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THE LEDE

“ One month ago Roseanne Barr was kicked off her show because of a racially insensitive tweet. That was completely deserving. Yet this man has openly made jokes and refused to apologize for claiming that he will murder transwomen. This is an acceptable thing for comedians to do? I think not. And that’s why we’re here. We will not stand for a culture of murder and death.”

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TABLE OF CONTENTS

Publisher Chris Keating Editor in Chief Sarah Fenske

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COVER Be Thankful You’re Not a Turkey Things could be a whole lot worse

A R T Art Director Evan Sult Contributing Photographers Mabel Suen, Monica Mileur, Micah Usher, Theo Welling, Corey Woodruff, Tim Lane, Nick Schnelle P R O D U C T I O N Production Manager Jack Beil

Cover illustration by

JACK BEIL T H E B O O M B O O M R O O M ST L .C O M

E D I T O R I A L Arts & Culture Editor Paul Friswold Music Editor Daniel Hill Digital Editor Jaime Lees Staff Writers Doyle Murphy, Danny Wicentowski Restaurant Critic Cheryl Baehr Film Critic Robert Hunt Editorial Interns Tom Hellauer, Desi Isaacson, Dustin Steinhoff Contributing Writers Mike Appelstein, Allison Babka, Sara Graham, Roy Kasten, Jaime Lees, Joseph Hess, Kevin Korinek, Bob McMahon, Nicholas Phillips, Tef Poe, Christian Schaeffer, Lauren Milford, Thomas Crone, MaryAnn Johanson, Jenn DeRose, Mike Fitzgerald Proofreader Evie Hemphill Cartoonist Bob Stretch

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C I R C U L A T I O N Circulation Manager Kevin G. Powers E U C L I D M E D I A G R O U P Chief Executive Officer Andrew Zelman Chief Operating Officers Chris Keating, Michael Wagner VP of Digital Services Stacy Volhein Creative Director Tom Carlson www.euclidmediagroup.com

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Come hell or voter ID laws, David King gets out the vote

Calendar Film

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Short Orders

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Music & Culture

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The Front Runner

Hamilton’s Urban Steakhouse

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NEWS

NAACP Alleges ‘Civil Rights Crisis’ Written by

DANNY WICENTOWSKI

W

ho governs complaints of racial bias at St. Louis Lambert International Airport?

Is it the city of St. Louis, which owns the airport?

Or St. Louis County, within whose borders the airport is located?

The answer to that question, says St. Louis NAACP president Adolphus Pruitt, amounts to a “civil rights crisis” at the airport.

At a press conference last week, he offered up a stack of records to make his case that the city is willfully dodging its responsibilities at the airport it owns and manages.

The thick stack of documents brandished by Pruitt entails the contracts that govern airport “concessionaires,” or non-airline employers — which include restaurants, shoeshine stations and the companies that employ aides to push travelers needing wheelchairs.

Several sections of the contracts explicitly designate the city of St. Louis’ Civil Rights Enforcement Agency, or CREA, as the agency responsible for stepping in when an airport employer fails to uphold the city’s non-discrimination laws. One section says employers must provide records to the agency; another flatly states that if an employer is “unable to conform” to the city’s employment protections, the employer must notify CREA within ten days and devise a plan to resolve the issue.

Yet on July 3, the NAACP received a letter from CREA denying that it had any jurisdiction over a different airport contractor: Southwest Airlines. In the letter, the agency’s director, Charles Bryson, wrote that the city could not assist the NAACP with its allegations that Southwest Airlines discriminates against African American employees.

Bryson’s stated reason? CREA “does not have jurisdiction in the matter as the location of the

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Adolphus Pruitt says the city is derelict in its duty to airport workers. | DANNY WICENTOWSKI alleged incidents are in St. Louis County.” (Emphasis added.)

That line struck Pruitt as strange. CREA is supposed to be the city’s enforcement arm for civil rights. Yet due to the airport’s physical location, CREA appeared to be washing its hands of every employee at the airport. To Pruitt, that includes not just those working for Southwest, but even those employed under the “concessionaire” contracts like the one Pruitt displayed during Tuesday’s press conference. “[CREA’s] ability to enforce civil rights for all of the folks who are employed under these contracts, in our estimation, may be null and void,” Pruitt said. “To us, that is a civil rights crisis.”

At least half of the airport’s employees are working under the “concessionaire” contracts, Pruitt says. He voiced concern that workers with complaints about discrimination may believe that they can turn to the city for help — even though, through the Southwest dispute, the city seems to be saying those workers are not its problem.

Pruitt acknowledges that those

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workers could file formal employment complaints with state or federal agencies, but those agencies are backlogged and slow, he says.

And what of St. Louis County?

Pruitt dismisses that option.

“We disagree that it’s a county problem. We did not reach out to the county,” Pruitt says. He adds, “I want to see one instance where the county has told the airport what it can or can’t do. The city owns it, the city operates it.”

Via email, Koran Addo, a spokesman for Mayor Lyda Krewson, did not directly respond to questions about CREA’s relationship to airport workers. He did suggest that CREA’s limitations don’t mean the city is walking away from civil rights abuses.

“The City takes any allegation of discrimination seriously. We expect any contractor, vendor or other entity doing business with the City to act lawfully,” Addo wrote in an email.

Addo added, “At the present time, we are not aware of any outstanding complaints made by any employee of Southwest Airlines.”

Which gets us back to Southwest. Behind the “civil rights cri-

sis” alleged at its press conference is the NAACP’s attempts to obtain internal records of Southwest’s hiring, firing and disciplinary practices. So far, the organization has been unsuccessful in getting those records.

In August, Pruitt staged a press conference to complain that the NAACP had documented numerous racial-related complaints against the airline, but the company refused to provide the records that, the NAACP contends, could demonstrate the extent of the problems.

Southwest maintains its own contract with the city. Pruitt concedes that — unlike the concessionaire contracts — the airline’s contract does not designate CREA as the agency enforcing non-discrimination laws. Still, between Southwest’s refusal to disclose records, and CREA’s contention that it can’t touch St. Louis County, Pruitt says he worries about the workers caught in the middle.

“It is our intent to inform the public about it,” Pruitt explains, “and to make sure the workers understand that we’re deeply concerned about it.” n

Student Sues SLU Over Rape Written by

SARAH FENSKE

A

student-athlete is suing both Saint Louis University and former student Colten Bonk, accusing the Jesuit university of failing to intervene as Bonk abused her.

The student alleges that the abuse continued for months, ultimately culminating in Bonk assaulting, beating, raping and sodomizing her in her dorm room.

The St. Louis Post-Dispatch reported in 2017 that the victim, who was then twenty, told police that Bonk choked her, bit her face and lips, and ripped hair from her scalp. Then he raped her.

Bonk, then a nineteen-yearold freshman, was arrested one day after the May 2017 incident.

He is currently serving a 120day “shock time” sentence at the Boonville Correctional Center after a guilty plea in July.

Morry S. Cole, an attorney at Gray, Ritter & Graham, filed the lawsuit on behalf of the victim last Thursday in federal court. Cole said Bonk and the young woman had dated prior to the attack.

The suit details a series of warnings about Bonk, saying Saint Louis University should have been

Colten Bonk pleaded guilty in July to domestic assault and sexual abuse. | VIA SLMPD aware he was a threat. A resident assistant brought Bonk to the university’s attention in the fall of 2016 in “a detailed and desperately alarming lengthy report of abuse, violations of policies and violations of visiting restrictions,” the suit alleges. Yet, it continues, “SLU did nothing to intervene, discipline Bonk or protect plaintiff.”

That same fall, the university’s public safety department responded to a report of physical abuse, the suit says. Again, however, the suit claims, the university did nothing to intervene.

However, in a statement, the university said that the female student resisted its efforts — and did not come forward to SLU of-

ficials with any complaint about Bonk until after the May 2017 incident.

“In December of 2016, a fellow student expressed concern that [the student] might be in an abusive relationship with Bonk,” SLU’s statement says. “Very shortly thereafter, SLU reached out to [the student], offering to meet with her and to provide support.

The University did not receive a response.”

As soon as the student reported the assault, the university said, it helped her contact the police and “cooperated closely with the police on their investigation. SLU also launched its own internal investigation through its Title IX

Office and provided a full array of support services and assistance to [the student victim].”

“SLU maintains a robust program to create a safe and inclusive educational environment for all students,” the statement continued. “The University provides training and programing to students and employees, maintains comprehensive policies, and provides personnel dedicated to counseling and supporting students who have concerns about their safety. All members of our community are encouraged to report incidents of sexual misconduct to the Title IX Coordinator.”

But the young woman’s attorney, Cole, says the university’s lack of action on early complaints about Bock is a violation of Title IX, which seeks to ensure access to education regardless of gender.

“The bottom line is, policies and procedures consistent with Title IX have to be in place,” Cole says.

“But that’s not enough. They also have to be followed.”

Saint Louis University disagrees.

“The University condemns any assault, especially when it happens to one our students,” its statement says. “However, we are disheartened that [the student] has included the University as a defendant in her lawsuit against Bonk. [Her] lawsuit makes the serious allegation that the University did nothing to protect her. That is simply not true ...

“The University plans to vigorously defend itself against the unwarranted allegations in this lawsuit.” n

STREAK’S CORNER • by Bob Stretch

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Notes from the Trolley Launch Written by

DANIEL HILL

A

fter something like 100 years of delays and millions upon millions of dollars’ worth of sunk costs, the Loop Trolley defied the very will of God this past Friday and finally lurched to life, ferrying its first riders on the tracks down Delmar Boulevard.

Eager would-be passengers, including an RFT reporter and a co-conspirator, took to the trolley platforms in the Loop around noon — the scheduled start time of service after Thursday’s grand opening got snowed out — and began purchasing tickets.

It should be noted that a disproportionate number of those waiting were media types. Joining us at the trolley stop in front of the Pageant were three Post-Dispatch employees — and literally no one else.

Some curious passers-by asked the assembled group what was going on, but none seemed interested in going for a ride.

In keeping with that theme, we present you with ten observations we had after finally riding the Loop Trolley — all your questions answered, so you never have to actually ride it yourself.

1. For Now, at Least, It’s More Like the East Delmar Trolley After we stood around in the cold for some 50 minutes waiting for a ride, the Loop Trolley Co. took to Facebook and announced that the trolley would only be in operation from the Delmar Loop MetroLink station, east of the Pageant, to the Missouri History Museum MetroLink station. Eagle-eyed readers might note that this is exactly the portion of the trolley line that is already serviced by MetroLink, and also that it does not include any portion of the line that most would call the Loop. Semantics!

Our trolley operator, a man named Anthony Edwards, did not have an explanation for why the western half of the line was not in service. His guess was that they might be setting up Christmas decorations on the Loop side (though we did not spot any).

As it turns out, the truth was in

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The Loop Trolley finally went clang, clang, clang Friday ... even if it didn’t quite make it to the Loop. | DANIEL HILL the St. Louis Post-Dispatch: University City was barring the trolley from running within its borders until it cleared up a few items on a punchlist, including one it felt was “critical” to safety. Apparently operators have known about these issues for two years. No idea why they didn’t clear them up during the two years that tracks sat idle after construction.

of tracks as the other passes by on the first.

On occasion, this means that you must sit and wait for the other trolley to come and pass. It took twenty minutes to make it from the Delmar MetroLink stop to the Missouri History Museum — a distance of 1.3 miles. Interestingly, though, it only took nine minutes to get back.

2. Hope You’re Not in a Hurry The trolley can reach a top speed of 25 miles an hour, backer Joe Edwards has said, though it typically travels at an average of ten to fifteen. At one point we spotted a man on a Bird scooter outpacing us on the sidewalk.

4. The Interior Is Actually Pretty Cool The trolleys are really pretty on the inside, with polished wood benches, leather straps to hang on to and the whole nine... though it does seem they are maybe a little ambitious about the number of riders on an average weekday.

We counted 28 straps, six small benches capable of holding one person each comfortably or two uncomfortably, and seven large benches that could hold three to four people each. That puts the conservative estimate at 55 passengers at a time. During our run, there were never more than six people riding. Once the trolley is fully operational on a nice spring day? The extra space could come in handy.

3. Be Prepared for Unscheduled Stops The trolley does not actually turn around when it reaches the end of the line; it simply reverses direction. The trams are designed to be operated this way, with the operator moving from one end of the trolley to the other when it is time to head the other way. This means, though, that sometimes both trolleys are on the same tracks at the same time. They get around one another at certain spots where the tracks split briefly into two sets, with one of the trolleys pulling over and waiting on the second set

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5. The Benches Are Also Reversible The trolleys’ reversibility ex-

tends to the furnishings. Unlike MetroLink, where you sometimes travel facing backwards in your seat, the small forward-facing benches on the trolley have a switch on the side that allows you to move the backrest of the seat to the opposite side. Whenever the trolley reaches the end of the ride, the trolley operator walks down the row and switches the direction all the benches face before taking his spot at the other end.

6. They’ve Got Cool Clanging Bells and Loud-Ass Horns We didn’t see an actual bell, but the trolleys do make a pleasant clanging noise as they go down the track.

The horn, on the other hand, seems better suited for a barge in the Mississippi, and the operator blasts it every time he passes through an intersection. It is surely for safety, but it is also very, very loud, which is cool as hell.

7. Older Folks Are Stoked The most excited people we met while riding on the trolley were two separate pairs of older folks, who were blown away by the beauty and whimsy of it all. Both pairs, who weren’t riding the trolley at the same time, requested that another passenger take a Continued on pg 11

TROLLEY NOTES Continued from pg 10

photo of them during their trip.

Adorable.

8. Would-Be Passengers Who Waited on the Loop Side Were Not Stoked When we disembarked after traveling to the History Museum and back, three people got on — and immediately started complaining to the trolley operator about the lack of service at the other end of the tracks. The operator responded by telling them he could give them the number for customer service, but one of the men said that he and the others he had been waiting with only got voicemail when they’d called. Seems like somebody should have been manning the phones on day one, don’t ya think?

9. Precious Few Passengers Total ... for Now Trolley backers surely would have loved to see packed trams and long lines on the first day of business, but that was not our experience. During our ride to the History Museum around 1 p.m. there were five passengers total, and no one whatsoever hopped on at any of the stops until we reached the History Museum itself. At that point three people stepped off and four stepped on.

On the way back it was somewhat of a repeat experience — no one got on at any of the stops until we hit the end of the line at the Delmar Loop MetroLink again.

Interestingly, while we paid for our ticket, the Trolley Co. later announced the day’s rides were free.

It was unclear whether that affected ridership in any way.

10. It’s Far Too Soon to Tell Whether This Thing Will Be Successful With the more populated section of the trolley line — the Loop itself — not running just yet, it is impossible to predict whether this very expensive gamble will pay off in the long run. It seems crazy for the Loop Trolley Co. to declare the trolley open for business when half of the line isn’t running, but almost every single element of this project has seemed crazy to us, so it’s in keeping with what we’ve come to expect.

Time will tell if Joe Edwards finally bit off more than he can chew on this one, or if he will finally silence the haters once and for all. You know we’ll be here for every twist and turn. n

The opening reception for Damon Davis’ 2018 exhibition Darker Gods in the Garden of the Low-Hanging Heavens at the Luminary. | COURTESY OF BREA MCANALLY

Luminary Doubles Down on Cherokee Written by

DOYLE MURPHY

A

fter a decade in business and four years on Cherokee Street, the Luminary has big plans for the future. The exhibition and performance space says it will soon begin a renovation project on its three-story building, adding three live/work studios, classrooms, a library, a bookstore and a bar.

That will mean new programs extending into the surrounding neighborhoods — and, the founders hope, new ways to bring people to the space who might not normally engage with the arts.

“We feel like our role is to be constantly pushing things forward and expanding the boundaries of what is possible,” says James McAnally, who founded the Luminary with wife Brea McAnally.

The arts organization has been quietly raising money toward the $500,000 expansion for about a year. Now that it’s about 80 percent there, it is kicking off a public fundraising campaign.

When the couple started the Luminary in 2007, James McAnally says, they had no idea it would still be going and expanding ten years later. The Luminary quickly became known as an organization with abilities beyond its small size, pulling in national acts, in-

cluding Of Montreal, in the early years.

More recently, the Luminary hosted Damon Davis’ much buzzed-about multimedia art show.

The space has become a stalwart of not only the neighborhood’s scene, but a force in the city with tentacles across the globe. Artists from 47 countries have applied for the Luminary’s residency program. Over the years, the visiting artists and curators have stayed in a donated apartment about four blocks from the Cherokee space. As part of the renovation, they will now stay in new apartments on the long-dormant second floor of the Luminary.

McAnally says they only had access to the off-site apartments seasonally, and opening the larger apartments with an additional bedroom in their building will let them expand the program by about 50 percent.

Construction is expected to begin in December, and the space is scheduled to be closed through February before reopening for exhibitions in March.

Expanded programs include plans for a publication created by neighborhood kids, ages eight to fourteen, who will learn about production and new media. Another program, Counterpublic, commissions artists to create works in public places, such as parks and storefronts.

The Luminary held its tenth anniversary party last month, and McAnally says the founders have put a lot of thought into what the city needs from in the future.

“It was really a moment for us to think about what happened the last ten years and what we want to happen in the next ten years,” he says. n

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few days before Election Day, David King’s plan is set: He’s going to start knocking on his neighbors’ doors around 9:30 a.m., reminding them to vote and seeing who needs a ride to the polls. But as this reporter pulls up to King’s house in Gravois Park in south St. Louis a little after 9 a.m. on November 6, King calls to say he’s already left to give an elderly woman who lives on Itaska a ride to her polling place.

“Don’t worry,” he says over the phone. “I’m running some neighbors to the polls at 10. I’ll meet you then.”

To say that King, 50, is involved in his community would be a colossal understatement. The St. Louis native referees basketball games at the Carondelet YMCA. He’s involved in a Beat the Streets basketball program at the Cherokee Center off Jefferson. Every October he and his wife invite the neighborhood kids over to watch Halloween movies he shows on a projector in his backyard.

Instead of working a traditional nine to five, King buys houses, fixes them up and rents them out. A few doors down from where he lives sits a vacant house that he owns, which for the past several Octobers he’s transformed into a DIY haunted house. Admission costs $2 and comes with all the candy you can eat.

Voting may be what King cares most about. It =doesn’t take much to get him to opine at length Continued on pg 15

David King, right, with Shalessa Kemp at their Froebel Elementary polling place. November 6 was Kemp’s first time casting a ballot.

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David King knocks on a door on Election Day. He’s developed a reputation as a guy who will bust his ass to get his neighborhood to the polls.

DAVID KING

Continued from pg 13

on the issues of the day: city schools, trash collection, the media, minimum wage, the police.

But he holds a special passion for voting. The right isn’t to be taken for granted, he says. A lot of people died for it — a lot of people in particular died so people like him could have it.

“It doesn’t matter if it’s an election for president or if the only thing on the ballot is how to trim the trees in the neighborhood — I’m voting,” he says. “I take that seriously.”

The 2008 presidential election

was the first time he brought people to the polling station with him. In the decade since, he’s developed a reputation as a guy who will bust his ass to get voters to the polls and who will bust the chops of anyone who stays on the couch on Election Day. “He brings a lot of people out,” says Alderwoman Cara Spencer, whose Ward 20 includes Gravois Park. “He motivates neighbors.

I’ve seen him at every election doing that. Women show up in their nighties and their jammies saying that ‘Mr. King dragged my ass out of bed to go exercise my right to vote.’”

On August 7, 2018, King went to vote in the primary at his usual polling place, Froebel Elementary

School on Nebraska. Everyone there greeted him with “hello” and “how ya doing.” He showed his voter registration card to the poll worker, who then asked for a photo ID. King reached for his wallet and realized he’d left it at the house where he’d been working earlier in the day.

Well, you can’t vote, the poll worker said. How do we know you’re you?

“Everyone in here just said ‘Hi, David,’” King replied, incredulous.

King lost the argument, didn’t vote and went out into the parking lot upset. He bumped into some people he knew and told them about what had happened.

It was then that insult was add-

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ed to injury. A poll worker from inside handed King a tape measure and told him that if he wanted to talk about what had happened he needed to be a full 25 feet from the building. Otherwise, it might be considered illegal canvassing.

“I saw him right after it happened,” Spencer recalls. “He was very pissed off, obviously.”

Later that day, King did cast a ballot. About 45 minutes after he went back to work, his brother, who had heard what had happened, came to see him. King got his wallet and went back to Froebel.

“But you see the thing is, for that 45 minutes they’d beat me,” King says. “They’d convinced me not to vote. Now imagine if I was

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Continued on pg 16

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DAVID KING

Continued from pg 15

someone who didn’t have a flexible schedule, someone who has got kids to pick up. Do you think then I’m going to go back and try again?”

Two months later, King is still smarting from what happened in August. He’s the kind of guy who, when he perceives an injustice, whether against him or someone else, can’t let it just roll off. He’s got to do something about it.

In the months after the August primary, King would do something about it. By the time he returned to Froebel to vote in the November midterms, the state’s voter ID law had been amended — a change in which King played a part.

T

he poll workers at Froebel in August had been wrong. Legally, King should have been able to cast a ballot without a photo ID. Yes, a year and a half before, the Missouri legislature passed House Bill 1631, popularly known as a state photo voter ID law. But contrary to what many people assumed, the law didn’t actually require a voter to show a photo ID. For most of the state’s history, Missourians needed no identification at all to cast a ballot on election days. Voters signed their name in the poll book next to their name and address. To sign fraudulently was a felony, but the process was based on trust, not verification.

Then in the 1990s, the state legislature passed a law requiring some form of ID: a driver’s license, a bank statement, a utility bill. Attempts to make the requirement even stricter were found unconstitutional in 2006 and again in 2011. But the legislature kept trying, and in 2016, it approved House Bill 1631.

That wasn’t the end. Then-Governor Jay Nixon, a Democrat, vetoed the bill, only to face an override from the legislature that referred the matter to voters. When the citizenry approved Amendment 6, despite a campaign in which opponents outspent supporters 80 to 1, it changed Missouri’s constitution to allow the legislature to change voting requirements. And with that approval, H.B. 1631 became law.

Though it was touted as a photo ID law, H.B. 1631 actually still allowed all the same types of identification, merely specifying a preference for state-issued photo IDs like driver’s licenses, state IDs and passports. A voter could still cast

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David King passes the basketball to a neighborhood kid. King is involved in a Beat the Streets basketball program.

“ The more people we can turn out, the better,” King says softly.

“You see, they look at our neighborhood as being nothing.” a ballot using the other non-photo types of identification but had to sign an affidavit in order to do so.

King, who had tried to vote using his registration card, should have only had to sign one of these affidavits. Yet the option was never given to him.

The August 2018 election was Missouri’s first statewide one under the new law. In preparation, state officials had set up a system for Missourians without driver’s licenses to receive a free photo ID for voting purposes.

But in the time between the law’s passage and that election, fewer than 1,400 such IDs were issued, and the majority of those were issued at one DMV in St. Louis solely because of the dedicated work of

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a faith-based organization. Jason Kander, who was Missouri secretary of state from 2013 to 2017, commissioned an analysis of the law while he was still in office and found that as of 2014 about 225,000 registered voters in the state didn’t have photo IDs on file with the Department of Revenue.

And so after the August primary, the same one that saw King initially turned away from the polls, Priorities USA, a left-leaning political action committee, sued Secretary of State Jay Ashcroft and the state of Missouri, claiming both that the affidavit requirement intimidated voters and that the Secretary of State’s Office advertised the law in a manner that misled the public (and apparently some poll work-

ers) into thinking a photo ID was now required to vote.

Lawyers for both sides met in a Jefferson City court in September.

Testifying on behalf of Priorities USA were a Lee’s Summit voter who’d been compelled to sign the affidavit without being able to read it, University of Wisconsin political scientist Kenneth Mayer and none other than David King.

After his debacle at the polls in August, Alderwoman Spencer put him in touch with a local activist who put him in touch with Priorities.

After multiple days of trial, Judge Richard Callahan ruled that the affidavit requirement was confusing and contradictory. Essentially, it forced would-be voters to swear (under penalty of perjury) that they had no approved form of ID for voting and that they understood that casting a vote without such ID is illegal. Put those two statements together and it’s not unreasonable to see how someone might think they were signing their name to a document swearing that they were about to break the law.

“A lot of voters were worried that if they didn’t have one of these IDs and signed this affidavit they’d be putting themselves under some kind of jeopardy of being accused of voter fraud,” says Tony Rothert, legal director of the ACLU of Missouri. “The judge ultimately agreed with this.”

“That is one of the big issues with these voter ID laws,” says Anita Manion, a political scientist at the University of Missouri-St. Louis.

“They are implemented by your poll workers, who aren’t always super informed about the nuance and the changes that are happening. But they have the discretion.”

Furthermore, Judge Callahan ruled that Ashcroft’s $1.5 million print, radio and TV advertising campaign likely misled voters as well as poll workers about the new law.

Callahan wrote in his decision: “The [print] advertising strongly implied that a photo identification card was required for voting … the print message promulgated by the State could clearly lead voters to believe that they would be unable to cast a ballot without presenting a photo identification.”

Ashcroft’s office created a variety of advertisements, and not every piece was inaccurate. But, Rothert says, Missouri has more than 100 local elections authorities and any inaccurate advertising from the Secretary of State’s Office is going to lead to confusion at some polling places, and that will inevitably lead to people, like King, being wrongfully turned away.

Callahan’s ruling could be overturned if the case goes to the Missouri Supreme Court, but for now, voters do not need a photo ID to vote, nor do they need to sign an affidavit.

“My overarching view is that these laws are a solution without a problem,” says Manion. “There’s no evidence of widespread voter impersonation. The cost-benefit analysis doesn’t make any sense.

Your extra vote isn’t likely to influence the election, but the penalty to you personally if you get caught can be really serious.”

O

n Election Day earlier this month, David King returns to his block after taking the woman on Itaska to vote. He begins knocking on doors letting people know he’ll be pulling out again soon.

King’s Gravois Park is one of the few majority-black neighborhoods in south city. Cherokee Street marks its northern border, Chippewa its south. The neighborhood suffers from a high number of vacancies, although they in-

creasingly seem to be viewed as opportunities rather than blight.

An abandoned building was recently renovated into a fifteenunit apartment building, while a group of nonprofit organizations recently bought twelve vacant homes with the intention of turning them into artist housing.

Still, when Gravois Park makes the news, it’s usually because of crime. In 2016 the St. Louis Post-Dispatch chronicled “roving groups of kids” committing heinous assaults here. In the same story, Alderwoman Spencer cited the high percentage of rental properties owned by distant and neglectful “slumlords” as one of the area’s problems.

Whatever problems the area faces, though, seem the stuff of a different universe this morning.

King’s block is tinted the color of fall foliage. Halloween decorations linger.

“Have you voted today yet? Are you voting?” King yells down the street.

Audrey Owens is walking from her front door to her car when King spots her.

“I’m going,” Owens replies. “I got to drop off some paperwork; then I’m going.”

“You know what you’re voting on, right?” King asks.

Owens has known King for about six years. “When I saw him I knew exactly what he was going to ask me,” she says. “He knocks on doors. He’ll take you to vote if you don’t have a ride. That’s just how he is.”

O

ne of the neighbors whom King will be ferrying to the polls today is Shalessa Kemp. Four years ago Kemp moved into a house King owns across the street from his own residence. She’d just had a child and “was going through a lot,” she says. She really needed a place to live. She’d come to King’s block to look at a different house up for lease, but the landlord never showed up. King just happened to be putting a “for rent” sign outside his property.

“I didn’t have anything that I needed to move in there,” Kemp says. “But he gave me a chance and he helped me, and now I’m on my feet. I’m from Wisconsin, and all my family is up there, so I call David my St. Louis dad.”

Kemp describes herself as “conspiratorial” and not naturally inclined to vote. “Literally,” she says, “David’s the only guy who could get me [to vote], the only person who could have convinced me.”

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Regina Moore assures David King that she voted. “He will get you of your bed, literally roll you out of bed to go to vote,” Moore says.

DAVID KING

Continued from pg 17

ever casting a ballot.

“David will get you out to vote,” adds Sandra Stewart, another neighbor getting a ride from King.

“He takes care of his constituents,” says another man showing up for a ride (he doesn’t want to give his name). “He should run for office.”

Kemp, Stewart and another neighbor pile into King’s truck, and the four of them head for Froebel Elementary.

In line inside the school’s gym, King, Kemp and Stewart talk quietly with each other. King’s voice is unusually low, as if he is trying to avoid drawing attention to himself.

“The more people we can turn out, the better,” King says softly.

“You see, they look at our neighborhood as being nothing.”

Kemp adds: “And then we don’t vote and they be like, see.”

This time King votes without incident. But when he steps outside a few minutes later, he has words with the poll worker who gave him a hard time in August for talking on the premises about being turned away.

“If you don’t make people com-

He’s the kind of guy who, when he perceives an injustice, whether against him or someone else, can’t let it just roll off. He’s got to do something about it. fortable,” King says. “Then will they come back?”

“Most likely not,” the poll worker concedes.

“Who wins then?” King asks.

“Nobody.”

“I’m going to disagree with that.

A certain party does win when we don’t vote.”

An older woman working inside the Froebel polling station says this about King: “He always makes sure that the people get out and vote. He always brings people who can’t walk, people who don’t have a way to get out. He’ll even knock on doors and bring them up here.”

When the comment is relayed to King, it confounds him. The woman who said it was the same person who had kept him from voting two months ago.

B

efore moving to Gravois Park in 1993, King grew up in the Gate District. His father wasn’t really around but he got a lot of mentorship from a neighbor named Glen Douglas.

“He thought I was valuable when I didn’t know I was valuable,” King says. “He didn’t do a lot a lot of things with me, but he did some things, talking to me and taking me places. It just helped me to have that male figure in my life who I could reach out and talk to. I owe him so much.”

King elaborates on Douglas during a drive down Jefferson to pick up Regina Moore, who until recently lived on the same block as King. He’s planning on taking her to the polls, too.

Moore comes out to her doorstep.

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“He will get you out of your bed, literally roll you out of bed to go vote,” she says. “He doesn’t play.

If you don’t vote, he won’t speak to you for at least a week or two.

And with him, if you don’t vote, you can’t complain.”

Moore first met King when her young daughter saw a man who was running from the police throw a gun. Later, after Moore’s daughter talked to the police, the man who had thrown the gun followed her when she got off the school bus. King intervened, managing to get Moore’s daughter home safely without betraying to the man where she lived.

“Ever since then I was just in love with him and his wife,” Moore says. “That’s my Mr. Dave.”

Moore is running late this morning and not quite ready to leave her house, so King moves on without her.

Later in the day, King is back parking his truck at Froebel when he spots Moore pulling out of the parking lot. She shows him the “I Voted” sticker on her jacket.

“Am I OK now?” she asks.

“You good,” King replies.

Ryan Krull is a freelance journalist and assistant teaching professor in the department of communication and media at UMSL

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CALENDAR

BY PAUL FRISWOLD and the Monsanto Insectarium.

This year the zoo’s 4D theater is showing The Polar Express for free during the Wild Lights nights, and the always-popular Conservation Carousel is likewise free to ride. Sessions resume from 5:30 to 8:30 p.m. Wednesday to Sunday (November 28 to December 23, and then every night except Christmas Eve and Christmas from 5:30 to 8:30 p.m. (December 26 to 30). Tickets are $8 to $11, and kids younger than two are free.

Nice & Naughty

Consider this just a small sample of what A-B has prepared for Christmas. | COURTESY OF ANHEUSER-BUSCH

THURSDAY 11/22 Thanksgiving’s Big Day Nobody prepares for Thanksgiving like they do for Christmas (or even Halloween), at least if they’re not handling the cooking.

For most of us, there’s no frantic run-up to the holiday, and very little excitement once we get there.

It’s just a day off followed by a shopping event with copious eating in between. But for the members of the high school marching bands and civic groups preparing to appear in the Ameren Thanksgiving Day Parade, the holiday is a big deal. There are practices, meetings and last-minute preparations, all part of a concerted effort to celebrate the fact that America has survived countless crises since the Mayflower landing and remains standing. This year’s parade starts at 8:45 a.m.

Thursday, November 22, at 20th

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and Market streets (www.christmasinstlouis.com) and then heads east, with more than 130 participating units and inflatables. Santa Claus brings up the rear.

FRIDAY 11/23 Lights, Beer You have to give Anheuser-Busch credit: The big brewery in town has crammed more Christmas stuff than ever into its light display this year. There are the traditional lights winking from every cornice and edge of every building in the brewery complex, the return of its own ice-skating rink, a new kids’ zone and brewery express train, and holiday movies shown on a big screen nightly during regular hours. If you want to experience everything the season has to offer, it’s all there. Anheuser-Busch’s brewery lights are on every night, but the other activities only happen from 5 to 10 p.m. Thursday through Sunday (November 12

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to December 30) at the AnheuserBusch Brewery and Tour Center (1200 Lynch Street; www.budweisertours.com). Admission is free, but train rides are $3 and there’s a suggested $3 to $5 donation for skate rental. Skating is free if you have your own skates, but why not donate anyway?

Have a Zoo Christmas U.S. Bank Wild Lights at the Saint Louis Zoo (1 Government Drive; www.stlzoo.org) opens this weekend from 5:30 to 8:30 p.m. Friday to Sunday, and once again it’s in the running for Best Zoo Lights in the country in USA Today’s annual poll (voting is open until December 10, if you’re so inclined). U.S. Bank Wild Lights features more than 1 million lights strung throughout the zoo, and families can also enjoy storytellers, campfire s’mores, ice-carving demonstrations on weekends and special nighttime viewings of Penguin & Puffin Coast

Traditionally, there’s only ever one Santa Claus on the job — that’s what makes him so special.

But at St. Charles Christmas Traditions, all the iterations of Santa Claus from other cultures and times gather in historic downtown St. Charles (South Main Street and Jackson Street, St. Charles; www. historicstcharles.com), which allows you to meet and take a picture with some far-out Santa variants and other assorted holiday characters. There’s Ded Moroz (“Old Man Frost”), who brings the well-mannered children of Slavic countries their presents, and Julenisse, the Scandinavian supernatural being associated with the Winter Solstice. Non-Santa costumed characters include a reindeer flight instructor, Jack Frost, the Ice Queen and Julia D. Grant, the St. Louis-born wife of Ulysses and America’s former first lady.

St. Charles Christmas Traditions opens with a big brouhaha from 11 a.m. to 9 p.m. Friday, November 23. The fun resumes from 6 to 9 p.m. Wednesday and Friday, 11 a.m. to 9 p.m. Saturday and noon to 5 p.m. Sunday (November 24 to December 24). In some cultures, Santa Claus has a mischievous counterpart; on Wednesday nights from 6:30 to 8:30 p.m., the Krampus gets his time to shine during Krampusnachts. At 8:13 p.m. he spins his Wheel of Misfortune in the Colonnade, joined by unsavory pals the Mouse King, Jolakotturinn (Iceland’s ferocious Yule Cat, who eats people who don’t get new clothes for Christmas) and the Abominable Snowman. If you feel like you can’t keep all these beings straight without a scorecard, you’re in luck: Special trad-

WEEK OF NOVEMBER 22-28 ing cards are available for each of them. Admission is free, and most shops and restaurants in the downtown area will be open for business during Christmas Traditions hours.

short from 1941, “The Mechanical Monsters.” Tickets are $12.50.

MONDAY 11/26 Trains Keep A-Rollin’

SATURDAY 11/24 Jets Blues The St. Louis Blues are still skidding along the bottom ranks of the NHL, which has confounded experts and fans alike. Wasn’t this team supposed to be better than this? Meanwhile, the Blues’ next opponents, the Winnipeg Jets, are flying high, thanks to balanced scoring and a killer instinct. It’s still early enough in the season that the Blues could vault the Jets in the standings by the end of the year, and the Saturday, November 24, game between the two teams would be a great time to start on that. The puck drops at 6 p.m. at the Enterprise Center (1401 Clark Avenue; www.stlblues.com), and tickets are $44 to $195.

The trains are on time at the botanical garden. | KAREN FLETCHER/MISSOURI BOTANICAL GARDEN Every year, Steinberg Skating Rink in Forest Park (www.steinbergskatingrink.com) is open from early November to late February, providing the Midwest’s largest outdoor rink for the low price of $7 a day. Your $7 is good for the whole day, from 10 a.m. to

SUNDAY 11/25 We Need A Hero

Party Wargs George R.R. Martin’s A Song of Ice and Fire has become Dungeons and Dragons for non-nerds. Is it the power of his prose that made the books a lifestyle, or is it the allure of a good-looking cast on a cable channel with no network censors to child-proof all the good stuff? The world may never know.

What is known, however, is that winter is coming, and the Budweiser Brewhouse at Ballpark Village is spreading the word. At 8 p.m. Saturday, November 24, the brewhouse’s Crown Room (of course) will host a Game of Thrones party with themed entertainment and cocktails, and free party favors (while they last).

You should of course dress in your best Westeros garb — and keep one eye open for white walkers.

Admission is free, and there will be prizes for the best dressed, so keep your clothes on if you’re going as Daenerys.

A Private Capade Ice skating and hot cocoa go together like Christmas and carols.

cause it’s so affordable doesn’t mean you have to bring the family. If you’re tired of the in-laws, their kids or just want to get out of the house, Steinberg is there for you. Nothing clears the head like a brisk skating session and hot cocoa by an outdoor fire.

Families once gathered to build their own holiday train sets under the Christmas tree, but it’s a disappearing pasttime. Still, there’s something magical about a wellbuilt model train setup with buildings, little people and personal touches. Maybe Santa Claus is the engineer, or a tiny James Gang is waiting around the bend. The Missouri Botanical Garden (4344 Shaw Boulevard; www.mobot.org) keeps the tradition alive with its annual Gardenland Express Holiday Flower and Train Show. Six tracks of model trains roll through hand-built scenery, which is surrounded by a landscape of living plants. It’s an elaborate setup that rewards the careful observer, and

David Perron, back for a third time.

MARK BUCKNER/ST. LOUIS BLUES 9 p.m. Sunday through Thursday and 10 a.m. to 11 p.m. Friday and Saturday. Skate rental is another $7, which is a steal — but just be-

Superheroes weren’t always the cash kings of the Hollywood box office. Forty years ago the idea of someone making a movie about comic-book characters was almost unimaginable. Richard Donner changed all that with the blockbuster film Superman. Actor Christopher Reeve looked the part and made a great Clark Kent to boot, Margo Kidder played hardcharging reporter Lois Lane and only bad guy Lex Luthor (Gene Hackman) killed anyone. Throw in a convincing romance and some great sidekick work by Ned Beatty and you have an entertaining family film that still stands up. Warner Bros. and Fathom Events celebrate the ruby anniversary of the movie by getting it back in the theaters.

At 7 p.m. Sunday, November 25, you can see Christopher Reeve fly through Metropolis again at the Marcus Wehrenberg Ronnies 20 (5320 South Lindbergh Boulevard; www.fathomevents.com). Superman is shown with the great Max Fleischer-animated Superman

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Superman strolls into theaters again.

COURTESY OF FATHOM EVENTS it’s open daily through January 1 (closed Christmas Day). Tickets are $5 per person in addition to regular garden admission. n

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FILM

25

[REVIEW]

Broken Hart The Front Runner offers no judgments on its flawed candidate or the scandal-hungry press that brought him down Written by

ROBERT HUNT The Front Runner Directed by Jason Reitman. Written by Matt Bai, Jay Carson and Jason Reitman. Starring Hugh Jackman, Vera Farmiga, J.K. Simmons and Alfred Molina. Opens Wednesday, November 21, at the Landmark Tivoli Theatre.

L

ive long enough and you may see a movie for every headline. That hasn’t always been the case (filmmakers have yet to tackle the Teapot Dome scandal) but it’s become true of our post-Watergate political history, as political differences come closer to baseball-team rivalries than ideological discussion, and the “media event,” once a pejorative lamenting the commercialization of politics, has simply become a synonym for any political campaign.

The Front Runner is the latest installment in the contemporary round of You Are There films. It looks back to “the week politics went tabloid,” to borrow the subtitle of journalist (and co-screenwriter) Matt Bai’s 2014 book All the Truth Is Out. In the spring of 1987, as candidates were making their initial gestures toward what would become one of the most sordid presidential campaigns in history (until the next one), Colorado Senator Gary Hart commanded the titular role in the Democratic party, the man most likely to challenge Vice President George Bush in the next election. Hart was at the center of his party’s young and unconventional wing, known for hanging out with movie stars and, the rumor mill had it, star-struck young women.

When the Miami Herald got a tip that Hart was seeing a former beauty queen named Donna Rice, reporters were dispatched to stake out Hart’s Washington townhouse.

They watched Rice enter, didn’t see

Gary Hart (Hugh Jackman) was going to be president, until those pesky journalists got in the way. | FRANK MASI SMPSP ©2018 CTMG, INC. her leave and drew their own conclusions. The Hart campaign soon sputtered out, brought down by the headlines and what was perceived as the candidate’s hubris in challenging the press to investigate his personal life, assuring them they would find it uneventful.

Directed by Jason Reitman, The Front Runner is a lively depiction of the unwinding of Hart’s campaign, set mostly within the offices in which volunteers and jaded advisers try in vain to subdue a tidal wave of gossip. Reitman is aiming for the spirit of the much-quoted 1972 film The Candidate and Robert Altman’s TV series Tanner ‘88, which remains one of the greatest satires of our unsteady electoral process. That’s tempered by an extravagant layer of television clips and ‘80s nostalgia — perhaps fitting for the story of a politician whose 1984 campaign had been undone by a reference to the “Where’s the Beef?” commercials for Wendy’s.

The film is dominated by Hugh Jackman’s strong performance as Hart, which strives less for imitation than for capturing his personality. In the film’s account, Hart is emotionally unsuited for a scandal like this, believing — a little self-righteously — that even discussing the Rice story is beneath the dignity and gravity of politics.

His less-than-realistic insistence

With the candidate unwilling to address the controversy, the press seems almost helpless, compelled even against its own instincts to concentrate on triviality and gossip. that he can run for a public office and still preserve his privacy creates chaos in both elements, leaving his wife (Vera Farmiga) and campaign manager (J.K. Simmons) equally shaken.

With the candidate unwilling to address the controversy, the press seems almost helpless, compelled even against its own instincts to concentrate on triviality and gossip. Was Hart (who denies to this day that his relationship with Rice

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was sexual) the victim of a change in the social climate, or was the media simply lowering its sights?

The Front Runner missteps in trying to play it both ways, defending Hart’s privacy against boorish tabloid mentalities but also keeping a reserve of moral outrage over his behavior. Reitman enjoys recreating the frenzy of a political campaign (for those running it as well as those covering it), but when it comes to making sense out of the whole affair, The Front Runner falls short, with a weak, unconvincing climax that rests on Hart and his wife talking things over. In the end, the candidate’s call for a higher bar in media coverage, no matter how disingenuous, is set aside and the view of the film is reduced to an understated moral judgment.

Thirty years later, much of what happens in political discourse has become louder and increasingly grotesque. Media events and photo ops have turned into reality TV and pop-up-ad platforms.

Did Gary Hart’s maybe-they-happened dalliances open the door for today’s levels of gossip and misinformation, or was he the last one trying to hold them off? The Front Runner tells his story, but leaves the meaning up in the air.

Does it say much about the knotty worlds of politics, news and entertainment, or is it just another loose string? n

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CAFE

31

[REVIEW]

High Steaks Hamilton’s brings top-notch cuts of beef to an intimate neighborhood spot, with delicious results Written by

CHERYL BAEHR Hamilton’s Urban Steakhouse & Bourbon Bar 2101 Chouteau Avenue, 314-241-2333.

Tues.-Thurs. 3-10 p.m.; Fri.-Sat. 3-11 p.m.

(Closed Sunday and Monday.)

I

f you want the lowdown on the dry rub at Hamilton’s Urban Steakhouse & Bourbon Bar, the hotspot that opened on the edge of Lafayette Square in July, don’t even think about asking for the recipe. Owner Paul Hamilton holds the particulars of the robust, rustic rub as close to his chest as a royal flush.

Instead, you’ll have to close your eyes and attempt to deconstruct it — that is, if you can manage to engage in such cerebral activity while in proximity to the pure, unapologetic pleasure of Hamilton’s whopping 22-ounce bone-in ribeye. The beautiful inch-thick cut of beef is the Platonic form of steak: the vision you have in your mind’s eye when you muse upon such subjects as “death row meals” or what you’d eat in the event of an impending asteroid impact. Gilded with fat to the point it sparkles, the steak is coal black from the rub’s coarse black pepper. Its back-of-the-throat heat is certainly present, but it’s subtle, mitigated by a hint of sweetness and zest. The rub forms a coarse crust on every inch of the steak, its particular pleasure realized when you bite into a little pocket of beef and buttery-soft fat. Black pepper, sugar, smoked salt — you’re best to just give up trying to figure it out and surrender.

Hamilton has been perfecting his dry rub for years — long before he decided, with his wife Wendy and business partner Jason Arnold, to add a steakhouse to their impressive restaurant repertoire.

This past spring, the Hamiltons and Arnold realized they needed

Among the top-notch steaks on offer at Hamilton’s: a 22-ounce bone-in ribeye, shown here with a loaded baked potato. | MABEL SUEN to do something different with the restaurant and brewery they own in conjunction with Charleville Brewing. That concept, a brewpub offshoot of Charleville’s Ste. Genevieve vineyard and microbrewery, opened in May 2017 in an old engine repair shop on Chouteau.

It was a soaring, open space, one that could accommodate a brewery, tasting room, bar and restaurant with room to spare.

And that was the problem. Although Charleville Brewing Co. was a success, the space proved too large, making the room feel sparsely populated even on its busiest nights. The Hamiltons and Arnold began to realize they were underutilizing their real estate.

They decided to subdivide the room into two separate concepts.

When they looked around to see what their neighborhood needed, they decided upon a classic neighborhood steakhouse. At first, they thought executing on such a vision would be easy — after all, they already own perennial favorites 1111 Mississippi, PW Pizza and Vin de Set. However, once they began to dig in to the nuances of beef, its cuts, grades, breeds and so forth, they knew they needed to do their homework.

That research took them to the famous Buckhead Beef purveyors in Chicago, where the Hamiltons and Arnold tasted just about every cut of beef from every cow in the company’s portfolio. They settled on Iowa Premium Black Angus, a heritage breed that can be traced to small family farms in northern Missouri and Iowa, decided upon

a 21 age for their dry-aged offerings, and got to work translating their vision for a neighborhood steakhouse into a reality.

A large part of that vision is differentiating their eatery from the swanky corporate steakhouse chains that seem to pop up in Clayton faster than mushrooms after a cool, wet day. Hamilton’s is indeed a steakhouse of that caliber, but it has a cozy, neighborhood feel to it — the sort of place you’d go with business partners to celebrate closing a deal rather than the pretentious place you’d take a new client to seal it. This has a lot to do with the size of the space.

If Charleville Brewing Co. was too big, Hamilton’s is intimate if not downright tight on a busy Friday or Saturday night.

A small bar, stocked with a healthy supply of bourbon, occupies the front room; the main dining room sits right behind that.

Warm-hued exposed brick gives the restaurant a rustic feel, as do the craggy grapevines from the Hamiltons’ farm hanging from the ceiling. Exposed lightbulbs cast their golden light over the room, giving off the sort of soft glow you get from a fireplace.

The atmosphere may differ from the traditional steakhouse template, but the menu hews pretty closely. Appetizers like a plump shrimp cocktail brightened with piquant, horseradish-forward cocktail sauce, or a classic wedge salad dressed with sherry vinaigrette ranch, blue cheese and bacon crumbles, offer well-executed, easy steakhouse comfort.

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Crabcakes, adequate but not dazzling, contain a generous amount of crabmeat and limited breading.

The shredded lump meat seemed pasty and too fine to this admitted crabcake snob, but at $15.99 for two discs the size of mandarin oranges (when jumbo lump meat retails for $45 a pound), I understand the decision.

Cauliflower fritters are an enjoyable reprieve from the meat-heavy menu. The golfball-sized rounds have the rich fried taste of good hush puppies, along with a creamy center. The accompanying chimichurri crème fraiche is a refreshing dipping sauce, if a little thin.

A sea-scallops appetizer places four plump, well-cooked shellfish atop an overly salty pea puree; the vegetal taste overtook the seafood’s delicate flavor. I was also unimpressed with the duck appetizer. It offers just four small slivers of smoked meat, and they leaned toward overcooked. Figs add a touch of sweetness that pairs well with the smoke, but an accompanying carrot puree contributes little flavor.

If the lobster bisque — thin and overwhelmed by what tasted like thyme — also misses the mark, the Caesar salad is perfection of the form. Crisp romaine, Parmesan shavings and a vibrant, lemony dressing that makes your mouth pucker stand in perfect balance. I especially liked the rye notes from the croutons, a subtle but significant feature. This is one of the best versions of the classic salad in town.

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HAMILTON’S

Continued from pg 31

Though first and foremost a steakhouse, Hamilton’s excels at its non-beef offerings. Luscious salmon benefits from its own dry rub, this one warm with baking spice. Pickled red onions cut through the rich fish with a zesty slap of vinegar. Flash-fried Brussels sprouts complete the dish. Or should I say the dish completes the sprouts? They could be the star of the show. Crunchy, encrusted with salt and browned but not black around the edges, they are one of Hamilton’s highlights.

Even the chicken, so often a throwaway dish at any restaurant, let alone a steakhouse, is thoughtful. Two airline breasts, served atop roasted root vegetables, are shockingly tender and juicy, their succulent meat glazed with velvety Madeira-spiked cream sauce.

They are surpassed in non-beef glory only by the outrageously tender pork osso bucco; seriously, you could butter your bread with this marsala-kissed meat. Were Hamilton’s simply a classic American bistro and not a steakhouse, these dishes would be enough to warrant a visit.

But Hamilton’s is indeed a steakhouse, and it excels under that rubric. The dry-aged ribeye may be the show-stopper, but the Kansas City strip is no shrinking violet. Though less marbled than the ribeye, the strip has an intense beefy flavor and pleasant, grainy texture.

While both the ribeye and the strip hold up to the rub, executive chef Brett Buettner smartly applies less of it to the much leaner filet so as not to overwhelm the flavor. Because of its limited fat content, this is the cut best-suited for Hamilton’s sauces, rubs and butters, including a béarnaise so beautifully whipped it’s almost fluffy and a rich gorgonzola butter that infuses every bite with earthy funk.

Next to the ribeye, however, my favorite entrée is the rack of lamb.

The chops are so thick, and so flawlessly cooked, I’d swear I’ve never seen a better presentation of the dish. Each chop has a thick layer of fat on one side that imparts a nutty, almost buttery funk in every bite, even as mint pistou, a verdant tapenade similar to a pesto, provides the best update to mint jelly I’ve seen. The garlicky freshness expertly balances the lamb’s flesh and fat.

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32

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NOVEMBER 21 - 27, 2018

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Unlike the corporate steakhouse chains, Hamilton’s includes your choice of side dish with each steak — which means those sautéed Brussels sprouts paired with the salmon can be ordered to compliment any dish. I prefer them to the roasted mushrooms, which tasted like the tannic insides of a bourbon barrel. They seemed overcooked to the point of being acrid.

Mac and cheese was much better, the creamy, sharp-cheddar concoction punctuated (for an extra six bucks) with chunks of sweet lobster meat. If you’re carbing out, though, go for the roastedgarlic mashed potatoes, so decadent it’s possible they are equal parts butter and spud, flecked with large slivers of garlic. When the juice and rendered fat of that ribeye mingle with these garlicladen beauties, you hear the angels sing.

How anything could follow such an experience is unfathomable, but the desserts make a worthy effort.

Cheesecake, swirled with pumpkin and encased in a thick, brown sugary crust, is positively cloud-like.

Alternately, the carrot cake is wonderfully rustic, more of a composite of carrots, raisins, pecans, coconut and baking spice than a spongy cake. A luxe cream cheese frosting

is the silken tie that binds.

That dessert brought me back to my own stint as a server at one of the big-name, high-end steakhouse chains where we were encouraged to tell our guests that we would happily microwave their carrot cake for sixteen seconds to give it a fresh-from-the-oven effect. That same chain — a restaurant where the average guest spent about $100 on food alone — seasoned its mashed potatoes from a packet. You’d be surprised what’s lurking behind the curtain at such places. Once you’ve taken a peek, the prices seem appalling.

That’s why, in a city that does not lack for steakhouses, Hamilton’s is such a breath of fresh air. It’s not cheap; the margins on quality steak are painfully slim, and so you will drop some good money here. However, the fact that Hamilton’s offers a local alternative to the modern steakhouse in a fromscratch kitchen should make you feel better about throwing down that coin. Besides, the rub on that ribeye tastes like a million bucks.

Hamilton’s Urban Steakhouse & Bourbon Bar Lump crabcakes ..................................$15.99 Roasted dry-rubbed salmon ................$24.99 Bone-in ribeye ......................................$52.99

SHORT ORDERS

33

[SIDE DISH]

She Went from Corndogs to Cocktails Written by

CHERYL BAEHR

W

atching beverage director Jen Epley work the dining room at Vicia (4260 Forest Park Avenue, 314-5539239), it’s hard to imagine her in any environment other than fine dining. But her restaurant roots are far more humble.

“My first job was at a bar in my hometown in Wisconsin,” Epley recalls. “I was the only daytime bartender, and it was just a bunch of old dudes who ordered rusty nails and gin and tonics. I was also the cook, so I would throw corndogs and fries in the fryer. I was nineteen and had to tell when people were too intoxicated — there was no way I should’ve had that responsibility.”

Epley may now be worlds away from corndogs and the deep-fryer, but she hasn’t forgotten her beginnings, crediting them for instilling both humility and a hark-working ethos. From that small bar to a bowling alley to an all-you-caneat seafood joint, Epley worked her way up at every employer, earning the trust of her superiors as she learned the business.

Though she had a knack for the service industry, Epley did not intend for it to be a career. She instead saw restaurant work as a way to figure out what she wanted to do with her life after dropping out of college. Her original plan was to become an interior designer, and she attended the University of Minnesota-Twin Cities for a year in pursuit of that goal. But though she was serious in her passion for the subject matter, she admits she was not so serious about attending classes.

“Living in a big city opened my eyes about how many different

Beverage director Jen Epley handles the wine and cocktails that pair with the acclaimed menu at Vicia. | JEN WEST

things there are in the world, like art, culture, food,” Epley explains.

“Let’s say I focused more on enjoying the city than school.”

Epley left college and returned to her small town in Wisconsin, not sure what she wanted to do with her life. The restaurant business was fine enough — and she did well in it — but she wanted something more.

That drive pushed her to move to St. Louis for a change of scenery. Her half-brother lived in Arnold, and Epley thought a new environment might give her some perspective. At first, she helped him and his family, doing chores, taking care of the kids and running errands. However, when she decided to get a job out of their home, the restaurant business was a natural choice.

Epley’s first job in St. Louis was at an Italian restaurant within walking distance of her halfbrother’s house — a place that advertised itself as a “Taste of the Hill.” She recalls initially having no idea that “the Hill” referred to the city’s Italian neighborhood, but she would eventually find

herself at the real thing after landing a job at Five Bistro (now J. Devoti Trattoria). It was a move that would change her life.

At Five Bistro, Epley was introduced to the intricacies of fine dining, everything from multi-course dinners to wine pairings. When she was up for a different challenge, she found herself working for Ben Poremba, first at Olio and eventually as a server at his elegant flagship, Elaia. There, her wineand-service knowledge deepened, and she realized that the food-andbeverage business was her path.

After helping Poremba open his since-shuttered fried-chicken restaurant Old Standard, Epley landed as a server at the former Niche.

What she learned under service directors Matt McGuire and Chris Selling would shape her approach when she went on to become the beverage director and manager at Michael and Tara Gallina’s acclaimed Vicia.

“It’s amazing how much they trust me and want to give me opportunities to grow,” Epley says of the Gallinas. “It’s been a great learning experience. There have

riverfronttimes.com

been tears and stress for sure, but I feel like at Vicia, I am putting everything I learned at Five, Elaia and Niche together.”

Epley took a break from the dining room to share her thoughts on the St. Louis food-and-beverage scene, the lowdown on what could be the next best guilty snack pleasure, and why you shouldn’t be offended if she introduces herself to you two (or three) times.

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

I’m really bad at remembering names and faces. I can remember what you ordered, and the conversations we had, but I fail miserably when it comes to the basics. I’m sorry to anyone I have met and reintroduced myself to.

What daily ritual is non-negotiable for you?

At work, I make sure to check in with the dishwashers to see how their day is going. It’s important to keep them in the loop as far as service is concerned; they are the oil to the machine, after all. At home,

NOVEMBER 21 - 27, 2018

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JEN EPLEY

Continued from pg 33

I make sure to check in with my cats, Meeko and Nova, to see how their day is going. They’re pretty chatty.

If you could have any superpower, what would it be?

I wish I could fly (with luggage in hand). I’d love to check out the world without having to quit my job and rack up debt.

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

I love that chefs are putting down restaurant roots in St. Louis. The low cost of living means we get to reap the benefits of these talented individuals. I’m excited to see what the next year brings; fingers crossed Michelin comes to the city.

What is one thing missing or that you’d like to see in the local food-and-beverage scene?

I’d love to see a 2 a.m. (because there are no good decisions made past 2 a.m.) wine bar that serves snacks and small plates until close. Sometimes I want to have a funky glass of orange wine or a half bottle of Champagne all to myself, or a $25 glass of Nebbiolo decanted and served at the correct temperature. Let’s bring in those weird wines, stock up on half bottles and make use of the Coravin for nicer bottles. Can someone do this please so I can be a regular?!?

Who is your St. Louis food or drink crush?

Chef Nate Hereford, hands down. He led the kitchen while I worked at Niche, and I have so much respect for him. I genuinely

believe he is in the business to feed people and not for the potential fame. He was intimidating at first, but I made him a massive coffee drink at the start of every dinner service and I like to think he warmed up to me. I’m super excited to see what Nate does next.

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

Victor Gainor. I worked with his sister, Catie, at Olio and Elaia, and she reached out to me when we were looking to hire at Vicia. She’s bright, strong and she comes from a family that loves food and drink, so I figured her brother would be a good fit. Victor started as a host, learned to assist servers and was eager to move on up. A full-time bartender position opened up, and he asked me to consider him for the role. Phil Ingram is his big brother behind the bar, and I just love their dynamic (I worked with Phil at Old Standard and Niche, and he balances me out quite nicely). It’s been fun to watch Victor grow. He has a lot of creativity, a love for cooking, a great palate, a hospitable personality and a strong work ethic. The sky is the limit for the kid.

Which wine is most representative of your personality?

Sekt! It’s a sparkling riesling from Germany, and it loves to be paired with all types of food. I’d like to think of myself as a blend of bubbly, bright and earthy (and oftentimes without the price tag of Champagne).

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

I think St. Louis has a decent

“There is always a time and a place to honor traditional ... establishments, but it’s also important to embrace change and to keep an open mind.” balance of tradition and trendiness. It’s a city that is starting to become more aware of how food is made or grown. We are becoming more educated diners by asking questions about ingredients, labeling, cooking techniques and wine production, and that really excites me. Don’t get me wrong, there is always a time and a place to honor traditional, family-run establishments, but it’s also important to embrace change and to keep an open mind.

If you were not in the wine business, what would you be doing?

Since I was in elementary school, I loved rearranging furniture, decorating our new house every time we moved and watching design shows on television. I always thought I wanted to be a residential interior designer, but after working in several restaurants, I might be good at designing commercial spaces.

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Name an ingredient never allowed behind your bar.

Those plastic-red maraschino cherries are just awful. I don’t want them on my ice cream sundae, and I definitely don’t want them in my Manhattan.

What is your after-work hangout?

I’m actually quite introverted, so most nights I like to go straight home after work. If I’m starving and I want to splurge a little, I’ll head to Taste for a cocktail and some bites. If I’m feeling social, I’ll grab a case of Natty Light and head to the “bistro” (J. Devoti Trattoria), as it’s blocks from my house and I love hanging with the crew after hours.

What’s your edible or quaffable guilty pleasure?

This guy I went to high school with, “Scooter,” invented the “Scooter Snack.” Lightly toast a plain bagel, smear a lot of cream cheese on it, shingle Nacho Cheese Doritos on top and then make a sandwich out of it. Try it, and report back to me, please.

What would be your last meal on earth?

First course would be the “Niche Egg” with Krug’s brut rosé Champagne; for the second course, Union Loafers’ frisée salad with white Burgundy. The third course would be Michael Gallina’s seared diver scallops and an artichoke with Paolo Bea’s Arboreus orange wine. For the fourth course, truffle risotto with red Burgundy.

The fifth course would be foie gras with 1921 Chateau d’Yquem Sauternes, and finally, the sixth course would be Pint Size’s caramel croissant with old J.J. Prum Riesling Wehlener Sonnenuhr Trockenbeerenauslese. n

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[FIRST LOOK]

David Burke Has Grand Plans for Grand Center Written by

CHERYL BAEHR

W

hen the internationally recognized ESquared Hospitality Group approached its frequent collaborator, chef David Burke, about

opening a restaurant in St. Louis, he was curious. When he saw the plans for the location, he was sold.

“The location and the building had a lot to do with it,” Burke says.

“We like to be a part of creating a destination and being a part of something on the fringe. Hopefully in ten or fifteen years we can look back on this as the start of something good in this neighborhood. It’s nice to be on the ground floor of that.”

The resurgent neighborhood Burke speaks of is none other than the Grand Center Arts District, which is both the crown jewel of the city’s arts-and-culture scene and a part of town where diners have been perpetually underserved. With Grand Tavern

by David Burke (634 North Grand Boulevard, 314-561-0033), the flagship restaurant that opened last

week in the new Angad Arts Hotel, the celebrity chef hopes to be the spark that ignites the neighborhood’s dining scene.

When the Angad group was developing its vision for a restaurant within its high-end, arts-centric hotel, they kept coming back to David Burke Tavern in New York as a model. To have Burke himself help them bring that idea to fruition has generated buzz not just for the hotel and restaurant, but for the city itself.

“I think this hotel has the ability to create national buzz and bring a national spotlight on the city,” says Burke. “People are going to be a little more curious about St. Louis, thinking, ‘Hey, why the hell did he go there? There must be something going on.’ They will be questioning whether or not St. Louis is the new hot spot. We’re

happy to be a part of that.”

Burke, whose television appearances include Top Chef Masters and whose accolades include being named to the “Who’s Who of Food and Beverage in America” by the James Beard Foundation, brings his whimsical style to Grand Tavern, with dishes including his famous “Clothesline Bacon” and “Emotional Lobster Dumplings.” However, he has also looked to St. Louis for inspiration, with items like “BBQ Brisket with Mac & Cheese Toast,” a dish he describes as a take on the slinger, and “Gooey Butter Donuts.”

Grand Tavern will be open for breakfast, lunch and dinner service. The concept is divided into an Art Deco-influenced front lounge and dining area, a soaring Continued on pg 39

[FOOD NEWS]

Lazy, Fancy Drunks, Your Prayers Have Been Answered Written by

DANIEL HILL

I

f you’re like us here at the RFT, you probably enjoy a good cocktail, but your mixology abilities start and end with adding whiskey to Coca-Cola and raising your glass to Lemmy before drinking yourself into a stupor.

And while there’s nothing wrong with Mr. Kilmister’s signature beverage, sometimes you’re looking for a bit more.

A nice mai tai might hit the spot on a hot day, for instance — but who has all of the ingredients at home? And what the hell is “orgeat,” anyway?

Now, thanks to a joint venture between Anheuser-Busch and the Keurig Dr. Pepper company (yes, Keurig and Dr. Pepper are now a joint entity), preparing even complicated cocktails is as easy as pushing a button. The Drinkworks Home Bar combines Keurig’s ease of use with AnheuserBusch’s enthusiasm for intoxicating beverages, making the art of the cocktail so simple even a child could do it (though you should probably stop them, if they’re not already too drunk and belligerent).

The Drinkworks system launched in St. Louis, and St. Louis only, Monday — though its backers hope to expand soon to other markets.

“If I can characterize it, it’s kind of, ‘I love cocktails when I go out, but I do not know how to do it, and even if I did I don’t have the stuff,’” explains Drinkworks

The Drinkworks Home Bar is looking to get party hosts out from behind the bar and back in the party. | DANIEL HILL CEO Nathaniel Davis. “So that’s kind of the opportunity that we’re solving for.”

The premise is simple — at least on the consumer end. First you purchase the new drinkmaker machine, not unlike a Keurig coffeemaker, and a selection of cocktail pods. Making a drink is simply a matter of filling a tank with water, inserting a pod and pressing a button — the machine does the rest, mixing the appropriate portions of water and carbonation with the pod’s ingredients. It then dispenses the beverage of your choice in a matter of seconds.

The research and development that got us to this point, however, is far more complex. Drinkworks’ pods are filled with liquid, rather than the powder pods employed by coffee machines. To make a cocktail whose only missing ingredient is water, the company tapped engineers

from Keurig and mixologists and brewers from Anheuser-Busch.

“Instead of sourcing or picking or distilling whiskey or rum or vodka at the strength you would buy it at the store, we actually take it straight from the still — cask-strength whiskey, barrel-strength rum, uncut gin or vodka — which allows us to operate before the water gets put in, or without putting the water in,” Davis explains. “And then we formulate our own triple secs, or we formulate our own ginger beers without the water. And effectively that’s how you fit it all in, and then the machine does the rest.”

We sampled a mai tai, an old-fashioned, a Moscow mule and a simple gin and tonic. All are part of the initial rollout options, and all were quite tasty — as one staffer remarked, “I’ve known bartenders who’ve done way worse.” Another,

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who was skeptical heading in, ultimately dubbed the drinks “surprisingly good.”

“This is the feedback we’ve mostly been getting,” Davis says. “None of this works if the drinks aren’t awesome. It’s all about the quality of ingredients and really, really excellent mixologists and frankly scientists that figure out how to formulate this stuff without water, and then some clever engineers that know how to put stuff back together.”

Naturally, whenever the subject of Keurig comes up, so do questions of environmental impact. Drinkworks is ready for those: Unlike Keurig’s coffee pods, Davis says, the Drinkworks pods are entirely recyclable.

For its initial run, Drinkworks is offering 24 different beverage pods, which in addition to the ones we tried include a Continued on pg 39

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37

Downtown 2000 Market Street St. Louis, MO 63103 (314) 421-1388

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Sunset Hills 3828 S Lindbergh Blvd St. Louis, MO 63127 (314)842 - 7678

NOVEMBER 21 - 27, 2018

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around the gallery here, have dinner, listen to someone playing guitar in the lobby, then have more drinks on the roof.”

However, Burke understands the challenge inherent in being a part of an untested concept in a part of town that’s far from a dining destination. “Listen, this is a pioneering hotel, and we will need all the support from the locals we can get, especially for lunch,” Burke explains.

“We don’t just want to be a theater restaurant, but we know people will come if the food is good and the price is right.”

Burke has high hopes for the area.

“People here are so proud of St. Louis and they want it to work,” Burke observes.

Grand Tavern’s tuna tartare is served with avocado and a soy-lime dressing. | CHERYL BAEHR “And there should be pride here. When you have a lot of pride in your city, it helps because you will embrace somethe city’s skyline.

“This is a destination where thing that is going to help the city. you can make a night out of it, That’s what we are trying to do.”

Continued from pg 37 Grand Tavern by David Burke is not a place where they say, ‘Hey, main dining room that is outfitted your table is ready. Eat and get open seven days a week for breakin luxe red velvet (it will open af- out,’” Burke explains. “You can fast, lunch and dinner service. A ter Thanksgiving), and a rooftop come here, have a few drinks on midday menu is also available, as n bar that offers sweeping views of the rooftop, have dinner, walk is Sunday brunch.

GRAND TAVERN

KEURIG COCKTAILS Continued from pg 37

classic margarita, strawberry margarita, cosmopolitan, daiquiri, Long Island iced tea, red sangria, white Russian, white wine peach sangria and lime vodka soda.

There will also be beer pods, which are sold in four-pack “flights” and result in draft beer when processed through the machine. Davis concedes that we as a society have pretty much already perfected the art of at-home beer, but he notes that the beers from the pods are specially brewed and unavailable in any other form.

“And they’re not technically beers any more once we pull the water out,” Davis says with a chuckle. “The government considers those ‘distilled spirits.’ When you’re at the edge of this kind of innovation it’s funny, because you’ll see on the label it calls it a ‘distilled brew.’

“But when it gets put back together it is golden with a frothy head of foam and tasty,” he continues, “so you sort of recognize what it is.”

The Drinkworks Home Bar launched exclusively in St. Louis on November 19. It will be available for sale at all St. Louis-area Total Wine & More locations and select Schnucks and Dierbergs grocery stores, as well as online at drinkworks.com.

The drinkmaker retails for $299, the cocktails for $3.99 per pod and the beers for $2.25 each. n

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The “Bacon Black & Blue Steakburger” is one of Oday Alyatim’s favorite dishes at 180 Grill & Bar. | CHERYL BAEHR

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180 Mixes Things Up in Bridgeton Written by

CHERYL BAEHR

W

hen John Yatim and his nephew Oday Alyatim came across Frederick’s Steakhouse and Pizzeria in Bridgeton, they sensed an opportunity. Frederick’s owner was ready to retire, and he was looking for someone to take over the restaurant and carry on his concept. Meanwhile, Yatim and Alytatim were looking for a space in the north-county neighborhood to bring to life their vision for an upscale, quintessentially St. Louis restaurant. It was the perfect fit.

Yatim and Alyatim took over Frederick’s earlier this year.

They’ve gradually transformed the restaurant, completely redecorating the space, redesigning the menu and, eventually, even changing its name. The full transition occurred this past August, when the uncle-and-nephew team rebranded the concept as 180 Grill and Bar (12490 St. Charles Rock Road, Bridgeton; 314-733-5500).

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180 Grill and Bar is Yatim’s second foray into the restaurant business. After moving to Arizona about eight years ago, the longtime St. Louis resident opened a breakfast-and-lunch spot. Though he enjoyed the Southwest, he longed to return to St. Louis to open a restaurant near the northcounty neighborhood where he’d raised his family.

“What’s nice about St. Louis is it is so small-business friendly,” Yatim says. “In Arizona, everything is big corporate restaurants because no one is from there. I missed it and wanted to come back.”

He recruited Alyatim, a Florissant native and Lindenwood graduate student, to help him with the restaurant. Together, they transformed the dark “steakhouse meets old-school diner” into the light-filled 180 Grill and Bar. The room, which had been painted floor to ceiling in black, has been completely refreshed with neutral paint, faux-brick wainscoting and sage-colored chairs. A bar area is sectioned off from the main dining room by a half wall, creating a lounge-like feel.

If the changes to the space were significant, the ones to the menu were even more so. “We looked at what worked at Frederick’s and started there,” says Alyatim.

“But we cut out what didn’t and focused on improving quality. For example, we kept the St. Louisstyle pizza, but we put in a brick oven, so it’s so much better. We still have the steaks, but we handcut everything to order. Quality is

our biggest focus.”

Yatim and Alyatim describe 180 as a restaurant meant to embrace all the variety St. Louis has to offer. To that end, they feature St. Louis-style ribs, both pork and beef, as well as local favorites, including the clam chowder previously served at St. Charles’ landmark Noah’s Ark restaurant.

Guests can enjoy everything from steaks to pork chops to fresh burgers, including a variety of hearty sandwiches known as “signature entrees” for just $10.

“We wanted to get away from the steakhouse concept because people thought that meant it was expensive,” says Yatim. “We’re not doing bar food, though. We are more upscale than that. And if you look around the area, no one else is doing that. It is all fast food or bars around here. There aren’t that many sit-down options.”

So far, Yatim and Alyatim have been pleased with the response to the changes — something they are very grateful for, considering Frederick’s legion of regulars.

“At first, they were skeptical. It was a big change,” Alyatim says.

“But now that they see what we are doing and how much better the food is, people have been happy.”

180 Grill and Bar is open Monday through Thursday from 11 a.m. until 9 p.m., Fridays and Saturdays from 11 a.m. until 10 p.m. and Sundays from noon until 9 p.m. The restaurant features live music on Fridays and Saturday from 6 to 9 p.m. n

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MUSIC & CULTURE

[HOMESPUN]

Less Is More Bird Cloud Recording luminary Ryan Wasoba’s new project flexes his songwriting chops, however briefly Written by

CHRISTIAN SCHAEFFER

N

ineteen seconds may not seem like a long time, but within the confines of a three-minute pop song, it can be transformational.

Take a scalpel to the most indelible pop songs in history — cut back things like instrumental intros, repeated choruses or perfunctory bridges — and you’re often left with the purest distillation of the song.

From her first intonation to last syllable, Madonna only needs nineteen seconds to deliver the mystery and majesty of her finest song: “Life is a mystery, everyone must stand alone / I hear you call my name, and it feels like home.”

Same for this opening salvo of Swedish disco bliss; scrub past the string swells and descending piano chords and let Frida and Agnetha light the stage: “You can dance, you can jive, having the time of your life / Ooh, see that girl, watch that scene, digging the dancing queen.”

All it takes is nineteen seconds, and you’re pretty much transformed into a sentient mirror ball.

We’ll leave it to professional music theorists to discern if onethird of a minute is some temporal version of the golden ratio, but local producer and musician (and former RFT contributor) Ryan Wasoba has recently undertaken a quest to wring the maximum amount of nervy, spiky rock & roll out of exactly nineteen seconds.

His just-launched project, sensibly called Ryan Wasoba’s Nineteen Second Songs, has, as of this writing, released a dozen mini-ditties with accompanying lo-fi videos through its Facebook page.

The strictures of the project suit Wasoba’s sensibility, one that he

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Since much of Wasoba’s creative energy is spent as an engineer and producer, working out of his Bird Cloud studio in Edwardsville, he uses these truncated tracks almost like interval training, learning to work quickly and efficiently.

“It’s really an engineering challenge for me. I have been guilty of not practicing recording — it’s hard to practice on other people’s time,” says Wasoba, who normally tracks drums, guitar and harmony vocals on his nineteen-second songs.

Wasoba says he currently has six or seven production and engineering projects in the works and that a significant amount of interest in his skills stems from his work on Foxing’s debut record The Albatross.

“I’ve had a couple people come in from out of town to record with me, and that 100 percent of the time is because they like that record and want to work with me,” he says.

Even though Albatross, released five years ago this month, came early in WaWasoba’s songs clock in at a mere nineteen seconds, because he doesn’t like writing bridges. | JERRY MAZZUCA soba’s engineering career, he remains proud of the record and even assisted with Foxing’s latest, the Chris of his last official release, his 2012 Walla-produced Nearer My God. “For the longest time, I thought solo debut Music for No Reason.

Some songs, he felt, were overlong, I was always gonna be Ryan from and the process of promoting the So Many Dynamos,” Wasoba says. album and playing solo shows af- “I think that’s over, but I wonder ter so many years as part of a band if I’ll always be the guy that produced that Foxing record.” didn’t hold a lot of joy for him.

Nineteen Second Songs gives Wa“It became apparent in that crisis of sorts that I had after making soba a chance to flex his songwritthat record,” Wasoba recalls. “I ing chops, however briefly, and still want to write songs and I re- reclaim the idiosyncratic artistic ally love writing lyrics, but I don’t identity that often gets subsumed by his behind-the-board role. honed as a founding member of want to have to write a bridge.”

“I always have had imposter synFreed from the bonds of the So Many Dynamos (and a sculptor of its earliest, math-rock-inspired normal expectations of song-craft, drome; I never feel good talking songs) and burnished as engineer and emboldened by this new con- about strengths,” reflects Wasoba. and producer for local bands in- straint, Wasoba is having a lot “I do feel like with production and more fun — and it shows in the creatively, I feel like this is the first cluding the Gorge and Foxing.

“The whole point of the thing songs themselves. Song number time I am comfortable with my was having an arbitrary limitation twelve, “Geography Bee,” was in- point of view from a production spired by years in the van on tour standpoint, and I didn’t have any to have to stick to,” says Wasoba.

The inspiration for the project with the Dynamos, and offers a way to get that point across.”

Nineteen Second Songs has hit Wasoba about five years ago — blunt precis of life on the road.

“From the Northeast corner to changed that. he keeps a note on his phone to col“The project is entirely based on lect song inspirations — but much the shores of California / Nobody my point of view,” Wasoba says. n of its impetus came in the wake gives a shit about your band.”

Is one-third of a minute some temporal version of the golden ratio?

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Stuart Keating, in the Hawaiian shirt, shows off the stage alongside the Moonbase and Satellite teams. | PROVIDED BY STUART KEATING

[ H AWA I I A N S H I R T S ]

Bringing Live Music to Preservation Hall, Brewer Mimics Loop Icon Written by

DANIEL HILL

B

arely four months after the Earthbound Beer team opened a cocktail bar in Soulard, Earthbound Satellite, they’re already eyeing another major project. Or, as co-owner Stuart Keating put it when teasing the news on Facebook, “Lord help me, I am back on my bullshit.”

This particular brand of bullshit? A plot to bring regular live music bookings to Soulard Preservation Hall (1921 South Ninth Street, 314-241-8181), where Earthbound Satellite is housed.

“My bartenders at Satellite are old hands at music-booking kind of stuff, in a variety of ways, a variety of spaces and genres,” Keating, 34, explains. “And we started looking at the venue space that’s attached to the cocktail bar, and we realized that they’re really not doing a lot of late-night stuff. It’s a beautiful 300-seat place that’s fully licensed and has a bar in it already, and it really just needs a PA system and some promo and booking work.

“And also, I don’t know, I’m in my 30s and I’m wearing Hawaiian shirts and I have a ponytail now,” Keating laughs, alluding to a certain local entrepreneur based in the Loop. “So I think I’m, like, required to open a venue.”

Keating mentions Earthbound employees Emily Thomas and Seth Bailey as catalysts for the venture. Both musicians, the pair have résumés that include working at Off Broadway and appearing regularly at the open-mic night previously held at the Gramophone.

Their combined knowledge of booking and promotion and all the other things that come with running a venue inspired Keating and Co. to take the leap.

“We’re just really excited,” says Kristina Goodwin, 30, Keating’s wife and business partner. “This is one of those weird opportunities where we looked around and were like, ‘Whoa, we could do this. Our existing crew has the expertise to do this.’

And as soon as the idea was born we basically had the lead on the equipment.”

And by equipment, they mean the gigantic 4,000-watt PA system they recently purchased from a “dad in Breese, Illinois” who inexplicably had it set up in his basement. According to Keating, it cost “less than a used car, but more than the used cars I typically buy.” The gear met with prompt approval from Bailey, who will be in charge of running sound.

“It’s huge and crazy,” Goodwin says.

“Seth was looking at it and he was like, ‘Yeah, this is a nicer setup than they have at the Firebird or the Ready Room.’ But we just bought it off some guy.”

“This went from concept to execution in about four-and-a-half days,” Keating adds. “Which is fast for us, because it’s usually like three-and-a-half years. We’re like the J Mascis of breweries.”

Earthbound is still working out the details of the business side of things.

Moonbase Market, the video-and-tabletop game forum and events space that owns Soulard Preservation Hall, will still run the event space, and will book some of its own shows as well. As for Earthbound, Keating says his team intends to start small, with an open-mic night on Sundays, as well as some Saturday shows. If things go smoothly, they’ll begin to book more regularly.

“First one should be November 24, I think,” Keating says. “And we’re gonna kind of figure things out as we go along.”

With a 300-person capacity in the event space and the ability to squeeze another 70 into the bar area, the venue will have roughly the capacity of, say, the Duck Room at Blueberry Hill. It’s no stretch to say things are looking positively Edwardsian for the young business owner.

Which brings us back to Keating’s recent sartorial leanings. “What it turns out with the Hawaiian shirt, the reason everyone’s dad wears them, is because they super flatter your figure,” he explains. “It’s a mumu for dudes. A socially accepted dude mumu.”

But Keating is fully aware of what his fashion choices portend.

“Man,” he says, “if I end up being millennial Joe Edwards I’m gonna have to shoot myself into the sun.” n

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[PREVIEW]

Living Outside the Law The Bottle Rockets make their own kind of outlaw music on Bit Logic Written by

ROY KASTEN

T

he meeting takes place at Killer Vintage, a jammed-to-thewalls guitar shop in the Clifton Heights neighborhood of St. Louis. Inside you can test drive a Vox Super Beatle amp, roughly the size of a refrigerator and built to overpower screaming teens at Shea Stadium, or lay wellwashed hands on a 1966 oceanturquoise Stratocaster. It can be yours for $30,000. The store isn’t open for the day yet; being inside is like stealing into a secret museum of rock & roll.

Brian Henneman, the principal voice of the Bottle Rockets and its co-leader since the band emerged out of Festus in 1992, has worked at the shop for years. He’s joined for an interview by Mark Ortmann, the other original Bottle Rocket, the band’s drummer and a major partner in the group’s direction and songwriting. They’re talking about the band’s new album, Bit Logic, in some ways its most striking sounding record — “clean and tight” to quote Henneman’s mantra — driven by phase-shifted guitars (an homage to outlaw hero Waylon Jennings) and its fullest embrace of straightahead country music.

“We wanted to do something more suited to our age,” Henneman says. “It’s so easy to see 60 from here. There are things I like to see a 60-year-old man do better than other things. We have these country bands: Diesel Island and Colonel Ford. The idea probably started at CJ Muggs, where I’m playing tonight. One night John sat in with Diesel Island, and he’s such a great country guitarist.

I thought, ‘Fuck yeah, we should make a country album!’ If I was in the crowd I’d rather hear me sing those kinds of songs, rather than songs that sound like Cheap Trick.

We’re an Americana band, and we decided to make an Americana al-

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Bit Logic, released in October, is the band’s most straight-ahead country record to date. | CARY HORTON bum for a change.”

For more than three decades, the Bottle Rockets’ songwriting has been its foundation, and its approach has always been uniquely collaborative. The band’s members could care less who technically wrote the song; they’re all honed and reimagined to become true to a single spirit.

“I have been as much an editor as a songwriter in this band,” Henneman says. “That tends to make the songs seem like my songs, because I’m the grand editor. That’s partly so I can sing them. Once you start recording they end up different than what you had in your head. I tend to overthink things, tweak them out too far, and I hate when that happens.”

Case in point: “Silver Ring,” perhaps the Bottle Rockets’ prettiest love song (the band has more of those than its reputation suggests), provides the album with a perfect, personal coda. Over a sparely strummed acoustic guitar, Henneman sings, “Gave you a silver ring, but it doesn’t mean I love you any less than gold.” The lyrics were written start to finish

by Ortmann, who knew he had something special, even though it took a few years to find a home on an album.

“I write the lyrics first,” Ortmann says. “If I have a musical idea I’ll dabble on guitar. With that one I just had the lyrics and wanted to give them to Brian.

When you provide lyrics to Brian he has to be able to relate to the character, to the story.”

“There were few hard instruc-

NOVEMBER 21 - 27, 2018

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tions that had to be laid down to the band,” Henneman explains.

“I had this weird idea, and it gets pretty fringy! Even at the wildest extremes of my imagination, I had to imagine Kris Kristofferson singing these songs. Unlike the other albums, we always had songs pile up. For this one, we had nothing.

We said fuck it. We booked the studio before we even had all the songs. Everything was born right before that studio date. We had whole songs, but we may not have been convinced or even known what we were going to do with them.”

What sustains the band, beyond just how tightly its members play together (the current lineup, featuring John Horton on guitar and Keith Voegele on bass, has been together since 2005) is the foundational friendship of Henneman and Ortmann. The two have been collaborating since high school, starting in 1982.

“When you’re in high school, every band you’re in breaks up,” Ortmann recalls. “Back then, Brian was in a punk band and I was in a band doing the hits of the time, what’s called classic rock now. It wasn’t working out for either of us. Scott Taylor [Ortmann’s high school English teacher and the band’s eventual songwriting partner] kept saying, ‘You gotta meet this guy. You should play together.’ We figured, what was there to lose? I went to Brian’s house and played a bunch of Tom Petty and Rolling Stones songs. There are really only two years, from 1982 to now, when we haven’t been in some kind of band together.”

One of the defining songs on Bit Logic is titled “Bad Time to Be an Outlaw.” The song is less a statement about the Bottle Rockets’ place in American music than it is simply about playing music and paying the damn bills. Henneman breaks out his phone to illustrate, swiping through images of every single thing that broke down last year: air conditioner, furnace, car, toilet, the aforementioned phone.

“When shit ain’t broke it’s a great time to be an outlaw!” Henneman laughs. “Now I gotta go $8,000 in debt for an air conditioner. Why didn’t I just write Carrie Underwood a song? My musical integrity flew out the window when I was financing my furnace!”

In some ways, however, it’s never been a better time to be an outlaw. The band has figured out how to make touring work — sharing dates with Americana rockers like James McMurtry, Chuck Prophet and Marshall Crenshaw, finding a home on the SiriusXM Outlaw Country station and landing a spot on last year’s sold-out Outlaw Country Cruise.

“What is outlaw music? What is country?” asks Henneman. “It’s sort of obtuse. Anybody that is out playing music is some kind of outlaw. But the outlaw brand name does steer you in a direction. It lets you know what it’s not — and that in itself can make it a bad time to be an outlaw! But ten years ago there was no cruise for bands like us. So cheers to those who figured out how to market it.”

“But we’re in good company,” adds Ortmann. “The Mavericks, Steve Earle, Lucinda Williams. I’ll take that.”

If the band’s arresting outlaw country turn was premeditated, the central theme of Bit Logic, a kind of resigned resilience in the face of these strange days, was never mapped out. On “Doomsday Letter” Henneman lays into all manner of pessimistic prophets — “There’s way more left in the world that’s glistening, it’s not all ruin,” — and on “Maybe Tomorrow” he laughs at his own foibles and failures, closes up shop and heads into another day.

“It’s a feel-good song about failure,” Henneman says. “There’s this vibe of going as open-mindedly as your closed mind can go into the modern world. It’s sort of a bunker mentality, of laying low, figuring out how you survive weird things. There’s something about it that’s true to our lives.”

The Bottle Rockets 8 p.m. Saturday, November 24. Off Broadway, 3509 Lemp Avenue. $20. 314-773-3363.

OUT EVERY NIGHT

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[CRITIC’S PICK]

Tropa Magica. | VIA ARTIST WEBSITE

Tropa Magica 8 p.m. Monday, November 26. Foam Coffee & Beer, 3359 South Jefferson Avenue. $10. 314-772-2100.

Like the best-known band out of East LA (that would be Los Lobos, of course), brothers David and Rene Pacheco began their musical odyssey trying to marry Mexican folk forms with the verve and energy of American rock and punk music. They cut a path through Los Angeles as Three Commons but formed a new

THURSDAY 22

BIG RICH MCDONOUGH & RHYTHM RENEGADES: 9 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

BRUISER QUEEN: w/ NIL8, Spacetrucker 7 p.m., $10-$12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

EXTRAVISION: w/ Brooks Strause, Sparrowhead, Holy Posers 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100.

FRIDAY 23

A TRIBUTE TO AMY WINEHOUSE: PERFORMED BY BACK IN BLACK: w/ Hobo Cane, Javier Mendoza 9 p.m., $10-$15. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

THE AMERICAN PROFESSIONALS: w/ Consiglio, Sauer and Eide, Keokuk 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337.

CITY GIRLS: w/ Tiffany Foxx 7 p.m., $23. The Marquee Restaurant & Lounge, 1911 Locust St, St. Louis, 314-436-8889.

CLASSIC TRIBUTE BAND: 9 p.m., free. 1860 Saloon, Game Room & Hardshell Cafe, 1860 S. Ninth St., St. Louis, 314-231-1860.

JAKE’S LEG: 8 p.m., $20. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

KIM MASSIE TRIBUTE TO STEVIE WONDER: 5 p.m.,

outfit, Tropa Magica, this year with the intent of further blurring the lines between genres. The group’s self-titled debut kicks off with a bit of Spanish-sung piano balladry before moving right into a pretty convincing take on psychedelic disco.

If you like a little bit of Chic with your cumbia, Tropa Magica can hook you up.

Clip-On: Banana Clips, a local group so underground it has no discernible internet presence, opens the show.

—Christian Schaeffer

$15. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

LOVE JONES “THE BAND”: 10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

THE MOUNTAIN RIVER VALLEY BOYS: 9 p.m., free.

The Frisco Barroom, 8110 Big Bend Blvd., Webster Groves, 314-455-1090.

ROLAND JOHNSON & SOUL ENDEAVOR: 8 p.m., $3. Hammerstone’s, 2028 S. 9th St., St. Louis, 314-773-5565.

SILVER TALON: w/ Speedclaw, Acid Leather, Blackwell 7:30 p.m., $10. The Sinkhole, 7423 South Broadway, St. Louis, 314-328-2309.

THOMAS ERAK: w/ Andrés 7 p.m., $13-$15. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

TONKSGIVING 2018: 8 p.m., $15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

THE URGE: w/ Fragile Porcelain Mice, Lojic 8 p.m., $29.99-$44.99. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

THE USUAL SUSPECTS: 7 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

WARD DAVIS: w/ Clint Park 8 p.m., $20-$75.

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

Continued on pg 46

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314-621-8811.

THIRD SIGHT “SPECIAL EDITION”: 8 p.m., $10.

BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

TROPA MAGICA: w/ Banana Clips 8 p.m., $10$12. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100.

[CRITIC’S PICK]

[WEEKEND]

BEST BETS

Five sure-fire shows to close out the week

TUESDAY 27

BLACK & WHITE BAND: 8 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

THE DUST COVERS: 7:30 p.m., $10. The Sheldon, 3648 Washington Blvd., St. Louis, 314-533-9900.

ERIC LYSAGHT: 9 p.m., $5. Broadway Oyster Bar, 736 S. Broadway, St. Louis, 314-621-8811.

PHOSPHORESCENT: w/ Liz Cooper and The Stampede 8 p.m., $22-$25. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

TUNIC: w/ Man the Manipulator, Blank Thomas 8 p.m., $6. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100.

FRIDAY, NOVEMBER 23 Starwolf Album Release Show 8 p.m. Blueberry Hill’s Duck Room, 6504 Delmar Boulevard, University City. $10 to $12. 314-727-4444.

Despite the polished sound and high-end vibe of Starwolf’s spacefaring pop, the band’s collective tongue is firmly in cheek as to just about everything — except its songs. From ruminating about how they’re “desperately trying to avoid a mid-life crisis” or the “fact” that Starwolf is stardust given a human form, the musicians here give the sense of genuinely having fun. And that shines through in the newly released Ti Amo, Stargazer, an album worthy of the band’s lackadaisical approach to promo and even aesthetics — the songs here speak for themselves. Hyperactive beats brush up against strong vocal leads, yet a taut approach to production glues the layers for a joyful and buoyant full-length record.

SATURDAY, NOVEMBER 24 Lojic w/ Common Jones, Midwest Avengers, Mathias and the Pirates 8 p.m. The Firebird, 2706 Olive Street. $10 to $12.

314-535-0353.

There’s a reason St. Louis shows up on the schedule every time Lojic reforms for the rare one-off. In this case the band will play a pair of concerts, but only one features it in a headlining spot. Friday has Lojic opening for the Urge and Fragile Porcelain Mice at the Pageant, but those looking for the funk-rock fusion native to St. Louis — a mutant of ska born in the muddy waters of the Mississippi — will find Saturday’s show at the Firebird the better choice. Having Midwest Avengers and Mathias and the Pirates on board gives the event a harder hip-hop bent. Given the fact that every supporting act has in the past headlined its own show, expect the Firebird to fill up fast.

Riffs for Gifts w/ Monkh and the People, Outrun the Fall and many more 6:30 p.m. Pop’s Nightclub, 401 Monsanto Avenue, Sauget, Illinois. $10. 618-274-6720.

If the big-box stores and malls are to be trusted, the holiday season started precisely at midnight on November 1. So Santa and his elves popping up at Pop’s in late November should be no surprise, even if the Continued on pg 47

46

RIVERFRONT TIMES

WEDNESDAY 28

Phosphorescent. | DANIEL ARNOLD

Phosphorescent 8 p.m. Tuesday, November 27. The Ready Room, 4195 Manchester Avenue. $22 to $25. 314-833-3929.

Matthew Houck and Phosphorescent deserve better than the unending references to beards and Brooklyn and Bon Iver that they all too often receive from music critics who should stop being so damn lazy. From the band’s twangy beginnings to its sweeping rock excursions, its emotional intelligence and deeply felt melodicism has never faltered. This year’s C’est La Vie adds a melancholic

OUT EVERY NIGHT Continued from pg 45

SATURDAY 24

ALL THEM WITCHES: w/ Handsome Jack 9 p.m., $15. Blueberry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314-727-4444.

BIG EASY: 9 p.m., free. Nightshift Bar & Grill, 3979 Mexico Road, St. Peters, 636-441-8300.

BLEACH: w/ Apex Shrine, The Bad Haircuts 7 p.m., $10. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

THE BOTTLE ROCKETS: 8 p.m., $20. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

CRYSTAL LADY: w/ Ground Control, Two Cities One World 8 p.m., $7-$10. The Bootleg, 4140 Manchester Ave., St. Louis, 314-775-0775.

KEYS FOR KEYS: 1 p.m., free. 50Fifty Kitchen, 3723 S Kingshighway Blvd, St. Louis, 314-875-9623.

KINGDOM BROTHERS BAND: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

LOJIC: w/ Common Jones, Midwest Avengers, Mathias and the Pirates 8 p.m., $10-$12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

LOW WEATHER: w/ The Ricters 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

MARQUISE KNOX BLUES BAND: 10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

MOON THIEF: w/ Everybodies, Rear Window Ethics 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337.

ONE WAY TRAFFIC: 9 p.m., free. The Frisco Barroom, 8110 Big Bend Blvd., Webster Groves, 314-455-1090.

RIFFS FOR GIFTS: w/ Outrun The Fall, ThePour,

NOVEMBER 21 - 27, 2018

riverfronttimes.com

embrace of love’s mysteries to Houck’s magically real songcraft, at times sounding like a long-lost Lambchop album or an even longer-lost Paul Simon tape — and at times like nothing else on this or any world. The songs sparkle and surge and glow through the dark like the name the band has finally, fully earned.

Out of the Gate: Liz Cooper and the Stampede were set to play LouFest (RIP) this year, and unlike others slated for the festival, the band never landed a makeup date. Bet on Cooper to take full psychfolk advantage of her opening set.

—Roy Kasten

Steeples, Monkh & The People, The Matching Shoe, Silent Hollow 6:30 p.m., $10. Pop’s Nightclub, 401 Monsanto Ave., East St. Louis, 618-274-6720.

ROCKY & THE WRANGLERS: 4 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

STEVIE RAY VAUGHAN TRIBUTE: w/ Steve Pecaro, Tony Campanella, Mike Zito 8 p.m., $20-$22.50.

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

THANKSGIVING SOUL JAM: w/ the Whispers, the Dramatics, the Manhattans, the Moments, Enchantment, Ray Goodman & Brown 7 p.m., $44-$94. Stifel Theatre, 1400 Market St, St. Louis, 314-499-7600.

THE LAST WALTZ ST. LOUIS FEATURING SEAN CANAN’S VOODOO PLAYERS: 8 p.m., $15-$20.

Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

SUNDAY 25

ANNUAL BABY BLUES SHOWCASE: 5 p.m., $10$15. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

THE BUTTERTONES: 8 p.m., $15-$18. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

POETIC JUSTICE OPEN MIC: 7 p.m., $10. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

STAGHORN: w/ Anodes, Reaver 8 p.m., $7.

The Sinkhole, 7423 South Broadway, St. Louis, 314-328-2309.

MONDAY 26

HAKEN: w/ Leprous, Bent Knee 7 p.m., $25.

Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

SOULARD BLUES BAND: 9 p.m., $5. Broadway Oyster Bar, 736 S. Broadway, St. Louis,

BIG RICH MCDONOUGH & RHYTHM RENEGADES: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

JUST JUICE: 8 p.m., $18. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

LIKE MOTHS TO FLAMES: w/ Oceans Ate Alaska, Phinehas, Novelists 6 p.m., $16. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

MARGARET & ERIC: 4 p.m., free. Hammerstone’s, 2028 S. 9th St., St. Louis, 314-773-5565.

MARTY SPIKENER & ON CALL BAND: 10 p.m., $5.

BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

MIKE FARRIS: 8 p.m., $20. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

SORRY PLEASE CONTINUE: 8 p.m., $5. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

YOUNG THE GIANT: w/ Grandson 8 p.m., $29.50.

Stifel Theatre, 1400 Market St, St. Louis, 314-499-7600.

THIS JUST IN 3 PIECE JONES & SIT DOWN GET DOWN: Sat., Dec. 22, 9 p.m., free. Nightshift Bar & Grill, 3979 Mexico Road, St. Peters, 636-441-8300.

442S HOLIDAY SPECTACULAR: W/ Christine Brewer, Peter Martin, Erin Bode, Brian Owens, Montez Coleman, Mon., Dec. 17, 7:30 p.m., $15-$30. W/ Christine Brewer, Peter Martin, Erin Bode, Brian Owens, Montez Coleman, Tue., Dec. 18, 7:30 p.m., $15-$30. The 560 Music Center, 560 Trinity Ave., University City, 314-421-3600.

A.L.I.: Sat., Dec. 1, 9 p.m., free. Nightshift Bar & Grill, 3979 Mexico Road, St. Peters, 636-441-8300.

AARON GRIFFIN BLUES BAND: Thu., Nov. 29, 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

AFTER MIDNIGHT: Sat., Dec. 29, 9 p.m., free.

Nightshift Bar & Grill, 3979 Mexico Road, St. Peters, 636-441-8300.

ALLMAN ANTHOLOGY: A TRIBUTE TO THE ALLMAN BROTHERS: Sat., Jan. 26, 8 p.m., $20-$25.

Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

AN EVENING WITH LEFTOVER SALMON: STORIES FROM THE LIVING ROOM: Fri., Feb. 22, 8 p.m., $25-$35. The Sheldon, 3648 Washington Blvd., St. Louis, 314-533-9900.

ANDERSON EAST: W/ Lucie Silvas, Tue., Feb. 19, 8 p.m., $20-$23. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

ANIMAL YEARS: W/ The Burney Sisters, Fri., Jan. 18, 8 p.m., $10. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

ANN VOSKAMP & CHRISTY NOCKELS: Thu., Nov. 29, 7 p.m., $15-$50. Missouri Baptist University, 1 College Park Dr, Creve Coeur, 314-434-1115.

ANNUAL BABY BLUES SHOWCASE: Sun., Nov. 25, 5 p.m., $10-$15. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

ARKELLS: W/ The Greeting Committee, Thu., March 7, 8 p.m., $21-$23.50. Delmar Hall, 6133

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

ARLIE: Fri., Jan. 18, 8 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

THE BAND CAMINO: W/ Hardcastle, Wed., Feb. 13, 8 p.m., $15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

BIG RICH MCDONOUGH & RHYTHM RENEGADES: Thu., Nov. 22, 9 p.m., $5. Wed., Nov. 28, 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

BIRD STREETS: Tue., Dec. 11, 8 p.m., $8-$10. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

BLACK & WHITE BAND: Tue., Nov. 27, 8 p.m., $10.

BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

BLEACH: W/ Apex Shrine, The Bad Haircuts, Sat., Nov. 24, 7 p.m., $10. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

BREWTOPIA: Sat., Dec. 8, 9 p.m., free. Sat., Dec. 8, 9 p.m., free. Nightshift Bar & Grill, 3979 Mexico Road, St. Peters, 636-441-8300.

CANDLEBOX: Sun., Feb. 10, 8 p.m., $27.50-$30.

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

CHRIS DIFFORD: W/ Steve Smith, Wed., March 20, 8 p.m., $30. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

CITY GIRLS: W/ Tiffany Foxx, Fri., Nov. 23, 7 p.m., $23. The Marquee Restaurant & Lounge, 1911 Locust St, St. Louis, 314-436-8889.

COATHANGERS: Sat., April 6, 8 p.m., $12-$14.

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

CRYSTAL LADY: W/ Ground Control, Two Cities One World, Sat., Nov. 24, 8 p.m., $7-$10. The Bootleg, 4140 Manchester Ave., St. Louis, 314-775-0775.

DANILEIGH: Sun., Feb. 24, 8 p.m., $20-$65.

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

DAUGHTERS: W/ Blanck Mass, Sat., Feb. 23, 8 p.m., $18-$20. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

DAVID DEE & THE HOT TRACKS: Fri., Nov. 30, 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

DILLON FRANCIS, ALISON WONDERLAND: Mon., Feb. 4, 8 p.m., $35-$40. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

DILLY DALLY: Tue., March 26, 8 p.m., $18-$20.

Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

DOROTHY: W/ Spirit Animal, Wed., Feb. 6, 8 p.m., $20-$25. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

ERIC PREWITT BAND: Fri., Nov. 30, 7 p.m., free.

Hwy 61 Roadhouse and Kitchen, 34 S Old Orchard Ave, Webster Groves, 314-968-0061.

THE ERIC PREWITT BAND: Sat., Dec. 22, 8 p.m., $5. Hwy 61 Roadhouse and Kitchen, 34 S Old Orchard Ave, Webster Groves, 314-968-0061.

EXCISION: W/ Squnto, Sullivan King, He$h, Thu., Feb. 7, 8 p.m., $45-$47.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

THE FADE: W/ Mene Mene, Let’s Not, Sat., Dec. 8, 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

FUTURE BIRDS: Thu., Jan. 17, 8 p.m., $12.

Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

G. LOVE AND SPECIAL SAUCE: Tue., Jan. 15, 8 p.m., $32.50-$35. Blueberry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314727-4444.

THE GASLIGHT SQUARES: free. The Frisco Barroom, 8110 Big Bend Blvd., Webster Groves, 314-455-1090.

THE GRATEFUL BALL: W/ The Travelin’ McCourys, Jeff Austin Band, Sat., Jan. 26, 9 p.m., $25-$30. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505.

IF ONLY, IF ONLY: W/ Early Humans, Eat Sleep Catapult, Armenta, Kennedy Music, Fri., Dec. 28, 7 p.m., $10-$12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

THE INTERRUPTERS: W/ Masked Intruder, Rat Boy, Mon., April 1, 7 p.m., $24-$26. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-7266161.

JAYDAY: A JAY-Z BIRTHDAY TRIBUTE JAM: W/ DJ Hood Bunny, Fri., Nov. 30, 9 p.m., $8-$12. The

Bootleg, 4140 Manchester Ave., St. Louis, 314775-0775.

JOE RUSSO’S ALMOST DEAD: Fri., Feb. 15, 8 p.m., $39.50-$45. Sat., Feb. 16, 8 p.m., $39.50-$45.

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

JONATHAN MCREYNOLDS: Sat., April 13, 7 p.m., $22-$80. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

KAMELOT: W/ Sonata Arctica, Battle Beast, Wed., Oct. 9, 7:20 p.m., $26-$100. The Ready Room, 4195 Manchester Ave, St. Louis, 314833-3929.

KEYS FOR KEYS: Sat., Nov. 24, 1 p.m., free.

50Fifty Kitchen, 3723 S Kingshighway Blvd, St. Louis, 314-875-9623.

KIKAGAKU MOYO: Wed., Feb. 27, 8 p.m., $12-$15.

Blueberry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314-727-4444.

KIM MASSIE TRIBUTE TO STEVIE WONDER: Fri., Nov. 23, 5 p.m., $15. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

KINGDOM BROTHERS: Sat., Dec. 1, 8 p.m., $5.

Hwy 61 Roadhouse and Kitchen, 34 S Old Orchard Ave, Webster Groves, 314-968-0061.

KINGDOM BROTHERS BAND: Sat., Nov. 24, 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

LADY LAMB: Thu., May 16, 8 p.m., $15-$17. Off Broadway, 3509 Lemp Ave., St. Louis, 314-4986989.

LEROY JODIE PIERSON: Fri., Nov. 30, 7 p.m., $5.

BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

THE LISTON BROTHERS: Sat., March 9, 8 p.m., $25-$35. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

LIZ COOPER & THE STAMPEDE: W/ Beth Bombara, Sat., Jan. 19, 8 p.m., $12. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505.

LOKEY: Sat., Dec. 15, 9 p.m., free. Nightshift Bar & Grill, 3979 Mexico Road, St. Peters, 636-441-8300.

LOVE JONES “THE BAND”: Fri., Nov. 23, 10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

LUCKY DAN & NAKED MIKE: Fri., Dec. 28, 7 p.m., $5. Hwy 61 Roadhouse and Kitchen, 34 S Old Orchard Ave, Webster Groves, 314-968-0061.

MARQUISE KNOX BLUES BAND: Sat., Nov. 24, 10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

MARTY SPIKENER & ON CALL BAND: Wed., Nov. 28, 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

MC LYTE: Mon., Dec. 31, 8 p.m., $115. St. Louis Union Station Hotel, 1820 Market St, St. Louis, 314-231-1234.

MOTHER STUTTER: W/ O’ Ivy, Fri., Dec. 21, 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

MOTHERFOLK: W/ Stay Outside, Wed., Feb. 6, 8 p.m., $10. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

NASHVILLE PUSSY: W/ Guitar Wolf, The Turbo A.C.’s, Fri., May 31, 8 p.m., $20-$25. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

NEW YEAR’S EVE WITH SONIC MISCHIEF: Mon., Dec. 31, 9 p.m., free. Nightshift Bar & Grill, 3979 Mexico Road, St. Peters, 636-441-8300.

ONE NIGHT OF QUEEN: Sun., March 31, 7:30 p.m., $35. River City Casino & Hotel, 777 River City Casino Blvd., St. Louis, 314-388-7777.

PATRICK SWEANY: W/ Greyhounds, Fri., Jan. 25, 8 p.m., $15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

PLETHORA: Thu., Dec. 13, 8 p.m., $15. The Stage at KDHX, 3524 Washington Ave, St. Louis, 314-925-7543, ext. 815.

POKEY LAFARGE: Sat., Dec. 29, 8 p.m., $25.

Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

RAYLAND BAXTER: Fri., Jan. 25, 8 p.m., $15.

Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

READ SOUTHALL BAND: Thu., Feb. 14, 8 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

ROCKY & THE WRANGLERS: Sat., Nov. 24, 4 p.m.,

Continued on pg 49

riverfronttimes.com

NOVEMBER 21 - 27, 2018

RIVERFRONT TIMES

47

wednesday november 21 9:45 pm Urban Chestnut Presents

the voodoo players

tribute to sweet soul music thursday november 22 we are closed

happy thanksgiving! friday november 23 10 pm

grass fed mule with special guests one way traffic

saturday november 24 10 pm

the provels

wednesday november 28 9:45 pm Urban Chestnut Presents

the voodoo players

tribute to john hartford friday november 30 10 pm

arkansauce the mighty pines duo with special guests

48

RIVERFRONT TIMES

NOVEMBER 21 - 27, 2018

riverfronttimes.com

OUT EVERY NIGHT Continued from pg 47 $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

SAM BUSH: Thu., Jan. 17, 8 p.m., $25. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505.

THE SCHWAG: Fri., Dec. 28, 9 p.m., $10. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505.

SING FOR SITEMAN: Fri., March 29, 5 p.m., $50-$100. John Burroughs School, 755 S. Price Road, St. Louis, 314-993-4040.

SOCCER MOMMY: W/ Hovvdy, Motiongazer, Wed., Feb. 27, 8 p.m., $12-$14. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

STORY OF THE YEAR: W/ Memphis May Fire, Sat., Feb. 2, 8 p.m., $22-$25. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

STRING CHEESE INCIDENT: Fri., April 19, 8 p.m., $59.50-$99. Sat., April 20, 8 p.m., $59.50-$99.

The Fox Theatre, 527 N. Grand Blvd., St. Louis, 314-534-1111.

SUMMER CAMP: ON THE ROAD: Fri., March 1, 8 p.m., $10. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505.

TAVERN NIGHT OUT 2018: W/ Kid Capri, Sun., Dec. 9, 8 p.m., $25. Ambassador, 9800 Halls Ferry Rd, North St. Louis County, 314-869-9090.

THIRD SIGHT “SPECIAL EDITION”: Mon., Nov. 26, 8 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

TIT FOR TAT: W/ Buttercup, Man the Manipulator, Sat., Dec. 15, 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

TORCHLIGHT PARADE: W/ Dirtyking, Sat., Dec. 29, 7:45 p.m., $8-$10. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

TORREY CASEY & THE SOUTHSIDE HUSTLE: Thu., Nov. 29, 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

TORY STARBUCK: W/ Keokuk, Fri., Dec. 14, 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

UNPLUGG-ED AND UNBANDED SHOW: W/ Jeremy

BEST BETS

Continued from pg 47

crew behind this show is playing coy.

Presented by Paper Rock Podcast, this charity event ranges from the heavy hardcore of Outrun the Fall (formerly Hollow Point Heroes) to hometown funk heroes Monkh and the People, who will hit the stage for the last time.

Just $10 will get you through the door, but bringing a brand-new toy will cut the cover in half. Even full price brings a lot of a bang for the buck with a whole slew of silent auctions featuring St. Louis Blues tickets, a black Fender Stratocaster and more — all to benefit Toys For Tots.

SUNDAY, NOVEMBER 25 Human Monster w/ Dragon Falcon, Matt Ingram 9 p.m. CBGB, 3163 South Grand Boulevard. $5. No phone.

Drummer Cameron Rogers is no stranger to the art of solo percussion.

Following a stint with Buffalo-based All of Them Witches (not to be confused with Nashville’s All Them Witches), he broke out as Coca-Cola Death Squad, exploring solo drum and noise performance. After moving to St. Louis and expanding to a duo with Amber Kogut, the project morphed into a mapped-

Essig, Shannon Lucas, Thu., Dec. 6, 9 p.m., $7.

The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

THE USUAL SUSPECTS: Fri., Nov. 23, 7 p.m., $10.

BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

VALERIE JUNE: Sat., April 27, 8 p.m., $25. Blueberry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314-727-4444.

VINCE GILL: Fri., Feb. 1, 7 p.m., TBA. Stifel Theatre, 1400 Market St, St. Louis, 314-499-7600.

WILLIE & THE POOR BOYS: Sat., Dec. 15, 8 p.m., $5. Hwy 61 Roadhouse and Kitchen, 34 S Old Orchard Ave, Webster Groves, 314-968-0061.

XIOMARA MASS: Mon., Dec. 3, 7:30 p.m., free.

The 560 Music Center, 560 Trinity Ave., University City, 314-421-3600.

UPCOMING

A.L.I.: Sat., Dec. 1, 9 p.m., free. Nightshift Bar & Grill, 3979 Mexico Road, St. Peters, 636-441-8300.

AARON GRIFFIN BLUES BAND: Thu., Nov. 29, 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

ADVENT VESPERS: Sun., Dec. 2, 4 p.m., free. Second Presbyterian Church, 4501 Westminster Place, St. Louis, 314-367-0366.

AL HOLLIDAY AND THE EAST SIDE RHYTHM BAND: Fri., Nov. 30, 8 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

ALLEN STONE: W/ Nick Waterhouse, Tue., Dec. 4, 8 p.m., $25-$30. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

AMANDA SHIRES: Thu., Nov. 29, 8 p.m., $20-$35.

Off Broadway, 3509 Lemp Ave., St. Louis, 3 14-498-6989.

ANN VOSKAMP & CHRISTY NOCKELS: Thu., Nov. 29, 7 p.m., $15-$50. Missouri Baptist University, 1 College Park Dr, Creve Coeur, 314-434-1115.

ANTHONY GOMES: Fri., Nov. 30, 8 p.m., $15-$18.

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

BAD WIRES: Breath Fire, Thu., Nov. 29, 9 p.m.,

out set of samples and dual drumming.

Rogers has since pared back, and as the Human Monster, he explores linear beats and dense polyrhythms with a subtle touch of electronics. Expect this inaugural set to blend avant-garde drum work with absolute shredding behind the kit.

Staghorn w/ Anodes, Reaver 8 p.m. The Sinkhole, 7423 South Broadway. $7.

314-328-2309.

While Staghorn has relocated to Champaign-Urbana, Illinois, the band of activist post-rockers still considers St. Louis its main base of operations.

Following a continental tour of North America that stretched from Canada to Mexico, Staghorn counts this show as a homecoming of sorts, celebrating with longtime friends Reaver in tow. In addition to being Anodes’ last show of 2018, Staghorn is offering even more reasons to go — free screen-printed posters will be available for the first 25 attendees.

—Joseph Hess Each week we bring you our picks for the best concerts of the weekend. To submit your show for consideration, visit riverfronttimes. com/stlouis/Events/AddEvent. All events subject to change; check with the venue for the most up-to-date information.

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NOVEMBER 21 - 27, 2018

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OUT EVERY NIGHT Continued from pg 49 $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100.

BASTILLE: W/ Lovely the Band, Thu., Nov. 29, 8 p.m., $45-$60. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

BOB SEGER AND THE SILVER BULLET BAND: Fri., Nov. 30, 7 p.m., TBA. Enterprise Center, 1401 Clark Ave., St. Louis, 314-241-1888.

BROTHER FRANCIS AND THE SOULTONES: W/ Jr. Clooney, Two Cities One World, Thu., Nov. 29, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337.

CANNIBAL CORPSE: W/ Hate Eternal, Harms Way, Fri., Nov. 30, 8 p.m., $25-$27.50. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

DAUGHTRY: Wed., Dec. 5, 7 p.m., $59.50-$69.50.

Wed., Dec. 5, 7 p.m., $59-$69. River City Casino & Hotel, 777 River City Casino Blvd., St. Louis, 314-388-7777.

DAVID DEE & THE HOT TRACKS: Fri., Nov. 30, 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

A DRAG QUEEN CHRISTMAS: Fri., Nov. 30, 8 p.m., $43.50-$172. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

ELEGANCE AND ROMANCE: Sat., Dec. 1, 2 p.m., $38. The 560 Music Center, 560 Trinity Ave., University City, 314-421-3600.

ERIC PREWITT BAND: Fri., Nov. 30, 7 p.m., free.

Hwy 61 Roadhouse and Kitchen, 34 S Old Orchard Ave, Webster Groves, 314-968-0061.

FINDING EMO: Sat., Dec. 1, 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

FRESH PRODUCE: THE BEAT BATTLE: First Wednesday of every month, 9 p.m., free. The Monocle, 4510 Manchester Ave, St. Louis, 314-935-7003.

GARY ROBERT AND COMMUNITY: W/ Sunwyrm, Fri., Nov. 30, 9 p.m., $7. The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

GENE JACKSON POWER PLAY BAND: Fri., Nov. 30, 8 p.m., $3. Hammerstone’s, 2028 S. 9th St., St. Louis, 314-773-5565.

HALESTORM: W/ In This Moment, Thu., Nov. 29, 7 p.m., $46.50. Stifel Theatre, 1400 Market St, St. Louis, 314-499-7600.

HERE COME THE MUMMIES: W/ Sun Stereo, Sat., Dec. 1, 8 p.m., $25-$27.50. W/ Sun Stereo, Sun., Dec. 2, 7 p.m., $25-$27.50. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161.

ICKES & HENSLEY: W/ Jason Eady, Wed., Dec. 5, 8 p.m., $15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

JAYDAY: A JAY-Z BIRTHDAY TRIBUTE JAM: W/ DJ Hood Bunny, Fri., Nov. 30, 9 p.m., $8-$12. The Bootleg, 4140 Manchester Ave., St. Louis, 314-775-0775.

JAZZ CELEBRATION CONCERT: Fri., Nov. 30, 8 p.m., free. The 560 Music Center, 560 Trinity Ave., University City, 314-421-3600.

JAZZ FOR THE HOLIDAYS: Sun., Dec. 2, 3 p.m., free. Blanche M Touhill Performing Arts Center, 1 University Dr at Natural Bridge Road, Normandy, 314-516-4949.

JUDY COLLINS: Sun., Dec. 2, 7 p.m., $150. Espenschied Chapel, 317 County Road, Mascoutah, 618-566-7425.

KENNY G: Fri., Nov. 30, 8 p.m., $49-$99. Blanche M Touhill Performing Arts Center, 1 University Dr at Natural Bridge Road, Normandy, 314-516-4949.

KINGDOM BROTHERS: Sat., Dec. 1, 8 p.m., $5.

Hwy 61 Roadhouse and Kitchen, 34 S Old Orchard Ave, Webster Groves, 314-968-0061.

KOO KOO KANGA ROO: W/ Kitty Kat Fan Club, Thu., Nov. 29, 6 p.m., $15. Blueberry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314-727-4444.

KRIS ALLEN: Wed., Dec. 5, 8 p.m., $20-$70.

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

LEROY JODIE PIERSON: Fri., Nov. 30, 7 p.m., $5.

BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

LONNIE HOLLEY: Sat., Dec. 1, 8 p.m., $10-$20. Off

Broadway, 3509 Lemp Ave., St. Louis, 314-498-6989.

LOVE AND THEFT: Thu., Nov. 29, 8 p.m., $20-$25.

The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

MARK CHESNUTT & JOE DIFFIE: Sun., Dec. 2, 7:30 p.m., $39.50-$49.50. River City Casino & Hotel, 777 River City Casino Blvd., St. Louis, 314-388-7777.

MARK CHESNUTT AND JOE DIFFIE: Sun., Dec. 2, 7 p.m., $39.50-$49.50. River City Casino & Hotel, 777 River City Casino Blvd., St. Louis, 314-388-7777.

THE MIDNIGHT HOUR: W/ Mathias and the Pirates, Sat., Dec. 1, 7 p.m., $22.50-$25. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

MOTOR JAXON: W/ Accelerando, Thank You Jesus The Band, Fri., Nov. 30, 9 p.m., free.

Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337.

NATE LOWERY: Thu., Nov. 29, 4 p.m., free.

Hammerstone’s, 2028 S. 9th St., St. Louis, 314-773-5565.

NATHANIEL RATELIFF & THE NIGHT SWEATS: W/ Albert Hammond Jr., Fri., Nov. 30, 8 p.m., $25$59. Stifel Theatre, 1400 Market St, St. Louis, 314-499-7600.

ODDSOUL AND THE SOUND: W/ Tim Leavy Band, Meghan Yankowskas, Thu., Nov. 29, 9 p.m., $7.

The Heavy Anchor, 5226 Gravois Ave., St. Louis, 314-352-5226.

PATTI & THE HITMEN: Fri., Nov. 30, 9 p.m., free.

1860 Saloon, Game Room & Hardshell Cafe, 1860 S. Ninth St., St. Louis, 314-231-1860.

PAUL OAKENFOLD: Sat., Dec. 1, 9 p.m., TBA. Ameristar Casino, 1 Ameristar Blvd., St. Charles, 636-949-7777.

PUNK ROCK FOR PET FOOD: W/ We’re a Happy Family, the Danged, Fri., Nov. 30, 7 p.m., $10. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

THE RED-HEADED STRANGERS ALBUM RELEASE SHOW: W/ Aught Naughts, LS XPRSS, Sat., Dec. 1, 9 p.m., TBA. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100.

RICH MCDONOUGH & THE RHYTHM RENEGADES: Thu., Nov. 29, 8 p.m., free. Hammerstone’s, 2028 S. 9th St., St. Louis, 314-773-5565.

SILVERCREEK BLUEGRASS BAND: Sat., Dec. 1, 9 p.m., free. The Frisco Barroom, 8110 Big Bend Blvd., Webster Groves, 314-455-1090.

SMASHING PUMPKINS: Sat., Dec. 1, 7 p.m., $35.

Stifel Theatre, 1400 Market St, St. Louis, 314-499-7600.

STANK THUNDER: W/ Hands and Feet, Sat., Dec. 1, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337.

STEVE MARTIN AND MARTIN SHORT: W/ I’m With Her, Jeff Babko, Sat., Dec. 1, 8 p.m., $60-$265.

The Fox Theatre, 527 N. Grand Blvd., St. Louis, 314-534-1111.

STLISTHEMOVEMENT: Sun., Dec. 2, 7 p.m., $10.

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

TEENAGE BOTTLEROCKET: W/ Argyle Goolsby, Nim Vind, Thu., Nov. 29, 8 p.m., $15-$18.

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

THE ST. LOUIS STEADY GRINDERS: Fri., Nov. 30, 9 p.m., free. The Frisco Barroom, 8110 Big Bend Blvd., Webster Groves, 314-455-1090.

THUNDERHEAD: THE RUSH EXPERIENCE: Sat., Dec. 1, 8 p.m., $12-$15. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161.

TORREY CASEY & THE SOUTHSIDE HUSTLE: Thu., Nov. 29, 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

VINTAGE VIBE: Sat., Dec. 1, 8 p.m., free.

Debz Corner, 685 Big Bend Road, Ballwin, 636-394-0120.

VISTA KICKS: Wed., Dec. 5, 8 p.m., $15. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

VOODOO BEATLES PERFORM REVOLVER: W/ Sean Canan’s Voodoo Players, Sat., Dec. 1, 9 p.m., $12-$15. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505.

XIOMARA MASS: Mon., Dec. 3, 7:30 p.m., free.

The 560 Music Center, 560 Trinity Ave., University City, 314-421-3600.

YO GOTTI: Sun., Dec. 2, 8 p.m., $45-$65. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. n

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SAVAGE LOVE STRESSFEST

BY DAN SAVAGE Hey, Dan: I’m a recently divorced single mom and full-time student.

I’m really beginning to hurt financially and have decided to start working as an escort. I am at a point of great emotional stability, happiness and confidence — all reasons that led to my decision — and I’m surrounded by people who love me and won’t judge me. (Not that I will be telling most of them.)

I’ve been seeing a man who I like, but I’ve made it clear that I am not committed to him and can see him only once a week. I’ve explained that I don’t think I can ever be monogamous and I do not want a relationship. He has struggled with this and told me early on he was in love with me. We have AMAZING sex, and I think this causes him to have a hard time understanding why I don’t want a relationship.

I do not want to tell him I am escorting. I feel the fewer people who know, the better. And I don’t know him that well, as I have been “seeing” him for only six months. I know he would want to know, and a huge part of me feels that the right thing to do is be honest with him if I am going to continue seeing him. I also know that cutting him loose would hurt and confuse him, especially without being able to give him a reason.

How do I handle this? What is the right thing to do? My site goes live in three days, and what’s keeping me up at night is not how best to verify clients, it’s what to do about the man in my life who I respect and love, even if I am not in love with him.

New To Escorting Let’s set the escorting issue aside for a moment. You don’t want the same things (he wants monogamy and a defined relationship, you don’t want any of that shit), you don’t feel for him the way he feels for you (he’s in love, you’re not), and you’re a busy single mom and full-time student — all perfectly valid reasons to end a relationship, NTE. You aren’t obligated to tell him that something you were thinking about doing but haven’t yet done, i.e., escorting, factored

into your decision to cut him loose.

While I definitely think people have a right to know if their partners are escorts, I don’t think people have an absolute right to know if their partners were escorts. So if the sex is really good, and you think there’s a chance you could one day feel as strongly for him as he does for you, and you’re planning to escort only until you get your degree, NTE, you could tell him you want to take a break. Explain to him that you don’t have the bandwidth for a boyfriend just now — kid, school, work — but you’re open to dating him after you’re out of school if he’s still single and still interested.

Hey, Dan: I’m a 30-year-old single monogamist and I recently realized I’m bisexual. I feel much happier. Except I recently crossed a line with a very close friend of mine, a man I’ll admit to having some romantic feelings for. After he broke up with his ex, I started getting random late-night text messages from him. And a couple weeks ago, we hooked up sans penetration. We acknowledged that we both have feelings but neither of us is in a good place. He’s still dealing with the end of his LTR, and I am only just coming out as bisexual. I love this person and our friendship is important to me, but I can’t stop thinking of the possibility of us being together. I’m confused by the timing and I wonder if this is real or just something I’ve allowed to distract me — or both! Also, what would this mean for my bisexuality? I’ve been to this rodeo before — meaning opposite-sex relationships — but what about the part of me I haven’t fully explored?

Between Every Thorn Solitude Yearns You describe yourself as a monogamist — so, yeah, entering into a committed relationship with this man would prevent you from exploring your bisexuality. And the timing feels off: He may be on the rebound, and you’re still coming to terms with your bisexuality.

So don’t enter into a committed relationship with him, BETSY, at least not yet. Date him casually and keep hooking up with him, with the understanding — with

While I definitely think people have a right to know if their partners are escorts, I don’t think people have an absolute right to know if their partners were escorts. the explicit and fully verbalized and mutually consented-to understanding — that you will be “exploring” your bisexuality, i.e. you’ll be getting out there and eating some pussy.

Hey, Dan: I’m a 37-year-old woman married for eight years to a wonderful man. We’re happy and GGG to the point where his kinks have become my kinks and vice versa. However, he loves anal sex and I cannot do it. No matter how much lube we use or how slowly we go, it’s not just uncomfortable, it’s red-hot-poker-in-my-ass painful. Can you give me any concrete, practical advice to get to a point where I can enjoy anal?

Beyond Uncomfortable Tushy Trauma P.S. Do some women actually enjoy anal? After my experiences, I find that really hard to believe.

If you’re still interested in exploring anal after all those redhot-poker-in-your-ass painful experiences — and you are by no means obligated to explore any further — focus on anal stimulation, BUTT, not anal penetration. Try rimming, try a vibrator pressed against your anus (not shoved into it), try running his lubed-up dick up and down your crack (across your anus, not into your anus), and try all of these things during masturbation, vaginal penetration and oral sex. Having a few dozen orgasms — or a few hundred — while your anus’s sensitive nerve endings are plea-

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surably engaged could create a positive association between anal stimulation and sexual pleasure.

It’s going to take some time to create a positive association powerful enough to supplant the negative association you have now — an association with echoes of regicide (google “Edward II and red hot poker”) — so your husband shouldn’t expect to get his dick back into your butt anytime soon, if he ever will at all. Some people, for reasons physiological or psychological or both, just can’t experience pleasure during anal intercourse. If you’re one of those people, BUTT, your husband will just have to grieve and move on.

P.S. I find it hard to believe that a woman could possibly enjoy, say, a Donald Trump rally. But some women do, BUTT, and we have video to prove it. The same could be said about anal.

Hey, Dan: I am a 30-year-old hetero woman. Any ideas on how a person can build up to healthy intimate relationships again while recovering from trauma? I’m afraid in normal sexual situations. How can I get to a point where I can have sex for fun and not in a way where I’m triggering my fight-orflight response? Yes, I am seeing a therapist.

Traumatic Experience Nullifying Sexual Energy Here’s an idea, TENSE, but please run it by your therapist before giving it a try: Find a guy you like and propose a different kind of friends-with-benefits arrangement. You will be in charge — you will do all the initiating — and while he can say no to anything you ask, he isn’t to ask for or initiate anything himself. You set the menu, you make the rules, you give the orders. He’ll need to be someone you trust, and it’ll help if he’s someone who thinks following orders is sexy — and trust me, TENSE, those guys are out there. You said that normal sexual situations aren’t working for you. Maybe an abnormal one would?

Listen to Dan’s podcast at savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter ITMFA.org

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HAPPY HOUR SPECIALS HAPPY HOUR ROYALTY

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*Craft CoCktails * H a p p y H o u r 7pm – 9 pm * o p e n t u e s – f r i a t 4pm come try our revolving cocktail list truststl . com

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