MARCH 29–APRIL 4, 2017 I VOLUME 41 I NUMBER 13
The Best Bobbleheads A Vegetarian’s Guide on Offer for Cards Fans to Staying Fueled Up at This Year Busch Stadium
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THE LEDE
“One of the questions people ask is, ‘How long is the wait?’ And I have a line for that. I’m going to say, ‘Shortly, so please don’t go home.’
PHOTO BY THEO WELLING
“And I’ll tell you why. Because when you give them a time, pin-point, they’ll hold you accountable. If you and your wonderful wife come in here and you say, ‘Sly, how long?’ and I say, ‘20 minutes’ and it becomes 30 minutes, it’s a possibility you’re going to leave — ‘Sly, you told me 30.’ Instead I told you ‘shortly.’ You can stay or you can go. But I’m just glad you walked in the door.” —-SylveSter “Sly” Bell, photographed at goody goody diner on March 17 riverfronttimes.com
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TABLE OF CONTENTS FEATURE
13.
Hardball
Baseball’s top prospects come to south county to master one of the sport’s most difficult skills: How to stay in the game Written by
ERIC BERGER
Cover photo by
STEVE TRUESDELL
NEWS
CULTURE
DINING
MUSIC
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29
41
55
The Lede
Calendar
Your friend or neighbor, captured on camera
Seven days worth of great stuff to see and do
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36
Soccer Stadium? “Maybe”
Film
Magic and Loss
Christian Schaeffer reports on Magic City’s new (and final) LP, recorded with the late Anne Tkach
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58
When it comes to Prop 1 and Prop 2, even the bill’s sponsor isn’t sure how she’s voting
Robert Hunt revisits 1984 and sees an intriguing new riff on Purple Rain filmed in modern-day Africa
Alisha Blackwell found her passion through a bottle of red
Bagheera Shooting Rockets Toward the Sun
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Up-Down Gets a Thumbs Down
Some neighbors are resisting the arcade bar concept proposed for the old Herbie’s site
Dance
Elizabeth Semko previews MADCO’s new show, which was inspired by the civil rights movement
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Take Me Out to the Ball Game
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Galleries
Art on display in St. Louis this week
Our special issue celebrates the Cardinals’ return to Busch Stadium. Play ball! 6
Brave New World
Cheryl Baehr has a rave for Nixta, a new spot that may defy your expectations about Mexican cuisine
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Side Dish
First Look
Homespun
Out Every Night
Johnny Fugitt checks out Snax Gastrobar, while Sarah Fenske visits the new and improved Chase Club at the Chase Park Plaza
The best concerts in St. Louis every night of the week
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This week’s new concert announcements
Design
Now open in Cortex, Vicia shows off its striking good looks
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This Just In
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NEWS
9
On Soccer Stadium, Sponsor Says ‘Maybe’ Written by
DANNY WICENTOWSKI
W
hen you’re the alderwoman who sponsored a $60 million financing bill that could bring a soccer stadium to downtown St. Louis, you’re naturally going to find yourself in front of curious city residents who want to know: Is this deal good or is it crap? For Alderwoman Christine Ingrassia — whose ward, the sixth, includes Lafayette Square, Fox Park and parts of Tower Grove East, as well as the proposed stadium site adjacent to Union Station — the question is a tricky one. The stadium deal requires that voters approve two propositions on the coming April 4 citywide ballot, and so Ingrassia is making the rounds to discuss the particulars. But at a forum hosted last week by 15th Ward Democrats, Ingrassia responded to one audience member’s query with a combination of realpolitik and cagey ambivalence. As recorded in a Facebook live video, a member of the audience asked Ingrassia why funding the stadium is more important than supporting other city services. It’s a question she’s been asked many times before, and she was ready with an answer. “I do not feel that is my question to answer,” Ingrassia began. “I felt my job was, since I knew this bill would move forward regardless of whether or not I sponsored it, was to bring the most responsible financial plan I could to the voters of the city of St. Louis.” The audience member fired back with a clarification. As a city resident herself, would Ingrassia be voting for Prop 2, which would trigger the city’s $60 million investment in the stadium construction? Continued on pg 10 “I haven’t
Up-Down’s arcade concept has found success in Minneapolis (shown), Kansas City and Des Moines. | ALISON MARSHALL
Arcade Bar Plans Draw Fire in the CWE
L
ast month, owners of the arcade bar concept Up-Down, which has thrived in Des Moines, Minneapolis and Kansas City, began the process of applying for a liquor license to open their fourth location in the Central West End. But even though the site they’re eyeing on Euclid, formerly the home of Herbie’s Vintage 72, has sat vacant since October, and even though co-owner Josh Ivey and his partners have promised to invest serious money into the spot, they haven’t been greeted as heroes. Instead, a vocal faction of neighbors is actively trying to block their arrival. On March 8, longtime resident Liz Heller took out paperwork to formally
challenge Up-Down’s request for a liquor license, according to city records. Heller and her allies now hope to persuade neighbors to oppose the arcade bar — and their power is real. Unless Ivey can persuade 51 percent of property owners and 51 percent of a combination of registered voters and business owners to sign the petition in support of his license, his plans are dead on arrival. To Heller, the opposition comes down to one simple fact: Although it will serve a curated menu of pizza by the slice and salads, Up-Down is at heart a bar. “It isn’t a food place,” she says. “It’s really a bar. In the history of the West End, there have been plenty of restaurants that have come in — and we haven’t objected to any, in fifteen to twenty years. They were young places, but they were family-friendly — places you could go in and talk.” riverfronttimes.com
Of the Up-Down owners, Heller says, “Quite frankly, I don’t think they understand where they were going or what they were getting themselves into. The Central West End is not an entertainment district.” To Ivey’s landlord, Pete Rothschild of Red Brick Management, the opposition is infuriating. He’s angry that Heller seems certain that he could land another fine-dining restaurant if only he were willing to invest in the site — something he says is not the least bit true. The building, he says, is simply too large for restaurants trying to make it in today’s crowded market. Ultimately, he’s become convinced that neighbors won’t be happy unless he can somehow conjure up another Balaban’s, the beloved landmark restaurant that predated Herbie’s. Of the neighbors opposing the
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ACAMPROSATE MADE ME QUIT SMOKING
SOCCER STADIUM Continued from pg 9
To see how this could be possible view abstract below from Cedars-Sinai LA Acamprosate is used in the treatment of alcoholism; however, there is little information on its effects on nicotine addiction. The objective of this study was to determine whether acamprosate inhibits cue-induced relapse to nicotine self-administration in the rat. Rats were trained to press a lever to obtain intravenous infusions of nicotine (0.03 mg/kg/infusion) that were associated with the illumination of a cue light. After 29 days of nicotine self-administration sessions, extinction sessions were run during which responses on the active lever did not result in the infusion of nicotine or the illumination of the cue light. After 14 days of extinction sessions the rats received twice-daily injections of saline or acamprosate (50, 100, or 200 mg/kg/intraperitoneally). Seven days later the response to the previously conditioned cue was tested, but only saline infusions were delivered. Pretreatment with all doses of acamprosate reduced responding to a cue previously associated with nicotine. The lowest dose of acamprosate (50 mg/kg) reduced responding for the cue previously associated with nicotine infusions, but had no effect on food-rewarded behavior. These results show that acamprosate reduced cue-induced nicotine-seeking behavior and suggest that acamprosate might be efficacious in treating nicotine addiction in humans. Source: Pechnick RN, Manalo CM, Lacayo LM, Vit JP, Bholat Y, Spivak I, Reyes KC, Farrokhi C. Department of Psychiatry and Behavioral Neurosciences, Cedars-Sinai Medical Center Brain Research Institute, UCLA, Los Angeles, California, USA June 22, 2011
PLEASE VISIT MY WEBSITE CAMPRALQUITSMOKING.COM ADVOCATE FOR MEDICAL RESEARCH TODAY. JOIN ME AND OVER 110K TWITTER FOLLOWERS FOLLOW ME ON TWITTER
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The proposed stadium would be in Midtown. | COURTESY HOK made up my mind yet,” Ingrassia said. Ingrassia’s hesitance to throw her full weight behind the measure shouldn’t come as a surprise. After all, it was Ingrassia who very nearly killed the stadium financing plan in January because the actual finances were, in her words, “sloppy” and “not-well-looked-at.” Since then, of course, the stadium plan underwent revisions that knocked $20 million from the original $80 million requested by the ownership group known as SC STL. After an improbable series of events, the bill was revived in its current form and subsequently survived a Board of Aldermen vote in February. All that’s left now is for city residents to weigh in. “Voters have a tough choice, and I am no exception,” Ingrassia says. “They must weigh the benefits of having all the positives soccer can bring to the city and region versus adding funding to important needs, like affordable housing, public safety and health-related issues.” The deal requires voters to approve two propositions featured on the April 4 ballot. The first, a sales tax increase to fund a MetroLink expansion, would also trigger an increase in a tax that businesses pay on out-of-state purchases. The second proposition would divert $50 million of that new revenue to build the stadium. Now, with just days remaining before the vote, SC STL is following through on its promise to spend more than $1 million to market the deal to city residents. The cam-
Lyda Krewson “hopes to arrange “conversations with leaders of MLS soccer to see if I can figure out a different structure.” paign is also bolstered by a genuinely enthusiastic soccer fan base. The stadium deal also landed a recent endorsement (of sorts) from Alderwoman Lyda Krewson, the Democratic nominee for mayor, who told St. Louis Public Radio last week that she “thinks” she will support Prop. 2. Krewson, however, added a caveat: She’d prefer that the city not own the stadium outright, and she hopes to arrange “conversations with leaders of MLS soccer to see if I can figure out a bit of a different structure” — likely hoping to avoid the sort of ownership scheme that left the city on the hook for upgrades at Scottrade Center. The soccer stadium has even the St. Louis Post-Dispatch divided. Columnist Ben Hochman penned perhaps the most impassioned defense of the deal, while the newspaper’s editorial board opposes both Proposition 1 and Proposition 2. Even backers concede the outcome could be close. That means every vote counts — even its sponsor’s. n
UP-DOWN Continued from pg 9 project, he grouses, “These people belong in nursing homes, not the Central West End.” A meeting last Wednesday, hosted by Ivey and his partners at Mary Ann’s Tea Room, stretched nearly three hours. Joe Edwards and Kim Tucci came at Rothschild’s request to speak on behalf of the Up-Down. Alderwoman Lyda Krewson, who is all but certain to be elected mayor in two weeks, even made an appearance, although she came late and left early. Things grew heated, with neighbors alleging that both parking and their eardrums are sure to suffer. “It felt very much like ‘stay off my lawn,’” says Jon Franko, a founder of the Guerilla 76 marketing agency, which is based across the street from the Up-Down site. He also lives in the neighborhood. “I don’t know what business would go into that location that wouldn’t require parking.” Adam Tilford, co-owner of Mission Taco Joint, offered a staunch defense of his prospective new neighbor. Tilford, who is opening a location in Kansas City, says he got to check out Ivey’s bar there, and came away convinced it will be a great addition to the block. “People coming to bars like this aren’t looking for a late-night party thing,” he says. “They’re 25 to 40-year-olds — people like myself. They want to go out to dinner at a nice place, play video games and have a couple beers. And this is the perfect neighborhood for that.” Many of Up-Down’s customers, he believes, are people who will already be in the neighborhood for dinner at Mission Taco Joint or Pi or the Tavern; having Up-Down just means they’ll stick around a bit longer. As for Ivey, he and his partners are vowing to do whatever it takes to appease the neighbors. When they got complaints about the beer garden they were planning to back up to McPherson, they offered to move it. Hearing about parking concerns, they’re talking about acquiring designated spots in the neighboring lot. “I just hope people will be open-minded,” Ivey says. (His website, updownbuzz. com, makes a case for his restaurant in greater detail.) “I want to be a good neighbor. When people had ideas of what we could do to fix things, we were listening.” Still, to some extent, Ivey is at a distinct disadvantage. At this point, Up-Down’s opponents are playing defense — all they have to do to win (at least a temporary victory) is to run out the clock. When Ivey and his
partners took out their liquor license paperwork at City Hall on February 23, they started the countdown; if they can’t get a plurality to sign in support within 45 days, they have to either give up, or start all over again. And as much as the Central West End may strike outsiders as a thriving nightlife district, it’s proven the Waterloo for some bar owners in the past. The site of the former Pasta House on Euclid, for example, was vacant for years before El Burro Loco finally got the go-ahead to open there in 2014, and it wasn’t for lack of interest from a few bar-based concepts.
For Rothschild, a long vacancy would be a real waste — especially when he has a great concept beloved by its neighbors in other cities all ready to move in. But Heller is insistent that it’s wrong for the neighborhood. “We’re not the Grove,” she says. “And we’re not Wash Ave. Those places are very different, and they’re in neighborhoods very different than the Central West End. For one thing, they don’t have very expensive homes and multi-million dollar residences in spitting distance.” —Sarah Fenske
riverfronttimes.com
“These people belong in nursing homes, not the Central West End.”
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bybrunorichards/flickr
Clayton WE SUPPORT THE
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bypaulsableman/flickr
Hardball
Baseball’s top prospects come to south county to master one of the sport’s most difficult skills: How to stay in the game
Brian Delunas’ medical problems inspired his approach to training younger players. | STEVE TRUESDELL
B
rian Delunas, then a volunteer coach at the University of Missouri, was playing catch in 2006 when the vision in his left eye went out — suddenly he could see nothing from it. The pitcher he was working with was throwing hard, “with a ton of movement,” Delunas recalls. “I realized, there is no way I can do this.” Faced with serious medical issues earlier in his life, Delunas had not wavered. But now, not wanting to share too many details, he told the head coach simply that he had a doctor’s appointment and drove back to St. Louis with limited vision. Staff at the Washington University Medical Center measured his blood pressure and found that it was 220 over 160 — a normal
BY ERIC BERGER reading is 120 over 80 — and that he had seven percent kidney function. Delunas had once been a competitive pitcher. As a sophomore at Oakville High School, a Chicago Cubs scout measured his velocity and said it was 87 to 88 mph — the kind of reading that explains why it’s a Chicago Cubs scout telling you your velocity. “I would come in relief and had a strong arm and threw hard and threw well,” Delunas says. “But I didn’t know what I was doing in terms of pitching; I was just throwing it.” And at the beginning of his junior year, he tore his rotator cuff. “I couldn’t pick my arm up for what seemed like forever. My arm was just dangling by my side,” he says. He had two options: surgery, or rest and rehab. He opted for the riverfronttimes.com
latter and got back to throwing in the mid-80s. He was able to pitch at Missouri Baptist University and earned all-conference honors in 1998, but shoulder issues would still flare up now and then. After graduating, he continued to pitch in a men’s league. The chances of making it to a high level at that point were just shy of none, but he tried to keep pitching through the pain with the help of twelve Aleve daily — even though you’re not supposed to take more than three of the anti-inflammatory pills in 24 hours. “I loved baseball so much that it cost me an organ,” he says. “I loved baseball so much that I was willing to do whatever it took — legally — to continue to play,” After his blind eye sent him racing to the doctor’s office, he learned that a kidney condition
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Soulard WE SUPPORT THE
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GET THE BOBBLEHEAD 10 great promotional nights on the Cardinals’ 2017 calendar
Be there April 29 for this beauty.
A
new season of Cardinals baseball is like Christmas in St. Louis. Every year brings cause for celebration, and the appealing goodies offered by our home team provide the shiny wrapped packages under the tree. There is something for everyone, from bobbleheads honoring the players you know and love to an alarm clock promising the dulcet tones of Mike Shannon to wake you up in the morning. If you’re into new toys in addition to good games, here are the ten promotions to mark on the Cardinals’ 2017 calendar. Yadier Molina Bobblehead. April 8 against the Cincinnati Reds. Molina is one of the best defensive catchers in professional baseball and an essential part of the team’s success. Fans will enjoy this day where they can commemorate his successes with their own bobblehead. First 30,000 fans who are sixteen and older. Adult Replica Stephen Piscotty Road Gray Jersey. April 9 against the Cincinnati Reds. Right fielder Piscotty has made an impact in his two years as a professional player and as a member of the team. If you’re a fan, this jersey is made for you. First 30,000 fans sixteen and older. Carlos Martinez and Matt Carpenter Double Bobblehead. April 29 against the Cincinnati Reds. Take home two players for the price of one ticket. Not the actual players, though — this double bobblehead will be the closest you get. First 30,000 fans sixteen and Continued on pg 19 older.
PLAY BALL Continued from pg 13 that he thought wouldn’t affect him for decades had gotten an early start. It was a genetic thing, but the Aleve certainly didn’t help, he says. (He isn’t the only pitcher. At the college and professional level, he says, “Kids walk around like it’s a badge of honor to have a bottle of Aleve.”) What if he had faced facts earlier? Or, better yet, what if a coach had helped him adjust his arm pattern to avoid the injury? The doctors told him he needed a donor. His younger brother, Adam, volunteered. After doctors determined that they were a match — and after Delunas did ten months of dialysis so that he could finish the season — they did the transplant surgery. The brothers spent the next couple months recovering at their parents’ house in Oakville. “It was kind of fun. I got to spend a lot of time on the couch with my brother,” Delunas says. When the doctors told them they needed to move, they would walk around the neighborhood “like two 100-year-old men.” Vision restored, Delunas, now 41, spends much of his time trying to solve the problems that plagued his pitching career, by looking at the way young pitchers move their hips and arms. A few years ago, he and another baseball instructor founded Premier Pitching and Performance, or P3, a St. Louis program that has attracted high school, college and professional pitchers. Many of them are eager to increase the velocity of their pitches — and avoid the kind of injuries that ended Delunas’ career. “You have guys who, given the chance to play, don’t take it, and they walk away from the game,” Delunas says. “For me, I can never figure that out, because I would do anything to be able to throw that one more pitch and that one more inning.” In recent years, baseball has been by hit what some describe as a “Tommy John epidemic.” The surgery is named for the first pitcher to have his torn ulnar collateral ligament repaired, in 1974. It used to be a rare sur-
y a d n u This S
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PARTY ALL DAY & NIGHT DJ Dan C rocks the House Open early for Brunch Big Screen HDTV’s everywhere $14 6-Beer Buckets Great ballgame Food Cards & Cubs Shots Free Shuttle all day to Blues & Cards games 2001 Menard in the Heart of Soulard Facebook: dukesinsoulard
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Luke Layton, a senior at MICDS, works his arm at P3. | STEVE TRUESDELL
PLAY BALL Continued from pg 15 gery, but now more than a quarter of all major league pitchers have undergone the operation, according to Fangraphs.com, most missing at least one year of baseball in the process. (That includes the Cardinals top pitching prospect, Alex Reyes, who had the surgery earlier this year.) Studies have shown that the surgery’s success rate is about 80 percent. Some pitchers have had second surgeries; among those, there are some who never fully recovered. The main problem underlying the injury is that throwing a baseball is not a natural thing; holding your weight back and then plowing forward as you move your arm above your head puts tremendous strain on the shoulder and elbow. The elbow problems among young professional pitchers today may have started with overuse in little league, according to the American Sports Medicine Institute, 16
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which has conducted a number of studies. Whereas kids used to play multiple sports, they now start to focus on just one at an earlier age. The institute released guidelines in 2013 for youth baseball that set limits on number of pitches and innings — as well as to not throw overhead for at least three months each year — and to avoid radar guns. “Poor pitching mechanics also contribute to injury risk,” the guidelines say. “Another suggested risk factor is poor physical fitness.” Major League Baseball and the MLB Players Association are also currently collaborating on a study. Glenn Fleisig, the research director at the American Sports Medicine Institute, recently told USA Today that it may not be the speed of the pitch thrown but the way in which it’s thrown. “Previous works by me and others have shown two fastballs of the same speed with poor mechanics are more stressful than good mechanics,” he said.
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Some agents think baseball teams need to do more to protect young pitchers. Before the 2012 season, Scott Boras — a super agent to some and super villain to others — convinced the Washington Nationals to set a 160-inning limit for his client Stephen Strasburg, who was returning from a 2010 Tommy John surgery. The top young right hander pitched well (15-6; 3.16 ERA) and late in the season, the team was in the playoff hunt. But Strasburg was nearing his limit, and Boras hinted at legal action unless the team followed the advice of an orthopedic surgeon and benched him for the rest of the season. Strasburg stopped pitching in early September at 159 1/3 innings. The Nationals lost in the first round of the playoffs to the Cardinals. “The Nationals did something that all teams now have to look at as a standard,” Boras told ESPN. “There’s merit to the fact that the expert in the room — the only expert in the room — we all listened to.
(Strasburg has still since had a number of stints on the disabled list with back, oblique and elbow issues.) In a business that relies on fragile equipment — the pitching arm — teams cast a wide net for pitchers, says Jason Wood, a St. Louis-based agent. In the National Basketball Association, teams draft players over two rounds; in the MLB, there are 40 rounds. “I would much rather see fewer number of players in the minor leagues and let the teams focus on those players,” says Wood, who has represented a number of first-round draft picks. At the end of each season, he notes, “Unfortunately, the teams give the pitchers a manual or an app and say, ‘Go do your thing. We’ll see you in spring training.’” That means players have the fall and winter to themselves. Wood has started to send his young clients to P3. Continued on pg 19
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GET YOUR CARDS GEAR Continued from pg 15
PLAY BALL Continued from pg 16
Cardinals Glass Picture Frame. Those tickets you got your mother for Mother’s Day come with a bonus: a picture frame where she can hang those embarrassing photos of you. That’s OK, though, it’s Cardinal-themed, so it will at least look cool. May 14 against the Chicago Cubs. First 30,000 fans sixteen and older.
Delunas and P3 cofounder Josh Kesel share space with volleyball and basketball programs at the Bud Dome athletic complex in Green Park, a small municipality just off Interstate 55 east of 270. They offer a field with artificial turf, six pitching mounds and a weight room; there is nothing fancy about the facility. Professional and collegiate pitchers might be lifting weights while high school pitchers throw a few feet away — and vice versa. A program tailored for high school pitchers runs from August through February and includes an initial assessment ($200) and then costs $400 a month. The costs for college athletes and professionals varies from player to player, says Delunas. P3 is one of a number of programs specializing in pitching that have popped up in recent years. Ron Wolforth, owner of the Texas Baseball Ranch, gained national attention for helping former All Star Scott Kazmir resurrect his career. In 2011, Kazmir was pitching in independent baseball leagues and reportedly considering retirement because of injuries and decreased velocity. After working with Wolforth on his property north of Houston, he returned to become an All Star again in 2014. “To be able to go somewhere and work on the mechanics and do certain things, certain drills, to really get kind of in tune with your body and just relearn the mechanics of pitching a baseball — that’s what he provides out there, and it really helped,” Kazmir told ESPN Magazine. Kyle Boddy, the founder of Driveline Baseball, a company located near Seattle, has also attracted major league pitchers. He operates a similar program to P3 — Delunas says he and Boddy have traded ideas — and also sells a “Hacking the Kinetic Chain Starter Kit” for $497 that includes a 260-page training manual, instructional videos and an assortment of equipment including weighted baseballs and miniature medicine balls,
Replica 1976 World Series Championship Mystery Ring. May 17 against the Boston Red Sox. Fifty years ago this year, the Cardinals beat the Red Sox 4-3 for the big title, and this day will give fans the opportunity to gleefully gloat — and show off their Cardinal pride in the process. First 30,000 fans sixteen and older. Purina Pooches in the Ballpark. May 20 against the San Francisco Giants. Those with a special ticket can bring their dog to the park for a day. Not to fear if you hate dogs; the festivities are confined to a special area. If you’re part of the promotion, there is a free Cardinals-themed puppy bowl waiting for you and your lucky dog. First 30,000 fans sixteen and older. Rawlings Kids Baseball Glove. June 11 against the Philadelphia Phillies. Kids will be playing baseball a lot more and training hard to be a pro now that they have their own Cardinals-style baseball glove. All kids fifteen and younger. Fireworks Night. July 3 against the Miami Marlins. Those with tickets to this game will be treated to exciting baseball and, as if that’s not enough, a glorious display in the night sky after the game. With the St. Louis Arch serving as the backdrop, fireworks shows do not get better than this. Mystery Hall of Fame Manager Bobblehead. August 25 against the Tampa Bay Rays. A mystery is brewing at Busch Stadium. Get a bobblehead of a manager in the Hall of Fame; you won’t know who it is until you arrive at the gate. First 30,000 fans 16 and older. Mike Shannon Alarm Clock. August 27 against the Tampa Bay Rays. Longtime Cards’ announcer Shannon may be the motivation you need to get through the day. Be ready to “get up, baby! get up!” every morning when the voice of Shannon comes home with you thanks to this one-of-a-kind alarm clock you never knew you needed. First 30,000 fans 16 and older. —Bill Loellke
Continued on pg 21
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P R E S E N T E D BY
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Thank you to all those that attended this sold out event and big thanks to The MOTOmuseum for hosting the event. Please consider joining us for our next RFT event, Iron Fork at Missouri History Museum on Thursday, April 27. RFTIronFork.com
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Ricky Maddock, a junior at Kirkwood High School, gets some one-on-one training. | STEVE TRUESDELL
PLAY BALL Continued from pg 19 which some trainers believe can help pitchers increase velocity. Driveline also sells a set of six such balls for $92. The media has often credited the success of those programs to drills in which pitchers throw the alternative balls, but the practice is not universally accepted as effective or safe. Fleisig, the research director, told USA Today that initial research shows that such training could help pitchers with mechanics and velocity, but that “more work is needed to definitively show it.” “Varying by a few ounces seems to be good drills for training pitchers,’’ Fleisig said. “But going really heavy, I’m concerned you’re teaching bad mechanics. Going really light, I think you may put a dangerous force on your arm.’’ Not all the teams are convinced, but they’re definitely curious.
“An MLB team banned weighted balls and long toss and threatened to cut anyone who did it,” Boddy recently posted on Twitter. “Meanwhile I have meetings with ten teams this trip.” Delunas had heard a similar rumor but declined to name the team. And anyway, he is not a zealot on any particular drill. “ We a r e d e f i n i t e l y n o t a weighted-ball program; we are definitely not a drill program,” he says. “I would say the best way to describe us is as an individualized program. Whatever that person needs is what they are going to get from us.” Their work, he acknowledges, is more about surveying the best of what’s around than pure innovation. “Almost everything we [do] comes from somebody else,” Delunas says. “I would say that maybe ten to fifteen percent of what we do at P3 is stuff that nobody else has done, that we have sat in a room and talked about and tried with guys.”
The 1980s funk is bumping through speakers in the P3 weight room on a Monday night in February. “Come along and ride on a fantastic voyage,” Lakeside sings over the speakers. Rafael Lopez, a catcher who has had two brief stints in the majors, quips that the old-school R & B tune is a chance to “educate these young guys.” Lopez, 29, has spent much of the past six years at various levels of the minor leagues in the Angels, Cubs and Reds organizations. Now he’s in the Toronto Blue Jays’ organization. As a catcher he knows plenty about pitchers. At the college and professional levels, he says, training instruction is framed in general terms: “‘It looks like you need to lose weight — we’re going to put you on this program,’ but every guy losing weight is on the exact same program. ‘It looks like you need to bulk up — we’re going to put you on this program.’ “It’s not personalized to you, riverfronttimes.com
and that’s why I think so many guys get hurt,” says Lopez. The catcher is not training with P3, but is paying to use the facility. He says he has been impressed with the way the staff helps pitchers. Earlier in the day, he caught a bullpen session with David Schmidt, who signed with the Astros in 2015 as an undrafted free agent from Stanford University. The radar gun clocked him at 90 to 92 mph, Lopez says. “He said, ‘Man, this is weird. I don’t feel like I’m necessarily putting that much effort into it,’” Lopez recalls. “I said, ‘Your training is working; that’s what it is.’” Delunas was Schmidt’s pitching coach at Christian Brothers College High School, and the pitcher continued to train with Delunas as he moved into the collegiate and professional ranks. Now he hopes to serve as a relief pitcher in some capacity within the Astros’ organization. At the start of this offseason,
MARCH 29-APRIL 4, 2017
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BUY ME SOME PEANUTS AND CRACKER JACK (IT’S COOL, THEY’RE VEGAN)
A vegetarian’s guide to eating at Busch Stadium
I
n two decades as a vegetarian, I’ve had occasion to hear my empty tummy rumble at more than a few festive occasions. But things have been changing for the better for herbivores all over, and Busch Stadium is no exception. In fact, it’s easy enough to eat yourself into oblivion at the ballpark, even as a vegan. Here’s a list of mouthwatering meatless options. Come hungry! The Asian stir fry is available at Red Bird Club and portable in Section 136. It’s vegan. The Bavarian pretzel and traditional soft pretzel are good beer-absorbing vegan options, available at Gashouse Grill locations and most stands. French fries, the classic vegetarian consolation prize, are at Red Bird Clubs and most portables, and the salty goodness is vegan. You can get nachos just about anywhere, and they’re customizable to be vegetarian — even vegan if you leave off that magical cheese. Be aware of what dressing you choose for the garden salad, and it’s a workable vegan option. Find it at Red Bird Club and 8th Street Market. Top your tater tots carefully and everyone’s favorite cafeteria throwback works for vegetarians and vegans, too. Find them at Double Play Tap & Grill in sections 135 and 358. Veggie burgers are becoming pretty standard alternatives at restaurants everywhere. The patty and bun are vegan, and the toppings are up to you. On offer at Double Play Tap & Grill in sections 135 and 358. No need to feel left out of the song. Peanuts and Cracker Jack are both vegan and are pretty ubiquitous throughout the park. Popcorn is all over, too, but it’s not for vegans. Get the quesadilla without meat for a sturdy vegetarian option from El Birdo’s Cantina in Section 141. Pizza is a go-to for the cheese-consuming fan. Find it at Red Bird Club and Triple Play 152. Nobody said all vegetarians are health nuts. There is some absolutely magnificent junk food that in good conscience any cardiologist would steer you clear of, but c’mon. Sorry, vegans — but vegetarians, I promise there is no meat in the Ben & Jerry’s ice cream, funnel cakes, Dinger’s donuts or fried Oreos. — Melissa Meinzer
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PLAY BALL Continued from pg 21 Kesel, 31, who focuses on strength and conditioning, used a goniometer and other tools to measure the range of motion and mobility in Schmidt’s hips and shoulders. The P3 founders describe it as a “dry assessment.” Then Schmidt moved to the turf to throw while Delunas shoots some video. He slowed the footage down to between 240 and 1000 frames per second in order to dissect Schmidt’s throwing motion and find out whether he is moving his legs and arms properly. “The thought process behind it all is that if you clean up your movement patterns, it will help you throw the ball more efficiently. It will ultimately let you throw harder and put less stress on your body,” says Schmidt. Michael Kelly’s body had been stuck in neutral for a few years when he decided to train at P3 last offseason. The San Diego Padres drafted Kelly, a high school pitcher from Boca Raton, Florida, in the first round in 2011. He spent the next five seasons at the lowest levels of the minor leagues. In the offseason, he would return to Florida and “find a catcher” to work with at his old high school. Frustrated by the lack of progress, Wood, the agent, directed him to P3. “For me, my frontside” — the term for the pitcher’s leg that lands in front of his torso before he releases the ball — “would get kind of lazy,” Kelly explains. “I didn’t stick my frontside very well; I kind of just blew through it. That was something [Delunas] pointed out early, and we really tried to enforce [good] habits throughout the whole offseason.” The P3 coaches used a drill involving resistance bands in which he simulated the throwing motion atop the mound without a ball to help him align with his target. Last year Kelly finally started to progress, making it to Triple-A with the El Paso Chihuahuas, one step below the majors. He was briefly in the big league camp during spring
Kyle Bogees works on his technique at P3’s complex in south county. He has been in the Phillies and Diamondbacks farm systems. | STEVE TRUESDELL
“When I go and talk to players about how I can help them, arm care is at the top of the list, so these guys are extremely valuable to me. I trust them with every player I have.” training and could start the year in the Chihuahuas’ rotation, according to the San Diego UnionTribune. His goal and expectation is to make it to the big leagues. “All my teammates, all the guys I play with, they all know they have the ability to do it,” he says. “It’s just a matter of being consistent and refining what they are doing so they can perform on a daily basis.”
P3 drew national attention in February when ESPN reported that Boston Red Sox outfielder Andrew Benintendi, considered by some to be the top prospect in baseball, had gotten stronger during the offseason while training in St. Louis. The story described P3 as “an elite baseball training facility” and included a video from Twitter that showed Benintendi doing curls with ropes attached to metal chains. “Crushing the forearms today with @asben16 here at @P3_StL #ArmPharm,” P3 coach Steffen Simmons tweeted. The outfielder added eighteen pounds of muscle. During spring training, Wood says, “You can easily see that the arm strength and the carry on the ball is a lot better.” This offseason, P3 worked with just as many professional position players as pitchers, training about 35 college players. Kesel says only that he does “not expect that number to decrease.” Players
on site have included Tampa Bay Rays pitcher Jake Odorizzi (10-6, 166 strikeouts last season), Miami Marlins pitcher David Phelps (2.28 ERA last season) and Jake Brentz, a pitcher who is climbing the Toronto Blue Jays organization. Wood has sent more than 30 of his professional clients to the St. Louis facility. Not one has gotten hurt or regressed while working at P3. “They are a very important part of my business,” the agent says. “When I go and talk to players about what I do, how I can help them, arm care is at the top of the list, so these guys are extremely valuable to me. I trust them with every player I have.” Despite the record of keeping Wood’s pitchers free from injury — which may involve some luck — the P3 founders acknowledge that other pitchers on their program have gotten hurt. There’s no magic bullet for preventing the problems that lead to Tommy riverfronttimes.com
John surgery. “I have done several presentations where I have told guys, ‘If you’re looking to avoid injury completely, pick up golf,’” Delunas says. But pitching’s allure can’t be beat. “It’s almost like a sniper situation, where you are out there on your own but you are doing it to protect every other guy that is under your watch,” he says. “You want to play shortstop, fantastic. You want to catch, fantastic. But for me, pitching is just different than anything else.” Delunas sometimes thinks about what could have been, if only he’d known back when he was still pitching more about the way the arm operates — and not just because he might then still have his original kidney. “Certainly you always wonder what if,” Delunas says. “And so I always have that in the back of my mind with every kid we work with.” n
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Brendan Eyre MARCH 29 - APRIL 2 •LATE NIGHT WITH SETH MEYERS • BOB & TOM SHOW
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WEEK OF MARCH 30-APRIL 5
Taj Express brings Bollywood to life. | COURTESY DANCE ST. LOUIS
THURSDAY 03/30 Anton in Show Business Jane Martin’s Anton in Show Business is both a wry deconstruction of Anton Chekhov’s Three Sisters and a razor-sharp exposé on how regional theater actually gets made. Three actresses win parts in a San Antonio production of the classic drama. One is a budding TV starlet who wants to do serious theater to prove she’s a real actress. One is an off-off-Broadway specialist who has hundreds of stage credits to her
name but rarely earns a paycheck for her work. The final player is a local actor excited to perform with such vaunted professionals. The director is a serious artiste, the producer is over-educated and with the money running out, there may be no way to actually mount the show. These are the perils of American theater in the digital age, and probably every age that follows. Lindenwood University Theater presents Anton in Show Business at 7:30 p.m. Thursday through Saturday (March 30 to April 8) at Lindenwood University’s Scheidegger Center for the Arts (2300 West Clay Street; www.lindenwood. edu/center). Tickets are $8 to $10. —Paul Friswold
FRIDAY 03/31 The Comedy of Errors Antipholus and his servant Dromio are new in town, but they’re immediately exceedingly popular. Antipholus is searching for his longlost brother, but instead finds a mistress: Adriana. She knows him quite well, because they’ve been together for several years — but Antipholus has no memory of this, nor of their home. He’s much more interested in Adriana’s sister, anyway. What does he need with a mistress riverfronttimes.com
when he could have a wife? Now his only problem is wooing Luciana and figuring out why Dromio has become truculent and intermittently disrespectful. It’s almost as if Dromio is two different people... Shakespeare’s The Comedy of Errors relies on mistaken identities and twins to weave its comic spell, but with the right twins and a quick cast, it can be a marvel. St. Louis Shakespeare presents The Comedy of Errors at 8 p.m. Friday and Saturday and 2 p.m. Sunday (March 31 to April 9) at the Ivory Theatre (7620 Michigan Avenue; www.stlshakespeare.org). There is one performance at 7:30 p.m. Thursday, April 6. Tickets are $15 to $20. —Paul Friswold
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CALENDAR Continued from pg 29
and pose for photos after each show. Cycle Showcase STL takes place from 5 to 10 p.m. Friday and 10 a.m. to 5 p.m. Saturday (March 31 and April 1) across the street from Paddy O’s (618 South Seventh Street; www.cycleshowcasestl.com. Tickets are $10, and kids younger than twelve are free. —Paul Friswold
Taj Express The recent increase in musicals as broadcast TV events and on the silver screen bodes well for the future of the genre, but in India, the musical never went out of style. Bollywood, the Indian film industry, produces hundreds every year, each with huge casts, incredible choreography and very catchy music. Taj Express: Bollywood Musical Revue brings all the color, passion and energy of the Indian film musical to the stage for two nights only. The show’s choreographer, Vaibhavi Merchant, is a Bollywood veteran who uses music, film and dance to recreate the lavish spectacles seen in cinemas across India and on stages around the world. Dance St. Louis brings Taj Express to St. Louis at 8 p.m. Friday and 2 and 8 p.m. Saturday (March 31 and April 1) at the Touhill Performing Arts Center on the University of Missouri-St. Louis campus (1 University Drive at Natural Bridge Road; www.touhill. org). Tickets are $38 to $60 . —Paul Friswold
Seven Guitars
The Wall of Death in all its glory | PAUL ADDOTTA
SATURDAY 04/01 Cycle Showcase STL Cycle Showcase STL returns for a fourth year with a new location, but the same old commitment to showcasing the artistry of motorcycles. More than 50 historic, hand-built bikes will be on display, with some motorcycle-related art
mixed in as well. Vendors such as Imperial House (freehand pinstriping and lettering specialists) and Flying Tiger Motorcycles (Maplewood’s home of old and new motorcycles and moto-culture accessories) will offer readyto-buy gear, while the American Motor Drome Wall-of-Death riders will hourly steer vintage bikes into a massive, 30-foot-tall barrel to race along its inner wall while perpendicular to the ground. The stunt riders will sign autographs
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August Wilson’s Seven Guitars is the story of a group of friends and neighbors and their shared connection to the talented Floyd “Schoolboy” Barton, whose life as a blues guitarist is plagued by bad luck, bad decisions and an unexpected jail sentence. He’s looking to get his life and career back on track, but his own demons and the worlds prejudice constantly stand in his way. The Black Rep continues its 40th season with the 1940s installment of Wilson’s Pittsburgh Cycle, which chronicles African-American life in the Pennsylvania city. Seven Guitars is performed at 7 p.m. Thursday, 8 p.m. Friday and Saturday, and at 3 p.m. Sunday (March 29 to April Continued on pg 32
Plans for the
weekend? weekend? Plans for the
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Join us this Friday and Saturday night for our one of a kind dinner shows!
Join us this Friday and Saturday night for our one of a kind dinner shows!
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Welcome to the Home of Louis Burlesque Welcome to the St. Home of Welcome the of Welcome to theto Home of Home St. Louis Burlesque St. Louis Burlesque
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JOIN CMT AND AARP ST. LOUIS FOR THE GREAT RACE 2017
Come join in the fun on May 4 at the Historic Wabash Station, 6005 Delmar Blvd. at 4:00 p.m. as the race between Team MetroLink, Team MetroBus, Team Bike and Team Carshare crosses the Finish Line for a celebration and Metro Market including food, fun and more. For more information, call 314.231.7272 or visit cmt-stl.org.
EVENTS AT CREVE COEUR LOCATION:
© 2017 Moe’s Franchisor LLC
Visit our website to reserve your seat today!
APRIL 6 – THURSDAY
Grand Opening (free burritos for a year for the first 50 customers), live radio remote from 11AM-1PM
APRIL 7 – FRIDAY
Tshirt giveaway for the first 200 customers
APRIL 8 – SATURDAY
Kids eat free day (one kids meal free with purchase of adult entree), prize wheel, face painting, and balloon artist
APRIL 9 – SUNDAY
Download the rocking rewards app and receive a free cup of queso
APRIL 10 – MONDAY
Moe Monday — get any burrito, chips and salsa $5.99
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CALENDAR Continued from pg 30
Yu Ho-Jin will blow your mind with that card, because it’s really a scarf. | ©JOANMARCUS
about.) The first pitch is thrown at 7:35 p.m. Sunday, April 2, and remaining tickets are $130 to $350. The series continues at 7:15 p.m. Tuesday and at 12:45 p.m. Wednesday (April 4 and 5). —Bill Loellke
WEDNESDAY 04/05 Yessongs
23) at the Emerson Performance Center at Harris-Stowe State University (3026 Laclede Avenue; www. theblackrep.org). Tickets are $15 to $40. —Bill Loellke
The Illusionists Magic takes a beating in popular culture because it’s a solitary pursuit. Men like Gob Bluth and Michael Scott are made magicians by writers because it’s easy to laugh at the sad lonely guy. But true stage magicians are something special. The good ones can fool you, even though you know you’re being tricked. The best magicians make you forget they’re deceiving you and take you for a ride; and the legerdemainists, escape artists and conjurors of The Illusionists are among the best in the world. The performers in the show are subject
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to change, but hopefully you’ll be freaked out by Colin Cloud, the man who somehow knows what car you drive, what you do for a living and the phone numbers of several of your friends — all just from looking at you. Ben Blaque ratchets up the tension with his dangerous and precise crossbow stunts, and Yu HoJin will baffle you with just a scarf. In his hands that scarf becomes a blank white playing card, then changes color with a simple flutter of his fingers, then becomes multiple cards and is suddenly a regular deck of playing cards — all right out in the open where you can see both hands. The Illusionists take the stage at 7:30 p.m. Friday, 2 and 7:30 p.m. Saturday, and 1 and 6:30 p.m. Sunday (March 31 to April 2) at the Fox Theatre (527 North Grand Boulevard; www.fabulousfox. com). Tickets are $25 to $90.—Paul Friswold
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SUNDAY 04/02 Cardinals Home Opener It’s Christmas in April in St. Louis. What’s a better gift than a ticket to the Cardinals’ home opener of a brand-new baseball season? The gates of Busch Stadium (Broadway and Poplar Street; www.stlcardinals.com) open for business as tens of thousands of fans gather to see their favorite sports team go at it once again with their biggest rivals, the Chicago Cubs. The Cubs had a momentous season last year, but now it’s a whole new ballgame. (To be honest, you probably have your tickets well before you read this blurb. Nothing said in here will matter, given that this is the Cardinals we’re talking
Say Yes to Yessongs. This 1975 concert film captures the famous progressive rock band, Yes, when it was at the peak of its success. You know the classics such as “I’ve Seen All Good People” and “Roundabout,” but now you can experience them as played by the 1972 line-up during the “Close to the Edge” tour. Fans of both progressive rock and the bombast and majesty of cape-wearing keyboard wizard Rick Wakeman should definitely check this out. The Webster University Film Series presents Yessongs at 8 p.m. tonight at Schlafly Bottleworks (7260 Southwest Avenue, Maplewood; www.schlafly.com). Admission is $5. —Bill Loellke
Planning an event, exhibiting your art or putting on a play? Let us know and we’ll include it in the Calendar section or publish a listing in the online calendar — for free! Send details via e-mail (calendar@riverfronttimes. com), fax (314-754-6416) or mail (6358 Delmar Boulevard, Suite 300, St. Louis, MO 63130, attn: Calendar). Include the date, time, price, contact information and location (including ZIP code). Please submit information three weeks prior to the date of your event. No telephone submissions will be accepted. Find more events online at www.riverfronttimes.com.
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FILM
[CLASSICS]
[REVIEW]
Alternative Facts
OUT OF AFRICA
A screening of 1984 allows us to mourn the destruction of language in an authoritarian regime
Akounak Tedalat Taha Tazoughai
A new film shot in Nigeria offers a charming take on Purple Rain Directed and written by Christopher Kirkley. Screens at 7 p.m. Sunday, April 2, in Brown Hall Room 100 on the Washington University campus.
N
Written by
ROBERT HUNT 1984
Directed by Michael Radford. Written by Michael Radford. Based on George Orwell’s novel. Starring John Hurt, Richard Burton and Suzanna Hamilton. Screens at 6:30 p.m. Tuesday, April 4, at the central branch of the St. Louis Public Library.
I
n January, a few days after a narcissistic television personality best known for gold-stamping his name on everything he owns was inaugurated to a position for which he was neither suited nor qualified, a 68-year-old novel leapt to the top of independent bookstores’ best seller lists and Amazon sales charts. This is not the first time that sales of George Orwell’s 1984 have been boosted by current events — a similar jump occurred in 2013 in the wake of Edward Snowden’s first revelations about NSA spying — but some see the current popularity of the novel as especially pertinent. What, after all, could explain Kellyanne Conway’s citation of “alternative facts” better than the Orwellian concept of doublethink, central to the political structure supporting Big Brother? And what simpler definition of Winston Smith’s job revising and rewriting history than “fake news”? The analogy is far from perfect. To diminish the scope of Orwell’s cultural criticism to a current election cycle is an injustice; his ideas about political discourse and its abuse of language remain relevant as they were in 1949. But let’s not split hairs; anything that gets people reading the book or thinking about its implications is
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O’Brien (Richard Burton) reeducates Winston (John Hurt) in 1984. | ©1984 METRO GOLDWYN MAYER STUDIOS INC. a step in the right direction. To honor the timeliness of Orwell’s vision and in the current spirit of resistance, more than 90 cinemas and film organizations across the country present a free screening of the most recent film adaptation of 1984, Michael Radford’s version (produced and released, fittingly, in 1984) on Tuesday, April 4, the date on which Orwell’s fictional hero made his first rebellious journal entry. Locally, you can catch the film at an early evening screening at the central branch of the St. Louis Public Library (1301 Olive Street), sponsored by Cinema St. Louis. It’s possible that every generation forces its own interpretation upon 1984. A 1956 film version starring Edmond O’Brien gave it a traditional anti-Communist Cold War reading (irritating Orwell’s widow enough to withdraw the film from public view once the rights returned to her). Radford’s film, which benefits from an excellent performance by John Hurt as Winston and a toned-down Richard Burton in his penultimate role as smarmy Big Brother surrogate O’Brien, is a film very much produced in the wake of the self-absorbed late ‘70s.
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Though faithful to the novel in nearly every respect, it’s less concerned with Orwell’s cautionary advice on language or the power structure that keeps Oceania always at war with Eastasia, except for when it’s at war with Eurasia. The emphasis here is on the personal hardship of living under Big Brother’s eye, the drab environment, lack of privacy, bad food and, most importantly, the forced celibacy which Winston and his comrade Julia (Suzanna Hamilton) make a special point of disobeying. (When the film was first released, it even had a catchy techno-pop tune, “Sexcrime,” performed by the Eurythmics.) As an adaptation of the novel, Radford’s 1984 is nearly flawless, but it can only bring to life the book’s human qualities, the tragedy of doomed love and betrayal, the banality of an authoritarian bureaucracy, the sadly familiar terror of Room 101. Orwell wanted to do more than that; his target was not just a political system but an intellectual spider web, a way of thinking (and speaking) that permeated everything and wished to influence everyone. The story, whether on paper or in images, was just the beginning. The battle n continues.
ow in its twelfth year, Washington University’s African Film Festival is one of the lesser-known events on the annual cinematic calendar, but it’s always rewarding. The festival offers three days of free (yes, free!) screenings from parts of the world rarely represented on U.S. movie screens. One of this year’s highlights is the first narrative film ever made featuring the Tuareg community of Sahara Niger, with dialog in the Tamasheq dialect. The feature debut of American-born director/ethnomusicologist Christopher Kirkley, Akounak Tedalat Taha Tazoughai has been given the English translation Rain the Color of Blue with a Little Red in It. Once you realize that there’s no Tamasheq word for purple, you’ll get a better idea of Kirkley’s inspiration. Nigerian musician Mdou Moctar wears a long purple coat, rides a purple motor bike and, left-handed Fender in hand, struggles to rise to the top of the competitive Tuareg guitar scene. There’s no Tuareg equivalent of Apollonia 6 performing “Sex Shooter” in lingerie, and the trance-like takamba music won’t be confused with “Let’s Go Crazy,” but such quibbles aside, Kirkley’s film is a worthy tribute to Prince’s 1984 feature film debut, capturing much of its charm and rebellious spirit. Akounak remains thematically faithful to both the dramatic elements of Purple Rain (there’s a stern father who doesn’t approve of guitar playing and a rival musician with just a touch of Morris Day’s hepcat looniness) and its ‘80s space age/New Wave design, as jarring against the background of the Sahara as it was against the chilly landscape of Minneapolis. The familiar plot becomes a simple structure to keep the film moving, but the music, the performers and the filmmaker’s passion provide the energy. It’s quite an experience, a border-dissolving musical that unites the styles and sounds of three decades and two continents, paying a fitting tribute to a musical legend (it’s worth noting that the film was released in 2015, before Prince’s death) even as it introduces a very different but no less lively new music to the rest of the world. — Robert Hunt
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THE ARTS
[DANCE]
Photographic Memory MADCO’s new show was inspired by a collection of photos documenting the civil rights movement Written by
ELIZABETH SEMKO FREEDOM
Presented by MADCO March 31 and April 1 at the Lee Theater at the Touhill Performing Arts Center (1 University Blvd., touhill.org). Tickets are $30 to $50.
A
fter protests erupted in Ferguson in 2014, Stacy West, artistic director of the St. Louis-based modern dance company MADCO, looked for a way to respond to the situation. But the timing didn’t seem right. “I felt that there were other artists that could come in more quickly than MADCO with a response to what was going on in Ferguson. Due to the nature of dance and hiring choreographers and booking venues, I didn’t feel we were the people to do something quickly,” West explains. She found herself thinking about a way to tackle the topic ever since. But then, while working on a performance for Washington University’s John M. Olin Library, she learned about its extensive archive of civil rights history. She felt the collections would be the perfect inspiration for a future MADCO show, so she and the company went to take a look in August. Suddenly, West was faceto-face with photos documenting civil rights history, from the early half of the twentieth century to the unrest in Ferguson. She immediately saw the artistic possibilities. “I was looking at the material from the 1950s and comparing it to what was going on in Ferguson and saw that in some cases, there
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Jennifer Archibald’s “Dirt,” photographed in rehearsal, is part of FREEDOM. | DAVID LANCASTER looked to be no difference in the pictures between the 1950s and the present day. And that’s what struck me the hardest,” West says. The other thing that stood out? The fact that these pieces of history were sitting in a box in the library, and no one was seeing them. That will all change this weekend, when MADCO presents FREEDOM, the finale of its 40th anniversary season, at the Lee Theater at Touhill Performing Arts Center. Four international choreographers have been invited to choreograph individual pieces inspired by the Olin Library’s civil rights material. Though all four began with the same source material, the choreographers have created four unique works — with their backgrounds and life experiences giving them varying perspectives. Cecil Slaughter grew up in the South, while Nejla Yatkin was born in Turkey and raised in west Berlin at the time of the fall of the Berlin Wall. Jennifer Archibald is Canadian but currently resides in Brooklyn, while Gina Patterson, the founder of VOICE Dance Company, is currently based in Wyoming. All four combine live
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music and movement to bring civil rights-inspired work to life on stage for FREEDOM. Take Patterson’s piece, for example. The choreographer saw all sorts of disturbing images while examining the collection, from people celebrating another person’s murder to white people making ugly faces as black students entered schools for the first time. Rather than focus on one specific moment, however, Patterson created a piece made up of many subtle layers of history to emphasize that we’re all human. Titled “It Is,” the piece is not intended to be a literal interpretation of the struggle for civil rights, but rather flows in and out of different images. At one moment you may see dancers making walls with their bodies to create a sense of separation, while at another you may notice defeated posturing that is reflective of slavery. The costumes are skin-toned to reflect that human element, and the music is classical and repetitive to maintain a sense of timelessness — because, as Patterson notes, many civil rights-related issues are timeless as well.
“That’s another thing I think the piece is reflective of: Do we really ever overcome these issues, or do they just look a little different?” she says. “Are they constantly morphing and evolving and just looking a little bit different, but it’s not exactly that they’re gone?” Patterson sees FREEDOM as not only an opportunity for entertainment, but also as a chance to partake in a current conversation and really listen to others. “I think it’s important because it’s an ongoing dialogue and it’s so current today, especially today. Regardless of your political beliefs and social beliefs, I feel like there’s so much division, two sides of things,” she says. FREEDOM comes at a pivotal time time in MADCO’s history. The company celebrates its 40th anniversary this season. While MADCO stays true to its roots with its emphasis in education (the company has taught more than 600,000 students over the years), it has also seen its fair share of changes over its four decades. What started as a company of six dancers based at Southern Illinois University-Edwardsville eventually moved to rehearsal spots at St. Marcus United Church of Christ and then a studio in the Central West End, until its current company of eight to twelve dancers found residency at the Touhill. MADCO’s material has also changed over time to remain relevant — from creating one of the country’s first spoofs on The Nutcracker to creating a STOMP-like piece called Junk Garden before STOMP was even created. “I think that the company has always looked at what’s trendy and what people are doing, and it’s been on the forefront of it. It’s just been here in St. Louis,” West says. “And I’m pretty proud of that.” West realizes that some people may have expected her to do a retrospective for the company’s 40th anniversary. Again, she says, the timing just didn’t seem right. “What I’m interested in doing is building new work and using dance to speak about what’s relevant in our society today,” she says. “I was much more interested in doing that than looking backwards.” n
ART GALLERIES
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H T I W D E S O N G A I D N E BE IA
N E R H P S C H I ZO
D G N OS E EEN DIA B E V A AT H T M EN T. OS E T H FOR TH IN G N E W T R E A Y D U T A RC H S D A R E S E E K R A RESE AN OR YOU THERE ISH IZO PH R EN IA IF YOU O E IS SE N C S S D R H E E V E A LO W IT LUNT TED, PLE IFIED VO INTERESC T ST. LOUIS : QUA L ECEIVE: T S U A T M N el E S CO & Trav MAY R IF Y, ON L TRIA L for Time TO QUA L n Ages 18-55 st CLINICA 802-8822 N. ensation at No Co - Comp we e - Be Bet w it h g n o se d - B e D ia p h re n ia o S c h iz B ip o la r - Not be y a p p ly. te ri a m a ri c r e - O th
Untitled video still from Lost in Space (After Huck) 2017; Courtesy of Jack Shainman Gallery, New York © Shimon Attie
Shimon Attie: Lost in Space (After Huck) Saint Louis Art Museum 1 Fine Arts Dr. | www.slam.org Opens Sat., Apr. 1. Continues through Jun. 25.
American artist Shimon Attie is interested in making people aware of the historical import of public spaces that might initially appear common. In New York City he projected the written memories of long-time residents of Manhattan’s Lower East Side onto former tenement buildings. For Portraits of Exile, his exhibition in Copenhagen, he submerged light boxes in a canal so that portraits of Jewish refugees whom the government shipped to safety during World War II would remind Denmark of its heroic actions in the past and underline the current administration’s malign ambivalence to refugees. Lost in Space (After Huck), Attie’s new installation for the Saint Louis Art Museum, uses sculpture, video and audio to evoke the memories of St. Louis’ mytho-poetic past. A cast epoxy resin raft is the center of the piece; a corn-cob pipe, an oar and a bindle wait for their absent owners in the menacing glow of a police light. Digitally projected constellations of
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light appear and then wink out in the darkness surrounding the raft, while streaks of lighting race through the artificial night.
Drawing from the Collection: 40 Years at Laumeier Laumeier Sculpture Park 12580 Rott Rd. | www.laumeiersculpturepark.org Opens 11 a.m. - 1 p.m. Sat., Apr. 1. Continues through Jul. 16.
Forty years ago, Laumeier Sculpture Park was just a 72-acre plot gifted to the county and a dream. Today it’s home to 60 large-scale, outdoor works. Many of the sculptures started as rough drafts in two dimensions, as drawings, photographs or collages. How did their creators begin to puzzle out what the three dimensions should be for Jonathan Borofsky’s 24-foot-tall fiberglass man with a briefcase, or one of Andy Goldsworthy’s earthworks? Drawing from the Collection: 40 Years at Laumeier presents a collection of the park’s works in progress. It’s a celebration of four decades of the park’s history and of the creative spirit that continues to drive Laumeier into the future. —Paul Friswold
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CAFE
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A selection of dishes from Nixta show the kitchen’s creativity and range: ceviche, flautas, crab tostadas and mole. | MABEL SUEN [REVIEW]
Brave New World Combining Mediterranean influences with Mexican dishes, Nixta is simply spectacular Written by
CHERYL BAEHR Nixta
1621 Tower Grove Avenue, 314-899-9000. Tues.-Sat. 5-10 p.m. (Closed Sunday and Monday.)
P
erhaps we should be forgiven for thinking that Nixta was going to be a taco joint. After all, that’s sort of how executive chef Tello Carreon originally threw out the idea to restaurateur
Ben Poremba. The two were having a good time playing around in the kitchen of Poremba’s fine dining flagship Elaia, trying to figure out what should replace Old Standard, the fried chicken spot that Poremba had recently shuttered. That’s when Carreon made an off-the-cuff-suggestion: Why not do a Mexican joint? Carreon wasn’t talking about the kind of restaurant that comes to mind when Americans think about Mexican food, all sour cream and queso fundido. Having worked in those kinds of kitchens when he first came to the United States as a teenager, he knew firsthand the bastardization that the cuisine of his homeland has suffered. You can almost hear him shudder when he discusses his time at Casa Gallardo. No, the Mexican joint Carreon envisioned wasn’t a “joint” at all. Instead, it would be a venue for shaking off the stereotypes that surround Mexican food in the Midwest. It would take authentic
cuisine as a jumping-off point, but imbue it with influences from across the globe to make it into something unique. It would show us something new. It would be upscale and elegant. Ah, so it must be an expensive taco joint? That assumption haunted Poremba and Carreon all the way until they day they opened Nixta’s doors last November. When I spoke with Poremba the week of its debut, he took pains to shake off that preconception, hinting at the insult it belied. “It’s like if I said I was opening an Italian restaurant and having everyone ask me if it’s going to be a pizza joint,” he said. In fact, he did open an Italian place last year — Parigi — and not one person thought as much. Yet a whole lot of people did with Nixta. In this sense, Nixta stands as one of the most important restaurants to open in recent memory — not simply because it brings us masterful food from a big-time restaurateur and soonriverfronttimes.com
to-be big-time chef, but because it represents the clearest example of a restaurant that not only shatters your expectations, but, in doing so, makes you grossly aware of your prejudices. Fans of Milagro Modern Mexican, or even the Latin American-influenced Público, might protest this assertion. And indeed, these restaurants have shown us that Mexican food can be both higher-end (Milagro) and a jumping-off point for culinary exploration (Público). But Nixta is not those restaurants, dare I say, because Carreon is not those chefs. He is a native of Mexico, at the helm of a tangentially Mexican restaurant. Yet what sounds like typecasting is instead a confident perspective that allows for creative freedom. Carreon doesn’t simply throw out the standard playbook; he tears it to shreds, lights it on fire and dusts away its ashes. Like Sidney Street Cafe or the now-shuttered Continued on pg 45
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anniversary party time!
************** celebrate with us bouzouki pete & christos
belly dancing also
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DRINK SPECIALS DURING ALL CARDINALS & BLUES GAMES! KEETONS RESTAURANT & SPORTS BAR 5625 MANCHESTER AVE.• ST. LOUIS 63110 riverfronttimes.com
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Voted Favorite Mexican Restaurant
Classic Comfort Food
-2016 RFT Readers Poll
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HOURS MON 11AM - 9PM TUES - FRI 11AM -10PM SAT 11 AM -10 PM | SUN CLOSED 2 9 00 VIRG IN IA AVE N UE , ST. LO UIS 3 14-776 -1407 WWW.THE SHAVE DDUC K.CO M
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itas!
NIXTA Continued from pg 41 Niche, Nixta is more global in its style than a simple roster of its dishes might suggest. Carreon’s time spent as Poremba’s chef de cuisine at the elegant Elaia shows that he is just as comfortable with his boss’ Middle Eastern cuisine as he is with Mexican food. In fact, over their time working together, the two have come to think of Mexico (and Latin America more generally) as the “American Mediterranean,” and Carreon takes every opportunity to subtly mesh these two cuisines. Nixta’s menu is mostly small plates, and by the simple descriptors, the dishes are familiar sounding — a tostada here, a flauta there. However, once these delights appear on the table, it’s clear they bear only a tangential relationship to the traditional versions. The flauta, for example, is not unlike its namesake with its rolled up, crispy-fried tortilla shell. Split open, however, it reveals a luxurious filling of oyster mushrooms, spinach, feta, mozzarella and queso fresco. The accompanying mushroom cream dipping sauce underscores its earthy flavor. Ceviche is equally familiar, yet Nixta’s version is perfection of the form. Shrimp are crisp; scallops are so delicate and translucent you’d think they were actually scallop-infused gelatin made by a molecular gastronome. The shellfish is tossed in a razorsharp citrus dressing that is at once heated with aji peppers and softened with rose water. A crab tostada exemplifies the importance of sourcing good ingredients and then getting out of their way. Shockingly fresh crab meat is interspersed with avocado, poblanos and mango, and piled
Chef Tello Carreon conceives Mexico in part as “the American Mediterranean.” | MABEL SUEN atop a crunchy blue corn tortilla. It’s so simple, yet each bite reveals an intense burst of sweet crab flavor underscored by the bits of tropical fruit throughout. I’d put this up against something served on the coasts any day of the week. Named after a type of sandal, Carreon’s riff on the classic Mexican huarache turns the masa flatbread into almost a bruschetta. Housemade masa is formed into the shape of a flip-flop, then charred on the flattop to give it a crispy char. The chef takes the extra care of vacuum-sealing the masa so that it doesn’t dry
out when it’s presented, leaving the corn a spongy polenta cake with a crispy exterior. He smears that base with funky black garlic spread and tops it with a salad of chopped asparagus and green beans that has been tossed in vinaigrette. Each bite reveals layers of flavor — earthy garlic, smoke from charred corn, tang from the salad. It’s genius. Carreon hews closest to tradition on pork dishes but he refines them to be the best versions of themselves. In place of the usual shoulder, he uses confit pork belly adorned with caramelized
pineapple, resulting in succulent, brown-sugary meat. Carreon spent time on the line at Café Provencal, and this dish’s similarity to pork rillettes is unmistakable. For his version of cochinita pibil, Carreon wraps pork shoulder and bits of preserved citrus in banana leaves, then slows roasts it until it is fall-apart tender. As you pick apart the meat, you find little pieces of citrus rind, softened from being steamed in rendered pork, perfuming the dish. I believe you are supposed to stuff the pork into the accompanying tortillas, but it never made it that far — I was so enamored I ate it straight out of the leaf. Tender octopus, served alongside crushed potato discs, is enlivened by dollops of almond mole. The exterior has a slight smokiness brought by a garnish of charred lettuce. Meaty sturgeon is beautifully cooked and sliced, and a cashew and black lime salsa imbues the plate with smoke and earth. In place of mayonnaise, Carreon’s esquites, a variant of Mexican street corn, uses parsnip puree for its dressing; it’s rich without being overly decadent. Carreon’s signature dish is the “Mole Negro de Abuelita Concepcion,” a riff on his grandmother’s beloved mole sauce. The chef boldly boasts that he’s improved upon perfection, adding layers upon layers to her already wonderful recipe. The dish is right up to the line of being too much, but never crosses over, it’s richness cut with a symphony of spices. You pick up chocolate, then cinnamon, then cardamom and honey. This ambrosial nectar can be served with beef cheeks or chicken thighs: the former making it into a complex pot roast, the latter into the barbecued chicken of your fantasies. Continued on pg 47
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5005 SOUTH KINGSHIGHWAY • 314-354-8333 • YAPISUBS.COM • TUES-SUN 11-8 riverfronttimes.com
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OFFICIAL BEER © 2017 Anheuser-Busch, Budweiser® Beer, St. Louis, MO Major League Baseball trademarks and copyrights are used with permission of Major League Baseball Properties, Inc. Visit MLB.com
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NIXTA Continued from pg 45 Carreon’s menu is a parade of magnificence, but the tlayuda is what captivated me the most. As much Middle Eastern as it is Mexican, Carreon starts with a paper-thin tortilla base and covers it in a paste of pureed carrots, coriander, pomegranate molasses, guajillo and achiote peppers. The flavor hits every part of the palate: sweet, salty, earthy, tart, spicy. And that’s just the beginning. He covers this glorious pizza with pieces of burrata, a field’s worth of fresh herbs, and three types of seeds (pumpkin, sesame and sunflower) for an explosion of flavor and texture that is breathtaking. This dish alone catapults Carreon into the realm of the city’s top chefs. After such grandeur, a sweet course could be anticlimactic, but Nixta doesn’t disappoint. The caramel-rich flan shames anything else that dares to share its name, and arroz con leche, perfumed with raisins and Middle Eastern spices, is a decadent bowl of pure comfort.
FAMOU
The dining room shows how the space that used to be Old Standard Fried Chicken has been transformed. | MABEL SUEN Washing down this meal with a mezcal cocktail amidst the turquoise-colored walls and thumping salsa music, there’s no question that Nixta is Mexican through and
through. And even though it may not be nearly as obvious to Midwestern diners, the food is too. It just takes checking your preconn ceptions to realize it.
Nixta
Tlayuda ��������������������������������������������� $12 Ceviche �������������������������������������������� $14 “Mole Negro de Abuelita Concepcion” (beef) ������������������������ $29
S FRIED CHICKEN
try brunch at pat’s!
$12
BOTTOMLESS MIMOSAS! hair of the dog specials
SATURDAY
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$4 Bloodies, $3 Mimosas and Rails, $2.50 Domestics!
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SUNDAY live irish music
3159 CHEROKEE ST. ST. LOUIS CITY 314-898-0001
11am - 1pm
6400 oakland ave, st. louis, mo 63139 | (314) 647-7287
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Maplewood WE SUPPORT THE
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SHORT ORDERS
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[SIDE DISH]
She Heard a Big Red Calling Written by
CHERYL BAEHR
A
lisha Blackwell, the sommelier at Reeds American Table (7322 Manchester Road, Maplewood; 314-899-9821), remembers the second she was hooked by wine. “I was a server at Oceano Bistro, and they were very big on wine education,” she recalls. “One Friday, they opened a bottle of red Bordeaux and the next week, they opened a merlot from Napa Valley. I was shocked, and didn’t understand how it was possible for the same grape to taste so differently in two different areas. From that day on, I started buying wine books and learning as much as possible.” Blackwell started her career in the restaurant industry as a way to make money after college. A biologist by training, she quickly realized that she wasn’t going to be an anesthesiologist straight out of the gate. She got a job waiting tables at PF Chang’s and then Lumière Place before landing at Oceano. There, she fell in love with the service side of the business and realized that she was at her best when interacting with guests. “My favorite thing was when people would come in and ask for wine recommendations,” Blackwell explains. “I just took so much pleasure in finding a bottle for someone that wasn’t what they would normally get, but then they’d love it. That’s where I shine.” Though she enjoyed waiting tables, Blackwell decided to pursue the wine side of the business fulltime as a representative for a distributor. Her new employer focused on Italian wines, and though she didn’t know much about them, she picked up a copy of Italian Wine for Dummies and set out to become an
Alisha Blackwell makes wine accessible at Reeds American Table. | HOLLY RAVAZZOLO expert. “Italian wine can be intimidating, so a lot of people shy away from it,” Blackwell says. “But I took it on as a challenge, and thrived as a result.” Blackwell passed her Certified Sommelier test with the top grade and her Certified Specialist of Wine exam with a near-perfect score — a difficult feat. One person who took notice was Andrey Ivanov, the sommelier at Reeds American Table, who reached out to her with a job offer. At first, Blackwell was not sure that she wanted to get back into the restaurant side of the industry, but she realized that it will help her achieve her ultimate professional goal: to one day become a master sommelier. “You can become a master sommelier working for a distributor, but it’s much harder,” explains Blackwell. “The test is a service examination, and it’s hard to get that experience outside of a restaurant setting. I’m going to do whatever it takes to get there, or I will die trying.” Blackwell has been enjoying her time at Reeds, where she has become the restaurant’s Italian wine guru. She still thrives at selecting the unexpected for her guests. Her secret, she confides, is building trust before she even begins to suggest
something. “If people trust me, it makes it easier,” she says. “And then I can pick out something that is totally unexpected and make them happy. That’s what makes me happy.” Blackwell took a break from wine pairing to share her thoughts on the St. Louis food and beverage scene, her dream bottle of wine, and why she’s like a bottle of red Burgundy. What is one thing people don’t know about you that you wish they did? I spend my Saturdays working with draft horses. What daily ritual is non-negotiable for you? I have to watch Judge Judy when I can. If you could have any superpower, what would it be? I would love the ability to fly. I’d visit all the best vineyards. What is something missing in the local food, wine or cocktail scene that you’d like to see? I’d like to see more exploration with fortified wines. There are many fine Marsala, sherry and Madeira bottles in the market. Who is your St. Louis food or beverage crush? I’m in love with the staff at the Libertine: owner Nick Luedde, chef Wil Pelly, bartenders Ben Bauer and riverfronttimes.com
Naomi Beth Roquet. Who’s the one person to watch right now in the St. Louis food and beverage scene? Patrick Olds of Louie’s Wine Dive in Clayton. He has a great palate and will go far in the sommelier community. Which wine is most representative of your personality? Red Burgundy — classy and ages gracefully. If you weren’t working in the industry, what would you be doing? I’d be a large animal veterinarian. Name a wine never allowed on your list. I stay away from overly buttery, oaky wines. The imbalances make those wines difficult to pair with food. What is your after-work hangout? OB Clark’s in Brentwood. What’s your food or beverage guilty pleasure? Food: a White Castle cheeseburger. I know! Beverage: Malort tastes terrible by itself, but I love using it in cocktails. What would be your last meal on earth? An Olive + Oak cheeseburger, with roasted cauliflower from Reeds’ chef Matt Daughaday. Pair that with a bottle of Jacquesson’s Ay-Vauzelle n Terme 2005.
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[FIRST LOOK]
Chase Club Debuts Its New Look
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Snax Gastrobar offers soups, salads, snacks and some truly tasty sandwiches. | PHOTO BY JOHNNY FUGITT [FIRST LOOK]
A New Neighborhood Restaurant in South City Written by
JOHNNY FUGITT
S
nax Gastrobar (3500 Watson Road, 314-353-9463) is exactly the kind of restaurant you want in your neighborhood. It works as a place to have a burger, sandwich or salad for dinner on a work night. With board games, a casual atmosphere and a kids menu, you can bring the whole family, no babysitter required. Options such as the roasted chicken over shiitake mushroom and leek-braised beans with lemongarlic pan jus (for $16) mean you can get an affordable, yet complete and interesting, plated dinner. And Snax Gastrobar also works as a place to have a drink — be that an after-work tipple, watching the 50
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game on one of the five TVs or stopping in for a nightcap. Filling the double-patio’d space vacated just a few months ago by J. McArthur’s, Snax Gastrobar enters an increasingly restaurantrich pocket of Lindenwood Park. Farmhaus, Trattoria Marcella, Pietros and Kounter Kulture are all within just a few blocks. The owners intend for the restaurant to be a neighborhood hub. A paw-friendly “Yappy Hour,” with profits going to Stray Rescue, is in the works. The fire pit in the back patio might not be all that different from the one in your backyard, but at Snax, you don’t have to worry about the dishes. While Snax Gastrobar is a new concept, the restaurant business is nothing new for co-owners Stanley and Arlene Browne, who founded Robust Wine Bar. (Begun in Webster Groves, that venture grew to include three locations, including one downtown, before the Edwardsville outpost closed in 2015.) Co-owner and chef Joe Hemp V leads the kitchen and describes the menu as food that “makes you happy, warms your soul and gives you good feelings.” The menu contains hints towards the kitchen staff’s fine dining background, as well as a few nods to St. Louis’ favorite flavors.
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Expect the burger, Reuben and meatloaf to become three of the more popular menu items. Two griddled, smashed patties are topped with Provel, American cheese, locally smoked bacon, house pickles and the house “Snax” sauce. The Reuben includes house-smoked pastrami topped with a unique sauerkraut featuring Champagne vinegar, shallots and caraway. Finally, the slightly sweet meatloaf rests on a bed of potatoes and veggies, all covered with a mushroom gravy. “WTF is a ‘gastrobar?’” you may well have asked by now. “When people use the term ‘gastropub,’ ‘pub’ is focused on beer,” says Stanley Browne, who spent years working in proper British pubs across the pond. “We want to put equal weight on cocktails, beer and wine, so that’s why we called it a ‘gastrobar.’” The cocktail standards make appearances, but most have slight twists to make them unique. No bottle of wine is more than $50, and $5 house pours will soon be available. Beer offerings include the usual, but oh so tasty, offerings from St. Louis brewers. Snax Gastrobar is open Tuesday through Saturday beginning at 4 p.m., with the kitchen opening at 5 p.m., and will stay open through midnight. Lunch and brunch may come sometime in the future. n
f you haven’t been to the Chase Park Plaza (212 N. Kingshighway, 314-6333000) in awhile, it’s highly possible that your last memory of the venerable hotel involves dancing the night away at Cafe Eau — the casual bar and grill that frequently hosted live music for dancing and connected to the outside patio. But last June, Cafe Eau changed its name to the Chase Club — and in the nine months that followed, a whole new bar has been gestating, right there in plain sight. Now ready for its official unveiling is a new menu, a smart list of top-notch cocktails and a much sleeker, sharper appearance, courtesy of Atlanta-based TUL Designs. There’s even a pair of new 75inch flatscreens and couple of pool tables. Joshua Johnson, the Chase Park Plaza’s beverage manager, says the new look and new offerings are about staying up to date — even as the bar’s Art Deco touches and some cocktail offerings harken back to the hotel’s glorious past. “We don’t want to get stuck in a rut,” he says. Just across the hall, the Preston, the small plates restaurant that the hotel debuted in early 2016, is wine-centric and meal-centric. The Chase Club is more casual, and is justifiably proud of its beer program — there are 18 taps, plus 27 bottles and cans. You can grab a bite there or keep drinking, and dancing, long after dinner is done. The food menu is by no means small — but the focus is on simple, tasty treats rather than elaborate presentations. To that end, the kitchen offers a trio of “St. Paul Sliders,” an addictive variation on the St. Louis classic, served on soft buns, studded with shrimp and topped with spicy mayo. There’s also a burger, topped with boursin and bacon onion jam, and a “Short Rib Mac,” a hearty riff on mac and cheese whose sauce is infused with braised short ribs. Continued on pg 52
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La Vallesana
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Classic cocktails including the “Air Mail” (left) and fun bites, like these “St. Paul Sliders,” are showcased in a newly renovated space. | SARAH FENSKE
CHASE CLUB Continued from pg 50 Oh, and if you really want to get goofy, you’d be a fool not to order the PB, J & B, courtesy of the hotel’s new executive pastry chef, Eric Phillips. Think of it as a peanut butter
and jelly candy bar, with a scoop of house-made banana gelato on the side. (Of the banana, says Phillips, “We wanted to add that ‘other’ component,” kicking things up a notch.) It’s incredibly decadent, and also quite good. The new concept has its grand
opening this weekend, beginning Friday, a date designed to coincide with the Cardinals’ home opener. The VIP grand opening is from 5 to 7 p.m. on Friday, March 31, followed by all-day happy hour on both Saturday, April 1 and Sunday, April 2. Well drinks at just $5 will accompany
beer specials all day; the patio bar will be open. On both Friday and Saturday, live music will ring out from 9 p.m. to close. Might be a perfect time to see how much has changed since you last drank the night away at the Chase. —Sarah Fenske
La Vallesana AUTHENTIC MEXICAN FOOD MADE WITH 100% FRESH INGREDIENTS
OPEN 7 DAYS A WEEK 10AM-10 PM 2801 CHEROKEE STREET • 314-776-4223
Get Your Foos On Great American Human Foosball 3227 Morganford Rd. 314.882.6191 greatamericanhumanfoosball . com
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Vicia is a 2,500-square-foot space enclosed in glass, with a cool Nordic look. | GREG RANNELLS [DESIGN]
Meet Vicia, a Stunning Newcomer to Cortex
MONDAY, APRIL 3 7:00 PM
V
icia (4260 Forest Park Avenue, 314-553-9239), which opened last Wednesday in the city’s Cortex district, is that rare St. Louis restaurant capable of drawing national attention before it’s served a single dish. Co-owners Michael and Tara Gallina are both alumni of the Blue Hill at Stone Barns, and their decision to leave New York for Michael’s native St. Louis drew headlines even before they honed their concept. After a successful run of popups, that concept, Vicia, opens with lunch service today — a casual beginning to what’s certain to become one of the city’s most coveted reservations. The Gallinas plan to offer quick counter service at lunch with a frequently changing menu at dinner, “driven by the best of what’s available at the moment.” Dinner service began Tuesday, March 28. As their press kit notes, “By presenting an experience reflective
INVITES YOU AND A GUEST TO
Lunch is ordered at the counter. Dinner, which starts this week, is full service. | GREG RANNELLS of the season, based on best practices from the land to the kitchen, the Gallinas look to create an element of surprise, and a restaurant experience that constantly feels fresh and innovative.” The space certainly lives up to the hype. Designed by Sasha Malinich of R/5 and Casco Architects, it’s a 2,500-square-foot glass-enclosed space with a cool Nordic look. It will seat 54 inside, with room for another 34 outside in view of the restaurant’s wood-fired grill. Local artists are represented
in the striking room. The custom-made white oak tables are by St. Louis’ Martin Goebel of Martin Goebel Design, while the artwork that serves as a focal point in the dining room, “Echinacea,” is by Andrew Millner, an artist based in St. Louis. Vicia will serve lunch Monday through Friday from 11 a.m. to 1:30 p.m. Dinner will be served Tuesday through Saturday from 5:30 p.m. to 9:30 p.m. Reservations are encouraged for dinner, but not for lunch. —Sarah Fenske riverfronttimes.com
PLEASE VISIT WBTICKETS.COM AND ENTER THE CODE XNthT20716 TO DOWNLOAD YOUR COMPLIMENTARY PASSES! RATED PG-13 FOR DRUG CONTENT, LANGUAGE AND SOME SUGGESTIVE MATERIAL. Please note: Passes are limited and will be distributed on a first come, first served basis while supplies last. No phone calls, please. Limit one pass per person. Each pass admits two. Seating is not guaranteed. Arrive early. Theater is not responsible for overbooking. This screening will be monitored for unauthorized recording. By attending, you agree not to bring any audio or video recording device into the theater (audio recording devices for credentialed press excepted) and consent to a physical search of your belongings and person. Any attempted use of recording devices will result in immediate removal from the theater, forfeiture, and may subject you to criminal and civil liability. Please allow additional time for heightened security. You can assist us by leaving all nonessential bags at home or in your vehicle.
IN THEATERS APRIL 7 Soundtrack Available Now GoingInStyleMovie.com #GoingInStyle
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®
FRI. 5/5
ON SALE FRI. AT 10AM
MON. 9/18
SATURDAY 4/1
ON SALE FRI. AT 10AM
FRIDAY 4/7
SATURDAY 4/8
THURSDAY 4/13
SATURDAY 4/15
SUNDAY 4/16
WED. 4/19 & THU. 4/20
SUNDAY 4/23
TUESDAY 4/25
WEDNESDAY 4/26
UPCOMING SHOWS 4/19 WELCOME TO NIGHT VALE AT THE SHELDON CONCERT HALL
5/21 SOMO 5/22 GOV’T MULE
4/27 MASTODON W/EAGLES OF DEATH METAL
5/26 TECH N9NE
4/28 EXPLOSIONS IN THE SKY
6/5 FUTURE ISLANDS
4/30 LITTLE DRAGON 5/1 ANTHRAX & KILLSWITCH ENGAGE
6/7 KALEO
5/3 TREY ANASTASIO BAND
6/8 TIG NOTARO
5/6 THE MAVERICKS
6/10 SEETHER
5/13 BIANCA DEL RIO
6/11 PORTUGAL. THE MAN
5/14 THE CULT
6/12 OLD CROW MEDICINE SHOW
5/15 COHEED & CAMBRIA
6/29 311
5/18 FLUX PAVILION
6/18 ALL TIME LOW
5/20 POKEY LAFARGE ALBUM RELEASE SHOW
6/25 CHEVELLE
visit us online for complete show information facebook.com/ThePageantSTL
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MUSIC [RELEASES]
Magic and Loss With its new and final EP, Magic City says goodbye to departed bassist Anne Tkach Written by
CHRISTIAN SCHAEFFER Magic City Record Release
8 p.m. Friday, March 31. Off Broadway, 3509 Lemp Avenue. $10. 314-773-3363.
F
or Magic City, a wiry, darktinted rock combo made up of south city lifers, the twin engines of the sex drive and the death drive were pretty well intertwined. On the band’s 2011 debut Les Animaux Épouvantables, singer and guitarist Larry Bulawsky channeled sinful sermons while a wrecking crew of instrumentalists — organist Adam Hesed, guitarist JJ Hamon, bassist Anne Tkach and drummer Sam Meyer — bashed out churning, blues-drenched grooves. Tkach’s sudden, shocking death in an early-morning house fire on April 9, 2015, appeared to truncate the trajectory of Magic City and a host of other local bands with which Tkach was associated. The loss of a beloved, big-hearted and musically dexterous presence reverberated through many corners of St. Louis, but Tkach’s closest musical allies — in Magic City as well as the folk-and-roots group Rough Shop and the blue-eyed soul band Ransom Note — had to contend with their groups’ uncertain future along with personal grief. Nearly two years after Tkach’s passing, a reconstituted Magic City will be taking the stage one last time this week as the band releases La Vie Est Chére, a six-song EP composed largely of recordings made with the band’s original lineup. On a mid-Sunday rehearsal break over tacos and tortas in the backyard of the house that Tkach and Hesed once shared, members
Anne Tkach, third from left, passed away tragically in a house fire in April 2015. | PHOTO VIA THE BAND of the band share their memories of Magic City’s beginnings and their hopes for this final release. For this show, Kiki Solis will take Tkach’s spot on bass guitar and Drew Gowran will fill in on auxiliary percussion. Hesed, Tkach’s long-time partner, explains that the bulk of these recordings were done in 2012 and 2013 with the intention of making another full-length LP. “The reason it didn’t come out earlier is that we kept thinking we would write a couple more songs and finish it out, and then…” Hesed trails off, knowing, perhaps, that the end of that thought doesn’t need to be
spoken to be understood. For the album release show, the band has pressed a limited run of 300 vinyl copies. That release, along with this week’s show, is all that the members of Magic City have planned for the band. “This is the final thing; we’re not planning on being a longterm project or anything,” says Hamon. “But I think because the other songs are so solid — we play them well. The title track [“Life is Sweet’] was one take, one mix. That’s all we got, you know, and it was a really strong track. It’s kind of the last thing Anne recorded on, as far as I know.” riverfronttimes.com
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Hesed concurs: “As far as I know, this will be the last work of hers to come out. It just seemed a waste having it just sit on a disc somewhere and nobody hear it when the material is worth putting out there and, you know, having people hear it. It seemed more honorable to get it out there than to have it sit around and sort of fester and be frustrating for us, I think.” “We just had to figure out how to get it out of the bank because our smart one, our banker, was not in the picture,” recalls Hamon. “That also meant we didn’t spend it on anything besides finishing this.” Along with serving as de facto manager and logistics operator for the band, Tkach was a vital part of the band’s bottom-heavy sound, a musician who provided sometimes subtle, sometimes ferocious underpinning to its riffladen style. “The bass player is the anchor and holds it together, and that’s the glue that Anne definitely was, but she was so much more,” says Bulawsky. “She was also a singer and played drums and percussion. She had an innate sensibility. She was also honest about it; if something wasn’t going right, she wasn’t just gonna play stuff that wasn’t working. She let you know, which I always liked.” The opening instrumental, “Pibloktoq,” shows Magic City at its most muscular, with its roiling rhythm and a circular, barbed riff that takes the technique of mathrock into stoner-groove territory. “They’re tough songs — they’re very technical,” says Meyer, who, as the group’s drummer, is tasked with corralling the song’s shifting rhythm. “It’s challenging. That’s what I always appreciated about it.” “They’re challenging, but they don’t sound that way,” Hamon continues. “That’s the trick, right?” says Meyer. For Bulawsky, whose fullbodied commitment to the role of the band’s frontman was Magic City’s most immediately magnetic component, the band gave him a chance to add drama and pathos while playing the part of a
MARCH 29-APRIL 4, 2017
Continued on pg 57
RIVERFRONT TIMES
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THEGROVESTL.COM
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THE HAUNT
MAGIC CITY Continued from pg 55
“The bass player is the anchor and holds it together, and that’s the glue that Anne definitely was, but she was so much more.”
M
visit the grove’s
local irish pub! happy hour monday-friday 3-6pm $1 off all craft beer and appetizers
314-932-5232 4353 MANCHESTER “IN THE GROVE” WWW.OSHAYSPUB.COM
growling, leering carnival barker and debased revival preacher. “For me personally, it was the first time I had played in a band where I was able to play and sing material that someone else had written,” says Bulawksy, noting that Hesed penned many of Magic City’s lyrics, including the songs “Speckled Bird” and “Life is Sweet” on the new EP. “It gave me a chance to get behind the music in a different kind of way, which I really enjoyed,” continues Bulawsky. “If I had written those lyrics I might be singing them in a different way or be more precious about the interpretation.” “That was something I really enjoyed about it also, was writing songs that I didn’t have to sing. Those words were never gonna come out of my mouth,” says Hesed. “They were given to somebody else to interpret and butcher and take elsewhere. It was an interesting process to write for somebody else.” While Hesed was content to do more writing rather than singing on previous Magic City recordings, the emotional centerpiece of La Vie Est Chére finds Hesed on the microphone for a cover of Leonard Cohen’s “Tower of Song.” Hesed first performed it at a tribute show in Tkach’s honor in July 2015, and the song, which ruminates on a life spent in supplication to music, struck him as proper send-off to his companion. “It seemed very appropriate,” Hesed says. “I could pick out my favorite lines from the song, but I see it as paying tribute to Anne as a permanent resident in the Tower of Song now.” n riverfronttimes.com
5000 Alaska Ave
April 1st Dr Jekyll Vs Mr Hyde Book Release Party Live Music and raffles with some very generous prizes Party starts at 9pm April 9th Party with an Aries Free Haunt glass for the first 10 Aries OPEN POOL TABLE EVERY MONDAY AND TUESDAY KARAOKE MADNESS EVERY THURSDAY AT 9PM Happy Hour 3-7 Every Day $2 domestics & Rails Open daily at 11 am
MARCH 29-APRIL 4, 2017
RIVERFRONT TIMES
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58
HOMESPUN
BAGHEERA Shooting Rockets Towards the Sun www.bagheeramusic.com
Bagheera Album Release
8 p.m. Friday, March 31. Foam Coffee & Beer, 3359 South Jefferson Avenue. $5. 314-772-2100.
T
here’s a lot of history in the basement of Ted and Heather Moll’s Carondelet neighborhood home. Much of it dates from a long time ago in a galaxy far, far away — Ted is an avowed Star Wars nerd, and all manner of vintage jawas, AT-AT walkers and tie-fighter figurines line the shelves, while a life-sized R2-D2 cooler stands sentinel in the corner. But a little slice of local music history has its roots in this space as well. Back in the early 1990s, when Ted’s grandmother owned the house, a group of high school kids began fumbling their way through the back-catalog of second-wave ska music. The band named itself MU330 after some of its members’ high school music class, and over the years the group would become a bright spot in the city’s ska/punk scene, eventually taking its music — and its south side anthem “Hoosier Love” — all over the world. “She would feed us and bring down snacks,” recalls Ted of his grandma. “I think that’s why we played fast ska music, because she would bring down soda and candy. We were all jacked up on caffeine and sugar.” On a sedate Saturday morning, Ted is back in that basement with his wife Heather, sipping coffee as their two children, Sylvia and Oliver, play upstairs. While MU330 still sees spurts of touring throughout the year and has even recorded a few new songs, the Molls are readying the release of their new full-length album as Bagheera, the spacey pop project they have co-led for almost fifteen years. Shooting Rockets Towards the Sun comes out at the end of this month, marking the band’s first official release since 2004’s Twelves. Like that previous album, the new LP marries the pair’s instinctive sense of vocal harmony with propulsive bursts of errant pop and shoegaze dreaminess. “We’ve been working on it for thirteen years,” explains Heather. “Obviously you saw what’s happening upstairs with children, so that kind of put a damper — we didn’t play for a really long time. We tried to do a couple shows, just the two of us, and that never sounded super great. All that time, we were chipping away at things in the basement.” The basement has both a live-and-loud practice room and a more orderly desktop home studio. That setup has allowed the Molls to chip away at these songs over time; in fact, some tracks on Shooting Rockets date back eight or ten years. According to Heather, such is the blessing and curse of home recording. “When you have a home studio, it’s like, ‘Oh great, I have a studio at my house!’” she says. “But you also have dishes and laundry and children. There’s not a lot of time where you can go in and record an album in two weeks.” For Ted, the process of experimentation may have added to the long lead time between records, but it also provided a crucial window into the sonic make-up of Bagheera’s more experimental excursions, like the trippy, interstellar “Jovian.”
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riverfronttimes.com
“I don’t really know what I’m doing recording-wise,” he says. “I know what I want it to sound like, but I don’t have the experience of somebody who has run sound for ten years or worked in a studio. So it’s a lot of trial and error; it may take me and hour or two to get where someone else would dial it in in a few seconds, because I’m gonna try out everything until I get it to sound how I want it.” Heather’s approach is more direct, leading to the band’s pop-savvy, hook-heavy songs. “I sit down with an acoustic guitar, and if it doesn’t sound good on an acoustic guitar, it doesn’t work for me,” she says. “That’s how I write; I write for myself as a person sitting down in a sunny room with a guitar. So I play a lot of open chords so it’s full. Ted takes what I do and puts all the swirly bits on it — and he starts [his songs] with the swirly bits!” Those “swirly bits” often come from the limitations of software and hardware, the ghosts in the machine that create atonal fizzes. “There’s one song, it’s called ‘The Return of Eris,’ and I built that song because I bought a fuzz pedal from Jason Hutto,” Ted says, referring to the longtime St. Louis guitarist and producer (and current Texas resident). “I took it home and was playing with it; it just had a really unique character. If you would slide down a half-step on the note, it didn’t like that — it would just create this weird noise. “I try to exploit the weird little stuff that’s not really musical — where the circuits don’t line up right,” he continues. The Molls like to allow room for creative mistakes, letting their slight naïveté guide the construction of Bagheera’s songs. “Neither one of us really knows a lot about music,” says Heather, eliding her own knack for songcraft and her husband’s twenty-plus years behind the kit with MU330. “A lot of it is trial and error; we’ll just sit down and I’ll try to come up with harmonies for things. I think there’s a lot to be said for not understanding the nuances of how music actually works. I think it sets us up for a lot of experimentation. I think if I knew theory I wouldn’t try new things, because I would know what is supposed to happen.” “We don’t discriminate against any notes,” says Ted with a laugh. –Christian Schaeffer
an uiiss LLa nd ou dm Lo maarrkk Stt.. L A AS
Bowl with friends drinks, pizza, pop-tarts
It's social!
FPO FPO
Griddled Cheese Burger with Fries
SNOW BALL PARTY
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Saturday, Jan 14
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3 words: Cheddar Cheese Balls! ICE CARNIVAL 3 words: Friday, Jan 13 at the Moonrise Hotel
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FRI. FRI.5/26 1/6 THU. 3/30
FRI. SAT.3/24 4/1 THU. 1/12
SAT. 3/25 SUN. 4/2 FRI. 1/13
SHOW 8:00
thur. march 30 9PM Eastern Illinois Jazz Band Ensemble Free Show
TH
Rescue The Mouse, Ann Says Aweful Racket, 9 Rabbits Laughing, Cose2Zero - Rock - 6:30pm - $10adv/$12 Door
fri. march 31 10PM Funky Butt Brass Band
FRIDAY, MARCH 31 ST
Vesperteen, Thames, Calloway Circus, Sails Through Storms, Devin & The Atmospheres - PopRock - 6:30pm - $10adv/$12 Door
SATURDAY, APRIL 1 ST
Silence the Witness, Arkangela, Behold My Enemy, Ecclesiast, Unimagined- Metal- 6pm-$10adv/$12 Door *THE BAR AREA - Geeks Who Drink Pub Trivia - Trivia - 8:30pm - FREE
SUNDAY, APRIL 2 ND
Open Mic Night hosted by Mark Z- Variety-8pm-FREE
WEDNESDAY, APRIL 5 TH
6261 Delmar in The Loop
ON SALE NOW
SUN. 6/25 FRI. SAT.3/31 1/7
“St. Louis pioneers of craft beer and live music”
THURSDAY,MARCH 30
PeacockLoopDiner.com
WED. 4/5 THU. 3/30 SAT. 1/14
FRI. 3/31 4/7 FRI. TUE. 1/17
SAT. SAT. 4/8 4/1
1/22 1/24 2/1 2/6 2/6
TALKING DREADS MONSTER TRUCK LUKE WADE thePOUR CHAIN GANG OF 1974 2/15 COLONY HOUSE
wed. april 5 9:30PM Voodoo Players Tribute to Colorado Bluegrass
thur. april 13 9PM New Orleans Suspects
sat. april 22 10PM
Geeks Who Drink - Pub Trivia - 8:30pm - FREE
UPCOMING SHOWS 4/6 Lever & Anaphora 4/7 Jake’s Leg & EMG 4/22 Paula Boggs Band 4/27 SeepeopleS
6691 Delmar
In the University City Loop
314.862.0009 • www.ciceros-stl.com
Marcia Ball Tickets available at Blueberry Hill (no service fees with cash) & all Ticketmaster outlets. Charge by phone 800-745-3000 · Online at ticketmaster.com are at General Admission doors 7 pm unless otherwise noted. TicketsShows available Blueberry Hill (nowith service feesatwith cash) & Ticketmaster outlets. cash) & all all Ticketmaster outlets. Charge by phone 800-745-3000 · Online at ticketmaster.com ticketmaster.com
Cedric Burnside Project
Open 7 days from 11 am H 314-727-4444 6504 314-727-4444 6504 Delmar in The Loop H riverfronttimes.com
sat. april 29 10PM
736 S Broadway St. Louis, MO 63102
MARCH 29-APRIL 4, 2017
(314) 621-8811
RIVERFRONT TIMES
59
2016-17season
Kneebody March 29–April 1
concerts | dinner | drinks full concert listing and info:
jazzstl.org | 314.571.6000 the harold & dorothy steward center for jazz 3536 washington ave. | st. louis, mo 63103
Presenting Sponsor of the 2016-17 Jazz at the Bistro Season
Rhythm & Blues • Reggae Latin • Jazz
Fletcher Moley Group with Katie Turnbull
Evangeline’s 7-11 pm - no cover Friday, March 31
512 N Euclid Ave, CWE St Louis 60
RIVERFRONT TIMES
MARCH 29-APRIL 4, 2017
riverfronttimes.com
61
OUT EVERY NIGHT THURSDAY 30
289-9050.
314-349-2850.
SQUIRCLE THE DESTROYER: w/ The Pat Sajak
BIG JESUS: 8 p.m., $10-$12. Fubar, 3108 Locust
SPACETRUCKER: w/ Van Buren, Path Of Might
DARK STAR ORCHESTRA: 8 p.m., $25-$30. The
Assassins, Bear Cub 9 p.m., free. Schlafly Tap
St, St. Louis, 314-289-9050.
8 p.m., TBA. San Loo, 3211 Cherokee St., St.
Pageant, 6161 Delmar Blvd., St. Louis, 314-726-
Room, 2100 Locust St., St. Louis, 314-241-2337.
BRUXISM 26: w/ ICE 9 p.m., free. Schlafly Tap
Louis, 314-696-2888.
6161.
SULLEN REUNION SHOW: w/ The Humanoids,
Room, 2100 Locust St., St. Louis, 314-241-2337.
TEMPLE: w/ Supersillyus 7 p.m., $10-$15. 2720
LE BUTCHERETTES: 8 p.m., $12-$15. The Ready
Swear Beam 8 p.m., $10-$12. Delmar Hall,
CITY WIDE SOUNDS: w/ Emily Wallace, Gavin
Cherokee Performing Arts Center, 2720 Chero-
Room, 4195 Manchester Ave, St. Louis, 314-
6133 Delmar Blvd., St. Louis, 314-726-6161.
McNutt, Leah Osborne, Hillary Fitz, Amber
kee St, St. Louis, 314-276-2700.
833-3929.
WE ARE UNITED BIRTHDAY BASH 2: w/ Sky Burnt
Skies 8 p.m., $5. Old Rock House, 1200 S. 7th
VANESSA CARLTON: 8 p.m., $30. Blueberry Hill -
LES GRUFF AND THE BILLY GOAT ALBUM RELEASE:
White, Calloway Circus, Isabella, Conquer As
St., St. Louis, 314-588-0505.
The Duck Room, 6504 Delmar Blvd., University
w/ The River Kittens 8 p.m., $10.
They Come, Disguise The Limit, Verba Stellae
FAMOUS LOSERS: w/ Rescue the Mouse 7 p.m.,
City, 314-727-4444.
LOVE JONES “THE BAND”: 10 p.m., $10. BB’s Jazz,
5 p.m., $8-$10. The Firebird, 2706 Olive St., St.
$10-$12. Cicero’s, 6691 Delmar Blvd., Universi-
VESPERTEEN: w/ Devin & The Atmospheres
Blues & Soups, 700 S. Broadway, St. Louis, 314-
Louis, 314-535-0353.
ty City, 314-862-0009.
7 p.m., $10-$12. Cicero’s, 6691 Delmar Blvd.,
436-5222.
HEMBREE: 8 p.m.; April 27, 8 p.m., $5-$7. Blue-
University City, 314-862-0009.
MIKE MATTHEWS PROJECT: 9 p.m., free. Night-
SUNDAY 2
shift Bar & Grill, 3979 Mexico Road, St. Peters,
CHELSEA GRIN: w/ Ice Nine Kills, Gideon, En-
636-441-8300.
terprise Earth 6 p.m., $20-$22. The Firebird,
berry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314-727-4444.
SATURDAY 1
KIM MASSIE: 10:30 p.m., $10. Beale on Broad-
BIG GEORGE BROCK CELEBRATION: w/ Mickey
RUDE FEST ST LOUIS 2017: DAY 2: w/ The Dickies,
2706 Olive St., St. Louis, 314-535-0353.
way, 701 S. Broadway, St. Louis, 314-621-7880.
Rogers, Skeet Rodgers, Marquise Knox 7 p.m.,
The Turbo A.C.’s, Brutally Frank, Opposites At-
CHERRY GLAZERR: w/ Ian Sweet, Lala Lala 8
LEVITATED: w/ Mel, Yadi Steez, Sean Young 8
$15-$20. National Blues Museum, 615 Washing-
tack, The Bollweevils, Dan Vapid & The Cheats,
p.m., $12. Off Broadway, 3509 Lemp Ave., St.
p.m., $5. The Firebird, 2706 Olive St., St. Louis,
ton Ave., St. Louis.
The Virgin Whores, The Independents, The
Louis, 314-773-3363.
314-535-0353.
BOB “BUMBLE BEE” KAMOSKE: 7 p.m., $5. BB’s
Dewtons, Rotten Stitches, FTS, Abraxas, Some
CHRIS ROBINSON BROTHERHOOD: 8 p.m.,
MARC BENNO: 7 p.m., $10-$20. Joe’s Cafe, 6014
Jazz, Blues & Soups, 700 S. Broadway, St. Louis,
Kind of Nightmare, Rage Cvlt, Dirty Rotten Re-
$20-$23. Delmar Hall, 6133 Delmar Blvd., St.
Kingsbury Ave, St. Louis.
314-436-5222.
venge, Clitoris Rex, The Radio Buzzkills, With
Louis, 314-726-6161.
REVEREND PEYTON’S BIG DAMN BAND: 8 p.m.,
THE CARY COLMAN JAZZ TRIO: 6 p.m., free.
A T, The Subservients 2 p.m., $26-$65. Fubar,
DAVEY DYNAMITE: w/ Danny Cozzi, Walloper,
$12-$15. Off Broadway, 3509 Lemp Ave., St.
Howard’s in Soulard, 2732 S 13th St, St. Louis,
3108 Locust St, St. Louis, 314-289-9050.
Wooden Teeth 8 p.m., $5. San Loo, 3211 Cher-
Louis, 314-773-3363.
okee St., St. Louis, 314-696-2888.
VICKY MICHAELS & EDICKS WAY BLUES BAND: 8 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broad-
FISHBONE: 8 p.m., $27.50-$32.50. Blueberry
[CRITIC’S PICK]
Hill - The Duck Room, 6504 Delmar Blvd.,
way, St. Louis, 314-436-5222.
University City, 314-727-4444. LOVE JONES “THE BAND”: 8 p.m., $10. BB’s Jazz,
FRIDAY 31
Blues & Soups, 700 S. Broadway, St. Louis,
4&20 – A TRIBUTE TO CSNY: 8 p.m., $15-$20.
314-436-5222.
Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-
PEEWEE SALOON: 2 p.m., free. Howard’s in
726-6161.
Soulard, 2732 S 13th St, St. Louis, 314-349-
ADRIAN BELEW POWER TRIO: w/ Saul Zonana 8
2850.
p.m., $25. Old Rock House, 1200 S. 7th St., St.
RUDE FEST ST LOUIS 2017: DAY 3: w/ UK Subs,
Louis, 314-588-0505.
Ultraman, The Supermen, Scene Of Irony,
EDGEFIELD C. JOHNSTON AND THE STILL STAND-
Choking Susan, Otto’s Revenge, The Moon
INGS: 9 p.m., free. Layla, 4317 Manchester Ave.,
Bandits, Voice of Addiction, Stinkbomb, SVU,
St. Louis, 314-553-9252.
The Fugitives, Creature Illicit, The Winks, Cap-
FIREBIRD TRIBUTE SERIES: w/ Tributes to Green
tain Dee and The Long Johns, Back Alley Riot,
Day, My Chemical Romance, Rage Against The
Morgan and the Freemen, Tracing Wires 2
Machine, Alkaline Trio 8 p.m., $6-$8. The Fire-
p.m., $25-$30. Fubar, 3108 Locust St, St. Louis,
bird, 2706 Olive St., St. Louis, 314-535-0353.
314-289-9050.
JOE LEWIS BAND: 7 p.m., $5. BB’s Jazz, Blues
SKEET RODGERS AND THE INNER CITY BLUES BAND: 4 p.m., $10. National Blues Museum,
& Soups, 700 S. Broadway, St. Louis, 314-436-
Cherry Grazerr. | PRESS PHOTO VIA SECRETLY CANADIAN
5222. 6161 Delmar Blvd., St. Louis, 314-726-6161. MAGIC CITY RECORD RELEASE: w/ Redmouth,
Cherry Glazerr
Bug Chaser 8 p.m., $10. Off Broadway, 3509
8 p.m Sunday, April 2.
Lemp Ave., St. Louis, 314-773-3363. MARC BENNO & THE RENEGADES: 10 p.m., $10. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. RIVER DESPAIR: w/ The Idea Men, De Los Muertos 9 p.m., free. Schlafly Tap Room, 2100 Locust St., St. Louis, 314-241-2337. RUDE FEST ST LOUIS 2017: DAY 1: w/ Slapshot, Hard Evidence, The Generators, Antagonizers ATL, Danny Greene, Dogs in the Fight, Kill Their Past, American Dischord, The Haddonfields, Flamingo Nosebleed, Sweat Shoppe, Grave Neighbors, Bassamp & Dano 7 p.m., $25-$65. Fubar, 3108 Locust St, St. Louis, 314-
615 Washington Ave., St. Louis. SOUL REUNION: 10:30 p.m., $7. Beale on Broad-
KRIS KRISTOFFERSON: 8 p.m., $50. The Pageant,
Off Broadway, 3509 Lemp Avenue. $12. 314-7733363.
The cover of Cherry Glazerr’s newest LP Apocalipstick does a more than fair job of telegraphing the sounds on the disc. The band’s name rings out in triumphant, comic-book-hero font while our heroine stands resplendent in combat boots and bellicose headdress, a Rickenbacker guitar held at the ready. Clem Creevy leads this trio
way, 701 S. Broadway, St. Louis, 314-621-7880.
with a similar stance as the brightly colored album cover, unafraid of deploying sharp guitar work and a stout rhythmic backbone in the name of justice. It’s a belief that transcendence can be achieved through muscular, assured rock & roll — a believe we find it hard to disagree with. Three of a Kind: A pair of women-fronted, guitar-centric bands will open the show — Lala Lala and Ian Sweet. Arrive on time. —Christian Schaeffer
riverfronttimes.com
MONDAY 3 BACKWARDS DANCER: w/ Dear Genre, This Is Our Dance 6 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. COLFAX SPEED QUEEN: w/ Ned Garthe Explosion, Drugs and Attics, Bruiser Queen 9 p.m., $5. The Sinkhole, 7423 South Broadway, St. Louis, 314-328-2309. SOULARD BLUES BAND: 9 p.m., $5. Broadway Oyster Bar, 736 S. Broadway, St. Louis, 314621-8811. THIRD SIGHT BAND: 8 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-4365222.
MARCH 29-APRIL 4, 2017
Continued on pg 62
RIVERFRONT TIMES
61
OUT EVERY NIGHT Continued from pg 61
[CRITIC’S PICK]
TUESDAY 4 JAMAICA LIVE TUESDAYS: w/ Ital K, Mr. Roots, DJ Witz, $5/$10. Elmo’s Love Lounge, 7828 Olive Blvd, University City, 314-282-5561. JOSH TAERK: 8:45 p.m., free. Evangeline’s, 512 N Euclid Ave, St. Louis, 314-367-3644. KIM FULLER: A TRIBUTE TO NANCY WILSON: 10 a.m.; April 5, 10 a.m., $15-$18. The Sheldon, 3648 Washington Blvd., St. Louis, 314-533-9900. KIM MASSIE: 10:30 p.m., $10. Beale on Broadway, 701 S. Broadway, St. Louis, 314-621-7880. KNOCKOUT KID: w/ Pseudo Future, Lower Automation 7 p.m., $10-$11. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. NIGHT DEMON: 7 p.m., $10. Fubar, 3108 Locust St, St. Louis, 314-289-9050. ST. LOUIS SOCIAL CLUB: 9 p.m., $5. BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-
314-773-3363. ANN WILSON OF HEART: Sun., May 28, 8 p.m., $49.50-$89.50. River City Casino & Hotel, 777
Rude Fest 7 p.m. Friday, 2 p.m. Saturday and Sunday, March 31 to April 2. Fubar, 3108 Locust Street. $25 to $65. 314-2899050.
If ever there was an event demanding one’s finest punk accessories, it is this weekend’s Rude Fest. Featuring performances by more than 50 bands, including headlining sets by Slapshot, the Dickies and the UK Subs, the largely streetpunk-centric festival will again take over both stages at Fubar for the entire weekend — and you better believe the punx will come dressed for
436-5222.
the occasion. Pour glue in your hair! Pierce your face with knitting needles! Those jeans would look better covered in bleach and useless zippers! Adorn yourself in non-conforming clothing or risk not fitting in. You’ve been warned. Go Ahead Punk: Facetious fashion advice aside, we’re serious when we say this festival is worth your time. Classic punk rock mingling alongside the newcomers, legendary out-of-towners mixed with locals, tunes ranging from the hardcore variety to oi to pop-punk. Something for everyone — regardless of attire. —Daniel Hill
River City Casino Blvd., St. Louis, 314-388-7777. THE BIRTHDAY MASSACRE: W/ Army Of The Universe, Ludovico Technique, Mon., May 22, 7 p.m., $10-$25. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929. EXMW: W/ ReAck, DJ Smitty, Fri., May 5, 8 p.m., $10. 2720 Cherokee Performing Arts Center, 2720 Cherokee St, St. Louis, 314-276-2700. GORGUTS: W/ Defeated Sanity, Exist, Sat., June 10, 7 p.m., $18-$20. Fubar, 3108 Locust St, St. Louis, 314-289-9050. HALLOW POINT CD RELEASE SHOW: W/ Outcome of Betrayal, Final Drive, Compelled To Destroy, Wrecklamation, Fri., May 19, 7 p.m., $8-$10. The Firebird, 2706 Olive St., St. Louis, 314-5350353. HAYLEY KIYOKO: Thu., June 1, 8 p.m., $15. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. JASON ALDEAN: W/ Chris Young, Kane Brown,
THE PSYCHEDELIC FURS: w/ Robyn Hitchcock 8
Dee Jay Silver, Fri., July 21, 6 p.m., $25.50-
p.m., $35-$37. The Ready Room, 4195 Manches-
$65.50. Hollywood Casino Amphitheatre, I-70
ter Ave, St. Louis, 314-833-3929.
[CRITIC’S PICK]
WEDNESDAY 5
& Earth City Expwy., Maryland Heights, 314298-9944. JILL SCOTT: Sat., July 8, 8 p.m., $45-$125. The
BOB “BUMBLE BEE” KAMOSKE: 8 p.m. Beale on
Fox Theatre, 527 N. Grand Blvd., St. Louis,
Broadway, 701 S. Broadway, St. Louis, 314-621-
314-534-1111.
7880.
KSHE STORIES FROM THE WINDOW: Fri., May 5,
DAVID HALEN: 8 p.m., $15-$30. The Sheldon,
8 p.m., $9.05-$12. Delmar Hall, 6133 Delmar
3648 Washington Blvd., St. Louis, 314-533-9900.
Blvd., St. Louis, 314-726-6161.
GLEEWOOD: w/ Marie and the Americans 8
LYFE JENNINGS: W/ Dave Hollister, Sun., April
p.m., $5. San Loo, 3211 Cherokee St., St. Louis,
23, 7 p.m., $45-$100. Ambassador, 9800 Halls
314-696-2888.
Ferry Road, North St. Louis County, 314-869-
THE GREEN MCDONOUGH BAND: 9 p.m., $5. BB’s
9090.
Jazz, Blues & Soups, 700 S. Broadway, St. Louis,
MATCHBOX TWENTY: W/ Counting Crows, Tue.,
314-436-5222.
Sept. 26, 6:45 p.m., $29.50-$99.50. Hollywood
HAILEY WHITTERS: 8 p.m., $12. Blueberry Hill -
Casino Amphitheatre, I-70 & Earth City Expwy.,
The Duck Room, 6504 Delmar Blvd., University
Maryland Heights, 314-298-9944.
City, 314-727-4444.
MISS MAY I: W/ Upon A Burning Body, Kublai
KIM FULLER: A TRIBUTE TO NANCY WILSON: April
Khan, Currents, Wed., June 14, 6 p.m., $20-$23.
4, 10 a.m.; 10 a.m., $15-$18. The Sheldon, 3648
Fubar, 3108 Locust St, St. Louis, 314-289-9050.
Washington Blvd., St. Louis, 314-533-9900.
MUSHROOMHEAD: W/ The Browning, Sunflower
PANIC! AT THE DISCO: w/ MisterWives, Saint
Dead, Sun., May 21, 6 p.m., $18-$21. The Fire-
Motel 7 p.m., $26.50-$46.50. Scottrade Center,
bird, 2706 Olive St., St. Louis, 314-535-0353.
1401 Clark Ave., St. Louis, 314-241-1888.
PALLBEARER: W/ Inter Arma, Gatecreeper,
SPAFFORD: w/ Mungion 8 p.m., $10-$12. Old
Wed., June 7, 8 p.m., $15. Fubar, 3108 Locust
Rock House, 1200 S. 7th St., St. Louis, 314-588-
St, St. Louis, 314-289-9050.
0505.
Robyn Hitchcock. | LAURA E. PARTAIN
WEDNESDAY NIGHT JAZZ CRAWL: 5 p.m. continues through Dec. 27, free. The Stage at KDHX, 3524 Washington Ave, St. Louis, 314-925-7543,
Robyn Hitchcock
ext. 815.
8 p.m. Tuesday, April 4.
THIS JUST IN
The Ready Room, 4195 Manchester Avenue. $35 to $37. 314-833-3929.
4 HANDS PRESENTS: CITY WIDE SOUNDS: W/ Brother Lee & the Leather Jackals, Old Souls Revival, Thu., April 27, 8 p.m., $5. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. THE ALARM: Thu., Aug. 24, 8 p.m., $20-$25. The Ready Room, 4195 Manchester Ave, St. Louis, 314-833-3929. AMORATH CD RELEASE PARTY: W/ The Faded Truth, Divide The Empire, Karma Dealer, Sat., May 6, 7 p.m., $10-$12. The Firebird, 2706 Olive St., St. Louis, 314-535-0353. AN EVENING WITH SMOOTH: A TRIBUTE TO SANTANA AND ROB THOMAS: Fri., June 2, 8 p.m., $8. Off Broadway, 3509 Lemp Ave., St. Louis,
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RIVERFRONT TIMES
Heading into what should be his retirement years, Robyn Hitchcock still sounds like the most poetic punk on the decadent block. His self-titled and 21st studio album, due out in April, finds the former leader of the Soft Boys writing with his usual deconstructive wit and skewed social realism, even when it means channeling dystopian science fiction and hard-edged minimalism in the style of Lou Reed. Lead
MARCH 29-APRIL 4, 2017
riverfronttimes.com
RIPE: Tue., May 23, 8 p.m., $10-$12. Old Rock House, 1200 S. 7th St., St. Louis, 314-588-0505. THIRD SIGHT BAND: Mon., April 17, 9 p.m., $5.
single “I Want to Tell You About What I Want” is boundlessly bizzare and beautiful, especially as it charges towards a Bowie-esque climax. Hitchcock may be clever, but he’s never cloying; his mission is to make the sardonic sublime. Love Their Way: Headliners the Psychedelic Furs haven’t released a new studio album in more than 25 years, but who really cares? Hits like “Pretty in Pink,” “The Ghost in You,” and the unstoppable “Love My Way” have aged as well as any new-wave pop you could name. —Roy Kasten
BB’s Jazz, Blues & Soups, 700 S. Broadway, St. Louis, 314-436-5222. AN UNDER COVER WEEKEND 11: Thu., Aug. 24, 7:45 p.m.; Fri., Aug. 25, 7:45 p.m.; Sat., Aug. 26, 7:45 p.m., $12-$15. Delmar Hall, 6133 Delmar Blvd., St. Louis, 314-726-6161. VANESSA CARLTON: Fri., March 31, 8 p.m., $30. Blueberry Hill - The Duck Room, 6504 Delmar Blvd., University City, 314-727-4444. VANS WARPED TOUR: W/ Sick Of It All, CKY, GWAR, The Adolescents, T.S.O.L, Hatebreed, Emmure, The Ataris, Andy Black, American Authors, Beartooth, Dance Gavin Dance, Jule Vera, I Prevail, Neck Deep, New Years Day, Memphis May Fire, War On Women, more, Wed., July 26, 11 a.m., $42.50. Hollywood Casino Amphitheatre, I-70 & Earth City Expwy., Maryland Heights, 314-298-9944.
riverfronttimes.com
MARCH 29-APRIL 4, 2017
RIVERFRONT TIMES
63
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RIVERFRONT TIMES
MARCH 29-APRIL 4, 2017
riverfronttimes.com
The choice of a lawyer is an important decision and should not be based solely upon advertisements. This disclosure is required by rule of the Supreme Court of Missoui.
SAVAGE LOVE POSITIVE THINKING BY DAN SAVAGE Hey, Dan: Gay guy here. Met a guy online. He came over. We had incredible sex and then a great conversation lasting several hours. But — and you knew there was one coming — he told me that he lied about his HIV status. He is undetectable, but he told me initially he was “HIV/ STD negative.” I got very upset — more from the lie than his status. (I know that undetectable is practically the same as negative.) I really like him, but that was a big lie. He told me all about his life and any other secrets after that. Should I swear off him for lying about such a big topic? Or is the fact he did tell me and our connection enough to give him a second chance? I had not been that happy up till the reveal in, well, maybe ever. But I want to be wise.
Did Ask, Didn’t Tell Why would he lie? To avoid rejection. Obviously. Guys often refuse to hook up with guys who are honest about being HIV-positive, even though a positive guy with an undetectable viral load is less of a risk — at least where HIV transmission is concerned — than a guy who believes himself to be negative because he was the last time he got tested or because he’s never been tested. Someone who was recently infected is highly infectious; someone who doesn’t think he could ever get infected is a fucking idiot, and fucking idiots are at a higher risk for fucking everything. Sometimes positive guys get sick of being punished for being honest, and so they lie — and it’s particularly tempting to lie to someone you don’t expect to see
again, i.e., a quick hookup. HIV-positive people shouldn’t lie to their sex partners. Obviously. And thanks to stupid laws passed by ill-informed idiots, failing to inform a sex partner you’re HIV-positive is a crime in many areas. There are people in prison today — mostly men, mostly black — for failing to disclose. These disclosure laws incentivize not knowing your status — you can’t be punished for not disclosing what you don’t know — putting everyone at higher risk. Why would he tell the truth? It’s possible he lied to you about his status — a lie he regarded as harmless thanks to his undetectable viral load — because he assumed this would be a hookup and nothing more. He wasn’t going to infect you and he wasn’t going to see you again. But after you two hit it off, DADT, he decided to tell you the truth right away instead of waiting weeks or months. The connection you describe is hard to find, but the lie he told was big, yes, but understandable. I think he deserves credit for coming clean right away — and a second chance. Hey, Dan: I want to fuck my 31-year-old husband more often than he wants to fuck me, his 27-year-old wife. We have been married for three years and together for four. My question is twofold: One, how do I gracefully accept his “no”? We have sex usually two times a week — I wish it was more like five — which means he turns me down two or three times a week. I want to be better at hearing “no” from him without getting upset. The more I freak out, the less likely he is to fuck me the next time I ask. It’s a bad cycle. Two, he watches porn every day. I know because I was naughty and
65
snooped. I love porn and I watch a lot of it myself. But it doesn’t replace sex for me. Is there a conversation to be had about this? Should I just keep my mouth shut? I love him but I am so frustrated.
have to accept the shit we cannot change. As the person with the higher libido in your relationship, SPOUSE, you may be stuck being the initiator.
Sincerely Perplexed Over Unwanted Sexual Energy
Hey, Dan: I’m a teenage girl and I’m really horny. I always think about sex, and I’d like to masturbate sometimes. I can’t live in this way, sometimes I feel physically and psychologically bad because of this terrible need to have sex or stuff. I’m single, and I don’t want to lose my virginity with a random guy. I really need some advice from you! How can I masturbate or quit this exaggerated libido?
You want to have sex five times a week, SPOUSE, you watch a lot of porn, and porn doesn’t replace sex for you. Isn’t it possible that it works the same way for your husband? He wants to have sex twice a week, he watches a lot of porn, porn doesn’t replace sex for him. Don’t assume your husband is having a wank every time he visits a porn site. Lots of people — men and women — like to take a quick peek at porn sites, get a little erotic charge, and then get on with whatever they’re doing without stopping everything to have a wank. That said, SPOUSE, I can certainly understand why you’re frustrated — you’re having a lot less sex than you’d like and you’re constantly feeling rejected — but blowing up about porn isn’t going to help anything. So what do you do with your feelings of frustration? Regarding frequency, SPOUSE, you directly address the issue with your husband and propose a low-stakes, low-pressure (and mutually pleasurable) compromise. Tell him you’d like to aim for three times a week, but put mutual masturbation on the table for that third time and/or the husband giving you a masturbatory assist. He may not be up for PIV more than twice a week, but he may be up for crawling into bed with you and either having a wank with you or holding you and talking porny while you have a wank. As for your frustration around always initiating, well, sometimes we
Don’t Reveal My Name Your libido is your libido, DRMN. It isn’t exaggerated, it simply is. Some people have high libidos, some people have low libidos, some people have no libidos, and an individual’s libido can wax and wane and wax again over the years. You’re at the stage of life when people tend to be at their horniest and consequently think about sex a lot. Women and girls, too. (Don’t let anyone tell you that women aren’t as horny as men — reread the last letter.) If you find yourself distracted by sexual thoughts, DRMN, masturbating can help — most people find they can concentrate on other things for at least an hour once they’ve rubbed one or two or three out. As for how you masturbate… Masturbate on your own or with a partner, in private, and whenever you feel the desire or need to. Enjoy!
Listen to Dan’s podcast at savagelovecast.com. mail@savagelove.net @fakedansavage on Twitter
STREAK’S CORNER • by Bob Stretch
riverfronttimes.com
MARCH 29-APRIL 4, 2017
RIVERFRONT TIMES
65
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RIVERFRONT TIMES
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100 Employment 120 Drivers/Delivery/Courier
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500 Services
533 Miscellaneous
385 Room for Rent
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600 Music 610 Musicians Services
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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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400 Buy-Sell-Trade 445 Miscellaneous
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SOFTWARE QUALITY ASSURANCE SPECIALIST (MERCY HEALTH, ST. LOUIS, MO)
Design testing strategies in Software Development Life Cycle (SDLC) environments like Agile, ADAPT methodology by attending SCRUMs and following KANBAN Board. Requirements: Bachelor’s degree in Communication Engineering or related plus 2 years work experience in Testing, Quality Assurance or related; experience with Automation Testing and Tools: Winrunner, Quick Test Professional, Selenium, Xeenyx, Ranorex with Framework or POM (page object model); good understanding of at least one programming language (Example: C#, Visual Basic, JAVA, Macros, Unix); performance/Stress/Load Testing (Tools like Load Runner, Jmeter, Silk Performer); security testing (Role based testing, Authentication and Authorization testing, Data encryption testing) using tools like WebInspect, Burp Suite); version Control tools (SVN/GIT/Rational Clear Case); release Project Management tool like Version one, Ontrac, Quality Center, Rational Clear Quest; web services testing: XML/ETL services; shell scripting, Groovy Script, VBScript, JavaScript, or SOAPUL Pro/DataStage; database/Querying tools: SQL Server, Oracle, TOAD, MySQL; and QA best practices and standards (for example, test strategies, methodologies, regression testing strategies, risk-based testing).
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6.2” DVD/CD deck or a 12” sub with 500-watt amp.
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Unless otherwise limited, prices are good through Tuesday following publication date. Installed price offers are for product purchased from Audio Express installed in factory-ready locations. Custom work at added cost. Kits, antennas and cables additional. Added charges for shop supplies and environmental disposal where mandated. Illustrations similar. Video pictures may be simulated. Not responsible for typographic errors. Savings off MSRP or our original sales price, may include install savings. Intermediate markdowns may have been taken. Details, conditions and restrictions of manufacturer promotional offers at respective websites. Price match applies to new, non-promotional items from authorized sellers; excludes “shopping cart” or other hidden specials. © 2017, Audio Express.
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