FEBRUARY 24–MARCH 1, 2016 I VOLUME 40 I NUMBER 8
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Juan Thompson turned a tough St. Louis background into a dream job writing for national publications. But was anything he wrote true? BY DOYLE MURPHY
Webster University prepares you to address a diverse range of students, with learning choices from Early Childhood through Secondary Education. Partnerships with school districts allow you to teach and learn within the context of the challenges, diversity and opportunities you will encounter in your career. BA IN EDUCATIONAL STUDIES BA IN EDUCATION WITH CERTIFICATION IN: • Art K-12 Education • Early Childhood and Elementary Education • Elementary Education with a Content Specialization or Minor • Foreign Language Education • Middle School Education • Secondary English Education • Secondary Mathematics Education • Secondary Social Science Education • Secondary Social Studies Education • Secondary Unified Science Education • Special Education and Elementary Emphasis
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• MAT in Middle School Education • MAT in Secondary Education • MAT in Special Education EDUCATIONAL SPECIALIST DEGREE PROGRAMS: • EdS in Applied Educational Psychology: School Psychology • EdS in Educational Leadership • EdS in Educational Technology Leadership • EdS in School Systems, Superintendency & Leadership DOCTOR OF EDUCATION: • EdD in Transformative Learning in the Global Community
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THE LEDE
Dennis Howard: “I think [a topless bar with body paint] would be a good idea. It would be something different for the Delmar Loop. But just have a set time, because it is a family-oriented area. You really don’t want a family to say, ‘Hey, let’s go get some food,’ and then see topless women when their kids are with them.” Jasmine Hill: “I feel that it’s great that they’re having a good time, but I feel very passionate about the human body. If we’re going to appreciate it and love it, then great. But don’t use it to make money. Teach our children how beautiful the body is, versus ‘Let me show it so I can make the next dollar.’”
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PHOTO BY THEO WELLING
—DENNIS HOWARD AND JASMINE HILL PHOTOGRAPHED ON THE DELMAR LOOP FEBRUARY 19, DISCUSSING THE CONTROVERSY OVER A NEW BAR PROPOSED FOR THE STREET (SEE PAGE 8 FOR MORE DETAILS).
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TABLE OF CONTENTS FEATURE
11. Storyteller
Juan Thompson turned a tough St. Louis background into a dream job writing for national publications. But was anything he wrote true?
Written by DOYLE MURPHY Cover by NOAH MACMILLAN
NEWS
CULTURE
DINING
MUSIC
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19
25
35
The Lede
Calendar
Your friend or neighbor, captured on camera
Seven days worth of great stuff to see and do
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22
The Dino Week That Was
A local podcaster shows St. Louis just how much fun you can have with inflatable dinosaur suits
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Controversy in the Loop
A local restaurateur has some colorful plans for the former Market Pub House spot
Film
Robert Hunt isn’t feeling the Love for a new French film
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Dance
Elizabeth Semko previews a timely new production by Dance St. Louis
Around the World in 80 Dishes
Copper Pig is fine, writes Cheryl Baehr. That’s not an insult
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Side Dish
Chef Amy Generally is happy in the kitchen at Lilly’s Music and Social House
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First Look
The More the Merrier
Never Shout Never’s Cristofer Drew explains his songwriting approach before a date at the Ready Room
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B-Sides
Daniel Hill reviews that awful racist tripe you may have seen on YouTube
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Homespun
PaPPo’s combines the best things in life — beer and pizza — in Midtown
The Gorge: Thousand Year Fire
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First Look
Yummy 17 just opened, but changes are already in the works, reports Johnny Fugitt
Out Every Night
The best concerts in St. Louis every night of the week
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This Just In
This week’s new concert announcements
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NEWS
T-Rexes on the Loose
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ast month, St. Louis podcaster Kelly Manno did something that only a truly sympathetic spouse could sign off on: She spent $400 on a pair of inflatable dinosaur costumes. But what Manno did next made it all worthwhile, and even her husband surely agrees: She managed to video-bomb local TV news crews on three different occasions. The footage is priceless. In one live shot, filmed at a Target, Manno and her tyrannosaurus partner-in-crime can even be seen pushing each other in shopping carts while Fox-2’s Katherine Hessel does her live segment. “Right now there’s not a lot of people out doing errands because it’s late,” Hessel says, as the dinosaurs prance by doing their shopping. Hessel, to her credit, never loses her cool. But that’s more than can be said for KMOV (Channel 4), which Manno says issued a memo late last week informing crews of the dino problem — and telling them to shut down production STAT if they encountered the besuited pranksters. The catalyst for the memo was a live shot on Wednesday night featuring reporter Alexis Zotos, Manno says. “The cameraman lost his mind,” she reports. After the shot, she says, “He came and argued with me in a dinosaur costume for ten minutes — and we were live streaming the whole thing on Facebook.” A radio veteran herself, Manno made headlines last month after crowd-funding a campaign to send Stan Kroenke a few boxes of shit. Her “Dino Week” schtick sprung from genuinely missing the wacky stunts of “morning zoo radio.” She says, “I didn’t realize no one was doing stuff like this anymore until I started my own show.” Manno has friends in local media. But that’s not how she and fellow prankster Tim Melton managed to interrupt so many live shots. They did that easily enough by keeping an eye on reporters’ Twitter feeds and watching the 9 p.m. news, since they’ve found that many standups are repeated an hour later at 10. After the KMOV memo, Manno decided to finish off Dino Week last Thursday night with a stunt that didn’t involve broadcast news. “We didn’t want to legit get in a fight with TV reporters,” she says. “So instead we went to Wal-Mart to see how long it would take them to kick us out.” Oddly, Wal-Mart had no problem with the cavorting tyrannosauruses. “Wal-Mart gave zero shits,” Manno reports. “We stayed there an hour and then we got bored and left. The people who worked there were like, ‘We do not get paid enough to deal with these assholes.’” –Sarah Fenske
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When Kelly Manno turned last week into “Dino Week,” KMOV was not feeling it. | COURTESY OF KELLY MANNO
A Fight Over Body Paint in the Loop
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or six years, John Racanelli operated Market Pub House in the Loop. But after trolley construction decimated his business, says attorney Albert Watkins, Racanelli closed the sports bar and started readying for a new venture — a second location of a Soulard bar best known for its servers decked out sans shirts in body paint. Neighbors, naturally, aren’t thrilled with the idea of a topless bar, and they’re trying to mobilize University City to stop Social House II. Even the Loop Business District has filed a letter with City Hall in opposition. But whether they succeed could rest on a question far less salacious than the servers’ clothing (or lack thereof). Forget body paint for a moment. This one could all come down to ownership. Watkins insists that Racanelli, a veteran restaurateur, is still the owner of the business — which means he doesn’t need a new liquor license or occupancy permit. “He has a valid occupancy permit, a valid business permit, a valid liquor license,” Watkins says. “He’s wholly compliant with all terms of his lease … There’s nothing the city can hold up here, because all the necessary permits have already been issued.” And if the city tries to stop him from continuing to operate a restaurant/ bar at 6655 Delmar simply because they don’t like the staffers’ body art, well, “art” is protected under the First Amendment — meaning that such
FEBRUARY 24-MARCH 1, 2016
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actions will almost certainly trigger a lawsuit. But Dan Wald, who is Racanelli’s landlord, says things aren’t quite so simple. Racanelli, after all, has some new partners in the Social House II venue — the Trupiano family, which owns the Soulard location of Social House. If the city can show a change of ownership, Wald suggests in an email to RFT, Racanelli’s plans may end up in reams of red tape. And time is likely not on his side. “John’s lease ends in March of 2017 and I have advised him that I will not renew or extend the term of the lease,” Wald says. At some point, the dispute could become a question of running out the clock — and in the mean time, Wald vowed in a letter to neighbors that he’s contemplating a lawsuit of his own. He suggests to RFT that the new use may not be compliant with the lease. But angry as the Loop denizens are, Watkins argues that the law is on Racanelli’s side. “They can do what they deem is appropriate, but I recommend they do that which is appropriate and legal,” he says. “My client is a man who won’t be bullied and won’t tolerate having his rights compromised any more than you would ... If they choose to do something inappropriate here, they’re doing so at their own peril.” The University City Council had the matter on its agenda Monday night. But Watkins said Friday that he and Racanelli had no plans to attend. “We haven’t been invited,” he said. “Why go to a party when you’re not invited?” –Sarah Fenske
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Story teller
I
Juan Thompson turned a tough St. Louis background into a dream job writing for national publications. But was anything he wrote true? n late June, a gunman slipped into a beloved black church in Charleston, South Carolina, and massacred nine people who had met for Bible study. The slaughter of innocents in a house of worship garnered news coverage across the country, and reporters from the nation’s most powerful media organizations began working through a familiar checklist: How many were dead and how many had been injured? Who was the killer? And, perhaps most importantly of all, what was his back story? People always want to know why. Dylann Roof, a scrawny white guy with a bad haircut, quickly emerged as the prime suspect, but that only led to more questions. Roof was apparently a racist, but plenty of those don’t open fire in a church. What had triggered his murderous rampage? Then a young journalist with St. Louis roots landed a big scoop. Juan Thompson, a 30-year-old rookie reporter for online news site the Intercept, claimed he’d landed an exclusive interview with Roof’s
BY DOYLE MURPHY cousin Scott and that he could trace the fury that fueled the carnage. “Scott Roof, who identified himself as Dylann Roof’s cousin, told me over the telephone that ‘Dylann was normal until he started listening to that ‘white power music stuff,’” Thompson wrote in a story that went live at 11:05 p.m. on June 18. “He also claimed that ‘he kind of went over the edge when a girl he liked started dating a black guy two years back.’” ABC News had previously spoken to Dylann Roof’s roommate, who’d claimed the shooter had talked about plans for racial violence, but the narrative of a jilted lover seeking revenge was a juicy new wrinkle. “Dylann liked her,” Scott Roof said, according to Thompson. “The black guy got her. He changed. I don’t know if we would be here if not...” In Thompson’s telling, the interview ended with a dramatic flourish as the cousin broke off in mid-sentence and hung up the phone. News agencies across the country were soon citing the Intercept’s exclusive as they raced to cobble riverfronttimes.com
together a picture of the gunman. There was only one problem. It was a lie. Scott Roof doesn’t exist, two relatives later told the Intercept. And a story-by-story review of the young writer’s work ultimately convinced the site’s leadership that the cousin had been only one of Thompson’s inventions. The article was part of a “pattern of deception” that spread across a number of his posts, Betsy Reed, the site’s editor in chief, charged in a damning February 2 editor’s note. “Thompson fabricated several quotes in his stories and created fake email accounts that he used to impersonate people, one of which was a Gmail account in my name,” Reed wrote. The bombshell accusations left anyone who’d ever worked with Thompson wondering if he’d scammed them too. It’s a tricky question to untangle, noted Josh Marshall, the editor and publisher of the liberal online publication Talking Points Memo, which had published one of his essays.
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STORYTELLER Continued from pg 11 “One of the dirty little secrets of fact-checking,” Marshall wrote in an editor’s note, “is that it is quite difficult to uncover a determined effort to deceive.” Even more than plagiarism, fabrication is the ultimate sin of journalism. Taking credit for someone else’s work will probably get you fired. But selling fiction as fact invites pariah status. Famous fabricators Stephen Glass of the New Republic and Jayson Blair of the New York Times were rising stars before they were ejected from the news business for inventing their material. Now Glass, who graduated magna cum laude from Georgetown University’s law school, can’t even get licensed as a lawyer because of his history as a dishonest journalist. Blair works as a life coach in Virginia. But even as those two writers became nationally infamous for their sins of fabrication, Thompson’s errors would arguably have a wider impact. That’s less about the publication he worked for and more about the nature of journalism in the digital age. These days, everyone is rapidly repurposing stories from somewhere else, slapping on web-friendly headlines and trying to turn them into pageviews. As Washington Post media critic Erik Wemple noted, Thompson’s Scott Roof “scoop” was cited by the New York Daily News, New York Post, New York Magazine, Toronto Sun, Alternet, the Root, Radar Online, Latin Post, Centric TV and even the U.K.’s Indy, Daily Mail and Mirror — and that’s likely an incomplete list. The alleged hoax prompted chagrined editors from the fooled outlets to write their own correction notes or, in some cases, to simply erase the stories from their digital archives as if the whole messy business never happened. “In addition to the obvious lessons about editing, the Thompson story yields some notions about the psychology of aggregation,” Wemple wrote. “Read the editor’s notes above from organizations that followed up the Intercept’s work: They don’t apologize for having failed to vet the story and instead just drop the blame on the Intercept.” The Intercept launched in February 2014, announcing a short-term 12
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Juan Thompson was fired from online news site the Intercept after his bosses accused him of making up quotes and sources. | COURTESY BRIC TV
“Being raised in west St. Louis, I was taught to always kiss the floor when I hear the ‘pop, pop, pop’ of a gun.” mission to report on government spying using information leaked from the site’s primary source, National Security Agency contractor Edward Snowden. In the long term, the founders hoped to build a digital magazine for “aggressive and independent adversarial journalism across a wide range of issues, from secrecy, criminal and civil justice abuses and civil liberties violations to media conduct, societal inequality and all forms of financial and political corruption,” according to a news release at the time. Implicit in the long-term mission was the idea that the Intercept would be different from traditional media sources dominated by white men, but the new ven-
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ture was soon criticized from the left for falling into the same hiring pattern. “A Very Serious Problem With Very Serious Journalism,” read a headline on the Nation’s website. “Can the Intercept make a dent in the overwhelming white maleness of policy reporting?” Co-founder Glenn Greenwald, the lawyer-journalist who grew famous as a Snowden confidante, told the author that the lack of diversity in the Intercept’s early going was “by far the most disappointing thing about our launch.” He promised to do better as the site staffed up. Thompson, who is black, was hired eight months later, in November 2014. By then the news agency had grown from a small handful of employees to “just north of twenty reporters, editors and technologists,” the company said in a statement. Within ten months of that, the editorial staff was at thirty-five, with five of the sixteen writers people of color, according to numbers provided by the Intercept. Thompson started writing for the site just three months after Michael Brown was shot to death by Ferguson police Officer Darren Wilson. His hire gave the Intercept a sharp-tongued writer with an intimate knowledge of the troubled city and its problems at a time when out-of-town reporters from
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other national outlets were seen as an occupying army, parachuting in to exploit the stories of vulnerable people. Handsome, with the rare ability to speak as well as he wrote, Thompson was soon filing stories from the heart of the unrest. His December 2014 piece, “‘No Justice, No Respect’: Why the Ferguson Riots Were Justified,” described the night protesters learned Wilson wouldn’t be criminally charged for killing Brown. After being tear gassed, “my eyes burned and my lips felt as if my Chapstick had been contaminated with Wasabi paste,” Thompson wrote. “As people scattered, someone in the crowd fired a gun into the air. Upon hearing the shots I instinctively hit the ground and cowered behind a car. Being raised in west St. Louis, I was taught to always kiss the floor when I hear the ‘pop, pop, pop’ of a gun.” The vividly written story, which included an account of Thompson allegedly confronting St. Louis Mayor Francis Slay during a chance encounter in a coffee shop, was Thompson’s fifth piece on Ferguson in less than two weeks. In the following months he would go on to file searing dispatches about injustices in Baltimore, Mississippi and Chicago. He relished the opportunity to strike back at what he calls an “oppressive, anti-black, racial supremacist, capitalist system” that kneecaps all but the country’s
rich and white in the pursuit of basic civil rights and opportunities. Thompson described his reporting style in a 2015 interview with Chicago Public Radio’s WBEZ as “a la Vito Corleone in The Godfather.” He added, “Of course, I don’t use violence. I use my keyboard.” Thompson’s father was a terror until the day he died, according to a piece Thompson wrote for Talking Points Memo in July 2015. His dad, whom he identifies only by his first name in the essay, had “an uncanny physical and personality resemblance to Wesley Snipes’ New Jack City character,” Thompson wrote. He was also a ruthless St. Louis drug dealer and murderer, according to the story. An introspective son’s exploration of an uncomfortable legacy, the essay details violence and crime committed not only by Thompson’s father, but also by at least three uncles. “All the murderers in my family have been men,” Thompson wrote. “Poor men, desperate men, molded in an urban enclave of poverty on St. Louis’ destitute west side.” In the wake of the Intercept’s editor’s note, Talking Points Memo removed the story from its website. In its place is a note from Marshall, which explains that even though the site’s fact checkers had been able to verify much of what Thompson wrote, other sections required you to trust him as a narrator. “However, particularly in a personal essay, the integrity of the piece rests inevitably on the good faith of the writer — a fundamental trust that he or she is being straight with us as editors and you as readers,” Marshall wrote. The Intercept hasn’t taken down Thompson’s stories. But the site has corrected four of them, retracted the one about Scott Roof and attached notes to at least fifteen others, warning readers about quotations its researchers couldn’t confirm. Thompson’s last story for the Intercept was in December. He was fired in January, according to the news agency. It’s unclear what led to the initial investigation, and Reed declined to discuss the matter. “Thompson was dismissed because of serious ethical violations, several of which he admitted to,” a spokesperson for the company said in a statement. The editors’ notes and retraction
left some St. Louisans wondering whether Thompson even grew up here. Wasn’t it awfully convenient, in the fall of 2014, to be a young black reporter from St. Louis, even as St. Louis found itself at the center of a national conversation about race? Wasn’t his background a bit too outlandish? Thompson isn’t exactly chatty when contacted in early February, just hours after the Intercept went public with its retraction. Questioned specifically about the Talking Points Memo essay and the full name of his father, his emailed answer is terse. “Truly stand by the TPM piece. Donald Jones.” To reporters who contact him for reaction to Reed’s allegations, including the RFT, Thompson forwards a letter he’d sent his former boss. And not just one letter — as a reporter for Gawker first noticed, he was sending different versions of the letter, adding new grievances as the day continued. In the letters, he claims he is “feverishly struggling” with testicular cancer and can’t get to his notes to answer the Intercept’s questions — his files are in New York, and he is undergoing treatment in St. Louis. Reviewing some of his notes, however, he writes that he’s found “a habit of writing drafts of stories, placing the names of ppl I wanted to get quotes from in there, and then going to fetch the quotes.” He adds, “If I couldn’t obtain a quote from the person I wanted, I went somewhere else, and must’ve forgot to change the names — clearly.” If Reed had a problem with that, Thompson knows who she could blame. “Was it sloppy? Yes?” he writes. “But I’m a cub reporter and expected a sustained and competent editor to guide me, something which I never had at your company and something with which the Intercept continues to struggle as everyone in this business knows.” He acknowledges that he also encouraged some sources to use fake names to protect themselves from the publicity, he says. “Ultimately, the journalism that covers the experiences of poor black folk and the journalism others, such as you and First Look, are used to differs drastically,” he writes. “This dilemma is the Great Problem with the white media organizations that dominate our media landscape.”
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FEBRUARY 24-MARCH 1, 2016
STORYTELLER Continued from pg 13 Lots of people get the letter, but no one seems to be able to get Thompson on the phone as news of the scandal spreads. He responds in short emails with partial answers to the RFT in the hours and days that follow, eventually offering to put a reporter in touch with his brother and possibly his mother to verify his family history. But he never sets up a time and the emails stop before long. A visit to his mother’s house among the vacant buildings of Wabada Avenue yields little more. His mom listens quizzically for a moment until she’s asked about the allegations against her son. “Oh, I have no comment,” Yolanda Thompson says, ushering a reporter toward the door. “I’m sorry, but I have no comment. I wish I could help you.” Less than 15 minutes later, Thompson sends a text message. “Juan Thompson here,” he writes. “I’ll call you in a bit.”
kids, Thompson grew up among the poverty and violence south of Fairground Park and later in the similarly troubled Wells-Goodfellow neighborhood. He was bussed to Mehlville High School as a teen through a desegregation program that fed black students from north city into the suburban county school. His mother later agrees to an interview with her son’s blessing and says she split with Thompson’s biological father over his drug dealing when their son was about five years old. “He was a very kindhearted man,” Yolanda Thompson says. “But he sold drugs all his life.” Thompson’s father, Donald Jones Sr., was officially considered a “persistent offender” by the state of Missouri, according to court records. His arrests were primarily for cocaine and heroin. In 2004, he was convicted of aggravated stalking and violating an order of protection after attacking a woman and making what prosecutors called “a credible threat to kill” her. He was sentenced to ten years in prison but was instead released on probation, according to court records. He was dead before the year was out. Yolanda Thompson says he died in a car crash while running from police a month from their son’s high school graduation. Thompson describes his father this way: “He was an inconsistent but persistent negative influence, and that’s the best way of summing up who he is.” Jones might have been surprised to see the life his son crafted for himself. Thompson would have been one of about 250 desegregation students studying at Mehlville, says the high school’s former principal, Vince Viviano. The 2,000-student campus is among with most diverse in the region, with a sizable enrollment of Bosnian students along with others from St. Louis County. Thompson appears less than a half-dozen times in four years of school yearbooks, including group photos of concert band and the se-
"I won’t be silenced or cowed by any billionaire’s company or by any of these folk."
Thompson’s voice is rich and clear on the phone, like a college professor giving a lecture. He will never back down, he says. “I’m going through a tough time right now, but I’ve been through a lot tougher times than this,” he says. “I’m from the west side of St. Louis, and we’re fighters, and we come through, and I will come through on this. I won’t be silenced or cowed by any billionaire’s company or by any of these folk. That just won’t happen.” He declines to speak about the Intercept’s allegations, but says this of Reed’s note: “That story is full of lies, mischaracterizations and distortions.” He adds, “These people have been dishonest. They have mischaracterized and distorted many, multiple things, because they know the truth about how an anti-black situation at the Intercept this was, and you can quote me on that. I will say that.” The oldest of his mother’s ten
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nior year student council. Viviano can recall little about him. “I remember his face,” he says. “I remember him being a really congenial kid.” Mehlville was an A-plus school, meaning the state would pay for two years of junior college for students who achieved certain benchmarks for grades and attendance. Many of Thompson’s classmates enrolled in Meramec Community College each year as a result. If they were leaving St. Louis, they headed west to the University of Missouri-Columbia. Viviano sounds stunned when told Thompson eventually moved to the East Coast to attend Vassar College. He can’t remember a single other kid in his nine years at Mehlville who did that. On the surface, Thompson seemed to adapt to life at the small private college without much trouble. He began to write a little for the school paper and hosted a podcast called News and Booze, in which he and three political science classmates debated topics such as the New York Police Department’s stop-and-frisk strategies and a white law school applicant’s lawsuit attacking affirmative action. Ian D’Emilia, now 25, was a cohost of the podcast and roomed with Thompson and two others during their senior year in 2013. “He’s a charismatic guy,” D’Emilia says on the phone from San Francisco. “He’s a funny guy. He’s an intellectual guy.” He could also be secretive and combative. D’Emilia recalls a night they were hanging out at a friend’s place talking politics. The conversation turned to the then-mayor of Newark, Cory Booker. Thompson, not a Booker fan, grew furious with the friend. “He took his shirt off, like they were going to fight,” D’Emilia says. Around professors and others he wanted to impress, Thompson was pure eloquence. D’Emilia says he had the charm and smarts of a politician in the making. Thompson especially liked to talk about his acceptance into University of Chicago Law School, one of the best in the nation. But D’Emilia was growing increasingly skeptical of Thompson’s stories. As graduation approached, they made plans to go to a string of commencement events together. Thompson, though, never showed up.
Thompson’s family still lives in the Wells-Goodfellow neighborhood. | DOYLE MURPHY When he didn’t even go to collect his diploma, D’Emilia tracked him down at their apartment to ask why. Thompson claimed he was short a language credit he needed to graduate. It seemed almost impossible he wouldn’t have known that before graduation week, especially since Thompson had talked so much about Chicago and law school, D’Emilia says. “He was a peculiar guy,” he says today. “Very peculiar. I never really trusted him.” Thompson moved to Chicago after leaving Vassar and began trying to make his way as a journalist. He interned for few months in the summer of 2013 at hyperlocal news site DNAinfo Chicago, he says, writing neighborhood stories. He landed another internship almost a year later at WBEZ, the NPR affiliate in Chicago. And then, after less than a year total of experience as an intern, he was hired by the Intercept and moved to Brooklyn.
The Intercept’s story-by-story review of Thompson’s work leaves some sections of his writing still standing. Often, it’s the work pulled from other sources and cited. Looking at the body of work and the parts that his former employer is no longer willing to stand behind, Thompson seems less a Stephen Glass — spinning fantastical tales that really were too good to be true — and more a Jayson Blair, a guy who took shortcuts or embroidered details that weren’t in the foreground. Even in his Scott Roof story, the supposed interview with the cousin was just an anecdote dropped into the fourth paragraph, below talk of the shooter’s racist photos on Facebook and a quote and citation from an ABC story. The parts found to be fake by the site’s review team were usually just the bits of original reporting needed to complete a narrative supported by context and facts already out in the world. That’s also the case in Thompson’s story about some local unsolved murders, “St. Louis
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Grapples — And Fails to Grapple — with the Matter of Murdered Black Women.” The story describes a common thread of apathy and disrespectful media coverage in response to the killings, buttressing Thompson’s argument with readily available crime statistics. The part he allegedly fabricated is an interview with a criminal justice professor, the kind of secondary interview reporters include for a little context. The woman does exist, but she doesn’t teach criminal justice and hadn’t spoken to Thompson, the Intercept found. The retracted and corrected stories on the site cover only the occasions where the Intercept could find people who refuted claims or denied saying the quotes attributed to them. The site’s investigators noted more than a dozen other instances where they couldn’t find the people quoted and couldn’t determine if they were real or not. It’s a pattern that casts doubt not only on Thompson’s stories, but pieces of his resume. In bios attached to freelance pieces, he was repeatedly described as a Vassar grad who was taking a break from law school as he gave journalism a try and worked on a forthcoming memoir — It Hurts Even More in French — to be released by Crown Publishing. But a University of Chicago spokesman wouldn’t say if Thompson was ever accepted to the prestigious school, much less confirm whether he’d been awarded a full scholarship — a detail mentioned in a Vassar alumni magazine piece that quoted Thompson. The memoir claim was repeated in the Intercept’s announcement of Thompson’s hire in November 2014. But months later, it was deleted from the site — without so much as an editor’s note letting people know the item had been altered. When asked about the change by RFT, Reed says the site’s computer system shows Thompson did it himself. “The Intercept did not find out the claim was suspect until we conducted our investigation much later,” Reed, who didn’t hire Thompson, writes in an email. The claims about law school and the supposed book deal are like the people the Intercept’s researchers couldn’t find. Maybe he interviewed those people, and they’re now hard to locate. Maybe the book deal fell through. Maybe
FEBRUARY 24-MARCH 1, 2016
Continued on pg 16
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STORYTELLER Continued from pg 15 he was accepted to law school and didn’t go. But in Thompson’s new reality, doubt covers anything that can’t be pinned to verifiable facts. Thompson insists it was all true enough. He continues to fight back, and seems most bothered when people question the stories he’s told about his family and hometown. That includes the essay that Talking Points Memo deleted, which detailed the crime and violence committed by his father and uncles in the same neighborhoods where their families had to live. Court records confirm his father was repeatedly arrested and incarcerated during Tho mps o n ’s life. Harder, if not impossible to confirm, are the sections attributed to m e m o r y. D i d Jones really tell his son he’d murdered four people? Did he say “I smoked some niggas,” as Thompson writes? “I wish I could make this shit up, but I can’t because it would be such a horrible thing for a child and a person to have to go through the things I wrote about,” Thompson tells RFT. Another story, “How St. Louis Police Robbed My Family of $1,000 (And How I’m Trying to Get It Back),” is even more of a tangled web. First published eight months after the unrest in Ferguson brought a national spotlight to the way petty traffic offenses have tormented black people in the St. Louis area, the story describes the time in 2007 when his mother was jailed in St. Louis city following a traffic stop. Thompson wrote that his mother had been taken into custody by St. Ann cops, who mistook her for another woman with a bunch of outstanding warrants in the city. “St. Ann is one of the more notorious cities in the county when it comes to traffic violations, and in my mother’s case, the city’s finest,
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quite simply, fucked up,” he wrote. “As it was, my mother had no warrant; the police confused her with another woman who shared her name — sans the middle initial.” But that part simply wasn’t true. His mother had warrants from 2001 and 2003 for driving on a license suspended in 1997, according to records at the 22nd Circuit Court examined by RFT. Questioned about his story’s claim of mistaken identity, Thompson says that wasn’t the point. “The point about the story was that she was arrested and detained for a few days, and her family didn’t know where she was,” he says. “Even if a poor black woman was driving on a suspended license, she can still be mistaken for someone else who has a worse record. She can also be detained for days without her family know where she was.” He offered his mother’s plight as an example of the way the criminal justice system grinds up those who don’t have political clout or money to pay for attorneys, and parts of the narrative check out. Yolanda Thompson did spend at least two days in city lockup. She did plead guilty, and it does sound like a misery that a person with a lawyer on retainer wouldn’t have suffered. “I cried for four or five days while I was down there,” she tells RFT. “It was a horrible experience.” But the reporting was at least sloppy, if not intentionally misleading to sharpen the point. Yolanda Thompson admits she had a traffic warrant. She claims today that she was the victim of mistaken identity, but in her telling, it's not clear whether the mixup was at the jail after she was already booked, or in St. Ann. A look at court records or maybe a few phone calls by Thompson would have cleared up some of the discrepancies in his piece — but also maybe complicated a juicy narrative. It’s a far better story, af-
“I wish I could make this shit up, but I can’t because it would be such a horrible thing for a child and a person to have to go through the things I wrote about.”
ter all, if Thompson’s mom was the victim of mistaken identity, not just someone who suffered more than she should have after driving on a suspended license. City prosecutors, city police and a spokesman for the mayor’s office all said they don’t have any records of Thompson or anyone from the Intercept ever contacting them to investigate. Journalist Andrew Jerell Jones worked with Thompson for about six months at the Intercept. He says they were “friendly” and, like Thompson, he claims the site has a race problem, though he won’t get into specifics. That doesn’t excuse bad journalism, he says. “There are some fundamental problems at the Intercept with race, as there are in media in general, including liberal online media,” Jones writes in an email. “But what Juan did was something that is TABOO for all of us journalists of ALL color and something that does not make him look like the martyr he is sadly trying to portray himself as. “What he did was made it worse for all of us minority journalists, especially black, who have legitimate issues with race in newsrooms and media as a whole.” Thompson’s conversation with the RFT lasts more than an hour on the phone, and both before and after it, he answers a few questions by email. But even then, the young writer is maddeningly elusive. As just one example, asked for proof of his cancer diagnosis and treatments, Thompson says he’ll have to ask his attorney. He had previously made no secret of the disease, tweeting on January 12 that he had been diagnosed that day and later opening his letter to Reed with a progress report. “I’ve been undergoing radiation treatment for testicular cancer and, since I no longer have health insurance, I’ve been feverishly struggling and figuring out how to pay for my treatment. All of this, of course, has taken up my time and energy; except for the few moments I’ve spent searching for some relief,” he’d written. On February 6, less than a month after he announced his diagnosis and four days after Reed’s “Note to Readers,” Thompson again took to Twitter: “Drank a lot of whiskey, watched a lot of Top Chef (I can make a mean flank steak), almost
finished w/ treatment.” The message was the first in a string of three tweets that day as Thompson promised his “story will be told, and my support and work for black folk won’t end.” He signed off with “I’m from #StLouis. We tough as fuck.” The tweets disappear from his feed four days later, along with any previous mentions of having cancer. In the days that follow, he answers emails only with short statements, if at all. That’s even as other parts of his story unravel. A Vassar spokesman
confirms that Thompson went there but never graduated. A St. Louis Metropolitan Police spokeswoman says the name of an officer Thompson quoted in one of his earliest articles, a 2010 piece in the Vassar student paper, doesn’t match anyone on the roster of people who’ve worked there. Questioned about these inconsistencies, Thompson responds one last time, answering only some of the queries being posed. No, he didn’t graduate from Vassar; he blames a “financial dispute regarding my final bill.”
And no, there never was a cop by the name he quoted in college. “I used a pseudonym for a friend who worked on the force. There is absolutely nothing wrong with that in a campus newspaper.” He doesn’t respond to questions about the University of Chicago Law School or the “forthcoming” memoir. He sends no medical records. “I’ve been instructed by my legal counsel not to talk to the media anymore,” he writes. What’s the name of the lawyer? Thompson doesn’t respond, leaving one more question unanswered. n
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WEEK OF FEBRUARY 25-MARCH 1
Robert Smithson’s Spiral Jetty, 1970 | PHOTO © DAVID MAISEL. ART © HOLT SMITHSON FOUNDATION/LICENSED BY VAGA, NEW YORK. COURTESY INSTITUTE, VENICE, CA
BY PAUL FRISWOLD
THURSDAY 0225 Blues vs. Rangers The resurgent New York Rangers come to town tonight to take on the always puzzling St. Louis Blues at 7 p.m. at Scottrade Center (1401 Clark Avenue; 314-241-188 or www.stlblues.com). Norwegian Mats Zuccarello is in the middle of a career year for the Rangers, netting 20 of his 65 career goals this season (and he’ll probably have a couple more by the time he gets to St. Louis). The Blues counter with Vladimir Tarasenko, who with 27 goals is the team’s leading scorer by a lot. Can the home team un-
lock the secret of supplemental scoring before the playoffs start? Tonight’s game is also a Pink at the Rink benefit for breast cancer. If you buy your ticket through the team’s promotions page, $5 goes to the American Cancer Society, Susan G. Komen-Missouri or the Siteman Cancer Center. You’ll also get a commemorative T-shirt. Tickets are $50 to $305.
FRIDAY 0226 Troublemakers: The Story of Land Art
In the late 1960s, a handful of artists rejected the world of art galleries by creating works on a scale so massive no building could contain them. To do so, they used the earth itself as their canvas, often working in the expansive American Southwest. James Crump chronicles the rise of the movement in his documentary Troublemakers: The Story of Land Art. Crump positions Michael Heizer, Walter De Maria and Robert Smithson as the big three of the style, using new aerial footage and remastered vintage images to show how their earthworks have been altered by time and the environment. Smithson’s iconic piece Spiral Jetty, a 1,500-foot-long spiral of basalt, mud and salt constructed in the
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bed of the Great Salt Lake in 1970, was submerged for almost three decades and is now mostly white rather than its original black. De Maria’s sprawling The Lightning Field — a one-mile by one-kilometer grid of 400 steel poles on a plateau in New Mexico — required an overhaul after 40 years standing against the winds of the high desert. Troublemakers provides the opportunity to see art that is hidden in plain sight in some of the country’s most remote regions. The film screens at 7:30 p.m. Friday through Sunday (February 26 to 28) at Webster University’s Moore Auditorium (470 East Lockwood Avenue: 314-967-7487 or www. webster.edu/film-series). Tickets are $4 to $6. Continued on pg 20
FEBRUARY 24-MARCH 1, 2016
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ACADEMY AWARD® NOMINEE
SAINT LOUIS
BEST FOREIGN LANGUAGE FILM OFFICIAL ENTRY • DENMARK
CALENDAR Continued from pg 19
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Symphony No.1 in C minor, op. 68 Brahms Cuban Overture Gershwin Solemn Vespers, K.339 (Vesperae solennes Artist:
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FEBRUARY 24-MARCH 1, 2016
Tim Schall: Songs of 1961
Top cabaret singers have strong voices and the ability to connect emotionally with an audience — that’s why Tim Schall is one of the very best in the business. Schall ART APPROVED sings beautifully, but it’s the way AE APPROVED he channels his feelings through the music that inexorably pulls you CLIENT APPROVED into the song with him. He’s the sort of performer who makes you feel that he’s singing to you, and for you. Tonight at 8 p.m. at the Stage at KDHX (3524 Washington Avenue; www.thestagestl.com), Schall presents Songs of 1961: The Men Were Mad and the Music Was A-Changin’. The show takes you back to Gaslight Square’s heyday, when music was transforming from safe and steady pop to something new, modern and hip. Schall is backed by Carol Schmidt (piano), Michael Isam (percussion and sax) and Ben Wheeler (bass), and tickets are $25.
SATURDAY 0227 Wall Ball If you like your art fresh off the brush, Wall Ball is for you. The annual fundraiser for ArtScope features artists such as Tony Renner, Lea Koesterer and Jeffrey Sass creating new works in all media
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during the course of the evening. Your job is to mingle, have a few drinks and bid on the pieces you like. The money raised helps ArtScope continue its mission of providing year-round arts education to kids. Wall Ball takes place from 7 to 11 p.m. tonight at Majorette (7150 Manchester Road, Maplewood; www.artscopestl.com). Tickets are $35 to $60.
A Midsummer Night’s Dream The works of William Shakespeare have inspired audiences for more than 400 years. Among those who fell under the bard’s spell was Felix Mendelssohn, who wrote a concert overture for A Midsummer Night’s Dream when he was seventeen. Sixteen years later he returned to the play, composing a sonata of incidental music that incorporated his overture, complete with parts for voice. The Saint Louis Symphony performs the full piece as part of its Shakespeare Festival concert series. Conductor Hans Graf is joined by members of the Saint Louis Symphony Chorus and actress Maureen Thomas, who performs vignettes from the play. A Midsummer Night’s Dream is presented at 8 p.m. Saturday and 2 p.m. Sunday (February 27 and 28) at Powell Hall (718 North Grand Boulevard; 314-534-1700 or www. slso.org). Tickets are $25 to $111.
SATURDAY 0227 Elephant’s Graveyard George Brant’s drama Elephant’s Graveyard is based on a true story. In 1916 a traveling circus visited Kingsport, Tennessee, with its big draw — Mary, an Asian elephant billed as bigger than Jumbo. Unfortunately, Mary killed her handler in a very public place, and the people of Kingsport demanded justice. In order to get it, Mary was transported to nearby Erwin, which had the necessary heavy equipment to execute an elephant. Brant tells this story through the shared memories of the circus folk and the citizens of both towns, who all remember the incident slightly differently. It’s an object lesson in the uncertainty of eyewitnesses and America’s love for spectacle — especially when it’s grisly. The Washington University Performing Arts Department presents Elephant’s Graveyard at 8 p.m. Friday and Saturday and 2 p.m. Sunday (February 26 to March 6) at Washington University’s Edison Theatre (6465 Forsyth Boulevard; 314-935-6543 or www.edison.wustl. edu). Tickets are $10 to $15.
SUNDAY 0228 WIL’s Duct Tape Derby Cardboard sledding is not in the Olympics — not yet, anyway. That means the highest level of competition for this sport is still to be found at WIL’s Duct Tape Derby. Competitors must use cardboard, duct tape and glue to build their sleds, but the actual design is left up to personal preference. Last year’s derby saw a Star Wars landspeeder, a Mario cart and an actual johnnyon-the-spot dubbed “Johnny on the Pot”; who knows what you’ll see this year. The competition starts at 10 a.m. today at Hidden Valley Ski Resort (17409 Hidden Valley Drive, Wildwood; 636-938-5373 or www. hiddenvalleyski.com). It’s free to participate, and cash prizes are awarded for the two best-designed sleds, as well as for the single fastest run of the day.
The circus remembers in Elephant’s Graveyard. | JOE ANGELES/WASHINGTON UNIVERSITY
MONDAY 0229 Steven Brawley Steven Brawley started the St. Louis LGBT History Project to preserve whatever he could of St. Louis’ gay and lesbian culture. From the matchbooks of long-gone gay bars to performers’ costumes to old photographs, if it was linked to the city’s LGBT community, Brawley collected it. Part of the growing trove is documented in his new book, Gay and Lesbian St. Louis, which features photographs donated by private citizens, the Missouri History Museum and the State Historical Society of Missouri. The book goes on sale today, an event celebrated with a launch party at 7 p.m. at Left Bank Books (399 North Euclid Avenue; 314-3676731 or www.left-bank.com). Admission is free and refreshments will be served.
TUESDAY 0301 Espionage during World War 1 America stayed out of the first three years of World War I, but its distance from the events over there changed in 1917. British intelligence intercepted a coded
telegram sent by German foreign secretary Arthur Zimmerman to Heinrich von Eckardt, Germany’s ambassador to Mexico. The cable outlined a plan to induce Mexico to join the war on the German side if America dropped its neutrality. For its trouble, Mexico would receive Texas, New Mexico and Arizona upon Germany’s victory. The English turned the message over the Americans. On February 28 the decoded contents were released to the American public; the U.S. entered the war just six weeks later. Tonight at 7 p.m. at the Missouri History Museum (Lindell Boulevard and DeBaliviere Avenue; 314-746-4599 or www. mohistory.org),Wynn Ward discusses the Zimmerman telegram and other successful acts of sabotage in the U.S. in the lecture “Espionage during World War 1.” Admission is free.
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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INVITES YOU AND A GUEST TO SEE
WEDNESDAY, MARCH 2 7:00 P.M. PLEASE VISIT WWW.GOFOBO.COM AND ENTER THE CODE RFTf2cfr TO DOWNLOAD YOUR COMPLIMENTARY PASSES! This film is rated R. Passes are limited and will be distributed on a first come, first served basis while supplies last. No purchase necessary. Limit one admit-two pass per person. Void where prohibited. The screening is overbooked to ensure capacity and seating is not guaranteed.
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IN THEATRES NATIONWIDE ON MARCH 4!
FEBRUARY 24-MARCH 1, 2016
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ST LOUIS RFT THURSDAY, FEBRUARY 25
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22
FILM
Lovers Ever Run Before the Cock Gaspar Noé focuses on sex over story — and the sex isn’t good either. Written by
ROBERT HUNT Love
Directed and written by Gaspar Noé. Starring Aomi Muyock, Karl Glusman and Klara Kristin. Now streaming at multiple sites.
I
f you’ve kept up with contemporary French films for the last fifteen years, you’ve probably been exposed to — or perhaps more properly, been assaulted by — the wave of films that attempt to shock, surprise or generally rub the viewer’s face in explicit sex, violence and pompous nihilism. It’s been called the New French Extremism, and it blurs the lines between art and exploitation, between personal filmmaking and horror/porn. With Love, the latest film from Argentinian-turned Parisian Gaspar Noé, a central figure in the Extremist wave, those lines have been erased altogether. Love — a title I suspect is meant to be ironic — revolves around Murphy (Karl Glusman), a self-absorbed young American living in Paris. Murphy is described as a film student (posters for Taxi Driver and M fill his walls) but he’s never shown in a class or a studio, and the only time we see him using a camera he’s shooting a talking-head video that is indistinguishable from the roughly 5,000 other amateur videos that have been posted on YouTube since you started reading this sentence. Early in the film, Murphy learns that a former lover, Electra (Aomi Muyock), has disappeared. He spends the remainder of the film recalling their relationship and wallowing in bruised self-pity. In randomly structured flashbacks that give the illusion of
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Murphy and Electra (Karl Glusman and Aomi Muyock) in a quiet moment. | GASPAR NOÉ
It’s hard to imagine that Noé really believes he’s shocking his viewers or breaking new ground. more narrative weight than they actually bear, we see their infidelities (mostly his), their bouts of insobriety (ditto) and their many arguments, punctuated by non-simulated and oddly dispassionate sex scenes. The sex scenes are numerous, but aside from a few instances of body parts pointing directly at the camera (the film was shot in 3-D), they’re also fairly routine. (One loopy exception: On the recommendation of a friendly police officer, Murphy and Electra visit a sex club where members and performers writhe on stage to themes
FEBRUARY 24-MARCH 1, 2016
from John Carpenter films). It’s hard to imagine that Noé really believes he’s shocking his viewers or breaking new ground. Four decades after Last Tango in Paris and porno chic and fifteen years into into the porn-saturated 21st century, Noé’s young cast isn’t reinventing the wheel. This is Noé’s first film in English, though his familiarity with the language is questionable. The dialogue often sounds like an awkwardly literal translation, and many of the performers sound like they’re reciting their lines phonetically. Murphy’s voice-over monologues have the flat quality you get from bad dubbing. Language here is, of course, largely unimportant, and you could probably follow the film just as easily if you ignored the banal dialogue and focused on the claustrophobic compositions and awkwardly lethargic sex scenes. And yet even without those scenes, Love follows the example of New Extremism through the sheer loutishness of its central character. As Murphy’s relationship with Electra worsens, his misogyny and resentment take
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over, and he begins to obsessively remind people that he is an American, as if his nationality was both an excuse for and an explanation of his brutality. As in other New Extreme films, America gives Noé a convenient excuse for Murphy, and for his own self-indulgence. Noé wallows in Murphy’s bad behavior, but also vaguely scolds him for his Americanness. The young man is self-centered, small-minded and brutish — but I suspect that Noé finds these to be normal, admirable qualities for a typical young male today. As he lovingly frames Glusman in close-up for more than half the film, it’s not unrealistic to presume that Noé excuses his character’s behavior and even sees him as a surrogate: Murphy shares the director’s favorite film — 2001 — and, in a perverse bit of cinematic narcissism, gives his child the director’s own name, Gaspar. In Love, Noé exposes and forgives Murphy’s caveman attitudes by pretending they’re a kind of romanticism. He explores — and shares — them with a fashion photographer’s eye and a drunken frat boy’s sense of entitlement. n
THE ARTS [DANCE]
Following in Their Steps Dance St. Louis’ latest show premieres new work by prominent choreographers honoring black St. Louisans Written by
ELIZABETH SEMKO New Dance Horizons IV
Presented by Dance St. Louis. Friday, Feb. 26 at 8 p.m. and Saturday, Feb. 27 at 2 p.m. and 8 p.m. at Touhill Performing Arts Center (1 University Blvd.; 314-516-4949 or touhill. org). Tickets are $20 and are available at the Dance St. Louis box office (3310 Samuel Shepard Drive), by calling 314-534-6622 or by visiting dancestlouis.org.
Y
ou don’t need a recap of the news to know that race has been a heated topic in St. Louis of late. It can be difficult to make sense of the tension gripping the city in the wake of the Ferguson protests and even more difficult to know how to begin to address it. But rather than skirt the subject, some choreographers in Dance St. Louis’ latest presentation are facing it head on — with a trio of pieces that both honor prominent black lives that began in the St. Louis area and, in examining their work, tackle everything from war to gun violence. Dance St. Louis’ annual production, “New Dance Horizons,” has been a staple in the non-profit dance presenter’s seasonal lineup since 2012, pairing nationally recognized choreographers with local dance companies to create one big show of world premieres. This year’s rendition, “New Dance Horizons IV,” narrows the spotlight even further to celebrate legendary black artists with roots in St. Louis. Three nationally renowned African-American choreographers each created a piece, with one or more local icons serving as inspiration. One such choreographer is New Yorker Bebe Miller, a Bessie Award winner who choreographed “Line
Big Muddy’s performance takes its cue from Dick Gregory, among others. | GERRY LOVE Up Low Down” for St. Louis’ Modern American Dance Company. The piece is influenced by Miles Davis, the jazz great born in Alton, Illinois. Miller, who is working with Davis’ music for the first time, said in a press release that the trumpeter’s groove “is a constant reminder of how to seize the moment.” The program also includes three alumni of the prestigious Alvin Ailey American Dance Theater, the New York-based modern dance company named after its founder, a prominent black dancer and activist. Antonio Douthit-Boyd, Kirven Douthit-Boyd and Alicia Graf Mack all danced for Alvin Ailey but now reside in St. Louis. Modern dance pioneer Dianne McIntyre choreographed a piece featuring the trio and an ensemble of local dancers, “When We Come to It,” which was inspired by St. Louis-born Maya Angelou. It includes the music of St. Louis trumpeter/composer Lester Bowie as well as a reading of Angelou’s poem, “A Brave and
Startling Truth.” Eight dancers, as well as the speaker reciting the poem, were cast at an audition in September that gave locals an opportunity to work with the top choreographer. Of McIntyre, Graf Mack says, “She has been so wonderful, not only with Antonio, Kirven and I, but with the ensemble of dancers. Most of them are young, just starting their professional work, and so I think that they’re having a great time working with her, and it’s just an amazing opportunity.” So how do you tackle a poem that takes on war, and even the cosmos, through dance? Graf Mack explains, “With the imagery that is evoked through the words, [McIntyre] started to created movement and reflect the tone and the mood and the spirit of Maya Angelou’s work.” The show’s third choreographer, Robert Moses, took inspiration not just from the lives of great St. Louisans, but also from the dancers he was working with. When you set out to create a piece, he notes,
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you walk into a room of adults with their own histories and life experiences. “The first thing I like to do is to begin to pull out of them what it is that they can do, rather than just give them what it is that I want them to feel,” Moses says. “And then we’ll end up with something that is more satisfying, something that is richer than what I’d feel on my own.” The founder of San Francisco-based dance company Robert Moses’ Kin and a Stanford University choreographer-in-residence, Moses created “Gunshots/Daffodils/Moans/Still” for the Big Muddy Dance Company. The work’s sound and musical inspiration come from St. Louis cultural legends, including gospel singer and preacher Rev. Cleophus Robinson and comedian and civil rights activist Dick Gregory, as it takes on loaded topics such as violence and loss. Moses says his goal is less about trying to proscribe a solution and more about putting the subject on the table — or, in this case, the stage. “I don’t want to walk into someone’s home and say that this is what’s happening, this is what you should do about it,” Moses says. “It’s not like that at all. It’s that it’s something that is in the air right now that we need to consider and think about, and arts is one of the ways to do that.” “New Dance Horizons IV” isn’t simply about entertainment. As Moses explains, it’s so much more. “It’s about, I think, the rich culture of St. Louis. It’s about what has happened, about what’s happening now. It’s about where things will be going. It’s about supporting local arts….really fantastic performers and artists working at the top of their game. It’s about hearing fantastic music. It’s about being in conversation with other people in the audience between pieces about what you’ve just seen.” Adds Graf Mack, “I think dance is one of the greatest ways to touch the human spirit. And when talking about black history and black culture, I really do think that celebrating the arts within our community is one of the best ways to honor the legacy of these wonderful leaders of our community.” n
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CAFE
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Around the World in 80 Dishes Copper Pig draws on influences from just about every continent Written by
CHERYL BAEHR Copper Pig
4611 Macklind Avenue; 314-499-7166. Mon.-Sat. 4-10 p.m.; Sun. 10 a.m.-2 p.m.
I
f I were to tell you that Copper Pig is “fine,” what would you think? That I had a bad experience? That the food was sub-par? That service was inattentive? This couldn’t be further from the truth, yet I struggle to write the review of this three month-old South Hampton restaurant because it was precisely that — fine. I once read an essay in which the author laments the demise of this adjective, positing that to label something as “fine” in a culture of “that’s epic, bro” and “this pasta is literally the worst” is perceived as calling it mediocre. And Copper Pig is certainly not that. Then again, it’s not the best restaurant to open this year, or even the great neighborhood place that its quaint South Hampton setting might suggest. It’s adequate. It’s pretty good. As my friend put it, “I don’t know if I’d tell someone they absolutely had to go there, but I’d probably go back.” Owner Nhat Nguyen should feel good about smacking a base hit for his first full-fledged restaurant venture. A bartender by trade, Nguyen most recently operated the bar Urban on South Grand, which closed in 2014 after a nine-year run. He’d always wanted to open a restaurant, and Urban’s closure made him serious about executing on his vision. That vision may seem odd when you first glance at Copper Pig’s mix of Asian dishes and down-home American comfort food. Then you listen to Nguyen’s explanation, and it makes sense.
The Copper Pig’s lamb shank, beet fries and poutine. | MABEL SUEN
The space looks decidedly allAmerican — so much so that folks sometimes mistake the place for a barbecue joint (the name may add to the confusion). Just like Momofuku’s David Chang and LA’s Roy Choi, Nguyen grew up as as a first-generation American with Asian immigrant parents — in Nguyen’s case, they were of both Vietnamese and Chinese heritage. What he ate was equally divided between the traditional Southeast Asian food served by his family and the fried chicken and burgers he devoured outside of
his home. In this sense, the menu is autobiographical, peppered with dishes that have inspired him throughout his life. And the melting pot that forms Copper Pig has even more influences. The restaurant’s chef, Andrew Cisneros, is Peruvian, with a wife from the Philippines, even as Nguyen was profoundly influenced by the food he ate while living in Miami. The result is an eclectic mix — the culinary equivalent of a world music festival taking place, perhaps, in the middle of Nashville. The space, in fact, is decidedly all-American — so much so that Nguyen admits folks mistake the place for a barbecue joint (he notes that the name may add to the confusion). The restaurant has that classic, south St. Louis rehab aesthetic: exposed brick walls, a wooden beamed ceiling, Edison light bulbs and vintage damask wallpaper the color of gilded moss. The dining room takes up the majority of the space, with wooden tables surrounded by black chairs and a few black leather semi-circle booths. The bar lines one side of the room.
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If you walk in expecting a trendy gastropub based on these looks, you’re wrong — sort of. The Southern fare is there, including the ubiquitous deviled eggs. Two are traditional in style, whipped with mustard and mayonnaise and topped with bacon. Korean hot sauce and pickled daikon, however, nudge the other two eggs past traditional American picnic fare. I just wished both selections were creamier. Poutine, another au courant bar staple, pairs crispy fries with creamy cheese curds, gravy and smoky duck confit. The fat from the duck mingles with the gravy, creating a rich, satisfying sauce. The beet fries, however, were the standout appetizer. Their texture could not have been more perfect — the root vegetables are cut into thick slices, roasted so that they just soften a touch, lightly dusted in cornstarch and fried for a hint of crunch. Mild, whipped goat cheese, sprinkled with scallions, serves as an addictive dip. This dish alone is worth a visit. Copper Pig’s take on the chicken
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Continued on pg 26
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COPPER PIG Continued from pg 25 wing has its merits. They are frenched like a lamb lollipop, so that the meat and gristle are removed from the narrow part of the drummy. This is great for ease of eating but seems to result in less meat. The crispy breading is glazed in sweet chili sauce that would be excellent if it had any spice. As it stands, the flavor was one-dimensional. Entrees depart from the Southern-influenced fare, turning toward Asian and Latin American influences. On both of my visits, Copper Pig offered two different versions of tacos. The shrimp version, dressed with creamy fish sauce aioli, made up for the chicken wings’ lack of heat with a fiery wallop. The whole thing had an easy vibe, like a Baja fish taco, until I encountered one of the burn-yourmouth-off Serrano peppers. The spice enlivened the fried shrimp, even if it induced hiccups. The avocado tacos are as mild as the shrimp are spicy, but they were no less interesting. Hunks of avocado are breaded in panko and lightly fried, creating a warm, creamy texture reminiscent of flash-fried goat cheese. They were good, though they could have been great were it not for the overdressed Thai chili cabbage slaw. I was underwhelmed with the “Three Little Pigs” sandwich. A panko-coated pork cutlet is topped with bacon, ham, brie and an over-easy egg — a concoction that sounds decadent but that lacks the ooze factor I’d anticipated. The “hot/sweet” relish did little to elevate the dish past ho-hum. Similarly, I found the bibimbap bowl to lack the oomph found in better versions of this Korean classic. The garlic rice wasn’t garlicky, the egg was overdone and the bul-
Copper Pig has the look of a classic south-city rehab, with exposed brick and Edison bulbs. | MABEL SUEN golgi beef was chewy. All the right components were there, and it looked nice enough, but it felt like something you’d find at Panera. On a different night, another taste of bulgolgi revealed a different problem: too much salt. This time, the meat was moist and tender, served on a garlic baguette with kimchi, apples and cheddar cheese for a Korean-inflected cheesesteak. Too much meat had been piled on crumbly bread, though, which made it impossible to eat without the aid of a knife and fork. The sandwich was the right idea; it just had execution problems. The lamb shank, however, was darn near flawless. Braised meat, spiced in the style of North Africa,
fell away from the bone into a small pool of its cooking juices. A creamy fried risotto cake was the perfect tool for scooping up this savory treat. I was equally impressed with the fried snapper. The whole fish is lightly fried and dressed with fried sweet plantains, tangy soffrito rice and tamarind paste — as if Cisneros is writing a love song to his Latin American roots. This dish, coupled with a level of hospitality usually reserved for more expensive restaurants, tips the scales in Copper Pig’s favor. (I must disclaim: I’m certain that Nguyen and his team knew I was reviewing the restaurant on my second visit but not on my first. I
had near-identical experiences on both occasions.) And then we came to dessert. A platter of churros on one occasion, a fruit-filled chocolate shell on another — they were good. Not great. Not bad. Just a satisfying enough sendoff for a satisfying enough meal. In other words, they encapsulate Copper Pig. It’s not setting the world on fire, but it’s a fine restaurant nonetheless. Isn’t it about time we stop thinking of that as a pejorative? n Copper Pig
Beet fries ............................................$5 “Three Little Pigs” ........................... $12 Fried snapper ................................... $19
DINE, DRINK, PATIO. B.O.B. ON THE FLY
Looking for your BOB fix, but strapped for time? Try our new fast-casual concept, BOB on the FLY! Walk up to the counter, place your order and we’ll have it out to you in under 10 minutes! A selection of your Oyster Bar favorites- soups, salads, sandwiches and sides, but beefed UP with 14 brand new sandwiches to tickle your taste buds.
MONDAY - FRIDAY 11:00AM - 3:00PM 4940 Southwest Ave, St. Louis MO 63110 • (314) 669-9222 26
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Located in the new addition. Check out the menu and get ready to try them ALL! BOB quality at on the FLY speed!
ST. LOUIS’ ULTIMATE SPORTS BAR Exceptional food, craft beers & spirits
THE PLACE FOR BLUES HOCKEY COLLEGE BASKETBALL FREE SHUTTLE TO ALL GAMES 䌀伀刀一䔀刀 伀䘀 䴀䔀一䄀刀䐀 ☀ 䄀䰀䰀䔀一 䤀一 吀䠀䔀 䠀䔀䄀刀吀r i v e伀䘀 匀伀唀䰀䄀刀䐀 rfronttimes.com FEBRUARY 24-MARCH 1, 2016
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SHORT ORDERS [FIRST LOOK]
[SIDE DISH]
Lilly’s Chef Just Can’t Quit the Biz
St. Louis-Style Pizza Comes to Midtown Written by
EMILY HIGGINBOTHAM
Written by
W
CHERYL BAEHR
A
my Generally jokes that she can’t seem to get out of the restaurant business no matter how hard she tries. “I’ve gone to school for everything from mortuary science to EMT training to environmental science and engineering,” says the chef at Lilly’s Music & Social House (2321 Arsenal Street, 314-312-6398). “I’ve pretty much tried everything to get out of the business, and I just keep getting pulled back in.” Generally admits that her love of cooking makes her a willing captive. Her passion for food began at an early age. When she was about five years old, she often found herself in the kitchens of her mom, grandmother and great aunts, perched atop a stool and absorbing their knowledge before she even really knew what cooking was all about. Once she was old enough to work, she picked up jobs in the restaurant business, honing her skills along the way. Generally enrolled in culinary school, but quickly realized that ten years in the restaurant business had already taught her much of what she needed to know. After one semester, she left school and opted for on-thejob training with Vail Resorts, where she cooked at some of the top ski destinations in the country. But the Alton, Illinois native couldn’t stay away from the Midwest for too long. After leaving Vail Resorts a few years ago, she enrolled in the environmental science program at Southern Illinois University, Carbondale to pursue her passion for sustainability. Then she got a call from her old friend Kristen Goodman, who was about to open Lilly’s. “Kristen told me about twelve years ago that if she ever opened her own place she’d want me to be the
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An Alton native, Amy Generally has a passion for sustainability. | COURTESY OF AMY GENERALLY
chef,” Generally explains. “She stuck to that, so here I am back in St. Louis.” In addition to her cooking duties, Generally hopes to bring her sustainability philosophy to Lilly’s — she’s especially excited about the community garden across from the building. Generally is also applying to participate in EarthDance Farms’ organic apprenticeship program. It’s an exciting opportunity to meld her passions for cooking and sustainability. “It feels like it is all coming together,” Generally says. Generally took a break from the kitchen to share her thoughts on the St. Louis food and beverage community, the virtues of cloning and the one thing you’ll never find in her kitchen. What is one thing people don’t know about you that you wish they did? I’m half African-American. What daily ritual is non-negotiable for you? COFFEE! If you could have any superpower, what would it be? Cloning powers… I would clone myself multiple times so I could run my kitchen and go on vacation — all
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at the same time! Who is your St. Louis food crush? I love so many of the small local eateries like Blues City Deli, Lona’s Lil Eats and Little Dipper — it’s hard for me to name one food crush. Which ingredient is most representative of your personality? Bourbon, because I make everything taste good … or at least tolerable. If you weren’t in the business, what would you be doing? Sustainable farming, especially teaching kids about environmental issues. Name an ingredient never allowed in your kitchen. American cheese What is your after-work hangout? Home. Anyone in this industry knows you either go out to party, or you go home to crash. What’s your food or beverage guilty pleasure? Chocolate malt from Crown Candy Kitchen. What would be your last meal on earth? Chicken and sweet potato waffles n with a chocolate milk stout.
hen PaPPo’s Pizzeria (3690 Forest Park Avenue, 314833-3171) opened its third location, the first in St. Louis, late last month, owner Chris Galloway vowed to keep doing what PaPPo’s does best — making quality pizza — with one big change. He also wanted the restaurant to brew its own beer. The Springfield, Missouri-based pizzeria spent only a brief amount of time looking for a space to open in St. Louis, Galloway says, before hearing that Six Row Brewing Company was closing the doors on its Midtown taproom, which was also the former home of the original plant for the Falstaff Brewing Company. Galloway was impressed by the character of the space, which has wood features, high ceilings and an eye-catching copper bar. He quickly made a deal that would secure the historic building and brewery, as well as Six Row’s brewmaster, Evan Hiatt. Galloway’s desire to hire Hiatt as PaPPo’s brewmaster goes back to his decision to brew beer in the first place, as well as his philosophy to pizza: subtle and clean flavors made with quality ingredients. “Our approach to the brewing of beer is the same as our approach to making our products,” he says. “We deliver the full flavors of the beer and the full bodies, but we wanted it to be approachable, and I think Evan has matched that up perfectly for us right now.” Continued on pg 30
ALL KILLER. NO FILLER.
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-Cheryl Baehr, Riverfront Times Restaurant Critic
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Fresh Pressed Sandwiches Homemade Soups Wood Fired Pizza Local Beer • Local Wine Ice Cream • Snacks
NOW SERVING SUNDAY BRUNCH
Thank you, St. Louis! BEST COMFORT FOOD - Reader’s Choice 2015
TOWER GROVE EAST Open 11 a.m. - 8 p.m. 3101 Arsenal
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CYN City
(Our take on Shepard’s Pie) Jalapeno cornbread, sauteed peppers, onions, Shrimp, Andouille Sausage, & Tasso Ham, topped with sweet mashed potatoes with bananas topped with Etouffee Sauce & White Cheddar
Blackened Shrimp served over rice with sauce
255 Union Bl vd. St. Louis, MO 63108 314.454.1 551
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626 N. 6th St. At the corner of 6th & Lucas 314.241.5454
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PAPPO’S PIZZA Continued from pg 28 PaPPo’s offers a variety of beers on tap — a something-for-everyone kind of selection, with a Tripel, a Marzen, Session IPA and a Witbier. However, if you’re looking to purchase one of PaPPo’s brews at a grocery store near you, you’ll be out of luck. These beers will only be sold in-house. Although the brewery has been a large focus of this newest location, PaPPo’s is still the pizzeria it set out to be in 2012. The name originated from Galloway’s three-year-old granddaughter, who began calling him “Pappo” — a name he likes far more than grandpa. When the time came to name the restaurant, PaPPo’s seemed like a perfect fit, especially when Galloway discovered the Italian meaning of the word: to “prepare food carefully.” Customers can choose between hand-tossed, thin crust or gluten-free options. Galloway brags that the latter is superior to gluten-free crusts at other pizzerias. He also makes a point of distinguishing between the thin crust at his restaurant to the thin crust at others — they may call their crust thin, but his goes a step further, achieving the crispy, cracker-thin crust St. Louis pizza is known for. The menu is eclectic: options are as quirky as breakfast or Mexican-inspired pizzas, but there are also classic pies, such as the Margherita, which is more in line with what you might expect from Galloway, whose passion for cooking comes from his strong Italian heritage. His inspiration for opening PaPPo’s dates back to the Sunday dinners he had with his family as a child, in which he watched relatives cooking from scratch — drawing flavor from the ingredients rather than having a heavy hand with salt or additives. “Everyone is going to do food that is instant. It comes in a bag. It’s idiot-proof,” says Galloway. “So we decided to make our salad dressings from scratch, making the dough from scratch and make our sauces from scratch, and to even grind our own cheese.” It’s a quality that Galloway says sets PaPPo’s apart from the rest. They’re focused on simple flavors and fresh ingredients — and food just like nonna used to make. n
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Buy one lunch entree get $3 off Second $4 margaritas all day, everyday Valid at Washington Ave. location only
1901 Washington Ave, St. Louis, MO 63103 (314) 241-1557
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[FOOD NEWS]
Shifting Fortunes for Yummy 17
I
f you’re interested in checking out Yummy 17 (8041 Olive Boulevard, 314-993-2933), the new Chinese restaurant attached to Olive Supermarket, you had better hurry. In what may prove to be one of the strangest restaurant pivots in recent memory, jambalaya and gumbo may soon replace noodles and hot pots. Decorations in the eatery, which is carved out of the eastern corner of the supermarket, are sparse. The most noticeable accoutrements in the dining room are the TVs, which blared HSN a little too loudly during our visit. We didn’t come to buy a vacuum cleaner from a salesman on TV, after all — we came for a true taste of Chinese cooking. On that count, we were not disappointed. The noodle soup with pork was tasty, flavorful and satisfying. The pork ribs, coated with a sweet, tangy sauce, required a bit of nibbling, but were good. But that’s when things took a strange turn. After paying, we asked our server if we could speak to the manager to ask a few questions about the restaurant. We were directed to the supermarket next door and told to ask for John. After asking for John and explaining that we wanted to ask a few questions about Yummy 17 for Riverfront Times, we were told John was unavailable and that we should come back in a few weeks.
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Noodle soup with pork proved deeply satisfying. | JOHNNY FUGITT At this point, a number of questions suggested themselves. Is John out of town? If so, is there someone else we could speak with? Why would they try to delay press coverage for two weeks? Sensing our questions, or perhaps simply reading them on our faces, the man explained that the menu was changing. That made sense, we thought. But then he continued. “There are too many Chinese restaurants on Olive,” he said. “But no Cajun restaurants.” He had us there. He said the change to a Cajun menu will happen within the coming weeks. It doesn’t appear to be a case of tenants running out of money, giving up or discovering irreconcilable differences. It simply appears as though they want to try something else — almost as if the little restaurant in the corner
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is an experiment for the owners of the normally busy supermarket. It seems like an unusual move after printing menus, getting a little business and creating a sharp website, but Yummy 17’s sweet, tangy pork ribs. | JOHNNY FUGITT sometimes defying conventional wisdom leads to success. longevity. The Forbidden City in As we were never able to speak Beijing, for example, is home to with John, we don’t know the story the 17-Arch Bridge, which may or behind the name of Yummy 17, but may not have been successful in we can speculate it has to do with adding a little luck and longevity seventeen being a lucky number in to the palace’s royal inhabitants. Despite its name, it doesn’t apChinese culture. Seventeen is the combination of eight, the number pear as though longevity is in the of luck, with nine, the number of cards for Yummy 17.–Johnny Fugitt
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) EB 2(S4an Francisco, CA F , Y A D S & Cloud WEDNE 7 PM * Q
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MUSIC
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The More the Merrier Never Shout Never’s Christofer Drew alters his songwriting approach on latest effort Written by
JEFF NIESEL Never Shout Never
8 p.m. Friday, February 26. The Ready Room, 4195 Manchester Avenue. $20. 314-8333929.
A
lternative indie pop-rock band Never Shout Never (a.k.a. songwriter Christofer Drew and his fellow bandmates) has released more than 100 songs in the relatively short time that it has been a band. Last year, Drew delved into his back catalog and picked out a few fan favorites to re-record for Recycled Youth. A re-imagining of nine previously released songs but recorded with entirely new styles and instrumentation to make them unique once again,” the album was the first installment of what Drew, whose wispy, high-pitched voice can silence a noisy crowd of punk rockers, has said will be a regular series. “We’ve been playing the music for so long, and we wanted to do something that was different and fun and kinda quirky,” Drew says. “We wanted to get back to our roots a little bit and get back to the folky vibe. We just have so many old songs, and we love them all and we still play them live.” Eric Palmquist (Bad Suns, Night Riots, Wavves, Trash Talk) produced the album, which was sold as a limited edition CD on the band’s Mid Winter’s Nights Dream Acoustik Tour. “It was super chill,” says Drew of Recycled Youth and the accompanying outing. “It was just a fan piece. We wanted to make something for the people who like to dive in deep. It got a cool reaction. We did an acoustic tour behind it and had some string players out for some of the shows. It was a scaled-back tour. It was nice to revisit those songs. It’s definitely part of the first install-
“We’ve been playing the music for so long, and we wanted to do something that was different and fun and kinda quirky.” | COURTESY OF PARADIGM AGENCY ment. We’ll just keep doing it and try to do one every year as a little icing on top for the fans.” Last year, the band delivered its latest studio effort, Black Cat. Drew began writing the songs that appear on the album in 2013. Then, in 2014, working over several months in Los Angeles with producer Dennis Herring (Elvis Costello, Modest Mouse), Drew changed his approach to recording the album by welcoming both the band and Herring to write with him, and embracing a pre-production process that helped them to shape and mold the songs before recording. “I’ve been wanting to get the band more involved in the writing process for a long time,” says Drew. “Ever since 2011’s Time Travel, I’ve been incorporating the band more. Initially, I wanted to make a point to give the guys some writing credits on the album. Wanted to make it more of a team project. I have so many side projects and solo work. Never Shout has become a band with some of my best friends. It’s fun to jam out songs with the guys and get their ideas.” He trusted producer Dennis Herring from the start. “He’s a talented guy,” says Drew. “We hit it off pretty quick and started writing together, and the stuff we
wrote together worked out great. I just went with the flow. It wasn’t like it was my way or the highway.” The album’s opening track, the snotty “Hey! We OK,” features a piano riff and call-and-response vocals. It’s a righteous anti-anthem dedicated to anyone who feels like he or she just doesn’t fit in. “It’s a dorky little song, but it’s fun and uplifting,” Drew says. “It’s the first album in a while where I think our fans will listen to the songs and want to feel good. That’s not my favorite track. There’s not much depth to it, but it’s definitely a crowd favorite.” “Fone Tag,” another uplifting tune, features a spirited bit of trumpet. “That was a vocal melody that I had and we were trying to figure out the best music to accompany it,” says Drew. “The trumpet player from Capitol Cities came over and we busted it out. It worked really well.” A song that Drew says he wrote when he was eighteen, the tender, acoustic “Peace Song,” stands out as a genuine call for a better world. “I remember the day I wrote that song,” says Drew. “It was a special day. I wrote three songs that day. It was one of the first times I wrote after smoking pot. I was at my par-
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ents’ house, and I was home alone. I told my mom I wrote three songs that day. That one made her cry, and she always wanted me to record it. I wanted to do it in a genuine way.” The loud guitars on “Woo Hoo” nearly overwhelm the vocals, and the song’s bridge features call-andresponse vocals that sound like they’re being sung through a bullhorn. “I recorded some of those vocals on an old radio mic,” he says. “We used analog vintage pre-amp stuff. I was trying to get the entire record more crunchy.” The incredibly prolific Drew says he’s already started recording the next Never Shout Never album as well. “We started recording this last time we were home and took the reins back, and we’re going to self-produce it,” he says. “It’s a conceptual piece and a little more psychedelic. We’re doing an animated movie that coincides with the record. It’s super fun. Who knows how it will turn out or how we’ll put it out? It took so long for Black Cat to come out that we got antsy and we’re already over it. We want to make something more interesting. At least, that’s what we’re hoping to do.” n
FEBRUARY 24-MARCH 1, 2016
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B-SIDES
Sympathy for the KKK A review of the unreasonably bad “Proud White Man” rap video that got a Missouri cop suspended Written by
DANIEL HILL
A
Missouri police officer was in hot water last week after appearing in a racially charged music video for Independence-based rapper J. Smitty’s song “Before This Bomb Blows Up (Racism Goes Both Ways).” St. Joseph officer Zackary Craft was suspended for his role in the video, which involved holding a sign that reads “Cop Lives Matter” and reaching for his gun while the rapper addresses the black community, saying, “Keep your nose clean and obey simple laws, pal / and maybe the police won’t be so quick to fucking draw down.” For his part, Craft has said that he was “appalled” when he saw the finished product. His attorney said he agreed to appear “without knowing the words, content or context” of the video. Which, if true, was pretty stupid. But lost in the controversy is the message of the song and the video. It serves us well to dissect this offering as we would any piece of music, in order to get to the heart of the artist’s statement. 0:00 We open on a white screen with black text that reads, “I make music based on how I feel at that moment. I may wake up tomorrow and feel differently, but this is how I feel today. Don’t tell me how to feel and I won’t tell you how to interpret music.” Which mostly seems like a fair deal, if a little damaging to one’s own credibility to essentially exclaim that “my opinions change with the goddamn winds; I honestly have no idea what I’m saying half the time” right from the outset. 0:15 Next we see fat Fred Durst in a fedora, or perhaps the singer of Smash Mouth in his post-hairbleach days, holding a sign that
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Rapper J. Smitty, a lumpen mass of Redditors about yay high. | YOUTUBE.COM reads “A proud white man is a racist,” which then switches to say “A proud black man is courageous,” juxtaposing the statements against one another in a way that is roughly as powerful as director J. Smitty’s inventive use of an all-black-and-white motif. Even more impressive: All of the words on both signs are spelled correctly. 0:45 More white people with inscrutable signs now. One reads “You can’t handle the truth” on one side and “I’m not sorry that this offends you” on the other, which is kind of confusing because we honestly don’t think of A Few Good Men as a particularly offensive movie. Another, held by a man wearing an American Eagle shirt, says “I hate this society.” When the man flips it to the other side, we are stunned to see the reason: ‘I can’t take a shit without offending someone.” Poor fella. Probably lactose intolerant. 0:55 Fat Fred Durst is rapping now — OH WAIT, that was J. Smitty all along! The walking embodiment of an Old Country Buffet parking lot wearing Ray-Bans, he fires off his opening salvo: “Black
FEBRUARY 24-MARCH 1, 2016
versus white, yeah, I guess we’re on this shit again / I thought that it was over but I’m thinking it may never end.” It is easy to feel bad for him. Systemic oppression probably weighs pretty hard on a Missouri-based piece of chicken-fried steak pretending to be Macklemore. 1:19 Smitty delivers a line dismissive of the “whining and complaining” of African Americans as to how “cops are quick to pull it,” referring to their guns. Unironically, as he derides those whiny complaints, a stone-faced white girl appears onscreen holding a sign complaining that she can’t say the N-word. 1:45 Smitty holds up a framed photo of the KKK. Then he smashes it to the ground. 1:51 Smitty holds up a framed photo of Al Sharpton. Then he spits in his face. 1:56 Smitty holds up a framed photo of Jesse Jackson. This he impales on a wrought-iron fence post, puncturing it through the eyeball. 1:45-1:56 Is it just me, or does the KKK get off relatively light in this sequence?
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2:14 “Is it a coincidence we have a black president / chiming in on racial issues, ignorant to no extent,” Smitty raps, except I don’t think he meant what he said. “Ignorant to no extent’ would mean “not ignorant at all.” This is not likely to be Smitty’s intended message, since while the line is delivered we see a man holding a sign that reads “Fuck President Obama” and Smitty himself draws his finger across his throat, insinuating that he would like to kill the president. 2:19 Smitty holds up a framed photo of President Obama. Then he smashes it against a brick wall and angrily throws the pieces to the ground. I am now entirely confident Smitty does not know what “to no extent” means. 2:35 Smitty decries slavery — “It’s a part of history that never should have happened” — while holding up a framed photo of Anthony Johnson, a black man from colonial times whom Smitty asserts was “the first American slave owner.” Interestingly, Smitty does not smash this one; it survives the video intact. 2:45 A man so old he looks like the living, walking embodiment of racism holds a sign that reads “80’s babies screaming slavery” on one side and “GTFOH” on the other. He is grinning ear-to-ear. He is just so, so happy to be a part of this. 2:52 Smitty found that photo of Obama again, only this time it’s out of its frame. He crumbles it up and lights it on fire. For those keeping track at home, that means that every single black person who appeared in this video did so in the form of a picture, which was subsequently destroyed in gleeful fashion. Except for the one who apparently owned slaves — that guy came out fine. The video ends with Smitty lighting a cigarette with a Zippo that has his name engraved on it. He looks proud of himself. But he shouldn’t be, because even beyond its extremely racist subject matter, this is godawful tripe. Just a steaming, irredeemable pile of horse shit. Just as bad as bad can possibly be. Luckily it’s just how he was feeling on the day he made it — he “may wake up tomorrow and feel differently.” That would probably be a good thing. n
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Bowling the way it is now – FUN!
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Hallow Point, Dodecad, Through the Scope Rock - 8pm - $10adv/$12 Door
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UPCOMING SHOWS 3.9 OLIVER HELDENS 3.12 BETWEEN THE BURIED AND ME & AUGUST BURNS RED 3.15 X AMBASSADORS 3.20 BONE THUGS-N-HARMONY 3.23 TANK 3.24 EXCISION 3.25 TURNPIKE TROUBADOURS 3.26 ADAM CAROLLA 3.27 RICK ROSS 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
4.22 ANDREW BIRD 4.23 CHRIS D’ELIA 4.27 THE ARCS 5.3 ANIMAL COLLECTIVE 5.4 AMON AMARTH 5.12 LAMB OF GOD 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
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HOMESPUN
THE GORGE Thousand Year Fire thegorge.bandcamp.com
A
n overriding tension throbs in the heart of the Gorge’s fine new album, Thousand Year Fire, and there’s a fertile patch of dissonance that the progressive metal quartet mines and refines throughout the LP. The dichotomy between precise control and utter abandon guides many of these tracks: The instrumentalists approach each tune with dexterous guitar lines, oft-punishing rhythms and a laser-focused intuition. The Gorge’s music has some of the earmarks of traditional metal — squalling guitars, chugging riffs and a pneumatic approach to the double-bass drum — but its deployment of its arsenal is often as metered and measured as any math-rock outfit. For singer, songwriter and guitarist Phil Ring, the new album gives him space to define his role in the group. He became the group’s frontman after original vocalist Greg Davis left the band, and 2013’s three-song, self-titled EP was Ring’s official debut as lead singer. “I’ve always viewed it as an outlet for aggression, for me personally,” says Ring says of his singing. “But it’s always been a cathartic experience to play a song or play a show. Performance-wise, I’m trying to leave it all out there and get that aggression out that builds throughout the day. “I think our songs are more focused now,” Ring says of the new material. “I was still super fresh to doing vocals on that [EP]. It was going in there and yelling without much control.” Control is the key word for many of these compositions, which ride on tricky time signatures and hairpin riffs as much as aggression and volume. “I think one belief that we’ve held is that we’ve all enjoyed technical music but not for its own sake,” says Ring. “I’d rather have the songs communicate something to a listener that can get the central groove or theme to the song, but I can still identify with it in the same way you would a three-chord heavy riff.” Clocking in at more than ten minutes, “Pedestals” occupies pride of place in the middle of this seven-track album. The song cycles through a few different modes and, according to Ring, its
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structure was solidified through both rigorous rehearsal and carefree jams. “That one was one of the more organic songs that came together. We would play around with it at practice and it kept permutating from there,” says Ring. “Most of it came from writing riffs together, then playing at practice and building each week. The slow, droning riff came from a jam — we were playing the chords and somewhere those notes came out.” As vocalist and lyricist, Ring is tasked with supplying the part of the song that’s most often overlooked in heavy music: the words. “I would try to make it more than just a side note,” he says of the song’s lyrics. “When I do read lyrics of bands I like, I think that’s more
insightful than I had given it credit for. For me, I’m not always confident in what I write, and being new as a lyricist and vocalist in this — if it can serve as insight into who we are as a band, that’s great. If people just want to listen to the riffs, that’s cool too.” For the lyrics to “Pedestals,” Ring used his own political frustration as inspiration for the multi-part track. “It kind of spans a couple things; it started form my own political frustration, a direct allusion to holding elected officials or people that you look up to in higher regard,” explains Ring. “Sometimes people are elevated to positions of power and they fail; we act surprised but forget the general humanity of that person.” Along with Ring’s continued comfort as the band’s lead singer, Thousand Year Fire marks
FEBRUARY 24-MARCH 1, 2016
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another change for the band, as Chris Turnbaugh takes over on bass (he replaces Ryan Thompson, who left to focus on his work with Black Fast, according to Ring). But despite the bassist’s short time in the Gorge, Turnbaugh and drummer Jerry Mazzuca know when to keep pressure on the fulcrum of these songs, using an intuition honed in years of jazz scholarship but communicating through what at times seems like a Vulcan mind meld. There’s more than mere time-signature trickery at play with the Gorge; it’s as if some elemental force compels the movement of these songs as the players lock into that groove. But progressive metal is still metal at its core, and the band’s two-guitar attack, care of Ring and Joe Bowers, is crucial for much more than mere volume. On a track like “False Progress,” swelling slashes appear like an angry swarm of violins as counterpoint to the methodical, math-rock precision of the main riff. Later in the track, the guitars join forces in harmonic flight for a brief but crystalline solo. The Gorge is perhaps at its most progressive when it momentarily drops its emphasis on heaviness and metal signifiers, and embraces its other influences in the jazz and classical realms. “Return to Earth” opens with a delicate, crunch-free guitar passage that seems to reference jazz fusion as much as anything else. The roar of guitars is gradually reintroduced, but its intro serves as a nice palate cleanser. “We still have a lot of roots in heavy music,” says Ring, “but when those songs take shape, I try to latch onto the vibe of the songs. It starts off with this singular idea and without a traditional arc — it’s always rising, amping up the intensity of the songs.” “Air Grows Thin” goes in the opposite direction, closing the album with the force of a greatest-hits medley — powerhouse drum hits, chunky riffs, full-bore vocal excoriations — and ending with a whisper. That the song, and album, closes with a delicately played acoustic guitar over what sounds like the gentle susurration of airplane travel, serves as a come-down from the vigor of what came before. For Ring, the album’s final moments are emblematic of the Gorge’s approach, which thrives on the twin engines of catharsis and restraint. “I really like the contrast of having something super-heavy, super-intense and then switching gears,” he says. – Christian Schaeffer
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10PM
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Clusterpluck
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Tess and the Talkbacks
thur. mar. 10 Mom’s Kitchen 10PM 736 S Broadway St. Louis, MO 63102 (314) 621-8811
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Chris Antonik Band 6PM
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With our new and improved concert calendar! RFT’s online music listings are now sortable by artist, venue and price. You can even buy tickets directly from our website—with more options on the way!
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OUT EVERY NIGHT [CRITIC’S PICK]
NEW MAYANS EP RELEASE: w/ Union Rags,
LIN: Feb. 26, 8 p.m.; 8 p.m., $22.50-$27. The
Scarlet Tanager 9 p.m., $7-$10. Off Broadway,
Pageant, 6161 Delmar Blvd., St. Louis, 314-
3509 Lemp Ave., St. Louis, 314-773-3363.
726-6161.
THE ROADS BELOW: w/ Jeske Park, Mandy +
FEMFEST 2: 8 p.m., $10. Blank Space, 2847
Trey, Foothold 7 p.m., $10. Cicero’s, 6691 Del-
Cherokee St., St. Louis.
mar Blvd., University City, 314-862-0009.
HALLOW POINT: w/ Dodecad, Through the
RUSTY NAIL CD RELEASE PARTY: 9 p.m., $10.
Scope 8 p.m., $10-$12. Cicero’s, 6691 Delmar
The Firebird, 2706 Olive St., St. Louis, 314-
Blvd., University City, 314-862-0009.
535-0353.
JUKEBOX THE GHOST: w/ the Family Crest 8
SHITSTORM: w/ Conductor, Dracla, Little Big
p.m., $18-$20. The Ready Room, 4195 Man-
Bangs 9 p.m., free. Schlafly Tap Room, 2100
chester Ave, St. Louis, 314-833-3929.
Locust St., St. Louis, 314-241-2337.
LOBBY BOXER ALBUM RELEASE SHOW: w/ Early
TOM KOVACEVIC: w/ Colby Nathan, Fragile
Worm, Bike Path, Daybringer 8 p.m., $5. The
Farm, Malady 9 p.m., $5. Foam Coffee & Beer,
Demo, 4191 Manchester Ave, St. Louis, 314-
3359 Jefferson Ave., St. Louis, 314-772-2100.
833-5532.
SATURDAY 27 Voivod. | COURTESY OF THE BAND
Voivod 8 p.m. Sunday, February 28. The Firebird, 2706 Olive Street. $22 to $25. 314535-0353.
For more than 30 years, Canada’s Voivod has been pushing the limits of metal to strange and increasingly interesting places. Founded as a speed-metal act in 1982, the band has since come to incorporate elements of thrash and progressive metal, forming a blistering, heady brew that is pleasing to head-bangers and music scholars alike. Along for the ride on this tour is Tempe, Arizona’s Vektor, which couldn’t
be a better fit. Formed in 2003 as part of the New Wave of thrash metal, Vektor combines light-speed riffs and impressive technicality with grandiose, unconventional arrangements in a manner that would make its Canadian granddad band proud — there’s no doubt the former was a huge influence on the latter. Arrive Early: Rounding out the bill are Portland experimental rock act Eight Bells and local metal masters Black Fast, assuring a ripper of a show from start to finish. –Daniel Hill
THURSDAY 25
FRIDAY 26
BRUXISM 14: w/ Rich O’Donnell, Van McEl-
BRONZE RADIO RETURN: 7 p.m., $10.57-$12.
wee, Benjamin Kaplan 9 p.m., free. Schlafly
Blueberry Hill, 6504 Delmar Blvd., University
Tap Room, 2100 Locust St., St. Louis, 314-241-
City, 314-727-4444.
2337.
CAETHUA: w/ Colby Nathan, Tom Kovacevic,
CHRIS BANDI: 8 p.m., $10. Off Broadway, 3509
Zak Marmalefsky, Fragile Farm 8 p.m., $5.
Lemp Ave., St. Louis, 314-773-3363.
Foam Coffee & Beer, 3359 Jefferson Ave., St.
DARK STAR ORCHESTRA: 8 p.m., $25-$30. The
Louis, 314-772-2100.
Pageant, 6161 Delmar Blvd., St. Louis, 314-
CELEBRATION DAY: A TRIBUTE TO LED ZEPPE-
726-6161.
LIN: 8 p.m.; Feb. 27, 8 p.m., $22.50-$27. The
DJ SNO: w/ Ackurate, Attitude, Veo Chillz,
Pageant, 6161 Delmar Blvd., St. Louis, 314-
Nick Menn 9 p.m., $5. Cicero’s, 6691 Delmar
726-6161.
Blvd., University City, 314-862-0009.
KATT WILLIAMS: 7 p.m., $52-$125. Chaifetz
GATEWAY BLUES BAND: 7 p.m., free. The
Arena, 1 S. Compton Ave., St. Louis, 314-977-
Demo, 4191 Manchester Ave, St. Louis, 314-
5000.
833-5532.
KING LOUIE: 9 p.m., $20-$28. Fubar, 3108
THE MOTET: 9 p.m., $15. Old Rock House, 1200
Locust St, St. Louis, 314-289-9050.
S. 7th St., St. Louis, 314-588-0505.
MVSTERMIND: w/ Najii Person, J’demul, Dj
RICH O’DONNELL: w/ Van McElwee, Benjamin
Nico 10 p.m., $5-$7. The Demo, 4191 Man-
Kaplan 9 p.m., free. Schlafly Tap Room, 2100
chester Ave, St. Louis, 314-833-5532.
Locust St., St. Louis, 314-241-2337.
NEVER SHOUT NEVER: w/ Metro Station 8 p.m.,
WET ONES: 9 p.m., $5. Foam Coffee & Beer,
$20. The Ready Room, 4195 Manchester Ave,
3359 Jefferson Ave., St. Louis, 314-772-2100.
St. Louis, 314-833-3929.
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RIVERFRONT TIMES
FEBRUARY 24-MARCH 1, 2016
MAURY AVE: w/ Le’ Ponds, Prairie Rehab, Grass & Stone 7 p.m., $5. Blueberry Hill, 6504
4 HANDS 4 BANDS CHILI COOK-OFF: w/ Dibiase,
Delmar Blvd., University City, 314-727-4444.
Brother Lee & the Leather Jackals, The Ol’
NICK PENCE: w/ TJ Muller, Alena Wheeler, the
One, Two, Hope And Therapy 8 p.m., $4. The
Good Deeds, the Cara Louise Band 8 p.m.,
Firebird, 2706 Olive St., St. Louis, 314-535-
$8. Off Broadway, 3509 Lemp Ave., St. Louis,
0353.
314-773-3363.
BALD EAGLE MOUNTAIN: w/ the Wilderness,
OTHER PEOPLE: w/ Soma, The Fairweather,
Old Capital 9 p.m., free. Schlafly Tap Room,
The Eye Jabs 9 p.m., $7. The Heavy Anchor,
2100 Locust St., St. Louis, 314-241-2337.
5226 Gravois Ave., St. Louis, 314-352-5226.
CELEBRATION DAY: A TRIBUTE TO LED ZEPPE-
PHI: w/ Marquise Knox, Big George Brock 7
[CRITIC’S PICK]
Seratones. | COURTESY OF THE BAND
Seratones 8 p.m. Wednesday, March 2. Blueberry Hill, 6504 Delmar Boulevard. $10. 314727-2277.
The power of the gospel church runs through A.J. Haynes’ voice, from the piercing highs to the moaning lows, from the rapid-fire unscripted phrasing to the inarticulate speech of the body and the soul. As lead singer of Shreveport, Louisiana band Seratones, Haynes has sacrificed her Sunday lessons on the altar of heavy garage-blues voodoo. Recently signed to the Fat
riverfronttimes.com
Possum label and recorded by Southern swamp swami Jimbo Mathus, the band makes war not love, lays out the groove for the seduction and the fuzz and the punkish swagger, and commits the sin of rocking & rolling with no care for the ‘morrow — let alone salvation. Demonic Direction: Seratones’ first single is called “Necromancer”; even if the band hadn’t shot the video in a cemetery, the playful yet creepy invocation of the Easy Rider acid trip would ooze through the sound itself. –Roy Kasten
p.m., free. Ballpark Village, 601 Clark Ave, St.
THIS JUST IN
Broadway, 3509 Lemp Ave., St. Louis, 314-773-
DIIV: Wed., May 25, 8 p.m., $16-$18. The Ready
Louis, 314-345-9481.
3 PROBLEMS: W/ Lil Tay, DJ Blaze1 Birthday
3363.
Room, 4195 Manchester Ave, St. Louis, 314-
STEVE AOKI: w/ Basscrooks, DJ Jwin, DJ SlantE
Bash, Rello, Luh Starl, CityBoi Ent, YnF, High55
CALL OF THE VOID: W/ Skinner, Family Medi-
833-3929.
9 p.m., $25. Ameristar Casino, 1 Ameristar
Cosmic, Thu., March 17, 9 p.m., $10-$15. Fubar,
cine, Mon., April 4, 7 p.m., $10. The Demo, 4191
DILLY DALLY: Tue., April 12, 8 p.m., $12. The
Blvd., St. Charles, 636-949-7777.
3108 Locust St, St. Louis, 314-289-9050.
Manchester Ave, St. Louis, 314-833-5532.
Demo, 4191 Manchester Ave, St. Louis, 314-
ATLAS GENIUS: W/ Skylar Grey, Secret Weapons,
CHITA RIVERA: Sat., April 9, 8 p.m., $45-$50.
833-5532.
Wed., April 13, 8 p.m., $18-$20. The Firebird,
The Sheldon, 3648 Washington Blvd., St. Louis,
DISTURBED: W/ Breaking Benjamin, Alter
GARY CLARK JR.: 8 p.m., $33.50-$38.50. The
2706 Olive St., St. Louis, 314-535-0353.
314-533-9900.
Bridge, St. Asonia, Sun., July 17, 6 p.m., $29.95-
Pageant, 6161 Delmar Blvd., St. Louis, 314-
THE BAND OF HEATHENS: W/ Chicago Farmer,
COASTS: W/ Knox Hamilton, Sat., April 30, 8
$86.95. Hollywood Casino Amphitheatre,
726-6161.
Wed., April 20, 8 p.m., $12-$15. Off Broadway,
p.m., $15-$18. The Firebird, 2706 Olive St., St.
I-70 & Earth City Expwy., Maryland Heights,
JACK GRELLE AND RYAN KOENIG: w/ Ags Con-
3509 Lemp Ave., St. Louis, 314-773-3363.
Louis, 314-535-0353.
314-298-9944.
nolly, Jack Klatt 8 p.m., $7. Off Broadway,
BARRY MANILOW: Thu., March 31, 7 p.m.,
COLD ROSES: Fri., March 11, 8 p.m., $15-$75.
DUBIOZA KOLEKTIV: Fri., March 25, 8 p.m.,
3509 Lemp Ave., St. Louis, 314-773-3363.
$16.75-$166.75. Scottrade Center, 1401 Clark
The Ready Room, 4195 Manchester Ave, St.
$40-$45. The Firebird, 2706 Olive St., St. Louis,
VOIVOD: w/ Vektor, Eight Bells 8 p.m., $22-$25.
Ave., St. Louis, 314-241-1888.
Louis, 314-833-3929.
314-535-0353.
The Firebird, 2706 Olive St., St. Louis, 314-
BENEFIT FOR JOHN BROWN’S ON THE SQUARE:
CORB LUND: Thu., June 23, 8 p.m., $15-$17. Off
FEAR FACTORY: Fri., April 22, 6 p.m., $20. Pop’s
535-0353.
W/ Tok, Brotherfather, Jesse Irwin, Riverbend,
Broadway, 3509 Lemp Ave., St. Louis, 314-773-
Nightclub, 401 Monsanto Ave., East St. Louis,
YUNG RO: w/ Koko C’Vere, Jiro, J Marz, E.S.E.
David Brown, Sun., March 6, 7 p.m., $10. Off
3363.
618-274-6720.
SUNDAY 28
Continued on pg 44
8 p.m., $10-$15. Fubar, 3108 Locust St, St. Louis, 314-289-9050.
MONDAY 29 LOGIC: 8 p.m., $22.50-$25. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.
TV ON YOUR TERMS
SOULARD BLUES BAND: 9 p.m., $5. Broadway
• FREE HD with over 200 HD channels available
Oyster Bar, 736 S. Broadway, St. Louis, 314621-8811.
• Watch over 170 live TV channels everywhere in your home with the Spectrum TV App
TAAKE: w/ Young and in the Way, Vattnet Viskar, Tyranny Enthroned, Xaemora 7 p.m., $18-$20. Fubar, 3108 Locust St, St. Louis,
Stream live TV anywhere
314-289-9050. TINASHE: 8 p.m., $25-$90. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-
FASTEST INTRODUCTORY INTERNET • 100 Mbps • 0 Bandwidth caps
3929.
TUESDAY 1
Surf without limits
ACRYLICS: w/ Brain Transplant, Bubble Heads, Catholic Guilt 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314772-2100. DJ Witz, $5/$10. Elmo’s Love Lounge, 7828
NO CONTRACTS
Olive Blvd, University City, 314-282-5561.
• No hassles
MIPSO: 8 p.m., $10-$12. Off Broadway, 3509
• Try 30-days risk-free
JAMAICA LIVE TUESDAYS: w/ Ital K, Mr. Roots,
Lemp Ave., St. Louis, 314-773-3363. SECRETS: w/ Palisades, Too Close to Touch, Picturesque 7 p.m., $13-$15. Fubar, 3108
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Worry free
• No counting minutes with unlimited calling in the U.S., Canada, Puerto Rico, Guam and the Virgin Islands
Locust St, St. Louis, 314-289-9050. THE WORD ALIVE: w/ Fit For A King, Out Came The Wolves 7 p.m., $18-$20. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-
• No added taxes or fees like the phone company charges you
3929.
WEDNESDAY 2 BOB “BUMBLE BEE” KAMOSKE: 8 p.m. Beale on Broadway, 701 S. Broadway, St. Louis,
Talk all you want
314-621-7880. JAMES CARTER ORGAN TRIO: 7:30 & 9:30 p.m.; March 3, 7:30 & 9:30 p.m.; March 4, 7:30 & 9:30 p.m.; March 5, 7:30 & 9:30 p.m., $35. Ferring Jazz Bistro, 3536 Washington Ave, St. Louis, 314-571-6000.
1-877-961-8598 | SPECTRUM.COM No Contracts. No Risks. No Hassles. Stuck in a contract? We can help. Ask us how.*
LE BUTCHERETTES: 8 p.m., $10-$12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. POUYA: w/ the Buffet Boys, the Suicide Boys, Vince SEGA, Jordan Isaiah, Reup Von Wolfgang 6 p.m., $20-$40. Fubar, 3108 Locust St,
WHERE WILL IT TAKE YOU?
St. Louis, 314-289-9050. VANNA: w/ Another Day Drowning, Pure October, Strikes Back, Texas Blvd 6 p.m., $12-$14. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532.
TV: TV equipment is required and is extra. Channel and HD programming availability based on level of service. Spectrum TV App requires Spectrum TV. Charter.com or Charter.net account log in may be required to stream some TV content online. Apps are free with corresponding level of service. INTERNET: Available Internet speeds may vary by address. VOICE: Unlimited calling includes calls within the U.S., Canada, Puerto Rico, Guam & the Virgin Islands. Taxes and fees included in the price. *Money Back Guarantee: Restrictions apply. Go to Charter.com/Guarantee for complete details. Services are subject to all applicable service terms and conditions, which are subject to change. Services may not be available in all areas. Restrictions apply. ©2016 Charter Communications, Inc.
riverfronttimes.com
FEBRUARY 24-MARCH 1, 2016
RIVERFRONT TIMES
43
TNT
THIS JUST IN Continued from pg 43
Glass
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RIVERFRONT TIMES
FEBRUARY 24-MARCH 1, 2016
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In the jazz idiom, the organ trio setting has usually been a showcase for the fingers and feet behind the console. Maestros Smith, McGriff and McDuff would conjure a whole orchestra from their Hammond B3s, and their accomplices on drums and guitar were tasked with staying out of the way. The James Carter Organ Trio flips the
script by putting Carter’s fiery, funky saxophone work front and center, but organist Gerard Gibbs and drummer Leonard King help keep the soul-jazz stew percolating by moving the mood from gospel to hip-hop and all points in between. In the BAG: James Carter’s St. Louis roots run back to his time with Julius Hemphill, the co-founder of the Black Artists’ Group. Carter played on Hemphill’s secret records in the early ‘90s.
–Christian Schaeffer
FRUITION: Wed., May 11, 8 p.m., $10-$12. The
OLD SALT UNION: W/ Whiskey Shivers, Greg
Demo, 4191 Manchester Ave, St. Louis, 314-
Silsby, Fri., March 25, 9 p.m., $10-$12. Old Rock
833-5532.
House, 1200 S. 7th St., St. Louis, 314-588-0505.
GLASS ANIMALS: Fri., July 22, 8 p.m., $25-$30.
PAUL SIMON: Sun., June 12, 7 p.m., $64.50-
The Pageant, 6161 Delmar Blvd., St. Louis,
$144.50. The Fox Theatre, 527 N. Grand Blvd.,
314-726-6161.
St. Louis, 314-534-1111.
GOO GOO DOLLS: W/ Collective Soul, Tribe
POINTFEST 2016: W/ Deftones, Chevelle, Bring
Society, Sun., July 24, 7 p.m., TBA. Hollywood
Me the Horizon, the Struts, Flogging Molly,
Casino Amphitheatre, I-70 & Earth City Expwy.,
Story of the Year, Highly Suspect, Sick Puppies,
Maryland Heights, 314-298-9944.
Holy White House, the Hush List, Sat., May 21,
HAYES CARLL: W/ Emily Gimble, Wed., June 22,
1 p.m., $29.95-$89.95. Hollywood Casino Am-
9 p.m., $20-$35. Off Broadway, 3509 Lemp Ave.,
phitheatre, I-70 & Earth City Expwy., Maryland
St. Louis, 314-773-3363.
Heights, 314-298-9944.
HAYSEED DIXIE: Thu., May 5, 8 p.m., $16-$18.
PRO-PAIN: W/ Some Kinda Khaos, Twizted Lixx,
Off Broadway, 3509 Lemp Ave., St. Louis, 314-
Sat., June 25, 8 p.m., $17-$20. Fubar, 3108
773-3363.
Locust St, St. Louis, 314-289-9050.
HE RAPS HE SINGS: W/ Young Kano, Nemo,
RELICSEED: W/ Losing September, Blaming Hol-
Rich Porter, Lou Kang, Ism Records, AGS, GSP,
lywood, Fri., April 22, 6 p.m., $10-$12. Fubar,
S.M.G., Spann, ILL Bleed, Da Mob, Fri., March
3108 Locust St, St. Louis, 314-289-9050.
25, 9 p.m., $10. Fubar, 3108 Locust St, St. Louis,
ROCK ‘N BLUES: W/ Bobby Rush, Shemekia
314-289-9050.
Copeland, Big George Brock, Fri., April 1, 7
HERSCHEL LAMONT: W/ GGM, Team Clutch,
p.m., $125. Lumiere Place Casino & Hotel, 999
River City Collective, Fri., March 4, 9 p.m., $10.
N. Second St., St. Louis, 314-881-7777.
The Demo, 4191 Manchester Ave, St. Louis,
SAVING ABEL: W/ Smile Empty Soul, Nervous
314-833-5532.
Pudding, Kirra, Sun., July 31, 6 p.m., $16-$18.
I SET MY FRIENDS ON FIRE: W/ Sheevaa, Texas
Fubar, 3108 Locust St, St. Louis, 314-289-9050.
Blvd, Ascension of Akari, Amongst the Rabbits,
SPLIT LIP RAYFIELD: Sat., May 21, 8 p.m., $20.
Fall Beneath The Crowd, Silence The Witness,
The Ready Room, 4195 Manchester Ave, St.
Conquer As They Come, Fri., April 8, 6 p.m.,
Louis, 314-833-3929.
$12-$15. Fubar, 3108 Locust St, St. Louis, 314-
THE STAVES: Sat., June 25, 8 p.m., $12-$15. Off
289-9050.
Broadway, 3509 Lemp Ave., St. Louis, 314-773-
JAMIE KILSTEIN & THE AGENDA: Sun., May 8, 7
3363.
p.m., $8-$10. The Demo, 4191 Manchester Ave,
SUBHUMANS: W/ Pears, Fri., June 3, 8 p.m., $15.
St. Louis, 314-833-5532.
The Firebird, 2706 Olive St., St. Louis, 314-535-
JOE PUG: Wed., April 27, 8 p.m., $22. The
0353.
Sheldon, 3648 Washington Blvd., St. Louis,
TOKYO POLICE CLUB: Wed., May 4, 8 p.m., $15-
314-533-9900.
$18. Old Rock House, 1200 S. 7th St., St. Louis,
MUUY BIIEN: Sat., May 14, 8 p.m., $10. The
314-588-0505.
Demo, 4191 Manchester Ave, St. Louis, 314-
TWISTA: Thu., April 28, 8 p.m., $15-$20. Fubar,
833-5532.
3108 Locust St, St. Louis, 314-289-9050.
NEON INDIAN: Sun., April 10, 8 p.m., $15-$18.
2706 Olive St., St. Louis, 314-535-0353.
The Ready Room, 4195 Manchester Ave, St.
WAYLAND: Wed., April 13, 7 p.m., $10-$12.
Louis, 314-833-3929.
Fubar, 3108 Locust St, St. Louis, 314-289-9050.
NEQUIENT: W/ Grand Inquisitor, Railhazer,
WE THE VICTIM: W/ Signals From Saturn,
Sun., July 3, 7 p.m., $10. Fubar, 3108 Locust St,
Scarred Atlas, Sun., April 3, 8 p.m., $10. The
St. Louis, 314-289-9050.
Firebird, 2706 Olive St., St. Louis, 314-535-0353.
riverfronttimes.com
SAVAGE LOVE CROSSWORDS BY DAN SAVAGE Hey, Dan: Gay, thirtysomething male in DC. My boyfriend of three years has been acting strange—not taking his antidepression meds, says he’s feeling weird. He has withdrawn from me, sleeps fifteen hours a day, and has been canceling on commitments to socialize with friends. That I am fine with—he’s blue and I get it. Here’s why I’m writing: He was doing an online crossword, and when he got up, I was going to write a message in it—to be funny and sweet. What I saw messed me up. There was a browser window open about meth and depression. He is 48 and successful, and isn’t a clubber or party-going type. METH? What the hell? I snooped further, and there was a detailed search history on meth, meth and depression, meth and sex. He doesn’t seem to have been high around me—and I would never use meth, it’s not my thing and I have a security clearance (no drugs for me, ever)—but I don’t want to date an addict. I don’t want to be with someone who would take such a dumb risk. And for what? Dude! You’re 48, you have a career, a business, and a guy who cares for you! WTF?!? I know what you’ll say: Use your words—and, trust me, I will. But am I totally crazy? I feel shitty
for having snooped, but it started innocently enough with me wanting to write a goofy note on his crossword puzzle. Snoop Now All Fucked Up Meth addicts aren’t known for sleeping fifteen hours a day, SNAFU. Meth addicts aren’t known for sleeping at all. So perhaps your boyfriend abused meth before you met—and there’s no using meth, only abusing meth—and conquered his addiction and/or stopped abusing meth years ago. And now he’s depressed and off his meds, and he went online to investigate whether his past meth abuse could be contributing to his current depression. As for the snooping angle… When we snoop, we sometimes find out things we don’t want to know, don’t need to know and don’t need to do anything about. For example, the new boyfriend has a few sexts from his ex tucked away on his computer, your dad is cheating on his third wife, your adult daughter is selling her used panties online. But sometimes we find out things we needed to know and have to do something about. For example, your 14-year-old daughter is planning to meet up with a 35-year-old man she met on Instagram, your “straight” boyfriend is having unsafe sex with dozens of men behind your back, your spouse is planning to vote for Ted Cruz—in
those cases, you have to intervene, break up, and file for civil commitment, respectively. Learning your depressed-andoff-his-meds boyfriend may have— or may have had—a meth problem falls into the needed to know/have to do something about category. So, yeah, SNAFU, you gotta use your words. Go to your boyfriend, tell him what you discovered and how you discovered it, and demand an explanation while offering to help. Urge him to see his doctor—whoever prescribed the antidepressants he stopped taking—and go into the convo armed with a list of the resources available to him. “We’re lucky to have a lot of great resources in DC,” said David Mariner, executive director of the DC Center for the LGBT Community (thedccenter.org). “The Triangle Club (triangleclub.org) is an LGBT recovery house, and they host all sorts of 12-step meetings. Crystal Meth Anonymous is really active here. And we’re just kicking off a harm-reduction group here at the DC Center.” I asked Mariner if your boyfriend sounded like someone currently abusing meth. “I’m not an expert,” Mariner replied, “but he doesn’t sound like it to me. He may be having a hard time talking to his boyfriend about this because for folks who have a history of meth use, sex can be
riverfronttimes.com
45
tricky. Meth use and sexual activity are often so intertwined that it can make it hard to talk to a partner.” Finally, SNAFU, don’t make it harder for your partner to be honest with you by threatening to break up with him. You don’t have to remain in a relationship with an addict, if indeed he is an addict, forever. But start by showing him compassion and offering support. You can make up your mind about your future— whether you have one together— during a subsequent conversation. Hey, Dan: I just posted a new word on the Physician Moms Facebook group and was told that I should send it to you. I got tired of hearing “She’s got balls,” so I made up a new word, clitzpah (klit-spe) noun: a woman with guts! Origin of clitzpah: clitoris (kli-teres) noun: an organ of the female genitalia, the purpose of which is purely to bring women pleasure, and chutzpah (hut-spe) noun: a Yiddish term for courage bordering on arrogance. I hope this is useful! Jill Becker, clitzpah.com It’s a lovely word, Jill—and I’m happy to help you roll it out! Listen to Dan’s podcast every week at savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter
FEBRUARY 24-MARCH 1, 2016
RIVERFRONT TIMES
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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 800-345-5407 763 S. New Ballas Rd, Ste. 310
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
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
145 Management/Professional Global Supply Chain Supervisor-Eastman Chemical Company seeks a Global Supply Chain Supervisor in St. Louis, Missouri to develop the optimal production plan for three manufacturing plants. Master’s degree and 2 yrs of exp or Bachelor’s degree and 5 yrs of exp req’d. For complete reqs. and to apply, visit: https://eastman.taleo.net/careersection/10010/jobdetail. ftl?lang=en&job=00008715
167 Restaurants/Hotels/Clubs HIGH-END HOTEL SEEKING Servers, Cooks, Dishwashers & Housekeepers. Background Check req. 314-863-7400
SOUS CHEF
E-mail resume to Jason@peelpizza.com or visit www.peelpizza.com to print an application and return it completed to the O’Fallon, Illinois Peel Wood Fired Pizza.
190 Business Opportunities Avon Full Time/Part Time, $15 Fee. Call Carla: 314-665-4585 For Appointment or Details Independent Avon Rep. ESTABLISHED BAR & GRILL FOR SALE
100 WEST IRISH PUB
Inventory & bar w/ option on liquor license. Call Tom 314-706-3322 PRICED TO SELL!
193 Employment Information CDL-A DRIVERS and Owner Operators: $2,000.00 sign on, company safety bonuses. Home weekly, regional runs. Great benefits. 1-888-300-9935
500 Services 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.
527 Legal Notices LEGAL NOTICE STATE OF SOUTH CAROLINA COUNTY OF SPARTANBURG IN THE COURT OF COMMON PLEAS CASE No. 2015-CP-42-2587 Frank Clyde Miller v. Summer Lashley (aka Summer Morrison) TO THE DEFENDANT ABOVENAMED: YOU ARE HEREBY SUMMONED and required to answer the Complaint herein, a copy of which is herewith served upon you, and to serve a copy of your Answer to this Complaint upon the subscriber, at the address shown below, within thirty (30) days after service hereof, exclusive of the day of such service, and if you fail to Answer the the Complaint, judgement by default will be rendered against you for the relief demanded in the Complaint. Spartanburg, South Carolina Dated February 5th, 2016 John C. Strickland Attorney for the Plaintiff 184 N. Daniel Morgan Ave Spartanburg, SC 29306 864-699-8164
530 Misc. Services WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201
527 Legal Notices LEGAL NOTICE STATE OF SOUTH CAROLINA COUNTY OF SPARTANBURG IN THE COURT OF COMMON PLEAS CASE No. 2015-CP-42-2587 Frank Clyde Miller v. Summer Lashley (aka Summer Morrison) TO THE DEFENDANT ABOVENAMED: YOU ARE HEREBY SUMMONED and required to answer the Complaint herein, a copy of which is herewith served upon you, and to serve a copy of your Answer to this Complaint upon the subscriber, at the address shown below, within thirty (30) days after service hereof, exclusive of the day of such service, and if you fail to Answer the the Complaint, judgement by default will be rendered against you for the relief demanded in the Complaint. Spartanburg, South Carolina Dated February 5th, 2016 John C. Strickland Attorney for the Plaintiff 184 N. Daniel Morgan Ave Spartanburg, SC 29306 864-699-8164
600 Music
MUSICIANS AVAILABLE Do you need musicians? A Band? A String Quartet? Call the Musicians Association of St. Louis (314)781-6612, 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 MUSICIANS AVAILABLE Do you need musicians? A Band? A String Quartet? Call the Musicians Association of St. Louis (314)781-6612, 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
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
SKINKER! $485 314-309-2043 Updated 2 bedroom, central heat/air, all kitchen appliances, basement storage, w/d hookups, ready now! rs-stl.com RHBE6
315 Condos/Townhomes/Duplexes for Rent CLAYTON-CONDO $1000 Evelyn-636-541-1403 8111 Roxburgh-2 bdrm, 1 bath, garage, hrdwd flrs, washer/ dryer, walking distance to Downtown Clayton, Galleria, The Boulevard (Maggianos-PF Changs), Shaw Park & MetroLink.
DELMAR! $420 314-309-2043 Sharp 1 bedroom, all kitchen appliances, central heat/air, newer carpet, pets, off street parking, close to everything!! rs-stl.com RHBE3 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 DUTCHTOWN! 314-309-2043 Updated 2 bedroom, full basement, fenced yard, hardwood floors, appliances included, sunroom, pets allowed, ready to rent! rs-stl.com RHBE7
MID-COUNTY! $435 314-309-2043 1 bedroom, quiet cul-de-sac, central heat/air, kitchen appliances, pets allowed, pool access, low deposit@! rs-stl.com RHBE4 NORTH-CITY
1-BEDROOM-APTS 314-921-9191 4008 Garfield $315/mo-$415/dep 5071 Ruskin $375/mo-$475/dep ~Credit Check Required~
NORTH-COUNTY! $375 314-309-2043 Recently updated apartment, appliances included, central heat/ air, no lease, easy move in! rs-stl.com RHBE1 OVERLAND/ST-ANN $535-$575-(SPECIAL) 314-995-1912 1 & 2BRs-garage. Clean, safe, quiet. Great loc-near 170, 64, 70, 270
LEGAL SUMMONS Case No.: 2016 SC 000377 STATE OF WISCONSIN – CIRCUIT COURT – SMALL CLAIMS – MILWAUKEE COUNTY
NOTICE
Salander Enterprises, LLC, 225 S. Executive Drive, Suite #201, Brookfield, WI 53005, Plaintiff, vs. Jacquie Warren, 1611 Hodiamont Avenue, #327, St. Louis, MO 63112, Defendant. To the person(s) named above as Defendant(s): You are being sued by the person(s) named above as Plaintiff(s). A copy of the claim has been sent to you at your address as stated in the caption above. The lawsuit will be heard in the following Small Claims Court: Milwaukee County Courthouse, Telephone Number of Clerk of Court: (414) 278-5362, 910 N. 9th Street, Milwaukee, WI 53233, on the following date and time: March 16, 2016 at 8:30 a.m. If you do not attend the hearing, the court may enter a judgment against you in favor of the person(s) suing you. A copy of the claim has been sent to you at your address as stated in the caption above. A judgment may be enforced as provided by law. A judgment awarding money may become a lien against any real estate you own now or in the future, and may also be enforced by garnishment or seizure or property.
If you need help in this matter because of a disability, please call (414) 278-5362.
$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. • More driving time than any other school in the state •
Dated: February 19, 2016 DOBBERSTEIN LAW FIRM, LLC Attorneys for the plaintiff ASHLEY M. SANFILIPPO State Bar No. 1086258 MAILING ADDRESS: 225 S. Executive Drive, Suite #201 Brookfield, WI 53005 (262) 641-3715
riverfronttimes.com
$400-$850 314-7714222 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
317 Apartments for Rent
You may have the option to Answer without appearing in court on the court date by filing a written Answer with the clerk of court before the court date. You must send a copy of your Answer to the Plaintiff(s) named above at their address. You may contact the clerk of court at the telephone number above to determine if there are other methods to answer a Small Claims complaint in that county.
IF YOU DESIRE TO MAKE MORE MONEY AND NEED A NEW JOB EARNING
SOULARD $775 314-724-8842 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
SOUTH-CITY $440 314-223-8067 Spacious 1BR, 2nd flr, garden entrance, hdwd flrs, kitch appls, near Grand busline
LAFAYETTE-SQUARE $685 314-968-5035 2030 Lafayette: 2BR/1BA, appls, C/A, Hdwd Fl
MUSICIANS Do you have a band? We have bookings. Call (314)781-6612 for information Mon-Fri, 10:00-4:30
When you need help,
RICHMOND-HEIGHTS $525-$565-(SPECIAL) 314-995-1912 1 MONTH FREE! 1BR, all elec off Big Bend, Metrolink, 40, 44, Clayton.
GRAND! 314-309-2043 All-Electric 3 bedroom, central heat/air, all appliances, pets allowed, off street parking, w/d hookups, available now! rs-stl. com RHBE8
610 Musicians Services
BEHAVIORAL HEALTH SYSTEM
300 Rentals
SOUTH-CITY $400 314-707-9975 4321 Morganford: 1 BR, all electric, hdwd flrs, C/A. SOUTH-CITY $525 314-223-8067 Move in Special! Spacious 1BRs, 1st flr, Hdwd Floors,C/A, new windows, W/D, lrg fenced yard, near Grand bus SOUTH-CITY $600 314-707-9975 Gravois & Pennsylvania: 2 BR, all electric, hdwd flrs, C/A. 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! $395 314-309-2043 Big 1 bedroom, hardwoods, central heat/air, appliances, pets, w/d hookups, walk-in closet, nice back deck! rs-stl.com RHBE2 SOUTH-CITY! $440 314-309-2043 All Utilities Paid! Nice apartment, central heat/air, all kitchen appliances, pets welcome, flexible on credit, ready to rent! rs-stl.com RHBE5 ST. CHARLES COUNTY
314-579-1201 or 636-9393808 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 UNIVERSITY-CITY $895 314-727-1444 2BR, new kitch, bath & carpet, C/A & heat. No pets 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
www.LiveInTheGrove.com 320 Houses for Rent FLORISSANT! $385 314-309-2043 Cozy 1 bedroom house, fenced yard, appliances included, nice tile floors, no app fee or credit check! rs-stl.com RHBFD KINGSHIGHWAY! $650 314-309-2043 Sharp 3 bed house, full finished basement, central heat/air, hardwood floors, fenced yard, off street parking, available now! rs-stl.com RHBFG LOUGHBOROUGH! $675 314-309-2043 Updated 2 bed house, basement, appliances included, large fenced yard, thermal windows, vaulted ceilings, ready now! rs-stl.com RHBFH NORTH ST. LOUIS COUNTY 314-579-1201 or 636-939-3808 2, 3 & 4BR homes for rent. eatonproperties.com. Sec. 8 welcome OLIVE! $600 314-309-2043 Redone 2 bedroom house, full basement, central heat/air, fenced yard, loaded kitchen, low deposit, month 2 month lease! rs-stl.com RHBFF Page! $750 314-309-2043 Loaded 3 bed, 2 bath house, full basement, central heat/air, hardwoods, garage w/opener, appliances included, pets allowed, rs-stl.com RHBFI SKINKER! $550 314-309-2043 Just updated 2 bed house, full basement, central heat/air, hardwood floors, ceiling fans, all appliances, ready now!! rs-stl.com RHBFE SOUTH-CITY $850 314-374-4345 (Sublette & Fyler-Near The Hill) 2 BR, 1 BA, all appls, W/D, lg fenced yard & lg garage plus prkg in back. Quiet Street. Pets OK w/deposit. Webster-Groves! $800 314-309-2043 Just listed! 2 bed house, big basement, all kitchen appliances, central heat/air, nice deck, extra storage! rs-stl.com RHBFJ FLORISSANT! $385 314-309-2043 Cozy 1 bedroom house, fenced yard, appliances included, nice tile floors, no app fee or credit check! rs-stl.com RHBFD KINGSHIGHWAY! $650 314-309-2043 Sharp 3 bed house, full finished basement, central heat/air, hardwood floors, fenced yard, off street parking, available now! rs-stl.com RHBFG
FEBRUARY 24-MARCH 1, 2016
RIVERFRONT TIMES
47
FREE MOVIE PASS
LONDON HAS FALLEN
See ad on page 21 for info.
R
314-754-5966
DATING MADE EASY... LOCAL SINGLES! Listen & Reply FREE! 314-739-7777 FREE PROMO CODE: 9512 Telemates
MUSIC RECORDSHOP
Looking to sell or trade your metal, punk, rap or rock LP collection. Call us (314) 675-8675
EarthCircleRecycling.com
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
l Peel Wood Fired Pizza l O’Fallon, Illinois
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SEEKS SOUS CHEF
E-mail resume to Jason@peelpizza.com or visit www.peelpizza.com for application
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Personal Injury, Workers Comp, DWI, Traffic
ESTABLISHED BAR & GRILL FOR SALE
WANT RECOVERY FROM
addiction?
100 West Irish Pub
BEHAVIORAL HEALTH SYSTEM
Inventory & bar w/ option on liquor license.
CALL
Call Tom 314-706-3322 PRICED TO SELL!
BEHAVIORAL HEALTH SYSTEM
EVANGELINE’S
1-800-345-5407
BISTRO B MUSIC HOUSE
Sunday Swing Jazz Brunch 11am-3pm
24 hr free and confidential assessment
File Bankruptcy Now! Call Angela Jansen ~314-645-5900~ Bankruptcyshopstl.com
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
SCRUBS for less
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www.LiveInTheGrove.com
patriciasgiftshop.com
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• 60 Minute Foot Massage $20 (9:30am-12pm) $30 after ute Body Min • 60 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.
FEBRUARY 24-MARCH 1, 2016
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HUGE Selection of School Uniforms RedKap Work Shirts & Pants 9261 Halls Ferry Road (314) 436-1340
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The choice of a lawyer is an important decision and should not be based solely on advertising.
WORKWEAR for less
The choice of a lawyer is an important decision and should not be based solely on advertising.
314-620-6386
ATTORNEY BRUCE E. HOPSON 314-621-0500
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