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BREAKING NEWS...
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Dedicated to Free Times founder Richard H. Siegel (1935-1993) and Scene founder Richard Kabat
CONTENTS
Group Publisher Chris Keating
Upfront
Publisher Andrew Zelman
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Associate Publisher Angela Nagal
Prospective jurors get an earful about Issue 1, and another questionable decision by a haunted house
Editor Vince Grzegorek Editorial Music Editor Jeff Niesel Senior Writer Sam Allard Staff Writer BJ Colangelo Staff Writer Brett Zelman Web Editor Laura Morrison Dining Editor Douglas Trattner Stage Editor Christine Howey Visual Arts Writer Dott von Schneider Copy Editor Elaine Cicora Intern Gabrielle Greene
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Feature
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Project Censored’s rundown of the 10 most censored stories of 2018
Advertising Senior Multimedia Account Executive John Crobar, Shayne Rose Multimedia Account Executive Kiara Davis
'ET /UT
Creative Services Production Manager Steve Miluch Staff Photographer Emanuel Wallace
All the best things to do in Cleveland this week
Business Sales Assistant/Receptionist Megan Stimac Controller Kristy Dotson Circulation Circulation Director Don Kriss Euclid Media Group Chief Executive OfďŹ cer Andrew Zelman Chief Operating OfďŹ cers Chris Keating, Michael Wagner VP Digital Services Stacy Volhein Digital Operations Coordinator Jaime Monzon
3TAGE
Silences abound but so do quietly glorious performances in John at Dobama Theatre
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Suspiria is a masterful danse macabre
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Ninja City continues its evolution in a new home, plus big ramen news
Cleveland Scene Magazine is published every week by Euclid Media Group. VeriďŹ ed Audit Member Cleveland Distribution Scene is available free of charge, limited to one copy per reader Copyright The entire contents of Cleveland Scene Magazine are copyright 2018 by Euclid Media Group. Reproduction in whole or in part without written permission of the publisher is prohibited. Publisher does not assume any liability for unsolicited manuscripts, materials, or other content. Any submission must include a stamped, self-addressed envelope. All editorial, advertising, and business correspondence should be mailed to the address listed above. Subscriptions $150 (1 yr); $80 (6 mos.) Send name, address and zip code with check or money order to the address listed above with the title ‘Attn: Subscription Department’
Music
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Elton John’s farewell tour makes its ďŹ rst of two stops in Cleveland, a Belkin book dives into Cleveland’s rock memories, and all the shows you shouldn’t miss
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| clevescene.com | October 31 - November 6, 2018
SCENE with you with the Issuu app! “Cleveland Scene Magazine�
COVER ILLUSTRATION BY ANSON STEVENS-BOLLEN, SANTA FE REPORTER
UPFRONT DAVID MATIA IS NOT THE ONLY JUDGE RANTING AGAINST ISSUE 1 TO POTENTIAL JURIES AND OTHERS Photo Courtesy Cuyahoga County Court
LAST WEEK, CLEVELAND.COM’S Cory Shaffer reported that Cuyahoga County Court of Common Pleas Judge David Matia, a known and prolific critic of Issue 1, was campaigning against the ballot measure in front of prospective jury pools. While Matia maintained that his behavior was in keeping with judicial rules, based on a 2002 advisory opinion by an Ohio Supreme Court board, others questioned the ethics of politicking before a “captive audience.” One legal expert told Cleveland. com that Matia was “abusing the prestige” of his office. It’s no secret where Matia stands on the proposed constitutional amendment that would reduce penalties for drug offenders and allow incarcerated people to work toward sentence reductions by participating in rehabilitative and educational programming. Matia represented the “Vote NO” side in a City Club debate on Oct. 8, and his Facebook page has become a clearinghouse for anti-Issue-1 endorsements and propaganda. “Out-of-state money is Funding this entire issue,” reads a post that Matia shared on Oct. 17. “Why? This amendment to our Ohio Constitution would make Ohio a safe haven for major drug traffickers.” On Oct. 18, in a message to voters posted on his wall, Matia said, “it is not an over-exaggeration to claim that people will die if Issue 1 passes.” When Amy Hanauer (from the Pro-Issue-1 Policy Matters Ohio) responded that “many, many more” people would die if the measure doesn’t pass, Matia asked how much money Policy Matters had received “from the titans backing Issue 1.” Hanauer responded, there and in an additional post, that Policy Matters receives no funding from the titans to which he referred. Its funding in this area comes from the local George Gund Foundation. Matia’s opposition is rooted foremost in self-interest. More than anything, he doesn’t want to lose the ability to hold low-level drug offenders accountable by wielding
the threat of jail time. He also wants to preserve Cuyahoga County’s drug court, which graduates, by Matia’s estimate, about 115 people per year and is currently available only to those with felonies. The passage of Issue 1, in his view, would “destroy what’s working.” (The common rejoinder is that it’s difficult to look at Ohio’s bloated prison population and stratospheric drug overdose numbers as outcomes of a system that’s working.) But Matia isn’t the only judge campaigning hard against Issue 1. Indeed, Ohio Supreme Court Justice Maureen O’Connor penned the op-ed
that appeared in last Sunday’s Plain Dealer representing the Vote No side. “Issue 1 would decimate [supervised medication overseen by drug courts],” she wrote. “As a constitutional amendment, Issue 1 would forbid judges from using the proven incentive of jail that encourages addicts to participate in treatment.” Singing the praises of state drug courts is a prominent talking point, but denigrating outside funders, especially billionaire George Soros, has been a visible tactic as well, as in Matia’s questioning of Amy Hanauer. According to a prospective juror
in Cuyahoga County last week, judge Kathleen Sutula spoke to the pool — judges deliver welcoming remarks to jury pools on a rotating schedule — and cited Soros as a reason to vote No. Nina McLellan, another prospective juror, was in the room with Sutula as well. The Shaker Heights resident told Scene by phone that it was the second time she’d been called to serve on jury duty and was familiar with the welcoming spiel that judges give to prospective jurors. She said she was surprised and uncomfortable by Sutula’s Issue 1 speech.
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UPFRONT “First she talked a bit about herself,” McLellan told Scene. “She’s up for election. But then she said that [Justice Maureen O’Connor] had given them permission to speak against Issue 1, and she was vehemently opposed.” McLellan says she remembers the tone of Sutula’s remarks more than the content, but that Sutula spoke about fentanyl, “that possession of enough fentanyl to kill 70 people would only be a misdemeanor,” and that judges would lose their discretion in drug cases. “It was pretty strong,” McLellan said. “People were taken aback. It just didn’t seem right.” Because she was not selected for a jury on Monday, McLellan returned on Wednesday. On that day, Judge Cassandra Collier-Williams delivered the welcome speech to jurors. Per McLellan, Collier-Williams did not bring up Issue 1, but was asked about it because people had been distributing flyers outside the justice center. Collier-Williams said she “wasn’t really comfortable” discussing. Scene spoke with another prospective juror who was summoned for jury duty earlier this month. When he arrived at the Justice Center on a Monday, it was Matia delivering the welcome speech. “It was weird,” said Ben Senter, in a phone interview. “He thanked us for doing this, said no one likes jury duty, and than said, ‘Today I wanna talk to you about Issue 1.’ He proceeded to talk for 20-30 minutes about how it would completely gut drug court and make streets less safe. Everyone was kind of looking at each other.” This was Senter’s first time serving on jury duty. He said he texted his wife, a lawyer, to ask whether or not this sort of advocacy was legal. His wife told him that it’s “definitely not the most ethical.” But Matia defended his actions, saying he was allowed to speak out because it directly affected him and the criminal justice system. When Senter returned on Wednesday, it was Matia delivering the spiel once again. And once again, he delivered his anti-Issue-1 screed, complete with visual aids. “Every single negative talking point I’ve seen or read about Issue 1, he was spouting off,” Senter said. “A lot of the things he was saying were, I thought, disputable. He definitely talked about fentanyl.”
The fentanyl talking points are widespread. Republican gubernatorial candidate Mike DeWine said in a September radio interview that someone caught with 1,000 pounds of fentanyl would only be charged with a misdemeanor if Issue 1 were to pass. Like local judges and other opponents, DeWine has promoted the narrative that Ohio would become a haven for drug traffickers keen to avoid prison time. Here’s a fact-check on that talking point from the Dayton Daily News: “Ohio’s criminal code includes provisions under which those in possession of a “bulk amount” of illicit drugs are charged with higher level felonies, and sent to prison, even if there’s not enough evidence to charge them with trafficking. Those laws would not change under Issue 1. “The criminal code lumps fentanyl in with all over federally classified Schedule II drugs. The bulk amount for that category is defined as equal to 20 grams or five times the maximum daily dose as ‘specified in a standard pharmaceutical reference manual.’ “In the case of fentanyl, five times the maximum daily dose is far less than 20 grams. Fentanyl dosing is complicated because it comes in different forms, but it’s always expressed in micrograms, not grams. When converted to grams, the bulk amount based on the largest maximum daily dose listed in the Prescribers’ Digital Reference equals about .048 grams. “Anyone possessing that amount of fentanyl — which is more than 400 times less than 20 grams — could be charged with a third-degree felony, and thus not impacted by the Issue 1 reforms. Under Issue 1, fourthand fifth-degree felonies would be converted to misdemeanors.” Judges all across the state are nevertheless spouting these talking points. While enlightened editorial boards are insisting that voters are too stupid to vote on a constitutional amendment that ought to be handled by wise and emotionally detached state legislators, judges are prophesying deaths of addicts forsaken by drug court, clutching their pearls over an inundation of fentanyl dealers, and name-dropping George Soros to rile up Republican voters who have been taught to associate him with Satan. Judge Kathleen Sutula is a Republican, but the anti-Soros rhetoric has been embraced with equal fervor by Democratic judges.
DIGIT WIDGET 128-83 (.607): Ty Lue’s total record and winning percentage over two-and-a-half seasons as head coach of the Cleveland Cavaliers, before he was fired Saturday after the team’s 0-6 start.
1-18 (.053): Ty Lue’s record and winning percentage over two-and-ahalf seasons as head coach for the Cleveland Cavaliers in games where LeBron James did not play.
3-36-1: Hue Jackson’s total record over two-and-a-half seasons as head coach of the Cleveland Browns, before he was fired Monday after Sunday’s loss to Pittsburgh.
259 Number of pedestrian-car accidents in Cuyahoga County so far this year. Seven have resulted in fatalities.
It’s clearly a talking point. At last Thursday’s meeting of the Lakewood Democratic Club, Lakewood municipal court judge Patrick Carroll spoke out against Issue 1, and cited George Soros as a reason to oppose the issue. A Summit County judge did the same at a League of Women Voters forum in Canton. Democratic judges trash-talking George Soros and taking up the mantle of law-and-order Republicans is dumbfounding. But the bigger issue remains the propriety of advocating against Issue 1 inside the courtroom. In Mansfield, Ohio, when a local judge held a “forum” featuring only Issue 1 opponents inside his courtroom, a resident said she felt uncomfortable with the arrangement. “I’m just concerned that we’re in this environment,” resident Carol Liles said, in a report from the Mansfield News Journal. She added that she would have preferred if the event were held at a public library instead. “It brings up the impartiality of the courts... This is not a level playing field, in my opinion.” There are judges who support Issue 1, however. Judge Michael Nelson, of the Cleveland Municipal Court, has appeared in a radio spot for the Pro-Issue-1 side, for example. In a statement provided to Scene, he said that he supports the issue “because 14 Ohioans a day are dying from overdoses, and the status quo isn’t working. We are incarcerating far too many non-violent offenders, including a disproportionate number of minorities.” And while Nelson said he supports his colleagues’ right to oppose the issue, he doesn’t think every venue is appropriate for publicizing that opposition. “I don’t have a problem with judges speaking out, but I don’t think judges should be dictating
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their views to a captive audiences of jurors or holding so-called town halls in their courtrooms,” he said. -Sam Allard
Ohio Haunted House Held ‘Swastika Saturday’ Event on Day of Pittsburgh Synagogue Shooting Another Ohio haunted house is under fire for questionable business decisions. This time, it’s Hustle Hoochie (aka Dead Acres) in Pataskala, outside Columbus. It’s making headlines for their “Swastika Saturday” promotional special. Questionable iconography is commonplace at haunted houses, including pentagrams or other symbols imitating ancient runes. But the Swastika, a symbol used to empower those who assisted in the genocide of more six million Jewish people, and one that is still used to embolden white supremacists, is inarguably in poor taste. Hustle Hoochie claimed that Swastika Saturday has been an unofficial annual promotion for the last 28 years. But this year, Swastika Saturday fell on the same day that a domestic terrorist opened fire in a Pittsburgh synagogue, killing 11 people, including a 97-year-old Holocaust survivor. A Facebook comment from Hustle Hoochie promoting the event said, “git in free with a haunted hoochie or dead acres logo tattoo for Swastika Saturday including all kindsa freaky fun including [local band] only flesh live on stage ..hell yeah.” Even after hundreds of angry commenters flooded the Facebook page asking why the hell they’d think this was acceptable, Hustle Hoochie had no plans to end the event. “Swastika Saturday is a 28-year tradition,” they said, “and has nothing to do with support for any hate.”
Ah, yes. We can now add Swastika Saturday to the long list of things defended under the guise of “it’s tradition, not racism” alongside Confederate Civil War monuments and Chief Wahoo. Of course, while there were hundreds expressing disgust on the Facebook page, there were plenty of people openly supporting the event, calling anyone with a problem a “snowflake” or “sensitive.” Only Flesh, the Pittsburgh band scheduled to perform, pulled out of the event, saying “Whether it was done for shock factor, racism or just plain ignorance, we cannot promote that kind of message.” In a response to a Facebook message seeking comment, one of the band members told Scene, “I personally live 10 minutes from the synagogue that was attacked, and I cannot even try to understand what the families and friends of the murdered are going through. We need to stand for them.” As could be expected, Hustle Hoochie’s website contact page was taken down and they posted a nonapology on Facebook to try and cover their asses. They said they “screwed up big time,” and offered their condolences in the form of a $50,000 contribution to the Tree of Life synagogue. One commenter said it best, “This post is absolute BS. The whole day leading up to it, you were defending your actions. You even admitted that it was something you’ve done for years. Even the first ‘apology post’ backtracked to defend the event by pretty much saying ‘It’s what haunted houses do.’ Now the posts went viral, the news catches wind, Only Flesh cancels on you, the community’s outrage grows like wildfire, and now you’re ‘sincere?’ GTFOH.” -BJ Colangelo
scene@clevescene.com t@clevelandscene
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Fake news is not a new thing. With the return of its annual list of censored stories in Censored 2019: Fighting the Fake News Invasionn, Project Censored’s vivid cover art recalls H.G. Wells’ War of the Worlds. THE SITUATION TODAY MAY FEEL as desolate as the cover art suggests. “But Censored 2019 is a book about fighting fake news,” editors Andy Lee Roth and Mickey Huff observed in the book’s introduction. In the end, they argued that “critical media education — rather than censorship, blacklists, privatized fact-checkers, or legislative bans — is the best weapon for fighting the ongoing fake news invasion.” Project Censored d’s annual list of 25 censored stories, which makes up the books lengthy first chapter, is one of the best resources one can have for such education. Censorship and fake news are “intertwined issues” they write. Project Censored d has long been engaged in much more than just uncovering and publicizing stories kept down and out of the corporate media. Over the years its added new analytical categories: sensationalist and titillating Junk Food News stories. Through it all, the list of censored stories remains central to Project Censored d’s mission, which, the editors point out, can be read in two different ways, “as a critique of the shortcomings of U.S. corporate news media for their failure to adequately cover these stories, or as a celebration of independent news media, without which we would remain either uninformed or misinformed about these crucial stories and issues.” The cover art theme works at two levels, as the editors explain, which makes things more complex than might appear at first glance. First, the famous Orson Wells radio broadcast of the War of the Worlds on Oct. 30, 1938 used a number of dramatic devices to present the drama as though it were an actual crisis in progress. It became an example of the potential power of fake news in the radio media era. “The broadcast became legendary for allegedly leading to widespread panic throughout the United States,” the editors of Project Censored noted. That narrative about widespread panic is actually a more long-term form of fake news, as Jefferson Pooley and Michael J. Socolow have
documented in a series of articles over the past decade. Both the audience size and degree of panic have been significantly inflated, they explained. They cited two main factors: newspaper editors, who saw radio as challenging their media dominance, and an influential media study, whose topline conclusions were at odds with some of its data.
1 Global Decline in Rule of Law as Basic Human Rights Diminish According to the World Justice Project Rule of Law Index 2017–2018, released in January 2018, a striking worldwide decline in basic human rights has driven an overall decline in the rule of law since, October 2016, the month before Trump’s election. Fundamental rights — one of eight categories measured — declined in 71 out of 113 nations surveyed. Overall, 34 percent of countries’ scores declined, while just 29 percent improved. The United States ranked 19th, down one from 2016, with declines in checks on government powers and deepening discrimination. Fundamental rights include absence of discrimination, right to life and security, due process, freedom of expression and religion, right to privacy, freedom of association and labor rights. “All signs point to a crisis not just for human rights, but for the human rights movement,” Yale professor of history and law Samuel Moyn told The Guardian n the day the index was released. “Within many nations, these fundamental rights are falling prey to the backlash against a globalising economy in which the rich are winning. But human rights movements have not historically set out to name or shame inequality.” This reflects the thesis of Moyn’s most recent book, Not Enough: Human Rights in an Unequal World. Constraints on government powers, which measures the extent to which those who govern are bound by law, saw the second greatest declines (64 countries out of 113 dropped). This is where the United States saw the greatest deterioration, World Justice Project stated in a press release. “While
all sub-factors in this dimension declined at least slightly from 2016, the score for lawful transition of power — based on responses to survey questions on confidence in national and local election processes and procedures — declined most markedly,” the press release stated. The United States also scored notably poorly on several measurements of discrimination. “With scores of .50 for equal treatment and absence of discrimination (on a scale of 0 to 1), .48 for discrimination in the civil justice system, and .37 for discrimination in the criminal justice system, the U.S. finds itself ranked 78 out of 113 countries on all three subfactors,” World Justice Project stated. The four Nordic countries — Denmark, Norway, Finland and Sweden — remained in the top four positions. New Zealand, Canada and Australia were the only top 10 countries outside of Europe. “The WJP’s 2017–2018 Rule of Law Index received scant attention from US corporate media,” Project Censored d noted. The only coverage they found was k article drawing on The a Newsweek Guardian n’s coverage. This pattern of ignoring international comparisons, across all subject matter, is pervasive in the corporate media. It severely cripples our capacity for objective self-reflection and self-improvement as a nation. 2 “Open-Source” Intelligence Secrets Sold to Highest Bidders In March 2017, WikiLeaks released Vault 7, a trove of 8,761 leaked confidential CIA files about its global hacking programs, which WikiLeaks described as the “largest ever publication of confidential documents on the agency.” It drew significant media attention. But almost no one noticed what George Eliason of OpEdNewss pointed out. “Sure, the CIA has all these tools available,” Eliason pointed out. “Yes, they are used on the public. The important part is [that] it’s not the CIA that’s using them. That’s the part that needs to frighten you.” As Eliason went on to explain, the CIA’s mission prevents it from using the tools, especially on Americans. “All the tools are unclassified, open-source, and can be used by anyone,” Eliason explained. “It makes them not exactly usable for secret agent work. That’s what makes it impossible for them to use Vault 7 tools directly.” Drawing heavily on more than a decade of reporting by Tim Shorrock for Mother Jones and the Nation,
Eliason’s OpEdNewss series reported on the explosive growth of private contractors in the intelligence community, which allows the CIA and other agencies to gain access to intelligence gathered by methods they’re prohibited from using. In a 2016, report for The Nation, Shorrock estimated that 80 percent of an estimated 58,000 private intelligence contractors worked for the five largest companies. He concluded that “not only has intelligence been privatized to an unimaginable degree, but an unprecedented consolidation of corporate power inside U.S. intelligence has left the country dangerously dependent on a handful of companies for its spying and surveillance needs.” Eliason reported how private contractors pioneered open-source intelligence by circulating or selling the information they gathered before the agency employing them had reviewed and classified it, therefore, “no one broke any laws.” As a result, according to Eliason’s second article, “People with no security clearances and radical political agendas have state sized cyber tools at their disposal, [which they can use] for their own political agendas, private business, and personal vendettas.” Corporate media reporting on Vault 7 sometimes noted, but failed to focus on dangerous role of private d pointed contractors, Project Censored out — with the notable exception of a The Washington Post op-ed in which Shorrock reviewed his previous reporting and concluded that overreliance on private intelligence contractors was “a liability built into our system that intelligence officials have long known about and done nothing to correct.”
3 World’s Richest One Percent Continue to Become Wealthier In November 2017, Credit Suisse released its 8th Annual Global Wealth Reportt which The Guardian reported on under the headline, Richest 1% own half the world’s wealth, study finds. The wealth share of the world’s richest people increased “from 42.5% at the height of the 2008 financial crisis to 50.1% in 2017, or $140tn n reported, (£106tn),” The Guardian adding that “The biggest losers … are young people who should not expect to become as rich as their parents.” “[Despite being more educated than their parents,] millennials are doing less well than their parents at the same age, especially in relation to income, home ownership and
| clevescene.com clevvesccene.com m | October Octoober ber 31 - November Noovember 6, 2018
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FEATURE
other dimensions of well-being assessed in this report,” Rohner Credit Suisse Chairman Urs Rohner said. “We expect only a minority of high achievers and those in high demand sectors such a s technology or finance to effectively overcome the ‘millennial disadvantage.’” “No other part of the wealth pyramid has been transformed as much since 2000 as the millionaire and ultra-high net worth individual (known as UHNWI) segments,” the report said. “The number of millionaires has increased by 170%, while the number of UHNWIs (individuals with net worth of USD 50 million or more) has risen fivefold, making them by far the fastestgrowing group of wealth holders.” There were of 2.3 million new dollar millionaires this year, taking the total to 36 million. “At the other end of the spectrum, the world’s 3.5 billion poorest adults each have assets of less than $10,000,” The Guardian reported. “Collectively these people, who account for 70% of the world’s
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working age population, account for just 2.7% of global wealth.” “Tremendous concentration of wealth and the extreme poverty that results from it are problems that affect everyone in the world, but wealth inequalities do not receive nearly as much attention as they should in the establishment press,” Project Censored noted. “The few corporate news reports that have addressed this issue — including an August 2017 Bloomberg article and a July 2016 report for CBS’s MoneyWatch — focused exclusively on wealth inequality within the United States. As Project Censored has previously reported, corporate news consistently covers the world’s billionaires while ignoring millions of humans who live in poverty.”
4 How Big Wireless Convinced Us Cell Phones and Wi-Fi are Safe Are cell phones and other wireless devices really as safe we’ve been lead to believe? Don’t bet on it, according to decades of buried
| clevescene.com | October 31 - November 6, 2018
research reviewed in a March 2018 investigation for The Nation by Mark Hertsgaard and Mark Dowie. “The wireless industry not only made the same moral choices that the tobacco and fossil-fuel industries did, it also borrowed from the same public relations playbook those industries pioneered,” Hertsgaard and Dowie reported. “Like their tobacco and fossil-fuel brethren, wireless executives have chosen not to publicize what their own scientists have said about the risks of their products…. On the contrary, the industry — in America, Europe, and Asia — has spent untold millions of dollars in the past 25 years proclaiming that science is on its side, that the critics are quack, and that consumers have nothing to fear.” Their report comes at the same time as several new developments are bringing the issue to the fore, including a Kaiser Permanente study (published December 2017 in Scientific Reports) finding much higher risks of miscarriage, a
study in the October 2017 American Journal of Epidemiology, finding increased risk for glioma (a type of brain tumor), and a disclosure by the National Frequency Agency of France that nine out of ten cell phones exceed government radiation safety limits when tested in the way they are actually used, next to the human body. As the The Nation reported, George Carlo was a scientist hired by the Cellular Telecommunications and Internet Association in 1993 to research cell-phone safety and allay public fears, heading up the industry-financed Wireless Technology Research project. But he was unceremoniously fired and publicly attacked by the Cellular Telecommunications and Internet Association in 1999, after uncovering disturbing evidence of danger: Carlo sent letters to each of the industry’s chieftains on October 7, 1999, reiterating that the Wireless Technology Research project had found the following:
“The risk of rare neuro-epithelial tumors on the outside of the brain was more than doubled…in cell phone users”; there was an apparent “correlation between brain tumors occurring on the right side of the head and the use of the phone on the right side of the head”; and “the ability of radiation from a phone’s antenna to cause functional genetic damage [was] definitely positive….” Carlo urged the CEOs to do the right thing and give consumers the information they need to make an informed judgment about how much of this unknown risk they wish to assume, especially since some in the industry had repeatedly and falsely claimed that wireless phones are safe for all consumers “including children.” The Kaiser Permanente study involved exposure to magnetic field non-ionizing radiation associated with wireless devices as well as cell phones and found a 2.72 times higher risk of miscarriage for those with higher versus lower exposure. Lead investigator De-Kun Li warned that the possible effects of this radiation have been controversial because, “from a public health point of view, everybody is exposed. If there is any health effect, the potential impact is huge.”
“The wireless industry has ‘wargamed’ science by playing offense as well as defense, actively sponsoring studies that result in published findings supportive of the industry, while aiming to discredit competing research that raises questions about the safety of cellular devices and other wireless technologies,” Project Censored summarized. “When studies have linked wireless radiation to cancer or genetic damage, industry spokespeople have pointed out that the findings are disputed by other researchers.” This is exact same strategy used by the tobacco and fossil fuel industries described in the 2010 book, Merchants of Doubt: How a Handful of Scientists Obscured the Truth on Issues from Tobacco Smoke to Global Warming, by Naomi Oreskes and Erik Conway. While some local media have covered the findings of a few selected studies, Project Censored note, “the norm for corporate media is to report the telecom industry line — that is, that evidence linking Wi-Fi and cell phone radiation to health issues, including cancer and other medical problems, is either inconclusive or disputed…. As Hertsgaard and Dowie’s Nation report suggested, corporate coverage of this sort is
partly how the telecom industry remains successful in avoiding the consequences of [its] actions.” 5 Washington Post Bans Employees from Using Social Media to Criticize Sponsors On May 1, 2017, the Washington Post introduced a policy prohibiting its employees from criticizing its advertisers and business partners, and encouraging them to snitch on one another. “A new social-media policy at The Washington Post prohibits conduct on social media that ‘adversely affects The Post’s customers, advertisers, subscribers, vendors, suppliers or partners,” Andrew Beaujon reported in The Washingtonian the next month. “In such cases, Post management reserves the right to take disciplinary action ‘up to and including termination of employment.’” Beaujon also cited “A clause that encourages employees to snitch on one another: ‘If you have any reason to believe that an employee may be in violation of The Post’s Social Media Policy … you should contact The Post’s Human Resources Department.’” At the time, the WashingtonBaltimore News Guild, which represents the Post’s employees,
was protesting the policy and was seeking removal of the controversial parts in a new labor agreement. A follow-up report by Whitney Webb for MintPress News highlighted the broader possible censorship effects, as prohibiting social media criticism could spill over into reporting as well. “Among The Washington Post’s advertisers are corporate giants like GlaxoSmithKline, Bank of America and Koch Industries,” Webb wrote. “With the new policy, social media posts criticizing GlaxoSmithKline’s habit of making false and misleading claims about its products, inflating prices and withholding crucial drug safety information from the government will no longer be made by Post employees.” Beyond that, Webb suggested it could protect the CIA, which has $600 million contract with Amazon Web Services. Amazon CEO, Jeff Bezos, purchased The Post four months after that contract was signed. “While criticism of the CIA is not technically prohibited by the new policy, former Post reporters have suggested that making such criticisms could endanger one’s career,” Webb noted. He added that in 2013, former
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Post writer John Hanrahan told Alternet, “Post reporters and editors are aware that Bezos, as majority owner of Amazon, has a ďŹ nancial stake in maintaining good relations with the CIA — and this sends a clear message to even the hardestnosed journalist that making the CIA look bad might not be a good career move.â€? “Corporate news coverage of The Washington Post’s social media policy has been extremely limited,â€? Project Censored noted. It’s part of a much broader problem, identiďŹ ed in Jeremy Iggers’ 1998 book, Good News, Bad News: Journalism Ethics And The Public Interest. Iggers argued that journalism ethics focused on individual reporters completely missed the larger issue of corporate conicts whose systemic effects fundamentally undermined journalism’s role in a democracy.
6 Russiagate: Two-Headed Monster of Propaganda and Censorship Is Russiagate a censored story? In my view, not exactly. This entry seems to reect a well-intentioned effort to critically examine fake news-related issues within a “censored storyâ€? framework. It’s important that these issues be raised — which is one reason why I suggested above that Project Censored add “fake newsâ€? as a new analytical category to examine annually along with its censored stories list, “junk food news,â€? and “news abuse.â€? What Project Censored calls attention to is important: “Corporate media coverage of Russiagate has created a twoheaded monster of propaganda and censorship. By saturating news coverage with a sensationalized narrative, Russiagate has superseded other important, newsworthy stories.â€? As a frustrated journalist with omnivorous interests, I heartily concur — but what’s involved is too complex to simply be labelled “propaganda.â€? On the other hand, the censorship of alternative journalistic voices is a classic, welldeďŹ ned Project Censored story, which suffers from the attempt to ďŹ t both together. In April 2017, Aaron MatĂŠ reported for The Intercept on a quantitative study of MSNBC’s The Rachel Maddow Show from February 20 to March 31, 2017 which found
that “Russia-focused segments accounted for 53 percent of these broadcasts.â€? MatĂŠ wrote: “Maddow’s Russia coverage has dwarfed the time devoted to other top issues, including Trump’s escalating crackdown on undocumented immigrants (1.3 percent of coverage); Obamacare repeal (3.8 percent); the legal battle over Trump’s Muslim ban (5.6 percent), a surge of antiGOP activism and town halls since Trump took ofďŹ ce (5.8 percent), and Trump administration scandals and stumbles (11 percent).â€? Well and good. But is this propaganda? At Truthdig, Norman Solomon wrote: “As the cable news network most trusted by Democrats as a liberal beacon, MSNBC plays a special role in fueling rage among progressiveminded viewers toward Russia’s ‘attack on our democracy’ that is somehow deemed more sinister and newsworthy than corporate dominance of American politics (including Democrats), racist voter suppression, gerrymandering and many other U.S. electoral defects all put together.â€? Also true. But not so much propaganda as Project Censored’s broader category of “news abuse,â€? which includes propaganda and spin, among other forms of “distraction to direct our attention away from what we really need to know.â€? To fully grasp what’s involved requires a more complex analysis. On the other hand, the censorship of alternative journalistic voices is far more clearcut and straightforward. In a report for Fairness and Accuracy In Reporting, Robin Andersen examined Russiagateinspired censorship moves by Twitter, Google and others. A key initial target was RT. “RT’s reporting bears striking similarities to alternative and independent media content, and that is why letting the charges against RT stand unexamined is so dangerous,â€? Andersen noted. In fact, the government’s intelligence report on RT included its reporting on the dangers of fracking as part of its suspect activity. Beyond that, the spill-over suppression was dramatic: “Yet in the battle against fake news, much of the best, most accurate independent reporting is disappearing from Google searches,â€? Anderson said. “The World Socialist Web Site (8/2/17) reported that Google’s new search protocol is restricting access to leading independent, left-wing, progressive,
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anti-war and democratic rights websites. The estimated declines in traffic generated by Google searches for news sites are striking.” There were declines for AlterNet. org (63 percent), DemocracyNow. org (36 percent), CounterPunch.org (21 percent), ConsortiumNews.com (47 percent), MediaMatters.org (42 percent), and TheIntercept.com (19 percent), among others. On top of that, in Rolling Stone’s Matt Taibbi pointed to much broader stifling of alternative views: Two years ago, remember, the American political establishment was on the ropes…. From Trump to Bernie Sanders to Brexit to Catalonia, voter repudiation of the status quo was the story of the day. The sense of panic among political elites was palpable…. Two years later, the narrative has completely shifted. By an extraordinary coincidence, virtually all the “anti-system” movements and candidates that so terrified the political establishment two years ago have since been identified as covert or overt Russian destabilization initiatives…. “We’ve jumped straight past debating the efficacy of democracy to just reflexively identifying most anti-establishment sentiment as illegitimate, treasonous and foreign in nature,” Taibbi wrote. “Many people suffer when lies are reported as facts, but it seems that corporate media are the only ones that profit when they reinforce blind hostility—against not only Russia but also legitimate domestic dissent,” Project Censored noted. 7 Regenerative Agriculture as “Next Stage” of Civilization The world’s agricultural and degraded soils have the capacity to recover 50 to 66 percent of the historic carbon loss to the atmosphere, according to a 2004 paper in Science, actually reversing the processes driving global warming. A set of practices known as “regenerative agriculture” could play a major role in accomplishing that, while substantially increasing crop yields as well, according to information compiled and published by Ronnie Cummins, director of the Organic Consumers Association in May 2017. “For thousands of years we grew food by depleting soil carbon and, in the last hundred or so, the carbon in fossil fuel as well,” food and farming writer Michael Polin wrote. “But now we know how to grow even more food while at the same time returning carbon and fertility and water to the soil”
Cummins, who’s also a founding member of Regeneration International, wrote that regenerative agriculture offers a “world-changing paradigm” that can help solve many of today’s environmental and public health problems. As The Guardian explained: “Regenerative agriculture comprises an array of techniques that rebuild soil and, in the process, sequester carbon. Typically, it uses cover crops and perennials so that bare soil is never exposed, and grazes animals in ways that mimic animals in nature. It also offers ecological benefits far beyond carbon storage: it stops soil erosion, re-mineralizes soil, protects the purity of groundwater and reduces damaging pesticide and fertilizer runoff.” “We can’t really solve the climate crisis (and the related soil, environmental, and public health crisis) without simultaneously solving the food and farming crisis,” Cummings wrote. “We need to stop putting greenhouse gas pollution into the atmosphere (by moving to 100% renewable energy), but we also need to move away from chemicalintensive, energy-intensive food, factory farming and land use, as soon as possible.” In addition to global warming, there are profound economic and social justice concerns involved. “Out-of-touch and out-of-control governments of the world now take our tax money and spend $500 billion ... a year mainly subsidizing 50 million industrial farmers to do the wrong thing,” Cummins wrote. “Meanwhile, 700 million small family farms and herders, comprising the 3 billion people who produce 70% of the world’s food on just 25% of the world’s acreage, struggle to make ends meet…. The basic menu for a Regeneration Revolution is to unite the world’s 3 billion rural farmers, ranchers and herders with several billion health, environmental and justice-minded consumers to overturn ‘business as usual’ and embark on a global campaign of cooperation, solidarity and regeneration.” If you’ve never heard of it before, don’t be surprised. “Regenerative agriculture has received limited attention in the establishment press, highlighted by only two recent, substantive reports in the New York Times Magazine and Salon,” Project Censored wrote.
8 Congress Passes Intrusive Data Sharing Law Under Cover of
| clevescene.com | October 31 - November 6, 2018
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Spending Bill On March 21, House Republicans released a 2,232-page omnibus spending bill. It passed both houses and was signed into law in two days. Attached to the spending provisions that made it urgent “must-pass” legislation was the completely unrelated Clarifying Lawful Overseas Use of Data Act of 2018, also known as the CLOUD Act. “The CLOUD Act enables the U.S. government to acquire data across international borders regardless of other nations’ data privacy laws and without the need for warrants,” Project Censored summarized. It also significantly weakens protections against foreign government actions. “It was never reviewed or marked up by any committee in either the House or the Senate,” the Electronic Frontier Foundation’s David Ruiz wrote. “It never received a hearing…. It was robbed of a stand-alone floor vote because Congressional leadership decided, behind closed doors, to attach this unvetted, unrelated data bill to the $1.3 trillion government spending bill.” Congressional leadership failed to listen to citizen concerns, Ruiz wrote, with devastating consequences: “Because of this failure, U.S. and foreign police will have new mechanisms to seize data across the globe. Because of this failure, your private emails, your online chats, your Facebook, Google, Flickr photos, your Snapchat videos, your private lives online, your moments shared digitally between only those you trust, will be open to foreign law enforcement without a warrant and with few restrictions on using and sharing your information, privacy and human rights,” concluded Greene Robyn Greene, who reported for Just Security. “The little corporate news coverage that the CLOUD Act received tended to put a positive spin on it,” Project Censored noted. “[A glowing Washington Post op-ed] made no mention of potential risks to the privacy of citizens’ personal data, [and a CNET report that] highlighted the liberties that the CLOUD Act would provide corporations by simplifying legal issues concerning overseas servers.” Because of this failure, U.S. laws will be bypassed on U.S. soil. Greene noted that the CLOUD Act negates protections of two interrelated
existing laws. It creates an exception to the Stored Communications Act that allows certified foreign governments to request personal data directly from U.S. companies. “This exception enables those countries to bypass the Mutual Legal Assistance Treaty process, which protects human rights by requiring foreign governments to work with the Department of Justice to obtain warrants from U.S. judges before they can access that data for their criminal investigations,” Greene explained. “The version of the bill that was included in the omnibus does include some improvements over the earlier version to help to mitigate the risks of bypassing the MLAT process … two changes [that] are important improvements … many of the other changes to the bill are only partial or ineffective fixes to problems privacy advocates, human rights advocates, and even a former high-ranking official at the U.S. State Department have raised…. Several other concerns have been left entirely unaddressed.” “While the bill sponsors did try to address some of the concerns that have been raised, the improvements are not enough to shift the balance so that the CLOUD Act will be a boon, rather than a threat, to privacy and human rights,” Greene concluded.
9 Indigenous Communities Around World Helping to Win Legal Rights of Nature In March 2017, the government of New Zealand ended a 140-year dispute with an indigenous Maori tribe by enacting a law that officially recognized the Whanganui River, which the tribe considers their ancestor, as a living entity with rights. The Guardian reported it as “a world-first,” although the surrounding Te Urewera National Park had been similarly recognized in a 2014 law, and the U.S. Supreme Court came within on vote of potentially recognizing such a right in the 1972 case Sierra Club v. Morton, expressed in a dissent by Justice William O. Douglas. In addition, the broader idea of ‘rights of nature’ has been adopted in Ecuador, Bolivia and by some American communities, noted Mihnea Tanasescu, writing for The Conversation. The tribe’s perspective was explained to The Guardian by its lead negotiator, Gerrard Albert. “We consider the river an ancestor and always have,” Albert said. “We have fought to find an approximation in law so that all
others can understand that from our perspective treating the river as a living entity is the correct way to approach it, as in indivisible whole, instead of the traditional model for the last 100 years of treating it from a perspective of ownership and management.â€? But that could be just the beginning. “It is a critical precedent for acknowledging the Rights of Nature in legal systems around the world,â€? Kayla DeVault reported for YES! Magazine. Others are advancing this perspective, DeVault wrote: “In response to the Standing Rock Sioux battle against the Dakota Access pipeline, the Ho-Chunk Nation of Wisconsin amended its constitution to include the Rights of Nature. This is the ďŹ rst time a North American tribe has used a Western legal framework to adopt such laws. Some American municipalities have protected their watersheds against fracking by invoking Rights of Nature.â€? “[If the New Zealand Whanganui River settlement] was able to correct the gap in Western and indigenous paradigms in New Zealand, surely a similar effort to protect the Missouri River could be produced for the Standing Rock and Cheyenne River nations by the American government,â€? DeVault wrote. The same could be done with a wide range of other environmental justice disputes involving Native American tribes. Tanasescu described the broader sweep of recent developments in the “rights of nature,â€? noting that signiďŹ cant problems have resulted from the lack of speciďŹ c guardianship provisions, which are integral to the Whanganui River law. “By granting natural entities personhood one by one and assigning them speciďŹ c guardians, over time New Zealand could drastically change an ossiďŹ ed legal system that still sees oceans, mountains and forests primarily as property, guaranteeing nature its day in court,â€? Tanasescu concluded. “A few corporate media outlets have covered the New Zealand case and subsequent decisions in India,â€? Project Censored noted. “However, these reports have not provided the depth of coverage found in the independent press or addressed how legal decisions in other countries might provide models for the United States.â€? 10 FBI Racially ProďŹ ling “Black Identity Extremistsâ€?
At the same time that white supremacists were preparing for the “Unite the Rightâ€? demonstration in Charlottesville, which resulted in the murder of Heather Heyer in August 2017. The FBI’s counterterrorism division produced an intelligence assessment warning of a very different — though actually non-existent threat: “Black Identity Extremists.â€? The report appeared to be the ďŹ rst time the term had been used to identify a movement, according to Foreign Policy magazine, which broke the story. “But former government ofďŹ cials and legal experts said no such movement exists, and some expressed concern that the term is part of a politically motivated effort to ďŹ nd an equivalent threat to white supremacists,â€? Foreign Policy reported. “The use of terms like ‘black identity extremists’ is part of a longstanding FBI attempt to deďŹ ne a movement where none exists,â€? said former FBI agent Mike German, who now works for the Brennan Center for Justice. “Basically, it’s black people who scare them.â€? “It’s classic Hoover-style labeling with little bit of maliciousness and euphemism wrapped up together,â€? said William Maxwell, a Washington University professor working on a book about FBI monitoring of black writers. “The language — black identity extremist — strikes me as weird and really a continuation of the worst of Hoover’s past.â€? “There is a long tradition of the FBI targeting black activists and this is not surprising,â€? Black Lives Matter activist DeRay McKesson told Foreign Policy. A former homeland security ofďŹ cial told them that carelessly connecting unrelated groups will make it harder for law enforcement to identify real threats. It’s so convoluted — it’s compromising ofďŹ cer safety, the former ofďŹ cial said.â€? “The corporate media [has] covered the FBI report on ‘black identity extremists’ in narrow or misleading ways,â€? Project Censored noted, citing examples from the New York Times, Fox News and NBC News. “Coverage like this both draws focus away from the active white supremacist movement and feeds the hate and fear on which such a movement thrives.â€?
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| clevescene.com | October 31 - November 6, 2018
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GET OUT everything you should do this week Photo by Emanuel Wallace
WED
10/31
SPOKEN WORD
Cleveland Stories Dinner Party Cleveland Stories Dinner Party is a weekly series that pairs fine food with storytelling. Through it, the folks at Music Box Supper Club hope to raise awareness of the mission of the Western Reserve Historical Society’s new Cleveland History Center. The goal of the Cleveland Stories Dinner Party is to “bring to life some of the fun, interesting stories about Cleveland’s past — from sports, to rock ‘n’ roll, to Millionaires’ Row,” as it’s put in a press release. Admission is free, with no cover charge, although a prix fixe dinner, designed to complement the night’s theme, is $20. Doors open at 5 p.m., dinner is served at 6, and the storytelling starts at 7. Tonight, local writers Charles Cassady Jr. and William Krejci tell stories about paranormal activity in Cleveland. (Jeff Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com. 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. THEATER
Mamma Mia! This smash-hit musical features ABBA’s greatest hits, including classics like “Dancing Queen,” “S.O.S,” “Super Trooper,” “Take a Chance on Me” and “The Winner Takes It All,” along with “an enchanting tale of love, laughter and friendship.” The musical even spawned a commercially successful film. Tonight’s performance takes place at 7:30 at the Hanna Theatre. Tickets range from $15 to $89. (Niesel) 2067 East 14th St., 216-241-6000, playhousesquare.org.
The Dia de Muertos parade and festival returns to Gordon Square. See: Saturday. THEATER
Sweat A Pulitzer Prize-winning drama set in Reading, Pennsylvania, Sweat centers on union lock-outs, massive lay-offs and jobs going overseas. In order to try to face such hardships, a group of life-long friends gather at their local bar to discuss ways of dealing with such hardships. Inspired by true stories, Sweat provides “a compelling portrait of pride and survival in the Rust Belt.” Tonight’s performance takes place at 7:30 at the Outcalt Theatre. Tickets start at $25. (Niesel) 1407 Euclid Ave, 216-241-6000, playhousesquare.org.
THU
11/01
SPOKEN WORD
Author Series with Fran and Jules Belkin The Rock Hall’s Vice President of Education and Visitor Engagement Jason Hanley will sit down with Fran and Jules Belkin to discuss their new book, Rock This Town!, a behind-the-scenes look at some of Cleveland’s biggest concerts. One of the region’s biggest promoters, Jules Belkin worked with his
brother to help turn Cleveland into the rock ‘n’ roll town it is today. The conversation will be held in the Foster Theater starting at 7 p.m. Tickets are free with a RSVP. (Niesel) 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com.
A piano, bass, and drum set will accompany the duo. Performances take place tonight and tomorrow night at 8 p.m. at Kennedy’s Theatre. Tickets are $24. (Niesel) 1501 Euclid Ave., 216-241-6000, playhousesquare.org.
SPORTS
COMEDY
Cavaliers vs. Denver Nuggets Even though they lost the first two games of the season, the Cavaliers looked pretty good in those games and competed until the very end. That wasn’t the case at the home opener as the team got buried by the Atlanta Hawks. Tonight won’t be a cakewalk as the Cavs take on a very good Denver Nuggets team that beat the reigning champion Golden State Warriors earlier this year. Tipoff is at 7 p.m. Consult the Cavs website for ticket prices. (Niesel) East 6th and Huron, 216-420-2000, theqarena.com.
Craig Robinson Famous for his role as Darryl Philbin on The Office, Craig Robinson got his start with Second City, the improv troupe in Chicago that has given us comedic actors such as Steve Carell, Tina Fey, Amy Poehler and Mike Myers. Robinson has also appeared on TV shows such as Brooklyn Nine-Nine, Arrested Development, Lucky, Friends, Halfway Home and Reno 911! He’s a pretty good singer too. Robinson performs tonight at 8 at Hilarities, where he has shows scheduled through Saturday. Tickets start at $50. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.
THEATER
The Dirty Songbook Loosely based on Jerry Silverman’s bawdy classic of the same name, Cameron Cabot and Nathan Maslyk’s The Dirty Songbook features original tunes with “a healthy sprinkling of world renowned ‘dirty’ songs.”
DANCE
The Second Annual Hispanic Burlesque Showcase The inaugural Hispanic Burlesque Showcase that took place last
| clevescene.com | October 31 - November 6, 2018
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GET OUT year at the Beachland highlighted international Latina performers from all over the country. This year’s incarnation of the event promises to be even bigger. It’ll will feature latino vendors and a dia de los muertos public altar for those who wish to bring homage to their ancestors on the first night of the holiday. VIP ($40) packages include a Dia De Los Muertos Mask, food and a tequila tasting. Reserved tickets cost $25, and general admission tickets go for $15. The event starts at 8:30 p.m. at the Beachland Ballroom. (Niesel) 15711 Waterloo Rd., 216-383-1124, beachlandballroom.com.
encourage patrons to come in costume. Tickets are $10 in advance, $15 at the door. It’s free for CMA members. The event runs from 6 to 10 p.m. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org. COMEDY
Mo’Nique Comedian Mo’Nique is fat and
Select Wednesdays
A View From the Bridge Set in the 1950s near the Brooklyn Bridge, A View From the Bridge focuses on what happens when an Italian-American family offers up its home as sanctuary for Italian immigrants. Frederick Perry directs the play, which was written by Arthur Miller. Performances take place at 7:30 tonight, tomorrow night and Sunday night at the Ohio Theatre. Tickets are $20. (Niesel) 1501 Euclid Ave., 216-241-6000, playhousesquare.org.
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!
Groove to some classic slow jams, test your knowledge of rock’s most notorious couples and take on the Love Hurts Scavenger Hunt.
11/02
Aziz Ansari A standup comic who had a breakout role in the sit-com Parks and Recreation, Aziz Ansari has also received wide acclaim for his Netflix program, Master of None, which debuted three years ago. Note that he has a strict policy against taking pictures or recording the event. No cellphones, cameras or recording devices will be allowed, and all phones and smart watches will be secured in Yondr pouches that will be unlocked at the end of the show. The concert begins at 7 tonight at the State Theatre. Tickets are $41.75 to $67.75. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org. NIGHTLIFE
MIX at CMA: Thriller November’s MIX, a monthly afterhours event at the Cleveland Museum of Art, will keeping the Halloween spirit alive with spooky gallery tours, Halloween-inspired cocktails and a DJ spinning tunes. Organizers
ticket info. (Niesel) East 6th and Huron, 216-420-2000, theqarena.com. FILM
The Other Side of the Wind Started almost 50 years ago and shot off-and-on over a period of seven years, The Other Side of the Wind, the final feature from Orson Welles sat unedited for four decades. In 2016, Netflix stepped in to bankroll the completion of the film and enlisted producer Frank Marshall and director Peter Bogdanovich to help bring it to completion. Earlier this year, the film had its world premiere at the Venice Film Festival. Tonight at 9 at the Cleveland Institute of Cinematheque, the film, a “mockumentary” that captures the 70th birthday party for rugged, larger-than-life “old Hollywood” veteran director Jake Hanford (John Huston), makes its Cleveland theatrical premiere. The movie screens again at 7 tomorrow night and at 1:45 on Sunday afternoon. Tickets are $12, or $9 for students and Cinematheque members. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.
SAT
11/03
CULTURE
FEBRUARY 13 ROCK & ROLL VALENTINE
COMEDY
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from 6 PM to 9 PM
Step inside the exhibits with the Rock Hall crew, grab a drink and bring out your musical fandom.
THEATER
FRI
serious (like her mom life and why she moved to a white neighborhood) but she manages to find the funny in every situation life throws at her, and she’ll have you laughing right along with her. She performs at 7:30 and 10 tonight and at 7 and 9:30 tomorrow night at the Improv. Tickets are $40. (Liz Trenholme) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.
MARCH 6 ROCK OFF THE RACK
APRIL 3 PUT THE NEEDLE ON THE RECORD
MAY 1 WOODSTOCK
TICKETS $
20 event admission & drink combo ($34 value) In Advance at rockhall.com/nights General Admission Rates at Box Office
Dia de Muertos 2018 Though it might not sound like it, the Detroit Shoreway’s Dia de Muertos (Day of the Dead) celebration is a family-friendly affair. Kids love to join the Parade of Skeletons that features life-sized puppets and plenty of people in costume. Vendors will set up inside Cleveland Public Theatre’s Parish Hall, and Gordon Square Arts District bars and restaurants will have specials. The event kicks off at 11 a.m., and the spectacular Skulls & Skeletons parade starts at 3:30 p.m. (Niesel) 6415 Detroit Ave Cleveland OH 44102, 216.631.2727, cptonline.org.
FREE admission for Members & CLE VIP
FILM
(event admission only) presented by
Office Space A 1999 comedy from writer-director Mike Judge, Office Space stars Ron Livingston, Jennifer Aniston, Gary Cole, Stephen Root, David Herman, Ajay Naidu, and Diedrich Bader. It centers on a group of disgruntled programmers at an IT company. The movie screens tonight at 9:30 and midnight and tomorrow night at 7 at the Cedar Lee Theatre as part of Cleveland Cinemas’ Late Shift Cult Film Series. Tickets are $6. (Niesel) 2163 Lee Rd., Cleveland Heights, 440-528-0355, clevelandcinemas.com.
1100 Rock and Roll Blvd., Cleveland, OH 44114 • 216-781-ROCK • rockhall.com
Southern and proud of it. She’ll eat a whole fresh pig and she’s got the legs to prove it. Mo’s other topics of humor include her divorce from her “leprechaun” ex (dude was too short and had designs on her lucky charms anyway), her very “nice” son and her kids’ fear of playing Twister with their fat mom. Some of the stuff she talks about borders on the
| clevescene.com | October 31 - November 6, 2018
SPORTS
Monsters vs. Toronto Marlies As part of a special promotion, all season long the Cleveland Monsters will offer fans $1 Pepsis, $2 Sugardale hotdogs and $3 select 12 oz. beers on Friday nights. Tonight, the team takes on the Toronto Marlies. The game begins at 7. Consult the Monsters website for
THEATER
Pride & Prejudice Adapted by Joseph Hanreddy and J.R. Sullivan and based on a Jane Austen novel, Pride and Prejudice centers on the outspoken Elizabeth Bennet, a woman who shows no interest in marriage until she meets the handsome, enigmatic Mr. Darcy. The Great Lakes Theater presents its production of the play tonight at the Hanna Theatre, where performances continue through Nov. 4. Tickets start at $15. (Niesel) 2067 East 14th St., 216-241-6000, playhousesquare.org. FILM
Rocky Horror Picture Show It’s the first Saturday of the month again, so tonight the Cedar Lee Theatre hosts its usual midnight screening of The Rocky Horror Picture Show, the 1975 cult classic that still draws an exuberant, costumed crowd that likes to throw rice and dry toast and sing along to the songs in the movie. In addition, locals act out a floor show that mimics the movie, turning the event into a veritable party. Tickets are $9.75. (Niesel) 2163 Lee Rd., Cleveland Heights, 440-528-0355, clevelandcinemas.com. COMEDY
Nick Swardson A comedian and actor who started doing open mic nights in his Minneapolis hometown when he was only 18 years old, Nick Swardson has had a long and successful career ever since he made a name for himself as the roller skating cop Terry Bernadino in the popular Comedy Central series Reno 911! Swardson, who regularly works in movies that comedian Adam Sandler produces, brings his critically acclaimed new standup show, dubbed Too Many Smells 2018 Tour, to Hard Rock Live tonight at 8 p.m. Tickets are $39.50. (Niesel) 10705 Northfield Rd., Northfield, 330-908-7793, hrrocksinonorthfieldpark.com. CULTURE
Wizardfest Wizardfest, an event that celebrates all things Harry Potter, comes to Musica in Akron tonight as part of a U.S. tour. The event includes Harry Potter-themed trivia, drink specials (i.e. Butterbeer, Fire Whisky, Polyjuice Potion, and Unicorn Blood for the diabolical), magicians, music, dancing, and cosplay. The best dressed patrons can enter into the costume contest for cash and prizes. There will be a special Quidditch Pong Tournament. Tickets range
from $15 to $50. (Niesel) 51 East Market St., Akron, 330-374-1114, akronmusica.com.
Playwrights Local Presents
2 1-ACT PLAYS NOV. 2 - 18 | WATERLOO ARTS
SUN
11/04
WWW.PLAYWRIGHTSLOCAL.ORG
SPORTS
Browns vs. Kansas City Chiefs Though much improved over last year’s team, the Cleveland Browns have still struggled to notch wins this season. They came back valiantly against the Tampa Bay Buccaneers two weeks but wound up losing in overtime. Today, they take on the Kansas City Chiefs, arguably one of the NFL’s best teams. The battle begins at 1 p.m. at FirstEnergy Stadium. Consult the Browns website for ticket prices. (Niesel) 100 Alfred Lerner Way, 440-891-5000, clevelandbrowns.com. MUSIC
Cuyahoga Valley National Park Concert Series Presented by the National Park Service and the Conservancy for Cuyahoga Valley National Park, the Cuyahoga Valley National Park Concert Series aims to celebrate the valley’s cultural legacy with a variety of folk and roots rock concerts at the Happy Days Lodge. Tonight’s concert features Stephane Wrembel, a virtuoso guitarist from France, and the show begins at 7 p.m. Consult the website for ticket prices. (Niesel) 500 West Streetsboro Rd., Peninsula, 330-657-2909, ConservancyforCVNP.org.
ABOVE AND BEYOND by Faye Sholiton
THE SILENCE OF DR & MRS CALIGARI by Robert Hawkes
Find your happy hour. 'RZQORDG 6&(1(·V RԀFLDO happy hour app today! clevescene.com/happyhours
IT’S NAUGHTY VS. NICE INVITE YOU AND YOUR FAMILY TO AN ADVANCE SCREENING OF
COMEDY
Jen Kober Comedian Jen Kober likes to joke that you can tell by her Justin Bieber haircut that she “swims in the lady pond.” Kober, who yells as much as she speaks during her performance, admits in one bit that she regularly gives ridiculous answers to straightforward questions that reporters ask about her comedic career. “I grew up Jewish and gay and went to Catholic school in Louisiana, so what fucking choice did I have?” she says she said in response to a question about what made her a comedian. Kober performs tonight at 7 at Hilarities. Tickets start at $15. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.
TUESDAY, NOVEMBER 6 7:00PM CINEMARK VALLEY VIEW
For your chance to win a family four-pack of passes to the advance screening, visit tinyurl.com /SCHEMEBIG THIS FILM HAS BEEN RATED PG. NO PURCHASE NECESSARY. While supplies last. One entry per person. Duplicate entries will be deleted. Seating at the screening is first-come, first-served and is not guaranteed. Please arrive early. Winners will be chosen at random. Winners within the past 30 days are ineligible.
SPORTS
Monsters vs. Grand Rapids Griffins It’s Monsters Family Day and Blue Jackets Night today at the Q as the Monsters take on the Grand
IN THEATERS NOVEMBER 9 GrinchMovie.com
| clevescene.com | October 31 - November 6, 2018
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GET OUT Rapids Griffins. Bring the kids and receive access to a post game skate. There will also be an autograph session with select players as the Monsters pay tribute to the team’s NHL affiliate, the Columbus Blue Jackets, with themed jerseys and “game elements.” The game begins at 5 p.m. Consult the Monsters website for ticket info. (Niesel) East 6th and Huron, 216-420-2000, theqarena.com. MUSIC
Our Voices: Democracy RE:visited As part of the Tri-C Performing Arts season, jazz trumpeter and composer Terence Blanchard will deliver the world premiere of his timely new composition, “Our Voices: Democracy RE:visited” tonight at 7 at the Maltz Performing Arts Center at the Temple-Tifereth Israel. The piece reflects “the conditions, events and individuals that produced historic political change and public policy.” Tickets are free, but reservations are required. Consult the Maltz Performing Arts Center website for more info. (Niesel) 1855 Ansel Rd., 216-368-0295, case.edu/maltzcenter/.
offer brunch can enter a same-day drawing for a $30 Visible Voice gift certificate and a $25 Visible Voice Loyalty Card. They’ll also receive 10 percent off any Visible Voice book purchase. The bookstore is open today from 11 a.m. to 5 p.m. (Niesel) 2258 Professor Ave., 216-961-0084, visiblevoicebooks.com.
MON
11/05
SPOKEN WORD
Material Performance and Ecological Priorities Previously, architects didn’t take issues of sustainability and environmental awareness into consideration. Today’s architects have adopted a much more eco friendly approach, something Rashida Ng explores in her lecture, “Material Performance and Ecological Priorities.” She delivers the talk, part of the BakerNord Center for the Humanities lecture series, at 4:30 pm. at the Tinkham Veale University Center Ballroom A. Admission is free. (Niesel) 11038 Bellflower Rd., 216-368-5681, humanities.case.edu. FILM
CULTURE
Sunday Beat As part of a Sunday Beat promotion at Visible Voice Books, if you purchase a New York Times at the store, you’ll receive a free cup of coffee or tea and a Jim Alesci’s Place pastry. An added bonus: A jazz, Americana, samba or bossa nova band will perform from 1:30 to 3:30 p.m. Anyone who shows a Sunday receipt from Music Box, Prosperity Social Club or any of the Tremont restaurants that
Movie Mondays Every Monday, Cleveland Cinemas hosts $5 Movie Mondays, where film fans can catch up on the latest Hollywood flicks for significantly reduced prices. Bring your friends and family and make Movie Mondays a weekly tradition — many theaters even offer discounted concession stand items. Participating theaters include Apollo Theatre, Capitol Theatre, Cedar Lee Theatre, Chagrin Cinemas, Shaker Square Cinemas and Tower City Cinemas. Unfortunately, additional charges
apply for 3-D movies. Given the cost of movie tickets these days, this remains a real bargain. (Alaina Nutile), clevelandcinemas.com. NIGHTLIFE
Shit Show Karaoke Local rapper/promoter Dirty Jones and Scene’s own Manny Wallace host Shit Show Karaoke, a weekly event at the B-Side Liquor Lounge wherein patrons choose from “an unlimited selection of jams from hip-hop to hard rock,” and are encouraged to “be as bad as you want.” Fueled by drink and shot specials, it all goes down tonight at 10 p.m. (Niesel) B-Side Liquor Lounge & Arcade, 2785 Euclid Hts. Blvd., Heights, 216-9321966, bsideliquorlounge.com. NIGHTLIFE
Wing Dang Doodle Blues icon Howlin’ Wolf famously covered “Wang Dang Doodle,” the old blues tune penned by Willie Dixon. Prosperity Social Club in Tremont has adopted that slogan, calling its wing night Wing Dang Doodle. The weekly event features specials on Buffalo wings and cold brews. Prosperity will not only serve up substantial, $1 whole wings, but it’ll also offer meatless Monday “wing” baskets for vegans. Discounted drafts and a playlist of vintage-electric blues and soulful R&B curated by local musician Clint Holley will be on tap as well. Wing Dang Doodle takes place every Monday from 6 p.m. to midnight. (Niesel) 1109 Starkweather Ave., 216-937-1938, prosperitysocialclub.com.
TUE
11/06
every month, Classical Revolution Cleveland brings chamber music to the Euclid Tavern. Performers like the Trepanning Trio, Anime Duo, students of Cleveland Institute of Music and even Cleveland Orchestra members grace the stage in these exciting concerts. Tonight’s free, all-ages performance starts at 8. (Patrick Stoops) first Tuesday of every month. 11625 Euclid Ave., 216-231-5400, happydogcleveland.com. NIGHTLIFE
Open Turntable Tuesday Tonight from 6 to 9, the Winchester hosts its weekly Open Turntable Tuesday. DJ Kris Koch offers 20-minute slots to people who want to bring their own vinyl and spin their favorite songs or deep tracks. Turntables are provided; you can play three to five songs during your time slot; and a mic is available to talk about the selections. (Niesel) 12112 Madison Ave., Lakewood, 216-600-5338, facebook.com/TheWinchesterMusicTavern. NIGHTLIFE
Vinyl Night Jukebox owner Alex Budin has described his 1,350-square-foot music-focused bar in the Hingetown ‘hood as “a place where people can expect to hear and learn about music of multiple genres, all of which is concentrated in a constantly evolving jukebox.” The club hosts a vinyl night every Tuesday that serves as a listening party for new releases, partnering with Loop in Tremont, so patrons can hear a new album on vinyl. You can bring your own vinyl and spin it too. It all starts at 5 p.m. (Niesel) 1404 West 29th St., 216-206-7699, jukeboxcle.com.
MUSIC
Classical Revolution Cleveland Today, and the first Tuesday of
scene@clevescene.com t@clevelandscene
A Compelling Portrait of Pride and Survival
OCT 13 – NOV 4 | OUTCALT THEATRE written by LYNN NOTTAGE | directed by LAURA KEPLEY
TICKETS ON SALE NOW!
216.241.6000 | clevelandplayhouse.com Pictured L to R: Nancy Lemenager, Xavier Cano, Nehassaiu deGannes, Robert Ellis / Photo by Roger Mastroianni
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| clevescene.com | October 31 - November 6, 2018
| clevescene.com | October 31 - November 6, 2018
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STAGE PROFOUND PAUSES, PERFECT PERFORMANCES Silences abound but the acting is quietly glorious in the enigmatic John at Dobama Theatre By Christine Howey Photo by Steve Wagner Photography
IF THERE’S ONE TAKEAWAY FROM the Brett Kavanaugh hearing, when he was confronted by a woman for his past behavior, it is this: Women are always held accountable for their actions, men rarely are. This lack of accountability is a particular luxury afforded to men of privilege, such as Kavanaugh, who are free to behave like pouty, hyper-emotional, spoiled children in public and still be granted a seat on the Supreme Court. If you need another reason to vote on Nov. 6, there it is. And if you need a reason to see John by Annie Baker at Dobama Theatre, look no farther than the women who comprise three-fourths of the cast. These women are the most compelling characters in this long, languorous drama set in a cutesy, Victorian doll infested bed-and-breakfast in Gettysburg, Pennsylvania. This is where Civil War buff Elias and Jenny show up for a stop on their way home from visiting her parents in Ohio. But this is not your usual romantic duo, and the fault lines of their relationship show up very quickly. Jenny (a splendid Kat Shy) is Jenny Chung, a woman who is girlishly manipulative, prone to cramps, and has long imagined that her dolls were angrily judging her. Elias, as performed by the relentlessly downbeat Luke Wehner, is a little confrontational and a lot touchy. When Jenny glances at him sideways for eating too loudly, he leaps immediately to accusing his Asian girlfriend of anti-Semitism. This is clearly a relationship heading towards the rocks. And it’s possible the house itself isn’t helping. We learn that during the Civil War, it was used as a hospital where amputated limbs were tossed out the windows, eventually piling up and blocking the windows. Even now, there is a cloying closeness to the house that is almost palpable. Clearly, there are mysterious forces at work in this space, lovingly rendered by scenic designer Cameron Casey Michalak and lighting designer Marcus Dana. At odd moments the lights go on and
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off and the player piano pounds out happy, up-tempo tunes. But none of this deters B&B owner Mertis, a sweet older lady who apparently can find a silver lining in anything. She putters around, tending to her guests and disappearing into a back room where she is supposedly caring for her sick husband. In this role, Catherine Albers is a wonder, modulating her voice and delivery from high-pitched enthusiasm to gravely concern when, at different times, she asks both young people if they ever
agrees with Jenny’s paranoia about the angry dolls, declaring that of course dolls are angry, having been consigned to that single bland facial expression and being forced to wear itchy dresses. And when Genevieve describes the presence of her dead husband inside her body, it feels like a terminally creepy version of the pop standard “I’ve Got You Under my Skin.” The scenes involving Silver and Albers are enigmatic and absorbing, nuanced in ways that most productions can only dream
JOHN THROUGH NOVEMBER 11 AT DOBAMA THEATRE, 2340 LEE RD., CLEVELAND HEIGHTS, 216-932-3396, DOBAMA.ORG.
felt watched as a child, and if that watcher would take care of them. Speaking of watchers, in the second act when Elias is off visiting Civil War battle sites, Mertis and Jenny are visited by Mertis’s gal pal Genevieve, who is quite elderly and blind. But as played by the remarkable Dorothy Silver, Genevieve can see through to the truth when others can’t. Indeed, she
| clevescene.com | October 31 - November 6, 2018
about. And Silver tops it off with a surprise curtain speech about the seven stages of Genevieve’s mental disorders. It is a treasure. Each act is punctuated by the opening and closing of a long sweep of red curtain. Mertis is charged with this task, which she does by hand, and that simple gesture resonates in a couple different ways. On one hand, it is a nod to the
staging of theatricals of the past, when the opening of a large and lush curtain signaled the beginning of a theatrical adventure. But in this play, it symbolizes something more, a visual metaphor for lives that reveal as much as they hide. For example, Elias has been hurt in the past by Jenny, and he apparently seeks retribution in small ways. He isn’t sure whether to stay in the relationship or move on. It’s a universal dilemma that faces most of us during our lives. And we’re never certain whether the best move is to open the curtain and reveal our true feelings, or pull it closed. As the play enters its fourth hour (there are two intermissions), one wonders if all this could be handled in a less time-consuming manner. But under the sensitive direction of Nathan Motta, John glistens most brightly in the silences carved out by these talented actors. So settle in. You’re in for a highly detailed, evocative and elusive journey with John.
scene@clevescene.com t@christinehowey
MOVIES HEAD ON A SWINTON Suspiria is a masterful danse macabre By: BJ Colangelo THE MERE THOUGHT OF remaking Dario Argento’s magnum opus, 1977’s Suspiria, sounds almost blasphemous, but Luca Guadagnino’s film of the same name is a rebirth of an icon, and will surely live on as a contemporary classic in its own right. In 1977 West Berlin, Susie Bannion (Dakota Johnson), an American from an Ohio Mennonite family, is admitted at the worldrenowned Markos Dance Academy. The dancers and staff are in disarray after the mysterious disappearance of a student (Chloe Grace-Moretz), who vanished after confessing to her therapist that the academy is controlled by a coven of witches who worship goddesses that predate Christianity — The Three Mothers: Mater Lachrymarum, Mater Tenebrarum and Mater Suspiriorum. Argento’s film is iconic, due in large part to the hyper-stylized technicolor set pieces and lighting design, and an equally remarkable score by Goblin. But Guadagnino’s approach is radically different. He sincerely tells a more coherent story than the original. It’s difficult to say whether or not Guadagnino’s Suspiria is “better,” than Argento’s, but it is an
astonishing addition to the arthouse horror canon, and serves as a total assault to the senses. Sayombhu Mukdeeprom’s cinematography is stunning, but some moments are downright brutal and traumatic. Guadagnino removes any ambiguity of the presence of a witch coven the way Argento had done before, and this allows for stylish, quick-cut “nightmare” sequences littered with unsettling imagery that are difficult to shake off when the film transitions into the following scene. Argento’s Suspiria was centered on ballerinas, while Guadagnino’s dancers perform what is called “modern dance.” Pointed toes are lost in favor of flexed feet. Grace and balance are demolished, replaced by feral and disjointed movements. Precision of beauty has been replaced by intensity. Just as Guadagnino deconstructed and replaced Argento’s career-defining thematic style, changing the dancers’ chosen medium completely shifts the tone of the film. We are less entranced by the beauty of the dance company and instead anxiously await how each seemingly feral dance movement will impact the coven. Dakota Johnson’s “Susie,” Mia
Photo: Courtesy Amazon Studios
Goth’s “Sara,” and Tilda Swinton’s triple roles as “Madame Blanc,” “Josef” and “Mother Markos” are a masterclass in performance, but every single character, no matter how little screen time they receive, is captivating. The dance company is electric to watch, always unsure of whether or not they’re aware of the darkness surrounding them, or if they are aware but simply do not care in favor of dancing with the best company this side of the Berlin Wall. Suspiria is horrifying in the sense
that it will invade your psyche, take up residence and refuse to leave, but the entire film is completely devoid of jump scares. Guadagnino isn’t trying to scare you; he’s presenting to you the horrors of the world, namely those that impact women, as personified by gruesome fantasies and a certifiable climax that redefines danse macabre.
bcolangelo@clevescene.com t@bjcolangelo
SPOTLIGHT: BOHEMIAN RHAPSODY BOHEMIAN RHAPSODY, THE long-awaited Queen biopic starring Rami Malek (Mr. Robot) as Freddie Mercury, has been fraught with drama from day one. Sasha Baron Cohen was initially slated to play Mercury, but he abandoned the project after creative differences with the producing team, which includes original band members Roger Taylor and Brian May. Ben Whishaw (James Bond’s new “Q”) was then tapped to play Mercury, but he bounced as well. Malek was finally enlisted, and filming began last year. The discord wasn’t over, though. Director Bryan Singer was fired late in the production process, having clashed repeatedly with Malek, and was replaced by Dexter Fletcher (Eddie the Eagle), who carried it home. The central creative dilemma seems to have always been: Should
the film essentially be a puff piece, a glossy musical tribute flick featuring all the band’s hits, (the band’s preference, presumably)? Or should it be a gritty biopic, #Oscarbait, one that delves deeply into Mercury’s personal life (the actors’ preference)? The resulting product, which opens in wide release Friday, often feels like an uncertain blend of these divergent aims. Despite some narrative bumpiness, though, music lovers will surely appreciate the movie and the infectious tunes throughout. It races through a 2-hour and 20-minute runtime to include as many songs as possible — often with goofy, and presumably fictitious, origin stories, as when the hit single “Another One Bites the Dust” is more or less improvised from its famous riff by bassist John Deacon (Joe Mazello, who still
resembles little Tim from Jurassic Park) after a manager is canned. Get it? — plus Queen’s full 20-minute Live Aid set from 1985, considered by music history geeks to be one of the greatest performances of alltime. As Mercury, Malek is a lithe and capable copycat, at least on stage. He struts and wriggles and winks like the legend. He even sings like him, at least occasionally. The vocals for the film are a composite of Mercury himself, Malek and Canadian singer Marc Martel. As Freddie offstage, born Farrokh Bulsara, Malek seems sometimes overly concerned with mannerisms. He’s one step shy of Philip Seymour Hoffman’s Truman Capote. Mercury’s extra incisors gave him a dramatic overbite, and Malek is forever adjusting his upper lip, as if
bothered by a mouthguard. A brief interlude during which Mercury pursues a solo career, manipulated by manager-slash-lover Paul Prenter (Downton Abbey’s Allen Leech) feels mostly disposable. Once you surrender yourself to the cornier puff-piece aspects of the film, you may enjoy it more. I, for one, found myself moved by the sympathetic portrait of Queen as a ragtag band of overeducated misfits, playing music for other weirdos and outcasts just like them. There are gooey band-as-family moments, as when Mercury reveals his AIDS diagnosis (in an apocryphal scene). But overall, it’s successful feel-good nostalgia. -Sam Allard
sallard@clevescene.com t@scenesallard
| clevescene.com | October 31 - November 6, 2018
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| clevescene.com | October 31 - November 6, 2018
216.716.8900 muranocleveland.com
EAT BAC-ISH Ninja City settles into new Gordon Square home after four years in University Circle By Douglas Trattner Photo by Emanuel Wallace
KOREAN BIBIMBAP IS A COMFORT food that transcends seasons, borders and cultures. While there are innumerable iterations, all are united by a cushion of warm steamed rice garnished with colorful veggies, maybe some meat, and often a fried egg. And then there’s the sauce, a pungent and fiery chili paste that gets stirred into the rice along with everything else. The version at Ninja City comes close to those prepared by standard bearers in the area, save for a few setbacks. While nobody expects the crispy-crusted bottom that comes courtesy of the sizzling ceramic bowl in the traditional dolsot bibimbap, ours was cold through and through, from the rice, to the bowl, to the sauce on the side. And that sidecar of sauce wasn’t gochujang, which has a magical way of uniting all of the flavors, but a thin soy-based elixir. Diners who go to Ninja City expecting to find the most authentic versions of their favorite Asian food will likely be disappointed. Spice levels are dialed back, sauces are toned down, and textures often muted compared to what one might find in Chinatown. But it was never owner Bac Nguyen’s intent to be the definitive voice on all foods Asian. His goal from the jump was to create an informal space with a distinctive personality where customers could relax, have fun and enjoy creative food, only some of which is Asianinspired. Ninja City has evolved considerably since it opened four years ago in University Circle. And when it relocated to Detroit Shoreway this summer, it used the opportunity to shift even further into the “neighborhood bar with food” category. Folks who pop in for a post-theatre or pre-flick bite these days can ping-pong between edamame and mozzarella sticks, pho and mac and cheese, banh mi and po’ boys. While it’s pointless to take a hard stand against a wellbuilt hamburger with tater tots, one can’t help but lament the watering down of one of the few truly unique, genuine and personal concepts out there. I really wanted to dislike the chicken and waffles ($12.95) on
principal, because who needs another place selling chicken and waffles, but the dish won me over. Crackly crusted fried chicken sat atop a base of pitch-perfect Belgian waffles: crisp, airy, slightly sweet and goldenhued. All the dish needed were splashes of maple syrup and house hot sauce to make it sing. One of the best ways to kick off a meal here is with a bento box, filled with three ($11.95) or four ($14.95) different snacks. Ninja City has always twisted and fried exemplary spring rolls and the move hasn’t affected them one iota. The thin-jacketed pork and cabbage pot stickers should be in that box as
comforting, but lacks the familiar pungent kick of fish sauce. Shortly after he made the decision to relocate Ninja City, Nguyen announced that he was closing Bac, his flagship spot in Tremont. Naturally, the menu offers popular dishes from there as well, either as regular menu items or fleeting specials. The silky smooth green curry ($14.95) – a “throw-Bac special” – is loaded with crisp-tender zucchini, peppers and shrimp in a mildly spiced coconut scented sauce. For the opposite of meekly spiced, snag an order of the bold kim chi noodles ($14.95), another Bac classic that occasionally makes an
NINJA CITY 6706 DETROIT AVE., CLEVELAND 216-862-7200 NINJACITY.COM
well, joined by either some sauceslathered wings or spicy shrimp quesadillas. The mozz sticks ($4.25, $3 with a meal) are solid – wellseasoned, golden brown, crackercrisp, molten core – everything a cheese stick aspires to be. A bowl of tom yum soup ($4.25, $3 with a meal) is fresh, flavorful and
appearance. Slick glass noodles are tossed with kim chi, your choice of meat or seafood, and vegetables in a tart and spicy sauce. You can’t go wrong with the kitchen’s takes on edamame, steam buns, pho, ramen and banh mi sandwiches. The Korean rice bowl with steak and egg ($13.95), apart
from being too chilly, is decked out with sprouts and kim chi and scallions and julienned veggies and seaweed and a properly fried egg. We never did get around to trying the nachos, burgers, fish and chips, po’ boys or etouffee. Notwithstanding the past four years, Ninja City feels more at home in Gordon Square than it ever did in University Circle. It’s less of a destination restaurant than a quirky neighborhood tavern. There’s a wraparound bar dispensing great beers, wines, sakes and cocktails, and a happy hour that’s easy on the wallet. At 70 seats, the space is slightly smaller than the original but it’s more cohesive and comfortable. After an unintended six-month sabbatical between closing and opening day, the longtime crew of cooks, servers, bartenders, managers and principals seem genuinely happy to be back on the job. How can you not be when everywhere you look there are action figures, graphic artworks, arcade games and comic book-style menus? Disclosure: Dan Zelman, the father of Euclid Media CEO Andrew Zelman, is an investor in Ninja City.
scene@clevescene.com t@clevelandscene
| clevescene.com | October 31 - November 6, 2018
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| clevescene.com | October 31 - November 6, 2018
Photo by Doug Trattner
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Mason’s Creamery to convert to ramen shop for winter By Douglas Trattner For the past three winters, Jesse Mason and Helen Qin of Mason’s Creamery (4401 Bridge Ave., 216245-8942) have hosted regular ramen pop-up events at their Ohio City-based ice cream shop. In addition to being a food they both absolutely adore, the wildly popular ramen nights inject some fun, energy and income into the typically slower months of the year. The events have been so successful, in fact, that the owners were inspired to go all in this winter by setting up a full-time ramen residency at the shop. “We were looking at options of what to do during the winter when it slows down,” explains Mason. “We really don’t need to do much to convert it to a modern take on a classic ramen shop.” In early December, the team will briefly shutter the petite shop in order to make some physical changes. New dedicated noodle cookers will be installed in the kitchen. The glass front on the display coolers will be removed to make way for some type of floating shelf that will serve as a dining counter. By enclosing the patio and adding space heaters, occupancy will be nearly doubled. All told, there will be approximately 18-20 seats. Service will be fast-casual-style, meaning that you’ll order, pay and sit down. Bowls also can be ordered to go. As for the food, ramen fans can look forward to the same classic pork-based tonkotsu broth with cha siu (roasted pork belly), soymarinated soft-cooked eggs, enoki mushrooms, mayu (black garlic oil)
and ramen noodles. Other broth options will include chicken and a vegan mushroom-based brew. Specials and sides might also make appearances. While most of the ice cream will be on winter holiday, a soft serve machine will be dispensing fun, colorful Japanese-inspired flavors that will be served in fish-shaped cones called taiyaki, a trend that’s sweeping the nation. The plan is to run with the ramen concept until April, with afternoon and evening hours 5 or 6 days a week. If you can’t wait until the middle of December for your Mason’s Creamery ramen fix, there will be a pop-up event taking place at the shop November 9 and 10. Happy Dog at Euclid Tavern to Close in November When it opened in 2014, the Happy Dog at Euclid Tavern was a revival of one of Cleveland’s most beloved and historic clubs. Come Saturday, November 17th, the doors will once again be closed. That’s when the current lease expires and management will pull up stakes. Fans will still be able to hang out and eat dogs at the Gordon Square location. “We’re looking forward to focusing on Gordon Square,” says owner Sean Watterson. “We’ve been splitting ourselves in half. We’ve had fun and done some really good stuff.”
dtrattner@clevescene.com t@dougtrattner | clevescene.com | October 31 - November 6, 2018
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| clevescene.com | October 31 - November 6, 2018
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MUSIC
Fran Belkin reflects on Cleveland’s rock ’n’ roll legacy in her new book ~ B Y M AT T WA R D L AW ~ Photos courtesy of Fran Projects
AS M U AS US SIC IC FAN ANS, ANS, S, W E A AL LL HA HAV VE E our ssttor ou orie ies ooff th hee incre ncredi nc rreed diibblle le adve adv ad ven nttur uress tha hat w wee had ad at co con ncccer eerrts wh w h hil iille seeeeiin ng g ou urr favor avoorrit av ite ba baand nd n ds and and an arttiist ar sts pl play lay y liv ive. e. The hese se day ayss,, with iitth tth he ab abiillit ity too geett a paaiiirr off coon nce cert rt ttiick cket ket ets wi with h a cou up plle of of cli liick cks, ck kss,, itt’’s easy ea y to take taake k for or gra rant an ntteed d wh haat aan n expe ex xperi peri pe rieen nce ce it us used used ed to bbee jus ust ge gettttin ing th hoosse ttiicck keettss.. You ou wer ereen n n’t ’t com ’t ompe peti ting ng wiith w h coom mpu mpu puteerriizzeed bo boots ts —in ts insstttea eaad ead, d,, yoou u were we re coon ng grreg egatin attin ing wi with th feelllo low m low mu usi sic fan fa nss an nd d wai aiti tin ng g in li linee to bu buy y yoour ur tiick tick cket etss,, wh hiile le swa wapp pping iin ng ta tallees aabboou ut the th he llaast st tim me that th hat at you u saw aw that hat ar ha arti tistt tist and th an he th hin ing gss that haat went h went we nt dow own. n. Baack B ckst stag age, ge, e, a who hoole le diiffffeere le rent nt seett of mem of emor ories ies w ie weeere re bei re eing ng cre reat ated d an nd d ssoo man any co any coloorrffu ull sto torriiess tha h th haave ven n’’t beeen be n toolld unti unti un til no now. w. For or all ll of th thoosse thos wh w ho w woork rkeed d at Be Belk kin n Pro rodu duct ctio tioon nss or eve or ver bo b ug ught ught ht a ticke iccke ket too onee of ket thei th eir ir show show sh ows, ws, s it waas a ma magi g ccaal al ttiime me, and Fr an Fran raan n Bel elki elki kin ca caapt ptur pt ures es th haat in n vivviid de vivi vi dettaaail il in tth il he page paag gees of of her er ok, Ro ok Rock ck Thi his To Town wn!, wh wn! hicch new bboook, ne went we en ntt on ssaale le th hiis we week ek. S Sh he sp he pen nt th hree reee ye yeaarrs rs wo worrk kin kiin ng oon n the he prrooje jeect cctt, inteerrvvieew in wiin ng g for orme rme mer Be Bellk kin in coowoorrk w ker ers rs an and aasssoociat ciat ci a eess alloong ng th hee waay. way. y. As sh she w wrrittes es in the th he in ntrro, o, “T Thank ha n ha nk ks to to gre reat at tim imin ing, ing, g, goo ood lu ucck k aan nd th the bi birt rth of of roocck ck m mu usi sicc,, Bel sic, elki elki kin Prrod P oducti uccti tion ons ns aan nd C Cllev evel evel elan lan and beecame ccaame ap poowe werh rhou ousee in tth ouse he na nati tional onal on al music ussicc u sceen sc ne ffoor the th he n neext xt 35 ye y aarrss..” What Wh at beg eg gan an as a “llar an ark” k to bboook k a d pr an prom o ot ote th he oc occasi ccaasi sion onaaall con once cert rt iin n Cleeve velaand nd,, as as Beellki kin re refl eflecctss, beca be came came me an asto aassttooni oni nish ishin sh hing ing ad in adve dven vveent ntu ntur urre re fo for Jule Ju leess Be Belk elk lkin in and nd his is bro roth her er Mik ike, e, wh w ho ffooun oun und deeed d th the co the comp mpan mp an any ny in in 196 966. 6. Fran Fr n goott inv nvol o vveed in in th hee bus usin ines e ss es ess eeaarrlly ly oon n, aan nd th they eve vent ntua tu uaalllly ly be bega gan n to mak to ke sw s ag g (“sshi hit we we all ll get et”) ”) for or the baand th nds an and p and peerson rsoon rs nne nel wh w o we werree wer coming co comi miing m ng thr hrou ough h tow own n.. Deeca D cade des es la late teer, r, these r, hese he s T-sshi hirt rtss aan nd rreelate latteed it la item ms wo wou ulld be beco come me me imp im poort rtan tan ant aarrtifa ttiiffaact cts fo cts for B Beelk lkin kin in. in.
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Wee goott tog W get etthe her wi he with h Fra raan n aan nd Jullees to Ju to taalllk k aabbout ou ut th he ne new bbooook ook k, k, wh w hiicch w wiilll be ce cele lebrat lebr bbrrat ated ed wit ith th a se serriies ies es of sig gn niin ng g evveent nts ts (bbeg gin inn niing ng wit ith ith aan n ap pp pearaancce at at the he Roc ock H Haaall lll on Thu Th urrrsd sdaay sd y), ), to he heaarr som ome of o the heeir ir ir meemo m em mooori riieeess fro ri rom ov over veerr the he yeaarss. Itt’ss such uch a co uc cool ooll thi hing hing ng, essse sen nttiia alllly tell te tell lling in ng th the he st s or ory of ory of Bel elki k in Prrood P du duc uccttiion ons ussiin on ng T T--sh shir hirts irrts ts and nd ootthe h r ssw wa ag g as th the a an ng glle fo for th the narr na rrat atiiv vee.. Th hiis b boook ok cou ould ld ha av ve easi ea sily y bee een do doub ble th hee siizze, e, I wou ou uld lld d thin th in k k.. Frran F an: It co cou ulld ha have ave ve. I h haad in nte terv rvie vieew weed a lloot off peeoop plle to too, o, so iitt waass a lot ooff oth lo ther er peoop plle’ e s sttor orie ies. s. Bu utt the pr th proobblleem wa was th hatt the he peeoopl opl ple ple coou ullldn dn d n’tt rem mem mbe ber, ber, r, beeccau use se it wa was so so comp co mpac actte ted ed tth hen en. We We weerre do d in ing tw two orr th hrree ree ee sho how wss a nig igh htt and nd som omeebbood dy was ev wa eveerry yw whe herree. Th T her ere’ e’s a lot lot ooff imp lo mpor mpor orta tant tant nt Cllev C evel ela la an and nd ro rock k his isto sto tory orry y tha hat’ t’s docu do um meent nted d in th he pa page ges ooff thi ges his boook, b ok k, in includ clud cl din ing tth he Wo Worl rld Se Seri ries es es of Roc of ock sh shoow wss.. Wh ha at are arre ssooome me of me th he co coom mpli mp m pli lica ica cate teed th ted thiin ng gss you ou reccall all al hav ha viin ng g to na naviga viiga gate te an nd d neg got otia iate ate te?
FFrran an Bel elkkiin an elki and the and the bbo th oook ok she ok he spe pent pent nt thhrrree eee e yeeaars r s wri rittiing rit ng .
Tu uck cked keed d awa way in way in the he attttic, ic, B ic Beellk kin in say ayss,, ““II rea ealize eal zed th those ose sh os hir i ts illlu ussttrrated atteed d the iin th nccrrred edibble ed edib le jou ourn rney ney y of ou our fa our fami miiily m ly ly busi bu sin neesss. Th They They ey aree the he spi pinee of th pine he stor st torry I want want wa nteed d to sh share aarre wi with with th ou urr grran g andc ndc dch hiild ldre ren n,, who ho weerre al all un unde nd deer age 7 when ag wheen wh n the he com ompaan ny y waass solld d..” Rock Rock ck Thi hs Inssiidee the In he pag ges of Ro o ffu ul ad a vveentur nttu n urres es wit ith h Toown! T wn! arree collor wn th he W Wh hoo,, Dav a id id Boow wiee, JJiimi mi Heen nd drrix ix, th he Ro Rollllin ing g St Ston nes, es, KIISS es SS, Br Bruc uce uce uc
| clevescene.com cclleevves veessceen nee.cco om m | October Octo Oc tobe obe ber 31 31 - November Nov ovem embe ber 6, ber 6, 2018 201 018
Sprriing Sp ing ngssttee een an and maany and y oth therrss,, pllu us a deeta tail iled iled d chr hron onicle icle ic le of hi hist stor oriicc Cleevve or vela ela laand nd d conc co onc ncer ert ev er even en nts ts. A Am mon mon ong th hem m, the the th Woorld W rld Se rl Seri ries ri ieess of Ro Rocck Rock k, a se seri erriies of aallll-da day co da con nccer cer erts ts tha ts hat ttoo thi his da his day, ay y,, are re eettch ched ched e int nto th he me memo moori riieess of th thos hos ose wh who ho weeree luc ucky ky eno noug noug ugh gh ttoo atttend. en nd. d. Chances ncess nc arre go are good d tha hatt yo you u’’ll ll find ma ma n many ny y sh hoows w th haatt you ou weerrree in n attten enda daanc d n e fo f r,, with wi th stoori ries es anc ncho ncho horreed by by amaazziin ng g meem m mooraabbiili lia th that at you’v at ou u’vve ne n ver ver se ve seen en.
Jules: Ju le es: s: T Th hey y were ere comp er comp co mplliicate cateed ca d.. Yo ou u know know kn w, w wh when hen en you u’r ’re de dea allin lin ing w wiith th fo our ur or fiv vee ba an nds ds, firrsst of of alll, ev even en beefo b forree you ou did id the he sho how w,, yo ou u had a d to try tto try tr o mak ake su sure r th ha a att alll of of the he ego go oss weeree sa w attis isfied e , rreella ati tive ivee to wh w eerre th theey y were in th we the he liineup neeup up. W Weere re yo ou u goi oing ing g to be firrsstt,, sec to econ nd d,, thi hird d, four four fo urth urth th or fift fth? th? h? It to took ook ok neg got otia iati t ng ti ng wiitth th heir eir ei agen ag ent a ent an nd th hen n som omet e iim mes es, iitt was as so impo impo im port rta an nt th heir eir m ei ma ana age g m meen ntt wou uld d co ome me to us us and d say y, “Y Yo ou u kno now wh hat at,, I th hin nk th tha att I’m m bet etteer than ette th han an X,, an X nd d I sho houl ulld b u bee fourt ou urt rth, th h,, an nd d he shou sh hou ould uld d be th hirrd d..” .” B Beeeca c us ca use nu n m mb berr one on ne was was real wa real re allly y th hee low w man n on th the to otteem p po olee, and an nd nu num mb beerr five w wa as th the
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head he ad dli lliine ner. r. So yo you p pllay ayed ed th ha a att g ga ame me. Afte Af Afte ter a wh whillee,, th heesee big ig sh ho ow ows wss beca be came me pop opu ulla arr aro roun roun und th the co ountr un ntrry. y. Wee weerre W re on one of of th hee first st alo long ng wiitth Bill Bi ll Gra raha ha m m,, who ho was as doing oiing ng Day ay on n the he Grreeen en, n, that that th at rea alllly ha had th theesssee biig al b alll-d da ay show sh how ws w wiith h fo ou ur o orr five diiff d fffer ereen er nt arti artist ar tist ti s ss.. So beetw tweeeen w wh hat hatt Bill Bi ill ll wass doi oin ng g and d wh ha at we we werre do d oin oin ing g,, th hee ag geent n s ssttar tar arte rtteed so sorrttin sort tin ng ou ut alll of of the hesee eg go oss.. Wh heeen n th they ey fina nall nall lly ca am mee to us us, ev ver eryt ythi hin ng g wa ass fin nee, e, an and iitt wa ass set et. E Ev verryb ybod ody ody ha h a ad d a rriide der, r, and d we’ ed g geet tth hat, att, an and and mo m ost ost st of th theeiir b ba asi sic rreeq qu uir irem ements enttss en were were we re cov verred ed in th he ride riid deer, r, and nd ou urr pro pr od du uccttiion on peo opl ple di did wh wha att the hey weere w re sup ppo p sseed to o do o,, and nd th hee rid ider ers weere w re nut uts. uts. s. I mea ea an, n,, get n etti etti tiing ng out ng ut of tth he W Wo orrlld S Seerriies es thi hing ng, o on ne off th hee crrazie azieesstt rid az der ers th tha that att we h ha ad was was wa wh hen en we d diid id Ba Barb bra a Sttrrei eisa sand nd up in n Detr De tro oiitt.. Sh hee was as do oiing g a min inim mal al am am mou ou unt nt of sh hows, ow ws, s, and nd we go got a 10010 00 0-pa p ag gee rid iderr. I m ider meean an, n, iitt was as [sp spec peeccific ifi fic riig gh ht d do ow wn n to] o] wha hat k kiind nd of u utten tensi en nsi sils illss wee had w ad to usse an and w wh hat at kin ind of of plla p attess we ha had to to use se bac acks kstage tage ta ge.
wiitth w h gu uy ys in n Det etroit roit, ro it, an it and iitt’s and ’s kiin nd off an ho o hono on no or fo for u uss to be be abl ble to ble to do a Sttreeissan S and ssh how ow. w.
Fran Fr an n:: How w abo bou bout utt the he carpe arrp peeti ting ng!! ng !! wee ha ad d to ca carp rpeett Jule Ju les: s: Rig ight ghtt, w th the he en en nti tiire re floorr of th the he ar aren ren na, a, allll off the o he halllw lway ys go goin ng ba ack k to h heer drrres d essi essi es sing ng ro oo om a an nd her her dr he dres res essiing essi ng room ro m. W Wee had ad to bu buiilld a w wa all ll beetwee tw wee een tth een he ba bath thro th room om fac acil ilitty il an a nd th the reesstt of th the ro room om, so om, so tha hat at iiff shee wen nt in in th heere re, n no ob bo ody dy els lse lse was wa as se seei eeiing g who ho was as going oing oi ng int no the ro the th room. om. Real om Real Re ally y, itt was a beeccau ausee sh he wa was su such uch h a huge uge st ug star ar and nd hadn ha dn’tt to ou ure red th hat at mu ucch h,, so it it was as su upp pos osed sed dly ly a pri rivi vileege ge t o b bee abl ble to do her to her cco he on ncceerrtt.. So tth her ere we were re no mon no onet etar ary ry a arrrang ra an ng gem emeen nts ts ma ad de prrior. p iorr.. It w io wa as k kiind n of up up in th the he air. air. ai r. You kn Yo kno ow w, yo you g gu uys ys do it it, he heree’ss wh w hat at you u hav ve to to do o,, don on’tt wo orrry ry a ou ab ut th hin ng gss. A An nd of of co ou urse, rsee,, it wa rs was an hon an ono orr for or us, s, we we were eree par arttn ner ers
You Y Yo ou gu guy yss did dn n’’t g geet to to seee a lot ot of th he ac acttiion n out ut fro ron ntt bec ecau ause se you u weere w re wor ork kiin ng g, but bu b ut w wh hat at are re som ome ooff you our fav fa av voori rite te mem emori orie or ies fr from back ba kst stage? ag ge?? Frran F an: Wellll,, I did dn’ n t teellll the he stoorry y aabboou ut Br Bruc uce ce Sp prriingst ng n gsttee een’ n’s wi wiffee. I lloove ve tha hat sttorry y,, bu utt it di didn dn’tt mak ake th he booook k. Wh When en he firrsst ccaame me, h me, hee wou ould ld talk ta k to ev ever eryb ybood dy aan nd itt was as fu un n to haavee him h m aro roun oun und. d. By tth he ti he tim mee he waas at at the he Sttaad diium um, th that at was as it, t, he was ci wa ciirc rcled rc led wi le w th th sec ecurrity ity aan it nd yo you neeeve n ver sa ve saw hi saw him ag again. ain ai n.. But ut Juli ullia u iann nne Ph hiillli lips, lips pss, hi his w wiife fe [at at th hee tim me] e], w wee were we eree all ll in th the he cate ccaatteeri riing ng teen ng nt aan nd ssh he came came ca me ou utt to ge get et ffooood od d. S Sh he came ccaam mee intto the te th tent nt and nd it wa was lliik kee a bea eam am ooff ligh li ght. t. She he haad d thi his blloon ndish dish di sh haair aiir an and and sh she he wa was as wear weear w arin ng al all ll whit whit wh ite, e, wh hiich h we all we ll dre reess ssed ss ed i n d ed daark rk-iish sh cllooth oth thes es, beca be cau usse yo you w weeree woorrkiing ng. She She ju Sh jusstt waalked w walk lked lk ed i n n,, and nd th hee who hoole le teen le nt lliit up p and d eve very rybo b dy dy sto topped pped pp ed tal alki king ng and she and an sh he wait waait w i ed d in li line line ne,, go got h heer fo foood d an and nd we went nt bac acck k to to th hee tra rail iler e.T Th hatt w s on wa ne off my [ffav avoorrit ite mo mome men ntts] s]. I’lll nev I’ eveerr for orge get that that th at. Sh She wa was ssoo beeaau utifu tifu ti full.. In n the he book, ook oo k,, the here’s re’s re ’s the he sto tory y abo bout ut the bl th bliizzzard zza ard d of ’7 ’78 tth hat at rea eall all lly k kiick cks into in t gea ear whil wh hil i e foolks lks a lk arre attte tend ndin ing the K the th KIIS SS S con ncceertt that hat n ha niig gh ht a att Richfi Ri ch hfiel eld C Cooliise seum m. Ma Ma n ny y of tth he fans fa ns en nd d up sl slee leepi eeep piin ng g at th the v veenu nue ue that th at nig igh htt as a rreesu sulltt. Ho H w ooffte ten was w wa weeat ath heer a fa faccttor or?? Jule Ju less:: No, o, you ou kn noow w,, I can an thi hn nk k of so m of maany ny [si situ tu tuat uat atio ion ions nss], ], esp pecia ecia ec ially lllly oou uttd doo oorss. It It waass ju usst a ccoons on nssta sttaan ntt… Fran Fr an: Jul ules less had ad a sti tiff ff neecck… k… Ju ule les: ess:: .... lo look ook okin ing up ing up at tth he ssk ky aal all ll da day
3. Fra ran Be Bellk kin n & Phil hiil Co h Coll lllin lin ns 19 1998855
loon ng g, n noo maattte ter wh wh hat at you at our fo fore ore reca castt was, wa s, th heere re was as alw lway way ays th haatt feeaar of of rraain rain in becau ecau ec ause se heeaavy vy rai ains ns coou uld ld wip ipe out a sh ou show w. Rooooffs w weerree not ot tha hat sop so ph hiissttiicaatteed ed aatt the he beg egin inni ning ng of the bu th usi sine nessss. W ness Wee did id a U2 sh show ow in Octo Oc tobe ber at at the he sttaaadi diium d ium um. Frran F an: Whe hen it hen it waass so ccoold. ld. ld Julleess:: I allm Ju moosst di didn dn’tt want ant ttoo an waalk w lk outt of oou ur tr traaiile ler; r; it wa was so so mise mi sera rable. ra rabl ble. bl e. But ut we d diid th the sh hoow w. w. Essseeent Es ntia nt iall ia lly y,, th hiis is iiss yoou ur li life iffee’ss work wo work rk, k, co coll llec ecte ted d.. Wha hat’ t’s tth hat hat at fee eel likee whe li hen y yoou lo look ook ok thr hrou ough h th hiis noow tth n hat at it’ t’s co comp mple leted? teed? d? Frra F an n: Yoou u kn noow w wh h hat at? at t? Wh Wheen n we fin niish shed ed and nd seen nt tth his is to the the pr th prin inte ntteer, r, I caall lled d Chr hris is [H Hiixsson on] an and ssaaid id, “Y You ou kno now h hoow I am; aam m; I’ I’m al alwa waays ys ys so cri so riti tica ica cal. cal l.” A An nd I ssaaid d, “B “Bu utt thi his bbooook k is faabulo bbu uloous. Th This is booook coou ulld not no ot bbee any y bet ette terr..” .” An nd th thaatt’ss hoow wI feel fe el, ttrrut rut uth hfful ully y. It It’ss eve very rytth hin ing w wee waan w ntted ted ed a n nd d ten n tim meess mor ore. e. I neevver er drrea d eam meed ed th that at it wo wou oul uld bbee tha hat k kiind nd ooff a faabbu ullous ous bboook ou ok. I thou thoou th ugh ght itt waass ju ju ust sstt goiing ng to bbee T-s -sh hiirrtts w wiith th sto toriies es. s. Bu B ut iitt grreew frroom m the he coolllabo llaabo bora rattiion on betwee be tweeeen tth tw he tw wo of of us into inttoo som in omethi eth et hiin ng g rreeal allly y spe peci ciaall. A An nd al also so, o, tth he ssttor orie ies that th hat peo eopl ple gave gavvee uss.. My da ga daug ught hteerr, aass hter I sa saiid said d, she sh he h heelp peed d with itth rreewr writ rittin ing ng it it. it. My y son on, h hee is a re real al rocck ‘n n’ ro rollller er; r; tw twic wic ice hee caam me iin n, an and nd he he wen nt thro th roug gh the th he wh whol ole bboook ole ook k, “M Mom om, th this is is does do esn’ n’t w woork rk!!”” Orr,, “Mo Mom, om, m, thi hiiss qu quot ote iss so g grreeaat, t, mak ake it it biig gge gge ger! r!”” He He pull pu l ed ed stu tuff ff ou utt bec e au ause use se he’ e s 55 55, so so he lived he ived iv d th hrrou roou ug gh h a lot ot of th this this is. H Hee als l o hellp help he ped d a lot. ot. ot Ju J ule les: s: W Wee kn neew th he daay th hey ey weerre goiin go ng too del elivveerr the he booooks ks to u uss, the th he finiish shed shed ed produ roodu ducct, ctt, he here. rree. [F Fra ran] n] was as lik li kee a lit ittl ttlle gi girll in a ca c ndy ndy st nd stor oorre, e, ju usst waiittin wa ing fo f r th this hiiss del eliv iivvver ery. ery. er y. We goot th the ccaaart rton rt ons ns in in and nd sh hee cou ould ldn n’’t w waait it to
4. Sam ampl ple pa pag ge es fr from o m bo oo ok
oop pen peen n the carto arto ar ton. ton. n. It wa was am maz azing iin ng g.. Frra F an n: T Th The he thin thiin th ng iiss, w wee saaw w it [[bbeeffor ore iitt waass finis ishe hed] d], bu but yo you ccaan’ nt compar co mpar mp are th haatt to th the q qu ual alit ity. y. The he book book bo k reeaall lly, y, aga gain in, ex expr preessses ses our se ou ur comm comm co mmittm meent nt to q qu ual alit ity. y. It’ t’s th the be besstt pap pa peerr,, itt’’s tth he bbeesstt cov over er. I d diidn idn dn’t n’tt wan ant nt a ha hard rdco rdc covveer; r; I did idn’ n’t wan waan w ntt a big g book. ook. oo k. Id diidn dn’tt waan dn’t nt a co coffffee ee tab abllee booook. k. I waan w ntted d som omet met eth hiin ng g that haat wa was lo low w--k keey and so an som meeth meth thin thin ing that thaatt was th as not ot bra ragg ggy, y, in your in ou ur faace ce. I jju usstt wan ante ted a sm mal all bbooo k tth haatt toolld ou our st our stor orie iess,, bu utt tha hat was hi wa hig gh h qu uaalliity ty. We We had ad it pr printe inted in ted in te n Amer Amer Am eric riccaa,, wh hiicch h was as very eerry impo im mport port po rtan taan ntt.. Earl Ea arl rly in rly in the he boo ook, k, th heere re’s re’s ’s a vinta iin ntta a ag ge ge piict p cture ure of ur of you ou and nd I thi hink hink n k th heere re’ss alwa al ways ays ys an elem eleem el men nt wh heerre re you you cca yo an looook look k at a p piiccttu urre li like ke thi his an and it it’s it’s ’s liike, ke, “M ke “Man an, th that at feeeels ls liik ke it it was as yeesstter y erd erd da ay. y ” So So doi oing ng th hiis bo boook k, do do you th yo hin ink th ther here ere ar er are re tth hin ings g s th ha at yo you took to ok for or grant rant ra n eed d th ha at now now yo no you’ u’re re lliik like kee, “O Oh my y God od, I’ I’m ssoo glla ad I h ha ad tth hos ose ex expe peri rien encceess?? ” Wee too ook iitt allll for or gra rant nted ted e . Frran F an : W Wee werre g W gooin ing to to woorrk k.. It wa was a bi big conc co ncer ert an ert and yo y uh haad a m miillllio ioon n tth hin ng gss to th to hiink nk abo bout ut. I m meean an, I h haad to to do floow weerrs, wer s, I had d to do do thi hiss,, I had ad to do do tth haatt. You You d Yo diidn dn’tt thi hink nk abboout ut hoow w luc ucky ck ky y yoou we y were until ntiill you nt ou loo oook k back back ba ck and nd you ou tth hin nk, k, “H Hooly y sh hiitt,, looook ok at at all ll of the tth he thin th ing gss I did!” id!” id !” I mea ean n,, I’vve be beeen n liter itterraallly lliivi ving ng in th he ‹6 60s 0s, ‹7 70 0ss and nd ‹80 80s [[w wor orki rk kiing ng on tth his is boook k]] with itth Chri Chrriis th Ch the last coou la up up plle ooff yea e rs rs. It I ’ss haarrd rd to to belie ellie ievee thaatt we di th did al all ooff th hiiiss aan nd w wee did idn’ n’t even ev n hav ave a sseen nsssee of of itt.. The he oth her er thi hing ng iss, I ne is, neve evveer ttoook ok a pic ictu cture turree wiittth tu h an anybod anyb ybod yb ody bbaacck k kst ssttaag gee!! I onl nly y have havee pic ha icctu tures tu rees th thaatt that othe ot heer pe h peop pllee too ook. k. We ne k. neve veer sa said aid d to a band, ba nd d, “L “Let et’s ’s take ak ke a pi pict ctur ure. e..”” W Wee jusst were we ren’ n’t lliike ke tha hatt,, and d I th hiin nk k bac ack, k, an nd d I th thin i k k,, “Oh Oh, w wh hy di didn dn’t’t I do tth h hat att!!”” at!”
scene@ @clevescene.com t@cclevelandscene
| clevescene.com clev cl eves eessce scceene ne..cco om m | October Octoobbeer 31 Oc 31 - November Nov o embe embe em ber er 6, 6, 2018 201 018 18
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| clevescene.com | October 31 - November 6, 2018
@masoniccle @hobcleveland
@masoniccleveland
JUST ANNOUNCED BRUCE IN THE USA (TRIBUTE TO BRUCE SPRINGTEEN)
DEC. 6 ON SALE FRI. 10AM
DEC. 27 ON SALE FRI. 10AM
JAN. 5 ON SALE FRI. 10AM
EDIE BRICKELL & NEW BOHEMIANS
MARCH 6 ON SALE FRI. 10AM
NOVEMBER 2
THE NIGHT GAME
NOVEMBER 3
DANITY KANE DK3
w/ HALF THE ANIMAL
CA M RO BRID OM GE
featuring Dawn & Dumblonde
NOVEMBER 4
L ANCO
BIG GIGANTIC w/ Flamingosis, Bypass Circuit
NOVEMBER 7
NOVEMBER 15
CELESTE BARBER
w/ Travis Denning
GOV’T MULE NOVEMBER 18
DEC. 2 Early Show: 6:30 // Late Show: 9:30
NOVEMBER 3
MASONIC SHOWS
HANSON STRING THEORY LIVE WITH ORCHESTRA
COMING SOON
NOVEMBER 8
Nov. 1 Nov. 1 Nov. 3 Nov. 4 Nov. 6 Nov. 8 Nov. 9 Nov. 11
BUY TICKETS AT
NOVEMBER 15
NOVEMBER 26
91.3 The Summit presents The Breeders w/ Screaming Females Masonic Cleveland Jade Novah Cambridge Room Father w/ Danger Incorporated Cambridge Room Ones To Watch Presents Hobo Johnson & The Lovemakers w/ Oliver Tree, Jeffrey Lewis & Los Bolts Young The Giant w/ Lights SOLD OUT Cleopatrick Cambridge Room Decades Collide: '80s vs '90s feat. DJ Biz Markie Featuring Pop Fiction & 80’s Proof Silverstein w/ Hawthorn Heights, As Cities Burn, Capstan
Nov. 12 Nov. 14 Nov. 16 Nov. 19 Nov. 24 Nov. 26 Nov. 28 Nov. 29 Nov. 29 Nov. 30
Queen Naija SOLD OUT John Nolan w/ Ottawa, Madeline Finn Cambridge Room Seven Lions Pusha-T w/ Phony Ppl, Bernard Jabs Welshly Arms w/ The Whiskey Hollow, The Blue Stones Sabrina Benaim w/ Clementine Von Radics Cambridge Room A Drag Queen Christmas Griffin House Cambridge Room 3OH!3 x Emo Nite w/ Lil Aaron Allen Stone w/ Nick Waterhouse Buy tickets at Ticketmaster.com or 216-523-BLUE
MASONIC CLEVELAND: 3615 Euclid Ave, Cleveland OH 44115 HOUSE OF BLUES: 308 Euclid Ave, Cleveland OH 44114 masoniccleveland.com / houseofblues.com | clevescene.com | October 31 - November 6, 2018
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| clevescene.com m | October 31 - November 6, 2018
MUSIC A FOND FAREWELL Elton John is coming to town for his farewell tour, but are we ready to see him go? By Laura Morrison Photo by Joe Kleon
ELTON JOHN ISN’T DYING — NOT that we know of anyway. Yet, as he announced in January, the musician is retiring from touring. And he’s not alone. Already this year, Ozzy Osbourne, Paul Simon, Joan Baez and Minus the Bear have come through Cleveland for what they said was the final time. But as a species, we’re not good at the messiness of goodbyes. Perhaps that’s why John, 71, is prolonging the inevitable by touring around the world for the next three years, bringing his “Crocodile Rock” and “Rocket Man” anthems to the masses. He comes to Quicken Loans Arena on Saturday for what he claims is his second-to-last appearance on an area stage (the farewell tour returns to the Q on Nov. 12 , 2019). For many loyal fans, sitting through the set will bring a flash flood of memories. First, Whom Do We Believe? Of course, John would hardly be the first musician to be pulling our leg. The Rolling Stones infamously said they were leaving too. But then, they didn’t. The lists of bands who went into faux-retirement is extensive; we’re talking Cher, KISS, Ozzy Osbourne and more. Yet, this recent batch of musicians, retiring either completely or just from tour life, seems to really mean what they say. “I’m not going to be touring and traveling the world [anymore],” John told Anderson Cooper in a CNN interview in January. “My priorities have changed. I have young children. That doesn’t mean I won’t still be creative. But I won’t travel anymore. I don’t want to go out with a whimper. I want to go out with a bang … it’ll be the most produced, fantastic show I’ve ever done.” Here, it seems John wants to go out on his own terms. As one of the Top 10 bestselling album makers of all time and a stalwart in the spotlight for decades, he without question deserves the long goodbye. But assuming he, and others, really are slowing down, how will the music industry be affected? Survival of the Industry Losing John and a whole host
of others isn’t just hard for fans but also the music industry titans making money off shows. Last year, six of the Top 25 highestgrossing acts were of retirement age, according to Pollstar. With more artists looking to take it easy, some in the business are worried those older artists, who usually ask exorbitant amounts for tickets, won’t have comparable replacements waiting in the wings. But as Lorde’s music agent Tom
The Best Way to Remember John first bounded onto the American music scene in 1970 with that warm, fuzzy hit “Your Song.” He was daring and gay, and he had a gap between his front teeth. His piano playing made people feel something deep. But like many in my generation, I was first introduced to the Brit through Simba and Pumba. I had barely cleared kindergarten when the Disney classic The Lion
ELTON JOHN – FAREWELL YELLOWBRICK ROAD TOUR 8 P.M., SATURDAY, NOV. 3, QUICKEN LOANS ARENA, 1 CENTER CT. 216-420-2000. TICKETS: RE-SALE ONLY, THEQARENA.COM
Windish told Rolling Stonee, it doesn’t matter as long as there are more artists across the board. “If there are less artists playing stadiums who are in their 70s, there are going to be 200 artists who are going to sell 500 tickets [apiece], which are going to be the same amount as that stadium,” he said. “It’s just the audience of people is being distributed in different ways.” As the concert business is booming right now, we can’t feel too bad for anyone — except maybe ourselves.
King invaded my small childhood world. My friends and sister and I all had T-shirts and plastic cups depicting various film characters. We sang the songs ad nauseum. My parents explained the reason these songs were so catchy was that they were co-written by someone named Elton John, who had a whole bunch of hits before I was even born. Later, who could forget his impassioned version of “Candle in the Wind” at Princess Diana’s funeral. Even later still, his love songs were canonized in Moulin Rougee, which had a
soundtrack that my friends, sister and I also sang along to. This is an artist who has defined moments in people’s lives. Soon, he will be gone from us, but not forever. As Megan O’Grady noted in her New York Times Style Magazinee essay about movie stars retiring: “A creative mind, surely, cannot be shut down at will. Artists are our magi, our secular gods. Really, they can no more retire than can a unicorn or a planet. They will not stop seeing the world as they do. What will stop is them sharing that vision with us.” And in the End What’s ironic here is that Elton John long ago prepped us with how to say goodbye. With the help of longtime partner Bernie Taupin, he wrote beautifully aware songs about leaving and death (“Candle in the Wind” and “Goodbye Yellow Brick Road”). With lyricist Tim g’s Rice, he wrote The Lion King “The Circle of Life” and Road to El Dorado o’s “Friends Never Say Goodbye.” Even from the beginning, through the silliness of crocodiles and jets, he was preparing us for the end. We should have listened.
lmorrison@clevescene.com t@lowesays
| clevescene.com | October 31 - November 6, 2018 clevesce
ELTON JOHN – FAREWELL YELLOWBRICK ROAD TOUR, 8 P.M., SATURDAY, NOV. 3, QUICKEN LOANS ARENA, 1 CENTER CT., 216-420-2000. TICKETS 216-420-2000 TICKETS: RE RE-SALE SALE ONLY ONLY. THEQARENA THEQARENA.COM COM
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LIVEWIRE
all the live music you should see this week Photo by Mike Miller
WED
10/31
Peter Asher & Jeremy Clyde: 7 p.m., $40. Nighttown. Bad Boys of Blues Jam: 9 p.m., free. Smedley’s. Devildriver/Jinjer: 6:30 p.m., $22. Agora Ballroom. Ginko x CODA Halloween Featuring Mollo Rilla / King Buu / The Venus Flytraps: 8:30 p.m., $15. CODA. Into The Blue: Grateful Dead Revival: 8 p.m., $10 ADV, $13 DOS. Beachland Ballroom. Mr. California/Meanderthal/ Basement Boi: 9 p.m., free. Now That’s Class. Who Hit Me/Fawx/Factual Brains: 9 p.m., $5 ADV, $7 DOS. Grog Shop.
THU
11/01
Peter Asher & Jeremy Clyde: 7 p.m., $40. Nighttown. The Breeders/Screaming Females: 7 p.m., $27-$35. Masonic Auditorium. Circa Survive/La Dispute/Queen of Jeans: 6:30 p.m., $24.50. Agora Theatre. FreeByrds Musician’s Night: 10 p.m., free. Smedley’s. Arlo Guthrie’s 50th Anniversary of Alice’s Restaurant Tour: 8 p.m., $45-$95. E. J. Thomas Hall. Chris Hatton’s Musical Circus (in the Wine Bar): 8 p.m., free. Brothers Lounge. Jam Night with the Bad Boys of Blues: 9 p.m., free. Brothers Lounge. The Music of Cream: 8 p.m., $25$45. State Theatre. Jade Novah: 8 p.m., $15 ADV, $20 DOS. House of Blues Cambridge Room. NOVA/TrigNO/Lmont/Senseless: 9 p.m., $5. Now That’s Class. The Plimsouls/Rumbling Spires: 8:30 p.m., $15 ADV, $17 DOS. Beachland Tavern. Red/The Veer Union/Skyharbor/ Veio: 6 p.m. Agora Ballroom. Boz Scaggs: 7:30 p.m. Hard Rock Rocksino. Vinyl Wings / Constant Source / Grav: 8 p.m., $5. CODA.
FRI
11/02
Benefit for Art Supplies for East Cleveland Schools with
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The wild and wacky Hobo Johnson comes to House of Blues. See: Sunday
Keys to the Mint/Evil Deacon/ Meanderthal/Aaron Civil War: 9 p.m., $5. Now That’s Class. Big Bad Voodoo Daddy: 8 p.m., $45 ADV, $55 DOS. Music Box Supper Club. Edie Brickell & the New Bohemians: 9 p.m., $30 ADV, $34 DOS. House of Blues. Colony House/The New Respects/ Effee: 8 p.m., $15 ADV, $17 DOS. Grog Shop. David Cook/Tyler Boone: 8 p.m., $32-$50. The Kent Stage. Everyn Release Party/Lost in Tonight/Iron Bison/Astral Projections: 8 p.m., $10. Mahall’s 20 Lanes. Shana Falana: 8:30 p.m., $10 ADV, $12 DOS. Beachland Tavern. Horns & Things: 8:30 p.m., $20. Nighttown. Houndmouth: 7 p.m., $24. Agora Theatre. JiMiller Band ~ All Dead (in the Supper Club): 8 p.m., $10 ADV, $12 DOS. Music Box Supper Club. Steve Martin & Martin Short: Since 2009, comedian Steven Martin has played bluegrass music with Steep Canyon Rangers. He doesn’t tour often with the band, but this fall he’s out on a series of dates with the group. Martin, along with comedian Martin Short, will bring the show, dubbed An Evening You Will Forget for the Rest Of Your Lives to E.J. Thomas Hall tonight. The concert will include stand-up,
| clevescene.com | October 31 - November 6, 2018
film clips, musical numbers and “conversations” about their lives in show business. (Jeff Niesel), 8 p.m. E. J. Thomas Hall. (Sandy) Alex G/Half Waif: 8 p.m., $16. Musica. Kenny Wayne Shepherd: 8 p.m., $17.50-$59.50. Canton Palace Theatre. Sultans of Bing: 8 p.m., $10. CODA. Jackie Warren: 10:30 p.m., free. Nighttown. WHY? Alopecia 10 Year Anniversary Show/The Ophelias: 8:30 p.m., $16 ADV, $18 DOS. Beachland Ballroom.
SAT
11/03
Big Sandy And His Fly-Rite Boys: 8:30 p.m., $13 ADV, $15 DOS. Beachland Tavern. Black Moth Super Rainbow/The Stargazer Lilies/Air Credits: 9 p.m., $20. Mahall’s 20 Lanes. Boy Band Review: 9 p.m., $12 ADV, $15 DOS. House of Blues. The Choir: Artifact: The Unreleased Album Live/Abbey Rodeo, Jeff Soukup: The locally based power-pop act the Choir had a hit right out of the gate in 1967 with its debut single, “It’s Cold Outside.” While the band would quickly implode after a couple of short years, it left a lasting impression. Artifact: The Unreleased Album features ten songs that the band, which at the
time included singer-organist Phil Giallombardo, singer-guitarist Randy Klawon, singer-bassist Danny Carleton, singer-drummer Jim Bonfanti and singer-pianist Kenny Margolis, recorded in 1969. Most of the songs have never been released. The late Paul Hamann discovered the music that his father had recorded at his Cleveland Recording Studios. Tonight and tomorrow, the original 1969 lineup featured on the recording will reunite for this special show. (Niesel), 8 p.m., $20 ADV, $25 DOS. Beachland Ballroom. Sammy DeLeon Latin Jazz Sextet: 8:30 p.m., $15. Nighttown. Father/Danger Incorporated: 8 p.m., $20 ADV, $23 DOS. House of Blues Cambridge Room. Gov’t Mule: 8 p.m., $35-$45. Masonic Auditorium. Hey Mavis/The David Mayfield Parade: 8 p.m., $15 ADV, $18 DOS. The Kent Stage. Humble Pie: 6:30 p.m., $20 ADV, $25 DOS. Odeon. Elton John: 8 p.m. Quicken Loans Arena. Mayday Parade/This Wild Life/William Ryan Key/Oh, Weatherly: 6 p.m. Agora Theatre. Justin Courtney Pierre/Pronoun/ Van Dale: 9 p.m., $23 ADV, $25 DOS. Grog Shop. Steely Dan Tribute by The FM Project (in the Supper Club): 8 p.m., $12 ADV, $15 DOS. Music Box Supper Club. Jackie Warren: 10:30 p.m., free. Nighttown. Window Dogs / Discount Nostalgia / Hello, Bandit: 8 p.m., $8. CODA.
SUN
11/04
Amigo the Devil/Harley Poe/ Ancient VVisdom: 8:30 p.m., $15. Grog Shop. Cedric Burnside/Cody & Luther Dickinson/Austin Walkin’ Cane: 8 p.m., $18 ADV, $20 DOS. Beachland Tavern. Cleveland Uncommon Sound Project: 7:30 p.m., free. Bop Stop. I’m With Her/The Brother Brothers: 8 p.m., $35-$40. The Kent Stage. Hobo Johnson & the Lovemakers/ Oliver Tree/Jeffrey Lewis & Los Bolts: Born Frank Lopes Jr., Hobo Johnson draws from hip-hop, punk, folk, and poetry on his wacky debut, The Rise of
| clevescene.com | October 31 - November 6, 2018
39
LIVEWIRE Hobo Johnson. Lopes Jr. went from performing on the streets to becoming a buzzed about artist in the Sacramento music scene by appearing at countless open mic nights. (Niesel), 7:30 p.m., $25 ADV, $30 DOS. House of Blues. Koo Koo Kanga Roo / Diners: 3 p.m., $15. Grog Shop. Stephen Marley: 8 p.m., $39-$44. E. J. Thomas Hall. The Night Game/Half the Animal: 8 p.m., $15 ADV, $18 DOS. House of Blues Cambridge Room. November Noise Lunch with Dissilient + Skin Graft / Slit Throats / David Russell Snake / XTerminal / Figure With Meat / The Dandelion Moon / Formicophilia / Fear Rod / Brainberg: 4 p.m., free. Now That’s Class. Parasites/Bar Trash/Dutch Babies: 8 p.m., $7. Now That’s Class. Helen Welch (in the Supper Club): 7 p.m., $20 ADV, $25 DOS. Music Box Supper Club. Ron Zehel Guitar Center Student Concert: 12 p.m., free. Music Box Supper Club.
MON
11/06
Deafheaven/DIIV/Chastity: 8:30 p.m., $22 ADV, $25 DOS. Grog Shop. McKinley James Trio: 8:30 p.m., $10. Beachland Tavern. Lemuria/Bethlehem Steel: 8 p.m., $15 ADV, $17 DOS. Mahall’s 20 Lanes. Jake Shimabukuro: 7:30 p.m., $50 ADV, $60 DOS. Music Box Supper Club. Young the Giant/Lights: 8 p.m., $29.50 ADV, $35 DOS. House of Blues
40
| clevescene.com | October 31 - November 6, 2018
scene@clevescene.com t@clevelandscene
MURDER MYSTERY DINNER
During the comedic whodunits, audience members are free to interrogate cast members in order to pinpoint the guilty party.
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11/05
Hymn for Her: 8 p.m., $10. Beachland Tavern. Lil Yachty/Bhad Bhabie: 7 p.m. Agora Theatre. Skatch Anderssen Orchestra: 8 p.m., $7. Brothers Lounge. Velvet Voyage (in the Wine Bar): 8 p.m. Brothers Lounge. The War and Treaty/Courtney Marie Andrews: 8 p.m., $18 ADV, $20 DOS. Beachland Ballroom.
TUE
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THE SUNRISE JONES BAND
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RAY FLANAGAN & THE AUTHORITIES
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;PJRL[Z JHU IL W\YJOHZLK MVY HSS ZOV^Z H[ [OL JS\I ^P[OV\[ H ZLY]PJL MLL I` WOVUL MVY H Z\YJOHYNL VY H[ HU` VM [OL MVSSV^PUN SVJH[PVUZ!
BRITTANY’S RECORD SHOP *SL]LSHUK ,90, :;9,,; .<0;(9: >PSSV\NOI` 3667 ;YLTVU[ 4@ 405+»: ,@, 9,*69+: 3HRL^VVK 9,*69+ 9,=63<;065 *SL]LSHUK /LPNO[Z 9,*69+ :/67 >PSSV^PJR :8<(9, 9,*69+: (RYVU ;/, =05@3 .966=, )LKMVYK
TUE 12/4
DEATH CAB FOR CUTIE
| clevescene.com m | October 31 - November Noov ovember 6, 2018
41
BAND OF THE WEEK THE PLIMSOULS By Jeff Niesel Photo: Courtesy of Eddie Munoz
MEET THE BAND: Eddie Munoz (guitar),
Luke Miller (bass), Richard Dev Greene (guitar, vocals), Danny Vozzo (drums)
awareness of the band out, but it just wasn’t capitalized on for lots of reasons.� WHY YOU SHOULD HEAR THEM: At
LET THE GOOD TIMES ROLL: When the
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42
| clevescene.com | October 31 - November 6, 2018
Plimsouls, a power pop band, formed in L.A. in 1978, the scene there was remarkably diverse. “From the late ’70s to the middle of the ’80s was the last renaissance of rock ’n’ roll in L.A., because it fragmented after that,â€? says Munoz. “Everybody played whatever kind of rock ’n’ roll they played, but they hung out at the same parties and dated the same people and could talk about music. It wouldn’t be unusual to be at a party with the Go-Gos, the Rubber City Rebels, Blackie Lawless and the guys from MĂśtley CrĂźe. It was a good time.â€? A TRACK ON A SOUNDTRACK: The band issued its self-titled debut in 1981; thanks to some shoddy marketing, the album didn’t push the group’s career forward. “Unless you knew about it, you didn’t know about it,â€? says Munoz when asked about the release. “That came out, and it was underwhelming. We weren’t in love with the production. It was a good record song-wise, but performancewise it just didn’t make it.â€? The band rebounded in 1983 with Everywhere at Once. “It was great in terms of craft and songs,â€? says Munoz. Thanks to its inclusion on the Valley Girl soundtrack, the power-pop anthem “A Million Miles Awayâ€? become a bit of a hit. “The soundtrack has great songs on it,â€? says Munoz. “It was in touch with what kids were listening to at the time. That movie helped bring
least one critic suggested the band established itself as the West Coast counterpart to the Replacements with Everywhere at Once. The album features everything from folk-y ballads (“Oldest Story in the Worldâ€?) to fervent rave-ups (“Lie, Beg, Borrow, and Stealâ€?). Though the Plimsouls’ lineup has changed a number of times over the past decade (former frontman Peter Case left the group years ago), Munoz says he’s particularly fond of current ensemble. “These guys are great,â€? he says. “They’re pros. Richard [Dev Greene] is an amazingly good frontman. He’s engaging and something the Plimsouls have needed for a long time. He’s really good. I have a really solid unit here. Danny [Vozzo] is the kind of drummer you want to have. He can swing and play spot-on at the same time. You’d be surprised how many drummers don’t do that. Luke [Miller] is solid as hell and sings great harmonies along with Danny. We have more vocal ďŹ repower than the Plimsouls ever had back in the day.â€? WHERE YOU CAN HEAR THEM:
myspace.com/plimsouls WHERE YOU CAN SEE THEM: The Plimsouls perform with Rumbling Spires at 8:30 p.m. on Thursday, Nov. 1, at the Beachland Tavern.
jniesel@clevescene.com t@jeffniesel
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| clevescene.com | October 31 - November 6, 2018
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| clevescene.com | October 31 - November 6, 2018
SAVAGE LOVE FLOORED By Dan Savage Dear Dan, I’m a 40-year-old married straight woman. I gave birth to our first kid in 2015 and our second earlier this year. My perineum tore and was stitched both times. I have not been able to have sex with penetration since having our second child. My OB/GYN said I’m “a little tighter now” due to the way the stitching was performed. My husband is very well endowed and I can’t imagine how on earth I’m ever going to get that thing back in me, let alone enjoy it. We have a history of pretty hot sex and I really miss it. I’ve been searching online for some sex toys to help me. I’ve never used sex toys before. I’ve always been able to have thrilling orgasms easily without any devices. I still can with manual stimulation. But I want to have sex with my husband. I’m confused and I just don’t know what I need to help me open back up and get through the pain. Please help! Thanks In Advance “Unfortunately, this situation is very common—but luckily there are options to help her get her groove back,” said Dr. Rachel Gelman, a pelvic floor physical therapist at the Pelvic Health and Rehabilitation Center (pelvicpainrehab.com). Also sadly common: OB/GYNs shrugging off concerns like yours, TIA. “I see that all the time,” said Dr. Gelman. “Part of the problem is that the pelvic floor/muscles aren’t on most doctor’s radar. That’s due to many factors— cough, cough, insurance companies, cough, our dysfunctional health care system, cough—but to water it down, it’s the OB/GYN’s job to get someone through pregnancy and deliver a healthy baby. And when that’s accomplished, the feeling is their job is done.” But so long as you’re not able to have and enjoy PIV sex with your hung husband, TIA, there’s still work to do. “TIA needs to see a pelvic floor physical therapist,” said Dr. Gelman. “A good PT would be able to assess and treat any pelvic floor dysfunction, which is often the primary cause or a contributing factor for anyone experiencing pain
with sex, especially after childbirth.” At this point Dr. Gelman began to explain that pushing a living, breathing, screaming human being out of your body is an intense experience and I explained to Dr. Gelman that I’ve had to push a few living, breathing, screaming human beings out of my body, thank you very much. Dr. Gelman clarified that she was talking about “the trauma of labor and delivery,” something with which I have no experience. “Labor and delivery can have a significant impact on the pelvic floor muscles which can cause a myriad of symptoms,” said Dr. Gelman. Pain during PIV sex sits high on the list of those symptoms. “The fact that TIA had tearing with the deliveries means she most likely has scar tissue, and a PT would again be able to treat the scar to help decrease any hypomobility and hypersensitivity,” said Dr. Gelman. “A pelvic floor specialist can also instruct her in a home program which may include stretches, relaxation techniques, and dilators— dilators are graduated cylinders that are inserted vaginally to help stretch the vaginal opening and promote relaxation of the pelvic floor.” A set of “graduated cylinders” is essentially “a bouquet of dildos,” TIA. You start with the smallest dilator/ dildo, inserting it every day until you can insert it without any pain or discomfort, and then you “graduate” (nudge, nudge) to the next “cylinder” (wink, wink). You can order a set of dilators online, TIA, but Dr. Gelman wants you to find a doc that specializes in sexual medicine first. “There are some good medical associations that she can check out for resources and to help locate a provider in her area,” said Dr. Gelman. “The websites of the International Society for the Study of Women’s Sexual Health (ISSWSH), the International Society for Sexual Medicine (ISSM) and the International Pelvic Pain Society (IPPS) are where she should start.” This week on the Lovecast: Is there a urologist in the house?
mail@savagelove.net t@fakedansavage
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Help Wanted HELP WANTED Cibo Homemade Pasta is a family restaurant looking for Prep cook/ pizza maker for wood fired oven. 18-40 hours a week. Evenings only Tues-Sat, Chagrin Falls area. Please call for info, 440-543-0363.
METRO LOFTS APARTMENT
1-216-377-6290
Located at 3307 Scranton Rd., in Cleveland. 216-351-6936. 21 Loft Style Apartments Secured Entry Off-Street Parking Available Pets welcome w/ fee Central A/C
PARKSIDE
Real Estate: East/Suburbs East Cleveland Apartment for Rent
Spacious 1BR and 2BR suites available. Steps from Lakewood Park. Heat included. 216-392-5384
2 bedroom apartment/ $525 per month Freshly painted. Carpeting. No Pets. For more information 216-408-7751
Real Estate: West/Suburbs Hedgewood Manor Spacious updated 1 bedroom and 2 bedroom suite, Secured entry, laundry on site. Air conditioning. 440-829-8444.
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Real Estate Services
Rentals: West/Suburbs
WATERBURY Large, remodeled 1br and 2 BR suites. Heat included. Off-street parking available. 216-392-5384.
WINDSOR 1 BR suites. Backs up to Cleveland Metroparks. Heat Included. Secured Entry. Off-Street Parking Available. 216-392-5384
EDGECLIFF BROOKSIDE OVAL APARTMENT Located on Park Fulton Oval near the Cleveland Metroparks! 216-351-6936 Choose from any of our newly remodeled 1 & 2 bdrm apartments, all w/ modern kitchens & bathrooms. All feature air-conditioning & Garage parking also available. Brookside is located close to I-480, I-71, and I-90, just minutes from downtown Cleveland. Come home to the beautiful park-like setting of Brookside Apartments! You’ll be happy to call Brookside home.
More Numbers: 1-800-700-6666 Redhotdateline.com 18+
Located on a private tree lined street, 1BR and 2BR suites available. Off-street parking available. Heat included. 216-392-5384.
WISH YOU WERE HERE. MISSED ANhiring. EVENT? We’re CATCH OUT UP WITH SLIDESHOWS. CHECK OPENINGS ONLY AT CLEVESCENE.COM AT CLEVESCENE.COM
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18900 Detroit Extension Newly Renovated 1-2 Bedroom Apts Heat & Water Included Updated Laundry on Site Off Street Parking Air Conditioning Secure Entry Lake and Park Views Call for our Specials 216-392-5384 *****some restrictions apply*****
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Large, upgraded suites. Heat included. Overlooking the metro parks. Free off-street parking available. 216-392-5384
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440.342.7355 (SELL) To Buy...or Sell
Call Grizzell *Some restrictions will apply *for those who qualify... we consider... Se Habla Espanol
'//$ #2%$)4 s "!$ #2%$)4 s "!.+2504#9 | clevescene.com | October 31 - November 6, 2018
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