Riverfront Times - April 6, 2015 by Riverfront Times

APRIL 6–12, 2016 I VOLUME 40 I NUMBER 14

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JACK BUCK WAS MY HERO How the broadcaster used 60 baseballs to save a boy’s life. BY EMILY HIGGINBOTHAM

THE 10 BEST CARDINALS OF ALL TIME (… AND THE 10 WORST ONES, TOO)

Whether you choose Psychology, International Relations or Biology, every College of Arts & Sciences program provides personalized attention and academic support. The BA in Psychology, for example, takes you through both a theoretical foundation and the means to develop and apply problem-solving skills within your major. That’s the kind of approach you will experience in each of our programs! • Biological Sciences • Biology • Computational Biology • Criminology • Cultural Anthropology

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“It’s way better to be outside. For me, when I’m outside I think of new ideas. I don’t like to be trapped in a building or room. You see the same thing over and over again and it’s hard to think creatively.” —NICO ROMERO, PHOTOGRAPHED AT THE MISSISSIPPI RIVER FLOOD WALL ON APRIL 3.

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TABLE OF CONTENTS FEATURE

11. PLAY BALL!

Our special baseballthemed issue kicks off the Cardinals 2016 season Written by BILL CHRISTINE EMILY HIGGENBOTHAM Cover by KELLY GLUECK

NEWS

CULTURE

DINING

MUSIC

The Lede

Calendar

Rising Sun

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

Cheryl Baehr is loving the energy -- and the food -- at Robata

From Warrior Cops to Guardians

Doyle Murphy explores a black cop’s crusade to change the paradigm for policing

Jack Buck Saved His Life

John O’Leary’s remarkable story is a testament to the St. Louisans who gave him the will to live

Film

Robert Hunt finds that Ethan Hawk makes a fine Chet Baker in Born to Be Blue

Stage

Purists may not love this Hedwig and the Angry Inch, but that’s all right, writes Paul Friswold

Galleries

Art on display in St. Louis this week

Side Dish

Michael Petres has come a long way from Sbarro

A Two-Night Stand

Lucero has the most loyal fans in show business, Jeremy Essig reports

Something After Something Else

Savages refines its furious post-punk sound with January’s Adore Life

A cat cafe for Maplewood -hooray!

Coming Soon 38

First Look

Weber Grill Restaurant opens at the Galleria

Homespun

Adult Fur µ

Out Every Night

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

This Just In

This week’s new concert announcements

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DC CHICKEN SAYS “GEAR UP FOR BASEBALL… STOCK-UP ON THE CHEAP!” Publisher Chris Keating Editor in Chief Sarah Fenske E D I T O R I A L Arts & Culture Editor Paul Friswold Music Editor Daniel Hill Digital Editor Elizabeth Semko Staff Writers Doyle Murphy, Danny Wicentowski Restaurant Critic Cheryl Baehr Editorial Interns Katelyn Mae Petrin, Emily Higginbotham, Harlan McCarthy Contributing Writers Drew Ailes, Mike Appelstein, Allison Babka, Nicole Beckert, Mark Fischer, Sara Graham, Patrick J. Hurley, Roy Kasten, Dan LeRoy, Jaime Lees, Joseph Hess, Kevin Korinek, Todd McKenzie, Bob McMahon, Nicholas Phillips, Tef Poe, Christian Schaeffer, Alison Sieloff, Mabel Suen, Ryan Wasoba, Alex Weir

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NEWS

From “Warrior Cops” to “Guardians” Written by

DOYLE MURPHY

wo weeks after Michael Brown was shot dead by a cop in Ferguson, Christian Johnson graduated the police academy and joined the St. Louis Metropolitan Police Department. “It was an environment where no one had been — even experienced officers,” Johnson says. A St. Louis native and Army veteran, Johnson saw the fallout from both sides. He could relate to the cops who grew defensive and wary, but he could also sympathize with the frustration in the streets. “Maybe it’s not just that people are tearing up their neighborhoods,” he says. “Maybe they really are being oppressed.” St. Louis has long been a divided city, with a history of racially segregated neighborhoods and rifts between cops and the people they police. Johnson, 26, hopes to help the two sides find some common ground. He knows what it’s like to see a kid in a hoodie walking down a dark street and wonder if he’s up to no good. He also knows what it’s like to grow up black in the city. “When I take off the uniform, that’s all I am — a black kid,” he says. He was still a rookie when he started Serving With the Badge, a nonprofit that began as a way to encourage off-duty cops to volunteer in their communities. The organization has attracted about fifteen other officers, who have partnered with business people, designers, engineers and tech workers in search of innovative ways to bridge the gap between police and residents.

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Officer Christian Johnson speaks about a new app for police officers at Cortex. | DOYLE MURPHY It’s taking the group to some new and interesting places. On Thursday, Johnson and several team members unveiled a new app at Venture Cafe, a weekly meetup of the city’s entrepreneurs and tech developers at Cortex in Midtown. The app, still in beta testing, would give officers direct access to a network of social and health services to assist the people they encounter on the street. A homeless guy about to get busted for trespassing might instead be directed to a shelter. A person suffering a mental health crisis could be connected to counseling instead of getting locked up. Bruce Franks, an activist and business owner, says good interactions with police are key to changing the relationship. “We have young people in our community that have been victimized for years by the same officers, and they only see those officers get promoted,” says

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Franks, who founded a nonprofit called 28 to Life. He’s begun collaborating with Johnson in hopes of the changing the force from the inside out. “When you have officers who actually give a fuck, that’s the primary way of getting things done,” he says. The idea is to replace the archetypal police “warrior mentality” with a “guardian mentality,” Johnson says. But making the switch is a difficult task, even in Johnson’s own department. Leadership has been cool to some of his ideas, Johnson says, while some of his fellow officers go into their shifts eager to lock people up. That said, he knows that some people need to be locked up. On overnights in the 6th District, a north St. Louis jurisdiction that covers Walnut Park and other neighborhoods, Johnson is a “jump out boy,” an aggressive cop not afraid to spring out on suspects in high-crime areas and

chase them through dark alleys. He says he leads the district stats in arrests. But it can be too easy to start seeing everyone as a criminal, Johnson says. That’s why he sees volunteering as vital. It gives cops and people a chance to get to know each other in low-heat situations. For example, Serving With the Badge walked north city streets in March handing out 1,000 light bulbs as part of the Porch Light Project, created to make nights a little brighter and safer. They plan to hit more neighborhoods in two months. The organization also opened its first office on Thursday at Kingdom House in LaSalle Park. A second location is set to open soon. Johnson says he’s encouraged. “There are a lot of police officers that are very involved in this,” he says. “It’s making them remember why they wanted to be a cop.” n

Chita: A Legendary Celebration Starring Chita Rivera April 9 at 8:15 p.m.

Underwritten by The Steward Family Foundation and World Wide Technology, Inc.

Ustad Imrat Khan & The Fifty Fingers of Imrat Khan

The goal of this study is to use computerized imaging methods to evaluate gray and white matter structure and function in the brain of individuals with Bipolar Disorder.

April 15 at 8 p.m.

Sponsored by Bull Moose Industries, Anantha N. and Jothika N. Manepalli, Sadshiv Santosh, Qurrat-Ul-Ann Rathore and Sangeetha.

Taj Mahal & The Trio Friends of The Sheldon Benefit

April 17 at 7:30 p.m.

Part of The Legends Series, made possible by The Steward Family Foundation and World Wide Technology, Inc.

Call MetroTix at 314.534.1111 or visit THESHELDON.ORG Visit the Sheldon Art Galleries one hour before each concert!

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The choice of a lawyer is an important decision and should not be based solely upon advertisements. This disclosure is required by rule of the Supreme Court of Missoui.

WITH A LITTLE HELP FROM HIS (CARDINAL) FRIENDS How did Jack Buck help save a St. Louis boy’s life? With 60 baseballs, endless persistence and many, many friends at the ballpark

n January 1987, nine-year-old John O’Leary caught fire. He was in his garage, playing with matches and gasoline, when he sparked an explosion. Flames leapt onto his body, melting off his clothes and his skin as he ran through the house screaming for help. His older brother Jim, then seventeen, ran up from the basement, extinguishing the flames with a rug, ultimately saving the little boy’s life. O’Leary suffered third-degree burns on 100 percent of his body and was given the grim prognosis of a one-percent chance at survival. Yet somehow, he beat the odds. Today he’s a happily married, 38-year-old father of four and a professional speaker. But as he writes in his first book, On Fire: The 7 Choices to Ignite a Radically Inspired Life, which was released by Simon & Schuster on

BY EMILY HIGGINBOTHAM March 15, this story isn’t about him. It’s about you. O’Leary has focused his tale on the many St. Louisans—and some local celebrities—who helped him through his five months in the hospital, his many surgeries, including an amputation of his fingers, and the 29 years that followed the fire. “This is not an ego trip, it’s not about someone else overcoming; it is their journey,” O’Leary says of his readers. “It is their invitation to wake up to the great possibility of their lives.” The book is already striking a chord. It’s risen as high as No. 4 on Amazon and is a No. 1 new release in the Happiness and Self-Help category, a result O’Leary calls “stunning.” The book recounts the many St. Louisans who changed his life through simple actions that would have extraordinary consequences. There’s the janitor who taught him how to walk again; Gino Cavallini, formerly of the St. Louis

Blues, who became a fixture at the hospital as O’Leary recovered; and O’Leary’s own mother, who was brave enough to tell him that surviving wasn’t a given — living was a choice he would have to make. And then there’s the late Cardinals broadcaster Jack Buck, who O’Leary credits for making him who he is today. On the second day in the hospital, O’Leary lay strapped down to the bed, his eyes swollen shut, a tracheotomy in his throat, rendering him unable to speak—all he could do was listen. Then something extraordinary happened. “Now the broadcaster for the Cardinals, the voice I grew up listening to and loving, walks into my room,” he recalls, “and encourages me with the words, ‘Kid, wake up! You are going to live. You are going to survive, keep fighting. When you get out of here we’re going to celebrate with John O’Leary Day Continued on pg 12

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at the ballpark.’” As O’Leary tells it he lowers his voice, adding some Jack Buck grit in imitation. For most young boys growing up in St. Louis — heck, for anyone living in this city — one visit from Buck would have been enough. It was for O’Leary. But the story didn’t end there. As Buck was leaving that day, he was told the boy was going to die, with just a one percent chance at survival. The story moved Buck. So he came back. “The following day I’m lying in the hospital bed, dying, and my door opens up: I hear footsteps, I hear a chair, and I hear Jack Buck’s voice say, ‘Hey kid, I’m back. Wake up. You are going to live. You are

going to survive, keep fighting,’” O’Leary recalls. For the next five months, the visits from Buck continued. When Buck’s duties with the Cardinals took him away, he would send someone else in his place. “That man made a profound difference during the five months that I was in the hospital,” O’Leary says. He adds, “He continues to serve me afterwards.” In July 1987 Buck lived up to his promise: O’Leary celebrated ‘John O’Leary Day’ at the old Busch Memorial Stadium. By that point, O’Leary was velcroed into a wheel chair, his fingers were gone and his skin was just starting to grow back. “The following day in my mailbox is a baseball from Jack Buck, signed by Ozzie Smith, and a note

from Ja want a have to ter to t one,’” O guy kn think h inspira nectivi With ents, O’ Cardin note. A baseba note th third b Buck h baseba Major painsta “Sixt busy gu in St. L says, sh Yet th to come gradua versity the cry caster h inducte is price tal; the whole in disb gives m has no in his l phrey’s was the point. differe anothe Whil withou also refl munity Buck fi As it take a v of pho O’Lear ending daught Schoen her fat next to in pass that a l and as his pra “So y great Ja an imp is what root an place w three o part an had a h Toda

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from Jack that reads: ‘Kid, if you want a second baseball, all you have to do is sign a thank you letter to the man who sent the first one,’” O’Leary remembers. “The guy knew I could not write, but I think he also knew the power of inspiration and the power of connectivity.” With a little help from his parents, O’Leary was able to write the Cardinals shortstop a thank you note. A few days later, another baseball arrived with another note that began ‘Kid, if you want a third baseball.’ By the end of 1987, Buck had sent O’Leary 60 signed baseballs from players all around Major League Baseball, with 60 painstaking notes sent in return. “Sixty baseballs from a very busy guy teaching a little nobody in St. Louis how to write,” O’Leary says, shaking his head. Yet there was one more baseball to come. On the night that O’Leary graduated from Saint Louis University, Buck presented him with the crystal baseball the broadcaster had received when he was inducted into the Hall of Fame. “It is priceless. It’s made out of crystal; there’s only one like it in the whole world,” O’Leary says, still in disbelief. “He shows up and he gives me this baseball, to a kid who has no clue what he’s going to do in his life other than go to Humphrey’s later on that night — that was the extent of my vision at that point. One more time, making a difference from one St. Louisan to another, and he did it all quietly.” While this story couldn’t be told without Buck, O’Leary believes it also reflects on St. Louis as a community. How else, he asks, could Buck find out about his accident? As it turns out, it really does take a village — or at least a string of phone calls, beginning with O’Leary’s next-door neighbor and ending with Colleen Schoendienst, daughter of Cardinal great Red Schoendienst. Shoendienst told her father the story and, as he sat next to Buck at a charity auction, in passing Schoendienst told him that a little boy had been burned and asked him to keep the lad in his prayers. “So yeah, we can celebrate how great Jack is, and oh my lord, what an impact he made, but the reality is what allowed that impact to take root and to take place in the first place was Red and Colleen, and three other St. Louisans doing their part and making sure that the story had a happy ending,” O’Leary says. Today O’Leary has achieved

It’s time to start thinking about summer and fall classes.

O’Leary, his wife Beth and their four children. PHOTO COURTESY OF THE O’LEARY FAMILY his happy ending. He lives with his wife and kids in Webster Groves; he’s made more than 1,500 speeches in the past seven years. He launched his career as a professional speaker after his parents wrote their own book about his life, Overwhelming Odds. In passing, you might not see O’Leary’s scars right away. First, you’d probably notice his warm smile and wit. In fact, it might not be until O’Leary extends an arm to greet you that you might begin to wonder what exactly happened. He says, “I don’t consider myself a burn victim. If you ask me what happened, it frees me to tell you a little bit more and then if I’m really listening, I realize that you’re probably asking for a reason. Something probably happened in your life that you’re connecting your scars with mine.” He adds, “Your scars might not be physical but everybody’s got scars they bear, and I think being able to embrace yours, it allows you to meet others where they are in their story.” In his book, O’Leary calls for a change in mindset for how people think how people think of themselves — and he hopes it will be a wake-up call for his beloved hometown, too. “In St. Louis we have such a victim mentality. We are the worst city in the world — just ask us. We’ll tell you all about how horrible we are. And yet, that’s just not the case. There is no wall around St. Louis. We could all move somewhere else, so why do we choose to be here? “I think we realize when we are reflective on it that this is an amazing city. We are full of vibrancy, of resiliency and full of grit.” n

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No Ticket? No Problem!

THE 10 BEST CARDINALS OF ALL TIME

THE B Continue

(… AND THE 10 WORST ONES, TOO)

Spring is here and rooftop dining, drinking and viewing has officially commenced!

OPENING DAY MONDAY, APRIL 11

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im Jividen is a blogger who thrives on lists. Jividen once catalogued the twenty worst baseball players of all time, proudly adding, “Any idiot can rank the greatest (players) ever, but it takes skill to rank the ... worst.” Verum est. Uncertain of what this makes me, I give you the ten best and the ten worst St. Louis Cardinals of all time. Over the years, there have been enough infield flies and squeeze plays for a representative sample: Since 1882 (when the Cardinals were known as the Brown Stockings), the franchise has played 20,334 games (winning 52 percent). What is more, the timing is right. Another Cardinals’ season kicked off April 3, in Pittsburgh, and the home opener at Busch Memorial Stadium is April 11, against the Milwaukee Brewers. Some experts are saying that the Cubs— and maybe even the Pirates—are better this year. But that’s why

BY BILL CHRISTINE they’re called experts. Coincidentally, someone connected with the Brewers is on one of these top-ten lists. (Hint: His initials are Bob Uecker). Uecker, who is either a standup comedian masquerading as a baseball broadcaster or a baseball broadcaster impersonating a standup, saw the error of his ways on the diamond at an early age, and segued into broadcasting and show business (as though there’s a difference). He’s been at the mic in his native Milwaukee since 1971, which puts him fourth on the seniority list among active broadcasters. (Mike Shannon of the Cardinals, who started in 1972, ranks fifth). Dizzy Dean, who is on the topten list that Uecker isn’t on, also went into broadcasting. He did the Cardinals’ games on radio before Harry Caray, before Jack Buck, before a lot of them. As a broadcaster, Dean was a great pitcher. The Cardinals had a third baseman named Whitey Kurowski, and in the American League there was a first baseman named Dick Kryhoski. On the air, Dean called the first baseman Continued on pg 16

Dizzy Dea

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THE 10 BEST CARDINALS OF ALL TIME

THE BEST AND THE WORST Continued from pg 14

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they’re called experts. Coincidentally, someone connected with the Brewers is on one of these top-ten lists. (Hint: His initials are Bob Uecker). Uecker, who is either a standup comedian masquerading as a baseball broadcaster or a baseball broadcaster impersonating a standup, saw the error of his ways on the diamond at an early age, and segued into broadcasting and show business (as though there’s a difference). He’s been at the mic in his native Milwaukee since 1971, which puts him fourth on the seniority list among active broadcasters. (Mike Shannon of the Cardinals, who started in 1972, ranks fifth). Dizzy Dean, who is on the topten list that Uecker isn’t on, also went into broadcasting. He did the Cardinals’ games on radio before Harry Caray, before Jack Buck, before a lot of them. As a broadcaster, Dean was a great pitcher. The Cardinals had a third baseman named Whitey Kurowski, and in the American League there was a first baseman named Dick Kryhoski. On the air, Dean called the first baseman

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Dizzy Dean: part of the Gashouse Gang. | COURTESY OF THE BOSTON PUBLIC LIBRARY, LESLIE JONES COLLECTION. “Whitey Dick Kurowski.” And that was not an exception. Before Dean was too far along with a Hall of Fame pitching career, his manager, Gabby Street, said: “I think he’s going to be a great pitcher, but I’m afraid we’ll never know from one minute to the next what he’s going to do.” It was the same way with Dean behind the microphone. Two of Dean’s teammates— Frankie Frisch and Joe Medwick—also made the ten best list. Another of Dean’s colleagues, Leo Durocher, made the worst ten group. They all played for the World Series-winning Cardinals in 1934, a team that was affectionately called the Gashouse Gang. Frisch was their playing manager. Their uniform of the day was dishabille, and they were known as much for brawling as baseball. Just for practice, Medwick would fight with the fans and his own teammates, and Dean, who won 30 games in 1934, was not above upbraiding his fellow players for what he deemed inadequate offensive and defensive support.

One day, when Dean and his brother Paul, who also pitched for the Cardinals, took to ragging Medwick, he picked up a bat and said: “Come on. I’ll break up this brother act right now.” Another time, Medwick, after hitting a home run that put the Cardinals ahead, came into the dugout, took a swig of water and spat it on Dizzy’s shoes. “OK,” Medwick said, “let’s see if you can hold that lead, gutless.” Pepper Martin, another member of the Gashousers, was on the cusp of making the best ten. Ditto players such as Yadier Molina, Curt Flood, Johnny Mize, Red Schoendienst and others. As Jim Jividen said, any idiot can pick a list of the best players. But the real idiot is the guy who limits himself to just ten. Bill Christine voted in the Baseball Hall of Fame election for more than 40 years. His biography, Bill Hartack: The Bittersweet Life of a Hall of Fame Jockey, will be published this summer by McFarland & Company. Continued on pg 18

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THE 10 BEST CARDIN Rogers Hornsby (right), with Jimmie Foxx at Fenway Park. COURTESY OF THE BOSTON PUBLIC LIBRARY, LESLIE JONES COLLECTION

Stan Musial at Sportsman’s Park. | MISSOURI HISTORY MUSEUM PHOTOGRAPH AND PRINT COLLECTION

Bob Gibson. | PUBLIC DOMAIN

Albert Pujols. | ASPEN PHOTO

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4. Albert Pujols | First Baseman 1. Rogers Hornsby | Second Baseman, 1915-1926, 1933 - Third Baseman, 2001-2011 For the Stan Musial and Bob Gibson fan clubs, the complaint line forms on Pujols hit .329, with 37 homers and 130 runs batthe left. But Hornsby batted .401 in 1922. And .424 in 1924. And .403 ted in, to win Rookie of the Year in 2001, and he never in 1925. Case closed. stopped. He hit .300 or more for nine more seasons. In 2011, Many say that Hornsby is the best right-handed hitter of all he hit .299, then signed a long-term, $250-million contract with the time. He won seven batting titles, had a lifetime average of Los Angeles Angels. .358, second only to Ty Cobb’s, and also hit 301 homAs a Cardinal, he bashed 445 homers and drove in 1,329 runs. He led ers. In 1926, Hornsby doubled as the team’s manthe Red Birds into three World Series, including victories over the Tigers in ager and batted .317 as the Cardinals won their 2006 and the Rangers in 2011. The last of his three Most Valuable Player awards first pennant and beat the vaunted Yankees in the World Series. But during the season, 6. Frankie Frisch | Second Baseman - Shortstop - Third Baseman, 1927-1937 Hornsby had embarrassed the Cardinals’ Called “The Fordham Flash” because of his college background, Frisch never played in owner, Sam Breadon, by throwing him Frisch had his impish moments. Paying the league office a $25 fine, he enclosed a not out of the team clubhouse, and after veterans.” the series, Hornsby was traded to Traded to the Cardinals for Rogers Hornsby thanks to his snit with John McGraw, the the New York Giants for Frankie He batted .312 for the Cardinals, who won four pennants and two World Series durin Frisch. Frisch, nearing 36, hit .305 and managed the team as well. He was voted into the Hal The rest of Hornsby’s managerial career, with five teams after he left St. Louis, was a sad affair. He expected every player to be a .400 hitter, and frowned on anyone reading—yes, reading—and going to movies, because he said such activities were harmful to the eyes. His next-to-last stop was again in St. Louis, with the ragamuffin 2. Stan Musial Outfielder - First Baseman, 1941-1963 Sometime in the 1990s, I ran into Musial in the lobby of a hotel in Cincinnati. He must have been close to 80. “Geez, Stan, you look good,” I said. “You look like you could still handle something on the outside corner.” Musial’s laugh often sounded like a giggle. “You know,” he said, “you might be right. But the problem would be running from here to there after I hit it.” The writer John Schulian once interviewed Musial at the old Musial & Biggie’s Restaurant. Afterwards, Musial offered to drive Schulian to his downtown hotel. They got in Musial’s yellow Cadillac, but on the way they came across two teenagers whose car was stopped on the side of the road. Musial stopped, got out his jumper cable and recharged their battery. As Musial got back in his car, Schulian heard one kid say to another: “Do you know who that was? Stan Musial.” Musial, who missed one season because of military duty, used a corkscrew stance to bat .331 and hit 475 homers. He had 3,630 hits, exactly half at home, half on the road. They started calling him “Stan the Man” in Brooklyn, and the name stuck. He won seven batting titles, was the league’s most valuable player three times and played in 24 All-Star games. Musial was also a decent harmonica player, though he was never invited to Carnegie Hall. Maybe New York wasn’t ready for Stan’s favorite song: “Pass the Biscuits, Mirandy.”

Dizzy Dean St. Louis Cardinals an at Braves field. | COURTESY OF TH LIC LIBRARY, LESLIE JONES COLLE

3. Bob Gibson | Pitcher, 1959-1975 Tim McCarver caught Gibson for ten seasons. “Nothing that has ever been said about Gibson and his talents has ever been overstated,” McCarver said. Let the Gibson record do the talking: five twenty-win seasons; 251 wins; one most-valuable-player and two Cy Young Awards; a no-hitter; a record 1.12 earned run average in 1968; seven wins against only two losses in the World Series; 3,117 strikeouts; and election to the Hall of Fame, with 84 percent of the vote, in 1981. After Gibson’s sensational year in 1968, they changed the rules: They lowered the slope of the pitching mound from 15 to 10 inches, and reduced the strike zone. Gibson was unfazed; he pitched almost a hundred of his wins after that. He pitched with a snarl on his face, and he told managers he was available to pitch every day if they needed him. At the end of 1964, he almost did. Three days before the hectic pennant race ended, he lost a 1-0 game, pitching eight innings. A day later, on the final day of the season, he pitched four innings out of the bullpen, helping to preserve the win that clinched the Cardinals’ first league title in 18 years. Then he pitched in three World Series games, including the clincher against the Yankees.

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DINALS OF ALL TIME Continued from pg 16

7. Lou Brock |Outfielder, 1964-1979 5. Dizzy Dean On June 14, 1964, the Cardinals were tied for seventh place and n Pitcher, 1930, 1932-1937 the Cubs were sixth (no divisional play then). The two teams Winning 32 games, with 30 of them in the made a six-player trade, headlined by Ernie Broglio going uns batregular season, Dean was the National League’s to Chicago and Lou Brock coming to St. Louis. Broglio e never Most Valuable Player as he pitched the Cardinals to the had won 60 games in the four previous seasons, n 2011, pennant and a World Series win over the Tigers in 1934. He but had a sore arm that he kept to himself. with the also led the league in braggadocio many times, but he frequently After the trade, he won seven more games made good on his boasts. He won 120 games in five full seasons in in the following two and a half years and . He led St. Louis, but in the 1937 All-Star game he suffered a broken toe and retired from the game. Brock was the Tigers in never fully recovered. Traded to the Cubs in 1938, he won only 24 games linchpin as the Cardinals won the awards the rest of the way. He was elected into the Hall of Fame in 1953. 1964 World Series. The Cardinals won two more 7-1937 pennants and one World r played in the minor leagues. Fiery on the field and a disciplinarian as a manager, Series with Brock in the osed a note that said: “(Buy) your umpires new caps. They now look like Civil War lineup. He hit .297 as a Cardinal, stole 888 bascGraw, the manager of the New York Giants, Frisch finished his career in St. Louis. es and became a Hall of eries during his stay. In 1934, when the Red Birds defeated the Tigers in the fall, Famer in 1985. Long-ofto the Hall of Fame in 1947. tooth Cub fans still use him as a poster boy for hating the Cardinals.

is Cardinals and Frankie Frisch OURTESY OF THE BOSTON PUBE JONES COLLECTION

8. Ozzie Smith Shortstop, 1982-1996 In August 1981, the crowd in St. Louis booed their shortstop, Garry Templeton, who responded with obscene gestures. An umpire threw Templeton out of the game, and when his manager, Whitey Herzog, lectured him in the dugout, coaches and other players had to keep them from fighting. Needless to say, that was the end of Templeton’s turbulent six-year run as a Cardinal. In San Diego, the struggling Padres had a good-field, no-hit shortstop, and before the 1982 season began, Ozzie Smith was a Cardinal and Templeton a Padre. Templeton went to the World Series with the Padres in 1984, but in St. Louis, Smith sparkplugged the Cardinals to three pennants and one World Series title. Smith won 11 straight Gold Gloves for his fielding wizardry, became a better hitter than he’d been in San Diego and in 2001, garnering 91 percent of the vote, cakewalked into the Hall of Fame. 9. Joe Medwick | Outfielder, 1932-40, 1947-1948 In the mid-1970s, I chaired a testimonial dinner in Pittsburgh for Pie Traynor, the Pirates’ Hall of Fame third baseman. We invited every living Hall of Famer, and—gulp!—Ray Schalk, who had died in 1970. Medwick came from St. Louis, but as we left the cocktail party just before the dinner, he came up to me and demanded a check, on the spot, for his traveling expenses. “I’ve been to a lot of these deals,” Medwick said, “and I’m not gonna get stiffed again.” More than twenty years after he played his last game, Medwick was still hanging tough. In Detroit in 1934, Medwick had been removed from a World Series game by the commissioner of baseball for fear he might incite a riot. But Medwick’s bluster was no blarney. He battled his way to seven straight .300 seasons in St. Louis, leading the league at .374 in 1937. He batted .379 in the ‘34 Series. Yet it was decades before Medwick became a Hall of Famer. “I feel like I just ended a twenty-year slump,” he said after the voters finally smiled on him.

10. Jim Bottomley | First Baseman, 1922-1932 Despite playing on four of the Cardinals’ World Series teams, a career average of .310, 94 or more runs batted in for nine seasons and a reputation as a smooth-fielding first baseman, the even-tempered Bottomley wasn’t enshrined in the Hall of Fame until 1974, a quarter of a century after his death. They didn’t call him “Sunny Jim” for nothing; the fire in his belly was seldom on display, but surely it existed. “Bottomley was the best clutch hitter I ever saw,” Frankie Frisch said. Even when Bottomley was playing in the minor leagues, Branch Rickey of the Cardinals knew what he had. With Bottomley in the wings, Rickey traded Jack Fournier, an established hitter, to Brooklyn. Bottomley took over the bag full-time in 1923 and stayed there for ten years.

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Lou Brock. | COURTESY ST. LOUIS CARDINALS ARCHIVE

Ozzie Smith. | COURTESY ST. LOUIS CARDINALS ARCHIVE

Joe Medwick and Dizzy Dean. | COURTESY OF THE BOSTON PUBLIC LIBRARY LESLIE JONES COLLECTION.

Jim Bottomley (left) and manager Gabby Street. | COURTESY OF THE BOSTON PUBLIC LIBRARY, LESLIE JONES COLLECTION

APRIL 6-12, 2016

RIVERFRONT TIMES

THE 10 WORST

Maxvill’s reliable glove kept him in the game. His batting average during a long career in St. Louis was a puny .220, with only six home runs. One year, he batted .175. In the 1968 World Series, which the Cardinals lost to the Tigers, Maxvill was hitless in 22 at-bats. Yet his salary was relatively high for the era. “Almost everywhere I go,” said Bing Devine, the general manager, “the question I’m asked the most is how I can pay Dal Maxvill $37,500. But if you could see how he plays shortstop, you would understand.” Maxvill laughed all the way to the bank. He played for five World Series teams—three in St. Louis and two with the Oakland A’s.

CARDINALS OF ALL TIME 1. Tony Cruz Catcher, 2011-2015 Cruz spent four years in the minor leagues before being called up in 2011 as a backup for the oft-injured All Star Javier Molina. Cruz hit .220 in 259 games, striking out four times more than he walked. His best games came in the post-season, when he homered against the Giants and got what might have been a big hit against the Cubs, but the Cardinals lost both games and were ousted in both series. At the end of 2015, Cruz was traded to the Royals. In spring training this year, he popped out into a triple play. It wasn’t his fault, really. The hit-and-run play was on, and his crime was making contact with the ball. 2. Bob Uecker Catcher, 1964-1965 It’s hard to separate Uecker’s apocryphal stories from the ones that really happened. There’s the story about Uecker signing his first contract with the Milwaukee Braves. His father was in their living room with a Milwaukee scout. “Is $3,000 all right?” the scout said. “Oh, no,” the father said. “We couldn’t pay you that much to sign Bob.” In 1964, Uecker’s first year with the Cardinals, the team won the World Series. Uecker seldom played during the season and sat on the bench for the entire series. “I helped them win the pennant,” Uecker said one night on Johnny Carson’s show. “I caught hepatitis. The trainer injected me with it.” In 1965, Uecker broke out of his slump when he hit .228. Then he was traded to the Phillies. “I remember that deal,” Uecker said. “The Cardinals got somebody named Gene Oliver and a mascot to be named later.” 3. Tyler Greene Second Base - Shortstop, 2009-2012 Greene was picked in the amateur draft by the Atlanta Braves, but declined to sign. Three years later, in 2005, the Cardinals selected him higher, at the back end of the first round. But Greene never mounted any traction in St. Louis, and after four years in the minors and four years of part-time play for the Cardinals, he was traded for virtually nothing. His average as a Cardinal was .218 and he struck out roughly every four trips to the plate. 4. Jack Ryan Catcher - Infielder, 1901-1903 A St. Louis sporting goods company sold a glove called the “Jack Ryan Special,” which was named after this turn-of-the-century Cardinal. It was a fielder’s glove, although

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These players broke our hearts ... and, on occasion, the rules of baseball. | SEAN LOCKE Ryan played most of his 226 games behind the plate. A bat named after Ryan might have been out of the question. He was 32 when he joined the Cardinals, after playing for several other teams, and his averages in three seasons in St. Louis were .197, .180 and .238. He scouted for the Cardinals and managed in the minor leagues long after his playing days were over. 5. Anthony Reyes Pitcher, 2005-2008 I’m always suspicious of players who wear their caps funny. Reyes wore the brim of his flat. It looked like a pancake. “They come in the box that way, and I don’t bend them,” Reyes said. “It helps me see better.” Reyes lost two decisions late in 2006. He beat the Tigers in the first game of the World Series, but then started 2007 with ten straight losses, tying a club record that dated back to 1897. It was the beginning of the end. For the year, he went 2-14 with an earned run average of more than six. In 2008, the Cardinals traded him to Cleveland. Surgery on his elbow didn’t help and he was released. 6. Red Donahue Pitcher, 1895-1897 For other teams, Donahue won twenty games or more three times, and pitched a no-hitter. But while with the Cardinals, he lost 24 games in 1896. In 1897, he had a 6.13 earned run average, won ten and lost

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35, setting a record for defeats in a season. The team as a whole won 29 and lost 102. During one at-bat, Germany Schaefer was sent up to pinch-hit for Donahue. Donahue asked, “Who the hell are you to hit for me?” He then slammed his bat down and stormed off. Schaefer hit a home run, but while his teammates congratulated him, Donahue sat at the end of the bench and sulked. After he retired, Donahue became a bartender in Philadelphia. 7. Tom Lawless Second Base - Third Base Outfielder, 1985-1988 Lawless had the most theatrical home-run bat flips in baseball. In the fourth game of the 1987 World Series, against the Minnesota Twins, he hit a deep drive to left field. Lawless took a half-step and gazed at the ball. Then he took nine mincing steps toward first base, his eyes still transfixed on the ball. Finally, nonchalantly, with his left hand, he flipped the bat over his shoulder, high in the air behind him. He’s lucky he didn’t hit the Twins’ catcher. “I didn’t even know I did it,” Lawless said. Trouble was, he only hit one other homer for the Cardinals, and only one more besides that. His batting averages in St. Louis were .207, .282, .080 and .154. 8. Dal Maxvill Shortstop - Second Base, 1962-1972

9. Leo Durocher Shortstop, 1933-1937 The final two players on this list made the case for inclusion thanks to their off-the-field transgressions. Durocher, according to his biographer, Gerald Eskenazi, was a heavy gambler whose name was linked to the mob in the 1930s. Later, one of his cronies was the actor George Raft, who reportedly won as much as $100,000 in one year betting on baseball, and who partnered with Durocher in hoodwinking other players in rigged craps games. All the while, Durocher was a light-hitting, slick-fielding shortstop and a manager who won more than 2,000 games. He won World Series as both a player (Cardinals) and a manager (New York Giants). When Durocher was managing the Brooklyn Dodgers, the commissioner suspended him for the entire 1947 season for “conduct unbecoming to baseball.” For years, Durocher moaned about not getting into the Hall of Fame, and he once asked Ken Burns, the documentary filmmaker, to “turn down (the honor) for me, posthumously.” In 1964, Durocher’s last year on the ballot as a player, he got 2 of 226 votes. Thirty years later, almost three years after his death, he was voted in as a manager by the eighteen-member veterans’ committee. Campaigning by the slugger Ted Williams, a member of the committee, didn’t hurt. The actress Laraine Day, the third of Durocher’s four wives, delivered the acceptance speech. 10. Mark McGwire First Baseman, 1997-2001 At the end of his career, McGwire hit 70 homers for the Cardinals in 1998, breaking Roger Maris’ record, and hit 65 more in 1999. The 1998 season was one of the most heartfelt in team history, but when asked later at a congressional hearing whether he’d used performance-enhancing drugs, McGwire claimed that the people in attendance “weren’t here to talk about the past.” Then, in 2010, McGwire apologized, saying that he had used steroids, on and off the field, for nearly a decade, even while claiming that the drugs did not enhance his power to hit home runs. In his ten years on the Hall of Fame ballot, McGwire has never polled more than 24 percent of the votes, far short of the amount needed for election. n

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CALENDAR

WEEK OF APRIL 7-13

Jason Contini, Nicholas J. Hearne and Jessica Laney star in Four Color Eulogy | © PIRATE PICTURES AND ARCHLIGHT STUDIOS

BY PAUL FRISWOLD

THURSDAY 0407 Where the Wild Things Are Maurice Sendak’s Where the Wild Things Are is a cornerstone of childhood because of its honest portrayal of anger and imagination. Max throws a tantrum and his mother punishes him by sending him to his room. But he crafts a flawless break-out plan using only his mind, dreaming of a voyage by sea to an island populated by beasts, where he can shout and dance to his heart’s content. Even better, he never has to leave home, which means his favorite comforts (a mother’s love and a hot meal) are there when he needs them. Vancouver’s Presentation House Theatre performs its stage version of Where The Wild Things Are this week at the Center of Creative Arts (524 Trinity Avenue; 314-561-4877 or www.cocastl.org). The show is designed with young viewers in mind, and welcomes audience participation — kids can join in the grand “wild rumpus.” Performances are at 4 and 6 p.m. Thursday; 11 a.m. and 6 p.m. Fri-

day; 11 a.m., 2 and 5 p.m. Saturday; and 1 and 4 p.m. Sunday (April 7 to 10). Tickets are $20.

FRIDAY 0408 Briefs Festival If you want to see a play this weekend, you have options. But if you’re having trouble deciding what to see, your best bet is Briefs: A Festival of Short LGBT Plays. You’ll see eight plays, most of which run about ten minutes, giving you more bang for your buck. Among those eight are “When Miss Lydia Hinkley Gives a Bird the Bird,” Pulitzer nominee James Still’s piece about an 1859 women’s literary club; Scott C. Sickles “I Knew It,” which is based on the infamous rock rumor about David Bowie and Mick Jagger being lovers; and Stephen Peirick’s story about a woman and her transgender mother going shopping, “A Comfortable Fit.” The full slate of plays is performed at 8 p.m. Friday, 4 and 8 p.m. Saturday and 2 p.m. Sunday (April 8 to 10) at the Rialto Ballroom (3547 Olive Street; www.uppityco.com). Tickets are $20 to $25.

Four Color Eulogy Like many young St. Louisans, Chris left his hometown to strike out on his own. But after ten years in Portland pursuing his dream of creating a hit comic book, he now has to come home. His mother is sick, and she’s his only family — so Chris and his girlfriend, Anne, trek back to St. Louis to start over. At least he gets to reconnect with his old friend and fellow pop culture junkie, Brian, and an even older family friend, Rich. And maybe all this time with Mom will result in her finally telling him something about the father he’s never known. Wyatt Weed and Jason Contini’s feature-length film Four Color Eulogy is about family, the hero’s journey and St. Louis, but maybe not in that order. A regular in the local theater scene, Contini plays Chris in the film. His co-stars are a who’s who of local actors, from Amy Loui to Zachary Allen Farmer — his dad, John Contini, is even in there as Rich. The movie debuted at the 2014 St. Louis International Film Festival, but now gets a one-week run at Wehrenberg Ronnies 20 Cine (5320 South Lindbergh Boulevard; www. fourcolorthemovie.com), starting riverfronttimes.com

with a red-carpet opening night at 7:30 p.m. Friday, April 8. Four Color Eulogy is repeated at 2 and 7:30 p.m. daily through April 14. Tickets are $6.75 to $11.25.

SATURDAY 0409 Richard III Shakespeare’s Richard III is a tale of power — the lusting after it, and the forceful application of it. At the onset of the play Richard is merely the Duke of Gloucester and his brother Edward is the King. Richard is malformed, and resents everyone in the world for always reminding him of it. And so he begins his climb to the ultimate power of kingship, so he can dispatch everyone he hates — which is pretty much everyone. He frames one brother, kills another, seduces and marries the daughter of a man he killed only to bump her off, and then begins on the next generation of would-be enemies. St. Louis Shakespeare last performed Richard III in 2004 (and before that, not since 1997), so don’t miss the company’s current

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Continued on pg 24

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CALENDAR Continued from pg 23

Do You Have Schizophrenia or Schizoaffective Disorder?

Washington University is conducting a research study to examine brain functional connectivity and network patterns in participants with schizophrenia. You might qualify if you:

1. Are 18 - 30 years of age 2. Have diagnosed schizophrenia or schizoaffective disorder It’s Opening Day. | JOHN GITCHOFF

Participation includes 2 outpatient study visits that will last about 2-5 hours each. There will be an MRI scan and assessment/clinical interview. Up to $25 per hour is provided for time and effort.

Contact Lisa Wenger: 314-362-6952 wengerl@psychiatry.wustl.edu

PI: Daniel Mamah, MD

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production of the bleak history play. Performances take place at 7:30 p.m. Thursday, 8 p.m. Friday and Saturday and 2 p.m. Sunday (April 8 to 17) at the Ivory Theatre (7620 Michigan Avenue; 314-3615664 or www.stlshakespeare.org). Tickets are $15 to $20.

Great Falls Monkey Man and Bitch are on the road together, but they’re not necessarily “together.” He’s a writer who has lost the plot of his own life; she’s his ex-stepdaughter and not doing so well herself. The pair decides to undertake the great American road trip, stopping at all the expected places (Wall Drug, Yellowstone, Great Falls). Their trip is marked by sudden revelations, hostility and the growing sense that they’re not heading toward some place so much as they’re run-

ning from some place. West End Players Guild closes its season with Lee Blessing’s drama Great Falls. Performances take place at 8 p.m. Thursday through Saturday and 2 p.m. Sunday (April 8 to 17) at Union Avenue Christian Church (733 North Union Boulevard; www. westendplayers.org). Tickets are $20.

E.T. the Extra-Terrestrial When composing the score for Steven Spielberg’s E.T., John Williams was concerned with how the music could generate sympathy for the odd-looking title character. He used the ethereal sounds of harps, celestas and keyboards to emphasize E.T.’s otherworldly nature, and employed polytonality to suggest the twinned nature of Elliot and

E.T.’s symbiotic relationship. The finished score won an Academy Award (along with a Grammy and a bunch of other prizes), and Williams’ individual musical themes remain crowd-pleasers to this day (as witnessed at a recent RFT staff meeting, when almost everyone was able to hum the “Flying” theme when prompted). Erik Ochsner leads the Saint Louis Symphony through the full soundtrack while the film screens at 7 p.m. Friday and Saturday and 2 p.m. Sunday (April 8 to 10) at Powell Hall (718 North Grand Boulevard; 314-5341700 or www.slso.org). Tickets are $25 to $68.

MONDAY 0411 Cardinals Home Opener It’s been a few months since baseball was back in town, but the long drought is almost over. Today at 3:15 p.m., the St. Louis Cardinals play the Milwaukee Brewers at Busch Stadium (Broadway and Poplar Street; www.stlcardinals. com). Remaining tickets are $99 to $325.90 and may be sold out by the time you finish this sentence, but that’s never stopped anybody from seeing the game. There are at least a thousand bars with TVs, and your own home probably has one; if not, your work computer may double as a baseball viewing device. So what’s new this year? The Cubs might be good. Pittsburgh is either going to take one small step toward relevance again, or they’re going to fall out of the basement by June. Cincinnati is fueled by garbage chili and spaghetti, so they’re doomed no matter what happens on the diamond. Oh, and the Cardinals — they’re the home-town favorites to win it all. Only 161 games after this one, guys. Savor them all.

WEDNESDAY 0413 James McBride Despite being one of the preeminent entertainers in American history, a great deal of James Brown’s formative years are shrouded in mystery. People know who he was

— the Godfather of Soul — but few knew what drove him. Musician and writer James McBride started off with a tip that could possibly fill in the gaps in Brown’s life. The trail led to revelations about Brown’s youth spent in the fields as a sharecropper and the small country town that Brown’s family lived in until the government forced them — and thousands of other poor black Americans — out to build an atomic bomb making

factory. All of this previously unknown history (and more) makes up Kill ‘Em and Leave: Searching for James Brown and the American Soul. McBride discusses the book today at 7 p.m at the National Blues Museum (615 Washington Avenue; www.nationalbluesmuseum.org). Admission is free but reservations are required; you can sign up through Left Bank Books’ website (www.left-bank.com), and buy a copy of the book from them, too.

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

April 15 & 16, 2016 Fri. 8 PM Sat. 2 PM & 8 PM Touhill Performing Arts Center

Tickets: 314.534.6622 dancestlouis.org

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riverfronttimes.com

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APRIL 6-12, 2016

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*While supplies last. Must be 21+ to attend. 息 2016 Anheuser-Busch, Budweiser速 Beer, Michelob速 Beer, Faust速 Beer, St. Louis, MO.

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APRIL 6-12, 2016

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RIVERFRONT TIMES

APRIL 6-12, 2016

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FILM

[REVIEW]

Blood, Chet and Tears Ethan Hawke dazzles as the talented and troubled Chet Baker Written by

ROBERT HUNT Born to Be Blue

Directed and written by Robert Budreau. Starring Ethan Hawke and Carmen Ejogo. Now playing at the Landmark Tivoli Theatre (6350 Delmar Boulevard, University City; 314-727-7271).

n publishing, there’s no confusion about what constitutes a biography. If an author tells the life of Abraham Lincoln from log cabin days to the Ford’s Theatre balcony, it’s a biography. If the author writes a 500-page interior monologue in which Lincoln worries over the demands of his office, or depicts Lincoln doing things which do not appear in the historical record, like getting into disguise to lead the troops at Gettysburg or fighting off an alien invasion, we call it historical fiction. A movie biography is a different thing altogether; few go for the cradle-to-grave approach and most limit the life to a confined period or a particular set of events, the better to create drama or isolate the dominant themes that make the subject of interest. The recent Trumbo, for example, covers only about a dozen of its subject’s 71 years, the period of the Hollywood blacklist. As viewers, we accept filmmakers emphasizing a specific dramatic event as an excuse to string a biographical story along in flashbacks. We also accept dramatic license and the slight manipulation of dates and times and details. But when did we decide that it was acceptable for filmmakers to throw out the facts of a person’s life altogether, as long as its major dramatic theme (Trumbo = blacklisted writer) stays intact? The case in point: Born to Be Blue, one of several current films about the lives of important musical figures. (It opens the same weekend as the Hank Williams story I Saw the Light,

Ethan Hawke (Chet Baker) in Robert Budreau’s Born to Be Blue. | COURTESY OF CAITLIN CRONENBERG. AN IFC FILMS RELEASE. to be followed in a few weeks by Don Cheadle’s portrayal of Miles Davis in Miles Ahead.) Born to be Blue is the story of jazz legend Chet Baker, the Oklahoma-born trumpeter who was barely in his twenties when he and saxophonist Gerry Mulligan were leading figures of the cool school, the West Coast’s answer to New York bop. Baker’s youth and handsome features set him apart as the jazz world’s own James Dean/Sinatra/Elvis hybrid, and he was even recruited by Hollywood studios for a potential film career. Drug problems and his own stubbornness made him reject that path. Instead, he headed to Europe. If you’re familiar with Baker’s work or you’ve seen the 1988 documentary Let’s Get Lost, you know the shorthand version of his life: comebacks, setbacks and a lifelong addiction to heroin that ruined his pretty-boy looks but kept him functioning musically until his death at the age of 58. Born to be Blue includes much of the above information about Baker, so I guess it qualifies as a biography, but only in the most general way. It follows those details, yet nearly every scene wrapped around them is completely fictional. The film begins in 1966, when an American film director, referred to only as Nick, rescues Baker (Ethan Hawke) from an Italian jail and takes him back

to Los Angeles to star in a semiautobiographical film. None of this is true in any way. (Baker appeared in two films but never really pursued an acting career. He was jailed in Italy but only returned to the U.S. after being deported from West Germany. There is no record of any American film work at this time.) The film project falls apart, but Baker pursues a romance with his leading lady, Elaine (Carmen Ejogo, last seen as Coretta King in Selma), who is by his side when he is brutally attacked by the drug dealers to whom he is in debt, losing his front teeth in the beating. (The attack, and its devastating effect on his mouth, really happened, but there are conflicting versions of the specifics, ranging from a robbery attempt to a drug deal gone sour.) Most of Born to be Blue is the familiar story of an artist’s painful comeback — rebuilding his embouchure, or ability to use the muscles of his lips, and working his way back into the jazz world, leading up to a much-coveted slot at Birdland, with Miles and Dizzy in the house! Does it matter that most viewers know how this will turn out? Does it matter that most of this true story never happened? The answer, surprisingly, is not as much as you might expect. (Perhaps the two questions cancel each other out.) As written and directed by Robert riverfronttimes.com

Budreau, the film begins in full printthe-legend mode and never looks back. (Budreau directed an earlier short, The Death of Chet Baker, with Stephen McHattie — who plays Baker’s father in the new film — as the musician.) Born to be Blue isn’t about separating the reputation from the reality; it’s about bridging them by bringing the former to life, and for the most part the film does a remarkably good job, mostly through the exceptional work of Hawke, who has become one of the most reliable (and underrated) actors working today. Ejogo and other cast members are good, but the film is, in spirit, very much a one-man show. Surrounded by characters who are either composites of various figures from Baker’s life or caricatures of famous people, it’s up to Hawke to hold the film together. He does so not only by convincingly mimicking the trumpeter’s fingering and singing, but by capturing the many aspects of an addictive personality: the childlike neediness, the flights of ambition and the depths of self-loathing that guided his life. Hawke allows the film to bring us face to face with something very close to the real Baker, even as we quibble about some details or more blatant transgressions of the truth. It’s a shaky biography but an honest picture, and that’s no small achievement. n

APRIL 6-12, 2016

RIVERFRONT TIMES

THE ARTS

[ S TA G E ]

It’s All Right Stray Dog’s new production of Hedwig and the Angry Inch packs a powerful punch Written by

PAUL FRISWOLD Hedwig and the Angry Inch

Text by John Cameron Mitchell Music and Lyrics by Stephen Trask Directed by Justin Been Presented by Stray Dog Theatre through April 16 at the Tower Grove Abbey (2336 Tennessee Avenue; 314-865-1995 or www. straydogtheatre.com). Tickets are $20 to $45.

ometimes you meet up with friends at a bar, see a band lay it out raw and nasty on the stage, and then argue in the street about the merits of the show. Rarely does the evening run that course when you see a play — but Stray Dog Theatre’s new production of John Cameron Mitchell and Stephen Trask’s Hedwig and the Angry Inch isn’t like most plays. For starters, director Justin Been has transformed the Tower Grove Abbey into a bar with pews. Scenic designer Rob Lippert has recreated the grubby ‘90s clubs of my late youth with a remarkable eye for detail. The stage is black, the bar at the foot of the stage is black, and a slew of mostly functional TVs are nestled in the metal pipe scaffold that climbs the back wall of the performance space. Crew members in black T-shirts and backstage laminates on lanyards run towels to the bar, which really does serve drinks. It’s staffed by two punk-rock hotties who are fashionably bored. All that’s missing is the stench of stale beer and last night’s puke. We’re all here to see Hedwig (Michael Baird), the international mystery woman who’s been implicated in rock star Tommy Gnosis’ recent car crash. She’s an eightfoot-tall glamzilla in stacked heels, a tight pink dress and a blonde cumulonimbus cloud of a wig, and

RIVERFRONT TIMES

Hedwig (Michael Baird) spreads her wings and flies at Tower Grove Abbey. | JOHN LAMB she explodes on stage with a blistering rendition of her song, “Tear Me Down.” One of the bartenders idly fiddles with her choker as the band tears it up behind her — it is a display of near-fatal levels of cool. Between songs Hedwig tells us her life story, beginning with her boyhood in East Germany through her botched sex-change surgery and up to her ordeal being marooned in a Kansas trailer park. Left with only an inch-long scar where her penis used to be and where her vagina ought to be, Hedwig is neither wholly male nor female, by her own estimation. Her unique condition between genders fuels her songwriting, which is by turns incisive, cruel and beautiful. “The Origin of Love,” easily one of the greatest songs in the annals of the human experience, is delivered by Baird with such delicacy and conviction that a hush falls over the crowd when it ends — it’s as if we’re all hanging between the sky and the ground, freed from gravity’s demands for as long as the song lasts,

APRIL 6-12, 2016

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and then a little bit longer. What follows in this production, unfortunately, is a protracted, momentum-sucking lull. Hedwig fills it with some vamping, a little audience participation and more back story, only the last of which is really necessary. Baird does his best to keep the energy level high, but the play becomes nothing more than a drag show for this stretch. Business at the bar definitely picked up at this point, but once Hedwig fires up another song the show gets back on track and races toward its big finish. Baird’s commitment to the role is total, bringing Hedwig to thrashing, wriggling life. He delivers the double entendres with acid tang, he sings well and, as one of my companions noted, “He really is a beautiful boy.” So what were we arguing about after the show? Both of my companions are Hedwig devotees who felt the ending was truncated compared to the film and the original staging. There were also grumbles about the band drowning out some lyrics. Perhaps if you’re a

purist, you’ll have the same misgivings. But this cult hit, at its core, is about rejecting anyone else’s idea of who you should be, about declaring “this is who I am, and what I am.” And regardless of any quibbles about staging, that is fully evident in this production. Beyond that, I don’t go to the theater to see a museum piece or a music-box rendition of a show. I go to feel something, to experience a piece of art come to life, warts and all. This production has some warts, but the “all” here is also all-consuming. In “Midnight Radio,” Hedwig sings a lyric that references Lou Reed’s platonic ideal: “And all the strange rock and rollers/You know you’re doing all right.” “All right” is that moment when you’re emotionally spent, your makeup is smeared, your heart is broken and you’re well and truly fucked-up — yet when your song comes on the radio, that other shit fades away. This version of Hedwig is extremely “all right” in all the right ways. n

ART GALLERIES

31 TOM HIDDLESTON

ELIZABETH OLSEN

CHERRY JONES

BRADLEY WHITFORD

MADDIE HASSON

WRENN SCHMIDT

“SEE IT FOR THE MAGNIFICENT TOM HIDDLESTON, WHO HONORS HANK WILLIAMS’ GREATNESS.” -Stephanie Zacharek, TIME

I SAW THE LIGHT WRITTEN AND DIRECTED BY MARC ABRAHAM

NOW PLAYING

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Brad Loudenback’s Amsterdam, now on display at Hoffman LaChance

Brad Loudenback Collage: Remnants of Europe Hoffman LaChance Contemporary 2713 Sutton Blvd., Maplewood www.hoffmanlachancefineart.com Opens 6-9 p.m. Fri., Apr. 8. Continues through Apr. 30.

Cities are mutable organisms, but that’s only through the actions of humanity. They change shape, expand and contract dimensions, and fall apart and coalesce over the course of their existence. While Brad Loudenback was working in Europe, he realized the connection between the lifespan of a city and the art of collage: Old layers are covered by new layers, but not entirely obliterated. His work on display here further explores this concept. Loudenback’s collages are portraits of European metropoles; each is built from images of the past, both good and bad.

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Presented by

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Steve

A Second Look: Gena Brady #: day weekend & John C. Seuc-RocherConfirmationmother’s may 6–8, 2016

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Subterranean Books

6275 Delmar Blvd., University City | www.subbooks.com Opens 6:30-8:30 p.m. Fri., Apr. 8.

St. Louis is the subject of this dual exhibition by local photographers Gena Brady and John C. SeucRocher. Both are intrigued by the parts of the city you see but don’t really notice, whether that’s the pure geometry of parallel lines that a crash barrier makes when properly framed, or the little bits of life that are found even in abandoned parts of the city: flowering weeds, bouquets left behind on a wall, or the familiar sight of arms braced on the window frame of a passing car. Take note: During the opening reception, Subterranean will knock ten percent off the price of photography books. – Paul Friswold

LAUMEIER SCULPTURE PARK ANNUAL ART FAIR Friday, May 6 / 6:00–10:00 p.m. Saturday, May 7 / 10:00 a.m.–8:00 p.m. Sunday, May 8 / 10:00 a.m.–5:00 p.m. $10 / Ages 12 and up $5 / Ages 6 to 11 FREE / Ages 5 and under

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APRIL 6-12, 2016

RIVERFRONT TIMES

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APRIL 6-12, 2016

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THREEKINGSPUB.COM

CAFE

[REVIEW]

Rising Sun Robata’s food is delightful — and it’s got the crowds to prove it. Written by

CHERYL BAEHR Robata

7260 Manchester Road, Maplewood; 314899-9595. Mon.-Thurs. 5-11 p.m.; Fri.-Sat. 5 p.m.-12 a.m. (Closed Sundays).

nside Maplewood’s Robata, guests sit elbow to elbow at the bar, jockeying for limited real estate like apartment hunters in Tokyo. The place is painfully crowded: Hungry diners-to-be hover over tables, ready to pounce before the current occupants slurp the last of their ramen. Servers crash into patrons, cooks crash into servers and patrons crash into one another. The entire place is filled with steam and grill smoke from a hood system overwhelmed by the volume. It’s the most densely packed dining spot in town, bustling with frantic activity. It’s as if all the energy of Tokyo was captured under this one modest roof. There’s a reason Robata is so mobbed with people. If you want a taste of real Japanese food, not just the rolls and teriyakis the Midwest has long passed off as such, this five-month-old spot in Maplewood is about as close as you’ll get without leaving town. Chef and owner Thom Chantharasy has created a menu of izakaya-style small plates, ramen and sushi that goes far beyond California rolls and Maruchan Instant Lunch. That such an experience comes packaged in a former Church’s Chicken is both slightly humorous and a testament to Chantharasy’s vision. After closing his South Grand restaurant Sekisui, Chantharasy and his wife Kim got to work converting the fast food shack into a combination sushi bar, yakitori grill and ramen shop. The transformation is stunning. The pair replaced Church’s front counter with a granite bar and opened the kitchen so that guests can witness the organized chaos.

Robata’s dishes on offer include tonkatsu ramen, takoyaki, tuna poke and takana yakimeshi. | MABEL SUEN Gone are the chicken joint’s laminate booths and fluorescent lights, replaced with a dimly lit dining room featuring a handful of twoseater tables and chairs. A patio sectioned off from the restaurant’s parking lot triples the amount of seating — it’s a welcome option, though the eatery’s transportive vibe dissipates when you walk outside and find yourself smack-dab on Manchester Road. You can recapture the feeling of authenticity with the agedashi tofu. Large cubes of the creamy soybean curd are fried so that the exterior is crunchy, while the inside has the texture of a slightly spongy creampuff. The flavor is imbued with the accompanying soy dashi and fish flakes, resulting in a delicious mingling of umami, salt and sea. The takoyaki, or fried octopus dumplings, are alone worth a 45-minute wait for a table. On the outside, the small, ball-shaped fritters look like hush puppies left over from Church’s. Inside, however, the creamy batter mingles

with hunks of octopus for a subtle salty flavor. Sweet and salty katsu sauce and Japanese mayo are served for dipping, though these are tasty enough without the accompaniments. The “Robata Chicken Wings” are the restaurant’s take on tebasaki, or Japanese chicken wings. The crisp, peppery meat on this version is covered in a sweet soy concoction that is liberally laced with garlic. It’s not a sticky glaze by any means — more of a light coating that mingles with the crackly skin. They’re extraordinary. Chantharasy shows that he’s capable of also representing the southern part of the Pacific with the excellent tuna poke. Cubes of raw tuna the bright hue of pink grapefruit are tossed in sesame and soy, a Hawaiian vacation in a bowl. The dish was a welcome distraction from the disappointing pork gyoza we’d also ordered. These generic dumplings were small and chewy. They tasted as if they’d come from the frozen food aisle. riverfronttimes.com

The yakitori offerings were equally unimpressive, especially in terms of value. The skewers of grilled meat are tiny — about three bites per order. Beef belly, glazed in sweet soy sauce, was juicy but tough, and the scallops were nickel-sized and cut into thirds. The marinated chicken thigh was the best of the three, but it did not rise to anything more than a passed appetizer you’d find at a cocktail party. Sushi is good, though it doesn’t rise to the best in town. The tuna sashimi is properly bright and fresh, while rolls range from the simple spicy tuna to more creative concoctions like the “Hurricane.” This Louisiana-inspired roll pairs crawfish with crab and cream cheese; the entire thing is then battered and tempura-fried. It’s nothing you’d find if you sat down at Jiro Ono’s table, but it’s a shameless pleasure nonetheless. The soul of Robata’s menu is its selection of rice, noodle and ramen bowls. Here, you’ll get a taste of everything Continued on pg 34

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The “Fiesta Roll”: tuna, avocado, cilantro, seared albacore and sweet chili sauce. | MABEL SUEN

ROBATA Continued from pg 33

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from stir-fried specialties to Japanese style soups that are about as close to pre-packaged Top Ramen salt bombs as a Big Mac is to a Kobe ribeye. The seafood yakisoba, a cornucopia of fruits de mar, pairs scallops, shrimp and squid with stir-fried buckwheat noodles. As if this weren’t enough, Chantharsay covers the dish with fish flakes to enhance the already briny flavor. On the takana yakimeshi, fried rice heavy with sesame oil serves as the base for barbecue pork, fish cake and vegetables. The highlight is the pickled mustard greens that cover the bowl — the crisp, pungent addition brightens the otherwise rich dish. Chicken udon is Chantharasy’s version of grandma’s chicken soup. Silken noodles bob in a bowl of delicate broth with hunks of seasoned pulled chicken, green onions, cilantro and fried garlic. This understated dish should be your go-to if you’re feeling under the weather. Add Robata to the list of ramen restaurants slated to open this year. Here, it’s a build-your-own concept that allows you to customize the broth, noodle type (regular, thin, fat-cut or rice), condiments and toppings for a seemingly endless choose-your-own adventure in Japanese soup. The traditional tonkatsu features a thicker broth, rich with flavor and texture from pork bone. Based

on appearances, I expected more of a hearty flavor — it was a touch too understated for my preference, though still enjoyable. The chicken and spinach broth had a thinner body but was more flavorful than the pork. Both were served with traditional accouterments — wood ear mushrooms, green onions, soft-boiled eggs, bean sprouts, seaweed and thin slices of roasted pork (the meat sadly on the chewy side). In a soon-to-be competitive ramen market, I’d give this a solid B. Robata’s menu is enormous — if you are reading this and already overwhelmed with the choices, keep this in mind: I barely touched on the offerings available. The menu is so large the service staff hands you a pencil and instructs you to circle everything you want. It can be intimidating, especially since many of the options are Japanese terms whose translations are not immediately obvious to the uninitiated (myself included). Thankfully, the service staff navigates the massive menu as aptly as it does the overall chaos of the restaurant, keeping the food coming quickly and readily explaining every exotic-sounding item with seemingly encyclopedic knowledge. At this welcome addition to the St. Louis restaurant scene, not much gets lost in translation. n Robata Agedashi tofu................................ $4.99 Ramen ........................................... $8.95 Seafood yakisoba .......................$12.95

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SHORT ORDERS

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For Michael Petres, Nothing Is Off-Limits

THE CAT CAFE COMETH Written by

SARAH FENSKE

Written by

CHERYL BAEHR

ichael Petres, the executive chef at Porano Pasta (634 Washington Ave., 314-833-6414) didn’t go into the kitchen looking for a cooking gig — it found him. “When I was twenty, I needed a job, so I went looking for a place close to my house to wash dishes at,” Petres recalls. “I walked into this restaurant, and they said, ‘We don’t need a dishwasher; we need a cook.’ I said, ‘Well, see you later,’ but they told me if I worked hard they’d train me up.” Before he knew it, Petres was doing prep work, running the grill and coming up with the day’s specials. “The chef there taught me how to make stock, how to hold a knife. He bought me my first cookbook,” Petres says. The supportive environment instilled in him a love of cooking and restaurant culture. Petres wasn’t quite ready to commit to a career as a cook, but after a hiatus from the industry, he found himself at Balaban’s, the landmark fine dining restaurant (now in Chesterfield). There he began to take things more seriously. He began reading on his own, perfecting his techniques and learning everything he could, preparing himself to one day become a sous chef. Instead, Petres now finds himself working as an executive chef for Gerard Craft’s growing St. Louis empire, at one of the year’s most anticipated restaurants. “I started out working at Brasserie by Niche as a prep cook,” Petres explains. “The chef saw that I could do things like shuck oysters; he’d ask me to stay late. It just grew from there.” After Petres worked his way up to executive chef at Pastaria, Craft tapped him to head Porano, his fast-casual 36

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Michael Petres got his start at Sbarro. | HARLAN MCCARTHY concept that opened downtown in January. Craft has allowed Petres not only to develop a menu, but to design the kitchen from scratch. Petres laughs when he recalls his first job as a teenager, working at a Sbarro at the mall: “I mean, I’ve technically worked quick-service in the past, but I wasn’t exactly paying attention to things like ergonomics when I was seventeen.” Petres took a break from Porano to share his thoughts on the St. Louis food and beverage scene, his penchant for adventure photography and why nothing in his kitchen is off the table. What is one thing people don’t know about you that you wish they did? I got into cooking by accident. What daily ritual is non-negotiable for you? Drinking a cup of French press coffee at home in the morning while I “plan my day” (a.k.a. look at Instagram). If you could have any superpower, what would it be? To control the kinetic energy of atoms. No more waiting for things to heat up or cool down in the kitchen! What is the most positive thing in food, wine or cocktails that you’ve noticed in St. Louis over the past year? I love that the craft brewing industry is still growing strongly. There are so many great small breweries here doing interesting stuff. Who is your St. Louis food crush? Can I have a beverage crush? Cory King of Side Project Brewing. I don’t

APRIL 6-12, 2016

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get into Side Project often enough, but those beers are amazing. Who’s the one person to watch right now in the St. Louis dining scene? Brian Hardesty at Guerrilla Street Food, along with his business partner, Joel Crespo. Those guys keep pushing new ideas with a very unique cuisine. I’m looking forward to seeing what they’ll be up to this summer. Which ingredient is most representative of your personality? Mache. If you weren’t working in the restaurant business, what would you be doing? That’s a tough one to nail down, but maybe an adventure photographer. I love the outdoors and to play around with photography, and some of my favorite Instagram feeds are of adventure photography. I think I would love that. Name an ingredient never allowed in your kitchen. I tried hard to think of one, but I can’t think of anything I wouldn’t want to try. What is your after-work hangout? I pretty much go straight home after work. If it’s nice, I’m relaxing on the porch or in the garden. What’s your food or beverage guilty pleasure? The little candy-coated Cadbury chocolate eggs. Around Easter, I eat a lot of them. What would be your last meal on earth? The cassoulet at Brasserie. And n then the burger. And fries.

o, maybe we’re jumping the gun on this a tiny bit — after all, the backers hoping to bring a cat cafe to Maplewood still have another three weeks on their Kickstarter. But after just two days of the campaign going up online, Mauhaus Cat Cafe handily reached its goal, bringing in more than $19,500 of an asked-for $15,000 as of press time. It seems safe to say one thing: A cat cafe really will be coming to the St. Louis area at last. Ben Triola and Dana Huth describe the cafe as being modeled on the shops in Taiwan that have since spread to the West Coast. Customers will be able to cuddle kitties while feasting on snacks and enjoying a cup of coffee or tea — although, the founders were quick to explain to St. Louis Magazine that it’s not really about the food, or about the commercial aspect: “Our main focus in this, it’s not money, it’s going to be about the cats. We want them to be happy, and we want people to come enjoy them. That’s really what it’s all about.” The Kickstarter reveals that the Mauhaus team intends to partner with fellow Maplewood businesses La Cosecha Coffee, Traveling Tea and Strange Donuts. They will feature cats from Cherokee Street’s Tenth Life Cat Rescue, all available for adoption. And in case you’re wondering about the whole hygiene thing: One side of the space will be the cafe side, where you can come in and get coffee and baked goods; the other side will be the lounge, where you can eat your baked goods while snuggling with the kittens who live there. Maplewood is on board for both components. (The city’s community development director, Rachelle L’Ecuyer, even touts the concept in the Kickstarter video.) So, this is happening. The only question is whether you’ll be one of the backers who gets to reap the promised rewards for contributing to the concept’s Kickstarter. “Mahaus Merch Bundle,” anyone? It’ll set you back $100, but when you’re helping cats, is there ever any downside? n

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Craving a Burger? The Galleria Now Has a Grill for That Written by

EMILY HIGGINBOTHAM

he Weber Grill Restaurant became the newest addition to the St. Louis Galleria when it opened last week. The sizable space in the Richmond Heights mall is the fifth location for the Chicago-based restaurant — but don’t write off the eatery as just another corporate chain, says Executive Chef Tim Eagan. “It’s really a family company,” Eagan says. “It’s not necessarily a chain. It’s really everything but.” George Stephen Sr. of Chicago originally created the distinctive Weber Kettle grills in 1952. Today, his family owns the restaurants that bear the Weber name. They aren’t cookie-cutter operations. Eagan, a St. Louis native who previously cooked at the Doubletree Hotel in Chesterfield, says the menu here is unique. “There are a lot of chances for us to do some St. Louis things. I’m working on a pork steak recipe. We’re working on some different variations of gooey butter cake for the dessert menu.” The St. Louis location also stands as the first Weber restaurant in the U.S. to house a Grill Academy — a component to the Weber brand thus far only seen in Canada and Europe. The Academy provides an opportunity for customers to have an interactive dining experience; Eagan and other chefs will demonstrate how to cook on the Weber grills, with the dishes on the menu a special focus. “A lot of our recipes, we give out recipe cards for detailing exactly how we make them. It’s not a big secret like most places,” says Eagan. “Here you can actually see them make it, we’ll show you how to make it, and then we’ll give you the recipe to take home and try to make it there.”

“Prime Kettle” burger. | EMILY HIGGINBOTHAM While the menu centers around dishes executed on the grill, it also employs a “something-for-everyone” concept, in terms of both pricing and variety. For starters, diners can choose from a variety of protein-driven appetizers like the baby back ribs (slow smoked and glazed in Weber’s hickory BBQ sauce) and a Southwest-inspired wood-fired crab cake (tender lump crab sits on a bed of a poblano pepper, smoked corn and black bean and tomato salsa, and is served with avocado and chipotle mayo). And what would a grill-themed restaurant be without a line-up of burgers? Weber offers seven options, ranging from $11 to $16. On the other side of the pricing spectrum are the steak and seafood options. A 16-ounce, hand-cut 28-day aged Delmonico ribeye (served with garlic mashed potatoes) will set you back $38. The restaurant’s dessert menu is all made in-house from scratch. There are two pastry chefs on hand for offerings like the S’mores molten chocolate cake (toasted marshmallow, graham cracker and vanilla bean ice cream) and the “Big G’s Caramel Apple Pie,” which features housemade apple pie filling, cinnamon ice cream, bourbon caramel sauce and even bourbon baked right into the crust. Weber Grill Restaurant is located at the north end of the Galleria in the space that was formerly occupied by Black Finn. Approximately 9,000 square feet, it offers a mix of booths and low-tops to seat more 200 guests. Two patio spaces will seat 130 additional patrons when the weather is nice. One patio will be open; the other connects with the indoor bar. And if the heat from all those grills isn’t enough for you, they’ve got plenty of firepits. n

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MUSIC

All That a Band Should Do Lucero sets its sights on St. Louis for a two-night stand at Off Broadway Written by

JEREMY ESSIG Lucero

8 p.m. Wednesday, April 13 and Thursday, April 14. Off Broadway, 3509 Lemp Avenue. $25 to $35. 314-773-3363.

n a June morning in 2006, Lucero frontman Ben Nichols played solo in the back of the Loop record store Vintage Vinyl in an attempt to promote his band’s Twangfest performance that night as well as its recent album, Nobody’s Darlings. For a crowd of ten to fifteen people, Nichols took requests, joked that certain songs would require a bloody mary and generally behaved as though he was singing for a group of drinking buddies. Over the last decade, intimate moments like that have allowed Lucero’s hybrid of folk, country and punk to go from playing one night as part of a festival to headlining two nights at Off Broadway, as the band will on April 15 and 16. The Memphis act’s unique live show, according to bassist John C. Stubblefield, has helped cultivate a loyal fan base. “People come out to the show and it’s a game changer,” Stubblefield says. Lucero performances are far more participatory than your average band, he says. At many other concerts, “there’s a big disconnect — people looking down at their phones. But you come to a show and everyone is singing along — it’s not a common thing these days. I think people feel a connection to something bigger.” One of those people is Bart Darnell, a fan who first experienced the band during that Twangfest show ten years ago. Since then,

“I think people feel a connection to something bigger.” | COURTESY OF THE BAND Darnell has seen Lucero perform 43 times, from St. Louis to Las Vegas and many cities in between. “I think it all really comes down to the fact that all the guys in the band are really down to earth and approachable,” Darnell says. “That was what hit me the first time I got to see them live. They were just hanging out in the crowd with everyone else and they were extraordinarily nice.” Katie Fletcher, who’s been following Lucero for five years, says the band members’ authenticity, palpable in its music, drew her in. After initially discovering the group through a “toxic relationship” with an ex, Fletcher’s love for Lucero outlasted the relationship. By now she’s seen the band more times than she can remember. “They have such a loyal fan base because they are normal guys who write about things that everyone can relate to,” she explains. “Everyone has had their heart broken and tried to fix it with whiskey at some point, I’m sure.” Stubblefield says the band’s

approach to its fans comes from attending punk rock shows when they were younger. He remembers one venue in Memphis specifically where he would help out-of-town bands set up and then hang out with them afterward. “It’s just who we are,” he says. “It’s like, people wonder about Ben’s voice — how does he sing like that? It’s like, ‘That’s how he talks.’ We’re fans of music ourselves, and you build it up one fan at a time.” And those people have become their own community. Darnell references the term “Luceroing,” a word that fans use to describe trips to see Lucero in different cities. “Some people may go skiing, camping, or whatever on vacations,” he says. “A lot of that group goes Luceroing. It really is a lot of fun when everyone starts making their Luceroing plans, and then you start to see other folks making plans to meet up with others and what not, and it goes on and on.” Darnell’s craziest “Luceroing” involved seeing the band one night in Iowa City, driving to Chicago the riverfronttimes.com

next night to see some different bands, flying to St. Paul, Minnesota, to see Lucero open for the Replacements and then flying back to Chicago to see Lucero play Riot Fest. Another big factor in fans’ loyalty is the respect Lucero shows for its fans, something Darnell attributes both to the members as people and their roots in the Memphis musical community — roots that it took the band awhile to accept. “Growing up you want to rebel,” Stubblefield explains. “Rebel against your parents, rebel against where you’re from ... So if you’re from Memphis, you wish you could be a punk rock skater kid.” But as you get older, he says, you become friends with your parents and begin to appreciate where you grew up — and in the case of Memphis, that includes some pretty incredible musical history. “Sun Records, Stax. Elvis, Jerry Lee Lewis, Johnny Cash — they were the first punk rockers,” Stubblefield says. That classic Memphis sound has become Continued on pg 42

APRIL 6-12, 2016

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“Sun Records, Stax. Elvis, Jerry Lee Lewis, Johnny Cash — they were the first punk rockers.” | COURTESY OF THE BAND

LUCERO Continued from pg 41

thur. apr. 7

more pronounced over Lucero’s last three LPs. While the band’s earlier albums could be considered a hybrid of alt-country or cow-punk, recent releases have seen horns and keys appear in a pronounced fashion. “It’s a nod to our city,” Stubblefield says of the band’s evolving sound. That nod became a full-on acknowledgement on Lucero’s newest release, All That A Man Should Do. Recorded at Memphis’ Ardent Studios (as were the group’s previous two albums), the title is taken from a line in the song “I’m In Love With A Girl,” originally written by another Memphis band — Big Star. Lucero covers the song on the album, and the recording features background vocals from Jody Stephens, Big Star’s sole surviving member. While recording the album, Stubblefield says the band realized that Stephens — still the studio manager at Ardent — was in town doing a show with Jon Auer and Ken Stringfellow of the Posies, who also served as touring members of Big Star during the group’s reunion tours. Realizing all three were available, Lucero decided to cut the track and ask the three to perform background vocals. Having made connections with both its Memphis roots and the

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“It’s been a thing all along, having built this career on our own, one venue at a time.” “family” of die-hard fans the band has earned over the course of its career, Stubblefield says the members of Lucero are still conscious of how they’ve gotten to this point and who’s helped them along the way. “It’s been a thing all along, having built this career on our own, one venue at a time,” he says. That’s why, rather then play one night in a bigger venue, Lucero decided to play two nights at Off Broadway — a place that’s been loyal to them. “Let’s do a Friday and Saturday and see if it sells out,” Stubblefield says. “It’s a way to pay it forward to the promoter.” n

B-SIDES

Something After Something Else Savages refines its furious postpunk sound with January’s Adore Life Written by

ROB LEVY Savages

8 p.m., Friday, April 8. The Ready Room, 4195 Manchester Avenue. $22 to 25. 314833-3929.

avages straddles the tightrope between art and edginess. The London four-piece of Jehnny Beth (vocals), Ayse Hassan (bass) Gemma Thompson (guitars) and Fay Milton (drums) formed in in 2011 and quickly caught the attention of critics with an amalgamation of furious post-punk and songs of smashed romance and individual strength, channeling the likes of the Slits, Birthday Party, Suicide, and Siouxsie and the Banshees. The band’s 2012 debut, Silence Yourself, was a prizefight of relentless jabs and punches. Bursting onto the finicky UK scene, Savages brought seismic charisma and sonic brutality, quickly establishing itself as a force to be reckoned with. Shortlisted for the Mercury Prize, the group scored a prime slot at Coachella, paving the way for a conquest of America. Adore Life — the band’s second offering, released in January — is more relaxed and confident. Songs such as “The Answer,” “Adore,” “Evil” and “T.I.W.Y.G.” find the four women refining their style while illustrating both their insistence to play by their own rules and the poise of a more established act. “We went into it with a plan to make a bold-sounding record, as bold as the last record we made in 2012,” says Milton in a March phone interview. “We wanted to

“We went into it with a plan to make a bold-sounding record, as bold as the last record we made in 2012.” | COURTESY OF THE BAND continue along that same path that really pushed the extreme things that we had already done. When we were quiet we’d be even quieter, when we were loud we would be even louder. We took everything and pushed it in its original direction, and we aimed to make a record that was sonically more solid than Silence Yourself.” In the studio, Savages is not afraid to take chances or push the envelope, resulting in a dervish of sounds that comes from the heart while remaining effectual and exciting. Milton, who trained as a classical drummer, says the band’s creative process is a collaborative one. “We all write together,” she says. “Our songs are written as pieces of music with poetry. In a sense it really starts with the music and the words, and then the song comes. It’s where those two meet in the middle. When we’re working, obviously I write with my drums parts, but we’re discussing the nature of the songs, the structure of the songs. There is so much that goes into songwriting and writing what we do that everything is collaboration between the four of us.” Milton says her classical background affected her as she tran-

sitioned into the world of rock music. “I grew up playing classical percussion and thinking of each drum as its own instrument, as it is in an orchestra, and I think that sense of everything being separate hasn’t left me,” she explains. “I still write in a way of seeing a drum kit as an orchestral percussion section put together in one space. At the same time, it is a rejection of that world as well. With classical music you read your music from a piece of paper, and it’s prescribed to you, and there’s so much expression you can put into that. Really it’s a lot.” Despite its ongoing maturation, Savages is still being categorized as post-punk — something Milton is not entirely on-board with. “Before I was in the band I always hated the phrase ‘post-punk.’ It’s an amazing set of different music to just be described as a non-entity, really,” she says. “It’s something after something else happened, post-punk. I’ve always rejected that label, even way before I was in Savages. So then it kind of made me laugh that when we started we were called postpunk. I guess it makes sense; that’s kind of where we fit in the world of riverfronttimes.com

music. It’s a very lame label for me. I wish there was a different way of describing this kind of music.” In a manifesto featured on its website, Savages says that its music is often written for the stage. Milton elaborates on how the quartet brings this facet to its live shows. “I think there is definitely a theatrical element, particularly with Jehnny and myself,” she says. “We like to put drama into what we are doing on stage. It’s about the performance. What I’m playing on the drums isn’t hugely technical, but it’s about trying to communicate, rather than the technicality of it. For Jehnny as well, I know her expression is so important to what she’s doing, in the same way. Musically we like the high contrast between light and dark, loud and quiet. We like that extremes play off of each other.” Although the band is in the early stages of its current American tour, Milton feels positive about the dynamic nature of the shows so far. “I really hope the energy continues,” she says. “It really makes a difference. When they’re really great it makes us really great, and then we make them really great. It’s a twisted flirtation that really builds something.” n

APRIL 6-12, 2016

RIVERFRONT TIMES

44 “St. Louis pioneers of craft beer and live music” THURSDAY, APRIL 7 TH

Aqueous and Surco - JamRock - 8pm - $10

FRIDAY, APRIL 8 TH

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SATURDAY, APRIL 9

Useless Nation, The By Gods, and One Rose Rebellion - Rock - 8pm - $10

MONDAY, APRIL 11 TH

The Love Junkies, Pseudo Skylight, and Jeske Park - Rock - 7pm-$7adv/$10 at the door

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RIVERFRONT TIMES

HOMESPUN

A D U LT F U R µ adultfur.bandcamp.com

y nature, a beatmaker’s job is transactional. The producer constructs a track and then hands it off to a rapper or emcee to complete the composition. And when the St. Louis music community first got to know Ryan McNeely, he fit this role well, creating tracks for artists including Rockwell Knuckles and Tef Poe. But along the way, his project Adult Fur became less about creating backgrounds and more about stepping into the foreground; his releases from earlier in this decade showed McNeely to be not just an inventive, genre-blurring producer but a creator of delicate, dreamy and challenging pop music. Now, in his first full-length release since the 2012 collaborative remix project RÁN, McNeely has constructed a dystopian feminist epic in µ. He’s stepped forward as a vocalist on this album, though he’s still somewhat dependent on guest vocalists and rappers to front many of these songs — along with the aforementioned Poe and Knuckles, Mvstermind, AtM, Sixela Yoccm and Damon Davis all contribute to individual songs, which, when taken together, outline a story with a grim outlook on human advancement. On µ (the Greek letter “m,” pronounced “myu”), McNeely uses a sci-fi premise to address real-world issues of inequality. “The preface is based on my opinion of the current trajectory of humankind in an existential way; I think we’re doing a terrible job of existing,” McNeely explains. “One of the biggest impediments to our progress is how we oppress half of the human race, and by that I mean women.” The arc of the album is too knotty to explain fully in this space, but McNeely says that the opening title track “is basically about the world is coming to an end and everyone trying to jumpstart the next phase of human evolution.” Two women offer themselves up for the good of humanity, destroying their earthly form but combining into one being. This is µ, the character voiced by McNeely on the album;

APRIL 6-12, 2016

riverfronttimes.com

her journey through the wasteland will determine the future of the human race. How deeply the listener wants to delve into this story may differ from person to person — the storyline is not overwhelming or didactic in the way that rock operas tend toward. What’s more immediately engaging is McNeely’s cinematic approach to his songs, which have a more lush and grandiose quality this time around. His synth-scapes owe a little to Vangelis in their resonant, wiggly warmth, and his beats range from punchy to minimal. To tell his story, McNeely has relied on his hip-hop peers to serve as guides for the main character. “The rappers — I call them oracles — are meant to be the people left behind, trying to warn her not to make the same mistakes,” says McNeely. Luckily, his contacts represent many of the finest and most adventurous lyricists in town. “Since I had a very distinct vision for the content, I told every person on this record the same story, and told them what their character was supposed to be,” says McNeely of the writing process. The songs, most of which are titled by their sequential Roman numeral, were conscientiously paired with each singer; on “iii,” Damon Davis warns µ of the dangers of organized religion. For “v,” McNeely gave Mvstermind a purposely shifting, unsteady beat. “I knew he was really skilled and I wanted to push him and see what would happen,” says McNeely. If listeners are used to hearing Adult Fur as a backdrop for hiphop vocalists, the album’s real revelation is McNeely’s ownership of these tracks. He remains a compelling vocalist, more in league with the kinetic, worldmaking performances of Kate Bush than the outre hip-hop he’s often associated with. On lead single “Colors,” he oscillates between

rhythmic dexterity and emotional abandon, almost as if he’s in a constant duel with himself. But for an album that sprung, in large part, from McNeely’s f r u s t ra t i o n w i t h s o c i e t y ’s mistreatment of women, it would have been fitting to have more female voices present on the album, Sixela Yoccm’s contributions notwithstanding. Perhaps McNeely’s embodiment of the main character, which he refers to as a female entity, speaks to the emptiness of the traditional gender binary; his voice has always had a gender-bending quality to it, both in his higher-register range and the spongy mutability of his own performance. µ is a thorny storyline buried beneath a beguiling album, and at times it’s difficult to parse, especially from an artist more often associated with making tracks than grand statements. “I’ve been really lucky to be surrounded by family members to push me to explore culture and literature and music and to be uncomfortable,” says McNeely, who freely admits to transferring his own discomfort to his listener while still seeking what he calls “a transient sense of community” in his live shows. “For me, it’s causing them to question their own existence,” says McNeely of his ideal listener. “I am somebody who contemplates his own mortality on a regular basis. I can enjoy things more and not take things for granted.”

–Christian Schaeffer

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APRIL 6-12, 2016

RIVERFRONT TIMES

OUT EVERY NIGHT

THURSDAY 7

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

0353.

LO-FI CHEROKEE 2016: w/ Baby Baby Dance

AQUEOUS AND SURCO: 8 p.m., $10. Cicero’s, 6691

SAVAGES: 8 p.m., $22-$25. The Ready Room,

CHITA RIVERA: 8 p.m., $45-$50. The Sheldon,

With Me, We Party Portugal, Thelonius Kryp-

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

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

3648 Washington Blvd., St. Louis, 314-533-9900.

tonite, Letter To Memphis, Madisen Ward and

THE FALCON: w/ Worriers, the Lippies 7 p.m.,

the Mama Bear, American Wrestlers, Adult

$15. Blueberry Hill, 6504 Delmar Blvd., Univer-

Fur, Suzie Cue, Thee Fine Lines, Dubb Nubb,

CARNIFEX: w/ Phinehas, Enterprise Earth, Midnight Hour 6 p.m., $15. Fubar, 3108 Locust

SATURDAY 9

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

ANAT COHEN: w/ Matt Wilson, Marquis Hill,

sity City, 314-727-4444.

Tortuga 9 a.m., free. Cherokee Street (Iowa

EZRA FURMAN: w/ Sleepy Kitty 8 p.m., $10. The

Linda Oh April 8, 7:30 & 9:30 p.m.; 7:30 & 9:30

FIGHT FOR MIDNIGHT: w/ Tree One Four, Arto-

Ave. & Cherokee St.), Cherokee St. and Iowa

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

p.m., $35. Ferring Jazz Bistro, 3536 Washington

rius 8 p.m., $8-$10. Fubar, 3108 Locust St, St.

Ave., St. Louis.

833-5532.

Ave, St. Louis, 314-571-6000.

Louis, 314-289-9050.

MADISEN WARD AND THE MAMA BEAR: 7 p.m.,

GHOST-NOTE: 8 p.m., $10-$12. The Firebird, 2706

ANAT COHEN: w/ Matt Wilson, Marquis Hill,

FROM PARTS UNKOWN: w/ the Costanzas, Life

$10-$14. Off Broadway, 3509 Lemp Ave., St.

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

Linda Oh April 8, 7:30 & 9:30 p.m.; 7:30 & 9:30

on Mars, Powerline Sneakers 8 p.m., $8-$10.

Louis, 314-773-3363.

KENNY BARRIO TRIO: 7:30 & 9:30 p.m., $35.

p.m., $35. Ferring Jazz Bistro, 3536 Washington

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

MISS MOLLY SIMMS: w/ Lara Hope and the Ark-

Ferring Jazz Bistro, 3536 Washington Ave, St.

Ave, St. Louis, 314-571-6000.

FY5: 8 p.m., $12. The Stage at KDHX, 3524

Tones 9 p.m., free. Schlafly Tap Room, 2100

Louis, 314-571-6000.

A BENEFIT FOR THE GHOST INSIDE: 5 p.m., free.

Washington Ave, St. Louis, 314-925-7543, ext.

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

RAMONA DEFLOWERED: w/ Oddsoul and the

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

815.

WILLIE NELSON: 7 p.m., $56.50-$122. Peabody

Sound, Mr. Wendell All Stars 9 p.m., 9pm.

Opera House, 1400 Market St, St. Louis, 314-

Schlafly Tap Room, 2100 Locust St., St. Louis,

241-1888.

314-241-2337.

YONDER MOUNTAIN STRING BAND: w/ Horse-

ROXY ROCA: 8 p.m., $10. 2720 Cherokee

shoes and Hand Grenades 7 p.m., $25-$30.

Performing Arts Center, 2720 Cherokee St, St.

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

Louis, 314-276-2700.

314-726-6161.

SIDEWALK JUNKET: 9 p.m., free. Off Broadway,

YOUNG THUG: 9 p.m., $43.19-$64.29. Lux, 2619

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

Washington Ave., St. Louis, 314-531-2920.

TYONDAI BRAXTON: w/ Hylidae 9 p.m., $15-$17.

SUNDAY 10

The Luminary, 2701 Cherokee St, St. Louis.

FAMOUS DEX: w/ Kid-Ro, King B 9 p.m., $15-$20.

FRIDAY 8

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

ADIA VICTORIA: 8 p.m., $10-$12. The Demo, 4191

NEON INDIAN: 8 p.m., $15-$18. The Ready Room,

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

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

ANAT COHEN: w/ Matt Wilson, Marquis Hill,

NEW ENGLAND PATRIOTS: w/ Skin Tags, Blight

Linda Oh 7:30 & 9:30 p.m.; April 9, 7:30 & 9:30

Future, Hardbody 8 p.m., $5. Kismet Creative

p.m., $35. Ferring Jazz Bistro, 3536 Washington

Center, 3409 Iowa Ave., St. Louis, 314-696-8177.

Ave, St. Louis, 314-571-6000.

[CRITIC’S PICK]

ANTHONY GOMES: w/ Cactus Smile 8 p.m., $12. Cicero’s, 6691 Delmar Blvd., University City,

Young Thug | RICHARD MARTIN

314-862-0009. CAROLINE GLASER: 8 p.m., $13. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-

Young Thug

4444.

9 p.m. Saturday, April 9.

DOUBLIN DOWN 5.0: w/ Black Body Heat, Hal Greens, Mister Melvin 9 p.m., $5. Blank Space, 2847 Cherokee St., St. Louis. DOWNTOWN BROWN: w/ Carmel Liburdi, Snooty and The Ratfinks 8 p.m., $10. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. FOXING: w/ o’brother, Tancred, Adjy 6:30 p.m., $11-$14. The Luminary, 2701 Cherokee St, St. Louis. THE HILLSIDE BARONS: w/ Stank Thunder, Two Dudes and the Pew Pew 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-2412337. I SET MY FRIENDS ON FIRE: w/ Sheevaa, Texas Blvd, Ascension of Akari, Amongst the Rabbits, Fall Beneath The Crowd, Silence The Witness, Conquer As They Come 6 p.m., $12-$15. Fubar, 3108 Locust St, St. Louis, 314-289-9050. KEY GRIP: w/ Hands And Feet, Marble-Wall Duo 8 p.m., free. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. MONICA: w/ Chante Moore 8 p.m., $35-$55. Ambassador, 9800 Halls Ferry Road, North St. Louis County, 314-869-9090. PAUL THORN: 8 p.m., $25. Off Broadway, 3509

RIVERFRONT TIMES

APRIL 6-12, 2016

riverfronttimes.com

$15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. UNDEROATH: 7:30 p.m., $25/$29. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. VIOLENCE CREEPS: w/ Trauma Harness 10 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100.

Lux, 2619 Washington Avenue. $43.19 to $64.29. 314-531-2920.

Young Thug’s unusual rap style has been compared to a “beautifully played but broken wind instrument,” which is as apt a description as you could ever hope to find for his schizophrenic but wholly unique approach. Credit Lil Wayne for that — at least in part. Weezy’s similarly off-kilter and damaged flow has had a tremendous impact on Thugger, who has long cited the rapper as his biggest influence. But a series of unfortunate events — not the least of which was a high-profile falling out with his longstanding label, Cash Money Records — has seen Wayne denouncing his protege and former labelmate, going so far as to tell an audience not to listen to him any more. All told, though,

PENNY AND SPARROW RECORD RELEASE: 7 p.m.,

Young Thug might get the last laugh: Weezy hasn’t seen the top of the charts in some time, whereas Thugger is constantly on the rise. No Fly Zone? In the wake of Michael Brown’s shooting at the hand of Ferguson police in the summer of 2014, Young Thug drew a fair amount of ire from St. Louis fans for his flippant and uninterested take on the matter. “Leave that up with the critics and the laws and all that other shit,” he told Bossip.com when asked about his stance on police brutality. “We having fun, we iced out, we having money. That’s how we doing it.” Many said that he wasn’t welcome in St. Louis, but now here he is. Time heals all wounds, maybe? –Daniel Hill

MONDAY 11 JACKDEVIL: w/ Gomorrah 8 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. THE LOVE JUNKIES: w/ Pseudo Skylight, Jeske Park 7 p.m., $7-$10. Cicero’s, 6691 Delmar Blvd., University City, 314-862-0009. SOULARD BLUES BAND: 9 p.m., $5. Broadway Oyster Bar, 736 S. Broadway, St. Louis, 314621-8811. TRAPT: w/ Super Bob 7 p.m., $15-$17. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

TUESDAY 12 BOMBINO: 8 p.m., $15-$18. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. CONDITION CRITICAL: w/ Game Over 8 p.m., $5. Way Out Club, 2525 S. Jefferson Ave., St. Louis, 314-664-7638. DILLY DALLY: 8 p.m., $12. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532. EYES EAT SUNS: w/ Struck Down By Sound 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314289-9050.

TNT Glass

[CRITIC’S PICK]

Designs

All-American

Smoke Shop

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ON EVERYTHING Voted Best Smoke Shop 2015

READERS CHOICE 2015

6163 EAST DELMAR LOOP | 314.863.8860

Sean Watkins. | COURTESY OF THE BAND

Sean Watkins 8 p.m. Tuesday, April 12. The Duck Room at Blueberry Hill, 6504 Delmar Boulevard. $13 to $15. 314-727-2277.

Now that the three members of Nickel Creek have reassured fans that the band isn’t above a reunion tour, they can get back to doing their own things. Chris Thile has taken over for Garrison Keillor on A Prairie Home Companion, Sara Watkins has flirted with AAA pop and her brother Sean has just kept on playing the kinds of songs that ring out with pure talent and, on his new solo album, pure dread. “Better listen up, we’re telling you what to fear,” he

sings on “What to Fear,” the album’s dystopian title track. “There’s no one in this dark world you can trust, except for us.” Big Brother never sounded so bluegrass-blue, so Americana-sweet, so militantly musical. Chamber Made: Starting out recording in a Princeton dorm, opener Anthony D’Amato has evolved into a widescreen arranger whose chamber-pop should hook fans of the Head and the Heart and Lord Huron. –Roy Kasten

THE GREAT AMERICAN GHOST: w/ Caught Dead,

Washington Ave, St. Louis, 314-571-6000.

Antithought, Reaver 7 p.m., $10. Fubar, 3108

DAVID SANBORN: 7:30 & 9:30 p.m.; April 14, 7:30

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

& 9:30 p.m.; April 15, 7:30 & 9:30 p.m.; April 16,

KILLSWITCH ENGAGE: w/ Memphis May Fire,

7:30 & 9:30 p.m., $50. Ferring Jazz Bistro, 3536

36 Crazyfists 6 p.m., $25. Pop’s Nightclub, 401

Washington Ave, St. Louis, 314-571-6000.

Monsanto Ave., East St. Louis, 618-274-6720.

LUCERO: w/ John Moreland 8 p.m.; April 14, 8

ONE-EYED DOLL: w/ Open Your Eyes 7 p.m.,

p.m., $25-$35. Off Broadway, 3509 Lemp Ave.,

$14-$15. The Firebird, 2706 Olive St., St. Louis,

St. Louis, 314-773-3363.

314-535-0353.

STITCHES: w/ John Boi 8 p.m., $20-$25. The

SEAN WATKINS: 7 p.m., $13-$15. Blueberry Hill,

Ready Room, 4195 Manchester Ave, St. Louis,

6504 Delmar Blvd., University City, 314-727-

314-833-3929.

4444.

VOODOO GLOW SKULLS: 7 p.m., $12-$14. Blue-

WINGTIPS: w/ Willis, Tubby Tom, Biggie Star-

berry Hill, 6504 Delmar Blvd., University City,

dust, Slave Cable, Blank Thomas 8 p.m., $5.

314-727-4444.

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

WAYLAND: 7 p.m., $10-$12. Fubar, 3108 Locust

Louis, 314-772-2100.

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

WEDNESDAY 13 ATLAS GENIUS: w/ Skylar Grey, Secret Weapons

THIS JUST IN

8 p.m., $18-$20. The Firebird, 2706 Olive St., St.

AARON WEST AND THE ROARING TWENTIES: W/

Louis, 314-535-0353.

Allison Weiss, Can’t Swim, Cold Collective,

BOB “BUMBLE BEE” KAMOSKE: 8 p.m. Beale on

Wed., June 8, 7 p.m., $13.50-$15. The Firebird,

Broadway, 701 S. Broadway, St. Louis, 314-621-

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

7880.

THE BODY: W/ Everything Went Black, Ghost

DAVID SANBORN: 7:30 & 9:30 p.m.; April 14, 7:30

Ice, Tue., May 17, 8 p.m., $10-$12. The Firebird,

& 9:30 p.m.; April 15, 7:30 & 9:30 p.m.; April 16,

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

7:30 & 9:30 p.m., $50. Ferring Jazz Bistro, 3536

Continued on pg 48

riverfronttimes.com

APRIL 6-12, 2016

RIVERFRONT TIMES

FIND ANY SHOW IN TOWN...

erts/

PHOTOGRAPHER: TODD OWYOUNG BAND: SLEEPY KITTY

R R 48

With our new and improved concert calendar! RFT’s online music listings are now sortable by artist, venue and price. You can even buy tickets directly from our website—with more options on the way! www.riverfronttimes.com/concerts/

RIVERFRONT TIMES

APRIL 6-12, 2016

riverfronttimes.com

THIS JUST IN Continued from pg 47 BRIAN FALLON & THE CROWES: Wed., July 6, 8

NIGHT RIOTS: W/ Charming Liars, Thu., May 26,

p.m., $22. The Ready Room, 4195 Manchester

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

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

St. Louis, 314-833-5532.

CASH’D OUT: Wed., May 4, 8 p.m., $15. The

PTAH WILLIAMS: Wed., July 13, 7 p.m., free.

Ready Room, 4195 Manchester Ave, St. Louis,

Missouri Botanical Garden, 4344 Shaw Blvd.,

314-833-3929.

St. Louis, 314-577-9400.

CLUSTERPUCK: Wed., June 15, 7 p.m., free.

REV. MATT: W/ Adam Lee, Mon., April 25, 9 p.m.,

Missouri Botanical Garden, 4344 Shaw Blvd.,

free. Off Broadway, 3509 Lemp Ave., St. Louis,

St. Louis, 314-577-9400.

314-773-3363.

CREE RIDER FAMILY BAND: Wed., July 27, 7 p.m.,

SAINT LOUIS SOCIAL CLUB: Wed., June 29, 7 p.m.,

free. Missouri Botanical Garden, 4344 Shaw

Blvd., St. Louis, 314-577-9400.

DEAD SOLDIERS: W/ Les Gruff and the Billy

THE SHEEPDOGS: Fri., June 3, 8 p.m., $16-$18.

Goat, Thu., April 28, 9 p.m., $10. Off Broadway,

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

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

773-3363.

DOPE: Fri., Sept. 23, 7 p.m., $18-$20. The Fire-

SIRONA: W/ Call It Home, Mustache, You Me

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

The American Dream, Out of Sequence, WILL

DOUBLIN DOWN 5.0: W/ Black Body Heat, Hal

F.M., Tue., June 7, 7 p.m., $10-$12. The Demo,

Greens, Mister Melvin, Fri., April 8, 9 p.m., $5.

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

Blank Space, 2847 Cherokee St., St. Louis.

SNOOP DOGG AND WIZ KHALIFA: W/ Kevin Gates,

DRU HILL: Fri., July 29, 6 p.m., $15-$20. Ballpark

Jhene Aiko, Casey Veggies, DJ Drama, Wed.,

Village, 601 Clark Ave, St. Louis, 314-345-9481.

Aug. 17, 6 p.m., $26-$99.95. Hollywood Casino

EARTH DAY PARTY!: W/ Tree One Four, DJ

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

Tapes-One, Fri., April 22, 8 p.m., free. Old Rock

land Heights, 314-298-9944.

House, 1200 S. 7th St., St. Louis, 314-588-0505.

SPEEDY ORTIZ: Thu., June 16, 8 p.m., $12-$14.

EMN: W/ Drivin Rain, Sun., July 17, 7 p.m.,

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

$12-$15. Fubar, 3108 Locust St, St. Louis, 314-

0353.

289-9050.

THE STEVE EWING BAND: Wed., June 8, 7 p.m.,

ERIN BODE: Wed., July 20, 7 p.m., free. Missouri

free. Missouri Botanical Garden, 4344 Shaw

Botanical Garden, 4344 Shaw Blvd., St. Louis,

Blvd., St. Louis, 314-577-9400.

314-577-9400.

STEVE GUNN: W/ Promised Land Sound, Sat.,

FIVEFOLD: W/ Robby Kallery, Sat., May 14, 8

June 18, 9 p.m., $12-$14. Off Broadway, 3509

p.m., $10. The Firebird, 2706 Olive St., St. Lou-

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

is, 314-535-0353.

SUFFOCATION: Mon., May 9, 6 p.m., $15. The

HAIM: Wed., May 25, 8 p.m., $28.50-$35. The

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

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

833-5532.

6161.

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16, 8 p.m., $12-$14. The Firebird, 2706 Olive St.,

EXPERIENCE: Sat., May 28, 9 p.m., $7. Old Rock

St. Louis, 314-535-0353.

House, 1200 S. 7th St., St. Louis, 314-588-0505.

TEMPTATIONS REVIEW FEATURING DENNIS

JAY FARRAR: Wed., July 6, 7 p.m., free. Missouri

EDWARDS: Sun., June 19, 7 p.m., $35-$55.

Botanical Garden, 4344 Shaw Blvd., St. Louis,

Ambassador, 9800 Halls Ferry Road, North St.

314-577-9400.

Louis County, 314-869-9090.

JOHN D. HALE BAND: W/ Cole Porter Band, Fri.,

TIMBRE: W/ Staghorn, the Resounding, Sun.,

July 8, 8 p.m., $10-$12. Off Broadway, 3509

April 24, 7 p.m., $10. The Demo, 4191 Manches-

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

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

KEY GRIP: W/ Hands And Feet, Marble-Wall

TORY LARENZ: W/ BJ the Chicago Kid, Tue., April

Duo, Fri., April 8, 8 p.m., free. Foam Coffee &

26, 7 p.m., free. The Pageant, 6161 Delmar

Beer, 3359 Jefferson Ave., St. Louis, 314-772-

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

2100.

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LUH STANK: W/ Skezzy, RED, Boog, Kells, Bud

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G, E Mulah, Thu., April 14, 9 p.m., $10. Fubar,

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

WANDA SYKES: Sat., Oct. 1, 8 p.m., $39.75-$75.

MINT CONDITION: Fri., May 27, 6 p.m., $15-$20.

Peabody Opera House, 1400 Market St, St.

Ballpark Village, 601 Clark Ave, St. Louis, 314-

Louis, 314-241-1888.

345-9481.

A WAR WITHIN: W/ Divisions, Thu., May 26, 6

MOM’S KITCHEN 5 YEAR ANNIVERSARY SHOW: W/

p.m., $10-$12. Fubar, 3108 Locust St, St. Louis,

Naked Groove, Fri., April 29, 9 p.m., $10. Old

314-289-9050.

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

WHITE LUNG: Sat., July 16, 8 p.m., $10-$12. The

0505.

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

MUMFORD AND SONS: Sat., April 16, noon, free.

WILCO: Wed., Aug. 17, 7 p.m., $30-$75. The Fox

Vintage Vinyl, 6610 Delmar Blvd., University

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

City, 314-721-4096.

1111.

NEEDTOBREATHE: W/ Mat Kearney, Parachute,

ZUSTIAK: W/ Mudroom, Skyline In Ruins, Shaft,

Welshly Arms, Sat., Oct. 29, 7 p.m., $23-$43.

Handsaw, Abyss, Perdition, Fri., May 27, 6 p.m.,

Chaifetz Arena, 1 S. Compton Ave., St. Louis,

$6. Fubar, 3108 Locust St, St. Louis, 314-289-

314-977-5000.

9050.

SAVAGE LOVE GERMANE BY DAN SAVAGE Hey, Dan: I am a twentysomething, straight, cis-female expat. How long do I have to wait to ask my German lover, who is übersensitive about the Holocaust, to indulge me in my greatest—and, until now, unrealized—fantasy: Nazi role-play? He is very delicate around me because I am a secular Jew and the descendant of Holocaust survivors. (Even though I’ve instructed him to watch The Believer, starring Ryan Gosling as a Jewish neo-Nazi, to get a better grasp on my relationship with Judaism. To be clear, I am not actually a neo-Nazi—just your garden-variety self-hating Jew.) This persists even though we’ve spoken about my anti-Zionist politics. Evidently he was indoctrinated from a young age with a hyperapologetic history curriculum. I appreciate that he thinks it was wrong for the SS to slaughter my family, but it’s not like he did it himself. I know it sounds really fucked up, but I promise this isn’t coming from a place of deep-seated self-loathing. Even if it were, it’s not like we’d be hurting anybody. We’re both in good psychological working condition, and neither of us is an actual bigot. National Socialist Pretend Party

“Sex writers get all the really good religion questions,” said Mark Oppenheimer. “Can we trade mailboxes sometime soon? I’m tired of dealing with all the questions about why evangelicals support a thrice-married misogynist reality-TV star who never goes to church.” Oppenheimer writes the Beliefs column for the New York Times and is cohost of Unorthodox, an “irreverent podcast about Jews and other people” (tabletmag.com/unorthodox). I invited Oppenheimer to weigh in because I am, sadly, not Jewish myself. “First off, I think that Die Fraulein should make her kinky proposal ASAP,” said Oppenheimer. “Given the ‘hyperapologetic’ curriculum that her Teutonic stud has absorbed, he is probably going to freak out no matter when she asks him to incinerate—er, tie her up and fuck her. On the other hand, if he’s open and kink-positive, he’ll probably be down for whatever. But it’s all or nothing in a case like this. She can’t win him over by persuading him that she’s not one of those uptight, unforgiving Jewesses who is still hung up on the destruction of European Jewry.” NSPP, I also shared your letter with a German friend of mine, just to see how it might play with someone who benefited from a hyperapologetic history curriculum.

Would he do something like this? “Not in six million years.” Hey, Dan: I’ve been in a fantastic monogamous relationship for almost eight years, but I used to be like a lot of your other readers. I had what I would consider an adventurous sex life, with lots of partners who were GGG, and I enjoyed continually pushing my sexual boundaries as long as everything was consensual and honest. Fast-forward to my current life: I’m now married to a wonderful vanilla woman. The transition to monogamous and vanilla was difficult at first, and I had fears about not being sexually content. As it turns out, it was a great move and I’m a better man for it. My desire to have every kind of sex under the sun has settled down considerably, and the benefit is that I have much more energy and mental focus for other areas of my life. I want your readers to know that the answer to their happiness may not be the pursuit of more outlandish sex—for some, it just might be less. Monogamous In Montana Your letter reminded me of Saint Augustine’s prayer as a young man: “Lord, make me pure—but not yet!” You’re pure now, MIM, but first, like Augustine of Hippo (354–430), you had yourself some impure fun. Perhaps you would be just as satisfied, happy and smug if you’d

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been in a monogamous/vanilla relationship all along. But it’s possible you wouldn’t be satisfied and happy now if it weren’t for the adventures and experiences you had then. To paraphrase St. Agnes Gooch of Mame (1966): You lived! You lived! You lived! You see all that living as time wasted, MIM, but it’s possible—it may even rise to the level of probable—that the perspective and self-awareness you gained during the fuck-anythingthat-moves stage of your life made you the man you are today, i.e., a guy who was ready to make a monogamous commitment and capable (so far) of honoring it. Finally, monogamous/vanilla types routinely cross over into the ranks of the sexually adventurous/ nonmonogamous and vice versa. (And monogamous/vanilla and sexually adventurous aren’t necessarily mutually exclusive categories.) Instead of disparaging the choices others make—or disparaging the choices we once made—we’re better off encouraging people to make the choices that are right for them. And choices that are right for someone now may not be right for them always—and that goes for you too, MIM, even now. Listen to Dan’s podcast at savagelovecast.com mail@savagelove.net @fakedansavage on Twitter

APRIL 6-12, 2016

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