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PORT AUTHORITY AND ARMY CORPS BATTLE TOOTH AND NAIL FOR YOUR SYMPATHIES
DREDGE REPORT Port Authority and Army Corps battle tooth and nail for your sympathies...
THE HIDDEN FINANCIAL BACK STORY OF DREDGING CONTROVERSY...
Data manipulated by both sides to achieve desired ends… ”Outcome based decision making...”
A treatise on toxic blobs and tipping fees... Institutional failure of the highest order, but WHO’S...
Army Corps: “Science is not part of the conversation.”
PCB Levels more than 700 percent above expectations...
But which fees are bees’ knees...
Will Friedman, king of pocket squares...
CLAIM: Army Corps are a bunch of old-school nogoodnik liars...
CLAIM: Ohio EPA open lake opposition literally not based on anything...
How chic is too chic, wonders Port Authority interior design consultant...
Big money in selling sediment...
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/#4/"%2 ./6%-"%2 s 6/,5-% .O 17 Dedicated to Free Times founder Richard H. Siegel (1935-1993) and Scene founder Richard Kabat Publisher Chris Keating
CONTENTS
Editor Vince Grzegorek
5PFRONT
Editorial Managing Editor Eric Sandy Music Editor Jeff Niesel Staff Writer Sam Allard Writer-at-large Kyle Swenson Web Editor Bliss Davis Dining Editor Douglas Trattner Contributing Dining Editor Rachel Hunt Stage Editor Christine Howey Visual Arts Editor Josh Usmani
Juan Ortiz receives payment for police use of force, Ohio City parking lots evolve, and more
&RAMED
Our favorite photos from this past week in Cleveland
Advertising Senior Multimedia Account Executive John Crobar, Shayne Rose Multimedia Account Executive Kiara Hunter-Davis
&EATURE
Creative Services Production Manager Steve Miluch Layout Editor/Graphic Designer Christine Hahn Staff Photographer Emanuel Wallace
Port Authority, Army Corps battle tooth and nail for sympathy: The dredging controversy’s hidden financial backstory
Business Asst. To The Publisher Angela Lott Sales Assistant/Receptionist Megan Stimac Staff Accountant Kristy Dotson Circulation Circulation Director Don Kriss
'ET /UT
Euclid Media Group Chief Executive Officer Andrew Zelman Chief Operating Officers Chris Keating, Michael Wagner Human Resources Director Lisa Beilstein Digital Operations Coordinator Jaime Monzon Chief Financial Officer William Mickey
Dozens of events spanning the next week in Cleveland
www.euclidmediagroup.com
SPACES sends archives to Kelvin Smith Library ahead of big move
National Advertising Voice Media Group 1-800-278-9866, voicemediagroup.com
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Cleveland Scene 737 Bolivar Rd, #4100 Cleveland, OH 44115 www.clevescene.com Phone 216-241-7550 Retail & Classified Fax 216-241-6275 Editoral Fax 216-802-7212 E-mail scene@clevescene.com
Beck Center’s Body Awareness too small and coy for its own good
Cleveland Scene Magazine is published every week by Euclid Media Group. Verified Audit Member
&ILM
Inferno, latest Robert Langdon mystery, is its own layer of Hell
Brandy Clark TALKS ABOUT TRACKS ON HER NEW ALBUM
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$RINKING
The Ohio Division of Liquor Control is taking aim at ‘low-demand’ bottles
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Guitarist Trevor Rabin reconnects with his bandmates for the Anderson, Rabin & Wakeman tour
3AVAGE ,OVE Printed By
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...The story continues at clevescene.com Take
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| clevescene.com | October 26 - November 1, 2016
Photo by Sam Allard
UPFRONT
WEST SIDE MARKET PARKING UNDER THE MICROSCOPE
THIS WEEK
AT A PUBLIC MEETING EARLIER this month at Franklin Circle Community Church, merchants from Ohio City’s Market District convened with city of Cleveland officials to discuss the city’s parking plan at the West Side Market. The two large Market lots, currently under construction at city expense, will be completed in about three weeks, according to city inspectors. That’s nearly a month ahead of schedule. The reconstruction has added capacity (bringing the total spaces to more than 600), included “green” elements, and improved vehicle flow. The total cost of the project is an estimated $3.3 million. But to the dismay of patrons and employees of the district’s businesses, paid parking will soon be the reality at the Market lots. Sam McNulty, who owns Bier Market, Bar Cento, Market Garden and Nano Brew, circulated a petition
that called for a flat parking rate 24 hours a day. In the city’s current plan, daytime parking would be free for the first hour and $1 per hour after that (with a daily max of $10). At night, the rate would be $2 per hour after a complimentary hour. “The city’s approach is the opposite of the free market approach,” McNulty told Scene in a conversation at Nano Brew. “The free market says you should have higher prices when there’s higher demand and lower prices when there’s lower demand. The city wants to do the opposite. All the petition asks for is a level playing field across the day. It’s simpler for visitors to understand and it doesn’t skew favoritism towards day or night merchants.” Virtually every business owner in the Market District signed the petition. Many of them were concerned, McNulty said, about parking availability for employees.
BOO’S ON FIRST Cleveland ranked fifth most haunted city in America. No worries, though; ghosts of Cleveland sports past quickly being eradicated.
The petition also urged the City of Cleveland to create an “Ohio City Business Owner Committee” to come up with a more user-friendly payment system “to avoid the problems and complaints the payment systems have suffered at the Willard Park Garage at City Hall.” McNulty told Scene that groups need to come together to address the parking situation holistically. There is ample space on the weekends at St. Ignatius High School, Lutheran Hospital and Voss Industries, but leaders have not yet figured out how to incorporate that capacity into a neighborhood-wide plan. He also said the city should consider enforcing the meters on W. 25th during the weekends to increase “churn” during the district’s busiest times. “Right now you could park your car on 25th on Friday at 6 p.m.,” McNulty said, “and not pick it up until Monday at 8 a.m. and you’d be fine.”
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Councilman Kerry McCormack said that weekend meter enforcement is “absolutely on the table,” but that it would require City Council legislation. City lawyers are digging into how enforcement would work. “Obviously if this were citywide, this would have bigger implications,” McCormack said. “We just don’t have clear answers yet.” McCormack said, more broadly (echoing sentiments from Mayor Jackson’s Chief of Staff Ken Silliman) that the parking conversation must strike a balance. “This is not a conversation that will have full consensus,” he said. “No one is going to be 100 percent happy. But I think we have to do everything we can to free up parking. Every space matters.” With regards to the merchants’ petition, McCormack admitted that the flat rate was probably easier to understand. On the other hand, he
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Juan Ortiz is examined following an incident with Cleveland police
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said, the city does need to “hit certain revenue points” to pay off the lot. The good news is, there will be a window between when the lot fully opens and when parking fees are enforced. “The administration wants to get the technology right,” McCormack said, “and to build as much of a consensus as possible.”
CITY AGREES TO $250,000 SETTLEMENT IN POLICE USE-OF-FORCE CASE At times overshadowed by higherprofile cases, the case of Juan Ortiz against the Cleveland Division of Police came to an end this week with the city agreeing to pay the man $250,000. In 2010, officer Brian Kazimer slammed Ortiz (16 and 4’11” at the time, with Down syndrome) into a vehicle “like a football player making a tackle,” according to eyewitnesses. Officer Dan Crisan stood by and allowed the incident to take place. The two officers had been looking for a robbery suspect; Ortiz did not match the description, but Kazimer targeted him. The officers also allegedly hurled racial epithets at Ortiz’s parents, who speak English as a second language. Scene published an extensive feature on the case last year. The settlement comes a few weeks before the case was expected to go to trial. Last week, the family filed a new complaint that pointed out how Crisan had been promoted to sergeant in the time since the 2011 incident. As the complaint states: “Among other requirements, the [U.S. Department of Justice] consent decree mandates that supervisors should consider officers’ numbers and circumstances of use of force, their disciplinary records, interpersonal skills, and whether or not they are subject to pending discipline before granting promotions.” Over the years since the initial
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| clevescene.com | October 26 - November 1, 2016
incident, in fact, the Division of Police has relegated this case to the furthest of backburners. Crisan’s promotion is one facet of how the department handled this, but for years the city ducked all requests for records pertaining to what -- if any -- sort of discipline had been doled out. Ortiz and his attorneys first requested those records in 2011; they did not receive any discipline-related records until just a few weeks ago. What they learned was far from heartening. After almost a year had passed since the incident, Kazimer and Crisan were finally brought into a “pre-disciplinary hearing.” That same day, then-Chief Michael McGrath approved the officers’ requests to hold off on any discipline until the Ortiz lawsuit was wrapped up. (The city has not indicated what sort of discipline measures will be enforced now that we’ve reached that point.) As Ortiz’s attorneys insist in the man’s revised complaint, “Five years after their pre-disciplinary meeting, the Division of Police has not disciplined either officer for attacking Juan Ortiz. This was not the first time, nor the last, that the City of Cleveland would fail to discipline officers for using excessive force.” Incidentally, this latest news comes just a week after a Cuyahoga County Common Pleas judge ruled the city must pay a $13.2-million judgment against a Cleveland police officer in the case of Randy Ayers, who was wrongfully convicted and spent more than a decade in prison.
CROWDFUNDING CAMPAIGN UNDER WAY FOR DETROITSHOREWAY SECURITY CAMERAS There’s lots of buzz around a proposed safety program in the Detroit Shoreway neighborhood — one that would see dozens of security cameras installed in public areas from Lorain Avenue to points north of Detroit. A crowdfunding campaign seeks $20,000 of the
UPFRONT total $100,000 budget. The idea comes from a number of community meetings and surveys in recent months. “Our efforts are really geared toward helping law enforcement, helping the prosecution, but also giving people a little bit of peace of mind,â€? Jeremy Taylor, Safety and Community Engagement Coordinator of the Detroit Shoreway Community Development Organization, told WEWS. As funds are raised, the plan would be implemented in three phases. The southwest portion of Detroit Shoreway would see cameras ďŹ rst, followed by the southeast portion and then the streets on the north side of the neighborhood. DSCDO, Cleveland police and the camera contractors would have access to the video data, which would only be tapped in the event of a reported crime. Other neighborhoods — Ohio City, Tremont, Cudell — have gotten into the security camera game with some private crowdfunded elements.
JUDGE RESTORES RIGHTS TO VOTERS ‘PURGED’ FROM POLLS Federal Judge George C. Smith, of the U.S. District Court in Columbus, ruled last week that voters illegally purged by Ohio Secretary of State Jon Husted will be allowed to vote. If you remember, Husted’s office purged the Ohio voter roll of thousands of voters who hadn’t engaged in “voter activity� (classified as registering to vote or voting) in six years, or three consecutive federal elections. The sum total of the purge isn’t known. Democrats say tens of thousands. Republicans say far fewer. Purging also includes getting rid of the names of deceased voters or those that have moved out of state. Husted’s broader application was what led the ACLU and the Ohio Democratic Party to bring suit against Husted’s office. Originally, Judge Smith ruled in favor of Husted in the case. In September, the Sixth Circuit Court of Appeals overruled his decision, saying Husted had violated the National Voting Rights Act, and sent the case back to him.
In his decision yesterday, he wrote, “There is no dispute that the remedy ordered by this court will not involve the reinstatement of all voters who have been removed from the voter registration rolls.� Basically, any unregistered Ohio voters who were part of the purge and who still reside at the same address where they were previously registered will be allowed to cast a provisional ballot for this election. Smith’s also ordered a 15-percent increase in provisional ballots at each polling location in Ohio. Husted’s response, via the Columbus Dispatch: “Our main concern was to protect the integrity of the election by not having to reinstate deceased voters, those who moved out of state, or are otherwise ineligible. We will fully comply with the judge’s order to count votes of people who remain eligible in their original county and continue to focus on the important work of administering a smooth election.�
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$100 Parking rate spotted downtown in lots around Progressive Field. (RTA all-day pass: $5.50).
$1 Cost to see Major League at Cleveland Cinemas Monday night. (The Capitol Theatre in Gorden Square was sold out for the event.)
27 Number of houses remaining on Lorain’s list of abandoned properties to be demolished. Nearly 200 homes have come down in that city via a $3.3-million grant.
101 Number of 2016 homicides in Cleveland as of Oct. 24. Councilman Zack Reed warns city is on pace to surpass 2015’s 120 homicides.
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FRAMED!
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Cheers! @ Chocolate and Wine Extravaganza at Heinen’s
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Jello shots @ Halloweezy: Devastation at the Osborne Warehouse
Spinning @ Halloweezy: Devastation at the Osborne Warehouse
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FEATURE
Photo by Sam Allard
DREDGE REPORT PORT AUTHORITY AND ARMY CORPS BATTLE TOOTH AND NAIL FOR YOUR SYMPATHIES THE DREDGING CONTROVERSY’S HIDDEN FINANCIAL BACK STORY By Sam Allard FIRST, A SPOT OF NEWS AND A brief summary: The Cuyahoga River will be dredged very soon, certainly by the end of 2016, at a cost of $3.7 million. After the second consecutive year of intense bickering about when and how the river should be dredged (and crucially, who should pay for it), the U.S. Army Corps of Engineers finally awarded a contract on Oct. 12 to the Michigan-based Ryba Marine Construction Company. A refresher: The Army Corps is
on one side of the local dredging controversy. The Cleveland Port Authority and the Ohio Environmental Protection Agency are on the other. The dispute revolves around the disposal method of the dredged material. This year, the Corps (via Ryba Marine) will place all sediment dredged from the riverbed in a Port-run confined disposal facility (CDF) along Lake Erie and pay for doing so. They are not happy about
this. They would prefer to dump the material directly into the lake, a much cheaper method. It’s also the method that the Corps’ Buffalo District, of which Cleveland is a part, classified as the “Federal Standard” last year. The Corps has agreed to front the costs of CDF disposal, having been assured that they will be reimbursed for the difference between methods, an estimated $2.1 million, if they win a federal court case against the state of Ohio on the
same topic. The Corps was ordered by the court to initiate the dredging contract after ArcelorMittal Steel filed a 17-page motion at the end of September. The motion delineated the dire economic consequences if the river was not dredged immediately. The Corps is legally responsible for maintaining a depth of 23 feet in the river, which is a Federal Navigation Channel. But for months, it has been much shallower due
| clevescene.com | October 26 - November 1, 2016
19
to shoaling of the riverbed. This meant that commercial freighters had to reduce their tonnage before navigating the narrow 6-mile passage to avoid getting stuck in the mud or damaging their hulls. As a result, ArcelorMittal’s raw material inventory was at its lowest level in five years. Layoffs and corporate losses were forecast in catastrophic terms. Catastrophic terms, of course, have defined the dredging controversy as it has played out in the local press. It is because of these catastrophic terms that Scene felt compelled to take, with apologies, a deeper dive. Even a non-exhaustive reading of the available coverage would yield the following impression: The Ohio EPA and the Cleveland Port Authority are the good guys. They have repeatedly claimed that the Army Corps’ open lake disposal method would lead to environmental and economic disaster. The environmental questions turn out to have vastly different
Portman and Sherrod Brown have been persuaded by the facts and the rhetoric, throwing their weight behind the Port and the EPA. So has the citizenry. “Please be aware that the EPA is not the bad guy here,” posted one online commenter in a piece published by Belt Magazine in May. It was perhaps the only local report that characterized the Army Corps as anything less than the narrative’s arch-villain. “The Army Corps is trying to get permission to open lake dump ... and all of the community meetings that have happened do not have any people in support of this. Not the Port, EPA or citizens or scientists.” That’s not quite true. Certainly the Corps’ own scientists stand by their findings, and have stated that the primary source of the sediment to be dredged is the “upstream portions” of the Cuyahoga River watershed, including the Cuyahoga Valley National Park (a head scratcher, but still). The local media couldn’t have painted the controversy any clearer if it were Jedi vs. Sith, and residents have internalized the positions presented to them. At a public meeting about the dredging at St. Ignatius High School in March,
most of the residents were indeed skeptical of, if not openly hostile to, the Army Corps’ presentation. Port CEO Will Friedman kicked his opposition into the highest gear yet seen. “Talk about déjà vu all over again,” he said. “This is our new rite of spring in Cleveland, fighting the Corps to protect our shipping, jobs, and greatest natural asset. I take no pleasure in saying this, but this is institutional failure of the highest order. I urge decision-makers at the Corps to stop selectively hiding behind your rules and start doing the right thing.” Here, we came to a question. The question, in fact. What if the media had the story all wrong? What if, all this time, the Army Corps has been the Jedi, and the Port and EPA have been the Sith, pursuing disposal in facilities along the lake for ulterior motives? We had come by evidence, all in publicly available documents, that suggested this might be the case, that the real reason the Port was so vocally opposed to open lake disposal was because they stood to make a great deal of money on sediment dredged from the river.
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answers, based on whom you ask, and the economic concerns are a function of the controversy itself, not of the disposal method. But potential disaster, and the Corps’ sole culpability for it, has been the prevailing narrative, pumped and parroted by politicians and media outlets, Scene among them. “It would be a sad story for the entire nation,” said Ohio EPA director Craig Butler (italics added), in a February 2015 public hearing, “if the ‘Walleye Capital of the World’ backslid to the point that citizens had to question whether it was safe to eat the fish.” “At every step,” said the Port’s CEO Will Friedman, in a county council meeting a year later, “[the Corps] has ignored the legitimate concerns of Ohio’s policy makers and citizens in what seems like an obsessive quest to dump unsuitable sediments in the lake. This denial [to ban open-lake disposal] flies in the face of the science and the law, which are clear, and once again places at risk the health of Lake Erie and literally thousands of Ohio’s jobs.” The dredged material is toxic, the above parties insist, polluted with PCBs, heavy metals, and “other harmful toxins.” U.S. senators Rob
| clevescene.com | October 26 - November 1, 2016
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| clevescene.com | October 26 - November 1, 2016
They began reselling the sediment for commercial use in construction projects in 2015, after all. That money would disappear if the sediment was dumped back in the lake. The conspiracy: Dredged sediment was now being viewed as a commodity, as a commercial product. The Port wanted to socialize the harvesting of that product — the Army Corps, since the Water Resource Development Act of 1986 (WRDA) is legally required to dredge, at its own expense, federal waterways — and then, on top of that, charge the Corps a tipping fee to place the sediment in the Portrun CDF 12. The Port then wanted to curate and resell the sediment, sub-contracting the local Kurtz Bros. Construction and taking a percentage. There seemed to be evidence to substantiate our conspiracy. For one thing, the Ohio EPA’s key environmental argument against open lake disposal — that walleye populations in Lake Erie would be further contaminated by PCBs, thereby affecting the “one meal per week advisory” — didn’t appear to be backed up by science. It was all speculation. “Can I say for sure that [the Corps’] proposal to dispose of contaminated sediment in Lake Erie will be the ‘straw that breaks the camel’s back’ and put us into the one meal per month advisory?” Craig Butler asked in his 2015 testimony. “No, I cannot. But I can tell you that Ohio, the Corps, U.S. EPA and everyone else in this room must do everything we can and not take any unnecessary risks.” When the Ohio EPA visited the Corps’ national Engineering Research and Development Center in December 2014, there was a similar lack of justification for their opposition. They “believed” the dredged sediment was toxic; they “believed” it would have an unacceptable impact. The beliefs weren’t based on anything. “When [Ohio EPA scientists] were asked what standard they were applying to reach the conclusion that the placement would be unacceptable,” read an Army Corps report after the December 2014 meeting, “they responded that OEPA did not have a standard for making this judgement.” Meanwhile, Corps scientists collaborated on what they described
as the “the most extensive and detailed effort to evaluate an individual dredging project in the history of Great Lakes dredging.” Their findings concluded that the dredged sediment would create an “acceptably low risk” on the marine life of Lake Erie. The idea of acceptably low risk, though, or at any rate the verbiage, has flummoxed the Port and the Ohio EPA. Again from Butler’s testimony: “I am sorry, but given the health, environmental and economic consequences at stake, this is not a risk that the Army Corps should be willing to take simply to save money on appropriate disposal.” With contaminants in dredged sediment, there are guidelines prescribed in the Clean Water Act for testing and permitting of dredged material. The Army Corps says it conducted “a suite of physical, chemical and biological tests,” and determined the open lake disposal met CWA guidelines and that open lake placement would not result in any “significant or ecologically meaningful increase in PCBs or DDE [dichlorodiphenyldichloro- ethylene] bioaccumulation in aquatic life, including in fish.” It is up to the Ohio EPA then — it is the state’s right, as prescribed in the Clean Water Act, to determine what’s allowed in its waters — to provide a water quality certification permit to the Corps before they’d be allowed to dispose of the sediment in the lake. The EPA has provided permits in Toledo and Ashtabula, where concentrations of certain contaminants are higher than in Cleveland, via the Corps. There, the Corps is nonetheless permitted to dispose of the material in open water. In Cleveland, though, the Ohio EPA has only provided a conditional permit which allows the Corps to dispose of sediment in CDFs. This, once again, is the root of the highly public controversy. What hasn’t been public is that the open lake opposition seemed to be entangled at least to some degree in the financial interests of the Port Authority. When Craig Butler testified in February 2015, he mentioned four key areas of opposition to open lake disposal: (1) the Ohio EPA believed the sediment was toxic; (2) they believed the Army Corps was “ignoring key data” to “obtain their desired outcome”; (3) they believed the Army Corp was “inappropriately” requiring the state to pay for alternative disposal; and (4) walleye in Lake Erie were already
Photo by Sam Allard
contaminated by existing PCBs. But at the meeting with Corps scientists at the Engineering Research and Development facility three months earlier, another key point was mentioned: the business interests of the Port. “The Port of Cleveland has a plan to provide 35+ years of CDF capacity,” a public report on the meeting describes. “The financial viability of this plan is dependent on [the Corps] placing dredged material from Cleveland Harbor in the CDF and providing the associated tipping fees. OEPA made reference on multiple occasions to the fact that parties are having to make longterm “business decisions” about management of dredged material from Cleveland Harbor and that uncertainty regarding how dredged material would be managed was complicating these decisions.” That particular argument has yet to be reported in the local press. One explanation: The Port’s business interests are a much less popular battle cry than “the health of Lake Erie and literally thousands of Ohio’s jobs.” At any rate, the Army Corps’ response to the financial argument was as follows: “This argument is not germane to technical considerations as to whether and to what degree dredged material from Cleveland Harbor would have an ‘unacceptable adverse impact’ on Lake Erie. The Federal Standard is established as the least costly, environmentally acceptable, practicable alternative. The Port of Cleveland CDF plan is just one of several alternatives that would be considered in establishing the Federal Standard.” And indeed, it was considered. But the Federal Standard, via the Corps, assuming no harm is done to the environment, must be the least costly plan. CDF disposal is much more expensive than open lake disposal chiefly because of the tipping fees. (About $2.1 million’s worth.) “What’s crazy is that the Corps of Engineers does this in other harbors, placing sediment in nonCorps-run CDFs, and those people don’t charge us a tipping fee,” Andrew Kornacki, public affairs chief for the Buffalo District, told Scene. “The way they make their money is they have an endless supply of material to sell. And they sell it. They don’t try to make money on the Corps on the front end, and then sell it on the back end and get twice as much money.” Kornacki also noted something of a double standard. The Port markets on its own website the improving
The Cuyahoga is so shallow that freighters kick up mud as they make tight turns.
cleanliness of dredged sediment. “Not only can CDFs cost tens of millions of dollars and take up large areas along the lakefront,” the Port says on its site, “but sediment dredged from the Cuyahoga River has become cleaner. In 2011 the Ohio Environmental Protection Agency determined that dredged sediment could be used on industrial and commercial sites — such as brownfields that needed to be capped — setting the stage for new ways to use sediment.” The Port gave some examples of beneficial re-use in a 2012 newsletter. “Sediment now placed in [CDFs] could be used to cap brownfields, create aquatic and upland wildlife habitats, nourish beaches, combine with other material for roadway construction, or fill the basements of demolished houses.” Beneficial re-use is the long-term plan nationwide, especially as states are now banning open lake disposal — it will be illegal in Ohio starting in 2020 — but Andrew Kornacki asked how the Port and EPA could talk of PCB levels in dredged sediment on one hand and then talk about using that same sediment for things like aquatic habitats and beach nourishment on the other. “To say that the sediment’s not suitable for open lake placement, but it’s okay for someone’s basement?” Kornacki said. “Open lake placement, that’s not okay, but putting it near the shore, that’s fine?” In February, the Corps crystallized its position in a letter to Lake Erie stakeholders. After listing
problems with sediment samples that the EPA had collected — the test samples were gathered from locations outside the channel, it said, and the testing methodologies didn’t adhere to CWA guidelines — Buffalo District commander Karl Jansen proposed a “win-win” solution to the controversy. “[The Corps] could complete the 2016 dredging requirement at Cleveland Harbor by placing all sediment into the [CDF] that the Port of Cleveland operates (CDF 12), provided that the Port waives its tipping fee or identifies an entity willing to reimburse the Port for its fee,” Jansen wrote (italics added). “If this occurs, Ohio will obtain the benefit of the dredged material it seeks for use and U.S. taxpayers benefit because other Great Lakes harbors and national harbors will be dredged consistent with [the Corps’] dredging plan.” Said Kornacki, summing up the hostilities: “This disagreement that we’re having should be based on science, but it’s not.”
Au contraire, said the Port of Cleveland, in a two-hour meeting with Scene at their Warehouse District Headquarters. CEO Will Friedman, sediment management director Jim White and communications chief Jade Davis refuted or clarified the above points one by one, effectively deconstructing our conspiracy. In the first place, for absolute clarity, said Will Friedman, “the notion that we would go through all this effort — suing the federal
government, spending money on engineering studies, improving our CDF, starting up these operations — just so we could entrap [the Corps] in a tipping fee scheme, I think that’s kind of preposterous. It’s a red herring. We’re not trying to make money on this.” Friedman put the controversy in the context of the Water Resource Development Act, which says that the Army Corps is responsible for 100 percent of the cost of dredging and disposal. That’s just the law. If new capacity is constructed — say a new CDF — the cost is split with a local non-federal sponsor: 75 percent federal, 25 percent local. Operating costs are 100-percent federal. “We wanted to flip the relationship on its head,” said Friedman (referencing conversations that were happening back in 2012 and 2013). “Instead of the Corps building a facility and operating a facility, we wanted to do that. We were in a better position to do that. We’re local, we’re on the ground. We said, we’ll provide this to you — we gave them all the engineering and specs — and all you’ll have to do is pay us a tipping fee based on recouping the 75 percent of the federal cost.” Not only is that arrangement authorized in Section 217 of WRDA, it was agreed upon by the Army Corps. The Corps’ assistant secretary Jo Ellen Darcy, in a letter dated Oct. 1, 2014, approved a short-term dredged material management plan (DMMP) in which the Port would pay for the costs of design and expansion of CDF 12 up front (roughly $31
| clevescene.com | October 26 - November 1, 2016
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FEATURE million) and would recover that capital investment, and ongoing operating costs, by charging a tipping fee. Incidentally, one of the three conditions Darcy mentioned in her approval letter was that a memorandum of understanding “must address the fact that open lake disposal is currently unlikely to be accepted as a method to dispose of 80 percent of the dredged material in any new proposed 20-year DMMP.” “It wasn’t just us,” said Friedman. “Nobody involved in this process thought going back to open lake disposal — which was the preClean Water Act method — made sense. The algal bloom problems in the Western Basin, the fact that other states have banned open lake disposal ... this was not the future.” And yet, less than three months after Darcy’s approval letter, via federal court testimony from Army Corps navigation chief Jeffrey McKee, the Buffalo District determined that the federal standard for the upper reach of the Cuyahoga would thereafter be open lake
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placement. “We all got blindsided,” said Friedman. “This happened with no prior discussion at our task force meetings.” In the more recent back and forths, the way that the Army Corps has been framing the tipping fee arrangement — and the way we framed it above — is either disingenuous or completely false, according to the Port. Here are three specific examples: One, the line that the Corps is pursuing open lake disposal, the cheapest method, to save money “for the American taxpayer,” isn’t quite accurate, said Friedman. The Corps’ budget is allocated by Congress from a pot of funds generated by something called the Harbor Fund Maintenance Tax. “It’s a tax paid for by anyone receiving cargo, so ArcelorMittal would pay on the value of the iron ore it receives,” Friedman said. “It’s closer to a user fee. This isn’t general treasury dollars going into this Harbor Maintenance Trust Fund. In my opinion, it is disingenuous to say [that the Corps is looking out for the American taxpayer].” Two, the Corps’ assertions (mentioned above) that they aren’t
| clevescene.com | October 26 - November 1, 2016
charged tipping fees in other harbors simply isn’t true. In June of 2001, the Detroit District of the Army Corps entered into a similar tipping fee agreement with Brown County, Wisconsin, to dispose of dredged material from Green Bay Harbor. In 2012, the Baltimore District of the Corps entered into a tipping fee agreement with the Maryland Department of Transportation. The Corps often cites Duluth Harbor as a model for Cleveland to emulate, but Duluth is a “meaningless and misleading comparison,” if you ask the Port. The CDF in Duluth, owned by the local Port Authority, was built by the Corps and maintained by the Corps. “In such a case there would be no basis for non-federal interests to charge a tipping fee as there are no non-federal costs,” reads a Material Management FAQ published by the Port in March. Three, the notion that the Port is trying to make “twice as much money” by charging the Corps a tipping fee on the front end and then selling the material on the back end is also untrue. Money earned on the sale of dredged material goes toward defraying the operating costs of CDF 12. And if operating costs
go down, the tipping fee goes down commensurately. “This is all in the agreement,” said Friedman, dismayed. “When the operating costs go down — if we’re able to sell some of the material in the market, or if we get better at maintaining it — we rebate that back to the Army. We can’t make money. We’re advancing the funds, and the Corps knows this ... . Until the court tells us otherwise, we’re not going to waive our tipping fee because that’s tantamount to us saying, ‘Okay Corps, we’ll pay for everything.’ It’s the same as just writing a check. All we’re trying to do is recover the costs.” The environmental conclusions drawn by the Army Corps are even more egregiously dishonest, said the Port, as are the implications that the controversy is more about the Port’s business interests than the local economy and the environment. “We’ve done this purely out of our belief that it’s part of our mission to keep the shipping channel functioning, and to be protective of Lake Erie and its ecosystem,” Friedman said. Jade Davis added: “We wouldn’t even operate a CDF at all unless it was environmentally necessary.”
Photo by Sam Allard
A map of the Federal Navigation Channel.
And the notion that the EPA is manipulating data to achieve their desired outcome — the Army Corps noted aws in the EPA’s samples and their testing methodologies, recall — is hypocritical. Jim White said the biggest problem the EPA had with the Army Corps’ testing was the background material they tested in Lake Erie for comparison. (This has been reported.) “The USEPA/USACE testing manual requires that you compare your sediment to undisturbed lake bottom,â€? White explained, “and the Corps went and compared to previously dumped-on areas [what’s called CLA-1, the so-called “Toxic Blobâ€?], and said this is cleaner than that.â€? It’s just not a legitimate basis for comparison, White said. Furthermore, the EPA should have taken samples from the edges of the riverbed, said Jade Davis. “As a regulatory agency, they should be preparing for the worst possible outcomes.â€? “The Corps wants to cherrypick,â€? said White. “They only want to sample the clean stuff. They only want to grab from the middle and from the top, but the sediment is not homogenous. No one ever thought this stuff would be suitable for open lake placement.â€? And White quickly explained the Toledo and Ashtabula comparisons above. In Ashtabula, the sediment being disposed in the open lake itself comes from the lake. It’s not introducing new contaminants into deep water. Toledo is more complicated. There, the contaminants are very different. They’re not PCBs. They’re fertilized nutrients that have binded to the sediment. And while there’s concern that the material may
be exacerbating the algal bloom crises in Lake Erie’s Western Basin, it’s not a PCB problem. “Furthermore, there’s no place else to put it right now,� Friedman chimed in. Toledo generates more than three times the material that Cleveland does. “They don’t have the alternative. The EPA would rather not issue that permit but they also don’t want to shut down the port.� Cleveland, of course, has a perfectly viable alternative that was developed with Corps approval over the past several years. So is the debate, as the Corps suggested, no longer about science, Scene asked? “You could say that it’s about federalism,� said Friedman. “This is the federal government saying, ‘We don’t like it when the state gets to say no to us.’ But that’s how the Clean Water Act was written. There was clear legislative intent. Our view here at the Port, and frankly it’s international treaty, is that we don’t introduce new toxins into the lake. It’s just a bad practice. And anyway the Corps wants to spin it, even their data says there are PCBs in these sediments.� Looking ahead at the federal case, the state of Ohio will argue that the Corps doesn’t get to self-certify. In fact, the Clean Water Act explicitly anticipated situations like these. So even if it costs more to dispose of sediment in CDFs? “Fine, okay,� said Friedman, a Jedi knight after all, “then that’s what it costs to keep people and the environment safe.�
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| clevescene.com | October 26 - November 1, 2016
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everything you should do this week
GET OUT
Photo by Jill Furmanovksy
WED
10/26
SPOKEN WORD
Cleveland Stories Dinner Parties Earlier this year, Music Box Supper Club launched Cleveland Stories Dinner Party, a weekly series that pairs fine food with storytelling. The series aims to help raise awareness of the mission of the Western Reserve Historical Society’s new Cleveland History Center. The club’s owners consider the Cleveland History Center to be “one of the most interesting museums in Cleveland” and “an unknown gem that Clevelanders should know more about and support.” The goal of the Cleveland Stories Dinner Party is to “bring to life some of the fun, interesting stories about Cleveland’s past — from sports, to rock ’n’ roll, to Millionaires’ Row.” Each week features a guest speaker and a custom prix fixe menu — a full three-course meal for only $20. The popular series resumes tonight at 7:30 with Cleveland Ghost Stories, courtesy of local author Charles Cassady Jr. The three-course dinner will include hot pepper soup, apple cider chicken and pumpkin ice cream. (Jeff Niesel) 1148 Main Ave., 216-242-1250, musicboxcle.com. DRINK
Hoppy Hour The Cleveland Botanical Garden offers an educational take on the beer tasting with its weekly Hoppy Hour, which takes place today from 5:30 to 8:30. You can sample pale ales, dark lagers and other cool craft brews while discussing hops and horticulture with staff from the Botanical Garden and experts from Great Lakes Brewing Company, Beverage Distributors and Butcher and the Brewer. The event is free for members; non-member tickets are just $5 after 5 tonight. Twelve-ounce beers are $4, while a tasting flight is $6. Also, there will be seasonal dinner specials from the Garden Cafe, fire pits, lawn games and flashlight garden tours. (Niesel) 11030 East Blvd., 216-721-1600, cbgarden.org.
Quite a feat, since none of them exists from the waist down. Even with some ideas that have been made obsolete — what’s a mix tape again? — most of the jokes resonate as well as ever. By the end, you’ll wish you could find a flat on Avenue Q. Tickets start at $10. (Christine Howey) 1407 Euclid Ave., 216-241-6000, playhousesquare.org.
The new documentary Oasis: Supersonic! screens at the Cedar Lee Theatre. See: Wednesday.
NIGHTLIFE
such as Oasis and Blur competed for record sales and time on the charts. Both bands played to huge crowds as they became festival favorites. Oasis: Supersonic!, a new documentary from the producers behind Amy, the award-winning documentary about Brit singer Amy Winehouse, revisits that time period. The documentary starts with footage from a huge festival date in 1996 and then flashes back to show how brothers Liam and Noel Gallagher put the band together in the early ’90s. “We weren’t the best musicians but we had spirit, man, and that was lacking at the time,” says Liam Gallagher at one point in the movie. Noel Gallagher recounts how everything changed when the band issued “Live Forever,” a tune that became a massive hit. “One great song just followed another,” he says. The two-hour film includes never-before-seen concert footage and numerous interviews. It even addresses the sibling rivalry that regularly threatened to destroy the band. It screens at 7 and 9:30 p.m. tonight at the Cedar Lee Theatre. Regular admission rates apply. (Niesel) 2163 Lee Rd., Cleveland Heights, 216-321-5411, clevelandcinemas.com.
THU
10/27
FILM
PERFORMANCE ART
Oasis: Supersonic! While nothing will likely ever compare to the British Invasion of the ’60s, the Britpop explosion of the ’90s certainly came close. Bands
Air Sex Championship Tour Think of it as a much more creative and NSFW-ish version of the air guitar. The 2016 Air Sex Championships Tour is coming to
Cleveland this year (woot woot). The competition, with all its humping and innovative sexual pantomiming, will be held at the Grog Shop tonight at 9. General admission is $8 per person if you get your tickets now. Otherwise, tickets are $10 at the door. The theatrics start at 9 p.m. sharp. (Bliss Davis) 2785 Euclid Heights Blvd., Cleveland Heights, 216-321-5588, grogshop.gs. THEATER
Avenue Q Nobody is ever ready for the onslaught of adulthood that leaps upon you, like a rabid raccoon, soon after you graduate from college. But this is the trauma that’s expertly rendered in Avenue Q, the 2003 musical that opens tonight at 7:30 at the Allen Theatre, where performances continue through Nov. 6. This adult and unauthorized spinoff of Sesame Street features puppets attached to their very visible puppeteers and a list of songs that are as witty as their titles. Created by Robert Lopez and Jeff Marx (music and lyrics) and Jeff Whitty (book), the play supposedly takes place in an outer borough of New York City where the rent is cheap for twentysomethings. Princeton is the new kid on the block and he is instantly indoctrinated into the neighborhood zeitgeist as the folks croon, “It Sucks to Be Me.” From dating inaction to job disasters, it appears no one is having a good time. But hey, all is not lost: There’s still sex. And these puppets are a randy bunch willing to be, ah, felt up at a moment’s notice.
Cash Cash Known for “infectious dance-pop original tracks, vibrant remix productions ... (and) energetic live DJ sets on festival main stages and clubs spanning the globe,” the electronic act Cash Cash, a group that features best friends and brothers (Jean Paul Makhlouf, Alex Makhlouf and Samuel Frisch) had a platinum hit back in 2014 with “Take Me Home.” Now the group has returned with Blood, Sweat & 3 Years, an album that features vocal cameos from Fitz & the Tantrums, Nelly, Christina Perri, Busta Rhymes, B.o.B, Neon Hitch, Jacquie Lee, Trinidad James, Dev, John Rzeznik (of the Goo Goo Dolls), Bebe Rexha and Night Terrors of 1927. “Millionaire,” a woozy hiphop number featuring guest vocals courtesy of Nelly, has become a club hit. The group’s “Must Be the Money” tour in support of the album comes to Liquid tonight at 9. Since the show arrives so close to Halloween, the club is also billing it as “an epic Halloween creep show.” Tickets start at $20. (Niesel) 1212 West Sixth St., 216-479-7717, liquidcleveland.com. FILM
Henry: Portrait of a Serial Killer Thirty years after its scandalous premiere, the drama Henry: Portrait of a Serial Killer, which is loosely based on a true story, remains one of the “most disturbing and terrifying examinations of mass murderers ever filmed.” The film centers on Henry (Michael Rooker), a psychopathic drifter who kills for no reason and shows no remorse. He eventually makes his way to Chicago, where he befriends Becky (Tracy Arnold), who becomes attracted to Henry without realizing he’s a killer. Tonight at 7:30, the Capitol Theatre screens a new digital restoration of the movie. Tickets are $9.50. (Niesel) 1390 West 65th St., 216-651-7295, clevelandcinemas.com.
| clevescene.com | October 26 - November 1, 2016
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GET OUT FILM
Love Is All You Need? Cleveland-based nonprofit Dare2Care, with its focus on “raising awareness of and ending lesbian, gay, bisexual, transgender and questioning (LGBTQ) youth bullying,” presents an advanced screening of Love Is All You Need?, tonight at 7 at the Lakewood Civic Auditorium. Written and directed by Kim Rocco Shields and co-written by David Tillman, the movie explores the topics of bullying and intolerance through “intertwined stories of characters living in a world where homosexuality is the norm and heterosexuality is taboo.” One of 21 showings that are part of a 30-day national tour, tonight’s screening includes appearances by members of the cast and filmmaking team and special guests. Admission is free for students with ID and $5 for adults. Tickets can be purchased at the door or online through Eventbrite. All proceeds benefit Dare2Care. (Niesel) 14100 Franklin Ave., Lakewood, 216-529-4081, loveisallyouneedthemovie.com.
and Edward Scissorhands. Cherie Blondell, a Columbus-based, multi-national, award-winning burlesque performer and producer, also performs, along with local starlet Noella DeVille as Poison Ivy and Mrs. Lovett. Bella Sin hosts. Costumes are encouraged! Tickets are $10 in advance, $15 at the door. (Niesel) 15711 Waterloo Rd., 216-383-1124, beachlandballroom.com.
session with her at a future date. There will be a Creepy Crawl through the Playhouse Square District with food, drink and special offers at participating restaurants, bars and retailers. You can register to win gift certificates at every location. Haunted Happy Hour drinks, dining and other special offers are available all evening at Bin 216, Cibreo, Cowell & Hubbard, District, Encore and Blue Bar,
FRI
EXhiBit noW OPen The latest special exhibit at the Rock Hall looks at some of the most important debates in our country through the lens of rock music, such as civil rights, LGBT issues, war & peace, censorship and more. Featuring exclusive video interviews with Bono, David Byrne, Dee Snider, Tom Morello, Lars Ulrich and more.
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Dave Attell Known as the host of Comedy Central’s Insomniac with Dave Attell and The Gong Show, Dave Attell is also a great standup comedian, writer and actor. A New York native, he graduated from NYU in 1987 with a degree in communications. During the day, he worked crappy jobs and did standup at night. After getting national exposure courtesy of David Letterman, his career took off. The caffeinated comic has a rapid-fire delivery that suggests he has trouble turning his mind off. He performs tonight at 7:30 and 10 at Hilarities and has shows scheduled for 7 and 9:30 p.m. tomorrow too. Tickets are $33 to $35. (Niesel) 2035 East Fourth St., 216-241-7425, pickwickandfrolic.com. ART
Northeast Ohio! Get almost 20% off of a Rock Hall general admission ticket at the box office. Must show a valid ID with ZIP code beginning with 440, 441, 442 or 443.
PERFORMANCE ART
A Nightmare Before: A Tim BurtonInspired Burlesque Revue Performers dressed as characters from Tim Burton films will be on hand for tonight’s A Nightmare Before: A Tim Burton-Inspired Burlesque Revue, which takes place at 7:30 at the Beachland Ballroom. Headliner King Phantom, from California, has been featured in the documentary, The Making of A King — A Drag King. He focuses on characters like Jack Skellington
10/28
COMEDY
SPORTS
Monsters vs. San Antonio Rampage The Cavs’ NBA title undoubtedly overshadowed the Cleveland Monsters’ Calder Cup win, but the AHL team won the hearts of local hockey fans with its lengthy playoff run that culminated in a championship. The team will try to defend its title this year. Tonight at 7 at Quicken Loans Arena, it takes on the San Antonio Rampage. Tickets are $6 for college students with a valid ID. The Monsters play the Rampage again tomorrow at 7 p.m. That game will feature trick or treating on the concourse. As part of 1-2-3 Fridays, there will be $1 Pepsi products, $2 Sugardale hot dogs and $3 beers. (Niesel) 1 Center Court, theqarena.com.
used Prokofiev’s “March” from the satirical opera The Love for Three Oranges in the radio drama series The FBI in Peace and War. Alternately, Prokofiev’s Suite from Romeo and Juliet centers on “the tenderness of young love amidst violent tragedy.” The beautiful melodies contrast with the warring Montagues and Capulets. Tonight’s program by the Cleveland Orchestra also features one more work by Prokofiev. An hour before the concert, guest speaker Timothy Cutler, professor of music theory at the Cleveland Institute of Music, gives the pre-concert talk, “Taming Russia’s Naughty Boy.” Tonight’s concert begins at 7:30 p.m. at Severance Hall; additional performances take place tomorrow and Saturday at 8 p.m. Tickets start at $29. (Niesel) 11001 Euclid Ave., 216-231-1111, clevelandorchestra.com.
1100 Rock and Roll Boulevard, Cleveland, OH 44114 | rockhall.com | 216.781.ROCK NIGHTLIFE
Playhouse Scare Now in its second year, Playhouse Square celebrates Halloween with Playhouse Scare, tonight from 5 to 11 p.m. at Connor Palace. The event will feature free seances with psychic medium Marianne Goldweber, and attendees can register to win a one-hour private
| clevescene.com | October 26 - November 1, 2016
Hofbrauhaus, Lavender Nail Bar & Studio, Parnell’s Irish Pub, Play Salon, Otto Moser’s, Raving Med and Sung’s House. (Niesel) 1615 Euclid Ave., 216-241-6000, playhousesquare.org. MUSIC
Romeo and Juliet Back in the ’40s and ’50s, CBS
Jasper Wood’s Cleveland For its latest exhibition, Canopy has partnered with the Cleveland Public Library. Jasper Wood’s Cleveland offers a glimpse into this Cleveland photographer’s work in and around Scovill Avenue and the Central neighborhood in the late 1940s and early 1950s. The exhibition includes 20 photographs and a digital presentation of his short film, Streetcar, and marks the first time the library has done this kind of community outreach with its photo archives. These images and film were selected from over 800 items in the Jasper Wood Collection in CPL’s photography collection. Jasper
Wood’s Cleveland opens with a free reception at Canopy from 6 to 10 tonight. The exhibition remains on view through Nov. 14. (Josh Usmani) 3910 Lorain Ave., 216-309-1090, canopy-collective.com. NIGHTLIFE
Matt Johnson’s Dueling Piano Fiasco! Judging from the YouTube videos of pianist Matt Johnson’s dueling piano concerts, it’s safe to say the guy caters to bachelor and bachelorette parties. He can easily break into Journey’s “Don’t Stop Believing” and then segue into Billy Joel’s “The Piano Man,” which he tends to alter with a few of his own ribald lyrics. Expect rowdy sing-alongs and a boisterous performance. Matt Johnson’s Dueling Piano Fiasco! takes place tonight and tomorrow at 8 p.m. at the Hard Rock Rocksino Northfield Park. Tickets are $6. (Niesel) 10705 Northfield Rd., Northfield, 330-908-7771, hrrocksinonorthfieldpark.com. ART
People’s Art Show It’s time once again for Cleveland’s most democratic art tradition, Cleveland State University’s People’s Art Show. With hundreds of entries by more than 100 participants, the show is exhibited “salon style,” meaning the artwork is stacked from floor to ceiling on each wall. Participating artists include kids, students, amateurs and professionals. Unjuried and uncensored, past exhibitions have been so controversial that the formerly annual event is now held once every two years, and so provocative that it made the front page of the New York Times and resulted in a Howard Stern Show interview for gallery director Robert Thurmer. The 22nd annual People’s Art Show opens tonight with a free, public reception from 5 to 8 at the Galleries at CSU, and remains on view through Dec. 8. (Usmani) 1307 Euclid Ave., 216-687-2103, csuohio.edu/artgallery. NIGHTLIFE
Phantasy Monster Bash Phantasy Nite Club hosts tonight what it hopes will become the first of many Monster Bashes. DJs Eddy Lengyl, Allyssa and Deb will be on hand and the club will screen the horror flicks Scarred and Chill, the Killing Games. Doors open at 8 p.m.; tickets are $8. Admission includes one free drink ticket if you arrive before 10:30. The first 50 people will receive a free DVD, and there will
be a “scream queen” and “scream queer” contest. (Niesel) 11802 Detroit Ave., 216-228-6300, phantasyconcertclub.net. FILM
Rocky Horror Picture Show Because it’s the Halloween season, the Kent Stage will host a midnight screening of The Rocky Horror Picture Show, the 1975 film that still draws an exuberant, costumed crowd that likes to throw rice and dry toast and sing along to the songs in the movie. Tickets are $7 in advance, $10 at the door. (Niesel) 175 East Main St., Kent, 330-677-5005, kentstage.org.
4530 COLORADO AVE., SHEFFIELD VILLAGE, OH
JEKYLL & HYDE
NIGHTLIFE
Trap-or-Treat Fest The digital media group Thrillist calls the Chicago-based Porn and Chicken dance parties “one of the 14 sexiest things you can do in Chicago”; and Vice profiled the lustfilled weekly bash for its “Around the World in 80 Raves” series. The party that has attracted the likes of Jay-Z, Diplo, and even Kelly Osbourne comes to Red Space tonight at 8:30 for Trap-or-Treat Fest. Local favorite DJ EV co-headlines. The former DJ for MGK and Mike Posner, DJ EV has played festivals and parties all over the country; rapper Tezo will join him for his set. Trap-or-Treat Fest also features up-and-coming Cleveland rapper Young Cap as well as trap DJs AllxCaps, Connor OD and Vesca, and there will be a $500 sexiest costume contest. Tickets are $25. (Niesel) 2400 Superior Ave. East, 216-241-4040.
SAT
CONCEIVED FOR THE STAGE BY FRANK WILDHORN & STEVE CUDEN BOOK AND LYRICS BY LESLIE BRICUSSE | MUSIC BY FRANK WILDHORN BASED ON THE STORY BY ROBERT LOUIS STEVENSON
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Masque of the Red Death Halloween Ball Billed as the premier Halloween masquerade party for adults, tonight’s Masque of the Red Death Halloween Ball, at the Akron Civic Theatre, promises to be “a most macabre, artfully elegant, daring, dramatic and decadent masquerade party.” The $75 ticket includes a full bar, signature cocktail, light hors d’oeuvres and entertainment. The $85 ticket gets you all the above, plus a 10-minute reading with a psychic. It starts at 8 p.m. (Niesel) 182 South Main St., Akron, 330-253-2488, akroncivic.com. SPORTS
Cavaliers vs Orlando Magic With their thrilling win in Game | clevescene.com | October 26 - November 1, 2016
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GET OUT 7 of last year’s NBA Finals, the Cleveland Cavaliers not only won their first-ever NBA title, but they also broke a decades-long championship drought in Northeast Ohio. Tonight at 7:30 at the Q, they defend their title against the Orlando Magic. They return to the Q to battle the Houston Rockets at 7 on Tuesday night. Tickets are sold out, but ticket brokers will have seats for sale. (Niesel) 1 Center Court, theqarena.com. ART
A Studio Tour As part of its 20th Anniversary Founder’s Exhibition, the Artists Archives of the Western Reserve is hosting a series of private tours of the studios of early supporting artists. The series continues today with a 1 p.m. visit to William Martin Jean’s studio in the Tower Press building. The cost is $10 for current AAWR members and $20 for nonmembers. To attend, reserve tickets via Eventbrite or by calling the AAWR office. (Usmani) 1834 East 123rd St., 216-721-9020, artistsarchives.org.
SUN
10/30
MUSIC
Halloween Spooktacular: Superman at the Symphony Celebrating the first comic book superhero ever created — which, if you didn’t know, took place right here in Cleveland — Halloween Spooktacular: Superman at the Symphony features music from John Williams’ score for the movie Superman and Michael Daugherty’s Metropolis Symphony, accompanied by classic images of the Man of Steel. Severance Hall’s annual Halloween costume contest begins at 2 p.m. There is a special prize category for the best Superman or Superwoman. The concert begins at 3 p.m. Tickets start at $15. (Niesel) 11001 Euclid Ave., 216-231-1111, clevelandorchestra.com. NIGHTLIFE
Harry Potter Trivia Competition Case Western Reserve University’s Quidditch Team and Harry Potter Organization will host a Harry Potter Trivia Competition tonight from 5 to 8 p.m. in the Thwing Ballroom at Case Western Reserve University. The event will feature cash prizes for the winning teams,
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| clevescene.com | October 26 - November 1, 2016
wizarding snacks (including butterbeer) and an “immersive Harry Potter-themed Quest.” Participants can compete as part of teams of up to three players, and tickets cost $10 per person. (Niesel) 11111 Euclid Ave., Cleveland Hts., 216-368-2414, case.edu.
MON
10/31
FOOD
Industry Brunch Brunch isn’t just a Saturday/Sunday thing. Over at Mahall’s, you can grab a great brunch on Mondays as the club caters to industry folks who have the day off. Not that you have to work in the restaurant industry to indulge. The menu features items such as Chicken and Donuts, a dish that features three pieces of fried chicken along with two Old Hushers doughnuts. Other staples include the Everything Pretzel and the Creamy Egg Sandwich. A live DJ from WCSB will be on hand to spin cool tunes too. It runs from noon to 4. (Niesel) 13200 Madison Ave., Lakewood, 216-521-3280, mahalls20lanes.com. FILM
Movie Mondays Every Monday, Cleveland Cinemas hosts $6 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
Trivia Pursuits Do you have tons of obscure music knowledge? Are you a student of fast food menus and their nuanced histories? What say you about the geographic evolution of Scotch whisky? Tonight’s your chance to wow your friends, make yourself instantly more desirable to someone you’re newly dating, and hang with Cleveland’s headiest hipsters and hot dog lovers. It’s the Happy Dog Monday Night Trivia. Starting at 8 p.m., expect themed rounds — it’s a crapshoot — and general knowledge questions that seem considerably trickier than some of the other live trivia locales in town. Obviously, have a hot dog and a craft brew
while you’re at it. And arrive early. The tables fill up quickly. (Sam Allard) 5801 Detroit Ave., 216-651-9474, happydogcleveland.com. FOOD
Vegan Mondays If you’re vegan, vegetarian, gluten free, or just plain interested in trying something new, head over to Townhall in Ohio City this evening from 5 to 10 p.m. for Vegan Night. Work your way through the delicious and healthy vegan menu, featuring hits like Veggie Vegan Flatbread (think fresh tomatoes, chiles, mushrooms and vegan cheese), Tofu Etouffee (blackened tofu, onions, tomatoes and brown rice) or many of the regular menu items made vegan. If you’re still feeling skeptical, know this: Monday night is also Craft Beer Night and all 36 crafts are only $3 from 6 p.m. to close. Cheers! (Nutile) 1909 West 25th St., 216-344-9400, townhallohiocity.com.
TUE
11/01
MUSIC
Classical Revolution Cleveland For many years, classical music wasn’t intended for the masses. Seemingly reserved for quasiexclusive concert halls, classical music hid from the outside world. Classical Revolution Cleveland helps tear down that wall and once again bring great chamber music to the people. Showcasing a variety of performers in bars, cafes and the like, it’s actually not that different from how people used to listen to chamber music. The first Tuesday of every month, CRC brings its wide array of chamber music to Happy Dog at the Euclid Tavern. Performers like the Trepanning Trio, Anime Duo, students of Cleveland Institute of Music and even Cleveland Orchestra members grace the stage in these exciting concerts. Full of immensely talented performers, CRC re-instills the relevancy of this vibrant art form. Tonight’s free, all-ages performance starts at 7. (Patrick Stoops) 11625 Euclid Ave., 216-231-5400, happydogcleveland.com. THEATER
Finding Neverland November brings us Finding Neverland, a musical that tells the story behind Peter Pan. It seems the people who make theater never tire of this story, but this show, as originally directed by Tony winner Diane Paulus, promises to
offer some real stage magic. Part of Playhouse Square’s Broadway Series, it opens tonight at 7:30 at Connor Palace, where it runs through Nov. 20. Tickets start at $10. (Howey) 1615 Euclid Ave., 216-241-6000, playhousesquare.org.
Appearing at Playhouse Square
FILM
National Bird Earlier this year, Cleveland Cinemas announced a fall documentary film series at the Capitol Theatre. Every Tuesday evening through Nov. 22, a new documentary will screen for a one-night-only engagement. The series arrives on the heels of the Capitol Selects series, which began this summer and devoted one screen at the theater in Gordon Square to week-long engagements of foreign, classic and documentary films. As with most documentaries, the strength of the films included in the Fall Docs Series lie both in their wildly diverse subject matter and in their unique and vivid storytelling methods. Tonight’s film, National Bird, provides a first-hand look at classified details of the secret U.S. drone wars. From executive producers Wim Wenders and Errol Morris, it screens at 7:30. Regular admission rates apply. (Allard) 1390 West 65th St., 216-651-7295, clevelandcinemas.com.
Haunted Happy Hour drinks, dining and other special offers at district restaurants, bars and retailers
FRREEE séan FRE é ces in Connor Pal alaace
plaayhousesquare.org/SCAR RE
EAT, DRINK AND BE SCARY
October 27
The only group in the U.S. funnier than Congress! October 29
ART
A Special Discussion The Northern Ohio Illustrator Society presents a special discussion with former journalists Denise Reynolds and Jenny Campbell. Together, Reynolds and Campbell founded Outside the Lines Creative Group (OTL), a communications firm for corporations and organizations. OTL creates custom cartoon characters to deliver messages for human resources and marketing departments to their customers, employees and the general public. Reynolds and Campbell will discuss their unique approach to using humorous illustration in business communications at 7 tonight in room 408 at the Cleveland Institute of Art. Admission is $10 for non-members of Northeast Ohio Illustrator Society, but can be applied toward a 2017 NOIS membership. The event is free for NOIS members and students with valid ID. (Usmani) 11141 East Blvd., 216-421-7000, cia. edu/events.
Find more events @clevescene.com t@clevelandscene
DANCECleveland Presents L.A.’s Premiere Dance Company
BODYTRAFFIC November 12
The Songs of Lerner & Loewe
Alan Cumming: Sings Sappy Songs
November 20
December 4
Almost Like Being in Love
On sale Friday!
216-241-6000 Group Sales 216-640-8600 playhousesquare.org
Peter Frampton Raw An Acoustic Tour
April 4 | clevescene.com | October 26 - November 1, 2016
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ART CROSSROADS Spaces sends archives to Kelvin Smith Library ahead of big move By Josh Usmani IN THE NEARLY 40 YEARS SINCE Spaces’ founding, in the spring of 1978, the organization has presented the work of over 9,000 artists in its three headquarters: Playhouse Square (1978-1981), Warehouse District (19811990) and its current location on the Superior Viaduct (1990-2016). As the organization prepares to move to its new home on the first floor of the former Van Rooy Coffee Building, it recently announced that its massive archives will be permanently moving to the Kelvin Smith Library (KSL) at Case Western Reserve University. With similar acquisitions of archives
from Cleveland Play House and the Cleveland Performance Arts Festival, the library is becoming one of the leading repositories for the study of contemporary and performing arts in the region. Although the organization’s mission is broad and far-reaching, Spaces isn’t equipped to handle such a massive archive of materials. As you might imagine, working with 9,000 artists over 38 years generates a lot of paperwork and other materials. Spaces’ community engagement manager Michelle Epps led the effort to find the archives a new home,
personally overseeing every step of the archives’ yearlong transition to the library.
Symbols and identity come together at Tri-C Eastern Gallery DESCRIBED AS THE “GODFATHER” of “Symbol Art” on Twitter (@ SYMBOLart, #sYmBoLaRt), GuyVincent’s latest efforts combine his interests in symbols and identity, which the artist describes as the “two primal aspects of human visual communication.” His new exhibit at Tri-C’s Eastern Campus Art Gallery, Neo Post Factum, also explores elements of ancestry and its relationship to identity. “There are two primal aspects of human visual communication: symbols and identity,” the artist says. “The images are intended to create filmic non-linear narratives — visual experiences of the past reconfigured, reinterpreted and re-understood in terms of the present.” Presented in partnership with Jakprints, Neo Post Factum includes more than 50 new, large-scale works by Guy-Vincent. The collaboration with Jakprints began two years ago when Jakprints co-owner Dameon Guess met Guy-Vincent at IngenuityFest. “From our initial meeting, I’ve always had a feeling that Guy-Vincent’s work is bigger than himself. He’s incredibly talented and very passionate. His work is cohesive, very tangible and reflects his authenticity along with a wonderful sense of mystery and intrigue.” Many of the works in this exhibit are scanned, manipulated, layered, painted and drawn upon. The result is imagery that creates a non-linear narrative, reinterpreting, reconfiguring and re-understanding
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visual experiences. “The integrating of the Symbol Art plays a critical role by providing a visual counterpoint, dispelling the sense of nostalgia, while providing new context and narratives,” the artist explains. “Guy-Vincent’s most recent work is stunning in its scale and presence,” says Robert Thurmer, exhibition curator and director of the Galleries at Cleveland State University. “It combines many of the Guy-Vincent, “The First to Travel (Detail).” Archival artist’s long-standing print, acrylic, gesso, graphite, enamel, spray paint, ink on interests and utilizes the full Somerset paper. Photo by Dameon Guess. range of his native talents. All of the intellectual and technical and mark-making, upon discovering nuances notwithstanding however, Twitter I began exploring the Guy-Vincent amazes with his natural use of Unicode characters as knack for the compelling image. As indecipherable graphic patterns an artist, Guy-Vincent functions as a instead of typing standard unique combination of philosopher, messages,” he explains. “The ‘tweets’ that I began generating consisted NEO POST FACTUM of ASCII characters, often abstract, Tri-C Eastern Campus Art Gallery, 4250 comprised of various letters, Richmond Rd., Highland Hills, 216-987-2473 numbers, shapes and symbols. The more I experimented with scholar, inventor, virtuoso, magician these ‘digital sketches’ the more and mad scientist.” compelling I found it to expand the Utilizing Twitter’s coding, Guyboundaries inherent in Twitter’s Vincent continues to experiment 140-character limit.” with Symbol Art, 140 characters Guy-Vincent’s Neo Post Factum opens with a reception from 6 to 9 (or less) at a time. These abstract p.m. on Friday, Oct. 28, and remains messages allow him to push the on view through Nov. 23. Hours are boundaries of meaning, symbolism Monday through Thursday from and visual communication. 10:30 a.m. to 3:30 p.m. “Always interested in symbols
| clevescene.com | October 26 - November 1, 2016
“Culminating in over 30 years of experimental art, the SPACES Archive includes artworks on paper, early forms of digital and video art, artist correspondence and notes exposing the creative process, internal documents and over 3,000 slide images of original artworks and over three decades of Spaces’ evolution” says Epps. “The archives will open up details that will help researchers and historians in accurately portraying Cleveland’s changing art landscape and the role Spaces played in that landscape.” Looking forward, Spaces and KSL are planning a collaborative archive exhibition at the library in 2018. Celebrating Spaces’ 40th anniversary, the archive exhibition will coincide with special programming organized at Spaces, including a group show co-curated by Spaces’ founder James Rosenberger, current executive director Christina Vassallo and former executive directors Susan Channing and Christopher Lynn. Before Spaces’ big move early next year, the organization hosts its annual benefit, Great Expectations: Westward Ho!, from 6:30 p.m. to 1 a.m. at its current location (2220 Superior Viaduct). The event includes a silent auction featuring works by about 100 artists. VIP tickets are $150, and include 6:30 p.m. admission, an open bar until 8 p.m., preferred parking and more. General admission tickets are $50, and include 8 p.m. entry, cash bar, silent auction and more. Tickets to the Dance Party, from 10 p.m. to 1 a.m., are $10. For more information, visit spacesgallery.org.
jusmani@clevescene.com t@clevelandscene
STAGE ALMOST THERE Beck Center’s Body Awareness too small and coy for its own good By Christine Howey THERE’S NOTHING WRONG with a small play that has modest goals. God knows it beats some of the gargantuan productions that aim high and fall miserably short. Still, sometimes a play can be a bit too small and coy for its own good. Such is the case with Body Awareness, now at the Beck Center. Set in a small town in Vermont, this play by Annie Baker focuses on a middleaged lesbian couple, Phyllis and Joyce, and Joyce’s 21-year-old son, Jared, who has some form of Asperger’s Syndrome. Phyllis, a strong-willed feminist, is in the midst of leading a week-long “Body Awareness Week” at the local college where she teaches. As the play works its way through the week (and its non-too-subtle premise), we see how Jared torments his mother and Phyllis with his Asperger’s-triggered attitudinal issues. He’s blunt and aggressive, not aware of how his words impact others, but Joyce quietly perseveres as she tries to make their home a pleasant and loving space. During the week, one of the guest lecturers, Frank, arrives to stay in the same house for a couple days. Phyllis is instantly bent out of shape because she learns that he takes nude photographs
of females of various ages. Her sudden distaste for his artistic endeavors feels forced and odd. In any case, the various issues of “body awareness” are neatly arrayed — Jared trapped in his not-quite-functional body, Joyce and Phyllis trying to work out their samesex relationship, and (sleazy?) Frank hanging around and inserting himself in their discussions. Playwright Baker is a deft writer and there are a number of chuckles to be found in the play, but it all feels a bit too contrived. And director David Vegh doesn’t use his talented cast in the best ways possible. As Joyce, Anne McEvoy seems to float a bit too high above the events swirling around her, while Julia Kolibab comes off as a bit fuzzy and indistinct as Phyllis. Phyllis’ minilectures at college, which punctuate each of the days of the week, should be funnier than they are. Plus, there is little sexual (or any other) chemistry between these two characters. Since McEvoy and Kolibab are exceptionally talented actors, it appears that Vegh was unable to help them find their characters’ sweet spot in this fragile work. The same is true with Rick Montgomery Jr. as Frank, who appears out of the blue and never
A BRIEF HISTORY OF PRESIDENTS HOW DOES IT FEEL FOR A woman to be president of the United States? According to Tanera Hutz, it feels amazing. “I’m a history buff and being able to perform as president is very empowering.” Even though there may be an actual female occupying the Oval Office in a couple months, there are seven women here in Cleveland who are trying their hand at the highest office in the land this week, as 44 Plays for 44 Presidents continues at Cleveland Public Theatre through Oct. 29. This play, created by the renowned Chicago theater group the NewFuturists, cruises through the entire presidential history of this country, from the original George W.
(Washington, that is) through Barack Obama. It’s a daunting task for Hutz and the other six women who will portray all the characters. And since the running time of the show indicates that the average time spent on each president will be about three minutes,
BODY AWARENESS THROUGH NOV. 6 AT BECK CENTER, 17801 DETROIT AVE., LAKEWOOD, 216-521-2540, BECKCENTER.ORG
rings true as either a photographer or a mystical purveyor of wisdom (a non-Jew, he insists on leading a Friday evening Sabbath service earlier in the week). Richie Gagen is strong and funny as Jared, perhaps because his character exists outside the conventional grid of family relationships. Jared is always saying unexpected things, and Gagen makes
them amusing while retaining the inherent humanity of the young man. Since too many of the scenes are meandering and slow, the 90-minute one-act feels longer than its actual run time. This is a show that needs to be performed with crisp timing, not with the casual and indulgent pacing that director Vegh has employed. And that’s too bad, because the Beck cast is clearly capable of much more.
during the New Deal, programs that are still powerfully affecting people’s lives today.” Written by a clutch of five NeoFuturists and co-directed by Dan Kilbane and Caitlin Lewins, 44 Plays intends to be a non-stop volley of songs, factoids, dancing and wisecracks. In short, it will be a much more reserved and dignified experience than the current presidential campaign, which has slid into the muck of Donald
also a mix of tragedy in the show, as monumental moments such as slavery and war take their moments in the spotlight. Carrie Williams, a performer who plays George W. Bush among many others, says, “Any one of these guys could have a whole play written about them, and it’s kind of sad that their contributions are reduced to a couple minutes each.” Other performers include Chennelle Bryant-Harris, Melissa Therese Crum, Sally Groth and Colleen McCaughey. By moving chronologically through all the presidents, one gets a sense for the sweep of history and how our country has arrived where it is in 2016 And if we can laugh along the way, so much the better!
44 PLAYS FOR 44 PRESIDENTS THROUGH OCT. 29, CLEVELAND PUBLIC THEATRE, 6415 DETROIT AVE., 216-631-2727, CPTONLINE.ORG
this will be a necessarily cursory review of those gentlemen. “Empowering” is also a word that comes to Molly Andrews-Hinders’ mind, who is another performer in the show. “What struck me in the show is how many programs FDR began
Trump’s despicable carnal excesses. Of course, this play at CPT isn’t exactly be a sober seminar on American government since there are plenty of absurdities to reveal and POTUSes to tweak. (Chester A. Arthur, we’re looking at you.) There is
scene@clevescene.com t@christinehowey
| clevescene.com | October 26 - November 1, 2016
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| clevescene.com | October 26 - November 1, 2016
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MOVIES A TOM HANKS INFERNO Latest Robert Langdon mystery is its own circle of Hell By Sam Allard IN THE SAME WAY THAT watching Indiana Jones evading bad guys was downright sad in 2008, when a grizzled Harrison Ford donned his fedora for the Crystal Skull fiasco — you don’t know AARP? — watching Robert Langdon (Tom Hanks) hobbling through gardens and basements to escape international police and rogue health organization agents is much less entertaining now that Hanks is 60. Langdon may once have been a sort of Sherlock Holmes/ Indiana Jones hybrid, a fiercely intelligent professor of symbology, enlisted in times of urgent need to decode the puzzles of equally intelligent and symbol-oriented villains … But no longer. Now, it’s just Tom Hanks delivering lines, scurrying through back entrances of Italian museums looking for clues either obvious or stupidly obscure. The third film adaptation of the Robert Langdon mysteries written by Dan Brown, Inferno is out in wide release Friday. The first and most popular was, of course, The Da Vinci Code, wherein Hanks borrowed Alan Rickman’s wig from the Harry Potter set to properly transform. Inferno, like its predecessors, is directed by Ron Howard, who has sprinkled the Langdon mysteries atop his schizophrenic directorial slate
since 2005. (The Dilemma must be reckoned with alongside the accomplished Rush and Frost/ Nixon). In Da Vinci Code, symbology was central to the plot. Every clue was a puzzle that needed to be solved — and fast! — a puzzle that tested the limits of Langdon’s knowledge and experience. Here, it’s not at all. Inferno is your basic international action movie where pace is a standin for action. The symbology stuff is so lame it doesn’t bear mentioning, but suffice it to say Langdon’s not as sharp as he once was. The big decoding of the film arrives when he sees letters written on Botticelli’s famous painting of Dante’s Inferno
and tries to unscramble them in the exact same way you or I would unscramble a word puzzle in the Sunday newspaper. He doesn’t even get it. It’s pointed out to him by a high-heeled sidekick, one Dr. Siena Brooks, played by Felicity Jones, who’s good. But all her performance does is make you wish you were watching Rogue One, out later this year. In the first 20 minutes, Langdon awakes in a hospital in Florence with amnesia and a gunshotinflicted head wound. Howard uses the camera to communicate Langdon’s mood, and so we get a disjointed opening with nonstop cuts to deranged visions and
memories, zany camera angles and incoherent sounds and images. It’s like watching a Staind music video directed by Oliver Stone. The story is gripping enough, if (to reiterate) lacking the material that’s supposed to make it unique. The biggest mystery turns out to have nothing to do with Langdon and his clues but the allegiance of various members of the police force and world health organizations who are hunting Langdon and Brooks, who are themselves hunting a virus before it is unleashed on the planet. The criminal mastermind isn’t even alive. He’s a billionaire bioengineer named Zobrist (Ben Foster, who gets a pass after Hell or High Water) and he has planted clues that Langdon must find if he wants to prevent a global culling. It’s the second movie in as many years that features a psycho villain hellbent on “curing” overpopulation, and for that reason more than any other Inferno should give us pause. But the fact that Langdon’s even involved beggars belief. The idea of a billionaire mastermind leaving a string of low-tech clues is about as credible as an Italian art museum without an alarm system, or a niche Harvard academic with the international cache of J.K. Rowling.
sallard@clevescene.com t@scenesallard
SPOTLIGHT: THE HANDMAIDEN NOW THIS, LADIES AND GENTLEMEN, is a movie. Park Chan-Wook, the Korean mastermind behind Oldboy and the exquisitely titled Lady Vengeance and Sympathy for Mr. Vengeance, brings you The Handmaiden, a film in three parts that’s about as sensuous and surprising as a movie can get in two-and-a-half hours. It opens Friday at the Cedar Lee. It’s 1930s Korea, a period of Japanese occupation, and young Sookee (Kim Tae-Ri) is hired as the handmaiden to a Japanese heiress, Hideko. Sookee is a pickpocket and low-level crook, and her job turns out to have been part of a larger plot, a con orchestrated by a career swindler (Jung-woo Ha) who poses as a Japanese count to seduce Hideko, elope with her, rob her of her considerable fortune, and lock her up in
an asylum. Sookee’s job is to coax the seduction along, to spy on Hideko and sing the count’s praises in the private moments that a lady and handmaiden share — think Lady Mary and Anna Bates in Downton Abbey. But Sookee and Hideko stumble upon a mutual attraction — lesbian sex in the countryside, folks, and it’s a heated affair. In one early scene, Sookee files down Hideko’s sore tooth with a thimble. Hideko, naked in a tub, sits with her eyes closed and her mouth open while Sookee gently and lengthily massages the thimble over the tooth. It’s a taut, erotic scene — like the rest of film, gorgeously composed and lit — and a foretaste of the more explicit sexual exploration that follows. The estate in which Hideko lives is owned
by her uncle, a masochist and collector of exotic smut. He hosts “readings” in which Hideko is forced to recite passages from erotic works to an audience of tuxedoed bidders. It is among these bidders that the count has ingratiated himself, even becoming a book forger so that the uncle may keep his prized volumes while selling counterfeits. To reveal much more would spoil an artful plot that unfolds as the movie progresses from three different characters’ perspectives. You simply don’t see this level of storytelling in movies anymore, and it’s a great pleasure to watch as the seeds of a well-planted narrative blossom so elegantly, even if the sexual content might alarm the Cedar Lee’s clientele. — Sam Allard | clevescene.com | October 26 - November 1, 2016
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| clevescene.com | October 26 - November 1, 2016
DRINK ENDANGERED SPECIES The Ohio Division of Liquor Control is taking aim at ‘low-demand’ bottles TO ALL OUTWARD APPEARANCES, the recently released statement sounded like an innocuous bureaucratic detail issued by one of the most bureaucratic organizations in the state of Ohio: the Division of Liquor Control. “As part of the evolving liquor enterprise in Ohio, it is necessary to perform a warehouse inventory reduction and optimize the inventory available within the Contract Liquor Agencies. We have identified 1,000 SKUs that will be removed from the warehouses and will no longer be available for ordering. These slowmoving products represent only 4% of sales in Ohio.” The list contains 705 items that Liquor Control argues have “very low consumer demand.” The reductions are intended to better align the product inventory with modern consumer preferences while stripping countless outdated and redundant duds from liquor store shelves. “In the last three years, we’ve added nearly 1,000 new products without removing any,” explains Kerry Francis, director of communications for the Ohio Department of Commerce. While it’s absolutely true that the Great Purge will spare future imbibers from the horrors of whipped orange, cinnamon roll and cilantro flavored vodkas, dozens of which will be removed from the rolls, not everything that is going the way of the dodo is revolting swill. “A lot of it needed to be done, but the collateral damage is losing some of the boutique stuff we get into,” says Stefan Was, whose staff at Porco Lounge and Tiki Bar relies on so-called “slowmoving” products to properly do its job. “You go to a tiki bar in Chicago and they have 400 different rums on their shelf. As bartenders, we want to have options. Everything has its nuances to it and everybody has their favorites.” This whole notion of basing inventory decisions solely on sales is both disheartening and wrong-headed, argues Adam Roelle, a Columbusbased spirits rep with Cavalier Distributing. It was Roelle himself who over the past few years managed to work hand-in-hand with the Division of Liquor Control to increase the
Photo by Ken Blaze
By Douglas Trattner
“You go to a tiki bar in Chicago and they have 400 different rums on their shelf. As bartenders, we want to have options. Everything has its nuances to it and everybody has their favorites.” — Stefan Was, Porco Lounge and Tiki Bar availability of high-quality bitters, vermouths, amaros and spirits like rum, genever-style gin, mezcal and cachaça. Many of those bottles that bartenders statewide are enjoying now are at risk of being permanently delisted. “The system is not set up for the current market,” he asserts. “Basing the success of certain items against volume is not how it should work. People are interested in more than just
Bacardi and Jack Daniels. Bartenders want Ohio to be on par with the big cities and we were becoming able to do it. A lot these items are the kind of stuff that bartenders want — and deserve — to have in their tool belt.” Roelle says that it’s just the aggravating nature of trying to conduct business in a control state, one in which the state controls the distribution and sale of some or all alcoholic beverages.
“It is illegal for bar and restaurant owners to get what they want without risk of putting their permits in jeopardy,” he explains. “We’ve had no prohibition on liquor since 1933, yet that is the way the state still runs things.” As part of the warehouse inventory reduction, Will Hollingsworth will be losing his beloved St. Elizabeth Allspice Dram, one of four ingredients in the Spotted Owl’s signature cocktail, And Fire Green as Grass. As painful as that loss will be, it is just the latest in a long line of state-sponsored indignities that feel like death by a thousand cuts. Already Hollingsworth and his staff waste countless hours per week dealing with bureaucratic red tape simply to legally secure the products they need to serve their customers. “The system is so dysfunctional from nose to tail that adding one more layer of complexity to it is adding one more opportunity for things to get screwed up,” he says. “It’s tragic to think about the opportunity costs given how much we deal with this incredibly inefficient system that not only seems disinterested in putting out a good product, but being actively opposed to doing so. People need to understand that bars like Stefan’s and mine are being hamstrung at every step simply for trying to put out the great products for which we are known.” Never one to mince words, Hollingsworth accurately describes the frustration felt by hospitality professionals across the state. But resigning themselves to the likelihood that things will never change, most simply resolve to do the best they can with what they have. “It’s a stupid system,” notes Was. “It’s archaic and it doesn’t help expose the consumer to different things. But it’s also our job to use these things. It’s not just a matter of getting it in; you have to do something with it. I also think not having unlimited access to some of these products can make you a better operator. It forces everybody to get more creative with limited resources.”
dtrattner@clevescene.com t@dougtrattner
| clevescene.com | October 26 - November 1, 2016
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EAT FEEDING THE FOODIES Bounce’s new brunch attracts the locals by Rachel Hunt
Sit down with your guests. Advertise with SCENE. Call 216-241-7550 for more information.
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| clevescene.com | October 26 - November 1, 2016
BOUNCE NIGHTCLUB (2814 DETROIT Ave., 216-696-0831, facebook.com/ bouncenightclubhingelounge) was in need of a facelift after closing its doors this past January after a solid 13-year run. New co-owners Joseph and Robert Jackson not only have renovated the interior, adding a lounge, updated bar and high-top tables, but they also have devoted themselves to cultivating a regular clientele of locals living in and around the entertainment complex. What was once Union Station, the bar and kitchen housed in the front of the club has evolved into Hinge Bar + Kitchen + Lounge, a nod to the neighborhood that has developed around them in an area that many once deemed unsafe. With businesses and housing expanding up Detroit Avenue, a focus on the food seemed vital in order to stay relevant on weekdays when the nightclub is not in use. “Bounce has always been known for fun,” says Joseph Jackson. He and his partners knew they would not only have to redesign the entire kitchen concept that had been lacking under previous ownership, but also bring in a chef to run it. “We didn’t want to act as if we knew everything [as proprietors]. We wanted to fi nd a chef to take control.” One month ago they hired John Hagerty, most recently sous chef at Forage Public House and chef de cuisine at Bold Food and Drink. New American fare, seasonal and slightly sophisticated, makes up the majority of Hinge’s nightly menu, which runs Wednesday through Sunday from 4 p.m. until close. Food is an international language, one that the LGBTQ community speaks fluently when considering what’s hot and what’s not. A streamlined Facebook page lets club-goers preview not only the lineup for the weekend show, but the specials on Hinge’s menu just by scrolling. And the changes are working. Hinge is starting to attract customers there to enjoy drag and dinner. “Foodies to us just mean people
who regularly dine out,” notes Jackson. “In this neighborhood especially, that number has doubled.” One meal in particular that has become very popular is the Sunday brunch. During the summer months, the developing brunch menu was served a la carte on the extensive parking-lot-turned-patio, alongside games of cornhole or giant jenga. Bounce and Hinge have sponsored Stonewall, an LGBTQ+A recreational sports league that hosts kickball and dodgeball games throughout the year. “We want to provide an entire ‘Sunday Funday’ experience,” Jackson says excitedly. Served right up until close at 7 p.m., the latest Sunday brunch menu will debut the first week of November. It features the most popular items from the last batch of menus by Hagerty. Diners can look forward to cream cheese polenta with poached eggs, huevos rancheros with braised pork and chili tomato sauce, classic eggs Benedict, and French toast bread pudding with walnuts, cranberry and a bourbon butter maple syrup. “My Grandma’s sausage gravy,” Hagerty says of another brunch item. “She taught me how to make it when I was 10. She’s from West Virginia. That will come with homemade biscuits, sage and two fried eggs. We’ll do a vegan dish for sure. Typically, I like to do a tofu scramble, either Southwestern or Argentinian with tomatoes and peas.” Everything is made in house and will run $15 or less per brunch entree. Service will be run entirely through the bar for the foreseeable future. As winter settles in, Showtunes Sunday finally will return with special performances from Bounce favorites. It won’t only be the Queens who have the spotlight this time around, but brunch fans as well.
scene@clevescene.com t@clevelandscene
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MARBLE ROOM STEAK AND RAW BAR LOOKS TO SPRING OPENING
22799 Lorain Road Fairview Park
440-716-1961
By Douglas Trattner
Mon-Thu 11a-9p Fri 11a-10p Sat 12p-10p | Sun 12p-9p
Photo by Douglas Trattner
SORRY, CROP BISTRO. WHEN Marble Room Steak and Raw Bar opens downtown, it will immediately jump to the front of the line in terms of Cleveland’s most impressive dining rooms. The dramatic restaurant is just now taking shape inside the historic bank lobby of the Garfield Building at East Sixth and Euclid. Most recently National City Bank, the immaculately preserved interior was going to become the home of Jeff Ruby’s Steakhouse. When that deal fell through, there was little doubt who would step in to fill its shoes. “There’s too much at stake — you can’t screw it up,” explains Malisse Sinito who, along with husband Frank, will be building out and operating the Marble Room (623 Euclid Ave.). The pair also own Lockkeepers restaurant in Valley View, and Frank is CEO of Cleveland-based Millennia Companies, the owner of the building. The commercial office space above the restaurant is being converted into apartments. Guests who step off Euclid Avenue and spin their way through the revolving door first will be floored by the immense volume of the room, a high-ceilinged space that exceeds 10,000 square feet, discounting private spaces. Twin lounges with elegant soft seating will flank the central host stand. To the right will be a bar devoted to sushi and raw bar. To the left, a bowed 20-seat marble bar is positioned between columns, above which will rise a two-story wine cellar accessed via sliding ladder. The old deposit slip tables in front of the bar are being repurposed into cocktailfriendly high tops. Booth seating will be tucked in between columns on both sides of the room. “You’ll feel like you have some privacy,” Sinito says. In between will be more tables, chairs and booths. All said and done, the main dining room should accommodate about 175 guests. Drapes, carpeting and large fabriccovered panels will be installed to combat excessive noise. Downstairs,
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bank vaults and safe deposit box rooms will be able to handle multiple private events. When news broke on the arrival of Jeff Ruby’s, the response was almost unanimous. Another downtown steakhouse? So I posed the question to Sinito. “I agree,” she says. “If you asked me before I would have said the same thing. But you saw the space. What would you do with it? “With a space like this you can only go one way and that’s high end,” she continues. “But you can still be playful with it. You still want to keep it fresh and modern and cool and sexy and fun. Not stodgy.” For those who don’t want a big, juicy USDA Prime porterhouse, there will be fresh-shucked oysters on the half shell, fresh-cut sushi, small plates and plenty of seafood, Sinito assures us. “For people who don’t want to come in for a steak, you can come in and sit in the lounge and have oysters or sushi or small plates and a cocktail. It’s not just beef.” The menu and kitchen will be overseen by Alberto Leandri, the Venice-born chef who for the past four years has been executive chef at Lockkeepers. The contemporary steakhouse menu will be almost 50-50 in terms of beef and seafood. Classic steakhouse starters and sides
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| clevescene.com | October 26 - November 1, 2016
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will be given a modern twist. As we descend the sweeping brass-railed marble staircases of the turn-of-the-century building we pass by ornate light ďŹ xtures, beneath polished stone arches, through gilded gated doors, and toward the hefty bank vault door, now permanently ajar. “Can you imagine recreating all this now?â€? Sinito asks. “You couldn’t do it.â€? The team is shooting for a spring opening. When it does open, Marble Room will serve lunch and dinner and maybe weekend brunch.
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POLPETTA AT PORCO LOUNGE WILL MARRY TIKI WITH MEATBALLS Back when everybody thought Stefan Was had lost his marbles — after he announced his plans to open a tiki bar in a rundown building in an isolated pocket of Ohio City — the original concept included plans for an Italian food menu. Of course now, three years into the success of Porco Lounge, we see that nothing Was dreams up is crazy. “My original concept was an Italian and tiki mashup of some sort,â€? Was explains. “Now, it’s coming full circle.â€? This week, Was announced a new partnership with chefs Brian Okin and Adam Bostwick of Cork and Cleaver, GrafďŹ ti Social Kitchen and Dinner in the Dark, to launch Polpetta at Porco, a meatball-themed concept that will take root at the tiki bar. The separate and distinct concept will operate under the same roof, but will not affect any of the things that we love about Porco Lounge. “This does not change anything in the front of the house,â€? Was clariďŹ ed. “We are still Porco.â€? Ever since opening day, Was has struggled to ďŹ nd an effective, consistent and delicious way to feed his guests under challenging circumstances. Given the physical limitations of the kitchen, a 10-by10-foot space in a corner of the building, that meant dishing up basic items like nachos, tacos and the occasional shucked oyster. When Was saw Okin’s enthusiasm for the meatball concept, he approached him to consider Porco as its home. “I was like, what the fuck do meatballs and tiki have to do with each other?â€? Okin recalls. “It makes absolutely no sense to me.
But actually, it’s the perfect setup. Everybody loves meatballs. I can’t think of a single time when someone offered me a meatball and I said no.â€? Okin’s appreciation for the concept originated during a recent trip to New York City, when he and a handful of other Cleveland chefs were invited to cook at the James Beard House. On an off day, the group dined at the Meatball Shop, a restaurant that started life on the Lower East Side of Manhattan but mushroomed to six locations in just four years. “I was blown away by how obvious and simple and great the concept was and the fact that there was nothing even remotely like this in Cleveland,â€? Okin explains. “I thought to do something like that in Cleveland — not their exact concept, but to be inspired by it and do something based off of it — would be an awesome idea.â€? Okin and Bostwick will convert the current space into a small but functional kitchen, adding a hood, stove, oven and other vital pieces of equipment. The streamlined nature of the menu makes it an ideal ďŹ t for the bar-like atmosphere of Porco Lounge. “Imagine a meatball version of Barrio; that would be the best way to describe the concept,â€? says Bostwick. “You pick your ball, you pick your sauce, you pick your side.â€? Balls will come in varieties like classic beef or pork and veal or chicken or veggie. Sauces include tomato, mushroom gravy, Parmesan cream and pesto. Sides might feature braised Italian greens, creamy polenta or rigatoni. Meatballs can be ordered on their own, as sliders or in large sandwiches. Starters range from olives and almonds to pepperoni bread. Guests can expect the ďŹ rst balls to start rolling off the line by early December. Polpetta will stick to the same hours of operation as Porco, but there might be a market for a late-night window down the road. Of course, much like the original operators in New York, Okin, Bostwick and Was have their sights set on expansion. “The goal is to start here and use it as an incubator to expand the concept into its own brick and mortar — and maybe more than one,â€? Okin says. “It feels like a concept you could see in three or four different neighborhoods around the city.â€?
dtrattner@clevescene.com t@dougtrattner
Breckenridge Brewery presents
SCENE Magazine presents
Snow Day Bar Crawl
Whiskey Business
Let's kick off opening day at Breckenridge with this spirited Snow Day Bar Crawl brought to you by Breckenridge Brewery. Grab your lift ticket and ride with us through all the great bars at Flats East Bank including Lago, Bold, WXYZ, Flipside, Big Bang, Punchbowl, Beerhead, Coastal Taco, Magnolia and Alley Cat.
Regardless of how you spell it (both whisky and whiskey are technically correct, by the way) or how you’ve enjoyed it in the past (neat, dirty, on the rocks, straight or mixed), the best way to enjoy whiskey is to savor it – the way you might a good wine.
Saturday, November 5, 2016 | Flats East Bank scenesnowday.com
November 11, 2016 | Red Space at Hotcards scenewhiskeybusiness.com
SCENE Magazine presents
SCENE Magazine presents
SCENE Magazine presents
Santa Bar Blast
FLAVOR
United We Brunch
Cleveland SCENE's most spirited pub crawl, Santa Bar Blast, returns to Downtown Willoughby’s Friday, December 2. Join us as we eat, drink and merrily make our way through Downtown Willoughby bars including Willoughby Brewing Company, The Morehouse Willoughby, The 1899 Pub, Frank and Tony’s Place, Mullarkey’s Irish Pub, Ballantine, Sol, The Wild Goose and Nickleby’s Roundbar.
FLAVOR celebrates the local culinary scene by bringing together leading Cleveland restaurants. Select beer, wine and cocktails add to the VIP-style soiree that is, FLAVOR. Food and drink lovers enjoy the top, most highly regarded restaurants and bars in Cleveland. Back by popular demand, the “Culinary Showdown” returns to FLAVOR this year. Top chefs from Cleveland will create a unique, mouth-watering dish. Each chef will have 30 minutes to stir up a winning quick-fire dish to impress our judges.!
There’s no better way to chase away a hangover than brunch with friends. And SCENE is once again bringing together the best restaurants in town with one mission: unite to cure Cleveland’s hangover. Brunch tastings, Bloody Mary’s, mimosas, beer, wine and champagne - all in the historic, newly-renovated Galleria & Tower. It’s the ultimate cure for a Friday night party — and a great start to another night on the town!
Friday, December 2, 2016 Downtown Willoughby scenesantabarblast.com
Thursday, December 15, 2016 Lago Custom Events at Aloft Cleveland Downtown sceneflavor.com
Saturday, January 21, 2017 Galleria & Tower at Erieview scenebrunch.com
F I N D O U T A B O U T T H E S E E V E N T S A N D M O R E AT C L E V E S C E N E T I C K E T S . C O M
| clevescene.com | October 26 - November 1, 2016
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| clevescene.com | October 26 - November 1, 2016
MUSIC YES MAN Guitarist Trevor Rabin reconnects with his bandmates for the Anderson, Rabin & Wakeman tour By Matt Wardlaw IT’S BEEN MORE THAN TWO decades since guitarist Trevor Rabin stepped on stage as a member of Yes, touring with the legendary progressive rock group in support of their 1994 album Talk. That album presented what would be the final new music heard from that particular Yes lineup. Featuring singer Jon Anderson, Rabin, bassist Chris Squire, keyboardist Tony Kaye and drummer Alan White, that incarnation was known as the “90125 era” and also sometimes referred to as Yes-West. Rabin departed the group at the conclusion of touring for the album and relatively quickly turned his attention to composing music for film. “When I left the band, I thought, ‘Well, here’s the perfect kind of vehicle,’” Rabin recalls during a recent phone conversation. “It was for quasiclassically minded people or people who want to go that way, it was a great platform for that. That’s how I got into film scoring and I thought, ‘Well, I’m kind of reasonably okay with technical [stuff].’ The Talk album was the first digital album, so I’m really kind of into all of that nonsense. I’m a bit of a nerd when it comes to that. Film scoring was a pretty natural thing for me.” Looking at his body of post-Yes film scoring work, beginning with the Steven Seagal film The Glimmer Man in 1996, it feels like Rabin made an almost seamless transition into the world of movies. He formed an important alliance when he worked on his next film, Con Air, which was produced by Jerry Bruckheimer. The collaboration worked particularly well, and Bruckheimer kept Rabin very busy, bringing him back to work on Armageddon and Enemy of the State. To date, Rabin has worked on 13 Bruckheimer movies. For the first time in over 20 years, he’s back on stage with two of his fellow Yes alumni, vocalist Jon Anderson and keyboardist Rick Wakeman. It’s something that progressive music fans have hoped to see for quite a long time. The trio of musicians has toured together only one time previously, 25 years ago as part of the Union tour. That tour brought together the 90125 era of the
group with the members of “classic” Yes. It was one extravagant trek that Wakeman has said was always designed to expire at the end of the tour, which it did, with the members once again going their separate ways. Both Rabin and Wakeman always hoped that they would get a chance to work together again and the seeds for the idea that would become the current Anderson, Rabin & Wakeman tour (shortened to ARW) began to develop several years ago. It was an idea that Rabin was extremely keen to pursue, but he had to work to create the necessary hole in his schedule to make it possible. “When the thing with Rick and Jon came up, it was like, ‘Oh god, I really want to do this.’ But you know, I was in the middle of a movie and then it was like, ‘Well, I’ve got to really think about this on the next one.’ Then, I’d be ready for it and my agent would call, ‘They want you to do Get Smart, and it’s like, ‘Oh, I really want to do that!’ “That kind of thing started happening, so it took a while to kind of have the courage to go to my agents and say, ‘I’m taking a hiatus,’” Rabin admits. “They said, ‘How long?’ And I said, ‘I don’t know! You know, if this is all fun and everybody is enjoying it, forever. I don’t know! I have no idea.’ I clearly want to get back and do film, but while I’m doing this, I’m not going to try and fit in a film in between. It’s a tough thing, because I’m being offered films and the agents are calling saying, ‘So you’re definitely doing the tour? Because so-and-so wants to do something.’ I’ve now gotten to a point where it’s like, ‘You don’t even have to call anymore. If they call for me, I’m happy to recommend someone to you, but just [say] no on my behalf.’ Adapting to that took a little bit of discipline.” When the new band was officially announced earlier this year, members also announced that they were planning to release new music. As they began to work on fleshing out plans for the tour, they quickly decided to put the focus on getting ready for the road. “You know, we’ve been working on new stuff for quite a while. What
I don’t want to do is rush getting it done,” Rabin says. “I’m concerned about not getting it done and playing it live because it’s a new day now, so if you play it live, you know that in 24 hours, it’s going to be on YouTube and then releasing it becomes less relevant. So it’s going to be a toss-up whether we do that or hold back on it until we’ve released it. I mean, it’s almost done, but we’re just so busy getting ready for the tour, I don’t know if [the] two [things] can be done at the same time.” Rabin says that in the years leading up to this current reunion, members spent a lot of time talking about “ideas and concepts,” something he says has been “invaluable to what this is.” “[It wasn’t about] getting together and smoking a little joint and going and jamming. It wasn’t that at all. It was really thinking about what we were going to do and also thinking about not letting thinking get in the way of the natural flow of the music,” he explains. “We’ve been thinking about it for a long time. In between films for years, I’ve been writing and Jon’s been hearing the stuff and has been really, really motivated to get moving on collaborating on that and Rick too. Rick recently sent me a piece of music that’s probably 20 minutes long, and it’s just breathtaking. I really do want to get this stuff going. It’s just not ready yet.”
The tour began earlier this month, and only a few days into the touring run, Rabin was clearly enthused, offering a positive update on his Facebook page to make it clear that he was already working on making sure he would be able to carry this project forward after the tour wraps up and fulfill their plans to release new music together. “I have to thank Jon and Rick for yanking me out of the studio to play live again,” he writes. “It’s been so long. I still have some rust, but the audiences on the first two shows were so incredible, they kept me going and I’m really enjoying being out again. The production gets better every night, and I’m looking forward to playing for a while. I am passionate about scoring films, but I did just turn something cool down, as I don’t want this to stop. We intend to complete what we’ve been working on after the tour in order to present new music, which will be all the better from the band getting so tight and together.” Rabin’s current touring activities are something that would make his former Yes bandmate, Chris Squire, crack a smile. Even though he had moved outside the Yes circle long ago, Squire, who passed away from leukemia in June 2015, always remained friendly with Rabin and frequently tried to lure him back to the
| clevescene.com | October 26 - November 1, 2016
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road and the Yes organization. “You know, it’s quite a funny thing. Because when two guys are in a band or even close friends, if they’re off doing different things at some point and very busy with that, they might stay in contact, but it’s not ... you know, they lose a bit of the contact and it becomes a little bit less frequent, if you like. That was never the case with Chris and I,” he says. “We always stayed in contact. I remember I had just finished a movie and then was rushing to finish the TNT basketball NBA theme. I finished it and sent it to Chris and didn’t hear from him.” Squire didn’t see the email and
the prime reason was that I was just so busy with what I was doing and really enjoying it. Chris put me together with two of the managers that were there during the time but, besides that, we just remained very good friends.” They continued to see each other “numerous times” across the years, and Rabin says that he had a flight booked every day during Squire’s last days, hoping that he could go and see his friend one more time. Squire was unable to have visitors due to the risk of infection, but Rabin remained hopeful that he would get a chance to see him — and he says that the colorful bassist was committed to the
ANDERSON, RABIN & WAKEMAN 8 P.M. SATURDAY, OCT. 29, GOODYEAR THEATRE, 1201 EAST MARKET ST., AKRON, 330-690-2307. TICKETS: $55-$500, FACEBOOK.COM/GOODYEARTHEATER
found himself watching television one evening, and he heard something that sounded familiar as he watched the Suns play the Lakers. “It was quite funny and I became a basketball fan from then onward and he was always a basketball fan,” says Rabin. “But [Squire] would just always call and be in touch, and we never stopped talking. On numerous occasions since I’d left the band and was very busy doing film work, he called a number of times and said, ‘You know, I think it’s time for you to get up from your desk job and get back on the street.’ And you know, I was always a bit reluctant about, if the band’s going to be called Yes, for it to not have Jon in it. It seemed a bit strange to me. But
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| clevescene.com | October 26 - November 1, 2016
thought that he would be back on the road very soon. “Literally, days before he passed away, he was still saying, ‘Yeah, you know, I’m really, really in bad shape, but I just can’t wait for this to pass. It’s going to take a little while, and they’ve got a lot they’re going to have to do. There’s a lot of complications, but it just makes me want to get on the road more. So I can’t wait for this to finish and get back on the road.’ “He never ever had any thought that he was leaving us and wasn’t going to be on the road a month later.”
scene@clevescene.com t@clevelandscene
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| clevescene.com | October 26 - November 1, 2016
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MUSIC THE STORIES BEHIND THE SONGS Singer-songwriter Brandy Clark talks about some of the tracks on her new album By Jeff Niesel RAISED IN A WASHINGTON logging town, country singersongwriter Brandy Clark got her start performing in school musicals. She eventually gravitated to songwriting and would pen “Mama’s Broken Heart” with frequent collaborators Shane McAnally and Kacey Musgraves. The song found its way to country superstar Miranda Lambert, who turned it into a monster hit. Not content to just write songs that other people could turn into hits, Clark released her debut, 12 Stories, in 2013. Earlier this year, she released Big Day in a Small Town, another album of articulate songs about this American life. She recently phoned from her Nashville home to take us through some tracks on the album. “Soap Opera” My mom has said to me when I think people are paying too much attention to what I’m doing that we’re all stars in our own soap opera. She says we’re just a bit player in everyone else’s stories. That’s where it started. It ended up on the record because it fits. It’s a great opening track. [The album’s producer] Jay Joyce had come out to a show, and he loved it, and we thought it would be a great way to open the record. It fits the whole small town vibe. “Homecoming Queen” I think we all know that girl — someone who’s larger than life in high school. You keep thinking she’ll get larger than life but it didn’t turn out that way. One of my best friends was a homecoming queen. I joke with her when things are tough and say we can’t all be homecoming queen. It started there, but I wrote that title down, and I thought it would be a great song. We all know that girl or that guy, whoever it is. Things were going along so great and didn’t turn out the way you thought they should have. “You Can Come Over” I think of it as not so much a love song but as a love-is-just-nevergoing-to-work-out song. Maybe it’s a love song, but the other person isn’t
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think much of it. When we were going through songs, my manager wanted us to do “Daughter.” I love what Jay did to it. We had Kacey Musgraves come in and sing background vocals on it. It all sounded great. Not until I played it live did I realize how hard that one hits. When I say, “Karma is a bitch,” the crowd goes crazy every night. “Drinkin’ Smokin’ Cheatin’” That one is just a daydream. Anyone who is in a relationship more than a couple of months has that daydream. If I were a drinker, I’d do this. If I were smoking weed, I’d get high, and if I had the nerve to cheat, I would. There’s a couple of songs on there that don’t need to be so on the small-town nose. You don’t have to live within the four streets of this little town that we’re thinking about here.
in love, and you’re trying to end a vicious cycle. “Love Can Go to Hell” When we decided to put this song together with “You Can Come Over,” it made “Love Can Go To Hell” come alive. When I wrote the song, it was more of a ballad, and Jay had the idea to interject that energy with the banjo and changing the time signature between the verse and chorus. That made a big difference. “Big Day in a Small Town” In my mind, it’s about my hometown. I got that idea from a friend of mine who posted that on Facebook. She said she washed her
It wasn’t the first song I wrote for the album, but when it was written, I knew it would be a great title track for a record. I wrote it right after I had made 12 Stories. I got back into the writing thing, and I wrote that song, and I thought it would be a great album. Other songs started to fill in. When I wrote “Soap Opera” and “Homecoming Queen,” I was thinking about the record. “Three Kids No Husband” It’s someone I know and someone that Loreena McKennitt, who I wrote it with, knows. We each had someone in our head. The great thing about that song is that it’s somebody that everybody knows. It’s everybody’s
BRANDY CLARK, RACHEL BROWN 8 P.M. THURSDAY, OCT. 27, MUSIC BOX SUPPER CLUB, 1148 MAIN AVE., 216-242-1250. TICKETS: $15 ADV, $20 DOS, MUSICBOXCLE.COM
hair and went to town twice, and that’s a big day in a small town. It made me think of where I grew up in Washington State. I took it into the studio and my co-writers both had small town experiences and had grown up in small towns. They got into it as well. I was thinking of different people in my hometown. To me, it’s very vivid and very real.
| clevescene.com | October 26 - November 1, 2016
daughter or mother or neighbor. “Daughter” That came from a real life discussion. I was with the co-writers, and Jessie Jo Dillon was talking about a guy she knew downtown who wasn’t treating the girls very nice. I just said, “I hope he has a daughter.” We wrote it, and I didn’t
“Since You’ve Gone to Heaven” My dad was killed in a logging accident right before 9/11. I remember watching TV and thinking that, since my dad had died, the world had gone to hell. I liked the song but it was still too raw at that point. I shared the idea with Shane McAnally and he asked why I never finished it. I thought there wasn’t any hope in it and he said he didn’t think that mattered. He and I wrote it and once again I love that we wrote it and got it out there and had experiences we could put into that song. It’s not all autobiographical, but parts of it are. Jay Joyce was asking me why I wanted to make a record about a small town. I told him I love small towns where everybody knows everybody else’s business. He said that wasn’t really a reason. When I think about it, I went home for my dad’s memorial service, and they had it in a gym because that many people came. It’s not the first service I attended in a gym. It’s just how small towns are. Jay told me that was the reason for making the record, and that the song needed to be on there.
jniesel@clevescene.com t@jniesel
| | clevescene.com clevescene.com ||October October26 26--November November1,1,2016 2016
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MUSIC IN SOLIDARITY After tragedy struck, the Werks forged on and continued building something big right here in the Midwest By Eric Sandy THE WERKS WERE ON A SHIP in the Caribbean back in January, throwing heat on JamCruise 14, when they found out that Norman Dimitrouleas had died. He was the former keyboard player for the Daytonbased band, a revered musician and something of a gravitational force all his own in the Midwest’s touring scene. He was 33. The news was devastating to many. Onboard JamCruise, the Werks went into shock. In particular, Dino Dimitrouleas, Norm’s brother and the bassist for the band at that time, was reeling. The band had never felt farther from home. By the time they got back to Dayton, the community had set up a send-off show for their brother. Friends and family gathered at Canal Side Tavern, and guys from the Werks and RAQ, among other local musicians, banded together to perform tributes to Norm. Joined by others, the Werks performed “Carry Me Back Home,” an uplifting ballad written by Norm with a delicate piano chord structure. All along, as friends have said, Dino played with all his heart. (In a tribute to his brother, Dino wrote that Norm was “one of the kindest humans” he had ever known.) It’s difficult to imagine a more emotional start to a year for such a tightly knit band, but there is indeed one more moment worth mentioning about the Canal Side show. The Werks played “Rollin,” which Dino said he had written years ago at the behest of Norm, who was declaring that electronic music would become a huge part of the American jam band scene. His prescience is stunning. Shortly after those events, the Werks dropped their latest album, Inside a Dream, a concept album (on the surface) that probes a variety of genres and builds on the solid foundation set years ago by the band. To wit: All of the electronic influences that have been billowing through the Werks’ live sets (seeds planted by Norm and carried to fruition by current keys man Dan Shaw) have merged with their studio efforts. “We’re trying to take the words ‘jam band’ to the next level,” drummer Rob Chafin tells Scene. “We want to
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be more than just a jam band. We want to explore all types of music, and electronic sounds and synthesizers are something that we all really love.” And that’s the message of 2016 for the Werks: This year has been a crossroads — a good one, it seems, that offers the musicians a shot at paving a new path across the hard work they’ve already put in. Setlists have leaned toward the newer stuff this past year — not surprisingly — and the band has left plenty of room
a personal hiatus from touring with the Werks.) And there’s the electronic element of the band’s songwriting, which listeners can expect to hear more in the years to come. It’s not for nothing that the past year has brought some of the best Werks shows in a while; the band seems energized in fresh ways. This fall tour is an ideal chance to catch them on the road. The tunes from Inside a Dream are still marinating among the band’s live
DISCO OF THE DEAD THE WERKS, DESERT DWELLERS, CLOUDCHORD, WINGTIP, WANYAMA AND MORE 9 P.M. FRIDAY, OCT. 28, AGORA BALLROOM, 5000 EUCLID AVE., 216-321-5588. TICKETS: $25, AGORACLEVELAND.COM
in those songs for ample electronic jamming. (Although it’s not like the band has walked away from classics like “Duck Farm,” of course.) Inside a Dream showcases everything the band has worked toward: guitarist Chris Houser’s anthemic shredding, Chafin’s pulsing rhythms, Shaw’s emergence as a melodic force within the band and Dino’s imprint on their past and future. (Dino has since announced
| clevescene.com | October 26 - November 1, 2016
shows. “The improv onstage has been the best it’s ever been lately,” Chafin says. “We’re all excited about pushing the boundaries and trying to make every show better and progressing forward.” With Dino out this year, Jake Goldberg has joined the band on bass. He’s a Cleveland native (as is keyboard player Dan Shaw). “Anytime we play in Ohio is really exciting,” Goldberg says. “Being surrounded by new and
old fans is always such a great feeling, and we’re proud to show love to Ohio. Also having it be for a special holiday weekend — Halloween — makes it that much more special. “And I’m very excited to play at the Agora. I went there as a kid to go see whatever ska or metal band would be playing that night. It’s truly a legendary venue. I would dream about being able to grace that stage as a kid, and now I finally get to! Alongside the Werks too, doesn’t get any better than that.” For now, there’s much excitement to go around. This tour is already proving to be a hell of a thing, and the Werks are eyeing another trip to the studio soon. (The new album is expected next year.) Chafin says that he anticipates a good deal of experimentation ahead. Nothing will ever replace what’s lost and, in many ways, it’s a fool’s errand to think that wounded hearts ever fully heal. But bands like the Werks — families, to be honest — tend meaningfully to come together and, in unity, create new worlds.
esandy@clevescene.com t@EricSandy
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| clevescene.com | October 26 - November 1, 2016
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LIVEWIRE
all the live music you should see this week Photo by Christian Faustus
WED
10/26
Busdriver/Metasota/Smokescreen/ Bliss Nova: Long a staple on the indie hip-hop circuit, Busdriver has captivated his audience and his contemporaries for years. His albums, all 10 of them, are eyeopening rap odysseys, and that’s not a misnomer; Busdriver’s music is visual. He’s an imaginative lyricist, dwelling in metaphor and onomatopoeia more often than not. His most recent album is good (ca. 2014), but the best entry point is 2005’s Fear of a Black Tangent. That one sees him at his most inventive and his most political. Cue up “Unemployed Black Astronaut” ASAP. You’ll never hear another rap song like that one. Busdriver is a master of lyrical acrobatics and warpspeed metaphor. Also: Islands are in town tonight, too. (See below.) Who’s hosting the late-night “Where There’s a Will There’s a Whalebone” collab? (Eric Sandy), 8 p.m., $10 ADV, 13 DOS. Beachland Tavern. Islands/Steady Holiday/Stems: Last year, Islands released Should I Remain Here, at Sea?, which connected back to the band’s 2006 debut, Return to the Sea. The two albums work very well together, despite being separated by nearly a decade and more than a handful of shakeups in the band’s history. On the later album, frontman Nick Diamonds keeps his finger on the pulse of quirky, melodic indie rock (with a touch of hip-hop sensibilities for good measure). Once again, he and the band prove deft at their use of dynamics and snappy hooks; it’s at once both fun and softly reflective. Expect the band to hit all corners of the discography tonight. (Sandy), 8:30 p.m., $13 ADV, $15 DOS. Grog Shop. 10 X 3 Singer Songwriter Showcase: Hosted by Brent Kirby (in the Wine Bar): 8 p.m. Brothers Lounge. ABC Trio: 8 p.m., $12. Bop Stop. One Way System/Total Chaos/Piss/ Lacerate/Rabid Reason: 9 p.m., $10. Now That’s Class. The Wonder Years/Real Friends/ Knuckle Puck/Moose Blood/ Seaway: 6 p.m., $22.50 ADV, $25 DOS. The Agora Theatre.
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Indie rockers Islands perform at the Grog Shop. See: Wednesday.
THU
10/27
Badazz Halloween Bash with Lil Boosie: 7:30 p.m., $35-$100. The Agora Theatre. Brandy Clark/Rachel Brown: 8 p.m., $15 ADV, $20 DOS. Music Box Supper Club. Chris Hatton’s Musical Circus (in the Wine Bar): 8 p.m. Brothers Lounge. Hookahween with Ekoostik Hookah/Jones For Revival/ Crooked: 7:30 p.m., $15. Musica. Jam Night with the Bad Boys of Blues: 9 p.m., Free. Brothers Lounge. Amy Rigby/Half Cleveland Skiffle Experiment: 8 p.m., $12. Beachland Tavern. Mark Russo Quintet/Tribute to Kenny Dorham/Blue Mitchell: 8 p.m., $10. Nighttown. Bobby Selvaggio’s Transcendental Orchestra CD Release: 8 p.m., $15. Bop Stop.
FRI
10/28
Marateck/Swindlella/Prostitutes: Marateck has been referred to as a “math rock” band, and fittingly so; their entirely-instrumental music is a line graph of crescendos and decrescendos joined by smooth bell curves at one moment and jarring minimums and maximums the
| clevescene.com | October 26 - November 1, 2016
next. The experimental four-piece is string-based, consisting of a family of guitars (standard, bass, and baritone) outlined by sharp drum staccato. Guitarist Brendon Randall-Myers is a Yale School of Music graduate whose repertoire includes work with operas, symphonies, and theater groups in the US and abroad. Marateck’s first full-length, which awaits release, will feature amped-up versions of songs from 2014’s EP, which was recorded as a three-piece. Local noise rockers Swindlella will open. The band features Cloud Nothing’s Jayson Gerycz on drums and Chris Brown on guitar. (Bethany Kaufman), 9 p.m., $5. Happy Dog. Beachland Halloween X: Rock n Roll Funeral: 8 p.m., $8-$12. Beachland Ballroom. Blue Oyster Cult: 8 p.m. Hard Rock Rocksino Northfield Park. Johnny Cash Tribute with the Cold Hard Cash Show (in the Supper Club): 8 p.m., $15 ADV, $18 DOS. Music Box Supper Club. Disco of the Dead: 9 p.m., $24 ADV, $30 DOS. The Agora Theatre. Disco Paradiso and In Training Present: Gialloween: 9 p.m., $7. Now That’s Class. An Evening with Elvis Costello & the Imposters: 8 p.m. Akron Civic Theatre. Hughes/Smith Quintet: 8 p.m., $12. Bop Stop. Carlo Jones & the P.L.U.S. Band: 10
p.m., $8. Brothers Lounge. Legends of Southern Hip Hop: 8 p.m., $60.50-$104.50. State Theatre. Madison Crawl (in the Wine Bar): 8 p.m. Brothers Lounge. MDC/Wartorn/Wetbrain: 9 p.m., $8 ADV, $10 DOS. Now That’s Class. Halloween at the Grog Shop with Oldboy/Jeff Klemm & The Letters/Ray Flanagan & the Authorities/The Shadow Division/The Mason District: 8 p.m., $8. Grog Shop. Moss Stanley: 10:30 p.m., free. Nighttown. Watsky -X Infinity Tour/Witt Lowry/Daye Jack/Chukwudi Hodge: 9 p.m., $20-$55. Musica. Helen Welch: 8:30 p.m., $20. Nighttown.
SAT
10/29
Turkuaz/Essential Groove: One of the busiest bands in the nebulous jam/funk scene these days, Turkuaz always delights when they land in Cleveland. The last few albums pack more than enough of a punch for anyone in the mood to dance. With the band’s last outing, 2015’s Digitonium, they double-down on the danceable 80s reinvention jams. It’s a bear of an album, too, at 23 tracks that stretch on for miles. We like “Nightswimming” and “The
| clevescene.com | October 26 - November 1, 2016
57
LIVEWIRE Generator” as examples of what this band does best: super tight grooves, bouncing bass lines and anthemic vocals. Onstage, they’re even better. Bring your dancing shoes. (Sandy), 8:30 p.m., $15 ADV, $18 DOS. Beachland Ballroom. Bossa Nova Night With Luca Mundaca (in the Supper Club): 8 p.m., $7. Music Box Supper Club. BW Jazz Ensemble: 5 p.m., $10. Brothers Lounge. Carnival of Horrors at House of Blues: 9 p.m., $20. House of Blues. The Crazy Squeeze/Mexican Coke/ Prison Snitch: 9 p.m., $5. Now That’s Class. Great Lakes Light Opera: Macabaret: 7 p.m., $15. Bop Stop. Halloween Party Featuring That 80s Band: 10 p.m. Brothers Lounge. Hello Violet/The Frigid Touch/The Wileys: 9 p.m., $5. Happy Dog. Chris Knight Band: 9 p.m. Musica. Late Nite Karaoke: DJ Terkalerk (in the Supper Club): 10:30 p.m., Free. Music Box Supper Club. Danny Lerman with Forecast: 8:30 p.m., $20. Nighttown. Marillion: 8 p.m., $42.50-$75. Hard Rock Rocksino Northfield Park. MC Chris/MC Lars/Mega Ran: 9 p.m., $15 ADV, $17 DOS. Grog Shop. Mushroomhead/Ruins of Tekoah: 6 p.m., $29 ADV, $35 DOS. The Agora Theatre. Ohtis/Aaron Civil War/Deer Scout (in the Locker Room): 6 p.m., $6. Mahall’s 20 Lanes. The Pistolettes/Thick Kevin/CLevel: 9 p.m., $5. The Euclid Tavern. Sounds of Jazz Featuring Nancy Redd (in the Wine Bar): 8 p.m. Brothers Lounge. Verve Daddy - Halloween Album Releas: 8 p.m., $10. Musica. Jackie Warren: 10:30 p.m., free. Nighttown.
SUN
10/30
3rd Annual Musical Jam Against Domestic Violence: 6 p.m., $10. Beachland Ballroom. 7 Minutes in Heaven/Coldfront/ Marina City/Goodnight Tonight/ Before There Was Fire (in the Locker Room): 6 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes. Alex Angelo: 6 p.m., $15 ADV, $20
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| clevescene.com | October 26 - November 1, 2016
DOS. Grog Shop. Civil Youth/Allen Cruz & the Galaxy/The Chestertons: 8 p.m., $7 ADV, $10 DOS. Beachland Tavern. Caroline Davis & Caili O’Doherty Quartet: 7 p.m., $15. Nighttown. Dirty Heads/New Beat Fund/ RDGLDGRN: 7 p.m., $23-$33. House of Blues. Duece presents Hallows Eve: 9 p.m., $20. Grog Shop. Mike Petrone (in the Wine Bar): 5:30 p.m. Brothers Lounge. Ruby Rose Fox/The Whiskey Hollow/Jimmy Lo Fi/Mister Fabulous and the Bad Boiz/ Skuff Micksun: 7 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes. Gino Vannelli: 7:30 p.m., $35-$55. Hard Rock Rocksino Northfield Park. Wordstage: Poe and Friends: 3 p.m., $10. The Cleveland Bop Stop.
MON
10/31
Skatch Anderssen Orchestra: 8 p.m., $7. Brothers Lounge. Samantha Fish/Sam Hooper Group: 8 p.m., $15 ADV, $18 DOS. Beachland Ballroom. Microwave/Gates/The Spectators/ Nervous Laughter/Failed Astronauts: 7 p.m., $10 ADV, $12 DOS. Mahall’s 20 Lanes. Mystical Mahall’s Presents Dancing in the Dungeon (in the Locker Room): 8 p.m., Free. Mahall’s 20 Lanes. Velvet Voyage (in the Wine Bar): 8 p.m. Brothers Lounge.
TUE
11/01
Failure Anthem/Through Fire/ Letters from the Fire/Cover Your Tracks: 6 p.m., $10 ADV, $13 DOS. Agora Ballroom. Mr. California’s Happy Hour Featuring the Roobydocks: 5 p.m., Free. Now That’s Class. Party Plates 7-Inch Record Release/Tower/Weed Whacker: 9 p.m., $5. Now That’s Class. Reckless Kelly: 8 p.m., $21. The Kent Stage. Rusted Root/Devon Allman Band: 7 p.m., $20-$35. House of Blues. Big Sandy & His Fly Rite Boys/ David Loy & the Ramrods: 8:30 p.m., $12. Beachland Tavern. Two-Set Tuesday Featuring Steffen James (in the Wine Bar): 7 p.m. Brothers Lounge.
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THIS TIME IT’S SERIOUS: The band came together about a year ago as singer Annastacia, who says she “knew ofâ€? guitarist Eric Hellinger from other musicians, heard the guy playing at Mohawk Studios in Huron where she was recoding her “folk-yâ€? solo project. “I thought it couldn’t be the Eric, but it was,â€? she says. “In a creepy twist of fate way, I met the other guys in a studio as well.â€? Prior to forming Hello Violet, Annastacia had only sung in high school bands that she says weren’t very serious. “We had more pizza practice than practice practice,â€? she says, explaining that practice would regularly get short and turn into a pizza party. A VARIETY OF INFLUENCES: Annastacia says band members didn’t get together as a group of friends as much as a group of musicians. “We all have different backgrounds,â€? she says. “We come from all different places. I know Pink Floyd was initially a big inspiration, but we went in a bluesier direction. I have a love of R&B slow jams and Eric is the blues fan. We were working on one song, and Eric said he could pick a ďŹ ght with the blues any night, so the blues aspect wouldn’t be there but for his bitching guitar.â€? AN AUSPICIOUS DEBUT: The songs on the band’s new EP, All or Nothing, emerged from a jam session. “When we ďŹ rst started playing together, Eric and I just wanted to schedule a jam,â€? says Annastacia. “As a vocalist, it’s an interesting experience. I had prepared
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lyrics from this big book, and he had a compilation of riffs. We decided which lyrics evoke the best emotion from those riffs. We would strip a song down and change the lyrics out. We wrote the ďŹ rst four songs quickly and thought we were hot shit.â€? The other songs took a little longer to compose.
WHY YOU SHOULD HEAR THEM: Songs such as “Trigger Happy â€? feature intricate guitar riffs and uttering vocals (think Cranberries); on the other hand, the title track simmers with intensity as Annastacia drops the f-bomb. “To be quite frank, it’s about suicide in general,â€? she says when asked about the title track. “I’m a woman and for women in the music industry, the pressure is on. I thought I could be in the industry for ten or 12 years, but you start to realize that it’s all or nothing. It’s about desperation and giving everything and nobody cares. There’s not enough rope to tie the anchor to the boat.â€? Annastacia says the band has written a handful of new songs it hopes to record in February. “The new songs are darker,â€? she says. “We have chosen to stick to the blues. Some of it sounds like [acclaimed singer-songwriter] Josh Ritter, and we’ve written a lot of story songs too.â€?
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| clevescene.com | October 26 - November 1, 2016
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C-NOTES
In Training’s Brian Bohan, Shane Christian and Aerin Ercolea.
A “QUEER-RUN, QUEER ENFORCEDâ€? EVENING By Lee McKinstry AFTER TWO YEARS, IN Training, a monthly DJ “queer-run, queer-enforcedâ€? electronic event held at the punk club Now That’s Class, has become one of the most innovative dance parties in Cleveland, both for its spotlight on underground electronic artists and its founders’ mission: to host an alternative LGBT event for those who feel like outsiders at the city’s popular gay bars. Brian Bohan, Aerin Ercolea and Shane Christian hosted the ďŹ rst In Training in a 15-by15-foot basement to an audience of 25 friends. Today, their monthly shows attract almost 200 people a night. “The idea that we’re combating is that everyone ďŹ ts into this one idea of what it means to be gay or transgender,â€? says Christian, a 20-year old transgender woman who DJs as Kiernan Laveaux. “And also that that idea needs to make straight, cisgender people comfortable.â€? In Training was born from a conversation Ercolea and Bohan had two years ago, on the Now That’s Class patio. Bohan lived in Bay Village at the time. Feeling stircrazy one night, he rode his bike all the way to the bar on the Cleveland-Lakewood border and encountered Ercolea, a transgender woman who DJs as MX Silkman. Bohan told Ercolea about his idea for a new gay dance party in the tradition of classic LGBT House clubs. They talked so long that Bohan didn’t notice when someone stole his bike. “Three or four days later, Aerin hit me up on Facebook, and she was like, ‘I thought of this; we can do this here,’â€? says Bohan, who DJs as Father of Two. “She brought it basically to me fully formed.â€? After that ďŹ rst show in the basement and the addition of Ercolea’s roommate Christian to their resident DJ roster, In Training returned to Now That’s Class in October 2014. Despite the Monday-night showtime, almost 60 people came.
“Electronic music, in the way that we do it, was founded not only out of the experiences of LGBT people, but marginalized people across the board — just freaky dropouts out of society,â€? says Ercolea. “In Training is deďŹ nitely an act of resistance against the homogenization of cultures and the way that people were told they had to act. People were sold a lifestyle.â€? It’s this “lifestyleâ€? — especially the “assimilationist valuesâ€? of popular gay bar music and aesthetics — that In Training aims to combat. “I’m a person who doesn’t fall easily into the categories of straight or gay, so I have never gone to any gay bar in Cleveland and felt like anyone there is ‘my people,’ â€? says Christian. “Everyone is very entrenched in this strange status quo that has evolved for ‘how to be gay’ or ‘how to be trans.’ It’s a really bleak feeling going to a gay club and musically, personally, you’re still just a square peg in a round hole.â€? Ercolea shared the feeling. She came out after discovering electronic music she’d never heard in mainstream gay bars, feeling “liberated to participate in an art form that allows for deviance from hypermasculinity.â€? For her, In Training is designed to foster similar epiphanies. Since its 2014 launch, In Training has become the agship event for a new collective of electronic artists, which includes the In Training trio plus the crews behind Heaven Is In You and Disco Paradiso, radical dance parties hosted at multiple local venues. The collective will host a Halloween beneďŹ t with Disco Paradiso at 9 p.m. Friday, Oct. 28, at Now That’s Class. That show will beneďŹ t Guide2Kulchur’s Books2Prisoners and the International AntiFascist Defense Fund.
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SAVAGE LOVE SEVEN NIGHTS By Dan Savage Dear Dan, I love my wife, but I have a lot of resentment, disappointment, and insecurity over our sex life. After four years of marriage, huge angst remains that I have yet to get a handle on. Right now, with kids and our busy lives, she’s content with sex once a week or so, and I need relief pretty much every night to help with my insomnia. What’s more, I really don’t enjoy porn at all, but if we aren’t having intercourse, there’s pretty much no other way for me to get off. Blame it on my fundamentalist evangelical upbringing, but I fear my porn use becoming an addiction. It makes me feel dirty. I would love a solution to this problem that doesn’t involve me jerking off in a dark room by a computer screen after my wife falls asleep every night. All I want to do is feel close to my wife, orgasm, and sleep. I think she does sincerely care and wants to help me, but is just so tired and busy with her career and our kids. And yes, I have talked and fought with her countless times. In weaker moments, I’ll admit I have also guilted her for her more “active” sexual past (with prior boyfriends) and for her current “neglect,” which I know is unfair and unhelpful. I just don’t know what to do. — When Orgasms Enable Sleep
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You’ve been married four years, you have more than one child, you both work — and if you divide household labor like most couples, WOES, your wife is doing more/ most of the cooking, cleaning, and child care. But even if you were childless, living in a hotel suite with daily maid service, eating only room service, and throwing your underpants out the window after one wearing, WOES, it would still be unreasonable to expect PIV intercourse every night of the week. Frankly, WOES, once-a-week PIV is more sex than most young straight dads are getting. And if you’re demanding PIV from your wife as a sleep aid — “ask your doctor if Clambien is right for you” — it’s a miracle you’re getting any sex at all.
And the limited options you cite — it’s either PIV with the wife or masturbation in front of the computer — aren’t doing you any favors. Consider PIV from your wife’s perspective: Her husband fucks, comes, and falls asleep. She lies there for a while afterward, tingling, and may have to go to the bathroom once or twice. The PIV that puts her husband to sleep after a long day? It puts her sleep off. And if she wanted to get it over with quickly — because she was exhausted — there wasn’t much foreplay, which means she probably wasn’t fully lubricated (uncomfortable) and most likely didn’t come (unfair). That’s a recipe for resentment, WOES, and resentment kills desire. (Or maybe you should think of it this way: If your ass got fucked every time you said yes to sex, WOES, you wouldn’t say yes to sex seven nights a week.) If you expanded your definition of sex, WOES, if your options weren’t PIV or nothing, you might not have to masturbate six nights a week. Because if your definition of sex included oral (his and hers), mutual masturbation, and frottage — and if these weren’t consolation prizes you settled for, but sex you were enthusiastic about — your wife might say yes to sex more often. Still, you’re never going to get it seven nights a week. So make the most of the PIV you’re getting, broaden your definition of sex and get another night or two of sex in per week, and enjoy porn without guilt the rest of the week. And if you’re concerned about the amount of porn you’re watching, try this trick: Lie on the couch or the floor or the guest bed, stroke your cock (even if it’s soft), and think dirty thoughts. Your cock will get hard, I promise, and you’ll get off. It’s how most people masturbated before the internet came and ruined everything, WOES, and it still works.
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