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JULY 8–14, 2015 I VOLUME 39 I NUMBER 28

The Shaming of Brittany Burke Police bungled a sexual-assault report — and then the Post-Dispatch followed suit B Y A N DY K O P S A

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1 0 THE SHAMING O F B R I T TA N Y B U R K E Police bungled a sexual-assault report — and then the Post-Dispatch followed suit BY ANDY KOPSA

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RIVERFRONT TIMES

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

A Death at the Pagedale Jail

Kimberlee Randle-King.

ast September, Pagedale police arrested 21-year-old Kimberlee Randle-King for getting in a street fight. Noting several “failure to appear” warrants for her arrest, the officers put her in jail. Within minutes, she was dead in her cell. The cops called it a suicide. But in the postFerguson climate, not everyone believed them. Many family members and protestors gathered in Pagedale a few days after her death. “We need answers,” Rachel West, RandleKing’s god-sister, told KMOV (Channel 4). “We need how. We need why.” A police report obtained yesterday by Riverfront Times sheds much light on the “how,” although the “why” is debatable — and soon to be the center of a lawsuit. Kimberlee Randle-King — a single mother of two living in Maplewood — was a confident and bubbly person with no history of mental illness or suicidal thoughts, according to her mother, Gladys King. “She was not at all depressed,” King says. She was a “glamour girl” who liked her housecleaning job at the Crowne Plaza hotel in Clayton because it allowed her to buy new clothes. “She thought she was Beyoncé!” On the afternoon of September 19, 2014, Randle-King finished her shift at the hotel and drove up to Pagedale to pick up her kids, ages three and four, at her grandmother’s house. Instead, she got into a brawl. When Corporal Napoleon Valiant of the Pagedale police arrived at the intersection of Woodruff Avenue and Wynhill Drive in response to a “fight” call, he saw “a large group of individuals in the roadway yelling at each other,” as he would later tell St. Louis County Police Department investigators. The fight dispersed. Corporal Valiant and another officer rounded up two of the brawlers: Randle-King and Cathryn Waters, 26. Randle-King told police that the latter had threatened her earlier on Facebook, then jumped her when they crossed paths that day. The cops arrested both women on charges of third-degree assault. Randle-King screamed profanities at the officers, they reported, but surrendered. At the Pagedale police station, Waters went free with a citation because she had no outstanding warrants. Randle-King, however, had seven “failure to appear” warrants and nine fugitive warrants issued by St. Louis County, 8

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University City, Bellfontaine Neighbors, Clayton and Maryland Heights, mostly for traffic and vehicle violations. In the booking room, she asked officer Stephen Hall to undo her handcuffs. He agreed, observing that she had become “notably calm.” Randle-King signed her booking documents, denying any medical problems. Yet when Officer Hall explained to her the bond amount on her warrants, the police report says, “Kimberlee became ‘hysterical’ and claimed she would lose her ‘job, house and babies.’ Kimberlee then said, ‘I’m gonna die if I go back there.’ “Police Officer Hall...did not believe her statement to be suicidal in nature,” the report says. Police Corporal Valiant offered to release Randle-King from her bond and assign a new court date. But upon learning she’d be

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transferred to another police department, she “remained upset” — so upset, in fact, she refused to walk into her cell. They used the “soft escort position” to place her into the cell. According to the report, the Pagedale police station is outfitted with thirteen interior cameras. Investigators later watched the video recordings and came up with the following timeline: At 5:07 p.m. the officers locked the door to Randle-King’s cell. She “immediately threw herself to the floor and rolled onto her sides. She repeatedly flailed her arms and legs and appeared to scream and/or cry.” Two minutes later, alone in her cell, she pulled off her red T-shirt. She laced it through the center hole in the top bunk’s bed frame. She wrapped it around her neck, tightened it, then lowered herself into a “contorted position...

suspended by the t-shirt around her neck.” By 5:17 — just ten minutes after Pagedale locked her in the cell — “all movement in Kimberlee’s body appeared to have stopped.” It apparently wasn’t until 5:33 — or about 34 minutes after they locked her in the cell — that a police clerk and Valiant used the monitor to check on Randle-King. That’s when Valiant sprung into action. He hurried into the cell, bear-hug-lifted her, freed her from the noose, laid her on the bottom bunk and started giving her CPR. Cabot Hemp, an inmate across the hallway, said he looked out of his window and saw Valiant “desperately” trying to save the woman, “like it was [his] own daughter.” He couldn’t save her. The St. Louis County Medical Examiner’s report later ruled the manner of death a suicide caused by asphyxia. Officer Hall, who’d left on another assignment, came back to the station and saw Valiant crouched near the back door. The corporal, who’d recently had heart surgery, had just vomited outside. “I tried to do what I could,” Valiant reportedly said, out of breath. “She was hanging.” On September 25, a crowd of family members and supporters gathered at the Pagedale police station in protest. They were “looking for answers,” according to their page on Facebook. The King family has since retained attorney J. Justin Meehan. Meehan says he and the family are in the process of filing a wrongful death petition in state court against the City of Pagedale. He points out that in 2005, a different inmate, Kelvin Dobbs, also committed suicide in the Pagedale jail. Meehan provided RFT with a copy of the duties of law-enforcement clerks at Pagedale, which include the obligation to “monitor all prisoners at all time[s].” A clerk was indeed at work and supposed to be watching RandleKing at the time of the incident, according to the report. “This death was a reflection of the lack of care from the powers that be for black lives,” says Meehan, adding that Randle-King must have felt “lost in the municipal gulag,” in north St. Louis County, where “people of color are forever treated as personal ATM machines by the municipalities and the courts.” Gladys King tells RFT she is now caring for her deceased daughter’s two children. She ultimately doesn’t know why Randle-King took her own life. “I’m still lost,” she says. — NICHOLAS PHILLIPS

Bringing Uber to St. Louis has been a bumpy ride.

Name-Calling at the Taxi Commission

n Wednesday, July 1, St. Louis Metropolitan Taxi Commission chairman Lou Hamilton sniped on Twitter that fellow commissioner Chris Sommers was “an insufferable douche” and suggested Sommers should go to work as a lobbyist for Uber. Sommers, in response, jabbed at Hamilton for his affiliation with Jeff Roorda, the police union honcho, Darren Wilson apologist and failed candidate for state senate. Oh, and he made fun of Hamilton’s previously reported affinity for outfitting his SUV with red lights and a siren. This, apparently, is what Twitter does to grown men — Twitter, and a high-stakes battle over whether Uber can enter the St. Louis market. The spat, suffice it to say, was the kind of drama that Twitter users live for. But it wasn’t necessarily good for Hamilton’s attempt to claim the moral high ground. “Ahhh and here is the poised spokesperson for one of the most dysfunctional regulatory entities in the country,” tweeted one St. Louisan (Twitter handle: @get_lowell). Reached by Riverfront Times last Thursday, Hamilton sounded rueful, but unapologetic. “I said it, I own it, and my only regret is that I didn’t say it in a private message instead of putting it out there for everyone on Twitter,” he said. Uber wants to bring its ridesharing app to St. Louis. But to do that, it needs the blessing of the St. Louis Metropolitan Taxi Commission, or MTC, which regulates cabs in both St. Louis city and county. Uber now fears it’s at an impasse with the commission — the regulators are insisting that Uber drivers undergo background checks run by the Missouri Highway Patrol, which include fingerprinting, as well as drug testing. Uber has its own background checks, which it believes to be superior — and has said those requirements would be a deal killer in St. Louis. Hamilton has noted that Uber agreed to such terms in Houston. Why should St. Louis be any different? But Uber supporters argue that most U.S. cities have been just fine with Uber’s background checks, no drug testing or fingerprints needed.

That gets us to last week, when Uber issued a letter to the taxi commission offering free rides for St. Louisans over the holiday weekend. The taxi commission said no while appearing to say yes — in essence saying it welcomed the free rides, but only if Uber made its drivers line up for drug testing and fingerprints. No go, said Uber. And that was that. Or that should have been that, but for Twitter. Chris Sommers, the restaurateur behind the Pi chain of pizzerias, was appointed to the taxi commission by Mayor Francis Slay specifically to help bring Uber to St. Louis. He’s been an enthusiastic proponent of the service — and, more recently, of its offer of free rides. On Twitter, Sommers made clear his support for the proposal — and, later, his belief that the taxi commission’s “conditions” were really an attempt to block Uber. “MTC says yes to @Uber_Missouri FREE RIDES in exchange for every driver’s 1st born child. #thanksnothanks #yesbutno,” he tweeted. That, then, led to the “douche” comment. “Chris, you are an insufferable douche,” Hamilton tweeted. “If you don’t like it take your toys and go home.” And that led Hamilton to press delete — by Thursday morning, the nasty tweets were long gone from his Twitter history. Later, he made his account completely private. On Thursday, one of the few recent Uberrelated tweets that was still public on Hamilton’s account was a retweet of a message from Mayor Francis Slay, with whom Hamilton is close. While Slay was publicly supportive of Uber’s free-ride offer, the bigger picture remains: Should its drivers to go through Missouri Highway Patrol background checks, or should the code be changed to allow the company’s current system of vetting its drivers? The tweet suggested Slay wanted to see the taxi commission bend to the company. “I have urged the MTC to adapt the Code to fit UberX,” Slay tweeted. “I want all drivers for hire to pass the same drug/security checks.” The taxi commission is poised to consider the matter later this month. If the meeting is anything like last week’s Twitter squabble, we might consider popping some popcorn. Actually, who are we kidding? Meetings are never as good as Twitter squabbles. But we reporters can dream, can’t we? — SARAH FENSKE riverfronttimes.com

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THE SHAMING OF BRITTANY BURKE POLICE BUNGLED A SEXUAL-ASSAULT REPORT — AND THEN THE POST-DISPATCH FOLLOWED SUIT B Y A N DY K O P S A

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ne sexual-assault kit. Clothing — underwear, dress pants, sport jacket, white shirt and shoes. Four vials of blood. One container of urine. Photos of bruises and abrasions on the woman’s body. Dried secretions, soil and debris, suspected semen and saliva. Matted hair cuttings. The Jefferson City Police Department gathered all these things from a young woman named Brittany Burke after she called them to report a possible sexual assault on April 9. She had been in a blackout, and wasn’t sure what had happened, but a three-hour invasive exam by a sexual-assault nurse examiner found vaginal abrasions consistent with assault. The nurse also noted on her report that suspected

semen was present. Under Missouri law, because the victim was blacked out, she was unable to consent. Under Missouri law, it seemed likely that a crime had occurred. “I don’t remember what happened to me,” Burke told Jefferson City police detective Curtis Finke. “This isn’t normal.” Burke also told Detective Finke this: “I’m a female, and I work in politics.” A former staffer for Governor Jay Nixon, she was working as a consultant. The detective’s report continues, “Burke stated it’s rough for her and the least amount of people that know about this the better.” Fast-forward two months. Police decided to close the case, even though lab tests from the rape kit had yet to come back — and even though their own report makes clear that no one knew where Burke was from approximately 1 to 3 a.m. on the morning in question. According to Jefferson City police captain Doug Shoemaker, the department closed the case at Burke’s request — a claim she adamantly denies. And then the police released their report to the St. Louis Post-Dispatch. The paper made the decision to run Burke’s name — and all the juicy details dutifully noted by Detective Finke — in a front-page article June 19 that would have been more at home in a tabloid. Forget “the least amount of people” knowing. Suddenly everyone knew that Brittany Burke had called the police to report a possible sexual assault. They were told the size of her bar tabs that night; the fact that she’d had a past relationship with former House Speaker John Diehl, even though the politician had nothing to do with the police report she had made; and even the nickname under which she saved Diehl’s cell number in her phone. The way the case was handled flies in the face of common sense, best practices and policy when dealing with possible a s s a u l t victims.

“When a rape victim calls the police, she is calling for help,” says Colleen Coble, CEO of the Jefferson City-based Missouri Coalition Against Domestic and Sexual Violence. “Receiving that help is our community expectation of the police and the right of any of us who are hurt in a crime.”

Some states have specific protocols that establish a clear way forward with highly sensitive cases involving potential rape victims. There are none in place in Missouri. Coble read the 21-page report, and one of many things that stuck out to her from a procedural aspect was that police did not transport Burke directly to a hospital. “They did not immediately get a rape victim to medical care, but questioned her at length first,” she says. “We can and need to do better.” continued on page 12

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Shaming continued from page 11

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n the aftermath of the Post-Dispatch’s story, advocates rallied to Burke’s side, criticizing the newspaper for its focus on the prurient details in the report rather than its reason for existence — a former political operative’s report of possible sexual assault while in a blackout. But the newspaper’s victimization of Burke, troubling though it is, was only possible because of the way Jefferson City police handled her report in the first place. Detective Finke failed to follow best practices in dealing with reports of sexual assault — and even, in some cases, the most minimum of standards. And then police closed the case without even informing the woman at its center, as Burke’s attorney confirmed to Riverfront Times last week. In fact, Burke only learned the case had been closed when she read it in the paper. Detective Finke wrote in the report that he closed the case “due to lack of victim cooperation.” But if you actually read the report, it’s not at all clear that Burke stopped cooperating. And even if she had (a charge she denies), it was still the department’s job to follow through with evidence gathered by the nurse. “I don’t know if I was raped,” Burke told Finke in what proved to be their final interview on April 15. She did know, however, that something bad had happened. She told him that life had become awful, that people were looking at her funny, that she wasn’t sleeping, that she felt lost. She just wanted the whole thing to end. In that context, “I don’t know if I was raped” wasn’t an admission from Burke that she had been wrong to file the report — but a cry of despair, of truly not remembering what had happened that night, and

fearing the worst. Earlier in their conversation that same day, the officer asked Burke what would happen if the lab report came back with a lead — what would she want to happen to the person who assaulted her? She stated, “I want him to burn in Hell.” Here’s how Finke describes his response in the report: I told Burke if I went out and arrested someone that did this I don’t think she would get a sense of relief. F i n ke d e c l i n e d c o m m e n t , referring questions about the case to Shoemaker. Some states have specific protocols that establish a clear way forward with highly sensitive cases involving potential rape victims. There are none in place in Missouri. There are still basic standards, h oweve r. T h e I n t e r n a t i o n a l Association of Chiefs of Police (IACP) provides guidance on how to respectfully and professionally investigate sexual assault. Among the directives, one is paramount: The focus should be on the suspect, not the victim. At no time should the officer be tempted to make personal judgments about the victim’s “character, behavior or credibility.” Yet the Missouri branch of the Association of Police Chiefs appears to be using protocol that’s twenty years out of date. A sample policy posted on the organization’s website is from 1994, and it includes the troubling step of running a criminal background check on the victim, including any prior reports of sexual assaults. The Jefferson City police aren’t bound by those policies, Shoemaker says. They are just guidelines, and each department operates differently. But Finke’s own police report suggests that he made up his mind about Burke pretty quickly on the morning she called for help. He notes that, as she sat in the detective conference room, “I observed that

“The critique of the Jefferson City Police Department begins with their investigation of the crime of ‘forcible rape’ The Focus Should — an offense Remain on the that hasn’t Suspect existed in Missouri law since it was changed in 2013.”

to focus on something else while she waited for the detectives — there were crayons in the room, after all. The IACP guidelines are clear that an observation like the one Finke made that morning has no place in an official report. Making judgment calls on the character or behavior of a victim — and ensconcing those in an official document — can “compromise the integrity of the entire report and the credibility of the victim and the officer,” the guidelines note. In their writeup, the Jefferson City police officers seem more focused on obtaining the exact figures on Burke’s bar tab and her “odd” behavior than on getting to the bottom of what happened to her in the early hours of the morning in question.

she was coloring with crayons. This was the first moment I began making behavioral observations of Burke that at times seemed odd for her situation.” Burke describes it differently. She says she was sitting in the detective conference room, waiting. She was still reeling from the night before, freaking out even, for obvious reasons. She was trying to stay calm,

ccording to the police report, Burke was out drinking with friends in Jefferson City on April 8 — first some wine with a political reporter, then Jägerbombs and vodka Red Bulls with a bigger party. But her trail went quiet around half-past midnight, when she would later tell police she blacked out. Phone activity ceased until almost 1 a.m. when she texted a friend for help. Her texts were confused — she is bleeding; she is sick; leave her alone. The friend offered to come pick her up. She refused, somewhat belligerent in her text volley. Then, between 1:07 a.m. and approximately 2 a.m., more silence. Around 2 a.m., the friend and Burke made contact, this time in a phone conversation. Burke was crying. She kept repeating she didn’t understand what was going on.

continued on page 14 riverfronttimes.com M O NJTUHLYX X–X riverfronttimes.com 8 - 1 4X, , 2200105X RRI IVVEERRFFRROONNTT TTI IMMEESS 135

Shaming continued from page 13

Even then, she failed to connect with her friend. It wasn’t until an hour later — around 3:15 a.m. — that she ended up on the porch of her ex-boyfriend, then-house speaker John Diehl, waiting for him to come home. The police report is silent on where Burke had been during the missing hours prior to that point. Earlier in the police report, the officers indicate that a man followed Burke out of the bar. Cameras inside the bar show that she was in conversation with four unidentified men. It is unclear from the grainy video whether Burke was laughing or telling them off. When she left the bar a bit after midnight, the report implies, surveillance footage shows an unidentified male leaving the bar after her — according to the police report, “moments later.” Four male eye witnesses, having had varying amounts of alcohol from a few drinks to the point of being impaired, told detectives they didn’t recall seeing Burke leave as they stood in front of the bar smoking and talking. They didn’t recall an unidentified man following her out. And they didn’t recall another thing that detectives questioned them about, something also apparently captured on the surveillance video — something catching their attention in the parking lot. In the police report, an officer named Jambler describes his conversation with one witness: “I described what [Burke] was wearing and also told him about another male walking out behind her moments later.” The witness still didn’t know to whom the officer was referring. “I asked him about his attention being drawn toward the area of Monroe and High [streets].” The witness stated he didn’t know what he “or any other people” might have been looking at. Another witness said the same. He had no idea what was drawing his gaze toward High and Monroe, but told the detective “he was positive that there was nothing wrong or suspicious going on.” This despite his admission that he’d had enough to

drink to require a cab to take him home. More space is spent in the report detailing Burke getting a piggyback from a male friend and the duo’s subsequent fall than accounting for the two hours that she went missing — or the unidentified male who followed her out of the bar. Detective Finke infers in the report that Burke’s injuries are consistent with falling. He doesn’t explain how it would be possible for Burke to sustain vaginal abrasions.

“Victims of sexual assault may recant or decline prosecution for various reasons (e.g. fear of retaliation by the offender, concern about not being believed, hesitancy regarding the criminal justice system, and loss of privacy). A victim’s reluctance to participate is neither indicative of a false report nor reason to forgo a strong, evidencebased investigation.” Burke’s rape kit is still untested. At last check, she says, she was told it could take up to seven months to process.

Victims of Sexual Assault May Recant

Sexual Activity vs. Rape in the First Degree

urke felt badgered by the police, she says. She was frustrated and confused by what she did remember from the night before. She was open and forthcoming in her dealings with the officers from the beginning: She said she had been drinking, and she was clear about the fact that she didn’t remember what happened. She indicated that she may have been assaulted (a suspicion at that point, but one later supported by certain wounds at the hospital). She signed all the permissions at the hospital to release findings from the rape kit, including any toxicology reports, to the police, signaling full cooperation. She even offered a bloodied bandage she’d used on her hand to treat her injuries. The officer declined it, telling her he didn’t think they would need it. It remains in a paper bag on a shelf in a closet, waiting. It isn’t clear from medical and police reports if immediate toxicology testing was done on Burke’s urine, although she signed her consent to do so. So-called daterape drugs degrade rapidly in the body, according to the U.S. Department of Health and Human Services’ Office on Women’s Health. Testing urine as soon as possible is optimal. Finke picked up the rape kit from University Hospital on April 13. That same day he submitted a lab request for Burke’s clothing, blood, urine and forensic evidence collected by the sexual-assault nurse. Once a rape kit is collected and logged into evidence, Coble says, police have a responsibility to follow through. Even if a victim becomes uncooperative, law enforcement frequently pushes forward in the interest of the State. Instead of waiting for the tests, however, Jefferson City police closed the case. Again, from the IAPC guidance:

ot everything from a criminal investigation makes it into a police report. Depending on the officer and the disposition of the case, reporting may vary. In this case, the most important piece of information not included in the police report is the fact that the nurse indicated she’d found an abrasion on Burke’s vagina consistent with sexual assault. That detail is contained in the final hospital report shared with Riverfront Times. Shoemaker says that the vaginal abrasion wasn’t conclusive enough evidence to prove assault might have occurred. More investigation would be required, he says — but, he claims, that was impeded by Burke wanting the case closed. Instead of detailing the abrasion, however, Finke’s report indicates that there was evidence of “sexual activity.” This is a misleading interpretation of the nurse’s observations at best; at worst, it’s another judgment call on the part of the officer that later fed into to the public shaming of Brittany Burke. It’s telling, too, that the charge Finke used to log Burke’s initial complaint is no longer Missouri law. “The critique of the Jefferson City Police Department begins with their investigation of the crime of ‘forcible rape’ — an offense that hasn’t existed in Missouri law since it was changed in 2013,” Coble says. Through strong bipartisan work in the state legislature, the change provided broader protection for victims. Under the 2013 law, rape in the first degree is indicated if the suspect has intercourse with a person who is incapacitated or lacks the capacity to consent. That’s a change from the 2009 law Finke cites in his report, which only allows for the charge of “forcible rape” when a person is drugged without his or her knowledge

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Shaming continued from page 14

and rendered unable to consent. Now “the offense is rape, first or second degree, and it no longer focuses on a rapist’s use of force, but includes a victim’s lack of consent or incapacity,” Coble says. Yet the way police classified the report suggests they didn’t realize the law had changed. At a minimum, they didn’t acknowledge it. In his report, Finke also concludes that Burke couldn’t have been in a blackout because she was texting — a charge later echoed by the Post-Dispatch. Police spokesman Shoemaker raises this in an interview with the Riverfront Times to support the department’s handling of the case: “Did you see the part in the report where she was texting?” Yet studies have consistently found that any number of complicated tasks are possible in an alcohol-fueled blackout — from texting to driving. As the National Council on Alcoholism and Drug Dependency notes, “Blackouts are very different from passing out, when a person falls asleep or is rendered unconscious from drinking too much. During blackouts, people can participate in events ranging from the mundane, like eating food, to the emotionally charged, like fights or intercourse, with little or no recall.” And that doesn’t even get into the possibility of what happens when someone is slipped a date rape drug. Shoemaker also questions Burke’s retaining a lawyer. “I can see a suspect having a lawyer, but a victim?” In fact, Burke says, she got a lawyer because she felt like she had become the suspect. Detective Finke’s method of questioning made her uncomfortable. This from Finke’s report: “I next asked if she recalled making any ‘advances’ toward Diehl while she was at his apartment. Burke took a tone which made her sound shocked to hear the question. She asked me why I would ask that? I then informed her she did not have a bra on while speaking with Diehl at his apartment.” Later that same day, according to Finke’s report, is when Burke became “uncooperative.” Later that same day, Finke writes in his report, “This case is considered closed with no further actions being taken due to lack of victim cooperation.” If a suspect is ever apprehended — if the rape kit and DNA ever come back — ultimately the results of Burke’s medical records will be introduced at trial. Only in that way would they become part of the official record. Unfortunately for Burke, Finke’s error has cost her beyond the humiliation of the police summarily dropping her case, even though she was still actively pursuing it with her lawyer.

“Which Assault Are You Talking About?”

hen Virginia Young, statehouse reporter for the Post-Dispatch, filed an open-records request with the department, the police could have declined. The DNA wasn’t back. The case wasn’t closed — or rather, it shouldn’t have been. Of the report, Shoemaker says, “I wish we never released that thing.” But, he says, the city attorney made the call. The burden of investigation then fell to the veteran reporter. A cursory reading of the report may have led Young — and by extension her editor, Christopher Ave — to a conclusion: This was no sexual assault. Finke set that up in his opening observations. This was a night of drinking that got out of hand. When the journalists saw Diehl’s name attached to the report, and Burke’s acknowledgment to police that she’d been involved with him, seemingly the deal was done. The Post-Dispatch had its story. Burke was completely blindsided by Young’s first call, which came four days before the story was published. At that time, Burke says, the reporter announced she would only speak to her on the record. Had Young given Burke the opportunity to speak candidly off the record, Burke may have been able to discuss her state of mind. Burke could have told Young about the evidence collected by the nurse at the hospital — and that she never asked the case to be closed. Young could have asked Burke, “Is there anything I’m missing here? Should I know anything at all before I publish?” Affording Burke or any women who may have been sexually assaulted the opportunity to talk off record before asking for a quote isn’t farfetched. It’s a best practice. But there was no attempt to understand where Burke was coming from, where her story might differ from the police detective’s. Instead, she was treated like a target in an investigation. Young did not respond to our requests for comment. Her editor, Ave, issued a statement a few weeks ago standing by the story, but did not respond to follow-up requests for comment. It wasn’t clear to Burke from her initial conversation with Young that the story was imminent, only that Young was interested in writing about the police report. Burke asked only that if the story was going to be written, that she be afforded the opportunity to warn her family that it was coming. The last communication from Young came via Twitter messenger. It read, “Brittany, we are probably running a story today. Please call me if you want to talk on the record. Also, you are single, correct?” Not long after, the story hit. In a subsequent radio interview with KMOX (1120 AM),

“Brittany, we are probably running a story today. Please call me if you want to talk on the record. Also, you are single, correct?” Ave defended the paper’s decision to run the name of a possible sexual-assault victim. After hours of thoughtful deliberation with the veteran reporter, senior editors and his bosses, he told radio host Mark Reardon, it was determined outing a private citizen who may have been raped served the public interest. After all, it proved that the former house speaker had a sexual relationship with someone who at one point had been a staffer for Governor Jay Nixon. When pressed, Ave downplayed the possibility that Burke had been assaulted. “What assault?” Ave asked. “Which assault are you talking about?” He then added, for good measure, “I mean if she had called a rape-crisis line or something.” As if calling the police didn’t count. However, Ave’s sentiment is one shared by Captain Shoemaker. When asked whether the police could move forward without the victim’s consent he said, “Well, we don’t know if we even had a crime.” Since police have closed the report without testing the evidence in her rape kit, much less finishing up on its investigation into those missing hours in the early morning, that remains all too true. We simply don’t know. But we do know what happened after that evening — an “attempt at public shaming,” in the words of Burke’s attorney, David L. Steelman. It’s an attempt that surely hasn’t gone unnoticed by other men or women who might be tempted to file a police report fearing that they, too, may have been sexually assaulted. Burke and her lawyer ultimately decided to let Riverfront Times use her name in this story. It was a tough decision, but Burke hopes that talking about her experience, and using her real name to do it, will help others. Through her attorney, Burke says, “I am obligated to encourage other victims of sexual abuse to seek help and report attacks.” ■ Contact the writer via email andy@andykopsa.com or on twitter: @andykopsa.com

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T H U R S D AY |07.09

[CATS]

INTERNET CAT VIDEO FESTIVAL

If you’re a cat owner, you’ve witnessed your fur farmer do all manner of lovably silly things. You’re continually intrigued by the intelligence, invention and sheer gonzo squirreliness of your cat when it’s got its goofball phase on. But have you whipped out that smartphone to shoot this playfulness for public consumption? If the answer’s no, well, start — then attend the Internet Cat Video Festival at 7:30 p.m. Thursday and Friday T H IS C O D E (July 9 and 10) at the TO DOWNLOAD THE FREE Contemporary Art RIVERFRONT TIMES IPHONE/ANDROID APP Museum St. Louis FOR MORE EVENTS OR VISIT (3750 Washington riverfronttimes.com Boulevard; 314-535-

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4660 or www.camstl.org). Anyone can watch a cat video online, alone; better to watch cat videos together with others. Shared laughs beat solitary ones any day. On top of all the kitty vids, there’s a cat-themed photo booth, a craft table on which to make your own cat ears, face painting, cash bar, and cat adoption opportunities courtesy of the A-1 folks at Tenth Life Cat Rescue. Tickets are $10 to $20. — ALEX WEIR

F R I D AY |07.10 [THEATER]

THE KILLING OF SISTER GEORGE

In light of the recent landmark Supreme Court ruling legalizing gay marriage nationwide, 1965 seems like a long distance back in the rearview mirror of history. Revisit that more closeted time in Frank Marcus’ 1965 play The Killing of Sister George. The plot concerns actress June Buckridge, who plays a country nurse called Sister George on a popular English soap opera. The TV

The Internet Cat Video Festival brings YouTube to the big screen. character is gentle, good-hearted and beloved by everyone; consequently the show is a big hit. In real life, though, Buckridge is a lesbian with a fondness for gin, cigars and doling out abuse. After rumors surface about June’s personal habits, the BBC top brass elect to kill off her character, and Buckridge careens over stability’s knife edge. Max & Louie Productions presents The Killing of Sister George at 8 p.m. Thursday through Saturday (July 10 through 26) at the Wool Studio Theatre at the Jewish Community Center (2 Millstone Campus Drive, Creve Coeur; 800838-3006 or www.maxandlouie.com). Tickets are $30 to $35. — ALEX WEIR [OPERA]

DON GIOVANNI

Union Avenue Opera starts its 21st season with Mozart’s classic comedic opera, Don Giovanni. Written in 1787, the opera cemented Mozart’s standing as a rock star of his era. Set in Seville, Don Giovanni tells the story a

promiscuous cad who abuses and manipulates those around him at every turn. By the time the second act arrives, the salacious nobleman is up to his neck in in complications as a lifetime of skirt-chasing and seduction finally catches up with him. Don Giovanni is performed in Italian with English supertitles at 8 p.m. Friday and Saturday (July 10 through 18) at Union Avenue Christian Church (733 North Union Boulevard; 314-361-2881 or www.unionavenueopera.org). Tickets are $30 to $52. — ROB LEVY [THEATER]

LABUTE NEW THEATER FESTIVAL

St. Louis Actors’ Studio’s LaBute New Theater Festival is well on its way to becoming an eagerly awaited summer tradition. Playwright Neil LaBute and a circle of readers select a large handful of fresh one-acts submitted by both professional and high school playwrights. The winning entrants are presented in fully staged produc- continued on page 20

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tions at the Gaslight Theater (358 North Boyle Avenue; 314458-2978 or www. stlas.org), with a new play by LaBute as the centerpiece of each night. While the winning entrants T H IS C O D E represent the breadth TO DOWNLOAD THE FREE RIVERFRONT TIMES of theater’s possibiliIPHONE/ANDROID APP ties — there are comFOR MORE EVENTS OR VISIT edies, dramas, strange riverfronttimes.com slices-of-life and hopeful pieces — they all share a commitment to the art of saying something about what it is to be human. This year’s LaBute New Theater Festival takes place at 8 p.m. Thursday through Saturday and 3 p.m. Sunday (July 10 to August 2). Tickets are $30 to $35. — PAUL FRISWOLD

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S AT U R D AY |07.11 [THEATER]

ST. NICHOLAS AND THE GOOD THIEF

If you’re in the market for a different sort of theatrical experience, check out the Midnight Company’s short (but solid) repertory season at Herbie’s Vintage 72 (405 North Euclid Avenue; 314-487-5305 or www.midnightcompany. com). Joe Hanrahan remounts two one-man shows by Irish playwright Conor McPherson, St. Nicholas and The Good Thief. The former is about a burned-out Dublin theater critic who trails an enchanting young actress to London. His interest is more personal than professional, and he somehow finds himself tangled up with a vampire gang that uses him as bait to bring in more humans. The Good Thief is about a hard-nosed Irish thug who’s been betrayed by his boss and is now on the run from

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both the crooks and the cops. St. Nicholas is performed at 8 p.m. Friday and Saturday, and 2 p.m. Sunday (July 10, 12, 18, 24, 26). Show times for The Good Thief are 8 p.m. Friday and Saturday and 2 p.m. Sunday (July 11, 17, 19, 25). Tickets are $15. — PAUL FRISWOLD [SPORTS]

BEEPBALL

Like young Jedi apprentices, the players of beepball must master body-mind coordination. Sighted players are blindfolded and then play six innings of softball with a beeping ball and buzzing bases. Only the pitcher and catcher are spared the blindfold, and they play on the same team as the batter. Beepball was created in the 1960s to allow visually impaired athletes an opportunity to enjoy the national pastime, but today’s Ultimate St. Louis beepball tournament even lets 20/20s in on the fun. With more than twenty teams confirmed to

participate, the event will be one of the largest of its kind ever hosted. The tournament benefits MindsEye, the radio and internet service that reads newspapers, books and magazines aloud for the blind and print impaired community of Metro St. Louis. Games are played from 8 a.m. to 9 p.m. today at the Assumption Parish ball fields (4709 Mattis Road; 618-3946447; www.mindseyeradio.org). Admission is free for spectators. — MARK FISCHER

S U N D AY |07.12 [ F E S T I VA L ]

CATSUP BOTTLE FESTIVAL

The enlightened among us know that things like french fries and hot dogs are truly just vehicles for delicious, delicious catsup. Join other tomato enthusiasts at the seventeenth annual Brooks World’s Largest

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Catsup Bottle Festival Birthday Party & Car Show today from 10 a.m. to 5 p.m. in Woodland Park (Vandalia Street and Pine Lake Road, Collinsville, Illinois; 618-344-8775 or www. catsupbottlefestival.com). This full day of fun includes eating contests, a Big Bottle Bike Ride, a pageant for the wee ones, and visits from VIPs including the Rams cheerleaders. The Collinsville-Maryville-Evening Lions Club serves up brats, pulled-pork sandwiches, and more, and the Horseshoe Restaurant and Lounge offers cold beer for sale. Connect with other catsup aficionados by using the hashtag #CatsupFest. Admission is free. — BROOKE FOSTER [ F E S T I VA L ]

BASTILLE DAY

The streets of Soulard will be under mob rule this weekend as the masses salute the soulardconcertsseries_qrtr_pg.pdf red, white and blue — of France — with a

two-day celebration marking Bastille Day, the French Independence Day. At 5 p.m. Friday, July 10, the “gathering of the mob” parade congregates at Howards in Soulard (2732 South 13th Street). When the King and Queen of France appears, the masses (in period costumes, preferably), rise against the aristocracy and force the royal couple to meet their end at Pontiac Park, where jubilation, spirits and cake await. At 6 p.m. Sunday, July 12, at Franco (1535 South Eighth Street; 314-542-0400 or www.eventbrite. com),the revolution gets fancy with Bastille en Vogue, a fashion show with a whimsical take on period dress. The evening includes beer, wine and appetizers while you marvel at the designs by Luann Carmody Denten. The gathering of the mobs is free, while admission to Bastille en Vogue costs $25. — ROB LEVY 6/30/15 5:01 PM

T U E S D AY |07.14

[HARPER LEE]

GO SET A WATCHMAN

Famously reclusive author Harper Lee set the literary world abuzz with the revelation of a new book: Go Set a Watchman. Left Bank Books (399 Euclid Avenue; 314-367-6731 or www.left-bank.com) celebrates the release of Lee’s novel with a full-day party. Show up at 8 a.m. today and take part in a reada-thon of To Kill a Mockingbird, the book that put Lee on the map more than 50 years ago. Preorder or purchase a copy of the new novel, and you’ll be treated to coffee and doughnuts in the morning and a literary cocktail hour in the evening, with additional fun in between. Admission is free with the purchase of Go Set a Watchman. — BROOKE FOSTER

From the left: Sister George is just trying to live her life; Don Giovanni needs love; beepball demands you keep your ear on the ball; and Bastille Day requires two parties. Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the Night & Day section or publish a listing in the online calendar — for free! Send details via e-mail (calendar@riverfronttimes.com), fax (314-754-6416) or mail (6358 Delmar Boulevard, Suite 200, St. Louis, MO 63130, attn: Calendar). Include the date, time, price, contact information and location (including ZIP code). Please submit information three weeks prior to the date of your event. No telephone submissions will be accepted. Find more events online at www.riverfronttimes.com.

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film

Minions Directed by Kyle Balda and Pierre Coffin. Written by Brian Lynch. Starring Pierre Coffin, Sandra Bullock, Jon Hamm, Michael Keaton and Geoffrey Rush. Opens Friday, July 10, at multiple theaters.

love the Minions. They made the perfect Despicable Me even loonier, and they were the only tolerable thing about the execrable Despicable Me 2. I seem to recall thinking after the first DM that they totally deserved their own movie. But I was wrong. Or, at least, the movie they’ve now gotten is not the movie they deserve. Turns out, the Minions are better off without a back-story. Their BY mystery was part of their M A R YA N N charm. Their minion-ness is essential to their humor. And J O H A N S O N none of that is present here. Oh, this is fine for little kids. Minions is mostly devoid of the crap that drives me crazy about movies that are aimed at little kids, like fart jokes and crotch injuries. The little kids will laugh at the slapstick antics of the small yellow blobs and have a fine time, probably. But I am not a little kid, and I do

The Book Is Better TWO TAKES ON GUSTAV FLAUBERT’S MADAME BOVARY DON’T EQUAL THE ORIGINAL NOVEL Gemma Bovery Directed by Anne Fontaine. Written by Pascal Bonitzer and Anne Fontaine. Starring Gemma Arterton, Fabrice Luchini and Jason Flemyng. Opens Friday, July 10, at Plaza Frontenac Cinema, 1701 South Lindbergh Boulevard, Frontenac; 314-995-6285 or www. landmarktheatres.com. Madame Bovary Directed by Sophie Barthes. Written by Felipe Marino and Sophie Barthes. Starring Mia Wasikowska, Ezra Miller and Paul Giamatti. Now streaming online.

irst published 159 years ago, Flaubert’s Madame Bovary is often considered the first modern novel, influencing and inspiring writers from Proust and Nabokov to Jean-Paul Sartre and Woody Allen. One might think that a story so intrinsically imbued with the concerns of the mid-nineteenth century 22

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not write for little kids. Minions opens with a grand history of the race, starting with their evolution from tiny one-yellow-celled creatures floating in the primordial seas through the form we see them in now. So now we are forced to consider how the Minions evolved when they are all apparently male. At least, they all seem to have

would have long ago fallen into Great Books limbo — more often cited than read. But one of the many achievements of Flaubert’s novel, with its satirical contrast between urban life and provincialism, and a central character equaled only by Anna Karenina as literature’s most tragic heroine, is its ability to remain contemporary. The protofeminist Emma Bovary is admirable for her natural rejection of society’s expectations, and doomed by it as well. That conflict has kept the novel vividly alive for decades of readers and also inspired more than a dozen film adaptations. It is purely coincidental that two new films draw on the continued influence of the novel. Unfortunately, neither of them do justice to it, concentrating more on its classic status than on the real qualities of Flaubert’s work. Just as its heroine’s name is two letters removed from that of Flaubert’s protagonist, Gemma Bovery is twice removed from Flaubert’s original source. The film is an adaptation of Posy Simmonds’ 1999 serial comic of the same name, which loosely recasts the events of Flaubert’s classic in contemporary France. The heroine with the almost-coincidental name is a recently

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male names; the narrator of the history lesson (Geoffrey Rush) rattles off a long list of Minion names — all male — for some reason that makes no sense at all unless it’s to reassure us that, yes, all Minions are male. And yet they also experience sexual attraction: We witness one Minion hitting on a yellow fire hydrant. So the Minions must all be gay. Not that there’s

C O U R T E SY O F M U S I C B OX F I L M S

WITHOUT THEIR MYSTERY, THE MINIONS ARE FAR LESS INTERESTING

C O U R T E SY O F U N I V E R S A L P I C T U R E S A N D I L L U M I N AT I O N E N T E R TA I N M E N T

Too Much of a Good Thing

Male Minions, as far as the eye can see.

anything wrong with that (or with being hydrant-oriented), but that tends to hinder reproduction without technological assistance. It’s not like I want to think about this stuff, but the movie forced me to. And then there is the Minions’ cultural

Hervé (Niels Schneider) and Gemma (Gemma Arterton) in Gemma Bovery.

married young woman (played by the similarly named Gemma Arterton — who in a further coincidence was also the star of an earlier Simmonds adaptation, the Thomas Hardythemed Tamara Drewe) who moves to rural France with her older husband, an antiques

restorer. Bovery and her personal life — which begins to mirror events from Flaubert’s novel — quickly fall under the scrutiny of the local baker, Joubert (Fabrice Luchini), whose obsession for his new neighbor is rapidly fed by his obsession for her fictional counterpart.

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history, as a race driven to find the biggest, baddest villains to serve and worship until accidentally killing them with their bumbling overenthusiasm. First it was T. rex, then it was the Egyptian pharaohs and so on, right on up until Napoleon...at which point the Minions became depressed as a culture and retreated to the Arctic (or the Antarctic; it’s not clear). And it’s not like I want to think about this either, but the movie forced me to: What, no Hitler for the Minions to worship and serve and kill? No Stalin? No Pol Pot? They could have done us all a huge favor and not gone into retirement. I know, I know: This is a kids’ movie, you can’t bring Hitler into it! I’m not saying the writers should have, and I get why the movie just skips right over the war-torn nineteenth and twentieth centuries. I am saying that getting this specific about the Minions’ backstory makes it uncomfortably weird for those of us over the age of six. When the Minions emerge from their depression and decide to go in search of a new Big Boss, it is 1968 and apparently Richard Nixon isn’t good enough for them. So Minion

scouts Kevin, Bob and Stuart (all voiced by director Pierre Coffin) settled on the world’s first female super villain, Scarlet Overkill (the voice of Sandra Bullock), who is a pretty standard cartoon villain who doesn’t commit genocide or hang out with Henry Kissinger at all. She evil-plans to take over the British monarchy, which might be villainous though it’s hardly a route to power, but it does allow lots of 1960s-era poking fun at the British. Coffin is French, so basically you’re watching a lot of ethnic-humor payback happening here. Some of it is even mildly amusing; it’s not exactly the height of cruelty to suggest that the Brits drink a lot of tea. Minions on the whole is mildly cute, but the Minions kinda don’t work as the heroes, which is the role they end up in. It demands that they behave in an un-Minion-like manner that is entirely contrary to why we fell in love with them in the first place. Can’t we just let Minions be minions? And not know so much about them? Please? ■

Unlike Joubert, director Anne Fontaine (who co-authored the screenplay with Pascal Bonitzer) is less interested in parallels with fiction than she is in stereotypical characters playing to type. At best, Gemma Bovery is mild romantic comedy playing up its Gallic atmosphere — Eric Rohmer-lite without the moral convictions. (A connection enhanced by the presence of Luchini, veteran of several Rohmer films.) At worst, the characters are ridiculous and broadly drawn clichés: The village’s other British residents are monstrous snobs taken directly from the Monty Python Upper-Class Twit competitions, while the French residents — Joubert’s dull wife and slacker son — are little more than single-trait cartoons. Even Joubert himself, in the film’s overlong final scenes, becomes little more than a provincial buffoon, his love of literature turned into a pointless practical joke. Ultimately, Gemma Bovery doesn’t have much to say about Flaubert’s characters, other than to rely on the viewer’s knowledge of them as a narrative shortcut. And when a story’s sole purpose is to remind you of another story, it just isn’t that interesting. As little as Fontaine’s film has to add to

Flaubert, it actually seems more respectful a tribute to Madame Bovary than Sophie Barthes’ new film, a beautifully photographed and wellacted but misguided adaptation dominated by English and American voices (Aussie Mia Wasikowska as Emma, Paul Giamatti as a neighboring pharmacist) that reduces the story to an absurdly simplified CliffsNotes rendering. Forget the views of small-town life, or the detailed account of Charles Bovary’s life that renders him a tragic figure and not just a stereotypical cuckold. Wasikowska tries earnestly to suggest Emma’s unsatisfied inner turmoil, but it all seems to boil down to another visit from Rhys Ifans as Monsieur Lheureux, the oily merchant and loan shark whose Mephistophelean yet comic presence provides the sense of danger and conflict lacking in Emma’s rather dull onscreen lovers (Ezra Miller and Logan Marshall-Green). In Barthes’ version, Flaubert’s tragic heroine is reduced to a kind of greedy, reckless newlywed whose troubles stem not from her ambition or her doomed romances, but from her passion for spending money faster than her country husband can make it. — ROBERT HUNT

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STILL ROLLING ALICIA KIT VIKANDER HARINGTON

TARON EMILY HAYLEY COLIN EGERTON WATSON ATWELL MORGAN

with

DOMINIC WEST

and

“JUST ABOUT PERFECT. DON’T MISS IT.”

MIRANDA RICHARDSON

-Rex Reed, NEW YORK OBSERVER

TESTAMENT OF YOUTH directed by james

STARTS FRIDAY, JULY 10

kent

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OUR ONGOING, OCCASIONALLY SMARTASS, DEFINITELY UNOFFICIAL GUIDE TO WHAT’S PLAYING IN ST. LOUIS THEATERS Almost every day, it seems, we hear about the death of another pop-culture icon: “The inventor of the Hula-Hoop died? Sad,” we think. And just as quickly: “Can you super-size that?” Which is to

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say, few deaths hold our attention even minutes after we learn about them. And then there’s Amy Winehouse. Watching an explosive natural talent

VIEW THE TRAILER AT WWW.TESTAMENTOFYOUTHMOVIE.COM disintegrate in real time, her death four years

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AUDIENCE AWARD • Grand jury prize 4.7767" X 2" wed 07/08 ST. LOUIS rIverfrOnT TImeS dUe mOn 12Pm

ago at age 27 wasn’t a complete shock — but the failure of anyone to successfully save her from herself was. Asif Kapadia’s Amy is already

UNIVERSAL PICTURES PRESENTS AN APATOW PRODUCTION A JUDD APATOW FILM “TRAINWRECK” AMY SCHUMER BILL HADER BRIE LARSON COLINEDITEDQUINNJOHN CENA WITH TILDA SWINTON ANDPRODUCTIONLEBRON JAMES MUSICBY JON BRIDIRECTORON SUPERVIOF MUSISORSC MANISH RAVALEXECUTIVETOM WOLFE DESICOSTUMEGNER LEESA EVANS BY WI L LI A M KERR ACE PAUL ZUCKER DESIGNER KEVI N THOMPSON PHOTOGRAPHY JODY LEE LI P ES PRODUCER DAVI D HOUSEHOLTER PRODUCED WRITTEN DIRECTED BY JUDD APATOW p.g.a. BARRY MENDEL p.g.a. BY AMY SCHUMER BY JUDD APATOW A UNIVERSAL PICTURE © 2015 UNIVERSAL STUDIOS

being called one of the best music documentaries ever made. It reveals the root of so many

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of Winehouse’s ills — eating disorders, alcohol Artist: Heather Emmett

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and drug abuse, manic depression — and how the wrong people in wrong place at the wrong time only sped up a frantically ticking clock. A must-see. ● When Riley’s family moves from Minnesota to San Francisco, her typically sunshiny outlook on life devolves into Anger, Fear

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and Disgust — actual characters in the Pixar film Inside Out. They give shape to nebulous emotions, ones that are perhaps never more

INVITE YOU TO AN ADVANCE SCREENING OF

cued up than they are in middle school. (Except for high school. And the first weeks of college.

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And right after graduation.) Meanwhile, Joy and

THURSDAY 07/09 2 COL. ( 4.77" ) X 3" ALL.MED.0709.SLRT

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Sadness have some refiguring of their own to do, finding their new place in the life of Riley. Adults-only in-jokes, lightning-quick animation, a poignant underlying message — Disney has done it again. ● Two awkward teens (Greg and Earl) are pushed into friendship with a dying girl (Rachel) in the straightforwardly titled Me

and Earl and the Dying Girl. The film doesn’t pull any punches when it comes to its ending, but along the way it scores big points for its richly developed characters who endear themselves mightily to each other and to us. And that’s more than we can say for many of the films in the popular “Kids with Cancer” genre. Here’s hoping the pendulum swings back toward the “Well-Adjusted Kids Who Grow Up Healthy and Happy, and Turn Into Productive, IncomeTax-Filing, Long-Lived Geriatrics” genre. Boring, but at least we could leave the tissues and Zoloft at home for a change. — Kristie McClanahan 24

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To enter to win a pair of passes to the screening on Tuesday, July 14, email: CONTESTSTL@ ALLIEDIM.COM with TRAINWRECK in the subject line. NO PURCHASE NECESSARY. Employees of all promotional partners and their agencies are not eligible. Those that have received a screening pass or promotional prize within the last 90 days are not eligible. Please arrive early. Seating is first-come,first-served. See pass for complete details. Entries must be received by 10 AM (CST) on Friday, July 10, 2015. TRAINWRECK has been rated R (Restricted – Under 17 Requires Accompanying Parent or Adult Guardian) for strong sexual content, nudity, language and some drug use.

IN THEATERS JULY 17

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the arts [STAGE]

Not Quite Fantastic THE OFF-BROADWAY STANDARD DOESN’T QUITE SHINE IN ITS STAGING BY INSIGHT THEATRE COMPANY The Fantasticks Through July 18 at the Heagney Theatre, 530 East Lockwood Avenue, Webster Groves. Tickets are $15 to $35. Call 314-556-1293 or visit www.insightheatrecompany.com.

he Fantasticks is an unassailable classic of American theater. Tom Jones and Harvey Schmidt’s allegorical musical had a legendary 42-year run off-Broadway, weathering the social changes of the 1960s, ’70s and ’80s with ease. The BY simplicity of the story allows audiences of any era to rePA U L late: to see themselves in the F R I S W O L D young lovers just starting out, the middle-aged fathers who attempt to control their little corner of the world and the old actors who exist on the fringes of society. And yet there is something not quite engaging in Insight Theatre’s production. Director Maggie Ryan has assembled a solid cast, and the show’s rhyming dialogue still has a dreamlike quality that sparks — but this Fantasticks never quite catches fire. Luke Shryock’s set incorporates a redand-white circus tent as the backdrop, with battered and faded risers painted red, white and blue. Just visible behind the risers are conductor/pianist Catherine Edwards Kopff, bassist Guy Cantonwine, percussionist Adam Kopff and harpist Megan Stout. The show opens with the old standard “Try to Remember,” sung by the main characters as they finish dressing for their roles. It’s a wistful song that here becomes almost somnambulant in tempo; it makes for a surprisingly slow start, and unfortunately the gentle, sing-song pacing of the next four songs combines to drag the show to a halt before it’s really begun. It feels less like a living, vibrant show than a museum piece meant to remind us of its classic status. Christina Ramirez and Adam Hunn play the young lovers Luisa and Matt. They pine for each other over the wall that separates their yard, wanting to be together but unable to meet because of their fathers’ feigned feud. Michael Brightman and Tom Murray are their respective fathers, Bellomy and Hucklebee, who together built the wall solely to make their children pine for one another. Hunn has a crooner’s stylings, smooth and mellow, while Ramirez has a big, bright voice

HAPPY HOUR 3 TUESDAY-FRIDAY TUESDAY FRIDAY

that suits her character’s youth. At sixteen, Luisa dreams only of falling in love and getting married, preferably to Matt. He’s back from college, well educated but knowing nothing of the broader world. In the second act, they’re both battered by the reality of life outside their back yards and are wiser for it. They’re stock characters — the callow youth and the lovelorn girl — and unfortunately they stay stock characters. Their love songs are pleasant but not passionate, and they never quite come across as anything but archetypes. Brightman and Murray have more success bringing Bellomy and Hucklebee to life. Brightman plays Bellomy as a fussy, persnickety man who wants the best for his daughter, but he doesn’t want it to cost him too much. Murray’s Hucklebee is bluff and loud, willing to pay anything to see the young lovers wed; behind his overalls and frequent dismissals of his son as an ass, there’s an old romantic who remembers his own September. The pair romp through “Never Say No,” a song about using reverse psychology on children to control them, and they get big laughs in “It Depends on What You Pay,” in which they try to strike a bargain with El Gallo (Martin Fox), the bandit they’ve hired to “abduct” Luisa so Matt can rescue her and appear heroic. About that abduction: The controversy surrounding Tom Jones’ use of the word “rape” in the archaic sense of “to abduct” in “Rape Ballet” has resulted in anger on both sides of the argument. There are alternate lyrics authorized for the production, and director Ryan opted to use the newer title, “Abduction Ballet,” for the song. Still, “rape” is in the lyrics, and the number of people at the performance I attended who jerked back in shock and surprise when the word was sung in a

This Fantasticks feels less like a living, vibrant show than a museum piece meant to remind us of its classic status.

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comic song is telling. It’s a far different world these days, and since the only female character in the show is a marriage-hungry teenager who is about to be abducted, it’s maybe better to avoid using “rape” entirely. For the record, none of the older audience members seemed fazed by it. As for El Gallo, Fox does solid work bringing the amoral bandit (and our narrator) to life. He’s quick with a wry look and flips his half-cape back with authority, and his scenes with the aged actor Henry (Joneal Joplin), whom he hires to help sell the abduction of Luisa, elevate the show. The pair make the rhymed dialogue sing as they banter about Henry’s qualifications, and Joplin’s first exit reminds us how good The Fantasticks can be. Joplin recites a mishmash of great Shakespearean monologues, then slowly disappears inside a magic trunk at center stage. “Remember me...in light,” he pleads as he ducks his head down. It’s a reminder that nothing good can stay, that we all pass from September to December. And while this production has some wonderful moments, it, too, is far from its glory days. ■ riverfronttimes.com

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cafe

MABEL SUEN

Público’s “Pescado Blanco” tacos, grilled oysters and bone-in pork chop.

Muy Delicioso MIKE RANDOLPH’S PÚBLICO IS THE BEST NEW RESTAURANT TO OPEN IN ST. LOUIS THIS YEAR Público 6679 Delmar Boulevard, University City; 314833-5780. Tues.-Sat. 5-10 p.m.; Sun. 5-9 p.m. (Closed Mondays.)

atching Mike Randolph is like watching the cap dance on the Jumbotron at a baseball game. One minute he’s opening a pizzeria; the next he’s moving it across town. Then he’s closing it to rebrand the space as an Italian restaurant BY — at the same time he’s rollC H E RY L ing out a new Latin-American grill, inspired by a pop-up he BAEHR once did inside his breakfast café. Keeping up with Randolph’s culinary twists and turns is exhausting, if not a touch comical. Someone has even created a mock Twitter account called “Bored

Mike Randolph” to poke fun at the chef’s antics. But Randolph is no laughingstock. Joke about his methods all you want; there’s no denying his talent. Without fail, every place he opens goes beyond simply serving good food. It sets the pace for the genre. The Good Pie did that for Neapolitan pizza; Half & Half did that for breakfast fare. At his latest venture, Público, he has set the bar for Latin-American cuisine impossibly high. Diners who’ve followed Randolph’s career saw hints of Público as early as 2012, when he opened the short-lived Mexican restaurant MEDIAnoche inside of his acclaimed breakfast spot Half & Half. Though he closed MEDIAnoche after just eight months, Randolph never fully let go of his idea for a Latin-American concept. When the space became available a few doors down from the Good Pie, he jumped at the chance to expand upon the restaurant he’d dreamt of. His vision for this restaurant is unlike any other in town — or, dare I say, any in any other town, save for something on the level of Rick Bayless’ revered Topolobampo in Chicago. Sure, you’ll find guacamole at Público, but instead of a

side of banal chips for dipping, it’s served atop an there’s the fiery glow from the open kitchen arepa that’s like a cross between your Southern and modernist wooden tree sculptures that jut grandma’s cast-iron cornbread and a handmade out from the walls, giving the feel of a gothic corn tortilla passed down generations to your beach party. A few cream-colored booths, some abuela. The guacamole itself doesn’t break the lotus-inspired chalk paintings and a handful mold, but rather serves as the Platonic ideal for of colorful Latin-American prints round out a what you want in the classic version: creamy, stunning design. chunky, kissed with fresh-squeezed lime and The guacamole and pinto beans are only cilantro and garnished with a tease for what is to come queso fresco. The closest courtesy of Randolph’s Público thing to refried beans you’ll ambitious menu. A cobia Cobia caprese ............ $8 find on the menu are slowcaprese mimics the classic Guacamole arepas.... $12 cooked pintos, enriched with Italian salad with slices of Bone-in lamb drippings and fresh mint. the rich, fleshy fish standing in pork chop ...........$19.50 They’d be just as comfortable for the traditional mozzarella. at a Greek taverna as they are Delicate tomato water that on a menu from south of the border. could be served alone as a savory agua fresca That’s the thing about Público: It’s not is instead spiked with flecks of Serrano peppers, really a Mexican restaurant. There are hints and a few miniature basil leaves are sprinkled of Colombia, Brazil, Venezuela, even the over the fish. Mediterranean. Randolph again shows his seafood chops The physical space adds to the mystique. The with a baby octopus salad. The whole, miniature prominent bar, which occupies the majority octopi are tossed in a tomato and caper vera of the restaurant’s real estate, is backlit with cruz sauce, its tartness balanced by the smoke soft amber light and covered with wrought of paprika. It was as rich as a Bolognese. ironwork you could find in Madrid. Then Tender sweetbreads continued on page 28 riverfronttimes.com M O NJTUHLYX 8 X–X 1 riverfronttimes.com - 1 4X, , 2200105X RRI IVVE ERRF FRROONNTT TTI IMME ESS 27

“Cobia Caprese” ceviche with tomato, serrano, mint and basil.

Enjoy a St . Louis Summer

MABEL SUEN

on our patio!

Público

continued from page 27

Ta p a s A l l d a y & S a n g r i a A l l n i g h t !

M u s i c a l We d n e s d a y s O P E N 7 DAY S A W E E K ! 314-863-9909 barcelonatapas.com 28

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simmered with pineapple and habanero perfectly balanced sweetness and spice. Creamy chorizo grits, topped with corn nuts and hearty coffee-spiked gravy, made me feel like I was dining on the bayou. Even the squash was otherworldly. Large chunks of zucchini, grilled just to the point of tenderness, were served over a subtly sweet squash-blossom vinaigrette the consistency of an aioli. Tacos at Público are elevated beyond their street-food heritage. On the night of one visit, Randolph was serving them stuffed with slowbraised beef cheeks so succulent they were all but spreadable. A touch of crema made the serving all the more rich, but there was just enough of a pickled onion garnish to cut through the decadence. And though the fish tacos were filled with simple smoked cobia, I could have been fooled into thinking there was crab and bacon somewhere inside the tortilla as well. The wood grill brought out a subtle sweetness in the fish while jalapeño cream cheese, crispy shallots and some cilantro rounded out the plate. Red snapper, fresh from a wood grill, is a luxury in this landlocked city, and Público shows us what we’ve been missing. The whole fish, stuffed with jalapeños, garlic cloves and cilantro, is the main course of my dreams when I close my eyes and imagine myself at a beachfront barbecue: simple, communal and delicious. Assembled into fish tacos, utilizing the accompanying corn tortillas and cilantro and tortilla strip salad served on the side, it was remarkably tasty. It should be difficult to name a favorite dish at a place where everything is impeccable, but it isn’t for me. The bone-in pork chop, infused

It should be difficult to name a favorite dish at a place where everything is impeccable, but it wasn’t for me. The bone-in pork chop gave me an outof-body experience. with smoke from the wood fire and drenched in peach habanero butter, gave me an out-ofbody experience. In the days since my visit, I’ve found myself fantasizing about it. The thinly sliced medium-rare pork melted in my mouth like a luscious piece of sashimi. If there is a better pork dish out there, I’d be shocked. Desserts at Público are like an extension of the meal rather than a sweet departure. An almond flan, drizzled with cherry mezcal sauce, is livened with tart, tamarind caramel, and the rice pudding, accompanied by mango and lime purée, is made positively decadent with a generous dusting of foie gras torchon. It’s a stunning end to dinner at what will most likely be the year’s best restaurant. Which is why I end this with a plea. Please, Mr. Randolph, don’t take Público away from us. Do a few pop-ups. Crowdfund a new venture. Start a line of handcrafted artisanal crock pots to appease your creative spirit. Just don’t change a thing about Público. It’s perfect the way it is. ■

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[RESTAURANT NEWS]

Meet Meshuggah Cafe’s New Owner

short orders [CHEF CHAT]

The Libertine’s New Chef, Matt Bessler, on Family and Food

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MABEL SUEN

y family used to joke that I couldn’t hit a nail straight,” Matt Bessler laughs when asked about how he got into cooking. “So they sent me off to help out Mom in the kitchen.” The new executive chef at the Libertine (7927 Forsyth Boulevard; 314-862-2999) credits his tight-knit family with showing him the importance of food at an early age, making the family dinners he helped prepare a mandatory event. “You got in trouble if you weren’t at the dinner table,” he recalls. Bessler took the love of food that his mom instilled in him and parlayed it into some parttime jobs as a kid — concessions stands, pizza places. As his interest in cooking matured, he became focused on attending culinary school and set his sights on the top: the Culinary Institute of America in Hyde Park. However, his dreams of attending the prestigious school were dashed owing to a serious car accident. Instead of heading out of town, he stayed in St. Louis and attended St. Louis Community College at Forest Park’s culinary program. There he met a friend who got him a cooking gig at Schlafly. Bessler started out as a prep cook and worked his way up, eventually ending up as chef at the brewery’s Bottleworks location. Bessler worked for Schlafly for fifteen years. But when his high school buddy Nick Luedde, proprietor of the Libertine, approached him recently with an offer to come on as executive chef, he couldn’t refuse. Together, he and Luedde plan to redefine the acclaimed Clayton restaurant, fueled by marathon menu discussions over cases of beer — Schlafly, of course. Bessler took a break from working on his new recipes to share his thoughts on the St. Louis culinary scene, some of the dishes he’s working on for the Libertine and why he’d love to be invisible. What is one thing people don’t know about you that you wish they did? I am similar in many ways to many of the hardworking chefs in St. Louis. I love cooking from-scratch cuisine and love seeing how happy tasting something truly delicious makes them. I love preparing food that makes Mom and Dad proud. I also love to forage. There are so any interesting and cool opportunities for found food in Missouri. Mushrooms — morels — are a personal favorite. I also love fly fishing and fishing in general — there are so many great places that this state has to offer for world-class trout fishing.

Matt Bessler, the new chef at the Libertine.

What daily ritual is non-negotiable for you? Definitely morning coffee and a dog walk! I’ve got to have my coffee, heavy on the sugar and cream. My dog Dylan is sixteen and in pretty good shape because of all of her exercise. What is the most positive trend in food, wine or cocktails that you’ve noticed in St. Louis over the past year? It’s obvious that the farm-to-table movement is prevalent in St. Louis. That said, Nick [Luedde] and I think along the same lines that the term “farm-to-table” is perhaps overused. Isn’t this just how people should cook? We are here in the Midwest and close to all the really, really great stuff, so why wouldn’t one want to showcase what is the most fresh and best tasting? Sure, at times it may be a bit pricier for us to use, but we all have a responsibility to support those around us. It’s much more than simply buying food from someone. Also, St. Louis, in its heart, will always be a beer town. I think it’s great to see restaurants and bars like the Libertine introducing great and unique wine and really spectacular cocktails to people that have for too long grown too accustomed to mediocre drinks and the same boring wine. Educating the consumer is essential to expanding the palate. Most people don’t know that we even have a wine country just to the southwest of us! Who is your St. Louis food crush?

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Do you mean food crush or “who I’m attracted to” crush? Food crush is Lona’s Lil Eats. I’ve known Lona and Pierce Powers and their family for years. They are such an amazing family, and to have the chance to see their passion turn into success is really special. They strive to put the focus on the food and add their own personal touch. I wish they were open on my day off! Who’s the one person to watch right now in the St. Louis dining scene? Me? No, I’d have to say Brandon Keyes, who took my spot at the Bottleworks in Maplewood. He is a foodie rising through the ranks, and with Andy White and the Schlafly crew backing him it will only get busier and better at the Bottleworks. That said, this is a very tough question. There are so many underdog chefs in this town that just need the right light to shine. There are so many great places to eat in St. Louis and so many upcoming chefs on the rise. Which ingredient is most representative of your personality? This is the toughest question on here… maybe water? I can be comfortable and cool or have my blood boil. All depends on the situation. If someone asked you to describe the current state of St. Louis’ culinary climate, what would you say? Phenomenal — on par with so many other large cities with great continued on page 32

atrick Liberto, who has owned Meshuggah Cafe (6269 Delmar Boulevard, University City; 314-726-5662) since 1997, has sold the Delmar Loop mainstay and is moving back to his home state of Louisiana. But the Loop’s loss is a gain for one regular customer: A school teacher named Jen Kaslow decided to purchase the business on a whim. She’ll take the reins on July 17. Kaslow had been patronizing Meshuggah with her family for nearly fifteen years, going back to its original location on Melville Avenue. In May, when Liberto happened to mention that he was selling the business, Kaslow’s mind started spinning with the possibilities. “Normally, I would’ve asked if everything was OK,” she says. “Instead I had this out-of-body experience, and I asked what he was doing with Meshuggah’s. He told me he was selling it, and I said right there, ‘I want to buy it.’ And that was it. “I had no plans to quit my job,” she admits. “It wasn’t about coffee and I never had a fantasy about being a café owner.” It may sound like a brash move, but Kaslow is no stranger to pursuing her passion. “The first time I met Patrick was when I went in to sell him my mug,” she says. She explains: While a student at University of Colorado-Boulder, Kaslow developed a passion for rock-climbing, and she patented and licensed her own niche product — a coffee mug with a handle that opens and closes like a carabiner. “The ironic part is that the first person I tried to sell it to was Patrick. He did not buy it,” she laughs. But that didn’t stop the two from developing a long-lasting friendship. “Right when Patrick said it, my first thought was, ‘Meshuggah has to stay here,’ and I think that’s everybody’s gut reaction,” she says. “I believe in this city and the Loop. I want to be part of the community, and I want my kids to be part of the community.” So the self-described “risk taker” quit her teaching job and closed the deal. After the initial shock, her husband David and two daughters, Maya and Sasha, have given their blessing. “I think it makes total sense,” David Kaslow says. “It fits her personality, her skills and talents. We’re really excited.” Meshuggah, one of the first, traditional-style coffee shops to make a name for itself in St. Louis, has an old-world flair, with aged, wooden tables and mismatched chairs. Local art adorns the walls, and if you grab a window seat, you can admire the hustle and bustle of the Loop. Now, with coffee culture booming in St. Louis, locally owned coffeehouses thrive in every corner of the city — but Meshuggah still packs in customers. Kaslow plans to close the cafe for two weeks in August to coincide continued on page 32

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Matt Bessler continued from page 30

food traditions. But that said, we’re still in the Midwest with Midwestern sensibilities. I’ve tried to keep that in mind as I’ve been laying out what the new menu will be at the Libertine. Look for such things as our takes on classics like steak frites, whole roasted chicken and dumplings, fondue, and whole fish in papillote. But also, I know St. Louisans are always up to try new things as well. Look for our own takes on poutine, a tableside polenta and trout saltimbocca, among others. St. Louis is topnotch, but not always ready for what the country’s trend is. We’re in the Midwest. It’s almost harder here with what people will try, pay for and be a repeat customer for. I mean, look at how many James Beard nominees and award winners we have in this small town compared to others. I remember a Jeopardy! question from maybe fifteen years ago that asked “Which city has more restaurants per capita?” The answer? St. Louis. Whether that is the case any longer, you would still have a difficult time eating out every day for a year and come even close to covering all the great spots. I think we have ten restaurants per every 10,000 people and that isn’t mentioning all the bars in this city. Name an ingredient never allowed in your kitchen. Can’t think of one. If someone can show me something new or interesting that’s great and a delicious and creative way to highlight the ingredient, I’d put it to use! What is your after-work hangout? Well, I live in Maplewood, so places that are close to home used to be the norm — but now that I’m at the Libertine, Clayton, here I come. I cannot wait to hang out with a new family. All of that said, home is always where my heart

“There really shouldn’t be any guilt with food. I like everything. I personally don’t partake in much red meat unless I know who raised it. Asian is a favorite.” is, and I have to let my dog out. I wish I got out more, but being a chef and being focused and driven, I spend lots of time cooking at home, reading, doing research or just trying to decompress. What’s your food or beverage guilty pleasure? I don’t really have a guilty food pleasure. There really shouldn’t be any guilt with food. I like everything. I personally don’t partake in much red meat unless I know who raised it. Asian is a favorite. I love sushi and vegetarian food because you can gorge and feel OK afterwards, but a phenomenal locally raised steak is always a treat! What would be your last meal on earth? Wow! A jailhouse-death-row question. It would be something that my mom used to make for the family, like a holiday meal: The classic Midwest family get-together. Something that brings back great memories like pot roast, barbecue, chicken and dumplings, fish fry, my dad trying to grill something. Of course I could list any number of great meals in restaurants, but for me a little nostalgia and family is what’s most important. — CHERYL BAEHR

Jen Kaslow

with the construction planned in front of the shop — with a new trolley line being constructed, Delmar is currently a mess of heavy equipment and orange barrels. They’re now heading east toward Meshuggah. But Kaslow sees opportunity, not irritation. “I know a lot of people are against it,” she says of the trolley, “but I’m for it. I mean, why not? People are scared of parking or congestion, but you don’t know if that’s going to happen or not. I think it’s going to be great. You can’t leave something alone because you’re scared of what it might become.” On that note, Kaslow plans to implement a few aesthetic changes to Meshuggah during the hiatus. “Patrick has done a great job of setting this up, the menu, the staff is great. I love the Americano versus the drip coffee, and I want to keep that,” she says. Changes will include better chairs, more outlets for laptops, a better living-room space upstairs and exposure of some of the natural brick of the building. “I want to make some changes, but I don’t want to freak people out because everybody loves familiarity. I have the liquor license and I really want to improve that happy-hour, hang-out kind of feel,” she says. For now, Kaslow spends her days shadowing

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K E V I N KO R I N E K

continued from page 30

Jen Kaslow, Meshuggah’s new owner. Liberto and the staff, trying to learn as much as she can about coffee, customers and caffeine, enjoying the adrenaline of owning her own business. “I think it’s going to be a relatively easy transition, because I’m having so much fun,” she smiles. — KEVIN KORINEK

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Southern’s Nashville-style chicken comes atop a slice of white bread with pickles on top. [FIRST LOOK]

Southern’s Chicken Has St. Louis Hot and Bothered

EVERY 2ND WEDNESDAY OF THE MONTH MAY–SEPTEMBER 34

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t the end of the first week of service at chef Rick Lewis’ new fried chicken and deli concept Southern (3108 Olive Street; 314-531-4668), Lewis finishes greeting the last customers of the day so he can instruct his staff to help silence a smoke alarm. “You can tell folks that the food is so hot here, we literally set off the smoke detectors,” he says with a laugh. Lewis’ highly anticipated concept debuted in midtown June 24 to a rapt audience and a service line that didn’t slow down until closing time on Sunday, four days later. A few customers had missed the cut-off that day, timed equally unfortunately with Pappy’s Smokehouse selling out of its famous barbecue next door. Those customers would have to wait a few more days to get a taste of this exciting new partnership. A James Beard Award nominee, Lewis left his post at Quincy Street Bistro to partner with Pappy’s co-owner Mike Emerson on this new concept. Southern focuses primarily on Lewis’ take on Nashville-style hot chicken, a style of fried chicken known for its spicy cayenne paste. Like the traditional versions served at Hattie B’s and Prince’s Hot Chicken Shack, the chicken here comes atop a slice of white bread and served with pickles. As at its half-sister restaurant next door,

all visitors need to do to claim a plate is get in line. The queue forms in front of a wellstocked deli case, with print menus available for perusing at the entrance. Choose from snacks such as green tomato, beet and okra pickles ($4 for a board); deviled eggs ($6); and fried-green tomatoes ($5.50) with buttermilklime dressing. To accompany the main course, consider the sides, which include everything from mashed potatoes and mac & cheese to vinegar slaw and “Hoppin’ John,” a classic Southern side composed primarily of blackeyed peas and rice. Southern’s hot chicken comes in four different styles: original, mild, “Cluckin’ Hot” or “General Tso’s.” The latter comes coated in a refined version of the sticky, sweetened sauce offered at takeout joints, while the “Cluckin’ Hot” aims to bring the heat. Get these flavors by the piece, or try them as your choice of white meat, dark meat, chicken tender or chicken wings options. On the deli side of the business, try items like the fried bologna ($11), piled high with pimento cheese and a sunny-side-up farm egg. Additional options include pastrami and Cuban sandwiches as well as the “Hog Father,” with salame cotto, pepperoni, coppa, provolone, giardiniera, onion, greens and redwine vinaigrette. For dessert, choose from a housemade banana pudding or goodies made by Sugaree Baking Company and Pint Size Bakery. Southern’s current hours of operation are Wednesday through Sunday from 11 a.m. to 4 p.m. For the full menu and additional information, visit Southern’s website, www. stlsouthern.com. — MABEL SUEN

dining guide The Dining Guide lists only restaurants recommended by RFT food critics. The print listings below rotate regularly, as space allows. Our complete Dining Guide is available online; view menus and search local restaurants by name or neighborhood. Price Guide (based on a three-course meal for one, excluding tax, tip and beverages): $ up to $15 per person $$ $15 - $25 $$$ $25 - $40 $$$$ more than $40

SOUTH CITY Adam’s Smokehouse 2819 Watson Road; 314-875-9890. You can’t spell barbecue without “cue,” but the lines haven’t formed outside the door at Adam’s Smokehouse — yet. The slow-smoking barbecue joint in Clifton Heights is a cousin of well-renowned, consistently packed restaurants Pappy’s Smokehouse and Bogart’s Smokehouse, so it seems like only matter a time before all of St. Louis stands in line to try a bite. Co-owners Frank Vinciguerra and Mike Ireland spent several years working at Pappy’s with barbecue master Skip Steele before embarking on their own venture. With the blessing of their barbecue brethren, the two put together a small but substantial menu of smoked meats and traditional sides done well. $$ Corvid’s Cafe 5001 Mardel Avenue; 314-481-1522. Tucked inside the Kingshighway Hills, Corvid’s is the quintessential neighborhood café — a place to gather, have a light meal or grab a cup of coffee to go. Owners John and Cindy Panian had been operating a catering company next door, and when the adjacent restaurant space (formerly World Café) became available, they jumped at the chance to put their own stamp on the place. The menu features light, classic café fare, such as tarragoninfused chicken salad and a spinach salad topped with dried fruit, sunflower seeds and Gorgonzola. The signature item is the “Crabwich,” a fried crabcake fritter served with oven-roasted tomatoes, arugula and ancho-chile sauce T H IS C O D E on a pretzel croissant. Other TO DOWNLOAD THE FREE offerings include housemade RIVERFRONT TIMES pizzas and dressed-up baked IPHONE/ANDROID APP potatoes. It’s the perfect FOR MORE RESTAURANTS OR VISIT place to sink into an overriverfronttimes.com stuffed couch in front of the fireplace, sip a cup of coffee and snack. $ Grapeseed 5400 Nottingham Avenue; 314-925-8525. Chef Ben Anderson’s Grapeseed serves seasonal American cuisine in the SoHa neighborhood. Anderson sees the restaurant as a canvas upon which to feature locally sourced ingredients, the wares of the city’s artisans and even paintings by local artists. The menu is eclectic yet approachable, with offerings as varied as a Cuban sandwich to Chinese five-spice salmon. Though the menu changes frequently, some dishes remain as his signatures, such as the smoked turkey nachos — a platter of sweet-potato chips topped with smoked turkey, spiced cranberries, micro greens, red peppers, buttermilk dressing and house brewed sweet and sour firecracker sauce. Dine at the bar next to the SoHa regulars, or grab a table in the warm, contemporary dining room for a feast that celebrates the best of the season. $$$ Leonardo’s Kitchen & Wine Bar 2130 Macklind Avenue; 314-664-1410. Leonardo’s is a quaint sandwich and pizza shop located in a converted gas station. Characteristic of its Hill neighbors, the restaurant specializes in St. Louis-style Italian dishes, such as pastas, sandwiches and pizzas. Meatballs are the house specialty, and Leonardo’s Kitchen and Wine Bar gives diners several opportunities to enjoy them — on the “Hey Bauly” pizza, “naked” with a variety of sauces, or as the must-try meatball sandwich. For this version, Leonardo’s packs the moist, tender meatballs between two slices of garlic bread, smothers them with fresh tomato sauce and basil pesto, then tops them with melted provolone cheese. The hot Italian beef sandwich is another signature dish: Gravy-drenched roasted beef and giardiniera are served atop a soft roll, like an Italian version of a French

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dip. Pizzas fall between St. Louis and New York style — handtossed and thin, but with heft and crunch. Leonardo’s piles on the toppings. Its veggie pizza gives diners two days’ worth of vegetables. This cozy little spot may no longer be filling up cars, but diners will leave overstuffed with tasty casual Italian food. $ Old Standard Fried Chicken 1621 Tower Grove Avenue; 314-899-9000. Acclaimed chef Ben Poremba adds to his Botanical Heights restaurant flock with Old Standard Fried Chicken. Located in a converted horse stable, this casual chicken and bourbon shack draws crowds for its sustainably raised fried birds and Southern-style dishes. Poremba’s chicken recipe involves brining the bird, then cooking it in a pressure fryer to lock in the juices and give it a crisp exterior. Fried chicken is the only entrée at Old Standard, but the menu is filled with such down-home snacks as creamy pimento cheese dip, boiled peanut hummus, and sweet and spicy chicken wings. The restaurant’s standout snack, the smoked whitefish croquettes, is like eating a sweet and savory cream puff. Classic side dishes complement the fried chicken, and the bread board, served with housemade butters and jellies, makes for a hearty feast. $$-$$$ The Purple Martin 2800 Shenandoah Avenue; 314-8980011. Long-time Fox Park residents Brooke Roseberry and Tony Lagouranis dreamed of creating a neighborhood gathering place. They’ve finally gotten their wish with the Purple Martin. Located in a rehabbed corner storefront, the restaurant is a quaint, casual bistro with Mediterranean and North African fare. Appetizers such as skordalia, a tangy garlic dip, and zeal, a lima-bean-based Berber specialty, serve as zesty starters, while the lamb shank with roasted tomatoes and potatoes is a satisfying entrée. Make sure to save room for dessert. The Napoleon, layers of buttery puff pastry, sweet cream and macerated blackberries is a decadent end to a meal. For those who prefer an adult beverage as a nightcap, the Purple Martin boasts a creative cocktail menu. Its namesake drink, a concoction of Fitz’s grape soda, Malibu rum and lime juice, is a sweet and refreshing treat. $-$$ Spare No Rib 2200 Gravois Avenue; 314-202-8244. A taqueria-barbecue joint owned by a Tunisian mathematician may seem like a recipe for disaster, but a visit to Spare No Rib erases any doubts. Owner Lassaad Jeliti was inspired to open the Benton Park restaurant after a taste of tacos and barbecue reminded him of North African street food. Jeliti was amazed at the similar spices, sauces and preparations of the seemingly different cuisines, and he wanted to celebrate this at his restaurant. Spare No Rib has a small menu, but it covers all of the taco and barbecue basics. Of the tacos, the cachete is the clear standout. The fresh corn tortilla is stuffed with braised beef cheeks that melt in the mouth. Another must-try is the pork and fennel. The smoky, fall-apart ribs do not need sauce — a spice rub dominated by flavors of cumin and cinnamon gives the meat more than enough flavor. The pulled-pork sandwich, another excellent barbecue option, is piled with tender hunks of smoky pork that have been tossed in sweet and spicy barbecue sauce. It’s topped with creamy coleslaw and served on a fantastically flaky bun. Those who can’t decide between tacos and barbecue don’t have to. The “SNR Platter” features tacos and ribs — the best of both worlds. Just like the restaurant. $ Three Flags Tavern 4940 Southwest Avenue; 314-6699222. Veteran chef John O’Brien and his wife Cathy opened Three Flags Tavern with the humble goal of creating a nice neighborhood spot. What they ended up with is one of the city’s best restaurants. Drawing on St. Louis’ rich history, the tavern serves a mix of Spanish, French and American fare that is impeccably executed but unfussy. Smaller plates, such as posole with braised pork shank, fried Manchego cheese and lobster beignets make for delectable starters, while a pork mixed grill and Marcona almond-topped trout are hearty entrees. Three Flags’ fried chicken is some of the best in town, and the brisket burger is simply magnificent (ask for the Delice de Bourgogne cheese on top). Dine in the cozy dining room, up at the bar, or on the huge, tree-covered patio — and by all means treat yourself to a craft cocktail or local beer. Prepare to be dazzled. $-$$ Tick Tock Tavern 3459 Magnolia Avenue. Thanks to southcity entrepreneurs, Tick Tock Tavern received a refreshing revival, opening for the first time since the ’90s in its original space. It maintains its old-school identity with wood-paneled walls decked out in vintage signage, owl paraphernalia and more. The straightforward drink list features a selection of beer, wine and spirits — no-frills cocktails sing to the tune of about five bucks. For a snack, just head next door to Steve’s Hot Dogs for a wiener with the works. Urban Chestnut Brewing Company 4465 Manchester Avenue; 314-222-0143. Urban Chestnut has reinvented the classic German bierhall for its mammoth Grove Brewery. As a local craft-brewing institution, patrons come to the facility, first and foremost, for the beer, though the food gives the suds a run for their money. Chef Andrew Fair draws upon his German heritage and time living in Europe to create a menu of traditional German cuisine that has been updated so as not to be a caricature. Offerings consist of small plates, sandwiches and wurst boards with highlights such as salt cod brandade beignets, poutiness and dumplings of the moment. The indulgent “Strammer Max” sandwich is a must. Thinly shaved Black Forest ham, luscious Comté cheese and an over-easy farm egg are piled atop butter rye bread for a German version of a croque madame. Urban Chestnut features a selection of excellent G&W sausage served with rotating side dishes such as marrow beans and sauerkraut. It’s the ideal food for a day of drinking. $-$$

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music

B-Sides 38 Critics’ Picks 42 Concerts 46 Clubs

Wild and Blue MUSICIANS FROM ST. LOUIS AND BEYOND GATHER FOR TRIBUTE SHOW TO CELEBRATE THE LATE ANNE TKACH Wild and Blue: A Tribute to Anne Tkach 7 p.m. Friday, July 10. Off Broadway, 3509 Lemp Avenue. $10 to $20. 314-773-3363.

nne Tkach would never have dreamed of being the focus of a crowd’s attention. Instead, she was happiest when playing alongside a talented band — even if that meant being viewed by the audience as a complementary player, rather than the central character known to her bandmates. “She was the perfect bassist,” Tkach’s partner and Magic City bandmate Adam Hesed says. “She never needed to be a frontman or the lead BY guitarist. She was concerned THOMAS with the music. She definitely appreciated when people CRONE appreciated what she was doing — everyone likes validation of their life’s work — but she didn’t crave the center spot.” In early April, Tkach, a bassist and percussionist in a variety of St. Louis rock acts over the past decade-plus, passed away in her hometown of Webster Groves, the victim of an early-morning house fire. She lived there while tending to her father, Peter, then aged 79. On Friday, June 26, Peter Tkach also died following several months of severe health setbacks, including a broken hip and the emotional toll of his daughter’s passing. Hesed concedes that “everything about this is awful,” but notes that the elder Tkach was able to come to peace with the finality of his life in his last days, refusing any extraordinary medical efforts. “He was put in a hospice, basically slept for four days and passed,” Hesed says. “He’d made his decision, and I’m happy for him that he was aware and able to make that decision.” Lately, a lot of folks have been wanting to talk to Hesed about Anne and the impact that she had on them. That’s been amplified by the arrival of a show at Off Broadway on Friday, July 10. “Wild and Blue: A Tribute to Anne Tkach” will pull together a host of acts that she performed with or alongside, including Peck of Dirt, the Skekses, Ransom Note, the Good Griefs, Hazeldine, Magic City, Nadine and Rough Shop. Fred Friction will play as well, and Hesed will accompany him on standup bass — Tkach’s own — though he humbly laughs, “That’s not print-worthy. Fred

N AT E B U R R E L L

plays with about four notes, and I’ve been able to learn all of those four.” Hesed is finally able to crack a joke — smile a bit, share a good story — after some admittedly trying months. Part of his healing has come through organizing the show, as he’s thrown himself in with a group of musicians and supporters who are working hard to honor Tkach’s memory. On the night she died, Tkach’s many friends and collaborators went to Ryder’s Tavern for an informal gathering. Others went to the Schlafly Tap Room that weekend, on an evening when the resurgent Magic City was to have played. “[Magic City] actually had a show booked three days after she died, and one for each month following,” Hesed says. “We had found a new drummer in town, and the band was going to come back.” The impromptu gatherings were nice, but a true tribute took some finessing. “We knew that we had to do something,” Hesed says. “It was obvious. We talked to the ladies from Hazeldine when they were in town for the funeral, and we settled on a date. We called several people from the bands that she’d played with and brainstormed about what to do — those bands had to find some brave soul who would play bass or drums. We chose a date and approached Steve [Pohlman] at Off Broadway and basically said, ‘This is our only possible date.’ He had to clear his schedule, finding another venue for the other band, so that no one was ditched. He did his part.” Three groups that helped define Tkach’s

Anne Tkach with Rough Shop, one of many bands she was a part of over the years.

work will be given feature slots. There’s Hazeldine, the New Mexico-based band with which she toured North America and Europe in the late ’90s and early ’00s — for this show, the group will be joined by Hesed and ace guitarist Jason Hutto. Then there’s Rough Shop, lauded in large part for its well-received annual holiday concerts and songwriterdriven Americana. And, of course, there’s the explosive Magic City, which was slated to come off hiatus with new drummer Drew Gowran, though Sam Meyer will play for this reunion show, as will bassist Kiki Soli. While the music will be the centerpiece of the evening, stories will no doubt be traded throughout the night. For Nadine keyboardist/ guitarist Steve Rauner, memories include Tkach’s “impeccable instincts.” “We called it her ‘inter chicken,’ loosely evolved — as things do on the road — from ‘inter schenken.’ She was impossibly right about things. From finding out how to get to a groove on a song when it was not happening to navigating through a foreign country in the pre-GPS days. I remember one occasion vividly: We were lost on a rural road in Germany, and she popped up from a late-night, post-gig nap in the back of the van only to shout out, ‘Next left,’ then immediately flopping back down to sleep. She was right, and we got back to the hotel safe and sound. “Above all, she loved sharing,” he adds. riverfronttimes.com

“Giving whatever she had to work with to make folks’ days a bit better.” Spencer Marquart, drummer for Rough Shop, says, “The sky was the limit for Anne. She could have fronted a jazz or bossa nova band, no doubt. Her bread and butter was rock and soul music, on electric bass with Rough Shop and Magic City. She could easily sit in with a band playing bluegrass and country on her upright bass. Or lead a rock and country band on the drums. Or in bands like Ransom Note, lay down some incredible percussion and sing soulful harmony parts. “It was her style to lay the foundation for the benefit of the song,” Marquart continues. “She was outrageously funny and surrounded by dudes most of the time. She could make us all blush. I’m honored that we got to play together while she was here.” Before she moved in with her father, Tkach lived two blocks from Marquart, and the pair often carpooled to and from band practice and live performances. “I’d drop her off after 11 p.m. and there would always be bands playing in the basement,” Marquart says. “She helped out all these bands, and played with many of them, too. She was all about community and music. A topnotch musician and beautiful person who loved sharing her talent with many bands in town. She taught me everything I know about playing percussion.” “At the time that she died, she had shows booked with four of the nine bands playing at Off Broadway, and a fifth one had a record recorded and mixed,” Hesed says. “It was normal to her to have three to five bands playing at various levels of activity. When it was just two, she felt like she wasn’t doing anything.” Asked if she sought out opportunities or had to routinely decline them, Hesed says, “People would always ask her. I only knew her to ever quit one band. But she turned a lot of bands down. And she would get really pissed when someone broke up a band. Sometimes that’d last for years. It’s kind of the only thing that I knew her to get pissed about. ‘Why would you give up? Why would you give up on this?’ She was a very patient person.” The outpouring of support from the local community that Tkach so loved is welcomed, and according to Hesed, well-deserved. “I’m glad that people are paying attention,” Hesed says. “There was a little concern that we were doing this a full three months out. Some people thought that might be too long, but it’s heartening to know that they’re thinking of her. “She’s on my mind every minute of the day,” he adds. “It’s good to hear that she’s on other people’s minds, too.” ■

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b-sides Dig the Crates MUSIC RECORD SHOP PURCHASES MASSIVE VINYL COLLECTION FROM PRIVATE OWNER

D E R E K S C H WA R T Z

wo weeks ago, Mark Carter, owner of the Music Record Shop in the Grove, received the kind of phone call that record collectors dream of. It came from a woman in south St. Louis County, who years earlier had inherited a massive collection of vinyl from a family member who had been a DJ. The woman was preparing to move, but before she could, she had to find a home for the thousands of records in her garage. “She didn’t have any way of dealing with [the collection] or moving it, or knowing what to do with it,” Carter says of the sale. “The family wanted to make sure it went to a place where people would appreciate it. They didn’t want to give it away to Goodwill, and they didn’t have time to go through and sell it on a website auction place. They wanted to keep it local, so they got a hold of me.” On that Thursday afternoon, Carter and some of his employees drove out to south county to take a look. What they found blew their minds: Inside the garage were somewhere between five and six thousand records, stacked into tall piles on the floor. It would have taken hours to sift through all of them, but it took less than thirty minutes for Carter and his team to realize this was a deal they couldn’t pass up. Most of the albums were in pristine condition; many were still sealed in their original packaging.

“Once the guys told me that this was quality stuff and that the vinyl was in good condition, I knew we could sell it.” Carter says. On Tuesday morning, Carl Daniels, one of the employees who had accompanied Carter on the sale, began the long process of examining, cleaning and pricing each of

Just some of the massive collection of records purchased by Music Record Shop last week.

the new records. While the other employees manned the counter and assisted customers, Daniels picked through the dozens of boxes stacked in the back of the shop and underneath the tables.

HOMESPUN NICK MUCKERMAN Eternal 5: Apollo nickmuckerman.bandcamp.com

arlier this year, a tweedy UK duo calling itself Public Service Broadcasting released an unlikely hit: a found-sound mashup of recordings from the U.S./Soviet space race and the pair’s own scrambled sense of pop music. That album, The Race for Space, used source materials (a speech by President Kennedy, the words of first-manin-space Yuri Gagarin) and an array of samplers, synths and drum machines to make an LP that felt both historical and modern. That fascination with space — the desire to slip the surly bonds of Earth and explore the great beyond — is at the heart of Nick Muckerman’s latest instrumental EP. Since last fall, Muckerman has released five volumes of his Eternal series, each one a largely wordless piece that ostensibly ruminates on the theme. His latest, Apollo, is the most focused of the bunch. Each song title traces the arc of a manned space flight — “Departure” to “Destination” — and the accompanying music reflects various stages of awe, austerity and exploration. Muckerman’s previous EPs relied more on guitar and bass, but piano is his instrument of choice on many of these tracks, coupled with drum-machine patterns and ethereal atmospherics. 38

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Opening track “Departure” is as close as Apollo comes to tipping its hand, as the found-sound clips of mission control walk through the stages of liftoff. But while the track helps sell the conceit, it’s the only false move on the six-song program; the rest are much more impressionistic and melodic. Some tracks, like “Adrift,” are more beatdriven and amorphous, though Muckerman’s drum-programming skills are often rudimentary in their reliance on 4/4 patterns and simple fills. The simplicity works, for the most part; the goal here is more reflective and, daresay, relaxing, and Apollo has a pleasing, rudderless sway to much of its middle passage. The final track, “Destination,” shimmers with the repetition of echo-laden guitar strings and the sonar-esque pings that punctuate them. Muckerman simulates the vast horizon — or some beatific revelation — with the same tinny synth choirs that Kraftwerk used to employ. But even in synthetic form, the brief appearance of a human voice puts a fitting end to an album so enamored of human discovery and our capacity for wonder. —CHRISTIAN SCHAEFFER

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Want your CD to be considered for a review in this space? Send music c/o Riverfront Times, Attn: Homespun, 6358 Delmar Boulevard, Suite 200, St. Louis, Missouri, 63130. Email music@riverfronttimes.com for more information.

“It turned out to be a gold mine,” Daniels says. “Whenever you buy a collection this big you never know what you’re going to get. You might end up with a few gems and then the rest is junk, or you might stumble upon something like this, where you’re just amazed by all of the great stuff.” Daniels predicts that it will take three or four weeks for him to price the entire collection. Among the most exciting finds so far have been a sealed copy of Nellyville and an original fourrecord set from 2Pac. He has found records from Outkast, Rihanna, Run DMC, Kanye West, the Black Eyed Peas and many more. Although most of the collection seems to consist of hiphop and rap albums, Daniels has also found a number of jazz records, including cuts from Dave Brubeck and Miles Davis. Daniels isn’t the only one carefully picking through the new collection, either. Customers have already flooded to the store for first dibs, setting aside their favorite picks in brown paper bags for Daniels to price. “It’s just been mad since we got it,” Daniels says. “The bags say it all. We’re already having feeding frenzies where people are coming in and snapping things up like that. I’ll come in tomorrow and will probably have more bags waiting for me. It’s pretty maddening, but at the same time its kind of a rush, too.” —DEREK SCHWARTZ

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STL VERNACULAR AIMS TO BE ST. LOUIS’ GO-TO SPOT FOR PODCASTS

fri 7/10

Al Holliday & the East Side Rhythm Band 10:30p Kim Massie 7-10p fri 7/17

sat 7/11

Jeremiah Johnson

marquis knox

sat 7/18

Matt Stansberry and The Romance

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n a small, glass-encased room at Shock City Studios, Em Piro, director of the St. Louis Fringe Festival, is discussing her event with host Martin Casas on his STL Swap Meet podcast. “It’s an open market for creative work,” says Piro, summarizing the two-week festival. On the other side of the glass, Adam Frick — the man producing the interview — is attempting to set up the same kind of market for podcasts. STL Vernacular, Frick’s podcast network, launched on April 13. In addition to the three podcasts he manages — STL Swap Meet, Would You Watch This? and Married with Music — Frick says he hopes the network will serve as a landing pad for all podcasts in the St. Louis area. “The goal is,” Frick explains, “if somebody in St. Louis wakes up and says, ‘You know what, I’ve heard about these podcasts; I’d like to check some out,’ that they know to go to STLVernacular.com. ‘That’s where I find podcasts in St. Louis.’” A professional audio producer and professor at Webster University, Frick says his foray into the world of podcasting is relatively recent. Wes Hoffman, host of the Treehouse Lifestyle podcast, asked him to produce the show shortly after Frick launched his audio production collective Hugmonster Sound last October. Soon after, a man named TJ Gaylord approached Frick with the idea for Would You Watch This? — a comedy podcast in which guests pitch ideas for television and movies. With two shows on his production slate, Frick began looking for a podcast hub in St. Louis. He soon realized that there were none. “Well, if there isn’t a place for podcasts in St. Louis,” Frick reasons, “maybe there should be one.” Martin Casas, Frick’s neighbor, was preparing to launch STL Swap Meet, a collective of local businesses who gather every Sunday at the Lemp Brewery. Eschewing traditional advertising, Casas was looking for a new way to promote both the swap meet and its vendors — the combination of which, Casas says, seemed a perfect fit for a podcast. “I podcast to give more exposure to the vendors who participate in the St. Louis Swap Meet,” he explains. “It’s also a great way to let customers know what to expect at the market, and for us to talk about what it’s like building a small business.” With Casas and Gaylord on as partners, Frick pitched the idea of Married with Music,

a husband-and-wife music podcast, to KDHX DJs Steve and Cat Pick. They quickly hopped on board. Frick was ready to launch STL Vernacular — though he worried what veteran podcasters might think of the new kid on the pod. “There’s the potential that we could be perceived as a threat,” Frick says. “But any other podcast host in town that I’ve talked to or emailed with is like, ‘Yes, great, we’d love to be a part of it.’ It’s been a good community to suddenly be a part of.” One of those hosts, Shane Presley of Rock, Paper, Podcast, “loves the idea” of a local podcast network. “I believe in strength in numbers,” he says. “It ’s cool that someone has finally started bringing this podcast community together.” Presley, whose show promotes local musicians and comedians, just celebrated the one-year anniversary of Rock, Paper, Podcast — quite a feat in the face of oft-monotonous production and promotion duties. It is those technical hurdles Frick hopes STL Vernacular can help aspiring podcasters clear. “We’re looking for the in-betweens,” he says. “Maybe we do promotion, maybe we do release. [The network] is looking to take a load off where your interest isn’t.” But Frick welcomes submissions from local podcasters who enjoy doing the production and promotion themselves as well — a group that includes Presley and one of the area’s bestknown shows, The John and Kane Show. Described by its hosts as a “hybrid radio show/podcast,” a new episode of John and Kane is released each weekday under the show’s Indio Radio banner and then later saved as a podcast. Though it is produced independently, host John Launius says he sees the communal benefit of having the show also be listed as part of the STL Vernacular network. “[A network] for local programs in St. Louis will demonstrate a unified front for the content creation coming out of St. Louis,” he says. “If you are a listener who is interested in St. Louis-sourced shows, you will have everything available to choose from in one place.” Frick is also searching out these local sponsors. Looking for “unique, creative, risk-taking businesses,” Frick says the goal is to find those who understand the potential of podcasting — specifically the targeted audience not necessarily found in traditional forms of advertising. “We believe that if I’ve got 250 downloads of an episode, those are 250 real people who care about music in St. Louis, and they want to listen to it for an hour,” he says. “That’s a very defined audience. Of those 250 people, 225 are probably willing to click through and go and visit those sponsors.” —JEREMY ESSIG LO G O B Y A DA M B E R T E L S

Pod People

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PHOTOGRAPHER: TODD OWYOUNG BAND: SLEEPY KITTY

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

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critics’ picks “Pioneers of the St. Louis craft beer scene”

SUMMER BEER SCHOOL IS IN SESSION! COME LEARN FROM THE PROS EVERY WEDNESDAY AT 6 PM JULY 8 TH-AUGUST 12 TH BEER SCHOOL IS FREE!

STL CRAFT BEER WEEK STARTS JULT 25 TH New Holland Brewing Co. Presents: STL CRAFT BEER WEEK KICKOFF PARTY with HAZARD TO YA BOOTY

DESCHUTES is July Brewery of the month: Buy any Deschutes beer on Tuesday & KEEP THE GLASS!

6691 Delmar In the University City Loop

314.862.0009 • www.ciceros-stl.com

Clockwise from the top: Raekwon and Ghostface Killah, George Clinton and Amy Black.

AMY BLACK 8 p.m. Friday, July 10. The Stage at KDHX, 3524 Washington Avenue. $12 to $15. 314-925-7556. The music that emerged from Muscle Shoals, Alabama, in the ’60s and ’70s — and which surely still emerges, as evidenced by Drive-By Truckers and anyone who has fired up the Florence Alabama Music Enterprises (FAME) studio console — is inseparable from that land and time. Legendary figures such as Rick Hall, Spooner Oldham, David Hood and all the Swampers have been known to pick a song or two, but Southern soul is not provincial. Boston native Amy Black fell under the spell of the music and its back-stories, and she recorded some classic, if mostly lesser-known, songs from that world on this year’s Muscle Shoals Sessions. Black showcases that music when she hits town with the Muscle Shoals Revue. More Yankee Soul: Fellow New Englander Sarah Borges will join Black and lend her garagey spirit to this leg of the tour. —ROY KASTEN

RAEKWON AND G H O ST FAC E K I L L A H 8 p.m. Saturday, July 11. The Ready Room, 4195 Manchester Avenue. $26 to $30. 314-833-3929. No-brainer status achieved. Raekwon and Ghostface Killah are coming to town. Together. There is nothing about this that is not really fucking cool. The Chef himself, with your boy Tony Stark. Two of the most critically lauded Wu-sters. Expect lots of tracks off of Rae’s Only Built 4 Cuban Linx albums, on which Ghostface was prominently featured. Expect classic Wu-Tang cuts. Expect billowing clouds of marijuana smoke. Wu-Tang Is for the Children: Watch for Ghostface’s upcoming Twelve Reasons to Die II, out this week and featuring Raekwon, as well as The Purple Tape Files, a documentary the duo is releasing about the making of Cuban Linx. Oh yeah, and remember to throw your Ws up. —DANIEL HILL 42

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FOXING 8 p.m. Saturday, July 11. Off Broadway, 3509 Lemp Avenue. $15 to $17. 314-773-3363. This past Thursday, July 2, the boys in Foxing awoke to a most unfortunate surprise. The St. Louis emo band had performed in Austin the night before, and while its members slept, somebody stole the trailer right off their van. Everything was lost — musical equipment, merchandise, personal affects — and the band was left stunned. “Whoever took our things last night took our ability to perform,” they wrote on Facebook. “They took away a part of all of us. We are devastated.” A collection has already been taken up in Foxing’s name, and the good people in Austin have been put on high alert to watch for the gear, but do you know what else would help? If Foxing’s hometown came out in force to show some love — and buy some merch, of course. Buried the Lede: mewithoutyou is headlining the show — kind of a big deal. But that’s not what this is all about, ya dig? —DANIEL HILL

GEORGE CLINTON AND PARLIAMENT FUNKADELIC 7 p.m. Sunday, July 12. Ballpark Village, 601 Clark Avenue. $9.55 to $100. 314-345-9481. When demonstrators took to Busch Stadium last fall with chants of “Black Lives Matter,” the resulting footage was presented as a stark picture of the city’s racial divide: A passionate, largely black group of protesters were met with jeers and indifference from a largely white fanbase. To say it another way, if the demonstrators were out to paint Busch Stadium as a white enclave, their point was made. So it was a surprise, albeit a pleasant one, that the preeminent funk outfit of the ’70s, George Clinton and Parliament Funkadelic, was booked to play Ballpark Village. But for a man who sang of the Chocolate City — and its “vanilla suburbs” — St. Louis in 2015 is the place for Clinton’s consciousness-elevating funk, regardless of venue. Book It: Read up on Clinton in last year’s amazingly titled Brothas Be, Yo Like George, Ain’t That Funkin’ Kinda Hard on You?: A Memoir. —CHRISTIAN SCHAEFFER

skate park sendoff New Release Happy Hour with: 10% Storewide Discount

FRIDAY, 7/17 3:00PM - 7:00PM Featuring Beer provided by

MUSICRECORDSHOP .COM PHONE

314.675.8675

A L L P H OTO S B Y DA N I E L H I L L

4191-A MANCHESTER IN THE GROVE

his Independence Day brought St. Louis’ skateboarders, punks, heshers and other freaks of nature to the Kingshighway guerrilla skate park for a no-holds-barred party, featuring performances by psych-rockers Bug Chaser and scum-punks the Supermen. With the bridge scheduled for demolition this week, the event served as a last hurrah for the longcelebrated park. See the rest at riverfronttimes.com/slideshow.

riverfronttimes.com MON TH IV FR IM riverfronttimes.com JU LYX8X–X - 1 4X, , 22001 0 5X RR IV EE RR FR OO NN T TT T IM EE S S 431

Bowling the way it is now– FUN!

Shrimp Po' Boy All burgers and sandwiches come with fries

24/7 PeacockLoopDiner.com

6191 Delmar · 314-727-5555 PinUpBowl.com

6261 Delmar in The Loop

"YOUR #1 CHOICE SINCE 1994!"

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Delmar Loop

TUESDAY 9/1

ON SALE 7/10!

Saint Louis

FRIDAY 10/23

FRIDAY 7/10

SUNDAY 8/1

ON SALE 7/10!

SATURDAY 10/24

ON SALE 7/10!

SUNDAY 7/26

WEDNESDAY 7/29

SATURDAY 8/8

SUNDAY 8/9

UPCOMING SHOWS 8.22 JUSTIN WILLMAN 9.3 THE GLITCH MOB 9.8 MOTORHEAD 9.9 RATATAT 9.10 PATTON OSWALT 9.11 O.A.R. 9.18 KACEY MUSGRAVES 9.27 BEACH HOUSE

9.29 ZZ WARD 10.6 GHOST 10.7 FATHER JOHN MISTY 10.19 PASSION PIT 10.21 LYLE LOVETT & JOHN HIATT 10.31 SOMO 11.6 TIMEFLIES 11.8 NEW FOUND GLORY/YELLOWCARD

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

@ThePageantSTL

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

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St. Louis, MO 63118 314-349-2850

Wraps by Cody Custom Ordering Available Every Tuesday, Wednesday, & Friday PIPES • VAPORIZERS • E-CIGS KRATOM • DETOX • JEWELRY 6163 Delmar Blvd. • 63112

Lunch and Small Plate Bistro Evening menu available daily.

Saturday and Sunday Brunch.

MuSic 5 dayS a week Tues • Thurs • Fri • Sat • Sun

dennis Potthast • July 9 The Jamily Fam • July 10 Melissa Neels Band • July 11 ken and Mike duo • July 12

Next to The Pageant on Delmar

314.863.8860

Big 6.2” Image!

349

BUILT IN

CD/DVD accesses external media

INSTALLED R P ICE ON THis CD DECK!

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

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AM/FM/CD receiver

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

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2732 S 13th St

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Includes Install

THIS JUST IN A. Sinclair: W/ Union Rags, the Maness Brothers, the Bobby Dazzlers, Fri., July 24, 8 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Bad Cover Band Sam: W/ Buttercup, the Maness Brothers, Sat., July 18, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. Creation Rebels: W/ DJ Reggie, Fri., Aug. 7, 9 p.m., $10. Blueberry Hill, 6504 Delmar Blvd., University City, 314-7274444. Delmar Records vs. Distant Dreams Music: W/ Indiana Rome, Jay-Rel, T-Dubb O, Legend Camp, JRDAN TAYLR, Dre Harmony & N B' A, Wed., Aug. 19, 8 p.m., $5. The Ready Room, 4195 Manchester Ave, St. Louis. Doughboy: Thu., July 30, 7 p.m., $11.54-$27.37. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Drive-By Truckers: Sat., Oct. 24, 8 p.m., $25-$27.50. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161. The Fall Of Troy: W/ And So I Watch You From Afar, Slothrust, Sun., Sept. 6, 7 p.m., $18-$20. The Ready Room, 4195 Manchester Ave, St. Louis. Fight For Midnight: W/ Shotgun Abby, the Shameless Pursuit, Fri., July 24, 8 p.m., $10. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Fister: W/ Cathedral Fever, Hell Night, Anodes, Fri., Aug. 7, 8 p.m., $8. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Giants in the Sky: W/ Kadu Flyer, This City of Takers, Sat., July 25, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. Hazard to Ya Booty: Fri., Aug. 14, 9 p.m., $7. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Ish: W/ Stank Thunder, Concentrator, Thu., July 16, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-2412337. Jack Grelle: W/ the Yellow-Bellied Sapsuckers, Jack Klatt, the Bottlesnakes, Sat., July 25, 8 p.m., $7. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. SL Riverfront Times Jay Farrar: Sat., Aug. 8, 7 p.m., $25-$35. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. JD McPherson: Tue., Oct. 27, 8 p.m., $18-$20. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Jesse Malin: Sun., July 19, 8 p.m., $12.50. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444. John Hodgman: Wed., Sept. 23, 8 p.m., $25. The Ready Room, 4195 Manchester Ave, St. Louis. Jon McLaughlin: Fri., Oct. 30, $17. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444. Kodaline: W/ Good Old War, Thu., Oct. 8, 8 p.m., $20-$23. The Ready Room, 4195 Manchester Ave, St. Louis. The Lighthouse and the Whaler: Mon., Sept. 14, 8 p.m., $10-$12. The Firebird, 2706 Olive St., St. Louis, 314-5350353. Little Falcon: W/ Early Worm, Vanilla Beans, Thu., July 30, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. Live Like Glass: W/ Dismantling the Silence, Alive/Alone, Unforgiven Amore, Wed., Aug. 12, 7 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Louis Wall: W/ Hoonbag Moonswag, Trancers, Fri., July 17, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. Mail the Horse Record Release Show: W/ Moon Glampers, Kim Logan, Fri., July 17, 9 p.m., $8. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444. Matt Poss Band: W/ Travis Beasley, Fri., July 31, 8 p.m., $10. The Ready Room, 4195 Manchester Ave, St. Louis. Melanie Martinez: Sat., Oct. 10, 9 p.m., $15-$40. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Memories of Elvis: Sat., Aug. 29, 8 p.m., $20. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444. Micky and the Motorcars: Thu., Aug. 27, 8 p.m., $13-$15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Mushroomhead: W/ (hed) p.e., Scare Don't Fear, Unsaid, Fri., Sept. 4, 6 p.m., $20-$23. Pop's Nightclub, 401 Monsanto Ave., East St. Louis, 618-274-6720. Noah Guthrie: W/ Gabe Dixon, Thu., Aug. 20, 8 p.m., $10-$18. Old Rock House, 1200 S. 7th St., St. Louis, 314588-0505. Old 97's: Thu., Oct. 29, 8 p.m., $22-$25. The Ready Room, 4195 Manchester Ave, St. Louis. Operator 303: W/ Munj, Addicted, Fight For Midnight, Pure October, Fri., July 31, 7 p.m., $8-$9. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Opiate: The Tool Experience: Sat., Aug. 22, 9 p.m., $10. Blueberry Hill, 6504 Delmar Blvd., University City, 314-7274444.

DAV I D M C C L I S T E R

TNT Glass

Drive-By Truckers, coming in October. Pat Sajak Assassins: Fri., July 31, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337.

—The 7/9/2015 Plot In You: W/ Til Death We Rise, We Are Descendants,

A Beginning's End, Sat., Aug. 8, 7 p.m., $15. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Poi Dog Pondering: Sat., Oct. 24, 8 p.m., $20. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444. Portland Cello Project: Sun., Oct. 25, 8 p.m., $15. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444. Quaere Verum: W/ Nolia, Baring Teeth, Kaliya, Hemorrhaging Elysium, Sat., Aug. 15, 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. The Rackatees: W/ the Haddonfields, Scene of Irony, Stinkbomb, Sat., Sept. 12, 8 p.m., $8-$10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. Radioactivity: Tue., July 21, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. Red Wanting Blue: W/ Dan Hubbard, Wed., July 29, 8 p.m., $13-$15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Slaid Cleaves: Thu., Oct. 8, 7 p.m., $20-$23. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Sounds Like Summer Pt 2: Sun., July 26, 5 p.m., $10-$12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. The Struts: Thu., Oct. 29, 8 p.m., $10.57. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444. Suzie Cue: W/ Old Time Assault, De Los Muertos, Fri., July 24, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. A Sweet Goodbye: W/ Rag Tag Pack, Raine Sky, Coulraphobic, Me the Monster, Ced Vicious, I.S.M RECORDS, Monstta, 42oh and Goodwill, 0 Tolerance, Jay Kussh, Beezy Da Maestro, C-Money, DreyO and Genowylin, Half Pint G A.K.A King Javi and the Mobb, Frankee Pha, Sat., July 18, 7 p.m., $11. Fubar, 3108 Locust St, St. Louis, 314-289-9050. T. Hardy Morris: W/ Roadkill Ghost Choir, Tue., Aug. 4, 8 p.m., $10-$12. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. Various Hands: W/ Satellite Theory, Odds Lane, Sat., July 18, 8 p.m., $8-$10. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444. The Way Down Wanderers: W/ ClusterPluck, Tue., July 28, 7 p.m., $8-$10. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Wild Child: Tue., Oct. 27, 8 p.m., $12-$15. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. Willie Watson: Thu., Aug. 27, 8 p.m., $15. Blueberry Hill, 6504 Delmar Blvd., University City, 314-727-4444. Willis: W/ Nos Bos, Animal Teeth, Hylidae, Thu., July 23, 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337.

FAMILY JAM FESTIVAL

JULY 24-25, 2015

FEATURING 2 NIGHTS OF AARON KAMM & THE ONE DROPS MOUNTAIN SPROUT NONSTOP REGGAE A TRIBUTE TO BOB MARLEY ASTRAL GYPSIES GIANT PUPPETS AND MORE!

ASTRAL VALLEY IN FRENCH VILLAGE, MO

45 MINUTES SOUTH OF STL FAMILYJAMFESTIVAL.COM riverfronttimes.com

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RIVERFRONT TIMES

out every night Smashing Pumpkins at The Pageant

Smashing Pumpkins at The Pageant

“Out Every Night” is a free listing open to all bars and bands in the St. Louis and Metro East areas. However, we reserve the right to refuse any entry. Listings are to be submitted by mail, fax or e-mail. Deadline is 5 p.m. Monday, ten days before Thursday publication. Please include bar’s name, address with ZIP code, phone number and geographic location; nights and dates of entertainment; and act name. Mail: Riverfront Times, attn: “Clubs,” 6358 Delmar Blvd., Suite 200, St. Louis, MO 63130-4719; fax: 314-754-6416; e-mail: clubs@ riverfronttimes.com. Schedules are not accepted over the phone.

Look for the RFT Street Team at the

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

following featured events this week:

T H U R S DAY Smashing Pumpkins at The Pageant

Saturday 7.11.15 What: Saturday Sessions When: 9:30 - 12:30 PM Where: Tower Grove Farmer’s Market

F R I DAY Saturday Sessions

Saturday 7.11.15 What: Soulard Concert Series When: 5:30 - 9:30 PM Where: Soulard Farmers Market Saturday Sessions

Tuesday 7.14.15 What: Meghan Trainor (Sold Out) When: 5:30 - 8:30 PM Where: The Pageant

Saturday Sessions

Thursday 7.16.15 What: Not So Quite Music Fest American Idiot: A Tribute to Green Day

When: 5:30 - 8:30 PM

Pridefest

Where: St. Louis Public Library

For more photos go to the Street Team website at www.riverfronttimes.com. Pridefest 48

RIVERFRONT TIMES

Jungle Rot: Thu., July 9, 7 p.m., $12-$15. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www.fubarstl.com. May the Peace of the Sea Be With You: w/ Chicken Nugget, Thu., July 9, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100, foamvenue.com/. Summer Block Party: w/ Jill Scott, Common, DJ Jazzy Jeff, Thu., July 9, 5 p.m., TBA. Peabody Opera House, 1400 Market St, St. Louis, 314-241-1888, www.peabodyoperahouse.com. Wyatt Cenac: Thu., July 9, 8 p.m., $20-$22. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www.firebirdstl. com.

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Aaron Gillespie: w/ William Beckett, Fri., July 10, 7 p.m., $15-$17. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www.fubarstl.com. Amy Black and Sarah Borges: Fri., July 10, 8 p.m., $12-$15. The Stage at KDHX, 3524 Washington Ave, St. Louis. Big George Brock: Fri., July 10, 10 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www.bbsjazzbluessoups.com. Corey Smith: Fri., July 10, 8 p.m., $17.50/$20. The Pageant, 6161 Delmar Blvd., T H IS C O D E St. Louis, 314-726-6161, TO DOWNLOAD THE FREE www.thepageant.com. RIVERFRONT TIMES Quaere Verum: w/ Tyranny IPHONE/ANDROID APP Enthroned, Dischordia, Grand FOR MORE CLUBS OR VISIT Inquisitor, Bong Threat, Fri., riverfronttimes.com July 10, 7 p.m., $8. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www.firebirdstl.com. Sad Magick: w/ Spitwad, Nos Bos, Posture, Fri., July 10, 9 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100, foamvenue.com/. The Urge: Fri., July 10, 6 p.m., $10.57-$30. Ballpark Village, 601 Clark Ave, St. Louis, 314-345-9481, www.stlballparkvillage.com. Whitey Morgan & the 78's: w/ Cody Jinks, Fri., July 10, 7 p.m., $20-$75. Atomic Cowboy, 4140 Manchester Ave, St. Louis, 314-775-0775, www.atomiccowboystl.com. Wild and Blue: A Tribute to Anne Tkach: w/ Fred Friction, the Skekses, Peck of Dirt, Ransom Note, the Good Griefs, Rough Shop, Hazeldine, Magic City, Fri., July 10, 8 p.m., $10-$20. Off Broadway, 3509 Lemp Ave., St. Louis, 314773-3363, www.offbroadwaystl.com.

SCAN

S AT U R DAY DJ Lo Down Loretta Brown: Sat., July 11, 10 p.m., $67$100. Lux, 2619 Washington Ave., St. Louis, 314-531-2920. mewithoutYou: w/ Foxing, Field Mouse, Sat., July 11, 8 p.m., $15-$17. Off Broadway, 3509 Lemp Ave., St. Louis, 314773-3363, www.offbroadwaystl.com. Monk Parker: Sat., July 11, 8 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100, foamvenue. com/. Raekwon and Ghostface Killah: Sat., July 11, 8 p.m., $26-$30. The Ready Room, 4195 Manchester Ave, St. Louis, www.thereadyroom.com.

Randy Rogers: w/ Wade Bowen, Sat., July 11, 8 p.m., $20$25. Old Rock House, 1200 S. 7th St., St. Louis, 314-5880505, www.oldrockhouse.com. Slaughter and the Dogs: w/ Hellachopper, Hard Evidence, Kenshiros, Million Hits, Sat., July 11, 8 p.m., $15-$17. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www.fubarstl.com. Sudden Suspension: w/ Bad Luck, Sat., July 11, 6 p.m., $12. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www. fubarstl.com. Train: w/ The Fray, Matt Nathanson, Sat., July 11, 7 p.m., TBA. Hollywood Casino Amphitheatre, I-70 & Earth City Expwy., Maryland Heights, 314-298-9944, www.livenation.com/ Verizon-Wireless-Amphitheater-St-Louis-tickets-MarylandHeights/venue/49672.

S U N DAY BitchWizard: w/ Hell Night, Ashes And Iron, Sun., July 12, 8 p.m., $8. The Demo, 4191 Manchester Ave, St. Louis, www. thedemostl.com. Blithe: w/ Kenshiro's, Sun., July 12, 7 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100, foamvenue.com/. Five Long Years: Sun., July 12, 8 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www. bbsjazzbluessoups.com. George Clinton & Parliament Funkadelic: Sun., July 12, 7 p.m., $9.55-$100.00. Ballpark Village, 601 Clark Ave, St. Louis, 314-345-9481, www.stlballparkvillage.com. Jen Kirkman: Sun., July 12, 8 p.m., $16. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www.firebirdstl.com.

M O N DAY Dead Shakes: w/ Tjutjuna, Loblolly, Tit for Tat, Mon., July 13, 10 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100, foamvenue.com/. Islander: w/ From Ashes to New, Mon., July 13, 7 p.m., $12$15. The Firebird, 2706 Olive St., St. Louis, 314-535-0353, www.firebirdstl.com. Jefferson St. Parade Band: Mon., July 13, 7 p.m., $5. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314772-2100, foamvenue.com/. Keith Moyer Group: Mon., July 13, 8 p.m., $5. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www.bbsjazzbluessoups.com.

T U E S DAY Fall Out Boy: w/ Wiz Khalifa, Hoodie Allen, Tue., July 14, 7 p.m., TBA. Hollywood Casino Amphitheatre, I-70 & Earth City Expwy., Maryland Heights, 314-298-9944, www.livenation. com/Verizon-Wireless-Amphitheater-St-Louis-tickets-Maryland-Heights/venue/49672. Grass Is Dead: Tue., July 14, 8 p.m., $8-$10. Cicero's, 6691 Delmar Blvd., University City, 314-862-0009, www.cicerosstl.com. Kristeen Young: w/ FEA, Tue., July 14, 8 p.m., $10. The Demo, 4191 Manchester Ave, St. Louis, www.thedemostl. com. Meghan Trainor: Tue., July 14, 8 p.m., $27.50-$30. The Pageant, 6161 Delmar Blvd., St. Louis, 314-726-6161, www. thepageant.com. Steve Miller Band: Tue., July 14, 7 p.m., $48-$88. Family Arena, 2002 Arena Parkway, St Charles, 636-896-4200, www.familyarena.com.

W E D N E S DAY Bonfires: Wed., July 15, 6 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050, www.fubarstl.com. Dave Matthews Band: Wed., July 15, 7:30 p.m., TBA. Hollywood Casino Amphitheatre, I-70 & Earth City Expwy., Maryland Heights, 314-298-9944, www.livenation.com/ Verizon-Wireless-Amphitheater-St-Louis-tickets-MarylandHeights/venue/49672. Erin Harpe & the Delta Swingers: Wed., July 15, 9:30 p.m., $10. BB's Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222, www.bbsjazzbluessoups.com. The Legendary Shack Shakers: w/ the Pine Hill Haints, Wed., July 15, 8:30 p.m., $12-$15. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363, www.offbroadwaystl. com. Rob Thomas: w/ Plain White T's, Wed., July 15, 7:30 p.m., TBA. Peabody Opera House, 1400 Market St, St. Louis, 314241-1888, www.peabodyoperahouse.com. Royal Bliss: Wed., July 15, 7 p.m., $11-$13. The Demo, 4191 Manchester Ave, St. Louis, www.thedemostl.com.

savage love Disunion Hey, Dan: I entered into a civil union with another woman in Vermont in 2000. My ex and I were together until 2003, when we decided to go our separate ways. It is now 2015, and my new partner (who happens to be male) and I are expecting a baby and talking about getting married. We live in Texas. I know that there are ways to dissolve my civil union in Vermont, but I can’t get ahold of my ex (ex-wife? ExCUer?) to sign any of the forms. Neither do I want to, because frankly it was an abusive relationship BY and I still bear emotional scars. She threatened my DAN life, encouraged my suicidal S AVA G E thoughts, and told me I was a loser who didn’t deserve to live. I feel I have finally found peace, but now that it has become an issue again, I don’t know. I have intense thoughts of wanting to kill her if I should ever see her. Thank goodness she lives in another state! She used to stalk me until she finally moved back to the Pacific Northwest. Is there a way to dissolve my civil union without having to directly contact my ex? Undoing Niggling Compact In Vermont Isn’t Legally Uncomplicated

Vermont played a groundbreaking role in the fight for marriage equality in the United States. (Spoiler alert: We won the fight on June 26, 2015.) A little history… Way, way back in 1999, before same-sex marriage was legal anywhere in the United States, the Vermont Supreme Court ruled that same-sex couples were entitled to the same “benefits and protections” as oppositesex couples. Vermont’s highest court ordered the state legislature to come up with a solution. Instead of allowing same-sex couples to marry — a simpler fix legislatively but a more explosive one politically — in 2000, Vermont’s lawmakers created a separate-but-equal compromise, a.k.a. “civil unions.” (One of the chief ironies of the fight for marriage equality: listening to the same people who violently opposed civil unions in 2000 bitterly complain that “unreasonable” marriage-equality supporters wouldn’t settle for civil unions — a “compromise” opponents of equality got behind only after it became clear that we were going to win marriage.) Full marriage equality came to Vermont in 2009, making it the fourth US state to allow same-sex couples to wed. So what became of your civil union after 2009, UNCIVILU? Did it become a marriage after same-sex marriage became legal in

Vermont, like domestic partnerships did in Washington State? “Our marriage law didn’t automatically convert CUs to marriages,” said Elizabeth Kruska, an attorney in Vermont who handles family law. “And although civil unions were — and are — legal in Vermont, other states did not have to recognize them as legal unions. That’s where UNCIVILU has a problem. Her civil union is still legal and on the books here in Vermont. Now, I’m pretty sure Texas didn’t recognize civil unions — I’m not a lawyer in Texas, so I don’t know for sure, but I am a human being with functional brain cells who lives in the United States, so I think it’s probably fair to say.” So if Texas doesn’t recognize your Vermont civil union, does that mean you’re in the clear? Sadly, no. “There is an interesting case from Massachusetts that hit this same issue square on the head,” said Kruska. “A couple got a civil union in Vermont, the parties then separated, and one of the people got married to a different person in Massachusetts. The court in Massachusetts said that the civil union invalidated the subsequent Massachusetts marriage.” Even if Texas doesn’t recognize your Vermont civil union — and it probably wouldn’t — Vermont would recognize your Texas marriage. “That would create a situation where the letter writer, at least in one state, would have two legal spouses,” said Kruska. “And that’s not legal. So the smartest thing for UNCIVILU to do is to dissolve her Vermont civil union. The last thing she wants is to try to get married to the new person and for the marriage later to be found void because she had this other union out there.” Kruska suggested that you contact legal service organizations in Vermont to fi nd a lawyer who can help you. And if you don’t want to contact your ex, or if your ex won’t respond to you, she recommended that you file for a dissolution and let the court serve your former partner. “UNCIVILU and her ex may both be able to participate in the hearings by telephone, since they live in other states and it would be burdensome for them to travel back to Vermont,” said Kruska, “and as an added bonus, UNCIVILU wouldn’t have to see her ex in person.” Elizabeth Kruska works at rivercitylawyers.com in White River Junction, Vermont, and blogs about legal issues at scovlegal. blogspot.com. On the Lovecast, the therapeutic potential of MDMA: savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter riverfronttimes.com MON T LY H X8X–X 0X R R ER FO RO IM E S 491 riverfronttimes.com JU - 1 4X, ,2 2001 5 I VI V ER FR NN T TT IT M ES

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