Riverfront Times - August 10, 2016

AUGUST 10–16, 2016 I VOLUME 40 I NUMBER 32

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THE LEDE

“Poverty, racism, economic problems — at the end of the day, land in the St. Louis region is dirt cheap. There’s no reason to fix up that warehouse, because it’s cheaper to build it where ironically your employees live now, out in St. Charles County. So the question is, how do you get the good times happening down on Washington Ave., where you see all the revitalization — how does it move up here?”

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TABLE OF CONTENTS FEATURE

12.

The Concert from Hell

50 years ago this month, the Beatles played Busch Stadium — and hated every minute of it.

Written by

MIKE APPELSTEIN

Cover by

PAVEL L PHOTO

NEWS

CULTURE

DINING

MUSIC

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17

23

33

The Lede

Calendar

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

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20

A Sad Legacy

Doyle Murphy looks into the years of neglect that led the state’s public defender to make a bold play on Governor Nixon last week

Film

You Say Taco

Thomas Crone checks in with the band formerly known as Clockwork

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Homespun

Mike Birbiglia’s latest movie needs improvement, writes Robert Hunt. But at least it’s not The Little Prince?

Brian Coltrain loves the sweet burn of Totino’s Party Pizza

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28

Stage

Paul Friswold reviews an all-tootimely Julius Caesar

Side Dish

Bars

The Archive Music House & Southern Grill has a surprisingly soulful menu — and big plans for an old space in Soulard

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First Look

Cheryl Baehr visits Yolklore, the new spot that has Crestwood getting up early

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Dining Guide

Where to eat right now in the Gateway City 6

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AUGUST 10-16, 2016

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Release the Hounds

Cheryl Baehr dines at Club Taco, which despite the name is not Mexican at all — and not bad, either.

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Kevin Bowers Nova

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Out Every Night

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

38

This Just In

This week’s new concert announcements

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Publisher Chris Keating Editor in Chief Sarah Fenske E D I T O R I A L Arts & Culture Editor Paul Friswold Music Editor Daniel Hill Digital Editor Elizabeth Semko Staff Writers Doyle Murphy, Danny Wicentowski Restaurant Critic Cheryl Baehr Film Critic Robert Hunt Editorial Interns Kavahn Mansouri, Alec Herr, Holly Ravazzolo, Natalie Rao Contributing Writers Mike Appelstein, Allison Babka, Sara Graham, Roy Kasten, Jaime Lees, Joseph Hess, Kevin Korinek, Bob McMahon, Nicholas Phillips, Tef Poe, Christian Schaeffer, Mabel Suen, Lauren Milford, Thomas Crone, MaryAnn Johanson, Jenn DeRose

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NEWS

Before the Public Defender’s Bold Stunt, Years of Underfunding and Neglect Written by

DOYLE MURPHY

Y

ou almost had to feel bad for Jay Nixon. Everywhere you looked at the end of last week — CNN, The Washington Post, NPR — Missouri’s governor was getting punked by a little-known state official, who had ordered him to report to court to represent an indigent criminal defendant. The governor almost surely hadn’t seen it coming.

For years, Nixon has pissed off the people running the Missouri State Public Defender System with impunity. The supposedly toughon-crime Democrat — yes to the death penalty; no to clemency — has repeatedly and with little to no political consequence rejected pleas to put enough money into the legal defense of the state’s poor to give them a fair shot in court.

Michael Barrett, director of the Missouri’s public defender system, says it’s easy to see the results if anyone cares to look. Missouri ranks 49th in the nation when it comes to funding public defenders — and it ranks eighth in the rate of incarceration.

“The correlation is stark,” Barrett tells the Riverfront Times, adding that more than 40 percent of the prisoners Missouri is paying to keep locked up are non-violent.

“If we had the resources, we could keep a lot of these guys out, and actually they could be contributing to the tax base instead of relying on

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Missouri ranks 49th in the nation in funding for public defenders, yet Governor Nixon reduced the legislature’s 2016 allocation. | K.C. BANGKHEW the tax base.”

But while Barrett’s argument may seem financially reasonable and ethically sound, it’s a tough sell to a crime-weary population.

It’s always been easier and more politically popular to lock people up. That goes double for a state where voters listened to the Republican gubernatorial candidates rail against “dangerous Syrian immigrants” and Ferguson protesters for weeks, ultimately selecting the guy who displayed literal firepower in his campaign ads.

Earlier this year, Barrett and the Missouri State Public Defender Commission requested a $23 million increase to provide competent (and constitutionally mandated) legal representation of indigent defendants. The legislature signed off on $4.5 million. But Nixon decided even that was too much and blocked all but $1 million.

The commission sent the governor a letter on July 8 requesting a meeting or at least a response by July 13. Barrett says they were ignored. They sued Nixon on July 13, challenging the constitutionality of

AUGUST 10-16, 2016

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restricting the funds, and still he didn’t budge.

Normally, that would seem to be all the director and commission could do. Nixon could stiff-arm them and go about his business.

Aside from low-level media coverage, he wouldn’t face any public backlash.

But Nixon underestimated Barrett.

On August 2, the Bronx-raised former Defense Department interrogator sent Nixon a letter that was a master class in political trolling.

“Dear Governor Nixon” it began.

Barrett reminded the governor of the dismal job Missouri does to defend the poor and of Nixon’s history of blocking his office’s efforts to make it better. And then he mentioned a provision in state law that allows the director to delegate cases to any member of the state bar.

Barrett had never used that power, he told Nixon, because it didn’t seem right to shift the state’s constitutionally mandated responsibility to private attorneys who had their own problems.

“However, given the extraordinary circumstances that compel me to entertain any and all venues for relief, it strikes me that I should begin with the one attorney in the state who not only created this problem, but is in a unique position to address it,” Barrett wrote in what would become a much-quoted passage.

If Nixon read the letter, this was probably the point when he began to realize what Barrett had in mind for him. In retrospect it seems almost cinematic, like the moment the big guy realizes — ten seconds too late — that the little guy he’s been pushing to the brink has in fact studied Muay Thai his entire life.

“Therefore,” Barrett continued, “pursuant to Section 600.042.5 and as Director of the Missouri State Public Defender System tasked with carrying out the State’s obligation to ensure that poor people who face incarceration are afforded competent counsel in their defense, I hereby appoint you, Jeremiah W. (Jay) Nixon, Bar No. 29603, to enter your Continued on pg 10

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Governor Jay Nixon made it clear he would not be appearing in court. | DANNY WICENTOWSKI

UNDERFUNDING Continued from pg 8 appearance as counsel of record in the attached case.”

Governor Nixon, possibly the most high-powered attorney in the state, was being deputized to work as a public defender on an assault case in Cole County.

Barrett released the letter to the world the next day via the public defender website. Hilarity ensued.

The idea of a sitting governor descending the capitol steps to wedge into a crowded county courthouse, waiting through a string of DWI and shoplifting first appearances for a bored clerk to call his case, was particularly delicious for current and former public defenders.

A criminal defense attorney in Massachusetts named eren Goldenberg put out a call on Twitter.

“Predictions for MO Governor Nixon’s first day as a public defender,” she wrote. “Open thread.”

A list of rookie mistakes ooded in — from clients asking to see a “real lawyer” to hazing from court officers to arguing motions with his y open.

“Forgets casefile in executive office, has to walk back,” read one gleeful tweet. “Now locked out of building and banging on glass to be let in.”

The governor’s response was the politician’s equivalent of “didn’t

hurt.” is spokesman issued a statement saying the public defender’s budget had increased fifteen percent, even as the state has had to cut employees in other departments.

“That being said, it is well established that the public defender does not have the legal authority to appoint private counsel,” Nixon communications director Scott olste wrote.

Barrett points out his costs have increased eighteen percent, and that fifteen percent includes statewide pay hikes and increased bar fees. Adjusted for inflation, the public defender system’s funding has actually decreased since 2009, he says.

“He’s having a little fun with math,” Barrett says of Nixon.

Without more money, Barrett says, he’ll have to consider closing offices, further weakening a system that outside examiners have agged again and again as brutally inadequate.

An assessment conducted by legal experts at George Mason niversity in 2009 warned Missouri’s system was “on the brink of collapse.”

The American Bar Association found in 2014 the state’s public defenders spent an average of less than nine hours total on cases (excluding homicides) involving serious felonies — less than a fifth of what the association recommends.

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Michael Barrett: “We’ve exhausted every other remedy.” | SCREENGRAB OF ABC 17 A Justice Department evaluation in 2015 of juvenile cases in St. ouis County found the constitutional rights of black kids were routinely abused as a result of the state public defender system’s “chronic budget crisis.” The one attorney assigned to handle juvenile cases in the county had an annual load of nearly 400 cases.

The federal assessors wrote that the system “continues to be stretched beyond reasonable capacity despite its repeated warnings about the dire consequences this poses for indigent defendants.”

It plays out in all sorts of terrible ways, Barrett says. Think about defendants who can’t make even meager bail while awaiting trial.

“So what happens is they’re sitting in local jail, and because we have too many darn cases, we can’t get to their cases fast enough, and they end up being coerced — just to see daylight — into taking a plea just to get out of local jail,” Barrett says.

“Now people are unnecessarily taking pleas to felonies, and it’s affecting them. They can’t get jobs, and the problem continues.”

And as the Justice Department found in its report on St. Louis County family court, it’s poor black defendants who take the biggest hit — an assessment echoed by ArchCity Defenders. The St. ouisbased nonprofit was founded seven years ago to help the thousands of people who can’t afford private

attorneys and need help the state just isn’t providing.

“It’s deplorable that the governor has failed to fund constitutionally required defense for those who cannot afford it,” ArchCity executive director Thomas arvey says in a statement. “ ltimately, these actions hurt poor people and black people more than anyone else — continuing our nation’s long history and exposing the state of Missouri to serious litigation that we’re seeing all around the country.” egal scholars disagree on whether Nixon will have to show up for the court case. It is is not necessarily “well-established” that consent is required, as the governor’s spokesman claimed. But there also seems to be little precedent for forcing a lawyer to take a case against his will.

In any event, it would be surprising if Nixon ended up the attorney of record here, and Barrett made sure to pick a defendant who’d bonded out and wouldn’t be stuck in jail waiting on the governor to appear. But the stunt has already succeeded in illuminating a fundamental problem — even if it did require humiliating the governor in front of a national audience.

Barrett says he just didn’t know what else to do.

“We’re here,” he says, “because we’ve exhausted every other remn edy.” riverfronttimes.com

AUGUST 10-16, 2016

RIVERFRONT TIMES

11

The Concert from Hell

50 years ago this month, the Beatles played Busch Stadium — and hated every minute of it

BY MIKE APPELSTEIN

P

icture yourself in a truck in a rainstorm.

That’s where Paul McCartney — who had just finished a Beatles show in Cincinnati, and was en route to the plane that would take the group to its only St. Louis concert — finally agreed with his bandmates that it was time to stop touring.

“After the gig I remember us getting in a big, empty steel-lined wagon,” McCartney recalls in The Beatles Anthology book.

“At that moment, everyone said, ‘Oh, this bloody touring lark — I’ve had it up to here, man.’ I finally agreed.” Eight days and four shows later, the band would retire from touring permanently.

But if they sounded weary, who could

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AUGUST 10-16, 2016

blame them? So far this tour, they’d been taken hostage in Manila, endured death threats in Memphis, and had their records burned in effigy thanks to a comment John Lennon made several months earlier that his band was “more popular than Jesus now.” Who needed the hassle when they could just record at Abbey Road, where they were on the creative roll of the decade with Revolver, “Paperback Writer” and “Rain?”

Such was the band’s mood as its members undertook their third and final North American tour. Beginning on August 12, 1966, the outing was scheduled to hit nineteen American and Canadian cities — one of which, local music fans were thrilled to hear, was St. Louis. On the prior two U.S. tours, the band had played no closer than Kansas City.

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According to Sara Schmidt, an Alton-based writer/teacher who recently wrote a book, Happiness is Seeing The Beatles: Beatlemania in St. Louis, egal Sports’ Everett and Claude Agnew did the deal. By 1966, the Agnews were veteran promoters, having brought jazz, soul and rock acts to St. Louis for three decades. With some help from NO DJ Nick

Charles, who secured support from local retailer Stix, Baer & Fuller and then-local soda brand Seven-Up, they raised the $135,000 necessary to bring the Beatles to town. Tickets went on sale that May. “The concert was not a sell-out,” says Schmidt, whose book recounts the concert preparations in great detail. “Only 23,000 tickets were sold. To sell out, they would have sold about 46,000 seats. They were on their way to that number before John’s Jesus statement.” According to her research, the show broke even.

By the time the Beatles came to St. Louis Lennon had apologized, and the controversy had begun to fade. There was a local “Beatle burning” — albeit a miniature one, involv-

ing about a dozen girls. A Post-Dispatch article summarized the event: “Only about four albums and three singles were set afire, along with a few of their pictures.

But the group had ‘Ban the Beatles’ and We Don’t Need Them’ signs to add to the Beatles’ demise.” One of the attendees declared herself done with the Beatles; she now preferred Paul Revere & the Raiders and Gary Lewis & the Playboys.

Members of local churches did hand out tracts about the Beatles and Jesus in front of Busch Stadium before the show. In Happiness Is Seeing The Beatles, Schmidt reprinted one of the tracts: “‘We’re more popular than Jesus now.’

But what about t o m o r r o w, or a hundred or thou-

sand years from now Popularity is a fickle thing. Who will be popular in the future?”

For the opening acts on its tour, the Beatles had chosen the Cyrkle, whose “Red Rubber Ball” remains an oldies-radio staple; Bobby Hebb, who sang “Sunny;” the Ronettes (minus Ronnie Spector, who stayed back in L.A. with husband/producer Phil); and the Remains, a Boston four-piece just beginning to make a name for itself outside of New England. ed by Barry Tashian, the Remains combined garage-rock energy with Zombies-like subtlety and sophistication.

Speaking from his home in Nashville, Tashian remembers the moment he and his band got the news. “[Our agent] turned to us and said, ‘You guys want to go on the Beatles tour?’

After we finally came to, we said yes,” he explains. “That’s when we were told that we would also have to back up a couple other of the opening acts. We backed up Bobby Hebb and the Ronettes. I was onstage for 75 minutes a show: Twenty minutes of our own, then a break while the Cyrkle came on, than back for the Ronettes and Bobby Hebb. Then the Beatles played for 35 minutes or so.”

“Two of the most stressful concerts of the tour directly preceded the one in St. Louis,” says Richie Unterberger, author of The Unreleased Beatles: Music and Film.

“On August 19 in MemContinued on pg 14

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PAUL McCARTNEY Continued from pg 13

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phis, they played their southernmost concert of the tour, which brought out worries that someone would try to harm John ennon — and maybe all of the Beatles — because of John’s Jesus remark. A firecracker exploded at their Memphis concert, and for a moment there was fear that someone had shot at them. The next day at Cincinnati, they canceled their show due to rain, which meant they had to do a noon makeup show the next day and play the same night in St. Louis.”

And so the touring bands began August 21, 1966, in Cincinnati. At noon, they played a still-wet Crosley Field.

“Then we went straight to the plane, ew to St. ouis, and went to the show,” Tashian recalls.

At 8 p.m., the Del- ays opened the Busch Stadium show. Managed by Nick Charles, the Del- ays hailed from Mascoutah, Illinois.

They were frequent performers on the St. ouis and Metro East concert circuits. The Del- ays recorded a seven-inch single for Stax, and had a young Michael McDonald sing lead on their second single, “Always Something There to Remind Me.” The rain resumed as the DelRays finished. This meant that there would be a change in the lineup. The Beatles would now go on after the Remains and Hebb, but before the Cyrkle and Ronettes.

“We used the park PA system, the same one used for baseball games,” Tashian says of the Remains’ twenty-minute set. “It had a monstrous delay. We were singing on stage behind second base, and the sound was coming out in the stands 150 feet away two or three seconds later. There were no monitors onstage, and it was impossible to sing in time with the music. All I could do was close my ears and plow through the songs.”

As the rain continued, the Beatles kicked off an eleven-song set with Chuck Berry’s “Rock and oll Music.” (Despite the local angle, this was the band’s standard opener.) From Yesterday and Today, they played “Nowhere Man,” “ esterday,” “If I Needed Someone” and “Day Tripper.” From Beatles ‘65, they played “She’s a Woman,” “I Feel Fine” and “Baby’s in Black.”

They reached back to Meet the Beatles for “I Wanna Be Your Man.” They played “Paperback Writer,” their most recent single, but not

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John Lennon: Bigger than Jesus, but stuck playing in St. Louis. | RFT Archive “Rain,” despite the weather. They ended with “Long Tall Sally.” They played nothing from the American versions of Rubber Soul or Revolver.

Here’s what Tashian wrote about the St. Louis show in his own book, Ticket to Ride: The Extraordinary Diary of The Beatles’ Last Tour: ...The stage was covered by a canopy but everything was soggy. Our roadie, Ed Freeman, was stationed at the main connection to the stage to watch the performers and unplug the whole stage if anyone showed signs of electrocution. It was pouring down rain. Ed, who was pretty drenched himself, had some towels wrapped around the extension cord connection, and had a tight grip on them. He was ready to take the cords apart before anyone was electrocuted.

“They put bits of corrugated iron over the stage, so it felt like the worst little gig we’d ever played at even before we’d started as a

band,” McCartney says in The Beatles Anthology. “We were having to worry about the rain getting in the amps and this took us right back to the Cavern days — it was worse than those early days. And I don’t even think the house was full.”

Schmidt takes a more positive view.

“A lot of fans were worried that the rain would cancel the concert. And after they realized that the show would go on, they were worried for the Beatles’ safety,” Schmidt says. “But overall, the biggest statement that I would hear over and over again was that it was a night that they would never forget. They knew at the time that they were experiencing something special. Many of them said that it changed their life.”

Roger Heath, then fourteen years old, attended with his parents and sister. “Mom was born in England, so British bands were all good in her book,” Heath says.

“Their demeanor was generally that they’d been here and done this, and enough already.

They were looking forward to going home.”

George Harrison at Busch Stadium. | RFT Archives “We sat in the upper deck facing the stage on second base. The audio was piped via the stadium PA, which was weird because you could hear the reverberation from the drums. But because the sound took a bit to reach us, it was just a tenth of a beat off. I still have the $4.50 ticket stub.” iki Noe was also fourteen in 1966. “My dad took me, my sister and our girlfriend Terrie,” she says.

“I remember wishing everyone would stop screaming so I could hear the Beatles. My dad was actually a fan of the Beatles, so he didn’t mind being there, despite getting wet. Afterwards, somehow, outside the stadium a girl was yelling that she touched Paul. Terrie touched her and said, ‘I touched the girl who touched Paul McCartney!’” oger Jones traveled from awrenceville, Illinois, to be there. He and his friends managed a brief contact with the band as they entered the stadium.

“We got the idea to find the entrance to the stadium and wait there for the Beatles to hopefully drive by us as they arrived that afternoon,” he says. “We found the ramp leading from the street down into the stadium, and waited there along with two or three other fans. After awhile we heard sirens coming from around the corner.

Suddenly we saw a police escort leading three black Cadillac limos toward the ramp. One of my friends had his camera ready and my other friend shouted, John ’ as they passed in the second limo.

We watched as the boys got out of their limo and gave us all a quick wave. Then they were gone.” They also caught a glimpse of the band as they exited the venue later that night.

“My seat was near third base, so I was looking across the stage,” Jones adds. “My best memory of the night was when they did ‘If I Needed Someone.’ George used

Paul’s mic, so I had a good view of him. I remember the sound of the Rickenbacker twelve-string and how the harmonies during the lead break were done slightly differently than the record. Paul held his high note longer instead of following the others as the chords change from A to G, and back to A. The screaming was not as bad as it was in 1965.”

After the Beatles played, the Cyrkle was left to play exit music for much of the Busch Stadium audience. “I remember the poor Cyrkle having to go on after the Beatles left,” Noe says.

Finally, the Remains returned to back the Ronettes. “We joked that the Beatles opened for us and we got a standing ovation — only everyone’s back was turned,” Tashian laughs.

Concert from hell finally finished, the bands scrambled back to the plane and headed to New York City, where they were due to play Shea Stadium. Tashian recalls getting into New ork around 2 a.m.

After New ork, they finished the tour with three West Coast stadium dates: Seattle Center Coliseum, Dodger Stadium and San riverfronttimes.com

Francisco’s Candlestick Park. And that was that. The Beatles would never play another concert for a paying audience.

“The Beatles were tiring of playing the same songs for audiences screaming so much that they found it hard to hear each other, and of the constant hysteria surrounding them on tour, which made it hard for them to do things besides get on planes and stay in hotel rooms,” Unterberger says. “They were much more interested in exploring new directions in their songwriting and studio recordings, where technology was rapidly opening up new possibilities, than in performing. They were also finding it hard to impossible to play some of their recent material onstage.”

For Tashian, who broke with his own band after the tour, this wasn’t completely unexpected news. “There was no indication, verbally, that this was the Beatles’ last tour,” he says. “But I wasn’t surprised when I heard they decided not to tour anymore. Their demeanor was generally that they’d been here and done this, and enough already. They were looking forward to going home.”

As for Paul McCartney — the one Beatle who made a serious, ongoing commitment to live performance after the breakup — he returned to Busch Stadium in 1993 on his New World Tour. At the concert, he declared himself glad to be back in St. Louis, shouted out Chuck Berry and dedicated about half the set to Beatle hits — this time with the benefit of monitors and better amplification.

It also rained for most of the day. Which only means one thing: When McCartney plays the modern-day Busch Stadium this August 13, we’d all be wise to check the weather forecast and plan ahead.n Paul McCartney will take the stage at Busch Stadium on Saturday, August 13. The show, of course, is sold out.

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WEEK OF AUGUST 11-16

THURSDAY 0811 Pins & Needles

Come see the latest fashions at Pins & Needles. | ERIC NEMENS PHOTOGRAPHY

Are you tired of wearing the same old rags and want to find a new look? The Pins & Needles Fashion Design Competition showcases six emerging American designers in a friendly competition showcasing their best new work. It’s a St. Louis-heavy show, with Marcel Coleman Jr., Richard Cotto, Morgan Mason and Wiki Wang all representing the Gateway City. Laila Fattal (Brooklyn, New York) and Nashville’s Andrew Clancy also compete for the top spot, which includes $15,000 in prizes.

Pins & Needles takes place at 6 p.m. tonight at Majorette (7150 Manchester Road, Maplewood; www.brainchildevents.com). Tickets are $25 to $35.

FRIDAY 0812 Enter the Dragon Bruce Lee didn’t just cement his own status as a cinematic martial arts legend with Enter the Dragon.

The spy thriller also launched the great Jim Kelly’s film career and gave some early Western exposure to “Chinese Hercules” Bolo Yeung and the uncredited Jackie Chan as a minor thug. Set aside the film’s historical significance, though, and you still have an incredible action ick. Enter the Dragon is screened at midnight Friday and Saturday (August 12 and 13) at the Landmark Tivoli Theatre (6350 Delmar Boulevard, University City; www. landmarktheatres.com) as part of the Reel Late Series. Tickets are $8.

Tell Me on a Sunday Andrew Lloyd Webber may be synonymous with big-cast, bigger-budget musicals, but he wasn’t always that way. His rarely-produced show Tell Me on a Sunday is an intimate, one-woman show — that’s techni-

BY PAUL FRISWOLD

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cally the smallest cast possible. The 1979 production is about a North Londoner who comes to America with hopes of finding happiness and a green card, only to discover that American men (and American culture) can alter you in subtle ways.

Sarah Porter stars as Emma in New Line Theatre’s performance of Tell Me on a Sunday. It’s performed at 8 p.m. Thursday through Saturday (August 11 to 27) at the Marcelle Theater (3310 Samuel Shepard Drive; www.newlinetheatre.comwww.newlinetheatre.com). Tickets are $15 to $25.

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SATURDAY 0813 Missouri Historical Society Sesquicentennial St. Louisans are fascinated by history. The World’s Fair, Lewis & Clark, Route 66 — these moments in our shared past make us who we are today. So it’s not surprising that the earliest St. Louisans shared the same passion. In 1866 a group of concerned citizens met at the Old Courthouse and founded a historical society. One hundred and fifty years later, we’re still benefiting from that decision. The Missouri Historical Society celebrates a century and a half of hard work and enlightenment today from 11 a.m. to 4 p.m. at the Missouri History Museum (Lindell Boulevard and DeBaliviere

Avenue; www.mohistory.org). Tours of the museum, scavenger hunts, a presentation on the early days of the society’s work and its continuing endeavors, and cake (while it lasts) are on offer. Admission is free.

Inherit the Wind Bert Cates teaches his high school class about the theory of evolution, an act that’s illegal in his unnamed home state in the 1920s. The great orator Matthew Harrison Brady comes to town to prosecute the case, while famous attorney Henry Drummond offers to defend Cates.

The outcome is never in doubt, but Drummond takes a heroic stand in defense of intellectual freedom and the rights of man to exercise free will. Insight Theatre Company closes its current season with Jerome Lawrence and Robert Edwin Lee’s drama Inherit the Wind. Performances are at 8 p.m. Thursday through Saturday and 2 p.m. Sunday (August 12 to 28) at the Heagney Theatre (530 East Lockwood Avenue, Webster Groves; www.insighttheatrecompany.com). Tickets are $10 to $35.

SUNDAY 0814 Artists First Rockin’ the Ritz Formerly known as the Turner Center for the Arts, Artists First

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Rock out, then roll home with new art at Rockin’ the Ritz.| LUKE ALLISON is a local non-profit that provides arts outreach for people with developmental disabilities, brain injuries and mental illness. The goal is to give its clients a voice through creative self-expression. You can see (and buy, hint hint) their work today at the Artists First Rockin’ the Ritz benefit. If the weather cooperates, the paintings and drawings will be displayed between 3 and 8 p.m. in Ritz Park (3147 South Grand Avenue; www.artistsfirststl.org), where local musicians DinoFight!, Accelerando and DJ Meek 9 perform with several other acts. In case of rain, the art will hang in Mangia Italiano. The restaurant donates 25 percent of the day’s proceeds to Artists First regardless of the weather.

And don’t miss Michael Weidle’s stand-up act; Weidle is a double threat, working in both visual art (he has work in the show) and comedy. Admission to Rockin’ the Ritz is free.

TUESDAY 0816 St. Louis Noir After years of promoting noir fiction in bars, coffee shops and book stores, Noir at the Bar St. Louis founders Jed Ayers and Scott Phillips have moved up to the big time: St. Louis Noir, the first anthology of hard-boiled writing by local authors, is on shelves now. Phillips served as editor for the book, which has stories set in Dogtown, the Ville, Sauget and Frontenac. The St. Louis County Library Foundation and Subterranean Books celebrate the release of St. Louis Noir tonight at 7 p.m. at the St. Louis County Library Headquarters (1640 South Lindbergh Boulevard; www.slcl. org). Contributors S.L. Coney, John Lutz and Ayres read and sign autographs, with books sold on-site by Subterranean. Phillips serves as emcee. Admission is free, but bring money to buy a book and support local authors.

STARTS FRIDAY, AUGUST 12 IN THEATRES EVERYWHERE

CHECK LOCAL LISTINGS FOR THEATRES AND SHOWTIMES / NO PASSES ACCEPTED riverfronttimes.com

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FILM

Needs Improvement Mike Birbiglia’s new film about an improv troupe falls short of hilarity Written by

ROBERT HUNT Don’t Think Twice

Written and directed by Mike Birbiglia.

Starring Mike Birbiglia, Gillian Jacobs, Keegan-Michael Key and Kate Micucci.

Opens Friday, August 12, at Landmark Tivoli Theatre.

C

omedian/monologist Mike Birbiglia has established himself as a bemused observer navigating the pitfalls of ordinary life like a contemporary Stan Laurel. In works such as Sleepwalk With Me, an account of his struggles with a sleep disorder written first as a one-man show and later reworked into a book and a film, Birbiglia has shown that his best subject is himself, artfully describing personal events as if slightly removed from them and capturing the mundane with a kind of gentle surrealism. Birbiglia’s humor is so thoroughly tied into his own voice that it made the film version of Sleepwalk a little disappointing.

It was almost pointless to see the narrator interact with other characters when he had already told their stories so well on his own.

With his second film, Don’t Think Twice, Birbiglia moves beyond the subjectivity of his earlier work with uncertain results. It’s an ensemble piece about the declining fortunes of an improvisational comedy group, the Commune, whose members are challenged by a closing theater, personal struggles and internal rivalries. It’s a film about a group coming apart at the seams, but is disappointingly loose at its own.

Don’t Think Twice begins with a very brief account of the history of improv comedy, which mostly means explaining a few of its long-standing rules (“say yes,” “it’s all about the group” and “don’t think”) accompanied by footage and

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This ensemble lacks a leader. | COURTESY OF JON PACK photos from Chicago’s Second City in the early 1960s and its Toronto sister company in the mid ‘70s. Why nothing more recent? The elephant in the room — and the closest thing to a villain in the film — is a certain late-night television show known for recruiting improv talent. The major narrative line in the film comes when Commune member Jack (Keegan-Michael Key) is hired

NO IMPROVEMENT The Little Prince

Directed by Mark Osborne. Written by Irena Brignull and Bob Persichetti. Based on the book by Antoine de Saint-Exupéry. Starring Jeff Bridges, Rachel McAdams and Mackenzie Foy. Now streaming on Netflix.

T

here’s no way to sugarcoat this: It seems almost impossible that admirers of Antoine de Saint-Exupéry’s The Little Prince — of which there are millions — will be satisfied by the new animated film bearing its name. Saint-Exupéry’s much-loved story accounts for only about 30 minutes of the 108-minute film, reaching its sad climax before the film is half over. Even then, the book is shortchanged. The entire sequence in which the prince visits other planets and meets various figures of adult life (a king, a business-

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by Weekend Live, a TV show whose internecine rivalries and repetitive catchphrase-driven sketches are the antithesis of the Communal spirit.

As the film proceeds, it sometimes seems as if disliking Weekend Live is the only thing still keeping the improv group together.

With its emphasis on backstage squabbles and creative collaborators falling apart, I suspect that man, an alcoholic), which fills nearly a quarter of the book, lasts less than two and a half minutes and omits half of the prince’s visits altogether.

So what does Mark Osborne, the director of Kung Fu Panda, do to fill the remaining hour and fifteen minutes?

The bulk of the film is a framing story about a young girl (named simply the Young Girl) under pressure from her workaholic mother to study for enrollment at a prestigious private school.

TYG, left alone with a pile of homework, becomes intrigued by a neighbor, an eccentric old man who is rebuilding an airplane in his backyard. He is, of course, Saint-Exupéry’s Aviator — and he presents the Girl with his handwritten memoir of crash landing in the desert and his encounter with the strange space traveler.

The present-day part of the story is in generic CGI, while the segments based

Birbiglia’s inspiration was This Is Spinal Tap (itself a product of improvisation). But where that 1984 film took pains to accurately pin its rock & roll background, what Commune performances we see are unimpressive and abrupt. Birbiglia doesn’t show enough of the performers to make it clear if they’re particularly good at their work; many of the performance scenes are inserted simply to show the team’s frustrations dealing with an audience raised on Weekend Live. But without a strong sense of the actors functioning as a group, there’s not much at stake when they begin to fall apart. We see the separate lives of each member, but not enough of what holds them together.

Birbiglia is willing to be a team player here, to share the stage and support the other cast members just as an improv player would, and even to cast himself in a bad light. The cast members, most of whom come from various branches of the alt-comedy world, invest a great deal of energy, but they come off as less than an ensemble and more a group of supporting players waiting for the leads to show up.

The problem with Don’t Think Twice isn’t a lack of energy or sincerity or even enthusiasm. It’s something that any improv player could appreciate: Sometimes, in spite of everybody’s best efforts, there’s simply not much material to work with. n on the book are executed in stop-motion animation and retain some of the story’s charm. The excellent vocal cast, which includes Jeff Bridges, Ricky Gervais, Benicio del Toro and James Franco, certainly helps. The climactic section, in which the framing story and the Saint-Exupéry characters are merged, is beneath discussion, an insult to anyone who has ever read the book.

The filmmakers behind The Little Prince have stated that the story of the Young Girl and her Power-Mom, banal as it is, was a response to a report that young girls are underrepresented as animated characters. This may be admirable in principle, but it also seems contrived and calculated, at the expense of a literary favorite. Like the oft-quoted remark comparing camels to horses, this Little Prince is a revered and elusive classic, redesigned by a committee.

— Robert Hunt

THE ARTS

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[ S TA G E ]

The Emperor Trumped St. Louis Shakespeare’s new production of Julius Caesar has clear resonance for 2016 Written by

PAUL FRISWOLD Julius Caesar

Written by William Shakespeare Directed by Tom Kopp Presented by St. Louis Shakespeare through August 14 at the Ivory Theatre (7260 Michigan Avenue; www.stlshakespeare.org).

Tickets are $15 to $20.

S

ome people aren’t excited by William Shakespeare. I get that, even if I don’t understand it. Before a recent performance of St. Louis Shakespeare’s current staging of Julius Caesar, the husband/boyfriend sitting a few rows down from me groused about being in attendance. “We’re going to watch a 500-year-old play. About something that happened 2,000 years ago.” The “why?” was not voiced, but it was heavily implied.

I hope he got an inkling of why we were all there when Julius Caesar (a truly great Tim Callahan) took the stage in an atypical (for ancient Rome) blonde wig, combed in several contradictory directions.

This drama about a man poised to set himself above a long-standing democracy reveals quite a bit about our own tumultuous times.

(Coughcough2016electioncough.)

John Wolbers has trimmed down Shakespeare’s script to focus our attention sharply on the political and personal machinations of the main players, and Tom Kopp directs the large cast with a keen eye for every conspiracy and conspirator.

The second half of the play suffers from a staging problem, but it’s not enough to dull the luster of the performances.

Longtime St. Louis Shakespeare company man Ben Ritchie plays Brutus, friend of Caesar and reluctant assassin. Maxwell Knocke, who has a great gift for

The death of a great man: good idea, or bad? | JOHN LAMB playing men whose passions get the better of them, is his fellow schemer Cassius. These two noble Romans together negotiate the killing of Caesar, whom they suspect will claim the title of emperor and thus destroy the Republic.

It’s important to note that Caesar is offered a crown three times (off stage), and each time he refuses.

He has done nothing wrong yet, and the conspirators’ evidence for his imperial aspirations is mostly personal feelings and hunches. In a lengthy argument between Cassius (very much for the murder) and Brutus (ambivalent at best), Brutus hits on the realization that if any man is allowed to set himself up as a god, only god will have freedom. For voting members of the Roman Republic, freedom is their inheritance. To take it — even to threaten to take it — is equivalent to treason. Killing Caesar robs him of his freedom, but better one man suffer than an entire nation fall under the yoke of a tyrant. Right? (Shakespeare can make you argue for some very questionable concepts, no?)

Ritchie plays Brutus as a sangfroid philosopher, one who views Caesar’s tyrannical leanings as an affront to good government.

“The abuse of greatness is when it disjoins remorse from power,” he remarks about the nature of leadership. (Pretty astute for 500 years old.) Killing Caesar must be done out in the open and then fully explained to the people of Rome, so they understand none of the killers desire to take a crown themselves.

Knocke’s Cassius takes a more personal approach to murder. He’s infuriated by Caesar thinking he’s better than the rest of them, and suggests that Caesar’s heir Mark Antony (Brennan Eller) be slain as well. The fervor in his eyes and his rictus grin imply Cassius’ driving interest is blood lust more than political equilibrium.

Set designer Chuck Winning has conceived a grand staircase that dominates center stage, with smaller sets of stairs off either side, curving toward the center. They are excellent for presenting the gang murder. Caesar stands atop the middle set of stairs dispensing justice, and the wolf pack of killers close the circle and start stabbing. Callahan hits the deck with a knee-aching thud, blood staining him from calf to face. It’s gory and powerful, the horror of it compounded by the murderers crouching around the corpse to wash their arms up to the elbow riverfronttimes.com

in his blood.

Unfortunately, those same stairs take up so much real estate that they make difficult the staging of the second act’s battle for Rome.

Act Two is a series of skirmishes between Mark Antony and his ally Octavius against the eight bloody men. Many of these running battles are forced behind the stairs, as there simply isn’t enough room to bring everybody on stage. The result is a very static second half, sapping the momentum generated in Act One and nearly undercutting some excellent performances.

Eller is very good as Mark Antony, a professional soldier who seizes his chance to conquer everybody and claim that crown for himself.

Ritchie maintains Brutus’ noble mien; he’s simultaneously able to plan for war and talk Cassius down from going full psycho on his allies.

In fact, Brutus views murder and war from such a lofty intellectual vantage point that his motivations seem almost inhuman. Or is he merely the ultimate politician, weighing all sacrifices against the goal of smooth, efficient governance Far easier to understand is Cassius, with his consuming passions and destructive grudges.

Still, I wouldn’t vote for him. n

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bellville 4204 w. main st. belleville, IL 62226 618-416-7261

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CAFE

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Club Taco’s “Club Tots,” top right, along with taco selections and street corn. | MABEL SUEN [REVIEW]

You Say Taco, I Say Bravo!

Club Taco isn’t an authentic Mexican joint — and that’s A-OK Written by

CHERYL BAEHR Club Taco

200 N. Kirkwood Road, Kirkwood; 314-8581488. Mon.-Wed. 11 a.m.-10:30 p.m.; Thurs.

11 a.m.-11 p.m.; Fri.-Sat. 11-12 a.m.; Sun. 11 a.m.-9 p.m.

L

et’s go ahead and get this out of the way: Yes, Club Taco has eggplant Parmesan tacos and Thanksgiving dinner-themed tacos. And no, they are not tragic.

Seriously now. Though I don’t blame you for questioning my judgment — or perhaps more accurately, my sobriety — at that pronouncement. Considering that the menu looks like it was inspired by a quarter-bag and a munchies run through a Ken-Taco-Hut, the twomonth-old Kirkwood spot doesn’t exactly instill confidence. Mashed potatoes in a taco? Bro, that’s going a little too far.

But while that would be a fair assessment if Club Taco were trying to be a taqueria, here’s the secret: Despite appearances — the name, the vehicles for serving food — Club Taco is, at its heart, a fast-casual American restaurant, with a little Miami-style bar action thrown in at night for good measure. If you go in expecting a Mexican spot, you’ll be shocked at the bastardization. If you can look past the tortillas and focus on the fillings, though, you’ll see that Club Taco has much more in common with a place like the

Slider House than it does with the authentic taco shops on Cherokee Street.

Chef-owner Gerard LaRuffa admits as much. When he opened for business in June, he insisted that he wanted to be unrestricted from any particular genre. “I love Mexican food, but I didn’t want to open a Mexican restaurant,” he said. Instead, the concept was to use homemade tortillas as a theme to bind together a menu of disparate flavors — down-home Southern, orean, Tex-Mex. In a sense, the menu is a re ection of a uffa’s time traversing the country as a corporate trainer for Canyon Café, as well as his tenure at Villa Farotto and Drunken Fish. From each place, he gained expertise in a particular type of cuisine. The taco, he figured, was a way to bring them all together.

The theme works because the fillings work. “El Mexicano,” for instance, is anchored by rich, riverfronttimes.com

mildly spiced housemade chorizo, cheddar and tomato-studded scrambled eggs and tater tots — a Tex-Mex breakfast casserole in a our tortilla. The “Bacon and Egg” version subs in succulent pork belly for the chorizo, transforming the south-of-the-border dish into something that would be at home on tables south of the Mason-Dixon.

It’s not just the breakfast tacos where LaRuffa proves his prowess with Southern avors. The “Deep South” is a wonderful fried chicken dinner in a corn tortilla, complete with crisp, peppery fried bird, creamy mashed potatoes and sweet corn relish. Tangy pepper sauce cuts through the richness.

Club Taco’s “B TA” makes me question the supremacy of classic white toast as the BLT bread of choice. Here, LaRuffa uses a corn tortilla as the base for fork-tender pork belly, thick-sliced, peak-ofthe-summer tomatoes and lettuce.

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CLUB TACO Continued from pg 23

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Herbed crema is a bright stand-in for mayo, but the true star is the avocado, lightly coated in panko and deep-fried just to the point of softening. This is the best dish on the menu.

LaRuffa’s lengthy tenure with Villa Farotto (his wife’s family owned the now-shuttered restaurant) is evident in the “Sicilian iss,” a taco inspired by eggplant Parmesan. Hunks of fried eggplant are paired with plump, whole roasted tomatoes that pop when bitten. A few fried garlic chips, some mozzarella and fresh basil complete a dish that’s so gooey, the only way to eat it without a mess is that tortilla wrapping. I came away almost convinced it was always meant to be served this way.

Though Club Taco is decidedly not a Mexican restaurant, a uffa hits the mark on the more traditional taqueria offerings. Don’t let the name “ ake of the Ozarks” fool you — this dish is a quintessential fish taco. Battered cod, accented with cumin-infused crema, toasted pepitas, lime, cilantro and crisp, vinegar-y slaw, is a pleasant mix of avors. The “Traditional Bisteca,” however, featured ank steak that’s tough and chewy. I preferred the spicy braised chicken on the “Traditional Tinga.” The piquant, juicy meat is so enjoyable I appreciated that it was allowed to take center stage with only a minimalist cilantro and lime garnish.

There are no chips and salsa on offer (something LaRuffa admits has drawn consternation from those expecting a more traditional taqueria), and don’t expect the usual rice and beans for sides. Instead, Club Taco offers a Mexican-American riff on poutine. These “Club Tots” are smothered in melted cheddar, green chiles and chipotle crema.

The obligatory egg is there, though it was overcooked and unnecessary.

“Borracho” or “drunk” beans are simmered in stout beer, though a generous amount of cumin and chili gives them some serious heat.

The highlight of the sides, though, is the roasted street corn casserole, a mélange of perfectly cooked summer corn and queso fresca. There’s just enough lime crema to give it zest and richness, but it’s not as overwhelmingly creamy as street corn can sometimes be. A touch of cayenne adds smoke and heat to this addictive dish.

Give me an order of corn and a

AUGUST 10-16, 2016

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Club Taco cocktails are fruit-forward and highly quaffable. | MABEL SUEN “B TA” and I’d say this place has a lot going for it. And considering its prime location in the heart of downtown Kirkwood, I’m inclined to think this could be a surprising success. The restaurant boasts a massive patio, a beachy cool vibe and an outdoor walk-up bar that gives off the feel of a South Beach snack shack.

But though LaRuffa and company have the food and aesthetics worked out (aside from the fact that the Kirkwood restaurant is — ahem — painted in rival Webster Groves colors), I’d be remiss if I didn’t discuss Club Taco’s logistical challenges. This is, for all intents and purposes, a fast-casual restaurant: You order at the counter, get a numbered table ag, help yourself to drinks at the soda fountain, seat yourself and wait for your food to arrive. However, Club Taco also offers table service — sort of.

When we sat down, a “cocktail server” arrived, announcing his intent to take our alcoholic beverage order. He couldn’t bring us soft drinks, though. And he further explained that while we should order our food at the counter, if we wanted a second helping, he could put that in for us. Bizarre, yes, but things could have been even more confusing: He explained that they’d recently decided to supply tables with water pitchers. Until that point, the servers had been so busy fetching individual glasses of water from the soda fountain, it was all they could do to keep up.

“I know it seems complicated,” he admitted,” but it’s really not.” The fact that he had to sell us on that — and explain the same thing to every last table on a packed patio — made it seem, well, complicated.

Clearly, LaRuffa is trying to push

I became almost convinced that eggplant parmesan was always meant to be served in a taco.

Club Taco’s bar program further than a fast-casual place will allow.

And his extensive list of fruity, quaffable cocktails is indeed tailor-made for enjoying with a “West County ousewife” on the restaurant’s large patio patio (hey now, it’s the name of one of the steak tacos on the menu). Sipping a gin-based “Cucumber Mint Crush” and a “ ibiscus Pleasure Martini” were the only things that made outdoor dining in the midst of the recent heat wave bearable.

To be fair, our food and drinks arrived without a hiccup, but something seemed off. When your not-server has to tell you what he’s capable and incapable of doing, it muddies the waters and makes for a confusing setup. If LaRuffa wants to make the place a cocktail bar with tacos, perhaps the fast-casual, counter-service model isn’t the right fit.

What’s odd, though, is that meatloaf and mashed potatoes in a tortilla is. Even to this skeptic. n Club Taco

“Sicilian Kiss” .....................................$5 “Traditional Tinga”..............................$3 Roasted street corn casserole ...........$2

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[SIDE DISH]

For Guerrilla Street Food Chef, Nothing Is Off-Limits Written by

CHERYL BAEHR

B

rian Coltrain of Guerrilla Street Food (3559 Arsenal Street; 314-529-1328) traces his culinary story back to shucking corn in Warner Robins, Georgia. “It all started when I was probably five or six,” he recalls. “One of my distinct memories growing up was of the couple across the street who grew corn. They used to give some to us, and I remember how much I loved to shuck it — I just loved the feel of it, and of course eating it.”

Coltrain’s family moved to Cape Girardeau, and eventually St. Louis. When he got old enough, he started working the typical jobs of a teenager in the west county ‘burbs: KFC, Einstein’s Bagels. He drifted for a year after high school, until his parents suggested he look into culinary school. “I never thought of it as a profession, but it just clicked,” Coltrain says. “After the first course, I knew it was what I was meant to do. It was a cool epiphany.”

Coltrain worked his way through some of the top kitchens in St. ouis — ia ia’s, Mosaic, Niche. e first met Brian ardesty and Joel Crespo of Guerrilla Street Food when he was working at the now-shuttered Table. Hardesty and Crespo were using Table’s kitchen as a commissary for their new food truck, giving Coltrain a chef’s table seat to the Filipino fare they were introducing to the St. ouis area.

Coltrain and Hardesty found themselves reunited in the kitchen as part of the opening team at Element. Their friendship 26

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Brian Coltrain with the star of Saturday’s menu: A pig ready for spit-roasting. | HOLLY RAVAZZOLO would continue after Hardesty left Element to dedicate himself full-time to Guerrilla Street Food.

When Coltrain departed last year, it wasn’t long before his old boss reached out to him.

“They are getting ready to open a few new locations here in St. ouis and are planning on expanding to Chicago,” Coltrain explains. “They needed someone to run their kitchen because they want to be super-careful that they do this without sacrificing who they are. I came in for an interview with Brian ardesty and we just ended up talking about the future. It seemed like a really good fit.”

Coltrain is now Guerrilla Street Food’s chef de cuisine. He admits there was a little bit of a learning curve when he started, but he is quickly becoming proficient in Filipino cuisine. “I’ve always loved this style of food, and now that I am here it’s been nice to learn and educate myself.”

Coltrain’s been busy in the kitchen making the new “All City

AUGUST 10-16, 2016

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Burger,” a patty of ground brisket and chuck, housemade Thai chili cheese, calamansi mustard, pickled cucumber and onion on a lard-toasted bun. He spared a few minutes to share his thoughts on the St. ouis restaurant scene, secret handshakes and the sweet burn of Totino’s pizza.

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

I’m very much an introvert.

I’ve worked really hard to become more social and outgoing.

What daily ritual is non-negotiable for you?

My secret handshake with my daughter, Delilah. Every morning before I go to work we have our special handshake, which is secret, so I can’t share it.

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

The huge increase in collaborations and friendships between business owners and the people

they serve.

Who is your St. Louis food crush?

My wife, Meaghan. She has worked at so many amazing places including Niche, Pint-Size Bakery, Element and currently the Missouri Athletic Club. She really shows that pastries and baking are equally as technical and important as the savory kitchen.

Who’s the one person to watch right now in the St. Louis dining scene? ick ewis. uincy Street Bistro was and still is amazing. Southern is one of the most solid places I’ve eaten at. Whenever I see him, he is greeting guests and being so friendly, all while he is running a successful restaurant. I can only imagine what is next on the agenda.

Which ingredient is most representative of your personality?

I think curry represents me very well. It can be basic and what is needed at the time, or it can be insanely intricate and exotic, all depending on what is needed. It can fit any occasion.

If you weren’t working in the restaurant business, what would you be doing?

I would be a wild man! I would live off of the land, foraging and hunting for what my family and I need to survive. Nature is key for healthy living.

Name an ingredient never allowed in your kitchen.

I’ve never met an ingredient without a use. I’ve seen awaiian Punch used as a sauce for pork belly. I’ve even enjoyed truffle oil, on occasion, when it’s with fries, Parmesan and cracked black pepper. Every ingredient is an opportunity to learn and create.

What’s your food or beverage guilty pleasure?

Totino’s Party Pizza. Even if you don’t remember eating it, the burns inside your mouth the next day will remind you about how delicious it was — so delicious that you’ve forgone the cooling process in return for avor and burns.

What would be your last meal on earth?

My mom’s chicken curry burritos would definitely be my last meal on earth. They’re amazing and remind me of happy times and family dinners. n

D O O F R I V ERF RONTTIMES.CO M riverfronttimes.com

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[BARS]

The Archive Music House & Southern Grill Brings Soul Food to Soulard Written by

SARAH FENSKE

F

or the last few years, one of the most striking bars in St. Louis has also been the one with the most upheaval. The gorgeous old Carnegie library at Lafayette and 7th Boulevard in Soulard has been a bar since the 1960s, but most recently the turnover has been the most remarkable thing about it. Woodie’s lasted less than a year. Soulard Supper Club lasted less than a month.

Tim Warren and his business partners — which include wife Stephanie Hall and the Love family, helmed by mother-and-son team Mary and Marcus — plan to change that. They’re banking on their years in the hospitality business, which collectively top a half-century, to turn around the place’s fortunes and offer a home for live music and tasty soul food, all behind that striking exterior.

Their new venture is called the Archive Music House & Southern Grill (706 Lafayette), and it quietly opened its doors in early June. Only now, though, have its owners been willing to tell their story.

“We opened quietly and got everything ready behind the scenes,” Warren explains.

“We didn’t want to be packed and have bad service,” adds Marcus Love.

For Warren, the story began in early 2015 when he was hired to transform a shuttered venue once known as the

tist. She’ll be offering weekly “Sunday specials” every Sunday beginning at 11 a.m., with a special menu that echoes the meals she perfected there — “just real soul food signature type dishes,” she says, served family style.

“Last week we had mustard greens, baked chicken, cornbread, candied yams and peach cobbler,” she says.

But bar-goers needn’t feel like they’ve stumbled into a church. The food will be available late at night, too, and the execution is superb.

The Archive Music House offers space for a live band — but is cozy enough not to feel cavernous. | LUKE C.J. SMITH You’ve never met a more perfectly seasoned catfish filet, with just the Library into a drag bar called Woodie’s. lesque club to open next in the space perfect hint of spice, served with a meaty Warren, who’s been a DJ around town quickly went bust earlier this year, side of spicy spaghetti. Rib tips come Texfor nearly three decades, boasts skill in Warren seized the opportunity. He and as-style on a piece of white bread, with woodworking, and poured his talents Hall went all-in, envisioning a friendly a dollop of Mary Love’s signature potato neighborhood bar by day that at night salad. Creamy and mustardy, it’s studded into rehabbing the gorgeous interior.

Like many hired guns, though, he becomes a music venue. The sizable with hard-boiled eggs and pickles. couldn’t help but dream of a place of his stage provides plenty of room for perThe Loves’ food is technically a own. “Seeing so many bar owners over formers and rock bands — without separate element from the bar. With the years, and seeing everything they blasting patrons out of their seats. a service counter on the wall opposite True to their roots in the Grove, the stage, the Loves are calling their did right and everything they did wrong, you start to think about how you could they’re intent on creating a bar that’s enterprise Jakki’s Place after Mary do it yourself,” he says. “You spend so welcoming to everyone. “We don’t Love’s youngest brother, who passed many years making them money only to want it to be a gay bar or a straight away in 2008. The siblings had get screwed over in the end.” bar,” Hall says. “We want everyone to dreamed of opening a restaurant His wife, Hall, had been the long- feel comfortable.” together, and “just to see his legacy time entertainment coordinator at the And for food, they brought in Love, and his name carried on means a lot Grove nightclub Attitudes. (They met who then brought in his mother Mary, to me,” she says. when she hired Warren to do the ka- his wife Felisa, and his siblings Cedric, For its excited co-owners, everyraoke.) There they’d gotten to know Stephen and Charmaine, as well as thing about the Archive feels like a Marcus Love, who spent more than Mary’s fiance Fabian Thompson, to do dream come true. Laughing about 25 years handling security for the the cooking. the lack of need for extensive renovaclub. Love had a secret talent of his The recipes are all Mary Love’s, and tions, Warren says, “I already did the own: He’d been the chef at the Flying they’re the dishes she grew up eating physical changes — I just did it while Pig Barbecue before it shuttered, and as a child in Mississippi. She honed someone else was paying for it!” longed to return to the food business. her craft as an adult for more than Adds Hall, “We all helped rehab it, When it became clear Woodie’s a decade cooking monthly dinners and now we’re back in it.” For the new wasn’t going to make it, and the bur- at her church, Greater Fairfax Bap- owners, it feels like a happy ending. n

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[FIRST LOOK]

Yolklore Brings Chef-Driven Breakfast to Crestwood Written by

CHERYL BAEHR

M

ary and John Bogacki and Billy Oziransky suspected Crestwood’s residents were hungry for a breakfast option that wasn’t a chain.

At olklore’s grand opening July 31, they felt the full weight of that hunger.

“We had a line out the door for two hours straight,” Oziransky says. “It was 100 degrees out and people were standing out into the parking lot. They just kept coming.”

Crestwood has good reason to be excited about its new brunch restaurant. As one of the few independent breakfast spots in the area, Yolklore (8958 Watson Road, Crestwood; 314-270-8538) is answering diners’ demands with a daytime option that features from-scratch cooking and local products — and there’s even a drive-thru.

The chef-driven breakfast and brunch restaurant is the realization of a dream for the Bogackis and Oziransky. All three have extensive backgrounds in the hospitality industry: the Four Seasons and Strange Donuts for Mary, Old Warson Country Club and Bolyard’s Meat Provisions for John and the Four Seasons for Oziransky. The three had tossed around the olklore idea for some time, and finally brought it to fruition via a successful Kickstarter campaign this spring. olklore is tucked into a generic strip mall off Watson, near Grant’s Trail. But what it lacks in curb appeal it makes up for with a charming interior.

The restaurant is painted in a deep eggplant hue with white wainscoting. A long, steel communal table sits in the center

The “Mary B.E.A.R.” sandwich, top, is made with brie, eggs, arugula and pickled red onions. Left, Mary Bogacki makes Yolklore’s pastries and breads inhouse. Right, the “Nest Egg” features bacon, eggs, cheese and preserved lemon baked into a buttery crust. | HOLLY RAVAZZOLO of the dining room, along with a few white metal tables and a wooden wall-counter.

The kitchen is open on two sides, so you feel like you are in on the action. Even the prep area is visible through a large window. “We have nothing to hide,” Oziransky laughs. olklore follows the fast-casual model: Guests order at the counter, grab coffees, utensils and water from the open-kitchen’s window and wait for food to be delivered to the table. Ticket times are meant to clock in under five minutes.

Even with that, everything — the ciabatta, the biscuits, the juices, the sausage — is made

in-house. “We’re using the best local products — olling awns milk, Buttonwood Farms turkey, odgson Mill Flour,” Bogacki says. “It’s just the expectation, but we’re really excited about using these great producers.

The cows get milked on Monday, bottled that day and sent to us on Tuesday. It doesn’t get any fresher than that.”

Look for items like the restaurant’s signature “Nest Egg” two poached eggs, bacon and cheddar cheese encased in a buttery biscuit and topped with pickled onions, greens and preserved lemon.

The restaurant offers classic breakfast items as well, like riverfronttimes.com

biscuits and gravy, housemade sausage and pancakes, as well as a handful of brunch-style sandwiches. Fresh squeezed juices, Mary’s signature gooey butter cake and coffee from local roaster Dubuque Coffee are also available.

“When we were looking for a place to open, we heard that Crestwood was getting ready to redevelop the mall,” Mary explains. “To us, that meant the city was ready to grow and change. We wanted to be a part of that.” olklore is open Monday through Friday from 6 a.m. until 2 p.m. and Saturdays and Sundays n from 7 a.m. until 3 p.m.

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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

Housemade chicken tamales from Fort Taco. | MABEL SUEN [MIDTOWN]

Triumph Grill

3419 Olive Street; 314-446-1801.

Fresh Pressed Sandwiches Homemade Soups Wood Fired Pizza Local Beer • Local Wine Ice Cream • Snacks

NOW SERVING SUNDAY BRUNCH

Another addition to midtown’s suddenly teeming restaurant scene, the Triumph Grill is attached to the Moto Museum and named for the classic motorcycle. The lengthy menu includes many of the dishes that spring to mind when you call a restaurant a “grill” — wings, calamari and onion rings; nine different salads and more than a dozen sandwiches; steaks, pork chops, chicken breasts and salmon — but with occasional, unexpected touches from the cuisines of Japan, India and the American southwest.

The décor is contemporary-art gallery. When the place is crowded, though, the hubbub will make you think of a passing fleet of Harleys. $$-$$$

Small Batch Whiskey & Fare 3001 Locust Street; 314-380-2040 Thank you, St. Louis!

BEST COMFORT FOOD - Reader’s Choice 2015

TOWER GROVE EAST Open 11 a.m. - 8 p.m.

3101 Arsenal

BEST DELI/SANDWICH SHOP - Editor’s Pick 2015

Our Story: It Will Never be Over

Part 10 of 10

Southern

Steps to our Success: - Build a strong team - Persist and persevere - Consistently set higher goals - Ignore negativity - Focus on the customer - Provide the best food and service possible

3108 Olive Street; 314-531-4668

For previous versions, visit www.forttaco.com/about-us

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Restaurateur David Bailey takes the whiskey-bar trend in an unexpected direction with his vegetarian eatery, Small Batch. Bailey doesn’t bill the place as a crunchy vegetarian spot; instead, he hopes that diners will enjoy the vegetable-focused concept so much that they fail to miss the meat. The carbonara pasta, made with housemade linguine, replaces the richness of bacon with smoked mushrooms. Even the most die-hard carnivore will be satisfied by the “burger,” a greasy-spoonstyle corn and black bean patty topped with creamy guacamole, Chihuahua cheese, and Bailey’s signature “Rooster” sauce (tangy mayonnaise). Small Batch’s bourbon selection and creative cocktails are also impressive. The “Smokeysweet,” a blend of smoked cherries, rye and rhubarb, tastes like drinking punch by a campfire. For a taste of summer in a glass, the “Rickey” is a bright concoction of elderflower liquor, grapefruit, lime and white corn whiskey. The gorgeous, vintage setting provides an ideal spot to indulge in some Prohibition-era-style drinking. $-$$

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What do you get when Pappy’s pitmaster Mike Emerson and king of comfort food Rick Lewis team up? Only the best thing that’s happened to Southern cuisine in St. Louis since, well, ever. Their joint venture, Southern, is one part Nashville-style hot chicken shack and one part deep-South-influenced butcher shop. Southern serves hearty sandwiches, like its fried green tomato BLT called “The Dirty South,” made with bacon so thick it could be confused with a ham steak. The hot chicken is this fast-casual restaurant’s specialty, though, and they do it up just like the legends in Nashville -- juicy meat, crispy skin and a generous saucing of hot chili oil after

it comes out of the fryer. Heat levels range from mild to melt-your-face-off “Clucking Hot,” though for those who shy away from spice, un-sauced original or an Asian-style General Tso version are available. Wear your stretchy pants: The only way to cool down your mouth is with the housemade vanilla pudding. $$

The Dark Room

615 N. Grand Boulevard; 314-531-3416.

Shutterbugs and winos alike will delight in Grand Center’s Dark Room. Part art gallery and part bar, the Dark Room features monthly photography exhibits curated by the International Photography Hall of Fame alongside an artisan wine program highlighting a substantial selection by the glass or bottle. The minimal space features decorative vintage film equipment and clean, contemporary design. [ M I D S T. L O U I S C O U N T Y ]

Fort Taco

8106 Manchester Road, Brentwood, 314-647-2391 Owner Gabriel Patino and company transformed the former Brentwood Rally’s into Fort Taco, a homage to the food they grew up on. The restaurant calls itself traditional, but it’s not exactly Mexican. Patino uses the recipes of his great-grandparents, who brought their native cuisine with them when they emigrated to Fort Madison, Iowa.

Fort Taco’s menu consists of just three main items. Traditional soft-shell tacos are its signature; the large, puffy, deep-fried flour shells are stuffed with either beef or chicken and simply dressed are a feast in themselves. Enchiladas — vegetarian, beef or chicken — covered in a rich, ancho-chile-based sauce are equally delicious, and the handmade tamales are as authentic as anything you’d find on Cherokee Street. Fort Taco is drive-through only, and thankfully the long line moves quickly — the friendly staff understand the urgency of getting this delicious food in their patrons’ hands as fast as possible. $

Fozzie’s Sandwich Emporium 1170 S. Big Bend Boulevard, Richmond Heights; 314-932-5414

Though a small restaurant, Fozzie’s follows the “more is more” principle. There are twenty sandwiches, almost all of them overstuffed, as well as burgers, hot dogs and gyros (and salads, appetizer dips and milkshakes, too).

There is the “B.A.B.T.L.” (bacon and bacon, lettuce and tomato) with a half-pound of bacon, and the awesome “Big Bend Mafia,” with Italian-seasoned beef and salsiccia. The signature dish might be the “Juicy Lucy,” a Minneapolis-St. Paul specialty that consists of a cheeseburger with the cheese stuffed inside the patty.

The salads, featuring with vegetables from the restaurant’s own garden, are very good. $

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Thank You St. Louis Riverfront Times Restaurant Guide Favorite BBQ 2016

“World-Class BBQ”

-Cheryl Baehr, Riverfront Times Restaurant Critic

20 S Belt W Belleville, IL 62220 618.257.9000 Hours: SUN - THURS - 11am - sell out, or 9p FRI & SAT- 11am - sell out, or 10p riverfronttimes.com

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®

MON. 10/10

ON SALE 8.12 AT 10AM

SAT. 10/15

ON SALE 8.12 AT 10AM

SATURDAY 8/13

MONDAY 8/15

WEDNESDAY 8/17

SATURDAY 8/20

SUNDAY 8/21

TUESDAY 8/23

FRIDAY 8/26

SATURDAY 8/27

FRIDAY 9/2 & SATURDAY 9/3

TUESDAY 9/6

UPCOMING SHOWS

8.18 BUD LIGHT PARTY CONVENTION W/ DASHBOARD CONFESSIONAL 9.9 O.A.R. 9.14 THE QUEENS 9.17 BETH HART 9.19 TECH N9NE 9.21 PIERCE THE VEIL 9.22 SLAYER 9.23 STORY OF THE YEAR / THE STRUTS 9.27 AMOS LEE 9.28 GHOST 9.29 YOUNG THE GIANT 9.30 THRICE 10.3 THE HEAD AND THE HEART 10.4 CORINNE BAILEY RAE / ANDRA DAY 10.5 LOCAL NATIVES 10.8 BOYCE AVENUE 10.12 MESHUGGAH 10.13 LETTUCE

10.17 ZEDS DEAD 10.18 NICK LOWE W/ JOSH ROUSE 10.19 BRIAN CULBERTSON 10.21 LOREENA MCKENNITT 10.22 TEGAN AND SARA 10.23 MAC MILLER 10.24 CHARLIE PUTH 10.25 SCHOOLBOY Q 10.29 & 10.30 UMPHREY’S MCGEE 10.31 TROYE SIVAN 11.2 SEVEN LIONS 11.4 REBELUTION 11.11 MACHINE GUN KELLY 11.12 AARON LEWIS 11.13 HANNIBAL BURESS 11.16 HENRY ROLLINS 11.17 GRIZ 11.23 JJ GREY & MOFRO

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

@ThePageantSTL

thepageantstl.tumblr.com

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

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MUSIC

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“We want to say now, ‘This is our music, we hope you love it.’” | COURTESY OF PEERLESS ENTERTAINMENT

Release the Hounds St. Louis’ Clockwork finds new life with a new name Written by

THOMAS CRONE

L

ast year, the youthful pop band called Clockwork seemed to be on top of the world. Young, good-looking and capable of writing clean pop rock hooks, the young St. Charles residents found management, booking agencies and a host of producers ready to work with them even before two of the three members were old enough to drive to gigs.

They eased their way through high school with an active touring schedule and seemed primed for a 2016 breakthrough. They even got the coveted nod to play LouFest.

But for Clockwork, that September 2015 gig proved less a jumping off to greatness and more the beginning of a sort of ending, says guitarist Jordan

Slone. Since that performance, they’ve taken on a new name — Hounds — and begun to chart a much different course.

“We played the show and it was really fun,” he explains. “After LouFest, we had a show that was rescheduled for a different month, about five months later. And we didn’t have anything else planned.

That was kinda good; we had that show coming up in February and time to work on music, do whatever.

“But everyone had so much time to be honest with each other.

And we didn’t like what we were doing anymore. We were a bunch of liars. We liked all the songs, but they weren’t all necessarily meant to be shared. We went in the studio way too long, too sporadically. We worked on the last album over the course of a year, which was way too much time and something I’ll never do again.

“The songs we recorded at the beginning, we didn’t want to do anymore,” he adds. “We wanted to play songs that we wanted to do, in a way so that we weren’t lying to everyone. We want to say now, ‘This is our music, we hope you love it.’ We stopped for a while and it

really felt that there was a chance that we weren’t going to play music [together] again. At different times, all of us looked at different options in our lives. We had a ton of talks and moments of self-realization.”

Jordan is the group’s old head, at age 23. His brother/bassist Logan Slone is twenty, the same age as drummer Logan Mohler. While they may seem too young to arrive at a mid-career crisis, it’s also a testament to the members’ selfawareness that they understood that too many voices were being heard and served. Even if those folks were well-meaning and experienced in the craft of hitmaking, the sheer amount of input started to overwhelm the young group. Over time, the advice touched on everything from the band’s songs to the band’s look; even today, you can sense that a simple question about the group’s onstage attire is something that can stimulate a long, passionate, slightly self-conscious conversation.

The decision to shed that excess, Mohler suggests with humility, “is like we’re slipping into our adult forms.” In doing so, the members of Hounds are deprogramming the dreams of early pop stardom while riverfronttimes.com

transitioning into a new, improved, self-fulfilled band.

The best-meaning folks “weren’t wrong; they just weren’t right for us,” Jordan says. “Success, for us, is playing music that we want to play.

If we keep doings that — writing, recording, doing what we love to do — then we’re successful.”

Regarding the group’s new sound, Jordan and Mohler toss out some general terms, indicating that they’ve basically roughed-up and “dirtied” their sound a bit, not stressing “finesse” as often as they might have before. To that end, they’re especially rethinking the way they’ve recorded.

To date, the group’s gotten used to spending time in world-class studios, which brought about a lot of positives, but also gave birth to a degree of over-indulgence they’d rather not repeat. Jordan hints that they were being trapped by these “huge swells in production,” many of which couldn’t be reproduced by the trio on stage.

“Even some of the equipment we were using,” he adds, “was so beautiful, so amazing. ‘This is an awesome guitar, these are awesome drums. Use this amazing

AUGUST 10-16, 2016

Continued on pg 34

RIVERFRONT TIMES

33

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mic, all these pedals. Use all of these things!’ It was like being in Guitar Center and they say, ‘You can use everything in the store. Then go online and think about what else you want to play with and we’ll have that here within 30 minutes.’”

Slone admits that the group was “starstruck” in some studio interactions as well. Now, they’ve settled in on producer Matt Amelong, with whom they share a more organic, trusting relationship.

In September they’ll record with him, and the group hopes to have a release out by October — a new, quicker dynamic for them.

“We didn’t like what we were doing anymore. We were a bunch of liars.”

As for the new name, Mohler suggests that they wanted simplicity: “Nothing more than something people can use to find us on the internet.”

Flirtations with names such as the Riveters, the Winters, the Breaks, the Fuzz and the Fuss were all abandoned, and they knew that two other Clockworks were out there, suing one another for the use of that name. The adoption of Hounds was just part of a large sense of rebirth.

“Every song now can’t be that perfect, cookie-cutter format.

We’re doing something different and we’re relying on each other more,” explains Jordan. “As we’ve taken a lot more time, we’ve lost momentum. We didn’t gain any [fans] through this change and the name recognition for people who followed us in St. Louis is gone; on the road, a lot of people won’t know Hounds. They may’ve been to a Clockwork show, but they don’t trust Hounds yet.

“But we’ve redefined ourselves,” he adds. “We were babies when we started Clockwork; we weren’t old enough to drive. Now we’ve realized who we are as people.” n

HOMESPUN

35

KEVIN BOWERS Nova www.kevinbowersmusic.com

Kevin Bowers Record Release

8 p.m. Thursday, August 11. Off Broadway, 3509 Lemp Avenue. $10. 314-773-3363.

T

here’s scant evidence to suggest that Kevin Bowers timed the release of Nova, his album inspired by the music of Brazil, to coincide with the 2016 Olympics in Rio. But as the sports world turns its eyes to Brazil, it’s a good enough excuse to revisit the country’s vast and idiosyncratic contributions to the musical landscape. Bowers, whose skill as a drummer has placed him behind the kit in a number of rock, jazz and blues outfits around town, has made a marvel of a record with Nova, pulling from a years-long fascination with Brazilian music ranging from gentle bossa nova to psych-friendly tropicalia to blistering batacuda. If Nova is an act of musical tourism, it’s one that has been undertaken with deep love, scholarship and technique.

Over a pot of tea at Tower Grove South’s London Tea Room, Bowers traces the genesis of this project, which was sparked by some teenage crate-digging and blossomed thanks to travel abroad.

“I think I found a Brazilian compilation in high school at a record store,” says Bowers. “The cover was intriguing; it probably had a beautiful girl on it or something. I was intrigued by all the exotic rhythms, the singing in Portuguese. It was from another world because I grew up on American music, and so, something out of the box, I’m always attracted to.”

Bowers continued listening and studying all types of music, especially during his time at the Musician’s Institute in Hollywood, though he always felt the pull of samba and bossa nova. “I feel with Brazilian music, my feet never touch the ground,” he says. “I always feel transported when I’m listening to it.” But it was a recent trip to Spain that planted the seed for the songs and stories, if not necessarily the sounds, that would make up the core of Nova.

“Once I got back from Spain I knew I was going to make an album immediately,” he says. “I had this vision: What if this was a movie? What if this was Fred Astaire and Lena Horne trotting around Spain or Brazil, and Fellini was directing it? I wanna make the soundtrack to that.”

To achieve this, Bowers — a multi-instrumentalist who teaches lessons on guitar, piano and bass as well as drums — called on bandmates from his many gigs playing with the Feed, in Big Mike Aguirre’s blues band and in the Rolling Stones tribute act Street Fighting Band. While he has sung on records before (most recently on his 2008 release Nine Story Building), Bowers wrote for other vocalists on this album, casting them as characters in an imaginary road movie.

Paige Brubeck (of Sleepy Kitty) and Aguirre embody the spirit of the winsome lead-off track “Two Vagabond overs,” and the first half of the album follows, in part, their meanderings through the Mediterranean. The honeymoon is on hiatus in the album’s back half, as Jimmy Griffin and Erminie Cannon transmit a more weathered, bluesy version of these characters. If

there’s not one set narrative from song to song, Bowers speaks to the “theatrical experience” of the album, which will carry over into the album release show at Off Broadway on Thursday night.

Along with the guest vocalists, Bowers’ backing band rides the changing waves of these songs like session pros. Dave Grelle’s punchy, pinging electric piano solo on “Intuition (Someday, Someday)” injects some ‘70s fusion funk into the album’s last half, especially when followed by Kevin Bachmann’s buoyant, high-necked bass solo.

Despite the storyline and Bowers’ fluency as a lyricist, this is still a percussionist’s record. Tracks like “Forward Rhythm Agenda” and “Breaking for Conversation” in particular show his prowess and technique, with multi-tracked rhythm parts played on a variety of Brazilian instruments combining to mimic a full-on carnival drum line. Some moments are simpler but add essential texture; congas and bongos drive the clip-clopping rhythm to “Sofia (Walking with her Shadow),” which leaves plenty of room for cocktail piano and breezy ute — at least until Bowers kicks it into double-time and an easy stroll becomes a street festival.

His emphasis on rhythm is an exponent not just of his chosen instrument; for Bowers, these complex, multi-layered rhythms that wordlessly transmit love, adventure, longing and loss speak to the universality of music.

“That’s what we live and breathe — everyone is in rhythm,” he says. Of the feel-good nature of Brazilian music, he adds, “I think people connect with it somehow because it makes you want to get up and celebrate. It swings differently, too — it’s not heady, like some jazz is.”

If Nova is built around an intoxicating journey abroad, the making of the album represents a journey for Bowers during the eight years between solo albums. “It sounds cheesy, but something inside of me said, ‘You’re ready. You’ve grown up. You’ve lived between the last album and now and you have something to say.’”

—Christian Schaeffer riverfronttimes.com

“St. Louis pioneers of craft beer and live music” THURSDAY, AUGUST 11 TH

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Sunday’s with Stout: Cicero’s Variety Open Mic- Variety 7pm - FREE Cover (50% off select Stout Beer In The Venue)

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UPCOMING SHOWS

8/19 - Stone Sugar Shakedown 8/20 - Inner Outlines 8/26 - Sean Coray CD Release

6691 Delmar

In the University City Loop

314.862.0009 • www.ciceros-stl.com

AUGUST 10-16, 2016

RIVERFRONT TIMES

35

36

OUT EVERY NIGHT

THURSDAY 11

SATURDAY 13

LARRY GRIFFIN & ERIC MCSPADDEN: 7 p.m., $5.

Louis, 314-289-9050.

ABBEY ROAD WARRIORS: 6 p.m., free. Millen-

ANIMAL CHILDREN: w/ Frontal Lobe and The Sat-

BB’s Jazz, Blues & Soups, 700 S. Broadway, St.

HOUR 24: w/ Bangarang 7 p.m., $10. Fubar, 3108

nium Park, 2 Barnes West Dr., Creve Coeur,

urday Brothers 9 p.m., free. Schlafly Tap Room,

Louis, 314-436-5222.

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

314-432-2961.

2100 Locust St., St. Louis, 314-241-2337.

LUCKY OLD SONS: 7 p.m., free. Kirkwood Park,

MANCHESTER COMMUNITY BAND: 6:30 p.m.,

EDDIE RANDLE JR. TRIO: 5 p.m., free. Faust Park,

BILLY PEEK BAND: 7 p.m., free. St. Ferdinand

Geyer & Adams, St. Louis.

free. Paul Schroeder Park, Old Meramec Stn

15185 Olive Blvd., Chesterfield, 636-532-7298.

Park, 25 St. Ferdinand Park Dr., Florissant,

MATHIAS AND THE PIRATES: w/ Unifyah, Red Zero

between Manchester & Big Bend roads, Ballwin,

FALSE LIGHT: w/ At War Within 10 p.m., $10.

314-839-7670.

8 p.m., $6. The Firebird, 2706 Olive St., St. Louis,

636-391-6326.

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

BIRDCLOUD: 9 p.m., $5. Foam Coffee & Beer,

314-535-0353.

MISS JUBILEE: 6 p.m., free. Carondelet Park,

JOE METZKA BAND: 8 p.m., $5. BB’s Jazz, Blues

3359 Jefferson Ave., St. Louis, 314-772-2100.

PAUL MCCARTNEY: 8 p.m., $19.50-$252.50. Busch

Leona Ave. & Holly Hills Blvd., St. Louis.

& Soups, 700 S. Broadway, St. Louis, 314-436-

BLUES AND FUNK FESTIVAL: 6 p.m., free. West

Stadium, Broadway & Poplar St., St. Louis, 314-

POLLY O’KEARY & THE RHYTHM METHOD: 8 p.m.,

5222.

City Park, 2200 Sunshine Drive, Festus.

345-9600.

$10. BB’s Jazz, Blues & Soups, 700 S. Broadway,

KEVIN BOWERS NOVA CD RELEASE: 8 p.m., $10.

BOYS LIKE GIRLS: 8 p.m., $25-$27.50. The

PROTOMARTYR: 8 p.m., $12-$14. Off Broadway,

St. Louis, 314-436-5222.

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

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

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

773-3363.

6161.

SKEET RODGERS & INNER CITY BLUES BAND: 10

MONDAY 15

LACEY STURM: 7:30 p.m., $16-$18. The Firebird,

FLAMINGO NOSEBLEED: w/ The Haddonfields,

p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broad-

BLOODLINE: w/ Morningside 6 p.m., $7-$10.

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

Captain Dee and The Long Johns, Dangerbird,

way, St. Louis, 314-436-5222.

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

REEDY AND THE LONGTIME GONERS: w/ Cara

Heel Turn 7 p.m., $10. Fubar, 3108 Locust St, St.

SUPER JAM: 7:30 p.m., free. Chesterfield Amphi-

BUMMER’S EVE: 9 p.m., $5. Foam Coffee & Beer,

Louise Band 9 p.m., $5. Foam Coffee & Beer,

Louis, 314-289-9050.

theater, 631 Veterans Place Drive, Chesterfield.

3359 Jefferson Ave., St. Louis, 314-772-2100.

3359 Jefferson Ave., St. Louis, 314-772-2100.

GENE DOBBS BRADFORD BLUES EXPERIENCE: 6

TRIGGER 5: 4 p.m., $5. BB’s Jazz, Blues & Soups,

IT LIVES IT BREATHES: w/ Kyle Lucas 7 p.m.,

SHITSTORM: w/ Boreal Hills and Beach Bodies 9

p.m., free. Lafayette Square, Park & Mississippi

700 S. Broadway, St. Louis, 314-436-5222.

$12-$14. The Firebird, 2706 Olive St., St. Louis,

p.m., free. Schlafly Tap Room, 2100 Locust St.,

avenues, St. Louis, 314-772-4644.

St. Louis, 314-241-2337.

GRUB & GROOVE: w/ John Henry, Kim Massie,

SUNDAY 14

Emily Wallace 4 p.m., free. Francis Park, Eichel-

A BENEFIT SHOW FOR TIMOTHY MICHAEL MCFAR-

BB’s Jazz, Blues & Soups, 700 S. Broadway, St.

berger St. & Donovan Ave., St. Louis.

LAND: 7 p.m., free. Fubar, 3108 Locust St, St.

Louis, 314-436-5222.

FRIDAY 12

314-535-0353.

JOE PASTOR & LEGACY ENSEMBLE: 8 p.m., $5.

THE BOTTLESNAKES: 4:30 p.m., free. Tower

LIL WYTE: w/ Mark James, Yung Prof 8 p.m., $15.

Grove Park, 4256 Magnolia Ave., St. Louis,

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

314-771-2679.

MILEMARKER: 8 p.m., $12. Off Broadway, 3509

BROTHER JEFFERSON BLUES BAND: 10 p.m., $5.

[CRITIC’S PICK]

BB’s Jazz, Blues & Soups, 700 S. Broadway, St.

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

SOULARD BLUES BAND: 9 p.m., $5. Broadway

Louis, 314-436-5222.

Oyster Bar, 736 S. Broadway, St. Louis, 314-621-

CONTAGIOUS: 7 p.m., free. Des Peres Park,

8811.

12325 Manchester Road, Des Peres, 314-8356150.

TUESDAY 16

DIERKS BENTLEY: w/ Randy Houser, Cam,

BILLY PEEK: 7 p.m., free. Faust Park, 15185 Olive

Tucker Beathard 6 p.m., TBA. Hollywood Ca-

Blvd., Chesterfield, 636-532-7298.

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

GLASS MANSIONS: w/ City of Parks, You Me and

Maryland Heights, 314-298-9944.

The American Dream, After Hour Animals 7

DON TRIP: 8 p.m., $25. The Ready Room, 4195

p.m., $8-$10. The Firebird, 2706 Olive St., St.

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

Louis, 314-535-0353.

EDUCATED IMBECILES: w/ Powerline Sneakers,

JAMAICA LIVE TUESDAYS: w/ Ital K, Mr. Roots, DJ

the Skagbyrds 9 p.m., $7. The Heavy Anchor,

Witz, $5/$10. Elmo’s Love Lounge, 7828 Olive

5226 Gravois Ave., St. Louis, 314-352-5226.

Blvd, University City, 314-282-5561.

FANFARE: 7:30 p.m., free. Wildwood Town

POUYA: w/ Ramirez, Germ, Shakewell 8 p.m.,

Center Plaza, 221 Plaza Drive, Wildwood,

Lee “Scratch” Perry.

636-458-0440.

GALAXY RED: 5 p.m., free. Saint Louis Zoo, Forest Park, St. Louis, 314-781-0900.

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

MADBALL: w/ Homewrecker, Coldside 6 p.m., $15. Fubar, 3108 Locust St, St. Louis, 314-2899050.

ODDS LANE: 7 p.m., free. Plaza 501, 501 S Ferguson Road, Ferguson.

PLEASURES: w/ Gigantic, Dad Jr 9 p.m., $5.

Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100.

SIANVAR: w/ My Iron Lung, Save Us From The Archon 6 p.m., $14. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

TOK: w/ Middle Class Fashion, Scarlet Tanager 9 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363.

36

RIVERFRONT TIMES

$20-$50. Fubar, 3108 Locust St, St. Louis, 314289-9050.

ST. LOUIS SOCIAL CLUB: 8 p.m., $5. BB’s Jazz,

Lee “Scratch” Perry 8 p.m. Friday, August 12.

Blueberry Hill Duck Room, 6504 Delmar Boulevard. $25 to $30. 314-727-2277.

Like Phil Spector, George Martin and Dr. Dre, Lee “Scratch” Perry harnessed the power and potential of the studio and available technologies with such authority and creativity that after him no one would even think of making records the same way. If he created a bizarre cult of personality with one main bonkers follower (himself), he also helped pioneer sampling and

AUGUST 10-16, 2016

riverfronttimes.com

created dub, an experimental and infinitely elastic version of reggae. For starters, his work with the Upsetters, Bob Marley and Junior Murvin (the Clash covered “Police and Thieves,” because it’s only one of the best singles ever) can still boggle the brain and stone the soul.

Super Ape Antics: Perry’s current tour celebrates 40 years of the landmark Upsetters’ album Super Ape. You’ll hear it all in St. Louis — likely with a lot of crazed testifying from Perry.

– Roy Kasten

Blues & Soups, 700 S. Broadway, St. Louis, 314436-5222.

WEDNESDAY 17 BIG RICH MCDONOUGH & THE RHYTHM RENEGADES: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

BOB “BUMBLE BEE” KAMOSKE: 8 p.m. Beale on Broadway, 701 S. Broadway, St. Louis, 314-6217880.

CHRISTOPHER THE CONQUERED: 9 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-7733363.

FANFARE: 11:45 a.m., free. Citygarden, 801 Market St, St. Louis.

JOHNNY AZARI: 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222.

Continued on pg 38

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AUGUST 10-16, 2016

RIVERFRONT TIMES

37

OUT EVERY NIGHT Continued from pg 36 [CRITIC’S PICK]

Tok 9 p.m. Friday, August 12.

Off Broadway, 3509 Lemp Avenue. $10. 314-7733363.

For a while there, it was easy to look at Tok as the Festus-bred, stoner-shred brainchild of brothers Matt and Bryan Basler. And while the trio can still melt faces with the best of them, the four volumes of the Gold Dollar Hen House EPs have found that band stretching into power-pop, piano balladry and

Wed., ov. 2, 8 p.m., $20. The Ready Room, 4195

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

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

SIDNEY STREET SHAKERS: 9 p.m., free. Foam

BOZ SCAGGS: Tue., Oct. 18, 8 p.m., $45-$65. River

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

City Casino & Hotel, 777 River City Casino Blvd.,

314-772-2100.

St. Louis, 314-388-7777.

SNOOP DOGG AND WIZ KHALIFA: w/ Kevin Gates,

CAMERON ESPOSITO: Sat., ov. 19, 8 p.m., $18-$20.

Jhene Aiko, Casey Veggies, DJ Drama 6 p.m.,

The Ready Room, 4195 Manchester Ave, St. Louis,

$26-$99.95. Hollywood Casino Amphitheatre,

314-833-3929.

I-70 & Earth City Expwy., Maryland Heights,

THE CHI-LITES: Sat., Sept. 3, 7 p.m., $30-$55. Em-

WILCO: 7 p.m., $30-$75. The Fox Theatre, 527

erson Performance Center, 3026 Laclede Ave., St. .

Grand Blvd., St. Louis, 314-534-1111.

THIS JUST IN

thurs. aug. 11 9:30PM Big Sam’s Funky Nation from New Orleans

fri. aug. 12 10PM John Gros’ Band Formerly of Papa Grows Funk from New Orleans

sat. aug. 13 10PM Jake’s Leg

sat. aug. 20 10PM Bottoms Up Blues Gang 15th Anniversary Show featuring Pepperland, Leslie Sanazaro, Tommy Halloran and more!

736 S Broadway St. Louis, MO 63102 (314) 621-8811 38

RIVERFRONT TIMES

riverfronttimes.com

THE COMMODORES: Sat., Oct. 1, 8 p.m., $45-$65.

River City Casino & Hotel, 777 River City Casino Blvd., St. Louis, 314-388-7777.

CROWN THE EMPIRE: W/ blessthefall, ew Years

15, 8 p.m., $20-$25. The Pageant, 6161 Delmar

Day, Too Close to Touch, Light Up The Sky, Sat., ov. 12, 6 p.m., $20-$23. The Ready Room, 4195

ALL BLACK PARTY: W/ King B, Ken Ken, Sat., Aug.

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

20, 8 p.m., $10-$12. The Ready Room, 4195 Man-

DEAN WEEN GROUP: W/ Meat Puppets, Tue., Oct.

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

25, 8 p.m., $22.50-$25. Delmar Hall, 6133 Delmar

AOIFE O’DONOVAN: Thu., Sept. 22, 8 p.m., $18-$25.

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

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

DOPAPOD: W/ Pigeons Playing Ping Pong, Thu.,

588-0505.

Dec. 8, 9 p.m., $13-$16. The Ready Room, 4195

ASHLEY RAINES: Tue., Sept. 6, 11:30 p.m., $5. BB’s

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

Jazz, Blues & Soups, 700 S. Broadway, St. Louis,

EARPHUNK: Fri., Oct. 14, 9 p.m., $10-$12. Old Rock

314-436-5222.

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

ASTRONAUTALIS: Wed., Oct. 19, 8 p.m., $15-$18.

GRUB & GROOVE: W/ John Henry, Kim Massie, Emi-

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

ly Wallace, Sat., Aug. 13, 4 p.m., free. Francis Park,

0353.

Eichelberger St. & Donovan Ave., St. Louis.

A BENEFIT SHOW FOR TIMOTHY MICHAEL MCFAR-

HANNIBAL BURESS: Sun., ov. 13, 8 p.m., $35-$65.

LAND: Sun., Aug. 14, 7 p.m., free. Fubar, 3108

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

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

726-6161.

BIG GEORGE & THE HOUSEROCKERS: Fri., Sept.

HELLZAPOPPIN CIRCUS SIDESHOW REVUE: Sat.,

2, 10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S.

Sept. 10, 9 p.m., $10-$13. The Ready Room, 4195

Broadway, St. Louis, 314-436-5222.

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

BILLY BARNETT BAND: Thu., Sept. 1, 7 p.m., $5. BB’s

HUNTRESS: Wed., Sept. 14, 7 p.m., $13-$15. Fubar,

Jazz, Blues & Soups, 700 S. Broadway, St. Louis,

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

314-436-5222.

IAMX: W/ Cellars, Wed., Oct. 5, 8 p.m., $20-$23.

BLACK & WHITE BAND: Sun., Sept. 4, 5 p.m., $10.

The Ready Room, 4195 Manchester Ave, St. Louis,

BB’s Jazz, Blues & Soups, 700 S. Broadway, St.

314-833-3929.

Louis, 314-436-5222.

ICE NINE KILLS: W/ Secrets, Sylar, Out Came The

BLUE OYSTER CULT: Sat., Sept. 10, 8 p.m., $20-$40.

Wolves, Cover Your Tracks, A Promise To Burn,

Chesterfield Amphitheater, 631 Veterans Place

Tue., Sept. 13, 6 p.m., $16-$18. Fubar, 3108 Locust

Drive, Chesterfield.

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

BOO BOO DAVIS & BUMBLE BEE TRIO: Sat., Sept.

JOE METZKA BAND: Thu., Sept. 1, 10 p.m., $5. BB’s

3, 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S.

Jazz, Blues & Soups, 700 S. Broadway, St. Louis,

Broadway, St. Louis, 314-436-5222.

314-436-5222.

BOWLING FOR SOUP: W/ The Fuck Off And Dies,

AUGUST 10-16, 2016

Louis, 314-340-5971.

3LAU: W/ Prince Fox, SK8, Justin Caruso, Sat., Oct. Blvd., St. Louis, 314-726-6161.

Voodoo Players Tribute to the Eagles

– Christian Schaeffer

MELVINS: 8 p.m., $20. The Firebird, 2706 Olive

314-298-9944.

wed. aug. 10 9:30PM

dirge-like acoustic kiss-offs. The fourth and final EP in the series is being released this weekend, and its six songs find the fabulous Basler boys channeling Badfinger and the Church as readily as Kyuss and vintage Queens of the Stone Age. Three for one: Two of the city’s more adroit pop bands will open the show, with Middle Class Fashion and Scarlet Tanager leading off a stacked local bill.

Continued on pg 40

Focus Features Kubo and The 2 Strings Onesheet

PROMO AD – 4C 3 COL. (5.7") X 10.5" = 31.5"

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INVITES YOU AND A GUEST TO A SPECIAL ADVANCE SCREENING OF

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INVITE YOU TO ENTER FOR YOUR CHANCE TO WIN PASSES TO A SPECIAL 3D ADVANCE SCREENING

TUESDAY, AUGUST 16 7:00 P.M. Visit riverfronttimes.com/ promotions for your chance to receive a code to download your passes.* *Passes are available on a first-come, firstserved basis. No purchase necessary.

While supplies last. Two admit-one passes per person. This film has been rated PG-13 by the MPAA. BenHurMovie.com

OPENS IN THEATERS AUGUST 19TH

PLEASE VISIT WBTICKETS.COM AND ENTER THE CODE RFTDOGS TO DOWNLOAD YOUR COMPLIMENTARY PASSES! RATED R FOR LANGUAGE THROUGHOUT, DRUG USE AND SOME SEXUAL REFERENCES. Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit one pass per person. Each pass admits two. Seating is not guaranteed. Arrive early. Theater is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theater (audio recording devices for credentialed press excepted) and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theater, forfeiture, and may subject you to criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.

IN THEATERS AUGUST 19 WarDogstheMovie.com #WarDogs

riverfronttimes.com ST LOUIS RFT THURSDAY, AUGUST 11

ST LOUIS RFT THURSDAY, AUGUST 11

Visit gofobo.com/ UBFIj84810 to enter for your chance to win one admit-two pass to attend the 3D advance screening of the film on Monday, 8/15.

Winners will be chosen at random from all entries. No purchase necessary. While supplies last. One admit-two pass per person. Winners will be selected on Fri, 8/12, 2:00pm CDT and will be notified by email. See passes for additional details.

HIS QUEST BEGINS AUGUST 19 KuboTheMovie.com /KuboTheMovie • @KuboTheMovie KuboTheMovie • #KuboMovie

AUGUST 10-16, 2016

RIVERFRONT TIMES ST LOUIS RFT THURSDAY, AUGUST 11

39

THIS JUST IN Continued from pg 38 [CRITIC’S PICK]

WIN FREE STUFF Film Passes, Concert Tickets, Local events, Music/movies, Restaurant gift cards, and much, much more!!! enter to win at: Riverfronttimes.com/ promotions/freestuff/

Jazz • Blues • Bossa

Photo by: Ed Linn

Fletcher Moley Group

• Ben Wheeler - bass • Kyle Honeycutt - drums • Katie Turnbull - vocals • Dave Stone - tenor sax • Fletcher Moley - guitar & vocals • Duane Williams - percussion

Bistro & Music House Friday 9/16, 10/14 & 12/10 512 N. Euclid Ave • St. Louis 40

RIVERFRONT TIMES

AUGUST 10-16, 2016

riverfronttimes.com

Snoop Dogg. | JASON STOFF

Snoop Dogg, Wiz Khalifa 6 p.m. Wednesday, August 17.

Hollywood Casino Amphitheatre, 14141 Riverport Drive, Maryland Heights. $26 to $99.95. 314-2989944.

Rolling into St. Louis this week with a cloud of smoke that could blot out the sun is the High Road Tour, led by rappers/noted marijuana enthusiasts Wiz Khalifa and Snoop Dogg. It was wise of this show’s promoters to stage it at an outdoor venue; the sheer volume of combusted plant matter would rapidly overwhelm the

sprinkler systems of any indoor joint (LOL, A PUN!). Joining them on this outing will be Kevin Gates (who should be able to resist kicking any of his fans while he’s in town), Jhene Aiko, Casey Veggies and DJ Drama.

Plan Ahead: Hollywood Casino Amphitheatre security routinely pats guests down on the way into the venue, so make sure the huge amount of weed you are undoubtedly planning to bring to this show is well-hidden.

–Daniel Hill

KEEP FLYING: W/ Lila Ignite, Inner Outlines, Wed.,

Aug. 25, 8 p.m., $10. The Firebird, 2706 Olive St.,

Sept. 14, 6 p.m., $8. Fubar, 3108 Locust St, St.

St. Louis, 314-535-0353.

Louis, 314-289-9050.

SOILWORK: W/ Unearth, Battlecross, Wovenwar,

KEVIN DEVINE: W/ Zach Sullentrup, Tue., Oct. 4,

Darkness Divided, Sat., ov. 5, 3 p.m., $20-$25.

8 p.m., $15. Off Broadway, 3509 Lemp Ave., St.

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

Louis, 314-773-3363.

STL KINGS OF COMEDY VS. STL QUEENS OF COMEDY:

KID ROCK: Sat., Dec. 31, 6 p.m., TBA. Scottrade

W/ atalie Monroe, Ladyre, MZ Tiffany, Jaylee

Center, 1401 Clark Ave., St. Louis, 314-241-1888.

Thomas, Jovan Bibbs, Princeton Dew, Sat., Sept. 3,

LA SERA: Sat., Oct. 15, 8 p.m., $12-$14. The Fire-

8 p.m., $15-$20. The Ready Room, 4195 Manches-

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

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

LARRY GRIFFIN & ERIC MCSPADDEN: Sat., Sept. 10,

SWEET SPIRIT: Wed., Oct. 19, 8 p.m., $10. Off

7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broad-

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

way, St. Louis, 314-436-5222.

3363.

LOOPRAT: W/ Scotty Woo, Armani, Fri., Aug. 26,

TENEIA: Sun., Sept. 4, 8 p.m., $5. BB’s Jazz, Blues &

9 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-

Soups, 700 S. Broadway, St. Louis, 314-436-5222.

289-9050.

THE TRAVELIN’ MCCOURYS: Fri., ov. 18, 8 p.m.,

METAL CHURCH: W/ ThorHammer, Sat., Sept. 17,

$20-$25. Old Rock House, 1200 S. 7th St., St. Louis,

7 p.m., $18-$22. The Firebird, 2706 Olive St., St.

314-588-0505.

Louis, 314-535-0353.

WELCOME HOME: W/ Choir Vandals, Make Room,

MY POSSE IN EFFECT: A TRIBUTE TO THE BEASTIE

avoid., Fri., Sept. 9, 7 p.m., $10. The Firebird, 2706

BOYS: Sat., Oct. 1, 8 p.m., $12-$15. The Ready

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

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

THE WHIGS: Thu., Sept. 8, 8 p.m., $10-$12. The

3929.

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

RAE SREMMURD: Mon., Oct. 10, 8 p.m., $30-$35.

WHITECHAPEL: W/ Oceano, As Earth Shatters,

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

Hallow Point, Left Bleeding, Absala, Wed., Oct. 26,

726-6161.

6 p.m., $18-$20. Fubar, 3108 Locust St, St. Louis,

SINCLAIR: W/ Zach Michael, Clayton Jones, Thu.,

314-289-9050.

SAVAGE LOVE VACATION

BY DAN SAVAGE DEAR READERS: I’m on vacation for the next three weeks — but you won’t be reading old columns while I’m away. You’ll be getting a new column every week, all of them written by Dan Savage, none of them written by me.

Dan Savage is a sports writer and the assistant director of digital content for OrlandoMagic.com, and he will be answering your questions this week. Dan has covered six NBA finals and ten NBA All-Star Games; he’s appeared on CBS, ESPN, NBA T , and First Take; and his writing has been published at ESPN.com, CBS.com, NBA.com, and OrlandoMagic.com. This is Dan’s first time giving sex-and-relationship advice.

“Other sports writers often tell me they enjoyed reading my latest column,” Dan Savage told me in an e-mail, “but when they show me the article, it’s one of your sex-advice columns. The joke is going to be on them this time around when it’s actually my advice!”

Hey, Dan: I’m a 36-year-old bisexual female. I’ve been dating my nice Midwestern boyfriend for about four and a half years. Within the first few dates, I brought up non-

monogamy. I was pretty sure from past experiences that long-term monogamy wasn’t going to be for me. I get bored, I like attention, and I love the chase. He was against it. I thought, OK, we have a lot of other positive stuff going for us and maybe he would reconsider in the future. I feel like I’ve lost a part of my sexual self no adventures, no three-ways, I miss girls, etc. I feel that what I want newness, some kink he isn’t trained in, being with a girl, etc. he can’t give me. So I brought up opening up the relationship again. My thought is I could get what I need/want and get my engine revving again, and hopefully bring that excitement and spark back to our relationship. He listens to your podcasts now, but he doesn’t think he could handle the idea of me with someone else. I don’t think I can handle the relationship as it is now, though, and this was my suggestion to try to make it stronger. I feel like I’ve already ended the relationship ust by bringing this up. Are we doomed?

A Girl Has Needs

my profession: NBA free agency. In the basketball world, it’s the time of year when teams can go after the best available prospects not under contract and offer them a deal to join their team. Organizations heavily vet these players, talking to their former teammates, coaches and others to make sure that their values match up. There’s nothing worse than being locked into a fiveyear guaranteed contract with a guy who doesn’t fit with your franchise. Actually, on second thought, there is — getting married to a guy who doesn’t share the same relationship goals and values.

If your boyfriend is someone who has no interest in open relationships — and from all indications, he’s doesn’t — odds are he’s never going to be happy in that type of situation. And if you’re never going to be happy with monogamy, then you need to find someone whose values match your own. Unfortunately, some people are destined to play man-to-(wo) man, while others are more satisfied in a 2-3 zone.

I appreciate you having your boyfriend listen to my podcasts — oh wait, that was probably meant for the other Dan Savage. Never mind.

My podcasts probably wouldn’t have helped with this issue.

Your question reminds me of a topic that’s currently top of mind in

Hey, Dan: I’ve been hooking up with a good friend for about a year.

We’re both single, and he lives in another state but comes to town for work every month or two, and we usually hang out and have really great sex when he’s here. One of the things I’ve always admired

riverfronttimes.com

41

about him is his eco-conscious lifestyle… which includes showering only about once a week to save water. His BO is pretty inoffensive it’s actually a nice scent , but I find that most times we hook up, I get a raging UTI within a day or two.

It’s happened enough times that I’m wondering if his infrequent washing could be allowing bacteria to live on his unk, causing my infections. Is that possible Do I need to have a talk with him about washing more frequently/thoroughly?

Hurts To Pee The simple answer is yes, HTP. It’s great to have an eco-conscious lifestyle, but not at the expense of your urinary tract. If he cares about you as much as he does about the environment, then with a quick chat, he’ll probably focus a little more on his personal hygiene. Especially if you explain to him that the overuse of antibiotics contributes to creating antibiotic-resistant bacteria, which can cause issues for the entire planet.

Follow Dan Savage, assistant director of digital content for OrlandoMagic.com, on Twitter @ Dan_Savage.

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

AUGUST 10-16, 2016

RIVERFRONT TIMES

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• More driving time than any other school in the state •

$495-$595 314-443-4478 8700 Crocus: Near 170 & St.Charles Rock Rd Special! 1BR.$495 & 2BR.$595.

ST. CHARLES COUNTY 314-579-1201 or 636-939-3808 1 & 2 BR apts for rent. www.eatonproperties.com. Sec. 8 welcome WESTPORT/LINDBERGH/PAGE $535-$585 314-995-1912 1 MO FREE!-1BR ($535) & 2BR ($585) SPECIALS! Clean, safe, quiet. Patio, laundry, great landlord!

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CHIPPEWA! $425 314-309-2043 Redone 1 bedroom, kitchen appliances, central air, w/d hookups, beautiful hardwood floors, on 1st floor! rs-stl.com RHON6

SOUTH-BROADWAY! $500 314-309-2043 Nice 2 bedroom, appliances, ceiling fans, cold a/c, hardwood floors, beautiful fireplace, pets ok, off street parking! rs-stl.com RHOOA

Contact Jenny for a

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CENTRAL-WEST-END! $550 314-309-2043 Nice apartment, central heat/air, custom kitchen, hardwood floors, pets, pool access, clubhouse, fitness center, must see! rs-stl.com RHON8

RICHMOND-HEIGHTS $525-$575-SPECIAL 314-995-1912 1 MONTH FREE! 1BR, all elec off Big Bend.

Near Metrolink, Hwys 40 & 44, Clayton.

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St. Charles, MO Location.

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ST-CHARLES-ROCK-RD! $575 314-309-2043 Loaded 2 bedroom house, walk-out basement, frosty a/c, fenced yard, hardwood floors, appliances, pets, deck for BBQ! rs-stl.com RHOOD

300 Rentals

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DELOR! $750 314-309-2043 Amazing 3 bed house, full basement, main floor laundry, kitchen appliances, pets, hardwood floors, large yard w/privacy fence! rs-stl.com RHOOG NORTH ST. LOUIS COUNTY 314-579-1201 or 636-939-3808 2, 3 & 4BR homes for rent. eatonproperties.com. Sec. 8 welcome NORTH-CITY! $600 314-309-2043 Nice 2 bed, 1.5 bath house, full basement, central air, fenced yard, appliances included, redone hardwood floors, w/d hookups! rs-stl.com RHOOE OVERLAND! 314-309-2043 Just listed 3 bedroom house, central air, hardwood floors, appliances included, pets, plenty of storage, nice back deck! rs-stl.com RHOOF SOUTH-CITY! $575 314-309-2043 Private 1 bedroom house, full basement, garage, central air, fenced yard, kitchen appliances, pets, easy move in! rs-stl.com RHOOC SOUTH-CITY! $1200 314-309-2043 2-story 5-6 bedroom, 2 bath house, central air, garage, fenced yard, dishwasher, pets, nice back deck for entertaining! rs-stl.com RHOOI SOUTH-CITY! $750 314-309-2043 Roomy 3-4 bedroom, 1.5 bath house, central air, full finished basement, fenced yard, loaded kitchen,, pets ok! rs-stl.com RHOOH

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AUGUST 10-16, 2016

RIVERFRONT TIMES

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Earth Circle’s mission is to creatively assist businesses and residents with their recycling efforts while providing the friendliest and most reliable service in the area.

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Weaving, Spinning, Knitting/Crocheting, and needle felting classes at times convenient to your schedule.

Private lessons available.

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LEASING NOW! LUXURY ONE, TWO AND THREE BEDROOM TOWNHOMES Two floors are one level Features include Balconies, Community Courtyard, All new upgraded appliances and custom lighting.

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Free Parking space one per unit for a limited time.

CenterPointe Hospital provides a full continuum of care for ALCOHOL & SUBSTANCE USE TREATMENT FOR ADULTS

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Call 314.320.6465 Now for your Private Tour • www.STLluxury.com 44

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