Scene February 19, 2020

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| clevescene.com | February 19 - 25, 2020

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CONTENTS

&%"25!29 s 6/, .O 34 Upfront .......................................5 Feature .......................................9 Get Out! .................................... 15 Stage .........................................20 Dedicated to Free Times founder Richard H. Siegel (1935-1993)

Film .......................................... 21 Eat ............................................ 23 Music ........................................ 26 Savage Love .............................. 37

REWIND: 1972

Euclid Media Group

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Music Editor Jeff Niesel Senior Writer Sam Allard

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Staff Writer Brett Zelman

Voice Media Group 1-800-278-9866, vmgadvertising.com

Web Editor Laura Morrison Dining Editor Douglas Trattner Visual Arts Writer Dott von Schneider

Cleveland Scene

Stage Editor Christine Howey

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Copy Editor Elaine Cicora Interns Claudia Ugbana

T. Rex, who will be inducted into the Rock Hall this year, graced the cover of Scene back in 1972. Check out the article in Rewind this week, on page 34.

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| clevescene.com | February 19 - 25, 2020

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UPFRONT PLAIN DEALER EDITOR GEORGE RODRIGUE DEPARTING MARCH 1 PLAIN DEALER EDITOR GEORGE Rodrigue announced late last week that he will depart from the newspaper’s top position on March 1.

In a letter to readers, Rodrigue said that he has accepted a role with the PD’s sister company, Advance Local, and will work with other editors in the Advance network to raise money and explore nonprofit collaborations.

“I’m going to miss my colleagues here in the Plain Dealer newsroom,” Rodrigue wrote. “They’ve inspired me, every single day. Even the cranky ones. Working with people this dedicated to community service — to finding and telling the truth — builds powerful feelings not just of loyalty, but of love. I hope you can feel that, too, when you see their work in our pages.”

Rodrigue acknowledged the difficult newsroom changes of the past several years, which he attributed to trends across the industry, but said that he was grateful for new bonds that had been forged and strengthened between the newsroom and the community.

He said reader input now has a more important role in the creation and execution of the paper’s journalistic agenda.

Rodrigue will hand the reins to managing editor Tim Warsinskey, a newsroom vet who handles the dayto-day operations of the paper and has edited some of the PD’s flagship series in recent years.

“As Tim is too modest to say, he’s been doing all the hard work around here for several years now,” Rodrigue wrote. “You won’t miss me much, and that makes me feel just a little bit better about leaving.”

News Guild Local 1, the union representing PD journalists, issued a statement wishing Rodrigue well and thanking him for his personal and professional support during a tumultuous few years, which have included multiple rounds of layoffs.

“We, of course, continue to have deep concerns about the local journalism landscape and where the Plain Dealer fits in,” the Guild wrote. “Continuing staff cuts and the cost of maintaining two separate newsrooms and a remote design and production staff has made our jobs harder. But our commitment to the

Photo by Sam Allard

future of journalism in Cleveland remains strong, and we will continue to fight to tell the stories of the community.” — Sam Allard

Cleveland is What Happens When You Gut a Newsroom As the McClatchy chain cedes ownership and control of its 30 newspapers to a hedge fund after filing Chapter 11 bankruptcy, the Cleveland Plain Dealer and the city it covers should serve as cautionary tales for what happens when profitoriented owners gut newsrooms and centralize production.

Roughly one year ago, the Plain Dealer, Ohio’s largest newspaper, outsourced 29 unionized editorial positions, members of what was known as the Pub Hub. Those staffers molded and laid out the print

product: They selected and organized top stories, wrote headlines and created original graphics, work which is now performed by a non-local production team that simultaneously does the same thing for 19 papers across the country. A few weeks later, a brutal round of newsroom layoffs reduced the Plain Dealer’s unionized editorial staff to roughly 30, a 90-percent reduction since 1990.

Editor George Rodrigue told Scene at the time that the centralized production model had been “industry-tested and proven to be effective.” In a letter to readers, he said that the decision would allow the PD to remain a “local institution” and would allow reporters and editors to retain “editorial control.”

“This change offers savings where they are least likely to harm the quality of our newspaper,” he

wrote. “It preserves local editing of local stories. It allows us to focus on the coverage that matters most to our community: in-depth breaking news, investigative journalism, stories that explain issues and events, and coverage that helps people make the most of everything Northeast Ohio has to offer.”

A year later, Rodrigue’s letter reads exactly like the corporate PR schlock it was. The quality of the paper has clearly been harmed. And it sure hasn’t been the case that saving money on design allowed the PD to hire additional reporters or make investments in the important coverage Rodrigue highlighted (unless we’re to assume that these savings were spent in their entirety on “Case Closed,” the series about woeful inadequacies in Cleveland’s sex-crimes unit). Indeed, shortly after Rodrigue’s letter, the paper saw | clevescene.com | February 19 - 25, 2020

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| clevescene.com | February 19 - 25, 2020

fit to part ways with some of its most senior reporters and photographers.

As the News Guild fought to save their colleagues’ production jobs last year, one of their main fears was that a non-local team would create a generic product. That fear has been borne out repeatedly. It is now standard for miscellaneous national stories to take precedence over local news. Last Thursday’s top frontpage story, for example, came from the Associated Press. It was about T-Mobile’s acquisition of competitor Sprint and what that “means for you.” Last Monday’s top story, also from the Associated Press, was a piping hot report about almonds and food labeling.

The front pages are now identically constructed, a template that allows for one major story above the fold and two newsy local items beside and beneath it, generally harvested from Cleveland.com, the Plain Dealer’s digital, non-union, sibling.

So far in February, there has been only one featured above-thefold story written by a local reporter (PD or Cleveland.com) on any day other than Sunday: Michelle Jarboe’s Feb. 7 piece on Sherwin-Williams’ decision to remain in Cleveland, with a fabulous accompanying photo by Marvin Fong. Eleven of the other 13 non-Sunday top stories were from the Associated Press. One was from the Washington Post. One, about the U.S. Senate’s decision to reject witnesses in the impeachment trial of Donald Trump, was from “wire reports.”

Whether by preference or by accident, these wire reports generally supersede local reporting and analysis on identical topics.

Cleveland.com sent its chief political writer, Seth Richardson, and (curiously) a private-citizen correspondent to Iowa to cover the caucuses there, but the PD’s frontpage coverage after the electoral SNAFU came from the Associated Press.

(In the three Sunday editions this month, the top stories have been a feature about local poet Honey BellBey, by Mike McIntyre, a story about UH’s new Chief Transformation Officer, by Brian Albrecht, and a story about funding for annual police training, by Rachel Dissell and John Caniglia.)

The interior of the paper is not much better. Which is to say: Every day but Sunday, there’s barely

enough locally reported content to fill the few pages that precede the sports section. Other than wire reports, rewrites of Cleveland.com stories populate Metro capsules — murders and the like — and the occasional court story from Cory Shaffer or Eric Heisig, criminal report from Adam Ferrise and county update from Courtney Astolfi and various statehouse dispatches from the Columbus team fill in gaps.

And just to be clear, it’s not like the Sunday edition is some paragon of local coverage. While it tends to cobble together top stories from the week, it’s by no means the case that there are hard-hitting watchdog investigations, fun arts and culture packages, and long, magazine-style narratives printed regularly. What can be said for it is that it sometimes approximates what a newspaper should strive to be: a home for original reporting with coverage that matters to the community. (Education reporter Patrick O’Donnell’s recent coverage of the school voucher debate at the Ohio statehouse is one example.)

The paper’s sterile design and grab-bag editorial sensibility has reportedly been exacerbated by communications issues between local reporters and national layout folks. Due to burdens on the centralized production team, Sunday stories that require graphics must be submitted nine days in advance, a schedule that precludes the publication of so-called “in-depth breaking news” stories when they require illustration.

At best, these issues and restrictions limit the paper’s ability to exist as a living, urgent, essential document for the region. At worst, it eliminates that ability altogether.

The Plain Dealer, in other words, has been thoroughly degraded. If you’re not a person of means, who’s supporting journalism kind of like how you’d support the Animal Protective League, anything other than a Sunday-only subscription is very hard to justify. We’re told that to support journalists we should subscribe to our local papers, and that’s certainly true. But the paper needs to provide value to its subscribers if it wants to be more than a charity case. That means having a sufficient number of reporters on staff to cover the breadth of the region’s happenings, (and not just its pro sports teams); having knowledgeable and courageous editors to steer bold investigative work; and having illustrators and designers to present it all in engaging ways.

Like in other industries,

individual workers at the PD are doing extraordinary work in the face of immense pressures and frustrations, to say nothing of the financial predations of Advance executives and the hedge funds pillaging and plundering across the industry. (It should go without saying that Advance’s corporate leadership, much like the glossy Patrick Batemans of Chatham Asset Management who will soon preside over the McClatchy titles, do not give one iota of a shit about what papers need to do to provide value to subscribers. Their interest is immediate profits, and those have generally been obtained by making dramatic newsroom cuts and “creating efficiency” by centralizing production.)

But unlike in many other industries, the killing of local journalism has dangerous and sweeping ramifications. Look no further than the state of Cleveland’s democracy, the economic performance of its citizens and the tumult of its institutions to clock some of its effects. “Newspaper closures hurt Ohio communities,” was the headline of a Policy Matters report on the subject last year. It cited research about the correlation

DIGIT WIDGET 26.19 PERCENT Cuyahoga County voter turnout in the 2019 General Election, the lowest general-election voter turnout in more than a decade.

14-40 (.259) Cleveland Cavaliers’ record under head coach John Beilein, who was rumored to be stepping down Monday, five-year contract notwithstanding.

1,098 African-Americans charged in Cleveland for possessing less than 100 grams of marijuana in 2018, according to records pulled by Cleveland.com. (The city recently ended penalties for possessing less than 200 grams of marijuana.)

116 White people charged in Cleveland for possessing less than 100 grams of marijuana in 2018, according to the same records.

of voter turnout, government performance and community news literacy with the strength of the local press.

Advance already dealt Cleveland journalism its death blow when it cracked the Plain Dealer into two competing newsrooms, a unionbusting scheme disguised as a “digital first” approach. Now, as it pursues the galaxy-brain strategy of alienating its readers by letting its flagship print product wither and die, citizens should recognize that it’s not just their paper that hangs in the balance. — Allard

Bad News, Cleveland Browns Fans: Your Suffering Does Not Qualify You for Medical Marijuana If you’re hoping to self-medicate with a little weed to soothe the sorrows of another losing football season, you’re going to have to do it extra-legally.

The Ohio Medical Board last week ruled that being a fan of the Cincinnati Bengals or Cleveland Browns is not a qualifying condition that makes fans eligible to purchase legal medical marijuana via the state’s program.

Cincinnati resident Vincent Morano turned in an application to the medical board asking for the designation. The board’s refusal to consider football fandom for medical marijuana eligibility isn’t exactly a surprise, but the body did also turn down more serious ailments, including depression, insomnia and opioid disorders.

Anxiety, autism and a wasting disorder called cachexia will move on to the next step in the process, however, receiving expert reviews as a prelude to possible inclusion on the list of eligible conditions.

Currently, Ohio residents can get a medical marijuana card if they have any of the following conditions: AIDS, amyotrophic lateral sclerosis, Alzheimer’s disease, cancer, chronic traumatic encephalopathy, Crohn’s disease, epilepsy, fibromyalgia, glaucoma, hepatitis C, HIV, inflammatory bowel disease, multiple sclerosis, severe chronic pain, Parkinson’s disease, post-traumatic stress disorder, sickle cell anemia, spinal cord disease or injury, Tourette’s syndrome, traumatic brain injury or ulcerative colitis. — Cincinnati CityBeat

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| clevescene.com m | February 19 - 25, 2020

Photo by Emanuel Wallace

Two local ‘bail disruptors’ are putting up money to free people awaiting trial and putting hard evidence behind the movement to reform the bail system

By Eric Sandy

HEN ANTHONY BODY walks into the Cuyahoga County Public Defender’s OfďŹ ce on Lakeside Avenue, he cheerfully waves to the receptionist and heads into the back of the building to pick up today’s stack of referrals. This is his morning routine. The legal ofďŹ ce is one of the places where Body scouts local defendants who are being held in the jail across the street, awaiting their chance to see the judge, some of whom he may spring from their cells by the end of the day.

On Dec. 2, 2019, he thumbs the sheaf of papers and steps into the spitting snow of another cold morning in Cleveland, tucking the referrals under his coat and heading into the Justice Center, where the bulk of his day will be spent.

Body works with the Bail Project.

He was hired in June 2019, along with Kareem Henton, to help give a more immediate shape to the argument for reform. Together,

they’re “bail disruptors,â€? the boots on the ground of a national movement to downshift pretrial detention policies and replace them with a more just system. They work out of a small ofďŹ ce in Tower City, overlooking Morton’s Steakhouse, and sometimes when they’re describing their work it feels like they’ve seen it all. Criminal justice is a suite of variations on a single theme, so maybe they have. “We’re all human,â€? Body says. “We’re all one or two mistakes away from being in jail or being homeless.

The system sort of sets people up.�

In the Justice Center, in Courtroom 12A each morning and each afternoon, the county’s 34 judges process felony arraignments like a livestock auction. This is where we see the First Appearance docket, a tool set up in 2016 to expedite all the things that need to happen before an actual trial.

Judges rotate through this duty day to day, so a defendant can never | clevescene.com | February 19 - 25, 2020

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FEATURE be quite sure which judge will be setting their bail. On Dec. 2, it’s Judge John O’Donnell. He reads cash bail amounts into the record, addressing orange jumpsuits on the in-house monitor (defendants who are already detained in the jail) and several plainclothes individuals in the courtroom. These are people who were arrested only days earlier, who haven’t yet been convicted of anything. A 22-year-old Mayfield Heights man is called forward on a concealed weapons felony charge.

Bail set at $5,000. Case management hearing in one week.

Next.

Bail set at $2,500.

Case management hearing in one week.

Next.

After the arraignments, gathering his names, Body retreats to a table in the Justice Center’s high-ceilinged atrium. He leafs through the referrals from earlier in the morning, getting a sense of who might need his help the most.

He checks these defendants’ priors, he balances the dollar amount of their bail against his organization’s capacity to pay, he notes the risk level of their possible failure to appear in court (a sliding scale determined by the public defender’s office). Some names come with a long history of violent episodes or a concerning degree of recidivism.

In those cases: “I’m not touching it,” he says. “Patterns show it’s not happenstance.” This isn’t a free ride, as critics might have countered early on. There’s a plan, a method.

Other names are first-timers in the annals of the Cuyahoga County Court of Common Pleas. Do they have kids at home? Do they have a job? How long have they been in jail? Where’s home? Much of that information is on the page, helping Body hone his approach. For any open questions, the bail disruptors have their work cut out of them.

By the end of the morning, he’s whittled that original list to six possible cases — six inmates eligible for the sorts of services he provides.

The next stop is the county jail, housed in the same building, where he’ll work with Henton to talk to these people and get a sense of how the Bail Project can help. Maybe they’ll need a ride to their court hearings once they’re released from jail. Maybe they could use help securing a state ID card. Maybe they just need to be told that this

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is going to be okay and given a few text reminders to show up for their case management hearing in a week.

We’ll figure it out together, Body tells them.

The Bail Project set up shop in Cleveland this past summer. It’s part of a national experiment that now spans 19 jurisdictions as relatively diverse as Tulsa; Chicago; San Diego; and Augusta, Georgia. In each community, bail disruptors like Body and Henton work to free men and women from pretrial detention.

The guiding principle is that old American yarn that individuals are to be presumed innocent until proven guilty.

More often than not, though, the cash bail system erects a two-tier system of justice, wherein those who can afford freedom have it. Those who can’t, don’t.

According to the Bail Project, the American tax base spends around $14 billion each year to incarcerate men and women who haven’t been

folks who aren’t able to spread their voices as loud as they would want.”

Body and Henton have bailed out more than 175 men and women in Cuyahoga County since they started.

On a national scale, the Bail Project has bailed out more than 9,000 men and women in the U.S. And that’s just the start of a moonshot that may very well change how this country treats its people.

***

In Body and Henton’s local bailouts, they’ve notched a 95-percent success rate in terms of ensuring that those defendants make it back to their scheduled court dates.

“Our model is showing the city of Cleveland and Cuyahoga County that folks will return back to court without having a dollar amount attached to it if you give them the services and the assistance they need to rehabilitate or to be a functioning citizen within society,” Body says.

Photo by Eric Sandy

Anthony Body making calls from inside the Justice Center.

convicted of anything.

“Just putting someone in jail and attaching a dollar amount to it is not guaranteeing that they will return to court,” Body says. “One thing I will say is that they’ll end up right back in the system if they can’t afford bail.” He’s had his own brushes with the wrong side of the law and knows all too well the grim pressures of the courts. Thankfully, he points out, he’s been in a position to have the necessary support systems to shepherd him from arrest to freedom. Not all are so lucky.

“This was a chance for me to walk in my own truths in a sense and have that tenacity to be the voice for the

| clevescene.com | February 19 - 25, 2020

In the interest of laying down some working definitions, let’s review what any of this even means.

When someone is arrested and charged with a crime, they’re not yet convicted of that crime. But in the meantime, before their trial begins, they’re typically held in jail. They can get out of jail by posting bail (in cash, an amount determined by a judge) or securing a bond (provided by a third-party bondsman, with interest attached). The idea is that the bail money serves as collateral to ensure the defendant returns to court. When all is said and done, if the case is dismissed or the defendant found guilty, the cash

returns to the person who posted it.

If the defendant fails to appear in court, well, they can kiss that cash goodbye.

There are several types of bail, but, generally, what’s required is full payment of the amount set by the judge. Another option is to pay a bondsman a 10-percent fee, and the bondsman will then take care of the full cash bail payment. When bail is set at $5,000, then, a $500 payment is often the shortcut needed to spring an individual from jail.

And when day-to-day life includes bills, bus tickets and breakfast at the corner store, a $500 bail payment can be cataclysmic. This is the backbone of the bail reform movement: Pretrial justice is meted out unevenly, based on who can afford cash bail, and so the whole of the justice system is unequal — stressed by this financial pressure to the point that what we have in America is two systems that operate side by side, almost invisibly.

Body and Henton know this too well. They’ve both worked as activists in varying capacities around Cleveland for years. Working for the Bail Project was a natural fit.

Body says he comes to this work with what he calls a Batman/ Bruce Wayne lifestyle, honing two viewpoints on how the criminal justice system works locally. He served on the Cleveland Community Police Commission as that group rose out of the ashes of the city’s consent decree with the U.S. Department of Justice. He ran for the Ward 9 seat on Cleveland City Council in 2017.

“I was able to sit at the table and have a voice at the table with policies, laws, legislators and have that seat in the room, but I was also able to be Batman at night and be out there with the folks who were being affected by a lot of these issues and laws and unjust practices that were happening,” he says. This is something that’s often missing, he insists, from the discourse in Cleveland — a willingness to walk through two worlds and to understand two ideas at once.

Henton says he sought a position with the Bail Project’s Cleveland office after he’d already been collaborating on this type of work with Black Mama Bailout. He’d teamed up with the organization to free black women from jail.

Each year, around Mother’s Day, the national organization raises funds to release black women from pretrial detention (123 mamas in 37 cities in 2019, thanks to more than 17,000 individual donations).

“When we free our own people, we deny this assessment that they are ‘risky,’ and we say: not in our name,� project director Arissa Hall told Global Citizen last year. “We, the community, are saying we don’t want you to hold someone [in detention] because you deem them risky to me.�

In January 2019, Henton recalls, he bailed out a woman who’d aged out of foster care and traveled to Ohio seeking her biological family.

That didn’t work out, and she soon ended up homeless. Then she caught a burglary charge in Cuyahoga County. “Desperate, you know what I mean?â€? Henton says. “She caught a desperate charge. First time ever being in any trouble. ‌ She had none of her documents, nothing, which is a common thing we ďŹ nd in the work we do. We often have to do referrals so that people can get with the proper agencies that will help them get their documents — identiďŹ cation, Social Security cards, things of that nature.â€? Out of jail as she awaited her own trial, she was able to steady herself. Later, Henton helped talk her through a confusing miscommunication from her probation ofďŹ ce, averting potential disaster.

She’s in college now, Henton says.

She’s doing much better now. “It was a success. My heart was really into it.�

***

The Bail Project takes that idea — freeing those people in jail who, in theory, are innocent until proven guilty — and adds a sense of legitimacy to it. Not that there’s anything particularly illegitimate about more clandestine bail-out work, but sometimes it’s helpful to have a nonproďŹ t at your back.

Robin Steinberg thought this when she and her husband, David, started kicking around the idea of building a bail fund for their clients in the Bronx in New York City. As public defenders, they’d seen how pretrial detention can tear a person away from their day-to-day existence just long enough to cave in the foundation. Kids sent to welfare programs. Immigration status questioned. Jobs lost.

Around 2005, she began soliciting philanthropic funds, and, after about two years of seeking some help, she found a supporter in Jason Flom, a music industry executive who’s cultivated an interest in wrongful convictions and the strange intricacies of the American criminal justice system. The idea was to put Flom’s money to work

in a revolving bail fund — get one person out of jail, see them through the duration of their criminal court docket, then get the money back and help someone else. Do it again. Keep doing it until the system learned and adapted.

Without knowing how the Bronx Freedom Fund would go, Steinberg says they worked quietly at ďŹ rst. “Very quietly,â€? she says. “I would say, actually, completely hidden from view.â€?

The positive results came swiftly, though, and soon the Bronx fund began to pick up a reputation.

For the next 10 years, everything that Steinberg learned shattered her preconceptions about the criminal justice system. Half the cases that the fund touched were dismissed, and very few of the remaining defendants got jail sentences. In fact, as defendants were freed, 96 percent of them continued to show up to court, and then prosecutors and judges grew more willing to engage in community-based solutions. The system began to respond.

The Bronx Freedom Fund also generated data: pure statistics that Steinberg could show local jurisdictions elsewhere to prove that this idea had legs. Bail reform was having a powerful effect.

In April 2018, Steinberg revealed her audacious goals in a TED Talk titled, “What if we ended the injustice of bail?â€? In her presentation, she leads with a prison parable, a vision of prison visits early in her career — grimy oors, maddening din and total isolation from society. The experience stayed with her, and she’s worked to communicate that to others; not everyone has the chance to walk through an active detention center and see what it’s like, after all.

Online, the TED Talk video has been watched more than 2 million times, and the Bail Project has been buoyed by collective donations that turned into the organization’s thousands of bail-outs. Now, the momentum is rolling.

Steinberg, founder and CEO of the Bail Project, visited Cleveland in November 2019, stopping in to check on the disruptors’ progress and assess particular needs, pressure points, successes. When the Bail Project launches in a new community, the organization is looking for potential partnerships and a general willingness on the ground to engage in solutions.

Where is the bail reform movement in this particular city? Who are the power brokers who may be able (and willing) to open the door to new policies? “But what we’re really trying to do in every local jurisdiction is

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obviously respond to the immediate human crisis, right?” she says. “That is: People are sitting in jail cells, their lives are falling apart, they’re being harmed, their families are being harmed, their communities are being harmed, over people who have not been convicted of a crime.”

The other thing the Bail Project has set out to do is work with local policy makers and elected officials to parse the empirical data and figure out what’s working (pretrial wraparound services, for instance) and what’s not (criminalizing poverty, for example). What might a different process look like?

“The Bail Project’s promise is really — what we want to do is ensure — that nobody in America is incarcerated before they’ve been convicted of a crime,” Steinberg says.

“What are some alternatives to the dumb blunt instrument of jail?”

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Mike Sutherland was sitting in the Cuyahoga County Jail when he heard about the Bail Project. It sounded like a joke, like somebody was pulling his leg.

“There was another inmate who was mentioning it, and I really didn’t believe it,” Sutherland says, recalling the cacophony of the jail, the shouted words, uncertain lingo. The Bail Project?

He’d been charged with receiving stolen property back in November.

The way Sutherland describes it, he bought a car from a young lady. He threw a 30-day tag on the car and fixed it up. Out in the neighborhood, he says, she must have seen him driving by — and she called the police to report the vehicle as stolen.

The miscommunications that funnel into the criminal justice system come hard and fast.

Suddenly, he was arrested and sent down to the jail to stew while he awaited his time before a judge.

“It was my property,” he insists. “I was trying to get out to prove that. I wanted to get out so I could really do some investigation on — what should I do?”

Bail set at $2,500.

Case management hearing in one week.

Next.

Sutherland was walking around on crutches, thanks to a motorcycle accident a year prior. His right foot was in a boot to help him walk, and he says that the corrections officers

took that from him. He craved his pain medication. Then he heard about somebody who might come around and pay his bail.

“When that guy said that, I wrote the number down — he hollered it out, talking to somebody else — and I called them and, lo and behold, it was like magic,” he says. Body picked up the phone and visited Sutherland on his next stop to the county jail.

“He told me what he was about and what he was going to do for me and told me not to worry — that he got it covered.”

By the time he learned about the Bail Project and jotted down Body’s number, he’d been in the jail for five days.

On the sixth day, Body showed up and got him out.

“He was right on time,” Sutherland says. “And it was like magic. I couldn’t believe that he really, really was out here, paying people’s bonds.”

Ultimately, Sutherland’s bail was dropped to $1,500.

When all of that was done, 17 days after his arrest in Mount Pleasant, Sutherland’s charges were dismissed.

Presumed guilty until proven innocent.

“What they’re doing is really helping, because in our community — and I’m going to tell you the truth,” he says. “In our community, sometimes we get overcharged with things, so the bond is higher than it needs to be. That’s something else that we can work on, getting those bonds reduced, so we can be working on our case. That’s the thing that we really need to do, is get out so we can be able to do our own footwork.”

***

Where Body and Henton have made inroads, they point out that the local conversation has predated the Bail Project’s work. They make it more clear and obvious, yes, but Cuyahoga County stakeholders have been particularly vocal in their intention to do something about the problem with cash bail.

In 2018, the Cuyahoga County Bail Task Force published a report that recommended sweeping changes to business as usual. “All Cuyahoga County courts should transition from a bail system based on bond schedules, which vary widely from one court to the next, to a centralized, consistent, and comprehensive system of pretrial services initiated immediately after arrest,” according to the report.

That hasn’t quite happened yet.

In a December 2019 report by former Cuyahoga County administrative judge John Russo, the

best bet remains hope. “I am pleased discussions have resumed with the county executive, and I am hopeful some form of centralized booking will happen for Cuyahoga County in the future,” he wrote.

On Dec. 12, 2019, the League of Women Voters Greater Cleveland teamed up with 90.3 WCPN Ideastream, Cleveland HeightsUniversity Heights Public Library and Siegal Lifelong Learning Program CWRU to present an overview of where we are now with these efforts. Russo was on the panel.

No doubt, this event was another signal that bail reform is a broad community issue, all hands on deck.

“No matter the genesis, sowing the seeds of change is a challenge,” Russo wrote, “but the harvest can be plentiful.”

For Cleveland Municipal Court’s role in all of this, Body and Henton say they haven’t made any progress into those courtrooms. But the municipal court started its pretrial services department later in 2018, following the task force report. The court closed the Warrensville Heights workhouse jail it was stacking with humans and consolidated its operations downtown at the county jail. Municipal judge Charles Patton Jr. told the crowd at the League of Women Voters event that he used to see between 200 and 300 men and women in that jail, so overcrowded that folks would be sleeping on the floor. Now, as of mid-December, the municipal court claimed around 90 people in jail. “During this year, we have reduced our jail population by more than 50 percent by utilizing the pretrial services, the adjustments to setting bail numbers and getting more people out in the street,” Patton said.

However it’s implemented, the work of bail reform (and “criminal justice reform,” more broadly) is a slow, incremental business touched by a sprawling spectrum of people on the ground in a particular jurisdiction. “It’s not going to happen overnight,” Body says, “but Kareem and I both have a journal where we just take notes and take notice of everything that we see or that we don’t see that should be happening.”

They watch the daily business of the Justice Center from the angle of the judge, the angle of a bail advocate, the angle of a client, the angles of family members, the angles of folks who have actually been in the system before, the angles of victims’ advocates, public defenders and so on. In some ways the work of bail disruptors is like describing the third season of Serial, where the team behind This American Life provided a rare fish-eye lens on the whole of

the local criminal justice ecosystem.

It takes that focused observation to really convey what justice looks like to the voting, taxpaying public.

“Being able to see it from these different angles, we’re able to observe and see all the nuances that come about and hopefully help come up with solutions to these nuances,” Body says. “We can make it a welloiled machine, where the process can be smoother and streamlined.”

And without that voting, taxpaying public having a grip on all of this, it’s hard to overturn the elected officials who’ve sat on this problem for so long. With each passing year, the American electorate coughs up another $14 billion to keep it going.

“It’s a lack of proximity to a lot of our elected officials, in a sense,” Body says. “They’re so strictly by-thebook, gung-ho to follow these laws and procedures, but not taking into consideration the culture and the environment that they’re currently operating in. We also have these elected officials that say, ‘We’re for the people! We understand what’s going on!’ But they’re the elected officials who are setting these outrageous bonds. They’re constantly being reelected.”

At some point, something’s gotta give. Body and Henton are banking on the simple idea of a revolving bail fund, the simple idea that grew out of a conversation in the Bronx and took hold in courts across the U.S. In January, the Bronx Freedom Fund stopped posting bail in New York City. It was a moment of victory, more than a decade on from the dream that Steinberg and her husband first talked about in hushed whispers. New York’s state legislature had approved a bill that would bar local judges from setting bail in misdemeanor and nonviolent felony cases. Pretrial services are taking precedence in New York county courts now, and the very work that Steinberg’s organization had been doing was suddenly obsolete. It was time to move on. Places like Cleveland need their attention now. Detroit. Tulsa.

Phoenix. The great American frontier of cash bail oppression.

And who knows what might happen next with Body and Henton working in the Justice Center each day?

“We mean it when we say we want to put ourselves out of business,” Steinberg says. “Nothing will make me happier.”

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GET OUT everything you should do this week Photo by Emanuel Wallace

WED

02/19

THEATER

Anastasia Featuring a book by playwright Terrence McNally, a new score

by Stephen Flaherty and Lynn Ahrens, with direction by Tony Award-winner Darko Tresnjak, Anastasia rolled into Conner Palace with plenty of hype. The show switches time periods and locations and takes place both in the twilight of the Russian Empire and the euphoria of Paris in the 1920s. It follows a young woman who’s pursued by a ruthless Soviet officer determined to silence her as she enlists the help of a con man and an ex-aristocrat. Tonight’s curtain is at 7:30; the show runs through Feb. 23. Tickets start at $39. (Jeff Niesel) 1615 Euclid Ave., 216-241-6000, playhousesquare.org.

THEATER

Clue Based on the cult 1985 Paramount movie and inspired by the classic Hasbro board game, this theatrical production of Clue at the Cleveland Play House promises to be the “ultimate whodunit that will leave you dying of laughter and keep you guessing until the final twist.” ( Scene theater critic Christine Howey called the frothy farce “a tasty little fruit compote,” in her Feb. 5 review.)

Tonight’s performance takes place at 7:30 at the Allen Theatre, where performances continue through Feb. 23. Tickets start at $20.

(Niesel) 1407 Euclid Ave., 216-241-6000, clevelandplayhouse.com.

FILM

Film Cafe Tonight at the Music Box Supper Club, Conrad Miles and Chris Webb discuss the process they went through to prep for the If/Then Tribecca Film Institute. It’s a nonprofit that provides funding and mentorship for filmmakers. Part of the Music Box Supper Club’s Film Cafe series, the program starts at 5 with a three-course dinner option.

The lecture begins at 7 p.m. Dinner costs $20, and the lecture is free.

(Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com.

Local Brews Local Grooves returns to House of Blues. See: Saturday.

BOOKS

MUSIC

DRAG

Hall of Fame Series Interview with Inductee Booker T. Jones Rock & Roll Hall of Fame inductee Booker T. Jones comes to the Rock Hall tonight to talk about his memoir, Time is Tight: My Life Note by Note. In the book, he discusses leading the Stax Records house band and helping to develop the Memphis soul sound. A book signing follows. It all goes down at 7 p.m. as part of the Rock Hall’s Black History Month celebration.

Tickets cost $15. (Niesel) 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com.

The Tap Pack Tonight at 7:30 at the Ohio Theatre, the Tap Pack will present an “elegant and entertaining nod” to the Rat Pack era featuring tap dancing and singing. There will be a live jazz band and plenty of banter with the audience. Tickets start at $30.

(Niesel) 1511 Euclid Ave., 216-241-6000, playhousesquare.org.

GlamGore Monthly Drag Show Each month, GlamGore, a drag show at the Grog Shop, features a variety of performance artists under one roof. The shows include everyone from “beauty queens” to “drag monsters.” Tonight’s show centers on the theme “Love Is a Drag.”

Beverly Knuckles, Be a Brat, Carly Uninemclite, Elizabeth Wayne Jaycee, and Discord Addams & Gidget Von Addams are on the bill. Tickets cost $10 in advance, $12 at the door, or $15 for VIP tickets that include a special photo opportunity/meet-andgreet with the cast at 8:30 p.m. The show starts at 9:30 p.m. DJ Zoë will attend to the turntables. (Niesel) 2785 Euclid Heights Blvd., Cleveland Heights, 216-321-5588, grogshop.gs.

THU

02/20

MUSIC THEATER

Sleuth Sleuth, which won the 1971 Tony for Best Play and was adapted to film on three separate occasions, offers “an inventive take on the country-house thriller.” A press release promises that suspense abounds throughout the “fiendishly cunning show” about a mystery writer fascinated by games. Tonight’s performance, put on by Great Lakes Theater Company, takes place at 7:30 at the Hanna Theatre. Tickets cost $15 to $89. The show runs through March 8. (Niesel) 2067 East 14th St., 216-241-6000, greatlakestheater.org.

The Big Easy Meets the Northeast: It’s Mardi Gras Time Fat Tuesday is right around the corner, and tonight guest vocalist Reggie Bowens joins the Cleveland Jazz Orchestra at the Beachland Ballroom for a Mardi Gras-themed celebration. The orchestra will offer “reverent and creative spins” on some of the most joyous music ever created. The concert begins at 8 p.m. The CJO will perform again at 8 on Saturday night at BLU Jazz+ in Akron. Tickets cost $35 to $55 for the Beachland gig and $25 for the BLU Jazz+ performance. Find details and purchase tickets for both concerts on the website. (Niesel) clevelandjazz.org.

COMEDY

Rocky LaPorte In 1988, Rocky LaPorte quit his day job as a truck driver to become a professional comedian. Turned out to be a good move. LaPorte hasn’t forgotten his roots and, in his standup routines, he makes simple observations about the oddities of life. In one performance, the comedian talked about putting your parents down as an emergency contact. “What are my parents going to do?” he joked. “‘Mrs. LaPorte, your son has been in a horrific | clevescene.com | February 19 - 25, 2020

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and admission is free. (Niesel) 1300 West 78th St., 78thstreetstudios.com.

GET OUT

FILM

car accident.’ ‘Well, give him some ice cream; he likes ice cream.’” It’s that sort of simple observation that makes LaPorte’s material stand out from the pack of other truck drivers turned comics. He performs tonight at 7 at Hilarities, where he has shows scheduled through Saturday.

Check the website for ticket prices.

(William Hoffman) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

COMEDY

Jay Stevens “Laughter is a healing medicine,” says comic Shawn D. Stevenson (aka Jay Stevens), a native Clevelander.

Stevens didn’t initially intend to pursue a career in comedy. But after he had a religious awakening nearly 20 years ago, he felt the need to share his gift with others — to help them relieve their stress and possibly heal them with laughter.

A clean comic, Stevens performs in both comedy clubs and churches.

He performs at 7:30 tonight at the Improv. Tickets are $15. (Niesel) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.

MUSIC

Tilson Thomas Conducts Symphonie Fantastique The esteemed Michael Tilson Thomas conducts the Cleveland Orchestra tonight at 7:30 at Severance Hall as it performs with guest mezzosoprano Sasha Cooke and bassist Dashon Burton. Tilson Thomas & Co. will play a pair of works by Berlioz and a new score by Tilson Thomas himself. Performances continue through Sunday. Consult the orchestra website for ticket prices and times. (Niesel) 11001 Euclid Ave., 216-231-1111, clevelandorchestra.com.

FRI

02/21

ART

78th Street Studios Third Friday Art Walk Tonight, the Third Friday Art Walk returns to the cavernous 78th Street Studios. More than 50 studios and galleries will participate in this popular indoor art walk; be sure to check out spots like the Derek Hess Gallery, Tregoning & Company and Hilary Gent Studio. Look for food trucks out front and live music on the first floor. Hours are 5 to 9 p.m.

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| clevescene.com | February 19 - 25, 2020

Bus Stop Marilyn Monroe, Don Murray and Arthur O’Connell star in this film about a rodeo cowboy who kidnaps a saloon singer. The film shows as part of the Cleveland Museum of Art’s Marilyn X 4 series that serves as a tribute to the sexy star and connects to the exhibit Proof: Photography in the Era of the Contact Sheet. The film screens at 6:45 p.m. today in Morley Lecture Hall. Tickets cost $10, or $7 for CMA members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

INK

Cleveland Tattoo Arts Convention Back for the fifth year, the Cleveland Tattoo Arts Convention brings together hundreds of tattoo artists and vendors from Cleveland and across the country for a weekend filled with tattoo sessions, entertainment, seminars, competitions and more at the Huntington Convention Center of Cleveland. Celebrity artists such as James Vaughn from Ink Master Season 7, Al Fliction from Ink Master Season 1 and Kyle Dunbar from Ink Master Season 3 will be on hand. The convention takes place from 2 p.m. to midnight today, from 11 a.m. to midnight tomorrow, and from 11 a.m. to 8 p.m. on Sunday. Tickets are $20 per day or $40 for a three-day pass. For more information, visit the website. (Niesel) 500 Lakeside Ave., 216-928-1600, worldtattooevents.com.

FILM

Coincoin and the Extra Humans In this film, Bruno Dumont’s farcical followup to 2014’s Li’l Quinquin, teen hero Li’l Quinquin goes by the nickname CoinCoin and hangs out on the Côte D’Opale, attending meetings of the Nationalist Party with his childhood friend Fatso.

When a strange magma is found near the town, the city’s inhabitants suddenly start to behave very weirdly, and an investigation ensues. The film shows tonight at 7 at the Cleveland Institute of Art Cinematheque. Tickets cost $10, or $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

THEATER

Divorciadas, Evangélicas y Vegetarianas Tonight at 7:30 at the Helen, LatinUs Theater Company

presents Divorciadas, Evangélicas y Vegetarians (Divorcees, Evangelists and Vegetarians), a play about three women at a crossroads in their lives. The play will be performed in Spanish with English supertitles projected on screen. Performances continue through March 1, and tickets start at $25. (Niesel) 1407 Euclid Ave, 216-241-6000, playhousesquare.org.

SPOKEN WORD

An Evening with Hanif Abdurraqib Tonight at 7 at the Jean Hower Taber Student Union Theatre at the University of Akron, the Northeast Ohio Master of Fine Arts program sponsors a reading with acclaimed author Hanif Abdurraqib. Current NEOMFA student Noor Hindi will open for Abdurraqib. A Q&A and book signing will follow the reading.

Abdurraqib is a poet, essayist and cultural critic from Columbus, Ohio.

He is the author of a New York Times best-selling biography of the hip-hop group A Tribe Called Quest and is a Callaloo Creative Writing Fellow, a poetry editor at Muzzle Magazine and a member of the poetry collective Echo Hotel with poet/essayist Eve Ewing. Abdurraqib has two forthcoming books including a collection of poems and a history

of black performance in the United States titled They Don’t Dance No Mo’.

(Niesel) 303 Carroll St, Akron, neomfa.org.

THEATER

Flanagan’s Wake Flanagan’s Wake transports the audience to an Irish wake where villagers tell tales and sing songs for their dearly departed Flanagan.

Finding the humor in life and death, the wake acts as a dark backdrop to an otherwise hilarious show in which alcohol fuels the humorous reminiscing. Sort of like a tragic Tony ’n’ Tina’s Wedding, the interactive and improvised show engages the entire audience as the guests are treated as the friends and family of the deceased. Tonight’s show starts at 8 and repeats tomorrow night at 8 at Kennedy’s Theatre. Performances continue weekends through April 25. Tickets are $27. (Patrick Stoops) 1501 Euclid Ave., 216-241-6000, playhousesquare.org.

COMEDY

Eddie Griffin As an actor, Eddie Griffin has appeared in over 50 films. Comedy Central calls him one of the Top 100 Standup Comedians of all time, and

Griffin continues to film comedy specials. He brings his standup show to the Improv tonight and performs at 7:30 and 10. He also performs at the club at 7 and 9:30 tomorrow night. Tickets cost $40 to $55.

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

SAT

02/22

FESTIVAL

Brite Winter Taking place today from 3 p.m. to 2 a.m. on the West Bank of the Flats, this annual music and arts festival also includes food vendors, warming tents, ice carving presentations and even fire dancers. The festival began back in the Flats near what is now Merwin’s Wharf. Organizers had to learn a few hard lessons — the event took place in the midst of a blizzard in Year 1 — before they were able to turn the fest into the well-oiled machine it has become. For the next four years, Brite Winter took place in Ohio City before moving in 2016 to its current location, where it’s been hugely successful. Admission is free, but tickets are required. Go to the website for info on the lineups, food

vendors, tickets and more. (Laura Morrison) britewinter.com.

FESTIVAL

Cleveland Kurentovanje 5-K Race, Parade & Festival Celebrate Kurentovanje, a Slovenian tradition, today with a full slate of festivities including a 5-K race, parade, musical and cultural performances, lots of food and kids’ activities. It all starts at 8:30 a.m. with registration for the Kurent Dash 5-K Race. At 10 a.m., doors open at the Slovenian National Home for kids crafting and face- painting in anticipation of the parade, as well as the continuation of Friday night’s bocce tournament. Food, drinks and shopping will also be available. At noon, the parade, which departs from Saint Martin de Porres High School at East 62nd Street and Lausche Avenue, kicks off. The procession will include Kurents, polka and marching bands, dance troupes and other groups. The event comes to a close at 5 p.m. with a closing ceremony (pokop pusta, in Slovenian) in which the Kurentovanje festival will be symbolically buried until next year, thus relinquishing control of the city. The ceremony will include a toast with a special drink

The Ultimate Whodunit!

JANUARY 25 – FEBRUARY 23 ALLEN THEATRE based on the Paramount Pictures film written by JONATHAN LYNN written by SANDY RUSTIN | directed by CASEY HUSHION additional material by HUNTER FOSTER & ERIC PRICE adapted from the board game from Hasbro, Inc. produced in association with Work Light Productions, The Araca Group and Michael Barra/Lively McCabe Entertainment

216.241.6000 clevelandplayhouse.com TICKETS START AT $20! | clevescene.com | February 19 - 25, 2020

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as well as the raffle drawing for a custom engraved Hungarian oak barrel. Learn more on the website.

(Niesel) clevelandKurentovanje.com.

Mozart’s

BENEFIT

In this story of a handsome lost prince, his comic sidekick, a beautiful princess in distress, a commanding high priest and a bitter, vengeful queen, complications and challenges abound, but everything sorts out happily in the end as two loving couples head to the altar.

HELP S.W.A.P.: SAFARI More than 30 area high school students representing nine Northeast Ohio schools have come together in support of two nonprofits, H.E.L.P. and Flashes of Hope, with tonight’s benefit. Local DJ E-V will perform and there will be a surprise special guest. It all starts at 7:30 p.m. at the Agora Theatre, and tickets cost $35 to $55. (Niesel) 5000 Euclid Ave., 216-881-2221, agoracleveland.com.

Wed, Feb 26 & Fri, Feb 28 @ 7:30pm Sun, Mar 1 @ 2pm Kulas Hall TICKETS: cim.edu/magicflute or 216.795.3211

Photograph by Ruddy Roye

BLACK HISTORY

History on Tap For tonight’s History on Tap program, the Cleveland History Center will honor Leo’s Casino, a legendary concert club that opened in 1963 in the lounge of the old Quad Hall Hotel at 7500 Euclid Ave. According to a press release, guests will immerse themselves in 1960s Cleveland and “enjoy the sights and sounds of the famous Cleveland R&B and jazz club.” There’ll be music and archival images of musicians such as Otis Redding, Aretha Franklin and Ray Charles, all of whom played the venue before it shuttered in 1972 and was eventually torn down. The Rock & Roll Hall of Fame as well as the R&B Hall of Fame have partnered with the Cleveland History Center to provide this “unique, one-of-a-kind look at the music scene in 1960s Cleveland.” The event takes place from 5 to 9 p.m. today. Open bar tickets cost $25, or $15 for WRHS members. General admission tickets are free for WRHS members and $10 for the general public. (Niesel) 10825 East Blvd., 216-721-5722, wrhs.org.

BEER + MUSIC

January 20 through November 2020 A photographic celebration of everyday Cleveland in honor of CPL’s 150th anniversary.

Cleveland Public Library, Main Library, Brett Hall • 325 Superior Avenue, Cleveland OH, 44114

18

| clevescene.com | February 19 - 25, 2020

Local Brews Local Grooves An annual event that pairs locally brewed craft beers with some of Cleveland’s best local bands, Local Brews Local Grooves will take place at 6 p.m. today at House of Blues.

Doors will open an hour early for VIP ticket holders. In addition to the local bands and local craft beers, there will be wine samples from two local wineries, food stations throughout the venue and full bars available. Breweries such as Platform

Beer Co., Market Garden Brewery, Saucy Brew Works, Jackie O’s Brewery and Great Lakes Brewing Co. are slated to participate. Acts such as Zipp Zapp!, Acid Cats, Oregon Space Trail of Doom, DJ Marcus Alan Ward and the Chew Center are slated to play. General admission tickets cost $20, and sampling wristbands go for $15.

Other ticket packages are available as well. (Niesel) 308 Euclid Ave., 216-523-2583, houseofblues.com.

FAT TUESDAY

Mardi Gras Bar Crawl Flats East Bank will host its fifth annual Mardi Gras Crawl today at noon. Tickets include an official Mardi Gras Crawl Passport that gives participants access to giveaways, food and drink specials and live entertainment at select locations. The event kicks off with live music at Truman’s 216 and ends at Dante’s Inferno with a wrap party that includes live music by Cats on Holiday from 4:30 to 6:30 p.m.. Proceeds will support H.E.L.P., a nonprofit organization devoted to developing a pathway for children living in rural regions of Africa.

Tickets cost $10. Find info on Facebook. (Niesel) facebook.com/ events/774589986340073/.

SUN

02/23

FILM

The Misfits Playwright Arthur Miller (Death of a Salesman) penned the screenplay for this 1961 Western that stars Clark Gable, Marilyn Monroe and Montgomery Clift and was directed by the venerable John Huston. In it, a divorced woman (Monroe) becomes involved with three cowboys who round up wild mustangs in the Nevada desert. The film shows as part of the Cleveland Museum of Art’s Marilyn X 4 series that serves as a tribute to the sexy star and connects to the exhibit Proof: Photography in the Era of the Contact Sheet. The film screens at 1:30 p.m. today and at 1:45 p.m. on Tuesday.

Tickets cost $10, or $7 for CMA members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

FILM

Rolling Stone: Life and Death of Brian Jones Rolling Stone: Life and Death of Brian Jones, the first documentary about Jones, a founding member

of the Rolling Stones, will screen at 7 tonight at the Grog Shop in Cleveland Heights. The film chronicles how Jones emerged as the “face of the Bohemian Swingin’ London” scene in the 1960s. He would top the charts with the Stones and date model/ actress Anita Pallenberg. Targeted by the authorities and media, his relationship with Pallenberg disintegrated and he fell out of favor with the Stones. In 1969, he was found dead at the bottom of his swimming pool. There’s some evidence that Jones was murdered, and that the murder was covered up.

The film explores this theory. Tickets cost $10. (Niesel) 2785 Euclid Heights Blvd., Cleveland Heights, 216-321-5588, grogshop.gs.

MON

02/24

TUE

02/25

Grays Armory | Feb 24, 2020

216.621.5938

INFO@GRAYSARMORY.COM

SPOKEN WORD

Eric Liu Today at 4:30 p.m. at Tinkham Veale University Center, on the Case Western Reserve University campus, author and renowned speaker Eric Liu will present the CWRU Power of Diversity lecture, “Become America: How to Revive Our Belief in Democracy.” Liu regularly speaks about topics such as citizen power, civic health, the future of democracy and American identity. He’s written eight books, and his most recent book, Become America: Civic Sermons on Love, Responsibility and Democracy, is particularly timely. A book signing will be held following Liu’s lecture. Register for the event online. (Niesel) 11038 Bellflower Rd., 216-368-5681, humanities.case.edu.

The Legacy of Levi T. Scofield Architect Levi T. Scofield, designed the Mansfield Reformatory Prison, Cuyahoga County’s Soldiers’ and Sailors’ Monument, the Athens State Asylum and much more.

Join Cleveland Grays Armory, Cuyahoga Arts and Culture, and the Cleveland Architecture Foundation for this FREE presentation with Tom O’Grady on Monday, Feb 24, 2020, at 6 pm.

Please preregister on EventBrite by Feb. 18, 2020.

Optional, fee-based dinners are available with advance registration.

CLEVELAND GRAYS ARMORY

1234 BOLIVAR RD, CLEVELAND

Photo Credit MRPS

SPORTS

Cavaliers vs. Miami Heat The Miami Heat acquired star forward Jimmy Butler in the offseason and have played like a playoff caliber team all season with Butler added to the mix. It’ll be tough for the Cavs to beat them when the two teams face off tonight at 7 at Rocket Mortgage FieldHouse. (Niesel) 1 Center Court, 216-420-2000, rocketmortgagefieldhouse.com.

MUSIC

FretX As part of the Cleveland Museum of Art’s Performing Arts series, the contemporary guitar duo FretX (virtuosos Mak Grgic and Daniel Lippel) will perform a program of works by Helmut Lachenmann, Agustin Castila Avila, Courtney Bryan and Gity Razz tonight at 7:30 at the Transformer Station. Tickets cost $25, or $22 for CMA members.

Get t hem on the website, below.

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

NIGHTLIFE

Shit Show Karaoke Local rapper/promoter Dirty Jones and Scene’s own Manny Wallace host Shit Show Karaoke, a weekly event at the B-Side Liquor Lounge wherein patrons choose from “an unlimited selection of jams from hip-hop to hard rock,” and are encouraged to “be as bad as you want.” Fueled by drink and shot specials, it all goes down tonight at 10 p.m. (Niesel) 2785 Euclid Heights Blvd., Cleveland Heights, 216-932-1966, bsideliquorlounge.com.

MUSIC

Open Turntable Tuesday Tonight from 6 to 9, the Winchester hosts its weekly Open Turntable Tuesday. Jason Gokorsch will book guest DJs and offer slots to people who want to bring their own vinyl and spin their favorite songs or deep tracks. First time DJs are encouraged, and equipment is provided. Patrons can also bring records for the night’s DJ to add to their set. Sign up on Northeast Ohio Vinyl Club’s Facebook page.

(Niesel) 12112 Madison Ave., Lakewood, 216-600-5338, facebook.com/ TheWinchesterMusicTavern.

Cleveland Architecture Foundation

MUSIC

Vinyl Night Jukebox owner Alex Budin has described his 1,350-square-foot music-focused bar in the Hingetown ’hood as “a place where people can expect to hear and learn about music of multiple genres, all of which is concentrated in a constantly evolving jukebox.” The club hosts a vinyl night every Tuesday that serves as a listening party for new releases, partnering with Loop in Tremont, so patrons can hear a new album on vinyl. You can bring your own vinyl and spin it too. It all starts at 5 p.m.

(Niesel) 1404 West 29th St., 216-206-7699, jukeboxcle.com.

scene@clevescene.com t@clevelandscene

| clevescene.com | February 19 - 25, 2020

19

STAGE A SLY SPOOF SHOWING ITS AGE Sex-based Sleuth, still witty, is showing some erectile dysfunction

by Christine Howey YOU MAY BE SOMEWHAT familiar with Sleuth, the mysterythriller set in England that was written by Anthony Shaffer and turned into a 1972 movie starring Lawrence Olivier and Michael Caine.

But did you know that the main character, the fearsomely erudite and clever Andrew Wyke, was fashioned after Stephen Sondheim?

It seems that Shaffer had once visited Sondheim’s house and noticed how many games the renowned Broadway composer had collected. And in a later interview Shaffer admitted that the house where the action of Sleuth takes place, and the owner’s predilection for games, accurately reflected a certain aspect of Sondheim’s personality.

Of course, there are no Sondheim songs in this twisted tale of sexual passion that leads to greed and murder, with dashes of prejudice involving class and nationality thrown in for good measure. It’s a mixed bag now at the Great Lakes Theater, since the plot turns that once caused gasps now just generate sighs. But it is saved by (at least) a couple of fine performances and Shaffer’s witty and adroit dialogue that sparks brightly throughout the piece.

The young Italian hairdresser, Milo Tindle, is lured to the mansion of Mr. Wyke, a famous mystery writer noted for his passion for gamesmanship of all kinds. After handing Milo a drink, Andrew casually mentions that, “I understand you want to marry my wife.” After a moment Milo agrees, and the game is on.

Turns out, Milo has been boffing Andrew’s young wife Marguerite. And Andrew, who says he’s done with the marriage, has a proposal: He wants Milo to steal her cache of jewels. That will enable Milo to sell the stuff and make a bundle so he can attend to the Margie’s high-priced needs, while Andrew makes an insurance claim and walks away as a commitment-free man with a tidy sum himself.

That is the setup for an amalgam of mistaken identities, sharpshooting gunplay, insulting references to Italians, and a testosterone fest of mano a mano dick measuring. Fifty years ago when this play first hit Broadway, the twists and turns were

20

Photo by Roger Mastroianni

David Anthony Smith, Jolly Jack Tar, and Jeffrey C. Hawkins deliver the goods in Sleuth, now at Great Lakes Theater.

breathtaking. However, in the ensuing years, many plays and films have explored the well-trod territory of shocking plot surprises — from the galaxy of hairpin turns in Memento to the complex back flips of Get Out and Gone Girl.

In comparison, the fairly lame tricks of Sleuth seem like a bland bit of cold porridge. And, of course, the treatment of the woman in this triangular relationship is offensive on many levels, a true indicator of that corrosive 1970s-era male mentality.

But what has aged as well is

sprintsthan on the long-distance stuff.”

“Not so, dear boy! I am in the peak of condition. I could copulate for England at any distance.” “Well, as they say in the Olympics, it’s not the winning, it’s the taking part that counts.”

As the mellow and equally wellaged Andrew, David Anthony Smith is spry and focused, biting off Shaffer’s juicy lines with evident relish. While it’s not quite worth the price of admission to hear Smith articulate words such as “prestidigitation,” it’s close. And Jeffrey C. Hawkins offers just the right amount of lower-class

SLEUTH THROUGH MARCH 8, PRODUCED BY GREAT LAKES THEATER AT THE HANNA THEATRE, 2067 EAST 14TH ST., 216-241-6000 GREATLAKESTHEATER.ORG

Shaffer’s lush language. The words click together with the satisfying snap that only a top-flight writer can manage. Consider this verbal fencing after Milo mentions the amount of sex Marguerite requires. Andrew responds, “It’s a good thing. I am pretty much of an Olympic sexual athlete.” “Yes, I suppose these days you are concentrating more on the

| clevescene.com | February 19 - 25, 2020

bravado as Milo, making this standoff as believable as it’s going to get.

Director Charles Fee keeps the pace fast and light, since material this flimsy can begin to collapse if leaned on too much. This includes a violent event that occurs at the first-act curtain. That is followed up in the second stanza as Andrew and Inspector Doppler from the local

gendarmes discuss the situation.

The scene has strong moments, but Andrew’s stark terror of being locked away in prison isn’t fully realized.

One of the other main characters in this production is the scenic design

by Gage Williams. The expansive three-level set is beautifully detailed and features some trick props that do their thing right on cue. Also featured is an animatronic sailor, Jolly Jack Tar, that creepily laughs at his owner’s jokes whenever Andrew pushes his button. That is sure to trigger creepy memories for anyone who recalls the crass cackling of Laughing Sal, the big mechanical woman who stood in front of the Fun House at old Euclid Beach Park. She sent little kids trembling into their moms’ skirts decades ago. I mean, you know, I heard about it.

The stock-in-trade for Great Lakes Theater is evocative language, whether

by Shakespeare or other theatrical luminaries. And this play, even while getting awfully gimpy in the knees, still has enough rich wordplay to make for a dandy evening.

scene@clevescene.com t@clevelandscene

MOVIES LONDON CALLING Harrison Ford, CGI dog star in new adaptation of Call of the Wild

By Sam Allard THE NEW ADAPTATION OF JACK London’s 1903 adventure novel The Call of the Wild stars a hirsute Harrison Ford and a computergenerated doggo as they do stuff like pan for gold and savor the majesty of the Yukon Territories, circa 1899.

It is a family film, rated PG for mild violence, peril and thematic elements (animal abuse?), and opens Friday in wide release. It’s kind of a War Horsestyle narrative in that its central storyline belongs to a non-speaking animal, and it is — let there be no doubt — a heck of lot better and more satisfying than The Lion King.

20th Century Studios describes the adaptation as a live-action/ animation hybrid. Buck, the 140-pound St. Bernard-Scotch Collie at the story’s center, is every bit as photorealistic as the savannah felines of the Disney remake last year. But mercifully, he behaves exactly like a big, silly dog would behave. He is not voiced by an A-lister and rarely interacts with other animals in the way that humans would. He is fun to watch precisely because he is a big, silly dog.

(Allow us to reiterate parenthetically that Jon Favreau’s Lion King was a cruel and joyless reboot of a classic. With its ultrarealistic animation, it managed to drain the magic and fun out of every character and song, and it exposed the pure profit motive of Disney’s exhaustive, rapacious live-action reboot project. Boo!!!)

Photo courtesy of 20th Century Studios

The Call of the Wild faithfully adheres to London’s work. The short novel was first serialized in the Saturday Evening Post and it retains, in this adaptation, the pacing of an episodic story. Buck is first introduced as the rambunctious pet of a judge (Bradley Whitford) in California’s Santa Clara Valley. A few opening scenes portray the joys and hardships of domesticated life for a dog of Buck’s size and power.

He is soon stolen in the dead of night and shipped Northwest, where he is conscripted into service with

two Canadian mail carriers (Omar Sy and Cara Gee), who deliver mail to remote Yukon outposts via dog sled. Buck begins to relish the great outdoors and takes pride in the mastery of his work, but after the mail route is closed with the dawn of the telegraph, he is sold to an arrogant, wealthy prospector (Dan Stevens) and his ill-equipped sister (Karen Gillan) and mushed nearly to death.

Buck is rescued by the outdoorsman John Thornton (Harrison Ford), who has fled to the

Yukon in grief after the death of his son. Thornton nurses Buck back to health, and the two then set out to search for gold and adventure. In the virgin wilds of the Yukon, Buck befriends a pack of timber wolves, and his natural inclinations begin to assert themselves.

Director Chris Sanders (The Croods, How to Train Your Dragon), has created a modest, enjoyable, visually entertaining family film that ought to be a hit among Boy Scout troops, if nothing else. Ford is to be commended for the emotive scenes that he performs without an actual dog by his side. Omar Sy (the French star who was also the velociraptor trainer in Jurassic World) is a delight in the film’s first third. Dan Stevens (Beauty and the Beast) and Karen Gillan (Avengers: Endgame) seem awfully high-profile to be slumming it as these broad and unlikeable villains. And Buck? Buck’s a good boy.

Though the film was shot principally on sets in Los Angeles, the recreation of the glorious Canadian wilderness should invite all of us to stand in solidarity with indigenous protesters who are now attempting to halt the construction of a gas pipeline in British Columbia, just south of the Yukon.

sallard@clevescene.com t@scenesallard

SPOTLIGHT: AND THEN WE DANCED FROM THE MOMENT THAT Irakli (Bachi Valishvili) arrives unexpectedly at a dance rehearsal and takes the place of Merab (Levan Gelbakhiani), who’s trained since he was 10 with his partner Mary (Ana Javakhishvili) for a spot in the National Georgian Ensemble, tension builds.

Unlike Merab, who lacks confidence, Irakli, who describes himself as a “replacement” dancer as he nonchalantly walks into rehearsals, isn’t fazed by his dance instructor’s harsh methods.

And so begins And Then We

Danced, a movie that’s every bit as intense as Whiplash, the drama that stars J.K. Simmons as a drill sergeant of a musical instructor, and Call Me By Your Name, the gay coming-of-age story that stars Timothee Chalamet and Armie Hammer.

The film opens on Friday at the Cedar Lee Theatre.

Though rivals, Irakli and Merab begin to bond after Merab realizes that Irakli also comes from an impoverished background. Much like Merab, who really scrapes to make ends meet, Irakli sends money home

to his terminally ill father, a former construction worker.

Though jealous that Irakli has taken his place in the dance troupe, Merab practices with Irakli, who freely gives him advice. “You’re smart — trying to learn from someone better than you,” his instructor tells Merab at one point.

It’s not giving too much away to say that Irakli and Merab eventually set aside their differences and consummate their relationship. Their tryst leads to a sexual awakening for Merab, and there’s a real tenderness to the

relationship that he develops with Irakli.

Director Levin Akin (who is Georgian but grew up in Sweden) gets some terrific performances out of both Valishvili and Gelbakhiani as the two actors bring real nuance to their respective roles and portray what it must be like to be gay in a country that’s hostile to homosexuality. — Jeff Niesel

jniesel@clevescene.com t@jniesel

| clevescene.com | February 19 - 25, 2020

21

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| clevescene.com | February 19 - 25, 2020

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EAT WEST COAST FLAVOR Superbly prepared meats star in a trim menu of tacos and tostadas at Hola in Lakewood

By Douglas Trattner Photo by Emanuel Wallace

WHEN IT COMES TO BRIGHT IDEAS, opening an alfresco taco stand in the dead of Cleveland winter might not sit near the top of the list. But that’s precisely what Juan Vergara and his family have done with Hola Tacos, an “L.A.-style Mexican taco stand” in the Birdtown neighborhood of Lakewood.

Located in a former walk-up ice cream shop, the restaurant lacks indoor seating. But that’s not to say that diners are left out in the cold. A sizeable portion of the front patio is shielded from the elements by thick, clear poly, while portable heaters do the rest. On a recent sunny afternoon, the solar gain managed to raise inside temps well above 70 degrees. If you prefer the cozy confines of your car, pull into one of six dedicated parking spots to be waited on drive-in style.

A decade ago, the Vergaras burst onto the food scene with the petite but popular Barroco Arepa Bar in Lakewood. That small shop would grow from a 12-seat fast-casual cafe to a spirited 80-seat full-service restaurant with full bar and live music. Acts 2 and 3 duplicated that winning formula on the east and west sides of town. The idea with Hola, Vergara said at the outset, was to keep things simple by focusing on a concise menu of regional Mexican tacos, tostadas and burritos.

Does Cleveland need another taco shop? That depends on the taco shop.

But if you’re talking about one that grills its carne asada over a real wood fire behind that shop, slices its al pastor off a twirling trompo, slow-roasts its carnitas until the pork is succulent and supple, and concocts bright, zippy salsas to gild those lilies, then the answer is a definite “si.” Are you paying more for the pleasure? Also yes, with tacos generally running a buck more than the going rate.

That supplement goes to higherquality and better-tasting meats like those above, as well as tender braised beef, peppery chicken tinga and cochinita pibil (luscious adobomarinated, slow-cooked pork). Those items get piled into a pair of soft corn tortillas and garnished with fresh toppers like radishes, diced white onions, pickled red onions,

shaved white cabbage, cilantro and grated queso fresco, depending on the taco. Tacos come three to an order ($12) and mixing and matching is permitted (with a 75-cent surcharge).

Too often, what sinks an otherwise fine taco is an improper ratio of hot ingredients to cold. Hola hits the mark by being generous with

are definitely knife-and-fork tostadas.

The Chile Colorado burrito ($8.25$10.25) is a well-constructed beast that is roughly one-third protein to two-thirds yellow rice and beans.

Again, the kitchen employs a light touch when it comes to toppings, swapping the customary onslaught of cheese and sauce for a drizzle of

HOLA TACO 12102 MADISON AVE., LAKEWOOD 216-801-4666 HOLA-TACOS.COM

the meats and judicious with the toppings. They’re garnishes, after all.

These weighty tacos also are doubledup with corn tortillas, a method that adds bulk while aiding consumption.

The same selection of meats finds its way onto the tostadas ($14), an item that deserves more attention than it gets. Three crispy corn tortillas slicked with housemade refried beans form the base for a mountain of meats, shredded cabbage, julienned radish, avocado sauce, queso crema and queso fresco. These

smoky ranchero sauce, a sprinkle of salty queso fresco and a shower of crisp radish batons.

At $17, the carnitas al carbon is the most expensive dish in (or should we say, out of) the house, but it also might be the best. A large portion of juicy, slightly fatty and flavorful slowroasted pork is nestled into a large bed of golden rice, which itself sits above a thin layer of smooth refried beans. Like a snow-capped mountain, this peak is mounded high with thin-shaved white cabbage, radish

matchsticks and chopped cilantro.

In terms of appetizers, the list is pretty short. There’s a creamy, wellseasoned guacamole ($6) that comes with round, flat tostadas. A cup of beef consomme ($2) is ridiculously beefy and satisfying, but also bright with lime and herbs. Hola also serves esquites ($5), essentially a cob-less version of the popular street food elote with kernels of grilled corn tossed with onions, peppers, mayo and spices.

Early Barroco fans shouted from the rooftops about the killer arepa sauces. At Hola, the choices are fewer but no less delectable. There’s a smoky-spicy chile de arbol, cool and creamy avocado sauce and refreshing queso crema. If you’re a heat-seeker, ask for an order of the pineapple habanero salsa, which is pure fruit fire.

Plans call for converting a neighboring structure into a lounge and speakeasy with indoor seating for Hola Taco customers.

dtrattner@clevescene.com t@dougtrattner

| clevescene.com | February 19 - 25, 2020

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BITES

| clevescene.com | February 19 - 25, 2020

THROUGHOUT ITS 32-YEAR lifespan, Great Lakes Brewing Co. (2516 Market Ave., in Ohio City) has grown, expanded and changed with the times. Along the way, the front-facing facility, which comprises the taproom, brewpub, cellar pub and beer garden (along with the sidewalk patio), has been on the receiving end of various tweaks and improvements designed to keep the things current.

On Jan. 26, the doors closed to the public so that management could undertake the latest “refresh,” designed to improve all aspects of the guest experience while simultaneously offering those guests more ways to enjoy the facility.

“We’re trying with this renovation to really honor our roots, but also to embrace change,” explains Allison Pryce, general manager of brewpub operations. “I like to think of it as opening the doors to a brand new generation of our beer drinkers. When you look at our core product, which is our beer, people like to drink that in a lot of different ways, and who are we to say that it should be one or the other.”

When the brewery reopened its doors on Friday, Feb. 14, it did so with a new “split-concept model” that offers guests a different experience depending on whether they choose to visit the Brewhouse or the Beer Garden, notes Pryce.

“Essentially, we are reopening as two concepts,” she says.

The brewpub and taproom will be called Brewhouse No. 1, which takes its name from the brewery’s original brewing equipment that lives onsite and still is used to brew all pub-exclusive beers. Folks seated in the restaurant will enjoy a new “gastropub” menu with items like roasted bone marrow and Dortmunder Gold bratwurst cassoulet.

Executive chef Shorty Coleman, who has been with the company for 15 years, is overseeing the changes from a completely renovated kitchen with new floors, ceiling and cooking equipment.

“We’re just taking the food items up a little notch, so someone could feel comfortable coming here for a fun date night or a nice dinner,” reports Pryce, adding that many classics will survive the change.

“We’re still keeping favorites like pretzel chicken and fish and chips, but even with those we will be incorporating more exciting and modern plating to bring them into the new decade,” she says. “Everything has to be Instagram-worthy in 2020!”

Concept No. 2 is the Beer Garden, a casual first-come, first-served environment with new communal seating, large-screen TVs and a projector broadcasting every major sports game. A separate menu will be filled with more snack-style foods, but diners also can elect to order from the Brewhouse No. 1 menu. Guests in the Brewhouse, however, will not be able to order off the Beer Garden menu.

That leaves the lower-level Cellar Pub, which will remain an informal space with open seating, while utilizing the Brewhouse menu.

“The reason we decided to split is ultimately because what we saw was people like to interact with our product in a number of ways,” Pryce states.

“They might want to just swing by and watch the game and crush some bar food. They might want to come in and have a nice dinner. Or they might want to throw back a pint sitting on the patio. And the way we were set up before was somewhat limited. If you wanted to sit down, you had to order from the menu, you had to be having dinner, and as result we were turning a lot people away that we wanted to come in and drink beer and have a great time.”

Another significant change is the relocation of the main entrance.

In the future, every new guest will enter into the main Brewhouse space.

When they arrive, they will be able to take advantage of a convenient coat check and storage area.

“When I asked [owner] Dan Conway what he was most excited about with this new relaunch, he said, ‘I’m excited to not have that bottleneck at the front door of the tavern anymore,’” Pryce says.

The last remaining piece of this puzzle is the patio, which will be split into two zones belonging either to the Brewhouse or the Beer Garden.

dtrattner@clevescene.com t@dougtrattner

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25

Photo by JONATHAN WEINER

T ONE ON NE PO POIN IN NT, CANAD AN NAD DIA IAN N siinger ngerr-s ng -son ongw on gwri gw rite terr JJJJ Wil te ildee th hou ught ght abbou gh ut gi givi ving vi n up on o her e aspi as pira pi raati tion tion o s off eve verr ge gett ttin tt in ng a re reco coord deal de al and al n perfo erfo er form rm ming ing ou in outsid tsid ts i e off heerr s uthe so uttheas heas he astern tern te n Onttarrio hoom mettow o n of Kitc Ki tche heeneer. r.

“I wass wor “I orki king ki ng fou ur jo j bs bs,” , she say ,” ays in a re rece ceent nt phoone n int nter ervi er v ew vi ew.. Wi W ld lde de op ope pen ens for ens th he Bl Blue ue Sto ue tone nes, ne s, who per s, e foorm m at 8: 8:30 30 p.m. oon n Sat atur urrdaay, Feb eb.. 22 22,, at th hee Groog Sh hop o .

“T Th heey ey we were rree partartar t-ti time ti m job me obs. bs. Non onee of of them weere wha hat I wa hat want n ed to doo. I ha nt had d br brok o en ok e up fro r m th the baand d I was wit i h an nd we w nt in ntoo the sol olo wo olo w rl r d. d. I did dn’t n’’t kn know now o how w to navig to avvig igat atee th at that at very erry well weelll beccau ause se I just haad an an acoous u ti ticc gu uit i ar ar.. It was a who hole hole l diff di iff ffer erren entt ex xpe peri rien ri ence en ence ce.” .””

Work Wo rkin rk in ng her her va he v ri riou ouss joobss to pay ou paay rreent, shee to sh took ok k a mom o en entt off wha h t sh he reefeers r too as “s “self“sel elfel f-re refle re flect fle c io ct i n” and eveen th hou ough gh g ht abou ab oou ut goin goin go ing g bbaaack ck k to sc sch hool ho hool ol. Sh S ew weent nt to a c reer ca reeerr cou o ns nsellorr at th he lo loca loca cal al co c ll lleg eg ge to see wh hat a kin ind d of of opt ptio ions she ions io he mig ight ht hav ave. e e.

“It wa “It “I wass very very eyee-o ve -ope peni pe ning ni ng g beccau ause see thi th his is woom man an wass tel elli ling ling li g me ab about ou ut aalll thes th e e pr es p og ogra rams ra ms tha ms hatt I sh shou ou ould uld hav avee be been en e ciite ex ted d ab abou ou ut, t,” sh he sa s ys y . “II jus ustt ha had d t iss sin th inki kiing ng feeeliing n . I di didn d ’t wan dn a t too do any of it it.. No Noth thin th ing in g ccaaug ught h my ey ht eye. e It e. waas a bi was bitt tter tt ersw er sw swee weeet th thin ing in g.. It fin final nal a iz ized e the ed

decision. Even though I was unhappy, I was happier doing this than I ever would be pursuing any of those other options.

I had to bite the bullet and see what happens.”

Not long after renewing her commitment to making music, she got a manager and, as she puts it, “things started developing.”

Last year alone proves Wilde made the right decision. She toured in support of the Struts, the Glorious Sons, Reignwolf and Incubus. She also released her debut single, “Wired,” and embarked on her first headlining U.S. tour supporting her debut EP Wilde Eyes, Steady Handss. This year ye ar,, in add ddit itio ion n to ope peni ning ng for the Blu luee Stones on their Hidden Gems Tour, she’ll open for emo icons Jimmy Eat World on their Canadian tour.

Wilde, who says she listened to “a little bit of everything” while growing up, takes inspiration from a range of influences.

“I grew up on classic rock — things like li ke Led Zep ppe peli lin n an and d Pi Pink nk Flo loyd yd and Paul Pa ul Sim imon on and Bru ruce ce Spr prin ings gste teen en,” , she h says. “T “Th hen, I wen nt more int nto th the sing si inger er-sson ongw gwri rit iter ter an and d Da Dami mien ien Rice ice an and d Bob Dylan, more quiet stuff. The lyrics caught my attention. I fell in love with | cl clev clevescene.com eves esce cene ne.c .com om m | February Febr Fe brua uary ry 1199 - 25 25,, 20 2020 20

27

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| clevescene.com | February 19 - 25, 2020

MUSIC that softer side. It’s never been one specific genre. I go through phases and I feel like most people do. If it’s gray outside, I might put on folk or classical. It’s dependent on different things.”

Wilde Eyes, Steady Hands starts with the grunge-y “Wired,” a tune that references those four part-time jobs she worked at the time she wrote the tune. “There’s something better than this,” she howls over distorted guitars and cooing backing vocals.

“We took a bunch of those songs that I had written over the past — I don’t know how many — years, and me and [producer] Frederik [Thaae] locked ourselves in a week and did it all,” she says. “It was an incredible experience. I had never been that hands-on with all the instrumentation.

It was really great. Frederik has this awesome little spot in L.A. right in Studio City. It’s very chill and it’s a great writing space. We would do the demo in the studio and to get the right

tune. “I wrote it when I was 17. It was after a breakup. It was this moment of realizing that some things just don’t work. It’s about forgetting a part of yourself to please somebody else and getting caught up in that.

That happens in a lot of relationships, usually toward the end. You hold on to the beginning of the relationship and all the good times. You try to get back to that point, but you forget yourself.

I remember that toward the end of some bad relationships, I’ll realize it’s terrible because I haven’t written any music. I’ve been so caught up in it that I’m forgetting the creative part of my life. That’s just one example.”

She also just released a provocative new music video for the song “Funeral for a Lover,” a bluesy piano ballad that addresses mental health issues.

“The big message that I want to get out to people is about mental health,” she says. “That’s what that whole song is about. I was with someone who struggled terribly with depression and was bi-polar. They were having a rough go, and I was trying to help them navigate that.

It’s about the toll that can take on a person and also how watching that

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live drums and tones, we went to New Monkey in Van Nuys. That was an amazing experience as well. The whole thing was just great.”

“The Rush,” another highlight on the EP, has a glam rock feel to it with the drums and what sounds like handclaps.

“There are handclaps,” Wilde confirms. “Working with Fred, we would get all the work done, and on the last day when we had the song done, we would pick apart little things.

We would do snaps and claps. There was random and stupid stuff that was so much fun, creating sounds. That was a fun song to write. It came about from an old voice note. I was working at a brewery in Waterloo [Canada]. The employees would close down the bar and then just stay until four in the morning hanging out and drinking the beer. The owner was not happy about it when we got caught. I woke up from one of those nights and I started writing when I was half-drunk.”

Album closer “Gave It All” switches gears and finds Wilde singing a ballad over soft guitars and fractured keyboard riffs.

“It’s one of the oldest from that crop,” she says when asked about the

happen takes a toll on yourself as well. I felt like it needs to be said that it’s okay to break down and admit you can only be so strong for somebody. That’s why I wanted the video to be so uncomfortable. Sitting in a tub naked in front of people isn’t comfortable. I never felt so vulnerable and raw and exposed, but I wanted that. That’s what the feeling is. I wanted people to know they’re not alone when they feel that.”

Wilde’s going to be on the road for most of 2020, but she says that won’t stop her from writing tunes for her next album.

“Oh buddy, I’m always writing,” she says. “I had some time off over the holidays and that was a great time for writing. I’ve been adding to the voice notes and that big file of songs. On this tour specifically, I’ll be playing new songs that aren’t out yet. It’s always fun to test them out at the shows. It’s shaping up to be a pretty exciting year. I can’t wait to get out there and start again. I’m getting restless here in Kitchener.”

jniesel@clevescene.com t@jniesel

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30

| clevescene.com | February 19 - 25, 2020

MUSIC BRITE SPOTS The Brite Winter 2020 performances you can’t miss

By Laura Morrison THIS WEEKEND, CLEVELAND’S 11th annual Brite Winter music and arts festival is loading up its many stages with dozens of top regional and local talent.

Taking place from 3 p.m. to midnight on Saturday on the West Bank of the Flats, the indoor/ outdoor event includes food trucks, themed warming tents, ice carving presentations and yard games. More than 40 bands will perform on five stages, and Bitch, Thunder!, a female drum line, will perform throughout the day.

As always, admission is free, although there is a suggested donation of $10 for those who want a coozie and to contribute to the Brite Winter cause. Either way, tickets are required for entrance. VIP packages, which include enhanced viewing near the outdoor stages, heated tent access, private restroom trailers and appetizers (but no free booze), start at $45.

Expect temperatures to range, as they have for past festivals, anywhere from 8 degrees to nearly 70. That means you’ll need to dress accordingly for this family-friendly festival.

There will be public artist workshops, and the Iconic Brite disco ball will hang at the corner of Main and Elm. Top regional billing this year goes to Youngstown alt-rockers the Vindys and Akron hip-hop act Red Rose Panic, and you absolutely shouldn’t miss them, but we here at Scene have put together a list of other acts you need to check out as well: Emily Keener 3 p.m.

McCarthy’s Stage Local singer-songwriter Emily Keener got an early start. She began writing and performing music professionally at age 12, often playing at wineries and bars. Throughout that time, she opened for numerous established artists including Jessica Lea Mayfield and Leigh Nash. In 2013, she released her debut album and then followed it two year later with the EP East of the Sun, which she recorded with the Womacks, a regional Ohio band. Her latest album, Breakfast, earned her No Depression’s 2017 singer-songwriter award. Her

new single, the k.d. lang-like “Do You Love Me Lately,” shows off her rootsy, country-ish vocals. It’s from her forthcoming album, I Do Not Have to Be Good, due out in May. (Jeff Niesel) Mimi Arden 5:10 p.m.

CLE Clothing Co. Stage, at the Living Room From the start, Cleveland band Mimi Arden gets right in your face with equal helpings of folk and rock and grit. And while it’s thanks to frontwoman Michelle Gaw’s inviting vocals and strong guitar lines that this band really stands out in a sea of similar acts, rest assured the trio’s music is truly a collaborative effort (as heard on the group’s EP Greed, which came out earlier this month). The new songs focus on living for the moment and offer a bit of biting humor.

Expect plenty of that with the band’s afternoon set. (Laura Morrison) Uptight Sugar 7:50 p.m.

Cover My Meds Stage, Elm Avenue Singer-guitarist Mike Murray and singer-keyboardist Dave Hamilton started this local band as an outlet to play the type of music they play with their cover band, Sunrise Jones. But with Uptight Sugar, they decided to play original music. The band released its first EP, Under Blue Light, in 2018. The 2019 fivetrack compilation, I’m OK, You’re OK, followed. Writing and early production was done in Murray’s basement. For the drums, they went to Superior Sound Studios and worked with veteran engineer Jim Stewart. Jimmy Weaver of Welshly Arms mixed the album, and Becker Mastering in Los Angeles handled the mastering. Late last year, the band released the Beatles-esque “Fell for You,” the first track off their next record that’ll come out later this year.

(Niesel) Harbour 8:20 p.m.

Adcom Stage Under the Bridge Despite the British spelling, this group is really a fresh five-piece out of Cincinnati, just wearing its heart on its sleeve. The indie group’s 2017 single “Get You High,” which

has more than 2 million streams on Spotify, proves that Harbour understands the art of writing a catchy, pop-infused love song. And their newest album, Thoughts on Letting Go, continues in that same vein. As the group is no stranger to music festivals, you can expect its show to be full of crowd-pleasing and sunny tunes. (Morrison) The Vindys 8:50 p.m.

Cover My Meds Stage, Elm Avenue The Vindys, a Youngstown-based rock band that regularly performs in the Cleveland area, is in the process of recording a new album and recently benefited from being featured in the Pittsburgh Pirates’ Friday Night Rocks campaign. The band saw a huge spike of over 40,000 views over the course of a week when the video for “Are You Ready,” which was shot at Jergel’s Rhythm Grille in Warrendale, was shown on Friday Night Rocks. The group includes classically trained musicians from Capital University Conservatory of Music, Dana School of Music, Slippery Rock University, and Mike Curb College of Music, and they’ve played shows with national acts such as Judah & the Lion, Smallpools, Hunter Hayes, Drive-by Truckers and Reeve Carney. They’ve performed at festivals such as Summerfest in Milwaukee, where they won the Emerging Artist series’ fan favorite of the day. Past winners of that award include Walk the Moon, Nathaniel Rateliff, Maren Morris, Walk Off the Earth and X Ambassadors. Expect the band to really thrive in the Brite festival setting. (Niesel) Red Rose Panic 9:20 p.m.

Adcom Stage Under the Bridge This Akron-based hip-hop group started as a duo. Best friends for years, singer Luminari and guitarist Styxx began performing together and even recorded an EP together before they recruited the group’s other members and expanded its lineup by recruiting members from its church. The band’s music draws equally from the Roots, Phish, Rage Against the Machine and N.E.R.D. In 2014, the band issued the EP One

Night Standard, and it followed up the EP with the single, “Party Time, Excellent.” A jazzy number that draws equally from funk and rock, “Hulk Hogan” features tonguetwisting lyrics and a propulsive beat. “Party Time, Excellent” includes flourishes of guitar and a spacey R&B-inspired interlude that sounds like something Herbie Hancock might’ve played with the Headhunters in the ’70s. It’s indicative of the high-energy tunes the band brings to the table. (Niesel) Aloof 10 p.m.

McCarthy’s Stage Aloof Recs isn’t a group per se but rather a creative collective/ independent music label with a stable of local hip-hop artists and producers working together to create a space for tolerance, love and acceptance. Artists include 2SSAINT, unknownphrazes, Case Bargé, Archie Green, Deity and Tino Cash. Past local performances from this crew have included live drums, guitar and keys backing up the vocals and beats along with plenty of back and forth with the audience.

One of the final acts at Brite Winter, they’ll be sure to get everyone in the right headspace for the long evening (party) to come.(Morrison) Ra Ra Riot 10:10 p.m.

Cover My Meds Stage, Elm Avenue A late edition to this year’s Brite Winter lineup, New York indie rockers Ra Ra Riot will officially close out the event on the main stage. Over the past year, the fivepiece has opened for Third Eye Blind and Jimmy Eat World, gone on its own headlining tour and released its fifth studio album, Superbloom. Here, the music, some of which the group wrote alongside Rostam (Batmanglij) (formerly of Vampire Weekend), is more mature and layered into a thick soup of folk-rock goodness. Watch out for violin solos peppered throughout the multifaceted set. (Morrison)

lmorrison@clevescene.com t@lowesays | clevescene.com | February 19 - 25, 2020

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02/19

American Nightmare/Ceremony: 8 p.m., $20. Beachland Ballroom.

Jonah Parzen-Johnson: 8 p.m., $15. Bop Stop.

Quick Mystery/Grandview/Lack of Direction: 8:30 p.m., $6.

Grog Shop.

Scythian: 7:30 p.m., $18 ADV, $22 DOS. Music Box Supper Club.

THU

02/20

The Cryptics/Standard Issue/ Antiseptic: 8 p.m., $8. Now That’s Class.

Dominick Farinacci Spirit of the Groove: 7 p.m., $20. Nighttown.

Chris Lane/Blanco Brown/ Ernest: 8 p.m., $31.50 ADV, $35 DOS. House of Blues.

Mungion/Acid Cats: 8:30 p.m., $12 ADV, $14 DOS. Beachland Tavern.

Shawn Purcell’s Symmetricity Group: 7 p.m., $15. Bop Stop.

FRI

02/21

The 69 Eyes/Wednesday 13: 6:30 p.m., $25. Odeon.

Bob Marley Tribute by the Ark Band/Carlos Jones/Mark Hunter: 8 p.m., $12 ADV, $15 DOS. Music Box Supper Club.

China Grove (in the Neon Room): 8 p.m., $15-$25. MGM Northfield Park.

Whitney Fenimore/Ava Rowland/ Morgan Mecaskey: 8:30 p.m., $10 ADV, $12 DOS. Beachland Tavern.

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

Nighttown.

Darren Frate Group: 8 p.m., $15.

Bop Stop.

Into the Blue: Grateful Dead Revival: Regardless of your take on the Grateful Dead, the band to which Into the Blue, an ensemble of local musicians, pays tribute, the group maintains an important stature in the rock ’n’ roll canon.

Into the Blue revives that spirit and lends it the respect Jerry & Co. rightfully deserve. Anyone interested in hearing — and seeing — great music flow from the stage should check out what these guys are doing. Fellow musicians and artists will glean

Knuckle Puck comes to Mahall’s 20 Lanes. See: Sunday.

inspiration. (Eric Sandy) 9 p.m., $11 ADV, $14 DOS. Beachland Ballroom.

Jazz Jam Session: 11 p.m., free.

Bop Stop.

The Magnavox’s/Zip-Zapp (in the Locker Room): 9 p.m., $8.

Mahall’s 20 Lanes.

Midnight/Nunslaughter: 8 p.m., $10. Now That’s Class.

Oration/Ballyhoo!/Iya Terra/The Ries Brothers: 6:30 p.m., $25 ADV, $30 DOS. House of Blues.

Radiate 2020: 8:30 p.m. Agora Theatre.

TOBY/Jon Ditty/ Pharoah/4ourseasons: 9 p.m., $10. Grog Shop.

Bill Toms & Hard Rain/Gene Schwartz Trio: A mix of blues, soul and Americana, Good for My Soul, a recent effort from Bill Toms & Hard Rain features a collection of tunes that sound so familiar they could pass for standards. With its woozy horns and raspy vocals, “I’d Be a Rich Man Today” kicks off the album with a bang. Toms launched his career some 30 years ago as the lead guitarist in Joe Grushecky and the Houserockers, a regional sensation that has always had a strong following in Cleveland. (Jeff Niesel) 7:30 p.m., $12 ADV, $15 DOS. Music Box Supper Club.

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

Nighttown.

SAT

02/22

American Authors/Magic Giant:

7:30 p.m. Goodyear Theater.

The Blue Stones/JJ Wilde/The Dead Licks: 8:30 p.m., $12 ADV, $14 DOS. Grog Shop.

Alice Blumenfeld – ABREPASO’s Tablao Flamenco: 8:30 p.m., $25. Nighttown.

Lee Brice: 8 p.m. Akron Civic Theatre.

Cleveland’s 2020 Brazilian Carnaval: 9:30 p.m. Music Box Supper Club.

Dueling Pianos with Cleveland Keys (in the Supper Club): 8 p.m., $12 ADV, $15 DOS. Music Box Supper Club.

Great White + Slaughter: 8 p.m., $32.50-$43.50. MGM Northfield Park.

Hard Day’s Night: 8 p.m., $15$20. The Kent Stage.

MC Lars/The Double-clicks/ Schaffer the Darklord: 8 p.m., $15. Mahall’s 20 Lanes.

Straight On – A Tribute to the Music of Heart (in the Neon Room): 8 p.m., $20-$25. MGM Northfield Park.

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

Nighttown.

John Welton & the Awakening/ Erie Waters: 8 p.m., $11-$20.

Beachland Ballroom.

SUN

02/23

John Gorka/Amilia K Spicer: Folk icon John Gorka has toured and recorded since the 1970s.

The veteran musician came out of the Northeast folk rock scene. Specifically, he emerged from Godfrey Daniels, one of the

oldest folk clubs in the country.

At one point, he even lived in the club’s basement and acted as resident emcee and sound man.

(Niesel) 7 p.m., $20 ADV, $25 DOS. Music Box Supper Club.

Knuckle Puck/Heart Attack Man/One Step Closer: The Chicago-based rock band Knuckle Puck spent almost all of 2019 off the road working on a new effort. Slated to be released in 2020, the album will follow the group’s previous LPs, 2017’s Shapeshifter and 2015’s Copacetic. The five-piece will debut songs from the forthcoming record on a winter tour that includes tonight’s stop at Mahall’s 20 Lanes. (Niesel) 7 p.m., $24 ADV, $26 DOS. Mahall’s 20 Lanes.

MON 02/24 Baldwin Wallace Musical Theatre: 7 p.m., $10. Nighttown.

The High Kings: 8 p.m., $35-$45.

The Kent Stage.

Patternist/Very Good Friends/ Lone Thunder: 7:30 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes.

TUE

02/25

flor/Winnetka Bowling League: 8 p.m., $15 ADV, $18 DOS. House of Blues Cambridge Room.

Friends & Neighbors: This Norwegian/Swedish quintet performs melodic free jazz in the tradition of Ornette Coleman and Archie Shepp. The band has played internationally since its formation in 2009, including shows in Europe, Japan, New Zealand, Australia and the United States. New Ghosts, the local group devoted to promoting improvised music in the tradition of Cleveland saxophonist Albert Ayler, presents this special show.

(Niesel) 8 p.m., $15. Bop Stop.

G Herbo: 9 p.m., $30 ADV, $35 DOS. House of Blues.

Throwaway: 8 p.m., $5. Now That’s Class.

Jiggs Whigham & Friends: 7:30 p.m., $25. Nighttown.

scene@clevescene.com t@clevelandscene | clevescene.com | February 19 - 25, 2020

33

REWIND

4 8 Y EARS AGO O N T H IS DAT E THIS JULY, CLEVELAND SCENE WILL turn 50 years old, and in advance of the occasion, we’ve decided to dig into the archives on a weekly basis to republish something that appeared in the paper on that date (or thereabouts) during Scene’s first decade.

This story by Jim Girard about glam rockers T. Rex, who’ll be inducted into the Rock Hall this year, appeared in the issue that came out in 1972. It featured the headline “America is Ready! T. Rex at the Yorktown.”

*** T. Rex is a phenomenon that was bound to happen. They are simply the biggest rock group in the world since The Beatles, but in America T. Rex has only scratched the surface.

They’ve scratched it nicely though, with two big singles, “Ride A White Swan” and “Bang A Gong (Get It On)” and their second album for Reprise Records, ELECTRIC WARRIOR.

Led by Marc Bolan, who some call impish and “be-bop Bolan,” T. Rex is a group in the most unusual sense of the word. For example, Marc Bolan and Mickey Finn are the only two permanent members of T. Rex. Mickey plays drums and Marc does the vocals and guitar work. Two members who augment the group on most occasions are Steve Currie on bass and Will Legend on drums.

Bolan, however, is T. Rex in every sense of the word; it is his trip and he prefers it to any of his other future projects — which include producing three films and more poetry books (his Warlock Of Love is a best-seller in Europe).

After interviewing Marc Bolan only two months ago, I can still recall him saying that “. . . America is the only place left for me to establish myself artistically . . .” At that time it was true; America had not yet accepted what the rest of the world knew — that T. Rex had captured everything quaint and poetic about

life, added to it adrenaline moving rock & roll and given it an electric visual appeal. In other words, T. Rex couldn’t miss being gigantic. And if he was unsure at that time, Bolan can rest assured that America is now ready to experience what Britain calls “Rex-ecstacy.” On February 25th, at The YORKTOWN THEATRE, T. Rex will play two shows at 7:30 and 10:30 P.M. Jackie Lomax, an equally heavy act from England, will share the bill on this Belkin Brothers adventure.

2/19 | 8PM | $15

JONAH PARZEN-JOHNSON 2/20 | 7PM | $15 SHAWN PURCELL’S

“SYMMETRICITY” GROUP 2/21 | 8PM | $15

DARREN FRATE GROUP 2/21 | 11PM | FREE

JAZZ JAM SESSION 2/23 | 11AM | FREE

Tickets are $3.50 in advance and $4.50 the day of the show.

Lomax, who used to record under George Harrison on Apple Records, is now living in Woodstock, New York. His latest album, JACKIE LOMAX THREE, was recorded there.

He is recording for Warner Brothers these days

.

scene@clevescene.com t@clevelandscene

MURDER MYSTERY DINNERS FEB. 21 & 28 AT 7:30PM Visit Website for Details

SATURDAY, FEBRUARY 22 8:00PM

FUNKOLOGY CLE

THE PERFECT CHOICE WEDDING SHOWCASE 2/25 | 8PM | $15

FRIENDS & NEIGHBORS 2/26 | 7PM | $10 YOUNGSTOWN STATE UNIVERSITY JAZZ STUDIES PRESENTS

ANTHONY TADDEO’S ALLA BOARA 2/27 | 7PM | $15

PULSE QUARTET 2/28 | 8PM | $15 THERON BROWN TRIO:

NO CONCEPTS ALBUM RELEASE PARTY 2/28 | 11PM | $5

COMEON PEOPLE DANCE PARTY 2/29 | 8PM | $20

DAN WILSON QUINTET 3/1 | 7PM | $15

34

| clevescene.com | February 19 - 25, 2020

PRISM

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BAND OF THE WEEK STUPID BEAUTIFUL HEAVEN

By Jeff Niesel Photo courtesy of Stupid Beautiful Heaven

MEET THE BAND: Todd (vocals,

guitar), Tom (bass, vocals), Eric (guitar), Bill (percussion) GOING STRONG FOR A DECADE: You might not know it, but this local band has been together for more than 10 years now.

Singer-guitarist Todd has been in bands since the early ’80s, and he formed Stupid Beautiful Heaven on a whim. “I gave up on doing music seriously but was still recording stuff in my attic,” says Todd. “I got bored and wanted to have people to hang out with. I auditioned people more on who I wanted to drink beer with than anything else. We were terrible for the first year and a half. Then, we took a break, and we weren’t terrible anymore. We actually became kinda good. It’s snowballed from there. It’s been the same line up through all these ups and down.” Since three of the band members are “older,” the band looks to the alternative rock of the ’80s and ’90s for inspiration. “You get to a certain age and you randomly find this weird station on the left end of the dial,” says Todd. “I really like the

Pixies and the Replacements and Soul Asylum before Soul Asylum turned into Bon Jovi. There was so much awesome music.”

WIRT THE WAIT: Several years ago,

the band started recording drums, bass and lead vocals at Crushtone Studios with Jim Wirt (Fiona Apple, Incubus, Brian Setzer). The guys then wrote more songs and went back to Crushtone last year. They recorded guitars and backing vocals everywhere from Todd’s attic to Tom’s living room to the choir room of Bill’s church. They’ve spent the better part of a year mixing and remixing the album, This Rock Is Hard. “I knew Jim [Wirt] back in Los Angeles when I had my brief flirtation with major label success,” says Todd.

“When I realized Jim was living in Cleveland, I was so excited because he had this amazing studio. We did the drums and lead vocals live and then did backing vocals.”

WHERE YOU CAN HEAR THEM:

stupidbeautifulheaven.bandcamp. com.

WHY YOU SHOULD HEAR THEM:

“Battlecry of the Aging Rocker” possesses a real urgency as Todd’s hoarse vocals suit the call-to-arms tune perfectly, making it come off as if it were something the Alarm would’ve written back in the day. “If You Need Someone” features snotty vocals, and the pop-punk track has a Blink 182/NOFX vibe.

Another standout, the mid-tempo poppy ballad “Romeo and Juliet’s Little Sister” has a Cars feel to it. Through it all, a sharp sense of melody tempers the band’s punk impulses. “Our bass player is really freaky about melodies,” says Todd. “When I write, I get the words and chords and vocal cadence. Tom would tell me when a melody didn’t go anywhere. A lot of it is me trying to impress my bass player.”

WHERE YOU CAN SEE THEM: Stupid

Beautiful Heaven performs with Cellophone Jane and Orange Animal at 9 p.m. on Saturday, Feb. 22, at the Happy Dog.

jniesel@clevescene.com t@jniesel

| clevescene.com | February 19 - 25, 2020

35

36

| clevescene.com m | February 19 - 25, 2020

SAVAGE LOVE THROWN BONES

By Dan Savage I’m 20, straight, male, fit, and active. I masturbated prone — flat on my stomach — for years. I’ve now changed to a more traditional position (on my back or sitting upright), and I’m using my hand rather than grinding against a mattress. I can easily orgasm when I masturbate. I’ve had sex four times in my life, and I’m worried because I wasn’t able to orgasm by someone else’s hand, through oral, or during penetration. I felt more sensation with oral or by hand than I did during intercourse, but I wasn’t able to get off. This is extremely worrying, and I am increasingly depressed. Am I broken? Is my sex life ruined?

— Boy Reeling Over Kaput Equipment You’re not broken, BROKE, and your partnered sex life, which has barely begun, isn’t ruined. Even if you’re never able to come by someone else’s hand, mouth, twat, or ass — and that’s the worst-case scenario here — you can still have a rewarding and pleasurable sex life.

In the short run, BROKE, you need to be honest with your sex partners about the way your cock currently works. Let them know you’re going to be mixing some manual self-stimulation in with the vaginal/oral/anal penetration. In other words, at some point you’re going to pull out of whatever you’re in, you’re going to jerk it until you reach the point of “orgasmic inevitability” (OI), aka that split second between the start of orgasmic contractions and the good stuff spurting out, and then you’re going to put it back in.

Since most women need to mix direct clitoral stimulation with penetration (or in place of it) in order to get off — before, during, after, or instead of intercourse — your honesty about what you actually need to get off will signal to your female partners that they can be honest with you about what they actually need to get off.

Backing way the hell up: The way you used to masturbate — prone — is likely the reason you’re having difficulty climaxing now.

But lots of men who masturbated

in more “traditional positions — e.g., on their backs, sitting up, standing up, etc. — have trouble transitioning to partnered sex from solo sex. The inside of a mouth, vagina, or butt doesn’t feel like your own hand (or a long-suffering mattress, in your case), and even someone else’s hand doesn’t feel the same as your own. While the excitement of partnered sex helps most guys get over the hump — for many men, it takes time and a little experimentation for their cocks to adapt. But men who engaged in “atypical masturbatory behaviors” as boys — and prone masturbation/ humping a mattress counts — frequently have a harder transition to partnered sex.

There’s a name for what you’re experiencing: delayed ejaculation.

And while delayed ejaculation can be frustrating, the opposite problem — premature ejaculation — is more frustrating and harder to work around. (I get a lot more letters from guys in despair because they come too quickly and too easily than I do from guys like you, BROKE, who take too long.) And, really, when you look at it from a different angle, your problem — being able to last forever — is really kind of a superpower. Because let’s say you fuck some lucky woman for ages, and she gets off again and again because someone — you, her, a third — is stimulating her clit at the same time. Once she’s satisfied (or shortly before she’s satisfied), BROKE, you can pull out, jack yourself to OI, then put your cock back inside her and blow that load or take the condom off and blow your load — with her consent, of course — all over her ass or tits or stomach or Toyota Corolla or whatever.

But for your partner to feel like this is your superpower and she totally lucked out when she met you, BROKE, you can’t leave her in the dark about the way your dick works. If you don’t let your partner know you need to stroke yourself a little right before you come, she’s likely to interpret your staying power (your superpower) as a sign you aren’t attracted to her.

Now here’s how you might

be able to fix this in the long run, BROKE: When you’re masturbating, you should … well, you should do what you’re doing.

Masturbate while sitting up or lying on your back, use your hand and a little lube, but do it with a much lighter touch/grip and maybe invest in a quality (read: silicone) masturbation sleeve. Don’t use the death grip — don’t squeeze the life out of your dick — as that will make things worse. And while cutting back on porn and using your imagination instead is fine, the real goal is to retrain your cock to respond to subtler sensations. Which brings us to the hardest part: If you can’t come after masturbating for 10, 20, or 30 minutes — using that light touch/ grip, a little lube, and maybe that sleeve — you don’t get to come.

No flipping over and humping the mattress after half an hour, and no using a firmer grip. You put your dick away and go to bed or work or school. Because this is about focusing on pleasurable sensations, not blowing your load, and you want to let the pressure build in your balls between sessions.

Stick to these rules when you’re on your own for at least six months. If your dick is able to adapt, it will, and then you can take your more sensitive dick into partnered sex with more confidence. But if after six months you’re still not able to come using a lighter touch or a masturbation sleeve, you may have to accept that this — your need to get yourself to the point of OI during partnered sex — is the way your dick works.

Just as some women need to use a vibrator in order to come, and that doesn’t mean they’re broken, some men — after giving and receiving a lot of pleasurable fucking — need to pull out, jack to the point of OI, and then plunge back in for the last few victory pumps. It doesn’t mean they’re broken, it doesn’t mean their dicks are broken, and it certainly doesn’t mean their sex lives are over. As sexual superpowers go, BROKE, it’s a pretty decent one to have.

Finally: I just reread a paper on traumatic masturbatory syndrome (TMS) that was published in the

Journal of Sex & Marital Therapy back in 1998 — which I think was before you were born (math is hard) — and it identified prone masturbation as the primary cause of delayed ejaculation. To prevent TMS, delayed ejaculation, and other forms of erectile dysfunction that prone masturbation can lead to, the authors recommended “masturbatory instruction in the home, classroom, or pediatric clinical setting.” If their advice had been taken — if boys were advised, as one aspect of a comprehensive sex-education program, to avoid humping mattresses or placing their penises between mattresses and box springs — far fewer young men would have the problem you’re having now.

*** I’ve been seeing a guy for two years. It was a FWB situation from the start, because he already had a girlfriend. I adore him, we quickly broke the rules (L-word spoken on both sides), but the B part has dwindled to nothing. We haven’t had PIV sex since September, and he just added a second FWB to the mix. He swears he’s attracted to me and says we aren’t having sex — with the exception of me blowing him from time to time — because he’s older. But I know for a fact the other two women are getting some.

He says he’s attracted to me — so why doesn’t he want sex? How do I make him see how much I need him without issuing ultimatums?

— Scared But Horny Your FWB might come through with a little PIV if you issued that ultimatum, SBH, but it sure doesn’t sound like he’s going to fuck you short of one. You might be able to get this guy to quite literally throw you a bone, but I think your time would be better spent finding a new FWB.

On the Lovecast, the TRUTH about women’s libidos: savagelovecast.com.

mail@savagelove.net t@fakedansavage

| clevescene.com | February 19 - 25, 2020

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| clevescene.com | February 19 - 25, 2020

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