©Black Star Press (rotated 180 degrees); Press Star, Press Black, 2006. Digital print and chocolate on canvas, two panels, each 83 x 104 inches; overall 83 x 208 inches. Carlos and Rosa de la Cruz Collection, Miami.
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“We have to focus on our scene, because that’s how we can make a difference. I made this event because several women had recently reached out to me saying that they couldn’t go to shows because they were abused by someone who could be in that space. This needs to change. “When you ask women, all of us, every single woman has experienced everything from sexual harassment to rape. That is a really heavy thing. But instead of accepting that as an unchangeable reality, you can start to make a difference by respectfully asking each other about these experiences and what we can do to become more aware, believe each other and protect each other. Don’t be afraid to ask each other these questions.”
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—JESSEE ROSE CRANE, MIDDLE, SPEAKING AT AN OPEN DISCUSSION ABOUT RAPE CULTURE IN THE ST. LOUIS MUSIC SCENE AT FOAM ON AUGUST 14, 2016
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TABLE OF CONTENTS FEATURE
15.
Hustle and Joke
Chris Cyr wants to make “comedian” his day job — or at least make you laugh Written by
THOMAS CRONE Cover by
KELLEY WALKER
©Black Star Press (rotated 180 degrees); Press Star, Press Black, 2006. Digital print and chocolate on canvas, two panels, each 83 x 104 inches; overall 83 x 208 inches. Carlos and Rosa de la Cruz Collection, Miami.
NEWS
CULTURE
DINING
MUSIC
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22
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41
The Lede
Your friend or neighbor, captured on camera
8
This Autumn, the Arts
Get out your calendar and add these fall arts events to your schedule now
27
Ban? What Ban?
The city has cited just two bars for smoking Doyle Murphy reports — even as patrons at others puff up with impunity
Calendar
Seven days worth of great stuff to see and do
30
8
A Super Taxi’s Impossible Dream
A new cab company enters the St. Louis market at a fraught time for taxi service. Sarah Fenske meets an entrepreneur who won’t be stopped
Film
Robert Hunt views Southside with You, a slight little film about when Barack met Michelle
31
Stage
Paul Friswold may hate Andrew Lloyd Webber, but he still loves New Line’s Any Given Sunday
The Secret Life of Tacos
Cheryl Baehr finds a new hotspot in a truly surprising place
36
Side Dish
Rob Connoley is back in St. Louis and ready to start cooking again
38
Food News
Assault and Conquer
Full Terror Assault is a Europeanstyle open-air metal festival in rural Illinois. Kevin Korinek has the scoop
42
B-Sides
Pü Fest returns for year three
44
Homespun
Snow Factory St. Louis will be bringing Thai-style ice cream rolls to the Delmar Loop
The Vondrukes On This Ride Together
38
46
First Look
Lauren Milford checks out the new Comet Croissanterie in Kirkwood
Out Every Night
The best concerts in St. Louis every night of the week
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This Just In
This week’s new concert announcements
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SURGEON GENERAL’S WARNING: Quitting Smoking Now Greatly Reduces Serious Risk To Your Health.
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AUGUST 24-30, 2016
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NEWS
St. Louis Smoking Ban Snares Just Two Bars Written by
DOYLE MURPHY
T
he city inspectors got Bernie’s Place in June. The bar, which stands out in bright blue and yellow among the drab brick warehouses and machine shops of the Near North Riverfront neighborhood, didn’t have “No Smoking” signs posted, and an inspector spotted ashtrays, according to the city health department. Owner Bernie Anderson says patrons were smoking outside and somebody carried the ashtray inside with them so as not to leave the butts out on the sidewalk. “They weren’t even smoking inside,” Anderson tells the Riverfront Times. Either way, it seemed pretty lame to the 62-year-old proprietor, and further proof that the city’s spottily enforced prohibition on lighting up in bars is fatally flawed. (Unless, of course, you want to smoke at the casino or in the tony Missouri Athletic Club, which were both exempted by the ordinance. Smoke away there!) “It’s based on fanaticism and hypocrisy,” Anderson says. His place is one of just two bars cited since January, when the city’s five-year exemption for small bars expired. The other, Tin Cup in south city’s Carondelet neighborhood, was cited in July when an inspector dropped by late one night, owner Randall Prater says. “It was closing time,” Prater says. “People have got a few in them, and they forget. They start lighting up.” The Tin Cup caters to the 50-andolder crowd — people who decided long ago they like to sit at the bar and have a smoke with their beer, Prater says. Continued on pg 12
8
RIVERFRONT TIMES
At many St. Louis bars, you can still openly smoke, despite a ban in place since January. Only two bars have been cited by the city. | JEFFERY STONE
NEW CAB CO. IS FIGHTING TOUGH ODDS
E
arlier this year, Mehari G. Tekle did something that no one in St. Louis has done for more than a decade: He opened a new taxi company. His brand-new operation, A Super Taxi, has an office in an old union hall on South Jefferson, 31 drivers and fully functional app ready for downloading — one of the first taxi companies in the city you can hail by smartphone. Tekle’s company is entering the market at a particularly precarious time for cab companies in St. Louis. UberX, which entered the market in defiance of regulators almost a year ago, has cratered local taxi business — and the Metropolitan Taxi Commission, or MTC, is trying to persuade a
AUGUST 24-30, 2016
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St. Louis County judge to shut down its operations. And if ride-sharing wasn’t a big enough threat to Tekle’s new company, the MTC is also, in some ways, aligned against him: The taxi commission only allowed A Super Taxi into the market in the first place because of a lawsuit. Even then, the MTC agreed to end its long-standing moratorium on new taxi companies in St. Louis only if new applicants met onerous conditions — app service among them (even though it’s not currently required of the older taxi companies). A Super Taxi must also hold twice the insurance coverage of older cab companies — even though it’s been strictly limited in the number of cabs it’s permitted to operate, says attorney Drew Baebler. The very fact of A Super Taxi’s existence, then, feels something like a miracle. To Tekle, it is a dream come true — his American dream, in the flesh.
Now 55, Tekle came to St. Louis 26 years ago as a refugee from war-torn Eritrea. To him, in spite of everything, America is the land of opportunity. He thinks he can defy the odds. “We established this company, A Super Taxi, and it was a dream come true,” he says. “I could not control my tears at the time.”
I
n addition to its app, and its newness, there is one big thing that separates Tekle from other St. Louis cab companies: its ownership structure. The way that traditional taxi companies work in St. Louis is a source of great frustration to many cabbies. For a weekly fee — typically about $650, Mehari says — they get the right to drive a taxi on behalf of one of the companies licensed to work in the area by the MTC. But that doesn’t really get them anything other than that. They own their cars. They buy Continued on pg 10
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AUGUST 24-30, 2016
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Mehari G. Tekle, far right, with Chuck Cole, left, and attorney Drew Baebler, center. | SARAH FENSKE
AContinued SUPER TAXI from pg 8 their own gas. In many cases, the taxi company doesn’t even dispatch them on calls — they have to hustle for them at airports or hotels. This was Mehari’s life for more than two decades. After being settled here by the International Institute, he worked for Acme Battery in south city. But soon after he got married and started his family — he now has three children — he got laid off and the battery company shut down. An acquaintance steered him toward the taxi business. He knew nothing — about driving, about the city. “It took me six months to know about St. Louis,” he says. “Now taxi is my life.” But he was frustrated by the cab company owners, who were happy to take his money but otherwise seemed to do nothing. “I have dream,” he recalls. “One day I will own mine.” In 1998, in fact, he applied to the city of St. Louis to work for himself, to have his own cab company. They turned him down. But nearly two decades later, when they were settling that lawsuit over the moratorium, they got in touch. as he still interested e definitely was. Tekle’s goal was to stop the gouging he experienced. He vows to charge A Super Taxi drivers the bare minimum to cover insurance and the costs of the app. ae ler, who filed the lawsuit forcing the MTC to drop its moratorium, now represents A Super Taxi. He describes it as something like a mutual insurance company, with profits, if any, to be shared at the year’s end. Of the 31 drivers who’ve banded with
Mehari, he says, “they’re all owners.” The MTC didn’t make it easy to get started. Among other things, they required the new company to have a free standing office, not ust a suite, and to staff it 24/7, says Baebler. Still, he says, “these guys pooled their resources and got it done.” “They keep setting hurdles,” says Chuck Cole, a longtime cabbie who’s been working with Tekle as something of a consultant. “But in every case — hurdle jumped.” Mehari has drilled his drivers. Dress clean, look sharp. Take care of your vehicle. Don’t complain about how little money you’re making. He knows that consumers have complained that the city’s taxi service is lacking. He is determined to change that. Still, it’s tough out there. “When they come,” he says of Uber, “they destroyed the business.” In October, a St. Louis County Circuit Court will consider whether to issue a permanent injunction against UberX operating in the St. Louis area. But Mehari isn’t waiting for that decision. His taxi drivers are out there on the road now, and he’s beginning a push to get the word out about A Super Taxi’s app beginning this week. He’d like a le el playing field, sure — it s not fair his drivers have to jump through regulatory hoops when Uber’s do not. But regardless of what happens in the courtroom or among his more established competitors, he’s all in. And he believes he’s found the American dream — right here in this old union hall-turned-cab-company headquarters in the heart of south city. “The place you stay if you’re happy, that’s your home,” he says. “I made St. Louis my home.” —Sarah Fenske
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AUGUST 24-30, 2016
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Bernie Anderson, owner of Bernie’s Place, says the smoking ban is “fanaticism.” | DOYLE MURPHY
SMOKING BAN Continued from pg 8 “I got people who stay home, because they can’t smoke,” he says. “It’s killing my business. They’re going to run out all the little corner bars.” Anderson and Prater can’t help but feel singled out. Both say they know of bars that go unnoticed despite far more serious problems than smoking, although they deline t tattle as t w .( n t no snitching bar owner,” Anderson says.) So far, city enforcement has relied on called-in complaints. In the past year, the Citizens Service rea as elded laints about illicit smoking, according the health department. “Each was investigated,” according to a statement from the city. “Many complaints investiated nd n e iden e f i lation.” The number of citations is also low because inspectors dished out educational warnings from January to May, the city says. Meanwhile, smoking continues at dozens of bars throughout St. Louis. It’s as if nothing has changed in some of the city’s watering holes. Others make minimal attempts to hide the newly prohibited activity by stashing ash trays behind the bar or providing decapitated beer cans for the ashes. Prater thinks the city should just license smoking and focus on bigger problems, like the heroin users he sees driving in from the county. He figures the ban is about the government taking more of bar owners’ money anyway — might
as well charge bars that want to stay smoky $500 a year for a smoking license and be done with it. “They’d bring in some more revenue,” he says. “Probably bring in another couple hundred grand a year that somebody could steal.” The exemption for casinos and the Missouri Athletic Club particularly irk the owners of the city’s blue-collar taverns. Herb Krischke, owner of the Trophy Room at the edge of the Hill neighborhood, sued the city in December under the premise that his bar’s license to operate Keno ali ed it as a a in fa ility, protected from the ban. A judge granted a temporary restraining order that briefly shielded the Trophy Room from enforcement, but Krischke lost the case in July. The formerly hazelled r y as n w been non-smoking for months. Krischke led an a eal n st , b t the other owners who hoped to follow his lead were disheartened. “I was like, ‘If he lost, ain’t even no sense in pursuing it,’” Anderson says. The ordinance still doesn’t make any sense to him. If city leaders are really worried about the health of patrons and workers, why does Anderson still gag on smoke any time he decides to go to the casino? Was it really worth it have an inspector work late to investigate his bar? “Either you’re going to enforce the law or you aren’t,” he says. “And if you’re not, you need to go around and pay damages to all the bars you’ve hurt.” n
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AUGUST 24-30, 2016
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Hustle and Joke
Chris Cyr wants to make “comedian” his day job — or at least make you laugh
C
hris Cyr is an accountant by trade. But lately, he’s been spending more time writing ad and marketing copy. And he’s been dedicating his off-hours to performing live comedy around St. Louis, regularly night-crawlin t r t ree, f r, e sets a week in clubs across town. With luck and hard work, he hopes to replace his many jobs with just one: stand-up comedian. Cyr turned 40 last week, making him ten years older than the typical St. Louis comedian — and twenty years older than the youngest performers in the scene. His life plan shifted hard three years ago, when he went to an open mic, signed up and caught the performance bug. Fueled by Jameson (a.k.a. “comedy juice”), he’s now been battle-testing his sets with the tenacity of someone building a career. The freelance writing gigs he’s been taking on of late are part of a bigger transition. As Cyr says, “I’ve always enjoyed writing, so this makes sense. I have a few accounting clients, with an ultimate
BY THOMAS CRONE PHOTOS BY HOLLY RAVAZZOLO
goal of getting away from that entirely. I guess I should clarify that I really hated accounting, but it took me a long time to realize it.” His wife of eighteen years, Veronica Rivera-Cyr, has been supportive. He’s a night owl; she’s not. But they resolved any potential tension on their different lifestyles a long time ago. en e rst started d in en mics, he was out every night of the week. Now he’s being more strategic. He says, “I have a couple nights a week at home. She understands that it’s something I’m trying to make a job. We don’t have kids. That’s probably the only reason it works.” We followed Cyr through a week in the trenches, one in which he performed six times over five nights and, on one of his rare nights off, even got to enjoy a set by Louis CK at the Funny Bone, a nice karmic reward for, arguably, St. Louis’ nicest comic. Not cleanest; nicest. He’s plenty dirty, plenty funny and plenty humble about where he’s at and where he wants to go. He tries hard not to be that guy; you know, the avuncular old-timer. “Everyone knows you’re older than them,” he says. “You don’t
want to keep drawing that out. You don’t feel that much older, until you hang out and party with them. Then you feel it.”
MONDAY AUGUST 1
HEAVY ANCHOR n t e rst ni t f a arat n week for Cyr, he’s at the Heavy n r f r t e rst f tw nse utive nights. Tonight is an open mic called Comedy Shipwreck; tomorrow, he’ll be back as part of the “Decraplon,” a game show experience that’s one of many comedy events that have sprung up inside this funky, two-room venue on Gravois. Run by Jodie and Joshua Timbrook, the club has changed its r ra in a l t er e years. It’s still mostly a music venue, but its movie nights, trivia games and early-week punk rock have mostly been replaced by a wide range of comedy. “If it was strictly a music venue, it would get really monotonous,” Jodie Timbrook says. The rotation “keeps me entertained and it keeps our customers entertained.” Unlike other “bar mics,” where customers may be there for reasons other than comedy, the riverfronttimes.com
Anchor’s performance space separates those who want to imbibe in laughter from those who don’t. On Mondays, comic Chad Wallace has taken on emcee duties for Comedy Shipwreck; other nights and concepts are constantly being pitched to Timbrook. Somewhere in the neighborhood of 75 local comics mix-andmatch sets in St. Louis these days. The best-paying are the dedicated comedy rooms at Funny Bone, Hey Guys and Helium, but a growing roster of venues in town, including the Heavy Anchor, Foam, Fitz’s and Foundation Grounds, also host nights of comedy. The list is ever-changing, as some come (Purple Martin) and some go (Melt). And it’s more often the comics, not the clubs, that make events happen, as they seek out new rooms, audiences and time-on-mic. “I have had to say ‘no’ to some people,” Timbrook says. “Obviously, we’re a bar, a business, and we need to sell drinks. That’s how we make rent and pay bills. For any comedy event, the bottom line is that it has to be mutually bene ial. nd if it s an ff ni t and someone’s got an idea, by all means, go back there and do it and we’ll see.” Continued on pg 16
AUGUST 24-30, 2016
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HUSTLE & JOKE Continued from pg 15 For this edition of Shipwreck, about 45 people are in the audience. Most are themselves comics. In five-minute sets, they take the stage, run through their material and then introduce the next act. Eventually, most comics do their bit, then move to the other side of the wall, kibitzing in the main bar room. On this evening, before holing up on the bar side, Cyr incorporates a few of the bits he’s working on into his full set. As usual, the jokes are largely based on personal experiences, rather than on absurdities, and come in small, themed bursts. These days, he’s being regularly booked into support slots at places like Helium and Funny Bone, slots that pay. Open mics
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like this still serve a valuable purpose: “You want to have material you know like the back of your hand, you want to show proficiency in your material. Here, you can try something new, the brand new stuff, see if people get into it and see what works.” Like a lot of open mic shows, the performer demographic tonight is white, male and clustered from late-twenties to mid-thirties. That’s something Cyr says is being addressed. “Gender-wise, it’s still very male-dominated,” he says. “Even though there’s diversity, racially, you don’t always see that on shows. You’ll see a show and it’s three white dudes, or three black comics. People are tryin t t at e en t e clubs are. I know a lot of people are consciously trying to make events that mix up race
and gender on stage, and that works for the audience as well. I try to bring in comics from out of town, or that no one’s heard of, just to diversify points of view. And racial and gender diversity makes it even better.” On this night, though, it’s a bit of a boys club and the dick jokes are flying. Later in the week, they’ll really go airborne.
WEDNESDAY, AUGUST 3
HELIUM COMEDY CLUB AND THE CROW’S NEST
The new heavy-hitter in town, Helium Comedy Club, is part of a ain f e l bs fr rtland to Philadelphia. Since opening earlier this year, it’s brought in name comics, including the upcoming Gilbert Gottfried
and Josh Wolf. Attached to a restaurant and lounge on the lower-level of the Galleria, the room’s built for comedy shows. Along with touring acts, the Galleria also runs a few local showcases, often built on themes. There’s nothing tricky about a show called “Dirty”: It’s made to be dirty. As in durrrrty. Comics of all races, genders and ages are invited to bring their dirtiest material to this paying gig. (Admittedly, the attempt to open up gender fell short, with only the shining Amy Milton on the female ledger.) The audience, as you might guess, buys into the program and wants it as durrrrty as possible, too. Cyr brings his dirty act, sure, as do another dozen comics. The night starts off slow, though, and t e rst few a ts lay t a retty cold crowd. Most performers are given a
short four minutes to win over the audience. Brian McDowell is among the few granted a couple extra and he centers his six minutes on a hilarious riff about dating single moms. Long, lanky, wearing a suit and emphasizing a somewhat awkward vibe onstage, McDowell is seemingly able t fli a ni t t at ad been heading the wrong way. If not roaring with laughter, the audience is at least entertained and chuckling. “I would love to say the dazzling brilliance of my jokes is what turned them,” McDonald says later, “but my low self-esteem won’t let me. It’s more about connecting with the audience early, so they will accept what you put in front of them. I can tell within 30 seconds of being on stage whether or not I am going have a good set. It’s all the energy that you bring on riverfronttimes.com
sta e and t e n den e in w at you’re going to say. “I was a little worried about that audience, because there were some funny comics that they didn’t like that much. I was very relieved and slightly surprised that they seemed to dig me.” It’s a tough night for Cyr, and once his set at Helium is finished, it’s not over yet. Instead of lingering after the show in the neighboring lounge to accept his $20 payout and commiserate or celebrate, he’s headed to Maplewood with at least half the comics who performed in Brentwood. There, at the Crow’s Nest, Cyr and co-host JC Sibala preside over Wild Card Wednesday. It’s a standup show, an open mic with a twist: At the last minute, the comics pull an oversized Continued on pg 18
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HUSTLE & JOKE Continued from pg 17 card and have to do whatever is suggested; one, for example, has to drink every time the comic does; comics can also win extra time, or be forced to go clean or do crowd work. Cyr, before or after a set, is generally nfla able. ften arryin a notebook and sipping at a Jameson, he’s especially in his element when hosting a show, laughing at other comics, greeting newcomers and chatting up friends. If he’s ever nervous, it must happen on the way to the gig. On this evening, Cyr is back to some of his material from the earlier Dirty show. On stage, he’s not much different from his day-to-day self. He’s invariably dressed in blue Levis and a black shirt. There’s a light sing-song quality to his delivery. It’s a curious experience to hear the exact same jokes time and again, only at different venues. For Cyr, it is what it is. “If you follow a comic from open mic to open mic, you’re hearing what they’re working on right now,” he says. Recently, he was panhandled at a gas station. Bingo. His set now in-
cludes the encounter — including t e an andler s weirdly s e i request for 62 cents. “I do observational stuff,” he says. “If I get panhandled at the as stati n, et e re in tes of material.”
FRIDAY, AUGUST 5
FIREBIRD
There are nights when comedy is just going to work, sometimes for the simple fact that people are in the room to take in, yes, comedy. On this Friday night, Cyr is slotted into a twenty-minute gig, in the sweet spot between emcee Brandon Judd’s ten-minute opening salvo and headliner Kurt Braunohler’s hour-long headliner. About 60 gather inside this simply-appointed rock & roll room and, to their credit, they’re properly in the mood. True for Judd, for his buddy Cyr and for the traveling Braunohler. “A big part of the crowd being so receptive is that it’s a full comedy show. The crowd is primed to see comedy,” Judd notes. “They know they’re going to see people tell jokes the whole time and they’re ready to laugh.
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“It’s easier with a larger crowd because psychology works to get people to laugh more readily and more often when a larger group of people are laughing. I feel I can play around more with material and go off on tangents with a larger crowd because if something is kinda funny, there’s a bigger response than if something was kinda funny with a group of ten or two people, which I’ve had before.” Cyr’s set, like Judd’s, just seems to work this evening. Jokes that Cyr used in other contexts over t e wee t te id r flat res nses get over on this room. Tonight, they’re unabashedly laughing out loud. “Comedy is subjective,” Judd notes. “Chris is very funny and he’s worked at his material, revised it and rewritten it to get the best res nse. saw ris at is rst open mic and he’s come a long way. His experiences are relatable and the crowd can identify with them easily. Even if he’s talking about something unique to him, he can get a crowd on board and make them understood his feelings in that situation.” Rollicking laughter is in the air tonight. As Braunohler approaches his closer, he launches into a minutes-long routine in the voice of a
beaver, humble-bragging about his tail. Audience members are visibly rocking in their chairs, wiping away tears, cracking up without a trace of self-consciousness. Braunohler kills it, and for the warm-up comedians, Judd and Cyr, it feels like their victory, too. It’s hard to imagine any place in St. Louis being happier at that second in time. To see a moment like this, the highest of highs, gives you a sense of why comics risk the lowest of lows. Sometimes, those linger in the distance; other times, they’re your very next show.
SUNDAY, AUGUST 7
NICK’S PUB You wouldn’t think the meanest human beings in the world would all find themselves inside the same bar in Dogtown on a random Sunday night. But you’d be wrong, as three different groups of friends recently gathered at Nick’s Pub with what had to have been a secret psychic agreement forged among complete strangers to torture the on-stage comedians. And Cyr is not just a performer. Continued on pg 20
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HUSTLE & JOKE Continued from pg 19 e s als a st, llin in wit Sibala for the usual emcee Kenny Kinds even as a middle-aged couple, a birthday party of ten and a rand rew f e all ta e t rns at basic, merciless heckling. Even before the gig, Sibala, now e years dee int is areer, is positive the big table in back is going to get stupid; Cyr, ever the ti ist, is less s re. e ll nd t soon enough. Cyr warms up to passiveaggression. He starts with a joke that killed a few nights ago. “My mom was fourteen when she had me, and my dad was seventeen. My grandma says that I love the miracle that brought you here. And I alway reply: ‘Grandma, that’s a really statutory miracle.’” Silence. “The president of Comedy City asked me to tell that joke again,” he says, and this time, there is laughter — a bit. “That told me that the room was going to be a weird crowd,” he says later. “They listened and chuckled, but wouldn’t actually laugh.” He actually fares better than opener Rocco Hogan — by now the audience drops the “passive” and opts for pure “aggressive,” badly knocking the young comic off his plan; in what is at least his third set of the week, Hogan takes it on the chin. Next up, the frenetic Ella Fritts winds up arguing with the nearest table of hecklers; Sibala, from his seat, has to threaten one patron after he vows to kill Fritts if she isn’t done in two minutes. So that happens. The gregarious Justin Luke follows a short, crowd-calming set from Sibala, but Luke is so aggravated by the heckling that his last words are aimed directly at a guest: “Your mother should’ve aborted you.” That couldn’t have been Luke’s planned closer, but the night has taken him to what feels like the edge of madness. At times, during the worst of the heckling, Sibala and Cyr can do little more than exchange knowing glances, sipping at their Jamesons and hoping for a change in luck. The Nick’s gig is one of the tougher “bar mics” in town, as a big portion of the audience isn’t t ere t s e i ally at edy, Kinds notes. “You try to keep them engaged,” he says. “Fatigue can set in, once you get about ten comics into a night. So you use music, effects, anything you can to try to make it an event.” 20
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A comedian prepares: Cyr readies for his set backstage at Helium.
Still, he adds, “it’s a real nice room, it’s really intimate.” Completely sealed, Nick’s comedy space is a patio in name only, a classification that allows relief from the city’s smoking ban. It’s also a quirky room: A life-sized Captain Morgan now blocks the mini-backstage area and the microphone can (and does) get affected by the radio frequencies of passing trains. Luke, already suffering the nightmare of heckling, has his mic completely spazz during this set as the locomotive rumbles past, adding to the mania f is e in tes in atan s kitchen. A few folks shine despite the obstacles. Swimming against the evening’s tide, Ben Johnson has his moments, as does Stryker Spurlock. And Milly Naeger is a true beacon, riffing in a fastpaced, surrealistic style. If her material requires a bit more thought than the room wants to offer, it’s a case of pearls cast before swine, really. It happens, Cyr figures, and those who live through it are better for the experience. They’ll last beyond the three-months-and-out syndrome that many open mic warriors suffer — even if, as survivors, they’ll carry scars. “There’s a confrontational art f r lt re, yr res. “We’re loving this idea of having something in our back pocket, which we’re just dying to say. It’s the live-action version of an internet comment.”
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MONDAY, AUGUST 15
STARBUCKS When Cyr watches a comic bomb, he views the scene with the detachment of a scientist. He feels something for that person on stage; hell, he’s been there and knows the feeling. But he’s watching, always watching, how one comic can turn it all around, while another falls deeper, ever deeper, into the pit. “From a sitting-in-the-audience perspective,” Cyr says, “I don’t know if the word is schadenfreude, but there’s something about watching someone fall apart on the stage. You know it’s not physically going to hurt. They could have an anxiety attack about it later, or they might cry at breakfast. But at that moment, they have to deal with it. It can be very entertaining to watch. Bombing has helped me become a better person. Learning to fail at something is really important.” When he’s writing, Cyr generally lingers over iced coffees at the South Kingshighway Starbucks; heck, he takes meetings there. Relaxed and tapping at his heavily stickered laptop, Cyr seems content with the pace of how his new could-be-a-career is going. He knows that the last week’s epic run of shows won’t be unusual going forward; in a few days, he and another comic, Eric Brown, at heading to a contest in Peoria; there’s an episode of his Impolite
Comedy show at Crack Fox to promote; a weekend run as a feature at Helium is almost booked; and he’s always hitting the bar mics. On some nights, like his most recent open mic at the Crow’s Nest, when comic after comic plays to little laughter, perfecting the same riffs for weeks on end, you might wonder why anyone would do it, why they’d put themselves in a position that many people find terrifying. Cyr knows. t s n t t e an e f r nan ial gain. “If you’re getting into this for the money,” he says, “it’s just like starting a band: don’t.” Instead, it’s the euphoria of making people laugh, the sheer joy of holding the audience in your hand and making them react. “Someone might give you a deeper philosophical answer to all t at, b t w en y a e it fl w and it’s funny and they like it, it’s de nitely l ely f r t e nar issis that every performer has on some level.” The moment when your jokes work, he says, makes you feel “great. It just makes you ... feel … great. Especially because I don’t like crowds; I detest being in a crowded place. But I also like attention. “To me, being on stage, I’m making myself the center of attention on my own terms. Plus you’ve made people laugh, providing them an involuntary response. Physically, viscerally, it just feels great.” n
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PURSER AUDITORIUM (Campus of Logan University) Valentina Igoshina, first prize winner of the Rubinstein Competition in Poland in 1993 and the Sergei Rachmaninoff International Piano Competition in Moscow in 1997, opens our season. Elgar: Froissart (Concert Overture) Rachmaninoff: Piano Concerto No. 3 in D minor, Op. 30 - Valentina Igoshina, piano William Schuman: New England Triptych Respighi: The Pines Of Rome
Old World Meets New World Friday, November 18, 2016, 8:00 p.m. PURSER AUDITORIUM (Campus of Logan University) This all-orchestral concert features Haydn’s charming Symphony No. 101 “The Clock”, paired with Dvořák’s heroic Symphony No. 9 “From The New World.” The nicknames tell the story! Beethoven: Fidelio Overture, Op. 72 Haydn: Symphony No. 101 in D major “The Clock” Dvořák: Symphony No. 9 in E minor, Op. 95 “From The New World”
The Gift Of Life Friday, March 3, 2017, 8:00 p.m. J. SCHEIDEGGER AUDITORIUM CENTER FOR THE ARTS
(Campus of Lindenwood University) The Saint Louis premiere of the newest work by famed choral composer John Rutter in the full orchestral version of “The Gift Of Life”, featuring the Lindenwood University Concert Choir. Suppé: Pique Dame Overture Beethoven: Symphony No. 7 in A major, Op. 92 Rutter: The Gift Of Life – Six Canticles Of Creation
Spring Awakens Friday, April 28, 2017, 8:00 p.m. SKIP VIR AGH CENTER (Campus of Chaminade High School) Two major works from the nineteenth and twentieth century capture the irrepressible force of nature’s most creative season. The concert presents the winner of our new Aspiring Soloists Concerto Competition. 2016 Concerto Competition Winner Schumann: Symphony No. 1 in B-flat major, Op. 38 “Spring” Weber: Overture to “Der Freischütz” Stravinsky: The Rite Of Spring
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AUGUST 24-30, 2016
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This Autumn, the Arts
Thirteen new arts events in St. Louis this fall will challenge, PAUL FRISWOLD intrigue and maybe even thrill you
T
hat great autumn weather is nothing but myth in St. Louis anymore. Early fall is more like early summer, and late fall is essentially spring, only with the leaves jumping off the trees rather than springing forth. But the fall arts season, well, that remains unchanged by the vagaries of climate or massive weather systems. By now, the local theater companies are already rehearsing season-opening shows, and the musicians are rosining bows and selecting new reeds in es f a flawless enin ni t. ra ti es be e a little re r ent, and t e te ni al dire t r s rst i arette brea f t e day is a little bit shorter than yesterday. Because sooner than you think the tickets are getting ripped and the audiences are taking seats with a little buzzy anticipation. Start booking the babysitter now, friend — it’s all about to happen, and you’d be a fool to miss any of it. See you in the lobby.
1. LOVE? ACTUALLY... If news of Hamilton coming to St. Louis has you aching for a little of t at in an el iranda a i , y an et an early at t e start f September, courtesy of R-S Theatrics. The company opens its season with Love? Actually … An Evening of Musical One-Acts. e rst s w is t e audience-controlled “Out of A Bowl,” and the second is Steven Serpa’s short opera “Thyrsis & Amaranth,” based on the La Fontaine fable of t e sa e na e, ab t y n s e erds in l e. e nale is iranda s “21 Chump Street,” a musical about a high school student infatuated with the new kid at school — who is actually an undercover cop. You may have heard both the musical and the real-life story that inspired it on This American Life, but now you can hear and see it live and in person. Westport Playhouse (635 Westport Plaza, Maryland Heights; www.r-stheatrics.com). September 2-18. $15-$25.
2. AMERICAN RENEGADE Chamber Project St. Louis continues to promote chamber music for a 21st-century audience. The group performs in non-traditional venues (clubs, galleries and the like), collaborating with a wide range of artists to expand the boundaries of what has long been considered classical music. Its season opener is dedicated to the very American idea of going your own way. American Renegade includes performances of the “racing dance” “Zango Badango” by Pulitzer Prize-winning composer Jennifer Higdon, Bryce Dessner’s folksy “Murder Ballades” (you might know Dessner as the guitarist for the National, or the guy who scored The Revenant) and big daddy Aaron Copland’s Appalachian Spring. 560 Music Center (560 Trinity Avenue, University City; www.chamberprojectstl. org). September 9. $5-$15.
3. REAL/RADICAL/PSYCHOLOGICAL: THE COLLECTION ON DISPLAY Washington University’s Sam Fox School of Design & Visual Arts and the Mildred Lane Kemper Art Museum both celebrate their tenth anniversary this year. The birthday duo share a joint party with the opening of Real/Radical/Psychological: The Collection on Display, an exhibition that showcases work drawn from the museum’s deep collection, which was begun in 1881. Three curators have organized the show into three sections that explore how our ideas of what’s real, what’s radical and what’s psychological (artistically speaking) has changed. The opening reception includes live music, food trucks, open studios and demos by Sam Fox School artists and a special commission designed by alumnus Ebon G. Patterson in conjunction with La Patisserie Chouquette. Mildred Lane Kemper Museum (1 Brookings Drive on Washington University’s campus; www.kemperartmuseum.org). September 9-January 17. Free. 22
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Karl Zerbe (American, b. Germany, 1903–1972), Armory, 1943. Encaustic on canvas, 62 1/2 x 40”. Mildred Lane Kemper Art Museum, Washington University in St. Louis. University purchase, Kende Sale Fund, 1946.
4. KELLEY WALKER: DIRECT DRIVE eri an artist elley al er will a e is rst s l eri an se show right here, thanks to the Contemporary Art Museum St. Louis. The museum is throwing wide its doors for Walker, allowing him to take over the entire building with works both old and new. Walker likes to explore the ways an image travels from one culture to the next, and how each culture perceives the image once it is theirs. His new series, Black Star Press, digitally prints chocolate (white, milk and dark) on canvas, depicting images of racial strife in a very unusual medium. As the images in the series are rotated 90 degrees, the power dynamic on display is obscured, altered and eventually reversed. Contemporary Art Museum St. Louis (3750 Washington Boulevard; www.camstl.org). September 16-December 31. Free.
5. MAKING A SCENE: A ST. LOUIS THEATRE EXPO St. Louis has an exceptional theater scene. If you haven’t partaken of it yet, you can rectify that buffet-style at Making A Scene: A St. Louis Theatre Expo. The event is a deep dive into how theater gets made, with demonstrations in how a show is costumed, the arts of makeup and stage combat, and discussions with Repertory Theatre of Saint Louis artistic director Steven Woolf, actor Joneal Joplin and actor/the-
Saint Louis Ballet does high fashion this October. | COURTESY TOUHILL PERFORMING ARTS CENTER.
ater professor Lara Teeter. Making A Scene also gives you a chance to meet and talk with members of Opera Theatre of St. Louis, New Line Theatre, St. Louis Actors Studio, New Jewish Theatre and other companies. The Fox Performing Arts Teens and the Improv Shop round out the day with performances. Loretto-Hilton Center (130 Edgar Road, Webster Groves; www.repstl.org). September 17. Free.
6. VISION: WHERE BALLET + FASHION MEET Costuming is important for dancers because what they wear tells a visual story, even as it enhances (or hinders) their movements. The nexus of fashion and motion is explored in the Saint Louis Ballet show Vision: Where Ballet + Fashion Meet. Choreographers Emery LeCrone and Tom Gold fuse classical ballet and innovative thinking in two new ie es feat rin st es desi ned by rdana ar flas and Emily Brady Koplar. Touhill Performing Arts Center on the University of Missouri-St. Louis Campus (1 University Drive at Natural Bridge Road; www.stlouisballet.org). October 8. $24-$59.
7. TRIBUTE TO PRINCE rin e was a n e in a ent ry talent, and it s still di lt t belie e he’s gone. Your ongoing transition to living in a Prince-less world can be aided by conductor Brent Havens and the Saint Louis Symphony Orchestra’s Tribute to Prince. The program includes the Minnesota Maestro’s greatest hits and most beloved songs — “When Doves Cry” and “U Got the Look” among them. Is it too much to ask for Havens and company to go deep and break out some of that Black Album nastiness? Powell Hall (718 North Grand Boulevard; www.slso.org). October 9. $35-$98.
8. UNTIL THE FLOOD If we have any hope of understanding what’s going in St. Louis, it comes through the arts. Department of Justice reports, newscasts, lengthy journalistic breakdowns and oral histories can tell us what happened at a certain point in time, but true illumination must be found in a concert hall, in a gallery or on the stage. Playwright Dael Orlandersmith, a Pulit er ri e nalist, isited t. is in rder t inter iew anyb dy w was willing to speak with her about life in St. Louis during the unrest t at f ll wed er s n. er issi n was n t t nd bla e r abs l e anyone of guilt — she wanted only to hear what St. Louisans had to say about St. Louis. The resulting play, Until the Flood, is a complex piece that tells the St. Louis story — which is really a series of stories — in a symphony of voices. The Repertory Theatre of Saint Louis commissioned the work to give us a chance to hear ourselves think. We’d be fools not to take advantage of that. Loretto-Hilton Center (130 Edgar Road, Webster Groves; www.repstl.org). October 12-November 6. $18-$81.50
9. THE ROCKY HORROR SHOW The Rocky Horror Picture Show is that rare cult classic musical that deserves to be called “iconic” — it’s so big, Fox is broadcasting a celebrity-studded version live this October. (Does that mean middle America is nally f rtable wit r. ran . rter t t really feel t e show, you need to see it in its original, theatrical format. That’s where Stray Dog Theatre comes in. The company opens its new season with Richard O’Brien’s Rocky Horror Show, one of the greatest live experiences y an a e n t is lanet. e ast as yet t be ially ann n ed, but if you’re a close reader of local theater programs you may have already seen who’s playing the good doctor. No spoilers, but let’s just say it’s going to be a hoot. Tower Grove Abbey (2336 Tennessee Avenue; www.straydogtheatre.org). October 13-29. $20-$25. Continued on pg 24 riverfronttimes.com
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FALL ARTS Continued from pg 23
The cast of Fun Home. | © JOAN MARCUS
10. CONFLICTS OF INTEREST: ART AND WAR IN MODERN JAPAN The Saint Louis Art Museum now has one of the world’s largest collections of Meiji-period military art, thanks to a gift of more than 1,400 a anese rints d nated by arles and salyn wen a t. nfli ts of Interest: Art and War in Modern Japan will include more than 180 objects that demonstrate the technical excellence of Japanese woodblock printing before the advent of modern technological innovations. Among the works on display are many made by Kobayashi Kiyochika, the acknowledged master of print art from the Meiji era. Saint Louis Art Museum (1 Fine Arts Drive; www.slam.org). October 16-January 8.
11. NOSFERATU WITH THE INVINCIBLE CZARS
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Cheers, the long-running sitcom from the powerhouse Charles/Burrows/ arles r d ti n any, as stayed ed in eri an lt re consciousness with the tidy shorthand “Sam-Diane relationship.” The phrase is based on the show’s initial romantic premise — that ex-jock Lothario Sam Malone and refugee-from-academia Diane Chambers were destined to end up together despite their fractious work relationship. is ni e sta e ada tati n ses t e s ri ts f r t e s w s rst seas n as the basis for its story, which sees Coach, Carla, Cliff, Norm and, yes, Sam and Diane slinging wisecracks, suds and barbs in Boston’s friendliest bar. Peabody Opera House (1400 Market Street; www.peabodyoperahouse. com). October 28-30. $30-$82.
13. FUN HOME
F.W. Murnau’s Nosferatu may be just a rehash of Bram Stoker’s Dracula with a bestial monster in place of the suave vampire, but it’s a rehash wit i e able style. e silent l is dy and at s eri , and Max Schreck’s legendary performance as the foul Count Orlock is supremely eerie. It’s even better with a new soundtrack. The Invincible Czars is an Austin, Texas, band that has composed a modern score for t e l t at in r rates i lin, si b , l ens iel and se eral other unusual instruments. Their music also interpolates Bela Bartok’s Romanian Folk Dances. The band also encourage the audience to dress in all ween a r riate t ts f r t e s reenin it s ld be an incredible night of sound and vision. Webster University’s Moore Auditorium (470 East Lockwood Avenue, Webster Groves; www.webster.edu/ film-series). October 22. $10. 24
12. CHEERS LIVE ON STAGE
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Alison Bechdel’s graphic novel memoir Fun Home tackles growing up in rural Pennsylvania as the daughter of a closeted funeral home director. Bechdel’s recursive narration and meticulous sense of detail allow the reader to see familiar events in new ways as the narrator ages and gains perspective on things that confused her when younger. Translating that shifting sense of time and awareness to the stage is no easy task, but Lisa Kron and Jeanine Tesori’s musical adaption of the book was very well re ei ed t t e t ne f e ny wards, in l din est si al. Fox Theatre (527 North Grand Boulevard; www.fabulousfox.com). November 15-27. Single ticket price TBA. For more things to do this fall, and every week throughout the year, check out our online calendar at www.riverfronttimes.com/stlouis/EventSearch. To submit an event, please visit posting.riverfronttimes.com/ stlouis/Events/AddEvent.
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Tuesday, August 30— ’80s Disco Tribute Featuring the Melvin Turnage Band Tuesday, September 6—Starlifter: The U.S. Air Force Band of Mid-America (pop, rock, and soul) Tuesday, September 13—First Call Band Featuring Courtney Loveless: A Tribute to Phyllis Hyman Tuesday, September 20— Gerald Warren’s Soul Steppers Revue Tuesday, September 27—Queens Blvd. (’80s rock music) Tuesday, October 4—Fabulous Motown Revue Featuring STL’s best food trucks! No barbecue grills, tents, large umbrellas, or unauthorized solicitation In the event of inclement weather, call (800) 916-8212 after 3pm, or listen to iHeartMedia radio stations. riverfronttimes.com
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WEEK OF AUGUST 26-31
iple eek. OCA
The murals that once covered shattered storefronts in Ferguson return to multiple locations this week. | COURTESY OF COCA
BY PAUL FRISWOLD
FRIDAY 0826 Camp Lik-a-Twa-TaLotta 2 Summer is coming to an end, and so are the Randy Dandies. The St. Louis burlesque troupe calls it a day with a return visit to Camp Lik-a-Twa-Ta-Lotta. The camp is broke and the counselors are running out of options to save the day. Meanwhile, the rich kids across the lake at Camp Kik-A-Dong still have everything. Desperate times call for desperate measures, and those Lik-a-Twa-Ta-Lotta gals and ys t dirty. e t s enanigans in Camp Lik-a-Twa-TaLotta 2: Beating Around the Bush,
which takes place at 9 p.m. at the Bootleg at Atomic Cowboy (4140 Manchester Avenue; www.atomiccowboystl.com). Get there at 8 p.m. to see Narvel P. Tuffnuts’ hot dog eatin ntest and lyre an s hula hoop competition. Tuba-andukelele duo Sophisticated Babies round out the pre-show fun. Tickets are just $15.
The Heir Apparent The wealthy Geronte is sadly dying. He’s very old, and he’s been dying for a long time now, but this is surely the end. Still, he bravely soldiers on with his plan to wed the lissome Isabelle. But Isabelle l es raste, er na s standin and penniless would-be heir. Their
plan was to wait out the old man and then live happily ever after n raste s in erited wealt . w what? Geronte’s servant Lisette conspires with the youngsters and raste s ser ant ris in t a e sure their dream wedding comes true — and if Geronte has to die, let him die. David Ives’ witty update of The Heir Apparent, a little-known French farce written by the even lesser-known Jean-François Regnard, took Off-Broadway by storm in 2014. Now St. Louis Shakespeare presents The Heir Apparent at 8 p.m. Friday and Saturday and 2 p.m. Sunday (August 26 to September 4) at the Ivory Theatre (7620 Michigan Avenue; www.stlshakespeare.org). There is one 7:30 p.m. show on Thursday, September 2. Tickets are $15 to $20. riverfronttimes.com
SATURDAY 0827 Outside In: Paint for Peace In the aftermath of the unrest following the death of Michael Brown, artists of all skill levels and backgrounds came together to transform the boarded-up storefronts in Ferguson and along South Grand through the power of art. Those blank plywood facades went from being grim reminders of our failings to colorful and hopeful signposts on the way to reconciliation and mutual empathy. Those original murals of doves and andalas and a r ati ns f
AUGUST 24-30, 2016
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ON WALL STREET, ALL PLAYERS ARE NOT CREATED EQUAL “BRACING, WITTY AND SUSPENSEFUL. A SWIFT, CLEAR AND EXCITING STORY.”
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Festival of Nations brings the world to Tower Grove Park. peace and community were taken down and preserved during the rebuilding process so that they could go on display at a later date. The time is now. Outside In: Paint for Peace, t e new e ibiti n in t e Millstone Gallery at the Center of Creative Arts (524 Trinity Avenue, University City; www.cocastl.org), is a selection of those Ferguson murals. More of them will be displayed concurrently at the Ferguson Youth Initiative, Missouri History Museum, Vaughn Cultural Center, University of Missouri-St. Louis’ Gallery 210 and the Sheldon. Outside In: Paint for Peace remains up at COCA from August 27 to October 30. Admission is free.
STARTING AS LOW AS $20
SATURDAY 0827 Festival of Nations
Bill T. Jones / Arnie Zane Company Sept 30 & Oct 1, 2016 Romeo & Juliet Starring Grand Rapids Ballet nov 4 & 5, 2016
It’s no secret that the International Institute’s Festival of Nations is one of the best two-day parties in the city. With more than 40 booths serving dishes from around the world, live music and dance from la es as di erse as e i ( ariachi Nuevo Azteca), North and West Africa (Tribe Azuka) and Bulgaria (the Bulgarian School of St. Louis), along with a marketplace selling things you’ve never seen before and yet can suddenly not imagine living without, the Festival of Nations celebrates the great American rite of immigration. Many of the people on stage and working the booths are new Americans or in the process of becoming Americans, just like those of us who were born here. Come on down and meet the new neighbors — they’re just like
PNC Arts Alive New Dance Horizons V: Women Who Inspire march 3 & 4, 2017 Taj Express: The Bollywood Musical Revue march 31 & april 1, 2017 10th Annual Emerson SPRING TO DANCE® FESTIVAL 2017 may 26, 27 & 28, 2017 memorial day weekend Tickets: 314.534.6622 | dancestlouis.org All performances at the Touhill Performing Arts Center
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us, having fun at the Festival of Nations. The festival is open from 10 a.m. to 7 p.m. Saturday and 10 a.m. to 6 p.m. Sunday (August 27 and 28) at Tower Grove Park (4256 Magnolia Avenue; www.festivalofnationsstl.org). Admission is free.
SUNDAY 0828 Raiders! How much do you love your favorite movie? Can you quote it all the way through? Do you dress up as your favorite character for Halloween? No matter how great your love for Mannequin (we’re assuming here), Chris Strompolos, ri ala and ays n a b l ed Raiders of the Lost Ark even more. The trio channeled that love into a shot-for-shot recreation of the film — as twelve-year-old kids. With Strompolos as Indiana Jones, ala d blin as r d er and the villainous Belloq, and Lamb serving as cinematographer, the tri s ent t e ne t se en s ers nis in t eir ersi n f t e l . ll t at was issin was t e t between Indy and the hulking Nazi underneath and on the Flying in . wenty e years later, t e boys returned with a Kickstarter campaign to raise the necessary f nds t et t at nal s t. t s nds insane, but it’s all true. Jeremy Coon and Tim Skousen reveal the truth behind the childhood obsession in the documentary Raiders! The Greatest Fan Film Ever Made. The doc is part of a double feature with the boys’ summer project, Raiders of the Lost Ark: The Adaptation, at the Webster Film Series. Screenings take
place a Sunday 4) at W dit r Avenue series).
TUES Yoga
Kevin S his last rr r fl religiou Red Sta He retu film Yo Harley and Lil Johnny and Co sophom the seni work in store, p a lot of when t evil lur they rea Manito Yoga H tonight 20 Cine Boulev com), p release
all shows* on sale september 10 at 10am Fox Box Office • 314-534-1111 • metroTix.com
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tival of en from y and 10 ugust 27 rk (4256 stivalofis free.
UniverSoul Circus sets up downtown. | BOON VONG place at 7:30 p.m. Friday through Sunday (August 26 to September 4) at Webster University’s Moore dit ri ( ast w d Avenue; www.webster.edu/filmseries). Tickets are $4 to $6.
TUESDAY 0830 Yoga Hosers Kevin Smith left Jersey behind in his last few films (the Canadian rr r fli Tusk, and the teens vs. religious fundamentalists thriller Red State , wit i ed res lts. He returns to Canada for his new film Yoga Hosers, which stars Harley Quinn Smith (his daughter) and Lily-Rose Depp (daughter of Johnny) as Colleen McKenzie and Colleen Collette, a pair of sophomores who just want to go to the senior dance. The two Colleens work in a Winnipeg convenience store, play in a band and spend a lot of time on their phones. But when they discover an ancient evil lurking underneath the store, they realize it’s up to them to save Manitoba. A special screening of Yoga Hosers takes place at 7 p.m. tonight at the Wehrenberg Ronnies 20 Cine (5320 South Lindbergh Boulevard; www.fathomevents. com), prior to the film’s general release. Tickets are $15.
WEDNESDAY 0831 UniverSoul Circus The St. Louis region has long been a stop on UniverSoul Circus’ never-ending tour of the world. But this year the circus will set up in downtown St. Louis in addition to playing its traditional stand at Jamestown Mall. From Tuesday through Monday (August 29 to September 5), the UniverSoul tent will be staked out on the parking lot at 111 North Broadway (www. universoulcircus.org). Ringmaster Lucky Malatsi, the multi-talented acrobat, dancer and contortionist, welcomes you to an evening of family-friendly fun ranging from a Chilean comedy dog act to the Airborne Motorcycles of California. There are two shows daily; see the website for details. Tickets are $15 to $35. Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the Night & Day section or publish a listing in the online calendar — for free! Send details via e-mail (calendar@ riverfronttimes.com), fax (314-754-6416) or mail (6358 Delmar Boulevard, Suite 200, St. Louis, MO 63130, attn: Calendar). Include the date, time, price, contact information and location (including ZIP code). Please submit information three weeks prior to the date of your event. No telephone submissions will be accepted. Find more events online at www.riverfronttimes.com.
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e your quote it ou dress cter for w great n (we’re mpolos, b l ed n more. ove into n of the ld kids. na Jones, er and d Lamb her, the ers e l . e t hulking e Flying ater, t e kstarter cessary t s nds my Coon he truth session ers! The ade. The ure with aiders of n, at the ngs take
The Story of How Peter Became Pan
Disney’s The LioN KiNG
to be announced later. July 28-30
Season Ticket Six-Show Packages! Call Now: 314-535-1700 Groups of 15+ call: 314-535-2900 FabulousFox.com/Groups riverfronttimes.com
AUGUST 24-30, 2016
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FILM
[REVIEW]
When Barry Met Michelle An unnecessary origin story for the first family does no harm, but little good either Written by
ROBERT HUNT Southside With You
Written and directed by Richard Tanne. Starring Tika Sumpter, Parker Sawyers and Vanessa Bell Calloway. Opens August 26 at multiple theaters.
O
ne summer day in 1989, a young Chicago attorney spent a long day with one of her r s te rary ass iates. They visited an art museum, attended a community organizati n eetin and saw i e ee s just-released Do the Right Thing. e sli t new l Southside With You is based on the events of that day (or date — the two characters disagree several times on how to ate ri e it . t rests n a i i which they waste no time in reealin . ew an is i elle Robinson, and her companion is Barack Obama, just shy of 28 years. e all n w t e endin t the story: They married thirteen years later and remain a couple, ar ably ne f t e w rld s st ad ired, t t is day. Southside With You, the feature debut of writer-director Richard anne, is an dd ybrid f a l , one that is simultaneously modest and a biti s. t is, rst and f remost, a would-be idyll in which two attractive, likable people chat and get to know each other, with familiar Chicago locations providing t e ba r nd. ey tal ab t many things — their families, their career goals, the TV series Good Times and the comparative claims of Innervisions and Talking Book f r te ie nder s best alb . (At this point, one must weigh in to object to an obvious inaccuracy: Have neither of them heard Songs in the Key of Life?) But for all their talk, the dialogue remains
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Tika Sumpter and Parker Sawyers in Southside with You. | PAT SCOLA, COURTESY OF MIRAMAX AND ROADSIDE ATTRACTIONS
The film feels like a short that has been expanded to three times its proper size. almost deliberately insubstantial, functioning more as cultural and historical markers for the viewer t an as real n ersati n. it clocks in at a mere 84 minutes, t e l feels li e a s rt as been unnecessarily expanded to three ti es its r er si e. f t e effe ti eness f t e l rests n t e a iable erformances of Tika Sumpter and Parker Sawyers as, respectively, i elle and ara , b t t is t is a i ed blessin . n ne and, we are to believe that we are watching two (relatively) young people siz-
AUGUST 24-30, 2016
riverfronttimes.com
ing each other up as potential partners, expressing their feelings and aref lly re ealin t e sel es. t we re als s sed t see in t e the mannerisms and phrasings of the Obamas as we know them today, to recognize what are essentially t eir bli ers nae. ere are moments where the actors seem to become self-consciously aware of their real-life counterparts and come dangerously close to the line between acting and the kind of imitation one might see in a Saturday Night Live s et . e enter ie e f t e l is a neighborhood meeting in which Obama speaks, steering a crowd from unfocused anger to collective action as they discuss plans to petition the city for a community enter. t s a r ial ent f r b t t e l and t e le raati ally, it s t e int at w i i elle sees t r er date s cool exterior and recognizes his liti al a en it s als w ere we see Sawyers at his most assuredly Obama-like, working the audience and winning them over to his brand of practical problem-solvin . t it s a ered by stere -
typical dialogue and a sense that t e l a ers a e ntri ed a purely generic cause that allows t e l t l liti al wit t actually offering any real sense of liti s. t s a safe, str t red s ene that ultimately places appearances er eanin . So while Southside With You is an affectionate and respectful tribute to our 44th President and his admirable wife, they deserve a more insi tf l ne. ter, w als r d ed t e l , as des ribed Southside With You as ba a s “origin story,” reducing the narrative to one of the more tiresome n enti ns f i b l s, and er a s t at s ne f its r ble s. n e y l er a few f its re li ed as e ts ba a s chain-smoking and his resentment f is fri an fat er it d esn t have much to say about the real Obamas, who they are or how they t t at way. er er es are relatively easy to explain — we all understand that a radioactive spider bite is going to be a life-changing event for Peter Parker — but the real world is rarely so convenient r s si le. n
THE ARTS [ S TA G E ]
Immigrant Song A young Englishwoman alone in the U.S. makes for a surprisingly captivating musical in the hands of New Line Theatre Written by
PAUL FRISWOLD Tell Me on a Sunday
Music by Andrew Lloyd Webber lyrics by Don Black and Richard Maltby, Jr. Directed by Mike Dowdy-Windsor Presented by New Line Theatre through August 27 at the Marcelle Theater (3310 Samuel Shepard Drive; www.newlinetheatre. com). Tickets are $15 to $25.
A
ndrew Lloyd Webber’s Tell Me on a Sunday is nothing like an “Andrew Lloyd Webber” musical. There is no bombast, no cast of thousands and no stray cats wandering across stage to the cloying strains of “Memory.” Instead of overwhelming you with a barrage of sights and sounds, Webber seduces you with a delicate musical about an Englishwoman trying to make her way in America and nd l e w ile s e s at it. Tell Me on a Sunday is as intimate as a handwritten letter, and as welcome, too. It’s a surprising change of pace for the man who ambushed the world with the monstrous Starlight Express. Of course it’s no surprise that New Line Theatre’s season-closing production of the show wrings so much joy from Tell Me on a Sunday; the company has a way with musicals. But this production is helmed by Mike Dowdy-Windsor in his solo directorial debut, not company founder and artistic director Scott Miller. It’s an auspicious beginning for Dowdy-Windsor, who demonstrates a deft touch for pacing and staging and a keen understanding of character. New Line stalwart Sarah Porter plays Emma, the young woman who leaves England for New York and then Los Angeles in search
Sarah Porter stars in Tell Me on a Sunday. | JILL RITTER LINDBERG of love despite breakup after breakup. Porter has a massive, thrilling voice often put to the test in showstopping, heart-inthroat songs, but here she’s given the opportunity to showcase an entirely different set of vocal skills. “Capped Teeth and Caesar alad, a s n ab t t e arti ial nature of Los Angeles, is an honest-to-God bouncy pop song with a clockwork rhythm and Donovan’s ld fl te. rter drifts t r it breezily, and every time she hits the refrain “Have a nice day,” her voice gets breathier and more vacuous. Porter also deftly twists and t rns t r t e ra id re a sations of “You Made Me Think
It’s as intimate as a hand-written letter, and as welcome, too. You Were In Love,” a song about deception couched in Hollywood terminology. (Most of the show’s riverfronttimes.com
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lyrics are by Don Black, and they are sharp, witty and catchy.) Musical director/pianist Nat Jackson and the band do an excellent job supporting Porter throughout the show, not that there was a chance they would instead drown out her voice. The combination of cello (Eric Bateman), percussion (Clancy Newell), bass (Jake Stergos) and reeds (Harrison Rich) is an inspired one, giving the show a jazz feel that enhances its coziness. Rich in particular does MVP work, switching between flute and saxophone as needed. His saxophone work is downright tasteful in “Come Back with the Same Look in Your Eyes,” a slinky number about keeping the passion going through a protracted absence that is aided by Jackson’s dexterous electric piano. But even though it’s a onewoman show, this is no mere song recital. Porter shows off her acting chops in “Take That Look Off Your Face,” as she hears from a “friend” that her current beau has been spotted with someone else. Her surprise builds to anger, which she channels into a focused beam of rage at the bearer of bad news. Porter makes it look easy, but even at the peak of her pique she hews to the melody without cracking. It’s impressive work, even for her. At the opposite end of the emotional spectrum is her performance of the title track, a bittersweet song of loss and acceptance as another romance fizzles. Porter sings it tenderly, wrapping herself in melancholia as she once again finds herself alone in foreign country. It’s a private moment made public as Emma drops her tough-girl facade and abandons all her worldliness in favor of telling the truth — to her unfaithful boyfriend, and to herself. This is easily my favorite Andrew Lloyd Webber song, in what is easily my favorite Andrew Lloyd Webber show. That might sound like faint praise — but I hate Andrew Lloyd Webber the same way boys hate baths: Immediately, unthinkingly and with foot-stamping petulance. Dowdy-Windsor and Porter have trumped that hatred with a lovely little show that celebrates our human need for love. It’s an undeniable winner, even though it’s a Webber. n
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Sabor Si’s “Dirty Pig” tostada employs black beans, lettuce and pineapple pork. | MABEL SUEN [REVIEW]
The Secret Life of Tacos Some of the tastiest tacos in the city are being sold out of an unassuming corner market Written by
CHERYL BAEHR Sabor Si
1133 Bellevue Avenue (Inside the In & Out Market), Richmond Heights; 314-647-2696. Sat. 12-3 p.m.
E
very Saturday — sometimes at 11:45 a.m., sometimes a little after noon — Corrye Lopez pulls her black Honda SUV up alongside the In & Out Market and begins unpacking. Her daughter, mother-in-law and
sister-in-law jump out to join her, grabbing a cooler, some baskets and boxes of kitchen implements, as if they’re setting up for a family cookout in the park. Unlike the neighbors who frequent the In & Out, though, the Lopezes are not here to grab provisions. Instead, they head over to their usual corner spot, next to the soda fountain and alongside the ATM, to set up their taco stand. Lopez’s in-laws heat up the ele tri riddle and ll t e rtable food warmer with steaming mounds of pork, beef and chicken. Her daughter decorates the booth with brightly colored wicker basets and sil fl wers w ile e directs and sets up the accouterments, chatting with the line of regulars that began to form even before she arrived. Almost always, Stevie Wonder is playing in the background. These are Saturday afternoons at the In & Out, a quintessential corner bodega that sits at the intersection of Wise and Bellevue
in Richmond Heights and has become the surprising home to one of the city’s most delicious dining secrets. Nicknamed “The Brodega” after the Mr. T painting that hangs over the cash register, the market has been around for 40-plus years, though Sabor Si has only been a part of the picture for the past few months. After tabling her idea of starting a food truck, Lopez approached the market owners about setting up a taco stand in the corner of the market, counter service only. For Lopez, the arrangement would be a way to test the restaurant business waters bef re di in in ead rst. For the market’s owners, her presence would mean increased f t tra fr a r wd t at s all but guaranteed to walk out with a six-pack of Negra Modelo. The lines (at times stretching ten-deep, with waits a r a in fteen in tes just to order), show that the plan is working even better than Lopez anticipated. Some days, Sabor Si’s success riverfronttimes.com
gets a little overwhelming for Lopez. She’s not ready to quit her day job just yet — in fact, she may never be. A longtime pre-school and special education teacher, Lopez loves the kids at school like her own, but still needs to decompress after long days spent chasing after them. Nearly every night after work, Lopez comes home and heads to the kitchen to, in her words, “zen out” over the stove, perfecting her techniques and experimenting with recipes. She wanted to share the fruits of her labor with the community, so she set up Sabor Si for fun, with the intention of taking things slowly and seeing where things go. That’s why she operates the taco stand only one day a week, and even then only from roughly noon until 3 p.m. Though her authentic food (and impeccable Spanish) suggest otherwise, Lopez is not from Mexico. She fell in love with the cuisine through her husband and his ex-
AUGUST 24-30, 2016
Continued on pg 34
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SABOR SI Continued from pg 33 tended family, who hail from a small town outside of Mexico City. On family trips to her husband’s homeland, Lopez was taken by the food, particularly the street taco culture, and tried to recreate it back home in St. Louis. She’s nailed it. Her signature street tacos, served two to an order, are ade wit s ft fl r t rtillas, griddled right in front of you. She overstuffs them with either beef or chicken. The former is made from tender, arinated flan stea t at has the dual zing of lime juice and black pepper; the latter is succulent pulled chicken spiked with warm chiles and garlic. Lopez dresses t e t s e i ati n, b t s ests just a sprinkle of white onion and fresh cilantro. She layers two, sometimes three, tortillas together because one can’t contain the juice from the meat, though I wonder who’d complain about getting their sleeves messy for something this wonderful. Sabor Si’s vegetarian taco consists of marinated mushrooms laden with so much garlic it’s laughable — in the sense that it makes you chuckle with glee. Lopez sautées them on the griddle to order so that the pungent umami steam perfumes the entire market. The plump portabellas, too, are as satisfying as any of her meat offerings. You’ll get laughed out of the market if you tell that to fans of her chorizo, though. Members of this loyal cohort tend to be the ones who arrive the earliest, and it’s clear why. Lopez’s version of the Mexican pork sausage is rich, fatty and flavored with smoky paprika, chiles and garlic. Though fl r is t e defa lt n st f er tacos, she will put the chorizo in
The walk-up stand features some incredible (and affordably priced) tacos. | MABEL SUEN corn tortillas on request and even s ests t is ti n t rst ti ers. The spicy meat drippings soak into the sweet corn tortillas for such a perfect experience, you won’t want any other condiments. Lopez diverges from the Mexican playbook with her Korean-style pork tacos, which could compete with anything served out of a trendy L.A. food truck. Tender pork belly is glazed with soy, ginger, garlic and chili, which forms a salty-sweet caramelized coating. The meat is placed in crunchy corn tortillas and dressed with tangy Asian-style slaw to balance the richness. It’s not hot, though — unless you ask Lopez to dress the dish with fresh jalapeno slices for a sweat-inducing kick.
The beauty of Lopez’s laidback operation is that she can add new things to her menu on a whim. The “Dirty Pig,” her most recent addition, is a traditional pork dish that she’s been playing around with for a while. She seasons the meat, wraps it in banana leaves and slow-cooks it to the point that it falls apart like pulled pork. The result is vibrant orange-hued meat reminiscent of a tangy, chile-spiked al pastor. You can order it on anything, though I recommend having her spread it liberally over the black bean enchilada. The pork-fat laden refried beans pack a heat that creeps up on you and serve as a beautiful backdrop for the pork’s sweet spice. Not one to limit herself, Lopez has been experimenting with handmade
AUGUST 24-30, 2016
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naan as an alternate edible canvas. A preschool teacher at heart, she offers these pillow-soft flatbreads with simple melted cheese as a kidfriendly option, or you can smother them with any of her other toppings. If you don’t seize this opportunity to make chorizo-covered cheesy bread, by god, something is wrong with you. Lopez calls this build-your-own naan option “The Queen,” as in “You’re the queen, so you get to do what you want.” But really, there is only one queen at the In & Out — and now that the word is out, her kingdom can only get bigger. n
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SHORT ORDERS
[SIDE DISH]
An Acclaimed Chef Returns Home Written by
CHERYL BAEHR
R
ob Connoley didn’t start foraging because he was following the trends or trying to emulate an acclaimed Danish chef. He did it out of necessity. t rst, started t wit a s and salad afe, b t it wasn t allen in f r e f r a l t f reas ns, the chef says of his New Mexico resta rant, t e ri s at. started d in t e dinner side, w i ta ed int y interests that’s when the molecular gastronomy and locavore movements were ta in ff, s ed ri t in. t t e f ra ed f d as e t e l ed be a se li ed in s a re te nity. didn t a e t e l ry f l al far ers and f d rey rs f r seas nal in redients, s l ed t t e a e lt re t learn ab t f ra in . t t at int, t e dinners st e l ed. r nn ley, t e e l ti n f is kitchen is in line with the changes that brought him into the restaurant b siness in t e rst la e. rid et n nati e, nn ley s ent ei teen years in n n r t ana e ent, w i ed i ar nd from town to town and ultimately t t e tiny t wn f il er ity, ew Mexico. He and his husband Tyler de ided t en a r et r ery store as a way to settle down in ne la e. ree years later, t ey ened a resta rant nent as well. ey ired a ef, b t s e t re nant ab t t ree nt s in and decided to leave. Connoley had no choice but to take over the kitchen himself. ad ne er w r ed in a resta rant bef re, b t was fa iliar wit f d and st ed in, nn ley recalls. e ri s at went n t be a en enal s ess. Gastronomica and the New York Times
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The James Beard nominee plans to open a St. Louis restaurant next year. | JAY HEMPHILL t n ti e, as did t e a es eard Foundation when they nominated i f r est ef t west in 2014. es ite t e a lades, nn ley felt the need to come back to his native St. Louis so he could be close to his family. He closed the Curis at t is ast s er and ed ba t t wn wit lans f enin a resta rant s e ti e in . e been ne years, and st at t e a e w ere it was ti e t e ba , nn ley says. t fr t e f d side, it s s a d ti e t be ba , be a se s is in n. nn ley e lains t at is isi n is f r s et in s e ial t at e le will tell t eir w r ers ab t n nday rnin . deally, t e resta rant will ffer s all, ti eted seatin ni tly, w ere is ests will be seated at a table around i as e s. t will i e e a chance to tell the story of the food but also have the fun of a social settin , nn ley says. t will draw n y assi n f r f ra ed f d,
AUGUST 24-30, 2016
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and it will be a tastin en , b t d n t want e le t et n n t at ter . ... n t d in a tastin en st f r t e sa e f drawin t twenty ef r as s. Until t en, nn ley will be tra elin in s rt f is b Acorns and Cattails. is, t , was a r ect he never had any intention of doing. ad e le as e all f t e ti e if was in t write a b and e t sayin n , e says. t nally de ided t t s e st ff together and see if it would work. t s n ne f t at f n y ef s l st ff t . e w le int is if you want to go out into your backyard and at er s e a rns, ll s w y w at t d wit it. Connoley took a break from his book tour to share his initial imressi ns n t e t. is resta rant s ene, is l e f t in air and why you should always check your labels. What is one thing people don’t know about you that you wish they did?
definitely s ffer fr ster yndr e. ardly a day es by w en t in tr ly deserve the accolades and successes e ad er t e years. an a e l win el re iews, b t t e only one that sticks with me is the one negative. If you could have any superpower, what would it be? e ability t li e wit t air nderwater, li bin ntains, everywhere. Air holds me back in so many ways. That and the need t slee and eat. es y basi an needs. Who is your St. Louis food crush? yan a er, f ra er and ef. e ets t e i rtan e f a ef being connected with their food. He understands seasons and how eatin seas nally is s i rtant t r b dies and r lanet. Who’s the one person to watch right now in the St. Louis dining scene? ari a se s n ar n leid n f rat rewin ( a, llinois). Watch them grow. They’re ri ed t e l de. Which ingredient is most representative of your personality? tter is ersatile in sweet and sa ry f ds. t s a w r rse. If you weren’t working in the restaurant business, what would you be doing? ar ran er in las a, r if was a few years y n er, a li bin ide. ld s end e ery wa ing moment in the mountains... emerging every now and then to have a few beers. What is your after-work hangout? y d s de and wal s. ef re ret rned e t t. is, we li ed in a s all, re te ntain t wn in ew e i , and e ery sinle day r s iled es w ld get two to three hours of remote mountain hiking. We’re having to ada t t t e sidewal s and r wded ar s, b t t e d s still de and t e ilea e. ee s e in s a e. What’s your food or beverage guilty pleasure? w t at ba in t wn t e answer is easily gooey butter cake. l e e en t e w rst f t e . What would be your last meal on earth? as ed tat es. lenty f butter. A Close Encounters-sized n mound of mashers!
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vijay iyer trio | nov 30 – dec 3
Thank You St. Louis Riverfront Times Restaurant Guide Favorite BBQ 2016
donny mccaslin group oct 19-22 from david bowie’s blackstar
jazz at the bistro tickets on sale now at jazzstl.org
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AUGUST 24-30, 2016
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[FIRST LOOK]
Comet Coffee Expands to Kirkwood Written by
LAUREN MILFORD
N
estled in a small retail center n a slee y bl in ir w d is Comet Croissanterie and Creamery (640 West Woodbine Avenue , a new venture from Mark Attwood and te anie is er. in e enin t e ri inal et ffee, l ated at a land en e, st s t f rest ar , ttw d (t e wner and is er ( is b siness artner and astry ef reali ed t e limitations of its small kitchen. They wanted to find a bigger s a e t w r in. fter winnin a a ar es ress a ine at an a ti n last year, t ey f nd a e f r it in ir w d, w ere Mark lives. While the kitchen at the Croissanterie and Creamy is larger t an t e ne at et, t e s a e is tiny st f r st ls and a s all bar as are t e rs and en . n nday, nday, ednesday, rsday and riday, t ey ser e es ress and astries fr t a. . ( r til t ey e s ld t f r issants, as t ey did at a. . n t e day we isited , as well as i e rea fr . . riday through Monday. e r issanterie s es ress drin fferin s in l de lattes, a iat s, t e flat w ite, an
OFF THE GRILL
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The new Comet Croissanterie serves coffee, pastries and ice cream. | LAUREN MILFORD
[FOOD NEWS]
THAI-STYLE FROZEN TREATS COMING TO THE LOOP Written by
SARAH FENSKE
M
ove over, Ted Drewes. A new shop in the Delmar Loop aims to serve a type of ice cream previously unheard of in much of St. Louis — and likely the entire Midwest. Snow Factory St. Louis (6602 Delmar Boulevard), which hopes to open in the next month in the space that previously held Cheeseology, will specialize in Thai pan-fry ice cream rolls. The style of ice cream is “cooked” on a hibachi table that’s kept at 10 degrees below zero. The ice cream is mixed with fruit or other ingredients, and then chopped and stirred until it’s crystallized. A recent import to New York City’s Chinatown, it’s been drawing lines around the block. The St. Louis iteration is the brainchild of Van Liu, a senior at University of Missouri-St. Louis majoring in finance and in-
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ternational business. Liu’s dad is from mainland China and his mom from Taiwan, and while they moved to the U.S. when he was sixteen, on annual trips back East he fell in love with the frozen delicacies on offer in Asia. After hearing of the Thai-style rolls’ success in New York and Atlanta, he also saw a business opportunity — and paid his friends who own shops there to teach him the art. He’s planning a simple menu, but with a few options beyond sweets. Crepes will be both sweet and savory, with exotic tea and sparkling drinks on offer as well. And then there’s that ice cream. “We have more than thirteen flavors, including vanilla, green tea, chocolate, mango, taro, coffee, sesame, strawberry, Thai tea, etc.,” he explains in an email. “Customers will have more than 30 toppings to choose from. More importantly, this ice cream is customizable, low-fat, organic, and healthy. You won’t be as guilty consuming the same amount of ice cream.” Liu says his team has been working on an overhaul of the Cheeseology space, which closed more than a year ago. With wood and brick, he’s hoping for a vintage, rustic look. “I have customers come in saying, ‘Damn!’” he reports. The shop is waiting for its permits from University City but hopes to be open within a month. Eventually, Liu hopes Snow Factory will become a chain with locations throughout the n Midwest and then on the coasts.
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eri an r, if y really need a affeine i , a d ble es ress . ey re startin t wit a astry en f r issants, al nd bear laws and ain a lat, b t lan t add a few re ti ns in t e f t re. The Creamery’s ice cream is made from scratch with local cream and without extra gums or binders. They als ffer e an, dairy free ti ns li e f rbidden bla ri e i e rea , and sorbet made with cantal e fr t e ir w d farmers market. eir i e rea s e ial is t e waff at , a lay n aff at a ade fr scratch waffle cone bowl filled with sweet cream i e rea and t ed wit es ress . n
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®
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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 12.11 STEEL PANTHER 1.16 LUKAS GRAHAM
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AUGUST 24-30, 2016
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MUSIC
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Assault and Conquer Full Terror Assault Open Air Festival returns to Southern Illinois Written by
KEVIN KORINEK Full Terror Assault II: Open Air Festival August 25 - 27, $65 for a two-day pass. Hogrock Campgrounds, Cave-In Rock, Illinois. fullterrorassault@gmail.com
W
hen Shane Bottens decided to put together a music festival celebrating all things etal, e ad a ery s e i vision in mind. “I always wanted to try my hand at the open air festival,” he says. “It’s kind of a niche thing and there’s nothing around that fits the bill.” Having performed in bands at several open air metal festivals in Europe, Bottens decided to run with t e idea, t r win t e rst iterati n of the event last September. The Pekins, Illinois, native enlisted 75 bands to perform on three different stages at Cave-In Rock State Park in Illinois, some three hours from St. Louis. He dubbed it “Full Terror Assault: America’s First ‘True’ Open Air Festival.” Metalheads could camp, imbibe and enjoy an atmosphere free of security guards. Though well-received, it was a learning experience for Bottens, who works tirelessly to maintain an ethic about open air festivals. “To me, if you’re going to call yourself open air, you’ve got to have some national acts and a great facility,” he explains. “You can’t throw some generators up in a eld and all it en air. t s gotta be legit.” The term can be elusive. Many festivals claim they are “open air.” But Bottens says don’t be fooled — those are just outdoor concerts. “In Europe, the summer festival scene is huge: Wacken Open Air, Hell Fest — but over here, if you have shows outside, it’s not really a true open air fest, where you’re
The Lion’s Daughter is just one of the St. Louis acts performing at this year’s Full Terror Assault festival. | ADAM TAYLOR actually camping,” he says. “When you do that for a few days, you become part of a little community. You don’t see a lot of that here, especially for extreme music. “For the underground/grindcore/ death metal/punk scene,” he continues, “there’s nothing like Full Terror Assault in the United States.” This month, the Full Terror Assault Open Air Festival is back for a second go-round, with a slimmer lineup of 55 bands on two adjacent stages. There will be no shortage of talent, including St. Louis heavyhitters Thorhammer, Fister and the Lion’s Daughter — a proper soundtrack for a gore-porn snuff film or car crash fetish website. Bottens is proud of the work that’s gone into this year’s line-up. “There are a lot of great bands playing from the top to the bottom — there’s not a ller in t e b n . Cost of admission for the twoday event includes camping and a mix of some of the best death metal, grindcore, hardcore, punk and metal in the country, because, let’s face it, the last thing you want to do is watch 50 grindcore bands in a row. That’s another characteristic Bottens is trying to recreate from
the European open air festivals — variety. He’s even managed to gain the attention of classic thrash metal band Sacred Reich, who released a series of records in the ‘80s and ‘90s and reformed in 2007 to perform the open air circuit in Europe. Bottens made a plea for them to come to his festival, and the band heeded his call. “He’s trying to establish a real open air U.S. metal festival,” says Sacred Reich bassist Phil Rind. “Our favorite memories are playing these small metal festivals that started out with a couple thousand people and grew to a hundred thousand people over time. So everyone has to start somewhere, and we’re happy to be a part of that.” Sacred Reich has been playing all over Europe and has grown enamored of the music scene there, rarely playing the States, but Rind has high hopes for Botton’s endeavor. “A lot of these things you see lately are big corporate festivals. It’s not what we’re familiar with in Europe, with something that’s grown organically,” he says. “And Shane seemed real earnest and honest so we said ‘Yes, let’s do it. This is who we are, let’s be a part riverfronttimes.com
of it.’” And for Bottens, his dream of growing the festival seems to be taking off. “The more people I get involved, then the bigger-name bands I can get, and this thing will really start to grow,” he says. What would be a bigger name band? “I’d love to get Slayer there, man,” he laughs. But rest assured — he’s not kidding. Though he’s excited for this year’s festival, he knows there’s a lot more work to do. “When you’ve got to build something, like a band or a festival, it takes time to do that,” he says. “If it were easy, everybody would be doing it, but it’s not an easy thing to pull off.” Ticket sales have nearly doubled from last year, but because of the expansive campgrounds, there’s no danger of selling out just yet. Bottens admits it would be great to get to that point in the future, as the campground could conceivably hold 15,000 people. And that would mean he’s doing something right. “If I didn’t believe it, I wouldn’t keep doing it,” he says. “I think it’s going to be massive in the years to come.” n
AUGUST 24-30, 2016
RIVERFRONT TIMES
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B-SIDES
More Pü for You Pü Fest returns for its third year, bringing a diverse lineup with it Written by
DEREK SCHWARTZ Pü Fest 3
8 p.m. Friday, August 26, 2 p.m. Saturday and Sunday, August 27 and 28. Blank Space, 2847 Cherokee Street. $20 to $30. 314-3008831.
B
y most standards, the St. Louis music scene is a small one. This isn’t the kind of city where somebody is likely to get lost in the crowd at a concert. It’s a city where you might see the same 50 people at shows three nights in a row, and you might run into your favorite band at the grocery store. And yet, take a stroll down Cherokee Street on just about any night of the week and the scene won’t feel small at all. Walk past the people sitting in clusters on the sidewalk outside Foam, smoking cigarettes as they wait for the next band to take the stage. Listen to that screaming mechanical whine of a synthesizer that seeps through the front door of 2720. Take a peek through the cassette tapes and vinyl records and fanzines from local artists on display at the Kismet Creative Center. Whatever St. Louis lacks in size, it has made up for with a tightly knit community of musicians who look past barriers of genre or expectations to create some of the most immersive and original projects around. You don’t need to stray very far to find a band that challenges your most basic understanding of what music can do. “This place, it’s a small scene, but the people who really care about it aren’t afraid to do really incredible, weird shit without even thinking about it,” says Mike Herr. “I don’t know if it’s because there’s less people to go around here, but it seems like there’s just less judgment.”
42
RIVERFRONT TIMES
Tropical Trash, performing at last year’s fest. | TOM BREMER In addition to playing drums in the local weirdo-rock band Demonlover, Herr and his friends Patrick Boland and Luc Michalski are in the midst of organizing Pü Fest, a two-and-a-half day music festival that will take place this weekend at Blank Space. While the festival brings together bands from across the country, one of its ultimate goals is to show off the diverse range of local talent right here in St. Louis, which often goes unrepresented at larger commercial music festivals. “The goal of the fest was always to represent St. Louis, to be a mirror in a sense,” says Boland. “We make a conscious effort to have a diverse lineup in every way possible. “When I was growing up playing in bands, the scenes were very divided,” Boland continues. “There was no crossover of different genres. Hardcore bands played with the hardcore bands and metal bands played with metal bands. But people have grown up and the scene’s grown up. Now people just play music together and it creates weird shit. We wanted to create a fest that showcases all of that.” Of course, in order to properly
AUGUST 24-30, 2016
riverfronttimes.com
refle t t e t. is si s ene, the organizers knew that they needed to do more than just include a diverse selection of genres. This year Pü Fest will celebrate its t ird e ent, b t t e rst festi al went down just a month after the shooting of Michael Brown and subsequent unrest in Ferguson, bringing the need for diversity and equality to the forefront of St. Louis’ collective consciousness. Since then, Herr, Boland and Michalski have been careful to ensure that women and people of color are properly represented at Pü Fest. “I don’t want to just watch four white dudes play rock music all weekend; that would be boring as fuck,” says Boland. “If you’re just hearing the same thing all the time from the same people, I don’t want to see that. I don’t think it’s representative either. I like playing music with people who don’t look like me and don’t have the same ideas as me. That makes for way better music.” To this, Herr nods emphatically. “I think that’s important because we want all different people to come and participate in this. We
want it t refle t t e nity, and I think if a woman goes to the fest and sees 27 bands of all men playing, she’s probably going to feel pretty discouraged and think, ‘Well clearly this isn’t made for me.’ I think it’s important for people to want to take part in DIY music and feel encouraged — that doesn’t happen if it’s all one type of person.” Whether you’re a longtime fan of the thriving St. Louis DIY scene or you’ve never been to a show in your life, at Pü Fest you’re alst aranteed t nd s et in that sounds unlike anything you’ve ever heard before. And it’s not just locals. The show will feature fifteen local bands, plus another twenty touring bands from across the nation. “One of the things I’m most excited about is getting to watch all these people from out of town check out the bands I see every week and just be blown away by them,” says Herr. “Here’s this scene that I think is fucking amazing, and I get to show it off to all these people. It’s like DJing and putting on a great record on that nobody knows about.” n
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AUGUST 24-30, 2016
RIVERFRONT TIMES
43
7/21/16 10:32 AM
44 “St. Louis pioneers of craft beer and live music” THURSDAY, AUGUST 25 TH
FRESH hosted by So’N’So and DJ Smitty - Hip Hop 9pm - $5
FRIDAY, AUGUST 26
TH
CD Release Sean Coray with Nick Bifano & The Innocents, and Kevin Babb - Rock - 7pm - $8 adv/$12
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TROY, Bright Righteous, Struck Down By Sound, Patrick Jr - Rock - 8:30pm - $10
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Sunday’s with Stout: Anything Goes Open Mic Variety - 7pm - FREE Cover (50% off select Stout Beer In The Venue)
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Sept 3rd - Fly Method Sept 10th - Pepperland- A Beatles Revue Sept 15th - The Maension and Witch Doctor
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In the University City Loop
314.862.0009 • www.ciceros-stl.com
44
RIVERFRONT TIMES
HOMESPUN
THE VONDRUKES On This Ride Together thevondrukes.bandcamp.com
Vondrukes Record Release Show
8 p.m. Saturday, August 27. Off Broadway, 3509 Lemp Avenue. Free. 314-773-3363.
A
quick list of true-blue, dyed-in-thew l, s t. is b na des may include any of the following metrics: recognition of local high school mascots, tolerance for extreme humidity and the presence of Provel in the bloodstream. But another local rite of passage extends beyond the city limits and has long been a de nin traditi n f iss ri summers: the float trip. The cost of admission is low — all that’s needed is a canoe, a cooler of beer and a willingness “A lot of bands will record things they can’t reproduce live. We wanted to play the to let the mighty Huzzah or Black rivers music live, as intended. | COURTESY OF THE BAND take you where they will. In the case of Vondrukes’ bassist and co-lead vocalist Jeff Griswold, a leisurely weekend That the group has a somewhat chameleonic characf a in and fl atin wit is wife t rned int a ter is due in part to playful instrumentation — Ellis’ kind of backwoods Caligula. n t eir rst ni t, t e tr et ffers aria i flair ere and t ere b t couple settled in for an evening of card-playing and als risw ld s and ee s differin a r a es t gentle boozing. Their neighbors, two young women, songwriting. proceeded to goad and tease Griswold, culminating “Bob’s style is lyrically very poetic and symbolic, and in loud, performative copulation that Griswold calls mine is more of a storytelling style,” says Griswold. “audio porn.” “His stuff is less of a literal meaning — sometimes you “Two girls were heckling us and being rude,” says have to search for the meaning of the song.” Griswold. “We just kind of laughed it off. We ended ee s s n n is ide et er ser es as an up going to bed, and they started to loudly make love urban counterpoint to Griswold’s river sojourn, takfor hours on end; they were obviously overdoing it ing its inspiration from an Orange Line ride through just to annoy us.” i a n is way t idway ir rt. e lan f The next morning, likewise, didn’t go as planned. Baker’s ride cymbal and the raw tone of the guitars Their initial two-hour trip down the river turned into helps mirror the setting, which picks up speed as the a ile dyssey t at l inated in rb n, is- narrator gets closer to his destination. Nothing much souri, with salvation coming in the form of a good-ol’ exciting happens, but the ride gives him time to pause and ruminate — the best moments on the record show boy truck driver with a faulty engine. ee in arti lar, ta in st f a st ry i t n r ally be t e st ff f a re t e s n writers, tales, but for the Vondrukes, Griswold’s saga became life as middle age approaches, as he does on “Disensong fodder. The two-part travelogue “Garrison’s chanted Always.” Griswold describes the recording of the album, Trip” acts as a bifurcated centerpiece to the Americana sextet’s new LP, On This Ride Together, and it w i was d ne at a b eterin s ed ill t di s, ta s int t e band s ni ely idwestern blend f as an attempt to recreate the band’s on-stage energy. “We wanted to see if we could hold true to the live, rock riffs, story-songs and skewed humor. Together marks the Vondrukes’ third release overall rugged feel,” he says. “A lot of bands will record things and its rst sin e s alb Runaway, Goodbye Love they can’t reproduce live. We wanted to play the music and a relatively recent lineup change. Griswold and live, as intended. We went for more of a classic-rock approach.” b ee still s lit t e lead al and s n writin The four-year gap between recordings from the Vonduties, but its former three-guitar attack is trimmed drukes is partially due to the lineup shift but is more t tw , wit ee and as n ettler di in int more riff-oriented rock & roll this time around. Allison a byproduct of six adults, all with full-time jobs and ase t eir res e ti e Williamson’s backing vocals and Justin Ellis’ work on fa ilies, tryin t nd ti e t ses. f t e band e bers nd t e sel es n real tr et and r an el ll t t e nt rs f t e s n s, and f r er ent y nife i t dr er and metaphorical journeys, the Vondrukes seem to a es a er is an able tra ntr ller f t e re be doubling down on their commitment to the music and the relationships within the band. dynamic, dramatic moments on the album. “Both as a band and all of us in the world, we are e ndr es s r n fr t e as es f ee, risw ld and ettler s ld band en i in , and on this ride together,” says Griswold. “We thought . er t e years t e band as re ned its relian e n t e t at t e s n title was ery ttin f r t is alb –Christian Schaeffer rugged and twangy earmarks of alternative country.
AUGUST 24-30, 2016
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AUGUST 24-30, 2016
RIVERFRONT TIMES ST LOUIS RFT WEDNESDAY, AUGUST 24
45
46
OUT EVERY NIGHT
THURSDAY 25
CHAKA KHAN: w e
BRUXISM #20: w/ Brett Williams, Wiggpaw, U
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Off Broadway, 3509 Lemp Avenue. $15 to $17. 314773-3363.
Of all the insurgents to emerge from the alt-country scare of the mid-’90s, Robbie Fulks was the most versatile and, in certain moments, the most irreverent. A songwriting, singing and guitar-playing triple threat, Fulks penned definitive takedowns of Music City (“Fuck This Town”), rockist snobbery (“Every Kind of Music But Country”) and glitterati bathos (“She Took A Lot of Pills and Died”) — and that was just
AUGUST 24-30, 2016
riverfronttimes.com
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TUESDAY 30 DEAN MINDERMAN & SOUL SUPPLIERS: 10 p.m., .
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[CRITIC’S PICK]
Samantha Crain. | CONCERTED EFFORTS BOOKING
Samantha Crain 9 p.m. Saturday, August 27. The Heavy Anchor, 5226 Gravois Avenue. $10. 314352-5226.
Shawnee, Oklahoma, native Samantha Crain has spent the better part of a decade populating her albums and live shows with folks songs filled with carefully rendered detail and the emotional ballast necessary to sell them. On last year’s Under Branch & Thorn & Tree, Crain’s voice can shake like crinkled
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paper or stiffen like a taut rope, and she needs little but spare guitar and violin to paint the rest of the picture. On this tour Crain will be joined by Matthew Milia of the emphatic folk/rock band Frontier Ruckus, whose recent collection of lo-fi home recordings bears the sympathetic title Even Fuckboys Get the Blues. The Fog Lifts: Local duo the Fog Lights, comprising Justin Johnson and Jim Peters, will open the show.
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Continued on pg 48
riverfronttimes.com
AUGUST 24-30, 2016
RIVERFRONT TIMES
47
OUT EVERY NIGHT Continued from pg 47
THIS W
8TH ANNU .
[CRITIC’S PICK]
.
ANGEL PR
S.N.A.F.U.
,
7 p.m. Tuesday, August 30. Fubar, 3108 Locust Street. $10. 314-289-9050.
S.N.A.F.U.’s current tour, coming to St. Louis this week, definitely started off on the wrong foot. At 5 a.m. on the morning of Friday, August 19, the band loaded its van and prepared to make the drive from its hometown Detroit to Boston for the outing’s first date, when, according to its Facebook page, “our van spilled its guts all over the streets.” After hours spent trying to fix the problem, S.N.A.F.U.’s members threw up their
hands and rented a different vehicle — a sizable and unexpected cost. “We don’t do crowd funding, go fund me, or beg for help,” the band continued in its post, asking only that fans come to the shows, pay the cover and buy some merch. With all the blistering talent and huge riffs this crossover thrash act is packing, that isn’t really a big ask at all. No Coast, No Problem: A reconstituted Tropical Storm, St. Louis’ only surfthemed thrash band reborn, will open the show. – Daniel Hill
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RIVERFRONT TIMES
AUGUST 24-30, 2016
riverfronttimes.com
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SAVAGE LOVE HAD TO GET AWAY BY DANIEL SAVAGE DEAR READERS: is is t e nal wee f ys er a ati n b ty e been ettin a new ln e ery wee e been ne, all f t e written by an a a e, n ne f t e written by e. r nal est an a a e is an inde endent desi ner, ill strat r, and ani ati n dire t r based in r lyn, ew r . e reated le . (wat y lel . , a llab rati e art r e t w ere ani at rs ar nd t e w rld rei a ine t e fa s le l rela e. e as w r ed wit t e New York Times, er an iller and le, e s ta t desi n and ani ati n at U and , and e s w n a b n f desi n ind stry awards y r bably a en t eard f. was e ited t d t is, e en t a e n a t rity n t e t i , said aniel a a e, award winnin inde endent desi ner. t s r risin ly felt retty n dent in y answers, as ridi l s as t ey ay be. Hey, Dan: I’m a 41-year-old straight woman who stayed a virgin way longer than I should have (thank you, church and cultural slut shaming). I wasn’t 100 percent
“good,” i.e., I was one of those “not PIV = not really sex” girls, so I indulged in outercourse and other c e ts. e fi ll re li e that “not until marriage” wasn’t working for me and did the real thing, I discovered I loved it. Go me, right? Unfortunately, I’m not good at dating, so I usually go a long time between relationships. The rel tio s i m i o is t e first one I’ve had in two years. “Guy” is nice to me — calls me beautiful, sticks up for me, comes to watch me play with a community orchestra (my own family and friends don’t even come to my shows). But we don’t have much in common (hobbies, political outlook, religious beliefs) and sometimes our conversations feel labored. But that’s OK, right? At least I’m getting my sexual needs met, right? Well, no. Every single time we’ve tried to have sex, Guy either can’t get hard or stays hard for only a few minutes. I’ve tried going down on him, using my hands, different positions — nothing works. He’s never had an orgasm with me. We don’t even kiss that much. I don’t say anything because I don’t want to hurt his feelings and because I’m really grateful to him for wanting to be with me and being nice to me. He says sorry and that he’s asked the doctor about it, but we don’t get anywhere. It feels lonelier than when I was single.
To be blunt, I don’t want to date him anymore. But I feel too guilty to break up with him. He really cares about me, and he didn’t do anything wrong. We’ve dated for four months, and I don’t know if I’m giving up too soon. Where would I be if previous boyfriends had ditched me for being inexperienced instead of showing me the ropes? Don’t I owe Guy the same thing? Too Down To Be Witty irst ff, t in a l n ti e between relati ns i s is d. als t in n t a in t in s in n an be ay if y reate new bbies and e erien es y an s are. a in said t at, ,f r nt s is lenty f ti e t n w if it s w r in . e s nds s er b rin . e s ner y brea it ff wit i t e better. d n t want t rt i any re t an y a e t , ese ially if e s really int y , and t e l n er y draw it t, t e re it s in t rt. a nt f trainin is in t et t is d de ard. e nly r e bein s wn ere is is fla id din d n . t d esn t see li e y d e en want t be is friend if y br e . w ldn t feel ilty at all ab t d in i . eti es y tta t in ab t n ber ne.
riverfronttimes.com
49
Hey, Dan: My girl and I are both 26, and we opened up our marriage. Now I’ve got a girlfriend with whom I am getting to have some of the kinky fun that was lacking at home. Here is my question: Things are really casual between me and this new girl. I want to do some pegging, but I don’t know who should buy the strap-on. Me, because it’s my ass and my idea? Or her, because she would wear it and would also think it was super hot? Should I buy the dildo and she buys the harness? Going halfsies on the whole rig? What is the equitable way of doing this? Purchasing Erotic Gear Good Etiquette, Dan? re years ld, . y t e da n t in . w ld it ssibly st n w if were in y r sit ati n, w ld want f ll ntr l er w at es y ass. f s e wns it, w ld s e se it w ile y weren t ar nd it stran ers t an s. l s if y s lit t e st, w ets t ee it w en y brea st b y it and en y. f y str le wit i in it t, i t s est startin s all Listen to Dan’s podcast at savagelovecast.com mail@savagelove.net @fakedansavage on Twitter
AUGUST 24-30, 2016
RIVERFRONT TIMES
49
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RIVERFRONT TIMES
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100 Employment 103 Auditions/Show Biz
MO DE L S
for Uptown Magazine and Fashion Show. TWO Paid gigs Female 16 and over. Aug 27th ~ 3 to 5pm facebook.com/Cosmomodels
105 Career/Training/Schools THE OCEAN CORP. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298
120 Drivers/Delivery/Courier
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ABC/ Checker Cab Co CAL L N O W 3 14-725 -9 5 5 0 167 Restaurants/Hotels/Clubs FOOD SERVICE WORKERS Needed ASAP for School Cafeterias. Background Check req. 314-863-7400
190 Business Opportunities
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193 Employment Information CDL-A DRIVERS and Owner Operators: $2,000.00 sign on, company safety bonuses. Home weekly, regional runs. Great benefits. 1-888-3009935
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530 Misc. Services WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201
600 Music 610 Musicians Services
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9900
$ Just
Remote Start And Full Security System!
More
Save $10000*
19999
Your ride can be cool in summer, warm in winter before you climb in. Remote start with tachless mode, programmable run time, Shock sensor and starter interrupt. Two keychain remotes,.
$
Save More When We Install It!
Some vehicles require specific interface modules at added cost.
IF YOU DESIRE TO MAKE MORE MONEY AND NEED A NEW JOB EARNING $45-$50 thousand the 1st year, great benefits, call SMTDS, Financial assistance available if you qualify. Free living quarters. 6 students max per class. 4 wks. 192 hours. • More driving time than any other school in the state •
SOUTH 5616 S. Lindbergh • (314) 842-1242 WEST 14633 Manchester • (636) 527-26811
HAZELWOOD 233 Village Square Cntr • (314) 731-1212 FAIRVIEW HEIGHTS 10900 Lincoln Tr. • (618) 394-9479
Unless otherwise limited, prices are good through Tuesday following publication date. Installed price offers are for product purchased from Audio Express installed in factory-ready locations. Custom work at added cost. Kits, antennas and cables additional. Added charges for shop supplies and environmental disposal where mandated. Illustrations similar. Video pictures may be simulated. Not responsible for typographic errors. Savings off MSRP or our original sales price, may include install savings. Intermediate markdowns may have been taken. Details, conditions and restrictions of manufacturer promotional offers at respective websites. Price match applies to new, non-promotional items from authorized sellers; excludes “shopping cart” or other hidden specials. © 2016, Audio Express.
riverfronttimes.com
AUGUST 24-30, 2016
AUDIO EXPRESS!
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51
MODELS
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52
RIVERFRONT TIMES
EarthCircleRecycling.com
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.
Call Today! 314-664-1450
EVANGELINE’S
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Two floors are one level Features include Balconies, Community Courtyard, All new upgraded appliances and custom lighting. Rooftop deck, pet park Roof top pool. Free Parking space one per unit for a limited time. Special pricing now starting at $1,225.00 to $2,295.00 One Month free with many specials. Call 314.320.6465 Now for your Private Tour • www.STLluxury.com
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riverfronttimes.com
PATIO’S OPEN!
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U ltimate M by
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