Riverfront Times - August 30, 2017

AUGUST 30–SEPTEMBER 4, 2017 I VOLUME 41 I NUMBER 35

City Sings the Blues

RIVERFRONTTIMES.COM I FREE

Meet five artists representing the St. Louis sound — and anchoring the Big Muddy Blues Festival this weekend

BY THOMAS CRONE

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he RFT is celebrating its 40th anniversary with our biggest BEST OF ST. LOUIS ever. Our 2017 issue, “THIS IS 40,” will pay tribute to 40 years of kicking ass and taking names, with guest writers from the paper’s storied history and a look back at key moments in our coverage.

But it’s not all about us. We’re also using this birthday to pay tribute to the city we continue to adore after forty years of coverage, with four categories of honors for the places and activities we love.

“THIS IS 40: THE BEST OF ST. LOUIS” will include an extensive Readers’ Poll, with readers’ picks for everything from Best

2000s

2010s

Restaurant to Best Record Store. On top of that, the paper’s writers and editors will detail their picks in three categories: • 40 Flavors — our top 40 things to eat and drink • 40 Cheap Thrills — our picks for 40 awesome things to do that won’t break the bank, including dive bars, free concerts, and outdoor movies • 40 Experiences to Make You Love St. Louis as If It Was the First Time — our picks for 40 spectacular things to do in the metro area, from the symphony to patios that make us feel like a million bucks.

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THE LEDE

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“I wanted to block Westboro Baptist Church from hating on the Cardinals for doing Pride Night. I didn’t want the children coming to the Cardinals’ game seeing their signs. So that’s why I came out.

“Also Kiwi Herring was killed by the police a couple of days ago, so just showing that we’re here and we’re going to speak up whenever stuff like that happens. The cops can’t just go around killing black people or trans people and expect us just to sit on our couches and do nothing about it.

That’s what I’m out here for. I don’t yell very loud, I have a quiet voice, so usually I don’t do a lot of yelling. I just hold something to make myself be seen. And the flag’s got a really uniting power.”

—JOHNY CAMPBELL, PHOTOGRAPHED OUTSIDE THE CARDINALS’ FIRST PRIDE NIGHT ON AUGUST 25

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AUGUST 30-SEPTEMBER 5, 2017

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TABLE OF CONTENTS FEATURE

14.

City Sings the Blues Meet five artists representing the St. Louis sound — and anchoring the Big Muddy Blues Festival this weekend Written by

THOMAS CRONE

Cover photography by

NATE BURRELL

NEWS

CULTURE

DINING

MUSIC

5

27

33

47

The Lede

Calendar

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

9

29

Op-Ed

Despite a breakout performance, Patti Cake$ fails to rise to the occasion

9

Stage

A vigil in the Grove ends with criminal charges for a local man who steered his car into the crowd

31

37

B-Sides

Side Dish

Retreat Gastropub’s Tim Wiggins started as a reluctant bartender, but he’s now a rising star

42

First Look

Paul Friswold is unimpressed with St. Louis Shakespeare’s Titus Andronicus

Red Oak Eats ‘n Treats offers herbs fresh from the garden

42

Food News

10

Frankly Sausages is coming to Cherokee Street

Killing at a No-Kill Shelter

Danny Wicentowski reports on troubling accusations about Stray Rescue

6

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AUGUST 30-SEPTEMBER 5, 2017

All Kinds of Funny

Kenny Kinds brings the laughs, regardless of the medium

Film

St. Jack is being praised for standing up to Trump. Not so fast, says columnist David Martin

Driver Charged

Pizza Über Alles

At Pizza Head, Cheryl Baehr once again loves what Scott Sandler is serving

45

Bars

Soulard Stable offers free food, a LGBTQ-friendly vibe and (for now) a fake horse

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Vibes STL is going big in 2017, with two days and two venues

54

Homespun

Kid Scientist A Report from the Future

56

Out Every Night

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

58

This Just In

This week’s new concert announcements

Publisher Chris Keating Editor in Chief Sarah Fenske

BRING IN YOUR METAL

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

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A R T Art Director Kelly Glueck Contributing Photographers Sara Bannoura, Mabel Suen, Monica Mileur, Micah Usher, Theo Welling, Corey Woodruff, Tim Lane, Nick Schnelle P R O D U C T I O N Production Manager Brittani Schlager

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ST LOUIS RFT

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NEWS

[OP-ED]

Too Little, Too Late for St. Jack Written by

DAVID MARTIN

J

ohn Danforth wants you to know he’s very concerned about this Trump fellow.

Last week, the former U.S. senator called Trump the “most divisive president in our history.”

Opining in the Washington Post, Danforth encouraged his fellow Republicans to dissociate themselves from Trump, comparing him to the segregationist George Wallace.

Pundit Mark Halperin declared the op-ed “extraordinary.” In fact, it was a perfectly ordinary example of Danforth taking a safe position within the soft sheets of a major newspaper’s opinion page. For all the attention the op-ed received, Danforth stops short of calling for rump to e remo e from office Describing his party as “now in peril,” Danforth expresses more concern about the damage Trump may do to the Republican brand than the republic itself.

Danforth cultivates an image as a high-minded statesman. If your dad’s a Democrat or an independent, Danforth is probably his favorite Republican. “What America needs is politicians who hold things together,” he said at an event this summer honoring his service.

He did not specify that one needed to be Republican to be the glue of liberty. But Danforth, an ordained Episcopal priest, gives the impression that he would not endorse Christ himself if the Nazarene ran as a Democrat.

Look at the record. In 2005, Danforth wrote an op-ed in the New York Times criticizing the Republican Party for becoming “the political arm of conservative Christians.” The op-ed drew heaps of praise. Danforth even got a book deal out of it.

But then Danforth supported Continued on pg 10 the Senate 8

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Two days after Mark Colao drove his car into a vigil for Kiwi Herring, protesters remembered her life outside Busch Stadium. | NICK SCHNELLE

Driver Charged After Vigil Hit-and-Run Written by

DOYLE MURPHY

M

ark Colao has been charged with multiple crimes after hitting protesters with

his car.

A driver who plowed through people marching in memory of Kenneth “Kiwi” Herring in the Grove on August 23 has been charged with resisting arrest, leaving the scene of an accident and operating a motor vehicle in a careless manner.

Mark Colao, 59, steered his black Mercedes around three other cars that had stopped for protesters who were blocking the intersection of Sarah Street and Manchester Avenue, a video released by police shows. Colao accelerated

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and then hit the brakes as he reached the edge of the crowd.

Police said in a statement that night that demonstrators began pounding on Colao’s car with their hands and a flag pole. Several kicked the Mercedes and climbed on the hood, police say. That appears to match what’s shown in the video, an overhead view of the scene. After a few moments, the video shows, the Mercedes surges forward, sending people tumbling into the street before speeding off around the corner.

Protesters have contested parts of the police narrative, saying Colao was the aggressor. They describe him honking and flipping them off with both hand before he drove through the crowd. He initiated the confrontation, demonstrators say. Three people hit by the Mercedes suffered minor injuries and refused medical attention.

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Protesters reminded stadium-goers that “black trans lives matter.” | NICK SCHNELLE

Colao, who lives in the Gate neighborhood, was stopped about a block away and taken into custody by the officers, police say.

Demonstrators had begun the evening at the Transgender Memorial Garden with a candlelight vigil for Herring, a transgender woman who died August 22 in a violent confrontation with police.

Authorities say they were called to her apartment in the Academy neighborhood and found a 30-year-old man whom Herring had slashed and stabbed in the face, arms and torso. Still armed with a large kitchen knife, Herring then attacked police, slashing one across the arm before the two officers in the apartment opened fire, interim police Chief Lawrence O’Toole said on Wednesday.

Herring, 30, was killed, and her spouse, 28-year-old Kristy Thompson, was charged with assault for allegedly participating in the initial attack on the 30-year-old, police say.

Pictures of Colao with Mayor Lyda Krewson began circulating

shortly after Wednesday’s hit and run, leading to theories he was being protected. Krewson responded with a string of tweets, saying she doesn’t know Colao and condemned his actions.

“I take pics w/ a lot of people,” she wrote. “Police are applying for felony charges- that’s the right call!” She then added, “Driving into people is totally wrong. People have a right to protest, he should have used common sense and turned around.”

The demonstration in the Grove was the second protest to focus on Herring’s death, following a march on Tuesday in the Central West End that temporarily closed the intersection of Maryland and Euclid. Protesters also appeared at Busch Stadium on August 25.

It was the Cardinals’ first-ever Pride Night, but the evening’s celebrations were partially eclipsed by a protest from visitors from the Topeka, Kansas-based Westboro Baptist Church, as well as a counter-protest and an action related to Herring’s death. n

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DANFORTH Continued from pg 8 campaign of Jim Talent, a Newt Gingrich minion with a 100 percent rating from the Christian Coalition. During the campaign, Talent played to the party’s base and opposed a statewide ballot measure protecting stem cell research. Danforth supported the ballot initiative and even appeared in a campaign commercial. Talent got his check anyway.

Danforth is always clutching pearls over the direction his party is taking. In 2010, he said Republicans were “beyond redemption” if they failed to support Dick Lugar, the U.S. senator from Indiana (Lugar ended up losing his primary challenge).

In 2012, Danforth said he felt embarrassed watching the Republican presidential candidates e ate n , he a e a nger at the Republicans who bullied his protege Tom Schweich.

But as an election approaches, a zombie spell falls over Danforth and he endorses virtually anyone with an “R” next to his or her name. It matters not if the candidate shares his ideals about decency and compromise. When the alternative is a Democrat, even a goblin like Ed Martin gets the kiss of approval from St. Jack.

Partisanship is a hard habit to break. What’s maddening about Danforth is that he recognizes its dark power. “What can we do to restore a political center capable of reconciling the polar differences of politics — capable of solving problems, not just winning elections?” he asked in his 2006 book Faith and Politics.

Yet winning elections appears to matter a great deal to Danforth. Witness the letter he recently co-signed encouraging Missouri Attorney General Josh Hawley to run against U.S. Senator Claire McCaskill.

In the short time he has held e ecte office, a e has oine in partisan challenges of Obama Administration rules, promised to kick Planned Parenthood in the shins and dog-whistled about “religious liberty.” In short, he talks and acts like every young Republican meathead. Maybe there’s more to Hawley than meets the eye. He’s sure handsome. In any case, Danforth is eager to whisk him to Continued on pg 11 10

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Former manager Kristin Boyd says she witnessed disturbing things at Stray Rescue. | DANNY WICENTOWSKI

Killing Alleged at No-Kill Shelter Written by

DANNY WICENTOWSKI

F

or the past three months, Stray Rescue, a widely respected St. Louis animal shelter, has been targeted by lawsuits from former employees over a range of allegations, from sexual harassment to open drug use. But in a ust e a suit, former she ter manager Kristin Boyd claims Stray Rescue isn’t just abusing its human staffers, but its animals as well.

Filed August 23 in St. Louis City Circuit Court, the lawsuit’s targets include Stray Rescue founder Randy Grim, three executive staff members and the entire board of directors.

Durin an inter ie at the office of her attorney, Boyd explained that the death of a beloved pet rst moti ate her to o unteer at the shelter in July 2013. However, not long after she was hired as a paid staff member, she says she realized Stray Rescue was violating its purported “no-kill” policy.

It started with a dog named Flap-

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jack, who she says bit a volunteer.

The dog was taken to a veterinary hospital, she says, “so we didn’t have to do it at Stray Rescue, to kind of sweep it under the rug. I was devastated.”

Boyd claims that, to her knowledge, two other dogs were killed efore she as re this anuar On its website, Stray Rescue touts itself as “the largest no-kill organization in the city of St. Louis and surrounding area.” In a statement, the organization strongly denies Boyd’s claims, painting her as a disgruntled former employee.

Boyd’s lawsuit also accuses Stray Rescue of keeping dogs in crates “for hours” — contradicting claims that the animals are allowed to run free — and failing to vaccinate, leading to a distemper outbreak that took the lives of 43 dogs last year. he a suit speci ca accuses the shelter of retaliating against Boyd for sounding the alarm about racial discrimination in its hiring process. The suit alleges that one manager “would talk about African American employees behind their backs and complain that they were ‘too ghetto.’” Boyd also claims that one manager — whom Boyd explicitly accuses of racism — threw away a job application because it was submitted by an African American.

In January, Boyd claims she reported the situation to a manager.

Four days later, while on vacation, Boyd says she received a call from Stray Rescue founder Randy Grim, ho to her she as ein re for insubordination.

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“We’re suing the board of directors at this point, because going after individuals who engage in acts of discrimination have not changed the culture or environment there,” says Lynette Petruska, Boyd’s attorney. Petruska also represents Gary Gray, a former Stray Rescue mana er ho e a racia iscrimination lawsuit against the shelter in May. “What Stray Rescue does is good, it’s important, but they need to change their leadership,” Petruska adds. “We’re hoping to give a wake-up call to the people that lead Stray Rescue, the people who are ultimately responsible for it, that there really needs to be change.”

In response to a request for comment, Stray Rescue provided a statement from the shelter’s attorney claiming the organization implements “policies and procedures that strive to prevent and remedy all forms of illegal discrimination in the workplace, including race discrimination and retaliation.”

But the statement doesn’t stop there.

Stray Rescue also accuses Boyd of becoming “irate, profane, threatening and belligerent” after the shelter refused to let her boyfriend adopt a dog. But, the statement says, he had previously been convicted of animal cruelty.

The statement concludes, “Stray Rescue will defend itself vigorously against these baseless allegations an is er con ent it i e fu vindicated when the evidence is presented in court.” n

Tuesdays, Aug. 29–Oct. 3

DANFORTH Continued from pg 10

TWILIGHT

TUESDAYS EDWARD JONES

FALL 2017

CONCERT SERIES

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John Danforth. | JENNIFER SILVERBERG D.C., calling him a “once-in-a-generation political talent.”

The timing of the Run, Josh, Run! letter was impeccable. Blaming Senate Democrats for everything that’s wrong in Washington, it arrived at the very moment Mitch McConnell was trying to ram through a health-care bill without holding a single hearing.

At times, Danforth recognizes that what he calls “broken politics” is mainly a function of his party’s dysfunction. Just as often, he pulls a bookcase of false equivalence on top of himself. He’s equated Fox News and Ted Cruz with MSNBC and Elizabeth Warren. After the election, he told Mark Reardon of KMOX that there was “a lot of blame to go around,” putting Hillary Clinton’s “deplorables” comment on the same shelf as Trump’s hatred and stupidity.

Clinton is more like Danforth than he would care to admit. Both are mainline Protestants with similar views about the role of religion in public life. Both are institution-

alists who believe in an engaged foreign policy.

But Danforth could not stand the idea of Clinton becoming president.

Before Trump secured the Republican nomination, Danforth said he shared his fellow Republicans’ “intense desire to defeat Hillary Clinton.”

Fulfilling the desire meant elevating a malignant narcissist to the presidency. Now that the uncouth man occupies the office, Danforth has come forward to share his Grave Concerns.

Danforth should have seen this coming. He should have known last summer that voting Hillary Clinton was the right thing to do. He should have said so, even if meant sneers at the next Lincoln Day dinner.

But stopping Trump would have meant putting country before party.

For Danforth and others like him, it was too much to ask. n

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City Sings the Blues

Meet five artists representing the St. Louis sound — and anchoring the Big Muddy Blues Festival this weekend

F

BY THOMAS CRONE

or the second straight year, Jeremy Segel-Moss has his “hands on the wheel” of the Big Muddy Blues Festival, booking the 50-plus-act event taking place this weekend on Laclede’s Landing. Also for the second straight year, the event will feature a St. Louis-centric lineup, one that Segel-Moss says does justice to the region’s role as a blues hub.

“It’s all local,” he says. “But just because it’s all local doesn’t make it not national.”

This isn’t a riddle. “When Trombone Shorty is playing a festival in New Orleans, he’s a national act playing in New Orleans,” Segel-Moss says. And in St. Louis, too, numerous “local” artists are also national draws.

He continues, “We have one of the deeper wells of blues, of all traditions and styles, and the idea is to celebrate that. We don’t feel that we have to include national acts to make it a successful event. What you often see at any other festival of this type is a name act brought in, like Taj Mahal or Buddy Guy or Nikki Hill. There are lots of acts that are on that circuit and plenty of blues festivals on the Labor Day weekend. But none of them will have our show, with over 50 St. Louis acts. The idea is to celebrate what’s going on here, to shine a light on it.”

That it’s taking place on the Landing adds to the historical resonance. Begun in 1986 by the original members of the St. Louis Blues Society as the St. Louis Blues & Heritage Festival, the event was housed in clubs like Mississippi Nights and on street corner stages for a half-dozen years. In time, the Landing’s business district came to own and operate the event.

Now, 22 years into its run as the Big Muddy, it remains in an entertainment district that’s sometimes overlooked, or even forgotten, by a generation of concertgoers who’ve distanced themselves from the zone over the years Continued on pg 16 From left, Roland Johnson, Renee Smith, Gene Jackson and Mat Wilson.

PHOTO BY NATE BURRELL

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Apprentice jockey Brooke Stillion rides at Fairmount Park. Stillion is one of about two dozen jockeys who race at the track.

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“The blues need to be continued, there are so many stories to be told.

We need to keep the blues going.

The blues is my life.”

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CITY SINGS THE BLUES Continued from pg 15

— yet still has some serious charm.

“As a person who lives in St. Louis, as a musician who has watched music down there my entire life, the Landing is really beautiful. You have these very old buildings, the cobblestone streets, the views of the Arch,” Segel-Moss says. “There’s been some decimation with the casino and other construction, but there’s still this package of about eight square blocks that are some of the most ‘St. Louis places’ in St. Louis. And when the music is oin , it s coo he music oats throu h the streets, like it’d be in New Orleans, where you can hear a band playing outside from two blocks away. We’re happy to have it there. It’s in our history.”

Himself a player, as part of the long-running Bottoms Up Blues Gang, and chairman of the current iteration of the St. Louis Blues Society, Segel-Moss is somewhat hesitant to attack the basic question: What is the St. Louis blues sound?

“This is an ongoing question,” he says, with just a hint of a laugh. “What is the St. Louis sound? Well, because St. Louis hasn’t had the music industry of other cities, the large number of recordings, documentaries, books, it’s hard to call out exactly what it is. In a way, the 50 bands at Big Muddy represent the sound of St. Louis, whether Delta blues, or R&B, rock & roll or jazz… we have all of those in our sound.

“In Chicago, you may have the wailing guitar and the harmonica; in New Orleans, the crazy horn sections. But what the older musicians here created leaves a lot space. It’s about the complexity of simplicity; like, doing a lot with just one note.”

He adds, “I don’t even really know if I’m ua i e to ans er that ans er, thou h shou be able to. But if you wander through the stages, you’ll hear similarities in that sound.”

The five acts we’ve chosen to highlight in this issue offer those similarities, yes, but they also offer some real differences. Gene Jackson, Roland Johnson and Renee Smith are the elders, musicians ho eren t ust in uence i er Sain but worked with him directly. “They’re playing in a soul revue, which is a very St. Louis thing,” Segel-Moss notes.

Mat Wilson, meanwhile, is a student of Henry Townsend, “playing a very particular type of blues that no one else is doing here,” Segel-Moss sa s, hi e nnie in ers is in her rst ear at the festival. She comes from the New Orleans school, what Segel-Moss calls “that style of trad jazz, which is something that St. Louis was affected by, with the music coming up north on riverboats.”

Collectively, they represent the St. Louis blues a soun in uence man other p aces, ut somehow still all our own. Steeped in history, it Continued on pg 18 remains vibrant today.

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CITY SINGS THE BLUES Continued from pg 15

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TASTE

CITY SINGS THE BLUES Continued from pg 17

OF ST. LOUIS

THE THREE POWERHOUSES

SEPT 15 - 17

Vocalists Renee Smith, Gene Jackson and Roland Johnson, a.k.a. the Blue Lotus Revue

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PHOTO BY NATE BURRELL

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AUGUST 30-SEPTEMBER 5, 2017

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A few weekends back, an appreciative, modestly sized audience gathered inside one of south city’s linchpin music clubs, Off Broadway. Over the years, the club has played host to hundreds of evenings dedicated to the blues. This night, too, was embedded in that sound, though the show, called the Blue Lotus Revue, also hinted at soul, R&B and rockabilly. The studio/label led by Paul Niehaus IV was showcasing the many hues of the blues it’s releasing these days, with the evening’s second set built around the talents of three vocalists.

Swapping sets, sharing leads and backup roles, engaging the audience in three very distinct manners, Renee Smith, Roland Johnson and Gene Jackson each teased new projects, even while showcasing their vocals on a variety of blues/R&B chestnuts. In a way, the night was a vivid preview of their longer sets at this weekend’s Big Muddy Blues Fest, with a core backing band led by guitarist Kevin O’Connor and label head Niehaus supporting on bass.

“I thought the evening went great,” Smith, 65, recalls later from her home in East St. Louis. “I enjoyed playing that band — oh, man, just true professionals who can play any and everything. I was really impressed with that band, and anything I asked them to do, they were right there with me, behind me, supporting me.”

It was her first time performing with Jackson, though she’s worked with Johnson before. “They’re both great singers and I was just happy to be on stage with them,” she says.

Smith has been given the nickname “Queen of St. Louis Soul.” She got her start at age twelve, singing in Mount Zion Baptist Church, and has been performing blues, soul and jazz ever since.

Certainly, at the Blue Lotus Revue, she was an engaging presence, calling on the crowd to let her hear them within a minute or two of hitting the stage. She wasn’t the only performer to shine. With a killer backing band, the night’s second set allowed Smith, Johnson and Jackson — with help from guest vocalists such as Devon Cahill — to have both shared and solo moments in the sun.

O’Connor, a veteran of the punk/rockabilly Continued on pg 20 scene who worked with

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CITY SINGS THE BLUES Continued from pg 19

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both Johnson and Jackson on their albums, marvels at their talent. “Those guys are the real deal,” he says.

He adds, “As an instrumentalist who doesn’t sing, I love it when singers can play off of each other and harmonize. Roland and Gene play a lot of the same covers, so when we perform one of them and they’re both on a mic, all they gotta do is look at each other and they’ll just know who’s taking the high or low parts. Magic stuff!”

Niehaus has also noticed the two singers’ chemistry. “It’s a magical dynamic they have together,” he says. “While one is singing an original song from his album, the other is adding the best tambourine part you’ve ever heard in your life, while improvising little call-andresponse vocals lines, in a really respectful way.”

As the Big Muddy Blues Fest comes to life, each of the performers brings a set of both expectations and history to the event.

Jackson, like Johnson, is keen on showcasing the original material that Blue Lotus Recordings offered in his recent 1963 album.

“After doing cover material for so long,” Jackson says, “I never thought I’d have a chance to be recording and playing my own material.”

One of the RFT’s STL 77 this spring, Jackson was described by writer Roy Kasten as one of the cit s nest sin ers is oice stands up to comparisons to the greats of Motown and Chess, and with this year’s album, 1963, he lays down straight-ahead soul, with lush horns and spritely rhythm,” Kasten wrote. “His soul is classy and classic. It’s hard to e ie e this is ac son s rst officia re ease Jackson says he looks forward to sharing that work on the big stage of the Big Muddy, in front of an audience that’s primed to hear the best talent from St. Louis. Club work is his bread-

and-butter, but he’s excited to tackle the big stage in a primetime slot this weekend.

“When you’re on that bigger stage, facing a bigger audience, you have more space to perform and communicate, using different angles of the stage.

On a big stage, you can talk to everyone. And any time you’re doing original music, you want them to get the message and to connect with them, to have them understand what that song is about. You want the message to stick in their head, what you’ve just sung about. How else will they remember you from anyone else they’ve seen?”

Jackson gives them plenty to chew on. O’Connor notes how deeply personal some of his tracks ended up being.

“Gene lost a son to heroin just year ago, and a few of his tunes deal directly with that. His other tunes are about falling in love with his wife, staying strong and keeping faith throughout their healing process,” he says.

“Gene’s voice has a bit of a Joe Tex sweetness. His tenderness, empathy, pain and honesty are right there on stage. He proudly tells the crowd before any of his original songs what the story is behind the tune. The video he made for ‘Only God Can Help Us’ deals with using empathy and genuine help in confronting the homeless/drug addiction problems downtown. ... The pain hit his home and he doesn’t want to preach, but rather simply call for help. It’s powerful.”

Jackson calls the praise for 1963 “glorious.”

“I haven’t had this much attention in 20 years,” he says.

“Have you seen the video, yet?

Having all that out, it makes you feel so good, that the world and the people are listening.”

And yet…

“I’m always nervous,” Jackson admits. “From the smallest show to the biggest.”

As for Smith, she’s used to the big stages. She’s proud of having closed out last year’s show and notes, “I’ve been on the Big Muddy stages with a lot of artists, well-known and

well-liked around the world. ...

It’s had a lot to do with my going overseas. I’ve performed a lot in Asia; Singapore’s like a second home to me. Big Muddy’s carried me a long way.”

There’s always a chance that she’ll wind up on a stage or two aside from her own at some point in the weekend. Guesting with Mike Aguirre is in the cards for this year and, with a few days to go, there’s a chance that another artist mi ht n her recepti e f I can, I always like to say ‘yes’ to playing with other people,” she says.

“Big Muddy Blues has brought me a long way. I’m grateful to them.

The blues need to be continued, there are so many stories to be told.

We need to keep the blues going.

The blues is my life.”

The Blue Lotus Revue plays the Main Stage on Saturday from 9:45 to 11 p.m.

Continued on pg 22

Roland Johnson.

PHOTO BY NATE BURRELL

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CITY SINGS THE BLUES Continued from pg 21

THE LIFER

Mat Wilson Debuts Devil’s Elbow “I’m involved in about seven groups, but I don’t want to be boastful about it,” Mat Wilson says, while not sounding the least bit boastful. There are original bands like Tortuga and Loot Rock Gang, in which he plays alongside his wife, the vocalist Little Rachel. There are some for-hire projects. And, of course, the band that he’s most frequently associated with, the Rum Drum Ramblers. i son s rst e perience p a in the i Muddy came with the Ramblers, in a gig that wasn’t exactly traditional. he rst time e p a e the festi a , e weren’t booked,” Wilson recalls. “We busked on the street and, I’m telling you what, we’re still hearing about that, from a good ten years ago. I’ve had a bunch of people say that we were a welcome surprise. We gave it a little spice, a little kick in the pants, being these kids on the corner playing pre-war blues.” The suitcase full of cash they made that afternoon was an encouragement, too.

These days, Wilson, 32, is no longer a kid on the scene, needing to crash the party. This weekend, he and guitarist Elliot Sowell will be essentially debuting a new project, Devil’s Elbow, featuring a revolving rhythm section and a sound that they’ve talked about putting together for years.

They’ve known each other a decade, running into each other at clubs (like Beale on Broadway) and hipped-to-the-blues sandwich shops (Blues City Deli). In some respects, getting a band together was just a matter of time.

Says Wilson, “Over time, we’d see each other and say ‘let’s talk, let’s do this.’ My mission now is to not just talk about things, but to see them through.”

What it is, he says, is a “bad-ass blues band.”

“We put this project together to play the blues, with no apologies,” he says. “Basically, we wanna play the blues the way they should be done. Since we’ve both been involved in so many projects, we’ve basically wanted to go into the hornet’s nest and handpick songs, do blues the way we feel they should be done.

And that’s the core concept of Devil’s Elbow.”

The group has played one gig already, but it’s still a “very fresh band,” Wilson says. He boasts that it features Willie J. Campbell on bass, who he says has played with Hollywood Fats and the Fabulous Thunderbirds, among others. “We’re stoked to have him for the blues fest.”

For years, Wilson has worked in musicrelated jobs, often a couple at a time. Before launching his own business, he worked at inta e in on the sa es oor an repaire

guitar at J. Gravity Strings. But uniting with his father, an en ineer, he s een a e to re e ne his life. Their business, Embie Concepts, creates custom guitar parts, which have been purchased by national-level performers; he’s now full time in the endeavor. New products are on the horizon, even as Wilson continues to add to his band collection.

“It’s just something that the universe doesn’t let me stop for very long,” he says of gigging with so many acts. “I say ‘yes’ to everything I possibly can. Creatively, it helps keep my chops.” e most n s ne an s throu h his friends — and that, in turn, ups the friendship.

He says, “Having a musical relationship with a good friend is taking it to a different level of friendship. And that’s what I take most out of this, friendship and kinship.”

One of those friends is Kristo Baricevic, who heads up Big Muddy Records, a local a e unaffi iate ith the festi a espite the name). He says, “Some musicians learn to play their instrument based on the rules of music set forth by math and canon. Others develop their own voice, so that you can instant i entif the p a er from the rst few notes you hear. Mat is a combination of both of these. He has studied the players that came before him and the traditions that those players have served. But he has paid extra attention to the players who speak through their instrument and he has learned how to speak through his instrument in a voice that is distinctly his.”

He adds, “Mat plays in the present moment, but with a deep understanding of those who came before him. His playing is the summation of the history of blues, primitive rock & roll, and — in the right circumstances — proto-punk and experimentation. He is nothing less than an artist and without a doubt one of the most unique players you cou n an here to a Wilson’s desire to play is rooted here, but his for-hire gigs and the occasional outings with his multiple bands give him enough of the roa ife to eep him satis e “I love to travel and see different cities,” he says. “But right now, having started this business, I’m trying to stay rooted here, mostly doing one-off gigs out of town, then getting right back to work. In the past, touring extensively, I know what it’s like to really go out and hit it hard like that and I’m always willing to take a call, but at this point in time, I’m really trying to see things through with the business. But I love being in town and playing locally.”

Wilson and Devil’s Elbow will play the Big Muddy on Sunday at Morgan Street Brewery from 8:45 to 10 p.m.

Continued on pg 24

Mat Wilson.

PHOTO BY NATE BURRELL riverfronttimes.com

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CITY SINGS THE BLUES Continued from pg 23

THE TRAD JAZZ NEWBIES A nnie &

T h e F ur T r ap p er s

Annie Linders, 27, is the eponymous leader behind Annie & The Fur Trappers. A trad jazz band, the Fur Trappers were born in a way that’s supreme ttin As Linders recalls, she had some friends who were sailing down the Mississippi River. Thinking it sounded pretty fun, she invited herself along, and they agreed to pick her up along the way in St. Louis on the riverfront. o i e n ou the as e She had an easy solution: She brought her trumpet.

“They literally pulled up against the shore and picked me up as I was playing my trumpet,” she recalls. She ended up sailing with them for about a week, all the way down to Memphis.

The trip was inspiring, and not just for its cinematic beginnings.

“On the boat was a friend of mine, Ali Dineen,” Linders recalls. “She had her accordion on board and taught me the song ‘Delta Bound,’ which inspired our album of a couple months ago. It as one of the rst tra a son s ever played and that made me really interested in the music.”

The band has been moving fast since its inception last year, including (already!) an album release, drawing on a large pool of players and seldom featuring the same ensemble twice.

A teacher by trade, Linders has been working in urban and suburban school districts for several years and is currently teaching at Woodward Elementary School in south city. But her passion for music continues to n new outlets and take new forms.

“I was inspired one night, going to ch a ott e or s an seein a tra jazz band from New Orleans called Tuba Skinny,” she says. Sitting in and playing with them, she says, made one thing clear: “Yes, I want to do this.” In no time, thanks in part to her friend TJ Muller, she had a full eight-piece band.

One member of that pool of players is pianist Christopher Parrish. In addition to solo gigs, he’s found gigs with two St. Louis acts. The St. Louis Ticklers is one, a group so new it formed after Big Muddy’s booking concluded. The other is Annie & The Fur Trappers.

“Yeah, yeah, the Fur Trappers,” Parrish says. “I don’t play with them full time, but they’re killing it. They

have the essence of a New Orleans street band, in that there’s very little preparation and it’s very raw. I think that works very well in a community like Cherokee, especially. ... You know a tune, pick a key and go. That’s what they’re about, from what I’ve seen. It creates a nice sound and gives you a very freeing feel, playing in something like that. There’s something for every taste.”

Linders admits that her role as a vocalist is still an evolving thing, but she’s embraced it.

“People are always surprised when they see us and I sing,” she says. “They think, ‘Where did that come from?’ This is the rst an in hich e ma e it a point to sing.”

It’s a comment that comes with this caveat, applicable not only to her music but the band as a whole: “People like it. And I like it. So I should do it some more.”

And they’ll be doing “it” this weekend at the Big Muddy. While some folks may view the band as a bit of an outlier, in ers e ie es her act ts in ust ne She says, “Without the blues, the style of trad jazz would’ve never existed. The old-time blues and ragtime players in St. Louis and New Orleans created this music, and we do a lot of old blues numbers from the ’20s, so it’s not really that far off.

“We can take a song by Blind Boy Fuller, where it’d normally be one person playing guitar and maybe with a washboard, and we just add all of our instruments to it and make it our own. Our playing the festival will break things up a little bit, bring a different shade of the blues, which I think is cool.

“My dad really loved the blues,” she adds. “Growing up as a kid, he’d be playing BB King or Muddy Waters records around the house. The trad jazz stuff I didn’t really discover until a year, year and a half ago, seeing it around St. Louis. When I was taking music in middle and high school, we went more into the big band stuff, like Count Basie and Duke Ellington. The way I started playing the trumpet was through the ues in mi e schoo , the rst time I improvised was on a blues number.

“I owe a lot to my teachers in who taught me the blues, allowing me to n almost rediscover it later in life.”

Annie & The Fur Trappers will play the Morgan Street Stage from 3:30 to 4:45 p.m. on Sunday.

Annie Linders.

PHOTO BY NATE BURRELL riverfronttimes.com

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CALENDAR

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WEEK OF SEPTEMBER 1-6

FRIDAY 09/01 Young Playwrights Showcase Stray Dog Theatre’s season is over, but the company is not yet finished presenting shows. The Young Playwrights Showcase comprises two new plays, and the staging of them is very much a collaborative process. The audience is invited to discuss what they’ve seen with the playwrights, offering honest and constructive criticism about what works, what needs development and what could be cut without harming the show. It’s a prime opportunity for the writers to get feedback from people who aren’t family or friends, and possible sneak peak at what might show up in a later Stray Dog season.

This year’s showcase features Robert M. Kapeller’s First Chair, a drama that explores life after tragedy, and Meghan McLeroy’s We Are Not Cured, which centers on two men who observe scenes of violence which they cannot forget. The Young Playwrights Showcase takes place at 8 p.m.

Thursday to Saturday (August 31 to September 2) at the Tower Grove Abbey (2336 Tennessee Avenue; www.straydogtheatre. org). Admission is free, but reservations are requested.

Gateway Cup: Lafayette Park Labor Day weekend is always a big event for competitive cyclists and their fans. The Gateway Cup brings one night and three days of pro/am bike racing to four St. Louis neighborhoods, and this year’s race — the 25th installment — has a total cash purse of $70,000. The Gateway Cup takes place Friday through Monday (September 1 to 4), with the rst race startin at p m Friday in Lafayette Square (Park

Justin Bower, Subject Study in the Year of Our Lord, 2017. Oil on canvas. 7 x 6 feet. | COURTESY OF THE ARTIST AND BRUNO DAVID GALLERY

and Mississippi avenues; www. gatewaycup.com). This initial race is on a square course, and it wraps up at night, which always makes for a very dramatic nish he ne t three races are at Francis Park (Saturday), the Hill (Sunday) and Benton Park (Monday). Admission is free for spectators.

BY PAUL FRISWOLD

SATURDAY 09/02 Panoramas of the City In a year in which the Missouri History Museum exhibition team has given us the stories of St.

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Louis’ greatest civil rights freedom fighters and returned us to the glory days of Route 66, it would take something truly spectacular for the museum to outdo itself — and yet somehow it’s done just that. The museum’s new exhibition, Panoramas of the City, is as close to time travel as you

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Panoramic view of Sportsman Park during its first night game, June 12, 1940. | COURTESY OF MISSOURI HISTORY MUSEUM

CALENDAR Continued from pg 27 can get without involving Morlocks. The show comprises seven floor-to-ceiling-size images of scenes such as Charles Lindbergh speaking to a crowd of 100,000 people on Art Hill at his “welcome home” party and a 1920 march on Olive Street by the League of Women Voters. These massive photographs are joined by props and interactive media displays that give viewers a better understanding of the historical context of each scene. More than 60 panoramas of various sizes round out the exhibit, which will be on display from September 2 to August 12, 2018, at the Missouri History Museum (Lindell Boulevard and DeBaliviere Avenue; www. mohistory.org). Admission is free.

LA Painting The Los Angeles art scene doesn’t get as much attention as New York’s does (they’re just not cool enough), but the West Coast scene is thriving. LA Painting: Formalism to Street Art, the new exhibition at Bruno David Gallery (7513 Forsyth Boulevard; www. brunodavidgallery.com), features contemporary work by 24 artists working in a broad range of styles.

Some artists capture the unique LA sunlight, some work in Abstract Expressionism, others are more concerned with the narrative use of the ure or the uni ue Southern Californian school of Abstraction, Hard-Edge Geometry.

LA Painting: Formalism to Street Art opens with a free reception 6 to 9 p.m. Saturday, September 2, 28

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and remains up through October 7. The gallery is open 10 a.m. to 5 p.m. Wednesday through Saturday.

Prime: Dramatic License Show We’re living in the age of the mashup. Musicians, filmmakers and artists combine influences and styles to create something new out of two (or more) older genres, resulting in art that feels both new and familiar. Prime, the local theater company that specializes in writing, rehearsing and producing short plays in just 24 hours, adopts the mashup for its new show, Dramatic License. Six new short plays will debut at 8 p.m. tonight at the Gaslight Theater (358 North Boyle Avenue; www.primetheatre.org), each of them a combo platter of styles.

While the actual mashups won’t be known until the night of the show, Prime has a few planned: “fairytale documentary” and “slasher chick ic are oth possi i ities ic ets for Dramatic License are $15.

SUNDAY 09/03 Japanese Festival The 2017 Japanese Festival at the Missouri Botanical Garden (4344 Shaw Boulevard; www.mobot.org) has a stron ina an a or this year. The island chain south of what westerners consider “Japan” has its own culture and languages, as well as its own unique folk arts.

One of the most popular of the latter is Eisa, a folk dance that honors the cultural ancestors.

AUGUST 30-SEPTEMBER 5, 2017

Eisa features Taiko drums (always popular at the Japanese Festival), singing and accompaniment on the sanshin, a traditional threestringed instrument. Luck Eisa, which performed at last year’s fest, returns once again to perform for appreciative crowds. The group is joined by St. Louis Okinawa Eisa, a local company, for several joint performances throughout the holiday weekend. As always, there will be traditional Japanese food, fine art displays, martial arts demos and a marketplace in addition to the performers.

The Japanese Festival takes place from 10 a.m. to 8 p.m. Saturday and Sunday and 10 a.m. to 5 p.m.

Monday (September 2 to 4) at the Missouri Botanical Garden (4344 Shaw Boulevard; www.mobot. org). Admission is $7 to $15.

MONDAY 09/04 St. Louis Greek Festival This is the big one, folks: The St. Louis Greek Festival marks its 100th year of feeding people this weekend. That’s a full century of gyros, spanakopita and moussaka.

If you laid all that food out end to end, you could build a bridge from St. Louis to Greece -- and what a delectable bridge that would be. The centenary edition of the St. Louis Greek Festival takes place from 11 a.m. to 9 p.m. Saturday and Sunday and 11 a.m. to 8 p.m. Monday (September 2 to 4) at the St. Nicholas Greek Orthodox Church (4967 Forest Park Avenue; www.opastl.com).

There will be food, folk dancers,

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Greek music and beverages, but it will all taste better, sound sweeter and be more satisfying this time around. Here’s to 100 more years.

Admission is free.

WEDNESDAY 09/06 7 Faces of Dr. Lao If you like Tony Randall, there’s a lot of him on display in George Pal’s m 7 Faces of Dr. Lao. Randall plays the titular Dr. Lao, a mysterious Chinese circus owner who arrives in an Arizona frontier town just as the town is about to be abandoned. But strange things happen when Dr. Lao shows up. His circus includes an abominable snowman, the god Pan, a wizard named Merlin and Medusa (all performed by Randall), and these monstrous acts teach morality lessons in addition to entertaining. Will the wealthiest man in town succeed in running everyone off, or will Dr. Lao convince them to appreciate what they really have? The Webster Film Series presents 7 Faces of Dr. Lao at p m toni ht at the ch a ott eworks (7260 Southwest Boulevard, Maplewood; www.webster.edu/ m series ic ets are Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the calendar section or publish a listing on our website — for free! Send details via e-mail (calendar@riverfronttimes.com), fax (314-754-6416) or mail (308 N. 21st Street, Suite 300, St. Louis, MO 63103, 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.

FILM

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[REVIEW]

Half-Baked Geremy Jasper’s feel-good Patti Cake$ doesn’t rise to the occasion Written by

ROBERT HUNT Patti Cake$

Written and directed by Geremy Jasper.

Starring Danielle Macdonald, Bridget Everett, Siddharth Dhananjay and Cathy Moriarty. Opens Wednesday, August 30, at Landmark Plaza Frontenac Cinema.

T

here are few surprises to be found in Patti Cake$, a predictable, eager-to-please movie with a soft heart wrapped in a tough veneer. It’s a familiar fairy tale, the story of a young artist struggling to outwit those who scoff at her dreams and rise above her humble origins. Setting such a story in the world of contemporary music can be tricky — its success, perhaps, heavily determined by the musical genre in question. Sometimes you get Purple Rain or The Harder They Come; more often you get Cool as Ice. Patricia Dombrowski is played

by Australian actress Danielle Macdonald, whose breakout performance is the best thing about the m he s an o er ei ht oun woman stuck in a dreary corner of New Jersey, a dingy world where ambition is ridiculed and the town’s major cultural attraction is karaoke night at the dive bar where she works. It’s a post-suburban ghost town used by writer-director Geremy Jasper to create a kind of un erc ass e p oitation m, a p ace here e er sin o er o s ith dishes and some unspoken law evidently prohibits anyone from emptying an ashtray.

Patti shares an overcrowded house with her hard-drinking mother (Bridget Everett) and her ailing grandmother Nana (Cathy Moriarty channeling the voice of one of Bart Simpson’s aunts). In her dreams, though, she’s Killa P, living in luxury and following the lead of the hometown hero, a rapper named O-Z.

Danielle Macdonald and her crew aren’t quite ready for prime-time. | COURTESY OF JEONG PARK. © 2017 TWENTIETH CENTURY FOX FILM CORPORATION Patti wants nothing more than to escape from her blighted environment, even if O-Z still lives there, curiously, despite representing the success she craves. But she has no outlet for her rhyming skills until she and her friend Jheri (Siddharth Dhananjay) meet a reclusive musician who performs under the name Basterd the Antichrist. Basterd, who sports multiple piercings and a fright-show contact lense in one eye, lives in a shack next to the cemetery. The home’s decor is late Hot Topic horror, but it happens to have recording equipment. He reluctantly joins Patti and Jheri (and Nana, who has tagged along) in forming PBNJ. You know the rest: Will Killa P and her friends overcome obstacles to get radio play and make it to the big talent show?

Making his feature debut, Jas-

per, hose pre ious mo raph includes music videos for Selena Gomez and Florence + the Machine, has crafted his film for those with short attention spans.

Any idea that takes more than two shots or four seconds is avoided.

Even as unsurprising as the various narrative resolutions are, the director plays it safe by packing nearly every emotional payoff into a single sequence. It’s like a caricature of what people call a feel-good movie — perhaps if your idea of feeling good is binging on comfort food.

But what are we supposed to feel good about? Patti Cake$ is a fantasy in which wishes are fulfilled without much effort or explanation. (Although Patti is frequently shown writing lyrics in a notebook, when she actually

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starts recording, Jasper falls back on the movie cliche in which any creative work is seen as simply a combination of improvisation and happ acci ents he m presents its heroine as simultaneously street-wise and thin-skinned, destroying a rival rapper with a string of raunchy insults, but still getting her feelings hurt when the same rapper calls her “Dumbo.”

Patti Cake$ sentimentalizes its characters even as it revels in a kind of pseudo-sordidness. Patti is tough but sensitive, in-your-face crass (her lyrics are 60 percent aggressive self-aggrandizement, 40 percent recycled porn imagery) but lovably sincere. Despite Macdonald’s assured performance, her director has neither the skill or the interest to make either pose n convincing.

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THE ARTS

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[ S TA G E ]

Missing in Action The sleepwalking title character in Titus Andronicus makes for a rare St. Louis Shakespeare misfire Written by

PAUL FRISWOLD Titus Andronicus

Written by William Shakespeare. Directed

by Tom Kopp. Presented by St. Louis Shakespeare through September 3 at the Ivory Theatre (7620 Michigan Avenue; www. stlshakespeare.org). Tickets are $15 to $20.

S

hakespeare’s Titus Andronicus is a play that revels in the grotesque. It’s rife with stabbings, beheadings, rape, revenge and the perversion of the social order. Drowning in all the gore is a thinly sketched lesson on the dangers of blind obedience. The titular character is a soldier whose loyalty to the Emperor of Rome and all he represents runs counter to common sense and self-preservation. ecause of that, itus is a ifficu t — if not impossible — character to root for. How do you support a man who would rather kill his own son than defend his daughter’s right to marry her betrothed?

Normally that’s part of the fun of seeing Titus Andronicus: You get inside Titus’ head and see the world in an alien light. But St. Louis Shakespeare’s current production of the tragedy features a Titus who seems unbothered by the horrible choices he makes and the violence committed against his family. Even worse, the big question that drives the second act — has Titus been driven mad by grief, or is he merely pretending to be bonkers to get close to his enemies? — is never apparent.

Instead we get a mildly bothered soldier who kills a lot of people, but overall seems almost sanguine a out it a t s a a in an unsatisf in mis re for the compan ,

Lavinia (Britteny Henry) suffers the most in this violent Titus, but she leaves a lasting impression. | RON JAMES despite much good work from the large cast and the visually pleasing and intricate rotating set by Chuck Winning.

As the story begins, General Titus (Chad Little) returns home from war bearing dead soldiers and captive Goths, including Queen Tamora (Suki Peters) and her children. In her retinue is her secret paramour, Aaron (Darrious Varner), a Moor. Rome is in the middle of a succession crisis, which Titus solves by anointing Saturninus (Roger Erb) as the new emperor. Titus also allows his troops to offer up one of Tamora s sons as a sacri ce to the o s and to balance the scales — he’s lost his own sons in this long war.

But that decision proves catastrophic, as Tamora and Aaron plot violent revenge on their sworn enemy. Their schemes are made much easier when Saturninus takes Tamora as his empress.

She lets her husband in on their p ans, an then the oo ates of

blood open.

The big problem is that Little barely inhabits the role of Titus.

He’s laid back about the war, blase a out the emperor erfu e an seems merely miffed when he slays one of his remaining sons during an argument about Roman law. He’s rather stiff when delivering most of his speeches, and he often doesn’t seem to register what the other characters say or do; it’s more like he’s waiting them out so he can recite his next line.

It’s unclear if this removed performance was a choice made by director Tom Kopp and Little together, or if Little was having an off night. Either way, it has major repercussions for the play.

Much better are Titus’ foes, Tamora and Aaron. Peters is a seductive and powerful barbarian queen, one who urges her sons to rape Titus’ daughter, Lavinia.

Tamora may banter with her husband, but gives herself body and soul to her lover.

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Varner plays Aaron as an arch villain who boasts of his intricate plots to the audience, and relishes watching the suffering of one and all. His sly smile and twinkling eyes convey the monstrous charm and towering intellect beneath Aaron’s handsome exterior; he’s a poisonous spider weaving webs even as he goes to his death.

And then there’s Britteny Henry, who rises to the challenge of playing the much-abused Lavinia. Her hands are lopped off and her tongue slashed out — and still she persists. She mutely rages against her enemies and refuses to accept anything but vengeance. t the en , hen itus has na avenged himself on Tamora, she embraces her father’s knife hand and nods hungrily for her own death. It’s an astonishing performance, one that is physically eloquent and resolutely beautiful.

One can’t help but wonder what Britteny Henry would do with the role of Titus. n

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Pizza Head’s delights include, left, a slice of vegan-pepperoni pizza and a whole pie with artichoke, spinach, garlic, olive oil, mozzarella and Parmesan. | MABEL SUEN [REVIEW]

Pizza Über Alles At Pizza Head, Scott Sandler has done it again, with spectacular pies in a punk rock setting Written by

CHERYL BAEHR Pizza Head

3196 South Grand Boulevard, 314-266-5400.

Tues.-Thurs. 11 a.m.-10 p.m.; Fri.-Sat. 11 a.m.midnight; Sun. 5-9 p.m. (Closed Mondays.)

I

f Pizzeoli is Scott Sandler’s symphony, a restaurant that’s been painstakingly thought-through, fussed-over and crafted with an

air of reverence, Pizza Head is Nevermind the Bollocks, a brash mide n er to an one ho are to tell him what kind of tomatoes, cheese an our to use in his pies, goddammit.

On the surface, the newer spot is a jarring departure for fans of Pizzeoli, the Neapolitan pizzeria that ser e as an er s rst foray into the restaurant business.

Since opening the spot in Soulard in 2014, Sandler has developed a reputation as the city’s most serious pizza-maker, putting the sort of care into his pies you’d expect from a master craftsman. That has allowed him to stand out in St. Louis’ crowded pizza field, earning a legion of devoted fans who look to him for one of the — if not the — city’s most authentic Neapolitan-style pizzas. That the spot is watched over by a portrait of Sandler’s guru only adds to the feeling of mindfulness.

In some ways, then, it might seem like Sandler is rebelling against that persona at his twomonth-old effort on South Grand, Pizza Head. Everything about the place screams irreverence — from the website informing customers that they should not expect to be coddled to the blaring punk rock music that plays at all hours of the day, Pizza Head stands as an unapologetic, New York-attitude, nofrills grab-and-go spot that seems to turn any high-faluting notions of the “art” of pizza-making on its head.

That is, until you taste the pies.

Sandler is a man whose approach to pizza borders on obsession.

Clearly, it would be impossible for him to offer anything less than perfection. Pizza Head may present itself as a cheap and greasy joint, but no matter how you dress down the surroundings, Sandler’s pizzas are transcendent.

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For someone who exhibits such skill, you’d think Sandler has been making pizzas his entire life. Actually, the restaurant industry is a second career for the former mortgage investor, who picked up home baking as a hobby. t rst, an er use pi a ma ing as an outlet for his creative side while he toiled away at his day job.

After the real estate opportunity that brought him to St. Louis from California fell through, he sought solace in his passion project and saw the rough patch in his career as an opportunity to open the Neapolitan pizzeria he’d always dreamed of running.

Though the Neapolitan style, ith its speci cations set in stone by a literal governing council dedicated to purity of the form, appealed to his fastidious persona it , it cou sometimes e sti in to the artistic sensibility that drew

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33

PIZZA HEAD Continued from pg 33 him to creatin foo in the rst place. Granted, Pizzeoli didn’t follow the requirements laid out

by Associazione Verace Pizza Napoletana to a T, but Sandler still tried to stay as true to the form as possible.

At Pizza Head, Sandler revels in his liberation with a spirit that is more street artist than craftsman, and he’s created an atmosphere to match. In fact, from the looks of the spot, diners might be forgiven for thinking they’ve wandered into a bar that’s gearing up for a punk show, not a restaurant. The entire room, which formerly housed the short-lived Brickyard Tavern and Absolutli Goosed before that, is painted black. An image of a Sex Pistols-inspired British monarch with the phrase “Good Pizza Is Not Dead” looks out over the room. Fliers for punk shows past are lacquered onto the tables, and blaring guitars, crashing cymbals an screamin oca s the room with sounds of angst.

Why anyone would be angst-ridden eating at Pizza Head is a mystery, however, as Sandler has again hit a home run, this time with New York-style pizza so perfect it could bring a tear to the eye of even the most hardened East Coaster. Sandler offers his pies either by the slice or as massive, twenty-inch whole pies, and his menu is small.

However, what it lacks in breadth it ma es up for in epth of a or, beginning with a rich, chewy crust that has the subtle tang of sourdough. The crust is puffy around the edges and thin in the middle — not quite as extreme as a Neapolitan pie, but close — and is sliced into triangles the size of a person’s face. There’s a slight char that infuses the entire pizza with

The back of Pizza Head offers a host of amusements beyond just pizza and Stag. | MABEL SUEN a gentle smokiness, but the badge of authenticity is that Sandler has managed to replicate the glorious grease that gilds a real-deal New York pizza.

It’s most apparent on his mozzarella-covered pies. A simple cheese slice, for instance, is everything you want in a pizza — chewy crust, tangy tomato sauce with just a hint of garlic and herbs, and gooey cheese that is so molten it burns the roof of your mouth.

It’s perfection.

That same cheese serves as a base for Pizza Head’s “pepperoni” pie, a vegetarian dish made with a meat substitute that passes muster for even the most devoted carnivore. Unlike so many other faux meats, the pepperoni on offer at i a ea is rm an e en ets nice and oily like real sausage.

Owner Scott Sandler has again hit a home run. | MABEL SUEN

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Pizza Head keeps it simple, with slices starting at just $2.95. | MABEL SUEN that unmista a e ar ic an papri a spice, an it s shoc in ho much this offerin tastes i e a meat toppe pi a oth pi as can a ternati e e ser e ith a e an cashe cheese, hich e o es the a po er armesan ea s up after it s i era sprin e o er a o of meat sauce hou h it ac s the oo factor ou et from mo a re a, the cashe cheese satis e an ser es as a p easant ac rop for the arra of e ie toppin s on offer or fans of i eo i s ianca, i a ea offers an e ua e ecta e hite pi a a eit one not offere the s ice an er tops his crust ith o i e oi , cream ricotta cheese an so much ar ic ou ear it i e a a e of honor for the rest of the a t nee s nothin more to ma e it orth hi e the chees rea of our reams o e er, at the in sistence of a staffer, opte to a spinach an choppe articho e hearts an as treate to hat is

asica spinach ip on a pi a his, too, is hauntin oo i a ea pri es itse f in eep in it simp e ou can ra a coup e of s ices an a ta o of ta for ei ht uc s here are on t o t pes of sauce, t o t pes of cheese an a han fu of toppin s er ice is fast casua , ou he p ourse f to ater out of an o schoo oo coo er an the on si e ish un ess ou count the eer is a sa a of mi e reens, some rape tomatoes an re onions that s ser e ith pac et ressin ts as unfuss as it ets comin from a man ho has a reputation for fussin o er e er ast etai et espite the ac of fuss, an er has not rea chan e his st e a that much e s sti ser in up some of the est pi a in to n on this time he s oin it to a more raucous eat n Pizza Head

Cheese slice.................................. $2.95 Two pepperoni slices with a pint ................................... $8.95 Whole pie, white ............................. $20

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SHORT ORDERS

37

[SIDE DISH]

The Reluctant Barman Written by

CHERYL BAEHR

T

im Wiggins, the beverage director at Retreat Gastropub (6 N. Sarah Street; 314-2614497), vividly remembers his initial response when his boss, ra is o ar , rst as e him if he wanted to bartend. “Nah, not really,” Wiggins recalls telling Howard.

“I loved beer and all, but I had absolutely no interest in becoming a bartender,” Wiggins says toa e ept insistin that tr it, thou h, an na as i e, , I’ll try.’”

These days, it’s hard to imagine i ins in an other ro e f ou as an one in the cit s restaurant in ustr or the nationa coc tai scene, for that matter to name t ouis top ar professiona s, Wiggins is always on the short list.

He’s turned Retreat Gastropub into a estination for thou htfu coc tai s an is an enc c ope ia of a things spirits.

However, it wasn’t that long ago that i ins as on an entire ifferent career path thou ht as going to go into advertising and communications,” Wiggins recalls.

“I was dead-set and was in the advertising club in high school. I was part of this stu ent or ani ation that competes and won state one year and districts the next. It was unexpected because I’d stumbled into a of this success, an ure it was what I should do.” fter ra uatin from hi h school, Wiggins attended St. Louis Community College at Meramec ith p ans to transfer to o umbia College in Chicago. However, at the ast minute, his fun in for the pro ram fe throu h, pre entin him from atten in the proram e as e astate fe t

Tim Wiggins shakes it up at Retreat Gastropub. | MONICA MILEUR

i e the or as en in , reca s i ins ha this ear off ith nothing to do, so I decided I would leave the country to get some perspective.”

Wiggins traveled to New Zealand, an experience that allowed him to et a a from his isappointment and to clear his mind. hen he came ac to t ouis and reality, he needed a job and applied at Baileys’ Range. “I’d never or e in a restaurant, ut o enough, Travis hired me,” says i ins starte out as ee a support staff, then starte ser in an after si months, as artending there.” hou h it too some initia coa ing to get him behind the bar, Wig-

gins thrived once he was there.

He began to learn everything he could about wine, beer and spirits and even traveled the country to chec out other ars, rin s an best practices. “My personality is that, everything I do, I have to do 100 percent,” Wiggins admits. “I have to be able to answer every uestion, an fe in o e ith the ho e i ea of creatin thin s an hospitality.” hen the o ner of ai e s Range, Dave Bailey, opened his vegetarian his e ar ma atch, he tapped Wiggins to be the mana er ain, he fe t a it re uctant “I was completely ill-equipped an as in char e of peop e ho ne so much more than me an

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ha or e in the in ustr t ice as long,” Wiggins says. “But I was thro n into the fire an it as great. That’s where I decided that if as oin to o this, as oin to rea o for it During his time at Small Batch, i ins ept in touch ith his former oss, o ar , an the would sometimes discuss opening a restaurant an ar t rst, i ins i n t ta e the musin s a that seriously, but eventually, Howard began to get a plan together and offere him the opportunit to create and manage his concept’s bar program. Wiggins could not resist. he pair ot to or creating what would become Retreat,

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TIM WIGGINS Continued from pg 37 though Wiggins credits Howard ith i in him free rein to o whatever he thought was going to or the est ra is is rea oo at hirin peop e ho no what they are doing and then letting them do it,” Wiggins says. “He told me that he wanted an American bar, and whatever that meant to me was what I was supposed to create.”

Though Wiggins put some serious D into the rin pro ram, the thin he s most prou of at etreat is the cu ture of hospita it he and his team have created. “I want Retreat to have a warm, welcomin fee in that ma es peop e fee i e the e on there, i ins e p ains thin the hospita it aspect is just as important as the alcohol.” o e er, those coc tai s are what have put Wiggins and Retreat on the map — and they even give him a creati e out et that he fee s is not a that ifferent from hat he experienced during his advertising a s t s funn ecause o e creating headlines, and now I am creatin coc tai names, i ins sa s t s so much fun to see ho stran e ou can ma e them an still have people order them. How you lay out the menu and how it reads is the same as advertising. t s a a out hat oes it e o e an ho oes it ma e peop e fee ometimes, fee i e m oin the same thin , ust throu h a ifferent outlet.” i ins too a rea from the bar to share his thoughts on the St. ouis foo an e era e scene, the one t pe of ar that the cit is missing and why there is a time and a p ace for crapp iner coffee What is one thing people don’t know about you that you wish they did? am a semi famous hip hop artist in the What daily ritual is non-negotiable for you? issin m ife an t o ittens goodbye and goodnight.

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

Teleportation. Ain’t nobody got time to travel.

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

Not only this past year, but somethin thin t ouis oes well is collaboration. It is great to

see breweries, restaurants, spirit ma ers, etc , or in to ether to create mutua ene cia pro ects.

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

A rum-centric restaurant and bar. I can’t wait till someone opens one.

Who is your St. Louis food or drink crush? ichar a nino, former of Reeds American Table. He is brilliant and an all-around great guy.

Who’s the one person to watch right now in the St. Louis food and beverage scene? n i e of oc e re ing. Andy’s beers are innovative and delicious. Everyone should be oo in c ose at hat he is oin can t ait for oc e to open Which ingredient is most representative of your personality?

Luxardo Bitter Bianco. It is a nice a ance of su t e s eetness and aggressive bitterness.

If someone asked you to describe the current state of St. Louis’ food and beverage climate, what would you say? n trac t is e citin to see ne er restaurants i e ista amen an icia oin ifferent an exciting things that help progress the industry. It is great that you can’t just open a restaurant and not give the bar attention anymore e , not if ou ant to e us era , the in ustr is e nite on trac an tren in in the ri ht direction.

If you were not tending bar, what would you be doing? ither or in in a ertisin or playing drums. Probably playing drums.

Name an ingredient never allowed behind your bar. a ice etter to ha e no coc tai s than coc tai s ith crapp ice What is your after-work hangout? ost often m couch ith m ife an a four pac of usch ta o s thou h, ha e een no n to grab a beer and a shot at the cottish rms after or What’s your edible or quaffable guilty pleasure?

Uncle Bill’s “Supreme 2x2x2x2” paire ith an a fu cup of iner coffee What would be your last meal on earth? urf an turf tacos at scar s e ican eafoo in an Die o paire ith a a on pitcher of negronis. n

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Tacos & Ice cream are breaking

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CAPITALISTPIGBBQ.COM • WED-SUN 11AM-3PM 40

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SNOW CRAB LEGS

LUNCHAT 3PM, & DINNERWEEKENDS • OPEN ATWEEKDAYS AT 8080 3PM • OLIWEEKENDS AT •NOON314-801-8698 OPEN WEEKDAYS8080 NOON • V E BLVD. OLIVE BLVD. • 314-801-8698 • NOW SERVI NG BEER & WI NE

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Fall Flavors Gooey Butter Cake

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Pumpkin Pie & Egg Nog OPEN 24 HOURS #2 MARYLAND PLAZA @ EUCLID riverfronttimes.com

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41

[FOOD NEWS]

SAUSAGES FOR CHEROKEE Written by

ELIZABETH SEMKO

I

The “Cubano” sandwich, shown with the optional side salad, is among seven sandwich offerings on Red Oak’s menu. | SARAH FENSKE [FIRST LOOK]

Red Oak’s Herbs Are Garden-toTable Written by

SARAH FENSKE

L

i e man i s raise in issouri, Dere chu e i n t ant much to do with Missouri once he got old enough to control his own estin e ent to hica o for college, then moved to northern a ifornia an mana e an a ricu tural operation. And then he moved ac to hica o ut the ision he ha for a usiness — a restaurant that relied on h roponic farmin ust i n t seem to ma e sense in hica o chu e an his partner, aia pertus-Melhus, came close to getting it off the roun , ut the ust cou n t ma e the e penses penci out is fami , hich o ns a farm in Warrenton, Missouri, urged him to consider St. Louis. fami ept te in me it as a oo spot for inno ation an entrepreneurship, sa s chu e

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didn’t believe that.” ut he ept an open min , an he en e up i in hat he as seein ast cto er, chu e mo e to t Louis. Last month, he opened Red Oak Eats ‘n Treats (1330 Washington Avenue, 314-339-5070) — the h roponica connecte cafe he on reamt of openin , on no it s a oc from the it useum in downtown St. Louis.

The spot, which was most recently home to the short-lived gluten free eater the , as a turn e operation, hich he i appea for oth pertus e hus an chu e t as a an can as in man a s, chu e sa s They did everything themselves, s appin the former cafe s ri ht hite aesthetic for or eous ue a s an o time trin ets an o see a s man of them from the chu e farm in arrenton n that s not the on thin from the chu e farm he eef in the ome t e meat oaf san ich hat comes from a co raise chu e s a he s eetcorn in the orn e t sa a hat s from corn ro n in chu e s mom s ar en — “My mom just planted way too much of it, he sa s ther thin s ha e tra e e an e en shorter istance to ma e it to your plate. See those lettuce beds ne t to our ta e he re actua growing right there, yielding ten percent of the restaurant s tota Some herbs in their hydroponic operation have been even more

AUGUST 30-SEPTEMBER 5, 2017

successfu e ha e ne er once had to buy basil, even though we use it in a ot of p aces, chu e says proudly. ut hi e e a s oa is to ro as much of its o n foo as possi e an chu e has i am itions for a rooftop ar en and/or warehouse space to grow much, much more — the price points ha e een ept affor a e Nothing on the menu is more than $10.50. Sandwiches all come with chips up ra e to a si e sa a for an additional $2) and are substantial, ith pha a in rea anchorin a ariet of meats, cheeses an fresh p uc e her s r a o for e en cheaper G&W hot dogs and sausages can be ordered Chicago-style, classic or even as a “Lou Dog,” with Maull’s BBQ sauce, Provel and Red Hot Ripets on a pret e un one i set ou ac more than , chips inc u e r tr rea fast there s a ho e menu of oth s eet an savory options, as well as a quartet of smoothies chu e sa s he s een p ease ith usiness so far he re ettin a si a e unch cro an a ot of tra e ers strai ht from the it Museum. And they’re listening to their guests.

“We added ice cream to the menu ester a , chu e sa s e ha to!” e a ats n reats is open on a throu h ri a from a m to 5 p.m. and Saturday and Sunday n from a m to p m

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f you love the food truck Frankly Sausages, get ready for Frankly on Cherokee.

Husband-and-wife team Bill and Jamie Cawthon, who co-own the food truck Frankly Sausages, say they’ll open their brick-and-mortar location at 2744 Cherokee Street in October, providing a permanent home for the gourmet sausages that St. Louisans have come to know and love in their year and a half of operation.

The spot, located near the California intersection, was previously home to Calypso Cafe.

Frankly on Cherokee will be an expansion of the Frankly Sausages concept.

Diners can anticipate a menu of locally sourced sausages, shareable plates and desserts.

Jamie Cawthon tells the RFT that the couple wanted to retain the food-truck feel. The space is long and narrow, measuring on the smaller side at 1,200 square feet. The restaurant will have counter service along with 38 seats, 18 of which will be at a long, community-style table.

Frankly Sausages first hit the streets in December 2015. Cawthon says the food truck has been a great way to get to know their audience and learn where their customers hang out. That knowledge led the couple to Cherokee Street when they realized they were ready for a full kitchen.

“Our food truck has been really busy since we opened, and we really needed more kitchen space,” Jamie Cawthon explains. “And we’re really committed to sourcing locally, and that’s a lot easier if you have space to store whole hogs and do a little more of what we wanted to do with the food and expand the menu, and we needed a bigger commissary to do that. So this sort of met those needs of one, being able to do something a little bigger, and two, being able to serve as a commissary for the food truck.”

You can get your first taste of the menu this Saturday from 5 to 10 p.m. at Cherokee Beach (2622 Cherokee Street), the temporary beach-themed bar set up in a sandy lot along Cherokee Street.

The Frankly Sausages food truck will be serving possible menu items at Washington University Medical (at the intersection of Scott and Taylor avenues) on September 5, Citygarden on September 6, Wells Fargo on September 7 and City Hall on September 8.

For more information about Frankly Sausages, visit franklysausages.com. n

HOME OF THE 29˚ DRAFT BEER! 11AM-MIDNIGHT MON-SAT • 11-10PM SUN 2351 MAPLEWOOD COMMONS DRIVE • 314-644-7757

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TAI KE

TACOS BEEF SHORT RIB TERIYAKI CHICKEN

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WEDNESDAYS: Live Local Music THURSDAYS: Totally 80’s live band 9 PM FRIDAY & SATURDAYS: Live bands on stage & DJ’s in the Green Room 10 PM

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St. Louis’

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MARINATED, THINKLY SLICED TO ORDER, RUBBED WITH ROSEMARY, GARLIC, SALT & PEPPER, SERVED WITH ONE SIDE

Soulard Stable’s horse will be going away soon, making room for a stage. | ELLEN PRINZI [BARS]

FREE FOOD AND A FAKE HORSE

S

oulard isn’t short on eclectic watering holes, but Soulard Stable (1028 Geyer Ave, 314-797-8055), which first opened in May, sets itself apart with a gay-friendly vibe and a wide variety of events, specials and a surprisingly large outdoor patio.

Don’t come here for craft cocktails or fancy wines — there isn’t a drink list and there are no food options. Instead you’ll find a straightforward, old-school bar with an abundance of well and mid-range liquors, a variety of Budweiser products and a handful of domestic pilsners. Beer snobs, fear not: You can elevate your beer game with offerings from local stars Four Hands and Urban Chestnut.

Living up to its name, the bar’s decor is simple with an equestrian flare — which makes sense, seeing as the original building was indeed a stable for the former hotel next door, back in the 1880s. The brick and light blue interior is on the smaller side — it comfortably seats 25 or so — but it makes room for six televisions, altering between sports and keno.

Making up for the lack of interior seating is a patio straight out of New Orleans, complete with high tops, casual seating areas, and...a fake horse?

Unfortunately (or fortunately, depending on your perspective), management plans to replace the mustang with a small stage this fall to better serve the live bands that perform in the space.

The patio will be tented for winter, allowing it to stay open year-round.

At first glance Soulard Stable might not seem like more than a local dive,

but the weekends bring a lively crowd that regularly packs the large outdoor space. Owner Dan Lanham, a restaurateur with two decades of experience, books local music acts to play the patio on Saturday and Sunday afternoons.

Along with those easy-listenings, the patio is dog-friendly — your pooch will get his own water bowl — and the owners grill out every weekend, offering a variety of free hamburgers, pork steaks and hot dogs to customers who have bought drinks. Yes, you read that right: free food and cheap drinks while listening to local musicians on a beautiful patio.

Plus, weekends mean specials on bloody marys and mimosas. The bartenders are always friendly and welcoming, with a penchant for heavy pours. They’re the kind of guys you feel like you’ve known for years.

Expect a crowd that’s a good mix of locals and college students — the latter shouldn’t be particularly surprising, since the bar is also known for an extended happy hour that runs from noon until 7 p.m. The weekends bring a rowdier crowd inside, thanks to a DJ and karaoke each Friday and Saturday.

The Soulard Stable may be small, but like Soulard itself, it offers something for (almost) everyone, and all are welcome. The owners don’t classify the bar as a “gay bar,” but the place is explicitly gay-friendly (the Pride flag flies proudly over the patio).

Soulard Stable is open Monday through Saturday from 11 a.m. to 1:30 a.m. and Sundays from 11 a.m. to 12 a.m. If you find yourself in the neighborhood, sit back, relax and enjoy a stiff drink out of a plastic cup.

— Ellen Prinzi Ellen Prinzi is our bar and nightlife writer.

She likes strong drinks and has strong opinions. You can catch more of her writing via Olio City, a city guide app she started last year.

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45

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

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NIGHTLIFE

47

[COMEDY]

All Kinds of Funny St. Louis comedian Kenny Kinds consistently brings the laughs — no matter the medium Written by

THOMAS CRONE

A

t a recent performance of their live talk show/podcast, Sorry, Please Continue, hosts Jeremy Hellwig and Kenny Kinds, along with guest host Emily Hickner, descended, over the course of about two hours, into the kind of humor that only comes through a collective buzz being experienced by everyone in the room. From the folks on stage to the 30 or so audience members, the back theatre of the Heavy Anchor was a freewheeling, boozy affair. As Kinds says after the gig, “Mistakes were made.”

Yet despite that self-deprecating assessment — typical of Kinds — it all worked out. Four people told stories, the three hosts interrupted them with unceasing wisecracks, and the rest of us were left to pick up on the approximately 957 amusing comments made on stage. Even with the light summer turnout of this particular episode, it is easy to see why the creators are able to take the show on the road, as they did recently on a multi-city Midwest tour.

For the past six years, Kinds, 42, has been working in comedy in St. Louis, as a standup, yes — in recent years he’s even opened locally for such masters of the form as Dave Chappelle and Maria Bamford — but also in contexts like Sorry, Please Continue and his YouTube movie-trailer review series “Trill Ass Trailers.” He’s also the former longtime host of the most potentially soul-crushing open mic in town, at Nick’s Pub. He’s built a reputation as an individual with a ridiculous level of curiosity about a crazy number of topics, though in person he says he still maintains

With the hilarious Kenny Kinds, the conversation can go anywhere. | MATT WICKS

“If those first five minutes go alright, good. If not, oh boy. It’s an uphill climb.” a weird indifference to the experience of sharing his brain with the world.

“I don’t really get nervous,” he says. “Even at clubs, in front of a larger audience. I wouldn’t call it nerves. It’s just sort of an, ‘Uh, I don’t want to be here right now.’

I’ve never come up with a name for that, but it’s very hard to get out of my head until you get going. If those rst e minutes o a ri ht,

good. If not, oh boy. It’s an uphill climb. If a joke doesn’t go well, I can get out of it, but if it’s early and the joke doesn’t go well, every joke is going to be garbage. I’ve been tr in to ure hat that is there should be a name for it. It’s very wearying, very tiring.”

He adds, “Right before I leave the house, like Gilbert Gottfried used to say, I wouldn’t mind if they ca e an sai there as a re at the club, but to still come by for the check.”

Though Kinds’ standard mode of operation is self-deprecation, his peers are more than happy to sing his praises.

“Kenny is probably the funniest person in St. Louis,” Hellwig says.

“He’s always been one of my favorites, but the last couple years he’s gotten even better. He’s one of those people that started standup

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a little later in life, but he’d done so much other comedy writing and had such great life experience that he was able to progress way faster than normal. Everyone sucks for a hi e at rst, ut hen met him he’d only been doing it a year or so and had already gotten past that stage.”

Kinds admits that he started out with something of a “Dave Chappelle problem,” unconsciously modeling sets in that comedian’s style, from cadence to topics. In time, his own voice came to the fore — and it’s quite a voice at that.

His ability to read a room — and call out that room’s lameness — n s him at his most hi arious Of late, he says, he’s “moved into storytelling comedy,” rather than the absurdist stuff that often comes out of his hea un tere ecent ,

AUGUST 30-SEPTEMBER 5, 2017

Continued on pg 51

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314.775.0775 48

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DAILY LUNCH SPECIALS:

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20 BEERS ON TAP PLUS A ROTATING SELECTION OF BOTTLES & CANS POOL TABLE • GIANT PAC MAN • BOARD GAMES DJS THURS-SUN @ 10:30PM

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GREEN DINER While you recharge yourself, recharge your devices.

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JEREMIAH JOHNSON BAND

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thur. september 7

AARON KAMM AND THE ONE DROPS at 10pm

fri. september 8 JAKES LEG at 10pm

sat. september 9

ANDY FRASCO AND THE UN at 10pm

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AUGUST 30-SEPTEMBER 5, 2017

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GoMusicStL Your Local Musical Instrument Store

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St. Louis comedian Kenny Kinds consistently brings the laughs — medium THOMAS CRONE

“I go in for a lot of details that people don’t think about in the way I do.” | MATT WICKS

KENNY KINDS Continued from pg 47 that storytelling approach has had him telling an epic about a night in which he was stopped in a warrant sweep. Without ruining the gist of the material, it details a series of tragically comic moments that sa in s transferre to e separate municipal jails. Kinds has been able to weave an insanely good tale out of a situation that would be a textbook example of why the region needs to streamline policing and, for that matter, simple governance. That the story includes a moment of his dad having to bail him out, only for him to report to another jail, only adds to the surrealism.

“I walked home in shame,” he says. “It’s funny as a story, but there’s a deeper systemic problem that needs to be addressed.

That’s why I’m for the consolidation of the county systems. When you go to these courts, you see a line of people standing outside, mostly minorities. These people aren’t there for major offenses; it’s just how these towns get 30 to 40 percent of their budget. And you can drive through about 20 to 30 cities on the way to St. Charles. It’s made me a social justice warrior, inadvertently.”

As quickly as Kinds can segue into a talk about systemic issues of injustice, though, he’ll loop back into his desire to create a set about “nothing but kettlebells and IT.”

(He works in IT and works out with kettlebells, so: natch.) With Kinds, the conversation can go anywhere.

“I don’t know if some of it’s a curiosity or fatalism,” he says. “I mean, I ask a lot of questions and a lot of things seem absurd to me. I go in for a lot of details that people don’t think about in the way I do; that’s why I enjoy Sorry so much, because I get to ask a lot of questions that wouldn’t make sense in the conversation we’re having. But it’s fun to me to keep prodding. I don’t know if it’s a curiosity about all of life; what I’m interested in can e er speci c Those thoughts, whether written material or spontaneous riffage, are delivered on stage in his trademark clipped, slightly exasperated manner. There they come off as routinely hilarious — even if he’s the one person in the room who’d argue that point. ms o tr in to et a con dent 45 minutes down. I enjoy it, or I do my best to enjoy it, but that’s a lot of material to cover,” he says.

“I’m super scatterbrained a lot of the time, so I’ll forget things. Even when I write them down, they’re hard for me to remember, so this is probably not the best industry for someone like me to get into, because I have such procrastination problems.”

He adds, “Maybe that makes it more exciting for me, or more exciting for them, or more exciting for the utter ies on t no n riverfronttimes.com

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52

B-SIDES

[PREVIEW]

It Takes Two Vibes STL is going big in 2017 — with two days and two venues Written by

TAYLOR VINSON Vibes STL Kick-Off

6 p.m. Friday, September 1. Majorette, 7150 Manchester Avenue. $25 to $50. 314-2245775.

T

he Vibes STL Grand Arts Event, also known simply as Vibes, is unlike any other art showcase in the city. While many shows include live music acts, visual artists and food vendors, Vibes is different in that its hip-hop inspired culture provides a unique space for St. Louis artists who don’t fit into what founder Jarell Lawrence calls the traditional “artsy fartsy” art scene. It’s become the largest showcase of black art in St. Louis.

The idea for the show came from Lawrence, a sketch artist turned graphic designer, and musician Ciej, who is part of the hiphop collective M.M.E. It was their dream to create a space for visual artists and musicians to show off their work in a way that honored their style and the culture. he rst i es as he in in the basement of Cherokee Street’s Blank Space — and quickly took off. “Vibes became over capacity after 45 minutes the third year,” notes event organizer Sierra Brown. It’s since gotten even bigger. Artists who’ve been featured in the past include Brock Seals, Arshad Goods, Bloom and Smino, who is currently on the CTRL tour with SZA. Vibes was originally scheduled for July 28 and 29 of this year at the Koken Art Factory, but it had to be postponed when the venue backed out.

Says Brown, “There was a party there that went bad and after that, the owner decided not to have anything ‘black-related.’”

But Tim Ayres, the venue’s owner, rejects that character-

52

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Chicago R&B songstress Jean Deaux is just one of the musicians performing on the second night of Vibes. | VIA SOULAR SYSTEM ALBUM ART ization. He says that a party at Koken in May got ugly, complete with gun play outside, and police were called. After that, he says, it became clear that “the police weren’t interested in helping me with security, and that’s the only reason I canceled it.”

He adds, “I don’t want people to have a bad time and their safety is the most important thing to me.” (A police spokeswoman says she is not aware of the particulars of any conversations with Koken, ut con rme that securit for shows would be up to individual venues, not the department.)

Organizers have since moved the action to Majorette and Delmar a t s the rst ear i es is being hosted on two separate days at separate venues. With the Majorette itself owned by two artists, and Delmar Hall quickly establishing itself as a must-stop for touring musicians, the Vibes team

AUGUST 30-SEPTEMBER 5, 2017

looks forward to this year being, as Brown says, a “fresh start and a door-opener for something way bigger to happen next year.”

On September 1, visual artists like Jessica Page, Addy Berge and Nicholas Coulter team up with vendors like Lily Kiti and Natural Soaps by Ki. Food is also provided

by Paradise LA, Bread N Butta, What’s Poppin and more. The second day hosts all-live music performances at Delmar Hall, with artists Jean Deaux, Valee, Pinkcaravan!, sounds by DJ Stain and DJ Hoodbunnny and special guest KEY!.

Every year a part of the proceeds raised goes toward a charity bettering the community.

This year, the funds raised will support the Vibes organization itself in an effort to find and establish a new multipurpose building. The building would provide local artists a new space

riverfronttimes.com

to showcase their work in a place that is welcoming to them.

For artists, the Grand Arts Event is a great opportunity to show off their skills, but Brown cautions that the work they do and the way they market themselves is critical to building on that exposure. “I tell people if you want to be in Vibes, you have to prepare for Vibes and the year after,” Brown says.

For the community, though, she has a different message.

“My message to publications and media outlets and venues here is to be more open to the local artists, because we do have a lot to offer and oftentimes people feel there’s nothing going on here — and there’s a lot of stuff going on here, but we don’t have a lot of eyes on us,” she says. “And I’m not saying just Vibes…but get more involved in your local arts.”

She adds, laughing, “Hip-hop n shows aren’t bad.”

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AUGUST 30-SEPTEMBER 5, 2017

RIVERFRONT TIMES

53

54

HOMESPUN

KID SCIENTIST A Report from the Future kidscientist.bandcamp.com

Kid Scientist Record Release Show

8 p.m. Friday, September 1 and Saturday, September 2.

Off Broadway, 3509 Lemp Avenue. Free Friday night, $10 Saturday night. 314-773-3363.

W

hen he’s not working his day job in communications for a local brewery, and when he’s not leading the spry and artful indie pop band Kid Scientist, Joe Taylor can be found somewhere beneath the proscenium arch. He spends his evenings as the composer and music director for Equally Represented Arts (ERA), an experimental theatre group with a knack for taking post-modern approaches to some of the Western canon’s most well-worn stories: The troupe has taken on the tragedies of Oedipus, Macbeth, and Romeo and Juliet.

And thanks to a quirk of the calendar or a streak of masochism, Taylor has chosen to release Kid Scientist’s long-awaited, long-delayed new EP on the heels of ERA’s just-launched production of Snow White. On top of that, the band’s release show is no mere concert: Taylor has leaned on his friends in the theatre community to construct a two-night immersive show at Off Broadway to coincide with the release of the six-song Report from the Future.

Taylor says he was a relative newbie to the theater world before linking up with ERA, but Kid Scientist has on ha a air for the ramatic an performati e a lor sings softly and sweetly in a high register, but his precise enunciation and piano-driven compositions suggest a touch of Rufus Wainwright-style cabaret. His bandmates — Audrey Morris, Dave Moore, Kevin Neumann and David Newmann — help round out the sound with orchestra e i i it on son s that run from u e um to genteel country to synth pop.

“The album itself is kind of collage-like,” Taylor explains. “I don’t know if I’d call it a concept album; each song is pretty different in style, but I tried to make them all exist in a common universe. It’s up to the listener or the au ience to out a ot of thin s on their o n You would be forgiven for looking for a narrative thread across Report, given the EP’s name and scope of its near-title track, “A Report from the Future Regarding Prisoner #1074AD.” But from the song’s Asimov-like name comes a piano-driven bit of tango that gradually goes interstellar with synth arpeggios and bit-crushed rums some sci e ements, ut not enou h to o erwhelm. Elsewhere on the EP, Kid Scientist leans on some excellent musicians from around town to give color to these songs — Dave Anderson turns “The Graduation of Autumn” into a lovely country ballad with his pedal steel, and Devon Cahill and Taylor share a duet on the album-closing “Diary of an Archeologist.”

Still, Taylor rejects a strict narrative for these songs, noting that most of them were written years ago and co ate to ether to a si ear ap et een i cientist releases. “They’re kind of sweet and kind of salty, and there’s this sine-wave like thing that runs across the album,” Taylor says of these songs. “It’s sort of an

54

RIVERFRONT TIMES

AUGUST 30-SEPTEMBER 5, 2017

riverfronttimes.com

experience that you’ve taken on when you listen to it front to back. There is not an overarching narrative per se; it’s more the experiential factor.”

That experience gets blown into three-dimensional proportions with this weekend’s release show, which hopes to upend the quotidian nature of concert-going.

Taylor is mum on some details but wants showgoers to be ready for a full-sensory experience.

“I want to have this core concert experience where if you were just coming to see us as a band, you would e tota fu e , he sa s f ou are ust comin to the sho as a concert, ou ou e satis e ut a so wanted to provide an experience for the theatre crowd, something that they would connect with.” Taylor uses some video game lingo in describing his vision, telling of “side-quests” that will help populate what he calls “an immersive concept concert” that allows patrons to explore the entirety of Off Broadway’s space — its balcony, ac sta e an reen room spaces, not ust its ance oor Taylor’s involvement in a local theatre troupe has helped him realize this vision — he notes that a coterie of dancers, designers and set-builders have helped with the project. But it was a less theatrical but no less memorable performance this summer that fueled him as well: Matt Basler’s meme-come-to-life “Smooth” marathon, where Basler and his ad hoc band played the Santana/ Rob Thomas hit over a dozen times in a test of endurance and good taste. hen rst sa that as so happ an furious at the same time that I didn’t come up with that,” says Taylor. “I loved it. Apparently lots of people did; I think he really tapped into something with that. I think people are interested in shows that can offer something different from the typical concert-going experience.”

With the immersive release of Report from the Future, Taylor, his bandmates and their dramatic cohort hope to tap into that sense of full-sensory immersion. It helps that, at their core, these songs can stand on their own.

“Anything I create is made to transport people,” Taylor says. “I want people to have this impression that they are entering into a different world.”

–Christian Schaeffer

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AUGUST 30-SEPTEMBER 5, 2017

RIVERFRONT TIMES

55

56

OUT EVERY NIGHT

THURSDAY 31 pm,

CARBON LEAF:

th t , t

pm,

u ar,

ouis,

KALEB KIRBY’S ANIMAL CHILDREN:

pm,

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KIM MASSIE: a ,

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SQUIRCLE THE DESTROYER: other ather

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SABRINA & THE HOWLERS: ues

[CRITIC’S PICK]

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COURAGE MY LOVE: ocust t, t

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FRIDAY 1

Umphrey’s McGee. | PHOTO VIA PARADIGM TALENT AGENCY pm,

AARON LEWIS: mphitheater,

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Umphrey’s McGee

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As Phish’s thirteen-night run at Madison Square Garden proved, a memorable jam-band show isn’t just about the jams — it’s about the curveball covers that punctuate the set. Umphrey’s McGee, the Midwestern sextet that leans on equal parts prog and funk, has taken that adage to heart on last year’s Zonkey, an album of live mashups that displays the band’s influences as well as its stylistic dexterity. Opening track

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PETE ROCK:

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pm,

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RIVERFRONT TIMES

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KID SCIENTIST PRESENTS: A REPORT FROM THE FUTURE:

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riverfronttimes.com

a ,

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FAR FETCHED COLLECTIVE:

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AUGUST 30-SEPTEMBER 5, 2017

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MIDNIGHT OPERA:

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JOE METZKA BAND:

“National Loser Anthem” somehow stitches Beck, Radiohead and Phil Collins together, and luckily UM’s reverence for its source material keeps the whole enterprise from turning into a one-note joke. How many of these mashups will appear in the band’s set in this weekend’s two-night stand is anyone’s guess, but isn’t that the fun of an unpredictable show?

Montu-Zoomin’: Montu, an Oklahoma-bred quartet that plays self-described “jamtronica,” will play at the Halo Bar after both nights’ sets. —Christian Schaeffer

The Pageant, 6161 Delmar Boulevard. $25. 314-726-6161.

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7 p.m. Friday, September 1, and Saturday, September 2.

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[CRITIC’S PICK]

The Living End 8 p.m. Friday, September 1.

Old Rock House, 1200 South Seventh Street. $20.

314-588-0505.

Admittedly, it’s not a vast field, but the Living End remain the best punk-pub-rockabilly band to ever emerge from the land down under.

Twenty years after releasing the hellacious double A- (as in “ass-kicking”) sided single “Prisoner of Society” / “Second Solution,” the trio, led by Johnny Rotten-esque snarler Chris Cheney, has returned with Shift, a e, t

no-frills set of hard and fast punk that’s both believably desperate and surprisingly catchy, even when the lads downshift for a new-wavy ballad or two. Mostly the record sounds great, all serrated guitars, mosh-ready choruses and ripping rhythms. The band’s return to St. Louis should be one of the punk shows of the year.

Pop Goes the Punk: The wife and husband team of Kelly Ogden and Luis Cabezas lead the Dollyrots through an opening set of sunny and sardonic rock & roll.

—Roy Kasten

ENCLOSED, CLIMATE CONTROLLED PATIO PAVILION IT’S A PARTY - ALWAYS!

ouis, pm,

GENESIS JAZZ PROJECT: ues

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THE EAST SIDER REVIEW: o sha es, ote a , he

POTTY MOUTH: u e oc s

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BOB “BUMBLE BEE” KAMOSKE: p m

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LOVE JONES “THE BAND”: ues

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THE KEYBORG PROJECT: uc er

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JET BLACK ALLEY CAT:

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H.U.M.P. MIXTAPE RELEASE PARTY:

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TOMMY TRAINA:

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SOUTHERN ILLINOIS’ BEST DESTINATION BAR

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SOUL REUNION: a ,

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STACEY WINTER VINYL RELEASE SHOW: ff roa

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A KILLERS CONFESSION:

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SOULARD BLUES BAND: p m , ter ar,

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THIRD SIGHT BAND: p m , oups,

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Continued on pg 58

riverfronttimes.com

AUGUST 30-SEPTEMBER 5, 2017

RIVERFRONT TIMES

57

OUT EVERY NIGHT Continued from pg 57 [CRITIC’S PICK]

Daddy Long Legs. | PHOTO BY ALEXANDER THOMPSON

Whiskey War Festival 12 p.m. Saturday, September 2.

South Broadway Athletic Club, 2301 South Seventh Street. $15. 314-776-4833.

The mighty Whiskey War Festival returns triumphantly this Saturday for its sixth year. The eclectic and wide-ranging fest the Maness Brothers built will again take place at the South Broadway Athletic Center after a successful go last year, affording you an ideal opportunity to catch some rock & roll in a room you might typically associate with the most entertaining wrestling night in town. The lineup this year includes , t

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RIVERFRONT TIMES

AUGUST 30-SEPTEMBER 5, 2017

riverfronttimes.com

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everything from the crushing metal of the Lion’s Daughter to the manic garage-punk of Shitstorm to the Sabbath-indebted vampire rock of Dracla — and that’s just a handful of the locals on the bill. Special attention should definitely also be paid to the top-billed Daddy Long Legs, a New-York-based harmonica virtuoso who initially honed his musical chops in St. Louis’ punk scene.

Affording Your Rock & Roll Lifestyle: With 28 bands performing for the scant cost of only $15, you can’t afford not to go!

—Daniel Hill

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SAVAGE LOVE HARD TO DO

BY DAN SAVAGE Hey, Dan: My brother just broke up with his girlfriend for the second time in eight months. They had been together for two and a half years, and she became pretty discontent when she finished college and my brother entered law school because all his time and attention weren’t revolving around her.

In January, she staged this bizarre, soap-opera-esque situation to make my brother jealous, and then broke up with him when he reacted predictably.

After the breakup, my brother became a mess of a person — sobbing all the time and talking about her to anyone and everyone. Then, against the advice of my family, he started talking to her again and they got back together. The second breakup came after he snooped and found out she had been texting her ex-boyfriend. She was telling that guy that she was trying to line up her next boyfriend while still dating my brother.

They broke up again, and he’s now back in the same situation. He started back at school yesterday. He almost fucked that up last time because of her bullshit, and I don’t want to see that happen again.

Additionally, I feel bad this happened, but I don’t have the time or patience to have the same conversation with him a million times. It’s exhausting.

Now Over Brother’s Relationship Obsession Your brother is an adult. And since he’s an adult, NOBRO, you can’t stop him from making terrible choices or the same terrible choice over and over again. But here’s the good news, NO-

BRO: You’re an adult, too! And just as you can’t force your brother to stay away from this toxic POS, your brother can’t force you to converse with him all day long. And if your brother makes the mistake of getting back together with this woman a second time, your adult ears don’t have to listen to his adult ass complain endlessly.

If you’re feeling anxious about conversations you fear being dragged into, NOBRO, let your brother know you’re done listening to him sob about his ex. “It was idiotic to take her back the rst time, ou cou sa ut, he , e all do idiotic things from time to time, particularly where our love lives are concerned. You would have to be an idiot, however, to take her back a second time. Personally, bro, I don’t think you should waste another second of your life pining for that manipulative piece of shit m e nite not astin another minute of my life discussing her ith ou Hey, Dan: My ex-boyfriend and I were together for a year and a half. He is a silver fox who is significantly older than me. I was 23 when we met and he was 58. It was supposed to be a fling, but it evolved into a beautiful romance.

But after much consideration (he has a vasectomy and already has four kids and will be retiring soon), we ended it three months ago. It was heartbreaking, but we made a conscious decision to be close friends and talk every day.

Out of the blue last week, he asked me if I had a boyfriend. I don’t, but I was coincidentally about to go on my first date since the breakup. He proceeded to tell me he “kinda” has a new girlfriend, a woman closer to his age. This was not something I wanted to hear, which he

could tell from the silence that met this disclosure. This conversation ruined my weekend. I have been unable to eat or sleep. The guy I went on a date with was sexy — not a love connection, but a bangtown prospect — but I was too emotionally fucked to do anything with him. Do I explain these thoughts to my ex? Let time do the healing? Why did my ex feel the need to tell me about his new girlfriend?

Heartbroken Over New Ex’s Yummy Your ex told you about his new girlfriend because you two are close friends, right? And close friends typica con e in each other a out their love lives, don’t they? And that’s what you wanted, isn’t it?

Backing up: It’s always inspiring when two people manage to salvage a friendship after their romantic relationship ends. But it’s not possible to go in an instant from lovers to besties.

You got your heart broken, HONEY, and only time can cauterize that particular wound. Your reaction to the news that your ex has a new girlfriend proves your post-breakup friendship wasn’t a conscious ecision ut an i a ise rush. And while the physical aspect of your relationship with Mr. Silver Fox ended three months ago, you never got out of each other’s pants emotionally.

(A bruised ego might also be contributing to your inability to eat or sleep — he got over you faster than you got over him.)

I don’t think you should explain anything to your ex right now, HONEY, because I don’t think you should talk to your ex for the next six months or so. You need to get on with your life — and getting on that new guy is a good place to start.

59

Hey, Dan: I’m a 26-year-old heterosexual female, and I was recently dumped by my boyfriend. He was my first love and the person I lost my virginity to.

We’d been seeing each other for a little over a year. I wanted more, and I’m not 100 percent sure but think that’s what scared him off. I went into a depression and started seeing a therapist. This all happened a little more than a month ago. Friends tell me that the “best way to get over someone is to get under someone else,” but I’m not sure what to do. I’m pretty sure I’m doing the thing I shouldn’t be doing: holding out hope my ex will decide he made a horrible decision and want to be with me again. I know it is idiotic to have this hope. Can you give me some direction?

Don’t Underestimate My Pain This may not be helpful in the short term, DUMP, but it’s not idiotic to hold out hope your ex will take you back. It could happen — indeed, it has happened for lots of folks. I have two friends who are married to men who dumped them, regretted it, and begged to be taken back. The trick, however, is to assume it won’t happen and make a conscious effort to get on with your life. (And, if necessary, a conscious effort to get under someone else.) Your o frien rst o e rst fuc umpe you a little more than a month ago — you’re allowed, one month and change later, to live in hope of a reconciliation.

Odds are good, though, that it’s a false hope, DUMP, so don’t pass on any solid offers and keep seeing that therapist.

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

STREAK’S CORNER • by Bob Stretch

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Notice of Initiation of Section 106 Process - Public Participation in accordance with the FCC’s Nationwide Programmatic Agreement. Collective Solutions proposes the modification of equipment on the existing rooftop located at 705 Olive Street, St. Louis, Missouri. Parties interested in providing comment on the proposed undertaking relative to potential effects on historic properties should contact GSS, Inc., 1904 Industrial Blvd. #107, Colleyville TX 76034 (682) 651-0034 (GSS D17307-MO).

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Commonwealth of Massachusetts Attleboro District Court Civil Actions o. 173 C 0072

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ou are hereby summoned and re uired to serve upon llen A. Shapiro, s uire, Plain tiff’s attorney, whose address is 3 Allied Drive, Suite 107, Dedham. MA 02026, a copy of your answer to the complaint which is herewith served upon you, within 20 days after service of this summons, e clusive of the day of service. ou are also re uired to file your answer to the complaint in the Office of the Clerk of this Court either before service upon Plaintiff’s attorney, or within 5 days thereafter. If you fail to meet the above re uirements, judgment by default may be rendered against you for the relief demand ed in the complaint.

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Unless otherwise provided by ule 13 a , your answer must state as a counter claim any claim which you may have against the Plaintiff which arises out of the transaction or occurrence that is the subject matter of the Plaintiff’s claim or you will be barred from making such claim in any other action.

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SOUTH: 5616 S. Lindbergh • (314) 842-1242 WEST: 14633 Manchester • (636) 527-26811 HAZELWOOD: 233 Village Square Center • (314) 731-1212 Mon. - Sat. 9 AM - 7 PM; Sunday Noon - 5 PM 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. © 2017, Audio Express.

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