MARCH 16–22, 2016 I VOLUME 40 I NUMBER 11
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Inside the Trump Rally BY DANIEL HILL
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MARCH 16-22, 2016
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MARCH 16-22, 2016
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“I kinda wish life was nicer -- that people were nicer to each other. Like that rich guy up there, he’s taking a crap on his golden toilet while there’s people starving to death. But I’m not meant to be able to change the world in that sense, because I’ll never have that money. I’ll never be up in that position to ever do that.” —DENNIS STAMPER, PHOTOGRAPHED ON SUTTON STREET IN MAPLEWOOD ON MARCH 13
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TABLE OF CONTENTS FEATURE
11. Inside the Trump Rally
Crotching whiskey on a journey deep into the heart of darkness Written by
DANIEL HILL Cover by
THEO WELLING
NEWS
CULTURE
DINING
MUSIC
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19
29
39
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
An Epic Filibuster
Seeking to block a “religious freedom” bill, Missouri Democrats talked ... and talked
Film
MaryAnn Johanson reviews The Divergent Series: Allegiant
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8
Last Call for Soulard Trops
The city yanks the liquor license of the beloved slushie bar’s St. Louis outpost
Visual Arts
Now at the Des Lee, Uncanny explores the space between what’s real and what isn’t
Come Together
Indigo Girls’ One Last Day is another powerful collection of songs and stories
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Homespun
Side Dish
Chef Matt Borchardt loves talking to customers
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The Best Tradition in Town
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Kelly Glueck tries the margaritas at St. Cecilia’s fish fry -- oh, and the chile rellenos, too
The Rep triumphs with Molly’s Hammer, writes Paul Friswold
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Stage
Slushies for SLU
Does “goodbye Trops” mean hello Narwhal’s?
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MARCH 16-22, 2016
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Singing a Memory
In combining Creole and Korean flavors, Fleur de Lilies finds the future of fusion, writes Cheryl Baehr
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Dibiase When Everything Means Nothing
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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
Last Call for Soulard’s Trops
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ropical Liqueurs’ slushie-selling days in Soulard are numbered. The hard-partying bar will lose its liquor license next month in response to a string of complaints, a city hearing officer decided last week. The doomed St. Louis outpost of the popular Columbia and Springfield saloon opened less than a year ago in the former home of Gladstone’s and clashed almost immediately with neighbors who complained of trash, out-of-control traffic and gun-toting patrons. Fed-up locals eventually gathered enough signatures to have the Excise Commission, the city’s liquor authority, review Trops’ license. When the two sides squared off two weeks ago at a hearing, Trops’ owners claimed the criticism was fueled by racism. “I believe it’s because we do have a largely diverse crowd,” co-owner Connie Vaughan said at the Feb. 26 hearing, pissing off neighbors who argued the problem was bad management, not race. Tom Yarbrough, a hearing officer for the city Excise Commission, sided with neighbors in an eight-page decision handed down on Thursday. Trops broke the news to supporters shortly after on Facebook. “We are disappointed with Mr. Yarbrough’s decision,” Vaughan’s brother, Billy Thompson, said in a statement. “When we were selecting a location, Soulard was our top choice because of what a great neighborhood it is. Unfortunately, the time has come for us to start making decisions for the future.” Thompson and Vaughan opened Trops in August with their brother, Bradlee Thompson. They claim they bent over backward to satisfy neighbors concerns, adding additional security on weekends, picking up trash for blocks around and moving up last call while curbing their practice of selling to-go drinks. But neighbors say the bar made living nearby an ongoing nightmare, blunted only slightly by changes grudgingly made by the owners. Trops has until April 9 before it has to stop serving alcohol. The owners say they’re looking for a way to keep the bar in St. Louis. “We cannot thank all of you enough for your support,” the owners said on Facebook. “We are still open for business and look forward to seeing you soon!” – Doyle Murphy
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MARCH 16-22, 2016
Democrats defending same-sex marriage set a new record last week. | SHUTTERSTOCK/SYDA PRODUCTIONS
An Epic Filibuster in Jeff City
A
fter 36 hours, they were still talking. The Democratic caucus of the Missouri Senate began filibustering a controversial “religious freedom” proposal on Monday at 4 p.m. And at 6 a.m. Wednesday, they were still holding the floor, 36 hours and counting. It took a Republican procedural move called a “previous question” to cut off debate around 7 a.m. and force a vote — 37 hours after the filibuster began. It was a new record for the Missouri Senate; the previous “longest filibuster” in this state was 30 hours, in 2003. The New York Daily News suggested that if the senators could have gotten to 43 hours, they’d also have a record for the longest filibuster riverfronttimes.com
in history. Even Texas Senator Wendy Davis’ much-lauded filibuster aimed at stopping new abortion restrictions in the Lone Star State was just eleven hours. The resolution the senators were attempting to block, SJR 39, would refer to Missouri voters a possible constitutional amendment spelling out clear protections for anyone opposed to same-sex marriage. In essence, it would bar the state from imposing “any penalty” on those entities — including churches and other houses of worship, as well as individuals “with sincere religious beliefs” — who decline to officiate or otherwise participate in same-sex marriage celebrations. The resolution, sponsored by Senator Bob Onder (R-Lake St. Louis), is a bit superfluous: It’s already legal to discriminate on the basis of sexual orientation in Missouri. But who has time for logic when political points are
there for the scoring? The Democrats drew support from a wide (and surprising) set of allies, including the St. Louis Regional Chamber of Commerce, Monsanto and Dow Chemical. U.S. Senator Claire McCaskill (D-Missouri) and Governor Jay Nixon also tweeted support. But after Republicans called for a vote, the resolution easily passed the Senate. All the Republicans but one, Senator Rob Schaaf (St. Joseph), voted for it. In a statement, the Senate’s Democratic Caucus said this: “Senate Democrats attempted on numerous occasions to negotiate on the resolution; however, all serious attempts were rebuffed by the sponsor. ‘We will always stand against legislation that discriminates,’ said Senator Jill Schupp (D-Creve Coeur).” The resolution now heads to the Missouri House. – Sarah Fenske
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MARCH 16-22, 2016
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HOW ST. LOUIS STOPPED DONALD TRUMP
Young Trump fans outside his St. Louis rally March 11. | THEO WELLING
Written by
DANNY WICENTOWSKI
O
Inside the Trump Rally Crotching whiskey on a journey deep into the heart of darkness
BY DANIEL HILL
I
f Donald Trump only knew my true intentions when I attended his rally in St. Louis on Friday, he probably would have had me arrested upon arrival. It’s not that my plans were particularly malicious — go to the event, see the sights, craft a snarky article upon my return. It’s more that Trump has a markedly adversarial relationship with the media. He’s expressed a desire to “open up those libel laws” as soon as he enters office — Trumpspeak for “attacking the constitutionally assured freedom of the press.” He keeps reporters corralled at his rallies, referring to us as “scum” — the same word he uses for ISIS. Recently, security at one of his events even choke-slammed a TIME photographer for daring to step out of the assigned press area. On top of that, I’m a complete smartass with no love for the guy. I’d surely have a target on my back by virtue of my mere existence. I decided I’d better go incognito, clad in a Goodwill-purchased NRA hat and a shirt with a bald eagle on it. I packed a flask full of Jack Daniels to calm my nerves (and also to lubricate myself while
waiting in line for hours). Now, I fancy myself a seasoned expert in the art of consuming alcohol, but 8:30 a.m. is generally a little early even for me to break into the whiskey. But standing in line outside of the Peabody Opera House in a sea of Donald Trump supporters, I was glad I had the foresight to bring a flask. Attendees numbered in the thousands and mostly represented a diverse crowd of both young and old white people. I took my place in line between a freshfaced, well-dressed young man named Kevin, who had skipped class at Parkway South to be here, and an older guy in a Cardinals jacket named Joe, who walked with a cane/folding chair hybrid that afforded him both assisted mobility and a portable seat. “Well that’s handy,” I remarked, trying to make friendly conversation. “It’s necessary,” Joe shot back gruffly, before immediately turning his attention away from me again. Shit, I thought. I’m not passing. A swig from the flask steadied my hand once more. A pair of overweight men selling Trump merchandise walked down the line, hawking their wares. “Buy American,” one said. “None of that commie stuff.”
Kevin told me that before the day was over he was definitely going to get one of Trump’s “Make America Great Again” hats, with the stated intention of wearing it to school and seeing how many “liberal teachers” he can make angry. “Take that to your unions,” he laughed derisively. Kevin went on to share that a classmate told him she was never talking to him again when he said he was going to the rally. He replied, “Have fun with your 90 percent tax rate under Bernie. I’m gonna get a real job.” He insisted to me, “I’m one of the only people coming from my school to listen. Everyone else wants to protest.” Soon Kevin’s dad showed up, himself a living, breathing tribute to khaki-colored clothing and sensible shoes. Meanwhile the numerous other people arriving to wait in line displayed remarkable and, at times, conflicting fashion sensibilities. A kid in a Black Lives Matter shirt looked out of place walking with his family, who were sporting Trump hats. A Young Republicans-type bro strolled by in a button-up-shirt-and-suit-jacket/ American-flag-short-shorts ensemble. Some ladies in line behind me expressed Continued on pg 12 riverfronttimes.com
n Friday, Donald Trump stepped onto the stage of the Peabody Opera House, looked over a crowd of some 3,000 spectators, and began the familiar ritual. “Build that wall,” he murmured into the microphone. In response came the chant, an anthem carried on a swell of boisterous male voices. “Build that wall!” they yelled back at Trump. “Build that wall! Build that wall! Build that wall!” This is the art of Trump, and for months, he’s made it look remarkably easy. Bewildered pundits ruminate for hours on his seemingly inevitable progress through key battleground states. But at the end of the Friday rally in St. Louis, the unstoppable Trump left the stage a different candidate. A planned rally in Chicago that night was overwhelmed with protesters and abruptly canceled. On Saturday, during a speech in Dayton, Ohio, security guards enclosed the candidate in protective bear hugs as a protester tried rushing the stage. On Saturday evening, in Kansas City, Trump’s rambling observations on America’s greatness were interrupted by protester opposition more than a dozen times. Something has changed for Trump, and it began Friday on an opera house stage in St. Louis. In St. Louis, Trump finally met the whirlwind.
W
ell before Trump’s campaign announced its March 11 rally, battle-hardened St. Louis protesters were already preparing for his arrival. Missouri’s March 15 primary virtually guaranteed a visit from the reality TV host-turned-politician, and the local protest community wasn’t simply going to stay home while this billionaire buffoon stirred hatred in their city. But Trump’s rally posed a challenge for black activists like Jade Woods. “I think a lot of the black youth were afraid it,” says Woods, a student at Lindenwood University. “They’ve seen the videos from other Trump rallies, how protesters and black people were being treated.” That treatment frequently featured violence. Two days before the St. Louis rally, a 78-year-old man in a cowboy hat was filmed delivering a blindside elbow to the face Continued on pg 12
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STOP TRUMP Continued from pg 11
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of a black protester in Fayetteville, North Carolina. Charges were ultimately filed against John McGraw, but his comments following the incident mirrored Trump’s celebration of patriotic, tough-guy attitude. “Yes, he deserved it,” McGraw proudly told Inside Edition. “The next time we see him, we might have to kill him. We don’t know who he is. He might be with a terrorist organization.” On Thursday night, one day before Trump’s St. Louis rally, Woods attended several protest planning meetings. At MoKaBe’s coffeehouse — where protesters sheltered in 2014 as tear gas was deployed along South Grand Boulevard– about a dozen activists gathered to discuss tactics for a demonstration outside the Peabody. From there, Woods and another black college student named Jamila Jackson made their way to a north city church, where they met two experienced white protesters with ideas of their own: Ferguson activist Keith Rose and Colleen Kelly, a Catholic Worker. Kelly and Rose knew of the potential violence that awaited black protesters. They had devised a plan that would place undercover white activists in the crowd to take the brunt of whatever punishment Trump’s supporters dished out. With Woods’ and Jackson’s involvement, those plans were folded into a larger and more audacious strategy. “The only reason we were so successful was because we did have white people backing us,” Woods says. “We weren’t just individuals, we weren’t a small pocket, we were St. Louis citizens bonding together because we don’t want Trump to be president.” Early Friday morning, Woods and Jackson joined a contingent of 30 undercover protesters waiting in line, which was already curving around 16th Street and onto Clark Avenue at 7:30. The doors didn’t open until 9. If asked about their interest in Trump, Woods and Jackson claimed to be curious college students attending the event with their classmates and professor. The white activists also stayed incognito. Along with three white activists, Rose purchased Trump campaign buttons and exchanged sly smiles as they joined chants of “Build that wall!” and “Hillary for prison 2016!” Three hours later, Rose and his team passed through the security checkpoints and entered the Peabody. So far, the plan was moving without a hitch. Rose shepherded his team to a predetermined Continued on pg 14
MARCH 16-22, 2016
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Kids today! | THEO WELLING
INSIDE Continued from pg 11 quiet disapproval of a mother clad in both a Black Flag shirt and a Trump hat, who’d dressed her toddler in a sundress and no jacket for the occasion, despite the fact that it was about 40 degrees outside. “It’s too cold,” they agreed. (Frankly, I found both mother and daughter’s outfits to be confusing.) Kevin started telling his dad about the sick Trump swag he wanted. Dad warned him not to buy any Chinese-made bootleg merchandise. “Trump hats will be the last thing still made in America,” Dad declared with pride, ignoring the fact that Trump has a well-documented history of outsourcing the manufacture of his clothing to China. “Can I have two bucks to buy a button?” Kevin asked. “Oh yeah,” Dad replied. “We’re gonna buy you all that stuff.” I’m pretty sure Dad might be incrementally ruining this poor kid’s life. As a chant of “Build that wall! Build that wall!” started behind us in the line, three teens clad in varying amounts of real-tree camouflage — presumably in the event of a deer sighting inside the rally — walked up and joined Kevin in line. It turned out they are classmates. One of them, named Ben, was the most camouflaged of all, with both hat and T-shirt rendering his upper half virtually invisible. As he arrived, he surveyed the scene. “I didn’t know so many city slickers supported Trump,” he said, eyes pointed in my general direction. It wasn’t until he made some remarks concerning the
Black Lives Matters protesters on site — “They need to learn their places. We are the masters.” — that I noticed the Confederate-flag themed lanyard hanging out of his back pocket. Another long pull off my flask eased my despair for the youth. Around this time, another very overweight man walked by, also selling overpriced Trump stuff. “If anybody’s hungry I got a Hillary KFC special,” he pitched. “Two fat thighs, two tiny breasts and a wing.” The crowd laughed and cheered. More high school friends arrived, joining the group in front of me. (Trump fans, at least the young ones, apparently have no issues with cutting in line.) One was black, and he was friends with the real-tree trio, including Confederate Ben. He began musing that he should take a picture of himself at the rally. “Like, see, black people do like Donald Trump,” he aimed to prove. “He’s not a racist.” (Though it certainly would have livened up my morning, I opted not to tell him about the horrifying shit his pal was just saying moments before about “masters” and “places.” They’ll have a lifetime of friendship to sort that mess out, I suppose.) “You’re an honorary Republican,” one of the other real-tree kids said, which was confusing for a number of reasons (none of these kids are old enough to vote/why not just “Republican”/ why would being black make him “honorary”?). But he didn’t address these issues, instead raising some equally important points about the things he doesn’t understand about the Grand Ol’ Party: namely “chaw and camo — Continued on pg 14 I just don’t
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STOP TRUMP Continued from pg 12
INSIDE Continued from pg 12
section in the rear of the auditorium, where they joined two dozen other similarly disguised protesters. Above them, two smaller teams maneuvered to seats on either end of the balcony. The trap was set. When Trump appeared, Rose, Woods and the others raised campaign signs and cheered, “We love you Donald! Build that wall!” Trump took his place behind the podium, waving and winking to the sea of red hats and pumping fists. “I love you too,” Trump cooed. “This doesn’t get talked about in the press — the love that’s in these rooms. I mean, it’s love! You know, they talk about a protest or something; they don’t talk about what’s really happening in these rooms and these stadiums — they don’t talk about the love.” According to Woods, the plan called to let Trump speak for 30 minutes. But, as it turns out, there were other protesters in the crowd, unaffiliated with Woods’ group, and they had their own ideas. Five minutes into an anecdote about Hillary Clinton’s overuse of teleprompters, a young black man disrupted Trump and officers quickly shuffled him out of the auditorium. The crowd jeered. Trump, looking as pleased and orange as ever, joined in on the fun. “Look. You’ll notice they’re singles,” he said. “There’s very few of them, but they’re singles.” Minutes later, another lone protester was escorted from the rally to a similar refrain of boos and hoots. Two more protesters would also rise from their seats. “Where do your clothes come from?” one shouted, a reference to Trump-branded clothing manufactured in China. And then it was time for the headliner. As the two protest teams on the balcony deployed their banners and began chanting, the ground-floor Trumpeteers craned their necks and mocked what they assumed was another small-scale interruption. In fact, the balcony protesters served as both diversion and countdown. With police and security guards responding to the balcony, Rose and the other white protesters made their move, forming a ring around Woods, Jackson and the black protest team. Woods and Jackson stood up, raising their signs. The red hats turned to face the new source of attention as the protesters launched into a chant of their own. “It is our duty to fight for our freedom,” the protesters shouted. “It is our duty to win.”
get it. I don’t get what it means.” “You’ll learn,” one friend confidently assured him. Ben then remarked on the appeal of Trump over Hillary Clinton, revealing his formidable political acumen. “Yeah, Trump has said some mean things,” he admitted. “But Hillary has killed millions of people. It’s not the same thing.” Distracted by a man with long hair walking by with a “Make Donald Drumpf Again” sign, he then turned and yelled “Go back to Russia you commie!” before resuming conversation with his comrades. I started to wonder if there was a nearby liquor store where I could refuel. Close to 10 a.m., the line finally started to move as people filed slowly into the Peabody. As we got nearer to the front of the building, a throng of protesters became visible. One, dressed in a “Fuck the Police” shirt and a red Guy Fawkes mask, dropped an American flag on the ground and began dragging and trampling it with his feet. The Trump crowd, predictably, became incensed. Several broke from the line, yelling at the man to “pick that flag up right now!” Police stepped in and separated the groups before anything got too ugly; meanwhile the crowd still in line engaged in a deafening “Donald Trump! Donald Trump!” chant. Finally approaching the entrance around 11:45 a.m., I slyly crotched my flask — to the uninformed, I probably just looked like a guy scratching his balls outside of a Trump rally. Certainly not the strangest sight on the scene. Problems arose, though, when I stepped foot through the door: metal detector problems. Unwilling to miss this spectacle over something so stupid as smuggled alcohol (and plenty buzzed anyway from coping with the journey to this point), I opted for the safe route. Un-slyly, I pulled the flask out of my underwear at the front of the line and took a long drink before throwing it away. (Oddly, no one, not even the Secret Service members on hand, batted an eye.) As I found a seat, I noticed that Trump’s people were pumping Elton John’s “Tiny Dancer” through the house speakers. Trump, according to his staffers, actually
Continued on pg 16
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A protester trampling a flag infuriated Trump supporters. | THEO WELLING
When Jagger sang “you can’t always get what you want,” a man near me would add, “unless you’re Trump.” picks out the songs for his playlists himself. For a brief moment as the song played on I pictured Elton and Trump holding one another, locked in an embrace, dancing the night away. It was a strange but soothing vision, and now you are picturing it as well. The song was followed by “You Can’t Always Get What You Want.” Originally released in 1969, the Stones classic is a resigned, pragmatic rumination on the closing of the decade-long party that was the ‘60s — a look at the dreams and aspirations of an idealistic counter-culture through a sober, less-than-optimistic lens. It seemed like a strange choice for a Donald Trump rally. But then Billy Joel’s “Uptown Girl” came on next, which actually kinda made
perfect sense. Trump’s STL hype-men/women — immigration attorney Jasha McQueen, Missouri Republican vice chairwoman Valinda Freed, Eagle Forum president and former GOP chairman Ed Martin, and “conservative icon” Phyllis Schlafly — warmed the stage by talking about what a cool winner he was, though Freed heaped praise on McQueen as well. “You know, Donald loves beautiful women, and he sure found one in Jasha, right?” she inquired. The crowd responded with whistles and catcalls. Then more music. The Stones’ “Let’s Spend the Night Together.” CCR: “Born on the Bayou.” Johnny Cash’s “Folsom Prison Blues” was a truly mind-blowing choice. Cash would have despised Trump, and probably most of the people in attendance. Still, the song won the biggest cheers from the crowd out of the whole playlist. “Nessun Dorma” by Luciano Pavarotti won the award for “least welcomed or expected.” And then “You Can’t Always Get What You Want” again. Again? That’s the second time in an hour’s worth of music. What was the meaning of this? An older man sitting behind me started adding to the lyrics. When Jagger sang “you can’t always get what you want,” the man would add, “unless you’re Trump.” He seemed very pleased with himself. Finally, Trump took the stage to thunderous and existentially
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-- Bashing other candidates -- Bashing China -- Boasting about his many successes -- Bashing the media -- “We will build the wall, folks; we will build the wall.” **massive applause break** -- Bashing other candidates some more Another protester popped up, and we again got to hear that sweet refrain. “Get out of here; get out. Take him out. Get him out of here.” (Could work as a variation on the chorus for a bridge, I’d say.) “Another single,” Trump noted dismissively. “You know, they’re singles because they don’t have many people with them, because the people are with us.” Trump barely, barely got time to talk about building a wall again before he was interrupted by another “single.” At this point you could tell he was starting to get frustrated. “They’re allowed to get up and interrupt us horribly and we have to be very very gentle, very gentle,” he bemoaned. “They can swing, they can hit people, but if we hit ‘em back it’s a terrible, terrible thing, right?” But as Trump was about to learn, it wasn’t all “singles.” As he continued speaking dismissively about protesters in general, the night’s “main event” protest kicked off, as ten to fifteen activists linked arms and stood in the aisle to the back left of the floor seats. “It is our duty to fight for our freedom. It is our duty to win. We must love and support each other. We have nothing to lose but our chains,” they chanted, a quote attributed to Assata Shakur — a member of the former Black Panther Party and Black Liberation Army and an aunt to Tupac — currently living in exile in Cuba. Trump fans’ response: “USA! USA!” The protesters went dead-weight as police tried to drag them out of the building. It was pandemonium — their efforts effectively shut the rally down for a full ten minutes. “Go home and get a job,” Trump shouted, to thunderous applause. “Get a job!” It is a common criticism from people who dislike protesters, and it has never made any less sense than it did here. These protesters are at the Trump rally, as are the Trump supporters. Does this mean nobody in the goddamn building has a job? The Trump crowd had no time for such
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soul-crushing applause. In the first moments of his speech, he referred to Missouri’s football teams in a thoroughly incomprehensible manner — on the heels of St. Louis losing its NFL team, no less. His remarks, in full: “Missouri. Good football teams. Those college teams are good, eh? What are you going to do this year — I think pretty good stuff, huh? Came from nowhere. I’ll tell you what, good. You vote a big one for me, I’m coming to one of those games.” (Feel free to try to sort that one out — I came up empty. It seems like he probably would have done better to just say “go Cards.”) After that slightly rocky start Trump got the crowd fully back on board by doing what he does best: pandering like a motherfucker. “I love you too,” he responded to a boisterous fan. “Really do. This doesn’t get talked about in the press — the love that’s in these rooms. I mean, it’s love! You know, they talk about a protest or something; they don’t talk about what’s really happening in these rooms and these stadiums — they don’t talk about the love.” About five minutes later, the first protester of the afternoon, a young black man in one of the front rows, stood up and began shouting. The response was swift. “Get him out of here. Get him out. Get him out of here. Get him out of here; he’s all mouth. He’s all mouth; get him out,” Trump said. It was an oddly lyrical string of words that would make a killer chorus for, say, a female-fronted power-pop song — but not one that especially expresses that pure love he was just referencing. “Isn’t it great to be at a Trump rally?” the Donald asked as the man was escorted out. “Really. It’s fun. Troublemaker. These are troublemakers.” Then he made an observation: “Look. You’ll notice they’re singles — there’s very few of them, but they’re singles. And they go into one location; there will be some at other locations, and they’ll scream a little bit and we’ll have to stop for a couple of minutes — we’ll have a good time. We’ll have a good time. So you’ll see — you’ll find out, they’re singles. It’s a single here, a single there, it adds up to like four people, but you know, they make a big deal.” The “troublemaker” swept out of the building, Trump launched into his greatest hits, including:
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MARCH 16-22, 2016
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STOP TRUMP Continued from pg 14 Officers attempting to reach the protest line bottlenecked against dozens of riled-up Trump supporters filming the scene on their smartphones. That’s when Rose and others ripped off their disguises – Rose now wore a black t-shirt reading “Race Traitor” – and locked arms around the elbows and waists of their comrades, creating a buffer zone for the black activists in the center. The cops seemed unsure what to do. As Trump supporters bellowed “USA! USA,” officers attempting to pry protesters loose found little leverage in the cramped spaces between chairs, protesters and Trump fans. One by one, officers peeled the white defenders off the larger body of protesters, yanking arms and pinning necks along the way. The cops struggled to control bodies that went suddenly limp in their hands. It took ten minutes from the start of the protest for Woods and Jackson to be dragged into the aisle and roughly detained. Police arrested some 32 people at Trump’s rally. Transported to central booking, nearly all were released in under two hours. The protesters were charged with disturbance of the peace.
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mong them was St. Louis Alderwoman Megan Green. “We have this rise that is happening right now in hate groups across the country, and Missouri is leading the way,” Green said after her release. “We should all be concerned about Donald Trump. Just hearing the really horrible words he was putting out – it made us compelled to act.” Those actions stand as the most successful shutdown of a Trump rally in progress – ever. Later that night, Chicago protesters turned out in such force that Trump, citing security concerns, canceled the rally. A few disrupted rallies won’t break Trump’s spell. He’s a survivor. But the coordinated action in St. Louis shows that it’s not just singles – and the people willing to stand up to Trump add up to more than just four, or a dozen, or even two dozen. The Chicago rally was canceled, in part, because of concerns there were as many protesters as supporters. That’s a big change from past rallies. Something is happening. The national media has been focused on Chicago and what happened outside the rally there. But what took place inside the rally in St. Louis was just as telling. For the first time, the unstoppable candidate was stopped n in his tracks. 16
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Protesters took to the streets around the Peabody Opera House. | THEO WELLING
INSIDE Continued from pg 15 heady queries though — they had already started chanting “USA!” again. “These are not good people, folks, just so you understand,” Trump said. “And I heard this was going to happen, and they said, ‘Mr. Trump, would you like to cancel?’ I said, ‘Absolutely not.’” (At this point he got one of the biggest cheers of the night. Before the day was done, however, he would cancel his next rally.) Trump became increasingly annoyed as the time passed, with the protesters refusing to budge. At the three-minute mark: “OK get ‘em out. Get ‘em out. Come on let’s go. Get ‘em out.” Four-minute mark: “Did they get ‘em out? Did they get ‘em out? Well where are the police? C’mon police, get ‘em out; let’s go. C’mon. C’mon. Let’s get ‘em out. Troublemakers, just troublemakers. C’mon, get ‘em out, police, please. Let’s go.” Five-minute mark: “What they don’t realize is they really help us realize how important we are and how important it is what we’re doing. They’re really helping us,” he rambled — attempting to spin the obvious derailment as a plus in a way only a true narcissist could — before turning on a dime and contradicting himself
MARCH 16-22, 2016
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without taking a breath. “They add nothing. They add nothing, believe me. They add nothing.” Seven-minute mark: “Part of the problem, and part of the reason it takes so long, is nobody wants to hurt each other anymore, right?” Crowd chants: “USA! USA!” Ten-minute mark: “I was told it was gonna happen here, because you have people — great people, I’ve met so many people from this area, great people — but you have people that aren’t so great. Get ‘em out. Get ‘em out. What’s the same guy trying to come back, right? See that? In the old days they didn’t come back, I can tell you that.” With the corner finally cleared, Trump attempted to launch back into his speech again. That’s when protesters on the balcony unfurled banners reading “Caution, racism lives here” and “Stop the hate.” “Get ‘em out; get ‘em out of here. Oh it would be so nice.... It would be so nice....” Trump trailed off twice, visibly flustered, before resuming. “I won’t say what’s on my mind, folks. I won’t say it; I refuse to say it. I’m a nice person; I refuse to say it.” Can’t you just feel the love? When order was finally restored, Trump resumed offering his supporters the world. “There’s no way we can lose,” he said of his
poll numbers. He vowed to end heroin addiction — “I’m gonna stop it. I promise you I’m gonna stop it.” He insisted again that he’s gonna “build a wall” — always a reliable applause break. “It’s so easy for me. Oh, I’m good at building.” He claimed he’d “rebuild the military,” saying, “We’re gonna make it so big, so strong, so powerful. Nobody’s ever gonna mess with us again, OK? Nobody. “I’m not a military man, but I do love the military though,” he added. “The military is great. I’m the most militaristic person in the room, believe me.” As if that terrifying confession wasn’t enough, he then started praising Saddam Hussein — an odd choice, all things considered — saying he was impressed with the late Iraqi dictator’s ability to kill terrorists. “He would kill those people so fast — he was great at that.” Mercifully, even this crowd knew that this was simply too crazy to cheer for, and an awkward silence fell over the room. Trump then reached the end of his speech, opting to again go over his critical but utterly fucking meaningless points: We’re going to win and build a wall and I’m self-funded and China is robbing us and etcetera etcetera. Before he could finish, though, a man seated just to my right
A protester’s hand-drawn sign points to a historic parallel. | THEO WELLING stood up and cut him off, shouting, “Fuck you!” Trump was irritated. Irritated with that kid, irritated with the rest of the protesters, irritated with the state of Missouri in general. He was more than ready to go. “That’s too bad,” he lamented. “I mean, right in the middle of my last sentence he does that! Right in the middle of my last sentence — I had a half a sentence to go; I was finished. I could get the hell outta here, and he stands up.” Two minutes later, the rally ended. To my absolute bewilderment, “You Can’t Always Get What You Want” came on over the house speakers again. It was at this point that I realized it. This is his sly reveal. A master showman, a skilled carnival barker — in some ways, Trump is a true artist. He is smashing his supporters over the head with the truth — as he sees it — every single time that song plays. It’s right in the lyrics: But I went down to the demonstration To get your fair share of abuse Singing, “We’re gonna vent our frustration If we don’t we’re gonna blow a fifty-amp fuse” You can’t always get what you want You can’t always get what you want You can’t always get what you want But if you try sometimes well you just might find You get what you need
Trump supporters have seen the demonstrations. They are certainly familiar with abuse — sometimes doling it out to demonstrators, sometimes watching their messiah do so for them. They are venting frustration at every turn. The fuses are blowing left and right. They want it all. They want to win, to be number one. They want to kill all the bad guys and feel safe. They want to fix the economy, even if it takes drastic, isolationist measures. They want America to be “great again.” But Trump knows: They can’t always get what they want. He’s going to promise the moon, make vows he could never possibly deliver on, and then once elected, he’s going to instead give the people of the United States what he thinks they need. And what is that? He’s not subtle about any of this; you just have to listen beyond the blathering about poll numbers and increasingly tall walls. Here is a man who expresses open admiration for dictators, who condemns the media and who quashes protests and voices of dissent with glee. He doesn’t want to work with Congress or mess around with legislative minutiae. He wants to force a new path through sheer triumph of the will. As the rally ended, the crowd spilled out into the weak sunshine of a cool March day. Right about then, with Trump’s vision for a dystopian future rattling around in my head, I would have killed for a flask full of whiskey. n riverfronttimes.com
MARCH 16-22, 2016
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Do You Have Schizophrenia or Schizoaffective Disorder?
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MARCH 16-22, 2016
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CALENDAR
19
WEEK OF MARCH 17-22
THURSDAY 0317 Dogtown St. Pat’s Day Parade Is it tough to find parking in Dogtown on St. Patrick’s Day? You bet your shillelagh it is. But that’s because this is a neighborhood party, so everybody wakes up already in position. Park your car in an outlying pay lot and enjoy your mid-morning hike to any open spot along Tamm Avenue. The actual parade starts at 12:30 p.m. at the intersection of Tamm and Oakland Avenues (www.stlhibernians.com) and usually runs for 90 minutes. After that, the Irish Festival kicks off along the various side streets, and the various restaurants and bars do a brisk business. But keep your celebrating friendly; this is a family neighborhood, and there are kids present. Please remember, no coolers, backpacks or glass bottles are allowed at the parade or the festival, and underage drinking is going to net you a potential $300 fine.
FRIDAY 0318 Third Friday: Steinfest Most places that sell you glassware expect you to fill it at a later time. Third Friday: Steinfest throws that idea right out the door. This month’s Third Friday at Third Degree Glass Factory (5200 Delmar Boulevard; 314-367-4527 or www. stlglass.com) features a sale of handmade, blown glass beer steins — and purchase of one gets you two beers from Urban Chestnut the same night. Take that, convention! Of course, this being a Third Friday party means there will also be food (the Completely Sauced food truck serves up its New Orleans-style fare), live music by Dang!, hands-on glass art activities and an art show in the East Gallery (Steven Walden’s paintings of superheroes and their archenemies,
Steinfest offers handmade mugs and something with which to fill them. COURTESY THIRD DEGREE GLASS FACTORY
BY PAUL FRISWOLD Heroes and Villains). The whole shebang runs from 6 to 10 p.m. tonight and admission is free, but glass art activities cost $25 to $35.
Dido & Aeneas English Baroque composer Henry Purcell wrote his first opera, Dido and Aeneas, at the tail end of the 17th century, and used a story from Virgil’s Aeneid as his inspiration. It’s old, yes, but it’s also timeless. Aeneas is a dashing warrior-prince on his way to found a new city of Troy when a storm sweeps him off course to Carthage and its beautiful queen, Dido. Her sister, Belinda, thinks a marriage between these two monarchs could right the
nation, but Dido is unsure. Then she meets Aeneas and thinks marriage might not be so bad. But a sorceress and her coven of witches conspire to destroy Dido and Carthage and so set their romance off course. It’s a quick three-act about love, magic and betrayal, and it includes the monumentally sad and glorious aria, “When I am laid in Earth,” more commonly known as “Dido’s Lament.” UMSL Opera Theatre presents Dido and Aeneas at 8 p.m. Friday, 2 and 8 p.m. Saturday and 2 p.m. Sunday (March 18 to 20) at the University of Missouri-St. Louis’ Touhill Performing Arts Center (1 University Boulevard at Natural Bridge Road; 314-516-4949 or www.touhill.org). Tickets are $5 to $10. riverfronttimes.com
Gateway Opera Gateway Opera continues its third season with two new short operas written by women. Eva Kendrick’s “The Break-Up” is about a rough night in a long-term couple’s relationship. Jake asks Debbie to meet him on a night other than their usual date night, which she thinks means he’s about to propose. But what Jake proposes is not exactly what Debbie’s expecting. It’s a contemporary look at relationships in the age of constant contact and status updates. Leanna Kirchoff’s “The Clever Artifice of Harriet and Margaret” is based on Alice Gerstenberg’s groundbreaking
MARCH 16-22, 2016
Continued on pg 20
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Jerry Vogel and Will Bonfiglio in Old Wicked Songs. | ERIC WOOLSEY
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Bring the entire family to Powell Hall for Steven Spielberg’s cinematic masterpiece, E.T. the Extra-Terrestrial, on the big screen with John Williams’ Academy Award-winning score performed live by the STL Symphony! MEDIA SUPPORT PROVIDED BY ST. LOUIS POST-DISPATCH AND 102.5 KEZK
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one-act play, “Overtones.” Gerstenberg’s play used four actresses to depict the conversation of rivals Harriet and Margaret and the emotional subtext of that conversation, which is performed by the characters Hetty and Maggie. Kirchoff uses the same conceit in her opera. “The Break-Up” and the “The Clever Artifice of Harriet and Margaret” are both performed at 8 p.m. Friday and 3 p.m. Sunday (March 18 and 20) at the 560 Music Center (560 Trinity Avenue, University City; www.gatewayopera. org). Tickets are $25 and include two free drink tickets.
SATURDAY 0319 Cast and Recast: St. Louis Type Past and Present St. Louis was the first city with a major type foundry in the Midwest, which helped St. Louis attract the printers, publishers, writers and artists who created and documented the daily life and creative output of a growing metropolis. The exhibition Cast and Recast: St. Louis Type Past and Present
celebrates the historic Central Type Foundry St. Louis (1870 to 1892) with posters made by contemporary typographers and graphic designers using Ben Kiel’s modern homage to the Central Type Foundry’s “Geometric” typeface. Traci Moore’s piece Geometrica uses the stark image of black and white fists raised together against a red background with a quote from Elie Wiesel. Misty Manley memorializes the malapropisms of Nova Scotian folk hero Ricky (from Trailer Park Boys) by enshrining them in representative icons against a subtle background of trailer park detritus in her piece, Rickyisms. Cast and Recast opens with a free reception at 5 p.m. today at UMSL’s Gallery 210 (44 East Drive, between the UMSL North MetroLink stop and the Touhill; 31-516-5976). The show remains up through Saturday, May 14, with the gallery open 11 a.m. to 5 p.m. Tuesday through Saturday. Admission is free.
Old Wicked Songs The song-cycle Dichterliebe by Robert Schumann, which used sixteen of Heinrich Heine’s ironic Romantic poems as its lyrics, is about a poet falling in love with a young woman and then being jilted for another
man. A cle, the all of th in the s young A phen H if he is ative blo from h instruc Why do to sing, sist, betw rhetoric the “sad Hoffma instrum Wicked tity and there ar question present p.m. We p.m. Sa (March Commu Theatre Creve www.ne is an ad p.m. Sun $39.50 t
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man. At the end of this song-cycle, the poet decides he must bury all of the old bad songs in a coffin in the sea. It is this song-cycle the young American piano prodigy Stephen Hoffman must learn to sing if he is to break through his creative block. The assignment comes from his elderly Viennese vocal instructor, Professor Mashkan. Why does a pianist have to learn to sing, and why does Mashkin insist, betweeen bouts of anti-Semitic rhetoric, that Hoffman learn about the “sadness and joy” of real life if Hoffman is ever to understand his instrument? Jon Marans’ play Old Wicked Songs is about art, identity and compassion; somewhere in there are the answers to Hoffman’s questions. The New Jewish Theatre presents Old Wicked Songs at 7:30 p.m. Wednesday and Thursday, 8 p.m. Saturday and 2 p.m. Sunday (March 17 to April 3) at the Jewish Community Center’s Wool Studio Theatre (2 Millstone Campus Drive, Creve Coeur; 314-442-3283 or www.newjewishtheatre.org) There is an additional performance at 7 p.m. Sunday, March 20. Tickets are $39.50 to $43.50.
SUNDAY 0320 A Terrible Beauty/ Áille un Uafáis For the Irish diaspora, the Easter Rising of 1916 remains a proud and painful event in the formation of a free and self-governed Ireland. On Easter Monday, April 24, 1916, a small band of Irish nationalists and 1,600 supporters took control of several streets in Dublin and declared independence. The British army responded with full force, and after six days the rebellion’s leaders offered an unconditional surrender. Many of the leaders were then court-martialed and executed. Director Keith Farrell and Tile Films created the docudrama A Terrible Beauty/Áille un Uafáis about the Easter Rising. Using firsthand accounts from combatants on both sides of the Battle of Mount Street and the Battle of King Street plus archival footage, the film shows the human cost of the violence. A Terrible Beauty screens at 2:30 p.m. today at the Missouri History Museum (Lindell Boulevard
and DeBaliviere Avenue; 314-7464599 or www.mohistory.org), and the filmmakers will be present to answer questions afterward. Tickets are $7 to $8.
TUESDAY 0322 Satchel Paige and the Kansas City Swing To close out its current season, the Repertory Theatre of Saint Louis gives the people a play about the eternal lure of baseball. Trey Ellis and Ricardo Khan’s Satchel Paige and the Kansas City Swing is about the king of the Negro Leagues, Satchel Paige, the star pitcher who played the game well into his fifties. But when he was a spry 42-year-old, Paige couldn’t shake his regret about being passed over for the chance to break Major League Baseball’s color barrier (an honor that went to the younger Jackie Robinson). When rain cancels a game in Kansas City between Paige’s Negro League barnstorming team and Bob Feller’s white all-stars, old professional rivals Paige and Feller gather with Paige’s teammate and friend Buck O’Neil and a rookie from each team at a boarding house to talk about what might have been. And if O’Neil and Feller can talk Paige into trying out for the big leagues again, well, baseball will be the better for it. Satchel Paige and the Kansas City Swing is presented Tuesday through Sunday (March 16 to April 10) at Webster University’s Loretto-Hilton Center (130 Edgar Road; 314-968-4925 or www.repstl.org). Tickets are $17.50 to $79.50.
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22
FILM
[REVIEW]
Everything Falls Apart Allegiant answers the series’ big question, and it ruins everything that was good and fun about it. Written by
MARYANN JOHANSON The Divergent Series: Allegiant
Directed by Robert Schwentke. Written by Noah Oppenhiem, Adam Cooper and Bill Collage. Based on Veronica Roth’s novel. Starring Shailene Woodley, Zoë Kravitz, Theo James, Naomi Watts and Jeff Daniels. Opens Friday, March 18, at multiple theaters.
I
’ve been onboard with the dystopian adventures of Tris Prior (Shailene Woodley) in her post-apocalyptic future Chicago, but this third outing — with the fourth and final installment due next year — is a disappointing downfall from the first two films, which only just about skated by on the novelty of a very cool female action hero and the appealing metaphor for the struggle against enforced conformity her world offered. Here, in Allegiant, based on the first half of the novel of the same name, the reasons for the apparently precarious foundations of her world are revealed, the metaphor suddenly fails as a metaphor and the concrete reality it is replaced by is far less intriguing. Classified as dangerously “Divergent” in a society where almost everyone is easily slotted into five factions based upon their temperament and skills, Tris had — in the first two films, Divergent and Insurgent — been leading a fight in Chicago to regain control from a ruthless leader who was cracking down on Divergents and the rogue Factionless. That culminated, at the end of Insurgent, with the revelation that Chicago was in fact the site of a grand experiment, that the rise of Divergents meant the experiment had been a success and that the people of Chicago were welcome to rejoin the rest of humanity outside the wall that 22
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Everybody’s kinda bored by the big reveal, not just the reviewer. | MURRAY CLOSE has contained them. And this is the big decision to be made as Allegiant opens: Shall they go out to meet the people who have been experimenting on them, and if so, how can such people ever be trusted? But Factionless leader Evelyn (Naomi Watts), effectively in control of the city and inciting mob hatred against the defeated Erudite Faction, has pushed Chicago to the brink of total civil war, and perhaps those unknown outsiders can help restore peace. So off go Tris, her boyfriend and lieutenant Four (Theo James), and a handful of others, over the wall and through a blasted and inhospitable hellscape to see what — and who — is out there. The small pleasures of getting answers to the mysteries of Tris’ world are instantly overwhelmed by the practical considerations of what those answers bring...and those aren’t, alas, further questions and more intriguing mysteries, just accidental conundrums of plot and character that smarter scripting and a more cohesively considered
MARCH 16-22, 2016
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science-fiction culture-scape could have avoided. (I haven’t read Veronica Roth’s Divergent novels, so I cannot say whether these problems exist in the books or are unique to this adaptation.) There is one honking huge plothole here that brings the entire story crumbling down into its obviousness, one that will echo through the whole rest of the film: Why didn’t those experimenters just do X? Without spoiling, it concerns a matter of how order and control are handled in the city Tris and her friends discover beyond the wall, and it’s something that she and they should have found themselves subjected to as well. There would barely be a story if they had, but that’s hardly an excuse — and if there is a good reason why they are spared this treatment, it is never offered — no one among the people they encounter even seems to consider that it was an option. We see it, though, and the stakes for the experimenters — led by David (Jeff Daniels) — are so high that it is wildly implausible that it was not part of their plan all along.
Between that plothole and the loss of the metaphor about conformity that has informed Tris’ journey up till now, all we’re left with — if we want to find anything of substance and meaning in Allegiant — is a weak and barely acknowledged philosophical clash between Tris’ young and eager idealism and the messy, complicated reality she discovers beyond the wall, as embodied by the pragmatic David. But even that quickly gives way to the dullest sort of black-and-white, good-versusevil battle that throws away the potentially complex sci-fi concepts it had been playing with and reverts to a simplistic box-checking exercise in action filmmaking, complete with a ticking-clock countdown that must be stopped. The ending is so foregone as to be downright anticlimactic...and there’s still another whole movie to be gotten through. I had been looking forward to seeing where Tris’ story would go, and now I feel as if I can confidently guess it all already. n
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THE ARTS
[VISUAL]
Windmills of the Mind A captivating new show at downtown’s Des Lee invites viewers to give in to the slippage Written by
ANGELA MALCHIONNO Uncanny
Michael Powell & Chris Thorson February 26 – March 25, 2016 Gallery hours Wednesday, Friday & Saturday from 1 to 6 p.m. 1627 Washington Ave. St. Louis, MO 63103 314.621.8735 www.desleegallery.com
H
ow are you to imagine anything if the images are always provided for you?” The query, voiced by Adrien Brody’s character in the independent film Detachment, certainly isn’t the first to question our culture-wide obsession with social media feeds and search engines and capturing every moment as it happens. The line still resonates because it links the currency of images to that dark, intractable space behind our eyes — the imagination. Brody’s character goes on to suggest we must learn to read to cultivate this space, to “defend, to preserve our own minds.” Take a cue from the question in the film: Put your phone on silent, resist the urge to Google and make your way downtown to the Des Lee Gallery, where the current exhibition, Uncanny, presents the perfect fodder for thought cultivation. Chris Thorson and Michael Powell make work that is challenging and humorous with a slow read; as gallery director Brandon Anschultz explains, both artists explore “what is ‘real,’ what isn’t and that slippery area in between both ideas.” If the Des Lee isn’t on your radar, it should be. In 2014, the space underwent a sleek make-
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Chris Thorson’s Nice Days, made of beeswax and natural dyes on organic silk, 2011-2015, shown at the Des Lee with Michael Powell’s 2016 digital video Pyrite, Gold.
Chris Thorson and Michael Powell explore “what is ‘real,’ what isn’t and that slippery area in between both ideas.” over, which decreased its footprint but added a blackout room for video. Under Anschultz’s deft direction, the gallery’s regular calendar of student exhibitions is augmented by up to three additional yearly shows. Recently, the space hosted the traveling exhibition Guns in the Hands of Artists, a moving and timely exhibition exploring guns and gun violence. “It’s my hope in bringing these artists to St. Louis that we serve our community as
MARCH 16-22, 2016
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well as the broader art scene,” says Anschultz. The student exhibitions are also not to be missed. As the formal exhibition space for Washington University’s Sam Fox School of Design and Visual Arts, Des Lee mounts shows from the BFA and MFA candidates each spring, providing an interdisciplinary gauntlet where openings happen almost every Friday, a challenge for even the most avid art lover. In Uncanny, Powell’s work is a visual take on the literary device known as a couplet. Powell delivers his pairs in the 35mm film format, mounted on tiny lightboxes under subdued track lighting, with poetic titles suggesting disparity and sameness. Pyrite, Gold is the most forward title among these, while A Copse of Trees, A Copse of Trees seems intentionally confounding, alluding to the show’s overarching theme of real/not real. The literary overtone of Powell’s work is punctuated by oblique references to suburbia and startling digital videos that refuse to settle on an image. There are parallels to Don DeLillo’s 1985 novel White Noise, where he writes, “The world is
full of abandoned meanings. In the commonplace I find unexpected themes and intensities.” Thorson also situates herself in the commonplace, but while Powell provides the angular wit of an analyst, Thorson is an enigmatic foil with poignant, handmade renderings of plastic bags, remote controls, a single glove. Nice Days, made from organic silk and treated with dyes grown by the artist, lies despondently next to a recreation of a CVS bag. “Thank you … have a nice day,” it reads, the yellow smiley face contorted into a near frown. These elegant yet honest pieces quietly eviscerate our field of vision, making a tear in perception where viewers can imagine Thorson as gardener and problem solver, pushing the viewer into that slippery area between real and not real. Abandoned meanings, blurry lines and unexpected couplets — Uncanny is by turns disturbing and familiar and refuses to short change our brains by providing all the answers. If something seems off, it most likely is — give in to the uncertainty and set your imagination free. n
[ S TA G E ]
Spring Awakening Based on a true story, Molly’s Hammer is a triumph at the Rep Written by
PAUL FRISWOLD Molly’s Hammer
Written by Tammy Ryan Based on Liane Ellison Norman’s book Hammer of Justice Directed by Seth Gordon Presented by the Repertory Theatre of Saint Louis through March 27 in the Loretto-Hilton Center’s Studio Theatre (130 Edgar Road; 314-968-4925 or www.repstl.org). Tickets are $50 to $65.
P
eople don’t really talk about the A-bomb anymore, not like we used to. The big boogeyman had a 50-year-plus run, but now we have hijacked passenger planes, wild-eyed fanatics with rifles in crowded places and improvised explosive devices to worry about. Reawakening our primal fear of the big blast is the first step Tammy Ryan has to take to get us invested in her historical drama, Molly’s Hammer, which is now playing at the Repertory Theatre of Saint Louis. Ryan accomplishes it with a surprise detonation in the early minutes of the play, a guttural explosion followed by the familiar yellow-white mushroom cloud that blossoms malevolently on the set’s pierced back wall. Isn’t it strange how those beads of forehead sweat itch when they burst out of nowhere like that? Molly’s Hammer is based on the true story of Pittsburgh housewife Molly Rush, who was part of the Plowshares Eight, a group of anti-nuke activists who walked into a missile plant in King of Prussia, Pennsylvania, and whacked holes in two nose cones with a hammer. It is about a working-class husband and a homemaker wife trying to understand each other again after the child-raising years; it is about what normal people can accomplish when they fully engage with their civic responsibilities; and it is above all about a woman grappling with her faith and making the decision to undertake a spiritual journey that will require her
Bill (Joe Osheroff) and Molly (Nancy Bell) argue about the choice she’s made. | JERRY NAUNHEIM JR.
Molly’s Hammer is a remarkable play that teaches you how to fear again in order to make you feel what’s at risk if you don’t take your chance to live. to sacrifice something meaningful. Under the sensitive and clear direction of Seth Gordon, Molly’s Hammer is a remarkable play that teaches you how to fear again in order to make you feel what’s at risk if you don’t take your chance to live. Nancy Bell plays Molly, mother of six and wife to Bill (Joe Osheroff), a plumbing systems engineer who lives for his various softball leagues. Lately she’s been spending more time with Daniel Berrigan
(Kevin Orton), a Catholic priest who works with his brother (also a priest) and a group of nuns to help the poor and disenfranchised of Pittsburgh. The Berrigan brothers are also radical peace activists who fight for nuclear disarmament through various extralegal means. Molly admires their work and is inevitably drawn deeper into the movement. And while Bill’s an old-school husband who thinks he can tell Molly to do something and she’ll obey, that’s not the case. Her talks with Daniel have opened her eyes to the horror of America’s first-strike nuclear theory, which is the belief that if the U.S. nukes Russia first, some Americans will survive. The thought of her children having to grow up in a post-atomic wasteland terrifies her. She decides to take action, knowing that prison is a definite possibility and that she may lose her children and husband along the way. Osheroff is very good as the husband who reluctantly learns how to believe in and support his wife the same way she believed in and supported him. The wordless moment when he throws away his fear and fully embraces her decision is as fine a depiction of an old love coming into new maturity as you’re likely to see on any stage. Orton demonstrates his phenomriverfronttimes.com
enal versatility by creating all the other people in the play, too, from the Rushes’ goofy and thoughtful son Greg, to Molly’s heavily pregnant oldest daughter, to a cold-eyed company man on the witness stand. But this is Bell’s triumph from start to finish. The actual attack on the missile factory comes at the end of the first act, and she tells the story of that night and morning in the unadorned language of a homily. She describes the stars in the autumnal sky, the quiet ride through darkened countryside, her fading apprehensions, the long walk into the factory and the dreamlike quality of seeing how mundane and non-threatening those engines of destruction looked in person. And then she drops the hammer and her whole world changes because she’s really in it, really awake at last. Molly Rush’s spiritual journey is complete, but her legal journey is yet to begin (in fact, it takes the entire second act). The very best theater is a transformative experience that shakes you to your core and makes you feel something and think about the world a different way. Nancy Bell’s great gift is the ability to capture your heart and take you with her in the footsteps of Molly Rush. Molly’s Hammer is a great gift. You’d be a fool to miss it. n
MARCH 16-22, 2016
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IS YOUR MOUTH WATERING YET? Thank you, St. Louis! BEST BARBEQUE - Reader’s Choice 2015
5 AREA LOCATIONS
OLIVETTE • ST. CHARLES • WINGHAVEN • “44” VALLEY PARK • WASHINGTON
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CAFE
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[REVIEW]
Come Together Fleur de Lilies blends Asian and Creole flavors — and brings new life to the tired “fusion” label Written by
CHERYL BAEHR Fleur de Lilies
1031 Lynch Street; 314-932-5051. Mon.Thurs. 11 a.m.-9:30 p.m.; Fri.-Sat. 11 a.m.10:30 p.m.; Sun. 11 a.m.-8:30 p.m.
I
f you had told me just two weeks ago that I’d be enamored of a fusion restaurant, I would have rolled my eyes. If you added that I would have, quite possibly, the best burger of the year at an “Asian/Creole fusion” place, I would have laughed you all the way back to 1986. Yet here I was, smack-dab in the first quarter of 2016 and absolutely awestruck. The source of this delight was the “Wagyu Bulgolgi Burger” at Fleur de Lilies. A mammoth patty of juicy beef, its richness was cut only by its mouthwatering sweet-soy marinade, generously spiked with garlic, ginger and chili. Seared to a perfect pink medium, the burger oozes a cocktail of rendered fat and juice that soaks into its brioche-like pretzel bun. In place of mayo and lettuce, Fleur de Lilies crowns this beauty with a creamy, Asian-style vegetable slaw for crunch. If there was any lingering doubt about fusion cuisine, this burger made me devour my words. Part of what makes Fleur de Lilies such a triumph is that it’s a different kind of fusion. The burger exemplifies that. Instead of the dated pan-Asian fare made popular in the 1980s by chefs like Wolfgang Puck, owners Misha K. Sampson and Alexis Kim draw upon their respective Creole and Korean heritages to create a menu that is more Korean taco than Chinese barbecue chicken salad. Yet just as Sampson and Kim’s
Dishes from Fleur de Lilies include the “Wagyu bulgogi burger,” barbecue shrimp and shrimp etouffee. | MABEL SUEN unique combination of cross-cultural flavors prevents Fleur de Lilies from reading as dated, it also carries the risk of being too out there. What do you even call this mix? Koreole? Creorean? Even the most adventurous diners would probably admit to being turned off by the thought of crawfish bibimbap. To prevent such a hodgepodge, Sampson and Kim (with the help of chef Michael Gipson, who has since departed) created a predominately Creole menu with a few Asian-inspired dishes thrown into the mix. You’ll find a few offerings that meld the two cuisines — a spice blend here, a fusion spring roll there — but for the most part the cuisine are kept separate, with the Asian side in a supporting role. Yet somehow the menu has a cohesive, unified voice, a testament to the restaurateurs’ ability to create a bill of fare that is complementary rather than competitive. The venue for this eclectic mix is the historic rehab on the southern edge of Soulard that used to
house Lynch Street Bistro and Sage Urban American Grill. Fleur de Lilies’ logo, a fleur de lis with a lily rising out of the top, greets diners as they enter the front doors — a fitting symbol of not only the food but also the feminine aesthetic that Sampson and Kim have created in the space. Blonde wood tables and booths, grayish purple walls, a wood plank ceiling and potted orchids create a spa-like vibe. A prominent staircase made out of rippling metalwork leads guests to an upstairs events space and rooftop patio. (There’s a gorgeous ground-floor patio, too.) It’s a lovely setting, but with food this good, I wouldn’t care where I was sitting. Tender barbecue shrimp swims in a pool of Creole butter that is equal parts sweet and spice — the spices form a paste that begs to be spread over the accompanying French bread. Frog legs, dusted with peppery breadcrumbs, have such succulent meat they make you wonder why chicken wings ever became the finger food of choice. riverfronttimes.com
But then you taste Fleur de Lilies’ chicken wings and it all comes back to you. The enormous, plump wings are fried, then coated in a spicy dry rub that evokes the flavor of barbecue. Sampson is especially proud of the gumbo, which comes courtesy of her great aunt Maebell. It took Sampson more than a year to pry the recipe from her, but the persistence pays off in the form of a beautifully balanced stew of shellfish, turkey sausage, chicken and duck. The version is milder and much less thyme-heavy than what is typically served in town. The flavor’s nuance is welcome. The gumbo was a precursor for the parade of excellent Creole main courses. For the jambalaya, a melange of shrimp, smoked turkey sausage and pulled chicken simmer in tomato sauce that is so spicy, the burn lingers for the rest of the meal. The flavor is worth the slight pain, but I’d suggest eating it after the “FDL Signature Shrimp Etouffee” lest you ruin your palate
MARCH 16-22, 2016
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Brunch. A La Carte. Easter.
4940 Southwest Ave, St. Louis MO 63110 • (314) 669-9222
Salmon is a big highlight. | MABEL SUEN
FLEUR DE LILIES Continued from pg 29
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
BEST DELI/SANDWICH SHOP - Editor’s Pick 2015
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TOWER GROVE EAST Open 11 a.m. - 8 p.m. 3101 Arsenal
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for this dish’s more delicate flavor. The slight nuttiness of blonde roux permeates the rich concoction, which is punctuated by a slight brine from the shrimp and a pop of garlic. It’s no wonder this is a wellguarded Sampson family recipe. The “Cheesy Chicken Katsu” shows the kitchen also has prowess on the Asian side of the entrée menu. A light sprinkle of panko coats a thinly pounded chicken breast that is pan-fried golden brown. It’s a shockingly juicy piece of white meat. Blackened seasoning loosely ties the salmon back to the Creole theme, though I didn’t really care about how it fit in with the menu. I was too entranced with what was certainly the most luscious piece of salmon I’ve ever had the pleasure of eating. Medium rare, the fish had the texture of sashimi, as if it had been poached in the barbecue shrimp butter. I’m still shaking my head in amazement at such a beautifully cooked piece of fish. To Fleur de Lilies, Kim has brought an expertise in sushi (she has worked at several sushi spots in town, including Wasabi and BBC Asian Café & Bar), which explains the restaurant’s insistence on including this genre. The sushi is good — a comprehensive selection of fresh fish and creative rolls — though one of my only disappointments came from this side of the menu. The restaurant’s “FDL Fusion Roll” places baked crawfish atop a California roll. The warm temperature and muddy taste of the river bugs was slightly off-putting.
Served medium rare, with the texture of sashimi, this was the most luscious piece of salmon I’ve ever had the pleasure of eating. My only other disappointment was that the restaurant was out of beignets on both visits. The first time they were sold out and the second time, our server informed us, they were too doughy to serve. The silver lining to this situation was that I had to eat bread pudding twice. Fleur de Lilies’ version is like a dense apple fritter coated in caramel sauce. Housemade cream cheese ice cream finishes it with a luxurious note. And instead of just one scoop, our impeccable server gave us two — one of just the many small touches throughout the evening that made us realize what a gem of a restaurant this is. As I drifted off into a contented stupor, my initial doubts seemed about as far removed as a dated pan-Asian dish. This, right here in St. Louis, is the future of fusion. n Fleur de Lilies
Frog legs ............................................ $11 “Wagyu Bulgolgi Burger” .................. $14 ”FDL Signature Shrimp Etouffee” ..... $24
So many TVs, it’s better than being there
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101 ESPN THE FAST LANE TAP TAKEOVER - FRIDAY MARCH 18 - 4:30-6:00 Home of Alumni Association Watch Parties for NCAA Tournament Teams Congratulations! Hope you go far!
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16-22, 2016
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32
SHORT ORDERS
[SIDE DISH]
Matt Borchardt Is Not Ready for the High School Question Written by
CHERYL BAEHR
T
o say that Matt Borchardt’s mom is the reason for his culinary career is a bit of an understatement — she all but forced him into it. “It all started when I was in grade school and asked my mom for $20,” recalls Borchardt, chef/owner at Edibles & Essentials (5815 Hampton Ave., 314-328-2300). “She told me to get a job, so I found a little greasy spoon diner [and got a job] sweeping floors. Literally, that’s how it started for me.” Young and impressionable, Borchardt was instantly enamored with the way things were done at the southwestern Connecticut diner. He especially liked the way that serving food could change people’s moods for the better. Within two weeks, he added prep work to his list of duties and began helping out with cooking on the busy weekend shifts. By the time he graduated high school, he was hooked. After a brief university stint, Borchardt returned to his native St. Louis and enrolled in culinary school at St. Louis Community College-Forest Park. He loved the cooking aspect, but he could not shake the feeling that it would be better to educate himself outside the classroom. “School was never really my thing,” explains Borchardt. “I dropped out and went directly into the restaurant 32
RIVERFRONT TIMES
Matt Borchardt can go without coffee, but don’t ask him to skip his morning glass of milk. | MABEL SUEN
“I get to be out front and chat with people — educate them. Not many chefs get to do that.” business. I just started paying close attention.” Ironically, his first big industry gig was as an instructor for L’Ecole Culinaire, where he found that his passion extended beyond just food and into education. The school tasked Borchardt with running its small teaching cafe in Olivette — a spot that would serve as the inspiration for Edibles & Essentials. “It was an open kitchen, and originally, we wanted to do a market and cooking classes,” Borchardt recalls. “It didn’t turn into that, but it’s what I wanted to create here at Edibles. I get to be
MARCH 16-22, 2016
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out front and chat with people — educate them. Not many chefs get to do that.” Borchardt took a break from making his signature white bean dip to share his thoughts on the city’s restaurant scene and why you can’t ask this St. Louis native the most St. Louis question. What is one thing people don’t know about you that you wish they did? I didn’t go to high school in St. Louis. I was born here but moved away during my high school years, so I don’t have to answer the proverbial question. What daily ritual is non-negotiable for you? My coffee and a glass of milk every morning. Sometimes I can go without the coffee. If you could have any superpower, what would it be? To fly, because...why not? Who is your St. Louis food crush? In no particular order, Mai Lee, Acero, Carl’s Deli, Carl’s Drive-in, Nachomama’s Tex Mex — and if I’ve had enough beers, Jack in the Box tacos.
Which ingredient is most representative of your personality? Pork. If you weren’t working in the restaurant business, what would you be doing? Working on a beach in the Caribbean with my wife and children. Doesn’t matter the job, as long as my toes are in the sand. Name an ingredient never allowed in your kitchen. Tilapia, Miracle Whip, margarine. What is your after-work hangout? Considering I don’t go out much anymore, my own bar. But if I were to go out, I prefer a place that serves Jagermeister or Fernet. What’s your food or beverage guilty pleasure? In no particular order, vodka, Jack in the Box tacos, pizza, Fernet. What would be your last meal on earth? My wife knows this very well. Just in case, it’s a warm French baguette, salted butter and a bottle of Amarone. Very simple; no need for gluttony. n
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EAS T ER
B RUNCH SUNDAY, MARCH 27TH 10:00 AM-2:00 PM
BREAKFAST
LUNCH
Rosemary Roasted Breakfast Potatoes Buttermilk Biscuits with Country Gravy Live Action Omelet Station Hickory Smoked Bacon and Sausage Patties Build Your Own Waffle Station Yogurt Parfait Bar
Twice Baked Potato Salad Zesty Italian Rotini Pasta Salad Southern Style Baked Mac N’ Cheese Parmesan Encrusted Tilapia Honey Glazed Ham and Prime Rib Carving Stations Chicken Riggies
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Chef Boyd’s Selection of Award Winning Cheesecakes Salted Pretzel Caramel Brownies Carrot Cake Strawberry Shortcake
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FACEBOOK.COM/JAXCAFE2901 2901 salena - 314-449-1995 wed-fri: 11 am-10 pm sat: 9 am-10 pm sun: 9 am-2 pm 34
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If this isn’t your idea of a fish fry, we can’t be friends. | KELLY GLUECK [FIRST PERSON]
The Best Tradition in Town
I
t’s 37 degrees outside and my mom and I have been in line for 45 minutes. This is not Black Friday. We are not waiting for big screen TVs. We are waiting for our annual fix at St. Cecilia’s Mexican Fish Fry (906 Eichelberger, 314-3511318). I grew up Catholic. I went to church three times a week, volunteered as an altar girl and went to events benefiting my parish. However, my family never went to fish fries — my mom and I didn’t care for fish or plates of yellow-brown. So how did this annual tradition come to be? I blame the quart-sized margaritas. For $12, attendees can choose two entrees and two sides. Options for entrees include, but aren’t limited to, jack salmon in its true form (whole, fried fish complete with head, tail and bones), fried cheese quesadillas and my favorite, chile rellenos. The chile relleno is so delicious, they have to limit you to one
per dinner so no one misses out. The dinners include lemonade, but with a cooler full of $3 Modelo and big-ass $9 margaritas, who really cares about lemonade? St. Cecilia understands the wait here is atrocious — we waited in line outside for 45 minutes, followed by 25 minutes inside and then another 25 minutes to receive our food after ordering. People are bound to get impatient, but the parish volunteers try their damnedest to make the wait less painful by allowing drinking in line, as well as chips and salsa and a tamale cart outside to take you from hangry to happy. And once you make it inside, you can expect some entertainment. The mariachi music bounces off the walls of the parish grade school’s gym, filling the room with traditional Mexican folk songs. When the band isn’t getting down to “La Cucaracha,” young girls in traditional Mexican folklorico dresses twirl around to El Toro Mambo. But much as it would be tempting to cut the line, you don’t come to St. Cecilia for a VIP experience. The wait is part of the fun. And so next year, Mom and I will be right back in line, dreaming of those chile rellenos. And once again, I suspect, we’ll skip the lemonade and head straight for the margaritas. That’s the kind of Lent tradition I can get behind. – Kelly Glueck
ALL KILLER. NO FILLER.
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It’s A Good Time For
Buy one lunch entree get $3 off Second $4 margaritas all day, everyday
BULK ORDERS FOR ANY OCCASION
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MARCH 16-22, 2016
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Brad Merten (left) and Brandon Holzhueter. | DAVID SCHULENBERG / DSP MEDIA [FOOD NEWS]
A New Slushie Bar for Midtown
F
or months, business partners Brandon Holzhueter and Brad Merten have been working to perfect their plan to bring a new slushie bar to Midtown St. Louis, in the historic Gerhart Building at Laclede and Vandeventer (3906 Laclede Avenue). And with the news last week that the city is shutting down the Tropical Liqueurs outpost in Soulard, they decided it was finally time to go public. “We’ve been quiet a long time, but the news yesterday forced our hand a little bit,” Holzhueter says. They’re promising a more upscale version of a concept that Mizzou students have grown to love. Narwhal’s will offer “quality frozen alcoholic beverages using hand-crafted ingredients, infusions and purees that are produced in-house and from scratch,” according to their press
release. There will be no food, but they will encourage “carry in” from local restaurants. The bar will fill 1,900 square feet of the building, which is being renovated to include other ground-floor retail, along with lofts above. There will also be a sizable patio. “If you walk out of IKEA’s front doors, and look past Forest Park, you can see where we’ll have our patio eventually,” Holzhueter promises. The partners, both 31, have been friends since their days at Parkway West Middle School. They’re quite familiar with the Midtown area, since they own a franchise of a popular sandwich shop nearby (plus a second location in Creve Coeur). Even as the once-neglected neighborhood has added IKEA, Cortex and other shiny new developments, they’ve noticed something that’s missing: a good place to drink outside. “It’s kind of surprising, but there are not a lot of great patio options,” Holzhueter says. “We’re hoping that when it’s a nice day, everybody will think, ‘We’ve got to go to Narwhal’s. They’ve got the best patio in the neighborhood.’” The partners hope to open by this summer. – Sarah Fenske
A MODERN AMERICAN PUB
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MARCH 16-22, 2016
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thur. mar. 17 9PM Grooveliner and The Scandaleros
Fri. mar. 18
10PM
Funky Butt Brass Band
Sat. mar. 19
10PM
From New Orleans
The Joe Krown Trio
featuring Wolfman Washington and Russell Batiste
sun. MAr. 20
8PM
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MARCH 16-22, 2016
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MUSIC
39
Singing a Memory Indigo Girls’ One Lost Day is another powerful collection of songs and stories Written by
MATT WARDLAW Indigo Girls
8 p.m. Wednesday, March 23. The Sheldon, 3648 Washington Boulevard. $45 to $50. 314-533-9900.
I
t’s been more than 30 years since the Indigo Girls independently released their first single, “Crazy Game,” in 1985. Appropriately, it’s been a wild ride for Emily Saliers and Amy Ray through the decades that have followed. The pair has a friendship that goes all of the way back to elementary school; by high school, they were already working on their first songs together and quickly discovered that they had a unique chemistry. “When we first got together, it was so fun,” Saliers recalls during a recent phone conversation. “Amy had a lower voice and she strummed really solid, and I was more of a guitar picker and I had a higher voice. So we just immediately had fun. It was like different pieces of a puzzle that fit.” Still, she admits the band has had its struggles along the way, especially after the group signed to a major label and “everything got big and weird.” “We were touring for weeks and weeks and weeks at a time, and it wasn’t sustainable for us,” Saliers says. “We’re just not that kind of band, and we’re homebodies. We want to be with our people, and we want to live normal lives and stuff. We figured it out.” Even before things got “big and weird,” Saliers and Ray had already been working hard and playing a lot of shows. After the release of “Crazy Game,” the duo took a DIY approach to get their music in the hands of the right people at college radio stations, hope-
Indigo Girls Emily Saliers (left) and Amy Ray. “We didn’t really aspire to be famous,” Saliers says.
“We were touring for weeks and weeks and weeks at a time, and it wasn’t sustainable for us. We’re homebodies.” ful that those connections would share their music with a wider audience. But as Saliers remembers, they didn’t necessarily have grand aspirations; they simply thought of it as “fun.” “We didn’t really aspire to be famous or have big careers; we just thought, ‘Oh man, if we can get out of the medium rotations at this
college station, then maybe we can go into heavy rotation,’” she says. “We strategized and we had lists — Amy had names and numbers to call and I had names and numbers to call, and then we set up our own gigs at different clubs. We would just scour the indie newspapers for what clubs to play. Amy was so smart — she had a natural ability to sort of help us pick what to try to go for next. She’s awesome at it.” Saliers wonders if bands today would even have the patience to take the route they took. “They might expect that things are going to happen more quickly,” she says. “But also, there’s barely a way to afford being a band anymore, you know, because you practically pay to play at clubs. And it’s expensive to travel, and if you have a family, forget about it. We were lucky. We were young and didn’t have families, and the time was right.” The duo’s breakout hit “Closer to Fine” introduced their music to a wider audience when their self-titled major label debut was released in 1989. riverfronttimes.com
“I was sitting on a porch in Vermont on a family vacation, and it felt good to sing,” Saliers remembers, looking back on writing the song. “That’s how I know to keep songs, you know, if they feel good and I want to keep playing them again and again — then I figure they’re keepers.” The Indigo Girls have continued to use that philosophy with the hefty stack of fan favorites they’ve accumulated over years of recording and playing shows together. “We play what we like to play, honestly,” she says. “Fortunately, we never get tired of ‘Closer To Fine,’ ‘Shame On You’ or ‘Galileo’ — we play those songs almost every night. But we make a fresh setlist, and we don’t pick songs that we don’t feel like playing, so we’re just always engaged. We want to play the songs that we pick, and that feels good.” With the recent release of One Lost Day, their fifteenth studio release, Saliers and Ray have assembled another powerful
MARCH 16-22, 2016
Continued on pg 40
RIVERFRONT TIMES
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INDIGO GIRLS Continued from pg 39
Get in The Grove for exciting Drinking, Dining, Dancing, & Shopping! . St
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4317 Manchester Rd in the Grove 314.553.9252 • laylastl.com 40
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collection of songs and stories that will hit home with both longtime fans and newcomers. The duo continues to write from its own personal perspective, and “If I Don’t Leave Here Now,” partially inspired by the passing of actor Philip Seymour Hoffman, is a particularly poignant moment on the album. The song was written by Saliers, who says, “I’ve gone through my own journey — I’ll put it that way.” “I didn’t know him personally at all,” she says. “I just admired his work and I thought, ‘It’s very easy for addiction to kill anyone.’ And not only does it happen to great actors, it can happen to anyone, and it does happen. You can get derailed without even knowing it, and now, you know, in our country, we have this terrible meth problem and also addiction to painkillers, and then if you can’t get the painkillers you go to heroin. I’ve known people who have died, and of course I read about it all of the time. So it just became a very personal song about what it feels like to be addicted and how easy it is to go and how you have to remove yourself from that place with the help of others or you’ll never get out of it.” “Elizabeth” recalls young love and wild times in New Orleans that are now years past. While you could probably find that person on Facebook, the song explores the idea that perhaps some things should stay buried in the past. “‘Elizabeth’ is a true story,” Saliers shares. “There is an Elizabeth. And I went to Tulane, and we lived in New Orleans and crazy shit happened and I was young, and every word in that song is true. But I can’t help but make a cultural statement, the way that — and I do it too. Everything my daughter, Cleo, does [I say,] ‘Oh, let me get the camera out and let me film it,’ rather than just being in that moment and letting it pass and remembering how sweet it was, you know, but not being able to recapture it. “It’s always been the beauty of live music to me and now of course everybody can record live music on their phones,” she continues. “But I just did take one shot at the beauty of not doing that with this particular relationship. I haven’t looked this person up. I don’t even know where she is or what she’s doing. But I like that song and it’s really, really personal and fun to sing.” n
“St. Louis pioneers of craft beer and live music” THURSDAY, MARCH 17 TH Hero’s vs Villians Rap Battle hosted by So’n’So from Midwest Avengers Hip Hop - Doors at 8pm-$5
FRIDAY, MARCH 18 TH
Hoo Ha Comedy featuring:Ali Clayton, Reena Calm, Deanna Ortiz, Meredith Kachel, Kelsey McClureComedy - Doors at 7pm/Show 8pm-$10
SATURDAY, MARCH 19 TH
Neuro-logic and Angry Foot Project - Jamband Doors at 8:30pm-$7
MONDAY, MARCH 21 ST
The Stone Sugar Shakedown - Jamband Doors at 8:30pm-$5
WEDNESDAY, MARCH 23 RD
Geeks Who Drink - Trivia - 8:30pm- FREE
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In the University City Loop
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FRI. 6/3
ON SALE 3.18 AT 10AM
SUNDAY 3/20
WEDNESDAY 3/23
THURSDAY 3/24
FRIDAY 3/25
SATURDAY 3/26
SUNDAY 3/27
THURSDAY 3/31
FRIDAY 4/1
UPCOMING SHOWS 4.2 DANNY LISTON & FRIENDS 4.9 YONDER MOUNTAIN STRING BAND 4.13 WELCOME TO NIGHT VALE 4.15 CHARLES KELLEY 4.16 JIM NORTON 4.17 FLOETRY 4.19 LUPE FIASCO 4.22 ANDREW BIRD 4.23 CHRIS D’ELIA 4.26 RECESS MUSIC & IDEAS FESTIVAL/TOREY LANEZ 4.27 THE ARCS 4.29 NAHKO & MEDICINE FOR THE PEOPLE 5.3 ANIMAL COLLECTIVE 5.4 AMON AMARTH
5.7 LAUGHTER & LYRICS FOR LIFE 5.12 LAMB OF GOD 5.13 ANDERSONPONTY BAND 5.18 EMBLEM3 5.20 JOSH RITTER 5.22 BOYCE AVENUE 5.23 MIIKE SNOW 5.26 BLOC PARTY 5.28 TECH N9NE 6.1 THE NEIGHBOURHOOD 6.7 RUPAUL’S DRAG RACE: BATTLE OF THE SEASONS 6.8 LEON BRIDGES 6.25 BLUE OCTOBER 7.15 COREY SMITH 7.22 GLASS ANIMALS
visit us online for complete show information facebook.com/ThePageantSTL
@ThePageantSTL
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thepageant.com // 6161 delmar blvd. / St. Louis, MO 63112 // 314.726.6161
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TNT
42
Glass
Designs All-American
Smoke Shop Pipes • Locally Crafted Jewelry Detox • Vaporizers
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RIVERFRONT TIMES
Y
ou might never confuse the Collinsville-based instrumental trio Dibiase with, say, vintage REO Speedwagon or Montrose. It’s not clear if the band refuses to drive 55 or if it ever has a truly rock & roll weekend. But in talking to guitarist Dave Goodman, it is clear he recognizes the importance of KSHE 95 (94.7 FM) and how the prevalence of the “KSHE Klassic” has seeped into the area’s cultural consciousness. “You have that classic-rock background on everything,” says Goodman, who remembers listening to KSHE as he rode shotgun in his sister’s car. He notes, though, that growing up in rural Illinois adds a different flavor. “For us around here, we have that Southern classic-rock to our music, but there are other elements brought to the table as well.” Goodman and drummer Lynn Sipole started Dibiase in 2005 as a bit of a side gig from Goodman’s other group, Ring, Cicada, with whom he still occasionally performs. Dibiase specializes in what is often called “instru-metal” — riff-rock that both wallows in heaviness of tone and celebrates dexterity of fingers. For the band’s second album, When Everything Means Nothing, Goodman and his bandmates bring many of those “other elements” to bear: specifically, a post-rock sense of composition and a comfort with shifting math-rock time signatures. “I think it’s a little bit of honing the sound down and sharpening our knives as far as songwriting,” says Moore. “The odd thing about the band is that we work off of an alternate tuning, so it’s tuned more like a cello — it’s tuned to fifths. It’s always been like that.” That alternate tuning gives Dibiase a slightly Middle-Eastern tinge — it’s a harmonic twist that comes through amid the overdrive and crunch. Goodman developed his technique in a much quieter setting than Dibiase is used to inhabiting. “A friend and I used to jam together on acoustic guitars,”
MARCH 16-22, 2016
riverfronttimes.com
Goodman says. “I believe it was derived from a Turkish or Egyptian tuning. I was interested to see how this related to an electric guitar. It took a little bit to get used to — whenever you have this tuning, it’s like learning guitar again.” Since Goodman’s guitar is the band’s centerpiece, his riffs have to stand paramount in each track. That approach works well throughout Nothing, from the relatively simple progression in “…And Yet It Moves,” which eventually blooms and expands amid moody ambience, to the full-on chugging crunch of the next track, “Witch Casket.” Not every song is a study in contrasts, though when Dibiase tweaks the format, the band can hit a few different targets on the heavy-music spectrum. “For me, most of the stuff that I actually write I’ll practice on acoustic guitar at home and then take it to band practice and work it out a little more,” says Goodman of his process. “I know it’s ready when I wake up the next morning and it’s still in my head.” Goodman looks for hooks and riffs that have what he calls “staying power” — the memorable bits of a song that remain in your brain long after your ears have stopped ringing from the previous night’s show. For this release, Dibiase decided to forgo a CD package, and only recently put up the mp3s on Bandcamp. Goodman describes the process of recording, mixing and mastering as a purely analog endeavor, so it was only fitting that vinyl be the preferred delivery system. As with its last album, Dibiase worked with Matt Talbott, perhaps best known as a member of the beloved space-rock band Hum. He operates Earth Audio studio outside of Champaign, Illinois. Dibiase first came on Talbott’s
radar after the band got a last-minute gig as opener for Hum’s 2011 reunion show at the Old Rock House. He liked the band enough to offer his studio space and production know-how, and for this album he even ferried the master tapes to Sterling Sound in New York for mastering. “There is actually no digital conversion on this at all,” Goodman says with a touch of pride. Even the packaging was done with care: “I screenprinted the actual covers and inserts for the album, so the whole product is handmade,” says Goodman. Dibiase has already undergone a lineup shift since the recording of Nothing. Guitarist Chan Evans and bassist Mark Cange are represented on the album but have since left to focus on a new project. Mark Winkler, best known as a member of Fragile Porcelain Mice, is the band’s new bass player. In talking over the changes in the band and his own development as a musician, Goodman credits not just KSHE but also the old Granite City location of Vintage Vinyl for expanding his horizons as a listener and a guitarist. “That’s when we started to get good — realizing that there was a little more out there,” says Goodman. “I went from Dokken and Metallica to Chet Atkins and Fred Frith and Leo Kottke. Even though that’s not what you’re playing, you learn to appreciate other things.” —Christian Schaeffer
43
OUT EVERY NIGHT THURSDAY 17
the New Orleans 7 March 17, 7:30 & 9:30 p.m.;
Locust St, St. Louis, 314-289-9050.
The Pageant, 6161 Delmar Blvd., St. Louis,
3 PROBLEMS: w/ Lil Tay, DJ Blaze1 Birthday
March 18, 7:30 & 9:30 p.m.; 7:30 & 9:30 p.m.,
MAJOR THREAT: 8 p.m., $10-$12. Fubar, 3108
314-726-6161.
Bash, Rello, Luh Starl, CityBoi Ent, YnF,
$40. Ferring Jazz Bistro, 3536 Washington
Locust St, St. Louis, 314-289-9050.
LYSOL: w/ Crutch, The Warden 9 p.m., $5.
High55 Cosmic 9 p.m., $10-$15. Fubar, 3108
Ave, St. Louis, 314-571-6000.
NEURO-LOGIC: 8 p.m., $7. Cicero’s, 6691 Delmar
Foam Coffee & Beer, 3359 Jefferson Ave., St.
Locust St, St. Louis, 314-289-9050.
THE HUMAN EXPERIENCE: w/ Linear Symme-
Blvd., University City, 314-862-0009.
Louis, 314-772-2100.
DEE DEE BRIDGEWATER: w/ Irvin Mayfield with
try, Lusid 9 p.m., $15/$20. 2720 Cherokee
STAYIN’ ALIVE: A Tribute to the Bee Gees 8
the New Orleans 7 7:30 & 9:30 p.m.; March 18,
Performing Arts Center, 2720 Cherokee St, St.
p.m., $24.50-$49.50. Lindenwood’s J. Scheide-
MONDAY 21
7:30 & 9:30 p.m.; March 19, 7:30 & 9:30 p.m.,
Louis, 314-276-2700.
gger Center for the Arts, 2300 W. Clay St., St.
BLACK PUSSY: w/ Railhazer 8 p.m., $10-$12.
$40. Ferring Jazz Bistro, 3536 Washington
HUNTER VALENTINE: 8 p.m., $10-$12. The
Charles, 636-949-4433.
Fubar, 3108 Locust St, St. Louis, 314-289-9050.
Ave, St. Louis, 314-571-6000.
Demo, 4191 Manchester Ave, St. Louis, 314-
HEROES VS VILLIANS: 8 p.m., $5. Cicero’s, 6691
833-5532.
SUNDAY 20
Delmar Blvd., University City, 314-862-0009.
JORDAN BAUMSTARK: 9 p.m., $10. Fubar, 3108
BONE THUGS-N-HARMONY: 8 p.m., $27.50-$30.
NE-HI: w/ Whitney 8 p.m., $8-$10. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532. SOULARD BLUES BAND: 9 p.m., $5. Broadway
IKE REILLY ASSASSINATION: 8 p.m., $12-$14.
Oyster Bar, 736 S. Broadway, St. Louis, 314-
Off Broadway, 3509 Lemp Ave., St. Louis, 314-
621-8811.
773-3363.
VEIN RAYS: w/ Mt. Thelonious, Sleeping Cranes
VON STRANTZ: w/ Ellen The Felon, Le’Ponds 8
9:30 p.m., $5. Foam Coffee & Beer, 3359 Jeffer-
p.m., $10. The Demo, 4191 Manchester Ave,
son Ave., St. Louis, 314-772-2100.
[CRITIC’S PICK]
St. Louis, 314-833-5532.
TUESDAY 22
FRIDAY 18
DMAS: 8 p.m., $12-$14. Off Broadway, 3509
BONNIE RAITT: w/ California Honeydrops 7
Lemp Ave., St. Louis, 314-773-3363.
p.m., $31-$91. Peabody Opera House, 1400
INTO IT. OVER IT.: w/ The World Is A Beautiful
Market St, St. Louis, 314-241-1888.
Place & I Am No Longer Afraid To Die, The
BORN OF OSIRIS: w/ Veil of Maya, After The
Sidekicks, Pinegrove 7 p.m., $15-$18. The Fire-
Burial, Erra, Bad Omens 6:30 p.m., $20-$22.
bird, 2706 Olive St., St. Louis, 314-535-0353.
Fubar, 3108 Locust St, St. Louis, 314-289-9050.
JAMAICA LIVE TUESDAYS: w/ Ital K, Mr. Roots,
CALIFORNIA GUITAR TRIO: 8 p.m., $15-$23. Old
DJ Witz, $5/$10. Elmo’s Love Lounge, 7828
Rock House, 1200 S. 7th St., St. Louis, 314-588-
Olive Blvd, University City, 314-282-5561.
0505.
MC CHRIS: w/ Nathan Anderson 8 p.m.,
CURREN$Y: 10 p.m., $27.37-$37.92. The Mar-
$16-$18. Fubar, 3108 Locust St, St. Louis, 314-
quee Restaurant & Lounge, 1911 Locust St, St.
289-9050.
Louis, 314-436-8889.
OWEL: w/ Swimming with Bears 8 p.m., $10-
DEE DEE BRIDGEWATER: w/ Irvin Mayfield with
$12. The Demo, 4191 Manchester Ave, St.
the New Orleans 7 March 17, 7:30 & 9:30 p.m.;
Louis, 314-833-5532.
7:30 & 9:30 p.m.; March 19, 7:30 & 9:30 p.m.,
RACHEL PLATTEN: 8 p.m., $20-$23. The Ready
$40. Ferring Jazz Bistro, 3536 Washington
Room, 4195 Manchester Ave, St. Louis, 314-
Ave, St. Louis, 314-571-6000.
833-3929.
HOO HA COMEDY: w/ Ali Clayton, Reena Calm, Deanna Ortiz, Meredith Kachel, Kelsey Mc-
WEDNESDAY 23
Clure 8 p.m., $10. Cicero’s, 6691 Delmar Blvd.,
BOB “BUMBLE BEE” KAMOSKE: 8 p.m. Beale on
University City, 314-862-0009.
Broadway, 701 S. Broadway, St. Louis, 314-
KRAYZIE BONE: 7 p.m., $15. Pop’s Nightclub,
621-7880.
401 Monsanto Ave., East St. Louis, 618-274-
INDIGO GIRLS: 8 p.m., $45-$50. The Sheldon,
6720.
3648 Washington Blvd., St. Louis, 314-533-
STARMAN: A TRIBUTE TO DAVID BOWIE: w/
9900.
Karate Bikini, Brian McClelland, the Daisy Ad
Into It. Over It. | COURTESY OF THE BAND
8 p.m., $12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. SWMRS: w/ the Frights 8 p.m., $10-$12. The
Into It. Over It.
Firebird, 2706 Olive St., St. Louis, 314-535-
7 p.m. Tuesday, March 22.
0353.
SATURDAY 19 BAKERSFIELD SATURDAY NIGHT!: w/ The Dock Ellis Band, The Loot Rock Gang, Salisbury, Trigger 5, Ryne Watts, Cowpuncher Jenny, Irene Allen 8 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. BENOÎT PIOULARD: w/ Jake Leech 9 p.m., $8. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. THE BOOGERS: 1 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. DEE DEE BRIDGEWATER: w/ Irvin Mayfield with
The Firebird, 2706 Olive Street. $15 to 18. 314-5350353.
We’ll let the genre-jockeys and tastemakers battle out whether or not a full-on emo revival is taking place, but it’s not hard to hear traces of that early-2000s sound in Evan Weiss’ one-man machine Into It. Over It. The tracks from the just-released Standards show an attention to detail — a rumbling rhythm section,
LITTLE GREEN CARS: 8 p.m., $12-$14. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. LIVING HOUR: w/ Concentrator, Fragile Farm, Major Softie 9 p.m., $5-$7. Foam Coffee & Beer,
compelling vocals that invite confidence and a smart deployment of dynamics. Weiss sounds a little more settled on this album compared to previous releases, but there’s an uneasy heart that rests beneath his subtle, tuneful compositions. They Are the World. The stage will be warmed (and filled) by the eight-piece emo army The World is a Beautiful Place and I Am No Longer Afraid to Die. –Christian Schaeffer riverfronttimes.com
3359 Jefferson Ave., St. Louis, 314-772-2100. THE MAIN SQUEEZE: 8 p.m., $10. The Bootleg, 4140 Manchester Ave., St. Louis, 314-775-0775. MISS MAY I: w/ Ecclesiast, the Greater Good, Article III, We Are Descendants 6 p.m., $15. Fubar, 3108 Locust St, St. Louis, 314-289-9050. THE SKULX: w/ Overtake, Brainwaves 6 p.m., $10-$12. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532. SPEAKERS IN CODE BIRTHDAY PARTY: w/ Escondido 8 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. TANK: 7 p.m., $45. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.
MARCH 16-22, 2016
Continued on pg 44
RIVERFRONT TIMES
43
THIS JUST IN Continued from pg 43
NAHKO AND MEDICINE FOR THE PEOPLE: Fri.,
[CRITIC’S PICK]
April 29, 8 p.m., $20/$25. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.
THIS JUST IN
NEW ENGLAND PATRIOTS: W/ Skin Tags, Blight
BABY BABY DANCE WITH ME: W/ the Good
Future, Hardbody, Sun., April 10, 8 p.m., $5.
Griefs, Rough Shop, Wed., March 30, 9 p.m.,
Kismet Creative Center, 3409 Iowa Ave., St.
free. Schlafly Tap Room, 2100 Locust St., St.
Louis, 314-696-8177.
Louis, 314-241-2337.
NO TIDE: / The Cinema Story, Mon., May 9, 6:30
BENOÎT PIOULARD: W/ Jake Leech, Sat., March
p.m., $12. The Demo, 4191 Manchester Ave, St.
19, 9 p.m., $8. Foam Coffee & Beer, 3359 Jef-
Louis, 314-833-5532.
ferson Ave., St. Louis, 314-772-2100.
OX BRAKER: W/ Giants in the Sky, Spark Thugs,
BIB: W/ Blood Froth, the Bubbleheads, Sat.,
Fri., April 29, 9 p.m., free. Schlafly Tap Room,
March 26, 8 p.m., $5. Foam Coffee & Beer,
2100 Locust St., St. Louis, 314-241-2337.
3359 Jefferson Ave., St. Louis, 314-772-2100.
RAE FITZGERALD: W/ Syna So Pro, Brotherfa-
BRUXISM NO. 15: W/ the Vernacular String
ther, Wed., April 6, 8 p.m., $10. The Demo,
Trio, the Brothers Clapp, Jeff Kolar, Thu.,
4191 Manchester Ave, St. Louis, 314-833-5532.
March 31, 9 p.m., free. Schlafly Tap Room,
RAMONA DEFLOWERED: W/ Oddsoul and the
2100 Locust St., St. Louis, 314-241-2337.
Sound, Mr. Wendell All Stars, Thu., April 7, 9
BUG CHASER: W/ Joan of Dark, Dracla, Thu.,
p.m., 9pm. Schlafly Tap Room, 2100 Locust St.,
May 12, 9 p.m., free. Schlafly Tap Room, 2100
St. Louis, 314-241-2337.
Locust St., St. Louis, 314-241-2337.
RECESS MUSIC AND IDEAS FESTIVAL: W/ Tory
CATFISH AND THE BOTTLEMEN: Tue., June 14,
Lanez, Tue., April 26, 7:30 p.m., TBA. The
8 p.m., $22-$25. The Ready Room, 4195 Man-
Pageant, 6161 Delmar Blvd., St. Louis, 314726-6161.
chester Ave, St. Louis, 314-833-3929.
Escondido. | COURTESY OF THE BAND
CHARLY BLISS: Fri., June 17, 8 p.m., $10-$12. 314-833-5532. CONCERT FOR CANNABIS: W/ Woofshürts,
Escondido
Break Night, Sat., March 26, 8 p.m., $10. The
8 p.m. Wednesday, March 23.
Ready Room, 4195 Manchester Ave, St. Louis,
Off Broadway, 3509 Lemp Avenue. $10 to $12. 314773-3363.
314-833-3929. DAMNED HOLY ROLLERS: W/ the Potomac Accord, Hands and Feet, Sat., May 21, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. THE DANAIDES: W/ Graham Negative, New Seeds, Fri., April 22, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. DANNY LISTON AND FRIENDS: W/ Impala Deluxe, Sat., April 2, 8 p.m., $9.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. DEAD MEADOW: Wed., May 18, 8:30 p.m., $10-$12. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532. DIBIASE: W/ Vaudevileins, 33 on the Needle,
RED JUMPSUIT APPARATUS: Sun., June 5, 8 p.m., $17-$20. The Firebird, 2706 Olive St., St. Louis,
The Demo, 4191 Manchester Ave, St. Louis,
As Spotify shorthand goes, a band could do worse than “desert rock.” In the case of Escondido, the Nashville-based duo of Jessica Maros and Tyler James, the label does echo the Fistful of Dollars atmospherics and the steel-guitar twisted rock of its latest album, Walking With a Stranger. On a representative track like “Heart Is Black,” Maros sings with such desperate dreaminess that she could
be closing her eyes and picturing the most anguished of scenes from Paris, Texas. So that’s the post-teenage wasteland for you, but what of rock hooks? Escondido has those too, built into the grit and grace of melody after haunting melody. Code Party: Founded by Jason Gonulsen and Katie Guymon in 2010, Speakers in Code remains one of St. Louis’ (if not the country’s) finest music blogs. This evening will celebrate the site’s sixth anniversary of unflagging indie rock and folk coverage. –Roy Kasten
314-535-0353. ROXY ROCA: Thu., April 7, 8 p.m., $10. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700. SCOTT H. BIRAM: Sat., June 11, 9 p.m., $13-$15. The Firebird, 2706 Olive St., St. Louis, 314535-0353. SNARKY PUPPY: Mon., May 16, 8 p.m., $32-$35. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929. SPACE SHIP: W/ Spatula, free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. START MAKING SENSE: TALKING HEADS TRIBUTE: Fri., April 15, 9 p.m., $12/$15. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700. VAN BUREN: W/ Pat Sajak Assassins, Mariner, Fri., March 25, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. THE VANILLA BEANS: W/ We Should Leave This
Fri., May 27, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337.
2337.
Major Softie, Wed., March 23, 9 p.m., $5-$7.
Tree, Marie and the Americans, Fri., May 6, 9
DRESSED AND UNPLUGGED: W/ Berdella, the
THE HUMAN EXPERIENCE: W/ Linear Symmetry,
Foam Coffee & Beer, 3359 Jefferson Ave., St.
p.m., free. Schlafly Tap Room, 2100 Locust St.,
Tory Starbuck Project, Sat., May 28, 9 p.m.,
Lusid, Sat., March 19, 9 p.m., $15/$20. 2720
Louis, 314-772-2100.
St. Louis, 314-241-2337.
free. Schlafly Tap Room, 2100 Locust St., St.
Cherokee Performing Arts Center, 2720 Chero-
LYSOL: W/ Crutch, The Warden, Sun., March
VEIN RAYS: W/ Mt. Thelonious, Sleeping
Louis, 314-241-2337.
kee St, St. Louis, 314-276-2700.
20, 9 p.m., $5. Foam Coffee & Beer, 3359 Jef-
Cranes, Mon., March 21, 9:30 p.m., $5. Foam
ENDORA: W/ Bagheera, Accelerando, Thu.,
INKO: W/ Golden Curls, Hands and Feet, Sat.,
ferson Ave., St. Louis, 314-772-2100.
Coffee & Beer, 3359 Jefferson Ave., St. Louis,
April 14, 9 p.m., free. Schlafly Tap Room, 2100
March 26, 9 p.m., free. Schlafly Tap Room,
THE MADISONS: Mon., June 20, 8:30 p.m.,
314-772-2100.
Locust St., St. Louis, 314-241-2337.
2100 Locust St., St. Louis, 314-241-2337.
$8-$10. The Demo, 4191 Manchester Ave, St.
WE ARE A HAPPY FAMILY: W/ the Homewreck-
FLINT EASTWOOD: Sun., May 29, 7 p.m., $10.
ISSUES: W/ Crown The Empire, One OK Rock,
Louis, 314-833-5532.
ers, Sat., April 2, 9 p.m., free. Schlafly Tap
The Demo, 4191 Manchester Ave, St. Louis,
Night Verses, Fri., April 1, 7 p.m., $22-$25. The
MAMIFFER: W/ Jon Mueller, Alex Barnett,
Room, 2100 Locust St., St. Louis, 314-241-2337.
314-833-5532.
Ready Room, 4195 Manchester Ave, St. Louis,
Ghost Ice, Wed., March 30, 8 p.m., $10/$12.
WEBSTER X THE LOST ONES: W/ Hella Collec-
THE FOREIGN EXCHANGE: Sat., June 4, 9 p.m.,
314-833-3929.
Foam Coffee & Beer, 3359 Jefferson Ave., St.
tive, Tue., May 24, 8 p.m., $8-$10. The Demo,
$25. The Firebird, 2706 Olive St., St. Louis,
JEFFERSON STREET PARADE BAND: W/ Sunday
Louis, 314-772-2100.
4191 Manchester Ave, St. Louis, 314-833-
314-535-0353.
Candy, Tue., March 29, 9 p.m., $5. Foam Coffee
MISS MOLLY SIMMS: W/ Lara Hope and the
5532.
GIVERS: W/ Anna Wise, Wed., May 18, 8 p.m.,
& Beer, 3359 Jefferson Ave., St. Louis, 314-772-
Ark-Tones, Sat., April 9, 9 p.m., free. Schlafly
WESTERNERS: W/ Brother Lee and the Leather
$13-$15. The Firebird, 2706 Olive St., St. Louis,
2100.
Tap Room, 2100 Locust St., St. Louis, 314-241-
Jackals, Cacodyl, Sunwyrm, Thu., March 31, 8
314-535-0353.
JERKAGRAM: W/ Hylidae, Boreal Hills, Hard-
2337.
p.m., $5. Foam Coffee & Beer, 3359 Jefferson
THE HILLSIDE BARONS: W/ Stank Thunder, Two
body, Sun., March 27, $5. Foam Coffee & Beer,
MOTION CITY SOUNDTRACK: W/ Have Mercy,
Ave., St. Louis, 314-772-2100.
Dudes and the Pew Pew, Fri., April 8, 9 p.m.,
3359 Jefferson Ave., St. Louis, 314-772-2100.
Let It Happen, Fri., June 3, 8 p.m., $25/$27.50.
WOLFPUSSY: W/ Minorcan, the Union Electric,
free. Schlafly Tap Room, 2100 Locust St., St.
A LEAF IN THE STREET: W/ Concentrator, Tedd
The Pageant, 6161 Delmar Blvd., St. Louis,
Sat., April 23, 9 p.m., free. Schlafly Tap Room,
Louis, 314-241-2337.
Connexion, Fri., April 15, 9 p.m., free. Schlafly
314-726-6161.
2100 Locust St., St. Louis, 314-241-2337.
HOPE AND THERAPY: W/ Dropkick the Robot,
Tap Room, 2100 Locust St., St. Louis, 314-241-
MUST BE THE HOLY GHOST: Tue., May 10, 8:30
WOLVES AT THE GATE: W/ Dayseeker, House-
Jon Valley, Sat., May 14, 9 p.m., free. Schlafly
2337.
p.m., $8-$10. The Demo, 4191 Manchester Ave,
hold, Sun., April 17, 6:30 p.m., $13-$15. Fubar,
Tap Room, 2100 Locust St., St. Louis, 314-241-
LIVING HOUR: W/ Concentrator, Fragile Farm,
St. Louis, 314-833-5532.
3108 Locust St, St. Louis, 314-289-9050.
44
RIVERFRONT TIMES
MARCH 16-22, 2016
riverfronttimes.com
SAVAGE LOVE SAFE WORDING BY DAN SAVAGE Hey, Dan: I’m a 27-year-old, feminist, conventionally attractive, straightish, GGG woman. Over time, my tastes have changed, and now I find myself more of a kinkster. A few years ago, my desire for kinkier sex and my willingness to take a chance came together in a mutually beneficial, exciting D/s relationship. He was great for a while, but a big move took meaway from the area and I grew tired of his conventional gender ideals. I assumed I would find another partner in the future as functionally great as him but maybe a better conversationalist. Fast-forward to today. I’ve dabbled with pain and submission play with a few boyfriends with no great success. I’m now greatly discouraged in my search. The cycle always goes like this: I get horny and want kink, I go looking for it online, and I am then buried in a landslide of creepiness, typos and aggression. These men are more interested in condescending to me and bossing me around than they are in power exchange. It was recommended to me to join the local center for sex positivity in Seattle, but that costs money. I want to engage in kink to relieve stress, not to cut into my already tight budget. Are my only options perseverance or an extra grand lying around? Perseverance Or Withdrawal, Eternal Regrets
I definitely think you should keep hacking your way through the creeps, typos, and aggros, POWER, and, more importantly, your pussy thinks so too—excuse me, that’s crude. Perhaps I should say: Your erotic imagination and your libido think so too. But you may find the search for kinky play partners a little less frustrating if you devote a few hours a week to it—set a regular schedule: two hours a night, twice a week—instead of waiting until horniness and desperation drive you back online. If you search for kinky guys only when you just gotta have it, POWER, your inability to find it immediately is gonna be that much more frustrating. And you might wanna get out there and find a kinky guy now, POWER, while you still can. “Uh-oh, kinksters: Sex cops could be coming for you next,” Elizabeth Nolan Brown writes at Reason.com. “According to a new federal court decision, Americans have no constitutional right to engage in consensual BDSM because ‘sexual activity that involves binding and gagging or the use of physical force such as spanking or choking poses certain inherent risks to personal safety.’ Thus officials could constitutionally ban or regulate such activity in the interest of ‘the protection of vulnerable persons,’ the court held.” In 2003, the U.S. Supreme Court ruled that Americans have a constitutional right to get their asses fucked,
and one day soon we could be asking the Supreme Court whether Americans have a constitutional right to get their asses spanked. Finally, POWER, I’m a huge fan of Seattle’s Center for Sex Positive Culture. And I’m an even bigger fan of people getting out there, meeting up IRL, and making face-to-face connections with like-minded kinksters. I’m such a big fan that I’m going to pick up the expense of your first year’s membership at the Center for Sex Positive Culture. I’ll e-mail you directly about your shiny new membership. And speaking of safe words… Hey, Dan: You messed up in your response to THINK, the man whose wife wanted to engage in consensual role-play rape scenes despite having been sexually assaulted by a previous partner who didn’t stop “when she said ‘no.’” THINK said he worried “the same thing could happen” to him. Due to some ambiguous wording, you thought he doubted his wife’s account and was worried the “same thing” he was worried about was “being falsely accused of rape.” I think he was actually worried about accidentally making his wife relive that trauma in a non-sexy way. Although it was poorly worded, I don’t think his intentions were motivated by the fear of being falsely accused. His worries were based in the ambiguity of when does consensual rape play cross the line in this very delicate scenario. The other thing you forgot, the most im-
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portant thing you forgot, the thing that should never be forgotten when talking about rough-sex role-play, consensual rape scenes, power exchange, bondage, or SM: a SAFE WORD! Simple And Frequently Effective Word Omitted Recently, Dan! THINK’s wife told him she was raped by an ex who refused to stop when she said no, SAFEWORD, and here’s how THINK described his concerns: “I’m over here wondering if her previous trauma was a result of her encouraging forceful sex and regretting it later, and I worry the same thing could happen to me.” Awkwardly worded, yes, but THINK’s meaning seems clear: He didn’t want to go for it, like that other guy may have, and be accused of raping his wife if she came to regret it later. That doesn’t seem ambiguous to me. But you’re right to ding me for failing to advise Mr. and Mrs. THINK to agree on a safe word. In an unbelievably stupid move, I deleted a paragraph with “get a safe word” in it while I was editing for space. I should’ve caught that, I didn’t, and I’m grateful to SAFEWORD and everyone else who did. And remember, kids: We have a new universal kink/BDSM/power-exchange safe word: scalia.
Listen to Dan’s podcast every week at savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter
MARCH 16-22, 2016
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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
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527 Legal Notices Network Real Estate, LLC is proposing to collocate wireless communications antennas at a top height of 104 feet on a 100-foot tall building at the approx. vicinity of 5025 San Francisco, St. Louis County, St. Louis, MO 63115. Public comments regarding potential effects from this site on historic properties may be submitted within 30 days from the date of this publication to: Trileaf Corp, Katelyn, k.foster@trileaf.com, 10845 Olive Blvd, Suite 260, St. Louis, MO 63141, 314-997-6111.
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U-CITY FAMILY CHURCH IS HELPING OUR COMMUNITY BY OFFERING FOR ADULTS AND CHILDREN. SATURDAY, MARCH 19TH 1:00 - 4:00 PM U-CITY FAMILY CHURCH - FAMILY CENTER 6358 DELMAR, STE 200 info@ucityfamilychurch.com - www.ucityfamilychurch.com