Scene January 30, 2019

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Dedicated to Free Times founder Richard H. Siegel (1935-1993) and Scene founder Richard Kabat

CONTENTS

Group Publisher Chris Keating Publisher Andrew Zelman Associate Publisher Angela Nagal

Upfront

Editor Vince Grzegorek Editorial Music Editor Jeff Niesel Senior Writer Sam Allard Staff Writer Brett Zelman Web Editor Laura Morrison Dining Editor Douglas Trattner Visual Arts Writer Dott von Schneider Copy Editor Elaine Cicora Interns Preeya Shankar, Alana Whelan

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A freeze on executions in Ohio

Feature

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Frank Jackson is frozen in time

Advertising Senior Multimedia Account Executive John Crobar, Shayne Rose Multimedia Account Executive Kiara Davis

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Creative Services Production Manager Steve Miluch Staff Photographer Emanuel Wallace

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Business Sales Assistant/Receptionist Megan Stimac Controller Kristy Dotson Circulation Circulation Director Don Kriss

Stage

Euclid Media Group Chief Executive OfďŹ cer Andrew Zelman Chief Operating OfďŹ cers Chris Keating, Michael Wagner VP Digital Services Stacy Volhein Digital Operations Coordinator Jaime Monzon

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COVER ILLUSTRATION BY JOHN G

UPFRONT ARMOND BUDISH LAWYERS UP AS VARIOUS INVESTIGATIONS SWIRL AROUND COUNTY JAIL AND ADMINISTRATION Photo by Sam Allard

INCLUDED IN LAST WEEK’S NEWS that the U.S. Attorney’s Office is reviewing the scathing report by the U.S. Marshals on conditions in the Cuyahoga County Jail to assess whether any criminal or civil charges might be warranted was a tidbit from Cleveland.com: Cuyahoga County Executive Armond Budish has hired former U.S. Attorney and current BakerHostetler lawyer Steve Dettelbach to represent him. Budish has not been publicly identified as the target of any investigation and has not been accused of any wrongdoing, but various investigations and reviews of the county jail are underway and the prosecutor’s office investigation into public corruption is continuing, as prosecutor Mike O’Malley said in a press release on the indictments. Former jail boss Ken Mills is one of the three facing charges. He was indicted for lying twice — to county council about blocking the hiring of necessary nursing personnel at the jail, and to investigators about his interactions with an unnamed “high-level county official.” He is also charged with other misdemeanors and felonies, including records tampering and telecommunications fraud. Mills “abruptly resigned” from his post in November. While his lying to council on May 22 is one of the marquee criminal acts referenced in the indictment, county residents should be more disturbed by what he was lying about. That it was Mills who blocked the hiring of nurses is known. In fact it was revealed later in the May 22 council meeting that Mills was interfering, and that the likely reason for chronic vacancies on the nursing staff was low wages. Budish has been on a crusade to cut costs at the jail for some time. His desire to do so, while also adding revenue from suburban jails, was pegged as the root cause of the jails horrific conditions by Courtney Astolfi and Adam Ferrise at Cleveland.com. — Vince Grzegorek

New nuCLEus Renderings Feature Much Smaller Tower, Ditch Jenga-Like Design Updated renderings for the proposed nuCLEus project uploaded to Stark Enterprises’ website show that plans for the jenga-like tower have been abandoned and the ambitious height of the tower itself, originally pinned at 54 stories, greatly reduced. (Note: The renderings are currently offline but were saved by a Reddit user.) The renderings track with some news developments last year. The first: The decision by CMSD that it would not consider a unique Tax Increment Financing proposal that would have delivered CMSD a one-time $18 million payment in lieu of 30 years of property tax collections, estimated at about $120 million. CSMD CEO Eric Gordon told the Plain Dealer that due to “changing circumstances” the deal was simply not compelling. “There’s the very real issue of why would we be giving tax relief to this builder or any builder ... when taxes are going up,” he said. The second: A proposed bill, for which Stark had lobbied, that would have created a 10-percent rebate on “transformational mixed-use development” projects that were 20 stories or taller, stalled in the Ohio legislature. While the bill’s sponsor, Rep. Kirk Schuring (R-Canton) told the Plain Dealer at the time that it would likely see progress and pass in 2019, a new version of the bill would see projects of 15 stories or taller qualify. Stark VP Steve Coven had in March appeared before a statehouse committee and championed the grand vision. “Can you imagine if the Terminal Tower Complex was never built, what the Cleveland skyline would look like?” he said. “You can’t, because it is forever associated with our skyline. It is our goal that our

great-grandchildren will be saying the same things about the nuCLEus project 100-plus years from now.” The company late last year, following the TIF and bill developments, acknowledged the original $500 million, 54-story plans had been scaled back. “Revised plans are more modest,” the PD reported, “with shorter buildings, fewer apartments, more office space, no hotel — and a smaller budget. Stark also has broken the development into phases, spreading out the investment over time.” Of course, should it ever be built, it would still qualify as a massive construction project and addition to downtown’s skyline, but these are a far, far cry from the original renderings and sales job. If and when also remain key words. In a story about Shake Shack, which had been slated to find a downtown Cleveland home in nuCLEus but which announced it would instead open in the Garfield Building, which has the benefit of actually existing as a physical structure, Ezra Stark told the PD regarding nuCLEus’ future, “We’re

still working with the city and the county, finalizing the private-public partnership.” Stark recently sold its headquarters, a five-story building on Superior Avenue which had been on the market for years. — Grzegorek

Ohio’s Execution Drug Conundrum Five years ago, prison employees injected convicted killer Dennis McGuire with a two-drug cocktail designed to end his life quickly and painlessly. It took 26 minutes for the mixture of hydromorphone and midazolam to kill McGuire — the longest execution since Ohio resumed capital punishment in 1999 — and witnesses reported the condemned man loudly gasping for air. The incident eventually led the state to issue a moratorium on executions until it could find a new cocktail of lethal drugs that is more humane. But the choice it settled on — which still contains the controversial drug midazolam — is now under question, leading Ohio

| clevescene.com | January 30 - February 5, 2019

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UPFRONT Gov. Mike DeWine, on Jan. 25, to delay the upcoming execution of convicted killer Warren Henness, and sending the state back to the drawing board in its years-long quest for drugs it can use to put people to death in a manner that is consistent with the constitution. A jury convicted Henness of murder for kidnapping Richard Myers, his drug addiction case worker, shooting him five times in the head, slicing his throat and cutting off his finger to steal his wedding ring before taking his car and credit cards to buy drugs. Henness maintains that he did not commit the crime. Guilty or innocent, however, his attorneys argue he is protected from a painful execution by the U.S. Constitution’s prohibition against cruel and unusual punishment. They also argue that Ohio’s current methods don’t meet that standard because they continue to use midazolam. It’s a problem the state has been grappling with since before McGuire’s execution. Last decade, the state began

struggling to find drug suppliers when European drug manufacturers became unwilling on moral grounds to sell traditional drugs like pentobarbital and sodium thiopental for executions. After depleting its stockpiles of those drugs, Ohio has had to find new ways to put people to death that don’t infringe on the constitution. That has proven tricky. A state inquiry initially reported that McGuire, convicted of the 1989 murder of a pregnant woman in Preble County, did not suffer during his death. But in a 2017 federal hearing on Ohio’s execution methods, the team leader for McGuire’s execution said it was like no other he had seen. McGuire’s daughter said the lengthy execution filled her with “agony and terror,” and Dr. Kent Diveley, a California anesthesiologist retained as an expert witness in a lawsuit by McGuire’s family against Ohio testified that the execution caused “true pain and suffering.” The family dropped the lawsuit in 2015, when Ohio announced its three-year moratorium on executions as it worked to figure out a more humane way to put people convicted of the highest crimes to death. Ohio resumed executions in 2017 using a new three-drug method. Under that protocol, the drug

midazolam is first administered as a sedative. Then, the execution team injects the condemned with a powerful paralytic drug before giving a final dose of potassium chloride to stop the person’s heart. The state has used the method three times. A scheduled fourth execution was delayed last year because executioners couldn’t successfully insert an IV. During the latest execution, condemned man Robert Van Hook wheezed and gasped before dying. Critics of midazolam say it doesn’t sedate inmates fully, leading to horrible suffering. The two other drugs Ohio will use to execute prisoners cause excruciating pain as they kill if a person is conscious. Further, some medical experts say the 500 ml. dose of midazolam administered can itself cause a sensation similar to drowning or of fire in the veins, causing panic and pain. Prior to the state resuming executions by putting convicted killer Ronald Phillips to death in 2017, some drug experts asked Ohio not to use midazolam. On July 24 of that year, 15 pharmacology professors from universities across the U.S. filed an amicus brief with the Supreme Court in connection

with the Phillips case requesting that the use of the sedative in executions be halted. The brief highlights the “national importance” of the case when it comes to lethal injections. “In sum, midazolam’s mechanism of action makes it unsuitable as the first drug in the State of Ohio’s three-drug lethal injection protocol because it is incapable of inducing unconsciousness and cannot prevent the infliction of severe pain,” the filing reads. “The record of midazolam-protocol executions is profoundly troubling.” Attorneys said their challenge to Ohio’s use of the drug could have national implications. “What is happening in Ohio is a matter of great concern everywhere,” attorney Mark Haddad said in a statement after asking the U.S. Supreme Court to step in. “The record in the Ohio prisoners’ case firmly establishes an intolerable risk of resuming executions under the midazolam three-drug protocol.” Other states using cocktails containing midazolam have also seen executions go badly. In Arizona, Joseph Wood gasped for air for nearly two hours before dying in 2014. Arkansas has seen a procession of grisly executions

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using the drug. And in Oklahoma, Clayton Lockett spent 45 minutes clinging to life after the drugs were administered before succumbing to a massive heart attack. Following Woods’ two-hour execution in Arizona, that state decided to end the use of midazolam. Florida has also discontinued use of the drug in executions. On Jan. 15, almost five years to the day after McGuire’s execution, federal magistrate Michael Merz sitting in the U.S. District Court in Dayton ruled that the threedrug cocktail Ohio has been using to put people to death is likely unconstitutional, citing medical experts who testify that large doses of the drug midazolam can cause pulmonary edema, which produces the sensation of drowning. “If Ohio executes Warren Henness under its present protocol, it will almost certainly subject him to severe pain and needless suffering,” Merz wrote in his ruling, citing medical experts in saying midazolam could trigger “panic and terror” and comparing use of the drug to waterboarding, a torture method that simulates drowning. It’s not the first time Merz has condemned the use of the drug. In 2017, he ruled executions using midazolam were unconstitutional, though he was later overruled by the Sixth U.S. Circuit Court of Appeals. Despite his misgivings, however, this time around, Merz ruled that Henness’ Feb. 13 execution could move forward because Henness had not presented viable alternatives as stipulated under Ohio law. The convicted man’s attorneys suggested oral injection of a drug cocktail or letting Henness drink a heavy dose of the barbiturate secobarbital in juice, both of which Merz rejected because they had not been tried before and would take too long to kill Henness. “This is not a decision with which the court is comfortable,” Merz wrote, noting he was limited by the law in his ability to delay the execution. Henness’ attorney, assistant federal public defender David Stebbins, used the ruling by Merz to appeal to Gov. DeWine for a stay of execution. “Inflicting severe pain, needless suffering, and terror on Warren Henness during his execution is not something with which the State of Ohio should be comfortable either,” Stebbins wrote in a Jan. 24 letter to

DeWine. “Even if the federal courts cannot prohibit an execution that is almost certain to cause severe pain and needless suffering and is almost certain to create a terror comparable to waterboarding, evolving standards of decency should prevent the State of Ohio from knowingly subjecting Warren Henness to such an excruciating execution.” The next day, DeWine issued his stay for Henness, pushing his execution back to Sept. 12. It is unclear what will come next as Ohio searches for suitable execution drugs. Some conservative state lawmakers have suggested returning to older execution methods such as firing squads to put people to death, but there has not been serious legislative effort toward that end yet. In the interim, the governor has directed the state to examine its execution protocol and research other drugs that could be used in place of midazolam. — Nick Swartsell, City Beat

DIGIT WIDGET 639,000 Number of union members in Ohio in 2018 (12.6 percent of workforce), up from 635,000 the previous year. Nationwide, union membership dropped about from 14.8 million to 14.7 million.

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FEATURE ABSOLUTELY. NO. APPOINTMENTS. Inaction Jackson is snoozing through his fourth term

Photo by Sam Allard

By Sam Allard

EARLIER THIS MONTH, A LOOSE coalition of black activist organizations pulled petitions for the recall of Frank Jackson, the longestserving mayor in Cleveland’s history. The coalition argued that local leaders must be held accountable. In a video explaining the effort, organizer Jeff Mixon said that Jackson, Cuyahoga County executive Armond Budish and congresswoman Marcia Fudge, among others, were leaders who had sold out, and were now serving the corporate community at residents’ expense. An affidavit explaining the reasons for the recall attempt described Jackson as an “ineffective” leader. Alas, Jackson’s effectiveness is difficult to assess, given that on the campaign trail in 2017, he laid out no goals or plans for his fourth term in office, beyond “continuing what [he] had been doing.” Tactically, or at any rate linguistically, this was an ingenious ploy. Critics cannot call him ineffective if there’s nothing to measure his effectiveness against. In limited campaign appearances, Jackson’s 2017 strategy was merely to wave away his opponents, only

two of whom represented legitimate challenges to his incumbency. His message, if he had one, was that during his fourth term — the current term — Cleveland would witness the completion of projects he’d spent his first three terms carefully creating the conditions for. The only metric for success he applied to himself was one that he has repeated at virtually every State of the City address since 2013. He should be measured, he said, by how the city treats “the least of us.” If he took that slogan seriously, he would resign in disgrace. As 2019 marches onward, certain of Jackson’s oft-criticized tendencies have grown much worse. These include hostility toward the press, blind loyalty toward his friends, certitude in his motives, stubbornness in all things, and an abiding preference for privacy, which in public life means a preference for concealment. What the recall coalition has correctly identified is that there’s not much to conceal. The perception that Jackson was asleep at the wheel through 2018 turns out to be mostly true. (Sometimes literally: According

to the media rumor mill, when a reporter arrived at City Hall to interview Jackson in the wake of the Ayesha Fraser murder in November, the mayor reportedly had to be awoken from a nap at his desk.) Scene dubbed the Jackson administration the “zombie incumbency” in 2017, but that characterization has become much too generous. The mayor only arises from the dead, evidently, to campaign. His essential function these days is to potter around to birthday parties, funerals and ribbon cuttings in between routine briefings with his chief advisors and big wigs. His eyes, if you catch them at a ground breaking or retirement celebration, are glassy and mournful, less tranquil than tranquilized, aimed at nothing and nobody at all. Incidentally, are you Cleveland. com editor Chris Quinn? If not, that means you’re not one of very few people who still meets with Jackson monthly and who may have some insight into how he thinks and behaves. The rest of us are in the dark. A notoriously hermetic City Hall became even more bottled

up in 2018. There was much handwringing over the Amazon HQ2 bid’s secrecy — all those “proprietary” “trade secret” excuses that were used to deflect media requests — but that incident was typical. For a more recent example, take the minor security breach at Hopkins Airport in November, in which Jackson’s chief operating officer Darnell Brown bypassed security after retrieving a forgotten laptop from his car. City spokesman Dan Williams told Cleveland.com that the city’s report on the incident would remain confidential because it contained information on airport security. That was a lie. In a followup story, TSA’s Ohio security director said that nothing in the report would be deemed confidential until TSA said so. And the city hadn’t even submitted the report to TSA yet, so Williams was just making things up. In a story last week, Cleveland. com’s city hall reporter Bob Higgs noted that city council, which has the authority to hold public oversight hearings and budge the administration from its secrecy, rarely does so. Not for the Hopkins

| clevescene.com | January 30 - February 5, 2019

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FEATURE indiscretion; not for the mysterious collapse of an agreement to purchase 1801 Superior Avenue, home of Cleveland.com, for the city’s new police headquarters; nor for any other important city issue. This is all par for the course. Years ago, Jackson candidly (and amusedly) admitted to a roomful of reporters that city spokespeople often declare that information is “proprietaryâ€? when the mayor hasn’t had a chance to review it. Serial host Sarah Koenig told Scene, shortly before the podcast’s most recent season premiered, that she and co-host Emmanuel Dzotsi failed to get a single on-record interview with City of Cleveland ofďŹ cials during their many months of reporting. “We tried and tried,â€? she said. “It was very difďŹ cult because they just did not want to talk to us ‌ I really felt for [local reporters]. It would make me insane. Whenever I see information in Cleveland now, I realize how hard reporters had to work to get it. The city is not forthcoming. And not to get too high-falutin’, but it’s a problem for democracy.â€?

The administration takes cues from Jackson himself, who has retreated into recluse mode. Comparing his media availability from 2017, when he was on the campaign trail, to 2018, is astonishing. In 2017, he appeared on Sound of Ideas, WCPN’s morning news program, three times. He held press conferences explaining or launching various city initiatives at least once per week through July and September. He set aside time for one-on-one interviews with local and national journalists. He sat for regular Facebook live videos, so that constituents (and the press) could watch him talk informally about issues of importance to him. It was on Facebook live that Jackson signed the Q Deal legislation, for example, calling it “one of the best deals the City of Cleveland has ever made.â€? This is nothing compared to years past, of course, when mayors or their spokespeople would traditionally hold daily press brieďŹ ngs to provide updates on ongoing projects and to answer questions on a wide range of topics. But still. In 2018, Jackson disappeared. Other than his monthly meetings with Chris Quinn (about which Scene reported in March 2017), he

rarely interacted with the media at all. After a press conference on July 26, noted in his daily calendar alongside a meeting “with CEOs,â€? there isn’t a single record of a media appearance until Oct. 11, when he made himself available for interviews the day after his State of the City address. In November, Jackson spoke with reporters in the tense aftermath of Ayesha Fraser’s murder, defending the city’s hiring of Lance Mason. In December, he swung at softballs from WKYC’s Leon Bibb in what might have been — or might as well have been — a coordinated promotion of the Mayor’s Neighborhood Transformation Initiative in Glenville. And that’s it. We needn’t belabor the fact that this posture from City Hall, and the concomitant effects on the availability of information, is compounded by the diminished number of working journalists. Given the lack, or misallocation, of resources, it’s unrealistic for an enterprising reporter to trail Jackson for weeks on end in an attempt to ďŹ gure out what he’s up to. And given that the media relations team seldom does any relating with us, our best option is to consult the documentary

record, which in this case means consulting the mayor’s daily calendar. The city is still compelled, under public records laws, to furnish those documents when they are requested. (We happily report that the documents were provided in a timely manner through GovQ&A, the city’s public records portal).

Scene examined and tabulated every non-redacted item from Mayor Jackson’s 2017 and 2018 calendars on the following working theory: If we can determine the priorities of a city by how it spends its money, we should be able to determine the priorities of a mayor by how he spends his time. Here’s what we found:

‘ABSOLUTELY NO APPOINTMENTS’ While the total number of the mayor’s scheduled appointments declined sharply through 2018’s second half, so too did the blocks of time that he made himself available. Beginning in earnest in March, the mayor tends to reserve Tuesdays entirely for himself. He does the same Thursday mornings and Friday afternoons. It’s unknown what he does

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FEATURE

Coming Attractions

during these substantial chunks of time. But “ABSOLUTELY NO APPOINTMENTS!!!” appears like clockwork from 8 a.m. to 7 p.m. every Tuesday; 8 to 11 a.m. every Thursday; and, generally, noon to 6 p.m. every Friday. (For the record, Scene submitted by email a series of specific questions related to the mayor’s activity for this story, including one that sought clarification on the “ABSOLUTELY NO APPOINTMENTS” designation. Those questions went predictably unanswered.) The bulk of the mayor’s most important regular meetings — a weekly briefing with his top chiefs; a weekly legislative review with chief of government and international affairs Valarie McCall; a weekly briefing on CMSD activities with Eric Gordon and chief of education Monyka Price and others; a weekly meeting of the Board of Control; a bi-weekly meeting of his full cabinet; monthly catch-ups with council president Kevin Kelley, Cuyahoga executive Armond Budish, consent decree monitor Matthew Barge and local consent decree coordinator Gregory White — occur on Mondays and Wednesdays. The two exceptions are a weekly public safety briefing with police chief Calvin Williams and safety director Michael McGrath, which happens Thursday afternoons, and a briefing with chief of staff Sharon Dumas, COO Darnell Brown, and chief of regional development Ed Rybka on Friday mornings.

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| clevescene.com | January 30 - February 5, 2019

There were very few “NOT PUBLIC RECORD” redactions in the latter half of 2018. When information was redacted (blacked out), the city justified it on grounds that the concealed information did not “document the business of the city.” (For reporting on a prior story, Scene learned by accident that Jackson’s haircuts had been thus redacted.) In 2017, by contrast, there were well over 200 such redactions, most of them concentrated in the summer and fall. The likely explanation is that these redactions concealed campaign activity, most of which was conducted during business hours. Due to this activity, the mayor appears to have performed, at

most, 14 hours of official work on city business the week before the 2017 primary election. That work was mostly ceremonial, including a photo op with a Browns Backers chapter and attending the Cleveland Browns game (if he stayed for two hours, as his calendar suggests). Much of October 2017 is similarly overrun with redacted items. It’s difficult to determine the exact time slots, but the week before the general election, Jackson appears to have performed, at most, 13 hours of official work on city business. Again, much of this stuff was indistinguishable from campaign activity: attending the Big City Boo celebration at Michael Zone Rec Center, standing for a couple of photo-ops; attending the 1st District Community Relations Award ceremony, and giving brief remarks at a weekend pancake breakfast in Ward 12.

ATTORNEY-CLIENT PRIVILEGE The redaction that persists is a single item every Friday morning, concealed on the grounds of “Attorney-Client Privilege.” We have no explanation. Maybe it’s a meeting that was auto-filled some time ago?

WHAT ABOUT LEISURE TIME? In two years, it doesn’t look like Jackson has taken any official vacation time, ABSOLUTELY NO APPOINTMENTS notwithstanding. However, for three weeks in May (May 7 through May 27), he canceled virtually every meeting he had scheduled. Some of the regular meetings were not marked as canceled, but may have been. He conducted a series of swearings-in on Monday, May 14, but had so few items on his calendar during that stretch that it might as well have been vacation or a stretch during which he attended to personal matters.

AN AUDIENCE WITH FRANK Jackson met with a broad assortment of leaders and community figures in 2018. Though his inner circle sees him most often, he also touches base with the heads of the local hospitals and universities, and regularly takes introductory meetings with business and community leaders. He occasionally meets individually with council members as well. While he attended the most events with or for councilman Blaine Griffin in 2018, he met most often one-on-one with new councilman Basheer Jones.

Weekly Meetings: Chiefs; Valarie McCall (Chief of Government and International Affairs); Eric Gordon (CEO, CMSD); Monyka Price (Chief of Education); Board of Control; Calvin Williams (Chief of Police); Michael McGrath (Director of Public Safety); Sharon Dumas (Chief of Staff); Darnell Brown (COO); Ed Rybka (Chief of Regional Development). Bi-Weekly Meetings: Cabinet. Monthly Meetings: Kevin Kelley (Cleveland City Council President); Armond Budish (Cuyahoga County Executive); Matthew Barge (consent decree monitor); Judge Gregory White (DOJ); Chris Quinn (editor, Cleveland.com). Quarterly Meetings: Akram Boutros (CEO, MetroHealth); Tommy Mihaljevic (CEO, Cleveland Clinic); Tom Zenty (CEO, UH); Steve Standley (Chief Administrative Officer, UH); Will Friedman (CEO, Port of Cleveland); Darrell McNair (board chair, Port of Cleveland). Multiple Meetings (bi-monthly or no set schedule): Michael Cox (Director of Public Works); Matt Gray (Chief of Sustainability); Duane Deskins (Chief of Youth Violence Prevention, pre-resignation); Tracy Martin-Thompson (Chief of Youth Violence Prevention); David Ebersole (Director of Economic Development); Natoya Walker Minor (Chief of Public Affairs); Carole Hoover (consultant, power broker); Fred Ward (community organizer); Basheer Jones (councilman, Ward 7); Say Yes to Education Planning; Transformation Alliance. (For a further listing of people who got one or two audiences with the mayor, see the online version of this story.)

VALARIE IS EVERYWHERE Many of Jackson’s top chiefs are women. Among them: chief of staff Sharon Dumas, law director Barbara Langhenry, public affairs chief Natoya Walker Minor, education chief Monyka Price, community development director Tania Menesse, building and housing director Ayonna Blue Donald; and public health director Merle Gordon. But Jackson’s closest advisor is Valarie McCall, dubbed the “mayorette” long ago by a former city hall reporter. She is everywhere in Jackson’s calendar. In addition to her weekly “legislative review” on Monday mornings, she frequently sits in on important meetings with the mayor and serves as coordinator and point person for most of his evening activities.

SHOWING UP In 2017 and 2018, Jackson attended more than 50 funerals and/ or wakes for prominent city figures or close friends and family of city hall staffers and community leaders. One can easily mock the vicepresidential character of attending funerals, but Jackson seems to recognize the value of his presence at these events. The fact that he continues to attend them, even after election season, will receive no mockery from Scene.

ECONOMIC DEVELOPMENT Through the latter half of 2018, the region was abuzz with conversations about supposedly bold, supposedly new economic development strategies. Jon Pinney gave that City Club speech in June. Auto mogul Bernie Moreno roused an army of civic leaders to participate in his crusade to make Cleveland a blockchain hub. Lowbeam luminaries from the economic development sector were penning op-eds in the business press on what felt like an hourly basis. Forums and panels and summits were convened for the planning of future forums and panels and summits. Whether or not these conversations will yield positive results for the region remains unknown. But Mayor Jackson was not a part of them. Neither Jackson nor a representative from his administration attended a December summit hosted by Cleveland.com. Columnist Mark Naymik said that Jackson’s absence “had to be called out” because attendance should have been “a no brainer.” The subject, economic inclusion, was “near and dear to [Jackson]” and “after 13 years in control of City Hall, his administration could benefit from some new ideas, visions and inspiration.” Scene had heard that Jackson specifically instructed the invited members of his administration (Freddy Collier and Tania Menesse) not to attend. Jackson did meet with Bernie Moreno in June and let Bernie speak to his cabinet about blockchain. He also gave brief remarks at the Blockland conference in December, and spoke about the potential of technology in the classroom and in the hospitals at his state of the city address. But Jackson’s economic development priorities — the Neighborhood Transformation Initiative, continual improvements at CMSD — have recently occurred adjacent to, not in concert with, the flashy moonshots of the private

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Jackson is a creature of habit. His weekly schedule is by now routinized, almost mechanized, such that he’s able to manage and communicate with his top chiefs regularly. But routines of this sort can have a paralyzing effect. Reading through recent months of the mayor’s activity, one recalls that very little of substance was accomplished in 2018. Councilman Mike Polensek, in an existential paroxysm two weeks ago, asked Scene what he was even doing here [on council]. What had he been elected for? What was the point? Polensek was quoted in Bob Higgs’ oversight story last week, arguing (contra Kevin Kelley) that council should be holding the mayor accountable much more actively. He has made identical comments to Scene. Brent Larkin noted in a Plain Dealer column Sunday that “no place on earth does a better job talking about its problems than [Cleveland].” And while there was perhaps an unusual amount of chatter about solutions and “transformation” in 2018, there wasn’t much action. City council passed only 53 ordinances, for example, most of which authorized annual disbursement of funds or contract renewals. Jackson’s big policy push was getting trauma coaches at city rec centers. That’s laudable, no doubt, but by no means a total year’s worth of mayoral accomplishments. Jackson’s calendar describes the duties of a queen, not a prime minister. He devotes regular time to the dignitarial aspects of his position: the photo-ops, the visits with CMSD students, the award ceremonies and cupcake sendoffs. But he’s not using his bully pulpit to publicly take charge of critical conversations. Nor is he pushing for progressive urban policy as other mayors across the country are. In California, Washington, Colorado and New York, mayors are working with state bodies to wipe low-level marijuana convictions. In Minneapolis, radical rezoning pushed by mayor Jacob Frey will drastically increase the availability of affordable housing. In Los Angeles, mayor Eric Garcetti has increased taxes to fund, not sports

facilities, but mass transit. Closer to home, on a more symbolic level, Akron mayor Dan Horrigan rode the bus in December with other Summit County public officials to promote public transportation. Toledo’s mayor Wade Kapszukiewicz has said that the city’s future “hinges on” public transit and vowed to take the bus to work once a week for the duration of his term. Dayton mayor Nan Whaley, who proposed a tax on drug companies (a nickel per pill) to combat opioid overdoses, has become a national voice on the epidemic. What is Frank Jackson’s sweeping reform? For that matter, what is his legacy? The length of his tenure? “It is what it is”? Whatever it is, the paralysis of routine isn’t the only thing keeping him from pursuing a legacy. His convictions may also, counterintuitively, play a role. Our sources at city hall swear up and down that Jackson sincerely cares for the poor and downtrodden. His inaction on lead, for example, reportedly stems from his fear that if landlords are forced to get lead-safe certificates, poor people will bear the brunt of that policy. They’ll be kicked out of their homes with no place to turn. On criminal justice, when the DOJ published its scathing report on police misconduct in Cleveland in 2014, Jackson’s objection, which he uttered repeatedly, was that “it didn’t go far enough.” But instead of formulating policy to guard against the outcomes he fears, or to push for solutions that address root causes — or even to articulate these positions in a consistent way to anyone other than Chris Quinn — Jackson’s tendency is to do nothing, to not rock the boat, to not make matters worse. And that’s great for folks who are already doing well: donors and suburban dwellers preoccupied with things like the downtown renaissance narrative. Jackson’s overwhelming support from the business community, we remember, is predicated on his “stability.” “[Jackson] has capably and fearlessly taken on many crises head on, providing the sure and steady leadership that has enabled our city to remain stable,” read an invitation to what became known as Frank’s Fat Cat Festival for campaign donors in 2017. “He continues to be the leader that Cleveland needs to maintain the positive momentum created by the public and private sectors working cooperatively.” But this “stability” — which refers primarily to investment conditions — just means more of “it is what it is” for the marginalized poor

and working people of Cleveland, whose lives depend on government action on issues like gun violence, bus routes, living wages, affordable housing and lead. That’s why there’s so much anger in the community over the lately announced Lead Safe Coalition, the pronouncements from which a Plain Dealer Sunday editorial called “laudably strong,” despite the fact that the coalition lacks a timeline and an “overall plan of action with clear metrics and cost estimates.” This public-private partnership (an axiomatic public good) is obviously “far wiser” than the “hasty” and “potentially ill-crafted” ballot measure that the citizen advocacy group CLASH is pushing for. The editorial doesn’t bother to note that a version of the CLASH legislation was crafted with the input of multiple groups and presented to council in 2017 but never received a hearing because it was backed by the wrong councilman (Jeff Johnson, who was running against Jackson in 2017). The editorial does concede that CLASH’s impatience is “understandable.” But citizens can now rest easy: “Cleveland Mayor Frank Jackson rightly calls the new coalition’s joint commitment to move the needle

on lead poisoning a major step forward,” the editorial read. A major step forward? This coalition certainly could “move the needle,” whatever that means, in eight or nine years. But the first point in its 5-point plan is to “garner public input and establish a community-wide goal and timeline,” work which the city has ostensibly been doing for at least the past year, and which leaders have publicly acknowledged they should have been doing many, many years prior to that. This is classic Jackson. After years of silence and preventdefense-style leadership, there’s a press conference with a lot of faces and minimal information, the impetus for which was undoubtedly CLASH’s announced intentions for a ballot initiative. The press conference was a mere week after CLASH issued a press release outlining its plan. But returning to Square 1, in the words of our fearless local daily, is “a major step forward.” We recall that there’s nothing our elected leaders, and the enlightened opinion-makers of the PD editorial board, regard with more disdain than actual democracy. Once again, we are told to have faith in the holy communion of public and private

leaders — leaders who in this instance have accomplished nothing more than standing together on a stage. The citizens’ group CLASH, and the Cleveland Lead Safe Network (CLSN), which helped draft the 2017 legislation, both of which forced public officials to act (or at least gather en masse for a photo op), had better step aside and let the real leaders lead. There is no celebration of their concerted work on this issue, nor any acknowledgement of the connection between the ballot initiative and the coalition’s assembly. Ballot initiatives, by local definition, are universally bad. They are the ill-crafted works of benighted masses who don’t know what’s good for them, or else from meddling outsiders who don’t have the city’s interests at heart. The PD editorial board used similar disparaging language in its condemnation of those who sought referendum on the Q Deal — “Leave aside the small-minded grousing,” we were told — and in its belittling of those who supported a constitutional amendment for drug sentencing reform. It was an amendment of almost 2,000 words, the PD said, “an amendment few Ohioans will find the time to read

or have the knowledge to interpret.” Efforts by the citizenry to recall candidates, even in egregious cases of malfeasance, are likewise regarded as stupid nuisances by those in power. Instead of reviewing why constituents might be unhappy with an elected leader’s performance, the preference is to restrict democracy, to make recall more complicated — just as the state of Ohio moved to make constitutional amendments more difficult in the wake of Issue 1. Those who wish to recall Jackson have a right to be fed up. And though the current recall effort is unlikely to be successful, judging by recent attempts, residents committed to the city’s improvement should be thinking seriously about whom they want to support in 2021 and how best to support them. The timid councilpeople eyeing mayoral campaigns, and waiting for blessings by His Snoozing Highness, would be wise to recall one of Jackson’s own favorite bits of advice, from former city council president George Forbes: In Cleveland, power isn’t given, it’s snatched.

sallard@clevescene.com t@scenesallard

| clevescene.com | January 30 - February 5, 2019

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ADDRESS (SPSVEHS &ZI LIǽIPH :MPPEKI ONLINE www.MetroParks.cc/Theatre PHONE 440.949.5200 ext. 221

Presented by French Creek Theatre

Febr uary 1-17, 2019

+ȀȄȲȷȚȃ ȷȋȎȀȲȷȚȃ ȷȋ ȸȣ ȷȤȲ ȎȤȲȷȚ 2ȷȋȄȤȇȇȃ ȷȋ ȸȣ BOOK BY JOE MASTEROFF | MUSIC BY JERRY BOCK LYRICS BY SHELDON HARNICK | BASED ON A PLAY BY MIKLOS LASZIO ORIGINALLY DIRECTED ON BROADWAY BY HAROLD PRINCE ORIGINALLY PRODUCED ON BROADWAY BY HAROLD PRINCE IN ASSOCIATION WITH LAWRENCE N. KASHA AND PHILIP C. MCKENNA ORIGINAL ORCHESTRATIONS BY DON WALKER | ADAPTED BY FRANK MATOSICH, JR.

DIRECTED BY JORDAN COOPER SPONSORED BY:

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| clevescene.com | January 30 - February 5, 2019

TICKETS

ADULTS: $16 - $18 CHILDREN: $10 Call (440) 949-5200 ext. 221 or visit us online at www.MetroParks.cc/theatre to purchase yours today!

GET OUT everything you should do this week Photo courtesy of the Great Big Home + Garden Show

WED

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SPOKEN WORD

Cleveland Stories Dinner Parties Cleveland Stories Dinner Party is a weekly series that pairs fine food with storytelling. The goal of the Party is to “bring to life some of the fun, interesting stories about Cleveland’s past — from sports, to rock ’n’ roll, to Millionaires’ Row,” as it’s put in a press release. Admission is free, with no cover charge, although a prix fixe dinner, designed to complement the night’s theme, is $20. Tonight, Greater Cleveland Film Commission president Ivan Schwarz will discuss the ins and outs of getting such big-budget flicks as The Avengers, Captain America and Draft Day to film in Cleveland. To eat, the menu includes The Hulk, Chicken Schwarma (get it?), and Superman Ice Cream. Doors open at 5 p.m., dinner is served at 6, and the storytelling starts at 7. (Jeff Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com. COMEDY

Friends: The Musical Parody Back in the ’90s, the TV show Friends was a monster hit, with its focus on a photogenic group of friends in their 20s trying to make a go of it in the Big Apple. Friends: The Musical Parody makes fun of the motley crew and offers “an uncensored, fast-paced, music-filled romp.” Tonight’s show takes place at 7 at Hilarities, where performances continue through Saturday. Tickets start at $30. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com. FILM

GoodFellas A classic gangster film, GoodFellas centers on Henry Hill, a half-Irish, half-Sicilian Brooklyn kid who teams up with the neighborhood gangsters at an early age and climbs the ranks of a Mafia family. The film screens tonight at 6 at the Capitol as part of the theater’s Happy Hour Classic series. Admission includes a complimentary cocktail or soft drink and light appetizers. Tickets cost $10. (Niesel) 1390 West 65th St., 16-651-7295, clevelandcinemas.com.

The Madcap Cottage guys come to the I-X Center as part of the Great Big Home + Garden Show. See: Friday. THEATER

An Iliad With An Iliad, the Cleveland Play House takes on Homer’s classic story, and the theatrical rendition of the epic narrative promises “vivid storytelling” and live cello as two women transform a bare stage into a “raging battlefield where gods, heroes, and empires clash in a quest for vengeance and glory.” Tonight’s show takes place at 7:30 p.m. at the Outcalt Theatre, where performances continue through Feb. 3. Tickets start at $25. (Niesel) 1407 Euclid Ave, 216-241-6000, playhousesquare.org. THEATER

Miss Saigon Part of the Broadway Series, Miss Saigon, which opened yesterday at the State Theatre, centers on a young Vietnamese woman who meets an American G.I. and falls in love. A stunning spectacle with a cast of 42, the musical features Broadway hits like “Last Night of the World,” “The Movie in My Mind” and “The Heat Is On in Saigon.” Tonight’s performance begins at 7:30 p.m., and additional shows continue through Feb. 17. Tickets start at $10. Find

details on the website. (Niesel) 1519 Euclid Ave., 216-241-6000, playhousesquare.org. FILM

The Wizard of Oz Fathom Events kicks off its 2019 TCM Big Screen Classics series today with special screenings of The Wizard of Oz in honor of the movie’s 80th anniversary. The classic film opened on Jan. 27 on nearly 700 movie screens nationwide. Final screenings of the film, which stars Judy Garland, Frank Morgan, Jack Haley, Ray Bolger, Bert Lahr, Margaret Hamilton and Billie Burke, are at area theaters today. Consult the Fathom Events website for times and ticket prices. (Niesel) fathomevents.com.

THU

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the Miller South Show Choir. At the age of 15, he was accepted into the University of Akron School of Music’s jazz program, making him the youngest African-American pianist to ever be accepted into a collegiate-level jazz program at the university. At 5 p.m. today, the Tangier Caberet in Akron will host a benefit screening of Kofi: Made in Akron, a documentary film about the young star, to support Boakye as he prepares to head off to Berklee College of Music, where he’ll start school in the fall. Boakye has set up a tax exempt 529 savings plan to help cover the cost of his education, and proceeds will go into that fund. The event includes a VIP reception, a silent auction and raffle, the premiere of the documentary film, and a performance by Boakye and his band. Tickets start at $50. (Niesel) 532 West Market St., Akron, 330-376-7171, thetangier.com.

MUSIC

Kofi : Made in Akron In a short amount of time, 19-yearold pianist Kofi R. Boakye has put together a pretty impressive resume. The Akron musician has toured Germany and Prague with

FOOD

Wine and Dine in the Dark At today’s special Wine and Dine in the Dark event, the folks at Mallorca will serve a five-course meal with wines of the world. As the title | clevescene.com | January 30 - February 5, 2019

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GET OUT implies, the food will be served in the dark and guests must wear blindfolds. The event promises to be “a very unique sensual experience with food” and “unlike anything you have done before.” It starts at 7 p.m. (Niesel) 1390 West Ninth St., 216-687-9494, mallorcacleveland.com.

FRI

Flippers’ Eric and Lindsey Bennett and Madcap Cottage’s John Loecke and Jason Oliver Nixon will be on hand as well. The Bennetts will appear on the Main Stage today and tomorrow, and Loecke and Nixon will appear on Wednesday, Feb. 6 and Thursday, Feb. 7. Matt Fox, the creator of the HGTV show Room by Room, will serve as the Main Stage host. There will also be fine dining

FILM

Mamba Back in the 1930s and ’40s, independent productions flourished on Hollywood’s Poverty Row, a strip of Gower Street between Sunset Boulevard and the Paramount lot. The companies produced lowbudget genre films that often had “strange, illusive qualities” not found in major studio movies and

02/01

FILM

Select Wednesdays

Amores Perros Because Mexican directors have won four of the past five Oscars for Best Director, the Cleveland Museum of Art will pay tribute to that group this month with several special screenings. Tonight at 6:15, it’ll screen Alejandro G. Inarritu’s Amores Perros, an anthology film that features three distinct stories. Tickets cost $10, or $7 for CMA members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

Step inside the exhibits with the Rock Hall crew, grab a drink and bring out your musical fandom. FEBRUARY 13 ROCK & ROLL VALENTINE

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

MARCH 6 ROCK OFF THE RACK Explore some of the coolest fashion pieces in our collection and see how our favorite artists have inspired looks through the decades. Rock star dress code optional!

THEATER

Flanagan’s Wake Flanagan’s Wake transports the audience to an Irish wake where villagers tell tales and sing songs for their dearly departed Flanagan. Finding the humor in life and death, the wake acts as a dark backdrop to an otherwise hilarious show in which alcohol fuels the humorous reminiscing. Sort of like a tragic Tony ’n’ Tina’s Wedding, the interactive and improvised show engages the entire audience. Tonight’s show starts at 8 and repeats tomorrow night at 8 at Kennedy’s Theatre. Performances continue weekends through April 27. Tickets are $26. (Patrick Stoops) 1501 Euclid Ave., 216-241-6000, playhousesquare.org. HOMES AND GARDENS

The Great Big Home + Garden Show Now in its 10th year, the 10-day Great Big Home + Garden Show returns to the I-X Center today. It features a whopping 600 exhibits centering on how to “renew, refresh and restore” your home and garden. This year’s special exhibits include a fairytale-themed Garden Showcase, a Modernized Millennial Idea Home and a Backyard Living Showcase. Home improvement celebrities such as HGTV’s Desert

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| clevescene.com | January 30 - February 5, 2019

THEATER

Weep For Joy A play in two acts written by David Payne, Weep For Joy centers on the relationship that grew between writers C. S. Lewis and Joy Gresham. The two authors argued and laughed, and their initial meetings were rather funny. Their friendship turned into a marriage, which came with its share of tribulations. The play depicts how these two people confronted incredible hardship. Tonight’s performance takes place at 7:30 at the Hanna Theatre, where performances continue through Sunday. Tickets start at $20. (Niesel) 2067 East 14th St., 216-241-6000, playhousesquare.org.

SAT

02/02

DANCE

Beijing Dance Theatre Born and raised in Beijing, Wang Yuanyuan started studying dance at the Beijing Dance Academy before becoming the resident choreographer of the National Ballet of China. One of the most internationally awarded Chinese choreographers, she leads the Beijing Dance Theatre. The troupe make its Ohio debut today at 7:30 p.m. at the Ohio Theatre, where it performs again at 2 p.m. tomorrow. Tickets start at $25. (Niesel) 1501 Euclid Ave., 216-241-6000, playhousesquare.org. ARTIST SHOWCASE

FREE admission for Members & CLE VIP

in the I-X Bistro, a full-service, white tablecloth restaurant, and landscaping experts will present daily gardening seminars. Check the show’s website for hours and a complete schedule of happenings. Tickets cost $15 at the door, or $13 online. (Niesel) 1 I-X Center Dr., 216-676-6000, greatbighomeandgarden.com.

& Dirty in Gower Gulch: Poverty Row Films Preserved by the UCLA Film & Television Archive. The film screens at 7:30 tonight and again at 7 p.m. on Sunday. Tickets cost $11, or $8 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu.

tackled taboo subjects like venereal disease and “medical quackery.” The UCLA Film & Television Archive preserves and restores these rare and endangered works, and tonight, the Cleveland Institute of Art Cinematheque will present one of them: Mamba, a film about an evil plantation owner who lives in German South Africa. The film is part of a program dubbed Down

Blax Museum A poet, blogger, educator and cultural facilitator, Michelle R. Smith has recently been a featured poet and panelist at the Coast Line Poetry Series at the Lakewood Public Library, the Ekphrastic Poetry Invitational at the Cleveland Museum of Art and the Great Lakes’ Black Authors Expo and Writers Conference. Today she brings her annual artist showcase, Blax Museum, back to the East Cleveland Public Library. The event will take place from 1 to 3 p.m. in the Greg L. Reese Performing Arts Center. It will feature black artists from

Northeast Ohio who’ll give original presentations and performances. (Niesel) 14101 Euclid Ave., 216-541-4128, eastclevelandpubliclibrary.org. SPORTS

Cavaliers vs. Dallas Mavericks With rookie sensation Luka Doncic, the Dallas Mavericks have a young superstar that they can build a team around. He recently became the second youngest player ever to record a triple-double. He’s reason enough to check out tonight’s game featuring the Cavs and the Mavs at 7:30 at the Q. Check the Cavs website for ticket prices. (Niesel) 1 Center Court, 216-420-2000, theqarena.com. ICE CREAM!

Ice Cream For Breakfast Day Ice cream is such good stuff, why the hell not eat it for breakfast? Today — Ice Cream for Breakfast Day — Jeni’s Splendid Ice Creams in Chagrin Falls will open at 9 a.m., so you can indulge in a few scoops of Banana French Toast, the special flavor that the place is whipping up for the event, in place of your usual toaster streudel. The shop will also serve coffee, and 100 percent of all profits will go to She Should Run. A nonprofit committed to getting at least 250,000 women to run for office by 2030, the organization’s mission is to “expand the talent pool of women running and to give equal opportunity to women of all political leanings, ethnicities and backgrounds.” Since 2016, She Should Run has inspired more than 15,000 women to run for office. (Niesel) 67 North Main St., Chagrin Falls, 440-247-2064, jenis.com.

seasonal greens and vegetables, fruits, meats, cheeses and bakery items. The market is held at 228 Market St., between the Gap and Cyclebar. Though Crocker Park is home to just about every national retail chain you can think of, Comet Alley, which sits between Yard House and Hyatt Place Hotel, features locally owned businesses and shops that’ll appeal to anyone with a “shop local” mentality. (Niesel) 189 Crocker Park Blvd., Westlake, crockerpark.com. FILM

Rocky Horror Picture Show It’s the first Saturday of the month again, so tonight the Cedar Lee Theatre hosts its usual midnight screening of The Rocky Horror Picture Show, the 1975 cult classic that still draws an exuberant, costumed crowd that likes to throw rice and dry toast and sing along to the songs in the movie. In addition, locals act out a floor show that mimics the movie, turning the event into a veritable party. Tickets are $9.75. (Niesel) 2163 Lee Rd., Cleveland Heights, 440-528-0355, clevelandcinemas.com. THEATER

Sherwood: The Adventures of Robin Hood A Cleveland favorite, playwright Ken Ludwig (Baskerville, A Comedy of Tenors) returns with Sherwood: The Adventures of Robin Hood, Cleveland Playhouse’s “rollicking new take” on a beloved legend. In this particular production, Robin Hood and his band of Merry Men take on a greedy prince. Tonight’s performance takes place at 7:30 at the Allen Theatre. Tickets start at $25. (Niesel) 1407 Euclid Ave., 216-241-6000, clevelandplayhouse.com.

FILM

Infinite Football A documentary film about a Romanian bureaucrat whose career comes to an end after he’s injured in a game, Infinite Football focuses on the way the game can be changed and improved. It screens at 6:30 tonight and at 9 tomorrow night at the Cleveland Institute of Art Cinematheque. Tickets are $10, or $7 for Cinematheque members and students. (Niesel) 11610 Euclid Ave., 216-421-7450, cia.edu. FOOD

North Union Indoor Farmers Market Until March 30, the North Union Indoor Farmers Market will take place on Saturdays from 9 a.m. to noon at Crocker Park. Local farmers and bakers will be on hand to sell

FUNDRAISER

Somewhere in Time: 1969 The Cleveland History Center’s annual Somewhere in Time party, which takes place at 7 tonight at the Western Reserve Historical Society, will transport Clevelanders back to the year 1969. There will be themed drinks, food, music and more as the event centers on a “critical year of protest, revolution and change” and commemorates events such as the Cuyahoga River conflagration and the first lunar landing. Using pieces from the WRHS collection, Somewhere in Time: 1969 will share iconic moments and remember the countercultural past in a “cool” and “groovy” way. Proceeds support education and public programs for students, families, and seniors in Cleveland and Northeast Ohio.

WJW.CLEVELAND

| clevescene.com | January 30 - February 5, 2019

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INSPIRATION GROWS HERE.

FEB. 1–10 CLEVELAND’S I-X CENTER

GET OUT Period-appropriate costumes are strongly encouraged. Tickets start at $50. (Niesel) 10825 East Blvd., 216-721-5722, wrhs.org. MUSIC

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Bring the adventure home with whimsical design ideas from John Loecke & Jason Oliver Nixon from Madcap Cottage on Feb. 6 & 7. Step into the Backyard Living Showcase and experience new ways to enjoy your entire property featuring a treehouse retreat built by PROPs Consulting, LLC. Sponsored by Sherwin Williams. Learn home & cooking tips on the HBA Main Stage and Loretta Paganini Cooking Stage sponsored by the Home Builders Association.

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Tri-C High School Rock Off When the annual High School Rock Off launched some 20 years ago at the Odeon, the promoters at the locally based Belkin Productions (now Live Nation) saw it as a way to reach out to area high schools and provide the kind of outlet that students might not have. Two decades later, the event, now held at the Rock Hall, continues to thrive. Thirty-six bands will participate in this year’s competition. A total of 147 band members, including six solo artists, will represent 64 schools. Three performance rounds will take place at the Rock Hall, leading up to the Final Exam that takes place on Saturday, Feb. 16, when the 2019 Best Band in the Land will be awarded by music and entertainment industry judges. Prizes include three scholarships to study in the Creative Arts program at Cuyahoga Community College. PNC Bank will help high school seniors launch their careers in music by providing the scholarships. Tonight’s competition takes place at 6, and tickets are $10. (Niesel) 1100 Rock and Roll Blvd., 216-515-8444, rockhall.com.

SUN

02/03

FILM

Norma Rae Sally Fields, Beau Bridges and Ron Leibman star in Norma Rae, the 1979 Martin Ritt film about a poor single Southern textile worker who tries to unionize her mill. Field won her first Oscar for her performance in the movie. It screens today at 1:30 p.m. at the Cleveland Museum of Art. Tickets are $10, or $7 for CMA members. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org.

MON

02/04

FILM

Movie Mondays Every Monday, Cleveland Cinemas

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| clevescene.com | January 30 - February 5, 2019

hosts $5 Movie Mondays, where film fans can catch up on the latest Hollywood flicks for significantly reduced prices. Bring your friends and family and make Movie Mondays a weekly tradition — many theaters even offer discounted concession stand items. Participating theaters include Apollo Theatre, Capitol Theatre, Cedar Lee Theatre, Chagrin Cinemas, Shaker Square Cinemas and Tower City Cinemas. Unfortunately, additional charges apply for 3-D movies. (Alaina Nutile) clevelandcinemas.com. NIGHTLIFE

Shit Show Karaoke Local rapper/promoter Dirty Jones and Scene’s own Manny Wallace host Shit Show Karaoke, a weekly event at the B-Side Liquor Lounge wherein patrons choose from “an unlimited selection of jams from hip-hop to hard rock,” and are encouraged to “be as bad as you want.” Fueled by drink and shot specials, it all goes down tonight at 10 p.m. (Niesel) 2785 Euclid Hts. Blvd., Cleveland Heights, 216-932-1966, bsideliquorlounge.com.

TUE

02/05

FILM

Around India With a Movie Camera For her film Around India With a Movie Camera, director Sandhya Suri assembled footage taken during the five decades prior to Indian independence. The result is an “exotic and expansive” documentary of the country. It screens at 1:45 p.m. today at the Cleveland Museum of Art. (Niesel) 11150 East Blvd., 216-421-7350, clevelandart.org. SPORTS

Cavaliers vs. Boston Celtics Two years ago, guard Kyrie Irving requested that the Cavs trade him because he was reportedly tired of living in LeBron’s shadow. The trade didn’t work out well for the Cavs, who ended up dumping the players it received in exchange. Expect Irving to receive a hostile reception when he returns to the Q tonight at 7 to take on the rebuilding Cavs. Consult the Cavs’ site for ticket prices. (Niesel) 1 Center Court, 216-420-2000, theqarena.com.

scene@clevescene.com t@clevelandscene

AN EPIC ADVENTURE STORY! JAN 12 – FEB 10 • OUTCALT THEATRE

A SWASHBUCKLING COMEDY ADVENTURE! FEB 2 – 24 • ALLEN THEATRE

written by LISA PETERSON & DENIS O’HARE based on Homer’s The Iliad, translated by ROBERT FAGLES directed by TARAH FLANAGAN & ANDREW CARLSON

written by KEN LUDWIG | directed by ADAM IMMERWAHR

TICKETS START AT $25 | STUDENT AND GROUP DISCOUNTS AVAILABLE

216.241.6000 • clevelandplayhouse.com

| clevescene.com | January 30 - February 5, 2019

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STAGE ESCAPING THE COMFORT ZONE Dobama’s Revolt. She Said. Revolt Again rightfully commands attention and praise by Roman Macharoni Photo by Steve Wagner Photography

SHOULD YOU ENTER DOBAMA Theatre for its production of Revolt. She Said. Revolt Again expecting to sit back and turn off your brain, you might wish to turn around. This isn’t the play for you, and we say that in the best possible way. Everything within Revolt suggests that leaving this performance without a sense of shock — without being prodded to reevaluate or further reflect upon your views of feminism — would be a failure to have properly connected with the message. That is to the great credit of director Sarah Elizabeth Wansley and the entire ensemble, which have done this particular play justice. Author Julie Birch challenges anyone who chooses to produce Revolt to step outside their comfort zone. Dobama certainly has. In choosing this script, artistic director Nathan Motta has more than dipped his toes into what can conservatively be called a well-versed and seemingly exhaustive pool of feminist thinking, from around the world and from all classes and creeds of women, and has found that the water is warm and welcome for an intimate setting such as Dobama. Finding life and inspiration within the phrase, “Well-behaved women seldom make history,” Birch has constructed a mishmash of a narrative that at first skims the surface of what she calls a theatrical feminist manifesto, then thrusts you into the subliminal ideas behind that manifesto, just as you start to feel comfortable. Throughout the play, each cast member wears many hats, metaphorically and at times quite literally. The four actresses — Lisa Louise Langford, Nina Domingue, Rachel Lee Kolis and Miranda Leeann — all have moments to shine. Meanwhile, Abraham McNeil Adams, the sole man in the production — and credited as exactly that, as a generic Man — jumps in and out of most scenes to inject an ofteninverted male agenda. His delivery hits that sweet spot between romantic desperation and comedy to make even the most sexist portrayal of

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men rather charming, tongue firmly lodged in cheek. Similarly, Dobama veteran Kolis’ comedic side is showcased beautifully, with an extra twitch of the eye for good measure during her numerous mental breakdowns. For most of the play, the four women share the stage and trade places portraying comparatively self-explanatory messages of countersexism. Leeann begins with a wickedly funny exchange describing the sexual needs of women, much to the chagrin of Adams’ more chauvinist character, and this continues with Kolis stepping in to offer up a hot take on the definition of marriage from within a melodramatically blunt female perspective.

voices to truly comprehend. The energy on stage is close to sensory overload, further amplified by strobe lights, music and smoke. The saving grace is that there is a control to the chaos, thanks in large part to the wonderful sound and light design by Megan Culley and Jakyung Cho Seo, respectively. The constant kinetic movement within the third act is a feast for the eyes, shifting focus throughout the entire theater. In these moments, it takes large personalities to shine through, and the ensemble cast delivers with the kind of unbridled showmanship one would more likely expect from performance art. Langford’s very presence on stage is commanding, with an equal sense of comic timing

REVOLT. SHE SAID. REVOLT AGAIN THROUGH FEB. 17 AT DOBAMA THEATRE, 2340 LEE RD., CLEVELAND HEIGHTS, 216-932-3396. DOBAMA.ORG

These relatively light-hearted exchanges grind to a screeching halt when more expressionist vignettes, juxtaposed with bolder statements, showcase more visceral performances from the ensemble. Gender role reversal, hyper-sexuality, pornography and rape are all fair game as the stage fills with too many

| clevescene.com | January 30 - February 5, 2019

and raw passion. Domingue lets loose with an unabashed performance that screams for your attention. The direction of this particular production could be overlooked without some insight into the script. As this is predominately a language play, Birch leaves most stage direction, dialogue flow and

settings to the theater, and the staff at Dobama chose a minimalist approach, aside for the stage off in the corner. The inclusion of live music performed by the actors is a nice creative touch, and the musical numbers chosen have some intriguing undertones. Leeann often takes center stage as the de facto leader of the gals during these musical interludes and possesses a forceful yet pleasant voice. Another one of Birch’s intentions was to assert on-stage fluidity. She describes Revolt as performable without props, a set or even defined genders for gendered roles. In this production, props are used sparingly but with purpose, and oftentimes result in a hardy chuckle. You may never look at a watermelon the same again. Revolt greets you with the message of not being well-behaved. And once the lights go down, it doesn’t take long to realize that it’s as good as its word. Revolt. She Said. Revolt Again heightens and validates the inner exhibitionist in all of us, finding meaning in how the viewer interprets the performance as much as in what is actually on the stage, and that — to put it simply — is true art.

scene@clevescene.com t@clevelandscene

Photo by Jenniffer Collier

ART MARBLING THE MIND Jenniffer Collier’s Ornaments lets you get lost in the colors By Dott von Schneider

WHAT WE THOUGHT WE KNEW about marbling and what we actually know about marbling are two very different things. “Spanish marblers dance. American marblers breakdance,” says Jenniffer Collier as we sit among her latest exhibition, Ornaments, at Six Shooter Coffee on Waterloo Road. “The way [Americans] infuse our energies on the surface is like a cowboy or a cowgirl trying to fight for their survival in the Wild West. I think it’s totally different how we approach things. There are some American marblers who I’ve seen so far, like Peggy Skycraft, who does these beautiful traditionals, and her colors can be hypersensitive; but she made a career out of making the most beautiful book paper that you’ve ever seen in your life.” We learned about an elite group of marblers that Collier is highly motivated to be a part of. “There are around 12, more or less, master marblers that meet in Turkey every year or two and share their discoveries and talk about the history of marbling and recipes and secrets and stuff,” she says. “And by secrets I mean certain effects and how to work them out.” The techniques and recipes are tightly guarded by these masters and the history is meaty and captivating, the kind of story one can get lost in. “The history goes back to 12th century Japan with suminagashi, meaning ink floating on water,” Collier explains. “And through the trade routes it had migrated to Turkey around the 1300s to 1400s. There’s a whole rich history of Turkish marbling and specific designs that are part of that, but it also became a way for the Turkish to embed designs and stories into their work and manuscripts. So it turned into not just ink on water, but drawing on water.” We talk about the prints in the coffee shop mezzanine, and we discover that they are on wood panel. “Once I figured out that marbling is monoprinting — and if you know

anything about printmaking, you can monoprint on anything — I realized how to prepare the surface to receive the marble print. By having practice as a painter, I have a ton of surfaces hanging around and it was like, ‘Oh, it sticks!’” That eureka moment was beneficial to the artist. Collier’s marbling artworks have double, triple and sometimes quadruple passing. They are rich, ethereal and mysterious. “Tripple Marbled Abstract” wears a sort of ghost-like plasma that lingers over the swirls of color with great depth. We sail throughout the black holes and surf the spectrum in this artwork, which is deceivingly small, but has the effect of being a hundred times its actual size. Kitty-corner from this piece is “Tripple Marble Turquoise Abstract.” It bears the same stature and is also captured on a wood panel. The layers of bright and dark colors are wild and involved. Then there are the three works hanging on the lower level of the shop, toward the entrance. “The Flame,” “Scalloped Flame” and “Winged Nonpareil,” all on paper, were part of a series called Modern Marbles. “I did a show in Panama City, Florida, and those refer to specific designs in the history of marbling, from Turkey to now,” she says. “These are the only ones I have left that are framed from this series, but I have over a thousand prints that are all one of a kind at home, so if I want to do more shows, I can, but I really love the process.” Collier became interested in the

“Triple Marble Turquoise Abstract,” by Jenniffer Collier.

She’d always been interested in the traditional method and how to do it. When she found how quick the process was, she was hooked. “Once I learned it happens in less than two minutes, instead of being forced over hours, I felt like this is magical and I wanted to know more about this magic. There are a few times in life

ORNAMENTS PRESENTED BY MARIA NEIL ART PROJECT. OPENING FEB. 1, AT SIX SHOOTER COFFEE, 16021 WATERLOO RD., 216-762-1180. JCMARBLING.COM

medium when she finally took a class at the Morgan Conservatory in 2015. “I think I’m interested in it because that type of swirling and fluid breakup of multiple colors was happening in my painting practice.”

when you know you are in the right place at the right time; that was one of them. So there was that light bulb that went off and I had to start something. A lot of these are really just chance. You have to let go of

perfection to some extent.” We ask about the marbled wood panel titled “Floating,” a piece that, by Collier’s admission, has a Japanese aquatic feel to it. It looks like it was augmented with hand painting. “The Indo red that I use on this piece also has marble dust in it,” she says. “It’s something that I use in my painting practice. I embed marble dust in the paint, so the marbling wasn’t solid in those areas. So I had to figure out some sort of way to soften the design, so I just masked it off and used my own mediums. When the wave of light hits the paint, it absorbs the UV quality. When it refracts, you see that positive color.”

scene@clevescene.com t@clevelandscene

| clevescene.com | January 30 - February 5, 2019

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DANCE LEGACY OF DANCE Original Cleveland Ballet’s co-founder Ian Horvath celebrated with new documentary, Verb Ballets performance By Laura Morrison Photo by Liz Cooper

SEATTLE-BASED BALLERINA Margaret Mullin had never considered Cleveland as a hotbed for dance activity. That was until she learned about dancer Ian (Ernie) Horvath. For the past six years, the Pacific Northwest Ballet soloist has been working on a documentary about Horvath, the original Cleveland Ballet company co-founder who burned brightly on New York stages and died of AIDS in 1990. Horvath had a profound effect on those in the Cleveland dance world, but his story, Mullin learned, has been much forgotten with time. “I didn’t ever see myself as a filmmaker. The whole move caught me by surprise,” admits Mullin, who is making the film with dance documentarian Nel Shelby. “But once I learned about Ernie Horvath, I thought, ‘How have I never heard of this person?’ I can’t know these things and not put them out in the world.” Two weeks ago Mullin flew to Cleveland to work with Verb Ballets, the city’s modern ballet company, to help stage Horvath’s final ballet called No Dominion (taken from the poem “And Death Shall Have No Dominion” by Dylan Thomas”) that was originally choreographed for NYC’s Jose Limon Dance Company. The work, along with Horvath’s first ballet for Cleveland Ballet, “Laura’s Women,” is set to be performed by Verb Ballets on Feb. 9 in a special celebration of Horvath’s life. Parts of the upcoming documentary will also be shown that night as well as new choreography by Kay Eichman created in honor of Horvath. At Verb Ballets’ new Shaker Heights studio, Dr. Margaret Carlson is breaking down a move for company member Lieneke Matte. “Make them believe this is hard,” Carlson says, slowly pushing her hands through the air, outstretching her arms. They’re working on the all-female piece “Laura’s Women,” which Carlson originally danced back in 1974 when she was just 21. “This particular ballet is a work that has survived [Horvath] now,” explains Carlson, producing

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Dancers with Verb Ballets rehearse for a performance.

artistic director for Verb and a founding Cleveland Ballet dancer, outside of rehearsal. “Over the years I’ve staged it on many different companies. One of those was Ballet Tucson. Maggie Mullin was a student there, she was too young to be in it then, but she would sit in the wings and she was taken by it.” Seeing the ballet as a child was Mullin’s first introduction to Horvath’s work, but she didn’t remember who’d choreographed it

With the success of recent ballet documentaries, some of which have even been picked up by Hulu, Mullin is certain there’s an audience for her soon-to-be finished operation. Right now, as with so much in the arts, the problems are all tied up in funding. She and her film partner plan to launch a short 40-minute documentary first that details the end of Horvath’s life. “We want to have a 90-minute film, but we also want it to be great,”

DANCE LEGACY: CELEBRATING THE LIFE OF IAN HORVATH 8 P.M. SATURDAY, FEB. 9, BREEN CENTER FOR THE PERFORMING ARTS, 2008 WEST 30TH ST., 216-397-3757. TICKETS: $10-$35, VERBBALLETS.ORG At 7:15 p.m., catch a pre-show panel discussion on the AIDS epidemic and its impact on a generation of Cleveland dancers who were lost to the disease.

until after calling up her old ballet company for the name. A recent recipient of a Princess Grace Award grant, she was looking for a ballet to film and thought of the piece. Never hearing of Horvath before, she started down a rabbit hole that eventually led to meeting Carlson and others in the old Cleveland Ballet sphere.

| clevescene.com | January 30 - February 5, 2019

Mullin says. “It’s such an important story to tell. I had anxiety that it’s taking so long. Then I realized it’s not going to be done quickly. You have to think, ‘Do you want it done right or fast?’ And I want it done right.” In the late 1980s, an AIDS diagnosis meant certain death. But Horvath, a former dancer for

Joffrey Ballet and American Ballet Theater who had many friends with the same diagnosis, didn’t go quietly into the night. In his final years, after he’d left Cleveland Ballet (which eventually folded in 2000) and was back in NYC, he worked to fight the stigma of the illness through dance, art performances and interviews. Horvath’s final ballet, No Dominion, the only one Carlson never saw in person, is an all-male piece about Horvath grappling with death. For everyone involved with the upcoming documentary and performance, bringing this subject matter to the public is a matter of remembering. “Cleveland had a Clevelander who brought and built a major ballet company for Cleveland,” Carlson says. “Even though it doesn’t exist anymore, in its day it was the sixthlargest in the country. This all is a way of saying, ‘Let’s not forget what we had here and let’s work to the future.’”

lmorrison@clevescene.com t@lowesays

MOVIES LOVE IN THE TIME OF COMMUNISM Pawlikowski’s Cold War is an arresting masterpiece By Sam Allard Photos by ŁUKASZ BAK / AMAZON STUDIOS

IN THE CURIOUS CALCULUS OF the 2019 Academy Awards, Cold War, directed by Polish auteur Pawel Pawlikowski, is a nominee for Best Foreign Language Film, but not Best Picture, though Pawlikowski is one of only five directors to have earned a Best Director nod. Roma, the blackand-white foreign language darling from director Alfonso Cuaron, managed to snag a Best Picture nod as well. Even experts are scratching their heads as they put together their predictions, but one thing is clear: It’s a splendid year for movie lovers. Cold War, with its dramatic black-and-white photography, is one of the most visually arresting films of 2018. Its 3:2 aspect ratio contributes to its beauty as well. Unlike 2015’s Son of Saul, which used the boxier aspect ratio to convey the claustrophobia of Auschwitz, Pawlikowski uses it to compose images of remarkable height and depth in Poland’s ravaged post-war landscape. Opening with scenes of Polish peasants singing folk tunes, we learn that Wiktor (Tomasz Kot) and Irena (Agata Kulesza) are gathering audio material to create a kind of variety show celebrating Polish heritage. They open a school to train a troupe of young performers in song and dance. It is there that Wiktor meets Zula (Joanna Kulig), an unpolished

singer to whom he is instantly and powerfully attracted, and who, it is soon revealed, is informing on Wiktor to the Communist Party man, Kaczmarek (Boris Szyc), overseeing the troupe. Romance blossoms anyway. To Wiktor, Zula’s voice and personality are blasts of fresh air in his world drained of creative energy. On a European tour, they make plans to escape to West Germany, outside of Communism’s grasp, but Zula can’t bring herself to follow

through. They reunite years later in Paris, where their love is challenged in different ways. They return to Poland. Their love story is aborted yet again. At a trim 90 minutes, much of Cold War’s narrative occurs between the precious images and representative scenes that Pawlikowski has selected. It’s much like Pawlikowski’s previous film Ida (2014), in this respect: spare but searing, with only the most

important moments elevated. The love story itself is based on that of Pawlikowski’s parents, to whom he dedicates the film after a quiet, heart-wrenching final image. Their relationship, from 1948-1988, coincided almost precisely with the Cold War of the film’s title. In the 15 years that the film encompasses, the oppression of world events disfigure, but also fortify, what might have been a very different tale. The music of the film is a highlight: not only the choral arrangements of the Polish troupe, but the jazzy improvisations of the Paris nightclub scene to which Wiktor flees, and the film’s flagship song, Dwa serduszka, first sung by a Polish peasant girl and adapted repeatedly for vocal and instrumental performance throughout the film. In one such adaptation (featured in the film’s trailer), Zula transforms the mountain tune into a smoky torch song for an awestruck Parisian club crowd. Kulig herself is both vivacious and devastating in the lead role. In her, the film’s energy burns brightest of all. Cold War opens Friday at the Capitol, Cedar Lee and Chagrin Cinemas.

sallard@clevescene.com t@scenesallard

SPOTLIGHT: THEY SHALL NOT GROW OLD THERE WAS PERHAPS NO director better suited to making the new documentary They Shall Not Grow Old, a film composed of restored World War I footage from the Imperial War Museum’s archives, than Peter Jackson (Lord of the Rings). An avid World War I collector, Jackson also has a personal connection to the Great War. His grandfather served in the war, and he dedicates the movie to the man. The film succeeds in creating an immersive experience for the viewer. Select one-night-only screenings took place last month and earlier this month, and the film will now

open area-wide on Friday. Be sure to see it in 3-D to get the full effect. The making of the movie was a monumental task. Jackson sifted through about 100 hours of film and about 600 hours of audio footage to piece together the film. In the short “making of” feature that follows the film, Jackson shows how some footage was so faded that the original images weren’t at all discernible. After restoration, the images became crystal clear. Though the movie lacks any sort of voice-over (interviews with the soldiers create the narrative), it doesn’t suffer as a result. By proceeding in chronological order,

Jackson takes us through the buildup to the Great War (many soldiers discuss volunteering to serve because they felt so committed to the cause) and clearly shows the atrocities that took place on the battlefield. Some of the gruesome footage depicts bloody soldiers who have been severely injured. Human bodies lie rotting in the fields, flies buzzing on the corpses. Soldiers march through soggy trenches and struggle to maintain any sort of hygiene. All hope isn’t lost, however. As the war comes to an end, soldiers from both sides share food and supplies. The movie includes scenes

that show the Allied forces feeding captured German soldiers. There’s also something hopeful about the extended version of the cheerful tune “Mademoiselle from Armentières” that plays over the closing credits. Jackson actually recruited New Zealandbased native speakers in service to the U.K. government to sing the tune, and they do a commendable job of bringing this remarkable movie to its conclusion. — Jeff Niesel

jniesel@clevescene.com t@jniesel

| clevescene.com | January 30 - February 5, 2019

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| clevescene.com | January 30 - February 5, 2019

EAT THAT FAMILIAR FEELING New ownership but same no-frills diner fare at the Inn on Coventry By Douglas Trattner THERE WE WERE, ENJOYING our eggs benny and huevos rancheros, when we came to the most heartwarming conclusion: Nothing of note has changed. It’s been one year since the longtime owners of the Inn on Coventry sold their iconic diner and the sky has yet to fall. That’s great news for an indie-minded neighborhood that recently suffered the loss of iconic spots like La Cave du Vin and Big Fun. Who knows, if not for Eddie and Erica Zalar, the loveable Inn might have followed those local shops into the great beyond. After more than 35 years of running the Inn, founders Debra Duirk and Mary Haley were ready to move on to the next phase of their lives. Since 1981, with the help of Haley’s mother Amy, who cooked here until the ripe old-age of 96, the pair has provided a warm space for everybody and anybody in search of a homestyle breakfast and lunch. As it happens, when the time came to put the business on the market, the Zalars were in a shopping mood. After a little more than three years of running the fine-dining Italian bistro Nora in Little Italy, Eddie was eager to trade in the onerous existence of running a chef-driven bistro with razorthin margins for a less demanding venture with shorter hours, higher volume and simpler food. “I’m not going to say that we struggled at Nora, but we worked really, really, really hard there,” Zalar explains. For the first few months, all Zalar did was observe. For starters, the longtime kitchen crew and service staff knew more about the operation than he did, and almost all of them agreed to stay on. The new owner also wanted to get a handle on the menu to sort out the winners and losers. For most establishments, that would be as simple as running a sales report on the POS system, the technology that owners use to track transactions. But the Inn never had one. Servers here still put pen to paper and hand the little green slips to the short order cooks, who have the uncanny ability to translate cryptic code into three-dimensional food.

Photo by Emanuel Wallace

“I wish I could tell you what our best sellers are, I really do,” says Zalar. “I wish I could tell you how many people we serve on a given day. There are a lot of things I’d like to change, but for now, we don’t want to scare anybody.” Low-hanging fruit like setting up social media accounts came first, followed by a pretty extensive redo of the dining room. Guests now enjoy fresh carpeting, new paint, different artwork and a little more breathing room between tables. On busy weekend days, the Inn can fly

a generous mound of hash browns that, while hot, featured few crispy bits. You won’t have to search too far to find a better version of huevos rancheros ($9), but most of the elements are here. A plate-size flour tortilla serves as a base for cheese, refried beans and scrambled eggs. Salsa and sour cream are served on the side. Other breakfast staples include corned beef hash, biscuits and sausage gravy, omelets, French toast and the famed lemon ricotta pancakes. The Inn also dishes up a

INN ON COVENTRY 2785 EUCLID HEIGHTS BLVD., CLEVELAND HEIGHTS, 216-371-1811. INNONCOVENTRY.COM

through up to 400 customers, but wait times rarely climb above 20 minutes thanks to swift service, efficient cook times and steady turnover. The Inn has long been adored for its roster of eggs Benedicts, offering a dozen different makes and models. The eggs Mando ($10) is your standard-issue stack of buttery toasted English muffins, Canadian bacon and expertly poached eggs, all bathed in a sunny Hollandaise sauce. The twist here is the addition of ripe avocado. Also on the plate was

quiche and crepe of the day. The lowkey possession of a liquor license means that brunch diners can wash down those meals with Bloody Marys ($5.25), mimosas and beer. The “Burger Shop” is still open. That’s the name for the mix-andmatch system that allows diners to select from a choice of treatments, toppings and patties (beef, black bean, grilled chicken, fried chicken). At six ounces, the beef burgers ($9) are large enough that servers ask how you’d like them prepared, but small enough that in the end

it doesn’t matter: They all arrive medium-well. But that’s just fine on a slim patty capped with American cheese, lettuce and tomato. Hot, crisp fries are included in the bargain. The picture-perfect double-decker club ($11) looked so appealing, sectioned into four pointy corners held together by frilly toothpicks, that I hated to dissect it. But that’s exactly what needed to be done to slather on the mayonnaise that for some vexing reason comes on the side. For Zalar, who graduated from the distinguished Culinary Institute of America, slinging hash is a bit of a departure from his former career path. But with one young child and another on the way, having afternoons and evenings off to be with family far outweighs his ego and ambition. “It’s humbling,” he admits. “I’ve worked at really nice places in New York where there’s like 30 cooks for about 100 guests. I think that fine-dining is really hard to do in a city that’s not New York or San Francisco. But I’ve always liked to stay busy. If I can get another 30 years out of this, that would be great.”

dtrattner@clevescene.com t@dougtrattner

| clevescene.com | January 30 - February 5, 2019

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| clevescene.com | January 30 - February 5, 2019

By Douglas Trattner FOR NEXT MONTH’S DINNER in the Dark, the long-running “jam session for chefs,” the organizers have teamed up with the family and friends of Nikki Delamotte, the local journalist who was killed back in November. The event will take place on Monday, Feb. 18, at the 78th Street Studios (1300 West 78th St.), an arts-filled location where Delamotte spent much of her time reporting. This “celebration of life” is being co-hosted by Revival Social Dinner and will benefit a local philanthropic effort to be selected by family and friends in Delamotte’s honor. “Nikki wasn’t just a young, talented writer, but a beautiful soul beloved by many in the city of Cleveland,” says Dinner in the Dark founding chef Jeff Jarrett. “Her works covered the culture of the city: food, fashion, music, and art. She gave a lot of people their first break by writing about the passion and talent that they were bringing to this city. She was kind, always willing to listen and help.” Unlike most DITD events, this one will not be an intimate sit-down dinner, but rather a sizeable display of culinary talent where 20 or more chefs will be offering small dishes at tasting tables. Like all Dinner in the Dark events, the chefs will remain a surprise until the night of. Organizers hope to sell about 300 tickets, priced at around $40 each with fees. In addition to the food, there will be beer and wine, a silent auction and live entertainment. “Nikki always seemed to see the bright side of the city, the hope and prosperity that was forever just around the corner,” adds Jarrett. “But her work made it tangible ... well beyond her years. The city lost one its greatest voices for future generations.”

City Brew Tours Cleveland Launches this Month In light of the 40-plus breweries in the Greater Cleveland area, Christian Hunter believed the market was ready to welcome another brewery tour company. After visiting Washington, D.C. last year and experiencing City Brew Tours, he knew just how he would do that.

Founded in Burlington, Vermont, in 2008, City Brew Tours combines entertainment, education, history and hands-on participation as it shuttles beer fans around to multiple breweries. City Brew Tours quickly expanded to locations in Pittsburgh, Philadelphia, New York City, Washington, D.C., Baltimore, Boston, and Montreal. “Working with an established operation like City Brew Tours guarantees guides have received a tremendous amount of training, not just to provide guests with the safest experience and most fun they can have while visiting Cleveland breweries, but the most comprehensive tour as well,” says Hunter, co-owner of City Brew Tours Cleveland. “City Brew Tours hires local guides who are experts in their city, and we are able to teach them from a knowledge base that comes from unparalleled access at nearly 100 craft breweries across nine different markets.” City Brew Tours Cleveland offers various styles of tours, from the Original Brew Tour and Sip of Cleveland Brew Tour to an after-hours junket with four stops. All tours are three to five hours long and include behind-the-scenes access to breweries, up to 15 beer tastings and a beerpairing meal or snack. Transportation is provided. According to Hunter, participating Cleveland breweries “may” include Terrestrial Brewing, Great Lakes Brewing, Market Garden Brewery, Collision Bend Brewing, Brick and Barrel, Nano Brewery and others to be announced. Tickets can now be purchased for February tours. Daily public tours start at $70 and private tours are available anytime. “It’s an exciting time to showcase Cleveland’s amazing craft beer scene and provide a fun tour experience that blends history, beer knowledge, transportation and great food with unrivaled access to Cleveland’s best breweries and their beer,” adds Hunter. “Our goal is to bring value, experience and safety to the time-honored tradition of visiting multiple breweries in a single day.”

dtrattner@clevescene.com t@dougtrattner

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| clevescene.com | January 30 - February 5, 2019

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ROWING UP IN CLEVELAND with a mother who nurtured his artistic impulses, local artist and photographer No Numbers (aka Arron Bound) started dabbling in art at an early age. “My mom is an artist, and she was always creating something,” says Bound one recent Saturday afternoon from his Ohio City home. Bound’s concert photos are the subject of Proxy: A Photo Exhibition By No Numbers, a new exhibit coming to the Bop Stop in February. At 7 p.m. on Friday, Feb. 1, the exhibit opens with a concert featuring local acts such as Michael McFarland, Magnetic West, Apostle Jones, Ladee Po3t and Ray Stoke. In the wake of that opening celebration, the photo show will be on display at the Bop Stop for three months. “Art was something I was good at, but I left that alone for many, many years,” says Bound, who moved to upstate New York for several years, where he managed a restaurant. After moving back to Cleveland, he again took up photography but without

W

G

any intention of ever displaying his work publicly. He just enjoyed shooting concerts and doing something artistic. “I decided to make a change when I moved back to Cleveland,” he says. “I

had been managing restaurants, but I said, ‘I don’t want to do that anymore.’ I knew I wanted to do artwork because I really liked working with other artists.”

He purchased a higher quality camera last winter and started going to see indie bands when they performed in town. When the Bop Stop approached him about showing his work, he jumped at the chance even though he later realized he would need to quickly build up his portfolio of photos. “This show focuses on strictly concert photography,” says Bound, who started calling himself No Numbers several years ago. “Back in the days of dial-up, I would have an email address, and I wanted to create a unique email address that didn’t have numbers following it,” he explains. “I thought of ‘No Numbers.’ Only in the last couple of years did I start using it as an artistic thing and start introducing myself that way.” Bound takes a particularly unique approach to concert photographs. He modifies his photos using outdated photo editing software (specifically, an old version of Photoshop) to turn them into brilliantly colorful images that are so blown-out, it’s difficult to tell exactly what the original musician looks like. “The use of ‘proxy’ within the exhibit’s title derives from my inner

PROXY: A PHOTO EXHIBITION BY NO NUMBERS | OPENING CELEBRATION, 7 P.M. FRIDAY, FEB. 1 | BOP STOP, 2610 DETROIT AVE. | 216-377-1952. TICKETS: $10, themusicsettlement.org

32

| clevescene.com | January 30 - February 5, 2019

Local photographer Arron Bound.

belief that we give artists the power of proxy, bestowing them authority over our minds and emotions,” Bound explains in a press release about the exhibit. “By relinquishing personal control of our mental state, we as human beings gain the ability to evoke unconscious emotion that transcends time and space. The reality of such an intimate moment cannot be measured or valued in numbers. When I take photos of artist(s) during a live performance, it is my intent to capture that immeasurable, yet invaluable moment.” Bound says that when he came back to Cleveland and started seeing bands play, he turned to photography simply as way of having something to do at the shows. “It was just natural,” he says. “I can’t just stand and watch a band. Taking photos was a natural thing. But if I’m taking photos, I can move around. I had some friends like Alex Alveraz [aka Xela, a local singer-songwriter]. I started following people like him and just taking the shots. It’s a lot better than sitting at home. I just wanted to find the music and find people.” Bound will have about 12 matted photos on display at the Bop Stop along with a few photos that haven’t been matted yet.

“There will be music going on at the opening from the time it begins to the time it ends,” he says. “I’m not a photographer without the musicians up there. I want to honor them by putting their photos up on the wall, and it’s important they’re there to perform. I want [the exhibit] to be about my work, but maybe it’s the shyness that makes me want it to be about the bands too.” Next, Bound said he’d like to make a photo book of all the tool and die places in Cleveland before they disappear. “I used to work in an industrial area on the westside and there were a lot then,” he says. “I hope if I take photos of some of the tool and die places that still exist, it can help build my portfolio so that when I’m applying for grants, it shows that I can manage myself and do a project like that. I feel like photographing the tool and die shops would be a preservation of things we don’t see in Cleveland. It’s easy to see the glitzy, pretty things that make Cleveland stand out, but this is what Cleveland is for me.”

jniesel@clevescene.com t@jniesel | clevescene.com | January 30 - February 5, 2019

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| clevescene.com m | January 30 - February 5, 2019

@masoniccle @hobcleveland

@masoniccleveland

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MARSHA AMBROSIUS w/ ELLE VARNER

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MASONIC CLEVELAND: 3615 Euclid Ave, Cleveland OH 44115 HOUSE OF BLUES: 308 Euclid Ave, Cleveland OH 44114 masoniccleveland.com / houseofblues.com | clevescene.com | January 30 - February 5, 2019

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| clevescene.com clevesceen nee.com m | January Janu nuar a y 30 30 - February Febru r ary 5, ru 5, 2019 201 0 9

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LIVEWIRE

all the live music you should see this week Photo by Ross Halfin

WED

Mr.Carnivore/Nick Reese/ Grandview: 8:30 p.m., $5. Grog Shop. Panic! at the Disco/Two Feet/ Betty Who: Last year, indie rockers Panic! At the Disco played a surprise show at the Grog Shop to build hype for Pray for the Wicked, its latest album. The group would also play popup shows in a number of other cities before announcing an arena tour in support of the disc. While Cleveland wasn’t on Leg 1 of the tour, the group added a date at the Q as part of the tour’s second leg. A remarkable showman, flamboyant singer Brendon Urie is just as comfortable playing to a couple of hundred fans as he is performing in front of thousands. Should be a great show. (Jeff Niesel) 7 p.m., $30.75-$70.75. Quicken Loans Arena. The Twosdays: 7 p.m., $10. Bop Stop.

THU

01/31

Across The Universe: A Tribute to John Lennon (in the Supper Club): 7:30 p.m., $8. Music Box Supper Club. The Brummies/The Mason District/ Poro: 8:30 p.m., $10 ADV, $12 DOS. Grog Shop. Clibbus/Shitblimp/Red Devil Ryders: 9 p.m., $5. Now That’s Class. Crazy Marvin & the Blues Express with Special Guests: 8 p.m., $8 ADV, $10 DOS. Beachland Tavern. DJ Knyce vs. DJ Walk/MC Babylon: 9 p.m., $10 ADV, $13 DOS. House of Blues. Ricky Exton’s Octo-Jazz: 7 p.m., $15. Bop Stop. Vundabar/Paul Cherry/ Sweepyheads: 8 p.m., $12 ADV, $15 DOS. Mahall’s 20 Lanes.

FRI

When Particles Collide/Album/Back Talk: 9 p.m., $5. Happy Dog. Zyanose/Suss Law/Cider/Eel/ Lacerate: 9 p.m., $15. Now That’s Class.

01/30

02/01

The Crystal Method: 8 p.m., $25 ADV, $30 DOS. The Winchester. DJ LDC’s Soul Music & Other Music for the Soul: 6 p.m., free. Happy Dog. Colin Dussault’s Blues Project (in the Supper Club): 8 p.m., $10. Music Box Supper Club. Diego Figueiredo & Camille

SUN

02/03

4th Ave — Initiation Tour 2.0/ Rayla/Aja9: 2:30 p.m., $10 ADV, $12 DOS. Grog Shop. February Noise Lunch Curated by Sam Redford: 4 p.m., free. Now That’s Class. Hot Flash Heat Wave/Vacations: 7 p.m., $13 ADV, $15 DOS. Mahall’s 20 Lanes.

Metallica returns to the Q. See: Friday.

Bertault: 8:30 p.m., $25. Nighttown. Glow 8 Featuring Curly Chuck/ARod/$wank/DJ Green / Cash Mirrr: 9 p.m., $10 ADV, $15 DOS. Grog Shop. Jazz Jam Session: 11 p.m., free. Bop Stop. Ma Holos/Jivviden/The Venus Flytraps: 8 p.m., $10. Mahall’s 20 Lanes. Master T.C. & the Visitors/The Willow Tree/Anthony Scofano: 8 p.m., $10. Mahall’s 20 Lanes. Metallica: With Hardwired ... to SelfDestruct, its 10th studio album, Metallica adheres to the tried and true. The opening title track features clipped vocals as singerguitarist James Hetfield speaks as much as he sings over a trash-y guitar riff. Not as accessible as, say, 1991’s Metallica, Hardwired ... to Self-Destruct suggests these Rock Hall inductees still rock as hard as ever, and the new songs should fit well into a set featuring hits such as “Sad But True,” “One,” “Nothing Else Matters” and “Enter Sandman.” (Niesel) 7:30 p.m., $75$145. Quicken Loans Arena. JD Simo/The Liars Revival: 8 p.m., $15. Beachland Tavern. Slap Yo Mama Punch Party with DJ Terkalerk and Karaoke: 9 p.m., free. Happy Dog. Thin Lips/Grace Vonderkuhn/ Future Bummer/flipcoin (in the Locker Room): 8 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes. University of Dayton Big Band: 8:30 p.m., $25. Nighttown. The Wall Live Extravaganza: French-Canadian singersongwriter Richard Petit’s brother

first introduced him to Pink Floyd when he brought home the “Another Brick in the Wall” single. Petit instantly became a fan. Now Petit pays tribute to Floyd with his touring group, the Wall Live Extravaganza. The elaborate show takes a theatrical approach and includes elements from both the album and the movie. Tonight, the act returns to Hard Rock Live, where it performed last year. (Niesel) 8 p.m. Hard Rock Rocksino. Jackie Warren: 10:30 p.m., free. Nighttown. Young Dolph: 8 p.m., $35 ADV, $40 DOS. House of Blues.

SAT

02/02

15 60 75 The Numbers Band (in the Supper Club): 8 p.m., $8 ADV, $10 DOS. Music Box Supper Club. All Is Harvest Album Release Show/AJ and the Woods/The Tom Katlees: 8:30 p.m., $7 ADV, $10 DOS. Beachland Tavern. Dan Bruce’s:beta collective: 8 p.m., $15. Bop Stop. Kasey Chambers/Carly Burruss: 8 p.m., $25 ADV, $30 DOS. Music Box Supper Club. Chandra/Tyvek/Cotton Ponys/ Dana: 8:30 p.m., $8 ADV, $10 DOS. Happy Dog. Diego Figueiredo & Camille Bertault: 8:30 p.m., $25. Nighttown. Greg Kihn/Falling Stars: 8 p.m., $25 ADV, $30 DOS. Beachland Ballroom. Jackie Warren: 10:30 p.m., free. Nighttown.

MON

02/04

Jarrelle Barton: 8 p.m., $12. Bop Stop. The Legendary Count Basie Orchestra: 6 p.m., $50. Nighttown.

TUE

02/05

Brasstracks/Kemba/Pell: 9 p.m., $18 ADV, $20 DOS. House of Blues Cambridge Room. Beppe Gambetta: 7 p.m., $20. Nighttown. Greensky Bluegrass/Billy Strings: The last couple of records have really shown off Greensky Bluegrass’ ability to work well in a recording studio. Along the way, the group has gotten a little help from its musical friends, and that’s paid dividends. Los Lobos’ Steve Berlin produced 2016’s Shouted, Written Down & Quoted. The group then turned to Dominic John Davis for its most recent album, All For Money, and the experience was just as rewarding. The album opens with the moody “Do It Alone,” a song that benefits from its bellowing vocals and atmospheric interludes. More than other bluegrass acts, these guys tend to rock out when they play live, and that should make for an invigorating show. (Niesel) 8 p.m., $25 ADV, $30 DOS. House of Blues. Spafford: 7 p.m., $20. Agora Ballroom. Brandy Zdan/Vanishing Shores/ Matt Miller: 8 p.m., $10. Beachland Tavern.

scene@clevescene.com t@clevelandscene

| clevescene.com | January 30 - February 5, 2019

37

KentStage The

BAND OF THE WEEK Photo courtesy of Ray Flanagan

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FORMULATING FRIENDSHIPS: Flanagan

grew up in Medina but initially didn’t have anyone who he could identify as a musical mentor. Instead, he looked to his dad’s record collection for inspiration. “My dad had all the Bruce Springsteen records,” he says. “I grew up with Springsteen and some classic rock stuff like ZZ Top and Pink Floyd. Those things were there for the beginning of my guitar playing, but the main thing that stuck was Springsteen.” Flanagan initially formed a hard-rock group in high school. He started to meet other musicians at the annual High School Rock Off and formulated friendships with many of the participants.

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38

guitar)

THE JAM’S THE THING: After high school,

he worked at McDonald’s for a year and found camaraderie at the Bad Boys of Blues jams. “I had gone to some jams in Streetsboro, and we went to the Bad Boys of Blues jams thinking it would just be a bunch of old guys, but it wasn’t like that,” says Flanagan. “I eventually worked up the courage to talk to Michael Bay and I learned to play these blues songs. I learned that you could be a working musician in Cleveland.” Flanagan started frequenting the 10X3 singersongwriter nights that local singersongwriter Brent Kirby hosts at Brothers Lounge, and he also sees local singer-songwriter Becky Boyd perform on a regular basis. “There’s this great family of musicians in Cleveland,” he says. “There’s so much original music coming out here. I really relate to the ways people express themselves around here, and I try to learn from them.” ON GOING SOLO: Initially Flanagan

intended to record a three-song solo EP with local producer Jim Stewart.

During the first recording session, Flanagan churned out 15 tunes and quickly realized he had enough material for a full-length. “From those 15 songs, I whittled it down to seven that made sense together,” he says of his first solo album, Passerby. He released the first four singles last year during a residency he held down at the Winchester Music Tavern in Lakewood. A few local musicians appear on the album. “Fords of Jordan” features drummer/percussionist Anthony Taddeo. “Your Sweet Smile” features bassist Kevin Martinez and cellist Sam Kristoff from the Speedbumps, violinist Julian Spiro, as well as Flanagan’s brother Russ Flanagan on Fender Rhodes. Martinez composed the tune’s string arrangement. WHY YOU SHOULD HEAR HIM: Album opener “Positive Nihilism” finds Flanagan singing over a simple guitar riff. “I’m a failure by many standards/except by mine,” he drolly intones. “How I Look at You” comes off as a beautifully brittle folk ballad. “It’s what I’ve been working toward all this time,” he says of the disc. “If you see me play out around town, you’ll know some of these tunes, but I’ve never recorded this side of me. I feel like this record is my own personal take on the blues because I try not to appropriate or imitate that stuff too much. I try to use that guitar as a second voice to carry a message.” WHERE YOU CAN HEAR HIM: rayflanagan.

net. WHERE YOU CAN SEE HIM: Ray Flanagan performs with Madeline Finn at 8 p.m. on Saturday, Feb. 2, at the Winchester Music Tavern in Lakewood.

jniesel@clevescene.com t@jniesel

| clevescene.com | January 30 - February 5, 2019

39

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| clevescene.com | January 30 - February 5, 2019

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| clevescene.com | January 30 - February 5, 2019

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| clevescene.com | January 30 - February 5, 2019

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by Dan Savage I’m a 21-year-old woman, and I have an IUD. I’ve had sex with quite a few men, and one thing seems to be almost constant among them: trying to fuck without condoms. This has always angered me. They generally assume or make sure I’m on birth control, which they immediately take to mean condom-free sex is welcome. I don’t want to have sex without condoms without being in a committed relationship. I know people cheat and monogamy doesn’t mean STIs won’t happen, but it’s a risk I’m comfortable with. I’m so annoyed by how often men try to get out of using condoms that I want to start lying and say I’m not on birth control. Is it all right for me to lie and say I’m not on any birth control and explain why I lied later on if things get serious? — I’m Understandably Distressed Let’s get this out of the way first: You’re right, IUD, sexually transmitted infections (STI) do happen to people in monogamous relationships. People cheat, people lie, people contract, people transmit. A 2015 study found that people in consensually nonmonogamous (CNM) relationships were no more likely to contract an STI than people in monogamous relationships. The reason? If a person in a monogamous relationship screws around and doesn’t use a condom, they can’t ask their partner to start using condoms again without drawing attention to their infidelity. Babies do seem to be the only STI many men are worried about. Australian researchers conducted a large study about stealthing — the deeply shitty, rape-adjacent practice of surreptitiously removing the condom during intercourse — and they were shocked to discover how common this deeply shitty practice seems to be. “The researchers estimated in advance that approximately 2% of the sample would report having been stealthed,” sex researcher Justin Lehmiller wrote in a blog post looking at the results of the study. “In fact, 32% of the women and 19% of the men surveyed reported having experienced stealthing … A majority of both groups reported discussing the event with their partner afterward, and most also reported feeling emotionally

stressed about it. A majority also considered stealthing to be a form of sexual assault. These results suggest that stealthing is not a rare occurrence.” The researchers didn’t ask heterosexual men about being stealthed and, as Lehmiller points out, there are some scattered reports out there about women poking holes in condoms before sex or retrieving them after sex. We don’t need a study to tease out the motives of these women — they want to have a child and don’t care whether their partners do (and that is not okay) — but we could use a study that asked heterosexual men about their motives for stealthing. One question we should put to these assholes: Are they more likely to “go stealth,” i.e., to sexually assault a woman, if they know her to be on some other form of birth control? Moving on to your actual question … Can you lie? Of course you can. Should you lie? In the case of a casual sex partner who might not have your best interests at heart, i.e., some total rando you want to fuck but aren’t sure you can trust, I think you can lie and should lie. This lie doesn’t do him any harm; it’s not like you’re telling him you’re on birth control when you’re not. And if telling this lie inspires some rando to be more careful about keeping the condom on (sometimes condoms fall off by accident), then it’s a lie that made the sex safer for you and for him. And if you get serious about someone you initially lied to about having an IUD — if some dude makes the transition from hot rando to hot boyfriend — and he reacts badly when you tell him the truth, just say (or text) this to him: “I could have waited to fuck you until I was sure you were a good guy. But then you would have missed out on all the awesome sex we’ve had. Would that have been better? I think you’re a good guy who I can trust. I know that now, but I didn’t always know it because I’m not psychic. Now, do you want to raw-dog me or do you want to complain?”

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