FPO FRONT COVER
2窶ケRESSURE MAGAZINE
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PRESSURE MAGAZINE, LLC Creative Director, Owner Jim Bacha Chief Operating Officer, Owner John Gardner Editor-in-Chief Amy Kaufman Art Director Hannah Allozi
PRESSURE LIFE So what is this magazine? Think of it like a phoenix that has risen from the ashes. From 2006 to 2007, we put out just 7 issues before calling it quits. In this second go-round we're pulling out all of the stops, writing about the things we really care about and hope you will too. IN MEMORY OF JON TIMKO
Editors Dan Bernardi Sarah Maxwell Katie Bacha Graphic Designers Aaron Gelston Anthony Zart Josh Cook Cover Shot Casey Rearick Contributors Matt McLaughlin Josh Cook Will Kmetz Adam Dodd Antoine Henderson Kevin Naughton Janey Schafer Diana Hurlburt Ivana Batkovic Darrick Rutledge Kate Guess Brittany Dobish Michael Barton Holly Kabat Donnie Pagel Anthony Zart Deanna Turcotte
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CONTENTS MAY / JUNE 2015
6 Ohio Sky
14
8 On The Record: Obnox 10 Extracting the Truth on Fracking 14 Butcher & the Brewer vs.
the Zombie Apocalypse
16 The New Brew
10
30
17 Foods of Jane 18 Lab Cabin Cleveland 22 Kings of Pin
22
26 Robert Banks:
The Last Cleveland Filmmaker
30 Kickstand
8
6 18 26
// OHIO SKY
The Cleveland Rock favorite is back in action with The Big Distraction Sarah Maxwell // Photography: Donnie Pagel
R
emember those bullshit senior superlatives from high school? u know, “Cutest Couple” (next to be seen appearing on Teen Mom episodes), “Biggest Flirt” (the original form of slut shaming) and of course, “Most Likely to Succeed.” In 2007 we awarded this prestigious superlative to Cleveland-based rockers, Ohio Sky. As we dug out that last issue from the grave we left it in and dusted off the cobwebs in preparation for this newest iteration of Pressure Life, we started to wonder what those guys were up to, and where were they now.
As it turns out, “they” aren’t really anywhere now. Sure, Ohio Sky still exists, but aside from the name, they’re essentially a completely different band than the one we saw gracing our cover all those years ago. We sat down with the new and improved fourpiece—now consisting of Vinny DiFranco (vocals/guitars), Michael Bashur (bass), Eric Bambic (drums) and Patrick Finnegan (keys/synth)—to find out what else had changed along the way.
moving Bashur from lead guitar to bass, kumbaya-ed becoming better bros, and in the end molded a cleaner, more organic, unadulterated sound. “It really gave us a sonic diversity,” Finnegan said. When we last linked up with Ohio Sky they were slamming beers and half falling into their own mosh-pit but this band has come a long way, even if their only pre-show ritual includes throwing a few back. It’s evident from their latest release, The Big Distraction (Cellar Door Records); when you take in the current sound you can feel the more cohesive, rhythm focused, seasoned vibe. I won’t blow smoke up your skirt but The Big Distraction is an evolution for the die-hards and an immediate new addiction for the new-comers. Ohio Sky has removed the complexity and focused on an intense but refined, layered groove. If you ask Ohio Sky how they were able to get to this juncture and craft this sound, they are the first to admit it was a serious evolution.
You can feel the more cohesive, rhythm focused, seasoned vibe
If success is measured by how quickly you bounce back when shit breaks down, then we hit the nail on the head with this one. Back in 2007, with just a handful of demos floating around and their popularity on the rise, it seemed like they were on a steady trajectory straight to the top. When their lead singer decided to call it quits, the rest of the band found themselves at crossroads; either rebuild or burn it down. “The sound in the beginning was a bit contrived. This came from a lack of creative expression. Once we departed from that phase of the band we didn’t have a vocalist so we simply became an instrumental band,” DiFranco said. “That was a very liberating experience for the remaining members- from that we slowly grew into what we are today. That year or so, when we were an instrumental project, has stuck with us ever since, it allowed us to have more freedom when it comes to structuring songs with vocals—It was the most formidable point in time for us.” No stranger to lineup changes, Ohio Sky has gone through their fair share of bassists over the last five years. When the last one left for the west coast over a year ago, the former five-piece decided to take stock and roll with the punches. They trimmed the fat by
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The Big Distraction is noticeably more simplistic than Ohio Sky’s previous ventures and a detour from what we last heard in Apophis and Curses, but fans don’t need to get their panties in a twist—it still packs heat. One listen to “King Fisher” will satisfy those looking for heavier tracks and showcases a hardened but clear prerogative. The opening track “Slow Down Stay Alive” sets the tone that Ohio Sky has a more experienced perspective than previous undertakings and aren’t fucking around.
Ohio Sky is currently taking their talents outside the local scene. “Our main focus at the moment is to play as many shows outside of Cleveland as possible. We will be doing a lot of weekend shows and a couple of small tours. For the most part we are in a constant state of writing, it is one of our favorite things to do as a group,” DiFranco said. So what‘s next, and will they mount up to that superlative? The jury is still deliberating, the fat lady hasn’t sung, it ain't over till it’s over, and all that bullshit. Here is what I do know; their enhanced, fresh sound is going to appeal to an entirely new fan base without excluding those of us who have been hooked since 2007 or longer. Ohio Sky has notched out their own rock ‘n’ roll sound, which is evident after being voted Scene Magazine’s best rock band of 2013. Wearing the moniker like vets, this is proof that even during this chaotic time they did not lose any steam, even further they’re better than ever with no signs of slowing down.
DEPARTMENT NAME //
THE BIG DISTRACTION
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ON THE RECORD:
OBNOX Antoine Henderson
A
rguably Cleveland’s best export has always been its underground music. In many cases, it has taken years or decades for people to come around to artists like Albert Ayler or Electric Eels. Following in the lineage of Ayler and the Eels, yet quite its own thing, Obnox is currently helping to put Cleveland back on the proverbial map in terms of underground rock music. The incredibly prolific and genre-bending punk project is led by Lamont “Bim” Thomas. With a rotating cast of collaborators, he generates a powerful and singular vision of raw punk blues. Delivered with a sense of urgency and controlled frenzy, Thomas has put out a mind-boggling 16 releases in the past four years, not to mention the nine he’s put out with other projects like This Moment In Black History and Puffy Areolas. With this many albums released over such a short span of time, you’d think the quality would fail to match the rate of production, but in the case of Obnox, he just seems to get better with each album he drops. Treating Bim to a quick record shopping trip, we headed over to This Way Out to get the scoop on what he’s listening to when he’s not on tour.
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KING HANNIBAL,
The Truth Shall Set You Free
I bought this because I've become an avid fan of what we know as Gospel/Funk. This one rages, and is similar to Numero Group's Good God! series.
THE QUALITY CONTROLS,
Grapevine Pts.1 & 2 (Andre Williams Production)
The Quality Controls doing a Marvin Gaye cover over two sides doesn't sound like a big deal, but when you consider its producer, "Mr. Rhythm" Andre Williams, you simply say "Fuck the world I've covered Mr. Williams twice!"
THE CAPS,
Red Headed Flea b/w Daddy Dean
An excellent frat rock instrumental that happens to be the most expensive of the records I purchased at This Way Out, but the band is from Akron and I'm sort of Ohio-centric.
JUNIE,
Loving Arms
Junie Morrison solo, so I had to give it a go. I love funkadelic, so this is a no-brainer. And it grooves effortlessly.
L.L. COOL J, Bad
Bigger and Deffer! Bought this for the Nox tour van, and because I get yet another chance to buy a prime-era Def Jam recording.
THE LEAVING TRAINS,
Transportational D. Vices
Bought The Leaving Trains because they were one of the best bands on SST Records and for a very long time. Once hung out with Falling James at the Cheater Slicks home. Karla Maddog (ex-Controllers) was their drummer then.
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EXTRACTING
THE TRUTH ON
FRACKING Ohio has been known both as the breadbasket for the Midwest during its agrarian heyday and an industrial titan of manufacturing. Adam Dodd
Y
es, there are still some farms off to the side of the road, and no, you don’t have to drive long in any direction before you pass long stretches of derelict factories, but both farm and factory are mere relics of our former commerce. There is a new economic interest dominating the Buckeye state and surprisingly, it’s not tied to Lebron James, craft beers or ironic moustaches. Short of focusing on renewable energy technologies like solar and wind turbines, Ohio, like many other states within the region, has doubled down on non-renewable natural energy production, namely oil drilling. It is a boon time for industrial vertical hydraulic drilling, also known as fracking. Fracking drills deep into shale and forces great volumes of water into the bedrock, all in order to flush out deep seated oil deposits. The lucra-
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tive results of this method are not in question, but a safe way to handle and dispose of the large amount of contaminated waste product remains unanswered. After speaking with environmental activists from Ohio Citizen Action, a group that has been highlighting the mismanaged disposal practices in place, it is clear—Ohio has a dumping problem. A large deposit of shale along the Appalachian Mountains, known as the Marcellus Utica Shale, is one of the largest and most prolific oil and natural gas producers for the nation. Despite the significant energy production from the region, Nadia Steinzor and Bruce Baizel—authors of the recent Earthworks report, Wasting Away: Four states’ failure to manage gas and oil field waste from the Marcellus and Utica Shale—are quick to point out the detrimental side-effects from this enterprise. The produced wastewater at Marcellus Utica accounts for the second saltiest and most radioactive of all sedimentary basins in the United States. Anywhere between two and five million gallons of water is used to fracture a shale well. The water returning to the wellhead after drilling, known as flowback, contains contaminants including sodium, barium, strontium, chloride, and bromide. Only 10 to 30% of flowback is ever recoverable. In their report, Steinzor and Baizel highlight numerous infractions workers in the Marcellus Utica region have been responsible for, including over 600 recorded wastewater spills in Pennsylvania waterbeds and mineshafts, pollution of the Monongahela River, a series of Earthquakes in Ohio attributed to wastewater dumping, in addition to excavated radioactive dirt deemed too unfit for landfill disposal. This is compounded when we look at the volume of out-of-state dumping. Of the top ten Ohio counties that receive wastewater to dump, more than half have double the amount coming in from out-of-state wells than from within their own borders. The amount of out-ofstate contaminated wastewater dumped in Ohio jumped 19% between 2011 and 2012. 21% of West Virginia flowback wastewater is shipped here, as well as 9% of Pennsylvania’s total wastewater.
This haphazard handling has already affected local residents.
This haphazard handling has already affected local residents. This past April, Vienna Township resident John Hopkinson complained of a layer of foul-smelling scum left on the surface of the melting ice outside of his home as well as the noted deaths of numerous fish, turtles and a muskrat who lived in his backyard. When the Ohio Department of Natural Resources (ODNR) investigated, they tracked the contamination to several injection wells
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PRESSURE PICKS UPCOMING SHOWS TO SEE JEFF BECK
May 15th // Hardrock Rockscino
MR. GNOME
May 16th // Beachland Ballroom
PIXIES
May 17th // The Masonic Auditorium
MATT AND KIM
May 19th // House of Blues
RYLEY WALKER
May 18th // The Happy Dog Euclid Tavern
CHUNK! NO, CAPTAIN CHUNK!
May 21st // Agora Ballroom
STEEL PANTHER
May 23rd // Jacobs Pavilion at Nautica
SEBADOH
June 2nd // Grog Shop
SHONEN KNIFE
June 4th // Happy Dog
KING GIZZARD & THE LIZARD WIZARD
June 14th-15th // Happy Dog Euclid Tavern
TYLER, THE CREATOR
June 17th // House of Blues
JACCO GARDNER
June 19th // Happy Dog
DOKKEN
June 19th // Hardrock Rockscino
MATES OF STATE
June 23rd // Grog Shop
AGAINST ME!
June 28th // House of Blues
AWOLNATION
June 30th // House of Blues
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operated by Kleese Development Association. The injection wells were found to have contaminated local ponds and wetlands after 2,000 gallons of wastewater leaked due to improper disposal practices. ODNR have shut down the wells until the infractions can be addressed, but for residents like Hopkinson, whose community water well is located within fifty feet of the contaminated injection wells, the damage may already be done. The ODNR is supposed to serve as the barrier between these waste materials and the residents of Ohio; it is their job to monitor and enforce safe handling and disposal of all dangerous materials. After speaking with Melissa English, Development Director of Ohio Citizen Action (OCA), we learned that the ODNR has problems of its own. OCA, along with thousands who have signed petitions or written directly to Ohio Gov. John Kasich on the matter, are calling for a public audit of ODNR and a full suspension of their authority over the Underground Injection Control (UIC) program until a marked level of malfeasance and impropriety is addressed. Despite the numerous infractions, the EPA has proven lackadaisical or simply careless. 80% of the content contained in their 2009 audit of the ODNR was found to be derived from their last inspection in 2005. “The information uncovered paints a picture of neglect by the ODNR and the U.S. EPA that endangers public health and our natural resources,” English said at a Columbus news conference, speaking on the release of their Citizens’ Audit. “We enlisted and trained volunteers to pore over thousands of pages of reports, logs and other public documents to create profiles of the injection wells that have been permitted since U.S. EPA’s last audit, which is now over five years overdue. Because federal and state regulators have not, citizens stepped up to look at what’s happening with injection wells, now that oil and gas activity and importation of fracking waste from other states has ramped up.” OCA organizer Nathan Rutz elaborated on the inconsistencies, saying, “It seems that oil and gas inspectors for underground control wells in Ohio don’t know what they’re supposed to be doing because there’s such inconsistency between inspectors’ reports. We found that operational conditions set out in permits are frequently ignored.” Rutz also made note of the troubling close ties that the ODNR shares with the fracking industry. For example, Ohio Inspector General Randall Meyer cited the ODNR for impropriety concerning the inspection of a well belonging to Bradmer Oil. The inspection happened to be conducted by the owner’s son, Ben Harpster, who worked within the ODNR. Harpster was also accused by the Inspector General of providing his father with insider information
gained from his inspections of competitor’s wells. ODNR spokesperson Bethany McCorkle accepted no responsibility for the numerous infractions, and in a statement issued in response to the audit said, “Ohio ranks second in the nation in regards to the frequency of UIC inspections, far surpassing federal requirements.” Neglecting to address the specific claims made in the report, she added, “An ODNR inspector is on site for the construction of every well and every mechanical integrity test. ODNR continues and will continue to add inspectors to our injection well program to help ensure each well is constructed and functioning properly in order to protect the public and the environment." So where has the EPA been during these spills, leaks, dumpings and general mismanagement of region oversight committees? Well, it’s a funny thing about loopholes. In the Resource Conservation and Recovery Act (RCRA) of 1976, Congress determined that the “disposal of solid waste…without careful planning and management can present a danger to human health and the environment.” The RCRA adopted a cradle-to-grave approach to handling waste materials that called for strict monitoring, listing, and handling from creation to disposal. There are four criteria the EPA uses to determine if a waste is hazardous including ignitability, corrosivity, reactivity, and toxicity. Waste is to be considered hazardous if it exhibits any of the four characteristics. If you’re following along at home, wastes incurred from fracking include all four categories, and yet, are exempt from any RCRA regulations. Here’s how that works. In 1978, the EPA proposed hazardous waste management standards, which included reduced requirements for several types of large volume waste, based on their belief that these “special wastes” were lower in toxicity than others being regulated under the RCRA. Taking a cue from the EPA, Congress enacted the Solid Waste Disposal Act of 1980, amending the RCRA with two new sections exempting “special wastes” until further study and assessment of risk could be performed. Specifically, the section commonly referred to as the Bentsen Amendment exempted drilling fluids, produced waters, and other wastes associated with the exploration and production of crude oil or natural gas. Sure, Ohio regulations state that hazardous wastes include any “substance identified by regulation as hazardous waste by the RCRA,” but thanks to the Bentsen Amendment, oil and gas wastes are wholly exempt from such classification. Through this loophole, drilling companies, including the ones currently exploiting the Marcellus and Utica shale, have been given a blank check to do as they please in service of the bottom line.
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BUTCHER AND
THE BREWER vs. the Zombie Apocalypse Matthew McLaughlin // Illustrations: Aaron Gelston
W
hen the undead roam the streets of Cleveland, there’s only a handful of good places to make your new home. You need shelter, warmth, and protection. More importantly you need good beer, draft wine and savory pig meat. No one wants to disembowel zombies on an empty stomach. There’s only one bar you’ll find us getting fat and drunk in after the End of Days. This is Pressure Life’s review of Butcher and the Brewer (in the Zombie Apocalypse). Butcher and the Brewer offers many amenities for the zombie apocalypse survivor. First, it sports a well trained staff of butchers, handy with the various knives and cutting tools of their trade. The typically large, manly kitchen staff also gives off an air of toughness and reliability, which will be useful when keeping the peace between survivors. Given the inevitable breakdown of government resources, the quality and safety of water will become an issue. We will survive as the ancient Egyptians did when their water was polluted—drink more beer. The Butcher does all of their brewing in house, so there should be a few months of clean (and really good) beer to keep us going after the water turns brown. I recommend the Stop Hop Kaboom IPA in your time of drought. There are a few areas of concern which should be noted, namely the large floor-to-ceiling windows that cover the front of the establishment. Not only do they allow the
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zombies to see in to the safe haven, but also the other survivors who have yet to find shelter—they can be equally as dangerous as the infected. It should also be noted that the bar is quite spacious, and could easily house a large number of Z-day refugees. While that may seem like a positive, it could quickly become a negative as food and other resources begin to dwindle; the larger the group, the more likely internal conflict becomes. Perhaps the greatest danger of holing up at Butcher and the Brewer—the delicious aroma of cooked meat which constantly wafts in from their kitchen and immediately engulfs the senses. As delightful as it is to customers, it would only be more enticing to our undead counterparts. All issues aside, Butcher and the Brewer is where you can expect to find me in the days after the Outbreak. With that kind of stress, I'm going to need a few excellent craft beers, some succulent lamb ribs, and maybe even one of those specialty cocktails. Butcher and the Brewer: 4 out of 5 putrid zombie pigs.
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THE
NEW
BREW
From Rising Star to the Root Cafe, it’s safe to say that there’s no shortage of good local java in Cleveland—but what about the other hot drink? Diana Hurlburt
IN
recent years, tea enthusiasts have been gaining ground, shifting the focus to providing quality loose teas, herbal tisanes, and specialty blends in a nonformal setting. The traditions of British high tea have gone by the wayside and here are three cafes helping to lead the charge.
THE TEA LAB The latest cafe creation from the man who brought us Civilization and the City Roast stall at West Side Market, Bob Holcepl’s Tea Lab now boasts two locations, both with a decidedly different vibe from his other java joints. The sleek interior and stainless steel canisters bring to mind
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precision, fine-tuning, and a scientific approach to flavors, blends, and brewing. According to Holcepl, the goal was to “strip away the cliches of tea retail; not do the ‘Victorian English’ or ‘mysterious East’ thing that so many people latch on to.” Within the Apple-esque setting, there’s a tea for every set of taste buds, along with accoutrements necessary for creating the perfect cup. Infusers, tea balls, one-use bags, and pots are available for expanding your gear. 530 Euclid Ave. Ste. 17 in downtown Cleveland // 14534 Detroit Ave. in Lakewood.
CLEVELAND TEA REVIVAL Up the street in blooming Hingetown, Cleveland Tea Revival provides a hip atmosphere for sipping on some genmai matcha and vegan pound cake. Though there’s plenty to nibble on, or “nosh” as it’s known there, the focus is on tea—the sensory experience of smelling, brewing, and enjoying a pot. Co-owners Amber Pompeii and husband Mike George, along with the staff at CTR, find fun in experimenting with and naming new blends. One of our favorites, Shark Week, is a customer-named blend of rose hips, raspberry leaf, and a few other items designed to combat cramps. Inspired by the commensal quality of sharing tea, Pompeii and George were determined to create an environment that encouraged customers to sip and linger. Though space is limited, the window and hall seating is intimate and welcoming, and during warmer months, cafe tables sprinkled down the corner of 29th and Church provide the perfect oasis for basking in the summer sun. 1434 W. 29th Street in Ohio City.
VINTAGE TEA AND COFFEE The newest cafe to arrive on the scene, Vintage Tea and Coffee pairs a slick, minimalist interior with plenty of counter space, a broad menu featuring Japanese, Chinese, and Taiwanese teas, and a small array of edibles provided by the Cleveland Bagel Company. Most notably, Vintage is one of the few options for boba fans in Cleveland—a.k.a. Taiwanese bubble tea, so named for the tapioca balls added to milky or fruity teas. Owner Jeff Hu says that despite the coffee drinks on the menu, the main focus of the shop is on the tea. With the goal of providing an authentic tea experience that emphasizes the rich history of East Asian teas, Hu imports his selections directly from their regions of origin. 1816 E. 12th Street in downtown Cleveland.
FOODS OF JANE Sweet Chili Chicken Lettuce Wraps
Janey Schafer Spring has finally arrived--which means fresher ingredients and more vibrant colors on every plate! These chicken lettuce wraps are bursting with so many different flavors; the combination of the spicy adobo vinaigrette mixed with the sweet chili sauce and fresh mangos creates a delicious flavor contrast.
Cooking Time: 20 minutes + 2 hours marinating time Serving Size: 8-10 lettuce wraps
CHICKEN LETTUCE WRAPS • 3 boneless/skinless chicken breasts [or 2 cups tofu for vegetarian] • 1 1/4 cups sweet chili sauce • 2-3 bunches of Bibb lettuce • 1-2 ripe mangos • 1 red onion, diced • 1 cup of crumbled goat cheese [for topping]
ADOBO PEPPER VINAIGRETTE • 1/2 cup of Adobo peppers in chipotle sauce • 1 cup BBQ sauce [I used Bubba Q’s] • 3 tablespoons of olive oil • 1/4 cup whiskey • 1/4 cup of apple cider vinegar • 9 garlic cloves • 1/2 cup of chopped chives, parsley, and cilantro • Juice from 1 lime • 3/4 cup of brown sugar
INSTRUCTIONS:
1. Cut the chicken breasts into small cubes and put in a ziplock bag with 1 cup of sweet chili sauce. Let marinate in the refrigerator for 2-6 hours. 2. While the chicken is marinating, make the adobo pepper vinaigrette. Combine all of the sauce ingredients in a food processor and pulse for 2-3 minutes. [If you don’t own a food processor you can use a blender.] I like to pour my finished sauce into a bottle so that I can easily drizzle it over my assembled lettuce wraps. 3. Dice the red onion and peel/dice the fresh mangos. 4. Once your chicken has marinated long enough, pour the entire contents of the bag [chicken + sweet chili sauce] into a large skillet [medium flame], and cook until done all the way through, about 15 minutes. 5. Toss the chicken in a bowl with 1⁄4 cup of the sweet chili sauce until the chicken in evenly coated. 6. Separate the leaves from the Bibb lettuce bunches and fill with desired amount of chicken, mango, red onion, and goat cheese. Drizzle with the adobo pepper sauce and enjoy!
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LAB CABIN CLEVELAND Cleveland is known for many things; Lebron James, the Rock and Roll Hall of Fame, the undying love we have for our sports teams, local breweries, and the saying, “there is always next year.” Josh Cook
B
ut there’s a new niche market emerging that Cleveland is becoming known for—its growing number of art galleries, studios and arts districts. A particular group of artists known as “Lab Cabin Cleveland” hone their diverse talents on E. 25th Street at Lake Affect Studios.
Lab Cabin Cleveland is one of several studio natives that call Lake Affect Studios their home. Picking up their name from the 1995 Pharcyde album Labcabincalifornia, it is easy to see that hiphop is a big part of their DNA. Creating art through the collective lenses of music and street art has become key to their growing success and makes them a breath of fresh air in the Cleveland art scene. "The Lab Cabin Cleveland guys are helping to shape a burgeoning music, art, and culture scene here in Cleveland,”
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local musician Marcus Alan Ward said. “They have become a huge part of the Cleveland aesthetic as their work is present on most up and coming artists album covers and projects, and their murals and paintings can be seen all over town.” The founding members of Lab Cabin are Chad Fedorovich, 30, and Dakarai Akil, 24. Fedorovich is the common thread that pulled together the crew and their home at Lake Affect Studios. Next, Fedorovich made a call to a long time friend Brent Krumrei, 30, who had relocated to Philly. Krumeri quickly returned to Cleveland. Merrick Presser, 22, met the three member crew and was absorbed into the group. The final member, Alonzo Wright, 18, fresh out of high school, reached out to Fedorovich and started as an intern. The crew was now complete. Lab Cabin is like the Captain Planet of the Cleveland art scene
– these extremely talented artists smashed their fists together to create one living, breathing, ass-kicking creative superhero with a mission to save the art world. And like the Planeteers, it is their differences that make them even stronger. “I needed something like this, before that I was just creating in my room by myself,” Akil said, speaking about the benefits of working in a collaborative environment. Through the act of cohabitation, the group has supercharged their creative abilities, allowing them to gain the experience and outlook of four other artists all at once.
and all of the work featured was done by hand while listening to vinyl records. The Art of Wax also showcased DJs Eso and A/V of Three Seas, as well as Ghost Noises doing vinyl sets. “It's really awesome to have forward thinking individuals like the Lab Cabin Cleveland crew in our own backyard to help push the culture forward and the city forward,” DJ Corey Grand said.
The Lab Cabin Cleveland guys are helping to shape a burgeoning music, art, and culture scene here in Cleveland.
Since inception, the group has continued to build up their portfolio, constantly creating new works to help them gain visibility. Lab Cabin’s first official show, The Art of Wax, had a large emphasis on analog art forms,
The original duo of Fedorovich and Akil continued to build a name for Lab Cabin by producing art for an event held at the Hedge Gallery located at the 78th Street Studios called Meet the Dreamers. Put together by three Kent State fashion design students, the event was produced as a vehicle to inspire the uninspired, featuring equal parts music, fashion and art.
Their next project commissioned the crew to create artwork for Homes for Heroes, an entity that offers substantial rebates and discounts to heroes like veterans, firefighters, police officers and others who contribute to improving communities. The group was there as a way to drive visibility
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and attention to the event, with all proceeds from the art sold going to Homes for Heroes. You may have also seen Lab Cabin live painting at events like the Gay Games 9, or Brite Winter Festival. Both of these volunteer projects were done in conjunction with Stamy Paul and her non-profit, Graffiti HeArt, an organization that focuses on promoting graffiti and street art, as well as beautification projects for communities like the Detroit Shoreway. Not all of their collaborations are done live. In addition to group shows, Lab Cabin has started to embrace an entrepreneurial spirit, working with small businesses on client based projects, as well as with local musicians to create album art and music videos. “They put in the most hours around the studio by far,” Lake Affect Studios owner Dan LaGuardia said. “I think one thing that keeps them busy all the time too, is that they dabble in all kinds of artistic mediums. When you can get involved in so many different ways it opens up a lot of diverse opportunities.” We asked if they ever saw themselves turning into more of an interdisciplinary design studio. While a few crew members sounded interested, for the most part it seems that they don’t want to define themselves as anything just yet. Their only plan thus far—to make the city more colorful any way they can. To follow Lab Cabin’s continued progress, you can follow them on Instagram (@labcabincle) or contact them at labcabcle@gmail.com.
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MEET LAB CABIN CHAD FEDOROVICH @CHADERONE The founding member of Lab Cabin Cleveland, Fedorovich attended Polaris Vocational School in Middleburg Heights during high school, where he learned graphic design along with the basics of Photoshop, Illustrator and some drawing skills. He also attributes his current skill set to a move to California where he hung around a lot of artists. His work can be described as celestial, psychedelic, and is heavily influenced by both experimental electronic and hip-hop music, which can be clearly seen in in his use of multiple layers and textures.
DAKARAI AKIL @DK1994 The second member of Lab Cabin Cleveland, Akil started at Cuyahoga Valley Career Center for graphic design, and later attended the Art Institute of Pittsburgh where he studied fashion and retail management. In Pittsburgh he was able to further flesh out his clothing brand, Lame Brotherhood. His work is a reflection of a world that he has created in his mind, approached through the use of vibrant colors and psychedelic imagery. Being the computer guru of the group, a lot of his work comes about in the form of elaborate collages and clean vector illustrations.
BRENT KRUMREI @BRENTKRUMREI Krumrei, the third member of Lab Cabin Cleveland, attended the University of Cincinnati’s College of Design, Architecture, Art and Planning program. He attributes the fact that he is creating art to a former professor and father figure, Tarrence Corbin, who passed away in 2009. When he moved back to Cleveland, he spent about five years outside of art, claiming he didn’t accomplish anything during this hiatus. Producing fine art through the hip hop lens, speaking on his collage-style design, Krumrei said he “samples different genres of music to compose a concept for the beat or hook,” and that lyrics are the subject matter in which he uses to comprise his pieces.
MERRICK PRESSER @MERRICKMOOK Fourth member of Lab Cabin Cleveland and the only member without some“formal” education in art, Presser has pursued art just for the enjoyment of “letting it go with a pen.” Merrick’s mother was an art teacher who exposed him to unorthodox styles of art, and he also credits his artistic abilities to the individuals he has met throughout his life. He approaches his art through a process which he calls “organic, subconscious creation” where he lets the work create itself, and that his best work has come from ditching a preconceived plan to follow his gut.
ALONZO WRIGHT @THESUPERLATIVE_ONE “Intern” turned member of Lab Cabin Cleveland, Wright started drawing in high school, and is currently attending community college. While he has thoughts of transferring to CIA, he acknowledges he has found a new set of professors outside of school, through the Lab. He describes his art like his kid that he needs to continually keep feeding, because if he doesn’t, it could die. Wright has been producing a clothing line called Art for Thought, released through Heart & Sole in Coventry.
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KINGS OF PIN
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This summer, Superelectric owners Ben Haehn, Nathaniel Murray, and Dave Spasic are branching out from their studio parlor and launching a brand new pinball arcade in the heart of Gordon Square. As they finish preparations for their grand opening, we sat down with Dave to talk about their epic quest to put pinball back on the map in Cleveland.
Dan Bernardi // Photography: Aaron Gelston Q:
How did you come up with the name Superelectric?
It’s a story from 9 years ago. Ben and his bandmates started making shirts for their group “Canada’s Electric Tiger Machine” and they wanted a cool name to go along with their merch. Mainly through an evening’s worth of shouting words at each other, SUPERELECTRIC was born.
Q:
When Superelectric first moved in to 78th Street Studios in 2008, it wasn’t a pinball parlor. How did the space transition into one? The studio space is and always was meant to be a creative space. For the first four years the space served as a studio and pseudo gallery space. Ben would paint and screen print and Nathan worked a lot on his collage and sculptural work. When Ben first started collecting pinball machines it was just something fun to have in the studio to do during downtime. We didn’t really know what we were doing at the time, but we figured they would probably be worth about the same amount we paid for them if we ever needed to sell them. Over time the number just kept growing and I remember it becoming an issue. We’d say things like,
“This is too many. We really need to get rid of some.” But I guess at some point we just gave in.
Q:
How many machines have passed through the Superelectric doors? In December when we began the process of submitting information to the Detroit Shoreway Community Development Organization (DSCDO), I went through our info and counted all of the games we’ve had. At that time we were over 80 machines. Once we started talking more seriously about the new location with DSCDO we went on a tear and really started to look for more unique games. In one day we drove to three different locations from Cincinnati to Columbus and back and brought home 5 machines. I haven’t done a tally recently but we have had well over 100 now and are still trading constantly.
Q:
Where do you go to find new games?
We’ll look for games on ebay or craigslist and often get calls or contacts from people we meet about games. In just a few years we’ve probably met most of the major pinball collectors in Ohio and the surrounding states. Many times the process of getting a game is just as much fun as playing it. Ben really wants to start filming our adventures getting games because he thinks it would be an awesome TV show. It would probably be a lot like American Pickers with a little Hoarders mixed in.
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Q:
Initially, Superelectric was functioning primarily during 3rd Fridays, when 78th Street Studios is open to the public. In the past two years, you’ve expanded the scope of your business, throwing pop-up pinball parties and renting out your studio space. How did these one-off events first come about? Our first event outside 3rd Fridays was Henry’s 7th birthday party. Henry’s parents had been to a few of our 3rd Friday events and are really cool, so when they asked if we wanted to host a birthday party we were all for it. Henry is a great kid and we look forward to his birthday every year. He is going to be 9 soon!
We want the collection to be representative of the best games from the last 50 years.
We haven’t really done any marketing. The only ad we’ve ever run was in the last issue of the Lake Erie Monster comic. Word of mouth has been great for us and people approach us for all kinds of crazy ideas: weddings, fashion shows, etc.
Q:
Aside from your standard pinball fare, what other services does Superelectric offer?
We do a lot of screen printing for businesses and artists in the area. We’ve made shirts for Sweet Moses, Happy Dog, Toast, Nalu Surf Shop, and Flying Fig. We also do a lot of prints for Derek Hess and Oliver Barrett. We do custom backglasses and cabinet art for pinball machines.
Q:
Can you tell us about your partnership with the Progressive Arts Alliance? We started talking to Progressive Arts Alliance a few years ago. Our friend is a teacher with the group and needed help screen printing with the kids at a few schools in town. The mix was an easy fit so we opened our doors for students to come to Superelectric and learn about the science of pinball. Some groups were building tabletop pinball machines and came to us for help with art and a better understanding of how to make their games fun to play. Others were exploring the science of kinetic energy and how a ball travels on the playfield. It was awesome to see how the groups would interact with pinball. Many of the students had never seen a pinball machine in person until they came over. We want to expand what we are doing and have field trips at our new space weekly to explore the art and science of pin.
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SUPERELECTRIC TOP PICKS Cowpoke Ben’s dad and uncles all pooled their money together and bought Cowpoke off the back of a truck when they were kids living in Texas. Ben’s dad is the youngest of the boys so he got to keep the game when they all moved out. It followed Ben’s family when they moved around the country. Its been to Texas, Hawaii, and Ohio in its lifetime. Ben asked to use the game as a prop for a movie and that’s how it made its way to the studio space. We would all spend late nights just trying to beat each other’s scores. Those are my first real memories of pinball and the reason we all love that game more than any other. I see those kinds of memories being made at our space all the time now and that’s why we all chose to go in this direction with our lives. Getaway is pretty straightforward with just a few objectives but everything on it is really well executed. When you start the game you hear the sounds of a car starting and an engine revving. The ZZ Top La Grange soundtrack hypes you up as you start building your RPMs and running red lights. The supercharger uses three magnets to whip your ball around this loop at crazy speeds. The cops yell at you to “PULL OVER NOW!” and when you do really well you hear them call into the dispatcher “He got away—He what?—He got away.” The game taps into your little kid fantasies of driving a red car really fast. Haunted House is one of the few Gottlieb solid-state games that are true classics. Gottlieb made some of the best electromechanical games for years but they had a hard time with the transition to computer operated games. In the early ‘80s they went all out, first with Black Hole and then with Haunted House. They crammed every trick they could into Haunted House. It has 8 flippers, 3 playfields, a bunch of pop bumpers, targets, trap doors, secret passageways, and a lightning backglass animation as well. On top of all that, the soundtrack plays Bach’s Toccata and Fugue in D minor and is one of those games you enjoy hearing someone else play because the sound is so good.
Q:
You’re dipping your toes into custom pinball creation. How did your collaboration with Lake Erie Monster creators John G and Jake Kelly come to fruition?
We’ve been friends and admirers of John and Jake for a while and we just threw the idea out there. It was something they never really thought about but both excited about the concept. We’ll probably have 3-5 games made up and will have one at the new parlor when it is done.
Q:
Do you plan on expanding this to offer more custom pinball machines?
The custom games are something we’ve dreamed about for a while and we’re really looking forward to making a whole collection of custom games. We have a few artists that we’re working with to come up with new themes and concepts. The custom scene really brings us back to the creative root of where we all started.
Q:
What makes Gordon Square the prime location for a Superelectric Pinball Parlor? Gordon Square is our neighborhood. We love the business and people that are here and are really happy that we were able to score a spot right in the heart of it. I think the vintage vibe of Gordon Square made for a perfect fit. What better place to put a pinball parlor than next to the historic theatre and down the street from a classic soda fountain.
Q:
What are some new features of the upcoming location?
We’re planning to have around 25 machines in the new space. We want the collection to be representative of the best games from the last 50 years. We’ll have some of the electromechanical riffle games there and a really cool shuffle puck bowling game. We’re still looking for some of the right vintage novelty games like the coin-op fortune teller from the movie Big and old love tester games
Q:
Should we save our quarters for the new store or do you have another payment plan in mind?
We are still working on it. If we don’t use a pay for play by the hour type system it will probably be token drop.
Q:
For us point grabbers out there, what’s the tilt policy in your new shop? Nudging has always been a big part of the game, especially because early on the games didn't have flippers. We keep our games with a little wiggle room unless we are hosting a big tournament. You just gotta know the line and how much you can move the machine before it says no more.
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THE LAST CLEVELAND FILMMAKER
ROBERT BANKS
Robert Banks is the rare sort of artist who has been exploring his craft since early childhood. A Cleveland native, he first hit the international stage in 1992, receiving critical acclaim for his film X: The Baby Cinema. Kevin Naughton // Photography: Brittany Dobish
H
is abstract, interpretive films have been featured at Sundance, SXSW and the International Film Festival Rotterdam. Banks was an honored guest filmmaker at the BBC British Short Film Festival in 2000, and received the prestigious title of Filmmaker of the Year at the Midwest Filmmakers Conference in 2001. Now, after 25 years in the business, Banks is putting the finishing touches on his first feature-length narrative film, Paper Shadows.
What seemed like a quirky childhood hobby would prove to be an important education when it came to working with film. A graduate of the Cleveland School of the Arts, Banks briefly attended the Cleveland Institute of Art but dropped out after a year, unable to afford the cost of tuition. Still determined to pursue his passion as a career, he enlisted in the Air Force, and later completed his education at the Ohio School of Broadcast Technique where he received his FCC certification. He has continued to share his love of film, teaching at Cuyahoga Community College, the Cleveland Institute of Art, Cleveland State University, and the Newbridge Academy, where he’s worked as a film and photography instructor since October of 2010.
What truly sets Robert Banks apart as a filmmaker is the medium with which he works. His medium is film with a capital "F".
Banks first started experimenting with film in the early ‘70s at the age of six, screening reels in the backyard for his neighborhood friends. With an old cassette recorder, he would tape sounds from the TV and other household noises, splicing and dubbing them to create his own makeshift soundtracks to accompany the films. Growing up in the Hough neighborhood of East Cleveland, a community still reeling from the aftermath of riots that occurred just months before he was born, his mother and father worked hard to support his unique hobby. “Growing up in the ‘hood’, that was very unusual. So I was the only kid that stood out for doing these weird little film nights in my backyard,” he said.
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What truly sets Robert Banks apart as a filmmaker is the medium with which he works. His medium is film, with a capital “F.” He’s one of the few independent filmmakers left who chooses to work almost exclusively with analog film. While the medium isn’t completely dead, it’s certainly being edged out by an industry widely adopting digital technology, given its perception of being a comparable and inexpensive alternative to traditional film. Banks doesn’t see the issue as being quite so black and white.
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Inspired by trailblazing experimental filmmakers from the ‘50s, ‘60s and ‘70s like Norman McLaren, Arthur Lipsett, and Jordan Belzen, Banks works primarily with 35mm film, physically splicing, manipulating and editing frames without the use of a digital intermediary. For that reason, many of the processes used are outright impossible to duplicate digitally. And it’s not that he favors film as the superior format. Instead, he argues that a medium should be considered for its merits, not its cost, because each medium has its advantages and disadvantages. “There’s just a discipline behind what you’re using and how you’re using it,” he explained. “I’m not trying to substitute one for the other.” With 30 films under his belt, and some exceptional motivation, Banks set out on the monumental task of creating his first feature film, funded primary out of his own pocket. Banks described Paper Shadows as “a surrealist experimental film about the shared creative angst of an elderly black man and a younger white female art student.” In the fall of 2014, Banks launched his first Kickstarter campaign, raising over $12,000 from contributors around the world. Using the funds for editing and post-production, which began this past January, Banks is anxious to finish the film. “I want her to see this,” he said when speaking about one of his greatest supporters, his mother. “She’ll be 90 this year, and I want her to see at least one feature film that I’ve made.” The film, which he plans to release this coming August, has already been requested by festivals and private cinemas around the world. After Paper Shadows is finished, Banks plans to join the Directors Guild of America, an exclusive
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organization of accomplished filmmakers that has been sending him applications for years. Beyond that, he’s keeping his options open. Robert Banks is an independent filmmaker in the truest sense of the term, and his vision is distinctly his own. He’s acknowledged that he’ll never be commercially successful, and he’s aware that his films aren’t for everyone, but he’s not interested in compromising. “A lot of people aren’t going to like it. They’re going to think, ‘this is weird, it’s boring, it’s pretentious,’ you know. I’m telling people up front, you don’t have to like it, but I would much rather have you dislike it than simply forget it.”
TOP 10 FAVORITE FILMS The Hospital (1971) Blade Runner (1982) Sweet Sweet Back's Baddass Song (1971) Mad Max (1979) 2001: A Space Odyssey (1968) Apocalypse Now (1979) A Clockwork Orange (1971) Straw Dogs (1971) Sorcerer (1977) 21-87 (1964)
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This is not the first time that Ohio has short-changed the environment for the interests of business. In 2011, Gov. John Kasich issued an executive order ironically called the Common Sense Initiative (CSI). Through this order, members of the CSI can direct state agencies to change regulations in order to create a “more job-friendly regulatory climate in Ohio.” The governor stated that “regulations should facilitate, not hinder, economic growth.” Let’s unpack that statement for a moment. According to the Governor, the health and wellbeing of the citizens of Ohio are less important than a company’s ability to make money. Among other hoops to leap through, the CSI insist all regulatory filings to first go through a “Business Impact Analysis” to determine the negative effect such regulations would have on the business(es) in question. None of these newly installed safeguards are concerned with the health and well-being of the people, wildlife, or environment of the state. They serve as thinly-veiled financial insurance to big businesses that don’t want to spend the money on proper regulations. Should the financial impact to any company ever be held against the safety and health of our loved ones? In an answer, no. If this rampant contamination of our drinking water and ecosystem concerns you, it should. Whether you are a supporter of vertical hydraulic drilling or not, we can all find common ground in our desire to live in a healthy, clean environment together. This is not possible if the continued lack of oversight and negligence continues within organizations like the ODNR, or if Gov. Kasich continues to put Big Business over the interests of the citizens he has sworn to protect. Ohio Citizens Action has begun a massive letter writing campaign and petition to EPA representative, Susan Hedman, that seeks to suspend the authority of the aforementioned dubious ODNR until a thorough audit has been fulfilled. To sign the petition or receive more information, visit the Ohio Citizens Action website.
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KICKSTAND Will Kmetz // Photography: Michael Ciuli
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rom 2000 to 2013, bicycle commuting saw a 62% growth nationwide, according to a report by the League of American Bicyclists. In his latest documentary, Kickstand, local filmmaker Keith Ten Eyck takes a comprehensive look at the current state of cycling, using Cleveland as a case study to explore the growth of bicycling culture and its effects on urban areas.
to follow in the footsteps (or pedal revolutions in this case) of our more advanced overseas counterparts. “Cleveland is simply behind as far as infrastructure and education goes. The numbers however, in growth of bicycling culture here, have proved there is a need for world class infrastructure,”
Having never driven a car or received a drivers license, Ten Eyck found inspiration for the film from his own daily interactions as an avid cyclist. “When you’re on a bike in a motor city, designed specifically for cars—where cycling infrastructure is sparse and undoubtedly inadequate—you’re a minority,” he said. “With that stigma, you’re marginalized. From cars not seeing you and almost hitting you, people harassing you, let alone abysmal potholes.” Kickstand tackles complex questions such as how cycling can boost our economy or lead to a paradigm shift in mass transit. Speaking with local lawmakers like councilman Joe Cimperman and Chief of Sustainability, Jenita McGowan, the film touches on the progress and pitfalls facing the city in its efforts to expand and improve the infrastructure to meet the demands of a growing cyclist community. Through interviews with historians from the Western Reserve Historical Society, local shop owners, and fellow bike advocates, Kickstand chronicles the history of cycling from the Good Roads Movement of the 1890s to modern day critical mass. In certain cities in Europe and Asia, cycling has been a long established means of transportation, supported by the large number of cyclists and the attendant infrastructure. In contrast, it’s clear that the U.S. is still in its infancy. Kickstand aims to ignite a movement stateside
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TERMS YOU MAY NOT KNOW Good Roads Movement - from 1880 to 1900, farmers, the Us Post Office, and bicyclists (known by the name of the League of American Wheelmen) pushed for farm-to-market roads, improving the quality of roads to allow for produce delivery and bicycle tourism. Critical Mass - An event held in cities all over the world where cyclists gather in the masses for a community ride. Particularly in Cleveland, cyclists meet on the last friday of every month in demonstration and celebration of cycling.
... From cars not seeing you and almost hitting you, people harassing you, let alone abysmal potholes. Ten Eyck urged. “We are looking to define why and highlight that it’s not only possible, but will undeniably be a part of Cleveland’s continual resurgence as a great American city.” This summer, Ten Eyck and producers at Transitions Studios will begin the process of shopping for a distribution deal, hoping to secure a spot on national television or as a Netflix documentary—both of which would provide them greater opportunity to share the joys of cycling while reaching communities like Cleveland all over the United States. Kickstand at its core is a call to action, promoting the need for better education among motorists and cyclists, while encouraging audiences to engage in the conversation and ask themselves—what does the future of my city look like?
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