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| clevescene.com | September 14 - 20, 2016
| cl cle clevescene.com eves ev escene esce cceene.c nee.ccom m | September 14 - 20, 2016
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3 % 0 4 % - "%2 s 6/,5 - % . O 11 Dedicated to Free Times founder Richard H. Siegel (1935-1993) and Scene founder Richard Kabat Publisher Chris Keating Editor Vince Grzegorek
CONTENTS 50
5PFRONT
Editorial Managing Editor Eric Sandy Music Editor Jeff Niesel Staff Writer Sam Allard Writer-at-large Kyle Swenson Web Editor Bliss Davis Dining Editor Douglas Trattner Contributing Dining Editor Rachel Hunt Stage Editor Christine Howey Visual Arts Editor Josh Usmani
TownHall catches heat for Trump fundraiser, and more
&RAMED &EATURE
Creative Services Production Manager Steve Miluch Layout Editor/Graphic Designer Christine Hahn Staff Photographer Emanuel Wallace
WILL BE IN TOWN THIS 3ATURDAY
Snagged by another downturn in the steel industry, Lorain pinches pennies to keep the city on life support
Business Asst. To The Publisher Angela Lott Sales Assistant/Receptionist Megan Stimac Staff Accountant Kristy Dotson
'ET /UT
Circulation Circulation Director Don Kriss Euclid Media Group Chief Executive OfďŹ cer Andrew Zelman Chief Operating OfďŹ cers Chris Keating, Michael Wagner Human Resources Director Lisa Beilstein Digital Operations Coordinator Jaime Monzon Chief Financial OfďŹ cer William Mickey www.euclidmediagroup.com National Advertising Voice Media Group 1-800-278-9866, voicemediagroup.com
Dozens of events spanning the next week in Cleveland
!RT
Lorain’s FireFish capitalizes on city’s cultural turnaround
3TAGE
Cleveland Scene 737 Bolivar Rd, #4100 Cleveland, OH 44115 www.clevescene.com Phone 216-241-7550 Retail & ClassiďŹ ed Fax 216-241-6275 Editoral Fax 216-802-7212 E-mail scene@clevescene.com
Great singing perfectly complements a lush production in Blues in the Night
&ILM
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 2016 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, selfaddressed 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’
The Greater Cleveland Urban Fim Festival gets bigger and better
$INING
After three long years of waiting, Arcadian falls short of promise
-USIC
...The story continues at clevescene.com
A move to the States inspired the songs on Frightened Rabbit’s new album
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All of our favorite photos from this past week in Cleveland
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UPFRONT AFTER HOSTING TRUMP FUNDRAISER, TOWNHALL FACES A BACKLASH ONLINE Photo by Eric Sandy
THIS WEEK
TOWNHALL, THE CERTIFIED non-GMO and veg-friendly Ohio City restaurant owned by Bobby George and others, is among the more popular joints in the city — astoundingly successful, a favorite hangout of local athletes and coaches, and a venue for assorted events. In that regard, the Trump fundraiser, held last Thursday afternoon, was far from an anomaly. TownHall has hosted events for Democrats and Republicans alike, as well as fundraisers for organizations such as the Providence Children’s Home and Feed the Need. But Trump is no ordinary candidate, this no ordinary election. And cautions about politics at the dinner table, whether it’s at home or out, are true for a reason. The event was organized by a host committee including local businessman Tony George and Cuyahoga County GOP chairman Rob Frost. Tony George is the father of Bobby George, one of TownHall’s owners. While the family and business relationships overlap, they’ve attempted to maintain distinctions publicly in the leadup to the event. Bobby George, for instance, was initially listed as a member of the host committee that organized the fundraiser on a flier. He was not on the committee, he told Scene, and a second invitation without his name was sent out. And Cleveland.com’s original story on the announcement of the fundraiser named Tony George as a co-owner of TownHall, which he’s not. A correction was added to the article. Bobby George, for his part, donated to Hillary Clinton’s
6
TownHall tripped through the land of hyped-up Internet outrage last week.
campaign in 2015, according to campaign finance reports, as well as to Republicans Marco Rubio in 2015 and Congressman Dave Joyce in 2014. And Tony George, politically active for years supporting both Republicans and Democrats, including Bill Clinton, proclaimed Trump the next president of the United States of America during his introductory remarks at the fundraiser. All of those interests collided last week — family, business, politics. Because a visit from this GOP presidential nominee isn’t just another example of an open door policy for both sides of the aisle. It’s a visit from the human form of Facebook Uncle for president with Twitter Egg as his running mate. This isn’t Congressman Tim Ryan, for instance, who held an event at TownHall (which, Bobby George told Scene, produced divisive
reaction as well). To host Trump is to host a man so prodigiously hateful that his campaign necessitates an entire editor’s note appended to coverage. To host Trump (anywhere, but in this case, a heavily democratic neighborhood in a heavily democratic city) is also to tacitly invite reaction from your customers, many of whom could assume you support his campaign and ideas. And so came the reaction on the restaurant’s Facebook page. You can check out screengrabs at clevescene.com, but even those don’t capture all of the comments made that day. Still, they do capture the range of sentiments -- from disappointment to jokes, from promises to never patronize the business again to run-of-themill comment section reaction. There were, it should be noted, also comments containing vulgarities
and personal attacks. Those comments and the others, however, are all gone. As the internet quickly noticed last week, comments to the page were being deleted and the page scrubbed of any mention of Trump. The deletions kicked up the reaction, accelerating the spin cycle in a predictable way. The optics weren’t great: Here’s a local business proudly hosting Donald Trump and then deleting negative reaction. Here’s a local business hosting a candidate who doesn’t quite seem to understand the First Amendment, one who openly fights against the freedom of the press, squelching speech on its page. Here’s a local business that might have expected some pushback for hosting the event then quickly realizing it had underestimated its customers (and, to be fair, noncustomers, including many who don’t patronize the restaurant in the first place and might have quickly seen the fundraiser as reinforcements of their opinions). Indeed, TownHall did suspend all commenting on its Facebook page, the restaurant’s social media manager Kayla Barnes told Scene last week in a phone call with owner Bobby George. Their reasoning: The comments, which she characterized as splitting 50-50 in support and opposition of TownHall’s choice to hold the fundraiser, included many that were vulgar. Because, she said, the restaurant and its social media are used by families and children, they made the decision to hide all reactions. It’s not an unreasonable decision, though one that displayed a certain short-sighted understanding of how
BLATHER
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MISFIRE
QUALITY OF LIFE
Plain Dealer distributes “investment and retirement guide,” which readers actually have to opt out of if they don’t want it. Still no option to opt out of Ted Diadiun’s mindless column.
Browns QB Robert Griffin III lands on injured reserve with Game 1 shoulder fracture. Clarence, your commissioner’s weird cousin, will continue to blindly start him each week in fantasy.
Vandals appear to topple headstones at historic Erie Street Cemetery downtown. Investigation reveals Lorenzo Carter simply spinning in grave too much after Salazar injury news.
Whoever decided to drop the Tower City Lights Twitter account has some bad karma coming.
| clevescene.com | September 14 - 20, 2016
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UPFRONT to deal with a brewing social media storm. Bobby George was happy to explain their thinking further on a phone call. (It mirrored what he posted last week on a vegan and vegetarian FB group.) “We hold private fundraisers all the time,” Bobby George said, “for Republicans and Democrats. People do it on a weekly basis — that’s why I named it TownHall.” He said he expected some reaction from hosting Trump, expected some of it to be negative, but said that there’s been plenty of positive reaction as well. “Most the feedback has been, ‘That’s cool,” or, ‘I love your crepe bar and I’ll be back,’” he said. George said he wouldn’t tolerate personal attacks or comments like, “Fuck this guy,” on TownHall’s page, though he said he did not follow the reaction specifically in this case. “If it’s not about the business, we would remove it. Trump has nothing to do with our service and product. People can support Hillary or people who support Trump, I don’t give a shit. My job is to run a great
8
establishment.” In the call, he also echoed sentiments he had posted online, which said: “We wanted to create an open environment where people would not be judged for speaking their opinion. That is what makes this Country so special. We would love the opportunity to host Presidential Candidate Hillary Clinton and we are working towards getting this done. In fact I have donated to Hillary’s Campaign for what it is worth. I love my business, employees and customers and do not want to do anything that would effect our ability to continue to thrive. I was hoping this FB group would see it with the same positive view that I did. Also, for those of us that our passionate about our FOOD SUPPLY, we must not alienate from any party or we will lose our voice.” In his view, his business held an event, not an endorsement rally. He wondered how it was any different than the local businesses and restaurants that did private events during the RNC. (One difference might be the
| clevescene.com | September 14 - 20, 2016
view that the RNC was an economic driver for the entire city as well as a crowning civic moment in the national spotlight, as opposed to a one-off event two months out from the election.) Regardless, George said he knows some people have said they’ll never come back to his restaurant. That’s their choice, he said. But he sees things going the other way and, for his part, he’s going to keep focusing on their food and mission and employees. “I’m not scared,” he said. “From what I understand, it helped our business. It was a big boom. People are talking about it so much, and anytime people are talking about it, it helps you.”
CLEVELAND MINIMUM WAGE ISSUE HEADS TO VOTERS City Council approved legislation at its meeting Monday evening to put a revised, though still controversial, minimum wage increase before voters in a special election next May.
The proposal would raise the minimum wage in Cleveland to $12 per hour (up from its current $8.10) the following January. Though the original petition, brought forward by members of Raise Up Cleveland and the Service Employees International Union, had aimed to raise the minimum wage to $15 per hour, City Council and a host of other city leaders violently rejected the hike. They argued that the precipitous increase in Cleveland alone would lead to local businesses fleeing for the suburbs. The SEIU then submitted a revised proposal, which Councilman Jeff Johnson had earlier proposed, to hike the minimum wage in the city of Cleveland to $12 per hour, followed by a $1 annual increase over the next three years. This proposal, still largely unpopular in the business community, is what Cleveland residents will vote on in May. Councilman Brian Cummins, who proposed an alternative wage plan that would raise the minimum wage to $12 by 2022, frequently
| clevescene.com | September 14 - 20, 2016
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| clevescene.com | September 14 - 20, 2016
SCENE
UPFRONT cited his misgivings about a $15 per hour wage. He posted an op-ed from the Brookings Institution to his Facebook page this week that explained why big wage increases, especially in markets like Cleveland, with significant numbers of unskilled and minimally educated workers, are too risky. In addition to concerns about job loss and business relocation, author Harry Holtzer argues that a third potential outcome could be devastating for low-skill workers: “It might take time for employers of many low-skill workers to learn how to economize on their labor costs, but they will over time, since the incentives to do so are much larger,” Holtzer writes. “For instance, fast-food workers might be more easily replaced by robots. Hotels may reduce their tendency to automatically clean the rooms of their guests, and may charge extra for doing so. In the state of New York, fast-food franchises will probably be replaced by other kinds of restaurants and food services. Employers in these industries will also likely demand better education, skills and experience among those whom they hire.”
TAMIR RICE GAZEBO TO BE TORN DOWN, SENT TO CHICAGO Crews will begin disassembling the gazebo at Cudell Recreation Center where Tamir Rice was shot beginning on Wednesday. The process is expected to take several days. The gazebo will then be shipped to the Stony Island Arts Bank in Chicago, where it will be reassembled and displayed in Tamir’s memory. Passed as an emergency measure at an August City Council meeting, the deconstruction of the gazebo at Cudell Recreation Center garnered a great deal of public discourse over the past few months. The news was mostly unexpected. The Ozanne Construction Company and Independence Excavation will donate their services for the “respectful disassembly.” Former Councilman Jay Westbrook managed to secure a site for the disassembled pieces, which site will be available for storage for six months and will be managed by the nonprofit Tamir Rice Foundation.
In May, the gazebo was scheduled for demolition, but the city postponed action after the law department received a letter from a curator at the National Museum of African-American History and Culture, on behalf of Black Lives Matter. The curator asked for a postponement while options for historical preservation, which Samaria Rice endorsed, were explored. Once the gazebo is removed, a memorial stone — which both the city and CMSD have agreed to — will be erected in its place. Westbrook, pending input from Samaria Rice, will once again take the reins, seeking a donation from memorial companies for the stone and an engraved insert.
DIGITAL WIDGET 14 Cleveland Indians magic number (and dropping!) as of Tuesday.
$8 MILLION Additional funding provided by Federal Government for Hopkins International Airport snow removal equipment and storage, following reports last year of improper runway maintenance during winter.
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FRAMED!
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Popcorn @ Van Aken Beer Garden
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Never miss a beat! See more pics @ clevescene.com Up close @ National Air Show
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| clevescene.com | September 14 - 20, 2016
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| clevescene.com | September 14 - 20, 2016
Photos by Eric Sandy
FEATURE
WHEN STEEL LEFT TOWN (AGAIN)
After 1,200 steel jobs disappeared in one year, Lorain pinches pennies to keep the city on life support. What comes next? By Eric Sandy IN 1982, TIM BLAKE WRITES A song. He is not yet a full decade into his work at U.S. Steel, that titan of the local economy and the foothold for thousands of families in Lorain. It is in that Northeast Ohio city that he confronts the wildfire of local and national steel layoffs in the early 1980s with a weary optimism. The song is called “Take Another Route.” Blake is a third-generation steelworker. “My grandfathers, the two of them, at 16 years old got on a boat and came across the ocean for a life of prosperity,” he says on the origins of his song. “It was hard work. I didn’t want to forget about them.” The lyrics tackle the problem of imported steel flooding the U.S. market at the time. This story is not an economic aberration. You work in steel long enough, you find yourself riding the highs and lows
of undulating global trade forces. You and the union bear down when things get bad. Then, and now, things got bad. Blake was laid off from Republic Steel, also in Lorain, right next door to U.S. Steel, in spring of this year. Soon after, his kids showed him how to navigate YouTube. (“I’m not a real social-media guy, and I don’t think at my age I’m ever going to be,” he says. “But you have to be, sometimes.”) With Blake’s world looking eerily similar to the downturn in 1982, he posted the song online. It resonated with the families and friends of steelworkers in Lorain and beyond — Blake even appeared on an MSNBC segment during the RNC — because of its message and its timing, and because Blake was far from alone in receiving his walking papers. Earlier this year, Republic Steel,
which spun off from U.S. Steel in the 1990s, announced that its Lorain mill would be “temporarily idled,” leaving hundreds of employees without jobs. No one knows if it will ever reopen. At the same time, U.S. Steel laid off 261 employees in Lorain. The twin headlines ran simultaneously in January. All told, recent years have seen some 1,200 steel jobs slashed from the city of Lorain. Silhouetted against history, the numbers are stark. The mills once employed around 12,000 men and women, nearly a city of their own contained within Lorain. Locals call this place the “International City” because, like the lighthouse that squats just north of the port, the steel mills along the Black River have called out to workers around the world for more than a century. Lorain is a city built by
immigrants, and it’s all traced back to steel. “Everybody has a connection somewhere,” Blake says, describing the spiderwebbed culture that’s spawned from the mills. That connection is nowhere more direct than to the city’s coffers. Lorain’s budget remains intricately tied to steel (the mills accounted for 10 percent of general fund revenues, mayor Chase Ritenaur ballparked in an interview with Scene), and thus the city ebbs and flows with the industry’s successes and failures. In real terms, with this year’s downturn, that has meant a $3.6-million deficit in 2016’s arduously balanced budget and a projected $2.1-million deficit for 2017. In the hole: hundreds of jobs lost at the mills and countless other jobs lost through ripple effects across the city. Lorain is a microcosm for some | clevescene.com | September 14 - 20, 2016
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FEATURE of the toughest issues facing the country, and its residents and leaders are looking forward to a future without steel and struggling to ďŹ nd answers. Driving north along State Route 57 in Lorain, it’s impossible to miss the heraldry of U.S. Steel looming ahead. The monolithic mill appears to the casual observer as a literal wall of deep blue paint and patriotic signage. On cerulean summer days, it blends seamlessly with the sky. As though it were a track running through the bowels of It’s a Small World, Route 57 then spins drivers westward along 28th Street, right outside the main gate to U.S. Steel. In a past life, this was the throbbing main nerve of the city’s economic biome. On the south side of the street, bars ran round-theclock service for ďŹ rst-, second- and third-shifters, proffering cold Buds and a few rounds of ball-busting in a setting that bridged work and home. On the north side? The mills. To hear the older guys tell it, 28th was a bustling hive. Like the machines inside U.S. Steel, everything and everyone ďŹ t precisely into their time and place. The blast furnace guys had their own bar, the pipe mill guys had another; you get the picture. “It’s not even a tenth of what it used to be,â€? Blake says when asked about the climate along 28th these days. “There was nothing but bars, nothing but people moving,â€? Dennis Hamilton, president of the United Steel Workers Local 1104, says. “It gives me chills thinking about it. It was alive. And, you know, now it’s just completely dead. There’s nothing going on there at all. The newest thing there is the dollar store.â€? Today, 28th seems almost totally boarded up (save for, yes, the new Dollar General and a handful of auto-repair joints). It’s a road traveled solely by those getting into or out of the city. A bartender on the south side of town throws the term “sketchyâ€? on the table when asked about the bars on 28th. Change is a constant. “The steel industry has always been very cyclical,â€? Pat Gallagher, a sub-director at USW Local 1104, says, meeting with Scene in Cleveland, in the shadows of the ArcelorMittal plant on the Cuyahoga River. “But it seems now that the cycles are much longer. It was more
like six months or a year. Now they’re two years, where they go up and down.â€? As recently as 2014, in fact, Republic Steel’s income taxes exceeded expectations by some $800,000. Both mills were buzzing along at an incredible rate, at least by the industry’s relative standards. “Things were going very well,â€? Gallagher says. In 2013, Republic announced plans for a $100-million electric arc furnace. That investment never really panned out, and the headlines from around that time read like a cruel joke today. “They’ve called this a ‘temporary idling,’â€? Gallagher continues, referring to Republic Steel’s framing of the state of affairs. (Neither U.S. Steel nor Republic Steel corporate ofďŹ ces responded to a request for comment.) “So we’re hoping that when business conditions improve ‌ There’s a lot of product lines that were just ran through Lorain alone, [and] they’ve decided they’re going to step away from that market until conditions improve.â€? There are only four employees working at Republic in Lorain now, according to a security guard working the skeletal remains of the mill on a recent afternoon. They wander the grounds, uniformed vestiges of another era, making sure everything remains up to code and in good standing while the place is closed. Without prompt, the security guard launches into a brief tirade about Clinton and Trump, their names spoken in a cadence that combines them into a single entity. Clintonandtrump. (“You’ve got a crook, and then, well, there’s the other side ‌ .â€?) The presidential campaign colors most steel conversations here, and U.S. Sen. Sherrod Brown and U.S. Rep. Marcy Kaptur have been keen supporters of Lorain leaders’ work toward ďŹ nancial security amid the steel crisis. As he spits tobacco onto the concrete, the guard laments what’s happened in Lorain. Across the street from Republic Steel, an old brick building houses El Centro. Victor Leandry, the director of this social services agency, says that he’s watched the city shift and bend in response to the mills’ idling. For decades, Lorain hummed along in prosperity. Immigrants showed up — and, in many cases, were actively recruited from places like Puerto Rico — and turned a small Lake Erie outpost into a boomtown. There were the mills, sure, but also the Ford plant and the shipyards. (“You could leave a job
| clevescene.com m | September 14 - 20, 2016
19
FEATURE
“They can take the steel mills away, but they can’t take away what the steel mills have done for our community. What we also need to realize is we have to start thinking more about how we’re going to rebuild our community if they don’t come back.” — Councilman Angel Arroyo
Councilman Angel Arroyo outside Republic Steel
at breakfast time and have a new one by lunch time,” the mayor says.) Those families who came here for work are still here, but the one-time guaranteed paycheck isn’t. Leandry says that the clients he works with are struggling to replace their steel income and still maintain their same lifestyle. For the city itself — substituting “police officers” and “firefighters” and “street improvements” for “lifestyle” — the problem is the same. “I remember that Monday, when I came into work, how I noticed the difference right away,” Leandry says. “It was like a ghost town, seeing those parking lots completely empty. “I was like, ‘Oh my god. This is weird.’” In late August of this year, city auditor Karen Shawver alerted council members that Lorain is staring down a $2.1-million budget deficit for 2017. This comes hot on the heels of eight months of difficult negotiations and a nearly $3.6-million deficit heading into 2016. Budgets take time to catch up with economic realities. The slide of layoffs that began in 2015 took about a year to play out in city dollars. Already, Columbus had slashed funding for local municipalities and eliminated
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the estate tax (80 percent of which typically went to local municipalities’ budgets). By late 2015, when Mayor Ritenauer found himself on the phone with representatives from Republic and U.S., taking in the companies’ plans to change the course of his city, the perfect storm was moving onto shore. “It was a tough budget cycle, there’s no doubt about it,” Ritenauer tells Scene. “Every day was a challenge. Every day going into work was tough. There was none of the stuff, I guess, that gets people to run for office. None of the planning, none of the improvements, being an agent of change — the things that people usually take to gravitate toward politics or running for office. None of that. It was a hunker-down mentality.” In the weeks leading up the April 1 budget deadline, council chambers and committee meetings turned into battlegrounds. Ritenauer laid out his case for departments to trim their own budgets and for employees to take pay cuts; department heads, for the most part, dug in their heels. For a city skating by each year on a break-even existence, the imperative of budget cuts — gutting fire and police services, street improvements, etc. — was not an easy pill to swallow. And with an already diminishing police force,
| clevescene.com | September 14 - 20, 2016
for instance, serving a city of some 60,000 people confronting a fresh crime wave, it was never supposed to be. The fire department, for its part, ended up with $1.4 million in cuts. That marquee narrative explains precisely how the fallout from the steel mills’ employment affects everyone in the city. On July 1, with cuts falling into place, the city laid off 22 firefighters. Days later, a house fire on West Erie Street turned into a distillation of how dire things were becoming. “I had to call for outside help,” fire captain Greg Neal told Fox 8 at the time. “That outside help is other cities. Problem is, our response time is extremely exaggerated because they are from other cities. That makes me not able to do my job. The longer you wait, the [more] severe exposure you have to that building and the people inside.” Later that month, the city secured a $3.18-million, two-year federal grant, shepherded by U.S. Rep. Marcy Kaptur, that brought the firefighters back and reopened stations. It was a temporary stopgap, met with wary sighs of relief. Lorain can’t subsist on manna from heaven, though, so in November a 1.7-mill fire levy stares down voters. (If it fails, the fire department’s staffing levels will emerge again as an openended question in 2018. If the levy
passes, those new tax dollars will fund fire station improvements until the grant dries up.) The police department isn’t immune, either; chief Cel Rivera has pointed out that he’s working with 98 officers when he — and most everyone else in Lorain — would prefer the authorized 113 on staff. With the city confronting more homicides this year than in any other recent year (nine total as of early September), as well as a rise in property crime and the worsening heroin epidemic, he’s playing what amounts to a bad numbers game. “We’ve done our part, we’re not part of this problem,” Rivera said during budget negotiations this spring. “We’ve lived within our budget.” Ritenauer, the captain of the ship since first being elected in 2011, sympathizes. Still, his hand is forced. “When there are scraps on the table in terms of dollars, everybody’s fighting,” Ritenauer says. “There’s a lot of blame. There’s a lot of naturally guarded approaches to problems. It’s tough to continue to engender a spirit of trust and collaboration when everybody’s looking at it as their own department. You get that in every budget cycle, but when there’s that [little amount of] money, it’s really ratcheted up.” Looking ahead, the chess
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storm. In Cuyahoga County, the rate clocked in at 5.5 percent in July, and national unemployment has hung around 5 percent for the past year or so. “You have foreign imports coming in,” Hamilton says, squaring the global trade winds. “And you’ve got product in this country. What’s coming in is cheaper than what we have here. It’s nearly impossible to level that playing field under current global trade framework. Let’s face it: Business is like you or me. You’re gonna go where it’s cheaper.” In recent years, China has developed a massively efficient, subsidized steel industry that “dumps” Mayor Chase Ritenaur product in other countries with low import tax rates. The U.S., with a long track record of demand, has eagerly welcomed the steel. (China’s the most notable exporter among Americans, though plenty of other countries, like Brazil, Japan, South Korea, Turkey and Britain, have been feeding that demand.) According to Thomas Gibson, president and CEO of the American Iron and Steel Institute, and Chuck Schmitt, president of SSAB Americas and chairman of the American Iron and Steel Institute’s board of directors, “more than 12,000 steel jobs have been lost in the past year, as imports took a record 29 percent of the U.S. market.” What’s happened in Lorain is not unique to the North Shore. Last year, Vallourec Star laid off dozens of workers at its Youngstown steel mill. As imports continued to soar, overall demand for oil and gas fell. Putting it simply, domestic manufacturers — guys like Tim Blake and countless other men and women in Northeast Ohio — were caught in the middle of those forces. In August, councilman Angel Arroyo stands outside the Republic Steel gate. Seagulls screech overhead. Now and then, a car passes along East 28th Street. This is his ward, the industrial heart of Lorain. He says it’s hard to count on an eventual reopening — or anything resembling the good old days of steel in Lorain. He motions across the street to El Centro, where Victor Leandry is working on organizing a community development corporation in a city
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moves between now and next year’s budget negotiations must be more conciliatory, Ritenauer says. “Revenues are back on table. With what we’ve gone through at the beginning of this year, there seems to be some understanding that, look, we have to do something with revenue.” For instance, during a council meeting last week, steps were taken to switch the city from traditional garbage pickup to an automated system like most Northeast Ohio cities these days. It’s a long-debated issue in the city with deeply held opinions on both sides, and it’s the sort of sacred-cow arena in which Lorain leaders must contend. “This is a fair thing to do,” councilman-at-large Joseph Koziura said during the meeting. “We should have done it years ago.” When the crowd booed his remarks, he replied without looking up from the microphone: “Boo yourself!” Lorain is the only city in the county still on the traditional garbage pickup method. In retrospect, it was certainly easier to stave off tax increases (the garbage pickup will add $1.30 to property owners’ $13.45 monthly bill) when the steel mills were strong. Now, however, the money is needed. See, the steel economy shades everything in towns like Lorain (and Gary, Ind., and Pittsburgh). Union representatives estimate that there have been between four and seven jobs in Lorain depending on each steel job. When layoffs occur en masse — and in a short time period — the ripples hit hard and quick. “All the businesses — it’s just a domino effect,” USW Local 1104 president Dennis Hamilton says from behind his desk, just down Broadway Avenue from City Hall. “It’s the big mill, the biggest employer all of a sudden not working anymore. The side businesses hurt, because there’s no business for them from the people who worked in the mill because there’s no money.” Lorain is a city where the estimated median household income hovered a little above $30,000 in 2013 (almost unchanged since 2000). Median household value clocks in at $83,500, down by no more than a few thousand dollars since 2000. With more numbers, the narrative becomes clearer: Lorain’s unadjusted unemployment stands at 8.2 percent, as of July. That’s down from 12.6 percent in January 2012, but up from a recent low of 5.2 percent in November 2015 — right before the
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FEATURE
A shuttered auto garage rests just south ofEast 28th Street.
that hasn’t seen an active CDC in years. That’s a stark contrast to the CDC-on-every-street-corner character of Cleveland and its own neighborhoods. CDCs, it is argued in urban development rings, are valuable engines of growth that blend public and private money. While City Hall deals with budget line items and the nuts and bolts of getting through a calendar year, others look forward and struggle to be as creative as they can be with the infrastructure and resources they have, working with the assumption that steel, if it does come back, probably will never come back at the size and scope that once buoyed the city. “My problem as a councilperson is what can we do with this property?” Arroyo says. “It’s over a century of toxic waste under the ground. It’s going to be a major EPA project to clean this up if they never open again. What do we do to save our community? That’s what the city really needs to start grasping: How are we going to help this area?”
On Sept. 7, the marquee outside the Palace Theatre, a renovated stalwart of downtown Lorain, read, “Welcome Big Ideas for Lorain.” It was at once an announcement of the evening’s main event — the
Big Idea Meeting — and also an imperative. Welcome these big ideas. It’s time to take another route. The Department of Building, Housing and Planning is working
with outside agencies to craft a vision. Think of how Lakewood, of similar population, embraced bike lanes and streetscaping to revamp Detroit Avenue. Simple amenities like that add up to big ideas and,
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with time, reel in the sort of active citizenry and spending that a former boomtown needs to grow anew. The prevailing theme of the night was “the past is the past,” echoing the finality with which people around town have been discussing the steel downturn and the hopefulness with which they discuss the future. “To me, that’s what the Lorain spirit is: It’s getting through the tough times and working toward the goal and the vision of where we all want to go,” Ritenauer said during the event. “We can all live in the past and quibble about what’s happened and how we’ve been wronged or slighted. The bottom line is tonight is about where we’re going in the future.” But all of that talk begins with ideas — big ideas. Earlier this year, new board members revitalized the mission of the Palace Theatre, ushering in what seems to be a wholly distinct phase of the 88-year-old building and promoting shows that will draw an audience from across Northeast Ohio. (Apart from the Big Idea Meeting, recent events have included movie screenings, comedy shows and events revolving around local history.) Down the road at Black River Landing, Rockin’ on the River has brought major weekly summertime concerts to the heart of Lorain for a few years now. It’s seen as a massive success in the entertainment sector of the city. That translates to revenue. “That is, I think, the direction of Lorain,” Blake says. “It’s like it is in the entertainment part of Cleveland. It didn’t happen overnight. They turned the manufacturing Flats into something. That could happen in Lorain eventually, and they’re trying real hard to do that. I don’t think that’ll replace manufacturing, but it’ll definitely open up — you know, we’re on the lake, and it’s just the very beginning of what needs to be done with the lake and the entertainment districts. It brings people out of town to Lorain.” Standing outside the Palace and taking in the Americana charm of Broadway Avenue, it’s easy to supplant the doom-and-gloom headlines with a sense of reinvention and activity here in Lorain. “It’s not that people don’t want to be here or don’t want to come here, it’s a matter of how do they cash-flow it,” Ritenauer says, when asked what’s next for the city. Like Leandry and others working on assembling a CDC for
Lorain, Ritenauer is well aware of the role that public dollars play in that reinvention. “When you look at development in major cities, there’s always some type of governmental component in most cases.” Arroyo concurs, returning to the theme of Lorain’s spirit being an uplifting one. “They can take the steel mills away, but they can’t take away what the steel mills have done for our community. What we also need to realize is we have to start thinking more about how we’re going to rebuild our community if they don’t come back.” “We’ve been here before,” Ritenaur said at the Big Idea Meeting. Steel downturns and industry-wide bankruptcies stand like landmarks in Lorain’s economic history. That’s the nature of the thing. Lorain at one time was a boomtown, an industrial stronghold, surely. There were the mills, the Ford plant, the shipyards. But as if in economic retreat, the shipyards closed down, the Ford plant closed down, and now the mills are resting on the threshold of … something. “The mill was the last linchpin they had for their economy,” Gallagher says of the city’s forecasts. The city’s collective response? For now. In 1982, Tim Blake writes a song. His lyrics resonate with his coworkers, his family. In 2016, he publishes the tune on YouTube and captures the emotions of still more generations of steel workers. The same thing is happening all over again. For now. Perhaps, after another 34 years of global trade, after Lorain moves on from its tether, younger generations in the city won’t have a clue what Blake’s sentiments mean. Perhaps they’ll have set all these big ideas in motion. They’ll have taken another route.
Now the iron gates are locking up and leaving town, My last pay stub sits on the window sill, I’m playing my guitar and working in the bar, ’Cause life goes on without the old steel mill, I’ll be getting along without making steel.
esandy@clevescene.com t@EricSandy | clevescene.com | September 14 - 20, 2016
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| clevescene.com | September 14 - 20, 2016
everything you should do this week
GET OUT WED
9/14
BEER
Hoppy Hour The Cleveland Botanical Garden offers an educational take on your run-ofthe-mill beer tasting with its weekly Hoppy Hour, happening this evening from 5:30 to 8:30. You can sample pale ales, dark lagers and other cool craft brews while discussing hops and horticulture with staff from the Botanical Garden and experts from Great Lakes Brewing Company, Beverage Distributors and Butcher and the Brewer. Non-member tickets are just $5 after 5 p.m. The event is free for members. Twelve-ounce beers are $4, while a tasting flight is $6. Also on tap: dinner specials from the Garden Cafe, fire pits, lawn games and flashlight garden tours. Hoppy Hour continues on Wednesdays through Oct. 26. (Jeff Niesel) 11030 East Blvd., 216-721-1600, cbgarden.org.
Scene presents THE inaugural Downtown Oktoberfest @ Public Square. See: Friday
FOOD
ART
Walnut Wednesday There’s still time to indulge in Walnut Wednesday, one of summer’s great traditions that continues through Sept. 28. Today from 11 a.m. to 1:30 p.m. at Perk Plaza at Chester Commons — at East 12th and Walnut Street — food trucks gather to serve up lunch to area residents and employees. Offerings vary by week, but usually cover the gamut. Follow the Downtown Cleveland Alliance on Facebook for weekly updates on vendors, entertainment offerings and more. Admission is free, but the food will cost you. (Niesel) downtowncleveland.com.
First Responders: As We See Them, As They Are Just days after the 15th anniversary of 9/11, the Artists Archives of the Western Reserve pays tribute to local police and fire personnel with First Responders: As We See Them, As They Are. The exhibition showcases a collection of black-and-white portraits by noted local photographer Herbert Ascherman Jr. Featured are diptychs captured on film with an 8-inch by 10inch large-format camera and printed on silver gelatin prints. These dual portraits reveal both the private citizen and public figure. The exhibition opens with a free reception from 5:30 to 8 tonight and remains on view through Nov. 5. (Josh Usmani) 1834 East 123rd St., 216-721-9020, artistsarchives.org.
THUR
9/15
NIGHTLIFE
Borgeous For the release of his debut artist album 13, the up-and-coming DJ Borgeous teamed with a few of his good friends. Produced with the East Coast-based Riggi & Piros, the aggressive anthem “Savage” features Lil Jon. “Wanna Lose You” features Aussie DJ and producer tyDi and “Ride It,” a tune he cut with Rvssian and M.R.I., includes a cameo from fellow Jamaican Sean Paul. He performs at 6 p.m. at FWD. Tickets start at $10. (Niesel) 1176 Front St., 216-417-6282, fwdnightclub.com.
COMEDY
George Willborn Comedian George Willborn likes to play a game he calls “white shit” and “black shit.” He categorizes things such as “gold chain snatching” as “black shit” and “mass suicide” as “white shit.” The loud-mouthed comic will rile up the audience and make fun of patrons who hesitate to play along. A veteran comic who has appeared on HBO’s Def Comedy Jam, BET’s ComicView, Showtime at the Apollo, Comedy Central’s Comic Justice and MTV’s The Real World, Willborn recently had a major role in Spike
Lee’s Chiraq. He performs tonight at 7:30 at the Improv, where he has shows scheduled through Sunday. Tickets are $17 to $20. (Niesel) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.
FRI
9/16
Bank Plaza. If you don’t own a hoop, it’s no big deal. The event’s organizers will have a few you can use free of charge. New hoopers should arrive early to receive lessons. The event is free. (Niesel) East 14th Street and Euclid Avenue, 216-771-4444, playhousesquare.org. FUNDRAISER
COMEDY
Tom Arnold Perhaps best known as comedian Roseanne Barr’s ex-husband, Tom Arnold has worked the standup circuit for decades. He and Roseanne had a whirlwind four-year marriage, and their antics often landed them in the tabloids. In the early ’90s, Arnold’s acting career appeared on the verge of success, as he had a significant role in the action flick True Lies and appeared in Austin Powers: International Man of Mystery too. While his current acting career mostly consists of cameos, he continues to play comedy clubs like Hilarities, where he performs at 7:30 and 10 tonight and at 7 and 9:30 tomorrow night. Tickets are $30. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com. FITNESS
Cardio Hoop Dance It’s like Zumba, but better. That’s the tagline advertising Cardio Hoop Dance, a hula hoop workout that takes place at 11 a.m. on Fridays at U.S.
Cocktails for a Cure Today from 6:30 to 9:30 p.m., world renowned doctors from UH Seidman Cancer Center will team up with professional bartenders from three Cleveland restaurants for the fourth annual Cocktails for a Cure, held at Executive Caterers at Landerhaven. Thus far, the event has raised over $140,000 in support of critical cancer research and clinical trials at University Hospitals. Bartenders from Mabel’s BBQ, Red the Steakhouse, and Zack Bruell Events will be on hand. Individual tickets are $100 per person, with sponsorships from $500. Attendees will enjoy food from Executive Caterers of Landerhaven, and vote for “the most creative curative cocktail” by the pro-am bartender teams. Folks at the event or at home can purchase $50 raffle tickets for a chance to claim one of two trips: Exploration of Key West or Las Vegas Showstopper. Buy tickets and find details on the website. (Douglas Trattner) 6111 Landerhaven Dr., 440-449-0700, uhgiving.org. | clevescene.com | September 14 - 20, 2016
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GET OUT BEER
THE Downtown Oktoberfest Now that Public Square has been reconditioned into an open, family friendly green space, it’s the ideal location for events. Today through Sunday, Scene magazine — along with Hofbrauhaus Cleveland, Great Lakes Brewing Company and Thirsty Dog Brewing Company — presents THE inaugural Downtown Oktoberfest @ Public Square. Highlights of the event include German food from local restaurants including Balaton, Canal Tavern of Zoar, Der Braumeister, Hofbrauhaus Cleveland and more; bier from Thirsty Dog Brewing Company, Great Lakes Brewing Company and Hofbrauhaus Cleveland; and live music by Joey Tomsick & the Shotskis, Polka Revolution, Eric Noltkamper, the Casuals and more. In addition, there will be a stein hoisting contest and, every hour on the hour, attendees will enjoy a show from Das Glockenspiel presented by STV Bavaria from Cleveland. Part of Downtown Cleveland Alliance’s inaugural Downtown Days event, THE Downtown Oktoberfest will feature three main tents where attendees will find a beer garden, restaurants and live music in each, varying from one tent to the next. General admission wristbands are available in advance for $5, good for all three days. Other options, such as a Bier Fast Pass to fast-track the beer lines and VIP admission that includes a meal, beer, beer stein and a private seating area, are available. Those under age 12 are free. (Niesel) clevescenetickets.com.
collages together photographs of people printed on the front page of the Sunday editions of the New York Times throughout 2015. These delicate cutouts create abstracted compositions and encourage more careful observation. NYT 2015 explores our memory of recent events in the ceaseless churning of the media’s
Canopy. Suss the Guts: New Works from Justin Michael Will includes more than two dozen new works, as well as prints and pins. During tonight’s opening reception from 6 to 10 p.m., the artist will be painting/ drawing on a big canvas that will be raffled off to a lucky guest. Can’t make tonight’s opening? The show
ART
LivE mUsiC All suMmeR lOng! C O N C E R T
S E R I E S
7 pm Doors • 8 pm Show
#SonicSesh
SEPT 14
OCT 4
SEPT 25
LowEr DenS
ART
NYT 2015 Heights Arts’ Spotlight Gallery hosts new work by Sarah Kabot, associate professor and chair of the drawing department at the Cleveland Institute of Art. Her latest series, NYT 2015,
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Third Friday With several fall exhibitions opening this month, September’s Third Friday is a great time to check out or revisit 78th Street Studios. Drop in from 5 to 9 p.m. to see ARTneo’s Strange Melancholy: The Magic Realism of Hazel Janicki, curated by former ARTneo director Lauren Hansgen, now curator/historian of the Cowan Pottery Museum. E11even 2 debuts Yada, Yada, Yada, a Seinfeld-themed group show. Forum Artspace hosts John W. Carlson and Shari Wilkins’ Destruction of Form 2, a followup to their two-person exhibition at Cleveland Print Room. On the third floor, Melt Bar & Grilled celebrates its 10th anniversary with an invitational art competition at PopEye Gallery. Noted local artists Dana Depew, John G., Derek Hess and Jake Kelly will help Melt’s owner/founder Matt Fish pick the winners from more than 30 participating local artists. The grand prize winner gets Melt for a year. Survival Kit co-founder Brian Straw presents free live music at 9 p.m. It’s free. (Usmani) 1300 West 78th St., 78thstreetstudios.com.
SAT
9/17
THEATER
will remain on view for two weeks. It’s free. (Usmani) 3910 Lorain Ave., 216-309-1090, canopy-collective.com.
All the Way ’Tis the season for political dramas. Tonight at 7:30 at the Allen Theatre, Cleveland Play House presents All the Way, a play about “accidental president” Lyndon B. Johnson’s need to pass the Civil Rights Act of 1964 and convince Americans of the need for social change. Backroom deals and showdowns between “the infamous and the influential” come to the fore in this Tony Award-winning drama. The play runs through Oct. 9. Tickets are $25 to $100. (Niesel) 1407 Euclid Ave., 216-241-6000, playhousesquare.org.
NIGHTLIFE
MUSIC
Talk Like a Pirate Throughout the year, the Greater Cleveland Aquarium presents Captain Neo’s Adult Swim, a series of themed tasting parties. Hosted by the Aquarium’s quirky Captain Neo, tonight’s event, Talk Like a Pirate, will
Blue Sky Folk Festival The sixth annual Blue Sky Folk Festival brings original bluegrass and old-time Americana music, workshops and jamming to East Shore Unitarian Church in Kirkland. The lineup features acts such as
SPORTS
Indians vs. Detroit Tigers After spending the past month beating up on the Twins and White Sox, two teams at the bottom of their division, the Indians get a real test tonight as they take on the Detroit Tigers, a team that’s somehow managed to stay in the playoff race despite mediocre pitching. The teams face each other in a potentially pivotal three-game series. Tonight’s game starts at 7:10. It’s also Dollar Dog Night, so expect a big crowd. Tickets start at $13. (Niesel) 2401 Ontario St., 216-420-4487, clevelandindians.com.
offer guests the opportunity to taste all kinds of rums. Held in advance of International Talk Like a Pirate Day (Sept. 19), the event will also include access to the aquarium. Tickets are $20 to $40. (Niesel) 2000 Sycamore Street, 216-862-8803, greaterclevelandaquarium.com.
with
Pleasure Leftists TICKETS: $ 5.50 (including fees)
with
Lucy Dacus
with
Jakubi
On sale now at the Rock and Roll Hall of Fame box office, or online at rockhall.com
1100 Rock and Roll Blvd., Cleveland, OH 44114 24/7 news cycle. Heights Arts hosts an opening reception for NYT 2015 from 6 to 9 tonight, and the exhibition remains on view through Oct. 29. It’s free. (Usmani) 2175 Lee Rd., Cleveland Hts., 216-371-3457, heightsarts.org. ART
Suss the Guts: New Works from Justin Michael Will Local artist Justin Michael Will gets his very first solo show this month at
| clevescene.com | September 14 - 20, 2016
Low Lily, Hey Mavis, Matt Watroba, Hal Walker & Friends, Cats on Holiday and Thor Platter. Led by your favorite musicians in Irish, oldtime and bluegrass music, pop-up jamming takes place throughout the day. The price of admission includes master classes and beginner workshops on banjo, ukulele, guitar maintenance, improvisation, blues guitar and much more. There will be children’s activities, a playground and kids’ music workshops. The event runs from noon to 9 p.m. Tickets are $8 online or $10 at the door. (Niesel) 10848 Chillicothe Rd., Kirtland, 440-417-2796, blueskyfolkfest.com. FAMILY FUN
Cleveland’s Got Talent As an answer to the long-running reality show America’s Got Talent, MD Productions has announced plans to launch Cleveland’s Got Talent. The event kicks off today at noon at Crocker Park with auditions. There will be judges and prizes, and spectators are encouraged to cheer on the contestants. The auditions will be held in Marketplace Square’s brand new 13,000-square-foot building. Judges will select the top three talents in the following categories: Solo Musician, Bands, and Dancers. America’s Got Talent contestants Nu Covenant will perform, as will The Voice’s Brian Johnson. If the kickoff event is successful, organizers hope to make this a regular event. Winners get their choice of making a professional music video or recording a demo CD. (Niesel) 143 Crocker Park Blvd., Westlake, crockerpark.com. FESTIVAL
End of Summa Block Party Ohio City Moto and Whiskey Grade have teamed up to host a block party today in Ohio City from noon to 9 p.m. There will be live music, local vendors, food trucks and adult beverages as well as activities for all ages. Anyone who rides a bike to the event will be automatically entered into a raffle to win great prizes. (Niesel) 2515 Jay Ave. FESTIVAL
FireFish Festival Last year’s inaugural FireFish Festival was a big success, drawing 10,000 attendees to downtown Lorain. Drawing upon that success, this year’s second annual fest promises to be both bigger and better. Utilizing alternative spaces for performances, exhibitions
and installations, FireFish has a uniquely DIY feel to it. The evening features a percussion parade that culminates in the burning an oversized, ceremonial fish effigy. The FireFish Festival takes place today from 2 to 11 p.m. Admission is free. (Usmani) 617 Broadway Ave., Lorain, firefishfestival.com. ART
A Kickoff Event For the next three months, seven international artists will reside in Cleveland and work with local collaborators and host organizations to create a dozen murals throughout Hingetown. To welcome the new class of Creative Fusion artists, the Cleveland Foundation and its six host organizations invite the public to a kickoff event at Transformer Station from 11 a.m. to 7 p.m. At the gallery, a stop on the Downtown Cleveland Alliance’s SPARX City Hop, guests can pick up a map to visit future mural locations as a preview of the upcoming project. Both the local and international participants will be on hand to discuss their projects. Additionally, local artists install murals in the neighborhood on Saturday as part of the free event. (Usmani) 1460 West 29th St., 216-938-5429, transformerstation.org. FESTIVAL
Sparx City Hop The annual Sparx City Hop is back today from 11 a.m. to 6 p.m. Begin by stopping by the Main Hub, beneath the GE Chandelier on Playhouse Square, to grab a free wristband, which is required to ride the trolleys. While you’re there, explore Playhouse Square’s historic theaters through free, behind-thescenes guided tours. Guests can also enjoy free guided trolley tours of artful neighborhoods including Ohio City, Tremont, the Gateway District, Playhouse Square, Campus District, Hingetown, Superior Arts District and Asia Town. You’ll have an opportunity to explore each neighborhood’s galleries, nonprofits, restaurants, bars, small businesses and more. Sparx also includes live music and performance art at the Main Hub and all eight stops. Additionally, the Downtown Cleveland Alliance, with the support of the Union Club, will install a mural by local artist Eric Vaughn. It will be unveiled on the east side of the Residences at 668, within walking distance of Sparx’s Main Hub on Playhouse Square. Details and maps are on the website. It’s all | clevescene.com | September 14 - 20, 2016
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CIM@SEVERANCE
WEDNESDAY, SEPTEMBER 21, 2016 | 8pm
GET OUT free. (Usmani) 1302 Euclid Ave., 216-736-7799, downtowncleveland.com. FESTIVAL
Be mesmerized by the tales of Scheherazade, as the acclaimed Cleveland Institute of Music Orchestra returns to Severance Hall. Hear Rimsky-Korsakov’s powerful masterpiece, Scheherazade, along with Verdi’s Overture to La Forza del Destino and Bloch’s Suite for Viola and Orchestra. Reserve your FREE tickets today at cim.edu
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| clevescene.com | September 14 - 20, 2016
NIGHTLIFE
Uptown Saturday Nights The closing of the upscale Crop Kitchen notwithstanding, the Uptown area in University Circle has become a vibrant hang. You’ve got great restaurants such as Trentina and Ninja City and great bars like Happy Dog at the Euclid Tavern and ABC Uptown. Corner Alley give you the best of both worlds: food and drink in addition to bowling. Uptown Saturday Nights, a free music event featuring local performers, showcases the neighborhood. The fun starts at 6 p.m. and goes into the night. Tonight’s featured music venues include Coquette Patisserie and Barking Spider, among others. See details on the website. (Niesel) universitycircle.org.
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Tremont Arts and Cultural Festival The 18th annual Tremont Arts and Cultural Festival is back this weekend with more than 130 vendors in ďŹ ve Festival Villages: Artists’ Village, Children’s Village, Community Village, Cultural Village and the Tremont Farmers’ Market. The festival also includes free live music and dance performances on three stages: one near Kenilworth Avenue, a Children’s and Youth Stage and Tremont Farmers’ Market Stage. Today’s hours are 11 a.m. to 6 p.m.; Sunday’s hours are noon to 5 p.m. Admission is free. (Usmani) 1208 Starkweather Ave., tremontartsfestival.com.
SPORTS
Browns vs. Ravens Now that the Cleveland Cavaliers have brought the city its ďŹ rst championship in decades, the pressure should be off the oundering Cleveland Browns, who haven’t made the playoffs in years and are currently in the process of rebuilding. The Browns rebooted the team again this year by adding quarterback Robert GrifďŹ n III and hiring coach Hugh Jackson; but poor draft picks and players who opted to leave via free agency have created a serious talent gap. Today at 1, the team plays division rivals
the Baltimore Ravens in the season’s home opener. Tickets start at $54. (Niesel) 100 Alfred Lerner Way, 440-891-5000, clevelandbrowns.com. FOOD
Downtown Willoughby Clam Bake You know it’s fall when clam bakes start popping up. Today’s Downtown Willoughby Clam Bake promises to be one of the season’s biggest. There will be live music, craft cocktails and corn hole from noon to 8 p.m. today in the U.S. Bank parking lot in downtown Willoughby. The $30 ticket includes one dozen clams, one half chicken, candied potatoes, red skin potatoes, corn on the cob, coleslaw and New England clam chowder. Beer and cocktails cost extra. (Niesel) dtwclambake.com. FUNDRAISER
Kickball Tournament Just weeks ago, the local non-proďŹ t Artful announced it had ďŹ nally found a location for its ambitious mission of bringing affordable artist studios to Cleveland Heights: the former Coventry School building at 2843 Washington Blvd. In an effort to raise crucial funds, Artful is hosting its second annual kickball tournament at Dennison Park’s soccer ďŹ eld today from 2 to 6 p.m. Participants can sign up as individuals, small groups or full teams of 10. Individuals and small groups will be assigned by organizers to existing teams. Players are encouraged to dress in their favorite color or most creative outďŹ t. The afternoon also includes food, prizes and a rafe. Admission is $10 for adults, $5 for children under 12, and $80 for full teams of 10. Proceeds beneďŹ t Artful’s future studios, community programs and classes. Details and tickets are on the website. (Usmani) 1015 Quarry Rd., Cleveland Heights, artfulcleveland.org/events/ playful2016. FILM
The Seeds: Pushin’ Too Hard Directed by Neil Norman, produced by Alec Palao and edited by Dan Schaarschmidt, The Seeds: Pushin’ Too Hard examines the L.A.-based garage punk band’s story using vintage footage, rare photos and interviews with band members as well as notable fans. Led by singer Sky Saxon, the band helped pave the way for punk rockers to come with songs such as “Can’t Wait to Make You Mine,� a regional hit in Southern California in 1965. The
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| clevescene.com | September 14 - 20, 2016
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GET OUT film, which screens at 8 tonight at the Beachland Ballroom, chronicles the band’s “bizarre rage-to-riches-torags” saga and includes interviews with Love’s Johnny Echols, the Beach Boys’ Bruce Johnston, members of the Bangles and Iggy Pop, who was majorly influenced by the music. Norman’s father, Gene Norman, signed the Seeds to CNP Crescendo when they were unable to get a record deal from any other labels in Los Angeles. Neil Norman will attend the screening. Tickets are $12. (Niesel) 15711 Waterloo Rd., 216-383-1124, beachlandballroom.com.
MON
9/19
SPOKEN WORD
Author Series with Dorian Lynskey In his book 33 Revolutions Per Minute: A History of Protest Songs From Billie Holiday to Green Day, Dorian Lynskey compiles a history of protest music embodied in 33 songs that span seven decades and four continents. He references classic tracks such as Billie
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Holiday’s “Strange Fruit,” Crosby, Stills, Nash, and Young’s “Ohio” and Green Day’s “American Idiot.” The book examines how music “has engaged with racial unrest, nuclear paranoia, apartheid, war, poverty, and oppression.” Tonight at 7 at the Rock & Roll Hall of Fame Library and Archives, Andy Leach, the Rock Hall’s director of library and archives, will interview Lynskey and discuss the book. A Q&A session follows. Admission is free, but reservations through the Rock Hall website are required. (Niesel) 2809 Woodland Ave., 216-515-1956, library.rockhall.com. FOOD
Vegan Mondays If you’re vegan, vegetarian, gluten free, or just plain interested in trying something new, head over to Townhall in Ohio City this evening from 5 to 10 p.m. for Vegan Night. Work your way through the delicious and healthy vegan menu, featuring hits like Veggie Vegan Flatbread (think fresh tomatoes, chiles, mushrooms and vegan cheese), Tofu Etouffee (blackened tofu, onions, tomatoes and brown rice) or many of the regular menu items made vegan. If you’re still feeling skeptical, know this:
| clevescene.com | September 14 - 20, 2016
Monday night is also Craft Beer Night and all 36 crafts are only $3 from 6 p.m. to close. Cheers! (Alaina Nutile) 1909 West 25th St., 216-344-9400, townhallohiocity.com.
vibrant art form. Tonight’s free, all-ages performance starts at 8. (Patrick Stoops) 5801 Detroit Ave., 216-651-9474, happydogcleveland.com. THEATER
TUE
9/20
MUSIC
Classical Revolution Cleveland For many years, classical music wasn’t intended for the masses. Seemingly reserved for quasiexclusive concert halls, classical music hid from the outside world. Classical Revolution Cleveland helps tear down that wall and once again bring great chamber music to the people. Showcasing a variety of performers in bars, cafes and the like, it’s actually not that different from how people used to listen to chamber music. The third Tuesday of every month, CRC brings its wide array of chamber music to the Happy Dog. 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. Full of immensely talented performers, CRC re-instills the relevancy of this
Jersey Boys Know how to tell a high-class Italian restaurant from a dump? “They don’t sell slices.” That, plus other nuggets of wisdom, is now available because the uber-popular jukebox musical Jersey Boys has landed again at Playhouse Square. The melodies rattled off by Frankie Valli and the Four Seasons still have that familiar glow. The production is as slick and smooth as ever, spinning out the story of some rough-aroundthe-edges (okay, ex-convict) young men who happen to make some of the most memorable music from the mid-’60s. Tonight’s performance takes place at 8 at the State Theatre. Tickets are $35 to $100. Performances continue through Sept. 25. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org.
Find more events @clevescene.com @clevelandscene
FOOD TRUCKS
RETAIL VENDORS
PROCEEDS TO SUPPORT NON-PROFITS Shaker Heights High School Crew Team
Moreland On The Move
| clevescene.com | September 14 - 20, 2016
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Photo by Ron Jantz
ART REVOLUTION THROUGH FIRE Lorain’s FireFish capitalizes on city’s cultural turnaround By Josh Usmani IN ITS SECOND YEAR, DOWNTOWN Lorain’s FireFish Festival expands its efforts to revitalize its riverside business area through the arts. A brainchild of James Levin (Cleveland Public Theatre, IngenuityFest), FireFish celebrates the area’s unique and historic setting, presenting art, music, dance, theater and more on stages and in concealed alleys, vacant storefronts, balconies, fire escapes and other unusual locations. The festival takes place this Saturday from 2 to 11 p.m. “Similar to what Public Theatre brought to Gordon Park and what the Ingenuity Festival brought to East Fourth Street, this Festival has begun the reinvention of Lorain as a dynamic, artistic mecca,” says Levin, who serves as the festival’s executive director. “Since last year's festival, a sound studio has opened on Broadway, a new dance studio operated by two FireFish dance artists is opening, and a young entrepreneur who was inspired at last year's festival has bought a building and is transforming it into a physical therapy clinic. This is another great example of art as an economic engine.” Last year’s FireFish Festival was a big success – drawing an estimated 10,000 attendees to downtown Lorain. Drawing upon that success, this year’s festival promises to be both bigger and better. This year’s expanded efforts include extended festival hours, additional venues (including the marquee and stage of Lorain’s Palace Theatre) and the use of the Black River for an even more exciting, blazing finale. FireFish also includes interactive family-friendly art and activities, performances and sound and art installations created especially for the event. Additionally, in honor of Hispanic Appreciation Month, FireFish celebrates with Latin artists and performers from throughout Northeast Ohio. The evening’s festivities come to a sizzling conclusion with a percussion parade that culminates
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in the burning of an oversized, ceremonial fish effigy. Guests become participants, joining in the FireFish procession toward the Black River landing with fire jugglers, stilt walkers, ballet dancers, hoop artists, baton twirlers, belly dancers and more. The 36-foot-long papier mache fish was created by FireFish Steam Artists, directed by puppeteer Dan McNamara and Monica Idom, with pyrotechnics designed by Schuyler White of Ohio Burn Unit, whose credits include special effects for the Avengers film series. The festival is presented by FirstEnergy Foundation, with support from the Ohio Arts Council in partnership with Lorain County Community College. “FireFish is deeply important to our community as it celebrates creativity, fun and the arts — really it’s about appreciating what makes us human,” says Lorain County Community College president Marcia Ballinger. “We are thrilled to have wide-ranging involvement in this year’s FireFish Festival that includes students, faculty and staff who are artists and composers to our Unity FIREFISH FESTIVAL 617 Broadway Ave., Lorain, firefishfestival.com
Lab students who designed the FireFish graphics and the website. It’s these shared connections between learning and the community that spark creativity and inspire innovations that help us imagine the best future for Lorain County.” Seven international artists will be residing in Cleveland for the next three months, working with local collaborators and host organizations to create a dozen murals throughout Ohio City’s Hingetown, the recently branded neighborhood between West 25th Street’s Market District and Gordon Square. To welcome the new class of Creative Fusion artists, the Cleveland Foundation and its six host organizations invite the public to a
| clevescene.com | September 14 - 20, 2016
Last year’s FireFish finale.
kickoff event at Transformer Station from 11 a.m. to 7 p.m. this Saturday. Beyond the Hingetown murals, organizers are hoping to get permission from the city and the Ohio Department of Transportation to install murals on the walls of the Shoreway along Washington Avenue. The artists will be working in Ohio City/Hingetown through Nov. 30. “The goal of this project is to bring more visitors to the area and promote the arts activities that are already occurring in the Hingetown TRANSFORMER STATION 1460 West 29th St., 216-938-5429, transformerstation.org
area of Ohio City, while leveraging the investments that are taking place along the Detroit Avenue and West 25th Street corridors to create a more walkable and welcoming environment,” says Ashley Shaw, economic development and property manager for Ohio City Inc. “This is also part of a larger effort to break down the barriers that exist between both sides of the Shoreway by building meaningful and safe connections within the neighborhood.” This fall’s class of Creative Fusion artists and their hosts includes Loreto Greve from Santiago, Chile (Cleveland Print Room); Luis Ituarte from Tijuana, Mexico/Los Angeles (Ingenuity);
Maria Lopez and Javier de Riba of Barcelona, Spain (Ohio City, Inc.); Ananda Nahu from Salvador Bahia, Brazil (Cleveland Public Theatre); Michela Picchi from Italy/Germany (Spaces) and Rainer Prohaska (Transformer Station). During this weekend’s kickoff, participants will be discussing their projects outside the Transformer Station. Additionally, three local artists will be installing murals in the neighborhood. Look for Ohio City residents Joe Lanzilotta (West 29th and Church Avenue), Erin Guido (West 26th and Detroit Avenue) and Mike Sobek (West 28th and Church Avenue). Following the official kickoff, guests are invited to continue the party at Jukebox. Conveniently, Hingetown is a stop on this Saturday’s Sparx City Hop; guests can pick up a map to visit future Creative Fusion mural locations throughout Hingetown. To participate in Sparx, guests will need to first stop at the Main Hub under the GE Chandelier on Playhouse Square to obtain a wristband. For more information on Sparx, visit downtowncleveland. com/events/sparx-city-hop. For more info on Creative Fusion, visit clevelandfoundation.org.
jusmani@clevescene.com t@clevelandscene
STAGE THE BLUES AT KARAMU EARN A BLUE RIBBON Great singing perfectly complements a lush production By Christine Howey OKAY, IT’S NOT SO MUCH A PLAY as a concert. But if you love to listen to singers croon the blues, you will not want to miss Blues in the Night, now at Karamu House. This solid, slick and professional production is the first under the new reign of Tony Sias as president and CEO of this 100-year-old institution. And if the gloss evoked by this thoroughly enjoyable show is any sign, the future may appear to be very bright for theater at Karamu. As written by Sheldon Epps, Blues in the Night features four performers who are sharing the same digs at a cheap hotel in postDepression Chicago. We learn about their individual stories, such as they are, through the songs they sing. And these ditties — written by such blues luminaries as Bessie Smith, Johnny Mercer, Ida Cox and Duke Ellington — sketch out plenty of troubles with love and lovers. Three of the characters are women who occupy rooms in this flophouse, elegantly rendered by scenic designer Richard H. Morris Jr. In the center room is the Lady from the Road played with good humor and gusto by Susan Hughes. The Lady takes on the task of narrating the proceedings, with occasional digressions into some blues pieces studded with equal parts of humor and raunch. In one, “The Kitchen Man” by Andy Razaf and Wesley Wilson, Hughes gets down to the nittygritty with regard to culinary metaphors: “Oh how that boy can open clam/No one else can touch my ham/I can’t do without my kitchen man.” Indeed, Hughes is so good with these funny songs that her later straight presentation of “Wasted Life Blues” almost pales in comparison. If Hughes is the woman who channels naughty sexual references and acerbic laughs, it is Nicole Sumlin, the Girl with a Date, who is beset by the most emotional trauma. From her hopeful opening solo, “Taking a Chance on Love”
Photo courtesy of Karamu House
BLUES IN THE NIGHT THROUGH OCT. 2 AT KARAMU HOUSE 2355 EAST 89TH ST., 216-795-7070, KARAMUHOUSE.ORG
to a touching take on the classic “Willow Weep for Me” by Ann Ronell, she traces a love affair gone wrong. It all ends in Sumlin’s devastating display of misery in “Reckless Blues” by Bessie Smith, showing where the arc of the blues will take you. With that song, Sumlin uses Smith’s simple lyrics to squeeze out maximum pain. “My mama says I’m reckless, my daddy says I’m wild/I ain’t good lookin’ but I’m somebody’s angel child.” In the third room is Michele Edwards-Whitfield who plays the Woman of the World and executes a lovely, slow and digging version
of “Stompin’ at the Savoy” by Benny Goodman and others. Although she doesn’t etch as memorable a persona as the other two women, Edwards-Whitfield has some stellar moments. One of these occurs in “Rough and Ready Man” by Alberta Hunter, in which she chides and goads her man to be more macho: “When he snores I want the force to blow the bedclothes to the floor/And the breezes from his wheezes to knock the padlock off the door/I want a two-fisted, double-jointed, rough and ready man.” As it happens, there is a dude on hand in the person of Reggie Kelly
who plays, you guessed it, the Man. Kelly is every inch a man, striding and posturing like the cock of the walk when he’s not running or cowering in fear from the women who share the night with him. And Kelly is their equal in the singing department, weaving the clever lyrics of “Wild Women Don’t Have the Blues” by Ida Cox in and around several other songs. Kelly oozes stage presence from every pore and it’s a treat to just watch him walk up to a lady, since every carefully orchestrated step is infused with equal parts longing and desire. Perhaps it makes sense that Kelly embodies so much of the blues in his every move, since he is also the director of this superb production (while tripling as the choreographer). He has clearly gotten the most from his design team, since the lush costumes by Inda Blatch-Geib and the work of scenic artist Yulia Gray paint a nicely detailed period panorama. The only quibble is that the women often perform their songs from 20 feet upstage, in their rooms, while the apron of the stage is used mostly for dancing performed with elegance by Imani Jackson and Kevin Marr. How much more powerful the songs would be if the women were closer to the audience. The talented cast is backed up by a small band with Dr. David M. Thomas and Ed Ridley on keyboards, Bobby Curry on bass and Michael Jenkins on percussion. Their mellow sounds merge perfectly with the voices to create remarkably evocative results. Change is always hard for an organization such as Karamu House. But the first show of the new regime is promising evidence that this grand institution is beginning its second hundred years in high style.
scene@clevescene.com t@christinehowey | clevescene.com | September 14 - 20, 2016
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MOVIES ONWARD, UPWARD Greater Cleveland Urban Film Festival set to shine on biggest stage yet By Emanuel Wallace THE GREATER CLEVELAND Urban Film Festival, now in its fifth year, is poised to be the biggest and brightest incarnation of the festival yet. The festival’s opening night, Thursday, will be at the Cleveland Museum of Art, and the festivities will close out at the Cleveland Cinematheque. The films will be screened at Shaker Square Cinemas. “I’m the dreamer-upper of the GCUFF,” says executive director Donna Dabbs. “I decided after going to the Cleveland International Film Festival that I wanted to have my own film festival because I wanted to see more people of color telling stories that interested me. That sparked the whole thing. We put a team together of people who believed in making it happen; that was five years ago.” Taking on a venture of this magnitude undoubtedly can be daunting, but for Dabbs the journey has been rewarding. “I’m all about energetic magical things happening and things happen when people come around a common cause,” Dabbs says. “The
movies become that common cause when people can come, watch, enjoy, talk, meet, laugh, cry, be horrified or whatever they choose to be. When I see a packed theater, a packed lobby and a packed party, it’s all worth it.” Dabbs also notes the importance of building connections at a gathering such as GCUFF. In the past, attendees have gotten movie deals done or landed acting gigs right on the spot. Dabbs also points to the economic impact of the festival. It employs a number of small businesses in the area. “We get smarter every year,” Dabbs says. “We learn more. We don’t have any more people though. It’s still six to 10 people doing the heavy lifting.” Having such a small team does come with its own set of difficulties. Dabbs points out that with a team of volunteers, as opposed to a paid year-round staff, it’s a challenge to get things done on the side of everyone’s day jobs. “Financing is always an issue,” Dabbs says. “Even though we set
CGUFF executive director Donna Dabbs
goals every year and we always raise the money, there’s always a lag between when you raise the money and when people actually send checks. So that gap between is what we’re always managing. Sometimes it can be up to six months before you see the money and in the meanwhile you have to pay for talent, pay for material, secure the theater, etc. You’ve got a lot of expenses, but we get it done thanks to Alton Tinker. He’s our board chair and CFO.”
Community engagement is another aspect of the festival that is important to GCUFF. “All the stories told about us aren’t necessarily in the most positive light,” Dabbs says. “It’s a way for the community to come out and have conversations about some of the current issues. Some of the movies will touch on things going on in their world and this is an opportunity to have dialogue about those issues.” Many of the films have a Northeastern Ohio connection. Matthew Cherry, the director of the opening night film, 9 Rides (which was filmed entirely on an iPhone 6s), is from Akron. Steven Caple Jr.’s The Land will also be screened. “As Cleveland rises, we’ll also continue to rise,” Dabbs insists. “I’m glad we established ourselves five years ago before the hotness happened.”
scene@clevescene.com t@clevelandscene
SPOTLIGHT: SNOWDEN IF YOU’VE SEEN CITIZENFOUR, THE gripping 2014 documentary about Edward Snowden directed by Laura Poitras, Oliver Stone’s dramatization, Snowden, which opens in wide release Friday, may feel like a rehash. Citizenfour transpired almost exclusively in a room at Hong Kong’s Hotel Mira, where whistleblower Edward Snowden delivered a trove of top-secret documents to journalists Glenn Greenwald and Ewan MacAskill from The Guardian while Poitras filmed. It showed Snowden himself justifying his actions in real time, explaining highly sophisticated surveillance terminology to bewildered reporters, and experiencing intense flashes of paranoia when, for instance, his room phone rang or the hotel’s fire alarm went off unexpectedly. It took pains to explain the significance of the information Snowden released — still somewhat of a mystery, a few years after the fact — and clearly articulated a position against Big Brother-type government incursions on privacy. It also featured moments of humanity. Snowden had become a political talking point by then but he was, after all, just a 29-yearold man; just “Ed,” a guy who pulled a sheet over
his head to enter his computer passwords and who fussed with his hair in the hotel mirror before exiting in disguise. Snowden, which stars Joseph Gordon-Levitt in the title role, is a standard biopic that uses the Mira Hotel meeting as an inciting event. Greenwald (Zachary Quinto), MacAskill (Tom Wilkinson) and Poitras (Melissa Leo) need to know who this whistleblowing crusader is, before they rock the world with his information, and Snowden obliges. Snowden’s life is then conveyed through flashback. It is the story of a patriot’s political conversion, of an IT wizard who, the deeper he gets within the government’s intelligence agencies, the more troubled he becomes by their corruptions of programs designed to combat terrorism. As directed by Stone (W., JFK, World Trade Center), the film is extremely political, and the angle is not nuanced. Can you guess whose side he’s on? Shailene Woodley plays Snowden’s longtime girlfriend Lindsay Mills, and like any CIA personal relation, is vexed by her beau’s daily stresses and paralyzed by her own lack of intel. Both Gordon-Levitt and Woodley give extra-creditable performances in their leading roles. Gordon-Levitt
approximates Snowden’s voice and demeanor with aplomb. There’s a moment early in their courtship where Lindsay wants to take a photo of Ed “strutting his stuff,” doing a catwalk in a D.C. park. Snowden does a goofy walk and instantly gets selfconscious. It’s a moment that feels carved from real life, as does the flirty bickering that attends falling in love with someone across the political aisle. The film dramatizes Snowden’s career in much greater detail than Citizenfour could, and provides more tangible glimpses at the programs Snowden opposed — more tangible than acronyms, at any rate. Given short shrift, though, are the journalistic episodes. Though they risked re-treading on Citizenfour, the hotel scenes are nonetheless the movie’s weakest. The heated conversations with New York editors are never really all that clear. And heroic Glenn Greenwald scans here as an angry, non-empathetic twerp who’s out of his depth, a huge contrast from the measured and deeply probing journalist in Citizenfour, whose primary goal was not to quickly disseminate information, but to ensure that Snowden knew the magnitude of his actions, and of the consequences. — Sam Allard | clevescene.com | September 14 - 20, 2016
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EAT DINNER WITH A VIEW A menu and atmosphere seek harmony at Arcadian Food & Drink By Douglas Trattner AFTER WAITING BREATHLESSLY for three long years for Arcadian to bloom, one has to admit that a menu populated with pizza, fried chicken, french fries and popcorn — scooped from a theater-style popper perched behind the bar — is bound to underwhelm a diner regardless how good they taste. But the blame for that feeling shouldn’t rest at the feet of chef-owners Cory and Rebecca Hess; it was the protracted construction process that upended all timetables, budgets and, ultimately, our expectations. When all of this began, the plan was to replace the ragtag City Grill with an “approachable, neighborhood-friendly gastropub.” But as the project grew more and more complicated, shifting from a modest makeover to a complete gut and rebuild, those original menu strategies no longer felt right, explains Rebecca Hess. “It was going to be a lot more casual, but as the space evolved, as the build-out kept going and going, the original concept didn’t fit,” the chef admits. Complicating matters was that damn pizza oven, a nonnegotiable piece of kitchen equipment by order of the silent investor. That — along with the adorably named Henny Penny commercial pressure fryer — dictated that regardless how sexy, stunning and “award-winning” the interior design of the restaurant would become, lowly pizza and fried chicken would be on the tables. In an attempt to live up to the room, perhaps, the chefs jazzed things up, adding upmarket dishes like a caviar tasting, seafood tower and surf and turf tartare. While the end result is a menu (and restaurant) that lacks a well-defined identity,
it’s a formula that likely works better for the neighborhood than the original plan of attack. Arcadian, in its present form, can accommodate a wide range of tastes and budgets, from the weekday happy hour to the weekend date night. That pizza sits elevated on a rack above almost every table in the house. At first glance, it has nothing in common with the round, thin and blistered pizzas du jour and everything in common with thick delivery-style pizza. But the rectangular-shaped pies are delicious to the point of obsession. Akin to Detroit-style, these guys sport an airy focaccia-like dough that takes on a crusty, shiny shell where it meets the sheet pan. And unlike those delicate Neapolitan pies, these sturdy chassis can support medleys like pepperoni, kale, mozzarella and chiles ($14); sausage, mushrooms, onions, pickled peppers and smoked
Patrons seated at the gleaming, glacier-white bar enjoy snacks like a firm, smoky and candysweet salmon ($12) set against bright Asian herbs, pickled red onion and spry jalapeno wheels. A bowl of lightly smoked and chilled mussels ($11) is accompanied by a lemony aioli perfect for dipping. I’m not sure if the french fries are $11 because of the setting or because of the “Jacobsen sea salt,” which sounds like something Lady Macbeth might use in an attempt to remove stubborn blood stains. Either way, they are wonderful fries.
ARCADIAN FOOD & DRINK 6416 DETROIT AVE., 216-862-5854 ARCADIANCLE.COM
blue cheese ($15); and even clams, bacon, breadcrumbs and herbed butter ($16). The Henny Penny turns out predictably appealing fried chicken ($21), served on a sheet pan with bright, crunchy slaw, mini corn muffins, honey butter and a cruet of perky hot sauce. A shatteringly crisp and corny crust gives way to a plume of steam, a fragrant hint of the juicy white and dark meat to come.
I never pulled the trigger on the seafood platter, a “market-price” splurge boasting oysters, clams, shrimp, crab and mussels, but I did spring for the $18 flatiron supplement to the Eggs & Bacon ($12) and regretted it. Flawless on their own, the crispy shredded potato cakes, rich and meaty pork belly, poached eggs and buttered toast soldiers gained nothing by the addition of the steak, which had an
unappealing chemical smoke flavor to it. We had zero regrets about the Seafood Stew ($28), a complex and satisfying brew flush with crab claws, mussels, fish and potatoes; or the popcorn grits & shrimp ($14), a starter that eats like a meal thanks to a bevy of sweet and meaty shrimp seated in a corny porridge kissed with kernels. From the bar comes a tight selection of draft and bottled wines (fizz, white, red), draft, canned and bottled beers (local, regional, global) and progressive cocktails like the Wicked Brit ($11), an intoxicating blend of Earl Grey tea-infused gin, amaro and lemon soda, and the Puesta Del Sol ($11), made with mescal and a corn-jalapeno shrub. Arcadian has the ring of a utopian society, where inhabitants live in peaceful harmony with their surroundings. Pizza and fried chicken might not look at home in a million-dollar architectural trophy, but then again, Utopia is pure fiction.
dtrattner@clevescene.com t@dougtrattner | clevescene.com | September 14 - 20, 2016
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EAT THE 5 DISHES THAT MADE ME Joseph Zegarac, chef-owner of Chow Chow Kitchen By Rachel Hunt
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EXHAUSTED BY THE DOWNTOWN fine dining scene, Joe Zegarac found inspiration in an unlikely place: the kitchen of Parkview Nite Club, surrounded by house-smoked meats, roasted flat backs (Parkview’s house roast beef) and market-fresh produce. It was at a neighborhood establishment where he felt most at home, so transitioning to a take-out comfort food-style joint emerged as the concept behind Chow Chow Kitchen (14201 Madison Ave., 216-712-4126, facebook.com/ chowchowkitchen). After countless 80-hour work weeks, and saving up every penny possible, Zegarac opened his dream spot a year ago. “For awhile I was stuck on a deli,” the owner recalls. But comfort food clouded his brain with fried chicken in the forefront. “Once I became educated on dishes such as shaved catfish and Appalachian soup beans, there was no turning back.” Zegarac looks back on some staples that gave this former dishwasher his start. Pickles “I don’t remember ever not eating pickles. When someone tells me they don’t like pickles I think they’re completely crazy. A strong memory involves being around 3 years old and my mother preparing me a turkey sandwich with grapes and a pickle every morning. To this day I would prefer that plate over almost anything offered. Those soggy pickle-soaked chips on the end of your plate that seem to be headed towards a bus tub can be pushed my way, please.” Vinegar “I should actually hate vinegar. Growing up it was the house remedy for any cold, flu or sore throat. ‘Gargle cider vinegar,’ is a line I’ve heard more than ‘behind’ in any kitchen. The acidity and flavor vinegar provides to almost any dish is beautifully balancing and without it our mouths would be tart with the over-use of lemons and citrus. I have to thank my mom, grandma, and great uncle Frank
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for forcing a remedy, which would later become a go-to ingredient.” Ham & Bean Soup “I’ve adapted a version to our winter menu which will make its way back around soon enough. Submerge a 15-pound fresh bone-in, skinon ham in 5 to 6 gallons of water, simmering between 12 to 15 hours, or until the meat pulls like roasted turkey. Remove the ham to cool and then add fresh soaked pinto beans to the ham stock with a few bay leaves and cracked pepper. The beans soften after a few hours and the ham can be pulled and set back into the warm stock with a healthy amount of cumin and kosher salt to taste. This soup with a few slices of sourdough is one of my all time favorite dishes.” Fish & Chips “The absolute best mix of fried foods to ever grace man. I love different versions, whether it be cod, haddock, catfish or Lake Erie perch. Fry it up with your best house chips or fries. Add a side of homemade tartar with a few fresh lemon wedges and you’re good to go. Great Lakes Brewing Co.’s porterbattered cod along with PJ McIntyre’s fried haddock rank high on the list.” Fresh Cut Fries “I know this sounds simplistic and mundane, but correctly cooked fresh-cut fries with sea salt, malt vinegar and ketchup will get my mouth watering any time of the day. I remember standing by the stove, probably around 8 years old, panfrying potatoes I roughly cut into strips. No knowledge of blanching at this point, so the potatoes took about 15 minutes to cook through. The end result was always satisfying. Being able to watch Unsolved Mystery marathons while pounding down some seasoned stovetop fries will always be a great memory of mine.”
scene@clevescene.com t@clevelandscene
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MORE BBQ? MORE BBQ Rib Sticks will take a different approach to barbecue in Cleveland Heights By Douglas Trattner THERE ALREADY IS LOADS OF science behind the art of barbecuing, a process that relies on chemical reactions to transform that pale, tough hunk of meat into a dark and quivering mass of deliciousness. But some chefs aren’t content to rely simply on heat, smoke and time when there are other, more technical ways to arrive at a similar destination. One of those chefs is Jay Lee, who likes to go by the name Dr. Chef Lee owing to his Ph.D. in food service management, which followed his culinary arts degree from the Culinary Institute of America. Lee also taught hospitality management classes for five years at Kent State, so he’s got a pretty deep well of theoretical restaurant knowledge. He’ll dig into the practical stuff when he opens Rib Sticks, a fastcasual barbecue joint that will do things unconventionally. “It’s American barbecue, but it’s going to be a little bit different,” Lee explains. “I love to cook barbecue in my home and when I began playing with molecular gastronomy I thought, ‘Maybe I can make the barbecue really tender.’ That’s the
best approach so far I tried.” Lee says his process involves an initial sous vide step, par-cooking various cuts of meat like beef short ribs, beef brisket, pulled pork, spare ribs, and chicken wings in an immersion circulator before smoking them. Finally, those items are grilled to create that irresistible crust. Of course, loads of research and analysis has been done to arrive at the optimal technique. Lee says he’s worked through experimental charts that tested various water temperatures and cook times against different types of meat and thicknesses to achieve maximum tenderness. “It’s not just the tenderness of the meat, it’s the yield,” Lee points out. “With traditional barbecue you may end up with a maximum of 50 percent of the yield because the smoking process evaporates the moisture from the meat. But when I use sous vide, I can get from 70 to 75 percent of the yield, which means it will not shrink a lot. That goes to my profit margin.” Lee will pair those meats with a wide range of sauces like mild, medium and spicy barbecue and
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| clevescene.com | September 14 - 20, 2016
ones that hit closer to home, like the Korean barbecue sauce that will go with beef short ribs. Rib Sticks will be a meat-and-two shop, where barbecue items come with a pair of seasonal sides. The menu will also include a half dozen sandwiches. A long list of craft beers already is being drafted. The casual spot at Cedar Center (13892 Cedar Rd.), just down the block from Whole Foods, will accommodate about 30 to 40 diners, each of whom will decide if they prefer Lee’s unconventional approach to barbecue or not. Lee hopes to open the doors before the end of September.
CARA MANGINI, THE ‘VEGETABLE BUTCHER,’ COMING TO COUNTRYSIDE CONSERVANCY EVENTS Since her inaugural cookbook The Vegetable Butcher: How to Select, Prep, Slice, Dice, and Masterfully Cook Vegetables from Artichokes to Zucchini (Workman Publishing) was released in April, chef and author Cara Mangini has been on a nonstop book tour that has landed her in countless cities across the country, on the pages of the New York Times and Washington Post, and in front of the cameras at the Today Show. On Friday, Sept. 30, Mangini will be appearing at Spice Acres, a Countryside Initiative farm in the Cuyahoga Valley National Park, where she’ll speak on the subject of, you guessed it, vegetable butchery, seasonality and versatility. Topics will include the chef’s best tips and tricks to grow, shop, cook and eat seasonally. That event begins at 7 p.m. and tickets are $20. For $50, guests can show up an hour earlier for a meet-and-mingle reception with appetizers and cocktails provided by Spice of Life Catering. Tickets and info are available at cvcountryside. org. The following morning, Saturday, Oct. 1, at 10 a.m., Mangini will be at the Countryside Farmers’ Market at Howe Meadow demonstrating vegetable butchery techniques using seasonal produce from the market. She’ll be sticking around to sign books and chat about food. Copies of the Vegetable Butcher will be available for purchase at both events, with proceeds benefiting Countryside. Mangini, which translates to “little eater” in Italian, received
a culinary arts degree from the Natural Gourmet Institute in New York City, worked at Farmstead in St. Helena, and was hired on as one of the first “vegetable butchers” at New York City’s famed Eataly. In 2012, Mangini moved to Columbus, where she launched Little Eater, first as a seasonal pop-up and later as a produce-inspired restaurant in the North Market. She soon added Little Eater Produce and Provisions, a local and artisanal foods boutique in the same market.
COCKTAILS FOR A CURE TO BENEFIT UH SEIDMAN CANCER CENTER This Friday from 6:30 to 9:30 p.m., world renowned doctors from UH Seidman Cancer Center will team up with professional bartenders from three Cleveland restaurants for the fourth annual Cocktails for a Cure, held at Executive Caterers. Thus far, the event has raised over $140,000 in support of critical cancer research and clinical trials at University Hospitals. “There is no doubt in my mind that the level of treatment provided by University Hospitals in Cleveland, and the commitment to a cure within this community, are among the finest anywhere in the world,” says Stephen Michaelides, husband of event chair Jeanne Michaelides. “As a Stage-3 colon cancer patient, I experienced personally the energy and intensity of its brilliance. University Hospitals Seidman Cancer Center perfectly demonstrates its mission, to heal, to teach, to discover, by combining groundbreaking research, personalized patient care, and a healing atmosphere.” Michaelides is now 100-percent cancer free after treatment at University Hospitals, he reports. Bartenders from Mabel’s BBQ, Red the Steakhouse, and Zack Bruell Events will be on hand. Individual tickets are $100 per person, with sponsorships from $500. Attendees will enjoy food from Executive Caterers of Landerhaven, and vote for “the most creative curative cocktail” by the pro-am bartender teams. Folks at the event or at home can purchase $50 raffle tickets for a chance to claim one of two trips: Exploration of Key West or Las Vegas Showstopper. Find details and buy tickets at uhgiving.org.
dtrattner@clevescene.com t@dougtrattner
| clevescene.com | September 14 - 20, 2016
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Photo courtesy of Atlantic Records
MUSIC L.A. STORY A move to the States inspired the songs on Frightened Rabbit’s new album By Jeff Niesel WHILE IT MIGHT BE HARD to imagine, there was a time not long ago when underground music wasn’t simply a click away. Frightened Rabbit singer-guitarist Scott Hutchison is old enough to remember that time. Growing up in the Royal Burgh of Selkirk, a town in the Scottish Borders Council district of southeastern Scotland with a population that could fit inside the Q, he wasn’t exposed to a wide range of rock music. The town is famous for its cobblers — shoemakers and menders, not the tasty fruit dessert. “When I was growing up, it was the beginning or middle of grunge,” says Hutchison during a recent Skype call. The call came as the band had just fi nished rehearsals for an upcoming fall tour in support of Painting of a Panic Attack, its terrific new album of subdued indie rock that features anthemic ballads fleshed out with subtle use of electronics. “I was into Pearl Jam and Soundgarden and went to see all those kinds of bands. There wasn’t a hugely diverse selection of music at my disposal. That was the best I could do.” Everything changed for Hutchison when he moved to Glasgow and started absorbing a wider range of music. “I was getting into other stuff like Ryan Adams and Wilco and Mogwai,” he says. “It really opened up. Before that, I wasn’t really a songwriter. I was just a guitar player. I didn’t have any ambition to be a songwriter and didn’t consider myself a singer in any way. It was really just learning guitar solos when I was in high school, and then I ditched that to start playing something more simple and meaningful.”
Frightened Rabbit
He says he liked the “storytelling and honesty” of altcountry acts like Wilco and Ryan Adams. “There was less bluster involved,” he says. “It still had drama, but it was subtler. The whole thing seemed more connected to human nature and what it’s like to be alive. I liked the stories in those songs and the idea of the singer being the protagonist, so you can sing and write openly about your own life. That was what drew me to that music and made me want to do that myself.” Initially, Frightened Rabbit started as a solo project and then became a duo for the first album, 2006’s Sing the Greys, an album the band recorded on the cheap. “We didn’t even really think we were making an album,” Hutchison admits. “We were just messing around. A guy who became our friend had a studio, and he saw the band almost by mistake. He thought there was something in it. He told us we could use the studio for free. It wasn’t intended to be an album. We had the songs and we ended up putting it out ourselves and then getting signed and putting it out again. It was a DIY thing with no huge ambition for it at that point.”
For 2008’s The Midnight Organ Fright, the band added guitarist/ keyboardist Andy Monaghan of the group Piano Bar Fight. Hutchison has said he met him at a bar on New Year’s Eve in Glasgow. Its frank songs about a breakup resonated with fans and the album became a hit on the indie rock circuit. “That was where it started to snowball,” says Hutchison. “That tour got crazy, especially in the U.S. Our agent told us we could come back next week and still have an audience. Things just doubled and tripled over time. For a year and a half, we hardly stopped touring and we were totally up for it. We were in our mid-20s, and we wanted to tour as much as possible. That’s what we did. We realized we could pursue it and it could be our job. It was incredible. Prior to that, it wasn’t the situation.” After years of steady touring and recording, members took a few months off to “generally get some time away from the band.” But then, the guys reconvened, and the songs for Painting of a Panic Attack started to come together in August 2014. “It wasn’t like we agreed to take six months off and come back,” Hutchison says. “It was just that
we waited until we wanted to get back in the studio. We started making soundscapes and feeling our way around to see what the sonic feel of the album would be. They weren’t necessarily songs at that point. There were vocals. It was like writing a film soundtrack. We figured our way out from that. Then, songs started coming from those nuggets over the next couple of years.” Living in Los Angeles for an 18-month period inspired some of the lyrics. Hutchison says the move turned out to be a mistake and he addresses what it was like to be a stranger in a strange town in some of the songs. “It wasn’t entirely negative,” he says. “I just didn’t quite connect with [L.A.]. I had some amazing times there. It just turned out not to be for me. I spent 18 months there and found it tough to fi nd a tight social group. That didn’t appear and it took some effort to try to create it. The songs emerged from moving there and trying to find my feet.” Early on, he sent some demos to the National’s Aaron Dessner. He met him to get some advice about how to shape the songs and at that point realized Dessner should produce the album. | clevescene.com | September 14 - 20, 2016
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MUSIC “He had been listening to Frightened Rabbit for a bit, and we toured with them,” Hutchison explains. “We had mutual friends, but it never went further than that. He enjoyed the solo record, and we just got in touch by email through someone at the label. At that point in time, the idea was that he could help arrange some of the ideas I had forming. I had demos that weren’t finished. It wasn’t put on the table that he would produce. I went to his house in Brooklyn, and we worked in his studio in his backyard, and he invested so much time and thought into the demos, so it was a no brainer. We’re all huge fans of the National, so we were excited.” More than previous albums, Painting of a Panic Attack makes use of a variety of electronic instruments. “A lot of that comes from the demo,” says Hutchison. “I started working with music software half way through. I was previously reliant on [guitarist/keyboardist] Andy [Monaghan], and I was in L.A., and I had to learn something for myself. I tapped into some electronic sounds, and it was a whole new soundscape. I hadn’t
We were getting caught up in this whirlpool of thinking too much about songs. That one came along like a breath of fresh air. The chorus is what came down on the first day. I thought it was a holding lyric. I thought I would find something more erudite and smart. It never really happened, so I thought it was the right one. There’s something to be said for that. We tried to do that on this record. We would run the course between thought and instinct. Some things just feel right and you don’t know why. There are other times you spend days pouring over them and can’t get them right. There’s a good combination of that on this record.” The piano ballad “I Wish I Was Sober” chronicles a night when Hutchison couldn’t “speak straight.” He says his battle with the bottle directly inspired the song. “My relationship with alcohol hasn’t always been a healthy one,” he says. “That spans from nights of getting lost and I guess drinking to hide from something. That’s a theme that’s recurring. I’m sober now. I haven’t drunk for one month at this point, which is the longest stretch perhaps in my adult life. Changes had to happen. It’s weird saying that. I get to the point in the evening when I think it’s perfect, and I want to make it more perfect.
FRIGHTENED RABBIT, INTO IT. OVER IT. 8:30 P.M. MONDAY, SEPT. 19, BEACHLAND BALLROOM, 15711 WATERLOO RD., 216-383-1124. TICKETS: $25, BEACHLANDBALLROOM.COM
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| clevescene.com | September 14 - 20, 2016
used that instrumentation to write. The core is less me in a room with a guitar. It was more about me experimenting with a little synth or tapping away on drum pads. A lot of it was discovered away from the kit. It was really to get out of the comfort zone. I had existed as a songwriter in that mind frame for quite a long time. I would write on piano or guitar and then work them up. Their inception was electronics. Many of the sounds you hear are taken straight from the demo sessions. We discovered some accidental magic and just kept it.” “Get Out” starts slow with hushed vocals and a steady drumbeat but then explodes with an echoing guitar riff. “That came together so quick,” says Hutchison. “I did write that one on guitar. It was so fast and natural and it came three quarters of the way through the demos.
That doesn’t happen, and it gets worse. I’m enjoying not doing it. I like the clarity. It’s refreshing.” Hutchison says he thinks he’ll continue to work with electronic instrumentation on the next album. He wants to expand the band’s sound even more. “It’s time to make a bold move,” he says. “We started looking into that with the electronics, and I’m intrigued as to how much farther we can push that and take a bolder step with the next album. We only just started discovering those things during the making of this album. There’s more to discover. I want to go further into that realm of weirdness. The album didn’t come out as strange as I hoped. We want to make a strange one next time.”
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| clevescene.com | September 14 - 20, 2016
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MUSIC
Barrence Whitfield & the Savages
RAW POWER The rejuvenated garage/soul act Barrence Whitfield & the Savages return to the Beachland By Jeff Niesel TO PROMOTE THEIR CURRENT tour, the record label for Barrence Whitfield & the Savages has included a link to a performance from a few years back on Later with Jools Holland. The band smokes as Whitfield delivers piercing screams and punctuates the performance with a few well-timed fist pumps. It speaks to the vintage group’s recent revitalization. “It was great,” says Whitfield about the performance. “It was a very interesting show. It made a little dent in terms of sales in Europe.” Whitfield, who grew up in Newark but now lives in Massachusetts, deserves whatever breaks he gets. His career stretches back decades. He says his parents encouraged him from an early age. Since the church was right across the street from his house, he wound up singing in the choir where he learned how to “do the high registers” and harmonize. As a teenager, he developed aspirations to sing like soul greats Wilson Pickett, James Brown and Otis Redding. Later on, he got hooked on George Clinton’s Parliament/ Funkadelic. “After seeing them for the first time, they came to Newark and the
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singers were up front and these five guys walk out wearing underwear, and they turned around and bent over and they all still had the do-do stains on their drawers,” he says. “I thought, ‘Now, that’s funky.’” He put together the first incarnation of the Savages in the late ’70s/early ’80s when he teamed up with guitarist Peter Greenberg, a veteran famous for having played with Boston garage rock acts such as DMZ and the Lyres. Whitfield calls him a
had a huge record collection and the first thing he played for me was the Bobby Peterson tune, ‘Mama Get the Hammer There’s a Fly on the Baby’s Head.’ I said, ‘This is going to be really, really good.’ That was my start getting into the Boston music scene. Now today, they come up and tell me I’m a legend. I never thought I’d hear that word.” They recruited bassist Phil Lenker from the Lyres and drummer Howie Ferguson from the Real Kids and
BARRENCE WHITFIELD & THE SAVAGES, ARLETT AND THE AFFECTIONS, DJ KRISTEN GARAGELAND 8:30 P.M. SATURDAY, SEPT. 17, BEACHLAND TAVERN, 15711 WATERLOO RD., 216-383-1124. TICKETS: $13 ADV, $15 DOS, BEACHLANDBALLROOM.COM
“legend.” One of Greenberg’s friends put them in touch after hearing Whitfield sing at a record store. Before long, Whitfield and Greenberg were fast friends, spending hours listening to rare 45s of rockabilly, rhythm and blues and country stuff. “[Greenberg] told me he wanted a new band with a black singer, someone who could sing like Little Richard,” Whitfield says. “We got together and he made me a nice bowl of chili. He
| clevescene.com | September 14 - 20, 2016
the Lyres. The band inked a deal with Rounder Records, a respected imprint devoted to bluegrass, blues and roots music, after a few of the record label’s reps caught an off-the-charts performance at a frat party at Tufts. “My manager told them about that party at Tufts. They showed up and ... it was like Animal House, but triple the intensity. There was beer up to their ankles. We thought we were too wild for them, but they wanted to sign us
to a three-record deal. They said it was out of their norm but very exciting.” In 1986, Greenberg left the band to “start a family and become part of the human race.” Lenker left some months later. A second version of the Savages carried on until 1995 when the group called it day. But the group was reborn a few years ago when the U.K. label Ace Records reissued their first album. Greenberg invited Whitfield out to his Taos, New Mexico, home where they sat in his kitchen and decided to bring back the band. They’ve been steadily recording and touring ever since. Their latest album, Under the Savage Sky, came out last year. It commences with the rip-roaring “Willow,” a tune that finds Whitfield screaming just like James Brown. In addition to some fantastic original material, the album includes a rousing rendition of the Timmy Willis tune “I’m a Full Grown Man.” “When I first heard it, I thought what a rockin’ song,” Whitfield says of the track. “We just went ahead and covered it, and everyone loves it.”
jniesel@clevescene.com t@jniesel
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(5+ *@96 )(7;0:;( +1 36.0* +1 630=, | clevescene.com | September 14 - 20, 2016 49
MUSIC THE REAL DEAL Singer-songwriter Lydia Loveless expands her sound on her new album By Jeff Niesel SINGER-SONGWRITER LYDIA Loveless readily admits her initial influences were “really bad pop music.” She cites Billy Idol’s “White Wedding” as one of her early favs. “I think mainstream pop teaches you about formula,” she says. “Everyone says this, but it was so much better when I was a kid. It’s gotten more overproduced and there are too many collaborations, I think. I miss the simplistic melodic pop music. Now, everything has to have a rap break and a moment when everything slows down.” Since her dad was a drummer, she started playing music early. One of the first songs she wrote, “The Ugliest Man of All,” takes aim at Eagles’ singer Don Henley. She eventually gravitated toward what she calls “that horrible pop-punk wave” of the early 2000s. But after she moved to Columbus, she began to embrace a style of music that was much grittier than the pop-punk that was popular at the time. “I was always interested in punk rock,” she says. “I originally lived out where there were no clubs and there was dial-up internet, so it was great finding places to hear live music in Columbus.” On her first album, The Only Man, she embraced a more traditional country sound. But it wasn’t by choice. A heavy-handed producer pushed her in that direction. “I wanted to do storytelling, but that album was a little extreme and not the direction I would have taken on my own,” she says. “I gravitated toward that just because I could play it, and it spoke to me. Back in the day, country was written by people from places where I grew up instead of someone from Malibu.” For her second album, 2012’s Indestructible Machine, she adopts a grungier sound. The pendulum swings again on 2014’s Somewhere Else, where she embraces her country and pop roots more heartily than she does on Indestructible Machine. The guitars still have some grit, but the album is a bit more polished, something that’s apparent from the opening tune, the pretty “Really Wanna See You.” Her new album, Real, represents
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Photo by David T. Kindler
yet another sonic departure. She started writing the songs about a year and a half ago while on tour. “I had nothing to focus on but writing songs and touring,” she says. “When I’m at home, it’s not as easy because I think about how I need to clean the kitchen and I don’t do anything. I think a lot of the songs are about getting older and changing under this weird sort of spotlight, which is not that big of a deal because I’m an indie artist. But even as an indie artist, people are always telling you what to do. But I wanted to listen to myself. I relied
Twenty One Pilots), the album benefits from the extended prep time. “It was super fucking easy this time,” she says. “We had time off to do a lot of pre-production. It was cool to have the time to work on things. ” The songs on the disc vary greatly. The album opens with the somber ballad “Same to You” and then shifts gears for the percolating “Heaven,” with an ’80s pop sheen. “I like all kinds of music, and I’ve grown really tired of genre assholes,” she says. “There are these genre guards in every kind of scene. I just wanted to make a fuckin’
LYDIA LOVELESS, WILL COURTNEY AND THE WILD BUNCH, MIKE UVA 9 P.M. SATURDAY, SEPT. 17, GROG SHOP, 2785 EUCLID HEIGHTS BLVD., CLEVELAND HEIGHTS, 216-321-5588. TICKETS: $12 ADV, $14 DOS, GROGSHOP.GS
more on music than lyrics to express myself this time around. I just found it very therapeutic. I had gotten to a point with my guitar-playing skills that I could express myself in a way that was productive as opposed to just me clattering around with power chords, my usual MO.” Recorded at Sonic Lounge Studios by producer Joe Viers (Dr. John,
| clevescene.com | September 14 - 20, 2016
record and not think about it. Our influences as a unit are so beyond [country]. I don’t feel like we’ve changed. I think we’ve hit our stride as a band. It’s not scary anymore to experiment and wonder what it’s going to sound like. There are people who have asked me, ‘What’s with the disco sound?’ We listen to Prince all the time. If I made the same record
over and over again, I could have a career but I’d be bored out of my mind. I know I could shit out four Indestructible Machines, but I don’t want to.” On the new album, she sneers her way through “Midwestern Guys,” a song about the dumb things that men do when they’re in love. “Sitting in the van with my band members and listening to their misadventures from high school was the inspiration,” she says when asked about the tune. “All my friends are 45-year-olds, so I have lots to work with.” The bouts of depression Loveless dealt with while recording have passed, and she says the album helped her fight through the dark days. “I don’t know that I would ever say that I have a clear sense of what I do musically,” she says. “Life-wise, I’m doing much better than I was when I was making this record after years of therapy. The music works as therapy too: I wouldn’t have an outlet without it.”
jniesel@clevescene.com t@jniesel
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| clevescene.com | September 14 - 20, 2016
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MUSIC A NATURAL EVOLUTION Early rock ’n’ roll influenced Tiger Army’s retro-leaning new album By Jeff Niesel TIGER ARMY, THE PUNK ROCK group that formed some 20 years ago in Northern California, doesn’t draw from the same musical well as most other punk bands. Frontman Nick 13, the sole constant in a group that’s gone through numerous lineup changes, possesses an encyclopedic knowledge of early rock and roll. Those influences have always impacted the band’s music, a mix of rockabilly and punk that’s often dubbed psychobilly. But they come to the fore on the band’s latest album, V sss. “I think a lot of it is a natural evolution,” says Nick 13 via phone from his Los Angeles home. “The new record is kind of inspired by the second wave of rock and roll, the stuff from the very early ’60s when it began changing and evolving after the first wave. There’s something about that transitional period that appeals to me because there was experimentation going on. I also like it because the sound wasn’t really defined yet.” As a result, he says, musicians and producers felt they could create rather than cater to expectations. “[One influence on 6 sss] is a producer named Joe Meek from England who was arguably one of the first avant garde producers who was way out there in terms of sound technique in the very early ’60s,” says Nick 13. “And then, the other big influence is early New York punk, and what appeals to me about that is
“It was an exciting night,” he says when asked about the gig. “Gilman Street was a great place to play because the audience was pretty diverse and open-minded musically. They gave us an open ear even though they had no idea what we were doing or where we were coming from musically. I thought of it as a psychobilly sound. But even then, I was trying to do my own take on it that was distinct from the rest of the bands in that scene.” When a friend passed on one of the band’s tapes to Operation Ivy/Rancid’s Tim Armstrong, Armstrong signed the group to his Hellcat Records and issued its full-length debut in 1999, giving the group a certain amount of credibility in the process. The label also issued the band’s previous effort, 2007’s Music from Regions Beyond. With 6 sss, the band’s first release since Music from Regions Beyond, Nick 13’s vocals sound sharper than ever. While songs such as “Firefall” have a ragged, Social Distortion-like quality, tunes such as “Prisoner of the Night” and “Dark and Lonely Night” suggest the influence of rockabilly crooner Roy Orbison. The album also features the whirring sound of the clavioline, a vintage synthesizer, and a mariachilike horn riff on the Latin-influenced “Knife’s Edge.” But do the new songs fit well with the old songs when the band plays them live?
TIGER ARMY, CREEPER, TIJUANA PANTHER 7 P.M. MONDAY, SEPT. 19, AGORA BALLROOM, 5000 EUCLID AVE., 216-881-2221. TICKETS: $20 ADV, $25 DOS, AGORACLEVELAND.COM
the influence of ’50s and ’60s rock is so strong on the New York Dolls, the Ramones and the very early Misfits.” Right from the start, Tiger Army set out to do something different with punk formulas. Nick 13 says the band even mixed punk and rockabilly at its first show at 924 Gilman Street, the same club where punk icons Green Day cut their musical teeth.
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| clevescene.com | September 14 - 20, 2016
“They do,” says Nick 13. “In some cases, people who seem unsure about the new album for whatever reason have gotten it, or so they say. It’s hard to say [if the next album will have a similar sound]. Things always evolve and change, so I can’t predict that yet.”
jniesel@clevescene.com t@jniesel
| clevescene.com | September 14 - 20, 2016
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LIVEWIRE WED
all the live music you should see this week 9/14
Cheetah Chrome/Whiskey Daredevils/Tufted Puffins: 8:30 p.m. Beachland Tavern. The Used — 15 Year Anniversary Tour: Earlier this year, the Utahbased hard rock the Used embarked on the first run of its 15-year anniversary tour. The band played sold out shows in 31 markets across the country. On the current leg of the anniversary tour, the band will again play two shows per city, performing 2002’s screamo-inspired self-titled effort and 2004’s hard rocking In Love and Death in their entirety — plus a few more tracks. (Jeff Niesel), $39.50. House of Blues. 10 X 3 Singer Songwriter Showcase: Hosted by Brent Kirby (in the Wine Bar): 8 p.m. Brothers Lounge. Jeff Angell’s Staticland: 7 p.m., $7 ADV, $10 DOS. Agora Ballroom. The Anniversary/Laura Stevenson/ Thin Lips: 8 p.m., $20 ADV, $24 DOS. Grog Shop. Jake Boland: 7 p.m., $20. Nighttown. Todd Clouser’s Future Dance: 8 p.m., $12. Bop Stop. Russell Malone Quartet: 8 p.m., $25 ADV, $30 DOS. BLU Jazz+. Poison Rites/Punching Moses/Trunk Ride: 9 p.m., $5. Now That’s Class. Sonic Sessions: Lower Dens/ Pleasure Leftists: 8 p.m., $5.50. Rock & Roll Hall of Fame. Violent Soho/Meat Wave/Signals Midwest: 8 p.m., $12. Mahall’s 20 Lanes.
THU
9/15
Astronautalis/Oxymorrons: On his fall tour, rapper Astronautalis and his full band will play at least one show in each of the 50 states, including Alaska and Hawaii. Earlier this year, Astronautalis released his fifth studio album, the eclectic Cut The Body Loose. Produced by John Congleton (St. Vincent, Modest Mouse, Bill Calahan), the album features a bit of everything as it starts with the hard-hitting hip-hop number “Kurt Cobain” and then delves into electropop with “Kudzu,” a song with percolating percussion and gruff vocals. (Niesel), 8:30 p.m., $15 ADV, $17 DOS. Grog Shop. Fruition: Allowing their already tight grip on bluegrass-oriented strings music to blossom into a more fullbodied rock ‘n’ roll trip, Fruition
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offers plenty for listeners to dig into on their latest album, Labor of Love. It’s an exciting collection of songs. It’s louder -- more electric -- and the new tunes seem like a solid progression for the growing band. “Santa Fe,” for example, dishes a soulful story from singerguitarist-mandolinist Mimi Naja, with keys and reverb-drenched guitars painting a picture in the background. It’s still a far cry from radio-friendly “songwriting,” but there are some keen pop sensibilities flickering here and there, which doesn’t hurt the band. (Eric Sandy), 8 p.m., $9.13 ADV, $12 DOS. The Kent Stage. Of Montreal/Ruby the Rabbitfoot: A Rocky River native who still thinks of himself as a lifelong fan of Cleveland sports teams, Of Montreal front man Kevin Barnes, who also spent some time in Mentor, moved to Athens, Ga. nearly 20 years ago because he consciously wanted to embrace the city’s rich musical history. After forming Of Montreal, he quickly befriended indie rock acts such as Olivia Tremor Control and Neutral Milk Hotel, groups that were part of the loosely formed Elephant 6 collective. Of Montreal initially began playing the kind of neo-psychedelic rock for which the other bands in the collective were known, but the band then went in a different, dance-oriented direction on 2002’s Aldhils Arboretum and has dabbled in a bit of everything since. Barnes wrote the material on the band’s latest album, Innocence Reaches, during an extended stay in Paris where he was heavily influenced by contemporary electronic music for the first time in his extensive career. He promises the live show will be a lively, theatrical affair. (Niesel), 8:30 p.m., $18 ADV, $20 DOS. Beachland Ballroom. Amanda Shires/Ruston Kelly: My Piece of Land, the latest effort from indie singer-songwriter and violinist Amanda Shires, has gotten rave reviews from the likes of Entertainment Weekly, Rolling Stone Country and No Depression. Produced by Dave Cobb, with whom Shires worked on her husband Isbell’s last two albums, it explores recent events in her personal life, including becoming a mother and completing a masters degree from the University of the South (Sewanee). Shires wrote and recorded My Piece Of Land when she was pregnant and unable to
| clevescene.com | September 14 - 20, 2016
The folk/bluegrass act Fruition comes to the Kent Stage. See: Thursday.
travel. A song like “Harmless” sounds a bit like Victoria Williams as Shires’ upper-register vocals have a real fragility to them. (Niesel), 8 p.m., $15. Musica. Big Ups: 8 p.m., $8. Now That’s Class. Cleveland Greats Concert Series: Jack Schantz: 8 p.m., $15. Bop Stop. GWAR/Crowbar/Mutoid Man: 6:30 p.m., $19 ADV, $24 DOS. The Agora Theatre. Chris Hatton’s Musical Circus (in the Wine Bar): 8 p.m. Brothers Lounge. Jam Night with the Bad Boys of Blues: 9 p.m., Free. Brothers Lounge. Pink Mexico: 9 p.m., $5. Happy Dog. Tad Robinson: 8 p.m., $15. Nighttown. Sevendust/Crobot/Wilson: 7 p.m., $33. House of Blues. Time Cat/Big Jul Green/Birthday Noose/Jeff Klemm & the Letters: 8 p.m., $15. Musica.
FRI
9/16
Ekoostik Hookah/The Suitcase Junket: The grandfathers of Ohio’s expansive jam band scene — culturally and musically — have always maintained close ties to the Cleveland area. From 1991’s Under Full Sail to 2013’s sweetly groovin’ Brij, Ekoostik Hookah have kept their fire burning across time. Check out “Whiskey Woman” for a fine example of the hookah-laden chops still hooked around each of the band’s compositional outings. Given the band’s personal history, rife with small shows and the recent incarnation of their Hookahville festival alike, every chance to be a part of the fun is a necessary diversion from life out there. The
band isn’t working on a new studio album but will likely play a few new songs at tonight’s show. (Sandy), 8 p.m., $15 ADV, $18 DOS. The Kent Stage. Brad Paisley/Tyler Farr/Maddie & Tae: 7:30 p.m., $30-$60.75. Blossom. Black Uhuru/The Ark Band/Onesty: 9 p.m., $20-$30. Grog Shop. Daniel Bruce Trio: 8 p.m., $10. Bop Stop. The Deslondes/Ester Rose/The Misery Jackals: 8:30 p.m., $12 ADV, $14 DOS. Beachland Tavern. For Today/Gideon/Wage War/Rival Choir: 6:30 p.m., $17 ADV, $20 DOS. Agora Ballroom. Heaven is In You Presents Stefan Ringer/Pablo Amor/Adab: 9 p.m., $10. Now That’s Class. Kaminanda/Thunder St. Clair/AKA/ Maison: 9:30 p.m., $12 ADV, $15 DOS. Beachland Ballroom. Lil’ Ed and the Blues Imperials CD Release Show (in the Supper Club): 8 p.m., $15. Music Box Supper Club. Tracey Marie’s Third Friday Concert Series Featuring Becky Boyd: 8 p.m. Brothers Lounge. Soft Copy/Blaka Watra: 9 p.m., $5. Happy Dog. Moss Stanley: 10:30 p.m., free. Nighttown. That ‘80s Band: 9 p.m. Vosh Club. Times10/Waves Magnetik: 9 p.m., $5. The Euclid Tavern.
SAT
9/17
3rd Annual Hank Williams Birthday Bash Hosted by Hillbilly Idol and Friends (in the Supper Club): 8 p.m., $10. Music Box Supper Club. Air Supply: 8 p.m., $37.50-$65. Hard Rock Rocksino Northfield Park.
| clevescene.com m | September 14 - 20, 2016
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| clevescene.com | September 14 - 20, 2016
LIVEWIRE Joey Amato and Friend (in the Wine Bar): 8 p.m. Brothers Lounge. Dayshell: 7 p.m., $10 ADV, $13 DOS. The Foundry. Elvis Tribute Band: 9 p.m. Vosh Club. Florist/Carroll/Ulysses/Emma Shepard (in the Locker Room): 7 p.m., $10. Mahall’s 20 Lanes. Taylor Hicks: 8 p.m., $25 ADV, $30 DOS. The Kent Stage. Into the Blue: Grateful Dead Revival: 9 p.m., $12. Beachland Ballroom. Lydia Loveless/Will Courtney and the Wild Bunch/Mike Uva: 9 p.m., $12 ADV, $14DOS. Grog Shop. Miami Collective/Mourning (A) BlkStar/Off the Grid: 9 p.m., Free. The Euclid Tavern. Rhys Miller Quartet: 8 p.m., $10. Bop Stop. Mushroomed/Ventana/Dose/Unsaid Fate: 7 p.m., $27.50 ADV, $33 DOS. The Agora Theatre. School of Rock: 12 p.m. Brothers Lounge. Jackie Warren: 10:30 p.m., free. Nighttown. Barrence WhitďŹ eld & the Savages/ Arlett and the Affections/DJ Kristin Garageland: 8:30 p.m., $13 ADV, $15 DOS. Beachland Tavern. You’re Among Friends: 9 p.m., $5. Happy Dog.
SUN
9/18
Maria Muldaur: 7:30 p.m., $31. The Kent Stage. Nick D & the Believers/Ottawa/ Sammy Slims: This Columbusbased band started last year after drummer Joseph Barker moved to Ohio from Minneapolis and worked with guitarist Kerry Henderson on a music video he was producing for singer-keyboardist Nick D’Andrea. In 2013, the group put out its ďŹ rst EP; things have slowly snowballed since and now the group is part of a burgeoning Columbus indie rock scene that includes acts such as Twenty One Pilots and the Floorwalkers. A song such as “Bang Bangâ€? features falsetto vocals and percolating synthesizers, making it sound a bit like a cross between MGMT and Foster the People. Recently, TV programs such as Pretty Little Liars and Chasing Life have featured the band’s music. (Niesel), 8 p.m., $7 ADV, $10 DOS. Beachland Tavern. Avatar/Wednesday 13/One Eyed Doll/The Things They Carried/ Decemator/Dr. Dreadful: 6
p.m., $15 ADV, $19 DOS. Agora Ballroom. The Meetup! Motives/We Were Kids/A Damn Shame/Our Seasons Our Storms/Of Endings/A Little Out of It Sun: 6:30 p.m., $10 ADV, $12 DOS. Grog Shop. Mike Petrone (in the Wine Bar): 5:30 p.m. Brothers Lounge. Pigeons/Renderers: 9 p.m., $5. Now That’s Class. Plainsong, Reinventing Richard: The Songs of Richard Farina: 3 p.m., $15 ADV, $18 DOS. Beachland Ballroom. Howie Smith and Scott Robinson: 8 p.m., $15. Bop Stop. Giada Valenti: 8 p.m., $25-$100. Ohio Theatre.
MON
9/19
Skatch Anderssen Orchestra: 8 p.m., $7. Brothers Lounge. Frightened Rabbit/Into It. Over It.: 8:30 p.m., $20. Beachland Ballroom. John Moreland/G.S. Harper: 8 p.m., $15. Beachland Tavern. Tiger Army/Creeper/Tijuana Panthers: 7 p.m., $20 ADV, $25 DOS. Agora Ballroom. Velvet Voyage (in the Wine Bar): 8 p.m. Brothers Lounge.
TUE
9/20
The Drunken Hearts/Greaves: 8:30 p.m., $6 ADV, $8 DOS. Grog Shop. Dyke Drama/Pines/Leonard Baum/ Mister Fabulous & the bad biz (in the Locker Room): 7 p.m., $6. Mahall’s 20 Lanes. Outlab: Experiments in Improvised Music: 9 p.m., Free. Bop Stop. The Saint Johns/Birdtalker/Red Brick Rhodes: 8 p.m., $10 ADV, $12 DOS. Beachland Tavern. Shitshow Karaoke Hosted by Dirty Jones: 8 p.m., Free. Grog Shop. Skindred/Hed PE: 6:30 p.m., $15 ADV, $18 DOS. Agora Ballroom. Swing City Big Band: 7:30 p.m. Vosh Club. George Thorogood & The Destroyers: 7:30 p.m., $32.50$57.50. Hard Rock Rocksino NorthďŹ eld Park. Two-Set Tuesday Featuring Jason Meyers (in the Wine Bar): 7 p.m. Brothers Lounge. Viva Le Vox/Scoliosis Jones/The Sump Pump Sluts/Dolly Rocker Ragdoll: 9 p.m., $7. Now That’s Class.
scene@clevescene.com t@clevelandscene
BLAKA WATRA By Jeff Niesel MEET THE BAND: Jessica Julian (vocals, synth and keyboards, guitar), Lauren Voss (vocals, guitar), and John Panza (drums). DYNAMIC DUO: Originally, Voss and Julian met in the local indie rock act Bella Sylva, initially a three-piece that then added Voss. The band split up, and Julian reached out to Voss to jam. They formed Blaka Watra in 2008. “Neither of us was the primary songwriter in Bella Sylva, but I sang on some songs and she sang on some songs and it became apparent that we had a similar coloring of our sound,” says Julian. “We worked together for a year in Bella Sylva,” says Voss. “We get along really well, and I like [Julian’s] songwriting style a lot. There’s contrast between our styles. I wanted to do something different where I was a second guitarist. Bella Sylva was psych guitar rock and this is weirder. I think both Jessica and I are both into heavier stoner rock and metal like Jucifer. I also like poppier stuff. We love Brian Eno’s Here Come the Warm Jets. It’s one of our favorite albums.” When their original drummer left the band, they recruited Panza in 2010. A CAUSE FOR CELEBRATION: After Panza was diagnosed with cancer a few years back, the band’s future became uncertain. His recovery, however, enabled the band to finish Church of Insomnia, which it released three years ago on Panza’s 40th birthday. “It was great to have a birthday party and a release party since he had been diagnosed with cancer, and we weren’t sure he was going to recover,” says Voss. “We saw that he potentially had years ahead of him and were hopeful.” TAKING REFUGE: Recorded and mixed by John Delzoppo at Negative Space studio, the band’s new album, City of Refuge, features songs with dense layers of sound (think a heavier Cocteau Twins). “It has a bit of a different feel,” says Voss. “It was
more minimal even though there’s lots of sounds and things going on. I tried to scale back what I was doing with the guitars. I wanted to be more precise and calculated. Before, I would just shred. I wanted to do something more sophisticated. For me, it was more about simplicity.” The spacey guitar riffs in the atmospheric “You Are Never Alone,” a song about the fragility of life, have a Tortoise-like quality. “I lost my partner [local musician Ted Flynn] who was my best friend, and John went from having a normal life to thinking he could die in six months,” says Julian. “That changes you forever. You can’t undo those things. What I do creatively now will have some element of being aware of that. Life’s experiences are pretty heavy for us as a group.”
WHY YOU SHOULD HEAR THEM: The album’s sparse opening track, “You Are Never Alone” features whispered vocals and a haunting melody. “[Julian] came up with the melody and I just played one riff and locked into that tone to see what we could build using a limited palette,” says Voss. “She has this oscillator box built by Ted Flynn, her fiance who passed away. She wanted to bring in some of the instruments he left her. It adds this interesting texture. We worked with a limited structure but with lots of layering.” The upcoming show at the Happy Dog serves as a dual CD release party. In addition to releasing City of Refuge, the group will also release Olde Songs, an EP of songs from the band’s back catalog that it re-recorded. WHERE YOU CAN HEAR THEM: blakawatra.bandcamp.com. WHERE YOU CAN SEE THEM: Blaka Watra performs with Soft Copy and Forager at 9 p.m. on Friday, Sept. 16, at the Happy Dog.
jniesel@clevescene.com t@jniesel
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| clevescene.com | September 14 - 20, 2016
C-NOTES MIDNIGHT SYNDICATE ISSUES NEW SOUNDTRACK By Jeff Niesel INITIALLY, MIDNIGHT SYNDICATE’S Ed Douglas, who learned to play organ as a child, was interested in film. In 1996, he made a straightto-video film The Dead Matter, but discovered that he liked doing the music for the soundtrack more than the actual filming. As a result, he joined up with Gavin Goszka to form the local Goth act Midnight Syndicate, which released its self-titled debut in 1997. The group has been going strong ever since. Every October, haunted houses, amusement parks, television and radio shows, restaurants use music as part of their Halloween programming. Last year, the group made Morgue Magazine’s “50 Essential Horror Albums - Discs That Created, Evolved, or Defined Genre Music Over the Decades.” Now, the band has just released Zombies!!! Official Board Game Soundtrack. The new release features Midnight Syndicate’s blend of sound effects and instrumental music “set in the modern day, postzombie apocalypse world of the Zombies!!! board game.” “We wanted to design a soundtrack that would not only heighten the Zombies!!! game play experience, but also appeal to all fans of zombies and our friends in the haunted attraction industry,” says Douglas in a press release. “I think we were able to achieve that.” Goszka agrees. “Given the character and core elements of the game, I think that both of us immediately felt that this album should focus on having a more modern, aggressive sound,” he says. “In order to achieve that, we brought in a lot of electronic and percussive instruments and kept the fundamental game scenarios firmly in mind, approaching it more as an actual soundtrack than as a collection of songs built around a particular theme or setting. While there are a few tracks that are more situation or location-specific, most are intended to evoke the general feel and atmosphere of the game world, allowing you to play along without interruption.” The album is available at MidnightSyndicate.com as well as
digitally on CDBaby, iTunes and Amazon.com.
AKRONITES UNITE Two former Akronites, Black Keys/The Arcs singer-guitarist Dan Auerbach and singer Chrissie Hynde, worked together at Auerbach’s Nashville studio on the latest offering from the Pretenders. Due out on Oct. 21, Alone, the Pretenders’ first new album since 2008’s Break Up the Concrete, features a top-notch studio band that includes bassist Dave Roe (Johnny Cash, Loretta Lynn, Sturgill Simpson), pedal steel guitarist Russ Pahl (Blake Shelton), guitarist Kenny Vaughan (Lana Del Rey), keyboardist Leon Michels and drummer Richard Swift (the Arcs). The single “Holy Commotion” even sounds like Hynde singing one of the Arcs’ dreamy tunes. “We were in the studio hanging out,” Hyde says in a press release when asked about the tune “Alone Song,” “and the guys were talking about their families and their wives and I said, ‘Well, I do everything alone. I go to the cinema alone. I go to restaurants alone. I live alone. I pretty much do everything on my own. I don’t mind.’ Dan says, ‘Write a song about it.’ “The more I thought about it,” she continues, “I thought, I’ve heard 1,000 songs in my life, they’re all about, I am so tired of being alone. I can’t live without you. Since you’ve left my world has fallen apart. When am I going to see you again? Marry me and be with me for the rest of my life. I have never heard anyone celebrate being alone in a song. I couldn’t think of one.” She dedicates the tune “Roadie Man” to her touring crew and co-wrote “Let’s Get Lost” with songwriting stars Amanda Ghost and Dave McCracken. “Never Be Together” features twang bar hero Duane Eddy. The Pretenders will tour this fall with Fleetwood Mac’s Stevie Nicks. At the moment, the jaunt doesn’t include a stop in Northeast Ohio.
jniesel@clevescene.com t@jniesel
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“I work with anyone I get hired to work with. I don’t have just one co-star,” said Small Hands, porn star, filmmaker, and composer. But the ass you’re referring to, SAMPLE, the ass Small Hands has been seen with most, is the one that belongs to his fiancee, Joanna Angel, the porn star/director/ producer who pioneered the “altporn” genre. “I got into porn because I started dating her,” Small Hands told me after I read him your question. “I’ve been performing for three years, and my GF has been in the game for 12 years. She really put alt-porn on the map — she was the first girl with tattoos to appear on the cover of Hustler magazine.” (Please note: “Alt-porn” has nothing to do with “alt-right.” The alt-right is about racism, anti-Semitism, and orange fascists — and alt-porn is about tattoos, piercings, and sexy fuckers.) Regardless of whose ass it is, SAMPLE, you want to see less girl ass and more Small Hands face. Could he make that happen for you? “Plenty of performers have clipsfor-sale stores on their websites, and some make custom video clips for fans,” Small Hands said. “But I can’t provide special clips for this fan — as much as I would love to — because running our company and editing the fi lms and composing music for them doesn’t leave us much time for anything else.” If you want to watch porn that focuses more on guys, Small Hands recommends “porn for women” or “porn for couples.” “I strongly dislike these
terms,” said Small Hands, “as I feel they are outdated, sexist, and stereotypical. No one — man or woman — should tell a woman which kind of porn is for her and which kind isn’t. Any pornographic film that a woman fi nds arousing or entertaining is ‘porn for women.’ But these fi lms do tend to give the guys a little more screen time. Also, there’s always gay porn, which focuses 100 percent on men, so no worry about seeing a lady butt in those movies.” While we’re on the subject of porn: If you look at Small Hands’ Twitter account — or the Twitter account of any porn performer working today — you’ll notice that most have “NO ON 60” as their avatar. Proposition 60 is a ballot measure in California that is ostensibly about protecting porn performers by requiring them to use condoms and mandates penalties for companies and performers who don’t. “It’s really meant to drive the porn industry out of California under the guise of performer safety,” said Small Hands. “Among the other problems with this thing is that it could make performers’ private information public. So it’s not really about our safety at all.” Before I let Small Hands get off the phone, I had to ask him about his nom de porn. How did “Small Hands” become his porn name? “I have tiny hands for a grownass man,” said Small Hands, “and Joanna makes fun of me for it. I wrote it down on the forms when I made my first films. It’s kind of a dumb name, but you won’t forget it.” Any advice for any, say, orange fascists out there who might be insecure about having tiny hands? “Never be ashamed about having smaller-than-average hands,” said Small Hands. “He should own it. And perspective is your friend, Donald. Put those tiny hands down next to your dick, and your dick is going to look bigger!”
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