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| clevescene.com | May 16 - 22, 2018


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MAY 16-22, 2018 • VOLUME 48 NO 46

CONTENTS

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

Upfront

Associate Publisher Angela Nagal Editor Vince Grzegorek

The State of Downtown Cleveland event focuses on transit, good news for Evergreen Collective, and more

Editorial Music Editor Jeff Niesel Senior Writer Sam Allard Staff Writer BJ Colangelo 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

Feature

15

So the Browns are talking about a new stadium. Here’s what they really want

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

Get Out!

Creative Services Production Manager Steve Miluch Staff Photographer Emanuel Wallace

Art

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

26

Lox, Stock and Brisket has the meats

Derek Hess opens a visual and verbal conversation on mental health and addiction

www.euclidmediagroup.com

Stage

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

The Royale packs a wallop without any punching at Cleveland Play House

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

31

21

All the best things to do in Cleveland this week

Business Sales Assistant/Receptionist Megan Stimac Controller Kristy Dotson

Film

27 29

Deadpool 2 has jokes, but not a lot beneath the surface

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

Eat

Verified Audit Member Cleveland Distribution Scene is available free of charge, limited to one copy per reader Copyright The entire contents of Cleveland Scene Magazine are copyright 2018 by Euclid Media Group. Reproduction in whole or in part without written permission of the publisher is prohibited. Publisher does not assume any liability for unsolicited manuscripts, materials, or other content. Any submission must include a stamped, self-addressed envelope. All editorial, advertising, and business correspondence should be mailed to the address listed above. Subscriptions $150 (1 yr); $80 (6 mos.) Send name, address and zip code with check or money order to the address listed above with the title ‘Attn: Subscription Department’

248-620-2990

31

Lox, Stock and Brisket dazzles in University Heights, plus a big ole beer garden is planned in Lakewood

Music

...The story continues at clevescene.com

35

Justin Townes Earle and Lilly Hiatt on lessons from their singer-songwriter fathers, plus all the shows to see this week

Savage Love Printed By

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SCENE with you with the Issuu app! “Cleveland Scene Magazine”

45

Questions from the road

COVER BY ERIC MILLIKIN

PACKS AN UNFORGETTABLE PUNCH!

THE ROYALE MAY 5 – 27 | OUTCALT THEATRE

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| clevescene.com | May 16 - 22, 2018


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| clevescene.com | May 16 - 22, 2018

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| clevescene.com | May 16 - 22, 2018


Photo by Sam Allard

UPFRONT

MORE THAN HYPERLOOP: STATE OF DOWNTOWN CLEVELAND AT CITY CLUB FOCUSES ON RANGE OF TRANSIT ISSUES IN A PANEL FEATURING KATE Joncas, the former deputy mayor of Seattle, and two Cleveland executives whose last names rhyme with Gucci, the City Club of Cleveland presented “2018 State of Downtown: Enhancing Mobility” last Thursday afternoon. The sold-out lunch event was the Leonard Ronis memorial forum on transportation. Grace Gallucci, of the Northeast Ohio Areawide Coordinating Agency, and Joe Marinucci, of the Downtown Cleveland Alliance, fielded questions from moderator Rick Jackson, of ideastream, and the audience about downtown transit infrastructure and, more broadly, the region’s transit future. Joncas opened things up by positing that Cleveland’s historic

buildings are its future. Adapting them for residential development will give Cleveland a “leg up,” she said, in attracting residents downtown. She and Marinucci both said that with the continued increase in jobs and residents in the urban core, other indicators of success would fall into place. (This was the event’s concluding sentiment as well.) Some of the most interesting portions of the panel involved questions about driving’s supremacy, and strategies for inducing a cultural shift. Both Rick Jackson and audience member Debbie Berry, of University Circle Inc. and the Cleveland Metroparks, asked questions about what could be done to encourage alternative modes.

Joncas said that some of her public sector colleagues in Seattle had wanted to make parking “so expensive and horrible that everyone would ride the bus.” But her preference was to make alternative options so plentiful and so convenient that walking or biking or taking public transit would actually be preferable. It worked. Seattle now has only 25 percent of its downtown workforce commuting in a single-occupancy vehicle, down from roughly 50 percent years ago. When Berry followed up in the audience Q&A, asking about specific approaches, Joncas highlighted the need for convenient and reliable public transit. She mentioned partnering with Seattle’s downtown development agency to

sell transit passes to businesses and cited improvements to bus infrastructure itself — digital signs at every stop, a responsive real-time mobile app — that made riding the bus faster and easier. “We also discourage monthly parking,” she said. “If you buy monthly parking, you think you should use it or you don’t get your money’s worth. But if we can get people who drive every day to just take an alternate mode one day a week, we’ve really won, because it saves an incredible amount of carbon and it frees up a lot of spaces on the roads.” The challenges in Cleveland and Seattle are markedly different. Gallucci discussed NOACA’s long-range plan and stressed the need to find uses for excess road | clevescene.com | May 16 - 22, 2018

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UPFRONT capacity, including protected bike lanes on historic boulevards. With respect to public transit, Gallucci said that it was important for Clevelanders to recognize the quality and scope of the existing system and to encourage transitoriented development (under which label she included the Opportunity Corridor?) “You get the transportation system you ask for,â€? Gallucci said. “You get the system you deserve. But you have to ask for it.â€? Responding to Jackson’s question about the Hyperloop — “Is this pie in the sky?â€? — Gallucci afďŹ rmed that the technology does indeed exist. NOACA is one of the few organizations studying the feasibility of its commercial application. She said NOACA had selected a ďŹ rm to conduct the study and that work will likely begin in July and should be completed in about a year. — SAM ALLARD

Former Cavs CFO/Executive Vice President Files Suit Against Team Alleging Retaliation, Destruction of Evidence

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Mozelle Jackson had been with the Cleveland Cavaliers as an executive vice president since 2010 and as an executive vice president and Chief Financial OfďŹ cer since 2011. That is up until last week when she was ďŹ red one day after ďŹ ling a lawsuit alleging retaliation and destruction of evidence by the Cavs. It all stems from an incident involving a Cavs “team memberâ€? that was brought to her attention in March of this year. Though the lawsuit is heavily redacted, it does say that HR and Cavs in-house counsel investigated the matter. On March 15, there was a conference call on that investigation involving members of the organization, internal counsel and Howard Luckoff, outside counsel/general counsel for Dan Gilbert’s Rock Ventures. After that call, according to the complaint, Jackson witnessed members of the organization deleting electronic evidence that she felt was pertinent to the investigation and the imminent ďŹ ring of a “disabled team member.â€? According to the complaint, she informed in-house counsel on

March 20th of her concerns, and further memorialized them in a March 23rd letter to Cavs CEO Len Komorowski, speciďŹ cally mentioning Ohio’s prohibition of discrimination against qualiďŹ ed individuals and urging the team to retrieve the evidence. A meeting was scheduled for April 10th with Jackson, Luckoff and Komorowski. At that meeting, according to the complaint, Luckoff told Jackson she was a highly valued team member but that she had “caused noiseâ€? in the system, that she would likely be ďŹ red, and that if she chose to ďŹ ght the separation, Dan Gilbert was a billionaire who wouldn’t think twice about spending money in court to ďŹ ght her claim. “Mr. Luckoff stated that they wished for the parting to be amicable, but if Ms. Jackson were to â€˜ďŹ ght them on this’ she should

DIGIT WIDGET 62 Number of 975 Cuyahoga County precincts in which there wasn’t a single Republican vote cast in last week’s primary. Seventy-seven others recorded just a single GOP vote.

3,400 Number of credit and debit cards stolen by a hacker who hit Malley’s Chocolates two weeks before Easter. The company alerted customers last week.

80,000 Books for sale at the 72nd annual CWRU Book Sale, which runs June 2nd through 5th.

5/15 Date “The Sax Manâ€? documentary, featuring the recently deceased Maurice Reedus Jr., was ďŹ nally released on digital and streaming platforms after artist and song licenses were secured by the distribution company.


understand that ‘Dan Gilbert is a billionaire and had the money to fight in Court for as long as it takes.’” It goes on from there, including an alleged threat to ruin her professional reputation with what the complaint says are unfounded performance criticisms. The Cavs, for their part, issued a fiery statement over the weekend denying any wrongdoing: “Two local Cleveland plaintiff specialist lawyers, Richard C. Haber and Andrew A. Kabat, on behalf of former Cavaliers executive Mozelle Jackson, filed a lawsuit recently full of intentionally twisted, inaccurate and fabricated claims,” it read. “Our organization will not pay ransom-like sums to professional plaintiff lawyers demanding significant amounts of unjust compensation on behalf of their clients. It will be clear from any examination of the facts that this lawsuit is solely motivated with the goal of attaining substantial, unearned financial windfall for the two plaintiff solicitors Richard Haber, Andrew Kabat and their client. We eagerly look forward to bringing this matter to trial and are confident that the truth will

prevail, demonstrating that these assertions, although professionally packaged and strategically timed in hopes to maximize pressure and affect, are baseless and false.” — VINCE GRZEGOREK

Portion of Cleveland’s Failed Amazon Bid Revealed: Proposed Site was Tower City Though many of the key financial details in Cleveland’s failed Amazon HQ2 bid remain under lock and key, documents released last week by the Northeast Ohio Areawide Coordinating Agency (NOACA), show that the proposed local site for the tech giant’s corporate headquarters was Terminal Tower and the adjacent Post Office Plaza. The documents, prepared by NOACA for the city’s bid, were furnished to local media after the Ohio Court of Claims ruled that the information could not be construed as a confidential trade secret and should be made public. Cleveland.com’s Mark Naymik filed the complaint that led to the documents’ release. NOACA did not appeal the court’s decision. “NOACA believes the ruling of the Special Master does not fully understand the position of the

Agency as they relate to competitive elements of the bid proposal,” NOACA said in a statement accompanying the documents. “However, NOACA leadership believes it is in the best interest of the community to not pursue the matter on appeal with the Court.” As the special master noted, the documents contain generally promotional rhetoric touting Cleveland’s advantageous location, public transit and highway infrastructure. They celebrate Cleveland’s manageable commute times; its expanding network of bike and pedestrian trails; various downtown amenities; and the accessibility of Hopkins, AkronCanton and Burke Lakefront Airports. But the big news, which had been kept secret until the documents’ release, is the site location. “Initial build-out of Amazon HQ2 will be located in the center of downtown at the historic Post Office Plaza and Terminal Tower facilities,” the NOACA docs say. “This location provides unmatched access to public transportation, as Cleveland’s main public transit hub is located within the complex.” The only other new information contained within the documents

was a proposed transit incentive, in which Amazon employees would have received a 25-percent discount on monthly RTA passes. The incentive was pegged at more than $120 million over 15 years. Additionally, if Amazon were to locate in Cleveland, the city would purportedly “accelerate” a massive expansion of the public transit system, increasing total commuter rail mileage from 37 to 111 by 2029. This aspirational tripling of capacity had been outlined in NOACA’s LongRange Plan. “The future of public transit— particularly rail—” the NOACA docs claims, “is bright.” — ALLARD

Employee-Owned Evergreen Cooperative Laundry Takes Over Cleveland Clinic Laundry Operation, Adding 100 Workers to Coop The Cleveland Clinic laundry contract has long been a crown jewel coveted by Evergreen Cooperative Laundry, which along with Evergreen Growers and Evergreen Energy Solutions makes up Evergreen Cooperatives, a nine-year old employee-owned company.

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| clevescene.com m | May 16 - 22, 2018

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| clevescene.com | May 16 - 22, 2018

As Brett Jones, executive vice president, told us last year, Evergreen was mission-driven from the start, and continues to be, but it’s also a business proposition. It can’t depend on the goodwill of major clients alone; it has to demonstrate that it’s a proďŹ table and sustainable operation with a diversiďŹ ed portfolio, and it has, so that no one contract is a make or break proposition for any of its three divisions. “What we’ve done is try to keep the percentage of revenue from anchor institutions at about 25 percent,â€? Jones told us. “It’s part of what leadership has done, keeping a healthy balance, looking at anchors but also securing other revenue so that when people look at us, we’re not too dependent. If you only have two customers, that’s a risk. So, in terms of spreading and growing revenue, the Clinic contract would be important for us, but every contract is important.â€? While the laundry division didn’t exactly have the greatest growth potential before, that changes with the new Clinic development announced last week. Evergreen will not just be handling the Clinic’s laundry, it will be taking over management and operations of the Clinic’s laundry facility in Collinwood and adding 100 new employees to the cooperative. Between the three divisions, it currently has about 220 or so, 50 of those in laundry. “This expansion validates the core idea at the heart of the Evergreen model—that businesses owned by workers can succeed and thrive in the market, helping close the wealth gap,â€? Jones said in a statement. The Clinic is likewise enthused: “We are proud of this new collaboration with Evergreen Cooperatives because of the impact it will have on the local community,â€? Ralph Turner, executive director of patient support services at Cleveland Clinic, said in a prepared statement. “We see this as an important step we can take to support the health and wellbeing of our neighbors, including the ECL employees.â€?— GRZEGOREK

Google Announces $100,000 Gift to Olivet Housing and Community Development Corporation for Jobs Training Program At the local Grow with Google event last Friday, during which more than 500 residents learned basic

technology skills at Tri-C’s Hospitality Management Center, the Silicon Valley tech giant announced a $100,000 contribution to the Olivet Housing and CommunityDevelopmentCorporation. The contribution will help fund the organization’s new Neighborhood Collaboration for Competitive Employment Status program, which will train job seekers from underrepresented communities in basic digital skills. The $100,000 will allow OHCDC to design the program, recruit neighborhood participants and purchase equipment. — ALLARD

Drug-SnifďŹ ng Dogs Disproportionately Used in TrafďŹ c Stops of AfricanAmericans by Ohio State Highway Patrol While African-Americans made up 14 percent of trafďŹ c stops by the Ohio State Highway Patrol between 2013 and 2017, about in line with state’s 13 percent African-American population, black motorists made up 28 percent of stops where drug-snifďŹ ng dogs were deployed, according to Highway Patrol data compiled at the request of the Associated Press. The data provides more evidence, as if it were needed, that AfricanAmericans and minorities face a disproportionate amount of law enforcement actions. It backs up ďŹ ndings by the University of North Carolina last year that Ohio police stopped and searched blacks at a far higher rate than whites and a Stanford Open Policing Project that found blacks were subject to searches and arrests more than whites in Ohio from 2010 to 2015. But, you might say, drug-snifďŹ ng dogs are deployed only after probable cause, and that’s exactly what Ohio State Highway Patrol spokesperson Lt. Robert Sellers told the AP. “Drug snifďŹ ng canines are deployed based upon the presence of criminal indicators, not race,â€? he said, citing factors like visible contents of the vehicle, smells, destination and length of trip. Which is nice in theory, but unfortunately race also tends to be one of the factors based on empirical evidence, despite the fact that the state patrol analyzes trafďŹ c stop data to work toward bias-free policing. — GRZEGOREK

Let’s Talk About those “Abortion is Systemic Racism� Billboards For the last three months, black billboards with white lettering


describing what abortion really is about have been appearing throughout Greater Cleveland. Highways are lined with phrases like “abortion is systemic racism,” “abortion is fake feminism,” “abortion is violence,” “abortion is lost fatherhood” and “abortion is injustice anywhere.” These signs were posted on billboards and in bus stops in response to ads by Preterm, the largest female health and abortion clinic in the state, which had signs with phrases like “abortion is sacred,” “abortion is a second chance,” “abortion is gender equality,” “abortion is life saving” and “abortion is right for me.” According to Preterm’s director of development and communications, Nancy Starner, “We want to push people to think about abortion in new, diverse ways with these billboards,” she stated in a press release. “We want the people in our community who have had abortions to know that they’re not alone.” The black and white billboards are the brainchild of Coalition of Life Cleveland and The Radiance Project, a faith-based anti-abortion group from Akron. This organization believes that abortion is a way of committing “black genocide”, and has labeled the

NAACP the “National Association for the Abortion of Colored People.” The Radiance Project was extremely critical of Preterm’s billboards, claiming that 70 percent of them were racially targeted and posted in predominantly black neighborhoods. According to the Ohio Department of Health, Cuyahoga County residents receiving abortions are overwhelmingly people of color. By putting the pro-choice billboards in black neighborhoods, is this a sign of systemic racism or is this a healthcare center catering to the communities that frequently utilize their services? Preterm stated in their press release that they hope their billboards can change “the blackand-white rhetoric from both sides of the political debate” and “create spaces that promote sharing, active listening and understanding.” When researching the battle of these billboards, there’s an overwhelming amount of opinion pieces and editorials posted about how terrible Preterm’s billboards are, but there isn’t much published about The Radiance Project’s billboards. Is it true that people of color seek abortions at a higher rate than any other demographic? Yes. Is it also true that youth of color are at a

disproportionately higher risk for negative sexual health outcomes? Also yes. According to a study from the Advocates of Youth, research and resources must be directed toward addressing the underlying social forces at work in our communities. “Social, economic, and cultural barriers limit the ability of many youth of color to receive accurate and adequate information on preventing HIV, STIs, and unintended pregnancy,” the study said. Washington University Law released a study regarding abstinence-only education that determined this sort of sexual education fails African-American youth. By focusing so heavily on the outcome of abortion, we are failing black communities by not remedying the lack of opportunities for safer sexual encounters with education or contraceptives, thereby preventing the need for an abortion in the first place. While The Radiance Project is huge on encouraging women to be anti-abortion, Preterm also offers emotional support, counseling, and education in addition to safe access to abortion. One in five Ohio women must travel more than 45 miles for abortion care, meaning some women must

travel more than 180 miles roundtrip to receive an abortion due to Ohio’s law requiring two separate appointments for abortion treatment. Given that one in three women will have an abortion by the time they’re 45, it’s a frightening realization of how many women are denied safe health resources simply due to accessibility. Currently, 93 percent of Ohio counties have no access to clinics that provide abortions. It’s easy to declare that abortion is “systemic racism,” in how it impacts black communities, but it’s also important to note that Ohio’s current abortion legislation disproportionately impacts rural women’s access to safe and healthy abortions. The demographic of rural areas tend to be more caucasian, so the numbers are going to skew higher in densely populated areas. When it comes to abortion, there are no easy answers or decisions that can be made that will satisfy everyone. However, the simplified phrasing used on The Radiance Project billboards are misleading at best, and perpetuating dangerous rhetoric at worst. — BJ COLANGELO

scene@clevescene.com t@clevelandscene

| clevescene.com | May 16 - 22, 2018

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We remember the fallen. Cuyahoga Community College (Tri-C®) is committed to veterans. Whether you’re a discharged veteran, a member of the Guard or Reserve or on active duty, you and your family are welcomed home at Tri-C.

JOIN US Tri-C’s Annual Memorial Day Remembrance Event May 25, 2018 / noon – 2 p.m. Western Campus 11000 Pleasant Valley Road / Parma, OH

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| clevescene.com | May 16 - 22, 2018

18-0506


Photo by Erik Drost Flickr CC

FEATURE

caption

THE BROWNS ARE TALKING ABOUT A NEW STADIUM… But here’s what they really want, and why it probably won’t happen By Daniel McGraw “WE’RE EXCITED FOR THE opportunity to be part of the conversation about downtown redevelopment,” Browns co-owner Dee Haslam told ESPN a few weeks ago, confirming rumors that the team has begun initial discussions about a new stadium at a new downtown site or major renovations on the current facility. “We should be part of the conversation in a bigger way, and I think we will be. I have no idea at this point what’s even feasible. Don’t you think it’s a good idea for us to learn and figure that out?” Haslam said a lot without saying much at all during the interview,

talking in circles while avoiding any specifics except noting that, yes, the Browns current lease at FirstEnergy Stadium runs out in 2029 and they felt now was the time to begin planning. But planning for what? Deciphering what Haslam actually meant when she said the team wanted to get in on the urban development game means looking at what’s going on among other professional sports owners in various American cities in the last few years. Because things have changed. It used to be fairly simple for sports teams and their public

subsidy handouts: get a new stadium, have most if not all of it paid for by taxpayers, and then sell luxury suites, sponsorships, tickets, hot dogs and beer to make their nut. But in the past few years, NFL teams have upped the ante on what they “need,” mainly 100 or more acres of land around the stadium fit for parking lots and development. The New England Patriots, for instance, are doing a 300acre development around their stadium in Foxboro, MA, and the Los Angeles Rams and Chargers are moving into a $2.6 billion stadium at the center of a 300-acre development in Inglewood, CA.

The Oakland Raiders are moving to Las Vegas with a similar deal. And Cowboys’ owner Jerry Jones got two deals in Dallas: he got the huge stadium and 25,000 parking spaces around it in Arlington, and then a 100-acre training facility and property development in suburban Frisco. The latest deal, sounding much like what the Browns seem to be going after, is one for the Jacksonville Jaguars that was announced last month. The city and the team are close to finalizing a $2.5-billion development of 70 acres of an old shipyard and park around the stadium on the adjacent | clevescene.com | May 16 - 22, 2018

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| clevescene.com | May 16 - 22, 2018

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FEATURE waterfront. While final numbers aren’t hammered out yet, the multiphase project will be overseen by the team and include about $750 million in public cash. Economists sometimes get lost in the weeds trying to explain the unique ways of rich people and how they, despite being rich, need the public’s cash to do wonderful things for the public. But Michael Leeds, chair of the economic department at Temple University in Philadelphia and noted sports business expert, said he could explain this in terms that the Muni Lot pre-game corn-holers and beer guzzlers would understand. “Every parent goes through this type of thing and knows the deal,” he said. “You ask your kid what they want for their birthday, and she might say, ‘I want a pony.’ You ask her why and she says the kid down the street has one. Most of us figure out a way to ignore what she wants and get her something else.” But the Haslams and their ilk aren’t your daughter, who, while entirely adorable and brilliant, doesn’t have much leverage on her side. Teams have long since figured out that they have multiple cards up their sleeves in the debate. “They are asking for this because they think they can get it,” Leeds continued. “Since the great recession, teams have been a little more hesitant to open up their wallets, but also to ask governments to open up their wallets too. But we are seeing this shift a bit now. They are re-thinking and re-packaging what they want, and are asking for not just this, but this and this and this too.”

FIRSTENERGY STADIUM IS coming up on 20 years of age, and the Browns are tied to staying there for ten more years. Local government agencies have always found ways to keep the public cash flowing for Cleveland sports, but the proposition is a bit different this time. In ten years, we’ll probably be in the midst of discussions about a new ballpark, if not a new arena too, even with the Q renovation project. The city’s coffers aren’t deep, and the county has just about maxed out its credit card. Sure, the quarterpercent Cuyahoga County sales tax increase passed in 2007 to pay for the $450 million convention center

and medical mart is set to expire in 2027 and one could imagine officials selling the idea of continuing it for another 20 -- not a new tax! -- as the public contribution for any new project, but that’s pure conjecture at the moment. For the time being, it seems everyone, for once, is being cautious about the idea of dumping taxpayer dollars into Haslam’s pockets. “While there are always discussions about new development opportunities, the City has not been and is not currently engaged in any formal planning relative to a new or remodeled stadium. That stated, the city welcomes the Browns’ participation in any city development efforts,” a city of Cleveland spokesperson said in a statement clarifying that while informal conversations have certainly happened, nothing formal has been discussed. The second half of the statement got more directly at the heart of why the ball is in the Browns’ court. “The city of Cleveland welcomes anyone who wants to participate in the economic development of our neighborhoods and our downtown,” it read. “The question as it pertains to the stadium is whether this project is feasible, supported by private dollars. This is ultimately a choice for the people.” While it’s nice that Mayor Frank Jackson gave a head nod toward a decision made by the people (which runs contrary to his whole position on the Q renovation project, it should be noted), and while Dee Haslam said basically the same -- “I really do think [it] would be a decision by the people of Cleveland and the planners. I think what we need to do is be part of the conversation.” -- the question of who pays for what might be entirely ancillary to the real question of whether it’s even possible to carve out what the Browns really want from limited space in downtown Cleveland. Especially because of what the Browns likely want it for. Cowboys’ owner Jerry Jones has about 20,000 parking spaces around “Jerry World.” That means about $15 million a year in his pocket. The same goes or will go for the Patriots, Rams, Charges, Jaguars and possibly the Buffalo Bills. The Oakland Raiders’ deal with Las Vegas is close to 120 acres for the stadium and the training facility. The $1.9 billion bill for the stadium will be split among a $750 million public contribution from increased room tax revenue, $500 million in a combination of NFL loans (some are repaid, some are


gifts), naming rights and seatlicense sales from the Raiders, and the rest in a bank loan. Basically, the Browns are telling Cleveland, hey, look at all the cool ponies our friends got. In this case, ponies are parking lots, housing, restaurants and offices. The Browns seem intent on being downtown, at least given what Haslam told ESPN, and the problem with all this, then, is that there are few options in downtown Cleveland that satisfy those needs. First and foremost, the Browns have just 35 acres at the current stadium site, far, far less than other NFL teams now lay claim to. And the current site doesn’t provide many options in terms of a footprint expansion: It’s boxed in by Lake Erie on the north, railroad tracks on the south, the port authority to its west, and museums and Burke Lakefront Airport to its east. Meaning there’s no room to get more team-owned parking or much of any new development around it as things currently stand. That’s why doing the current stadium in ten years make little sense for the team economically. Yes, a major renovation involving a dome or retractable roof would mean more events, but without parking and new development around it, those added events won’t increase profits for the team all that much. There are 18 acres of old port property between the current stadium and the lake, but that property has already been assigned to Cleveland and Dallas development firms to develop. The Browns know those 18 acres are not in play, probably. “We are acutely aware of the previous and ongoing discussions related to potential lakefront development,” they told Scene last week. The city was equally vague but also less enthusiastic in their statements above. So what about building a new stadium downtown, with the ability to get about 100 acres around it? That too is very dicey as things look now, as almost no such property exists within the Inner Belt box we now call downtown. Outside that box, maybe. But again, not enough acres in good locations to make much of a difference. The Flats would be a no-go. The area north of Cleveland State University – between the inner belt freeway and East 55th Street and St. Clair Avenue -- does have about 1,400 acres. That is enough for a stadium and parking and lot of other buildings. But that area is a bit

removed from downtown, and would have to create its own little trendy fiefdom to market. Another big question, whether on the renovation or new-construction front: Is the Cleveland market large enough to support a domed facility? Not for what it means for NFL games, but whether the market is there for other events (college football, concerts, NCAA March Madness, etc.). Only two of the NFL’s 32 cities have lost regional population since 2010 – Cleveland and Pittsburgh. Cleveland is also second from the bottom in poverty level, household income, and property value. We are not just talking about Cleveland proper here; we’re using the “metropolitan statistical area” data where the Cleveland area’s 2.1 million population ranks as the 24th largest market in the NFL. “Football stadiums are more challenging than arenas because of the events that you can have in them,” said Mark Rosentraub, a University of Michigan economics professor who formerly was at Cleveland State. “What is the demand for an urban place-making space like a domed stadium would be in Cleveland? I don’t think many concerts would go to a big domed stadium because they have Dan Gilbert’s Quicken Loans Arena. “So there are lots of unanswered questions Cleveland has to figure out on this,” Rosentraub continued. “Is there available land in the downtown area that is unused and the city wants to do something with the Browns at, and is the market big enough now to justify public investment in such a development plan? In some markets these stadium development plans are sustainable, but in other markets they are not.” But then, of course, many want to consider the big elephant in the room: Burke Lakefront Airport.

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BURKE HAS BEEN AROUND for about 70 years and its use by private airplanes has fallen off the cliff in the last decade. It had about 100,000 takeoffs and landings in 2000; last year that number was 38,000. Scene explored the issue about whether the airport could be closed or not at length in a cover story last month. When news about the Browns interest in doing downtown development tied to a new stadium hit, Twitter and other social media exploded with Cleveland Browns’ fans solution: just close Burke and

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FEATURE put the stadium and the assorted desired developments on the 450 acres on Lake Erie just north of the Muni Lot. “So many people think the solution to all this is to just drop a new stadium at Burke, give the team the 450 acres around it, let them develop it and have us fund it, and everything is solved,” said a current city councilman who didn’t want his name used. “But we all know it is not that simple.” That is an understatement about the simplicity of closing Burke and re-using it for a sports stadium development. What people have to realize is that the federal government (through the Federal Aviation Administration) runs the national airport system the same way the Department of Transportation keeps an eye on interstate highways. What that means is that a city cannot just decide to close an airport for the same reason the City of Cleveland could not just tell the feds they want to close I-71 between downtown and Hopkins airport for some reason.

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But, wait, didn’t we tell you a few weeks ago that not only is closing Burke prudent, but possible? Yes, but… It can get real complicated to get the FAA to close any airport. First, they require airports to stay open for at least 20 years after they got their last federal grant. In this case, Burke received money in the past year, so under the agreement with the Feds, theoretically the airport would have to stay open as an airport until at least 2037. That timeframe can be negotiated, but it takes the willpower of local and state officials to get it done, something that currently isn’t in the picture. The city would also have to do studies saying they don’t want the property used as an airport anymore, and give the reasoning why they don’t. (The last Burke study was done in 2007.) The FAA usually requires airport owners like Cleveland to show they have consistently wanted to close their airport for some time before they even consider a closing, and Cleveland has consistently – even as recently as two years ago – praised Burke as an airport and contended they need to expand the runways and build new hangers

| clevescene.com | May 16 - 22, 2018

to make it even better for the city and the region as an economic development driver. In effect, you can’t tell the FAA you think the airport is fantastic for the city and then suddenly turn around and tell them what you have been telling them isn’t true. At the very least, making such a switch takes a long time to get the FAA to buy in, and certainly the time frame of ten years, which the Browns seem to want as the timeline for their new stadium and development projects, doesn’t seem feasible. Case in point: The Santa Monica Airport in southern California, which is similar to Burke as a secondary airport in the region, has now gained approval by the FAA to close in 2028. But they first started the process in the late 1980s, and have had to fight with the FAA and pilots groups and the airline industry to get this done. In the end, the FAA usually wants one more thing that relates to this issue. It usually frowns upon the airport property just being transferred to a private entity without just compensation, if that is part of the closing request. So Cleveland, more than likely, might be able to get their airport closed in 20 years, build an airport after that, but

not be allowed to give the acreage round the stadium to the Browns for development. Again, the key term is “not likely.” Closing Burke is possible, yes; probable, no. Setting it up for a real estate development run by the Browns even less probable. All of which makes this posturing by the Browns something that will be interesting to watch. “The way these ideas might work is if you put the new stadium and the development in an underutilized area and hope the project jump start development in that area,” said Vic Matheson, a sport economist expert and professor at College of the Holy Cross in Massachusetts. “But that rarely happens because the purpose of the sport teams is to make money for themselves and not develop underutilized areas.” Matheson continued: “If you want to spend a billion dollar to move a stadium a half-mile to Burke, go ahead, but it does not make much sense economically to do so. But cities do a lot of spending on sports teams that doesn’t make much economic sense.”

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| clevescene.com | May 16 - 22, 2018


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

WED

guy he once was and delivers a raw and edgy, fish-out-of-water take on the world he lives in (but mostly disagrees with), telling all the stories, no matter who he offends — family, friends, or the famous.” Tickets are $39.50 in advance, $45 at the door. (Niesel) 5000 Euclid Ave., 216-881-2221, agoracleveland.com.

05/16

THEATER

Beehive — The 60s Musical Produced by Great Lakes Theatre, Beehive: The 60s Musical features 40 chart-topping songs from the years as it aims to relive “one of music’s truly golden eras.” You’ll hear tunes from the Supremes, Janis Joplin and Aretha Franklin. Tonight’s performance takes place at 7:30 at the Hanna Theatre. The play runs through May 20, and tickets start at $15. (Jeff Niesel) 2067 East 14th St., 216-241-6000, playhousesquare.org.

THEATER

The annual Rib Burn Off returns to downtown Willoughby. See: Saturday.

SPOKEN WORD

THEATER

Cleveland Stories Dinner Parties Cleveland Stories Dinner Party is a weekly series that pairs fine 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.” Admission is free, although a prix fixe 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, Cleveland Division of Fire’s Angelo Calvilla will talk about famous Cleveland fires. (Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com.

The Royale Set in 1910, The Royale centers on Negro Heavyweight Champion Jay “The Sport” Jackson, a fighter who wants to prove that he’s as tough as his white counterpart. The Cleveland Play House production of the play takes place tonight at 7:30 at the Outcalt Theatre. It runs through May 27. Tickets start at $25. (Niesel) 1407 Euclid Ave, 216-241-6000, playhousesquare.org.

THEATER

Disney’s Aladdin Part of the KeyBank Broadway Series, the hit musical Disney’s Aladdin comes to the State Theatre this week for a month-long run through May 27. Directed and choreographed by Tony Awardwinner Casey Nicholaw ( The Book of Mormon, Something Rotten! ), the production features sets, costumes and lighting from Tony Award-winners Bob Crowley ( Mary Poppins), Gregg Barnes ( Kinky Boots) and Natasha Katz (An American in Paris). Tonight’s performance takes place at 7:30. Tickets start at $40. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org.

FOOD

Walnut Wednesday Walnut Wednesday is one of summer’s great traditions. Today from 11 a.m. to 1:30 p.m. at Perk Plaza at Chester Commons — at East 12th and Walnut streets — food trucks gather to serve up lunch to area residents and employees. Follow the Downtown Cleveland Alliance on Facebook for weekly updates on vendors, entertainment offerings and more. The series continues through Sept. 26. Admission is free, but the food will cost you. (Niesel), downtowncleveland.com. FILM

‘Who The Fuck Is That Guy?’ The Fabulous Journey Of Michael Alago The life of record executive Michael Alago, a gay Puerto Rican New Yorker who signed a number of major musical acts, including Metallica, White Zombie, Cyndi Lauper and Nina Simone, is the subject of the documentary film, ‘Who The Fuck Is That Guy?’: The Fabulous Journey Of Michael Alago. It chronicles how he grew up in a small Brooklyn neighborhood and eventually found his way

into the music business. The film shows tonight at 7 at the Rock Hall. Tickets are free for Rock Hall members and $5.50 for the general public. (Niesel) 1100 Rock and Roll Blvd., 216-5158444, rockhall.com.

THU

05/17

Hi, Are You Single? A Parma native, writer and performer Ryan J. Haddad takes the audience on a swing through New York’s gay dating scene in Hi, Are You Single?, an examination of “intimacy, rejection and judgement” that also touches on the popularity of Grindr, drag queens and gogo dancers. Performances take place tonight, tomorrow night and Saturday night at 7:30 at the Helen Rosendfeld Lewis Bialosky Lab Theatre. Tickets are $20. (Niesel) 1407 Euclid Ave, 216-241-6000, playhousesquare.org. CATEGORY

COMEDY

Orny Adams Orny Adams’ dry optimism and seeming preference for the things most people would hate (he likes nightmares more than good dreams) are good fodder for his standup. His past work includes writing jokes for Jay Leno and Gary Shandling, and he currently plays the character of Coach Finstock on MTV’s Teen Wolf. He performs tonight at 8 at Hilarities, where he has shows scheduled through Sunday. Tickets start at $23. (Liz Trenholme) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com. COMEDY

Adam Carolla Radio personality and comedian Adam Carolla made a name for himself in the late ’90s as the co-host of the call-in program Loveline. After that show ended in 2005, he’s dabbled in acting and writing. He’s famous for his rants about “things that drive him crazy,” and those topics are in full view on this tour that brings him to the Agora Theatre tonight at 8. “Carolla started broke and blue collar and has now been on the Hollywood scene for more than 20 years,” reads the press release. “Yet he’s still connected to the working-class

Billy Joel and the American Musical Landscape Joshua S. Duchan, Ph.D., an ethnomusicologist specializing in American popular music, will discuss the music of Billy Joel tonight at the Rock & Roll Hall of Fame Archives. He will address two kinds of places found in Billy Joel’s songs: “geographical (specifically the American West and New York) and social or cultural (suburbia).” The lecture will draw from personal interviews with Joel to show how his music “offers a commentary on American life and culture rooted in both his personal experience and the time during which it was composed.” The talk begins at 7 p.m. and admission is free. (Niesel) 2809 Woodland Ave., 216-515-1956, library.rockhall.com. COMEDY

Will Power If you’re skeptical about a comedy hypnotist show, Will Power will change your mind forever — whether he does it with mind tricks is for you to find out. His hypnotist act shows just how powerful suggestion can be on the human mind. This show is adults only, as Power’s act isn’t family friendly. Rated somewhere between R and X, Power’s performance will have you laughing with his naughty fun. Don’t think | clevescene.com | May 16 - 22, 2018

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MUSIC

GET OUT you can go to a hypnotist show and not participate, as Power will undoubtedly find a way to rope you into the show. He performs tonight at 7:30 at the Improv. Tickets are $17. (Martin Harp) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.

Everything is Delightful Two years ago, Dave Lowery and his friend Ken Vinikoff started Networking is Dead, a local networking group for fans of the Grateful Dead. The group has steadily grown and now has about 200 members. Each year, it hosts a major event and hires a band to perform. Dubbed Everything

organization that provides “support, education and advocacy” for people with Down syndrome. Tickets are $20. (Niesel) 2920 Detroit Ave., 216-771-6551, themusicsettlement.org. ART

Derek Hess Book Tour For years now, local graphic artist Derek Hess has been raising

CLASSICAL MUSIC

Prometheus Project: The Music of Beethoven Franz Welser-Möst conducts the Cleveland Orchestra this evening in a special program dubbed Prometheus Project: The Music of Beethoven. Tonight’s concert takes place at 7:30 at Severance Hall, and opens with the “Overture to The Creatures of Prometheus.” Concerts continue through Sunday, each with a different lineup of Beethoven’s music. Consult the Cleveland Orchestra website for more information. (Niesel) 11001 Euclid Ave., 216-231-1111, clevelandorchestra.com.

FRI

SCHEDULE

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

5/16 5/30 6/6

WED.

05/18 WED.

ART

78th Street Studios Third Friday Art Walk Time again for the Third Friday Art Walk at the cavernous 78th Street Studios. More than 50 studios and galleries will participate in this popular indoor art walk; be sure to check out spots like the Derek Hess Gallery, Tregoning & Company and Hilary Gent Studio. Look for food trucks out front and live music on the first floor. Hours are 5 to 9 p.m. (Niesel) 1300 West 78th St., 78thstreetstudios. com.

WED.

Who the F**k is That Guy? The Fabulous Journey of Michael Alago 2017 • 1 hr, 25 minutes • TV-MA

Head 1968 • 1 hour, 26 minutes • G

Purple Rain 1984 • 1 hour, 51 minutes • R

The 150-page book includes more than 120 Hess images, some never before published, and features a foreword by Dr. Joseph Calabrese, director of the Mood Disorders Program at the UniversityHospitalsClevelandMedical Center. His 31 Days in May Tour will feature book signings, screenings of the documentary Forced Perspective and organized talks. A portion of all book sales on the tour will be donated to the mental health or addiction awareness organization of the venue’s choice in each city., Hess has set up a GoFundMe campaign; a portion of all proceeds raised will go to the Hope for the Day and Mental Health America organizations. (Niesel) 1300 W 78th St. 2nd floor, derekhess. com. COMEDY

Lil Duval If you’ve ever needed a succinct list of rules to live by or the lowdown on viral videos, Lil Duval is coming to Cleveland to hook you up. The Guy Code regular has been a pop culture trendsetter in the last few years, coining the term “basic bitch” and hosting MTV’s viral video show Ain’t That America. His standup is youthful, dogging on popular hip-hop artists and commenting on social media trends. A comedian for the digital age, Duval’s audience is the modern man. He’s not afraid to offend the fairer sex or jump on the trendiest hashtag. Hell, he usually creates them anyway. Lil Duval will be performing tonight at the Improv at 7:30 and 10. Tickets range between $25 and $30. He’ll perform at the club through Sunday. (Brittany Rees) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.

SAT

05/19

FESTIVAL

Adult Swim: Local Brews with Cats and Dogs The Greater Cleveland Aquarium isn’t just for kids. On a regular basis, it hosts Adult Swim events for patrons aged 21 and up. Tonight’s Adult Swim event has a theme — Local Brews with Cats and Dogs. The Cleveland Animal Protective League will be on-site with adoptable cats and dogs, and guests can sample a variety of Ohio beers. Tickets are $40, $20 for designated drivers. The event ticket includes 20 tasting tickets, a souvenir tasting glass, light hors d’oeuvres and full afterhours aquarium access. (Niesel) 2000 Sycamore Street, 216-862-8803, greaterclevelandaquarium.com.

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THEATER

Members FREE w/RSVP • Non-Members 5.50 $

1100 Rock and Roll Boulevard, Cleveland, OH 44114 | rockhall.com | 216.781.ROCK

Delightful, the event takes place at 7 tonight at the Bop Stop. It will feature live music from the local band Sunshine Daydream, a group that features singer-guitarist Thor Platter, singer-guitarist Tom Prebish, keyboardist Chris Hanna, bassist Alfredo Guerrieri and drummer Fred Perez–Stable. The event will also include a cash bar, an auction and raffle items. Proceeds will go to Upside of Downs, a non-profit

| clevescene.com | May 16 - 22, 2018

awareness about mental illness and has talked about his struggles with alcoholism and bipolar disorder. This month, Hess honors Mental Health Awareness Month with the release of his new book, 31 Days in May: A Visual Journey. The book includes a series of images that “look at the link between creativity and mental health as told through Hess’s artwork.” Topics include loneliness, relationships, depression and suicide.

The 2018 Dazzle Awards The most talented high school performers in Northeast Ohio take center stage tonight at 7:30 at the Connor Palace for the annual Dazzle Awards, an awards ceremony and showcase. Awards will be handed out in 13 categories, including Best Musical, Best Actor/Actress, Best Student Orchestra, Best Costume Design and Best Scenic Design. The winners in the Best Actor and Best Actress categories will go on to represent Northeast Ohio at the National High School Musical Theatre Awards in New York. Tickets are $25. (Niesel) 1615 Euclid Ave., 216-771-8403, www. playhousesquare.org.


FESTIVAL

Downtown Willoughby Rib Burn Off The seventh annual Rib Burn Off returns to Downtown Willoughby today and tomorrow. Attended by thousands from all over Northeast Ohio, the family-friendly outdoor celebration provides an opportunity to showcase the bars and restaurants in Downtown Willoughby, as well as regional and national barbecue vendors that provide a wealth of food options. Drink options include ice cold beer, Best Damn Sweet Tea, craft cocktails featuring Tito’s Vodka, Russel’s Reserve, lemonade from Kirtland Kiwanis and Coca Cola products. In addition, Rib Burn Off includes three stages with live music all weekend long. Two of the three stages will feature local bands and musicians exclusively from the start of the event on Saturday through closing on Sunday night. The ’90s rock band Lit headlines the event and plays at 7 tonight. The event beneďŹ ts USO and will include representatives from the armed forces with information and fun activities to test your physical and mental strength. Admission is free and the event runs from noon to 10 p.m. today and from noon to 8 p.m. tomorrow. (Niesel) dtwribburnoff.com. FESTIVAL

Rock Your World with STEAM The Rock Hall and the Cleveland Metropolitan School District have teamed up for Rock Your World with STEAM, a special one-day festival for science and music that takes place today from 10 a.m. to 3 p.m. at the Rock Hall. CMSD students and their families enjoy free Rock Hall admission, but regular visitors can purchase Rock Hall admission and attend as well. The event will feature a “musicallycharged, energy-ďŹ lled celebration of CMSD student excellence in Science, Technology, Engineering, Arts and Math.â€? Performances will take place on six stages, and there will be choirs, bands, a drum line, jazz and orchestra ensembles, dance and HiSteppers. (Niesel) 1100 Rock and Roll Blvd., 216-5158444, rockhall.com. MUSIC

Tool Music Clinic One of the headliners at this year’s Rock on the Range, Tool has embarked on a short “music clinic� tour in conjunction with the festival appearance. The event promises “a rare glimpse behind-the-scenes via a series of intimate music clinics.� Drummer Danny Carey, bassist Justin Chancellor and guitarist Adam Jones will discuss a handful

of the band’s songs and talk about the process of writing them and then playing them live. Audience members will be able to ask questions via an open discussion and mingle with the band following the session. Ticket holders will receive commemorative merchandise. An accompanying traveling exhibit will feature unique items from the band’s history. The event begins at 6 p.m. Tickets are $500. (Niesel) 5000 Euclid Ave., 216-881-2221, clevelandagora.com. FESTIVAL

Yuri’s Night at Great Lakes Science Center Since 2001, an international community of scientists, researchers, and self-styled geeks has been celebrating manned spaceight with Yuri’s Night, a festive commemoration of where we’ve been and where we yet may go. Tonight at the Great Lakes Science Center, Yuri’s Night celebrates U.S.S.R. cosmonaut Yuri Gagarin and the crew of the ďŹ rst U.S. space shuttle. The cosmic cocktail party launches at 7 p.m. with live music from Old Skool Cleveland, an open bar with beer and wine, appetizers and specialty bites, a scavenger hunt, a balloon drop and science demonstrations. Money raised from Yuri’s Night helps fund the Science Center’s STEM education initiatives, day camp scholarships and other programs that “encourage curiosity and provide opportunities for tomorrow’s scientiďŹ c leaders.â€? General admission tickets are $70, $75 at the door. VIP tickets go for $120 and allow early access to the party, admittance to the VIP lounge with complimentary beer, wine and mixed drinks, exclusive menu items, and complimentary parking in the Science Center’s attached garage. A special designated driver ticket is also available for $40, and Science Center members receive $5 off general admission and $10 off the price of a VIP ticket. (Niesel) 601 Erieside Ave., 216-621-2400, greatscience.com/yurisnight.

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Sunday Beat As part of a Sunday Beat promotion at Visible Voice Books, if you purchase a New York Times at the store, youâ&#x20AC;&#x2122;ll receive a free cup of coffee or tea and a Jim Alesciâ&#x20AC;&#x2122;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

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May 25thDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD j~{l{Â&#x201A;Â&#x152;{cwÂ&#x160;yÂ&#x2030;Ej~{XwÂ&#x160;Â&#x160;Â&#x201A;{ June 16th DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD XÂ?pwÂ&#x201E;Â&#x160;Â&#x201E;{6pm July 19thDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD dÂ&#x2026;Â&#x152;whÂ&#x2026;y w|{Â&#x201A;Â&#x201A;{Â&#x2C6;6pm July 28thDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD ZÂ&#x2026;Â?Â&#x201E;j~{hwxxÂ&#x160;^Â&#x2026;Â&#x201A;{[Zc6:30pm Aug 2nd ................................................................................................................................ ^wÂ?Â&#x2030;Â&#x160;w 6pm Aug 4th DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD XÂ&#x201A;Â&#x2039;{Â&#x2030;\{Â&#x2030;Â&#x160;6pm Aug 25thDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDaÂ&#x2039;aÂ&#x2039;]Â&#x201A;Â&#x2026;Â?oÂ&#x2026;Â&#x2039;Â&#x2C6;cÂ&#x201E;z\{Â&#x2030;Â&#x160;7:30 Aug 31st ......................................................................................]Â&#x2C6;Â&#x201A;Â&#x2030;d}~Â&#x160;eÂ&#x2039;Â&#x160;cwÂ&#x201A;{h{Â&#x152;{Â? 8pm Sep 21st .............................................................................................. ZwÂ&#x152;zXÂ&#x2026;Â?{YÂ&#x2026;Â&#x152;{Â&#x2C6;XwÂ&#x201E;z 6pm Nov 17th DDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDDD_yÂ&#x2026;Â&#x201E;Â&#x2030;Â&#x2026;Â&#x201E;\Â&#x2C6;{Â&#x160;Â&#x2026;Â&#x2039;Â&#x2C6; (Prince/Madonna Cover acts)

For Ticketing Information call (216) 771-6655 or Visit us on The Odeon Concert Club 1295 Old River Rd, Cleveland, OH 44113 | clevescene.com | May 16 - 22, 2018

23


GET OUT enter a same-day drawing for 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.

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., 216-937-1938, prosperitysocialclub.com.

TUE

05/22

MUSIC

MON

05/21

MUSIC

THUR $12 FRI/SAT$30

MAY 17-19, 2018 7:30PM Fresh Inventions by company members

216.631.2727 x501 cptonline.org

FREE BEER FRIDAYS – Stay post show to mingle and enjoy a drink on CPT.

Kenny Loggins and Contemporary Youth Orchestra Contemporary Youth Orchestra founder Liza Grossman says she aims to introduce her students to all the potential professions they could have as classical musicians. As a result, she often recruits pop and rock stars to come to town to play with her students. Acts such as Styx, Graham Nash, Pat Benatar, Twenty One Pilots, Jon Anderson, Panic! At the Disco, Fall Out Boy, Coolio, Machine Gun Kelly, Bootsy Collins, Jefferson Starship and Weezer have performed with the group. Tonight’s concert that takes place at 7 at Severance Hall features pop singer Kenny Loggins. Tickets start at $31. (Niesel) 11001 Euclid Ave., 216-231-1111, clevelandorchestra.com.

Open Turntable Tuesday Tonight from 6 to 9, the Winchester hosts its weekly Open Turntable Tuesday. DJ Kris Koch offers 20-minute slots to people who want to bring their own vinyl and spin their favorite songs or deep tracks. Turntables are provided; you can play three to five songs during your time slot; and a mic is available to talk about the selections. (Niesel) 12112 Madison Ave., Lakewood, 216-600-5338. FOOD

Truck Stop Tuesday As if to provide a west side counterpart to Walnut Wednesdays, Crocker Park in Westlake hosts Truck Stop Tuesdays, a weekly food truck gathering, today from 11 a.m. to 2 p.m. Needless to say, admission is free, but the food will cost you. The fun continues every Tuesday through Sept. 25. (Niesel) 143 Crocker Park Blvd., Westlake, crockerpark.com.

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. 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

24

| clevescene.com | May 16 - 22, 2018

MUSIC

Vinyl Night Jukebox owner Alex Budin has described his 1,350-square-foot musicfocused 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. Tonight’s special themed event pays tribute to the Miles Davis album Bitches Brew. Dogfish Head will be hand to serve up special concoctions, including Wood Aged Bitches Brew Stout, Romantic Chemistry IPA and Lupa Luau Toasted Coconut IPA. It all starts at 5 p.m. (Niesel) 1404 West 29th St., 216-206-7699, jukeboxcle.com.

scene@clevescene.com t@clevelandscene


Tuesday

SIN NIGHTSERVICE INDUSTRY Employees Receive $2 Drafts & $2 Well!

Thursday STAND-UP COMEDY OPEN MIC Hosted by Gary Graham Sign-up at 7:30pm Show Starts at 8:00pm

Wednesday

Darts and $1 Sliders

Saturday. 5/19

MIDNIGHT TRAIL BAND (FREE SHOW!)

JiMILLER BAND Saturday, May 19 | 2-6pm

38107 Second Street Willoughby, OH 44094

(440) 602-9780 Monday:

Jamo, Pizza Mug Specials after 7PM

TED RISER

Tuesday

Sunday, May 20 | 2-6pm

Guest Bartending Tuesdays Wednesday:

20¢ Wing Night

Thursday:

Lyric Master

ANDERSON’S Sports Pub & Eatery

6082 Andrews Rd., Mentor-on-the-Lake, Ohio | 440-290-7805 visit us at: www.Andersons.pub

LIVE MUSIC

EVERY THURSDAY STARTING

JUNE 7th 6 - 10PM

RADIATE LIVE

SPRING HOURS: Friday: 5:00pm- Close | Saturday & Sunday: 12:00pm- Close

TUESDAY HOPPY HOUR$2 TACOS, TALLS, & JAMO, $1 OFF CRAFT Now booking special events! Bring the office for a complimentary after work party

www.facebook.com/whiskeyislandstillandeatery www.whiskeyislandstillandeatery.net | clevescene.com | May 16 - 22, 2018

25


Photo courtesy of Derek Hess

ART INSIDE OUT Derek Hess opens a visual and verbal dialogue about mental health and addiction with his new book By Dott von Schneider I REMEMBER SEEING DEREK’S artwork on flyers that graced stapleridden telephone poles around the city. This was back in the day, back before social media. I had always seen him as one of those “Art Gods” that was untouchable and unapproachable. It was cool to say that you knew Derek Hess even if it was just as an acquaintance, but nobody really knew the depths of what he was going through, and certainly nobody ever talked about “that kind of stuff.” There is something about his artwork, the lines and the agony, that rightfully draws people in to Derek’s world. This new book, 31 Days in May: A Visual Journal of Mental Illness and Addiction, is a heavy tome of Derek’s work each day through Mental Health Awareness month, which is observed annually in May. Meticulously laid out, to say that this book is riddled with powerful images is a blatant understatement. It is appropriate that the first image reflects solutions and hope in spite of darkness and despair; an archer piercing his own rippedout heart that he holds gingerly with reflection and offering. The second is a collage of naked ladies, prescription meds, money, alcohol and violence bearing its collective crushing weight upon a bound figure wading through the muck, wrapped in what appears to be fencing or exploding ribs, with a cemetery in the background. Hess writes: “The piece is meant to show how overwhelming a burden it can be when all the major symptoms of bipolar mania occur at once.” At the end of 31 Days in May is a section titled “Ink.” Getting a tattoo is a deeply personal experience and here we are witness to some incredible stories, from folks who

26

span the globe, of survival and hope, letting go of fear and opening up to the world. Adds the book’s editor, Ron Kretsch: “It was really intense to work on, even more so than the Forced Perspective book, because getting so deep into the guts of Derek’s images and his own words regarding his struggles couldn’t help but be intense. And then after all that, collecting people’s stories about their Hess tattoos, and their willingness to share such personal details of their own struggles? That was really amazing. That’s the effect Derek’s work has on people, and basically spending a couple of months living inside of that work? That’ll change you.” 31 Days in May opens up dialogue for those with mental illness and addiction and those without. It is a beacon of understanding. In speaking with Derek over the phone, I asked about some poignant moments that are coming out from his tour

| clevescene.com | May 16 - 22, 2018

and the press attached to it. He noted there were people arriving to check out the work simply from articles around the country. “They knew nothing about my art and the artwork, which is great because I’m reaching past my regular audience, who may already be aware of my artwork and what I do. It‘s great to see that we are able to branch out and break the stigmas.” Hess continued: “Last night a guy came up and had a list of issues he was dealing with. He is a fireman and he never spoke about it out loud due to his the stigma mental illness has around the profession. I’m like, man, this is the strongest thing you can do is to talk about it.“ Hess said. “It’s like how it is in pro sports, which has such a history of machismo and how great that Kevin Love came out and talked about his anxiety, which is what part of this book tour is about; helping removing the stigma and getting people to be open and speak

up and out.” The forward by Dr. Joseph Calabrese, Director of the Mood Disorders Program at UH and Professor of Psychiatry at CWRU School of Medicine, adds: “…So it is through his art that Derek shares with all of us his lived experience and expertise in the management of serious mental illness…Through Derek’s art he is sharing his experiences and role-modeling recovery. What we can learn from Derek’s lived experience is that anyone from anywhere can be a success despite having serious mental illness.” Derek will be talking about and holding a book signing on Friday, May 18 from 6 p.m. to 9 p.m. at the Derek Hess Gallery during Third Fridays, 1300 West 78th St, 2nd Floor, Cleveland, OH 44102. www. derekhess.com.

scene@clevescene.com t@clevelandscene


Photo by Roger Mastroianni

STAGE PERFECT RING TONE Boxing packs a wallop, without any actual punching, in The Royale at the Cleveland Play House By Christine Howey THE STAGE IS SMALL LIKE A boxing ring and the overhead spotlights shine down, piercing the black air like a knife. So it all looks and feels like a boxing event. But The Royale is a play about boxing in the same way that A Streetcar Named Desire is about urban public transportation. Written by Marco Ramirez and now at the Cleveland Play House as the featured offering of their current New Ground Theatre Festival, this poetic and thoroughly compelling work is a 90-minute gut punch you won’t soon forget. Based on the triumphant and tragic life of the African-American boxer Jack Johnson, this play’s fictional Jay “The Sport” Jackson is the Negro boxing champion of the world. But that is far too small and claustrophobic a classification for the brash Jackson, who wants his name and photograph on front pages of newspapers at the turn of the 20th century. Of course, at that time there were forces aligned against black men who wanted to be cultural heroes and icons. And Ramirez addresses those doubts and fears in ways that are stylized and theatrically intricate. To begin with, there is no fighting in The Royale. When the play opens, Jackson is in the ring with his opponent, another black fighter nicknamed Fish (a feisty but eventually supportive Johnny Ramey), but they never face each other. Crouching in classic boxer’s postures, the two men shift and feint while looking out at the crowd made up of the audience that envelops the small Outcalt Theatre stage. They may be fighting each other, but they are talking to us. That conversation is punctuated by hand slaps, foot stomps and gasps that reflect the carnage going on inside the non-existent ropes. These scripted sounds are orchestrated with fine precision by director Robert Barry Fleming, turning that opening sequence into a percussive ballet that has all the sweaty realism of George Bellow’s

famous painting from the same era, “Stag at Sharkey’s.” After that stirring opener, we learn more about Jackson’s ambitions, including a dream bout with undefeated Bixby, the ex-champion apple farmer who is the esteemed avatar of “white superiority.” As Jackson dreams, we learn about the dread those fantasies engender in his sister Nina, who has her own sad back story. Taking on the Mickey Goldmill role from Rocky as the all-knowing trainer, Brian D. Coats as Jackson’s corner man Wynton mesmerizes when describing his introduction to boxing at an event and venue called The Royale. That was the elegant name for a ghastly exhibition where he and six other young black men were blindfolded, tossed into a ring, and forced to swing wildly and fight each other until only one was left standing. It isn’t until Wynton’s blindfold was removed that he realized those pebbles he thought he was standing on were the teeth of his fellow competitors. That story serves as a centerpiece for the play in more ways than one. While it shows how white society compelled those with African blood to destroy themselves, it also mocks the “celebrity” bestowed on black boxers at that time, since they were blocked from actually participating in the larger culture. After all, the ring ropes we’re so familiar with can also be seen as prison bars, turned sideways.

Preston Butler III exhibits remarkable intensity, but his character’s more ego-driven side is muted which makes some of his scenes less effective. And the playwright’s tendency to explain a bit too much at times becomes tiresome. But as this outsider’s quest for fame progresses the rumblings of tragedy increase, and some

THE ROYALE THROUGH MAY 27 AT THE CLEVELAND PLAY HOUSE, PLAYHOUSE SQUARE, 1407 EUCLID AVE., 216-241-6000, CLEVELANDPLAYHOUSE.COM.

The acting in The Royale is consistently fine, with Leo Marks wittily playing several small roles including a referee, a fight promoter and various reporters. And Nikkole Salter in the role of Nina adds a quiet tone of despair and approaching doom to the proceedings. In the central role of Jackson,

lines are repeated like omens (“Somewhere there’s a hand on a knife…”). When Jackson finally attains his dreamt-of bout with Bixby, the culminating confrontation is as surprising and as impactful as what has gone before. As good as The Royale is, and it’s very good indeed, it’s not entirely

clear how it fits with the Cleveland Play House mission for the New Ground Theater Festival. The theater claims that these are new works “developed and presented” by CPH, but this script by Ramirez premiered in 2013 and has already played to positive reviews in backwater locales such as New York City, Chicago and Los Angeles. In short, this isn’t exactly a groundbreaking production “developed” by CPH. Artistic director Laura Kepley justifiably deserves the accolades she has received for some of her decisions. But the New Ground event shouldn’t promote itself as a genuine creator and promoter of new theater work while giving the festival’s centerpiece position and longest production run to a boxing play that has already, um, made the rounds.

scene@clevescene.com t@christinehowey | clevescene.com | May 16 - 22, 2018

27


INVITES YOU AND A GUEST TO SEE

To enter to win an admit-two screening pass, please send an email to

Š2018 & TM LucasďŹ lm Ltd. All Rights Reserved

soloscreeningcle @gmail.com Entries must be received by 5:00 PM on Friday, May 18th. A random drawing will be held and winners will be notiďŹ ed via email with instructions.

*No purchase necessary. Void where prohibited or restricted by law. Must be 13 years of age or older to enter to win. Employees of Philadelphia Inquirer, Walt Disney Studios and their immediate families are not eligible. Please refer to screening passes for additional restrictions.

IN THEATERS MAY 25TH

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INVITE YOU TO YOU HAVE THE CHANCE TO WIN AN ADMIT-TWO PASS FOR AN ADVANCE SCREENING OF AT CINEMARK VALLEY VIEW! To enter, visit tinyurl.com/ UPGRADECLEScene 12385&+$6(1(&(66$5</LPLW  DGPLWWZRSDVVSHUSHUVRQ7KLVÂżOPLVUDWHG50XVWEH\HDUVRIDJHWRHQWHUDQGUHFHLYHSDVV (PSOR\HHVRIDOOSURPRWLRQDOSDUWQHUVDQGWKHLUDJHQFLHVDUHQRWHOLJLEOH9RLGZKHUHSURKLELWHG2QHHQWU\SHUSHUVRQ0XOWLSOHHQWULHVZLOO EHGLVTXDOLÂżHG6SRQVRUVQRWUHVSRQVLEOHIRULQFRPSOHWHORVWODWHRUPLVGLUHFWHGHQWULHVRUIRUIDLOXUHWRUHFHLYHHQWULHVGXHWRWUDQVPLVVLRQ RUWHFKQLFDOIDLOXUHVRIDQ\NLQG

www.upgrade.movie |

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IN THEATERS JUNE 1! 28

| clevescene.com | May 16 - 22, 2018


MOVIES DEAD INSIDE Deadpool sequel has jokes on jokes, but nothing beneath the surface By Sam Allard THE RAUCOUS, RAUNCHY Deadpool 2, which opens in wide release Friday, is a fitting sequel to the wry and self-referential original, a superhero film billed as a new frontier in superhero cinema that took the box office by storm in 2016. (The Ryan Reynolds action-comedy delighted studio executives and surprised everyone when it raked in more than $360 million in 2016.) Much like its predecessor, DP2 is amped to the gills with one-liners, improvised riffs (courtesy of T.J. Miller, whose comedic stylings are now inseparable from his real-life boorishness), meta commentary and over-the-top violence. It is as gleefully R-rated as The Hangover and its sequels, though far more extreme. In the category of jokesper-minute, this one’s every bit as successful as the original – Reynolds, a self-aware hunk with brains, is the perfect vehicle for Deadpool’s commentary. But also like the original, it’s an emotional dud. At the character and story level, the franchise remains at or near the very bottom of the superhero stockpile. Watching this film, there’s just no point investing in anything. Any

character, at any moment, might have her head blown to pieces or his penis ripped off for the sake of an outrageous laugh. It’s like watching a series of very witty, grotesque skits that amount to zero in aggregate. In fact, it’s like watching porn. There’s a narrative arc beneath the onslaught, but it’s largely incidental. The central conflict, such as it is, concerns one Russell (Julian Dennison, the New Zealand boy of Hunt for the Wilderpeople fame), a plus-sized kid with deadly flamethrowing powers, a sort of beta version of X2’s Pyro. As it happens, Deadpool is now an X-Man trainee himself, donned in yellow penny. He encounters Russell outside a home for mutants after an incident there. The school is the sadistic inverse of Charles Xavier’s School for Gifted Children. This one’s run by the more-pedophilic-than-usual Eddie Marsan, a guy who approaches youth mutancy the way hardcore religious fundamentalists approach homosexuality – something to be remedied via experimental therapies bordering on torture. Deadpool enters into an uneasy alliance with Russell when they are imprisoned, and a cyborg-man

from the future, Cable (Josh Brolin) arrives to kill Russell to prevent a future catastrophe. Deadpool can be counted upon to mention that Josh Brolin is also currently playing Thanos in Avengers: Infinity Wars. Very predictable broad strokes ensue, with about eight or 10 disposable characters that are introduced and promptly dispatched in a preposterous, but nevertheless hilarious, sequence. I don’t deny that I laughed hard and often during my viewing of Deadpool 2, but I have to say I felt pretty gross about it. There are story elements which would seem to give the sequel more heart than the

original, the big question of which was whether an indestructible superhero would be taken back by the love of his life because his face was disfigured by burns. Here, the question has to do with a child, and whether or not it’s possible to save him before his villainous tendencies are irrevocably implanted. But in Deadpool 2, the good guys get fed into wood chippers and the bad guys get anally electrocuted. So honestly, who cares?

sallard@clevescene.com t@scenesallard

SPOTLIGHT: HERE TO BE HEARD WHEN DIRECTOR WILLIAM Badgley’s friend Jennifer Shagawat (Shellshagg), who served as the tour manager for the Slits when the British punk band reformed in the late 2000s, asked him to create a documentary about the group using archival footage she had shot on the reunion tour, Badgley originally declined. He was worried about the money it’d take to license music and footage from a major label (he’d only worked with indie labels at that point). But after giving it some more thought, he acquiesced. “In 2010, Slits singer Ari Up passes away, and Jennifer is in this situation where she was mourning the death of a friend and an idol and someone she looked up to,” Badgley recalls

via phone as he was waiting on a train to take him from Baltimore to Washington D.C. for a screening of his film Here to Be Heard: The Story of the Slits. He appears at 7:30 p.m. on Wednesday at the Capitol Theatre to introduce the movie and lead a Q&A after it screens. “She was sitting on this mountain of work, but she’s a musician and not a filmmaker. She shot a bunch of footage without proper mics or anything. They originally wanted the whole film to be out of that footage, but that wasn’t possible.” Badgley, who had played in a band and made the music-related documentary Kill All Rednecks, says he didn’t want to work with a group that had been on a major label (the Slits were signed to Island Records).

“You can spend a year or two of your life working on a film, and if you hit a financial or legal roadblock, no amount of DIY work ethic is going to get you over it,” says Badgley. “Three weeks later, I woke up one day and realized I just needed to go for it because it’s too important of a story.” Badgley’s fears were ultimately realized, and due to problems obtaining rights to the music, he stopped filming for 18 months. He’d eventually get back on track and secure interviews with former Slits manager and punk documentarian Don Letts, Slits guitarist Viv Albertine, Slits singer Ari Up, Slits drummer Palmolive, Slits bassist Tessa Pollitt, Slits drummer Bruce Smith, Slits singer-

keyboardist-percussionist Hollie Cook, NYU professor Vivien Goldman, producer Dennis Bovell and Sex Pistols drummer Paul Cook to create a compelling narrative about a boundary-breaking band. The movie also features previously unseen footage and recordings by the group. “With art movements like punk, music is not the important part of it,” says Badgley. “In my opinion, in the long run, the important part of it is that it opens up a new channel for people to be who they are, and that’s invaluable.” -JEFF NIESEL

jniesel@clevescene.com t@jniesel

| clevescene.com | May 16 - 22, 2018

29


ATIO IN OHIO

NICKâ&#x20AC;&#x2122;S DINER 30 30

| clevescene.com cleev cl evessce ceene nee..cco om m | May Maay 16 16 - 222, 2, 22018 2, 00118

4116 Lorain Ave. | Ohio City, 44113 | 216-631-7757


EAT TWO SMOKING BARRELS OF GOODNESS Lox, Stock and Brisket arrived with almost no notice to dazzle the east side with Jewish deli perfection By Douglas Trattner Photo by Emanuel Wallace

STOP ME IF YOU’VE HEARD THIS one before: After nearly 20 years away from Cleveland, a mysterious Italian chef sneaks back into town, opens a Jewish deli practically overnight, and quickly becomes the talk of the east side. You haven’t? Neither had I. But that’s precisely the way it went down when Anthony Zappola opened Lox, Stock and Brisket in University Heights last month. Within a few short weeks of signing a lease on a turnkey space, the itinerant chef opened his doors and began welcoming enthusiastic crowds for lunch and dinner. How’d he do it? By zeroing in on a venerated cuisine, paring it down to a few key components, and making every single thing from scratch. Lox, Stock and Brisket is modeled after the great Jewish delicatessens that once thrived in this very neighborhood, but it’s geared to today’s fast-paced lifestyle. Helping matters is the fact that the restaurant is surrounded by the likes of Chipotle, Jimmy John’s and Panda Express. “When I first got this place I was here every day and I was struggling to find something good to eat,” Zappola explains. “I kept thinking, that’s a good thing because if I’m struggling to find anything good, there are probably tons of people around here thinking the same thing.” The chef liked the space on Cedar Road because it came equipped with a smoker, a vestige of the previous tenant. After acquiring the keys, the owner painted a wall, built a new counter, and set about making brisket, which he’s flying through at roughly 50 pounds per day. Whole Certified Angus Beef briskets are cured for two days, smoked for seven hours and then sliced to order for sandwiches. The meat combines the juicy, supple texture of barbecue with the salty, spicy seasoning of pastrami. Set against the cool crunch of housemade dill pickles and tang of yellow mustard, as it is in the Upper East Side ($11), that brisket really shines. For the turkey, the chef brines whole breasts overnight, seasons and

lightly smokes them. Thick-sliced but moist and tender, the off-thebone meat lands in sandwiches like the Roz ($11), a satisfying stack of turkey, swiss, Cleveland Kraut and creamy Russian dressing. Zappola even makes his own lox, cold-smoked salmon that is sliced and served with a bagel and schmear in the Ridge Lane ($8).

redskin potato salad. You can’t open a deli without matzo ball soup ($4) and the version served here will appeal to those who prefer floaters over sinkers, bobbing in a nice broth alongside carrots and bites of turkey. While the restaurant is fast-casual in terms of ordering, paying and seating, staffers typically deliver the food on metal trays with

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As appetizing as the brisket and turkey might be, the number one seller at LSB is the Lincoln Park ($10), a sandwich that flirts with perfection. Twin hot and crisp fried chicken schnitzels are tucked into a butter-soft egg roll with sweet pickles and a slather of mildly spiced aioli. The uber-crunchy breading gives way to a hot, juicy interior followed by the cool, creaminess of the mayo. Sandwiches come with a choice of sides, like a lightly dressed shredded cabbage slaw or creamy-textured

real cutlery. Apart from 10 or so sandwiches, sides and soup, the menu offers fluffy black and white cookies and New York-style cheesecake, both baked by the chef’s mother, who can be found most days behind the register. What you won’t find at Lox, Stock and Brisket are extraneous chef’s specials, incompatible one-offs and generally anything that stands between the diner and the crystalclear mission of the owner. “I’m past the point in my career

where I have anything to prove,” says Zappola. “I busted my ass for Tom Colicchio for 12 years. Do you know how hard that is?” Colicchio, of course, is the chef’s chef behind such legendary restaurants as Craft, Craftsteak and Heritage Steak, the last of which is a $10 million Las Vegas eatery that up until recently employed Zappola as its “Top Chef.” After working in other people’s restaurants since he graduated culinary schools in Florence and London 20 years ago, the chef returned home to plant his flag – and he did so on hollowed deli ground. For 38 years, Corky and Lenny’s operated across the street until it closed more than two decades ago. “The best part has been the thank-yous from people in the neighborhood,” the chef reports. “Thank you for bringing true deli back to Cedar Center; this area hasn’t had something like this for a long time. This little niche we found here has been overwhelming.”

dtrattner@clevescene.com t@dougtrattner

| clevescene.com | May 16 - 22, 2018

31


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32

| clevescene.com | May 16 - 22, 2018

IN AUSTIN, TX, MANY PRIME downtown property sites are developed not as locations for yet another fast food restaurant, but as food trailer parks, where a variety of independent food trucks are assembled in one spot for fun and convenience. Invariably, the popular, laid-back attractions are outfitted with picnic tables, umbrellas and trees that twinkle with string lights. That arrangement looked so appealing to Justin Costanzo that he set about recreating it – at least in spirit – in his hometown. To assist him with the process, he brought in his longtime boss, mentor and friend Dan Deagan as a consultant. Deagan, of course, is the owner of Deagan’s Kitchen & Bar and Humble Wine Bar, both in Lakewood. “We had seen the concept in Texas, and loved the community feel of it,” Costanzo says. “The idea was to do something similar but to make it nicer.” If all goes according to plan, Lakewood Truck Park, as it is presently called, will take shape at the corner of Detroit and Edwards avenues. The 19,000-square-foot lot, which is owned by someone else, has been vacant for the past four or five years, notes Costanzo. As the plans stand now, the development would include two distinct but attached buildings and a large courtyard. The smaller structure would house an indoor bar, restrooms, walk-in coolers, office space and storage. The larger structure will be a “four-seasons” room that opens up on every side. The sides that face the courtyard would open up all the way to the ground, while the sides that abut Detroit and Edwards would open up to knee-wall height. “Being able to open up every side will give us great air circulation in summer,” says Costanzo. “And the plan is to try and have the outside open as close

to 365 days a year as possible.” They’ll facilitate that with fire pits, heaters and bourbon. Roughly three to four food trucks would park directly on the property as opposed to on city streets. Those trucks would likely change daily, says Costanzo. “We liked the idea of having a rotating schedule of food trucks because your menu is changing every single day,” he says. Other ideas include having various ice cream providers setup shop on a weekly or monthly basis during summer offering a lineup of sweet treats, frozen drinks and bourbon milkshakes. In the dead of winter when fewer food trucks are rolling, an operator can move indoors to provide a limited menu. As for capacity, right now it’s looking like 35 seats in the main bar, 100 in the larger space, 100 outdoors on the patio, and another 45 on a potential rooftop deck. Not shown on the architect’s renderings, notes Costanzo, are the mature trees that will be added both for shade and to keep down noise. Plans have been submitted to the City of Lakewood Architectural Board of Review, but management is in no hurry for approval. In fact, they’ve asked for a deferral so that they can gather as much neighborhood feedback as possible. “Lakewood is one of the most community-driven suburbs around, with a lot of residential,” Costanzo says. “We’re asking for feedback from the community.” Costanzo owns Grindstone Tap House in Berea and still works as GM of Dive Bar in the Warehouse District. It’s there – and Blind Pig, where he managed for 10 years – that he got to know bar and restaurant owner Dan Deagan. The goal is to open in spring of 2019, hopefully in time for Saint Patrick’s Day.

dtrattner@clevescene.com t@dougtrattner


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| clevescene.com m | May 16 - 22, 2018


MUSIC PUTTING THE MUSIC FIRST Justin Townes Earle and Lilly Hiatt talk lessons learned from singer-songwriter fathers By Jeff Niesel Photo by Alysse Gafkjen

GIVEN THAT VETERAN SINGERsongwriters John Hiatt and Steve Earle both know each other, it only makes sense that their respective offspring, singer-songwriters Lilly Hiatt and Justin Townes Earle, would tour together. The two bring their double bill to the Beachland Ballroom at 8:30 p.m. on Friday as part of a 35-date tour. Both have terrific albums to promote. Produced by Mike Mogis (Bright Eyes, First Aid Kit), Earle’s Kids in the Street represents the first time in his decade-long recording career that Earle has worked with an outside producer. The result is an eclectic album that shows off his literary-minded lyrical abilities. Hiatt, who has toured with alt-country acts such as DriveBy Truckers and the Old 97s, comes to town in support of last year’s Trinity Lane, an album that shows off her songwriting chops and supple voice. In separate interviews (Earle spoke via phone from a Fort Collins tour stop, and Hiatt responded via email), the two discussed the tour and their respective releases. HOW DO THE TWO OF YOU KNOW ONE ANOTHER? EARLE: We actually don’t know each

other, but I know her father pretty well. We’re label mates. I love her record, and I’m in the position now where I can pick and choose my openers. She opened for my dad, who was really impressed with her. It was an easy decision for me. HIATT: I was asked to join Justin for

some shows and immediately said yes. I am a fan and thought it would be a cool combo.

out there who can’t write their way out of a wet paper sack. That can be a problem for people, especially for me

self-deprecation, family with a twist of humor...those all seem to pop up in our tunes. It’ll be a cool

JUSTIN TOWNES EARLE, LILLY HIATT HOW DO YOU THINK YOUR SETS WILL COMPLEMENT EACH OTHER? EARLE: I have no idea. I haven’t seen her play yet. One thing that she does is she has a good sense of the humanity in her writing. She’s also just a good songwriter. I know that my fans are songwriter-friendly; they’re actually songwriter-adamant. So many times, you get somebody

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because I don’t want to listen to that night after night.

time, and I hope I learn a lot. I love watching other songwriters at work.

HIATT: Well, just a couple of guitars

and our songs. That’s a fun way to share a night, bare bones. Love,

WHAT KIND OF MUSIC DID YOU LISTEN TO WHILE GROWING UP?

EARLE: My mom was all over the place. She liked rock ’n’ roll. She actually liked Metallica quite a bit. She loved the Replacements and the Pretenders and things like that. With the Pretenders, the sense of timing and melody was important. I’m innercity white trash, so there was a lot of hip-hop involved. That gave me this sense of rhythm and lyrical timing, not that it’s blatantly obvious, but it’s something I think it played a role. HIATT: I listened to everything, but lots of rock ‘n’ roll. Weezer made me want to play guitar and write songs. And it was Wynonna Judd and a | clevescene.com | May 16 - 22, 2018

35


MUSIC UPCOMING ENTERTAINMENT!

Mariah Carey album that I learned to sing from. On my sixth birthday, these twins gave me a cassette of each, and it was on. WHAT ROLE DID YOUR FATHER PLAY IN HELPING YOU DEVELOP AS A SONGWRITER? EARLE: He showed me where the

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music I loved that was current came from. He made a big impression on me about how to be a writer. You have to read because if you don’t put anything in, nothing good comes out. Literary sources can be just as big an inspiration for your music as anything. Listen to Guy Clark’s “Let Him Roll,” and you can’t tell me that Jack Kerouac didn’t have a hand in that song. HIATT: Just watching him create

over the years was immensely inspiring. Also shooting straight with me — he doesn’t just dish out the compliments for nothing. And I appreciate that. WHAT DID HE TEACH YOU ABOUT THE MUSIC BUSINESS?

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EARLE: I did some touring with

him as a tech, and he taught me about the road. A lot of people who get started off have this total misconception about what happens out here on the road. It’s not a hyperglamourous thing at all. It’s work. It’s serious work. It’s the same thing with writing. Maybe there have been a few in history who could write immediately, but you’re probably going to have to write a bunch of bad songs before you’re able to write good ones.

routine. A song like “15-25” is based on me. That’s the thing. I’m lucky that I survived. I remember when I turned 30, I saw my mother and jokingly said, “Did you ever think you’d see this day?” She said, “No.” In all seriousness, she was not joking at all. She was sad. I don’t think there was anybody who knew me in my teens or early twenties that thought I would live for very long. HIATT: Thanks! They came together the summer after I moved to my little place [in Nashville]. I spent pretty much every night alone and wrote to cheer myself up. That’s what I usually do. So far, a lot of my songs have been fairly true to my life. I’m actually just now realizing I can say anything I want, even if it didn’t happen! There are a few [songs] that are dreamed up though. WERE YOU GOING FOR SOMETHING PARTICULAR IN TERMS OF YOUR APPROACH TO THE MUSIC? EARLE: I’ve always loved to dabble in ragtime and soul and country. I got away from that after Harlem River Blues. I ended up in this place where there was nothing going on and went back to the music I loved. If I’m listening to music at home, I’m most likely listening to Billie Holiday or Count Basie or Son House. At the same time, I’ll throw on the Replacements. It was just me going back to that thing of paying homage to the people who inspired me to be a musician in the first place. HIATT: Not really. I just want to let it rip. I don’t like being boxed into anything, and as soon as I feel that way, I tend to push out. I THINK YOU’RE PLAYING AN ACOUSTIC SET. TALK ABOUT THE CHALLENGES THAT COME WITH THAT.

HIATT: Put the music first.

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| clevescene.com | May 16 - 22, 2018

THE SONGS ON YOUR NEW ALBUM ARE REALLY WELL-CRAFTED. WHEN DID THEY BEGAN TO COME TOGETHER? EARLE: I was living in Northern

California about 30 or 40 minutes north of Fort Bragg in a tiny little village of about 15 people. It’s strange that it came to this, but when I wrote the records before, I was living in New York or Nashville. There was a big social part of my life then. For some reason, my songs were more introverted at that point. When I got to a place where I didn’t socialize so much, I started to look more outward at the people I grew up with and see them as something special rather than something

EARLE: Playing solo presents no challenge to me whatsoever. It’s what I’ve done for 90 percent of my career. That was something my father taught me. He told me, “Learn to play a real solo show, so you can have a career even if you’re just playing coffee shops.” The real challenge is playing with a band. When I do solo shows, it’s all completely on me. HIATT: It’s a different take on where the songs landed, but it’s actually where they all start, so it’s not too tough. I’m pretty happy when it’s just me and my guitar.

jniesel@clevescene.com t@jniesel


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| clevescene.com | May 16 - 22, 2018

37


MUSIC A GROUP EFFORT Melvins’ singer-guitarist Buzz Osborne talks about each track on the band’s new album By Jeff Niesel GRUNGE ICONS WHO FORMED in the early 1980s, the Melvins continue to nurture their own particular brand of doom metal. On its latest album, Pinkus Abortion Technician, the band teams up with bassist Steven McDonald (Redd Kross) and bassist Jeff Pinkus (Butthole Surfers), both of whom play on all of the songs. Tracks such as the classic rock-informed “Stop Moving to Florida,” tune that features constipated vocals and a riveting guitar solo, suggest a different side to the band’s sound. In advance of Friday’s show at the Grog Shop, singer-guitarist Buzz Osborne talks about each track on the disc, the group’s umpteenth studio release. “People say we’re really prolific, but, as any good economist would tell you, it’s important to remember that when you see statistics about the economy, it’s ‘compared to what?’” jokes Osborne when we reach him via phone. “We only look prolific compared to lazy musicians.”

“Stop Moving to Florida” “’Stop’ is a cover of the James Gang doing a cover. It’s a combination of that song with Butthole Surfers’ ‘Moving to Florida.’ I thought it was a good idea. I think we sound more like Butthole Surfers than the James Gang, though I like the James Gang a good deal. I thought the two of them would go together really nicely. In my brain, it works great. If people have a hard time with that because they think it’s odd, they should get out more. It’s not that weird. We’ll see how many people know it in Cleveland. I won’t hold my breath. It’s amazing how small people’s musical taste is. I have room for both the James Gang and the Butthole Surfers in the same breath. Of course. Why wouldn’t you listen to both bands? I thought Jeff [Pinkus] did a good job of singing it. People need to understand that we’re part of no scene and not part of any genre whatsoever. We do things the way we want to. We’re never perverse — never perverse. If people think we’re perverse, they have no understanding of what we’re doing. I’m not joking.”

38

Photo by O

“I Want to Hold Your Hand” “That’s a cover of a cover. We do it the way that the Moving Sidewalks did it that way with that flavor. We had that idea a long time ago. We just do the whole song. We started playing it live with Steven [McDonald] playing the whole song, and we just recorded it that way. We do it a little weirder — never leave a good version unnoticed.”

“Prenup Butter”

“Embrace the Rub” “Steven [McDonald] wrote this song. That one is really good. I think it’s really well-constructed. I was happy to add my guitar part to it. It’s fun to let someone like Steven do their job. You’re never disappointed if you just let guys like that do their thing. That’s what we did. On this album, I was

‘Yes.’ I have no problem with doing it exactly as he wanted. He really hit a home run with this one. I’ve always been open to that. I never said, ‘I’m writing all the songs.’ That’s never a conversation we had. It’s not like, ‘I write all of the songs because I’m the maestro.’ That’s just bullshit. If everyone brought in four songs, everyone would have four songs on the album. I would be

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really happy to let other people write songs and sing. It’s high time for that. I’ve written and recorded more than 400 songs if you add it all up. This album is like a salad bar. There’s room for everything. There’s something here that everybody can like.”

“Don’t Forget to Breathe” “Jeff [Pinkus] brought that in almost completely done. We flushed it out a little bit. It’s fun to play live. We’ve been playing it live. It’s a nice, mid-tempo fun song that still has an air of thickness about it that feels good. When someone brings in a track like that, you just say,

| clevescene.com | May 16 - 22, 2018

a foooool not to embrace that. You bring in a song like that, it’s getting recorded with no argument.”

“Flamboyant Duck” “[Drummer] Dale [Crover] brought that one in. It starts as an acoustic thing and shifts gears. It goes a lot of places. It fits in nicely. It’s still very, very weird.”

“Break Bread” “That has more of a classic rock vibe. I think Jeff [Pinkus] wrote it for [his band] Honky, but Honky never used it, so we took it.”

“I wrote the vocals after we recorded the song. It was an easy song to write the vocals for. When you have music that that’s good, it’s not hard to do. I maybe spent a day on a half on it but went to the studio on my own and cut the vocals and surprised everyone.”

“Grave Yard” “We’ve been covering this Butthole Surfers song since when Jeff [Pinkus] was in the band the first time. It was lying around. People say this album has too many covers, but we just did a double album. Give us a break! Take a chill pill! You’re going to give us shit for that? Go back to your Green Day albums or your stupid stoner rock band. There’s plenty of bands out there to spoon feed you pablum. Don’t expect us to do that. We are not your fucking parents. We’re not one of the bands who worry about what the fans want. Like I said, we’re not trying to be perverse. Our records are really well thought-out. If I was trying to be perverse, I wouldn’t have spent any time on the recording. The double album took an enormous amount of time to do and was massively intricate. Some people take it for granted, but other people think it’s the coolest thing they ever heard. That’s how we see it. Our music is for people who are not stupid.”

jniesel@clevescene.com t@jniesel


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39


40

| clevescene.com | May 16 - 22, 2018


LIVEWIRE

all the live music you should see this week Photo by Richard Kerris

WED

Bad Boys of Blues Jam: 9 p.m. Smedley’s. The Claudettes: It would be unbelievably inaccurate to confine Chicago band, The Claudettes, to a solitary genre. The band fuses jazz, blues, vaudeville, soul, and classical. Though their diverse yet structured style is fresh, their live shows are a throwback to early 20th century performances from a 1930s big band club to a 1920s speakeasy. For their new album, Dance Scandal at the Gymnasium! , they worked with Grammy-winning Black Keys/ Old 97’s producer Mark Neill and recorded at his Soil of the South studio for 10 days, using Neill’s collection of vintage equipment including marxophones, mellotron sounds, rare fuzz pedals and old Gretsch drums and Rickenbacker bass. A song such as “Don’t Stay With Me” features soulful vocals, driving guitars and a barroom piano riff as the band shows off its musical chops. (Jeff Niesel), $5. Happy Dog. Lifted Bells/Two Hand Fools/ Shade/Backtalk: 7 p.m., $8 ADV, $10 DOS. Mahall’s 20 Lanes. Magic Beans/Switched-On: 8:30 p.m., $10 ADV, $12 DOS. Beachland Tavern. Nonpoint/Butcher Babies/Cane Hill/Sumo Cyco: 5:30 p.m., $20 ADV, $25 DOS. Agora Ballroom. Orange Animal/Wildcard Leader/ Mikey Silas: 8:30 p.m., $5 ADV, $8 DOS. Grog Shop. Squirrel Nut Zippers: 8 p.m., $30 ADV, $35 DOS. Beachland Ballroom. Mars Williams: 8 p.m., $20. Bop Stop.

THU

Locker Room): 7 p.m., $8. Mahall’s 20 Lanes. We are Songs: Molina - A Memorial Electric Co/Elephant Micah: 8:30 p.m., $16 ADV, $18 DOS. Beachland Tavern. Yanni: 8 p.m. Jacobs Pavilion.

05/16

05/17

Elizabeth Cook/Caleb Caudle: 8 p.m., $22. The Kent Stage. Albert Cummings Blues Band (in the Supper Club): 7:30 p.m., $15 ADV, $17 DOS. Music Box Supper Club. Dead to Me/Elway/DFMK/Heart & Lung: 7 p.m., $12 ADV, $14 DOS. Mahall’s 20 Lanes. Electric Vikings: 8 p.m., free. CODA. FreeByrds Musician’s Night: 10

SAT

Todd Rundgren brings his prog rock act Utopia to Hard Rock Live this weekend. See: Saturday and Sunday.

p.m. Smedley’s. Ben Geyer Trio: 7 p.m., $12. Bop Stop. Gnarly Davidson/Boreal Hills/ Wooly Bear/Brain Cave (in the Locker Room): 8 p.m., $5. Mahall’s 20 Lanes. Hathaway Brown Music Program: 7:30 p.m., $10. Nighttown. Chris Hatton’s Musical Circus (in the Wine Bar): 8 p.m. Brothers Lounge. Jam Night with the Bad Boys of Blues: 9 p.m., free. Brothers Lounge. Pillorian/Burial Oath: 8 p.m., $10 ADV, $12 DOS. Now That’s Class. Pink Mexico/Mild Animals/An American Astronaut: 8:30 p.m., $10. Beachland Tavern. Smoke DZA & Bodega Bamz/Jayy Grams/Rosello: 9 p.m., $15. Grog Shop.

FRI

05/18

After Funk/Chirs/Tucker: 8 p.m., $8 ADV, $12 DOS. The Winchester. Ki Allen with special guest Richie

Cole: 8:30 p.m., $20. Nighttown. Big & Rich/Cowboy Troy/DJ Sinister: 8 p.m. Hard Rock Rocksino Northfield Park. Blaze Ya Dead Homie/Gorilla Voltage/Tha Grimey OneZ: 7 p.m., $17 ADV, $20 DOS. Agora Ballroom. Justin Townes Earle/Lilly Hiatt: 8:30 p.m., $25. Beachland Ballroom. Melvins/All Souls: 9 p.m., $22 ADV, $24 DOS. Grog Shop. Mister Moon/The Village Bicycle/P. Stoops/Biitchseat: 8 p.m., $8 ADV, $10 DOS. Mahall’s 20 Lanes. Mossom/Essential Machine/ Darklighter: 8 p.m., $4 ADV $7 DOS. CODA. Saved by the ‘90s/DJ Scott Heisel: 9 p.m., $13 ADV, $15 DOS. House of Blues. The Scenic Route/Old Brooklyn/ The Permanents/Paper Thin: 8 p.m., $8. Musica. Sinatra Night with Michael Sonata (in the Supper Club): 8 p.m., $10. Music Box Supper Club. Stalemate/Fawx/When/Where/ Night In/honeymoon (in the

05/19

Wesley Bright and the Honeytones/ Aztec Sun: 8:30 p.m., $15. Beachland Ballroom. Defeated Sanity/Behold... The Arctopus/Abraded: 8 p.m., $10 ADV, $12 DOS. Now That’s Class. Corey Flood/Serrated Slump/Youth Pallet/Mary Kekic (in the Locker Room): 7 p.m., $8. Mahall’s 20 Lanes. Ghost Light/Yosemight: 9 p.m., $12 ADV, $15 DOS. Grog Shop. Debbie Gifford Sextet: 8 p.m., $15. Bop Stop. Handsome Ghost/Beta Radio: 8 p.m., $15. Beachland Tavern. Todd Rundgren’s Utopia: Singerguitarist Todd Rundgren describes his prog rock band Utopia, which first formed back in 1973, as an “organic thing.” The band evolved from the group of musicians who helped him record his 1973 solo effort A Wizard, A True Star. The band’s heady music often alternates between jazz fusioninspired guitar and keyboard riffs and Rush-like prog rock jams. The band would split in 1986 only to reform six years later for a tour of Japan that Rundgren says he thought would be more expansive but didn’t because of “lingering issues” and the fact that some band members had to still hold down day jobs. The tour that brings it to town this weekend represents its first major outing in decades. (Niesel), 8 p.m. Hard Rock Rocksino Northfield Park. Salami Rose Joe Louis/Edwin Agustin Jr. (in Mahall’s Apartment): 8:30 p.m., $5. Mahall’s 20 Lanes.

SUN

05/20

Apocalyptica: 6:30 p.m., $25-$45. Agora Theatre. Helmet/Prong: 8 p.m., $22 ADV, $25 DOS. Beachland Ballroom. Northern Ohio Youth Orchestra: 6 p.m., $5. Bop Stop. Petrification/Merciless Reign: 9 p.m., $5. Now That’s Class. | clevescene.com | May 16 - 22, 2018

41


Join us on Facebook @CLE New Wave Connection

DIAMOND DAVE’S

FLASHBACK

80’s NewaWratvye Dance P With

DJ’S DIAMOND DAVE AND GUY WIRES

Saturday May 19th 10 PM - 2:30 AM

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Elizabeth Cook

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Thu., May 17

Jerry Douglas Band

Mon., May 21

Mon., May 22

LIVEWIRE Todd Rundgren’s Utopia: 7:30 p.m. Hard Rock Rocksino Northfield Park. The Sidekicks/Swim Team/ Runaway Brother: Sidekicks singer-guitarist Steve Ciolek and drummer Matt Climer met at Paudua High School in the early 2000s. Both freshmen, they shared a history class and randomly discovered that they liked the same type of music, namely pop-punk. The band made its debut in 2007 with So Long, Soggy Dog, and the group has been going strong ever since. Produced, engineered and mixed by John Agnello (Sonic Youth, Dinosaur Jr., Kurt Vile), the band’s new album, Happiness Hours, emphasizes the band’s melodic side. “Twin’s Twist,” for example, features harmony vocals and shimmering guitars as Ciolek sings about adopting a “high school state of mind.” Expect to hear a slew of new tracks at tonight’s show. (Niesel), 8 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes. Them Evils/Hamilton Handshake/ Dark Water Rebellion: 8:30 p.m., $8 ADV, $10 DOS. Grog Shop.

MON An Evening with Leo Kottke

The 9th Annual Alan Cox Show Comedy Tour

Wed, May 23

Sat., May 26

JJ Grey & Mofro Thu., May 31

Honky Tonkin’ Happy Hour Show & BBQ with Western Centuries: 7 p.m., free. Beachland Tavern. Ana Popovic: 8 p.m., $22. The Kent Stage. Skatch Anderssen Orchestra: 8 p.m., $7. Brothers Lounge. Velvet Voyage (in the Wine Bar): 8 p.m. Brothers Lounge.

TUE The Del McCoury Band Wed, Jun. 6

Peter Asher & Albert Lee

John Waite

Thu., Jun. 7

Sat., Jun 9

JUST ANNOUNCED

THU., AUG. 9

Judy Collins Sat., Aug. 18

ALL SHOWS AT THE KENT STAGE UNLESS OTHERWISE NOTED Tickets available at www.kentstage.org or 877-987-6487 GMK[w‰Šcw„iŠˆ{{Š©a{„ŠBe~…JJHJF

42

| clevescene.com | May 16 - 22, 2018

05/21

MURDER MYSTERY DINNER Visit website for all show details.

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Coming Soon JUNE 15

05/22

Jerry Douglas Band: 8 p.m., $35. The Kent Stage. Daryl Hall & John Oates/Train: 7 p.m. Quicken Loans Arena. The Marcus King Band/Collin Miller & the Brother Nature: 8 p.m., $17 ADV, $20 DOS. Beachland Ballroom. Tatsuya Nakatani: 8 p.m., $15. Bop Stop. Matthew Logan Vasquez/Parker Gispert: 8 p.m., $12. Beachland Tavern.

scene@clevescene.com t@clevelandscene

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Photo by Jamie Escola for Tiltawhirl Photography

BAND OF THE WEEK

MARC LEE SHANNON MEET THE BAND: Marc Lee Shannon

(vocals, guitar) A SESSION PLAYER: Shannon grew up in Akron and got a record deal right out of high school. That didn’t quite pan out, so he moved to Los Angeles to pursue his musical dreams in the late ’70s. “I got into a guitar school in Los Angeles and everyone there was better than me,” he says. “But I toughed it out and after that I did studio work for 10 years and made 100 records probably. Some were really good and never saw the light of day and some were really bad. I played with Rave-Ups, who part of a popular post-country scene with Lone Justice and the Beat Farmers, and we used to play the Palomino Club. I had a good run. I was like a poor man’s David Lindley.” In 1990, he moved back to Northeast Ohio and got into “the corporate world.” He did a session with local singersongwriter Michael Stanley for his first solo effort and has played with Stanley’s backing group, the Resonators, ever since. He also plays with Stanley in the Midlife Chryslers. A GROUP EFFORT: Shannon’s new

album, Walk This Road, represents his first studio release since 2008’s Michael Stanley-produced Any Ordinary Man. It features musical contributions from members of Welshly Arms, the Speedbumps, Shooter Sharp & the Shootouts, the Vindys, Ray Flanagan & the Authorities and more. Shannon recorded the disc locally with local singer-songwriter Ryan Humbert and producer Jim Stewart at Superior Sound, a studio located just east of downtown. “I took my songs over to Ryan, and I wasn’t sure about them, but he convinced me that they

were worth it,” says Shannon. “Jim Stewart did the recording and he is bad-ass. We set up an amp wall and we just went at it. We used some EarthQuaker pedals too. It has nothing but real sounds on it. It’s an organic record. I think you can hear it too.” WHY YOU SHOULD HEAR HIM: The hard

rocking title track practically has a Social Distortion feel to it as Shannon belts out the vocals over a distorted guitar riff and heavy drums. The Mark Selby-penned ballad “Back Door to My Heart” features cooing backing vocals and old school organ. “Something Going On” benefits from a bluesy guitar riff and nasally vocals; it comes off as a rootsier Elvis Costello. Shannon effectively channels Randy Newman on the woozy piano ballad “Since You Been Around.” “The songs on the record are about transformation,” he says. “I hate to talk about being a sober guy because people think that if they like to drink a beer they won’t like my music. There are a lot of fun songs and love songs. There are one or two that are tough to sing because they come from a dark room place.” For the release show at the Tangier, he’ll perform with a 7-piece band featuring musicians who played on the album. WHERE YOU CAN HEAR HIM: facebook.

com/marcleeshannon WHERE YOU CAN SEE HIM: Marc Lee Shannon performs at 8 p.m. on Saturday, May 19, at the Tangier in Akron. – JEFF NIESEL

jniesel@clevescene.com t@jniesel

| clevescene.com | May 16 - 22, 2018

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SAVAGE LOVE DENVER’S ORIENTAL THEATER By Dan Savage SAVAGE LOVE LIVE AT DENVER’S Oriental Theater last week was epic. I fielded sex questions in front of a sold-out crowd, singer-songwriter Rachel Lark performed amazing news songs, comedian Elise Kerns absolutely killed it, and Tye—a token straight guy plucked at random from the audience—joined us onstage and gave some pretty great sex advice! We couldn’t get to all the audience questions during the show, so I’m going to race through as many unanswered questions as I can in this week’s column…

You’ve famously said, “Oral comes standard.” How long before anal comes standard? How does a week from next Tuesday grab you?

I enjoyed a great sex life with many kinky adventures until my husband died suddenly two years ago. I have insurance $$$ and a house to sell and a dream of using the proceeds to become a sex-positive therapist. Crazy idea? Or something the world needs more of? Judging by how many people tell me they’re having a hard time finding sex-positive, kink-positive, openpositive, and poly-positive therapists, I would definitely file “sex-positive therapist” under “world needs more of.” Chase that dream!

How do you introduce your inexperienced-but-willing-to-try partner to BDSM? By starting a two-person book club. Order Playing Well with Others: Your Field Guide to Discovering, Exploring, and Navigating the Kink, Leather, and BDSM Communities by Lee Harington and Mollena Williams, The Ultimate Guide to Kink: BDSM, Role Play, and the Erotic Edge edited by Tristan Taormino, and SM 101: A Realistic Introduction by Jay Wiseman. Read and discuss, and discuss some more—and when you’re ready to start playing, take it slow!

What resources are available— which do you recommend—to share

with my male partner so he can improve (learn) oral sex? (Girl oral sex!) Two more book recommendations: The Ultimate Guide to Cunnilingus: How to Go Down on a Woman and Give Her Exquisite Pleasure by Violet Blue and She Comes First: The Thinking Man’s Guide to Pleasuring a Woman by Ian Kerner.

My boyfriend told me that women orgasm only 60 percent of the time compared to men. I said I want orgasm equity. How do I navigate his pansyassed male ego to find a solution? The orgasm gap—91 percent of men reported climaxing in their last opposite-sex sexual encounter compared to 64 percent of women (National Survey of Sexual Health and Behavior)—doesn’t exist for lesbians and bi women in same-sex relationships. So the problem isn’t women and their elusive orgasms, it’s men and their lazy-ass bullshit. A contributing factor is that women often have a hard time advocating for their own pleasure because they’ve been socialized to defer to men. There’s evidence of that in your question: You want to navigate this problem—the problem being a selfish boyfriend who doesn’t care enough about you to prioritize your pleasure and has taken cover behind the orgasm gap—but you want to spare his ego in the process. Fuck his precious ego. Tell him what you want and show him what it takes to get you off. If he refuses to do his part to close the orgasm gap in your apartment, show him the door.

HALF HOUR FREE

How do you prioritize sex with your partner when life gets so busy and masturbation is so much easier? My fiancé is down for quickies sometimes but not always. Forgive my tautology, but you prioritize sex by prioritizing sex. Scheduled sex can be awesome sex. Truly pressed for time? You can always masturbate together.

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