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Scene alum Kyle Swenson on his new book, Good Kids, Bad City

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UPFRONT BUDISH RESPONDS TO LAST WEEK’S FBI RAID: IT WAS A ‘POLITICAL STUNT’ Photo by Sam Allard

AGENTS FROM THE FBI AND the Ohio Bureau of Criminal Investigation raided the downtown offices of Cuyahoga County Executive Armond Budish last week. According to a search warrant, they were seeking evidence of corrupt activity, extortion, civil rights violations and other crimes, most of them relating to operations at the Cuyahoga County Jail. Eight inmates died at the facility between June and December 2018. The agents left County HQ Thursday, after several hours of rooting around Budish’s office, with five boxes of material, two computer hard drives, an envelope of miscellaneous items and Budish’s cell phone in hand, according to a county spokeswoman. Budish provided agents with his cell phone’s password. In an interview with cleveland. com later that evening, and in a followup internal memo and video to county employees, Budish characterized the raid as a politically motivated stunt. From the cleveland.com interview: “I’ve worked my entire life to build a reputation for integrity and honesty, and I will be damned if I will let a political attack destroy that.” From the county video: “I have done nothing criminal and nothing that merits this kind of treatment, so for them to come in and do a public stunt like they did yesterday is beyond terrible.” Stunt. Public stunt. Political stunt. Political attack. Cleveland.com editor Chris Quinn noted on WCPN Friday that the county executive rarely uses this sort of forceful language. One thing the language does is discount the legitimacy of the broader investigation, which began in the county’s IT department and expanded after revelations about the jail. It also begs the question: If the raid was indeed a political attack, who was orchestrating it. And why? Cleveland.com’s Peter Krouse, in a front-page PD story on Sunday, hinted at one possible explanation. “Budish believes the search was politically motivated to sully his good name,” Krouse wrote. “[Attorney General Dave] Yost

is a Republican and Budish is a Democrat represented by former U.S. Attorney Steve Dettelbach, who ran against Yost last year.” So the political attack was engineered by Dave Yost? To what end? To cross swords with Dettelbach again? To get a trophy for the GOP? To sully Budish’s good name? That all seems … weird. If a coordinated political attack did occur, it much more likely sprang from Budish’s own party, members of which stand to gain if Budish were to be removed. But claiming that the raid was a “political attack” is just kind of a standard defense that, without elaboration or evidence, doesn’t mean much. Budish was already providing subpoenaed material, and had asked for an extension. What he seems to be objecting to is the public nature of the raid — the theatricality —

because it reminds people of the 2008 Cuyahoga County raids. It makes him look like a criminal. This is why Budish will not stand by and let his name be sullied. “The work we are doing is too important to let anything stand in the way of it,” he told employees. Budish of course maintains that he has done nothing criminal, “nothing that merits” the raid. And yet, it was Budish who went to MetroHealth CEO Akram Boutros the day after a county council meeting in May 2018 and asked for the removal of the jail’s nursing director, Gary Brack, because Brack spoke out about medical conditions at the facility. It was Budish who ruthlessly pursued consolidation and cost-cutting at the jail, which cleveland.com reporters identified as the central cause of the jail’s dismal conditions. Budish is intimately involved in

the jail scandal. That’s what’ll sully his “good name,” if anything does. Former jail director Ken Mills has already been indicted for various crimes. Chris Quinn himself said that if there are emails which show Budish knew about jail conditions and did nothing, it would be “very bad.” Whether or not Budish approves of the raid’s publicity, investigators had every right to collect his emails and other materials. Whether or not he thinks he has committed crimes, others will determine if he’s a criminal. — Sam Allard

Mayor Frank Jackson Recall Effort Suspended Organizers with Black Lives Matter in Cuyahoga County have announced that they are suspending | clevescene.com | February 20 - 26, 2019

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UPFRONT an effort to recall Mayor Frank Jackson due to insufficient support. “The still-popular mayor will, unfortunately, continue in his role as Pied Piper, leading the Black community into incrementally deeper states of socioeconomic oppression,” said organizer Jeff Mixon, in a prepared statement. Mixon said the two most “disturbing” aspects of his organization’s outreach efforts were that black residents believe Jackson’s failings as mayor, including the ongoing poverty in many of the city’s neighborhoods, are the results of “family-related blackmail.” Many of them also believe, Mixon said, that the mayor’s poor performance, and the negative coverage of it, should be seen as an opportunity to “rally around [him] rather than remove him from office.” Mixon told Scene in a phone conversation that Jackson will remain popular in the black community “no matter what.” “Honestly, unless we see a videotape of him choking a black woman, the black community will

stand by him,” Mixon said. “Even that, he might be able to explain away. It’s just like Do the Right Thing. We want to see black faces. Jackson is a polite guy, well-spoken, and the black community doesn’t connect him with the tragedies all over the city.” Mixon said, in fact, that he had a member of his organization quit because she was such a fan of Jackson’s. The mayor had come to CMHA and taken a photo with her, Mixon said, and she thought of the mayor as a friend. Black Lives Matter in Cuyahoga County will now shift its focus to supporting ward-based organizers who are exploring the possibility of recalling poor-performing council members, including Ken Johnson in Ward 4. Mixon also said that the group will re-evaluate an Armond Budish recall effort in May or June, presumably after more information about the county corruption investigation has been made public. Mixon said in a video last month that Jackson, Budish, congresswoman Marcia Fudge and other local elected leaders had become servants of Cleveland’s corporate community, and that many of them should be removed. Mixon told Scene that Black Lives

Matter in Cuyahoga County has not yet considered backing candidates in the 2021 municipal elections. For now, Mixon is most excited about CLASH and the prospect of taking that group’s lead-safe ordinance to Cleveland voters. — Allard

CLASH Launches Petition Drive for Lead-Safe Ballot Initiative Cleveland Lead Advocates for Safe Housing (CLASH) last week officially launched a petition drive in the hopes of getting a “Lead Safe” ordinance on the ballot in Cleveland’s 2019 general election. The coalition of seven member organizations announced the drive Thursday on the steps of City Hall and proceeded to file a petition document with the city council clerk. CLASH will now have to gather 5,000 valid signatures from registered Cleveland voters for the petition to succeed, and former city councilman Jeff Johnson, a CLASH member, said at a recent press conference that the group would shoot for collecting 10,000 signatures at a minimum. When CLASH members explained the details of, and the motivations for, the proposed legislation earlier

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this month, they said they were eager to work alongside — not in opposition to — the public-private Lead Safe Cleveland Coalition (LSCC) that city leaders announced in January. CLASH’s Yvonka Hall and others were nevertheless dismayed by what they deemed a lack of urgency by LSCC. On Thursday, CLASH members carried with them cutouts of the number “9” and “2” to represent that 92 children had been poisoned by lead since the formation of the LSCC. That number is now more than 100. In a conversation on the lead crisis on WCPN’s Sound of Ideas, councilman Blaine Griffin wouldn’t even commit to action by the end of 2019. (In early 2018, he’d promised that the city would have lead legislation by the end of the year, which obviously didn’t happen, and Griffin said he didn’t want to make that mistake again.) Councilman Tony Brancatelli, phoning in to the news program, hotly disputed the idea that council had “done nothing” on lead, and challenged the wisdom of legislation that holds landlords accountable for certifying their properties (built before 1978) are lead safe. As CLASH’s Rebecca Maurer has explained, though, “holding

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landlords accountable” sounds punitive, but the legislation’s penalties are designed only as “backstop” measures. The law is intended to be “positive and incentive-based,” and would provide funding for landlords to test and abate their properties. In a press release Friday morning, Yvonka Hall said that civic leaders said they were committed to addressing Cleveland’s lead crisis at the Jan. 22 LSCC announcement, “but we still haven’t seem a timeline for action. They continue to talk, but our children can’t wait. We must act to solve this public health crisis in Cleveland. Our Babies Matter!” CLASH reiterated what it has said before: They look forward to city council adopting the legislation, and even amending it, in the context of legislative hearings, which are designed so that proposed bills may be strengthened and modified. CLASH will continue collecting signatures regardless — they began canvassing Saturday morning — and if city council refuses to pass a lead safe housing bill, CLASH will file the petitions to trigger a public vote. — Allard

Report: Pilot Flying J Pulling Out of ESPN Ad Deal Two Years Early Because of ESPN Story on Browns Last month, ESPN’s Seth Wickersham published a deeply reported piece that took readers inside the top levels of the Cleveland Browns dating back a couple of regimes. It was perhaps the best look yet at how Jimmy and Dee Haslam have run the team, complete with the missteps, egregious missteps, the tensions, the fiefdom battles, the litany of bad front office choices, and, as we found out, the occasional accidental pornography. While it was juicy — it was, by definition, not flattering — it wasn’t exactly a tear down. Haslam was a meddling owner. Haslam really had no idea what he was doing. Haslam made some god awful choices. But, save for the detail that Haslam ate hardboiled eggs and discarded the shells directly on the floor (monster!), there wasn’t anything tawdry or untoward or particularly nasty included. The Haslams ran a dysfunctional organization. That wasn’t a surprise, we just had new details to flesh out the characterization. Well, according to Sports Business Daily, that’s not how Jimmy felt. SBD reported last week that Pilot Flying J

is negotiating with ESPN to unwind a “low- to mid-seven figure” annual ad deal two years early, reportedly specifically because of Wickersham’s piece. “Before the ESPN.com story ran on Jan. 24, Pilot officials publicly had been effusive in their praise of the ESPN arrangement and even used the college football platform to launch a new ad campaign last year,” SBD reported. “But sources said that the relationship was irretrievably damaged by a lengthy insider-style story on ESPN.com.” Who knows what pushed Jimmy over the edge (the eggs, we hope), but it sure doesn’t sound like Wickersham was wrong when he wrote that Haslam is a hands-on owner who makes decisions on a whim. — Vince Grzegorek’

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DIGIT WIDGET $125,000 Damages that local flight company FlexJet is seeking from pilots who sent managers “crude and profane” postcards — “Dumbass” — after mangers voted to decertify the pilots’ union in 2018.

$1.8 BILLION Total gifts and pledges raised by Case Western Reserve University for the Forward Thinking campaign. That’s billion, with a b.

$14.5 MILLION Cost of hosting the 2019 MLB AllStar Game, the 2022 NBA All-Star Game, the 2024 NCAA Women’s Final Four and a (still-speculative) NFL draft. Destination Cleveland is now trying to raise $5.5 million from local corporations to fund these efforts.

$150 MILLION Annual amount that Move Ohio and other organizations have asked Gov. Mike DeWine to allocate for a “Transportation Choice Fund,” which would pay for public transit, bicycle and pedestrian infrastructure.

scene@clevescene.com t@clevelandscene

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FEATURE

Three wrongfully convicted men, 40 years, and a city that still refuses to be honest with itself By Kyle Swenson

CLEVELANDERS TODAY GET A bad rap. We’re proud but touchy — easy to injury. We’ll be the first to dive head first into everything that’s wrong with our town, but the argumentative dukes go up when an outsider launches a similar critique. I know — my argumentative dukes and blood pressure shoot up as fast as anyone who loves the town when I predict a slight at the city’s expense. “Cleveland Against the World” is spot on. They say we’re a gloomy or dyspeptic folk. I say we’re just constitutionally honest. When I was researching my book (Good Kids, Bad City: A Story of Race and Wrongful Conviction in America, out now at your preferred local or online book shop), one of the biggest surprises I discovered was how important public debate and social conversation have been to Cleveland throughout the city’s history. This really actually goes for the entire Midwest region. Discourse is a grand tradition here. Think of the Lincoln-Douglas debates. Or how the frontier historians of the late 19th and early 20th centuries wrote and debated endlessly on the meaning of the Midwest, trying to fit its place into the national narrative. Cleveland has a strong legacy of a free press — I sometimes shock myself when I recall we at one point had not one but two feisty alternative weekly newspapers. And our politics were famous. A national reporter from the East Coast commented in the 1960s that Cleveland’s mayoral races were as intense and spirited as

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the gubernatorial or Senate contests elsewhere. We talk out issues, talk them out loudly, fiercely. This is why we’re so self-critical but also proud citizens. It’s a byproduct of being a town that can look at itself in the mirror and give an honest account of what we see there. But I believe it’s a tradition we’re in danger of losing.

| clevescene.com | February 20 - 26, 2019

I’m a little defensive about the title of my book, which is admittedly odd considering I chose it. The book discusses the case of three young black men from the east side who were wrongfully convicted of murdering a white salesman in May 1975. The crime occurred at a convenience store near Cleveland’s far eastern edge, not far from the Cleveland Clinic today. The victim was a money order salesman making

his last stop of the day. He was attacked leaving the store, doused with acid and shot. These three young men were arrested, tried, convicted and sentenced to death for this murder, all on the basis of the inconsistent eyewitness testimony of a 12-year-old boy from their neighborhood who claimed he had watched all three participate in the violent act. In fact, they were innocent, not even at the scene of the crime, the witness’s testimony a pure product of the imagination. Yet it would take 39 years, 3 months and 6 days for that truth to finally emerge. Together they would serve 106 years before their exoneration — one of the longest, if not the longest, wrongful convictions in American history. So “good kids, bad city.” The city we’re speaking of is clear — Cleveland. The kids would be the three young men involved — Ronnie Bridgeman, his brother Wiley Bridgeman, and their friend Rickey Jackson. At the time, Ronnie was the youngest at 17. Growing up, he’d been small, so his family took to calling him Bitsie, as in itsy-bitsy. Ronnie was cool. I’m not saying he dressed the best or had a good way with the ladies, although he did have that. Ronnie had a great sense of self, the poise that allowed him to get along with everyone, crack the right jokes, pull those around him in like a tractor beam. In 1975 he was figuring out his life, consumed by girls and having nice clothes and

singing in a local group called the Golden Teardrops. Rickey was the yin to Ronnie’s yang, the straight man to a cutup like Ronnie. He was quiet and self-possessed, with a loner streak running through him since an early age. Growing up, Rickey often explored the city alone, riding the downtown bus in random directions or sneaking off to the Cleveland Museum of Art. His reserve, however, was not an indication of aloofness. The little boy who wanders the hallways of an art museum is an observer. Rickey was — and is today — a keen reader of the room, a guy who thought before he acted. By 1975, he and Ronnie were inseparable. And then there was Wiley. I think everyone was in awe of Wiley. First off, when you are 17 or 18, you’re just coming into your own, personality still in flux, a rough draft of who you’ll be. Wiley was 22 in 1975, an adult really, and Wiley was unlike anyone else on the block. He was cerebral, a thinker who discussed big ideas and composed his own poetry. His mother caught this early on, this relentless mind chugging away inside her son — she called him The Professor. When he was working a summer job at a library downtown, Wiley would sneak off to the recording booth to listen to Beethoven and Tchaikovsky. He knew all about Marxism and communism, could tell you about dialectical materialism and the battles of the proletariat. He felt, there on the streets of Cleveland, the stirrings of what would become known as the Afro-Pride and Black Power movements. His nickname growing up was “Buddy.” “Good kids, bad city.” I am defensive about the title. The title implies values — the kids are good, the city is bad. I know Cleveland is a proud town but touchy, easy to injure; as I wrote, I had an invisible Clevelander in my head, belligerently asking why I had the temerity to slap the label “bad city” on the town. Was that fair? What makes a place bad, or good? I spent many an hour not writing, arguing with this invisible but touchy Clevelander, justifying the title. But the title was important. It’s a direct nod to L.A. rapper Kendrick Lamar and his 2012 album, Good Kid, M.A.A.D. City. There are two reasons I wanted, I needed, that allusion. The first is aesthetic, an echo I heard in Lamar’s work that also played through the story I was setting out to tell. In one of the songs in the album, Kendrick says “feels like the whole

city go against me.” The narrator of the song is reeling off all the troubles piled up around him in Compton: drug dealers, aggressive cops, poverty, friends falling into gangs. It’s claustrophobic anxiety as a sense of place. When I first heard this song, I knew I had heard the feeling it was expressing before. Ronnie Bridgeman changed his name to Kwame Ajamu while in prison. He was eventually released in the early 2000s, and eventually, in 2011, he approached me about investigating the circumstances around the 1975 convictions. As we got to know one another, Kwame explained that when he was released, the last place he wanted

exoneration, attracted attention. This was a media event. All the local television stations were there, as well as national and international camera crews. I remember seeing Kwame and his wife LaShawn sprinting — literally sprinting — down a hallway in the courthouse, a dozen cameras chasing after them like paparazzi running down Jay-Z and Beyoncé. When Rickey emerged into a lobby hallway, his first steps as a free man, he walked into a red-carpetlike barrage of flash bulbs. Then the questions began: What will you do first? Where will you go? What will your first meal be? What’s the biggest change? This was a great day for me, probably one of the most meaningful

“Those guys are still in prison,” one man told me. “And they didn’t even do it.” to be paroled to was Cleveland. Columbus, Canton, Toledo, Dayton — he asked to be shipped to anywhere else in Ohio, just not Cleveland. He had so thoroughly associated the injustice done to him with the city, they couldn’t be separated. Both Kendrick Lamar and Kwame were talking about a kind of despair that was three-dimensional and concrete.

***

I wrote this book because I was pissed off, to be completely honest. That may be the most dignified emotion to jump-start a project like this, but that’s the honest truth — and outrage can be an effective engine. I can tell you exactly when I got pissed off, and why. It was Nov. 19, 2014, the day Rickey Jackson and Wiley Bridgeman were released from prison. Rickey had been in prison continuously since 1975, 39 years in total, which was then the longest wrongful conviction in U.S. history to end in exoneration. The numbers, and the dramatic fashion of their

24 hours of my life. But creeping in from the edge of that elation, I felt a rising anger. I was pissed. The cameras, those questions and all the coverage that day felt horribly off, like a tune in the wrong key. Where will you go first? What will you eat? There was a certain shallow glibness to the tone. Later I realized that this is often how we talk about wrongful convictions in this country. We seem apt to conceptualize them as singular instances of bad luck, a one-in-a-million cosmic moment where all the circumstances just added up to a bad result. We don’t seem to have the stomach to look harder, to see these not as stand-alone tragedies but as systemic failures, or to see a wrongful conviction for what it actually is: the complete perversion of one of the founding values of our country, the rule of law. Now, yes, I admit, the gravity of those implications may be difficult to cram into a two-minute television news clip. But the tone of the coverage that

day — particularly the national coverage — felt inappropriately celebratory to me. Where will you eat first? It seemed exclusively focused on the future while explicitly ignoring the past. At best a cursory acknowledgement was suggested that something terrible had taken place all those years ago. But it was old news now, ancient history, time-stamped to a less enlightened chapter of our national history, and now it had been fixed. A phew, thank god that’s all over now, right guys? It was one occasion where Cleveland failed to look itself in the mirror and honestly report back what we saw. James Baldwin once wrote that “the purpose of art is to lay bare the questions that have been hidden by the answers.” The answer here was that these men were innocent. The question blotted out by that answer on that day in November, the question we should have been asking ourselves, was how the hell did this happen? Trying to answer that question — and its followup: Who let this happen? — was not easy. In fact, it became far more complicated the longer I looked at this case. It was the reverse of one of those Magic Eye images where you stare at a confused mess and eventually the picture snaps into focus. The longer I looked at this case, the familiar outline of the story I thought I knew dissolved. For example, Edward Vernon. He was the 12-year-old boy who testified against Rickey, Ronnie and Wiley at their 1975 trials. Clearly, he bore the blame for what happened here, the responsibility sitting on his shoulders. And when I originally reported on the case in 2011, he loomed large in my mind as the villain of the story. But when Edward finally recanted his testimony as a middle-aged man in 2014, he explained his testimony was coerced. Cleveland police detectives had threatened to arrest the boy’s parents if he did not go forward with his false testimony. His mother was struggling through cancer at the time. He felt he had no choice, pinned between knowingly lying and exposing his family to potential danger. He was a frightened child. So that led to the police officers, the adults who coerced Edward’s testimony. Throughout my reporting, I uncovered other allegations of misconduct leveled against these detectives — including acts of physical violence against suspects. In the 1970s, of course, these allegations were largely dismissed — dismissed by white Clevelanders | clevescene.com | February 20 - 26, 2019

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as improbable, dismissed by black Clevelanders as an everyday toll of living here. But combined with Edward’s claims of coercion, this threaded a pattern of repressive violence in the law enforcement officers involved in Rickey, Wiley and Ronnie’s convictions. The specific men involved were long dead, but I spent a very long time trying to climb inside their heads, to understand their behavior. Did they really believe Rickey, Wiley and Ronnie were guilty, and so felt justified in doing whatever they needed to make a case? Or were guilt and innocence beyond their consideration? Did they just not care? Did they just want to close the file? Both answers suggested a corrosive cynicism in these men, a vehement disregard not only for the basic principles of law and order, but for the people they were sworn to serve. But there was another group who also shouldered some blame. When I originally reported the story, I was surprised that so many people from Rickey, Kwame and Wiley’s neighborhood clearly remembered the case. “Those guys are still in prison,” one man told me. “And they didn’t even do it.” This surprised me — everyone remembered, and also knew they were innocent. Over time I talked with people who actually had been with the defendants when they were alleged to have been committing the crime. Others I found actually saw the crime as it was committed. They were never questioned by investigators, but they also did not offer up this potentially vital information. At least one potential witness was not allowed to speak up because of her father. Police records indicate another individual called investigators to say they had gotten the wrong guys. But the calls eventually stopped. People stayed quiet. They went silent. How could someone not have spoken up? I wondered. Why this fear of getting involved with the police? Where was this silence coming from? I worked hard to understand this as well. Unlike the police, these neighbors were still alive, yet they struggled to explain that silence. Whatever it was, it went far beyond youth and was tinged with both fear and shame. Over time I began to see the

roots of both this cynicism I picked up in the police and the fear in the neighbors were symptoms of something larger, a seismic shift taking place at the time not just in Cleveland, but across the country. These were political changes, and you could see the fault lines if you looked at the Cleveland police department, the local political class, and the volatile relationship between both of them and Cleveland’s black community in the 1960s and ’70s. Two events indelibly marked these decades. The first was the 1967 election of Carl Stokes as mayor of Cleveland, the first African American to be elected mayor of a major American city. The second was the 1968 Glenville shootout, where a group of black militants opened fire on Cleveland police, one of the first episodes of such open armed racial hostility in America, a moment when the country was introduced not to the blind chaos of race riots, but purposeful guerrilla warfare. By the late 1960s, the gains of the Civil Rights movement had triggered a response from the establishment, as much in the industrial North as the Jim Crow South. Many spoke of an “excess of democracy,” a lofty way of saying suddenly more people wanted their rightful seat at the table. As an active part of the established political process, Stokes represented a much more salient threat to the old order than most Civil Rights figures. On election day in 1967, nine predominantly black wards in Cleveland’s east side exceeded the turnout in 15 predominantly white wards. That is a significant kind of shift. Politicians, obviously driven by the fear of a black electorate personified in Stokes, found a novel way to undermine him. They began to speak in a specific language about law and justice. Stokes pushed for police reform; as a black man in Cleveland, he knew the everyday toll of living here. These politicians were against Stokes and all he stood for, so they threw themselves behind the police. You were either pro-police or pro-criminal — they broke it down to that simple, electrified binary. The Glenville shootout was a gift for these politicos, because it deepened that polarization. You were either pro-police, or pro-black militant. The Cleveland police, however, were not making it easy for their political patrons on City Council. For one, by 1974, a year before the murder in this case, crime was rising, particularly on the white west side. The division of police was also constantly being exposed in headlines for malfeasance. In

the years we’re talking about, ofďŹ cers were accused of everything from running burglary rings and spending their shifts drinking in bars to taking payments from pimps and even raping young girls in city parks. The combination of rising crime and institutional malfeasance prompted some council members to threaten that if things didn’t get better, they would take out a provision of the city charter requiring Cleveland ofďŹ cers to have the highest salaries among law enforcement across the state. Pressure was on the police. Pressure was also on City Hall in 1974. There were calls for grand jury investigations and committees on police corruption. In fact, there was a reform wave rolling through police departments everywhere, it was really part of the zeitgeist. The best known was perhaps New York City’s Knapp Commission, an exhaustive investigation into the NYPD’s conduct, featuring whistleblower Frank Serpico. But departments across the country were undergoing similar probes, systemic housecleanings that would eliminate bad actors and install new practices, impacting American law enforcement for decades. In Cleveland, however, there was

no political will for this kind of hard look in the mirror. Remember, the terms of the city’s politics had been set: You were either pro-police or pro-criminal. Outside of a handful of criminal charges and some press releases, then-Mayor Ralph Perk did little to ďŹ x the department in 1974. That likely was tied to another kind of pressure: ďŹ nancial pressure. By the 1970s, Cleveland was heading straight for bankruptcy and default. Mayor Perk, however, kept the city alive, principally through federal handouts. In this area, Perk was uniquely situated. As one of the few Republicans running an American big city, he was favored by the largess of the Nixon Administration. By 1975, a third of the city’s operating budget came from federal grants. In the early years of the decade, the city was one of a handful of municipalities awarded large federal grants for law enforcement, money that represented the Republican administration’s ampliďŹ cation of the “war on crime.â€? However, Perk was told implicitly by Washington that this money — so badly needed for the struggling city — would be jeopardized by any more headlines about Cleveland’s bad police department. Police corruption did not outweigh the politics here.

The department was not cleaned up. A year later, three innocent young men were arrested. A little boy was coerced into testifying. A case ďŹ le was closed. Sometimes we fail to take that look in the mirror and give an honest account of what we see there on purpose. A witness who is forced to lie. An aggressive police department that seems at war with the black community. Neighbors stunned into silence. Politicians who calculate their actions not on the moral imperative of their ofďŹ ce but on ďŹ nancial bottom-lines or how their actions would sink their rivals. Power in the service of its own survival. You can see how Kwame Ajamu later could not separate the injustice done to him from the town itself. Remember Kendrick Lamar: “Feel like the whole city go against me.â€?

***

So what does that mean? This goes well beyond explaining the civic conditions where a wrongful conviction can happen. This means you can run a line directly from how law and order was politicized in the Stokes era, how

these politics stymied police reform around the time Rickey, Wiley and Kwame were snatched from the streets, to the Cleveland of recent years. This means today we have a police department that has been regularly in the headlines over excessive force and citizens’ complaints; a police force that is so insular, it greets any gesture toward reform with defensive howls of protest; a police force that is historically contemptuous of civilian review; a police force that has twice — I repeat, because this is not a usual municipal occurrence — twice since 2000 been subject to Department of Justice investigations and subsequent agreements; a police force that knows political leaders, like the ones in the 1970s, will not spend political capital on pushing for meaningful reform; a police department that had an unqualiďŹ ed candidate in uniform two days after Rickey Jackson’s release in 2014, when this ofďŹ cer jumped from his police cruiser at the Cudell Recreation Center and gunned down Tamir Rice. Sometimes failing to look in the mirror and give that honest account has long-term consequences. My book tells Rickey, Kwame and Wiley’s story.

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But there is a second, larger, story running beneath the first, and that is the story about how forces within the American political system radically changed this country in the decades following the Civil Rights movement. Some of these were conscious decisions. Others were the unintentional effects of policies. But these were all political changes that ultimately pushed us further away from each other, laid distance between different generations, different economic rungs, and different races. And it also pushed those groups further away from the basic promises of a democratic society, from the promise of equal protection under the law, from the promise of holding elected official truly accountable on election day. The politicization of law and order in the late 1960s and 1970s is just one of the shifts that altered American life. But there are so many more. There was federal redlining that created the suburbs and therefore segregated people of color into inner city neighborhoods. Or how suburbs and cities were forced to undercut one another for business relocations. Or how a splurge of corporate tax subsidies kneecapped the city’s tax base, which is how you end up ultimately with potholes and undemolished empty houses and untested rape kits and lead in your drinking water. Or how federal policies related to the war on drugs clogged our courthouses with cases, overtaxing our prosecutors, defense attorneys and judges. Or how economic development has been pooled in certain areas of the city at the expense of others. The list could go on. And it would be the story of the late 20th century. These shifts do not just change our cities and communities — they change our relationships with others. They change us. I realized eventually they had worked changes in me. When I first met Kwame, he told me his story and I believed him — almost. Kwame’s testimony, the strength of his conviction, the pull of his personality — it all was convincing. And yet one small piece of me hung back, not because I had any doubts about the honesty of man I was speaking with, but because I assumed the American justice system could not make a mistake like the one he described, that the

proper safety nets had to be in place for catching the innocent, that our courts lived up to their promise. Quickly, through reporting on this case, I realized how incredibly wrong I was: that not only were these men innocent, but that our criminal justice system had no such safety nets and in fact was generally indifferent to guilt or innocence once the jurors had signed the verdict and the judge had passed a sentence. I was so shocked that I had assumed otherwise, I felt my naivete was in a way a form of moral culpability. How could I not know otherwise? Finally I realized this was because I had never been on the wrong end of the criminal justice system, and that had everything to do with who I was: suburban-bred, middle-class and white. In what I think of as the moral climax of my book, I write, “There is responsibility in perspectives. We’re accountable for what we see in the world, and more importantly, we’re responsible for what we don’t see.” The test of that responsibility means being honest about what we miss and why we miss it. The wrongfully convicted man or woman has no room for self-deception or an inaccurate understanding of him- or herself. Your identity has been hijacked. The city of Cleveland, Cuyahoga County, the state of Ohio, the United States, all say you are someone you are not: a murderer. You know you aren’t, but that doesn’t matter. To survive that kind of total erasure and disfigurement of character, you must be honest with yourself, cling to that personality, never let identity slip from the facts. Every look in the mirror must be an honest account. That is what I learned from these three men. Cities, however, are suckers for self-deception, easy marks for thinking we’re something other than what we really are, believing we’re only one new building or riverfront development or tech startup or new stadium or gentrified neighborhood away from fixing our problems. All cities, but Cleveland, too. “Good kids, bad city.” “Good” as a measure of this honesty, “bad” as the measure of how far we’ve fallen from seeing or accepting what’s going on around us. These issues live on today as much as they did in 1975. This is very much a history we’re still living with.

scene@clevescene.com t@clevelandscene

F R E E E V E N T

Saturday, February 23

#BRITE10 | clevescene.com | February 20 - 26, 2019 15

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| clevescene.com | February 20 - 26, 2019

GET OUT everything you should do this week Photo courtesy Playhouse Square

WED

02/20

SPOKEN WORD

Cleveland Stories Dinner Parties Cleveland Stories Dinner Party is a weekly series that pairs fine food with storytelling. The goal is to “bring to life some of the fun, interesting stories about Cleveland’s past — from sports, to rock ’n’ roll, to Millionaires’ Row,” as it’s put in a press release. Admission is free, with no cover charge, although a prix fixe dinner, designed to complement the night’s theme, is $20. Tonight, Craig H. Williams, a senior aerospace engineer in the Propulsion Division at NASA Glenn, will speak about the significance of the lunar landing that took place 50 years ago. Doors open at 5 p.m., dinner is served at 6, and the storytelling starts at 7. (Jeff Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com. MUSIC

An Evening with Greg Tate and Craig Street Each year, the Rock & Roll Hall of Fame celebrates Black History Month with a series of special programs and events that include film screenings and interviews. At 7 tonight, scholar Greg Tate and producer Craig Street will be on hand to discuss the influence that producer Tom Wilson (Simon and Garfunkel, Bob Dylan, the Mothers of Invention) had on some of the most recognizable sounds of the 1960s. Admission is free, but a reservation is required. (Niesel) 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com. BOOKS

Good Kids, Bad City Book Reading A former Scene staff writer who now works for the Washington Post, Kyle Swenson returns to town today to discuss his new book, Good Kids, Bad City: A Story of Race and Wrongful Conviction in America. In it, Swenson recounts the wrongful convictions and eventual exonerations of Ricky Jackson, Wiley Bridgeman and Kwame Ajamu, situating the story in the framework of politics, race and criminal justice in Cleveland from the 1970s through today. Swenson wrote a story for Scene that was pivotal to the three men’s release from jail. He speaks today at noon at the City Club and at 7 p.m. at Visible

The Jump Back Ball returns to the State Theatre. See: Saturday.

Voice Books. Both events are free. (Niesel) 850 Euclid Ave., 2nd Floor, 440-899-1222, cityclub.org.

place at 7:30 at the Allen Theatre. Tickets start at $25. Performances continue through March 9. (Niesel) 1407 Euclid Ave., 216-241-6000, clevelandplayhouse.com.

BOOKS

Ocean Soul Brian Skerry has spent more than 10,000 hours underwater photographing the ocean. His images celebrate “the mystery of the depths” and offer portraits of creatures “so intimate they sometimes appear to have been shot in a studio.” Once, he even lived at the bottom of the sea to take photos. Recently, National Geographic Books published Ocean Soul, a retrospective of the man’s photos. Tonight at 7:30 at the Ohio Theatre, he’ll talk about his career. Tickets are $25 to $45. (Niesel) 1501 Euclid Ave., 216-241-6000, playhousesquare.org.

THEATER

Witness for the Prosecution In Agatha Christie’s Witness for the Prosecution, Leonard Vole is accused of murdering a widow to inherit her wealth. The play centers on the attempt to untangle the truth. The Great Lakes Theatre offers its take on the suspenseful thriller tonight at 7:30 at the Hanna Theatre. Performances continue through March 10. Tickets are $15 to $75. (Niesel) 2067 East 14th St., 216-241-6000, playhousesquare.org.

THU

02/21

THEATER

Sherwood: The Adventures of Robin Hood A Cleveland favorite, playwright Ken Ludwig (Baskerville, A Comedy of Tenors) returns with Sherwood: The Adventures of Robin Hood, Cleveland Playhouse’s “rollicking new take” on a beloved legend. In this particular production, Robin Hood and his band of Merry Men take on a greedy prince. Tonight’s performance takes

MUSIC

Beethoven’s ‘Pastoral’ Tonight’s Cleveland Orchestra concert that takes place at 7:30 at Severance Hall features two symphonies inspired by the countryside and nature. Beethoven’s “Pastoral,” features rolling thunder, a lively country dance and the sound of a shepherd’s pipes. Scotland’s rugged beauty inspired

Mendelssohn’s “Scottish” symphony, a piece characterized by moody, atmospheric melodies. Herbert Blomsted conducts, and Timothy Cutler, a Cleveland Institute of Music professor of music theory, gives the pre-concert talk an hour before the concert. Performances continue through Saturday. Check the orchestra website for more info. (Niesel) 11001 Euclid Ave., 216-231-1111, clevelandorchestra.com. SPORTS

Cavs vs. Phoenix Suns The Phoenix Suns are proof that first-round draft picks don’t guarantee success. The Suns have plenty of young, talented players but continue to be one of the league’s worst teams. Even though the Cavs lost a few key players before the trade deadline, they still stand a good chance tonight against the Suns, who are led by sharp shooting guard Devin Booker and rookie center Deandre Ayton. The game begins at 7 at the Q. Consult the Cavs website for ticket prices. (Niesel) 1 Center Court, 216-420-2000, theqarena.com. COMEDY

Bobby Collins Bobby Collins was destined to be a comedian from the start — his | clevescene.com | February 20 - 26, 2019 17

GET OUT father named him after his favorite comedian Bob Hope, and he’s been telling jokes ever since. A New York native, Collins left a very prestigious position as vice president of Calvin Klein to pursue his dream of becoming a comedian. He quickly catapulted to fame and has even opened for big-name acts such as Jay Leno and Jerry Seinfeld. Collins’ very heavy New York accent shines through as he tells jokes about everyday life. He performs tonight at 7:30 and 10 at Hilarities and has shows scheduled through Saturday. Tickets start at $25. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

THEATER

The Importance of Being Earnest The CSU Department of Theatre & Dance offers its take on Oscar Wilde’s The Importance of Being Earnest, “a trivial comedy for serious people.” The play uses humor to address issues of identity and relationships and employs mistaken identities, plot twists and “madcap action.” Tonight’s

on Playhouse Square, Steven Rinella and producer Janis “The Latvian Eagle” Putelis talk about the struggles of producing the Netflix series MeatEater and the top-ranked accompanying podcast. They’ll share film clips and talk about the thrll of getting charged by grizzlies, stricken by weird diseases and run over by moose. They’ve filmed more than 100

MUSIC

FILM

Genesis 2.0 Genesis 2.0 focuses on the harsh and dangerous life of so-called “mammoth hunters” who live and work in the far north of Siberia. The film captures the gold-rush fever that exists in the market for mammoth remains, because prices for this “white gold” have never been so high. Sometimes the hunters even find an almost completely preserved mammoth carcass with fur, liquid blood and muscle. The movie shows tonight at 7 at the Cedar Lee Theatre as part of the Reel Science Series. Roberta Muehlheim, assistant curator in the vertebrate zoology department at the Natural History Museum, will host the screening. Tickets cost $9.75. (Niesel) 2163 Lee Rd., Cleveland Heights, 440-528-0355, clevelandcinemas.com. COMEDY

John Henton Actor, writer, producer and comedian John Henton will stop in Cleveland for three days to show off his gritty sense of humor. A must-see comic, he shares his opinions without hesitation and uses comedy to lighten topics like race, politics and even disciplining one’s own children. He also jokes about his travel experiences, such as having a terrible seat on a night flight and enduring many bad hotel rooms. The native Clevelander has snatched roles in the sitcoms Living Single and The Hughleys. He performs tonight at 7:30 at the Improv, where he has shows scheduled through Sunday. Tickets start at $17. (Hannah Borison) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.

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centers on a young man who mysteriously disappears after starting his research for a biography he plans to write about a sinister social theorist. The movie makes its Cleveland debut tonight at 6:45 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.

3/20 3/27 4/17 4/24 5/22 5/29 6/5

Joni Mitchell: Both Sides Now: Live at the Isle of Wight Festival 2017 • R • 106 minutes • Courtesy of Eagle Rock Entertainment

Miss Sharon Jones!

FRI

02/22

2015 • not rated • 93 minutes BOOKS

Horn from the Heart: The Paul Butterfield Story 2017 • not rated • 104 minutes • DCP Format

Turn It Around: The Story Of East Bay Punk 2017 • not rated • 155 minutes • DCP Format

Tommy 1975 • PG • 111 minutes • DCP Format

Boy Howdy!: The Story of Creem Magazine 2019 • not rated • 75 minutes • DCP format

Gimme Shelter 1970 • R • 91 minutes Criterion Collection Edition • DCP Format

FILMS FREE for Members

Non-Members: $5.50

BECOME A MEMBER OR GET TICKETS AT ROCKHALL.COM 1100 Rock and Roll Boulevard, Cleveland, Ohio 44114 • 888 .764 .ROCK (7625 )

performance takes place at 7:30 at the Outcalt Theatre. Performances continue through March 3. Tickets start at $15. (Niesel) 1407 Euclid Ave, 216-241-6000, playhousesquare.org.

episodes, so they have plenty to discuss. Tickets are $30 to $150. (Niesel) 1501 Euclid Ave., 216-241-6000, playhousesquare.org.

TELEVISION

FILM

MeatEater : Under the Hood with Steven Rinella and Janis Putelis Tonight at 8 at the Ohio Theatre

Notes on an Appearance Notes on an Appearance, director Ricky D’Ambrose’s debut film,

| clevescene.com | February 20 - 26, 2019

Open Mic Night/Live Band Karaoke Every Thursday, Stella’s Music hosts a night of music, poetry and comedy. The club’s doors open at 5 p.m., and performances begin at 8 p.m. Artists can sign up at stellasmusic.com/open-mic to secure a 15-minute time slot. Signups will be available at the club as well. Meanwhile, happy hour takes place from 5 to 7 p.m. Admission is free. (Niesel) 2217 East Ninth St., 216-272-3377, stellasmusic.com.

Born to Lead: Americana Music Trailblazers In his eighth book, Born to Lead: Americana Music Trailblazers, Mark Hodermarsky recognizes those artists who have played influential roles in the Americana movement. The book seeks to provide “a sharper description of the genre” and also offers a section devoted to deepening an appreciation for Americana’s “immense scale and diversity.” Hodermarsky offer his takes on how Bob Dylan, the Byrds, Gram Parsons, Gene Clark, Buffalo Springfield, the Grateful Dead and other acts pursued their musical visions and encouraged other musicians to forge their own paths. He reads from his book tonight at 7:30 at Visible Voice Books. Admission is free. (Niesel) 2258 Professor Ave., 216-961-0084, visiblevoicebooks.com. CARS

Cleveland Auto Show Featuring concept, pre-production and production vehicles from many of the world’s top auto manufacturers, the Cleveland Auto Show returns to the I-X Center. The massive event occupies nearly 1.2-million square feet and features exhibits, vehicle giveaways and a classic car competition. Today’s

hours are 5 to 10 p.m., and the show continues through March 3. Consult the website for a complete schedule. Tickets cost $14 for adults. Parking is free. (Niesel) 1 I-X Center Dr., 216-676-6000, clevelandautoshow.com. THEATER

Conversations in Courage An actor who’s appeared in nearly 20 films as well as on network television, Peter Lawson Jones has an impressive resume. Karamu Performing Arts Theatre has produced his drama, The Family Line, and Ensemble Theatre put on his latest play, The Bloodless Jungle. From February 2002 through December 2010, Jones served as a member of the Board of Cuyahoga County Commissioners and was president of the board for three of those years. He also served in the Ohio House of Representatives and was the vice mayor and a councilman for Shaker Heights: He has received over 50 awards and honors for his governmental, civic and political work. Now he is back on the stage: Jones will star as Malcolm X in Conversations in Courage: A Theatrical Performance of the Meeting. Greg White will portray Martin Luther King Jr., and the performance will be held at 7:30 tonight at Heights Christian Church in Shaker Heights. Tickets are $15 for students and $25 for adults. SHAC members receive a $5 discount. (Niesel) 17300 Van Aken Blvd., Shaker Heights, shakerartscouncil.org. THEATER

Flanagan’s Wake Finding the humor in life and death, Flanagan’s 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. Tonight’s show starts at 8 and repeats tomorrow night at 8 at Kennedy’s Theatre. Performances continue weekends through April 27. Tickets are $26. (Patrick Stoops) 1501 Euclid Ave., 216-241-6000, playhousesquare.org.

Liverpool Lads and Abbey Road will perform, and Cleveland-based OPUS 216 will offer acoustic-classical takes on Beatles tunes. Another act on the schedule, Across the Universe, specializes in the music of John Lennon, from his pre-Beatle days to his last studio album; and the Colin Dussault Blues Project will become the Colin Dussault Beatles Project just for one night. The female duo Babies in Black will play early Beatles tunes on standup bass and guitar. Admission is free; consult the website for a complete schedule. (Niesel) kentbeatlefest.com. FILM FEST

Kids’ Film It Festival When 14-year-old Ryan Levine decided to start a film festival for kids, he chose to partner with the Michael J. Fox Foundation because his grandmother has Parkinson’s disease. The resulting film festival has become a big hit; it comes to the Rock Hall at 7 tonight. The festival regularly receives more than 100 submissions from around the country, from kids ages 8 to 18. This year’s selections are grouped into three categories (animation, music and film), and have been submitted by three age groups. Winners in each category and age group will be announced tonight. Tickets can be purchased through the festival website, below, and 100 percent of proceeds go to the MJFF. (Niesel) 100 Rock and Roll Blvd., 216-515-8444, kidsfilmitfestival.com. FILM

Peppermint Soda Today at 7 p.m., the Cleveland Museum of Art hosts the local revival premiere of the 1977 French flick Peppermint Soda. A classic coming-of-age story, the movie focuses on two sisters who deal with the trials and tribulations of growing up in Paris in the early 1960s. Tickets cost $10, or $7 for CMA members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

SAT

02/23

MUSIC FEST MUSIC

Kent BeatleFest The sixth annual installment of BeatleFest is set to take place in Kent tonight. More than 20 bands will perform at 18 venues, marking the anniversary of the Beatles appearance on The Ed Sullivan Show on Feb. 7, 1964. Tribute bands

Brite Winter 2019 This year marks the 10th installment of Brite Winter, the popular winter music festival that takes place on the West Bank of the Flats. The L.A.-based indie rock act Smallpools will headline the event, and some of the city’s best local bands, including Ezri, Mourning | clevescene.com | February 20 - 26, 2019 19

GET OUT [A] BLKstar, the Vindys, Uptowne Buddha, Ray Flanagan & the Authorities, and Muamin Collective are scheduled to perform. There will be ice carving demonstrations and other art installations as well. The event runs from 3 p.m. to 1 a.m., and admission is free. (Niesel) britewinter.com. MUSIC

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SCENE

Gina Chavez Multi-ethnic Latin pop songstress Gina Chavez comes to town riding a wave of acclaim. A 10-time Austin Music Award winner, the bi-lingual singer has had an album top both the Amazon and Latin iTunes charts. Her Tiny Desk Concert from 2015 made that year’s NPR Top 15 list. Chavez also once took a 10-country tour as a cultural ambassador with the U.S. State Department. Her appearance tonight is part of the Cuyahoga Valley National Park concert series, presented in partnership with the Conservancy for CVNP. Doors open at 7 and the music starts at 8 p.m. at Happy Days Lodge. Consult the website, below, for ticket prices. (Niesel) 500 West Streetsboro Rd., Peninsula, 330-657-2909, ConservancyforCVNP.org. FUNDRAISER

Jump Back Ball Taking place tonight at 7 at the State Theatre, the 28th annual incarnation of this fundraising fete has adopted a unique theme: Jump Back Across the Pond. “Think royal family, Harry Potter and the Beatles,” reads the press release. Two bands, Abby Normal and the Detroit Lean and Faction, will perform. Special late-night tickets go for $75, about half the cost of a general admission ticket, and gives partygoers access to the festivities after 9:30 p.m. The event concludes at midnight. Consult the Playhouse Square website for more info. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org. FOOD

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| clevescene.com | February 20 - 26, 2019

North Union Indoor Farmers Market Until March 30, the North Union Indoor Farmers Market takes place on Saturdays from 9 a.m. to noon at Crocker Park. Local farmers, makers and bakers will be on hand to sell seasonal greens and vegetables, fruits, meats, cheeses and bakery items. The market is held at 228 Market St., between the Gap and

Cyclebar. Afterward, check out Comet Alley, which sits between Yard House and Hyatt Place Hotel: You’ll find locally owned businesses and shops that’ll appeal to a “shop local” mentality. (Niesel) 189 Crocker Park Blvd., Westlake, crockerpark.com. MIXED MARTIAL ARTS

World Fighting Championships For the first time in nearly five years, mixed martial arts will return to Hard Rock Live tonight at 6:30 as World Fighting Championships 99 comes to the venue. In one of the main fights, Cleveland’s JT Miller will take on Chicago native PJ Cajigas. Miller is a former Cleveland State wrestler from world-renowned Strong Style MMA. In the co-main event, Cleveland’s Frank Caraballo will fight Toledo’s Antonio Castillo Jr. A slew of other bouts will take place tonight too. You must be 21 or older to attend. Tickets start at $35. (Niesel) 10777 Northfield Rd., Northfield, 330-908-7793, hrrocksinonorthfieldpark.com.

SUN

02/24

MUSIC

Matthew Ball An attorney who became a musician, Ball’s playing has earned him a rabid following on YouTube. He gives a free concert at 2 p.m. today at the Lakewood Public Library. Ball, who plays tunes from the ’20s, ’30s and ’40s, has posted YouTube vidoes that have received more than four million views. Expect to hear American standards like “In the Mood,” “Ain’t Misbehavin’,” “When the Saints Go Marching In,” “Basin Street Blues,” and more. (Niesel) 15425 Detroit Ave., Lakewood, 216-226-8275, lakewoodpubliclibrary.org. MUSIC

Ciurlionis – In Pursuit of Soundscapes Ciurlionis – In Pursuit of Soundscapes aims to showcase the music, paintings and literary works of Lithuanian artist Mikalojus Konstantinas Ciurlionis, an abstract art pioneer. Part of the Music Settlement’s newly launched Signature Series, the concert will not only honor the recent 100th anniversary of the Republic of Lithuania’s Independence Day, but it will also pay tribute to the Lithuanian community There will be a discussion of Ciurlionis’ masterworks along with musical performances by Duo Zubovas, a Lithuanian piano duo

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| clevescene.com | February 20 - 26, 2019 21

GET OUT that features two of Lithuania’s most talented pianists, Sonata Deveikyte and Rokas Zubovas. The concert starts at 3 p.m. at Glick Recital Hall. Tickets are $25 for adults, and $10 for children. (Niesel) 11125 Magnolia Dr., 216-421-5806, themusicsettlement.org. FILM

Passing Through Some critics have called Larry Clark’s 1978 flick, Passing Through, the “greatest jazz movie ever made.” The film follows a saxophonist as he’s released from prison and tries to connect with his grandfather. The soundtrack features songs by John Coltrane, Charlie Parker and more. It screens at 2 p.m. at the Cleveland Institute of Art Cinematheque. Tickets cost $12, or $9 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu. MUSIC

The Pop Tarts The Pop Tarts, a dynamic 1960s

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girl singing group will deliver a blast from the past today from 2 to 3 p.m. at the Beachwood Community Center. The Cleveland group features members who go by names such as Luscious Lemon Tart, Wild Blueberry Tart, Very Cherry Tart and Sweet Apple Tart. Expect to hear tracks by acts such as the Chiffons, the Shirelles and the Supremes. Admission is free. (Niesel) 25325 Fairmount Blvd., Beachwood, 216-292-1970, beachwoodohio.com. FILM

Young Picasso A collaboration with the Picasso museums in Malaga, Barcelona and Paris, Young Picasso explores the famed painter’s early years, from his Blue and Rose Periods to 1907, and the forces that made the man the icon that he became. The 2019 Blu-ray movie makes its local premiere today at 1:30 p.m. at the Cleveland Museum of Art, where it screens again at 1:45 p.m. on Tuesday. General admission is $14, or $10 for CMA members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

| clevescene.com | February 20 - 26, 2019

MON 02/25 TUE

02/26

SPORTS

MUSIC

Cavs vs. Portland Trailblazers In Damian Lilard and C.J. McCollum, the Portland Trailblazers have one of the best backcourts in the NBA. The team has played exceptionally well this year and is poised to make the playoffs. It’ll be a tough challenge for the Cavs tonight when the Trailblazers come to the Q at 7. Consult the Cavs’ site for ticket prices. (Niesel) 1 Center Court, 216-420-2000, theqarena.com.

Open Turntable Tuesday Tonight from 6 to 9, the Winchester hosts its weekly Open Turntable Tuesday. Turntables are provided; you can play three to five songs during your time slot; and a mic is available to talk about the selections. (Niesel) 12112 Madison Ave., Lakewood, 216-600-5338, facebook.com/ TheWinchesterMusicTavern.

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 Hts. Blvd., Cleveland Heights, 216-932-1966, bsideliquorlounge.com.

FILM

Twisted Pair Director Neil Breen (Fateful Findings) takes on the concept of virtual reality in his new sci-fi flick, Twisted Pair. Breen also stars in the movie as twin brothers who enter a “limitless digital universe.” The shoddy special effects and hokey dialogue will undoubtedly get a good laugh. The movie screens tonight at 7:30 at the Capitol Theatre. Tickets cost $11. (Niesel) 1390 West 65th St., 216-651-7295, clevelandcinemas.com.

scene@clevescene.com t@clevelandscene

OPERA THEATER

RAMEAU’S

Hippolyte et Aricie Wednesday, February 27-Friday, March 1, 2019 l 7:30pm l Kulas Hall Saturday, March 2, 2019 l 3pm l Kulas Hall

Co-produced by CIM and CWRU, and staged in period style with Baroque dance and a Baroque orchestra, Hippolyte et Aricie takes us into a magical world of heroes and lovers, goddesses and monsters, forest creatures, sailors and hunters.

TICKETS: $20 adults | $15 seniors and groups | $10 for students cim.edu/hippolyte or 216.795.3211

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| clevescene.com | February 20 - 26, 2019 23

STAGE THE DAMAGE DONE Misogyny is alive and well in ‘Two by Tennessee’ at Karamu By Elaine T. Cicora “NO MEANS NO,” SAID NO Tennessee Williams character, ever. Rather, the female personas drawn by the 20th century’s leading playwright were almost perpetually victimized — if not by the men in their lives, then certainly by the decadent Southern patriarchy that Williams traced so vividly. That Williams could render these women — girls, in many cases — as both deeply flawed and profoundly sympathetic was a hallmark of his genius. And it reflects the playwright’s overall mastery of character, a novelist’s ability to create riveting roles of depth, complexity and nuance, with an economy of words. Karamu, and director Latecia Delores Wilson, are to be commended for tackling two such heavy Williams works: the one-act plays This Property is Condemned and 27 Wagons Full of Cotton, both set in Depression-era rural Mississippi, both exploring “mature” subject matter that includes rape, prostitution and domestic violence, and both revolving around damaged and despairing female leads. The cast that Wilson has assembled is a young one. Condemned lead Yumi Ndhlovu (Willie) is a petite ninth-grader at Hathaway Brown, and Natalie Grace Sipula (Flora in 27 Wagons) is a senior at Andrews Osborne Academy. The men are somewhat older. Andrew Thomas Pope (Condemned’s opportunistic Tom) is a senior at Baldwin Wallace University; in 27 Wagons, actor Darelle Hill (as the predatory Silva) is a student at Notre Dame College, and while Andrew Aaron Valdez (a blustering, amoral Jake) has already accrued an impressive resume as director, playwright and teaching artist, the University of Texas – Austin grad still looks young enough to get carded at his local H-E-B. Perhaps for this reason, their characterizations tend to skim the surface, missing much of the depth, and damage, that Williams has built in. Of course, casting Condemned’s female lead, Willie, is notoriously tricky. Precociously sexual yet childlike, jaded but still clinging

24

Photo by Colleen Albrecht

to innocence, the character, who Williams described as about 13, could hardly be more bifurcated. And finding a real 13-year-old with the maturity to plumb those dark depths is obviously a challenge. Wilson gets credit for her courage in casting an actual youngster to play this complex role. But unfortunately, while Yumi Ndhlovu is a competent young actress of obvious potential, her performance here as Willie is predictably superficial. Rather than the aspirational whore who Williams

complexity and maturity from her talented young performers. That said, there is still plenty to enjoy in this production. Staged in Karamu’s intimate black-box Arena Theatre, the two plays are anchored by a single set that smartly conjures up both the time and the place. A convincing set of railroad tracks — a crucial component of Condemned, which Willie uses to metaphorically walk the line between childhood and degradation — runs down the center of the performance space.

THIS PROPERTY IS CONDEMNED + 27 WAGONS FULL OF COTTON THROUGH MARCH 10 AT KARAMU, 2355 EAST 89TH ST., 216-795-7077, KARAMUHOUSE.ORG

gives us, we get a little girl playing dress up. Something similar can be said about the engaging Sipula, who nonetheless gives us a Flora who is more ditzy than damaged, and who tends to gloss over the gravitas of Flora’s exploitation, first by an abusive husband and, second, by a predatory — and vengeful — neighbor. One can only wish that Wilson had been able to coax more

| clevescene.com | February 20 - 26, 2019

And as both the nominal condemned property in the first play, and the slightly less abject home of Flora and her conniving husband, Jake, in the second, the faded yellow house façade crafted by scenic designer Prophet D. Seay performs its doubleduty with evocative efficiency. Sound designer Jeremy Dobbins adds to the ambiance too, with a subtle sonic backdrop of crickets, crows and chickadees.

Darelle Hill’s performance as outsider Silva Vicarro (in 27 Wagons) is also a lot of fun. From his head (topped with a rakishly tipped fedora) to his toes (clad in spiffy two-toned spectator shoes straight out of the 1930s), Hill oozes a dangerous, but tempting, sexuality. His scenes on the porch with Flora, who he is seducing as revenge for her husband’s misdeeds, are a pure delight: Hill can say more, via body language, than some actors could say with an entire thesaurus. And in the process, he seems to energize Sipula’s sometimes sleepy performance as she plays off of his sleazy charms. Despite the tragic subject matter, Williams’ plays aren’t without a few laughs, either. While one might suppose Flora’s seduction would be grim stuff, Hill and Sipula get some chuckles out of double-entendres like “the good neighbor policy” (used mockingly to justify Silva’s aggressions toward Flora) and “making lemonade,” which in this context means anything but. A few directorial decisions were interesting, if of questionable necessity. For instance, at the conclusion of the first play, Condemned, Wilson brings 27 Wagons’ three actors out of the wings to glide past Willie and Tom in slow motion. Is this her way of indicating the thematic connections between the two plays? Maybe, but it is also confusing, and left the opening-night audience unsure of when to applaud. Even when the actors announced, in character and in unison, that it was time for intermission, no one seemed quite sure whether the first play was over or not. At about the same time, graffitilike scrawl appears on the façade of the Condemned property, mostly lifted from the play’s dialog: “Help.” “Don’t touch me.” “They take me out at night.” “Bad pennies.” We’ve seen the play. If it’s done its job, we shouldn’t need a summary of the theme.

scene@clevescene.com t@clevelandscene

ART ARTIST SPOTLIGHT: GINA DESANTIS On ceramics, self-editing, and the drive to never stop learning from each other By Dott von Schneider Photo by Whitney Traylor

“YOU LEARN TO GET OVER YOUR shit really quickly,” says ceramicist Gina DeSantis. “You learn when to walk away, you learn to say when.” We are meeting over margaritas and discussing the learning process, being an educator and creating specific artworks for clients. Editing is a key component in DeSantis’ work and teaching ethos. “There was an article I read once that stated that potters are really good with loss. When you’re a student, everything you do is really precious,” she says. “When they start to get good, you’ll see students chuck the work into the bin and keep walking, and that’s when you know you’ve done your work as an instructor; they begin that process.” She hearkens back to her thesis show at Kent State University. “When I was setting up my show in the main gallery, I had a set of trays lying out on the floor. Anderson Turner, who runs the gallery, asked what I was doing and I said that I was editing. Then he told me a story about a student a few years prior; she had 20 sculptures for her thesis show and she refused to edit. He stated that her show was very good, but if she had honed it down to fifteen sculptures her show would’ve been great.” To this day DeSantis will sit down and start to pull away what works from what doesn’t. “You have to let it go and that’s how you get better,” she says. Feb. 28 will mark DeSantis’ 20th year as a professional in the medium. We talked about her decision to become a potter and why she started her business, Gina DeSantis Ceramics, which celebrates six years this March. “In college, I had to choose between jewelry and clay, and jewelry didn’t bend the way I wanted it to,” she says. “As far as starting my own business, well, it is the love of teaching and not getting hired anywhere to teach and the frustration of that. The mugs for Uncommon Goods and the classroom have been a perfect storm and have kept me bound to Cleveland. With the nuances that brings and having it under control, I keep doing what

Cermics from Gina DeSantis.

I’m doing, but expanding at the same time. The best business advice I ever got was to grow slowly. Now I’m spotting articles where pottery is having a moment. It’s sort of like a slow fashion thing where people would rather have less things of higher quality in their homes and shopping with a little more intent.” In that regard, DeSantis gets a lot of specialty requests from restaurants. “Based on my work, they’ll see what I have and they are like, ‘This is great, but we have this particular menu item and we need this thing that we can’t find

anywhere.’” We learn a lot in a few moments about the distinction between creating pieces for restaurants and what one might use in the home. “I have multiple lines. Restaurants, I’ve learned, like matte glazes because of how the colors bounce and how the lighting is set, so it makes sense with how they plate things.” There is Corktree Tavern in Amherst, where chef Robbie Lucas requested a specific piece for serving the Italian restaurant’s meatball appetizer, and DeSantis designed, created and delivered a custom oval

dish. There’s Ushabu, where chef Matt Spinner “is very specific with his research, like an anthropological study of Japanese food.” “Toast (Bistro) was my first popup show in a restaurant,” she says. “Thanks to Jill (Davis), who is a major supporter of local artists, for letting me create a bunch of plates and taking over the restaurant for a night. Their food was perfect, the decor was perfect and I wish more restaurants would consider it. I mean, you have a mosaic bar and the lighting is from Italy, but why farm out cheap plates? I would love to see a restaurant that pulls in six different artists to create their vision. I mean, everyone has these plates, not everyone can make this meal, so why is that where the budget splits? Again, I recognize what I do is more expensive, but plates are the vehicle for their artistry, so quality is important.” The interview brings us back to the studio/classroom. “I think bringing visiting artists in has been really great. It’s an expensive and time consuming endeavor to bring in someone from out of state, obviously, so it’s more for the enrichment of the students and the city. The bonus is that I get to meet fellow craftsmen. I can’t always travel for workshops with my job, so to bring them to me I get to learn a lot more. And with ceramics, there’s so much to learn, continually, and it constantly kicks your ass. It’s nice to bring in artists who interact with the students, take them around town and share their craft. The ceramics world in general is a very sharing community. “I try to bring in people who do things that we don’t do in the studio. We have a pretty strong presence with our teachers but, that being said, there’s so much to learn, so everyone who comes in as a visiting artist adds to what the existing teachers already bring. It would be great to get some more local artists, as well. We can all learn from each other.”

scene@clevescene.com t@clevelandscene | clevescene.com | February 20 - 26, 2019 25

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| clevescene.com | February 20 - 26, 2019

MOVIES BABY, IT’S COLD OUTSIDE! Arctic is a grim survivalist epic By Sam Allard Photo courtesy XYZ Films

THE DANISH LEADING MAN MADS Mikkelson is everywhere these days. Not only did the bleedingeye villain from Casino Royale play a supporting role in 2018’s At Eternity’s Gate, in which Willem Dafoe, as Vincent Van Gogh, nabbed a coveted Best Actor nod; he also headlines the current Netflix excrement Polar, directed by Jonas Akerlund. In that horrendous film — a low-rent John Wick in which virtually every scene is offensive or exploitative in some way — Mikkelson plays a hitman on the brink of retirement who must survive attacks from his colleagues because his company wants to avoid paying his pricey pension. Avoid at all costs. Arctic, by rookie director Joe Penna, is Polar’s polar opposite. A grim, spare survivalist epic with almost no dialogue, the film follows in the tradition of J.C. Chandor’s All Is Lost, one of my top-five films of 2013. Arctic opens Friday at the Cedar Lee. Mikkelson plays Overgard, whose character origins are irrelevant. What matters is that he is alone in the arctic wilderness after a plane crash some time ago, and now he must survive. He keeps to a rigorous daily routine that we memorize within the film’s first 10 minutes. We watch him enlarge and perfect an enormous SOS sign in the ice, tend to ice-fishing holes and consume arctic cod raw, transmit

an electronic beacon via handcrank, all before he puts himself to bed in the fuselage of his downed plane. He begins each day with a pilgrimage to a burial site. He lost someone out there. When a helicopter attempts to rescue him, it goes down in a wind storm. The crash kills the pilot and severely wounds a passenger (the Icelandic actress Maria Thelma Smaradottir). Overgard, then, confronted with a lack of medical supplies, soon decides to embark on a dicey trek across the tundra to a seasonal scientific outpost to save the woman. The film portrays most of the encounters you’d expect from a snowy survival story, in fact just about every beat from last year’s The Mountain Between Us, in which Kate Winslet and Idris Elba traversed Utah’s High Uintas Wilderness: a confrontation with hostile fauna (a polar bear, in this case), a fall through a collapsing snow bank into a cavern, a lack of food, a lack of heat, etc. About the only trope that doesn’t find its way into the script is the one where a character tentatively, or else ignorantly, walks over thin ice and plummets into icy water. The biggest and most unique challenge in Arctic is Overgard’s hauling of his unconscious cargo. In the most severe weather, he must not only make shelter for himself, but for the woman whom he’s

trying to save. In a pivotal scene, he attempts to hoist the sled on which he’s hauling her up a steep incline, the other side of which leads to a route that will shave at least three days from their journey. Through these perils, Overgard’s constant internal struggle, masterfully and subtly conveyed by Mikkelson, is whether or not to leave the woman behind. This is the heart of the film’s tension and the source of its emotional climax. That struggle is compounded by the fact that she is incommunicative, delirious from her wound. Overgard’s commands her to squeeze his hand each night, and

that’s his only clue that she’s still alive. The arctic landscape, incidentally, is filmed as both a hostile and wondrous landscape, vast and gnarled and unknown. Like All Is Lost, the script manages to invest us so thoroughly in the urgency of the moment, the very small tasks that take on existential significance, that we may even forget to ask: Who are these people? and What the hell are they doing out there?

local university. There, he develops a friendship with Albert (Matthew Broderick), a community college biology professor who jokes that Shmuel should bury a pig if he wants to see decomposition in action. Shmuel takes him up on it and does the deed. “This is all kinds of wrong,” Albert tells him as Shmuel, who retrieved the animal from a local restaurant known for its dumplings, takes him to the gravesite. Their search for the answer to Shmuel’s question then takes them to a forensic farm, where they hope

they can see some human bodies in various states of decomposition, even if it means breaking into the place. A festival favorite that isn’t quite powerful enough to merit an Oscar nod, To Dust features two terrific performances from Broderick and Röhrig, a guy who fully inhabits the character of a grieving man in search of unattainable answers. — Jeff Niesel

sallard@clevescene.com t@scenesallard

SPOTLIGHT: TO DUST SHAWN SNYDER, WHO CO-WROTE the script for his new film To Dust with Jason Begue, took inspiration from his experiences as a Reform Jew who studied religion at Harvard as an undergraduate. The film also cleverly makes use of the mythic stories found in Jewish folklore as it explores issues of life and death in a particularly novel manner, expertly mixing comedy and tragedy. It opens on Friday at the Cedar Lee Theatre. The film revolves around the way that Shmuel (Géza Röhrig, of 2015’s Son of Saul), a Hasidic cantor,

becomes afflicted by nightmares in the wake of his wife’s death. In one gruesome dream, he sees her toenail rotting away and disintegrating. He’s so troubled by these thoughts that he even takes to falling asleep on her gravesite. When he asks his rabbi to explain how her body rots into the ground, the rabbi simply tells him to not think about such things. As a result, Shmuel visits a local mortician as he attempts to understands how bodies decompose. The guy jokingly tells him to visit a scientist to get the answer to that question, so Shmuel goes to the

jniesel@clevescene.com t@jniesel

| clevescene.com | February 20 - 26, 2019 27

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SCENE

EAT GALLEY-HO The food outshines the setting at the new Ohio City food hall, where four original eateries offer a roster of diverse options By Douglas Trattner Photo courtesy of Ohio City Galley

IN JUST ONE YEAR, GALLEY Group co-founders Tyler Benson and Benjamin Mantica transformed the former Massimo Da Milano Italian restaurant into the Ohio City Galley, a food hall/restaurant accelerator that sticks to the same playbook as similar Galley ventures in Pittsburgh, Detroit and soon Chicago. For a turn-of-the-century building on the National Register of Historic Places, you’d expect more architectural interest. But the space, apart from the bar ceiling, is a surprisingly bland tapestry of drywall. A lack of texture also creates a deafeningly loud roar when busy. What the Ohio City Galley lacks in quantity, it makes up for in originality. While countless food halls are popping up across the nation, most are populated by existing brands looking to plant another flag in this or that neighborhood. The four diverse eateries here — Tinman, Sauce the City, Poca and Rice Shop, which secured their spots after beating out 50 other hopefuls — exist no place else on Earth and serve five to 10 dishes each. The options make it a fine spot to satisfy just about any group. After a handful of visits to OCG, I was pleasantly surprised by how smoothly things operate. On a busy Saturday night, when nearly every seat in the 7,500-square-foot space was occupied, we received food from three different vendors after only 10, 12 and 14 minutes. Runners, often the chefs themselves, deliver the food to guests wherever they happen to be sitting in the hall, identified by numbered table flags. A massive four-sided bar is well tended and the source of excellent cocktails, wines by the glass and stellar craft drafts. Big little things like pitchers of cold water and glasses placed on every table; service stations furnished with ceramic plates, additional glassware, real silverware and thick paper napkins; and staffers on hand to do the dirty work of bussing tables elevate the dining experience above the usual fend-for-yourself food court. In return, guests pay prices for beer, wine, cocktails and food that seem higher than for comparable items

elsewhere. Menus above each stall clearly broadcast available items, but it’s easier to peruse the OCG website before you arrive to see the entire lineup. Thanks to four diverse concepts, each offering between five and 10 dishes, there’s bound to be something to satisfy everybody in the group. Tinman, from brothers Michael and Tom Schoen, plays it right down the middle, dishing up excellent versions of classic American diner

chef’s eastside sensation Lox, Stock and Brisket continues to kill it in the fast-casual deli arena. Here at the Rice Shop, bowls of perfectly steamed rice are topped with attractive, flavorful and texturally appealing compositions that mesh Southern foodways with Asian classics. That curious juxtaposition nets a diner dishes like the Kentucky Fried Fish ($15), ridiculously crispy fried cod set against cool-crisp slaw, sided by soft rice, and showered with peppy hot sauce aioli. The chef’s takes on kung

OHIO CITY GALLEY 1400 WEST 25TH ST., 216-525-9933 OHIOCITYGALLEY.ORG

fare. Their already legendary burger ($13.50) — twin patties dripping with melted cheese and special sauce on a buttery brioche bun — is reason enough to return. The duo also dishes up a killer fried bologna sandwich ($13), the thick-sliced meat griddled, popped into bread with American cheese, and griddled again. Both sandwiches come with a choice of sides, like the addictive fried onion straws with horseradish sauce. We should probably get used to seeing Anthony Zappalo around. The

pao chicken and steak fried rice blow away the neighborhood carryout. Nashville hot chicken fans have Victor Searcy to thank for a crunchy, meaty, spicy sandwich ($14.95) version of that Southern staple. The kitchen can crank up the heat if that’s how you like it, but they also sell one without the flames. Most plates include Searcy’s “dressed” street corn, skewered cobs garnished with crema, cojita cheese and spice. My corn was too mushy to finish. For more than six years, chef

Mike Nowak has been lording over his lardy empire at the Black Pig. But over time, his fondness for all things Oaxacan proved too intense to ignore. The Galley provided the perfect low-barrier opportunity to test out his south-of-the-border concept. At Poca, smart, elegant and compelling dishes like braised pork shoulder with green mole, chicken thighs with black mole, and a variety of tacos with brilliant salsas proves this is not your average Tex-Mex. Memelas ($11) are comforting and savory masa pancakes layered with beans, melted cheese, chile-rich chorizo and salsa verde. In a year or so, some or all of those tenants will move out and, perhaps, up to brick-and-mortar spots, freeing up space for a new class of culinary startups. The Rice Shop concept will likely spread its wings and fly before any of its roomies. But if you ask us, Poca’s menu shows the most promise to be expanded into a full-fledged, stand-alone restaurant. A final note: Parking can be a challenge when the small lot fills up, but a valet is happy to grab the keys, and there’s always public transit.

dtrattner@clevescene.com t@dougtrattner

| clevescene.com | February 20 - 26, 2019 29

EAT BITES Cilantro Taqueria takes over former Chipotle spot on Coventry By Douglas Trattner

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| clevescene.com | February 20 - 26, 2019

ON JAN. 11, RAUL CARRILLO opened Cilantro Taqueria (2783 Euclid Hts. Blvd., Cleveland Heights, 216-331-3069) in the former home of a Chipotle restaurant that closed after about eight years. The replacement is a windfall for fans of authentic Mexican and Cal-Mex food like tacos, tortas, burritos and bowls. “I come from in Santa Ana, Mexico, and we moved to Salinas, California, and saw how the taquerias there are,” Carrillo explains. “I wanted to bring the food to this place.” Carrillo had been living in Shaker and working at restaurants like Los Habaneros before looking to do his own thing. He said he stumbled on the Chipotle spot on Coventry and could not believe his good fortune. The setup, obviously, made the transition pretty seamless. It’s rare to find real tacos al pastor in these parts, slabs of achiote-and-pineapple-marinated pork layered onto a vertical spit, or trompo, that cooks as it twirls. In Salinas and elsewhere in California, the items often go by the name tacos de adobada. “It’s very popular,” he adds. If you’ve been to a Chiptole, then you already know the drill. Guests queue up in a line that moves past a steam table filled with cooked meats, vegetables, rice, beans and salsa. Tortillas, both corn and flour, are heated in a warmer before being custom-stuffed with ingredients. I’ve spotted various tacos served atop single and double corn shells for no apparent reason. Meat options include chorizo, carnitas, barbacoa, grilled steak, braised tongue and al pastor. Tacos are $2.50 apiece. Those items also can be stacked into a burrito, torta bun, rice bowl or “gringa,” a burrito with a toasted cheese base. These items cost $8.99. For just $3.50, diners get a lunchsized brown bag full of thin chips and either salsa, guacamole or warm queso. A salsa station offers great takes on salsa verde, tomato salsa and salsa roja, which is presented in a large molcajete along with roasted peppers and chiles. Come warm weather, Carrillo says

that he plans to roll a taco cart out onto the Coventry mall plaza to serve up tacos alfresco.

Rincon Criollo Expands with Second Restaurant Papo and Nydvia Ruiz have been running Rincon Criollo (6504 Detroit Rd., 216-939-0992), a popular family-style Puerto Rican restaurant in the Detroit Shoreway neighborhood, since 2006. Only now, after 13 years, did the desire and opportunity to expand present itself. When La Fiesta in the Stockyards neighborhood closed this past fall, the Ruizes got to work on the space (7403 Dennison Ave., 216-331-4525), completely transforming the interior. The new concept, which goes by the name Rincon Criollo Take 2, features a playful cinema-themed decor. “It’s giving honor to Detroit Shoreway where we are coming from, the movie and arts district,” explains Nydvia Ruiz. Take 2, which opened this past Tuesday, will be a departure from the original restaurant. While there will still be plenty of hearty Puerto Rican foods, the operation is designed around a quick-serve format starring ready-to-eat prepared foods. A long steam table will be filled with items like savory meat and fish stews, crispy tostones, rice and root vegetables like yucca, malanga and sweet potatoes. Whole rotisserie chickens and rice-stuffed Cornish hens will be available every day, and weekends will bring specials like pigs’ ears stewed with potatoes. Food will be available for carryout or dine-in, with 28 seats on one side of the space. The other half has been converted from a second dining room to private event and meeting space. Other than some recent cosmetic improvements, there are no changes at the original restaurant.

dtrattner@clevescene.com t@dougtrattner

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| clevescene.com | February 20 - 26, 2019 31

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| clevescene.com | February 20 - 26, 2019

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| clevescene.com | February 20 - 26, 2019 33

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| clevescene.com | February 20 - 26, 2019

C

RITICS HAVE DESCRIBED HERZOG’S MUSIC AS INDIE rock, powerpop, noise pop, subtlety-free rock and slacker rock, but no matter how you classify them, they’re a not-to-be-missed Cleveland favorite. They’re set to release their fourth full-length album, Me Vs You, on Friday; they play an album release show at the Happy Dog that same night. Me Vs You is everything we’ve come to expect from Herzog, and more. Well-crafted, guitar-driven rock songs dominate, and Nick Tolar’s vocals sit perfectly atop the mix. Herzog’s music is universal while still remaining utterly Cleveland. You don’t have to be from the Rock ’n’ Roll Capital of the World to sing along, but if you are, and you know the people and places referenced, it’s even more fun. We chatted with the songwriting team of guitarist/vocalist Tolar and lyricist Tony Vorell and discussed Me Vs You track-by-track to get some stories behind each song. Here’s the breakdown.

P H OTO S BY

M A R A RO B I N S O N

“Music Was the Language from When I Mattered” The album kicks off with the declaration: “Went from the church to the bar without a bed in-between/I gave the best years of my life to the rock ’n’ roll scene.” “We like starting off with a bang,” says Vorell. “It’s a thing we’ve done for years, each time we release something, because we know a lot of people haven’t heard us before. I like to think this song was written by the same guy who wrote ‘Rock and Roll Monster’ [from 2012’s Cartoon Violence]. I’d been working on this song since living on Clifton in the late 2000s, but we couldn’t make it work. Eventually, Nick came up with the vocal intro, which launches the song at a high speed, and that made everything click.” A music video for this song will be released soon. “Winter 2014” This is one of Tolar’s songs, about his life right after Boys came out. “He can be intensely honest,” says Vorell. “It’s a guitar-focused mid-tempo track without a prominent chorus. Nick is a guitar player so, when he’s got the pen, he tends to write things that showcase cool guitar parts. Right after we finished the album, we were hanging out at Loop [a hip combination coffee shop/art gallery/record store in Tremont] finishing the track order. Paul Ryan from [the band] Soft Copy happened to be there, and gave his thumbs up on everything, so we can say he helped sequence it. I’m glad to have people like Paul as fans.” “No Place is Safe Forever” The last line of the chorus borrows from Randy Newman’s “In Germany Before the War.” “I’ve had two kids since the last album, and of course have made new friends amongst my fellow parents,” says Vorell. “In the libraries and the play groups, you run into parents from other countries and you have to think about them. There’s heavy antiimmigrant noise from the top of our country, but I have to oppose it because my kids like playing with all other kids, and I’m always going to put kids first. Dan Tranberg, the late art critic from the Plain Dealer, saw our show a few years ago and called us ‘social realists,’ which I accept as a valid criticism.” “Get Out” “This song features a killer guitar solo by [ bandmate Dave] McHenry. It’s good live, even if I don’t always like the lyrics I wrote for it,” reveals Vorell. “There was a point in the Who’s career where they actively wrote songs just because they knew they were going to go over well live. Our live show remains the thing that is the best introduction to us. We practice hard, play hard and we don’t mess around. That’s still worth something.” And yes, the title is inspired by the Jordan Peele movie of the same name, even though Vorell says the song has nothing to do with that. “The title was decided at the last minute before sending the album out to the printers,” he says. “Amps II Eleven” This track takes its title from a Cleveland band of the same name. “This was a working title that we just kept. It’s a tribute to our friends

in the Cleveland music scene,” says Vorell. “Amps II Eleven was one of Tony Erba’s bands in the mid 2000s, who played a rocking take on his classic hard-core style. After we released the track listing, I frantically texted him to explain. Tony is a great guy, and a legend in the scene, but I really, truly do not want to piss him off. This song also features my favorite of Dan’s [Price] drum parts. It’s very melodic and reminds me of the Weakerthans. He’s got a whole bag of styles he can play, but I like melodic and intricate the best.” “Me Vs You” The title track was written after the Cavs world championship victory in 2016. “It’s full of chest-out bravado that we don’t do very often,” says Vorell. “The outro to this song was supposed to be just disposable words, but it ended up being some of my favorite writing on the album. I was aiming for Bob Dylan’s level of disgust from It’s Alright, Ma, (I’m Only Bleeding). Nick wanted Me Vs You to be the title of the album, and we worked backwards from there. Also, this is probably a good introduction to new member Alec Schumann. He’s going to play drums on some tour dates, and then handle the keyboard parts for other shows. We’ve always had keyboards around, but I think this song incorporates them best into the sound.” “Living Wrong” “Nick’s other song, and his big rocker,” says Vorell. “Nick and I work funny together. Our styles are very similar. When I first heard this live, I thought it was something I’d written but forgotten about; but it’s all Nick. In the credits, we attribute all songs to ‘Tolar/Vorell’ in homage to Lennon and McCartney. The sentiment is totally something I would write though, and that’s why I identify with it so much. This is another great live track. It’s a pretty simple, straightforward rocker, and something that goes over well live — a big sing-along song.” “Little Big Star” This is the first single off Me Vs You, and the first music video [directed by Lauren Hilary Clune and produced by John Panza of Dark Current Productions. The video mistakenly titles the song “Little Bugs”]. “This song is the other one written about my kids Leon and Cosmo,” says Vorell. “Everyone needs to hear ‘it’s going to be alright.’ The first time Nick showed it to me, it was very nervous sounding; and I tried to write about the nervousness I feel about my kids’ future. As it took shape, it sounded more like the classic rock side of Herzogia. As indie rock as we might be labeled, there’s ultimately the blood of Cleveland’s classic rock fixation in our veins. I view us as part of a continuum of Cleveland rock from the Choir and the Raspberries through to the Mice and Death of Samantha and into 1990s bands like Sidecar and the Unknown.” “Take Me Where the Strangers Live” Herzog’s first female guest vocalist, longtime friend and Expecting Rain bandmate Leia Hohenfeld, is featured on this track. “This song is the dark side of parenting and domestic life,” admits Vorell. “I just don’t get out like I used to. When I do, it’s sometimes narrowly focused on the business of Herzog.” It also features another fantastic McHenry guitar solo. “When Dave is tuned into a song, he can express its sentiment very effectively with just his guitar solos,” Vorell says. “It’s a moody, confused song, and he plays like it. Dan also added some of the sound effects, which is something we don’t do often.” “New Year So What” “This was a jam session that the band recorded and didn’t add any more vocals or lyrics,” says Vorell. “I didn’t know this song existed until a week before it was finished. It reminds me of Explosions in the Sky in the way it builds and builds. I think Nick thinks it’s a joke to end an album scene@clevescene.com waiting for a climax.”

@clevelandscene

Herzog Record Release / Cheap Clone / Royal Beasts | 8:30 p.m. Friday, Feb. 22 Happy Dog, 5801 Detroit Ave. | 216-651-9474 | Tickets: $6, happydogcleveland.com

| clevescene.com | February 20 - 26, 2019 35

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| clevescene.com m | February 20 - 26, 2019

@masoniccle @hobcleveland

@masoniccleveland

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MASONIC CLEVELAND: 3615 Euclid Ave, Cleveland OH 44115 HOUSE OF BLUES: 308 Euclid Ave, Cleveland OH 44114 masoniccleveland.com / houseofblues.com | | clevescene.com

February 20 - 26, 2019 37

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SAT

02/20

The Accidentals/Cousin Simple: The Accidentals — violinistguitarist-bassist Sav Buist, singercellist-guitarist Katie Larson and drummer Michael Dause — met in a high-school orchestra program in Michigan, where the members grew up, so it makes sense that when they had a chance to record with the Cleveland-based Contemporary Youth Orchestra, they would take advantage of it. Late last year, the band came into town to cut a version of their track “Requiem for a Lark” with CYO. They recorded at the studio on Tri-C’s Metro Campus. Part of the band’s live set for the past four years, the song, inspired by a classical piece that members played in high school, lent itself to orchestration. It’s likely to show up in tonight’s set. (Jeff Niesel) 8 p.m., $13 ADV, $15 DOS. Beachland Ballroom. Dante Elephante/Forager/Mild Animals: 8:30 p.m., $5. Happy Dog. Jamey Haddad Quartet Featuring Dominick Farinacci & Alain Mallet: 7 p.m., $20. Nighttown. Davey Muise Riley/Michael Barr/ Lords of the Nine/Mac Chevy: 7 p.m., $15 ADV, $17 DOS. Mahall’s 20 Lanes. See Through Dresses/Joy Ceiling/ Curtail: 8:30 p.m., $10 ADV, $12 DOS. Beachland Tavern. Joshua Smith: 7 p.m., $15. Bop Stop. St. Paul & the Broken Bones/ Valley Queen: For their latest album, Young Sick Camellia, St. Paul & the Broken Bones decided to expand their sound and recruited R&B/hip-hop/ dance producer Jack Splash to turn the knobs in the studio. As a result, woozy horns mix with sampled vocals on “Convex” and synthesizer flourishes and spirited horns drive “Apollo,” a track that sounds like it could be on the soundtrack to a blaxploitation flick. For the funky throwback number “Gotitbad,” the band went back to the Sea of Noise sessions and dug up an unfinished song that it then completed. Expect these songs to translate well to the stage too. The band always delivers a killer live show. (Niesel) 8 p.m., $27 ADV, $32 DOS. House of Blues.

St. Paul & the Broken Bones come to House of Blues. See: Wednesday.

THU

02/21

DaniLeigh: 7:30 p.m., $15 ADV, $20 DOS. House of Blues Cambridge Room. Elise Davis/Sarah Arafat: 8 p.m., $10 ADV, $12 DOS. Beachland Tavern. Dokken: 7:30 p.m. Hard Rock Rocksino. An Evening of Oscar Winning Songs With Robb Sapp, Lindsey Mitchell, Sami Kennett: 8 p.m., $25. Nighttown. Travis Greene/Mosaic MSC: 8 p.m., $30 ADV, $35 DOS. In Flames/All That Remains/All Hail the Yeti: 7:30 p.m., $29.50$35. Agora Theatre. Item/Turtledoves/snarls: 8 p.m., $7 ADV, $10 DOS. Mahall’s 20 Lanes. Kuf Knotz & Christine Elise (in the Supper Club): 7 p.m., free. Music Box Supper Club. Joe Leaman Trio: 7 p.m., $12. Bop Stop. Northeast Ohio Drum & Music Jam: 9 p.m., free. Beachland Ballroom. Stranded Arrows/Racket Man/ Connor Standish: 8:30 p.m., $5. Happy Dog.

FRI

02/22

Badfish/Bumpin’ Uglies/Roots of Creation: The thing about the Sublime tribute band Badfish is that they perfectly encapsulate the vision set forth by Sublime’s singer, the late Bradley Nowell, back in the day. While putting their own twist on certain songs, the band members keep the energetic spirit of Sublime alive, all while proffering the music to younger generations and new fans alike.

They formed in 2001 at the University of Rhode Island, and it’s been a wild ride ever since. Each time they come around to the region, they seem to be bolder and more invigorated. Seven or eight years ago, they were a slimmed-down version of themselves playing smaller bars around Ohio, including a longgone Blue Gator in Athens. A frontman change in 2007 opened up their sound and ensured that there was no slowing down. (Eric Sandy), 8 p.m., $25 ADV, $30 DOS. House of Blues. Bay Faction/Fashion Jackson (in the Apartment): 8 p.m., $10. Mahall’s 20 Lanes. Cherry Glazerr/Palehound: 9 p.m., $15 ADV, $20 DOS. Grog Shop. Herzog Record Release/Cheap Clone/Royal Beasts: 8:30 p.m., $6. Happy Dog. Hubb’s Groove Tribute to Aretha Franklin: 8 p.m., $20. Nighttown. Iron Bison/Blackwater/Two Hands/Edorra (in the Locker Room): 8 p.m., $8. Mahall’s 20 Lanes. Killer of Sheep/Minority Threat/ Distort Hope: 8 p.m., $8. Now That’s Class. Bob Marley Tribute by the Ark Band/Carlos Jones & Mark Hunter: 8 p.m., $12 ADV, $15 DOS. Music Box Supper Club. Milo Milo/Pink Navel/Signor Benedick/The Moor: 8:30 p.m., $15. Beachland Tavern. Nitebridge: Here Come the Brits (in the Supper Club): 6 p.m., $10. Music Box Supper Club. Sultans of Bing: 8 p.m., $10. CODA. Jackie Warren: 10:30 p.m., free. Nighttown. Gruca White Ensemble: 8 p.m., free. Bop Stop.

02/23

An Evening with The Neal Morse Band: 8 p.m., $35. Beachland Ballroom. Forest Green Overgrow/forage & wander/Steadyfire/Northern Weather (in the Locker Room): 7 p.m., $10. Mahall’s 20 Lanes. Hard Day’s Night: 8 p.m., $13 ADV, $16 DOS. The Kent Stage. Wiz Khalifa/Curren$y: A few years ago, rapper Wiz Khalifa shared headlining duties with Fall Out Boy for a tour that stopped at Blossom. Khalifa delivered a high-energy 70-minute set that even appealed to the fans who had simply come to see Fall Out Boy. The wiry, dreadlocked singer had energy to spare and even ran out onto the lawn to sing “Taylor Gang.” Having a live band really helped bring out the nuances of his music and his set ended on a high note with an encore that featured the poppy crossover hit “See You Again.” And yes, he appeared to light up a joint during the weed-soaked performance. Expect something similar this time around as he comes to town for a club gig with Curren$y. (Niesel) 8 p.m., $55 ADV, $60 DOS. House of Blues. New Planet Trampoline/Dollar Drafts: 9 p.m., $6. Happy Dog. Post Saga/Deep Sigh/Land of Panda: 8 p.m., $5. CODA. Red Light Roxy: 8 p.m., $15. Bop Stop. Room at the End of the Hall Featuring DJ Duck Sauce/ Wesley Washington/Uncle Ju Ju/Third Floor Underground/ Goldfacemonkeywatch: 8 p.m., $7 ADV, $10 DOS. Now That’s Class. Someday Soon/Racket Man/Blue Radio/Soundproof: 8 p.m., $10. Mahall’s 20 Lanes. Sweepyheads/Falling Stars: 8:30 p.m., free. Music Box Supper Club. Jackie Warren: 10:30 p.m., free. Nighttown.

SUN

02/24

A Bowie Celebration: The David Bowie Alumni Tour: Last year, keyboardist Mike Garson and other musicians who played with the late, great David Bowie toured behind a show dubbed A Bowie Celebration: The David Bowie Alumni Tour. In addition to Garson, the band includes Earl Slick, Charlie Sexton, | clevescene.com | February 20 - 26, 2019 39

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Carmine Rojas, Mark Plati, Bernard Fowler and Corey Glover. Garson performed with David at his first and last concerts in the United States as well as 1,000 concerts in between. Special guest singers routinely make appearances as well. (Niesel) 7:30 p.m., $29.99-$57.50. Agora Theatre. Dominick Farinacci: 7 p.m., $20. Nighttown. Grateful Shred/Mapache: 8 p.m., $16 ADV, $18 DOS. Beachland Ballroom. Bob James: 7:30 p.m., $25-$40. The Kent Stage. AJ Mitchell: 7 p.m., $15 ADV, $17 DOS. Grog Shop. Togishi Album Release: A local trio consisting of guitarist Mike Sopko, drummer Joe Tomino and saxophonist Dan Wenninger, Togishi plays entirely improvised music influenced by avantgarde jazz, experimental rock, contemporary classical and electronic noise. In 2016, Sopko and Tomino started playing improv gigs around Cleveland and formed the stoner/doom band, Yellowstone Apocalypse. It was around this time that Wenninger approached the duo about playing an improvised gig at the 1Way (a long-standing experimental and new music showcase in Cleveland). Togishi formed in the wake of that gig. Songs such as “The Rise and Fall of Higbee’s” recall John Zorn with their squealing saxophones and spastic drumming. (Niesel) 7 p.m., $10. Bop Stop. Wild Moccasins/The Tom Katlees/ Meg & the Magnetosphere: 8:30 p.m., $10 ADV, $12 DOS. Beachland Tavern.

MON

02/25

Baldwin Wallace Musical Theatre Color-Full Cabaret: 7 p.m., $10. Nighttown. Bluegrass Jam: 7:30 p.m., free. Beachland Tavern. Marc Roberge of O.A.R.: 7:30 p.m. Music Box Supper Club.

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Coheed and Cambria/Maps & Atlases: 7:30 p.m., $30-$55. Agora Theatre. Ethnic Heritage Ensemble: 7 p.m., $20. Nighttown. Porter & Sayles: 8 p.m., $10 ADV, $12 DOS. Beachland Tavern. Sea Moya/Miles Francis: 9 p.m., $8. Now That’s Class.

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UPCOMING ENTERTAINMENT!

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IT ALL STARTED WITH A STICKER: Manzuk and Richey used to be roommates and always joked about forming a band. “We said we wanted to form a fake band called Iron Bison and we printed stickers before we even started jamming together.” Richey cites old school Every Time I Die as well as hardcore/metal bands such as the Chariot and Norma Jean. Unlike those other acts, Iron Bison functions as a duo. “We do well at filling out the sound for a two-piece,” says Richey. FUELED BY BEER: The band describes its

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music as “beer-fueled basement punk metal.” To provide the deafening sound, Richey runs a bass amp simultaneously with his guitar to give the music more impact. “I click the bass on and off to give the illusion of depth,” he says. “We are considering expanding the group, but we’ve been a duo since the start.” A LONG TIME COMING: The band recruited

Chris DiCola to record its full-length debut, Searching for the Sun. Along the way, it had a few setbacks. It was originally going to release the disc about a year ago, but a computer crash killed off five songs. “We had to redo a bunch of stuff and our drummer had a baby boy,” says Richey when asked about the delays. “We were at a standstill for a little bit.” WHY YOU SHOULD HEAR THEM: “An Ocean

42

| clevescene.com | February 20 - 26, 2019

Ahead,” the hard-driving single from

Searching for the Sun, features parched vocals and speed metal guitar solos as Richey screams his lungs out. According to Richey, the song is “really old” and took some tweaking to come to fruition. “We kept trying it live, and it wasn’t working, so we kept scrapping it,” he says. “We rearranged the parts, and I really dig it now. Lyrically, it sounds super negative, but it’s one of the most positive songs we have. I wanted something that sounded really aggressive.” For the upcoming show at Mahall’s 20 Lanes in Lakewood, the band will play the album in its entirety and deliver a set that includes songs the band has yet to perform live. “Live, we’ve never played the album all the way through and there are some interludes we’ll throw in too,” says Richey. “For anyone who has seen us before, it’ll be different than usual.” Edorra, a “punishing group” from Youngstown, will open the show along with the local punk act Two Hands and the Sabbath- and Kyussinspired band Blackwater. WHERE YOU CAN HEAR THEM: facebook.

com/IronBison666/. WHERE YOU CAN SEE THEM: Iron Bison

performs with Edorra, Two Hands and Blackwater at 8 p.m. on Friday, Feb. 22, at Mahall’s 20 Lanes in Lakewood.

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By Dan Savage Two weeks ago, a longtime reader challenged me to create a new sexual neologism. (Quickly for the pedants: You’re right! It is redundant to describe a neologism as “new,” since neologisms are by definition new: “ne·ol·o·gism noun a newly coined word or expression.” You got me!) “Neo-Neologisms, Please!” was too polite to point it out, but my two most famous and widely used neologisms have been around so long — pegging (2001) and santorum (2003) — that they’re practically paleogisms at this point. So I accepted NNP’s challenge and proposed “with extra lobster.” My inspiration: On a visit to Iceland, I was delighted to discover that “with extra lobster” was a menu item at food carts that served lobster. This delighted me for two reasons. First, lobster is fucking delicious and getting extra lobster with your lobster is fucking awesome. And second, “with extra lobster” sounded like it was a dirty euphemism for something equally awesome. I offered up my own suggested definition — someone who sticks their tongue out and licks your balls while they’re deepthroating your cock is giving you a blowjob with extra lobster — and invited readers to send in their own. What follows are the best readersuggested definitions for “with extra lobster,” with occasional commentary from yours truly …

“With extra lobster” sounds to me like going down on someone — regardless of sex — when it’s a little more odoriferous than you would like. For example: “Things were getting hot and heavy with my Tinder date last night, and then I started to go down and was surprised with extra lobster.” “It could be applied to a man who has an exceptionally large and dangling foreskin (“His penis comes with extra lobster!”) or a woman whose labia protrudes (“I love pussy with extra lobster!”).” “When I first started dating my wife, she kept her lady parts waxed clean, and they looked a bit like a lobster claw, even being slightly red if the waxing was recent.

We nicknamed her vagina and surrounding area “The Lobster,” or “Lobby” for short. So I would suggest that “with extra lobster” should mean anytime you get some extra lobster in on the act — from normal lesbian sex (two lobsters!), to a standard-issue male fantasy threesome (two lobsters and one cock), to a surprise second go-around after you thought the sex was over.” The area surrounding the vagina already has a name: the vulva. The spot where the opening to the vaginal canal can be found —also part of the vulva — is called the “vaginal vestibule.” According to my thesaurus, lobby is a synonym for vestibule. So this proposed definition of “with extra lobster” is pretty apt. Now, some will quibble with the lobby-ish implication that a vagina is a space that needs to be entered. One can have a good time — great sex with lots of extra lobster — without anyone being penetrated, i.e., without anyone entering the lobby.

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“Extra lobster should be the name for those cock-extender things. Example: “My husband has a small penis. And you know what? The sex is great! He gives great head, and isn’t afraid to strap-on some extra lobster now and then.” “As a vegan, Dan, I strongly object to “with extra lobster.” It reinforces the speciest notion that is it permissible to consume lobsters, sentient life forms that feel pain, and associating a sex act with the violence of meat consumption further desensitizes us to acts of sexual violence.” Fuck off.

“This isn’t a definition for “with extra lobster,” but I wanted to share it. I live in Uganda and many of the streets are lined with stalls that sell BBQ chicken. If you know to ask for the special chicken, they’ll often sell you weed. Special Chicken has become my favorite euphemism for weed!”

mail@savagelove.net t@fakedansavage

| clevescene.com | February 20 - 26, 2019 45

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