Tag Archives: Dave Bloomquist

Accidental Reality

Rocket From the Tombs

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By Ed Staskus

  It was sometime during the Me Decade that I discovered I was poor as a church mouse. I owned lots of dog-eared books, some clothes, and a car I didn’t dare drive. I didn’t own an alarm clock. I didn’t have any money in the bank because I didn’t have a bank account. I was living at the Plaza Apartments on Prospect Ave., where the rent was more than reasonable. I got by doing odd jobs and taking advantage of opportunities, although I was far from being a capitalist.

   The Plaza was in a neighborhood called Upper Prospect. There were about thirty architecturally and historically significant buildings there, built between 1838 and 1929.  The Plaza was one of the buildings. Upper Prospect had long benefitted from Ohio’s first streetcar line that connected it to the downtown business district. Those days were long gone.

   In the 1870s Prospect Ave. advanced past Erie St., which is now E. 9th St., and kept going until it reached E. 55th St. That’s where it stopped. “Lower Prospect, closer into downtown, went commercial long ago, but Upper Prospect stayed residential longer,” says Bill Barrow, historian at the Michael Schwartz Library at Cleveland State University. Lower Prospect is where lots of downtown entertainment is now, including Rocket Arena, where the Cleveland Cavs follow the bouncing ball, and the House of Blues, where music fans have a ball.

   The Winton Hotel was built in 1916 on the far side of E. 9th St. It was nothing if not grand. It was renamed the Carter Hotel in 1931, suffered a major fire in the 1960s, but was renovated and renamed Carter Manor. I never set foot in it. The Ohio Bell Building went up in the 1920s before the Terminal Tower on Public Square was built.  When it was finished it became the tallest structure in the city. I never set foot in it, either. It was the building that Cleveland’s teenaged creators of Superman had the Man of Steel leap over in a single bound. The cartoon strip first appeared in their Glenville High School student newspaper, which was the Daily Planet.

   Before Superman ever got his nickname, the first Man of Steel was Doc Savage. There were dozens of the adventure books written by Lester Dent. When I was a child I read every one I could get my hands on. Doc Savage always saved the day. Nothing ever slowed him down, not kryptonite, not anything. 

   In the 1970s Prospect Ave. wasn’t a place where anybody wanted to raise children. Nobody even wanted to visit the place with their children in tow. The street was littered with trash, dive bars, hookers, and bookstores like the Blue Bijou. There was heroin in the shadows and plasma centers that opened first thing in the morning. The junkies knew all about needles and got paid in cash for their plasma donations.

   The Plaza was around 70 years old when I moved in. There was ivy on the brick walls and shade trees in the courtyard. There were day laborers, retirees, college students, latter day beatniks, scruffy hippies, artists, musicians, and some no-goods living there. “The people who lived in the building during my days there helped shaped my artistic and moral being,” Joanie Deveney said. “We drank and partied, but our endeavors were true, sincere, and full of learning.” Everybody called her Joan of Art.

   Not everybody was an artist or musician. “But anybody could try to be,” Rich Clark said. “We were bartenders and beauticians and bookstore clerks with something to say. There was an abiding respect for self-expression. We encouraged each other to try new things and people dabbled in different forms. Poets painted, painters made music, and musicians wrote fiction.”

   The avant-garage band Pere Ubu called it home. Their synch player Allen Ravenstine owned the building with his partner Dave Bloomquist. “I was a kid from the suburbs,” Allen said. “When we bought the building in the red-light district in 1969, we did everything from paint to carpentry. We tried to restore it unit by unit.”

   The restoration work went on during the day. The parties went on during the night. They went on long into the night. “I remember coming home at four in the morning,” Larry Collins said. “There would be people in the courtyard drinking beer and playing music. We watched the hookers and the customers play hide-and-seek with undercover vice cops. In the morning, I would wake up to see a huge line of locals waiting in line in front of the plasma center.”

   When I lived there, I attended Cleveland State University on and off, stayed fit by walking since my car was unfit, and hung around with my friends. Most of us didn’t have TV’s. We entertained ourselves. I worked for Minuteman whenever I absolutely had to. The jobs I got through them were the lowest-paying worse jobs on the face of the planet, but beggars can’t be choosers.

   I spent a couple of weeks on pest control, crawling into and out of tight spaces searching for rats, roaches, and termites. My job was to kill them with poison. The bugs ran and hid when they saw me coming. I tried to not breathe in the white mist. I spent a couple of days roofing, hoping to not fall off sloping elevated surfaces that were far hotter than the reported temperature of the day. The work was mostly unskilled, which suited me, but I got to hate high places. My land legs were what kept me upright. I didn’t want to fall off a roof and break either one of them

   I passed the day one summer day jack hammering, quitting near the end of my shift. I thought the jack hammer was trying to kill me. “If you don’t go back, don’t bother coming back here,” the Minuteman boss told me. “Take a hike, pal,” I said, walking out. I wasn’t worried about alienating the temporary labor agency. Somebody was always hiring somebody to do the dirty work.

   The Plaza was four stories tall and a basement below, a high and low world. Some of the residents were lazy as bags of baloney while others were hard-working. Some didn’t think farther ahead than their next breath while others thought life was a Lego world for the making. There was plenty in sight to catch one’s eye.

   “I had a basement apartment in the front,” Nancy Prudic said. “The junkies sat on the ledge and partied all night long. But the Plaza was a confluence of creative minds from many fields. It was our own little world. Besides artists, there were architects and urban planners.”

   Pete Laughner was a hard-working musician. He was from Bay Village, an upper middle class suburb west of Cleveland. He wrote songs, sang, and played guitar. He was “the single biggest catalyst in the birth of Cleveland’s alternative rock scene in the mid-1970s,” Richard Unterberger said. He led the bands Friction and Cinderella Backstreet. He co-founded Rocket from the Tombs. “They were a mutant papa to punk rock as well as spawning a number of famous and infamous talents, all packed into one band,” Dave Thomas said. After the Rockets crashed and burned, Pete teamed with Dave to form Pere Ubu.

   Dave Thomas was nicknamed the Crocus Behemoth because he was ornery and overweight. He went against the grain by occasionally performing in a suit. He was a tenor who sometimes sang and others times muttered, whistled, and barked.  “If nobody likes what you do, and nobody is ever going to like what you do, and you’ll never be seen by anyone, you do what you want to do,” he said. He commandeered the street in front of the Plaza for middle of the day open air concerts. “He never let the lack of any musical training get in his way,” said Tony Maimone, Pere Ubu’s bass player.

   Pere Ubu’s debut pay-to-get-in show was at the Viking Saloon in late 1975. Their flyer said, “New Year’s Eve at the Viking. Another Go-damn Night. Another year for me and you, another year with nothing to do.” Pete had a different take on it. “We’re pointing toward the music of the 80s.”

   When he wasn’t making his stand on a riser, Pete was writing about rock and roll for Creem, a new monthly music magazine which was as sincere and irreverent as his guitar playing. The magazine coined the term “punk rock” in 1971. “Creem nailed it in a way that nobody else did,” said Thurston Moore of Sonic Youth.

   Pete played with the Mr. Stress Blues Band in 1972 when he was 20 years old. They played every Friday and Saturday at the Brick Cottage. Mr. Stress called the squat building at Euclid Ave. and Ford Rd. the “Sick Brick.” When he did everybody called for another round. Monique, the one and only bartender, ran around like a madwoman. “The more you drink, the better we sound,” Mr. Stress said and picked up his mouth organ.

   The harmonica man was a TV repairman by day. The lanky Pete was in disrepair both day and night. He wasn’t a part-time anything. He wasn’t like other sidemen. His guitar playing was raw and jagged. While the band was doing one thing, he seemed to be doing another thing. 

   “He only ever had three guitar lessons,” his mother said. Pete was in bands by his mid-teens. “He was my boyfriend when we were 15,” Kathy Hudson said. “He still had his braces. He was with the Fifth Edition. They were playing at the Bay Way one time and he wanted them to bust up their equipment like The Who. The others weren’t down with it.”

   “He was so energetic and driven, but his energy couldn’t be regulated,” said Schmidt Horning, who played in the Akron band Chi Pig. “It could make it hard to play with him. He was so anxious and wouldn’t take a methodical approach.”

   Charlotte Pressler was the woman Pete married. “From 1968 to 1975 a small group of people were evolving styles of music that would, much later, come to be called ‘New Wave’. But the whole system of New Wave interconnections which made it possible for every second person on Manhattan’s Lower East Side to become a star did not exist in Cleveland,” she said. “There were no stars in Cleveland. Nobody cared what they were doing. If they did anything at all, they did it for themselves. They adapted to those conditions in different ways. Some are famous. Some are still struggling. One is dead, my Pete.”

   Not long before everything fell apart Pete stepped into a photo booth in the Cleveland Arcade, one of the earliest indoor shopping arcades in the United States. He was wearing a black leather jacket and looked exhausted. His eyes had the life of broken glass in them. He sent the pictures and a note to a friend. “Having a wonderful time. Hope you never find yourself here.”

   He played his kind of music at Pirate’s Cove in the Flats, along with Devo and the Dead Boys. “We’re trying to go beyond those bands like the James Gang and the Raspberries, drawing on the industrial energy here,” Pete said. He played at the Viking Saloon, not far from the Greyhound station, until it burned down in 1976. Dave Thomas was a bouncer there, keeping law and order more than just an idle threat. He wasn’t the Crocus Behemoth for nothing.

   “I’m drinking myself to death,” Pete wrote to a friend of his in 1976. “No band, no job, running out of friends. It’s easy, you start upon waking with Bloody Mary’s and beer, then progress through the afternoon to martinis, and finally cognac or Pernod. When I decided I wanted to quit I simply bought a lot of speed and took it and then drank only about a case of beer a day, until one day I woke up and knew something was wrong, very wrong. I couldn’t drink. I couldn’t eat. And then the pain started, slowly like a rat eating at my guts until I couldn’t stand it anymore and was admitted to the hospital.”

   The rat was pancreatitis. If you lose a shoe at midnight you’re drunk. Pete lost shoes like other people lost socks in the dryer. He didn’t need any shoes however, where he was going. It was the beginning of the end of him. It didn’t take long. He wouldn’t or couldn’t listen to his doctor’s orders. He went back to his old pal, which was booze.

   “Pete could do whatever he wanted to do,” said Tony Mamione. “He was instrumental in crafting the Pere Ubu sound, but, even at such an early age, had a deep understanding of all kinds of music.” Tony and Pete met when they lived across the hall from each other on the third floor of the Plaza Apartments. “I had just moved in and would play my bass and Pete heard it through the walls and knocked on my door. We started talking and he went back and grabbed his guitar and some beer, and we started jamming right away.”

  Pete was as good if not better on the piano than the guitar, even though the guitar was his tried and true. One day he found a serviceable piano at a bargain price and bought it. He and Tony picked it up to take back to the Plaza. “Here I was driving his green Chevy van down Cedar Ave. and there he was in the back of the van rocking out on the piano,” Tony said. “He was so special, a pure musician.” After they dragged, muscled, and coaxed the piano up to the third floor, they had some beers and the next jam session started.

   “I want to do for Cleveland what Brian Wilson did for California and Lou Reed did for New York,” Pete said in 1974. “I’m the guy between the Fender and the Gibson. I want a crowd that knows a little bit of the difference between the sky and the street. It’s all those kids out there standing at the bar, talking trash, waiting for an anthem.”

   They would have to wait for somebody else. Pete Laughner died in 1977 a month before his 25th birthday. He was one year younger than me when he met his maker. He didn’t die at the Plaza Apartments. Neither of us was there anymore. He died in his sleep at his parent’s home in Bay Village. There’s nowhere to fall when your back is against the wall, except maybe where you got up on your feet in the first place.

Ed Staskus posts monthly on 147 Stanley Street http://www.147stanleystreet.com, Made in Cleveland http://www.clevelandohiodaybook.com, Atlantic Canada http://www.redroadpei.com, and Lithuanian Journal http://www.lithuanianjournal.com. 

“Ebb Tide” by Ed Staskus

“A thriller in the Maritimes, magic realism, a double cross, and a memory.” Sam Winchell, Beyond Books

Available at Amazon: https://www.amazon.com/dp/B0CV9MRG55

Summer, 1989. A small town on Prince Edward Island. Mob money on the move gone missing. Two hired guns from Montreal. A peace officer working the back roads stands in the way.

A Crying of Lot 49 Publication

Accidental Reality

Animal Crackers

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By Ed Staskus

   Dave Bloomquist ran the show at the Plaza Apartments, trying to make it work on the near east side, on the fringe of downtown. The apartment building we called the house was on Prospect Ave., a $.25 fare on a rundown Cleveland Transportation System bus about five minutes from Public Square. The ghetto was uptown and all around us. Liquor, deadbeats, hookers, old cars, and  boarded-up windows were the order of the day. The house, however, was its own enclave.

   Dave was from Sandusky. “The town, which is sluggish and uninteresting, is something like an English watering-place out of season,” Charles Dickens wrote after visiting it. A hundred years later it was known for Cedar Point, an amusement park on a peninsula jutting out into Lake Erie. After high school Dave moved to Cleveland to study visual and fine arts at Cleveland State University.

   “Art held a natural attraction for me, and it was something I wanted to pursue,” he said. “My dad was an electrician. II helped him run wires and other simple tasks. I also worked during college, renovations, painting, things like that. After graduation, my business partner and I scraped together a down payment on the 48-unit Victorian-style Plaza. We decided to restore it ourselves.”

   Dave was always in in and around the building. Whenever anything went wrong, it didn’t take long to find him. He was the owner, superintendent, and maintenance man. If he wasn’t nearby, his ex-wife-to- be, Annie, tall and slim, her hair done up in braids, was right there cooking, cleaning, and taking care of their baby boy. Built in 1901 for middle-class residents, something was always making trouble at the Plaza.

   “We learned to sweat pipe, patch the roof, and fix windows,” Dave said. “We had to operate with just rent money. We couldn’t afford to call on anyone for help.”

   Back in the day Upper Prospect was the second most prestigious place to live in Cleveland, next to Millionaire’s Row on Euclid Ave. Prospect Ave. and Euclid Ave. were where to be, the smoking rooms of the city’s economic and social elite. Most of the homes on Prospect Ave. were brick two-story single-family houses in the Italianate style. The street was lined with elm trees.

   By the time I moved onto Prospect Ave., as the 1960s leaked into the 1970s, all the rich folks were long gone, and Dutch elm disease had killed most of the trees. It was killing most of the elms in all but two states east of the Missouri River. Those that hadn’t died were being sprayed with DDT or removed. The entry point for the bug was Northeast Ohio in 1929, on a train bringing in a shipment of elm veneer logs from France. The train stopped south of Cleveland to load up on coal and water. Not long afterwards elm trees along the railroad tracks started to die. The elm bark beetle doesn’t kill the tree, but the fungus it carries is deadly.

   There were rowhouses scattered among the single-family homes, which included the Prospect Ave. Rowhouses that Dave was throwing his eye on. He had more than enough work on his hands, but he was a no slouch go-getter. Preservation and restoration efforts on Upper Prospect were beginning to pick up steam.

   Before moving in I walked to Mecca Keys on Rockwell Ave. off East 9th St. and had a key for my apartment made. The Plaza was home to students, secretaries, both beatniks and hippies, machinists, artists, bikers, clerks, musicians, court reporters, dogsbody men, anarchists, and writers, some shaking and baking, others simply doing their best to keep the wolf away from the door. 

   “We were urban pioneers before the term was coined,” said Scott Krauss, a drummer for the art-rock band Pere Ubu. “Like the Jefferson Airplane and the Grateful Dead had their band houses, we had the Plaza.”

   “There were scores of wonderful community dinners, insipid and treacherous burglars,” Dave said years later when it was all over. “Innocence was lost. There were raucous outrageous parties. Families were formed and raised and there were tragic early deaths of close friends. But music, art, and life were in joyful abundance all the time.”

   There was plenty of old-fashioned seediness, too. “I remember coming home at four in the morning and there would still be people in the courtyard drinking beer and playing music,” said Larry Collins. “We would watch the hookers and their customers play hide-and-seek with the undercover vice cops.”

   One of the first friends I made there was Virginia Sustarsic. I had seen her around Dixon Hall up the street when I lived there before I moved to the Plaza. She was close to John McGraw, a trim bohemian who lived alone on the third floor, read obscure European poets, drank Jack Daniels from the bottle, and drove a 1950s windowless Chevy panel truck. It was a black panel truck.

   Virginia had interned at the Cleveland Press, worked on Cleveland State University’s’s student newspaper, and wrote for the school’s poetry magazine. Since she was settled in at the Plaza, was friendly, and worked for herself, she made friends easily, and I subsequently made friends at the Plaza by hanging around with her.

   She knew all about art. I didn’t know much about anything. When she showed me a reproduction of a Jackson Pollack painting, I thought, what a mess. When she showed me a picture of an American flag by Jasper Johns, I found a ragged old flag and thumbtacked it to the wall at the head of my bed. I thought I was being au courant.

   Virginia made candles, incense, and roach clips for a head shop on the near west side. The owner of the shop, Jamie, was a little older than us. He wore fake glasses to disguise a pear-shaped nose. He wore a red checked bandana and liked to go barefoot. He pulled up in a mid-60s VW T2 bus, Virginia delivered the goods, he would say he had a great idea for going someplace fun, as many people as could fit would pile into the Splittie, and he would drive to a park, a beach, or a grassy knoll somewhere.  

   Jamie always played The Who’s “Magic Bus” at least once every trip, there and back. “Thank you, driver, for getting me here, too much, Magic Bus, now I’ve got my Magic Bus.” The speakers were tinny, but the volume made up for it.

   We went to see “Woodstock” the movie at a drive-in, since none of us had gone to the music festival. Virginia’s roach clips came in handy. The Splittie’s back and middle seats could be pulled out. It was useful at drive-ins, backing the bus in to face the screen, some of us in the seats on the ground, others in the open rear of the bus, and Jamie with his gal on top of the VW, an umbrella at the ready. 

   Nobody wanted to be sitting behind Mike Cassidy, who was skinny enough, but had a massive head of long electrified red hair. Virginia got him a shower cap to keep his mop top under control, but he refused to wear it.

   Virginia was hooked on photography and showed me the ropes, letting me use her camera. When a photography contest was announced at Cleveland State University, she entered a picture she had taken in San Francisco. I entered a picture of Mr. Flood.

   Bob Flood lived on the second floor, like me. None of us knew what he did, exactly, although he wore a hat suggesting he was a locomotive engineer. Virginia thought he was a professor of some kind. Everybody called him Mr. Flood. Nobody knew why. He was a lanky careful man, sported a shaggy looking beard, was divorced, but had visitation rights to his two children, who came and played in his apartment on weekends.

   My picture was a portrait and Virginia’s a full-scale shot of two homeless men in San Francisco’s Golden Gate Park, passing a bottle of booze between them. The trees in the background disappeared into a triangle. After I won the blue ribbon, Virginia went to the Art Department and talked to one of the judges. She told him she had been trying to conjure the Pointillism of Georges Seurat.

   “Well,” he said. “The portrait and your picture were our top picks. But yours was kind of grainy.”

   “That was the whole point,” she groused. 

   Virginia’s best friend at the Plaza was Diane Straub. Diane had a straight job. She was a secretary downtown. She got up every morning, got on the bus, went to work, and came back at night. Monday through Friday she took care of her apartment and her cats. On weekends she got loose. She got dressed up as Bogie’s old lady.

   Bogie was Diane’s live-in boyfriend. He was fit and strong and always wore black, tip to toe. He had a Harley Davidson he kept in the back lot. Nobody ever tried to steal it, because everybody knew that would be a big mistake.

   He was one of the Animals, although he and the other Animals had been forced to go freelance. They used to have a clubhouse, its walls pockmarked with bullet holes, on Euclid Ave. in Willoughby, until the day the Willoughby police raided it. “The police couldn’t get anything on us, so they hot-wired the landlord to force us out,” one of the Animals, Gaby, told the Cleveland Press, which was the afternoon newspaper. “We never did anything worse than use the clubhouse walls for target practice.”

   Gaby knew full well there was more to the story. His biker clubmate Don Griswold had been arrested the day before for being involved in a shooting with members of Cleveland’s Hells Angels that left two dead. “The Angels were going to take care of me if the cops didn’t do it first,” he said. “Misery loves company.”

   The spring before my first full summer at the Plaza, Cleveland’s Breed and the Violators got into it at a motorcycle show at the Polish Women’s Hall southeast of the Flats. The 10‐minute riot with fists, clubs, knives, and chains left 5 men dead, 20 Injured, and 84 arrested. The dead were buried, the injured rushed to hospitals, and the arrested hauled away to the Central Police Station on Payne Ave. The Black Panthers were always demonstrating outside the front doors, but they had to make way that day. Armed guards were posted in the hallways of the station as a precaution. When the injured bikers recovered, they were arrested at the hospital’s exit door.

   Art Zaccone, headman of the Chosen Few, said the fight broke out because of trouble between the two groups going back to a rumble in Philadelphia two years earlier. The biker gangs didn’t ride on magic busses. They rode hogs. They made their own black magic. They had long memories and nursed never forgotten or forgiven grievances.

   After Bogie moved out, Diane took up with Igor, a math wizard. He was tall, had long wiry hair, and played air guitar. Even though he was egg-headed about numbers, he often looked like he was only half there. He was vivid but baffling.

   “We all thought he was tripping a lot,” Virginia said.

   I lived in a back apartment on the second floor, although I avoided the back stairs and porches. They were falling apart in their old age. Virginia lived in a courtyard-facing apartment on the same floor and an older Italian couple, Angeline and Charlie Beale, lived in the front. They always had their apartment door open. Charlie was short and stout, a retired mailman. He read newspapers and magazines all day long. Angie was short and stout, too. She stayed in the kitchen in a black slip cooking and drinking coffee from a Stone Age espresso machine. 

   They had an orange and green parrot. Whenever Angie spied Virginia walking by, she called out, “Oh, honey, come in, let me see if I can get him to talk to you.” She would coo and try to convince the bird to talk. He never did, even when she poked him with a stick. When she did, he whistled and squawked, sounding offended.

   “How long have you had that parrot?” Virginia asked, thinking they were still training him.

   “Oh, we’ve had him for sixteen years, honey.”

   Angie and Charlie went shopping for foodstuffs twice a week. They walked down Prospect Ave. to the Central Market. “They always started out together, but ended up a block or more apart,” Dave said. They both carried handmade cotton shopping bags, one in each hand.

   The Central Market was on E. 4th St., nearly two miles away by foot. The only people who went there were people who couldn’t get to the West Side Market. It was grimy and the roof leaked. “Some panels are out, and when it rains, we got to put plastic tarp down, which looks like hell,” said produce stall owner Tony LoSchiavo.

   “She always ended up walking twenty feet behind him,” Virginia said. “A couple of hours later, same thing, both of them their two bags full, he would be walking twenty feet ahead of her as they came back to the Plaza.”

   He waited at the front door, holding it open for her. She trudged up, he followed her, and the parrot every time said, “Welcome back!” when they stepped into their apartment. Angie returned with vegetables like asparagus and nuts like filberts for the thick billed brightly colored bird.

    Most of the tenants at the Plaza were on good terms with one another. Many of us were single and sought out company up and down the floors and down the hallways, especially in January and February when snow piled up unshovelled. We swung by unannounced and chewed the fat.

   “Friends would just drop in,” Virginia said. ”All the time.”

   One Siberian Sunday afternoon Mr. Flood’s children were visiting and went exploring in the basement. They found a Flexible Flyer. Their father bundled them up and carried the sled outside. When they got tired of pushing each other back and forth in the parking lot, they found a shovel and scooped snow onto the back stairs as far up as the first landing. They shoveled enough snow on the stairs to make a ramp and spent the rest of the day running across the landing, throwing themselves on the sled, racing down the ramp, and zooming across the icy lot.

   Mr. Flood and I watched them from the second-floor landing. “They’re up to snow good,” he said when they hit bottom, bumped upwards, and got some air under their sled. Mr. Flood was the kind of man who talked low, talked slow, and didn’t say too much. He wasn’t, for all that, above cracking a joke.

    “They’re on their own magic carpet ride,” I said.

   “Animal crackers!” the children whooped back at their father, living it up without a care in the world.

Ed Staskus posts monthly on 147 Stanley Street at http://www.147stanleystreet.com, Made in Cleveland http://www.clevelandohiodaybook.com, Down East http://www.redroadpei.com, and Lithuanian Journal http://www.lithuanianjournal.com. To get the site’s monthly feature in your in-box click on “Follow.”

“Bomb City” by Ed Staskus

“A police procedural when the Rust Belt was a mean street.” Sam Winchell, Beyond Books

Available on Amazon: https://www.amazon.com/dp/B0F1LM1WF9/ref=sr_1_1?crid=2MYAQAOZIC2U9&dib=eyJ2IjoiMSJ9.hTm7BGbiQbSe5ZapFwYPPfcwOpTe-Vdg6VLE4aGyTyk.Z0R-VNBWWEcvKcNaO9LdCOUnNIOOXgvYkRS_FXiXuHk&dib_tag=se&keywords=bomb+city+ed+status&qid=1742136726&sprefix=bomb+city+ed+staskus%2Caps%2C84&sr=8-1

Cleveland, Ohio 1975. The John Scalish Crime Family and Danny Greene’s Irish Mob are at war. Car bombs are the weapon of choice. Two police detectives are assigned to find the bomb makers. Nothing goes according to plan.

A Crying of Lot 49 Publication

Accidental Reality

Raise High the Roof Beam

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By Ed Staskus

   When I moved into the Plaza Apartments on Prospect Ave. at the intersection of E. 32nd St., which wasn’t even a street since the other end of it dead-ended into a parking lot, it was by accident, including a car accident and bumping into Arunas Petkus a few days later.  The car accident happened when a flash of sunshine distracted me. Bumping into Arunas was simply by chance.

   I was living at Dixon Hall up the street near E. 40th St. A decade after I moved out it was designated a legacy building and historic location but when I lived there it was a rat’s nest, full of students, day laborers, and deadbeats. It was a solid four-story stone and brick building that had gone to seed. 

   Hookers and boozehounds roamed Prospect Ave. in the evening after the blue collars and shop owners went home. The junkies stayed in the shadows, hapless and harmless, mumbling and nodding off. I avoided roughnecks on the prowl, who were hoping to stumble on a sucker. Nobody from the suburbs ever came day-tripping, much less set foot on Upper Prospect at night.

   My roommate Gary was ten years older than me and was drinking himself to death, day by day, from the bottom of his heart. I first met him the day before moving in with him, when I answered a worse for wear note on a bulletin board at Cleveland State University, a ten-minute walk away. He was stocky, bearded, and sullen, but I needed a cheap room, and his second bedroom was available.

   It wasn’t any great shakes of an apartment, which was a living room, walk-in kitchen, and two small bedrooms. There were more cockroaches than crumbs in the kitchen. The sofa and upholstered chairs were a flop. Gary kept cases of beer stacked up by the back door and his whiskey under lock and key.

   I didn’t know much about spirits except that all the grown-ups I knew, who were most of them Lithuanian, drank lots of it, some more than others. I didn’t know why Gary was going breakneck down the river, but he was and wasn’t in in any kind of shape anymore to do much more than sit around and drink.

   The day he told me he was going out to pick up his car was a surprise, since he was living on some kind of inheritance and almost never went out. I didn’t even know he knew how to drive. I was even more surprised when he asked me if I wanted to go along.

   “Where is it?” I asked.

   “Down by 36th and Payne,” he said.

   We could walk there since it was a sunny day. E. 36th and Payne Ave. was only about twenty minutes away by foot.

   “All right,” I said, which was my first mistake.

   His car was a 1963 VW Beetle with a new engine block and repainted a glossy lime. He paid cash in hundred dollar bills and we drove off, down E. 55th St. to the lake, up E. 72nd St. to St. Clair Ave., and back to Dixon Hall. When he pulled up to the curb, he asked me if I knew how to drive a standard shift.

   “Sure,” I said.

   “Do you want to try it?”

   “Sure,” I said, which was my second mistake.

   I didn’t get far, about a quarter mile. As we were approaching the intersection of E. 30th St. and Prospect Ave. a flash of sunshine glancing off the glossy yellow-green hood of the car distracted me. I turned my head to the left. That was my third and last mistake.

   I didn’t see the four-door sedan going through the red light to my right and never touched the brake. He smashed into the front fender of the VW, sending us spinning, and a car behind us smashed into our rear engine compartment. The opposed 4 engine made a last gasp and went dead.

   When we came to a stop the VW Beetle was finished and I was finished as Gary’s roommate. I was just barely able to talk him into giving me a week to scare up another roof over my head. The fall quarter at Cleveland State University was rolling along and winter wasn’t far away.

   I was playing beggar-my-neighbor with friends in the Stillwell Hall ground floor cafeteria when Arunas Petkus joined us, snagging a card game in his free time. He was Lithuanian like me. We had gone to St. Joe’s together, a Catholic high school on the east side, and he was an art major at Cleveland State University. He had a deft hand drawing and painting. He piped up when he heard about my predicament.

   “Try the Plaza,” he said. “There’s a one bedroom on the second floor that’s come open. Somebody I know moved out in the middle of the night.”

   The Plaza was just down the street from Dixon Hall. I had never paid much attention to it, but when I gave it a closer look, I liked what I saw. It was built in 1901 in an eclectic style, on a stone foundation, with some blocks of the same stone in the exterior, and facing of yellow brick in front and around the courtyard. Some of the brick was sprouting ivy. The top of the five stories was crenellated. It had a cool vibe when I walked around it, eyeballing the stamping ground.

   Dave Bloomquist and Allen Ravenstine, who was the synthesizer player for the Cleveland-based art-rock band Pere Ubu, owned and operated the building.

   “I grew up at the Plaza. It’s where I became an adult,” Allen said. “I was a kid from the suburbs. When we bought this building in 1969, we did everything from paint to carpentry. When it was first built, it had 24 apartments. When we bought it in a land contract, there were 48 apartments. We tried to restore it unit by unit.”

   I knocked on Dave Bloomquist’s door. His apartment was at the crown, in the front, facing north, looking out across Chinatown, Burke Lakefront Airport, and out to Lake Erie. When he answered the door, I don’t know what I expected, but what I got was a tall young man, maybe six and a half feet of him, a thick mop of black hair, and an old-school beard.

   “I’m here about the apartment on the second floor,” I said.

   He led me through the kitchen, down a hallway, and into an office full of books, records, a big desk, and sat me down in a beat-up leather armchair.

   I didn’t blanch when he told me what the rent was because it wasn’t much, but I didn’t have much. I could make the first month, maybe the second. I hemmed and hawed until he finally asked me if I was short.

   “More or less,” I said.

   “Would you be willing to work some of it off?”

   “Yes, you bet.”

   “Good, we can work that out. Do you play chess, by any chance? You look like you might.”

   “I know how to play,” I said, but didn’t say anything about my reading chess how-to books.

   “Great, do you want to play a game?”

   “Sure.”

   He had a nice board and played a nice game, but I finished him off in less than twenty moves.

   “Beginner’s luck,” I said.

   “After you’ve moved in stop by, we’ll talk more about some work for you, and play again,” he said.

   I went down the front steps, out the door, and sat down on what passed for a stoop. A young woman stuck her head out of a basement window behind me. I looked at her. She was a looker.

   “I haven’t seen you around here before,” she said. “Are you moving in?”

   “Yes, in the next couple of days.”

   “Do you have a car?”

   “No.”

   “That’s good,” she said. “I’ve lost two cars living here.”

   “That’s too bad.”

   “I love living here, but it drives me crazy at night,” she said. Her name was Nancy and she was studying art. She wanted to be a teacher. “The junkies sit right here on this ledge and party all night long. They never see anything happening, like my cars being stolen.” The dopeheads didn’t have the smarts to steal cars. The making off happened when bad guys came down Cedar Rd. looking for easy pickings.

   I moved in over the course of one day, since I didn’t have much other than my clothes, bedsheets, kitchen dishes, utensils, pots and pans, schoolbooks, and a dining room table and chairs my parents bought for me. I lived on pancakes, pasta, and peanut butter. The apartment wasn’t furnished, but whoever had left in a hurry left a queen bed, a dresser, and a livable sofa. 

   A man by the name of Bob Flood, who lived on the same second floor like me, but in the front, not the back like me, helped me carry the table and chairs up. He was dressed in denim, wore a denim cap, making him look like a railroad engineer, had a little shaggy beard and bright eyes, and was on the rangy side. He walked in a purposeful way, like an older man, even though he wasn’t an old man. Everybody called him Mr. Flood.

   I found out later he was divorced and had two children who visited him, but I never found out if he worked for a railroad or what he did, at least not for a fact. He was either at home for days on end or he wasn’t. I had worked at Penn Central’s Collinwood Yards the winter before as a fill-in, sometimes unloading railcar wheels, sometimes walking the yard with a pencil and waybill clipboard. I didn’t remember ever seeing him there.

   “What kind of people live here?” I asked him.

   “All kinds,” he said. “There are a lot of musicians, artists, writers, some students and even a couple of professors.”

   “It’s an energy house,” said Scott Krause, who was the drummer for Pere Ubu.

   “Not everybody’s in the arts,” Mr. Flood said. “There are beauticians, bartenders, and bookstore clerks, too.” 

   “If you want to stick your head out the window and sing an aria, someone might listen, and someone might even applaud,” said Rich Clark from his open window. Nobody had window air conditioners.

   I found out almost everybody was more younger than older, except for an Italian couple and their parrot. The parrot never sang or spoke outside the family, no matter how much the Italians coaxed and cajoled him. The bird was as stubborn as a mule.

   Once winter was done and spring was busting out, I was reading a book for fun in the courtyard when Arunas Petkus stepped up to the bench I was sprawled out on. He wanted to know if I wanted to go to California with him once classes at Cleveland State University were done for the summer.

   “All that tie dye is finished there,” I said. “Even the hippies say so.”

   “I thought we could visit Chocolate George’s grave.”

   “Who’s Chocolate George?”

   George Hendricks was a Hells Angel in the San Francisco chapter who was hit by a car while swerving around a stray cat one August afternoon in 1967 as the Summer of Love was winding down. He was thrown from his motorcycle and died later that night from his injuries. He was known as Chocolate George because he was rarely seen without a quart of his favorite beverage, which was chocolate milk.

   “He drank chocolate milk because he had an ulcer,” explained Mary Handa, a friend of his. “He spiked it with whiskey from time to time.” He scored nips of the booze all day long.

   George Hendricks was a strapping 34-year-old when he died. He was a favorite among the hippies in Haight-Ashbury because he was funny and friendly. Sometimes he sported a Russian fur hat, making him look like a Cossack. His mustache and goatee were almost as long as his long hair, he wore a pot-shaped helmet when riding his Harley, and his denim vest was sprinkled with an assortment of round tinny pin badges. One of the badges said, “Go Easy on Kesey.”

   The writer Ken Kesey had been the de facto head of the Merry Pranksters. Much of the hippie aesthetic traced back to them and their Magic Bus.

   “I bought a used car,” Arunas said.

   It was parked in the back next to the nerve-wracking back stairs. The stairs were sketchy. Going up and down them always felt like it might be the last time as they twitched and shook and seemed on the verge of yanking themselves off the brick façade. I avoided them whenever I could.

   The car was a two-door 1958 VW Karmann Ghia. “You know how the Beetle has got a machine-welded body with bolt-on fenders,” Arunas said.

   I didn’t know, but I nodded agreement keeping my distance from the car. It looked like a soul mate to the stairs. It was pock-marked with rust and seemed like it might fall apart any second.

   “Well, the Karmann Ghia’s body panels are butt-welded, hand-shaped, and smoothed with English pewter.”

   I didn’t know what any of that meant, either, but nodded again.

   “Does it drive?”

   “It got me here.”

   “From where?”

   He bought the VW at a used car lot on E. 78th and Carnegie Ave.. It was two or three miles away, on the Misery Mile of used car lots.

   “Where is Chocolate George buried, exactly?” I asked.

   “He’s not buried, not exactly,” Arunas said.

   Five days after his death more than two hundred bikers followed a hearse up and down San Francisco’s narrow streets, pausing and revving their engines at the Straight Theater, near where the accident happened. Two quarts of chocolate milk were perched next to the cold body in the back of the hearse. The funeral ceremony was performed at the Cypress Lawn Cemetery, Chocolate George was cremated, and his ashes scattered over Twin Peaks, which are in the center of the city.

   The funeral procession became a motorcycle cavalcade, roaring to Golden Gate Park where, joined by hundreds of hippies from Haight-Ashbury, a daylong wake erupted. Big Brother & the Holding Company and the Grateful Dead were the live music send-offs. There was dancing and psychedelic merrymaking.   

   “Sometimes the lights all shining on me, other times I can barely see, lately it occurs to me, what a long, strange trip it’s been,” Jerry Garcia sang in his mid-western twang. There was free beer courtesy of the Hells Angels and free food supplied by the Diggers.

   The Haight Street Diggers were said to be a “hippie philanthropic organization.” They used the streets of San Francisco for theater, gatherings, and walkabouts. The organization fed the flock that made the scene in the Panhandle with surplus vegetables from the Farmer’s Market and meat they routinely stole from local stores.

   Two months after Chocolate George’s funeral the Diggers announced “The Death of the Hippie” by tearing down the store sign of the Psychedelic Shop and secretly burying it in the middle of the night.

   “So, do you want to go?” Arunas asked, his hand on the hood of the Karmann Ghia.

   “Sure,” I said, short on memory and long on summertime.

Ed Staskus posts monthly on 147 Stanley Street http://www.147stanleystreet.com, Made in Cleveland http://www.clevelandohiodaybook.com, Atlantic Canada http://www.redroadpei.com, and Lithuanian Journal http://www.lithuanianjournal.com. 

“Cross Walk” by Ed Staskus

“Captures the vibe of mid-century NYC, from stickball in the streets to the Mob on the make.” Sam Winchell, Beyond Fiction

Available on Amazon: https://www.amazon.com/dp/B0CRPSFPKP

Late summer and early autumn. New York City, 1956. Jackson Pollack opens a can of worms. President Eisenhower on his way to the opening game of the World Series where a hit man waits in the wings. A Hell’s Kitchen private eye scares up the shadows.

A Crying of Lot 49 Publication