JUNE 8–14, 2016 I VOLUME 40 I NUMBER 23
MAN ON FIRE Before Davide Weaver could revive St. Louis’ festival scene, he had to cheat death B Y D A N N Y W I C E N T O W S K I
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Michael Pupillo: “I always knew there was a way because I used to dabble in things. And I knew there must be a way to reach this kind of consciousness — this kind of awareness — without having to do something external. Because if we can bring it out with a chemical, then it must be already there, right? And it is there, and that’s when I found this philosophy and I was like, ‘wow.’”
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Daniel Christopher: “It just peels back some coverings so you get closer to that bliss that is actually you. Because you’re actually eternal bliss, full of knowledge. Everyone is pure consciousness.” — BHAKTA DANIEL CHRISTOPHER (LEFT) AND BHAKTA MICHAEL PUPILLO, PHOTOGRAPHED AT THE PAGAN PICNIC AT TOWER GROVE PARK ON JUNE 5, 2016
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TABLE OF CONTENTS FEATURE
13. Man on Fire
Before Davide Weaver could revive St. Louis’ festival scene, he had to cheat death Written by
DANNY WICENTOWSKI Cover by
KELLY GLUECK
NEWS
CULTURE
DINING
MUSIC
5
19
29
39
The Lede
Calendar
All the Small Things
Your friend or neighbor, captured on camera
Seven days worth of great stuff to see and do
Cheryl Baehr finds a lot of little stuff to like at the Slider House
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24
32
Invasion of the Armadillos
Doyle Murphy examines the bald little tanks having a bumper year in St. Louis
Film
Sunset Baby Robert Hunt watches two very different movies — Popstar and Sunset Song
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10
Backlash for Dotson
Danny Wicentowski looks at the outrage over a tweet from Police Chief Sam Dotson
Stage
New Line’s new production of Atomic earns a rave from Paul Friswold
Side Dish
Brassiere Chef Brian Moxey has come a long way from Ruby Tuesday
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Food News
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Homespun
Brian Owens Beautiful Day EP
43
Out Every Night
The best concerts in St. Louis every night of the week
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45
Kavahn Mansouri stops by for the last lunch at the Hilltop Inn
RIVERFRONT TIMES
Thomas Crone checks in with MU330 — a St. Louis band still going strong after 30 years
Acclaimed as the best restaurant in St. Louis, Niche is closing
Bars
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The Complete Package
This Just In
This week’s new concert announcements
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NEWS
Invasion of the Armadillos Written by
DOYLE MURPHY
T
he rise of the armadillos is upon us. For more than a century, the relentless grub-eaters have crawled ever north, crossing nations once thought too distant into new landscapes once thought too cold. Every time biologists thought the bald little tanks had traveled as far as they could go, they swam another river or blindly raced through another field after sunset. Now they’re here: Armadillos have reached the doorstep of St. Louis. “I think that the mild winter that we’ve had this past year has allowed these armadillos that are on this northern fringe to not die, because the weather wasn’t that cold, or skedaddle back south because the weather wasn’t that cold,” Debby Fantz, a research scientist with the Missouri Department of Conservation, says. While we were enjoying jacket weather in January, the armadillos were not dying, as traditionally happens in colder seasons. They were instead using their long claws to dig into our golf courses and gardens, trapping buried insects behind a cage of peg-like teeth and swallowing them whole. And so the return of summer has brought them out in full force. Head east, west or south of St. Louis, and their leathery carcasses begin to dominate the sides of the roads like a massacre of tiny dinosaurs. It’s not that they’re slow runners, but they have nearly useless, peasized eyes and a singular focus on hunting down bugs and larvae, including the kinds that congregate in roadkill. Oh, and they jump as a defense mechanism. Yes, jump. Imagine, if you will, driving through the lonely dark of a Missouri highway when a scaly bowling ball
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The first Missouri sightings of these South American natives were thought to be a fluke. Now they’re everywhere. | COURTESY OF MORPHART CREATION with legs and a pig nose springs into the air and smashes out your headlight. This will have been your introduction to the Nine-Banded Armadillo. Not everyone is convinced that this year is any worse than others. Andrew Gates of the Missouri Department of Transportation believes that this year seems in line with recent years. He even checked with the department’s head of maintenance to make sure. “He’s not really seeing that much difference,” Gates reports. But that’s one of the sneaky parts of the slow creep of armadillos across the state. They retreat and surge, taking a decade or two to conquer new regions. They make your hometown their hometown before you realize it. Once, they were found only in South and Central America, where car-size shells of prehistoric armadillos are sometimes found. They eventually crossed into Texas in the 1800s. The first Missouri sightings in the 1940s were thought to be a fluke — maybe smuggled in as pets or possibly carried north as accidental cargo on trucks. But they were regulars in Southwest Missouri by the 1980s and Central Missouri by the 1990s. In 2000, people began reporting sightings north of the Missouri River. “Then in 2005, it was crazy,” Fantz says. “We had them all the way to the
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Missouri/Iowa line.” St. Louis is now regularly on the northern edge of their range, says Fantz, a mammalogist. She thinks of State Highway 50/Interstate 44, the Missouri River and Interstate 70 as rough borders for their northern push, but particularly adventurous members of the species continue to soldier farther. They don’t hibernate, so a long freeze can push them south, but it’s usually only temporary. String together enough mild winters, and they’ve shown a dogged tendency to travel. “Over time, over extended time, they might completely cover our state,” Fantz says. Despite their propensity for jumping to bumper-height of speeding SUVs, they have several advantages that keep them plowing forward. They have few to no natural predators. Mothers hatch four, identical babies every year. And they can swim. If they’re crossing a small stream, they’re heavy enough at twelve to fourteen pounds that they’ll sink, walk across the bottom and emerge on the other side like a cartoon villain. For larger bodies of water, they gulp air, fill up like balloons to make themselves buoyant and use their claw feet to paddle across. Basically, they’re hard to stop. And they still manage to surprise people in the northern half of the state.
Professional cyclist and St. Louis native Dan Schmatz was racing in the 2007 Tour of Missouri when he slammed into the bony remains of an armadillo near Columbia. The collision threw the 33-year-old rider to the pavement, breaking his collarbone, the Columbia Tribune reported. Stunned competitors said they had not anticipated the hazard of hard-shelled mammals on the race course. “I did not know there were armadillos here,” cyclist Will Frischkorn told the Tribune. “Had he not been hurt, it would have been pretty funny.” Armadillos are of particular interest to researchers because they have been know to carry leprosy. But while a small number of armadillo-to-human transmissions of the disease have been reported, they’re sketchy at best. The leprosy bacteria is nearly impossible to grow in labs, making it tough to study or isolate the cause of transmission. The supposed victims of the disease in the South were thought to be in close contact with armadillos, skinning and eating them. Fantz doesn’t see leprosy as much of a threat here, but she’d advise against approaching armadillos, much less eating them. “I’ve dissected an armadillo, and I wouldn’t,” she says. “I don’t think they’d be very tasty.”
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t. Louis Metropolitan Police Chief Sam Dotson has his hands full. In recent weeks, the city has been shaken by a spate of horrific crimes, including two separate shootings that killed a young mother and toddler. Several aldermen have called for his resignation. But while Dotson has gone on the offensive to defend himself and his department, he sure didn’t do himself any favors last Thursday when he tweet-bragged about how the SLMPD’s new mobile app notched its first arrest — for panhandling. “Seeing great results from SLMPD Mobile,” the chief exclaimed on June 2. “First official arrest as a result of our app made yesterday after an anonymous tip for panhandling.” Launched Sunday, the SLMPD app allows users to submit crime tips and photos to police officers, with the option of doing so anonymously. Dotson’s response to the app’s first arrest, however, was interpreted as callous by many on social media, who proceeded to savage the tweet’s replies into a radioactive wasteland. “FANTASTIC,” @PubPolHist responded. “Maybe you can get that huge non-clearance on homicides down with a few more panhandling arrests!” Wrote @dodi70, “Shame on you! Maybe they are unemployed or mentally ill and needed some compassion. Instead of offering help you offered jail.”
Added @burnplant, “Hell yes! Finally an app to find the homeless to arrest, so hard for the cops to find otherwise.” But Dotson says the vitriol is misplaced. The arrest wasn’t for panhandling, but for trespassing. According to a department report, an employee at a Mobile gas station located in the 700 block of Kingshighway used the app to report a 28-yearold black man who was soliciting customers. “Upon arrival, an employee at the business stated that the suspect had been on the parking lot several times throughout the day asking customers for money and was asked numerous times to leave, to which he refused,” Dotson said. The employee apparently selected the “panhandling” option from the app’s drop-down menu. The police ultimately arrested the man for trespassing. “I think people in their minds have created a scenario that’s not true in this case,” Dotson added, responding to criticism that his department is using the app to target homeless people who use panhandling to stay alive. “People think is that this is just a guy who is homeless and standing on a street corner and we arrested him for being homeless or asking for money. This guy was arrested for trespassing on private property and the business will have to decide whether to prosecute or not.” St. Louis paid $35,000 for the app’s development. Last week, Dotson called it “money well spent.” — Danny Wicentowski
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PHOTO BY STEVE TRUESDELL
MAN ON FIRE
W
hen Davide Weaver awoke the morning of March 28, 1996, flames wreathed the top two floors of the Soulard apartment building he called home. Smoke choked the air of his bedroom. Weaver’s girlfriend, Brandy Wilson, lay in bed beside him. But no matter how hard Weaver tried to move her, she remained still. His own limbs felt sluggish and heavy, and even as he gasped the thick air, panic mounting, he realized it was too late. Wilson had already inhaled too much smoke. She was dead. He almost gave up right there. “It’s a really bad St. Louis story, I don’t know
Before Davide Weaver could revive St. Louis’ festival scene, he had to cheat death
BY DANNY WICENTOWSKI
how to describe it any other way,” Weaver recalls on a recent afternoon. Seated at a table in the corner of Beatnik Bob’s, the throwback café in City Museum, the 44-year-old artist rubs at the lattice of scar tissue covering his left arm. Tears gather at the corners of his hazel eyes. “I have no idea why I woke up with that much smoke. It should have killed me,” continues Weaver. “I was trapped in the third floor. When I tried to escape and go down the staircase, I went straight into the middle of the heart of the fire. That’s when I took on the fight of my life.” Weaver was able to fight his way downstairs. He collapsed in the kitchen, where firefighters would soon pull him from the still-burning building. But he escaped at a terrible cost.
Doctors would place him in a drug-induced coma in order to treat the burns covering more than 70 percent of his body. His hands and arms were charred to the bone, necessitating multiple skin graft surgeries. He spent months in the hospital. The cause of the fire was never determined, leaving Weaver with unanswered questions and a rolling grief that waned little in the intervening 20 years. But while the blaze consumed just about everything Weaver owned, it left him with two mementos of his previous life. The first was an Imperial AT-AT Walker, part of Weaver’s collection of vintage Star Wars action figures. The second memento was a fireproof briefcase, filled with dreams. Continued on pg 14
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MAN ON FIRE Continued from pg 13
D
avide Weaver (pronounced “DAH-vee-day,” reflecting his family’s Italian heritage) might be St. Louis’ best-kept secret. Anyone who has sampled dishes at Taste of St. Louis or jammed into the night at 2720 Cherokee owes the man a thank-you. Indeed, Weaver’s resume reads like a miniature history of St. Louis’ cultural revival in the last decade. After founding the artist collective Art Dimensions in the early 2000s, Weaver built a network of up-andcoming artists, entrepreneurs and promoters, culminating in 2005’s reboot of the Taste of St. Louis festival. After four years (and tens of thousands of attendees), Weaver sold his shares in the food festival to a partner — and immediately co-founded 2720 Cherokee, the warehouse-sized music venue and gallery space that anchors the increasingly influential art and music scene on Cherokee Street. Thanks in part to his investment, the once-neglected south St. Louis street has become the hippest place in town. It is in the basement of 2720 Cherokee that Weaver maintains his studio, although the word hardly seems adequate. ‘Sprawl’ seems more fitting, albeit a carefully curated one. Weaver prefers the term “therapeutic mind ride.” “I like the whimsical kind of feel, kind of like in a dream,” he says during a tour. Illuminated by patchwork lamplight, the walls support layers of curtains and picture frames. They hang above antique furniture, several mirrors and an army of tchotchkes, trinkets and, well, junk. “Things aren’t really where they’re supposed to be, but you still recognize it. I try to place with your subconscious a little bit,” he says. “A lot of this stuff has been thrown away at some point in someone’s life, and I just collect it and use it.” Weaver grew up in University City, but he was born into the restaurant business. His mother, Rita, ran the local European Café and another restaurant in Clayton. By the time he turned thirteen she had put him to work bussing and waiting tables. In his mother’s restaurants, the young Weaver first observed how a sweeping obsession with organization could transform a bare room into a marvel, practically a living thing. “She designed all aspects, from the menu to plate presentation and the interior design for the restaurant. That deeply affected me,” re-
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A 1996 apartment fire left Weaver barely alive. | COURTESY OF DAVIDE WEAVER
“The first time I saw him with his bandages off of his face, he was in bad shape. His nose was basically gone. He had no skin from his shoulders down on his arms and hands.” flects Weaver. “I feel like that was a seed that was planted in my head for creating an environment where people come in and they become a part of it.” On the other end of the spectrum, his father, Dave, worked in the construction business. The youngster enjoyed a childhood in which both power tools and inspiration were readily available. After graduating from Christian Brothers College High School in 1990, Weaver enrolled at the University of Kansas, where he majored in ancient history. But by his senior year, Weaver was falling in love with the idea of something a bit more modern. Building on his restaurant background, Weaver taught himself to brew beer and produced a business plan to open a microbrewery in downtown St. Louis. He says he was closing in on a deal with Kansas City’s 75th Street Brewery. “I was supposed to meet them on a Saturday. That’s etched in my head forever,” Weaver says. “Thursday morning I was in the fire. And that meeting never happened.”
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W
eaver’s family took up a 24-hour-a-day vigil in the hospital. John White, a childhood friend, showed up the day after the fire, only to learn that Weaver had been placed in a coma while doctors treated his mangled limbs. More than a month later, they woke Weaver up. “He was mummified head to toe. I could only see his eyelids,” recalls White. “The first time I saw him with his bandages off of his face, he was in bad shape. His nose was basically gone. He had no skin from his shoulders down on his arms and hands.” White says he wanted to do something nice for his friend, who was clearly suffering through the emotional and physical toil of recovery. His idea involved a bit of breaking and entering. Months after the fire, he made his way to the blackened shell of Weaver’s apartment. “I just wanted to have a look and see what was still salvageable. He had his whole life in there,” White says now. “I broke into the adjoining apartment, and I went up to the third floor and crawled through a hole into what had been his bedroom. Everything was gone. Not everything had been burned, but if it hadn’t burned it had melted. The TV was melted, the stereo was melted, his Star Wars collection was melted. Except for that Imperial Walker, so I grabbed that.” White isn’t entirely sure what possessed him to take the Walker. He and Weaver had spent many enjoyable Friday nights eating takeout from Joanie’s Pizza and blasting
through the original trilogy on VHS, so perhaps White sensed its value as a kind of totem, a reminder of better times. (Years later, Weaver would utilize dozens of Star Wars action figures for installation pieces in City Museum and 2720 Cherokee.) On the way out of Weaver’s destroyed apartment, White grabbed one more thing: a heavy fireproof briefcase. It contained Weaver’s handwritten notes for his microbrewery business, as well as a floppy disc with his business plan. At first, Weaver didn’t even recognize the contents of the briefcase. Along with the physical effects of his injuries, he struggled with deep memory loss. In fact, even after White presented him the briefcase, Weaver left it unopened for months. “That was everybody’s big question while I was in recovery, ‘Are you going to pursue opening the microbrewery?’ I didn’t even remember me wanting to open the microbrewery,” Weaver explains. “I had tons of memory loss. I didn’t remember studying the microbreweries. My answer was, ‘No, I don’t even know how to brew. I don’t know anything.’” When he did finally open the briefcase, and read his own handwriting, the memories came back, as if someone had flipped on a light switch in his mind. “The briefcase was like a room that opened up to me, and I recalled everything that I worked on for a couple years,” he says. “It slowly opened back up for me that yeah, eventually I want to open a microbrewery.” Three years after the fire, Weaver fulfilled that dream. The microbrewery was called the Bacchus Brewing Company. But it survived in its Union Station locale for just one year before closing permanently in 2000. Weaver found himself out of work but in possession of a large Washington Avenue loft. This became the setting for his first art installation, a room Weaver festooned with layers of fabric, ornaments and recycled objects — whatever items and decoration that could be arranged just so in order to draw an experiential response from the visitor. With that much free space, Weaver realized he could do more, especially for other artists jockeying to get a foothold in St. Louis. Weaver found a willing ally in a childhood friend from University City: Mike Landau, owner of the Phat Buddha Productions Continued on pg 17
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MAN ON FIRE Continued from pg 14 recording studio. “We realized that both of us had a lot of friends who were struggling artists and had no organization, no way of really promoting themselves and giving themselves a chance to become successful professional artists,” Landau says. Weaver and Landau conspired to create a support system for St. Louis’ resource-hungry art scene, eventually founding a nonprofit to host gallery shows and attract burgeoning talent. They called the nonprofit Art Dimensions, and it initially attracted 20 artists and put on shows every six weeks or so. Growing Art Dimensions kept Weaver busy for several years, but he itched to put his skills to wider use, and for a much larger audience. He began toying with the idea of reviving a big food festival begun by the city, only to be discarded. It was called Taste of St. Louis, and it would be a bigger project than anything he’d pulled off before. He’d need help. He’d find it in the office of Ann Chance.
T
he early 2000s were not a good era for St. Louis’ festival scene. “There was very little activity downtown; we really didn’t have a lot of events,” observes Ann Chance, the city’s special events program executive. “And then September 11 happened, and then we really didn’t have anything going on.” Before moving to her current job in 2006, Chance worked for the Downtown St. Louis Partnership, where she was tasked with bringing some measure of vitality to the cultural desert of downtown. She naturally looked at the defunct Taste of St. Louis, which had attracted hordes of food lovers downtown from 1992 to 1997, during the administration of thenmayor Vince Schoemehl. The festival disappeared when Schoemehl’s successor, Freeman Bosley Jr., disbanded the city’s special events office. Chance coordinated with Weaver and Art Dimensions on several small-scale projects, and by 2003 they began planning to put Taste of St. Louis back on the map. Chance’s connection to Weaver extended beyond Art Dimensions, however. A longtime resident of Soulard, Chance had awoken to sirens on the morning of March 28, 1996. She joined a throng of neighbors in watching fire engines spraying water at Weaver’s burn-
ing apartment building. She can still remember the pungent smell of the old house disintegrating, the heat pushing her and onlookers away from the blaze. “We all saw it, the whole thing. We knew it was horrible, that there were injuries.” Nearly a decade later, Weaver, she says, took to planning the Taste of St. Louis like it was his masterpiece. The festival re-debuted in 2005, eventually blossoming into a carnival-like operation featuring food trucks, dozens of restaurants, live music performances, chef challenges and live art demonstrations.
“To them, the taste of St. Louis was a taste of everything, not just food,” she says. “It was a taste of the music, a taste of the art, a taste of what St. Louis is all about.” The festival grew quickly, drawing more than 300,000 people by its third year. In 2008, the St. Louis Board of Aldermen passed an official resolution honoring Weaver and his co-founders, K Sonderegger and Mike Kociela, for reviving the dormant festival. But by 2009, Weaver decided he’d had his fill of Taste of St. Louis. He sold his shares to his partners and washed his hands of the enterprise.
“It blew up way bigger than I ever imagined,” Weaver says now. “I have a passion for the city. I could go broke doing what I’m doing, as long as I’m doing what I believe in. My partners, they had different reasons than mine. We started clashing on some things.” He declines to get into details. In 2014, five years after Weaver sold his shares, his former partners shocked city residents by moving the Taste of St. Louis to Chesterfield. Landau thinks the split was likely for the best. “Davide would never have agreed to move Continued on pg 18
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Weaver adds a touch of blue paint to a model’s face during an installation showcase at last month’s Cosmic Reunion festival. | STEVE TRUESDELL
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MAN ON FIRE Continued from pg 17 the event to Chesterfield,” Landau says confidently. “I can tell you that right now, that was probably a huge fight they avoided.”
A
s an artist, Weaver is at something of a crossroads. Last year, he sold his shares in 2720 Cherokee. And after two failed attempts at turning things over to a new president of Art Dimensions to relieve his workload, he allowed the nonprofit to dissolve last year. “The one thing I dedicated to myself this last year is that I want to get my art out, and I need to let go of some things to be able to do that,” Weaver says. “I have freed up a lot of time, because taking care of a bunch of other artists in a nonprofit is like herding cats: Some of them want to come up and cuddle with you; some want to come up and scratch you.” On one hand, Weaver’s latest artistic phase appears to be flourishing. His meticulous recreations of key Star Wars battles spent years drawing oohs and ahhs from patrons at 2720 Cherokee, and similarly ambitious exhibits — including a four-foot diameter Death Star made from old computer parts and action figures — drew crowds to City Museum earlier this year. He’s also finding a way to merge
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his artistic skills with commercial opportunities. In the same year Taste of St. Louis fled to Chesterfield, Weaver and Landau launched the World’s Fare Heritage Festival. Now preparing for its third year, its first in the World’s Fair Pavilion in Forest Park, the festival (August 19-21) brings together many of the same components as Weaver’s idealized early version of Taste of St. Louis — food, music and art — while adding commemorative exhibits honoring St. Louis industry and and the legacy of the 1904 St. Louis World’s Fair. But Weaver ’s life, already marked by tragedy, has hit rough patches as well. In January 2015, doctors found a tumor growing inside his left ear. Weaver’s friends came to his aid, raising money for his surgery with benefit concerts and a GoFundMe campaign. Now the father of a seven-year-old boy, Weaver says his doctors have given him a clean bill of health. Finally, over Memorial Day weekend, Weaver takes a full day to focus on his art. Along with a team of assistants, he makes the 45-minute drive to Cosmic Reunion, a four-day music and arts festival in the Astral Valley that’s along the lines of a Missouri-based Burning Man. This is his second year making the trip. His first time, Weaver says he did brisk business selling col-
lage-painted vinyl records. Making money from his art is “something I’ve gotten away from a little bit,” he adds, but he’s trying to force himself to focus. After so many years supporting other artists’ visions, he admits that promoting his own work feels somewhat unnatural. At his spot near Cosmic Reunion’s main stage, Weaver spends hours building a nautical-themed installation piece, a stage for a nighttime performance. He’ll spend even more time applying dabs of Day-Glo body paint to two female models in mermaid costumes. Around 9:30 p.m., a network of black lights brings his work to startling life. Many festivalgoers walking by the stage become rooted to the spot, hypnotized by the psychedelic mermaids. The models’ faces glow orange and pink, the layers of paint smoothing their expressions into identical mirrors of serenity. One bystander, enraptured and clearly stoned, mutters to himself, “Are those girls real?” Weaver observes from afar, scarred arms crossed over his chest. After a few moments, he gestures at one of the models to leave the stage. He retrieves a compact case of paint and adds a few more streaks to her ribs and neck. The stage and lights look good, sure, but the tableau is not quite there yet. Weaver can always find room for more color. n
37TH ANNUAL ST. LOUIS PRIDEFEST SOLDIERS MEMORIAL • DOWNTOWN ST. LOUIS
JUNE 24 - 26, 2016
PRIDE CONTINUES TO BE COMMITTED TO BRINGING THE BEST FESTIVAL AND ENTERTAINMENT EXPERIENCE, PROVIDING SCHOLARSHIPS, AND SUPPORTING THE GREATER ST. LOUIS LGBTQIA+ COMMUNITY. TO ACCOMPLISH THESE GOALS, WE DEPEND ENTIRELY ON YOUR GENEROSITY. ST. LOUIS PRIDEFEST WILL HAVE A SUGGESTED DONATION AT THE GATE. WE ASK FOR A MINIMUM DONATION OF $5, BUT REGARDLESS OF A DONATION, ALL ARE WELCOME TO ATTEND.
PRIDEFEST 2016 IS PRESENTED BY
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WEEK OF JUNE 8-14
THURSDAY 0609 Five Women Wearing the Same Dress
Raise a glass to bridesmaids in Five Women Wearing the Same Dress. | JUSTIN BEEN
The American wedding-industrial complex is oiled by the blood of bridesmaids. How many women have suffered through bridal showers thrown by both sides of the family, fittings and bachelorette parties just for the privilege of buying — and worse, wearing — an ugly dress? Where’s their monument? Alan Ball, creator of True Blood and Six Feet Under, has answered the call with his dramedy Five Women Wearing the Same Dress. Tracy may be enjoying her overdone big Southern wedding, but her bridesmaids are all hiding out in the childhood bedroom of her younger sister, Meredith. Together they wonder what it was they did to earn the honor of bridesmaidhood and talk about the bride and her husband. Stray Dog Theatre presents Five Women Wearing the Same Dress at 8 p.m. Thursday to Saturday (June 9 to 25) at the Tower Grove Abbey (2336 Tennessee Avenue; 314-865-1965 or www.straydogtheatre.org). Tickets are $20 to $25.
FRIDAY 0610 Mad Max — Monkey Style Magic Smoking Monkey, the demented little brother of St. Louis Shakespeare, is back with another audacious assault on a pop-culture classic. The company plans to perform the three original Mad Max films (Mad Max, Road Warrior and Beyond Thunderdome) plus the new installment, Fury Road, all in about 60 minutes. How will they pull it off? Cheaply. Very cheaply. Experience the heat of post-apocalyptic Australia, the car chases, the enormous dudes
BY PAUL FRISWOLD in leather jock straps and the savage accents as Max Rockatansky cruises the badlands looking for gasoline and vengeance. There’s also a costume contest at every show. Mad Max — Monkey Style takes place at 8 and 10:30 p.m. Friday and Saturday (June 10 to 18) at the Regional Arts Commission (6128 Delmar Boulevard; 314-3645664 or www.stlshakespeare.org). Tickets are $10 to $15.
Urban Wanderers Stray Rescue regularly finds dogs in terrible conditions and worse shape and then works hard to heal them so they can be happily adopted. More than 80 artists were invited to create art inspired by Stray Rescue’s success stories for the exhibition Urban Wanderers. Photographs, paintings and sculptures of the dogs who made it will fill the Saint Louis riverfronttimes.com
University Museum of Art (3663 Lindell Boulevard; www.strayrescue. org) tonight from 5 to 8 p.m. for the opening reception. And along with the artworks will be some of the dogs, some of which also made their own portraits (with paint and paws). All of the work will be auctioned off online to raise money for Stray Rescue’s ongoing mission of mercy. The show remains up through July 24.
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CALENDAR Continued from pg 21
SATURDAY 0611 St. Louis Brewers Heritage Festival When the St. Louis Brewers Guild wishes to celebrate beer, it does not do so on a small scale. The tenth annual St. Louis Brewers Heritage Festival includes more than 40 local breweries offering samples of more than 100 beer styles in the newly refurbished grounds of the Gateway Arch (200 Washington Avenue; www.stlbg.com), plus live music and a host of food trucks. The festival includes two sampling sessions — from noon to 4 p.m. and 6 to 10 p.m. today — and admission includes a small sampling glass so you can get down to the business of enjoying some of those 100-plus beers. Tickets are $37.50 to $60 per session, but designated drivers can get in for $5.
Brighton Beach Memoirs Brighton Beach Memoirs is Neil Simon’s semi-autobiographical comedy about coming of age during the Great Depression. Eugene Jerome is a baseball-obsessed Jewish kid who’s starting to think more about girls than sports and is struggling to figure out where he’ll go in life once he gets out from under his family. Although that might be “if” he gets out from underneath ’em — the Jeromes are a tight-knit bunch, and don’t let go of family easily. Act Inc opens its season with the nostalgic Brighton Beach Memoirs at Lindenwood University’s J. Scheidegger Center for the Arts (2300 West Clay Street; www.actincstl.com). Performances take place at 8 p.m. Friday, June 10; 2 p.m. Saturday and Sunday, June 11 and 12; 8 p.m. Saturday, June 25; and 2 p.m. Sunday, June 26. Tickets are $10 to $20.
SUNDAY 0612 Inherit the Wind Jerome Lawrence and Robert Edwin Lee’s drama Inherit the Wind is set up as a fictionalized 22
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Tim Davis, Jane Lynch and Kate Flannery in See Jane Sing. | COURTESY JANE LYNCH retelling of the Scopes Monkey Trial, which saw teacher John T. Scopes convicted of teaching his class Darwin’s theory of evolution in 1925. But the playwrights intended it to be viewed in a less-specific fashion, as a parable about intellectual freedom and its protected status under the Constitution. Clayton Community Theatre closes its current season with the court-room drama. Performances take place at 8 p.m. Friday and Saturday and 2 p.m. Sunday (June 10 to 26) at the Washington University South Campus Theatre (6501 Clayton Road; www.placeseveryone.org). Tickets are $15 to $20.
MONDAY 0613 The Wizard of Oz The Muny kicks off its 98th season with the family favorite Wizard of Oz. It’s a comfortable, familiar start to a new year, but one that never fails to please. Who doesn’t love plucky young girls with feisty dogs, a gang of goofy friends and flying monkeys in bell boy uniforms? The Wizard of Oz gets a ten-performance run (Monday, June 13, to Wednesday, June 22) at the Muny in Forest Park (314-361-1900 or www.muny.org).
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Tickets cost $14 to $90, and the show starts at 8:15 p.m.
TUESDAY 0614 Jane Lynch Jane Lynch, perhaps best known as Glee’s Sue Sylvester, is currently touring the country with her cabaret show, See Jane Sing. Backed by a five-piece band and joined by Kate Flannery (the hard-drinking Meredith from The Office), Lynch engages in cabaret’s typical storytelling and singing, but with a twist. In addition to the standards and the Great American Songbook, Lynch takes a chance on Nicki Minaj’s “Anaconda” and throws in a medley of songs that made her cry as a child. It should be interesting. See Jane Sing takes place at 7:30 p.m. tonight at the Sheldon (3648 Washington Boulevard; www. thesheldon.org). Tickets are $55 to $65.
WEDNESDAY 0615 Chuck Klosterman Thanks to the intoxicating combination of humanity’s tendency to overestimate itself and the In-
ternet, the world is full of people pronouncing with certainty that they’re right about almost everything. Pop-culture critic Chuck Klosterman dares to ask the unthinkable in his new book, But What If We’re Wrong?: Thinking About the Present As If It Were the Past. In interviews with people such as David Byrne, Junot Diaz and Ryan Adams, Klosterman explores the implications of being wrong about the best musicians, the importance of sports in American culture and the golden age of television. He discusses and signs copies of But What If We’re Wrong as the guest of Left Bank Books at 7 p.m. tonight at the Improv Shop (510 North Euclid Avenue). Admission is free but reservations are required; visit www.left-bank.com to sign up.
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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24
FILM
[REVIEW]
Turf & Twerp Sunset Song and Popstar please different audiences, and that’s a good thing Written by
ROBERT HUNT Sunset Song
Directed by Terence Davies. Written by Lewis Grassic Gibbon and Terence Davies. Starring Peter Mullan, Agyness Deyn and Kevin Guthrie. Now screening at Landmark Plaza Frontenac Cinema.
Popstar: Never Stop Never Stopping Directed by Akiva Schaffer and Jorma Taccone. Written by Andy Samberg, Akiva Schaffer and Jorma Taccone. Now screening at multiple theaters.
T
here may not be many points in common between a wistful account of life in rural Scotland circa 1915 and a brash comedy about hip-hop stardom. The likely viewers of Sunset Song won’t buy tickets to Popstar: Never Stop Never Stopping, and fans of Andy Samberg and the Lonely Island may not go out of their way to see the latest film of a renowned 70-yearold British director whose works are known for their severity. Yet the two films, though far from perfect, illustrate the wide range of our cinematic present. Though it might seem anachronistic, the distance between Sunset Song and Popstar, and the pleasures both provide, bring to mind something that Francois Truffaut wrote in the introduction to his 1975 book The Films in My Life (he was quoting a friend): “It’s good to have something to see, isn’t it?” Terence Davies’ Sunset Song, based on the 1932 novel by Lewis Grassic Gibbon, is set in a rural farm community in northern Scotland where Chris Guthrie (an astounding performance by former fashion model Agyness Deyn) grows up under the tyrannical rule of a fierce, self-righteous father (Peter Mullan). Though she dreams of leaving home and becoming a teacher, she gradually faces the knowledge that she has no means of escaping the family farm. Her submissive,
24
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Andy Samberg pokes good-natured fun at pop music. | PHOTO BY GLEN WILSON. (C) UNIVERSAL STUDIOS depressed mother dies early in the film, and when her older brother, the target of most of their father’s rage, finally works up the strength to leave, you can see in Chris’ face the burden landing. Like much of Davies’ work, the film moves at a slow, deliberate pace, spanning several years and mirroring Chris’ long path to liberation. Much of the film takes place in confined spaces, with the characters framed tightly in the center. When they step outside, however, the camera moves freely, passing over the landscape in awe, recording clouds and wheat fields that look like no person has ever walked through them. Sunset Song rests on a balance of the cruel and the idyllic. It’s also, perhaps surprisingly, the story of a young woman developing her own identity in a time and place that could easily overwhelm her. Sexuality is a threatening source of confusion and mistrust, and Chris learns early in the film that it can also be a violent tool for keeping women submissive. But she also becomes aware of a different form of sexuality. In one scene, explicitly linked to a clumsy assault by a farmworker, Davies shows Chris staring at her naked body in a mirror. It seems to be some kind of private ritual, as if she’s seeing her
JUNE 8-14, 2016
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real self for the first time. The viewer gets the sense that her individuality is something she keeps secret, something separating herself from the burdens of family and society. Despite everything Chris suffers, she radiates an inner spirit that is never defeated. Davies links this, unsteadily, to history and the timelessness of nature, but it’s her strength — and Deyn’s performance — that dominate. Popstar, separated from Sunset Song by a century of history and an immeasurable gap in sensibility, is the first feature film by the comedy/ music trio the Lonely Island, best known for its comic videos about Narnia, pirates, sailing and inappropriate Christmas gifts. The group’s lesser-known two-thirds, Akiva Schaffer and Jorma Taccone, share directing credit and take supporting roles, while Saturday Night Live veteran Andy Samberg holds the center as floundering rap artist Conner4Real, an overnight superstar whose career is plummeting due to poor business choices (a deal with an appliance company to have his songs playing out of refrigerators across the country), unstable egos (he’s trying to shake his boy-band past) and selfindulgent new songs (one endorses gay marriage while asserting his own heterosexuality in every line;
another disses the Mona Lisa). Samberg and company have set their sights on pop culture in small doses before, but this is a more wideranging piece, requiring character development and at least a hint of a plot (think This Is Spinal Tap with a little less bite) to hold the celebrity interviews and mock documentary sections together. Popstar meets the minimum requirement to keep from falling apart, but it’s the film’s sharp understanding of the excess and narcissism of the current pop scene — from award shows and pop music cliches to online marketing and gossip culture (including a wickedly goofy parody of the odious TMZ) — that keeps it alive. It’s a surprisingly good-natured film, even at its raunchiest, covering its cruder moments with a kind of “did-I-reallydo-that?” feigned innocence. It’s not really a satire of celebrity culture; it’s more like a brotherly fist bump. If Sunset Song offers a sense of history and timeless forces, Popstar wants nothing more than to be ofthe-minute; you get the sense that the filmmakers secretly wish they could release it on Snapchat. Will it still seem funny in five years when the world has moved on to next next big thing, or will it seem as puzzling and outdated as a MySpace page or a Farmville invitation? It’s hard to tell, but for right now, it’s just fine. n
THE ARTS
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[STAGE]
Risky Business New Line Theatre’s new production about the scientists behind the Manhattan Project is both thrilling and moving Written by
PAUL FRISWOLD Atomic
Book and Lyrics by Danny Ginges Music and Lyrics by Philip Foxman Directed by Scott Miller and Mike Dowdy Musical director, Jeffrey Richard Carter Presented by New Line Theatre through June 25 at the Marcelle Theater (3310 Samuel Shepard Drive; www.newlinetheatre.com). Tickets are $10 to $25.
L
eo Szilard’s world is dominated by a long table. At one end is his home, and at the other is a bar. In between these two poles, Szilard races — reluctantly and with mounting regrets — to create the bomb that could destroy the world. It’s a tough way to make a living. Success requires that he risk losing his beloved Trude, but failure means the Nazis could win. Szilard is one of the lesserknown atomic physicists who b i r t h e d A m e r i c a ’s n u c l e a r weapons program during World War II. Danny Ginges and Philip Foxman’s musical drama Atomic is a fictionalized version of his life. It is a complex story that presents multiple viewpoints on the purpose of applied science, the ethics of war, the depths of the human conscience and the dangers of bureaucracy. That’s a heavy load for a musical to carry, but New Line Theatre’s current production of the show makes it look effortless. Directors Scott Miller and Mike Dowdy use the character of Szilard as a lens for the audience to examine all of these issues, and also as a mirror to reflect the human beings caught up in forces beyond their control.
Zachary Allen Farmer (right) carries the show as Leo Szilard | JILL RITTER LINDBERG What could be a play bogged down in conceptual arguments is instead a very human story about our best and worst tendencies as a species. Ambition, curiosity and altruism jostle with overweening pride, blind obedience and vengeance. Zachary Allen Farmer is Szilard, a Hungarian Jew chased out of Europe by the rise of Hitler. Farmer speaks with a quiet certainty that reinforces Szilard’s reputation of “always being right,” as his girlfriend Trude (Ann Hier) chides him. Together the two make their way in America, she as a doctor and he as an unemployed physicist living on his patent money. A chance encounter with recent Nobel Prize-winner Enrico Fermi (the excellent Reynaldo Arceno) leads to the duo working together to split the atom in 1939 with Edward Teller (Sean Michael, very good in an unlikable role). Their friends in the European scientific community drop hints that the Nazis are pursuing a similar path, so the group decides to approach the U.S. government for funding. Eventually they get their wish. Under the auspices of the U.S.
Army, the Manhattan Project becomes a well-funded wing of the military industrial complex, much to Szilard’s chagrin. The scientists may be unified in theory, but in practice they’re in non-stop argument. Fermi is a passionate advocate for openness in all scientific inquiries, believing that data should be shared freely. Teller is a hard-eyed realist who believes if you’re gonna make something, you have to use it regardless of consequences. Szilard is a humanist who views science only as a means for improving the world. His closest ally is Leona Woods (Larissa White), a physicist driven by fear for her brothers’ lives in the European war zone; that fear spurs her to swallow her own misgivings about what they’re pursuing. Their project leader, Arthur Compton (Ryan Foizey), is a devout Catholic who tamps down his own doubts to better ramrod them all to success. Farmer has a famously large singing voice, and he uses it well throughout. He and Hier power their way through “Where is Home,” an aching lament for their riverfronttimes.com
friends and family destroyed in the Holocaust. That sense of loss fuels Leo’s growing determination not to let America use the bomb for fear of triggering a nuclear arms race (prescient guy, no?). In any other show Farmer’s performance of “One Day” would be the highlight. It’s a perfectly balanced scene, Farmer facing off against his comrades as they gather to watch the first detonation, with the audience a silent witness on either side of the room. Farmer stands alone, warning his fellow scientists that there will be a price to pay for what they’ve done, unwilling to be silenced even by the blast that he’s helped engineer. And yet as good as it is, it’s bested by “What I Tell Myself.” Nine years after the war the group reunites at a wedding, and one by one they share the horror and revulsion they feel toward their great achievement, and worse, toward themselves. “We saved a million lives, so why can’t I sleep at night?” they ask each other. They’re all brilliant people, but not one of them has an answer. n
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Sliders on offer include the Nashville hot chicken, the bratwurst and the “Bay of Pigs.” | MABEL SUEN [REVIEW]
All the Small Things As a getaway for harried parents and their little ones, the Slider House excels Written by
CHERYL BAEHR The Slider House
9528 Manchester Road, Rock Hill; 314-9426445. Mon.-Thurs. 11 a.m.-10 p.m.; Fri.-Sat. 11 a.m.-11 p.m.; Sun. 11 a.m.-10 p.m.
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orman Rockwell could not have painted a more compelling portrait of 2016 Americana than the scene at the Slider House. The threemonth-old Rock Hill restaurant is the embodiment of suburban utopia: Children romp through a foun-
tain just off the restaurant’s patio while mom and dad — decked in Tory Burch flip-flops and trendy graphic tees — recline in Adirondack chairs and sip cans of craft beer served in koozies while waiting to eat mini burgers. It’s the restaurant equivalent of trading in your coupe for an SUV: It may not be the hot rod of your youth, but that extra legroom sure is nice. In other words, the Slider House is exactly the restaurant you’d want on the busy corner of Manchester and McKnight, smack dab in the middle of the inner ’burbs. This isn’t a back-handed compliment. If you’re a parent, going out to eat with kids is just plain awful. I’m one; I know. At any given moment, my toddler could go from happily noshing on a grilled cheese to flinging herself on the floor because someone sprinkled parsley on her French fries. When a place that doesn’t involve sodium nuggets and a red-headed clown “gets it,” you breathe a sigh of relief that you’re dining without judgment. Put me in the Grant Achatz camp
— there’s a time and a place for taking a child to dinner, and it isn’t Alinea. It is, instead, a place like the Slider House: somewhere that’s loud enough to welcome a child’s shrieks, has enough open space for the little monkeys to run around, serves sufficiently interesting, but still uncomplicated, food and has readily available booze. The fact that Slider House ticks all of these boxes surely explains why the place has a 90-minute wait on any given weekend. It’s not the food. Sure, it’s good enough, but the throngs of patrons who have packed this place since it opened in March likely don’t care whether the restaurant serves miniature sandwiches, tiny pizzas or fusion tacos. They just want something that appeals to the kiddos while still allowing them to retain their humanity. The Slider House achieves this, first and foremost, by its atmosphere. Though the restaurant is both a chain (the original, and at this point only other, location riverfronttimes.com
is in Nashville) and located in the county, it feels like a family-friendly version of a trendy spot you’d find in a neighborhood where people don’t give a second thought to school districts. The restaurant’s bones are industrial, with touches of grayish-white subway tiles and contemporary Western-style accents. An enormous metal fan covers nearly half of the lofted ceiling, and two garage doors open to the patio, which is filled with picnic tables. The result is a loud, raucous scene — good for covering up the screams of young children, bad for hearing anything your server says. I wouldn’t be surprised if the restaurant gets a few workers’ compensation claims for laryngitis based on how much the wait staff has to scream to be heard. I’m glad the noise didn’t make me miss my server’s recommendation for the Brussels sprouts and artichoke dip appetizer. More Brussels sprouts gratin than an actual dip, the creamy concoction
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SLIDER HOUSE Continued from pg 29 was a welcome riff on the traditional spinach dip peddled just about everywhere. The halved Brussels were cooked enough to soften while still retaining a snappy texture. Lemon zest brightened the otherwise decadent dish. Fried dill pickles are exactly what you want when you order such an appetizer — salty, crunchy and served with a side of creamy ranch for dipping. A touch of spice deepens the flavor. Wings are equally well executed. A hot chili and black pepper-heavy spice rub coats the juicy wings and drummies; it’s the ideal canvass for the “Southern Comfort” sauce, a subtle glaze the consistency of a chili oil. I can’t think of a better appetizer for picnic tables and canned beer. For a place that specializes in miniature sandwiches, the Slider House has a respectable selection of salads. The “Lobster Cobb” is tailor-made for a country club. Hunks of butter-poached lobster sit atop greens, tomatoes, red peppers, bacon, blue cheese and hardboiled eggs. Lemon herb vinaigrette enhances the lobster’s delicate flavor without covering it up — I just wish the bowl had more of the shellfish. Though the serving was massive, it contained just four bites of lobster. The “Garden and Grain” salad would be equally at home at a vegan/paleo restaurant as at this sandwich joint. Shaved kale and quinoa are accented with pistachios, cranberries and a delicate lemony dressing. After eating burgers, hot chicken and fries, it was a welcome palate refresher. But really, the restaurant’s calling cards are the eponymous sliders, which range from the expected to the creative. The “All-American” slider is the restau-
rant’s mini-burger, a ground beef patty topped with melted cheddar and garnished with the traditional lettuce, tomato and onion. It’s next to impossible to take temperatures on such small burgers, so unfortunately, they all come cooked to medium-well. This tends to dry out the beef, though the garlic aioli somewhat mitigated this factor. The “Texican,” a spicy blend of chorizo and ground beef, avoided this problem thanks to the sausage’s fat content. The already spicy patty is covered in molten pepper-jack cheese and liberally garnished with diced jalapenos. The spice level is deliciously hiccup-inducing. Surprisingly, the same cannot be said for the “Nashville Hot Chicken” slider. The breaded white meat chicken has a touch
Fried dill pickles are exactly what you want when you order such an appetizer — salty, crunchy and served with a side of creamy ranch for dipping. of dull heat, but it was barely noticeable through the coleslaw and pickle toppings. It was adequate, but go ahead and skip this one if it means passing on the “Bay of Pigs.” This play on the Cuban pairs shaved ham with slices of juicy pork tenderloin. Lacy Swiss
The lobster cobb salad with butter-poached lobster, roasted red pepper, bacon, crumbled bleu cheese, boiled egg and fresh avocado on romaine and red-leaf lettuces. | MABEL SUEN cheese, Dijon sauce and a pickle give a mouth-puckering tang to this exceptional sandwich. Sadly, the restaurant’s biggest miss came courtesy of a St. Louis collaboration. To make the place seem less like a chain, the Slider House partnered with local chefs for a specialty dish. The result, “the B2,” comes from a three-way collaboration between the restaurant, the James Beard-nominated chef Ben Poremba and acclaimed butcher Chris Bolyard. In theory, their haute burger sounds incredible — grass-fed local beef, limburger cheese, pickled green tomato, beer-braised cippolini onions, candied bacon, arugula and truffled artichoke aioli. With so much going on under one small, gluten-free (and extraordinarily dry and tough) bun, though, the entire thing seemed over-thought, with all the flavors jockeying for attention and none of them grabbing enough of it. Whether this was a problem of design or execution is debatable, but one thing
was certain: This was not good. The lobster slider fared much better. Butter-poached lobster was topped with picked green tomatoes and a simple tarragon aioli. It was the Occam’s razor to the B2 — the simplest preparation is probably the best one. As much as I enjoyed that slider, the best part of the meal was when our server — seeing how stressed my sister-in-law and I were as we wrangled three children under five in the midst of successive meltdowns — shoved a beer and a glass of wine in our hands. “I have a four-year-old. You’ve had to wait too long for these. They’re on us,” she told us. At that point, it didn’t matter that my burger was overcooked. She made sure we weren’t, and that’s all that mattered. n
The Slider House
Brussels sprout and artichoke dip ....................... $8.99 “All-American” slider (a la carte) .......$4 Nashville hot chicken slider ..............$4
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SHORT ORDERS
[SIDE DISH]
[FOOD NEWS]
Brasserie’s Chef Is Happy to Be Home from NYC
THE BEST RESTAURANT IN ST. LOUIS IS CLOSING Written by
CHERYL BAEHR
C
Written by
CHERYL BAEHR
B
rian Moxey, executive chef of Brasserie (4580 Laclede Avenue; 314-454-0600), has an impressive resume — a culinary education from the French Culinary Institute in New York, a gig with famed chef Tom Colicchio at Craftsteak in Manhattan, five years working under chef Marco Conora at NYC’s acclaimed Insieme. It’s no surprise, then, that he chuckles a little when he discusses his first restaurant job. “I waited tables at Ruby Tuesday in college in Cape Girardeau,” Moxey says, laughing. “I continued to wait tables throughout school, but I really liked the energy of the kitchen. I ended up changing my major to hospitality management, and when I graduated, I went to culinary school.” A Sikeston native, Moxey grew up with an appreciation for food that came from family dinners. His mom, whom he describes as a “fantastic cook,” had a meal on the table every single night for him, his dad and brother. Though he didn’t realize it at the time, those dinners instilled in him a passion for food that he carried with him when he went away to school. Moxey enjoyed his time in New York but decided to move back to Missouri once he had a family. “Raising a child, New York just got a little too hectic,” he explains. “We wanted to be closer to family — for our daughter to know her grandparents.” The move turned out to be as good for his career as it was for his
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Brasserie’s new executive chef, Brian Moxey, started his career in an unlikely place. | GREG RANNELLS personal life. When he arrived in St. Louis, he began working for Gerard Craft at the bustling Pastaria. He briefly left the company to work with Perennial Artisan Ales before returning last month to take the reins from Nick Blue at Brasserie. “I think what chef [Craft] really likes is my playful creativity,” says Moxey. “But I also have a respect for classics and technique.” Brasserie, he explains, allows him to show both sides of his personality. Moxey took a break from the kitchen to share his thoughts on the St. Louis food and beverage scene, his food crushes and what you should be drinking in the shower. What is one thing people don’t know about you that you wish they did? This is a tough one! I tend to be pretty open with everybody. What daily ritual is non-negotiable for you? Hot black coffee. First thing every morning. If you could have any superpower what would it be? Controlling the weather on my days off would be pretty sweet. What is the most positive thing in food, wine or cocktails that you’ve noticed in St. Louis over the past year? It’s hard to pinpoint the most positive thing. This is an incredibly positive and supportive city and scene for the food and beverage industry. I’m super pumped for Side Project
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and Rockwell Brewing. Good Fortune is going to be a ton of fun as well. Who is your St. Louis food crush? It’s so hard to choose. Mark Sanfilippo at Salume Beddu and Brian Lagerstrom at Union Loafers are certainly crushes though. Who is the one person to watch right now in the St. Louis dining scene? Ashley Shelton at Pastaria. She’s amazing. Which ingredient is most representative of your personality? Onions. If you weren’t working in restaurants, what would you be doing? Hopefully doing something I enjoy as much as working in restaurants. Name an ingredient never allowed in your kitchen. I’m pretty open to trying different things. I’m not too crazy about truffle oil though. What is your after-work hangout? I generally head straight home after work. What’s your food or beverage guilty pleasure? I don’t experience any guilt because of it — Bud Light Lime is a pretty perfect shower beer. What would be your last meal on earth? Something simple, probably grilled. Rosé wine. Hanging out in the backyard with my daughter and n wife.
hef Gerard Craft announced last week he will close Niche (7734 Forsyth Boulevard, Clayton) on June 11 — and will reopen the place as a “fun” breakfast, lunch and dinner restaurant, Sardella, in four to six weeks. Craft made the announcement Thursday to a group of reporters. The closing comes just one year after Craft was named Best Chef - Midwest by the James Beard Foundation, an event he admits factored into the decision. “We’ve thought about closing Niche many times over the years — the worst time was during the recession in 2008,” Craft explains. “But it never felt right. We didn’t want to move on with tears involved because of balance sheets. Now, after the James Beard award, we could go out on top.” Niche, the flagship restaurant in an empire that now includes Pastaria, Brasserie, Taste and Porano Pasta, first opened in Benton Park in 2005. In 2012, Craft moved the spot to Clayton, where it has continued to earn raves. Of Niche, the RFT’s then-critic Ian Froeb wrote in 2012, “From beginning to end, Niche remains the most consistently appealing, engaging and — above all else — delicious dining experience in St. Louis. More important, as the dining scene here continues to gain steam, it should serve not as a target at which other chefs should take aim, but an inspiration.” However, Craft says that the pressure to remain on top took a toll on him and his team. “Niche is almost eleven years old. It started as a fun, lively bistro. I was 25 when it opened, and I put the pressure on myself to keep pushing, probably because I was scared to death of failing,” he explained at the press conference.
A plate of escolar at Niche. The restaurant earned raves from critics. | JENNIFER SILVERBERG “That evolution, that desire to be better is what made us who we are, but being at the top is hard. Getting there is exhilarating and fun, but staying there, you lose it. I always say that one- and two-star restaurants are always more fun than three-star restaurants because at those, you are trying to get the extra stars. At a three-star, you spend all your time trying not to lose one.” By contrast, Craft envisions Sardella as a fun, upbeat spot that will serve breakfast, lunch and dinner. Though the restaurant will take a few cues from Italian cuisine, the concept is solidly American. For breakfast and lunch, expect grain bowls, pastries, salads and sandwiches, while dinner will focus on hand-stuffed pastas and roasted meats like lamb and pork. Tasting menus will still be available, though they will be more along the lines of family-style dining rather than the small, individual portions served at Niche. Another change diners will notice is the relaxation of Niche’s policy on using only ingredients that came from Missouri. This will allow Sardella to offer things like pasta, ocean fish and chocolate that were not allowed under the previous concept. “The
Missouri-only thing was a monstrous mountain that we all learned so much from, but it also prevented us from supporting local business,” Craft explains. “Now we can use coffee, beer and chocolate that are made locally. We’ve always been about slow food. The kitchen team is the same. The mindset is the same.” The space will see a complete redesign, courtesy of Sasha Malinich of S. Aleksander Malinich Design. Changes include moving the bar to the back of the restaurant and adding banquettes, beams and brass light fixtures to create a warm atmosphere. “It will look completely different,” says Craft. Craft insists that Sardella will still be a “serious restaurant,” with the same creativity and thought that went into Niche but with much more more levity. “When I think of Niche the word that comes to mind is ‘obligation,’” he admits. “We open restaurants that we want to go to. Sadly, none of us wanted to go to Niche. People have been coming up to me saying ‘I’m so sorry,’ but I’m not. I’m really happy.” n
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[BARS]
A Long Goodbye for the Hilltop Inn Written by
KAVAHN MANSOURI
A
fter more than 50 years of cooking, cleaning and tending bar at south city’s Hilltop Inn, 73-year-old Rose Garavaglia Lagates served the bar’s lastever lunch last month. From its perch atop the small hill at the corner of Morgan Ford and Loughborough, the Hilltop has been a St. Louis staple for roughly 77 years. But Lagates says she’s too tired to keep it going. The final day for lunch service and a full food menu was May 27; she’ll keep serving booze and burgers until June 30, when she plans to close the place for good. That last lunch brought a horde of customers. Lagates’ brother and granddaughter, as well as the granddaughter of one of her oldest patrons, tended bar and helped distribute meals while Lagates held down the steam table and made sandwiches. Lagates wears her red hair short. Around her neck hangs a golden necklace in the shape of Italy, where all four of her grandparents were born. That Friday, she was cooking for a crowd of nearly 50 people. She paused briefly to hug customers who were leaving, some holding back tears, or to receive
flowers from long-time customers and family members. “I am so delighted not to have to work, but I am so sad… I’m going to miss these people,” Lagates says. Joe Garavaglia, Lagates’ father, bought the building at 6902 Morgan Ford Road in 1939. His family lived in the back; he and his wife worked in the front. His name and the date of the purchase are scratched into the walls of the basement where most of the cooking is done. In April 1966, Lagates took the reins and ran the restaurant herself for the next 50 years. But she worked at the bar even before that, helping out here and there with little tasks. “As a kid, particularly when I was in high school, my job when I came home was to make the hamburger patties,” Lagates says. “If the dishwasher wasn’t there I was the one who got to go down and do the dishes.” Throughout the narrow tavern, photos document the Hilltop’s seven-decades-long run. In one photo, Lagates’ mother holds her as a baby. Several others depict famous St. Louisans, complete with autographs. On the specials board, a short message thanks customers for 50 years of service. Taped beneath are dozens of photos of Lagates and customers. Lagates worked the steam table for hours, cutting meat and serving sandwiches. So many customers showed up that the wait for food at one point was nearly an hour. Patrons grabbed a beer and bided their time. Lagates says she’s closing up shop because her body can’t keep up with the workload anymore. “I’m 73 years old, it’s time. It’s very bittersweet, no doubt about that. Everybody thinks I’m a bundle of energy. Well, when I get going, I’m OK, but at night
Rose Garavaglia Lagates serves the last lunch at the Hilltop Inn. | KAVAHN MANSOURI my body just can’t,” Lagates says. “If I dropped dead tomorrow nobody would have to say ‘old Rose worked her ass off.’ The truth of it is, I did, but I also played my ass off. We had a lot of good times.” Tom Cochran, a patron of the Hilltop for nearly eight years, says he came by with coworkers at least twice a month. There was no place to get a home-cooked meal like it in St. Louis. Of Lagates, he says, “She’s an amazing woman. She’s definitely a legend in her own time.” Lagates made all of the food at the Hilltop, from the sauce to the sandwiches. She never wanted to buy anything premade or prepared by anyone other than herself. That meant roast beef, polish sausage sandwiches, meatloaf and several other homestyle staples. In the evenings, the bar served its signature burgers, topped with grilled onions.
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Lee Kehner helped behind the bar during the last lunch. He hopes someone like Lagates will buy the Hilltop and keep it going. “No more good lunches, no more roast beef on Wednesday,” Kehner says. “It’s a St. Louis staple.” He adds, hopefully, “It will come back. It will rise from the ashes as all good places do.” Lagates says she has several possible buyers, some of whom are loyal customers. But whoever takes over, she hopes they’ll continue the traditions she and her family left behind. “I hope they provide good food at a fair price,” Lagates says. “That’s where my parents came from and that’s where I came from.” The Hilltop will open at 3 p.m. on weekdays and 4 p.m. on Saturdays, with burgers and drinks being served through the end of June. n
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Spicy Shrimp Goulash
blackend shrimp, zucchini, carrot, yellow squash in a rosemary lobster jus
15
“World-Class BBQ”
-Cheryl Baehr, Riverfront Times Restaurant Critic
20 S Belt W Belleville, IL 62220 618.257.9000 Hours: MTWT - 11am - sell out, or 9p FRI & SAT- 11am - sell out, or 10p SUN - 11a - sell out, or 9p
44 N. BRENTWOOD DRIVE 314-721-9400 OCEANOBISTRO.COM riverfronttimes.com
JUNE 8-14, 2016
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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 $$$$ more than $40
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Tonkotsu ramen from Death in the Afternoon. | Jennifer Silverberg
[DOWNTOWN]
220 S. Tucker Boulevard | 314-621-1997
Death in the Afternoon 808 Chestnut Street | 314-621-3236
going to the muny? we’re so close! show tickets, get 10% off! THANKS STL FOR VOTING US #2 FRIED CHICKEN IN RFT!
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live irish music during brunch every sunday 10am-12pm
(314) 647-7287 | PATCONNOLLYTAVERN.COM 6400 OAKLAND AVE. | ST. LOUIS, MO 63139 36
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JUNE 8-14, 2016
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Maurizio’s Pizza & Pasta Bowl
Death in the Afternoon is a culinary oasis set in downtown’s idyllic Citygarden. The weekday lunch spot is the brainchild of Adam Frager and TJ Vytlacil of the members-only restaurant and bar Blood & Sand. Death in the Afternoon features impeccably presented soups, salads, sandwiches and snacks. From kimchi and pickled vegetables to housemade pastrami served on a pretzel, the menu offers something for everyone’s palate. The mahi mahi sandwich is spectacular: The fresh grilled fish is so moist it’s as if it were poached. Served with Meyer lemon and dill aioli, pickles and fennel salad, it’s an excellent lunchtime treat. The restaurant’s signature entrée is the tonkotsu ramen, a bowl of mouthwatering pork broth teeming with housemade noodles, mushrooms, pork loin and belly, a soft-boiled egg and garnished with black garlic oil. It’s comfort in a bowl. And lest the kids romping in Citygarden’s fountains have all the fun, Death in the Afternoon serves a rotating selection of cotton candy for dessert. It’s a whimsical end to a perfect meal — a great way to kill an afternoon. $$-$$$
Eat-Rite Diner
622 Chouteau Avenue | 314-621-9621 “Eat Rite or Don’t Eat At All.” So it says on the coffee cups (and the souvenir T-shirts) at this no-frills 24-hour greasy spoon amid the industrial wasteland between downtown and Soulard. Folks come from miles around to fill up on the breakfast-and-burgers menu: bar-hoppers and club kids finally coming down from their late-night-into-earlymorning highs; factory workers and blue-collars getting off graveyard shifts; curious newcomers who’ve heard about the bizarro vibe that pervades these cramped counter-only environs. To call the food at Eat-Rite cheap is an understatement — six burgers (real-size, not White Castle-size) run $4.50. And many swear by the Eat-Rite’s redoubtable slinger (for the uninitiated, that’d be fried eggs, hash browns and a burger patty, avec chili). $
Dives usually aren’t this spacious; there are enough tables and chairs set up in Maurizio’s to make it look like a cross between a sports bar and a corporate cafeteria. Dives also never boast menus this expansive: New Yorkstyle pizzas, strombolis, lasagna, manicotti, rib-eye steak, lemon chicken, pork steak, subs, burgers, salads and — the icing on the cake — tiramisu. And while getting tons of food at cheap prices is great and all, what makes Maurizio’s a don’t-miss is the late-night people-watching. Open till 3 a.m. seven days a week, Maurizio’s is the place to cap off a night of downtown debauchery — and to witness all walks of Lou life in their after-hours glory. $
Tony’s
410 Market Street | 314-231-7007 In St. Louis, many restaurant discussions begin and end with Tony’s, for very good reason. The Bommarito clan, which owns the restaurant, is positively fanatical about perfection in every aspect of the meal. Entrées are not particularly elaborate but are perfectly balanced. Lobster Albanello is considered something of a signature dish, but nowhere will you find a better veal chop. There is generally something available either on or off the menu to please any mood, including a layering of roasted fresh vegetables for the non-carnivore. Throughout the meal, patriarch Vince Bommarito wanders and schmoozes. $$$$
Rooster
1104 Locust Street | 314-241-8118 This charming crêperie brings a little bit of Paris to downtown. Savory crêpes feature both the hearty (“German-style” sausages, bacon, roasted sirloin) and the delicate (brie with roasted apples, egg with Gruyère). Fans of owner Dave Bailey’s Lafayette Square hot spot Baileys’ Chocolate Bar won’t be surprised by the excellent sweet crêpes, from a simple lemon one dusted with sugar to the indulgent “Peanut Butter Cup,” which is even richer than its namesake. The menu also features soups, salads and sandwiches, as well as Serendipity ice cream and Kaldi’s coffee. $
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®
ON SALE 6.10 AT 10AM
ON SALE 6.10 AT 10AM TUE. 9/27 WEDNESDAY 6/1
ON SALE MONDAY 6/66.10 AT 10AM WED. 10/5
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ON SALE MON. 10/3 FRIDAY 6/3 6.10 AT 10AM
SATURDAY 6/11
SUNDAY 6/26
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UPCOMING SHOWS 7.12 GARBAGE
8.23 KURT VILE AND THE VIOLATORS
7.16 COREY SMITH
9.9 O.A.R.
7.19 AWOLNATION/DEATH FROM ABOVE
9.17 BETH HART
7.22 GLASS ANIMALS
9.22 SLAYER
7.25 M83.
9.29 YOUNG THE GIANT
7.26 KIAN ‘N’ JC
10.8 BOYCE AVENUE
8.4 LAKE STREET DIVE
10.21 LOREENA MCKENNITT
8.5 MARIANAS TRENCH
10.22 TEGAN AND SARA
8.9 HIATUS KAIYOTE
10.31 TROYE SIVAN
visit us online for complete show information facebook.com/ThePageantSTL
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thepageant.com // 6161 delmar blvd. / St. Louis, MO 63112 // 314.726.6161
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MUSIC
39
“Definitely there were times where it was a possibility, a real possibility, that we wouldn’t play again.” | KATIE HOVLAND
The Complete Package Nearly 30 years later, MU330 is still alive and well Written by
THOMAS CRONE
A
s drummer Ted Moll remembers it, when St. Louis band MU330 was at the height of its traveling life, trombone player Gerry Lundquist was in charge of making the mixtapes — he’d put together a fresh set of fifteen or so every time the band headed out of town. Even with that many, a two-month tour meant that those cassettes got plenty of play, the songs burning into the memory banks of all who were in that van, creating a shared vocabulary in the process. “Now that we’re back on the road,” Moll says, “we almost have our own language, an MU330 band-speak. It’s a combination of the different media we were listening to. Gerry’s tapes were a mix of subversive country from the ‘50s, surf, punk — just lots of weird stuff. There were so many favorite lyrics that we just ended up picking
up. When we’re relating to each other, speaking to each other, a lot of times it’s through lines from different songs. It all has its own meaning to us and it’s a language that relates to just us. If someone listens in, they’d have no idea what we’re talking about.” What’s most notable, of course, is that MU330 is back in the game at all, after a stretch of inaction that Moll figures lasted “about two to three years — probably the longest we’d ever gone without playing together.” But now, after a rush of activity at the end of 2015 and into 2016, the band (Moll, Lundquist, his fellow trombone player Rob Bell, bassist Chris Diebold and guitarist/vocalist Dan Potthast) is back, albeit taking on a much less ambitious schedule than in the days when it was a touring machine. This year, the long-running group has gone out on the road with old friends — first came some dates with Mustard Plug, then a trio with Streetlight Manifesto. From June 15 to 19, the band is heading to the Bay Area for a few sold-out shows in support of the twentieth anniversary of its label, Asian Man Records. And then there’s talk of at least a show or two in St. Louis and Chicago this fall, again tied to anniversaries. While not parsing out specifics, Moll says, “There were definitely some dark periods where people were going through some issues. It got to the point where some of
us didn’t want to deal with it anymore. And we didn’t play for some time. “But, for whatever reason, it worked out,” he continues. “Whether it was tenacity or understanding or patience or lack of wanting to give it up. I’m sure we were like every band, especially one where there are some big personalities. Definitely there were times where it was a possibility, a real possibility, that we wouldn’t play again. But the fact that we’re where we are today and still friends and relatively healthy people is amazing.” Though the ska-punk band is not closed to the idea of new music emerging, for now its members have been focusing on making fans happy with the sets that they were playing when their last album, Ultra Panic, was new in stores in 2002. So far, they say, so good. “I’m kind of in shock,” says Bell, who stays active in the local scene with Suzie Cue and the Wackness. “I’d thought people had forgotten about us. I feel humbled and amazed at how the crowds have appeared and that they still dig us. It makes me want to play more.”
Everything in this round of touring has come organically, Moll says. “We were offered sets by our friends in Mustard Plug,” he remembers. “There’d be a couple of shows, and we wanted to play them. But Gerry’s health had been a problem for a couple of years. And opening shows is a nice, safe way to test the waters. You can play 30 minutes and see if it’s something you can do. We didn’t want to have an official St. Louis show at first for that very reason, ‘cause you’re committing to an hour or a 75-minute show. And if Gerry couldn’t do it, we didn’t want to make the commitment. “But it worked,” he continues. “Gerry’s so strong. He did great, powered through the whole thing. Our secret show in December was a no-pressure gig, without any real obligation other than to do a few songs and see if we could pull it off.” That unannounced (but hotly rumored) show took place at a packed Foam, where Potthast was scheduled as a solo act. With word of special plans getting out late, Potthast played some songs, then the band joined for some more. It
“I’d thought people had forgotten about us. I feel humbled and amazed at how the crowds have appeared and that they still dig us.”
riverfronttimes.com
JUNE 8-14, 2016
Continued on pg 40
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MU330 Continued from pg 39
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was a fun homecoming that neatly showed the strength of the ties that still bind the five players. Potthast, long since relocated to Santa Cruz, California, has been touring solo, with a band (the Bricks) and as side player in recent times. Within the past year, the amiable songwriter has toured the U.S. and Australia; the fact he’s just played dates in Tasmania, Moll says, “is pretty amazing.” The remaining members of the group have wildly differing musical lives, but all four of them still live in St. Louis. Because of their unusual arrangement, the band’s kicked into a more serious practice schedule of late, even without Potthast on hand. “Lately, we’ve been rehearsing every weekend” before shows, Moll says. “We were really well-rehearsed for that last set of shows. In the past, doing one or two shows a year, we had the muscle memory — but it’s a matter of getting those muscles back in shape. Especially Chris. I don’t know how he does it; he has to play so fast.” Bell agrees that the energy the group puts into shows (now an energy being exerted some twenty years after those “psycho ska” songs were written) is a challenge. “MU330 is the hardest band I’ve ever played in,” he says. “Having to play those songs is quite challenging. Not once, when I’m playing these, does it seem easy.” Discussing the band’s early days as an opener, Moll suggests that the group has come full circle. In those days they were out to win a crowd over — one there to see the headliner. In opening for Streetlight Manifesto, a group with a hardcore, cult-like following, they again had to win over folks who have never seen them, including a lot of younger fans who struggled to wrap their heads around the fact that the group started gigging in 1989. It was sort of like those old days, blasting mixtapes in the van on the way from town to town. “That was cool, going back in time and being on tour, selling yourself,” Moll says. “It was like being on tour with the Toasters that first time. Playing to these ska fans, who were only there for the Toasters. It was similar, but this time we’re not trying to find our musical voice. At this point, we’re bringing the complete package.” n
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5/17/16 9:30 AM
42
HOMESPUN
BRIAN OWENS Beautiful Day EP brianowenssoul.com
O
“St. Louis pioneers of craft beer and live music” FRIDAY, JUNE 10TH
CD RELEASE: The Few w/ Strikes Back & The PhailuresPop/Punk - 7pm - $7 adv/$10 door
SATURDAY, JUNE 11 TH
Foothold, Moodswings, Cacodyl Rock- 8pm - $7 adv/$10 door
WEDNESDAY, JUNE 15 TH Geeks Who Drink Trivia - 8:30pm - FREE
UPCOMING SHOWS
6/18 Charge The Atlantic 6/25 Comedy w/ Todd Masterson and Zach Noe Towers 7/2 Discrepancies
6691 Delmar
In the University City Loop
ver the past few years, audiences in and around the Grand Center arts district have gotten a generous taste of Brian Owens’ talent; his tributes to various soul legends — Marvin Gaye, Curtis Mayfield, Donny Hathaway — have had ’em dancing in the aisles of Powell Symphony Hall, the Sheldon and Jazz at the Bistro. A forceful and graceful soul singer who can navigate his upper register with elegance, Owens’ voice is an apt vessel to keep the soul tradition of the ’60s and ’70s alive. But when Owens turns his efforts to his own compositions, the results are no less striking. He is able to reference classic soul music with all the trappings of a vintage Stax Records release, but he refuses to hide his gospel roots under a bushel. On the recently issued Beautiful Day EP, Owens and his group the Deacons of Soul turn out four songs that, while rarely overtly religious, are always pointed heavenward. “To be honest with you, everything that I do is gospel, in a sense of where it comes from and where it’s pointing to,” says Owens. “And the themes that I find myself performing that are not overtly gospel have an air of being in a parable form. “I’m not the first artist to do stuff like that,” he continues. “I’ve been really listening to Mavis Staples and the Staple Singers — they never stopped being a gospel group. It gets to the intent, and then the content that comes from your intent.” On the title track, Owens soars over spry piano and communal handclaps as he sings of hopefulness against long odds. The song’s composition references a few of Owens’ soul forebears: The Staples’ godly optimism is present, as are Gamble and Huffs’ regal strings and Curtis Mayfield’s trebly guitar. “When I write my original stuff, I’m not sampling or copying, but I have influences that are in my head,” says Owens. The loose grooves and burbling funk of “So High” seek a similar kind of transcendence as the title track, though the street-band arrangement and turgid strings provide a darker, almost ominous tone. The song owes more to Marvin Gaye and his What’s Going On album, a touchstone that Owens also incorporates in his ongoing “Marvin Gaye Experience” show. For Owens, a Ferguson native, Gaye’s incorporation of social commentary amid smooth soul music is an inspiration. “The way Marvin talked about social issues was so ingenious and so beautiful. It’s the most beautifully written statement of social construct and humanity that we’ve ever had,” he says of What’s Going On. “I wanna write something that has that impact. “I think that activism and calls to action can take on very different narratives, some militant and some
314.862.0009 • www.ciceros-stl.com 42
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non-militant,” he continues. “That’s what music is for; music has to be the vehicle. That’s what I love about Curtis [Mayfield] — he could say some really heavy stuff, but the music was so good that you don’t really know it. Sometimes it’s good to hide these truths in a great melody; it gets into people’s spirits.” Beautiful Day does feature a cover song, though it doesn’t come from the soul catalogs Owens usually mines. “Desperation” is a Steppenwolf song from the rock band’s 1968 debut LP, and on his version Owens partners with his father, Thomas Owens, for a song of unity amid spiritual crisis. It’s a brilliant bit of crate-digging and a nod to Owens’ expansive definition of soul music. He’s also incorporated tributes to Johnny Cash in his repertoire, an inclusion that seems like an unusual choice. “They all know ‘That Old Rugged Cross!’” exclaims Owens when asked what unites artists like Cash, Gaye and Mayfield. “I broadly define soul music. You can define it as a genre, you can describe it as a method or way of interpreting music. Johnny Cash was a soul artist — a song like ‘Man in Black,’ there’s a lot of blues in that, and there’s certainly a lot of gospel. To me, the soul of soul is gospel.” The Beautiful Day EP is a teaser of a full-length to come later this year (the LP is already out in Japan, where Owens’ soul music has found an unexpected fan base). Owens decided to delay the U.S. release to go back into the studio and include tracks that reflect “a deeper representation of where I am as an artist,” he says. “This record is me finally accepting who I am as not being a liability in what I want to do,” says Owens. “I’m a church guy so much that it’s not a place I go to; it’s a part of who I am.” –Christian Schaeffer
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44
OUT EVERY NIGHT
THURSDAY 9
INSANE CLOWN POSSE: 6 p.m., $20-$25. Pop’s
AARON KAMM AND THE ONE DROPS: 10 p.m.,
Nightclub, 401 Monsanto Ave., East St. Louis,
free. Broadway Oyster Bar, 736 S. Broadway,
618-274-6720.
St. Louis, 314-621-8811.
JD MCPHERSON: w/ Nikki Hill, Renee Smith 8
Hurray for the Riff Raff
AVETT BROTHERS: w/ Brandi Carlile 7 p.m.,
p.m., $22-$25. Off Broadway, 3509 Lemp Ave.,
$44.50-$55. Chaifetz Arena, 1 S. Compton Ave.,
St. Louis, 314-773-3363.
8 p.m. Thursday, June 9.
St. Louis, 314-977-5000.
JMSN: 8 p.m., $10-$12. The Demo, 4191 Man-
CRYPTIC WISDOM: w/ Whiteout, Cartier Jones,
chester Ave, St. Louis, 314-833-5532.
John Boi, Travis Spade, Keylo Da Don, MyKha-
KIM MASSIE TRIBUTE TO PRINCE: w/ Brock
os 8 p.m., $10-$12. Fubar, 3108 Locust St, St.
Walker 7 p.m., $15. Beale on Broadway, 701 S.
Louis, 314-289-9050.
Broadway, St. Louis, 314-621-7880.
EUGENE JOHNSON & COMPANY: 7 p.m., $5. BB’s
LEROY JODIE PIERSON: 7 p.m., $5. BB’s Jazz,
Jazz, Blues & Soups, 700 S. Broadway, St. Louis,
Blues & Soups, 700 S. Broadway, St. Louis, 314-
314-436-5222.
436-5222.
HURRAY FOR THE RIFF RAFF: w/ Nikki Lane,
LOVE JONES “THE BAND”: 10 p.m., $10. BB’s Jazz,
Tommy Halloran’s Guerrilla Swing 8 p.m., $25-
Blues & Soups, 700 S. Broadway, St. Louis, 314-
$28. Off Broadway, 3509 Lemp Ave., St. Louis,
436-5222.
314-773-3363.
NEW ORLEANS SUSPECTS: w/ Funky Butt Brass
ILL NINO: w/ Bobaflex, Shattered Sun, Voodoo
Band 10 p.m., $15. Broadway Oyster Bar, 736 S.
Terror Tribe 7 p.m., $17-$18. The Firebird,
Broadway, St. Louis, 314-621-8811.
2706 Olive St., St. Louis, 314-535-0353.
SACRED LEATHER: w/ ThorHammer, Oracle 8
JOE METZKA BAND: 9:30 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-
[CRITIC’S PICK]
Twangfest, the long-running, multinight music showcase, was able to last 20 years by continuing to expand its definition of American roots music. What began as a whim dreamed up by some alt-country message board members has long since become a tip-sheet for new and established Americana, rock and soul outfits. Thursday night’s lineup is one of the
stronger in recent memory as Hurray for the Riff Raff headlines; the New Orleans-based project of Alynda Lee Segarra and company takes a broad view of American folk music and recasts familiar tropes with an eye toward inclusivity. Nashville’s Nikki Lane works more squarely in the outlaw country vein as 2014’s hardhitting All of Nothin’ made plain. Swing Low: St. Louis’ own Tommy Halloran’s Guerrilla Swing will warm the stage with a set of warm-blooded jazz and swing. –Christian Schaeffer
p.m., $7. The Firebird, 2706 Olive St., St. Louis,
Duck Room, 6504 Delmar Blvd., University City,
THE LUMINEERS: w/ Soak 7 p.m., $27-$42. Pea-
314-535-0353.
314-727-4444.
body Opera House, 1400 Market St, St. Louis,
436-5222.
THAT PURPLE STUFF: A TRIBUTE TO PRINCE: w/
PHAELEH: w/ Joker, 18andCounting, Dylan
314-241-1888.
THE LEONAS: w/ Sister Species, Hazel Ra 9 p.m.,
Nappy DJ Needles 10 p.m., $5-$10. 2720 Chero-
Thomas 9 p.m., $15-$25. 2720 Cherokee
PAUL SIMON: 7 p.m., $64.50-$144.50. The Fox
free. Schlafly Tap Room, 2100 Locust St., St.
kee Performing Arts Center, 2720 Cherokee St,
Performing Arts Center, 2720 Cherokee St, St.
Theatre, 527 N. Grand Blvd., St. Louis, 314-534-
Louis, 314-241-2337.
St. Louis, 314-276-2700.
Louis, 314-276-2700.
1111.
LIFE AS ONE: w/ The Warden, Freak Out 9 p.m.,
TUMPT: w/ Ghost Junction 9 p.m., free. Schlafly
ROCKY & THE WRANGLERS: 4 p.m., $5. BB’s Jazz,
PEARL EARL: w/ Abacaba, Art School, Babe
$5. Foam Coffee & Beer, 3359 Jefferson Ave., St.
Tap Room, 2100 Locust St., St. Louis, 314-241-
Blues & Soups, 700 S. Broadway, St. Louis, 314-
Lords 8 p.m., $5. Foam Coffee & Beer, 3359
Louis, 314-772-2100.
2337.
436-5222.
Jefferson Ave., St. Louis, 314-772-2100.
SCOTT H. BIRAM: 9 p.m., $13-$15. The Firebird,
PIANO SLIM MEMORIAL: 1 p.m., $10. BB’s Jazz,
2706 Olive St., St. Louis, 314-535-0353.
Blues & Soups, 700 S. Broadway, St. Louis, 314-
MAT WILSON AND FELIX REYES: 6 p.m., $5. Blues
Off Broadway, 3509 Lemp Avenue. $25. 314-7733363.
City Deli, 2438 McNair Ave., St. Louis, 314-773-
SATURDAY 11
8225.
ALEJANDRO ESCOVEDO: w/ The Waco Brothers 8
SHARON HAZEL TOWNSHIP: w/ Witchy, Flying
436-5222.
NATE STANIFORTH: 6:30 p.m., $15-$18. Blueberry
p.m., $22-$25. Off Broadway, 3509 Lemp Ave.,
House 9 p.m., free. Schlafly Tap Room, 2100
STEADY FLOW: w/ The Echo Base Quartet 8 p.m.,
Hill - The Duck Room, 6504 Delmar Blvd.,
St. Louis, 314-773-3363.
Locust St., St. Louis, 314-241-2337.
$6. The Bootleg, 4140 Manchester Ave., St.
University City, 314-727-4444.
ALEXANDER JEAN: 7 p.m., $15-$18. The Firebird,
SPORTS: w/ Lobby Boxer, Jr. Clooney 8 p.m.,
Louis, 314-775-0775.
POWDER RIVER: w/ Kenshiro’s, Mother Bear,
2706 Olive St., St. Louis, 314-535-0353.
$5. Foam Coffee & Beer, 3359 Jefferson Ave., St.
THE TOASTERS: 8 p.m., $13. Off Broadway, 3509
Comrade Catbox 9 p.m., $7. The Heavy Anchor,
BIG GEORGE BROCK & THE HOUSEROCKERS:
Louis, 314-772-2100.
Lemp Ave., St. Louis, 314-773-3363.
5226 Gravois Ave., St. Louis, 314-352-5226.
10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S.
SUMMER GRAS: w/ Funky Butt Brass Band, Al
WAVELESS: w/ Swear Beam, Veil 9 p.m., $7.
SWIM DEEP: w/ Vista Kicks 8 p.m., $8-$10. The
Broadway, St. Louis, 314-436-5222.
Holliday & The East Side Rhythm Band, The
CBGB, 3163 S. Grand Blvd., St. Louis.
Demo, 4191 Manchester Ave, St. Louis, 314-
BINGX: 8 p.m., $12. Fubar, 3108 Locust St, St.
Grooveliner, The Provels, Hazard To Ya Booty
THE ZEALOTS: w/ 360 Winnebago, LIttle
833-5532.
Louis, 314-289-9050.
6 p.m., $10. Old Rock House, 1200 S. 7th St., St.
Seizures, Skydweller 6 p.m., $10. Fubar, 3108
WILD ADRIATIC: 8 p.m., $10. Old Rock House,
BRANTLEY GILBERT: w/ Justin Moore, Colt Ford
Louis, 314-588-0505.
Locust St, St. Louis, 314-289-9050.
1200 S. 7th St., St. Louis, 314-588-0505.
6 p.m., TBA. Hollywood Casino Amphitheatre,
THE VIGILETTES: w/ Ex Oh Ex, Vandelions 9 p.m.,
I-70 & Earth City Expwy., Maryland Heights,
$7. The Heavy Anchor, 5226 Gravois Ave., St.
MONDAY 13
314-298-9944.
Louis, 314-352-5226.
BOTTOMS UP BLUES GANG: 6 p.m., $5. Broadway
FRIDAY 10 ANDY FRASCO: 9 p.m., $17. Blueberry Hill - The
CHIEFS: w/ Damned Holy Rollers, Tok, Pirate
Duck Room, 6504 Delmar Blvd., University City,
Signal 9 p.m., $8-$10. The Demo, 4191 Man-
SUNDAY 12
314-727-4444.
chester Ave, St. Louis, 314-833-5532.
CAVE STATES: 4 p.m., free. Vintage Vinyl, 6610
ELIOT SUMNER: 7 p.m., $10-$12. The Firebird,
BØRNS: 8 p.m., $18-$20. The Ready Room, 4195
FOOTHOLD: w/ the Moodswings, Cacodyl 8 p.m.,
Delmar Blvd., University City, 314-721-4096.
2706 Olive St., St. Louis, 314-535-0353.
Manchester Ave, St. Louis, 314-833-3929.
$7-$10. Cicero’s, 6691 Delmar Blvd., University
THE CLAYPOOL LENNON DELIRIUM: 8 p.m.,
AN INTIMATE EVENING WITH GOOD OLD WAR: 8
BEN DIESEL: w/ Mayor Sheriff, The Stars Go Out
City, 314-862-0009.
$26.50-$31. The Pageant, 6161 Delmar Blvd., St.
p.m., $15. The Demo, 4191 Manchester Ave, St.
9 p.m., $7. The Heavy Anchor, 5226 Gravois
HOUNDMOUTH: 8 p.m., $20-$22.50. The Pageant,
Louis, 314-726-6161.
Louis, 314-833-5532.
Ave., St. Louis, 314-352-5226.
6161 Delmar Blvd., St. Louis, 314-726-6161.
HEAT FROM THE STREETS: w/ GDB THE MAFIA
JOE PASTOR & LEGACY ENSEMBLE: 7 p.m., $5.
DOUBLIN DOWN 7.0: w/ Tim Zawada, Hal
JOECEPHUS AND THE GEORGE JONESTOWN MAS-
SpeedyEstl Big Dude Rosegoldman Legendary
BB’s Jazz, Blues & Soups, 700 S. Broadway, St.
Greens, Mister Melvin 9 p.m., $5. Blank Space,
SACRE: 8 p.m., $12. Fubar, 3108 Locust St, St.
Jilla Scott Morgan Skarekrow Twain Gee CA$H
Louis, 314-436-5222.
2847 Cherokee St., St. Louis.
Louis, 314-289-9050.
8 p.m., $10. Fubar, 3108 Locust St, St. Louis,
MRCH: w/ Inside Voice, Hands & Feet 9 p.m.,
THE FEW ALBUM RELEASE: 7 p.m., $7-$10.
THE JOY FORMIDABLE: w/ Drowners 8 p.m., $16-
314-289-9050.
$5. The Heavy Anchor, 5226 Gravois Ave., St.
Cicero’s, 6691 Delmar Blvd., University City,
$18. The Ready Room, 4195 Manchester Ave,
THE HOTELIER: w/ Told Slant, Loone 8 p.m., $12-
Louis, 314-352-5226.
314-862-0009.
St. Louis, 314-833-3929.
$14. The Demo, 4191 Manchester Ave, St. Louis,
RAMONA DEFLOWERED: w/ Johnny Saint And
A GRATEFUL BALL: w/ The Travelin’ McCoury’s,
LARRY GRIFFIN & ERIC MCSPADDEN: 7 p.m., $5.
314-833-5532.
The Princes Of Hell, Acorns to Oaks 9 p.m.,
Jeff Austin Band 7 p.m., $25-$30. Urban Chest-
BB’s Jazz, Blues & Soups, 700 S. Broadway, St.
LOVE JONES “THE BAND”: 8 p.m., $10. BB’s Jazz,
$10. Off Broadway, 3509 Lemp Ave., St. Louis,
nut Brewing Company, 4465 Manchester Ave,
Louis, 314-436-5222.
Blues & Soups, 700 S. Broadway, St. Louis, 314-
314-773-3363.
St. Louis, 314-222-0143.
M. WARD: 7 p.m., $26-$30. Blueberry Hill - The
436-5222.
44
RIVERFRONT TIMES
JUNE 8-14, 2016
riverfronttimes.com
Oyster Bar, 736 S. Broadway, St. Louis, 314621-8811.
Continued on pg 46
FUNK, SOUL
& HIPHOP
TRIBUTE TO
PRINCE FRIDAY JUNE 17
5P--12A 5P
50+ ARTISTS / 10 VENUES / 3 NIGHTS / ALL FREE
ST. LOUIS’ OWN SUMMER MUSIC CELEBRATION IN GRAND CENTER
LOCAL BEER TENTS LOCAL STREET ART FOOD & DRINK SPECIALS HAPPY HOUR 5P KICK-OFF ON STRAUSS PARK STAGE
DJ & BAND LINEUP! FRESH HEIR GOOD 4 THE SOUL DJ MAHF DJ MAKOSSA M.M.E. NATO CALIPH BLACK SPADE HAZARD TO YA BOOTY LYFESTILES AND DJ NEEDLES DJ SINIMAN PAIGE ALYSSA THERESA PAYNE ANDREW FRANKLIN & THE SUGAR KINGS
MUSIC
STRAUSS PARK
VENUES:
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OUT EVERY NIGHT Continued from pg 44 [CRITIC’S PICK]
Insane Clown Posse | PRESS PHOTO
Insane Clown Posse
It doesn’t matter if you aren’t a fan of the Insane Clown Posse’s music. It doesn’t matter if you don’t like rap; it doesn’t matter if you don’t like clowns. You should go to this show anyway. ICP events offer some of the most fascinating people-watching opportunities one can even imagine. Where else can you witness facepainted evil clowns blasting one another with off-brand soda? Just don’t be an asshole – remember,
this is their world; you are just an interloper. And who knows? Maybe if you keep an open mind you’ll even hear some music you just may enjoy (“Fuck the World” is a jammer, for real though). Incognito Costume Possibilities: You may think it is a fun idea to go to this show dressed as a juggalo, even though you aren’t one. While I’d recommend against it – they’ll sniff you out in no time at all – if you insist, know at least that you should not wear any kind of red nose. Dead giveaway for posers. You’ve been warned! –Daniel Hill
SLOWER: w/ Fatal Flaw, Blank Thomas 9 p.m.,
WEDNESDAY 15
$7. Foam Coffee & Beer, 3359 Jefferson Ave., St.
AARON KAMM AND THE ONE DROPS: w/ Brothers
Louis, 314-772-2100.
Gow 8 p.m., $10. 2720 Cherokee Performing Arts
SOULARD BLUES BAND: 9 p.m., $5. Broadway Oys-
Center, 2720 Cherokee St, St. Louis, 314-276-2700.
ter Bar, 736 S. Broadway, St. Louis, 314-621-8811.
BIG RICH & THE RHYTHM RENEGADES: 9 p.m., $5.
6 p.m. Friday, June 10. Pop’s Nightclub, 401 Monsanto Avenue, Sauget, Illinois. $20 to $25. 618-274-6720.
thur. JUNE 9 10PM Aaron Kamm and the One Drops
fri. JUNE 10 10PM The New Orleans Suspects Super Group with members of The Neville Bros., Dirty Dozen BB and James Brown’s band with Special Guests Funky Butt Brass Band
TUESDAY 14
SAT. JUNE 11 10PM Clusterpluck with special guest D.C. Cusanelli
sun. JUNE 12 2PM-8PM Killer Blues Festival
Fri. JUNE 17 10PM Grammy Award Winner Chubby Carrier and the Bayou Swamp Band
sat. JUNE 18 10PM Jakes Leg
736 S Broadway St. Louis, MO 63102 (314) 621-8811 46
RIVERFRONT TIMES
BOB “BUMBLE BEE” KAMOSKE: 8 p.m. Beale on
$10. The Demo, 4191 Manchester Ave, St. Louis,
Broadway, 701 S. Broadway, St. Louis, 314-621-
314-833-5532.
7880.
CATFISH AND THE BOTTLEMEN: 8 p.m., $22-$25.
CLUSTERPUCK: 7 p.m., free. Missouri Botanical
The Ready Room, 4195 Manchester Ave, St.
Garden, 4344 Shaw Blvd., St. Louis, 314-577-
Louis, 314-833-3929.
9400.
DEAN MINDERMAN & SOUL SUPPLIERS: 9 p.m.,
DANIEL WYCHE: w/ Eric Hall, Alex Cunningham,
$5. BB’s Jazz, Blues & Soups, 700 S. Broadway,
Joseph Hess 8 p.m., $5. Kismet Creative Center,
St. Louis, 314-436-5222.
3409 Iowa Ave., St. Louis, 314-696-8177.
DEVILDRIVER: w/ Holy Grail, Incite, Hemlock 7
FOREVERATLAST: w/ Give and Take 6 p.m., $10.
p.m., $20-$23. Fubar, 3108 Locust St, St. Louis,
Fubar, 3108 Locust St, St. Louis, 314-289-9050.
314-289-9050.
JOEY KNEISER AND KELLY SMITH: w/ Matt Woods,
JAMAICA LIVE TUESDAYS: w/ Ital K, Mr. Roots, DJ
Beth Bombara 7 p.m., free. Off Broadway, 3509
Witz, $5/$10. Elmo’s Love Lounge, 7828 Olive
Lemp Ave., St. Louis, 314-773-3363.
Blvd, University City, 314-282-5561.
SALES: 8 p.m., $10-$12. The Demo, 4191 Man-
WAXAHATCHEE: w/ Allison Crutchfield 8 p.m.,
chester Ave, St. Louis, 314-833-5532.
Louis, 314-773-3363.
riverfronttimes.com
Louis, 314-436-5222.
CARTER HULSEY: w/ Ryan Reid, Gooding 8 p.m.,
$12-$15. Off Broadway, 3509 Lemp Ave., St.
JUNE 8-14, 2016
BB’s Jazz, Blues & Soups, 700 S. Broadway, St.
THIS JUST IN [CRITIC’S PICK]
37TH ANNUAL ST. LOUIS PRIDEFEST SOLDIERS MEMORIAL DOWNTOWN ST. LOUIS
JUNE 24 - 26, 2016
Paul Simon. | MARK SELINGER
Paul Simon
We may never witness a Simon and Garfunkel reunion – Paul says it’s never going to happen; Art implies he’d rather sing with Satan himself – but really who needs it? As enduring as his baby-boom songs may be, the music Simon has made as a solo artist trumps it all. And it does so primarily through rhythmic power. The unstoppable Graceland, the polymorphous Rhythm of the Saints and the
transcendent So Beautiful or So What unleash African and African-American rhythms and refresh Simon’s lyrical genius. And on the newly released Stranger to Stranger he takes rhythm as far as he can, collaborating with Italian electronic music-maker Clap! Clap!, and creating his most playful and experimental album to date. Hometown Home Run: Simon’s best new song is titled “Cool Papa Bell,” after the St. Louis baseball legend of the same name. You can bet you’ll hear it live for the first time this week. –Roy Kasten
THIS JUST IN
Pageant, 6161 Delmar Blvd., St. Louis, 314-726-
‘68: W/ XXI, LifeWithout, Conman Economy,
6161.
Skydweller, Toddler Fight Club, Sat., July 2, 6
ANDERSON, RABIN & WAKEMAN: Wed., Nov. 9, 8
p.m., $12-$15. Fubar, 3108 Locust St, St. Louis,
p.m., $65-$100. The Fox Theatre, 527 N. Grand
314-289-9050.
Blvd., St. Louis, 314-534-1111.
AGENT ORANGE: W/ Counterpunch, Sun., Sept.
ANGEL OLSEN: W/ Rodrigo Amarante, Fri., Sept.
18, 7 p.m., $12-$15. Fubar, 3108 Locust St, St.
30, 8 p.m., $15. Off Broadway, 3509 Lemp Ave.,
Louis, 314-289-9050.
St. Louis, 314-773-3363.
AL HOLLIDAY & THE EAST SIDE RHYTHM BAND: W/
APARNA NANCHERLA: Sun., July 10, 8 p.m., $12.
Major & The Monbacks, Sat., July 30, 9 p.m.,
The Firebird, 2706 Olive St., St. Louis, 314-535-
$10. Old Rock House, 1200 S. 7th St., St. Louis,
0353.
314-588-0505.
AUBRIE SELLERS: Thu., July 7, 8 p.m., $10. Off
ALANNA ROYALE: Fri., July 1, 9 p.m., free. Off
Broadway, 3509 Lemp Ave., St. Louis, 314-773-
Broadway, 3509 Lemp Ave., St. Louis, 314-773-
3363.
7 p.m. Sunday, June 12. The Fabulous Fox Theatre, 527 North Grand Boulevard. $64.50 to $144.50. 314-534-1111.
PRIDEFEST 2016 IS PRESENTED BY
3363. AMOS LEE: Tue., Sept. 27, 8 p.m., $49.50. The
Continued on pg 48
riverfronttimes.com
JUNE 8-14, 2016
RIVERFRONT TIMES
47
FIND ANY SHOW IN TOWN...
erts/
PHOTOGRAPHER: TODD OWYOUNG BAND: SLEEPY KITTY
R R 48
THIS JUST IN Continued from pg 47 AUSTIN JONES: W/ Trophy Wives, Run 2 Cover,
LUKAS GRAHAM: Mon., Jan. 16, 8 p.m., $26.50.
Curses, Fri., Sept. 16, 7 p.m., $18-$20. The Fire-
The Pageant, 6161 Delmar Blvd., St. Louis,
bird, 2706 Olive St., St. Louis, 314-535-0353.
314-726-6161.
BJ BARHAM: Sun., Aug. 28, 7 p.m., $15. Off Broad-
MARGO PRICE: Sat., Oct. 29, 8 p.m., $15. Old
way, 3509 Lemp Ave., St. Louis, 314-773-3363.
Rock House, 1200 S. 7th St., St. Louis, 314-588-
BLOODLINE: W/ Morningside, Mon., Aug. 15, 6
0505.
p.m., $7-$10. Fubar, 3108 Locust St, St. Louis,
MARTY STUART AND HIS FABULOUS SUPERLA-
314-289-9050.
TIVES: W/ Cory Branan, Wed., Aug. 3, 8 p.m.,
BOB MOULD BAND: Wed., Sept. 14, 8 p.m., $25.
$35-$45. Off Broadway, 3509 Lemp Ave., St.
Old Rock House, 1200 S. 7th St., St. Louis, 314-
Louis, 314-773-3363.NATE MOORE: Fri., July 22,
588-0505.
8 p.m., $10. Fubar, 3108 Locust St, St. Louis,
BRONCHO: W/ American Wrestlers, Thu., Aug.
314-289-9050.
4, 8 p.m., $15. Off Broadway, 3509 Lemp Ave.,
OAK STEEL & LIGHTNING EP RELEASE: W/ The
St. Louis, 314-773-3363.
Dock Ellis Band, Woodshine, Alsop Grossi &
BURN HALO: Sun., Aug. 21, 6 p.m., $12-$14.
Halley, Sat., June 25, 8 p.m., $12. Old Rock
Fubar, 3108 Locust St, St. Louis, 314-289-9050.
House, 1200 S. 7th St., St. Louis, 314-588-0505.
THE CACTUS BLOSSOMS: Sun., July 17, 8 p.m.,
THE PEACH KINGS: W/ Mobley, Fri., July 22, 8
$10-$12. Off Broadway, 3509 Lemp Ave., St.
p.m., $8-$10. The Firebird, 2706 Olive St., St.
Louis, 314-773-3363.
Louis, 314-535-0353.
THE COATHANGERS: Tue., July 19, 8 p.m., $12.
PIGPEN THEATRE CO.: Tue., July 26, 8 p.m., $15.
Off Broadway, 3509 Lemp Ave., St. Louis, 314-
Off Broadway, 3509 Lemp Ave., St. Louis, 314-
773-3363.
773-3363.
DOLLY PARTON: Sat., July 30, 7 p.m., $55-$195.
PJ MORTON OF MAROON 5: Fri., June 24, 8 p.m.,
Scottrade Center, 1401 Clark Ave., St. Louis,
$20. Lux, 2619 Washington Ave., St. Louis,
314-241-1888.
314-531-2920.
ELVIS DEPRESSEDLY: W/ Teen Suicide, Nicole
POUYA: W/ Ramirez, Germ, Shakewell, Tue.,
Dollanganger, Sun., Aug. 28, 7 p.m., $13. The
Aug. 16, 8 p.m., $20-$50. Fubar, 3108 Locust St,
Firebird, 2706 Olive St., St. Louis, 314-535-0353.
St. Louis, 314-289-9050.
AN EVENING OF STARS: W/ Ledisi, Sun., July 31, 7
PRETTY LITTLE EMPIRE: W/ Joan of Dark, Fri.,
p.m., $45-$120. The Sheldon, 3648 Washington
Aug. 19, 9 p.m., $10. Off Broadway, 3509 Lemp
Blvd., St. Louis, 314-533-9900.
Ave., St. Louis, 314-773-3363.
FAIRWAY (FAREWELL SHOW): W/ Jet Black Alley
PROPHETS OF RAGE: Sun., Sept. 4, 7 p.m.,
Cat, Sleep Talk, Ardent, Z Major, Thu., June
$35-$89.50. Hollywood Casino Amphitheatre,
23, 6 p.m., $10-$12. Fubar, 3108 Locust St, St.
I-70 & Earth City Expwy., Maryland Heights,
Louis, 314-289-9050.
314-298-9944.
FLAMINGO NOSEBLEED: W/ The Haddonfields,
THE RAGING NATHANS: W/ WONK UNIT, Sat., Oct.
Captain Dee and The Long Johns, Dangerbird,
15, 7 p.m., $10. Fubar, 3108 Locust St, St. Louis,
Heel Turn, Sat., Aug. 13, 7 p.m., $10. Fubar,
314-289-9050.
3108 Locust St, St. Louis, 314-289-9050.
SADISTIC RITUAL: W/ Sable Bedlam, Beyond De-
FREE PARKING: W/ Phranklyn Project, The Phai-
th, Hellevate, Fri., July 29, 7 p.m., $12. Fubar,
lures, RumLuck, Sat., July 23, 8 p.m., $8. Fubar,
3108 Locust St, St. Louis, 314-289-9050.
3108 Locust St, St. Louis, 314-289-9050.
SCHOOL OF ROCK ALLSTARS: Wed., July 27, 7
THE HEAD AND THE HEART: Mon., Oct. 3, 8 p.m.,
p.m., $10. Old Rock House, 1200 S. 7th St., St.
$40-$48. The Pageant, 6161 Delmar Blvd., St.
Louis, 314-588-0505.
Louis, 314-726-6161.
THE LION’S DAUGHTER: W/ InAeona, Wed., July
HOBBS’ ANGEL OF DEATH: W/ Scythian, Bastard,
6, 7 p.m., $10-$12. Fubar, 3108 Locust St, St.
Animated Dead, Satan’s God, Tue., Sept. 6, 7
Louis, 314-289-9050.
p.m., $20. Fubar, 3108 Locust St, St. Louis, 314-
VIOLENTOR: W/ Peucharist, Tue., Aug. 9, 7 p.m.,
289-9050.
$12. Fubar, 3108 Locust St, St. Louis, 314-289-
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!
JEREMIAH JOHNSON BAND CD RELEASE: W/ Tom
9050.
Ray, Frank Bauer, Nate Hershey, Sat., July 2, 7
WHITFORD / ST. HOLMES: Tue., July 26, 8 p.m.,
p.m., $20. Off Broadway, 3509 Lemp Ave., St.
$25. Old Rock House, 1200 S. 7th St., St. Louis,
Louis, 314-773-3363.
314-588-0505.
JOHN MORELAND: W/ Christian Lee Hutson, Sat.,
WHITNEY: W/ Michael Rault, Mon., July 18, 8
July 16, 9 p.m., $15-$17. Off Broadway, 3509
p.m., $10-$12. Off Broadway, 3509 Lemp Ave.,
Lemp Ave., St. Louis, 314-773-3363.
St. Louis, 314-773-3363.
www.riverfronttimes.com/concerts/
The Firebird, 2706 Olive St., St. Louis, 314-535-
RIVERFRONT TIMES
JUNE 8-14, 2016
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JUNIOR BOYS: Tue., Sept. 27, 8 p.m., $15. Old Rock House, 1200 S. 7th St., St. Louis, 314-5880505. KEVIN BOWERS NOVA CD RELEASE: Thu., Aug. 11, 8 p.m., $10. Off Broadway, 3509 Lemp Ave., St. Louis, 314-773-3363. KING LIL G: Sat., Aug. 6, 8 p.m., $20-$25. Fubar, 3108 Locust St, St. Louis, 314-289-9050. KURT BRAUNOHLER: Fri., Aug. 5, 8 p.m., $15-$18. 0353.
SAVAGE LOVE DICKS DELUXE BY DAN SAVAGE Hey, Dan: I’m a 33-year-old straight guy with a small dick. I have a girlfriend of seven years. When we met, I was really insecure and she had to spend a lot of time reassuring me that it didn’t matter — she loved my dick, sex with me was great, it was big enough for her, etc. I broke up with her once because I didn’t think she should settle for someone so small. After some hugely painful nights and another near-breakup, we are in a good place now. We have lots of great vanilla sex, we love being together, and we recently got engaged. After everything I put her through — and I put her through hell — how do I tell her that being mocked (and worse) for having a small dick is the only thing I ever think about when I masturbate? I want a woman to punish me emotionally and physically for having such a small and inadequate dick. I’ve never been able to bring myself to tell anyone about my kink. How do I tell this woman? I basically bullied her into telling me that my dick was big enough—and now I want her to tell me it isn’t big enough. But do I really want her to? I’ve never actually experienced the kind of insulting comments
and physical punishments that I fantasize about. What if the reality is shattering? Tense In New York “I was in a similar situation years ago with my then-girlfriend, nowwife,” said TP. “I was too chicken to tell her about my fetish and worried she wasn’t satisfied with my size, so I didn’t want to bring more attention to it. I eventually went to a pro Domme and felt guilty about doing it behind my girlfriend’s back.” TP, which stands for Tiny Prick, is a prominent member of the SPH (small penis humiliation) fetish scene. (He blogs at fatandtiny. blogspot.com.) According to him, TINY, you’ve already laid the groundwork for the successful incorporation of SPH into your sex life: You’re having good, regular and satisfying vanilla sex with your partner. “TINY’s partner is happy with their sex life, so he knows he can satisfy a woman,” said TP. “That will help to separate the fantasy of the humiliation from the reality of their strong relationship. I know if I wasn’t having good vanilla sex, it would be much harder to enjoy the humiliation aspect of SPH.” When you’re ready to broach the subject with the fiancée, TINY, I would recommend starting with both an apology (“I’m sorry again for what I put you through”) and a warning (“What I’m about to
say is probably going to come as a bit of a shock”). Then tell her you have a major kink you haven’t disclosed, tell her she has a right to know about it before you marry, tell her that most people’s kinks are wrapped up with their biggest fears and anxieties ... and she’ll probably be able to guess what you have to tell her before you can get the words out.
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Hey, Dan: I have a health question/problem. About a week and a half ago, the wife and I had sex. Being the genius that I am, I got the idea to put two condoms on because I thought it would help me last longer. (Spoiler alert: It didn’t.) The problem is, I guess the double condoms were too tight, and climaxing hurt quite a bit. It’s like I duct-taped the tip of my penis shut and tried to blow a load. Even days later, the left side of my penis head was really sensitive and it hurt. I’m a little worried I may have hurt my prostate or urethra or something. From my basic googling, there doesn’t seem to be any medical advice about this. Help please? Penile Problem Possessor
said Dr. Keith D. Newman, a urologist and a fellow of the American College of Surgeons. In other words, PPP, somehow those two condoms conspired to dam up your piss slit, and the force of your impeded ejaculation damn near blew off your cock. “We sometimes see a similar phenomenon occur with people who wear constriction bands or cock rings that are too tight and try to either urinate or ejaculate with the ring on,” said Dr. Newman. “The result is a traumatic stretch of the urethra and microscopic tears in the lining of the urethra (mucosa). This disruption in the lining allows for electrolytes in the urine (particularly potassium) to stimulate the nerves in the layer beneath the lining (submucosa), thereby creating a chronic dull ache, such as PPP describes.” Your urethra should heal just fine in time — within a couple of weeks — but there are meds and other interventions if you’re still in pain a few weeks from now. “The bottom line is never impede urination or ejaculation by obstructing the urethra,” said Dr. Newman.
“The application of an external constriction to the penis did potentially cause the pressure in the urethra to rise, possibly traumatically, during ejaculation,”
On the Lovecast: It’s everyone’s favorite half-mulleted, hilarious lesbian…Cameron Esposito! Listen at savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter
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100 Employment 105 Career/Training/Schools THE OCEAN CORP. 10840 Rockley Road, Houston, Texas 77099. Train for a new career. *Underwater Welder. Commercial Diver. *NDT/Weld Inspector. Job Placement Assistance. Financial Aid avail for those who qualify 1.800.321.0298
110 Computer/Technical Senior SAP EWM Analyst Sigma-Aldrich Corp. in St. Louis, MO seeks a Senior SAP EWM Analyst to design and configure the SAP WMM/MM SAP EWM Systems to run company’s supply chain business processes. Bach’s + 5 yrs. exp. or Master’s + 3 yr. exp. req’d. To apply, submit resume to: Don Zundel, Sr. Manager, HR Global Service Delivery, Sigma-Aldrich, Corp., 3050 Spruce St., St. Louis, MO 63103.
120 Drivers/Delivery/Courier ! Drivers Needed ASAP ! Requires Class E, B or A License. S Endorsement Helpful. Must be 25 yrs or older. Will Train. ABC/Checker Cab Co CALL NOW 314-725-9550
155 Medical Research Studies Associate Director (R&D – Generic Products) Oversee chem. research in pharm. lab. for des./dev. of generic equiv. drugs, incl. oral solid dosage form equiv. U.S. Ph.D. (Pharmacy) degree or foreign equiv. req’d. 2 years’ exp. in research pos’n(s) w/ pharm. company(ies) w/ des./ dev. of generic equiv. req’d. Prior exp. must incl. des./ dev. of oral solid dosage form generic equiv. S&B Pharma Inc., d/b/a Alkem Laboratories, Fenton, MO Send resumes to: Recruiting, PO Box 641152, Chicago, IL 60664.
167 Restaurants/Hotels/Clubs
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190 Business Opportunities Avon Full Time/Part Time, $15 Fee. Call Carla: 314-665-4585 For Appointment or Details Independent Avon Rep.
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530 Misc. Services WANTS TO purchase minerals and other oil & gas interests. Send details to P.O. Box 13557, Denver, Co 80201
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www.LiveInTheGrove.com 320 Houses for Rent NORTH ST. LOUIS COUNTY 314-579-1201 or 636-939-3808 2, 3 & 4BR homes for rent. eatonproperties.com. Sec. 8 welcome NORTH-CITY! $500! 314-309-2043 No Deposit! Clean 2 bedroom house, walkout finished basement, hardwood floors, central air, fenced yard! rs-stl.com RHJYL OVERLAND! $750 314-309-2043 Oversized 3 bed, 2 bath house, full basement, family room, central air, hardwood floors, garage, loaded kitchen, large yard! rs-stl.com RHJYO SOUTH-CITY! $550 314-309-2043 Nice 1 bedroom house, central air, cute breakfast nook, all kitchen appliances, hardwoods, lawn care included, pets! rs-stl. com RHJYP SOUTH-CITY! $575 314-309-2043 All-brick 2 bedroom house, full basement, fenced yard, hardwood floors, kitchen appliances, pets welcome, w/d hookups! rs-stl.com RHJYQ SOUTH-CITY! $600 314-309-2043 Updated 2 bedroom house, full basement, fenced yard, kitchen appliances, central heat/air, hardwood floors, pets ok! rs-stl.com RHJYM SOUTH-CITY! $750 314-309-2043 Remodeled 3 bed, 1.5 bath house, finished basement, central air, hardwood floors, fenced yard, dishwasher, pets, 2 much 2 list! rs-stl.com RHJYN University-City! $750 314-309-2043 Newly updated brick 3 bedroom house, big basement, central air, pets, off street parking, section 8! rs-stl.com RHJYR
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