrity.

In that context, Carlton’s single “A Thousand Miles” came across as something more substantial. With its lilting vocals and spirited string arrangement, the tune had more in common with alt-rock acts such as Tori Amos or the Cranberries.

And it became a huge hit, effectively launching Carlton’s career.

Subsequent albums haven’t been as commercially successful, but Carlton remains a pop star of some stature, even if Forbes hasn’t bestowed any ridiculous titles upon her.

With her new studio album, Liberman, Carlton takes a sharp left turn and embraces a sound that’s even further removed from whatever you might hear on the radio. The sparse album, Carlton’s fifth fulllength, represents a change of pace from the poppy material she’s written and recorded in the past.

Earlier this year, she offered a sneak peek of the new album with the EP Blue Pool, which included moody tracks “Take It Easy” and “Blue Pool,” both of which ended up on Liberman.

When asked about her influences, Carlton says she didn’t spend

her youth listening to singersongwriters. Rather, she says, she mostly listened to classical music.

“I was listening to the cassette tapes in my mom’s car — Aaron Copland and stuff like that,” she says via phone from her Nashville home. “When I was really little, I liked ‘Peter and the Wolf’ and stuff like that. The rock ’n’ roll stuff that I heard came from my father. That was more ’70s rock like Fleetwood Mac, Pink Floyd and the Grateful Dead.”

Initially, she studied ballet and had hopes of pursuing it as a profession.

“Ballet was my main goal,” she says. “My mom urged me to continue music on the side. The ballet world is really hard. When I quit when I was 17, it was all I had. It was a real comfort to turn to music. It snowballed from there. I liked the idea of being able to make an album.”

Given that she struggled with depression, music provided an outlet that served as therapy.

“When you become a teenager and in your 20s, things become really hard,” she says. “Life is so hard and it feels painful. Absolutely, music was a comfort.”

She recently moved from New York to Nashville to marry John McCauley, who plays in the indie rock group Deer Tick. The couple has a baby girl. She says the songs don’t entirely relate to marriage and

childbirth.

“Well, my timeline is weird,” she says. “I made the majority of the record and the context was set before I even got married. I had met John when I was writing the record.

I was about to go to England and start recording. All this happened later. I had to sit on it for a year. I did finish some songs when I was pregnant. [The album] is not a reflection of all of this change but it

is a reflection of the state I was in. I was attracted to this development in my life. I was very chilled out. I was more observational. I wasn’t trying to force my hand on things.”

She says the types of books she read at the time pushed her in a more contemplative direction.

“I was reading a lot of books but in particular, Joseph Campbell’s The Power of Myth,” she says. “I love to hear him speak too. I was

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

“Ballet was my main goal. My mom urged me to continue music on the side.

The ballet world is really hard. When I quit when I was 17, it was all I had.

It was a real comfort to turn to music.”

— Vanessa Carlton

Vanessa Carlton, in a contemplative mood.

magazine | clevescene.com | November 11 - 17, 2015 51

MUSIC gravitating toward books like that and Rebecca Solnit’s A Field Guide to Getting Lost, which is also great.

I guess it was just the next chapter for me as a woman and an artist in my early 30s. I’m living in New York and I had just met John. I was really solitary and peaceful. I was really content with my life. I was curious to move forward. That was the state I was in. I can’t say that’s a normal state for me. That was one of the first times I ever felt that way. I was 32 or 33.”

The album title comes from her grandfather’s name, Liberman. She owns only one of his paintings, which her grandmother sent to her in 2005, but it inspired the album’s melancholy tone.

“My piano was angled when I was writing this record, and I was staring at it the whole time,” she says. “My mom had told me this story about how her last name wasn’t her real last name.

I thought it was Lee. My middle name is Lee. But that’s not really their last name. She told me the story of it. [Liberman] is a more authentic name for my family and I was inspired by the colors in his paintings. His paintings are really wild. He’s a classically trained oil painter. He makes these crazy choices with these colors. It’s a beautiful juxtaposition. That sums up the record.”

With its echoing vocals and triphop-inspired synthesizers, “House of Seven Swords,” one of the album’s highlights, finds Carlton evocatively singing in upper-register.

“I wrote that for my brother,” she says of the tune. “It was a couple of weeks before graduation. He wanted

that each of us are many sides of a sword. You have to decide what side you want to be.”

Then, with the song “Operator,” which features pounding percussion, she goes in a different direction and virtually growls.

The album pushes her sound in a direction that she says suggests her true interests.

“I think this sound, which is its own thing, started when I met [producer] Steve Osborne,” she says. “I was starting to really study music that made me feel different in a good way. I wanted to shed myself of that expectation to deliver pop songs. It took me years to reconcile my early success and allow myself to get back on a pure track in terms of inspiration. My journey was to find Steve Osborne. He’s a producer who’s worked with New Order and Doves. It was mainly this Doves album. I wanted to find the man behind the sound. That was the beginning of this. I recorded [2011’s] Rabbits on the Run with him, and I wasn’t done learning from him.”

This music has a simmering intensity to it, a quality that might be difficult to pull off live. When we spoke to Carlton, the tour hadn’t started yet and she was unsure how she would incorporate her older material into the set. “[The new material] sounds really different from the old stuff, and you want it to feel pretty uniform,” she says. “It should be a show that grows. It should feel like it comes from the same world. It all comes from me. The album is deceiving. It sounds like it would be easy to do live. There is so much in production.

There are so many effects and things to achieve this meditation feeling. I’m going to tour with this guy who’s a madman who plays

VANESSA CARLTON, JOSHUA HYSLOP 7 P.M. SUNDAY, NOV. 15, MUSIC BOX SUPPER CLUB, 1148 MAIN AVE. 216-242-1250. TICKETS: $25 ADV, $28 DOS, MUSICBOXCLE.COM

to move to the city. It was a really scary time. I never graduated from college. I stopped and started. My mom keeps reminding me of that to this day. It was a letter to him that things can be the way you want them to be. You build it yourself.

You custom make your life. House of Seven Swords is this tarot card in my desk. I liked the artwork. I looked it up. It all fit in with the song. The card is many different things. One of the meanings is

52

magazine | clevescene.com | November 11 - 17, 2015

violin and makes all these different sounds. We can record on stage. You can create tracks while you’re up there. [In rehearsals], we’ve done a good job of bringing the Liberman songs to life. I have a little more time to get things together. I won’t know until I start the tour, but I’m excited about it.”

jniesel@clevescene.com t@jniesel

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53

MUSIC HE SAYS, SHE SAYS

Canadian rock act July Talk makes the most of a contrast in vocal styles

By Jeff Niesel THE MEMBERS OF THE CANADIAN indie rock act July Talk felt the recent political election was so important, they promised to call and thank any young adult who voted. Turns out, they’ve had to make quite a few calls in the election’s wake.

“It’s been pretty fun,” says singer

Garden” and retro-leaning pop, came out three years ago in Canada. It’s just been reissued with a few additional songs here in the States. On it, the two singers trade off vocals, creating a rather stark contrast between their voices.

“The first day you sit down with

“She had a bicycle helmet on and was covered with face paint,” he recalls. “She also had a guitar. To make a long story short, I listened to her play and I played a song we ended up turning into ‘The Garden.’ She took off, and I had to track her down. Once I did, she agreed to play some music and try some stuff. Right off the bat, we knew we had no interest in being a folk Simon-and-Garfunkel-type of duo. We wanted to have a rock ’n’ roll band that was loud and dynamic and something like Crazy Horse. [Bassist] Josh [Warburton] came through.

He owned a film company. He is an incredible songwriter and musician.

this person and you’re playing through a song that was written by one voice,” says Dreimanis. “You change it around slightly and the lines mean something completely different.

They hold so much conflict just because two people are singing them to each other. You can do that to any popular song. Quickly, that novelty grew into a bit of an obsession between the two of us and between the whole band. You can imagine writing for this band is so much fun.

All the dynamics on the musical level have to match the conflict within the vocal conversation. It’s this Pandora’s Box once you open it.”

Photo by Steven Kowalski

Initially, the two met cute, as they like to say in Hollywood. Dreimanis had been playing in another band that was coming home from a European tour. “It had just imploded when we came home.” He walked into a bar, and Fay, whom he had never met before, was sitting in the back corner.

July Talk

Peter Dreimanis via conference call with band mate Leah Fay. “It makes phone interviews feel very different once you spent a day on the phone talking to strangers. We’ve had a blast doing it. We got a great response. I don’t know what the voter turnout is like in the States, but in Canada, it’s really, really low. It’s under 40 percent.

We wanted to do something about it.”

While the gimmick got the band a bit of publicity, voting is something the band feels passionately about.

“When you’re young, it’s easy to be apathetic because you feel as though you’re being alienated,” says Fay. “It’s hard to see yourself represented by the type of people running the country and all of North America. It’s hard to be like, ‘These people care about what I have to say and what I think.’ The first time I voted was because Puff Daddy said if you don’t vote, you can’t complain. I think at the time, there was an American election going on at the same time as the Canadian election.”

The push to get young people to vote suggests that Dreimanis and Fay have more than music in common.

They seem to really share a perspective about activism and self-motivation.

54

JULY TALK, LITTLE HURRICANE, TEXAS PLANT 8:30 P.M. WEDNESDAY, NOV. 11, GROG SHOP, 2785 EUCLID HEIGHTS BLVD., 216-321-5588. TICKETS: $12 ADV, $14 DOS, GROGSHOP.GS

[Drummer] Danny [Miles] came over from the other band and it was a quick thing. We were into making an album in six months. It really wasn’t long. It was baptism by fire.”

The resulting self-titled album, a mix of garage rock and blues that alternates between noisy numbers such as the aforementioned “The

magazine | clevescene.com | November 11 - 17, 2015

Fay says that they didn’t want to “create Johnny and June or these traditional duets.”

“When we first had band practices, we did some covers and they were never duet covers,” she says. “They were songs that were sung by one person. We did a Leonard Cohen ‘If It Be Your Will’ and an Antony and the

Johnsons’ song and ‘Bernadette’ by the Four Tops. They’re all emotionally charged male songs. They’re not typical songs you would see two voices in.”

“When we started singing together, it was clear there was this harsh divide and everything we sing would come through that lens,” says Dreimanis.

“We fought against that a bit. We don’t want there to be a pattern. With some of the newer material, we hit the nail on the head. Now, we’re writing new songs for our second album and we’re far closer to creating a well-balanced picture of what’s in our minds. That all came with the learning experience of doing it and doing it and seeing people’s faces. Sometimes, people see our shows and think we’re fighting and physically angry with each other.

You don’t realize that every small move means something, and it is so important that we’re conscious of what we’re doing and use every one of our limbs and thoughts to shape what we’re saying to the audience. Once you put a man and a woman on stage, you’re automatically saying something.

We’re really conscious of that.”

The music has been described as garage blues, but Dreimanis says the band’s style has changed over the years.

“The album has had a few life spans and alternate versions,” he says. “The American version of the album is a bit of a compilation. We boil it down to rock ’n’ roll. Something that’s worked for most artists is not overthinking those things and not adhering to a genre. It’s where we belong. We love the Rolling Stones. We love personality. We connect to character like Iggy Pop and Patti Smith, people who have personality seeping through the music because they can’t stop it.

That’s the rock ’n’ roll we jumped into. There’s blues influence but that was born out of finding a common ground between indie rock in Toronto and country in Alberta. We end up in a strange pop/blues conundrum. It’s like Harry Nilsson with this Delta blues background. We’re not tied to anything.”

jniesel@clevescene.com t@jniesel

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magazine | clevescene.com | November 11 - 17, 2015 55

MUSIC A VINTAGE SOUND

Davina and the Vagabonds capably draw from Dixieland jazz

By Jeff Niesel Photo by Grinkie Girl Photography

GIVEN THAT SHE’S OFTEN LIVED a transient lifestyle over the years, singer-songwriter Davina Sowers says she thought it would be appropriate to name her backing band the Vagabonds.

“I was myself pretty much a vagabond,” she says via phone from her Minneapolis home. “I hitchhiked and traveled the U.S. I had lived in Key West and California. I have been called a vagabond by my family.

Little did I know that it would have ended up manifesting itself in the fact that we travel as much as we do. I didn’t know it would take off as much as it did, not that I have this massive career. It was more of a personal thing than anything. I’m probably the most vagabond-like of all five of us in the band.”

Drawing from New Orleans jazz, Memphis soul and musical theater, the group capably defies categorization. Sowers rightly draws comparisons to Etta James, Amy Winehouse, Billie Holiday and Betty Boop. Another remarkable mishmash of musical styles, her latest album, 2014’s Sunshine, represents her eclectic taste in music and shows her maturation as a singer and songwriter too.

Sowers grew up in the “economically depressed” Altoona, Pennsylvania, a heavy railroad city.

The experience wasn’t necessarily a positive one.

“My mom Delores will remind you that her name means ‘pain,’” she says. “She went through so much. I grew up with her vinyl. I listened to Crosby, Stills and Nash, Seals and Croft, Melanie, Joan Baez and Judy Collins. I listened to all of her pop folk music. The Mamas and the Papas really taught me how to harmonize. That’s how I grew up.

My father listened to Fats Waller and eerie turn-of-the-century music.

weird music.”

Eventually, she was drawn to Dixieland jazz and music from New Orleans.

“I had hired these horn players early in my career,” she says. “They were brass-band players. They helped me understand that type of music. I fell in love with it because it reminded me so much of the stuff my father liked. If you listen to our music, it’s really my love for that early Dixieland minus the clarinet.

I always throw out the clarinet in my recordings. From that point on, I never hired a reed player. I always had brass players and it was a trombone and trumpet. I loved what they could do as two horns together in those traditional songs.”

With the band’s first full-length, all-original album, 2011’s Black Cloud, Sowers shows her maturity as a writer.

“It shows that I’m starting to hone my songwriting skills and shows what I’m going through with music,” she says. “It’s part of my heart. It’s the first album where I had the chance to express myself 100 percent. With the first two [self-released albums], you can smell the naiveté of it and you can just smell the insecurity of writing.

You can just smell it. I don’t run into many people who have those albums. They’re horrible. I feel like Black Cloud is more me. It shows the growth I had.”

She used vintage equipment to record last year’s Sunshine. The album kicks off with the woozy title track, a piano-based tune that benefits from a spirited horn section.

Sowers sounds a bit like the late Amy Winehouse as she croons, “I ain’t got the time.”

“There is a little more production on it,” says Sowers when asked about the recording approach. “The

DAVINA AND THE VAGABONDS 7:30 P.M. SUNDAY, NOV. 15, MUSIC BOX SUPPER CLUB, 1148 MAIN ST., 216-242-1250. TICKETS: $15 ADV, $18 DOS, MUSICBOXCLE.COM

The pre-war jazz and even the early country that was kind of eerie.

Now, I’m this huge melting point of

56

writing itself is still me. I can’t say that’s different. I wasn’t attempting to change myself. It’s definitely

magazine | clevescene.com | November 11 - 17, 2015

Davina Sowers

recorded differently. The clarity is much different in the recording.

It’s better. I had to keep telling my engineer to not put so much reverb on it. He was really into the Beach Boys and that natural reverb.”

Currently at work on a live album, the band will conclude the year with a few tour dates, including one that takes it to a Swiss festival.

For Sowers, who says she’s received plenty of unsolicited advice on how to sing, finding the confidence to trust her abilities has been key.

“In the beginning, I think people were telling me who I should be [and

what I should do] with my voice,” she says. “I’m going to sing the way I want to. I just want to express myself. If people hate it, screw them.

At least I’m being honest. I just want to be a well-rounded vocalist. I don’t want to be that girl where you listen to 10 songs and they all sound the same. I want to entertain with my voice. I’m a ham and I love to entertain people. To me, that’s what singing live is.”

jniesel@clevescene.com t@jniesel

magazine | clevescene.com | November 11 - 17, 2015 57

LIVEWIRE

all the live music you should see this week Photo courtesy of Blind Ambition Management

WED

11/11

Cleveland Stage Alliance: The Songs of 007: Over the years, some major artists have contributed songs to James Bond movies. Think of Paul McCartney’s “Live and Let Die,” Carly Simon’s “Nobody Does It Better” and Shirley Bassey’s “Goldfinger.”

Recently, powerhouse singer Adele contributed the Academy Award winning “Skyfall.” Tonight, several Northeast Ohio singers and musicians come together as the Cleveland Stage Alliance Presents “new and familiar arrangements of the classic tunes.” (Jeff Niesel), 8 p.m., $15.

Bop Stop.

Wild Adriatic (in the Supper Club): Managing to sound more like an American rock orchestra at times than the trio that they are, Wild Adriatic has been carving up a fine vibe on the regional touring circuit these past few years. The band’s 2014 album, Big Suspicious, kicks around a big, big sound on 12 heavy tracks. “40 Days 40 Nights (Hard Times)” carries singer Travis Gray’s soaring vocals across tight, soulful riffs and enticing percussion. “Cooperstown” slows the tempo a bit, showcasing the band’s more atmospheric songwriting chops. Throughout the album, Gray’s guitar work gets the fuzz treatment, evoking the inspirational strains of Dan Auerbach’s early, Akron-born playing. Tonight’s show will definitely involve dancing, so come prepared. (Eric Sandy), 8 p.m., $8 ADV, $10 DOS. Music Box Supper Club.

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

BDQ/Dan Holt: 8 p.m. Barking Spider Tavern.

Cas Haley/Collin Hauser: 8:30 p.m., $14-$54. Beachland Tavern.

July Talk/Little Hurricanes/Texas Plant: 8:30 p.m., $12 ADV, $14 DOS. Grog Shop.

Kid Tested/Not Blood Paint: 9 p.m., $5. Happy Dog. Plastic Crimewave Syndicate/ Another Mother’s Milk/Burnin Loins: 9 p.m., $5. The Euclid Tavern.

Timeflies/Kalin and Myles: 8 p.m., $28 ADV, $31 DOS. House of Blues.

58

FRI

Appropriate given their gospel background, the Blind Boys of Alabama perform at Trinity Cathedral. See: Sunday.

THU

11/12

Jamey Johnson/Chris Hennessee: An old-school country guy who’s been kicking around for about a decade, Jamey Johnson raised eyebrows with 2008’s That Lonesome Song, an introspective album that came off as country music’s answer to Springsteen’s stark Nebraska. The album even commences with a skit in which a jailor sets Johnson free and tells him to stay out of trouble. Johnson originally self-released the disc in 2007 before Mercury Nashville took notice and then reissued it, and with the push of a major label it would eventually go platinum.

The songs on his 2010 follow-up, The Guitar Song, weren’t as deeply moving but they did confirm That Lonesome Song wasn’t just a fluke. On 2012’s Living for a Song, Johnson pays tribute to the late country singer and songwriter Hank Cochran, and he gets a little help from friends such as Alison Krauss, Merle Haggard and Vince Gill in the process. (Niesel), 7 p.m.

House of Blues.

ZANO CD Release Party: A fixture on the local hard rock scene, Brandon Zano pulled up stakes and moved to L.A. earlier this year.

While there, he managed to finish the album he started recording in Cleveland. Tonight’s show at Liquid serves as a release party for the long-in-the works pop project for which he enlisted the talents of local producer Ben Schigel, a guy

magazine | clevescene.com | November 11 - 17, 2015

who’s produced a number of bigname rock acts and currently plays in the up-and-coming alt rock act SomeKindaWonderful. (Niesel), 10 p.m. Liquid.

Ryann Anderson Trio/Bob Frank/ Troy Petty: 6 p.m. Barking Spider Tavern.

Blues Chronicles (in the Supper Club): 7:30 p.m., $7. Music Box Supper Club.

CIMprovise Jazz Trio: 8 p.m., Free.

The Euclid Tavern.

Paula Cole/Mark Erelli: 8 p.m., $28 ADV, $32 DOS. Music Box Supper Club.

Dallas Brass: 7:30 p.m., $40.

Packard Music Hall.

Facility Men: 9 p.m., $5. Now That’s Class.

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

Highly Suspect/Window Dogs/Twin Atomic: 8:30 p.m., $15 ADV, $17 DOS. Beachland Ballroom.

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

Jenna Mammina & Rolf Strum: 8 p.m., $15. Nighttown.

New Soft Shoe: 8 p.m., Free. Happy Dog. Plain White T’s/Matt McAndrew/ Beta Play: 8 p.m., $20. Musica.

The Sleeps/The Do Aways/ Partysnoozer: 9 p.m., $7.

Beachland Tavern.

Transient Canvas: 8 p.m., $10. Bop Stop.

Young Rising Sons/Night Riots/ The Mosers: 8 p.m., $16 ADV, $18 DOS. Grog Shop.

11/13

The 77s: 20 Years Gone A Full Band Show with Deni Gauthier: 7:30 p.m., $20. Musica.

Cinderella’s Tom Keifer: 8 p.m.

Hard Rock Rocksino.

Dark Blue/The Gotobeds/Perverts Again: 9 p.m., $8 ADV, $10 DOS. Now That’s Class.

Forecast: 8:30 p.m., $15. Nighttown.

Buddy Guy: 8 p.m., $29.50-$69.50.

Packard Music Hall.

H2O/Angel Du$t/Give/Crossface: 8 p.m., $13 ADV, $15 DOS. Grog Shop.

Handguns/Roam/Broadside/Sudden Suspension/Call Your Shot/Dead Fall: 6 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes.

Jivviden/Bad Hounds/Samfox: 9 p.m., $8. Beachland Tavern.

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

Nighttown.

The Mega 80s: 8 p.m., $14 ADV, $16 DOS. House of Blues.

Mo Mojo: 9:30 p.m., $5. Brothers Lounge.

PONYSHOW/Johns/Worst Gift/Brain Wave: 9 p.m., Free. Happy Dog. The Ragbirds (in the Supper Club): 8 p.m., $8 ADV, $10 DOS. Music Box Supper Club.

Reverend Peyton’s Big Damn Band/ Johnny & the Apple Stompers/ The Torments: 8:30 p.m., $15.

Beachland Ballroom.

Jeff Sherman (in the Wine Bar): 8 p.m. Brothers Lounge.

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

The Smokin’ Fez Monkeys/ RailShakers/George Foley & Friends: 5:30 p.m. Barking Spider Tavern.

State of Conviction/Ringworm/ Dead Shall Rise/Heavyweight/ Stray Dogs/Jerusalem Burning/ Psycho Plantation/Malice 213/ who Killed Loren?: 7 p.m., $12.

Agora Ballroom.

Urban Misfit: 10 p.m., $10. Musica.

Marcus Alan Ward/Fluffer/By LIght We Loom: 9 p.m., $5. The Euclid Tavern.

Windhand/Danava/Monolord: 9 p.m., $15. Grog Shop.

DJ Joe Yachanin: 6 p.m., Free.

Happy Dog.

SAT

11/14

Flamin’ Groovies/Wussy/DJs Alright and Jimmy Carl Black: To say Cyril Jordan and his band the Flamin’ Groovies have had

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magazine | clevescene.com | November 11 - 17, 2015 59

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magazine | clevescene.com | November 11 - 17, 2015

LIVEWIRE to wait for their just due as rock legends is an understatement of monumental proportions. Born and bred in San Francisco, the Groovies have weathered many a storm over the past 48 years.

Jordan’s integrity, which kept the band firmly rooted in the classic rock ‘n’ roll of the ‘50s and ‘60s, has meant that fame and fortune eluded him in an era in which jumping on the latest band wagons of psychedelia, album-oriented rock, punk and new wave may have allowed him an easy path to status and stardom. But it appears that time may be finally on their side. Jordan, original bass player George Alexander and charismatic lead singer Chris Wilson recently reunited after three decades, and the ground swell of interest in their rebirth has already reached international proportions. (Mark Horn), 9 p.m., $25. Beachland Ballroom.

Skinny Puppy/Youth Code: As the unsung godfathers of industrial metal, Skinny Puppy is still spitting out aggressive and technically spellbinding music.

Their past few albums (like Mythmaker and Weapon) have successfully bridged the band’s current form with their original creative conception. Thankfully, they’ve resisted the bass-drop EDM graft that’s infected so much of the industrial scene. While the band might have more tech tools at its disposal than in the ‘80s and ‘90s, these guys are still dabbling in the experimental vein first opened by cEvin Key in the days of new wave. There’s something raw and visceral about the band’s best stuff. A friend in high school once told me he wasn’t a fan by any means, but he could “appreciate” them for what they were doing.

And that’s the thing that can’t be denied: Skinny Puppy’s got (a very dark, mechanical) heart. (Sandy), 8 p.m., $12 ADV/$30 DOS. Agora Ballroom.

Joey Amato (in the Wine Bar): 8 p.m. Brothers Lounge.

The Babys: 8:30 p.m., $25-$40. The Tangier.

Rachel Brown and the Beatnik Playboys/Eclectic Vision: 8 p.m.

Barking Spider Tavern.

Das Fin/Bummed Out: 9 p.m., $5.

Happy Dog. Disco Inferno: 9:30 p.m., $5.

Brothers Lounge.

Elvis Hitler/Cult of the Psychic

Fetus/Dead Federatio: 9 p.m., $10.

Beachland Tavern.

Ernie Krivda: 8 p.m., Free. Bop Stop.

Homegrown Blues Night: 8 p.m., $5.

The Kent Stage.

Carlos Jones & the P.L.U.S. Band: 9 p.m., $10. The Euclid Tavern.

Jason Lescaleet/Forest Management/Watchword/ Witchbeam/Bbob Drake: 9 p.m., $8. Now That’s Class.

Lily and Madeleine/Shannon Hayden/The Village Bicycle: 9 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes.

Matt Pond PA/Laura Stevenson/ Completions: 8 p.m., $14. Musica.

Marissa Mulder & Jon Weber: 7 p.m., $25. Nighttown.

New Politics & Andrew McMahon/ The Griswolds/Lolo: 7 p.m., $27.50 ADV, $30 DOS. House of Blues.

Old No. 55 (in the Supper Club): 8 p.m., $7. Music Box Supper Club.

Songwriters in the Round: 4 p.m.

Barking Spider Tavern.

Toadies Heretics Tour/In the Whale: 8 p.m., $25 ADV, $28 DOS. Music Box Supper Club.

Tricky Dick and The Cover-Ups: 9 p.m., $5. Vosh Club.

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

Nighttown.

Wish You Were Here: The Sight and Sound of Pink Floyd: 8 p.m. Akron Civic Theatre.

SUN

11/15

All Time Low/Sleeping With Sirens/ Neck Deep: 6 p.m., $30 ADV, $35 DOS. The Agora Theatre.

Jeff Austin Band/JP and the Chatfield Boys: 8 p.m., $20.

Beachland Ballroom.

Blind Boys of Alabama: On their cover of Tom Waits’ “Way Down in the Hole,” the Blind Boys of Alabama layer gospel vocals over a gritty guitar riff, putting their distinctive stamp on a tune about keeping the devil “way down in the hole.” The song, the theme to the HBO series, The Wire, still finds its way into the band’s live sets.

We think of the group, which first formed in 1944, as a true American institution. Acts such as Keb Mo, Carly Simon, Warren Haynes and Vince Gill have collaborated with the band over the years. In 2013, the band collaborated with Bon Iver’s Justin Vernon, who produced I’ll find a Way. “Our manager was behind that,” says band leader Jimmy Carter. “He came to use one day and asked us if we wanted to do an album with Justin Vernon.

I said, ‘Fine. Who is he?’ After we

met and got to talking and listened to his material, which was good, we did the recording at his house.

He had a studio in his house in Wisconsin and we recorded in the bitter cold in November. You can imagine how cold it was, but he had a warm house and a warm house so everything went well.”

On its most recent album, last year’s Talkin’ Christmas, it offered up original Christmas tunes that benefited from a collaboration with Taj Mahal. (Niesel), 7 p.m., $43.50.

Trinity Cathedral.

Vanessa Carlton/Joshua Hyslop: 7 p.m., $25 ADV, $28 DOS. Music Box Supper Club.

Gary Cooper/Dan Maier Trio: 7 p.m., $15. Nighttown.

Davina and the Vagabonds (in the Supper Club): 7:30 p.m., $15 ADV, $18 DOS. Music Box Supper Club.

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

Hellwitch/Kill/Manticore/Merciless Reign: 9 p.m., $8. Now That’s Class.

Dylan Holland/Rise of the Broken/ Tim Moon/Polars: 7 p.m., $12 ADV, $15 DOS. Mahall’s 20 Lanes.

Hot Jazz Seven: 3 p.m. Barking Spider Tavern.

Mephiskapheles/Brazen Rogues/ Cypher/Consume Everything: 7 p.m., $12 ADV, $14 DOS. The Foundry.

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

Jason Ricci & the Bad Kind/Blue Lunch: 8 p.m., $15. Beachland Tavern.

Sleeping Bag: 9 p.m., Free. Happy Dog. Tone of Arc/Broke Keys/Stout XTC: 9 p.m., $10 ADV, $12 DOS. Grog Shop.

mon

While it certainly seems like native Clevelander Scott Weiland has had his hands in all sorts of projects over the years -- and he has -- there’s not a hell of a lot differentiating them. And that’s not a terrible thing. His latest outing, Blaster, written and recorded as Scott Weiland and the Wildabouts, carries the riffheavy glam-rock thing into 2015 -- reminding listeners all too well of similar trips from the likes of Velvet Revolver and the Stone Temple Pilots’ self-titled album.

Still, this is good rock ‘n’ roll crafted by one of the greats of the

past 20 years. Tunes like “Hotel Rio” and “20th Century Boy” have Weiland in his natural habitat: crooning and yelping over heavy chords and relentless percussion.

(Sandy), 7 p.m., $25 ADV, $30 DOS. Agora Ballroom.

Darwin Deez/Charly Bliss: 8:30 p.m., $12 ADV, $14 DOS. Beachland Tavern.

An Evening with Rickie Lee Jones: 8 p.m., $30-$60. Beachland Ballroom.

Nicko McBrain and the McBrainiacs: 7:30 p.m., $25-$35.

Akron Civic Theatre.

Outlab: Experiments in Improvised

Music: 9 p.m., Free. Bop Stop.

Wallace Roney Sextet: 7 p.m., $20.

Nighttown.

Second Hand Dogs/Charlie Wiener/ Amanda Walsh and G.B.: 7 p.m.

Barking Spider Tavern.

The Sueves/Make Overs/ Tonawondas: 9 p.m., $5. Now That’s Class.

Swing City Big Band: 7:30 p.m., $10. Vosh Club.

Two-Set Tuesday Featuring Taylor Lamborn: 7 p.m. Brothers Lounge.

scene@clevescene.com t@cleveland_scene

11/16

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

I Fight Dragons/2d6: 8 p.m., $13 ADV, $15 DOS. Beachland Tavern.

Steev Inglish/Noon: 7 p.m. Barking Spider Tavern.

Kottonmouth Kings/Malron Asher/ Chucky Chuck/C4: 6 p.m., $17 ADV, $20 DOS. Agora Ballroom.

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

Vile Creature/Harvey Pekar/Fascist Insect: 8 p.m., Free. Now That’s Class.

TUE

11/17

Scott Weiland and the Wildabouts/ The Icarus Line/The Missing:

magazine | clevescene.com | November 11 - 17, 2015 61

Photo courtesy of One Days Notice

BAND OF THE WEEK

ONE DAYS NOTICE

By Jeff Niesel MEET THE BAND Chris Bassitt (vocals), Jesea Lee (guitar, vocals), David Vallo (guitar), Justin Albaugh (bass), Benjamin Torres (drums) IN THE BEGINNING The band first formed in 2010 when guitarist David Vallo, who had played in several other local hard-rock acts, posted ads on Craigslist and recruited the other members. “We tell everyone that we met at a Beer Olympics in 2010 and got arrested and started a band after that,” says Lee. “That’s not true, but we do drink together a lot,” he says. The group initially issued the sevensong EP That’s What She Said and then followed it up with the mini-EP A Dime a Dozen, a collection of old tunes.

MELODY MAKERS A common thread runs through the band’s music — the guys have a real appreciation for melody. “We’ve all been huge fans of old school punk music, Bad Religion and Offspring,” says Lee. “We’re also into Beatles and the Who and Nirvana and Pearl Jam. We gravitate toward the heavier side, but we have a huge appreciate for pop. We strive to write catchy songs.”

PICKING UP THE PIECES The group wasn’t certain it would carry on after its previous album, 2013’s When Dinosaurs Get Drunk.

But the group kept jamming and then started recording with locals such as Joel Grant and Lance Waste and their respective studios, Great

62

magazine | clevescene.com | November 11 - 17, 2015

White Bear and WSTLND. “We pieced it together from four different locations,” says Lee. “We even recorded some of the vocals at my apartment.” The artist friendly label Remember to Breathe Records, will issue the resulting album, Blackout, which will arrive in January. Prior to the new album’s release, Substream Magazine and Idobi Radio, are streaming the album’s first two singles.

WHY YOU SHOULD HEAR THEM Blackout opens with the Offspringlike “All That I Know” and then delivers one hard rocking tune after another. High-pitched yelps distinguish “Riot,” a tune that serves as a vibrant call-to-arms. “We wanted to go back to our pop punk rocks,” says Lee. “We went way poppier on our last album, which ended up become more Maroon 5 and less of the Offspring. We wanted to write songs that would be super fun to play live. Some of the slower songs from our previous album didn’t come across well when we played them live.”

WHERE YOU CAN HEAR THEM facebook.com/onedaysnotice WHERE YOU CAN SEE THEM performs with Darling Waste at 7 p.m. on Saturday, Nov. 14, at the Foundry in Lakewood.

jniesel@clevescene.com t@jniesel

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www.alextheatercleveland.com magazine | clevescene.com | November 11 - 17, 2015 63

Jimmy Beams 5th Annual

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THE NEW RELEASE ON ALLIGATOR RECORDS AVAILABLE AT ALLIGATOR.COM AND OTHER FINE RETAILERS 64

magazine | clevescene.com | November 11 - 17, 2015

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magazine | clevescene.com | November 11 - 17, 2015 65

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66

magazine | clevescene.com | November 11 - 17, 2015

Richard Dickinson MFA, Associate Director

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magazine | clevescene.com | November 11 - 17, 2015 67

SAVAGE LOVE BROADWAY BABIES

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magazine | clevescene.com | November 11 - 17, 2015

Teligence/18+

Dear Dan, I’m a hetero guy in need of advice.

Back in college, I met this girl. Suffice it to say she was into me but I had some shit to work through. So we ended up being a missed connection, romantically. Despite that, we still became fast friends. I’m less awkward now, in large part because our friendship changed my life. We each married other people, and everything worked out great. Except I still love her.

I think about her often, want to share things about my life with her, find myself wanting to rely on her when things are tough. I don’t know what to do with it. On one hand, she means an awful lot to me — she is the kind of friend that comes along once in a lifetime — and I know that I mean a lot to her. So this is a relationship worth protecting, even as asymmetrical as it is. On the other hand, these feelings are starting to seem kind of pathetic.

We are barely part of each other’s lives anymore — do I even have a right to feel the way I do? I see three options, each of which is shit. (1) Keep my feelings to myself and endure/enjoy a painful but deeply meaningful friendship. (2) Disappear, either abruptly or gradually, with no explanation. Or (3) damn the torpedoes and bare my soul, which might painfully explode the relationship. After years of option 1, I am strongly leaning toward option 3 — just blowing shit wide open and dealing with whatever happens.

— No Good At Acronyms You’re going to need a gay dude to act on the advice I’m about to give you — and not just any gay dude, NGAA, but the kind of gay dude who obsesses about Broadway musicals. And not just any gay dude who obsesses about Broadway musicals, but the kind of Broadwaymusical-obsessed gay dude who has good taste. (Look through his record collection: If Joseph and the Amazing Technicolor Dreamcoat is in there and Mame isn’t, he does not have good taste.)

Okay, here’s my advice: Listen to the original Broadway cast recordings of Company, Follies, and A Little Night Music — music and lyrics, in all three cases, by Stephen Sondheim (peace be upon him). Yes, you can get all three recordings on iTunes, NGAA, but you need to listen to them on vinyl, and you need to discuss these shows, and three songs in particular, with someone who already knows them by heart. Hence the need for a gay dude with good taste in Broadway musicals and an extensive collection of original Broadway cast

recordings — on vinyl. As any Broadwaymusical-obsessed gay man will tell you: Epiphanies, insights, and breakthroughs come most reliably in moments of silence, i.e., when you have to flip the record over.

Here are the songs you need to pay close attention to: “Sorry-Grateful” from Company, “The Road You Didn’t Take” from Follies, and “Send in the Clowns” from A Little Night Music. (You might be a little too fragile for “Too Many Mornings” and “Losing My Mind,” both from Follies.) Listen over and over again — until you know the lyrics of all three songs by heart. Discuss what these songs mean with your new gay friend. Then you’ll know what to do.

Dear Dan, I was stroking my partner and went for the lube, when he informed me that he prefers to have his handjobs sans lube. He says that lube is messy. For the past three years, he has raved about my handjobs and said my skills are professional level, and never once did he complain about the lube. I attempted to follow through, but all my old techniques didn’t work. I asked him to show me how, what he likes, and he said just do the same as I’ve always done. The sliding, gliding, twisting motions that I usually use, all with a reasonable amount of squeezing, just DO NOT WORK without lube. My hand stuck to the dampish skin and would not slide.

He says I am making a big deal out of nothing, but I am upset. One of the best tools in my sexual toolbox has just been rendered unusable.

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magazine | clevescene.com | November 11 - 17, 2015 71

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