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MARCH 28 - APRIL 3, 2018 • VOLUME 48 NO 39 Dedicated to Free Times founder Richard H. Siegel (1935-1993) and Scene founder Richard Kabat Group Publisher Chris Keating

CONTENTS

Publisher Andrew Zelman

Upfront

Associate Publisher Angela Nagal Editor Vince Grzegorek

6

nuCLEus might be back on track if proposed state tax exemptions come through, Ru-El Sailor eyes freedom after 15 years behind bars, plus fracking horrors in southeast Ohio

Editorial Music Editor Jeff Niesel Senior Writer Sam Allard Staff Writer Brett Zelman Web Editor Laura Morrison Dining Editor Douglas Trattner Stage Editor Christine Howey Visual Arts Writers Dott von Schneider Copy Editor Elaine Cicora Interns Michael Wu, Matt Poshedley

Feature

Advertising Senior Multimedia Account Executive John Crobar, Shayne Rose Multimedia Account Executive Kiara Davis

13

After 100 years, the Cleveland Orchestra continues to ignore women, minorities and living composers

Creative Services Production Manager Steve Miluch Staff Photographer Emanuel Wallace

Get Out!

Business Sales Assistant/Receptionist Megan Stimac Controller Kristy Dotson

17

All the best things to do in Cleveland this week

Circulation Circulation Director Don Kriss Euclid Media Group Chief Executive Officer Andrew Zelman Chief Operating Officers Chris Keating, Michael Wagner VP Digital Services Stacy Volhein Digital Operations Coordinator Jaime Monzon

Stage

25

Ready Player One The flick with Ohio roots opens on Friday.

22

www.euclidmediagroup.com

Snakes, saints and scientists at Karamu

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

Film

25

Ernest Cline and Ready Player One’s Ohio roots

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

Eat

27

It’s hard not to love George’s Kitchen; Lucy brings tasty Ethiopian to Old Brooklyn; and Bell and Flower set to bloom in Chagrin Falls

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

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Music

33

Dashboard Confessional’s singer breaks down the band’s new album; Of Montreal’s serious self-education; plus all the shows to catch this week

Savage Love

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UPFRONT

Architectural rendering of nuCLEus project.

WITH SIGNIFICANT TAX CREDIT ON THE TABLE, NUCLEUS SKYSCRAPER PROJECT IS BACK RECENT TESTIMONY BY A Stark Enterprises executive at the Ohio Statehouse suggests that the nuCLEus downtown skyscraper project is still in the works. Stark vice president Steven Coven testified in support of House Bill 469, a bill sponsored by Rep. Tom Patton, (R-Strongsville) and Rep. Kirk Schuring (R-North Canton), which would provide a 10-percent tax credit to new “transformational” mixed-use development projects, or TMUDs. According to the bill, developers or their insurance companies would be entitled to a 10-percent refund from the state on the total cost of major projects ($400 million or more) with at least 20 stories. It’s unclear how many projects, other than the proposed nuCLEus mixeduse skyscraper, would be eligible for such an incentive. Rep. Schuring has confirmed that the “genesis” of the legislation was indeed the nuCLEus project. He worked with Bob Stark, of Stark Enterprises, and a nuCLEus financial consultant to shape the bill.

6

Coven spoke on behalf of the nuCLEus project before the legislature’s Government Accountability and Oversight Committee on Feb. 27. His testimony, like much of the advocacy for Cleveland downtown development, was short on facts and long on rhetoric.

“As cities and as a state, we compete on a global level,” Coven said. “We compete for talent. We compete for opportunities. We compete to attract new businesses and to retain current businesses.

People live differently now than they did 30 years ago. People work differently now than they did 30 years ago. People of all ages want to return to the urban core, both for living and for working, provided that the environment and amenities they want and need have been created in their city.”

Coven said nuCLEus had the opportunity to be the “hub” that connects all of downtown’s amenities: the “financial district, the convention center, the sports

| clevescene.com | March 28 - April 3, 2018

arenas, Playhouse Square, the casino and Public Square.”

Referencing Terminal Tower, Coven said the goal of nuCLEus was nothing less than icon status.

“Can you imagine if the Terminal Tower complex was never built, what the Cleveland skyline would look like?” he asked the committee. “You can’t, because it is forever associated with our skyline. It is our goal that our greatgrandchildren will be saying the same things about the nuCLEus project 100-plus years from now.”

The nuCLEus project is estimated to cost at least $500 million. That means Coven was asking for a $50 million no-stringsattached rebate which would be taken from tax receipts from state foreign and domestic insurance premium taxes. Those are currently deposited into the state’s general revenue fund.

According to a fiscal analysis by the Ohio Legislative Service Commission, “any reduction to total [general revenue fund] tax receipts

would also reduce the amount distributed to the Local Government Fund and Public Library Fund. Any reduction to the LGF and PLF would decrease distributions from the funds to counties, municipalities, townships, public libraries, and other political subdivisions in the state.”

Note: Cleveland mayor Frank Jackson and other city leaders have long decried the shrinking of the local government fund, so they’ve got a difficult balancing act ahead if they intend to support this legislation. City spokespeople have not yet responded to questions, initially posed in February, about updates on the city’s “stakeholder meetings” with Stark Enterprises.

Policy Matters Ohio, the leftleaning state think tank, released a statement last week on a number of new bills that proposed tax breaks for special interest groups.

“Before approving new tax breaks for oil and gas companies, insurers, movie producers and others, the General Assembly should make sure that its

mechanism for reviewing existing ones is doing its job,” said Wendy Patton, of Policy Matters Ohio.

“Adding new special-interest breaks is ill-conceived when we’ve barely started looking at the tax exemptions and credits we have now. While legislators think about giving away tens of millions for new business tax breaks, they should consider whether we have the money to pay for them, and whether the funds would be better spent educating young Ohioans, cutting our high infant-mortality rate, or fighting the opioid epidemic.”

The nuCLEus project appeared to have been on hold after opposition to a unique tax increment financing (TIF) package last year. The Cleveland school board delayed a vote on the financing arrangement in August when it learned that the city of Cleveland and Cuyahoga County intended to meet with Stark about the financing. CMSD wanted a seat at the table.

Under the proposed TIF arrangement, Stark Enterprises would have been able to use property tax revenues on the site’s increased value to pay off construction debt. In past TIF agreements, Frank Jackson has insisted that the Cleveland schools not be short-changed, and that the tax exemptions only apply to non-school property taxes.

Under the nuCLEus proposal, though, the schools would only collect the tax revenue that they receive from the current Gateway District site (about $360,000 per year). That’s the parking lot between Prospect Avenue and Huron Road and adjacent parcels across from the Q. Additionally, the schools would have received an up-front cash payment of about $18 million. That money might have been bundled with other state funds to build new school facilities in the short term.

In February, CMSD told Scene that to the best of its knowledge, “stakeholder meetings” between Stark Enterprises, the city, the county and CMSD had not yet occurred. As such, CMSD had no plans to reintroduce the TIF resolution to its board.

It’s unknown how the local TIF conversation may change in light of HB 469. But expect Stark to pursue any and all public subsidies available.

The statehouse bill’s two lead sponsors are representatives Tom Patton and Kirk Schuring.

Schuring is a Canton-area Republican. He spoke with Scene by phone Friday afternoon. He said that while the bill was designed for the Cleveland project, its applicability is much larger.

“I’ve got the Ohio Municipal League and Ohio Mayors Association wanting to work with me to see how this would work in other municipalities throughout the state,” Schuring said. He noted amendments are in the works to make sure other cities can benefit.

Schuring stressed that this bill was not to incentivize transformational beautification projects, but transformational economic development projects.

He said that the bill would complement the economic development sparked by the Historic Preservation Tax Credit. He echoed Coven’s remarks about the resurgence of American downtowns — “Downtowns are cool again,” he said — and denied that the local government fund would be adversely affected.

“There’s no cuts to the local government fund,” Schuring said. “This is applied to a revenue stream. It’s not a line item.

It’s applied to the tax liability of the insurers. It will affect the flow of revenue, but as a transformational project, there will be a greater economic impact as far as new revenue. That’ll far and away offset the curbed flow.”

When Scene suggested that the “greater economic impact” was theoretical, Schuring said no.

“No, not theoretically,” he said. “We haven’t done any research where we have empirical data, but I do enough in the area of tax credits. I know that tax credits can be a valuable tool if there’s a proven return on investment (ROI). We know that the Historic Preservation Tax Credit has an exponential ROI. I would submit to you that this would be the same.”

Patton, the Strongsville Republican, was running for the U.S. House of Representatives in the 16th District against Christina Hagan, and former St. Ignatius wideout Anthony Gonzalez on the GOP side, but he dropped out in late 2017. Patton’s office said they weren’t sure if the Strongsville Rep would have a comment on HB 469 — the bill is still in the midst of committee hearings.

Schuring has taken the lead on the bill. His district encompasses Canton’s northern and western suburbs. But there is no building in downtown Canton, for the record, taller than 14 stories.

— Sam Allard | clevescene.com | March 28 - April 3, 2018

7

Courtesy of Ru-El Sailor’s family.

UPFRONT Ru-El Sailor’s Murder Conviction Vacated After Prosecutor’s Office Review Exactly 15 years ago this past Monday, Ru-El Sailor was indicted for the 2002 murder of a man named Omar on the east side of Cleveland over a small drug debt.

He was convicted that summer, along with two others, based on shady eyewitness testimony and sentenced to 28 years to life. He has maintained his innocence since the beginning.

This past Monday he was transferred from Lucasville to Cuyahoga County jail in advance of a court hearing on Wednesday that would see that murder conviction vacated after the Cuyahoga County Prosecutor’s Office Conviction Integrity Unit finished up a yearslong look into the case, prodded

by Sailor’s family and attorneys, as well as an extensive June 2016 Scene feature story on the subject.

(The hearing fell two days after this issue’s press time.)

They’ve found what Sailor has

said all along: that he wasn’t with the shooter that night.

The joint motion, from the prosecutor’s office and his attorneys, that was considered Wednesday should result in his immediate release. Sailor’s murder conviction will be vacated, but he will plead to charges of perjury and obstruction of justice, with a sentence of 10 years total time served. His team will consider appeal options in the future, but for now his family is thrilled he’s coming home.

“I didn’t think it would feel like this,” says Amy Spence, a high-school friend of Sailor’s who reconnected with him in 2012 and who’s spent the past six years working for his vindication. “I’m still a little scared though. It won’t be really real until he’s home.”

Reached for comment, Cuyahoga County prosecutor Mike O’Malley said, “The Conviction Integrity Unit diligently reviewed the application of Ru-El Sailor and then conducted an extensive investigation into his conviction. The court has scheduled a Wednesday hearing to discuss the findings.”

The background: In November 2002, Sailor and his buddies spent a night out drinking in bars and clubs on

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Ru-El Sailor in a recent prison photo.

the east side. Across town, Nicole Hubbard and a group of her friends were drinking and smoking wet — a PCP-laced cigarette. At some point, Nicole got into a fi ght with a man named Clark Lamar over $10. In the dispute, she called her brother, Sailor’s best friend, Cordell Hubbard. He and another man confronted the other guy hours later. Threats were tossed around. A gun came out. When it was over, Omar Clark was dead.

Cuyahoga County prosecutors originally said Sailor was the second man at the scene of the shooting. Both Nicole and Cordell Hubbard were tried and convicted along with Sailor. Sailor testified at trial. Cordell was his best friend.

He thought they were together all night, and even if he had doubts, he wasn’t going to ding Cordell. He was loyal.

“It wasn’t an option — period,” Sailor told Scene in 2016. “Me

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telling on him, or throwing him under the bus? That was my best friend. We grew up like brothers.”

That bit of initial testimony from Ru-El is the reason he’ll have to cop to perjury and obstruction.

Only after the verdict did Cordell Hubbard admit in court it wasn’t Sailor who was with him, but another friend later identified as Will Sizemore. Sizemore later signed an affidavit admitting it was him and not Ru-El who was with Cordell that night. Cordell signed an affidavit admitting he was the shooter.

Additional supporting affidavits were collected from supporting witnesses and presented in August 2016 to the integrity unit. Sailor had first made his application to the CIU in August 2014. The unit alerted Sailor it had declined to accept his case in May 2016, but reopened the application shortly

DIGIT WIDGET 21% Voters who support Richard Cordray in the upcoming Ohio gubernatorial Democratic primary, based on a recent USA Survey poll, conducted for Channel 19.

21% Voters who support Dennis Kucinich in the upcoming Ohio gubernatorial Democratic primary, based on the same poll. (Cordray and Kucinich are in a dead heat.)

764 Days a Cleveland man has been waiting for the city to fulfill his public records request seeking the name of an officer who issued him a traffic ticket.

$515,000 Amount that Armond Budish will pay a consultant to oversee the county’s new $25 million Enterprise Resource Planning System. County council is also paying a consultant to monitor the system, at a cost of $264,000.

thereafter around the time Scene began reporting on Sailor.

It was good news, but his team had sought a new trial for years, bolstered by the fresh affidavits, and got nowhere.

This wasn’t an investigation with new DNA evidence though, which would have made their requests easier for courts, notoriously wary of admitting they got it wrong, to stomach. This was delving into hazy, drug-muddied memories from more than a decade ago. It’s part of the reason the prosecutor’s office has taken so long to come to a decision.

Many people connected to the case were reticent with police during the initial investigation, and some didn’t even testify at trial. One previously un-interviewed witness appeared before the CIU two weeks ago and helped push the investigation over the finish line.

Two years ago, Sailor’s attorney, Kimberly Corral, told us: “For 10 years he’s found information to supplement Cordell’s story, but the court is saying, ‘That’s not new; we’ve known that’s your position since 2003.’ That’s basically, for lack of a better word, Sailor’s shitty position.”

That position is about to change.

— Vince Grzegorek

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Dennis Kucinich’s Fact-Finding Frack Tour: A Dispatch from SE Ohio By the time you hit Cambridge, Ohio, driving south from Cleveland on Interstate 77, your eyes may have begun to itch. Your insides may have been subject to a nettling discomfort, a weird, sourceless pressure. It may feel, inexplicably, as if your lungs are nauseous.

Such is the density of chemicals in the southeastern Ohio air that you may experience these physical sensations inside your vehicle. At least I did, when I joined a handful of environmental and community activists, a documentarian and a college professor, plus Dennis and Elizabeth Kucinich, on an “Environmental Devastation Tour” earlier this month.

Others in our tour van were likewise afflicted by the elements.

In Noble County, where fracking pads dotted the hills like lesions, Elizabeth Kucinich asked if someone might open a window. The air in the van had become not only warm, but thick.

The air outside was colder, thankfully, but provided little relief. Near a country bar where we stopped for a bathroom break, | clevescene.com | March 28 - April 3, 2018

9

UPFRONT I experienced a moment of horror: There was no “fresh air” to be gotten for miles, I realized, an epiphany belied by the region’s forests, hills and streams in view.

This sylvan quadrant of Ohio had once been among the state’s most naturally beautiful areas, one of its most “precious” areas, in the words of Kucinich. But the land — the atmosphere itself — had been poisoned.

“Look at the trees,” Kucinich remarked more than once, pointing at the gnarled and dead branches that lined the state routes as often as not. “The trees!”

Kucinich is the former Cleveland mayor, U.S. Congressman and current Democratic gubernatorial candidate for Ohio. He has made “clean air and water” a campaign pillar. Along with a full ban on assault weapons and healthcare for all, the quest for clean air and water has been as central to his agenda and his talking points as anything.

But the quest is quixotic. He has said that if elected, he would move to ban fracking, high-pressure

drilling for natural gas in the shale formations deep below the earth’s surface. He told the Intercept that he would block all new drilling permits and would ban injection wells too.

“It’s non-negotiable,” he said.

But these bold energy proposals, these “radical” positions, may remind locals of Kucinich’s tumultuous mayoral term, during which he fought local business leaders and their elected attaches over a proposed sale of the municipal lighting system to the Cleveland Electric Illuminating Company. These days, Kucinich’s unwillingness to bend to corporate interests by refusing to sell Muny Light is regarded as heroic by many, even by those who are bothered or disgusted by his much more recent appearances on Fox News.

I asked Kucinich, as we traveled through the industrialized landscape of Belmont County, whether he thought Ohio voters would be on board with a protracted, costly legal battle with the oil and gas industry.

Taking a stand against Cleveland’s corporate class in the 1970s was one thing. But oil and gas in 2018? Vegas oddsmakers would give Dennis a better shot against God. “This is something I believe in,” Kucinich said. “Clean air and clean

water are rights. So I’m going to fight for them. Why am I doing this — why am I seeking election — if I’m not going to fight for what I believe in?”

Naive? Almost definitely. But one can’t drive through these blighted, sparsely populated Ohio counties without sadness and anger, and an immediate desire to escape. For the politically motivated, it’d be nearly impossible (or so I suspected) to see these counties up close and not decide that something radical should be done. One shudders at studies like the recent one published by IHR Markit which found that Ohio petrochemical plants would be more profitable for oil and gas companies than those in the Gulf Coast.

(It occured to me: If winning were indeed what Ohio Democrats were interested in, you’d think they would consider more fully embracing an anti-fracking position. The debatable employment benefits seem secondary to the fact that the energy companies are reviled by most of the locals, at least the ones we spoke with. These were long-term residents who’d had both their private property rights and the health of their communities trampled upon. These small-town folks might resemble Trump voters in the popular imagination — they are largely white and are presumably

socially conservative (I did not verify) — but they nevertheless represent a demographic that could be won over with a committed environmental campaign. The campaign needn’t be about tree hugging, but could promote communities’ rights to their own safety, the right to banish dangerous oil and gas infrastructure from their backyards if they so choose (which they probably would).

That seemed to be the point of the trip from the Kucinich camp’s perspective. Elizabeth K. — a hardcore proponent of something called “regenerative agriculture” and an intimate consultant on the nuts and bolts of her husband’s policy platform — knows and respects her husband’s stance on fracking.

But she said that if he saw the devastation firsthand, his comments on the subject in future forums and debates would be inflected with personal outrage. (Incidentally, Elizabeth calls Dennis, “baby.”

Dennis calls Elizabeth, “darling.”)

Throughout the “fact-finding mission,” so dubbed by the campaign, Dennis could be seen literally finding facts, picking up tidbits of information and inserting them into his arsenal.

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professor of biology and the director of the university’s Center for Environmental Research and Education, he discussed the science of fracking. Kucinich would sort of rehearse a position and let Stolz guide him through the details or elaborate on a complicated idea: the way that toxins from fracking water make their way into the air, for example.

Kucinich took notes on a yellow legal pad all day long and was not above some napkin math to generate a dramatic talking point. When he heard that 11 million gallons of water are required for each fracking well and that the industry estimated it would take 7,000 wells to fully frack Belmont county, he did the multiplication. “We’re talking, what, 77 billion gallons of water for this county alone?� he asked the van.

At times, it was striking to watch the maturation of a candidate’s political rhetoric in real time. Midmorning, Kucinich remarked quietly to Elizabeth that when he looked out the window, what he saw was corruption. Elizabeth nodded. That was good.

Then that afternoon, Kucinich approached me when the group stopped for lunch at a diner in Beallsville. “All this wouldn’t have been possible,� he said, now polished, “without an extraordinary amount of political corruption.�

When one community activist announced that this area had been labeled a “sacriďŹ ce zoneâ€? by the industry, Kucinich latched on to it.

He recognized the term’s political power. He used it multiple times later in the day, and continues to do so in his public remarks.

Throughout the day, stories from residents progressed from noir to sci-ďŹ to horror in their character.

First it was the land men and the paper-pushing energy industry execs exploiting loopholes to build fracking pads on private land, even when individuals objected. It was the military veterans, many of them sons and grandsons of community members, conscripted into security jobs for the energy companies, taught to treat the locals as “insurgents.�

Indeed, one of the more notable features of southeastern Ohio these days is the preponderance of security personnel. The whole region has the avor of a country under military occupation. Three times when our tour van parked near an industry site to take pictures or notes, a car or truck parked directly behind us. The observant drivers tracked our movements and spoke into walkie talkies.

Then came the shocking stories, with accompanying images, of scuzzy and sometimes ammable water.

There was the anecdote from a man near Cambridge who claimed he had to buy six new pairs of Carhartt boots in six months because the mud was chewing through the rubber soles.

That the farm animals could no longer be persuaded to drink the water was a given — much of this land would never be farm-able again.

But what of the cow that had been born with two heads? What of the two men who’d mysteriously died baling hay outside a compressor station in Noble County? The cause of death in one case, according to our local guide: a toxic liver.

Then we were told of even nastier stuff. There’d been a 37-year-old woman who lived down the hill from the enormous Mark West compressor station. She’d been in good health, went the story, but died suddenly one day. After opening her up, the local doctor reportedly claimed that it looked like she’d been chugging anti-freeze.

In Belmont County, we saw XTO Energy’s Schnegg Well site. The well had exploded in February and remained uncapped for 19 days.

The U.S. Environmental Protection Agency released a preliminary report that estimated the well had leaked about 100 million cubic feet of methane per day.

One local woman near the well site said that the bad things about the industry development should be looked at in context. She was sorry to lose some local families who’d sold their farms after their livestock had been halved by disease or dehydration, and she wasn’t thrilled with the noise from the truck trafďŹ c.

But she said she thought the trafďŹ c was part and parcel of any economic development. She also said an energy company had rehabbed a local road, and for that, she was grateful. She had experienced no personal health problems.

But at the Schnegg site, while Dennis Kucinich was ďŹ lming one of several videos he shot with Elizabeth that day, I chatted with one of our local guides in the back of the van. “There are no songbirds anymore,â€? she said. “It’s just vultures and buzzards and birds that eat dead things.â€? Then she looked out the window at the Schnegg site. She had a connection to the security company and knew about the cleanup in the explosion’s immediate aftermath. She lowered her voice. “That explosion was so hot,â€? she said, “it turned a rabbit to glass.â€? — Allard

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ÂŤĂ€ÂœĂƒÂŤiVĂŒÂ“Ă•ĂƒÂˆVĂƒĂŒÂœĂ€i°Vœ“

Cleveland city councilman Kevin Conwell was stopped by Case Western Reserve University police last Friday while walking through campus. A caller had alerted campus police dispatch that a black man with missing teeth was mumbling on a street corner.

Conwell said in interviews and at a city council meeting that he believed he was a victim of racial proďŹ ling. “If I can’t walk through my own neighborhood, I’m sure they’re stopping my residents,â€? he said.

Cleveland.com’s editorial board took up the issue last week, which seemed to have been thoroughly and dutifully covered already but whatever, and in the midst of calling for increased unbiased policing training, penned this truly insulting and troubling paragraph that seems to run directly contrary to the heart of what unbiased policing is about, not to mention the councilman’s concerns, and general decency: “Conwell, who is black, was stopped and asked for his identiďŹ cation by CWRU police after a caller reported a black man with missing teeth mumbling to students on campus. The dispatcher did not tell police that the man had missing teeth, said campus police.

But surely police ought to be able to tell the difference between the wellspoken Conwell, who was taking his daily walk across campus, and a mumbling vagrant.�

Where to begin?

First, “well-spoken� is blatantly coded racial language.

Second, do black people who Cleveland.com wouldn’t describe as well-spoken deserve to be racially proďŹ led and targeted by police for simply, ya know, being around?

Third, “mumbling vagrantâ€? is some awfully dehumanizing language to use. “Public spaces aren’t just for elected ofďŹ cials or people who are well-spoken,â€? Cleveland State law professor Joe Mead says. “Regardless of the skin color or professional stature, everyone has a right to travel and exist in public spaces without being accosted by the police.â€?

See how simple that is? — Grzegorek

City of Cleveland Will Resume Issuing $100 Citations for Improper Waste and Recycling Collection Violations This Summer Cleveland city council voted in June 2016 for a moratorium on lowlevel citations for trash collection and recycling enforcement. That decision followed vociferous complaints from residents who said the ordinance was confusing and that they received $100 citations for regular waste disposal. “The tickets came fast and furious, and the complaints came fast and furious,� council president Kevin Kelley told Cleveland.com at the time. “We had to get our arms around this and decide what we want out of the rules about trash collection and how we want people to be treated.�

That moratorium will end this summer as the city announced today it would begin issuing citations starting August 1, 2018. The city will issue courtesy citations from now until then.

Violations include: Trash mixed with recycling, • which results in contaminated recycling. • Excess waste outside of the cityissued roll cart. Only items in the roll cart can be picked up by the automated trucks. • Carts set out too early. Carts should not be placed out earlier than noon on the day before the scheduled collection day. • Cart violations, meaning residents are required to remove roll carts from tree lawns and store by noon the day after scheduled collection day. • Bulk waste violations, stipulating that bulk residential pickup takes place the ďŹ rst full week of every month; there is a limit of three large items permitted for bulk pickup, plus up to four tires; and all mattresses/box springs and cloth furniture must be wrapped for the safety of handlers. • Although the courtesy warning period runs now through August 1, the City will continue its $350 citations for non-compliant large set-out violations. The setting out of construction materials, ďŹ ve or more tires, large quantities of bags or boxes and hazardous waste materials is considered a major infraction. These violators will receive a $350 ďŹ ne. — Grzegorek

scene@clevescene.com t@clevelandscene

Photo by Lelli e Masotti-FlickrCC

FEATURE TONE DEAF After 100 years, the Cleveland Orchestra continues to ignore women, minorities and living composers

By Philip de Oliveira JUST OVER A YEAR AGO, THE Cleveland Orchestra announced its 100th season. The world-class orchestra kicked off its second century much the same way it operated during its fi rst hundred years: with a bunch of dead white guys.

The marketing around the announcement was characteristically impeccable. The press release was chock full of highminded rhetoric about music being an “incredible tool for good” and the orchestra’s duty “to harness the lifechanging power of music.” Forget the snobbery of art for art’s sake.

This was an orchestra on a mission.

That mission is breathlessly spelled out on the orchestra’s website. Among its lofty goals, the orchestra will remain committed to “community support” and “an unshakeable commitment to innovation.”

Much of what the orchestra does is, in fact, innovative. The orchestra is well on its way to having one of the youngest audiences in the U.S., if not the world. The orchestra’s adventurous opera productions consistently surpass those of fulltime opera companies in terms of production and sheer music-making.

Student subscriptions, generously subsidized by philanthropy, are more affordable than those for many other orchestras. And the orchestra maintains residencies at some of the world’s most revered halls, including the Musikverein in Vienna and Lincoln Center in New York.

Yet the orchestra’s commitment to innovation stops, frustratingly and inexplicably, with its choice of repertoire.

At the centennial announcement event last March, the artistic leadership unveiled a vision of the orchestra’s future that proved as myopic as its past and present.

For his part, music director Franz Welser-Möst delivered a passionate and refreshingly honest address.

Here was a conductor of remarkable candor, who made jabs at “snobby Middle-Europeans” to a crowd of

mostly older white patrons dizzy on free wine. He even compared a lack of daring in artistic planning to a slow death.

“We should look forward and not be afraid of what the future holds for us,” Welser-Möst said. He went on, apparently roasting his own organization’s artistic planning: “People sort of say, ‘Yeah, we have to present it differently’ and whatnot.

You don’t go to a museum and put … disco lighting on a great painting.”

Laughter and applause.

At last, orchestra and audience alike seemed poised to break with the past and leap headlong into the future. Hell, a leap into the present would be cause for fanfare. WelserMöst certainly sounded ready for the jump. The fi nal salvo appeared to come as Welser-Möst compared those ubiquitous performances of Beethoven’s complete symphonies — the pinnacle of symphonic achievement in the classical canon — to “a sort of sports event” among conductors. The New Yorker’s William Robin has called such composer cycle stunts a “fi xation,” which is putting it modestly.

Well, it turns out to be a fi xation shared by Welser-Möst after all.

Contrary to his progressive rhetoric, the maestro remains planted fi rmly in the past. Welser-Möst did some soul-searching, and he now seems to think a musical pissing contest at Beethoven’s expense is just what Cleveland deserves for its hometown orchestra’s centennial. That’s a remarkable change of heart from a maestro who, just a few breaths earlier, had derisively compared a complete Beethoven cycle to a sporting event (in Cleveland, of all places). We’ve seen the future, and it’s a German who’s been dead for nearly 200 years.

The vaunted centennial season turns out to be a disappointing continuation of the status quo.

Of the nearly 40 composers represented, every last one is a white man. Only four of those white men are still alive. Of those four, only one is American-born. That’s

Welser-Möst directing the orchestra in 2008.

still slightly better than last season when all the composers were white, only four of them had a pulse, and a lone concerto by Augusta Read Thomas kept the Cleveland Orchestra off of the Women’s Philharmonic Advocacy’s list of top orchestras that didn’t include a single female composer in the 201617 season. The Cleveland Orchestra is far from alone in this regard. An analysis by the Baltimore Symphony Orchestra found female composers accounted for just 1.3 percent of all music performed by 85 American orchestras. How much longer will “America’s best orchestra,” as Cleveland was recently dubbed by The New York Times, set a worse example than its peers? ( Scene contacted the orchestra archives for repertoire lists going back to Welser-Möst’s predecessor, Christoph von Dohnányi. Those records were not ready by press time, but an orchestra spokesman assures us they’re working on it.)

Why is it that season after season, the orchestra’s artistic leadership continues with the same backwards, systemically racist and sexist programming, and yet never faces even the slightest scrutiny? The incongruity between the orchestra’s stated commitment to innovation and the music it promotes couldn’t be more obvious.

They are presumably committed

to performing only the greatest repertoire. Yet it seems great music is only written by dead white men.

One has to wonder where Cleveland’s music critics have been while this goes on year after year.

Have they spent the past decade cowering lest they go the way of Donald Rosenberg? In other cities, it’s ticket holders and musicians themselves who have taken orchestras to task for the industrywide problem. A couple of months ago, 60 Boston-area musicians penned an open letter to the Boston Symphony Orchestra calling for it to include “musical talent that is too often marginalized.”

BSO management met with the signatories, though musical director Andris Nelsons was reportedly absent.

Patrons and musicians in Chicago, Rochester, Philadelphia and elsewhere have piled shame on their orchestras for entirely white, male seasons, and some are taking note. The Los Angeles Philharmonic will celebrate its own centennial next season with a staggering 50 world premieres by the likes of Philip Glass, Julia Adolphe, Tyshawn Sorey and Unsuk Chin.

But in Cleveland, the silent apathy is deafening.

The Cleveland Orchestra does occasionally present newer works alongside the familiar classics, but | clevescene.com | March 28 - April 3, 2018

13

FEATURE

Wednesday

Darts and $1 Sliders

Upcoming Events:

Thursday

03/31

STAND-UP COMEDY OPEN MIC

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ANDERSON’S Sports Pub & Eatery

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TUESDAY HOPPY HOUR- $2 TACO, TALLS, & JAMO, $1 OFF CRAFT Now booking special events!

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| clevescene.com | March 28 - April 3, 2018

even then it’s still almost exclusively a white man’s world. Last December, a brief piece by English composer Julian Anderson opened a fantastic concert that also included a Mozart piano concerto and Brahms’ First Symphony. Programs such as these are apparently proof that the orchestra and its audience value new or neglected music. But we all know that if a major work by a black composer — George Walker’s Pulitzer-winning “Lilacs,” for example — were placed after intermission, the hall would be virtually empty. Or at least that’s what the orchestra’s marketing department seems to think. Last weekend’s concert featuring the phenomenal harpsichordist Jory Vinikour in a lesser-known concerto

by Poulenc was billed as “Romantic Rachmaninoff.” Rachmaninoff’s Second Symphony is gorgeous and deservedly a staple of the orchestral repertoire, but why must the overplayed and familiar be more enticing than the adventurous and unknown? And after all, Poulenc is dead and white, too.

This disparity persists in part because so-called classical music lovers typically believe the myth that great music is that which has endured “the test of time.” In fact, time is passive and indifferent and tests nothing. We, the audience, test music through listening and critical thinking and constant reevaluation of our aesthetic assumptions. This is the true music lover, not the person who gripes at intermission about too many snare drums and unpleasant chords. Music cannot be discovered and tested if it is never performed in the fi rst place. The old way of thinking ensures that music by non-white, non-male composers will never measure up to anything written by a dead white man who gets played thousands of times each year in concert halls the world over.

The Cleveland Orchestra’s leadership seems to get this point, at least in theory, paying lip-service to patrons who fi ll Severance Hall for progressive programming.

The orchestra’s director of artistic planning, Mark Williams, ostensibly has an important role in what gets played. For what it’s worth, Williams is an African American with an enviable vitae, including degrees from the Cleveland Institute of Music and New York University.

Before coming to Cleveland, he worked with the San Francisco Symphony, one of the trendsetters

in progressive programming.

“This is a place that’s ready, willing and eager to take on the challenges of the 21st century,” Williams told Cleveland.com in 2013. “If we’re not thinking about our audience, we’re losing them. The audience here is so educated, and so open. If you give people quality, and you believe in it, nine times out of 10 it will work.”

Five years later, his words ring as hollow as Welser-Möst’s.

As paying audience members with a vested interest in the future of great music, we must hear new and neglected music, and we must hear it as more than a reluctant toss-off at the beginning of a concert. We may chuckle knowingly at the way early critics rebuffed Bizet’s “Carmen” as too cerebral, or Beethoven’s Second Symphony as coarse and unwieldy. If fi rst impressions were everything, we would never enjoy a Mahler symphony or a Bach cantata. Yet we are content to allow today’s masterpieces to languish without a second thought. After one poorly rehearsed performance, we make up our minds and get back to the same, comfortable drudgery. To make matters worse, the Cleveland Orchestra, when it performs new music at all, typically chooses the hair-raising pastiches of German expressionism that send audiences fleeing back to the comfortable classics. See how ugly new music is? Thank goodness we still have Mozart and Beethoven.

What about next season? It’s hardly better in terms of gender parity; Pulitzer laureate Jennifer Higdon will be the only female composer we’ll hear all year.

Eight living composers, including assistant principal oboist Jeff Rathbun, will get stage time. Every last composer is white. Is this acceptable from an orchestra in a city where the majority of citizens are African-American, Latino, Asian or otherwise people of color? The orchestra’s leadership will profess its devotion to all Clevelanders, perhaps pointing to a few yearly photo ops in schools fi lled with minority children from low-income families. But the faces fi lling Severance Hall each weekend almost uniformly reflect the faces of the composers heard there.

That’s not surprising, because the fact remains: After 100 years, there is still no place for women or minorities on the musicians’ stands at Severance Hall.

scene@clevescene.com t@clevelandscene

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3VJH[LK PUZPKL ;OL (YJHKL ‹ +V^U[V^U *SL]LSHUK ‹ ^^^ THYLUNVZWH JVT | clevescene.com | March 28 - April 3, 2018

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SATURDAY, MARCH 24 ROCK X CPL 12pm to 4pm, Cleveland Public Library

TUESDAY, APRIL 3

• Bon Jovi album listening • Film screenings • Rock N Roll Fireworks Show (9pm). A live audio simulcast of the fireworks show can be heard on 106.5FM The Lake.

CLEVELAND CONNECTS: Rock on a Roll A discussion w/CEO Greg Harris, Inductee Martha Reeves and more. Presented by Cleveland.com and Ideastream. 7:30pm

MONDAY, APRIL 9 THROUGH SATURDAY, APRIL 14

FRIDAY, APRIL 6

WEDNESDAY, APRIL 11

CIFF: BAD REPUTATION N FILM SCREENING Documentary spotlighting Inductee Joan Jett, 7:30pm

AUTHOR SERIES WITH GAYLE WALD Shout, Sister, Shout!: The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta.

7pm, FREE with RSVP

SATURDAY, APRIL 7 CELEBRATION DAY 10am to 11pm Sponsored byy Greater Cleveland Partnership, Downtown Cleveland Alliance and Medical Mutual.

• FREE Admission • Live music featuring RSO (Richie Sambora + Orianthi) and Wesley Bright & the Honeytones • New exhibits

STORIES OF ROCK, INDUCTEE & ALBUM SPOTLIGHTS

THURSDAY, APRIL 12 CITY CLUB Silent No More: #MeToo and the Music Industry, 12pm, City Club FILM SCREENING: DAYS OF FUTURE PASSED LIVE all day, included with Rock Hall admission HALL OF FAME SERIES INTERVIEW WITH THE MOODY BLUES 8pm, FREE with Rock Hall admission (limited capacity)

SATURDAY, APRIL 14 RED CARPET LIVE STREAM 5:30-7:30pm 33rd ROCK & ROLL HALL OF FAME INDUCTION CEREMONY, Presented by KLIPSCH AUDIO 7:30pm, Public Auditorium INDUCTION SIMULCAST PARTY 7:30 pm (Doors at 6:30pm) Sponsored by

by Fat Head’s Brewery, Great Lakes Brewing Compan Magic Hat Brewing Company Tito’s Handmade Vodka, Peps Medical Mutual and Downtown Cleveland Alliance INDUCTION AFTER-PART WITH DJ QUESTLOVE 11pm Doors, House of Blues

Visit for event times & details rockhall.com/rockweekcle

Events at Rock Hall unless otherwise noted

What’s going on downtown and around Cleveland LIVE MUSIC SATURDAY, APRIL 7 Music Box Supper Club • E5C4P3: Journey Tribute

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| clevescene.com | March 28 - April 3, 2018

• A Tribute to Rock & Roll Hall of Fame Inductees Past & Present w/ Chris Allen and Friends Wild Eagle Saloon • Dueling Piano Party – Inductee edition SATURDAY, APRIL 14 Public Square • Songs of Nina Simone w/Afi Scruggs • Songs of Sister Rosetta Tharpe w/ Diana Chittester • Moving in Stereo: The Cars tribute band Agora • The Darkness Touch Supper Club • A tribute to Nina Simone

Music Box Supper Club • Stevie Wonder Tribute – The Reid Project

EVENTS & OFFERS Great Lakes Science Center • America’s Musical Journey in the DOME Theater Hilton Cleveland Downtown • Inductee-themed specials in all bars and restaurants Table 45 A Zack Bruell restaurant

• Inductee-inspired menu & live music by Nate Jones

Photos by Janet Macoska

THURSDAY APRIL 12 Flats East Bank • Punch Bowl Social Diana Chittester • Big Bang Dueling Piano Bar Free cover!

• Beerhead Bar & Eatery – Inductee BINGO & beer tap takeover • Aloft • Coastal Taco • Lago • Magnolia • Collision Bend • Dante’s Inferno • Thirsty Dog

FRIDAY APRIL 13 E. 4th Street Party Presented by Tito’s Handmade Vodka - 3 Outdoor Live Bands - Specials at Participating Venues • Pickwick and Frolic • House of Blues • Society Lounge • Flannery’s • Corner Alley • Erie Island • Zocalo • Butcher & Brewer • Wonder Bar • Chinato House of Blues Restaurant & Bar Stage • Blues Chronicles Music Box Supper Club • Nitebridge w/Colin Dussault: Van Morrison Tribute

GET OUT everything you should do this week Photo by DJ Kishka

WED

03/28

SPOKEN WORD

Cleveland Stories Dinner Parties Cleveland Stories Dinner Party is a weekly series that pairs fi ne food with storytelling. Through it, the folks at Music Box Supper Club hope to raise awareness of the mission of the Western Reserve Historical Society’s new Cleveland History Center. The goal of the Cleveland Stories Dinner Party 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 fi xe dinner, designed to complement the night’s theme, is $20. Doors open at 5 p.m., dinner is served at 6, and the storytelling starts at 7. Tonight, Bobby DiBiasio, senior vice president of the Cleveland Indians, talks about the friendships he’s developed with Tribe players over the years. (Jeff Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com.

COMEDY

Cool TLC A veteran comic, local hero Cool TLC has worked the Cleveland scene for years now. During that time, he’s shared the stage with national acts such as Eddie Griffin, Bruce Bruce, Snoop Dogg and Patti Labelle. The rowdy, fast-talking comedian regularly punctuates his live show with singing and dancing as he brings an excessive amount of energy to the stage. He performs tonight at 7:30 at the Improv.

Tickets are $15. (Niesel) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.

THEATER

Fifth of July A play by Pulitzer Prize-winning author Lanford Wilson, Fifth of July focuses on a veteran who gathers with his family in rural Missouri to ring in Independence Day. A family squabble breaks out, setting off emotional “fireworks.” This production introduces the joint Case Western Reserve University and Cleveland Playhouse masters degree acting program’s class of 2020. Tonight’s performance takes place at 7:30 at the Helen Rosenfeld Lewis Bialosky Lab Theatre.

This year’s Dyngus Day celebration will likely draw thousands to Ohio City, the Detroit Shoreway and Tremont. See: Monday.

Performances continue through April 7. Tickets are $15 to $20.

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

BEER

Hoppin’ Frog Hoppy Hour Much like the Fat Head’s tasting room in Middleburg Heights, the Hoppin’ Frog tasting room in Akron is in a nondescript strip of storage facilities and warehouses. But step inside and you’ll find a cozy space with a huge array of the brewery’s wonderful libations. The place features “hoppy hour” every weekday from 3 to 7 p.m. Tonight, the brewers visit the tasting room from 5 to 7 p.m. While they don’t fill growlers, you can drink bottles on site or take ‘em to go. The place also offers a “Hoppin’ Frog Rare & Vintage” list as well as a guest bottle list. And you can order from a limited food menu too. (Niesel) 1680-F Waterloo Rd., Akron, 234-525-3764, hoppinfrog.com/tasting-room.

FILM

COMEDY

Italian American Baseball Family Tonight at 7:30, the CWRU department of modern languages and literatures and the department of physical education and athletics team up with the university’s Film Society and Spartan baseball team to present a screening of Italian American Baseball Family at Strosacker Auditorium. Immediately following the screening of the movie, filmmaker Roberto Angotti and a panel of renowned Cleveland Indians’ historians and authors will lead a discussion on the Italian American Cleveland Indians. The film documents the Italian American experience and how Italians assimilated into popular culture through baseball.

Participating panelists include authors Scott Longert, Joseph Wancho, and John McMurray, all of whom have written extensively about baseball. Free tickets are available via the website. (Niesel) 2180 Adelbert Rd., 216-368-CINE, athletics.case.edu.

Dusty Slay Comedian Dusty Slay likes to say that he “leaves the serious topics like race, religion and politics” to someone who, unlike him, hasn’t drank gas out of a water hose. As a result, his jokes tend be about his lower-class upbringing. He says he doesn’t like taking off his shoes when he visits other people’s houses because it’s like they’ve said that their house is cleaner than his.

“I was raised in a dirty house where I felt comfortable,” he jokes. Slay performs tonight at 8 at Hilarities.

Tickets are $13 and $18. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

THU

03/29

COMEDY

Chris Distefano An actor and comedian based in New York, Chris Distefano maintains he’s “on a mission to bring some old-school Brooklyn | clevescene.com | March 28 - April 3, 2018

17

Tickets start at $41. (Niesel) 1 Center Court, 216-420-2000, theqarena.com.

GET OUT comedy” back to his beloved borough. In one bit, he talks about how in Brooklyn, no one ever really gets off the block. He recalls how he went to Norway once and was astonished to fi nd the restaurant served reindeer. He performs tonight at 8 at Hilarities, where he has shows scheduled through Saturday. Tickets are $23 to $28. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

THEATER

Flanagan’s Wake No one knows grief and mourning like a Catholic, let alone an Irish Catholic. Now in its eighth year in Cleveland, Flanagan’s Wake transports the audience to an

treated as the friends and family of the deceased. Tonight’s show starts at 8 and repeats tomorrow night at 8 at Kennedy’s Theatre.

Performances continue weekends through April 28. Tickets are $26.

(Patrick Stoops) 1501 Euclid Ave., 216-241-6000, playhousesquare.org.

FOOD

THEATER

Macbeth Tonight at 7:30 at the Hanna Theatre, Great Lakes Theatre presents its take on Shakespeare’s Macbeth, the playwright’s famous tragedy about a power-hungry Scottish general. The play’s theme about the dangers of political ambition seems particularly relevant in this day and age.

Performances continue at the Hanna through April 15. Tickets are $15 to $80. (Niesel) 2067 East 14th St., 216-241-6000, playhousesquare.org.

SCHEDULE

ALL FILMS START AT 7 PM | ROCK HALL’S FOSTER THEATER

FRI

03/30

3/7 3/21 5/2 5/16 5/30 6/6

WED.

WED.

COMEDY

Kountry Wayne Wayne Colley, better known by his stage name Kountry Wayne, became a viral social-media sensation overnight on account of his hilarious videos. In one skit, he makes fun of a couple of thugs who attempt to rob him. “If you’re homeless, that’s all you had to say,” he tells the guys. “I would have put something in your pocket.”

He eventually talks them out of robbing him. Wayne performs tonight at 7:30 at the Improv, where he has shows scheduled through Saturday. Tickets are $30 to $40.

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

WED.

WED.

WED.

WED.

Lady Gaga: Five Foot Two 2017 • 1 hour, 40 minutes • TV-MA

What Happened, Miss Simone?

2015 • 1 hour, 41 minutes • Not Rated, Courtesy of Eagle Rock Entertainment

Rumble: The Indians Who Rocked the World 2017 • 1 hour, 43 minutes • Not Rated Who the F**k is That Guy? The Fabulous Journey of Michael Alago 2017 • 1 hr, 25 minutes • TV-MA

18

1968 • 1 hour, 26 minutes • G

Purple Rain 1984 • 1 hour, 51 minutes • R

Members FREE w/RSVP • Non-Members $5.50 1100 Rock and Roll Boulevard, Cleveland, OH 44114 | rockhall.com | 216.781.ROCK

Irish wake where villagers tell tales and sing songs for their dearly departed Flanagan.

Finding the humor in life and death, the wake acts as a dark backdrop to an otherwise hilarious show in which alcohol fuels the humorous reminiscing.

Sort of like a tragic Tony ’n’ Tina’s Wedding, the interactive and improvised show engages the entire audience as the guests are

| clevescene.com | March 28 - April 3, 2018

Lenten Fish Fry From now until the end of March, Prosperity Social Club hosts its Lenten Fish Fry every Friday from 11 a.m. to midnight. The special Lenten menu includes the Big Fish Fry, a seasonal staple that features a generous portion of haddock in a fluffy beer batter blanket, complemented by homemade coleslaw, house tartar sauce and old-school-style mac and cheese.

Prosperity received national attention when the home-cooked Big Fish Fry was featured on TV chef Andrew Zimmern’s Delicious Destinations. To drink, this year’s featured beer is POC, now brewed

by Double Wing Brewing Company which recently resurrected the storied brand. The clean, crisp European-style pils should pair well with the fish. Reservations are not a bad idea. (Niesel) 1109 Starkweather Ave., 216-937-1938, prosperitysocialclub.com.

Head

SPORTS

Cavaliers vs. New Orleans Pelicans Led by forward Anthony Davis, who’s had a remarkable season, the New Orleans Pelicans remain in the hunt for a playoff spot in the competitive Western Conference.

Davis, who averages a doubledouble on the season, has kept the Pelicans afloat while the team has struggled with injuries to some of its top players. Tonight’s game against the Cavs starts at 8.

Community College present the play tonight at 7:30 at the Simon and Rose Mandel Theatre on the Eastern Campus. A performance also takes place at 7:30 tomorrow night and at 2 p.m. on Sunday.

Admission is free for Tri-C students with ID. Tickets are $10 for adults and $8 for seniors or students from other schools.Reduced rates also are available for groups of 10 or more. (Niesel) 4250 Richmond Rd., Highland Hills, 216-987-4947, event.tri-c.edu.

THEATER

In the Heat of the Night Set in 1962 in the small town of Argo, Alabama, In the Heat of the Night centers on attempts by the local police to determine who is responsible for a dead body found on the road on a hot August night. It’s a difficult challenge considering they have no witnesses, no motives and few clues. Students from Cuyahoga

SAT

03/31

FILM

19th Animation Show of Shows A touring program that features animated shorts from around the world, the 19th Animation Show of Shows will feature 16 critically acclaimed flicks from a slew of countries. This year’s program includes the stop-motion musical The Burden as well as the 1964 classic The Hangman, a movie that Animation Show of Shows organizers have recently restored.

The program begins at 8:35 tonight at the Cleveland Institute of Art Cinematheque. Tickets are $10, or $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

IN MEMORIAM

JANE: A Tribute to Rob Sherwood Local DJs such as Kenny Summit, Lady Miss Kier and Mike Filly will honor the late Rob Sherwood, a

local DJ who passed away earlier this year. The event promises to feature “creatures of the night both legendary and au courant in a sensual performance spectacle of drag and dance.” It all starts at 7 p.m. at Sachsenheim Hall. Admission is free. (Niesel) 7001 Denison Ave., 216-651-0888.

SUN

04/01

SPORTS

Cavaliers vs. Dallas Mavericks It wasn’t too long ago that the Dallas Mavericks won an NBA title. Now, the team is in rebuilding mode and owner Mark Cuban even got in a bit of trouble for suggesting the team should lose on purpose to move up in this year’s draft. Expect the Cavs to get a win tonight when the two teams face each other at 6 at the Q. Tickets start at $32. (Niesel) 1 Center Court, 216-420-2000, theqarena.com.

FOOD

Gospel Brunch The monthly Gospel Brunch has been a spiritual Sunday staple for years at the House of Blues. The recently reinvigorated show puts a bit more emphasis on the music.

As for the food, the all-you-can-eat musical extravaganza features Southern classics like chicken jambalaya, biscuits and gravy, and chicken and waffles. Seatings are offered at 11 a.m. Tickets are $40 and are available online, by phone or at the box office. (Niesel) 308 Euclid Ave., 216-523-2583, houseofblues.com.

COMEDY

Greg Hahn A favorite on the Bob and Tom Radio Show, comedian Greg Hahn likes to joke that he spends more time in the weight room “chalking up” than actually lifting weights. Though his observations aren’t particularly sophisticated, the bit gives him the opportunity to show off his physical approach to comedy. A loudmouth guy who yells and claps fervently during his routines, Hahn screams and shouts so much, you gotta think the late Sam Kinison inspired him. He performs tonight at 7 at Hilarities. Tickets are $13 and $18.

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

BOOKS

Sunday Beat As part of a Sunday Beat promotion at Visible Voice Books,

if you purchase a New York Times at the store, you’ll receive a free cup of coffee or tea and a Jim Alesci’s Place pastry. An added bonus: A jazz, Americana, samba or bossa nova band will perform from 1:30 to 3:30 p.m. Anyone who shows a Sunday receipt from Music Box, Prosperity Social Club or any of the Tremont restaurants that offer brunch can enter a same-day drawing for a chance to win a $30 Visible Voice gift certificate and a $25 Visible Voice Loyalty Card. They’ll also receive 10 percent off any Visible Voice book purchase. The bookstore is open today from 11 a.m. to 5 p.m.

(Niesel) 2258 Professor Ave., 216-961-0084, visiblevoicebooks.com.

MON

04/02

FESTIVAL

Dyngus Day Now in its eighth year, Cleveland’s Dyngus Day celebration gets bigger and better each year. This year’s event, which takes place from 10 a.m. to 2 a.m. today at locations throughout Ohio City, Tremont and the Detroit Shoreway, promises to be another wildly good time. As part of the day-long celebration, Detroit Avenue will be closed from West 57th Street to West 59th Street as Dyngus Day will expand into what organizers say is its “largest footprint to date.” As always, Dyngus Day will feature Kishka’s Beer Heaven Festival Grounds in the Detroit Shoreway neighborhood. Opening ceremonies take place at 10 a.m., and the Miss Dyngus Day Pageant will begin at 4:30 p.m. at the main festival grounds. After the crowning of Miss Dyngus 2018, the Accordion Parade will follow at 6 p.m. (Niesel) clevelanddyngus.com.

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FILM

Movie Mondays Every Monday, Cleveland Cinemas hosts $5 Movie Mondays, where film fans can catch up on the latest Hollywood flicks for significantly reduced prices. Bring your friends and family and make Movie Mondays a weekly tradition — many theaters even offer discounted concession stand items.

Participating theaters include Apollo Theatre, Capitol Theatre, Cedar Lee Theatre, Chagrin Cinemas, Shaker Square Cinemas and Tower City Cinemas. Unfortunately, additional charges apply for 3-D movies.

(Alaina Nutile) clevelandcinemas.com.

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MUSIC

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 that allows patrons to choose from “an unlimited selection of jams from hip-hop to hard rock.”

Participants 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.

Classical Revolution Cleveland Today, and the fi rst Tuesday of every month, Classical Revolution Cleveland brings chamber music to the Euclid Tavern. Performers like the Trepanning Trio, Anime Duo, students of Cleveland Institute of Music and even Cleveland Orchestra members grace the stage in these exciting concerts. Tonight’s free, allages performance starts at 8.

(Stoops) 11625 Euclid Ave., 216-231-5400, happydogcleveland.com.

MUSIC

FOOD

Wing Ding Doodle Blues icon Howlin’ Wolf famously covered “Wang Dang Doodle,” the old blues tune penned by Willie Dixon. Prosperity Social Club in Tremont has adopted that slogan, calling its wing night Wing Ding Doodle. The weekly event features specials on Buffalo wings and cold brews.

Prosperity will not only serve up substantial, $1 whole wings, but it’ll also offering meatless Monday “wing” baskets for vegans. Discounted drafts and a playlist of vintage-electric blues and soulful R&B curated by local musician Clint Holley will be on tap as well. Wing Ding Doodle takes place every Monday from 6 p.m. to midnight. (Niesel) 1109 Starkweather Ave., 216-9371938, prosperitysocialclub.com.

TUE

04/03

SPORTS

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| clevescene.com | March 28 - April 3, 2018

Cavaliers vs. Toronto Raptors All season long, the Toronto Raptors have played quality basketball. The team consistently has had one of the best records in the Eastern Conference and is vying for the top seed for the playoffs. The Raptors blew out the Cavs when the two teams played earlier in the season, but that was before the Cavs traded for younger, better players. Expect tonight’s game to be a tight one. Tipoff is at 7 at the Q. Tickets start at $32. (Jeff Niesel) 1 Center Court, 216-420-2000, theqarena.com.

Cleveland Connects: Rock on a Roll Today at 7:30 p.m. at the Rock Hall, Ideastream’s Rick Jackson moderates a panel featuring guests such as Rock Hall inductee Martha Reeves, Rock Hall CEO Greg Harris, former Rock Hall executive director Dennis Barrie, and executive director of the George Gund Foundation David Abbot. They’ll discuss the ways in which the Rock Hall has reinvented itself to better connect with the community. Registration is required to attend. Admission to this event doesn’t include admission to the museum.

Consult the website for more details. (Niesel) 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com.

MUSIC

Vinyl Night Jukebox owner Alex Budin has described his 1,350-squarefoot music-focused bar in the Hingetown ’hood as “a place where people can expect to hear and learn about music of multiple genres, all of which is concentrated in a constantly evolving jukebox.”

The club hosts a vinyl night every Tuesday that serves as a listening party for new releases, partnering with Loop in Tremont, so patrons can hear a new album on vinyl. You can bring your own vinyl and spin it too. (Niesel) 1404 West 29th St., 216-206-7699, jukeboxcle.com.

scene@clevescene.com t@clevelandscene

| clevescene.com | March 28 - April 3, 2018

21

STAGE SNAKES AND SAINTS AND SCIENTISTS, OH MY! A short story by George Bernard Shaw is turned into a potent one-act at Karamu

By Christine Howey THE RENOWNED IRISH playwright George Bernard Shaw wrote 62 plays, most of which clearly expressed his edgy opinions about social, political and ethical issues.

Among his strongly held beliefs, he was opposed to organized religion.

As he said once, “I am an atheist, and I thank God for it!”

In 1932, Shaw wrote a short story about religion titled The Adventures of the Black Girl in Her Search for God, a work that ruffled some feathers and was banned in Ireland by the Board of Censors. Such a reaction was predictable since the girl asks lots of questions about God and rarely gets any satisfactory answers from her missionary teacher in “darkest Africa,” or from the other religious or scientific luminaries she meets on her journey.

One wonders how a play on this subject might have turned out if GBS himself had penned it. But we do have a sense of how that might have turned out in the compact and energetic adaptation of Shaw’s story

by Lisa Codrington, now at Karamu House. This talented young, black playwright borrowed Shaw’s title for her 75-minute play, which was first staged at The Shaw Festival in 2016, as part of their “Lunchtime Series.”

As expertly directed by Nina Domingue, this American premiere of the script is a frequently involving and satisfying romp through Shavian wit and wisdom, highlighted by some intense and amusing performances. Even though too many lines are lost due to excess speed or swallowed words, the overall effect is bracing. At the end, you almost want them to call an intermission and do it all over again.

The play has a meta structure since it begins at the Shaw Festival in the present day, where the ghost of Shaw is warming up the audience with party hats and noisemakers.

Shortly, we are plunged into Africa in the 1930s where the eponymous Black Girl is driving her teacher crazy with questions. The Missionary is actually packing her bags, ready to head back to England and away from this insatiable girl with all the queries such as, “Why would God make a world with good and bad, and not just all good?”

22

Photo by MIchelle Berki

Samantha Cocco as “White Missionary” and India Pierre-Ingram as “The Black Girl.”

That begins a series of conversations the Girl has with a variety of people and animals. A black mamba snake has plenty to say, and soon the prophet Micah appears invoking God’s instructions about doing justice and showing mercy. The religious all-star lineup continues as the Lord of Hosts shows up along with King Solomon, none other than the Almighty himself, and a guy who poses for artists as Christ on the cross.

Understandably, the girl is pretty confused, and that doesn’t get any better when an expedition of scientists appears on a trek through Africa and starts sharing

tempo early on as Shaw, then returns as the loud-mouthed Lord of Hosts and one of the scientists.

Branch is an actor who always finds a way to be interesting, even when his choices verge on being a tad excessive. Also excellent is Prophet D. Seay, who plays three characters as Micah, Solomon and a physicist. Some of the other actors should take lessons from Seay, who manages to make his words clear and understandable, no matter the volume or pace.

Three other performers, who play just one role each, acquit themselves well. Kaila Benford is most amusing as a talking snake

THE ADVENTURES OF THE BLACK GIRL IN HER SEARCH FOR GOD THROUGH APRIL 15 AT KARAMU HOUSE, 2355 EAST 89TH ST., 216-795-7070. KARAMUHOUSE.ORG

their knowledge, or lack thereof, with the Girl. This is not meant to be a serious exploration of religious thought (thank God), and it succeeds as well as it does thanks to the witty words provided by both Shaw and Codrington, and a production that is as pleasing to the eye as to the ear and mind.

Robert Branch pumps up the

| clevescene.com | March 28 - April 3, 2018

that was transformed from a rod (not a stick!), and Mary-Frances Renee Miller is effective as the Black Bearer, the go-fer attending to the white scientists. And the Girl is played with wide-eyed innocence and smiling curiosity

by India Pierre-Ingram. This is poignant since we can sense the inevitable disappointment

that awaits her at the end of her search.

The cast is rounded out by Samantha Cocco, Michael Head and Karl Toth, who each have moments that work. But at times they can’t quite handle the production’s challenges that require precise diction and an ability to modulate vocally.

Scenic and costumer designer Inda Blatch-Geib wraps the stage in African prints and provides the characters with a colorful range of duds that go a long way to indicate the multiple characters on stage. The lush lighting design

by Marcus Dana, and Rob Peck’s well-tuned sound design, make Karamu’s arena stage an ideal venue for this small but impactful play.

It’s a good bet that Shaw would have been delighted that two young black women, Codrington and Domingue, would have joined him in taking religious presumption to the woodshed. As he once noted, “Churches must learn humility as well as teach it.”

scene@clevescene.com t@christinehowey

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It’s time for you to tell us about 2018’s best people, places and things in our annual Best of Cleveland Readers Poll. This year, a bit of a twist as we seek to settle once and for all which side reigns supreme, east or west. So along with all the citywide categories, you’ll be able to select the best locations, bars, restaurants and more for each side of town. Nominations close March 15. Finalist Voting Begins March 19th | clevescene.com m | March 28 - April 3, 2018

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MOVIES COLUMBUS CREW Ernest Cline and Ready Player One’s Ohio Roots

By Sam Allard READY PLAYER ONE, THE Steven Spielberg adaptation of the bestselling sci-fi novel by Ernest Cline, opens in wide release Friday.

It’s an action-packed pop-culture cornucopia that happens to be set in Columbus, Ohio.

In the fi lm, a Harry Potterish hero named Wade Watts (Tye Sheridan) lives in a vertical trailer park — “the Stacks”— on the city’s outskirts. It is 2045, and wealth inequality has become even more pronounced than it is in 2018. For the poor folks in the Stacks, the only refuge is escaping to the OASIS, a 3-D virtual world that author Cline described as the “coolest possible version of the internet.”

“It was easy for me to see how the internet would evolve from a two-dimensional thing that you view through web browsers and a computer monitor to a threedimensional space that you could navigate geographically,” he geeked out with Scene by phone.

But Columbus, in Cline’s vision, is also home to the physical corporate headquarters of Innovative Online Industries, a villainous tech fi rm led by a monopoly-inclined executive, Nolan Sorrento (Ben Mendohlson).

He’s hell bent on winning control of the OASIS via a contest constructed by its architect, James Halliday (a fabulously eccentric Mark Rylance).

Winning the contest means besting

three challenges that not only test players’ gaming skills but their obsessive knowledge and love of ’80s pop culture.

Cline was born at Samaritan Hospital in Ashland, Ohio, and lived there until college. He told Scene that Columbus made sense to him as the setting for his novel (and for the fi lm adaptation, which he cowrote) in part because of its physical qualities.

“When I was writing the book, I thought of the bleak cityscape of Columbus in the wintertime, and how cold and gray Ohio gets,” he said. “I thought it would serve as an interesting backdrop to this futuristic, cyberpunk tale.”

Columbus was also where Cline got his fi rst corporate job, doing tech support for Compuserve in a “giant cubicle farm.” That experience, too, served as inspiration for the story of Wade Watts. In the novel, Watts works tech support to fund his adventures in the OASIS (a portion that was more or less excised in the fi lm adaptation.)

Cline said that when he imagined the towers that comprise the headquarters of Innovative Online Industries, he was thinking of the Nationwide building in Columbus.

“Not that I think that Nationwide, or insurance companies in general, are giant evil conglomerates,” he clarified.

But speaking of giant evil conglomerates … When Columbus was selected as one of 20 finalists for Amazon’s second headquarters in our world, Cline said that some of his friends were calling Ready Player One prophetic. Cline said the clearest real-world analog to his fictional tale is not Amazon’s expansion but the ongoing battle for net neutrality. (In both the novel and the fi lm, the main characters’ ultimate motive is saving the OASIS from corporate control.)

“It was crazy to me that the [net neutrality] battle was playing out right as we were finishing the movie,” Cline said. “Free and open access to the internet was already becoming an issue in 2010 [before the novel was published]. But the confl icts in this story translate to our world right now.”

Beyond the weighty prophesies, one of the most unique aspects of

the fi lm is its overt (and frequent) references to cultural icons in film, music and video games.

“I assumed this could never be a movie because of the all the pop culture I wanted to pay tribute to,” Cline said. “The only comparison I could draw is Who Framed Roger Rabbit, which was a perfect storm of licensing. Multiple animation studios agreed to have their characters appear on screen together.”

And just like with Roger Rabbit, the magic ingredient for Ready Player One was Steven Spielberg. He produced the former and directed the latter.

“If Steven Spielberg says, ‘Hey, would you like your character or your [intellectual property] to appear in my movie,’” Cline advised, “the answer is almost always yes.”

relationships slowly reveal themselves to be as empty and fraught as the marriage being fled.

There is certainly no love, nor has there been for quite some time, between Zhenya and her mother, an angry, impoverished country woman — a kind of Russian hillbilly. When Boris, Zhenya and a volunteer who’s helping track down Alexey venture to the mother’s house, she unleashes a tirade of hate and cruel judgement upon her daughter.

The bulk of this two-hour laugh-fest chronicles the search for Alexey, and Russia has never

looked harsher nor more hopeless.

Director Andrey Zvyagintzev, who made Leviathan in 2014, is a master of mood. The dreary landscapes and shadowy interiors are a mirror of the characters’ (and perhaps the nation’s?) anguish and misery.

The schoolhouse, the apartment complex, the abandoned building in the woods: In Zvyagintsev’s hands, these look no less deathly than the morgue. — Allard

sallard@clevescene.com t@scenesallard

SPOTLIGHT: LOVELESS I’LL SAY THIS FOR LOVELESS, the spare and gut-wrenching Russian nominee for Best Foreign Language Film at the 2018 Oscars: It lives up to its title.

This missing-child drama, which opens Friday at the Cedar Lee, is absolutely as loveless as it gets. In fact I defy anyone to name a film which features less love. There is no love to be found, for example, between the divorcing couple Zhenya (Maryana Spivak) and Boris (Aleksey Rosin), whose bitter shouting match leads to the bolting of their son Alexey (Matvey Novikov). The central thrust of that

argument — indelibly performed, let the record show — is that neither parent wants custody of their son. Boris is preoccupied with the ramifications at his job, where his boss is a staunch family-first Orthodox Christian. Zhenya regards Alexey as little more than evidence of her wasted life with Boris, her ruined youth. The next morning, as a crying Alexey struggles to finish a bowl of cereal through his tears, she mindlessly thumbs her social media feeds.

Zhenya and Boris both have lovers, but there is no evident love in the lovemaking. Both of these

sallard@clevescene.com t@scenesallard | clevescene.com | March 28 - April 3, 2018

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EAT LUCY BRINGS TASTY ETHIOPIAN TO OLD BROOKLYN IN AN ODD SETTING

By Douglas Trattner IT’S A GREAT TIME TO BE AN Ethiopian food fan in Cleveland.

That’s because in just one year, we’ve enjoyed a 200-percent gain in the number of Ethiopian restaurants.

Granted, that increase only nudged the number from one to three, but still.

The newest might be the oddest of the bunch, at least in terms of setting.

Imagine an event space crossed with a saloon and then toss in foods from the Horn of Africa and you pretty much end up with Lucy. This Old Brooklyn restaurant set up shop inside the divey Casablanca bar — and all that separates the two is a half wall. The restaurant side of the business is in an austere, near-windowless room that could double as a church basement.

Depending on the day and time, your

server might be doing double duty as the bartender, shuttling back and forth as needed.

All of the above doesn’t seem to hinder the dining experience, which is casual and unrushed. Rare is the Ethiopian eatery that delivers food fast, and Lucy is no exception to the rule. The pace is slow, the competing

As fans of the genre, we were more than pleased with the quality of the food. Our beef ($16) and vegetarian ($14) combination platters were overflowing with colorful, flavorful stews and vegetables, all arranged atop a wide base of injera (with more on the side). That injera, a soft, spongy and tart flatbread, is used to pinch off

LUCY RESTAURANT 2218 BROADVIEW RD., 216-417-2550.

LUCYCLEVELAND.COM

music from the two venues a bit maddening, and the overabundance of televisions airing cable news a touch disconcerting, but if you can block all that out and focus on the food, all the better.

portions of fiery berbere-infused beef stew, exotically spiced lentil stews, earthy braised greens and turmerichued potato and cabbage salad.

Freshly made cottage cheese is bright with lemon and contrasts beautifully

with the spicy stews.

If you already have a favorite Ethiopian dish, you can skip the combo platters and dive right into a single item. There are approximately two dozen beef, chicken, lamb and vegetarian options from which to choose. There is but one appetizer (not counting the chicken wings), flaky lentil-stuffed puff pastries called sambusas ($3) that are hot, crisp and delicious.

Owner Desalegn Sisay says he chose the name Lucy in honor of the archeological discovery made by Donald Johanson in 1975 while he was curator of physical anthropology at the Cleveland Museum of Natural History.

dtrattner@clevescene.com t@dougtrattner

IT’S HARD NOT TO LOVE GEORGE’S KITCHEN, A WESTSIDE MAINSTAY FOR ALMOST 40 YEARS

By Douglas Trattner I’VE ROLLED UP TO GEORGE’S Kitchen at lunchtime, I’ve rolled up to George’s Kitchen at dinnertime, and I’ve rolled up to George’s Kitchen in between mealtimes, and on each and every occasion the place was mobbed.

No joke: George’s Kitchen might be the busiest restaurant in Cleveland.

For just under 40 years, this iconic Cleveland diner has been attracting families by the carload thanks to a sprawling menu of familiar foods that don’t even come close to breaking the bank.

George Pasalis opened the joint back in 1980, taking over a Manner’s Big Boy just steps from the Triskett RTA station. Over the years he’s expanded the building into a seemingly boundless restaurant equipped with more booths than a trade show. Counter seating is available for singles. Upon arrival,

guests are instructed to “sit anywhere you’d like” by George or another longtime staffer. When you do sit down, you’ll be handed one of the longest menus in town.

Like any book-size menu, this one takes some navigating to avoid pitfalls. Breakfasts here are great,

to the tab. The meal includes a mountain of golden brown potatoes, sliced gyro meat, three eggs, toast and a side of tzatziki sauce.

Soups like thick and hearty bean; comforting chicken with fat, wide noodles; and meaty beef barley (all $2.25) rotate in and out depending

GEORGE’S KITCHEN 13101 TRISKETT RD., 216-671-0430

with a number of egg dishes served all day. A basic breakfast of eggs, home fries and toast will set you back less than $5 with tax. When we order the gyro platter with two overeasy eggs ($5.95), our server says, “Would you like three eggs anywho, since it’s the same price?” Oddly, two or three eggs makes no difference

on the day. Order one and it will be on your table before you have time to tuck your napkin into your shirt.

Burgers, patty melts, turkey clubs and grilled cheese sandwiches — all around $5 — fly through the kitchen pass at a steady clip. The fried chicken dinner ($7.95) is hard to beat, with four pieces (wing,

drumstick, thigh and breast) of crispy bird served with fries, slaw, bread and butter.

As good as some things are, others completely miss the mark.

That’s bound to happen when your menu veers from crab cakes to Swedish meatballs to barbecued ribs to pork stir fry. We heard great things about the moussaka ($7.25), but ours included baby-soft pasta, watery whipped potatoes, and too-sweet sauce. A side of frozen vegetable medley did little to buoy the plate.

But despite the occasional dud, we can’t stay mad at George’s for long, especially on weekends when those breakfasts are one of the few reasons to get out of bed.

dtrattner@clevescene.com t@dougtrattner | clevescene.com | March 28 - April 3, 2018

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Bell & Flower’s new home.

HOURS: Mon- Fri 11:30am- 2:30pm / 5:00pm- 10:00pm

| clevescene.com | March 28 - April 3, 2018

BELL & FLOWER SET TO BLOOM IN OLD RICK’S CAFE SPACE IN CHAGRIN FALLS

By Douglas Trattner IT’S BEEN EIGHT MONTHS since the iconic Rick’s Cafe closed its doors after 40 years of serving the Chagrin Falls community.

The restaurant was sold to partners Michael Schwartz and Shawn Monday, who planned a “quick turnaround” of the space in advance of unveiling Bell & Flower (86 N. Main St., 440-6007755), a new concept. That quick turnaround more than doubled in time, but as any visitor can see, nary a surface was spared from the wrecking ball.

The team, which also operates the restaurants One Red Door, Flip Side Burger and 3 Palms Pizzeria, spent considerable time, money and effort revamping the dated interior to create a space that’s modern, uncluttered and functional. Drop ceilings were removed, wide-plank flooring unveiled, exposed brick walls featured, and plenty of natural and reclaimed woods introduced. Of course, the restrooms and kitchen both received plenty of love as well.

As for the experience, diners can expect a laid-back environment featuring a broad menu of

reasonably priced fare.

“I have a very clear vision of what I plan to do,” Schwartz explains. “It will remain a neighborhood gathering place that will incorporate some of the flavors found at the places that we currently have in our other facilities like One Red Door, 3 Palms, as well as a couple of Rick’s classics like the ribs and coleslaw.”

In an apparent effort to target almost every diner in the neighborhood — young and old — the expansive menu offers numerous choices in various categories that include starters, salads, sandwiches, tacos, entrees and sides. Dishes mainly stay in the $10 to $18 range, but climb higher for items like a New York strip steak with starch and veg, or grilled salmon in a creamy clam broth.

Guests can snack on peel-andeat shrimp, confit chicken wings and made-to-order guacamole served with house-fried chips.

Salads range from simple side salads and health-focused quinoa and kale blends on up to a grilled chicken Caesar. More than a

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| clevescene.com | March 28 - April 3, 2018

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half-dozen sandwiches are built around ingredients like Nashville hot chicken, house-ground beef burgers, plant-based patties, and house-smoked turkey breast.

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A taco section, sold by the pair or trio, ranges from crispy tempurafried walleye with red cabbage to sautéed wild mushroom with poblano peppers and local goat cheese. Tacos are served on corn tortillas.

“Rick’s famous baby back ribs” are here in spirit if not exactly the same format. These bones will actually see the inside of a smoker before getting grilled and sauced. Other main courses include shrimp and grits, beer-braised bratwurst, “old-school” meatloaf with a ketchup glaze, and Southern-style fried chicken with a choice of sides.

This being Chagrin Falls, the menu also offers a kids’ section of $7 items.

Look for Bell & Flower to open the first week of April.

Sérénité Restaurant and Culinary Institute Opens This Week

ADVERTISE WITH SCENE. Call 216-241-7550 for more information.

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| clevescene.com | March 28 - April 3, 2018

Sérénité Restaurant & Culinary Institute (538 West Liberty St., 330-952-2611), the Edwins-style brasserie in Medina geared around the recovery community, will open its doors on Thursday, March 29.

Based on the vision of Brandon Chrostowski, the restaurant offers its staff a series of workshops and recovery support. As students of the eight-month program, workers will hone their skills in fine dining.

“It’s almost identical to Edwins — it’s a nonprofit restaurant and training program — with the fundamental differences being that it’s for recovery and it’s delivered through a brasserie,” says Chrostowski. “We know from the success of Edwins that if you equip men and women with the knowledge, tools and resources to face challenges head on, they are bound for success.”

Sérénité is a French-style restaurant offering a selection of appetizers and raw bar items from $6 to $14 and entrees priced from $14 to $34, including dishes such as duck confit, escargot, coq au vin, and braised leg of rabbit.

Michael Flaherty will serve as the general manager and Gilbert Brenot is the chef de cuisine.

Melt Bar and Grilled to Temporarily Shutter Lakewood Shop for Major Overhaul “We’re not doing any restaurant openings this year, but one major project we are doing is a pretty hefty renovation project at our original location in Lakewood,” says Melt Bar and Grilled owner and founder Matt Fish.

It’s been a dozen years since that restaurant opened its doors and, in the process, birthed a concept that has done nothing but grow and shatter all expectations.

The regional chain now boasts a dozen locations spread across the state. In fact, it was precisely that rapid rate of expansion that kept management away from this much-needed renovation project.

“We expanded Lakewood three separate times and did everything on a shoestring budget, and then we just kind of moved on and left this place alone. So we’re going back to Lakewood to give it some attention,” Fish adds.

The fl agship location will close on April 1 for a 26-day renovation project. It will reopen for business on Friday, April 27. In between, the space will be completely gutted and rebuilt. Improvements will include two new fi rst-floor bathrooms (no more running downstairs), an expanded and modernized kitchen, greatly improved flow throughout the space, and cosmetic updates to the bar and dining room areas.

“The goal is to modernize the location but defi nitely keep the original look and feel,” Fish says of the 100-year-old building.

The Lakewood location will celebrate a grand re-opening at 11 a.m. on Friday, April 27. There will be “exclusive swag and mystery guests” planned.

“We could not have opened our original location in a better community,” adds Fish.

“The support we receive from Lakewood and its officials and residents is incredible, and this renovation project is dedicated to them. We want to create an even greater Melt experience for our longtime supporters. The original Lakewood location is incredibly special to me and countless others, and I hope we operate in that building for the next 50 years or more!”

dtrattner@clevescene.com t@dougtrattner

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| clevescene.com | March 28 - April 3, 2018

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| clevescene.com m | March 28 - April 3, 2018

MUSIC AN ‘INTENSE SELF-EXAMINATION’ Dashboard Confessional singer breaks down the band’s new album, track by track

By Jeff Niesel Photo by David Bean

DASHBOARD CONFESSIONAL singer-guitarist Chris Carrabba first sang with the indie rock band Further Seems Forever, an emo group that formed in 1998. While still a member of that band, he began experimenting with his own tunes and wound up with a “growing pile” of songs that just weren’t right for the band.

When Further had some leftover studio time, Carrabba seized the opportunity to record some of his demos with a $200 guitar that a friend gave him.

After he cut the record, 2000’s The Swiss Army Romance, he didn’t think he’d release it.

Once he did, the response was tremendously positive, so he kept writing and recording. The band’s second album, 2002’s The Places You Have Come to Fear the Most included the hit single “Screaming Infidelities,” and the band’s third album, A Mark, A Mission, A Brand, A Scar, went to No. 2 on the Top 200. The group even sold out Madison Square Garden.

Dashboard Confessional splintered in 2011, but reunited three years ago for a summer tour that paired it with Third Eye Blind.

Earlier this year, the reunited group released Crooked Shadows, its first album in more than eight years. As part of a tour in support of the release, the band performs with Beach Slang at 5:30 p.m. on Tuesday at House of Blues.

In a recent phone interview, Carrabba talks about the album tracks, described in a press release as “the result of a near decadelong period of immense selfexamination.”

“We Fight” “It started out as a commentary reflecting on the music scene that I came up in that really fought for individuality but also fought for equality. It made people that were outsiders in regular walks of life have a place to belong, and at the same time, the state of the country — or the state of the presidency, I should say — sort of made me feel

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like an outsider, and I just noticed how volatile and reactionary things have become. I think it might be a call, among other things, just to agree that if you want social change, you’ve gotta fight for it.”

“Catch You” “I think that [being there for somebody] is kind of an overarching theme on this record.

It’s my desire to take care of the

people in my life. And it’s saying that I think that you know I’ll do my best. The lyrics that come to mind are, ‘Well, I am no angel/ but I am willing to watch over you.’ Maybe I’m not the best you’ll ever get, but I will do the job. That song took a strange evolution from a very, very basic acoustic song to one of the bigger guitar riff rock songs that we have. It’s strange how songs will surprise you every now and again.” | clevescene.com | March 28 - April 3, 2018

33

MUSIC “About Us” “Well, I think we as a band and certainly myself and the producer Jonathan Clark, had this approach to this record that was that we allowed ourselves to embrace the medium that we like to work in and not have to adhere to what we’ve done before without leaving what we’ve done before in the past. So I do like production, and we do like layers now. I’ve discovered as well that if you’re telling a raw and honest story, it’s okay to make it a lush sounding production.”

“It just sort of wrote itself. What often come to be my favorite songs often do so because they’re the ones where you just sit down, and you don’t expect that you’re going to start writing and before you know it you’ve finished something. The song is another part of the story of taking care of somebody and wanting to be the person that can be relied upon.”

“Belong”

“Be Alright”

“We did that song with a band that’s a production team called Cash Cash, and they’ve been friends of mine for many, many years, and we’ve been looking forward to working together and just kind of waiting for the right song. I’m glad it was this one. What I like about their music is that in general when they do collaborations they seem to support both the melodic structure very heavily and the subject matter of the lyrics seem to be echoed somewhere in the track. In this case, it’s kind of like, dare I say, a breezy song, and it gives it a lift. There’s a lilt in the way that they produced the song; it’s not overly quantized and computerized.”

A very late night inspired that song. That’s when rock ’n’ roll happens — very late at night. Well, I wrote it late at night with my friend Cory [James Bost] after a late night out, and on another day we recorded it very, very late at night.

That song was just destined to live at night; we didn’t set out to do this work at night; we just kept finding ourselves doing it that way.”

“Crooked Shadows” “I had come home from touring and gotten back into my real life, and my wife and I are great when we’re together. We do a very good job of handling our lives when we’re apart, but that brief period of adjusting to being back together, it’s not easy, and I don’t know if it should be. We’ve made this big sacrifice to be apart, and we work hard to be independent, but when we come back together, | clevescene.com | March 28 - April 3, 2018

“Open My Eyes” “Lindsey Stirling [who appears on the track] is a firebrand, man.

She leaves such an indelible mark on you personally. She brought so much to the song because obviously everybody knows her skill is incredible, but also her musical mind is incredible. The arrangement is not simple to come up with just because you’re a great player. It’s another skill set altogether to be a great arranger, and she’s a great arranger, but she’s also just such a lovely woman.”

“Heart Beat Here”

34

we have to kind of surrender to the dynamic of being together again, and it’s wonderful, but it’s just not easy. I came home, and we weren’t particularly connecting. We walked downtown to get a cup of coffee. It was kind of a cloudy day, and I was holding her hand, and when the sun came out a little bit, I saw these crooked shadows, and I thought ‘Well, that’s not perfect, but it’s beautiful.’ So I kind of made a mental note of the words ‘crooked shadows,’ and that was the next song we wrote, and I felt that if there was gonna be a record, I felt that’s what it was gonna be called.”

“Just What to Say” “Chrissy Costanza [who guests on the song] has such a range and beauty in her voice, and I’ve written a song that I think is possibly my most personally revealing song. It’s connected to those other two songs about taking care of each other or being the person to take care of something.

This is my admission that no one is perfect, and although I did my best, I will fail, and here’s why.

Chrissy really understood that, and it shows in her voice and the range of her harmony.”

jniesel@clevescene.com t@jniesel

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| clevescene.com | March 28 - April 3, 2018

35

MUSIC IDENTITY ISSUES Some serious self-education inspired the songs on Of Montreal’s new album

By Jeff Niesel A ROCKY RIVER NATIVE WHO’S still a lifelong fan of Cleveland sports teams, Of Montreal’s Kevin Barnes moved to Athens, Georgia, more than 20 years ago because he wanted to embrace the city’s rich musical history. Inspired by watching Athens, Ga. Inside/Out, a documentary film about the music scene that featured performances and interviews with acts such as R.E.M., Pylon and the Flat Duo Jets, he sought out Athens musicians who shared his sensibilities.

He moved there in 1993 and successfully launched the band that’s still going strong.

“Athens has grown a lot since then, but it was a small Southern city back then,” says Barnes via phone from New York where the band was preparing to appear on the Comedy Central show The Opposition with Jordan Klepper. The band performs with Mega Bog at 8:30 p.m. on Friday at the Beachland Ballroom. “The majority of the people living there were affiliated with the university. It was easy to find cheap old houses to live in. It was a transient city for musicians and artists. I lived in a house that was like a commune. I lived there with musicians and artists who would live there for a few weeks and then be gone. It was cool.”

After forming Of Montreal, he quickly befriended Athens-based indie rock acts such as Olivia Tremor Control and Neutral Milk Hotel, groups that were part of the Elephant 6 collective. Even though Of Montreal used the Elephant 6 logo on a record, it was never officially part of the collective. But then, the collective was never really that well-organized, either. Barnes has described it as an “unofficial collective.”

“Elephant 6 was initially friends who lived in Louisiana, and they made home recordings and pressed cassettes and 7-inches. They invented their own label, but they didn’t have any distribution,” he says. “It was an art collective, but then, it became more popular and an official label. We were part of it in the sense that I was friends with them, and we played on each other’s records. I was trying to ride on the

36

Photo by Ebru Yildiz

coattails of what they were doing.

They were older than me and had more experience. It was about trying to be associated with something I thought was really cool.”

Of Montreal initially began playing the kind of neo-psychedelic rock for which the other bands in the collective were known.

“I didn’t want the band to sound contemporary at the beginning,” says Barnes. “I was really into the Beatles and the Kinks and Os Mutantes. I wasn’t interested in contemporary music or production.

That was our aesthetic. I wanted it to sound analog, which it was. I didn’t want to mess with computers.”

Barnes wrote the material on 2016’s Innocence Reaches during an extended stay in Paris where he was heavily influenced by contemporary electronic music.

With last year’s Rune Husk, he continued to explore those influences but decided to go in a different direction yet again with the just-released White is Relic/ Irrealis Mood.

“It’s an organic thing that happens,” Barnes says when asked about the shift in direction. “I tend to get really into a certain style of production, and then, I get bored with that and want to do something new. With Innocence Reaches, I got more into electronic music. Rune

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A few years after the band formed, Barnes changed his approach and started listening to more electronic dance music.

“I had hit a wall with the ’60s revivalist thing,” he says. “I just wanted to venture into new territory. I got more into drum programming and synthesizers.

From a songwriter perspective, I still come from a ’60s standpoint, but I incorporate more contemporary production styles.”

| clevescene.com | March 28 - April 3, 2018

Husk was the songs that were kind of like the outtakes. Even though it came out after Innocence Reaches, it wasn’t where I was at. It was just emptying the vaults. This is more of a continuation of what I started with Innocence Reaches, and it’s expanded more.”

Barnes took inspiration from the extended dance mixes that pop music artists released in the ’80s.

“When I discovered all these extended versions of ‘Purple Rain,’

it made me realize the potential in that,” he says. “You can create something longer and more transportive. If you’re working with an extended mix, there’s so much you can express. The inspiration was wanting to make something that could be a three-minute song and expand on those ideas and create something new out of that. It’s like discovering hidden chapters in your favorite book.”

The themes about identity found in works by James Baldwin, Angela Davis and Kathy Acker inspired the lyrical content.

“I was doing self-educating at the time and discovering the United States in the real sense and not the way it’s presented to you as a child,” he says. “As a child, you’re taught that we love equality and love the underdog and we never exploit anything and everything we do is in the name of Christ. When you realize that’s totally untrue, you realize there’s so much fabricated reality presented to people.”

Drone-y tunes such as the album opener, “Soft Music/Juno Portraits of the Jovian Sky,” feature electronic bleeps and blips while Barnes evokes David Bowie with his brittle vocals. As much as the studio versions of the songs call for improvisation in the live setting, Barnes say the band will aim to duplicate them live rather than turn them into jams.

“We’ve started rehearsing the songs, and they’re pretty different from songs from the past,” he says. “I wouldn’t have anticipated it, but hearing how they feel next to the other songs, they feel very sophisticated in the sense that there’s so much going on musically and lyrically; but they’re also very fragmented. We’ve been staying true to the arrangements on the album. It’s a fun and interesting challenge to reproduce them live.

It’s not easy to do that, and I’m not playing any musical instruments on this tour, so I’ll just be singing.

It’ll be fun for me to be in the eye of the musical storm.”

jniesel@clevescene.com scene@clevescene.com @clevelandscene t@jniesel

| clevescene.com | March 28 - April 3, 2018

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all the live music you should see this week Photo by Joe Kleon

WED

03/28

10 X 3 Singer Songwriter Showcase hosted by Brent Kirby (in the Wine Bar): 8 p.m. Brothers Lounge.

Forever Came Calling/In Her Own Words/Hold Close/Keepsake/ heyohwell: 6:30 p.m., $13 ADV, $15 DOS. Mahall’s 20 Lanes.

Jamey Haddad International All Star Sextet featuring Julien Labro: 7 p.m., $20. Nighttown.

Night Terrors: 7 p.m., $7. Bop Stop.

Nathan Paul & the People’s Choice: Local jazz musician Nathan Paul kicks off a new residency that takes place on the last Wednesday of the month at the Happy Dog or the Euclid Tavern (it’ll rotate between locations). Paul, who performs this evening with his band, the People’s Choice, will curate the shows. (Jeff Niesel), 8:30 p.m., $5. The Euclid Tavern.

Pink: When pop star Pink came to the Q in 2013, she performed the kind of acrobatic feats usually reserved for Cirque du Soleil.

It was an arena rock show that hearkened back to arena rock’s glory days. Expect something similar tonight as she comes to town in support of her new album, Beautiful Trauma. Pop/dance tunes such as the title track and “Secrets” feature catchy choruses and should become anthems when Pink plays them live. (Niesel) 7:30 p.m. Quicken Loans Arena.

Pop Evil/Palaye Royale/Black Map: 7:30 p.m., $23 ADV, $28 DOS. House of Blues.

Marc Roberge: 8 p.m., $45-$60.

Music Box Supper Club.

Z 107.9 Presents ZVIP Music Series with Preme/Rootabang/Mark Too Sharp: 8 p.m., free. Grog Shop.

THU

03/29

Ronnie Baker Brooks/Blue Lunch: 7:30 p.m., $18 ADV, $22 DOS. Music Box Supper Club.

Johnny Cash Tribute by the Cold Hard Cash Show (in the Supper Club): 7:30 p.m., $15 ADV, $18 DOS. Music Box Supper Club.

Coast Modern/Late Night Episode: 8 p.m., $18. Beachland Ballroom.

Dark Web/Obnox Joey/Sprinkles: 9 p.m., $5. Now That’s Class.

Front Steps Presents Sam Hooper Group: 7 p.m., $25. Bop Stop.

Chris Hatton’s Musical Circus (in

Black Keys singer-guitarist Dan Auerbach started recording the Black Keys, and other acts, at his Easy Eye Sound studio.

With the release of his latest solo album, Waiting on a Song, he also launched his own imprint, also dubbed Easy Eye. Last year, Auerbach released a 7-inch sampler, Good Sound Comes Back Around Vol. 1. It features “Cellophane Angel,” an exclusive track that Auerbach recorded with the Preservation Hall Band, and Robert Finley’s “Medicine Woman,” the first single from the blues singer-guitarist’s album, Goin’ Platinum! Tonight’s Easy Eye Sound Revue Tour features Finley Pink returns to Quicken Loans Arena. See: Wednesday. and Shannon Shaw with special guests Shannon & the Clams. the Wine Bar): 8 p.m. Brothers $18 ADV, $20 DOS. Beachland (Niesel) 7 p.m., $34.50. The Agora Lounge.

Ballroom.

Theatre.

Jam Night with the Bad Boys Post Saga/Someone Who Isn’t Me/ Becky Boyd and The Groove Train: of Blues: 9 p.m., free. Brothers Deep Sigh: 9 p.m., $7. Musica.

8 p.m., $12. Bop Stop.

Lounge.

The Professor (in the Wine Bar): 6 Buckethead: 8 p.m. Beachland Mat Kearney/Andrew Belle: 8 p.m., p.m. Brothers Lounge.

Ballroom. $26 ADV, $31 DOS. House of Return Of Simple/ Extra Medium DJ Nu-Mark: 9 p.m., $20-$35. The Blues.

Pony/Kitschy/Hannah Stak: 8:30 Winchester.

Lightning Bolt/Aaron Dilloway: 9 p.m. Grog Shop.

Hells Headbangers Presents p.m., $15. Grog Shop.

Rock Radio: 9:30 p.m., $5. Brothers Caveman Cult/Nexus/Ptahil/ Vivora/St. James & the Apostles/ Lounge.

Sacrificial Massacre/Blood High Priests/Salvation: 9 p.m., Sammy Slims/Fascinating/No Coven: 8 p.m., $13. Now That’s $7. Beachland Tavern.

Blues: 9 p.m., $6. Happy Dog. Class.

Yosemight: Yosemight tends to fly SCC Jazz Trio (in the Wine Bar): 9 Key to the Mint/The Movies/ beneath the radar, which makes p.m. Brothers Lounge.

Times10: 9 p.m., $5. Happy Dog. their brand of jams all the more Slaughter to Prevail/Fatal Method/ Locals Only/Taylor Scott/Eternal enticing. “We’ll play a song, and Echoes of Empathy/Ammiote: 7 Boy/Bewarewolves/Three Legged we usually have no idea what’s p.m., $12 ADV, $15 DOS. Agora Chairs/Funeral Proposals (in going to happen five minutes in,” Ballroom. the Locker Room): 7 p.m., $10. guitarist Luke Bergan explains.

Soft Kill/Vowws/Choir Boy/ Mahall’s 20 Lanes.

Open-ended improv is the goal, Perverts Again: 8 p.m., $10 ADV, Sankuro/Uptowne Buddha/Feed and each member pulls off inter$12 DOS. Now That’s Class. the People/Wrecking Crew Red band communication onstage with Songwriters in the Round: 8:30 Panda Bears: 9 p.m., $5 ADV, $8 aplomb. (Eric Sandy) 8 p.m., free. p.m., $10. Nighttown.

DOS. CODA. CODA. Moss Stanley: 10:30 p.m., free.

Silent Disco: 9 p.m., $10 ADV, $15 Nighttown.

DOS. Grog Shop.

Tribute to the Cars and the Sounds of Jazz featuring Nancy Pretenders with Moving in Redd (in the Wine Bar): 9 p.m.

Stereo and Hindsight: 8 p.m., $12 Brothers Lounge.

The Baker’s Basement (in the Wine ADV, $15 DOS. Music Box Supper Straight On/Invincible: 8 p.m., $12 Bar): 6 p.m. Brothers Lounge.

Club.

ADV, $15 DOS. House of Blues.

Clint Black: 8 p.m., $37.50-$59.50.

Cindy Wilson/Easter Island/ Justin Timberlake/The Hard Rock Rocksino Northfield Womantra: 8 p.m., $20-$35. The Shadowboxers: When Justin Park.

Winchester.

Timberlake performed at the Q in Dark Spring/Hellbound/Cringe/ 2013, he put on his pop star shoes Yawn/Mercenary (in the Locker and spend more than two and a Room): 7 p.m., $5. Mahall’s 20 half hours in front of an ecstatic, Lanes. party-ready crowd. Wisely, he very All Grateful Dead Night by JiMiller Travis Haddix Blues Band (in the soon enlisted a bevy of backup Band (in the Supper Club): 8 p.m., Supper Club): 8 p.m., $6 ADV, $8 dancers (and busted out some lithe $10 ADV, $12 DOS. Music Box DOS. Music Box Supper Club. moves of his own) for a string of Supper Club.

JazzWorks: 8 p.m., $15. Bop Stop. fan favorites, including “Rock Dan Auerbach & the Easy Eye Lucia Stavros /Maria Neckam/ Your Body,” “Like I Love You” and Sound Revue/Shannon and Maitri: 9 p.m., $4 ADV, $7 DOS. highlight “FutureSex/LoveSound.”

The Clams: Shortly after he CODA. Expect some of those tunes tonight moved from Akron to Nashville, Of Montreal/Mega Bog: 8:30 p.m., along with tracks from his latest

FRI

03/30

SAT

03/31

| clevescene.com | March 28 - April 3, 2018

39

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| clevescene.com | March 28 - April 3, 2018

SATURDAY, MARCH 31

SPAZMATICS

LIVEWIRE SATURDAY, MARCH 31 8:00PM

effort, Man of the Woods. (Annie Zaleski) 7:30 p.m. Quicken Loans Arena.

Dane Vannatter: 8:30 p.m., $15.

Nighttown.

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

Nighttown.

Wo Hop Madness: 9 p.m., $8.

Musica.

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Luicidal/Weed Whacker/The Southside Choir Boys: 8 p.m., $10.

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Mike Petrone: 5:30 p.m. Brothers Lounge.

Sleep/SubRosa: 7 p.m., $23 ADV, $28 DOS. The Agora Theatre.

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Skatch Anderssen Orchestra: 8 p.m., $7. Brothers Lounge.

Steve Earle & the Dukes/The Masterson: For tonightâ&#x20AC;&#x2122;s gig, singer-guitarist Steve Earle will revisit his 1988 album Copperhead Road, a collection of hard rocking alt-country tunes that became his big breakthrough. (Niesel) 7:30 p.m., $45-$65. Music Box Supper Club.

Fuzzy/Through Fire/Santa Cruz/ Dark Star Choir: 7 p.m., $20 ADV, $25 DOS. House of Blues.

Moonwalks: 8:30 p.m., $10.

Beachland Tavern.

Underland IV: Rosello / Woulf /777 & TTE DJ CoCoZ & SMPLGD: 8:30 p.m. Grog Shop.

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

Voted â&#x20AC;&#x153;Best Jazz and Bluesâ&#x20AC;? on Cleveland Hot List 2017

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FRI & SAT 8&&,-: %3*/, '&"563&4 | clevescene.com | March 28 - April 3, 2018 41

Photo by Daniel Paul Corby

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Michael Stanley & Friends Sat., Apr. 21

Karla Bonoff

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Brian Henke & Michael Kelsey Fri., Apr. 20

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42

| clevescene.com | March 28 - April 3, 2018

CALL IT A COMEBACK: After forming

in 2003, the local indie pop band Return of Simple, a “guitarless trio of classically trained musicians” named after a Langston Hughes novel, released a couple of records and became a fi xture on the local scene before splitting up a few years ago. The band initially played nothing but Radiohead covers but then started to write and record original tunes. It released a demo and then put out Saffron in 2006.

The group eventually relocated to New York in 2009. A few years ago, after getting “burned out” in New York, Kovacs moved back to Cleveland and started a new band, Math & Logic, which lasted about six months. “My music in Math & Logic just didn’t work so well with guitar,” says Kovacs. He decided to go back to a trio and bring back the Return of Simple name. The group recently announced it’ll reunite for the fi rst time in seven years to play a show at the Grog Shop. For the latest incarnation of the group, founder Kovacs has recruited a couple of new band mates, Alfredo Guerrieri and Stephen Klunk. The Grog Shop gig will mark the trio’s fi rst show since it played in April 2011 in Brooklyn, New York.

WHY YOU SHOULD HEAR THEM: Saffron

opens with the Ben Folds-like title track, a song that features upperregister vocals and a bouncy piano riff. “There are moments on the record that I’m proud of but other songs that I never should have put on there,” Kovacs says. “I recorded the whole thing at home. Songwise I’m proud of the tunes. We’ll bring back some of the tunes for the Grog Shop show as well as some Math & Logic songs.” Kovacs has also been working on a new record that he says is 98 percent done. Chicago-based producer Sean O’Keefe (Hawthorne Heights, Fall Out Boy) mixed it. “The new record will be a mix of songs like the ones that Math & Logic played and some that are Return of Simple songs.

It’s about relationships and a small concept record. I’ll be excited to finally put it out.” He expects it’ll be out by the year’s end.

WHERE YOU CAN HEAR THEM:

returnofsimple.bandcamp.com WHERE YOU CAN SEE THEM: Return of Simple performs with Extra Medium Pony, Kitschy and Hannah Stak at 8:30 p.m. on Friday, March 30, at the Grog Shop. — Jeff Niesel

jniesel@clevescene.com t@jniesel

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| clevescene.com | March 28 - April 3, 2018

43

C-NOTES ONE MORE TIME DJs to pay tribute to the late Rob Sherwood

By Jeff Niesel

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ROB SHERWOOD WAS PART OF Cleveland’s DJ scene before it was cool to be part of the city’s DJ scene.

He spun at clubs/club nights such as Trilogy, Metropolis, Aquilon, the Nine of Clubs, Alter House, U4ia, the Church, Next!, the Lift, ShakeN-Bake, Rock N Roll Fag Bar and the Loft.

He also cut remixes for acts such as Deee-Lite, Sparks, My Life With the Thrill Kill Kult, the Lightning Seeds and Sagat.

Tragically, he passed away last month.

To pay tribute to the man, his friends and colleagues have organized JANE: A Tribute to Rob Sherwood, a memorial that will feature the “fi nal production of the Disco Mafia event squad.” The goal: to “pay proper ass-shaking homage to Rob Sherwood.”

Acts scheduled to perform include DJ Kenny Summit, founder of house music label Good for You Records; Lady Miss Kier, a DJ, singer, “influential fashion heroine” and member of Deee-Lite; and Mike Filly, a terrific local DJ who worked with Rob Sherwood back in the day.

The event begins at 7 p.m. on Saturday at Sachsenheim Hall. Admission is free.

Waterville Band Releases New Music Video A Spotify sensation, Waterville’s Oliver Hazard has just released a music video for the Dylan-esque single “Hey Louise,” a twangy tune that features a bit of glockenspiel.

“I would say the song is one of the more emotion-driven songs,” singer Mike Belazis says of “Hey Louise.” “It’s very forthright, but it can still stand out amongst our other songs. It’s more of a ballad on the album. If we had a love song, that would be it. The video is a looking glass into our small, sleepy but beautiful hometown. It paints a picture of three friends, their relationship and the modest start to their newfound musical careers.”

The clip includes footage of the guys hanging around various spots in town and jamming in

44

| clevescene.com | March 28 - April 3, 2018

Photo courtesy of Tim Nekuza

A memorial to the late Rob Sherwood takes place this weekend.

their basement.

The group’s success on Spotify has helped it secure a spot at Bonnaroo this summer.

Wax Bodega to Relocate After opening just over a year ago, Wax Bodega, a Lakewood record store located just down the street from Mahall’s 20 Lanes, has closed.

The owners made the announcement last week on the store’s website.

“We loved being a part of this tight knit community but an opportunity arose that we simply cannot pass up, so our little family (Dylan, Lauren & Kyle) has made the tough decision to relocate,” they say in the post. “We will be exploring all of our options to relaunch the Wax Bodega flagship store in a new location, but until we fi nd the perfect space, we will continue selling your favorite records online alongside our monthly subscriptions.”

jniesel@clevescene.com t@jniesel

SAVAGE LOVE COCK LOCKED

By Dan Savage I’m in a D/s relationship. I’m not submissive around the clock, but my partner owns my cock. We’ve purchased several male chastity devices, but I can pretty easily get my cock out of them. My partner did some investigating and learned that the only effective devices work with a Prince Albert piercing — a ring through the head of the penis that locks into the device, preventing the sub from pulling his cock out. My partner now wants me to get a PA. I don’t want to get my cock pierced and I’ve said so, but I haven’t safe-worded on it. I would very reluctantly do it to please her. My partner made an appointment for a piercing three months from now, on our second anniversary. She told me that we can cancel it if I can find an effective chastity device that doesn’t require a piercing. Do you or any of your contacts in the fetish world know of any devices that are inescapable?

— Piercing Appendage Unnecessarily Scares Eager Sub “I’ve never come across a standard male chastity device I couldn’t pull out of,” said Ruffled Sheets, “so PAUSES’s partner has obviously researched regular chastity devices well.”

Sheets is an IT consultant who lives in the United Kingdom with his partner of 15 years. Male chastity devices have fascinated him for decades and, as of this writing, he owns 37 kinds of cock cages. His partner frequently keeps his cock locked up for weeks or months at a time — and if there were such a thing as a commercially available male chastity device that was inescapable, Sheets would know about it.

“However, all is not lost,” said Sheets. “Piercing is one of two ways to ensure the penis cannot escape. The other is a full chastity belt. Now, these aren’t without drawbacks — they are generally more expensive, are harder to conceal under clothes, and take longer to get used to, especially at night. But they are secure. I have three chastity belts and, once properly fitted, they’re inescapable.” Sheets’ belts were made

by Behind Barz (behindbarz.co.uk) and Fancy Steel (fancysteel.com.au).

But if most commercially available male chastity devices aren’t inescapable, what’s the point? Why would a person bother to wear one?

For many male subs and their

Doms, the symbolism of a male chastity device is what matters most, not its inescapability. And as with other forms of sex play and most aspects of healthy relationships, the honor system makes it work.

“As in any negotiated relationship, you can cheat,” said Sheets. “But why cheat? They’re easy to keep on if you’re genuinely interested in submitting.

“A device can be locked in place with a belt or a piercing, but orgasms are still possible,” said Sheets. “I’ve yet to discover any kind of device that can prevent the wearer from achieving orgasm if he’s holding a powerful wand massager against it, especially after weeks without coming.”

There are two other things Sheets wanted you to be aware of as you begin to explore male chastity.

“Lots of men are shy about being submissive,” said Sheets, “so they’ll say things like ‘I’m normally dominant in real life,’ kind of like PAUSES opened his letter by saying he isn’t submissive ‘around the clock.’ I just wanted to make sure he understood that chastity is a long-term game. For most of us in chastity devices, it’s a 24/7 affair — literally around the clock.” If you said you weren’t submissive around the clock because you didn’t want to admit that you are, in fact, submissive around the clock, PAUSES, chastity play won’t be a problem. But if you meant it — if you’re not capable of remaining in a submissive headspace for more than a few hours — you’ll need to ask your partner, before the padlock clicks shut, just how long she intends to keep your cock locked up.

“Being locked also has another side effect that you wouldn’t perhaps anticipate,” Sheets added. “Whenever you become turned on, you feel your cage or belt against your penis. It can be anything from a gentle reminder to a vice-like grip, depending on your arousal level. And whenever this happens, your mind automatically turns to your key holder, even if they’re not around.”

Ruffled Sheets blogs at ruffledsheets.com, where he reviews male chastity devices and other sex toys. Follow him on Twitter @ ruffledsheets.

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