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AUGUST 26–SEPTEMBER 1, 2015 I VOLUME 39 I NUMBER 35

FALL ARTS GUIDE THE MUSIC MAN Meet the maestro putting St. Louis theater on the national map

10 CAN’T MISS ARTS EVENTS .... and 5 more to make you laugh

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Standout dispatches from our news blog, updated all day, every day

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Protests, Tear Gas and Fires Follow Death of Mansur Ball-Bey, 18

A car on fire in Fountain Park.

ast Wednesday, the St. Louis police shot and killed eighteen-year-old Mansur BallBey in the Fountain Park neighborhood. What followed was a familiar sequence of anger and protest, police tear gas, and several fires lighting up the night sky.

The St. Louis Metropolitan Police Departments says Ball-Bey was killed late Wednesday morning after he ran from officers executing a search warrant on a house near Page Boulevard and Walton Avenue. During a press conference, St. Louis police chief Sam Dotson said the teen pointed a gun at two officers, who responded by opening fire.

According to the incident report, officers fired at the teenager while “fearing for their safety” — an expression heard often from police this past year. And the protesters who converged on the intersection of Page and Walton made no secret of their suspicion of that official narrative.

Protesters and residents were outraged at the presence of armored police vehicles and heavily armed officers.

When Riverfront Times arrived at 7:20 p.m., officers in riot gear were arrayed against chanting activists. Although police had deployed tear gas earlier that evening and made several arrests, some in the crowd thought the night would end peacefully.

“They ain’t burning nothing down here, ain’t nothing to take,” one woman joked to her friend, gesturing at the unkempt, weedinfested lot they were standing on. Her friend laughed. “Ain’t nothing to take here,” she echoed.

An hour later, near the intersection of Page and Vernon, a car was set on fire. By the time we returned to Page and Walton, fires were burning in the middle of the street. People could be seen dragging pieces of furniture to the road and spraying lighter fluid on the blaze.

Police later reported that a nearby shop had its door kicked in.

At 9 p.m. firefighters arrived to extinguish the fires in the roadway. Soon after, however, a rising plume of smoke could be seen drifting north of Page. Police cruisers and a fire engine sped to the location, where a house was burning.

As we approached the fire, a man in a Cardinals baseball cap and dreadlocks approached 8

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DA N N Y W I C E N TO W S K I

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and insisted he had something to say about the night’s events. He introduced himself as Maximillian Arredon.

“This is my hood, my block, this is where I’m from,” he said. “I just want to say, with all this chaos is going on, I’m not going to blame it on the police. But I’m just saying, they need to get out here in the streets, they need to talk to people. They act like they just want to ride down and lock people up. Get to know me first,

Lewis Reed Seeks to Crowdfund a Gun Buyback, Despite Legal Hurdles

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ith gun violence roiling the city, Board of Aldermen President Lewis Reed and others are trying to launch a gun buyback program. That’s remarkable for three reasons.

First, the plan — which is not yet finalized but involves a buyback and other outreach elements — has drawn some support from St. Louis Metropolitan Police Chief Sam Dotson, as well

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get to know why I’m acting why the way I’m acting. Get to know why we got the mentality we got.”

In Arredon’s view, whoever set fire to the house was trying to send a message: “We not getting the education we need, we don’t know nothing better. This how we brought up.”

Later that night, another house, also apparently vacant, was set ablaze. It’s still not known who set the fires, though several activists have as from Bruce Franks Jr., a community organizer and founder of 28 to Life, an anti-violence group geared toward youth.

Secondly, Reed wants to crowdfund the buyback online — seemingly a first in St. Louis.

Finally, they are attempting to do this in the face of a state statute that practically prohibits it.

In 2013, Missouri’s General Assembly passed a law that attached a pair of conditions to any buyback: A municipality must explicitly approve the initiative through an ordinance or resolution, and any guns collected must be offered for sale or trade to at least two licensed dealers before being destroyed.

Reed cleared the first hurdle in January 2014 when he pushed through a resolution authorizing gun buybacks. As for the second hurdle, Reed’s

said the fires were not started by black residents or protesters.

By the end of the night, St. Louis police arrested nine people, seven men and two women.

All were charged with impeding traffic, and one woman was additionally charged with resisting arrest. Early the next morning, the police department posted footage of water bottles being thrown at officers during the faceoff with protesters.— DANNY WICENTOWSKI legislative director Michael Powers declined to give specifics, saying only Reed is “confident” he can work around it.

“There is an unfortunate disconnect between the needs of city residents in both St. Louis and Kansas City on the one hand and priorities of outstate legislators in Jefferson City on the other,” Powers told Riverfront Times in a text message.

“We must look out for the well-being of our children before the livelihoods of gun dealers.”

Reed plans to pull off the initiative through Gun

by Gun, a San Francisco-based online platform.

It works like this: Local volunteers persuade their neighbors to donate through the website, and those donations are used to buy back the guns, no questions asked, with cooperation from police. Gun by Gun boasts continued on page 10

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Missouri’s Supreme Court Has Shut Down the City’s Red Light Cameras. Now What?

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ast week, the Missouri Supreme Court ruled that the city ordinance authorizing red light cameras is unconstitutional. First of all: Hooray!

But what does that mean in practical terms?

According to city hall spokeswoman Maggie Crane, it means tickets will no longer be issued (for now). If you received your red-light camera ticket within the last year and a half, don’t pay the fine. If you’ve already paid such a fine, you’ll get that money back.

That’s because in February 2014, Circuit Judge Stephen Ohmer recognized the legal ambiguity around the matter and allowed the city to keep collecting the fines, but mandated the money be temporarily placed in an escrow account pending a decision by the Supreme Court.

Last week our state’s high court ruled that the red-light-camera ordinance violates the constitution because it essentially forces an innocent car owner to prove the he/she wasn’t the one driving the car.

A footnote in the opinion does reveal what a valid ordinance would look like: “If the red light camera system took photographs of the driver.... the city could use the photographs to prove the identity of the driver.”

Crane declined to comment on how a new ordinance — or new technology — would accomplish such a feat.

She did defend the concept of red-light cameras in an email to Riverfront Times, stating: “Cities put up traffic signals to prevent crashes and to keep traffic moving smoothly.

Not enforcing them would defeat the purpose of having them. The Chief would rather not

Gun Buyback

continued from page 8

of having already held five successful campaigns in four different cities, wherein a combined total of $80,000 was raised to buy back 750 guns.

That’s only a fraction of the guns turned in during St. Louis’ last buyback in 1991. That initiative brought in 7,547 guns, according to St. Louis Post-Dispatch archives. About 560 (or 7.4 percent) of those guns turned out to be illegal — either because the barrels had been sawed off or serial numbers had been erased. Eighty-five (or 1.1 percent) were stolen.

Franks has joined the buyback effort partly as a result of his personal history. In 1991, his nine-year-old brother, Christopher Harris, was shot and killed by a drug dealer in the Forest Park Southeast neighborhood. The killing sparked a public outcry, which led to the first buyback that very year.

Franks was only six years old at that time.

Now he’s 30 and runs 28 to Life, a grassroots organization that addresses violence from several angles: On one hand, it urges police to work more humanely with teens, and on the other, it urges

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divert police officers from patrolling neighborhoods and fighting crime.”

Crane also sent us some data suggesting that the cameras improve drivers’ behavior — and that the lesson sticks.

“Between May 2007 and November 2013,” she wrote, “the number of citations issued decreased by 63 percent. Eighty-four percent of red-light runners, who are cited and pay the fine for violating the City’s red light camera safety ordinance, do not get a second ticket.”

Bevis Schock, an attorney who has fought against red-light cameras in court, told RFT that he welcomes the news, but also expects the city to come back with another ordinance.

“It’s never over,” he said. “They’ll find a way to weasel it back in. The public hates these things, and we beat them fair and square. So they should sit down and shut up.”

— NICHOLAS PHILLIPS

teens to rise up as leaders even in neighborhoods that are plagued by violence.

Franks recently met the founder of Gun by Gun, Ian Johnstone, at a conference in Chicago and expressed interest in bringing the program to St. Louis. Johnstone put him in touch with Reed, who had already gotten the ball rolling with his resolution.

Franks believes the buyback must be accompanied by other elements. For example, he would like to see St. Louis Agency on Training (SLATE) come with a job fair, and the Urban League put on a resource fair. He also would like to see the circuit attorney work out a deal with gun sellers who have non-violent offenses to do serious community service in exchange for clearing their record of warrants.

RFT asked Franks if all this talk of a new initiative has brought back memories of his family’s loss. “It doesn’t refresh anything, because it’s always fresh” says Franks. “What we’re doing is keep his legacy alive, and it will hopefully keep others alive, both victims and people that want to do harm. I think the gun buyback could save both.”

— NICHOLAS PHILLIPS

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Fall Arts Guide

Ten Can’t-Miss Fall Arts Events MAKE A DATE WITH CULTURE THIS AUTUMN FOR ONE OF THESE INSPIRING EVENTS seum of Modern Art in New York City and the Saatchi Gallery in London.

2. STRANGE FOLK FESTIVAL AT UNION STATION 1820 Market Street; 314-421-6655 Pay-as-you-wish ticketing at www.indiegogo. com/projects/strange-folk-festival-2015#/ story After a messy dispute with the city of O’Fallon, Illinois, over ownership of the area’s premiere arts-and-crafts festival, Autumn Wiggins is bringing the ten-year-old Strange Folk Festival (www.strangefolkfestival.com) to St. Louis’ Union Station. On September 26 and 27, artists and craftmakers will occupy the vacant stores and restaurants in the mall, live bands will take over the third-floor space that was once Hooters, and the parking lot will be filled with food trucks and additional vendors.

Purchase a ticket online ahead of time and receive rewards based on your level of support.

HURVIN ANDERSON

3. AN AMERICAN IN PARIS AT POWELL HALL

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espite the unavoidable stickiness of St. Louis’ heat and humidity, summer is when the city truly comes alive. All over town, events such as the Whitaker Music Festival and Shakespeare in the Park present opportunities for St. Louisans to get out and enjoy the arts — usually on the cheap and occasionally totally free.

But as the summer winds down and temperatures cool, you may have to work a little harder to find the kind of great BY performances and festivals that were near-impossible to NICK avoid from April to August.

Not to worry, though. While HORN they may be fewer and further between, plenty of cultural institutions are hosting highly anticipated events in and around St. Louis in the fall. Here are ten of the most exciting.

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1. HURVIN ANDERSON AT THE CONTEMPORARY ART MUSEUM ST. LOUIS 3750 Washington Boulevard; 314-535-4660 Free admission Starting September 11 and lasting through December 27, the Contemporary Art Museum (www.camstl.org) will host Backdrop, the most comprehensive survey yet of Hurvin Anderson’s work, including not only the paintings for which the London-based artist is best known, but many as-yet-unseen sculptures and photographs, illuminating his aesthetic and process. Anderson was born in the United Kingdom, but is of AfroCaribbean descent; his work appears in the Mu-

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718 North Grand Boulevard; 314-533-2500 Tickets $31.50 to $111 The weekend of October 16, the St. Louis Symphony (www.stlsymphony.org) will perform music from three composers who helped define the sound of the United States during the early- to mid-twentieth century. In addition to Gershwin’s An American in Paris, the orchestra will play selections from Leonard Bernstein’s On the Town and On the Waterfront, as well as Aaron Copland’s Piano Concerto, fronted by renowned pianist Inon Barnatan. ’S wonderful. ’S marvelous!

4. KOTA: DIGITAL EXCAVATIONS IN AFRICAN ART AT THE PULITZER ARTS FOUNDATION 3716 Washington Boulevard; 314-754-1850 Free admission Beginning October 16 and lasting through the spring of 2016, the Pulitzer Arts Foundation (pulitzerarts.org ) will host Kota: Digital Excavations in African Art, a presentation of more than 50 African reliquary guardian figures, as well as a searchable database created by co-curator Frédéric Cloth to analyze and understand patterns among more than 2,000 of the figures. Many of them have unknown origins; Cloth’s work attempts to reveal their secret histories. continued on page 14 riverfronttimes.com 2 riverfronttimes.com A U G U S T 2 6 -M S EOPNTTEHMXBX–X ER X 1 ,, 2200105X RRIIVVEERRFFRROONNTT TTIIMMEESS 13

Fall Arts Guide

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…And 5 More for Comedy Lovers

continued from page 13

5. BEST OF BALANCHINE: SERENADE AND WESTERN SYMPHONY AT THE TOUHILL PERFORMING ARTS CENTER 1 University Boulevard; 866-516-4949. Tickets $32 to $51 St. Louis Ballet (www.stlouisballet.org ) will open its 2015-2016 season on October 11 with two works by the prolific George Balanchine, the Russian-born choreographer widely considered the father of American ballet. Led by artistic director Gen Horiuchi — the only of Balanchine’s protégés still performing — the company will perform the first piece the master choreographed in the U.S., 1934’s Serenade. The music is by Tchaikovsky; for the second piece, 1954’s Western Symphony, American folk tunes provide the soundtrack.

6. CARMINA BURANA AT THE TOUHILL PERFORMING ARTS CENTER 1 University Boulevard; 866-516-4949. Tickets $40 to $65 Just a few weeks after Serenade and Western Symphony, the Touhill (www.touhill.org ) will host the Nashville Ballet’s performance of the monumental Carmina Burana on the weekend of November 6.

With more than 200 performers contributing, the production will feature the UMSL Orchestra & Singers, the St. Louis Children’s Choir and the Bach Society of St. Louis, working together to present composer Carl Orff’s 1936 work in all its glory. You’ve heard the cantata’s haunting opener, “O Fortuna,” in everything from Jackass: The Movie to Capital One commercials; this is a chance to hear it in its original, and much finer, context.

7. JAZZ ST. LOUIS AT 20 AT THE FERRING JAZZ BISTRO 3536 Washington Avenue; 314-571-6000. Tickets start at $45; $10 for students Jazz St. Louis (www.jazzstl.org) will kick off its twentieth season on September 23 with a supergroup septet featuring Christian 14

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McBride on bass, Gregory Hutchinson on drums, Cyrus Chestnut on piano, Russell Malone on guitar, and Terell Stafford and Tim Warfield on trumpet and saxophones, respectively. If you haven’t been to the midtown space since last year’s impressive renovation, this bill provides the a perfect excuse to get on it already.

8. BAD JEWS AT WOOL STUDIO THEATRE 2 Millstone Campus Drive; 314-442-3283. Tickets $39.50 to $43.50 Late this fall, the New Jewish Theatre (www.newjewishtheatre.org) will present Joshua Harmon’s Bad Jews featuring St. Lou Fringe Festival creator Em Piro in the leading role of Daphna Feygenbaum.

A fast-paced comedy about faith and family brought together by a father’s funeral, Bad Jews opens December 3, with performances through December 20.

9. COLIN & BRAD: TWO MAN GROUP AT THE TOUHILL PERFORMING ARTS CENTER 1 University Boulevard; 866-516-4949. Tickets $15 to $59 Best known for their residency on ABC’s Whose Line Is It Anyway?, Colin Mochrie and Brad Sherwood will bring their stripped-down brand of improv comedy to the UMSL’s Touhill Performing Arts Center (www.touhill.org ) on December 4.

10. WUNDERLAND AT COCA 524 Trinity Avenue; 314-725-6555. Tickets $16 to $20 From October 2 to 11, dancer and choreographer Anthony “Redd” Williams will present wUNDERland — his contemporary take on Alice in Wonderland (www.cocastl.org). While the St. Louis native’s production will feature recognizable characters including the Mad Hatter and the Cheshire Cat, Williams thoroughly reimagines the classic fantasy/allegory with innovative choreography and imagin ative costume design.

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S _ B U K L E Y / S H U T T E R S TO C K . C O M

Can’t Miss Events

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ho doesn’t love to laugh? Fun-haters, that’s who, and screw those guys. Your friends are hilarious, sure, and there’s an entire Internet full of cats waiting to bring the ell oh ells directly to your smartphone. But there’s really nothing like surrendering an evening to a professional chortle-monger, going out into the world and laughing in a room full of strangers.

Good standup comedy is a thing of beauty — trenchant, observational and absurd. Truly bad comedy is its own kind of hilarious (for at least, like, half an hour), and if you’re willing to drop your BY prejudices, even “lame” comics who are M E L I S S A good enough to be touring can probably yank a few giggles out of you. (I’m looking M E I N Z E R at you, arena full of belly-laughing people who “ironically” took free tickets to Carrot Top circa 2004.)

Lots of good comics are stopping in St. Louis this fall — act fast. Unless otherwise noted, tickets are available at www.ticketmaster.com.

1. PATTON OSWALT AT THE PAGEANT 6161 Delmar Boulevard, 314-726-6161. September 10, 7:30 p.m. Tickets $43.35 Patton Oswalt is the snarky, doughy continued on page 16

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Comedy continued from page 14

uncle everyone wants to sit next to at Thanksgiving.

He’s been in everything — and has truly embraced Twitter as an instantaneous means for shit-stirring.

His stand at the Pageant (www.thepageant.com) may well sell out.

2. JON LOVITZ AT LUMIÈRE PLACE 999 N. Second Street, 314-881-7777. September 12, 7 p.m. and 9:30 p.m. Tickets $25 to 35.

Did you like the show The Critic? It was a pretty funny animated series built around Jon Lovitz as a movie critic telling his viewers, “It stinks!” Lovitz is an SNL alum with plenty of movie credits under his belt and even guest spots on Seinfeld and Friends — ’90s game is strong. See him at Lumière Place (www.lumiereplace.com) next month.

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3. JOHN HODGMAN AT THE READY ROOM 4195 Manchester Avenue, 314-833-3929 September 23; doors at 7 p.m., show at 8 p.m. Tickets $25.

While John Hodgman has long since transcended the role that introduced him to many — that of the tragically unhip PC to Justin Long’s awesome bro of a Mac — he still maintains a certain stuffy punctiliousness. And that’s a good thing, as devotees of the Judge John Hodgman podcast can attest. He plays the Ready Room (www.thereadyroom.com) next month.

4. KATHLEEN MADIGAN AT PEABODY OPERA HOUSE 1400 Market Street, 314-499-7600. October 17, 8 p.m. Tickets $32.

Florissant’s own Kathleen Madigan (McCluer North, since obviously you were going to ask) may have moved to Los Angeles, but she still draws plenty of inspiration from her big, working-class Irish family. She’s been pounding the road for 25 years, after taking a shot at journalism and bartending. The Peabody (www.peabodyoperahouse. com) is a fine step up from her humble beginnings.

5. JANEANE GAROFALO AT THE READY ROOM 4195 Manchester Avenue, 314-833-3929 October 24. Doors at 7:30 p.m., show at 8:30 p.m. Tickets $25.

The acid tongue of Janeane Garofalo has provided an alternative voice in comedy since the 1990s. Whether you loved her as the brainy foil to beautiful, dumb Uma Thurman in the Cyrano de Bergerac-inspired rom-com The Truth About Cats & Dogs or you’re more a fan of her liberal, feminist political side, she’ll have plenty to talk about during her show at the Ready Room (www. thereadyroom.com).

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September 18th & 19th 11am - 11pm Belleville Public Square

for event lising go to website

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After 24 years of wandering, Scott Miller and New Line Theatre finally have a permanent home at the Marcelle Theater.

R

ock & roll and the musical are uniquely American inventions. Both place a greater value on expression than on technique, both seek to connect with audiences on a deeply personal level and both are best experienced in a live setting.

But while rock & roll has weathered changing musical music tastes and technological advances in format form and audience consumption, the musical music has suffered a serious loss of cultural sstanding since the 1960s, which just so happens to coincide with rock’s rise to hap prominence.

No longer do songs from the promi 18

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newest shows track on the Billboard charts; there is no modern equivalent to Ed Sullivan, who gladly presented entire scenes of current Broadway musicals on TV so wary audiences could get a taste before they committed to buying tickets.

And yet the musical survives. And in St. Louis, Scott Miller works tirelessly to see that the musical thrives.

Twenty-five years ago Miller founded New Line Theatre, the only professional company in St. Louis (aside from the Muny) dedicated to producing a full season of musicals. And not just musicals — rock musicals. While Miller enjoys the classics from the Golden Age of Musicals such as South Pacific and My Fair Lady, his real loves are the more modern shows about sexuality,

the counterculture and the freaks, geeks and weirdos living on the front lines of the culture wars. He likes his shows loud, fast and a little crass, but he also wants a musical that has something to say about who we are and what’s happening right now. Give Miller Hair and he’ll show you the spirit of renewal that powers the world; give him Bat Boy and he’ll show you the monster hiding inside you.

This fall, New Line Theatre will stage its 75th production — the regional premiere of Heathers, based on the Winona Ryder/ Christian Slater film. The three other shows in the 2015-2016 season are all either St. Louis premieres (American Idiot and Tell Me on a Sunday) or American regional premieres (Atomic).

Thoroughly Modern Maestro At New Line Theatre, Scott Miller is staging sharp, smart musicals — and the world is taking notice W R I T T E N B Y PA U L F R I S W O L D P H OTOS BY ST E V E T R U E S D E L L Miller can risk a season eason of new shows because he has builtt an audience that expects adventurous, s, even challenging musicals. New Line has won a national reputation not just for launching new productions, but for saving ng shows that have been savaged on Broadway. oadway. Miller and company revived High h Fidelityy in 2008 as a viable musical for regional egional and college theaters, and New Line’s ne’s 2012 staging of John Waters’ Cry-Baby byy was received with near-universal acclaim. m.

Even so, this season on will be different.

For the first time in New Line’s history, Miller will not be directing ecting one of those shows: Mike Dowdy, Miller’s co-artistic director for the past several seasons, will be the sole director of continued on page 20

“NEW LINE IS ABOUT PEOPLE SEEING GREAT MUSICALS, NOT SELLING TICKETS.” riverfronttimes.com

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19

Miller continued from page 19

Tell Me on a Sunday.

But perhaps even more importantly is a big change to the theater itself: Miller and the rest of the New Liners are about to begin the process of moving into the brand-new Marcelle Theater in Grand Center.

For most St. Louis companies, theater space is at a premium. While the relatively recent arrivals of the Gaslight Theater and Tower Grove Abbey have provided much-needed options, the lack of good, reliable performance space is persistent and demands a certain amount of resourcefulness on the part of each artistic director. How can you plan a season if you don’t know how big next year’s stage will be?

In the past 25 years, Miller has produced top notch musical theater in church basements, down-at-the-heels shared spaces and the occasional college black box. None of them has offered any permanence, which means every few years he’s spent the off-season trying to wrangle a functional place with an affordable lease.

The Marcelle is a game changer. Scott Miller has traveled a long road to get to this point, but the soundtrack has been phenomenal.

S

o immersed is Scott Miller in musical theater that he can’t recall a time when Broadway shows didn’t provide the soundtrack to his life.

“My earliest memories are dozens of shows,” he laughs. “Way back before I can remember, I was a musical-theater freak. I saw one Muny show a year with my family, and my parents’ record collection was mostly show tunes and cast albums, with a little Percy Sledge mixed in.”

Young Scott watched his older brothers perform in their high school musicals, which helped fan the flames of his passion. His parents also gave him the gift of music lessons from an early age. “They started me on piano when I was four, so I learned to read music at the same time I learned to read words,” Miller says. “And to keep me interested, my piano lesson each week always included a show tune.”

Miller, still a sandy blond at 51, is a St. Louis native. His father was a plant manager for a vending machine manufacturing company, and his mother was a homemaker. After his parents divorced, she went back to work as the secretary to the chief of police in Webster Groves. When he was sixteen he got a job as a Muny usher. He returned to the outdoor theater every summer for the next seven years.

“It was an amazing education. I saw shows like Joe Namath and Misty Rowe in Li’l Abner” — a 1980 production perhaps hampered by Namath’s acting, singing and dancing abilities. Here Miller chuckles slyly and shares an anecdote about this particular show that is brutally funny — and sadly off the record. He’s too professional to dish publicly, but also too enamored of theater lore to resist passing along juicy tidbits covertly.

While his childhood is a mishmash of Golden Age shows, one musical performed in the late ’70s stands out in Miller’s memory as a signal moment in his life.

“When I was in junior high, the high school did a production of Godspell. They brought a 20

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Associate artistic director Mike Dowdy, who will move into the director’s chair for the final show of the season.

“I NEVER HAD THE DESIRE TO WORK IN THE COMMERCIAL MUSICAL THEATER IN NEW YORK. I’D NEVER BE ABLE TO DO THERE WHAT I CAN DO HERE.” one-hour preview of the show to our school in an attempt to drum up ticket sales, and it blew my mind. Everything about it, it really appealed to me.”

Stephen Schwartz’s musical based on the Gospel of St. Matthew is tonally a far cry from later Miller favorites such as Hedwig and the Angry Inch, but in terms of message and music, they make a matching set. Both are about an outsider who sings the praises of love, and both use the popular music of their eras (the symphonic rock of the ’70s and the post-punk sounds of the late ’90s) to frame their stories.

And it was Godspell’s songs that really struck Miller.

“I went to the high school to see the full production,” Miller’s eyes shine as he pauses to remember the night his life expanded into a new dimension. “I loved it. I came down from my room at 11:30 that night and asked my mom to take me to Peaches” — the legendary recordstore chain that had 40-odd stores coast-tocoast in the ’70s — “to buy the cast album. So,

AUGUST 26 -SEPTEMBER 1, 2015

there we were at midnight in Peaches...”

He was introduced to Richard O’Brien’s cult masterpiece The Rocky Horror Picture Show while at Affton High School, along with Grease, another show to which Miller pledges his undying love. By this time he knew making musical theater would be his life’s work, but he didn’t know exactly how he would make it.

“I originally wanted to be an actor. In my junior year we had a class called Theater Arts.

The teacher said, ‘It’d be great if one of the students would write a play we could do.’” Miller thought he could be that student. “I wrote a musical, Adam’s Apple, which was about a dork who loves a bad girl but who ends up with the good girl.”

For Miller, this initial attempt at writing altered his direction. “That play was maybe the start,” he muses. He continued to act when he headed off to Harvard (he earned a degree in music and musical theater), but the appeal of being involved behind the scenes was growing.

M

iller returned home from Harvard when his high school drama teacher, Judy Rethwisch, invited him to perform in an alumni show. Not that there was much doubt about where he would end up after college.

“I never had the desire to work in the commercial musical theater in New York,” Miller says. “I’d never be able to do there what I can do here, in terms of taking risks, doing weird and/or challenging shows.”

The alumni production was successful enough that it led to the founding of CenterStage Theatre Company, which Miller helped run. “We did Best Little Whorehouse, but also No, No, Nanette,” Miller says. He describes the work he produced and directed there as “good but safe musical theatre” in his book

riverfronttimes.com

You Could Drive a Person Crazy: Chronicle of an American Theatre Company. (Miller has written five books about making, consuming and understanding musical theater; Strike Up the Band, his history of alternative musicals from the 1900s to the start of the 21st century, is highly recommended.)

Armed with the show-biz business acumen he learned at his day job in the administrative office at Dance St. Louis, Miller struck out on his own with the launch of New Line Theatre in 1991. The first show was the world premiere of A Tribute to the Rock Musicals. It was a calculated beginning.

“Tribute was assembled out of my favorite songs from rock musicals. I knew I needed to do cost-nothing shows that would sell a lot of tickets, and this seemed the best fit.”

The early years were peripatetic. New Line produced shows at COCA, then moved to the New City School before landing at the St. Marcus United Church of Christ in Benton Park for a multi-year stretch. It was a shared space, with Joan Lipkin’s Uppity Theatre Company and the late Christopher Jackson’s CJ Production presenting what Miller glowingly calls “radical gay theater.” So radical, in fact, that Jackson’s graphic musical South Beach, about the man who killed fashion designer Gianni Versace, upset the congregation to the point that the pastor resigned and all three companies were summarily booted out.

For actress Kimi Short, the St. Marcus was where she began her association with New Line Theatre, which continues to this day (she was in all three New Line shows last season).

She remembers it as “a tiny basement theater with support columns in the audience several feet from the front of the stage.”

A brunette belter continued on page 22

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21

Long-time New Liner Kimi Short sits in the Marcelle’s new green room.

Miller continued from page 20

who starred as the put-upon Laura in both of New Line’s High Fidelity productions, Short began her stage career on the Goldenrod showboat in a 1994 production of Joseph and the Amazing Technicolor Dreamcoat, but her life was changed by a New Line show. “The first New Line show I saw was Assassins. I never left a theater so excited about what I had seen.

I was like, ‘Yeah, that’s it, that’s the way it’s supposed to be. I want to do that!’”

Miller also cites early productions of Stephen Sondheim’s Assassins (first in ’94 and again in ’97) as being pivotal in New Line’s and his own history. The musical lets the men and women who have succeeded at killing American presidents — and those who failed, but made an honest effort all the same — express their fury with the political system, the American dream and life in general. It is a dark, bleakly comic show about the violence baked into our country, and how we are powerless to stop that violence from erupting. (See everything that’s happened since the show’s debut.)

Assassins is the archetypical New Line show, a smart black comedy that will scare the shit out of you if you’re really listening to it.

“We did Assassins the second the rights were available,” Miller recalls. “I learned a big lesson while we were working on it: If you refuse to be scared about the audience and just worry about being great, they’ll go with you.”

And go they did. “By the time we left the St. Marcus [in 1997], we had our audience. We were looking for new shows that no one in St. Louis had done before.”

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decade later, New Line ended the season deeper in the red than ever before. The company’s most recent home, the muchmissed ArtLoft Theater in the 1500 block of Washington Avenue, was a fantastically versatile space that housed numerous New Line triumphs — Hair, Cabaret and the regional premiere of Floyd Collins among them.

But in 2007, a nationwide economic crunch cut into ticket sales all over town. The opening show of the season, Johnny Appleweed, was a riff on the Johnny Appleseed story with a hero who planted marijuana across the country.

Miller wrote the show himself. It got good

“THE FIRST NEW LINE SHOW I SAW WAS ASSASSINS. I NEVER LEFT A THEATER SO EXCITED ABOUT WHAT I HAD SEEN. I WAS LIKE, ‘YEAH, THAT’S IT, THAT’S THE WAY IT’S SUPPOSED TO BE. I WANT TO DO THAT!’” reviews, but Johnny never really struck a chord with audiences, and even following it with Grease and Urinetown failed to make up the difference.

“We lose money on every show, that’s just how it works,” Miller states matter-of-factly.

“We’ll end every season $2,000 to $3,000 in the hole. In ’06-’07, we were $19,000 in the hole.”

That shortfall, coupled with the fact that the ArtLoft was plagued by code violations that eventually forced its closure, meant Miller and company had to go looking for a new home.

Only some timely financial aid from the Regional Arts Commission allowed New Line to continue.

“In most cases, to retire the debt, we just make sure we’re super-careful with expenses and find additional [or bigger donations],” Miller explains. “In two cases, including the ’06-Æ07 season, the Regional Arts Commission gave us a loan to keep New Line open, but both times we repaid the loan in less than a year and got back on our feet. One of the ways we’re working on that recurring problem is finding ‘sponsors’ for each show, and we’re having some success with that.”

After a tumultuous and draining year, the new Ivory Theatre seemed like the long-term answer to New Line’s continued on page 24

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Miller continued from page 22

nomadic existence. The former St. Boniface Catholic Church in Carondelet had closed in 2005 and was sold two years later by the archdiocese for slightly more than $1 million to property developer Pete Rothschild. It appeared to be the perfect home for New Line, as well as the NonProphet Theatrer Company and Hydeware Theatre.

But after moving in, all three companies were rankled by the limited facilities (there was only one restroom available, and it was in the lobby), the stage’s floor-mounted raised electrical sockets and purported unprofessional treatment from the theater manager. The situation devolved into a he-said, she-said argument between the artists and building manager that included accusations of sets being damaged by the Ivory’s personnel and, in one instance, an agreed-upon rent reduction being ignored.

At the time Miller bluntly told the RFT, “The Ivory had no one involved in any aspect who understood theater.” (The Ivory is now under different management, and is seemingly chugging along nicely during St. Louis Shakespeare’s current season there.)

But even before New Line could mount its first production at the Ivory, the musical revue Sex, Drugs and Rock & Roll, the Archdiocese of St. Louis attained a court order to stop the show. The church’s concern was that the revue violated a covenant forbidding “adult entertainment” at the former parish.

Opening night was cancelled and the rest of the run was in doubt until Miller and Monsignor Vernon Gardin together watched a rehearsal tape of the show; the production was determined to not be in violation of the covenant, and the show eventually opened.

But as Miller wryly told the RFT at the time, “I don’t think the monsignor would have liked our show...with these songs about threesomes and STDs and musical orgasms.”

If you were looking for a Twitter-length bio that sums up New Line Theatre, that sentence would do nicely.

N

ew Line hightailed it out of the Ivory after a production of Assassins (what else?) and worked out a hasty arrangement with Washington University to use the Edison Black Box Theater for the final show of the 20072008 season: High Fidelity.

The show, with book by David LindsayAbaire, music by Tom Kitt and lyrics by Amanda Green, was based on Stephen Frears’ film, which was itself adapted from Nick Hornby’s novel. The story of Rob, a recordstore owner who makes endless “top five” lists and argues with his staff rather than engaging emotionally with his girlfriend — or anyone else — had tanked hard on Broadway, barely eking out thirteen shows. That was no deterrent to Miller.

“I found Tom Kitt’s band page online and contacted him,” he says, as if it were the most normal thing in the world to ask someone pointed questions about their Broadway flop.

“We talked about the show, and he sent me the script. I loved it. He sent us the band books, and we were off.”

By “off,” Miller means he went into one of his patented deep dives, reading and listening

24

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Rob Lippert designed the new Marcelle Theater, and he also acts as the company’s scenic and lighting designer.

to every iota of information about the musical, the film, the novel and the music that serves as Rob’s surrogate for an emotional life.

If you head to the New Line website (www. newlinetheatre.com), you can enjoy the fruits of Miller’s labors. His page for High Fidelity begins with a link to the original cast album and runs through links to a documentary about independent record stores, his own background essay and thoughts about the show, where to buy Michael Chabon’s novel Telegraph Avenue (because it’s set in a record store) and a final link to a boutique website that can tell you the No. 1 song on the day you were born. Many of the shows in New Line’s production history have similar pages.

“Scott’s production process, from auditions to performance, has always been a well-oiled machine,” Short says.

“I’m a disciple of musical theater,” is his own explanation.

The disciple successfully raised the dead with High Fidelity. Miller scaled down Broadway’s excesses and filtered the entire production through Rob’s emotionally stunted head.

From the opening number to almost the very end of the show, Rob and Laura are isolated from each other physically while Rob stumbles from work to home, thinking only about music.

Miller cast Jeffrey Wright as the rumpled, withdrawn Rob, and gave Short the task of playing the under-appreciated Laura.

It was inspired casting. Wright has regularguy good looks, a great voice and what Miller calls a gift for “playing assholes. Jeff’s the nicest guy, which makes it easy to like him when he’s up there being a dick.”

In Miller’s hands, the big-budget flop was transformed into a tough and lean coming-of-

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age story about a guy who just cannot commit to caring about anything that isn’t on vinyl, but who eventually makes a tentative first step into a loving, adult relationship.

I reviewed the show for the RFT and gave it a glowing write-up. Miller nevertheless emailed me to ask me to explain why I thought the character of Laura was underwritten. I never convinced him of my argument, and in fact I eventually swung around to agree with him. When he’s right, he’s right.

So right, in fact, that other regional theaters soon approached Miller to find out how they could mount a production of High Fidelity.

What floundered on Broadway was now a legitimate and perhaps unlikely success story.

Miller did it again in 2011 with John Waters’ Cry-Baby, which suffered its own ignominious short run on Broadway. Once again Miller obtained the rights for the show’s first regional production, and set about working his magic.

He pared down the sets, reduced the Musicians Guild-mandated big Broadway orchestra to a tight ‘n’ hard-rocking six-piece band, and embraced the subversive charms of the show’s early rock & roll, sweaty teen delinquents and its story line about a good girl who rebels against the system. New Line’s Cry-Baby was fast, funny and trenchant in its insights about the sexual rebellion that was already bubbling below the surface of 1950s America. It, too, has become an in-demand production on a national level thanks to Miller’s jump-start.

Not every show New Line takes on works as well. In 2009, Miller negotiated the rights for the world premiere of Kyle Jarrow’s Love Kills, a musical based on the lives of spreekiller Charles Starkweather and his teenage girlfriend, Caril Ann Fugate. It was a stark,

fascinating show about violence, the aimless feelings of meaninglessness endemic among teenagers and love.

I loved it, unreservedly and completely.

Miller’s staging, and the blistering performances by all four actors, made it a top-three lifetime show as far as I’m concerned.

Audiences stayed away, and the unexpected death of the band’s guitarist necessitated the cancellation of the final week of shows. “Love Kills was maybe too much for our audience,” Miller says now. “We expected it to sell poorly.”

But don’t mistake that statement for a concession. Miller is steadfast in his commitment to new plays that jangle the nerves, rile the blood and make people squirm in their seats.

“New Line is about people seeing great musicals, not selling tickets.”

T

he Marcelle Theater is proof that Miller’s commitment to the art form is not misplaced, and that his belief in the audience’s intelligence is justified. After all, it’s through the generosity of two audience members that the company has found itself with a space all its own, at long last.

“Ken and Nancy Kranzberg have been a part of our audience for years,” Miller explains. The noted philanthropists support numerous St. Louis arts groups, and see the value of having New Line Theatre as a prominent part of the community.

“Every once in a while I’d approach them about a new theater. Ken eventually contacted me and said he had a building that would work.” It’s a former warehouse in Grand Center, officially located at 3310 Samuel Shepard Drive, just east of Grand Boulevard. One half of the space is now a black- continued on page 26

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Scott Miller, “the disciple of musicals,” has weathered financial and legal challenges, but he is still producing and directing some of America’s best musical theater.

Miller continued from page 24

It’s A Good Time For

box theater, and the other half serves as storage for scenery, props and all the other equipment a company needs to mount a show.

New Line will share the space with other companies, and Miller’s company is not getting a free ride — it pays rent, the same as anyone else. Miller will only concede that it’s about what they were paying at New Line’s most recent home, the Washington University South Campus Theatre. If New Line is the beneficiary of its long relationship with the Kranzbergs in any regard, it is in the choice of the project architect: Rob Lippert got the contract, and he has also worked as New Line’s lighting and scenic designer for the past few years.

Miller is taking advantage of the new location by increasing the number of shows to four this season. A three-show season is “perfect,” he says, but “with the new space, this is a chance to bring in new people. If four shows in the black box work, we’ll think about keeping it up there.”

Of course, Miller is only directing three of them. Mike Dowdy, who first started working with New Line in 2008’s Return to the Forbidden Planet, will step up to helm the final show of the season, Andrew Lloyd Webber’s Tell Me on a Sunday.

Dowdy has a mutable quality that allows him to play a range of parts, at least when he’s not sporting his distinguished beard. He brought down the house as Boy Scout Chip Tolentino in The 25th Annual Putnam County Spelling Bee (also 2008), a young man driven to win the bee because of his own American exceptionalism, only to be sadly undone by

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an ill-timed erection. Dowdy has since moved backstage, becoming the company’s assistant artistic director.

“Scott and I were at dinner one night before going to see a show at the Fox, and I asked why he doesn’t do more cabarets or concerts. With being a small theater company, he responded by saying he can’t do it all himself,” Dowdy recalls. “I offered to help if he ever wanted to do more, and he said he would keep it in mind.

Then after that he reached out to me about being associate artistic director and asked if I would direct with him and run our offshoot Off Line — and I was thrilled.”

Dowdy has since directed several of the fundraising cabaret shows under the Off Line label; for New Line, these performances help to defray costs. He’s also co-directed several main-stage productions with Miller.

It’s tempting to think that Miller is grooming Dowdy for the eventual job of running New Line, but Miller doesn’t see it that way at all.

“I haven’t really thought about New Line without me,” he says. Still, he adds, “If ten years out I’m exhausted, I’d feel fine with Mike taking over. New Line would stay New Line.”

It’s high praise coming from the man who built the company through the ground up and has since endured forced migrations, budget cuts, disappearing scenic designers and the occasional show that failed to meet the approval of New Line’s exceptionally discerning audience. Not that any of that in any way dissuades Miller from ardently pursuing his true love: American musical theater.

“If I wasn’t running New Line, I’d still be thinking about musicals. The great joy in my life is sharing ‘our type’ of shows with people.”

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[THEATER]

THE AMISH PROJECT

Most of us give a degree of lip service to the concept of exercising forgiveness in the wake of being wronged. It’s an attractive idea, but as usual with ideas, it’s one thing to talk about it, another thing to enact it. That’s where the rubber meets the treacherous road. So imagine the wrong that was done to you involves your child being murdered, yet you forgive. That’s an extraordinary human feat, and it’s at the heart of The Amish Project, a one-woman play by Jessica Dickey.

Dickey takes the infamous 2006 mass shooting at an Amish schoolhouse in rural Pennsylvania and crafts her story around it, exploring themes of profound grief resulting

in even more profound grace. (The Amish families of the young schoolgirls killed by the shooter forgave him and embraced his family as fellow victims.) Mustard Seed Theatre opens T H IS C O D E TO DOWNLOAD THE FREE its new season with RIVERFRONT TIMES The Amish Project.

IPHONE/ANDROID APP Performances take FOR MORE EVENTS OR VISIT place at 8 p.m. riverfronttimes.com Thursday through Saturday and 2 p.m. Sunday (August 28 to 13) at Fontbonne University Fine Arts Theater (6800 Wydown Boulevard; 314-719-8060 or www.mustardseedtheatre.com). Tickets are $25 to $30.

— A LEX WEIR

SCAN

Steven Reigns brings The Gay Rub to St. Louis this Friday.

[ART EXHIBIT]

THE GAY RUB

While some parts of the world celebrate and respect LGBT history, others marginalize it. The struggles and triumphs of the gay community deserve to be heard and understood. With his new show The Gay Rub, artist and poet Steven Reigns showcases stunning black-and-white rubbings of important historic markers of gay history (including plaques, monuments, tombstones and signs from around the globe). The show provides a visual history of injustices faced and victories won in black and white. The Gay Rub opens with a free reception from 6 to 8 p.m. Friday, August 28, at the Cecille R. Hunt Gallery at Webster University (8342 Big Bend Boulevard; 314-246-7159 or www.webster.

edu). The show remains up through Friday, September 18, and the gallery is open from 10 a.m. to 5 p.m. Tuesday through Saturday.

— BROOKE FOSTER

S AT U R D AY |08.29

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[ F E S T I VA L ]

FESTIVAL OF NATIONS

It’s always good to know your neighbors.

That’s why the world comes to Tower Grove Park (4256 Magnolia Avenue; 314-7739090 or www.festivalofnations.org) for the Festival of Nations every summer. Presented by the International Institute of St. Louis, the region’s largest multicultural bash offers new sights, sounds continued on page 30

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THEO WELLING

LESLIE WOBBE

From the right: Amy Loui stars in The Amish Project, the Festival of Nations dazzles in Tower Grove Park, the Moonlight Ramble rolls on and the Intercultural Music Initiative Chamber performs. continued from page 29

and tastes from more 40 ethnic food booths and cultural objects from 35 gift booths. The Family Arts & Crafts area presents hands-on activities, while the Village Green offers a Colombian carnival and ethnic dance lessons.

Spanning the globe is easy as the national pastimes of other countries are played at the World Sports and Game Meadow, and a diverse program of entertainers perform across three stages. The Festival of Nations is open from 10 a.m. to 7 p.m. Saturday and 10 a.m. to 6 p.m. Sunday (August 30). Admission is free.

— ROB LEVY

for the founder, but the event has grown into a rollicking cycling street party for helmeted people of all ages. If you want to ramble along, registration opens at 9 p.m. Saturday, August 29, at the corner of South Eighth and Cerre streets and costs $10 to $25. The ride rolls off at 12:01 a.m. on Sunday, August 30, and you can choose to pedal 10.5 or 18.5 miles. Visit www.moonlightramble.com to learn more.

— ALISON SIELOFF

[CYCLING]

[PERFORMING ARTS]

MOONLIGHT RAMBLE

AFRICAN MUSICAL ARTS

Sometimes you need a solo bike ride to clear your head, appreciate the neighborhood and get some good thinking done. And sometimes you need to join thousands of your friends, neighbors and other two-wheeled enthusiasts for a leisurely midnight pedaling fun-fest. The first Moonlight Ramble in 1964 offered the former contemplative experience

S U N D AY |08.30

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Hurricane Katrina left so much horror and heartbreak in its wake: lost loved ones, ruined homes, destroyed businesses. Yet hope, compassion and rebuilding (of both structures and spirits) also came in Katrina’s aftermath. African Musical Arts opens its new season with Music Saved from the Storm, a concert of classical music that

commemorates the hurricane’s ten-year anniversary. Performed by the Intercultural Music Initiative Chamber Players, the concert bears special significance for African Musical Arts, which stored much of its original music manuscripts in New Orleans and lost many to the storm. The program includes Fred Onovwerosuoke’s TwentyFour Studies in African Rhythms for Piano, William Grant Still’s Summerland and the traditional African folk song “Malaika.”

The performance takes place at 3 p.m. today at Trinity Presbyterian Church (6800 Washington Avenue, University City; 314652-6800 or www.africarts.org). Admission is $15.

— BROOKE FOSTER

M O N D AY |08.31

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[HISTORY]

TRIUMPH OF THE WILL

Leni Riefenstahl’s documentary Triumph of the Will is perhaps the most lavish

LEVIN’S

commercial ever made. As is the case with most advertising, the film serves two purposes: to demonstrate Riefenstahl’s genius as a director, and to make the evil filth Adolf Hitler appear to be the savior of Germany. The film captures Hitler at the 1934 Nazi Party convention in Nuremberg.

It’s impossible to watch and not be seduced

by Riefenstahl’s use of dramatic lighting and gorgeous camera-work. Orderly ranks of German youth wielding shovels exhort Hitler and his grand rebuilding of Germany; Hitler stands tall and challenges them to work harder and achieve more. It only takes the mental substitution of rifles for shovels to see the destruction Hitler’s plans will wreak.

Tonight at 7 p.m. at the Missouri History Museum (Lindell Boulevard and DeBaliviere Avenue; 314-746-4599 or www.mohistory. org), James Scott, professor emeritus of film studies at Saint Louis University, presents clips from Triumph and then discusses why it works so well as propaganda and as a film.

Admission is free.

— PAUL FRISWOLD

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[LITERARY EVENT]

[FILM]

[DOCUMENTARY]

R.A. SALVATORE

CLERKS

THE ACT OF KILLING

Left Bank Books welcomes award-winning fantasy author R.A. Salvatore for a discussion and book signing at 7 p.m. tonight at the Webster Groves Public Library (301 East Lockwood Avenue, Webster Groves; 314-367-6731 or www.left-bank.com). A prolific writer, Salvatore has written for video games, comics, graphic novels, two Star Wars titles and the DemonWars Saga.

In 1998 his book The Silent Blade won the Origins Award, presented for outstanding work in the gaming industry. With his latest novel, Archmage, he returns to the Dungeons & Dragons campaign universe of the Forgotten Realms series. His wildly popular hero, the dark elf Drizzt, returns to the Underdark only to find something evil.

Admission is free.

— ROB LEVY

REPURPOSE PURPOSE REUSE RECLAIM!

MON • 11 AM -4 PM WED-SUN • 10 AM -5 PM

For a generation that now complains of being old (even though people much older than us whine much less), Kevin Smith’s Clerks is an important touchstone. Filmed in black-and-white, the dialogue-heavy comedy follows a day in the dead-end lives of convenience store clerk Dante and his friend, Randal, a video-store clerk. Even though in many ways Clerks feels like it’s dripping with the ’90s, it remains relevant today and still captures that listless space between youth and adulthood. Clerks shows at 8 p.m. at Schlafly Bottleworks (7260 Southwest Avenue, Maplewood) as part of the Webster University Film Series’ Strange Brew film screenings (www.webster.edu/ film-series). Admission is $5.

— A LISON SIELOFF

|

Narcissism is a bitch. But it’s one thing when it’s all over social media and celebrity culture, and another matter entirely when it infests the broken souls of the terminally evil. Joshua Oppenheimer’s documentary The Act of Killing explores this phenomenon in the context of Indonesia’s barbarous purges of suspected Communists during the mid-1960s, when an estimated 500,000 to 1 million people were slaughtered.

Oppenheimer and his co-director Anonymous (so named to keep him/her safe from retribution) challenged the former leaders of the Indonesian government’s death squads to re-enact their crimes in any cinematic genre they chose. What results is a loud ‘n’ proud display of unvarnished cruelty, fed by a reptilian crawl through the depths of obscene narcissism. Unrepentant

murderers ham it up for the camera; there is no mitigating self-consciousness, let alone shame or guilt. Experience the freakshow for yourself tonight at 7:30 p.m. in Webster University’s Moore Auditorium (470 East Lockwood Avenue; 314-968-7487 or www. webster.edu/film-series). Tickets are $4 to $6.

— A LEX WEIR 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.

Vintage Furniture, Unique Items, & Other Great Gift Ideas!

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film David and David

Jason Segel and Jesse Eisenberg.

DONALD MARGULIES DISCUSSES HIS NON-BIOGRAPHICAL FILM ABOUT DAVID FOSTER WALLACE, BASED ON DAVID LIPSKY’S NON-BIOGRAPHICAL BOOK The End of the Tour Directed by James Ponsoldt. Written by Donald Margulies. Starring Jason Segel and Jesse Eisenberg. Now screening at multiple theaters.

ave Wallace was a friend of mine.

No, that’s not quite right. In fact, it’s a lie. Let me rephrase: David Foster Wallace felt like a friend of mine.

My reading of Wallace — my falling in drunken love with his intoxicating prose — began in 1996 with his astonishing Harper’s cruise-ship essay, “Shipping Out” (later renamed “A Supposedly Fun BY Thing I’ll Never Do Again” for an essay collection).

CLIFF Convulsing with laughter, I felt compelled to read FROEHLICH aloud large swaths of the the piece to my largely bemused (though sometimes amused) wife. Wallace had that kind of electric, catalyzing effect.

Infatuation quickly grew to obsession: As a latecomer to the party, I quickly sought out previous work — his first novel (The Broom of the System) and his short-story collection (Girl with Curious Hair) — and purchased his buzzed-about, celebrated, epically long and daunting new novel, Infinite Jest. In subsequent years, I delighted in every Wallace sighting on the newsstand and in the bookstore, and I eventually reviewed — glowingly — both Consider the Lobster and Oblivion for the St. Louis Post-Dispatch. And after his suicide in 2008, I had the sad task of assessing the posthumously published, long-in-the-works, and ultimately incomplete The Pale King.

My interest in Wallace was ardent but scarcely unique, and as a subscription to the Wallace-1 listserv or a visit to the Howling Fantods website will make clear, I’m actually a relative dilettante: His work is scrutinized with rabbinical zeal by true devotees, every sentence parsed and endlessly analyzed.

All of which presents a problem for The End of the Tour, the remarkable film adaptation of David Lipsky’s Although of Course You End Up Becoming Yourself, his 2010 account of a fiveday road trip with Wallace through the upper Midwest at the exhausted finish of the Infinite Jest book tour. Wallace is such a beloved figure, and readers are so connected to and fiercely defensive of his work, that any film portrayal is 32

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likely to differ radically from their own mental pictures of the writer.

Donald Margulies, the Pulitzer Prizewinning playwright who adapted Lipsky’s book for the screen, was acutely aware of the risk.

“I certainly felt a sense of responsibility,” he says, “but I couldn’t let that paralyze me.

Wallace is one of those figures in our culture that people have such intense feeling about. I think part of that is attributable to his voice as a writer, because he was able to articulate things that people might have felt or seen but had not yet been able to articulate for themselves. It’s a very intimate experience — the act of reading and hearing his voice in your head — and I think that’s one of the reasons he had the hold he does on so many people who feel this sense of protectiveness and personal attachment to this man. I think that’s a sign of greatness as an artist: to be one with his or her audience.”

Further complicating matters, when the film was announced, the project was not embraced

by Wallace’s family, estate or publisher. In an April 2014 statement, Wallace’s representatives said that they “wish to make it clear that they have no connection with, and neither endorse nor support, The End of the Tour.” Part of the objection was the film’s source: Lipsky was covering Wallace for Rolling Stone in 1996, but an article was never published, and the book — essentially a transcript of the interviews with interpolated observations — appeared only after Wallace’s death. The literary trust wrote: “David would never have agreed that those saved transcripts could later be repurposed as the basis of a movie.”

Those concerns may well have seemed warranted in advance of seeing The End of the Tour, but Wallace’s fans (if not those

AUGUST 26 -SEPTEMBER 1, 2015

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people closest to him) should find the film a only be conveyed through film and could not delightful surprise, despite early fears about the be done justice on a stage. It just would have counterintuitive casting of comic actor Jason been too confining.

“So much of what he was concerned with Segel as Wallace. Margulies observes: “When we took this on, we took it on with our eyes as a writer and as a man is the notion of how wide open, but also with a tremendous amount we find happiness and sustenance in America. of respect and empathy and The fact that they travel to real integrity. All of us were “I THINK WHAT EXCITED the Mall of America, for very mindful of the portrayal instance, which is such a and not deviating from those ME IS THE IDEA OF THESE metaphor for American five days. I think when it was consumerism, and that so TWO INTENSELY SMART first announced that we were much of what he wrote making this film, there was about was people seeking GUYS ON THE AMERICAN entertainment, seeking a misconception that this was going to be a biopic, distraction. And the fact that LANDSCAPE.” like Gandhi or something, we can actually place them and that was never the idea there, Lipsky and Wallace, behind this. It was really the fact that I became talking about these very things that obsessed excited viewing this enigma [Wallace] through him as a creative writer, I thought was just a the lens of Lipsky over the course of this very remarkable opportunity. It was calling out for abbreviated period of time.” that kind of moment in a movie.”

Not everyone would have recognized Margulies, somewhat unusually for a the cinematic potential in Lipsky’s long- screenwriter, was the driving force behind the form interview, but Margulies responded project, and he serves as one of the producers. immediately when his manager, David Kanter, Margulies also recruited director James sent him the book for potential adaptation to Ponsoldt, who was his student at Yale. “We the stage. He recalls: “I wanted to capture on had this burgeoning collegial relationship that film the experience I had of reading Lipsky’s came out of a mentor-protégé relationship,” book — not knowing a lot about Wallace but Margulies says. “So I sent the script to James, finding through Lipsky what he was and what and he responded to it overnight. I have to say he meant and what he brought to the cultural the script has changed very little since that day conversation. when he read it. It’s tighter, it’s shorter — he has “I think that what excited me is the idea very good ideas for cuts — and other changes of these two intensely smart guys on the had to be made for budgetary or location American landscape. So much of what Wallace reasons, but by and large this script is what I wrote about was our culture, the culture of wrote, which not too many screenwriters can America, and to place this iconic figure on the say whose work is directed by other people. very landscape that was his subject matter I Very rare.” thought was a very exciting thing that could Lipsky’s book, understandably, sprawls and

A24 FILMS

The End of the Tour.

meanders, but the screenplay perceptively homes in on several key themes, including one of Wallace’s recurrent subjects: that insatiable need for entertainment and distraction that Margulies mentions above. Margulies observes of Wallace: “By his own admission, his only addiction in life, as he put it, was to television.

That he would ask, ‘Do you have a TV?’ when they have just left attending a movie at the multiplex attests to that kind of need. The way that we’re able to capture his watching Broken Arrow, John Woo’s action movie, with such attention and commitment to the image is very moving. That, incidentally, is one of my very favorite scenes in the movie.”

Lipsky only briefly recounts the Broken Arrow screening, but Margulies expands its parameters, and the following sequence, in which the two writers argue over Lipsky’s perceived flirtation with a former girlfriend of Wallace’s, isn’t referenced in the book, which raises the question of invention in some minds. As Margulies says, “Some bloggers out there have taken me to task for manufacturing moments that actually occurred but were not included in the book.” His response: “I spent several hours talking to David Lipsky. Lipsky generously gave permission to include some things that he did not include in the book, which for me as the dramatist and the adapter proved to be very crucial in the structure of the story.”

Although Lipsky ( played by Jesse Eisenberg) was frankly self-critical in his book, acknowledging his envy of Wallace’s success with Infinite Jest — his own contemporaneous novel, The Art Fair, received laudatory reviews but modest sales — The End of the Tour ups his dickishness quotient and undersells his accomplishments. “I think I can safely say that David Lipsky loves the movie,” Margulies says, but he admits to some necessary tweaking: “From my earliest encounter with him, I said, ‘David, I’m going to be creating a character named David Lipsky, with quotation marks around it, and he’s going to bear a resemblance to you but is not you.’ And he said, ‘I understand.

Whatever you have to do.’ He was incredibly generous in his response and understood that for dramatic purposes the screen David Lipsky is a little greener than he was at age 30 and there’s more at stake for him. To a certain extent, that’s dramatic license. David’s reaction was remarkably lacking in vanity, and he understood that Jesse’s version is a screen character that he’s playing.

“It’s not a documentary that we’ve made.

We’re telling a story, and the story is of a younger, less-acclaimed author in the presence of a giant in his field who he admires and envies and wants the approval of and wants a story from. There are a lot of agendas operating here.”

Among those agendas is the jockeying for position between the two authors in telling Wallace’s highly self-aware story: Both want control. On the surface, a friendship appears to develop between the men, but there’s a falsity to the relationship. Margulies says: “One of the things that James Ponsoldt and I talked about was Janet Malcolm’s book The Journalist and the Murderer, which is such a fascinating portrait of the kind of transference that occurs between a journalist and his subject. Almost in psychological terms, the way a patient and his analyst may become overly invested in each other. The lines, the parameters of the relationship at hand, are blurred when people begin to supply elements that aren’t really there — they’re artificial, they’re neurotic. But they are intrinsic to that kind of dynamic, and we were very curious about that.”

To explore this sort of territory, to effectively communicate the sophisticated ideas at play in the film, The End of the Tour places serious demands on its central pair of actors, and Segel and Eisenberg unfailingly deliver. “We needed to cast two verbally dexterous actors,” explains Margulies, “and these guys are incredibly funny, smart and quick. The script asks them to lay out these complex ideas that are not always immediately visible. In other words, within the speech itself, you’re not exactly sure where he’s going with this — there’s a certain kind of convolution within the speech until either of them makes his point, and it’s an ‘ahhah’ kind of moment. To convey that kind of thought process — of writers writing out loud essentially — is a very tough thing to pull off.

“We were blessed with two actors who have a real sense of ease with thoughts being expressed as we’re watching them. Sometimes you see something where actors are saying things, and it’s almost as though they don’t fully comprehend what they’re saying, and that was never the case here. There was a real sense of comprehension and empathy that informs every little nuance.”

“Empathy” and “nuance” — two words that aptly (if only partially) capture David Foster Wallace’s own work. Fortunately for Wallace’s admirers, they also apply to The End of the Tour.

■

Book your next cab with

STLtaxi Wear your super hero capes for this special night of storytelling and wild fun!

St. Louis County Library Foundation’s Reading Garden Event Series and the Novel Neighbor Present

Sunday, August 30 6:30 p.m.

Doors open at 6:00 p.m. Seating is limited; early arrival is recommended.

Photo by Ka St. Louis County Library Headquarters Headquarter i Suzuki Main Reading Room, 1640 S. Lindbergh Blvd.

St. Louis, MO 63131, 314-994-330

Admission is free, but a book purchase is required at the event to enter the book signing line.

Program sites are accessible. Upon two weeks’ notice, accommodations will be made for persons with disabilities. Call 314-994-3300 or visit www.slcl.org

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AUGUST 26 -SEPTEMBER 1, 2015

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STILL ROLLING OUR ONGOING, OCCASIONALLY SMARTASS, DEFINITELY UNOFFICIAL GUIDE TO WHAT’S PLAYING IN ST. LOUIS THEATERS Here’s every Philosophy 101 class ever: Whorls of words and hypotheticals and logic and morality alternate between forcing a serious reevaluation of your worldview and really wanting to take a nap. In Woody Allen’s Irrational Man, we’re asked to shift our worldview enough to believe Joaquin Phoenix as a drunken, depressed (but genius!) philosophy professor who’s also charismatic enough to make an undergrad (Emma Stone) fall for him. But it’s only when the prof takes utilitarianism into his own hands — killing a crooked judge — that

H

H

H

H

“IT’S IMPOSSIBLE NOT TO FALL IN LOVE WITH ‘MISTRESS AMERICA’.”

Joe Neumaier,

his Kant-do attitude lifts. An intriguing enough premise, but the film is far from a Locke; critics are giving it low (sorry) Marx. ● We’ve all seen the wedding-cake topper of the bride grabbing the groom by the collar, dragging him away from a life filled with sexy funtimes and toward the altar of imprisonment, where all that’s left is monogamy and arguing over how

greta gerwig lola kirke

to properly squeeze the toothpaste tube (from the bottom up, always). In Trainwreck, it’s beer-slamming, bed-hopping Amy (Amy Schumer) who’d rather order another round of shots than order fine china. Until, of course, she meets Aaron (Bill Hader) who reminds her that, in the words of British philosopher Samantha Fox, naughty girls need love too. Sure, it gets a little formulaic in places, but it’s a hell of a

directed by

lot more fun than most actual weddings. ●

noah baumbach

Ah, the trap of the stoner comedy: playing

written by

noah baumbach & greta gerwig

pot for laughs while somehow also advancing the story. And much like completing a book or making a life-long commitment, that can be really daunting — particularly when super high. In American Ultra Jesse Eisenberg plays Mike, an aspiring comic-book author who (kind of) pays the rent with the money he earns working at a crappy convenience store. He has just never quite gotten around to proposing to his girlfriend Phoebe (Kristen Stewart).

But somehow seemingly dim Mike manages to off a guy using just a spoon, which might begin to explain why CIA agents are after the

EXCLUSIVE ENGAGEMENTS START FRIDAY, AUGUST 28 34

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AUGUST 26 -SEPTEMBER 1, 2015

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Three Kings is known around town as having a Great Craft Beer list, but now we are just as famous for our Upscale, Global Pub Food as well as our Award Winning Atmosphere.

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P H OTO S B Y M A B E L S U E N

cafe

Beyond Burritos TARAHUMARA OFFERS CHEROKEE STREET A DIFFERENT KIND — BUT NO LESS AUTHENTIC KIND — OF MEXICAN FOOD Tarahumara 2818 Cherokee Street; 314-804-7398. Tues.Sun. 10:30 a.m.-8:30 p.m. (Closed Sundays).

O

wner Teresa Armendariz was working Tarahumara’s front counter when I approached and asked her what was good. “Well, we have new tacos and burritos,” she said.

I was confused. Neither the menu nor the special BY board made any mention of burritos, and as far as tacos, C H E RY L only a steak version was on offer. Neither seemed to fit BAEHR in with the other items that

Tarahumara touted on its bill of fare — tortas, Steak tacos with onions, tomato, cilantro and avocado. chilaquiles, creamed chicken with corn.

Luis Navarro in a quandary. Since moving to the The best example of this is its torta especial, I pressed her a little.

“We’ve had a lot of people ask us for them,” area twenty years ago, the pair has been unable a glorious sandwich that puts American-style Armendariz explained in heavily accented Eng- to find food that’s representative of their native club sandwiches to shame. The bread makes lish. “I don’t think people know what we are. Chihuahua. The first-time restaurant owners this dish: Tarahumara uses a Mexican roll that’s We’re not like the other places around here — opened Tarahumara in February because they one part soft, buttery brioche and another part people think our food isn’t Mexican, but we’re wanted to fill this niche. But precisely because flaky Vietnamese banh-mi-style baguette. It’s of its unfamiliarity, they contend, prospective stuffed with thickly sliced roast beef, ham, from Chihuahua.”

Armendariz is right. Tarahumara is unlike diners walk up, look at the menu and move on melted Chihuahua cheese and mashed avothe other restaurants that populate the Chero- to the taquerias down the street. cado. This alone should put the place on the I understand why hungry passersby might map. kee Street district — or most of St. Louis, for that matter. We’re used to seeing dishes from be inclined to keep moving — if they notice Tarahumara touts its gorditas as the house the southern part of Mexico, not her native the place at all. Tarahumara is marked only by specialty, and it’s clear why. The gorditas rojas a banner that blends in with are handmade corn tortillas, ground with mild northwest with its rugged the building. Its interior is aus- red peppers to give them a sweet flavor and mountains and forests. (The tere, with bright orange and vibrant red-orange hue. The tortillas are deep restaurant’s name is a tribute Tarahumara yellow painted walls serving fried, then hollowed out like a pita pocket and to the Tarahumara people, “Torta especial” .......... $7 “Gordita roja” ........$3.60 as the only decoration. Booths filled with picadillo, a blend of seasoned ground who are indigenous to the Chilaquiles .................. $7 line one side, tables the other, beef and potatoes. Shredded lettuce, tomatoes region.) And beyond that, the and the only real cues that the and crema garnish the plate. It’s a mild dish on ubiquity of Tex-Mex in the restaurant is open are the two its own, but the accompanying (not too) hot Midwest has also greatly influenced how we think of Mexican cuisine. If it’s televisions that play a Spanish language music- sauce gives it a piquant kick. not a combo platter with refried beans, rice and video channel.

The gorditas harina, unlike the roja verFor those who stay long enough to order, sion, are made from flour. Diners have several guacamole, we don’t know what to do with it.

This leaves Armendariz and her husband however, Tarahumara is a gem in the making. choices of fillings, in- continued on page 38 riverfronttimes.com MEOPNTTEHM X X–X riverfronttimes.com AUGUST 26 -S BE R 1X, , 2200105X RRI IVVE ERRF FRROONNT T T TI IMME ES S 371

“Gorditas rojas” and “Gorditas de harina.”

Tarahumara

continued from page 37

4144 S. Grand

St. Louis, MO 63118

(314) 875-9653

Tuesday-Sunday

11am-9pm

2801 Cherokee St. (314) 776-4223

FULL BAR • GAZEBO SEATING Tacos • Tortas • Quesadillas Burritos • Gyros • Fajitas Homemade Ice Cream in tropical flavors

38

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cluding creamy shredded chicken with corn.

Think of it as a delicious Mexican-style chicken salad. My favorite, though, was the poblano version, a blend of the lightly spicy green peppers with melted white Chihuahua cheese.

This glorious concoction — the filling has the consistency of spinach dip — was so good I wanted to eat it out of a bowl with a spoon.

The same fillings for the gorditas are also available as sopes, though I found these to be on the chewy side. The sopes toppings — simple refried beans with salty Chihuahua cheese, or shredded beef and tomatillo salsa — would have both made excellent fillings for the gorditas.

Flautas, filled with under-seasoned ground beef and topped with shredded lettuce, tomatoes and sour cream, were adequate, though unremarkable compared to some of the other dishes.

Tarahumara’s house specialty is chilaquiles, a dish from northwestern Mexico that could be considered the worldly cousin to bar nachos. Housemade tortillas (about triple the thickness of chips) are cut into triangles, deep fried and spread out over the plate. Verdant tomatillo salsa is at once refreshing and fiery hot — a lovely combination. Pulled chicken and a drizzle of crema finish the plate. It’s messy and doesn’t photograph well — the menu has a picture that doesn’t do it justice — but it’s well worth the extra napkins.

Though Tarahumara’s menu touts its charbroiled chicken front and center with a large color photograph, it wasn’t available on either of my visits. Armendariz explained that they anticipated it being their house specialty, but

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This glorious poblano gordita filling — it has the consistency of spinach dip — was so good I wanted to eat it out of a bowl with a spoon. no one ordered it and they ended up throwing it away every night. But when they stopped offering it, immediately, people began asking for it.

The couple is in the process of adding it back, possibly on weekends only. On one of my visits, Armendariz had cooked some up for her dinner and brought me out a sample of the juicy, pineapple-infused meat. If this tease was indication of what Tarahumara was capable of doing with chicken, I look forward to the day I can order a whole piece.

Armendariz admits that she and Navarro are still trying to figure things out — this is their first time owning a restaurant, and they aren’t really sure what they are doing. They’re giving it a year, she says, explaining that it will give them the time to see if their plan is viable.

There are a few details to tweak — the menu, the signage, how they advertise their offerings.

They have the most important thing down pat, however: their food. I hope they can work out the rest so we can continue enjoying it.

■

PHOTO & DESIGN : RICK GOULD

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2 Plumbers, 1 Goal

short orders

PLANS FOR A BREWERY-ARCADE TAKE SHAPE IN ST. CHARLES [CHEF CHAT]

How Dan Drake Became “Dr. Dan the Pancake Man”

Dan Drake, a.k.a. Dan the Pancake Man.

I

f you would have told me fours year ago that I would be a professional pancake artist, I would have laughed,” says Dan Drake. “Just last week I was in Monterey, California, making pancakes for billionaires.

I looked up and was like, ‘How did I get here?’”

The short answer is Courtesy Diner. That’s where Drake, also known as Dr. Dan the Pancake Man got started making his signature “Dancakes” — shockingly intricate, edible pancake art that features just about every major pop-culture reference you can imagine.

Before Courtesy, Dan was an artist, without much direcT H IS C O D E TO DOWNLOAD THE FREE tion and in need of a RIVERFRONT TIMES job. “I was the kid in IPHONE/ANDROID APP high school who didn’t FOR MORE RESTAURANTS OR VISIT really try that hard beriverfronttimes.com cause I was bored,” he explains. “I would just doodle in the back of the classroom and draw comics.” He had no professional cooking experience prior to Courtesy and was placed on the slow shifts because he needed to earn his chops. This resulted in a lot of time on his hands but very few tips.

Drake was desperate to make more money, and a coworker told him that making mouseear shapes on the pancakes usually got people to leave a little extra. His first Dancake was a simple smiley face sent out to a customer who looked like he was having a terrible day. The man left him $15.

Drake developed a following at Courtesy and began experimenting with his technique.

One night, he did a Super Mario Bros. magic mushroom portrait for his friend, who photographed it and posted it to social media. About seven months later, someone found the picture and posted it to Reddit where it went viral. A writer from Buzzfeed noticed it and did a post that was then seen by an intern for the Today show. The next thing he knew, Drake was flying to New York to create portraits of Al Roker and Matt Lauer on air.

Drake hasn’t looked back. He quit Courtesy and started his own business doing pancakes for parties and on commission. He has big plans for the future of Dancakes, the most immediate being his work with a Chicago-based scientist on developing a special kind of batter that will allow the cakes to be preserved.

“It will allow me to do serious, expressive art

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that will last,” Drake says. “I’ll just be using a medium that’s unlike anything else out there.”

Drake took a break from his latest project — a multicolored Pixar retrospective inspired by Inside Out that he is filming, composing music for and posting on his YouTube channel — to share his thoughts on the St. Louis food scene, having coffee with witches and the details of his last meal on Earth — surprise, it involves pancakes.

What is one thing people don’t know about you that you wish they did?

I’ve got a bad habit of talking too much. I’m not sure I have anything about me that I wish more people knew. People are crazy. I’m crazy.

What daily ritual is non-negotiable for you?

I like to jog, I like rock climbing, I like a lot of things, but it’s all negotiable.

If you could have any superpower, what would it be? I wanna shoot pancake batter from my eyes. It would make for a fun change of pace at events.

What is the most positive trend in food, wine or cocktails that you’ve noticed in St. Louis over the past year?

I’m an absentminded hermit 90 percent of the time, and the other 10 percent is pancakes.

It’s pretty cool that people hire me for their parties, I guess? That’s a cool trend.

Who is your St. Louis food crush?

Liz Schuster of Tenacious Eats. She’s a badass mofo who don’t take no lip from nobody.

Who’s the one person to watch right now in the St. Louis dining scene?

Whoever hires me for brunch next. Honk honk.

Which ingredient is most representative of your personality?

The love, which I put into each and every pancake that I serve. Or the griddle, ’cause I’m so hot.

If someone asked you to describe the current state of St. Louis’ culinary climate, what would you say?

Not enough Dancakes.

Name an ingredient never allowed in your kitchen.

Waffle irons. You’re an ingredient.

What is your after-work hangout?

Maeva’s Coffee in Alton. It’s run by witches, and that’s kind of neat.

What’s your food or beverage guilty pleasure?

I have an obnoxious sweet tooth, so milkshakes. Smoothies are pretty great too. Oh, and cookies. Chocolate. My tongue never stopped being five. Ice cream. Banana chips.

What would be your last meal on earth?

Easy. Three scrambled eggs with grilled onions and cheddar cheese, crispy bacon, golden hash browns, lightly buttered wheat toast with strawberry jam, a cool glass of orange juice, a warm cup of black coffee, and a steaming short stack of pancakes. And maybe a cigarette. War never changes.

—CHERYL BAEHR

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R

obert Schowengerdt and John Simon are in the midst of a $25,000 Kickstarter campaign to open Two Plumbers Brewery + Arcade in St. Charles. One is an animator by trade and the other a microbiologist. They share, however, a passion for craft beer and video games. The name is a play on Super Mario Bros.’ Mario and Luigi.

We asked Schowengerdt a few questions about the fundraising campaign and their vision for Two Plumbers.

Do you have a location picked out for Two Plumbers?

We haven’t chosen a location yet. We have a few spaces in mind, but felt it would be better to see how the Kickstarter goes before we sign a lease somewhere. We are looking for around 3,000 square feet, and want to stay in the older parts of St. Charles.

What are your favorite video games?

I could go on for days answering that question. I’ll stick to arcade games, X-Men, Double Dragon, Alien vs. Predator. John and I are both big fans of the side-scroll, beat-’emup games, but I can play Japanese shooters like Ikaruga for hours.

Will the arcade games predominantly be from a particular system or era?

We are taking a no-holds-barred attitude with game selection. There are so many good titles out there that we don’t want to limit ourselves. Really anything fun to play, including pinball and a few Japanese arcade games.

There are some killer Japanese titles that most Americans have never played.

How long have you been brewing?

John has been home brewing for a little over eight years and interned at Square One and Six Row. Square One featured his smoked amber recipe on tap and at festivals.

What kinds of beer do you plan to brew?

Just like our arcade selection, we don’t want to limit ourselves to a few styles. We plan to brew with the seasons and whatever sounds interesting. John is a creative guy, and he’s always trying out new recipes just to see if they will work. That said, sometimes you just want a beer you know is good, so we plan to always have our house specialties, a honey blonde and a brown ale, on tap.

Will you sell other things, or only your own stuff?

We will have guest taps dedicated to other breweries. We like to try other breweries beer just as much as anyone else.

Do you plan to serve food or snacks as well?

This may surprise people, but we have no plans to serve food. We will encourage people to bring in their own food and order from local restaurants, just like iTAP and Exit 6.

What St. Louis breweries do you particularly like or want to emulate?

So many good places to choose from, but Square One, Four continued on page 44

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TWILIGHT TUESDAYS

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The “White House Roll” with salmon instead of white tuna.

[FIRST LOOK]

Sushi Station Opens in Webster Groves

C

hange is a constant at most restaurants, but the majority appear to have a rehearsed system, polished space and established menu in time for a soft open. This isn’t the case at Sushi Station, the new restaurant at 29 North Gore Avenue in Webster Groves.

First, Sushi Station isn’t quite set in its routine. When we visited, there was a lot of discussion among staff, who seemed much busier than they should have been with a mostly empty restaurant.

Second, the menu does not appear to be set. The temporary menu comes in a manila folder. Our waitress recommends the “Chef Special” roll, but when urged to choose something on the menu, suggests the “White House” roll. Sushi Station was out of white tuna during our visit, however, so ours came topped with salmon.

The space, however, does appear finished.

While minimalist, it would be a shame to cover the natural woods, deep grays and bright whites with art. Unlike most sushi restaurants, where the patron can only see rolls prepared across a counter, at Sushi 42

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Station, a few seats to the side of the sushi bar offer an unobstructed view of the chefs’ workspace. These are the best seats in the house.

Sushi Station is undoubtedly still fitting the pieces together, but that’s part of the excitement: It’s fun to watch a restaurant come together.

Co-owner and manager Pui Nammakhot says the restaurant has had a “very good welcome to the community” and that friends are telling each other about the space. Business is picking up solely by word of mouth.

Appetizer and sushi/sashimi offerings include the expected standards. The gyoza and “White House” roll (typically fried calamari, avocado, masago, white tuna, wasabi mayo and eel sauce) are both straightforward, but they’re executed well.

It’s too soon to say for sure, but the favorites at Sushi Station might well end up being its non-sushi offerings. We tried the chicken teriyaki, which is as tasty as it is beautiful. Many teriyaki dishes come with a vegetable — often bok choy or broccoli — but we appreciate Sushi Station’s fresh salad which lightens up the dish and makes for a more interesting combination of flavors.

No date has been set for the grand opening, but Pui estimates that it might be around the second week of September.

— JOHNNY FUGITT

Authentic MexicAn Food, Beer, And MArgAritAs!

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[RESTAURANT ROLL CALL]

Union Loafers Bakery and Bar to Open Soon in Botanical Heights

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n the corner of McRee and Tower Grove Avenue in Botanical Heights, bread is on the rise.

Ted Wilson, formerly a baker at the recently shuttered the Good Pie, is on the cusp of realizing his dream: an artisanal bakery and bar called Union Loafers. The restaurant joins Old Standard Fried Chicken, Elaia/Olio and La Patisserie Chouquette to form one of the most interesting clusters of restaurants in St. Louis.

Union Loafers (1615 Tower Grove Avenue; 314-833-6111 or www.unionloafers.com) has been one of the city’s most talked about restaurants for some time, but with no opening date in sight, Wilson, along with his his business partner Sean Netzer, has had little information to share. Now, the duo is closer to a starting date, with a plan to light the ovens and open their doors. “We’ve been saying that we’ll be open in three weeks for three months,” Wilson says. “The one thing we’ve learned from construction code is that if you say a couple weeks, it really just means no clue.”

Their construction woes certainly have been many. While the two have been focused largely on learning the ins-and-outs of being first-time business owners, they had difficulty with their contractors which pushed back their plans of opening this summer. “There was a little confusion as to who held the responsibility for certain tasks,” Wilson laments. But he and Netzer have worked tirelessly with their team to make sure the building is exactly how they dreamed it would be.

Wilson and Netzer first met while working at The Good Pie in Midtown. Wilson fashioned Neapolitan pizzas, while Netzer slung whiskeys and draft beer at the bar. “We hit it off over a 6-barrel of Kentucky breakfast stout.” Wilson joked. Netzer left to work at 33 Wine Shop &

AUGUST 26 -SEPTEMBER 1, 2015

Bar to expand his knowledge of all things spirits and Wilson left shortly thereafter to focus on the business plan for their bakery concept.

“When we hatched this plan, we were originally going to go to Louisville and do more of the Neapolitan concept because it was what we knew, but then we realized we didn’t want to leave St. Louis,” Wilson confides.

“On my last night at The Good Pie, we sat over a beer and were like, ‘Think about a bakery/cafe’ and we’ve slowly been working on that ever since,” Netzer says.

The two found inspiration for their cheeky name in a classic routine by Abbot and Costello, mirroring their famous “Who’s On First” routine. “It was kind of funny to us, kind of playful.

Neither of us take ourselves too seriously so it made sense,” recalls Wilson. “It was also very comfortable for our brand. This classic duo, and then something that’s also very tongue and cheek.”

But the pair acknowledge that the name may have annoyed a few contractors in the process.

“I feel like I haven’t explained the name properly to some people and they look at me like I’m a jerk,” Wilson admits. “But overall, most people have enjoyed it.”

The restaurant will feature a rotating menu of European-style, handmade breads and sandwiches, with a small but unique wine list curated by Netzer. Customers will be able to purchase breads to take home. “We’ll also have

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Two Plumbers

continued from page 41

Hands, Civil Life and Ferguson have been big inspirations. We have watched them grow and chase their dreams, now it’s time to see what we can accomplish.

Just as some people claim their kickball prowess improves as they drink, do you get better at video games as you drink?

I think it’s like bowling: A few beers loosen you up, but too many and you won’t stay on target. Maybe drink only a few of our beers

local drafts and great single malt scotches — I’ll try to show people the breadth of the spirit. And it all ties back into bread because the unifying characteristic of whiskey is that it has to be distilled from grain,” Netzer explains.

“And we like to drink it,” Wilson adds with a laugh.

Wilson and Netzer say they are fortunate to have spent time honing their crafts in their respective fields, as it has allowed them to cultivate honest and sincere relationships with successful restaurateurs who are excited to see them excel. Although the entire experience has been years in the making, they both agree that the wait should be well worth it.

“The whole process has been such a slowburn, but every bit of the investment feels right,” Wilson says.

“The amount of care that we’re going to put out on a plate or pour into a glass, we’re just so excited to share that with everybody,” Netzer says.

Towards the end of August, Union Loafers will open its doors to the public, whether they feel like they’re ready or not. The biggest hurdle for them so far has been getting their contractors to communicate effectively. But Wilson and Netzer are planning to make good on all the hype that’s grown around their new venture.

“As soon as that thing is turned on,” Wilson says, motioning to the industrial oven behind him, “I’m gonna live here.” – KEVIN KORINEK if you are going for a world record high score.

We bet you will have an awesome Halloween party. Can we come?

Oh yeah, we are huge fans of Halloween.

I’m always making movie costumes and prop replicas and John actually got married on Halloween. It’s safe to say we will have a heck of a party, and everyone is invited.

— JOHNNY FUGITT Find hundreds of restaurant listings and reviews, as well as the latest on our food blog, at riverfronttimes.com

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dining guide

fare. The sleek, modern restaurant offers breakfast and lunch on the weekdays, and Saturday and Sunday brunch, with items such as turkey meatloaf, brioche French toast and smoked-salmon tartine. Pancakes, covered with housemade granola, fresh berries and whipped cream is a must try, as is the breakfast salad — arugula, potatoes, bacon, feta cheese and crispy onions are topped with creamy herbed dressing and poached eggs. White Box Eatery’s freshly baked pastries are the restaurant’s highlight. Fresh doughnuts, chocolate croissants, cheese Danishes and savory scones are a perfect end to the meal — or a tasty grab-and-go snack. $$

SOUTH CITY Premium Spirts and Bistro Menu Available.

Saturday and Sunday Brunch.

The Dining Guide lists only restaurants recommended

by RFT food critics. The print listings below rotate regularly, as space allows. Our complete Dining Guide is available online; view menus and search local restaurants by name or neighborhood.

Price Guide (based on a three-course meal for one, excluding tax, tip and beverages): $ up to $15 per person $$ $15 - $25 $$$ $25 - $40 $$$$ more than $40

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The Bottoms Up Blues Gang • August 27 Danbury Street • August 28 Gary ColmanJazz Quartet • August 29 Goug Phillips • August 30

2732 S 13th St

St. Louis, MO 63118 314-349-2850

801 Chophouse 137 Carondelet Plaza, Clayton, 314-8759900. 801 Chophouse’s super-size steaks are the most expensive meal in town — and that seems to be the point. The restaurant peddles opulence to holders of corporate cards, as well as regular folks who want to feel like royalty (at least for a day). For the price tag, diners will receive impeccable service, fine wines and shamefully large cuts of beef. Bonein selections are the best offerings: The strip, rib eye, pork and veal all benefit from the extra flavor (and thicker cut).

801 Chophouse offers a variety of steak enhancements, from Oscar-style with crab and béarnaise to a bone-marrow bath. However, the high-quality steaks and chops are delicious enough on their own. Seafood is incredibly fresh, and the oysters taste straight from the coast. Side dishes are served a la carte: The creamy scalloped potatoes and lobster macaroni & cheese are excellent options — just make sure to ask for a half order so you can save room for the Grand Mariner soufflé. $$$$ Avenue 12 North Meramec Avenue, Clayton, 314-727-4141.

The long-time patrons who lamented the closure of Bryan Carr’s Pomme Restaurant and Pomme Café & Wine Bar can find respite at Avenue.

The Clayton bistro, located just a few blocks away from its popular predecessors, combines the two concepts under one roof, but also allows Carr to up the ante on his classic French-influenced fare. The veteran chef keeps T H IS C O D E some of Pomme’s favorites TO DOWNLOAD THE FREE on Avenue’s menu but also RIVERFRONT TIMES adds several successful new IPHONE/ANDROID APP dishes, such as authentic FOR MORE RESTAURANTS OR VISIT cassoulet with white beans, riverfronttimes.com duck confit, sausage and pork shoulder. The pork schnitzel, topped with brandy-sauteed apples, is another standout dish, and appetizers such as wild mushrooms served with buratta over crusty bread demonstrate Carr’s culinary prowess. Avenue has an excellent brunch, with offerings such as blueberry and lemon pancakes and an overstuffed ham, egg and Gruyere crepe that doubles as a hearty breakfast wrap. Pomme may still be on everyone’s mind, but Avenue proves to be a worthy followup. $$ Cantina Laredo 7710 Forsyth Boulevard, Clayton, 314725-2447. Cantina Laredo in Clayton is the first St. Louis location of the Dallas-based upscale Tex-Mex chain. The restaurant’s large, modern bar has quickly become a happyhour hot spot, pouring stiff drinks for the area’s business clientele. On the food side, diners can expect modernized, fusion versions of Mexican and Tex-Mex dishes, anchored by a large selection of fajitas and enchiladas. The restaurant’s signature appetizer, the “Top Shelf Guacamole,” is prepared tableside, with accoutrements added to one’s preferences.

The “Enchiladas Veracruz” features two tortillas stuffed with a Mexican version of chicken spinach dip, and the “Costillas Con Fajita” is a gigantic, searing hot platter of ribs, steak and chicken, large enough for three diners. A must-try is the “Torta de Carnitas,” smoked pork topped with goat cheese, apricot jam and an over-easy egg. Though it’s difficult to save room for dessert, one must find a way to manage: The Mexican apple pie, finished with brandy butter tableside on a searing-hot cast-iron skillet is a scrumptious end to the meal. $$-$$$ Whitebox Eatery 176 Carondelet Plaza, Clayton, 314-8622802. White Box Eatery elevates daytime eating for busy Clayton diners with its upscale take on breakfast and lunch

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Adam’s Smokehouse 2819 Watson Road, St. Louis, 314-875-9890. You can’t spell barbecue without “cue,” but the lines haven’t formed outside the door at Adam’s Smokehouse — yet. The slow-smoking barbecue joint in Clifton Heights opened in October and serves as a sister store to well-renowned, consistently packed restaurants Pappy’s Smokehouse and Bogart’s Smokehouse, so it seems like only matter a time before all of St. Louis stands in line to try a bite. Co-owners Frank Vinciguerra and Mike Ireland spent several years working at Pappy’s with barbecue master Skip Steele before embarking on their own venture. With the blessing of their barbecue brethren, the two put together a small but substantial menu of smoked meats and traditional sides done well. $$ Gooseberries 2754 Chippewa Street, St. Louis, 314-5776363. Gooseberries is a Dutchtown South-Cherokee Street gathering place where locals and passersby can go to grab a meal, a snack or just a cup of coffee. Out of a cozy, rehabbed storefront, owners Kim Bond and Ross Lessor serve an eclectic mix of breakfast and lunchtime items, including several vegan and vegetarian dishes. Bond is a pastry chef, so Gooseberries’ baked goods are highly recommended — especially the hand pies, filled with everything from gyro meat to chicken and waffles to broccoli-cheddar.

Sandwiches include a vegan beet Reuben, pulled pork, and a Gouda and cheddar grilled cheese that can be made with waffles instead of bread. The restaurant’s signature dish is “KFT”: “Krispy Fried Tofu” made with a savory blend of thirteen herbs and spices that is so tasty, it could make one forget the Colonel. $ Grapeseed 5400 Nottingham Avenue, St. Louis, 314-9258525. Chef Ben Anderson’s Grapeseed serves seasonal American cuisine in the SoHa neighborhood of south city.

Anderson sees the restaurant as a canvas upon which to feature locally sourced ingredients, the wares of the city’s artisans and even paintings by local artists. The menu is eclectic yet approachable, with offerings as varied as a Cuban sandwich to Chinese five-spice salmon. Though the menu changes frequently, some dishes remain as his signatures, such as the smoked turkey nachos — a platter of sweet potato chips topped with smoked turkey, spiced cranberries, micro greens, red peppers, buttermilk dressing and house brewed sweet and sour firecracker sauce. Dine at the bar next to the SoHa regulars, or grab a table in the warm, contemporary dining room for a feast that celebrates the best of the season. $$$ Leonardo’s Kitchen 2130 Macklind Avenue, St. Louis, 314-664-1410. Leonardo’s Kitchen is a quaint sandwich and pizza shop, located in a converted gas station. Characteristic of its Hill neighbors, the restaurant specializes in St. Louis-style Italian dishes, such as pastas, sandwiches and pizzas. Meatballs are the house specialty, and Leonardo’s Kitchen and Wine Bar gives diners several opportunities to enjoy them — on the “Hey Bauly” pizza, “naked” with a variety of sauces or as the must-try meatball sandwich. For this version, Leonardo’s packs the moist, tender meatballs between two slices of garlic bread, smothers them with fresh tomato sauce and basil pesto then tops them with melted provolone cheese. The hot Italian beef sandwich is another signature dish: Gravy-drenched roasted beef and giardiniera are served atop a soft roll, like an Italian version of a French dip. Pizzas fall between St. Louis and New York style — hand-tossed and thin, but with heft and crunch.

Leonardo’s piles on the toppings. Its veggie pizza gives diners two days’ worth of vegetables. This cozy little spot may no longer be filling up cars, but diners will leave overstuffed with tasty casual Italian food. $ Lulu’s Local Eatery 3201 South Grand Boulevard, St. Louis, 314-357-7717. St. Louis food-truck-goers are already familiar with the name Lulu’s Local Eatery; these mobile peddlers of vegan cuisine have been rolling around town since 2012. Following the success of their truck, husband and wife owners Lauren “Lulu” Loomis and Robert Tucker expanded their operations to include a brick-and-mortar corner storefront on South Grand, featuring the dishes that diners came to love from their food truck. Lulu’s may be vegan, but patrons are treated to hearty, satisfying cuisine that appeals to even the most committed carnivore. Buffalo cauliflower bites are like vegetarian boneless buffalo wings, complete with ranch dressing. Another appetizer, the avocado boat stuffed with Mexican-style quinoa, is satisfying enough to be a meal unto itself. The buffalo veggie burger and sweet potato falafel are also excellent sandwiches, but the star of the menu is the Buddha bowl, filled with stir-fried vegetables and thick, silky udon noodles. Dine on the patio, amidst the organic herbs and vegetables — you just might be sitting next to tomorrow’s special. $-$$ Old Standard 1621 Tower Grove Avenue, St. Louis, 314-899-

9000. Acclaimed chef Ben Poremba adds to his Botanical Heights restaurant flock with Old Standard Fried Chicken.

Located in a converted horse stable, this casual chicken and bourbon shack draws crowds for its sustainably raised fried birds and Southern-style dishes. Poremba’s chicken recipe involves brining the bird, then cooking it in a pressure fryer to lock in the juices and give it a crisp exterior. Fried chicken is the only entrée at Old Standard, but the menu is filled with such downhome snacks as creamy pimento cheese dip, boiled peanut hummus, and sweet and spicy chicken wings. The restaurant’s standout snack, the smoked whitefish croquettes, is like eating a sweet and savory cream puff. Classic side dishes, such as smothered greens, creamed corn and mashed potatoes with chicken gravy, complement the fried chicken, and the bread board, served with housemade butters and jellies, makes for a hearty feast. $$-$$$ The Purple Martin 2800 Shenandoah Ave, St. Louis, 314898-0011. Long-time Fox Park residents Brooke Roseberry and Tony Lagouranis dreamed of creating a neighborhood gathering place. They’ve finally gotten their wish with the Purple Martin. Located in a rehabbed corner storefront, the restaurant is a quaint, casual bistro with Mediterranean and North African fare. Appetizers such as skordalia, a tangy garlic dip, and zeal, a lima-bean-based Berber specialty, serve as zesty starters, while the lamb shank with roasted tomatoes and potatoes is a satisfying entree. Make sure to save room for dessert. The Napoleon, layers of buttery puff pastry, sweet cream and macerated blackberries is a decadent end to a meal. For those who prefer an adult beverage as a nightcap, the Purple Martin boasts a creative cocktail menu. Its namesake drink, a concoction of Fitz’s grape soda, Malibu rum and lime juice, is a sweet and refreshing treat. $-$$ Riverbend Restaurant & Bar 701 Utah St., St. Louis, 314664-8443. Owner Sam Kogos is a New Orleans native who owned a restaurant in that city, the Rendon Inn, for fifteen years. Chef Steve Daney, Kogos’ cousin, was once executive chef for the mayor of New Orleans. So, yes, Riverbend is as authentic a Creole restaurant (with the occasional Cajun dish, to boot) as you will find in St. Louis. The crawfish Creolie is outstanding; the red beans and rice, available only on Monday, is worth planning your week around. The cochon de lait po’ boy, thick with roasted pork, will ascend your list of favorite sandwiches. Save room for bread pudding. $-$$ Spare No Rib 2200 Gravois Avenue, St. Louis, 314-2028244. A taqueria-barbecue joint owned by a Tunisian mathematician may seem like a recipe for disaster, but a visit to Spare No Rib erases any doubts. Owner Lassaad Jeliti was inspired to open the Benton Park restaurant after a taste of tacos and barbecue reminded him of North African street food. Jeliti was amazed at the similar spices, sauces and preparations of the seemingly different cuisines, and he wanted to celebrate this at his restaurant. Spare No Rib has a small menu, but it covers all of the taco and barbecue basics. Of the tacos, the cachete is the clear standout. The fresh corn tortilla is stuffed with braised beef cheeks that melt in the mouth. Another must-try is the pork and fennel — chunks of tender grilled pork are served with fennel. The smoky, fall-apart ribs do not need sauce — a spice rub dominated by flavors of cumin and cinnamon gives the meat more than enough flavor. The pulled pork sandwich, another excellent barbecue option, is piled with tender hunks of smoky pork that have been tossed in sweet and spicy barbecue sauce. It’s topped with creamy coleslaw and served on a fantastically flaky bun. Those who can’t decide between tacos and barbecue don’t have to. The SNR platter features tacos and ribs — the best of both worlds.

Just like the restaurant. $ Tick Tock Tavern 3459 Magnolia Ave, St. Louis. Thanks to south city entrepreneurs, Tick Tock Tavern received a refreshing revival, opening for the first time since the ‘90s in its original south city space. It maintains its old-school identity with wood-paneled walls decked out in vintage signage, owl paraphernalia and more. The straightforward drink least features a selection of beer, wine and spirits — no-frills cocktails sing to the tune of about five bucks. For a snack, just head next door to Steve’s Hot Dogs for a wiener with the works.

Vinnie’s 3208 Ivanhoe, St. Louis, 314-644-7007. When the football Cardinals left St. Louis for Arizona, Matthew “Vinnie” Mulholland was devastated — so much so that he began regularly traveling to Chicago to catch Bears games.

While in the Windy City, Mulholland fell in love with its Italian beef sandwiches. After years of fiddling around with recipes in his home kitchen, Mulholland decided to go pro, opening Vinnie’s Italian Beef and Gyros in the Lindenwood Park neighborhood of south city. The mammoth Italian beef sandwiches are built for two — a large loaf of soft bread, fresh from the Hill, is dipped in au jus, piled high with freshly roasted, thinly shaved beef, topped with melted provolone cheese and smothered in housemade giardiniera. It’s a fork-required, multi-napkin affair fit for a food challenge.

Vinnie’s also offers housemade meatballs, Italian sausage and Greek fare, including an excellent beef and lamb gyro.

The highlight of the dish is its creamy, garlic-packed tzatziki.

On the Greek side, the spinach pita and cheese pita are must-trys. As hard as it may be, make sure to save room for the baklava. Vinnie’s best friend and colleague, George Postos, makes the pinwheel-shaped sweet treat according to his Greek grandma’s recipe. It’s light, flaky and covered in lemon and ginger simple syrup — a perfect end to a fantastic meal. $

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music

B-Sides 50 Critics’ Picks 53 Concerts 58 Clubs

Rise of the Nemesisters

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Babes in Toyland.

BABES IN TOYLAND REUNITE FOR A U.S. TOUR Babes in Toyland 8 p.m. Thursday, August 27. The Firebird, 2706 Olive Street. $22 to $25. 314-535-0353.

at Bjelland is everything you want her to be and nothing that you’d expect. As the lead singer of Babes in Toyland, Bjelland is known to music fans as the howling, relentlessly powerful voice of one of her generation’s most caustic bands. She seems feral and possessed behind a microphone, presenting a bone-chilling caterwaul that is as raw as it is thrilling.

Though onstage she’s all churning bile and lurching aggression, during our interview she is quiet BY and kind. Her speaking voice JAIME is sweetly gentle and gives no hint of her unholy growling.

LEES “I tried to sing softly the other day because my throat hurt,” Bjelland says. “But I couldn’t do it. I don’t even know how!”

Inaccurately lumped in with the riot grrrl feminist punk scene of the early 1990s, Babes in Toyland was always a little less political and a little more hesher than the bands that were counted among its contemporaries.

While those artists addressed socio-political issues and demanded a revolution, Babes in Toyland was all about threatening violence while banging heads.

Formed in Minneapolis in 1987, Babes put out an album on acclaimed Minnesota label Twin/Tone Records and earned praise from tastemakers such as John Peel long before Nirvana’s release of Nevermind triggered the alternative-rock gold rush. With the lineup of Bjelland, bassist Maureen Herman and drummer Lori Barbero set in place by 1992, Babes in Toyland released two acclaimed albums in the next few years (Fontanelle in 1992 and Nemesisters in 1995) before disbanding in 2001. Each member went her own way.

Until now.

With band members scattered around the country and various major life dramas to overcome, a reunion seemed extremely unlikely. Bjelland never stopped working on music and releasing albums, but she also had to take time to address her mental illness.

Bjelland says she spent some time in a psych ward (she was diagnosed with schizoaffective

ROBIN L A ANANEN

K

disorder), and at one point was homeless in Austin, Texas.

In a strange twist of events, today’s new, highly anticipated reunion of Babes in Toyland can be credited to Google. Some years back, Babes bassist Herman worked at a company with some early employees of Google (read: guys with money to burn), and they repeatedly offered to bankroll a reunion. Herman finally agreed. The tech guys formed a limited liability company, Powersniff, and Herman rounded up the band to started practicing in Los Angeles.

So would the reunion have happened without Powersniff?

“No way,” says Bjelland. “We couldn’t have done it without them. They’re like angels.

They’re kind of musician people. They’ve got money, but we’re paying them back, so it’s not a totally philanthropic venture for them. But still, they’re very, very kind.”

Bjelland seems to melt and go giggly when she talks about the scattered shows the band has played so far. She rattles off some concert highlights, including playing with younger bands including Skating Polly (“fucking awesome”) and watching Le Butcherettes (“exceptionally good”) cover Bikini Kill’s

anthemic “Rebel Girl” with the Melvins.

One of Bjelland’s main motivations for bringing the band back together was to allow her sixteen-year-old son, Henry, see it play live.

“I had no idea that he knew the words to the songs,” she proudly explains. “He knew every word to every song.”

Bjelland adds that most of her exposure to new music comes through Henry.

“Here’s one thing that my son got me into, which everyone thinks is ridiculous, that I love,” she begins dramatically. “I really like Skrillex. Sorry. I really like it because he seems like he’s trying to bring everyone together, and for some reason, some of those sounds really get me going. I put it on my headphones in the morning. I like the energy and the weird sounds. Plus he looks a little like my son. It’s just, like, the whole thing, the whole package.

I don’t know what it is. I can’t really explain it. I just know when I like something, it gives me shivers. I can’t explain why.”

Bjelland and Babes in Toyland have written new songs together, but she doesn’t feel that they are show-ready yet because the band hasn’t been able to practice them sufficiently.

That means that every song the group will be

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playing on this tour is a fan favorite.

“If it’s a reformation, I think fans want to hear old songs,” she says. “I used to hate it when I’d go see the Rolling Stones and they added those long endings and they changed the words of the songs. I was like, ‘That’s not what it’s supposed to be. I’m trying to sing along here!’”

When asked if she is really as pissed off as she seems in her songs, Bjelland describes the process as therapeutic.

“Uh, yes,” she says. “But I’m not pissed off after I sing because it’s like my therapy. When I don’t sing, then I’m really not in a good way.

But no, I’m not an angry person, I’m really nice!

I don’t think it’s anger, I think it’s just passion, and it gets misconstrued as anger.”

Bjelland is enjoying playing her old songs for new audiences again, too.

“Aww, it’s so fun. It’s really fun. It’s, like, this weird split of old friends and a young new crowd. It’s so nice,” she gushes.

“All the reactions have been really good and celebratory. And we get along better than we ever have, and I think we sound better. I think it sounds really good. I’m really proud of our band right now.”

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b-sides

Up to Eleven OWNERSHIP OF ELEVEN MAGAZINE CHANGES HANDS AS PUBLISHER HUGH SCOTT BOWS OUT

E

Getting By with a Little Help THE ST. LOUIS MUSIC COMMUNITY BANDS TOGETHER TO HELP BASSIST ANDREW FRANKLIN FIGHT CANCER Drew Franklin Benefit Show 7 p.m. Saturday, August 29. Old Rock House, 1200 South Seventh Street. $10.

314-588-0505.

C O U R T E SY O F T H E B A N D

I

t is a sunny Saturday afternoon, and Andrew Franklin and Matt Vianello are sitting on a brown suede couch in the former man’s living room. The Big Brother Thunder and the MasterBlasters members are officially gathered to discuss their next show, but for the moment they are more interested in quoting lines from Adam Sandler movies and planning Halloween costumes. Across from them Franklin’s girlfriend, Jessica Bellomo, sits on another couch with Stormy, Franklin’s black Lab. Stormy is fast asleep, nuzzled against Bellomo’s leg.

Spirits are high, which is important: About three months ago, Franklin was diagnosed with bile-duct cancer. The bassist is no stranger to tough battles — as a firefighter, he has nine years of experience running into burning buildings and otherwise placing himself in dangerous situations. The disease may be the biggest challenge he has faced, but he says it will take more than cancer to strip him of his positive attitude.

“This is uncomfortable, but it could always be

worse,” he says. “I guess that I’m thankful for my career choice, because it’s shown me that people live every day with much worse problems than I have. I’ve got an immediate circle of people who are there for me before I even ask for help.”

This Saturday night Franklin’s friends and family from St. Louis and beyond will join him at the Old Rock House for a benefit concert featuring sets from Blank Generation, Thunder Biscuit Orchestra, Mathias and the Pirates, Illphonics, Love Jones, and of course, Big Brother Thunder and the MasterBlasters. The show will get started at 8 p.m. and run late into the night, with raffles, silent auctions and music

Big Brother Thunder and the MasterBlasters.

Andrew Frankiln pictured center, standing.

from DJ Mahf between sets. In addition to helping to pay Franklin’s medical bills, a portion of the money raised will be donated to bile-duct cancer research.

Since being diagnosed, performing music has become harder and harder for Franklin. Lately, he has struggled to join in on backup vocals and dance around like he used to, but he hasn’t let it keep him off the stage completely.

“I’ve stopped performing in other bands to save my energy for our continued on page 52

HOMESPUN BENJAMIN KAPLAN That Fatal Gift of Beauty iheartbuffets.bandcamp.com

W

hen we last heard from Benjamin Kaplan in the summer of 2012, his experimental and somewhat eccentric project the Vaad had just dropped Kissing the Sea on the Lips, and his songs served as a restless travelogue for wanderings both at home and abroad. The Vaad was both a one-man band and a way for Kaplan to invite in collaborators; his vision and voice were sui generis, but he was happy to share the stage. Kaplan’s latest project is more collaborative and should be considered an art piece as much as a recording project. For That Fatal Gift of Beauty, Kaplan invited nine collaborators — some musicians, many not — to help in a deconstruction and re-synthesizing of all of Ludwig van Beethoven’s nine symphonies. To do this, Kaplan segmented and layered each symphony’s movements in ProTools and, with the aid of Jason McEntire and his Sawhorse Studios’ mixing board, Kaplan and Co. tinkered with various effects, layers and tempos. The resulting album squishes the collected works of one of music’s true geniuses into an LP-length program that is recognizable in stretches and uncanny in others. You don’t need to be a first-chair violinist to recognize the opening “dun-dun-dun-DUUUUN” strains of Beethoven’s fifth on this album’s “Opus V,” but you’ll hear the rest of the symphony recast and manipulated as the track progresses.

It’s interesting as a concept, but is That Fatal Gift of Beauty listenable? It depends on your appetite for experimental music or your

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interest in the idea itself. Fans of musique concrete will recognize some of the textures and techniques used; the source materials (taken from a 1960 recording) are stretched and sped-up, overdriven and flanged and chorused to the point of distortion, and turned into alternating rhythmic and spaced-out passages. Those with intimate knowledge of these symphonies may thrill (or revolt) at hearing these Meisterwerkes treated like hip-hop samples and dropped in these tracks like Easter eggs, just as many Beatles fans must have at hearing Danger Mouse’s Jay-Z/Fab Four mash-up on The Grey Album. If you’re unfamiliar with the entirety of Beethoven’s oeuvre, a whole program of these reinventions can drag over the 50-minute recording.

In the age of open-source appropriation and the prevailing belief that “all content wants to be free,” it’s not hard to see why Kaplan chose Beethoven as his source material: name another figure whose music is so widely revered and so deeply conjoined with the very concept of the musical canon. But it would be incorrect to take Kaplan’s appropriations and re-interpretations as a provocation, a nose thumbed at the old guard. He and his collaborators show a certain reverence for the material, even as its being chopped and screwed into something new.

—CHRISTIAN SCHAEFFER Want your CD to be considered for a review in this space?

Send music c/o Riverfront Times, Attn: Homespun, 6358 Delmar Boulevard, Suite 200, St. Louis, Missouri, 63130.

Email music@riverfronttimes.com for more information.

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leven Magazine, St. Louis’ only stand-alone music publication in monthly syndication, has changed ownership. On August 21, 2015, former owner Hugh Scott transferred all rights and duties as publisher to editor in chief Evan Sult, who will continue his current position under the new company structure.

Music fans in St. Louis might know Sult from his role as drummer and backup vocalist of indierock outfit Sleepy Kitty. He also works with his partner Paige Brubeck on a number of projects, including Sleepy Kitty Arts, a freelance design and screenprinting project based in south city.

Sult’s experience in print media dates back to 1994 when he worked for The Daily of the University of Washington in Seattle. As a student, he focused on the arts section, a portion of the paper that ran in weekly syndication.

“There was this effort to maintain the section and try to build it into an independent publication within The Daily called the Glass Onion,” Sult says.

His efforts on staff at the paper would lead him to meet his future bandmates in renowned ’90s rock group Harvey Danger.

Sult started his professional career in 1997 at The Rocket, a music magazine based in Seattle from 1980 to 2000: He graduated on a Friday and started working as the assistant art director the following Monday.

Sult relocated to Chicago in the early aughts, where he lived for nearly a decade before moving to St. Louis in 2009. He first spotted Eleven later that same year, at the Mud House on Cherokee Street.

“My first impression was, ‘That is a greatlooking magazine,’” he says. “It looked great to page through. I was impressed that this thing had just showed up. I think I may have picked it up, exclaimed, and the guy right behind me was Matthew Ström, who had designed it.”

Sult recalls that the magazine was exclusively distributed on Washington University’s campus from 2006 to 2009 (though we couldn’t verify this with Eleven’s creators at press time). Publisher Hugh Scott then bought the paper, seeking to expand its audience to the greater St. Louis metropolitan region. The publication was mostly a student-run production, with editorial duties reserved for new graduates, until Scott sought a new editor in chief in 2012.

“I knew that it was all volunteer work — well, maybe ‘volunteer’ isn’t the right word,” Sult says. “They really couldn’t pay writers, designers, editors.”

Sult was at a personal crossroads, interested in getting involved with print media once again, either through writing or design. He reached out to Scott and soon signed on for the job.

“I hadn’t done a magazine since everyone started to update their blogs every hour. But I have learned that print can withstand time,” Sult says. “When you’re in a band, it’s great to put songs or albums out online, but it’s totally different to put them continued on page 52

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Eleven

continued from page 50

out on CD or vinyl. It feels really different, and that’s what the magazine is to me. I’m glad to find that it is as satisfying as I hoped it would be.”

Sult immediately transformed the paper, taking its subtitle, “The Liner Notes of St. Louis,” to heart.

He called on the efforts of local artists such as Curtis Tinsley for monthly comics while instating columns by music veterans Matt Harnish and the late Bob Reuter. His own editor’s note addressed the implications of being a music editor who also plays in a band, navigating scene politics while directly responding to readers (including a published letter

by Eric Williger that openly accused Sult of having conflicting interests).

Three years later he continues to build upon a base of hyper-local pieces with interviews and previews for national acts, focusing on bands that are either from St. Louis or touring through town.

Sult cites budget constraints as his biggest challenge, preventing him from building any kind of Web presence beyond a simple website that offers digital issues.

“I am way print-oriented,” he says. “I really feel the magic of reading and publishing words and having three years’ worth of Eleven on my bookshelf — and hopefully other bookshelves around town, too. I really value the physical object.”

In late June, Scott informed Sult that the publisher would no longer be involved with Eleven. The book had worked mostly as a two-man operation, with Scott taking on budget and advertising duties as well as Web publishing. Now, the future was un-

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Drew Franklin

continued from page 50

band,” Franklin says. “I still write for some other bands that I was playing in, but I don’t have all the mental capacity that I used to.

So it comes down to the things that are most important. Obviously our band comes first.”

Franklin was only eleven years old when he started sneaking into concerts. By the time he was thirteen he was playing gigs of his own at small clubs around the Delmar Loop. Looking back, he doesn’t think he really had a choice: He feels he was destined to be a musician.

Before he was born, his dad had managed and worked in music clubs around St. Louis, including a stint at BB’s alongside John May. He eventually left that life behind to become a firefighter and fight for civil rights in the department, but he never stopped spinning Miles Davis and George Duke records around the house.

Music runs in Franklin’s mom’s blood too: Both of her parents were professional musicians. Still, nobody in the young man’s life ever pressured Franklin to pick up an instrument.

Nobody ever had to.

“Whether I was at my grandparents’ house, or wherever I went, there was always just so much music,” he says. “It affected me. It’s the same as growing up around a parent that’s a die-hard Cardinals fan or something. Do you really have a choice to not know who Ozzie Smith was?”

Franklin played saxophone in high school, but during his junior year, he was kicked out of the school jazz band for playing too pro-

certain. The July issue released and Sult immediately went on tour with Sleepy Kitty, using the following two weeks to meditate on the magazine’s future.

“It just seemed to me that we had gathered a lot of steam,” Sult says. “My writers and I were busy building something. I didn’t want to see that end. And I really believe the music scene needs it.”

Don’t expect to see Eleven back on shelves until early October. Sult laments the loss of issues in August and September, but ensures that this hiatus is the first — and last — in his tenure.

While Sult intends to work as a combined publisher, art director and editor in chief, he has hired a new ad manager. Brubeck will also now work as managing editor, helping with the budget while assisting with editorial content. But this structure is less of a means to an end and more like a new starting point.

“Do I fantasize about having a small but real staff at Eleven within three years? Definitely,” Sult says.

“To me, the coolest thing you can do with your life is doing what you love, all the time, full-on.”

—JOSEPH HESS

gressively. The next year, partially as a joke, he rejoined the band on bass.

By the end of that year, he had been kicked out once again. On his way out, the school music teacher told him that he would never be good enough to play in that band, let alone any other. Franklin didn’t let the insult bring him down. Now he shares bills with the likes of Chuck Berry.

Even on his worst days, when the pain is so excruciating that it’s a struggle to get off the couch, he still does everything he can to stay positive.

“I’m not trying to put the cart before the horse or anything like that,” he says. “I can’t control everything, but I can control my positivity levels — making sure I take my prescriptions the way I’m supposed to, trying to eat more, doing what I can to stay happy.

“I tend to be my most decent when I’m around decent people, and the shittiest when I’m around shitty people,” he continues. “Just keep being good to each other. The past year that’s all I’ve been trying to do — to be better to people.”

“Isn’t that the line from Bill & Ted’s Excellent Adventure?” Vianello interjects with a smile.

“It’s something like that, like, ‘Be awesome to each other.”

“I’ve seen it, but I cant remember,” Bellomo responds.

Franklin laughs as he remembers a Will Ferrell quote from Semi-Pro. “Lets just say, ‘E-L-E. Everybody love everybody.’”

If you cannot attend the show, you can still donate via GoFundMe at www.gofundme.com/ qs23cmtc.

—DEREK SCHWARTZ

MONKEYBIRD

critics’ picks

7 SECONDS 7 p.m. Thursday, August 27. The Demo, 4191 Manchester Avenue. $15. 314-833-5532.

When legendary Reno hardcore band 7 Seconds came to St. Louis this time last year, Kevin Seconds was nursing a bum knee — an injury that occurred onstage in LA when the frontman jumped in the air and landed funny.

The 53-year-old singer suffered a torn meniscus (not his first) and some broken cartilage, but against his doctor’s orders he carried on with the tour that would bring his band to Fubar — all he asked for was a little mercy from the band’s notoriously rowdy fans. This time around the band is touring with a clean bill of health — though maybe you should still cut him some slack. “Young ’Til I Die” is a nice thought and all, until your body starts failing you.

Walk Together, Hopefully Without Crutches: Seriously, you stage-diving, mic-grabbing lunatics, if you want to continue to “Rock Together,” just be easy, OK? —DANIEL HILL

W I L L I E WATS O N 8 p.m. Thursday, August 27. Blueberry Hill, 6504 Delmar Boulevard, University City. $15 to $17.50. 314-727-2277.

If he hadn’t started his career long before the emergence of Llewyn Davis, you might imagine Willie Watson was looking for a spot in a Coen Brothers sequel. From the Folkways design of his first solo album — complete with pipe clenched in his teeth — to the solo purism of his unelectrified repertoire, Watson stubbornly refuses to break new ground. Still, the ex-Old Crow Medicine Show musician gets his hands dirty. There’s no “This Machine Kills Fascists” emblazoned across his guitar, but his warbling, red-dirt-dusted voice slays the folk-blues.

From Leadbelly to Ramblin’ Jack Elliott to Dave Van Ronk himself, Watson honors tradition by expressing the power of folk music, with no strings attached but those on his guitar and banjo.

Welcome to the Machine: Watson left Old Crow in 2011 and soon took up with Gillian Welch partner Dave Rawlings and his folk supergroup the Dave Rawlings Machine.

—ROY KASTEN

Clockwise from the top: Willie Watson, Pretty Little Empire and Pears.

PRETTY LITTLE EMPIRE 9 p.m. Friday, August 28. The Bootleg, 4140 Manchester Avenue. $8. 314-775-0775.

Justin Johnson never sits still for too long. The singer, guitarist and songwriter of Pretty Little Empire has made three albums with his bandmates while finding time to start two side projects: the Jump Starts (with drummer Sarah Ross) and the Fog Lights (with guitarist and vocalist Jim Peters), the latter of which just released its debut album.

But Pretty Little Empire remains Johnson’s most direct vehicle for his heart-on-sleeve, sweat-soaked songs. Credit goes to his bandmates — guitarist Will Godfred, bassist Wade Durbin and drummer Jason Potter — for painting these songs with broad, rich strokes of Midwest twang, rock swagger and pop dynamics.

Three Bands, Endless Love: Fellow locals Town Cars and Lonesome Heroes will open the show, so don’t even think about showing up fashionably late. —CHRISTIAN SCHAEFFER

PEARS 8 p.m. Tuesday, September 1. The Demo, 4191 Manchester Avenue. $10. 314-833-5532.

Do you prefer your hardcore-punk mixed in with a little pop? Er, or maybe your pop-punk with a splash of hardcore? Frankly, it’s hard to tell whether the zebra is white with black stripes or vice versa in the case of Pears, a New Orleans-based four-piece that has already made quite a name for itself. Since starting in 2014, the band has signed with revered SoCal punk label Fat Wreck Chords, toured with the likes of the Dwarves, the Suicide Machines and Off With Their Heads, and even made a run through Europe — all on the strength of ripping-fast punk coupled with impossibly catchy hooks.

A New Contender: Fans of late ’90s Jade Tree darlings Kid Dynamite would do well to check out Pears. Though the sound is not exactly the same, the sentiment is similar.

—DANIEL HILL riverfronttimes.com

AUGUST 26 -SEPTEMBER 1, 2015

RIVERFRONT TIMES

53

Bowling the way it is now– FUN!

Finals Breakfast Sandwich fried egg, ham, bacon & cheddar cheese between two waffles; with sriracha sauce and syrup!

24/7 PeacockLoopDiner.com

6191 Delmar · 314-727-5555 PinUpBowl.com

54

RIVERFRONT TIMES

AUGUST 26 -SEPTEMBER 1, 2015

6261 Delmar in The Loop

riverfronttimes.com

Delmar Loop TUESday 10/20

ON SALE 8/28

FrIday 4/10

ON SALE 8/28

Saint Louis

ThUrSday 11/5

TUESday 9/8

ON SALE 8/28

TUESday 11/17

ON SALE 8/28

TUESday 9/1

ThUrSday 9/3

wEdnESday 9/9

ThUrSday 9/10

UPCOMING SHOWS

9.11 O.A.R. 9.12 THUNDERHEAD: THE RUSH EXPERIENCE 9.18 KACEY MUSGRAVES 9.25 WARREN HAYNES 9.27 BEACH HOUSE 9.29 ZZ WARD 9.30 PARADOSIO 10.2 FUNK VOLUME TOUR 2015 W/ HOPSIN 10.6 GHOST 10.7 FATHER JOHN MISTY 10.8 BEN RECTOR 10.12 BRING ME THE HORIZON 10.13 CHANCE THE RAPPER

10.14 COHEED AND CAMBRIA 10.15 FLUX PAVILION 10.16 LETTUCE 10.17 GRACE POTTER 10.19 PASSION PIT 10.21 LYLE LOVETT & JOHN HIATT 10.23 YELAWOLF/MEG MYERS 10.24 DRIVE-BY TRUCKERS 10.27 GORGON CITY 10.28 ANDREW MCMAHON IN THE WILDERNESS / NEW POLITICS 10.29 SLIGHTLY STOOPID 10.30 MAT KEARNEY 10.31 SOMO

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

@ThePageantSTL

thepageantstl.tumblr.com

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

riverfronttimes.com

AUGUST 26 -SEPTEMBER 1, 2015

RIVERFRONT TIMES

55

Tuesdays, Aug. 25–Sept. 29

st. louis glo run

TWILIGHT

TUESDAYS AMEREN CONCERT SERIES

FALL 2015

MISSOURI HISTORY MUSEUM

A L L P H OTO S B Y M I C A H U S H E R

6pm to 8pm • FREE • Museum’s Front Lawn Forest Park • mohistory.org

T

he Glo Run lit up Forest Park this weekend for its Safari 2015 event. The 5K run/walk/ whatever you please benefited Special Olympics Missouri, and was capped with live music and a costume contest. Photographer Micah Usher was there for all the awesome iridescence. See the rest at photos.riverfronttimes.com.

56

RIVERFRONT TIMES

AUGUST 26 -SEPTEMBER 1, 2015

riverfronttimes.com

riverfronttimes.com

M O N T H X X–X X , 2

THE READY ROOM

Get in The Grove for exciting Drinking, Dining, Dancing, & Shopping!

THE

AT ATO M IC COWB OY

Labor Day Weekend L ineup T h u r s d ay, 9 / 3 Allie Kral & The River City All-Stars Doors 7pm // Show 8pm $12 in advance // $15 Day Of F r i d ay, 9 / 4 Aaron Kamm & The One Drops w/ Spare Change Trio

D o o r s 6 p m / / S h ow 7p m $ 1 0 i n a dva n c e / / $ 1 2 day o f S u n d ay, 9 / 6 Tea Leaf Green w/ Acoustic s Anonymous & Belagroove

Doors 5:30pm // Show 6:15pm $15 in advance // $20 Day of

BOX OFFICE HOURS WED & FRI 12 - 6 / SAT 10 - 4 ALSO SELLING TICKETS FOR FIREBIRD SHOWS

4140 Manchester Ave

4195 MANCHESTER AVE THEREADYROOM.COM | 314-833-3929

bootlegSTL.com AtomicCowboySTL.com

riverfronttimes.com

AUGUST 26 -SEPTEMBER 1, 2015

RIVERFRONT TIMES

57

Your essential local guide just got better.

concerts THIS JUST IN

Download the new version today.

NOW HIRING PHOTO GRAPH ERS The Riverfront Times is looking for outgoing, enthusiastic photographers to join the Riverfront Times Street Team. Team members promote the Riverfront Times at local events and take photos, gain e-mail addresses to build our database, and hand out free stuff! If you are interested in part time work (5-10 hours per week- nights and weekends are required) and want to attend the best events St. Louis has to offer, send your resume to emily.westerholt@riverfronttimes.com.

Must be 21 years old!

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58

RIVERFRONT TIMES

AUGUST 26 -SEPTEMBER 1, 2015

Act of Defiance: W/ Allegaeon, Nethersphere, Sun., Nov. 1, 6 p.m., $15-$17. Fubar, 3108 Locust St, St. Louis, 314289-9050.

American Idiot: A Tribute to Green Day: W/ Just A Girl: A Tribute to No Doubt, Fri., Oct. 9, 9 p.m., $7. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444.

Atomic Blues Festival: W/ Marsha Evans, Eugene Johnson, Larry Griffin & Eric McSpadden, Big Mike and the Blues City All-Stars, Joe Pastors Legacy Ensemble, Paul Niehaus, Bob Kamoske, Ethan Leinwand, the Bottoms Up Blues Gang, Sun., Sept. 27, 7 p.m., $10. Atomic Cowboy, 4140 Manchester Ave, St. Louis, 314-775-0775.

Benyaro: W/ Slow Down Scarlett, Fri., Oct. 30, 8 p.m., $7-$10. Cicero's, 6691 Delmar Blvd., University City, 314862-0009.

Big K.R.I.T.: W/ Allen Gates, Sat., Nov. 7, 8 p.m., $22-$25.

The Ready Room, 4195 Manchester Ave, St. Louis, 314833-3929.

Blackalicious: W/ Nappy DJ Needles, Mathias & the Pirates, Fri., Sept. 4, 8 p.m., $15-$20. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700.

Brandon Holland: Thu., Sept. 24, 8 p.m., $10. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444.

CaveofswordS "Sigils" Remix Release: W/ Inko, Golden Curls, Hands and Feet, Fri., Oct. 30, 8 p.m., $8. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532.

Cimorelli: Sun., Oct. 11, 7 p.m., $20-$75. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363.

Cornmeal: Thu., Oct. 15, 8 p.m., $15. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314276-2700.

Cree Fest 3: W/ Cree Rider Family Band, Grace Basement, Nick Dittmeier & the Sawdusters, Salisbury, Auset Music Project, SweetDeluxe, Mt. Thelonius, CharFlies, the Bottlesnakes, Les Gruff and the Billy Goat, the Riverside Wanderers, School of Rock St. Louis, Bryan Ranney, Sun., Sept. 6, 1 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363.

Damien Deadson: W/ Forsake the Fallen, We Are Descendants, Thu., Sept. 3, 6 p.m., $12. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

Desert Dwellers: W/ Alejo, Sat., Oct. 3, 9 p.m., tba. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700.

Discrepancies: W/ KY and the Yodees, the Judge, Five To Midnight, Macrobliss, Sat., Sept. 5, 8 p.m., $7-$10. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

Divide the Empire: W/ Midnight Reveille, Minda Lynn & Brother Rye, Fri., Aug. 28, 8 p.m., $5. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

Dog Fashion Disco: W/ Psychostick, Handful of Zygotes, Sat., Oct. 17, 7 p.m., $15-$17. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

Down By Law: W/ the Dead Pollys, Mon., Oct. 5, 8 p.m., $14.

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

Eligh: W/ DNAE, Dem Atlas, Wed., Sept. 23, 9 p.m., free.

2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700.

Farout: W/ Ecid, Scotty WU, Sat., Oct. 31, 9 p.m., $7-$10.

Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

The Feed "Guitar-becue & Pool Party": Sun., Aug. 30, 2 p.m., free. Vintage Vinyl, 6610 Delmar Blvd., University City, 314-721-4096.

Forgotten Space: Fri., Nov. 6, 9 p.m., $12. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505.

Gorgon City: Tue., Oct. 27, 8 p.m., $25-$30. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

Hopsin: W/ Dizzy Wright, Jarren Benton, DJ Hoppa, Fri., Oct. 2, 8 p.m., $27.50-$30. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

Intronaut: W/ Alan Smithee, Mon., Nov. 16, 8 p.m., $12. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532.

Jake's Leg: Fri., Oct. 2, 8 p.m., $7. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

Jonathan Tyler: Sun., Oct. 4, 8 p.m., $12.50-$15. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444.

KSHE-95 48th Birthday Party: W/ REO Speedwagon, Fri., Nov. 13, 8 p.m., $26-$116. Peabody Opera House, 1400 Market St, St. Louis, 314-241-1888.

Lera Lynn: Tue., Oct. 13, 8 p.m., $20. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444.

Low Cut Connie: W/ Dirty Fences, Fri., Sept. 25, 8 p.m., $10. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444.

Mac Miller: W/ Goldlink, Domo Genesis, Tue., Oct. 20, 8 p.m., $30-$32.50. The Pageant, 6161 Delmar Blvd., St.

riverfronttimes.com

Louis, 314-726-6161.

Made in Waves: W/ the Many Colored Death, Cost of Desire, Sat., Aug. 29, 8 p.m., $10. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

MarchFourth!: Mon., Oct. 19, 8 p.m., $15-$18. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505.

Mass Appeal: Native Tongues Tribute: Fri., Sept. 11, 9 p.m., $10. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532.

The Mentors: Thu., Sept. 17, 8 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

Michal Menert & the Pretty Fanatics: W/ StarRo, Wed., Oct. 21, 9 p.m., $12-$15. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700.

The Midwest Avengers: W/ Common Jones, Loop Rat, Discrepancies, Sat., Sept. 26, 8 p.m., $10. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

Mitchell Ferguson CD Release: W/ Nicole Grace, Supercousins, Big Ass Winners, Sat., Sept. 19, 8 p.m., $7-$10.

Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

The Mizzerables: W/ Captain Dee and the Long Johns, Murphy and the Death Rays, Sun., Oct. 25, 8 p.m., $8. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

Never Let This Go: W/ Torontario, The Last Stanza, Welcome Home, Silent Hollow, Mon., Sept. 14, 7 p.m., $10-$12.

Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

Northlane: W/ Volumes, Cane Hill, Coldrain, Wed., Nov. 25, 6 p.m., $18-$20. Fubar, 3108 Locust St, St. Louis, 314289-9050.

O.A.R.: W/ Allen Stone, Brynn Elliott, Fri., Sept. 11, 7 p.m., $43-$46. The Pageant, 6161 Delmar Blvd., St. Louis, 314726-6161.

Oak, Steel, and Lightning: Fri., Sept. 25, 8 p.m., free.

Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

Onward, ETC.: W/ Brian Marquis, the Ghost Pines, Wed., Nov. 25, 8 p.m., $10-$12. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532.

Phace: Thu., Sept. 10, 9 p.m., tba. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700.

Powder Mill: W/ the Hillside Barons, Sat., Sept. 12, 8 p.m., $12. Cicero's, 6691 Delmar Blvd., University City, 314-8620009.

Regular John: A Tribute to Queens Of The Stone Age: W/ Rearview Mirror: A Tribute to Pearl Jam, Fri., Oct. 23, 9 p.m., $10. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444.

The Rise of the Broken: W/ Struck Down By Sound, Inner Outlines, Ecclesiast, Reconcera, Fri., Sept. 25, 8 p.m., $10.

Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

Ross Christopher: Fri., Sept. 18, 8 p.m., free. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

The Schwag: Sat., Dec. 26, 9 p.m., $10. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314276-2700.

Secondary: W/ Bike Path, Welcome Home, Fri., Sept. 4, 8 p.m., $10. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532.

Shaman's Harvest: Fri., Sept. 11, 8 p.m., $10.57. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444.

Shemekia Copeland: Sun., Sept. 20, 10 p.m., $20. Beale on Broadway, 701 S. Broadway, St. Louis, 314-621-7880.

Shirley Brown: Sat., Oct. 3, 7 p.m., $25-$35. Ambassador, 9800 Halls Ferry Road, North St. Louis County, 314-8699090.

Silverstein: W/ Senses Fail, Hundredth, Capsize, Sun., Nov. 22, 7 p.m., $18-$22. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

Sleepy Kitty: W/ Bug Chaser, Br'er, Tue., Sept. 1, 7 p.m., $12.

City Museum, 701 N. 15th St., St. Louis, 314-231-2489.

Slightly Stoopid: Thu., Oct. 29, 8 p.m., $25-$30. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

Start Making Sense: A Talking Heads Tribute: Fri., Sept.

11, 9 p.m., $12. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700.

Stevie Ray Vaughan Tribute: W/ Steve Pecaro Band, Tony Campanella Band, Sat., Nov. 28, 8 p.m., $15-$20. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

The Stone Sugar Shakedown: W/ White Lightning, Fri., Sept. 4, 8 p.m., $7. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

The Sudden Passion: W/ Tortuga, Sun., Nov. 8, 7 p.m., $10.

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

The Sword: W/ Royal Thunder, Sun., Dec. 13, 9 p.m., $18$20. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

Tre Serpenti CD Release: W/ Goldtooth, Witch Doctor, Sat., Oct. 17, 8 p.m., $8-$10. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

Underoath: Sun., April 10, 7 p.m., $25-$29. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

Urge Overkill: Sat., Oct. 31, 9 p.m., $20. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444.

Vocal Edge: Fri., Sept. 4, 8 p.m., $16.50-$18.50. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444.

Warren Haynes: W/ Gill Landry, Fri., Sept. 25, 7 p.m., $30.50-$35.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

Within the Ruins: W/ Noesis, Signals From Saturn, A Beginning's End, Torn At the Seams, Yearlong Hours, Fri., Sept. 25, 6 p.m., $15. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

Zeus Rebel Waters: Sun., Sept. 27, 8 p.m., $10. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009.

Soulard Concert Series

Soulard Concert Series

Patio-Banquet Rooms up to 200 • Carryout • Pool Tables

Your place before, during and after Cardinal baseball!

Look for the RFT Street Team at the following featured events this week:

Not So Quiet Music Festival

(PET FRIENDLY)

Daily Drink & Food Specials!

Check out our huge patio this autumn!

758 S 4th St. St. Louis, MO 63102 • 314-621-1200 • okelleysattheballpark.com Mon - Sat: 11am - 1:30am Sun: 11am - 12am

Friday 8.28.15 What: Alt Art Fair When: 7 - 8PM Where: Fox Park, 2500 Ohio

Excitement!

DVD/Navi Built For Connectivity!

BUILT IN

FREE Rear View Camera

Camera install at regular rate

Receiver!

209

699

$

Installed Price On CD Decks!

Built-In

$

2-DIN chassis with big 6.1” image and three 4-volt preouts for system. Steering wheel control compatible.

99

SL Riverfront Times — 8/27/2015

Saturday 8.29.15 What: Tower Grove Farmers Market When: 9:30AM - 012:30PM

Rise Up Festival

Where: Tower Grove Farmers Market

Saturday 8.29.15

Rise Up Festival

What: Party in the Loop When: 2 - 9PM

BUILT IN

99

Not So Quiet Music Festival

Where: Delmar Loop

Includes Install*

SiriusXM tuner install at added cost

Built-In

Music at the Intersection BUILT IN

299

$

Bluetooth microphone included

© 2015, Audio Express.

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

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

99

Includes Install

For more photos go to the Street Team website at www.riverfronttimes.com.

Music at the Intersection riverfronttimes.com

AUGUST 26 -SEPTEMBER 1, 2015

RIVERFRONT TIMES

59

FIND ANY SHOW IN TOWN...

“Out Every Night” is a free listing open to all bars and bands in the St. Louis and Metro East areas. However, we reserve the right to refuse any entry. Listings are to be submitted by mail, fax or e-mail. Deadline is 5 p.m.

Monday, ten days before Thursday publication. Please include bar’s name, address with ZIP code, phone number and geographic location; nights and dates of entertainment; and act name. Mail: Riverfront Times, attn: “Clubs,” 6358 Delmar Blvd., Suite 200, St. Louis, MO 63130-4719; fax: 314-754-6416; e-mail: clubs@ riverfronttimes.com.

Schedules are not accepted over the phone.

Because of last-minute cancellations and changes, please call ahead to verify listings.

T H U R S DAY 7 Seconds: w/ Bishops Green, Success, Thu., Aug. 27, 7 p.m., $15. The Demo, 4191 Manchester Ave, St. Louis, 314-8335532, www.thedemostl.com.

Babes In Toyland: Thu., Aug. 27, 8 p.m., $22-$25. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www. firebirdstl.com.

Michael Angelo Batio: Thu., Aug. 27, 7 p.m., $16-$18.

Fubar, 3108 Locust St, St. Louis, 314-289-9050, www. fubarstl.com.

Micky and the Motorcars: Thu., Aug. 27, 8 p.m., $13-$15.

Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363, www.offbroadwaystl.com.

Negative Scanner: w/ Torso, Shitstorm, Thu., Aug. 27, 10 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100, foamvenue.com/.

Willie Watson: Thu., Aug. 27, 8 p.m., $15. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444, www. blueberryhill.com.

F R I DAY

PHOTOGRAPHER: TODD OWYOUNG BAND: SLEEPY KITTY

R R

ts/

out every night

60

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

AUGUST 26 -SEPTEMBER 1, 2015

Alex Ligertwood: w/ David Garfield, Jim Stevens Group, Fri., Aug. 28, 8 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www.bbsjazzbluessoups.com.

Divide the Empire: w/ Midnight Reveille, Minda Lynn & Brother Rye, Fri., Aug. 28, 8 p.m., $5. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009, www.ciceros-stl.com.

The Everscathed: w/ Beyond Deth, Tyranny Enthroned, Cryptic Hymn, Melursus, Absala, Fri., Aug. 28, 6 p.m., $10$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www. fubarstl.com.

LAB: LITAL: w/ the Free Years, the Leonas, the Vanilla Beans, Mvstermind, Fri., Aug. 28, 8 p.m., $5. The Luminary, 2701 Cherokee St, St. Louis, www.theluminaryarts.com.

Mississippi Clean: w/ Apex Shrine, Fri., Aug. 28, 8 p.m., $7.

Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505, www.oldrockhouse.com.

Nitro Latin: Fri., Aug. 28, 7 p.m., free. Plaza 501, 501 S Ferguson Rd, Ferguson.

Pat Sajak Assassins: w/ Traveling Sound Machine, Hands & Feet, Fri., Aug. 28, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100, foamvenue.com/.

Pepperland: Fri., Aug. 28, 9 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363, www.offbroadwaystl. com.

Pretty Little Empire: Fri., Aug. 28, 9 p.m., $8. The Bootleg, 4140 Manchester Avenue, St. Louis.

Soma: w/ Banks and Cathedrals, We Are Warm, Fri., Aug. 28, 9 p.m., $8. The Demo, 4191 Manchester Ave, St. Louis, 314833-5532, www.thedemostl.com.

The Wyldz: Fri., Aug. 28, 8 p.m., $10. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www.firebirdstl.com.

Zach Vinson: w/ Ian McGowan and the Good Deeds, Typhoon Jackson, Fri., Aug. 28, 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226, www.theheavyanchor.com.

S AT U R DAY B&E Reunion Vinyl Release Show: w/ Shark Dad, Sat., Aug. 29, 9 p.m., $8. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www.firebirdstl.com.

A Benefit For Drew Franklin: w/ Big Brother Thunder & the Masterblasters, Thunder Biscuit Orchestra, Mathias & The Pirates, Illphonics, Blank Generation, Love Jones, DJ Mahf, Sat., Aug. 29, 8 p.m., $10. Old Rock House, 1200 S. 7th

riverfronttimes.com

St., St. Louis, 314-588-0505, www.oldrockhouse.com.

Bible Belt Sinners: w/ Blackwater '64, Brother Lee & the Leather Jackals, Sat., Aug. 29, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100, foamvenue.com/.

Dan Vapid and the Cheats: w/ Flamingo Nosebleed, Guy Morgan, Horror Section, the Kuhlies, Sat., Aug. 29, 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www. fubarstl.com.

Heatwave Music Fest 2015: w/ Satellite Theory, As Earth Shatters, Make Room, the Pachyderms, Pick Your Poison, City of Parks, Common Jones, Hollow Point, Day of Redemptions, Outcome of Betrayal, Inner Outlines, Sat., Aug. 29, 4 p.m., $10-$13. Pop's Nightclub, 401 Monsanto Ave., East St. Louis, 618-274-6720, www.popsrocks.com.

James Armstrong Blues Band: Sat., Aug. 29, 10 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www.bbsjazzbluessoups.com.

John D. Hale Band: Sat., Aug. 29, 8 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363, www. offbroadwaystl.com.

Rock U Fest 2015: w/ Taller Than Trees, the Ruthless, Shotgun Abby, Slow Down Scarlett, SIFASIC, Dinofight, Crazy XXX Girlfriend, Stereo Disarm, Ramona Deflowered, My Molly, Typhoon Jackson, Suzie Cue, Taradiddle feat. Jen Galinski, Moon Thief, Chasing Ginger, Sat., Aug. 29, 4 p.m., $10. The Ready Room, 4195 Manchester Ave, St. Louis, 314-8333929, www.thereadyroom.com.

Taylor Caniff: Sat., Aug. 29, 5 p.m., $20. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www.firebirdstl.com.

S U N DAY After the Burial: w/ Murder Machine, the Tortured Anomaly, Me the Monster We the Victim, Formations, Sun., Aug. 30, 6:30 p.m., $15. Fubar, 3108 Locust St, St. Louis, 314-2899050, www.fubarstl.com.

Decedy EP Release: w/ Captains Courageous, Church Key, Seven Eighteen, Yearlong Hours, Sun., Aug. 30, 6 p.m., $10.

The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532, www.thedemostl.com.

The Feed "Guitar-becue & Pool Party": Sun., Aug. 30, 2 p.m., free. Vintage Vinyl, 6610 Delmar Blvd., University City, 314-721-4096, www.vintagevinyl.com.

Orgone: Sun., Aug. 30, 8 p.m., $12-$15. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505, www.oldrockhouse.com.

M O N DAY Deerpeople: Mon., Aug. 31, 7 p.m., $10. The Demo, 4191 Manchester Ave, 314-833-5532, www.thedemostl.com.

Desecrate: Mon., Aug. 31, 7 p.m., $7-$10. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www.fubarstl.com.

Extravision: w/ Dubb Nubb, the Wilderness, Mon., Aug. 31, 10 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100, foamvenue.com/.

T U E S DAY Pears: Tue., Sept. 1, 8 p.m., $10. The Demo, 4191 Manchester Ave, St. Louis, 314-833-5532, www.thedemostl.com.

Reel Big Fish: Tue., Sept. 1, 7 p.m., $20-$22. Pop's Nightclub, 401 Monsanto Ave., East St. Louis, 618-274-6720, www.popsrocks.com.

Sleepy Kitty: w/ Bug Chaser, Br'er, Tue., Sept. 1, 7 p.m., $12.

City Museum, 701 N. 15th St., St. Louis, 314-231-2489, www.citymuseum.org.

St. Louis Social Club: Tue., Sept. 1, 9 p.m. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www. bbsjazzbluessoups.com.

Todd Rundgren: Tue., Sept. 1, 8 p.m., $25-$27.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161, www. thepageant.com.

W E D N E S DAY A.J. Gaither: Wed., Sept. 2, 7 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www. bbsjazzbluessoups.com.

Modest Mouse: w/ Morning Teleportation, Wed., Sept. 2, 8 p.m., $42-$50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161, www.thepageant.com.

Shai Hulud: w/ Lions Lions, the Engineered, Staghorn, Wed., Sept. 2, 7 p.m., $12-$14. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www.fubarstl.com.

X: Wed., Sept. 2, 8 p.m., $35. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444, www.blueberryhill.com.

savage love Ashley’s Ashes Hey, Dan: Please do a public-service announcement about the Ashley Madison hack, and request that no one look up information on anyone other than their own spouse. I’m a former AM user. I’ve been married to my wife for twenty years. We met when we were both twenty years old. Seven years ago, I made a selfish decision to have an affair, and five years ago, my wife found out. She hated me for a while, but we worked things out. I have been faithful since then, and our marriage is better than ever. Since my wife BY already knows everything, I have no worries about her DAN finding out. But what about every other person I know? It S AVA G E is mortifying to think about my colleagues or my wife’s family poring through my profile information. I’m going to assume the best — most people have the common decency not to snoop into their neighbors’ bedroom habits — but it would be great if you could ask people to respect other people’s privacy.

Really Enraged Guy Requesting Everyone’s Tactful Silence

I’m happy to back you up, REGRETS, but I don’t share your faith in humanity. Most people are only too delighted to snoop into their neighbors’ bedroom habits — particularly when doing so induces feelings of moral superiority. And I like to think the kind of puritanical busybodies who would go looking for names in the Ashley Madison dump are unlikely to be readers of mine, so they wouldn’t see my Ashley Madison PSA anyway.

But I have to disagree with your suggestion that people should look for their spouses’ names in the AM data. If someone in a shitty, high-conflict marriage needs an excuse to get out — because no-fault divorce isn’t good enough for them — okay, sure, that person might wanna search for their spouse’s name. But people who are in loving, functional, low-conflict, happy-ish marriages might want to think twice. Finding out that your spouse cheated — or fantasized about cheating — is impossible to unknow, and it’s something many people can’t get over. Caveat coniunx.

Hey, Dan: I’m one of those morons who had an Ashley Madison account. But for me, and probably for many others, AM has been a strong antidote to the urge to cheat. Spending some time on AM taught me the following: (1) I’m nothing special — there are millions of other men looking for the same thing, and most of them are younger and better-looking.

(2) The women on AM are nothing special —

the few who even bother chatting with you are often looking for money, and your wife starts looking damn good by comparison. (3) The whole thing is basically a scam to separate horny middle-aged guys from our wallets.

And it doesn’t even have the relatively honest sleaze of a strip club.

Ashley Madison Mark

There’s no way to tell the difference between an Ashley Madison member who came to his (or her) senses before cheating, like AMM here, and a member who fucked a dozen other people — or, for that matter, a member who had a good reason for being on the site…

Hey, Dan: I’m one of the men caught in the Ashley Madison hacker net. But as pissed as I am about the bullshit — the company’s lies about the security of its site, the hackers’ selfrighteous moralizing — I can attest to the fact that one can get what one is looking for on that site. Yes, there were a lot of fake profiles.

Yes, there were a lot of pros. Yes, there were women looking to steal your identity. Seriously. But once you figured out the game, you could find a lot of real women on that site who were looking for someone to spend time with.

I’ll be pissed if I get busted as a result of all of this, but joining that site helped me reclaim my sanity after a sexless 25-year marriage.

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Slogging through the Savage Love mail for the last 25 years has convinced me of this: Some married people have grounds to cheat.

Men and women trapped in sexless or loveless marriages, men and women who have been abandoned sexually and/or emotionally by spouses they aren’t able to leave — either because their spouses are economically dependent on them (or vice versa) or because they may have children who are dependent on both partners. It would be wonderful if everyone who felt compelled to cheat could either negotiate an open relationship or end the one they’re in now, but there are cases where cheating is the least worst option for all involved.

Now, I don’t know the particulars of DATA’s marriage — why it’s been sexless for so long, what the damage is — but if seeking sex elsewhere allowed DATA to stay sane and stay married, and if the marriage is otherwise affectionate and low-confl ict, and if DATA’s wife didn’t want to see her marriage end, DATA may have done her a favor by getting on Ashley Madison. Loyalty isn’t something we can demonstrate only with our genitals.

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100 Employment 105 Career/Training/Schools THE OCEAN CORP. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298

110 Computer/Technical Eastman Chemical Company seeks an Integrated Planner & Scheduler, Aviations Fluids in St. Louis, MO to assist in dev’t and improv. of OMP scheduling system. MS & 3 yrs. exp. or BS & 5 yrs. exp. req’d. Travel-5%. Complete reqs. and to apply, visit: https://eastman.taleo.net/ careersection/10010/jobdetail. ftl?lang=en&job=00007906 SAP XI Interface Specialist (Nestle Regional Globe Office North America, Inc. – St. Louis, MO) Prov tech interface supprt srvcs for interface dsgn & construct/ops activities. F/T. Reqs Bach’s dgr (or forgn equiv) in CS, Syst Eng, Electronic Eng or rel fld & 5 yrs exp in job offered or dsgn’g & construct’g interface prgrms, incl’g ABAP. All stated exp must incl follow’g: app life-cycle mgmt incl’g dsgn, delivery, sustain, renovate & replace; proj mgmt; execution of Msg’g Supprt Ops & Follow the Sun Model; ECC 6 data mdl; transformation of tech issues into bus. lang; writ’g detailed tech specs & data mdls; configur’g ALE & basic ABAP cod’g; unit & integration tst’g; SAP PI & SAP to SAP msg’g; SAP BODS; & ISIT & srvce mgmt methodologies incl’g incident, chng release & root cause. Mail resumes to M. Simo, Nestle USA, Inc., 800 N. Brand Blvd., Glendale, CA 91203. Job ID: SAP-PPR.

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Reqs Medical Degree/foreign equiv, 3 years Internal Med residency, immed eligibility MO license. Full Time. Resume to JH, 645 Maryville Centre Dr. #100, St. Louis MO 63141-5846.

155 Medical Research Studies Washington University study seeks women 1449! Available services include birth control, GYN exams, & STI tests.

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167 Restaurants/Hotels/Clubs Now Hiring 2 EXPERIENCED HEAD LINE COOKS & DAY SERVERS. Apply in Person Only.

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