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UPFRONT IF KEN JOHNSON HAD A SHRED OF DIGNITY, HE’D RESIGN IMMEDIATELY

Photo courtesy Cleveland City Council

CLEVELAND.COM’S MARK Naymik must be extremely confused. His several exposés on Ward 4 Councilman Ken Johnson’s prolonged and wanton misuse of public dollars have had zero effects. But Johnson’s behavior should be treated like the scandal it is. Late last week, Naymik published yet another story about Johnson’s misdeeds in office. Johnson, it turns out, has been receiving $1,200 a month from city council in reimbursements for what he’s been calling “ward services.” This is the maximum allowable amount for such reimbursements. Go figure. For the past 2.5 years, a full-time employee of the city’s recreation department, Robert Earl Fitzpatrick, who also happens to live on Johnson’s street and once shared an address with him, has supposedly been performing these services. No one with a brain believes that any services have been performed. Council has been cutting Johnson the checks, and it’s unknown what Johnson has been doing with the free money. Splitting it with Fitzpatrick? Taking it all for himself? This is just the latest malarkey. The whole saga started when Naymik reported back in July — July! — that Buckeye-Shaker Development Corporation was in dire financial straits and had become essentially a grass-cutting operation that employed those who had “direct conflicts of interest” with Johnson, including one of Johnson’s sons, who also serves as Johnson’s council assistant. The conflicted employees of Buckeye-Shaker couldn’t be paid with federal funds and were costing the organization $180,000 per year. A small auditing firm, in a letter that was sent to the city, said that this was the “root cause” of many of the organization’s financial woes, and it would not be able to stay afloat much longer. Naymik’s stories have been published steadily since then. They are always greeted with amazement by residents and greeted with proportional silence and assent by Johnson’s colleagues, who seem pleased as punch to let their public office be thus debased. They can rest assured, though,

that their office is being debased. These stories should be regarded with supreme embarrassment by Mayor Frank Jackson and every last member of city council. Johnson’s behavior is almost certainly criminal; and if not, it represents sustained abuse of his elected office. Cleveland leaders need to wake up! This should not be controversial at all. Johnson’s behavior is outrageous! If he had even a shred of dignity, he would have resigned long ago. But in Cleveland, he must know that he’d receive zero pressure to stop doing what he’s been doing. The poor residents of Ward 4! They’ve been bullied and manipulated by this leisure-suit loser for decades. Johnson’s been doing next to nothing for at least as long as I’ve been covering the city. Indeed, the very first story I pitched when I walked in the door at Scene in January of 2013 was “Where is Ken Johnson?” because he never showed up to council meetings. This guy’s a joke. He needs to resign. Full stop.

Jackson and Kelley need to force it if he won’t do it himself. Critically, he must forfeit his right to appoint a successor. That should be absolutely non-negotiable. Why would anyone believe that Johnson even has the capacity to appoint a replacement who cares about representing Ward 4 — and not just his family and friends — in good faith? Residents of Ward 4 must be allowed to pick a representative for themselves and rid themselves of this stain. (Once again, props to Naymik for shining this long overdue spotlight.) — Sam Allard

Plain Dealer Reporters and Editors Leaving Downtown Ofﬁce Building, Relocating to Tiedeman Production Facility Reporters and editors at the Plain Dealer, Ohio’s largest newspaper, are relocating from the Skylight Ofﬁce

Tower in downtown Cleveland to the paper’s production facility on Tiedeman Road in Brooklyn. “It’s cheaper for us to work out of space we own than out of rented space,” said editor George Rodrigue in an email to Scene. While Rodrigue said he was reluctant to discuss financial terms until new agreements are in place, the Skylight lease is presumed to be nearly up. And with many of the paper’s reporters working remotely, some staffers suggested that renting the office space adjacent to Tower City was no longer seen as essential. The Plain Dealer has been located downtown for its full history. In 2000, the staff of nearly 350 relocated to the new $38 million headquarters at 1801 Superior Avenue. In 2014, a diminished print staff decamped to Skylight, when Cleveland.com (then operating as the Northeast Ohio Media Group) moved from temporary offices in the Flats to 1801. “Personally, I’m sad to be | clevescene.com | October 24 - 30, 2018

UPFRONT moving out of downtown, but it’s a logical move for the paper,” said Ginger Christ, a PD health reporter and representative of News Guild Local 1. “It will definitely benefit us to have the entire PD staff under one roof, so we can better collaborate and create a stronger daily newspaper.” Christ said the move was preceded by other similar moves at papers across the country. The L.A. Times, for example, recently moved out of downtown. And the Chicago Tribune, while remaining downtown, left the office building that bore its name this summer. “It’s no secret that it’s a tough environment for journalism to succeed across the country,” Christ said. “I think that while the staff values a downtown newsroom, it makes sense to move us to Tiedeman because there is space, and we’ve been a fragmented staff for too long. And I’m happy we will still be in Cuyahoga County.” Rodrigue confirmed that there is ample space at the Tiedeman facility to accommodate

reporters and editors alongside the copy editors, layout folks and production personnel who currently work there. “We cover a wide range of topics across Northeast Ohio, as well as Cleveland,” Rodrigue said, “ and I believe we can work as well from our new space as from our current location.” Wendy McManamon, Guild president, told Scene that the Skylight Office Tower actually wasn’t an ideal location, especially given the inconvenient parking situation. But the bigger question for the 42 guild members (plus six managers) who will be affected by the new move is: Why were they kicked out of 1801 Superior in the first place? The effect, per McManamon was to “[split] us up and [make] collaboration between copy editors and reporters, photographers and designers so convoluted.” While McManamon said “no journalism happens in the newsroom” — a familiar adage illustrating that reporters do their most important news gathering out in the field — it’ll be sad to leave downtown offices nonetheless. On the other hand, she said, “I’m looking forward to seeing my colleagues again, for the sake of

journalism and camaraderie. At least until the next shoe drops!” — Allard

ODOT Will “Increase” Fines on Contractors Who Cause Traffic Jams Two Wednesdays ago, the hellish asphalt shitshow otherwise known as I-480 became even clusterfuckier, after an ODOT contractor failed to finish overnight work before the beginning of morning rush hour (by ODOT policy, that’s 6 a.m.) Lanes were left blocked as the sun came up and backups, as they do, ensued. It was the third time in the past month or so when a contractor’s tardy work caused traffic jams that snaked across freeways and side streets. Two previous instances involved Burton Scot’s work downtown. This time the culprit was Kokosing Construction. In a statement, the department said: “ODOT is frustrated by an uptick in construction companies, working by contract on behalf of our agency, continuing overnight work through the morning rush hour. This is NOT permitted under the terms of our contract.

“This morning the Kokosing Construction Company kept lanes closed on I-480 near Granger Road beyond the permitted time, causing long delays for motorists. ODOT will firmly address this incident with the contractor. At this time, the fines for this morning’s infraction have not been calculated. “In order to ensure construction companies are not making these business decisions at the expense of the time and safety of the travelling public, ODOT is rolling out statewide contract standards with stiffer disincentives for contractors who keep travel lanes closed longer than allowed. “The disincentive formula, which will be applied statewide and written into new contracts moving forward, will calculate fees for each stretch of highway under construction based on the route’s traffic volume (both passenger vehicles and trucks) and the number of lanes in each direction. Higher-volume routes, such as urban interstates, will carry higher disincentives in order to ensure construction companies are not creating countless hours of travel delay in order to save money on projects. The formula will be adjusted regularly for inflation.” Increased penalties sound nice in theory, and ODOT announced it had come up with a number for Kokosing

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— $12,000. Which doesn’t, in reality, sound like the amount of dollars that would serve as a real deterrent. For comparison sake, according to the Ohio Checkbook, the state paid Kokosing, annually one of the three or four biggest recipients of contracting work in the state, $245,412,251.96 in 2017. So, yeah, we imagine things might not change. — Vince Grzegorek

Cleveland Climbs to No. 29 on Bicycling Mag’s Ranking of Best Bike Cities Highlighted by and credited

DIGIT WIDGET 400 Skyline Chili coneys that Ohio man Ben Cohn has eaten to date in 2018. (He accomplished his goal of hitting 400 on Oct. 18.)

2 MILLION Robocalls per day delivered to Northeast Ohio area codes (216, 330, 440, 234) in the month of September, according to YouMail.

225 Number of craft breweries in Ohio, according to the Brewers Association, good for 11th most in the country. In total, they produced 1.3 million barrels of beer in 2017, good for 5th most in the country.

70 Number of CPP customers who were still without power as of early Monday afternoon following outages caused by Saturday night’s storm.

to the city’s work on the DetroitSuperior Bridge, Cleveland climbed to No. 29 from No. 41 on Bicycling mag’s ranking of the 50 best bike cities in America. The list, compiled every other year, factors in scores on safety (29/40 for Cleveland), friendliness (27/30), energy (13/20) and culture (7/10). You might quibble about our scores (anyone who’s spent time biking down Franklin is probably eying that 27/30 friendliness score with suspicion) but, in general, Cleveland’s sluggish progress on the bicycle front is at least moving forward. Here’s what Bicycling had to say: “The Cuyahoga River splits the city of Cleveland in half, and for years, bridge crossings were perilous for cyclists. Finally, that’s changing. A massive project on the Detroit Superior Bridge gave Cleveland cyclists their first protected bike lanes, shielding riders from fast-moving trucks and cars. ‘This is the culmination of a project that was planned 15 years ago,’ says Jacob VanSickle, Bike Cleveland’s executive director. It’s not perfect — the west-bound lanes are still not protected, but between the bike boxes at traffic lights and bike-specific signals, and the protected lanes on the eastbound side, the project feels like solid progress.’ “Around town, painted bike lanes are popping up, especially near the entrances and exits of the area’s many off-street pathways. ‘We’re focusing on commuter corridors and now there’s much more of an ability to get around on them,’ says Calley Mersmann, the bicycle and pedestrian coordinator for the city. VanSickle says that when it comes to downtown roadways, cars have previously taken priority, and getting parking removed or lanes taken away can be a fight. However, that’s also changing: ‘In the last five to six years we’ve taken more roadway away from cars and people are starting to realize it isn’t the apocalypse.’” A tangential note: If those aforementioned bike boxes — the green-painted rectangles with turning arrows — confused you at first, you’re not alone. How to use them: Don’t turn left from the leftmost lanes. Go straight, wait in the bike box, and then proceed once the other direction gets a green arrow. Bikes! — Grzegorek

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FEATURE

All photos are courtesy of Alan Tuskes

“Alan did the weirdest thing with me you can do with another person: We turned a man into a walrus.” — Kevin Smith AS A YOUNG BOY, Alan Tuskes loved staying up late in his Westpark home to watch Ghoulardi, the legendary host of Shock Theater on Channel 8. The lab-coated hipster horror character, and the early classic science ﬁction and horror movies he introduced, were like nothing like he’d ever seen. If Ghoulardi and the black-and-white Universal ﬂicks featuring goblins, monsters and aliens were a childhood introduction to new realms, H.G. Wells’ The War of the Worlds was a full-on Technicolor baptism by fear. “It absolutely scared the

shit out of me,” Tuskes, now 58, says. He remembers his parents ﬁnally letting him stay up past his bedtime one Friday night when he caught the ﬁlm on one of the network channels. “When I was growing up, the only thing on TV in color was the news, and War of the Worlds was in color; therefore, it was real,” he says. The immediate aftermath involved a long talking-to by his parents to convince the panicked 9-year-old that it was just a movie; but a spark inside his brain was lit. From that moment forward, he wanted nothing more than to make his own monster movies. “If you can make a movie and convince people that it’s real, that’s the coolest thing in the world, and I wanted to do that.” By his early teens,

| clevescene.com | October 24 - 30, 2018

FEATURE Tuskes was collecting every cent he earned from weekend dogwashing gigs to buy a movie camera, projector and everything he needed to create stop-motion Claymation like his hero, Ray Harryhausen. “I was 12 years old, and I knew this is exactly what I wanted to do with my life,” he says. Every parent has heard the “When I grow up I’m gonna …” speech — and probably more than one variation, based on whatever ﬂeeting childhood interest has captured their kid’s malleable and frenetic brain at any given moment. Some disappear as quickly as a summer vacation; some stick around as hobbies. Tuskes, though, was single-minded, much to his parents’ concern.

would spend his covered in makeup, buried in library books on chemicals and molds, teaching himself how to sculpt, and devouring issues of Famous Monsters of Filmland magazine, which served as a makeup-effects bible. It was in those instructional pages he read about his idols, like an 18-year-old effects artist named Rick Baker who was working with foam latex. (Baker would later win the Academy Award for Best Makeup a record seven times, from a record 11 nominations, and was the inaugural winner of the award for his work on American Werewolf in London.) During high school, where Tuskes excelled in science, advanced math, physics and chemistry, he and his friends would make amateur sci-ﬁ ﬁlms, learning the tricks of the trade — pyrotechnics, manipulating projectors to create lasers, setbuilding — through trial and error. Tuskes may have been single-

Alan Tuskes competes on Syfy’s Face Off.

| clevescene.com | October 24 - 30, 2018

“No, people from Ohio don’t do that,” he recalls them saying about his budding monster-making dreams. “Go to college and get a good career.” Unwilling to waver, Tuskes set out to convince them he could turn make-believe into reality. “This is what I wanted to do. I’ve never wanted to do anything else more in my life,” he told them. While some kids spent afternoons on the baseball diamond or tooling around town on bicycles, Tuskes

minded in his pursuit of a career in monster making, but for much of his early life that goal probably would have proved unreachable, adding up to nothing more than an elaborate and unique hobby. Not because he wouldn’t one day be talented enough, but because those sorts of jobs simply didn’t exist in large numbers. But the arrival of Star Wars changed everything for the industry, creating a huge demand for specialists in stop-motion, digital FX, robotics and special FX makeup on the back of

Join Tuskes puts the ﬁnishing touches on a monster.

the film’s popularity. So his decision to head to Kent State University to study filmmaking on a scholarship after graduation didn’t seem like the continuation of a far-fetched dream, but the next logical step in something that was concretely attainable. “I spent every spare minute drawing, sculpting, molding, experimenting with chemicals, and getting better at these things,” Tuskes says. He was also looking at the art differently than a lot of his fellow students. “There were a lot of Stan Brakhage types wanting to make non-narrative, flickering images, no story, black-and-white ‘film as art;’ but it’s just like, it’s pretty, but does it tell you anything? Do you make money on it? I suppose you can get a fellowship or a grant to make another one, but I wanted to tell stories.” Outside of school, he reached out to a production company in Kent that did commercials and industrials, hoping to get the chance to see how a real film production set ran. A week after his initial request, he was invited to work on an industrial as a spare hand on set, and they were offering a pay rate of $7 an hour. For a strange college kid, that wasn’t too shabby. “I was getting to work on a film set and get paid for it? I was fucking ecstatic,” he says. Once he arrived on set, his bosses saw that Tuskes was clearly above and beyond what the company had expected. He brought with him a comprehensive knowledge of just about every technical aspect

imaginable. Lighting, staging, gaffing, cinematography — Tuskes knew it all, and it impressed the hell out of them. The question of what to do once he graduated lingered. “Honestly, I really wanted to do what Savini did,” Tuskes says. Savini, for the uninitiated, is Tom Savini, one of the greatest special FX artists of all time, known for his makeup and special effects work on many films directed by George A. Romero, including Martin, Dawn of the Dead, Day of the Dead, Creepshow and Monkey Shines. He also created the special effects and makeup for cult classics like Friday the 13th (parts I and IV), Maniac, The Burning, The Prowler and The Texas Chainsaw Massacre 2. Savini grew up in Pittsburgh, learned what he wanted to do, and was lucky enough to meet Romero, an ambitious filmmaker who needed his particular brand of expertise. Because of this connection, Savini was able to shoot films in Pittsburgh and stay in his hometown. “I would have loved to have done that,” says Tuskes. “I would have lived in Cleveland all my life if something like that could have happened back in the late ’70s. It took a long time before that could start happening here, but that would have been perfect.” With the exception of 1966’s The Fortune Cookie and 1970’s Ghetto Freaks, Cleveland really didn’t become a popular location for film productions until 1998, when the Greater Cleveland Film Commission was founded. But the city’s burgeoning production scene was a long way off when Tuskes collected his diploma.

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Edward, the Chiodo brothers have brought to life iconic ďŹ lm characters like Large Marge in Pee-Weeâ€™s Big Adventure, the titular Critters, and created puppets and effects for ďŹ lms like Ernest Scared Stupid and Team America: World Police. But back then, â€œwe worked on a lot of kid shows, like, oh my god, some of them were so silly â€Ś The Amazing Live Sea Monkeys, and Bananas in Pajamas, just all of these goofy kid shows,â€? Tuskes says. While ďŹ nishing up his work with the Chiodo Brothers, he got a call from Stan Winston Studios. Who is Stan Winston? Well, he broke into mainstream prominence after working with Rob Bottin on John Carpenterâ€™s The Thing and would later create magic for the ďŹ rst three Jurassic Park ďŹ lms, Aliens, the ďŹ rst two Predator ďŹ lms, Inspector Gadget, Iron Man, The Monster Squad and Edward Scissorhands. Two weeks after silly kid shows, Tuskes was working in the awardwinning studio that brought the fucking Terminator to life. Shops were increasingly impressed with his skill set, which put him on the radar of another Ohio-born FX artist, Robert Kurtzman, of KNB EFX group. His tenure with KNB EFX

FEATURE He continued working odd jobs, showing up whenever the production company needed an extra hand, but eventually his wife, Terry, suggested they admit what the next step had to be and take it. And with that, they moved to Hollywood. â€œWhen I ďŹ nally got there, I learned that the makeup shops are very departmentalized,â€? he says. Meaning, much like an assembly line, each person working in the shop is a master at one speciďŹ c area. Thereâ€™s an expert mold-maker; thereâ€™s someone who knows how to work air-brush painting better than anyone else; thereâ€™s a dude who lives his every day manipulating foam latex. â€œAll you need to do is be good at one thing,â€? he says, â€œbut I came out there skilled in a lot of different areas, and I could do things that most people didnâ€™t know how to do, so I got a job pretty quickly.â€? Tuskes worked in smallerscale shops, and then hooked up with a company known as the Chiodo Brothers. Formed by reallife brothers Stephen, Charles and

Tuskesâ€™ work on Justin Long in Tusk.

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216.241.6000 | clevelandplayhouse.com Pictured L to R: Nancy Lemenager, Xavier Cano, Nehassaiu deGannes, Robert Ellis / Photo by Roger Mastroianni

| clevescene.com | October 24 - 30, 2018

included the TV mini-series Dune, which earned an Emmy for Best Special Effects, and major starpower and box-office hits including Austin Powers in Goldmember, Boogie Nights, From Dusk ’Til Dawn, Men in Black II, The Faculty, House on Haunted Hill, Little Nicky, The Green Mile, Unbreakable, Spy Kids, Thir13en Ghosts, Kill Bill Vol. 1 — and a little film called Pulp Fiction. The industry was changing, and whereas young Tuskes would immerse himself in Famous Monsters of Filmland magazines, mid-career Tuskes dove into computer-generated imagery and digital FX to keep up with the latest techniques and technology of his trade. “I never wanted to stop learning, and I never wanted to be afraid of changing or evolving with the landscape,” he says. That held true in his personal life as much as his professional life. Twenty years after they got married, and 15 years after they moved to Los Angeles, he and Terry finally decided to start a family. “We were having the time of our lives and traveling, but right around the time Terry hit 40, she asked me, ‘Hey, what about having a kid?’” he says. “And at this point, it had always been: No one impregnates the great and powerful Oz, not no how, not no way. Plus I, of course, was worried that all that shit they told us in the ’70s about doing LSD and growing up to have six-armed babies with three eyes was true, but was hoping not.” Their first child, a boy, was followed two years later by a girl. Most of their relatives still lived in the Midwest, so “family” in Los Angeles became more communal than blood-related. Some of the most iconic monster makers in Hollywood became “Uncle Bob,” “Uncle Howard” and “Uncle Greg.” In the FX business, being married and having kids is kind of like being the six-armed, three-eyed cousin at the dinner table. And that rarity begat a tradition amongst colleagues known as “The Chair.” “It was this old wooden highchair,” Tuskes says, “and whenever an FX artist got married and had children, it would be passed down from person to person, and we’ve all signed the underside of the tray. You could see a world of FX artists all brought together by our families. I’m sure it’s still floating around, but I know I had to fix the peg legs myself at least three times.” While the adopted family of displaced FX artists brought together in sunny California by

their love of movies was something Tuskes and his family treasured, they had their hearts and sights set back on Ohio, in Lakewood. They moved back: for the kids, for Tuskes and his college-era dream of living in Cleveland, and because the growth in the local ﬁlm scene ﬁnally afforded him the chance to do special fx work in the city. If it wasn’t for the kids, there’s a good chance Cleveland never would have gotten the gift of having him back, and his Los Angeles home, complete with a swimming pool, would still be his place of residence.

While he did work locally — for the past 14 years, Tuskes has often served as the Makeup Effects Shop supervisor and coordinator for Robert Kurtzman’s Creature Corps and Precinct 13 Entertainment — his resume, relationships, and reputation as one of Hollywood’s most sought-after artists in the game, meant he was still landing work outside the area. For example, there was Kevin Smith’s cult-hit horror ﬁlm Tusk. “I’ll never forget the insane attention to detail he paid to making Tusk,” Kevin Smith tells Scene. “All

through pre-production, he’d send me emails that, read out of context, were full of ghastly sentiments about body parts and blood. The man’s a pro and a legend.” Arguably, some of Tuskes’ best work was on the independent horror ﬁlm You’re Next from Adam Wingard and Simon Barrett (Blair Witch, A Horrible Way to Die, V/H/S), and it all came about on super short notice. “My buddy called me up and goes, ‘Hey, so there’s a couple of throat slashes, a woman runs into a wire and gets her throat cut, a guy gets a blender to the head ... do you think

Trick-or-Treat throughout the district Pumpkin decorating Hotel Transylvania outdoor movie showing in Central Park Bubble show with Dr. U.R. Awesome Interactive stations Event Partner:

Media Partner:

I-271 & Harvard Road ũ Orange Village

DiscoverPinecrest.com | clevescene.com | October 24 - 30, 2018

FEATURE you could do that?’” Tuskes says. That call was on a Thursday. He was on set by Sunday. On a low-budget set, with some of the most passionate budding filmmakers in genre creation, (Wingard would go on to make Death Note for Netflix and is set to direct the upcoming Godzilla vs. Kong), Tuskes shattered the filmmakers’ expectations. “He did amazing work. It was one of my first times working with a true SFX professional,” says writer and actor Simon Barrett. “Ultimately, Alan’s work on making my face look like the back of my head had been bludgeoned with a meat tenderizer was so good that Adam [Wingard] and I both felt a little guilty it was only going to be shown on screen for a split second, especially since it took nearly an hour to apply. But that’s the thing about great makeup effects: Just because they hold up to scrutiny doesn’t mean the camera should dwell on them. If something feels fully real, you have the option to film it like you would anything else, and that’s what Alan gave us with that effect.”

A Tuskes’ creation for Syfy’s Face Off.

special effects makeup competition/ reality show, Face Off. As the landscape of ﬁlm production has changed thanks to technology, so has the realm of special fx makeup. In both cases, there are downsides along with the upsides. On the makeup front, Tuskes is fearful that a generation raised

John Bisson, Alan Tuskes and Robert Kurtzman for The Rage.

Since moving back to Cleveland, Tuskes has been on the frontlines of just about everything that’s come through town thanks to Ohio’s tax incentive, including Kill the Irishman, Native Son, The Last Summer, White Boy Rick and All the Bright Places starring Elle Fanning, which is currently shooting in Elyria. In the summer of 2017, Tuskes stepped in front of the camera for the ﬁrst time, competing on Syfy’s

on Instagram tutorials and beauty blogging is diluting the industry. “So many of these so-called ‘designs’ may look nicely in one angle in front of one type of camera, but it’s just not practical for realworld execution,” he says. “No one is ever going to have a zipper face or half of a Coke can jabbed in their head, but if you look up these makeup tutorials on Instagram or wherever, it’s all you see.” And many of those, he says, are

| clevescene.com | October 24 - 30, 2018

just garbage. “Everyone wants to be a special FX makeup artist but because of the internet, there’s so much information and so much of it is just bad,” he says. “You have to have initiative to make it work in this industry. I’m sure if you figure out how to do a nice Coke can in the head you’ll get a hundred thousand hits, but it’s not going to get you a job on a film set. Don’t do what everyone else on the internet is doing. Make something unique. Stand out.” As for the widely accessible, and affordable, advancements in technology, from editing programs to camera phones, they might translate to making movies easier than ever, but they also mean the market has never been more saturated, thanks in part to downright awful flicks easily distributed on Amazon Prime or YouTube for mass consumption. “Sometimes I worry about the lowbudget, independent films coming out of Cleveland,” Tuskes says. “We have CIFF (Cleveland International Film Festival), but then we have these smaller-run festivals that advertise themselves as ‘international film festivals’ that give out awards to films that use in-camera audio and were shot on whatever was the best camera they could get at a Best Buy for a few hundred bucks — and this is supposed to represent our city.” Fortunately, there are plenty of incredible films shot in Cleveland, a location Tuskes thinks is perfect for the industry. “I love seeing films shot in Cleveland, because it’s like a city lost in time. We get all four seasons, and we’ve never burned down.” Cleveland has stood in for major

metropolitan cities, middle-ofnowhere Midwest towns and just about everything in between. “It’s great, because Cleveland is also such a welcoming city to film crews because it’s still so novel. In the coastal cities, people are so jaded by the process,” he says. “Clevelanders are ecstatic to help out, they view [film shoots] as a cause for celebration, not an inconvenience, and it’s reasons like that, that made me never want to leave in the first place.” Of course, working in an area that isn’t as familiar with the filmmaking process does have its difficulties and peculiarities, especially for someone in Tuskes’ role. “I once had a police officer show up at my house because a fake foot covered in corn syrup had started to mold and looked like a severed body was stored in my trash,” he says. There was also the time he made eyecontact with a police officer at a gas station while driving home from a set with a back seat full of body parts and a fake body wrapped in plastic tied to the roof of his car, not unlike dead Aunt Edna in Vacation. “I thought the cop would say something to me, because I know he saw it, but he just smiled and nodded,” Tuskes chuckles. “If he thought it was real, he probably didn’t want to fuck with the guy openly carrying a dead body on the roof of his car.”

bcolangelo@clevescene.com t@bjcolangelo

| clevescene.com | October 24 - 30, 2018

GET OUT everything you should do this week WED

Photo Courtesy of Live Nation

10/24

SPOKEN WORD

Author Series with Anthony DeCurtis As part of the Rock & Roll Hall of Fame’s ongoing Author Series, Rolling Stone contributing editor Anthony DeCurtis will discuss his latest book, Lou Reed: A Life, tonight at 7 at the Rock Hall. A distinguished lecturer in the creative writing program at the University of Pennsylvania, DeCurtis also wrote In Other Words and Rocking My Life Away. Additionally, he’s the co-author of Clive Davis’ autobiography, The Soundtrack of My Life. DeCurtis, who holds a Ph.D. in American literature, lives in New York. The author will take questions, and sign copies of his book, after his talk. Admission is free with an RSVP through the Rock Hall’s website. (Jeff Niesel) 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com.

BURLESQUE

Suicide Girls’ Blackheart Burlesque There’s burlesque, and then there’s the Suicide Girls’ burlesque. A group of “badass bombshells and geek goddesses,” the troupe takes the art form to another level. Consider, for example, their current Blackheart Burlesque Tour, re-launched after a six-year hiatus. Instructor/dancer Manwe Sauls-Addison, who’s worked with world-famous performers such as Beyonce, Jennifer Lopez and Lady Gaga, did the choreography and picked seven of the troupe’s best dancers for the tour. The show parodies contemporary pop culture and makes fun of ﬁlms and TV shows such as Star Wars, Orange is the New Black, Donnie Darko and Clockwork Orange. Tickets are $25 to $60. The show starts at 8 tonight at the Agora Theatre. (Niesel) 5000 Euclid Ave., 216-881-2221, agoracleveland.com.

SPORTS

Cavaliers vs. Brooklyn Nets The Cavs continue their week-long homestand tonight with a game against the Brooklyn Nets. The Nets missed the post season last year and don’t show any signs of being particularly competitive this year. However, guard Russell D’Angelo, an Ohio State alum, could have a breakout year, and former Cav Joe Harris provides the team with a 3-point threat. Tipoff is at 7. Consult the Q website for ticket prices. (Niesel) 1 Center Court, 216-420-2000, theqarena.com. SPOKEN WORD

Cleveland Stories Dinner Party Cleveland Stories Dinner Party is a weekly series at the Music Box Supper Club that pairs ﬁne food with storytelling. The goal is to “bring to life some of the fun, interesting stories about Cleveland’s past — from sports, to rock ’n’ roll, to Millionaires’ Row,” as it’s put in a press release. Admission is free, 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, Dave Schwensen talks about his book, The Beatles in Cleveland: Memories, Facts & Photos About the Notorious 1964 & 1966 Concerts. (Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com.

choreographer Mandy Moore, the live show is set to include the best routines from the season as well as brand-new pieces. The show begins at 8 at the State Theatre. Tickets start at $25. (Laura Morrison) 1519 Euclid Ave., 216-241-6000, playhousesquare.org.

MUSIC

Dee Snider joins the cast of Rocktopia at the State Theatre. See: Saturday. FILM

The Exorcist The only “true” horror ﬁlm to ever win a Best Picture Oscar (Silence of the Lambs is a crime drama; ﬁght me), The Exorcist will spider-walk its way into the Capitol Theater tonight as part of the Happy Hour Classics series, which means a spooky specialty cocktail hour precedes tonight’s 7 p.m. screening Tickets are $10. (BJ Colangelo) 1390 West 65th St., 216-651-7295, clevelandcinemas.com. COMEDY

Ben Moore In one particular skit, comedian Ben Moore makes fun of his white friends who like to preface their racist statements by saying things like “I’m not racist, but ... .” He says he wonders if blatant racists, like members of the Ku Klux Klan, do

the opposite, saying, “I’m a racist, but ...” before stating something that’s not racist. The Cincinnatibased comic has won regional competitions, and WTF podcast host/comedian/actor Marc Maron calls him “very funny.” He performs tonight at 8 at Hilarities. Tickets are $13 to $18. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com. DANCE

So You Think You Can Dance — Live! So You Think You Can Dance just ﬁnished up its 15th season, and all of the series’ Top 10 performers come to town tonight with So You Think You Can Dance — Live! In addition, season 8 winner Lauren Froderman, and Cyrus “Glitch” Spencer, who was the runner-up in season 9, will be on hand. Directed by Raj Kapoor, and overseen by

Vox Luminis Led by founder and artistic director Lionel Meunier, the Belgian earlymusic vocal ensemble Vox Luminis, which performs at 7:30 tonight at the Cleveland Museum of Art, gives over 60 concerts a year. The group has played across Europe, releasing 12 albums during the course of its career. Tonight’s show will feature special guests Anthony Romaniuk (organ) and Ricardo Rodriguez Miranda (viola da gamba). The concert will mark the group’s museum debut. Tickets are $38 to $53 for museum members, or $43 to $59 for non-members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

THU

10/25

FILM

The Bird with the Crystal Plumage After an American writer in Rome (Tony Musante) witnesses | clevescene.com | October 24 - 30, 2018

GET OUT an attempted murder in an art gallery, he and his girlfriend (Suzy Kendall) are added to the hit list. That’s the premise of The Bird with the Crystal Plumage, the directorial debut from Dario Argento. Tonight at 6:45 and tomorrow night at 9:30, the Cleveland Institute of Art Cinematheque screens a digital restoration of the ﬁlm. Tickets are $10, or $7 for members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

time in 25 years, Hodgson will jump back in the red jumpsuit as Joel Robinson. Along with new MST3K host Jonah Heston (Jonah Ray), Joel and the Bots will bring new movies and sketches to the Agora tonight. The show begins at 7:30 p.m., and tickets start at $39.50. (Niesel) 5000 Euclid Ave., 216-881-2221, agoracleveland.com.

Select Wednesdays

FILM

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.

COMEDY

THEATER

Mystery Science Theatre 3000 Live! After last year’s successful tour, Mystery Science Theater 3000 is back on the road for their 30th anniversary, with a live show featuring original host and MST3K creator Joel Hodgson. For the ﬁrst

from 6 PM to 9 PM

Step inside the exhibits with the Rock Hall crew, grab a drink and bring out your musical fandom.

The Cat O’ Nine Tails Karl Malden, James Franciscus and Catherine Spaak star in The Cat O’ Nine Tails, Dario Argento’s thriller about a blind man who teams up with a reporter to solve a series of killings at a medical institute. Tonight at 8:35 and tomorrow night at 7:15, the Cleveland Institute of Art Cinematheque will show a digital restoration of the ﬁlm that’s 20 minutes longer than the original U.S. cut. Tickets are $10, or $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

Joey Diaz Vulgar, loud and proud, comedian Joey Diaz isn’t an act you want to bring the young ones to. Diaz delivers passionate stories about his life and Cuban upbringing. He holds nothing back and nothing is off limits — including tales about ﬁghting with the nuns in school back in New Jersey. He loves to entertain the crowd, putting everything into his performances. Maybe you’ll even recognize him from his role in the 2013 ﬁlm Grudge Match: He starred opposite Robert De Niro, Kevin Hart and Sylvester Stallone. Diaz performs tonight at 8 at Hilarities. Tickets are $30, and performances are scheduled through Saturday. (Martin Harp) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

in public relations and development for healthcare-related nonproﬁt organizations including Cleveland Clinic, MedWish International, and the American Liver Foundation’s Ohio chapter. Sponsored by YNPN Cleveland, the free talk takes place at 5 p.m. at Visible Voice Books. (Niesel) 2258 Professor Ave., 216-961-0084, visiblevoicebooks.com.

as it’s put in a press release. The event includes a $500 costume contest grand prize, a DJ dance party, an open bar and food throughout the night. All proceeds beneﬁt two local charities: Not Just October, an organization dedicated to expanding the knowledge and resources available to breast cancer patients, survivors, and their supporters; and the Ohio Shakespeare Festival, a public professional theater company dedicated to the Bard and his fellow playwrights in a way that “satisﬁes the collective imagination of their audience.” Consult the website for ticket prices. (Niesel) 532 West Market St., Akron, halloweencharityball.org. DANCE

GroundWorks DanceTheater Artistic director David Shimotakahara leads GroundWorks DanceTheater as it performs tonight and tomorrow night at 7:30 at the Allen Theatre. The program will include Hindsight, choreographed by Lynne Taylor-Corbett in 2011 as a tribute to Chrissie Hynde and the Pretenders. Following Friday’s performance, there will be a talkback session with the dancers and Shimotakahara. Following tomorrow’s performance, there will be a beer and wine reception to mingle with new company members. Tickets are $10 to $30. (Niesel) 1407 Euclid Ave., 216-241-6000, playhousesquare.org. FILM

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

SPOKEN WORD

Speak Up, Speak Out: Advocacy in the Nonproﬁt World Stephanie Jansky, director of programming for the City Club, will speak tonight about how to advocate for your personal beliefs while working for a nonproﬁt. Jansky knows a thing or two about the topic. Prior to joining the City Club in 2014, she spent 12 years working

| clevescene.com | October 24 - 30, 2018

FRI

10/26

FUNDRAISER

15th Annual Halloween Charity Ball Now in its 15th year, the Halloween Charity Ball that takes place from 8 p.m. to midnight tonight at the Tangier in Akron promises to be a “ridiculously fun Halloween party,”

Love, Cecil Lisa Immordino Vreeland, the director who lensed films about philanthropist Peggy Guggenheim and fashion legacy Diana Vreeland, profiles British photographer, artist and artistic director Cecil Barton with her new documentary film, Love, Cecil. The movie screens tonight at 7 at the Cleveland Museum of Art. Tickets are $10, or $7 for CMA members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org. COMEDY

Marc Rebillet An up-and-coming musician, comedian and internet sensation, Marc Rebillet improvises entire songs from scratch with the help of a keyboard and a laptop. His shows have high energy as he baits the crowd into enthusiastic singalongs. He performs tonight at 9 at Touch Supper Club as part of a 50th birthday celebration for local art agent and gallery owner, Martin Geramita. DJ Larry Szyms, the

Touch’s original Rock Night DJ, will spin as well. Admission is free. (Niesel) 2710 Lorain Ave., 216-631-5200, touchohiocity.com.

SAT

10/27

haunted locations downtown. The fest begins at 5 p.m., and attendees are encouraged to come dressed in Halloween ﬁnery for the 9 p.m. costume contest. The ﬁrst 150 entrants will receive a CAPS tote bag to “trick-or-treat” the vendors for free swag. Tickets are $45. (BJ Colangelo) cleparanormal.com.

Coming Attractions

REDEMPTION OF A DOGG

CULTURE

16th Annual Día de los Muertos Celebration Featuring Mariachi Santa Cecilia Named after the patron saint of musicians, Mariachi Santa Cecilia returns to Kent’s North Water Street Gallery tonight for an evening of traditional and modern songs of Mexico. The performance is part of Standing Rock Cultural Arts’ 16th annual Día de los Muertos (Day of the Dead) art exhibition and the 26th anniversary of the North Water Street Gallery. Traditional Mexican foods (including Taco Tonto tacos) will be available for a nominal charge. The event will also mark the opening of an art exhibit curated by Vince Packard, featuring paintings, prints, collage, puppets, masks and photographs. The festivities run from 7 to 10 p.m.; the band performs from 8 to approximately 9 p.m. Admission is a suggested $10 donation. (Niesel) 257 North Water St., Kent, 330-688-5210, standingrock.net. HALLOWEEN

CLEAVE-LAND Halloween Party Halloween is still a couple of days away, but many bars and clubs will celebrate tonight with special events. House of Blues, for one, hosts a CLEAVE-LAND Halloween Party tonight at 9. Flake Flash and DJ Red-I will man the wheels of steel and there will be a costume party. Tickets are $22 in advance, or $25 at the door, and VIP packages are available. (Niesel) 308 Euclid Ave., 216-523-2583, houseofblues.com. FESTIVAL

Cleveland Paranormal Festival Deciding what to do on Halloween weekend is never easy, but the Cleveland Area Paranormal Society (CAPS) is offering a completely new experience tonight, unlike anything the Land has ever known. For one night only, Public Square gets taken over by spooky vendors, beer gardens, tarot readers, professional mediums, a “Vamps and Ghouls” variety show presented by Noella DeVille and Midwest Nerdlesque, DJs spinning terrifying tunes, and a guided tour with paranormal specialist Sara Cope, to explore

Starring Snoop Dogg & Tamar Braxton

FILM

The Evil Dead I and II In the classic Sam Raimi film, Evil Dead, five vacationing college students at a remote cabin in the woods unwittingly unleash murderous demons. The film launched the career of cult actor Bruce Campbell. Tonight at 6:50 and tomorrow at 4:15 p.m., the Cleveland Institute of Art Cinematheque shows a 35-mm print of the movie. It’s part of a double feature; tonight at 8:35 and tomorrow night at 6:30, the Cinematheque will also show a new 4-K restoration of The Evil Dead II. Ticket prices are on the Cinematheque website. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

October 28

THE MUSIC OF CREAM 50th Anniversary Tour November 1

PEPPA PIG LIVE! November 25

FILM

The Fog Adrienne Barbeau, Jamie Lee Curtis and Janet Leigh star in The Fog, director John Carpenter’s followup to Halloween. The thriller centers on a California coastal community that gets swallowed up by a dense, glowing fog while celebrating its centennial. Today at 5 p.m. and tomorrow at 8:15 p.m., the Cleveland Institute of Art Cinematheque shows a new 4-K restoration of the movie. Tickets are $10, or $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

On Sale Oct. 26 at 11 am

FIND YOUR

HAPPY HOUR!

SERIAL SEASON 3 with Sarah Koenig & Emmanuel Dzotsi December 15

ALSO COMING BONEY JAMES November 17

THE PIANO GUYS December 4

DAVE KOZ & FRIENDS CHRISTMAS TOUR WITH MINDI ABAIR, JONATHAN BUTLER, KEIKO MATSUI

ART

In Her Image: Photographs by Rania Matar Rania Matar began by photographing her children, but the tragedy of 9/11 led her to focus on using the medium to tell others’ stories. A 2002 visit to a Palestinian refugee camp in Lebanon provided additional motivation as Matar felt a strong connection to the women. Opening today at the Transformer Station, In Her Image: Photographs by Rania Matar features 43 largescale color images. A reception is at 6 p.m. The exhibition will be on view until Jan. 13. (Niesel) 1460 West 29th St., 216-421-7350, clevelandart.org.

BEHIND THE SCENES OF

December 8

DOWNLOAD SCENE’S OFFICIAL HAPPY HOUR APP TODAY!

THE HIP HOP NUTCRACKER December 9

A MAGICAL CIRQUE CHRISTMAS December 12

clevescene.com/happyhours

216-241-6000 Group Sales 216-640-8600 playhousesquare.org | clevescene.com | October 24 - 30, 2018

OPERA THEATER

Stravinsky Ravel

Tickets are $62.50 to $128. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org.

GET OUT

LE ROSSIGNOL

L’ENFANT ET LES SORTILÈGES

November 7-9, 2018 l 7:30pm l Kulas Hall November 10, 2018 l 3pm l Kulas Hall

Two charming tales of fantasy—The Nightingale and The Child and the Spells — come to life in these early 20th-century one-act operas in which the human and non-human worlds meet in magical ways.

TICKETS: $20 for adults, $15 for seniors and groups, $10 for students cim.edu/fallopera18 or 216.795.3211

MON

MUSIC

Rocktopia Featuring Dee Snider A concert that celebrates the combination of opera and classical music with classic rock, Rocktopia, a touring musical, features world-class vocalists and top rock musicians. Twisted Sister singer Dee Snider joins the group tonight as it performs at 8 at the State Theatre. Tickets are $37.50 to $99.50. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org. FUNDRAISER

Unmask Hope Halloween Party A Cleveland-based startup that battles chronic diseases and aims to reduce patients’ out-of-pocket costs, Salusity helps patients address the non-medical issues that arise from being sick, including how to best use sick time, and which restaurants are best able to address their particular medical needs. Tonight at 7 at the Hilton Downtown Cleveland, the startup holds the inaugural Unmask Hope Halloween Party to help Larry Nance Jr.’s charity, Athletes vs. Crohns. DJ Dabura will provide the tunes. Tickets are $60. (Niesel) salusity.com.

SUN

10/28

SHOPPING

The Fourth Annual Halloween Flea Market Get into the Halloween spirit with Now That’s Class’ fourth annual Halloween Flea Market presented by the Black Market. At noon today at the westside club, vendors will be selling a plethora of new and gently used items, such as VHS tapes, DVDs, handmade Halloween arts and crafts, toys, novelties, home decor, jewelry, taxidermy and more. Admission is just $1. (Niesel) 11213 Detroit Ave., 216-221-8576, nowthatsclass.net. THEATER

| clevescene.com | October 24 - 30, 2018

Redemption of a Dogg Rapper Snoop Dogg make his theatrical debut this fall in the new stage musical, Redemption of a Dogg. The rapper has partnered with award-winning writer, director, producer Je’Caryous Johnson for the musical, which comes on the heels of the 25th anniversary of Snoop Dogg’s debut album, Doggystyle. Performances take place today at 3 and 7:30 p.m. at the State Theatre.

10/29

MUSIC

Baldwin Wallace Musical Theater: One Love! Baldwin Wallace University students and graduates will participate tonight in an evening of love songs. Baldwin Wallace’s music theater program has received acclaim for more than 20 years now and was most recently ranked as the No. 1 music theater program in the country by onstageblog.com., Proceeds from this performance will beneﬁt the Kyle Jean-Baptiste Foundation.The performance takes place at 7 at Nighttown, and tickets are $10. 12387 Cedar Rd., Cleveland Heights, 216-795-0550, nighttowncleveland.com.

TUE

10/30

HALLOWEEN

Halloween Happening The folks at many Hingetown establishments have teamed up for today’s Halloween Happening. Free activities and snacks will be available at the Music Settlement, Bop Stop, the Beauty Shoppe & Foyer, the Grocery, Harness Cycle and Larder Delicatessen & Bakery. The event takes place from 4:30 to 6:30 p.m. Check the Music Settlement website for more info. (Niesel), themusicsettlement.org. THEATER

Les Miserables Cameron Mackintosh presents this new production of Alain Boublil and Claude-Michel Schönberg’s Tony Award-winning musical Les Miserables, which has hit the road after a return to Broadway. The play features songs such as “I Dreamed a Dream” and “One Day More.” The play features new staging and “dazzlingly reimagined” scenery inspired by the paintings of Victor Hugo. Tonight’s performance takes place at 7:30 at Connor Palace. Tickets cost $10 to $125. (Niesel) 1615 Euclid Ave., 216-241-6000, playhousesquare.org.

scene@clevescene.com t@clevelandscene

OVER HERE Ohio in the First World War

Cleveland Grays ɏɃɀ

ɎɀɍɑɄɉɂ Ⱦɇɀɑɀɇȼɉȿ ɁɊɍ ɗɞɖ ɔɀȼɍɎ

The Cleveland Grays and Cuyahoga Arts and Culture present military historian and reenactor, Cyrus Moore at Grays Armory Museum. Pursuant to degrees from Ohio University and Kent State, Mr. Moore has spent the past year commemorating WWI through exhibits, presentations, and living history events. The Unwritten History Series is free to the public. A cash bar is available and a feebased dinner may be purchased with advance registration. Doors open @5:30pm. Lecture @6:30pm . .Ɋɉȿȼɔɸ 0ȾɏɊȽɀɍ ɘɟɸ ɘɖɗɞ 3ɀɂɄɎɏɀɍ Ƚɔ 0ȾɏɊȽɀɍ ɘɘɸ ɘɖɗɞ ɘɗɜɶɜɘɗɶɛɟəɞ Ŧ (ɍȼɔɎɗɞəɝ!ɔȼɃɊɊɶȾɊɈ

6/83*55&/ )*4503: 4&3*&4 $ɇɀɑɀɇȼɉȿ (ɍȼɔɎ "ɍɈɊɍɔ Ŧ ɗɘəɚ #ɊɇɄɑȼɍ 3Ɋȼȿ $ɇɀɑɀɇȼɉȿɸ 0Ƀ Ŧ (ɍȼɔɎ"ɍɈɊɍɔɶȾɊɈ Ŧ ɘɗɜɶɜɘɗɶɛɟəɞ

77 > Hispanico

Nov 10 at 7:30 pm & Nov 11 at 3:00 pm Ohio Theatre, Playhouse Square INDI V IDUA L T ICK E T S

2 16 . 241 .6 0 0 0 Groups of 5 or more can call 216.991.9000 for discount ticket info.

Tickets start at

$25! CO-PRESENTED BY T H I S P E R F O R M A N C E I S G E N E R O U S LY F U N D E D B Y

DANCECleveland.org

The George Gund Foundation

George W. Codrington Foundation

| clevescene.com | October 24 - 30, 2018

STAGE WOOLF ON THE PROWL A great production of the Albee classic now at the Beck Center By Christine Howey IT ALL BEGINS WITH A guessing game and ends with the game board being tossed in the air, the pieces ﬂying in all directions. In between lies one of the great American plays, Edward Albee’s Who’s Afraid of Virginia Woolf, a work that is as funny as it is coruscating. This incisive production at the Beck Center, directed with perfect pitch by Donald Carrier, is a threehour and two-intermission slide down the razor blade of life, to borrow Tom Lehrer’s indelible phrase. Albee is certainly not the ﬁrst writer to imagine our hapless little lives as some form of game playing wherein the results are both tragic and irrelevant. Tragic, because real emotions and feelings are at stake; and irrelevant, because when the sun rises, a new game starts as the same players, or different ones, spin the dial. And on it goes. This particular game begins when middle-aged George and Martha drunkenly wobble through the front door of their not-so-tidy house on the campus of a New England college. As played by the estimable Derdriu Ring, Martha enters her own home like she’s stumbled into an enemy’s machine gun nest. And indeed she has. This is the place where she and her husband play out their ritual debarking of each other, trying to silence the other by dint of clever wordplay, caustic insults and feigned indifference. They each come equipped with fearsome arsenals. George is a longterm associate professor of history, and he’s as quick with a barbed quip as he is pouring cocktails. In the role of George, Michael Mauldin is a tower of paunchy, bourbon-soaked strength: You can attack him all you want, but he just keeps bouncing back like a round-bottomed punching bag. Martha despises her husband for being a failure in academia, never having risen to chair his department. This is particularly tormenting for her since her father is president of the college. And since they have just returned from a booze-soaked faculty party where

Photo courtesy of Beck Center

she no doubt felt immersed in George’s terminal career failures, she is ripe for battle. Of course, neither will win this game because the two combatants are as well matched as Godzilla versus King Kong, each being privy to a secret that they share and use against each other. So they need another target on which to sharpen their claws. And in step Nick and Honey, a young couple they met for the ﬁrst time at the party. Studmufﬁn Nick is a prof in the biology department while Honey is, as her

lightly tripping through arpeggios of angst, then entering surprising silences that throb with anger and hurt. Daniel Telford navigates the challenging role of Nick with deft assurance, as he morphs from polite guest to a raging animal conﬁned by circumstances in the superﬁcially civilized trap created by George and Martha. Just as good is Becca Ciamacco as Honey, prim and proper one moment and whirling through inebriated dances the next. Neither character

WHO’S AFRAID OF VIRGINIA WOOLF? THROUGH NOV. 4 AT THE BECK CENTER, 17801 DETROIT AVE., LAKEWOOD, 216-521-2540. BECKCENTER.ORG

name suggests, both sweet and sticky. Fueled by a continual ﬂow of alcohol, this foursome plays out games of social interaction that are both named (Hump the Hostess, Get the Guests) and unnamed. But what is most remarkable is how Beck’s chamber quartet of actors plies the strings of Albee’s script with such surpassing skill. Placed on Aaron Benson’s marvelous, softly saggy set, the players often achieve a kind of symphonic richness with the words,

| clevescene.com | October 24 - 30, 2018

really understands what’s going on this hell house until Act 3, when the secret is revealed and the dimensions of the game-playing are laid out in stark relief. As important as the young couple is to the dynamic of this play, it’s all about the two heavyweights, George and Martha. And in this production, those roles could not be handled better. While Ring doesn’t have the physical heft of Elizabeth Taylor, who played Martha in the renowned ﬁlm version, she more than makes

up for it with wiry aggression and an indomitable focus on oneupmanship. When she curls herself into a chair or extends her arm with glass in hand for another refill, there is a specific edge to every movement and gesture. And Mauldin makes George more than the pathetic kick-me loser that he can easily become in a less intelligently crafted staging. This George derives strength from every psychic cut, drawing sustenance from the elixir of disgust spewing from his wife. He also nails the dark laugh lines that enable the audience to maintain their watchful vigil through this marital carnage. For the second year in a row, Beck’s small studio theater is playing host to one of the region’s finest shows. Last year, it was Samuel Beckett’s Waiting for Godot that garnered well-deserved standing ovations. And now it is Virginia Woolf. The only way to understand the excellence is to live through the entirety of this hilarious, tortured play — right up to the moment when George and Martha sit sideby-side on the coffee table at the end, looking into the void of their lives.

scene@clevescene.com t@christinehowey

MOVIES THE ENGLISH PATIENT Spy parody franchise on life support after softball third installment By Sam Allard Photo courtesy of Universal

ONE WONDERS WHAT POSSIBLE reason anyone could have for going to see Johnny English Strikes Again, the third installment in a James Bond parody series starring Rowan Atkinson. Teens like me, who guffawed through the original in 2003, may be sorry to hear that there are only perhaps four moments of potential pity laughter throughout. Atkinson remains a sweet and limber goofball on screen, but the ﬁlm is an unimaginative, unmemorable 80 minutes, a softball PG-13 comedy that relies primarily on the waning slapstick talents of its aging lead. It feels like children’s programming. Establishing its premise with all the graceless economy of an NCIS: Los Angeles episode, English’s latest exploit begins with a cyberattack in which the identities of every last British spy are leaked online. To go after the hackers, British intelligence must bring someone out of retirement, someone the hackers won’t expect. Guess who? Johnny English has been teaching geography — in his view, recruiting spies — at a boarding

school in the countryside, and he leaps at the prospect of a new mission. In short order, there’s some uninspired digital vs. analog banter, an “energy pill” gag, and an extended VR sequence that makes such little sense and is so unfunny that it’s honestly difﬁcult to watch. One shudders to consider that it was likely the script’s ﬂagship comedic sequence. Even Emma Thompson, as a perennially distraught Prime Minister, isn’t right. Is she playing it straight or for laughs? Same question for American actor Jake Lacy as tech mogul Jason Volta, whom you’ll no doubt peg as the bad guy in less than the two seconds that it took me. Every joke, every beat, every “twist,” is groaningly discernible long before it arrives. And the humor, when it does occasionally land, is just so soft. In an early scene, Johnny English appears with other former spies who’ve been summoned out of retirement. It’s a roundtable of estimable British gentlemen: Michael Gambon (Dumbledore!); Charles Dance (Tywin Lannister!) and Edward Fox

(M, from Never Say Never Again!) There’s some hat-measuring when Dance pulls out a pen with a cap that doubles as a hand grenade, ho ho! Johnny English predictably loses it in a cup of tea, with a plunk that, I confess, made me grin. And when he rescues the cap outside the tea room and tosses it back inside, I gasped. Did those guys just explode? Alas,

when the door is opened — I was expecting carnage — all three men are intact, either asleep or peacefully gassed. “I guess they nodded off,” English says, a prelude of audience reactions to come.

sallard@clevescene.com t@scenesallard

SPOTLIGHT: DAWN OF THE DEAD 3-D IN THE MID-1970S, RICHARD P. Rubinstein had an assignment to interview director George A. Romero for the journal Filmmakers Newsletter. The two hit it off and decided to form a production company together. In 1977, they worked together on Dawn of the Dead, a zombie movie that would become a classic horror flick. A new digitally remastered 3-D version of the film, overseen by Rubinstein, opens on Friday at the Capitol Theatre. “[Romero] was chafing at the bit because he hadn’t had the kind of authority or control over the movies that he had been making,” says Rubinstein in a phone interview. “I had been introduced to the movie business overseas in Cannes where it was common or de rigueur that you treated a director with a certain kind of respect, and he got

to call certain shots. George and I worked out a deal at that point. He would be the creative force and get final say; I would provide a budget. I had no interest in becoming a writer or director. I liked the idea of managing creative people.” Rubinstein says the two had an interest in 3-D films and loved House of Wax, the 1950s horror film that was the first color 3-D feature from a major studio. A few years ago, Rubinstein decided he’d try to retroactively turn Dawn of the Dead into a 3-D movie. He showed a snippet to Romero, who gave him his blessing. Unfortunately, Romero passed away last year and never got to see the final product. “I tested it and showed it to George,” says Rubinstein. “He said, ‘Wow, does that look great.’ That was enough for me to feel

comfortable with going ahead. If he had said, ‘That looks like shit,’ I wouldn’t have done it. I supervised [the 3-D conversion] frame by frame. I sat in New York and every week I got a thumb drive and I would look at it and make recommendations.” As an example, Rubinstein cites one scene in which a person slides down the runway between two escalators. In the original film, the person appears to land on the floor in front of the audience. In the 3-D version of the movie, the person appears to land in the middle of the audience. “We just added a depth of field,” says Rubinstein. “I went through six months of watching. It wasn’t editorializing, but me being the audience and putting myself in their shoes. Not everyone will agree with me. If you don’t like the

3-D, I’m the guy to come to and not George, posthumously.” Rubinstein says the appeal of the movie, which had a successful theatrical run upon its release and has remained a cult classic, stems from the fact that “George [Romero] has something to say. “It was much easier to say things that were political in those days if you put them in the context of a horror movie,” he says. “George worked it all in a way that was entertaining. You could look at the movie in more than one way. You could lean in and look for the nuances, or you could lean back and let it snowball you. It depended on which rollercoaster you wanted to get on.” — Jeff Niesel

jniesel@clevescene.com t@jniesel

| clevescene.com | October 24 - 30, 2018

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| clevescene.com | October 24 - 30, 2018

EAT PLEASED TO MEAT YA Brandon Chrostowski putting ﬁnishing touches on Edwins Butcher Shop, opening soon in the Buckeye-Shaker neighborhood By Douglas Trattner Photo by Doug Trattner

SINCE OPENING EDWINS Leadership & Restaurant Institute, Brandon “Mr. Second Chance” Chrostowski has been singleminded in his mission to provide a meaningful way forward for exconvicts. That French bistro and culinary training center, the subject of the Oscar-nominated documentary Knife Skills, continues to roll out graduates who are prepared to fill waiting jobs in restaurants around the city and beyond. With almost no exception, those who do advance and land jobs stay out of prison because, as the moniker suggests, education wins. But Chrostowski is also a pragmatist who understands that a meaningful cause isn’t enough to keep the chairs full at Edwins; diners still desire and demand a great restaurant experience. Those twin objectives — teaching a skill while providing a marketable product to the community at large — are also at play at Edwins Butcher Shop, which is currently taking shape in the Buckeye-Shaker neighborhood of Cleveland. When it opens next month, the 3,500-squarefoot shop will provide another layer of culinary edification for students while introducing a neighborhoodappropriate retail food option. “My goal on this whole project is always student-driven, to make sure that students learn a skill set here,” Chrostowski explains during a walkthrough of the space. “But the idea is to bridge this gap between what we are doing and the community we are doing it in. You can’t just pop in a Starbucks and say it’s for everyone. It’s got to feel like it’s for everyone. If it doesn’t, I’ve failed.” By Chrostowski’s estimation, the shop will be the neighborhood’s first fresh meat vendor in almost 50 years. He purchased the longdormant property, most recently a beauty shop, almost two years ago. It joins the three-building campus that also includes Edwins Second Chance Life Skills Center, which provides housing, support services and amenities to current and

former students. All of it sits a short 10-minute walk from the restaurant on Shaker Square. Since purchasing the building, Chrostowski has secured the roof, shored up the façade, demoed the shell, replaced the windows and rebuilt the interior. Behind a wall of windows, and beneath 18-foot ceilings, is the makings of an old-school butcher shop and retail marketplace. Slicked with subway tiles and embellished with retro ﬁxtures like ’70s-style display coolers, a 1900s-era hardwood ice chest and a vintage reach-in soda fridge, the shop will cater both to home cooks and area residents in search of great, quick meals. “It’s a butcher shop, so we’re going to have the different cuts of meat, our own charcuterie, sausages, smokies, you name it,” reports Chrostowski. “But prepared foods is also going to be a big part of what we do. We’re not just going to sell butchered items.” Customers can pop in for rotisserie chickens, braised meats, smoked barbecue and hot soups. Meals like sandwiches with a side of greens or mac and cheese can be enjoyed on site in the 30-seat cafe

or taken to go. Coolers and freezers will stock pickles, burgers, ground beef, stocks, bones, condiments and beverages. The shop will sell carryout beer and wine. “There are two markets here that we are serving: people who live on a ﬁxed income and people who have expendable income,” announces Chrostowski. In service of the teaching portion of the facility, three to six students at a time will undergo an intensive two-week butcher training program under the guidance of lead butcher Travis Gunter, most recently at Urban Farmer, and three Edwins graduates. An overhead meat trolley and rail system will safely and effortlessly transport whole and half animals from the delivery door straight into the chilled production room. There the meat will be broken down for use on site or sold to sister establishments Edwins and Serenite Restaurant & Culinary Institute in Medina. “Butchery is an amazing skill and it’s an empowering skill,” says Chrostowski. “This is not slicing a whole beef tenderloin. I want to take it deeper. This program is designed to really give you those skills.”

At last count, 262 people have graduated from the program and landed gainful employment. There are still 50-plus jobs waiting to be ﬁlled by future graduates, Chrostowski says, and a skill like butchery will make them all the more marketable in today’s farm-totable culinary landscape. Plans call for the overarching organization to continue transforming properties in the historic Buckeye neighborhood into potential businesses like a bakery, ﬁsh shop or cheese store, all fertile learning environments for students. “This neighborhood deserves this,” states Chrostowski. “They have not gotten a person to come into this neighborhood and give them a decent product for a decent price. Unfair pricing, lack of healthy food options and economic oppression have gone unchecked in our poorest neighborhoods for decades. The butcher shop is another piece in our overall plan to combat these issues.” If all goes as planned, you’ll be able to purchase your holiday hams and turkeys at the butcher shop.

dtrattner@clevescene.com t@dougtrattner | clevescene.com | October 24 - 30, 2018

EAT BITES La Plaza Taqueria opening soon at La Plaza Supermarket By Douglas Trattner Photo by Doug Trattner

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

| clevescene.com | October 24 - 30, 2018

IN 2011, ADRIAN ORTEGA relocated his popular Mexican grocery from Lorain Avenue to Lakewood Heights Boulevard, where he renamed it La Plaza Supermarket (13609 Lakewood Heights Blvd., 216-476-8000). Since the beginning, the Latin foods market on the Cleveland-Lakewood border has sold tacos, tostadas, quesadillas and other delicious items from a small counter in the rear of the shop (and, when weather permitted, a taco cart up front). It would be a couple years, though, until the broader community discovered the incomparable joys of the authentic street food-style tacos. Thanks to friends, food writers and the proliferation of Instagram, however, the ﬂoodgates have been opened wide. “It started little by little,” explains Christina Gonzales. “People liked trying a different style from other restaurants. We are trying as much as we can to do it authentic. People love the way that we do it.” As business continued to swell, changes were made to the largely makeshift cafe in the rear in attempts to keep up. More seating was added, additional staffers hired, another griddle put into service, but the demand kept rising. At certain times of the day and week, lines for food can snake clear down the grocery aisles. To alleviate the pressure while

capitalizing on the demand, management decided to carve out space in the front of the store for a self-contained taqueria. For months, shoppers have followed the progress of the build-out as it neared completion. “It has always been in his mind to do this,” Gonzales says of Ortega, her boss. “It’s just that first you have to get customers. But now was the right moment to do it, so he just went for it.” When it opens in about a week, La Plaza Taqueria will sell the same lineup of asada, al pastor, barbacoa, lengua and chorizo tacos, tortas, tamales and quesadillas, but will boast numerous consumerrelated enhancements. For starters, customers will no longer have to pay cash or take their bill up to the grocery checkout to use a card. There will be triple the griddle space to enhance efficiencies. There will be seating for approximately 40 guests inside plus more on a patio when it’s finished. Separate entrances allow for ingress from either the sidewalk or the grocery. Also new will be a selection of La Michoacana brand ice creams and frozen treats. Once the taqueria is up and running, the rear cafe will be decommissioned and the space handed over to the bakery department.

dtrattner@clevescene.com t@dougtrattner

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| clevescene.com m | October Octoberr 24 - 30, 22018 00118

LOW CUT CONNIE

TUE 12/4

DEATH CAB FOR CUTIE

Photo by Alysse Gafkjen

MUSIC A ROCKER REFLECTS

Moody Blues singer-bassist John Lodge brings his solo show to the Music Box By Matt Wardlaw IT’S NOW BEEN MORE THAN 50 years since the Moody Blues released their classic Days of Future Passed, a project which reportedly began with plans, dictated by the band’s record label, to record a rock version of Antonin Dvorak’s “Symphony No. 9.” At that time, mono was still king, but Deram Records hoped that it could generate some excitement for the developing stereo audio technology with an album that would showcase how good it could sound. If that was the plan, the band took things in a different direction, plotting out a concept album that would build songs around the events and time periods of a typical day. What’s interesting about the album itself is how well the songs and the concept ﬂow together, despite the fact that the members had mostly worked individually on their own to write the songs. One can imagine that under those circumstances, the record could have been a jumbled mess. But singerbassist John Lodge says that the process of creating Days of Future Passed actually unfolded pretty naturally. “Before Days of Future Passed, we were playing all American songs, really. We were covering songs like ‘Don’t Let Me Be Misunderstood’ and a lot of American songs. We decided that we’d been playing these songs for, like, four years in different bands and different genres, but we wanted to write all of our own material,” Lodge says during a recent phone conversation. He performs at 7:30 p.m. on Thursday at Music Box Supper Club. “Once we started writing our own songs, and once the idea of Days of Future Passed came, we knew what we were trying to do.” Lodge says band members each picked out segments of the day that appealed to them. “Because I love all energy-type songs, ‘Peak Hour,’ the midday, is when everything’s happening,” he says. “That’s when everything is going mad in the world. It appealed to me to write this song. I remember writing it, we were all in the back of the van. We didn’t have the luxury of a good car in those days. Graeme Edge, our drummer, was sitting in

Photo courtesy of Chipster PR

front of me, and the van was going about 80 miles an hour, and I could feel this rhythm. I said to Graeme, ‘Graeme, can you keep this tempo up for three minutes? Because if you can, I think I’ve written this song.’” Quickly, the framework of Days of Future Passed came together. “[Singer-guitarist] Justin [Hayward] had written ‘Nights In White Satin,’ so we knew that was going to be the end of the night, and [keyboardist] Mike [Pinder] wrote a song called ‘Dawn is a Feeling.’ And so we were away. It was a case of just slotting everything else in. Graeme came up with the poetry to

tie all of the songs together, really.” Lodge will spotlight a few moments from Days of Future Passed during his show at the Music Box. He’ll mix those songs in with other tunes from the Moody Blues catalog, including some deeper cuts that don’t typically make it into the band’s setlist. He’ll also feature some newer music from his latest solo album, 10,000 Light Years from Home, and pay tribute to his former Moody Blues bandmates, Pinder and the late Ray Thomas, who sadly passed away in January of this year. “I’m going to do a couple of tribute songs that Ray and Mike

wrote for the Moodies. I met Ray when I was 15, and we worked together all of our lives. Ray, until his sad departure, he lived two miles from where I live,” he says. “I must just tell you, because it’s Cleveland, just before Christmas, when we actually got into the Rock & Roll Hall of Fame, Ray rang me up. He always called me ‘Rocker.’ He called me Rocker since I was 15. He said, ‘Hey, Rocker, does this mean we’re famous now?’ That was a typical Ray remark, with a smile on his face.” Thomas asked Lodge to collect his award at the Rock Hall | clevescene.com | October 24 - 30, 2018

MUSIC inductions because he wouldn’t be feeling well enough to travel to the ceremonies. “Unfortunately, you know, we lost Ray [before the inductions happened], and I lost a good friend of mine. So I thought, on this tour, I’m going to do one of Ray’s songs. It’s a song that we’ll probably never ever play in the Moodies again, so I really wanted to play it for Ray. And then, I’m going to play a song of Mike’s because Mike was in our band before the Moody Blues as well for a while. So we’ve all grown up together, [and they’re] part of our lives, and I want to share their music as well, as they won’t be doing it.” Thankfully, a couple of years before Thomas passed, he, Lodge and Pinder had the chance to reunite to play on a song on the

and his sons were there. So it was a great time.” The Moody Blues had been eligible for the Rock Hall since 1990, and last year was the first time they had been nominated. Now that they’re in, Lodge says it’s an “enormous” honor,” something which took him by surprise. “I didn’t realize how much [it meant], really. Because you know, we probably think the Rock & Roll Hall of Fame is a very American institution, if I can use that word. But rock ’n’ roll came from America, went to England, we repackaged it and sent it back to you guys in our way,” he says now. “We’re all part of rock ’n’ roll But it was quite amazing because I did think it was an American [thing], but when I got back to England, the amount of people in England who were warmly congratulating me [was incredible]. I realized there’s a thing, in the ’70s, we heard a lot about it — the silent majority. These people are out

JOHN LODGE 7:30 P.M., THURSDAY, OCT. 25 MUSIC BOX SUPPER CLUB, 1148 MAIN ST., 216-242-1250. TICKETS: $45-$75, MUSICBOXCLE.COM

| clevescene.com | October 24 - 30, 2018

10,000 Light Years from Home album. “When I wrote ‘Simply Magic,’ I was playing it on my acoustic guitar one night, just fine-tuning it and making sure I’ve got it right, and I thought, ‘This is perfect for Ray to play flute on.’ We hadn’t worked together for a few years. Although we spoke together all the while, we hadn’t worked together. So I rang Ray up and said, ‘Ray, I’ve written this song, I’m coming over. You’ve got to play on it.’ I went over, played him the song and sat in his house. He got his flute out and played his flute and got his bass flute out and played some bass flute as well, and then we went into the studio, and we recorded it. He said to me, ‘Let’s call Mike.’ So I called Mike and said, ‘Would you play Mellotron?’ He said, ‘Yes, I’d love to.’ So I sent Mike the files, and Mike put the Mellotron on.” Pinder was there with the band for its Rock Hall induction in April, even though he didn’t perform. “Mike said, ‘Hey, listen guys, you’ve been playing these songs now for 30 years without me,’” Lodge explains. “He was just happy to be there, and I was happy for Mike to be there with us. It meant a lot. His family was there,

there, and they know what’s going on. They may not be telling you all the while, but these are the people who go to the Rock & Roll Hall of Fame, and they’re not going to shout about it everywhere. They just want to be part of it. It was fabulous. And the people at the Rock & Roll Hall of Fame, they were very gracious to us and to me particularly, so I want to thank them as well.” It feels appropriate that the Moody Blues have their permanent spot in Cleveland at long last because, as Lodge tells us, Cleveland and the band go way back. “We came to Cleveland the first time on our first tour in 1968. I remember we met someone there who helped us build a PA system because our PA system wasn’t big enough. We were used to playing smaller venues,” he explains. “We came to America, and suddenly, these venues got bigger and bigger! I remember that his name was Charlie, but I can never remember his surname. But if he’s out there, Charlie, come and say hello!”

scene@clevescene.com t@clevelandscene

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@hobcleveland

JUST ANNOUNCED

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MASONIC CLEVELAND: 3615 Euclid Ave, Cleveland OH 44115 HOUSE OF BLUES: 308 Euclid Ave, Cleveland OH 44114 masoniccleveland.com / houseofblues.com | clevescene.com | October 24 - 30, 2018

MUSIC A COSMIC-RANGE CONNECTION Indie rockers U.S. Girls deliver their most ambitious effort yet By Jeff Niesel Photo by Colin Medley

INITIALLY, MEG REMY BEGAN to put the songs together for a new U.S. Girls album the way she always does. She began assembling a seemingly random collection of tunes until she had enough for a full-length. “People send me musical ideas, or I ask them, or I write something lyrically that I have someone transpose to piano or guitar,” she says in a recent phone interview when asked about the songwriting process that led to the band’s latest release, In a Poem Unlimited. U.S. Girls performs with the terriﬁc indie pop band Tune-Yards at 8 p.m. on Sunday at the Beachland Ballroom. “It didn’t start as a conscious album. I’m always making stuff. There comes a point when you have enough things for an album. It was more natural in that way.” Remy intended to record with Michael Rault, a Canadian singersongwriter capable of playing a variety of instruments. “He was going to track the album, and we were going to have him do everything,” says Remy. “We demoed it that way. It quickly became apparent how long it would take to do it that way.” Remy knew she hit a roadblock. She also knew that her singersongwriter husband, Max “Slim Twig” Thurnbull, and his band the Cosmic Range, had just gone into the studio to record some tunes he had written. “He took them into the studio to do his own compositions, and they charted them out and knocked them out,” says Remy. “Him going through that process and me witnessing it made it apparent to me that we should use his band instead of having one guy do everything. It would take less time. The people in his band have played together since high school.” Once the band laid down the basic tracks, the real work began. Previous U.S. Girls recordings had been lo-ﬁ productions. Remy wanted to take things up a notch. “The vocals took the longest time,” she says. “We wanted to make sure we used the right mic. We did them painstaking. We made sure to

use the mics and decide whether to leave breaths in or leave them out. It was a very long process. And then, there was the editing. We had eight musicians playing at the same time on each track, and it was too much. We had to carve everything out. We listened to it, and it sounded like shit because there was too much stuff in it. There was a long editing process, and as we took things out, we realized we needed a trumpet here and something else there. We were striving for perfection. We wanted a very produced sound, and we achieved it. I think it takes less work for people who have a lot of money. We did it on a cheap budget. You can achieve so much. The less money you have, the more time it takes. It was actually really fun.” A song like “Incidental Boogie” shows just how much all the hard work paid off. Rattling percussion, a funky bass riff and bursts of guitars/vocals/synths turn the track into a terriﬁc jam that represents how adventurous the band’s approach is on the album. “That song is an old song of mine that was more beat-oriented,” Remy explains. “Originally, it was a beat and I sang over it and released it in 2013. It’s always been a favorite of mine. Since we had the band, we wanted to revisit the song. The band elevated it and gave it a new level of drama.” While not necessarily an album highlight, “Why Do I Lose My Voice When I Have Something to Say?” ﬁnds Remy speaking in a hoarse voice that makes her sound like she’s possessed. It’s a nod to her experimental sensibilities.

it in an airport and got very upset. I got sick as a result. I had to cancel the show. I wanted to perform and get a dialogue going about the shit that was going on. I lost my voice, and it made me think you either lose your voice or

TUNE-YARDS, U.S. GIRLS 8 P.M. SUNDAY, OCT. 28, BEACHLAND BALLROOM, 15711 WATERLOO RD., 216-383-1124. TICKETS: $22.50 ADV, $25 DOS. BEACHLANDBALLROOM.COM

“I was sick in a hotel room, and I had lost my voice,” she says when asked about the tune. “It was the beginning of the U.S. election season, and the Republicans were having their ﬁrst debate with all their candidates. I had watched

| clevescene.com | October 24 - 30, 2018

something silences you when you have something important to say. I make weird recordings like that all the time and send them to people. That was one I saved.” Expect the Beachland show to be off the rails; Remy says she has

a nine-piece band on tour with her, and you can expect the crew will tear the roof off the sucker. “We play almost the whole album, and it’s a big band,” she says. “It’s the only way to do the album justice. We’re not halfassing it or paring it down to save money. We are going for it, and it’s really effective. I can tell that people haven’t seen a big rock band in a long time, at least not in small clubs. People see us setting up and think, ‘What the hell is going on?’ I think [touring with a large ensemble] was more common back in the day. It’s a real fun band. It’s high energy theatrics, and we really get people dancing.”

jniesel@clevescene.com t@jniesel

| clevescene.com | October 24 - 30, 2018

| clevescene.com m | October 24 - 30, 2018

LIVEWIRE

all the live music you should see this week Photo by Missing Piece Group

WED

10/24

Bad Boys of Blues Jam: 9 p.m., free. Smedley’s. Elizabeth Cook/Caleb Caudle: 7:30 p.m., $15 ADV, $20 DOS. Music Box Supper Club. The Dirty Nil/Dead Soft: 8 p.m., $12 ADV, $15 DOS. Beachland Ballroom. Scarlxrd: 8:30 p.m., $12 ADV, $15 DOS. Grog Shop. Scott Bradlee’s Postmodern Jukebox: A self-described “throwback carnival” that has toured the world on the popularity of its music videos which have given the band huge followings on YouTube and Facebook, Scott Bradlee’s Postmodern Jukebox released its ﬁrst live album, The New Classics, last year. A companion piece to a PBS special taped live at a Postmodern Jukebox show in Las Vegas, the CD accompanies a DVD. The album features a woozy take on “All About That Bass” and a particularly soulful rendition of Beyonce’s “Halo,” as the band makes contemporary pop songs sound like jazz standards. The band’s forthcoming album, The Essentials II, includes the group’s take on Soundgarden’s “Black Hole Sun” featuring American Idol alum Haley Reinhart, a frequent PMJ collaborator, and the Chainsmokers’ “Closer.” The setlist changes from night to night, but expect the large ensemble to take on a number of its most famous covers for tonight’s show. (Jeff Niesel) 7:30 p.m., $38-$68. E. J. Thomas Hall. Twin Talk: 8 p.m., $12. Bop Stop. Keith Urban/Kelsea Ballerini: 7:30 p.m. Covelli Centre (Youngstown).

THU

10/25

Paul Anka: 7:30 p.m. Hard Rock Rocksino. Black Diamond: 7 p.m., $12. Bop Stop. Crunk Witch/Mayor Wertz/Youth Pallet/Shy Moon: 8 p.m., $7. CODA. FreeByrds Musician’s Night: 10 p.m., free. Smedley’s. Front Porch Lights/J Fernandez/ Poro/Alexia Gray: 7 p.m., $8 ADV, $10 DOS. Mahall’s 20 Lanes. Chris Hatton’s Musical Circus

Low Cut Connie returns to the Beachland. See: Friday.

(in the Wine Bar): 8 p.m., free. Brothers Lounge. Hot Djang: 8 p.m., $10. Nighttown. Jam Night with the Bad Boys of Blues: 9 p.m., free. Brothers Lounge. JD Simo: 8 p.m., $15. Beachland Tavern. The Jimmys with Xavier Lynn (in the Supper Club): 7 p.m., $8 ADV, $10 DOS. Music Box Supper Club. The Moody Blues’ John Lodge/ Chris Cuda: 7:30 p.m., $45-$75. Music Box Supper Club. Remember Jones Back to BACK to BLACK: Amy Winehouse Tribute/ Uptight Sugar: 8 p.m., $15 ADV, $20 DOS. Beachland Ballroom. Jonathan Richman: 8:30 p.m., $15 ADV, $18 DOS. Grog Shop. Tyminski: 8 p.m., $30. The Kent Stage.

FRI

10/26

15-60-75 (The Numbers Band): 8 p.m., $10. Beachland Tavern. Paula Abdul: 8 p.m. Hard Rock Rocksino. Cruelster Record Release Show/ Lumpy & the Dumpers/ Urochromes/Citric Dummies/ Bad Noids: 9 p.m., $15. Now That’s Class. Disco of the Dead/Manic Focus/The Werks: 9 p.m. Agora Theatre. An Evening with Fleetwood Mac: About ﬁve years ago, classic rockers Fleetwood Mac launched a 50-date reunion tour with a performance at Nationwide Arena

in Columbus. Playing together for the ﬁrst time in three years, the band delivered a ﬂawless twoand-a-half hour set that showed it hadn’t lost a step despite the hiatus. The group has toured ever since, but the lineup for tonight’s show won’t include singerguitarist Lindsey Buckingham, who left the band earlier this year. Rather, the tour will feature Mick Fleetwood, John McVie, Stevie Nicks and Christine McVie along with newcomers Mike Campbell and Neil Finn. (Niesel) 8 p.m., Quicken Loans Arena. Monika Herzig’s SHEROES: 8 p.m., $20. Bop Stop. Elton John Tribute by Madmen Across the Water (in the Supper Club): 8 p.m., $18 ADV, $22 DOS. Music Box Supper Club. Carlos Jones & the P.L.U.S. Band/ Daddy Longlegs/Homegrown Revival: 9 p.m., $10 ADV, $14 DOS. Grog Shop. Julien Labro & the Chanson Experiment: 8:30 p.m., $20. Nighttown. Low Cut Connie/Ruby Boots: Low Cut Connie singer-pianist Adam Weiner grew up in New Jersey in the ’80s and absorbed plenty of classic rock ’n’ roll in the process. He initially took piano lessons and then got “the rock ’n’ roll and country and blues and country bug.” A stint in Memphis set him “on a path,” and he absorbed as much blues as is humanly possible. He then began playing the gay bar circuit after moving to New York. Over the years, about 15

people have come through Low Cut Connie, which came together in 2010 and now calls Philadelphia home. The band recorded its fourth studio album, Dirty Pictures (Part 1), live-to-analog tape at Ardent Studios in Memphis, and the songs have plenty of swagger. That energy carries over into the band’s latest effort, Dirty Pictures (Part 2). Elton John’s a fan of the band, and his endorsement speaks volumes about the group’s promise. (Niesel) 9 p.m., $15 ADV, $17 DOS. Beachland Ballroom. Carl Palmer’s ELP Legacy: Emerson, Lake & Palmer Live On!: Back in the ’70s, Emerson, Lake and Palmer emerged as one of prog rock’s most popular acts. The band split up in 1998 (and keyboardist Keith Emerson died last year), but drummer Carl Palmer continues to tour and record. In the midst of a tour that ﬁnds him paying tribute to ELP, he brings his Carl Palmer’s ELP Legacy – Remembering Keith and the Music of Emerson Lake & Palmer show to the Kent Stage tonight. Expect to hear the ELP hit “Lucky Man” along with renditions of classic compositions by the likes of Aaron Copland and Bela Bartok. (Niesel) 8 p.m., $30$40. The Kent Stage. Polyrhythmics/Wesley Bright & the Honeytones: 8 p.m., $12 ADV, $15 DOS. Music Box Supper Club. Reina Del Cid: 8 p.m., $12 ADV, $15 DOS. CODA. A Summer High/Saywecanﬂy/The Stolen/The Second After/Seconds to Live: 7 p.m., $12-$50. Mahall’s 20 Lanes. Jackie Warren: 10:30 p.m., free. Nighttown.

SAT

10/27

Arc Iris/Qiet: 8 p.m., $20. Bop Stop. The Ark Band/Ms. BBC & Conscious Eye: 8 p.m., $10 ADV, $12 DOS. Music Box Supper Club. Babe Bash 2018 with Raw Pony/ Goldmines/The Village Bicycle/ Xanny Stars/Gold Rose/Forager/ Sap/Thee Thees/Talk Chickens/ Sam Supreme: 5 p.m. Now That’s Class. Beachland Halloween: 8 p.m., $8. Beachland Ballroom. Glowing Moses/The Neverhawks: 8 p.m., $7. CODA. Halloween Throwdown with The | clevescene.com | October 24 - 30, 2018

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Sunrise Jones/DJs Freddy vs. Jason (in the Supper Club): 8 p.m., $10 ADV, $12 DOS. Music Box Supper Club. Mushroomhead: 6 p.m., $29.99$59.50. Agora Theatre. Jackie Warren: 10:30 p.m., free. Nighttown.

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10/28

4AD Presents: Tune-Yards + U.S. Girls: 8 p.m., $22.50 ADV, $25 DOS. Beachland Ballroom. Apolloâ€™s Fire: WING IT! Where Baroque Meets Jazz (in the Supper Club): 7 p.m., $20. Music Box Supper Club. Nik Bartschâ€™s Ronin: 7 p.m., $15. Bop Stop. Celtic Halloween with the Portersharks & Friends: 3 p.m., $6. Music Box Supper Club. Gin, Chocolate & Bottle Rockets: 7 p.m., $15. Nighttown. Good Charlotte/Sleeping with Sirens/Knuckle Puck/The Dose: 6 p.m., $38-$53.50. Agora Theatre. Collin Miller & The Brother Nature/Toobe Fresco/The Living Sound: 8:30 p.m., $10 ADV, $12 DOS. Grog Shop. Obscene/Axioma: 7 p.m., free. Now Thatâ€™s Class. The Wind + The Wave/Shawn James & Swells: 7 p.m., $15. Musica.

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SPECIAL FOOD & DRINK MENU AVAILABLE VISIT WEBSITE FOR TICKETS & ADDITIONAL INFORMATIOND GREAT MUSIC, FOOD & DRINK Book Your Special Events With Us! 1414 RIVERSIDE DRIVE LAKEWOOD HGLCMLMCKHFH ÂŠ lÂ…Â‰~yÂ‚Â‹xDyÂ…Âƒ

| clevescene.com | October 24 - 30, 2018

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10/30

GWAR/Miss May I/American Sharks: 8 p.m., $25 ADV, $29 DOS. House of Blues. Loop Doctors: 7 p.m., $10. Nighttown. Reckless Kelly/Jeff Crosby: 7:30 p.m. Music Box Supper Club. A Tribe Called Red: 8:30 p.m., $20 ADV, $25 DOS. Beachland Ballroom.

scene@clevescene.com t@clevelandscene

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| clevescene.com | October 24 - 30, 2018

BAND OF THE WEEK GIN, CHOCOLATE & BOTTLE ROCKETS By Jeff Niesel Photo courtesy of Michael J. Media

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| clevescene.com | October 24 - 30, 2018

MEET THE BAND: Shawni Marks (vocals, keyboards), Beth Kille (vocals, guitar), Jen Farley (vocals, the occasional tambourine, egg shaker) A SPECIAL THING: About ďŹ ve years ago, the three women in the Madison, Wisconsin-based alt-country act Gin, Chocolate & Bottle Rockets met through some mutual friends. Since they were all musicians, Kille, who hosted a singer-songwriter night a few times a year, thought they should all sing together. Once they did, they â€œclicked,â€? as Farley puts it. â€œAfter that showcase, we decided to form a band, and itâ€™s been going strong ever since,â€? she says. â€œI had no idea it would be so good, and there are still moments now when weâ€™re performing that I just canâ€™t believe how good it is. Weâ€™ll get lost in each otherâ€™s voices, and it all just blends together. Itâ€™s a pretty special thing.â€? A VARIETY OF INFLUENCES: The band put out their initial EP in 2014 and started performing live. The group draws equally from rock, pop and country. â€œThe three of us are so different,â€? says Farley. â€œWe each take inďŹ‚uences from different things. Beth is more in the Americana realm. Shawni grew up in a Baptist family and sheâ€™s very musical, and Iâ€™m from Cleveland, so I love classic rock. Thereâ€™s some Wilson Phillips and some Andrews Sisters. Itâ€™s this weird meld of different types. We had to introduce Shawni to the Bangles. She only

sort of knew who they are.â€? A COLLECTIVE EFFORT: Some of the songs on the new album, Lean, have been ones the band has performed but never recorded. The groupâ€™s cover of â€œSweet Dreams,â€? for example, has been a staple in the live sets since the bandâ€™s early days. â€œThis album was more of a collective effort,â€? says Farley. â€œWe could each contribute and write. As a result, it goes all over the place.â€?

WHY YOU SHOULD HEAR THEM: Leanâ€™s title track features pitch perfect harmony vocals and driving guitars and sets the tone for the album which veers from Melissa Etheridgelike rockers (â€œFlesh on Fireâ€?) to semiacoustic ballads (â€œShineâ€?). â€œâ€˜Leanâ€™ is about leaning into the tough stuff, even if itâ€™s bad,â€? Farley explains. â€œYou have to push into it. We have a motivational speaking presentation that we do, and thatâ€™s one of the songs we use. Itâ€™s about not being afraid to talk about the hard stuff. If you push into the hard stuff, you can feel the good stuff all the more deeply.â€? The bandâ€™s ďŹ ve-city mini tour concludes with a date at Nighttown in Cleveland Heights. WHERE YOU CAN HEAR THEM: ginchocolateandbottlerockets.com WHERE YOU CAN SEE THEM: Gin, Chocolate & Bottle Rockets perform at 7 p.m. on Sunday, Oct. 28, at Nighttown.

jniesel@clevescene.com t@jeffniesel

Beit T’Shuvah Partners in Prevention Presents the Cleveland premiere of

UPCOMING ENTERTAINMENT!

The story of one family’s struggle with addiction and the nation’s path to recovery. Thursday, November 1, 2018 · 6:30 pm B’nai Jeshurun Congregation 27501 Fairmount Blvd., Cleveland, OH 44124 ANKA SINGS SINATRA: HIS SONGS, MY SONGS, MY WAY

Free and open to the community.

For more information, please visit www.akivacleveland.org/freedomsong.

PAULA ABDUL

PAUL ANKA OCT 25

STRAIGHT UP PAULA!

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TOO MANY SMELLS 2018 TOUR

11/9 LORD OF THE DANCE DANGEROUS GAMES 11/10 GLADYS KNIGHT 11/15 THE SPINNERS URBAN LEAGUE OF GREATER CLEVELAND BENEFIT SHOW 11/16 LITTLE STEVEN & THE DISCIPLES OF SOUL

11/17 CMT ON TOUR PRESENTS BRETT YOUNG’S HERE TONIGHT TOUR 11/21 BRIAN SETZER ORCHESTRA CHRISTMAS ROCKS! TOUR 11/23 98 DEGREES AT CHRISTMAS 11/24 MAXWELL 50_INTIMATE_NIGHTS_ LIVE

OCT 26