Scene august 2, 2017

BEYOND ‘WHITE FLIGHT’

What the history of one Cleveland neighborhood can teach us about race and housing inequality By Todd Michney

COUNCIL MEMBER

Kerry McCormack

We invite you for free evenings of music, theatre and dance in Lincoln Park. Bring a picnic, order take-out from one of our Tuesdays in Tremont participants listed below. You definitely want to bring a chair or a blanket to sit and remember you are in a park at dusk, so you might want to bring bug spray too!

A RTS i n A UGUST freeartsprogrammingin Tremont’sLincolnPark WARD 3

Cleveland Public Theatre’s STEP on Friday, August 4th at 7pm Cleveland Shakespeare Festival Sunday, August 6th at 7pm Inlet Dance Theatre* on Friday, August 11th at 8:30pm Verb Ballets* on Saturday, August 12th at 8:30pm Cleveland Opera Theater on Friday, August 18th, 7pm Papo Ruiz Y La Dulzura de la Salsa on Saturday, August 19th, 7pm

Me Him & Her Presents - Good Vibes A family-friendly outdoor dance party featuring DJs spinning funk, soul, disco, reggae and music from around the world,

on Sunday, August 20th, 12-8pm ContempOpera on Friday, August 25th, 7pm Paul Ferguson, artistic director, leads the Cleveland Jazz Orchestra (CJO); presented in partnership with Arts Renaissance Tremont

*7:45pm - OnStage* A creative movement class with performance improvisation for kids of all ages will take place on the stage prior to the performance! All Arts in August events are FREE and are held in Tremont’s Lincoln Park. Please visit tremontwest.org for up to date information, rain locations/dates and program details, like us on Facebook and follow us on Twitter @artsinaugust

on Saturday, August 26th at 7pm Extras

Thank you to our sponsors: Carolyn Bentley (216) 470-1502

Karen and John Moss

and our Tuesdays in Tremont participants: Dante, Fat Cats, Grumpy’s Cafe, Crust, Prosperity Social Club, Tremont Tap House, The South Side, Lucky’s Cafe, The Rowley Inn, Civilization, The Clark Bar, Bourbon Street Barrel Room, The Treehouse, Merchant Street, Beviamo and Ty Fun Thai Bistro.

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| clevescene.com | August 2 - 8, 2017

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!5'534 s 6/,5-% .O 05 Dedicated to Free Times founder Richard H. Siegel (1935-1993) and Scene founder Richard Kabat Group Publisher Chris Keating Publisher Andrew Zelman

CONTENTS Upfront

Associate Publisher Angela Lott Editor Vince Grzegorek Editorial Managing Editor Eric Sandy Music Editor Jeff Niesel Senior Writer Sam Allard Staff Writer Brett Zelman Web Editor Laura Morrison Dining Editor Douglas Trattner Stage Editor Christine Howey Visual Arts Writers Josh Usmani, Dott von Schneider Copy Editor Elaine Cicora Interns Daniela Cacho, Julie Ciotola, Kirby Davis, Colton Faull, Adrian Leuthauser, Lawrence Neil Advertising Senior Multimedia Account Executive John Crobar, Shayne Rose Multimedia Account Executive Kiara Davis, Andrew Newsome

The city’s vendor license process is prompting anger and confusion, and Jeff Johnson finds himself in a balancing act

Feature

All the best things to do this week in Cleveland

Business Sales Assistant/Receptionist Megan Stimac Controller Kristy Dotson

Brantley Gilbert

Art

Circulation Circulation Director Don Kriss Euclid Media Group Chief Executive Offi cer Andrew Zelman Chief Operating Offi cers Chris Keating, Michael Wagner Human Resources Director Lisa Beilstein Digital Operations Coordinator Jaime Monzon

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

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WILL BE AT "LOSSOM on Friday

Stephen Kasner returns to form amid a hellish bout with pain and anxiety

Stage

www.euclidmediagroup.com

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Extra! Extra! Read all about the hoofing in Newsies at Porthouse Theatre

Cleveland Scene 737 Bolivar Rd, #4100 Cleveland, OH 44115 www.clevescene.com Phone 216-241-7550 Retail & Classifi ed Fax 216-241-6275 Editoral Fax 216-802-7212 E-mail scene@clevescene.com

Film

Cleveland Scene Magazine is published every week by Euclid Media Group. Verifi 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 2017 by Euclid Media Group. Reproduction in whole or in part without written permission of the publisher is prohibited. Publisher does not assume any liability for unsolicited manuscripts, materials, or other content. Any submission must include a stamped, self-addressed envelope. All editorial, advertising, and business correspondence should be mailed to the address listed above. Subscriptions $150 (1 yr); $ 80 (6 mos.) Send name, address and zip code with check or money order to the address listed above with the title ‘Attn: Subscription Department’

248-620-2990

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Kathryn Bigelow’s gripping drama Detroit wows

Dining

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The food is messy at Boiler 65, and that’s good, but so is the service

-USIC

...The story continues at clevescene.com

’80s pop stars Katrina Leskanich and Paul Young discuss the Retro Futura Tour

3AVAGE ,OVE

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What the history of one Cleveland neighborhood can teach us about race and housing inequality

'ET /UT

Creative Services Production Manager Steve Miluch Layout Editor/Graphic Designer Christine Hahn Staff Photographer Emanuel Wallace

Printed By

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UPFRONT

THIS WEEK

COUNTLESS INDIVIDUALS, SMALL business owners and organizers of virtually every market and festival in Cleveland have lately decried the city’s lackluster approach to vendor permits. It’s become a major problem in a community that holds its markets and festivals near and dear. What initially seemed like an isolated case has shed light on the city’s negligence in making folks aware of these Street Vendor’s Licenses and the related spectrum of governing rules. Allegedly, city reps have not even bothered to mention those rules at permit meetings with organizers or even on the city’s very own website, prior to a post on Thursday, July 27, at least. The confusion began at Wade Oval Wednesday on July 19. A city spokesman told Scene that two vendors had been given warnings on that day for failing to have permits; they were instructed to leave immediately. Organizers from University Circle Inc. later postponed two market events scheduled for July 26 and Aug. 23. Although representatives of Wade Oval Wednesday didn’t want to discuss the incident on the record, plenty of other local event organizers were happy to speak up. For example, Brendan Trewella, event coordinator of Night Market Cleveland, tells us, “Firstly, we were not aware, nor were we given the permit when we met with the city Steering Committee in March, April or May, for various events. We were told that ‘merchandise vendor permits’ would be needed; however, State Transient Vendor Permits have always been sufficient. In past years, we have sought clarification on that issue several times to ensure our vendors were in compliance. A specific permit or city ordinance was never identified at that official meeting. Nowhere is it indicated in the official records of these meetings that an ID

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Photo by Emanuel Wallace

VENDOR PERMIT CONFUSION LEADS TO ANGER AS CITY CRACKS DOWN

badge was required.” Other event organizers and merchants reported receiving contradictory information from various city representatives, and it led to a very chaotic last week of July. Following the citations on July 19, news quickly spread across the region’s tight-knit makers community, mostly through social media groups. After an open discussion, it became clear to both organizers and merchants that everyone was unaware of these licenses and under the impression that Ohio’s Transient Vendor’s License was all that was required. That state’s license is a one-time $25 fee and never expires. The city’s Street Vendor’s License and ID badge is $60 per year. After speaking to organizers of events in nearby cities, such as Akron, Toledo and Pittsburgh,

they all confirmed that this kind of permit is a non-issue outside of Cleveland. The implication, of course, is that vendors may choose to avoid the hassle and skip over events within the city limits, hurting Cleveland markets and pushing events outside the city limits. “This isn’t entirely about the permit fee itself, although it will have broader impact than I think the city realizes,” says Shannon Okey, longtime organizer of the Cleveland Bazaar. “It’s about discouraging small businesses from doing business in Cleveland. We already have vendors dropping out of shows. No other city in the state is doing this; the statewide Transient Vendor’s License is enough. It creates a hostile environment for startup and micro businesses. We should be encouraging these entrepreneurs, not

driving them out of the city to events elsewhere.” Organizers and vendors have voiced concern for several reasons, including lack of transparency and communication; seemingly selective enforcement; difficulty in obtaining these licenses and identification badges; and the fact that this applies to individuals, not businesses. According to the city ordinance (last updated in 2014), even volunteers selling goods or services alone are required to pay for the $60 annual license or face a potential minor misdemeanor and $150 fine per day. “All of this is an obvious hassle and financial burden for small businesses and their employees, possibly ruinous for event organizers, and a major deterrent for anyone coming from outside the city to do business here,” says April Bleakney, local printmaker and owner of Ape Made. “All of whom already pay out in the form of permits, licenses, booth fees and sales tax. Not to mention the blanket negative effects on our city’s arts, culture and small business scenes coupled with the assumed effect of pushing Cleveland talent outside the city borders to do business more easily.” After several days of calls and emails, the city finally offered some clarification by posting an information page on its website on July 27. However, information in the website post directly contradicts the ordinance itself. For example, the post states that only one person in any group is required to have a Street Vendor’s License and ID badge. However, the ordinance itself applies to individuals, not businesses. Part A of 675.02 clearly says, “No person shall engage in vending anywhere in the City without a vendor’s license issued under Section 675.03. The issuance of a vendor’s license to a person shall not be deemed

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Topps will no longer show Chief Wahoo in its Cleveland Indians trading cards. In response, GV Art & Design launches oddly antagonistic “Topps is Bottoms!” underpants line.

Video footage shows fans lighting Kyrie jerseys on fire, days after Cleveland.com posts a video encouraging the same. Our only request for Chris Quinn? Please don’t assign Ted Diadiun a Facebook Live video.

After abrupt dismissal of White House Comms Director Anthony Scaramucci, sympathetic mayoral candidate Eric Brewer vows to lure him from corporate finance gig with “cold hard blackmail.”

| clevescene.com | August 2 - 8, 2017

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JEFF JOHNSON WORKS BALANCING ACT AS HE PICKS UP ENDORSEMENT Last week, the Cuyahoga County Progressive Caucus voted to endorse city councilman Jeff Johnson in the Cleveland mayoral race. The endorsement is Johnson’s second from a local progressive organization, his ďŹ rst being from the Service Employees International Union, and it has given Johnson additional ammo and cred as the “progressiveâ€? candidate in the race, one which is perceived as a battle between an entrenched incumbent (Frank Jackson) and the ďŹ eld. CCPC was formed with about 300 members one year ago as an outgrowth of the local Bernie Sanders

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if it’s a safe product and, if there’s a problem, we can track who’s selling it.â€? As for Wade Oval Wednesdays, University Circle Inc. has postponed its two market nights originally scheduled on July 26 and Aug. 23 until this issue is fully resolved with the city. “We were disappointed to postpone our market night at Wade Oval Wednesday and we hope to work with the city to ďŹ nd an equitable solution for our vendors and merchants,â€? says David Robinson, manager of business services for University Circle Inc. There was some good news out of all of this. Night Market Cleveland spoke to the city to ensure its vendors could carry on with business as usual at its July 28 event, due to the short notice; the city’s information page claims application processing takes up to ďŹ ve business days. “We have been in touch with the appropriate people to discuss options on how to proceed and after much discussion, it was agreed that they (Licensing and Permitting) would not enforce the ordinance at the July 28 Night Market Cleveland because there simply was not enough time to ensure that vendors would not be ticketed. We were fortunate to be able to address this issue immediately upon learning of the enforcement, and are relieved that we did not have to cancel the event. ‌ Prior to being offered a reprieve, we had a dozen vendors cancel their appearance at the event due to the additional and unexpected requirements. We hope that we will be able to win them back with assurances that they will not be ďŹ ned.â€? Moving forward, city inspectors promise they’ll be looking for ID badges and checking for licenses at events within city limits. It remains to be seen how big of an impact this will have on events in the city. — Josh Usmani

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to authorize agents or employees of the person to vend without a license.â€? The arcane language doesn’t help, either. Although the ordinance and application both instruct applicants to submit their forms and documents inperson or by mail, the city announced in their website post that applicants can now apply by email. Why is this all so important? Because the city is changing policy without changing legislation with no assurance for individuals, small business or event organizers that this policy will continue or for how long. According to both the ordinance and the website, the license and badge permit periods both begin Aug. 1 and expire on July 31 of the following year, apparently no matter when you apply. “This is not new,â€? a city spokesman told Cleveland.com. “This has been on the books for years. It’s for the public’s beneďŹ t. The reason for us to do this is we want to know what’s being sold,

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UPFRONT campaign effort. The organization is headquartered in Lakewood and has ballooned to nearly 3,000 members. CCPC’s political director Steve Holecko attributes that rapid growth to the spirit of political activism in the wake of Donald Trump’s election. Its members have organized and demonstrated around issues of wealth inequality, which locally include the ďŹ ght for a higher minimum wage and opposition to the Q Deal. Holecko estimated in a phone conversation with Scene that roughly 800 of the organization’s members are Cleveland residents. In addition to Johnson, CCPC endorsed eight Cleveland city council candidates, none of whom are incumbents. In its endorsement process, CCPC invited candidates who were interested to ďŹ ll out two questionnaires. One was national and was provided by Our Revolution, a national progressive group, led by Nina Turner, of which CCPC is the local afďŹ liate. The other questionnaire, called the “Cleveland Addendum,â€? was locally focused. CCPC’s membership

voted on candidates based on their responses. In council races where only one candidate applied for the endorsement, Holecko said, CCPC members voted to approve or deny the candidate. Only three mayoral candidates applied for the endorsement: Johnson, Brandon Chrostowski and Eric Brewer. Johnson is himself a member of the Progressive Caucus, and Holecko said that the organization’s steering committee was hopeful that Johnson would win the endorsement. Holecko said they made no efforts to tilt the results, but that roughly 70 percent of the Cleveland membership voted to endorse Johnson regardless. “We’re very closely aligned,� Holecko said, of the group’s platform and Johnson’s. — Sam Allard

OHIO STATE FAIR RESUMES RIDE OPERATIONS FOLLOWING TRAGEDY, WHILE CUYAHOGA COUNTY GEARS UP FOR ITS OWN FAIR During the final days of the Ohio State Fair, rides are once again operating normally. Still, the fair is reeling after an accident last week that killed one and injured

seven others. All of the fair’s rides were shut down following the accident, in which 18-year-old Tyler Jarrell was killed on the Fireball ride. KMG, the Dutch manufacturer behind the Fireball, ordered all of their similar rides to be shut down worldwide, pending an investigation, according to Fox Business. The Jarrell family has contacted a law firm and is preparing a wrongful death suit. Expectedly, attendance the day after the incident dipped considerably, down to 35,902, compared to the 44,996 who were there for opening day. Saturday saw 100,228 attendees, a bigger turnout than 2016’s opening Saturday. “We had a very large crowd of people who came out [Saturday] despite the fact that the Midway rides were closed,� Alicia Shoults, spokeswoman for the Ohio State Fair, wrote Scene in an email. “The fair is about more than just rides, and we have always felt that the diverse nature of activities we bring together at our fair — education, livestock shows, the beautiful natural resources park, entertainment — makes

for a tradition families come to experience year after year. Seeing that families continued to come when rides weren’t in operation shows just that.� Closer to home, the Cuyahoga County Fair kicks off next week on Monday, Aug. 7, and runs through Aug. 13. Everything is going according to plan, we’ve been told. Regarding this year’s ride safety and inspections, Cuyahoga County Fair spokeswoman Candyce Traci tells Scene: “The Cuyahoga County Fair will continue to follow strict procedures in our cooperation with State, Local and Ride Companies to inspect and enforce all rides and fair activities. The State Inspectors provide the utmost caution with inspections that enforce all regulations. Cuyahoga County Fair will always do what is required and will monitor day by day throughout fair week to ensure we provide a safe family-friendly atmosphere.� Traci also confirmed that there will not be a Fireball ride or anything similar at the Cuyahoga County Fair. — Colton Faull

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FEATURE

Meeting of the Lee-Harvard Community Association, 1979

BEYOND ‘WHITE FLIGHT’ What the history of one Cleveland neighborhood can teach us about race and housing inequality By Todd Michney THE TRIM, BRICK AND WOOD colonial at 15508 Talford Ave. is unassuming. Located in the southeasterly Lee-Harvard neighborhood, the house was built in 1947 and comes in at just under 1,200 square feet. Modest by today’s standards, it represents an earlier, post-World War II dream of suburban single-family housing — and stands as an object lesson on the troubling history of race and housing inequality in Cleveland. Lee-Harvard is a “suburb in the city,” one of several outlying neighborhoods fitting that description within Cleveland’s municipal boundaries. Most of Talford Avenue’s initial residents were Czechs, Italians, Hungarians, Poles and Jews who moved from more central, identifiably ethnic neighborhoods — like Mount Pleasant, Corlett and Glenville — chasing a more affordable version of the suburban lifestyle to be had in Shaker Heights, Maple Heights and Garfield Heights. Many were young families striving after this newly available version of middle-class respectability. Some of the men were

veterans of World War II who now worked as skilled tradesmen or small proprietors. In July 1953, Wendell and Genevieve Stewart, an African American couple, purchased the house at 15508 Talford, touching off a furor that challenged Cleveland’s reputation for relatively placid race relations.

immediate response was outrage. They rushed to harass the home’s seller, who the local press described as “a Jewish businessman with a non-Jewish wife who … had sold the home to Negroes out of spite against his neighbors with whom he had had considerable difficulties.” Motivated by a widespread

Despite the couple’s solidly middle-class background, white residents’ immediate response was outrage. Wendell Stewart was a mortician at the city’s largest black-owned funeral home, the House of Wills. He was a deacon at the prominent Antioch Baptist Church, a member of the NAACP, and a board member at the Cedar Branch YMCA. Genevieve worked as a retail supervisor and hosted a weekly radio program. Despite the couple’s solidly middleclass background, white residents’

belief that the presence of African Americans inevitably lowered property values, and cognizant of other instances in which initial move-ins by black families had catalyzed the demographic turnover of entire areas, hundreds of neighborhood whites attended nightly “mass meetings” at nearby Gracemount Elementary School, where speakers denounced the Stewarts and some present called

for the use of violence to dislodge the couple. Other local groups, including the Cleveland Community Relations Board, Jewish Community Federation, and Saint Augustine Guild, attempted to calm fears among their respective constituencies and organized a letterwriting campaign in support of the Stewarts. A neighborhood committee met with Wendell Stewart and his lawyers, alongside Cleveland mayor Thomas Burke, in an attempt to de-escalate the situation. Once it became apparent that the Stewarts intended to stay, Mayor Burke made a public address to Lee-Harvard residents, where he told an angry crowd of over 500 people that he would continue to provide police protection to the Stewarts and defend their right to the property. Through such interventions, and the courage of “pioneering” black families like the Stewarts, Cleveland maintained its reputation for tolerance into the following decade, in contrast to contemporary Chicago and Detroit, where this strategy of highly organized white resistance played out | clevescene.com | August 2 - 8, 2017

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FEATURE

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with minimal intervention by local officials. Yet in other respects, the subsequent trajectory in Lee-Harvard feels familiar. Talford neighbors grudgingly accepted the Stewarts after the tense first six months, but the house was vandalized on two occasions, and other African American families avoided Lee-Harvard until 1957. In 1961, however, a rash of “blockbusting” ensued. Aggressive real estate agents played upon white homeowners’ racial fears to generate rapid turnover, buying low and then selling at a substantial markup to black middle-class families desperate to improve their housing situations. In fewer than five years, Lee-Harvard was overwhelmingly African American; most of the remaining whites were either poor or elderly. In evaluating this episode, we need to move beyond the conventional narrative of “white flight” — one that has subsequently played out, albeit with a diminishing role for racial confrontation and high-pressure sales tactics, in suburbs including East Cleveland, Warrensville Heights, Cleveland Heights, Shaker Heights, Bedford Heights, Maple Heights, Garfield Heights, Euclid, South Euclid and Richmond Heights. We need to go further back in time to better understand patterns of urban development and population dynamics, and take into account the overarching structural factors that constrained African American housing options and reinforced white notions about the supposed links between race and property values that persist to this day. In the early decades of the twentieth century, outlying neighborhoods like Mount Pleasant and Glenville housed not only Southern and Eastern Europeans, but also small numbers of African Americans. By 1900, a compact black enclave was established around East 128th Street and Kinsman Road, which grew to 700 families by 1940. Meanwhile, African American families began moving onto the blocks off Glenville’s East 105th Street as early as 1915; by 1940, nearly 300 families lived there. Other outlying pockets of black settlement emerged in the 1920s, notably near the intersection of Lee and Seville roads on the far southeast side, as well as around West 117th Street and Bellaire Avenue. Seen on this longer timescale, the Stewarts’ move to Lee-Harvard comes into focus as the logical progression of African Americans’ search for living space. Upwardly

mobile blacks, excluded from the initial round of suburbanization in Cleveland, found a home in outer-city “surrogate suburbs.” It’s not quite that simple. Small pockets of black settlement already existed in suburbs, including Woodmere, Maple Heights, Berea and Chagrin Falls. And African Americans began gaining access to bona fide suburbs around the same time that substantial numbers began moving to Lee-Harvard, starting with Shaker Heights’ Ludlow neighborhood in 1957. But for the moment, outer-city eastside neighborhoods would play a more significant role as expanding black residential areas. In 1965, just one percent of Greater Cleveland’s African American population lived in actual suburbs, compared to approximately half today. The experiences of African Americans living on the urban periphery in the early twentieth century diverged from those of most blacks, who were consigned to densely overcrowded and increasingly segregated inner-city districts. Contact between African Americans and Southern and Eastern Europeans in outlying areas of the city was somewhat limited by blacks’ insular settlement pattern, although members of the two groups encountered each other in workplaces and shared the same public schools. The only major racial clashes that occurred at this time concerned black access to public swimming pools. Southern and Eastern Europeans, like African Americans, were regarded negatively by real estate professionals and the federal government into the 1930s; the Home Owners Loan Corporation, the New Deal agency that commissioned a now-notorious collection of redlining maps, rated all neighborhoods inhabited by African Americans (regardless of class) as “red,” or “hazardous” for mortgage lending, while assigning a scarcely better “yellow,” or “risky” rating to those inhabited by Southern and Eastern Europeans. Large portions of Lee-Harvard had in fact received the latter designation, due to its substantially first- and secondgeneration immigrant population, the not-yet-standardized pattern of land use and housing design, and a widespread lack of deed restrictions (“covenants”) forbidding sale to racial minorities. Southern and Eastern Europeans increasingly identified as “white” as they moved to farther-outlying areas and experienced higher rates of homeownership. Such sentiments solidified further during World War II, when Cleveland absorbed an

influx of black (and white) Southern migrants attracted by defense industry jobs, and immediately after the war when working-class whites were in a prime position to take advantage of preferential mortgage financing underwritten by the Federal Housing Administration and Veterans Administration — assistance that was denied to African Americans except in the small number of all-black suburban subdivisions built around the country with FHA approval. While working-class whites were empowered by federal housing policy, middle-class blacks struggled to buy outside of the tightly circumscribed urban core. This artificially induced housing shortage fostered overcrowding that contributed to the deterioration of housing stock. “Invisible” government subsidies and visible evidence of physical decline in the neighborhoods where African Americans had moved formed a potent combination, serving to confirm white notions linking property values and race. Before they bought on Talford, Wendell and Genevieve Stewart had owned a house in Glenville. During World War II, growing numbers of African Americans sought shelter in that neighborhood as landlords in the inner-city Cedar-Central district partitioned rental housing into smaller “kitchenette” suites for which they charged exorbitant rents. Besides its better-quality housing, the fact that Glenville was Cleveland’s largest Jewish neighborhood also played a role; Jews, unlike Roman Catholics, had no reputation for violently resisting African-American neighbors. The neighborhood’s black population skyrocketed from 900 in 1940, to 22,000 and growing by 1950, and the familiar pattern of landlords converting housing for multifamily occupancy — previously seen in CedarCentral — became increasingly evident. It was concern about a declining quality of life, in fact, that motivated the Stewarts to leave this erstwhile black middle-class stronghold for allwhite Lee-Harvard in 1953. Middle-class African Americans fought overcrowding and other manifestations of urban decline through organizations like the Glenville Area Community Council (founded in 1945), Mount Pleasant Community Council (1946), and LeeHarvard Community Association (1957). Neighborhood activists working through these and other bodies — right down to the street and block club level — encouraged property upkeep and fought to enforce building codes, lobbied the city to maintain an acceptable level of services, restricted

Detail of “Residential Security” (redlining) map created by the Home Owners Loan Corporation, 1940, showing Lee-Harvard area (Courtesy of the National Archives II, College Park, Maryland)

the availability of liquor through local option referenda, promoted viable commercial strips, monitored the quality of local public schools, and stepped up enforcement against crime and juvenile delinquency, even to the point of forming auxiliary police patrols. But white unwillingness to relinquish living space — particularly the refusal of mainstream banks, prior to the passage of the 1968 Fair Housing Act, to lend on any purchase outside of already-established black residential areas — made such neighborhood-based reform efforts a constant and uphill battle. By the late 1960s, Cleveland’s outer-city neighborhoods were losing their luster for upwardly mobile African Americans, as federal civil rights reforms enabled increasing numbers of them to relocate to some of the already-mentioned suburbs. Lee-Harvard retains a core middleclass population to this day, including many retirees. But since the onset of the Great Recession, the neighborhood — and Cleveland’s African American middle class more generally — has faced additional challenges. A disparity in the appreciation of home values on properties owned by black

families fostered a yawning racial wealth gap over the post-World War II decades, with particularly volatile shifts since 2008. The house at 15508 Talford, for example, purchased by the Stewarts in 1953 for around $11,000, had an estimated worth of $89,000 in 2007, yet dropped to $68,000 in 2009. After tumbling to just $48,000 in 2011, its market value has stabilized at $63,000 today. Cleveland was among those cities most powerfully affected by the housing market crash, even though no substantial housing bubble developed. Troublingly, African American homeowners were disproportionately targeted for predatory lending and subsequent foreclosure, including in suburbs like Euclid, Garfield Heights, Maple Heights, Shaker Heights and Solon; one study found them saddled with subprime loans at two to four times the rate of white homeowners, regardless of income. Until we acknowledge its role in fostering inequality, the racially inflected history of housing in our country and cities will continue to haunt us. And its effects have been especially devastating in the former

industrial powerhouses of the Great Lakes region. According to the 2010 census, Cleveland’s metropolitan area was the fifth-most segregated in the U.S., narrowly trailing Milwaukee, New York, Chicago, and Detroit. The loosening of racist housing restrictions came woefully late, once these cities’ economies were already hemorrhaging jobs. In our search for a new economic base, we must begin by first understanding how we arrived at this point. Perhaps then — and only then — can we begin to chart new and more fully informed paths that do a better job of prioritizing equity and creating opportunities for all. Reprinted with permission from Belt Magazine. Todd M. Michney is a native Clevelander who teaches in the School of History and Sociology at the Georgia Institute of Technology. His book, Surrogate Suburbs: Black Upward Mobility and Neighborhood Change in Cleveland, 1900-1980, is out now on the University of North Carolina Press. Follow him on Twitter @ToddMichney.

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everything you should do this week

GET OUT WED

Photo by Emanuel Wallace

08/02

SPOKEN WORD

Keep Talking Keep Talking is an exciting storytellers program where locals can share their real-life experiences on a theme. The series offers attendees the chance to grab a drink and a dog while listening to some of their Cleveland neighbors tell tall tales. The theme for tonight’s event is “Parents.” It starts at 8 p.m. at the Happy Dog. Admission is $5. (Jeff Niesel) 5801 Detroit Ave., 216-651-9474, happydogcleveland.com. MUSIC

Summer in the City Concert Series Presented by Great Lakes Brewing Company, Fat Head’s Brewery and Magic Hat Brewing Company, the Rock Hall’s free Summer in the City concert series features some of the top bands in Cleveland. Concerts start at 6 p.m. on the seasonal outdoor stage, July through August. (Rain location is inside, on the Klipsch Audio Main Stage.) Tonight’s concert features the locally based, old-school country act Shooter Sharp & the Shootouts, along with singersongwriter Cody J. Martin. Find out more on the website. (Niesel) 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com. FAMILY FUN

Wade Oval Wednesdays A summer tradition, Wade Oval Wednesday takes place every Wednesday through Aug. 30, from 6 to 9 p.m., at Wade Oval in University Circle. The weekly party provides the opportunity to catch a free concert — jazz, swing, world music and more. Between sets, check out the local food vendors, the beer and wine tent, the farmers market and free kids’ activities — all laid out on the Wade Oval lawn, adjacent to Cleveland Botanical Garden, the Cleveland Art Museum, and the Cleveland Natural History Museum. The local jazz act the Realthing plays tonight. Details are on the website. (Niesel) universitycircle.org. FOOD

Walnut Wednesday Walnut Wednesday is one of summer’s great traditions. Today from 11 a.m. to 1:30 p.m. at Perk Plaza at Chester Commons — at

The ninth annual Alefest returns to Lincoln Park in Tremont. See: Saturday.

East 12th and Walnut streets — food trucks gather to serve up lunch to area residents and employees. Follow the Downtown Cleveland Alliance on Facebook for weekly updates on vendors, entertainment offerings and more. The series continues through Sept. 27. Admission is free, but the food will cost you. (Niesel) downtowncleveland.com.

THU

08/03

BURLESQUE

The Seventh Annual International Ohio Burlesque Festival More than 80 performers will participate in the seventh annual Ohio Burlesque Festival. The three-day festival kicks off tonight at the Beachland with burlesque performances and comedy routines. Cleveland’s Veranda L’Ni serves as host. The festival continues tomorrow and Saturday at the Beachland. Ken Schneck hosts tomorrow’s event and organizers have billed Saturday’s event as “the Saturday Night Gala.” Tickets are $50 for a weekend pass. Single day tickets will cost $20 in advance, $25 at the door, with VIP and re-

served tickets available. (Niesel) 5711 Waterloo Rd., 216-383-1124, beachlandballroom.com. ART

All That Glitters: Burlesque at the Beachland Six years ago, Bella Sin, founder of the local burlesque troupe Le Femme Mystique, began hosting the Ohio Burlesque Festival, a three-day event at the Beachland Ballroom featuring regional, national and international talent. In conjunction with this year’s festival, Space: ROCK Gallery, next to the Beachland, will host All That Glitters: Burlesque at the Beachland, an exhibit featuring photos from previous years’ fests, taken by Eric Paul Owens, Anastasia Pantsios, Bob Perkoski and Scene staff photographer Emanuel Wallace. There will be two opening receptions — at 5:30 p.m. today, the first day of the festival, and at 5 p.m. tomorrow, during Walk All Over Waterloo. Expect to see photos of performers of all races, ethnicities, gender identities and body types, and acts that range from “elegant to comedic to acrobatic to bizarre to thoughtprovoking.” (Niesel)

15721 Waterloo Rd., 216-383-1124. ART

Art Therapy Studio Join Spaces and members of the Art Therapy Studio tonight (and every first Thursday night) from 6 to 7:30 for an evening of inspiration, artmaking and community connection. Tonight’s edition is all about painting and poetry: Attendees will have a chance to experiment with some very fluid and abstract watercolor techniques and gather meaningful words from old books and magazines (or write an original haiku) to collage onto their paintings. A $5 admission fee covers the cost of supplies, and all materials are provided. At least five reservations are required for the class to be held. Please RSVP by calling the Art Therapy Studio directly at 216-791-9303, or by emailing mepps@spacesgallery.org. (Josh Usmani) 2900 Detroit Ave., 216-621-2314, spacesgallery.org. FAMILY FUN

Edgewater Live Now in its fourth season, Edgewater Live features local acts | clevescene.com | August 2 - 8, 2017

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GET OUT

SPORTS

along the shore each Thursday throughout the summer. The event also boasts food trucks and recreational activities. The weekly beach party commences today at 4:30 p.m. on the Centennial Plaza at the new Edgewater Beach House with an opening performance from the Waves. From 6 to 9 p.m., Collage will perform on the RTA Main Stage. It’s free. (Niesel) 6500 Cleveland Memorial Shoreway NW, clevelandmetroparks.com.

Indians vs. New York Yankees Whether or not the Cleveland Indians return to the playoffs this year will hinge on how well the team performs this month. The schedule gets tough as the Tribe comes off a series in Boston to play the Yankees tonight at Progressive Field. The Yankees have the league’s best home-run hitter in young Aaron Judge, and the team stands poised to make a playoff push as it has kept pace with Boston in the American League East. Tonight’s game starts at 7:10. Tickets begin at $13 and the two

teams face off again tomorrow night, Saturday night and Sunday afternoon. (Niesel) 2401 Ontario St., 216-420-4487, clevelandindians.com. SHOPPING

Makers’ Market in Collinwood Looking for something truly unique and locally produced? Check out the Made in Collinwood Makers’ Market tonight from 5:30 to 8:30, featuring a diverse collective of local makers and artisans from the greater Collinwood community. Held at the East Shore Park Club, the event is

produced in conjunction with the club’s Summer Concert series. A free concert by local cover band FM77 will begin at 7 p.m. Can’t make it this Thursday? Additional market dates include Aug. 17 and 24. Admission is free. (Usmani) 17217 Dorchester Dr., 216-481-7660, facebook.com/madeincollinwood. FOOD

No Beast Feast Lebanese Cuisine On a semi-regular basis at Now That’s Class, the restaurant Helio Terra presents a No Beast Feast featuring vegan delicacies. Today at 8 p.m., Now That’s Class will host another veggie-friendly event catered by Helio Terra. For tonight’s No Beast Feast: Lebanese Cuisine, Helio Terra will offer a four-course meal for $15. Takeout will be available too. (Niesel) 11213 Detroit Ave., 216-221-8576, nowthatsclass.net. COMEDY

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HAPPY Hour! Every Tues. & Thurs. in August • Drink Specials • Live Music • Trivia

Get on the Guest List for upcoming shows! • FREE: RSVP online & get a t-shirt AND souvenir photo* • OR $20 upgrade: get swag above, Rock Hall admission AND $10 food credit! (over a $40 value!)*

Wednesdays 6-9 pm July 26 - Hamilton Handshake with Skulx Aug. 2 - Shooter Sharp & The Shootouts with Cody J. Martin Aug. 9 - Seeress with Axioma Aug. 16 - Hiram Maxim with Glass Traps Aug. 23 - Funkyardx with JPENNELOPE Aug. 30 – Jack Fords with The Commonwealth *Advance online purchase required. Only one shirt and photo per email for free registration.

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MORE FREE STUFF! Aug. 19 - Celebrate Africa Aug. 25 - PechaKucha Night CLE

ROCKHALL.COM/SUMMER | August | clevescene.com l A t 2 - 8, 8 2017

08/04.

COMEDY

RSVP, get tix and full schedule at:

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Paul Virzi Host of the popular podcast, The Virzi Effect, comedian Paul Virzi takes a very casual approach to his standup gigs. He likes to joke about his love for the reality TV show Pawnstars. “I have to know what that musket is worth,” he says sarcastically. “They’re going to screw this poor bastard and I have to watch it go down.” Like most of Virzi’s material, the joke is based on a keen observation about popular culture. He performs tonight at 8 at Hilarities, where he has shows scheduled through Sunday. Tickets are $18 to $28. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com.

Bruce Bruce A larger-than-life personality makes comedian Bruce Bruce a hard act to forget. Even with his adult humor, Bruce prides himself on not relying on vulgarity to get a laugh out of the crowd. His personality and humor will be enough to keep you laughing the entire time. He also previously w, hosted the BET series Comic View where the show achieved its highest ratings ever. You can catch Bruce at the Improv tonight at 7:30 and 10; performances are scheduled through Sunday. Tickets are $25 to $35. (Martin Harp) 1148 Main Ave., 216-696-IMPROV, clevelandimprov.com.

GET OUT ART

A Dual Opening The first event at the Morgan Conservatory since last month’s 10year anniversary celebration features a dual opening reception for two new group exhibitions: Below the Surface: Intaglio Exhibition and the final installment of the Know-How Workshop Instructors Exhibition. Stop by from 6 to 9 tonight to view the exhibitions and enjoy light refreshments. Below the Surface includes the work of 30 artists sharing a love for intaglio printing, a traditional process where ink rests in grooves carved below the surface of a metal plate and is transferred to paper via a printing press. The final installment of a rotating three-part exhibition of work by the Morgan Conservatory’s workshop instructors, Know-How features papermaking, printmaking, book arts, bookbinding and mixed technique. Admission is free. (Usmani) 1754 East 47th St., 216-361-9255, morganconservatory.org. ART

Mix: Summer With its acclaimed exhibition, Brand-New & Terrific: Alex Katz in the 1950s, coming to an end this weekend, and summer days getting shorter, the Cleveland Museum of Art’s monthly Mix event’s theme is perfectly fitting. Mix: Summer features a 1950s midcentury-modern theme, including the best of the decade’s art, music, dancing and drinks. During the evening, guests can learn the jitterbug with Get Hep Swing, enjoy a special cocktail and create a festive pinwheel. The fun takes place from 6 to 10 tonight. Admission is $10 in advance, $15 at the door or free for CMA members; admission to Brand-New & Terrific: Alex Katz in the 1950s is included in the price. (Usmani) 11150 East Blvd., 216-421-7350, clevelandart.org. FILM

Open Projector Night You’ve heard of open mic night, but how about Open Projector Night? This ongoing series encourages local filmmakers to bring their short films (10 minutes or less) to MOCA Cleveland for an opportunity to screen them before an audience of both experts and novices, open mic-style. Films will be added to the night’s lineup on a first-come, first-served basis until a 60-minute

time limit is reached. Admission is free for MOCA members; otherwise, it’s “pay what you can,” with a $5 suggested donation. Film screenings begin at 8 p.m. The shorts are uncensored and not pre-screened: Viewer discretion is advised. More details are on the website. (Usmani) 11400 Euclid Ave., 216-421-8671, mocacleveland.org. FAMILY FUN

Pet Days on the Plaza Vendors, groomers and local rescue organizations will be on Playhouse Square today for Pet Days on the Plaza, an opportunity to give your pet some special treatment or even adopt a new furry friend. The event runs from 10 a.m. to 2 p.m. on the U.S. Bank Plaza. (Niesel) 14th Street and Euclid Avenue, 216-771-4444, playhousesquare.org.

SAT

08/05

FRIDAY, AUGUST 4

JUKEBOX HEROES 8P-12A

SATURDAY, AUGUST 5

SCHOOL OF ROCK

NIGHTLIFE

All Gold All the Time Night The punk/indie rock club Now That’s Class isn’t above a good gimmick. Tonight, the club hosts All Gold All the Time Night. Come to the venue wearing gold of any kind and you’ll get half-price drinks and pay only $1 for 12-ounce beers. In addition, the person with “the best look” will win a $25 gift certificate to Now That’s Class. The event is free and runs from 9 p.m. to 2 a.m. (Niesel) 11213 Detroit Ave., 216-221-8576, nowthatsclass.net.

2-6P

CHANCE BAND 8P-12A

FILM

Best in Show Cleveland Cinemas’ Late Shift series, a program dedicated to the nostalgic cult and camp cinema that we love and cherish even though it’s certainly not Oscar-worthy material, has been a fixture at the local chain of theaters since 2006. The 2017 schedule continues tonight with Best in Show, Christopher Guest’s satirical look at the competitive world of dog shows. It screens tonight at 9:30 and midnight, and tomorrow night at 7 p.m., at the Cedar Lee Theatre. Tickets are $6. (Niesel) 2163 Lee Rd., Cleveland Heights, 440-717-4696, clevelandcinemas.com.

SUNDAY, AUGUST 6

TEA BAGS DJ LARRY 2-6P

8P-12A

ART

Free First Saturday Admission to MOCA Cleveland is free today, and on the first Saturday of every month, from 11 a.m. to 5 p.m. This month, you can visit the open art studio, attend a one-hour discussion about one single piece of art, and check out MOCA’s Summer | clevescene.com | August 2 - 8, 2017

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GET OUT

WANTED Articulate, intellectual, enthusiastic performers to read, recite, relate & sing the contents of a four thousand page script of totally new, original & copyrighted material to be uploaded to your own YouTube channel. A bored world will browse and after millions of “hits”, many advertisers will want to place their ads on YOUR “show”. As you keep adding content, your advertising platform will expand. We also guarantee your show cannot be imitated or duplicated. Offered by: Unique Cultural Properties. Request script at: uniqueculturalproperties@yahoo.com

WE WENT OUT WHEN YOU COULDN’T. EVENT SLIDESHOWS. ONLY AT CLEVESCENE.COM

2017 exhibitions, including Keith Mayerson: My American Dream, the group exhibit Constant as the Sun, and Lu Yang: Delusional Mandala. Each exhibit features socially conscious artwork exploring relevant and important issues of community in contemporary society. Constant as the Sun includes work by Tyree Guyton from Detroit’s famous Heidelberg Project, which utilizes art made from found materials to embellish the exteriors and lawns of vacant homes. Viewable from MOCA’s staircase, a wall outside the gallery features 10 of Guyton’s nonfunctional clocks, which explore the concept of time as a metaphor. At 1 p.m. today, Guyton visits the museum for a free discussion with his partner Jenenne Whitfield and a screening of the Emmy Awardwinning documentary, Come Unto Me: The Faces of Tyree Guyton (1999). The exhibits remain on view through Sept. 17. (Usmani) 11400 Euclid Ave., 216-421-8671, mocacleveland.org. FILM

$

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10.00HalOf FF the Marathon

Rocky Horror Picture Show It’s the first Saturday of the month again, so tonight the Cedar Lee Theatre hosts a midnight screening of The Rocky Horror Picture Show, the 1975 film that still draws an exuberant, costumed crowd that likes to throw rice and dry toast and sing along to the songs in the movie. Tickets are $9.50. (Niesel) 2163 Lee Rd., Cleveland Heights, 216-321-5411, clevelandcinemas.com. BEER

Scene Ale Fest A summer tradition, the ninth annual Ale Fest returns to Lincoln Park in Tremont today from 1 to 6 p.m. This celebration of beer brings together beer novices, beer connoisseurs and everyone in between for a day in the park complete with food and retail vendors, interactive games and more. Patrons can sample more than 100 beers. This year, Ale Fest will feature an Ohio Made Row with beers from Market Garden Brewery, Portside Distillery, Thirsty Dog, Ohio Brewing Company, Platform and more. Folks from Tito’s Handmade Vodka will mix all your favorite craft cocktails. In addition, there will be live music from local favorite Oldboy and touring country music star Michael Christopher. It’s pet friendly too! Tickets are $45 at the door and

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| clevescene.com | August 2 - 8, 2017

include 15 drink tickets and all-day entry into Ale Fest. Look for details on the website. (Niesel) SceneAleFestival.com. ART

Walk All Over Waterloo This month’s Walk All Over Waterloo includes several new exhibitions in the district’s many galleries, including solo shows by Erin R. Miller at Praxis and S. Jordan Fine’s Pattern Play at Brick Ceramic + Design Studio. Stop by the Maria Neil Art Project for another chance to see Bryon Miller’s photography exhibition. Walk All Over Waterloo takes place today from 5 to 9 p.m., although individual gallery hours may vary slightly. Of course, there’s always plenty more to see and do throughout the Waterloo Arts District. (Usmani) waterlooarts.org.

SUN

08/06

SPOKEN WORD

Van Jones: We Rise Tour powered by #LoveArmy Yale-educated attorney Van Jones hosts the CNN program The Messy Truth, with Van Jones. The founder and president of Dream Corps, a nonprofit organization that works to solve “America’s toughest problems,” Jones gave the 2017 commencement speech for Morehouse College. He plans to release his third book, Beyond the Messy Truth: How We Came Apart & How We Came Together, this fall. Tonight’s program at the State Theatre promises to bring together “an array of artists, athletes, thought leaders and local officials” to speak about current events. It begins at 8 p.m., and tickets are $39.50 to $49.50. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org. FAMILY FUN

A Painting Party Sadly, the signs of summer’s end are here: shorter days, cooler nights and back to school supplies in every store. Before the kids head back to school, Spaces hosts a painting party with Northeast Ohio Rocks! If you’ve unexpectedly found a painted rock in Northeast Ohio, you’re not alone. The group’s Facebook page currently has more than 168,000 members. The project encourages artists of all ages and skill levels to paint rocks and “hide” them in unexpected places around town. Spaces’ family-friendly rock painting party takes place from 2 to 4 p.m. today. Organizers

will have rocks to paint, but guests are encouraged to bring their own. After the event, share a photo of your painted rock on the Northeast Ohio Rocks! Facebook page and hide it in your favorite spot for someone else to stumble upon. It’s free. (Usmani) 2900 Detroit Ave., 216-621-2314, spacesgallery.org. PATIO

Sloppy Sundays in the Sun The bartenders at Now That’s Class will serve “the coolest and tastiest pitchers” of cocktails today from 3 to 7 p.m. at Sloppy Sundays in the Sun. Pitchers of specialty cocktails ($12) include Paul’s Puerto Rican Punch, Nascar Nectar and Stripple Nipple. The club will also set up a basketball hoop out back for patrons to show off their skills. Admission is free. (Niesel) 11213 Detroit Ave., 216-221-8576, nowthatsclass.net.

MON

08/07

FOOD

Wing Ding Doodle Blues icon Howlin’ Wolf famously covered “Wang Dang Doodle,” the old blues tune penned by Willie Dixon. Prosperity Social Club in Tremont has adopted that slogan, calling its wing night Wing Ding Doodle. The weekly event features specials on Buffalo wings and cold brews. Prosperity will not only serve up substantial, $1 whole wings, but it’ll also offering meatless Monday “wing” baskets for vegans. Discounted drafts and a playlist of vintage-electric blues and soulful R&B curated by local musician Clint Holley will be on tap as well. Wing Ding Doodle takes place every Monday from 6 p.m. to midnight. (Niesel) 1109 Starkweather Ave., 216-9371938, prosperitysocialclub.com.

TUE

08/08

COMEDY

Mystery Science Theater 3000 Live! For almost 30 years, the awardwinning television comedy series Mystery Science Theater 3000 has been one of the top cult TV shows of all time. Created by Joel Hodgson, the first season of Mystery Science Theater 3000 aired in 1988 on a local TV station in Minneapolis. The show followed a hapless host forced to watch “some of the most outrageously unfortunate B-movies ever created.” To keep his sanity,

he builds two robot sidekicks and they help him provide a running commentary on the films. MST3K has been going strong ever since; the Comedy Channel (later known as Comedy Central) helped it attain a national audience by broadcasting its episodes. Now, Hodgson and new host Jonah Heston (Jonah Ray) will bring the first live touring production of MST3K to Cleveland on the Watch Out for Snakes! tour. Robot companions Crow (Hampton Yount), Tom Servo and Gypsy, along with Synthia (Rebecca Hanson) and her Bonehead henchmen will join them as will the Mads, Kinga Forrester (Felicia Day) and Son of TV’s Frank (Patton Oswald). The event begins at 8 tonight at the Ohio Theatre. Tickets are $39.50 to $49.50. (Niesel) 1501 Euclid Ave., 216-241-6000, playhousesquare.org. COMEDY

The Mike Polk Jr. Show Live If you’ve seen local comedian Mike Polk Jr., the man behind the Hastily Made Cleveland Tourism Video, the Factory of Sadness video (Parts 1 and 2), Last Call Cleveland comedy troupe and his very own show on Fox 8 (aptly called the Mike Polk Jr. Show), perform live, you know he really thrives on having an audience at his disposal. He hosts the Mike Polk Jr. Show Live tonight at 8 at Hilarities. Admission is free. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com. DANCE

Dancing Under the Stars As a part of the 12-week outdoor dance series at Playhouse Square, local dance instructors will lead Dancing Under the Stars tonight at U.S. Bank Plaza. Throw on your best dancing shoes, grab a partner and head downtown for a night full of Sizzling Salsa dancing. If you aren’t familiar with salsa, then you won’t want to miss the fun instruction at 6 from the staffers at Viva Dance Studio. Then, from 6:30 to 9 p.m., the plaza turns into a massive, fun-filled dance party featuring a live band. (This week, it’s Orquestra Sonora.) Learn new moves and experience a different culture through dance. Admission is free. The series continues through Aug. 29. Find a complete schedule on the website.(Niesel) East 14th Street and Euclid Avenue, 216-771-4444, playhousesquare.org.

Find more events @clevescene.com t@clevelandscene

GLOW BIG OR GO HOME

The nation’s largest urban cycling festival Edgewater Park // Sept. 8-10

NEOCYCLE.ORG | clevescene.com | August 2 - 8, 2017

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ART THE RESURRECTION OF STEPHEN KASNER Local artist returns to form amid a hellish bout with pain and anxiety By Dott von Schneider THE REPORTS OF STEPHEN Kasner’s death have been greatly exaggerated. While Kasner disappeared from the scene for several years due to health issues and the nightmare of what it’s like to be uninsured, his work is healthier than ever. His ethereal paintings and mixed-media pieces, always prone to leaving viewers’ jaws agape, are taking on new life at a fresh Hedge Gallery exhibition. It hasn’t been your typical path to opening night, as Kasner’s medical conditions have kept him more isolated than he’d prefer. Art, in the end, has been his saving grace. “In very short terms, I suffer from multiple, extreme spinal/vertebral subluxation,” Kasner tells us in a rare interview. “This isn’t a disease per se, but it has required years of physical therapy. The cause of my issues are unknown, and can only really be speculated. The main, recurring concern with this is that if I don’t constantly care for it with physical therapy, chiropractic and acupuncture, it can regress very rapidly, pinning and crushing nerve systems through the entire left side of my body. I take constant care over diet and posture awareness, and still walk with a cane much of the time. The improvement I’ve gained over the past six months or so is pretty astounding, at least from time to time, it seems. Under great stress, it’s worse, and even at home I spend at least 10 minutes of every hour stretching and utilizing ‘home PT’ techniques. It’s remarkable how utterly paralyzing the condition is, and remains extremely painful daily.” Psychological and physical conditions like that, of course, lead one to re-examine all facets of life. What’s truly important inevitably takes on greater meaning for a person in that state. Kasner confirms as much, and his latest artwork benefits from his layers of introspection. “The emotional and psychological fallout from this condition is and has been sheer horror in the extreme,”

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he says. “Earlier on, before I was able to harness and control things through therapies, I lived in a perpetual state of crippling anxiety, panic, fevers, immobilizing pain, and ultimately, complete and total nervous breakdown. Naturally, all the doctors I was seeing early on to try to diagnose and manipulate the situation focused on two main approaches — surgery and drugs. Considering surgery to be an absolute last resort, we followed a path of everything from pain to antidepressants to anxiety medications; you name it. After a while and under these extreme conditions, you begin to selfmedicate. Realizing that the only way to regain any semblance of life was to be able to work again and, in this moment of clarity, completely rejected all medications, prescribed or otherwise. In some sense, it becomes a simpler thought process of, ‘If nature dictates depression, pain, and chaos within me, I must analyze and understand why, and figure out how to make these anomalies work for me, and even enhance life, if that’s possible.’” Energized, the artist adds, “I’m also concluding some long-standing commissions that were crippled during the depth of my physical issues, which includes a massive mural on canvas which remains a Cleveland memorial.” A great deal of credit for realizing this exhibition goes to Thomas

“Blood Mirror”

present, have been remarkable, and have made every idea I intended for this homecoming exhibition possible in a short amount of time. It was an equally shared enthusiasm of my wanting to exhibit my work again.” “For me, Stephen is a different type of artist from whom Hedge exhibits,” Gent says. “Most artists in the gallery are based in Northeast Ohio. Kasner had moved his studio to California, where he was inundated with commissions. That places a lot of pressure on an artist, as it pulls one away from the work they really want to create.” Kasner is now working out of his studio in Old Brooklyn, back in good old Northeast Ohio. “Stephen

STEPHEN KASNER: CAPTURE & RELEASE EXPANDED IMAGES WITHIN REACH THROUGH SEPT. 1 AT HEDGE GALLERY 1300 WEST 78TH ST., 216-650-4201, HEDGEARTGALLERY.COM

Haywood. He introduced Kasner to Hedge Gallery director Hilary Gent, and has been seminal in making the impossible possible. “Hilary was aware of my work, and much of my Cleveland exhibition history, particularly through my association with the late 1300 Gallery, so it was a smooth enough transition for us both,” Kasner says. “She and the Hedge Gallery staff, past and

| clevescene.com | August 2 - 8, 2017

is breaking out of some of the hesitation that was holding him back from creating new fresh bodies of work and that is evident in this show,” Gent says. Analysis is key in this solo exhibition, Capture & Release Expanded Images Within Reach. Drawings straight from his sketchbook riddle the walls. Automatic drawings were created

in accompaniment to experimental music from dynamo musician, Marc Lansley, whose compositions share the drawings’ titles. Believe it or not, Kasner created these with his eyes closed. The works “Black Mirror,” “White Mirror” and “Blood Mirror” are intricate mixed-media pieces involving disembodied butterfly wings against shimmering backgrounds. Dusted with floral matter and meticulously framed, they are keyholes into the artist’s experiences. Also on view are posters he has created for bands such as ISIS, Keelhaul and Integrity as well as for his book, Stephen Kasner Works: 1993-2006, which is richly narrated by many luminaries including the Cleveland Art Prize-winning artist and writer Douglas Max Utter. In each of Kasner’s pieces, the work lays bare painstaking details. The importance of this artist’s return is significant and shouldn’t be minimized. You will be delighted to learn that these new compositions are mere sketches for much largerscale paintings that will be exhibited along with complete mixed-media works and sculptures in 2018.

scene@clevescene.com t@clevelandscene

Photo by Paul Silla

STAGE

DANCING NEWSBOYS WIN THE DAY Extra! Extra! Read all about the hoofing in Newsies at Porthouse Theatre By Christine Howey OKAY, BEFORE WE BEGIN THIS review, let’s review our terminology. Once upon a time there were “labor unions,” groups of employees who banded together to fight for the rights of workers who were often abused by their employers. Weird, right? These days, with plutocrats in full blossom and an autocrat in the White House, the idea of labor unions sounds as outdated and unnecessary as a Paris Hilton Film Festival. So when you encounter the musical Newsies, now at the Porthouse Theatre on the Blossom Music Center campus, you may reflect on the idea behind collective action. This show, adapted from the 1992 Disney film, is based on an actual event in 1899. That’s when a bunch of newspaper boys fought the titans of publishing, Joseph Pulitzer and William Randolph Hearst, through collective bargaining, and won! It’s a stirring tale with several contemporary connections. And the large cast under the alwaysdisciplined direction of Terri J. Kent handles it masterfully. But if one element of the show rises above all the others, it is undoubtedly the performance of the young men playing the title roles. They dance with skill to the music of Alan Menken — performed exceptionally well by the orchestra led by music director Jonathan Swoboda — and sing the lyrics of Jack Feldman.

Choreographer MaryAnn Black has borrowed, appropriately, from the original moves designed by Christopher Gattelli, and the execution of these high-spirited, sinewy dances is crisp and dazzling. The young hoofers not only convince you of their passion with their feet, their facial expressions while they dance are totally in character — plus, you never see them thinking about where the next footfall should be. Indeed, in the galvanizing ditty “Seize the Day,” which is reprised two times later in the show, the boys go airborne into spins so often the show could easily be re-titled Pirouettes. Aside from dancing, the story as written by Harvey Fierstein stays pretty close to the historical event, as the leader of the newsies, Jack Kelly, battles personal doubts to find his

a romance that is somewhat challenged when Jack learns that she is actually the daughter of evil Pulitzer. In these roles, Matt Gittins and Katelyn Cassidy develop interesting characters, with Gittins being particularly affecting in the one romantic scene they share. But each has a singing deficit, with Gittins unable to sustain notes with richness and depth and Cassidy deploying a rather edgy, piercing vocal style. The best voices in the show belong to Stephen Paul Cramer, who also gives Pulitzer a strong presence as a corporate bigwig who knows how to throw his weight around, and Tina D. Stump in the basically thankless and extraneous role of vaudeville theater owner Medda Larkin. Also providing support are Bryce Baxter as earnest Davey, Jack’s second

NEWSIES THROUGH AUG. 13 AT PORTHOUSE THEATRE 3143 O’NEIL RD., CUYAHOGA FALLS, 330-672-3884 KENT.EDU/PORTHOUSE

courage. It’s too bad the author didn’t stick with the real name of the boy who led the actual strike, since Louis Ballatt’s nickname was Kid Blink (he was blind in one eye). That’s a name that deserves a song all its own. Anyhow, Jack is attracted to the beauteous Katherine, who’s a reporter for one of the New York dailies. And she’s enamored of Jack’s rabble rousing, igniting

in command who isn’t quite as hot headed, and Rohn Thomas in multiple roles that each have their distinct qualities. Morgan ThomasMills is also a standout as Crutchie, the newsboy who limps along on a bum leg but never loses his spirit. In the featured comedy role of Les, the young brother of Davey who tags along with the older boys and injects droll comments now and

then, Finn O’Hara keeps up with the frenetic pace and cadges a couple laughs. But some of his high-pitched punch lines are a bit indecipherable due to a rushed delivery. And at the end, Mavis Jennings appears as Gov. Theodore Roosevelt to strong-arm Pulitzer and straighten everything out. Jennings played a similar role in the Porthouse season opener, 9 to 5, indicating that this actor may be specializing in playing a human deus ex machina. Although there’s nothing particularly new about Nolan O’Dell’s scenic design, the three rolling fire escape-style stairways and balcony units do their own sort of dance. These swiveling and spinning units, two of them three levels high, provide the performers with a variety of playing spaces that evoke the period without getting too heavy handed. But the major reason for checking out this production is for the invigorating dance numbers. And at the risk of leaving someone out, it seems only fitting to salute these performers by name. So take a bow: Ryan Borgo, Josh Maldonado, Josh Trattner, Andrew Muylle, Jake Rosko, Jack Lewis, Nick Johnson, Joey Kennedy, Joey Fontana, Matthew Smetana, John Viso and Dale Melancon. May you pirouette in good health!

scene@clevescene.com t@christinehowey | clevescene.com | August 2 - 8, 2017

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| clevescene.com | August 2 - 8, 2017

MOVIES HOW WE SEE DETROIT Kathryn Bigelow’s gripping drama wows By Sam Allard THE LETHAL CONFRONTATION at the center of Detroit, Kathryn Bigelow’s arresting new drama that opens Friday in wide release, takes place at the Algiers Motel at the height of the Detroit riots in 1967. Three black men died that night, though the historical record remains fuzzy on how the violence escalated. The movie attempts to answer that question in a brutal and unyielding account. It’s a high-voltage depiction that shows more than it tells. The movie begins a few days before the Algiers violence, with a mass arrest at an after-hours club. It then creates a dizzying, war-zone atmosphere — handheld camera work spliced with actual news footage; scenes of looting and brawling; the cityscape aflame — before arriving at its primary venue. With a curfew in effect, gun shots are heard near the Algiers. Led and emboldened by a trigger-happy racist rookie cop named Krauss (The Maze Runner’s Will Poulter), the Detroit police descend upon the location to root out who was responsible. The

state police, the National Guard and a private security officer (John Boyega) witness the local police tactics with increasing anxiety and alarm. Made to stand against a wall, the motel’s guests — a Vietnam vet (Anthony Mackie); a Motown hopeful and his best friend (Algee Smith, Jacob Latimore); two young white women from Ohio (Hannah Murray, Kaitlyn Dever); and three other young black guests (Nathan Davis Jr., Peyton

Smith, Malcolm David Kelley) — are tormented by officers in a sick psychological interrogation game they play to determine who the shooter was. The guests plead with the police that there was no shooter, there was no gun, but the cops don’t buy it. The situation spins out of control. As a scene, the Algiers sequence is drawn out and at times difficult to watch. Stylistically, it is a close cousin to Bigelow’s gripping scenes

of close-quarters violence in both The Hurt Locker and Zero Dark Thirty, movies about contemporary wars abroad. In Detroit, the war is at home. The officers’ behavior tracks with other accounts of racist cops in the Civil Rights era and beyond — despicable language, over-the-top physical violence, and (in both cases) unsanctioned tactics. Some efforts are made to show that decent officers exist — an internal review process; a good Samaritan — but the impression is one of a force beyond retribution, of officers wreaking havoc on black teenagers for the rush of power, for the thrill of revenge, for the fun. The young actors make for a powerful ensemble — Boyega, Poulter, a restrained Mackie and the young motel guests. The script, written by Bigelow collaborator Mark Boal, focuses less on character development and more on atmosphere. It is, from beginning to end, an overwhelming immersion and a stunning, pulsing exemplar of modern American cinema. This is how we should, and must, see Detroit.

SPOTLIGHT: AN INCONVENIENT SEQUEL: TRUTH TO POWER WHEN THE PRODUCERS AT Participant Productions, the company behind the 1996 documentary film An Inconvenient Truth, began considering a sequel to the movie about the dangers of climate change, they reached out to directors/ producers Bonni Cohen and Jon Shenk, veteran filmmakers who would be capable of following up on the Oscar-winning original. “The original director, Davis Guggenheim, thought it would be important to bring a new team on board to perhaps find a new way of looking at the story,” explains Shenk in a recent conference call with Cohen. The movie opens at the Cedar Lee Theatre on Friday, Aug. 11. “We spent an entire day with [Vice President] Al [Gore], getting a 10-hour version of the slide show, which is an amazing experience. We wanted to spend a lot of time with Al, filming him behind

the scenes as he did his climate work and traveled to Paris and the Philippines and Greenland as he tried to solve the climate problem.” The directors noticed there was natural drama going on as the cost for wind and solar had come down so much that it made renewable energy a viable option. “It was a real chance for the world at large to start moving toward solutions for the climate crisis,” says Shenk. In the sequel, Gore tirelessly travels the globe, spreading his message that saving the planet from climate change should be a priority for both developed and developing countries. Through it all, the specter of soon-to-be-President Trump looms like a dark cloud, and we see snippets of Trump badmouthing environmentalists throughout the movie.

At one point in the movie, Gore even meets with Trump behind closed doors, entering the hallowed halls of Trump Tower for a meeting with the man. “They did meet a couple of times,” says Shenk. “He has a relationship with Ivanka [Trump], as well, who has shown interest in pursuing the right path for climate change. Early on, he was reasonably hopeful that the President might stay in the Paris Treaty. He thought there was a 50-50 chance he might go that way. Unfortunately, he didn’t.” In fact, the filmmakers had to scrap the movie’s original ending when news broke that Trump had pulled the United States out of the Paris climate agreement, a decision likely to have catastrophic results when it comes to containing the dangerous greenhouse gasses contributing to climate change.

“We have to avoid the impulse to be reactive to everything that this administration seems to do,” says Cohen when asked about the movie’s new ending. “We thought long and hard about how to respond to the various promises that Trump has made about the environment. We make quick work of it at the end of the film. It’s the tragedy of where we are.” The movie, however, still provides a sense of hope at the conclusion. “We quickly turn toward the good work of the American people,” says Cohen. “People are even more galvanized since Trump pulled out of Paris. The film ends on a hopeful note. We witness mayors and governors and ordinary citizens standing up and saying they will lead on the issue.”

sallard@clevescene.com t@scenesallard | clevescene.com | August 2 - 8, 2017

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EAT

Photo by Emanuel Wallace

ALL THE NAPKINS The food is messy at Boiler 65, (and that’s good), but so is the service By Douglas Trattner I WAS RETURNING TO MY BOOTH after a quick trip to the washroom when the owner intercepted me. “So how was everything,” he inquired. “How was the customer service?” “I think you know,” I responded without missing a beat. I directed his attention to our table, which was nearly concealed from view beneath a quagmire of plastic bags, buckets of discarded seafood shells, empty beer cans and wadded-up paper napkins, despite the fact that we had settled our tab 15 minutes prior. The trending seafood-in-a-bag concept, as demonstrated by the freshly minted Boiler 65 and others like it, offers diners a wildly fun, social and atypical way to enjoy seafood, but the table looks like a bloody massacre when you’re done. The quicker the table is bussed, the better for all concerned. But our server never bothered — not after we told her that we were finished eating, not after we requested the check, not after we paid it, and not even after some of us washed up in the restrooms. The owner did, in fact, know. He reported being stymied by the same lack of willing and able frontof-house staffers that seems to be dogging other operators. Then again, how difficult is it to train servers to, well, serve. Here, let me

offer some guidance: bring water when it is requested; explain how the unconventional menu works; automatically deliver seafood crackers, forks and wetnaps with food; and for the love of all that is holy, bus the damn table. Despite the comically amateurish service (also, in truth, partly because of it), our rowdy foursome still managed to have the time of our lives. This concept is trending — both locally and nationally — because it transforms the typically sober seafoodeating experience into a casual, playful and interactive one. Where else can diners don plastic bibs and tear into head-on shrimp, twist the tails off crawfish, and crack into crab legs without the humiliation of entering a Joe’s Crab Shack? For the uninitiated, Boiler 65 sells seafood by the pound, which gets steamed, tossed in a bag with one’s choice of spice mixtures, and delivered to the table in large plastic

shrimp ($20 per pound), King crab legs ($38 per pound), snow crab legs ($22 per pound), crawfish ($15 per pound) and mussels ($13 per pound). Add-ons like corn ($3), potatoes ($3) and sausage ($5) are a great idea, but appetizers like fried calamari ($11) and fried catfish nuggets ($9) are superfluous, especially when they arrive 50 minutes after ordering and are delivered alongside your mains. The Boiler does not offer halfpound options that would allow for better customization, but they do sell a pair of combo bags that mingle shrimp, crawfish and snow crab legs in various weights and measures. We opted for the Bomb Diggity sauce, a fire engine-red, oil-slicked potion with delicious flavor and aggressive, but not oppressive, heat. For the full flame, upshift to Hot or Fire. A preferred — or at least acceptable — technique is to dump the contents of the bag onto the table; hence the informal label for the genre as a “seafood dump.” If you

THE BOILER 65 6410 DETROIT AVE., 216-862-5893

bags. Tables are clad in flimsy plastic toppers, diners are shielded by plastic bibs (and gloves, if they choose), and go to town on items like head-on shrimp ($15 per pound), headless

attempted that with these bags, you would be swimming in excess sauce and buying new shoes. The crawfish were tiny but fresh, the snow crab sweet and easy to eat,

and the head-on shrimp meaty but occasionally overcooked or soft from age. As the meal progresses, the heat builds, the belly fills, and the mess begins to overtake the landscape. As for that landscape: It’s cavernous, but feels a bit empty and unfinished. In fact, a sink in the lady’s restroom still had no faucet installed. There’s a cocktail menu with items like Gin and Juice (gin, pineapple and lime), Code 65 (cognac, pineapple, lemon and ginger), and Tokyo drift (vodka, Sprite, blue raspberry and orange). Some cocktails are offered in playful Capri Sun-style pouches, but according to our server, “You pay $3 extra for the bag but don’t get more booze.” The flipside of that cocktail menu is blank, perhaps an ideal location to list the beer and wine selection so that the servers can stop reciting it. Seafood-in-a-bag might be informal and entertaining, but it is not inexpensive. The best experiences are facilitated by easy-going servers who keep the cold beer flowing, the napkin dispensers full, and can walk newbies through a concept that is largely foreign to most diners. When Boiler 65 gets to that point, our rowdy foursome will be the first in line.

dtrattner@clevescene.com t@dougtrattner | clevescene.com | August 2 - 8, 2017

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EAT

FROM THE GROUND UP La Posada brings more than just beans and rice to the Latin table By Billy Hallal

Sit down with your guests. Advertise with SCENE. Call 216-241-7550 for more information.

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| clevescene.com | August 2 - 8, 2017

WITH ITS DARK CARPETING and chandelier lighting, La Posada in Old Brooklyn feels less like a restaurant and more like a church banquet hall. Which is exactly what it is: The space is rented from St. Mary’s Byzantine Catholic Church. La Posada has been open for a month now. The food is great, but the church-basement feel doesn’t exactly provide the best atmosphere. That’s all right with owner Jose Melendez, though; he’s used to building from the ground up. Melendez is an affable owner. On the day we talk he’s dressed in shorts and an Ohio State T-shirt; his daughter will be starting there this fall on a full ride. His journey to the restaurant business has been unexpected and, at times, tumultuous. He first learned about cooking from his mother and grandmother in Puerto Rico, “oldschool ladies with that traditional kitchen experience.” When I ask what brought him to Cleveland, he says, “Hard divorce.” He was 14 when his parents split and his aunt convinced his mother to move to Cleveland. The plan was for young Jose to learn English at Lincoln West High School and return to Puerto Rico. “But then I fell in love,” he says. He attended Cleveland State for chemical engineering, got married and became the father of two daughters. How, then, did he end up living out of his car? “Hard divorce.” To earn money for an apartment, Melendez took a gig catering for Catan’s Fashion in Strongsville. He was a hit. “I never realized how good a chef I was until I was exposed to the general public,” he explains. More catering jobs helped him get a place and a job selling cars. “Food saved me,” he says. Selling cars is how he met Cristina

Jaramillo. Jaramillo, who was born in Mexico, had been through some hard times herself. She’d been married to a man from Colombia, and though the marriage didn’t work out, she inherited some useful recipes. Jaramillo shared Melendez’ passion for food, even going so far as dreaming up a “Latin buffet instead of a Chinese one: one line for Peru, one line for Puerto Rico, one line for the Dominican Republic.” Now that Jaramillo and Melendez are married, that buffet is set to become a monthly staple at La Posada. Melendez calls his wife “someone who wants to do something with her life.” She helped develop many of the fusion elements that set La Posada’s menu apart. She even came up with her own sauce, a variant on traditional, flavorful cilantro-andavocado-based Colombian sauces. Melendez says he’s working on finding a larger venue with a liquor license where he can pair his food with beer and serve Jaramillo’s margaritas, which he calls “the best in Cleveland.” Melendez, who also serves as the Spanish-American Committee’s board president, is an advocate for increased diversity in Cleveland’s restaurant scene. “Cleveland needs to be more welcoming to Hispanic business owners,” he says. ”If we open up more Latino businesses, we can help the families and help the city.” He suggests a partnership with the Tri-C culinary program to locate and train qualified chefs and help them into the business. La Posada’s goal, says Melendez, is to “bring something other than just the regular rice and beans.” Mission accomplished.

scene@clevescene.com t@clevelandscene

IT’S ALL ABOUT THE CHICKEN, FISH,RIBS & OUR OWN 13 GOURMET SAUCES!

★★★★★ “Worth the stop & future excursions from the Near West Side in the future.I can’t find one thing wrong with V’s and the woman taking care of us was just the nicest and personable person ever. For all the food we ordered it was very reasonably priced and held up well on the ride home/ Stopping here in the near future is in order as it puts lousy KFC’s, Popeyes, etc to shame in terms of quality, price, and customer service.” - Jesco D. ★★★★★ “I went here after the good reviews and I was impressed. I had the regular/mild batter. The chicken was light, crispy and delicious. The rice and greens is ingenious! They have

a little kick to them but quite tasty. They were buttery and lightly sweet. I enjoyed my meal and will return in the future.” - Ladonna G. ★★★★★ “This is some Seriously delicious chicken. I have lived very close, and almost drive by there daily. Thought it was part of the convenient store, so I would not go there. After reading the reviews and being extremely hungry, I took the plunge, and I am more than glad I did. I will be coming here so much more.” - Stephanie L. ★★★★★ “It’s no joke, best fried chicken in Cleveland. They’ve got plenty of sides, but don’t kid yourself, it’s all about the chicken. While there’s a variety of flavors the staff might not give you many clues past identifying the individual flavors. Luckily there’s a brief explanation of them at the restaurant.” - Noah F.

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EAT

bites Photo by Douglas Trattner

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| clevescene.com | August 2 - 8, 2017

WAY BACK IN OCTOBER WE shared the news that Oak & Embers Tavern, a 3-year-old barbecue joint in Chesterland, would be opening a second location in Hudson (7774 Darrow Rd.). The plan was to be up and smoking by the holidays, but Christmas, Hanukah and New Yearâ&#x20AC;&#x2122;s Day all came and went without a single baby back rib. The issue, notes owner Marc Garofoli, was the property, which for 40 years operated as Marcelitaâ&#x20AC;&#x2122;s Mexican restaurant. â&#x20AC;&#x153;Thereâ&#x20AC;&#x2122;s not much of the original structure left,â&#x20AC;? he explains. â&#x20AC;&#x153;It appears that they would put on a new addition to the building as they made a proďŹ t. Itâ&#x20AC;&#x2122;s pretty much a brand new building from the foundation up.â&#x20AC;? Over time and over budget, but come the ďŹ rst week of August, Oak and Embers should be open to the public. With construction in the rearview mirror, the shiny new facility can seat approximately 350 guests inside the airy 8,500-square-foot bar and dining room, plus patio. Guests can look forward to slowsmoked chicken wings, baby back ribs, beef brisket, pork shoulder and sausages, all of which will be exiting Garofoliâ&#x20AC;&#x2122;s new hickory-fueled

Southern Pride smoker, a $40,000 rig. â&#x20AC;&#x153;I should be able to do about 3,000 pounds a night,â&#x20AC;? he says. â&#x20AC;&#x153;Sheâ&#x20AC;&#x2122;s a monster.â&#x20AC;? Management says that the menu will be almost identical to the original spot, but will include more kid-friendly meals and sides. Meanwhile, Garofoli adds, the Chesterland shop (8003 MayďŹ eld Rd., 440-729-4030) continues to exceed his and his wife and partner Gretchenâ&#x20AC;&#x2122;s expectations. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s going fantastic,â&#x20AC;? he says.

RICKâ&#x20AC;&#x2122;S CAFE NOW CLOSED, WILL REOPEN AS NEW EATERY IN COMING MONTHS Partners Michael Schwartz and Shawn Monday had every intention of keeping Rickâ&#x20AC;&#x2122;s Cafe alive and open through the end of summer at least. The team, which also operates the restaurants One Red Door, Flip Side and 3 Palms, purchased the iconic 40-year-old Chagrin Falls eatery last month with plans to eventually install a new concept. â&#x20AC;&#x153;This is the ďŹ rst time we ever purchased an existing restaurant,â&#x20AC;? says Schwartz. â&#x20AC;&#x153;We wanted to keep it going because summer,

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financially, is great. Plus, we wanted to introduce ourselves to the community, talk to guests, learn what items people would never want to see leave the menu, and evaluate the staff.” Management and staff all agreed on a late-summer closing, adds Schwartz, but a rash of walkouts and no-shows from employees forced his hand. “We don’t want to give bad service, that’s not who we are, so we made the decision to close now,” he explains. Schwartz says that it will take him 60 to 90 days to make all of the necessary improvements to the old building before launching his and Monday’s new concept, which he intends to keep under wraps for the time being. “I have a very clear vision of what I plan to do,” he says. “It will remain a neighborhood gathering place that will incorporate some of the flavors found at the places that we currently have in our other facilities like One Red Door, 3 Palms, as well as a couple of Rick’s classics like the ribs and coleslaw.” The crew will transform the dining room with a lot of natural, reclaimed materials like wide-plank floors, live-edge timber bar tops, and exposed brick. Crews will also update the bathrooms, expand and improve the kitchen, and jettison the six or seven microwave ovens that did much of the “cooking.” “It will have an earthy alwaysbeen-there feel,” Schwartz says of the new restaurant.

NOW OPEN: XINJI NOODLE BAR IN OHIO CITY Back in January we shared the news about Shuxin Liu’s plans to open Xinji Noodle Bar, a Japanese-

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style ramen shop at 4211 Lorain Ave. Following a quiet soft opening, the Ohio City eatery opened to the public on July 26. Liu, a cook of two years at Momocho, has created an attractive space on Lorain Avenue that complements nearby businesses like Platfom, The Grocery, Herb’n Twine, the Plum, Jack Flaps, Forest City Shuffleboard and Ohio City Provisions. Blonde wood countertops, open shelving and contemporary lighting combine to create a peaceful, elegant room. The concise menu features Korean fried chicken, steamed buns filled with pork belly, braised pork or fried chicken, rice bowls topped with smoked eel or pork chops, and a half-dozen noodle bowls such as pork miso, dan dan noodle in chicken broth, and a vegan mushroom broth with nori. “Noodles are my favorite thing,” Liu told Scene. “I’ve wanted to do a noodle bar for six years. In the beginning, we will be highly focused on ramen, but will branch out to Southeast Asian style noodle and Northern Chinese style noodle.” Also, he intends to expand the menu from just ramen, Korean-style fried chicken and steamed buns to include small entree dishes as he grows the business. The 100-seat restaurant features an open kitchen and seating in a small dining room, at the bar, and at window seats facing Lorain. Xinji, Liu explains, means “new opportunity.” The restaurant will be dinneronly Tuesday through Saturday, but will offer an Asian-inspired Sunday brunch.

dtrattner@clevescene.com t@dougtrattner

| clevescene.com | August 2 - 8, 2017

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A SENSE OF CAMARADERIE ’80s pop stars Katrina Leskanich and Paul Young discuss the Retro Futura Tour By Matt Wardlaw HEARING KATRINA LESKANICH, of Katrina and the Waves fame, describe it, the current Retro Futura tour — a nostalgic trip back to the new wave and pop hits that dominated the radio in the ’80s — sounds like a grueling trek that will keep all involved moving at a steady pace. But, she adds, it’s an “absolute blast” that she’s thrilled to be a part of again, after playing her first American shows in more than 25 years during the 2014 run of Retro Futura. “Yeah, we’re all stuffed onto buses together and it’s a long tour. It’s practically 30 dates, and it’s all over the place,” she says via phone. “I think in those 30 dates, we’ve got about three hotels, but I mean, it’s just a trip and a blast.” Soulful British vocalist Paul Young will be part of this year’s tour, playing his first shows in America in more than two decades. Retro Futura also features headliner Howard Jones, plus Modern English, Men Without Hats and English Beat. We spoke with both Young and Leskanich in advance of

their upcoming appearance at Hard Rock Live. What sort of history do you have with some of the other acts on the bill for this tour? Did you know some of these folks back in the day? Young: I’ve done two or three tours with Howard, similar kinds of things, a package tour. I’ve done quite a few things with Katrina in Germany. I’ve gotten to know her very well. We’ve spent many a night at the hotel bar. She’s a good old rock ’n’ roll girl. Leskanich: What’s really interesting is that back in the day, there was something about all of the ’80s artists. A lot of the artists were very shy and kind of lacking in confidence. All of these artists, I’ve worked much more with, probably over the last five years, than I ever did in the ’80s. It’s kind of weird, bumping into people now, when maybe in the past, we’d done TV shows together or something, but you know, back in the day, people just kind of kept to themselves. We didn’t really talk to

other artists and nobody kind of talked to each other. People are much more friendly now. I think possibly we feel we’ve nothing to lose or there’s a sense of camaraderie. We all made it. We’re all in the same boat. So we have a lot of respect for each other. I think we also know, I think we’re all aware, that our days are probably numbered doing this. You know, there’s only so long that a person can carry on doing this. I know that Tina Turner went until she was 65, but we can’t all be Tina. Paul, you were performing a cover of David Bowie’s “Starman” during some of your shows last year. You’re obviously a fan. What sort of influence did he have on you? Young: David Bowie came from art school, so he approached music as an art form. I think there’s a big difference between artists like that, because you’ve got Bowie, you’ve got Peter Gabriel, those kinds of artists that approach music from a slightly different angle. I was just a regular kid, and I went to school, I didn’t go

to college or a university, I just got a job and started working. I was drawn toward the earthiness of R&B and soul. The reason why I liked Bowie so much is that he came to music from a completely different angle. So when I listened to his records, I was learning a lot. His approach was totally different, diametrically opposite to mine. My idea with No Parlez and The Secret of Association, the second album, and my approach to singing came from soul and R&B and that is a sound that’s old fashioned. So I thought, “Well, I’ll keep what I’m doing to be exactly the same. Musically, I’ll change everything that goes on around me.” That was the kind of influence that I got from Bowie, really. Let’s talk about a couple of your memorable hits. Paul, obviously you had a huge hit with “Every Time You Go Away,” which went all of the way to No. 1. And Katrina, there was a moment where you couldn’t escape “Walking on Sunshine.” It was everywhere. | clevescene.com | August 2 - 8, 2017

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MUSIC Young: When I was recording the second album, for some reason, I got very deep into the album tracks, first and foremost. Covering “Soldier’s Things” by Tom Waits and a song that a friend of mine wrote called “Standing on the Edge.” When we played what we’d got to the manager, he said, “this album is too adult, it’s too dark.” He said, “Germany’s your biggest market and they are not going to understand this, because you’re in the pop magazines and they’re not going to like this album at all. You need another couple of tracks that will pull the people in.” So we went back to some of the songs we’d listened to and “Every Time You Go Away” was one and “I’m Gonna Tear Your Playhouse Down” was another, both from the same publishing company. And then I found out that the girl who actually suggested “Every Time You Go Away,” she was the secretary and she used to be a big fan of the band I was in before I went solo called the Q-Tips. So it was actually her idea. And then to get a No. 1 in America — I think almost a week after appearing at Live Aid, I was No. 1 in America. I thought, “That’s it; it can’t get any better than this.” Leskanich: I think that obviously our goal was to be able to make music and not have to do our other jobs. I mean, I washed dishes at a chow hall on the military base for five years. That was getting really old. [Waves guitarist and songwriter] Kimberley [Rew] was a postman, [bassist] Vince [de la Cruz] drilled holes in bowling balls on the base, and our drummer [Alex Cooper], he used to carry dead bodies around at the morgue. So you could imagine that we really wanted to

song, “Walking on Sunshine.” Leskanich: When Kimberley Rew presented the song, it was probably about ’81 or ’82, and he rode his bicycle 27 miles from the place called Bury St. Edmunds in England to a little village in Norfolk, England, called Feltwell, where we found this projection room that belonged to this dilapidated disused cinema. We just put up the egg boxes and we would just go in there and rehearse and Kim brought this song; he was very, very sick with bronchitis at the time. He played the song to us and it was a very different song for us. Because we didn’t do a lot of happy songs. But there was something about it and after we’d routined it a couple of times and played it a few times, the bass player, Vince de la Cruz, he just said, “God, that song’s irritating. I can’t get it out of my head.” I said to Kim about four days after we’d been rehearsing, “You know, Kim, that ‘Sunshine’ song, it just keeps going through my head.” We weren’t sure if that was a good thing or an annoying thing. I guess it really didn’t matter in the end, because it had whatever it needed to have to do as well as it did. Paul, how did you get involved in the Freddie Mercury tribute concert in 1992? Young: I think [Queen’s] management got involved and the word went out to everyone that they were going to be doing a concert and they wanted to get as many guest artists as possible. My manager knew their management really well, so I think I was just one of many artists mentioned. I was actually on tour in America and my manager was chasing me, saying, “You need to choose a song.” I remember him calling me and saying, “We’re down

RETRO FUTURA TOUR 2017 8 P.M. SATURDAY, AUG. 5, HARD ROCK ROCKSINO NORTHFIELD PARK, 10777 NORTHFIELD RD., NORTHFIELD, 330-908-7625. TICKETS: $52.50-$79.50, HRROCKSINONORTHFIELDPARK.COM

run screaming from our day jobs. We really wanted to make it. Obviously, when you do make it, it becomes just a circus. Because there are demands on you that you had no idea would come. Like talking to journalists and television shows, you know, all of the miming and photo sessions. The time that it takes to do all of the extra stuff, especially when a major label gets involved, you become a part of a huge machine. You know, at the end of the day, they are Kellogg’s and you are Corn Flakes. Song-wise, tell me about the first time that you actually heard the

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| clevescene.com | August 2 - 8, 2017

to five songs now.” He named the five songs and he said, “You’ve got to choose one now.” He read off the list and I went, “Radio Ga Ga,” that’s the one. And it worked really well, actually. But Freddie’s got such a high voice. So I asked them to bring it down by a semitone, so I could just about get the top notes, which really fucked up Brian. When he started the solo, he was just a semitone out for a split second, so he was probably cursing me at that moment.

scene@clevescene.com t@clevelandscene

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37

MUSIC A CATHARTIC EXPERIENCE Indie rockers the Drums exorcise some serious demons on their new album By Elizabeth Manno ON THE SURFACE, THINGS WERE going well for the New York-based guitar pop band, the Drums. They were selling loads of albums and touring the world, and frontman Jonny Pierce had become an idol for all the misfit kids who listened to bands like the Smiths or Joy Division. However, during the height of the band’s success, the sharply dressed, robotic-dancing Pierce was often anxious, lacked self-confidence and had many dark secrets buried inside. After the departure of one original band member after each of their three albums, and a crazy divorce, one would think Jonny Pierce would have crumbled under the spotlight or at least taken several years off. Pierce, who is gay, also remains traumatized by his extreme and abusive religious upbringing, which left him feeling unaccepted and unloved by his own family members, who disapprove of his sexual orientation. Instead of wallowing, Pierce responded by making Abysmal Thoughts, the Drums’ most musically ambitious and lyrically honest record to date, not to mention one of the best albums of 2017. How did he pull it off? “I was just in this ‘fuck it’ mode,” he says via phone. He brings the band to the Grog Shop Friday. “I’m just going to say how I’m feeling and once I made that decision, to just vomit out how I’m feeling, it all just started writing itself. This album really just presented itself to me, almost as a gift, you know. It’s been really exciting to say what I want to say and say what I need to say.” Pierce says the earlier era of the Drums (their first EP and first few albums) had a more cinematic sound, thanks to former bandmate Jacob Graham. “Jacob has always leaned toward innocence and sort of child-like songs,” says Pierce. “I remember once he told me he was never going to read the newspaper, he just told me it depressed him.” According to Pierce, his former bandmates influenced not only his songwriting but also the way the band dressed, which was such a huge part of its identity. “When the Drums started, we were wearing 1950s Americana, James Dean-style clothes,” Pierce says. “It was

38

never fully me, but Jacob really liked that aesthetic and, at the time, I was pretty impressionable.” Even though Pierce was the main songwriter, he was never comfortable publically admitting that. He says

where both his parents were pastors of a Pentecostal church, leading anti-gay rallies and strictly prohibiting Pierce from listening to anything other than Christian music. “When you’re told you’re not loved, and you’re told that

THE DRUMS, NE-HI, THE SONDER BOMBS 9 P.M. FRIDAY, AUG. 4, GROG SHOP, 2785 EUCLID HEIGHTS BLVD., CLEVELAND HEIGHTS, 216-321-5588. TICKETS: $8-$18, GROGSHOP.GS

that confusion and self-doubt marred the early years of the Drums. “I think the whole reason I started the Drums was because I lacked selfconfidence,” he says. “I really, truly felt that no one would care if it was just me.” There was also Pierce’s apprehension to speak publicly about being gay. “When the band started, I was afraid to tell people I was gay,” he says. “I would shut down in interviews if something like that came up.” Pierce grew up in upstate New York

| clevescene.com | August 2 - 8, 2017

you’re sick for years and years and years growing up, when that is the vibe for that long, you need a lot of time to get rid of all that,” he explains. “It’s traumatic. There’s no other word for it.” Earlier this year, however, he decided he would present himself on his own terms. “I’m dressing how I’ve always wanted to dress, making music videos how I’ve always wanted them to look,” he says. “I don’t hate my past in this band. I appreciate every step of the

way, but this is the first time I can fully say that, ‘This is me. This is what I have to offer. This is what I want to offer.’” Lyrically rooted in reality, Abysmal Thoughts combines the classic reverbsoaked guitar pop that fans know and love with new instrumentation like a saxophone and a lap-steel guitar. One of the album’s singles, “Head of the Horse,” a catchy guitar and synth song, comes off as highly autobiographical as it opens with a sample of Pierce on a Christian radio show when he was a kid. The painfully transparent track contains lines that refer to his religious upbringing (“have a headache/well grab the oil/if you complain, well that’s the devil talking”) and his parents’ refusal to accept him (“I fell in love and told them I was happy/my dad hugged me and said this would be the last hug”). Then, there’s the devilishly infectious first single, “Blood Under My Belt” and “Under the Ice,” which has one of the Drums strongest guitar riffs yet. Moving further down the track listing, the songs become increasingly experimental. “Rich Kids” is a seething attack on spoiled trust fund kids. The album’s title track revels in its own misery, with layers of Pierce’s uplifting lead and backing vocals, cowbells, whistles and a choir. The almost Sgt. Pepper-like track is nothing short of a celebratory symphony of sadness, and it’s the Drums’ most inventive track thus far. Pierce describes the whole process of making Abysmal Thoughts as a cleansing and reinvigorating one. “Every song has been a therapy session,” he says. “I’ve been getting so much encouragement from fans and now the album is out, it’s resonating with people and we’re selling out tours, which has been so exciting. I just feel for the first time in my life, a little bit of confidence in myself. “You know what I’ve learned?” Pierce asks. “The key to everything, and it’s gonna sound like a goddamn bumper sticker, truly is just listening to your heart.”

scene@clevescene.com t@clevelandscene

| clevescene.com | August 2 - 8, 2017

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MUSIC

THE ONES THAT LIKE HIM Country singer Brantley Gilbert talks about his connection to his diehard fans By Jeff Niesel SEVERAL YEARS AGO AS HE attempted to launch a career as a country singer and songwriter, Brantley Gilbert tried moving to Nashville. He says he only lasted about a year. It wasn’t that he didn’t like the Music City. Rather, he felt he needed to stay connected to the people living in his Jefferson, Georgia, hometown. “There’s nothing wrong with Nashville or the people there,” he says via phone. When we spoke to him, he was in the midst of a summer tour, doing the “interstate thing,” as he puts it, to support his latest endeavor, The Devil Don’t Sleep. He performs at Blossom on Friday. “For me personally, I had to be at home. I had to be around the people and places I started writing about. I think it’s also necessary to have them there to hold you accountable. If they’ve been around you your whole life, they’re not scared to tell you what’s up.” Gilbert, who issued his debut, Modern Day Prodigal Son, in 2009, came into the spotlight after country superstar Jason Aldean turned tunes such as “Dirt Road Anthem,” a song Brantley co-wrote with Colt Ford, and “My Kind of Party,” into chart topping hits. Gilbert, who writes his own material, says he always wanted to play his own songs. Playing cover tunes, he says, never appealed to him. “I didn’t really want to learn other people’s songs,” he says. “I don’t know if that was creativity or laziness, but I just felt like I wanted to do my own thing. I wanted to know a couple

of chords, so I could start making songs of my own. There’s so many acts that have had an influence on me that I can’t put my finger on one. Every interview I do, I get asked that question in some form. I always say that everything I ever listened to has inspired me in some way. It may have inspired me to not do something remotely close. [In terms of a specific influence], Skynyrd is one of my favorite bands.” One review of Gilbert’’s debut, A Modern Day Prodigal Son, says the album makes it clear that Gilbert doesn’t play by Nashville’s rules. “I think that’s probably the case and pretty accurate for me as a whole,” he says when asked if that’s an accurate assessment. “We haven’t ever done that.” Gilbert would have platinum hits with Halfway to Heaven and Just as I Am. But when it came to writing the tunes for The Devil Don’t Sleep, he says he didn’t think about album sales. “I say this in all honesty that I’ve

been doing. If it ain’t broke, don’t fix it. I don’t want to get so caught up in the business aspect that I lose passion for the creative aspect.” He refers to his new album as “just another chapter” in his life and says producer Dann Huff helped coax the best material from him. “The Weekend” features arena-filling drums and seems tailor-made for rabid sing-alongs, and the guitar riffs in songs such as “You Could Be That Girl,” “Tried to Tell Ya” and “It’s About to Get Dirty” sound so gritty, they would fit on most rock albums. “To be completely honest, we’ve had guitar work on all of our records,” Brantley says. “The guy that’s been doing it, Jess Franklin, is a fricking monster. I love him to death. He lives down in Georgia. He was actually a singer in another band when I met him. I had heard of him. He came out and opened for us one night. I didn’t approach him to hire him right off the bat. I just liked him as a fan, and our relationship developed from there.”

BRANTLEY GILBERT, BLACK STONE CHERRY, TYLER FARR 7 P.M. FRIDAY, AUG. 4, BLOSSOM, 1145 WEST STEELS CORNERS RD., CUYAHOGA FALLS, 330-920-8040. TICKETS: $24.75-$49.75, LIVENATION.COM

never been much of a numbers guy,” he says. “It’s great when they tell me that a record went platinum. The way record sales are right now, no one knows what’s up, down or sideways. You take what you can get. Streaming is a thing right now. It’s hard to accurately meter [success]. I’d rather keep up with trying to do what I’ve

Gilbert’s fans are so incredibly loyal and passionate that the musican refers to himself as a “blessed dude” to have such a faithful following. “I’m forever thankful for that,” he says. “I’ve been writing about things that are close to the chest, and these people are like-minded folks. I still live where I grew up.

There’s something about that keeps me grounded. We speak the same language.” Gilbert, who recently celebrated five years of sobriety, says staying clean (at least to a degree) has given him a new sense of clarity. “I use the term ‘sobriety’ loosely, but not drinking and doing the things I was doing have meant another life entirely,” he says. “It’s influenced the way I walk and talk and everything across the board seems like it’s changed for the better. I feel like some of my lines and rhymes are more calculated. I feel like I’m putting songs together better now and singing what I’m thinking better.” While the term “authenticity” gets bandied about often these days, it applies to Gilbert’s music if only because he writes his own damn songs. As he sings in the twangy “The Ones That Like Me,” a song in which he pronounces his allegiance to his fans, “the ones that need me got me.” “In this day and age, most folks don’t know if you write your own songs,” he says. “I don’t think there’s anything wrong with folks who cut outside songs. I think it’s absolutely necessary. For most of the songwriting buddies I got, if it weren’t for that, their songs would never have been heard. For me, [writing original material] is important for me and for the fans as well.”

jniesel@clevescene.com t@jniesel

| clevescene.com | August 2 - 8, 2017

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| clevescene.com | August 2 - 8, 2017

LIVEWIRE WED

08/02

Mary J. Blige: Strength of a Woman Tour/Lalah Hathaway: In recent years, young pop stars like Hailee Steinfeld and Justin Bieber have taken to the airwaves with singles called “Love Myself” and “Love Yourself,” respectively. But it makes a whole lot more sense for an artist like Mary J. Blige to tout a song titled “Love Yourself,” a track that can be found on her latest album, Strength of a Woman (also the name of her current tour). The track isn’t a thinly veiled take on self-pleasure or telling others to get lost; here, you believe her advice that life is about learning to love yourself before anything else can come. She’s a grown-ass, 46-year-old woman, after all. Ever since bursting onto the scene with 1992’s What’s the 411?, Blige has grown and matured in her musicality. Yet this Queen of Hip-Hop Soul remains, thankfully, as honest and as strong as ever. (Laura Morrison) 8 p.m., $102.50-$228. Hard Rock Rocksino Northfield Park. 10 X 3 Singer Songwriter Showcase hosted by Brent Kirby: 8 p.m. Brothers Lounge. Bim’s Birthday Party with Suspicions/Obnox/Cereal Banter: 9 p.m., $5. Now That’s Class. Greg Cartwright/Jason Look: 8:30 p.m., $8. Beachland Tavern. Kevin Devine & The Goddamn Band/The Dig/Runaway Brother: 8 p.m., $13 ADV, $15 DOS. Mahall’s 20 Lanes. Jerry Douglas & the Earls of Leicester: 8 p.m., $30-$40. The Kent Stage. Travis Haddix (in the Supper Club): 6 p.m., free. Music Box Supper Club. Korn/Stone Sour/Skillet/Yelawolf/ Ded: 7 p.m., $25-$74.50. Blossom. Little Dragon/Xavier Omar: 8 p.m., $25 ADV, $30 DOS. House of Blues. Shawn Mendes: 7:30 p.m., $19.50$67.50. Quicken Loans Arena. John Pizzarelli Trio: 7 p.m., $40. Nighttown.

THU

all the live music you should see this week

08/03

Lyle Lovett: He last dropped a studio album in 2012 (Release Me), harboring both his iconic sound via a plethora of cover tunes and a

Mary J. Blige, also known as the Queen of Hip-Hop Soul, plays Hard Rock Live. See: Wednesday.

not-so-subtle jab at the trappings of life on a record label), but Lyle Lovett remains as busy as ever on the road. He’s struck out on his own in the ensuing years, writing and touring with a vigor similar to his peak years. Do check out “Garfield’s Blackberry Blossom” and “White Boy Lost in the Blues” from 2012’s Release Me. Pontiac, from 1990, remains Lovett’s songwriting high-water mark. “If I Had a Boat” is immersive and delightful; “I Loved You Yesterday” casts his dolorous strumming amid the sea of contemporaries that came up alongside him (Steve Earle, Dwight Yoakam, etc.). Here in 2017, Lovett’s still a force. If his last show at the Rocksino is any indication, he’ll bring the passion to Cain Park tonight. (Eric Sandy) 8 p.m., $40 ADV, $43 DOS. Cain Park. Jocelyn & Chris Arndt/You’re Among Friends: 8:30 p.m., $8 ADV, $10 DOS. Beachland Tavern. Jonn Del Toro Richardson (in the Supper Club): 8 p.m., $10. Music Box Supper Club. Flesh Narc/Think Skin/Iron Oxide/ Dead Peasant Insurance: 9 p.m., $5. Now That’s Class. Galactic Empire/Danger Kids: 6 p.m., $14 ADV, $17 DOS. Agora Ballroom.

Chris Hatton’s Musical Circus (in the Wine Bar): 8 p.m. Brothers Lounge. Jimmy Herring and The Invisible Whip: 8 p.m., $25 ADV, $28 DOS. The Kent Stage. Jam Night with the Bad Boys of Blues: 9 p.m., free. Brothers Lounge. Leslie Lewis Quartet with Jack Schantz: 8 p.m., $12. Bop Stop. John Pizzarelli Trio: 7 p.m., $40. Nighttown. School of Rock Allstars/Major Minors/The Shadow Division/ Untapped: 7 p.m., $10. Grog Shop. We Banjo 3/The Auld Pitch: 8 p.m., $22 ADV, $25 DOS. Music Box Supper Club.

FRI

08/04

Black Death Resurrected/Sauron/ Lethal Shock/Demontage/ Hell and Back/Sleeploard: 6:30 p.m., $10 ADV, $14 DOS. Agora Ballroom. Collideascope 10th Anniversary Show/Sofia Palma: 9 p.m., $10. Musica. Paulo Costa Trio: 8:30 p.m., $10. Beachland Tavern. The Drums/Ne-Hi/The Sounder Bombs: 9 p.m., $16 ADV, $18 DOS. Grog Shop.

The Fixx: 8 p.m., $30-$40. The Kent Stage. The Front Porch (in the Wine Bar): 8 p.m. Brothers Lounge. Brantley Gilbert/Black Stone Cherry/Tyler Farr: 7 p.m., $24.75$58. Blossom. Glenn Holmes Quartet: 8 p.m., $12. Bop Stop. Motown & More with Nitebridge (in the Supper Club): 8 p.m., $10. Music Box Supper Club. Louis Prima Jr.: 8 p.m., $22 ADV, $25 DOS. Music Box Supper Club. Red Pony Clock/New Planet Trampoline/Perfect World: 9 p.m., $7. Now That’s Class. Justo Saborit: 8:30 p.m., $10. Nighttown. Moss Stanley: 10:30 p.m., free. Nighttown. Summer Chilled with E-V/MIMO/ Spruce: 9:30 p.m., $13. House of Blues. Vicious Cycle - A Lynyrnd Skynyrd Tribute: 8 p.m., $17.65. Hard Rock Rocksino Northfield Park. Michon Young and The Roc Steddy Band: 9:30 p.m., $5. Brothers Lounge.

SAT

08/05

Goo Goo Dolls/Phillip Phillips: Alt-rockers Goo Goo Dolls didn’t always have such a radio friendly sound. When the band first formed in Buffalo in 1986, its music sounded harsher, perhaps reflecting the city band members called home. Eventually, the band would embrace a more melodic sound and go on to sell truckloads of albums in the ’90s when it delivered 14 Top 10 radio hits, including “Name,” “Slide” and “Iris.” Its latest effort, Boxes, finds the band collaborating a bit more on the songwriting. Featuring Rzeznik’s raspy vocals and a subdued guitar riff that sounds a bit like something the Edge might play, the first track, “Over and Over,” includes the phrase “turn it up” in the refrain, setting the tone for the disc, which puts an emphasis on uptempo songs rather than ballads. Expect that to be the case at tonight’s show too. (Jeff Niesel) 8 p.m., $22.50-$59.50. Jacobs Pavilion. Blaze Ya Dead Homie/Twiztid: 7 p.m., $20 ADV, $30 DOS. Agora Ballroom. Bro Dylan/Young Folk/The Dream Masons/Tim Moon/M. | clevescene.com | August 2 - 8, 2017

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SUN Jerry Douglas & The The Earls

Jimmy Herring & the Invisible Whip

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| clevescene.com | August 2 - 8, 2017

08/06

Ray Flanagan & the Authorities Euclid Tavern Residency: Ever since Ray Flanagan & the Authorities launched in late 2012, the group has emerged as one of the better indie acts on the local circuit. Now singer/guitarist Flanagan has announced that the group will perform on the first Sunday of each month at the Euclid Tavern. Flanagan says he plans to hit the road a fair amount starting next year and thinks the Euclid Tavern might serve as a good home base. He’ll play from 7 to 10 tonight so expect to hear a good range of rocking material. (Niesel) 7 p.m., free. The Euclid Tavern. Worriers/Vacula/House of Wills: A true touring band’s band, Worriers have been making a fine name for themselves on the pop punk and melodic punk circuits. Their 2015 album, Imaginary Life, is still the backbone of their material, featuring fast-paced and full-throttle riffs that decorate emotionally aware lyrics. Songs like “Parts” may not stretch much farther than the two-and-a-half minute mark, but songwriter Lauren Denitzio packs a full story into that tight package. Against Me!’s Laura Jane Grace produced the album, and that’ll give you a sense of the esteem in which this young band is held by pioneers of the melodic punk scene. (Sandy) 8 p.m., $8. Now That’s Class.

The End Of The Ocean / Nomads / Failed Astronauts / Explorien: 8 p.m., $8 ADV, $10 DOS. Mahall’s 20 Lanes. Guitar for Vets Benefit with Duane Albert & The Area 51 Band/Colin Dussault Band/Acoustic Time Machine: 7 p.m., free. Beachland Tavern. Illphonics/FreshProduce/Uptowne Buddha: 7 p.m., $10. Musica. Jailbus/Iron Cage/Diva Cup/Short Order: 6 p.m., $5. Now That’s Class. Jehova Waitresses: 8 p.m. Brothers Lounge. Bill Lestock Trio: 7 p.m., $10. Nighttown. Mike Petrone (in the Wine Bar): 5:30 p.m. Brothers Lounge. Nucleon/Stoneroller/Hoodeech: 9 p.m., $6. Grog Shop. Sunday Funday With Congo Kette: 3 p.m., $7. Bop Stop.

MON

08/07

Leopold and his Fiction/Ottawa/The Outerwaves: 8 p.m., $12 ADV, $15 DOS. House of Blues Cambridge Room. Shit Show Karaoke: 10 p.m. B-Side Liquor Lounge & Arcade. Sidewalk Chalk/Mourning [A] BLKstar/The Dorian Walker Experience: 8:30 p.m., $7. Beachland Tavern. Sweet Knives/Glass Traps/Black Static Eye: 9 p.m., $7. Now That’s Class. Troubadours of Divine Bliss (in the Supper Club): 7:30 p.m., $10 ADV, $12 DOS. Music Box Supper Club. Velvet Voyage (in the Wine Bar): 8 p.m. Brothers Lounge.

TUE

08/08

Alesana/Eyes Set to Kill/Lakeshore Band/Altras/The Amatory Murder/ End in Echoes: 6 p.m., $15 ADV, $18 DOS. Agora Ballroom. Marty Friedman/Scale the Summit/ The Fine Constant: 8:30 p.m., $20 ADV, $22 DOS. Grog Shop. In Your Memory/Victorian Halls/ Titans in Time/Hallie Hertrick/ Hope for the Hollow: 8 p.m., $8. Now That’s Class. Milky Chance: 8 p.m., $31.50 ADV, $35 DOS. House of Blues. Two-Set Tuesday featuring The Greg Show: 7 p.m. Brothers Lounge. The Wild Reeds/Holy Ghost Tent Revival: 9 p.m., $12. Musica.

scene@clevescene.com t@clevelandscene

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ALWAYS OPEN FOR SWIMMING & CAMPING | clevescene.com | August 2 - 8, 2017

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By Jeff Niesel

5VFTEBZ "VHVTU r QN

MEET THE BAND: David Howley (banjo, vocals, guitar), Martin Howley (banjo, mandolin, tenor guitar), Enda Scahill (banjo, mandolin, tenor guitar), Fergal Scahill (ďŹ ddle, guitar, bodhrĂĄn)

four Irish guys playing bluegrass, weâ&#x20AC;&#x2122;re four Irish guys inďŹ&#x201A;uenced by it. Itâ&#x20AC;&#x2122;s a seamless blending of Irish and bluegrass. It would be hard to ďŹ nd the point where itâ&#x20AC;&#x2122;s Irish and the point where itâ&#x20AC;&#x2122;s bluegrass.â&#x20AC;?

THREE GUYS WITH BANJOS: About seven years ago, David Howley formed the band with his brother, Martin, and Enda Scahill. â&#x20AC;&#x153;It was three guys with three banjos,â&#x20AC;? says David Howley. â&#x20AC;&#x153;It was exceptionally fun. People took to it immediately.â&#x20AC;? The bandâ&#x20AC;&#x2122;s ďŹ rst gig at the Galway Arts Festival sold out. Howley admits it was partly because of the bandâ&#x20AC;&#x2122;s name. The group then added multi-instrumentalist Fergal Scahill. â&#x20AC;&#x153;He brought an energy to the band that was intoxicating,â&#x20AC;? Howley says. â&#x20AC;&#x153;He and his brother had been gigging together for eight years. They had a great chemistry. The band is built on the chemistry by two sets of brothers, and weâ&#x20AC;&#x2122;re almost like four brothers on the road now.â&#x20AC;?

WHY YOU SHOULD HEAR THEM: Howley says the bandâ&#x20AC;&#x2122;s latest album, String Theory, represents a culmination of the groupâ&#x20AC;&#x2122;s work to date. He wrote â&#x20AC;&#x153;This is Home,â&#x20AC;? the albumâ&#x20AC;&#x2122;s folk-y opening tune, about the troubles he saw in Belfast. The mournful vocals in the tune pair nicely with ďŹ ddle and banjo, making it sound like an old-time country standard. â&#x20AC;&#x153;There is an emphasis on the personal side of things,â&#x20AC;? Howley says of the album. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s maybe more serious on the writing side of things. We hope to record a new album in January which will be a personal album and we have new songs we wrote on the past couple of tours. We really want our music to evolve, and we donâ&#x20AC;&#x2122;t want to do the same thing over and over.â&#x20AC;?

YOU CAN CALL IT CELTGRASS: Critics use the term â&#x20AC;&#x153;Celtgrassâ&#x20AC;? to describe the bandâ&#x20AC;&#x2122;s mix of traditional Irish music and bluegrass. â&#x20AC;&#x153;If you think about it, Irish music came to America and captivated people and blended with the music from the time,â&#x20AC;? says Howley. â&#x20AC;&#x153;Thatâ&#x20AC;&#x2122;s where you get American country and folk music. Itâ&#x20AC;&#x2122;s a blend of all the different musics that came over [to the States]. Instead of us being

WHERE YOU HEAR THEM: webanjo3.com. WHERE YOU CAN SEE THEM: We Banjo 3 performs with the Auld Pitch at 8 p.m. on Thursday, Aug. 3, at the Music Box Supper Club.

jniesel@clevescene.com t@jniesel

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NEW TIME CLOSINGM 10P | clevescene.com | August 2 - 8, 2017

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| clevescene.com | August 2 - 8, 2017

SAVAGE LOVE CROSSED DRESSERS by Dan Savage Dear Dan, My wife has been seriously ill for three years, and I have been her sole caregiver. The doctors here weren’t getting the job done, so we made the difficult decision for her to move 2,000 miles away to start over and be near her family. Our sex life has been nonexistent since she became ill. She offered me a “hall pass” with two rules: (1) It couldn’t be anyone I worked with and (2) she didn’t want to know about it. She offered multiple times, but I was taking care of her 24/7 and never used it. I started to consider using it after she moved. But I didn’t want to just find some random person on Tinder. You see, I am a cross-dresser. My wife knows. She’s never seen me dressed and isn’t interested in knowing more about it. So instead of paying for a traditional escort, I found someone who would dress me, do my makeup, go out to dinner with me, but no sex. We met three times. However, one time I did hire a trans woman who dressed me and we did have sex. Obviously, I had to lie at times about where I was when I was using my hall pass, but I considered it a white lie to meet Rule #2. But my wife flew home unannounced to get her things (with her ex-husband along to help) and found my clothes out and quickly got out of me what I had done. She was beyond pissed. She says I had a hall pass for sex but not cross-dressing. She belittled me for the cross-dressing and said the sex was supposed to be a one-and-done thing. She knew I was a cross-dresser, and I derived more pleasure from this cross-dressing experience than having anonymous sex with an escort. My questions: Did I violate the hall pass? Was I wrong to cross-dress? — Dude Relishing Erotic Sexcapades Suddenly Entertaining Divorce P.S. I am quite convincing when dressed and blend well in public. Your wife went home to get well and “start over.” And it sounds like she got well — at least well enough to fly — and started over with her ex-husband. I don’t think you were wrong to cross-dress, DRESSED, and if you violated that hall pass, it was only because your soon-to-be-ex-wife didn’t share all the rules with you until after you used it. It looks like a setup to me. Your soon-to-be-ex-wife gave you permission to fuck someone else

— permission that came with rules that were disclosed and secret bylaws and codicils that were not — because, consciously or subconsciously, she wanted to catch you doing it wrong (in your case, DRESSED, doing it more than once, cross-dressing when you did it, etc.). Because now she can divorce you with a clear conscience, since she’s not to blame for the split — you and your dick and your dresses are to blame. You might want to brace yourself for some hardcore blaming and kinkshaming, DRESSED, and for the very real possibility she’ll out you as a cheat and a cross-dresser to family and friends. But however the divorce plays out — and here’s hoping it doesn’t get ugly — at least you’ll soon be free to find a partner you don’t have to hide your cross-dressing from.

Dear Dan, I’m a 22-year-old nonbinary person debating whether to come out to my father as nonbinary. Complicating things is the fact that I tried to come out to him at 18 back when I thought I was “only” a hetero-leaning bi crossdresser. He did not take the news well. Today we don’t talk about it, and I think he pretends it never happened. I’m wanting to move toward living in a less-gender-conforming way —i ncluding changing my name — and am considering making a second attempt. Pros: not feeling like I’m hiding who I am, maybe I get him off my back about kids, being able to be out on Facebook. Cons: screaming matches, strong possibility of being disowned and losing the modest amount of financial support I get from him, small possibility of him telling my mom (they’re divorced). Any advice? — One Foot Out What’s more important to you, OFO, living authentically or living off your dad? If being your authentic self means giving up the money he sends you and you don’t desperately need his money, the choice is obvious. But if his money is all that stands between you and gender-nonconforming homelessness, you might want to think through your options, the risks and the rewards, before going nonbinary official on Facebook.

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