Riverfront Times - July 20, 2016 by Riverfront Times

JULY 20â&#x20AC;&#x201C;26, 2016 I VOLUME 40 I NUMBER 29

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YOU AND A GUEST ARE INVITED TO AN ADVANCE SCREENING

MONDAY, JULY 25TH FOR YOUR CHANCE TO RECEIVE A PASS FOR TWO, EMAIL: CONTESTSTLOUIS@ ALLIEDIM.COM This film has been rated PG-13. Please note: Passes are limited and will be distributed on a first-come, first-served basis while supplies last. No phone calls, please. Limit one pass per person. Each pass admits two. Seating is not guaranteed. Arrive early. Theater is not responsible for overbooking.

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riverfronttimes.com ST LOUIS RFT THURSDAY, JULY 21

THE LEDE

“I play a lot of wedding gigs, and each one is different. Some nights the crowds are really into it and sometimes they’re not. It just depends on the vibe. But tonight the crowd was really feeding off the energy of the band and they were really enjoying it. And whenever that happens, the band, we’re more responsive and we enjoy the experience more. It’s just like any musician any time — you want the people you’re playing for to really enjoy what you’re doing. It’s why you’re there. If you want to play for other people, then you want other people to really enjoy it.”

PHOTO BY THEO WELLING

—INI ESSIEN, PHOTOGRAPHED AT THE SCHLAFLY TAP ROOM ON JULY 16, 2016

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JULY 20-26, 2016

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TABLE OF CONTENTS FEATURE

11.

The Spooky River

Part one in a series exploring the inscrutable, infinitely changeable Mississippi

Written & illustrated by

TIM LANE

NEWS

CULTURE

DINING

MUSIC

The Lede

Calendar

Your friend or neighbor, captured on camera

Seven days worth of great stuff to see and do

Trouble for Create Space

Controversy could halt a new home for makers in University City

Absentee Ballot Wars

Who’s voting for the Hubbards? They’re not always at the polling stations

Film

License to Grill

Cheryl Baehr is far from the world of backyard barbecues at the new Weber Grill Restaurant

Side Dish

MaryAnn Johanson loves the new Ghostbusters — and doesn’t care if the nerd boys know it

Rene Sackett is part cheerleader, part CEO

Film

Thanks to the new documentary Notfilm, Robert Hunt gets a crash course in the legacy of Samuel Beckett’s Film

Stage

Paul Friswold spends another winter in a summer town with the Edies of Grey Gardens

Food News

Soon you can get that sandwich “for here” at Bolyard’s, Cheryl Baehr reports

Coffee

The pride of Jefferson County, Stringbean Coffee Co., is moving to St. Louis

Dining Guide

Where to eat right now in the Gateway City

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JULY 20-26, 2016

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Pet Sounds on Tour

Mike Appelstein checks in with Brian Wilson’s musical director, on the road revisiting a masterpiece

B-Sides

Natalie Rao meets some songand-dance men, while Thomas Crone bids farewell to a prince among musicians

Homespun

Bates For Colored Folk

Out Every Night

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

This Just In

This week’s new concert announcements

DC CHICKEN SAYS “COOL OFF WITH THESE HOT DEALS!”

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

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NEWS

Create Space Project Now in Jeopardy Written by

DOYLE MURPHY

n February, hundreds of people flowed through a sprawling Delmar Loop storefront. Urban Chestnut had brewed a specialty beer for the event, and the crowd was heavy on artists and budding entrepreneurs who came to get a first look at the future home of a new retail store/workshop/business incubator called Create Space that was to cater the St. Louis area’s growing “creative economy.” Create Space has taken off in the months since, with craft workers and artists selling their pieces from within the wide-open showroom as they learn how to run their small businesses through on-site classes in marketing, branding, legal and more. There are plans for sister operations called Kitchen Space and Make Space on Olive Boulevard. B u t n o w t h e o p e ra t i o n ’s founders say they’ve become collateral damage in a city council battle that has nothing to do with them. “Ultimately, they’re hurting the community over petty political food fights, and that’s unacceptable,” says Julia Li, founder of the parent organization of the three Space projects. Li and her board were counting on a $150,000 grant from University City, drawn from a quarter-cent sales tax set aside for economic development projects in the city. It was an unusually large award for the fund, but a citizen board that vets applicants for the Economic Development Retail Sales Tax revenue was so impressed by the Space proposal they recommended funding the request at 100 percent. The board is advisory, but its recommendations have usually been approved — albeit with minor adjustments — by the city council in the past. The Continued on pg 9

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Create Space has become a home for budding entrepreneurs, but a University City grant is caught in a political battle. | DOYLE MURPHY

Lawyer Alleges “Extreme Irregularities” in Hubbard Family Absentee Ballots

idespread abuse” of the absentee balloting system may have helped the Hubbard family build its political dynasty, a lawyer alleges in an explosive letter filed with the Board of Elections. Attorney Dave Roland, who represents three progressive candidates challenging members of the St. Louis family on Democratic Party primary ballots next month, alleges that past races featuring a Hubbard on the ballot have generated a “quite literally unbelievable” percentage of absentee

JULY 20-26, 2016

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ballots. He’s demanding that the city’s Board of Elections step in to monitor absentee balloting in those three races in light of the “extreme irregularities” he’s identified. The letter, hand-delivered to the Board July 13, lays out Roland’s case that absentee ballots comprise far too high a percentage of votes in races involving the family. Absentee ballots are only allowed in St. Louis elections under limited circumstances, including disability or incarceration. And Roland’s analysis shows that the absentee ballots — notched in higher-than-average numbers — have subsequently broken by huge margins for various Hubbards. In two different elections he analyzed, in fact, 95 percent of absentee ballots in a given precinct went to State Rep. Penny Hubbard (D-St. Louis) or Alderwoman Tammika Hubbard. In other races and other precincts he analyzed, Hubbards consistently won more than 70 percent

of the absentee ballots, a much higher percentage than their performance at regular polling stations. That’s even though these races — like those that typically decide city elections — have been in the Democratic primary, where simple party identification is not enough to cause a landslide. And, Roland notes, “the percentage of absentee ballots being cast tends to plummet whenever a Hubbard is not up for election.” “My clients are concerned that these statistics indicate widespread abuse of the absentee voting process in St. Louis City, and that this abuse seems systematically to favor members of the Hubbard family,” Roland writes. He’s asking that the Board respond with an agreement to closely monitor the absentee ballots in the three races involving his clients — to the point of verifying each application for

CREATE SPACE Continued from pg 8 recommendations are typically added as amendments to a draft budget voted on in June. This year, however, a faction of the council voted against the entire revised budget. The move has forced the city to adopt the original draft, sans amendments — affecting economic development grants not just for the Space projects, but also a slate of other operations, including a downtown farmers market. If the council continues to fight against funding the programs, it has the potential to push projects like Create Space out of the city while also sending a chilling message to other entrepreneurs, says Mayor Shelley elsch. “If that happens, it will be a sad, sad day for U. City,” elsch says. St. Louis’ makers community has already begun to take notice. Create Space project manager utumn iggins, founder of the popular Strange olk estival and an industry star, posted an open letter to the council on social media. “By defunding Create Space, you are sending a message loud and clear to a network of thousands of entrepreneurs that they are not valued by University City,” iggins wrote. Currently, construction on the Olive location that will house a commercial kitchen and industrial equipment, such as laser cutters and -D printers, is 0 percent finished, but it will stall without an absentee ballot via direct contact. He’s also asking for election monitors to deliver the absentee ballots, watch the eing filled out and then deliver them to the board. The Hubbard name is a familiar one to St. Louis voters. Penny Hubbard has served multiple terms in the Missouri House. Her son Rodney Jr., who served two terms in the House only to lose a race for Senate, is now a lobbyist and party committeeman, while Tammika Hubbard is a St. Louis alderwoman. The family is now being challenged by a trio of progressives. Activist Bruce Franks is currently running against Penny Hubbard for a seat as state representative, while Megan Betts is challenging her for a seat as Democratic Party committeewoman. And Rasheen Aldridge is challenging Rodney Hubbard for his committeeman seat. “My family will never apologize for

Create Space offers retail space, workshops and businesses classes in the Loop. | DOYLE MURPHY funding, iggins tells the Riverfront Times. She has fought and won similar battles before. hen iggins’ hometown of O’ allon tried to wrest the Strange olk estival from her, she fired back on social media, rallying hundreds of artisans and craft workers to her side. The city government eventually backed down. She is now preparing to host the festival in St. Louis city’s Lafayette Square neighborhood. helping seniors and the disabled exercise their constitutional right to vote,” Penny Hubbard said in a brief statement. “This is a slanderous attempt by our opponent to distract the voters from their failing campaign.” (Tammika Hubbard did not respond to our message seeking comment.) Roland, who is based in Mexico, Missouri, specializes in constitutional law, but said he’s developed an expertise in election law thanks to some related cases. He says the remedy he’s requesting may seem extraordinary, but it would be easier for the board than having to redo the election after the fact. “The statute provides for the remedy we are asking for,” he says. “It’s unusual, but an ounce of prevention is worth a pound of cure. We want to make sure the law is properly applied when it comes to this election — and that means the board has to be proactive.” — Sarah Fenske

In her open letter, she makes it clear the city council would be wise to reconsider pitting themselves against the makers. “The last time that happened, social media scorched the Earth of the offending municipality,” she wrote. “Maybe a risk you have not assessed ” hile the budget vote hits a wide swath of programs, Li and Create Space were named specifically in the case against its passage. Critics raided Li’s acebook page, pulling screenshots of her posts to use as evidence she wasn’t ready for this kind of project. Councilwoman aulette Carr is leading the charge. She has repeatedly noted Li’s age — — in painting her as a novice with an “unproven track record.” She claims the real amount of money in question is $ 50,000, not $150,000. The $100,000 difference reflects money that was previously earmarked for Kitchen Space through a fund set aside for development along Olive. “ ave our city o cials decided to risk $ 50,000 of our taxpayer money on Ms. Li, who has a limited track record as a successful entrepreneur ’” Carr wrote in a newsletter to constituents. Carr is a frequent opponent of Mayor elsch on the council. She had been in the minority until Councilman Stephen Kraft resigned his seat in May, leaving riverfronttimes.com

the council with six voting members and the potential for endless gridlock. Carr tells the RFT her concerns are not political but economic. She says she simply wasn’t impressed with Li’s pitch to the council. “Instead of standing before the council with tears in her eyes to talk about her immigrant status and the benefits to herself and other artists who may or may not be residents, I would have preferred she discussed her business plan and the real benefits she projects that would accrue to the City of University City for making this level of financial donation,” Carr says in an email. The councilwoman added that Li’s acebook posts were of “great concern,” and she filed a motion to send the proposal back to the Economic Development Retail Sales Tax board for another look. Li says she and her partners only want to run their projects, help entrepreneurs and add jobs and businesses to University City, where she lives and has helped expand her family business, Lulu Seafood. She says the Space team has never wanted to get involved in politics, and she was alarmed opponents would search and screenshot her acebook posts. “Create Space is neutral, completely neutral,” she says. The acebook posts in question — in which she says she’s “burned out” and plans to travel and focus on her well-being — followed a health scare, she says. Doctors had discovered a benign brain tumor, and it had been a di cult time, says Li. “They make personal attacks, and personal attacks have no place in politics,” Li says, adding that her health is now fine. Money from the Economic Development Retail Sales Tax fund, as well the money for development on Olive, are set aside by city ordinance to go toward projects such as hers, she notes. If the council doesn’t fund the projects, the money just sits. The council will meet again on July 5, and elsch says she will try to push funding for Create Space and the other organizations forward. Li is hopeful they can persuade at least one council member to switch his vote and support the projects. “ utumn is very passionate about makers, and so am I,” she says. “ e’re not going to let them destroy us.”

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CALENDAR

W E E K O F J U LY 2 1 - 2 6

The Illusionists opens your eyes to how sex is used to sell everything. © ELENA ROSSINI | THE ILLUSIONISTS

BY PAUL FRISWOLD

THURSDAY 0721 35 Days Chris Grega is one of St. Louis’ most prolific filmmakers, regularly placing his movies in the St. Louis ilmmakers Showcase. e’s made mockumentaries (Game of the Year , comedies (Frank Wang: The Vengeance , noir (Amphetamine) and straight documentaries Weldonkrieg). rega’s in the festival again this year, but this year’s feature is a bit more personal. 35 Days is the story of indie director Eric Cutter and his unfinished film Gunman. When Cutter’s friend and lead actor, Sam arrison, dies, Cutter

decides to rally the original crew to wrap up the film as a tribute to their deceased friend. The filmwithin-the-film setup mirrors that of rega’s real-life friend and coworker Steve effernan, who died of a heart attack not too long ago. reg’s feature is both a tribute to effernan and a tip of the cap to the big-dreaming, hardworking indie filmmakers who give everything they have to their work. It’s also a perfect topper to this year’s festival. 35 Days screens at p.m. tonight at the Landmark Tivoli Theatre 50 Delmar Boulevard, University City www. cinemastlouis.org . Tickets are $10 to $1 . hen it lets out, mosey west to Blueberry ill for the free Closing ight wards arty, which will already be in session.

FRIDAY 0722 Thom Pain (based on nothing) The Midnight Company brings back an old, odd favorite in Thom Pain (based on nothing). Will Eno’s one-man show is about nothing, as promised, but our lives are accumulations of meaningless moments that somehow congeal into a full meal — sort of like how lasagna left in the fridge few days tastes richer and fuller than when eaten right out of the oven. Joe anrahan stars as the man who has known only suffering, from childhood bee stings to the agonies wrought by riverfronttimes.com

the combination of male and female. Thom Pain (based on nothing) is performed at p.m. riday and Saturday July to ugust at erbie’s intage 05 orth Euclid venue www.midnightcompany.com . Tickets are $15.

The Drowsy Chaperone few years ago, Stages St. Louis presented an excellent production of The Drowsy Chaperone. udiences have clamored for a return engagement, and for its 0th anniversary season, Stages St. Louis gives the people what they want. The musical tells the story

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Continued on pg 20

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CALENDAR Continued from pg 19

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The old gang is back together in The Drowsy Chaperone at Stages St. Louis. | PETER WOCHNIAK, PROPHOTOSTL.COM

SUND Plan

of the Man in the Chair, a lonely ew orker whose only solace is his large collection of cast albums from Broadway shows. aramount among them: his prized edition of the 1 0s Jazz ge gem, The Drowsy Chaperone. s he plays it again, the show comes to life in his apartment, right before our eyes. It’s fast-paced and funny, with songs that celebrate everything goofy and grand about the olden ge of stage musicals. David Schmittou reprises his role as the Man in the Chair, and Edward Juvier returns as the dramatic lover, dolpho. It’s a nearperfect show that will improve your week. It took the combined talents of Lisa Lambert, reg Morrison, Bob Martin and Don McKellar to bring this production to the stage, so don’t let their efforts go to waste. The Drowsy Chaperone is performed Tuesday through Sunday July to ugust 1 at the Robert . Reim Theatre 111 South eyer Road www.stagesstlouis.org . Tickets are $ to $ .

SATURDAY 0723 Ultimate BeepBall Tournament Minds Eye Radio provides muchneeded entertainment and information for the blind community of the St. Louis area. The organization 20

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gathers volunteers to read newspapers, magazines and periodicals of local and national interest over the radio to spare the unsighted the expense of acquiring Braille versions. One of Minds Eye Radio’s most successful fundraisers is its annual beepball tournament, which asks teams of sighted players to play a game of competitive baseball while blindfolded. The ball beeps so batters and fielders can hear and track it through space. The pitcher and the catcher are allowed to go un-blindfolded, however. This year’s installment is the tenth anniversary of the game, and it’s being billed as the Ultimate BeepBall Tournament. The championship game starts at 0 p.m. today at ssumption arish 5 Mattis Road www.mindseyeradio.org , but play-in games will begin much earlier than that. Check the website for the full tournament schedule.

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well. They know the current going rate for a mint pair of any Michael Jordan shoe ever produced and why each one matters or doesn’t . The burgeoning kicks community converges on the eabody Opera ouse 1 00 Market Street www. peabodyoperahouse.com today from noon to 5 p.m. for the Show Me Kicks Expo. They’ll be there to buy, sell, trade and discuss the shoes they love. Tickets are $1 , and casual fans are welcome.

SUNDAY 0724 Planet of the Apes orget, if you can, the iconic ending of the original Planet of the Apes, and consider the rest of the movie. The 1 film was based on ierre Boulle’s original novel, with a script by Rod Serling that was rewritten by Michael ilson. It was expensive, it was risky what major studio was doing serious science fiction in the late 0s and it became a massive hit. Everything from Charlton Heston’s unforgettable performance, John Chambers’ revolutionary makeup effects and the tense, sinewy Jerry oldsmith score came together in perfect synchronicity. It’s an merican masterpiece, which is why Turner Classic Movies is celebrating the film with a pair of showings in movies theaters across the country. ou can see Planet of the Apes locally at and p.m. today at the Des eres 1 Cine 1 01 Manchester Road, Des eres www.fathomevents. com . TCM host Ben Mankiewicz discusses the background of the film and its making as part of the screening. Tickets are $1 .50.

MONDAY 0725 John C. MacManus soldier’s lot during wartime is risk, fear and death. These troops are trained to believe that the side they fight for is morally right, allowing for no doubts about the justification of the killing their government has ordered them to do. But the end of II in Europe presented a select group of sol-

diers with something their training hadn’t prepared them for. When the Ohrdruf concentration camp was captured by merican soldiers in pril 1 5, they saw firsthand the atrocities the azis had committed. These horrors may have proved the morality of the llied side, but that knowledge paled in light of the inhumanity the soldiers were forced to confront. istorian John C. McManus examines the lives of these first responders after they faced the ultimate evil in his new book, Hell Before Their Very Eyes. e discusses and signs his work at p.m. tonight at St. Louis County Library eadquarters 1 0 South Lindbergh Boulevard, rontenac 1 - 00 or www.slcl.org . dmission is free.

TUESDAY 0726 The Illusionists John Keats wrote the immortal line, “beauty is truth, truth beauty,” but apparently the advertising industry doesn’t read much poetry. Instead we’re bombarded with images of beautiful men and women to sell everything from clothes to home appliances to hamburgers. The oversexualization of women is particularly damaging, as girls learn to aggressively pursue a beautiful appearance or be left behind. The documentary The Illusionists reveals the tricks used to catch our eyes and influence our buying habits, featuring some egregious and absurd examples to help us consumers break the habit. The Illusionists screens at p.m. tonight at the Missouri istory Museum Lindell Boulevard at DeBaliviere venue www.mohistory.org as part of the ongoing exhibition Little Black Dress. dmission is free, and Maryville University assistant professor Rebecca Dohrman will lead a discussion on the topic. Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the Night & Day section or publish a listing in the online calendar — for free! Send details via e-mail (calendar@ riverfronttimes.com), fax (314-754-6416) or mail (6358 Delmar Boulevard, Suite 200, St. Louis, MO 63130, attn: Calendar). Include the date, time, price, contact information and location (including ZIP code). Please submit information three weeks prior to the date of your event. No telephone submissions will be accepted. Find more events online at www.riverfronttimes.com.

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FILM

[REVIEW]

Eat It, Nerd Boys The new Ghostbusters is a fresh and funny breath of feminist air Written by

MARYANN JOHANSON Ghostbusters

Directed by Paul Feig. Written by Katie Dippold & Paul Feig. Based on the original film written by Dan Aykroyd and Harold Ramis. Starring Kristen Wiig, Melissa McCarthy, Kate McKinnon and Leslie Jones. Opened Thursday, July 14, at a gazillion theaters.

y reaction to the idea of an all-female Ghostbusters reboot? I am desperate for movies about women doing all sorts of things — including silly stuff like engaging in experimental particle physics, playing around with total protonic reversal and saving New York City — but I would also like women to get their own stories and the opportunity to create their own iconic characters. I knew that even if this remake turned out to be completely amazing, any success would come with an asterisk. There would always been the “real” Ghostbusters — the original ‘80s movie, not to be confused with the spinoff animated series The Real Ghostbusters, though there’s that too — and the “girl” Ghostbusters. Women deserve better than to be constantly tagged as the lesser, the other, the not-quiteas-good. I still believe all that. But I am getting to have my feminist cake and eat it too, because holy moly, Saturday Night Live badass Kate McKinnon has gone and created an instantly iconic new character in gleefully reckless physicist and tinkerer Jillian Holtzmann, simultaneously a snappy dresser, a devil-may-care snarkster, a master of the mysteries of the universe and a creator of cool crap that goes boom. Holtzmann is clearly the analogue here for Harold Ramis’ Egon Spengler from the 1984 movie — and physically she evokes the

Lady ghostbusters? What next, a woman president? | HOPPER STONE © 2015 CTMG, INC. blond-pompadoured Egon of Real Ghostbusters — but she is nothing like him. She is nothing like any female character The Movies have ever seen. She is powerful in a way that has nothing to do with her appeal to men, all too frequently the only power women onscreen are allowed to deploy. She is brainy comic mayhem that is a touch of Back to the Future’s Doc Brown and a whole lotta the Doctor (of Doctor Who, that is). She is the authority of science combined with the freedom of no-fucks-given, and she is not the sort of woman we typically see women granted the cultural permission to be. This new Ghostbusters would be worth hailing for Holtzmann alone … but happily, there is much more to cheer. The snappy script, by director Paul Feig and Katie Dippold, zings from the movie’s opening moments with cunning, crisp verve, often out of left field. ay close attention to the commentary offered in the opening scene by the tour guide of an historic NYC mansion that soon turns up haunted. The plot follows a similar track to that of the 1984 movie, with

Columbia University physics professor Erin Gilbert (Kristen Wiig) and the more paranormally inclined academic Abby Yates (Melissa McCarthy) teaming up, along with Holtzmann, to hunt down the ghosts suddenly showing up all over town. But both actors have toned down their sometimes overamped comic personae here, making it less easy to determine which characters from the original films ilbert and ates are shadows of: They’re neither and both Dan Aykroyd’s Ray Stanz and Bill Murray’s Peter Venkman at the same time. As with the authentically fresh Holtzmann, they aren’t attempting to imitate anyone, which does actually distinguish this movie from the spate of far more reprocessed reboots, remakes and do-overs we’ve been subjected to lately. Unlike with the 1984 movie — in which ghosts started appearing at precisely, by pure coincidence, the same moment when a new business came into existence to deal with them — there is actually a reason baked into the story about why ghosts are now popping up, which riverfronttimes.com

is what prompts the formation of Gilbert’s and Yates’ project. In this case, it’s not an entrepreneurial effort but a scientific research endeavor to capture and study them. And baked into that reason is the feminism of this new Ghostbusters. (Sorry, boys who are afraid of girls: This is an unabashedly feminist movie. But it’s still superfun, promise!) There are a few not-really-throwaway lines of dialogue about nasty comments the women receive online, in response to videos of ghosts the ladies post on YouTube; these comments are nearly identical to some of the ones that the mere idea of this movie itself has generated. But far more incisive is the villain of the piece, a literally basement-dwelling creep (Neil Casey) who justifies the very bad things he is doing as his way of striking back at bullies. Contrast this with Gilbert’s and Yates’ tales of being denigrated for their deliciously dorky oddness. Guy treated badly wants to end the world; gals treated badly turn their pain into something positive, and find themselves in a position to save the world. n

JULY 20-26, 2016

RIVERFRONT TIMES

[REVIEW]

When Buster Met Beckett Ross Lipman delves deeply in the nature and intent of cinema Written by

RT H

otfilm

Directed and written by Ross Lipman. Starring uster Keaton, arney Rosset, Haskell We ler and Samuel eckett oice only . Notfilm is shown as part o the Webster ilm Series rom July through at Webster ni ersity s Moore Auditorium 4 ast Lockwood A enue www.webster. edu film series . Samuel eckett s Film is screened with uster Keaton s 1 film The Cameraman July through August , also at Moore Auditorium.

YOU AND A GUEST ARE INVITED TO TUESDAY, JULY 26 7:00PM FOR YOUR CHANCE TO WIN A COMPLIMENTARY PASS FOR TWO, EMAIL CONTESTSTL@ ALLIEDIM.COM

WITH “JASON BOURNE” IN THE SUBJECT LINE. JASON BOURNE has been rated PG-13 (Parents Strongly Cautioned – Some Material May Be Inappropriate for Children Under 13) for intense sequences of violence and action, and brief strong language. Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit one pass per person. Each pass admits two. Seating is not guaranteed. Arrive early. Theater is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theater (audio recording devices for credentialed press excepted) and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theater, forfeiture, and may subject you to criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.

IN THEATERS JULY 29 www.jasonbournemovie.com

RIVERFRONT TIMES ST LOUIS RFT THURSDAY, JULY 21

ollowing a timeline that stretches from Charlie Chaplin’s film debut in 1 15 to the digital cinema coup of roughly a century later, film historian and restorationist Ross Lipman’s Notfilm is a kind of Venn diagram in which most of the major forces of twentiethcentury modernism overlap: silent comedy, Russian formalism, James Joyce’s stream-of-consciousness, underground film, European art cinema and Beat poets all cross paths on a street in the Bronx in 1964. At the center of these divergent cultural streams is an obscure short film, a collaboration between an austere Nobel Prize-winning author, one of Hollywood’s greatest comic talents and one of America’s most adventurous publishers. Notfilm documents the making of Samuel Beckett’s experimental short movie Film, and proves that this brief cinematic effort is more than the sum of its 22 minutes. It is instead the nexus of the lives and works of its collaborators and the path that winds toward the future of the medium itself. In 1964 publisher Barney Rosset, owner of Grove Press, came up with an ambitious idea to enter the film business. He commissioned a series of short subjects from authors Harold Pinter, Eugene Ionesco, Jean Genet and Norman Mailer, most of whom had either been published by Grove or contributed to its magazine, Evergreen Review. In the end, Beckett’s Film would be the only original cinematic release. It was directed by Alan Schneider (who

JULY 20-26, 2016

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Samuel Beckett auditioning a fish for Film. | ©2015 MILESTONE FILM & VIDEO staged the first production of Who’s Afraid of Virginia Woolf? and was Beckett’s choice for American productions of his work) and starred the supreme existential film clown, the great Buster Keaton. Beckett’s original idea was more a philosophical exercise than a screenplay, complete with sketches and diagrams for camera movements. Based on a concept from the philosopher George Berkeley — “To be is to be perceived” — Beckett created a symbolic battle between two characters called simply E and O (for “the eye” and “the object”). The former was represented by the camera, as the latter (Keaton) tries to escape from its gaze. It was not an easy shoot. Beckett — who made his only visit to the U.S. for the filming — was famously uncompromising about his work. Schneider had no film experience, and cinematographer Boris Kaufman, an Academy Award winner who provided a link to the avant-garde past as the brother of Soviet cinema pioneer Dziga Vertov, struggled to translate the author’s abstract ideas into actual imagery. Even Keaton, who had also explored the subjectivity of the camera in his films Sherlock, Jr. and The Cameraman four decades earlier, was at a loss to explain what he was doing. (Outtakes from the film show Keaton developing minimalist gags for his character, none of which made the final cut. In one of the many discussions and script meetings included in Notfilm, Schneider laments, “We will all have made a movie and wished that we hadn’t.” It’s also not an easy story to recreate for a documentary. Most

of the participants have passed away. There are second-hand reports from film historian Kevin Brownlow, who interviewed Beckett about Film years later, and also from actress Billie Whitelaw, who performed in Beckett’s solo piece Not I. Critic Leonard Maltin, who visited the set as a fourteenyear-old to get a glimpse of Keaton, shares what he recalls as well. Much of the information comes from Rosset, who died in 2012, and whose memory, Lipman acknowledges, was faulty. Fortunately, the same can’t be said for Rosset’s archives, which include a reel containing a deleted scene and a tape recording (made in secret) of a script meeting, one of the few occasions Beckett’s voice was captured on tape. Lipman, in a nod to ertov, calls his film a “Kino-essay,” but it’s an essay in the broadest postmodern style with digressions, speculation and even an intermission. Ideas and artistic movements crash and entwine but are neatly resolved before the film ends. Just as Beckett’s title suggested that his Film was a self-contained look at its own process, Lipman’s Notfilm proclaims its own limitations in its title. It’s Notfilm, because it’s one degree removed from the 1 5 work because it’s about the unconventional stretching of the medium by Beck, Keaton and their precursors and finally because of the advent of the digital era — nearly every modern film is now also “not film.” With its wide intellectual range and an energetic ability to reach in every direction, Notfilm is a unique, heady achievement worthy of its subjective subjects. n

THE ARTS

[ S TA G E ]

This Old House Grey Gardens succeeds on stage in spite of its aimless first act Written by

PAUL FRISWOLD Grey Gardens

Book by Doug Wright, music by Scott Frankel and lyrics by Michael Korie Directed by Annamaria Pileggi Presented by Max & Louie Productions through July 30 at the Wool Studio Theatre in the Jewish Community Center (2 Millstone Campus Drive; www.maxandlouie.com). Tickets are $35 to $45.

merica is a country of bizarre second acts. This much was confirmed when I went looking for more information on Edith Bouvier Beale’s musical output, and instead discovered www.greygardensofficial.com, a website run by a Beale niece-inlaw hawking “a luxury lifestyle brand driven by a passion for elegant self-expression.” If only Little Edie Beale had lived to see how it all turned out. Big Edie and Little Edie, the stars of David and lbert Maysles’ incredible 1 documentary Grey Gardens, are also the stars of Grey Gardens: the Musical, which is currently onstage at the ool Studio Theatre courtesy of Max Louie roductions. It’s a fascinating show at times, well-staged and marshaled by director nnamaria ileggi, but somehow also frustrating in its profligacy. The Beales were an upper-crust old ew ork family in the early twentieth century. Big Edie was a would-be singer who married well if unhappily, while her daughter Little Edie was an It irl in the 1 0s who dated many scions of powerful families, but never married. By 1 the duo were living in squalor in their ramshackle ancestral home “ rey ardens” while cousin Jackie Bouvier was married to the president and now ristotle Onassis. hat brought the once

Big Edie (Debby Lennon) and Little Edie (Madeline Purches) in happier days. | DAN DONOVAN

Neither mother nor daughter got what they wanted from life, but Big Edie is a realist — she’ll make the best of it. high-flying Beales so low That’s what Grey Gardens: the Musical seeks to explain. nd that need to explain is what’s so frustrating about the show. The entire first act is set in the 1 0s, when life was good for the Beales. Eccentric, but good. Debby Lennon plays Big Edie, who has plotted a nine-song performance to celebrate the engagement of Little Edie Madeline urches to Joseph atrick Kennedy, Jr. ill Bonfiglio , a cocky member of the nouveau riche who believes he just needs to kill a few azis and his path to the hite ouse is clear — and won’t a Beale look good on his arm ll they need is the approval of Little Edie’s distant and demanding fa-

ther, and both of them are set for life. There is music, and laughter, and after many tears and much angry negotiation between mother and daughter, Big Edie will even get to sing a song. Is this happy domestic scene what anybody thinks of when they hear “ rey ardens” Or do you picture the dour middle-aged Little Edie wearing a jacket for a skirt and part of a curtain for a head scarf, blithely talking about spirit and revolution and how difficult it it is to keep the past and the present separate That’s the Grey Gardens that has been parodied, and loved, by multitudes. nd it’s nowhere in sight in Act One, which despite great performances from all concerned and some exemplary moments (you can not deny the frisson of Tom Murray as the Bouvier patriarch urging a young Jackie Kennedy to marry well , feels like a bait and switch. The more-familiar Beales are present in the second act, and Debby Lennon has crafted an incredible version of middle-aged Little Edie in all her morbid charm. There is more wit and humanity in her performance of the second half ’s opening number, “The Revolutionary Costume for Today,” riverfronttimes.com

than in the entire first act. Lennon and Donna einsting terrific as the elderly, bed-ridden Big Edie fall right in to the irascible-yet-tender dynamic. Their frequent disagreements are punctuated by Little Edie drifting off into happy reveries of her youth while Big Edie follows the advice of her radio idol orman incent eale and chooses to be happy and live with no regrets. either got what they wanted from life, but Big Edie is a realist — it’s still her life, and she’ll make the best of it. s for Little Edie, she’s lost in time. In “ nother inter in a Summer Town,” she sings about middle age, yesterday and the end of her season while standing at the edge of the property with her suitcase packed. She looks back at the house and sees her younger self packing to run away after another unsuccessful engagement. ith a rueful smile, the older Little Edie trudges back up the lane, returning to her front door. Mental illness, a relentless cycle of abandonment perpetrated by the men in their lives and perhaps too close a relationship has joined mother and daughter together for all eternity. But what does time mean to Little Edie here in rey ardens n

JULY 20-26, 2016

RIVERFRONT TIMES

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CAFE

Weber Grill Restaurant’s bone-in ribeye steak is served with asparagus and potatoes. | MABEL SUEN [REVIEW]

License to Grill Weber Grill Restaurant fancies up the backyard barbecue experience Written by

CHERYL BAEHR Weber Grill Restaurant

1147 St. Louis Galleria Street, Richmond Heights; 314-930-3838. Mon.-Thurs. 11 a.m.-10 p.m.; Fri.-Sat. 11 a.m.-11 p.m.; Sun. 10 a.m.-9 p.m.

he entrance to Weber Grill Restaurant seems more like an overgrown memorial to a lost barbecuing civilization à la Planet of the Apes than an homage to its founder. Before the front doors stands a life-sized statue of the iconic kettle grill’s

inventor, George Stephens, clad in a Hawaiian shirt and apron and standing in front of his grill, cooking up some burgers. It’s done in rough black metal, as if to evoke the charcoal that fuels his empire. Stephens is dwarfed, however, by the two giant stone spires capped with flame-spewing cauldrons on both his left and right flank. The dramatic scene can’t help but make you wonder if you’re being lured to a volcano sacrifice rather than a backyard barbecue — or if, perhaps, the backyard belongs to a oldman Sachs financier. The scene sums up the contradiction that is Weber Grill Restaurant. On the one hand, the small chain exists as a celebration of casual weekend cookouts, the kind of low-key evenings where you’d pull out your kettle grill and slow-cook some meat. It’s ribs and burgers and beer-can chicken washed down with a Bud heavy while arguing with your jorts-clad neighbor about lawn darts. But while you can find that at eber Grill Restaurant, it’s buried beneath

a thick veneer of fancification that makes the place seem less like a backyard barbecue and more like grill night at the country club. Open since April in the old BlackFinn American Grille space at the Galleria, the place looks like a sleek, modern steakhouse. Propane tanks, grills and black and white photographs sit in a floor-to-ceiling shadowbox by the host desk. Taupe, tufted banquettes and shiny blonde wood tables dot the room, and glass pendant lights provide soft lighting — as do several large grey fabric chandeliers with a grate detail at the bottom that artfully hints at the restaurant’s inspiration. There’s a separate bar area that continues the modern aesthetic, as well as the “Weber Grill Academy” room where would-be grill masters can watch dinner being prepared in an interactive dining space that’s a cross between a teaching kitchen and a chef’s table. If you don’t want to go that far, you can simply peer into the restaurant’s open kitchen and watch as cooks maneuver around massive kettle grills. riverfronttimes.com

The whole place is unexpectedly chic, polished and upscale — not exactly the words that come to mind when you think of a grill. And the juxtaposition of casual and upscale can makes you scratch your head. I get the restaurant’s dressed-up approach. The eber rill company’s bread and butter is selling devices meant to improve the home cooking experience, rendering going out to eat less necessary. A dressed-up atmosphere and food is something you can’t get at home — a reason to go out. Yet throughout my meal, I found that the straightforward items, the ones I could do just as well on the kettle grill in my backyard, were the restaurant’s most successful dishes. Consider the honey Dijon chicken skewers, a testament to the beauty of simply marinated, expertly grilled chicken. The meat is sweet, kissed with char and shockingly succulent as properly done grilled chicken should be (but, sadly, Continued on pg 28

JULY 20-26, 2016

RIVERFRONT TIMES

WEBER GRILL Continued from pg 27

St. Louis’

Steakhouse 18 Years In A Row! 1998-2016 RFT Readers Restaurant Polls HISTORIC SOULARD

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RIVERFRONT TIMES

rarely is . They are available as an appetizer, but I would have happily made an entire meal out of this fantastic dish. And who hasn’t brought spinach artichoke dip to a backyard pot-luck The restaurant offers an excellent version of the church cookbook dip — a bubbling crock of creamy molten cheese with just enough of the veggies to make you feel better about your decision-making. The fancied-up, more complex appetizers are less worthy, however. Tuscan bruschetta promised vine-ripe tomatoes, white bean pesto and smoked mozzarella. I assumed this meant a caprese served over crusty bread. Instead, it was nothing more than mediocre salsa. The crab cake was the bigger offender, though. I’ll eat my column if this was made of exclusively jumbo lump meat, as the menu claimed. The entire thing was a pile of fishy-tasting mush that even the scant chipotle salsa couldn’t cover up. Burgers, which should’ve been a no-brainer for a grill-themed restaurant, missed the mark because they overpromised and underdelivered. The restaurant’s signature “ rime Burger” is a “secret blend” of prime beef and Weber seasonings, topped with bourbon-grilled onions and sharp cheddar cheese. I expected over-the-top good that I wouldn’t get in my backyard; instead I received “meh” that made me long for well-executed simplicity. The “Farm Burger” was equally dry and underwhelming. The blend of lamb and beef had a pleasant taste, but it was served medium well (though it was ordered medium rare). Smoked bacon, oven-roasted tomatoes and goat cheese sounded decadent, but again, something just failed to pop — too little cheese? Not enough bacon? It’s hard to unpack how something that sounds so right can end up so boring. The prime rib, too, fell far short, with smoke and an aggressively herbed rub overpowering what should be a delicate meaty flavor. I appreciated that rub on the signature “BB ” ribs, though. The sweet and sticky glazed baby backs were so tender, you shouldn’t pick up a bone expecting the meat to be attached. The sauce caramelizes on the tender meat, forming a sticky char crust that’s especially excellent when mingled with fatty end pieces.

JULY 20-26, 2016

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Weber Grill menu items include Chilean sea bass, beer-can chicken and a pork chop. | MABEL SUEN A juicy, bone-in pork chop, glazed with the same honey mustard sauce that wowed on the chicken skewers, is comfortably familiar The sweet mustard works with the pork which works with mashed sweet potatoes which works with saut ed spinach. This is a classic pairing you could find on 100 restaurant menus no matter what town you’re in — but it’s a classic for a reason, and Weber Grill Restaurant proves why. “Beer Can Chicken” is another example of how good a simple cookout dish can be. A half-chicken, stuffed with an open can of beer while it cooks, is nothing less than luscious. The beer keeps the meat moist, but the skin retains a smoky crispness. This place knows how to cook chicken. If the thought of paying $40 for a grilled sea bass at a chain restaurant in a mall fills you with shame, suspend your disbelief. Offered on the restaurant’s “Founder’s Menu” (read: expensive menu), this simple grilled fish may be the finest piece of seafood I’ve eaten all year. Sure, I could buy a great piece of seafood from a good fishmonger and cook it myself, but I am not capable of such grilling perfection. The meat, a char-kissed composite of butter simply dressed with tomato vinaigrette, is so outstanding it makes the price tag look like a steal. I’d say this is the best thing at Weber Grill Restaurant if I wasn’t

still raving to anyone who will listen about the kids menu. As someone who regularly dines out with a small child, I’ve pretty much given up expecting anything more than frozen chicken fingers and fries or a white bread grilled cheese. But the kids meal here is the Rolls Royce of child dining, covering everything from ribs to steak skewers to the best hot dog I’ve eaten since those bastards at Sara Lee discontinued Best’s Kosher Beefs. And it’s not just the main course that shines for kids here — the meal comes on a cafeteria-style platter with tater tots, fresh fruit, steamed vegetables, a drink and a homemade cookie the size of your toddler’s face. Will they let adults order this meal of champions? One can only hope. It may seem funny that the thing that impressed me the most at Weber Grill is the kids meal, but I don’t think so. After all, what could be closer to the domed kettle’s original purpose than cooking out with your family on a summer evening? Grilling needn’t be fancy, just some simple good food that will stick to your ribs — which is where Weber Grill Restaurant is at its best. n Weber Grill “Artichoke & Spinach Dip” .............. $12 “Weber’s Signature BBQ Ribs” ................................. $19.50 ”Plank Grilled Chilean Seabass” .......................... $40

SHORT ORDERS

[SIDE DISH]

Rene Sackett Leads the Cheers for Farmers Markets Written by

CHERYL BAEHR

he manager of Schlafly Farmers Market (7260 Southwest Avenue, Maplewood; 314-2412337), Rene Sackett, grew up in two worlds: the cosmopolitan, bohemian realm of her Alsatian maternal grandparents and the rural world of her dad’s Cherokee family, where hunting, fishing, camping and living off the land were the way of life. “You put that all together and it’s me,” Sackett says. “I had a garden when I was four years old. My dad cooked at home and my mom took us to all of these great restaurants as soon as we were old enough. That’s just how it was — everything homemade with dad, and lobster out with my mom.” Those varied experiences instilled within Sackett a passion for food that stuck with her throughout her life. She didn’t pursue it professionally, however, until she developed a reputation for her contributions to her children’s school fundraising dinners. What started as a dish for a potluck turned into organizing spaghetti dinners, an interview in a local newspaper and a request for a party tray from a woman who wanted her to cater a party. Before she knew it, she had a full-fledged catering business. Sackett’s big break, however, came when she was asked to put together a fish fry and barbecue for the Missouri Department of Conservation. One event led to another, and Sackett was planning fisheries and wildlife events where she was

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Rene Sackett identifies with the native Missouri pecan. | HOLLY RAVAZZOLO able to delve further into issues of conservation and sustainability. Sackett got out of the industry to pursue a career in massage therapy, but she couldn’t shake the feeling that she needed to get her hands back in the dirt. “I was living in the ‘burbs on a wooded lot and had no room to grow anything,” Sackett recalls. “I looked for something to do that would fill that part of me and thought, ‘If there’s nothing for me, I’ll make it myself.’” She approached the city of Ellisville, which had been running a small farmers market out of a grocery store parking lot, and asked if she could volunteer. Not only did the city agree — they asked her to run it. Sackett and her husband transformed the market from a tiny, flea market-style event to a producer-only market. Their efforts caught the attention of the city of Wildwood, and before she knew it, she was running two markets. This spring, Sackett was fresh off her election to lead the Missouri Farmers Market Association when she received the call from Schlafly. They were looking for a new market manager and had heard about her work. Would she be interested? “I didn’t think I could do it. I had too much going on, but how can you say no?” she recalls.

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Now, Sackett is in charge of the market and looking to build upon its reputation for featuring local, sustainable products. Her focus is not just on the vendors and logistics, though. “I’m very relational. I see my purpose there as helping to connect the community to food. Not in a snotty judgmental way,” Sackett adds, “but in a way that makes it easier for them — like a cheerleader.” Sackett took a break from the market to share her thoughts on the St. Louis food community. What is one thing people don’t know about you that you wish they did? I am pretty geeky about the anatomy of the human body and food science. The many years of working with food and doing massage therapy really do make a great combination. What daily ritual is non-negotiable for you? Four shots of espresso. If you could have any superpower, what would it be? Multiplying myself. Managing two farmers markets, being a massage therapist and owning a small spa, being president of the Missouri Farmers Market Association, wife, mom, grandma, friend, aunt, daughter, sister, social but-

terfly and “Suzie omemaker” is sometimes hard for one person! Who is your St. Louis food crush? The entire Galliano family! Josh, Audra, Emil, Petra and Sawyer are so much fun. Good people! Who’s the one person to watch right now in the St. Louis dining scene? The Gallinas (Michael and Tara). I have had the pleasure of spending time with them on a few occasions in the last few months. They support the farmers markets, visit the local farms and are creating relationships in the area. They are a genuinely a nice couple. Their pop-up events have been impressive, and I am excited to see them in their own space. Which ingredient is most representative of your personality? The sweet, native Missouri pecan. My paternal great-grandfather was 100 percent Cherokee. My maternal family has been in St Louis since the mid-1800s. I am a Native. I can be wild, domesticated, versatile, sweet or savory. If you weren’t managing farmers markets, what would you be doing? Well, I am already a licensed massage therapist. I love that. I would be collaborating with folks on how to feed hungry people healthy food and figuring out ways to stop food waste. I wish that I could create a magic wand that would give everyone the time, passion and skill to cook. Name an ingredient never allowed in your kitchen. Corn syrup. What’s your food or beverage guilty pleasure? Marcona almonds with truffle oil. What would be your last meal on earth? It would start with these deepfried Camembert-stuffed boudin balls that Michael Gallina and I made at the Boucherie a few months ago. Then fried frog legs, barbecue chicken, peach and cucumber salad, sweet corn with butter, black trumpet mushrooms sautéed in butter, biscuits with homemade strawberry jam, and homemade vanilla ice cream. Ask me this question during another season, and the answer would change. I really do eat seasonally. n

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when we opened,” Bolyard explains. “Then we started a weekly sandwich special. When that took off, we added more and eventually bought a sandwich station to make it easier.” Rachelle L’Ecuyer, Maplewood’s community development director,

explains that the permit is necessary because the seating will re-classify the space as a restaurant rather than a retail shop. She’s excited to see what this will mean for the already successful business. “This just seems like a natural progression for them,” L’Ecuyer says. “They already have the meats and the provisions, so it seems right that they’d take it to the next level. I know they currently feature specials, but since they are adding seating, I hope that will mean an expansion of the menu.” Bolyard, however, is not ready to commit to additional menu items. “Right now we offer four sandwiches and we are going to stick with that,” he says. “We’ve talked about doing a Saturday breakfast biscuit — we’ve been doing biscuits on Tuesdays and Thursdays with our smoke-out menu because we have so much lard around here. That’s why we started doing tamales. But right now, we are just going to stick with what we are doing and see how it goes.” n

location, which is four times the space we currently have.” Cohen, who founded Stringbean in 2011 as a response to the bitter coffee he always found himself drinking, operates the small roastery with business partner David Pocost. Since opening, the spot has become a staple in the local coffee community, recognized for its commitment to ethically and sustainably sourced beans. Stringbean was the RFT’s pick for the area’s “Best Coffee” in our 2015 Best of St. Louis issue. The new space, at 858 Hanley Industrial Court, will allow Stringbean to be more centrally located to its wholesale business and give Cohen and Pocost the opportunity to host coffee-related events. “We’ll be doing some really cool events of our own and for other peo-

ple. We might even have some evening jams while we’re roasting,” Cohen says. “I’m bringing my Soul Train disco ball with me, and it will be spinning in the new space. We always roast under the disco ball — shouldn’t every ex-banker turned coffee roaster do that?” Cohen is not joking. Several years ago, he acquired one of the two original disco balls from the Soul Train set, which has been on display at Stringbean’s roastery since its inception. It’s his tradition to roast to music, under lights and the spinning disco ball. At the new space, folks will finally get to catch him in the act. “We’re not going to be a coffee shop, but I expect a lot of people to just stop by at the new space,” says Cohen. “We hope to have a lot of visitors. It’s a place I’d want to hang out.” n

[FOOD NEWS]

At Bolyard’s, You’ll Soon Be Dining In Written by

CHERYL BAEHR

f you thought lyar s Meat r s s (2810 Sutton Boulevard, Maplewood; 314-647-2567) couldn’t get any better, prepare yourself: The beloved Maplewood butcher shop is getting ready to expand its business model. On July 12, the City of Maplewood granted a conditional use permit to co-owner Abbie Bolyard to operate a sandwich shop at the butchery. Head butcher and co-owner Chris Bolyard confirms to the Riverfront Times that the shop is planning to offer table seating in the near future. “Right now the plan is to add fifteen seats in the shop and sell the lunch items from open to close,” Bolyard says. “We have been selling a lot of whole roasted chickens lately, so we hope people will stay to eat.” Chris Bolyard, a Culinary Institute of America-trained chef, already offers sandwiches at the shop, but seating constraints mean they are takeout-only. By adding seating, the butchery hopes to expand its business. “On a weekly basis we get a handful of people who come in, but see that we don’t have seating and leave,” Bolyard says. “We have outdoor seating, but if the weather is bad, that’s not an option. Hopefully this will allow people to stay.” Since opening in November 2014, Bolyard’s has been the undisputed king of butchery in St. Louis, thanks

A customer gets a load of the offerings at Bolyard’s. | COREY WOODRUFF in part to the shop’s commitment to ethically and sustainably sourced local meat. Chris Bolyard personally visits every farm and processing plant that supplies the store to ensure to his customers that he can meet the highest of standards. “We didn’t even offer sandwiches [COFFEE]

JEFF CO ROASTER MOVING TO ST. LOUIS Written by

CHERYL BAEHR

t’s official: After a lengthy search for a new roastery site, Stringbean Coffee Company (1322 W Lark Industrial Drive, Fenton; 314-472-3267) is moving to Brentwood’s Industrial Park. Owner Peter Cohen expects to begin operations at the new space in October. “We’ve been open for five years and have been roasting in Jefferson County for the last year,” Cohen explains. “We just signed the lease for the Brentwood

Our Story: The First Week

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FA M O U

S FRIED CHICKEN

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DINING GUIDE

The Dining Guide lists only restaurants recommended by RFT food critics. The print listings below rotate regularly, as space allows. Our complete Dining Guide is available online; view menus and search local restaurants by name or neighborhood.

Price Guide (based on a three-course meal for one, excluding tax, tip and beverages): $ up to $15 per person $$ $15 - $25 $$$ $25 - $40 $$$$ more than $40

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Fried chicken at Old Standard. | MABEL SUEN [SOUTH CITY]

Old Standard Fried Chicken 1621 Tower Grove Avenue; 314-899-9000.

Authentic MexicAn Food, Beer, And MArgAritAs!

Acclaimed chef Ben Poremba adds to his Botanical Heights restaurant flock with Old Standard Fried Chicken. Located in a converted horse stable, this casual chicken and bourbon shack draws crowds for its sustainably raised fried birds and Southern-style dishes. Poremba’s chicken recipe involves brining the bird, then cooking it in a pressure fryer to lock in the juices and give it a crisp exterior. Fried chicken is the only entrée at Old Standard, but the menu is filled with such down-home snacks as creamy pimento cheese dip, boiled peanut hummus, and sweet and spicy chicken wings. The restaurant’s standout snack, the smoked whitefish croquettes, is like eating a sweet and savory cream puff. Classic side dishes, such as smothered greens, creamed corn and mashed potatoes with chicken gravy, complement the fried chicken, and the bread board, served with housemade butters and jellies, makes for a hearty feast. $$-$$$

The Purple Martin

2800 Shenandoah Avenue; 314-898-0011.

2817 cherokee st. st. Louis, Mo 63118 314.762.0691 onco.coM www.tAqueriAeLBr 34

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Long-time Fox Park residents Brooke Roseberry and Tony Lagouranis dreamed of creating a neighborhood gathering place. They’ve finally gotten their wish with the Purple Martin. Located in a rehabbed corner storefront, the restaurant is a quaint, casual bistro with Mediterranean and North African fare. Appetizers such as skordalia, a tangy garlic dip, and zeal, a lima-bean-based Berber specialty, serve as zesty starters, while the lamb shank with roasted tomatoes and potatoes is a satisfying entrée. Make sure to save room for dessert. The Napoleon, layers of buttery puff pastry, sweet cream and macerated blackberries is a decadent end to a meal. For those who prefer an adult beverage as a nightcap, the Purple Martin boasts a creative cocktail menu. Its namesake drink, a concoction of Fitz’s grape soda, Malibu rum and lime juice, is a sweet and refreshing treat. $-$$

Spare No Rib

2200 Gravois Avenue; 314-202-8244.

A taqueria-barbecue joint owned by a Tunisian mathematician may seem like a recipe for disaster, but a visit to Spare No Rib erases any doubts. Owner Lassaad Jeliti was inspired to open the Benton Park restaurant after a taste of tacos and barbecue reminded him of North African street food. Jeliti was amazed at the similar spices,

sauces and preparations of the seemingly different cuisines, and he wanted to celebrate this at his restaurant. Spare No Rib has a small menu, but it covers all of the taco and barbecue basics. Of the tacos, the cachete is the clear standout. The fresh corn tortilla is stuffed with braised beef cheeks that melt in the mouth. Another must-try is the pork and fennel. The smoky, fall-apart ribs do not need sauce — a spice rub dominated by flavors of cumin and cinnamon gives the meat more than enough flavor. The pulled-pork sandwich, another excellent barbecue option, is piled with tender hunks of smoky pork that have been tossed in sweet and spicy barbecue sauce. It’s topped with creamy coleslaw and served on a fantastically flaky bun. Those who can’t decide between tacos and barbecue don’t have to. The “SNR Platter” features tacos and ribs — the best of both worlds. Just like the restaurant. $

Three Flags Tavern

4940 Southwest Avenue; 314-669-9222. Veteran chef John O’Brien and his wife Cathy opened Three Flags Tavern with the humble goal of creating a nice neighborhood spot. What they ended up with is one of the city’s best restaurants. Drawing on St. Louis’ rich history, the tavern serves a mix of Spanish, French and American fare that is impeccably executed but unfussy. Smaller plates, such as posole with braised pork shank, fried Manchego cheese and lobster beignets make for delectable starters, while a pork mixed grill and Marcona almond-topped trout are hearty entrees. Three Flags’ fried chicken is some of the best in town, and the brisket burger is simply magnificent (ask for the Delice de Bourgogne cheese on top). Dine in the cozy dining room, up at the bar, or on the huge, tree-covered patio — and by all means treat yourself to a craft cocktail or local beer. Prepare to be dazzled. $-$$

Tick Tock Tavern 3459 Magnolia Avenue.

Thanks to a trio of south-city entrepreneurs, Tick Tock Tavern received a refreshing revival, opening in 2014 for the first time since the ’90s in its original space. It maintains its old-school identity with wood-paneled walls decked out in vintage signage, owl paraphernalia and more. The straightforward drink list features a selection of beer, wine and spirits — no-frills cocktails sing to the tune of about five bucks. For a snack, just head next door to Steve’s Hot Dogs for a wiener with the works. $

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UPCOMING SHOWS 8.15 ROMAN VS. FOUSEY 8.18 THE BUD LIGHT PARTY CONVENTION 8.20 COLIN JOST 8.21 SCHOOL OF ROCK 8.23 KURT VILE AND THE VIOLATORS 8.26 GRAFFITI BRIDGE: A TRIBUTE TO PRINCE 8.27 NELLY 9.2 & 9.3 THE USED 9.6 RIVAL SONS 9.9 O.A.R. 9.16 FLUME 9.17 BETH HART 9.19 TECH N9NE 9.22 SLAYER

9.23 STORY OF THE YEAR / THE STRUTS 9.27 AMOS LEE 9.28 GHOST 9.29 YOUNG THE GIANT 9.30 THRICE 10.3 THE HEAD AND THE HEART 10.5 LOCAL NATIVES 10.7 JAMES BAY 10.8 BOYCE AVENUE 10.13 LETTUCE 10.18 NICK LOWE 10.19 BRIAN CULBERTSON 10.21 LOREENA MCKENNITT 10.22 TEGAN AND SARA

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MUSIC Fall Breaks and Back to Winter Brian Wilson is on tour performing his masterpiece, 1966’s Pet Sounds. It may be the last time. Written by

MIKE APPELSTEIN Brian Wilson

7:30 p.m. Thursday, July 21. Family Arena, 2002 Arena Parkway, St. Charles. $49 to $97. 636-896-4200

hen Brian Wilson’s musical director Paul Mertens calls, it is the week after a show in Ra’anana, Israel. As the band was onstage performing Pet Sounds, the Beach Boys’ epochal 1966 album, two terrorists attacked a cafe in downtown Tel Aviv, killing four and injuring five. Good vibrations were rarely so needed or welcomed. “We were 40 miles away from downtown Tel Aviv, so we were never in any danger,” Mertens recalls. “When we arrived [in Israel], we were warmly welcomed by everyone we met. Brian was given a key to the city by the mayor. That tragedy was a shadow over the whole experience. But I think we were also happy that at least we were there to play music, make people happy and do some good.” The Ra’anana show was part of the Pet Sounds 50th Anniversary World Tour, which comes to the St. Charles Family Arena on July 21. Brian Wilson was, of course, the Beach Boys’ primary songwriter and arranger. Working closely with lyricist Tony Asher and backed by the legendary Wrecking Crew, Wilson created most of Pet Sounds while the rest of the band was out on tour. A song suite encompassing themes of melancholy, uncertainty and grown-up love, the album is one of the very few rock releases

At age 74, Brian Wilson is likely ending his touring years with a bang. | TAKAHIRO KYONO for which the word “masterpiece” actually applies. Pet Sounds was a critical smash — Paul McCartney famously declared “God Only Knows” to be the best song ever written — but it barely cracked the American Top Ten. The other Beach Boys were said to to have been resentful at Wilson’s abandonment of a proven formula. But was it really so removed from their earlier work? As early as 1963, Wilson was writing introspective songs like “In My Room,” which hinted at the fear and melancholy beneath the public image of surfboards, hot rods and bikini-clad California girls. What Pet Sounds really did was strip away the artifice of sea, surf and carefree teenage kicks. Even “Sloop

John B,” the album’s lone seafaring song, was one long plea to go home. It’s easier now to hear Pet Sounds as part of a continuum. This tour comes at a fruitful period in Wilson’s creative life, one in which he’s resolved old issues while looking ahead to new projects. In 2011, he completed the long-abandoned Smile album using the original recordings. In 2012, he briefly reunited with the surviving Beach Boys for the critically acclaimed That’s Why God Made The Radio and a tour. He has remained busy in the studio, most recently releasing No Pier Pressure. In 2014, the biopic Love and Mercy painstakingly recreated some of the Pet Sounds and Smile recording sessions, capturing both moments of levity and private riverfronttimes.com

anguish. Wilson performed the title track over the closing credits. “We’ve all known Brian Wilson for at least ten years, and most of us have been around since his first solo dates in 1999,” Mertens says. “[Former Beach Boys] Al Jardine and Blondie Chaplin are coming with us, too, and I know Brian enjoys what they bring to the show. And Al’s son Matt has been singing with the band for a year or more, so he’s part of the family. We all feel that what we’re doing is a continuation of the Beach Boys’ legacy through family and friends.” The current tour is actually Pet Sounds’ second live workout. In 2000, Wilson and band performed the album with local orchestras. Mertens wrote the arrangements, and Van Dyke Parks, Wilson’s Smile collaborator, composed a suite that opened most dates. While the current tour is not designed for orchestral accompaniment, the Boston Pops did accompany Wilson on two dates last month, using Mertens’ original arrangements. “There are string sections on Pet Sounds. But to me, what’s special about that is not that Brian was trying to introduce classical music into rock & roll,” Mertens says. “Rather, he was trying to get classical musicians to play like rock musicians. He’s using these things to make music in the way that he understood, rather than trying to appropriate the orchestra. Often he’ll direct a drummer to play in a very unconventional way, in a way that drummers don’t normally play. He’ll say, ‘No, no, don’t play the hi-hat, just go bomp...ba-domp...bomp...badomp on the tom and kick drum.’ He’s feeling a certain thing, but coming at it from a musical idea rather than the conventions of the instrument.” Wilson has directed the touring band in the same intuitive way. “Once he had an idea for an introduction into ‘California Girls,’” Mertens recalls. “He had all the parts in his head. He came to soundcheck and said, ‘I want you to play this on bass; you sing this part; here’s the guitar part...’ He dictated everything to us and taught it to us in about five minutes. So we’ve been adding that to the show.” Continued on pg 38

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BRIAN WILSON Continued from pg 37

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At times, Wilson has had a reputation as an uncomfortable live performer. This time around, however, he has reportedly been in great spirits. “In all the time that we’ve played with him, this is the most comfortable onstage that he’s ever been,” Mertens says. “Brian is an artist in the studio as a songwriter, composer, arranger and singer. But he’s not a showman. There are times onstage when he may seem a little bit distracted. So it’s nice to see his sense of humor, his playfulness, being expressed. People are getting to seeing the real Brian.” Besides playing Pet Sounds in full, Wilson and the band have been exploring some of their deepest cuts, as well as a good selection of the hits. With Chaplin on board, they’ve been revisiting the albums on which he appeared, including 1972’s Carl & The Passions – So Tough and 1973’s Holland. “We’re doing ‘Sail On Sailor,’ ‘Funky Pretty,’ ‘Wild Honey,’ ‘Marcella.’ It’s cool to be able to explore that part of the Beach Boys’ catalog. It hasn’t been all that well-represented in terms of live performance,” Mertens says. Ultimately, Mertens suggests, Wilson’s songs have endured because they are part of an American folk tradition. “It’s music of the people. Brian says it himself: ‘We were a garage band.’ If that’s not folk music, what is? It follows an oral tradition of kids listening to records, learning to play guitar, imitating the things that they hear. It doesn’t come from an academy or pedagogy. It’s always interesting to talk to people who have analyzed the music, like ‘Surf ’s Up’ or ‘Heroes and Villains.’ It can stand up to a lot of analysis, but really, Brian wasn’t thinking about key relationships or thematic elements. It was just the music that he heard.” This tour is billed as the last time Wilson will play Pet Sounds live. At age 74, it’s realistic to assume that his touring years may not last much longer. If so, he’s going out with a bang. “It feels pretty epic,” Mertens says. “Brian agreed to do the Beach Boys’ reunion tour on the condition that he could bring his band, so we all participated in that. This feels like a big deal in terms of Brian’s artistry at a deeper level. It feels historic, and I feel thrilled to be a part of it.”

B-SIDES

Song and Dance Men St. Louis a cappella group wins international competition Written by

NATALIE RAO

n July 8, one of St. Louis’ biggest a cappella groups took the stage at the Barbershop Harmony Society’s 2016 International Convention in Nashville, Tennessee. Clad in black and blue suits and gold ties, bursting with energy, the Ambassadors of Harmony danced in unison and sang their way into the hearts of Bridgestone Arena’s audience of 6,000 — and, more importantly, the hearts of the judges. With their renditions of a “Top of the World” medley and “Something Good” from The Sound of Music, the 133 men beat out 28 other choruses to take home the gold. It comes as no surprise that they came out on top. Sure, the Ambassadors of Harmony boast a powerhouse group of voices, but the most exciting aspect of those voices has to be the diversity they embody. The act includes men of all ages, races and professions. Teens as young as fourteen stand side-by-side with men as old as 90, many of whom have been singing longer than most of us have been alive. The chorus includes students, teachers, fathers, sons and more, all coming together on one stage to change lives through music. “One of the things we pride ourselves in is that we are diversified in every way,” says codirector Jonny Moroni, who has been involved with the group for nearly two decades. “We have men from completely different social, economic and racial backgrounds. What’s unique about our situation is that, when we come together, none of those things matter.” The music that these men create is best described as magical — a title not granted lightly. It takes a lot more

“Some may say that this is just a hobby, but it’s much more to us.” | LORIN MAY

“Nothing we do is designed to underwhelm. Our entire goal is to change lives through music.” than good singing to be so aweinspiring. It is the emotion and passion behind each performance that moves them from great to truly fantastic. “Some may say that this is just a hobby, but it’s much more to us,” Moroni says. As the camera pans over each man during July 8’s competition, the passion each one feels for his craft is tangible, even through a screen. Smiles light up all 133 faces, indicators not only of the pride

in being a part of something so amazing, but also of the fun they have when they come together on stage. “Nothing we do is designed to underwhelm,” says the group’s vice president of public relations, David Revelle. “Our entire goal is to change lives through music.” And that goal is pursued both on and off the stage. For years the Ambassadors of Harmony have been working with their communities to ensure that the arts are able to thrive. Most recently, their focus has been on diversity. “In the past few years we’ve reached out to engage more people from different backgrounds than your average barbershopper,” says Revelle. “As the time has passed the diversity has really grown. That’s something we hope continues.” Another focus of the group is youth. The Ambassadors of riverfronttimes.com

Harmony host Acappellooza, two separate camps in the summer and fall to get middle and high school students more involved with the arts. The summer session is a four-night sleep-away camp held this week at University of Missouri-St. Louis, culminating in a free concert July 22 at the Touhill Performing Arts Center. With these initiatives and their powerful performances in mind, the Ambassadors of Harmony are changing the world, one small step at a time. Music is a unifying thing and these men are using that quality to make a difference in their communities — and to every person that witnesses their performances. “We focus on barbershop, but also on the arts in general,” says Moroni. “We want to emphasize the importance of the arts and make sure they continue to thrive in schools and communities.”

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Andrew Franklin would have turned 30 in September. | THOMAS CRONE

R.I.P. ANDREW FRANKLIN

ust over two months ago, the Riverfront Times published a story about musician and bandleader Andrew Franklin. His body was riddled by cancer (and its treatments), and he was open in acknowledging his struggle. “Several times,” he said, “I’ve wanted to give up. Not to the point of calling someone. But music’s a healing force, the most positive weapon on the planet. And there’s a science we can’t see: the care we have for each other as humans. So I have to at least try.” With grace and tenacity, try he did. Yet on Friday, July 15, Franklin succumbed to the effects of a yearplus battle with both lung and bile duct cancers, the latter of which proved the more insidious, lasting enemy. A firefighter on a lengthy sabbatical from the Spanish Lake Fire Department at the time of his death, he would have turned 30 on September 11. During the months away from his city job, music was central to his life. Franklin had begun a new act, Sugar Kings, alongside his rhythm section partner Gabe Bonfili, sax player Jacob Johnson and guitarist Zach Arias. Working around their songwriter’s chemo treatments and subsequent exhaustion, the band wrote, recorded and planned gigs. Franklin’s longtime girlfriend Jessica Bellomo says, “He died at home, just after 7 a.m. I spent the night lying next to him; when I left the room in the morning, he died with my dad next to him, right at the time he’d be heading home from a shift at the firehouse.” The end came too early. Bellomo recalls, “He was upset to cancel a gig in June and wanted to keep playing. He never gave up and fought ‘til the end.

thur. JUly 21 10PM Aaron Kamm and the One Drops PLUS Hip Abduction from Florida

Fri. JUly 22 10PM Cha Wa Mardi Gras Indians from New Orleans

sat. JUly 23 10PM Jake’s Leg

wed. JUly 27 9:30PM Voodoo Players Tribute to Neil Young

fri. JUly 29 10PM Southern Exposure plays the music of New Orleans

sat. JUly 30 10PM Funky Butt Brass Band

736 S Broadway St. Louis, MO 63102 (314) 621-8811 40

RIVERFRONT TIMES

JULY 20-26, 2016

riverfronttimes.com

“His life was music, and he taught me, and everyone around him, how music is the answer to all the world’s problems, so it seemed only right to surround him with music toward the end. He proposed to me a few weeks ago and his family brought us rings last night. We didn’t get the chance to get married, but after six years together, he always told everyone to treat me like his wife, and I think the rings helped him find peace, too.” As a high school athlete in University City, in his ten years as a firefighter and in his many involvements in the local music scene, Franklin made countless friends. His fellow bassist Donald Williams recalls a recent night out: “A few times during the course of the evening, it crossed my mind that there was a very good chance I might not get to hang out with him again, that his family, girlfriend and close friends might soon lose him. I don’t know if the others noticed when, for a few minutes here and there, I would withdraw from our ridiculous conversations to watch Andrew. I just sat back and watched him tell his stories, crack his jokes, enjoy himself and enjoy our company. I thought about how good it felt to help make him happy, to see him smile. And then I thought: That’s exactly how he always made us feel.” Franklin is survived by his parents Cynthia and Roger, his sister Lynzi and his brother Alex. Bellomo notes that Franklin wanted no tears. She says, “He told me years ago, long before he was diagnosed, that when he died, to make sure that everyone celebrated his life by partying, dancing and playing good music and not to cry and mourn him. I’m sure he’d want everyone to know that now.” —Thomas Crone

HOMESPUN

BATES For Colored Folk www.bates-stl.com/

ince when has a black person been able to dictate anything a white person does?” asks rapper/activist Bates, biting back at an all-too common question: “So, can a white person listen to your record?” The question is rhetorical, of course, yet Bates, born Tamara Dodd, knew she would collide with that mindset when she dropped her latest, For Colored Folk, only weeks ago. “I try to get an emotional reaction from people. If I write something, I’m either trying to piss you completely off, make you laugh, make you cry or just make you lose yourself,” she says. “What I’m going to say is not gonna be palatable for some, but you can’t discredit my actual experience. Some people can’t handle other people’s experiences like that.” It has been a momentous year for the rapper. In the first half of 2016, Bates scored a hat trick at the S.L.U.M. Fest Hip-Hop Awards, taking home accolades as both Best Hip-Hop Artist (Female) and Hip Hop Artist of the Year while receiving the award for Best Hip-Hop Video for “Tell Jesus,” the second cut off her new record. She turned heads online for an entirely different reason when The Guardian shared a video of her tactfully talking to Donald Trump supporters outside Peabody Opera House in March. For Colored Folk is a navigation through spiritual, social and political minefields — a crossroads of intersectional issues that she attacks head-on while aiming straight for the gut. Throughout its fifteen cuts, Bates never meets the audience halfway. Not a single track comes sugar-coated, and she spits with a brash vibe that respects the time and intelligence of her peers and fans alike. Once a devout Christian, Bates now identifies as gay while facing a separate challenge altogether: that of being a female rapper within the hip-hop scene. “I know I fit in a different box, but the reason hiphop has accepted me the way that it has is because I don’t put myself in the box,” she says. “I have maybe four out of hundreds of songs where I talk about women, but it’s never ‘hey, I’m gay.’ It’s just me talking about my relationship like a regular person would.” Bates spent her early twenties with rap-group plicit, cutting her teeth on the street while fighting for every chance to perform. Xplicit ran from 2001 to roughly 2005, but Bates recalls members of the group dropping off and losing heart. She formed a duo with her brother Smurf to produce her first studio album Lethal Legends in 2006. In the years to follow she focused on her solo career, dropping mixtapes and albums before collaborating

“I can touch the most amount of people with music,” Bates says. | ROACH with H.A.R.D. Asylum, where she picked up TRUE On Tha TRAC as her main producer. While Bates still works solo, she often performs with Phenom Ionos and Kourtney Nicole, with whom she plans to collaborate on her next project, Black Eve, this coming winter. In the last three years, Bates has mobilized women in the scene through FEMFEST, a collaborative event with S.L.U.M. Fest that features female artists at the forefront. She even helped launch the Femcee Nation Organization, a group founded in 2013 to, in their own words, “uplift and encourage positive female imagery by advocating female entrepreneurship and bringing about an end to gender bias in the music industry.” “It takes a special type of person to keep at this shit for a long time, and dealing with that type of shit over and over again can be disheartening,” she says. It might be easy to forget that behind her work as an artist and organizer, Bates is an activist who stood on the front lines of the movement in Ferguson following the shooting of Michael Brown. Despite growing up in Tower Grove South, she now operates from her home in the north county suburb of Jennings, in close proximity to what many consider the center of civil unrest. She feels that her time is now better spent in the studio and onstage, not the streets. “I do a lot, you know. But I can touch the most amount of people with music,” she explains. “Instead of me just trying to draw a picture and be like, ‘See, what I meant by this was …’ I can make people feel what I’m saying right then. I don’t have time to waste on ears. If I catch your ears I’m gonna make sure I can get my issue off. And then I can go have a beer.” – Joseph Hess riverfronttimes.com

“St. Louis pioneers of craft beer and live music”

THURSDAY, JULY 21 ST

Event Horizon, Jack Nations & The Sleepers, Synthetic Sun, Little Falcon - Rock - 7pm - $12

FRIDAY, JULY 22 ND

Captains Courageous, Fairview, The Cinema Story, Jay Putty, Pseudo Skylight - 6:30pm- $12

SATURDAY, JULY 23 RD

Falling with Style, 4th City Rag, Dear Genre, Lisa Houdei, David Trull - Rock - 7:30pm - $8

SUNDAY, JULY 24 TH

MPAC Music Presents: Jonathan Jefferson, StLien, DJ Rio - RockRapPop - 6:30pm - $7

WEDNESDAY, JULY 27 TH

Geeks Who Drink Pub Trivia - Trivia - 8:30pm - FREE

UPCOMING SHOWS Starting August 7th-Sundays with Stout, Cicero’s Open Mic!! 7/29 - LoopRat 7/30 - SkyBurntWhite

6691 Delmar

In the University City Loop

314.862.0009 • www.ciceros-stl.com

JULY 20-26, 2016

RIVERFRONT TIMES

OUT EVERY NIGHT

THURSDAY 21

[CRITIC’S PICK]

To Burn 8 p.m., $22-$25. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929.

New Orleans Jazz Vipers

BRIAN WILSON’S “PET SOUNDS” TOUR: 7 p.m.,

8 p.m. Friday, July 22.

$49-$97. Family Arena, 2002 Arena Parkway, St Charles, 636-896-4200. CHARLES GLENN: 6:30 p.m., free. St. Louis Place Park, St. Louis Ave. and Rauschenbach Ave., St. Louis, 952-924-2500. COLDPLAY: w/ Alessia Cara, Foxes 7 p.m., TBA. Scottrade Center, 1401 Clark Ave., St. Louis, 314-241-1888. DUELING PIANO PLAYERS: 7 p.m., free. Bluebird Park, 225 Kiefer Creek Road, Ballwin, 636-2277508. ENSLAVED BY FEAR: 7 p.m., $12. Fubar, 3108 Locust St, St. Louis, 314-289-9050. HAIL THE SUN: w/ Eidola, Belle Noire 6:30 p.m., $14. The Firebird, 2706 Olive St., St. Louis, 314-535-0353.

POWER PLAY: 7 p.m., free. Plaza 501, 501 S Ferguson Road, Ferguson.

ASKING ALEXANDRIA: w/ Reconcera, A Promise

The Focal Point, 2720 Sutton Boulevard. 314-3284810.

Some of us were lucky enough to catch a teenaged Charlie Halloran playing trombone alongside his older brother Tommy (a recent RFT Music Award winner) in a band called the Ambiguous They. But once Charlie came of age and decamped to his spiritual home of New Orleans, the horn player found work both in and out of traditional jazz circles, touring with the Walkmen and Squirrel Nut Zippers as well as

SLUSHWAVE: w/ Flamingo, Spots, Alternate Outcome, Sunwyrm 6 p.m., $8. Fubar, 3108 Locust

recording with NOLA legends such as Jon Cleary. These days Halloran is playing as part of the long-running New Orleans Jazz Vipers, who will leave their normal haunts on Frenchman Street for a set at the Focal Point on Friday night (as well as shows at Foam, Joe’s Cafe and Blues City Deli; check those venues for dates and times). Central Time: Alongside native son Halloran, one-time resident Chloe Feoranzo will be part of the show; you may know her from her days in Pokey LaFarge’s band. – Christian Schaeffer

KALO: 9:30 p.m., $5. BB’s Jazz, Blues & Soups,

St, St. Louis, 314-289-9050. SOMEBODY TO LOVE: A TRIBUTE TO QUEEN: w/ Jackson Howard 9 p.m., $10-$15. The Ready Room, 4195 Manchester Ave, St. Louis, 314833-3929. TOMMY HALLORAN’S GUERILLA SWING BAND: 5 p.m., free. Saint Louis Zoo, Forest Park, St. Louis, 314-781-0900.

SATURDAY 23 BAD COVER BAND SAM: w/ the Ottomen, Miss Massive Snowflake

p.m., free. Schlafly Tap

Room, 2100 Locust St., St. Louis, 314-241-2337. BOEING EMPLOYEE CONCERT BAND: w/ Celebration Barbershop Quartet 7 p.m., free. St. Ferdinand Park, 25 St. Ferdinand Park Dr., Florissant, 314-839-7670. BRIAN CURRAN: 7 p.m., $5. BB’s Jazz, Blues &

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

[CRITIC’S PICK]

NEW EDITION: w/ Kenny “Babyface” Edmonds 6

Soups, 700 S. Broadway, St. Louis, 314-4365222.

p.m., $29.95-$129.95.

CARNIVAL OF MADNESS TOUR: w/ Shinedown,

NEW TONGUES: w/ Union Rags, Karate Bikini

Halestorm, We Came as Romans, Shaman’s

9 p.m., $7. Off Broadway, 3509 Lemp Ave., St.

Harvest 7 p.m., $25-$55. Hollywood Casino Am-

Louis, 314-773-3363.

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

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

Heights, 314-298-9944.

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

CHARLIE DANIELS BAND: 8 p.m., $22.50-$55.

PETER MARTIN’S SUMMER JAM BAND: 5 p.m.,

Liberty Bank Ampitheater, 1 Riverfront Drive,

free. Cortex Commons, 4270 Duncan Ave., St.

Alton Township.

Louis, 314-254-3326.

CLASSIC SOUL FESTIVAL: w/ War, Switch, Big

FRIDAY 22

Amphitheater, 631 Veterans Place Drive,

DELTA SOL REVIVAL: w/ Lunar Levitation 6 p.m.,

Chesterfield.

free. Left Bank Books, 399 N Euclid Ave, St.

ERIN HARPE & THE DELTA SWINGERS: 10 p.m.,

Louis, 314-367-6731.

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

FALSETTO BOY: w/ Heavy Weather, I Could Sleep

St. Louis, 314-436-5222.

In The Clouds 8 p.m., $5. Kismet Creative Cen-

FREE PARKING: w/ Phranklyn Project, The Phai-

ter, 3409 Iowa Ave., St. Louis, 314-696-8177.

lures, RumLuck 8 p.m., $8. Fubar, 3108 Locust

GLASS ANIMALS: 8 p.m., $25-$30. The Pageant,

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

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

GENE BRADFORD BLUES EXPERIENCE: 7 p.m.,

I ACTUALLY: w/ LifeWithout, Yellow Belly 9 p.m.,

free. Kirkwood Park, Geyer & Adams, St. Louis.

eorge Brock

free. Schlafly Tap Room, 100 Locust St., St.

M83. | ANDREW ARTHUR

Louis, 314-241-2337. JASON ALDEAN: w/ Thomas Rhett, A Thousand Horses 6 p.m., TBA. Hollywood Casino Amphitheatre, I-70 & Earth City Expwy., Maryland Heights, 314-298-9944. KILBORN ALLEY BAND: 10 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314436-5222. LEROY JODIE PIERSON: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314436-5222. LOVELY LITTLE GIRLS: w/ Hardbody, Demonlover 9 p.m., $7. Foam Coffee & Beer, 3359 Jefferson Ave., St. Louis, 314-772-2100. NATE MOORE: 8 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. THE PEACH KINGS: w/ Mobley 8 p.m., $8-$10. The Firebird, 2706 Olive St., St. Louis, 314-5350353.

RIVERFRONT TIMES

MISS JUBILEE: 11 a.m., free. Kirkwood Park, Geyer & Adams, St. Louis. MORGAN PAGE: 9 p.m., $15-$25. Ameristar

M83

Casino, 1 Ameristar Blvd., St. Charles, 636-949-

7 p.m. Monday, July 25. The Pageant, 6161 Delmar Boulevard. $32.50 to $42.50. 314-726-6161.

It’s been nearly five years since M83, aka Anthony Gonzalez, released a record — meaning his latest piece of work is much more valuable than its name and cover art may suggest. Gonzalez’s seventh studio album, Junk, is adorned with fuzzy cartoon characters and lettering straight out of Microsoft Paint on its cover, but is positively bursting with vibrant sound

JULY 20-26, 2016

p.m., $ 0-$50. Chesterfield

riverfronttimes.com

within. Junk is a perfect mixture of old and new, with a clear ‘80s influence re-purposed for 2016. Gonzalez incorporates his usual ambient sound with unusual vocals, guitar riffs, piano breaks and more — a triumphant return to form delighting longtime fans and newcomers alike. Space Junk: Junk’s celestial synths and smooth melodies are reminiscent of a trip through the stars — a sound that is sure to translate well to the Pageant’s stage.– Natalie Rao

7777. SLEEPY RUBIES / JOHN HENRY DUAL CD RELEASE: 9 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363.

SUNDAY 24 BIG SHAKE DADDIES: 6 p.m., free. Carondelet Park, Leona Ave. & Holly Hills Blvd., St. Louis. COMPTON HEIGHTS CONCERT BAND: 7:30 p.m., free. Francis Park, Eichelberger St. & Donovan Ave., St. Louis. GATEWAY FESTIVAL ORCHESTRA: 7:30 p.m., free. Washington University-Brookings Quadrangle, Brookings and Hoyt drives, University City. GOO GOO DOLLS: w/ Collective Soul, Tribe Society 7 p.m., TBA. Hollywood Casino Amphi-

[CRITIC’S PICK]

Ray LaMontagne. | COURTESY OF THE BAND

Ray LaMontagne

It was once said of the late J.J. Cale that if he got any more laidback he’d doze off. The same quip could be sent Ray LaMontagne’s way, at least prior to this year’s album Ouroboros, produced by My Morning Jacket’s Jim James and LaMontagne’s most provocative release. Picking up where the rock experiments of 2014’s Supernova left off, he still writes as if he’s lost in meditation, still sings with a raspy

sigh, but now layers tunes with weighty, fuzzed-out guitars and atmosphere that flares up like fireworks over a county-wide blackout. “You’re never going to hear this song on the radio,” LaMontagne chants at the close of the album. Maybe, but you’ll be hearing it in your dreams long after it fades away. Shut Up, or Else: The notoriously reclusive LaMontagne would prefer you didn’t chat about your kids or play Pokémon Go during the show. He’s been known to walk out on crowds that get too frisky. – Roy Kasten

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

DENNIS STROUGHTTMATT ET L’ESPRIT CREOLE:

Heights, 314-298-9944.

7 p.m., free. Bellerive Park, S. Broadway and

JACLYN MONROE BAND: 9 p.m., $10. BB’s Jazz,

Bates St., St. Louis.

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

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

436-5222.

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

THE ORPHAN THE POET: w/ Cardboard Kids,

FOREVERMORE: w/ Kingdom of Giants, Dark-

Better in Theory, You Had Me At Posters 6

ness Divided, Formations 6 p.m., $12-$14.

p.m., $10-$12. Fubar, 3108 Locust St, St. Louis,

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

314-289-9050.

GATEWAY FESTIVAL ORCHESTRA: 7:30 p.m., free.

SOULARD BLUES BAND: 6 p.m., free. Ivory Perry

Chesterfield mphitheater,

Park, 800 Belt Ave., St. Louis.

Drive, Chesterfield.

SWEETIE & THE TOOTHACHES: 6 p.m., $5. BB’s

M83: 8 p.m., $32.50-$42.50. The Pageant, 6161

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

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

314-436-5222.

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

TUNIC: 9 p.m., $5. Foam Coffee & Beer, 3359

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

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

621-8811.

MONDAY 25

TUESDAY 26

ANGEL PRESENTS SOUL SEARCHING: 7 p.m., $10.

BOB “BUMBLE BEE” KAMOSKE: 9:30 p.m., $5.

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

Louis, 314-436-5222.

BRIAN MCKNIGHT: 8 p.m., $35-$55. Ambassador,

ETHAN LEINWAND & FRIENDS: 7 p.m., $5. BB’s

9800 Halls Ferry Road, North St. Louis County,

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

314-869-9090.

314-436-5222.

COMPTON HEIGHTS CONCERT BAND: 7:30 p.m.,

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

free. Tower Grove Park, 4256 Magnolia Ave.,

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

7 p.m. Wednesday, July 27. Peabody Opera House, 1400 Market Street. $26.95 to $56.95. 314-499-7600.

St. Louis, 314-771-2679.

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Continued on pg 44

riverfronttimes.com

JULY 20-26, 2016

RIVERFRONT TIMES

FIND ANY SHOW IN TOWN...

Blvd, University City, 314-282-5561.

CLASSIC SOUL FESTIVAL: W/ War, Switch, Big

KIAN ‘N’ JC: 8 p.m., $32.50. The Pageant, 6161

George Brock, Sat., July 23, 6 p.m., $30-$50.

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

Chesterfield mphitheater,

LETTER TO MEMPHIS: 7 p.m., free. Fanetti Park,

Drive, Chesterfield.

Michigan Ave., St. Louis.

COLDPLAY: W/ Alessia Cara, Foxes, Thu., July 21,

PHOTOGRAPHER: TODD OWYOUNG BAND: SLEEPY KITTY

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

RIVERFRONT TIMES

JULY 20-26, 2016

riverfronttimes.com

1 eterans lace

MIRAGE: 7 p.m., free. Faust Park, 15185 Olive

7 p.m., TBA. Scottrade Center, 1401 Clark Ave.,

Blvd., Chesterfield,

St. Louis, 314-241-1888.

-5

OH SLEEPER: w/ The Ongoing Concept, Misery Chord, The Doubted, Luxora 6 p.m., $15-$17.

THIS JUST IN

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

5TH ANNUAL SOUTHERN HOSPITALITY: W/ DJ Charlie

PIGPEN THEATRE CO.: 8 p.m., $15. Off Broadway,

Chan, DJ AJ, Fri., Aug. 5, 9 p.m., $10. The Ready

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

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

SHELLSHAG: w/ the Bubbleheads 9 p.m., $7.

3929.

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

ANDREW W. K. SPEAKING TOUR: Sat., Oct. 29, 8 p.m.,

Louis, 314-772-2100.

$20. The Ready Room, 4195 Manchester Ave, St.

UNIVERSITY CITY SUMMER CONCERT BAND:

Louis, 314-833-3929.

7 p.m., free. Heman Park, 7200 Olive Blvd.,

THE ATARIS: Wed., Sept. 21, 8 p.m., $15-$17. The

University City.

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

WAVVES: w/ Steep Leans, Partybaby 8 p.m., $20-

BLEACHED: W/ Beach Slang, Wed., Oct. 26, 8 p.m.,

$23. The Ready Room, 4195 Manchester Ave,

$15. Old Rock House, 1200 S. 7th St., St. Louis,

St. Louis, 314-833-3929.

314-588-0505.

WHITFORD / ST. HOLMES: 8 p.m., $25. Old Rock

BLIND PILOT: Fri., Sept. 30, 8 p.m., $18-$20. The

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

Ready Room, 4195 Manchester Ave, St. Louis,

WEDNESDAY 27

R R

erts/

OUT EVERY NIGHT Continued from pg 43

314-833-3929. CITIZEN: W/ Free At Last, Choir Vandals, Mon., Oct.

ALL MIXED UP: 5 p.m., free. Creve Coeur Park,

24, 6 p.m., $16-$19. The Firebird, 2706 Olive St., St.

2143 Creve Coeur Mill Road, Maryland Heights,

Louis, 314-535-0353.

314-615-4386.

DALE WATSON AND THE LONESTARS: Mon., Sept. 19,

BIG RICH MCDONOUGH & THE RHYTHM RENE-

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

GADES: 7 p.m., $5. BB’s Jazz, Blues & Soups, 700

Louis, 314-773-3363.

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

FRANK TURNER & THE SLEEPING SOULS: W/ Arkells,

THE BLUES CRUSHERS: 10 p.m., $5. BB’s Jazz,

Will Varley, Wed., Sept. 28, 8 p.m., $22-$25. The

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

Ready Room, 4195 Manchester Ave, St. Louis,

436-5222.

314-833-3929.

BOB “BUMBLE BEE” KAMOSKE: 8 p.m. Beale on

MANDOLIN ORANGE: Wed., Oct. 19, 8 p.m., $15-$17.

Broadway, 701 S. Broadway, St. Louis, 314-621-

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

7880.

0505.

BRAIN TRANSPLANT: 9 p.m., $5. Foam Coffee &

MESHUGGAH: W/ High on Fire, Wed., Oct. 12, 8

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

p.m., $29.50-$32.50. The Pageant, 6161 Delmar

2100.

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

CREE RIDER FAMILY BAND: 7 p.m., free. Missouri

PIERCE THE VEIL: W/ Neck Deep, I Prevail, Wed.,

Botanical Garden, 4344 Shaw Blvd., St. Louis,

Sept. 21, 7 p.m., $28.50-$32.50. The Pageant, 6161

314-577-9400.

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

THE CREE RIDER FAMILY BAND: 7:30 p.m., free.

REBELUTION: W/ Stick Figure, Hirie, Fri., Nov. 4, 7

Missouri Botanical Garden, 4344 Shaw Blvd.,

p.m., $20-$25. The Pageant, 6161 Delmar Blvd., St.

St. Louis, 314-577-9400.

Louis, 314-726-6161.

RAY LAMONTAGNE: 7 p.m., $26.95-$56.95. Pea-

RUDEST PRIEST: W/ C is for Cadaver, Ramona

body Opera House, 1400 Market St, St. Louis,

Deflowered, $ . ubar, 10 Locust St, St. Louis,

314-241-1888.

314-289-9050.

SCHOOL OF ROCK ALLSTARS: 7 p.m., $10. Old

S.N.A.F.U.: W/ Tropical Storm, Tue., Aug. 30, 7 p.m.,

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

$10. Fubar, 3108 Locust St, St. Louis, 314-289-9050.

0505.

SCHOOLBOY Q: W/ Joey Bada$$, Tue., Oct. 25, 8

VANS WARPED TOUR: w/ Good Charlotte, Less

p.m., $35-$37.50. The Pageant, 6161 Delmar Blvd.,

Than Jake, Sum 41, Issues, Falling in Reverse,

St. Louis, 314-726-6161.

New Found Glory, Bullet for My Valentine, Pep-

SEVEN LIONS: Wed., Nov. 2, 8 p.m., $26-$31. The

per, We the Kings, Mayday Parade, Yellowcard,

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

Atreyu noon, $41.50. Hollywood Casino Amphi-

6161.

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

STEEL PANTHER: Sun., Dec. 11, 8 p.m., $25-$28. The

Heights, 314-298-9944.

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

WATER TAXI: 11:45 a.m., free. Citygarden, 801

6161.

Market St, St. Louis.

THE VONDRUKES CD RELEASE: W/ Grace Basement,

CHARLES GLENN: Thu., July 21, 6:30 p.m., free.

Adam Reichmann, Sat., Aug. 27, 8 p.m., free. Off

St. Louis Place Park, St. Louis Ave. and Raus-

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

chenbach Ave., St. Louis, 952-924-2500.

3363.

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SAVAGE LOVE THREE PETERS BY DAN SAVAGE Hey, Dan: I’ve been seeing a guy for a couple of months and slowly falling in love with him.“Peter” talks frequently about his ex-boyfriend from five years ago and how being left created a deep fear of being left once again. He also had a relationship that ended a year ago. Yesterday he told me he’s still in love with the guy from one year ago but that his love is unrequited. He values what we have but he can’t stop loving this other guy. And he can’t promise me that this will change. I am in love and heartbroken at the same time. Should I stay and wait for Peter to get better even if it hurts to know he’s in love with someone other than me? Or should I leave him as so many others have and hurt him? Healing Erotic Love Problem Means Everything Peter could be lying to you. That’s probably not what you wanted to hear, HELPME. But when a guy with “commitment issues” tells you he’s struggling with the emotional fallout of a relationship that ended five years ago and still hopelessly in love with someone he hasn’t seen for a year you have to entertain the possibility. hen someone tells us they have

“commitment issues,” we’re primed to hear this: “This boy is incapable of committing until healed (by a therapist, by a new love, by the passage of time).” But sometimes what they mean is this “I have no interest in committing — not to you, not to anyone, not now, not ever.” Instead of owning up to that because you might leave him, and he’s not done with your ass?), Peter invents/inflates a pair of past loves that render him incapable of loving you the way you deserve to be loved and blah blah blah. Not a child-man who won’t commit, but a victim who would commit if he could commit but — sob! — he can’t commit. But, hey, maybe he’s telling you the truth. So tell him he can love you and love the other guy at the same time. Established gay throuples, stable straight poly quads, bi men with GFs and BFs, married lesbians who U-Hauled an adorable baby dyke — there are examples everywhere you look these days of people in love with more than one romantic partner. I don’t see why a person can’t be in love with someone and still in love with an ex — think of it as a sort of semi-posthumous/semi-poly relationship. You’ll be pioneers. Hey, Dan: I’m a gay male in my late 20s. My little sister’s husband, “Peter,” is my age and bisexual. I’m not

one of those gay men who think bi guys don’t exist. And I don’t have a problem with my bi brother-inlaw being bi. More importantly, my sister doesn’t have a problem with it. But whenever I’m alone with Peter ho e er rie he tart tellin me how much he misses dick. He wants to hear about the last “really great dick” I sucked and tells me he misses sucking dick. I smile and say dick is great for sure and make a halfhearted attempt to change the subject. The last time it happened was after my grandfather’s funeral. I’m pretty sure Peter wants to suck my dick, and I’m tempted to let him. I know it’s a bad idea, but Peter is hot. This is torture. What should I do? Boy Is Lost Stop smiling, work harder to change the subject, avoid being alone in a room with Peter, and repeat after me: “My sister might be able to forgive her husband for sucking a dick, but she’ll never forgive him — or me — if that dick is mine.” Hey, Dan: I’m a gay guy in an open relationship and I’m on Recon, a gay hookup/dating site for guys into leather/fetish/BDSM. My partner no ha e a rofile there an it’s not a problem. Today I got a message from a new guy, and when we exchanged face pics, I saw that he looks exactly like “Peter,” my boyfrien e t frien fian a e

riverfronttimes.com

him if that was him, and he stopped responding. What should I do? My BF doesn’t want to know much about my extracurricular activities, but this could make our next double date extremely awkward. On the other hand, if I’m wrong and they’re not the same person, bringing it up with them could make things awkward. Requires Educated Consultation On Next Step Going silent after you asked, “Is that you, Peter?!?” is a pretty good indication that it was indeed Peter you were talking to. But while you know Peter was on Recon, RECONS, you don’t know exactly what he was doing there. Maybe he goes online to fantasize, swap pics and jack off. Maybe Peter is on Recon with his fianc ’s blessing, just as you’re on Recon with your partner’s blessing. Since you don’t know what’s going on in their relationship, RECONS, keep your mouth shut. And the next time you have to interact with eter and his fianc socially, slap a smile on your face and talk about the weather, the election, the Ghostbusters reboot — basically anything other than Recon, kinks and wedding plans. Listen to Dan’s podcast at savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter

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Senior Applications Developer (Mercy Health, St. Louis, MO) Design, develop, modify, debug and evaluate programs for functional or operational areas; analyze complex business problems to be solved with automated systems. Requirements: Master’s degree in Analytical Science, EPIC Clarity ETL Certific tion; relevant documented experience supporting enterprise EMR applications, analyzing, testing, developing or implementing EPIC Clarity ETL, and analyzing, testing, developing or implementing DataStage ETL.

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To apply visit: www.Mercy.net/mercy-careers

NORTH ST. LOUIS COUNTY 314-579-1201 or 636-939-3808 2, 3 & 4BR homes for rent. eatonproperties.com. Sec. 8 welcome

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JULY 20-26, 2016

RIVERFRONT TIMES

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NEWEST DEVELOPMENT IN DOWNTOWN ST. LOUIS

SL Riverfront Times — 7/21/2016

LEASING NOW! LUXURY ONE, TWO AND THREE BEDROOM TOWNHOMES Two floors are one level Features include Balconies, Community Courtyard, All new upgraded appliances and custom lighting. Rooftop deck, pet park Roof top pool. Free Parking space one per unit for a limited time. Special pricing now starting at $1,225.00 to $2,295.00 One Month free with many specials. Call 314.320.6465 Now for your Private Tour • www.STLluxury.com