Scene October 17, 2018

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OUR VOICES: DEMOCRACY RE:visited World premiere performance by Grammy-winning trumpeter and composer Terence Blanchard Commissioned by Tri-C JazzFest Cleveland with support from the Joyce Foundation and MAP Fund, this powerful piece is inspired by the Voting Rights Act of 1965 and reflects the conditions, events and individuals that produced historic political change and public policy. Blanchard’s current group, E-Collective, will be joined by the Spirit of the Groove Gospel Choir, CityMusic Cleveland and spoken word artists RA Washington and Orlando Watson.

7 p.m. | Nov. 4, 2018 Maltz Performing Arts Center at The Temple-Tifereth Israel Reserve your FREE ticket | case.edu/maltzcenter

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| clevescene.com | October 17 - 23, 2018

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All the best things to do in Cleveland this week

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Death and grief in focus at Doubting Thomas

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Galveston explores the road to redemption, with mixed results

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Fat Head’s is getting most things right at its massive new brewpub, plus Souper Market is coming downtown

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ZZ Top’s Billy Gibbons explores new sonic vistas on his solo album, Garbage comes to town to play 2.0, plus all the shows to see this week

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Our very special preview of the Cavs’ 2018-2019 season

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Why does Cleveland.com’s editor seem to hate journalists so much?

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| clevescene.com | October 17 - 23, 2018

UPFRONT WHY DOES ISSUE 1 HAVE TO BE A CONSTITUTIONAL AMENDMENT? Photo: Lisa Pasquinelli Rickey:Flickr

Much of the swollen consternation over Issue 1, the statewide ballot measure that would reduce penalties for drug offenses, concerns the fact that it’s a proposed constitutional amendment. “Amending the Ohio Constitution to recast this state’s drug laws is like using a chainsaw for surgery,” wrote the Plain Dealer editorial board in its proudly anti-democratic opposition editorial last month. “It’s anything but precise. And once it’s embedded in the state’s constitution, a do-over is all but impossible.” It’s the legislature, not the voters, the PD and judicial groups argue, who are smart enough to deal with this “important but politically volatile and complicated matter.” “Putting this issue on the ballot as a constitutional amendment subject to emotional voting, not careful review, is dangerous and wrong,” the PD wrote. The Columbus Dispatch, too, said that while the state is sorely in need of drug reform, a constitutional amendment would be a “complicated and questionable” solution. The Toledo Blade editorial board sang a variation on the same tune, in its editorial titled “good intentions, wrong tool.” “Ohio laws regarding drug abuse, drug trafficking, and drug possession should be made by our elected officials with the advice of Ohio judges, prosecutors, police, treatment specialists, and other

practitioners in the field,” the Blade decided. But not, of course, by the lowly voters. We voters are far too stupid and too emotional, apparently, to deal with such a complicated problem. Yet all these newspapers and judges are prepared to acknowledge that opioids have ravaged our state. But when the voters try to find a solution to this grave and widespread issue, one that’s now inextricably linked with the criminal justice system, it’s dangerous. It’s wrong. At a City Club forum on Issue 1, Stephen Johnson Grove of the Ohio Justice & Policy Center, arguing in favor of the amendment, invited the audience to picture three charts: one depicting prison population, one depicting prison budgets, and one depicting overdose deaths. “They just go up,” he said, referring to all three. “If we keep doing what we’re doing, we’re going to get more of the same. So what does Issue 1 do differently? Among other things, it will: s Allow sentence reductions of incarcerated individuals, (except those in prison for murder, rape, or child molestation), by up to 25 percent if the individual participates in rehabilitative, work, or educational programming. s Recategorize, from felonies to misdemeanors, the crimes of obtaining, possessing,

or using any drug such as fentanyl, heroin, methamphetamine, cocaine, LSD, and other controlled substances. s Prohibit jail time as a sentence for obtaining, possessing, or using such drugs until an individual’s third offense within 24 months. s Allow an individual convicted of obtaining, possessing, or using any such drug prior to the effective date of the amendment to ask a court to reduce the conviction to a misdemeanor, regardless of whether the individual has completed the sentence. s Require a graduated series of responses, such as community service, drug treatment, or jail time, for minor, non-criminal probation violations. The amendment has been “written carefully” Johnson Grove said “to create more safety and produce better outcomes.” Much too carefully, evidently! The Plain Dealer editorial board, which couldn’t resist the opportunity to note the stupidity of the electorate once again, characterized the amendment — which it earlier described as “anything but precise” — as “an amendment of almost 2,000 words, an amendment few Ohioans will find the time to read or have the knowledge to interpret.” Good God! Who do they think we are?! These newspapers are worried about “unforeseen consequences” — drug dealers relocating en masse to take advantage of leniency, notably — but these are conjectural outcomes. The chief outcome would be to codify an idea that is supported by all but the outermost fringes of the radical right: that rehabilitation is better than prison time for drug users and for the society at large. Why are all these judges so eager to keep locking up low-level drug offenders? Wasn’t that the strategy favored by the War on Drugs, which experts domestically and internationally now regard as an unqualified public policy

disaster? Judges are keen to hold onto their power, it turns out. In the words of Common Pleas Judge David Matia, who argued against the amendment yesterday, they want to be able to enforce “accountability.” The most obvious rejoinder, though, to the argument that amending drug laws should be handled by smart, emotionally detached state legislators is that they haven’t handled it. And there’s no reason to suspect that they will. In Cuyahoga County, our state legislature does not represent us, and taking matters into our own hands to improve the society is exactly what voters are supposed to do in a Democracy. - Sam Allard

State of the City Kerfuffle Reveals Rift in Local Journalism Community The origins came prior to the State of the City speech when City Hall issued a “Rules of Engagement” memo to media covering the mayor’s address. It included Dos and Don’ts, among which were (illegal) edicts that reporters not ask questions inside the auditorium. The Press Club of Cleveland and assorted reporters took City Hall to task, correctly and publicly, for the wrong-headed memo. On last Friday’s Reporter’s Roundtable on WCPN, Cleveland. com editor Chris Quinn provided his analysis of what happened. Here’s the transcript: Chris Quinn: There was some controversy before the debate [sic] because the city put out a press release to the media — just to the media — saying Do’s and Don’ts. And a couple of the don’ts were: ‘Don’t talk to people on the sidewalk’ and ‘Don’t talk to the attendees inside,’ which was ridiculous. So I asked Bob Higgs, our City Hall reporter, as soon as it came out. ‘Hey, call ‘em. Ask if this is for real. And tell them if it’s for real, we’re writing a story, because | clevescene.com | October 17 - 23, 2018

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UPFRONT

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Settlement that City of Cleveland reached with Hopkins whistleblower Abdul Malik-Ali, after the airport retaliated against him for reporting safety concerns to the federal government.

| clevescene.com | October 17 - 23, 2018

STORE HOURS: Tuesday-Saturday: 9am-5pm 2546 Lorain Avenue, Ohio City One block west of the Westside Market

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3:27:50 New world marathon record for women 70-plus set last week in Chicago by Mentor resident Jeannie Rice. She took up competitive racing in 1983. This was her 116th marathon.

101-6 Score of Massilon’s high school football game vs. Sun Valley (PA) last Friday night. Massilon’s 101 points breaks a school record that had stood for a century.

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pretty shoddy journalism in the name of good journalism. It’s not a small point today. The media is under siege, from the president and elsewhere. We need to do our job to be accurate. And in this case, the word was spread that this horrible police state was being formed, and a simple phone call would have proven that’s not the case. We kind of owe it to Cleveland to get that right. ... All you needed to do was make a three-minute phone call, and we wouldn’t have been... Of course it would’ve removed the chance for people to portray themselves as the heroes of journalism. Quinn speaks with a great deal of authority, and on ďŹ rst read, the statement might seem sensible, even persuasive. But it’s a cruel and frankly shocking betrayal of the community he is the most powerful member of — that is, the Cleveland journalism community. In deďŹ ance of the values he purports to uphold, the statement also happens to be incredibly (and likely strategically) misleading. 1) The city issued its initial “Rules of Engagementâ€? memo Tuesday morning. We received mine at 10:22 a.m., though we know others received it earlier. 2) The city issued its amended memo, this time titled “Background Information...â€? at 4:52 p.m. Again, others may have received it slightly earlier than we did. 3) If Higgs called the city “as soon as [the original memo] came outâ€? and the city “immediatelyâ€? assured Cleveland.com that it had been worded way too strongly and that the controversial rules contained therein would not be enforced, it nevertheless waited several hours to alert other journalists — who were getting rightfully incensed on social media — of the errors. 4) It was not “laterâ€? that “some other journalists in townâ€? — note Quinn’s disdain — took to social media to “report this as a big controversy.â€? It happened within minutes, as soon as many of us had received and read the email. We knew right away that this was an infringement on our rights and furthermore an extension of, rather than a departure from, the city’s general hostility toward the press. PD reporter Rachel Dissell expressed the view that “this is another level of ridiculousâ€? at 10:29 a.m. This was not reporting, per se, so much as it was an expression of disbelief and

| clevescene.com | October 17 - 23, 2018

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| clevescene.com | October 17 - 23, 2018

UPFRONT outrage. 5) The Press Club put out a statement the following morning, after the initial memo and its rules had already been walked back. In other words, there was no phone call to make by then. The Press Club wasn’t adding fuel to some bogus or ill-begotten flame. It was advocating on behalf of journalists — its membership — expressing the frustration and anger that many of us had been feeling the previous day. 6) On Wednesday, then, the day of the SOTC, a few outlets reported on the situation. Scene, WKYC, WKSU all had short stories up on their websites. These were straightforward reports: The City had issued some controversial rules; after feedback — or, in my view, “under pressure” — the city had walked back those rules; the Press Club issued a statement expressing alarm and standing on a set of readily identifiable principles. 7) “Word was spread that this horrible police state was being formed.” Nothing of the sort occurred. This is total bullshit hyperbole and Quinn knows exactly what he’s doing. The only thing that made it so astonishing was hearing him say it in the same breath as, “We need to do our job to be accurate.” 8) No one made any effort to portray themselves as heroes of journalism. In fact, most waited patiently for the official statement from the Press Club on Wednesday so that journalists could stand together, to speak with one voice. It was instantly obvious to anyone who does actual reporting that the initial memo was an example of the media being under siege. Quinn himself acknowledges that the rules it outlined were not only “ridiculous” but “illegal.” Illegal! So why on earth is it responsible journalistic practice to keep the memo secret — observe how he accepts and even reinforces the secrecy in the first paragraph above: “just to the media” — and to allow the city to say, “No no no no no, we don’t plan to enforce these illegal rules.” What? This was not a rumor, for heaven’s sake, which any good reporter would seek confirmation of before reporting as anything other than a rumor. This was an official press release. Which the

mayor’s communications team wrote. And distributed. Are good journalists expected to read the minds of the marketing and communications personnel behind every press release we receive? Are we “good journalists” only if we make threeminute phone calls to get more precise translations of phrases like “don’t walk across the street to engage with attendees standing in line”? Is it shoddy journalism to ask anything other than “is this for real?” Why wouldn’t it be for real? And since we’re on the subject,

Quinn and Higgs might be able to get Jackson or the media relations folks on the horn for a quick confirmation, but a bunch of us are stonewalled at every turn. We are asked to submit basic questions in writing. We are asked to submit basic questions as official public records requests. We are ignored and “no-comment”-ed so often that we resort to gambling on the wording of the refusals we receive to keep the civic heartache at bay. Sarah Koenig, on the Serial podcast, said in last week’s episode that not a single member of the Mayor’s administration agreed

to an on-record interview. “I’ve frankly never encountered a city government with a jaw locked up tighter than Cleveland’s” she said, to more than a million national listeners. So why wouldn’t the city think it could dictate the behavior, agenda and even physical movement of local reporters? And with friends like Quinn, why wouldn’t it think it could do so with impunity? - Allard

scene@clevescene.com t@clevelandscene

| clevescene.com | October 17 - 23, 2018

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| clevescene.com | October 17 - 23, 2018

FEATURE THE TWO TOMORROWS A 2018-2019 Cavs season preview By Sam Allard Photo by Emanuel Wallace

WELCOME, SPORTSFANS, TO the Cavs’ first LeBron-less season since 2010, when an emotionally depleted roster of senior citizens, space cadets and apneatics coached by Byron Scott embarked upon a four-year campaign of what former General Manager David Griffin would later call, “just horseshit basketball.” Their lowliness was by design, of course, a strategy to accumulate valuable draft picks and assemble the talent required to lure LeBron James back to Cleveland. And it worked. The King did indeed return, in 2014, and led the Cavs to four consecutive NBA finals appearances, which included the championship in 2016, about which little more needs to be said, (other than reiterating that the Golden State Warriors blew a 3-1 lead). Now, only three players remain from LeBron’s first year back: Tristan Thompson, Kevin Love and J.R. Smith, who arrived in 2015 via trade. Only one other, Channing Frye, was on the championship roster. He has returned after a brief stint with the Los Angeles Lakers, where he was shipped, alongside a pouting Isaiah Thomas, at last year’s trade deadline. Word from owner Dan Gilbert and head coach Ty Lue is that the Cavs are not retreating meekly into what’s called “rebuild mode.” They are defending Eastern Conference champions, they note correctly, and even without LeBron, they intend to guard their turf in a conference with new giants (the Boston Celtics, the Philadelphia 76ers), retooled contenders (the Toronto Raptors, the Washington Wizards), sparkling divisional rivals (the Indiana Pacers, the Milwaukee Bucks), and the well-coached perennial nuisance in South Beach. That’s seven teams, which means one more Eastern Conference squad will make the playoffs. Even serious fans have no idea who it might be. Perhaps the lengthy, temporarily healthy Chicago Bulls, now featuring forward Jabari Parker? Perhaps the Charlotte Hornets, forever

teetering on the edge of playoff contention, and now featuring career-Spur Tony Parker backing up the heroic Kemba Walker at point guard? Perhaps the Knickerbockers of New York, with towering Latvian Kristaps Porzingis shooting threes and blocking shots? Perhaps the scrappy Brooklyn Nets with an array of castoff guards, including sharpshooting former Cavalier Joe Harris? Maybe even the somber Pistons, who, with lumbering big men Blake Griffin and Andre Drummond, are eager to make postseason use of the garish Little Caesars Arena (the pizzarena) in downtown Detroit. But why not the Cavaliers, for heaven’s sake? In preseason play, the starting five have shown flashes of brilliance. They are young and spry and ready to commit themselves to a new uptempto style. They have an exciting rookie point guard in Collin Sexton and a quorum of veteran father figures (George Hill, J.R. Smith, Kyle Korver, Channing Frye) who are ready and willing to lead by example. Unlike the last time LeBron left, the Cavs have a bona fide star in Kevin Love, one who has the chance to return to the MVP caliber-play he displayed

with the Minnesota Timberwolves. The team’s energy is positive, and the aspirations are in perspective. They know they won’t win 60 games (or even 50), but they promise to compete. And they’ll sure as hell be fun to watch.

2018-2019 TEAM PROJECTIONS CEILING: 49-33 The team gels and improves throughout the season with dynamite contributions from Kevin Love and emerging stars. Rodney Hood becomes a legitimate scoring threat. Cedi Osman becomes as fearsomely well-rounded as Nic Batum. Collin Sexton is a top-three contender for rookie of the year, a steals magician, and the franchise’s clear-cut point guard of the future. The Cavs just miss home-court advantage in the playoffs, but nab a five seed. They upset the fourseed in the first round and acquit themselves nobly in the Eastern Conference semis against the Celtics or the Sixers. FLOOR: 30-52 Kevin Love is nagged by persistent injuries and Ty Lue can’t manufacture the scoring necessary to win games in his absence. Disappointment reigns as

Rodney Hood can’t find his range and team chemistry gets worse, not better, as the season progresses. There are bright spots, including Cedi’s all-around improvement, Collin Sexton’s three-point shooting, Larry Nance Jr.’s ascendancy as soul of the franchise, but an early camaraderie gives way to drama (a J.R. Smith legal dustup; a Jordan Clarkson indiscretion; a Sam Dekker penchant for retweeting unsavory Alt-Rightish characters) and the Cavs find themselves in the Eastern Conference 12-hole, headed for a lottery pick.

INDIVIDUAL PROJECTIONS PRESUMED STARTERS

GEORGE HILL Ceiling: George Hill is the starting point guard for only the first 20 games of the season, give or take a handful. He embraces his role as mentor and shepherd to Collin Sexton, and provides important length on perimeter defense. He doesn’t produce eye-popping stats, but won’t have to. And he’s totally cool with that. He’s just a totally chill dude. (10.0 pts / 4.0 rbs / 4.4 ass.) FLOOR: Hill shoots 14 percent from | clevescene.com | October 17 - 23, 2018

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FEATURE

shooting and a lack of engagement on the defensive end, Ty Lue benches Hood for two consecutive games. He stops coming to practice. When inserted back in the line-up, he is a grouch, jacking up bad shots in an attempt to beef up his personal stats and committing turnovers nonstop. Everyone but Channing Frye abandons him as a friend. He receives the NBA’s Scarlet Letter when he is called, not for the last time, a “locker room cancer.” (12.2 / 2.0 / 1.2) MILESTONE WATCH: Look for Hood to rocket up the franchise scoring leaderboard this year. If he averages 16 points over 75 games, he’ll dislodge studs such as Damon Jones and Lonnie Shelton. If he averages 18 over 80 games, he’ll eclipse Ramon Sessions and Delonte West. Cracking the top 60 would not be unreasonable!

CEDI OSMAN

three-point land and, crushed by his ineffectiveness, resorts exclusively to goofy floaters in the lane. He putters around on defense. He tries experimental meditation to improve his on-court demeanor (anxiety?) and a flurry of mid-season cramps. He consults with guru Matthew Dellavedova about pre-game caffeination to no avail. He becomes convinced that Cleveland itself is to blame and threatens to spend every evening at JACK Casino until he’s traded to his hometown Pacers. (3.8 / 2.0 / 2.4) MILESTONE WATCH: Hill is currently tied with Derrick Rose and Joe Harris in franchise turnovers. Two more and he’ll catch Andrew Bynum!

RODNEY HOOD CEILING: Ty Lue has said that he expects Rodney Hood to be the team’s second-leading scorer this year, and Hood will make good, challenging Kevin Love for the points crown in the hopes of securing a major payday in the offseason. He is explosive and creative in cuts to the basket and locates Korver-esque accuracy from distance. He plays active defense, and is redeemed for his perceived pettiness last year with a newfound jocularity on the bench and regular community service outings across town. He also becomes an unlikely political dissident, challenging the wisdom of public subsidies to the Q. (20.5 / 4.4 / 3.3) FLOOR: After a stretch of poor

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| clevescene.com | October 17 - 23, 2018

CEILING: Cedi is the glue of the starting unit, scrapping for loose balls, hitting pivotal threes, and constantly in motion. He’ll have gorgeous, well-rounded stat lines on a nightly basis and will continue to be beloved by fans for his effort, his floppy hair and his accent. (16.6 / 7.2 / 6.8) FLOOR: Cedi’s shooting touch just isn’t there. His embarrassing numbers at the free throw line begin to affect his performance across the board and he develops an infuriating preference for deep twos. His passing game is just too esoteric for his teammates, and he works too hard on defense in inconsequential minutes of inconsequential games. He becomes a liability in the Mario Hezonja school. (7.9 / 3.9 / 2.9) MILESTONE WATCH: I’m looking for Cedi, oddly enough, to make the most significant dent in the rebounds category. Seven boards per game sounds outlandish with so many big men gobbling at the pie, but he’s an intellectual rebounder who hustles, a dangerous combo. He grabbed 7, for example, in only 11 minutes of a pre-season game against the Boston Celtics starters. If he hits that mark across 76 games, he’ll be good for 71st overall on the franchise board, just behind Mo Williams and Timofey Mozgov.

KEVIN LOVE CEILING: Monster season alert! Though he won’t have the pep in his step that he did in the Minnesota days, Love will play heady, efficient basketball marked by a shooting stroke so elegant it might as well be cloaked in fur. He’ll have a deft passing touch at the elbow, as ever, and will remain a visionary ouletter.

He’ll get his rebounds with his superior positioning, but will be happy to cede the down-and-dirty territory to younger, hungrier bigs. Someone’s got to claim LeBron’s points, and a 8-point per-game leap is well within Love’s grasp this year. (26.8 / 10.8 / 4.4) FLOOR: Love’s hobble becomes more extreme. He is nagged, additionally, by injuries that tend to afflict the elderly: hip-flexor strains, bone density concerns, a minor fracture after “taking a tumble.” He misses two significant stretches and appears in fewer than 30 games overall, never finding his rhythm. (15.8 / 7.0 / 2.4) MILESTONE WATCH: If Love averages 1.7 threes per game, he’ll surpass Kyrie Irving and move to third on the franchise board, trailing only LeBron and Mark Price. With only 400 rebounds (8 per game over 50 games), he’ll leapfrog Tyrone Hill and Bingo Smith to jump into the franchise’s top 10. Also, if he averages 10 boards per game or better, he’ll remain one of only three players (alongside Rick Roberson and Cliff Robinson) to do so over their Cavs’ careers.

TRISTAN THOMPSON CEILING: Tristan will do what Tristan does best: get balls. His ugly jumper and herky-jerk maneuvers around the basket will once again inspire more hilarity than rage, and he’ll be the heartbeat of the bigs. At only 27, he is younger than his veteran status makes him seem, but playing slightly fewer minutes will mean he’ll always have fresh legs. (7.8 / 8.8 / 0.8) FLOOR: Tristan is so distracted by off-court drama that he won’t even be able to convert alley-oops. He successfully blocks fewer than six shots all year. He screams in triumph all the time for plays that aren’t very impressive. In one embarrassing moment, his famously lengthy blinks turn into a mid-game catnap. (4.0 / 4.8 / 0.4) MILESTONE WATCH: If TT

averages only 8 minutes per game, he’ll surpass Craig Ehlo, Anderson Varejao, Larry Nance and Danny Ferry to become the Cavs’ seventh alltime leader in total minutes played. With 56 rebounds, he’ll jump into the franchise’s top-five, bumping out Anderson Varejao and joining LeBron, Zydrunas Ilgauskas, Brad Daughtery and Hot Rod Williams. Tristan also has the opportunity to make his very first three-point shot this year.

KEY RESERVES COLLIN SEXTON Collin will move gracefully into the starting point guard role and become as dexterous a distributor as he is deadly a three-point shooter. His defense will be the stuff of legend, inspiring a new, Great Lakes grit-and-grind mentality. OR: Collin’s theatrics on defense lead to an injury. His assist to turnover ratio is negative. SCENE PREDICTS: 13.2 / 2.4 / 4.8 MILESTONE WATCH: In 1986-1987, Cavs rookie Ron Harper had 209 steals, good for the second-highest steals total by an NBA rookie in history. Look for Sexton to flirt. (He would need 212 steals for #1, topping the Pacers’ Dudley Bradley, the “Secretary of Defense,” who collected 211 steals in 1979-1980.)

JORDAN CLARKSON Jordan Clarkson will be a utility player thrown in for spicy line-up changes and quick scoring. He won’t close out games, but he’ll contribute valuable minutes and will get better at passing. OR: Clarkson will continue to acquire baroque face and neck tattoos, play me-first basketball and badger Lue incessantly about his “role.” SCENE PREDICTS: 10.6 / 2.7 / 1.1

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FEATURE KYLE KORVER Kyle Korver will hit exactly two three-pointers per game in a gimmicky season designed exclusively for that purpose. He will refuse all other scoring opportunities, including technical free throws, and will exit all games immediately after his second made three. There is no alternative. Although do look for Korver to become the team’s de facto shooting coach (a role he is presumed to already unofficially occupy). SCENE PREDICTS: 6.0 / 1.0 / 0.0 MILESTONE WATCH: If Korver completes the gimmick over 82 games, he’ll pass the following players to become #9 on the Cavs all-time leaderboard: Terrell Brandon, Chris Mills, Damon Jones, Craig Ehlo, Mo Williams. (He would also, of course, and much more significantly, pass Jason Terry and Reggie Miller on the NBA’s all-time leaders in threepointers, trailing only Ray Allen.)

SAM DEKKER Dekker is undistinguished at virtually every element of basketball, and hasn’t shown much promise in

the pre-season. What is he, even? A wing? A big? Maybe his threepoint shooting will come around and he’ll be a serviceable, low-cost floor-spacer? OR: The memory of his infamous bungled fast-break -YouTube it right now -- haunts him nightly and his season is marked by the following recurring brain farts: shooting at the wrong hoop, shooting with the wrong hand, showing up to the wrong arena.

MAJOR QUESTIONS FOR THE BENCH ISAIAH TAYLOR “Who is Isaiah Taylor?”

SCENE PREDICTS: 6.4 / 3.9 / 0.9

J.R. SMITH LARRY NANCE JR Lar-Bear has improved his scoring and rebounding averages in each of his first three seasons in the league, even as his minute totals have remained roughly constant. He’ll continue to grow, becoming a more efficient post player and further solidifying himself as an emotional leader and locker-room ballast. If the Big Three this year are Love, Cedi and Hood, it’s Collin Sexton and Larry Nance who’ll be right behind in terms of biggest potential impact. SCENE PREDICTS: 11.9 / 7.3 / 1.8 MILESTONE WATCH: Larry Nance is an active defender and a wily thief. He led the Cavs in steals per 36 minutes (2.1) last season and it wasn’t close. (LeBron was second with 1.4.) If Nance plays nearly 30 minutes per game this year and

SAVE THE DATE!

CLEVELAND SCENE MAGAZINE PRESENTS

CLEVELAND’S PREMIERE WHISKEY EVENT

scenewhiskeybusiness.com

IF YOU’D RATHER BE SOMEONE’S SHOT OF WHISKEY THAN EVERYONE’S CUP OF TEA...

We Salute You! 14

averages ~1.8 steals, he’ll have a chance to crack the franchise top 50, sharing rarified air with Dion Waiters (#52), Anthony Parker (#51), Iman Shumpert (#50), and Delonte West (#49).

| clevescene.com | October 17 - 23, 2018

Sample from dozens of whiskeys, scotches and bourbons and FIND YOUR NEW FAVORITE FRI, NovEMBER 9, 2018 7:00-11:00PM 2400 Superior Ave. E. Cleveland, OH 44114

“Will the ‘Supreme Tattoo storyline’ override other, more important J.R. Smith social-media inspired storylines?” MILESTONE WATCH: With only five made threes, J.R. will top Boobie Gibson and move into the franchise top five, joining the recent big three (LeBron, Kyrie, Kevin) and Mark Price as the Cavs leaders in three point field goals.

DAVID NWABA “Barring injury to others, is there anything Nwaba can do defensively to earn playing time, given that Hood, Osman, Clarkson, Korver, and Smith are all gunning for positioning on the depth chart?”

CHANNING FRYE “What incredible hijinks will Channing Frye think up next?”

ANTE ZIZIC “Where will Croatian big man Ante Zizic rank, ultimately, on the list of Cavs’ European centers of the past 20-odd years? Ahead of Sasha Kaun, Semih Erden, Bruno Sundov and Martynas Andriuskevicius, surely, but what about Timofey Mozgov? Vitaly Potapenko? Big Z himself? Before you scoff, consider this: There are only six players in Cavaliers history with field goal percentages higher than their free throw percentages (who played more than 50 total minutes). Here they are, ranked from lowest free-throw percentage to highest: 6) Jerome Lane (1993): FT% .250 / .500 FG% 5) Sasha Kaun (2016): FT% .455 / .529 FG% 4) Dwayne Jones (2007-2008): FT% .484 / .521 FG% 3) Shaquille O’Neal (2010): FT% .496 / .566 FG% 2) Mark West (1985-1997): FT% .537 / .553 FG% 1) Ante Zizic (2017): FT% .724 / .731 FG% THIS IS INSANE. UNLEASH ZIZIC. Also, go Cavs, go.

scene@clevescene.com t@clevelandscene

SAVE THE DATE!

CLEVELAND SCENE MAGAZINE PRESENTS

CLEVELAND’S PREMIERE WHISKEY EVENT

scenewhiskeybusiness.com

IF YOU’D RATHER BE SOMEONE’S SHOT OF WHISKEY THAN EVERYONE’S CUP OF TEA...

We Salute You!

Sample from dozens of whiskeys, scotches and bourbons and FIND YOUR NEW FAVORITE FRI, NovEMBER 9, 2018 7:00-11:00PM 2400 Superior Ave. E. Cleveland, OH 44114 | clevescene.com | October 17 - 23, 2018

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Stones | Crystals | Jewelry Herbs | Candles | Home Decor Ritual and Practical Magickal Items Spiritual Healing | Tarot Medium Communications | Readings

CLASS SCHEDULES AVAILABLE ON

FREE ADMISSION

LIVE JAZZ BAND

Complimentary Wine & Hor’s Doeuvres Catered by

B U R N T W O O D TAV E R N

Home Movie Day SAT, OCTOBER 20 • 2PM • DOORS: 1:30PM • FREE W/ RSVP

Join us at the Rock Hall as we reveal found footage of wild rock & roll performances including Dead Boys, the Beatles at Public Auditorium, Bruce Springsteen & the E Street Band at Richfield Coliseum, the World Series of Rock, and much more! Film & video donors will also share their behind-thescenes stories from these historical moments!

L I V E D E M O N ST R AT I O N S | S PA P R I Z E S & G I F TS F R E E CH A I R M A S S AG E S | M A K E OV E R S O N E DAY O N LY D I S CO U N TS 15 % O F F S E R V I C E S A N D P RO D U C TS

Home Movie Day has been made possible in part by a grant from the Ohio History Fund and through the support of Videodub International.

1100 Rock & Roll Blvd. Cleveland, OH • rockhall.com

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| clevescene.com | October 17 - 23, 2018

GET OUT everything you should do this week WED

10/17

SPOKEN WORD

Cleveland Stories Dinner Party 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,” as it’s put in a press release. Admission is free, with no cover charge, although a prix fixe dinner, designed to complement the night’s theme, is $20. Doors open at 5 p.m., dinner is served at 6, and the storytelling starts at 7. Tonight, Cleveland native Pamela Dorado Dean talks about the influence that Italian immigrants have had on Cleveland’s food scene. (Jeff Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com. THEATER

Hello, Dolly! This year’s KeyBank Broadway Series includes the first national tour of the Tony Award-winning musical revival of Hello, Dolly!, a beloved show that snagged four awards at last year’s Tonys. One of those awards went to actress Betty Buckley, who sparkles in the title role. The national tour launched at Connor Palace in September; performances continue tonight at 6:30, and through Oct. 21. Tickets are $10 to $110. (Niesel) 1615 Euclid Ave., 216-241-6000, playhousesquare.org. MUSIC

Singers’ Night A few years ago, after getting “burned out” in New York, Return of Simple frontman Rob Kovacs moved back to Cleveland and relaunched the popular indie rock band. Earlier this fall, Kovacs started hosting a monthly Singers’ Night at Bar 107 in Berea. The event will feature local singers taking turns getting up on stage to perform a song while Kovacs accompanies them on piano. Singers are encouraged to bring sheet music or choose from Kovacs’ song list. Lyrics aren’t provided but

Bubba Ho-Tep shows at the Capitol Theatre as part of the annual 12 Hours of Terror movie marathon. See: Saturday.

performers can bring their own if needed. Each month will feature a new local singer who will perform a short set. Sign-ups for the night will begin at 8 p.m. with the first singer of the night kicking things off at 8:30 p.m. Admission is free. (Niesel) 107 Front St., Berea. THEATER

Sweat A Pulitzer Prize-winning drama set in Reading, Pennsylvania, Sweat centers on union lock-outs, massive layoffs and jobs going overseas. In order to try to face such hardships, a group of life-long friends gather at their local bar to discuss ways of dealing with these issues. Inspired by true stories, Sweat provides “a compelling portrait of pride and survival in the Rust Belt.” Tonight’s performance takes place at 7:30 at the Outcalt Theatre. Tickets start at $25. (Niesel) 1407 Euclid Ave, 216-241-6000, playhousesquare.org.

THU

10/18

Claudia Oshry, a former New York University student who’s made a career on social media about not wanting a job, has a huge following of online followers. To capitalize on her popularity, she’s taken her show on the road. She appears tonight at 7 at Hilarities. Call the club for ticket prices. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

FRI

10/19

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 for a chance to shop and interact with artists. Look for food trucks out front and live music on the first floor. Hours are 5 to 9 p.m.; admission is free. (Niesel) 1300 West 78th St., 78thstreetstudios.com.

COMEDY

An Evening With Girl With No Job The creator of the popular Instagram account @girlwithnojob,

ART

Altered Value: The Art of Funny Money Over the past ten years, local artist

Josh Usmani has had his artwork featured in more than 100 group gallery exhibitions. A former Scene contributor, he’s also put on several solo shows and presented workshops, lectures, and participated in panels. The release of his new book, Altered Value: The Art of Funny Money, coincides with an exhibition of new work from the book at Tregoning & Company at 78th Street Studios. The book launch party and exhibit opening take place today from 5 to 9 p.m. The work will remain on view through Dec. 1. A second reception will take place from 5 to 9 p.m. on Friday, Nov. 16. (Niesel) 1300 W. 78th St., 216-281-8626, tregoningandco.com. COMEDY

Whitney Cummings A comedian, writer, and actress who has performed in stand-up specials for both HBO and Comedy Central, Whitney Cummings created and starred in the NBC series Whitney and was also the co-creator and co-writer of the Emmy-nominated CBS comedy series 2 Broke Girls. She’s even written a book (I’m Fine and Other Lies) and directed a film (The Female Brain). She likes to talk about feminist issues and, given the current political climate, should have plenty of new material for the | clevescene.com | October 17 - 23, 2018

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GET OUT shows that take place tonight and tomorrow night at 7 and 9:30 at Hilarities. She performs at the club on Sunday at 7 p.m. as well. Tickets start at $30. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

pours and two Jameson tastes. Food will be available for purchase. General admission tickets cost $45. Designated driver tickets cost $20. (Niesel) 2000 Prospect Ave., 216-687-9292, clevelandbeerweek.org.

Empress Wu. The film makes its Cleveland debut tonight at 8:55 at the Cleveland Institute of Art Cinematheque. Tickets cost $10, $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

OUTDOORS

THEATER

Plath & Orion Sylvia Plath and Anne Sexton, Pulitzer Prize-winning American poets, were known for personal verse that furthered the genre dubbed confessional poetry. Two one-act plays — Lanford Wilson’s The Great Nebula Orion and Greg Cesear’s Plath, Sexton and the Art of Confession — depict a chance meeting and “catch-up” conversation between the two women as the poets address their thoughts and comments directly to the audience. Produced by the Cesear’s Forum theater company, the “companion play” performances takes place tonight at 8 at Kennedy’s Theatre; additional performances continue through Oct. 14. Tickets are $18. (Niesel) 1501 Euclid Ave., 216-241-6000, playhousesquare.org.

SAT

Select Wednesdays

from 6 PM to 9 PM

Step inside the exhibits with the Rock Hall crew, grab a drink and bring out your musical fandom. NOVEMBER 7 PLAY! In partnership with Super Electric Pinball. Test your skills on the drums, become a pinball wizard, or compete to be a Rock Band champion.

DECEMBER 5 ROCK ON TV Inside our Stay Tuned: Rock on TV exhibit, team up for a scavenger hunt, win prizes at our TV theme song contest, and try your hand as a variety show host. Nostalgia and good memories welcome!

FEBRUARY 13 ROCK & ROLL VALENTINE

Groove to some classic slow jams, test your knowledge of rock’s most notorious couples and take on the Love Hurts Scavenger Hunt.

10/20

FILM

12 Hours of Terror The crown jewel of Cleveland’s horror movie screenings is the annual 12 Hours of Terror. Curated each year by Cleveland Cinemas’ Dave Huffman, this Halloween highlight event will feature Phantasm, Bubba Ho-Tep, Candyman, The Human Centipede, Event Horizon, The Hills Have Eyes and the highly debated and coveted “secret screening.” It begins at 8 p.m. at the Capitol Theatre. Tickets cost $30. (BJ Colangelo) 1390 West 65th St., 216-651-7295, clevelandcinemas.com.

MARCH 6 ROCK OFF THE RACK

APRIL 3 PUT THE NEEDLE ON THE RECORD

MAY 1 WOODSTOCK

TICKETS $

20 event admission & drink combo ($34 value) In Advance at rockhall.com/nights General Admission Rates at Box Office

FREE admission for Members & CLE VIP (event admission only) presented by

1100 Rock and Roll Blvd., Cleveland, OH 44114 • 216-781-ROCK • rockhall.com

DRINK

Brewzilla Beer Week comes to a glorious end today with Brewzilla, the “monster of a beer tasting” that regularly closes out the annual event. A VIP event runs from 6 to 7:30 p.m. It’ll feature four rare beer tastes along with speciality foods and Jameson tastes. Regular admission begins at 7 p.m. Tickets include a tasting glass, 40 two ounce beer

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Coliseum and the World Series of Rock. Attendees will receive a limited edition poster by Cincinnati-based artist Brian Methe. The event is free with a reservation made through the Rock Hall website. (Niesel) 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com.

FILM

FILM

Detective Dee: The Four Heavenly Kings The third film in Tsui Hark’s “Detective Dee” series, Detective Dee: The Four Heavenly Kings takes place in 7th-century China, during the Tang dynasty. In this installment, Di Renjie (aka Detective Dee) tries to protect the all-powerful DragonTaming Mace from a band of sorcerers working for the diabolical

Home Movie Day Today from 2 to 4 p.m., the Rock Hall celebrates Home Movie Day, an internationally recognized event, by screening clips from the various local home video and film donations it’s received over the years. Expect to see footage of the Beatles at Public Auditorium, Bruce Springsteen & the E Street Band at the Richfield

| clevescene.com | October 17 - 23, 2018

Spooky Pooch Parade Now in its eleventh year, the Spooky Pooch Parade attracts hundreds of dogs to Lakewood’s Kauffman Park. Scheduled to take place from 12:30 to 3:30 p.m. today, the event includes a festival within Kauffman Park, a parade through Lakewood’s Downtown business district on Detroit Avenue and an awards presentation. There will be kids games, food and dog-related vendors, including rescue groups and other nonprofits offering canineoriented goods and services. Kids are encouraged to wear Halloween costumes and visit vendors for trickor-treating. The parade commences at 2 p.m. Afterward, judges will award prizes in a number of categories, including Best Dog & Child, Best, Dog & Adult, Best Dog & Group, Spookiest Pooch and Best in Show. (Niesel) lakewoodalive.com.

SUN

10/21

FILM

Boxcar Bertha Martin Scorsese’s Boxcar Bertha helped put the young filmmaker on the map. Released in 1972, the movie follows an Arkansas farm girl (Barbara Hershey) as she becomes a Robin Hood-like train robber during the Depression. David Carradine, John Carradine, Barry Primus and Bernie Casey co-star. Tonight at 6:30, the Cleveland Institute of Art Cinematheque shows a 35mm print of the film. Tickets are $12, $9 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu. SPORTS

Cavaliers vs. Atlanta Hawks The Cavaliers get a lucky break for their home opener as they take on the lowly Atlanta Hawks. The Hawks were one of the NBA’s worst teams last year, and they don’t show any signs of being competitive this year either. The two teams face off at 6 p.m. at the Q. Fans will receive a special opening night T-shirt. Consult the website for ticket prices. (Niesel) 1 Center Court, 216-420-2000,

theqarena.com. MUSIC

Cleveland Bluegrass Orchestra The Beachwood Arts Council, a non-profit organization which has supported the arts in Northeast Ohio since 1964, teams up with the Cleveland Bluegrass Orchestra today at 2 p.m. to present a free concert at the Beachwood High School Auditorium. The Cleveland Bluegrass Orchestra is made up of five Cleveland Orchestra musicians who play one instrument with the Cleveland Orchestra and a different instrument with the Cleveland Bluegrass Orchestra. The musicians will play traditional bluegrass favorites as well as original arrangements. After the concert, audience members will have the opportunity to meet the musicians. (Niesel) 25100 Fairmount Blvd. Beachwood, beachwoodartscouncil.org. MUSIC

Dreams From 1968 In a program dubbed Dreams From 1968, the Cleveland Jazz Orchestra will commemorate the music and times of that pivotal year in American history by performing Oliver Nelson’s “The Kennedy Dream,” Herbie Hancock’s “I Have A Dream” and Maynard Ferguson’s “MacArthur Park.” A gospel choir led by Johnny Parker will join the ensemble. The performance begins at 6 p.m. at the State Theatre, and tickets start at $35. (Niesel) 1519 Euclid Avenue, 216-241-6000, playhousesquare.org. SHOPPING

East Side Flea A self-described “small business incubator” that draws thousands of local shoppers to Tyler Village, the Cleveland Flea features a range of unique items you won’t find at the typical retail store. As much a social gathering as a shopping experience, the Flea also serves as an excellent hang, a place to meet and make friends while supporting your local creatives. Today’s special East Side Flea takes place at the Van Aken District in Shaker Heights from 9 a.m. to 4 p.m. (Niesel) theclevelandflea.com. MUSIC

Milford Graves Full Mantis An innovative jazz drummer and percussionist who performed with the likes of Albert Ayler, Milford Graves is the subject of the new documentary feature, Milford Graves Full Mantis. In the film, Graves speaks so eloquently about his

drumming that he sounds like a spoken word artist. The movie makes its Cleveland premiere today at 1:30 p.m. at the Cleveland Museum of Art. Tickets are $10, or $7 for CMA members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org. FILM

Retro Halloween Weekend As is traditional, the Aut-O-Rama Drive-In will close out its season with special screenings of retro horror classics, including family-friendly options. On the scarier side of things, the new reboot of Halloween is scheduled to play alongside three of the following four films: Hellraiser, The Thing, Return of the Living Dead or Evil Dead 2. For families, Goosebumps 2, E.T., Ghostbusters and Corpse Bride are slated to screen with Little Shop of Horrors serving as the backup for Goosebumps 2. Consult the website for more information. (Colangelo) 3395 Lorain Rd., North Ridgeville, 440-734-1786, autoramadrivein.com.

MON

10/22

2 FOR $20 TIX

OCTOBER ONLY! rockhall.com/2for20 for Northeast Ohio Residents 1100 Rock and Roll Boulevard, Cleveland, OH 44114

FILM

Movie Mondays Every Monday, Cleveland Cinemas hosts $5 Movie Mondays, where film fans can catch up on the latest Hollywood flicks for significantly reduced prices. Many theaters even offer discounted concession stand items. Participating theaters include Apollo Theatre, Capitol Theatre, Cedar Lee Theatre, Chagrin Cinemas, Shaker Square Cinemas and Tower City Cinemas. (Niesel) clevelandcinemas.com.

TUE

10/23

MUSIC

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, facebook.com/ TheWinchesterMusicTavern.

scene@clevescene.com t@clevelandscene

PRESENT THIS AD FOR $2.00 OFF ADMISSION | clevescene.com | October 17 - 23, 2018

19

STAGE LOTS OF HELLO, NOT SO MUCH DOLLY The lead character is not fully present in Hello Dolly! at Playhouse Square By Christine Howey SHE HAS A BUSINESS CARD that indicates she’s a perfect fit for whatever you need—from matchmaking to mandolin lessons. She’s bold and brassy and lovable. She’s Dolly Gallagher Levi, the title character in this musical that is now on it’s Cleveland tour stop at Playhouse Square. It brings with it the enduring music and lyrics by Jerry Herman and charming book by Michael Stewart. Trouble is, Dolly is mostly missing in action in her own show since, through no fault of her own, the superb Broadway star Betty Buckley has been miscast in that role that cries out for a different kind of performer. Buckley made her bones in Cats as Grizabella, singing the heart-rending “Memory.” That was back in 1983, when Buckley was a 30-something sensation. Since then, she has notched a galaxy of roles and honors on stage and in the musical world. What Buckley hasn’t done, however, is develop the ability to fashion a quirky, eccentric and no-holds-barred approach to the Dolly character that can make this show really take fl ight. This is not to say that there can’t be other interpretations of clever, crafty Dolly. Performers from Ethel Merman to Pearl Bailey and from Tovah Feldshuh to Bernadette Peters have taken on the role and made it their own. But Buckley doesn’t take a new kind of ownership of the role. Instead, she seems trapped on stage, forced to impersonate a brassy “belle of the ball” when it seems she’d rather be quietly cataloging books at a library. It’s a damn shame that the renowned Buckley finds herself in this situation, because there are many things about this production that are just fine. Even though the dialogue delivery, as directed by Jerry Zaks, vibrates somewhere between hyperventilated and over-torqued, both in volume and expression, certain performances stand out. As the well-known Yonkers halfa-millionaire Horace Vandergelder, veteran actor Lewis J. Stadlen is

20

Photo by Julieta Cervantes

a wonderfully reluctant target of Dolly’s romantic schemes. And he even succeeds in throwing some lines away, amid this torrent of sound, to excellent comic effect. Those moments are rare treasures in a show where nothing is understated. Stadlen also performs the Act Two opener, “Penny in My Pocket,” that was cut from the original Broadway production. Although Stadlen could have more fun with it, the song is a cute little star turn

adds some interesting acrobatics to his dancing. When they head off to NYC for some fast action (they are determined to kiss a girl), the joy and hope expressed in “Put on Your Sunday Clothes” is irresistible. The smaller roles are handled with professional skill. Horace’s niece Ermengarde (Morgan Kirner), she of the high-pitched whining, is just as irritating as ever. And it’s still baffling why her suitor Ambrose (Garett Hawe) fi nds

HELLO DOLLY! THROUGH OCTOBER 21 AT PLAYHOUSE SQUARE, CONNOR PALACE, 1615 EUCLID AVE. 216-241-6000, PLAYHOUSESQUARE.COM.

staged in front of a closed curtain. It plays no role in the storytelling other than giving us a glimpse of blowhard Horace’s philosophy of capitalism: Hang on like grim death to every coin that comes your way. Also turning in amusing turns as Horace’s two clerks, Cornelius and Barnaby, are Nic Rouleau and Jess LeProtto. Rouleau’s Cornelius is so clean and naïve he almost squeaks when he walks. As the supposedly teenage hangeron Barnaby, LeProtto looks old enough to be his own dad, but he

| clevescene.com | October 17 - 23, 2018

her constant sniveling attractive. But I guess that’s what passed for sexy come-ons in turn-of-the-20thCentury Yonkers. If you’re looking for the best thing about Hello, Dolly!, you need look no further than the second act scene, “The Waiters Gallop,” in the Harmonia Gardens restaurant. The male dancers assume a variety of acute bodily angles, carrying towering stacks of plates and weaving Gower Champion’s original choreography into a delightful, synchronous froth under the supervision of

the tour’s choreographer Warren Carlyle. It’s so good it’s almost levitating. Santo Loquasto’s scenic and costume designs are also spectacular, drenched in color and smoothly transitioning from Horace’s hay & feed store to the ritzy confi nes of a New York City nightclub. All that said, this show is all about Dolly and the person who plays her. That’s why, in this latest series of revivals, the woman who is Dolly gets above-the-title billing. As a result, you need someone whose name has the ring of stage stardom to justify that kind of candlepower. While Betty Buckley has the big name (for theater junkies, at least) and the gold-plated resume, she just doesn’t have the highly particular chops to make Dolly come alive. It is a thoroughly professional performance, one that features Buckley’s undeniably well-honed pipes. But the essence of Dolly, the energy that drives her need to be everything to everyone she meets, just isn’t there.

scene@clevescene.com t@christinehowey

ART GOOD GRIEF Fear and Death at Doubting Thomas prompts conversations about death, dying and healing By Dott von Schneider OFTENTIMES IN OUR society we don’t give ourselves permission to really talk about our experiences after the loss of a loved one. We go through our day to day with a smile on our faces, despite the dumpster fire in our psyche. Shawn Mishak’s latest opus at Doubting Thomas, Fear and Death, brings together 14 artists, including himself, in an attempt to delve deeper into communication on the topic of death, grieving and everything in between. Mishak’s inspiration is drawn from The Death Café, which is a phenomenon happening around the country and abroad. It’s a community event where people get together, usually over refreshments such as tea, coffee or cake, and have thoughtful discussions on the most taboo of subjects: death and dying. During a trip to Portland, Oregon, Mishak went to a death café and experienced relief and elation, something he is hoping to inspire in visitors to Doubting Thomas when it hosts its own death café on Oct. 31. Mind you, this is not a Halloween exhibition, and Mishak was quite adamant about that in the call for artists. “It is October, the month of ghouls, ghosts and werewolves. I get it, but this is not what we are looking at here. I did not want a bunch of artwork based on mummies and witches,” said Mishak, who has curated exhibitions in Cleveland for over 15 years. “I wanted to address the topic in a visual way to help us transform our perspective in order to prepare ourselves for the great beyond and to deal with the

I decided to use the symbolisms of the black bard owl due to its one in a million rarity and they are genetically stronger than white barn owls. The winged mice in my piece are symbolic for heightened awareness, important details and checking the fi ne print, which is why they are carrying scrolls.” Each scroll is imprinted with a tiny S for her parent. Shari Ellen Ross’s dark piece, “Neurosis & Spit,” has us dangling from the open maw of what can be considered either cave or carnivore. The spit begins to resemble entities trying to reclaim any sort of edge on the situation at hand. It resembles the deep pit of despair and gnashing teeth of the monster that is grief. It is off-putting and unsettling to look at, yet we can’t pull our eyes away. Mishak’s own work is titled “Shattered.” Shadows and light layers dance on what look like torn, metal grate screens. Fleshy peaches and burnt bronzes set the positive and negative spaces between the world of Shari Ellen Ross - “Neurosis and Spit” the living and the world with this exhibition.” Swartz’s fears we all ace on a daily basis. of the dead in “…our limited meticulously detailed sculpture, Through this, I hope we can scope of trying to perceive them “Loss, Near & Complete,” carries meditate on and fi nd peace with simultaneously,” as he described with it a strata of symbolism. the concept of mortality.” it. Among the other artists A black barn owl and winged As for her participation in Fear and Death, Cat Swartz included in the show, we anticipate mice are striking images. “In some real gestalt from the ever formidable Douglas Max Utter, FEAR AND DEATH and rising art star Nickie Choo THROUGH OCT. 31 AT DOUBTING THOMAS, 857 JEFFERSON AVE., CHECK FACEBOOK.COM/ Choo, whose provocative work is DOUBTING-THOMAS-GALLERY FOR HOURS. CLOSING NIGHT OCT. 31 FROM 6 TO 8 P.M. catching our attention of late. Fear and Death offers a promising and unique exhibition said: “I continue to suffer from of thought-provoking work and, some cultures and folklores hopefully, discussion and relief. a strong sense of grief [from the barn owl is a spirit realm losing a parent] and everything and other world traveler,” said scene@clevescene.com attached to that loss, and felt Swartz, continuing (that), “it is a strong desire to express that also symbolic of facing fears. t@clevelandscene | clevescene.com | October 17 - 23, 2018

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www.hunterkiller.movie @HunterKiller @HunterKillerMovie #HunterKiller

MOVIES SHELTER FROM THE STORM Galveston addresses the issue of redemption with mixed results By Billy Lennon BACK IN 2008, GALVESTON, Texas, was devastated by Hurricane Ike. Ike destroyed buildings, upset the routines of entire communities, and killed and injured many. While most of Galveston, which opens on Friday at Silverspot Cinema in Orange Village and comes to On Demand that same day, takes place in 1988 and has nothing to do with hurricanes, Ike nevertheless frames and bookends the film, which happily exists in the classic “on-the-road, nowhere to go” genre in the style of Terrence Malick’s Badlands. Roy (Ben Foster) is a hitman who’s just been diagnosed with lung cancer. We learn just how hard-headed he is when, during the movie’s first scene, he storms out of the doctor’s office and lights up a cigarette immediately after hearing the news. He works for a New Orleans mob faction that operates low-key in a textile factory. His boss (Beau Bridges), a cross between Pat Riley and Trump, with a cartoonish Bayou accent to boot, double-crosses Roy and sets him up to be killed on an otherwise routine mission. Roy managed to escape, along with a hooker named Raquel (Elle Fanning), who was being held

captive for unexplained reasons. Out of necessity, they flee New Orleans in Roy’s car and head to Galveston for safety. The movie is largely about the importance of loyalty and how cheaply it can be discarded. Roy comes off as what a non-American would imagine is a stereotypically masculine American man (tattooed, lean, self-reliant, abusive, loyal first and foremost to himself). So his decision to protect Raquel and Tiffany, a young girl she says is her sister whom she picks up on their way to Galveston with no obvious benefit, seems out of character. It transforms the movie from what looks to be an anti-hero narrative into a redemption narrative, one that’s seemingly motivated by Roy’s desire to get back at those who backstabbed him and a weird but not uncommon combination of fatherly instincts toward Raquel paired with confused sexual attraction. Galveston also tries really hard to be an art film. It jumps around from scene to scene in a trippy, impressionistic way, a lot like Paul Thomas Anderson’s Inherent Vice, which is probably what I enjoyed most about the film. But every “art

film” trope beyond this stylistic choice comes off as inauthentic. Galveston wants to make the mundane transcendental, where characters find God while reading the paper in a diner, playing on the beach, or dancing at a bar to a live country band. But the way it does so is incredibly heavy-handed and comes off as very inauthentic. Despite two major action scenes in the movie, Galveston never really wakes up; the film is sleep-walking. Yet, even though both Foster’s and Fanning’s characters are almost

parodies of “tough guy” and “damsel in distress” tropes, you can’t help but feel like they’re doing an extremely good job at what they are being told to do. Galveston in the end is about taking refuge, whether it be from the mob, 2008’s Hurricane Ike or 2018’s Hurricane Michael. In the end, for Roy, the storm is his refuge.

scene@clevescene.com t@clevelandscene

SPOTLIGHT: RODENTS OF UNUSUAL SIZE ONE OF THE MORE UNUSUAL films on the schedule for the Capitol Theatre’s annual Fall Doc Film Festival, Rodents of Unusual Size centers on the giant 20-pound rats that have invaded Southern Louisiana. It screens at 7:30 p.m. on Wednesday, Oct. 17. Co-director Quinn Costello will attend the screening and participate in a Q&A afterwards. He says the film offered him and co-directors Jeff Springer and Chris Metzler the chance to showcase the region’s rich culture as well as call attention to an environmental issue. “We all had a background in making environmental films, and yet we wanted to do something that was kind of an expression of our love for Louisiana but also something that was a little bit more offbeat and had a lot of joy in it,”

he says in a recent phone interview. “A lot of environmental films can be depressing. We wanted to bring something that was more cultural and shined a light on what is going on in Louisiana at the moment as it’s changing rapidly. It’s not just the nutria, though we find the animal fascinating. It’s about all the other people whose lives were touched by the animal. That’s what we wanted to tell the story about.” The movie opens with a scene in which nutria hunter Thomas Gonzales takes the film crew into a swamp near Delacroix Island to track a few of the orange-toothed creatures. The guy knows the swamp well, and it’s not long before they’ve found a few of the over-sized rodents. The film also includes interviews with a variety of characters, including people who interact with the nutria in a variety of ways. Some

make bowties out of their fur, and others cook them and eat them. “We met so many different types of folks making this film,” says Costello. “Everyone is surviving in their own way. The thing that blew my mind is that all these folks are on the precipice. A lot of these places aren’t going to be there in 15 to 20 years. These people are living in despair, but there is this joy and serendipity to their lives. People live and die by the cycles of the season down there. They’re dependent on the natural environment.“ The filmmakers used time lapse photography and “more atmospheric naturalist sequences” to immerse viewers in the Louisiana environment. “We wanted it to have that feeling of connection to the natural world,” says Costello. “We want it to be propelled and have these moments

when you get absorbed into the natural rhythms of the world down there.” Costello says he wasn’t sure how the film would be received at environmental film festivals. After all, it shows the nutria getting hunted and even advocates for such an approach to containing them. “Some people are initially put off by these enormous rats, but they fall in love with the people and stick around for the entire film,” says Costello. “We’ve been in over 75 film festivals. The place I enjoyed seeing it do well is at environmental film festivals. It’s a movie with lots of hunting, and animals are killed, so I didn’t know how it would be received, but people have been open to it. It is still an environmental film but from a different perspective.”

jniesel@clevescene.com t@jniesel | clevescene.com | October 17 - 23, 2018

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EAT XXL Mostly hits at Fat Head’s massive, and busy, new brewpub By Douglas Trattner Photo by Emanuel Wallace

“WHERE WERE ALL THESE people eating yesterday,” asks my wife as we enter Fat Head’s Brewery. It’s a common refrain we share when we stumble upon a congregation of humanity so legion that it truly boggles the mind. On most nights, we find ourselves in sparsely populated dining rooms scattered about town. But here was a building so packed with people that, if tipped over, would literally fill a dozen or more of those quiet bistros. Texas has nothing on Fat Head’s, an operation so vast it makes Hofbräuhaus seem intimate by comparison. The first thing that strikes a person – apart from the vertigo – is the one-two punch of wood smoke and hops, an exceptionally pleasing aroma that conjures beer-soaked backyard barbecues. Despite a 260-seat dining room, the host estimates the wait for a table will be 45 minutes to an hour. And this is on a Tuesday, in Middleburg Heights. (Weekday lunches are far speedier.) Waits here aren’t so bad, though. For starters there’s the freshbrewed beer, dispensed from a mile-long bar that runs parallel to a sturdy drink rail with plenty of elbow room. Better yet, take that beer “to go” as you experience the self-guided brewery tour. This interesting little expedition winds past windows offering views of the bottling line, quality control lab, and even a glimpse of ownerbrewer Matt Cole tinkering with the smaller pilot brewhouse. Of course, you don’t have to move an inch to observe the main brewery that commands an entire wall. Finding oneself at Fat Head’s at the tail end of the hop harvest is like waking up in Alba, Italy during white truffle season. On tap is Hop Stalker ($6.25), an IPA that was wet-hopped with sticky-icky nuggets that Cole himself selected in Washington’s Yakima Valley. Sipping the just-tapped elixir is as close to craft-beer nirvana a beer snob can get. Owing to delays getting the smaller system operational there were only eight house brews available. They were joined by a handful of guest beers,

but the taproom was still well shy of the 30-draft capacity. If you’ve been to the 10-year-old brewpub in North Olmsted, you have a good idea of what to expect in terms of food. But there are a couple notable and noteworthy additions. Already popular items like the meaty smokehouse wings are greatly improved by a pit stop over the live-fire wood grill, leaving them blissfully kissed by both smoke and flame. I also don’t recall seeing Alabama White

everything in the joint, the buns are ginormous, throwing the meatto-bread ratio out of whack. When it isn’t cranking out an endless supply of wings, a massive hardwood-fueled smoker turns out items like pulled pork, beef brisket, half chickens and top round, but most of that food is earmarked for appetizers, sandwiches and those iconic Headwiches. Only three “smokehouse specialties” appear on the menu – chicken, ribs and a bone-in pork chop – and those

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sauce over there (or anywhere) as a slather on a trio of whole wings ($7), leaving them tangy, milky and glistening. That same wood-fired grill does wonders for the selection of jaw-busting burgers that come dressed with all sorts of creative toppers. The Kinda Blue ($13) stars a seductive bacon jam and blue cheese combo, while the Red, Hot and Blue ($13) brings a spicy crunch to every bite thanks to fried onion straws and zingy wing sauce. Like pretty much

are available only after 5 p.m. The St. Louis ribs ($15 half rack, $23 full rack) arrive smoky, meaty and flavorful, handled well from smoker to grill to table. The pork chop ($14) was clearly smoked, but it was also cotton-dry and disappointing. Foods are served on craft paperlined trays, a practice that’s fine for chicken wings or nachos but ruinous for items (like pork chops) that require slicing. Moments into the process the paper was reduced to confetti that clung to the food

like nettlesome lint. Those entrees come with a choice of two sides that include baked beans, hand-cut fries, potato salad and mac and cheese. Seeking out dishes that feature barbecue often proved rewarding. The poutine ($12) is a mountain of fries, shredded brisket and cheese curds all smothered in a ridiculously rich gravy made from beef drippings. Spice-rubbed smoked chicken stole the show in the smokehouse nachos ($12), an intimidating payload of chips, cheddar cheese sauce, jalapeños and cilantro. BBQ also finds its way into a cheesesteak made with smoked, shaved top round, a Reuben starring house-smoked pastrami and many other items. As far as comfort goes, the bulk of the seating is on unforgiving hardwood and steel high-tops, benches and stools. And given the dimensions of the room, it’s no surprise that the noise level is closer to that of Grand Central than it is the Rose Reading Room. But for craft beer and pub food fans, this highly conspicuous destination is the ultimate crowd pleaser.

dtrattner@clevescene.com t@dougtrattner | clevescene.com | October 17 - 23, 2018

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EAT BITES Souper Market will open in former Tea House Noodles Spot on East 6th By Douglas Trattner In August, Tea House Noodles (1900 E. 6th St.) closed its doors after two decades in the business of feeding busy downtown commuters. It was only a matter of days before the petite space was claimed by a new operator. “When I heard the space was available I immediately jumped on it,” says Matthew Moore, owner of Souper Market. “From the get-go I always wanted to get downtown and for whatever reason it never panned out.” Moore launched his popular soup-kitchen concept back in 2002, when he debuted the first Souper Market in Ohio City, across the street from the West Side Market. He’s since added outposts in Lakewood and Kamm’s Corners, plus the location in Midtown that is attached to the company’s central kitchen. Moore says that he was perfectly happy with the way things were, but the opportunity was too good to pass up. “I wasn’t planning on doing anything, but it felt like a nobrainer to me because there are so many people down there that are looking for healthy spots to get lunch,” he reports. “Our concept’s not exactly like Tea House, but it’s kind of the same thing in that it’s fresh food to go.” Moore is in the process of cleaning out the 900-squarefoot space, which hadn’t been remodeled for 20 years. The goal, he stresses, is “to get people in and out as efficiently as possible.” Like the other shops, this one will offer 10 from-scratch soups a day, with seasonal favorites joining daily specials. The brews are always served with goodquality bread from Stone Oven. In addition to the bowls, Souper Market offers a variety of salads and one very popular grilled cheese sandwich. There will be seating for approximately 15 at high-tops and a counter. The goal is to be up and running by December 11, which is the 16th birthday of the original

spot in Ohio City.

Cleveland ClusterTruck Food Delivery is No More (For Now) ClusterTruck appeared to be on a tear. Since launching two years ago in Indianapolis, this tech-driven food-delivery startup added locations in Bloomington, Columbus, Denver, Kansas City and Cleveland, which debuted last November. For now, at least, the company has ceased operations in Cleveland (and Minneapolis). Customers who attempt to place an order receive the following message: “We are currently closed. Thank you Cleveland! It has been a privilege to serve you and we are incredibly grateful of your support and feedback in the past few months. We have some things we need to work on, so we are unable to serve you at this time but we look forward to returning, hopefully sooner rather than later!” As I wrote in my initial review of the concept, ClusterTruck “seeks to outdo all other food delivery outfits by employing one key tactic: they prepare their own food. Typical third-party delivery drivers are dispatched to a restaurant, where they have to park, walk inside, and grab an order that might have been waiting for them to arrive. Thanks to intelligent proprietary technology, ClusterTruck drivers are summoned to land the moment the food is ready. A super-tight delivery zone ensures that no journey is longer than 10 minutes from the company’s kitchen on the eastern edge of downtown.” As of now, inquiries to the company regarding any possible future operations have been unanswered. We’ll update you if/ when it does.

dtrattner@clevescene.com t@dougtrattner

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The path we took, thereafter, was one where we adhered — more or less — to the formatted constraints of the blues and settled into the resources at hand to explore new sonic vistas. So, it sums up as ‘something old, something borrowed and something most definitely blue.’” Producer Joe Hardy has been working with Gibbons and the members of ZZ Top since 1986’s Afterburnerr. He co-produced Perfectamundoo, the initial solo excursion from Gibbons, which came out in 2015, and returns to reprise that role as co-producer on The Big Bad Blues while also playing bass on the new album. He paints a colorful picture of the Foam Box, the band’s longtime studio in Houston, where he and Gibbons recorded the new solo album. He first worked there during the pre-production sessions for Afterburner. “It’s in an office park that if you saw it, it’s a trailer trash office park. I mean, it’s like metal buildings, but then once you walk inside, it’s like, holy moly, because it’s full of African art,” he says in a separate phone interview. “Billy is quite a fan of art in general, especially African art, but also local artists and all of that stuff. We’ve actually built more of a studio out of it. Back then, it was probably more like a rehearsal joint, shag carpet and just beer cans and cigarette ashes on the floor. But now, it’s more like a proper studio, although still, from the outside, you know, nobody would think to rob it, because it just looks sad. But inside, it’s great.” The album is a perfect mix of both blues standards and Gibbons originals. While it can sometimes feel like an awkward shoehorn job when artists try to mix the two, the songs from Gibbons fit seamlessly alongside the legendary covers. As Hardy reveals, and as one might expect, they put a lot of thought into the song choices. “Billy is encyclopedic in his

Photo: Gerardo Ortiz

IF TIME TRAVEL WAS A REAL thing, we’d go back in a second to catch the Worldwide Texas tour, which ZZ Top mounted initially in support of 1975’s Fandango! album. They hit the road under that banner for the shows they played in 1976 and 1977. The concept was pretty simple — they wanted to take the Texas experience on the road with them and they spared no expense, fleshing the idea out in an elaborate fashion to the point that they brought a menagerie of live animals with them on the tour. Reportedly, they spent 140 grand traveling with the proper specialists to ensure that the animals were treated ethically and remained healthy. “That one known as the Worldwide Texas romp was a truly ambitious undertaking to be sure. Of course, the requisite road crew, guitar techs, drivers, sound people, were all aboard not to leave out our fave-rave animal wranglers and a snake sitter,” Billy Gibbons recalls now in an email interview. “The amazing thing is nobody — people and beasts alike — sustained any lasting damage. We reconnected with the guy who handled the buzzard quite recently and, yes, the bird is still the word. That old vulture is still hanging in!” To stick with the “old vulture” concept for a moment, Gibbons himself is still moving ahead full throttle, even as the “Little Ol’ Band from Texas” moves closer to celebrating its 50th anniversary in 2019. He continues to work on a flurry of projects and is consistently on a concert stage somewhere. Recently releasing The Big Bad Blues, his second solo album, Gibbons plays at 6:30 p.m. on Sunday at the Agora Theatre. True to the title, the album is big, bad and chock full of the blues. “We wanted to make a 21st century blues album, and yet we didn’t really know initially what that meant,” Gibbons says. “Let’s face it — Muddy Waters and Howlin’ Wolf can hardly be replicated.

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knowledge of, especially blues music. I mean, he can talk for two hours and I’ve heard him do it before. Two hours without an uh, or a hmmm, or an anything. It just sounds like he’s reading from an encyclopedia entry, but he’s not,” Hardy says. “That’s just what’s in his brain. We both are especially big fans of Bo Diddley. That’s our main go-to. But it’s hard, because he’s done so much stuff. I mean, he’s been covered so many times. George Thorogood kind of made a career out of doing that sort of stuff. And you know, you want to get obscure enough that it hadn’t been covered to death, but not so obscure that people don’t recognize who the original artist was.” The weary sigh that Gibbons lets out after the initial vocal line on Muddy Waters’ “Standing Around Crying” is an important accent point that underlines the mood of what he’s trying to get across. There are lots of these

GARBAGE OCT 18

ANKA SINGS SINATRA: HIS SONGS, MY SONGS, MY WAY

PAUL ANKA OCT 25

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“The ZZ recording studio down in Houston always remained quite close to New Orleans,” he says. “The Crescent City has long been a destination for everybody wanting to groove and let loose. As a kid, the goal was to: a. get a license; b. get a car; and c. drive that car to New Orleans and drop into some music. We recorded Fandango! there, and I took up an extended residency a while back so it’s like home, albeit a funky and kinda strange home,” he explains. “It just seemed like the NOLA second line thing belonged on an album titled The Big Bad Blues.” The passion that Gibbons still has for what he does is very evident. And just in case it’s not clear, he’s doing this because he wants to. He certainly doesn’t have to, brushing away any insinuations that what he’s doing here is work. “We don’t call it ‘work’ per se as we’re still very much in it toward sonic explorations and side trips,” he says. “Some might call this a busman’s holiday, but we dig riding the bus and going to the usual and not-so usual

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little moments of emotion scattered across our favorite albums that make the songs feel more real. “It’s just the sound of humanity. I guess we could program machines to do it but they don’t exhale except when code tells them to do so,” Gibbons says. “Those exclamations between verses, like with Otis Redding or when Keith sings endearingly on ‘Happy’ are those special moments that bind us as human consumers of sounds.” One thing that comes across quite clearly, is the reverence that Gibbons has for the material. When he’s testing out a vocal sound or a guitar line in the studio, he goes straight to the standards. “We truly enjoy those numbers and play ‘em for recreation. Joe Hardy, being the sly, shy guy he is, encouraged this kind of in-studio jamming and, unbeknownst to me, was rolling tape. Again, we just do a kind of adaptation of songs we interpreted early on; it would be, ahem, “fool-Hardy” to try to recreate them,” Gibbons says. “Bo Diddley and Muddy Waters were our singular sonic souls; we’re just glad they’re still with us in more than just spirit.” “Second Line,” one of the originals on the album, as Gibbons details, draws inspiration from a location that remains near and dear to his heart.

spots down and around. If we learn something along the way, it’s a definite bonus to the ongoing experience.” Hardy agrees. “You know, he’s pushing 70. I think he sings better now than he did when he was 30 or 40 or 50,” Hardy adds. “He’s at the top of his form, which is unusual. My voice has gotten more wavery as I get older, and that happens to a lot of people. There is no autotune. And we will use distortion as an effect, like in a breakdown or something. But in general, it’s just Billy singing. There’s no reverb; there’s no nothing.” Besides the current tour, you’ll find Gibbons making a guest appearance on William Shatner’s forthcoming Christmas album, Shatner Claus — The Christmas Album. The two pair up for a memorable rendition of “Rudolph The Red-Nosed Reindeer.” “Hanging out with Captain Kirk is still quite surreal,” Gibbons says. “[My] next move is to request the opportunity get beamed up or beamed down… the question is, ‘Where to?” That will certainly be a memorable experience. As far as the Star Trek series goes, I liked those furry and mischievous Tribbles. Hey, that’s ZZ!”

scene@clevescene.com t@clevelandscene

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Watsky w/ Feed The Biirds, Chukwudi Hodge Alt Nation presents Big Data w/ Castlecomer, FITNESS Cambridge Room Reel Big Fish w/ Ballyhoo!, We Are The Union PROF w/ Mac Irv, Dwynell Roland, DJ Willy Wonka Cambridge Room Jade Novah Cambridge Room Father w/ Danger Incorporated Cambridge Room The Night Game e/ alf The Animal Cambridge Room Ones To Watch Presents Hobo Johnson & The Lovemakers Young The Giant w/ Lights SOLD OUT Cleopatrick Cambridge Room

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Buy tickets at HOUSEOFBLUES.COM/CLEVELAND Order By Phone: 800.745.3000 • House of Blues Box Office

| clevescene.com | October 17 - 23, 2018

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MUSIC 2.0 TURNS 20 Garbage to play its second album in its entirety By Jeff Niesel Photo: Joseph Cultice

GUITARIST STEVE MARKER and his Garbage bandmates go back a long way. Originally, Marker played with drummer Butch Vig and guitarist Duke Erikson in Fire Town, a Wisconsinbased rock act. He and Vig then started Smart Studios, a “super lo-fi” recording studio that would become “pretty professional,” as Marker puts it. That’s an understatement, given the fact that bands like Nirvana and Smashing Pumpkins recorded there. And then, they decided to form Garbage. “Around 1994, we felt like it would be a good time to do something with our own ideas,” says Marker via phone from his Colorado home. On tour to celebrate the 20th anniversary of its second album, 2.0, the band performs at 7:30 on Thursday at Hard Rock Live. “We didn’t have a singer, but we found [singer] Shirley [Manson] through this weird process of watching a lot of TV. We saw her on MTV and loved her voice. We started recording with no idea of what we were doing. That’s kind of what we’re still doing.” When the band subsequently came together in 1993, Marker didn’t think of it as a long-term project. “We thought we’d make one record, and we thought that would be it,” he says. “We couldn’t imagine playing live in front of anyone because it was this complex recording process using lots of electronics and it was pretty unwieldy at the time. Here we are, and [Garbage is] basically all we do. We’re still having a lot of fun doing it, which is really rare. Most people after that amount of time rarely speak to each other.” Garbage’s self-titled debut became a hit, and the record label requested the band deliver a commercially successful follow-up. Working out of Madison gave the guys an advantage. “Smart Studios was like a clubhouse; it’s a grunge-y ugly little building,” says Marker. “It worked great because nobody bothered us or even knew we were there.” When the band started to write the songs for 2.0, Marker says it sought to make them “bigger and brighter and shinier.”

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“I knew we had it in to us to write some really good songs,” he says. “We have deep backgrounds in pop music and not just what’s on the radio today. We all like Frank Sinatra and the Beach Boys and Cole Porter and the Beatles and Roxy Music and [Brian] Eno and King Crimson and all the electronic stuff that we also love. We wanted to see how far we could push combining all that stuff and still make it palatable. It’s pretty easy to take a bunch of weird shit and throw it together and impress your friends with how weird

propulsive drums, distorted vocals and snarling guitars. The shimmering “I Think I’m Paranoid” showcases Manson’s vocals as she effectively alternates between crooning and screaming. The album has its industrial rock moments but they never devolve into the kind of white noise that bands such as Ministry and Nine Inch Nails were pushing at the time. “We wanted to go digital because we knew we could push it farther,” says Marker. “We got obsessed with the possibility of that. Now, everyone

GARBAGE 7:30 P.M. THURSDAY, OCT. 18 HARD ROCK LIVE, 10777 NORTHFIELD RD, NORTHFIELD, 330-908-7625 TICKETS: $59.50-$72.50, HRROCKSINONORTHFIELDPARK.COM

you are. But to reach something that almost reaches the mainstream but remain something that’s interesting to listen to over a period of time was what we were shooting for. Going back and playing it live now, I think we achieved that to some extent.” Sonically, it sounds superb. The organic and electronic instrumentation is nicely balanced in songs such as the “Temptation Waits,” a tune that features

| clevescene.com | October 17 - 23, 2018

has [recording software] on their laptop, and it’s not a big deal at all. Back then, to have more than 16 tracks was a luxury. Sometimes, we pushed it too far and had 100 guitar tracks. We also wanted to write some really good songs that — God forbid — might get on the radio.” The expanded reissue of the album includes tracks like “Lick the Pavement” that the band churned out for B-sides.

“I like the song, and it’s fun to play live now, but I don’t think it fits on the album,” says Marker when asked why it didn’t make the final cut. “When you have to chose those 12 or 14 songs, it didn’t fit into that narrative. That was a B-side. I don’t remember what song it was a B-side for. It’s often last minute. It’s like, ‘It’s Tuesday, and we need three new songs.’ We had to scramble. I think we did that one in a couple of hours and there wasn’t much thought put into it. That’s often a good thing if you don’t overthink things. It’s basically a three-chord punk song.” For the live show, the band will play the album in its entirety, B-sides included. “Typically, a set builds and builds, and you can predict the trajectory of it,” Marker explains. “There are a lot of ups and downs in this set that take people by surprise. It’s every B-side except for ‘Tornado,’ which was done so quickly and with so little thought that it’s not enough of a song to play live. There’re all there. It’s kind of fun for us to go back and try to figure out how to do all that stuff again.”

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| clevescene.com | October 17 - 23, 2018

LIVEWIRE

all the live music you should see this week Photo: Courtesy of the Whiskey Daredevils

WED

Bad Boys of Blues Jam: 9 p.m., free. Smedley’s. Sammy Hagar & the Circle: 7:30 p.m. Hard Rock Rocksino. Joyce Manor/Vundabar/Big Eyes: 8 p.m., $18 ADV, $22 DOS. Beachland Ballroom. LSD & the Search for God/ HEAVEN/Niights: 8 p.m., $10. Mahall’s 20 Lanes. Mollo Rilla/Rave Ami: 6:30 p.m., $5. Beachland Tavern. On the One: 7 p.m., $10. Bop Stop. Plain White T’s/hey guy: 8 p.m., $25 ADV, $30 DOS. House of Blues. Von Swagger Album Release/Icky Al/DJ Bank Shaq/CTUCK/Smple God/E. Smallz/Bread216: 8:30 p.m., $10 ADV, $15 DOS. Grog Shop. Wheeler Walker Jr.: 7 p.m., $25. Agora Ballroom.

THU

guitarist Gary Siperko, who left the band in January, and singer Greg Miller maintains the album represents “a collection of songs seeped in the muck of Americana while maintaining the Whiskey Daredevils skewed vision of what rock n’ roll is supposed to be in today’s world.” They’ll have physical copies on hand tonight for the release party. (Niesel), 9 p.m., $8 ADV, $10 DOS. Grog Shop.

10/17

10/18

Blue Water Highway/Morgan Mecaskey: 8:30 p.m., $10. Beachland Tavern. Casper Skulls/Drag Daze/Curtains/ Method (in the Locker Room): 7 p.m., $10. Mahall’s 20 Lanes. Phil Collins: A huge star in the ’80s when his solo albums yielded a series of radio hits, former Genesis drummer Phil Collins comes to town tonight on his Not Dead Yet, Live! tour that serves as a sequel to his recent memoir, Not Dead Yet. The show will celebrate the singerdrummer’s extensive career, and the live band includes guitarist Daryl Stuermer, keyboardist Brad Cole, bassist Leland Sklar, percussionist Luis Conte and Collins’ 16-year-old son Nicolas on drums along with a horn section and backup singers. (Jeff Niesel), 7 p.m., $99-$275. Quicken Loans Arena. Lauren Daigle: 7 p.m., $27.50$77.50. State Theatre. George Foley Trio (in the Supper Club): 6:30 p.m., free. Music Box Supper Club. FreeByrds Musician’s Night: 10 p.m., free. Smedley’s. Garbage/Rituals of Mine: 7:30 p.m. Hard Rock Rocksino. Chris Hatton’s Musical Circus (in the Wine Bar): 8 p.m., free. Brothers Lounge. Jam Night with the Bad Boys

SAT

The Whiskey Daredevils celebrate the release of their new album with a show at the Grog Shop. See: Friday

of Blues: 9 p.m., free. Brothers Lounge. Rickie Lee Jones: 8 p.m., $45-$65. Music Box Supper Club. Soft Machine — 50th Anniversary USA Tour/Beledo: 8 p.m., $26 ADV, $30 DOS. Beachland Ballroom. April Verch Band: 7 p.m., $15. Bop Stop. Watsky/Feed the Birds/Chukwudi Hodge: 8 p.m., $20 ADV, $25 DOS. House of Blues. Carol Welsman Trio: 8 p.m., $25. Nighttown. Young Rising Sons/Saint Slumber: 9 p.m., $15 ADV, $18 DOS. Grog Shop.

FRI

10/19

Beauty Slap: 8 p.m., $15. Bop Stop. Big Data/Castlecomer/FITNESS: 7:30 p.m., $18 ADV, $20 DOS. House of Blues Cambridge Room. The Church - Starfish 30th Anniversary Tour: 9 p.m., $25$99. Beachland Ballroom. Elbow Room/Mascots/Call Your Shot/Mallory Run/Aslan: 7 p.m., $10. Mahall’s 20 Lanes. Diego Figueiredo & Camille Bertault: 8:30 p.m., $25. Nighttown. Jazz Jam Session: 11 p.m., free. Bop Stop. Hubby Jenkins: 8 p.m., $15. Nighttown. Minus the Bear: The Farewell Tour/Caspian: 7 p.m. Agora Theatre. Nitebridge: Sisters of Soul (in the Supper Club): 7:30 p.m., $10.

Music Box Supper Club. Oregon Space Trail of Doom / Ritual Talk / Young Steve: 8 p.m., $7. CODA. Pen Dive Issue Two Release Featuring Madeline Finn/Fig/ ctrl cult (in the Apartment): 8 p.m., $5. Mahall’s 20 Lanes. Psych Ward: 6:30 p.m., $12. Odeon. Reel Big Fish/Ballyhoo!/We are the Union: 8 p.m., $22 ADV, $27 DOS. House of Blues. Sweet Tits Halloween Cover Night: 8 p.m., free. Now That’s Class. Thin Lips/Cheer Up/Future Bummer/Brain Cave/Mary Kekic (in the Locker Room): 7 p.m., $10. Mahall’s 20 Lanes. Jackie Warren: 10:30 p.m., free. Nighttown. The Weight Band: 8:30 p.m., $28 ADV, $35 ADV. Music Box Supper Club. Whiskey Daredevils/The Torments/ Lords of the Highway: One of our favorite local acts, the Whiskey Daredevils have just released their latest effort, American Songbook, and it’s another winner. The disc, the band’s 13th album, commences with the Blasters-meets-Johnny Cash anthem “Big Wheels,” a tune that uses a gnarly guitar solo to show off their heavier side. Other highlights include the twangy surf guitar romp “101.1 Gram Man Bracelet” and the wacky “Bad Times,” a tune that features some sweet pedal steel guitar and hiccuping vocals. The group recorded the tunes last summer in Detroit at Rust Belt Studios with producer John Smerek. It’s the last record with

10/20

Greg Abate & Cliff Habian: 8 p.m., $10. Nighttown. The Barr Brothers: Still touring in support of their 2017 album, Queens of the Breakers, the Barr Brothers have only deepened their stage presence and their reputation for awe-inspiring, introspective folk and bluesy songwriting in recent years. The band, spawned from the ashes of ca.-2000s avant-jam trio the Slip, is a delicate web of sonic landscapes, lush balladry and upbeat meditations on love and fun. As the story goes, guitarist Brad Barr heard harpist Sarah Pagé’s music through the walls of his new place in Montreal; the rest is history, as she joined Brad and brother Andrew in forming a new band that leaned less on live improvisation and more on the sweeping inspirations of Western and Eastern musical traditions. Look no further than the opening sequence of 2014’s Sleeping Operator for an example of the band’s global perspective on music. “Static Orphans,” with its beautiful harp backlit by a clapping beat, bleeds into “Love Ain’t Enough,” forming a duo that is pure exhilaration onstage. (Eric Sandy), 8 p.m., $20 ADV, $25 DOS. Beachland Ballroom. The Eagles: Inducted into the Rock & Roll Hall of Fame in their first year of eligibility, the Eagles received the Kennedy Center Honors in 2016. The current lineup — Don Henley, Joe Walsh and Timothy B. Schmit with Vince Gill and Deacon Frey — continues to be a major draw. Its 2014 History of the Eagles Tour broke numerous U.S. box office records and included five sold-out concerts at Madison Square Garden and six sold-out concerts at the Forum in Inglewood. Given his Northeast | clevescene.com | October 17 - 23, 2018

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LIVEWIRE Ohio roots, expect Walsh to be particularly pleased to be playing in Cleveland. (Niesel), 8 p.m. Quicken Loans Arena. Ekoostik Hookah: 8 p.m., $15 ADV, $18 DOS. The Kent Stage. An Evening with Pete Yorn: 9 p.m., $35 ADV,$38.50 DOS. Grog Shop. Diego Figueiredo & Camille Bertault: $25. Nighttown. Future Generations - Landscape Tour/Zuli: 8 p.m., $10 ADV, $12 DOS. Beachland Tavern. Al Green Tribute by the Reid Project (in the Supper Club): 7 p.m., $8 ADV, $10 DOS. Music Box Supper Club. Grimm Trigger: 6 p.m., $15. Odeon. La Armada/S.N.A.F.U./Ancalgon/ Inoculation/Wallcreeper: 8 p.m., $8. Now That’s Class. The Tie Downs / The Lowlies / Stupid Beautiful Heaven: 8 p.m., free. CODA. Tropical Cleveland (in the Supper Club): 11 p.m., $10 ADV, $15 DOS. Music Box Supper Club. Under One Sun: 8 p.m., $20. Bop Stop. Jackie Warren: 10:30 p.m., free. Nighttown.

SUN

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| clevescene.com | October 17 - 23, 2018

10/21

Acoustic Alchemy: 7:30 p.m., $25 ADV, $30 DOS. The Kent Stage. Atmosphere/deM atla5S/The Lioness/DJ Keezy: 8 p.m., $25 ADV, $30 DOS. House of Blues. Croce Plays Croce: Nashvillebased singer/songwriter A.J. Croce has recently has created a very special concert experience that celebrates both his own music and that of his father, the late Jim Croce. Entitled Croce Plays Croce: Two Generations of American Music, the show features A.J. Croce, who was only 2 when his dad dies in an airplane crash, performing his songs, his father’s tunes and music that influenced both of them. The idea came to him when he was digitalizing some of his father’s old tapes and came across a cassette filled with covers of old blues and folk tunes by Fats Waller, Bessie Smith and Pink Anderson. It was a revelation to him. Jim Croce, who died in 1973, remains as popular as ever. His record sales have surpassed the 45 million mark, and his songs have appeared on over 375 compilations. (Niesel), 7

p.m., $38 ADV, $45 DOS. Music Box Supper Club. Gus Dapperton/Beshken/Pomade: 8:30 p.m., $15. Grog Shop. Billy Gibbons: 6:30 p.m. Agora Theatre. Jamey Haddad: 7 p.m., $25. Nighttown. Roots of American Music Benefit featuring Terry Lee Goffee: 7 p.m., $25. Beachland Ballroom. SexyPigDivas! / Buhu / Rafting: 7:30 p.m., $5. CODA.

MON

10/22

Lil Ugly Mane/No Warning/ Mercenary/Jus Mic: 8:30 p.m., $20. Grog Shop. Machine Head: 7 p.m. Agora Theatre. Prof/Mac Irv/Dwynell Roland/ DJ Willie Wonka: 6:30 p.m., $15 ADV, $20 DOS. House of Blues Cambridge Room. Jack Russell’s Great White/ Bulletboys/Enuff Z’Nuff: 8 p.m., $17 ADV, $20 DOS. House of Blues. Skatch Anderssen Orchestra: 8 p.m., $7. Brothers Lounge. Velvet Voyage (in the Wine Bar): 8 p.m. Brothers Lounge.

TUE

10/23

Abandoned by Bears/Boys of Fall/ Youth Fountain/The City of Sirens (in the Locker Room): 7 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes. Bruce Cockburn: 8 p.m., $40-$55. Music Box Supper Club. Cold Beaches/Don Babylon/Racket Man/Edwin Agustin: 9 p.m., $5. Now That’s Class. Kevin Gates/Yung Bleu/Tokyo Jetz: 7 p.m. Agora Theatre. Charlie Mosbrook & Friends: 8 p.m., $5. Grog Shop. Twenty One Pilots: 7 p.m. Quicken Loans Arena. WHY? Alopecia 10 Year Anniversary Show/The Ophelias: Fri., Nov. 2, 8:30 p.m., $16 ADV, $18 DOS. Beachland Ballroom. Wobble Gobble/Jimmy Mac: Sat., Nov. 17, 8 p.m., $15. Odeon. Young The Giant: Tue., Nov. 6, 8 p.m., $29.50 ADV, $35 DOS. House of Blues. Ron Zehel Guitar Center Student Concert: Sun., Nov. 4, noon, free. Music Box Supper Club.

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BAND OF THE WEEK THE VACANCIES By Jeff Niesel MEET THE BAND: Billy Crooked (vocals), Michael James (guitar, vocals), Kevin Bacik (drums), Bo (bass), Sean Grady (guitar) FORMATION: Initially, the band formed out of the ashes of Jimmy Spider and the Vacancies, a group fronted by local singer-songwriter Danny Frye, who tragically passed away about ten years ago. Frye played in the local group Bop Dead with guitarist Michael James. Billy Crooked had been in other local punk bands. When Crookedâ&#x20AC;&#x2122;s band split up, he and Frye began writing songs together. After he and Frye went their separate ways, Crooked started singing, and the Vacancies came to fruition.

=HGĂ?M FBLL MA>L> @K>:M LAHPL Â? MB<D>ML HG L:E> GHP JETT POWERED: The band had what Crooked calls â&#x20AC;&#x153;not technically a managerâ&#x20AC;? who got the band on a bill with veteran punk rocker Joan Jett. â&#x20AC;&#x153;We opened up for her, and she was really, really cool and seemed to like the band,â&#x20AC;? says Crooked. Rocky Horror Picture Show

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| clevescene.com | October 17 - 23, 2018

ITCHING TO REUNITE: The Vacancies stopped playing about ten years ago, but the guys began thinking of reuniting a few years ago. â&#x20AC;&#x153;We wanted to play the songs again because we got itchy, but we didnâ&#x20AC;&#x2122;t have a rehearsal space,â&#x20AC;? Crooked says. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re all playing in different bands now, and it just seemed like the right time.â&#x20AC;? WHY YOU SHOULD HEAR THEM: With its surging guitars and rapid-ďŹ re vocals, â&#x20AC;&#x153;Below Merlotâ&#x20AC;? sounds like a cross between Social Distortion and NOFX. â&#x20AC;&#x153;I know that I am not always right, but I am never wrong,â&#x20AC;? Crooked croons in the tune that shows off the groupâ&#x20AC;&#x2122;s songwriting skills and ability to write melodic tunes that still possess a punk rock edge. WHERE YOU CAN HEAR THEM: blackheart.com. WHERE YOU CAN SEE THEM: The Vacancies perform with the Snakes at 9:30 p.m. on Friday, Oct. 19, and with Fawx at 9:30 p.m. on Saturday, Oct. 20, at the 5 Oâ&#x20AC;&#x2122;Clock Lounge in Lakewood.

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BILLY MORRIS & THE SUNSET STRIP WEDNESDAY, OCTOBER 17, 2018 7:00PM-1:00AM

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SAVAGE LOVE JACKS By Dan Savage I have a secret: For the past three months, I’ve been attending a local Jacks club (a men-only masturbation event). As someone recovering from sexual abuse, I find the party to be safe, therapeutic, and just sexy fun. I feel like I need this! Unfortunately, I spotted one of my employees at last week’s event. Although I’m openly gay at my workplace, being naked, erect, and sexual in the same room as my employee felt wrong. I freaked out, packed up, and departed without him seeing me (I hope). I’m his manager at work, and I feel that being sexual around him could damage our professional relationship. It could even have dangerous HR consequences. I realize he has every right to attend Jacks, as much right as me, but I wish he weren’t there. I want to continue attending Jacks, but what if he’s there again? Frankly, I’m terrified to discuss the topic with him. Help! Just A Cock Kraving Safety “I hate to say it, but now that JACKS knows his employee attends these events, he really has to stop going,” said Alison Green, the management consultant behind the popular Ask a Manager advice column (askamanager.org) and the author of Ask a Manager: How to Navigate Clueless Colleagues, LunchStealing Bosses, and the Rest of Your Life at Work. And why do you have to stop going to your beloved JO club? “In an employment relationship where he’s in a position of power,” said Green, “JACKS has a responsibility to avoid any remotely sexual situation with an employee.” Green also strongly advises against pulling your employee aside and working out some sort of shared custody agreement—you get Jacks to yourself every other week—because initiating a conversation with a subordinate about when and where he likes to jack off would be a bad idea. She also doesn’t think you can just keep going in the hopes that your employee won’t be back. “If he continues to attend and it got back to anyone at their workplace, it would be really damaging to his reputation—not the fact that he was at the event to begin with, but the fact that he continued

to attend knowing an employee was also participating,” said Green. “It would call his professional judgment into question, and it’s highly likely that HR would freak out about the potential legal liability that arises when you have a manager and a subordinate in a sexual context together.” It seems crazy unfair to me that you should have to stop going to parties you not only enjoy, JACKS, but that have aided in your recovery. And Green agrees—it isn’t fair—but with great power (management) comes great responsibility (avoiding places where your employees are known to jack off). “It’s never going to feel fair to have to drop out of a private, out-of-work activity just because of your job,” said Green. “I’m hoping it’s possible for JACKS to find a different club in a neighboring town. Or he could start his own club and offer a safe haven for other managers hiding out from potential run-ins with employees— Jacks for Middle Managers or something!” While I had Green’s attention, I asked her about other sorts of gay social events that might toss a manager and an employee into a sexual context—think of the thousands of men who attended the Folsom Street Fair in San Francisco last month. “Public events are different from private clubs,” said Green. “A private club is more intimate, and a public event is, well, public. And it’s not reasonable or practical to expect managers to entirely curtail their social lives or never attend a public event. But a private club that’s organized specifically and primarily for sexual activity is in a different category.” I’m going to give myself the last word here: You’ve been attending that JO club for months and saw your employee there only once, JACKS, so I think you can risk going back at least one more time. I would hate to see you deprived of release (and see your recovery set back!) if your employee was there only that one time.

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