Get Out: Tales of Terror

The Enemy Within at the Maltz Museum leads this week's events and concert picks

The United States was founded by violent revolutionaries, so there’s a certain karmic logic in its enduring attempted uprisings from time to time. That’s the (perhaps unintended) subtext of The Enemy Within: Terror in America 1776 to Today, a new exhibit at the Maltz Museum of Jewish Heritage (on loan from the International Spy Museum in D.C.). Using images, artifacts and a few videos, the exhibit lays out the history of our reactions — and overreactions — to real and perceived threats posed by some living among us: German operatives blowing up a New Jersey munitions depot in 1916; Japanese Americans interred in camps during World War II; white nationalists plotting race wars; communists; white supremacists and militias; and of course, Muslims after 9/11. Also examined is the government’s tendency to overreach its authority, investigating and sometimes persecuting citizens with varying degrees of probable cause. One highlight is a brief video on the Weather Underground, whose history was dredged up and distorted for political reasons during the recent presidential campaign. The lone disappointment is the surprisingly alarmist video Under Siege, which takes on the threat of terrorism with all the subtly and nuance of the color-coded threat chart that the Bush administration was so fond of goosing whenever it needed to change the subject. Someday it will seem as amusingly overwrought as the ’50s anti-commie film shown elsewhere in the exhibit, in which Jack Webb solemnly intones, “Freedom has a price, and its price is vigilance.” The Enemy Within runs through August 16 at the Maltz Museum (2929 Richmond Rd., Beachwood, 216.593.0575, — Frank Lewis


A State of the State's

Birds Address

Who doesn't love birds? They greet you every morning with their chirps, they rid your lawn of pesky bugs and they really don't eat much (like, say, a big-ass dog or cow). But how are Ohio's birds doing in the 21st century? Is the avian flu affecting any of them? Will any be extinct 25 years from now? And what the hell is that red-beaked thing I see on my way to work every day? Harvey Webster, director of the Cleveland Museum of Natural History's Wildlife Resource Center, addresses these questions and many others at the clumsily named "A State of the State's Birds Address." Webster will also fill in visitors on the many species of birds that are found in the area and what you can do to help keep them alive. It starts at 7 p.m. at the museum (1 Wade Oval Dr., 216.231.4600, Tickets are $7, but students get in free with a valid ID. Michael Gallucci


CSU Spring Dance Concert

Antaeus Dance director Joan Meggitt continues to toil on her evening-length piece, Molt, which will premiere at Cleveland Public Theater's DanceWorks series later this month. A work in five sections, it uses the process of molting as a metaphor for shedding bad habits and getting on with life. After videotaping her company's improvisations for two months, Meggitt began building the dance one section at a time, from the inside out. This week, Antaeus performs an excerpt — the first completed part — as part of Cleveland State University's Spring Dance Concert. CSU's director of dance Lynn Deering stages it with two Antaeus members, Amy Compton-Schultz and Marisa Glorioso, who are also part of CSU's dance company. Also on the program: "Red Ribbon Dance," based on a tradition that dates to the Chinese Han dynasty and spearheaded by guest artist Cha Lee Chan (of New York's Yangtze Repertory Theatre); a solo piece choreographed by Dianne McIntyre, based on poetry by Ntozake Shange and performed by Lisa Hunt; and Deering's "Barefeet in the Park," an ensemble work featuring members of the CSU Dance Company, with music by DeVotchKa, Yann Tiersen and Gogol Bordello. The performance starts at 7:30 p.m. at CSU's Drinko Recital Hall (2100 Euclid Ave., 216.687.4883, Tickets: $5. Michael Gill

No Child

The concept of a play within a play is older than Hamlet, but Nilaja Sun uses it to virtuosic effect in No Child, her one-woman look at life at a Bronx school. A teaching artist in the New York Public School system, Sun worked with students at Malcolm X High a few years ago, producing a play in an environment where merely getting to school can be challenging. She received rave reviews when she starred in the New York premiere, largely because of her ability to portray dozens of characters — from students, teachers and parents to administrators, janitors and even the guys who operate the metal detector at the front door. Nina Domingue stars in Cleveland Public Theatre's production, which makes its Ohio premiere tonight. It opens at 7:30 at Cleveland Public Theatre's Bookstore Theatre (6415 Detroit Ave., 216. 631.2727, Performances run through April 25. Tickets: $10-$20.


Radio Mystery

Theater Social

CBS Radio Mystery Theater began with the foreboding sound of a creaking door opening and then a creepily genteel voice intoning, "Come in. Welcome. I am E.G. Marshall." For eight years, starting in 1974, the series revived old-time radio and maintained an audience of young and old, captivating listeners with its macabre stories. Some of the shows adapted gothic novels (like Oscar Wilde's The Picture of Dorian Gray) and Edgar Allan Poe's short stories. Most, however, were original works, and that's what attracted Robert Carillo, who hosts a listening series at Visible Voice Books tonight (and every second Thursday of the month). Carillo chooses from a library of 1,500 episodes recorded from the radio, complete with old-school commercials. He'll make some introductory comments before dimming the lights to set the mood. He'll play three programs during each outing, with breaks for browsing or filling up your wine glass. "It's like getting together to listen to records," he says. "The reason I like these is that the writing had to be very descriptive, very conversational, because the script is the picture in your mind. That in itself made the writing very good." It starts at 7 p.m. at Visible Voice Books (1023 Kenilworth Rd., 216.961.0084, It's free. Gill

Southeast Engine

Athens is an Ohio college town with a secret. When you remove the obvious parts of the scenery — brick-lined streets, North Face/Ugg-wearing college kids, an air of academia — you stumble upon an intricate music scene hidden in the hills of Appalachia. And the kings of the Athens music scene are Southeast Engine. They've packed hometown shows for years, but the band is finally gaining national recognition. Its second album, From the Forest to the Sea, highlights everything that Athenians love about "the Engine." Singer Adam Remnant's gravely, world-weary voice, Leo DeLuca's rip-roaring drumming, Michael Lachman's innovative organ and piano, and Jesse Remnant's complementary bass all contribute to a sound that's half rock, half folk. The Dreadful Yawns, and the Lighthouse and the Whaler open at 9 p.m. at the Beachland Ballroom (15711 Waterloo Rd., 216.383.1124, Tickets: $7. — Danielle Sills


The Riot Before

Despite the number of merchandise-hocking, neon-clad bands that spend more time on their hair than their lyrics that are currently repping pop-punk, the genre is still packed with credible artists. You don't need to look any further than Virginia's the Riot Before (who manage to combine the spirit of the Clash with contemporary folk-punk) and Oregon's Broadway Calls, who are carrying the torch for the sun-saturated, speedy SoCal sound. Both bands have been through the underground ringer, only to emerge as well-honed groups with the sort of smart, anthemic numbers kids are dying to raise their fists to. These two bands offer the sort of pop-punk that'll quell your inner cynic. Echoes of Harpers Ferry and Two Hand Fools open at 6 p.m. at Now That's Class (11213 Detroit Ave., 216.221.8576, Tickets: $8. — Matt Whelihan

Amps for Christ

Instrument builder and noisemaker Henry Barnes (of Man Is the Bastard and Bastard Noise) calls his latest project Amps for Christ. It's another experimental outfit in which the California-based musician builds his own instruments. Amps for Christ is the most palatable of Barnes' groups, drawing from his folk background (his mother was a ballad singer). The multi-instrumentalist switches instruments throughout, but he plays a lot of sitar and is often accompanied by a tabla player. No matter what the setup is for tonight's show, you can bet it'll include some homemade instruments and unconventional manipulation of sound. Sikhara, Channels and Harms Way Fayre open at 10 p.m. at Now That's Class (11213 Detroit Ave., 216.221.8576, Tickets: $5.

Jeff Niesel

Image and Object

That eerie feeling you sometimes get looking at a doll (after all, it's an inanimate object designed to resemble a person) is amplified in Mark Slankard's dollhouse tableaux. "The scenes evoke sublimated fears and desires, and explore tensions between childhood innocence and sadism," says the artist. The question is whether to respond to a work of art as a representation of something else — say, an image — or to consider it a self-referential object unto itself. He and his Cleveland State University colleague Irina Koukhanova explore different perspectives on that art-historical dichotomy in their show Image and Object, which opens with a free reception at 6 p.m. at Asterisk Gallery (2393 Professor Ave., 330.304.8528, as part of April's Tremont Art Walk. The show hangs through May 2. Gill


Mozambique-born singer Mariza is often credited with the revival of fado, the traditional African-influenced Portuguese genre championed by the late Amália Rodrigues, the queen of fado. The dramatic, bluesy style has recently been gaining a younger audience, both in its native Portugal and abroad — thanks to a new generation that longs for its nation's roots in the wake of Western Europe globalization. On her new album, Terra ("Earth"), Mariza takes the genre in a new direction by adding diverse instruments and influences. "This has to do with the fact that I have been touring internationally for about eight years, and I have traveled all over the world," she says. "This has influenced me in a very positive manner. I saw different cultures, and all this affected me as a person, as a woman and as an artist." Continuing her love affair with Brazil (two of her previous CDs were produced by Jacques Morelembaum, who's worked with Brazilian masters Antonio Carlos Jobim and Caetano Veloso), she teams with pianist Ivan Lins, who assists Mariza on the English-language "Smile," where the singer reveals a softer side rarely heard in fado. "He was jamming around [in the studio], and the tapes somehow kept rolling," explains Mariza. "So I said, 'Ivan, do you know that song "Smile"?' And he said, 'I've never played it, but let's give it a try.' When we finished, everyone was staring at us so seriously that I thought that we had done something really silly, like we'd broken a cable or something." Mariza performs at 8 p.m. at the Ohio Theatre (1501 Euclid Ave., 216.241.6000, Tickets: $41. — Ernest Barteldes


Chris Cornell

With the release of Chris Cornell's third solo album, Scream — a rump-bumping, hip-hop/R&B sweatfest — the most pertinent question surrounding his live appearance is this: Which Cornell is coming to Cleveland? The scrappy grungemeister of Soundgarden? The heir to Robert Plant's hard-rock throne through the Audioslave fiefdom? Or the rock-hop chameleon who recently teamed up with Timbaland on Scream? Or maybe Cornell will reinvent his stage persona with the same bold stroke that defines the album, incorporating all three creative directions. Try to imagine a set that can contain the raw, howling beauty of "Black Hole Sun," the Led Zep juniorism of "The Worm" and the smooth-as-Justin Timberlake's-nine-month-old-butt croon of "Ground Zero." It may well be unimaginable, but past history indicates that Cornell is well equipped to find the connecting thread between his past and present, and make it work going forward. Look for the disco ball all the same. Outernational opens at 8 p.m. at House of Blues (308 Euclid Ave., 216.523.2583, Tickets: $39.50. — Brian Baker

Carlton Vickers

If you care at all about the flute — and an awful lot of young girls do — you probably know about Carlton Vickers. A longtime player with the Utah Symphony, he's best known for his contemporary forays with the instrument, where he extends the flute's technique by mixing acoustic sounds with tapes and other effects. Vickers has worked with some of the biggest names in avant-garde composition, including John Cage, John Corigliano and Steve Reich. He presents a workshop at 4 p.m. at Cleveland State University's Drinko Recital Hall (2001 Euclid Ave., 216.687.2033, It's free. Gill


To hell with the thrash revival — the former emissaries of the genre aren't done slaying audiences yet. Exhibits A and B: Germany's Kreator and San Francisco's Exodus. They have much in common. They were both pioneer members of the metal militia, had numerous lineup changes, experimented with their sound (for which they've been simultaneously praised and ridiculed) and went back to their roots (for which they've been simultaneously praised and ridiculed). Kreator's new album, Hordes of Chaos, is a testament to their old lo-fi sound, while Exodus' 2008 release, Let There Be Blood, is a homage to 1985's Bonded by Blood. Sure, they've slowed down a bit; sure, there are more melodies now. And yeah, there are lots of throwaway metalcore parts, but the guitars still shred. While critics lament the death of guitar-oriented music, heavy-metal aficionados are looking back to their old idols and reasonable facsimiles of them. The reason fans are hypercritical of production value, vocals and stylistic changes is because they genuinely care about the music. Even Kreator and Exodus' harshest critics gotta admit that both bands have cranked out more than a handful of memorable tunes over the years. Accept no substitutions — these guys are the original thrashers. The Hordes of Chaos 2009 tour also includes Belphagor, Warbringer and Epicurean. The show begins at 7 p.m. at Peabody's (2045 E. 21st St., 216.776.9999, Tickets: $20 advance, $23 day of show. — Nick DeMarino


Jeff Beck

Along with turning American kids on to their own musical roots, the British Invasion provided a breeding ground for that most durable of rock deities: the guitar god. First in line for worship was the Yardbirds' Jeff Beck. Prior to the ascent of Jimi Hendrix or fellow Yardbirds alums Jimmy Page and Eric Clapton, the four-time Grammy winner and 2009 Rock Hall inductee was generating adulation by way of Yardbirds tracks like "Over Under Sideways Down." Beck's tricks of the guitar trade have been taken for granted ever since distortion, feedback and note-bending first jarred the ears of rock fans, via his sinewy, supercharged solos. And his prowess has always been laced with rebellious rock attitude — like taking on a blues tune with little apparent concern for imitating tradition but with gobs of enthusiasm for unbridled self-expression. Beck himself has proven quite durable, reincarnating periodically with the times — as a post-Yardbirds blues-rocker with a young Rod Stewart, partnering with fusion keyboardist Jan Hammer and even flirting with electronica. Most recently, Beck draws from all across his career on Performing This Week ... Live At Ronnie Scott's, now coupled with a just-out DVD. Davy Knowles opens at 8 p.m. at House of Blues (308 Euclid Ave., 216.523.2583, The show is sold out. — Duane Verh

Beck Café Open Mic

The Kid With the Hair in His Face, a.k.a. Jeremy Koteles, has cut an iconic figure in the Cleveland music scene for years. Immediately recognizable for the long shock of locks that hangs straight down the front of his face, Koteles has intermittently published the old-school Starvation Army 'zine since 2002. He says he took up promoting bands after paying club cover charges and learning that the people he came to hear weren't getting much of that (most of them were being paid in drinks). So now he promotes a diverse collection of local bands (the crashing and noisy Green Escalators, political rappers like D Roof and Vigatron, and the electro-acoustic group Audibel). He's also pushing an open-mic hosted by Tim Fry (who plays with psych-rockers the Formula) at the new Beck Café, an independent coffee shop operated by the Beck Center for the Arts. Koteles says folks from the Beck play the open-mic once in a while, but it's mostly a collection of java-shop denizens who fill the outings with singer-songwriter material, improv, poetry and other sonic experiments. It runs from 7-10 p.m. on the first and third Wednesdays of the month at the Beck Café (17823 Detroit Ave., Lakewood, 216.712.4746, It's free. Gill

The Bronx

Known for their thrashing live shows, the Bronx — who are from Los Angeles, not the New York City borough — have come a long way since their inception in 2002. The band's raucous third album was released late last year, bearing the same self-titled moniker as its previous two albums. The Bronx's hardcore punk-rock has shifted since its 2003 debut, even if the name of their albums remains the same (they plan to release El Bronx, a mariachi-themed record, later this year). The most recent addition to their catalogue is raw, heavy and ear-pounding, perhaps even more so than their second album, which came out in 2006. But singer Matt Caughthran offers an onslaught of witty lyrical turns and shouted, thoughtful choruses. Somehow, the sound's harshness is likeable and congruent with the band's intelligence. Trash Talk and This Moment in Black History open at 8 p.m. at the Grog Shop (2785 Euclid Heights Blvd., Cleveland Hts., 216.321.5588, Tickets: $8.

Emily Zemler

Rocco DeLuca and the Burden

The controversy that surrounds Rocco DeLuca and the Burden has nothing to do with their music. Based in the blues and filtered through an indie-rock perspective, the group's first two albums — 2006's I Trust You to Kill Me and the new Daniel Lanois-produced Mercy — exhibit the Americana verve of Ryan Adams, the spellbinding subtlety of Jeff Buckley, the rock swagger of Robert Plant and the Delta bite of Chris Whitley. Tongues began wagging after DeLuca signed to Ironworks, a microscopic indie label co-owned by Kiefer Sutherland, who took on the role of tour manager and was excoriated for touting the band. Geez, Kiefer, what were you thinking? Promoting a band you've invested in — whoever heard of such a thing? Give Rocco and the boys a listen so Kiefer won't be the only one talking them up. The Break and Repair Method open at 8:30 p.m. at the Beachland Ballroom (15711 Waterloo Rd., 216.383.1124, Tickets: $15. — Baker

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