By Ed Staskus

   My father was a firm believer in the harder you work the better your station. He meant better car, better house, more money in the bank, and basically better everything. He was a refugee from Lithuania, getting out of Europe in 1949 with a duffel bag and twenty-five dollars in his pocket. By the time he got to Sudbury, Ontario he was down to five dollars, but found employment at a cement factory the next day. Even though I wasn’t sure the long march to better was better, I was barely 15 years old the summer of 1966 and not about to argue with him.

   When I came home from my last two-week Lithuanian boys and girls summer camp on Wasaga Beach I was immediately put to work. My father got a job for me on the chain gang of a landscaper who was redoing the grounds at Mt. Sinai Hospital. We trimmed trees, ripped out dead shrubs, replacing them with new ones, buried bulbs, and planted flowers.

   Mount Sinai Hospital began in 1892 as the Young Ladies’ Hebrew Association “caring for the needy and sick.” It opened as a hospital in 1903 on E. 32^nd St., catering to east side Jews, then moved to a bigger building on E. 105^th  St. in 1916. In time it became the healthcare provider to Cleveland’s urban poor.

   My number one thankless assignment was helping unload soggy clods of rolled-up sod and laying them down to make new lawns. That meant removing the old grass and some of the worn-out soil beneath it, preparing the ground with a bow rake, breaking up large chunks, laying the sod, neatening the edges, and finally watering it. Handling the hose was the easiest best part of the job. By the end of the first day, I was damp, dirty, tired, and underpaid. 

   I got a ride to work every morning from Val, a Lithuanian American like me home from college. He drove a 1960 Plymouth Valiant with push-button transmission shifters. There was no button for park, but there was a lever for it. Moving the lever to the end put the transmission into park and popped out whatever button was in gear. It was for laughs watching him smack the buttons from first to second to drive.

   We hopped on I-90 at E. 185^th St. and took the Liberty Blvd. exit, driving along the winding road through Rockefeller Park to the work site. The 200-acre park was given to the city by John D. Ruthless in 1897. Four stone bridges carried traffic and trains over the road, there was a lagoon for rowing, fishing, and ice skating at the end of it, and a couple dozen Cultural Gardens down the three-mile length of it.

   The gardens are a series of landscaped green spots honoring ethnic communities in Cleveland, set up from the south shore of Lake Erie to University Circle. The first one was the Shakespeare Garden in 1916, which later became the British Garden. The Cultural Garden League carved out the next one, the Hebrew Garden, in 1926. After that they were off to the races. In the next ten years 14 more gardens were created, including the Italian, Hungarian, and Lithuanian. The idea was to rave on the city’s immigrant groups, which at the time made up about a third of the population.

   In 1936 the city unified the gardens with bordered paths. Busts and statues were installed in many of them. The first One World Day took place in 1946. A parade of nationality floats and bands blaring old hometown tunes started downtown at Public Square, crept six miles along Euclid Ave. to the Cultural Gardens, where there were speeches and a ceremony. Afterwards there was food, souvenir stands, strolling around the gardens, hobnobbing, and dancing to more music. By the middle of the day it sounded like the Tower of Babel.

   We were listening to “Hanky Panky” by Tommy James and the Shondells on the car radio one Wednesday morning, curving down onto Liberty Blvd. on our way to work, when we were brought up short by a Jeep with a machine gun mounted on the back. It was blocking the road. There were more Jeeps scattered in the distance. “One of the Jeeps had a plastic lei hanging down from the .50 caliber gun,” said Wayne Baker, who lived in the St. Clair – Superior neighborhood. A line of cars was backing up and going the way they had come. Val pulled over to the side until a National Guardsman walked up to our car. 

   “Turn around fellas,” he said. “This road is going to be closed today, maybe the rest of the week.”

   “Why, what’s going on?” Val asked.

   “The niggers are raising hell, busting into stores, burning them down.”

   “What about the parade?” I asked. One World Day was scheduled for the weekend. My parents, brother, sister, and I always went. All my friends went. It was a big thing.

   “I don’t know about no parade, but there ain’t going to be one until things cool down.”

   The street fighting had started Monday when a black man walked into the white-owned Seventy-Niners Café at Hough Ave. and E. 79^th St. He asked for a glass of cold water to cool down. It had been a hot day in a long hot summer. The bartender said no, get the hell out of here. Somebody else posted a hand-written sign. It said “No water for niggers.” 

   One thing led to another and before long the Cleveland Police Department had a riot on its hands. The more policemen who showed up the bigger the mob got. By the next day there weren’t enough policemen in the city to handle the uproar. Mayor Ralph Locher asked Ohio Governor James Rhodes to send in the National Guard. They showed up through the night and deployed in the morning.

   Helen Provenzano’s father got a call early that morning that all the windows in his restaurant on E. 97^th St. and Euclid Ave. were broken and he should bring plywood pronto. The eatery was the family’s bread and butter. By the end of the day there was a run on sheets of plywood at hardware stores.

    “Why are you home so early,” my mother asked after Val dropped me off. “Did you do something wrong?”

   “No, the colored people did, there’s a riot going on and we couldn’t get to work,” I said.

   In the mid-1960s 60% of northern whites agreed that Negro students should be able to go to the same schools.70% agreed with residential integration. 80% agreed that they should be able to get the same jobs as white folks. 90% agreed that they should enjoy public transportation just like everybody else. 100% of Lithuanian Americans didn’t care what bus Negroes rode to whatever job, but the same 100% was opposed to colored kids in their schools and colored families moving into their neighborhoods. When the moving started was when the white flight started.

   My parents weren’t any different than any other Lithuanian I ever heard say anything about it. They hated Russians, disliked Jews, and looked down on Negroes. Their culture was one of religion, property, and community. They thought Negroes were bad Americans, slow-moving and shiftless, belonged to the wrong religion, and didn’t respect private property.

   Where we lived there were no Negroes, at all. I delivered the Cleveland Press afternoon newspaper door-to-door six days a week and collected money for it once a week. I knew the faces of who lived on our street of one hundred-some houses. There weren’t any black hands on my route handing me their payment of 50 cents and a tip if they wanted the rubber-banded paper to land securely on their front porch the following week.

   Our high school, St Joseph’s, was the same as my paper route. I might see a black face once in a blue moon, but not in any of my classes. They were the janitors. There were lots of big Catholic families in our neighborhood of North Collinwood, and they were a solid block of European stock.

   After Brown v. Board of Education of Topeka and the emerging Civil Rights movement, the times were slowly changing, but it was a bumpy change. Integration meant ill will and uproar. There had been a couple of incidents at Collinwood High School, a few miles southwest of us, the year before. “With the passage of each year, the western fringes of the Collinwood area are being occupied by the Negro overflow from Glenville,” according to the Cleveland Plain Dealer, which was the morning paper.

   The Five Points riot happened four years later. Four hundred white students and their parents milling around Collinwood High School in the morning started throwing rocks, smashing more than 50 windows. The 200 newly enfranchised Negro students attending the school fled to the third-floor cafeteria. When the mob stormed into the building the Negroes blocked the stairs to the third floor with tables and chairs, breaking off the legs to arm themselves. Cleveland police from the 3rd, 4^th and 5^th Districts poured in, forming a cordon to keep the whites from attacking the blacks who were boarding buses. 

   “Always be careful around them,” my mother said, meaning Negroes. “They might have a knife.”

   My mother and father believed Negroes went nuts at the drop of a hat. I took my parents at their word. It was always touch-and-go messing with their point-of-view. They survived three invasions while growing up in Lithuania, were in Germany during the convulsive last months of the Third Reich, emigrated to North America with just about nothing except willpower, and worked their way up to be devout Republicans in the New World. They were short-tempered about anybody questioning their beliefs.

   Once, goofing around, I said, “And in this corner, still undefeated, my mom and dad and their long-held beliefs.” That was a big mistake, especially since they were within earshot.

   Hough was a powder keg the summer of 1966. Downtown was white, University Circle to the east was white, and in the middle was Hough, which was black. The housing was substandard and overcrowded. The area stores were crappy and overcharged for their wares. The police were surly about who they were serving and protecting. When the race riot got rolling, there was rock throwing, looting, arson, and some gunfire. Four people were killed, all four of them Negroes. Two were caught in crossfires, one was killed by a white passerby while waiting at a bus stop, and one was shot by a Little Italy man who said it was self-defense. More than 30 were injured, close to 300 were arrested, and 240-some fires were set. There was an estimated $2 million in property damage. Many homes burned to the ground, most of them in Hough. 

   A friend of mine’s grandmother, born at the turn of the century in Lithuania, was upset and wanted to go home to “my own place,” which was her home on White Ave. north of Hough Ave. She was staying with the family in the meantime. The big houses all around her small house had all been made into boarding houses. They were overcrowded, but what could anybody do who was chronically short of hard cash?

   Real family income rose rapidly in the 1960s. From 1960 to 1970, median family income, adjusted for inflation, rose to $20,939 from $15,637. It did, at least, if you were white. It didn’t if you were black. It went the other way.

   “It is a stark reality that the black communities are becoming more and more economically depressed,” Bayard Rustin wrote in 1966. “There has been almost no change or change for the worse in the daily lives of most blacks,” Carmichael and Hamilton wrote in 1967. “Although it is true that the income of middle-class Negroes has risen somewhat, the income of the great mass of Negroes is declining,” Martin Duberman wrote in 1968.

   You can only do so much with less. It’s smooth sailing when there’s money in the piggybank. It’s a hard slog when the piggybank is starving. Living on bits and pieces is bitter and maddening.

   “The white man is reaping what he has sown. He is learning you can’t push people around. The trouble is here because the white man won’t treat the black man right,” the owner of a barber shop in Hough said. 

   A grand jury later concluded that the Communist Party, outside agitators, and black nationalists organized the uprising, but the finding was laughed off. No Communists had been seen in Cleveland for years and not even outside agitators nor black nationalists wanted to be caught dead in Hough, fearing for their health and safety.

   An angry crowd started a big fire at Cedar Ave. and E. 106th St. at the start of the weekend, burning down most of a block of stores, but that was the high and low point of the disturbance. Life in the ghetto returned to normal on Sunday and the next day merchants started reopening. The National Guard was released from duty. Val and I went back to work mid-week.

   From where we stood on the grounds of Mt. Sinai Hospital it looked like nothing had happened. But there were two Cleveland Police cars parked at the front, and one near the back, that whole week. There had always been police cars around the hospital, but those three stayed around the clock.

   Nobody talked much about the riot, except to say, “those spades are crazy.” My parents and their friends said, “it’s a damned shame about the parade.” Val and I shouldered on for another two-some weeks. When the project was done, we were sent out to Bratenahl, mowing lawns for the millionaires who lived in the east side village’s lakeside mansions.

   Our last day at Mt. Sinai, which was a Friday and payday, driving home on Liberty Blvd, the Cultural Gardens looking great in the summer sun, Val said, “Have you noticed there isn’t an African American garden?”

   “No,” I said.

   “They were some of the first immigrants, not that they wanted to come here, but still, you would think there would be a garden for them, especially since this is all in their neighborhood.”

   “I guess so,” I said.

    Val was five years older and much wiser than me. He was going to an east coast college, majoring in philosophy. He wore his hair long. Some Lithuanians called him a dirty hippie, even though he worked like a sharecropper.

   The idea of building a garden for Cleveland’s Negro community was brought up in 1961 by Cleveland councilman Leo Jackson. He proposed a “Negro Cultural Garden.”  The mayor supported the proposal, but it was voted down by his finance committee. In 1968 the idea came back, including a statue of Martin Luther King, Jr., who had been assassinated that year. Nothing came of the comeback until 1976, when Congressman Louis Stokes brought it to life again. Ground for the garden was broken and dedicated in 1977, but the project remained unfinished until 2016, almost forty years later, when it was finally finished.

   When we turned off Liberty Blvd., racing up the entrance ramp to I-90, Val punched the spunky Valiant’s push buttons through its gears, and we rode the current of rush hour traffic back to North Collinwood. The weekend was coming up. We were both ready as could be.

   “I’m glad to be going home,” I said.

   “You and me both, man,” Val said. “Shelter from the storm.”

Ed Staskus posts stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”

By Ed Staskus

   By 1984 many bands had strutted their stuff at the Richfield Coliseum. It was built for basketball and anything else that could be booked between games. Everybody called the venue the Palace on the Prairie. It was in Richfield, Ohio. The bands included Led Zeppelin in 1975, Bruce Springsteen and the E-Street Band in 1978, the Rolling Stones in 1981, and Queen in 1982. The Bee Gees drove girls to screaming, crying, and pleading in 1979.

   Frank Sinatra opened the place with a show in October 1974. “The crisscross of lights, mirroring the animation of 21,000 stylish people packed from floor to roof, transformed the gray amphitheater in the hills of Richfield Township into a huge first-night bouquet of green and blue,” is how The Cleveland Plain Dealer splashed Old Blue Eye’s show across its front page. We called him Slacksey because, no matter what, his slacks were always neatly pressed. Roger Daltrey gone solo closed the doors and shut off the lights for good in 1994. His show drew fewer than 5,000 fans. Nobody wrote a word about it or how he was dressed. Over the years there were might have been a thousand musical events at the Richfield Coliseum. 

   Vann Halen opened for Black Sabbath in 1978 and came back as headliners in 1984. When they did, they had to sit on their hands waiting for ice to melt. Walt Disney’s Magic Kingdom on Ice had just skated out of the building. When Van Halen came to town it was the one and only time I saw the band and the one and only time I went to a show at the Richfield Coliseum. 

   It wasn’t that I didn’t go to rock ‘n roll shows. It was that the few I went to were closer to home, like at the Allen Theater, the Agora, and Engineer’s Hall, where it was standing room only. There were no seats. Downtown was nearby but Richfield was a long way for my long-suffering car. Besides, I was by necessity a Scrooge. Big shows charged big bucks. First things came first, like food and shelter. 

   I saw the Doors at the Allen Theater in 1970, the Clash at the Agora in 1979, and the Dead Kennedys at Engineer’s Hall in 1983. The Dead Kennedys blew into town during a heat wave. The air conditioning at the Engineer’s Hall was non-existent and there were no windows. Everybody sweated up a storm and everybody stayed through the encore. Six years later the Brotherhood of Locomotive Engineers sold their building. It was demolished and replaced by a posh hotel. The Dead Kennedys never came back.

   The Doors opened their sold-out Friday night show in 1970 with ‘Roadhouse Blues’ followed by ‘Break on Through’ and ‘Backdoor Man’. They covered Bo Diddley’s ‘Who Do You Love?’ That was a surprise. “I walk 47 miles of barbed wire, I use a cobra snake for a necktie, I got a brand new house on the roadside, made from rattlesnake hide.” They sounded much better live than on carefully managed vinyl. They were more than worth the six dollars for my orchestra seat ticket. My girlfriend paid her own way. We had an even-steven relationship. Eli Radish, a local band, opened, and were funky and fun, but all through their set everybody was antsy waiting for Jim Morrison.

   “He worked the crowd with his staring sneers and sexy leather posing, witch doctor mumbling and slouching about,” said Jim Brite, who was in the crowd. “The lighting and sound were dramatic. The band was great, with extended solos and workmanlike professionalism, delivering the music behind the shaman. No one could take their eyes off Jim. It was one of the best concerts I ever saw and I’ll never forget it.”

   The Doors were banned in Miami for Jim Morrison’s obscene language and lewd behavior. He told the city fathers to call him the Lizard King. They had been banned from performing in Cincinnati and Dayton the year before. None of it mattered to the 3,000 of us filling every seat at the Allen Theater.

   “Jim Morrison swigged beer and smiled a lot between numbers,” Dick Wooten wrote in The Cleveland Press the nest day. “When he performs, he closes his eyes, cups his hand over his right ear, and clutches the mike. His voice is pleasant, but his style also involves shouts and screams that hammer your nervous system.”

   When it was over we whistled, roared, and clapped until the house lights came on. We were disappointed there was no encore. Everybody was getting to their feet when Jim Morrison suddenly came back on stage. “Somebody stole my leather jacket, he bellowed. “Thanks a lot Cleveland!” He flipped us the finger. Then he said, “Nobody leaves until I get it back!” Nobody knew what to do. A half-dozen rough-looking bikers jogged to the back of the hall and blocked the doors. When my girlfriend and I looked to the side for another way out, Jim Morrison had left the stage, but then a minute later came back.

   “Sorry, that was a mistake. I found my jacket.” 

   He said the band wanted to play some more songs to make up for the mistake, but that John Densmore’s hands were messed up. He was the group’s drummer. The beat couldn’t go on without a beat, except it could and did.

   “John their drummer was walking around backstage and holding up his hands which seemed bloody in the creases of his fingers,” said Skip Heil, the drummer for Eli Radish. “I felt all warmed up since we played before them, so I said I’ll do it. I wasn’t sure of the songs, but I thought they were simple shuffles.” 

   After two encores, and telling everybody how much he loved Cleveland, Jim Morrison accidentally locked himself in an old bathroom backstage. One of the band’s roadies said, “Stand back Jim.” He knocked the door down and set him free.

   The band toured non-stop after they left Cleveland. They had been touring non-stop for several years. Jim Morrison died in Paris of a heroin overdose the next year and the door shut forever on the band. It was a shame.

   The Richfield Coliseum was an arena in the middle of nowhere, halfway between Akron and Cleveland. It was built to be the home of the Cleveland Cavaliers, the local NBA team, although indoor soccer, indoor football, and hockey were played there, too. Larry Bird of the Boston Celtics said it was his favorite place to shoot hoops. He played his last pro game there. Muhammed Ali fought Chuck Wepner there in 1975. Dave Jones, Ali’s nutritionist, could never get the boxer to try soy burgers. He had to have his red meat. Chuck Wepner was his red meat that night. There were rodeos and monster trucks. There were high wire acts and hallelujah choruses. The WWF Survivor Series came and went and came back.

   I had a friend who had gotten free tickets to see Van Halen. Two other friends of ours went with us but had to fork over $10.75 apiece for the privilege. I didn’t know much about the band, except that they were no doubt about it loud as two or three jet engines, but free is free and since I had the free time I went. 

   The headbangers were from Pasadena California. They were Eddie Van Halen on guitar, Eddie’s brother Alex Van Halen on drums, Mike Anthony on bass, and David Lee Roth belting it out up front. Mike Anthony sang back-up while keeping the low pitch going.  

   “It wasn’t until the fourth or fifth Van Halen record that people would go, ‘Wow! You’re singing backgrounds on those records. We thought it was David Lee Roth doing that, too,’” the bass player said. “And I go, Hell, no! That’s not David Lee Roth.”

   The word among aficionado’s was that the band was “restoring hard rock to the forefront of the music scene,” whatever that meant. I was listening to lots of John Lee Hooker and the Balfa Brothers. The rock ‘n roll parade was largely passing me by. I didn’t have a clue who was at the front of the parade.

    Everybody I asked said Van Halen’s live shows were crazy energetic and Eddie Van Halen was a crazy virtuoso on the electric guitar. During the show he switched guitars right and left, but more-or-less stuck to a Stratocaster, except it wasn’t exactly a Stratocaster. Eddie Van Halen called it a Frankenstrat.

   “I wanted a Fender vibrato and a Stratocaster body style with a humbucker in it, and it did not exist,” he said. “People looked at me like I was crazy when I said that’s what I want. Where could I go to have someone make me one? Well, no one would, so I built one myself.” He wasn’t trying to find himself. He was creating himself.

   His homemade six-string was almost ten years old in 1984, made of odds and ends, a two-piece maple neck stuck onto a Stratocaster-style body. He used a chisel to gouge a hole in the body where he stuck a humbucking pickup taken out of a 1958 Gibson. He used black electrical tape to wrap up the loose ends and a can of red spray paint to get the look he wanted. When he met Kramer Guitar boss Dennis Berardi in 1982 Eddie showed him his Frankenstrat. It was his prize possession. 

   “We went up to his house and he got it out,” Dennis said. “It looked like something you’d throw in the garbage. That was his famous guitar.” 

   Van Halen released their first LP in 1978. By 1982 they had released four more LP’s. When they came to northeast Ohio they were one of the most successful rock acts of the day, if not the most successful. Their album “1984” sold 10 million copies and generated four hit singles. “Jump” jumped the charts to become a number one single.

   When the lights went down and the stage lights went up, the band took their spots. Eddie Van Halen wore tiger striped camo pants and a matching open jacket over no shirt. He wore a white bandana and his hair long. Mike Anthony wore a dark short-sleeved shirt and red pants. He wore his hair long, too. David Lee Roth wore a sleeveless vest, leather pants ripped and stitched every which way, and hula hoop bracelets on his wrists. He wore his hair even longer. Alex Van Halen wore a headband. The headband was all I could see of him behind his Wall of Drums. There were speakers galore stacked on top of each other on both sides of the drum set.

   When they launched into “Running with the Devil” Mike Anthony ran across the stage and slid on his knees playing the opening notes. David Lee Roth was a wild man, swinging a sword around like Zorro and doing acrobatics like the Olympian Kurt Thomas. He did Radio City Rockette kicks and jumped over the drum set while singing “Jump.” 

   Taylor Swift would have flipped out if she had been alive, but she wasn’t going to be alive for another five years. When she came into her own years later she got very good at strutting on stage, but she never jumped a drum set. The audience at the Palace on the Prairie was alive as they were ever going to be that night. David Lee Roth’s high flying got a standing ovation.

   In the middle of one song, David Lee Roth stopped singing. The band played on but slowly dropped out, one instrument at a time. “I say fuck the show, let’s all go across the street and get drunk,” he shouted into his handheld microphone. The crowd hooted, hollered, and cheered, forgetting for a moment they were in the middle of nowhere and the closest bar was miles away. 

   One of the best parts of the show was when Alex Van Halen and Mike Anthony did a long bass and drum duet. Eddie Van Halen did some good work on keyboards, doing the opener for “I’ll Wait.” He did his best work, however, on his guitars. He had a way of playing with two hands on the fretboard. He learned it from Jimmy Page of Led Zeppelin. 

   “I think I got the idea of tapping by watching him do his “Heartbreaker” solo back in 1971. He was doing a pull-off to an open string, and I thought wait a minute, open string and pull off? I can do that, but what if I use my finger as the nut and move it around? I just kind of took it and ran with it.” He filed for and got a patent for a device that attaches to the back of an electric guitar. It allows the musician to employ the tapping technique by playing the guitar like a piano with the face upward instead of forward.

   Most of us stayed in our seats during most of the show, only coming to our feet to applaud, but there was an undulating crowd squished like sardines at the front of the stage, where they stayed from beginning to end. They never left their feet. It was more than loud enough where we were up near the rafters. It had to be deafening if not mind-blowing being at the lip of the speakers.

   By the time the show ended Eddie Van Halen and David Lee Roth had long since stripped off their shirts. They came back for several encores and then the music was over. It took a half hour to shuffle out of the arena, a half hour to find our car, and another half hour to inch along the traffic jam the half mile to the highway. My sense hearing came back somewhere along I-271 on the way home.

   After the concert I went back to listening to the blues and zydeco. I didn’t rush out to buy any records by Van Halen. My cat and the neighbors, not to mention my peace and quiet roommate, would have complained about the noise. I tried explaining to my cat that one man’s noise was another man’s symphony, but he wasn’t having any of it. 

   Six years later, after the excitement of being pushed and pulled into existence had died down, when Taylor Swift was in her crib in the living room, she took a peek at a film clip on MTV of the 1984 Van Halen concert at the Richfield Coliseum. She went bananas over the sold-out crowd. She made a vow then and there that she would do the sure thing. She wasn’t going to invite 20,000 fans to hit the bottle. She was going to schmooze them into buying the bottle for her.

    The first thing she would do when she was ready to sing her way to stardom was head to Nashville. It would be a baby step, but she had her sights set. It was going to be the hillbilly highway first and then the superhighway. Her father was a stockbroker at Merrill Lynch and her mother was a marketing manager at an advertising agency. She already knew the way to the teller’s window at the bank. She was determined to be a rich girl when she was grown up. 

   She was sure as shooting not going to strum a Frankenstrat or bust out any freaky Mighty Mouse moves, with or without a sword, with or without a shirt, although her legs were fair game. They were shapely legs made for boots that were made for walking. She was going to belt out her break-up ballads and march her way to the front of the hit parade. She was going to blend Frank Sinatra’s pressed pants with some tried-and-true country, add a dash of spicy pop, mix in lots of love and heartache, and deliver it with catchy melodies. 

   Van Halen’s aim during their time at the top of the charts seemed to be to die of exhaustion rather than boredom. Their aim was true. Taylor Swift’s aim was different. She was going to the top of the charts but she wasn’t going to die of exhaustion getting there. She wasn’t going to take any chances, no matter how boring it might be.

Ed Staskus posts feature stories on 147 Stanley Street http://www.147stanleystreet.com and Cleveland Daybook http://www.clevelandohiodaybook.com. To get the site’s monthly feature in your in-box click on “Follow.”