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MARCH 9–15, 2016 I VOLUME 40 I NUMBER 10

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Confessions of a Former Vegetarian How I stopped worrying (sort of) and learned to eat meat again BY THOMAS CRONE

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“Well, I had one disc that I wanted to retrieve of my own, and while I’m already in here, I might as well look for everyone else’s. We’re trying to show that if you find a disc with a name and number on it, we’re gonna do our best to get it back to you, and hopefully you do the same. We’re all out here for the same reason: to have a good time. We all value our own property. Treat others as you want to be treated.”

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TABLE OF CONTENTS FEATURE

11.

Confessions of a Former Vegetarian

How I stopped worrying (sort of) and learned to eat meat again Written by

THOMAS CRONE Cover by

LINDA WA

NEWS

CULTURE

DINING

MUSIC

The Lede

Calendar

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

A Dispute in South City A family’s claims of police aggression blew up online -and then went bust

Film

Terence Malick’s Knight of Cups draws no praise from Robert Hunt

Stage

Paul Friswold reviews New Line’s smart, loud production of American Idiot

Galleries

Art on display in St. Louis this week

All in a Name

What the People Want

Cheryl Baehr checks in at Standard Brewing Company and finds some lofty ambitions

Freakwater broadens its sound on Scheherazade, its first new album in eleven years

Side Dish

Chef Ben McArthur of J. McArthur’s took a chance that changed his life

First Look

Balentine’s food is all over the map -- and that’s the goal, Sarah Fenske reports

Big Changes for the Hideaway

Like it or not, everyone’s favorite piano bar will be getting a new owner.

Homespun

The Walkman: Year / Oh Man EP

Out Every Night

The best concerts in St. Louis every night of the week

This Just In

This week’s new concert announcements

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NEWS

A Dispute Over a Traffic Stop in South St. Louis — and Online

n Sunday, February 28, a simple traffic stop in south St. Louis sparked a social media explosion. Complete with hashtags like #blackbabiesmatter, the Facebook statuses and tweets accused two St. Louis cops of training their guns on a helpless black family on the way to church. The officers were said to have shouted at a two-year-old boy while terrorizing the family. On Monday, one day later, protesters chanting “Black babies matter!” blocked the street outside the St. Louis police headquarters. But for St. Louis police chief Sam Dotson, there was no doubt. There was a video of the traffic stop. “The video shows that the officers were courteous, professional throughout the entire encounter,” Dotson proclaimed at a press conference the following Wednesday. “At no point did they draw their weapons or conduct themselves in anything that I would describe other than a professional manner.” But while the eight-minute video was vindication for Dotson, even with two camera angles recording the whole thing, it shows frustratingly little. A front-facing dashcam captures two officers stopping a light-colored sedan around 5 p.m., but the angle is pointed away from the sedan and barely keeps the action in frame. An officer can be seen resting his left hand on his belt as he approaches the car, speaks to the driver and takes some notes. His partner appears only briefly in the second angle, which is taken from a camera pointed at the patrol car’s backseat. After three minutes or so, the officer returns to his partner. The

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What happens when a dashcam shows most of an incident? Some family members aren’t mollified by the eight-minute video released by the SLMPD last week. | ERNEST R. PRIM /SHUTTERSTOCK in-car audio recorder preserves a brief conversation. “It’s like a family,” one officer says. “They’re saying they’re just going to church. I’m going to see the driver has a valid license.” The driver, a nineteen-year-old college student, did have a problem with his license. So, following an officer’s request, the driver switches spots with a passenger. Then the officers let them go. No tickets or citations are written. At his press conference, Dotson railed against the rumors that erupted on Twitter and Facebook. In fact, citing his investigators, Dotson said the people in the car had claimed the accusations didn’t start with them — they, too, blamed social media for spreading lies about what happened. The social media posts, he said, had “painted a false narrative about officers with guns drawn, pointing at infants, pointed at toddlers, engaging in a confrontational car stop, when this could not be further from the truth.” Yet doubts about the incident

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have continued to twist through social media. Although the individuals in the car during the traffic stop have made no public statements, other family members have charged that the footage was altered or shortened to protect the officers. They accuse Dotson of using flawed video evidence to delegitimize victims of police abuse. Dotson remains unfazed, even defiant. A string of tweets announcing the press conference and video release from the SLMPD’s official Twitter account quickly took a defensive turn, declaring, “The public expects transparency from us. We, in turn, expect transparency from the public.” The department’s final tweet on the matter struck a similarly awkward note: “The police department & the community must work together to make #STL a safer place to live, work and visit!” Melissa Bennett wasn’t in the car that was pulled over on February 28. In interviews, she describes herself as a family spokeswoman,

an aunt to the young children who, she insists, were traumatized by the officers. Several hours after the traffic stop, around 11:16 p.m., Bennett published the first known description of the incident on Facebook. “Tonight, the police pulled guns while my 2 year old nephew and 5 month old neice where [sic] in the car,” she wrote. “The police yelled at him, told him to get back, and told him not to move. The guns were pulled out the entire time.” The allegations spread quickly on Twitter, and the narrative was bolstered by statements from other self-identified family members. Supporters and activists zeroed in on the treatment of two-yearold Ethan. They claim the armed officers shouted “sit down” after the child began to wail. In an interview, Bennett says the police video proves nothing. She’s also angry at the Post-Dispatch for a headline saying that “Video refutes claims that St. Louis police held children at gunpoint.” “The video doesn’t refute

the area, we found an independent witness not related to the police department or the family that says this was a routine stop, there was nothing unusual about it.” But while Dotson considers the allegations debunked, he still wishes that he had better video evidence. “I would have liked this police car to be turned about three feet to the right, so you get a fuller picture,” he says. “The limitations of the technology didn’t allow that to happen in this case. But what I do know is that social media said the officers approached the car with their guns drawn. You can clearly see that the officers did not approach the cars with the guns drawn.” Dotson is clearly winning the public relations battle over this incident, but his victory does nothing to aid in the larger war for the hearts and minds of the city’s black community. Bennett says derisively that Dotson’s speed and enthusiasm — with just three days between traffic incident and press conference — haven’t been nearly so evident when it comes to repairing the longstanding problems in the St. Louis police department. This is the subtext of post-Ferguson America, and it’s the same tension that’s boiled beneath the St. Louis region since Michael Brown’s death in 2014. That was clear one day after Dotson’s press conference, during a Board of Aldermen committee hearing on public safety in which Dotson was presenting a status update on the department’s 90-day bodycam pilot program. At the meeting’s conclusion, alderman Chris Carter invited the chief to return at a later date to discuss how the department treats and promotes black police officers. But that wasn’t all. Carter pressed further. “As an African-American alderman that represents an African-American ward, I know that things in my ward, crime is rampant, and I know that’s not your fault. But the way we police these neighborhoods like mine, that is your fault,” Carter said. Dotson bristled. He asked Carter to provide an example or to cite data to prove his point. “We police every neighbored equally,” Dotson said. “I think it’s unfair that you make an allegation that we police a neighborhood differently than any other without facts.” — Danny Wicentowski

R GOS

anything because it doesn’t show anything,” she says. “The question that comes to my mind is, is this how we handle business in the city of St. Louis? Dotson gets on TV and now all of a sudden there are no charges, the officers did a good job? This is the fault of social media? No, this is the fault of what happened. If the encounter had not happened, there would not be social media around it.” On Monday, Bennett says, the family called the St. Louis police’s Internal Affairs division and arranged to meet with an officer two days later. But just two hours after that Wednesday meeting with Internal Affairs, the family watched Dotson on TV describing the traffic stop as “conversational and very professional.” Bennett was incensed. “We had practically been living in one house altogether for several days, and we didn’t even know what was going on, and then Dotson got on TV,” she recalls. “To say that people would fabricate that the policemen had guns in the presence of young children is ridiculous. The hell my family has been through, this was not something we would have ever done deliberately.” Dotson stated in his press conference that even the family blames social media for spreading false allegations. Bennett disputes that. It’s impossible to know what the people in the car actually feel at this point. The family itself is not speaking publicly. Their attorney, Denise Lieberman, declined to comment as well. (Dotson confirms that family members met with Internal Affairs on Wednesday, but says they have not filed a formal complaint. Questions about the family’s statements to investigators, he adds, should be directed to family members themselves.) Dotson tells the RFT he felt compelled to move quickly on the allegations. Officers pulling their guns on children during a traffic stop would be an “egregious act,” he says, and he felt obligated to investigate them as if a formal complaint had been filed. “Everybody thought they knew something,” he says. “Social media said something happened Sunday evening; we found the event that social media was talking about. I talked to the officers. They described it as routine, nothing unusual about it. In our canvass of

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GET YOUR IRISH UP! In 1858 the country was about to go to Hell and the Irish were going along for the ride. Local author Ken McGee has written the best novel about the Irish in Saint Louis before the Civil War, and he’ll fight any man who says different. It’s called, 1858: A Year in the Great City of Saint Louis, about a wild young boy and his even wilder sister trying to survive in America when life was a hard thing. Go to the web site www.modern-lit.com & read the first chapter for free. If you like it, buy a copy! Read it while you’re recovering from Saint Pat’s Day! It’s also on the Kindle for the skinflints among you.

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Piglets and a parent enjoying a day at Todd Geisert Farms. | KELLY GLUECK

Confessions of a Former Vegetarian

How I stopped worrying (sort of) and learned to eat meat again BY THOMAS CRONE

he strength of a seven-week-old piglet is real and, in all likelihood, a bit more intense than you’d guess. When you grab one, especially when it’s around some panicked contemporaries, the li’l animal’s going to buck and wriggle, it’s going to squeal in a high pitch that you’ve never quite heard before and it’s going to attempt to shake your grip through sheer force of will. A piglet, even one born as recently as the very last days of 2015, has a power that you don’t fully understand until you have couple dozen pounds of live Missouri pork dangling in your arms. A few weekends back, I was with Maddie Earnest, the co-owner of Local Harvest Grocery, in the middle of a pen full of piglets, each of them getting two vaccinations, exactingly given by Katie Geisert. The wife of the eponymous owner of Todd Geisert Farms, Katie Geisert sat on a bale of straw, a needle in each hand, tasked with a difficult job. Because of earlier cold weather, the shots were coming as a pair, rather than being spaced out over a couple of weeks. It was important to get the second vaccination done on this beautiful mid-winter morning, as the piglets were passing their sixth week of age; both shots were key inoculations during the first month-and-a-half of their lives, and two-thirds of what they’d need in total during their stay on this farm. Expertly, Geisert plunged each needle into the space just under the piglet’s front legs, a mostly-hairless, quarter-sized patch of taut skin. To do this properly, she needed a still pig, one that wasn’t going to flinch. “Hold it between your knees,” she said to me about three piglets into the experience, as one violently wrenched in my hands. “They’ll be a lot more stable that way.”

Sure enough, the piglet, writhing a moment before, let go a bit. Cinched between my knees, the animal relaxed a little; in essence, it was giving in to the inevitable, short-lived pain that was coming its way. And then the needle hit the skin. With the animal tightly pressed to (and controlled by) my own body, I could feel the transfer and shift of that energy immediately as the piglet began its super-squirms. Then the screaming began. Each piglet had roughly the same response in the same sequence: the intense capture, as they were grabbed by the back, or front haunches; the pull up, to secure them by the forelegs; the short carry to the vaccination station; the shots, followed by their near-human cries; and then the final step, a drop of the piglet over a low fence, which gave it access to a vast, acres-large field and its momma. “You can go ahead and put ‘em over,” an athletically-built college student/farmhand named Scooter told me. “As long as you don’t drop them on their head, they’ll be fine. They’re really tough.” And so Maddie and I spent part of a morning working in a halfdozen member crew, catching, carrying and flipping piglets, patiently moving 70-something piglets from one field through the process, and then double that many from a second field. At one point before we started the second group, someone mentioned that the herd of sows and piglets would be moving “like a tornado” as they approached the holding pen, shushed along by the rest of the crew. And, sure enough, that’s how it looked, the tiniest pigs flitting in and out of the way, running in a fast, frenzied, circular motion. Out of everything I saw that day, that’s the image that sticks. It was amusing to see that, really quite funny. Until, of course, that moment when you realize every animal in that field being treated so patiently is there for the purpose of being eaten. Continued on pg 12

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In March 1988, I took a bet from a fellow senior at Webster University, a writer for the campus newspaper about four years older than me and newly separated from an early marriage. Crushing hard, I would’ve done most anything she asked –- which, in this case, meant agreeing when she proposed we both go vegetarian. My acquiescence came with the caveat that I’d need to see something to convince me. That afternoon, my family’s German shepherd tore into a rabbit it had caught in our backyard; as omens go, it was enough to put me on a twenty-year-plus vegetarian streak. If a crush, a dog and a rabbit conspired to make me a vegetarian, a neighbor, a house party’s grill and a backyard full of Tibetan monks won me back to a meat-eating life last summer. Tibetan monks can and do eat meat; while some are vegetarian, others are as happy to eat a hot dog as a pad of tofu. During their visit to St. Louis, our neighbor, a grill wiz named Tabari Coleman, prepped so many pork steaks that a bag went into the fridge filled with five of them. By the first day looking at the steaks, I realized that the pigs in that baggie had been raised, harvested, butchered, packed, shipped and cooked. They weren’t coming back. And with the monks still kicking around town, I enjoyed five straight pork steak lunches. Pork steaks, by the by, are damned delicious. My fall wasn’t quite so precipitous; I’d been thinking about returning to meat for quite some time. In late 2014, I’d pitched a project to my editor at Feast (who is now, perhaps not so coincidentally, my editor at the RFT). I’d thought that perhaps I could eat meat again, but, mindful of the act of killing, I only wanted to eat meat that I’d personally had a hand in slaughtering. It felt like a way of acknowledging how serious these choices are. My first act in the “Ax to Table” series, as we dubbed it, was an illfated rifle experience, in which I scattered buckshot all over a shooting range, under the watchful eye of musician and civic agitator Jesse Irwin. While I later managed to kill some chickens, I winced on the rabbit challenge, suffered an emo-filled breakdown on the pig harvest and caught some fish, though they were riddled with

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In the writer’s “Ax to Table” series, he participated in the slaughter of this rabbit. | THOMAS CRONE worms. By summer, I’d only killed that pair of chickens, those wormy catfish and some crawfish. The idea of being a do-it-yourself carnivore was a good conceit for a series. And for life. But I wasn’t able to execute the ideas in the field (blame nerves, lack of skill, lack of a killer instinct). And since I was dependent on the kindness of acquaintances with pig farms, or rabbit hutches, my options were limited, with offers coming in only to fold as swiftly and certainly as cheap tents. Part of the problem, surely, was that I didn’t have the stomach to do the slaughtering – but an even bigger problem may have been that, like most city dwellers, I just didn’t have the resources to do it consistently, either. But once I’d tasted some meat – in the form of chicken offals, of all things – I knew that I’d created a problem. I wanted meat in my diet.

Wanted it a little more all the time. And there was no way to explain that to friends and family, many of whom were also vegetarian. There’s a stigma to changing, especially when you’ve read all about modern farming. I am, after all, well-acquainted with the omnivore’s dilemma. The intensity of water usage for raising animals instead of crops. The conditions of factory farms. The hidden costs of transporting meats, even if raised free-range and organic. And then there was the whole killing thing. I didn’t have the right stuff to do it; was it wrong to still indulge in the fruits of someone else’s slaughter? We all come to the decisions of life differently. Talking about the commonalities and variants of these choices are what make us real. Continued on pg 14

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CONFESSIONS Continued from pg 12 Maddie Earnest had a perfectly good reason to begin eating meat again after living as a vegetarian her entire adult life: She sells it, professionally. With Patrick Horine, she founded Tower Grove’s Local Harvest Grocery, a store dedicated to selling meats brought to market with dignity and compassion, but also taste and nutrition. As we drove to Geisert’s farm with my partner, who works in marketing and events for Baileys’ Restaurants, we chatted about Earnest’s transition to eating meat, knowing that her job calls for more than a passing bit of knowledge on the subject. As she tells it, she reintroduced meat into her diet soon after her son’s arrival. Ten weeks, or maybe a few months, after being pregnant, she says, “I felt like my body was falling apart. I’ve done a lot of research on things like Omega Threes in your body, the healthy benefits of meat, and that’s research I’d been doing over years. I mainly started with fish, sardines. I just felt like my body was craving it, so I gave into it.” But she was uniquely positioned to make sure she was doing it with an eye toward ethics and humane practices. The farmers she worked with at Local Harvest, she recalls, “answered every single question I had. These farmers were caring, not causing environmental damage and were producing in a way that benefitted the land. It really came down to whether I wanted to eat the animal. And I guess it came down to ‘Yes, I do.’ “Some days, you become used to the idea of eating another being. You’re biting into it! And some days, it grosses you out at the same time.” For a lot of folks, vegetarianism comes from a time of intense study, whether that’s regarding your own health or place in the world. Maybe, it comes from that gift of a Michael Pollan book, or a desire to shed a few pounds naturally. The knock, always heard by vegetarians, is that you’re riding a trend, like the college kid who gets really into the Grateful Dead for a couple of semesters. In reality, there are plenty of reasons for making the change to a vegan or vegetarian lifestyle; there are just as many for going the other direction. And many people do try it, only to quit. According to the Humane Research Council, “There are more than five times as many former 14

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Maddie Earnest, the co-founder of Local Harvest Grocery, resumed eating meat after years as a vegetarian. | MABEL SUEN

“Some days, you become used to the idea of eating another being. You’re biting into it! And some days, it grosses you out at the same time.” vegetarians/vegans than there are current vegetarians/vegans.” An extensive study by the group found that 84 percent of herbivores ultimately abandon their diet. In the U.S. population as a whole, they suggest there are 24 million former vegetarians/vegans and less 5 million current vegetarians/vegans – that’s about two percent of the population. Earnest says, “There’s no science behind what I’m saying that I know of, but it’s my opinion that at different points in your life, your body seems to need different things. My in-laws became vegan a couple of years ago. It’s a wonderful life change and it’s doing a lot of great things for their lives. At this point, they have a lots of time to

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cook. They make everything from scratch. It works for them now. I wouldn’t doubt there’s a time in my life to cut down on meat again. I’m just not as fixed in my thinking as I used to be.” Earnest is quick to note that she has access to good meat, the best stuff you can find around this region, really. And her access is second to none, having co-written the book Missouri Harvest: A Guide to Growers and Producers in the Show-Me State. Still, she says, coming to terms with the ethics of food production can be “a struggle, an experiment.” “How lucky am I that this is what I get to think about?” she asks. “Are you kidding me? Most people don’t get a choice of three things to eat. I have a constant abundance.” She adds, “Something I’d like to do more with cooking is using meat as a condiment, using it as flavoring, so that you can still get a lot of the benefit.” But that isn’t logistically as simple as it sounds: “When you buy it frozen, you might thaw out a pound of pork and have so long to use it. As a condiment, I haven’t exactly figured that out, yet. But I like the idea. And I very much support the idea of people paying more for good, quality meat, but eating a lot less of it.” I’d been a Judgey Judgerson, myself. I specifically remember Earnest telling me that she’d

transitioned to eating bison and beef, regionally-raised and grassfed, and took it as a punch to the gut. As a vegetarian, news that a friend’s “turned” is always a bit upsetting and personal, despite not really being any of your business. I found out that the flipside is true, too, as people you’ve known forever look shocked as you order a tri-tip sandwich at the Shaved Duck or a chicken liver báhn mi at Byrd & Barrel. It’s funny, as friends have even tried to argue against my new idea, wondering how someone could lose his way this late in life, even as they rip into their own duck taco. I wondered that myself in 2016. Leaving Geisert’s farm on that Saturday morning, I again forgot about the most basic elements of the farm-to-table experience. Even though the hundreds of pigs at Geisert are moved through the process in a way unheard of at factory farms, it’s not as if Earnest and I were heading there to select and harvest a pig on our own. We weren’t going to shoot one and butcher it on site. We weren’t going to sit down and dine with the farm crew. We weren’t going to walk out of there with, let’s say, a raw ribcage or leg in a styrofoam cooler of ice. Instead, we were there to tackle a couple of very, very basic steps in

Happy St. Patrick’s Day!

A living thing — or someone’s future dinner? | KELLY GLUECK the process. And after that, we’d get to buy some goods from the roadside display cases out front. But first came the work. On that Saturday morning, twenty pigs were going to be pulled from the biggest of the pig lots. Each animal was going to go through a pen, with females ready for their next round of mating getting a bright orange checkmark on their backs. They had a reprieve. It was the males, on this morning, who were the targets. Twenty of them were going to be hustled into one particular chute, where they’d be funneled in a holding pen until Monday morning. And then, on Monday, they’d be slaughtered. Holding large wooden boards, we chirped at the herd and formed something of a solid wall, forcing the animals into a single direction –- or at least that was idea, broken by the occasional, individualistic, extremely willful pig. When our work was done with the Group of Twenty, the pigs were lying around that holding pen in no particular order. Some crashed out on hay bales. Others poked around the fence line. A few bantered with us, or each other. None of them, of course, had the mental capacity to realize they were heading to the butcher on Monday, or that three of them would make their way to the kitchen of the Rooster Savory Commissary, a sixteen-person operation in the back of the second, larger iteration of the Baileys’ Restaurants’ Rooster concept, on South Grand. I joined them on Wednesday. There, only a few days after lolling around that holding pen on Geisert’s farm, the pigs were being literally broken down into sections by commissary lead cook Jeff Schembri: bellies, tenderloins, loins, shanks for osso bucco. Some

“How am I going to be OK with this? First, everything dies. The death that I’m offering is as quick and painless as these things can be.” would be served on-site, while more would be sent off from this kitchen to the other Baileys’ restaurants around the city. My moment of almost-dumbstruck awe (those Washington County pigs were these St. Louis City cuts of meat) wasn’t laughed away by Baileys’ executive chef, Stephen Trouvere. For Trouvere, the “aha” moment came early in his career, while working with a primitive animal indeed: the lobster. Potting them in boiling water, “I realized the discomfort was very personal in those moments,” he said. “How am I going to be OK with this? First, everything dies. The death that I’m offering is as quick and painless as these things can be. If I’m going to kill it, I thank it first, as a willing agent in this exchange.” While we conversed about his theories on meat production and usage, he cooked for me. My part of the process was passive: buying a four-pack of pork burgers and a pound of bacon from Geisert’s stand. From there, Trouvere fired

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CONFESSIONS Continued from pg 15 up a large oven in the commissary and proceeded to slowly make me a fairly delicious pork burger, dropping on a third slice of bacon “because, why not?” Trouvere said that working for Baileys, which employs meats from farms such as Geisert’s and Rain Crow Ranch, is essential to him having the stomach, so to speak, to work in the profession. He suggested that most of the applications he receives come from people who want to work with food that’s as

local, organic and low-impact-increation as possible. That goes for plants, grains, meats. With Geisert’s hogs being ground, sliced, chopped and diced nearby, Trouvere said that you don’t consider “the process of death until you see it in the anatomy. Being able to reconcile it all is part of a human, intelligent process. I’m comfortable with buying from someone like Todd; it’s far-and-away better than buying from Hormel. And I don’t have enough data to answer whether or not guests are informed about our practices. But my hunch is ‘yes.’”

Once, maybe twice a week, my partner and I while away an hour of lunch at the Mud House. The cafe and coffeeshop on the eastern, antique-y end of Cherokee Street has become a go-to place for fresh sandwiches and artisan coffee, especially on the weekends, when the line wraps onto neighboring Illinois. It’s got something of a serious foodie vibe, but not at the expense of a bit of whimsy; witness a bathroom decorated, floor to ceiling, in vintage game boards, or the small shrine that sells the antique of the week.

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The kitchen, partially exposed, is staffed by a good number of musicians and a larger number of personalities, which is proven by some of the conversations that spill out from that bustling back room. Overseeing the madness of a Saturday or Sunday lunch rush is Tara Lansangan. A million years ago, we worked together at a martini bar called Pablo’s, where she cooked in a micro-kitchen that doubled as the walk-through to the patio. After an experience like that, she could be forgiven for never wanting to cook again. Luckily, Lansangan’s no quitter, and she and her crew are killing it at the Mud House. On a regular basis, a small truck bearing the likeness of Todd Geisert rolls down Cherokee from Jefferson. Arriving at the Mud House, out jumps the man himself, delivering some of the pork that the Mud House uses, though not exclusively. Like any business, even one that wishes to source as locally and healthily as possible, finances enter the equation, and Geisert isn’t cheap, so other farms fill in the balance of their needs. “I started using Todd Geisert’s products about three years ago when I came to the Mud House,” she says. “We use his ham, bacon sausage and pork shoulder on a regular basis and some of his other offerings occasionally on specials. The great thing is having an ongoing relationship with the person who sees the whole process though: from raising the animals, processing them, to personally delivering our orders every week. He’s a very busy guy, but he genuinely cares about his customers; he even texts me if I forget to order!” Knowing some of his go-to jokes and quips by heart, Lansangan adds, “He’s affable and really seems to love what he does, which certainly shows in the quality and taste of the final product. It’s important to me as a chef that the meat on my menu is local, raised on an actual farm, not in a factory, and is antibiotic- free. We are very lucky to have him close by.” In my world, brunches at Mud House suddenly include more options. For a year straight, I had ordered the Mud Slinger, a beansand-potatoes-and-eggs concoction that can energize you for a whole day. Putting that in your system is akin to fueling up; it feels good to finish a meal with those ingredients and the evident care put into it. Lately, though, the Mud Slinger’s forgotten, kicked to the Cherokee curb by the club sandwich. I did not

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“Everything dies,” says chef Stephen Trouvere, a thought that is both sobering and comforting. | KELLY GLUECK remember turkey being this good; on this sandwich it’s nothing like the processed birds I vaguely recall eating in the 1970s and ‘80s. While Trouvere may thank the animal products he uses before putting them under the knife, myself, I forget. Already, I’m become assumptive. I’m still in the honeymoon phase of eating any animal that comes across my favorite menus, but it already feels like second nature. There’s no small amount of self-trickery involved in this. A year back, having tasted nothing more than chicken, I figured that I’d eat meat, but only the self-harvested kind. Unrealistic, that choice; so then came a bit of ethically-grown meat, free of hormones and cages. What inevitably follows is a random sandwich at a friend’s house or a knee-buckling trip to a Blues City Deli. Then, there’s a quick buy at the market. A “why not?” order at an old favorite. Next, you’re dreaming of a plastic package of corporate bologna, “just to see if I remember the taste from 1976.” The slope becomes slippery and the choices become more varied and ethically challenging. I’ve been regularly experiencing meals that open my eyes, even as they blow my mind. The club sandwich that stands out alongside the Mud House’s is that of Union

Loafers. That was a stupendous, eyes-closed type of meal. My first steak came from Retreat, the new gastropub on the edge of the Central West End; far from the enormous, plate-sized half-cows served by chain steak shops, this steak was a half-dozen cuts of little perfection, causing me to nearly weep to my server. And the Cuban! Oh, the Cuban sandwich. This is something I didn’t know I missed, which I now do daily, having enjoyed a phonebook-thick version at the Schlafly Tap Room one recent weekend night. Game. Changed. My meat bender’s not going to slow soon, and an experience in February drove that point home. I found myself invited to a Sunday night crab-and-crawfish boil, with the critters fetched from the nearby and uber-funky Universal Market on South Broadway. Over a door-turned-table at the home of a popular south-city alderman, a group of about twenty folks intermittently cracked and scooped shellfish over opened newspapers, drinking wine or Stags, talking about anything but politics. The afternoon stretched past sundown and as folks headed out into the snow, others arrived. They call this kind of thing a dinner party. It was solid, inviting, warm. Death on the table, much life all around it. n

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CALENDAR

WEEK OF MARCH 9-15

St. Patrick’s Day is upon us. ANDREA TSURUMI

THURSDAY 0310 The Women In the rarefied Manhattan social scene circa 1936, women and men don’t socialize together. And so in Clare Boothe Luce’s comedy of manners The Women, women make up the entirety of the cast. That doesn’t mean men don’t play a role. Mary, an upper-middle class mother of two, fears she’s losing her husband to a younger (and lower-class) gold-digger, but her friends offer little sympathy. Instead they hurl smiling insults and offer catty advice about what it takes to be the ideal woman. Clayton Community Theatre presents The Women at 8 p.m. Thursday through Saturday and at 2 p.m. Sunday (March 10 through 20) at the Washington University South Campus Theater (6501 Clayton Road, Richmond Heights; 314-721-9228 or www. placeseveryone.org). Tickets are $15 to $20.

FRIDAY 0311 Dear Future Husband When the Supreme Court affirmed the legality of same sex marriage, the world became a love song for one day. The Gateway Men’s Chorus celebrates the long and ultimately victorious fight for marriage equality in its spring concert, Dear Future Husband. This show about love and justice features songs from the struggle to get to where we are now, as well as songs that honor the people who led the way. Performances take place at 8 p.m. Friday and Saturday (March 12 and 13) at the Sun Theatre (3625 Grandel Square; www.gmcstl.org). Tickets are $15 to $25.

Molly’s Hammer During the long slog of the Cold War, the threat of nuclear annihilation bubbled under the surface of everyday life. It was in the papers, in films and in our schools. For Pittsburgh housewife Molly Rush, the fear of a prison sentence was nothing compared to the fear that her children would grow up in a perpetual nuclear winter. So she decided to do something about it. Working with like-minded group of anti-nuke activists the Plowshares Eight, Molly decides to take the protest to the warheads and risk everything. Her husband and siblings think she has a duty to her family. But what about her conscience? Tammy Ryan’s drama Molly’s Hammer is based on the true story of the day the Plowshares Eight attacked the bombs with hammers. The Repertory Theatre of Saint

BY PAUL FRISWOLD Louis presents Molly’s Hammer Tuesday through Sunday (March 9 to 27) in the studio theater at the Loretto-Hilton Center (130 Edgar Road; 314-968-4925 or www.repstl. org). Tickets are $50 to $60.

SATURDAY 0312 St. Patrick’s Day Parade It’s the Saturday before St. Patrick’s Day, and you know what that means: The St. Patrick’s Day Parade steps off at noon today at Aloe Plaza (Twentieth and Market streets; www.irishparade.org). More than 5,000 people march in 120 units to commemorate not just St. Patrick, but also the Easter Rising Centenary. On Easter Monriverfronttimes.com

day in 1916, Irish nationalists proclaimed the formation of a free and independent Irish republic. They were imprisoned and killed by the British government, but their activism was the spark that lit the flame of Irish independence during the 1918 elections. Keep them in mind when you’re enjoying your beer and brats along the parade route, which continues to Broadway and Clark Avenue. Kiener Plaza hosts the Irish village, with more food, souvenirs and live entertainment all day long.

Snake Day What do you do after the parade? The various establishments in Ballpark Village (601 Clark Avenue; www.stlballparkvillage. com) offer a wealth of options.

MARCH 9-15, 2016

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CALENDAR Continued from pg 19 go out for a minute and, when they come back on, Edgar’s body is gone. What’s going on here? Jack Sharkey’s mystery spoof The Murder Room highlights the dangers of spooky houses with hidden rooms, unexpected guests and poison. The Kirkwood Theatre Guild performs the comedy at 8 p.m. Thursday through Saturday and 2 p.m. Sunday (March 11 to 20) at the Robert G. Reim Theater (111 South Geyer Road, Kirkwood; 314-821-9956 or www.ktg-onstage.org). Tickets are $20.

WEDNESDAY 0316 If/Then If life is a series of choices we make, then what happens to all the people and options we don’t choose? Brian Yorkey and Tom Kitt explore one woman’s decisions in their new musical If/ Then. Elizabeth returns to New York after a failed marriage to start over. She meets an old friend from college (Lucas) and makes a new friend (Kate), but must choose which one to spend the day with. That decision is seemingly inconsequential, but it sets her off on two diverging paths -- and we follow both. In one life she’s more interested in fostering a relationship; in the other she’s all business. Each choice creates another branching storyline that leads to more decisions. If/Then is performed at 8 p.m. Tuesday through Friday, 2 and 8 p.m. Saturday and 1 p.m. Sunday (March 15 to 27) at the Fox Theatre (527 North Grand Boulevard; 314-5341111 or www.fabulousfox.com). Tickets are $25 to $80.

TUESDAY 0315 Fauré Requiem

Anthony Rapp and Jackie Burns star in If/Then at the Fox. | JOAN MARCUS At 2 p.m., McBark on Clark is a dog-friendly party at the outdoor Busch II Infield. Howl at the Moon starts partying at 3 p.m. with green beer, Leprechaun Bombs (the mind reels) and specials on buckets. You can also buy an all-inclusive ticket ($30) for the Snake Day party that includes draft beer, house wine and premium rail liquor (shots and Red Bull are excluded) at Budweiser Brew House, Cardinals Nation, Fox Sports Midwest Live, Howl at the Moon and PBR St. Louis from 8 to 11 p.m. Food is extra, but specials will be on offer.

SUNDAY 0313 The Murder Room Does a marriage really need the occasional white lie to smooth things over? Mavis Templeton Hollister thinks so. When Mavis claims she was at a church meeting, her husband Edgar is surprised and disappointed — after all, the meeting had been canceled. He’s even more disappointed when Mavis whips out a gun and shoots him. Mavis gets her comeuppance when the lights

A requiem seems a strange choice to welcome spring, but the Bach Society of Saint Louis knows what it’s doing. Gabriel Fauré envisioned his Requiem as a piece that offered hope and reconciliation rather than mourning, and he succeeded. His love of gentle melody and enveloping chromaticism suffuses the music, which is as comforting as a much-needed hug. The program is in honor o f t h e B a c h S o c i e t y ’s 7 5 t h a n n i v e r s a r y, a n d i n c l u d e s Mendelssohn’s Heilig, Ralph Vaughan Williams’ Rise Heart and a specially commissioned new work from Stephen Mager, Sarabande. Fauré’s Requiem is performed with soprano Jane Jennings and baritone Ian Greenlaw as the featured soloists at 7:30 p.m. at the Cathedral Basilica of St. Louis (4431 Lindell Boulevard; 314533-7662). Tickets are $19 to $42.

Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the Night & Day section or publish a listing in the online calendar — for free! Send details via e-mail (calendar@ riverfronttimes.com), fax (314-754-6416) or mail (6358 Delmar Boulevard, Suite 200, St. Louis, MO 63130, attn: Calendar). Include the date, time, price, contact information and location (including ZIP code). Please submit information three weeks prior to the date of your event. No telephone submissions will be accepted. Find more events online at www.riverfronttimes.com.

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FILM

Christian Bale hits the beach — a lot — in Knight of Cups | MELINDA SUE GORDON/BROAD GREEN PICTURE

Knightmare Terrence Malick has lost the plot, judging by his aimless Knight of Cups Written by

ROBERT HUNT Knight of Cups

Directed and written by Terrence Malick.

errence Malick’s first two films, Badlands (1973) and Days of Heaven (1978), established him as a filmmaker with a strong sense of the recent past and a natural ear for dialogue, matched by an eye for vivid but understated natural imagery. Even more unusual, he had patience, the ability to let a story pause and breathe

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and reflect on its environment instead of hurriedly jumping to the next plot point. And then he disappeared. Twenty years would pass before the appearance of Malick’s third film, a visually ambitious but narratively abstruse adaptation of James Jones’ World War II novel The Thin Red Line. Plot lines were erased and major characters cut down to cameos while the director cast his attention on the exotic Pacific locations: The war was merely a distraction, a noise in the background of a glossy travelogue. Lately Malick has become surprisingly prolific, releasing three films in five years, with two more due later this year. In that time, the traits that emerged with The Thin Red Line — self-absorbed visuals, a failure to engage with narrative, an undisciplined fascination with hands-on digital tools — have

MARCH 9-15, 2016

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multiplied to such a degree that the idea of Malick ever making a film with the warmth of Days of Heaven or the raw honesty of Badlands seems unlikely. He’s become trapped in a house of mirrors and, on the basis of his new film Knight of Cups, he’s too absorbed with his own reflection to come out anytime soon. In Knight of Cups, Christian Bale plays a dissolute character named Rick. Publicity materials describe him as a screenwriter, but it’s not clear how they reached that conclusion since he’s never seen writing or discussing any film work. True, we do see him meandering around film lots, but he also spends a lot of time on LA rooftops, wandering in the desert or visiting the beach. He wanders through a party, then goes to a beach; wanders through glass-walled office buildings, then goes to a beach;

throws furniture, then goes to a beach; visits a strip club, then goes a beach. He drives around, too, although there’s rarely any sense of where he’s going (there are even shots of the Gateway Arch). Usually he ends up at a beach. If there’s a message here, it’s that the beach is good and buildings with glass walls are bad. Rick, as the film heavy-handedly makes obvious, is a pilgrim (it opens with a quotation from John Bunyan). His life is clearly meant to be interpreted as some kind of quest. He wakes up in the middle of an earthquake (that’s movie shorthand for an existential dilemma if your lead character lives in Los Angeles). He’s having an identity crisis, which can happen if you spend a lot of time at drunken pool parties with Asian models and people in animal costumes, or hanging out at social gatherings with Ryan

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Christian Bale and Isabel Lucas. | MELINDA SUE GORDON SLASH BROAD GREEN PICTURE O’Neal and Fabio. Rick shares some biographical elements from Malick’s own life — a brother who committed suicide and a loud, stiff and wealthy father (played by Brian Dennehy, who staggers around like he’s trying to simultaneously play Lear and Willy Loman). There are also strippers and Elvis impersonators — for, just like all LA pilgrims, his quest leads him to Vegas. Macho antics alternate with New Age somnambulism, always accompanied by a rambling offscreen monologue (“Find your way from darkness to light”). People keep telling him to “feel something,” but what is he supposed to feel? Empathy for the homeless people he walks by or the disabled patients at a hospital where his exwife works? Jealousy or disgust for the wealthy people whose parties he sleepwalks through? Does it matter? The film itself is very attractive, albeit in a superficial way, and very empty. Knight of Cups was reportedly produced without a fixed script. Malick gave the performers notes — from full monologues to random phrases — right before filming but didn’t require them to use them. It’s a peculiar method, and in some ways a form of anti-improvisation, getting the author’s words out while playing on the actor’s uncertainty. And it shows: From a dramatic sense, no one says or does anything of particular significance. They’re just pretty illustrations to distract the viewer from the banality of the endless commentary. Several women (Natalie Portman and Cate Blanchett among them)

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If there’s a message here, it’s that the beach is good and buildings are bad. cruise in for a few moments to strike poses and add their own pithy voiceovers (“There’s no such thing as forever,” “Real life’s so hard to find,” “The only way out is in.”) Back when Fellini’s 8-1/2 loomed large as a model of personal filmmaking, many lesser filmmakers borrowed his metaphor of the frustrated/blocked genius to make their own self-serving fantasies of the Things They Must Do For Their Art (See, for example, Paul Mazursky’s Alex in Wonderland). Terrence Malick’s Knight of Cups isn’t one of those ersatz Fellini films; instead, it’s the film that the lead character in one of those twice-removed Fellini knock-offs would have made. Forty years after launching a career with a film many have called the greatest debut since Citizen Kane, Malick has become become a practitioner of cinematic three-card monte, playing on his Salinger-like image to lend an air of mystery/mastery to glossy New Age navel-gazing. n

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EXCLUSIVE ENGAGEMENT STARTS FRIDAY, MARCH 11 CHECK DIRECTORIES FOR SHOWTIMES • NO PASSES ACCEPTED

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COMING SOON

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THE ARTS

[ S TA G E ]

The Sound of Hysteria New Line brings the energy to a smartly staged new version of American Idiot Written by

PAUL FRISWOLD American Idiot

Music by Green Day. Lyrics by Billie Joe Armstrong. Book by Billie Joe Armstrong and Michael Mayer. Musical arrangements and orchestrations by Tom Kitt. Directed by Scott Miller and Mike Dowdy. Presented by New Line Theatre through March 26 at the Marcelle Theatre (3310 Samuel Shepard Drive; 314-534-1111 or www.newlinetheatre.com.

merican Idiot has something of a built-in audience. The Green Day superfan sitting next to me made that clear. He chugged a Coke and eagerly ranked the songs in the show for his mother before the play even started, declaring between a string of percussive belches that “Good Riddance (Time of Your Life),” the closing number, is the greatest song. In an unsettling twist, he and I were wearing the same outfit: T-shirt, a black hoodie, jeans and cheap sneakers. We both looked like understudies for the show, although my advanced age was clearly a giveaway. American Idiot is a show about youth and raging against a world you live in but aren’t old enough to shape. The three stars are young men in their early twenties who try to navigate their way to adulthood in the aftermath of 9/11. (The show opens with George W. Bush projected on the back wall, talking about America’s resolve to punish the people who took down the World Trade Center.) Johnny (Evan Fornachon), Will (Brendan Ochs) and Tunny (Frederick Rice) are slacker punks bored with their suburban lives who dream of striking out into the world to find something new and exciting. New York is where they’ll find these thrills, but Will has to drop

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The youth are getting restless. | JILL RITTER LINDBERG

American Idiot is a show about youth and raging against a world you live in but aren’t old enough to shape. out when his girlfriend Heather (Larissa White) tells him she’s pregnant. This first crack in the guys’ friendship is followed by another when Tunny joins the army. Left on his own in a strange city, Johnny starts a shallow relationship with Whatsername (Sarah Porter) and dabbles in drugs. All of this is told in one loud blast of songs, with minimal dialogue, which has its benefits and drawbacks. The New Line Band rocks the shit out of the music, particu-

MARCH 9-15, 2016

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larly guitarists D. Mike Bauer and Aaron Doerr (Doerr pogos to incredible height when he really gets cranking). Directors Scott Miller and Mike Dowdy went with a narrow stage and a deep riser for the audience, more in line with a rock show than a play. The result is a close, sweaty show that feels alive at all times. That shallow stage makes it difficult to see much of what happens on the wings, which is where Will and Tunny’s stories play out. I could only see the top of Will and Heather’s heads while they argued about his withdrawal from his new family. But the plot is mostly allegorical anyway. With only the lyrics to tell the balance of the story, Dowdy and Miller’s inventive staging carries a great deal of the narrative weight. Tunny is sent overseas to fight and is seriously injured. In his stateside hospital bed, he sings “Extraordinary Girl” with Extraordinary Girl (Sicily Mathenia), who is dressed like the Statue of Liberty. “She’s all alone again/Wiping the

tears from her eyes/Some days he feels like dying/She gets so sick of crying” they sing before embracing, turning it into a song about patriotism, the price soldiers pay in war and how a nation bears that cost. By the end of the song, Extraordinary Girl is tapping other wounded soldiers on the shoulder, ushering them off the stage. It’s an image that is simple and profound, made more beautiful by Rice and Mathenia’s performances. American Idiot is full of these small moments that expand the show beyond a “Green Day jukebox musical.” Which was a relief, because I’m more of a Descendents fan myself. But I would argue with my superfan seatmate about “the greatest song.” It’s clearly “Letterbomb,” which Sarah Porter — joined by the rest of the ladies in the cast — sang as if her life depended upon it. “It’s not over ‘till you’re underground” is a rallying cry for life, and proof that women get stuff done while men wallow in their bad decisions. n

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Octarrarium Regional Arts Commission 6128 Delmar Blvd. | www.racstl.org Opens 5:30-7:30 p.m. Fri., Mar. 11. Continues through Apr. 30. It can be difficult to express coherently what you feel about a work of art -- words fail, sometimes. But Kevin Harris and Chad Eivins have constructed an elaborate solution. Their Octarrarium is a large-scale video installation that creates a multi-sensory, immersive environment. When you stand inside it, eight projections of live interactive video react to every movement and sound you make. Octarrarium reflects your reaction to the piece in real-time, as well as the reactions of every other observer within its confines.

Visions of Iceland Bullivant Gallery 3321 Washington Blvd. | www.bullivantgallery.com Opens 6:30-8:30 p.m. Fri., Mar. 11. Continues through Mar. 12 Iceland is renowned for its egalitarian tendencies and the great value its people place on personal freedom, qualities it has exhibited since the tenth century. To understand this rugged sense of self-determination you need only look at its landscape. Iceland has active volcanoes, lava fields, mountains, unearthly rock formations and a wealth of wide-open spaces where

only the wind and ice live (small wonder the island served as the alien world in the film Interstellar). Photographers Jack Curran, Bill Schwab and Hans Strand have spent a great deal of time documenting this wild terrain. The three exhibit the fruits of their labor in the show Visions of Iceland. Each of the three captures something of the power and the isolation inherent in this stalwart island nation.

Real and Imagined Landscapes in Chinese Art

YOU MAKE IT WE BAKE IT WHILE U WAIT

Saint Louis Art Museum Forest Park | www.slam.org Opens Mar. 11. Continues through Aug. 14. Classical Chinese landscape painting often has a dreamlike quality thanks to its reliance on delicate colors and airy light. This exhibit of works from the museum’s permanent collection features paintings of locations that incorporate real and fictitious elements, or of places that could perhaps have existed. Among the pieces on display are Wang Wending’s Gathering of the Immortals, a 1919 painting that depicts a birthday gathering honoring the Queen Mother of the West in the garden where the peaches of immortality grow. A tiger carries the enormous peaches to the party on its back for guests, which include eight immortals and the Three Gods of Good Fortune. —Paul Friswold

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THREEKINGSPUB.COM

CAFE

All in the Name Standard Brewing Company attempts to set the standard for brewpub fare Written by

CHERYL BAEHR Standard Brewing Company

12322 Dorsett Road, Maryland Heights; 314-548-2270. Mon.-Thurs. 11 a.m.-10 p.m.; Fri.-Sat. 11-12 a.m.; Sun. 12-9 p.m.

f the lovely folks who regularly comment on RFT stories are any indication, some of us are long overdue for a refresher course in basic grammar. Lesson one can be the difference between a noun and an adjective. Let’s use the word “standard” as an example. Depending on how you use it, “standard” means two very different things. As a noun, it has a positive connotation and describes that which is the basis for all other things, often in terms of quality. Think of something along the lines of “white Burgundy sets the standard for all other chardonnay.” Jeff Harlan and Jeff “Jonesy” Jones certainly had this use of the word in mind when they opened Standard Brewing Company last September. The business partners, who became friends as co-workers in the aircraft industry, first made a name for themselves in the local beer community as proprietors of the brew-it-yourself store J2 Brewing in Chesterfield. When that business shuttered, the partners looked to open a more traditional brewpub. They gutted and rehabbed a former Fuddruckers in Maryland Heights, installed their brewing equipment and opened with a small, pizza-heavy menu. The problem for the Jeffs was that Standard Brewing Company’s opening food was standard (adj.) — as in pretty darn average. Sure, they used spent grain to make their pizza dough, but they didn’t quite hit the level and breadth they had envisioned when they aimed to, in their words, set the standard for

Standard Brewing Company options include pretzels, the “Black and Bleu” burger, a pulled-pork sandwich and a pork porterhouse. | MABEL SUEN beer-centric food. To remedy this, Harlan and Jones brought in chef Wade Waller in January. A veteran of Eleven Eleven Mississippi and Cleveland Heath (he was executive chef at the former and sous chef at the latter), Waller was tasked with both expanding the menu and increasing the use of beer in the food offerings. He infused the dishes with suds, added entrees and tweaked the dishes. Whether the result is standard fare or the gold standard of fare depends on the dish, or, in several cases, which components of the dish you are talking about. Chicken wings, glazed with hefeweizen hot sauce, are fine enough finger food. The meat is plump; the rub is pleasantly peppery. The sauce, however, was loose and failed to cling to the drummies. Pooled on the plate instead of coating the meat, it had little impact on the overall taste. Bavarian-style pretzels, on the other hand, dazzled as the perfect example of brewpub fare. Fat, salty and with the slightest hint of malty sweetness — I can’t think of something I’d rather eat with a cold one. The accompanying beer cheese sauce, though, lacked the zing that

typically comes from such a pairing. Rather than elevate the pretzels, it actually detracted from their wonderful flavor. I just pushed it aside. I encountered a similar situation with the cheese curds. The breaded cheesy nuggets were dusted in herbs, fried and served molten hot — a guilty pleasure indeed. I didn’t need to dip them in the side of beer mustard, especially considering that it was more like a mustard vinaigrette. Like the wing sauce, it was flavorful enough but quite thin. It only took away from the glory that was the cheese curds. The roasted cauliflower and beer cheese soup, however, needs no caveats — it’s simply a damn good soup. Standard’s blonde ale enlivens the rich puree of cauliflower, Gouda and cheddar. It’s rich, but the tanginess from the beer cuts through, making it all too easy to finish an entire bowl. The lowest point on Standard Brewing Company’s menu is the pizza. Now, if we were talking crust alone, it would get an A-plus rating. Waller uses Standard’s spent grain to make the dough, resulting in a yeasty, slightly tart flavor akin to riverfronttimes.com

San Francisco’s finest sourdough. When fired, it fluffs up and has a pleasant, chewy pull. The toppings, however, lack the oomph that such an excellent base requires. The buffalo chicken version features chewy chicken, bland bacon ranch and a just-asbland buffalo drizzle — a perplexing point considering that anything based with Louisiana hot sauce should be the antithesis of bland. I was also unimpressed with the “Loaded Baked Potato” pie. It aims to be the pizza version of a loaded potato skin, but it just doesn’t hit the mark. Though the potatoes are thinly sliced and well cooked, the broccoli is dried out, crunchy and seems out of place, and there simply wasn’t enough cheddar cheese or sour cream to make it into the gooey dish it should have been. It was a disappointment. This feeling dissipated, however, when I got a taste of what Waller can do with a grill. The black and blue burger, cooked to a spot-on medium-rare, is a gourmet version of the classic backyard hamburger. Well-seasoned beef is dusted with blackening seasoning and kissed

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Continued on pg 34

RIVERFRONT TIMES

CHINESE 1

Wonton King 8116 Olive Blvd.

Private Kitchen 8106 Olive Blvd.

Chong Wah 8208 Olive Blvd.

17 Dao Tien

Lam’s Garden 8319 Olive Blvd.

18 Pho Long

Jia Xiang / Tang Palace 8237 Olive Blvd.

19 Kim Son

Yummy17 (at Olive Supermarket) 8041 Olive Blvd.

10 17

VIETNAMESE

8600 Olive Blvd. 8627 Olive Blvd. 8080 Olive Blvd. JAMAICAN

J & W Bakery 8148 Olive Blvd.

Olive Green International 8615 Olive Blvd.

KC Chinese Restaurant 8233 Olive Blvd.

Merhaba 6665 Olive Blvd.

Royal Chinese BBQ 8406 Olive Blvd.

Hon’s Wok III 6900 Olive Blvd.

AFRICAN

TA I WA N E S E 23

PA K I S TA N I / I N D I A N 24 Spice N Grill

6800 Olive Blvd.

De Palm Tree 8631 Olive Blvd.

Wei Hong Seafood Restaurant 7740 Olive Blvd.

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8643 Olive Blvd.

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16 Nobu’s

China King 7848 Olive Blvd.

8435 Olive Blvd.

JA PA NE SE

10 Shu Feng Restaurant

LuLu Seafood & Dim Sum 8224 Olive Blvd.

2 Asiana Garden 7930 Olive Blvd. 3

Tai Ke 8604 Olive Blvd.

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KOREAN 25

Asian Kitchen 8423 Olive Blvd. AMERICAN

Frank & Helen’s Pizzeria 8111 Olive Blvd.

St. Louis Fish & Chicken Grill 8613 Olive Blvd.

M 8

Vernon’s BBQ & Catering 6707 Vernon Ave.

L 8

IN THE OLIVE LINK

E X PA N D

ED MAP

O LIV E B L V D.

I-170 22 15

7 8

29 28

1 6 26 12

3 5 19

4 MEXICAN 29

Mi Ranchito 887 Kingsland Ave.

La Monarca Mexican Restaurant 8531 Olive Blvd.

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A MODERN AMERICAN PUB

WITH A RUSTIC TOUCH PROVING A HIGH STANDARD

FOR FOOD AND BEER WITH A DISTINCTIVE APPROACH ON

CRAFT COCKTAILS 6 NORTH SARAH STREET

IN the CENTRAL WEST END

Bavarian-style pretzels come with beer cheese sauce. | MABEL SUEN

STANDARD BREWING CO. Continued from pg 31

Brunch. A La Carte. Easter.

4940 Southwest Ave, St. Louis MO 63110 • (314) 669-9222

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with grill char, while blue cheese crumbles add to the earthiness. This is among the town’s better burgers. Standard Brewing Company’s sirloin steak also benefited from the well-seasoned grill — kudos to the maestro hitting those impeccable temperatures. Housemade stout steak sauce, reminiscent of a higher-end Heinz 57, added a touch of smoky sweetness. I was equally wowed by the pork porterhouse’s sublime execution. The meat arrived a rosy pink medium rare (the restaurant’s standard, since my server did not take a temperature), seared with grill marks and dusted with just a hint of black pepper. The garlic aioli drizzle was unnecessary, but it did not detract from this beautifully cooked piece of meat. A slight issue — and this occurred on the sirloin as well — was plate presentation. Mediocre mixed vegetables were slopped alongside these impeccably prepared cuts of meat, a clear afterthought. It’s a shame that the thought that went behind cooking the main course was not present in its accompaniment. It’s like putting on an Armani suit, then dousing yourself in Hai Karate before walking out of the house. The dish that indeed sets the standard for all others is the pulled pork sandwich. Call this blasphemy, but

Standard’s version can run with the town’s big-guy smokehouses with its caramelized hunks of moist, smoked pork. The pork is tossed, not smothered, in beer-based barbecue sauce, bringing out the meat’s natural sweetness without obscuring any flavor. This is the best item on the menu. Overall, though, not everything about the place holds up to this lofty standard. I found myself questioning the choice of cheap bread that tasted like it had come right off a production line on a few otherwise adequate sandwiches (a decent fried cod, an adequate beerbraised brat). And for all the owners’ hard work — apparently the space was a disaster area when they took it over — Standard’s dining room doesn’t really shake off the feeling of having previously been a hamburger chain. There’s a long tasting bar and some fermentation tanks that remind you where you are, but otherwise, the space is sterile and nondescript. Is this the gold standard for brewpubs? Not really. Is it standard fare? That depends on the dish — some hit high notes, while others really are just good enough. It doesn’t really matter, though. After a few beers and some pretzels, you’ll be too content to worry about words. n Standard Brewing Company Pretzels “Black and Bleu” burger Pork porterhouse

$6 $9 $15

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SHORT ORDERS

[SIDE DISH]

Ben McArthur on How Chance Shaped His Career Written by

CHERYL BAEHR

hef Ben McArthur credits his time in North Carolina with defining his culinary philosophy, yet he only ended up there by chance — literally. “When I tell you I closed my eyes and pointed randomly to a map, I’m being serious,” the chef at J. McArthur’s, An American Kitchen (3500 Watson Road; 314353-9463) insists. “I ended up there for no reason. It just happened.” McArthur ’s foray into the kitchen, however, could not have been more deliberate. Growing up, he’d spend time at his maternal grandparents’ farm, where they raised pigs and cattle and had a smokehouse. His experience there led to a love of food, and he naturally gravitated toward the restaurant business when he was old enough to work. “I’ve been working in restaurants since I was fourteen,” the St. Louis native explains. “My first job was at a place called the Blackeyed Pea off Manchester Road. I was a dishwasher there. Let’s just say it was an awful introduction to the kitchen.” His kitchen experience changed for the better when he moved to Wilmington, North Carolina. There, McArthur worked under the James Beard Award-nominated chef Keith Rhodes, who taught him about local sourcing and building relationships with producers. “We’d go out on a boat and catch whatever we were going to use that day,” McArthur recalls. “It was such a great scene — I just couldn’t get enough of it. I wanted

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Ben McArthur. | COURTESY OF BEN MCARTHUR to cook so badly that I was working at four or five places at the same time.” McArthur left North Carolina and returned to St. Louis with the intention of ultimately moving to California for culinary school. Then he had a change of heart. “Something just told me to stay,” he says. “So I went to culinary school here at L’Ecole [Culinaire], did my externship at the Ritz and worked around town. Then this came up.” By “this,” McArthur means J. McArthur’s, the restaurant he owns in partnership with his wife, dad and stepmom, which has garnered critical acclaim since opening in July of last year. He admits the menu is very different from his seafood-heavy days by the coast, but says he can easily apply what he learned from Chef Rhodes. “We use all local stuff here — when

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you taste the difference between the local stuff and the commercial stuff, there’s just such a difference,” he says. “In some ways, I think it’s better here. Really, you can get almost anything.” McArthur took a break from the kitchen to share his thoughts on the St. Louis food and beverage scene, his guilty pleasure and the importance of social media. What is one thing people don’t know about you that you wish they did? I spent the past four years planning for J. McArthur’s, and I’ve been working in kitchens since I was fifteen. What daily ritual is non-negotiable to you? Checking social media for our guests’ experiences — this is the way our guests best communicate with us, so it’s important to recognize it and adjust accordingly.

If you could have any superpower, what would it be? I would love to be in multiple places at the same time. Running a family business requires wearing many hats. What is the most positive thing in food, wine, or cocktails that you’ve noticed in St. Louis over the past year? The elevated relationship between the farmer and the restaurant chef. Our guests are interested more than ever where their food is coming from, so this is more important than ever. Who is your St. Louis food crush? Mike Randolph. My wife Katie and I did the tasting menu at Randolfi’s for her birthday and we were blown away. Who’s the one person to watch right now in the St. Louis dining scene? Michael Gallina from Rooster & the Hen. I’m a huge fan of Dan Barber and Blue Hill at Stone Barns [where Gallina was chef de cuisine], so I can’t wait to check out one of his pop-up dinners. Which ingredient is most representative of your personality? Any fresh produce or vegetables. I’m a simple person and enjoy nature (fishing and drinking, mostly together). If you weren’t working in the restaurant business, what would you be doing? Trying to get into the restaurant business. I’ve wanted my own restaurant for twenty years, so it’s cliche but true that J. McArthur’s is a dream come true. Name an ingredient never allowed in your kitchen. Liquid smoke. Take the time for the real thing. What is your after-work hangout? My days are usually very long, so I’m pretty boring and hang out at home with my wife and our two yellow labs. What’s your food or beverage guilty pleasure? Bourbon. We serve a number of craft cocktails at J. McArthur’s, and my favorite is Four Roses. What would be your last meal on Earth? My grandmother’s cube steak and mashed potatoes with gravy — comfort food at its finest. n

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The American flatbread pizza comes with spicy blue cheese sauce, chicken and crispy bacon. | SARAH FENSKE

Balentine’s Brings Eclectic Cuisine to Lafayette Square

here’s an episode of Seinfeld where Jerry obsesses over a newly opened neighborhood restaurant called the Dream Cafe. The eclectic menu bothers him: “He’s serving Mexican, Italian, Chinese. He’s all over the place.” Jerry convinces the restaurateur to cook only Pakistani food. Reconfigured, the place bombs. You might think of the Dream Cafe when you look at the menu at Balentine’s (1801 Park Avenue, 314-833-4339), the brand-new restaurant taking over the old Tripel spot in Lafayette Square. The menu is inspired by comfort food from around the world, says owner Pierre Balentine. After 21 years in the U.S. Army, Balentine boasts a diverse set of friends and acquaintances, and “these are the things we’ve eaten at their homes.” Seinfeld probably wouldn’t approve, but what did he know about food anyway? (And really, wasn’t his bad judgment the whole point of the episode?) And so there are Brazilian beef kebabs, served with a side of cilantro collard greens and mashed sweet potatoes with coconut milk. There is fried chicken from the U.S., garlic chicken from Cuba, Asian-inspired teriyaki salmon or Tuscan linguine. You can get your flatbreads done two different

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MARCH 9-15, 2016

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American styles (Buffalo chicken or club) or opt for Middle-Eastern or Tuscan options. You can even get German nachos. Fries topped with sauerkraut and hamburger, then served with a side of mayo, they’re a Mitteleuropean riff on the poutine everyone else is serving this year. They’d benefit from a bit more sour to the sauerkraut and a spicier sausage, but the fries were perfectly cooked on our recent visit. There is not yet a bar, but there will be soon. Balentine says he expects the liquor license to come through in the next week. In the meantime, they’re enjoying a soft opening, getting a feel for what they’re doing before they begin trying to maximize the space. And what a space! At 5,400 square feet, the room is really more like three rooms, with a sizable bar area, a full dining room with a row of cozy booths, and then another full room’s worth of space that Balentine has reconfigured as a lounge of sorts, complete with couches. Once they have that liquor license, “we’re going to do wine tasting nights, speed dating nights,” he promises. “We want to do things to bring people to that space. We’ll have live music on Friday and Saturday nights, too.”

Balentine has extensive kitchen experience, although this is his first restaurant. He’s worked in food service for 30 years — first, those 21 years in the Army, followed by 10 years in corporate America, servicing military bases all over the world. “I know how to serve over 1,000 people a meal,” he says. “And I supported over 40,000 in Iraq back in 2003.” Compared to that, serving the 225 people that Balentine’s could comfortably fit should be a breeze. A St. Louis native, Balentine had settled in Dallas after his military career, but then his wife died four years ago. “I decided to come back here,” he says. Retirement, he admits, just didn’t suit him. He loves the Lafayette Square area for its diversity, and looks forward to serving people from “all walks of life.” For now, Balentine’s will be open Tuesday through Thursday from 11 a.m. to 1:30 the following morning. From Friday through Sunday, it will be open from 8:30 a.m. to 1:30 a.m. the next morning. “We’re hoping people will want to stay long,” Balentine says. And should they be hungry, there’s a little bit of everything on the menu — dishes from all around the world and recipes from a diverse set of friends to feed a diverse neighborhood. –Sarah Fenske

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MARCH 9-15, 2016

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MUSIC What the People Want Freakwater broadens its sound on Scheherazade, its first new album in eleven years Written by

MIKE APPELSTEIN Freakwater

8 p.m. Monday, March 14. Off Broadway, 3509 Lemp Avenue. $12 to $15. 314-7733363.

reakwater is calling from a tire shop somewhere between Ann Arbor and Cleveland. Janet Beveridge Bean is sitting in the band’s nine-person van, while Catherine Irwin is in the waiting room. The band’s singer/ guitarist co-founders are experiencing troubles with their vehicle. “The van says that it has seven starts remaining, and we were just curious to know what that meant,” Bean says. “And the check engine light came on.” To paraphrase AC/DC’s sage advice: It’s a long way to the top if you want to play Appalachian-style murder ballads. The Louisville/Chicago group is currently touring behind Scheherazade, its first album in more than a decade. The last Freakwater album came out in 2005; the one before that dates back to 1999. So the obvious first question: What brought them back together now? “Well, Catherine was trying to stage a campaign for governor of Kentucky,” Bean deadpans. “And I, in turn, was working on my campaign to be the people’s princess. Neither of those panned out.” “We’ve been playing shows the whole time and working on our various campaigns,” Irwin agrees. “We’re never not playing together. We’re just really slow about making a record. I guess ten years is as long as you’d want it to be, since I’ve got at least a foot in the grave.” In fact, Bean and Irwin — the nucleus of Freakwater, along with bassist David Gay — have been busy with other projects.

The last Freakwater album came out in 2005. | TIM FURNISH Bean’s best-known band, Eleventh Dream Day, released its latest album Works for Tomorrow in 2015, and she’s also been involved with Chicago act the Horse’s Ha. Irwin released two solo albums in the meantime, with her most recent, Little Heater, dropping in 2012. “We just have to decide at some point that we’re going to do it,” Irwin says. “I think we both really respond well to deadlines. No one’s really in charge of the Freakwater machine.” Scheherazade finds the group broadening its sound. The album was recorded in Louisville instead of Chicago — a Freakwater first — and the core members sought input from an expanded lineup, including Morgan Geer of Drunken Prayer (also in the touring band) and Warren Ellis of Nick Cave and the Bad Seeds. “We just decided we wanted to do it differently,” Bean explains. “We rehearsed with these guys, and

it’s the first time we’ve done that — we always just brought friends in the studio. And we were going into a studio with lots of big, beautiful plate reverb, and we wanted to take advantage of that. So that’s the big, roomy sound. Catherine and I love a lot of 1970s Nashville records, so I think we were trying to capture that.” No matter how long between records, however, Freakwater’s sound is instantly, achingly familiar. In particular, Irwin’s deep, smoky vocals intertwine so well with Bean’s high harmonies that you would be forgiven for thinking they were a sibling act. “It’s like a family band in that we’ve been doing it forever,” Bean acknowledges. “We started when we were sixteen or seventeen.” “We both played in punk bands, but we were singing classic country songs together,” Irwin adds. As usual for Freakwater, Scheherazade’s songs are full of darkness, riverfronttimes.com

thwarted love and death. The very first track, “What the People Want,” is based on a story Irwin heard on NPR about a woman being raped and thrown down a well. “Down Will Come Baby” takes a line from the famous lullaby and makes it sound ominous, almost malevolent. (As others have noted, Freakwater songs often include dead or sick children.) “Missionfields,” a song Geer wrote for Drunken Prayer, recalls the devastation of Hurricane Katrina the same way old folk songs commemorated floods, droughts and other natural disasters. At the same time, there’s a dark gallows humor to much of the band’s work. “There are many layers,” Irwin says. “I think things have to remain a little abstract, but not so much that people have no idea what you’re talking about. For example, someone described ‘What the People Want’ in a recent review as being ‘a classic Appalachian love ballad.’ A murder ballad, maybe, but they didn’t say ‘murder’ ballad. That song is so dark and horrifying that it’s really hard to explain.” Bean and Irwin are hoping to take the band to Europe this summer. Beyond that, however, their plans are characteristically vague. “I think it’ll be easier in five or ten years’ time, since we can just attach the equipment to the back of our Rascal [scooters],” Bean laughs. “We can just have a caravan.” “Janet’s got some amazing video of the place where her dad lives, and the amazing events that go one there. It would be a good circuit for us to be on,” Irwin adds. “I am so obsessed with old folks home’s Friday afternoon music specials,” Bean says. “I go to them regularly and they’re insane! They’ll have like the Tom Jones dude, the one guy who plays the spoons, the one-man Jamaican band...” “We’ve never played at a place openly calling itself an old people’s home,” Irwin adds. “Although they may have been functioning in the same capacity.” “I think we’d have a hard time at the end, when you have to do the patriotic rally to ‘When the Saints Come Marching In’,” Bean admits. “There’s always a three-song medley.” n

MARCH 9-15, 2016

RIVERFRONT TIMES

B-SIDES

Changes for a Place That Never Changes Beloved south St. Louis bar the Hideaway is for sale Written by

SARAH FENSKE

ast September, Al Coco, the owner of the beloved south St. Louis bar the Hideaway, called up one of his regulars, Don Jones. “I’m going in for a minor surgery,” Coco told him. “Can you look after the bar?” Jones thought it would be about three days. Then Coco had a heart attack on the operating table, and the bad news just kept coming after that. There was word of a stroke, and later, some sort of fall. “By Saturday, they had pulled the plug,” Jones says. Coco was 71, and he hadn’t been exactly healthy. Among other things, he’d previously had a liver transplant (“a lot of us thought he was on borrowed time anyway,” is how Jones puts it). His death has thrown into jeopardy the future of the bar he’d owned for twenty years. In fact, for nearly six months, it’s been Jones who has helped to keep the place going, serving as a sort of temporary manager. But that era is now coming to an end, and the Hideaway is for sale — the building, the name, the bottles of booze. Jones, for one, isn’t panicking. There’s been some very real interest, he says, and the two buyers who are seriously looking at the place seem to get it. “They recognize what it is,” he says. “They don’t want to make any significant changes.” The Hideaway, after all, isn’t just another bar. The place at 5900 Arsenal Street is a relic, a

RIVERFRONT TIMES

Al Coco owned the Hideaway for two decades before he died last fall. | KELLY GLUECK

“There are hundreds of people who aren’t regulars, but when they come, they still want it to be exactly the same.” little piece of another time that continues to attract new (and young) fans without even trying. The drinks aren’t especially strong, but that’s not the main attraction here; it’s the dimly lit saloon feeling, the crocheted coasters sitting on the bar, the

MARCH 9-15, 2016

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old couple slow dancing in the corner. The “art” on the walls, if you could call it that, is a series of kitschy paintings of a doe-eyed beauty with her shirt slipping off — sort of a sexy version of a Kean. And, more than anything, the Hideaway is the Hideaway because of Mark Dew, a blind piano player who croons standards popularized by Johnny Cash and Bobby Darin while working an elaborate electric keyboard. There’s simply not another bar like it in the city. As it turns out, Coco died with a significant amount of assets — not just the bar, but also four rental properties he owned debtfree. He left everything to his sister, who at 73 was herself newly a widow, Jones says. “She was kind enough to keep it open for the young ladies that were working here,” he says. But that was never meant to be a forever situation. Jones has business ventures of his own that require his attention in Florida; Coco’s

sister had no designs on being a bar owner for long. Hence that “for sale” sign out front. Jones is confident that new ownership won’t necessarily mean the end of an era. “There’s a group of people who are so devoted to the place,” he says. “And then there are hundreds of people who aren’t regulars, but when they come, they still want it to be exactly the same. It’s a time capsule.” The bar did recently go non-smoking thanks to the city’s ban, which officially went into place January 1. It survived that. And Jones is sure it can survive this, too. If anything, he says, the question is less whether the new owners will want to keep Mark Dew, and more whether Dew will want to work for them. “Mark will not work for anybody he does not like or doesn’t have respect for,” Jones says. “I’ve talked to the potential owners. They know that they need to make sure they keep Mark.” n

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MARCH 9-15, 2016

RIVERFRONT TIMES

HOMESPUN

THE WALKMAN Year / Oh Man EP (thewalkman.bandcamp.com)

hen we last heard from Walk Miles, who records under the alias the Walkman, his September 2015 The Tape EP revealed a bright, restless talent caught between hip-hop’s boastful claims and the reality of minimum-wage, work-a-day reality. His prowess as a serpentine lyricist, passionate performer and inventive producer was evident even on that brief EP, and he didn’t make us wait for a follow-up or two. Miles dropped two releases on January 3 — his 21st birthday — and marked the passage into full-fledged adulthood with the full-length Year and the EP Oh Man, done in part with rapper Onanimous. His style hasn’t changed markedly in the short time between releases, but his abilities have strengthened, with verses that are tighter, sharper and bracingly honest. On an almost balmy night in late February, Miles forgoes the bars and cafes of the South Grand strip, preferring to walk and talk about his newest releases. In person, he’s charmingly shy at first, becoming more animated as talks about his proudly geeky passions (superhero movies, video games) and frustrations (getting heard, getting paid). That last issue — getting paid — occupies many of his verses on Year, from the bellicose opening track “Last Year,” in which he steels himself against the likelihood of obscurity, to the details of his job washing dishes in an egg roll factory in “Ethnic Work Ethics.” He’s hardly the only one not getting rich off of his art, but he’s unsure of how even to make the rent money off his tracks. “It’s ridiculous to me how difficult it is to get to the next step, even if you work really hard,” says Miles. “So many people quit before they’re really, really good. It’s like there’s no reason not to quit — it’s a bleak road. And I don’t mean to keep bringing it up, but it’s what’s going on in my life right now.”

In the chirpy, whirring track “Most Likely,” Miles outlines the predictions his high school classmates made about his future — most likely to waste talent, to stay high, to get arrested — and takes an honest look at those prognostications. “I wasn’t a troublemaker,” Miles says of his school days. “Trouble found me and then I would make it worse.” After dropping out of school to, in part, pursue his art, Miles wonders if his classmates were wrong. “I made a stupid decision to try to do this,” Miles says of his chosen field. “This is impossible. Unlikely. But, you know, it’s what I do. I can’t really choose another thing.” If Miles sounds defeated, it’s hardly the dominant strain of his music. The songs on Year are admirable for their honesty, their barebones striving and their belief that a pop-culture junkie with a mile-a-minute mouth can clear his own path. His production work mirrors his pantheistic approach to media (as a lyricist, he’s as comfortable riffing on Star Wars or the NBA). His calling card kicks off each track: a mutated sample of Jennifer Aniston from the cult film Office Space opining, “This is me expressing myself.” It’s a cri de coeur for Miles both in meaning and in source. Elsewhere, “No More Puns” from Oh Man takes its backing track from the Netflix series BoJack Horseman. Miles’ sources are varied — playful, a bit geeky, usually redolent of marijuana — and they broaden his palette away from purely trap music sources. “I feel like I’m getting better with every record,” he says after decrying some rookie production mistakes on earlier tracks. “I like that there’s something I can improve on easily with every one.” But while music is his main outlet — he claims to have eight other albums and collaborations

in the fire — Miles has his hands in a few other artistic pursuits. He’s working on a screenplay or two and contemplating giving stand-up comedy another shot despite a memorable, if humbling, first performance. “The first time I did it I bombed so hard that I ended up laying on my back — to one person,” says Miles with a laugh. “How do you bomb to one person?” The experience mirrors the few live sets he’s done as the Walkman. “I did a couple of shows; I didn’t sell any tickets; I didn’t get asked to do any more shows,” says Miles. “I got compliments from the one guy who was at the show, working the boards. But what do you do with that? What do you do with a congratulations and a pat on the back and then they send you on your way?” These frustrations don’t seem to be slowing Miles from making music; rather, they tend to fuel some his brightest moments. But from the strength of these two releases, it’s unlikely that he’ll be slept on for too much longer. –Christian Schaeffer

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OUT EVERY NIGHT THURSDAY 10

Fubar, 3108 Locust St, St. Louis, 314-289-9050.

Enemies Fall 7 p.m., $10-$12. The Firebird, 2706

Louis, 314-773-3363.

BRETT NEWSKI: w/ King James and the Killer Bee

MOPE GROOVES: w/ Kenshiro’s, Barbecue Boys,

Olive St., St. Louis, 314-535-0353.

MELANIE MARTINEZ: 7 p.m., $27.50-$75. The

8 p.m., $10. The Demo, 4191 Manchester Ave,

Stone Hen 9 p.m., $5. Foam Coffee & Beer, 3359

St. Louis, 314-833-5532.

Jefferson Ave., St. Louis, 314-772-2100.

SUNDAY 13

THE CORY HENRY REVIVAL: 8 p.m., $12-$15. Old

NATO COLES & THE BLUE DIAMOND BAND: w/ the

BRUISER QUEEN SXSW KICKOFF: w/ Absolutely

P.O.D.: w/ HED PE, War Of Ages 6 p.m., $20. The

Rock House, 1200 S. 7th St., St. Louis, 314-588-

Cuban Missiles, Guy Morgan, the Haddonfields,

Not, The Baby Magic 9 p.m., $5. CBGB, 3163 S.

Ready Room, 4195 Manchester Ave, St. Louis,

0505.

the Wilderness 8 p.m., $10-$12. Fubar, 3108

Grand Blvd., St. Louis.

314-833-3929.

DAVE STONE + DREW GOWRAN: w/ Centipede,

Locust St, St. Louis, 314-289-9050.

CABINET: 8 p.m., $8-$10. Old Rock House, 1200

Strong Force 9 p.m., free. Schlafly Tap Room,

NO WAY BACK FEST: 1 p.m., $8-$10. Cicero’s, 6691

S. 7th St., St. Louis, 314-588-0505.

MONDAY 14

2100 Locust St., St. Louis, 314-241-2337.

Delmar Blvd., University City, 314-862-0009.

CITIZEN: w/ Turnover, Sorority Noise, Milk

ADVANCE BASE: w/ the Vanilla Beans, Cracked

DOG OF PANIC: w/ Blackwell 7 p.m., $7. Cicero’s,

SEAN YOUNG’S MIXTAPE SHOWCASE: w/ LMYF &

Teeth 7 p.m., $16-$18. Fubar, 3108 Locust St, St.

Ceilings 8 p.m., $8. Foam Coffee & Beer, 3359

6691 Delmar Blvd., University City, 314-862-

3G, LOusane, Et Alex, Lottie Denise 7 p.m., $10.

Louis, 314-289-9050.

Jefferson Ave., St. Louis, 314-772-2100.

0009.

The Firebird, 2706 Olive St., St. Louis, 314-535-

COMMON KINGS: w/ Tomorrow’s Bad Seeds 8

B DOLAN: w/ FELIXFAST4WARD 8 p.m., $10-$12.

FINAL DRIVE: w/ Spark Thugs, Absence of

0353.

p.m., $20. Blueberry Hill, 6504 Delmar Blvd.,

The Demo, 4191 Manchester Ave, St. Louis,

Despair, Thieves To Kings 7 p.m., $10. The Fire-

SENSORY OVERLOAD 2: 7 p.m., $18-$20. The

University City, 314-727-4444.

314-833-5532.

bird, 2706 Olive St., St. Louis, 314-535-0353.

Ready Room, 4195 Manchester Ave, St. Louis,

A GREAT BIG WORLD: 8 p.m., $23-$65. The Fire-

FREAKWATER: 8 p.m., $12. Off Broadway, 3509

PIRATE SIGNAL: w/ Dog Of Panic, Blackwell, Cal-

314-833-3929.

bird, 2706 Olive St., St. Louis, 314-535-0353.

Lemp Ave., St. Louis, 314-773-3363.

loway Circus 7 p.m., $7. Cicero’s, 6691 Delmar

THE TROPHY MULES CD RELEASE SHOW: w/ Prai-

GROWWING PAINS: w/ Gush, DRACLA, Maximum

LIKE MOTHS TO FLAMES: w/ Ice Nine Kills, Make

Blvd., University City, 314-862-0009.

rie Rehab 9 p.m., free. Schlafly Tap Room, 2100

Effort 8 p.m., $5-$7. Foam Coffee & Beer, 3359

Them Suffer, Light Up the Sky, Make Room,

SHIVERING TIMBERS: w/ Cold Hearted Strangers

Locust St., St. Louis, 314-241-2337.

Jefferson Ave., St. Louis, 314-772-2100.

Torn At the Seams 6 p.m., $16-$18. Fubar, 3108

8 p.m., free. Off Broadway, 3509 Lemp Ave., St.

VIRUCIDE: w/ Murder Machine, Hallow Point,

LILY AND MADELEINE: w/ Shannon Hayden 7

Locust St, St. Louis, 314-289-9050.

Louis, 314-773-3363.

Doomed to Burn, Damnation Army, Mine

p.m., $12. Off Broadway, 3509 Lemp Ave., St.

SOULARD BLUES BAND: 9 p.m., $5. Broadway

Pageant, 6161 Delmar Blvd., St. Louis, 314-7266161.

SUPER FM: w/ Apex Shrine, Persh, The Bobby

Oyster Bar, 736 S. Broadway, St. Louis, 314-621-

Dazzlers 8 p.m., $5. Foam Coffee & Beer, 3359

8811.

Jefferson Ave., St. Louis, 314-772-2100.

FRIDAY 11 ACHTUNG BABY: w/ Rusty Nail 7 p.m., $10-$12.

TUESDAY 15 JAMAICA LIVE TUESDAYS: w/ Ital K, Mr. Roots, DJ

[CRITIC’S PICK]

Witz, $5/$10. Elmo’s Love Lounge, 7828 Olive

Blueberry Hill, 6504 Delmar Blvd., University

Blvd, University City, 314-282-5561.

City, 314-727-4444.

THE LINDEN METHOD: 7 p.m., $8-$10. Fubar, 3108

CAVEOFSWORDS: w/ Whoa Thunder, The

Locust St, St. Louis, 314-289-9050.

Foreign Resort, New Canyons 8 p.m., $5. Foam

SOMOS: w/ Petal, The Superweaks 7 p.m., $13.

Coffee & Beer, 3359 Jefferson Ave., St. Louis,

The Demo, 4191 Manchester Ave, St. Louis,

314-772-2100.

314-833-5532.

COLD ROSES: 8 p.m., $15-$75. The Ready Room,

THE ELSINORES: w/ Black Panties, GLOBSTERS,

4195 Manchester Ave, St. Louis, 314-833-3929.

Lars 9 p.m., $7. CBGB, 3163 S. Grand Blvd., St.

THE DEWTONS: w/ Horror Section, DEAD to

Louis.

begin with, The Winks 8 p.m., $13. Fubar, 3108

TITUS ANDRONICUS: 8 p.m., $20. Off Broadway,

Locust St, St. Louis, 314-289-9050.

3509 Lemp Ave., St. Louis, 314-773-3363.

KEVIN GARRETT: w/ Matt Woods 9 p.m., $12-$14.

X AMBASSADORS: w/ Seinabo Sey, Powers 8

The Demo, 4191 Manchester Ave, St. Louis,

p.m., $22.50-$25. The Pageant, 6161 Delmar

314-833-5532.

Blvd., St. Louis, 314-726-6161.

NIGHT BEATS: 8 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363.

Weather Station. | COURTESY OF THE BAND

VARIOUS HANDS: w/ Midnight Giant, Cyrus Youngman & The Kingfishers, Better in Theory 8 p.m., $8-$10. The Firebird, 2706 Olive St., St.

Weather Station

Louis, 314-535-0353.

9 p.m. Saturday, March 12.

SATURDAY 12

Off Broadway, 3509 Lemp Avenue. $12 to $15. 314773-3363.

BASIA BULAT: 8 p.m., $12-$15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. BETWEEN THE BURIED AND ME: w/ August Burns Red, the Faceless, Good Tiger 7 p.m., $25$27.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. BRIT FLOYD: 8 p.m., $29.50-$59.50. Peabody Opera House, 1400 Market St, St. Louis, 314241-1888. GYMSHORTS: w/ Demonlover, Shitstorm 9 p.m., $5. CBGB, 3163 S. Grand Blvd., St. Louis. JAKE’S LEG: 9 p.m., $10-$12. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. LORD DYING: w/ Damnation Army 7 p.m., $12.

Tamara Lindeman has a voice that will stop you in your tracks — if perchance you’re making tracks through some crystal-frosted dreamscape. So warm and husky and close to the soul, that voice could melt all the permafrost in the interior of Ontario, her native turf. As the voice behind Weather Station, Lindeman turned inward for last year’s Loyalty, a sublimely acoustic, lightly jazzed song-cycle in

WEDNESDAY 16 ASSUMING WE SURVIVE: 7 p.m., $10. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532. BOB “BUMBLE BEE” KAMOSKE: 8 p.m. Beale on

the tradition of post-folkie Joni Mitchell. Lindeman’s themes? Shadows and light, relationships that haunt and honesty that turns out to be the only grace. “You always tell me the truth,” she sings. “When it hurts me it hurts you.” And when she sings, somehow everything is almost healed. Headline News: Weather Station opens for fellow Ontarian and autoharpist Basia Bulat, who recently teamed up with My Morning Jacket’s Jim James for her fourth and finest album to date. –Roy Kasten riverfronttimes.com

Broadway, 701 S. Broadway, St. Louis, 314-6217880. DEE DEE BRIDGEWATER: w/ Irvin Mayfield with the New Orleans 7 7:30 & 9:30 p.m.; March 17, 7:30 & 9:30 p.m.; March 18, 7:30 & 9:30 p.m.; March 19, 7:30 & 9:30 p.m., $40. Ferring Jazz Bistro, 3536 Washington Ave, St. Louis, 314571-6000. THE INFAMOUS STRINGDUSTERS: w/ Nicki Bluhm & the Gramblers 8 p.m., $18-$20. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. KILL RITUAL: w/ Zustiak, Hallow Point 8 p.m., $10. The Firebird, 2706 Olive St., St. Louis, 314535-0353. SAOSIN: 8 p.m., $25-$28. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

MARCH 9-15, 2016

Continued on pg 48

RIVERFRONT TIMES

Bowling the way it is now – FUN!

A St. Louis Landmark

Shrimp Po' Boy All burgers and sandwiches come with fries

Have a hot bowl of our homemade chili! BlueberryHill.StL DuckRoomSTL

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WED. 3/9

THIS WEEK

THU. 3/10

THIS WEEK

FRI. 3/11

“St. Louis pioneers of craft beer and live music” THURSDAY, MARCH 10 TH

Pirate Signal, Dog of Panic, Blackwell, Calloway Circus - Rock - 7pm - $7 Damn Daniel Cover show...featuring music by: Blink 182, A Day to Remember, Mayday Parade, All Time Low, and Parkway Drive - Rock Covers - 7pm - $10

THIS WEEK

SAT. 3/12*

SUN. 3/13*

SAT. 4/2

SATURDAY, MARCH 12 TH

No Way Back Music Fest: Glass Mansions, Inner Outlines, Forgetting January, My Twins, Discrepencies, Strikes Back, Pure October, Chuck McGrew, Lucid, Harris, Jeske Park, Distordid, Great Plains, Wired for Havoc, Noise Brigade Rock - 1pm - $10

SATURDAY, MARCH 12 TH

Bar Stage: Gaff & Pulley- Classic Rock - 6pm- FREE

WEDNESDAY, MARCH 2 ND

Geeks Who Drink - Trivia - 8:30pm- FREE

EVERY Beer of the month: Free glass with every TUESDAY NEW HOLLAND Belukus purchase.

6691 Delmar

In the University City Loop

314.862.0009 • www.ciceros-stl.com 46

RIVERFRONT TIMES

PeacockLoopDiner.com 6261 Delmar in The Loop

THIS WEEK

FRIDAY, MARCH 11 TH

24/7

3/10 Cold Roses - A Benefit For HEROES CARE 3/25 STL Unplugged 3/31* Doctor Delia 4/1 Jackson Howard 4/5* Deer Tick 4/8* Caroline Glaser 4/9* The Falcon 4/12* Sean Watkins 4/13* Voodoo Glow Skulls 4/22* MU330 4/23 The English Beat 4/28* Eleanor Friedberger 5/6* Easy Star All-Stars 5/10* Son Little 5/14 The Copyrights (Elvis Room) 5/14* Lola & The Kickbacks 6/11* M. Ward 6/16* The Strumbellas 6/25* Risk! Podcast

Tickets available at Blueberry Hill (no service fees with cash) On BlueberryHill.com H All Ticketmaster ticket centers H Ticketmaster.Com *All Ages shows: $2 minor surcharge at doors.

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MARCH 9-15, 2016

riverfronttimes.com

WEDNESDAY 3/9

SATURDAY 3/12

TUESDAY 3/15

SUNDAY 3/20

WEDNESDAY 3/23

THURSDAY 3/24

FRIDAY 3/25

SATURDAY 3/26

FRI. 7/15

ON SALE 2.26 AT 10AM

UPCOMING SHOWS 3.27 RICK ROSS 3.31 HULL & OATES UNPLUGGED 4.1 THE WOOD BROTHERS 4.2 DANNY LISTON & FRIENDS 4.9 YONDER MOUNTAIN STRING BAND 4.13 WELCOME TO NIGHT VALE 4.15 CHARLES KELLEY 4.16 JIM NORTON 4.17 FLOETRY 4.19 LUPE FIASCO 4.22 ANDREW BIRD 4.23 CHRIS D’ELIA 4.27 THE ARCS 4.29 NAHKO & MEDICINE FOR THE PEOPLE 5.3 ANIMAL COLLECTIVE

5.4 AMON AMARTH 5.7 LAUGHTER & LYRICS FOR LIFE 5.12 LAMB OF GOD 5.13 ANDERSONPONTY BAND 5.18 EMBLEM3 5.20 JOSH RITTER 5.22 BOYCE AVENUE 5.23 MIIKE SNOW 5.26 BLOC PARTY 5.28 TECH N9NE 6.1 THE NEIGHBOURHOOD 6.7 RUPAUL’S DRAG RACE: BATTLE OF THE SEASONS 6.8 LEON BRIDGES 6.25 BLUE OCTOBER 7.22 GLASS ANIMALS

visit us online for complete show information facebook.com/ThePageantSTL

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thepageant.com // 6161 delmar blvd. / St. Louis, MO 63112 // 314.726.6161

riverfronttimes.com

MARCH 9-15, 2016

RIVERFRONT TIMES

THIS JUST IN Continued from pg 45 [CRITIC’S PICK]

THIS JUST IN

Arena Parkway, St Charles, 636-896-4200.

AL HOLLIDAY AND THE EAST SIDE RHYTHM BAND

BRUCE HORNSBY & THE NOISEMAKERS: Sat.,

VINYL RELEASE: W/ Sophisticated Babies, Cooter

May 21, 8 p.m., $40-$50. River City Casino &

and Hoss, Fri., April 29, 8 p.m., $10. Off Broad-

Hotel, 777 River City Casino Blvd., St. Louis,

way, 3509 Lemp Ave., St. Louis, 314-773-3363.

314-388-7777.

AMY LAVERE: Wed., June 1, 9 p.m., $10-$12. Off

CHICAGO: Wed., May 25, 7 p.m., $32-$96.95.

Broadway, 3509 Lemp Ave., St. Louis, 314-773-

Peabody Opera House, 1400 Market St, St.

3363.

Louis, 314-241-1888.

ANDY MCKEE: Thu., June 16, 8 p.m., $20-$30.

CHRIS BARICEVIC CD RELEASE: Sun., May 22, 9

Old Rock House, 1200 S. 7th St., St. Louis, 314-

p.m., free. Off Broadway, 3509 Lemp Ave., St.

588-0505.

Louis, 314-773-3363.

ANDY SOCIAL AND THE ANTIDOTES: W/ Eaten

COREY SMITH: Fri., July 15, 8 p.m., $17.50-$20.

Back To Life, The Kuhlies, DEAD to begin

The Pageant, 6161 Delmar Blvd., St. Louis,

with, Creature Illicit, Fri., April 22, 7 p.m., $10.

314-726-6161.

Fubar, 3108 Locust St, St. Louis, 314-289-9050.

THE ENGLISH BEAT: Sat., April 23, 8 p.m., $27.50.

B.O.B.: W/ Scotty ATL, London Jae, Fri., April

Blueberry Hill, 6504 Delmar Blvd., University

29, 8 p.m., $20-$99. The Ready Room, 4195

City, 314-727-4444.

Manchester Ave, St. Louis, 314-833-3929.

ENTER SHIKARI: W/ Hands Like Houses, The

BAD COMPANY: W/ Joe Walsh, Steve Rodgers,

White Noise, Wed., May 11, 7 p.m., $18-$20.

Sat., June 18, 6 p.m., $25-$149.95. Hollywood

Fubar, 3108 Locust St, St. Louis, 314-289-9050.

Casino Amphitheatre, I-70 & Earth City Expwy.,

EVERYTHING WENT BLACK / FISTER RECORD RE-

Maryland Heights, 314-298-9944.

LEASE SHOW: W/ Hell Night, Alan Smithee, Sat.,

BATTLECROSS: W/ Outcome of Betrayal, Lyluth,

April 16, 9 p.m., $8. The Demo, 4191 Manches-

Tue., April 19, 6 p.m., $15. The Firebird, 2706

ter Ave, St. Louis, 314-833-5532.

8 p.m. Tuesday, March 15.

Olive St., St. Louis, 314-535-0353.

EYES EAT SUNS: W/ Struck Down By Sound,

BEN SOLLEE: Fri., June 3, 8 p.m., $15. The Demo,

Tue., April 12, 8 p.m., $10. Fubar, 3108 Locust

Off Broadway, 3509 Lemp Avenue. $20. 314-773-3363.

4191 Manchester Ave, St. Louis, 314-833-5532.

St, St. Louis, 314-289-9050.

A BENEFIT FOR THE GHOST INSIDE: Sat., April 9,

FAMOUS DEX: W/ Kid-Ro, King B, Sun., April

5 p.m., free. The Firebird, 2706 Olive St., St.

10, 9 p.m., $15-$20. Fubar, 3108 Locust St, St.

Louis, 314-535-0353.

Louis, 314-289-9050.

BILL BURR: Fri., April 22, 8 p.m., $45. The Fox

GHOST-NOTE: Thu., April 7, 8 p.m., $10-$12. The

Theatre, 527 N. Grand Blvd., St. Louis, 314-534-

Firebird, 2706 Olive St., St. Louis, 314-535-0353.

1111.

Thu., April 7, 8 p.m., $10-$12. The Ready Room,

BLACK MOUNTAIN: Fri., June 17, 8 p.m., $15-$18.

4195 Manchester Ave, St. Louis, 314-833-3929.

The Ready Room, 4195 Manchester Ave, St.

GUIDED BY VOICES: Wed., April 27, 8 p.m., $25-

Louis, 314-833-3929.

$30. The Ready Room, 4195 Manchester Ave,

BOSTON: W/ Blue Oyster Cult, Gary Hoey, Fri.,

St. Louis, 314-833-3929.

June 3, 7 p.m., $23-$98. Family Arena, 2002

IAN FISHER & THE PRESENT: W/ Curtis J Brewer,

[CRITIC’S PICK]

Radkey 9 p.m. Saturday, March 12. The Demo, 4191 Manchester Avenue. $10. 314-8335532

For decades, we as a society have been subjected to a cavalcade of subpar bands made up entirely of male siblings. Throughout the ‘90s, Hanson spouted nonsense so sugarsweet that it inevitably made us all sick. The Jonas Brothers inspired similar disgust in everyone over the age of twelve through the mid 2000s. We could go back way further, too. The Bee Gees? Yeah, you guessed it: They all spent their formative months gestating in the same womb. St. Joseph’s Radkey is different, though. Brothers Dee, Isaiah and Solomon Radke kick out the fucking jams, 48

RIVERFRONT TIMES

playing energetic garage-punk that has landed the band spots at festivals including Riot Fest, South By Southwest, Coachella and the U.K.’s Download Festival, winning fans and changing minds about family bands all the way. Homeward Bound: The Radke siblings spent their whole lives being homeschooled before picking up instruments and traveling the world. Their father is their manager, and their records are self-released through their Little Man Records label, meaning very few music-industry hands are in this family’s pockets. That puts them light years ahead of the curve. Maybe homeschooling isn’t so bad after all.

–Daniel Hill

MARCH 9-15, 2016

riverfronttimes.com

Titus Andronious. | MATTHEW GREELEY

Titus Andronicus Creating ambitious, large-scale albums with a ragged punk ethos has long been the hallmark of New Jersey’s Titus Andronicus. But its newest, a three-disc, 90-minute rock opera about a neurotic young man wandering through the big city, is something few besides frontman Patrick Stickles would undertake and something no one but him could pull off. The connections between Stickles and

co-headliner Craig Finn are obvious — both share a fondness for high-wattage verbosity in the midst of scrappy, usagainst-the-world redemption rock. Even as Finn’s solo work has toned down some of the riffsmanship of his work with the Hold Steady, this show should prove to be a meeting of kindred souls. Future Perfect: Finn and Stickles have christened the tour with covers of each other’s song “No Future.” –Christian Schaeffer

Cowboy Ryan, Thu., March 24, 8 p.m., $10. Off

Rock House, 1200 S. 7th St., St. Louis, 314-588-

Broadway, 3509 Lemp Ave., St. Louis, 314-773-

0505.

3363.

MODERN BASEBALL: W/ Joyce Manor, Thin

INSANE CLOWN POSSE: Fri., June 10, 6 p.m., $20-

Lips, Thu., June 16, 7 p.m., $20-$23. The Ready

$25. Pop’s Nightclub, 401 Monsanto Ave., East

Room, 4195 Manchester Ave, St. Louis, 314-

St. Louis, 618-274-6720.

833-3929.

JESUS PIECE: W/ Threshold, Out Of Time, Low-

PITY SEX: Fri., July 8, 8 p.m., $13-$15. The

ered A.D., Thu., June 16, 8 p.m., $10. The Demo,

Demo, 4191 Manchester Ave, St. Louis, 314-

4191 Manchester Ave, St. Louis, 314-833-5532.

833-5532.

JOHNNYSWIM: W/ Jonny P, Tue., May 3, 8 p.m.,

THE RECORD COMPANY: Fri., April 1, 8 p.m.,

$18-$66. The Firebird, 2706 Olive St., St. Louis,

$10. Old Rock House, 1200 S. 7th St., St. Louis,

314-535-0353.

314-588-0505.

KORN: W/ Rob Zombie, In This Moment, Tue.,

STITCHES: W/ John Boi, Wed., April 13, 8 p.m.,

Aug. 9, 6 p.m., $25-$69.50. Hollywood Casino

$20-$25. The Ready Room, 4195 Manchester

Amphitheatre, I-70 & Earth City Expwy., Mary-

Ave, St. Louis, 314-833-3929.

land Heights, 314-298-9944.

SWIM DEEP: W/ Vista Kicks, Thu., June 9, 8 p.m.,

KYLE KINANE: Wed., May 11, 8 p.m., $18-$20.

$8-$10. The Demo, 4191 Manchester Ave, St.

The Ready Room, 4195 Manchester Ave, St.

Louis, 314-833-5532.

Louis, 314-833-3929.

THE ELSINORES: W/ Black Panties, GLOBSTERS,

LUPE FIASCO: Tue., April 19, 8 p.m., $35-$37.50.

Lars, Tue., March 15, 9 p.m., $7. CBGB, 3163 S.

The Pageant, 6161 Delmar Blvd., St. Louis,

Grand Blvd., St. Louis.

314-726-6161.

TREY DAVIDSON: W/ Trixie, Tue., April 5, 8 p.m.,

MARK BRAINARD EP RELEASE SHOW: W/ the

$10-$20. The Demo, 4191 Manchester Ave, St.

Wilderness, Carriage House, Sweettalker, Fri.,

Louis, 314-833-5532.

April 29, 8 p.m., $8. The Demo, 4191 Manches-

VON STRANTZ: W/ Ellen The Felon, Le’Ponds,

ter Ave, St. Louis, 314-833-5532.

Thu., March 17, 8 p.m., $10. The Demo, 4191

THE MIGHTY PINES: Fri., June 3, 9 p.m., $10. Old

Manchester Ave, St. Louis, 314-833-5532.

SAVAGE LOVE DOUBTS BY DAN SAVAGE Hey, Dan: My wife wants to be forcibly fucked—held down and raped. Normally I’d be all over this because I do love me some rough sex. My issue: She told me she was traumatically raped by a man she was dating prior to me. All I know is that it involved a hotel room and him not stopping when she said “no.” So for now, I play along, but I know I’m not taking things as far as she’d like. I’m over here wondering if her previous trauma was a result of her encouraging forceful sex and regretting it later, and I worry the same thing could happen to me. Or is she trying to relive the experience? Should I fear her motivation and the potential consequences? Am I overthinking things? Tremulous Husband Is Needing Knowledge When it comes to rough sex—particularly when it involves role-playing forced-sex scenarios—overthinking is preferable to underthinking. A woman who’s into rough sex, even forced-sex/rape-role-play scenarios, can still have been raped by a partner—and a rape can occur during what was supposed to be a consensual forced-sex/rape-roleplay scene. If your wife withdrew

her consent and her former partner continued, it was rape. But what about you, THINK? You worry “the same thing could happen to me.” By that you don’t mean, “I could be raped!” You mean, “I could be falsely accused of rape.” That’s a pretty big and disrespectful leap. What you’re saying is, “I think my wife is lying when she says this other man raped her—and I don’t want her to do the same to me.” I’m not sure what to do with that. I mean, I don’t think your wife is lying, THINK, and I don’t know or love your wife. You presumably know and love your wife, and yet you’re worried she may be setting you up for a false rape accusation. That’s some dark shit—that’s some Gone Girl shit, that’s the plot of some horrible Kathleen Turner/Michael Douglas shit movie from the 1980s. If you’re really concerned about protecting your own butt, THINK, then have a nice long conversation with your wife about her fantasies. I would suggest that you believe your wife, first off, and that you have this conversation over e-mail—two anonymous accounts created just for this purpose—because it will allow you both to be more thoughtful and less inhibited (sometimes these things are hard to discuss face to face). Tell her you don’t want to accidentally traumatize or trigger her, first and foremost, but you also don’t want to wind up traumatizing

yourself. You would feel like a monster if you hurt her while attempting to fulfill her fantasies. Finally, THINK, this isn’t something your wife will wanna do just once. So take baby steps: Increase the intensity gradually, check in afterward, google “sexual aftercare” and read the piece on Curve that pops up (it’s a lesbian website, but the lessons/advice/insight are generally applicable), and keep having long conversations—via e-mail or face to face—about what’s working for her and what isn’t. Good luck. Hey, Dan: I had given up on relationships. Then, after five years single, abstinent and lonely, I met a man. I’m excited about a future with him—except for two things. First, he says he loves me, but he’s not sure yet if I’m “The One.” He also has needs I’m not able to fulfill. Swallowing is out for me, as I was orally raped when I was a teenager. I’ve worked my way up to enjoying giving head, but come in my mouth makes me cry. And I can’t give head after anal. He says these are the things that make him come the hardest. I’ve asked him if my inability to provide these things are a “deal breaker” for him and he says no, but when we get into bed, he talks about me doing them the entire time we’re having sex. I’ve asked him to stop, and he says he will, but it doesn’t stop. Failing At Intimacy/Love

riverfronttimes.com

You need to let this guy go for your own happiness and sanity. I know you were alone for a long time—alone and lonely—and you know who else knows that? Your shitty boyfriend, FAIL, and he’s leveraging your desire to be with someone against your right to sexual autonomy and your need for emotional safety. You have an absolute right to set your own limits, to rule things in and out, and to slap “not open for discussion” labels on some things. Ruling two things out—swallowing and ATM—particularly for the reasons you cite, is perfectly reasonable. If he can’t accept that, that should be a “deal breaker” for you. You see his inability to determine if you’re “the one” as a separate issue, FAIL, but it’s of a piece. He’s refusing to make you the one in hopes that you will submit to his sexual demands. I have a hunch that swallowing and ATM aren’t really the things that make him come the hardest. If it was anal and cunnilingus you couldn’t do, FAIL, then those would be his favorite things. Because the issue here isn’t whether he’s “sure” you’re the one or the sex acts that make him come the hardest. This is about him controlling and degrading you. Listen to Dan’s podcast every week at savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter

MARCH 9-15, 2016

RIVERFRONT TIMES

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100 Employment 105 Career/Training/Schools

THE OCEAN CORP. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298

110 Computer/Technical Expert Business Solution (Nestle Regional Globe Office North America, Inc. - St. Louis, MO). Provide tech guidance w/ regard to app of GLOBE Solutions. F/T. Reqs Bach’s dgr (or frgn equiv) in CS, Info Systs, Business Admin or rel fld & 5 yrs exp in job offered or in SAP FICO & ERP comp systs solution. All stated exp must incl the follow’g: COGS Bolton & Dynamic Forecast’g implementation; OCM; & OROS/PCM implementation. 3 yrs exp must incl work’g in RBS FICO structure. Exp may be gained concurrently. Resumes: J. Buenrostro, Nestle USA, Inc. 800 N. Brand Blvd, Glendale, CA 91203. JobID: EBS-VFU.

120 Drivers/Delivery/Courier ! Drivers Needed ASAP ! Requires Class E, B or A License. S Endorsement Helpful. Must be 25 yrs or older. Will Train. ABC/Checker Cab Co CALL NOW 314-725-9550

167 Restaurants/Hotels/Clubs HIGH-END HOTEL SEEKING Servers, Cooks, Dishwashers & Housekeepers. Background Check req. 314-863-7400

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Flexible Appointments Monday Thru Sunday (Walk-ins welcome) 320 Brooke’s Drive, 63042 Call Cheryl. 314-895-1616 or 314-258-2860 LET#200101083 Now Hiring...Therapists

Make Every Day Special with a Luxurious Asian Massage at Spa Chi Massage & Day Spa 109 Long Rd Chesterfield MO 636-633-2929 www.spa-chi.com

Ultimate Massage by Summer!!!! Relaxing 1 Hour Full Body Massage. Light Touch, Swedish, Deep Tissue. Daily 10am-5pm South County. 314-620-6386 Ls # 2006003746

A Wonderfully Relaxing

810 Health & Wellness General ARE YOU ADDICTED TO PAIN MEDICATIONS OR HEROIN? Suboxone can help. Covered by most insurance. Free & confidential assessments. Outpatient Services. Center Pointe Hospital 314-292-7323 or 800-3455407 763 S. New Ballas Rd, Ste. 310

500 Services 502 Community / Events

Been putting off a hair cut for you or your family because of the expense? U-City Family Church is helping our community by offering free haircuts for adults and children. Saturday, March 19th 1:00 - 4:00 pm U-City Family Church Family Center 6358 Delmar, Ste 200 info@ucityfamilychurch.com www.ucityfamilychurch.com

525 Legal Services

File Bankruptcy Now!

Call Angela Jansen 314-645-5900 Bankruptcyshopstl.com The choice of a lawyer is an important decision and should not be based solely on advertising.

Personal Injury, Workers Comp, DWI, Traffic 314-621-0500

ATTORNEY BRUCE E. HOPSON

The choice of a lawyer is an important decision & should not be based solely on advertising.

530 Misc. Services WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201

600 Music

MUSICIANS Do you have a band? We have bookings. Call (314)781-6612 for information Mon-Fri, 10:00-4:30 MUSICIANS AVAILABLE Do you need musicians? A Band? A String Quartet? Call the Musicians Association of St. Louis (314)7816612, M-F, 10:00-4:30

610 Musicians Services MUSICIANS Do you have a band? We have bookings. Call (314)781-6612 for information Mon-Fri, 10:00-4:30 MUSICIANS AVAILABLE Do you need musicians? A Band? A String Quartet? Call the Musicians Association of St. Louis (314)7816612, M-F, 10:00-4:30 MUSICIANS Do you have a band? We have bookings. Call (314)781-6612 for information Mon-Fri, 10:00-4:30

BEHAVIORAL HEALTH SYSTEM

When you need help,

one call does it all.

BEHAVIORAL HEALTH SYSTEM

SOUTHERN MISSOURI TRUCK DRIVING SCHOOL P.O. Box 545 • Malden, MO 63863 • 1.888.276.3860 • www.smtds.com

1-800-345-5407

320 Houses for Rent

385 Room for Rent

KINGSHIGHWAY! $750 314-309-2043 3 bed house, walk-out basement, a/c, hardwoods, toasty fireplace, short term lease! rs-stl.com RHCAH

MIDTOWN $150/wk 314-397-8422 Rms for rent, friendly atmosphere, central loc. Public transportation accessible, just mins away from local shopping, amenities inc. fully furn rm, satellite TV, onsite laundry, WIFI Available, all utils inc.

312 Lofts for Lease CENTRAL-WEST-END $855 314-631-3306 4100 Lindell -1 bdr loft, CA, appls, w/d in unit, rehabbed.

MID-COUNTY! $650 314-309-2043 2 bed house, basement, garage w/opener, hardwoods, fenced yard, pets, just updated! rs-stl.com RHCAD NORTH ST. LOUIS COUNTY 314-579-1201 or 636-939-3808 2, 3 & 4BR homes for rent. eatonproperties.com. Sec. 8 welcome NORTH-CITY! $385 314-309-2043 1 bedroom house, fenced yard, appliances included, nice tile floors, no app fee or credit check! rs-stl.com RHCAB NORTH-CITY! $500 314-309-2043 2 bedroom house, walkout finished basement, central heat/air, hardwood floors, fenced yard, covered porch! rs-stl.com RHCAC

317 Apartments for Rent DOWNTOWN Cityside-Apts 314-231-6806 Bring in ad & application fee waived! Gated prkng, onsite laundry. Controlled access bldgs, pool, fitness, business ctr. Pets welcome

NORTH-COUNTY! $550 314-309-2043 Updated 2 bedroom house, walk-out basement, central heat/ air, hardwood floors, fenced yard for kids! rs-stl.com RHCAF

JENNINGS $550 314-395-8800 6040 Goodfellow: 2BR, C/A & Heat, All Appliances, Off Street Parking, On Bus Route.

SOUTH-CITY $750 314-223-8067 2BR home, new c/a, hrdwd flrs, new vinyl, all appls. Full basement, garage, fenced yard.

LAFAYETTE-SQUARE $685 314-968-5035 2030 Lafayette: 2BR/1BA, appls, C/A, Hdwd Fl

SOUTH-CITY! $675 314-309-2043 2 bedroom house, basement, appliances included, large fenced yard, thermal windows, vaulted ceilings, ready now! rs-stl.com RHCAE

NORTH-CITY

610 Musicians Services

www.LiveInTheGrove.com

300 Rentals

1-BEDROOM-APTS 314-921-9191 4008 Garfield $315/mo-$415/dep 5071 Ruskin $375/mo-$475/dep ~Credit Check Required~

UMSL-AREA! $600 314-309-2043 3 bedroom house, central heat/air, appliances, hardwoods, walk-out basement, thermal windows! rs-stl.com RHCAG

NORTH-CITY! $600 314-309-2043 4 br, basement, garage, hardwood floors, w/d hookups, almost 2500 sqft, recent updates! rs-stl.com RHB99 NORTH-CITY! $425 314-309-2043 2 br, central heat/air, storage, fenced yard, pets, w/d hookups, off street parking! rs-stl.com RHB94 NORTH-CITY! $495 314-309-2043 3 br, fenced yard, appliances, central heat/air, pets, w/d hookups, part utilities paid! rs-stl.com RHB97 OVERLAND/ST-ANN $535-$575-(SPECIAL) 314-995-1912 1 & 2BRs-garage. Clean, safe, quiet. Great loc-near 170, 64, 70, 270 RICHMOND-HEIGHTS $525-$565-(SPECIAL) 314-995-1912 1 MONTH FREE! 1BR, all elec off Big Bend, Metrolink, 40, 44, Clayton. SOULARD $800 314-724-8842 Spacious 2nd flr 2BR, old world charm, hdwd flrs, yard, frplcs, off st prk, no C/A, nonsmoking bldg, storage. nprent@aol.com SOUTH CITY $400-$850 314-771-4222 Many different units www.stlrr.com 1-3 BR, no credit no problem SOUTH ST. LOUIS CITY 314-579-1201 or 636-939-3808 1, 2 & 3 BR apts for rent. www.eatonproperties.com. Sec. 8 welcome SOUTH-CITY $475-$525 314-223-8067 Spacious 1BRS, Hdwd floors, A/C, stove, fridge, W/D hookup, fenced yard, near bus and shopping. Clean, quiet. SOUTH-CITY 314-504-6797 37XX Chippewa: 3 rms, 1BR. all elec exc. heat. C/A, appls, at bus stop SOUTH-CITY OPEN-SUNDAY-2-4pm 314-518-4645 4919A Murdoch-Lovely 1 br w/enclosed sunporch, appl, no pets. Immediate Occupancy. SOUTH-CITY! $425 314-309-2043 1br, central heat/air, kitchen appliances, off street parking, storage, utilities paid! rs-stl.com RHB95 SOUTH-CITY! $385 314-309-2043 1 br, appliances, central heat/air, storage, carpet & tile, pets, part utilities paid, w/d hookups! rs-stl.com RHB93 SOUTH-CITY! $475 314-309-2043 2 br, storage, appliances included, pets welcome, covered porch, utilities paid, available now! rs-stl.com RHB96 SOUTH-CITY! $530 314-309-2043 3 br, central heat/air, fenced yard, appliances, hardwood floors, pets ok, w/d hookups! rs-stl.com RHB98 SOUTH-CITY! $650 314-309-2043 3br, central heat/air, all appliances, pets allowed, off street parking, w/d hookups, available now! rs-stl.com RHCAA ST. CHARLES COUNTY 314-579-1201 or 636-939-3808 1 & 2 BR apts for rent. www.eatonproperties.com. Sec. 8 welcome ST. JOHN $495-$595 314-423-3106 Special! 1BR.$495 & 2BR.$595. Near 170 & St.Charles Rock Rd

IF YOU DESIRE TO MAKE MORE MONEY AND NEED A NEW JOB EARNING

UNIVERSITY-CITY $895 314-727-1444 2BR, new kitch, bath & carpet, C/A & heat. No pets

$45-$50 thousand the 1st year, great benefits, call SMTDS, Financial assistance available if you qualify. Free living quarters. 6 students max per class. 4 wks. 192 hours.

WESTPORT/LINDBERGH/PAGE $525-$575 314-995-1912 1 MO FREE!-1BR ($525) & 2BR ($575) SPECIALS! Clean, safe, quiet. Patio, laundry, great landlord! Nice Area near I-64, 270, 170, 70 or Clayton

• More driving time than any other school in the state •

riverfronttimes.com

MARCH 9-15, 2016

RIVERFRONT TIMES

Been putting off a hair cut for you or your family because of the expense?

314-754-5966

U-City Family Church

U-CITY FAMILY CHURCH IS HELPING OUR COMMUNITY BY OFFERING FOR ADULTS AND CHILDREN. SATURDAY, MARCH 19TH 1:00 - 4:00 PM U-CITY FAMILY CHURCH - FAMILY CENTER 6358 DELMAR, STE 200

Ultimate Massage by

Summer!

info@ucityfamilychurch.com - www.ucityfamilychurch.com

SWEDISH & DEEP TISSUE FULL BODY MASSAGE

www.LiveInTheGrove.com

Daily 10 AM-5PM

WANT RECOVERY FROM

South County Lemay Area

314-620-6386

addiction?

BEHAVIORAL HEALTH SYSTEM

# 2006003746

DATING MADE EASY... LOCAL SINGLES! Listen & Reply FREE! 314-739-7777 FREE PROMO CODE: 9512 Telemates

CALL

EarthCircleRecycling.com

BEHAVIORAL HEALTH SYSTEM

Earth Circle’s mission is to creatively assist businesses and residents with their recycling efforts while providing the friendliest and most reliable service in the area.

llll

Call Today! 314-664-1450

1-800-345-5407 24 hr free and confidential assessment

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EVANGELINE’S

BISTRO B MUSIC HOUSE

SCRUBS for less

Tops & Pants $3.99 andSL upRiverfront Times 9261 Halls Ferry Road (314) 338-2828

T Patricia’s T

Way More Than

patriciasgiftshop.com

Bass With No Space!

FOR SALE

ESTABLISHED WEST COUNTY BAR & GRILL TURNKEY OPERATION!

Inventory & bar w/ option on liquor license Call Tom 314-706-3322.

PRICED TO SELL!

ATTORNEY BRUCE E. HOPSON 314-621-0500

W W W . C E N T E R P O I N T E H O S P I TA L . C O M

File Bankruptcy Now!

The choice of a lawyer is an important decision and should not be based solely on advertising.

Personal Injury, Workers Comp, DWI, Traffic

The choice of a lawyer is an important decision and should not be based solely on advertising.

Sunday Swing Jazz Brunch 11am-3pm

Call Angela Jansen ~314-645-5900~ Bankruptcyshopstl.com

MUSIC RECORDSHOP

Looking to sell or trade your metal, punk, rap or rock LP collection. Call us (314) 675-8675

Hideaway Powered Sub!

299

Compact package engineered to fit almost anywhere. 8” sub and 150-watt amp in an enclosure that’s barely 3” high!

Bluetooth On Any Radio!

Satisfaction IS Our Business!

WORKWEAR for less

YOUR STORE FOR DICKIES

HUGE Selection of School Uniforms RedKap Work Shirts & Pants 9261 Halls Ferry Road (314) 436-1340

www.LiveInTheGrove.com

Classic Massage

We have the BEST PRICES in town!

BUILT IN

We beat our competition hands down!

149

Interface options for any system! Dash-mount control.

Radar, Navi & New! Lower Price! DVR In Mirror! $ 99

With rear camera.

SOUTH 5616 S. Lindbergh • (314) 842-1242 WEST 14633 Manchester • (636) 527-26811

599

HAZELWOOD 233 Village Square Cntr • (314) 731-1212 FAIRVIEW HEIGHTS 10900 Lincoln Tr. • (618) 394-9479

Unless otherwise limited, prices are good through Tuesday following publication date. Promotional installation (free install, $1 install) is for product purchased from Audio Express installed in factory-ready locations. PPP indicates product installed at half off our posted rates. Custom work at added cost. Kits, antennas and cables additional. Added charges for shop supplies and environmental disposal where mandated. Illustrations similar. Video pictures may be simulated. Not responsible for typographic errors. Savings off MSRP or our original sales price, may include install savings. Intermediate markdowns may have been taken. Details, conditions and restrictions of manufacturer promotional offers at respective websites. © 2016, Audio Express.

RIVERFRONT TIMES

MARCH 9-15, 2016

riverfronttimes.com

• 60 Minute Foot Massage $20 (9:30am-12pm) $30 after • 60 Minute Body Massage $49 • 90 Minute Foot & Body Massage $59 • 120 Minute Foot & Body Massage $75 (636) 220 3147 14760 Clayton Rd., Ballwin MO, 63011

Across from Wildwood Parkway and Shell gas station in Wildwood Plaza, next to Domino’s Pizza on Clayton Rd.